Pasatiempo September 26, 2014 by The New Mexican

The New Mexicanâ€™s Weekly Magazine of Arts, Entertainment & Culture

September 26, 2014

RESIDE 526 Galisteo Street • 820.0919 www.restaurantmartin.com

The Frank Family Wine Dinner Friday, September 26, 2014

5 – courses w/ wines $125.00 per person Open seating – served all evening from 5:30 An abbreviated ‘regular’ dinner menu – including “Our Classics” – is also available.

“Porkfest” contnues...

Re-starts Saturday, September 27th featured all week From 5:30 – 4 courses / $45 per person

Upcoming in October: All - Out Applefest! Menu & date TBD

reservations, recipes, menus & ‘instant’ gift certificates: www.santacafe.com Lunch & Dinner every day! Join us for Sunday Brunch & Happy Hour! 231 washington ave., santa fe, nm 505 • 984 • 1788 2

PASATIEMPO I September 26 - October 2, 2014

HOME

The Lensic & Four Bridges Traveling Permaculture Institute present

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PASATIEMPO I September 26 - October 2, 2014

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PASATIEMPO I September 26 - October 2, 2014

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THINK CRITICALLY. ACT THOUGHTFULLY.

Photo: Anne Staveley

ADMISSIONS OPEN HOUSE

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223 Galisteo between Water & Alameda • 505.983.6331 Monday-Saturday 10-6 • Sunday 11-5 PASATIEMPOMAGAZINE.COM

Harvest Festival!

Saturday and Sunday, October 4 and 5, 2014 10 am – 4 pm

Fun for the whole family at an old Spanish ranch and living history museum! Bring in the harvest with the villagers of El Rancho de las Golondrinas, crushing grapes for wine by foot, grinding sorghum with burros, stringing colorful chile ristras and much more.

Just south of Santa Fe at 334 Los Pinos Road. I-25 Exit 276, Follow signs for “Las Golondrinas.” Admission: Adults, $8 Seniors (62+) and teens (13–17), $6 Children 12 & Under: FREE! Food available! No pets please. 505-471-2261 / golondrinas.org for more information and a schedule of events.

• Eat chile fresh from the horno and tortillas hot off the comal • Enjoy stories by local favorite Joe Hayes, and hear the tale of La Llorona - told by the wailing woman herself - on Saturday • See fabulous Flamenco and Matachines dances on Sunday • Paint a retablo with master santero Frankie Nasario Lucero and buy traditional crafts from New Mexico artists • Take a ride on a mule-drawn wagon and try your hand at archery • Participate in a San Isidro Mass & outdoor procession on Sunday ... ¡ y mucho mas! Adventures in History!

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

A FREE SYMPOSIUM in honor of the new exhibit Painting the Divine: Images of Mary in the New World SATURDAY, SEPTEMBER 27, 8:30 am – 5 pm SUNDAY, SEPTEMBER 28, 9 am – 4 pm Learn from leading scholars on Spanish colonial devotional art, hear Renaissance music and take a peek into La Conquistadora’s closet during a special tour at the Cathedral Basilica of St. Francis of Assisi. Come for a little or stay both days. Full schedule at our website; click on the Painting the Divine image. This event is free thanks to the generous support of the New Mexico Humanities Council, the Consulate of Mexico in Albuquerque, and Roberta and Dick Huber.

PASATIEMPO I September 26 - October 2, 2014

YOUR MORNING FIX.

Daily headlines from santafenewmexican.com and Fridays from pasatiempomagazine.com.

SANTAFE NEWMEXICAN .COM/ NEWSLETTERS

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Don Coen New workS

S e p t e m b e r 2 6 – N o v e m b e r 3 0 , 2 014

opeNiNg receptioN toNight with the artiSt from 5 -7pm gerald peterS gallery 10 0 5 pa S e o d e p e r a lta , S a N ta f e

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PASATIEMPO I September 26 - October 2, 2014

108 Don Gaspar • 505-988-9558 • info@spiritoftheearth.com

Photos: ChurChward

Cassina

THE SANTA FE NEW MEXICAN

September 26 - October 2, 2014

www.pasatiempomagazine.com

ON THE COVER 36 A man for all seasons Known in the U.S. primarily for his caricatures in magazines from Vogue and Vanity Fair to The New Yorker, Miguel Covarrubias (1904-1957) was also an art historian, archaeologist, ethnologist, curator, dancer, and theatrical costume and set designer. His writings on numerous subjects, from the culture of Bali to Preclassic Mexican ceramics, feature original illustrations that capture the essence of his subjects. Miguel Covarrubias: Drawing a Cosmopolitan Line, a look at the artist’s scope of vision, opens Saturday, Sept. 27, at the Georgia O’Keeffe Museum. On the cover is Legong Dancers #6, an ink drawing made between 1930 and 1957.

MOVING IMAGES

BOOKS 18 28

47 50 52 54 56 58

In Other Words Alchemy & Mysticism Savage Wolverine David Morrell’s wild side

MUSIC AND PERFORMANCE 20 Pasa Reviews Santa Fe Pro Musica Orchestra 22 Pasa Tempos Album reviews 25 Random Acts Festival of the Drum 26 Luck of the Irish? Fusion Theatre 44 That Garson woman Santa Fe pays tribute

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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

Dirk Kortz’s The Interlude, 2013 (detail)

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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

Pasa Week

15 17 62

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Robin Martin Owner

www.pasatiempomagazine.com

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Mixed Media Star Codes Restaurant Review: Geronimo

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

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

Connecting the dots Dirk Kortz A Jan Steen joint Julie Blackmon’s photographs

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

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CALENDAR AND

ART 32 40

Screen Gems: Mrs. Miniver Love Is Strange A Place to Stand Jealousy Starred Up 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

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MIXED MEDIA

Ended up at Shelter . . . ADOPTED . . . RETURNED . . . ADOPTED AGAIN . . . The Life of Zin

Concert benefits W21 radio Four bands take the stage at Warehouse 21 on Friday, Sept. 26, to raise money for the teen center’s new radio station. It’s a benefit show for KGZR-FM 98.9 Ground Zero Radio, a new low-powered FM station, and features The Sticky from Santa Fe, Direct Divide from Seattle, and CRTTRZ and Solar One from Albuquerque. The Ground Zero Radio show — “Music, talk, hangin’ out on the radio” — has an 18-year history with KSFR-FM 101.1, and it’s on every other Wednesday night. Six months ago, W21 also began a youth voice show on KVSF-FM 101.5 every other Sunday, and it has a youth internship project in collaboration with Hutton Broadcasting. Ground Zero Radio provides a voice for youth via the arts, social justice, and issues relevant to our community, according to organizers for the new station. KGZR is intended as a noncommercial, listener-sponsored, membercontrolled community station dedicated to education, entertainment, and understanding by providing a forum for the discussion of public issues and the expansion of musical and cultural experiences. “The goal of the Friday event is to raise money we need to start streaming,” said James Lutz, operations manager at Warehouse 21 and KGZR and an intern at Hutton Broadcasting. “There will be a link to an embedded streamer at warehouse21.org as well as an app to feed into iTunes radio. Once the streaming is going, we can start building programming and bring in DJs. Primarily we want this to be a training program for youth ages 14 to 24 — to give them hands-on experience they can put on their résumés.” Lutz envisions broadcasting live W21 events and interviewing neighbors and other people around the Santa Fe Railyard. “We really want to build community.” The Sept. 26 benefit show starts at 6:30 p.m. and runs to 10:30 p.m. Admission is $5 for people under 21 and $10 for adults. — Paul Weideman

Special Thanks and Recognition to the following Partners in Zin’s Life: • Her Fabulous Agility Trainer and Handler, Steve Moon • Her New Friends at Santa Fe Tails • The Incredible Staff and Team who work with Devin at the Santa Fe Animal Shelter and Humane Society

Photos ByVineDesign

Direct Divide

Her story begins in early December 2013. She found herself at the Santa Fe Animal Shelter. One month later in January 2014, she was adopted for two months and returned to the shelter. In April 2014, she was adopted again and in May she started her agility training. In a short-time she earned her AKC Novice Jumper Title & AKC Novice Standard Title along with six FIRST PLACES-- three perfect 100 scores and three 95s. She has made her mark and continues her agility journey. Zin teaches us with her enjoyment and ability to learn. She makes her mom, dad, and best buddy Roscoe happy. Zin has found her forever home.

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PASATIEMPO I September 26 - October 2, 2014

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Wine and Chile Fiesta Space still available for wine dinners on Thursday and Friday at 7:00pm. Make your reservations now.

STAR CODES Heather Roan Robbins

Come try our new Fall menu starting October 1st. We have added the Guinness sausages everyone loves to the menu, as well as new pizza and salads. Come and enjoy.

It’s time to get serious as thoughtful Mercury enters Scorpio.

Scorpio encourages us to concentrate and delve into our core. Scorpio is represented by both a soaring phoenix and a scorpion that lurks under rocks, symbolizing transcendental focus on one side and carefully guarded curiosity on the other. One of Scorpio’s key phrases could be “just because you’re paranoid doesn’t mean they’re not out to get you.” Maybe we need to wake up to the dangers of climate shifts or even just a dysfunctional relationship. Yes, Mercury in Scorpio can make us a little paranoid, jealous, or suspicious. Scorpio can help us perceive more deeply, but we can see details out of context. Let’s obsess on something productive and be very careful with editorial interpretation. When Venus joins the sun in relationship-oriented Libra on Tuesday, we may become more forgiving with one another but also crank up the expectations in our emotional life. We’ll tend to feel most at home with those who respect our boundaries and with whom we can walk comfortably in silence. Active Mars is in the outdoorsy, traveling sign of Sagittarius and soon moves into a dynamic and inventive fire-sign trine with Jupiter and Uranus. Reactive, inventive, ingenious: we’ll rebel against anything that doesn’t work. We’ll need extra time outside, connected to the natural world, extra time moving our bodies and moving our minds. We can move forward with unusual honesty but may also experience a rumble of temper and impatience. Let’s just watch what sparks we light.

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Monday, Sept. 29: As Venus enters its home sign of Libra, we’re ready for a fall romance or renewed peacekeeping missions and may feel a sudden craving for beautiful things. We’re ready to make liberating changes on the home front midday.

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Sunday, Sept. 28: A fresh and direct Sagittarius moon brings humor and helps us look further afield for answers. Wander. Be unusually honest, but take the sting out of the message. Fights get more likely closer to midnight as the moon conjuncts Mars.

Thursday, Oct. 2: People are feeling contrary and potentially irritated by a series of snafus. Put one foot in front of the other, and don’t get discouraged. ◀

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Saturday, Sept. 27: We can wander companionably together, but don’t push us. Morning is more expansive and curious; we may feel old and tired and start to wonder what we’re doing later tonight as the moon conjuncts Saturn. Keep debate clean.

Wednesday, Oct. 1: The mood is socially awkward yet tender — and somehow pragmatically competent. We get stuff done but tend to step on toes. Return to practicalities to find balance. Keep priorities clear.

•

For more information or to make an appointment call:

Friday, Sept. 26: We’re unusually intuitive, but we may be a little on the suspicious side. Don’t take it personally if people become more reserved. Tonight we need positive magic as the moon trines Neptune.

Tuesday, Sept. 30: An odd, wandering day where new ideas are broached, but it’s hard to build direction. Experiment, putter, wander, and investigate, but forgive a certain lackluster momentum. Tonight the moon enters ambitious Capricorn.

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IN OTHER WORDS book reviews The Hermetic Museum: Alchemy & Mysticism by Alexander Roob, Taschen, 576 pages Long before Dow and designer drugs, the alchemists of medieval Europe were already dreaming of better living through chemistry. Far from a pseudo-scientific pursuit of turning lead into gold, alchemists saw their rites of metal and fire as an occult spirituality carried on from antiquity. Physical elements, like iron and copper, could yield philosophical truths through rituals of smelting and extraction. As art historian Alexander Roob points out in this fascinating curio of a book, alchemy as a divinely inspired inquiry into natural elements has origins that date back much further than the epoch of European knights and castles. With roots in ancient Greece, Judea, and Egypt, alchemy spanned two millennia. It outlasted the Renaissance and counted adherents among the European intelligentsia well into the Age of Reason. Even Sir Isaac Newton was deeply influenced by alchemy; its symbolic metallurgy ran through his writings. As the author’s abundantly visual history of alchemy makes clear, the real lure of alchemical thinking for most medieval European practitioners was the exposure it afforded to ancient occult iconography. Its vast corpus of visual arcana was a virtual Noah’s Ark of the pagan religions, magic rituals, and natural philosophy of the ancient civilizations in the Mediterranean. Through its association with alchemy, this strange art, riddled with hidden symbols, found tacit acceptance in even the most piously Christian corners of Europe during the Middle Ages. Some of this art is ecstatic and visionary, like the apocalyptic works of poet and artist William Blake, who wore his alchemical influences on his sleeve. The images of hot anvils and fiery furnaces that course through his paintings and prints are not just allusions to hell or the onset of industrialization. Many intend to convey spiritual transformation through the forging of metals. At the same time, this Taschen offering includes several humdrum illustrations that are little more than Venn diagrams with dolled-up planetary depictions. By including the mundane alongside the glorious, Roob seeks to establish how widespread alchemical art once was and how forgotten it is today. While the book does intersperse some of the author’s brief essays on alchemy’s reign in the visual arts, the real textual action takes place in the captions. Roob possesses a considerable flair for decoding symbols in few words. In doing so, he shows the everyday role alchemical thinking played in reviving the obsession during the Greco-Roman era with elemental forms and cosmic wholeness. 18

PASATIEMPO I September 26 - October 2, 2014

For instance, consider the book’s early 17th-century illustration of King Duenech, who would be imposing in his nude muscularity if it weren’t for his bizarre unease while awkwardly attempting to recline in a caged steam bath meant to cure him of his deep melancholy. As Roob explains, in alchemical art, underscoring a sovereign’s foibles helped explain how the reactions of chemical compounds were analogous to the transformative encounters humans had with nature and each other. Now largely lost on us, it’s an imagined scientific law from the past that makes these illustrations more than simply exotic curiosities if we bear it in mind. In this case, the figure of King Duenech is historically associated with green vitriol (ferrous sulfate). A greasy substance well known in the Middle Ages, green vitriol was valued for its ability to cause, when heated, a nasty sulfuric breakdown into iron and rust. To alchemists, this reaction played out, in a chemical theater, the human saga of birth and death, genesis and putrefaction. And who better to play the part than a king, sweating toward better health in a sauna? For readers who simply wish to gawk at chemistry’s adolescent Dungeons & Dragons phase, this book’s illustrated plates provide enough morbid esoterica to fuel another quarter century of heavy metal albums. If that seems crudely stated, Roob would remind us that “practicing” the art of alchemy was not so different from speculating on the meaning of the cover of Led Zeppelin’s Houses of the Holy. Many of alchemy’s followers meditated on its arcane rituals and symbols in the firm belief they’d be rewarded with a return path to a world of uncorrupted nature. Yes, the more empirically oriented of its practitioners built increasingly sophisticated labs that would eventually help to catapult Europe out of the Dark Ages and into the chemical embrace of proper science. But that story of gradual, progressive enlightenment has been told before, and not by way of the narrative that emerges out of alchemy’s legacy in prints, paintings, and illustrated compendiums of techniques. What’s on display here is a different type of human longing — one that comes from falling head over heels for the many mysteries of Hellenic paganism, Jewish cabalist mysticism, and Egypt’s elaborate hieroglyphics. Its adherents’ fire-driven chemical reactions of quicksilver and lime were less a science than a dramatic and ritualistic way to tap into ancient ways. That is why alchemical art, even at the height of its popularity in 16th-century Europe, must have already appeared archaic. It came ready-made, drenched in a hieroglyphic aura through its use of antiquated and discarded symbols, teaching its followers that the only cultural values worth transmitting were those from the past. — Casey Sanchez

SUBTEXTS Start ’em young As standardized-test preparation and Common Core requirements edge out time in publicschool classrooms that used to be spent in silent reading, music and art classes, and creative activities like putting on plays, fictionwriting workshops are one way to make sure children experience learning that isn’t tied to grades and the arbitrary ranking of abilities. Bee Hive Books (328 Montezuma Ave.) offers a one-hour creative-writing workshop for kids ages eight to twelve at 2 p.m. on Sunday, Sept. 28. The session is free of charge and is led by community-based instructors experienced in teaching writing to very young people. The focus for the afternoon is on the passage of time. Students will consider “back then,” “here now,” and “someday soon” as they learn about narrative and verb tenses while creating fantastical stories that move back and forth from past to future. Christian Nardi, the store’s owner, is holding the workshop — which she hopes to turn into an ongoing event — because of the lack of creative writing in schools and because she sees Bee Hive as a friendly, no-pressure environment in which kids can practice a valuable skill. Many experienced teachers agree that learning how to weave a story with a plot and characters enhances students’ literacy skills and reading comprehension, and it provides the opportunity to develop empathy as they put themselves in other people’s shoes and imagine what their lives are like. It also gives them an emotional outlet to tell stories about their own lives while learning how to use metaphors and similes and increasing their general comfort levels with language. “They’re hungry to apply what they’re learning in school about reading and writing in creative ways, and their imaginations are amazing at that age,” Nardi said. If you plan to attend or have questions, call 505-780-8051. — Jennifer Levin

diANe burko

iNveStigAtioNS oF the eNviroNmeNt

custom jewelry design

celebrating 10 years in the railyard and 26 years in santa Fe 328 S. Guadalupe Stree t, Suite e • 505.820.1080

September 26-November 2. 2014 ArtiStS’ receptioN: FridAy, Sept. 26, 5:00-7:00 pm

dirk de bruycker

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logoS

E C N E R T E W T A R L . A S T I N G QU STR

laza) nta Fe P a S e m th iu n itor of Art, o cis Aud St. Fran exico Museum 14 at 3pm 0 ( New M, October 5, 2 o. 5 y a p. 20, N d n O r, Su o in ovsky” M “Razum rtet in F 3 a . u o Q N , g 9 Strin r, Op. 5 HAYDN V Qohelet C Majo in t te r a u GOLIJOOVEN String Q ice : 30pm BEETH r 5 at 5 tring Quartet* Musica Box Off e b to c ro O P S , y e e a F c und ren anta inner: S ith the St. Lawired, contact the S u w Artist D q re ns atio *Reserv

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sa 65 d group $45, $ ilies, an , m 5 fa 3 , $ rs , ice. ache $ 20 ents, te Box Off for stud e Pro Musica ts n u o 8.4640 c F Dis 505.98 e Santa : e th c h g ffi u thro .1234 ox O usica B nsic: 505.988 M ro P e e Santa F nta Fe at the L om Sa a.c ic ts s e u k ic m T ro antafep www.s

LewAllenGalleries Concert Sponsor: The 2014-2015 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.

Artist Sponsor:

Lodging Sponsor:

Railyard Arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com PASATIEMPOMAGAZINE.COM

PASA REVIEWS Santa Fe Pro Musica Orchestra, Lensic Performing Arts Center, Sept. 21 Santa Fe Symphony Orchestra, Lensic Performing Arts Center, Sept. 14

A Tale of Two Orchestras

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DINING & COCKTAILS 5 - 10 PM ✦

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Every day at INN ON THE ALAMEDA Santa Fe’s Most Enchanting Inn

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PASATIEMPO I September 26 - October 2, 2014

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he Santa Fe Pro Musica Orchestra opened its season in a stentorian mood last weekend when Thomas O’Connor conducted two Beethoven works in C minor, the master’s most blustery key. Beethoven’s Fifth Symphony is one of the most famous and familiar creations in all of Western culture, and a concertgoer does not enter any performance of the piece expecting that new truths will be revealed. The group nonetheless conveyed it with conviction and authority. The orchestral sound was full without being thick; in the fourth movement, where Beethoven expands his instrumentarium on both the high and low ends (with piccolo and contrabassoon) as well as in the middle (with trombones), the timbre achieved considerable brilliance without sacrificing a core of warmth. For the most part, O’Connor elicited clear phrasing set off by lucid articulation. He achieved a good sense of momentum and put listeners on notice that he was intent on doing so right from the first measures, pacing the opening tattoo just as the composer wrote it, without the portentous pauses conductors often insert to separate the iterations of the “ta-ta-ta-taaaaah” motif. There was finesse in this reading, too, and in the second-movement variations the orchestra built up to a climax of impressive nobility. Pro Musica’s performance of Beethoven’s Fifth surpassed its rendition of the same composer’s Third Piano Concerto, which opened the concert (I heard it on Sept. 21). There, the orchestral texture wanted transparency and the articulation lacked incisiveness. The soloist, Melissa Marse, rendered her part accurately but without pizazz, her tendency to drag slightly within phrases proving contagious to the orchestra. O’Connor gave his first-desk players freer rein than he would in the symphony, with the result that the wind solos invariably spread into lethargy. But Beethoven’s symphony — that was a fine achievement. The Santa Fe Symphony opened its season a week earlier, on Sept. 14. On the podium was Kevin Rhodes, auditioning to be the group’s next principal conductor. His résumé includes stints leading opera and ballet in Europe and the music directorship of the Springfield (Massachusetts) Symphony, but his appearance here offered nothing to admire. He overconducted shamelessly, his gestures telegraphing even phrases that could have played themselves. (Orchestral musicians hate that.) Perhaps one could have forgiven such grandstanding if it had led to a positive musical result, but the musicians basically ignored him. Last season this ensemble proved capable of laudable interpretations of such challenging items as Bruckner’s Fourth and Mahler’s Seventh. Under Rhodes, mere Offenbach was beyond reach. A charmless, vulgar performance of his Orpheus in the Underworld Overture was followed by bonbons featuring the afternoon’s two soloists: cellist Clancy Newman, who gave David Popper’s Hungarian Rhapsody the forgettable performance it deserved, and violinist Mark Kaplan, who at least infused some heart into Vittorio Monti’s Csárdás. There ensued an illogically constructed suite from Tchaikovsky’s ballet The Sleeping Beauty; it came to several climactic endings, confusing the audience, before reaching its merciful conclusion. The orchestra sounded turgid. The first half of the program having consisted of encore material, the second half was to be devoted to a single major work, Brahms’ Double Concerto. Somebody —Rhodes, I guess — had the dubious idea to precede it with the same composer’s high-kicking Hungarian Dance No. 5. I did not have the courage to stay beyond the intermission of what had already been an unsatisfactory concert. — James M. Keller

there’s lots going on at the o’Keeffe this weeKend!

new exhibition opens tomorrow

miguel Covarrubias: Drawing a Cosmopolitan line/ trazando una línea cosmopolita S ept emb e r 27 , 2 O14 th r Ou g h J an u ary 1 8 , 2 O 1 5 working in pen and ink, watercolor, and oil, the dynamic mexican artist Covarrubias made substantial contributions to modern art. prolific and endlessly curious, he had a lifelong fascination with cultures both ancient and modern, remote and urban -- much like o’Keeffe, both of whom were part of a global network of artists, writers and intellectuals. This exhibition presents his artistic, literary

o’Keeffe, © Conde nast.

and anthropological accomplishments as a single body of work, and shows the diversity of modernism as it was lived in the first half of the twentieth century.

opening leCture tomorrow

of the lily : georgia

Khristaan villela, professor of art history and scholar in residence at the santa fe university of art and design, will speak in honor of the opening of the exhibition miguel Covarrubias: drawing a Cosmopolitan line.

miguel Co varrubias, The New Yorker,

6 July 19 29, our la dy

saturday, september 27, 4 pm. santa fe Community Convention Center, 201 w. marcy street. $5. members, free.

sunDay family event please stop by to enjoy refreshments and hands-on art making in the georgia o’Keeffe museum courtyard. we will create shadow puppets, masks, and flowers. sunday, september 28, 1–4 pm. georgia o’Keeffe museum courtyard. free

This exhibiTion and relaTed programming were made possible in parT by a generous granT from The burneTT foundaTion. addiTional supporT was provided by The minisTry of foreign affairs Through The ConsulaTe of mexiCo in albuquerque, linda marCus, new mexiCo arTs, a division of The deparTmenT of CulTural affairs and The naTional endowmenT for The arTs, The sanTa fe arTs Commission and The 1% lodgers’ Tax.

217 Johnson st.= 5o5.946.1ooo

okeeffemuseum.org

PASATIEMPOMAGAZINE.COM

The Lensic & The International Folk Art Alliance present

Saving Endangered Languages

An evening with Greg Anderson & David Harrison

October 6 | 7 pm | $10

Discounts for Lensic members

More than half the planet’s languages may disappear by the year 2100. Join renowned linguists Anderson and Harrison as they discuss the crisis and their efforts to save threatened languages around the world.

See the documentary

The Linguists

At the New Mexico History Museum October 7 | 2 pm | Free

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

Wheelwright Museum OF THE AMERICAN INDIAN

Case Trading Post: Artist at Work Series September 27 10:00 a.m. – 1:00 p.m.

Hollis Chitto Beadwork Demonstration

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

Funded by the FRIENDS of the Wheelwright 22

PASATIEMPO I September 26 - October 2, 2014

PASA TEMPOS

album reviews

BASEMENT JAXX Junto (Atlantic Jaxx) Filed somewhere between trucker hats and Missy Elliott CDs on the shelf of early 2000s nostalgia symbols sits Basement Jaxx. The British DJ duo gave American pop-radio audiences their first taste of the underground house music that would come to rule U.K. and U.S. charts a decade later. Listening to “Kish Kash,” their 2003 single that effortlessly spun the raw sounds of London grime and jungle into a glittery jewel of dance pop, the only element that dates the track is a chorus sung by Siouxsie Sioux, goth diva, instead of say, Juicy J, club rapper. In the years since their flirtation with American Top 40, Basement Jaxx has happily kept churning out albums and remixes while lighting up the European club circuit that birthed them. Now they have a far wider palette of global sonics to draw from: “Rock This Road” imports Anglo-Jamaican bashment, “Buffalo” dusts off 1990s jungle beats, and the baffling “Summer Dem” sounds like a Rick James outtake with its blown-out bass lines and sleazy synthesizers. Radio and streaming services are now filled with songs built on the studio wizardry Basement Jaxx pioneered years ago, so it is harder for the band to stand out in a crowded field, particularly without a blockbuster single on this record. Nonetheless, Junto remains a rare bird among contemporary dance albums, with something consistently inventive on every track that makes for a pleasurable listen from start to finish. — Casey Sanchez JACOB YOUNG Forever Young (ECM) Norwegian guitarist Jacob Young, mentored by Jim Hall and John Abercrombie, honed his chops in early-1990s sideman duties with Rashied Ali and Marc Copeland and in collaborations with Arve Henricksen and Karin Krog. For his third album on ECM, he’s joined by countryman and longtime acquaintance Trygve Seim on saxophones and pianist Marcin Wasilewski’s Polish trio (which formerly backed the veteran trumpeter Tomasz Stánko). After just a few rehearsals, the ensemble headed into an Oslo studio to record 10 songs by Young. “I Lost My Heart to You” opens with spare, plinky piano and warm guitar arpeggios. Young and Wasilewski lay out soft figures, and Seim accentuates the romantic mood on tenor. As the music develops, the guitar sings passionately over hypnotic strains from the rhythm section: achingly beautiful! “Therese’s Gate” follows at the same pace and with a similarly Brazilian edge. “Bounce,” with Young now on electric, manifests a more emphatic rhythm and a more vivacious groove. For “Sofia’s Dance,” drummer Michal Miskiewicz establishes a loose feeling with hands on skins. Seim’s sax work alternates between bright excursions and sexy slurs. The phrasing on “1970” is obviously modernistic, but Wasilewski’s melodic playing up and down the scale, over Young’s sustained electric chords, indeed recalls times past. As elsewhere, Young’s new quintet boasts great chemistry and inventive solos. The music, though generally conservative, is often rhapsodic. — Paul Weideman

Beckett on Film A Four-Part Series

Beckett on Film is a collection of ﬁlms presenting all 19 of Samuel Beckett’s plays including Endgame, Waiting for Godot, Catastrophe and Rough for Theatre. Each ﬁlm is unique, featuring some of the world’s most talented directors and actors including David Mamet, Harold Pinter, Michael Gambon and Kristin Scott-Thomas. SEPTEMBER 7 Act Without Words 1 Endgame SEPTEMBER 14 Rough for Theatre 1 Footfalls That Time Catastrophe Rough for Theatre 2 SEPTEMBER 21 Breath Waiting for Godot SEPTEMBER 28 Act Without Words 2 A Piece of Monologue Play Rockaby

Every Sunday in September at 11am At The Screen FREE ADMISSION (FIRST-COME, FIRST-SERVED)

VISIT WWW.THESCREENSF.COM FOR A FULL SCHEDULE

Santa Fe University of Art & Design 505.473.6494 1600 St. Michael’s Drive Santa Fe, NM 87505

www.lannan.org PASATIEMPOMAGAZINE.COM

DAVID JOHNS BIŁ’ HAHODIISHŁAA FRIDAY, SEPTEMBER 26 Darken The Day & MorbiD JusTice

SEPTEMBER 26 - OCTOBER 24, 2014 RECEPTION: FRIDAY, SEPTEMBER 26, 2014, 5-7 PM ARTIST WILL BE PRESENT

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with half hourly drawings every friday & saturday from 11:30am - 10:00pm 11:30 aM - 7:00 PM $1000 7:30 PM - 8:00 PM $2000 8:30 PM - 9:00 PM $5000 9:30 PM - 10:00 PM $250

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*Combined monthly total from $20,000 drawings on Fridays and Saturdays. Must be a member of Lightning Rewards Club. Must be 21 years of age or older. Management reserves all rights.

PASATIEMPO I September 26 - October 2, 2014

RANDOM ACTS Hothouse flowers

Paul Zindel wrote novels about kids from troubled homes with memorably wacky titles like My Darling, My Hamburger and Pardon Me, You’re Stepping on My Eyeball. But before he entered the world of young-adult fiction, he wrote a play, The Effect of Gamma Rays on Man-in-the-Moon Marigolds, which premiered in 1964 at the Alley Theatre in Houston and went on to win the Pulitzer Prize for Drama in 1971 after a run off-Broadway. In Marigolds, Tillie Hunsdorfer, a soft-spoken high-school science geek, lives with an abusive mother, a damaged older sister, and a silent, aged border. Tillie’s mother, Beatrice, is dissatisfied with the decisions she has made in life, and her daughters pay the price for her simmering rage. The Effect of Gamma Rays on Man-in-the-Moon Marigolds opens at the Santa Fe Playhouse (142 E. DeVargas St.) on Friday, Sept. 26, with a gala reception at 6 p.m. and a 7:30 p.m. curtain. Quinn Mander directs the production. Tickets to the gala are $25. Additional Thursday, Friday, Saturday, and Sunday performances run through Oct. 19. Evening performances are at 7:30 p.m.; Sunday matinees are at 2 p.m. General admission is $20; discounts are available. For tickets, call 505-988-4262 or visit www.santafeplayhouse.org. — Jennifer Levin

Good vibrations: Drumroll for new Indian Arts & Culture show

On the afternoon of Sunday, Sept. 28, the Museum of Indian Arts & Culture presents Festival of the Drum: Drums From All Cultures. Visitors will experience a fife-and-drum corps, Japanese-style Taiko drummers, an Asian lion dance, and American Indian drumming. The event is staged in conjunction with the museum’s exhibition Heartbeat: Music of the Native Southwest, which runs until next September. The exhibition features more than 100 Native American music- and dance-related objects and offers recorded samples of contemporary music and vintage films of dance performances. The drum festival runs from 11 a.m. to 4 p.m. Sunday at the museum, 710 Camino Lejo. Sundays are free for New Mexico residents with ID. Call 505-476-1250. — Paul Weideman

Ordre in the court

François Couperin belonged to a dynasty of French musicians that lasted two and a half centuries. Eight members of his family sequentially held the position of organist at the Church of St. Gervais in Paris over a span of 173 years. François was one of those organists, but he also held high-level musical appointments at the courts of Louis XIV and Louis XV. Notwithstanding the excellence of his organ music, sacred vocal pieces, and chamber works, he is remembered principally for his 27 harpsichord suites (“ordres,” he called them), consisting of some 230 movements published in four volumes. Harpsichordist David Solem, a graduate of the Peabody Conservatory in Baltimore, performs the entire Second Ordre from Couperin’s First Book of Harpsichord Pieces (1713), a collection of 21 short dances and character pieces. The half-hour performance, presented in the TGIF series at First Presbyterian Church (208 Grant Ave.), begins at 5:30 p.m. on Friday, Sept. 26. Admission is free, though donations are welcome. For information, call 505-982-8544, Ext. 16. — James M. Keller

THIS WEEK

Flaming licks

When guitarist Joshua Breakstone was coming of age during the early to mid-1970s, he was all into Frank Zappa and Jimi Hendrix. Then he discovered jazz. The trumpeters hit him hardest — especially Charlie Parker. “When I heard Bird, I knew I wanted to play like him in the sense of playing things that are meaningful, emotional, and, more than anything else, irresistibly beautiful,” Breakstone has said. The guitarist has practiced gently stunning, fiery improv on nearly 20 albums, the most recent of which is With the Wind and the Rain, released by Capri Records in January. His CD-release celebration includes a Santa Fe Music Collective-sponsored stop at the Museum Hill Café, 710 Camino Lejo, at 7 p.m. on Thursday, Oct. 2, when Breakstone makes music with bassist Andy Zadrozny and drummer John Trentacosta. Doors open at 6 p.m. Tickets are $25, $20 for SFMC members; call 505-983-6820 for reservations or visit www. santafemusiccollective.org. Breakstone plays Taos on Friday, Oct. 3; call 575-758-9826 for details. — Paul Weideman

PASATIEMPOMAGAZINE.COM

Luck of the Irish? FUSION THEATRE STAKES ITS FATE AT THE LENSIC ON SOLO STAGING OF ‘OUTSIDE MULLINGAR’

James M. Keller I The New Mexican

THE

Fusion Theatre Company of Albuquerque is poised to begin its third season of presentations at Santa Fe’s Lensic Performing Arts Center. As things now stand, its opening night will determine whether the show will go on beyond that. First the good news. On Saturday, Sept. 27, the troupe will take to the Lensic’s stage for a single performance of Outside Mullingar, a four-person play by John Patrick Shanley that was nominated for a 2014 Tony Award for Best Play. Shanley is most famous in dramatic circles for his play Doubt: A Parable, which won both a Tony Award and Pulitzer Prize in 2005. Outside Mullingar ran on Broadway for two months in early 2014 in a production by the Manhattan Theatre Club, and although some critics quibbled about the casting, response to the play itself was overwhelmingly positive. The New York Times’ Charles Isherwood considered it Shanley’s best work since Doubt, finding it “a lighter, slighter play, a softhearted comedy freckled with dark reflections on the unsatisfactory nature of life and the thorns of love.” The setup involves two people, living next door to each other in rural Ireland, who may or may not become a romantic couple. That sounds prosaic enough, but for an Irish writer the tale is all in the telling. Shanley is not, strictly speaking, an Irish writer. He is an American of Irish extraction on both parents’ sides, and for years he resisted creating anything with an Irish theme for fear of being pigeonholed in an ethnic niche. But finally he accompanied his aging father on a trip to Ireland. In an essay for the Times, he described sitting in the farmhouse where his father had grown up: “I listened to the amazing language these folks were

PASATIEMPO I September 26 - October 2, 2014

speaking as if it were normal conversation, and I knew this was my territory.” The experience eventually gave rise to Outside Mullingar. Of the four actors in Fusion’s production, three are appearing in their company debuts. “I’m not sure I’ve seen a more accomplished cast in my 25 years in New Mexico,” said Dennis Gromelski, Fusion’s president. The couple at the center are married in real life: Sherri L. Edelen and Thomas Adrian Simpson, who are active in Washington, D.C., theatrical circles. Both have won Helen Hayes Awards and have worked at such D.C.-area establishments as the Arena Stage and the Signature Theatre. Rounding out the cast are Nancy Jeris, the third Fusion debutante, who was an original member of John Houseman’s UCLA Theatre Group back in the day (she played Goneril to Morris Carnovsky’s Lear), and Santa Fe resident Robert Benedetti, an Emmy and Peabody Award-winning film producer (as president of Ted Danson’s Anasazi Productions at Paramount Studios), former artistic director of Chicago’s Court Theatre, and early member of Chicago’s The Second City theater. The Lensic staging is the last of Fusion’s 12 performances of the play, which have taken place at the Cell Theatre in Albuquerque (its intimate home base), the Rio Grande Theatre in Las Cruces, and Albuquerque’s KiMo Theatre. In past years, Fusion has moved into the Lensic for full weekends of three performances — an evening performance on Friday, then a matinee and another evening on Saturday — but this time its appearance is limited to one evening. Gromelski explained to Pasatiempo that a pay-as-you-can performance at the KiMo Theatre, funded by the City of Albuquerque, could not fit on the schedule except for Friday, Sept. 26, which rendered the normal Lensic plan impractical for this weekend. The matter is larger than that, though. Regular attendees at the Fusion’s Lensic performances had to notice that the house is rarely filled anywhere close to its 821-seat capacity — nor even to the 500 seats it

offers by cordoning off its balcony, which it has done for Fusion performances. Fusion’s appearances are Lensic presentations, rather than merely auditorium rentals, and the Lensic’s executive/artistic director Robert Martin accordingly has to keep a watchful eye on the finances. “Audiences for their last three or four shows have been disappointing,” he said. “We were typically attracting about 150 or 160 people per show, sometimes maybe only 100. My feeling is that we’ve got to get 350 or 400 to justify this. Something has got to change, so I thought we should try concentrating the audience into just one show instead of spreading them out into three.” He wishes it were otherwise. “The commitment between Fusion and the Lensic is very honorable. We weren’t paying them much, but even so we lost quite a bit of money. Theater has different challenges from the other performing arts. You can present an evening or two of dance or of music, but theater is an art form that grows a lot, often through a run of four or five weeks. Word of mouth builds up the audience. Ideally, productions from a company like Fusion should run for a few weeks in a small house of 200 to 300 seats. Another issue is that they present plays that people don’t already know, so the name of the play doesn’t attract an audience on its own. There is a threshold for the theater audience in this town. As much as I want to bring in theater, the Lensic can’t be losing money doing it.” Martin is accurate in describing the company’s plays as generally unfamiliar. Later this season, Fusion’s Albuquerque calendar includes Annapurna, by Sharr White (Fusion previously presented his play The Other Place), and The New Electric Ballroom, by Irish playwright Enda Walsh, both of which were praised when they ran in such cities as New York, Los Angeles, San Francisco, and Washington, D.C. Fusion will also perform Year of the Rooster, a play by Eric Dufault about cockfighting from the bird’s point of view; because it

Pizzeria Da Lino New Fall Hours

Now closed for lunch. Open for dinner 4pm-10pm 7 days a week. Featuring an authentic wood burning oven. Come and enjoy the music of Mr. Dadu on the accordion Thurs, Fri, and Sat and special wine selections through September.

Sherri L. Edelen and Thomas Adrian Simpson; courtesy Fusion Theatre Company

will not be getting a proscenium staging, it wouldn’t be a candidate for a Lensic staging anyway. (“We are looking at other Santa Fe venues that might be appropriate,” Gromelski said.) Albuquerque is only an hour away, but it would nonetheless be sad to see Fusion’s productions disappear from Santa Fe. On the whole, the company has shown remarkable perspicuity and more than a little bravery in the repertoire it has brought to town. Sometimes it snags the rights for admired Broadway plays so quickly that it mounts the works’ first regional productions. That was the case last year with Christopher Durang’s Vanya and Sonia and Masha and Spike, which Fusion opened just 12 days after the play closed on Broadway. Jon Robin Baitz’s Other Desert Cities, Bruce Norris’ Clybourne Park, and Katori Hall’s The Mountaintop are among the numerous plays Fusion has brought to Santa Fe while they were details still relatively fresh from big-city runs. ▼ Outside Mullingar, While many people tell Martin they by John Patrick Shanley, are eager to attend theater in Santa Fe, presented by Fusion he realizes they may not always be Theatre Company talking about the same thing. “Do ▼ Lensic Performing Arts Center, they mean they want to see clas211 W. San Francisco St. sic dramas?” he said. “Musicals? ▼ 7:30 p.m. Saturday, Sept. 27 Shakespeare? If they want to see ▼ $20-$40; Lensic box office, what’s happening in terms of new www.ticketssantafe.org, Broadway or off-Broadway theater, 505-988-1234 that’s what they can get from Fusion. I would stand by a full season of that.” But unless enough of those people show up at the Lensic on Saturday night, the prospects are not good. “We have committed to this first play of Fusion’s season,” Martin said, “and if it does great, maybe they can do others. We’ll see how it goes, and we’ll decide what to do from there. We have penciled into the books the possibility of presenting another production in the spring, but in all honesty we just may not be able to do it.” ◀

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Embracing his animal side David Morrell tacklesWolverine 28

PASATIEMPO I September 26 - October 2, 2014

Bill Kohlhaase I For The New Mexican

week before the Sept. 24 release of David Morrell’s story “Feral” in Savage Wolverine Vol. 1, No. 23, the author shared with Pasatiempo the gist of the script he wrote for Marvel Comics. The more he divulged, the more his tale resembled Morrell’s first novel, the 1972 action thriller First Blood, which featured a troubled Vietnam veteran named John Rambo. Wolverine has inhuman claws that rip through the flesh of his hands when danger threatens. Like Rambo, he has a complex and tortured back story. Both characters are alienated from a society that doesn’t understand them, and both tend to be violent. Both stories involve a pursuit through difficult terrain; killing; and intergenerational, father-son-like relationships. As in First Blood, the action in “Feral” is taut and nonstop. Beneath both characters’ raw desire to survive are existential questions that steer each story’s outcome. Wolverine, for example, must make a choice about his essential nature. “Some people will be shocked,” Morrell said. “It’s not the choice you think [Wolverine] would make.” Morrell, the author of more than two dozen action-adventure novels, has only recently dabbled in comic storytelling. Issue No. 1 of his Captain America: The Chosen, a six-comic series illustrated by frequent Marvel artist Mitch Breitweiser, was released in September 2007; the collected trade edition was published in 2008. He followed that in 2013 with “Frost,” a two-comic Spider-Man adventure collected in a volume titled Peter Parker: The One and Only. And now he’s written about Wolverine, possibly Marvel’s most complex and troubling hero. “Here I’ve got Captain America, Spider-Man, and Wolverine: the great trifecta,” Morrell said. “All of them have maddeningly complex back stories. I was excited to do it but told the Marvel editors that I wouldn’t be doing it with all the detailed back story. I didn’t want to do the type of research where you have to know all the details of what happened to the character in a particular issue back in 2005. What I was interested in with these three characters was who they are and what makes them who they are — the identifying elements of their character, the virtues that motivate them.” This focus on character, albeit supercharacter, and the ethical dilemmas that come with power make Morrell’s writing more thematic than the writing in most comic books, with plot and symbolism that’s sleeker and more meaningful. “With Captain America, I had to wonder what it would be like to be a superhero named after the United States who had been battling since 1941. I kept coming back to the military virtues: courage, honor loyalty, sacrifice. On the other hand, he had to be tired, he had to be worn out, doing what he started doing all those years ago. With Peter Parker, with Spider-Man, it was the idea that with great power comes great responsibility. What if Aunt May were in danger of dying and on his way to her, he kept finding other people who desperately needed his help? How do you ethically handle that decision? With Wolverine, his essential characteristic is that he’s part animal, part human. I thought it would be interesting to have a story in which he chose which part of him to embrace.” Morrell’s passion for comics began, as it does with many people, when he was a kid. But his tastes were admittedly dark. In his afterword for The Chosen, he writes that as a boy in the 1950s he was addicted to books from crime and horror publisher EC: Tales From the Crypt, The Haunt of Fear, The Vault of Horror. “Those comics had very strong, creepy stories,” he explained. “EC became a sort of poster child for gruesome and violent extremes. But Congress went after them and other

publishers of edgy comics, prompting the industry to adopt the restrictive, internally censoring Comics Code Authority. “I didn’t realize it at that time, but that’s when I lost interest in comics — when they got cute and dull.” Morrell has a shelf of reissued EC Comics — ‘‘They’re all really good,” he said — and they provided inspiration for his Savage Wolverine work. “When I started Wolverine, I wondered, How much could I push this? I wrote up some panels that were very graphic in terms of violence that I didn’t think Marvel would go for.

Images from Savage Wolverine Vol. 1, No. 23, courtesy Marvel Comics

continued on Page 30

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David Morrell, continued from Page 29 DELADIER ALMEIDA New Paintings Sept. 26 – Oct. 11, 2014 Artist Reception: Friday, Sept. 26th, 5 – 7 pm

130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 505.954.9902 www.blueraingallery.com

Hawk Eye (detail) Oil on canvas, 30" h x 30" w

Melinda Risk

505.982.3032 225 Canyon Rd karenmelficollection.com 30

PASATIEMPO I September 26 - October 2, 2014

But they were never discussed. So this is not a neutered, denatured comic. It has great impact. I think of it as my homage to EC. I get the same feeling as when I was a kid.” Comic writing is not as easy as it seems, Morrell said. When he showed his first comic to a crime-fiction editor, the editor commented, “You didn’t do much writing. There’s hardly any dialogue.” This led Morrell to ask that Marvel include some of the narrative he wrote at the end of The Chosen and “Frost.” “It’s like screenwriters who try to write novels,” he said. “They take that visual sense for granted. It’s a new way of thinking for them. Conversely, when a novelist switches over to visual media, its first principle is to ask, ‘What’s the intention?’ and ‘How do I picture it?’ In comics, it’s the visuals that tell the story. It’s done with minimal dialogue.” The inclusion of the script, set on the page in the manner of a screenplay and broken into panels, makes for fascinating, back-and-forth comparisons between the writer’s words and the artist’s renditions. Once he’s written the script, Morrell said, he doesn’t have much dialogue with the artist — especially given the quality of the artists he’s worked with. “I don’t think any would dare make a change in [Spider-Man illustrator Klaus Janson’s] work. We had a few email exchanges, because he was working on so many things but wanted to make sure I knew he was very committed to completing the project. His mother was very ill at the time, and he made the association between Peter Parker wanting to protect his Aunt May and his own feelings. He brought something really great to that work.” The Wolverine story is illustrated by Jonathan Marks. A plunge into comic books might be unexpected from a man who spent 1970 to 1986 teaching literature at the University of Iowa. Even now Morrell lectures on literature, as he did earlier this month when he discussed Ernest Hemingway as part of the Renesan Institute for Lifelong Learning series at St. John’s Church in Santa Fe. His last novel, Murder as a Fine Art, features Thomas De Quincey, author of Confessions of an English Opium-Eater, unraveling a bloody tableau to link killings separated by some 40 years. Part murder mystery, part historical novel, this first book of a projected trilogy embodies Morrell’s embrace of both low and high art. Asked if this paradox goes back to his first writing inspiration, Stirling Silliphant and his scripts for the 1960s TV series Route 66, Morrell said, “I never imitated Stirling’s dialogue. He could be very poetic. But there would often be these long bits of dialogue [in Route 66] that were almost like philosophical discourses. And that’s always made me wonder: Is there a way to have books with this intense action that also have equally intense ideas? Ask a reader five years after they’ve read a book and they’ll say that they were carried along by the plot. But there were all these other ideas embedded there as well.” As for the question of high and low art or if working in comics might hurt the reputation he’s made over the years as the thinking reader’s adventure-thriller writer, Morrell said it’s not really an issue. “It’s the storytelling that’s most important to me, whether it’s a novel or a screenplay or a comic. It’s all about telling a good story.” ◀

details ▼ David Morrell signs copies of Savage Wolverine Vol. 1, No. 23 ▼ 1 p.m. Saturday, Sept. 27 ▼ Big Adventure Comics, 801 Cerrillos Road ▼ No charge; 505-992-8783, www.bigadventurecomics.com

santa fe’s railyard arts district the destination for contemporary art

L a s t F r i day a r t Wa L k

t o n i g h t, s E P t E M B E r 2 6 . 2 0 1 4

5:00-7:00PM

EVokE contEMPorary alice leora Briggs, Asylum

WiLLiaM siEgaL gaLLEry cornelia thomsen, david ivan clark Willy richardson, Color Fall

charLottE jackson FinE art florence Miller Pierce, In The Light

ZanE BEnnEtt contEMPorary art david Johns, Bił’ Hahodiishłaa

daVid richard gaLLEry salvatore emblema, Transparency: Color and Light silvia levenson, A Subject to Avoid

jaMEs kELLy contEMPorary Matt Magee, Hollow Bottle

LEWaLLEn gaLLEriEs dirk de Bruycker, Logos

Photo-EyE Julie Blackmon, Homegrown

diane Burko, Investigations of the Environment

railyardartsdistrict p

james kelly

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Warehouse 21

camino de la familia

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sitE santa FE collegenite tonight, 5-8 pm Join us to mix and mingle with your friends and enjoy free music, museum tours, and food from roque’s carnitas truck!

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tai ModErn Tree Spirit, showing at the Japanese american cultural and community center in los angeles through October 19

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the railyard arts district (rad) is comprised of nine prominent railyard area galleries and site santa fe, a leading contemporary arts venue. rad seeks to add to the excitement of the new railyard area through coordinated events like this monthly art Walk and free fridays at site, made possible by the Brown foundation, inc., of Houston. We invite you to come and experience all we have to offer.

www.santaferailyardartsdistrict.com PASATIEMPOMAGAZINE.COM

CONNECT THE DOTS •

•

Artist Dirk Kortz highlights how we make meaning

Michael Abatemarco I The New Mexican

irk Kortz is an artist who works in series. Most of his paintings are figurative representations with thematic elements. His Side Show series, for example, depicts sights from a carnival or circus environment: people eating hot dogs in front of posters showing things like a six-legged cow, “Alligator Boy,” clowns, magicians, or carnies. His Bible Stories series is an allegorical foray into surreal imagery inspired by reading the Bible (he took it all in while engaged in the work). But Kortz’s newest body of paintings, Persistence of Vision, defies easy categorization. They are an amalgam of disparate imagery that is often arranged in grids. Elements of each painting are made in a number of artistic genres such as pop, realism, and comic book. The grid paintings in particular seem to be a random selection of unrelated scenes, each one compelling in its own way. “I basically paint figures, but I kind of like to see them as abstract,” Kortz told Pasatiempo. “Inevitably, somebody wants to know what it means. That’s understandable because they’re usually representational. I try to avoid talking about them too much because I want them to be just what they are visually.” In response to repeated requests to explain the meaning behind the works in Persistence of Vision, Kortz made The Explanation, a painting as confounding as any in

PASATIEMPO I September 26 - October 2, 2014

the series. A moody mountain landscape forms the background for a group of figures, some of whom look like they were teleported from the pages of a 1950s illustrated magazine. Retro imagery is something that often appears in his work. “It’s called The Explanation because I got tired of explaining things. I understand why people ask. When I was doing it, I had no explanation in mind whatsoever.” To get an idea of what Kortz does in a single composition, it’s instructive to focus on his painting Persistence of Vision II — a grid of 12 separated squares with no through lines connecting any of them. But each square presents a pastiche of diverse approaches to figuration. A comic-style woman peeks in from the corner of the upper left square; behind her, a slightly more realistically painted tiger leaps through a ring of flames in front of a suburban home. The next square over is a close-up of a human mouth. To the right of that, a snazzy band plays beneath a branch laden with golden songbirds. Any interconnections or associations are bound to be in the mind of the beholder. “My original intention was to see if I could paint a series of grids in which the images did not relate to each other in any way. You couldn’t make a relationship. It’s like a cartoon strip, except every single image is a new start. What I figured out is that you can’t do it. Because the human mind is going to make an association no matter what you do. I just wanted to see what I would learn about my own associations in the process of doing this.” The title Persistence of Vision derives from film theory. In that discipline, the term refers to how afterimages, retained by the retina for a number of seconds, allow viewers to perceive a film as uninterrupted action. In reality, though, the footage exists as a string of still frames. “You see one frame after another, but not separately,” said Kortz. “They come together. You don’t see the black spots in between.” Though Melody of Summer isn’t a grid painting, it’s equally resistant to interpretation. A realistically rendered swan dominates the lower portion of the composition. Above it is an image of a little girl greedily chomping on a hot dog. Beside her, a male dancer stretches his legs, and below him, smokestacks spew filth into the air. There’s no apparent rhyme or reason for why such images are grouped together, and the overall effect is of a dreamlike conglomeration. The mundane dances with the sublime. “The idea was that the only reality would be inside the canvas and that there isn’t any reason why the images have to be all within the same world. Therefore, all the normal things you’re concerned with — color value, hue, perspective, scale — I wanted not to be bound by those. I’ve never limited myself to representational work. I’d been doing genre stuff for so long, I just wanted to free myself up a bit from that and feed another part of me, really. I did collages for years.” In some ways, Peristence of Vision is a natural follow-up to a previous series, Gallery Paintings. There’s a consistent theme in this earlier body of work: visitors stand before, but do not look at, paintings hung in a gallery setting. Kortz takes a realist approach to the figures, but the paintings depicted behind them are rendered in a gamut of diverse modes. “It allowed me to make up anything I wanted for the background so I could paint abstractly or freely in some other style.” The grid-and-pastiche approach used in Persistence of Vision allows for similar license. One exception to the deliberate incongruity, though still surreal, is his painting called Intruders. Again, the figurative aspects are made in a number of styles and don’t appear to relate to one another in any explicit way. But the imagery —

plastic army figurines, a bird, a snail, a number of vaguely menacing dolls, a creepy woman peering from behind a door — are all contained within a simple domestic setting that lends the overall composition an underlying sense of horror. “I just want to create a visual world you respond to emotionally. It isn’t a literary experience — or a literal experience, for that matter. There’s something slightly threatening about it. There’s something ironic and slightly humorous about that.” ◀

Dirk Kortz: Persistence of Vision II, 2012, oil on canvas Opposite page, left: Intruders, 2013, oil on canvas; right: Melody of Summer, 2014, oil on canvas

details ▼ Persistence of Vision: The paintings of Dirk Kortz ▼ Reception 5 p.m. Friday, Sept. 26; exhibit through Oct. 27 ▼ Wheelhouse Art Gallery, 418 Montezuma Ave., 505-919-9553

PASATIEMPOMAGAZINE.COM

OCTOBER CALENDAR OF EVENTS AT SFCC The 2014 General Obligation (GO) Bond C allocates money to improve and renovate aging infrastructures for higher education institutions in New Mexico with no tax increase. Early voting runs Oct. 18-Nov. 1. Election Day is Nov. 4. Learn more. Scan the QR code or visit higheredbondc.com.

THURS

2nd Annual Harvest Festival

10 a.m. to 2 p.m., Culinary Arts Garden 505-699-8625

Commercial Baking Final

3 to 4:30 p.m., Campus Center

505-428-1435

Southwestern Sleepers Lecture: Insomnia 5:30 p.m., Room 433

Saturday, October 18

505-428-3101

FRI

TUES

College Night and Open House

TUES

Fall Transfer Day

AARP Back to Work 50+ Info Session 10 a.m. to Noon, Jemez Rooms

Food & Music • 6-9:00pm • Farmers’ Market Pavilion

855-850-2525

6 to 8 p.m., Fitness Education Center 505-428-1779 Visit with more than 40 colleges and universities. Explore SFCC in a campus tour. 10 a.m. to 2 p.m., Main Hallway 505-428-1303 Find out about bachelor’s and master’s degree programs and transfer options.

SFCC Governing Board Meeting Josh Gerwin

Joseph Wrede

Dr. Field Goods

Joseph’s Table

Andrew Cooper

Terra at Rancho Encantado

You be the judge as three of Santa Fe’ s ﬁnest chefs compete for your vote in an amazing cook-off. TICKETS ARE SELLING FAST! JOIN US BEFORE WE SELL OUT.

The BUSY McCarroll Band

Santa Fe’s popular award winning musicians, playing World friendly Pop-Jazz-O-Rama

All funds matched by a $50,000 challenge grant to provide and support emergency and supportive housing for women and children at St. Elizabeth’s Casa Familia and Sonrisa programs.

5 p.m., Board Room 505-428-1148 Board packet materials and information at www.sfcc.edu/about_SFCC/governing_board.

WED

El Agua es Vida Festival

TUES

International Cuisine Final

THURS

Opening Reception: Francisco Benítez, Doña Inés Lost Her Slipper

10 a.m. to 6:30 p.m., Main Hallway 505-428-1467 Water-related festival with Mayor Gonzales, local organizations, hands-on demos, exhibits and workshops. 2 to 5 p.m., Campus Center

5 to 7 p.m., Visual Arts Gallery

Halloween Trick-or-Treating 3 to 6 p.m., Main Entrance

505-428-1435

505-428-1501 505-428-1665

PLUS...

Through October 24 Faculty Art Show at Red Dot Gallery, 505-820-7338, red-dot-gallery.com. Impact

Printing

2882 Trades West Road Santa Fe, NM 87507

Registration for credit and noncredit courses is ongoing at sfcc.edu. ALL EVENTS ARE FREE.

505.795.7469

Individuals who need special accommodations should call the phone number listed for each event.

Agua Fria Nursery, Verve Gallery, Hal Burns, Coronado Painting and Decorating, Haiku in the Hood, Backroads Pizza, Loka Design, Gruda Veterinary Hospital

TICKETS INCLUDE ALL FOOD AND COCKTAILS

steshelter.org/hungry-mouth-festival

St. Elizabeth Shelter: 505.982.6611 x108 • volunteer@steshelter.org 34

PASATIEMPO I September 26 - October 2, 2014

LEARN MORE. 505-428-1000 www.sfcc.edu

6401 Richards Ave., Santa Fe, NM 87508

EMPOWER STUDENTS, STRENGTHEN COMMUNITY. EMPODERAR A LOS ESTUDIANTES, FORTALECER A LA COMUNIDAD.

c Meredith Madri 2014

First Day of School 1994

Class of 2014 Please join us for our 20 th anniversary celebration picnic on our new campus at 7300 Old Santa Fe Trail. We are excited to connect with friends - old & new - and to carry on the best traditions of our school. TWENTIETH ANNIVERSARY PICNIC | SUN. OCT. 5 th | 12 to 3 7300 Old Santa Fe Trail Santa Fe, New Mexico 87505 International Baccalaureate World School 505.992.8284

www.DesertAcademy.org College Preparatory Grades 6-12

Glen Arthur Trunk Show Today - Sunday

Meet the delightful Glen Arthur for a "Buy Now Wear Now Event." Select from a wide assortment of leather jackets, shawls and handbags. Special orders available upon request. 61 Old Santa Fe Trail|505.983.9241|maloufontheplaza.com PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

MIGUEL COVARRUBIAS, MODERNIST AND ANTIQUITIES SCHOLAR the catalog for Miguel Covarrubias: Drawing a Cosmopolitan Line, the new exhibit at the Georgia O’Keeffe Museum, a sketch by René d’Harnoncourt, director of New York’s Museum of Modern Art from 1949 to 1967, depicts Covarrubias hurling a large Olmec head onto a gaggle of archaeologists preoccupied with excavating Mayan artifacts. You won’t find d’Harnoncourt’s ink drawing in this show, but it does offer insight into the preoccupations of an artist primarily known in the United States for his caricatures of celebrities and political figures. It’s not enough to say that Covarrubias — whose humorous depictions of the Hollywood elite

and other cultural figures enlivened the covers and pages of Vanity Fair, The New Yorker, Vogue, and other magazines — had interests and talents in areas other than illustration and painting (along with lithography and mural work). Over his lifetime (1904-1957), the native of Mexico City functioned at various points as art historian, archaeologist and ethnologist, curator, dancer, and costume and set designer for theatrical productions. The story behind d’Harnoncourt’s witty depiction of Covarrubias exists almost as metaphor for the man himself, how his artwork has achieved a posthumous popularity while his scholarly pursuits are better known in academic circles. He popularized the art and cultures of the Americas and of Bali (where

he and his new wife, Rosa, a dancer choreographer, and sometime photographer, honeymooned in 1930), making forays as well into the ancient art of China and other regions of the world. Covarrubias was interested in Mexico’s Olmec culture and believed, accurately it turns out, that the Olmecs preceded the Maya — an idea that was met with resistance from archaeologists for most of the first half of the 20th century.“For the first 40 years of the 20th century the evidence was slim for the Olmecs’ being earlier than the Maya, so it’s not surprising that the major figures in Maya studies opposed the thesis that Olmecs were earlier,” said Khristaan D. Villela, a professor of art history and scholar in residence at the Santa Fe University of Art and Design who writes Pasatiempo’s “Viajes Pintorescos y Arqueológicos” column. “You had a collection of freefloating orphan objects in museums and private collections. There was no archaeology. It was completely different from the Maya, where you have many decades of sustained archaeological research and lots of standing ruins.” Despite this, Covarrubias and contemporaries like National Geographic Society archaeologist Matthew W. Stirling were correct about the Olmec: in the Mesoamerican timeline, Olmec culture is now known to have preceded Mayan. Few examples of the numerous detailed drawings Covarrubias made of Preclassic Mexican objects, some of whose excavations he supervised, are included in the exhibit. But there is one standout: an undated drawing titled Olmec Influence on the Evolution of the Jaguar Mask. Covarrubias’ stylistic concerns are what make his scholarship on Mexican antiquities relevant to an exhibit of an artist regarded as cosmopolitan and among the cultural elite. Like his caricatures, several of which are in the show, there’s a simplicity to his renderings, an economic use of line that cuts to the essence of what, for Covarrubias, was a piece of art’s aesthetic appeal. This ability to perceive a person, place, or thing’s essential quality would become a hallmark of his art. While Drawing a Cosmopolitan Line firmly establishes Covarrubias as a man of his time, a man connected to the modernist painters and writers of his day, it takes a critical look at the artist as well. This is something recent exhibits, more celebratory than critical, have not pursued. “That he first made his name in New York as a caricaturist was something by which he was typecast,” said Villela. “I’ve heard people say that his work is less interesting because he didn’t set out to grapple with these big modernist questions like Diego Rivera did.” Villela, a contributing scholar to the exhibition catalog, gives a talk at the Santa Fe Community Convention Center on Saturday, Sept. 27, titled “Miguel Covarrubias: Modernism From Mexico

City to New York and Back.” “He was known in his time more as an illustrator, archaeologist, and writer than an artist who produced large numbers of oil paintings,” said Villela. “It goes back to that old hierarchy of the arts, where illustration art is considered much less important than oil painting. On the one hand, you have Diego Rivera’s work: it’s impossible to have a Mexican modernist show and not have a Rivera piece in it, but it is possible to have one without Covarrubias in it.” The kinds of ethnographic work Covarrubias produced are represented in the show by his drawings of Hernando Cortez and Montezuma Xocoyotzin for Bernal Díaz del Castillo’s The Discovery and Conquest of Mexico (1942). These pieces, while simple and slightly cartoonish, bear the influence of his studies into the formal qualities of Mesoamerican art. Covarrubias contributed illustrations to many other books — The Weary Blues (1926), by Langston Hughes, and a 1935 edition of Herman Melville’s Typee among them. But he also wrote several himself. Among them are Island of Bali, where he spent some time as a Guggenheim Fellow in 1933 observing the traditions of local peoples. His writings on Bali included numerous drawings as well as photographs taken by Rosa. The first of a monumental survey of the arts of the Americas, The Eagle, the Jaguar, and the Serpent, a tome dealing with the Native arts of North America, was published in 1954. Covarrubias collected Native American art, and his holdings included examples of Southwestern pottery. In 1929, before they had married, he and Rosa spent time in New Mexico at the Taos compound of Mabel Dodge Luhan during a summer when notable guests included D.H. Lawrence, Ansel Adams, and Georgia O’Keeffe. The Taos visit resulted in at least two caricatures based on people he met there. O’Keeffe and husband Alfred Stieglitz were caricatured by him as well. Indian Art of Mexico and Central America, the second volume of Covarrubias’ survey, was published in 1957, soon after his death at age 53. A third volume — a survey of the arts of South America — had been planned, but the manuscript was never completed. The existing work on it left behind by Covarrubias was lost until recently, when Villela and Janet C. Berlo, a fellow contributor to the exhibit and catalog and a professor of visual and cultural studies at the University of Rochester, discovered it in the Alfred A. Knopf collection at the Harry Ransom Center, University of Texas-Austin. “What exists are outlines, bibliographies, a little bit of text, and a couple hundred drawings and tracings,” said Villela. “After he died, his family had control of his papers. Rosa Covarrubias was able to get the manuscript from his family, because they split up in 1955, two years before he died. He moved with all his books and papers into a family apartment in Mexico City. She was able to get herself listed as the proper heir to the estate. She sent the manuscript to New York, where editors shopped it around to see if any archaeologists could finish it. Everyone said it was so incomplete that it could not be done. There was little chance of publication. I plan on publishing at least half or a third of the illustrations. We have many illustrations of ancient South American art, and there are a couple of survey books on South American antiquities, but these are unknown drawings. Like the rest of his output, they are excellent.”

Opposite page, Miguel Covarrubias: Tehuantepec, circa 1943, oil on canvas, copyright María Elena Rico Covarrubias, from the Adriana and Tom Williams Collection at the Harry Ransom Center, University of Texas-Austin; this page, top left, Woman With Squash Blossom Necklace, Taos, N.M., 1929, ink on paper, copyright María Elena Rico Covarrubias, courtesy Prints and Photographs Division, Library of Congress, LC-DIG-ppmsca-34343; book covers with Covarrubias illustrations and book cover with a 1927 portrait of Covarrubias by Edward Steichen

Although no images from the unpublished work are on view at the exhibit, some are presented in the catalog: faithful depictions of Raimondi Stela and other iconography from Chavín de Huantar, a pre-Inca archaeological site in Peru, for example. What are included are preliminary drawings for Mexico South: The Isthmus of Tehuantepec (1946), a chronicle of daily life in the region of Mexico that includes Oaxaca and Chiapas. The works show his interest in the traditional dress and customs of the people in the region. “This is the same time period that Diego Rivera and Frida Kahlo are exploiting Mexican stereotypes to celebrate them: the Tehuana image, Kahlo dressing in these crazy outfits. Rosa Covarrubias dressed like that as well.” Edward Weston’s gelatin silver print of Rosa

in formal Tehuana dress is among the exhibit’s many photographs. “It’s a consistent theme in Rivera’s paintings, that aspect of folkloric nationalism. Covarrubias, in his own way, is also promoting that. Mexico South is all about that, promoting it as something authentic or uniquely Mexican.” What Covarrubias saw as authentic expressions of culture motivated his explorations into the arts and cultures of other regions as well. To give some idea of his global interests, the catalog essay by Alicia Inez Guzmán, also from the University of Rochester, focuses on the murals Covarrubias painted for San Francisco’s 1939 Golden Gate International Exposition, also continued on Page 38

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Miguel Covarrubias, continued from Page 37

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details ▼ Miguel Covarrubias: Drawing a Cosmopolitan Line Opens Saturday, Sept. 27; exhibit through Jan. 18, 2015 Georgia O’Keeffe Museum, 217 Johnson St., 505-946-1000 By museum admission ▼ “Miguel Covarrubias: Modernism From Mexico City to New York and Back,” lecture by Khristaan D. Villela

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known as Pageant of the Pacific. One mural, Art Forms of the Pacific Area, is a world map showing the Pacific Rim with icons depicting the art forms common to particular regions. Covarrubias was a proponent of diffusionism, the idea that some of the cultural legacy of the New World was derived from contact with peoples from the East before European Vanity Fair’s December 1934 contact. “Diffusionism was a bona gouache-on-paper illustration fide intellectual approach in the late depicts an unlikely meeting 19th and early 20th centuries,” said between Sally Rand and Martha Villela. “People were trying to figure Graham, from Covarrubias’ out how global cultures were related “Impossible Interviews” series, to each other and answer questions AP Photo/National Portrait Gallery about the origin of forms — was there any kind of culture contact? I tell my students that it’s perfectly possible that the Chinese did come to America in the 1400s, but there’s no direct evidence. Also, with any kind of culture contact, you have to ask the question whether it’s sustained and significant.” Mapmaking was another of Covarrubias’ artistic preoccupations. His approach was usually to illustrate — like a caricaturist does for a portrait — essential aspects of various cultures, using an oversimplified but dynamic approach with icons for summing up some character or aspect of place. “That’s a strategy for almost every kind of publication he did. It’s a specific kind of hybrid cartographic exercise. Some of my favorites were published in McCall’s and magazines like that in the 1950s, and they’re images of foods of the Americas. He also did a map of the U.S. that had little icons, so there’s a little Pueblo pot here or, for New Mexico, there’s a plate of enchiladas. For Southern California, there’s a starlet in a bathing suit on the beach. To me that’s an interesting approach, figuring out how to essentialize or distill features, whether it’s the animals, the food, the culture. In Pageant of the Pacific, there’s one mural for each of these broad themes.” Route of the Spaniards, a map made for The Discovery and Conquest of Mexico is among the works in Drawing a Cosmopolitan Line. While Covarrubias amassed a prodigious body of work, there are few paintings in his oeuvre. For most of the past century, he was not regarded as the equal of modernist contemporaries like Rivera, José Clemente Orozco, and David Alfaro Siqueiros — painters and muralists all. “The argument of the exhibition is that we can view Covarrubias in the same light as Rivera and Orozco and Siqueiros, but it requires looking at the work more broadly. Mostly, he’s still known as a caricaturist. He’s typecast as not being a serious artist because he’s involved in so many different arenas. You can say they dilute his impact, but you can also say that he was a polymath. There’s no doubt that he didn’t conduct himself like Diego Rivera or Orozco or other figures who were engaged with questions of modernism and questions of identity in Mexico. He’s more like somebody like Pablo Picasso, who’s involved in a very large number of different creative arenas. It’s difficult to pin Covarrubias down because he was so good at so many creative endeavors. I think he was a kind of genius.” ◀

2019 Galisteo Street, Unit A4 • 505.988.3338

PASATIEMPO I September 26 - October 2, 2014

4 p.m. Saturday, Sept. 27 Santa Fe Community Convention Center, 201 W. Marcy St., 505-955-6200 $5 admission at the door

Festival of the Drum

Sunday, September 28 · 11:00 AM – 4:00 PM

Lensic Presents Direct from Beijing

The National Acrobats

of The People’s Republic of China October 1 | 7 pm | $20–$45 discounts for Lensic members

Enjoy an afternoon celebrating the drums of many peoples!

SponSored by

See and hear Japanese style Taiko Drummers, the acrobatic Van Hanh Lion Dance Group, the High Desert Pipes and Drums and many more. All interspersed with Native drums and drummers celebrating the drum and the museum’s exhibition Heartbeat: Music of the Native Southwest. Enjoy hands-on activities and participatory dances. This free family event is presented in conjunction with:

Get ready for an evening of twisting, jumping, juggling, and jaw-dropping feats of balance—it’s an amazing new production from China’s world-famous acrobats!

Tickets: 505-988-1234 www.TicketsSantaFe.org S E RVI C E C H A R GE S A PPLY AT AL L P O I N TS O F P U R C H AS E

Museum of Indian Arts and Culture On Museum Hill in Santa Fe · 505.476.1250 · www.IndianArtsandCulture.org

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Night Movie, 2011, archival pigment print; right, Homegrown Food, 2012, archival pigment print; both images copyright Julie Blackmon and courtesy Photo-eye Gallery

PASATIEMPO I September 26 - October 2, 2014

Jennifer Levin I The New Mexican

MASTERING THE DUTCH julie blackmon’s painterly photos of domestic bustle

outsiders, large families can feel like a circus, or a swarm of bees, or an army. Even if the kids are well behaved, there are just so many of them. Chaos reigns. Often they have their own secret language of shared jokes and meaningful eye rolls, as well as long-standing grudges that can set a brother or sister crying in no time. Photographer Julie Blackmon grew up in Springfield, Missouri, the oldest of nine children. In adulthood, she and her siblings settled near one another in Springfield and started their own large families. Blackmon herself has a brood of three. All the youngsters make regular appearances in Blackmon’s images, which are inspired by family life as well as the work of 17th-century Dutch painter Jan Steen. Steen, too, was the oldest child in a large family, and his brightly colored canvases depict the disarray of everyday life in the mid-1600s with such humor and poignancy that a proverb in the Netherlands was coined in his honor to signify a messy or untidy home: een huishouden van Jan Steen (a Jan Steen household). Homegrown, Blackmon’s latest monograph, was recently published by Radius Books. To celebrate the volume’s release, an exhibit of photographs with the same title opens at Photo-eye Gallery on Friday, Sept. 26. Made between 2009 and 2014, the new body

of work was inspired by Steen, Edward Gorey, Tim Burton, and Norman Rockwell. But the photographer’s child-themed works resist any temptation to lean toward adorable-child kitsch or hideous-baby pop art. Each shot is composed as carefully as a painting, and there’s a studied avoidance of sentimentality. Though she works in color now, Blackmon began in black and white. Her first series, Mind Games, which received an honorable mention in the Santa Fe Center for Photography’s Project Competition in 2004, uses young models to explore formal elements of composition — depth of field, light and shadow — while capturing a certain essence of childhood boredom. In her next series, Domestic Vacations, published as a monograph by Radius in 2008, she switched to color, resulting in images that are more explicitly surreal and painterly. Homegrown can be considered an extension or outgrowth of Domestic Vacations. “I almost always have an idea going into a shoot,” Blackmon told Pasatiempo. “I’ve had to figure out setting, lighting, et cetera, before I bring in any models. So the concepts are entirely fictitious. But that doesn’t mean things don’t spontaneously happen along the way that you didn’t plan and that are actually better than what you could’ve planned. Especially with the kids.” The images evoke classical paintings, vintage and contemporary commercial design, and a saturated clarity made possible by digital manipulation. The continued on Page 42

PASATIEMPOMAGAZINE.COM

Julie Blackmon, continued from Page 41

Berlin Philharmonic Wind QuinTeT sunday, october 12 | 4:00 pm

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Tickets: $27–$100 | Location: Lensic Performing Arts Center TicketsSantaFe.org | 505 988 1234 PerformanceSantaFe.org | 505 984 8759

action within them is also manipulated; some pieces are composites made from elements captured during multiple takes. “I think that, with the tools of today, almost every contemporary art form is in some ways the sum of its parts — and should make use of the latest technology to best capture the intended creative idea,” Blackmon said. “Whether it’s music or film or even writing. And I am no different. I’ll do whatever I need to do — and use however many takes I need to — so I can end up with the picture I want. Historically, even before digital tools, Van Eyck, for example, was known for painting the separate details of his work before putting them all together in one scene. Only in photography is this way of working relatively new.” Homegrown includes an interview with Blackmon by the actress Reese Witherspoon, who collects Blackmon’s work, which she enjoys for its commentary on modern parenting. Witherspoon’s first introduction to her work was by way of The Power of Now, a photograph with several adults lying in the grass, including a woman napping next to a copy of the famous self-help guide to spirituality by Eckhart Tolle, while two children play, potentially precariously, in a swimming pool. Blackmon reveals that The Power of Now, which is included in Homegrown, was once selected to be featured in O, The Oprah Magazine, but was subsequently rejected when Winfrey’s staff decided readers wouldn’t appreciate seeing a baby crawl so close to the edge of a pool. They asked her to move the baby farther away, but she refused to. “I … tried to explain I was being ironic — that the baby was there simply to suggest that this mom got so into her book about ‘living in the moment’ that she forgot all about her baby,” Blackmon told Witherspoon. “I don’t think they got it. I was just trying to create tension. But that’s obviously not what they were after.” What today might be considered neglectful or careless parenting is a common subject for Blackmon. In Baby Toss, a man throws a little girl high up in the air, as many dads used to do with their kids. “At one point in time, these photos were part of every family album. It’s so funny to me how things have changed,” Blackmon told Pasatiempo. “We’re so safetyconscious now and worried about things like shaken baby syndrome. I guess they didn’t know about that then, but, boy, they sure had fun.” Many of Blackmon’s photographs are densely populated, with more than one activity depicted. In Night Movie, 10 children play in a dark backyard, watched by just one adult, as The Sound of Music is projected on a movie screen. Blackmon’s blond brood bears a resemblance to the Von Trapp family of the classic film. Though the scene portrayed takes place in the library, in a rare moment of relaxation (the usually quite strict captain is playing and singing “Edelweiss” for the first time to his children), the psychological distance between the regimented Von Trapps and Blackmon’s free-form clan is striking. “The idea for Night Movie came to me when we were actually watching a movie outside with a projector set up,” she said. “About every five seconds, one of the kids would get up to go get some more popcorn or a snack, and they’d block the screen with their silhouette. I remember thinking the way their little frames looked on the screen was way more interesting than the actual movie. And the idea of the movie screen mimicking life itself was also something I was thinking about.” Before her interview with Pasatiempo, Blackmon had been unaware that Jan Steen, whose work she first came across eight years ago, was also the oldest of many sisters and brothers. “I was struck by the fact that even though these paintings were 400 years old, there was something timeless about his sense of humor that made them feel like they could have been done today. But the multiple figures or family members that I like to use in scenes are more of a metaphorical representation of crazy, chaotic contemporary life rather than a literal one. And I wonder if they were for him as well. In other words, I’d have no interest in shooting the Duggars, the famous family with 19 kids.” ◀

details ▼ Homegrown: photographs by Julie Blackmon ▼ Opening reception and book signing 5 p.m. Friday, Sept. 26; exhibit through Nov. 15 ▼ Photo-eye Gallery, 541 S. Guadalupe St., 505-988-5152

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.

PASATIEMPO I September 26 - October 2, 2014

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Paul Weideman I The New Mexican

There’s an almost mystical strength about New Mexico. The longer you stay it seems to be the center of the world and everything else peripheral. — Greer Garson

College and park pay tribute to actress and benefactress reer Garson, besides being an Oscar-winning actress, was an important member of the Northern New Mexico community during the second half of her life. She was a patron of the College of Santa Fe (now Santa Fe University of Art and Design) and of the Pecos National Monument (now Pecos National Historical Park). For the Sept. 26 to 28 weekend, the university and park co-sponsor a Greer Garson 110th Birthday Tribute, and one highlight is an open house at the John Gaw Meemdesigned ranch house that was home to Garson and her husband, E.E. “Buddy” Fogelson. The event honors Garson’s local philanthropic contributions. “She wanted people to succeed in life on any and every level, students foremost,” said John Weckesser, former chairman of SFUAD’s Performing 44

PASATIEMPO I September 26 - October 2, 2014

Arts Department and a guest for the tribute. Events also honor Garson’s movie career with a display of costumes she wore and a screening of Mrs. Miniver, the 1942 film that brought her an Academy Award for best actress. Visitors to the Forked Lightning Ranch will discover something about the many layers of human occupation in this area, south of the modern village of Pecos. In the E.E. Fogelson Visitor Center at Pecos National Historical Park, they can see pottery artifacts and learn about the Native Americans, first ancestral Puebloan and then the Pueblo people, whose remnants moved to Jemez Pueblo in 1838. Nearby are Pueblo ruins as well as half-standing adobe walls from a Spanish mission church. The Anglo history begins with Tex Austin (born Clarence Van Nostrand) of St. Louis, who was a rodeo entrepreneur from 1917 to 1934 and often staged the events in big cities. In 1925, he purchased 5,500 acres on the Pecos Pueblo Grant and gave the land its

enduring name. He hired Meem to design his ranch house; it was one of the Santa Fe architect’s earliest commissions. For seven years Austin ran a dude ranch, offering “pack and chuck wagon trips to the high peaks” with “Feed — and how! ... served ranch style ... in big heaping dishes.” But he ended up in debt and lost the property. For a time Austin ran a restaurant near the Santa Fe Plaza, but he committed suicide in 1938. (Thirty-eight years later, he was named to the National Cowboy Hall of Fame.) Fogelson, a Dallas oil man and rancher, bought the ranch in 1941 and ultimately expanded it to 13,000 acres. He and Garson married in 1949. As she put it, talking about life in a mid-1980s interview (watchable on YouTube), “Things happen. A Texan crashed into my life.” At one point she tried to raise white shorthorn cattle brought from her native Scotland. That endeavor failed, but by 1961, the Fogelsons had a herd of Santa Gertrudis cattle, a Brahma-shorthorn cross developed on the huge King Ranch in Texas.

GREER GARSON TRIBUTE SCHEDULE Friday, Sept. 26 8 a.m.-5 p.m.

Exhibition of the Greer Garson Collection, Fogelson Library, Santa Fe University of Art and Design campus, 1600 St. Michael’s Drive

6 p.m.

Reception with costume display, dance tribute, “Remembering Greer”panel (capacity limited), Greer Garson Theatre, SFUAD campus

Saturday, Sept. 27 10 a.m.-5 p.m.

Exhibition of the Greer Garson Collection, Fogelson Library

10 a.m.-3 p.m.

Open house at Forked Lightning Ranch House, former home of Garson and Buddy Fogelson; check in at E.E. Fogelson Visitor Center at Pecos National Historical Park

Sunday, Sept. 28 10 a.m.-2 p.m.

Exhibition of the Greer Garson Collection, Fogelson Library

Noon-1 p.m.

Greer Garson tribute compilation screening, Garson Studios

1 p.m.

Mrs. Miniver shows at The Screen. Reserve tickets ($10) at www.thescreensf.com or by calling 505-473-6494 Unless otherwise noted, events are open to the public at no charge. For more information, visit the SFUAD website at www.santafeuniversity.edu/events.

That year, Fogelson became the first person to exhibit the all-American breed at the New Mexico State Fair. By the early 1970s Garson had become wary of the acting parts she was being offered. At one point she said it was roles as “pyromaniacs, kleptomaniacs, homicidal maniacs, and just plain maniacs.” She became more and more involved in her life in New Mexico. Relatively gun-shy, she compromised with her husband’s hunting ways by shooting clay pigeons at a specially designed facility on the ranch. One of her more unusual magazine covers — she was featured on dozens of movie-mag covers — was the August 1960 issue of Guns: she is shown aiming a shotgun skyward over the caption “Greer Garson, Gunner.” Her humor shows in the name of one of her horses: Ho Hum Silver. Must have been a slow one. The visitor center opened in 1984. It still boasts many exhibits donated by the couple. In a kiva-like theater, park staff regularly show a film, narrated by Garson, about the human presence going back to Pueblo times. When Fogelson died in 1987, the Forked Lightning was divided along the original ranch’s southern boundary. (Immediately south of the Pecos National Historical Park property, on the middle section of the Fogelsons’ former ranch, is the land owned by actress Jane Fonda. With a Meem-designed barn and the residence Fonda calls River House, plus more than three miles of Pecos River frontage, the 2,300-acre property is on the market for almost $20 million.) Along the winding drive to the Forked Lightning Ranch house are a grouping of adobe livestock buildings and the old Kozlowski stage stop. “Kozlowski was

Opposite: top, Greer Garson attends a College of Santa Fe graduation ceremony, courtesy Santa Fe University of Art and Design; bottom, facade of the Forked Lightning Ranch house; this page, top to bottom, Garson and her mother, Nina, with ranch foreman Slim Wasson and ranch hand Vester Barnet, courtesy the National Park Service; Garson on the cover of Guns magazine; Garson signs cattle documents at the ranch, and Garson’s typewriter, couresty National Park Service

continued on Page 46

PASATIEMPOMAGAZINE.COM

Greer Garson, continued from Page 45

From top: the portál-ringed courtyard of Forked Lightning Ranch house; a view from the house; a poster for one of Tex Austin’s city rodeos; a stamped-tin lamp from the house

PASATIEMPO I September 26 - October 2, 2014

a Polish immigrant who came through here with the army in 1858, and he thought this would be a great business site,” said park ranger Patricia Lenihan during a recent tour of the property. “The Santa Fe Trail goes right by. Imagine being on the trail for eight or nine weeks, bumping along in the dust, and if it was me and we got to this point and I was offered trout fresh-caught from the stream and coffee you couldn’t float a horseshoe in and some piñon pudding, I think I’d say yeah.” Austin converted the old Kozlowski’s stage stop into ranch headquarters and a trading post during his time on the property. Because the ranch is part of a national historical park, Lenihan explained, it emphasizes all aspects of the property’s history, from the Austin/Fogelson ranch to archaeologist Alfred V. Kidder’s excavations in the early 20th century, the Battle of Glorieta Pass during the Civil War, the Santa Fe Trail, and the Pueblo village past. She said Garson was ahead of her time in preservation thinking: “Greer Garson was a formidable woman, with concerns about cultural preservation that grew from her interest in and fondness for Northern New Mexico. I was hoping the college would also screen the 1955 movie Strange Lady in Town [which was about Santa Fe and New Mexico, although there are scenes with saguaro cactuses, which do not grow in New Mexico], because the University of Arizona gave her access to its library, and after that time she got even more preservation-oriented.” In 1991, Garson sold her ranch parcel to The Conservation Fund, which donated it to the National Park Service. She and Fogelson were honored with the Conservation Service Award, the Department of the Interior’s highest civilian honor. Lenihan takes visitors on tours of the ranch house twice a week during the summer and once a week the rest of the year. “Those are fairly regulated, but this time, for the Greer Garson tribute, we’re getting people up to the ranch house and they’ll have a guide I’ve written and they can do whatever they want, including walking to the skeetshooting range or walking down to the river.” The 1926 Forked Lightning Ranch house has a distinctive façade: a long front portál punctuated by a tall, stuccoed mass with a large steer head sculpted on the front of the chimney. The walls are made of hollow blocks of pentile, a dense material that was made by inmates of the New Mexico State Penitentiary at Santa Fe from the 1920s through 1940s. All of the rooms have windows opening onto the large, central courtyard, which may be safely circumambulated during downpours by means of portáles on all four sides. The ranch house interior possesses a simple, old-fashioned character, with much of the furniture and other items remaining from the Fogelsons. These include some of their books still on the shelves. His include This Fascinating Oil Business, Wildcatter, and Gas Chromatography. Two shelves are packed with Garson’s books, among them Lucky 7: A Cowman’s Autobiography, The Animal World of Albert Schweitzer, Flowers of the Southwest Deserts, Pearl’s Kitchen (a cookbook by Pearl Bailey), and Source Book for the Economic Geography of North America. The titles evidence a woman with many interests, who embraced her adopted milieu. A quote from Garson tells it all: “There’s an almost mystical strength about New Mexico. The longer you stay it seems to be the center of the world and everything else peripheral.” ◀

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.

Classic calm carries on Jonathan Richards I For The New Mexican Mrs. Miniver, World War II home-front drama, rated G, 3.5 chiles Mrs. Miniver doesn’t hold up to a modern audience in quite the way, say, Casablanca (its best-picture successor) does. But it still has the power to move us, and we can’t separate it from the context of its times. When the movie was made, at the start of World War II, there was no knowing how things would turn out. The European conflict was still a distant threat to neutral America but a grim reality to Britons like the Minivers, who were enduring the Luftwaffe’s nightly bombings. By the time the movie opened in 1942, the U.S. had entered the war. In The New York Times, Bosley Crowther raved, “Perhaps it is too soon to call this one of the greatest motion pictures ever made; perhaps its tremendous impact is too largely conditioned by one’s own immediate association of one’s torn heart with the people so heroically involved.” Winston Churchill is said to have remarked that it was “more powerful to the war effort than the combined work of six military divisions.” Greer Garson plays the title role with a serene, luminous beauty and a quiet heroism. It’s the story of an ordinary middle-class British family and the war’s impact on the home front. As the movie opens, Britons are watching the European news anxiously, but war has not yet touched England. The local station master (Henry Travers) names his prize rose after Mrs. Miniver and enters it in the annual competition that Lady Beldon (Dame May Whitty) sponsors and expects to win every year. Then war breaks out. The Minivers try to go on about their daily lives, but they huddle at night in their shelter as German bombs rain down, blasting part of their house to smithereens. Mrs. Miniver coolly confronts a downed German flier, who menaces her and spouts Nazi rhetoric. Her architect husband (Walter Pidgeon) pilots his small boat to take part in the Dunkirk evacuation. Their older son Vin (Richard Ney), who has begun a romance with Lady Beldon’s granddaughter Carol (Teresa Wright), joins the Royal Air Force. But William Wyler (who won the directing Oscar) keeps the camera on the home front; we see no battle scenes other than the domestic devastation of the Battle of Britain. Ney, incidentally, was only 11 years Garson’s junior; they fell in love during filming and were married. When he cavalierly dumped the beloved actress a few years later, the bad publicity ended his career. Mrs. Miniver was nominated for 12 Oscars and reeled in six of them, including best actress. In her acceptance, Greer Garson foreshadowed Sally Fields’ unforgettable “You like me!” speech. Hollywood legend has it that the speech lasted nearly an hour and ushered in the era of the time limit. Garson herself later insisted she spoke for only about five and a half minutes. ◀

MAX BLUMENTHAL with AMY

GOODMAN

FRIDAY 10 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER In 2000, in one of his last interviews, Edward Said remarked to the Israeli journalist Ari Shavit, “I never use terms like ‘balance of power.’ But I think that even the person doing the kicking has to ask himself how long he can go on kicking. At some point your leg is going to get tired. One day you’ll wake up and ask yourself, ‘What the f- - k am I doing?’” Thirteen years later, Israel’s system of institutional discrimination and occupation had only grown more entrenched, with its administrators, ambassadors, and arbiters confronting every challenge thrown in their way with unsentimental determination.

Max Blumenthal is a journalist and author whose articles have appeared in The New York Times, the Los Angeles Times, The Nation, The Guardian, Alternet, Mondoweiss and elsewhere. He is the author of Republican Gomorrah: Inside the Movement that Shattered the Party and most recently, Goliath: Life and Loathing in Greater Israel, for which he has received a 2014 Lannan Notable Book Award. TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Ticket proceeds will be donated to Middle East Children’s Alliance. Video and audio recordings of Lannan events are available at:

www.lannan.org PASATIEMPOMAGAZINE.COM

FAMILY FUN DAY FREE • SUNDAY • SEPTEMBER 28, 2014 • 1–4 PM

FinalOutdOOrblOwOut SaleOFtheSeaSOn! Great deals From all 3 Stores

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UPSTAIRS / DOWNSTAIRS: BEHIND THE SCENES AT THE NEW MEXICO MUSEUM OF ART

Explore the museum’s galleries and behind the scenes to learn how the museum works. Visitors can make their own solar photograph in the museum’s patio. Instruction and supplies provided. Small group tours of the basement every 15 minutes. Free.

107 West Palace Avenue • 505-476-5072 • www.nmartmuseum.org

F U N FO R A LL AG E S ! LI G H T R E FR ES H M EN TS ! Also enjoy a Dia de la Familia / Family Day at the Georgia O’Keeﬀe Museum courtyard creating shadow puppets, masks, and ﬂowers. 1:00 to 4:00 p.m. Free.

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MOVING IMAGES film reviews How do you call your lover boy? Jonathan Richards I For The New Mexican Love Is Strange, drama, rated R, Regal DeVargas, 2.5 chiles A heavy pall of sweet melancholy hangs over this movie, a variation on the old theme of the problems that can beset a relationship when it transitions from comfortable cohabitation into marriage. In this case, it’s not the relationship that sours under the yoke of matrimony. The newlyweds love each other as much as before. The fly in the ointment is the Catholic Church. The church, it seems, disapproves of marriage when the principals involved are named Ben and George. Ben (John Lithgow) and George (Alfred Molina) are an older gay couple in Manhattan. They’ve been living happily together for nearly 40 years. Now, as the change in the legal weather has removed the obstacle to their making honest men of each other, they are tying the knot. The sense of doom sets in early. Ben and George get out of bed one morning, shower, and dress. The look on Ben’s face as he rinses the shampoo from his hair and steps out of the shower is that of a man whose dog is about to be put down. Instead, it’s their wedding day. (If you’re old enough, you may remember this classic Peter Arno cartoon: a naked woman sits up in bed and yells at the man snoring next to her, “Wake up, you mutt! We’re getting married today!” Love is strange, and times have changed.) The ceremony is lovely, the party afterward in Ben and George’s Manhattan apartment is filled with wellwishers and song and joy. But soon after, George is called into the office of Father Raymond (John Cullum) at the Catholic school where he has worked

PASATIEMPO I September 26 - October 2, 2014

Where’s Pope Francis when we need him? Alfred Molina and John Lithgow

for many years as a music teacher. The Church, it seems, cannot countenance homosexuality. George and Ben’s relationship has been an open secret for decades. But once it is formalized in marriage, the priest tells George he has no choice but to let him go. George has been the breadwinner. Ben, perhaps a decade older, is a painter with no discernible income. With George out of work, the two can no longer afford their apartment. A council of family and close friends is convened to deal with the crisis. “Just for a week or two,” Ben tells them, they need somewhere to stay, until they can find a new place, Nobody has room for both men, except a niece in Poughkeepsie, 80 miles to the north. That is deemed too far to go. And so George accepts a couch in the apartment of two gay cops who are downstairs neighbors, while Ben is taken in by a nephew, Elliott (Darren E. Burrows), and his wife, Kate (a very good Marisa Tomei), where he shares a room with their teenage son, Joey (Charlie Tahan), squeezing his 6-foot-4-inch frame into the lower tier of a bunk bed. There are predictable tensions, especially at Ben’s end, as his family strains to accommodate his presence in their tiny apartment, where Kate, a writer, works at home, and Joey bristles at sharing a room with

his great-uncle. And as the time stretches out and there is no end in sight to the arrangement, tempers sometimes wear thin. Lithgow and Molina are both excellent actors, and the chemistry they create together as an old, familiar, and loving couple is a pleasure to watch. It is one of the disappointments of this movie that, after they are farmed out to the separate accommodations, they spend so little time on-screen together. One of the movie’s best scenes comes near the end, when they meet in a gay bar for a drink and then walk down a lamplit Greenwich Village street, talking about love and painting. But too much of the movie seems contrived, not least the decision to separate the men because Poughkeepsie is too far from Manhattan. The niece in Poughkeepsie doesn’t see the logic, nor are you likely to. It’s hard to imagine an older heterosexual husband and wife being forced into the same arrangement. And if the issue is that they have to stay in Manhattan so George can find a job, well, maybe it’s time to start scouring the Help Wanteds in Jersey or upstate. And there are other mysterious, poorly resolved subplots. One involves Joey and the apparent theft of some books of French literature from his school library. Joey also has a friendship with a slightly older schoolmate, a Russian immigrant named Vlad (Eric Tabach), that worries his parents. There’s very little sense of the passage of time or change of season. We know it’s been a lot longer than “a week or two.” We know it’s the school year, because Joey and Vlad are always studying. Beyond that, it’s anybody’s guess. Director Ira Sachs handles all of this with quiet, understated compassion. But, aside from a few noticeably well-photographed scenes and the nicely nuanced performances of the bearded newlyweds, the movie seldom rises above a workmanlike armature of social pathos. There are indignities to being old and gay and poor and married. As Humphrey Bogart memorably observed, “Everybody in Casablanca has problems. Yours may work out.” ◀

the maze runner 1:50** 4:25 6:55 dolphin tale 2 2:05** 4:40 7:05 let’s be cops 2:35** 4:55 7:30 if i stay 2:30** 5:00 7:25 no good deed 2:25** 4:45 7:35 this is where i leave you 2:15** 4:50 7:20 the equalizer 1:45** 4:30 7:15 when the game stands tall 1:55** 4:35 7:10 ninja turtles 2d 2:10** 4:45 7:25 the boxtrolls 2d 2:00** 4:30 7:00 **saturday & sunday only *friday & saturday only times for friday, september 26 - thursday, october 2

9:45* 9:35* 9:50* 9:50* 9:35* 9:40* 10:00* 9:45* 9:55* 9:30*

Friday, Saturday and Sunday at 2:00 and 6:00 Sunday at 6:20 Monday through Wednesday at 2:00 and 6:00

open-fire mesquite grill wine and beer selection gluten-free menu see daily specials on website

Friday and Saturday at 3:40 Monday through Wednesday at 7:35

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Lensic Presents | FUSION Theatre Company

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Friday and Saturday at 7:40 • Sunday at 4:00 Monday through Wednesday at 3:45

BECKETT ON FILM Sunday at 11:00 am • Free Celebrate Greer Garson’s Birthday with a screening of Mrs. Miniver 35mm Archive Print

ONE DAY PINA SAID..... Restored film by Chantel Akerman with Pina Bausch

By John Patrick Shanley

Saturday at 11:15 All Seats $7.00

“Lore of the Archives: Documenting New Mexico’s Folk Traditions” celebrates American Archives Month with speakers, performers, and an archival film screening.

2014 Tony Nominee for Best Play | An Irish Moonstruck! September 27 | 7:30 pm | $20–$40 This charming romantic comedy set in rural Ireland proves it’s never too late to take a chance on love. “Mr. Shanley’s finest work since Doubt . . . ” —New York Times

Historians and anthropologists will discuss witchcraft, traditional music, land ownership, and food from 2:00 - 4:45, followed by two films from the New Mexico State Archives at 6:30 p.m. All events FREE. Sponsored by the New Mexico State Records Center and Archives and The Screen

Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

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Sunday at 1:00

Sneak Preview David Fincher’s

Live Simulcast with author Gillian Flynn By Tickets NOW Thursday at 8:00 SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM

“‘

THE BEST ANIMATED FILM OF THE YEAR! ”

THE BOXTROLLS’ IS ENTHRALLING AND MAGICAL..”

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—Lynn Hirschberg / W MAGAZINE

—Manny dela Rosa / NBC

MOVING IMAGES film reviews

Courtesy Catamount Films, LLC

I grasp your pain: Jimmy Santiago Baca teaches high school students

Man, reinvented Michael Abatemarco I The New Mexican

NOW PLAYING GET TICKETS NOW TO THE FAMILY EVENT MOVIE OF 2014! Check Local Listings For Theater Locations and Showtimes.

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PASATIEMPO I September 26 - October 2, 2014

CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED

A Place to Stand, documentary, not rated, James A. Little Theater, 3.5 chiles Daniel Glick’s documentary about Jimmy Santiago Baca, who, at twentyone, was sentenced to five to 10 years in prison on a drug conviction, is a compelling look at the power of language and a searing account of life as a convict. Days into his incarceration at Arizona state prison, an illiterate Baca landed himself in isolation after a violent attack on another inmate. It wouldn’t be his first scuffle while behind bars, but A Place to Stand makes it clear that Baca has been fighting his whole life, one way or another. The film has its U.S. premiere at the James A. Little Theater at 7 p.m. on Friday, Sept. 26, accompanied by performances from Santa Fe High’s Bel Canto Singers and Wise Fool New Mexico. The documentary screens again at 2 p.m. on Saturday, Sept. 27, followed by a conversation with Baca and director Glick. Born into an abusive home in Santa Fe County in 1952, to an alcoholic father and a battered mother, Baca was abandoned by his parents when he was two years old. He eventually lived in an orphanage, where he says he endured beatings at the hands of the nuns because of his repeated attempts to run away. In the Albuquerque County Jail years later, after he was arrested for drug charges during a DEA raid in which a federal officer was shot, he stole a book from a desk when no one was looking. It led to a passion for language that would find its ultimate expression through poetry. The poems Baca wrote in prison after teaching himself to read and write were first published in Mother Jones. Baca has since published several collections of his writings, including a novel in verse and the screenplay for the 1993 film Blood In Blood Out. He teaches numerous writing workshops in prisons and at all education levels. A Place to Stand, which bears the same title as Baca’s 2001 memoir, juxtaposes heartfelt commentary from Baca with footage from inside an Arizona prison. Along with being kept in isolation for almost half his time in prison, Baca was held in a unit with men on death row after being deemed “dangerous” because, he said, he had expressed interest in going to school. By the time of his release, he was already a celebrated writer. His introspective poems, set to a moody score, blend seamlessly with the film’s narration to tell his story. Baca finds, through words, the soul of humanity, a contrast to his vivid depictions of a world that strips humanity away. Fighting may have kept Baca alive, but writing gave him a future. ◀

Proud Sponsors of the CCA Cinematheque

THE CINEMATHEQUE Sept 26 - Oct 2 1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org

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ONE OF THE MOST CHARMING MOVIES I’VE SEEN IN A LONG TIME. “

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Opening Night Event presented by Friends of Architecture Santa Fe 7:00p Friday, Sept 26 $10 / $8 for CCA & F.A.S.F Members

FRANK’ TAKES TIME TO WRAP YOUR OWN CRANIUM AROUND, AND THAT’S A WONDERFUL THING.” “‘

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This Weekend Only!!!

OWS!!!

a benefit screening for THE FRIENDSHIP CLUB 7:00p Sunday, Sept 28

$15 benefit show

6:00p Weds, Oct 1st

This Is A Stereotype is an artistic narrative about the possible causes and effects surrounding Indigenous identity with the intention to socially engage the public.

With filmmakers Cannupa Hanska Luger, Dylan McLaughlin and Ginger Dunnil in person! Friday Sept 26

Sat Sept 27

1:30p - The One I Love 2:00p - Sagrada* 3:45p - Boyhood 4:15p - Pump* 6:15p - Frank* 7:00p - Architecture on Screen: Sagrada: Mystery of Creation 8:15p - Memphis*

1:30p - The One I Love 2:00p - Sagrada* 3:45p - Boyhood 4:15p - Pump* 6:15p - Frank* 7:00p - Boyhood 8:15p - Memphis*

Sun Sept 28 1:30p - The One I Love 2:00p - Sagrada* 3:45p - Boyhood 4:15p - Pump* 6:15p - Frank* 7:00p - The Sting 8:15p - Memphis*

Mon, Tues & Thurs Sept 29, 30 & Oct 2 4:15p - Boyhood 4:45p - Pump* 6:45p - Boyhood* 7:30p - Frank

Weds October 1 4:15p - Boyhood 6:00p - This Is a Stereotype* 7:30p - Boyhood* 8:00p - Frank

*indicates show is in The Studio

Concessions Provided by WHOLE FOODS MARKET PASATIEMPOMAGAZINE.COM

MOVING IMAGES film reviews

Ob-la-di, ob-la-da Jonathan Richards I For The New Mexican Jealousy (La Jalousie), drama, not rated, in French with subtitles, The Screen, 3 chiles The swell of the French New Wave rushes back in with this brief, delicate examination of love and loss from writer-director Philippe Garrel. Garrel has reached into the past for the look and feel of the 1960s French cinema of Truffaut and Godard to tell a tale of the ebb and flow of love, in a story based on his own family’s experience. Garrel’s father, the actor Maurice Garrel (who appeared in Truffaut’s The Soft Skin in 1964), left his mother for another woman when Philippe was a small boy. Jealousy unfolds in a soft, fluid black and white beautifully composed by veteran cinematographer Willy Kurant, who almost 50 years ago was behind the camera for Godard’s Masculin Féminin. It stars Louis Garrel, the director’s son, who looks like a taller, sturdier, more rugged version of JeanPierre Léaud, the leading man in such classics of the Nouvelle Vague as The 400 Blows, The Mother and the Whore, and Masculin Féminin. And the subject matter, which focuses on the small moments in relationships, feels as if it has slipped out from the vaults of that earlier era. The movie is a family affair. The director’s son, Louis Garrel, plays Louis, a character modeled on his own grandfather. The director’s daughter, Esther Garrel, plays Louis’ sister in the film. Reaching outside the family, there’s Rebecca Convenant as Clothilde, the wife Louis is leaving for Claudia (the long-legged, deep-throated beauty Anna Mouglalis). Standing in for the director’s childhood self is a wonderful young actress named Olga Milshtein, who plays Louis and Clothilde’s daughter, Charlotte.

Cute girl, old soul: Olga Milshtein, Louis Garrel, and Anna Mouglalis

Time out: Louis Garrel and Olga Milshtein

Louis has fallen head over heels for Claudia. As the movie opens, Charlotte watches through the keyhole of her bedroom door as her mother pleads with her father to stay, to no avail. Louis and Claudia set up their love nest in a bleak little garret apartment, and in the early days of their relationship they race each other exuberantly up the stairs to bed. They’re both

struggling actors (Louis is working, Claudia is not), and they’re living on romance. They each have their moments of straying. Louis’ are more innocent — the touch of a strange woman’s hand in a movie theater, a passionate kiss from an actress backstage — but he resists any follow-through. Claudia’s are more serious; she has one-night stands with bar pickups. “If ever one of us cheats, do we say so?” Louis asks her. “You’re so complicated,” she replies. “I just need you to love me.” But as time rolls on, the poverty of the garret loses its enchantment for Claudia. “You can’t love someone in a void,” she grumbles. “I’m sick and tired of living here. It’s ugly and depressing. I need light.” She strikes up an affair with an architect who can provide her with a nice place to live, and practicality wins out over passion. Jealousy is not really all that much about jealousy. There’s a bit of the green-eyed monster in it, but the film is more about relationships and how they bloom and fade. It’s about a child’s perspective on a parent’s life, about the sage observations and the cruel little ways of testing a child can dispense along with her innate supply of innocent love. It’s about the ecstasy and heartbreak that follow each other in love, like waves on the shore. And life goes on. ◀

MaNy MooNS

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PASATIEMPO I September 26 - October 2, 2014

Tuesday - Saturday.

Welcomes Santa Fe Wine & Chile 2014

“Your words are my food, your breath my wine. You are everything to me.” – Sarah Bernhardt

Now in its 15th year, Patina is the international destination for soul-stirring works of contemporary jewelry. 131 W. Palace Ave. Santa Fe 505.986.3432 patina-gallery.com

Lecture/Luncheon/Book Signing

Archduke GézA von hAbsburG will be speaking on

“Felipe II as a Collector and Patron.” Monday, October 13, 2014 12 noon-3:00 pm At The Hotel Eldorado Santa Fe

PECOS STUDIO TOUR

September 27 & 28, 2014 10AM to 5PM www.pecosstudiotour.com

For more information and tickets call 505-982-2226. http://www.eventbrite.com/o/spanish-colonialarts-society-6819147215 Organized by

PASATIEMPOMAGAZINE.COM

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

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PASATIEMPO I September 26 - October 2, 2014

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Walk this way: Jack O’Connell under guard

Arrested development Jonathan Richards I For The New Mexican Starred Up, prison drama, not rated, Jean Cocteau Cinema, 3 chiles Eric Love (Jack O’Connell) is a battering ram, a feral animal, a volcano of rage ready to erupt at the touch of a finger, the drop of a word. He’s also a teenager. At the start of David Mackenzie’s remarkable, and remarkably brutal film, Eric is going through induction at a prison. It is a process with which he is clearly familiar — he follows the procedures with a bored sense of routine, stripping, squatting naked while a long-handled mirror is slipped beneath his buttocks to check for contraband. If the procedures are routine for Eric, the venue is not. He’s being transferred from a juvenile facility to the big leagues, even though he’s still a minor. (“Starred up” is a U.K. expression for a prescheduled transfer of a criminal from a youth detention center to actual prison.) His early transfer appears to have been well earned. Within his first hours and days he’s assaulting other prisoners and prison guards, even when his hands are manacled behind his back. His intentions aren’t always hostile — he attacks an inmate instinctively when woken from a sound sleep — but his actions are usually fierce. Eric encounters a set of important characters in the adult facility. One is his father, Neville (Aussie Ben Mendelsohn), a lifer inmate who’s mean as a junkyard dog. The other is Oliver Baumer (Rupert Friend, Mrs. Palfrey at the Claremont), a prison counselor. The two have contrasting agendas for him. Dad wants to teach Eric survival skills for navigating the prison jungle. Oliver hopes to reach the innate decency he suspects is buried deep inside the youth. Starred Up is not for the faint of heart. The first-time screenplay is by Jonathan Asser, a poet who ran a therapy program like Oliver’s at a hard-core South London prison for a dozen years (until it was abruptly shut down by the authorities), and it has an authentic ring, though most of us will be happy to take his word for it. Much of the time it’s like watching a foreign film without subtitles; you can follow what’s going on through the action, but you don’t catch many of the words. A familiar Anglo-Saxonism crops up recognizably and ubiquitously, but that may be one of the few words that registers. The prison authorities, as personified particularly by Deputy Governor Hayes (a cold-faced Sam Spruell), are as sadistic as the prisoners but with the important difference that their sadism is institutional and wielded from a position of power. The movie devolves into a bit of sentimentality toward the end, but the tone overall is anything but that. The performances are terrific, and O’Connell is able to show us the flicker of sensitivity inside the brutalized package that is the man-child Eric Love — even if we can’t understand a word he says. ◀

Museum Hill Café Up Coming Evening Events

El Rito Studio Tour

September 26th Wine Dinner The Fine Wines of the Andes Meet Tatiana Nessier Wine Educator of Alamos Wines Join us for a four course wine pairing Reservations a must 505-984-8900

& Village Arts Festival

October 4th & 5th 10am – 5pm

October 2nd Jazz Night with the Santa Fe Music Collective Josh Breakstone - Guitar John Trentacosta - Drums Andy Zadrozny - Bass Dinner starts 6:00 concert 7:00 reservations 505-983-6820

Between Abiquiu and Ojo Caliente on Highway 554

October 4th Bella Gigantes Big Dinner Show Torch Songs to Tear your Heart Out Four Course Dinner with Four Course Wine Pairing Meet and Great with Champagne 7:00 Dinner and Show Follows

www.elritostudiotour.org (575) 581-0155

Reservations a must 505-984-8900 The El Rito Studio Tour is funded in part by the County of Rio Arriba Lodger’s Tax and is fiscally sponsored by Luciente, Inc., a 501c3.

1 House | 20 Designers | 2 Weekends The proceeds from ShowHouse Santa Fe benefit our local children’s program non -profits: Dollars4schools.org and The Lensic Performing Arts Center, Youth in Performing Arts Education Programs.

N Foothills Rd

Old Santa Fe Trail

Foothils Trail

10 Altazano Dr. Old Santa Fe Trail

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Altazano Dr.

Old Santa Fe Trail

Tickets also available at the door

www.ShowHouseSantaFe.com

Directions:

From the intersection of Old Santa Fe Trail and Zia Rd, go south .2 miles to the first left, Foothills Trail. Proceed east for another .2 miles to the first right, Foothills Road. Take Foothills Road south for .2 miles to your first left, Altazano Drive. Proceed due east for .1 mile to the driveway of #10, directly in front of you. PASATIEMPOMAGAZINE.COM

MOVING IMAGES chile pages

— compiled by Robert Ker

the ecstasy and heartbreak that follow each other in love, like waves on the shore. Not rated. 77 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 54. LOVE IS STRANGE This film is a variation on the old theme of the problems that can beset a relationship when it transitions from cohabitation into marriage. Ben (John Lithgow) and George (Alfred Molina) have been living happily together in Manhattan for nearly 40 years, but their marriage costs George his job as a music teacher at a Catholic school. With George out of work, the two men can no longer afford their apartment, so they find temporary separate accommodations with friends and relatives. Director Ira Sachs handles all of this with quiet, understated compassion, but the movie seldom rises above a workmanlike armature of social pathos. Rated R. 94 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 50.

If you could see them through my eyes: The Boxtrolls at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BECKETT ON FILM The second season of the Samuel Beckett cycle, which was shown at 11 a.m. screenings on Sundays in September with free admission courtesy of the Lannan Foundation, concludes with Act Without Words II, A Piece of Monologue, Play, and Rockaby. Sunday, Sept. 28, only. Not rated. Running times vary. The Screen, Santa Fe. (Not reviewed) THE BOXTROLLS Stop-motion animation is becoming an increasingly rare art form, but this feature, by some of the creators of ParaNorman and Coraline, brings it back to the big screen. Isaac HempsteadWright 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. Rated PG. 97 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) THE EQUALIZER Director Antoine Fuqua reteams with Denzel Washington, the actor he helped win an Oscar with Training Day, for a thriller about a retired special-operations agent who decides to dust off his skills and pick up his guns when he meets a helpless young woman (Chloë Grace Moretz) 58

PASATIEMPO I September 26 - October 2, 2014

who is under the control of Russian gangsters. Rated R. 131 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) HORSES OF GOD Two brothers grow up in Sidi Moumen, a tin-roofed slum on the outskirts of Casablanca. Hamid is fiercely protective of his younger brother, Yachine, but theirs is a life without hope or a future. Hamid goes to jail and emerges a Muslim fundamentalist. Yachine is drawn in, as are a couple of friends. Hopelessness is replaced by purpose, discipline, and self-righteous fervor, and the boys are chosen for the “honor” of being suicide bombers. Moroccan director Nabil Ayouch uses the 2003 bombings in Casablanca to build an affecting, persuasive tale about the making of a fanatic. Not rated. 117 minutes. In Moroccan Arabic with subtitles. The Screen, Santa Fe. ( Jonathan Richards) JEALOUSY The tide of the French New Wave rushes back in with this brief, delicate examination of love and loss from writer-director Philippe Garrel. He has reached into the past for the look and feel of the 1960s French cinema of Truffaut and Godard to tell a tale of the ebb and flow of love in a story based on his own family’s experience. There are unmistakable echoes of Nouvelle Vague aesthetics, starting with the lovely soft black-and-white lensing by cinematographer Willy Kurant, who almost 50 years ago was behind the camera for Godard’s Masculin Féminin. Jealousy is not really very much about jealousy; it is more about relationships — about

MEMPHIS Blues singer and musician Willis Earl Beal stars in Tim Sutton’s pastoral drama about a musician in Memphis who struggles to find his muse and wanders the city, coming across the colorful people and disparate pockets of activity that exist there. Not rated. 75 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) MRS. MINIVER When this movie was made, at the start of World War II, the European conflict was still a distant threat to neutral America but a grim reality to Britons like the Minivers, who were enduring the Luftwaffe’s nightly bombings. This is the story of a middle-class British family and the war’s impact on the home front, and Greer Garson plays the title role with a serene, luminous beauty and a quiet heroism. Mrs. Miniver was nominated for 12 Oscars at the 1943 Academy Awards and won six, including best picture, director, and, of course, actress. Rated G. 134 minutes. 1 p.m. Sunday, Sept. 28, only. The Screen, Santa Fe. ( Jonathan Richards) See Screen Gems, Page 47. 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 liquidate it only to find he cannot do so until the current tenant dies. Sadly for him, the tenant is played by the immortal Maggie Smith, so he has a long wait. He’ll just have to pass the time falling in love (with a character played by Kristin Scott Thomas). Rated PG-13. 107 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ONE DAY PINA ASKED… Pina Bausch, who died five years ago, was an almost mythic figure in the world of contemporary dance. In 1982, filmmaker Chantal Ackerman

followed Bausch’s Wuppertal Dance Theater on a tour, capturing the company onstage, backstage, and in various nontheatrical venues. The movie lasts less than an hour, but it packs in some mesmerizing tanztheater performances and intriguing offstage juxtapositions. It will fascinate dance lovers, but its appeal will not likely spread to a wider moviegoing audience. Not rated. 57 minutes. 11:15 a.m. Saturday, Sept. 27, only. The Screen, Santa Fe. (Jonathan Richards)

counselor named Oliver Baumer (Rupert Friend). Neville wants to teach Eric the survival skills he’ll need to navigate the prison jungle. Oliver hopes to reach the human being inside the boy. The performances are powerful, the action is fierce and brutal, and David Mackenzie’s prison drama is not for the faint of heart or the delicate of stomach. Not rated. 106 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See review, Page 56.

to shake up the stale rom-com genre by telling the typical story — in which a couple (Jessica Chastain, who plays the title character, and James McAvoy) meet cute, fall in love, and then grow apart — from both the man’s and the woman’s perspective. Each character gets a separate film treatment later this year (which may or may not screen in Santa Fe), but this iteration blends their stories together. Not rated. 122 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

A PLACE TO STAND Based on the memoir of Jimmy Santiago Baca, an award-winning writer, this film traces the adversities Baca overcame while in prison. Early sequences offer vivid accounts of the brutality of existence in an Arizona state prison and the heartbreaking circumstances of Baca’s early life. But while doing time, he learned to read and write, publishing poems while he was still behind bars, fighting to survive and often in solitary confinement. Daniel Glick’s documentary juxtaposes the cold realities of incarceration with Baca’s descriptive narratives and poems, which stand as vivid records of the violence and desperation of prison life. Not rated. 86 minutes. James A. Little Theater, Santa Fe. 7 p.m. Friday, Sept. 26, and 2 p.m. Saturday, Sept. 27, only. (Michael Abatemarco) See review, Page 52.

ZULU This near-classic 1964 British adventure film earned a beautiful restoration job on its 50th anniversary and is now making its rounds at screenings in select cities. It’s based on the real-life story of 150 soldiers who successfully held off an attack by 4,000 Zulu warriors, and the second half offers nonstop grittily filmed action with a rousing score by John Barry. It’s easy, though, to find the faults in the first half — too much stilted dialogue, clichéd characters, and an unnecessary turn from Jack Hawkins as a crazed preacher. But it’s bound to be fun to watch on the big screen. Not rated. 138 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott)

DOLPHIN TALE 2 Nathan Gamble, Ashley Judd, Kris Kristofferson, Morgan Freeman, and Rufus the Pelican return for this sequel to the 2011 hit. This time, one of the dolphins’ names is Hope. As with the first film, the plot is based on true rescue stories from Florida’s Clearwater Marine Aquarium; in that respect, let’s hope there are many sequels to come. Rated PG. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

SAGRADA: THE MYSTERY OF CREATION The church of La Sagrada Família, the most imposing tourist magnet in Barcelona, is actually a construction site. Begun in 1882 by architect Antoni Gaudí, it remains a half-completed exercise in artistic astonishment. Apart from some unnecessary incursions of moderndance commentary, Stefan Haupt’s 2012 documentary serves as an intriguing biography of the building, its story made personal through interviews with spiritually invested architects and artisans currently working on the project. Says one, “The important thing about Sagrada Família isn’t finishing it, it’s building it.” Not rated. 89 minutes. Center for Contemporary Arts, Santa Fe. ( James M. Keller) THE SKELETON TWINS Saturday Night Live alums Bill Hader and Kristen Wiig play estranged twins — he a gay screenwriter who failed in Hollywood and she a homebody trapped in a failing marriage (to a man played by Luke Wilson). The twins get back together to attempt to heal their relationship and figure out where things went wrong. Rated R. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) STARRED UP As this movie opens, young Eric Love ( Jack O’Connell) is being transferred from a juvenile facility to an adult prison, though he’s still a minor. There he’ll encounter his father Neville (Ben Mendelsohn), a lifer who’s mean as a junkyard dog, and a prison

now in theaters BOYHOOD Richard Linklater’s extraordinary achievement has been to take a six-year-old named Ellar Coltrane, and film him for a few days every year for a dozen years. He wrote each screenplay segment based on talks with his cast, which includes Ethan Hawke and Patricia Arquette as the boy’s parents. 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) CALVARY On a Saturday in a small church in the west of Ireland, Father James (Brendan Gleeson) listens in the confessional as a parishioner describes his repeated sexual abuse as a child by a now-deceased priest. The man then promises to kill Father James the following Sunday, to execute a good priest as retribution for the sins of the bad one. Gleeson is magnificent, and the supporting cast is scarcely less so. This is a concept with many facets and a ground strewn with mines, and it makes a terrific movie. Rated R. 100 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE DISAPPEARANCE OF ELEANOR RIGBY: THEM Writer and director Ned Benson attempts

THE DROP The feature-film farewell tour of James Gandolfini ends with his sharply honed performance as a small-time Brooklyn hood in this taut, subtle, and satisfying drama. Gandolfini plays Cousin Marv, the former owner of a Brooklyn bar that doubles as a “drop” — a depository and laundry for mob earnings. The dominant performance in this darkly funny, slyly creepy tale comes from Tom Hardy, who plays Bob, Marv’s cousin and bartender. There’s a fullish slate of violence here, but none of it feels gratuitous, and Dennis Lehane’s needle-sharp dialogue plays like a constant bass note through the deadpan deliveries of the excellent cast. Rated R. 106 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) FRANK Jon Burroughs (Domhnall Gleeson) is an aspiring songwriter who can’t overcome his own mediocrity, so he joins a tumultuous band led by a genius (Michael Fassbender) who wears a papier-mâché head at all times. As the band works for many months on a record, director Lenny Abrahamson exhaustively explores the process of creation and the question “Do you need to have a tortured past to be a brilliant artist?” The result is a thoughtful and moving film that employs deadpan wit and is frequently chuckleout-loud funny. Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) GUARDIANS OF THE GALAXY The best film yet from Marvel Entertainment is this satisfying space opera, which injects much-missed fun back into the science-fiction genre. Chris Pratt plays Star-Lord, the leader of a gang of intergalactic misfits and outlaws that includes a talking raccoon and a tree (voiced by continued on Page 60

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Bradley Cooper and Vin Diesel, respectively). They become unlikely friends, just in time to guard the galaxy. Great music, loads of heart, a superb cast, and a healthy dose of humor overshadow even the wild special effects and the intricate world building. Rated PG-13. 121 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE HUNDRED-FOOT JOURNEY This movie hits many of the check marks for art-house cinema: it takes place in France, it involves a restaurant, the plot centers on cross-cultural understanding, Lasse Hallström (Chocolat) directs, and Helen Mirren is prominently involved. She plays a restaurateur who must learn to coexist with the Indian family that sets up an eatery across the street. Rated PG. 122 minutes. Regal DeVargas, Santa Fe. (Not reviewed) IF I STAY Mia (Chloë Grace Moretz) is a teenage cello prodigy who has a shot at getting into Juilliard and starting a new romance with an indie-rock heartthrob (Jamie Blackley). But then she and her family are in a car accident, and she is the only survivor. Now in a coma, Mia has an out-of-body experience that informs her “decision” to live or die. Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LET’S BE COPS Jake Johnson and Damon Wayans Jr. play two losers who decide to dress up as cops for a costume party. They enjoy the illusion of authority so much they decide to keep the charade going for as long as they can. Rated R. 104 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LUCY Scarlett Johansson is Lucy, a woman who works as a drug mule until an experimental drug leaks into her body and unleashes the full potential of her brain. What does she do with this power? It’s never quite clear, but it is compelling. Director Luc Besson balances stylish action with goofy pseudoscience about evolution and the brain’s capacity, but it all blends together in a movie that is original and highly unpredictable. Rated R. 90 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)

spicy bland

medium

mild

heartburn

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

PASATIEMPO I September 26 - October 2, 2014

MAGIC IN THE MOONLIGHT In Woody Allen’s latest, Colin Firth is Stanley, a celebrated English illusionist who travels the world and astounds audiences. He’s also a committed debunker of charlatans, so when an old friend (Simon McBurney) asks him to help expose a young medium (Emma Stone), Stanley accepts the challenge. Allen may not have a soft spot for psychics, but he does understand the magic of romance; he knows that rigid rationality isn’t everything. Rated PG-13. 97 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) THE MAZE RUNNER The latest young-adult-novel series to work its way from author’s pen to silver screen is this story about a boy named Thomas (Dylan O’Brien), who wakes up in a giant maze with some other boys, none of whom remember their previous lives. One day, a girl (Kaya Scodelario) appears. Thomas can read her thoughts, and there’s one they share: “Let’s get the heck out of here!” Rated PG-13. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) NO GOOD DEED Idris Elba trades on his charm to play Colin Evans, a fugitive who’s wanted for severely abusing and murdering women. When he’s in a car accident and stranded in a rural area, a mother (Taraji P. Henson) who’s home alone with her daughter takes him in. Rated PG-13. 84 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE ONE I LOVE Ethan (Mark Duplass) and Sophie (Elisabeth Moss) are sent off for a couple’s weekend by their marriage counselor (Ted Danson), and their getaway quickly takes a turn for the surreal. What they are meant to discover about themselves and each other remains a mystery, but this highly original movie doesn’t play tricks on the audience, even as it becomes more complex. Duplass and Moss have excellent chemistry and turn in nuanced, convincing performances. Rated R. 91 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) TEENAGE MUTANT NINJA TURTLES Back in 1990, the TMNT craze hit its apex among Generation Y with the reptilian quartet’s first movie, in which the leads were brought to life through Jim Henson’s Creature Shop. Michael Bay produced this comeback movie, which animates the turtles using computers and gives their latest bout with Shredder the overthe-top action treatment. Rated PG-13. 101 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe, and DreamCatcher, Española. (Not reviewed) THIS IS WHERE I LEAVE YOU Jason Bateman plays a man who discovers his wife is having an affair with

his boss and then learns his father has died. Per his father’s final request, he must sit shiva and stay in his childhood home with his siblings (Tina Fey, Adam Driver, and Corey Stoll), all of whom have their own issues to work through, for a week. Together they learn that life is unpredictable and should be savored and that family means a whole lot. Rated R. 103 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE TRIP TO ITALY Director Michael Winterbottom’s follow-up to 2010’s The Trip is nearly identical in plot but set in Italy, providing ample opportunity to take in stunning vistas and, as before, sumptuous meals — laughing all the way. On their second outing as food reviewers, Steve Coogan and Rob Brydon, playing fictional versions of themselves, reverse roles; this time Coogan is the more settled of the two. The improvised tête-à-têtes and (mostly) spot-on impersonations that made the first film a delight haven’t changed. Not rated. 108 minutes. The Screen, Santa Fe. (Michael Abatemarco) A WALK AMONG THE TOMBSTONES In 1987’s Lethal Weapon, Danny Glover famously said of action and gunfights, “I’m too old for this [stuff].” Liam Neeson is much older now than Glover was then, and he’s only getting warmed up. Here he plays an ex-cop, hired to avenge a drug kingpin whose wife was murdered. Rated R. 113 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

other screenings Center for Contemporary Arts, 505-982-1338 Pump, The Sting (1973) presented by the Friendship Club, This Is a Stereotype. DreamCatcher, 505-753-0087 When the Game Stands Tall. Jean Cocteau Cinema, 505-466-5528 Alive Inside, Blood Soaked, Dead Poets Society, Mood Indigo. Regal Stadium 14, 505-424-6296 Annabelle, The Giver, Gone Girl, Gone With the Wind (1939), Left Behind. The Screen, 505-473-6494 Gone Girl featuring simulcast Q & A with author Gillian Flynn; New Mexico Archives Month screening with The Rattlesnake (1913) and Agueda Martinez: Our People, Our Country (1977) ◀.

C O H E N

M E D I A

ACADEMY AWARD WINNER

Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. 3:45 p.m. Sat. 3:45 p.m., 7 p.m. Sun. 3:45 p.m. Mon. and Tue. 4:15 p.m., 6:45 p.m. Wed. 4:15 p.m., 7:30 p.m. Thurs. 4:15 p.m., 6:45 p.m. Frank (R) Fri. to Sun. 6:15 p.m. Mon. and Tue. 7:30 p.m. Wed. 8 p.m. Thurs. 7:30 p.m. Memphis (NR) Fri. to Sun. 8:15 p.m. The One I Love (R) Fri. to Sun. 1:30 p.m. Pump (PG) Fri. to Sun. 4:15 p.m. Mon. and Tue. 4:45 p.m. Thurs. 4:45 p.m. Sagrada:The Mystery of Creation (NR) Fri. 2 p.m., 7 p.m. Sat. and Sun. 2 p.m. The Sting (PG) Sun. 7 p.m. This Is a Stereotype (NR) Wed. 6 p.m.

Left Behind (PG-13) Thurs. 7:15 p.m., 9:50 p.m. Let’s Be Cops (R) Fri. to Wed. 1:25 p.m., 4:15 p.m.,

7 p.m., 9:50 p.m.

Lucy (R) Fri. and Sat. 12:35 p.m., 3 p.m., 5:25 p.m.,

7:40 p.m., 10 p.m. Mon. and Tue. 12:35 p.m., 3 p.m., 5:25 p.m., 7:40 p.m., 10 p.m. The Maze Runner (PG-13) Fri. to Wed. 12:30 p.m., 1:10 p.m., 3:30 p.m., 4 p.m., 6:30 p.m., 7 p.m., 9:20 p.m., 9:50 p.m. No Good Deed (PG-13) Fri. to Wed. 12:30 p.m., 2:50 p.m., 5:05 p.m., 7:20 p.m., 9:40 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. to Wed. 12:20 p.m., 2:50 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m. This Is Where I Leave You (R) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10:05 p.m. A Walk Among the Tombstones (R) Fri. to Wed. 1:15 p.m., 4:20 p.m., 7:10 p.m., 10 p.m. THE SCREEN

JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 Alive Inside:A Story of Music and Memory (NR) Fri. 4:30 p.m. Sat. 3:30 p.m. Sun. 6:20 p.m. Wed. and Thurs. 4:20 p.m. Blood Soaked (NR) Fri. 11 p.m. Sat. 11:30 p.m. Dead Poets Society (PG) Fri. 2 p.m. Sat. and Sun. 1 p.m. Mood Indigo (NR) Sat. 5 p.m. Starred Up (NR) Fri. 8:40 p.m. Sat. 9:30 p.m. Sun. 8:20 p.m. Wed. and Thurs. 8:40 p.m. Zulu (NR) Fri. 6 p.m. Sat. 6:50 p.m. Sun. 3:30 p.m. Wed. and Thurs. 6 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Calvary (R) Fri. and Sat. 1:25 p.m., 9:55 p.m. Sun. to Thurs. 1:25 p.m. The Disappearance of Eleanor Rigby:Them (R) Fri. and Sat. 9:40 p.m. Sun. to Thurs. 6:50 p.m. The Drop (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. The Hundred-Foot Journey (PG) Fri. and Sat. 1:05 p.m., 4:05 p.m., 6:50 p.m. Sun. to Thurs. 1:05 p.m., 4:05 p.m. Love Is Strange (R) Fri. and Sat. 1:45 p.m., 4:45 p.m., 7:45 p.m., 10:05 p.m. Sun. to Thurs. 1:45 p.m., 4:45 p.m., 7:45 p.m. Magic in the Moonlight (PG-13) Fri. to Thurs. 4:25 p.m., 7:25 p.m. My Old Lady (PG-13) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. The Skeleton Twins (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Annabelle (R) Thurs. 7 p.m., 9:30 p.m. The Boxtrolls 3D (PG) Fri. to Wed. 12 p.m., 5 p.m. The Boxtrolls (PG) Fri. to Wed. 2:25 p.m., 7:25 p.m., 10 p.m. Dolphin Tale 2 (PG) Fri. to Wed. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m. The Equalizer (R) Fri. and Sat. 1 p.m., 4:05 p.m., 6:45 p.m., 7:15 p.m., 9:50 p.m., 10:20 p.m. Sun. to Wed. 1 p.m., 4:05 p.m., 7:15 p.m., 10:20 p.m. The Giver (PG-13) Fri. and Sat. 1:40 p.m., 4:10 p.m. Sun. to Wed. 12:30 p.m., 2:55 p.m., 5:25 p.m., 7:55 p.m., 10:15 p.m. Gone Girl (R) Thurs. 10 p.m. Gone with the Wind (G) Sun. 2 p.m., 7 p.m. Wed. 2 p.m., 7 p.m. Guardians of the Galaxy (PG-13) Fri. to Wed. 1:30 p.m., 4:40 p.m., 7:35 p.m., 10:20 p.m. If I Stay (PG-13) Fri. to Wed. 12:15 p.m., 2:40 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m.

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Beckett on Film (NR) Sun. 11 a.m. Gone Girl (R) Thurs. 8 p.m. Horses of God (NR) Fri. and Sat. 3:40 p.m. Mon. to Wed. 7:35 p.m. Jealousy (NR) Fri. and Sat. 2 p.m., 6 p.m. Sun. 6:20 p.m. Mon. to Wed. 2 p.m., 6 p.m. Mrs. Miniver (NR) Sun. 1 p.m. New Mexico Archives Month: The Rattlesnake & Agueda Martinez: Our People, Our Country (NR)

Thurs. 6:30 p.m.

One Day Pina Asked ... (NR) Sat. 11:15 a.m. The Trip to Italy (NR) Fri. and Sat. 7:40 p.m.

Sun. 4 p.m. Mon. to Wed. 3:45 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com The Boxtrolls (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. Dolphin Tale 2 (PG) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:05 p.m. Mon. to Thurs. 4:40 p.m., 7:05 p.m. The Equalizer (R) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. If I Stay (PG-13) Fri. 5 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:30 p.m., 5 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:30 p.m., 5 p.m., 7:25 p.m. Mon. to Thurs. 5 p.m., 7:25 p.m. Let’s Be Cops (R) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:35 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:35 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. The Maze Runner (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:45 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. No Good Deed (PG-13) Fri. 4:45 p.m., 7:35 p.m., 9:35 p.m. Sat. 2:25 p.m., 4:45 p.m., 7:35 p.m., 9:35 p.m. Sun. 2:25 p.m., 4:45 p.m., 7:35 p.m. Mon. to Thurs. 4:45 p.m., 7:35 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. 4:45 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. This Is Where I Leave You (R) Fri 4:50 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. When the Game Stands Tall (PG) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m.

P R E S E N T S ACADEMY AWARD WINNER

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RESTAURANT REVIEW Alex Heard I For The New Mexican

Still classy after all these years

Geronimo 724 Canyon Road 505-982-1500 www.geronimorestaurant.com Dinner from 5:45 p.m. daily, closing times vary; bar closes 10-10:30 p.m. Vegetarian options Handicapped accessible Noise level: moderate Full bar Patio dining in season Credit cards, no checks

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The Short Order In a beautiful 18th-century building on Canyon Road, Geronimo is a high-end favorite, known for its dependable food and first-class service. The interiors are a warm and eclectic blend of Pueblo and Territorial styles, and on some nights you may opt to eat in the cozy confines near the bar, where you can order from the lounge menu or the full dinner menu. The appetizers and desserts are consistently strong, and while vegetarians can find their way (there’s a four-course, fixed-price menu tailored to them), this is really a place for carnivores. A signature dish is the elk tenderloin — pricey at $42, but you get a great cut of meat, done just right. Recommended: negroni, ahi tuna sashimi and tartare, crab cakes, pear salad, elk tenderloin, Meyer lemon crêpe, German chocolate cake, and peach strudel.

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

PASATIEMPO I September 26 - October 2, 2014

Geronimo is a Santa Fe favorite with a national and international reputation, which it has consistently maintained for many years. Most recently, in both 2012 and 2013, it was listed by OpenTable as one of the 100 best restaurants in the U.S., right up there with heavyweights like The French Laundry in Yountville, California, and Per Se in New York. It’s housed in a historically important structure: the Borrego House, built by Geronimo Lopez in 1756. Updated in 1846, the 4,000-square-foot space, with its adobe walls and white-painted woodwork, is a memorable setting for a meal. Given all that, we felt a little anxious when we approached Geronimo’s handsome Canyon Road entrance on a recent night — not because upscale restaurants are intimidating but because I’d been so busy that I spaced out and booked a table at the wrong place. We were lucky, though. Inside, things were lively but not packed, and we were quickly taken care of by Geronimo’s staff, as friendly and professional a crew as you’ll find anywhere. After spending 10 minutes sipping wine in the bar, we were directed to a nice table in the spacious, glowing front dining room. Game on. Geronimo’s executive chef Eric DiStefano and chef de cuisine Paul Novak have a sure hand with salads and appetizers, and nothing we ordered was disappointing. The standout was the Hawaiian ahi tuna sashimi and tartare, an attractive platter featuring three slices of ever-so-slightly cooked ahi, a loose cube of avocado mixed with more of the ahi, buttermilk scallion pancakes, wasabi sauces, and two kinds of caviar. Stack those goodies on a pancake, and you have one of the great mini-sandwiches of all time. Though I’m an omnivore, I decided to try the fixed-price vegetarian menu, which at $60 for four courses is an affordable way to sample the food in a restaurant whose most expensive entrée — a New York strip steak — costs $50. The starter was a salad with pears, lettuce, arugula, cashews, jicama, and what looked like toast points but were really tiny grilled sandwiches with a layer of blue cheese inside. These were a bit dry; a little more cheese might be a good idea. My companions went for turf and surf, one ordering the elk tenderloin and the other the large diver scallops. Both the meat and the seafood were cooked perfectly. The elk really stood out: cooked medium-rare, with a rich, dark outer finish, it was served with snap peas, mushrooms, onions, and mashed potatoes. A delicious brandied brown sauce was spooned over everything. The only disappointment was my entrée, an asparagus and eggplant strudel. The chef’s main move was to mix in some ricotta; overall, the dish and the creamy sauces it was bedded on could have benefited from fresh herbs. Much of the flavor, and it was fairly strong, came from truffle slices. No quarrels with the desserts. We tried two: the Meyer lemon crêpe and a flourless German chocolate cake. For fun, I sometimes try to reverse-engineer restaurant

desserts, and it would not be easy to clone that crêpe, which had a delicate candied exterior and a sweet, creamy filling. It’s served in a bowl, in a tasty, aromatic bath of limoncello poured on by your server. The German chocolate cake passed its one essential test: it was deeply chocolaty rather than just brown and bready like so many other restaurant cakes. On a second visit, we opted to stay in the lounge, where you can order from a less-expensive bar menu as well as the regular dinner menu. We started with drinks, including a negroni that was special indeed. At Geronimo, the usual negroni ingredients — gin, Campari, and sweet vermouth — do “brief time” in an oak barrel, giving the drink depth. The “Seven-Two-Four” martini — named for Geronimo’s street number — featured plum vodka and plum bitters and was yummy without being too sweet. We feasted on appetizers — another round of the ahi tuna, blue crab cakes, and pomme frites — and more desserts. Reviews were mixed for the Mandarin orange “Creamsicle” cake, a genoise with hazelnut mousse, caramel crème anglaise, and a blood-orange sauce. It was good but quite syrupy. The knockout that night was the peach strudel, a hearty but not-too-sweet pastry wrap that comes with butterscotch sauce and walnut streusel. This combo was a fine way to end things at a classic restaurant that’s still going strong. ◀

Dinner for three at Geronimo: Vegetarian tasting menu ....................................... $ 60.00 Elk tenderloin ....................................................... $ 42.00 Scallops ................................................................. $ 40.00 Ahi tuna tartare .................................................... $ 19.00 German chocolate cake ........................................ $ 11.00 Glass, Triennes rosé .............................................. $ 14.00 Glass, Ponzi pinot gris ......................................... $ 12.00 TOTAL .................................................................. $198.00 (before tax and tip) Appetizers, drinks, and desserts for three, another visit: Pear salad ............................................................. $ 14.00 Ahi tuna tartare .................................................... $ 19.00 Crab cakes ............................................................ $ 17.00 Pomme frites ........................................................ $ 12.00 Meyer lemon crêpe................................................ $ 11.00 “Creamsicle” cake ................................................ $ 11.00 Peach strudel ........................................................ $ 11.00 Negroni ................................................................. $ 14.00 Seven-Two-Four martini ...................................... $ 14.00 TOTAL .................................................................. $123.00 (before tax and tip)

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ARTS AND ENTERTAINMENT CALENDAR

September 26 - October 2

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 9/26 Gallery & Museum Openings Barbara Meikle Fine Art

236 Delgado St., 505-992-0400 Fall Fiesta, work by gallery artists, reception 5-7 p.m.

Blue Rain Gallery

130 Lincoln Ave., 505-954-9902 New paintings by Deladier Almeida, reception 5-7 p.m., through Oct. 11.

Canyon Road Contemporary

403 Canyon Rd., 505-983-0433 Lingua Franca, fused glass by Doug Gillis, reception 5-7 p.m., though Oct. 5.

Critical Space Gallery

Visual Arts Center, Santa Fe University of Art and Design, 1600 St. Michaels Dr., 505-473-6500 Along the Pecos, immersive sonic and visual interpretations of the river by Steven Miller and Jennifer Schlesinger Hanson, reception 4:30-6:30 p.m., through Oct. 5.

David Rothermel Contemporary

142 Lincoln Ave., 505-642-4981 Inheritance by Osmosis, small works by Rothermel, reception 5-8 p.m., through Oct. 15.

Evoke Contemporary

550 S. Guadalupe St., 505-995-9902 Asylum, sgraffito drawings and woodcuts by Alice Leora Briggs, reception 5-7 p.m., through Oct. 26.

Gerald Peters Gallery

1005 Paseo de Peralta, 505-954-5738 New works by Don Coen, reception 5-7 p.m., through November.

GF Contemporary

707 Canyon Rd., 505-983-3707 Après Musée, sculpture by Pascal, reception 5-7 p.m.

GVG Contemporary

241 Delgado St., 505-982-1494 Invention and Reinvention, work of gallery artists, reception 5-7 p.m.

InArt Gallery

219 Delgado St., 505-983-6537 Nature’s Way, work by Andrea Bonfils, reception 5-7 p.m.

Karan Ruhlen Gallery

225 Canyon Rd., 505-820-0807 Grand Cru of Color, paintings by Daniel Phill, reception 5-7 p.m., through Oct. 9.

LewAllen Galleries

1613 Paseo de Peralta, 505-988-3250 Investigations of the Environment, photographs by Diane Burko; Logos, paintings by Dirk De Bruycker, reception 5-7 p.m.

LewAllen Galleries shows photographs by Diane Burko, 1613 Paseo de Peralta.

Manitou Galleries

225 Canyon Rd., 505-986-9833 The Sky’s the Limit, new works by Dale Terbush, reception 5-7:30 p.m.

McLarry Fine Art

A Sea Gallery

407 S. Guadalupe, 505-988-9140 Presence, new work by Carol Hoy, reception 5-7 p.m.

Tansey Contemporary

225 Canyon Rd., 505-988-1161 Back at the Ranch, new oil paintings by Cheri Christensen, reception 5-7 p.m., through Oct. 10.

652 Canyon Rd., 505-995-8513 A Broader Interpretation of Southwestern “Landscapes,” works by gallery artists, reception 5-7 p.m., through Oct. 21.

Photo-eye Gallery

Wheelhouse Art

541 S. Guadalupe St., 505-988-5159 Homegrown, photographs by Julie Blackmon, reception 5-7 p.m., through Nov. 15. (See story, Page 40)

Sage Creek Gallery

418 Montezuma Ave., 505-919-9553 Persistence of Vision, work by Dirk Kortz, reception 5-7 p.m. (See story, Page 32)

Zane Bennett Contemporary Art

435 S. Guadalupe St., 505-982-8111 421 Canyon Rd., 505-988-3444 Bił’ Hahodiishłaa, paintings by David Johns, Into the Wild, paintings by Edward Aldrich, reception reception 5-7 p.m., though Oct. 24. 5-7 p.m., through Oct. 10.

Santa Fe Clay

545 Camino de la Familia, 505-984-1122 Greetings From North Carolina! Works by nine North Carolina potters, reception 5-7 p.m., through Nov. 8.

PASATIEMPO I September 26-October 2, 2014

Classical Music

Music on Barcelona

Unitarian Universalist Church of Santa Fe, 107 W. Barcelona

Music of Bach and Mozart, 5:30 p.m., donations welcome.

TGIF harpsichord recital

First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. David Solem performs music of Couperin, 5:30-6 p.m., donations welcome.

In Concert Anne Phillips

Vanessie The jazz vocalist performs in Gonna Lay My Heart on the Line, 7 p.m., a singalong of selections from the Great American Songbook follows, $20, 505-438-8186.

KGZR Radio benefit

Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 CRTTRZ, rock; Solar One, hip-hop; Direct Divide, indie rock with violin; and The Sticky, funk; 6:30 p.m., $10, ages 20 and under $5, proceeds benefit W21’s radio station.

Café Café

7:30 p.m., $20-$40, ticketssantafe.org, 505-988-1234. (See story, Page 26)

Books/Talks

¡Chispa! at El Mesón

A Place to Stand

Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321 The author reads from The Portal of Light, 11 a.m.

Trio Los Primos, 6 p.m., no cover. Three Faces of Jazz, featuring guest guitarist Tony Cesarano, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Singer/songwriter Danny Shafer, 5-7:30 p.m.; Jay Boy Adams & Zenobia, with Mister Sister, R & B/soul, 8:30 p.m., no cover.

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Theaterwork presents Sunlight & Shadow: From the Poetry of Jimmy Santiago Baca, staged readings, 7 p.m., held in conjunction with A Place to Stand, a film based on the life of the local poet; theaterwork.org, donations accepted.

Duel Brewing

Anthony Garcia

Council on International Relations lecture

The Forum, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. How Did We Get Here? The New Russia, by Jack F. Matlock Jr., 3 p.m., $20, 505-982-4931, sfcir.org.

Indie-rock band 50 Watt Whale, 7:30 p.m.-close, no cover.

El Farol

Sean Healen Band, Americana/rock, 9 p.m.-close, call for cover.

Check with venues for updates and sp ecial events Agoyo Lounge

Hilltop Bar at The Lodge at Santa Fe

La Fiesta Lounge at La Fonda

Savour, Cuban music, 8 p.m.-close, no cover.

MARY IN THE NEW WORLD A symposium held in conjunction with the New Mexico History Museum exhibit Painting the Divine. The free event runs 8:30 a.m.-5 p.m. Saturday and Sunday 9 a.m.-4 p.m. at 113 Lincoln Ave., 505-476-5200.

Theater/Dance The Effect of Gamma Rays on Manin-the-Moon Marigolds: gala opening

Santa Fe Playhouse, 142 E. DeVargas St. Paul Zindel’s 1964 play, directed by Quinn Mander, gala 6 p.m., curtain 7:30 p.m., $25, 505-988-4262, Thursdays-Sundays through Oct. 19.

Books/Talks Ancient Art, New Images

Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Fresco painter/alumnus Frederico Vigil discusses his work, 7 p.m., call 505-473-6440 for information.

Events 24th Annual Santa Fe Wine & Chile Fiesta Various local restaurants Annual event with tastings, luncheons, and wine seminars, running through Sunday, visit santafewineandchile.org to purchase tickets and view event schedule.

Greer Garson 110th Birthday Tribute

Greer Garson Theatre, Santa Fe University of Art and Design, 1600 St. Michael’s Drive Kickoff celebration for the weekend tribute featuring a display of Garson’s costumes, dances by SFUAD students, a tour of the theater, and a scene rehearsal from the upcoming SFUAD production The Cave Dwellers, 6 p.m., no charge. (See story, Page 44)

Santa Fe Concorso

Santa Fe Municipal Airport, 121 Aviation Dr. Annual car/motorcycle/bicycle show; Legends of Racing, meet-and-greet with Al Unser Sr., Al Unser Jr., Parnelli Jones, Johnny Rutherford, and Eddie Cheever, 1 p.m., $20 donation at the door, visit santafeconcorso.com for weekend event details.

Nightlife

(See addresses at right)

Bishop’s Lodge Ranch Resort & Spa

Jazz guitarist Pat Malone, 6-9 p.m., no cover.

La Posada de Santa Fe Resort and Spa

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

Mine Shaft Tavern

Paw & Erik, bluegrass, on the deck, 5 p.m.; Karaoke Kamikaze, 8 p.m., call for cover.

Pranzo Italian Grill

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

Second Street Brewery

Kodama Jazz Trio, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Andy Primm, pop-rock, 7-10 p.m., no cover.

Shadeh

Darken the Day and Morbid Justice, 9 p.m.-4 a.m., no cover.

Skylight

Alchemy Party, with DJs Dynamite Sol and Poetics, 9 p.m., call for cover.

Swiss Bakery Pastries and Bistro

Troubadour Gerry Carthy, on the patio, 7-10 p.m.

SATURDAY 9/27 Gallery & Museum Openings Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Drawing a Cosmopolitan Line, work by Miguel Covarrubias (1904-1957), through Jan. 18. (See story, Page 36)

Pop Gallery

142 Lincoln Ave., Suite 102, 505-820-0788 Digit(al): Made by Hand in Alabama, new paintings and textiles by Coleman Mills, reception 6 p.m., through September.

Theater/Dance Aurora

Black Box Theater, Warehouse 21 Performance by violinist Tracy Silverman and dancer Zuleikha, 7:30 p.m., $15 in advance at brownpapertickets.com, $25 at the door.

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

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

at the Inn on the Al The Matador ameda 303 E. Alameda St. 11 6 W. San Francisco , 505-984-2121 St. Anasazi Restauran Mi ne Shaft Tavern t & Bar 113 Washington Av 2846 NM 14, Madr e., 505-988-3030 id, 505-473-0743 Betterday Coffee Museum Hill Café 905 W. Alameda St. 710 Camino Lejo, Mi , 505-555-1234 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 Burro Alley Café il, 505-982-1851 207 W. San Francisc Odd Fellows Hall o St., 505-982-0601 1125 Cerrillos Rd., Café Café 505-473-0955 500 Sandoval St., 50 Omira Bar & Grill 5-466-1391 1005 St. Francis Dr ¡Chispa! at El Mesó ., 505-780-5483 n 213 Washington Av Palace Restaurant e., 505-983-6756 & Saloon 142 W. Palace Ave., Cowgirl BBQ 505-428-0690 319 S. Guadalupe St. Pranzo Italian Grill , 505-982-2565 540 Montezuma Av The Den at Coyote e., 505-984-2645 Ca 132 W. Water St., 50 fé Santa Fe Commun 5-983-1615 ity Convention Center Duel Brewing 201 W. Marcy St., 50 1228 Parkway Dr., 5-955-6705 505-474-5301 Santa Fe Sol Stage El Cañon at the Hi & Grill lton 37 Fire Place, solof 100 Sandoval St., 50 santafe.com 5-988-2811 Second Street Brew Eldorado Hotel & er Spa 1814 Second St., 50 y 309 W. San Francisc 5-982-3030 o St., 505-988-4455 Second Street Brew El Farol er 1607 Paseo de Peral y at the Railyard 808 Canyon Rd., 50 ta, 505-989-3278 5-983-9912 Shadeh Buffalo Th El Paseo Bar & Grill under Resort & Casino 208 Galisteo St., 50 5-992-2848 Pojoaque Pueblo, U.S Evangelo’s . 84/285, 505-455-5555 200 W. San Francisc o St., 505-982-9014 Sk yli ght Hilltop Bar at The Lodge at Santa Fe 139 W. San Fra ncisco St., 505-982 750 N. St. Francis Dr -0775 ., 505-992-5800 Sweetwater Harves t Kitchen Hotel Santa Fe 1512-B Pacheco St. , 505-795-7383 1501 Paseo de Peral ta, 505-982-1200 Swiss Bakery Pastr ies Jean Cocteau Cinem 401 S. Guadalupe St. and Bistro a , 505-988-5500 418 Montezuma Av e., 505-466-5528 Taberna La Boca Junction 125 Lincoln Ave., 50 5-988-7102 530 S. Guadalupe St. , 505-988-7222 Tiny’s La Boca 1005 St. Francis Dr ive, Suite 117, 72 W. Marcy St., 50 505-983-9817 5-982-3433 La Casa Sena Cant The Underground ina at Evangelo’s 25 E. Palace Ave., 50 200 W. San Francisc 5-988-9232 o St. La Fiesta Lounge Upper Crust Pizza at La Fonda 100 E. San Francisc o St., 505-982-5511 329 Old Santa Fe Trail, 505-982-0000 La Posada de Sant a Fe Resort and Sp Vanessie a 43 330 E. Palace Ave., 4 W. San Francisco 505-986-0000 St., 505-982-9966 Lensic Performing Veterans of Foreign Arts Center Wa rs 211 W. San Francisc o St., 505-988-1234 370 Montezuma Ave., 505-984-2691 Lodge Lounge at Th Wa rehouse 21 e Lodge at Santa Fe 750 N. St. Francis Dr 1614 Paseo de Peral ., 505-992-5800 ta, 505-989-4423 Low ‘n’ Slow Lowr Zia Dinner ider Bar at Hotel Chimayó 326 S. Guadalupe St. de Santa Fe , 505-988-7008 125 Washington Av e., 505-988-4900

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

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

Outside Mullingar

The Lensic Fusion Theatre Company presents the romantic dramedy by playwright John Patrick Shanley,

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Tiny’s

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

Upper Crust Pizza

10/1

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

Vanessie

Pianist Doug Montgomery, 7:30-9:30 p.m., call for cover.

National Acrobats of China

SUNDAY 9/28 Gallery & Museum Openings Leonora Curtin Wetland Preserve

27283 Interstate 25 W. Frontage Rd., La Cienega View sculptural artworks made with wild-crafted materials along the main path through the park, 9 a.m.-noon Saturdays and 1-4 p.m. Sundays through Nov. 9.

In Concert Festival of the Drum

El Gancho Fitness Swim & Racquet Club shows work by photographer Judy Naumburg, 104 Old Las Vegas Highway.

David Morrell

Big Adventure Comics, 801 Cerrillos Rd., 505-992-8783 The author signs copies of Savage Wolverine and discusses his work, 1-3 p.m. (See story, Page 28)

Mary in the New World

New Mexico History Museum, 113 Lincoln Ave., 505-476-5200 A free symposium held in conjunction with the exhibit Painting the Devine, 8:30 a.m.-5 p.m., continues Sunday.

Modernism From Mexico City to New York and Back

Santa Fe Community Convention Center, 201 W. Marcy St. A talk by contributing curator Khristaan D. Villela on the Georgia O’Keeffe Museum exhibit Miguel Covarrubias: Drawing a Cosmopolitan Line, 4 p.m., $5. (See story, Page 36)

Outdoors Bird Walk with Rocky Tucker

Leonora Curtin Wetland Preserve, 27283 Interstate 25 W. Frontage Rd., La Cienega 8 a.m. , no charge, santafebotanicalgarden.org.

Ski Santa Fe chairlift

16 miles north of town on NM 475, 505-992-5082 Enjoy fall colors on the Super Chief Quad chair, 10 a.m.-3 p.m., $12 round-trip, $8 one way, discounts available.

Events Contra Dance

Odd Fellows Hall Folk dancing with Kris Jensen calling and live music by the Cheap Shots, easy steps; beginners class 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.

Kindred Spirits Fall Open House

3749-A NM 14, 505-471-5366. Visit with the animals and tour the barns and grounds at the shelter, 10 a.m.-4 p.m., continues Sunday, no charge.

Santa Fe Concorso

Shiprock Santa Fe, 53 Old Santa Fe Trail Annual car/motorcycle/bicycle show; breakfast with the drivers, their spouses, and their crews, 8-9 a.m., proceeds benefit Santa Fe Children’s Museum, visit santafeconcorso.com for details.

Wine & Chile Fiesta Grand Tasting

Enjoy samples from restaurants and wineries, 1-4 p.m., visit santafewineandchile.org for ticketing and shuttle bus information.

Nightlife

(See Page 65 for addresses)

¡Chispa! at El Mesón

Tierra Sonikete, trumpeter J.Q. Whitcomb and guitarist Joaquin Gallegos, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Bill Hearne Trio, pure country, 2-5 p.m.; Sean Healen Band, rock ‘n’ roll, 8:30 p.m.-close; no cover.

Duel Brewing

Sage Gray, reggae fusion, 7:30 p.m.-close, no cover.

El Farol

Local country singer/songwriter Richard Martin, 9 p.m., call for cover.

Nightlife

(See Page 65 for addresses)

Cowgirl BBQ

All-star Americana band The Santa Fe Revue, noon-3 p.m.; Kodama Jazz Trio, 8 p.m.; no cover.

Milner Plaza, Museum Hill, 710 Camino Lejo Performers include Van Hanh Lion Dance Group, Bushido Kenkyukai Taiko Drums, High Desert Pipes and Drums, and Kya’ na Dance Group, 11 a.m.-4 p.m., presented by Museum of Indian Arts & Culture, no charge, 505-476-1250.

Duel Brewing

Santa Fe Men’s Camerata

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

United Church of Santa Fe, 1804 Arroyo Chamiso Vive L’ Amour!, choral concert, 3 p.m., $20, students under 18 no charge, 225-571-6352.

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

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

Books/Talks Mary in the New World

Jazz ensemble Body & Soul, 5-7 p.m., no cover.

El Farol

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

Evangelo’s

La Posada de Santa Fe Resort and Spa

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

Lodge Lounge at The Lodge at Santa Fe

Troubadour Gerry Carthy, 7-9:30 p.m., call for cover.

Second Street Brewery at the Railyard

Watermelon Mountain Jug Band, 1-4 p.m., no cover.

Vanessie

Pianist Doug Montgomery, 6:30-10:30 p.m., call for cover.

MONDAY 9/29 Theater/Dance

La Fiesta Lounge at La Fonda

New Mexico History Museum, 113 Lincoln Ave., 505-476-5200 A free symposium held in conjunction with the exhibit Painting the Divine, 9 a.m.-4 p.m.

Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe

Events

Jean Cocteau Cinema Monthly variety show of local talent, 7 p.m., $7 admission includes a raffle ticket, jeancocteaucinema.com.

Kindred Spirits Fall Open House

Books/Talks

Mine Shaft Tavern

3749-A M 14, 505-471-5366 Visit with the animals and tour the barns and grounds at the shelter, 10 a.m.-4 p.m., no charge.

Santa Fe Concorso

Hotel Santa Fe, 1501 Paseo de Peralta Spanish Efforts to Reconquer New Mexico: Post-Revolt Puebloan Sites in Northern New Mexico, by Joseph “Woody” Aguilar of San Ildefonso Pueblo, 6 p.m., $12 at the door, southwestseminars.org, 505-466-2775.

Savour, Cuban music, 8 p.m.-close, no cover.

Troubadour Gerry Carthy, 7:30 p.m.-close, no cover.

Blues band Night Train, on the deck, 3 p.m.; folk band Hot Honey, 7 p.m.; no cover.

Pranzo Italian Grill

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

Second Street Brewery

Alternative-bluegrass band Alto Street, 7 p.m.-close, no cover.

Second Street Brewery at the Railyard

Americana band E. Christina Herr & Wild Frontier, 7-10 p.m., no cover.

Shadeh

DJ Flo Fader, 9 p.m.-4 a.m., call for cover.

Skylight

Making a Fire CD-release party, with Brian Mayhall and DJs Feathericci and Bacon,10 p.m., call for cover.

of the Balkans, Greece, and the Middle East; 6:30-8 p.m.; Israeli dances 8-10 p.m., $5 donation, 505-501-5081 or 505-466-2920.

Ski Santa Fe chairlift

Sweetwater Harvest Kitchen

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

Swiss Bakery Pastries and Bistro

Upstairs/Downstairs

Troubadour Gerry Carthy, on the patio, 7-10 p.m.

PASATIEMPO I September 26-October 2, 2014

Julesworks Follies

Southwest Seminars lecture

Las Campanas Clubhouse, 132 Clubhouse Dr. Annual assemblage of cars, motorcycles, and bicycles from the 1900s to the present, general Events admission $45, VIP admission $125 (includes valet parking, program book, gourmet lunch, and drinks), Santa Fe Swing Dance tickets available online at santafeconcorso.com. Odd Fellows Hall, 1125 Cerrillos Rd. Weekly all-ages informal swing dance, Santa Fe International Folk Dancers lessons 7-8 p.m., dance 8-10 p.m., dance Odd Fellows Hall, 1125 Cerrillos Rd. $3, lesson and dance $8, santafeswing.com. Beginners and families welcome; line dances

16 miles north of town on NM 475, 505-992-5082 Enjoy fall colors on the Super Chief Quad chair, 10 a.m.-3 p.m., $12 round-trip, $8 one way, discounts available; listen to live music by The Bus Tapes at the beer garden, noon-4 p.m.

Santa Fe Opera, 301 Opera Dr.

areas, library, and preparation areas, plus solar photography on the patio; instruction and materials provided, 1-4 p.m., no charge.

New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072 Family fun day with tours of the collection storage

Nightlife

(See Page 65 for addresses)

El Farol

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

La Fiesta Lounge at La Fonda

Bill Hearne, pure country, 8 p.m.-close, no cover.

Vanessie

Doug Montgomery, 6:30-9:30 p.m., call for cover.

TUESDAY 9/30 In Concert A Dash of Celtic, a Hint of the Blues

Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona St. Chamber music of Susan Conant, 7:30 p.m., $10 at the door.

Books/Talks Kim Harrison

Jean Cocteau Cinema The author reads from The Witch With No Name, 7 p.m., $10, $5 with paperback purchase, no charge with hardcover purchase.

Events Santa Fe International Folk Dancers

Odd Fellows Hall, 1125 Cerrillos Rd. Beginners and families welcome; line dances of the Balkans, Greece, and the Middle East; lessons 7-8 p.m., dancing 8-10 p.m., $5 donation, 505-501-5081 or 505-466-2920.

Nightlife

(See Page 65 for addresses)

Santa Fe Clay shows work by Nick Joerling, 545 Camino de la Familia.

Vanessie

Cowgirl BBQ

WEDNESDAY 10/1

El Farol

Doug Montgomery, 6-8 p.m.; Ester Hana, 8-10 p.m.; call for cover.

¡Chispa! at El Mesón

In Concert

Cowgirl BBQ

Skylight Heavy-metal mariachi quintet, 8 p.m., $15 in advance at holdmyticket.com, 21+.

Argentine Tango Milonga, 7:30-11 p.m., call for cover. Folk singer/songwriter Tia McGraff, 8 p.m., no cover.

El Farol

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

La Fiesta Lounge at La Fonda

Bill Hearne, pure country, 8 p.m.-close, no cover.

Second Street Brewery at the Railyard

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

Skylight

The World Beat Party, reggae, Latin, and jazz, 9 p.m., call for cover.

Tiny’s

Singer/songwriter open mic, 7-11 p.m., no cover.

Metalachi

Theater/Dance National Acrobats of China

The Lensic Award-winning acrobatic troupe, 7 p.m., $15-$45, 505-988-1234, ticketssantafe.org.

Books/Talks William Cather Hook

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The artist discusses his work and the book William Cather Hook: A Retrospective, 5 p.m.

Nightlife

(See Page 65 for addresses)

¡Chispa! at El Mesón

Flamenco guitarist Chuscales, 7-9 p.m., no cover.

Folk singer/songwriter Eryn Bent, 9 p.m., no cover. Midweek rock with the John Kurzweg Band, 8 p.m., no cover.

Junction

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

La Fiesta Lounge at La Fonda

Railyard Reunion Band, bluegrass, 8 p.m.-close, no cover.

La Posada de Santa Fe Resort and Spa

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

Tiny’s

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

Vanessie

Pianist Jess Godwin, 6:30-9:30 p.m., call for cover.

(See Page 65 for addresses)

Cowgirl BBQ

Folk/rock/gospel band Strangetowne, 8 p.m., no cover.

El Farol

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

La Boca

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

La Posada de Santa Fe Resort and Spa

Pat Malone Jazz Trio, 6:30-8:30 p.m., no cover.

Palace Restaurant and Saloon

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

Pranzo Italian Grill

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

Second Street Brewery

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

Second Street Brewery at the Railyard

THURSDAY 10/2

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

Gallery & Museum Openings

Zia Diner

El Gancho Fitness Swim & Racquet Club

104 Old Las Vegas Hwy., 505-988-5000. In the Shadows II, photographs by Judy Naumburg, reception 5-7 p.m.

In Concert Joshua Breakstone

Museum Hill Café, 710 Camino Lejo Jazz guitarist, 7 p.m., $25, presented by Santa Fe Music Collective, 505-983-6820.

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

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

Books/Talks Renesan Institute lecture

St. John’s United Methodist Church, 1200 Old Pecos Trail Through the Looking Glass: A Life in Photography, by Lynne Bundesen, 1-3 p.m., $10, 505-982-9274, renesan.org.

PECOS STUDIO TOUR

Nightlife

Trio Bijou, jazz, with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30 p.m., no cover.

OUT OF TOWN Albuquerque Matana Roberts’ Anthem Quartet

Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044 The alto saxophonist and composer is joined by Gabriel Guerrero on piano, Kevin Tkacz on bass, and Tomas Fujiwara on drums, 7:30 p.m., Friday, Sept. 26, $15, discounts available, holdmyticket.com.

From the Horse’s Mouth: Magical Tales of Real Dancers

Rodey Theatre, Center for the Arts, University of New Mexico Dance theater production; proceeds benefit UNM dance scholarships, 7:30 p.m. Friday and Saturday, Sept. 26-27, $20, discounts available, 505-925-5858, unmtickets.com.

Richard Levy Gallery

514 Central Ave. S.W., 505-766-9888 Journey to Wilderness, photographs by Debra Bloomfield, reception 6-8 p.m. Saturday, Sept. 27, through Oct. 24.

Twenty-two artists open their studios to visitors on the 16th annual tour, 10 a.m.-5 p.m. Saturday and Sunday, Sept. 27-28. Visit pecosstudiotour.com for a tour map and links to artist websites. Photograph by Robert McKenney.

PASATIEMPOMAGAZINE.COM

for more information, links to artist websites, and maps, visit highroadnewmexico.com or call 888-866-3643.

Pecos Forked Lightning Ranch open house

Pecos National Historical Park, S.R. 63, 25 miles east of Santa Fe off Interstate 25 Explore the ranch where actress Greer Garson lived with her husband E.E. “Buddy” Fogelson, 10 a.m.-3 p.m. Saturday, Sept. 27. Check in at the visitor center. (See story, Page 44)

Pecos Studio Tour

Exits 299 and 307 off Interstate 25 Twenty-two artists open their studios to visitors on the 16th annual tour, 10 a.m.-5 p.m. Saturday and Sunday, Sept. 27-28. Visit pecosstudiotour.com for a tour map and links to artist websites.

Taos

40th Annual Fall Arts Festival

Six locations in downtown Taos Events include The Paseo, with 26 artists presenting outdoor art installations along Paseo del Pueblo between Kachina Lodge and Taos Plaza, Friday, Sept. 26, visit taosfallarts.com for a complete list of events.

27th Annual Old Taos Trade Fair

La Hacienda de los Martinez, 708 Hacienda Rd. Celebration of the annual harvest season with crafts demonstrations and vendors, plus mountain men stories and folklore, 9:30-5 p.m. Saturday, Sept. 27, 575-758-0505.

Greg Moon Art

109-A Kit Carson Rd., 575-770-4463. New Mexi-Low, a survey of lowbrow art in New Mexico, reception 5-8 p.m. Saturday, Sept. 27, through October.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Love, Light, and the Pursuit of Art, paintings by Cami Thompson, opening Saturday, Sept. 27, through Dec. 4.

Brett Dennen

Matana Roberts and her Anthem Quartet perform on Friday, Sept. 26, at the Outpost Performance Space in Albuquerque.

Aki Matsuri Fall Festival

National Hispanic Cultural Center, 1701 Fourth St. S.W. Japanese festival with music, dance, martial arts, food, and a costume contest, 10 a.m.-5 p.m. Sunday, Sept. 28, fundraiser for the New Mexico Japanese American Citizens League, $5, nmjacl.org.

Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Serenata of Santa Fe performs works by Pärt, David Krakauer, and Golijov, poetry reading by Erika Wurth follows, 10:30 a.m. Sunday, Sept. 28, $15 at the door only, discounts available, chatterabq.org.

Española 29th Annual Española Valley Festival

Los Alamos Concert Association

Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Dr. The 69th season opens with the Anderson & Roe piano duo, 4 p.m. Sunday, Sept. 28, $30, losalamosconcert.org, ticketssantafe.org, 505-988-1234.

Madrid Boxcar Gallery

2787 Hwy. 14 Art, music, and book event with painter James Hayes, singer/songwriter Jim Almand, and author J.C. Lovetti, 4-8 p.m. Saturday, Sept. 27.

Madrid Blues Fest

Plaza de Española, corner of Paseo de Oñate and Bond Street 10 a.m.-5 p.m. Saturday, Sept. 27, 10 a.m.-4 p.m. Sunday, Sept. 28, works of more than 60 artists, plus live music and food vendors.

Oscar Huber Memorial Ballpark, NM 14 The lineup includes Todd Tijerina Band, Albuquerque Blues Connection, Memphis, and P’Tails, gates open at 1 p.m. Sunday, Sept. 28, concert runs 2-6 p.m., $20 in advance at nmjazz.org, discounts available.

Los Alamos

Nambé Pueblo

Thunderbird Rock Hike

17th Annual High Road Art Tour

Pajarito Environmental Education Center, 3540 Orange St., 505-662-0460 View rock art in White Rock Canyon, 9 a.m. Saturday, Sept. 27, meet at the Red Dot trailhead, no charge.

U.S. 285/84 north to NM 503 to Nambé Pueblo, follow signs leading to villages along state roads north to Taos More than 50 artists and craftspersons participate in the second weekend of this self-guided tour, 10 a.m.-5 p.m. Saturday and Sunday, Sept. 27-28,

PASATIEMPO I September 26-October 2, 2014

KTAOS Solar Center, 9 S. R. 150 in El Prado An acoustic evening with the singer/songwriter, 8:30 p.m. Wednesday, Oct. 1, $20, holdmyticket. com.

PEOPLE WHO NEED PEOPLE Artists Currents 2015: International New Media Fiesta

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

Pastels Exhibit

Prospectus and details for the Nov. 1-30 show held at Albuquerque Expo New Mexico are available online at pastelsnm.org.

Community Awesome Foundation Santa Fe grant

A $1,000 microgrant will be awarded to an individual or a group with a plan to create local projects in the areas of science, technology, art, education, entertainment, or social good; applications due by Wednesday, Oct. 1; apply online at awesomefoundation.org.

Fight Illiteracy

Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org or call 505-428-1353.

Flower Angels

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

Food for Santa Fe

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

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.

SITE Santa Fe Back to School Education Drive

Held during the month of September; donations accepted online at sitesantafe.org.

St. Elizabeth Shelter

Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.

PASA KIDS

Garden Sprouts

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

Festival of the Drum

Milner Plaza, Museum Hill, 710 Camino Lejo Performers include Van Hanh Lion Dance Group, Bushido Kenkyukai Taiko Drums, High Desert Pipes and Drums, Kya’ na Dance Group, 11 a.m.-4 p.m. Sunday, Sept. 28, presented by Museum of Indian Arts & Culture at no charge, for information call 505-476-1253.

Georgia O’Keeffe Museum: Día de la Familia 217 Johnson St., 505-946-1000 Shadow puppets, masks, and flower-making crafts, 1-4 p.m. Sunday, Sept. 28, in the courtyard, no charge.

Upstairs/Downstairs

New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072 Family fun day with tours of the museum’s collection storage areas, library, and preparation areas, plus solar photography on the patio; instruction and materials provided, 1-4 p.m., Sunday, Sept. 28, no charge.

Creative writing workshop

Bee Hive Kids Books, 328 Montezuma Ave., 505-780-8051 For ages 8 to 12, 2 p.m. Sunday, Sept. 28. (See Subtexts, Page 18)

Backyard Astronomy

Santa Fe Community College Planetarium, 6401 Richards Ave. Live presentation, followed by an outdoor viewing of the night sky, 7-8 p.m., Thursday, Oct. 2, $5 at the door, discounts available, not suitable for children under 5, contact Juan Alvarez for more information, 505-428-1744. ◀

The Art of Bach, with violinist L.P. How, violist Christof Huebner, and cellist Felix Fan, 3 p.m. Sunday, Nov. 16; $15-$30, ticketssantafe.org, 505-988-1234.

Dave Mason’s Traffic Jam

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

Atrium String Quartet

MUSIC St. Lawrence String Quartet

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Beethoven and Haydn; 3 p.m. Sunday, Oct. 5, $10-$65, 505-988-1234, ticketssantafe.org; dinner with the musicians 5:30 p.m., contact the Santa Fe Pro Musica box office for reservations, 505-988-4640, Ext. 1000.

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

J.D. McPherson

Skylight R & B singer/songwriter, 7:30 p.m. Saturday, Oct. 25, $16 in advance at holdmyticket.com.

Ralph Alessi Baida Quartet

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

Ziggy Marley

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

Tinariwen

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

Santa Fe Symphony

The Lensic Music of Scott Joplin; performed in support of The Friendship Club and Children First, 3 p.m. Sunday, Oct. 5, $10-$50; Fall Gold, featuring guest conductor Oriol Sans and guitarist Jason Vieaux, music of Tchaikovsky, Rossini, and Márquez, 4 p.m. Sunday, Oct. 19, $20-$76, discounts available, 505-983-1414 or 505-988-1234, ticketssantafe.org.

Boom Tic Boom

Gig Performance Space, 1808 Second St. Jazzy folk-pop quintet, with Allison Miller on drums, Myra Melford on piano, Todd Sickafoose on bass, Kirk Knuffke on cornet, and Jenny Scheinman on violin, 7:30 p.m. Friday, Oct. 10, $20 at the door, gigsantafe.com.

Berlin Philharmonic Wind Quintet

The Lensic Music of Hindemith, Mozart, and Thuille, 4 p.m. Sunday, Oct. 12, $13.50-$100, 505-988-1234, ticketssantafe.org.

Ali Ryerson

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

Serenata of Santa Fe

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

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

Sacred Body

The Lensic Presented by New Mexico Dance Coalition, 7:30 p.m. Friday, Nov. 14, performers include Julie Brette Adams, Saltanah Dancers, and Harambe Hip Hop Crew, tickets $25-$60, VIP tickets $75, 505-988-1234, ticketssantafe.org.

Judy Collins

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

The Evolution of Medicine to Integrative Medicine

Piñon Awards and Ceremony

La Fonda An annual event recognizing contributions of local nonprofit organizations; this year’s award winners are Santa Fe Public Schools Adelante program, The Food Depot, Creative Santa Fe, The Nature Conservancy, and Ruth M. Ortega, and the Brindle Foundation; 6 p.m. Tuesday, Oct. 7, $35 includes dinner, 505-988-9715, www.santafecf.org.

SITE Santa Fe Innovative Thinker lecture

Lannan Foundation: In Pursuit of Cultural Freedom

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

The Lensic A conversation with Gloria Steinem, Alice Walker, Chung Hyun Kyung, and Aaron Stern, 7 p.m. Saturday, Oct. 11, $35 and $100, 505-988-1234, ticketssantafe.org.

Center for Contemporary Arts, Jean Cocteau Cinema, the Lensic, and the Screen The sixth annual festival begins on Wednesday, Oct. 15 and closes on Sunday, Oct. 19, early-bird passes $200, 505-988-1234, ticketssantafe.org.

The Lensic An illustrated presentation by linguists Greg Anderson and David Harrison, 7 p.m. Monday, Oct. 6, $10, ticketssantafe.org, 505-988-1234.

Patty Griffin

Senegal Gospel Choir

Leading by Being

Saving Endangered Languages

HAPPENINGS

Kalin and Myles

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.

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

The Lensic UNM Center for Life presents a lecture by Dr. Andrew Weil; 6:15 p.m. Monday, Oct. 13; $20, ticketssantafe.org, 505-988-1234.

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

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

Zakir Hussain performs classical music of India at the Lensic at 7 p.m. Tuesday, Oct. 17, $20-$50, 505-988-1234, ticketssantafe.org.

BodyTraffic

The Lensic The series continues with author Max Blumenthal, discussing his book Goliath: Life and Loathing in Greater Israel, 7 p.m. Friday, Oct. 10, a talk with Amy Goodman follows, $6, discounts available, ticketssantafe.org, 505-988-1234.

Mayor’s Ball 2014

Santa Fe Community Convention Center, 201 W. Marcy St. Silent and live art auctions of a piece by Ramón José López, Spanish tapas dinner, and live entertainment, 6 p.m. Saturday, Oct. 11, $150, contact Ron Ruybal for

Santa Fe Independent Film Festival

Transformation of Cultural Studies

Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 MIAC and the Institute of American Indian Arts honor Dave Warren with a symposium held at 4 p.m. Thursday, Oct. 16, and 6 p.m. Friday, Oct. 17, no charge, register online at eventbrite.com.

Architecture: Materials & Craft

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

Unabridged: Lambda Literary Authors Series

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

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.

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.

OPERA/THEATER/DANCE

The Met Live in HD

The Lensic Verdi’s Macbeth, with soprano Anna Netrebko, 11 a.m. Saturday, Oct. 11; Mozart’s Le Nozze de Figaro, 11 a.m. Saturday, Oct. 18; Bizet’s Carmen, 11 a.m. and 6 p.m. Saturday, Nov. 1; $22-$28, 505-988-1234, ticketssantafe.org.

Royal Ballet of Cambodia

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

King Lear

The Lensic Presented by Shakespeare’s Globe Theatre, 7:30 p.m. Thursday, Oct. 30, $13.50-$100, 505-988-1234, ticketssantafe.org. Percussionist Allison Miller performs with Boom Tic Boom on Oct. 10 at Gig Performance Space.

PASATIEMPOMAGAZINE.COM

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Drawing a Cosmopolitan Line, work by Miguel Covarrubias (1904-1957), through Jan. 18. (See story, Page 36) Core exhibits of paintings, drawings, and sculpture by O’Keeffe and works by her peers. Open daily; okeeffemuseum.org.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left “The City,” work by painter Mario Martinez; Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; exhibits run through December • Looping screenings of the documentary Bert & Weiwei: TIME 2014 by Daniel Hyde and Blackhorse Lowe through Oct. 16; iaia.edu/museum; closed Tuesdays.

Museum of Indian Arts & Culture

Albuquerque’s National Hispanic Cultural Center shows work by cut-paper artist Catalina DelgadoTrunk in the exhibit ¡Papel! Pico, Rico y Chico. Photo by Margot Geist.

AT THE GALLERIES

Axle Contemporary

Look for the mobile gallery parked in front of Baca Street Studios, 926 Baca St. Tools, group show of mixed media, visit axleart.com for daily locations through Oct. 12.

Hunter Kirkland Contemporary

200-B Canyon Rd., 505-984-2111 Work by sculptor T. Barny; encaustic and mixed-media paintings by Laura Wait, through Oct. 5.

Jean Cocteau Cinema Gallery

418 Montezuma Ave., 505-466-5528 Before Bataan: New Mexico’s 200th Coast Artillery, historic photographs from the Palace of the Governors Photo Archives collection, on view 2-8 p.m. daily through Oct. 12.

Nüart Gallery

670 Canyon Rd., 505-988-3888 Una Noche sin Ornamento, paintings by Alberto Gálvez, through Oct. 5.

Phil Space

1410 Second St., 505-983-7945 Vienna/Santa Fe, paintings by Frank Ettenberg, through Oct. 10.

Photo-eye Bookstore + Project Space

376-A Garcia St., 505-988-5152 Avian, photographs by Brad Wilson, through Oct. 11.

Santa Fe Community College Visual Arts Gallery

6401 Richards Ave., 505-428-1501 Precognition/Recognition: Examining the Reciprocal Gaze in Godfrey Reggio’s film “Visitors,” still photographs, through Oct. 8.

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.

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 Doug Hyde, Estella Loretto, and Robert Shorty; through May 2015 • 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 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Let’s Take a Look, bring in found objects for identification by curators, noon-1 p.m. Wednesdays at no charge. Open daily; indianartsandculture.org.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, exhibit on immigration • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15, 2015 • Brasil and Arte popular, items from the museum’s collection, through Jan. 4 • Multiple Visions: A Common Bond, international collection of toys and folk art. Open daily; internationalfolkart.org.

Museum of Spanish Colonial Art

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

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29 • Poetics of Light: Pinhole Photography, through March 29 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through Oct. 7.

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;

PASATIEMPO I September 26-October 2, 2014

through Dec. 7 • Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015; nmartmuseum.org; open daily through Oct. 7.

From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982). Open Tuesday-Saturday; unmartmuseum.org.

Pablita Velarde Museum of Indian Women in the Arts

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.

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

Poeh Cultural Center and Museum

78 Cities of Gold Rd., 505-455-3334 The P’osuwäegeh Ówingeh Story: Scarcity & Abundance, contemporary pottery, sculpture, and jewelry, through Nov. 14 • The Kee …, 2-D and 3-D video installation by Ehren Kee Natay, through Nov. 14 • Nah Poeh Meng, 1,600-squarefoot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; closed Saturdays and Sundays. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; roxanneswentzell.net; closed Sundays.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary works, through Jan. 11. Open Thursdays-Sundays; sitesantafe.org.

Wheelwright Museum of the American Indian

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

Albuquerque Albuquerque Museum of Art & History

2000 Mountain Rd. N.W., 505-243-7255 Everybody’s Neighbor: Vivian Vance, family memorabilia and museum photo archives of the former Albuquerque resident, through January • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/culturalservices/albuquerque-museum.

Indian Pueblo Cultural Center

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

Maxwell Museum of Anthropology

UNM campus, 1 University Blvd. N.E., 505-277-4405 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

Española Bond House Museum and Misión Museum y Convento

706 Bond St., 505-747-8535 The Second Farm Show, group show, through October. 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

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 Environmental Education Center

3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians; also, butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.

Pecos Pecos National Historic Park

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

Taos Harwood Museum of Art

238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, four-part exhibit foscusing on post-Pop and lowbrow art, through Jan. 25, 2015. Open daily through October; harwoodmuseum.org.

La Hacienda de los Martinez

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

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Fred Harvey and the Making of the American West, objects from the Harvey family, through January • Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, 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 Love, Light, and the Pursuit of Art, paintings by Cami Thompson, opening Saturday, Sept. 27, through Dec. 4. Closed Mondays; taosartmuseum.org.

Diane Burko: Canal October 2011 2013, archival inkjet print LewAllen Galleries, 1613 Paseo de Peralta, 505-988-3250 Investigations of the Environment exhibits the photographs Diane Burko shoots of landscapes worldwide that have been affected by climate change and other environmental forces. Burko’s recent travels have taken her to the Arctic Circle and Antarctica, where she has documented nature in all its fragile but breathtaking beauty. The show runs concurrently with Logos, an exhibit of Dirk De Bruycker’s color field paintings — vibrant combinations of oil paint and asphaltum. The reception for both shows is at 5 p.m. on Friday, Sept. 26.

Edward Aldrich: White Wolf Portrait 2014, oil on canvas Sage Creek Gallery, 421 Canyon Road 505-988-3444 The wildlife paintings of Edward Aldrich, on view in the solo exhibit Into the Wild, capture animals in their natural state. Wolves, foxes, mountain lions, elk, and other beasts roam forests, mountain precipices, and open country in works rich with examples of North America’s many species of flora and fauna. The show opens Friday, Sept. 26, with a 5 p.m. reception. Aldrich gives a free painting demonstration at the gallery at 11 a.m. on Saturday, Sept 27.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N

Pascal: Blue on Me 2 2014, mixed media Matt Jones: Charger 2014 wood-fired stoneware

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Santa Fe Clay, 545 Camino de la Familia 505-984-1122 Greetings From North Carolina! is an exhibit of nine ceramists’ works that includes sculptural forms and functional tableware. The featured artists are all natives of the Tar Heel State. The show runs through Nov. 8 to coincide with the annual meeting of the American Folklore Society (Nov. 5-8) at the Santa Fe Community Convention Center (201 W. Marcy St.). The pottery is made using a range of baking techniques, such as salt and wood firing. The show opens with a reception at 5 p.m. on Friday, Sept. 26.

GF Contemporary, 707 Canyon Road, 505-983-3707 Santa Fe-based sculptor Pascal’s new mixed-media abstractions are on view at the exhibit Après Musée, a show of works that recently debuted at the International Museum of Art in El Paso. The artist expertly combines painterly compositions with fine woodworking to create his one-of-a-kind pieces. The 5 p.m. reception is on Friday, Sept. 26.

Alice Leora Briggs: La Ventana 2014, woodcut with chine-collé Evoke Contemporary, 550 S. Guadalupe St., 505-995-9902 Alice Leora Briggs: Asylum is an exhibit of sgraffito drawings and woodcut prints opening at Evoke Contemporary on Friday, Sept. 26, with a 5 p.m. reception. The works depict life and death in violence-plagued Ciudad Juárez, Mexico. The reception includes a talk by the artist. PASATIEMPOMAGAZINE.COM

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