Pasatiempo September 5, 2014

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

September 5, 2014

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Lensic Presents

Broadcast in Hd

Medea

by Euripides

September 11, 7 pm $22

Helen McCrory (The Last of the Haussmans) stars in this classic Greek tragedy of revenge.



“Extraordinary. Helen McCrory ascends to greatness.” —Sunday Times (UK)



SponSorEd by

“A piercing, painful vision of passion and betrayal.” —Evening Standard (UK)

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

New Lunch Special Lunch Special “The Kyle Vernon” Santacafe Lobster Roll GrilledLobster GruyèreSalad Cheese & Green ChileHousemade Sandwich Roll Fernando’s served in Soft w/ Heirloom Tomatoes on Housemade Semolina Bread, w/ Pommes Frites – 20.00 Hericot Vert Salad w/ Summer Herb Vinaigrette - 12.00 Dinner Special Braised Pork Special “Osso Buco” Dinner w/ Green Chile Country Mashed Potatoes, 8 ozw/ “Bistro Steak”, Creamy Polenta, Carrots WildSkirt Mushroom Demi-Glace – 26.00 Sauteed Baby Spinach w/ Salsa Fresca - 28.00

lunch / dinner / brunch – open every day!

Happy Hour: 4 – 6 p.m. Mon. thru Fri. Our ‘Classic’ appetizers – 50% off

Selected W ines-by-the-glass, ‘W ell’ cocktails & House Margarita - $5.00 each FULL BAR ● FREE WI-FI ● HDTV

505 • 984 • 1788 please visit our website www.santacafe.com

231 washington ave ● santa fe

2

PASATIEMPO I September 5 - 11, 2014

$5 MILLION BACK TO YOU CHECKING AUTO LOAN

The New Comfort Sleeper

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“Viva la Fiesta”

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Representing two generations of Optometric Physicians serving the residents of Santa Fe and northern New Mexico.

Providing state of the art eye care with the world’s most fashion forward and unique eyewear.

The premier source for Native American Jewelry 101 W. SAN FRANCISCO ST. SANTA Fe

Dr. Mark Botwin

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| Dr. Jonathan Botwin | Dr. Jeremy Botwin

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PASATIEMPOMAGAZINE.COM

3

SEASON OPENER!

Showcase of the Stars SUNDAY, SEPTEMBER 14 — 4 PM AT THE LENSIC FEATURING

Mark Kaplan Violin

Clancy Newman, Cello

O��������, Overture to Orpheus in the Underworld M����, Czárdás P�����, Hungarian Rhapsody T����������, Suite from Sleeping Beauty B�����, Double Concerto for Violin and Cello

Tickets $22 to $76 Call 505.983.1414

�� ����� ��� ������ ��� ������

COLORFUL CONTEMPORARY LED’S!

“Kaplan uses his brilliant virtuosity and strikingly beautiful, variable tone to evoke and instantly change mood, character, and expression” -Strings Magazine

Visit Dahl Lighting’s Showroom to see Koncept Lighting.

C�������� �� S���������� S������� O�������� M���� D������� K���� R�����

Please join us for a FREE preview talk one hour before the concert!

“Newman was exceptional… playing with bristling tensity…

Newman’s performance was a tour de force.”

-Chicago Classical Review

This contemporary LED styling has intuitive on/off functionality with a dimming option offering colorful lighting with flair!

1000 Siler Park Lane, Suite A Santa Fe, New Mexico 87507-3169 505.471.7272 • Fax 505.471.9232 Mon-Fri 8am - 5pm & Sat 10am - 2pm

www.dahllighting.com 4

PASATIEMPO I September 5 - 11, 2014

Lensic Presents

P h oto : G a b r i e l l e S avoy

ime Grammy Nominees Four-T

Cajun Music from South Louisiana

September 13 | 7 pm | $15–$35

Ce

rri

llo

sR

d.

“Steve Riley and the Mamou Playboys make sweet Cajun music . . . steeped in the French heritage of southwestern Louisiana and driven by accordion and fiddle.

It’s sweetly melodic, danceable music with origins in French-Canadian history that dates back to the 1760s—think of it as their country music.” —NPR

I-25

Tickets: 505-988-1234 www.TicketsSantaFe.org

S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

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

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room

•

Bedroom

•

Entertainment

•

Lighting

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Hopi Bedroom $980 Queen $840 Nightstand $375

New Shipment of Beds and Nightstands

Blanket Chest $396

Selection of attractive designs available

SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com



PASATIEMPOMAGAZINE.COM

5

THE SANTA FE NEW MEXICAN

September 5 - 11, 2014

www.pasatiempomagazine.com

ON THE COVER 32 Yeah, science! Los Alamos gets its geek on Former space shuttle astronaut John L. Phillips gets down to earth about life in the International Space Station as part of Los Alamos ScienceFest. But that’s not all!

The nine-day event has biofeedback video games, moon-gazing, news from Mars, quadcopters, rocket launchings, and workshops on cool stuff like augmented reality, Arctic ecosystems, and geodesic domes. (Artwork by Lori Johnson.)

MOVING IMAGES

BOOKS

46

16

In Other Words Feminism Unfinished and Signaletics 26 Spanish Colonial Lives Keeping up with the colonials

47 48 50

MUSIC AND PERFORMANCE

CALENDAR

20 Pasa Reviews Music From Angel Fire 22 Terrell’s Tune-Up Rock’n’roll tourism: Portland 25 Random Acts Al Hurricane, Medea, Justin Furstenfeld 28 ‘Tango’: Fray Angélico Chávez’s 1929 Fiesta poem 36 Violent Femmes Vintage cool

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13 15 54

Laura Wilson Custom-made photo-portraiture Suzanne Caporael Ways upon ways of seeing Jeffrey Schweitzer Windows into whimsy

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

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

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

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

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

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

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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, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2014 The Santa Fe New Mexican

■

Robin Martin Owner

www.pasatiempomagazine.com

■

Mixed Media Star Codes Restaurant Review: El Chile Toreado

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

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

Detail, Jeffrey Schweitzer He built his small cabin high on a hill, overlooking the small town of Boringville, 2014

Pasa Week

AND

ART 38 40 44

Expedition to the End of the World The One I Love The Congress 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 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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Exhibition Opening Reception Fr i d ay, S e p t e m b e r 5 , 5 - 7 p m

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PASATIEMPOMAGAZINE.COM

7

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Payne’s North 304 Camino Alire 988-8011 Fall Hours

Mon - Sat 9 to 5 Closed Sunday

Start planting and enjoy great SAVINGS with the SALE prices below!

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You can join and enjoy the premier facilities Find Out How Quail Run Fits Your Lifestyle!

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The Club at Quail Run features a fabulous restaurant, indoor ozone lap pool, ProBounce tennis courts, PGA-rated golf course and health club with spa services.

Experience what a select few have known for years, Quail Run Club is Santa Fe’s Best Kept Secret.

Golf, health club, and dining memberships are available.

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Additional savings at both stores.

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3101 Old Pecos Trail 505.986.2200 quailrunsantafe.org

Sale limited to stock on hand, while supplies last.

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he time is now…

Take advantage of our outstanding GRAND OPENING Move-In Specials:

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Two FREE Meals in our Garbo’s Restaurant

Two FREE Beverages in our Starlight Lounge

One FREE Massage in our Elegant Spa

One FREE Hair Appointment in our Signature Salon

Tours are booking up fast …... please call Yvonne Kluge or Mark Aronauer now to schedule your personal tour of our outstanding senior community you will soon be calling ........ home.

505.428.7777 | 8

PASATIEMPO I September 5 - 11, 2014

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PASATIEMPOMAGAZINE.COM

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PASATIEMPO I September 5 - 11, 2014

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2014–2015 EVENTS

17 SEPTEMBER

Alfredo Corchado with Melissa del Bosque

10 OCTOBER

Max Blumenthal with Amy Goodman

[FR I DAY]

22 OCTOBER

Alice McDermott with Michael Silverblatt

12 NOVEMBER

Ann Jones with Andrew Bacevich

10 DECEMBER

Gary Shteyngart with Mary Karr

28 JANUARY

Karen Russell with Porochista Khakpour

4 FEBRUARY

James Baldwin Tribute Evening

4 MARCH

Kevin Barry with Ethan Nosowsky

18 MARCH

Noam Chomsky with David Barsamian

8 APRIL

Ta-Nehisi Coates

15 APRIL

Wallace Shawn with Michael Silverblatt

29 APRIL

Naomi Klein with Katharine Viner

6 MAY

Claudia Rankine with Saskia Hamilton

PASATIEMPOMAGAZINE.COM

11

660-2716 1911 St Michaels Dr.

ALMOST THERE! Pottery, Painting & PARTIES! “Rainbow Serpent” by Brad Gosam

21" x 60"

Acrylic

Southern Lights • AUSTRALIAN ABORIGINAL ART Friday • September 5, 2014 Q&A with Mary Harbour • Starts @ 4pm • Reception • 5 to 7pm “Lander River Dreaming II” by Malcolm Jagamarra

66.5" x 34"

Oil

TURTLE WORLD!

400 Canyon Road • Santa Fe, NM 87501 505-983-8815 • 800-746-8815 • www.ventanafineart.com

Open 12 - 5 Sunday

Open 10 - 6 Mon - Sat

983-3900

983-4498

Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry

Pandora’s • Pranzo Italian Grill

Eidos Contemporary Jewelry • El Tesoro Café • Get It Together

Raaga Restaurant • Ristra Restaurant

Kioti • Mercedes Isabel Velarde Fine Jewelry And Art On Your Feet • On Your Little Feet • Op. cit. Bookstore

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F R E E PAR K I N G

500 Montezuma Avenue • www.sanbusco.com 12

PASATIEMPO I September 5 - 11, 2014

Rock Paper Scissor SalonSpa • Santa Fe Pens Teca Tu-A Pawsworthy Pet Emporium

SALE!

MIXED MEDIA 988-3394

DeVargas Center www.lascosascooking.com

Lattissima Plus and Pro Now on Sale September 10 – 14 Lattissima Plus Reg $399 Sale $349 Lattissima Pro Reg $599 Sale $499 ~Coffee, Espresso, Latte, and Cappuccino~ All Those Things for the Kitchen!

Unidentified daguerreotypes, circa mid19th century; courtesy Palace of the Governors Photo Archives (NMHM/DCA)

BRIDGE fair

Sunday, Sept. 7th, 1:00 to 4:00 Leonard Helman Bridge Center 3827 Thomas Road, Santa Fe, NM

LeaRN to Play Bridge or ReTURN to Bridge

Meet our teachers and enjoy refreshments For more information call Carolyn (505) 363-5892 Directions to the LHBC on www.bridgesantafe.com

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 best pizza in town on our beautiful patio and special wine selections through September.”

Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.”

Readings by phone and Skype.

30-plus years experience in NM, MN, NYC. Your chart is a map, a brilliant navigational tool.

It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.

© Jennifer Esperanza

Look but don’t touch: rare cased portraits In the early days of photography, long before cellphones enabled us to carry multiple digital images in our pockets, photographic portraits were held in small cases to be kept as loving tokens or used for protected transport from the photographer’s studio to a client’s home. Nineteenth-century photographers used chemicals to produce ambrotypes and daguerreotypes.

The daguerreotype process, which involved producing an image on reflective silver, resulted in one-of-a-kind portraits that were expensive and time-consuming to produce. A single touch could damage or tarnish the image. The midcentury introduction of ambrotypes resulted in images that could only be reproduced by photographing the original. Negatives did not exist. Ambrotypes were made by coating a glass plate with iodized collodion and then dipping it in a solution of silver nitrate and exposing it in the camera while still wet.

The Palace of the Governors Photo Archives have numerous rare cased portraits dating from this era, though their fragility prevents them from being put on long-term display. Join photo curator Daniel Kosharek at 6 p.m. on Friday, Sept. 5, for Mirror of Time: Cased Portraits From the Dawn of Photography, a one-time viewing of ambrotypes and daguerreotypes from the museum’s collection from 1839 to 1860. There is no charge for the event, which takes place in the lobby of the New Mexico History Museum (113 Lincoln Ave.). Call 505-476-5200 for more information.

— Michael Abatemarco

www.roanrobbins.com PASATIEMPOMAGAZINE.COM

13

$850.OO

I

($200.00 deposit required)

Learn more about what lives behind

A love of learning

MONDAY TUESDAY

Kevin KevinGorges Gorges 9:30 – 12:30 pm Sept.am 22-Nov. 24 (10 wks) 8 weeks $169.95 9:30 am-12:30 pm March$209.95 31 –+May tax 19 Watercolor and

Watercolor Oil Painting& Oil Lee Rommel Lee – Rommel 9:30 am 12:30 pm 23-Nov. 25 (10 wks) 8Sept. weeks $169.95 9:30 am-12:30 pm April$209.95 1 – May 20 + tax Portrait Drawing Portrait and Painting Drawing & Painting

EVENING

Figure Drawing Drawing Figure Kevin Kevin Gorges Gorges 1:30 pm –244:30 pm Sept. 22-Nov. (10 wks) 8 weeks $169.95* 1:30-4:30 pm $209.9531 + tax/model March – Mayfee19

Drawing - Beginning Drawing Beginning & Intermediate and Intermediate

IntroFigure Figure Painting Intro Painting

Michael McGuire 1:30Michael pm –McGuire 4:30 pm 23-Nov. 25 (10 wks) 8Sept. weeks $169.95 1:30-4:30 pm April$209.95 1 – May + tax 20

Kevin Kevin Gorges Gorges 6:00 pm –258:30 pm Sept. 23-Nov. (10 wks) 8 weeks $169.95* 6:00-8:30 pm April 1+ –tax/model May 20 $209.95 fee

Pastel Painting Painting Pastel James Roybal James Roybal 1:30 pm –264:30 pm Sept. 24-Nov. (10 wks) 8 weeks $169.95 1:30-4:30 pm April$209.95 2 – May + tax 21

Watercolor Oil Painting& Oil Lee Rommel 6:00 Lee pmRommel – 8:30 pm 24-Nov. 26 (10 wks) 8Sept. weeks $169.95 6:00-8:30 pm April$209.95 2 – May 21 + tax

Roberta Remy Roberta Remy 9:30 – 12:30 pm Sept.am 24-Nov. 26 (10 wks) 8 weeks $169.95* 9:30 am-12:30 pm April May 21 $209.952+–tax/model fee Watercolor & Oil Oil Painting Lee Rommel Lee – Rommel 9:30 am 12:30 pm 25-Dec.$169.95 4 (10 wks) 8 Sept. weeks 9:303am-12:30 April – Maypm22

Watercolor Watercolor Michael McGuire Michael McGuire Sept. pm 25-Dec. (10 wks) 1:30 – 44:30 pm 1:30-4:30 pm 8 weeks $169.95 + tax 22 April$209.95 3 – May

Watercolor Watercolor Mell Feltman Mell Feltman 9:30 am – 12:30 pm Sept. 25-Dec. 5 (10 wks) 7 weeks $149.95 9:30 am-12:30 pm April$209.95 4 – May + tax 23

Media MixedMixed Media collage Collage Darlene McElroy 1:30Darlene pm –McElroy 4:30 pm 25-Dec.$149.95 5 (10 wks) 7Sept. weeks pm 23 April1:30-4:30 4 – May

OilOilPainting Painting Richard Richard Guzman Guzmán 9:30 – 1:30 pm Sept.am 27-Nov. 15 (8 wks) 6 weeks $169.95 9:30 am-1:30 pm April$209.95 5 – May + tax 17

Register for Summer Register for Workshops Now! Workshops Now!

Watercolor and

$209.95 + tax

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Charcoal Landscape OilDrawing Painting

WEDNESDAY

I

SEPT 18-21

Painting and Painting andDrawing Drawing

AFTERNOON

THURSDAY

Rather than turning away in our cultural trance that denies death, we have the opportunity to face into the potential of this great initiation. Making friends and becoming skillful with the domain of death’s requirements, we open to fundamental questions of “Who am I?”, leading to our honesty of inquiry.

Still Life Life Still

FRIDAY

Our human experience is marked by impermanence and transition. Our lives are in continuous reception, disorganization and adjustment due to the passing away of forms, situations, phases and relationships.

Most assuredly, death of the body will come, for ourselves and those we love, and can come at any time.

SATURDAY

with Sanchi Reta Lawler

FALL ART CLASSES 2014

COMING FULL CIRCLE (Module I) A CONTEMPLATIVE TRAINING IN THE ART OF DYING

MORNING

8 TO 10 WEEK CLASSES

$209.95 + tax

ValdesArt Valdesart Workshops.com Workshops.com

figure req’d must haveexperience figure experience

Watercolor and

Expression through expression

Watercolor through Watercolor

Christy Christy Henspetter Henspetter 6:00 – 9:00 Sept.pm 25-Dec. 4 (9 wks)pm 8 weeks 6:00-9:00$169.95 pm April$189.95 3 – May + tax 22 * + model fee

10% Student all classes + tax enroll early Discount 10%On Student Discount Art Supplies On art Supplies

Give the Gift of Art! Gift Certificates Available!

1006 Marquez Place Santa Fe 87505

5 0 5 . 9 9 5 .18 6 0

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THEIR TRIUMPHS MADE HISTORY. THEIR TRAGEDIES MADE THEM HUMAN.

THE ROOSEVELTS A N I N T I M AT E H I S T O R Y

A FILM BY KEN BURNS

FREE SPECIAL PREVIEW SCREENING

WEDNESDAY, SEPTEMBER 10, 2014 • 7:00PM-9:00PM LENSIC PERFORMING ARTS CENTER, 211 W. SAN FRANCISCO STREET The 75-minute preview will be followed by a discussion with: • PAUL BARNES, lead producer and supervising editor of the series.

• KATHY FLYNN, Executive Director of the National and New Mexico New Deal Preservation Association.

• RICHARD MOE, author of Roosevelt’s Second Act: The Election of 1940 and the Politics of War. Gene Grant, host of New Mexico in Focus, will moderate the panel discussion.

FREE TICKETS ARE REQUIRED

Call (505) 988-1234 or visit TicketsSantaFe.org • Doors open at 6:30pm

Presented by New Mexico PBS in partnership with The Lensic Performing Arts Center

14

PASATIEMPO I September 5 - 11, 2014

(505) 982-0017 • valdesartschool@qwestoffice.net

STAR CODES

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It’s time to organize our resources and set our agenda for the fall

while Mercury, symbolizing our mental switchboard, is moving briskly forward in cooperative Libra and the sun and Venus reside in industrious Virgo. Mercury retrogrades early in October, slowing our plans and introducing complications, so let’s make hay while the sun shines and Mercury progresses.

But let’s also take care of ourselves in the process; it’s easy to feel overwhelmed by the amount and complexity of the work that needs to be done, how much our world needs, all the details that need to be attended to. The sun and Venus now in Virgo sharpen our perceptions but can make it easier to get anxious and harder to see the forest for the trees. We can be soothed by our daily spiritual practices or a moment in a hot bath at the end of a long day.

Friday begins productively, competently, and full of opinions. Go gently early next week as the full moon in Pisces brings a high tide to our heart and sensitivities. Sparks fly midweek as the moon enters feisty Aries. Mercury sextiles Jupiter on Thursday and brings in a fresh crop of possibilities.

Friday, Sept. 5: Get busy this morning and follow through on earlier ideas under the Capricorn moon. Midday meetings further this progress.

Respect concerns, but don’t let them lead. Gather with like minds as the moon enters collaborative, philosophical Aquarius tonight.

Saturday, Sept. 6: We may not be fond of discussing our personal problems but will enjoy reconnecting with familiar members of our community. Afternoon is funny, expansive, and change-oriented. Evening begins with enthusiasm but may wind down early.

Sunday, Sept. 7: After a friendly morning, conflicting priorities can raise tension as the moon squares Mars. Emotions overflow tonight as the moon enters hypersensitive Pisces; be kind or suffer the consequences.

Monday, Sept. 8: Thick dreams leave us sleepy this morning. The mood is prickly but deeply caring under a full Pisces moon; hurt feelings will not easily be forgiven. Feel the tension between high expectations and a longing for magic. Let’s be as sensitive to others as we are to ourselves.

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Wednesday, Sept. 10: Let feelings of insufficiency prompt growth rather than depression. New possibilities arise this afternoon as Mercury sextiles Jupiter. We regain resiliency, lose impulse control, and get ideas: some are wise, some are not. Sort them before acting on them.

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IN OTHER WORDS book reviews Feminism Unfinished: A Short, Surprising History of American Women’s Movements by Dorothy Sue Cobble, Linda Gordon, and Astrid Henry; Liveright Publishing/ W.W. Norton A quick rundown of the history of American feminism usually focuses on “waves.” The First Wave, in the 1920s, won women the right to vote. The Second Wave, beginning in the early 1970s, saw women fight for respect and opportunity at work, become more open about sexuality, and change many people’s thinking about division of labor in the home. The Third Wave, beginning in the early 1990s, focused on sexism entrenched in society’s power and gender constructs, took a pro-sex stance against the perceived prudery of the Second Wave, and included the concept of intersectionality — in which multiple systems or forms of oppression are at play at once. Embracing intersectionality and becoming aware of one’s class and color privilege, say many members of the Third Wave, have opened up feminism to women who had previously been excluded from a movement of middle-class white women.

But the wave-focused definitions are oversimplified.

Worse, they’re based on false premises. First, American feminism actually began in 1848, with Elizabeth Cady Stanton, Lucretia Mott, and Frederick Douglass at the Seneca Falls Convention, at which 300 attendees discussed the role of women in society. They held meetings for years after that, until they were sidetracked by the Civil War. Second, glossing over the decades between the 1930s and the 1970s as if nothing of note was happening is part of the reason feminism came to be seen by the Third Wave — as well as by critics of feminism and by the current Fourth Wave of internet-based feminists — as a movement that had never really tried to understand intersectionality.

Contrary to the generally accepted history, during the years between the Second the Third waves, some very important feminist work was done by working-class women and men, of many colors, in the name of social justice. In Feminism Unfinished: A Short, Surprising History of American Women’s Movements, authors and professors Dorothy Sue Cobble (of Rutgers University), Linda Gordon (of New York University), and Astrid Henry (of Grinnell College) make a valiant attempt to set some records straight and do away with the wave metaphor while being succinct about one of America’s most contentious and misunderstood political movements.

Their goal is to offer a new way of looking at the history of feminism while acknowledging and explaining that there is no one single and simple definition for it.

16

PASATIEMPO I September 5-11, 2014

The first section, “More than Sex Equality: Feminism After Suffrage,” by Cobble, is the most illuminating. The national Woolworth workers strike in 1937 leads to a discussion of the many social-reform organizations that were populated by women, or had committees dedicated to status of women, as well as workplace organizations like the Women’s Department of the United Auto Workers. “All too often chroniclers of women’s reform define feminist activism narrowly and assume that all-female organizations dedicated only to sex equality are the prime bearers of the feminist impulse,” Cobble writes. “Feminists in church, peace, internationalist, and consumer groups, as well as in welfare rights and other poor people’s movements also agitated for women’s rights and social reform.” Social-justice feminists were often at odds with post-suffrage feminists who had set their sights on passage of the Equal Rights Amendment.

Social-justice feminists were concerned that “equal” meant the standards would still be set by men. (Going on a century later, the ERA still has not been passed by Congress, and the idea that, in order to succeed, women must emulate men continues to characterize gender-equality standards.)

The book stumbles in the second section, “The Women’s Liberation Movement.” Though it is stuffed with good information, Gordon writes too frenetically, jumping from one idea to another. And, when speaking about consciousnessraising groups of the 1970s, she lapses into an overly personal, slightly defensive tone about their merits. It’s more like reading the notes from a spirited lecture than an academic book.

An accelerated pace makes the third section, “From a Mindset to a Movement: Feminism Since 1990,” difficult to follow as well, but that is to be expected when one tries to cover an era that includes the advent of the internet. Given that feminism is back in the public discourse in a daily way largely because of the internet, where bloggers, Tweeters, and feminists (and anti-feminists) of all kinds can instantly connect with one another, it seems a separate section about online feminism since the mid-2000s would be warranted in Feminism Unfinished.

In an effort to make their new version of feminist history “short,” the authors didn’t really include enough history. More sections, more space, and more time to allow a reader to digest information are all needed. The book sells short the very thing it’s trying to do, which is to tell the story of women’s emancipation. We’re told repeatedly by the authors that it’s a long, complicated story with many voices — and it is.

It deserves to be fleshed out to its full glory, without any impetus to make it shorter than it actually is.

— Jennifer Levin

SUBTEXTS Play on words: Emilia Phillips All poets love language, but some revel in the surprising ways words can work together — or against each other — with almost unbridled invention and energy.

In her first full-length book of poems, Signaletics, Emilia Phillips demonstrates a skillful manipulation of words that is rare for a younger poet; she also displays the dark, consumptive strangeness of a Victorian-era writer. There is more going on here than the parlor tricks of language. The poems are ripe with meaning, though there isn’t much narrative to guide you. Phillips’ fixations include crime, history, the medical body, and evocative use of pauses and enjambments in her line breaks. A vast vocabulary increases the complexity and the fun: into poems about somewhat clinical subjects she throws words like catatonia, repine, rubicund, froth, and luciferin. Phillips reads from Signaletics, as well as from some unpublished work, at 4 p.m. on Sunday, Sept. 7, at Collected Works Bookstore and Coffeehouse (202 Galisteo St., 505-988-4226).

— Jennifer Levin Willa’s women This is the 16th year for the Willa Literary Awards, given by the organization Women Writing the West and named in honor of Pulitzer Prizewinning author Willa Cather. Winners receive modest cash prizes, and all winners and finalists will be honored at Women Writing the West’s annual conference in Golden, Colorado, in October. Santa Fe resident Dawn Wink was named a finalist for a Willa in the historical-fiction category for her book Meadowlark, published by Pronghorn Press. The winner for historical fiction was Anne Lazurko for Dollybird (Coteau Books). Lesley Poling-Kempes won the contemporary-fiction prize for Bone Horses (La Alameda Press), and Marge Saiser took the poetry prize for Losing the Ring in the River (University of New Mexico Press). A complete list of winners and finalists is available at www.womenwritingthewest.org.

— J.L.

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17

a bigger, bolder, brighter

SANTA FE PLAYHOUSE

Jennifer Levin I The New Mexican

T

he Santa Fe Playhouse, founded in 1919 and incorporated in 1922, claims to be the longest continuously operating community theater west of the Mississippi River. Santa Feans of all ages, backgrounds, and theater experience have filled roles in plays ranging from Seven Keys to Baldpate by George M. Cohan, in the 1950-1951 season, to Equus by Peter Shaffer, in 1985-1986, to Bent by Martin Sherman, in 1997-1998, to Two Wives in India by Leslie Harrell Dillen, in 2010-2011. But for the many people in Santa Fe who have seen or acted in productions at the small theater on East De Vargas Street, many more in town have never heard of the place. The current board of directors at the Playhouse and some newly hired staff are out to change that.

“Think bigger, bolder, and brighter,” board president Kelly Huertas told Pasatiempo. “It’s a time of transition that needed to happen. The Playhouse is a gem, but we were going to be gone without a change. We weren’t holding our own in the community anymore.”

Huertas, whose day job is as pastry chef at El Mesón, related an anecdote about dining with friends a few years ago, just after she joined the board. She men18

PASATIEMPO I September 5-11, 2014

tioned her new position, and “this friend of mine who’d lived here almost 20 years didn’t know where the Playhouse was. That’s frightening. How can you not know where the Playhouse is?”

Actors, if they are intent on performing, always know where the community theater is, but theatergoers are another story. Despite the efforts of actors, directors, technical designers, and hundreds if not thousands of behind-the-scenes volunteers over the years, Santa Fe

In with the new: Santa Fe Playhouse managing director Peggy Laurel, technical director Patrick Briggs, and artistic director Cristina Duarte

has always had a reputation for lackluster local theater.

The Playhouse has produced six shows each season for many years, including the annual Fiesta Melodrama, now in its 93rd year, and the winners of the annual Benchwarmers playwriting competition, now entering its 14th year. In 2014-2015, the Playhouse will present 16 productions, including Macbeth — the first full-length Shakespeare play at the venue since Hamlet in 1971-1972. (Before that, there had been no Shakespeare since a 1933 production of Twelfth Night.)

As in the past, several events are co-produced with other groups, including an annual collaboration with Ironweed Productions, which this season is Arthur Miller’s Death of a Salesman.

The Playhouse has also expanded. The board has rented a new workshop space, which is larger than the entire downtown theater, in the industrial area off Richards Avenue and Cerrillos Road. The new space will be used to build sets, which have historically been built on the stage at the theater, for lack of better options.

That meant the stage was physically occupied by building materials between shows, an encumbrance that limited the theater season. The new workshop space is large enough not only for building sets but also for holding auditions, rehearsals, and private acting classes.

Private teachers pay a minimal usage fee that helps offset the cost of rent.

“It’s important for everyone to feel like they can use this space,” Huertas said.

The funding for the expansion and general improvements — which include some redecorating and renovation of the Playhouse — came from an unnamed decades-long patron, actor, and supporter who bequeathed a generous donation to the organization when he died. “It is what we now refer to as our legacy,” said Huertas. “Over the last several years, it helped us keep the lights on. After all, we are a small nonprofit that still relies on grants and funding from both private and public donors. So although the donation was not enough to sustain the theater forever, we are blessed in that it was enough to give us a strong foothold in our desire to revitalize the theater for this community.”

Three new staff members have been hired in paid positions. Peggy Laurel is managing director, Patrick Briggs is technical director, and Cristina Duarte is artistic director. Duarte has lived in Santa Fe off and on for six years and is now putting down roots here. She worked in New York for many years as an actress, appearing in recurring roles on television and the stage.

In March 2015 Duarte directs the winning entry in the Playwrights Forum, a new endeavor intended to nurture writers and new theatrical works. The deadline for submitting full-length plays for consideration is Oct. 1. (For more details, visit www.santafeplayhouse.org.) An external committee of judges will select four finalists for staged readings in November, the audience will select the ultimate winner, and the writer will work with Playhouse staff 2014 -2015 Season to develop the script for a fullFiesta Melodrama 2014 fledged production. The contest Directed by Andy Primm • Aug. 22-Sept. 7 is open to writers from inside Cabaret & The Spirit of Montmartre and outside Santa Fe. The annual Created and performed by Charles Tichenor Benchwarmers one-act playwritSept. 12-14 ing competition goes on as always The Effects of Gamma Rays on but is limited to writers from the Man-in-the-Moon Marigolds

By Paul Zindel, directed by Quinn Mander Santa Fe area.

Sept. 25-Oct.19 Apprenticeships and internQuilters ships are also on the list of new

By Molly Newman and Barbara Damashek, plans for the Playhouse. Huertas Directed by Catherine Donavon • Oct. 30 - Nov. 16 said students from Santa Fe Playwrights Forum Community College and Santa Four original staged readings • Nov. 20 -23 Fe University of Art and Design A Christmas Carol, by Charles Dickens are welcome to join the comDirected by Cristina Duarte • Dec. 11-28 munity theater for hands-on The Madwoman of Chaillot experience, as are other young

By Jean Giraudoux people interested in theater. In Directed by Barbara Hatch • Jan. 8 -Feb.1 fact, everyone in town is invited Kimberly Akimbo to participate in the goings-on

By David Lindsay-Abaire, directed by Janet Davidson, at the Santa Fe Playhouse. co-produced with For Giving Productions Feb. 12 - March 1 It doesn’t matter if it’s your Playwrights Forum first play or if you’ve acted or Original full-length work directed professionally for years.

Directed by Cristina Duarte • March 12 -22 The people at the Playhouse just Macbeth want you to participate.

By William Shakespeare “You can see the same movie Directed by Patrick Briggs & Robin Williams April 2-19 over and over, and it will never change,” Huertas said. “But New Mexico School for the Arts Young Adults Performance with theater, there are too many April 30 - May 2 human variables involved. You Julie Brett Adams Dance Performance can see the same play every May 7-10 night of a run, and every perTheater Grottesco Ensemble formance will be different, and Production directed by John Flax there will always be something May 21-June 7 new to take away with you. The Benchwarmers 14 Playhouse has an open door.

Eight original short plays • June 11-28 The more volunteers we have, Death of a Salesman the better. Come in and we’ll put

By Arthur Miller, collaboration with you to work.” ◀ Ironweed Productions

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PASATIEMPO I September 5-11, 2014

PASA REVIEWS

Music From Angel Fire (Aug. 27) Taos Center for the Arts

Late to the party A good deal of Baroque music figured on the programs of Music from Angel Fire this season, including an evening of Bach concertos, one of Vivaldi concertos, and yet another dubbed Barocco italiano. Presented at the Taos Center for the Arts on Aug. 27, the Italian Baroque sampler assembled five works from as many composers of the 17th and 18th centuries.

The first piece on the program was the earliest composed: Carlo Farina’s Capriccio stravagante, written no later than 1627 and so from the early years of the Baroque. It is a well-known example of a whimsical strand of Baroque instrumental music in which composers work surprising allusions into what at first glance look like normal, well-behaved pieces. In this case, the ensemble of strings plus continuo is called upon to render impressions of hens cackling, roosters crowing, cats meowing, and dogs barking (to cite a partial roster), all interspersed among genial dance-inspired material.

Probably it was a miscalculation for harpsichordist Robert Wolinsky to begin with a lecture-demonstration in which his colleagues, the Valkyries Quartet, played the most potent sections in advance. When they finally got around to performing the piece all the way through, its jokes were considerably less fresh. The Valkyries (students or recent grads of the Curtis Institute) brought youthful aspiration to their interpretation.

In the last several decades of the 20th century, the historical performance movement revolutionized awareness of the way in which earlier repertoire was conceived and might be played. These advances, once ghettoized within the confines of the early music movement, gradually seeped through to many mainstream performances, to the profit of all. Apparently they didn’t get the memo in Angel Fire, where it seemed as if the past 50 years of performance evolution never happened. Much of the playing was attractive, to be sure, and there was something pleasantly old-fashioned about the evening, rather like listening to old LPs of I Musici. The closing work on the concert was a case in point: Corelli’s G-minor Concerto Grosso, Op. 6, No. 8, which is resuscitated many a December thanks to its Christmas connection. Sixteen string players (plus harpsichord) gave it a hearty rendition that might be described as a romantic fantasy of Corelli.

In between came three items of a more soloistic bent. Albinoni’s D-minor Oboe Concerto spotlighted Steven Taylor, who infused the piece with admirable rhythmic point. (Violinist Ida Kavafian proved a model concertmaster here.) Taylor was one of the few performers who made an effort when it came to performance style, which he did particularly through effusive ornamentation, often inserting divisions of astonishing quickness in the phrases of the fast movements. The piece is most famous for its middle movement, a gorgeous Adagio; this too was spiced up with extensive embellishment, yielding an unaccustomed take on a thrice-familiar piece.

A Vivaldi chamber concerto for four soloists and continuo was agreeable in its Vivaldian way; special applause to bassoonist-on-the-rise Wade Coufal for his assured, colorful work. Tartini’s Devil’s Trill Sonata fared less well. Violinist Daniel Phillips crushed it into submission, but its greater opponent was cellist Keith Robinson, whose interpretation of the bass line was so dazzlingly wrongheaded that it proved mesmerizing. His every tone was enlarged by a vibrato so undulant as to seem born of an ocean wave, or perhaps a dish of Jell-O. — James M. Keller

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TERRELL’S TUNE-UP Steve Terrell

Rock hunting in Portland

These days when I go on vacation, I typically choose my destination based on what bands will be in a town when I’m there. Call me a rock ’n’ roll tourist.

This year I chose Portland, Oregon, which was host to four nights of wonderful shows by some bands I’ve wanted to see for a long time. Here’s my report.

The Afghan Whigs at the Doug Fir, Aug. 27: This band, one of my favorites of the 1990s, left us on an artistic high note at the end of the century. Their album 1965 was full of the crazy, burning, obsessive passion that characterized their greatest work.

I was skeptical earlier this year when I learned that a new version of The Afghan Whigs had risen from the rock ’n’ roll tar pits. I was so apprehensive of possible (I thought probable) disappointment that I put off checking out their new album, Do to the Beast, for nearly four months. But all my fears were for naught: the album is one of my favorites of the year. And their performance showed them full of the power and rage that made us love them in the first place.

The new songs stand proudly with the old. The best number of the evening, though, was the wild medley of a few Do to the Beast songs: “Royal Cream,” which starts out “I know you’ve been sleepin’ with another demon,” and the spooky “I Am Fire,” on which frontman Greg Dulli emphasizes the lyrics by pounding on a floor tom. Somehow this mutated into a dark take on Fleetwood Mac’s “Tusk”: “Don’t say that you love me!

Just tell me that you need me!” Dulli shouted. After 16 years or more, I almost forgot how much I needed The Afghan Whigs.

Southern Culture on the Skids at the Aladdin Theater, Aug. 28: I think band leader Rick Miller was

22

PASATIEMPO I September 5-11, 2014

wearing the same “Hillbilly Surf Club” T-shirt when I saw this group 14 years ago at Santa Fe’s Paramount club. He wears it well. Or maybe I was just having a flashback because SCotS were playing most of the same songs they played in Santa Fe all those years ago: “Banana Puddin’,” “Too Much Pork for Just One Fork,” “House of Bamboo,” “Liquored Up and Lacquered Down,” and “Nitty Gritty.” All the “hits.”

Southern Culture on the Skids celebrates all the gloriously trashy things that make America (not just the South) great: greasy food, hot rods, sex, loud and twangy guitars, tacky tiki bars, and voodoo.

Not that I’m complaining. I would have been bitterly disappointed if Mary Huff hadn’t sung “Daddy Was a Preacher but Mama Was a Go-Go Girl.” But I wouldn’t have minded if they had done a few more recent songs or more obscure older tunes.

I know I’m sounding like a finicky know-it-all critic here, and that misses the point of a Southern Culture on the Skids show. This North Carolina trio celebrates all the gloriously trashy things that make America (not just the South) great: greasy food, hot rods, sex, loud and twangy guitars, tacky tiki bars, and voodoo. Their name might evoke an image of a culture in decline — and maybe it was supposed to mean that back in the 1980s, when they started. But SCotS’ upbeat,

swampy mix of hillbilly, surf, rockabilly, exotica, and soul actually is an expression of a culture I’m proud to be part of.

Negativland at the Crystal Ballroom, Aug. 29: No, there wasn’t a guitar in sight. But this sonic-collage, multimedia, sociopolitical art collective from San Francisco is rock ’n’ roll in my book.

Negativland, well into its fourth decade as an entertainment unit, is an unlikely crew of revolutionaries.

All four members wear gray plaid shirts that might have come off the rack at Kmart. But don’t be fooled.

They are subversive.

The group took sound and video from TV news, radio talk shows, government training movies, commercials, and old educational films; chopped it up; and manipulated and distorted it on top of electronic noises and sound effects for a show the group has named Content. The result was thought provoking, funny, incomprehensible, annoying, and almost mystical — sometimes all at once.

They take all these messages that we’re bombarded with constantly — political, commercial, religious, and educational — throw them into an electronic blender, and create new, frequently hilarious art. After their Portland show, the voices of Negativland are stuck in my head.

Mission of Burma at the Doug Fir, Aug. 30: I have to admit that after four straight nights of concerts — and knowing that I had to catch a 7:35 a.m. flight the next day — I was feeling pretty burned out just before the start of MoB’s set. I even started having troubling thoughts like “Are you getting too old for this kind of thing?” But then I remembered that the members of this band are about my age. If they can be up there playing, I should be able to make it through a performance.

And indeed, from the opening guitar blast through the last chord of their final encore, “That’s When I Reach for My Revolver,” I was rejuvenated. (This feeling lasted until the alarm clock rang at 6 a.m.)

And the band was in top form as well. They roared; they soared; there was blood on their swords. Onstage were original members Roger Miller (who looks like he could be Neil Young’s tougher little brother) on guitar, Clint Conley on bass, and Peter Prescott on drums.

And somewhere offstage was longtime member Bob Weston, who does tape loops and electronic effects.

Normally classified as “post-punk” (whatever that means), the Mission sound is most like that of Hüsker Dü. Both groups released their first recordings in 1981, and both were stripped-down guitar bands playing raw, urgent music. As I’ve written before in reviewing their last few albums, since the beginning of the second phase of their career (which began about 10 years ago, following a 20-year layoff), MoB is as fiery as ever.

Some of this material first appeared on my music blog. You can read those posts at http://tinyurl.com/ rockintourist. ◀

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Star Liana York “Wisdom Keepers” Friday, September 5th ✷ 5:00 - 7:30 p.m.

Helen Hyde (American, 1868–1919), A Summer Shower, 1909. Color woodcut. Gift of Mrs. Hallie Hyde Irwin and Mr. Edwin Fraser Gillette, 1943. Currently on view in Alcove Shows 1917-1927.

FRIDAY Gallery Talk

September 12, 5:30–6:30 p.m. Artist Delilah Montoya talks about her work now showing in her exhibition Syncretism, part of the year-long “Focus on Photography” series. Free.

Granma’s Gifts

SATURDAY Film & Panel Discussion

September 13, 2 p.m. Curator of Photography Katherine Ware, artist Joyce Neimanas, and filmmaker Scott Rankin discuss the career of Neimanas, including an excerpt from Rankin’s recent film project Re Joyce. St. Francis Auditorium, free.

SUNDAY Community Conversation

125 W. Palace Avenue ✷ 505.501.6555 www.SorrelSky.com

September 14, 2–3:30 p.m. “Revolutions: Big.” The writing cooperative Cut+Paste facilitates the second in its conversations.

Participants can share a defining moment that shaped the course of their creative lives. Free with regular museum admission.

The 2014 STaniSlaw Ulam memOrial lecTUre SerieS

Seeing the Future in Our Past:

FRIDAY Presentation of the Governor’s Awards for Excellence in the Arts September 19, 5:15–7 p.m. This annual event honors the recipients of the Governor’s Awards, celebrating the state’s diverse and creative arts community. Open and free to the public.

SUNDAY Family Fun Day

September 28, 1–4 p.m. “Upstairs/Downstairs.” Explore the museum’s galleries and behind the scenes to learn how the museum works. In conjunction with the photography exhibition Cameraless, visitors can make their own solar photograph in the museum’s patio. Instruction and supplies provided. Free.

ONGOING Events & Activities

Daily: Galleries and gardens are always open for drawing (pencils only).

Wednesdays, noon: In-depth tours explore a specific artist or topic.

Sundays: The central garden patio opens at 9 a.m. for plein-air painting.

Why Archaeology Matters Tuesday and Wednesday, September 9 & 10 7:30 p.m.

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

Most people think archaeology is fascinating but irrelevant to the problems of the modern world. Jerry Sabloff begs to differ. Where archaeologists once concerned themselves with palaces, temples, and princely lifestyles, they now want to know how the common people lived.

Through the lens of the ancient Maya, he shows how lessons today’s archaeologists are learning about the past offer insights that could shape present and future human societies.

Two lectures, two nights...

Tuesday, September 9, 7:30 p.m.

Lecture I - How Insights from Archaeology Might Help Shape Our Future Wednesday, September 10, 7:30 p.m.

Lecture II - Maya Archaeology and Its Relevance to the Modern World Jeremy Sabloff, President, Santa Fe Institute SFI’s 2014 Community Lecture series is generously sponsored by Thornburg Investment Management

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PASATIEMPO I September 5 - 11, 2014

RANDOM ACTS THIS WEEK Murderous me

Page turner: Justin Furstenfeld

Put yourself in Medea’s place. There you are, married to Jason, but he has to get all indiscreet about his crush on Princess Glauce. Really, what kind of a guy would suggest that, instead of having you as his wife and her as his mistress, the situation should be reversed so she becomes his wife and you become his mistress (since she’s royalty and you’re a mere barbarian)? So you end up having anger-management issues, but who in that situation wouldn’t poison the princess? True, the king comes in contact with the poison and also dies, but that’s not your fault, right? Maybe it was going a step too far to kill the kids to spite Jason, but it’s not like you ever claimed that parenting was your strong suit. Anyway, why should you take the blame when the whole mess was Zeus’ doing? At 7 p.m. on Thursday, Sept. 11, Euripides’ Medea arrives from the National Theatre Live in HD series (with Helen McCrory in the title role) that emanates from London and screens the same day at the Lensic Performing Arts Center (211 W. San Francisco St.).

For tickets ($22), call 505-988-1234 or visit www.ticketssantafe.org. — James M. Keller

Fans of the wildly popular band Blue October can join lead singer Justin Furstenfeld for an intimate solo acoustic performance and conversation at the Jean Cocteau Cinema (418 Montezuma Ave.) on Wednesday, Sept. 10, at 7 p.m. Furstenfeld, who openly struggles with mental health challenges, including anxiety, addiction, and bipolar disorder, has written numerous songs about his troubles and wants to connect deeply with his fans at the event, called An Open Book: An Evening With Justin Furstenfeld.

Audience members at the Jean Cocteau are invited to ask him anything they want about his experiences. He also plays acoustic versions of hit songs by Blue October and a set of new acoustic tunes. An expanded third edition of Crazy Making, a book of Furstenfeld’s lyrics, handwritten notes, and personal photographs, will be on sale at the event.

Admission costs $25. Call 505-466-5528. — Jennifer Levin

Musical force of nature

Al Hurricane’s fans call him the godfather of New Mexico Hispano music and La Leyenda (The Legend). Hurricane and his son, Al Hurricane Jr., perform at Santa Fe Fiesta’s Gran Baile, an annual event of music, dancing, and colorful, historical dress. This year’s Gran Baile takes place Saturday, Sept. 6, at the Santa Fe Community Convention Center (201 W. Marcy St.), starting with mariachi music at 6 p.m. and the grand march at 7 p.m. Tickets are $20 and can be purchased at the door, online at www.ticketssantafe.org, or by calling 505-988-1234.

— Michael Abatemarco PASATIEMPOMAGAZINE.COM

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Robin Martin I The New Mexican

Archives reveal legal and lifestyle concerns of Spanish settlers

Documents include a routine petition for a livestock brand. (All images courtesty of Sunstone Press)

hat Americans wouldn’t be delighted to find a book that transcribes the very words of their ancestors, written down 300 years ago? Hispanic New Mexicans have such a treasure in Spanish Colonial Lives: Documents From the Spanish Colonial Archives of New Mexico, 1704-1774, a collection of official interviews, petitions, and legal documents from the central and northern part of the state. The locations are familiar: Santa Fe, the Pojoaque Valley, Chimayó, Santa Cruz, Taos, Albuquerque, and Belén. The names are of families that still live in those places: Garduño, Rivera, García, Romero, Torres, and Jaramillo.

Many of the documents discuss issues familiar to today’s rural New Mexicans: who has the right to use water from the acequia, whether livestock was properly paid for, disagreements between neighbors that turned physical, and right-of-way disputes over entrances and exits to property. Other issues are thankfully long forgotten: the son of a Pawnee Indian slave is accused of stealing a mule. A father indentures his ten-year-old son to a tailor in El Paso. A priest asks for a young man and his grandfather to be locked up because the grandson wore a braid in church and the older man defended him. The documents are a combination of familiar scenarios contrasted with shocking descriptions of the hardships of life in colonial New Mexico.

The English text is a fairly literal translation of the Spanish, divided into sections of related documents.

J. Richard Salazar, retired from the State Records Center and Archives, translated most of the documents.

Historian Linda Tigges wrote short recapitulations of each section, adding pertinent historical facts.

The Spanish text, which follows each English section, is a transcription of the florid, handwritten 18th-century documents. It preserves archaic grammar and old-fashioned words, a language still familiar to many older Spanish-speaking residents of this area.

For instance, in standard Spanish, vi is “I saw.” Here it is bide, a construction still used by ancianos here. With no punctuation and original spellings, the Spanish text is hard to comprehend at first, but reading it out loud (as English students do with Chaucer’s Canterbury Tales) makes it easier to understand.

What follows is an account of Juan Miguel Alvarez de Castillo, the alcalde — an official appointed by the governor — of Acoma, Laguna, and Zuni, who was attacked and wounded with his own sword near his home in the land grant of Tomé: ...que abiendo yo salido de mi casa el dia diez ocho del presente de Octubre (1743) para el Puesto de Nuestra Señora de Belen me encontre con Bernardo de Chabes el cual se puso a parlar con migo y entre barias cosas que parlamos solo procuro introducir platica a su intento de donde su pudiera seguir disturbio como dicho se segia asi desafiandome y disiendo que en buen paraje justicia y abiendo presidido estas rasones se apio y no entendiendo yo fuese con malisia necesario echo mano de mi mismo espadin el qu llebaba yo de bajo de una pierna y abiendo usado esa traysion y biendo no trae yo otra arma alguna alebosamente me dio un sintaraso en las espaldas como costara por la senal que tengo. [... Leaving from my house on the 18th of the present month of October (1743) to go to the puesto of Nuestra Señora de Belén, I met up with Bernardo de Chaves, who stopped to chat

26 26

PASATIEMPO I I September ????????? 5-11, ??-??,2014 2014 PASATIEMPO

with me, and as we talked alone, he only brought up things that he wanted to talk about that were touchy and insulting, saying that we were in a good spot to do just that.

Continuing with this issue, he got down from his horse, and [I] not realizing what his intentions were, [found that] all of a sudden he went for the small short sword [espadin] that I had strapped on the lower part of my leg. Having used this trick and being assured that I had no other weapon, he attacked me with it, hitting me quite forcefully on my back, as can be seen by the mark that was left on me.]

Don Gaspar de Mendoza, governor and captain general of New Mexico, decreed that Chaves be imprisoned and fined 20 pesos.

The legal testimony is mostly dry. Sometimes, however, the anger of the disputants is clearly transmitted over the centuries. Water disputes, as now, made people particularly angry. One took place in Fuenclara, where José Salas, his daughter Francisca, and her husband, Gregorio Jaramillo, dug an acequia from the Río Grande to irrigate their property. María Silva diverted some of the water to her garden, and Francisca complained to the alcalde that it left her family without enough to irrigate theirs. During the hearing, Jaramillo and Salas grew so angry that they swore, and the alcalde imprisoned them. Francisca Jaramillo complained to the governor about the imprisonment and her treatment by the alcalde. She accused the officials of publicly calling her a crazy whore.

Accusations of foul language weren’t limited to officials. The alcalde’s report says that he went to the Salas home to ask the family to allow the neighbor to irrigate her garden:

agua en la boca del rio y que se la echara asta mojarle el culo, y que no abian de regar aunque lo mandara el Teniente, el Alcalde y el Governador con este supuesto dise este declarante que se quite de alli. [... having gone the night before with all courtesy, requesting that they allow the water to flow through so the poor lady could irrigate. He, however, was not able to convince them, they giving numerous indecent reasons for not allowing her to do so, saying that if the said Silva wanted to irrigate she could bring the water from the mouth of the river, and then she could have all the water she wanted, even enough to wet her vagina, and that she could not irrigate even if ordered by the lieutenant, the alcalde, and the governor, telling the declarant to leave from there.]

to access their fields. The Taoseños demurred, saying they were too busy planting and had few laborers available. In 1767, the governor viewed the destruction from a mid-October flood of Santa Fe and ordered the populace to repair the damage.

These documents, especially in the original Spanish, are a window into life on the Spanish frontier. Although they relay hardships that we can hardly comprehend — hunger, deadly epidemics, bloody raids from the plains — they show that life then had many similarities to life today.

Maps, illustrations of Spanish artifacts, a glossary, and a comprehensive The documents are a index are included. The Spanish text combination of familiar is added at the end of each section, scenarios, contrasted with although it might have been better to shocking descriptions print the text with the two languages of the hardships of life across the page from each other, in colonial New Mexico. allowing the reader to compare. I would have rendered several pasAt one point while in custody, Jaramillo ordered sages differently, but overall the translation is accurate. the entire ditch to be filled with dirt. The governor This is not an easy book to read, but it is often fun fined both Jaramillo and Salas; the money was used in and illuminating. It is a must-have volume for the a remodeling project at the Palace of the Governors. libraries of descendants of New Mexico’s original These documents cover not just disputes. Accounts of European colonizers. ◀ attacks by nomadic tribes are common. Yet normal life went on: in 1752, a Santa Cruz rancher registered his brand. In the next year, the governor ordered Taos farm- “Spanish Colonial Lives: Documents From the Spanish ers to fence in their livestock so they would not damage Colonial Archives of New Mexico, 1704-1774” was Indian crops and not obstruct paths the Indians used published by Sunstone Press in 2013.

... abia ydo aquella noche antes con cortes comedimiento disiendoles a todos juntos dejaran pasar el agua para que regase aquella pobre lo que no consiguio antes si muy muchas malas rasones yndecorosas como fueron no querer por ningun protesto dejar que regara, y que se queria que regara la dicha Silva su huerta que fuera y la traxera el

An image of Santa Barbara painted by Don Bernardo Miera y Pacheco (1714-1785)

PASATIEMPOMAGAZINE.COM

27

‘Tango’

A young Franciscan poet’s 1920s Fiestas

Ellen McCracken I For The New Mexican

I

magine the excitement of Santa Fe Fiestas in the late 1920s — the dancing, the music, the costumes and balls, the parties. Over the years, many talented writers and artists have made Northern New Mexico their home, depicting its incomparable landscapes and local cultures in words and images.

In the fall of 1924, a fourteen-year-old youth named Manuel Chávez (1910-1996) left Santa Fe to enter the St. Francis Seraphic Seminary in Cincinnati, only going back home briefly during the summers of 1926 and 1928, just in time to enjoy the rich Fiesta traditions that had been recently revived by Santa Fe writers and artists. A teacher urged him to write poetry to help with his homesickness while studying at the far-off seminary. The result was “Queen of Friars Minor,” a poem that was published in 1925 in his school’s newspaper. In 1928, Chávez won the Mary Austin Prize for a poem he wrote in Spanish to honor La Conquistadora, the small willow-wood statue of the Virgin Mary that sits on a specially built throne in Santa Fe’s Cathedral Basilica of St. Francis of Assisi.

(The showpiece of each year’s Fiesta procession, La Conquistadora was brought from Spain in 1625 by Fray Alonso de Benavides and is considered the oldest Madonna figure in the U.S.) The poem was published in that year’s Fiesta program. In both 1926 and 1928, Chávez went to Fiesta as a gaucho, taking first price for his costume on one of those occasions (which of the two years is not known for certain due to conflicting documentation).

Inspired by the mixture of Spanish and Latin American cultures that pervades the Santa Fe Fiestas, Chávez, now nineteen, continued the Argentine motif of his costume in “Tango,” his Fiesta-themed poem that was published in The New Mexican in July 1929.

Chávez would shortly take his vows to enter the Franciscan novitiate, where he would renounce the world for a year of intense spiritual preparation, begin to wear the Franciscan habit, and take on a new name: Fray Angélico Chávez. But he would re-create his intense memories of the Santa Fe Fiesta in a rhythmic, almost dancing, poem that captured the special time by invoking the sounds, sights, and natural environments associated with it.

“Tango” gives us a poetic view of how Santa Fe and its surroundings dress themselves up for Fiesta. Nature

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PASATIEMPO I September 5-11, 2014

Manuel Chávez in gaucho costume, Santa Fe, New Mexico, 1926, courtesy the Archives of the Franciscan Province of St. John the Baptist of Cincinnati

is having a fiesta of its own in the great canyon, where there’s a “dancing hall” and a “midnight golden ball.”

Chávez uses the tradition of lyric poetry to capture the music and the emotions that experiencing Fiesta raise within him. The wind drumming on the poet’s windowpane with the rhythm of a fandango calls him out to the streets to see the festivities and then into the forest. Personified, the wind and the river hear the tango music and dance a fandango together.

Sadly, like Chávez himself, the river must flow on and cannot see the scene again, but the figure of the wind in the poem takes readers on to see multiple sights of Fiesta celebrations. Both the river and the wind represent aspects of Chávez himself. Like the river, the poet must move on to answer his calling, but, like the wind, he is mingled with Santa Fe, and the Fiesta will remain an unforgettable part of his identity. Chávez mixes classical motifs such as Pegasus and the goddess Diana with images of Southwest culture such as the Franciscans, Pueblo dances, Hispano music, and confetti. He pays homage to his Santa Fean writer and artist friends by way of the poem’s recurring image of the Fiesta as the “Great Salon of Night in the Canyon,” where, the poet asserts, his poem is born.

Chávez’s likening of the canyon in the moonlight to “the winged horse’s stall” makes reference to Witter Bynner’s poem “One Day When I Rode Pegasus” (1926). Bynner had taken Chávez under his wing after meeting the young poet during his summertime breaks away from the seminary.

The rhythms and images in “Tango” take us back almost 90 years, to the Fiestas of the mid-to-late 1920s. With fewer city lights, the stars that looked down on Santa Fe twinkled more brightly then. The poem invites us to hear and see the “dancing fingers” on the guitar frets and the echoes of conifers “castanetting” through the canyon. Imagine, along with Chávez, the aspens swaying, lifting their “hems of jade” and wading into the Santa Fe River “with their snowy bare legs” — “Tango” connects us to such haunting moments.

Chávez would go on to write two dozen books and more than 600 shorter pieces, becoming one of New Mexico’s most important 20th-century intellectuals.

In 1947, Chávez painstakingly researched and successfully documented La Conquistadora’s historical pedigree as a response to doubts that had arisen over her authenticity — a situation he took deeply to heart.

A year later, the University of New Mexico Press published the results of those efforts in his book Our Lady of the Conquest. In 1954, Chávez wrote and published his celebrated work, La Conquistadora: The Autobiography of an Ancient Statue, which, in highly original fashion, has the famous artifact tell her story from a first-person perspective. ◀

‘Tango’ Manuel E. Chávez (first printed in The New Mexican, July 1929)

I hear the wind upon my casement, drumming on my window pane A lilting wild fandango; And he calls me to the moonlight, by the poplar-pillared lane, Singing of enchanting ballads that the river mourns in vain, Singing of a scene of beauty that it cannot see again Singing of the charming tango.

There’s a tango, there’s a tango Where the wind and river listen; And they dance a wild fandango Where the forest colors glisten Hear the low-complaining river, How he murmurs through in vain, For he must flow down forever And not see the scene again.

But ’tis I, the wind, who’s happy, for I roam the world at will Singing ever the fandango.

With my gentle humming breath I make the forest music trill, While the dancers of the canyon sway and shudder, wave and thrill, As my mellow, merry murmurs drown the all-complaining rill— Yes, I have seen the tango.

Negative No. PA-MU-082.10

And I walk into the garden by the old adobe wall, stepping to the wild fandango, There I hear the east wind whisper of the canyon’s dancing hall, Pointing to Sangre de Cristo, where the midnight golden ball Beams upon the canyon which he calls the winged horse’s stall, Beams upon the forest tango.

“From me down to Tony (José does not exist yet.),” Chávez noted on the back of this circa 1928 family photo; below, Chávez, dressed as a Fiesta gaucho, poses with Brother Juniper Pappe in 1926; both images courtesy Palace of the Governors Photo Archives (NMHM/DCA)

They’ve hung the lantern on the night, a golden light, Diana’s light And gilt the valley golden bright within the forest canyon.

Confetti flakes and streamers gay are sparkling on the Milky Way And twinkling over Santa Fe with silver from the canyon.

The aspens lift their hems of jade and twinkling discs of silver braid.

And with their snowy bare legs wade the river in the canyon.

Above the hall’s mosaic stones the graceful pine tree shakes her cones And dances to the forest tones, castanetting through the canyon.

The steel strings strum to the tripping thrum Of the castanets and slippers as they go and come, To their rapping, tapping clapping and their measured mellow drum, For there’s swaying dreamy rhythm with the sharp staccato from The Great Salon of the Night in the Canyon.

The turquoise-tinseled junipers in waving blurs wave to the firs, The castanetting conifers re-echo thru the canyon.

The jaded spruce and cedar swoon and lean their heads upon the moon, While the moonlight floods the trees with noon within the dreamy canyon.

I have seen the people dancing for the rain in Cochiti, Saw them in Santo Domingo, Saw the tireless, springing pumping of the feather-banded knee And the shaking fox-skin swinging to its dull monotony; Saw the many, many dancers in a heaving umber sea, But this was not a tango.

Negative No. PA-MU-082.08

The steel strings strum to the tripping thrum Of the castanets and slippers as they go and come; To their rapping, tapping clapping and their measured mellow drum, For there’s swaying dreamy rhythm with the sharp staccato from The Great Salon of Night in the Canyon.

continued on Page 30

PASATIEMPOMAGAZINE.COM

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‘Tango,’ continued from Page 29 Santa Clara, where the pottery is black like bowling balls, Has her yearly fandango; There the dancers slowly amble, as the drum-beat deeply falls, With the sway of bobbing bison heads and living deerskin dolls, With the dipping of the antlers as the line in circles crawls— Yet, this is not a tango.

Negative No. 117680

For upon the lofty Moqui you might hear some day, by chance, A primitive fandango; You will feel the measured drum-beats and the steady thudding prance, As the priests, with snakes mouth-laden, in a squirming train advance, Writhing, rattling to the rhythm of the chanting and the dance, Still, this is not a tango.

Long ago I bore a melody upon the desert sand; It was no gay fandango; Grey-robed Padres plodding onward with a cross upon their hand, Singing, chanting forth a music that was solemn, deep, and grand; And though sweeter, grander music has not come upon this land, It was no happy tango.

You have heard the glad, loud clapping of the chuckling castanets In a Fiesta-time fandango You have seen the dancing fingers step the strings upon the frets, With a pair of lightning lashes ’neath the trembling tambourettes Lightly flashing playful messages of mutual loves and threats— Yes, this they called a tango.

You have seen the ancient Villa dressed in red and yellow-gold For the Fiesta-time fandango And have seen me blow mantillas that the señoritas hold, Like the wind-swept colored butterflies before the breezes bold, Fluttering o’er scarlet tulips on a field of marigold— You thought it was a tango.

There’s a tango, there’s a tango Where the wind and river listen; And they dance a wild fandango Where the forest colors glisten

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PASATIEMPO I September 5-11, 2014

Negative No. 154998

The thirsty throstle whistles on the rustling thistle stocks A harsh and thin fandango; And the gray-green little lizards leap and dart among the rocks, Through the sheaves of silver sagebrush and the golden grassy shocks, While the pink bells ring in rhythm on the swinging hollyhocks— But this is not a tango.

Hear the low-complaining river, How he murmurs through in vain, For he must flow down forever And not see that scene again.

But ’tis I, the wind, who’s happy, for I roam the world at will, Singing ever the fandango.

Now I hasten to the canyon, for the pines have not their fill, Nor the wading, white-legged aspens in the murmuring mountain rill— See! Around the golden lantern the confetti’s flying still O’er the happy forest tango!

The steel strings strum to the tripping thrum Of the castanets and slippers as they go and come; To their rapping, tapping clapping and their measured mellow drum, For there’s swaying dreamy rhythm with the sharp staccato from The Great Salon of Night in the Canyon.

Dancers perform in the Palace of the Governors courtyard during Fiesta, 1919; photo Wesley Bradfield Top, Fiesta participants in front of the Museum of Fine Arts, Santa Fe, circa 1925-1945; photo T. Harmon Parkhurst Images courtesy Palace of the Governors Photo Archives (NMHM/DCA)

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Mexican Arts Show & Sale

Saturday September 6 8AM–5PM & Sunday September 7 8AM–3PM Petroglyph National Monument Unser Boulevard & Western Trail NW Albuquerque, NM 87120 The Petroglyph National Monument Store is operated by Western National Parks Association, a nonprofit education partner of the National Park Service.

Your tax-free purchases help support national parks across the West For more information, call 505-899-0205 or go to wnpa.org

FREE FIRST FRIDAY TALK “Mirror of Time: Cased Portraits from the Dawn of Photography” Friday, September 5, 6 pm History Museum Lobby

Join Photo Curator Daniel Kosharek for a rare glimpse of cased photographs—precious 19th-century daguerreotypes and ambrotypes whose fragile composition generally bars them from public display.

Admission to the museum is free from 5–8 pm.

Featuring a variety of Mata Ortiz pottery, Oaxacan wood carvings, and Zapotec rugs. Master potters Baudel Lopez and Ruben Rodriguez demonstrate. Mata Ortiz pottery has roots in prehistoric Paquimé pottery and is world-renowned for its quality and precision.

PASATIEMPOMAGAZINE.COM

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B

Paul Weideman I The New Mexican

Los Alamos revels in a week of geek

iofeedback video games, moon observations with Bandelier National Monument rangers, a talk by a space shuttle astronaut, a geeky costume contest, and a lecture by scientist Cathy Wilson on “Climate Impacts and Feedbacks in the Arctic Ecosystems.” Where else but Los Alamos would you find such a diverse —but always sciential — offering at a community event? They’re part of the Los Alamos ScienceFest, which runs Friday, Sept. 5, through Sept. 13 on the Hill. The festival also features conservation activities for kids, demos on quantum dots, and a BMW i3 electric car.

Art’s happening in the Sec Sandoval Chalk Walk and the Parade of Painted Fire Hydrants.

The Los Alamos Historical Museum shows Early Photographs of Berlyn Brixner. Brixner (1911 to 2009) gained renown as chief of the photography team assigned to record the Trinity nuclear detonation at White Sands and as an innovator of high-speed photography.

This exhibit focuses on his earlier work photographing the village of Cordova and its famous woodcarvers. Over at Mesa Public Library is an exhibition of artist Evelyn Rosenberg’s detonography art: she uses explosives in the creation of her metal sculptures.

Los Alamos ScienceFest was conceived in 2007 and has grown into a nine-day event. “The variety of programming helps highlight the role of science in everyday life and encourages continuous learning in the fields of science, technology, engineering, and math,” said Suzette Fox, executive director of Los Alamos MainStreet. That organization facilitates the event in partnership with Los Alamos County and the Creative District — a state-sponsored economic development initiative that aims to capitalize on arts and cultural assets in communities that participate.

The whole schedule is available onine at www.losalamossciencefest.com, but here’s some more motivation: a “News From Mars” talk with Roger Wiens, leader of the Mars laser team; quadcopter demonstrations; tours of Los Alamos’ solar-powered transfer station and a 1-megawatt solar array; an open house at the Jemez Mountain Herbarium; presentations on “The Art and Science of Green Chile” and “The Fate of the Río Grande Cutthroat Trout”; and talks and workshops on sea-level rise, biofuels, geodesic domes, fractals, and augmented reality. Concerts by Whitewater Ramble, DK & the Affordables, Ryan Finn, and the Squash Blossom Boys round out the schedule.

RocketDay is celebrated in White Rock on Saturday, Sept. 6, with the firing of 270 rockets.

Girl Scout Troop 116 sponsors this tribute to the approximately 270 rockets launched in the last half-century by Los Alamos National Laboratory to transport scientific instruments into outer space. The dozen seventh-graders are earning their Girl Scout Silver Awards with the activity.

O

R O C K E T

M A N

n hand for RocketDay is former of what’s really out there, ranging from astronaut John L. Phillips. Born in the upper atmosphere of Earth out to the Virginia, he grew up in Scottsdale, sun. At Los Alamos, we built instruments Arizona. He earned his Bachelor and flew them on a variety of spacecraft. of Science degree in mathematics Pasa: Instruments to measure what, and a commission from the U.S. exactly?

Naval Academy (second in a class Phillips: Our instruments measured of 906) in 1972 and went on to atomic particles in space. One was solar get his master’s degree and his wind. That’s the ionized gas that comes doctorate in geophysics and space from the sun constantly. We measured physics at UCLA. He flew the A-7 Corsair and that, and we also measured the particles later the CT-39 Sabreliner, logging more in the radiation belts around Earth. than 4,500 hours and making 250 aircraftPasa: What are the practical applications carrier landings. of that work?

After completing his doctorate in 1987, he Phillips: We’ve basically built up an received an Oppenheimer Fellowship at Los understanding of the space environment Alamos National Laboratory. After nine years of the sun and Earth and the other planets. at the lab, he was selected by the National That helps you design spacecraft that are Aeronautics and Space Administration and resistant to radiation and helps you forebegan astronaut training. He served on the John L. Phillips, NASA’s International Space Station science officer and flight cast space weather events that can affect space shuttle Endeavor during a 12-day engineer, right, with cosmonaut Sergei K. Krikalev in the Destiny laboratory aboard spacecraft and electrical power supplies mission to the International Space Station the space station; top, the space station seen from space shuttle Discovery. on Earth. in the spring of 2001. Four years later, Soyuz Pasa: The space station seems so vulTMA-6 took him back to the station, where nerable. It’s all gangly and doesn’t have he served for six months as science officer and flight engi- Pasatiempo: What’s it like blasting out into space? shields like in Star Trek. neer. In March 2009, Phillips flew to the ISS on space shuttle John Phillips: It’s great fun. For me it was a culmination, Phillips: There’s not a lot of shielding, but the space station’s Discovery, where he deployed a robotic arm to install the S6 something I had wanted to do for a very long time. I had shield is the same that’s shielding you and me right now: truss, part of the station’s “backbone.” been interested ever since the first manned space flight just Earth’s magnetic field. The station is only 240 miles up. It’s Phillips talks about “Heavy Lifting in Space: Building before my 10th birthday. one one-thousandth of the way to the moon. You do get an the International Space Station” at the Bradbury Science Pasa: You were a Navy pilot, and then you worked at Los elevated radiation dose if you spend six months in space, but Museum on Sunday, Sept. 7. Pasatiempo called Phillips at his Alamos. What did you do at the lab? it’s not life-threatening. home in northern Idaho, where he has lived since he retired Phillips: I began as a postdoctoral fellow; then I was on staff. continued on Page 34 from NASA three years ago.

My emphasis was space plasma physics, which is the physics PASATIEMPOMAGAZINE.COM

33

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Pasa: In a sense, it’s profoundly unnatural to be in outer space. Have you had any long-term impacts from being out there all those months?

Phillips: I have. I lost part of my eyesight. My distance vision changed when I was in space. I launched into space with 20/20 vision, and when we landed six months later, it was 20/100 and then it bounced back to 20/50, which is what I have nine years later. The vision effect was a surprise, and it’s a fairly high priority for NASA doctors. It probably has to do with the redistribution of fluids. Now they have instruments on the ISS to do eyeball diagnostics. They also have these eyeglasses that are perfectly round, like Harry Potter glasses, with a variable refraction; they’re kind of cool.

Pasa: Who built the space station?

Phillips: An international partnership: the United States, Russia, Japan, Canada, and the European Space Agency. We built the station primarily through the use of the space shuttles, their robot arms, and space walks. We put together a lot of things that had never been put together on a factory floor. It was a big deal. It took us 12 years to build the station. It’s complete now. I think it’s kind of fascinating how we did it. I was up there twice to help build the space station and once to live on it.

Pasa: What did you do up there for six months? That’s a long time.

Phillips: When I was up there, it was the year after the Columbia accident.

Space shuttles were not flying, and our ability to take supplies up to the station was curtailed, so we went to a crew of two. There are six on the space station now, but there were only two of us then, so it was almost a full-time job just doing maintenance, keeping the thing running, and just a small amount of time doing scientific research.

Pasa: How often did you communicate with Earth?

Phillips: We had almost continuous communication by radio. There were some gaps. For example, after Hurricane Rita, mission control at Houston was shut down for a time, but we could still talk to mission control in Moscow. And we also had video communication with our families once a week.

Pasa: It’s a shame the shuttle program has ended.

Phillips: That decision was made by President [George W.] Bush in 2004. He basically said when we’re through building out the space station, we’re going to retire the shuttle. I think it was a good decision. We flew 135 missions in 30 years, and we lost two shuttles. I think it was about time to shut down that operation, largely to free funding for whatever the next big thing is.

Pasa: What will be the next big thing?

Phillips: Very good question. Unfortunately the executive and legislative branches are having a hard time agreeing. If it were my decision, it would be a long-term base on the moon. Right now NASA is saying they want to do a mission to an asteroid. Everybody always wants to go to Mars, but it’s a long way off. It’s easier if you don’t come back, and there are entrepreneurs in the Netherlands who are trying to organize a one-way trip. They call their astronauts colonists.

Pasa: What will you be doing on RocketDay for this ScienceFest?

Phillips: I’ll just be there to meet the kids and talk to the guests and enjoy it all. I have very little experience with small rockets. I’ve never built a model rocket in my life. Hopefully, they’ll have me push the buttons on some rockets.

— P.W.

details ▼ Los Alamos ScienceFest ▼ Friday, Sept. 5, through Sept. 13 ▼ Various locations in Los Alamos County ▼ 505-661-4844, www.losalamossciencefest.com

34

PASATIEMPO I September 5-11, 2014

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35

Jennifer Levin I The New Mexican

VIOLENT FEMMES

A

ccording to David Huron, who researches and teaches about music cognition at Ohio State University, people are greatly nostalgic for the music they listened to between the ages of 12 and 22. This is tied to production of the hormone oxytocin, which we pump out most copiously at age 16. That our strong affection for the music of our high school days is based in science is good information to hand your kids when they tease you for jamming out to the old songs you still know every word to — along with every pause and strange intonation.

When I’m out walking I strut my stuff and I’m so strung out.

I’m high as a kite, I just might stop to check you out.

Let me go o-on like a blister in the sun.

Let me go o-o-o-on, big hands I know you’re the one.

So sang the Violent Femmes in “Blister in the Sun,” the best-known song from the groundbreaking band’s debut self-titled 1983 album. Violent Femmes — and, arguably, Hallowed Ground in 1984 — was part of the soundtrack to the lives of most punk-rock teenagers (and many an older punk) in America between the mid-1980s and the early ’90s. On Thursday, Sept. 11, 36

PASATIEMPO I September 5-11, 2014

the Violent Femmes play at the Sol Santa Fe stage. The group is touring to honor the 30-year anniversary of the release of their first album. While the concert isn’t a song-for-song performance of that record, as the Pixies’ Doolittle tour was, they will play all the old standards. Lead singer Gordon Gano and bassist Brian Ritchie tour with former Dresden Dolls drummer Brian Viglione as well as a large horn section.

Lori McDaniel, owner of two Santa Fe businesses — The Beauty Shop and Harmonic Mind & Soul, a hypnotherapy practice — grew up in Flint, Michigan, and graduated from high school in 1993. She plans to take her 8-year-old daughter to the show. McDaniel has been playing the Femmes for her all summer in preparation, and a few weeks ago her daughter began singing along. “It’s on a school night, so we’ll leave early if she gets tired,” McDaniel said.

Out of all the bands McDaniel has seen, she’s never seen the Violent Femmes, even though she and her girlfriends used to drive all over Flint blasting the cassette tape in her car. “We knew all the lyrics. When a certain song came on, we’d say it was about this guy or that guy. All through high school it was just one of those go-to albums — every house you went to, every party.”

Back then, McDaniel’s hair was shaved on one side and dyed Fire Engine Red with Manic Panic hair color.

One reason the Femmes’ first album became so popular among punk-rock and pre-grunge teenagers is that Gano was still in high school, in Milwaukee, Wisconsin, when the band formed and he wrote the songs. (The other members were in their 20s.) The sort of sex-starved and dejected tone of the songs came from pure teen angst rather than from grown-up reflection on that kind of all-consuming hormonal pathos or from clinical depression. With adult hindsight, many of the songs seem more serious now than they did back then, but the music is as raw and catchy as ever, creating the perfect tension between the charged sadness of teen emotion and the thrill of listening to music that not everyone gets.

“This is probably an amalgam of memories, but when I think of the Violent Femmes I think of driving in a car in Los Angeles, where I grew up, stuck in traffic, and being really excited when ‘Blister in the Sun’ came on K-Rock,” said Christian Nardi, 42, owner of Bee Hive bookstore. “This was a zillion years ago, and [KROQ-FM 106.7] was the first ‘alternative’ radio station. It was very cool that it wasn’t classic rock. The Violent Femmes were the epitome of cool. Listening to them and singing along was like contact-cool.”

Gina Hart, 53, a makeup artist at Cos Bar who moved to Santa Fe in July, was also in L.A. in the 1980s, where

she was just starting out in her career. “I was wearing cowboy boots and Betsey Johnson dresses, doing makeup for films, and going to school. The Femmes were part of that whole time in my 20s and early 30s,” she said.

Unlike some bands from that time, the Violent Femmes have staying power. It’s not just Generation X nostalgia: the band with the appealingly whiny lead singer remains a favorite among the kind of artsy and rebellious youth who pride themselves on knowing the history of alternative, indie music.

“They’re timeless,” said Phil Stafford, 23, a bartender at the Matador.

“My aunt saw them when they were first starting out, and they didn’t have a drum kit yet, so they just hit plastic bottles together. Everyone knows ‘Blister in the Sun.’ I used to work at Sage [Bakehouse]. All the bakers were from Guatemala, and when ‘Blister in the Sun’ came on, they all knew all the words and all screamed along.”

Part of the Femmes’ story is that they didn’t really know how to play their instruments when they first started out — hence the anecdotes about banging plastic bottles — but Jon Bowman, 59, programmer of the Jean Cocteau Cinema, doesn’t believe it. “That’s one of those things they say to pump up their mystique, but I don’t buy that. When Violent Femmes came out, it was really different and catchy. It was the first time I’d ever heard something that snarling that had a rhythm and harmonies to it. The first stuff they did was simple, but by their third or fourth album, they were doing some things that were rather complex and orchestral.”

Unfortunately, the band never again captured the magic of that debut, though they recorded numerous albums. Hallowed Ground has a following, but many people mistake the foray into old-timey religious folk music for an embrace of Christian rock. “That wasn’t Christian rock, no,” Bowman clarified.

Molly Boyle, 32, who works at Op.cit. Books and teaches writing at Santa Fe University of Art and Design, remembers the songs from Hallowed Ground from driving in the car with her father, especially the first track, “Country Death Song.” “There was this murder ballad about taking your lovely daughter and pushing her in a well,” she said. “I was probably like 6 years old when I became aware that my dad was playing a song about murdering your daughter, but I really liked the song so it didn’t make a difference to me.” Boyle also recalled a poignant scene in the 1990s television show My So-Called Life, in which the protagonist, Angela Chase (played by Claire Danes), dances around her bedroom to “Blister in the Sun” when she realizes she’s over her obsession with Jordan Catalano (Jared Leto). “It was a good scene,” Boyle said.

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O N , K C O R N A I T S I R T H A T W A S N’T C- - -HJo n B ow m an Melissa Dominguez, an artist and jeweler in her mid-40s, associates the Violent Femmes with sitting with her friends outside the fine arts building at Santa Fe High School. “That was our whole thing — sitting out there, listening to our music loud on our little boomboxes and being rebellious,” she said. “We listened to a lot of punk and New Wave. Duran Duran — we girls liked our Duran Duran — and the Sex Pistols, and The English Beat.

But that whole first Femmes album was iconic, and the second one, too.

That was one of our main bands that we listened to all the time.” ◀

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37

Michael Abatemarco I The New Mexican

Custom-made THE HUTTERITES,

a communal branch of Anabaptists, trace their origins to the 16th-century Radical Reformation in Europe. Hutterite communities in the United States today shun many of the modern conveniences and technologies available to most Americans, including photography.

When photographer Laura Wilson first went out to take pictures in Montana’s Hutterite communities, she faced an uneasy welcome. “It was very difficult,” Wilson told Pasatiempo. “They were fine with me coming to say hello, pay a little visit, but they didn’t allow photography. I wasn’t going to take pictures without permission.

It took me a number of visits. I only went to the colonies that were the most conservative. There are several groups that have split off because they have not wanted to follow the strict ways of the Hutterites. I was interested in those colonies that were healthy and surviving and vigorous, both economically and spiritually.”

Wilson, a former assistant to portrait photographer Richard Avedon, approaches her subjects as a photojournalist, fascinated by tradition and unusual expressions of culture. Her photographs of Hutterite communities are on exhibit at Peters Projects, in the former location of Gerald Peters’ Gallery. Her show is concurrent with an exhibit of new paintings

by Suzanne Caporael.

“I would go to Montana for a week or two at a time,” said Wilson. “When I was visiting the Hutterites from 1985 to 2000, they were very much removed from the world. They were so successful in their own way of life, and because of that they kept me at arm’s length. It’s very hard to find something that hasn’t been photographed before. But right in the middle of the American West is a group of people who have never been photographed. Finally, they agreed. I always had to speak to the minister. You can imagine coming into a community of a hundred people with a camera, how much chaos that would cause.”

Wilson’s Hutterite images, shot in black and white, seem a throwback to the 19th century. Some works in the series, originally published in her book Hutterites 38

PASATIEMPO I September 5-11, 2014

Laura Wilson’s intimate views

of Montana (Yale University Press, 2000), are candid.

Others are more formal. The Hutterites are farmers and ranchers who make their living selling livestock and crops to outside markets. “They have no TV, no radio, no music. But they do have advanced farm and agricultural equipment to harvest crops and milking equipment in dairy barns. Because they’re successful farmers and ranchers, they’re able to afford equipment that a single farmer might not be able to afford. That way they keep their workforce — young boys and girls — occupied.”

Hutterites migrated to North America in the 1870s, settling primarily in Canadian provinces and in the Dakotas. About 50 Hutterite communities live in Montana. During World War I, Hutterite communities were criticized for their pacifist beliefs, which they’ve held throughout their history. They also believe in the

separation of church and state and regard all property as common goods. “There are three groups [descended from Anabaptists in North America]: the Amish, the Mennonites, and the Hutterites,” said Wilson. “But of the three groups, the Hutterites are the most removed from the world.

They have a spiritual leader who is the minister, and he has assistants, and they have an agricultural boss, a farm boss. It’s the spiritual leader who is the head of the colony. It’s very democratic. The men are chosen to be leaders, but the women are very strong, and they’re not at all second-class citizens. It was a remarkable opportunity I had to become accepted in the community and take these pictures. I do go back, and it’s a happy experience, because I’ve known many of them from birth, and now they’re grown up and have their own families.”

A second series of images includes shots Wilson took on movie sets, a number of them from Wes Anderson’s Bottle Rocket (1996), a film that stars her sons Luke and Owen Wilson, and from The Darjeeling Limited (2007), which also features Owen Wilson along with Adrien Brody and Jason Schwartzman in a story about three brothers attempting to bond on a cross-country train excursion through India after the death of their father. Wilson’s photographs capture cast and crew during filming with a documentarian’s approach. Wilson brings out the warmth in her subjects. We see tenderness in her son’s eyes and good humor in the smiles of his Indian cast mates in her photograph Owen Wilson With Extras, “The Darjeeling Limited.” Shots of children in the Hutterite series are similarly tender and rugged at the same time.

Another body of work in the exhibit returns to the theme of a small regional society defined by custom.

Each year in February, residents of Laredo, Texas, participate in the Washington’s Birthday Celebration, a festival dating back more than a century. As part of the event, young women make their debuts at a Colonial Pageant and Ball sponsored by the Society of Martha Washington. “It’s the parents presenting their daughters to the community. I think they’re generally freshmen in college at that age.”

The fanciful hoop skirts worn by the debutantes, some of which take months to make, are interesting in themselves, but Wilson is even more interested in things like how her subjects manage to move about in such garments. “The dresses are so heavy and so big in circumference that the girls can’t ride in a car or van, so they go to the cotillion in those long-distance moving vans.” One image depicts this mode of transport. Others show how numerous attendants are required to help dress the young women, whose presentation at the ball was originally intended to introduce the daughters of upper-class families to eligible bachelors.

Like the Hutterite series, the debutante photographs are candid glimpses into a world removed from the mainstream, which are shot in black and white as well.

“The debutantes are also remote, and in a way removed, because border life is quite different from, say, living in Santa Fe or Dallas. It’s its own separate world, and this is a phenomenon within this world.” ◀

details ▼ Laura Wilson: Photographs ▼ Exhibit through Sept. 27 ▼ Peters Projects, 1011 Paseo de Peralta, 505-954-5800

Laura Wilson: Owen Wilson With Extras, “The Darjeeling Limited,” 2007, ink jet print Top, Debutante With Her Maids, 1994, gelatin silver print Opposite page, Hutterite Boy With Coyote, 1996, gelatin silver print

PASATIEMPOMAGAZINE.COM

39

Michael Abatemarco I The New Mexican

Ways upon ways of seeing

O

Suzanne Caporael’s paintings

Suzanne Caporael: 621 (Red Pitcher/Can), 2011, oil on linen; top, 631 (Newton’s Bucket 2), 2012, oil on linen

40

PASATIEMPO I September 5-11, 2014

stensibly, the paintings of Suzanne Caporael, on view at Peters Projects, are abstract. But one hesitates to say they are nonobjective.

Judging from their titles — some taken from place names — her works could be a conceptual consideration of locations Caporael has visited. There are abstracted, figurative elements in the paintings, but they are seldom explicit enough to be definable or recognizable as something specific. “Everything is abstracted, nothing is nonobjective, and everything is conceptual,” Caporael told Pasatiempo. “[Curator Ylise Kessler] has chosen to display paintings from two different bodies of work, so I should first tell you that the most consistent factor in my work is the approach and the resolution. Curiosity has driven me to become my own teacher and my own student.”

The older paintings in the exhibit are from Caporael’s Road Work series. Over a six-year period that began in 2006, Caporael took several road trips around the United States. “In that group of paintings, place was important as an observation of collective endeavor — how people shaped and named a place for themselves where there had only been nature.”

The color palette, developed specifically for that series, was taken, in part, from color swatches used in corporate marketing. “The studies for those were made during the trips by collaging cut-out ads from The New York Times, surprisingly available in even the most remote places,” she said. “I used my cellphone to photograph the collages, which later served as source material for the paintings.”

More recent compositions in the exhibit, selected from a body of work called Seeing Things, are inspired by Caporael’s explorations into the nature of seeing. “My interest in the hierarchical eye/brain mechanics — there are several wonderful books and articles on the subject, for example, those by Semir Zeki [a cognitive neurologist who teaches neuroesthetics at University College London] and Alva Noë [a philosophy professor at University of California-Berkeley] — evolved into a wider view that included memory, imagination, and reconstruction as necessary parts of seeing.” The underlying premise is that how we see is shaped by experience as well as through direct observation. In other words, what we see is not necessarily what’s actually there. “The brain is only interested in obtaining knowledge about those permanent, essential, or characteristic properties of objects and surfaces that allows it to categorise them,” Zeki has written. “But the

information reaching the brain from these surfaces and objects are in continual flux.”

There are implications for art in these findings, particularly for art that purports to be abstract. Seeing is itself a means of abstracting, but it’s also a means of filling in the information the brain needs to process what’s happening in our surroundings. “You ‘see’ a chair, even when part of it might be hidden by a tablecloth, because you have in the past fully seen a chair,” explained Caporael. “We do recognize quite a lot with very little prompting.

We instantly know a stop sign without its color or its wording.” None of this is to say that viewers need to examine Caporael’s paintings for visual cues that suggest larger constructs.

But her paintings do suggest that their associated mental images — that is, the images from memory and experience — while abstracted, are not incomplete.

Whether or not one considers Caporael’s painting titled 631 (Newton’s Bucket 2) a reductive treatment of its subject, it does extend its own particular integrity to the viewer. Though its title holds a specific reference (Newton’s bucket experiments dealing with motion and rest in relation to absolute space), it isn’t necessary to be aware of Newton’s argument in order to understand or appreciate the work. The act of seeing, as described above, implies that our individual associations are brought to bear. What we see and how we see it are essentially subjective.

Caporael’s paintings deal with reductive elements that can broaden or narrow the viewer’s associations and the degree to which a painting is regarded as abstract or figurative. To give an example, Caporael’s composition 621 (Red Pitcher/Can) is, on the surface, a rendering of a cylindrical item, but the cylindrical shape is merely suggested by two carefully placed linear elements: a curving line near the top of the red can and an echoing second line near the bottom.

Without those simple curves, the central image of the painting, the red pitcher/can, is simply a rectangle. Its state of being cylindrical is a perceptual illusion. “The shifting back and forth, the broadening and narrowing of reference, is deliberate,” writes Caporael.

“It makes the viewer the context, gives the beholder his share.” ◀

details ▼ Suzanne Caporael: Recent Paintings ▼ Exhibit through Sept. 27 ▼ Peters Projects, 1011 Paseo de Peralta, 505-954-5800

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41

Iris McLister I For The New Mexican

IMMORTAL

BELOVED

Nature,according to artist Florence Miller Pierce

A

Florence Miller Pierce: Spire, 1985, resin relief Top, Peak, 1983, resin relief

42

mber, a resin first secreted by trees, then fossilized over millions of years, sometimes traps little bits of bark and bugs as it hardens. The precious substance is valued for its golden color, its ability to absorb light, and its tiny encapsulated bubbles. A sort of geological time capsule, amber contains ancient moments of activity and life.

Certainly those pieces of amber with insects caught within are the most fascinating of their kind: how marvelous it is that a mosquito or ant (unfortunate though it might have been to succumb in that instant of entrapment) could be immortalized in such an ethereal, otherworldly shrine!

The art of Florence Miller Pierce (1918-2007) has often been described as Zen-like, meditative, even spiritually preoccupied.

Such attempts to put words to her works can seem flimsy, frustratingly vague, and not even able to fully explain the weighty legacy of such an artist. Before moving to New Mexico in the late 1940s, the Washington, D.C.-born artist headed to Taos at eighteen years old to study with Emil Bisttram, who has become synonymous with the Transcendental Painting Group he helped found in 1938.

The group’s psychedelic, obscurely spiritual paintings would influence Miller Pierce’s artistic approach, but her work departs from that of its other members (Miller Pierce was briefly among its numbers) in almost every other way. The artist’s own brand of minimalism didn’t really come into its own until the late ’60s, when she began experimenting with poured resin.

In the Light, Charlotte Jackson Fine Art’s 13th solo exhibition featuring Miller Pierce, includes a handful of the shaped resin panels for which she is best known. To create them, the artist applied layers of tinted or clear fiberglass resin over mirrorbacked Plexiglas. Before it hardened, she would press parchment paper into the surface to make subtle ripples and grooves.

Subsequent pours of resin built the surface up to a waxy neartranslucency, which Miller Pierce would further manipulate with applications of vellum. This process substantially dulls the reflective qualities of the works’ underlying Plexiglas base, creating a buried luminosity.

It can be tricky to attempt an understanding of these works by studying print reproductions — or even high-resolution digital

PASATIEMPO I September 5-11, 2014

images, for that matter. Without the opportunity to witness them in person, a viewer does not see their peculiarly trapped light, which is muted, blunted, all but snuffed out. Miller Pierce’s deliberate obfuscation of her base material’s mirrored surfaces perverts any chance it might have of doing what a reflective thing is supposed to — that is, grab and project another thing’s light or likeness. This is a wonderfully recalcitrant state of affairs that is most decidedly not of the “contemplative” or “quiet” temperament the artist’s output is so frequently associated with.

An untitled wedge-shaped piece from 1985 is modest and secretive, containing a light that’s shimmery but chilled. Jutting off its right border is a darkened, dappled bump: a growth, whose wet sheen suggests a section of organ or tissue. 1985’s Spire, a wrinkled, narrowly tapered column, stands 8 feet high.

In person it looks rippled and animated; it’s easy to think that whatever lurks within it is wriggling. Untitled 1986 looks like a frozen pond: opaque, milky, viscous, something stilled and cold.

It’s almost confrontational in its absence of motive or structure, yet it seems as steady and solid as a rock. It contains two circles that are smooshed together. The resemblance is to a cell stuck forever in the middle of dividing — if inanimate objects had cells. Its luminosity feels stunted rather than contained: looking at it means looking into it, as if one were searching for something living beneath an icy surface of frozen water.

The art of Florence Pierce is determinedly minimalist, but to equate it with contemplativeness or simplicity is inadequate and does nothing to describe the blunt physicality and aggressive presence of these bizarre compositions. Above all, they are armored and disciplined, with the entrapped pieces inside so intentionally obscured — so rigorously private — that they leave much more for us to imagine about them than any prehistoric insects in amber do. ◀

details ▼ Florence Miller Pierce: In the Light ▼ Opening reception 5 p.m. Friday, Sept. 5; exhibit through Sept. 30 ▼ Charlotte Jackson Fine Art, 554 S. Guadalupe St., 505-989-8688

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My cell phone vibrated in my jeans pocket…It was July 2007.

The last time I felt safe in Mexico. I recognized the low-pitched

Make it a weekend.

voice on the other end: a longtime trusted source, a U.S. investigator with informants inside some of the most brutal drug cartels in Mexico. I grabbed a pen and notepad and slipped into my bedroom. I closed the door…

I spoke his secret code name and joked, “Hey --------, Qué onda? What’s up?”

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“In Mexico”.

“Where exactly?”

“In my apartment. Why?” “They plan to kill an American journalist within twenty-four hours,” he said. “Three names came up. I think it’s you.

I’d get out.”

— From Midnight in Mexico: A Reporter’s Journey Through a Country’s Descent into Hel l© 2013

Alfredo Corchado, Mexico bureau chief for the Dallas Morning News, is a noted expert on immigration, drug violence, and U.S.-Mexico foreign policy. He has reported on many topics, from the disappearance and murders of women in Ciudad Juárez, to the exodus of Mexico’s middle class to the United

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43

Michael Abatemarco I The New Mexican

WINDOWS into whimsy Jeffrey Schweitzer’s ‘Eccentric Gentleman’

IN

a verdant dale in the little town of Boringville, an eccentric, monocled gentleman, resplendent in his top hat, handlebar mustache, and plaid suit, rests beneath a tree. He longs for adventures and daydreams of crossing the sea and visiting far-off lands. The gentleman is the latest subject in a narrative series developed by artist Jeffrey Schweitzer. For the new body of work, titled The Biography of an Eccentric Gentleman, Schweitzer returns to a shadow-box presentation format, first used for his recent Into the Moonlight series, to tell his rambling tale. Each shadow box marks an episode in the adventures and misadventures of the Eccentric Gentleman, and each has a magical ability to draw you into the detailed storybook imagery, aided by accompanying text. Schweitzer presents the new works in an exhibit at his venue, Bindle Stick Studio, on Friday, Sept. 5.

Into the Moonlight has a clear beginning, middle, and end: It consists of 12 shadow boxes that, together, tell the story of a man entranced by the moon. “The actual premise of that is that the moon comes into his bedroom at night and seduces him,” Schweitzer told Pasatiempo during a studio visit. “It’s supposed to be a dream sequence if you read the whole thing. I’m showing that in New York in January.

I’m doing a small limited-edition book for that opening. Into the Moonlight has much more of a linear narrative. I wanted to make another series that has an overall structure, but each piece also worked by itself.”

Unlike earlier bodies of work, such as his Drifter and Future Mythologies series, in which Schweitzer photographed himself in character and collaged the images into two-dimensional pen-and-ink drawings, the Eccentric Gentleman is entirely hand drawn. “I wanted to remove myself from the story lines. I feel like it’s a lot more playful, maybe not more than the last series, which is kind of a love story. I’m sure I’m going to introduce other characters into the story. On a lot of the past projects I self-imposed some restrictions of what I could be doing [and] couldn’t be doing with the character, because it was me playing these roles. It was hard to change myself physically enough.”

For that reason, Schweitzer’s characters are defined by their dress. The Drifter, for instance, wears ill-fitting pants, a plaid jacket, and a hat,

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PASATIEMPO I September 5-11, 2014

and he carries a small suitcase. He’s a hobo of sorts but not somebody caught up in circumstance so much as someone simply going with the flow. The Eccentric Gentleman is more a dreamer and an idealist and not so much the free spirit of the earlier series.

The shadow-box format allows for three or four layers of imagery with painted backdrops and cardboard cutouts entering the compositions from the wings, like the sets of a miniature theater. “I used to do a lot of short films, and I would make drawings that were life-size, but they were two-dimensional and backed with cardboard, so they were essentially sets you could walk into. I’m going back to that a little bit on a smaller scale. They’re fun to make.”

Schweitzer is also going back to a looser narrative structure. In that regard, The Biography of an Eccentric Gentleman is similar to Schweitzer’s popular Drifter series about an Everyman character whose journey takes him into fantastical realms — some dangerous, others peaceful and sublime, but with no particular destination in mind. “This structure, as I move forward, will allow me to continue to ad-lib the new character’s journey. It’s an

open-ended structure, and that’s what was successful about The Drifter. The Drifter series is nonlinear, and it doesn’t have any text.”

Schweitzer’s simple, rhyming couplets, one for each shadow box, lend a Seussian lightheartedness to the series. The story, while potentially allegorical, is unencumbered by didacticism.

He built his small cabin high on a hill overlooking the small town of Boringville He kept to himself and the town folk said he had dreams of adventure filling his head He spent most nights high in a tree reading moonlit adventures while sipping his tea.

The shadow-box format was inspired in part by Japanese woodblock prints with clear foreground, middle-ground, and background elements. “You could cut them out and separate the layers, and they would fit perfectly for something like this,” he said. Another inspiration was the look of Terry Gilliam’s 1988 film, The Adventures of Baron Munchausen. “It was one of my favorite movies growing up. I liked the adventure and whimsical nature of

Jeffrey Schweitzer: He kept to himself and the town folk said, he had dreams of adventure filling his head; below, Reaching out to grab the moon by its edge, his eyes grew large as he gave this pledge; opposite page, He spent most nights high in a tree, reading moonlit adventures while sipping his tea; all works 2014, mixed media shadow boxes

movies like that: The Princess Bride and the Jim Henson stuff, Labyrinth, and The Dark Crystal.”

Schweitzer’s layers add depth to each box, like windows offering glimpses of the wider world beyond. Every box in the series, numbering five so far, has the same dimensions.

“I wanted to do something that was all the same format, all the same size, so I could take it and utilize it for film projects, performance projects, book projects, or whatever else. It’s important for me to take projects and reinvent them. I have all this content and all this stuff floating around in my head.”

Schweitzer toys with the idea of making The Biography of an Eccentric Gentleman into a film or live performance with old-time musical accompaniment. “I could take all of these and photograph them in high resolution, sit down in front of an audience, and read the text. I want somebody to play either banjo or piano, really playful and loose, and have some simple animation.”

Schweitzer’s Drifter series, which he began in 2008, is ongoing, and the character still appears in his compositions, including largescale mixed-media works on paper. The Biography of an Eccentric Gentleman is in development but will likely grow into a larger narrative. “It has the possibility to just get as weird and fun as I want it to be. I want to keep the old-fashioned theatrical feel to it. I don’t want it to become too clumsily cartoonish, because that’s a really good way to get marginalized in the fine-art world. That’s my fear in going in this direction, and that’s why I get fixated on all the detail and all the craft, making them more sophisticated than they probably need to be.” ◀

details ▼ Jeffrey Schweitzer: The Biography of an Eccentric Gentleman ▼ Reception 5 p.m. Friday, Sept. 5 ▼ Bindle Stick Studio, 616½-A Canyon Road, 917-679-8080

PASATIEMPOMAGAZINE.COM

45

MOVING IMAGES film reviews

Polar opposition Loren Bienvenu I For The New Mexican Expedition to the End of the World, documentary, not rated, in English and Danish with subtitles, The Screen, 3 chiles The soundtrack to Expedition to the End of the World is equal parts Metallica and Mozart’s Requiem, offering just one hint of the contrast that defines the documentary. Swedish-Danish director Daniel Dencik’s film chronicles a contemporary research expedition to the remote extremes of northeastern Greenland. Those aboard the three-masted schooner include scientists from a wide range of disciplines, with a few strongwilled artists thrown in for variety’s sake.

Dencik seems to be more interested in capturing the philosophical musings of the people involved than in providing contextual information about them and their journey. The travelers are reduced to representatives of their fields, tasked with weighing in on existential quandaries, with the jagged beauty of the Arctic as a backdrop. What results is something akin to an early Richard Linklater film, but on ice.

The research of the 10 featured individuals, all leaders in their fields, could not be more different.

To list but a few examples: archaeologist Jens Fog Jensen investigates signs of Stone Age settlements; marine biologist Katrine Worsaae searches for new species of microscopic organisms (and claims to have found one during filming); geographer Morten Rasch studies the effects of climate change on the region; and, among other activities, art photographer Per Bak Jensen attempts to explain the meaning of life with a

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PASATIEMPO I September 5-11, 2014

Go with the floes: Researchers caught in an icy embrace

colorful sketch of a triangle. Like the film itself, some of the people seem deeply invested in coming across as profound. Their attempts are sometimes successful and sometimes stilted.

The contrast between the isolation of the region, one of the northernmost in the world, and the truthseeking endeavors of the human explorers is startling.

Throughout the film, the camera shifts focus between the talking heads of the cast and visually evocative scenes of natural splendor. But the gorgeous natural setting demands and receives the most screen time.

Time-lapse shots of tumultuous gray waves crashing against sheer cliffs or rapidly changing cloud structures dappling frozen fields serve as more than just segues between the various soliloquies; they provide evidence of the power and flux that define the region, endowing it with a sort of divine agency. At one point, ice floes appear to be on the verge of entrapping the schooner, as if in willful punishment for the human intrusion. Though much is made of the close call, the threat passes. It’s a reminder that despite the harsh natural conditions of the location, this is not quite Shackleton’s expedition to Antarctica.

In their perpetual musings, the shipmates always return to one central question: what is humankind’s place in nature? Artist Daniel Richter (the film’s occasionally obnoxious and always camera-conscious harlequin) sees things through a purely anthropocentric filter: “Nature is only great, I think, because man exists. ... It’s hard for me to imagine that the mountains look at each other on a snowy day and admire them-

selves, you know, or that the musk ox walks through here and says, Oh, today is a really beautiful day.”

The scientists are most concerned with how living things are adapting to a planet changing for the worse.

Most seem inured to the conclusion that we have inexorably damaged our world. “It never happened before that a single species created such mass extinction,” says Worsaae, the marine biologist. She adds, “It’s a shame that we’re the ones causing it.” Such considerations of mass extinction suggest a second interpretation of the documentary’s title — one based on the idea that the end of the world can be measured with time as well as distance. Geologist Minik Rosing concludes the film with an unsentimental opinion on the topic: “We talk a lot about saving the planet and that we have to take care, as if it’s for the sake of the planet that we have to be good and sensible. As I see it, life and earth will survive us by far. We’re but a parenthesis in the development of the earth and most likely a very short parenthesis at that.” (This is an instance where more biographical detail would have helped the viewer. The film does not inform us that Rosing is credited with shifting back the earliest dating of life on Earth a full 300 million years. Such a footnote would reinforce why the geologist views the world through a different scope of magnitude than his peers.)

This saga is engrossing. However, it never quite crystallizes into a cohesive statement. Instead, it proves to be much like the icy realms it documents — visually entrancing but not as solid or timeless as appearances may suggest. ◀

MOVING IMAGES film reviews

Love roller coaster: Mark Duplass and Elisabeth Moss

Reality check Jennifer Levin I The New Mexican The One I Love, speculative dramedy, rated R, Center for Contemporary Arts, 3.5 chiles The One I Love contains a plot twist so fundamental to the story line and character arcs that it’s not so much a spoiler as a conceit. But revealing it here will ruin some of the fun, so we’ll skip the specifics, with one caveat: if Hollywood doesn’t have a rule about the dangers of Ted Danson playing a marriage therapist, it should. If Ted Danson is your marriage therapist, things are going to get weird.

Ethan (Mark Duplass) and Sophie (Elisabeth Moss) are the troubled couple, sent off for a weekend of renewal to a lovely country home — the kind with a guesthouse and grounds — by Danson. Ethan and Sophie just aren’t getting along anymore, and it’s clear from the start that Ethan has cheated, which feels extra wrong because he doesn’t seem the type. What is he looking for in the relationship that he isn’t getting? And what does Sophie need from him? They want to recapture the magic they felt when they first fell in love, but Danson advises them to look forward.

What happens when Ethan and Sophie are forced to deal with themselves is something like an episode of The Twilight Zone, only it’s more surreal because The One I Love doesn’t attempt to be a science-fiction story, nor is it the kind of overly plotted movie that prides itself on confusing viewers long after the final credits roll. Instead, the movie is utterly grounded in reality, and we’re pulled along as unwittingly as Ethan and Sophie, our loyalties changing from moment to moment as they try to figure out what kind of people they really are and what they mean to each other. It’s scary, funny, sad, bewildering, and educational — unless none of it is real.

The tiny cast is excellent. Duplass makes Ethan wounded and defensive.

He has a rigid moral code from which he doesn’t want to deviate, but he hopes to work things out. He and Moss have great chemistry, whether they’re fighting or getting along. Both actors are able to portray a wide range of emotions and reactions without being self-conscious or mannered.

With her big blue eyes and subtext-filled head tilts, Moss is capable of simultaneous wonder and menace. Once the full story is revealed, their performances as they encounter the plot twists will make viewers want to go back and watch The One I Love again. Knowing the movie’s secret feels like power. If you ever find yourself in marriage counseling with Ted Danson, you’re going to need it. ◀ PASATIEMPOMAGAZINE.COM

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MOVING IMAGES film reviews

Wright stuff, wrong results Jonathan Richards I For The New Mexican The Congress, animated and live-action drama, not rated, Jean Cocteau Cinema, 2.5 chiles It is no simple task to parlay fine acting, imaginative concept, and visual phantasmagoria into an attentionsquandering stumble, but this is the disappointing accomplishment of Ari Folman’s ambitious follow-up to his award-winning 2008 animated war memoir, Waltz With Bashir. Folman assembles the finest ingredients here, mixing live action and animation with flair, but the cake doesn’t rise. Still, it’s well worth a taste.

First among those ingredients is the terrific Robin Wright, here playing an actress named Robin Wright, who seems to have had some of the same career milestones as the real Robin Wright. Folman opens on a close-up of her stoic, sculpted face as she listens to a litany of her career faults from her agent, Al (Harvey Keitel). After early mega-hits like The Princess Bride (1987) and Forrest Gump (1994), Al recounts, this Robin Wright has made a lot of disastrous choices — in movies, in men, in life. She now has one last chance, one last contract being proffered, and if she blows this opportunity, the curtain rings down on her career.

The opportunity comes from Miramount studio head Jeff (Danny Huston), a smarmy exec, who lays out the deal: Wright will submit to a full body-andpersonality scan by the studio, which will then own and present her forever-young digitized image in projects of the studio’s choosing. “We will sample you and preserve you,” he tells her. “And you must agree never to act again. Ever, for all eternity.”

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PASATIEMPO I September 5-11, 2014

House of cartoons: Recognizable characters populate the world of The Congress; below, Robin Wright

Wright’s son Aaron (Kodi Smit-McPhee) needs medical care: a sympathetic doctor (Paul Giamatti) predicts that he could be deaf and blind by adulthood. So all eternity is negotiated down to 20 years, and Wright, initially scornful (“We actresses used to discuss whether we’d sleep with you for a part; I’d rather do that than accept this deal”), finally signs the contract.

The visual and emotional climax of the first part of the movie comes in a bravura scene in which the actress, wearing an electronically charged body suit, is scanned inside a huge geodesic dome of lights and sensors. She’s understandably bummed out and unable to convincingly project the emotions the studio wants to harvest. Then, from the control booth, Al spins her the spellbinding story of how he got his start as an agent and melts her emotional reserve. As a plot device it’s a bit labored, but Keitel plays it like a snake charmer.

The film now jumps forward 20 years, to the end of the Faustian bargain Wright has agreed to, and it finds her motoring across a desert landscape in a classic (2014) car to a convention in a “restricted animation zone.” At the security gate she is given an ampule that she breaks open and inhales. As she drives to the hotel where the Futurological Congress (the title of the Stanisław Lem 1971 sci-fi novel on which this movie is loosely based) is being held, the movie morphs, Wizard-of-Oz-like, into a world of fantastic animation.

The animation is spectacular, an amalgam of styles from the early days of Max Fleischer and Disney to the more subversive styles of Ralph Bakshi and R. Crumb, with no shortage of other influences and homages to delight the palate of the connoisseur. But even as it dazzles with its visual cornucopia and its free-ranging

sampling of personalities and stars — from Frank Sinatra and Tom Cruise to John Wayne, Muhammad Ali and Jesus Christ — it begins to lose its narrative way.

The animated Wright is the least convincing of the cartoon likenesses: a frail, pale, delicate thing who wanders through an Orwellian, animated future in which her scanned real-life image plays on giant screens as a rampaging action heroine. There are other animated characters whom we feel we should recognize but don’t, including one called “The Animator,” a thin-faced, sad-eyed man who somewhat resembles Adrian Brody but turns out to be the voice of Jon Hamm. The Animator has been the artist in charge of creating Wright for the last 20 years, during which time he has fallen hopelessly in love with her. This seems to be an occupational hazard of spending a lot of time with the lovely lady; Keitel’s Al had the same affliction. Though you keep looking for Al among the cartoon characters, he never makes the transition.

The future that Folman shows us is one ever more given to wish fulfillment, through which our masters will eventually gain total control of us. Miramount’s Jeff (an effective caricature of Huston) runs the convention as the saturnine overlord of the future, the symbol of the baleful, totalitarian grasp of the fantasy business of movies. The contract extension he dangles before Wright will allow her essence to be distilled into a soft drink, which will allow a thirsty public to swallow and become her.

There has to be a return, Oz-like, to the real world to tie up the loose ends of the plot involving the afflicted son. It’s nice to see the real Wright again, but by then the movie, despite some wonderful flights, has worn out its welcome. ◀

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49

MOVING IMAGES chile pages

— compiled by Robert Ker

the yearning and envy he feels over the meteoric rise of singer Drexel Hemsley (also played by Rayne).

Rated PG. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) NATIONAL THEATRE LIVE: MEDEA This new staging of Euripides’ timeless tragedy about a woman scorned and the revenge she exacts was adapted by Ben Power and directed by Carrie Cracknell. Helen McCrory stars. 7 p.m. Thursday, Sept. 11. Lensic Performing Arts Center, Santa Fe. (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). 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) See review, Page 47.

Road to Ninja: Naruto the Movie, at the Jean Cocteau Cinema in Santa Fe

opening this week BECKETT ON FILM When Michael Colgan, artistic director of Dublin’s Gate Theatre, and co-producer Alan Moloney decided to capture Samuel Beckett’s repertoire on film, they rounded up an impressive collection of movie and stage directors and stars. The second season of the Beckett cycle will be shown in free screenings at 11 a.m. on Sundays in September, with free admission courtesy of the Lannan Foundation. Act Without Words I and Endgame screen Sunday, Sept. 7, only. Not rated. Running times vary.

The Screen, Santa Fe. (Not reviewed) THE CONGRESS It is no simple task to parlay fine acting, imaginative concept, and visual phantasmagoria into an attentionsquandering stumble, but this is the disappointing accomplishment of Ari Folman’s ambitious follow-up to his award-winning 2008 animated war memoir, Waltz With Bashir. Robin Wright plays a version of herself in live action and animated sections, leading us into a cartoon future given to wish fulfillment, where our masters will control us through the totalitarian grasp of the fantasy business of movies. Folman

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PASATIEMPO I September 5-11, 2014

assembles the finest ingredients here, mixing live action and animation with flair, but the cake doesn’t rise. Still, it’s worth a taste. Not rated. 122 minutes.

Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See review, Page 48.

EXPEDITION TO THE END OF THE WORLD This documentary by SwedishDanish director Daniel Dencik chronicles a contemporary research expedition to the remote extremes of northeast Greenland. Those aboard the three-masted schooner include scientists from a wide range of disciplines, with a few strong-willed artists thrown in for variety’s sake. Miraculously, everyone gets along. Less about the research and the participants’ résumés than their thoughts on life, the film is often profound, occasionally stilted, and always visually stunning, thanks to the jagged beauty of the Arctic backdrop. In English and Danish with subtitles. Not rated. 90 minutes. The Screen, Santa Fe. (Loren Bienvenu) See review, Page 46.

THE IDENTICAL What if Elvis Presley had been born alongside an identical hunk of burning love and the twins were separated at birth? This film asks that question and answers it by following the life of Ryan Wade (Blake Rayne), a son of a preacher man who must balance pleasing his father (Ray Liotta) with

ROAD TO NINJA: NARUTO THE MOVIE Fans of anime and manga rejoice! The latest Naruto film enjoys a rare run in American theaters. This episode — the ninth — isn’t for beginners. It finds Naruto and Sakura trapped in a parallel dimension and struggling to retain the jinchuuriki. In Japanese with subtitles.

Not rated. 109 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) THE ROOSEVELTS Ken Burns’ seven-part documentary, which weaves together the stories of Theodore, Eleanor, and Franklin Roosevelt, comes to Santa Fe as a 75-minute sneak preview. It’s followed by a discussion between Paul Barnes, the lead producer and supervising editor of the series; Kathy Flynn, the executive director of the National New Deal Preservation Association, and Richard Moe, author of Roosevelt’s Second Act: The Election of 1940 and the Politics of War. No charge, but tickets are required. 7 p.m. Wednesday, Sept. 10, only.

Lensic Performing Arts Center, Santa Fe. (Not reviewed)

now in theaters AS ABOVE, SO BELOW Those who are old enough to remember 1990’s Flatliners may find this story, in which a group of young people are haunted by their

pasts, pretty familiar. Rather than flirting with death, these crazy kids (who have done some really bad things) are exploring the catacombs beneath Paris when they come across something supernatural.

Rated R. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy.

Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and CeeLo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BOYHOOD Richard Linklater’s extraordinary achievement has been to take one boy, 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 safely through childhood’s adventures and discoveries: his limbs lengthen, his cheeks hollow, his mind grows, his heart breaks and mends, and he arrives 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. It’s a life. 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. The good priest spends the week tending to his flock, among whom is his assassinto-be. Writer-director John Michael McDonagh (The Guard) salts his tragicomic pyramid of weighted metaphor and indelible characters with a soundtrack of keenly appropriate vintage music. Gleeson is magnificent, and the supporting cast is scarcely less so. Forgiveness is the value Father James places above all others on his progress toward his Calvary on Sunday. 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) CANTINFLAS This movie tells the story of Mario Moreno, more commonly called Cantinflas — the

beloved film comedian known as “the Charlie Chaplin of Mexico.” Óscar Jaenada plays the title character in this biopic, which traces his rise to fame and probably includes the moment that Americans best know him for: his celebrated performance in 1956’s Around the World in 80 Days. Rated PG. 106 minutes. In Spanish with subtitles. Regal Stadium 14, Santa Fe. (Not reviewed) CHEF Jon Favreau, who wrote and directed this film, stars as Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part food porn, part tale of self-discovery, part father-son story, and part road-trip movie — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life — particularly a good Cubano sandwich. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DRUNKTOWN’S FINEST The first feature by Sydney Freeland is a moving coming-of-age tale that follows three Navajo youths struggling to escape reservation life.

The lives of father-to-be Luther “SickBoy” Maryboy ( Jeremiah Bitsui); the transgendered and promiscuous Felixia (Carmen Moore); and college hopeful Nizhoni Smiles (Morning Star Wilson), the adopted daughter of a non-Native family, intertwine as they learn the value of family, culture, and tradition without sacrificing their individual identities. The title was inspired by an episode of 20/20 in which the writer/director’s hometown of Gallup was referred to as “Drunktown, U.S.A.” Freeland turns the tables on Native stereotypes and brings dignity and depth to her characters. Not rated. 95 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) THE EXPENDABLES 3 Take a deep breath before reciting the cast for this latest all-star gathering of action-movie heroes, since it boasts Sylvester Stallone, Jason Statham, Antonio Banderas, Jet Li, Wesley Snipes, Dolph Lundgren, Kelsey Grammer, Harrison Ford, Arnold Schwarzenegger, and more — most of them fighting a villain played by Mel Gibson. The irony is that despite all the muscle, as usual, the real stars are the explosions. Rated PG-13. 126 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) THE GIVER Lois Lowry’s 1993 children’s novel was widely read and won a Newbery Medal. The story — about a boy named Jonas (Brenton Thwaites) who lives in a dystopian future and learns the value of free

will — finally comes to life in theaters. Jeff Bridges plays the wisdom-bestowing title character, and Meryl Streep plays the chief elder, who opposes Jonas’ awakening. Rated PG-13. 97 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 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 Bradley Cooper and Vin Diesel, respectively). They learn to overcome their differences and become unlikely friends, just in time to guard the galaxy. Great music, loads of heart, a superb cast, and a healthy dose of irreverence and humor overshadow even the wild special effects and the intricate world building. Rated PG-13.

121 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) THE HUNDRED-FOOT JOURNEY This movie hits many of the check marks for art-house cinema: it takes place in the French countryside, 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; DreamCatcher, Española. (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. Along with The Fault in Our Stars, another adaptation of a popular young-adult book, If I Stay is making this a bleak summer for teenage girls at the multiplex.

Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.(Not reviewed) INTO THE STORM This is the biggest tornado-based thriller since 1996’s Twister, and it ramps the severity of the weather up to an almost comical degree.

Little-known actors play citizens and storm chasers in a small town that is ravaged by multiple tornadoes before the biggest one ever recorded spins in to finish the job. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) continued on Page 52

PASATIEMPOMAGAZINE.COM

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MOVING IMAGES chile pages

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LAND HO! With plenty of laid-back charm and the easy pace of a couple of old guys with nothing particular to do and nowhere special to go, this geriatric buddy comedy falls somewhere between a slick home movie and an unpretentious indie road movie. Elderly Colin (Paul Eenhoorn) shows up at the woodland cottage of his former brother-in-law Mitch (Earl Lynn Nelson), who talks him into taking a first-class, all-expenses-paid trip to Iceland. Why Iceland? Why not? The food is good, and the scenery is gorgeous. This is an episodic, anecdotal movie driven by character rather than story. The two geezers are there to kick up their heels, get their groove back, and check out Iceland’s scenic treasures. It’s a welcome reminder that older people are as relevant as youth, but with a different perspective.

Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 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. When they end up having to fight actual bad guys, they realize they may have taken it a bit too far. 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 for a movie that is original and highly unpredictable.

Morgan Freeman also stars. Rated R. 90 minutes.

Regal Stadium 14, Santa Fe. (Robert Ker) MAGIC IN THE MOONLIGHT In Woody Allen’s latest, Colin Firth is Stanley, a celebrated English illusionist who travels the world and astounds audiences using the stage persona of Wei Ling Soo, Chinese magician.

spicy bland

medium

mild

heartburn

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PASATIEMPO I September 5-11, 2014

Stanley is a committed debunker of charlatans, so when an old friend (Simon McBurney) asks him to come help expose a young medium (Emma Stone) who is preying on some wealthy American friends in the south of France, Stanley accepts the challenge.

But the task proves not as easy as Stanley expected, and soon he finds himself, if not quite a true believer, at least starting to fall under her spell. 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 and that only a fool would reject the possibility that there are more things in heaven and earth than are dreamt of in his philosophy.

Rated PG-13. 97 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) A MOST WANTED MAN Nobody did rumpled like the late, lamented Philip Seymour Hoffman, who haunts this movie as German intelligence officer Günther Bachmann in John le Carré’s Hamburg-set spy tale of honorable people working in a dishonorable world. The time restrictions of feature-length films don’t do justice to le Carré’s intricate plotting, but director Anton Corbijn (The American) moves the story efficiently from a first-hour mosaic of disparate scenes to a last hour when it all funnels together.

The film never achieves white-knuckle excitement, but it manages good storytelling and has a solid cast, with special mention due to Nina Hoss as Günther’s sidekick. Rated R. 121 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) THE NOVEMBER MAN Pierce Brosnan gets back in the spy game to play Peter Devereaux, an old hand who’s called out of retirement to protect a gorgeous witness (Olga Kurylenko). When the CIA sics Devereaux’s most talented protégé (Luke Bracey) on him, a globe-trotting game of cat and mouse ensues.

Rated R. 108 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) SIN CITY: A DAME TO KILL FOR Directors Robert Rodriguez and Frank Miller return to the world of Sin City to push film noir to its extremes. The black-andwhite visuals pop more, the violence is gorier, and the femme fatales are curvier than in almost any film that has come before. If it all seems cartoony, that’s because the flick is based on a bunch of stories from Miller’s comics. Bruce Willis, Ray Liotta, Jessica Alba, Mickey Rourke, and Rosario Dawson head the cast.

Rated R. 102 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed) 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. Cowabunga, dudes!

Rated PG-13. 101 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 TRIP TO ITALY Director Michael Winterbottom’s indulgent follow-up to 2010’s The Trip is nearly identical in plot but set in Italy, providing ample opportunity 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, and Brydon succumbs to the amorous settings of romantic Italy while retracing the steps of the likes of Shelley and Byron. The improvised tête-à-têtes and (mostly) spot-on impersonations that made the first film a delight haven’t changed, and let’s face it, that’s what we want to see. Not rated. 108 minutes. The Screen, Santa Fe. (Michael Abatemarco) WHEN THE GAME STANDS TALL After the beloved TV series Friday Night Lights played its last snap, there was a dearth of high-school-football melodramas. Now, thank goodness, we have this movie, also “based on actual events,” about a team that went from obscurity to winning 151 games straight. The story centers on the personalities and the many challenges they faced.

Jim Caviezel, Michael Chiklis, and Laura Dern star.

Rated PG. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

other screenings Center for Contemporary Arts, 505-982-1338 4 p.m. Saturday, Sept. 6: Resistance, presented by Food and Water Watch New Mexico.

8:15 p.m. Monday, Sept. 8: Felony.

Sunday, Sept. 7: The Sturgeon Queens, presented

by Santa Fe Jewish Film Festival.

Jean Cocteau Cinema, 505-466-5528 6:30 p.m. Sunday, Sept. 7: Ladyhawke (1985), featuring an introduction and a Q&A with screenwriter Edward Khmara.

Pulp Fiction (1994).

Regal Stadium 14, 505-424-6296 Dolphin’s Tale 2, Scarface (1983). ◀

Eileen Colin Marcia Hamish Simon Emma Jacki Atkins Firth Gay Harden Linklater McBurney Stone Weaver

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

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. 11:30 a.m., 2 p.m., 5 p.m., 7:30 p.m.

Sat. 12:45 p.m., 2 p.m., 7:30 p.m. Sun. and Mon. 2 p.m., 5 p.m., 7:30 p.m. Tue. 2 p.m., 5 p.m.

Wed. 2 p.m., 5 p.m., 7:30 p.m.

Felony (NR) Mon 8:15 p.m.

Land Ho! (R) Fri. 3 p.m., 5:30 p.m. Sat. 5:30 p.m.

Sun. and Mon. 3 p.m., 5:30 p.m. Tue. 3 p.m., 8:15 p.m. Wed. 3 p.m., 5:30 p.m.

The One I Love (R) Fri. 12 p.m., 8:30 p.m.

Sat. 12 p.m., 6:30 p.m., 8:30 p.m. Sun. 8:30 p.m.

Mon. 3 p.m., 5:30 p.m. Tue. and Wed. 8:30 p.m.

Resistance (NR) Sat. 4 p.m.

The Sturgeon Queens: Russ and Daughters (NR) Sun. 11 a.m., 11:15 a.m., 1 p.m.

JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 The Congress (NR) Fri. 8:30 p.m. Sat. 1:30 p.m., 6:10 p.m. Mon. and Tue. 8:30 p.m. Thurs. 4 p.m., 8:30 p.m.

Drunktown’s Finest (NR) Fri. 4 p.m. Sat. 8:30 p.m.

Sun. 4:30 p.m.

Ladyhawke (PG-13) Sun. 6:30 p.m.

Pulp Fiction (R) Fri. and Sat. 11 p.m.

Road to Ninja: Naruto the Movie (NR) Fri. 6:20 p.m. Sat. 3:50 p.m. Mon. and Tue. 6:20 p.m. Thurs. 6:20 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Begin Again (R) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7 p.m., 9:40 p.m. Sun. 1:40 p.m., 4:10 p.m., 7 p.m.

Tue. to Thurs. 1:40 p.m., 4:10 p.m., 7 p.m.

Calvary (R) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:50 p.m., 4:50 p.m., 7:40 p.m.

Chef (R) Fri. and Sat. 1:35 p.m., 4:25 p.m., 7:05 p.m., 10:05 p.m. Sun. to Thurs. 1:35 p.m., 4:25 p.m., 7:05 p.m.

The Hundred-Foot Journey (PG) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m.

Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m.

Magic in the Moonlight (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m.

Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m.

A Most Wanted Man (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com As Above, So Below (R) Fri. to Sun. 12:05 p.m., 2:25 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m.

Cantinflas (PG) Fri. to Sun. 12:25 p.m., 2:55 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m.

Dolphin Tale 2 (PG) Thurs. 7 p.m., 9:35 p.m.

The Expendables 3 (PG-13) Fri. and Sat. 12:40 p.m., 4:10 p.m., 7:15 p.m. Sun. 7:15 p.m.

The Giver (PG-13) Fri. to Sun. 12:30 p.m., 2:55 p.m., 5:25 p.m., 7:50 p.m., 10:15 p.m.

Guardians of the Galaxy 3D (PG-13) Fri. to Sun. 7:30 p.m., 10:15 p.m.

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

The Identical (PG) Fri. to Sun. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m.

If I Stay (PG-13) Fri. to Sun. 12:15 p.m., 2:40 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m.

Into the Storm (PG-13) Fri. to Sun. 1:45 p.m.,

4:35 p.m., 7:10 p.m., 9:30 p.m.

Let’s Be Cops (R) Fri. to Sun. 1:25 p.m., 4:15 p.m., 7 p.m., 9:50 p.m.

Lucy (R) Fri. to Sun. 12:35 p.m., 3 p.m., 5:25 p.m., 7:40 p.m., 10 p.m.

The November Man (R) Fri. to Sun. 12:50 p.m., 4:05 p.m., 7:30 p.m., 10:15 p.m.

Scarface (R) Sun. 2 p.m.Wed. 2 p.m., 7 p.m.

Sin City:A Dame to Kill For (R) Fri. to Sun. 10:10 p.m.

Teenage Mutant Ninja Turtles 3D (PG-13) Fri. to Sun. 12 p.m., 2:30 p.m., 5 p.m.

Teenage Mutant Ninja Turtles (PG-13) Fri. to Sun. 12:20 p.m., 2:50 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m.

When the Game Stands Tall (PG) Fri. to Sun. 1:20 p.m., 4:45 p.m., 7:25 p.m., 10:10 p.m.

THE SCREEN

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.

Expedition to the End of the World (NR) Fri. 12:30 p.m. Sat. 10:10 a.m. Sun. 6:30 p.m.

Mon. to Thurs. 5:35 p.m.

The Trip to Italy (NR) Fri. 2:30 p.m., 5 p.m., 7:30 p.m. Sat. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m.

Sun. 1:30 p.m., 4 p.m. Mon. to Thurs. 12:30 p.m., 3 p.m., 7:30 p.m.

★★★★

“

(HIGHEST RATING!)

A MASTER STROKE OF ENCHANTMENT.”

-Rex Reed, NEW YORK OBSERVER

Magic In The Moonlight Written and Directed by

Woody Allen

WWW.SONYCLASSICS.COM

Exclusive Engagement

Now Playing

Santa Fe UA DE VARGAS MALL 6 (800) FANDANGO #608

VIEW THE TRAILER AT WWW.MAGICINTHEMOONLIGHTMOVIE.COM

the november man 2:10** 4:45 7:05 the identical 2:10** 4:50 7:25 guardians of the galaxy 2d 1:55** 4:35 7:15 as above, so below 2:15** 4:55 7:20 let’s be cops 2:20** 4:40 7:30 when the game stands tall 1:50** 4:25 6:55 if i stay 2:05** 4:45 7:10 into the storm 2:25** 5:00 expendables 3 7:15 ninja turtles 2d 2:00** 4:30 7:00 hundred foot journey 1:50** 4:25 7:00 **saturday & sunday only *friday & saturday only times for friday, september 5 - thursday, september 11

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

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com As Above, So Below (R) Fri. 4:55 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:20 p.m.

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

The Expendables 3 (PG-13) Fri. and Sat. 7:15 p.m., 10 p.m. Sun. to Thurs. 7:15 p.m.

Guardians of the Galaxy (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m.

The Hundred-Foot Journey (PG) Fri. 4:25 p.m., 7 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:25 p.m., 7 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:25 p.m., 7 p.m.

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

The Identical (PG) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:25 p.m.

Mon. to Thurs. 4:50 p.m., 7:25 p.m.

If I Stay (PG-13) Fri. 4:45 p.m., 7:10 p.m., 9:45 p.m.

Sat. 2:05 p.m., 4:45 p.m., 7:10 p.m., 9:45 p.m.

Sun. 2:05 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs.

4:45 p.m., 7:10 p.m.

Into the Storm (PG-13) Fri. 5 p.m. Sat. and Sun. 2:25 p.m., 5 p.m. Mon. to Thurs. 5 p.m.

Let’s Be Cops (R) Fri. 4:40 p.m., 7:30 p.m., 9:50 p.m.

Sat. 2:20 p.m., 4:40 p.m., 7:30 p.m., 9:50 p.m.

Sun. 2:20 p.m., 4:40 p.m., 7:30 p.m. Mon. to Thurs.

4:40 p.m., 7:30 p.m.

The November Man (R) Fri. 4:45 p.m., 7:05 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:05 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:05 p.m.

Mon. to Thurs. 4:45 p.m., 7:05 p.m.

Teenage Mutant Ninja Turtles (PG-13) 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.

When the Game Stands Tall (PG) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:35 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.

Explore Santa Fe’s Best Calendar on

Friday Outdoor Grill Come and join us on our beautiful patio for lunch or dinner. Featuring Guinness Bratwursts and Cajun Turkey Burgers cooked by Chef Cristian Pontiggia on our outdoor grill this Friday for lunch.

We will also have a guest sommelier in house this Friday and Saturday evening to assist in helping guests with wine pairing selections.

Buon Appetito!

986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 • www.osteriadassisi.com PASATIEMPOMAGAZINE.COM

53

RESTAURANT REVIEW Laurel Gladden I For the New Mexican

Keep on truckin’

El Chile Toreado 950 W. Cordova Road; 505-500-0033 Breakfast and lunch 8:15 a.m.-3 p.m.

Mondays-Fridays, 8:15 a.m.-2 p.m. Saturdays; closed Sundays Vegetarian options No alcohol Takeout only Cash only El Chile Toreado, which for years has occupied a sunny open spot in a parking lot between a now-defunct tire shop and a Whole Foods, serves hearty, bold, flavorful food — no white tablecloths required. The menu is a lot about meat — four types of dogs and sausages as well as burritos, tacos, and quesadillas with an impressive selection of carne-centric fillings, but satisfying vegetarian versions are available as well. This is some of the best food in the city — so what if it’s served on a paper plate and you have to eat standing up?

Recommended: plain or vegetarian quesadilla, breakfast burrito, chicken tacos, and al pastor tacos.

Ratings range from 1 to 5 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

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PASATIEMPO I September 5-11, 2014

Times have changed. While a decade ago food trucks were the outliers in the culinary scene, these days you’re likely to read about a cart or mobile eatery in the latest issue of Bon Appétit or on Zagat.com — or see one take center stage in films like Jon Favreau’s crowd-pleasing Chef. Food truck groundbreakers like Roy Choi of Kogi in Los Angeles started a revolution that changed the culinary scene forever — and probably for the better.

One of the stalwarts in Santa Fe is El Chile Toreado, which for years has occupied a sunny open spot in a parking lot across from the South Capitol state government complex, between a now-defunct tire shop and the “mini” Whole Foods. Chile Toreado’s hearty, bold, flavorful food is some of the best in Santa Fe, no white tablecloths and tome-like wine lists required. So what if your quesadilla’s served on a paper plate or you have to eat your Polish sausage standing up?

El Chile Toreado offers breakfast burritos stuffed with eggs, potatoes, cheese, and your choice of meat (sausage, bacon, chorizo, ham, or Polish sausage). For vegetarians, owner Luis Medina or any of his very cheerful employees will add a mix of vegetables and beans instead. They’ll scoop this veggie blend out for tacos and quesadillas too.

Even if you choose not to add anything to your quesadilla, by the way, it will be a glorious thing, with a generous quantity of asadero melted into a thick, stretchy, milky layer. The griddle turns any cheesy overflow into a mouthwatering salty, nutty, crunchy ring around the edges.

Otherwise, the menu’s a lot about meat. Chile Toreado offers four types of dogs and sausages as well as burritos and tacos in an impressive list of variations. Beef takes the form of barbacoa, carne asada, deshebrada (shredded beef), lengua (tongue), and picadillo (a tomatoey hash).

Pork shows up as adobada, al pastor, buche (stomach), carnitas, cueritos (pickled skin), and chicharrón.

Chicken is offered “plain” and en adobo.

Let’s say you opt for the juicy chili dog with cheese.

You could probably pick up the soupy, bean-and-cheesesmothered thing, which is swaddled in a soft oversize bun, but grab a fork just to be on the safe side. However you get it into your mouth, pause to revel in its mild smokiness, its heady meat flavor, and the rich stewiness of the toppings.

Toreado’s tacos are terrific unadorned — the chicken is juicy, smoky, and lightly saucy, and the al pastor pork will give you a nice warm burn along with just a hint

of pineapple’s fruity sweetness. You’d be remiss if you didn’t ask for some of the bitter and hot red chile or the mysterious, mind-blowingly complex green sauce, which manages to be simultaneously herbaceous (cilantro?), seriously spicy (serranos?), and coolingly creamy (crema?). Or you could load up your plate with fresh, genuinely picante pico de gallo, leafy-green cilantro, crunchy shredded cabbage, and squirts of juice from a wedge or two of lime. You’ll find all those things in stainless-steel bins perched outside the window.

One of those bins holds roasted whole jalapeños (the chiles toreados from which the place takes its name), which have an intoxicating smoky-spicy aroma. They’re a pretty generous freebie if you ask me; almost every time I stop by Chile Toreado, some guy is piling five or six of them on his plate. That kind of confidence always make me think I should eat one while I wait, and every time, I end up with a mouth on fire — once I got the hiccups after a single bite. Albert Einstein defined insanity as “doing the same thing over and over again and expecting different results.” What does that say about my inability to learn from repeated mouth-searing experiences? Maybe my obstinacy makes me crazy, but going back to eat at El Chile Toreado is one of the sanest things I do. ◀

Brunch for three at El Chile Toreado: Vegetarian breakfast burrito ....................$ 6.50 Vegetarian quesadilla ...............................$ 7.00 Chili dog ..................................................$ 5.50 TOTAL .....................................................$19.00 (before tip) Lunch for two, another visit: Chicken tacos ..........................................$ 7.50 Al pastor tacos .........................................$ 7.50 Two sodas ................................................$ 2.00 TOTAL .....................................................$17.00 (before tip)

OCTOBER 2014 REGIONAL DISTRIBUTION INCLUDING

THE RAILYARD

ALBUQUERQUE jUST IN TIME FOR

S

BALLOON FIESTA VISITORS!

HA

A AL FESTIV

E AN T A F

SEPTEMBER

AT THE RAILYARD SEPTEMBER 12 • 6 – 9pm / Farmers Market Pavilion

GREEN CHILE CHEESEBURGER SMACKDOWN

Vote to choose who will wear the crown! • santafe.org SEPTEMBER 13 • 9am – 12pm / Railyard Park

WALK TO END ALZHEIMERS

Come walk with us to fight Alzheimers • alz.org

BE PART OF THE THE SANTA FE NEW MEXICAN’S

SANTA FE DO YOU KNOW YOUR WAY TO

SANTA FE

SEPTEMBER 14 • 1– 9pm / Railyard Plaza

4TH ANNUAL AHA FESTIVAL

Arts, Music, Dance, Food & more – all day long! • ahafestival.com SEPTEMBER 24 • 6 – 9pm / Farmers Market Pavilion

BUCKWHEAT ZYDECO

Free dance lessons and fun!

Presented by Hutton Broadcasting & Southwest Roots SEPTEMBER 26 • 5 – 7pm / All Railyard Galleries

LAST FRIDAY ARTWALK

Presented by RAD, a cooperative of 10 Railyard art galleries, the last Friday of every month • santaferailyardartsdistrict.com SEPTEMBER 26 • 5 – 7pm / Railyard Water Tower Cool jazz for the Water Music Series from Santa Fe’s Swingset A project of the Railyard Art Committee.

SEPTEMBER 28 • 9am – 2pm / Railyard Plaza BRITISH AUTO OWNERS ASSOCIATION CAR SHOW Come see the best of the Brits!

VISITORS DAY-TRIP GUIDE

CONTINUING SANTA FE FARMERS MARKET

Tuesday 8am–1pm Saturday 7am-12pm Railyard Plaza & Shade Structure santafefarmersmarket.com

SANTA FE ARTISTS MARKET

Wednesdays / 7–9pm warehouse21.org

RAILYARD ARTISAN MARKET

AXLE CONTEMPORARY PERFORMANCE ART SERIES

Farmers Market Pavilion artmarketsantafe.com

PREMIUM POSITIONS LIMITED

WAREHOUSE 21 OPEN JAM NIGHT

Saturdays / 8am–1pm / Railyard Park santafeartistsmarket.com Sundays 10am– 4pm

RESERVE NOW | 995-3852

SECOND STREET BREWERY

Live Music Thursday–Sunday Open Mic Night 6–9pm Tuesday secondstreetbrewery.com

Various Dates / Shade Structure Various times and artists • axleart.com

ALL EVENTS FREE UNLESS NOTED For more information, and a printable Railyard map, visit:

W W W.R AILYARD S AN TA F E .C OM PASATIEMPOMAGAZINE.COM

55

C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com.

• Send material no less than two weeks prior to the desired publication date.

• For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words).

• All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings.

• To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab.

• Return of photos and other materials cannot be guaranteed.

• Pasatiempo reserves the right to publish received information and photographs on The New Mexican website.

• For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.

ARTS AND ENTERTAINMENT CALENDAR

September 5 -11

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 9/5 Gallery & Museum Openings Back Pew Gallery

First Presbyterian Church of Santa Fe, 208 Grant Ave. Black and White, group show, reception 6-7:30 p.m., through Oct. 24.

Bindle Stick Studio

616 ½-A Canyon Rd., 917-679-8080 The Diary of an Eccentric Gentleman, mixed media by Jeffrey Schweitzer, reception 5-8 p.m.

(See story, Page 44)

Charlotte Jackson Fine Art

554 S. Guadalupe St., 505-989-8688 In the Light, paintings by Florence Miller Pierce (1918-2007), reception 5-7 p.m., through September. (See review, Page 42)

Chiaroscuro Contemporary Art

702 ½ Canyon Rd., 505-992-0711 Ocean/Desert, work by photographer Renate Aller, The Edges, works by tapestry artist Rebecca Bluestone and painters Chris Richter and Jay Tracy; reception 5-7 p.m., through Oct. 4.

Gallery 901

901 Canyon Rd., 559-304-7264 Logos in the Next Dimension, sculpture and prints by Wilfried Haest, reception 5-8 p.m., through Sept. 19.

Little Bird at Loretto

211 Old Santa Fe Trail, 505-820-7413 Paintings by Michael McCullough and Stephen McCullough, reception 3-7 p.m.

Marion Center for Photographic Arts

Santa Fe University of Art & Design, 1600 St. Michael‘s Dr., 505-473-6341 Wilderness Acts, photographs by Michael Berman, Steve Fitch, and William Sutton, panel discussion 6-7 p.m. at Tipton Hall, reception and book signing 6-8 p.m., through Dec. 12.

New Concept Gallery

610 Canyon Rd., 505-795-7570 Landscapes, paintings by Cecilia Kirby Binkley reception 5-7 p.m., through Sept. 19.

Peyton Wright Gallery

237 E. Palace Ave., 505-989-9888 Herbert Bayer: Bauhaus Master, paintings, works on paper, and sculpture, through Sept. 29.

Sugarman-Peterson Gallery

130 W. Palace Ave., 505-982-0340 Paintings by Annie Dover and Michael Protiva, reception 5-7:30 p.m., through Sept. 25.

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PASATIEMPO I September 5-11, 2014

Fiesta Queen and Attendants, New Mexico Magazine, courtesy of the Palace of the Governors Photo Archives (NMHM/DCA), Neg. #HP.2007.20.941.

Ventana Fine Art

400 Canyon Rd., 505-983-8815 Southern Lights, Aboriginal art from the Mary Harbour collection, Q & A with the collector 4 p.m., reception 5-7 p.m., through Sept. 24.

Wiford Gallery

403 Canyon Rd., 505-982-2403 Lands of Enchantment, paintings by Inger Jirby, reception 5-8 p.m., through Sept. 12.

Classical Music TGIF organ recital

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

Theater/Dance Cascarones

Teatro Paraguas, 3205 Calle Marie DNAWORKS and Teatro Paraguas presents a play

by Irma Mayorga, curtain 7 p.m., post-performance discussion with co-directors Adam McKinney and Daniel Banks follows, $15, discounts available, 505-424-1601, Thursdays-Sundays, through Sept. 14.

Books/Talks New Mexico History Museum Free First Friday Curator Talk

Museum lobby, 113 Lincoln Ave., 505-476-5200

Mirror of Time: Cased Portraits From the Dawn of Photography, an illustrated presentation

by Palace of the Governors photo curator Daniel Kosharek, 6 p.m., no charge.

Community Events Backyard Astronomy

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

Pregon de la Fiesta

Rosario Chapel, 540 Rosario Blvd.

Official opening of Fiesta, Mass 6 a.m.

Fiesta Fine Arts & Crafts and Fiesta Craft Shows

The Plaza Includes weavers, jewelers, potters, santeros, and glass artists, 9 a.m.-5 p.m. today through Monday.

SATURDAY 9/6 Theater/Dance Cascarones gala reception

Teatro Paraguas, 3205 Calle Marie DNAWORKS and Teatro Paraguas present a play

by Irma Mayorga, curtain 7 p.m., gala follows, $100, 505-424-1601, Thursdays-Sundays, through Sept. 14.

Wassa Wassa African Dance & Drum Festival

Plaza stage

Railyard Performance Center, 1611 Paseo de Peralta Soriba Fofana & Alhassane Camara, traditional music and dance; Moussa Kourouma & Ousmane Sylla, circus acrobatics; 8 p.m., $10 donation at the door, soribafofana.com.

Entrada de Don Diego

Renate Aller

Performers include Mariachi Azteca, Johnny Sanchez y Puro Norte Band, Los Garrapatas, and New Mexico Hispanic Music Association all-stars A..J. Martinez, Taralynn Martinez, Alta Moni, and Jaelea, entertainment begins at 10 a.m. and runs to 10 p.m.

Radius Books, 227 E. Palace Ave., 505-983-4068 The photographer launches her monograph Ocean/Desert, 5-7 p.m.

Santa Fe Fiesta Melodrama

Community Events

Nightlife

(See addresses at right)

Bishop’s Lodge Ranch Resort & Spa

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

Café Café

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

Cowgirl BBQ

Guitarist Tito Ríos, 5-7:30 p.m.; Chicano-rock band Lumbre del Sol, 8:30 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, featuring guest trumpeter Tom Rheam, 7:30-10:30 p.m., no cover.

El Farol

Reggae band Boom Roots Collective, 9 p.m.-close, call for cover.

Mine Shaft Tavern

Bluegrass duo Paw & Erik, on the deck 3-7 p.m.; blues/soul band Hello Dollface, 8 p.m., call for cover.

Palace Restaurant & Saloon

Digital Storm Riders & Friends, 10 p.m.-close, call for cover.

La Posada de Santa Fe Resort and Spa

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

Pranzo Italian Grill

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

Second Street Brewery

Bluesman Kenny Skywolf and his band, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Blues trio Step In, 7-10 p.m., no cover.

Shadeh

Savage Wizdom and Method Blank, 9 p.m.-4 a.m., no cover.

Swiss Bakery Pastries and Bistro

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

Tiny's

Classic-rock band The Jakes, 8:30 p.m., no cover.

Vanessie

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

El Farol

Rock band Controlled Burn, 9 p.m., call for cover.

Evangelo's

Native American film series

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 New Zealand filmmaker Taika Waititi's 2010 coming-of-age comedy Boy, noon, by museum admission.

Fiesta Events Desfile de los Niños (Pet Parade)

Children and their pets in costume as part of Fiesta; parade begins at the New Mexico School for the Arts, E. Alameda Street and Paseo de Peralta, and winds around the Plaza and surrounding streets, 9-10:45 a.m.

Fiesta Fine Arts & Crafts and Fiesta Craft Shows

The Plaza Includes weavers, jewelers, potters, santeros, and glass artists, 9 a.m.-5 p.m. today through Monday.

Plaza Stage

Performers include Dickie Cordova y la Pleve Band, Baile Español de Santa Fe, Northern 505 and Candace Vargas, and Fun Adixx, 9 a.m.-10 p.m.

Exhibicíon de Modas y Merienda

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Annual fashion show held in conjunction with Fiesta featuring vintage dresses dating to the 1800s, sponsored by La Sociadad Folklorica; 3-5 p.m., $10 at the door.

Santa Fe Fiesta Melodrama

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual send-up all things Santa Fe, directed by Andy Primm, 7:30 p.m., $20, discounts available (10 p.m. late show, $10) final weekend. (See story, Page 18)

Gran Baile

Sweeney Ballroom, Santa Fe Community Convention Center, 107 W. Marcy St. A Fiesta tradition; featuring Al Hurricane, 6 p.m. mariachi performance, 7 p.m. Grand March, $20, ticketssantafe.org, 505-988-1234.

Nightlife

(See addresses at right)

Café Café

Jazz/blues guitarist Ramon Bermudez, 6:30 p.m., no cover.

¡Chispa! at El Mesón

Dance troupe Flamenco Conpaz, 7-9:30 p.m., call for cover.

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

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

Mine Shaft Tavern

Juke-joint, honky-tonk, biker-bar band Broomdust Caravan, 8 p.m., call for cover.

Palace Restaurant & Saloon

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

Theatrical Las Vegas-style lounge act Vanilla Pop, 10 p.m.-close, call for cover.

La Posada de Santa Fe Resort and Spa

Pranzo Italian Grill

Guitarist Pat Malone‘s jazz trio, 8 p.m., call for cover.

Books/Talks

The Plaza Annual Fiesta reenactment of the Spanish resettlement of Santa Fe in 1692, 2-3 p.m.

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual send-up all things Santa Fe, directed by Andy Primm, 7:30 p.m., $20, discounts available (10 p.m. late show, $10) final weekend. (See story, Page 18)

Cowgirl BBQ

Gypsy-swing, ranchera, zydeco-fusion duo Django Mex, 2-5 p.m.; rock band White Buffalo, 8:30 p.m.-close; no cover.

Pianist Ron Newman, 6-9 p.m., call for cover.

Check with venues for updates and sp ecial events 317 Aztec

317 Aztec St., 505-8 Low ’n’ Slow Lowr 20-0150 ider Bar at Hotel Chimayó Agoyo Lounge de Santa Fe 125 Washington Av at the Inn on the Al e., 505-988-4900 ameda 303 E. Alameda St. Th e Matador , 505-984-2121 116 W. San Francisc Anasazi Restauran o St. t& 113 Washington Av Bar Mi ne Shaft Tavern e., 505-988-3030 2846 NM 14, Madr Betterday Coffee id, 505-473-0743 905 W. Alameda St. Mu seum Hill Café , 505-555-1234 710 Camino Lejo, Mi Bishop’s Lodge Ra lner Plaza, nch Resort & Spa 505-984-8900 1297 Bishops Lodg e Rd., 505-983-6377 Music Room at Ga Burro Alley Café rrett’s Desert Inn 311 Old Santa Fe Tra 207 W. San Francisc il, 505-982-1851 o St., 505-982-0601 Odd Fellows Hall Café Café 1125 Cerrillos Rd., 500 Sandoval St., 50 505-473-0955 5-466-1391 Om ira Bar & Grill ¡Chispa! at El Mesó n 1005 St. Francis Dr 213 Washington Av ., 505-780-5483 e., 505-983-6756 Palace Restaurant Cowgirl BBQ & Saloon 142 W. Palace Ave., 319 S. Guadalupe St. 505-428-0690 , 505-982-2565 Pranzo Italian Grill The Den at Coyote Ca 540 Montezuma Av 132 W. Water St., 50 fé e., 505-984-2645 5-983-1615 Santa Fe Commun Duel Brewing ity Convention Center 1228 Parkway Dr., 505-474-5301 20 1 W. Marcy St., 505-9 El Cañon at the Hi 55-6705 lton Santa Fe Sol Stage 100 Sandoval St., 50 & Grill 5-988-2811 37 Fire Place, solof Eldorado Hotel & santafe.com Spa Second Street Brew 309 W. San Francisc er y o St., 505-988-4455 1814 Second St., 505-982 El Farol -3030 Second Street Brew 808 Canyon Rd., 50 er y at the Railyard 5-983-9912 16 07 Paseo de Peralta, El Paseo Bar & Grill 505-989-3278 Shadeh Buffalo Th 208 Galisteo St., 50 under 5-992-2848 Resort & Casino Evangelo’s Pojoaque Pueblo, U.S 200 W. San Francisc . 84/285, o St., 505-982-9014 505-455-5555 High Mayhem Em erging Arts Sweetwater Harves 2811 Siler Lane, 50 t Kitchen 5-438-2047 1512-B Pacheco St. , 505-795-7383 Hotel Santa Fe Swiss Bakery Pastr 1501 Paseo de Peral ies ta, 505-982-1200 401 S. Guadalupe St. and Bistro , 505-988-5500 Iconik Coffee Roas ters Taberna La Boca 1600 Lena St., 505-4 28-0996 125 Lincoln Ave., 50 5-988-7102 Jean Cocteau Cinem a Tin y’s 418 Montezuma Av e., 505-466-5528 1005 St. Francis Dr ive, Suite 117, Junction 505-983-9817 530 S. Guadalupe St. , 505-988-7222 The Underground at Evangelo’s La Boca 200 W. San Francisc o St. 72 W. Marcy St., 50 5-982-3433 Upper Crust Pizza La Casa Sena Cant 329 Old Santa Fe Tra ina il, 505-982-0000 25 E. Palace Ave., 50 5-988-9232 Vanessie La Fiesta Lounge 434 W. San Francisc at La Fonda o St., 505-982-9966 100 E. San Francisc o St., 505-982-5511 Veterans of Fo re ign Wars La Posada de Sant a Fe Resort and Sp 370 Montezuma Ave., 505-984-2691 a 330 E. Palace Ave., 505-986-0000 Warehouse 21 Lensic Performing 1614 Paseo de Peral Arts Center ta, 505-989-4423 211 W. San Francisc o St., 505-988-1234 Zia Dinner Lodge Lounge at Th e Lodge at Santa Fe 326 S. Guadalupe St., 50 5-988-7008 750 N. St. Francis Dr ., 505-992-5800

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

Fiesta Events

PASATIEMPOMAGAZINE.COM

57

Second Street Brewery at the Railyard

Acadian Drifters, blues and bluegrass, 1-4 p.m., no cover.

Vanessie

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

MONDAY 9/8 Theater/Dance Aziz Ansari

The Lensic Stand-up comic, 7 p.m., $35, 505-988-1234, ticketssantafe.org.

Books/Talks Southwest Seminars lecture

Hotel Santa Fe, 1501 Paseo de Peralta, 505-466-2775 The Amazing Life of Cabeza de Vaca: First New World Secular Humanitarian, with Baker Morrow, 6 p.m., $12 at the door, series schedule available online at southwestseminars.org.

Events Swing dance

Odd Fellows Hall, 1125 Cerrillos Rd. Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., dance $3, lesson and dance $8, 505-473-0955.

Nightlife

(See Page 57 for addresses) Robert Redford and Lauren Hutton, Sonoma, California, 1970, by Steve Schapiro, Monroe Gallery of Photography, 112 Don Gaspar Ave.

Second Street Brewery

Western band Way Out West, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

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

Books/Talks Emilia Phillips

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The poet reads from Signaletics, 4 p.m.

(See Subtexts, Page 16)

Journey Santa Fe Presents

9/8

Aziz Ansari on stage at the Lensic

Shadeh

DJ 12 Tribe, 9 p.m.-4 a.m., call for cover.

Sweetwater Harvest Kitchen

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

Tiny‘s

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

Vanessie

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

SUNDAY 9/7 Gallery and Museum Openings Contemporary Tapestry Gallery

835 W. San Mateo Rd., 505-231-5904 Work by Bengt Erikson, reception 3-5 p.m., through Oct. 4.

58

PASATIEMPO I September 5-11, 2014

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Composting, a talk by Sam McCarthy of Payne‘s Organic Soil Yard on how to reduce waste and improve your garden, 11 a.m.

Theater/Dance Cascarones

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 DNAWORKS and Teatro Paraguas present a play by Irma Mayorga, special performance

by Santa Fe Danceworks 4:15 p.m., curtain 5 p.m., $15, discounts available, Thursdays-Sundays, through Sept. 14.

Fiesta Events Fiesta Fine Arts & Crafts and Fiesta Craft Shows

The Plaza Includes weavers, jewelers, potters, santeros, and glass artists, 9 a.m.-5 p.m. today through Monday.

Solemn Procession

Downtown from the Palace of the Governors to the Cathedral Basilica of St. Francis of Assisi Reenactment of New Mexico Hispanic settlers walking with the image of La Conquistadora to a pontifical Mass, 9:30 a.m.

Pontifical Mass

Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place Officiated by Archbishop Michael Sheehan; infused with Native American music and dances; Don Diego de Vargas, his Cuadrilla, and the Royal Court participate in this Fiesta tradition, 10 a.m.

Plaza Stage

Tanya Griego 11 a.m., Baile Encantado 3 p.m., and Ernestine Romero 4 p.m.

Desfile de la Gente (Historical/Hysterical Parade) Starting point: Paseo de Peralta and N. Guadalupe Street Marching bands, floats, and sports teams join other Fiesta revelers in this spectacle, 1-3 p.m.

Santa Fe Fiesta Melodrama

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual send-up of everything Santa Fe, directed

by Andy Primm, 4 p.m., $20, discounts available.

(See story, Page 18)

Fiesta closing ceremonies The Plaza 5:15-5:30 p.m.

Mass and candlelight procession

Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place Annual Mass followed by a procession to the Cross of the Martyrs (off Paseo de Peralta between Otero Street and Hillside Avenue).

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

All-star Americana band The Santa Fe Revue, noon-3 p.m.; trumpeter Tom Rheam and his trio, 8 p.m.; no cover.

El Farol

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

Evangelo‘s

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

La Posada de Santa Fe Resort and Spa

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

Lodge Lounge at The Lodge at Santa Fe

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

Cowgirl BBQ

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

El Farol

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

Vanessie

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

TUESDAY 9/9 Gallery and Museum Openings Fogelson Library Gallery

Santa Fe University of Art & Design, 1600 St. Michael‘s Dr., 505-473-6569 Sculpture and paintings by Leslie Gonzales, through Oct. 10.

Books/Talks Climate Variability & Extreme Events in New Mexico

School for Advanced Research boardroom, 660 Garcia St., 505-954-7203 A talk by Deirdre Kann, science and operations officer at the National Weather Service, 3 p.m., no charge.

New Mexico Music Commission meeting

Room 238, second floor, Bataan Memorial Building, 407 Galisteo St. Open discussion, 10 a.m.-noon; copies of the agenda are available online at newmexicomusic.org or contact New Mexico Arts, 505-827-6490.

Santa Fe Archaeological Society lecture

Pecos Trail Café, 2239 Old Pecos Trail Chasing Beauty: The Turquoise of the Casas Grandes Region of Northern Mexico, with Tim Maxwell, Museum of New Mexico Office of Archaeological Studies director, 7:30 p.m., donations accepted.

Santa Fe Institute community lecture

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. The free series continues with Seeing the Future in Our Past: Why Archaeology Matters, by SFI president Jeremy Sabloff, 7:30 p.m. today and Wednesday, santafe.edu.

El Farol

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

Junction

La Boca

La Posada de Santa Fe Resort and Spa

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

Karaoke night with Michelle, 10 p.m.-1 a.m., no cover.

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 David Geist, 6:30-9:30 p.m., call for cover.

THURSDAY 9/11 In Concert Violent Femmes

Santa Fe Sol Stage & Grill, 37 Fire Place Veteran alternative-rock band, with guest artist Joe West, 7:30 p.m., $42, 505-988-1234, ticketssantafe.org. (See story, Page 36)

Theater/Dance

16TH ANNUAL RÍO COSTILLA STUDIO TOUR From 10 a.m. to 5 p.m. Saturday and Sunday, Sept. 6-7, the village of Costilla (in the San Luis Valley bordering Colorado) invites visitors to view local artists‘ works including photography, paintings, furniture, and sculpture during this self-guided tour. Costilla is located north of Taos on NM 522.

Visit riocostillaart.com for a map and list of artists. Shown, Castaway, by Rene' Janiece.

Cascarones

Teatro Paraguas, 3205 Calle Marie DNAWORKS and Teatro Paraguas present a play

by Irma Mayorga, 7 p.m., $15, discounts available, 505-424-1601, Thursdays-Sundays, through Sept. 14.

National Theatre of London in HD Three Paths to Publishing: Which Is Best for You?

Unitarian Universalist Church of Santa Fe, 107 W. Barcelona St. A New Mexico Book Association fall workshop series titled Get Published!, led by Susan Guyette, 6:30-8 p.m., $20 at the door, register by email to admin@nmbook.org, 505-660-6357.

Nightlife

(See Page 57 for addresses)

¡Chispa! at El Mesón

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

Cowgirl BBQ

Singer/songwriter duo Bittersweet Highway, 8 p.m., no cover.

Santa Fe Institute community lecture

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. The free series continues with Seeing the Future in Our Past: Why Archaeology Matters,

by SFI president Jeremy Sabloff, 7:30 p.m., santafe.edu.

Nightlife

(See Page 57 for addresses)

¡Chispa! at El Mesón

Singer/songwriter Jesús Bas, 7-9 p.m., no cover.

Cowgirl BBQ

The Littlest Birds, old-time music, 8 p.m., no cover.

El Farol

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

The Lensic The broadcast series continues with Medea, 7 p.m., $22, 505-988-1234, ticketssantafe.org.

Books/Talks Renesan Institute lecture

St. John‘s United Methodist Church, 1200 Old Pecos Trail Michael Nutkiewicz discusses Spinoza, 1-3 p.m., $10, 505-982-9274, renesan.org.

Nightlife

(See Page 57 for addresses)

¡Chispa! at El Mesón

Songs from the Great American Songbook, with guitarist Jim Almand, 7-9 p.m., no cover.

Cowgirl BBQ

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

Palace Restaurant and Saloon

Pranzo Italian Grill

Kari Simmons and Todd Lowry, vocals and piano, 6-9 p.m., call for cover.

Second Street Brewery

Juke-joint, honky-tonk, biker-bar band Broomdust Caravan, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Los Esmitz, featuring Nacha Mendez, Mustafa Stefan Dill, Ross Hamlin, D. Santi, and Alex Pigeon, 7-10 p.m., no cover.

OUT OF TOWN Abiquiú Galeria Arriba at Abiquiú Inn

21120 U.S. 84, 505-685-4378 Abiquiú Studio Tour preview exhibit, reception 4-6 p.m. Sunday, Sept. 7, through Oct. 30.

Albuquerque SCA Contemporary Art

524 Haines Ave. N.E., 505-228-3749 At First Sight, mixed media by UNM MFA students, through Sept. 12.

Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Music of Shostakovich and Kurt Atterberg, 10:30 a.m. Sunday, Sept. 7, poetry reading

by Tony Mares follows, $15 at the door only, discounts available, chatterabq.org.

Costilla 16th Annual Río Costilla Studio Tour

Costilla, north of Taos on NM 522 A self-guided tour running 10 a.m. to 5 p.m.

Saturday and Sunday, Sept. 6-7, view works including photography, paintings, jewelry, furniture, and sculpture, map and list of artists available online at riocostillaart.com.

John Kurzweg Band, rock, 8 p.m., no cover.

El Farol

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

Second Street Brewery at the Railyard

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

Tiny‘s

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

Vanessie

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

WEDNESDAY 9/10 In Concert Justin Furstenfeld: An Open Book Tour Jean Cocteau Cinema Rock singer/songwriter, 7 p.m., $25, jeancocteaucinema.com.

Books/Talks 2014 Brainpower & Brownbags Lecture Series

Meem Community Room, Fray Angélico Chavez History Library, 120 Washington Ave. Edmund G. Ross: A Profile in Courage, by Richard Ruddy, noon, no charge, 505-476-5200.

Catenary Art Gallery shows the landscape photography of Rumi Vesselinova, 616 ½ Canyon Rd.

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Flower Angels

Taos Fall Arts Festival Film Shorts

Food for Santa Fe

UNDER 21

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

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

Amateurs and professionals are welcome to submit entries centered on the theme Honoring the Land; submission deadline is Friday, Sept. 5; details available online at taosfallarts.com/film_festival.

Santa Fe Science Café for Young Thinkers

Georgia O‘Keeffe Museum Education Annex, 123 Grant Ave. Many Mothers Understanding Global Warming, a talk Help new mothers and families, raise funds,

by Donald Neidig, retired National Solar plan events, become a board member, and more; Observatory scientist, 6-7:30 p.m. Wednesday, requirements and details available online at manySept. 10, part of the Santa Fe Alliance for Science mothers.org; call 505-466-3715 for information or to lecture series geared toward ages 13-19, no charge, schedule an interview. sfafs.org.

Off the Grid Santa Fe

Call for sponsors, volunteers, and vendors to participate in an inaugural evening of live music and other entertainment, with food trucks, 4 p.m. to 7:30 p.m. Saturday, Sept. 19, in the parking lot of Santa Fe Place, 4250 Cerrillos Rd.; contact Dominic Silva, dthomas505@hotmail.com or 505-424-2452.

Photo-eye Bookstore + Project Space shows photographs by Brad Wilson, 376-A Garcia St.

Los Alamos Los Alamos ScienceFest

Various locations Friday-Saturday, Sept. 5-13; festival highlights include an appearance by former shuttle astronaut John Phillips; drone demonstrations, photography exhibits, model rocket launches, and live music with Ryan Finn Big Band, roots-rock band DK and the Affordables, and bluegrass band the Squash Blossom Boys, most activities are free, losalamossciencefest.com, 505-661-4844. (See story, Page 32)

Gordons‘ Summer Concerts

The free music series continues with bluegrass/roots-rock band Whitewater Ramble, 7 p.m. Friday, Sept. 5, Ashley Pond, visit gordonssummerconcerts.com for music schedule.

Tower of Magic

Los Alamos Little Theatre, 1670 Nectar St., 505-662-5493 A comedy by local playwright Tess Light, 7:30 p.m. Fridays and Saturdays, Sept. 5-20, 2 p.m. Sunday, Sept. 14, $14 at the door and at C.B. Fox, 1735 Central Ave., discounts available, lalt.org.

Pajarito Environmental Education Center Herbarium Open House 3540 Orange St., 505-662-0460 Visit the Jemez Mountain Herbarium, housing 3,000 plants; tours led by curator Chick Keller, noon-4 p.m. Tuesday, Sept. 9, pajaritoeec.org.

Madrid Tapestry Gallery

4-D Firehouse Lane, 505-471-0194 Feng Shui (plus additions), tapestries by Donna Loraine Contractor, through Oct. 16.

Peñasco Carl Struck

The Peñasco Theatre, 15045 NM 75, 5 75-587-2726 Local singer/songwriter, 7:30 p.m. Saturday, Sept. 6, $10 in advance at brownpapertickets.com.

Taos KTAOS Solar Center concert

9 S.R. 150, in El Prado Skatalites, veteran Jamaican ska/dub/rock band, 8 p.m. Friday, Sept. 5, $15, advance tickets available online at holdmyticket.com.

203 Fine Art

203 Ledoux St., 575-751-1262 Significant Paintings From the 1950s and 1960s, work by Beatrice Mandelman (1912-1998), through Sept. 14.

PEOPLE WHO NEED PEOPLE

Pilar Studio Tour

54 miles north of Santa Fe on SR 570, along the Río Grande In its 17th year, this tour offers an up-close

PASATIEMPO I September 5-11, 2014

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

Filmmakers/Performers/Playwrights Santa Fe Playhouse playwright‘s forum

142 E. DeVargas St., 505-988-4262 Accepting full-length works by playwrights for the 2014-2015 season; plays must be unpublished and consist of eight or fewer characters; four plays will be selected for staged readings Oct. 23-26, one will be chosen for a March 2015 production; submit a short bio and play synopsis no later than Monday, Sept. 15, to Cristina Duarte at the playhouse.

The Plaza See the Pasa Week calendar for events held Friday-Sunday, Sept. 5-7; including the Fiesta Fine Arts & Crafts and Fiesta Craft Shows, live performances, Saturday's Pet Parade., and Sunday Historical/Hysterical Parade.

Los Alamos ScienceFest

Various locations Friday-Saturday, Sept. 5-13; festival highlights include an appearance by former shuttle astronaut John Phillips; drone demonstrations, photography exhibits, model rocket launches, and live music, losalamossciencefest.com, 505-661-4844, most activities are free. (See story, Page 32)

Backyard Astronomy

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

Artists 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; visit facebook.com/awesomesantafe for examples of other funded projects.

Call for artists

The Friendship Club seeks artists in recovery from substance abuse and/or living with a mental illness to participate in an exhibit held at its facility on Sunday, Sept. 21; contact Larry Lee at The Life Link, 505-438-8488, Ext. 13, llee@thelifelink.org.

Santa Fe Photographic Workshops 25th Anniversary Photography Contest

Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; deadline Wednesday, Sept. 17, guidelines and fee information are available online at santafeworkshops.com.

Community Fight Illiteracy

Pilar

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and personal look at work in the studios of potters, painters, and fiber artists‘ homes and studios; 10 a.m.-5 p.m. Saturday and Sunday, Sept. 6-7, visit pilarstudiotour.com for details; maps are available at Río Grande Gorge Visitors Center.

St. Elizabeth Shelter

PASA KIDS

Fiesta

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.

SEVENTEENTH ANNUAL PILAR STUDIO TOUR A scenic hour‘s drive north of Santa Fe (on SR 570) takes you to the village of Pilar nestled along the banks of the Río Grande, where visitors can visit the homes and studios of local potters, painters, and fiber artists during this self-guided tour taking place Saturday and Sunday, Sept. 6-7. Visit pilarstudiotour.com for more information. Maps are available at Río Grande Gorge Visitors Center.

¡Globalquerque!

National Hispanic Cultural Center, 1701 Second St. S.W. The 10th annual celebration of world music and culture boasts an international lineup headed by Afro-Cuban All-Stars, Beto Jamaica Rey Vallento (Colombia), Calypso Rose and Kobo Town (Trinidad and Tobago), and DVA (Czech Republic), Friday and Saturday, Sept. 19-20, $19-$69, tickets available in advance online at globalquerque.org or at the box office.

Santa Fe Music Collective jazz concerts

MUSIC

Jerry López and Friends

The Lensic Local singer/guitarist, 7 p.m. Friday, Sept. 12, $25-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavioral Health Association.

Cabaret and the Spirit of Montmartre

Santa Fe Playhouse, 142 E De Vargas St., 505-988-4262 Pianist and singer Charles Tichenor‘s one-man show, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Sept. 12-14, $20.

Roberto Capocchi

San Miguel Mission, 401 Old Santa Fe Trail The classical guitarist opens the mission‘s concert series season, 7 p.m. Friday, Sept. 12, $20, students $5, 505-577-1447, capocchimusic.com.

Lyle Lovett and His Large Band

The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m. Saturday, Sept. 13, $12-$76, 505-988-1234, ticketssantafe.org.

Steve Riley & Mamou Playboys

The Lensic Cajun band, 7 p.m. Saturday, Sept. 13, $15-$35, 505-988-1234, ticketssantafe.org.

Big Al Anderson

Gig Performance Space, 1808 Second St. Guitarist/songwriter, 7:30 p.m. Saturday, Sept. 13, $20 at the door, gigsantafe.com.

9/19 Dmitri Matheny, Museum Hill Café

Santa Fe Symphony

The Lensic The 31st-season opener titled Showcase of the Stars features soloists violinist Mark Kaplan and cellist Clancy Newman, led by guest conductor Kevin Rhodes, music of Monti, Popper, and Tchaikovsky, 4 p.m. Sunday, Sept. 14, free lecture 3 p.m., $22-$76, discounts available, 505-988-1234, ticketssantafe.org.

10th Annual ShortGrass Music Festival

Kiva Cimarroncita Ranch Retreat at Ute Park, Colfax Tavern, and United Methodist Church of Cimarron Jarana Beat, 7 p.m. Friday, Sept. 19, $10; Randy McAllister, Hwy 38 Houndogs open, 7 p.m. Saturday, Sept. 20, $20, 21+; violist Matthew Lipman and pianist Yi-Fang Huang, 4 p.m. Sunday, Sept. 21, $10; 575-376-2417, shortgrassfestival.com.

Museum Hill Café, 710 Camino Lejo Friday, Sept. 19, flugelhornist Dmitri Matheny; Thursday, Oct. 2, guitarist Joshua Breakstone; Friday, Oct. 17, flutist Ali Ryerson; all performances begin at 7 p.m., $25, 505-983-6820.

Santa Fe Pro Musica

The Lensic The 33rd season opens with pianist Melissa Marse joining the orchestra in a performance of Beethoven‘s Symphony No. 5 and Piano Concerto No. 3; 4 p.m. Saturday and 3 p.m.

Sunday, Sept. 20-21, $10-$65, 505-988-1234, ticketssantafe.org; dinner with the pianist follows (contact SFPM box office to reserve a seat), 505-988-4640.

The Jewel Box Cabaret

Armory for the Arts, 1050 Old Pecos Trail Gender-bending performances in support of the Street Homeless Animal Project, 8 p.m. Saturday, Sept. 20, $25, 505-988-1234, ticktetssantafe.org.

Serenata of Santa Fe

First Presbyterian Church, 208 Grant Ave. All Chamber Music all the Time ushers in the 2014-2015 season; programs include music of Britten, Barber, and Osvaldo Golijov; visit serenataofsantafe.org for details.

Buckwheat Zydeco

THEATER/DANCE

Lucha, Libre, Exotica

El Museo Cultural de Santa Fe, 555 Camino de la Familia Tag-team cross-dressing Mexican wrestlers Cassandro, Estrellita, and Diva Salvaje versus Niebla Roja, Magnus, and Magno, 8 p.m. Saturday, Sept. 13, $20, front-row seating $35, advance tickets available online at thecassandroproject.com.

Popejoy Presents: La Vida Llena Broadway in New Mexico

Popejoy Hall Center for the Arts, 1 University of New Mexico Blvd.

The Book of Morman (Sept. 15-20) anchors the 2014-2015 season, which includes How the Grinch Stole Christmas! The Musical, Chicago, Camelot, and Million Dollar Quartet, season-ticket packages available online at popejoypresents.com.

National Theatre of London in HD

The Lensic The broadcast series continues with A Streetcar Named Desire, 7 p.m. Tuesday, Sept. 16, $22, 505-988-1234, ticketssantafe.org.

Outside Mullingar

The Lensic Fusion Theatre Company presents a play by John Patrick Shanley, 7:30 p.m. Saturday, Sept. 27, $20-$40, 505-988-1234, ticketssantafe.org.

Green Chile Cheeseburger Smackdown

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Sample burgers from seven local restaurants; enjoy brews and music and help crown the 2014 Green Chile Cheeseburger Smackdown king or queen, 6 p.m. Friday, Sept. 12, $20 in advance and at the door, 505-988-1234, ticketssantafe.org.

Theater Grottesco Annual Fall Bash

Jackalope, 2820 Cerrillos Rd. Games, prizes, silent auction, and raffle, 5-8 p.m.

Saturday, Sept. 13, $25 in advance, $30 at the door, admission includes dinner and drinks, 505-474-8400, theatergrottesco.org.

Spanish Colonial Arts Society 10th Annual Gala

La Fonda, 100 E. San Francisco St. Silent and live art auctions and buffet dinner, 6-10 p.m. Saturday, Sept. 13, $175, 505-982-2226, eventbrite.com.

Santa Fe Botanical Garden Harvest Dinners

Intimate gatherings at private residences; 6 p.m. Saturday, Sept. 13, $100 in advance at santafebotanicalgarden.org.

Mayor's Ball 2014

The Met Live in HD

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 tickets, 505-983-8360, ron.ruybal@bbbs.nnm.org.

HAPPENINGS

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.

National Acrobats of China

The Lensic 7 p.m. Wednesday, Oct. 1, $15-$45, 505-988-1234, ticketssantafe.org.

The Lensic Verdi's Macbeth, with soprano Anna Netrebko as Lady Macbeth, 11 a.m. Saturday, Oct. 11, $22-$28, 505-988-1234, ticketssantafe.org.

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta FUZE-SW 2014: Food + Folklore Festival Stanley "Buckwheat" Dural Jr. performs in support Museum of Indian Arts and Culture and Museum of KSFR Radio, 7:30 p.m. Wednesday, Sept. 24, $25 in of International Folk Art, Museum Hill advance at brownpapertickets.com, $30 at the door.

A food conference offering conversations Foxygen with chefs, authors, and artists; tastings, Skylight breakfasts, lunches, and dinners; held FridaySongwriting duo of Sam France and Jonathan Rado, Sunday, Sept. 12-14, details and tickets available online at fuzesw.museumofnewmexico.org. with Dub Thompson, 7:30 p.m. Thursday, Sept. 25, $18, 505-988-1234, ticketssantafe.org.

Leading by Being

Santa Fe Independent Film Festival

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.

Anne Phillips

Vanessie The jazz vocalist performs in Gonna Lay My Heart on the Line, 7 p.m. Friday, Sept. 26, a singalong of the Great American Songbook follows, $20, 505-438-8186.

St. Lawrence String Quartet

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Beethoven and Haydn; performed by violinists Mark Fewer and Geoff Nuttall, violist Lesley Robertson, and cellist Christopher Costanza, 3 p.m. Sunday, Oct. 5, $10-$65, 505-988-1234, ticketssantafe.org; dinner with the quartet 5:30 p.m., contact the Santa Fe Pro Musica box office to reserve seats, 505-988-4640, Ext. 1000.

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, 505-988-1234, ticketssantafe.org.

Zakir Hussain

The Lensic Classical music of India, 7 p.m. Tuesday, Oct. 7, $20-$50, 505-988-1234, ticketssantafe.org.

Stanley "Buckwheat" Dural Jr. performs at the Santa Fe Farmers Market Pavilion on Sept. 24.

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AT THE GALLERIES

Giacobbe-Fritz Fine Art

702 Canyon Rd., 505-986-1156 The Power of a Woman, paintings by Nocona Burgess, through Sunday, Sept. 7.

Owings Gallery

120 E. Marcy St., 505-982-6244 Grand Figures: Masterpieces of the American West, through Tuesday, Sept. 9.

Meyer East Gallery

225 Canyon Rd., 505-983-1657 Paintings by Wendy Chidester, through Thursday, Sept. 11.

Peters Projects

1011 Paseo de Peralta, 505-954-5800 Paintings by Suzanne Caporael (see story, Page 40); photographs by Laura Wilson (see story, Page 38); through Sept. 27.

MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts

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

by Sam Scott (Spector Ripps Project Space); through Nov. 2 • Subliminal Memory, paintings

by David Rudolph, through Sunday, Sept. 7.

Open Thursdays-Sundays; ccasantafe.org.

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.

Georgia O‘Keeffe Museum

217 Johnson St., 505-946-1000 Georgia O‘Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17; okeeffemuseum.org; Open daily.

Museum of Contemporary Native Arts

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

Museum of Indian Arts & Culture

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

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.

Museum of International Folk Art

704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include contemporary and historic Native American art.

Open daily; wheelwright.org.

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 • New World Cuisine: The Histories of Chocolate, Mate y Más • 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, 2015 • Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser‘s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through 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; 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 2015 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum‘s collection, through 2015; nmartmuseum.org; open daily through Oct. 7.

Pablita Velarde Museum of Indian Women in the Arts

213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4, 2015. 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, La Loca y Sweetie, by Delilah Montoya, Mike 3sixty, and Robbie Herrera, in the New Mexico Museum of Art rotating group exhibit Focus on Photography.

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PASATIEMPO I September 5-11, 2014

Wheelwright Museum of the American Indian

Albuquerque Albuquerque Museum of Art & History

2000 Mountain Rd. N.W., 505-243-7255 Everybody‘s Neighbor: Vivian Vance, family memorabilia and the museum‘s photo archives of the former Albuquerque resident, through January 2015 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/cultural services/albuquerque-museum.

Indian Pueblo Cultural Center

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

Maxwell Museum of Anthropology

UNM campus, 1 University Blvd. N.E., 505-277-4405 The museum‘s collection includes archaeological, ethnological, archival, photographic, and skeletal items; maxwellmuseum.unm.edu; closed Sundays and Mondays.

Los Alamos 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 Highlights From the Gus Foster Collection, contemporary works, through Sunday, Sept. 7.

Open daily through October; harwoodmuseum.org.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21.

Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933.

Closed Mondays; taosartmuseum.org.

Steve Fitch: Post, Texas October 23 2011, archival ink-jet print Marion Center for Photographic Arts, Santa Fe University of Art and Design, 1600 St. Michael’s Drive, 505-473-6341 The Marion Center presents the works of three photographers who capture the beauty and fragility of natural landscapes and the impact of humanity on the environment.

Wilderness Acts: William Sutton, Michael Berman, and Steve Fitch opens Friday, Sept. 5, with a panel discussion at Tipton Hall at 6 p.m., followed by a reception and book signing at the Marion Center.

Bengt Erikson: Martta, 2014, tapestry Contemporary Tapestry Gallery, 835 W. San Mateo Road, 505-231-5904 Former textile-designer-turned-artist Bengt Erikson creates representational and abstract tapestries with vibrant patterns and subdued color schemes.

A show of his work opens at the Contemporary Tapestry Gallery on Sunday, Sept. 7, at 3 p.m.

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

Annie Dover: Mission Street Standouts 2014, oil on canvas Sugarman-Peterson Gallery, 130 W. Palace Ave., 505-982-0340 Michael Protiva’s mixed-media paintings are built up in layers, adding a sense of depth to the abstract imagery. He is the first abstract painter to be featured at the gallery. Annie Dover paints quiet scenes of everyday moments, captured in nearphotographic detail. A reception for the artists takes place on Friday, Sept. 5, at 5 p.m.

Inger Jirby: Costello de Tignany, Italy 2014, watercolor

Herbert Bayer: Aspen Column 2012, custom-patina Cor-Ten steel

Wiford Gallery, 403 Canyon Road, 505-982-2403 Swedish-born artist Inger Jirby’s bright palette lends her works a Fauvist appearance. Her show Lands of Enchantment captures the natural beauty of the many places she has visited in her international travels as well as landscapes painted closer to New Mexico, her current home. The exhibit opens Friday, Sept. 5, with a 5 p.m. reception.

Peyton Wright Gallery, 237 E. Palace Ave., 505-989-9888 Austrian artist Herbert Bayer (1900-1985), creator of the sans-serif Universal typeface, studied at the Bauhaus school in Germany’s Weimer Republic before accepting a position as art director at Vogue’s Berlin offices in 1928.

In the late 1930s, Bayer immigrated to the United States, where he began a successful career in fine and applied arts. Herbert Bayer: Bauhaus Master, an exhibit of his work, opens on Friday, Sept. 5. There is no reception.

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