Pasatiempo Aug. 9, 2019

Page 1

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

August 9, 2019

We invite all members of the community to support the Centennial Campaign to expand the New Mexico Museum of Art into a second location in the Railyard Arts District.

Purchase a brick for just $250. It will be inscribed with your name and placed permanently in the

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PASATIEMPO | August 9-15, 2019

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Burning of Zozobra

Goodbye gloom.

It’s time to burn your gloom! Experience a true Santa Fe tradition at the 95th Burning of Zozobra. General Admission $10 per person, $15 on the day of the event. Kids 10 & under still free. Park at the South Capitol lot and ride the free shuttle to Ft. Marcy Park to see Zozobra go down in flames! Get all the details at


PASATIEMPO | August 9-15, 2019

TheOfďŹ cialBurningOfZozobra



Political Science



Local Trips

Technology Geopolitics




Weekly Lectures

The American Southwest



Performance Arts





Spectacular shibori-dyed silk shirts & vests by two of the premier art-to-wear designers in the country

Current Events

Social Sciences


World Cultures

RENESAN Institute for Lifelong Learning

Enrich Your Life! 50+ daytime courses, lectures, and trips in the arts, culture, current events, film, history, literature, music, science and technology, and social sciences

Online registration begins at 8AM Monday, August 12 In-person registration begins at 10AM Tuesday, August 13 RENESAN is located in St. John’s United Methodist Church 1200 Old Pecos Trail, Santa Fe

Classes begin on Tuesday, September 3 RENESAN Institute for Lifelong Learning is an independent, volunteersupported, nonprofit organization that provides affordable, academically oriented classes, lectures, and local trips for adults in Northern New Mexico.

For more information, call our office at 505-982-9274

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August 9, 2019



Bamboo stock exchanges

Gray Mankus

More than 1,400 species of bamboo exist in the world. Known for its strength and resiliency, it has been used for making weapons, kitchenware, musical instruments, and even bridges and homes. It is arguably one of the most versatile natural products in use around the world. Building on the traditions of his ancestors, Tanabe Chikuunsai IV takes the art of bamboo to new territories, constructing installations that sometimes fill entire rooms. Their billowing, meandering shapes echo the serpentine twists and turns of root systems and other branching growth. He brings a reflection of the world of nature indoors. An exhibition of his work (including small-scale sculptures and a large-scale, site-specific installation) is on view at Tai Modern (1601 Paseo de Peralta) through Aug. 24. On the cover is Kayoko Sano, one of two apprentices to Chikuunsai, working on the installation (photo by Incredible Films).


18 In Other Words Chances Are ..., by Richard Russo 18 Subtexts Mabel Luhan Dodge and a bygone Taos

56 The Spy behind Home Plate 58 Chile Pages


61 Movie Showtimes

20 Pasa Reviews Winter Journey


22 Pasa Reviews “Luminosity” 24 Random Acts Santa Fe Opera apprentices perform; Brahms, Mozart, and Schubert at the Lensic; Native drums and Robert Mirabal on the Plaza; and DeVotchKa plays Railyard Plaza

16 Emma Felt, Chickadees and nuthatches (2019), watercolor and graphite

67 Pasa Week


74 Exhibitionism

26 Once in a very blue moon Cycling through Beethoven’s sonatas

ART 28 Find your niche Alcoves 20/20 34 It took a village A new perspective on San Ildefonso pottery 43 We Are the Seeds Growing Native art


46 Seeing what’s really there Photographer Peggy Fontenot 50 A mother’s promise I Will Carry You 52 Digital Weaving Darby Raymond-Overstreet’s layed textures


ET CETERA 14 Star Codes


16 Mixed Media Art inspired by Ernest Thompson Seton

A calendar listing that was printed in the Aug. 2 issue of Pasatiempo incorrectly listed the name of C.L. Kieffer Nail, an adjunct professor of anthropology at the University of New Mexico.

62 Amuse-bouche Luminaria Restaurant & Patio

Visit Pasatiempo at and on Facebook ©2019 The Santa Fe New Mexican Pasatiempo is an arts, entertainment, and culture magazine published every Friday by The New Mexican, 202 E. Marcy St., Santa Fe, New Mexico, 87501. Email: • Editorial: 505-986-3019

TECA TU Pawsworthy Pub Hour

Saturday, August 24 • 4-6pm • • • •

Margaritas Treats for the 2 and 4 legged Doggie Beer Spin the prize wheel for giveaw ways...

• Trunk Show with Santa Fe Dog Collars-Pam Kellett • The "Boss Yogurt for Dogs" representative will be here at the store giving away free samples of Boss Yogurt.

Over 50 Unique Stores & Restaurants • Free Parking N.Guadalupe & Paseo de Peralta Walking Distance from Railyard & Plaza 505-982-2655 • • PASATIEMPOMAGAZINE.COM


PASATIEMPO PASATIEMPO EDITOR Tracy Mobley-Martinez 505-986-3044

202 E. Marcy St., Santa Fe, NM 87501

OWNER Robin Martin

ART DIRECTOR Marcella Sandoval 505-395-9466


ASSOCIATE ART DIRECTOR Taura Costidis 505-986-1310

EDITOR Phill Casaus

COPY EDITORS Thomas M. Hill 505-983-3303, Ext. 3096

Amy Linn 505-983-3303, Ext. 3079


CALENDAR EDITOR Pamela Beach 505-986-3019

ADVERTISING MANAGER Wendy Ortega, 505-995-3852

ASSISTANT CALENDAR EDITOR Patricia Lenihan 505-986-3303, Ext. 3084

STAFF WRITERS Michael Abatemarco 505-986-3048

Jennifer Levin 505-986-3039

Paul Weideman 505-986-3043

CONTRIBUTORS Laurel Gladden, Robert Ker, Jonathan Richards, Heather Roan Robbins, Steve Terrell, Mark Tiarks, Patricia West-Barker


Modern & Contemporary Jewel Arts, including works by Charles Loloma, Verma Nequatewa (Sonwai), Richard Chavez, Preston Monongye, Jesse Monongya, Lee Yazzie, Raymond Yazzie, McKee Platero, Edison Cummings, Jared Chavez, Pat Pruitt— and Southwestern jeweler Eveli Sabatie


ADVERTISING SALES/PASATIEMPO Chris Alexander, 505-995-3825 Clara Holiday 505-995 3892 Deb Meyers, 505-995-3861 Dana Teton, 505-995-3844 Lisa Vakharia, 505-995 3830 GRAPHIC DESIGNERS Rick Artiaga, Elspeth Hilbert, Joan Scholl


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Visit with Richard Chavez and Jared Chavez on Monday, August 12, 3 – 5 pm. We will also be showing a limited selection of our global art+design jewelry.

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PASATIEMPO I August 9 -15, 2019

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WATCH THE MOON and Jupiter dancing together in the night sky, arching




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toward the west by midnight. Every month when the moon and Jupiter waltz, our hearts swell and the volume of our emotions cranks up. Usually, this uplifts the heart but sometimes it just intensifies feelings. With sun, Venus, and Mars all in Leo, and Mercury joining them on Sunday, a party can begin at the drop of a hat. So can a disaster. On a bad day, Leo can bring out a flash of temporary narcissism along with a craving for attention. Whether we tap into the Leo shadow or the gift of generosity depends upon the ability to empathize. Leo rules the heart. When our hearts are open and intact, we can bring panache to anything. We may feel more extroverted than usual but could have trouble just being simple. To use this expressive time well, keep empathy engaged. This could be particularly important this weekend as Jupiter, retrograde since April 9, now turns direct just as Uranus turns retrograde. We can feel turmoil roil when a planet appears to change directions. It’s as if we were stirring the pot in one direction and now stir in the other. Uranus instigates change. Jupiter speaks of freedom and movement — it’s in Sagittarius this year, the sign we associate with children, law, honesty, and travel. It’s a good week to speak up about any changes we’d like to see. Friday calls for a moment of freedom. Saturday night through Monday a more determined Capricorn moon brings up the year’s big issues and asks us to use competence and determination wisely. The full moon in sociable Aquarius Wednesday and Thursday brings the year’s best time for gatherings. FRIDAY, AUG. 9: Although the mood is generally upbeat, we may be tempted to test our relationships. It’s hard to stay focused unless there is human interest: We want to care. Get out and about as the outgoing Sagittarius moon conjuncts Jupiter tonight. SATURDAY, AUG. 10: Get busy this morning as the moon trines Mars. The energy grows hazy as the sun challenges Neptune later on. This is great for getting lost in a novel but tricky for navigating reality. The moon enters Capricorn tonight and loans us pushiness and determination. SUNDAY, AUG. 11: The energy shifts and twists as both Jupiter turns direct, Uranus retrogrades, and Mercury enters Leo. That Capricorn moon offers endurance, though some become stubbornly manipulative in response. Be careful around machinery. Stay calm in the turbulence. MONDAY, AUG. 12: Address serious issues as the Capricorn moon conjuncts Saturn and Pluto this morning. We need to take responsibility for our evolution and think about our responsibility to citizenship and co-workers. Lightweight jokes fall flat while serious work furthers.

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TUESDAY, AUG. 13: Social discontent grows. Differing ideas can be cheerfully brokered, just stay responsible for the work as the Aquarius moon opposes Mercury midday. Let’s ask ourselves how love and art serve to heal our ills.


WEDNESDAY, AUG. 14: Love, affection, resentment, and power plays: unintegrated personal power can come out passive-aggressively as Venus and the sun conjunct and challenge Pluto. Discuss the difference between nasty power and healthy empowerment. Tonight, gather, philosophize, and solve the world’s problems.

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PASATIEMPO I August 9 -15, 2019

THURSDAY, AUG. 15: The moon is full in Aquarius this morning and asks us to balance our personal needs with our responsibilities to relationships, community, and humankind. Watch a cranky spell around dinnertime. Tears and laughter come closer as the moon enters Pisces tonight. To contact astrologer Heather Roan Robbins, go to



. . . experience the rest! Friday, August 9, 5–6:30 p.m. Ice Cream Social. Enjoy free Häagen-Dazs‰ ice cream in the courtyard garden courtesy of Santa Fe Espresso Company. Alcoves 20/20 #1 Opening Reception. The popular series of small alcove exhibitions returns with artists Stuart Arends, Mokha Laget, Diane Marsh, Dan Namingha, and Emi Ozawa (on view through October 13, 2019).

Friday, August 23, 5:30–6:30 p.m. Two in-gallery conversations to choose from: The Great Unknown: Artists at Glen Canyon and Lake Powell. Aural historian Jack Loeffler talks about water in the West. Alcoves 20/20 #1: Stuart Arends, Mokha Laget, Diane Marsh, Dan Namingha, and Emi Ozawa talk about their work on view in the exhibition. 510 West Cordova Road Alcoves 20/20 is supported in part by the Friends of Contemporary Art and Photography (FOCA+P). Programs are free with cost of admission. From May through October the museum is open on Fridays until 7 p.m. Friday evening admission is free for New Mexico residents with ID from 5 to 7 p.m. MNMF members and kids 16 and under are always free.

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PASATIEMPO I August 9-15, 2019

Mukta Webber, Luna (1969), embossed engraving

NATURE’S HANDS UPRAISED: ART INSPIRED BY ERNEST THOMPSON SETON The naturalist Ernest Thompson Seton was a complicated man. In fact, Seton wasn’t even his family name: He adopted the surname at 21 because he became convinced that his father was the true heir to the lands and titles of Lord Seton, Earl of Winton. Born in England, he grew up in Canada and, late in life, became a Santa Fean. He was an animal lover and a prolific writer who was enamored of Native American culture. His passions led him to found the Boy Scouts of America, in 1910. Five years later, he was booted from his own organization because he was a pacifist. Seton, who died in 1946, lived out the last years of his life in a castle near Santa Fe, from which he ran courses in scouting and leadership endeavors. That institution closed at the outbreak of World War II, and the property is now home to Academy for the Love of Learning (133 Seton Village Road, 505-995-1860), which hosts an opening reception on Sunday, Aug. 11, for More Beautiful and Amazing: Art Inspired by Ernest Thompson Seton, in celebration of what would be Seton’s 159th birthday. Curator David Witt paired writings with new and existing work by 14 local artists, as well as artwork by Seton. Among the work on display is Luna, a 1969 embossed engraving by Mukta Webber of a woman’s silhouette reaching for the moon, which is paired with a quote from Seton’s Woodland Tales (1921): “What walked around your tent that thirtieth night? You know not, you heard nothing, for you slept. Yet when the morning comes you feel and know that round your couch, with wings and hands upraised in blessed soothing influence, there passed the Angel of the Night, with healing under her wings, and peace.” Academy for the Love of Learning is a progressive nonprofit educational institution founded by Aaron Stern in 1998, in consultation with the musician Leonard Bernstein. The academy celebrates Bernstein’s Symphony No. 1 ( Jeremiah) on Aug. 25. The public reception for More Beautiful and Amazing is 2 to 4 p.m. Admission is free. The exhibition runs through July 2020. For more information, go to — Jennifer Levin

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IN OTHER WORDS book reviews

Chances Are ..., by Richard Russo, Knopf, 320 pages, $26.95 Richard Russo’s new novel, Chances Are ..., opens with a cascade of charm. Three old friends, all 66 years old, arrive at Martha’s Vineyard for a last hurrah. Russo introduces them one at a time, setting each man in a nest of youthful anecdotes that have been polished to a high luster. But if this is a story steeped in nostalgia, it’s also a story about the inevitable disruption of nostalgia. Russo, who won a Pulitzer Prize for his 2001 novel, Empire Falls, has become our senior correspondent on masculinity. No one captures so well the gruff affection of men or the friction between guys from different classes. By some accident of fate, the three men at the center of Chances Are ... were classmates at a small Connecticut college in the late ’60s and early ’70s. One way or another, they all managed to stay out of the Vietnam War, but the resin of their lives was set in that turbulent era, hardening into the cherished amber of friendship. Chances Are ... rotates gently through these characters, each one so appealing that you hate to let him go, though you’ll quickly feel just as fond of the next one: Lincoln, the successful one, is a commercial real estate agent in Las Vegas; Teddy, the broken one, is the editor of a small religious press; and Mickey, the hard-living one, is a musician who still rides a Harley.


Poetry of place: Mabel Dodge Luhan and a bygone Taos Wealthy art patron Mabel Dodge Luhan built a big house in Taos between 1918 and 1922 and then, over the years, invited writers and visual artists to stay at her place and use the time to create. A century later, her legacy lives on. In 2013, Santa Fe writer Lauren Camp was a poet in residence at the Mabel Dodge Luhan House, now a historic inn and conference center. Inspired by Luhan’s activities in Taos and the history and landscape of the village, Camp wrote Turquoise Door: Finding Mabel Dodge Luhan in New Mexico (3: A Taos Press, 2018). The poems in the book are about — and to — Luhan; they also explore the artists she housed and Camp’s sense of Taos in the 21st century contrasted with what she imagines Taos was like in Luhan’s bygone era. Lauren Camp


PASATIEMPO I August 9-15, 2019

Now 70, Russo clearly knows the pleasures and perils of retrospection, and he’s constructed a novel about the way the past constantly bleeds into the present. Lincoln has invited his oldest friends to the island for a long weekend because he’s about to sell the home that’s been in his family for decades. Crucially, this is also where these three guys gathered after graduation, 44 years ago, for a weekend that changed their lives. None of them will admit it out loud, but this is an emotionally treacherous vacation for them all. One of the great pleasures here stems from how gracefully Russo moves the story along two time frames, creating that uncanny sense of memories that feel simultaneously near and remote. The title comes from a classic Johnny Mathis song that Mickey mocks, but it also serves as a marker of the novel’s theme about the way random events — from college encounters to the draft lottery — can cement a life’s direction. Lincoln’s vacation house is a madeleine dipped in beer. It’s clear from the start that the memories of that old post-graduation weekend are tinged “At the time I went up there, I was escaping a terrible fire season in Santa Fe,” Camp said. “It was nothing like that up in Taos. Fire underlies this collection, in the beginning and then at the end, when I’m heading back home.” An element of tension entered the writing of the poems in Turquoise Door because, as Camp admits, Luhan was known as a complicated and controlling person. The book is an attempt, in part, to grapple with Luhan’s humanity. “I think it’s interesting that I wrote about someone that I think I would not have liked in person, and who would not have liked me.” Journey Santa Fe hosts a reading and discussion about Turquoise Door: Finding Mabel Dodge Luhan in New Mexico with Lauren Camp at 11 a.m. on Sunday, Aug. 11, at Collected Works Bookstore (202 Galisteo St., 505-988-4226). The discussion will focus on Camp’s research process for poems about artistic work. Admission is free. For more information, go to or collectedworks — Jennifer Levin

Richard Russo clearly knows the pleasures and perils of retrospection, and he’s constructed a novel about the way the past constantly bleeds into the present.

with a sorrow beyond the usual pain of nostalgia. There’s a fourth character here, most notable for her absence. Jacy Calloway, a fellow college student, was a wealthy wild child, loved by all of them — a kind of Lady Brett Ashley in this circle of drinking buddies. She came with them to the island house on that momentous weekend four decades ago and then vanished without a trace. Naturally, returning to the island with old friends invokes strong memories of the missing girl they all loved and lost over that Labor Day weekend in 1971. But rather improbably, Lincoln decides to start playing Barnaby Jones and track down Jacy’s killer. A trip to the island newspaper office leads to a dying policeman who just might be able to catch the faint scent of the cold case. By this point, Chances Are ... isn’t a cozy mystery per se, but it’s just one cat away. What’s more disappointing, though, is the way the novel doubles down on the hackneyed cliché of the tragic, unattainable beauty. As college students, these smitten guys never really knew Jacy, and four decades later on Fantasy Island, they don’t seem to understand the fundamental immaturity of their regard. Even in their 60s, these guys are still musing about what might have been: Jacy is “a fever dream.” They hear “her siren call.” It’s one thing for these characters to celebrate their silly Three Musketeers chivalry, but the novel seems equally determined to dress them up in stale romanticism. Once the novel gets back to the present day, it regains a more nuanced and satisfying tone. Lincoln, Mickey, and especially Teddy are allowed a second chance at life they never expected. It’s disappointing, though, to see how firmly such complexity is denied the female characters. Fortunately, Russo is an undeniably endearing writer, and chances are this story will draw you back to the most consequential moments in your own life. — Ron Charles/The Washington Post

Santa Fe Chamber Music FestivaL: The final full week of concerts!

Sat Aug 10 • 5 pm

Sun Aug 11 • 6 pm



On this Spanish-themed program, Paolo Bordignon performs Soler’s Fandango for Harpsichord as well as his Quintet No. 1 for Harpsichord & Strings, and Meng Su plays Boccherini’s “Fandango” Guitar Quintet, in which the cellist also plays castenets!

David Ziman conducts Mozart’s exquisite “Gran Partita.” Berlin Philharmonic Principal Horn Stefan Dohr plays Brahms’s stunningly beautiful Horn Trio. Dohr joins tenor Paul Appleby and pianist Shai Wosner for Schubert’s homage to Beethoven, Auf dem Strom.

NM Museum of Art

The Lensic Performing ARts Center


THE BEETHOVEN SONATAS The Lensic Performing ARts Center Violinist Ida Kavafian and pianist Anne-Marie McDermott perform—for the first time in the Festival’s history— all 10 of Beethoven’s exquisite Sonatas for Violin & Piano.

Tue, Aug 13 • 6 pm

The first three sonatas in the cycle (from Beethoven’s Op. 12) include the spirited Sonata in D Major, No. 1; the Sonata in A Major, No. 2—the best-known of the set; and the virtuosic Sonata in E-flat Major, No. 3.

Wed, Aug 14 • 6 pm

Mon Aug 12 • 6 pm

sat Aug 17 • 6pm



This exciting program includes Falla’s Harpsichord Concerto, performed by New York Philharmonic harpsichordist Paolo Bordignon, as well as Bruckner’s symphonic String Quintet and Mendelssohn’s Konzertstück No. 1.

The final concert on this season’s Bach Plus Series opens with Marcello’s Oboe Concerto in C Minor and closes with Bach’s transcription of that work: the Keyboard Concerto in D Minor after Marcello, BWV 974.

The Lensic Performing ARts Center

The Lensic Performing ARts Center


This evening’s program features the fiery Sonata in A Minor, Op. 23, and the radiant “Spring” Sonata, Op. 24, among other works.

Thu, Aug 15 • 6pm

The series comes to a close with a program that includes the groundbreaking “Kreutzer” Sonata. SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

3-concert package or individual concert tickets available



Join us for the final three midday concerts of the season!

tue Aug 13 • 12 pm


wed Aug 14 • 12 pm

Thu Aug 15 • 12 pm

New Mexico Museum of ARt

New Mexico Museum of ARt


New Mexico Museum of ARt Berlin Philharmonic Principal Horn Stefan Dohr is one of the performers Zoltán Fejérvári makes his Festival in both works on this program: debut performing three spirited Thuille’s lushly Romantic Sextet and works: Humoreske in B-flat Major by Janáček’s Concertino, which features Schumann, Three Burlesques by Bartók, pianist Shai Wosner. and Elf Humoresken by Jörg Widmann.

Marc Neikrug, Artistic Director


JULY 14–AUGUST 19, 2019

The renowned Dover Quartet plays three works: Beethoven’s “Serioso” Quartet, Britten’s String Quartet No. 1, and Webern’s heartfelt Langsamer Satz.

Tickets and Festival Information

The Santa Fe Chamber Music Festival is funded, in part, by the National Endowment for the Arts, the City of Santa Fe Arts Commission and 1% Lodgers’ Tax, and New Mexico Arts, a division of the Office of Cultural Affairs.

505.982.1890 Ticket Office: NM Museum of Art 107 West Palace Avenue




An 1846 portrait of Franz Schubert by Josef Kriehuber; left and inset, Philippe Sly, with Michael McMahon at the piano, inset photo Mathieu Sly

CHILLING BEAUTY Winter Journey (Winterreise)

Santa Fe Chamber Music Festival St. Francis Auditorium, July 31

“You have to be haunted by this song cycle to be able to sing it.” That’s how a celebrated interpreter of Franz Schubert’s Winter Journey (Winterreise) described it in the early 20th century. It’s still true a century later, as bass-baritone Philippe Sly’s totally committed and deeply moving performance of it for the Santa Fe Chamber Music Festival on July 31 demonstrated. Schubert’s passion for opera went unrequited: He started at least 17 but left about half unfinished, and the three that were staged in his lifetime were flops. His equally strong passion for poetry yielded extraordinary results, however, as he completed more than 600 masterful songs before his untimely death in 1828 at age 31. Two song cycles set to narrative poems by Wilhelm Müller stand at the pinnacle of Schubert’s artistry: The Beautiful Mill Girl (Die Schöne Müllerin) and Winter Journey (Winterreise). Müller was a contemporary of Schubert’s, an amateur singer with an agreeable baritone voice, and a poet who was praised for his “naturalness, truth and simplicity.” His Winter Journey started with a Romantic-era cliché — the solitary, unfulfilled wanderer — which was then explored in 24 short poems of great emotional penetration. Schubert may not have been able to master conventional operatic drama, but his song cycles are genuine dramatic masterpieces that might best be described as monodramas. Each lasts more than an hour and both can have an overwhelming emotional impact. 20

PASATIEMPO I August 9-15, 2019

The first 12 songs of Winter Journey trace the protagonist’s thoughts as he wanders through a desolate, icy landscape after having been jilted by his lover. The second 12 are more internal, existential explorations of alienation, rejection, and despair. Philippe Sly’s and pianist Michael McMahon’s performance of it was riveting, achieving a cumulative emotional power with the 17th song, “In the Village,” which continued through to the devastating conclusion. Sly’s bass-baritone has an especially rich lower register and a potent top. He has impressive tonal variety and dynamic shading, which are crucial in this piece, and a strong sense of line. His German diction was excellent, with rhythms that felt entirely

text-based, rather than memorized musical notation. A few wayward pitches and some blandness in his middle register did nothing to compromise his overall achievement. Ultimately though, it’s not vocal panache that makes a Winter Journey performance — it’s the singer’s ability to bring us along his or her internal journey, at which Sly excelled. He can communicate worlds through the simplest of means, giving an object lesson in how fully acted a performance can be with minimal movement and gesture. His internal monologue was clearly expressed through subtle facial expressions and small, telling movements at key moments – cocking his head to the side, for instance, or the hint of a quizzical smile. In “The Grey Head,” as he lamented the fact that others were so much older and closer to death, he took a few halting steps toward the audience, powerfully conveying his character’s haunted quality, as did his barely visible physical agitation in “Last Hope,” in which the leaf that represents his hopes falls crushingly to the ground. In the final song, “The Hurdy-Gurdy Man,” the protagonist encounters another isolated character: “Barefoot on the ice, he totters to and fro, and his little plate remains forever empty.” Here Schubert achieves a chilling simplicity, with the vocal line and hurdy-gurdy tune played in stark alternation. It was performed to telling effect, ghostly and ethereal until its last, equivocal lines — “Strange old man, shall I go with you? Will you accompany my songs?” — sung forte and then dying away. Sly and McMahon left the audience emotionally drained as well as wondering what was to come next. In a particularly welcome development that no doubt aided the program’s success, the song texts were projected onto a screen above the performers — no more whiplash from continually looking up and down between singer and program book, and no more of those surprisingly noisy in-unison page-turns by the audience. — Mark Tiarks


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From left, Felix Mendelssohn, James Whitbourn, and Johann Sebastian Bach

BLENDED VOICES, EMOTIONAL RENDERINGS: THE DESERT CHORALE’S “LUMINOSITY” The Santa Fe Desert Chorale’s third major program of the summer, “Luminosity: The Nature of Celestial Light,” was well executed from start to finish, with three of the four pieces providing real musical satisfaction, and the fourth not lacking in interest. Mainstream works by Johann Sebastian Bach and Felix Mendelssohn were bookended by music from two contemporary British composers. Both of the latter pieces are examples of “mystical minimalism,” in which the insistently repeated melodies, rhythms, and harmonic structures the style are filtered through the lens of medieval music, especially Gregorian chant. (The best-known practitioners are the Estonian composer Arvo Pärt and Henryk Górecki, a Polish composer whose 1992 recording, Symphony of Sorrowful Songs, has sold more than a million copies). James Whitbourn’s Luminosity opened the program. Whitbourn is a crowd-pleasing composer whose background includes producing choral programs for the BBC, live broadcast recordings, and live broadcasts for London’s Royal Opera House, as well as composition, primarily in works for chorus. The seven texts for Luminosity were written by early Christian mystics, including Teresa of Ávila and Augustine of Hippo, along with a 19th-century Buddhist nun. They are intended to describe “the transcendent beauty of creation expressed by luminaries down the ages,” the composer said. The musical palette here includes “pancultural” aspects drawn from the Carnatic tradition of southern India, including a tanpura — a stringed instrument that produces a sonic drone — and a viola played in a style that reflects the same tradition. (To Western ears, the viola playing often sounds like Romani music, which also has its roots in India.) Western instruments are present in the parts for organ and tam-tam, a big gong which uniquely increases in volume for a time after it’s struck. 22

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Whitbourn is fond of veering away from minim ali sm toward mov ie music at t ime s, w it h romantically harmonized vocal lines and some really big musical climaxes, courtesy, in part, of the tamtam. The piece was convincingly sung, under Joshua Habermann’s direction, and the sound palette was often intriguing. However, at 30 minutes — and often with too close a sonic relationship to vapid “New Age” music — it overstays its welcome. Luminosity was conceived to include dance throughout, which at its Philadelphia premiere was performed by an international “black light mask and dance theater company.” It’s easy to see the piece functioning more successfully in this fashion than as a stand-alone concert item. A nearly 20-minute movement from Joby Talbot’s Path of Miracles was much more successful. Talbot’s background includes two narrative ballets, Alice’s Adventures in Wonderland and The Winter’s Tale, for the Royal Ballet, and Everest, an opera that was premiered by the Dallas Opera in 2015. He clearly has a facility for storytelling through music, which was amply demonstrated here. Working with voices only, Talbot manipulated his musical material with variety and ingenuity, producing a score that seemed totally in harmony with itself from start to finish. Path of Miracles traces four pilgrimage routes to the shrine of the apostle St. James in the Cathedral of Santiago de Compostela, in northwestern Spain. Pilgrims undertook the arduous journey to receive a plenary indulgence, an unconditional reduction in the amount of suffering they would undergo for their sins. “Santiago,” which was performed by chorale, is the work’s fourth section, describing the route taken by Spanish pilgrims. It begins with a solo line over open harmonies, with additional lines soon layered onto it. Their repetitions generated an incantatory quality suggesting the nature of a long journey, and then continues with a few stinging dissonances as they climb to the end of their journey.

The cathedral’s acoustics were put to especially good use as the pilgrims arrive at the Cathedral, their multilingual thanks rising to a magnificent cacophony. A lively celebration of spring and exultant holy thanks are followed by a more contemplative prayer, sung to block harmonies. In a stunning coup de théâtre, the performers snapped their music shut, then recessed through the now-darkened nave of the cathedral, journeying into the distance physically and vocally. It made for an emotionally compelling conclusion to a very satisfying piece of new music. Bach’s motet The Spirit Helps Us in Our Weakness (Der Geist hilft unser Schwachheit auf ) for two fourpart choruses was written for the funeral of a Leipzig University professor. However, the text, which was chosen by the decedent, is celebratory, as is Bach’s musical setting. The chorale’s performance was appropriately jubilant. In the opening movement, the choruses toss a dance-like figure in triple meter back and forth, then continue with an eight-part fugue, during which there was some unusually shaky intonation from the group. The second movement (“But he who searches our hearts knows”) is also fugue-like, but in a more old-fashioned style. The unavoidable by-product of performing music during which various lines of text overlap in a highly resonant space is that words become difficult to follow, as they did here and in the first movement. With its mostly unison text, the third and final movement (“You holy fire, sweet consolation”) showed the chorale at its finest, with a beautifully blended sound throughout, as did Mendelssohn’s much-loved “Ave Maria.” — Mark Tiarks

details ▼ “Luminosity: The Nature of Celestial Light” ▼ 8 p.m. on Friday, Aug. 9 ▼ Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place ▼ Tickets are $20-$95; 505-988-2282,

Nampeyo Family Retrospective Celebrating 130 years of the Sikyatki Revival Movement

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Santa Fe Opera apprentices take center stage

The elegiac and the celebratory: Santa Fe Chamber Music Festival

In his trio for horn, violin, and piano, Johannes Brahms simultaneously created a new form and memorialized his mother, who had recently died. The first and third movements are elegiac and deeply moving; the second and fourth are optimistic and celebratory. It’s one of the true glories of the chamber music repertory. Works by Mozart and Schubert are also on the Santa Fe Chamber Music Festival program, at 6 p.m. Sunday, Aug. 11, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets are $15-$95 and are available at 505-982-1890 or — Mark Tiarks

Courtesy Santa Fe Opera

The Santa Fe Opera’s Apprentice Program for Singers has helped launch numerous careers for young tenors, sopranos, baritones, mezzo-sopranos, and others. For the 2019 season, 42 apprentice singers get a chance to shine in their own spotlight during the opera’s Apprentice Showcase Scenes on two days in August. The performances are regularly attended by representatives of major companies, including the Metropolitan Opera and the Chicago Lyric Opera. The program helped singers Michael Fabiano, Brandon Jovanovich, Kate Lindsey, and Jay Hunter Morris, to name a few, get their start. The affordable performances are open to the public. The singers perform scenes from the SFO’s repertoire and the events take place in the Crosby Theatre. The Apprentice Showcase Scenes start at 8 p.m. on Sunday, Aug. 11, and Aug. 18. Tickets are $15 for adults, $5 for ages 6 to 22. Tickets are available at or at the SFO box office (301 Opera Drive, 505-986-5900). — Michael Abatemarco

A celebration of Native musicians: Drums and Robert Mirabal

Kate Russell

The final weekend of the 2019 Santa Fe Bandstand program on The Plaza begins on Friday, Aug. 9, with a Native-music double-header sponsored by the Institute of American Indian Art. First up, from 6 to 7 p.m., is a mighty Native drum circle. Then Grammyw i n n i n g f lut i st R ob e r t Mirabal has the stage for an hour and a half, beginning at 7:15. Mirabal, who’s from Taos Pueblo, recorded his debut album in 1988 and then won a Bessie Award for a score and performance for Japanese dancers Koma and Eiko in 1992. He has since recorded w ith Iraqi oud player Rahim Alhaj, Mohican multi-instrumentalist Bill Miller, and country singer Michael Martin Murphey, in addition to more than 10 CDs of his own. This is his seventh bandstand appearance. The summer series ( is presented by Outside In Productions, 505-986-6054. — Paul Weideman

From Russia (or Denver) with love: DeVotchKa

Seven long years elapsed between DeVotchKa’s ethereal 100 Lovers and the 2018 release of their latest, This Night Falls Forever. It was worth the wait, says reviewer Pryor Stroud of PopMatters. “These are compositions, somewhere between the marching troubadour worldliness of [indie band] Beirut and the neighborhood-shaking grandeur of [Arcade Fire’s] Funeral, that place stories of suburban romance into widescreen soundscapes radiating with ghosts and demons.” The Denver-based band, whose name comes from the Russian word for “girl,” plays a free show, with guest Korvin Balkan Orkestar, at 7 p.m. on Saturday, Aug. 10, at Railyard Plaza (1607 Paseo de Peralta). For more information, go to — Jennifer Levin


PASATIEMPO I August 9-15, 2019



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Mark Tiarks I For The New Mexican

Once in a very blue moon



here are 100-year comets, fourleaf clovers, and sometimes even a World Series win by the Chicago Cubs — and then there’s a performance of Beethoven’s complete cycle of Sonatas for Violin and Piano. The capstone of the Santa Fe Chamber Music Festival’s 2019 season takes place Tuesday through Thursday, Aug. 13-15, when Ida Kavafian and Anne-Marie McDermott perform Beethoven’s complete sonatas for violin and piano at the Lensic Performing Arts Center. The individual sonatas are frequently played, but performances of all 10 — which were composed between 1797 and 1812 — as a cycle are rare. (The most recent traversal of the sonatas in America seems to have been in La Jolla, California, in 2017.) “This is an incredible opportunity for Santa Fe audiences,” observed the festival’s artistic director, Marc Neikrug. “Pinchas Zukerman and I played these sonatas all over the world for 35 years, and we never did more than seven or eight full cycles during that whole time. “You feel exhilarated and exhausted at the end of playing them all, but you also have this incredible feeling of community — that you and the audience have given each other a great gift by going through this transformative experience together over such a short time. It’s really the Ring Cycle of chamber music. Doing them in chronological order means the audience is traveling with Beethoven through one of his most important periods. He was breaking through the stylistic formalities of the time, moving from classicism to romanticism.” Kavafian and McDermott bring exceptional performance credentials to the festival’s sonatas cycle. McDermott has performed as a soloist with the New York Philharmonic, the Philadelphia Orchestra, and the orchestras of Atlanta, Dallas, St. Louis, and Seattle. Her recordings include the complete Prokofiev piano sonatas and all of Gershwin’s music for piano and orchestra. Kavafian was a longtime member of the Beaux Arts Trio and the pioneering TASHI ensemble. Her recordings include collaborations with the Guarneri Quartet; she has also toured and recorded with Chick Corea and Wynton Marsalis. Both women serve as artistic leaders of important chamber music groups. Kavafian was the founding

TUESDAY, AUG. 13 Beethoven wrote the first three sonatas when he was 27. They are the work of a confident young composer who has mastered the prevailing style and is starting to deepen its expressive possibilities. The first, in D major, features many fast key changes and sudden dynamic contrasts. During the third movement, the music comically jumps into a completely unexpected key and then out again, as if the composer made a composition mistake and forgot to go back and correct it. Beethoven’s sense of humor also comes to the fore in the second sonata, which seems to end with a big final cadence by the violin, only to have the piano continue for another two measures. The third sonata, in E-flat major, is especially notable for its virtuoso piano part and the deeply emotional middle movement. WEDNESDAY, AUG.14 Sonatas four through seven see Beethoven expanding the scope by starting to add a fourth, contrasting movement. They’re scherzos, which are relatively short and are in a triple meter, so they have the feeling of a waltz. Scherzo is the Italian word for “joke,” and they can have a comic aspect — as in the fifth sonata, in which the violin sounds like it can’t keep up with the piano. Beethoven also widens his emotional palette by choosing minor keys for two of these pieces. The seventh sonata is especially interesting. It’s in C minor, which is Beethoven’s choice to convey intense drama, as in the Funeral March from his Eroica symphony, which he was starting to sketch out at the time, and in the fifth symphony. The seventh sonata also contains several structural innovations that prefigure his later compositions.

artistic director of Colorado’s Bravo! Vail Music Festival and New Mexico’s Music From Angel Fire, now in its 36th season. McDermott has been Bravo! Vail’s artistic director since 2011; she’s also the artistic director for Florida’s Ocean Reef Chamber Music Festival and curator for chamber music for the Mainly Mozart Festival in San Diego.

THURSDAY, AUG. 15 The final program’s most remarkable work is the ninth sonata, the Kreutzer Sonata, because it’s so unlike all the others. It’s much longer — with an incredibly showy and difficult violin part — and much more dramatic. In reality, it sounds like a violin concerto with the orchestra replaced by a piano. It starts with a slow introduction, followed by an agitated presto movement. The second movement is more relaxed; the third returns to top speed with a tarantella, a fiery Italian folk dance. The

Bottom left, Anne-Marie McDermott; Ida Kavafian, photo Christian Steiner; top, Rene François Xavier Prinet’s Kreutzer Sonata (1901), inspired by Leo Tolstoy’s novella


PASATIEMPO I August 9-15, 2019

details ▼ Santa Fe Chamber Music Festival presents Beethoven’s Sonatas for Violin and Piano With Ida Kavafian and Anne-Marie McDermott ▼ 6 p.m Tuesday through Thursday, Aug. 13-15 ▼ Lensic Performing Arts Center, 211 W. San Francisco St.

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▼ $15-$77, discounts available for subscription to all three performances (inquire by phone) and for ages 35 and younger ▼ 505-982-1890,


Beethoven’s famous Kreutzer Sonata was premiered by a stereotypebusting violinist with an incredible backstory. George Augustus Polgreen Bridgetower was born in Poland in 1778 to a German mother and an AfricanCaribbean father (probably a freed slave who made his way to Europe). He was a child prodigy as a violinist, and almost certainly studied with Franz Joseph Haydn as a very young man, making his solo performing debut in Paris at age 11. He was soon concertizing across Europe to great acclaim and royal patronage. In 1803, Bridgetower met Beethoven, who described him as “a master of his instrument” and wrote the fiendishly difficult violin part in his ninth sonata with him in mind. Bridgetower and Beethoven premiered it in Vienna on May 24, 1803. Beethoven finished composing it at the very last minute, with no time for a copyist to produce a complete violin part, so Henry Edridge’s Bridgetower played much of it from the manu- portrait of George script without any rehearsal. After the successful Bridgetower concert, Beethoven decided to name the sonata after Bridgetower, but the two soon quarreled over a female friend, and the angered composer dedicated it instead to French violinist Rodolphe Kreutzer — who hated the piece and never played it. Bridgetower, played by Everton Nelson, made an appearance in Immortal Beloved, the 1994 Beethoven biopic starring Gary Oldman. The film inspired Rita Dove, a U.S. poet laureate, to write Sonata Mulattica, a collection of poems about Bridgetower that is now being turned into a documentary film. — M.T.

EXHIBITION OPENING Sunday, August 11 Milner Plaza and the Museum of Indian Arts and Culture OPENING EVENTS Free with museum admission 12:00 PM Pueblo feast, public reception hosted by the San Ildefonso Tewa Women’s Club, and dance performances throughout the afternoon 2:30 PM Lecture with co-curators Russell Sanchez (San Ildefonso), Erik Fender (San Ildefonso), and Bruce Bernstein, as well as Laura Escalanti (San Ildefonso), Tewa language teacher and cultural leader The exhibition is a joint project of the Coe Center for the Arts and is supported by Alexander Anthony and Adobe

San Ildefonso storage jar, ca. 1780. Photograph by Terrance Clifford, courtesy of the Museum of Indian Arts and Culture

program-opening eighth sonata, in G major, shows Beethoven at his sunniest and most charming, reflecting the time he spent in a forest outside Vienna during its composition. A nearly 10-year gap separates the tenth and final sonata from the ninth. Beethoven wrote it shortly after finishing his seventh and eighth symphonies, so here his mature style, with its probing intensity, is fully in evidence. Because it was written for Pierre Rode’s relatively restrained playing style, the tenth sonata has fewer violin pyrotechnics than most of the others.



In his 1889 novella The Kreutzer Sonata, Leo Tolstoy depicts a performance of Beethoven’s sonata as casting so strong an aphrodisiacal spell that two of the main characters immediately begin an adulterous affair. It ends with the stabbing death of the errant woman by her husband. (Ticket holders for the Chamber Music Festival’s performance of this sonata on Aug. 15 are hereby warned.) The author’s intent was to promote the cause of celibacy, but his content was so vivid that publication of the work was banned in Russia — and, briefly, in the United States. Tolstoy’s music-inspired novella later inspired the creation of another piece of music: Leoš Janáček’s first string quartet, subtitled “Kreutzer Sonata.” He wrote it in 1923, just as his intense but apparently platonic affair with a much younger married woman was heating up. — M.T.

On Museum Hill in Santa Fe · (505)476-1269 Youth 16 and under and MNMF members always free. Enjoy bistro dining with a view at Museum Hill Café. PASATIEMPOMAGAZINE.COM


Mokha Laget, Borderline #2 (2018), acrylic and clay paint on shaped canvas

Michael Abatemarco I The New Mexican




hen the New Mexico Museum of Art opened to the public as the Art Gallery of the Museum of New Mexico on Nov. 24, 1917, its mission was to provide the contemporary artists of the day with a venue for showing their work. Regional artists could put their names on a list and their work would be exhibited in one of several ground-floor niche galleries, alcoves. policy or The open-door persisted for decades until curated shows took over completely in the 1950s. Alcoves 20/20, which opens on Friday, Aug. 9, pays homage to the museum’s original vision by showcasing the work of 30 New Mexico-based artists. (The artists’ work appears in six rotations featuring five artists at a time, spanning a year in total.) “I really think that this continues the museum’s engagement with living artists,” said Merry Scully, the museum’s head of curatorial affairs and curator of contemporary art. “People forget that we were founded as a contemporary museum.” Alcoves 20/20 isn’t the first time the museum has revived its alcove shows. They were mounted sporadically in the decades following the 1950s. But a revival in 2012 was the first in 20 years. The idea was brought back again in 2016 as a lead-up to the museum’s 2017 centennial. In its 21st-century revivals, the museum has showcased the work of 80 regional artists. “For 28

PASATIEMPO I August 9-15, 2019

each of the artists, it’s a small one-person show that’s part of a group show, that’s part of a really long group show,” Scully said. The first rotation of Alcoves 20/20, which runs through Oct. 13, includes work by sculptor Stuart Arends, painters Mokha Laget and Diane Marsh, sculptor/painter Dan Namingha, and mixed-media artist Emi Ozawa. Scully’s purview is broad. There is no set theme for the exhibition, but there are correspondences between the work of all five artists this year in their use of a strong, graphic sense of color and the Minimalist quality to their work. Throughout the rotations, Scully includes new and recent work by artists at various stages in their careers. Approximately five works by each artist are included. “It needs to be good work, not just the kind of work I’m partial to,” she said. “I want to make sure that there’s a variety of media, and I like to be able to show artists who aren’t just from the immediate vicinity. Because of the rapid turnaround, a lot of times I look for artists that have a body of work in progress or already done. We can consider some of them emerging, but they still have to have a substantial body of work and a serious practice.” In advance of the exhibition, Scully travels to the artists’ studios and visits gallery exhibits with an eye not just for who to include in alcove shows but for other exhibits, as well. Scully hasn’t completed the schedule for the remaining Alcoves shows. “I have the first two rotations set,” she

said. “I have a group of artists outside of Santa Fe and Albuquerque, and I’m going to hit the road to go visit them so that I can get the rest of the shows curated.” The second rotation will include work by sculptor and installation artist Jen Pack, painter Daniel McCoy Jr., and multimedia artists Marietta Patricia Leis, Heather McGill, and Sarah Stolar. It opens on Oct. 19. STUART ARENDS Cardboard, wood, and repurposed steel often form the bases for the art of Willard, New Mexico-based Stuart Arends, who layers the materials with graphite, wax, and paint for his sculptures. He’s known for his compact, box-like constructions. But for Alcoves 20/20, Arends, 69, is showing recent work in which translucent rectangular slab sculptures are set into the beds of antique toy trucks. These curious works are a conflation of his best-known work — with its emphasis on line, form, and simple geometry with soft, smooth surface treatment — and the idea of the found object as a medium for art. Like the everyday objects in Marcel Duchamp’s “readymades,” the approximately 20-by-6-inch toy trucks are presented with little artistic intervention. The style of the metal trucks reflects the curvilinear aesthetics of automobiles from the 1930s and ’40s. But there’s something real and honest in what they represent — or appear to represent. Perhaps they reflect Arends’ own experience as an artist, immersed in the culture of rural New Mexico with its centuries-old artistic traditions. The small contemporary sculptures seem more complementary than at odds with the antiques that hold them — plain and rustic metal vehicles transporting simple, Minimalist works of art.

challenge to traditional painting and aim to bridge a gap between painting and sculpture. Few artists are as adept in exploring the form as Mokha Laget, who was born in Algeria and now resides in Santa Fe. She is a painter of color field abstractions. Using geometry, Laget juxtaposes solid colors that intersect and jump from the surface of a composition and into the space around it. Where the planes of color overlap, the tones change and take on the appearance of opaque glass. Laget, who’s in her 60s, is a former studio assistant to prominent Washington Color School painter Gene Davis. She shows several of her recent shaped canvases, including Borderline #2 from 2018, parts of which seem to recede from the viewer while other parts jump out — giving it a quality akin to a three-dimensional object, though the entire composition exists on a two-dimensional plane. continued on Page 30

MOKHA LAGET Shaped canvases have a history dating back to the 1930s, with the work of artist Abraham Joel Tobias. Shaped canvases, in which the contours of a typical rectangular canvas are altered, sometimes considerably, are a direct

From left, Emi Ozawa, Yabane Daidai (2016), acrylic on board; Diane Marsh, Child’s Prayer (2006), oil on wood; top, Stuart Arends, Farm Truck (2014), oil and wax on a found metal truck



Alcoves 20/20, continued from Page 29 DIANE MARSH Rendered with almost hyper-real detail, the figurative paintings of artist Diane Marsh, 65, are dreamlike works that have a narrative quality. But they are narratives in which only the rudiments, or the outlines, of stories are revealed. The paintings here, such as Circle of Compassion (2017) and A Child’s Prayer (2006), invite the viewer to fill in the blanks. In Circle of Compassion, the tear-streamed face of a young girl against a plain background, eyes downcast, is encircled by a series of ovals, each one containing a different object, person, or animal: a rose, a butterfly, a crane, several small portraits of people with their eyes closed. Are these figures within her circle of experience that she’s come to love and care about? Or are they representative of a heart that embraces the circle of all life? Something about the painting — the girl’s tears, the closed eyes in the tiny portraits of people, the fact that some of the animals are endangered or threatened with extinction — gives it an overall tone of melancholy. Marsh, who lives in southeastern New Mexico, paints with a sense of reverence as well as concern for life. Allusions to childhood and familial relationships abound. Marsh’s work is accessible because, in part, it captures moments of tender introspection and life experiences to which everyone can relate. DAN NAMINGHA In 2016, the Museum of Indian Arts & Culture honored Santa Fe-based Hopi-Tewa artist Dan Namingha with the designation of Living Treasure. Namingha, who’s 69, is a sculptor and painter. He is the great-greatgrandson of famed Hopi-Tewa potter Nampeyo, and the father of artists Arlo Namingha and Michael Namingha. His paintings range from abstract configurations of line and form to more representational subject matter. They often bear abstracted elements derived from Hopi-Tewa iconography. The museum is showing selections from Namingha’s Points Connecting series of 12-by-12-inch works on paper, from 2018. Each abstract composition is an interplay of curvilinear and angular, hard-edged forms that range from black on white to a minimal or often monochromatic use of color. These simple compositions are like studies of spatial and color relationships. Namingha will also be unveiling a new large-scale, 5-by-10-foot painting made specifically for the exhibition. EMI OZAWA Tokyo-born artist Emi Ozawa, who now resides in Albuquerque, creates wall sculptures from painted wood, kinetic sculptures, and sculptural works in paper. The works of the 57-year-old artist — including wood sculptures and creations made from board-mounted paper — have a Minimalist aesthetic. She combines the clean lines and hard edges of geometry with a vibrant use of color. The works have a bold visual impact and, in the nature of optical illusions, can fool the eye. Ozawa, who has a master’s degree in furniture design from the Rhode Island School of Design, brings a strong design element to her work. And as the viewer moves, her sculptural pieces can change their appearance. For instance, Sounds Like a Chord (2016), an acrylic and poplar wall sculpture on view in Alcoves 20/20, has a gridlike structure of six horizontal bands, each composed of narrow vertical stripes in various colors. Viewed straight on, it has a staccato, musical rhythm, and every vertical stripe can be seen. But when viewed from a slight angle, the stripes disappear and take on the appearance of solid planes of color. Also showcased is a selection of her wall sculptures and works on paper. ◀

details ▼ Alcoves 20/20 #1 ▼ Reception 5:30 p.m. Friday, Aug. 9; through Oct. 13 ▼ Conversation with the artists 5:30 p.m. Aug. 23 ▼ New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072,

Emi Ozawa, Sounds Like A Chord (2016), acrylic on poplar; Dan Namingha, Points Connecting (2018), acrylic on paper


PASATIEMPO I August 9-15, 2019

▼ By museum admission ($12, with discounts available; New Mexico residents free on Friday evenings with I.D.)


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Jar 16115/12 (1890-1905), courtesy Bert C. Phillips

Crescencio Martinez, Jar (circa 1900)

Tonita Martinez Roybal’s painted jar (circa 1920)

A storage jar by an unknown artist (circa 1780)

Jar 11172/12 (circa 1880), courtesy John & Linda Comstock & the Abigail Van Vleck Charitable Trust

Maria Martinez and Julian Martinez’s bowl (circa 1918)


PASATIEMPO I August 9-15, 2019

Paul Weideman I The New Mexican



first thing you see when you enter the new exhibition are some massive old pots, which are wonderfully symmetrical and have remarkably thin walls, although they were made as storage jars designed to hold grain and even water. “Or dough bowls, or they were used for bathing the kids,” said Russell Sanchez, a noted San Ildefonso potter himself and one of the curators of the exhibition, San Ildefonso Pottery: 1600-1930. Some of the pots, jars, bowls, and other works are whole. Others are reconstructed. The types include black on red, black on white, black on black, polychrome, and blackware. One of the biggest, Pot 7725, was made by Ignacia Sanchez, Russell’s great-grandmother. “We want people to say, ‘How did they make them?’ ” said Sanchez, looking at a huge pot in the basement collections facility at the Museum of Indian Arts & Culture (MIAC). Several of the beautifully painted vessels — a few of which are up to 30 inches wide and 22 inches tall — are among the 170 pieces in San Ildefonso Pottery. Most have never been exhibited before. The show, on display through August, was co-curated by Sanchez with award-winning San Ildefonso potter Erik Fender and Bruce Bernstein, who was formerly the director of the museum and assistant director at the National Museum of the American Indian in Washington, D.C. While the exhibition includes works by the ubiquitous San Ildefonso potter Maria Martinez (1887-1980), its focus is on “the community of potters, not individuals,” Bernstein said. “Let me just say this up front: We are working against the tide of the most famous potter. Everyone associates her with the community, and [has heard] that she is the inventor of San Ildefonso pottery.” But there is a larger picture, he said. The work of Martinez and her husband, Julian, who helped with the painting of her pots, represented “the finish punctuation on a pottery revival that started in the 1870s. “The story is that Edgar Lee Hewett [founder and the first director of the Museum of New Mexico] handed Maria this and that and instructed people how to make pottery because this won’t sell and that

will. But we’re pushing back on that story. We’re taking the San Ildefonso story instead of the story of the museum being the savior of the cultures. The pottery will be even more beautiful if you can see it through the context of the community.” The exhibition project was shaped by the curators in partnership with other contemporary San Ildefonso potters and community members. Nearly a dozen of them appear in a video featured in the exhibition. And while Native potters sometimes visit museums to study works by their ancestors, most of

those interviewed for the video had never visited the MIAC collections, which include more than 800 San Ildefonso vessels. “The thing about museums is that the people don’t feel welcome at times,” Sanchez said as he walked through the collection in July. “The door doesn’t always seem open for people from home to come here.” Collectors and curators have been part of the Pueblo’s world for well over a century. In about 1907, Hewett began spending time at San Ildefonso, learning about pottery making and other aspects of the culture. His relationship with Pueblo people was vital to his vision in founding the Museum of New Mexico in 1909. According to the current exhibition materials, the villagers “prospered in unexpected ways, too, finding their culture was valued after years of degenerative governmental pressure to cease its practice, helping give rise to new forms of pottery.” San Ildefonso pottery today is among the most esteemed Pueblo pottery. Archaeologists like Hewett, and also collectors, tended to focus on certain well-known pottery types, which resulted in collections that were not entirely representative of the Pueblo’s pottery spectrum. The very first collections came from the Pajarito Plateau, where Hewett was conducting excavations before 1900. “These were archaeological,” Bernstein said. “Hewett didn’t care about contemporary work, but there were potters in the villages who were selling in the Santa Fe arts-and-crafts stores.” Among them were the Plaza businesses Collins Curio Company (owned by Jack Collins) and Southwest Arts and Crafts ( Julius Gans). The issue of selectivity came up while viewing a selection of exhibition pots (including those by Susana Aguilar, Crescencio and Tonita Martinez, and Tonita Roybal) that were borrowed from gallerist Charles King. “They illustrate the fact that the museum collection is limited because it only worked with certain families,” Bernstein said. He showed a piece by Dolorita Vigil. “She died in the influenza epidemic of 1918 and is another great potter we never hear about because of the focus on certain families. Russell set this up in terms of people, continued on Page 36

Gilbert Atencio, Maria and White Tourist (1947); top, Alfonso Roybal, Firing Pottery (circa 1925); all photos Terrance Clifford, courtesy MIAC/Lab, unless otherwise noted



San Ildefonso pottery, continued from Page 35

William Small Acheff & Sacred

Honoring 50 Years of Painting with an Exhibition of New Works

Opening Reception: Saturday, August 10, 1-3 pm

Nedra Matteucci Galleries 1075 Paseo de Peralta, Santa Fe, NM 87501 505-982-4631 •


PASATIEMPO I August 9 -15, 2019

so we have grandchildren of famous people like Chrysanthia Martinez and Tonita Roybal, people who don’t get a lot of mention.” The show’s community focus stimulated the desire to portray a wider sampling of historic pottery, but the curators also had long discussions about pieces that perhaps should not be exhibited — for Maria Martinez and Julian Martinez’s example, pots with images of cerebowl (circa 1919) monially important koshare (sacred clown) figures. “Here’s a piece by a man who was actually in that [koshare] society, and it’s fine for him to do that, and people can see koshares out in public,” Bernstein said. “But Eric felt it’s better to follow the cultural sensitivities of today.” “And there are other pueblos that don’t want that imagery out there, and we don’t want to offend them,” Sanchez said. The MIAC collection has very little San Ildefonso micaceous ware because the early curators considered it merely utilitarian — it has traditionally been prized as cookware — and not a model for new potters. There is another reason why you don’t see very much micaceous pottery in the museum, Sanchez explained: “At home, when we’re done with a pot, we basically send it back to the earth.” The most important paints used in the Pueblo’s pottery are derived from the bee plant and hematite. They are also mixed. About clay sources, Sanchez said, “They are on the Pueblo, both volcanic ash and the regular clay, and there are clay pits for certain colors that are elsewhere. We’ve used those pits forever.” A potter named Yellow Deer was a pioneer in combining red and black in the same figures and leaf forms. “She was kind of an amazing figure in the 1870s, who began to do certain things that changed pottery in the village in positive ways,” Bernstein said. “She was also interested in Acoma [Pueblo pottery] forms, and she began an intentional symmetry with [the fine parallel lines] known as hachuring and wave or cloud forms.” Bernstein said he had a strong interest in decoding the mid-18thcentury shift to a pottery style called Ogapogeh. He now believes it was probably tied to changes in the village after the Spanish conquest and settlement. “Some community members decided to move away and not be near the Spanish, so by mid-century those who stayed were looking for survival mechanisms with these people as neighbors.” “There was change,” Sanchez responded, “but there was also not that much change, because a lot of the design work and styles of the pots were done before. Not every design or style was set in stone. People as artists had the ability to change into what they wished.” As he spoke, Sanchez picked up and marveled at an unusually uneven pottery vessel from a shelf in the basement collections. He explained that the shape was created intentionally because it makes it easier to hold and to pour. Individuality shines in the pottery of San Ildefonso. “We’re told at home that whatever the spirits tell you to do and how they guide you, you do it,” he said. “They were allowed to create and be innovative with what they saw.” “The period is 1600 to 1930, but it’s all contemporary,” Bernstein said. “It’s seeing that what people would call historic is still very much alive. It’s a continuum, not a sequence, of pottery.” ◀

details ▼ San Ildefonso Pottery: 1600-1930 ▼ Opening reception 1-4 p.m. Sunday, Aug. 11; exhibition continues through August ▼ Museum of Indian Arts & Culture, 710 Camino Lejo ▼ 505-476-1269,

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Michael Abatemarco I The New Mexican



THE SNAKING, tubular form, made entirely of bamboo, extends from a point on the wall and curves downward to the floor. Wrapped around itself, the form rises again from the floor to a termination point on the same wall. There, thin strips of the bamboo splay out against it like a flattened basket, as though it were merging with the wall itself. On this day in late July, bamboo artist Tanabe Chikuunsai IV is more than halfway through construction of this site-specific installation. The basic form is there. Now it’s just a matter of adding and subtracting to fill out the structure — which measures 17 feet wide, 16 feet deep, and 13 feet high — and give it a less skeletal, more uniform appearance. Tanabe Chikuunsai IV is currently on display at Tai Modern. Born Tanabe Shˉochiku in 1973, the artist earned the name Chikuunsai, which means “master of the bamboo clouds,” in 2017. The gallery, where the installation is on view through Aug. 24, has shown work by all four family members to bear the name Tanabe Chikuunsai over the course of the gallery’s 20-year history. The artist created the sinuous piece to honor that legacy, as well as its commitment to bringing the art of bamboo to American audiences. With Tai director of Japanese art Koichi Okada translating, Chikuunsai gestured to the writhing form and said: “Here’s the origin of bamboo art in the West, which will continue to move toward the future.” For this installation, the artist is using something called tiger bamboo because of its distinctive patterns: straw-colored stalks flecked with brown. Approximately 8,000 of the bamboo strips were shipped by crate to the gallery from the Metropolitan Museum of Art in New York. “It’s a very rare material,” he said of the bamboo, which is only found on one mountain in a remote region of Japan’s Kochi Prefecture. “Even on the

specific mountain where this type of bamboo grows, only one out of 20 have this pattern. This particular bamboo is very pliable. That’s the reason I like to use this material for my installation work.” Chikuunsai arrived at the gallery on July 18 to take measurements and assess the space where the piece would be constructed. The work began on the installation the next day. Through the weekend, Chikuunsai and two apprentices, Kayoko Sano and Tomo Uesugi, worked quickly but steadily from 9 a.m. to 7 p.m., giving shape to the organic structure by braiding the strips, which are about a half-inch wide but vary in length from 4 to 10 feet. Other than hooks set into the walls, which give Chikuunsai an initial anchor for the work, the tiger bamboo is the only material used. All of Chikuunsai’s installations are similar in appearance and look like bulbous, twisted tree limbs or roots. The major difference is the scale, which is determined by the dimensions of the spaces where they’re installed. At Tai Modern, he starts by taking the flat pieces of bamboo and bends them outward from the wall to form the beginnings of a funnel shape, about three feet in diameter. It will eventually grow into the latticework creation that winds through the space, held together only by an inherent tension. “I don’t use adhesive or glue or anything,” he said. “The basic structure is hexagonal plaiting.” When he’s filling in the gaps with strips of the bamboo to flesh it out, he uses another technique known as arami, which he calls a kind of random, open form of plaiting. “It’s one of the traditional techniques passed down from generation to generation in my family,” he said. “I’m using my family’s traditional techniques to create something entirely new.” The gallery plays a prominent role in promoting contemporary Japanese bamboo artists in the United States who, like Chikuunsai, use the continued on Page 40

IF CHIKUUNSAI’S WORK SEEMS INNOVATIVE, IT LIES LESS IN THE TECHNIQUES USED THAN IN HOW HE USES THEM. Site-specific installation at Tai Modern, photos by Gary Mankus unless otherwise specified; insets, Chikuunsai at work (top), photo by Incredible Films; below, a detail of the installation


PASATIEMPO I August 9-15, 2019



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PASATIEMPO I August 9 -15, 2019

Bamboo clouds, continued from Page 38 medium for sculptures that range from simple and rustic in appearance to stately and intricate. But the art of bamboo is not widely practiced in Japan. “I think he sees part of his responsibility as a Chikuunsai to keep alive the styles, techniques, and artistic voice of previous generations,” said gallery director Margo Thoma. “Historically, there might have been a greater awareness of bamboo artists in Japan, but today, not a lot of people there are aware of the art form. In terms of international exposure, he’s taken it to a new level.” If Chikuunsai’s work seems innovative, it lies less in the techniques used than in how he uses them. His smaller bamboo works, several of which are on exhibit in another room, range from sculptural but potentially functional (flower baskets, for example) to purely abstract sculpture. In both cases, they’re made using tried-and-true methods, such as mat plaiting, which creates a dense interwoven structure. He also creates smaller works using other materials like black, arrow, or madake bamboo. “Currently, I Chikuunsai and his apprentices Tomo Uesugi use about 10 different types of (left) and Kayoko Sano (right) bamboo, depending on what I want to achieve,” he said. “Tiger is suitable for larger work, but it’s not good material for smaller work.” Chikuunsai is most radical when it comes to the colossal scale of his installations, such as his recent project The Gate, a cyclonic floor-toceiling installation at the Metropolitan Museum of Art in New York, created in 2017. “The material you see here today is the same material I’ve been using for seven years,” he said. “The bamboo has traveled to so many different parts of the world.” The exhibition is also showcasing sculptures from Chikuunsai’s Disappear series. Each one was made in collaboration with Kaijima Sawako, an assistant professor of architecture at Harvard University’s Graduate School of Design. Using computer software, Sawako created intricate designs based on mathematical algorithms that were then 3D-printed. Chikuunsai recreated the models in bamboo, matching the delicate and precise forms of the printed models. “The aim of this collaboration was using cutting-edge modern technology and the tradition of craft art,” he said. “The actual process of making this with bamboo is really low-tech in some ways.” Chikuunsai’s mastery of bamboo is evident in the myriad forms and styles of his work. It’s hard to believe that it was all made by the same artist. Even if he didn’t create large-scale installations, he might still be considered a pioneer for bringing bamboo artwork out of the realm of craft and into the arena of fine art. But he insists he’s not the first one in his family to challenge convention. “Even the work of the second generation, if we reflect upon it with today’s ideas about contemporary art, may look traditional. However, the second Chikuunsai moved toward a more open style of work, which was extremely radical and contemporary during that time period. My family carries some of the traditions and skills. At the same time, finding new challenges has been our family philosophy.” ◀

details ▼ Tanabe Chikuunsai IV ▼ Tai Modern, 1601 Paseo de Peralta, 505-984-1387, ▼ Through Aug. 24 ▼ To see a time-lapse video of the installation’s creation, go to

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Jennifer Levin I The New Mexican




achariah Julian works at an Albuquerque “I know it’s odd because it’s on Thursday and Friday, bookstore and practices piano for three but we did surveys in the last two years, and most of the hours every day. He recently released an EP, people who came were from Santa Fe. People popped Grace, with his new band, Zachariah Julian in on their lunch hour or took a little time at the end of & These Marked Trees. Julian described his the day. It’s small enough that you can stop by and have music as contemporary blues-rock with bits of jazz something to eat and see the whole market.” inspiration, some of which is written in the tradition Flexibility is key to the organizers, who have seen of art songs by Robert Schumann and Kurt Weill, with other festivals get bogged down by entrenched pronarratives based on coyote stories from the Jicarilla cesses. For instance, in Seeds’ first two years, artists Apache Nation, where Julian grew up. were accepted via jury selection, but this year, they Julian plays solo and with his band at We Are the decided to keep it simple by inviting artists who’d Seeds, a native art market and culture festival held in the previously attended and then opening up additional Railyard Park on Thursday and Friday, Aug. 15 and 16. booth space to new artists, who were accepted based We Are the Seeds — or just “Seeds” for short — is on samples of their work. The art ranges from the work a summer culture festival that includes an art market of elders selling the most traditional of wares, like with approximately 70 indigenous artists from around baskets and pottery, to cutting-edge design, such as the United States. There are also all-ages arts and crafts live screen-printing by Saba, a Diné/Walatowa artist. workshops, a fashion show, storytelling, a social dance, “Last year, a woman brought her Louis Vuitton bag and other activities, as well as food trucks and Native and had him print one of his designs on it,” Agoyo food tents for the estimated 4,000 people who will said. “That was trust. Obviously, it was one of her visit the park over the two days of the festival. Seeds prized possessions.” is organized by Tailinh Agoyo and Paula Mirabal, two The sense of family at Seeds that Julian described is women who, Julian said, treat the artists and volunsomething literal for Tchin, a New Jersey jeweler and teers like family, whether they are world-famous or musician from the Blackfeet and Narragansett tribes struggling to get known. who happens to be Agoyo’s father. He has shown previ“They really care about and support your vision. ously at SWAIA Santa Fe Indian Market but now shows Seeds has got a soul and a heartbeat to it.” at Seeds and at the Free Indian Market (Aug. 17 and Music is ongoing at We Are the Seeds. People can 18 at the Scottish Rite Center). In 2018, Tchin (protune it in and out as they peruse the art, said Julian, nounced “chin”) had one of his best sales weekends who is in charge of programming the bands. For the in recent memory at Seeds, but he said that the point festival’s third year, he has arranged an eclectic mix of this festival is not really about selling his work as of traditional and contemporary indigenous acts, much as it is about educating the public about conincluding DJs, singer-songwriters, rock and blues temporary Native life — and about getting to know players, and even an opera singer. Sherenté Mishitashin artists from different indigenous communities around Harris, a two-spirit artist and award-winning dancer the country. from the Narragansett tribe in Rhode Island, reprises “We’re all trying to help each other, and we can his role as Seeds emcee. (“Two-spirit” is a modern, exchange ideas and techniques,” Tchin said. “There’s pan-Indian term that describes nonbinary gender and kind of a softness to Seeds, a noncompetitive feeling sexuality in Native American communities within a where everyone is looking at each other’s stuff and no traditional cultural context.) one is thinking about winning prizes.” ◀ Agoyo and Mirabal have a couple of decades of experience organizing Native art markets. Both worked in details marketing and event management for the Southwestern ▼ We Are the Seeds Association for Indian Arts (SWAIA) Santa Fe Indian ▼ 10 a.m. to 6 p.m. Thursday and Friday, Aug. 15 and 16 Market. They then co-founded the Indigenous Fine ▼ Santa Fe Railyard Park, 740 Cerrillos Road Art Market in 2014 before being asked by the Santa Fe Railyard Community Corporation to envision a new ▼ $10 suggested donation (pay what you wish); benefit dinner 4:30 p.m. Thursday, Aug. 15, $15 festival for the days preceding the annual Santa Fe Indian Market. Agoyo said that Seeds is designed to be ▼ For a complete entertainment and workshop schedule, visit accessible both to visitors and local residents. Art, music, and fashion from past We Are the Seeds events, photos Max McDonald




Michael Abatemarco I The New Mexican




Spirit Horse (circa 2000), gelatin silver print; top right, a pair of treasure bags made with beadwork from 2018; inset, Peggy Fontenot, courtesy the artist


PASATIEMPO I August 9-15, 2019

rom her darkroom in Los Angeles, photographer, silversmith, and beadworker Peggy Fontenot tones and prints gelatin silver photographs that strike a balance between photojournalism and fine art. But these days, Fontenot, a member of the Patawomeck Tribe Indian of Virginia, is focused more on the photojournalism side, documenting social issues, especially those that affect Native Americans across the United States. In recent years, she has documented the grassroots movement to protest the Dakota Access Pipeline in North Dakota. Fontenot, who says she is also a certified Potawatomi artist, has also done photo essays about the plight of the homeless and about U.S. veterans traumatized by war and conflict. Fontenot brings examples of her photography, old and new, to the We Are the Seeds Native art market and culture festival, taking place in the Santa Fe Railyard on Thursday and Friday, Aug. 15 and 16. She will also be bringing examples of her beadwork. “For the past two years, I’ve done beaded samplers that are leaning on political,” said the artist, who uses the medium to explore Native identity, colonial views of Native peoples, racism, and more. “My beadwork basically supports my photography,” she said. Early in her career, in the 1990s, Fontenot focused on photographing sites on Indian reservations and tribal lands, but the images were often

devoid of people. She started out shooting things like teepees because, she said, they had a serene quality and spoke of an older, traditional way of life. “I thought, at the time, that people distracted from my images,” she said. “Then I got to a point where I realized the people are the images. They tell a story, and I can tell a story for them through my photography.” Fontenot said that people often think her photographs are much older than they are. In part, that’s because she still shoots on film and uses traditional developing processes. She prefers shooting on film for two reasons. One is practical and has to do with the original information retained in a negative. The other is aesthetic. She’s drawn more to blackand-white than to color photography, and the gelatin silver process gives her photographs a classic look, which is hard to capture digitally. “When I shoot something, even though I make a digital file, I can always reference back to my negative and see that what’s in the image is what was really there,” she said. “It’s important to do the black-andwhite film because color is a distraction from the subject, as far as I’m concerned.” Fontenot has been showing at the We Are the Seeds festival since its inception, before the event morphed into its present incarnation in 2016, as an offshoot of the Indigenous Fine Art Market, which was itself a Native market started as an alternative to Indian Market in 2014. Fontenot also applied to Indian Market, where she has shown her work in years past, but was rejected by the Southwestern Association for Indian Arts (SWAIA) because she wasn’t a member of a federally recognized tribe (as reported in The New Mexican on July 1). The Patawomeck is recognized as an Indian tribe by the state of Virginia, but has no federal recognition. However, the Potawatomi are federally recognized; Fontenot said she has not received a satisfactory answer as to why she was rejected. Once We Are the Seeds wraps up late Friday afternoon, she heads to the Scottish Rite Temple (463 Paseo de Peralta) to participate in the Free Indian Market, which runs Aug. 17 and 18 and was started last year as an alternative market for Native artists excluded from the SWAIA event. ◀

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Don’t miss our series of talks during the week! Speakers include: Marissa Roth (Photojournalist & Documentary Photographer), Baron Wolman (Rolling Stone Magazine’s First Chief Photographer), John Morris (Head of Production at Woodstock, Managing Director of The Fillmore East, & Owner/Producer of the Rainbow Theatre in London), and Bob Dodge (Co-founder/Owner Artemis Gallery and Artemis Testing Lab). Please see our “Events” web page for more information.



WED - FRIDAY | AUGUST 14 - 16 | 11AM-5PM

Don’t miss our series of talks during the week! Speakers include: Iva Honyestewa, Hopi/Navajo Basketmaker (presented by SAR) and Paul Unks, Founder & Owner of Mountain Hawk Fine Art Curtis Prints. Please see our “Events” web page for more information.

SPECIAL EXHIBITS The Museum of International Folk Art will curate a special exhibit, The Creative World of Alexander Girard. Hosted by Objects of Art Shows and El Museo Cultural. Runs during both shows. Four Winds Gallery and Waddell Gallery present a special showcase exhibition, Tradition and Innovation, the Legacy of Julian Lovato. Runs during The Antique American Indian Art Show only.




Jennifer Levin I The New Mexican



Eleanor Grosch’s illustrations from I Will Carry You; opposite page, author Colleen Farwell

Mommy, will you carry me, when we go out to play, and tell me just one story, as we walk along the way? Colleen Farwell wrote these lines more than 20 years ago, when her first three children were young and she needed a writing sample to apply for a job at a local library. The poem continues with the mother assuring her child that she’ll always be there.

Little one, I will carry you, So gently on my hip, I will hold you a little tighter, should you begin to slip. As it turned out, the library wanted to know if she could write grants, not poetry. “But then I had this poem,” Farwell said. “I thought about submitting it to be published somewhere, but I never followed through.” The poem sat in a drawer for a long time, as Farwell went on to have three more children and run a distribution company. Then, in 2014, Farwell reconnected with her old roommate from Dartmouth College, 50

PASATIEMPO I August 9-15, 2019

Tailinh Agoyo, a producer of Native art endeavors and mother of four. Agoyo decided to help shepherd Farwell’s words into book form. I Will Carry You, written and published by Farwell with illustrations by Eleanor Grosch, has its launch at We Are the Seeds, the arts-and-culture festival co-founded by Agoyo, which takes place on Thursday and Friday, Aug. 15 and 16. At first glance, I Will Carry You seems like a pretty standard children’s picture book: a simple story of love and devotion with warm, handstitched images of a mother and daughter that represent the stages of raising a child. But the story of the book’s production is one of a crosscountry, intercultural collaboration between artists in multiple genres. “I like that everything in the book is matriarchal,” said Loren Aragon, a fashion designer from Acoma Pueblo whose pottery-inspired butterfly designs appear in I Will Carry You. “The ladies that are putting this together are acting like mothers and looking out for more than just themselves. They’re actually living the idea of I Will Carry You.” Agoyo and Farwell tried a few illustrators before settling on Grosch, to whom Agoyo was introduced by a mutual acquaintance. The three women worked together remotely, with Agoyo in Philadelphia, Farwell in upstate New York, and Grosch in Florida. Grosch had never illustrated a children’s book before, but she had the style they were looking for. She understood that Farwell wanted the mother and daughter to be brown-skinned and to be surrounded by nature, and wanted the brightly colored pages to have a watercolor quality and appear almost as if they were quilted, rather than drawn. The only potential problem? Grosch is white and wasn’t entirely confident that she had the right background to do justice to Farwell’s vision.

Though neither Farwell’s childhood on the Crow Reservation in Montana nor her current residence near the St. Regis Mohawk Reservation are referenced specifically in I Will Carry You, she definitely wanted the book to reflect an indigenous identity and perspective. Instead of having Grosch attempt to create “indigenous-looking” elements from her imagination or rely on objects she could find in a museum, the collaborators decided to weave contemporary Native artists into the process. Tchin, an award-winning artist from New Jersey (BlackfeetNarragansett), who is also Agoyo’s father, provided jewelry design; the Spotted-Elk Collective, which specializes in Plains-style design and beadwork, offered sketches for beaded sneakers. Ojibwe beadwork artist and fashion designer Summer Peters sent designs for blankets, and the butterfly dress came from Aragon’s fashion brand, ACONAV. Grosch adapted the styles of the various submissions to fit into the visual world of I Will Carry You. The artists’ designs appear as jewelry, clothing, and blankets that the characters wear and use. “I asked for a lot of guidance from the artists,” Grosch said. “I wanted 100 percent approval for how I interpreted their work.” The collaboration extended even further when Agoyo and Aragon decided to have fabrics made based on the book’s illustrations to use for the We Are the Seeds fashion event on Friday, Aug. 16, which Aragon’s clothing label is producing. Four fashion designers at the event, includ ing A ragon and Peters, will showcase a number of looks from their lines, as well as garments created from the fabrics. The goal is for each designer to integrate the visual aesthetics and themes of the book with their individual point of view. Aragon’s usual style is hard-edged couture, he said, so it is a real challenge to work with something that feels summery and tropical — and to fulfill another aspect of the project, which is to create mother-and-child outfits. “I think this will help me expand on other ideas I’ve had of making some garments that are more wearable. This will be a more everyday kind of look,” he said. Farwell will sell and sign copies of her book at Seeds. She said that when she first wrote the poem in I Will Carry You, she was a young mother who was thinking only of her babies. Now that she’s older, and some of her kids have reached adulthood, she knows that the sentiment of the book never goes away. “You always carry your children with you, on your hip or in your heart. Motherhood is universal. Every mother who picks up this book is going to feel the power of that. Native American is just who I am. I can’t separate it out. We’re human, just like everyone else. We love our children the way everyone loves their children,” she said, before going quiet and beginning to cry softly. After a moment, she continued. “You look at these immigrant families that are being torn apart,” she said. “I think about it at night sometimes. I think about when my children were little and how they would get in bed with me, and how they smelled. To have that ripped from you is unforgivable. For me, this book reaches beyond all of that. It reaches beyond color, beyond class, and just speaks to the spirituality of motherhood and that feeling you have when you bring a life into this world.” ◀

details ▼ Colleen Farwell signs I Will Carry You ▼ Author tent, We Are the Seeds festival, Santa Fe Railyard Park, 740 Cerrillos Road ▼ 10 a.m. to 6 p.m. Thursday and Friday, Aug. 15 and 16; ▼ I Will Carry You fashion event: 1 p.m. Aug. 16

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Michael Abatemarco I The New Mexican



Shiprock (2018), detail, archival print on pearl paper, scanned Navajo textiles; opposite page, Abiquiu (2018), mixed media, relief print, oil pastel, oil paint; inset, Darby Raymond-Overstreet, courtesy the artist


PASATIEMPO I August 9-15, 2019

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ising more than 1,500 feet above the high desert plains of the Navajo Nation, the imposing and solitary rock formation known as Shiprock seems destined to carry with it an aura of majesty and haunting mysticism. Sacred to the Navajo, the island mountain (or inselberg), plays a key role in religious and cultural tradition. In a digital print depicting the monument, New Mexico-based artist Darby Raymond-Overstreet rendered the rocky outcropping in vivid detail. In the pale blue sky surrounding it, the patterns of a Navajo rug can be seen. Less noticeable, at first glance, are the weaving patterns in the rock itself. “It’s really subtle,” Raymond-Overstreet said. “A lot of people look at it and they don’t notice that the image is completely made of patterns.” Raymond-Overstreet, who is participating in the annual We Are the Seeds indigenous art market and culture festival for the first time this year, is a digital artist and printmaker who creates landscapes, portraits, and abstractions derived from images of historic Navajo weavings. A member of the Navajo Nation, she’s originally from Arizona and moved to Chimayó in 2017 after receiving bachelor’s degrees in art and psychology from Dartmouth. “The patterns that I’m working with are from rugs woven between the 1880s and 1950s,” said Raymond-Overstreet, who begins each print by scanning an image into a computer. “They’re mostly rugs that are part of various collections. A lot of the scans are from printed material from those collections. Some of them are from my own family’s collection.” After scanning the image, she samples different motifs from the rug and uses them to create patterns in Photoshop. she’s a she uses If doing portrait, a drawing tablet to digitally capture a person’s likeness, which is rendered in grayscale. She then overlays the weaving patterns, which give the portrait color and a sense of texture. Like the crevices, fissures, and shadows in her digital print of Shiprock, the facial features are all filled in by the zigzags, diamond motifs, and other geometric designs used in Navajo weaving. Raymond-Overstreet uses Navajo rug designs in her art as a way to honor a living tradition with deep roots, one that is intrinsic to Navajo culture. “A lot of the portraits that I do are of people that I know,” she said. “Through doing their portraits, I’m honoring the weavers, because most Navajo families have had weavers at some point, especially during the period from the 1880s through the 1950s. That’s the Southwest tradeindustry era. They were weaving to put food on the table for their families and participating in the American economy through trade.” Raymond-Overstreet’s own family hasn’t included a weaver in at least two generations. But in her work, weaving serves as a metaphor for the confluence of people, land, and culture. “All of our medicine, our dyes, even the sheep, comes from the land,” she said. “We all nourish ourselves on the land. That’s kind of another take on weaving itself.” ◀

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FRIDAY, AUGUST 9 12:30p Toni Morrison: The Pieces I Am 2:45p Light of My Life* 3:00p Pavarotti 5:15p Toni Morrison: The Pieces I Am* 5:30p The Spy Behind Home Plate 7:30p Light of My Life 7:45p Sword of Trust* SAT - SUN, AUGUST 10 - 11 12:30p Toni Morrison: The Pieces I Am 12:45p The Spy Behind Home Plate* 2:45p Light of My Life* 3:00p Pavarotti 5:15p Toni Morrison: The Pieces I Am* 5:30p The Spy Behind Home Plate 7:30p Light of My Life 7:45p Sword of Trust*

FRI - SAT, AUGUST 9 - 10 12:00p Maiden 2:00p That Part Feeling: The Universe of Arvo Part 3:45p Maiden 5:45p Maiden 7:45p Maiden SUNDAY, AUGUST 11 9:30a Talk: The Invisible Art: Editing and The Ear 12:00p Maiden 2:00p That Part Feeling: The Universe of Arvo Part 3:45p Maiden 5:45p Maiden 7:45p Maiden MON - THURS, AUGUST 12 - 13 1:15p Maiden 3:15p Maiden 5:15p Maiden 7:15p Maiden

MONDAY, AUGUST 12 1:45p Light of My Life 3:00p The Spy Behind Home Plate* 4:15p The Spy Behind Home Plate 5:00p Toni Morrison: The Piece I Am* 7:30p Sword of Trust* TUES - THURS, AUGUST 13 - 15 2:45p Light of My Life 3:00p The Spy Behind Home Plate* 5:00p Toni Morrison: The Piece I Am* 5:15p The Spy Behind Home Plate 7:15p Light of My Life 7:30p Sword of Trust*

On the first weekend of September, CCA invites you to an exciting array of celebratory events commemorating our 40th anniversary as Santa Fe’s premier non-profit cinematheque and community art center. Take a look at the weekend line-up below!

Tickets: or at the Box Office




Come to this casual party with internationally adored DJ Raashan Ahmad, vendors, food trucks, and fun activities. Your $15 ticket gets you a free drink, located in the CCA Tank Garage Gallery space.

Join us for this truly special cocktail reception, complete with a gourmet buffet, lively entertainment, and live auction featuring incredible items like a trip to Miami’s Art Basel, an Alaskan cruise and more. $150 per person, located in CCA’s Tank Garage Gallery.

Come to our community day celelbration—a Sunday full of fun, family-friendly activities including hands-on crafts, group yoga and free cinema programming in the afternoon. FREE fun for everyone!

FRI. Sept. 6, 6-9pm


PASATIEMPO | August 9-15, 2019

SAT. Sept. 7, 5:30-9pm

SUN. Sept. 8, 10am-1pm


August 13–18 See more than 50 featurelength and short films screened at the New Mexico History Museum & Santa Fe Railyard Park.

Saturday, August 17 8 p.m. | Railyard Park

Admission is free to all events.

In association with the Southwestern Association for Indian Arts, the Smithsonian’s National Museum of the American Indian presents the 19th annual Native Cinema Showcase during the Santa Fe Indian Market, featuring films from many of today’s most celebrated Native filmmakers.

Full schedule online at

Native Cinema Showcase 2019 Smithsonian

National Museum of the American Indian

Stills: Warrior Women (detail) by John G. Larson. Little Hard Knox (detail) courtesy of CBC and Whitebean Media Arts. Fast Horse (detail) by Aaron Munson.

Rose B. Simpson Brittle

August 9 - September 7

Reception, Friday, August 9, 5-7pm

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A new documentary about Moe Berg (right) features intellect, mystery, and adventure

Spycatcher THE SPY BEHIND HOME PLATE, documentary, not rated, 101 minutes, Center for Contemporary Arts, 3 chiles The story of Moe Berg is a great one. First generation son of Jewish immigrants, Princeton man, professional athlete, linguist, world traveler, radio quiz champ, playboy, an intellectual who got his law degree from Columbia University while playing major league baseball. And a spy. Filmmaker Aviva Kempner, who did such a fine job on another pioneering Jewish ballplayer with her 1998 documentary The Life and Times of Hank Greenberg, takes on a character who wasn’t in Greenberg’s league when it came to baseball but whose overall dimensions far outstrip the confines of the ballpark. There’s so much to tell here, and Kempner digs in with a wealth of vintage photographs and movie footage of old ballgames and turn-of-the-century cities and immigrants, plus clips from feature films that have some bearing on the subject matter and legions of talking heads, sportswriters, Berg’s contemporaries, and sundry other folks. It can all get a little overwhelming. With too much to say and too many people saying it, and no central narrator driving the story arc, The Spy Behind Home Plate sometimes plods and lacks focus. Still, the guy was amazing. As a Princeton shortstop, he would speak in Latin with his second baseman if there was a baserunner. In 1923, Moe signed as a shortstop with the Brooklyn Robins (as the Dodgers were known at the time) because they wanted a Jewish ballplayer to tap into that growing Brooklyn demographic. But it cut no ice with his father, who wanted his son to be a lawyer. Bernard Berg never attended Moe’s games and would spit when the subject was broached. Berg spent most of his pro career as a catcher with the reputation of “good field, no hit,” of whom it was said, “He speaks a dozen languages and can’t hit in any of them.” There’s so much to say about Berg — his travels, his intellectual and cultural curiosity and accomplishments, his baseball career, and much more. But it’s the spy stuff we’re dying to get to, and the meat of that comes in late. When it does, it’s gripping: He was recruited by the Office of Strategic Services (OSS), the wartime forerunner of the CIA, where his most hairraising assignment involved the German physicist Werner Heisenberg, one of the men behind Hitler’s atomic bomb program. Last year’s feature film The Catcher Was a Spy (starring Paul Rudd as Berg) apparently hit the Heisenberg material harder. Here, you get a picture of the whole man. It probably helps to be a baseball fan, but there’s plenty here to intrigue anybody with a taste for intellect, mystery, and adventure. Moe died in 1972. His last words were, “How did the Mets do today?” May he rest in peace. — Jonathan Richards 56

PASATIEMPO I August 9 -15, 2019

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MOVING IMAGES chile pages — compiled by Robert Ker

Gangster wives ratchet up the rackets in The Kitchen, at Regal Santa Fe 6 and Regal Stadium 14


In the latest feel-good dog movie to hit the multiplex, Kevin Costner voices the internal monologue of Enzo, a canine who dreams of becoming a human race-car driver in his next life. Enzo absorbs considerable knowledge about driving from his caregiver, Denny (Milo Ventimiglia), a budding Formula One pro. In return, he serves as Denny’s loyal companion through thick and thin, including his courtship and marriage to Eve (Amanda Seyfried). Based on the bestselling novel of the same name by Garth Stein. Rated PG. 109 minutes. Regal Stadium 14 and Violet Crown. (Not reviewed)


In 2013, linebacker Brian Banks signed with the Atlanta Falcons. It was the final step in a long comeback for Banks; while he was a star player in high school in 2002, he was falsely accused of rape and spent the next decade in prison or on strict parole. Aldis Hodge plays Banks in this film adaptation of his ordeal, and Greg Kinnear plays his lawyer, Justin Brooks. Rated PG-13. 99 minutes. Regal Stadium 14. (Not reviewed)


PASATIEMPO I August 9-15, 2019


The beloved Nickelodeon cartoon, in which a globe-trotting seven-year-old girl solves puzzles with the aid of a monkey sidekick named Boots, finally gets a live-action adaptation. In it, Nora is aged up to her tween years and played by Isabela Moner, and must try to fit in at high school after such a unique early childhood. When her parents disappear, however, she and Boots (voiced by Danny Trejo) must embark on a quest to find them — and discover a lost Inca civilization along the way. Rated PG. 102 minutes. Regal Santa Fe 6, Regal Stadium 14, and Violet Crown. (Not reviewed)


The words of this film’s title were taken from a speech delivered to the Romanian Council of Ministers in 1941, when Romania began the ethnic cleansing of the Jewish population of Odessa and surrounding towns (now known as the Odessa massacre). This metatextual black comedy by Romanian filmmaker Radu Jude uses a docudrama format to reflect on the statement, examine how we view history, and imagine how a presentday theater director might reenact the atrocities. Not rated. 140 minutes. In Romanian with subtitles. Jean Cocteau Cinema. (Not reviewed)


In this adaptation of the comic-book series, Tiffany Haddish, Melissa McCarthy, and Elisabeth Moss play wives of gangsters in 1970s New York City. When their husbands are all sent to prison, the women take up the family business. They find they have a knack for the violent side of the racket, and continue to grow the crime operations until they run the town. Domhnall Gleeson and Common also star. Rated R. 102 minutes. Regal Santa Fe 6, Regal Stadium 14. (Not reviewed)


Casey Affleck is the director-writer-star of this piece of speculative fiction about a pandemic that wipes out most of the world’s population of women. Affleck’s nameless hero, a single father in a rural area, must disguise his daughter (Anna Pniowsky) as a boy to help protect her, and the meat of the story concerns the bond between father and daughter. His wife (Elisabeth Moss) died in the plague and is seen in flashback. Rated R. 119 minutes. Center for Contemporary Arts. (Not reviewed)


This adaption of the children’s horror book series centers on a small town in 1968, and the kids who live there. One young girl in particular (Kathleen Pollard) has an axe to grind with the

town. She writes a book of scary stories that soon manifest themselves as creepy scarecrows, bloated hospital patients, and similarly sinister forces, which become unleashed on the locals. Rated PG-13. 111 minutes. Regal Stadium 14. (Not reviewed)


Not rated. 101 minutes. Center for Contemporary Arts. See review, Page 56.


Lulu Wang wrote and directed this dramedy about a young Chinese-American woman named Billi (Awkwafina) who learns that her grandmother (Zhao Shuzhen) is dying of cancer and only has a few months to live. In accordance with her family’s Chinese cultural beliefs, her whole family refuses to inform the matriarch of this diagnosis, instead flying everyone to Changchun, China, to stage a fake wedding for Billi’s cousin (Chen Han), with the understanding that it’s one last gathering around grandma — provided a conflicted Billi doesn’t spill the beans. Rated PG. 100 minutes. Violet Crown. (Not reviewed)


A spin-off of the popular action franchise The Fast and the Furious featuring two of its recurring characters—Dwayne Johnson’s lawman Luke Hobbs and Jason Statham’s mercenary Deckard Shaw—this film is far from prestige fare, yet more often than not, it hits that summer sweet spot between the silly and the satisfying. It’s also pretty funny and watchable, in just enough measure to counteract its unabashedly far-fetched plot, which pairs Hobbs, a straightarrow agent on loan to the CIA, with Shaw, a disgraced former member of the British military, to apprehend an MI6 agent (Vanessa Kirby) who is believed to have absconded with a “programmable bioweapon” code-named Snowflake. This is complicated by the fact that a cybernetically enhanced supervillain named Brixton (Idris Elba) also wants the weapon. But really, Hobbs & Shaw is about the action, which takes place in the context of constant trash-talking between its mismatched heroes as they go about their globe-trotting business. It works best if you don’t just come in blind, but if you lower all your expectations. Rated PG-13. 135 minutes. Regal Santa Fe 6, Regal Stadium 14, and Violet Crown. (Michael O’Sullivan/The Washington Post)

in 3D and 2D at Regal Stadium 14, and Violet Crown. Screens in 2D only at Regal Santa Fe 6. (Robert Ker)


In 1985, sailor Tracy Edwards left behind a role as cook on charter boats to compete in the Whitbread Round the World Race. Noting the lack of women onboard her boat and those of her competitors, she put together an all-female crew to compete in 1989, hurdling gender bias in sailing culture and becoming the first woman to receive the Yachtsman of the Year trophy in the process. This documentary by Alex Holmes utilizes footage of the event and invites Edwards and much of her crew to tell their stories. Rated PG. 97 minutes. The Screen and Violet Crown. (Not reviewed)


The most nuanced and arguably the most accomplished movie in Quentin Tarantino’s oeuvre, Once Upon a Time in Hollywood finds the filmmaker utilizing exceptional art direction and sketching crisscrossing stories across 1969-era Tinseltown. Leonardo DiCaprio stars as Rick Dalton, a past-his-prime, alcoholic actor who once starred in a TV Western and spirals through decreasingly attractive job opportunities in search of his mojo. The eternally cool Brad Pitt plays Cliff Booth, his stunt double, a man content as a sidekick close in orbit to Dalton’s stardom. This delightful depiction of male friendship finds minor conflict when Sharon Tate (Margot Robbie) and her husband Roman Polanski (Rafal Zawierucha) move in next door to Dalton, drawing the cult led by Charles Manson (Damon Herriman) near. The movie doesn’t serve this

particular story so much as evoke an evolving Hollywood, which is shifting slowly from its Golden Era to something more shaggy and wild, while losing little of its allure to dreamers and grifters alike. Unlike many Tarantino films, there is no heist to score, no villain to vanquish, and the relaxed nature of the plot suits the director, who is allowed to invest himself deeply in the individual scenes and subvert expectations at every turn. Rated R. 161 minutes. Regal Santa Fe 6, Regal Stadium 14, and Violet Crown. (Robert Ker)


When Luciano Pavarotti died of pancreatic cancer in 2007, many opera lovers had mixed feelings. The tenor was only 71 and it hadn’t been so long since he was the reigning star of his generation, still giving magnificent performances of his core repertoire into the 1990s. And he had always seemed to have a great lust for life, happy to indulge his love of food and, when he wanted to, his love of people, crowds, and all the adulation that came with being the most celebrated tenor since Caruso. The best thing about Ron Howard’s polished new documentary is its compassion for the man, who emerges frail but not hollow, merely human and not the pathetic clown he so often seemed in his last decade. Using previously unseen video clips made by Pavarotti’s second wife, Nicoletta, and interviews with his first wife and their adult daughters, Howard encourages viewers to give Pavarotti the benefit of the doubt when it comes to his love life. It was always messy, as his first wife knew, and yet she seems to have forgiven him. Despite continued on Page 60


There is considerable technical prowess at work in this remake of the 1994 animated film The Lion King, which replaces the cartoony visuals of the original with ultrarealistic CGI animation. The animals are so realistic, and the environments so stunning, that it often looks like a nature documentary. Unfortunately, the animals look so real that they struggle to convey any emotion or personality. The sad moments completely miss, as does much of the humor (only Seth Rogen’s Pumbaa, of “Hakuna Matata” fame, ekes out laughs). The story centers on a young lion named Simba (voiced by JD McCrary as a cub and Donald Glover as an adult) who must face the evil Scar (Chiwetel Ejiofor) after Scar kills his father (James Earl Jones) and exiles him. Nearly every beat of this plot replicates the 1994 film, and many shots from the original movie are recreated exactly. Coupled with the less-evocative characters, this makes for a boring experience, if one that’s beautiful to look at. Beyoncé, John Oliver, and Alfre Woodard also lend their voices. Rated PG. 118 minutes. Screens

The story of Brian Banks, a football star whose life was derailed by a wrongful rape conviction, unfolds in Brian Banks, at Regal Stadium 14



reach such lofty heights in the literary world? Director Timothy Greenfield-Sanders takes us on that journey. Morrison’s vision originates determinedly and unapologetically from the black experience. It’s informed by her perspective as a woman battling sexism in society and literature, and it’s driven by her love of language and the power of words. The Pieces I Am features extensive interviews with a number of Morrison’s friends and colleagues. But by far the most commanding presence here is the 88-year-old Nobel Prize-winner herself, an imposing figure who sits comfortably and forthrightly facing the camera, recalling the circumstances and trajectory of her career, and laughing a lot. Sometimes the laughter comes from pure enjoyment, and sometimes it’s driven by her wry reflection on what fools we mortals be. Rated PG-13. 120 minutes. Center for Contemporary Arts. (Jonathan Richards)


Horrors aplenty plague the townsfolk in Scary Stories to Tell in the Dark, at Regal Stadium 14

Chile Pages, continued from Page 59 omissions, Pavarotti is still an occasion for reflection, and the picture it presents of the tenor is sufficiently rounded that those new to his artistry will likely be beguiled. Rated PG-13. 114 minutes. Center for Contemporary Arts. (Philip Kennicott/ The Washington Post)


After Iron Man (spoiler alert!) died at the end of Avengers: Endgame, Marvel Studios had a massive void to fill. They filled it by making Spider-Man (Tom Holland) into Iron Man, with all of the technology, global threats, and relationships with Stark Industries’ Happy Hogan (Jon Favreau) and S.H.I.E.L.D.’s Nick Fury (Samuel Jackson) that such a distinction implies. In the process, the film strays too far from the web-slinging, New York-living, Friendly Neighborhood Spider-Man, ending up in a mess of half-baked ideas. Peter Parker (Spidey’s alter-ego) is sent on a school trip to Europe, where the villain Mysterio (a note-perfect Jake Gyllenhaal) shows up among a series of grandiose illusions — some of which are great fun. The jokes are hit and (mostly) miss, but the subplot with Parker and Mary Jane (Zendaya) offers the sweetest romantic core of any Marvel movie. They should have focused on these basic elements — cramming everything into a massive, multi-movie Marvel universe is starting to feel more like a curse than a blessing. Rated PG-13. 129 minutes. Screens in 2D only at Regal Stadium 14, and Violet Crown. (Robert Ker)


A Civil War-era sword sets this story in motion. Inherited from her grandfather by Cynthia (Jillian Bell) and her partner Mary (Michaela Watkins), it has a backstory: it was the sword presented by a Union general to Robert E. Lee when the North surrendered at the end of the War of Northern Aggression. The Confederacy won. The misguided impression to the contrary is the product of an evil Deep State conspiracy.


PASATIEMPO I August 9-15, 2019

The ladies and Mel (Mark Maron), the Alabama pawnbroker to whom they bring the weapon, discover via the internet that there’s a dedicated group of true believers willing to pay top dollar for a “prove rite” confirming the South’s victory. Directed by Lynn Shelton with a nimble cast improvising the scenes laid out in Shelton’s story structure, the result is a very funny probing of the madness of the internet, white supremacy, and wacko conspiracy theories, with a layer of serious ideas lurking beneath the fun. You don’t need a certificate of authenticity to see how the craziness that Shelton slyly delivers here reflects the condition of the world we live in. Rated R. 88 minutes. Center for Contemporary Arts. (Jonathan Richards)


Most of what we learn from Paul Hegeman’s sweet, understated documentary comes from the music itself. The music is the work of the Estonian composer Arvo Pärt. If you’re familiar with his music, you know you’re in for a treat. But chances are you’re not familiar with the reclusive Mr. Pärt himself. And on that front, this film has very little to offer. When we’re not hearing the music (and sometimes when we are) we’re listening to an assortment of conductors, soloists, choreographers, and other admirers as they try to describe what Pärt’s music means to them. But music is the language in which Pärt is comfortable explaining himself, it’s the world he lives in, it’s the faith he follows. And as far as this film is concerned, if you want to know about the world’s most performed living composer, his music is where you’ll find it. Not rated. 75 minutes. In English, Dutch, German, and French with subtitles. The Screen. (Jonathan Richards)

The latest chapter in the Toy Story franchise centers on the cowboy Woody (Tom Hanks), who is feeling less needed under the care of his new owner, a child named Bonnie (voiced by Madeleine McGraw). When Bonnie crafts a beloved homemade toy named Forky (Tony Hale), Woody feels obligated to protect poor Forky at all costs. This is tested when, on a family trip, Forky winds up trapped in an antique store lorded over by a vintage doll named Gabby Gabby (Christina Hendricks) and her delightfully creepy ventriloquist-dummy henchmen. The plan is on to spring Forky, but will this give Woody the contentment he craves? Pixar Animation once more offers a movie that is gorgeous to look at, but the plot lacks the weight of earlier installments, which is especially glaring in light of the perfect send-off the characters received in 2010’s Toy Story 3. Fans of Buzz Lightyear (Tim Allen) may be disappointed by lack of screen time, but new characters voiced by Keanu Reeves and comedy duo Key and Peele steal the show. This is the least involving of the Toy Story films, but only because their benchmark is so high. Rated G. 100 minutes. Screens in 2D at Regal Santa Fe 6, Regal Stadium 14, and Violet Crown. (Robert Ker)


▼ 7 p.m. Friday, Aug. 9: Beauty and the Beast (1946).

No charge. ▼ 7 p.m. Sunday, Aug. 11: Noir Series presents Body Heat (1981). Regal Stadium 14 ▼ 7 p.m. Thursday, Aug. 15: Woodstock (1970). Violet Crown ▼ 7 p.m. Wednesday, Aug. 14: Two-Lane Blacktop (1971). ▼ 7 p.m. Thursday, Aug. 15: The Landlord (1970). Presented as part of the Auteurs Film Series spotlighting director Hal Ashby in the month of August.


The appeal of this stirring documentary is the pleasure it affords in the spending of a couple of hours in the world of the great Toni Morrison, who died earlier this week. It’s always interesting to learn the background story of a major cultural icon — how, from where she started, did she






Read movie reviews online at


9:45 p.m., 10:20 p.m. Mon. and Tue. 11:50 a.m., 12:25 p.m., 2:50 p.m., 3:30 p.m., 4:15 p.m., 6 p.m., 6:45 p.m., 9 p.m., 9:45 p.m., 10:15 p.m. Mission Mangal (NR) Thurs. 12:30 p.m., 3:50 p.m., 7:10 p.m., 10:15 p.m. Once Upon a Time ... in Hollywood (R) Fri. to Sun. 11 a.m., 2:30 p.m., 2:40 p.m., 6:20 p.m., 9:15 p.m., 10 p.m. Mon. 11 a.m., 1 p.m., 2:40 p.m., 6:20 p.m., 9:10 p.m., 10 p.m. Tue. 11 a.m., 12:20 p.m., 2:40 p.m., 6:20 p.m., 10 p.m. Scary Stories to Tell in the Dark (PG-13) Fri. to Thurs. 11 a.m., 1:45 p.m., 4:30 p.m., 7:15 p.m., 10:05 p.m. Spider-Man: Far from Home (PG-13) Fri. to Tue. 12:10 p.m., 3:25 p.m., 6:50 p.m., 10:05 p.m. Toy Story 4 (G) Fri. to Mon. 12 p.m., 3:10 p.m., 6:10 p.m., 9 p.m. Tue. 12:55 p.m. WOODSTOCK (1970) 50th Anniversary Director’s Cut (NR) Thurs. 7 p.m. Where’d You Go, Bernadette (PG-13) Thurs. 7 p.m., 9:50 p.m.


Schedules are subject to last-minute changes. Call theaters or check websites to confirm screening times.

THE SCREEN AT MIDTOWN CAMPUS 1600 St. Michael’s Dr., 505-428-0209, Maiden (PG) Fri. to Sun. 12 p.m., 3:45 p.m., 5:45 p.m., 7:45 p.m. Mon. to Thurs. 1:15 p.m., 3:15 p.m., 5:15 p.m., 7:15 p.m. That Pärt Feeling — the Universe of Arvo Pärt (NR) Fri. to Sun. 2 p.m.

Doctors use Tibetan medicine to treat cancer patients in The Legacy of Menla, at Jean Cocteau Cinema CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 505-982-1338, Light of My Life (R) Fri. to Sun. 2:45 p.m., 7:30 p.m. Mon. 1:45 p.m. Tue. to Thurs. 2:45 p.m., 7:15 p.m. Pavarotti (PG-13) Fri. to Sun. 3 p.m. The Spy Behind Home Plate (NR) Fri. 5:30 p.m. Sat. and Sun. 12:45 p.m., 5:30 p.m. Mon. 3 p.m., 4:15 p.m. Tue. to Thurs. 3 p.m., 5:15 p.m. Sword of Trust (R) Fri. to Sun. 7:45 p.m. Mon. to Thurs. 7:30 p.m. Toni Morrison: The Pieces I Am (PG-13) Fri. to Sun. 12:30 p.m., 5:15 p.m. Mon. to Thurs. 5 p.m. JEAN COCTEAU CINEMA 418 Montezuma Avenue, 505-466-5528, Beauty and the Beast (PG) Fri. 7 p.m. Body Heat (R) Sun. 7 p.m. I Do Not Care If We Go Down in History as Barbarians (NR) Fri. to Sun. 1 p.m., 4 p.m. Wed. 2 p.m. Thurs. 3 p.m., 6 p.m. The Legacy of Menla (NR) Sat. 7 p.m. REGAL SANTA FE 6 4250 Cerrillos Road - Suite #1314, The Angry Birds Movie 2 (PG) Tue. 4 p.m., 6:45 p.m. Wed. and Thurs. 11:15 a.m., 2 p.m., 4:45 p.m., 7:30 p.m.

Dora and the Lost City of Gold (PG) Fri. and Sat. 11 a.m., 1:40 p.m., 4:20 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 11 a.m., 1:40 p.m., 4:20 p.m., 7 p.m. Fast & Furious Presents: Hobbs & Shaw (PG-13) Fri. and Sat. 12 p.m., 3:30 p.m., 6:50 p.m., 9:30 p.m. Sun. and Mon. 12 p.m., 3:30 p.m., 6:50 p.m. The Kitchen (R) Fri. and Sat. 11:15 a.m., 2 p.m., 4:40 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 11:15 a.m., 2 p.m., 4:40 p.m., 7:20 p.m. The Lion King (PG) Fri. and Sat. 11:45 a.m., 3:10 p.m., 6:30 p.m., 9:45 p.m. Sun. and Mon. 11:45 a.m., 3:10 p.m., 6:30 p.m. Once Upon a Time ... in Hollywood (R) Fri. and Sat. 11:20 a.m., 2:10 p.m., 6 p.m., 9 p.m. Sun. and Mon. 11:20 a.m., 2:10 p.m., 6 p.m. Toy Story 4 (G) Fri. and Sat. 11:15 a.m., 3 p.m., 6:15 p.m., 10 p.m. Sun. and Mon. 11:15 a.m., 3 p.m., 6:15 p.m. REGAL STADIUM 14 3474 Zafarano Drive, 844-462-7342 ext.1765, 47 Meters Down: Uncaged (PG-13) Thurs. 7:30 p.m., 10 p.m. The Angry Birds Movie 2 in RealD 3D (PG) Tue. 4:30 p.m., 7 p.m., 9:30 p.m. Wed. and Thurs. 11 a.m., 9 p.m. The Angry Birds Movie 2 (PG) Tue. 4 p.m., 6:30 p.m., 9 p.m. Wed. and Thurs. 1:30 p.m., 4 p.m., 6:30 p.m.

Southwestern College and New Earth Institute Present the 38th Annual Transformation and Healing Conference

Numinous Dimensions of Consciousness & Healing Wednesday - Sunday, August 21 - 25, 2019 Keynote Presenters Eben Alexander, M.D.,

NY Times Best-Selling author of Proof of Heaven and Karen Newell of Sacred Acoustics will present

Living in a Mindful Universe: Insights into Consciousness Saturday, August 24, 9am-5:30pm, $135/7 CECs

The Center for Spiritual Living, 505 Camino de los Marquez

Seating is limited. To register, visit or call 505-471-5756. See full conference brochure of all 18 Wed.– Friday workshops at Lee Cartwright on Sunday, August 25 at CFSL!

The Art of Racing in the Rain (PG) Fri. to Thurs. 11:20 a.m., 2:10 p.m., 5 p.m., 7:50 p.m., 10:40 p.m. Blinded by the Light (PG-13) Mon. 7 p.m. Brian Banks (PG-13) Fri. and Sat. 12:30 p.m., 3:15 p.m., 6:15 p.m., 9 p.m. Sun. 12:40 p.m., 3:15 p.m., 6:15 p.m., 9 p.m. Mon. 12:30 p.m., 3:15 p.m., 6:15 p.m., 10:20 p.m. Tue. 12:30 p.m., 3:15 p.m., 6:15 p.m., 9 p.m. Dora and the Lost City of Gold (PG) Fri. to Sun. 11:30 a.m., 6:20 p.m. Fri. to Thurs. 11:15 a.m., 2 p.m., 4:45 p.m., 7:30 p.m., 10:15 p.m. Fast & Furious Presents: Hobbs & Shaw (PG-13) Fri. to Tue. 11:40 a.m., 12:20 p.m., 3 p.m., 3:45 p.m., 6:30 p.m., 7 p.m., 9:45 p.m., 10:10 p.m. Good Boys (R) Thurs. 7:45 p.m., 10:15 p.m. The Kitchen (R) Fri. and Sat. 11:05 a.m., 1:50 p.m., 4:35 p.m., 7:25 p.m., 10:15 p.m. Sun. 11 a.m., 1:50 p.m., 4:35 p.m., 7:25 p.m., 10:15 p.m. Mon. to Thurs. 11:05 a.m., 1:50 p.m., 4:35 p.m., 7:25 p.m., 10:15 p.m. Kung Fu Panda 3 (PG) Tue. and Wed. 10 a.m. The LEGO Ninjago Movie (PG) Tue. and Wed. 10 a.m. The Lion King in RealD 3D (PG) Fri. and Sat. 1 p.m., 7:15 p.m. Sun. 1:35 p.m., 7:25 p.m. Mon. and Tue. 1 p.m., 7:15 p.m. The Lion King (PG) Fri. and Sat. 11:50 a.m., 12:25 p.m., 2:50 p.m., 3:30 p.m., 4:15 p.m., 6 p.m., 6:45 p.m., 9 p.m., 9:45 p.m., 10:15 p.m. Sun. 11:50 a.m., 12:40 p.m., 2:50 p.m., 3:30 p.m., 4:30 p.m., 6 p.m., 6:45 p.m., 9 p.m.,

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VIOLET CROWN SANTA FE 1606 Alcaldesa St., 505-216-5678, The Art of Racing in the Rain (PG) Fri. to Tue. 10:50 a.m., 2:20 p.m., 4:40 p.m., 7:15 p.m., 9:35 p.m. Dora and the Lost City of Gold (PG) Fri. 11:10 a.m., 1:45 p.m., 4 p.m., 6:15 p.m., 8:40 p.m. Sat. 11:10 a.m., 1:45 p.m., 6:15 p.m., 8:40 p.m. Sun. to Tue. 11:10 a.m., 1:45 p.m., 4 p.m., 6:15 p.m., 8:40 p.m. The Farewell (PG) Fri. to Tue. 10:50 a.m., 1:10 p.m., 3 p.m., 5 p.m., 7:25 p.m., 9:45 p.m. Fast & Furious Presents: Hobbs & Shaw (PG-13) Fri. to Tue. 11:20 a.m., 1:40 p.m., 3:20 p.m., 5:20 p.m., 8:20 p.m. The Landlord (NR) Thurs. 7 p.m. The Lion King (PG) Fri. to Tue. 11 a.m., 12:15 p.m., 1:20 p.m., 4:15 p.m., 5:50 p.m., 7 p.m., 9:10 p.m. Maiden (PG) Fri. to Mon. 10:50 a.m., 1:05 p.m., 3:30 p.m., 6:50 p.m., 10 p.m. Tue. 10:50 a.m., 1:05 p.m., 6:50 p.m., 10 p.m. Tue. 2 p.m. (Baby’s Day) Once Upon a Time ... in Hollywood (R) Fri. to Tue. 11 a.m., 12:30 p.m., 2:30 p.m., 4:10 p.m., 6 p.m., 7:45 p.m., 8:30 p.m., 9:30 p.m. Spider-Man: Far from Home (PG-13) Fri. to Tue. 11:10 a.m., 1:25 p.m., 4:20 p.m., 7:10 p.m., 9:50 p.m. Toy Story 4 (G) Fri. to Mon. 11:05 a.m., 2 p.m., 4:25 p.m., 6:25 p.m., 8:50 p.m. Tue. 11:05 a.m., 3:30 p.m., 4:25 p.m., 6:25 p.m., 8:50 p.m. Two-Lane Blacktop (R) Wed. 7 p.m.


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AMUSE-BOUCHE [ CULINARY MUSINGS ] Patricia West-Barker I For The New Mexican

Raise a glass to Sister George Luminaria Restaurant & Patio


nventive Southwestern fare” is what Luminaria’s website promises, and by and large that is what it delivers, starting with its specialty cocktails. There’s a strawberry-jalapeño margarita ($12) for visitors following the Santa Fe Margarita Trail, and a New Mexico green chile gimlet ($12) for those who just can’t get enough of our state’s beloved pepper. We opted for the Smoking Nun ($12), a cocktail named after Sister George — a cigar-smoking religieuse rumored to haunt the halls of the Loretto, once an academy for young women. Lightly smoked rye, brandy, and Grand Marnier tarted up with an orange wedge and cherry was a good way to settle into both the menu and the serene surroundings. (Note: Menu items and prices are subject to change.) Luminaria’s sleek charcoal-gray-walled indoor dining room is the epitome of rustic chic, with wicker chairs, whitewashed floors, and vigas and latillas — a

design theme that is repeated on its sizeable patio. There, orange umbrellas surround a tented ramada hung with natural linen-hued drapes held back with orange ties and lit with five hanging chandeliers. The color scheme extends to the well-cushioned iron chairs, the place mats, and the orange trumpet vine climbing the fences. Trees, potted flowers, and a fountain complete the fairy-tale setting. On our visit, a light evening breeze wafted through the curtains as the setting sun sent shafts of golden light across the patio. The Loretto has seen a number of executive chefs come and go over the past decade. Jason Stewart, who is a relatively young 30-something, joined the team in May, replacing the popular Sean Sinclair, who left after just over a year’s residency to open his own restaurant at the renovated Castañeda Hotel in Las Vegas, New Mexico. Luminaria’s award-winning tortilla soup ($10) has been on the appetizer menu since at least 2011, and

still delivers that mild chile, roast chicken, and corn flavor that made it a hit in the first place. But we were completely taken with the blistered shishito peppers ($14). The warm white bowl of dark green peppers lounging in a paler green goddess poblano dressing, the whole strewn with large crumbles of fresh feta, was as lovely to look at as to eat. Mussels ($18) in a light tomato broth spiced up with diced Spanish chorizo also fared well. Excellent wedges of cornbread on the side encouraged us to soak up the remains of the flavorful sauce after we had happily dispatched the mollusks. We were less impressed with the Santa Fe Chopped Salad ($16) and the Simple Caesar salad ($14). The first disappointment: The chopped salad was not really chopped — the crumbled bacon, halved red and green cherry tomatoes, crumbled blue cheese, and hardboiled egg sat atop large leaves of lettuces. Even the well-applied, mildly spicy chipotle ranch dressing couldn’t rescue the too-dry chunks of grilled chicken. The menu description of the Simple Caesar included cured egg yolk and anchovies along with the mandatory Parmesan and garlic croutons, but we could find no evidence of either the little fishes or the umami that a shaved or grated egg would bring to the dish. The most prominent flavor came from the very light, very lemony dressing and shredded cheese. The Juicy Lucy burger ($18), a contender in the 2018 Green Chile Cheeseburger Smackdown sponsored by Edible New Mexico, delivered a half-pound of nicely textured ground beef with good cheddar cheese oozing out the side. Topped with crispy onions and flavorful green chile with just a little bite, and sided with a generous tangle of crisp salty fries, it arrived exactly as requested: a medium-rare that tilted toward

Luminaria Restaurant & Patio At the Inn and Spa at Loretto 211 Old Santa Fe Trail 505-984-7915,

Breakfast 7-11 a.m., lunch 11:30 a.m.-2 p.m., dinner 5-9 p.m. Contemporary Southwestern/American Full bar Vegetarian options Noise level: Unobtrusive elevator jazz on patio, murmured conversations from other tables Handicap accessible Valet parking on property, some street parking nearby


PASATIEMPO I August 9-15, 2019

Short takes

A snapshot of recent reviews

Santarepa Café 229-A Johnson St. 505-467-8379,

Most of us won’t be jetting off to Venezuela anytime soon, but if you’re interested in exploring the South American nation culinarily, you’re in luck. At Santarepa Café, a sweet little Venezuelan restaurant occupying a colorful Johnson Street bungalow, proprietress Isabel Mendoza offers an opportunity to get a gustatory glimpse of the country, no plane ticket required. Recommended: La favorita, la vegana, and reina pepiada arepas ($9); “domino” empanada ($4.50); fried plantains ($5.50); quesillo ($5.50); and cheese cachapas (available solo and in the $13.50 sampler plate). — Laurel Gladden, Aug. 2

Strawberry white-chocolate mousse cake; top, braised peppered short rib; opposite page, tomato water braised halibut; photos Luis Sánchez Saturno/The New Mexican

rare — not an easy achievement in a busy kitchen. Someone was paying close attention to the order. We wish that attentive cook had been on duty when we ordered the tomato water braised halibut ($37). While the halibut appeared to have been prepared in the classic sear-and-simmer technique that should guarantee a moist, flaky fish, the piece that arrived at our table was neither moist nor flaky. Halibut, a firmfleshed white fish, dries out if it is overcooked, and this fillet was seriously overcooked. A larger pour of the very nicely flavored tomato water in which it sat might have helped compensate for some of the dryness, but the bit in the bowl was almost immediately absorbed by the accompanying risotto. In retrospect, I wish I had sent the dish back to the kitchen for a redo rather than leave most of it on the plate (which our busy server never questioned). The concept is a good one

that could deliver a very satisfying summer entrée with just a little more attention at the stoves. We had no such complaints about the braised peppered short rib ($37). The tender shreds of beef were perfectly cooked and seasoned. The very fine, cheese-forward loose polenta and roasted baby carrots — which earned my companion’s unqualified praise — added just the right grace notes to the plate. Our exploration of the dessert menu also yielded mixed results. The strawberry white-chocolate mousse cake ($10) — a somewhat dry vanilla-almond sponge layered with both white chocolate and strawberry mousse — was pretty in pink, but flavorless. Neither the berries nor the chocolate stood out. The chocolate torchon ($10), on the other hand, was a mousse of a different color. The perfectly textured chocolate mousse arrived enveloped in a thin, log-like chocolate shell (torchon is the term for a kitchen towel traditionally used to wrap and roll foie gras). We spent much time trying to figure out how the mousse made it into the shell; it would be almost impossible to roll the airy filling, not to mention its thin chocolate coating. We finally decided the log was pre-formed and the mousse spooned into it and then capped. Cracking that shell exposed a bright orange passion-fruit puree bursting from the heart of the chocolate — a brilliant surprise. The small scoop of licorice-flavored tarragon ice cream and a scattering of juicy ripe blackberries added welcome color and texture. Our server told us that the two small brownies (not listed on the menu) that anchored the ends of the platter were added to the dessert at the request of patrons who thought the dish was too light. We didn’t find them necessary at all: Light is what we look for at the end of a full meal. Glasses of iced tea ($3) were clear and clean tasting. The decaf coffee ($4) was better than average. The espresso ($5), double the size of the usual serving, had a welcome bitterness, with the desired crema coating the sides of the cup. Two rolled chocolate pirouettes accompanied our check, adding a bit of sweetness to our parting, accompanied by the light patter of rain on the patio’s tin roof. ◀

La Cocina 415 W. Santa Clara Bridge Road, Española 505-753-3016,

La Cocina, a family-owned and operated Española institution for 49 years, serves well-prepared American comfort food and generous portions of traditional Northern New Mexican dishes, including enchiladas, burritos, tacos, quesadillas, tamales, sopapillas, carnitas, and fajitas. The usual-suspect sides — refried beans, posole, guacamole, onion rings, calabacitas, and flour tortillas are among the best of their kind. The house green chile that tops many dishes — more chunky than saucy — is particularly flavorful. Recommended: guacamole and chicharrón burrito ($14.75); chicken fried steak ($9.99); Pollo Estilo La Cocina ($11.95); and Classic La Cocina Burger ($13.45) — Patricia West-Barker, July 26

Cottonwood Kitchen at Tesuque Casino 7 Tesuque Road, just past the Santa Fe Opera off U.S. 84/285 800-462-2635,

You’d be forgiven for expecting the typical casino-dining experience at Cottonwood Kitchen, the spacious, swanky restaurant at the newly opened Tesuque Casino. But the primary similarity this restaurant bears to its kin is discounts and specials, with a killer Lounge Social Hour, as well as deals for Player’s Club members. The menu ranges from stalwart salads to spins on typical bar food and more-upscale dishes like roast chicken, seafood, and prime rib, and while some dishes are a bust, others are creative, colorful, and deliciously memorable. Much like the gambling floor itself, the patio has one of the most stunning views in town. Recommended: “Meat Candy” ($12), Buffalo chicken tenders ($15), French dip ($15), Santa Fe nachos ($14), and prime rib ($32). — Laurel Gladden, July 5 Prices for menu items are subject to change without notice. For more Pasatiempo restaurant reviews, go to



LAURA SHEPPHERD Final Store Closing Sale

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PASATIEMPO | August 9-15, 2019

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PASATIEMPO | August 9-15, 2019




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• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican .com or • Send material no later than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue/address, ticket prices, web address, phone number, and 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. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican's website. • To add your event to The New Mexican online calendar, visit and click on the Calendar tab. • For further information contact Pamela Beach:, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019.




Victory Contemporary

225 Canyon Rd., 505-983-8589 Paintings by Poteet Victory; reception 5-7 p.m.; through Aug. 23.

Gallery and Museum Openings

Andrea Fisher Fine Pottery

Worrell Gallery

100 W. San Francisco St., 505-986-1234 Exceptional Works, Hopi potter Jean Sahmie; reception noon-5 p.m.; through Aug. 18.

103 Washington Ave., 505-989-4900 Bronzes, paintings, and jewelry by Bill Worrell; reception 5-7 p.m.

Back Pew Gallery

Santa Fe Opera

First Presbyterian Church of Santa Fe, 108 Grant Ave., 505-982-8544 Animal Kingdom: From Jellyfish to Jaguars, group show; reception 6-7:30 p.m.; through Sept. 1.

The Thirteenth Child

301 Opera Dr., 800-280-4654, 505-986-5955 A drama composed by Poul Ruders, inspired by the Brothers Grimm fairytale The Twelve Brothers; notable for its strong female roles sung by soprano Jessica E. Jones (Lyra) and mezzo-soprano Tamara Mumford (Queen Gertrude); bass David Leigh portrays the mad King Hjarne; libretto by Becky and David Starobin, 8 p.m.; $42-$275;

Canyon Road Contemporary

622 Canyon Rd., 505-983-0433 Counter Culture, paintings by Pat Hobaugh; reception 5 p.m.; through Thursday.

Catenary Art Gallery

616½ Canyon Rd., 505-982-2700 White Sands, Big Skies, photographs by Thomas Dodge; reception 5-7 p.m.; through September.

Classical Music

Santa Fe Desert Chorale Summer Festival

Chiaroscuro Contemporary Art

St. Bede's Episcopal Church, 550 W. San Mateo Rd., 505-982-1133 Luminosity: The Nature of Celestial Light, vocal chamber concert; Samuel Barber's Three Songs, Op. 10 and Benjamin Britten's Les Illuminations, Op. 18; 2 p.m.; $40; 505-988-2282, desertchorale (See review, Page 22)

558 Canyon Rd., 505-992-0711 Brittle, figurative mixed-media sculpture by Rose B. Simpson; reception 5-7 p.m.; through Sept. 7.

Collected Works Bookstore

202 Galisteo St., 505-988-4226 Drawings by Without Reservations cartoonist Ricardo Caté; reception 4 p.m.

Santa Fe Desert Chorale Summer Festival

Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl. Music of Mendelssohn, J.S. Bach, and Whitbourn; 8 p.m.; with organist David Solem, violist Kim Fredenburgh, and percussionist Kyle Nielsen; $20-$95; 505-988-2282,

Ellsworth Gallery

215 E. Palace Ave., 505-989-7900 Rez Dogs II, paintings and ceramic sculpture by Chaz John; reception 5-7 p.m.; through Sept. 3.

Gerald Peters Projects

TGIF organ recital

1011 Paseo de Peralta, 505-954-5700 Trace, paintings by Tom Birker, through Sept. 21; Tales of the West, paintings by Michael Cassidy and sculpture by Jamie Burnes; through Sept. 28; reception 5-7 p.m.

First Presbyterian Church, 208 Grant Ave., 505-982-8544, Ext. 16 Bernard Struber; music of Couperin, Vierne, and Messiaen; 5:30 p.m.; donations accepted.

In Concert

Giacobbe-Fritz Fine Art

702 Canyon Rd., 505-986-1156 Two Man Show: David Kammerzell and Charlie Meckel, paintings; reception 5-7 p.m.

Kaldoun Fine Art

112 W. San Francisco St., 505-820-0881 Women with Passion, group show of paintings; grand-opening reception 5-8 p.m.; through Oct. 9; Saturday reception 5-8 p.m.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Alcove 20/20 #1, the first in a series of rotating exhibits showcasing New Mexico artists; works by Stuart Arends, Mokha Laget, Diane Marsh, Dan Namingha, and Emi Ozawa; reception 5:30-7 p.m.; through Oct. 13. (See story, Page 28)

Nüart Gallery

670 Canyon Rd., 505-988-3888 Figurations 2019, group show of paintings; reception 5-7 p.m.; through Aug. 25.

Santa Fe Bandstand Blue Rain Gallery (544 S. Guadalupe St.) shows paintings by Starr Hardridge through August.

Objects of Art Santa Fe Show

El Museo Cultural de Santa Fe, 555 Camino de la Familia, 505-992-0591 Contemporary works represented by 70-plus international galleries and exhibitors; 11 a.m.5 p.m. today through Sunday; $15, run-of-show $25,

A SEA Gallery

539 Old Santa Fe Trail, 505-988-9140 Trumped Up Sale and Celebration to Forestall the Growing Apocalypse, group show; reception 4:30-7:30 p.m.; Saturday reception 3-5:30 p.m.; 20 percent of proceeds donated to buyers' choice of nonprofit organizations.

The Owings Gallery

Steve Elmore Indian Art

Patina Gallery

Tresa Vorenberg Goldsmiths

120 E. Marcy St., 505-982-6244 Ed Mell — New Work 2019, paintings; reception 5-7 p.m.; through Sept. 21. 131 W. Palace Ave., 505-986-3432 Passion & Pearls, jewelry designs by Peter Schmid of Atelier Zobel; reception 5-7 p.m.

839-M Paseo de Peralta, 505-995-9677 Nampeyo Family Retrospective: 1885-2019, Hopi pottery; reception 5-7 p.m.; through Oct. 1. 656 Canyon Rd., 505-988-7215 A Gem Packed Life, jewelry by Donna Diglio; reception 5-7 p.m.; through Sept. 16; Saturday reception 11a.m.-5 p.m.

Downtown Plaza Outside In Productions' free summer concert series; Native Drum Circle; 6-7 p.m.; flutist Robert Mirabal; 7:15-8:45 p.m.;

Theatre/Dance 4000 Miles

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 Amy Herzog's single-set play about generational conflicts between a 91-year-old grandmother and her 20-something grandson, presented by New Mexico Actors Lab; 7:30 p.m. ThursdaysSaturdays, 2 p.m. Sundays through Aug. 25; $25;

Antonio Granjero & EntreFlamenco

El Flamenco de Santa Fe, 135 W. Palace Ave., 505-209-1302 Doors 6:30 p.m.; show 7:30 p.m.; tickets start at $25, group discounts available; entreflamenco; Wednesdays-Sundays through Sept. 1.



Santa Fe Bandstand

Downtown Plaza Outside In Productions' free summer concert series wraps up with folk-pop guitarist Matthew Andrae at 6 p.m., followed by rock-blues guitarist Jono Manson at 7:15 p.m.;


The Duchess of Malfi

The Swan Theater, 1213-B Parkway Dr., 505-466-3533 International Shakespeare Center presents John Webster's tragedy, directed by Ariana Karp; 7 p.m.; $15 at the door.


Lauren Camp and Thomas Centolella Giacobbe-Fritz Fine Art (702 Canyon Rd.) shows paintings by Charlie Meckel.

EmiArteFlamenco Presents La Emi

The Lodge at Santa Fe, 750 N. St. Francis Dr., 505-992-5800 With Nevarez y José Encinias, Kambiz Pakan, and Manuel Tañe; 8 p.m. Wednesdays-Sundays through Sept.1; doors 7:15 p.m.; check for ticket availability; 505-988-1235,

Maps in Motion

Railyard Performance Center, 1611 Paseo de Peralta New York City-based choreographer/dancer Leslie Satin's piece; dancers include Maia Cortissoz, Banu Ogan, and Satin; accompanied by Dean Rainey; 8 p.m.; $10 at the door.


Warehouse 21, 1614 Paseo de Peralta, 505-988-1579 A festival of solo works: Talia Pura (This I Have Believed) and Joyce Storey (E.S.L. Class); also, children perform selections from Storey's book 75 New Monologues Kids Will Love; 7:30 p.m.; encores 7:30 p.m. Saturday, 2 p.m. Sunday; $15; ages 9 and under no charge; tickets available at the door or online; event/4088687; contact Talia for more information, 505-428-8508,


Breakfast with the Curators

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 A behind-the-scenes tour and discussion series; Tony Chavarria of Santa Clara Pueblo and Larry Humetewa of Santo Domingo Pueblo; breakfast 8:30 a.m.; tour of the conservation lab and a preview of objects to be displayed in the exhibit Here, Now and Always; $35, call for reservations.


41st Annual Whitehawk Antique Indian & Ethnographic Art Show opening night

Santa Fe Community Convention Center, 201 W. Marcy St., 800-777-2489 Opening-night party 6-9 p.m.; $85 includes hors d'oeuvres, entertainment, and cash bar; market runs 10 a.m.-5 p.m. Saturday-Monday; $15 daily, $25 run of show; tickets available at the door;


(See Page 69 for addresses)

Anasazi Restaurant & Bar

Classical guitarist Gustavo Pimentel; 6 p.m.; no cover.

Beer Creek Brewing Company

Country band Half Broke Horses; 6 p.m.; no cover.

¡Chispa! at El Mesón

Three Faces of Jazz; 7:30 p.m.; no cover.

Cottonwood Kitchen Lounge

Pop singer-songwriter Shane Wallin; 5:30-9 p.m.; C.S. Rockshow; 10 p.m.-1 a.m.; no cover.

Cowgirl BBQ

Folk-rock band Dave Borrego and the Wigglers; 8:30 p.m.; no cover.

El Farol

Flamenco dinner show; 6:30 p.m.; Ron Crowder Band, rock/soul; 9-11 p.m.; call for cover.


PASATIEMPO I August 9-15, 2019

Hervé Wine Bar

Blues musician Alex Maryol; 6 p.m.; no cover.

La Fiesta Lounge

Jimmy Stadler's country-rock band ; 8-11 p.m.; no cover.

Second Street Brewery

Acoustic band Lone Piñon; 7-10 p.m.; no cover.

Tiny's Restaurant & Lounge

Classic rockers The Jakes; 8:30 p.m.; no cover.


Jazz/blues duo Pat Malone and Jon Gagan; 6:30-8:30 p.m.; Tonic jazz quartet; 9:30 p.m.12:30 a.m.; no cover.


Pianists Doug Montgomery; 6 p.m.; Greg Schlotthauer; 8 p.m.; no cover.

SATURDAY 8/10 Gallery and Museum Openings Nedra Matteucci Galleries

1075 Paseo de Peralta, 505-982-4631 Small & Sacred, paintings by William Acheff; reception 1-3 p.m.; through Sept. 14.

Obscura Gallery

1405 Paseo de Peralta, 505-577-6708 Photographs by Manuello Paganelli; reception 5-7 p.m.; through August.

Shiprock Santa Fe

53 Old Santa Fe Trail, 505-982-8478 Historic/antique Navajo rugs and blankets, Native jewelry, and Pueblo pottery; reception 5-7 p.m.

Op. Cit. Books, DeVargas Center, 157 Paseo de Peralta, 505-428-0321 The poets read from their collections Turquoise Door: Finding Mabel Dodge Lujan in New Mexico and Almost Human; 5:30 p.m.


Santa Fe Improv open jam

Warehouse 21, 1614 Paseo de Peralta Games and exercises; no experience necessary; 7-9 p.m.; $10 at the door; ages 17 and up;


Best of Santa Fe 2019 Allard Auctions

Scottish Rite Center, 463 Paseo de Peralta Native American artifacts and art; today: 8 a.m. preview, noon auction; Sunday: 8 a.m. preview, 10 a.m. auction; 888-314-9343,

Contra Dance

Odd Fellows Hall, 1125 Cerrillos Rd. Traditional folk dance, with music by the Connie Manhattan Trio; beginners class 7 p.m.; dance 7:30 p.m.; $9, students $5; 505-930-1149,; no partner needed.

710 Camino Lejo, Museum Hill, 505-476-1269 San Ildefonso Pottery: 1600-1930, an exhibit combining Native ethnogenesis, discussions with descendant members of the community, and social context; 10 a.m.-5 p.m.; through August 2020; by museum admission; (See story, Page 34)

Santa Fe Opera

Santa Fe Opera Apprentice Showcase Scenes 301 Opera Dr., 800-280-4654, 505-986-5955 Fully staged productions presented by apprentice singers, 8 p.m.; $15, ages 6-22 $5; Aug.18 encore.

Classical Music

Santa Fe Chamber Music Festival

The Lensic Performing Arts Center, 211 W. San Francisco St. Music of Mozart, Schubert, and Brahms; 6 p.m.; performers include Stefan Dohr, Paul Appleby, Todd Levy, and Julia Harguindey; 6 p.m.; $10-$95; 888-221-9836, Ext. 102, 505-982-1890,


Journey Santa Fe Presents

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Poet Lauren Camp reads from and discusses her collection Turquoise Door: Finding Mabel Dodge Lujan in New Mexico; 11 a.m. (See Subtexts, Page 18)

Santa Fe Farmers Market

1 Hacienda Loop, 505-466-7323, Eldorado Music, silent/live auctions, and children's activities; 1-4:30 p.m.; ages 12 and older $10, families of four $25, ages 6-11 $5, ages 5 and under no charge.



Beer Creek Brewing Company

El Farol

1607 Paseo de Peralta, 505-983-4098 7 a.m.-1 p.m.;

Santa Fe Chamber Music Festival

Cowgirl BBQ

¡Chispa! at El Mesón

Pat Malone's jazz trio; 7:30-10:30 p.m.; no cover.

Cottonwood Kitchen Lounge

Acoustic-rock duo Curry & Springer; 10 p.m.-1 a.m.; no cover. Rock band Underground Cadence; 8:30 p.m.; no cover.

El Farol

Flamenco dinner show; 6:30-9 p.m.; R&B band The Blue Jays; 9-11 p.m.; call for cover.

La Fiesta Lounge

Jimmy Stadler's country-rock band; 8 p.m.; no cover.

Second Street Brewery

Blues band The Barbwires; 7-10 p.m.; no cover.


Tonic jazz quartet; 9:30 p.m.-12:30 a.m.; no cover.

In Concert

Tumbleroot Brewery & Distillery

Railyard Plaza, South Guadalupe and Alcaldesa Streets Denver-based Indie band; 7 p.m.; Korvin Balkan Orkestar opens; no charge;



Museum of Indian Arts & Culture


Railyard Plaza, South Guadalupe and Alcaldesa Streets Outdoor booths; 8 a.m.-2 p.m. Saturdays through December; 505-310-8766,

SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 Music of Gustav Mahler; 10:30 a.m.; including tenor John Tiranno, soprano Ingela Onstad, flutist Jesse Tatum, and cellist Dana Winograd; led by David Felberg; $5-$15; august-10-2019.

The Soldier's Tale

133 Seton Village Rd., 505-995-1860 More Beautiful and Amazing, group show of multidimensional works celebrating the 159th birthday of artist and naturalist Ernest Thompson Seton; reception 2-4 p.m.; through July 2020. (See Mixed Media, Page 16)

Santa Fe Artists Market

Montezuma Lodge, 431 Paseo de Peralta Presented by Art Through the Loom Weavers Guild; handspun, handwoven or hand-dyed goods; 10 a.m.-5 p.m. today and Sunday; no charge.

Americana band Hott Box; 5 p.m.; no cover.

San Miguel Chapel, 401 Old Santa Fe Trail, 505-983-3974 Stravinsky's theatrical work; 3 p.m.; performers include violinist Sandra Baron, clarinetist James Shields, bassoonist Ted Soluri, and vocalist Robert Pomakov; $20 in advance at

Academy for the Love of Learning

Miriam Sagan

(See Page 69 for addresses)

St. Francis Auditorium, 107 W. Palace Ave. Fandangos!, works by Soler and Boccherini; 5 p.m.; performers include Paolo Bordignon, Meng Su, and Harvey de Souza; $10-$56; 888-221-9836, Ext. 102, 505-982-1890,

Gallery and Museum Openings

Rag Rugs & Fiber Arts Show

Classical Music Chatter (in SITE)


Latin-dance band Nosotros; 7-11 p.m.; call for cover.

Pianists Doug Montgomery; 6 p.m.; Greg Schlotthauer; 8 p.m.; no cover.

Op. Cit. Books, DeVargas Center, 157 Paseo de Peralta, 505-428-0321 The poet celebrates the launch of In Bluebeard's Castle; 2 p.m.

20th Annual Vista Grande Public Library Ice Cream Social

(See Page 69 for addresses) Jazz guitarist Pat Malone and bassist Jon Gagan; 6-8 p.m.; no cover.


Pianist Doug Montgomery; 6:30 p.m.; no cover.

MONDAY 8/12 Gallery and Museum Openings Inn of the Anasazi

113 Washington Ave., 505-988-3030 Modern and contemporary Southwestern jewelry from the Mahnaz Collection; includes works by Charles Loloma, Verma Nequatewa, and Eveli Sabatie; noon-6 p.m. today, 10 a.m.-6 p.m. Tuesday and Wednesday.

Santa Fe Opera La bohème

301 Opera Dr., 800-280-4654, 505-986-5955 Puccini's tragic story of love among impoverished denizens of 19th-century Paris; performers include sopranos Vanessa Vasquez and Gabriella Reyes, tenor Mario Chang, and baritone Zachary Nelson; directed by Mary Birnbaum; conducted by Jader Bignamini; 8 p.m.; $42-$275;

Classical Music


The Lensic Performing Arts Center, 211 W. San Francisco St. Music of Mendelssohn, Falla, and Bruckner; 6 p.m.; performers include Paolo Bordignon, Guillermo Figueroa, and Christopher Mellard; $10-$95; 888-221-9836, Ext. 102, 505-982-1890,

El Museo Cultural de Santa Fe, 555 Camino de la Familia Preview items offered by 60-plus vendors; 6 p.m.; $75; show: 11 a.m.-5 p.m. Wednesday, Thursday, and Aug. 16; $15 daily; $25 run of show;

Santa Fe Chamber Music Festival

Schola Cantorum of Santa Fe

Shrine of Our Lady of Guadalupe Church, 417 Agua Fría St. The sacred-music choral ensemble performs to raise funds for repairing rain damage to the Santuario de Guadalupe roof; 7 p.m.; donations accepted;


The Coded Language of Color

Santa Fe Public Library Main Branch, 145 Washington Ave. A free introductory talk on the electromagnetic basis of color's effect on life, presented by members of The Living Theatre; 6:30-7:45 p.m.; 505-231-5869,

Nick Estes

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Our History Is the Future, examining traditions of indigenous resistance leading to the #NoDAPL movement at Standing Rock Reservation; 6 p.m.


(See addresses at right)

The Antique American Indian Art Show Santa Fe opening-night gala

New Mexico History Museum, 113 Lincoln Ave. Warrior Women, documenting the life of Lakota activist Madonna Thunder Hawk; 7 p.m.; followed by a discussion with activist Marcella Gilbert and directors Christina D. King and Elizabeth A. Castle; continuing daily through Aug. 18, at no charge;

Santa Fe Artists Market

Railyard Plaza, South Guadalupe and Alcaldesa Streets Tuesdays 8 a.m.-2 p.m.; 505-310-8766,, .

Santa Fe Farmers Market Tuesdays

1607 Paseo de Peralta, 505-983-4098 Tuesdays 7 a.m.-1 p.m.;


(See addresses at right)

Cowgirl BBQ

Gary Gorence; acoustic rock; 8 p.m.-close; no cover.

El Farol

La Fiesta Lounge at La Fonda

La Fiesta Lounge at La Fonda

Bill Hearne's honky-tonk trio; 7:30-11 p.m.; no cover.


Pianist Doug Montgomery; 6:30 p.m.; no cover.

TUESDAY 8/13 Gallery and Museum Openings Shiprock Santa Fe

Canyon Road blues jam; 8-11 p.m.; call for cover. Bill Hearne's honky-tonk trio; 7:30-11 p.m.; no cover.


Pianist David Wood; 6:30 p.m.; no cover.

WEDNESDAY 8/14 Gallery and Museum Openings Shiprock Santa Fe

53 Old Santa Fe Trail, 505-982-8478 Work by Cochiti Pueblo ceramicist Diego Romero; reception 2-4 p.m.

53 Old Santa Fe Trail, 505-982-8478 Phillip Vigil: New Works on Canvas; reception 2-4 p.m.

Santa Fe Opera

Santa Fe Opera

301 Opera Dr., 800-280-4654, 505-986-5955 Mozart and Da Ponte's tragicomedy unfolds when two men decide to test their fiancés' fidelity: soprano Amanda Majeski (Fiordiligi), mezzo-soprano Emily D'Angelo (Dorabella), tenor Ben Buss (Ferrando), and baritone Jarrett Ott (Guglielmo); 8 p.m.; $42-$275; Family Night: Reduced prices for ages 6-22 and accompanying adults.

301 Opera Dr., 800-280-4654, 505-986-5955 A drama in two acts composed by Poul Ruders, inspired by the Brothers Grimm fairytale The Twelve Brothers; notable for its strong female roles sung by soprano Jessica E. Jones (Lyra) and mezzo-soprano Tamara Mumford (Queen Gertrude); bass David Leigh portrays the mad King Hjarne; libretto by Becky and David Starobin, 8 p.m.; $42-$275;

Così fan tutte

The Thirteenth Child

Classical Music

Classical Music

St. Francis Auditorium, 107 W. Palace Ave. Zoltán Fejérvári: piano recital; music of Bartók, Widmann, and Schumann; noon; $10-$33; 888-221-9836, Ext. 102, 505-982-1890,

St. Francis Auditorium, 107 W. Palace Ave. Romantic Piano & Winds, music of Janáĉek and Thuille; noon; performers include Shai Wosner, Steven Tenenbom, and Stefan Dohr; 888-221-9836, Ext. 102, 505-982-1890,

Santa Fe Chamber Music Festival

Santa Fe Chamber Music Festival

Santa Fe Chamber Music Festival

Santa Fe Chamber Music Festival

The Lensic Performing Arts Center, 211 W. San Francisco St. Beethoven Sonatas 1: violinist Ida Kavafian and pianist Anne-Marie McDermott; 6 p.m.; $10-$77; 888-221-9836, Ext. 102, 505-982-1890, (See preview, Page 26)


Office of Archaeological Studies Brown Bag talks

Center for New Mexico Archaeology, 7 Old Cochiti Rd., 505-476-4404 Indian Market Traditions, by OAS director Eric Blinman; today's focus, pottery; Thursday's topic, textiles; noon (both days); no charge.

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Medicine Women: The Story of the First Native American Nursing School, tracing the history of the Ganado Mission on the Navajo reservation in northeast Arizona; 6 p.m.


Indian Arts Research Center tour

School for Advanced Research, 660 Garcia St., 505-954-7200 View the collection of 12,000-plus Native artifacts dating from the 6th century to the present; 2-3 p.m.; $15; pre-registration required;

Native Cinema Showcase 2019 opening night

Cowgirl BBQ

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

Jim Kristofic

The Lensic Performing Arts Center, 211 W. San Francisco St. Beethoven Sonatas 2: violinist Ida Kavafian and pianist Anne-Marie McDermott; 6 p.m.; $10-$77; 888-221-9836, Ext. 102, 505-982-1890, (See preview, Page 26)


Three Centuries of Pueblo Resistance

Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528 The Publix Feminist Caucus hosts a panel discussion on major victories in the fight for Pueblo liberation; 6 p.m.; no charge;

C LU B S, R O O M S, V EN U ES Check with venues for updates and

Bar Alto at Drur y Plaza Hotel 828 Paseo de Peralta, 505-982-0883

Beer Creek Brewing Company 3810 NM 14, 505-471-9271

Boxcar Sports Bar & Grill 530 S. Guadalupe St., 505-988-7222

special events.

Mamunia 130 Lincoln Ave., 505-983-8654

Meow Wolf 1352 Rufina Circle, 505-395-6369

The Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 The Bridge at Santa Fe Brewing Comp L'Olivier Restaurant any 37 Fire Pl., 505-557-6182 229 Galisteo St., 505-989-1919 The Cave On the Rock s Lounge at Camel Rock Casin 1226 Calle de Comercio o 17486-A U.S. 84/285, 800- 462-2035 Chili Line Brewing Company Osteria d'Assisi Piano Lounge 204 N. Guadalupe St., 505-982-8474 58 Federal Pl., 505-986-5858 ¡Chispa! at El Mesón Santa Fe Brewing Company 213 Washington Ave., 505-983-6756 El Dorado Taphouse 7 Caliente Rd., 505-466-6939 Cottonwood Kitchen Lounge at Tesuque Casino Santa Fe Oxygen & Healing Bar 7 Tesuque Rd., 505-984-8414 102 W. San Francisco St., 505- 660-9199 Cowgirl BBQ Second Street Brewery 319 S. Guadalupe St., 505-982-2565 1814 Second St., 505-982-3030 Dragon Room Bar Second Street Brewery at the Railyard 406 Old Santa Fe Trail, 505-983-7712 1607 Paseo de Peralta, 505-989-3278 El Farol Second Street Brewery Rufina Taproom 808 Canyon Rd., 505-983-9912 2920 Rufina St., 505-954-1068 Evangelo's Shadeh Nightclub 200 W. San Francisco St., 505-982-9014 Buffalo Thunder Resort & Casino, Ghost 20 Buffalo Thunder Trail, 877-848-6337 2889 Trades West Rd. Social Kitchen + Bar at Sage Inn Gig Performance Space 725 Cerrillos Rd., 505-982-5952 1808 Second St., Starlight Lounge at Montecito Hervé Wine Bar 500 Rodeo Rd., 505-428-2840 139 W. San Francisco St., 505-795-7075 Taberna La Boca Honeymoon Brewery 125 Lincoln Ave., 505-988-7102 907 W. Alameda St., Solana Center, TerraCotta Wine Bistro 505-303-3199 304 Johnson St., 505-989-1166 Hotel Santa Fe Tiny’s Restaurant & Lounge 1501 Paseo de Peralta, 505-982-1200 1005 St. Francis Dr., 505-983-9817 La Fiesta Lounge at La Fonda Tonic 100 E. San Francisco St., 505-982-5511 103 E. Water St., 505-982-1189 La Posada de Santa Fe Resort and Spa Tumbleroot Brewery & Distillery 330 E. Palace Ave., 505-986-0000 2791 Agua Fría St., 505-303-3308 The Lensic Performing Arts Center Upper Crust Pizza 211 W. San Francisco St., 505-988-1234 329 Old Santa Fe Trail, 505-982-0000 Living Room Lounge at Loretto Upper Crust Pizza in Eldorado Inn and Spa at Loretto, 211 Old Santa Fe Trail, 5 Colinas Rd., 505-466-1123 505-984-7905 Vanessie Los Magueyes Mexican Restaurant 434 W. San Francisco St., 505-982-9966 31 Burro Alley, 505-992-0304 Zephyr Lost Padre Records 520 Center Dr., 505-501-8106 304 Catron St., 505-310-6389



Native Cinema Showcase 2019

New Mexico History Museum, 113 Lincoln Ave. Indian Market event; 1 p.m.: Wiñaypacha (Eternity), 3 p.m.: The Blessing, discussion with directors follows; 7 p.m.: Falls Around Her; daily screenings through Aug. 18, at no charge;

Pottery demonstration

Pottery of the Southwest, 223-A Canyon Rd., 505-365-2192 Jemez Pueblo ceramicist Teri Cajero; 1-3 p.m.; hide painting demonstration by Choctaw artist Karen Clarkson, noon-2 p.m. Thursday

Wheelwright Museum of the American Indian early bird benefit sale

704 Camino Lejo, Museum Hill, 505-982-4636 Southwest Native jewelry, basketry, ceramics, and other goods; 3-6 p.m.; $25 includes hors d'oeuvres. Public sale 9 a.m.-4 p.m. Thursday and Aug. 16; no charge; shuttle service available from First Baptist Church, 1605 Old Pecos Trail.


Good Folk Gallery



Pottery of the Southwest

223-A Canyon Rd., 505-365-2192 Jewelry by Sara Sinclair; reception 4-6 p.m.

Institute of American Indian Arts, 83 Avan Nu Po Rd. Annie McHale outlines how to grow a business on the e-commerce website; 10 a.m.-5 p.m. today and Aug. 22; no charge; 505-424-2308, cecourses.

2876 Main St., 505-474-7564 Personal Mythology, paintings, ceramic and mixed-media sculpture by Barbara Harnack; reception 4-6 p.m. Saturday, Aug. 10; through September.

Santa Fe Community Convention Center



Shiprock Santa Fe

Santa Fe Community Convention Center, 201 W. Marcy St. A free all-ages event, including a preview of the IM: EDGE Contemporary Show, performances by Navajo rock band Stateline and violinist Laura Ortman; 7-10 p.m.;

Pecos National Historical Park, 1 Peach Dr., 505-757-7241 A tradition of the Jemez and Pecos Pueblos; mass inside the ruins of Our Lady of the Angels of Porciúncula 9:30 a.m. Sunday, Aug. 11, followed by Jemez Pueblo dancers and horno-baked rolls; no charge.

141 Lincoln Ave., 505-983-1660 Lost Art Form Comes Alive, beadwork by Menominee artist Dan Warrington; 5-8 p.m.

201 W. Marcy St., 800-777-2489 IM: EDGE 2019, an Indian Market group show of contemporary works; this year's theme, Honoring the Strength and Resilience of Native Women; on view 7-10 p.m.; through Aug. 18.

53 Old Santa Fe Trail, 505-982-8478 Collaborative exhibit of works by Hopi jeweler Verma Nequatewa and Arapaho/Seneca beadwork artist Ken Williams Jr.; reception 2-4 p.m.

Sorrel Sky Gallery

¡Chispa! at El Mesón

125 W. Palace Ave., 505-501-6555 Native American Group Show; reception 5-7:30 p.m.; through August.

La Fiesta Lounge

Santa Fe Opera

(See Page 69 for addresses) Flamenco guitarist Joaquin Gallegos; 7 p.m.; no cover. Country band Sierra; 7:30-11 p.m.; no cover.

THURSDAY 8/15 Gallery and Museum Openings

Andrea Fisher Fine Pottery

100 W. San Francisco St., 505-986-1234 New Works, pots by Acoma ceramicist Franklin Peters; Coiled Amazement, work by Wyandot potter Richard Zane Smith; reception 5-7 p.m.; through Aug. 18.

Blue Rain Gallery

544 S. Guadalupe St., 505-954-9902 Group show of works by Native American artists; reception 5-8 p.m.; through August.

Case Trading Post artist showcase

Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, 505-982-4636 Indigenous artists demonstrate and discuss their craft; 10 a.m.-noon; no charge.

Coe Center for the Arts open house

1590-B Pacheco St., 505-983-6372 Mvskoke Canoe Paddle Project Pop-Up, exhibit of traditional canoe paddles; 1-4 p.m.; the center's Muscogee/Seminole board member Kenneth Johnson discusses the show at 2 p.m.; also, a meet-and-greet honoring members of the Growing Thunder family, known for their beadwork and quillwork.

Fox Pueblo Pottery

839 Paseo de Peralta, 505-577-0835 Cochiti Pueblo Pottery, Then and Now, historic pots and contemporary works by Harlan Reano and Lisa Holt. Book signing and talk by Barry Walsh, author of The Great Tradition of Hopi Katsina Carvers; 5:30-6:30 p.m.


301 Opera Dr., 800-280-4654, 505-986-5955 Tangled familial relationships in a 19th-century Moravian village form the plot of Janáček's opera in three acts; sopranos Laura Wilde (Jenůfa) and Patricia Racette (Kostelniĉka), tenors Alexander Lewis (Laca) and Richard Trey Smagur (Števa); 8 p.m.; $42-$275;

Classical Music

Santa Fe Chamber Music Festival

St. Francis Auditorium, 107 W. Palace Ave. Dover Quartet: Joel Link, Bryan Lee, Milena Pajaro-van de Stadt, and Camden Shaw; music of Webern, Beethoven, and Britten; noon; $10-$38; 888-221-9836, Ext. 102, 505-982-1890,

Santa Fe Chamber Music Festival

The Lensic Performing Arts Center, 211 W. San Francisco St. Beethoven Sonatas 3: violinist Ida Kavafian and pianist Anne-Marie McDermott; 6 p.m.; $10-$77; 888-221-9836, Ext. 102, 505-982-1890, (See preview, Page 26)


Indian Market buying primer: textiles, jewelry, turquoise, and prints

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 Learn to distinguish between authentic Native arts and counterfeit goods sold fraudulently; 1 p.m., Joyce Begay-Foss, MIAC education director, followed at 2 p.m. by Garrick Best, owner of Natural Stones, and concluding at 3 p.m. with Tom Leech, Palace Press director; $10.

IAIA continuing education: Etsy training

Indian Market kick-off party

Native Cinema Showcase 2019

New Mexico History Museum, 113 Lincoln Ave. Indian Market event; 1 p.m.: Angelique's Isle, 3 p.m.: The Land Speaks, 7 p.m.: N. Scott Momaday: Words From a Bear; daily screenings through Aug. 18, at no charge;

We Are the Seeds Santa Fe 2019

Santa Fe Railyard, South Guadalupe Street and Paseo de Peralta Contemporary/traditional indigenous-art market, with 70-plus vendors, workshops, fashion show, storytelling, food trucks, and bands; 10 a.m.-6 p.m., $10 suggested donation; fundraising dinner 4:30 p.m.; $15;; details available online at seeds-santa-fe.html; continues Aug. 16. (See stories, Pages 43-53)


Annual Feast Day Celebration


2019 Fulcrum Fund call for proposals

Administered by Albuquerque gallery 516 ARTS; open to individuals and collectives whose work centers around visual arts and who are based within an 80-mile radius of Albuquerque; visit; applications accepted online only, by 11:59 p.m. Sunday, Aug. 11.


Awesome Foundation microgrant

Osteria Piano Lounge

The Santa Fe chapter is accepting applications for a $1,000 grant awarded to individuals and groups involved in science, technology, art, and education projects designed to improve local residents' quality of life; submission forms available online at en/chapters/santafe; Sunday, Sept. 1 deadline; email or visit for more information.




(See Page 69 for addresses)

¡Chispa! at El Mesón

Jazz/flamenco duo Vaivén; 7-9 p.m.; no cover.

La Fiesta Lounge

Country band Sierra; 7:30-11 p.m.; no cover. Pianist/vocalist David Geist; 6:30-9:30 p.m.; no cover. Pianist Greg Schlotthauer; 6:30 p.m.; no cover.

Garden Sprouts

OUT OF TOWN Albuquerque

New Mexico Art League

3409 Juan Tabo Blvd., N.E., 505-293-5034 Group show of works by faculty members; reception 5-7 p.m. Saturday, Aug. 10; through Aug. 24.

Angel Fire

Festival Eclectica

Angel Fire Airport, 3570 NM 434, Angel Fire Gates noon Saturday, Aug. 10; music 1:30 p.m.; including Lara Manzanares Trio, Red Light Cameras, and Samantha Fish; $35 in advance, $42 day of show, ages 9-15 $18 in advance, $21 day of show, ages 8 and under no charge; festivaleclecticanm

Santa Fe Botanical Garden, 715 Camino Lejo, 505-471-9103 Storytelling and hands-on activities for children ages 3-5; 9-10 a.m. weekly on Fridays; $5 suggested donation;

Storytelling with Joe Hayes

On the grounds of Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, 505-982-4636 Tales of the Southwest; 7-8 p.m. Saturday and Sunday, Aug. 10 and 11; no charge.

20th Annual Vista Grande Public Library Ice Cream Social

1 Hacienda Loop, 505-466-7323, Eldorado Music, silent/live auctions, and children's activities; 1-4:30 p.m.; ages 12 and older $10, families of four $25, ages 6-11 $5, ages 5 and under no charge. ◀


Antiques • Furnishings • Antiquities Ceramics • Fine Paintings • Lighting Rugs • Sculpture • Textiles 729 Canyon Road • f r e e par k in g • 70

PASATIEMPO I August 9 -15, 2019

AT THE GALLERIES Evoke Contemporary

550 S. Guadalupe St., 505-995-9902 Sin Fronteras, works by santero Nicholas Herrera and paintings by Patrick McGrath Muñiz and Thomas Vigil; through Aug. 24.


540 S. Guadalupe St., 505-820-1888 That Mountain Over There (Now I See Her), work by sculptor Paul Castillo; through Aug. 26.

Intrigue Gallery

238 Delgado St., 505-820-9265 Ritual Masks of Africa; through Monday, Aug. 12.

McLarry Fine Art

225 Canyon Rd., 505-988-1161 Buckskin and Beads, paintings by Chuck Sabatino; through Thursday, Aug. 15.

Peyton Wright Gallery

237 E. Palace Ave., 505-989-9888 Rituals of the Cora: Holy Week in the Sierra de Nayarit, Mexico, photographs by William Frej; drawings by Matthew Pendleton; through August.

Photo-eye Gallery

541 S. Guadalupe St., 505-988-5159 Kindred Spirits: The Familiar and the Wild, photographic group show; through Aug. 24.

Ylise Kessler Gallery

333 Montezuma Ave., 505-930-1039 Landscapes by Julian Hatton; collage and ceramics by Kay Harvey; through Aug. 17.

TAI Modern

1601 Paseo de Peralta, 505-984-1387 Bamboo-sculpture installation by Tanabe Chikuunsai IV; through Aug. 24. (See story, Page 38)


Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 The Dream Life of Objects, photographs, glass on canvas, and an interactive installation by Judy Tuwaletstiwa; through Sept. 15 in the Tank Garage Gallery • The Telepoem Booth Project, a vintage phone booth installation with a dial-a-poem element. Open Tuesdays-Sundays;

Coe Center for the Arts

1590-B Pacheco St., 505-983-6372 Exhibits of indigenous art, with a concentration in artifacts of North America; Open first Friday of the month and by appointment.

El Rancho de las Golondrinas

334 Los Pinos Rd., 505-471-2261 A 200-acre living-history museum recreating the heritage and cultural aspects of 18th- and 19thcentury New Mexico, with costumed interpreters, historic buildings, and weekend programs; Open for self-guided tours Wednesdays-Sundays.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Contemporary Voices: Ken Price, sculpture paired with O'Keeffe's watercolors; through Oct. 23 • A Great American Artist. A Great American Story, works honoring the artist's legacy; Open daily.

IAIA Museum of Contemporary Native Arts 108 Cathedral Pl., 888-922-4242 The Blessing, a film on contemporary Navajo life on a reservation; through October • Robyn Tsinnajinnie and Austin Big Crow: The Holy Trinity, mural; through October • Adobobot, outdoor sculpture by Wayne Nez Gaussoin; through

November • Experimental Expression: Printmaking at IAIA, 1963-1980, works on paper from the Tubis Print Collection; through June 23, 2021; museum. Closed Tuesdays.

Meow Wolf Art Complex

1352 Rufina Circle, 505-395-6369 The House of Eternal Return, evolving interactive installation; Closed Tuesdays.

Museum of Encaustic Art

632 Agua Fría St., 505-989-3283 50 States, 200 Artists, works from the permanent collection; through Sept. 15; Closed Mondays Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269 Beyond Standing Rock: The Past, Present, and Future of the Water Protectors, group show by Zoe Urness, Frank Buffalo Hyde, Pamela J. Peters, and others; through Oct. 27 • The Brothers Chongo: A Tragic Comedy in Two Parts, lithographs and paintings by Mateo Romero and pottery and lithographs by Diego Romero; through October • Here, Now and Always, collection artifacts; through Jan. 1, 2020; Open daily.

Museum of Interactive Art at Shidoni Gallery

1508 Bishops Lodge Rd., 505-670-2118 Invent Your Own Reality Room, permanent interactive exhibit of works created by visitors; Open Tuesdays-Saturdays.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Mid-Century Santa Fe, works by participants in the Student Art and Design Competition paying homage to designer Lloyd Kiva New; through Aug. 20 • A Gathering of Voices: Folk Art From the Judith Espinar and Tom Dillenberg Collection; through Aug. 25 • Multiple Visions: A Common Bond, toys and folk art; Alexander Girard: A Designer's Universe, a traveling retrospective of the interior and textile designer's works in the long-term exhibit Multiple Visions; through Oct. 27 • Girard's Modern Folk, objects from the collection; on view in Lloyd's Treasure Chest through Jan. 26, 2020; internationalfolkart .org. Open daily.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Paul Pletka: Converging Faiths in the New World, paintings, indigenous, and Spanish artifacts from the artist's and the museum's collection; through Oct. 20. Core exhibits: The Delgado Room, based on the will and estate inventory of trader and merchant Don Manuel Delgado • Beltrán-Kropp Collection of Peruvian Colonial Art, works from the collection of Pedro Beltrán and Miriam Kropp Beltrán • The Youth Gallery, works from Youth Market Artists; spanishcolonial .org. Open daily.

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 On Exhibit: Designs That Defined the Museum of New Mexico, historic photographs and vignettes depicting early displays; through August • The Land That Enchants Me So: Picturing Popular Songs of New Mexico, sheet music and covers from the 1840s to 1930; also, sound recordings and memorabilia; through September • A Walk on the Moon: The 50th Anniversary of the Apollo 11 Moon Landing, on display: Mercury Space Capsule 12B, on loan from the Smithsonian Institution; through Oct. 20 • The First World War, stories, images, and letters from New Mexicans who served in WWI; through Nov. 11 • The Massacre of Don Pedro Villasur, work by graphic artist Turner Avery Mark-Jacobs depicting the Spanish Colonial military expedition of 1720; through Feb. 1, 2020 • Atomic Histories, highlighting New Mexico's nuclear history, including photographer Meridel Rubenstein's installations from the

Photo-eye Gallery (541 S. Guadalupe St.) shows work by photographer Keith Carter through Aug. 24.

traveling exhibit Critical Mass and her installation Oppenheimer's Chair; through February 2020 • We the Rosies: Women at Work, a lobby display of a 6-foot, 3D-printed sculpture of the WWII-era poster girl for women in the workforce, Rosie the Riveter; through March 1, 2020. Core exhibits: Setting the Standard: The Fred Harvey Company and Its Legacy, collection and photos from POG photo archives • Telling New Mexico: Stories From Then and Now • Santa Fe Found: Fragments of Time, archaeological and historical roots of Santa Fe • Treasures of Devotion/Tesoros de Devoción, bultos, retablos, and crucifijos dating from the late 1700s to 1900 • Segesser Hide Paintings, depictions of U.S. colonial life. Open daily; Walking tours of historic downtown area; 10 a.m.-12:15 p.m. daily; $15. Palace of the Governors closed through 2019.

Wheelwright Museum of the American Indian

New Mexico Museum of Art


107 W. Palace Ave., 505-476-5072 Social & Sublime: Land, Place, and Art, 21st-century art from the museum's collection; through Aug. 25 • The Great Unknown: Artists at Glen Canyon and Lake Powell; artifacts, photographs, and archival material; also works by Georgia O'Keeffe, Mark Klett, and Martin Stupich; through Sept. 15; Open daily.

Santa Fe Botanical Garden

715 Camino Lejo, Museum Hill, 505-471-9103 Human Nature: Explorations in Bronze, sculpture by Allan Houser, David Pearson, and Jonathan Hertzel; through May 10, 2020. A living museum on 14 acres: Ojos y Manos, Orchard Gardens, Courtyard Gardens, and Arroyo Trails; Open daily.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 Bel Canto: Contemporary Artists Explore Opera, group show examining themes of race, gender, and class within the stories, traditions, architecture, and music of opera; through Sept.1 • SITElab 12: What Endures, drawings by Nina Elder; through Sept. 15; Open daily.

704 Camino Lejo, Museum Hill, 505-982-4636 LIT: The Work of Rose B. Simpson, life-size clay and mixed-media sculpture; through Oct. 6 • Center for the Study of Southwestern Jewelry, devoted to Diné and Pueblo metalwork and lapidary traditions; Open daily.


Albuquerque Museum

2000 Mountain Rd., N.W., 505-243-7255 Courage and Compassion: Our Shared Story of the Japanese American WWII Experience, artifacts from internment camps, including artworks, family photographs, and newspapers published by the Americans of Japanese descent forced to live in camps; through Nov. 3; albuquerque-museum. Closed Mondays.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 Judy Chicago: The Birth Project from New Mexico Collections • Alicia Stewart: Unfinished..., Paintings • Embroidered History: Colchas and the Stitch That Defined a Region, locally made embroidery; all shows through Nov. 10. Core exhibits include Highlights From the Harwood Museum of Art's Collection of Contemporary Art • Works by Taos Society of Artists members and Taos Pueblo artists. Open daily through October.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Majestic Owls, multidisciplinary representations • Horse Cultures of the Southwest, paintings, beadwork, and tack from the collection; through Feb. 16, 2020 • Marjorie Eaton: A Life in Pictures, paintings, photographs, and personal items; through March 2020; Open daily.

Taos Art Museum at Fechin House

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



IN THE WINGS NEXT WEEK Environmental Collapse: Native Perspectives on the Land, Protection, and Stewardship

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 Presentations and a Q&A session highlighting the challenges facing Native peoples and the work being done to address those issues through creative avenues; 10-11:30 a.m. Aug. 16; by museum admission;

In Solidarity

98th Annual Indian Market

Downtown Plaza and surrounding streets A national gathering of Native artists selling contemporary and traditional works; 7 a.m.-5 p.m. Saturday; 8 a.m.-5 p.m. Sunday, Aug. 17 and 18; free and ticketed events include IM: EDGE, annual group show of contemporary works by Native artists at the Santa Fe Community Convention Center Lobby Aug. 16-18; also, Best-of-Show Ceremony and Luncheon and sneak/general previews of award-winning works Aug.16; market runs Aug. 17 and 18; for full schedule of events, visit


The Indian Market: EDGE exhibit includes work by Oglala Lakota photographer Jaida Grey Eagle, Thursday, Aug. 15 through Aug. 18 (Santa Fe Community Convention Center). Above, We Take Care of Us.


Free Speech, Hate Speech, and "Fake News" Santa Fe Free Thinkers' Forum

San Miguel Chapel, 401 Old Santa Fe Trail The poetry of Federico García Lorca, performed by vocalist Fernando Barros, guitarist Tito Rios, percussionist Brian Nelson, violinist Juan Aniceto, and translator/narrator Melissa Moore; 8 p.m. Aug. 16; doors 7:30 p.m.; $15;,, and at the door.

PASATIEMPO I August 9-15, 2019

Red River Conference Center, 101 W. River St., and Brandenburg Park Includes Shawn Lane & Richard Bennett, Nu-Blu, Chris Jones & The Night Drivers; and The Purple Hulls; workshops, dancing, food, beer garden, and vendors; Aug. 22-25; tickets and schedule of events available online at

Dylan Montayne

Boz Scaggs

Music from Angel Fire

The Metamorphics

45th Annual Bluegrass and Traditional Music Festival

Camp Stoney, 7855 Old Santa Fe Trail, 505-820-3166 Outdoor stages and workshop tent; lineup includes Lone Piñon, Lara Manzanares, Cedric Watson, and the Virginia Creepers; opening day, 10 a.m. Aug. 23; continuing through Aug. 25; $10$50;

Free Indian Market Show

Museum Hill Café, 710 Camino Lejo, 505-984-8900 The jazz saxophonist, with pianist John Rangel, bassist Andy Zadrozny, and percussionist John Trentacosta; 7 p.m. Aug. 16; doors 6 p.m.; $25; 505-946-7934,


Santa Fe TradFest

IAIA Museum of Contemporary Native Arts openings

Greg Abate Quartet


Meow Wolf, 1352 Rufina Circle, 505-395-6369 Canadian DJ Alain Macklovitch on tour; 9 p.m. Aug. 24; $30-$35;

Kit Carson Park, 211 Paseo del Pueblo Norte, Taos Immersive weekend of live music, with camping/dining packages; lineup includes Flying Lotus 3D, Wajatta (Reggie Watts and John Tejada), Wake Self, Madison Cunningham, and Yoshi Flower; noon-midnight Aug. 16-18; passes available online at

Jean Cocteau Cinema, , 418 Montezuma Ave., 505-466-5528 A night of stand-up comedy held in support of the Alzheimer's Association A i ti N New M Mexico i Chapter; Ch t Scotty S tt G Goff, ff ZZachh Ab Abeyta, t and Virginia Gonzales; 7 p.m. Aug. 16; $10 in advance at

Natachee Momaday Gray

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 The Santa Fe poet reads from her new collection Silver Box; 6 p.m. Aug. 18; no charge.


Taos Vortex

Angel Fire Community Center, 15 CS Ranch Rd. The 36th season of the chamber music festival opens 6 p.m. Aug. 16; music of Clara Schumann's Three Romances for Violin and Piano, Op. 22, the premiere of Richard Danielpour's A Shattered Vessel for String Quintet, and Schubert's Quintet in C-major for Strings; $40; 575-377-3233,

Sweeney Ballroom, Santa Fe Community Convention Center, 201 W. Marcy St. Designers include Sho Sho Esquiro, Delina White, Korina Emmerich, and Patricia Michaels; 4-5 p.m. Aug. 18; standing room only $10, general seating $25, VIP tickets $150; register online at

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Former Santa Fean rapper based in L.A.; guest acts Dylan Huling and Outstanding Citizens Collective; 8 p.m. Aug. 23; $15-$20;

Santa Fe Indian Center, 1420 Cerrillos Rd., 505-660-4210 A free family-centered event honoring missing and murdered indigenous females and members of the LGBTQ community; panel discussion, food/merchandise vendors, screen-printing, and album-release performance of Spirit Line by singer-songwriter Clara Natanobah; noon-7 p.m. Aug. 16.

108 Cathedral Pl., 888-922-4242 Sámi Intervention/Dáidda Gážada, narrative video/installation depicting the cultural conncections with the indigenous peoples of Norway, Sweden, and northern Finland; Reconciliation, group show of works recognizing the dropping of the Fiesta Santa Fe's La Entrada pageant; Visual Voices: Contemporary Chickasaw Art Experimental ExPRESSion: Printmaking at IAIA, 1963-1980; opening reception 5-7 p.m. Aug. 16.

Indian Market Haute Couture Fashion Show

Scottish Rite Center, 463 Paseo de Peralta This free event boasts more than 200 Native potters, jewelers, basket makers, beadworkers, and other artisans; 8 a.m.-5 p.m. Aug. 17 and 18; for more information, contact Gregory Schaaf, 505-670-5918, Unitarian Universalist Congregation, 107 Barcelona Rd., 505-982-9674 A free humanist discussion group; 8:30 a.m. Aug. 18; 505 438 6265, 505-438-6265 meetup com/freethinkersforum

Ancestral Link

Santa Fe Art Institute, Midtown Campus, 1600 St. Michael's Dr., 505-424-5050 A free symposium on indigenous tattoo traditions of the Pacific and North America, with a panel of practitioners and cultural bearers; 10 a.m.-4 p.m. Aug. 18; visit for details.

An International Spectrum of Piano Music by Women Santa Fe Woman's Club, 1616 Old Pecos Trail, 505-983-9455 A benefit concert held in support of the Esperanza Shelter for Battered Families; performed by Mary Jane Cope, Lauryn Bomse, and Dove Woeltjen; 2 p.m. Aug. 18; $10 suggested donation at the door.

Santa Fe Opera, 301 Opera Dr., 800-280-4654, 505-986-5955 Rock, blues, and R&B-influenced ballads from the singer-songwriter/guitarist on his Out of the Blues tour; $59-$139; 7:30 p.m. Aug. 27;

Serenata of Santa Fe

SITE Santa Fe, 1606 Paseo de Peralta Schubert Lieder — Alone with the Water and the Night, with tenor Karim Sulayman and pianist Yi-heng Yang; 5:30 p.m. Aug. 30; $20, front 4 rows $30, under 21 $5, under 12 $1; available at the door or online at

Mariachi Extravaganza

Santa Fe Opera, 301 Opera Dr. An annual Fiesta de Santa Fe performance; 7:30 p.m. Aug. 31; $16-$56; 800-280-4654,

Bobby McFerrin

Santa Fe Opera Opera, 301 Opera Dr Dr., 800-280-4654 800-280-4654, 505-986-5955 The multiple Grammy Award-winning jazz vocalist performs in support of Partners in Education; 7:30 p.m. Sept. 5; doors 6:30 p.m.; $29-$79, 505-886-1251,


2019 Fiesta Melodrama

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual community theater lampooning the antics of Santa Fe's politicos (always written anonymously); Thursdays-Sundays, Aug. 22-Sept. 15, $15-$25; gala $30;

Measure for Measure

The Swan Theater, 1213-B Parkway Dr., 505-466-3533 International Shakespeare Center presents Shakespeare's dark comedy; running Aug. 23, 25, 29, 31, Sept. 6 and 8; $25, discounts available; $15-$25; event/4258173.

On his 50th anniversary tour; 7:30 p.m. Sept. 14; 7:30 p.m. Sept. 14; doors 6:30 p.m.; $55-$209, VIP package $307; 505-886-1251,

Dwight Yoakam

Santa Fe Opera, 301 Opera Dr., 800-280-4654, 505-986-5955 On tour; 7:30 p.m. Sept. 17; $42-$99;

Glen Hansard

The Lensic Performing Arts Center, 211 W. San Francisco St. The Irish songwriter-vocalist and his band on the The Wild Willing tour; 7:30 p.m. Sept. 17; $46-$66; 505-988-1234,

Explosions in the Sky 20th Anniversary Tour

Taos Mesa Brewing, 20 ABC Mesa Rd., 575-758-1900 Texan post-rock band; 7:30 p.m. Sept. 22; $27 in advance, $32 day of show;

Bobby McFerrin performs in support of Partners in Education at the Santa Fe Opera Sept. 5.



Thomas Dodge, Morning Fog, White Sands, NM (2017), archival pigment print

William Frej, Burning Copal Fills the Air During the Good Friday Procession Around the Village (2019), archival pigment ink print Peyton Wright Gallery, 237 E. Palace Ave., 505-989-9888, After anthropologist Marina Aguirre told photographer William Frej about the Semana Santa (Holy Week) ceremony of the indigenous Cora people of Mexico, Frej sought permission to document their rituals. Traversing rugged terrain to reach the remote village of Santa Teresa del Nayarit, he began photographing rites for which little documentation is known to exist. The Holy Week rituals include a four-day ceremony and Cora customs that pre-date the Spanish conquest of Mexico. Frej captures these events in a dramatic and compelling series of black-andwhite images that offer a rare look at Cora ceremonial life. Rituals of the Cora: Holy Week in the Sierra del Nayarit, Mexico, an exhibit of his work, is on view through Aug. 31.

Catenary Art Gallery, 616 1/2 Canyon Road, 507-848-0309, Over the course of a 35-year career as a photographer, Thomas Dodge, who recently took over operations at Catenary, has worked in editorial and commercial capacities, spending much of his time on projects related to agriculture. In recent years, he’s taken up the Southwest as a major focus. In the exhibition White Sands, Big Skies, he presents his photographs of the stark landscapes and alluring white gypsum sand dunes of one of the world’s great natural wonders. “We spent two days following the sun from morning until night to capture the austere beauty of White Sands National Monument,” he said in a statement. “I’ve tried to capture in many-layered and abstract images the spectacular landscape of this natural American jewel.” The show opens with a 5 p.m. reception on Friday, Aug. 9, and is on view through Sept. 30.

Dana Warrington, quilled concho belt (2019), wrap porcupine quillwork, overlay silverware Good Folk, 141 Lincoln Ave., 505-983-1660, For one night only, Good Folk presents the elaborate quillwork of Menominee tribal artist Dana Warrington. The artist helped revive the once lost art of working with dyed porcupine quills, transforming traditional Menominee objects, such as cradleboards and moccasins, into exquisite examples of contemporary craftsmanship. The show, at which the artist will be present, is in advance of Indian Market, which takes place on the Santa Fe Plaza and surrounding streets on Aug. 17 and 18. Warrington participates in Indian Market, as well, and will be in booth 682 on the Plaza. The reception and show take place at Good Folk from 5 to 8 p.m. on Thursday, Aug. 15.

A P E E K AT W H AT ’S S H O W I N G A R O U N D TO W N by Michael Abatemarco

Derayna DeClay, Apache Dawn (2019), acrylic Museum of International Folk Art, 706 Camino Lejo, 505-476-1200, The museum hosts an exhibition of work from the Student Art and Design Competition, which pays homage to the influence of fashion designer Lloyd Kiva New, a former professor and director of the Institute of American Indian Arts. The competition, sponsored by American Home Furniture and Mattress, was held in conjunction with the Mid-Century Santa Fe collaboration between IAIA, the Georgia O’Keeffe Museum, and the Museum of International Folk Art. It highlights the contributions of New, O’Keeffe, and Alexander Girard in the areas of fashion and textile design and visual arts. The show features the work of competition winners Jaida Grey Eagle for textile work, Nika Feldman for fashion design, Derayna DeClay for visual art, and John Francis Mustain for best in show. The work is on view in MOIFA’s Joan and Clifford Vernick Auditorium through Aug. 20.


PASATIEMPO I August 9-15, 2019

Paula Castillo, Silver Seeds (2019), mild industrial steel plate Gallery Fritz, 540 S. Guadalupe St., 505-820-1888, In an exhibition of new work, acclaimed sculptor Paula Castillo re-examines previous subject matter on the subject of the spaces we inhabit and the relationship of people to place. Castillo was inspired by Lardón Peak, an isolated mountain that lies southwest of Belen, New Mexico, where she grew up, but whose presence she took for granted. “She is so striking and distinct; I could not comprehend how I had never seen her,” Castillo said in a statement. The show, That Mountain Over There (Now I See Her), presents work in which Castillo transformed discarded metals — such as wire, nails, and steel — into compelling large-scale sculptures. The exhibit is on view through Aug. 26.

ed mell | New Work August 9 through September 12, 2019 Opening Reception | Friday, August 9 from 5 to 7pm

the owings gallery

120 East Marcy Street | Santa Fe, New Mexico 505.982.6244 phone |

Jewelry Sale Indian Market Week August 15 - 17 | 10 am - 5 pm 675 Harkle Road Up to 75% off Artisan Jewelry For more info visit

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