Itchy trigger finger? That can only mean one thing: It's time for the Alibi's seventh annual Photo Contest! This year, we're doing things a little differently. First, we're harkening back to the early days of this contest and bringing back categories, including ¡Que Albuquerque!, Things Are Not What They Seem, People Are People, Land Ho, Miscellaneous and Animals, and This Modern Life. Second, all entries must be submitted digitally by Sunday, March 14 (no snail mail this year; sorry daguerreotype enthusiasts). For all the rules, guidelines and a truly exhausting amount of information, go to alibi.com and click on Photo Contest 2010. The issue hits stands on Mar. 25. Good luck, and get snapping.
Initially, comparing Auxiliary Dog’s Hillary: A Modern Greek Tragedy With a (Somewhat) Happy Ending to The Vortex’s Medea seems unfair. Not because one is markedly better than the other—which would make the entire comparison seem like a slam against the lesser play—but because they are temperamentally quite different. The creation of playwright Wendy Weiner, Hillary tells the life story of Sen. Clinton as an ancient Greek tragedy; the presence of ugly, early-’90s polyester suit jackets alongside goddess costumes, not to mention the escapades of a ditzy Aphrodite and a philandering Bill, lend the play a comedic tone. Whereas Medea, the millennia-old work of Euripides (translated more recently by Philip Vellacott), is a quintessential Greek tragedy, chronicling the horrific climax in the long saga of Medea and her husband, Jason of Argonauts fame.
On Albuquerque’s north side, in a dimly lit studio choked with cigarette smoke, Jonathan Perea leans over a cluttered work desk and pours resin into a mold. In 20 minutes, he cracks the mold open, and a naked figurine emerges: Another Not Tooth is born. Part playthings, part artworks, these Not Teeth, customizable and “ready for your imagination,” are Perea’s contribution to the strange and adorable world of art toys.