The magazine of the Albuquerque Museum Foundation — Winter 2018
The Art of the US-Mexico Border | Making Africa | ArtsThrive Success
MUSEUM STORE WE LOVE OUR MEMBERS! When you shop at the Museum Store from February 1–14, members can pick a heart from our savings bowl to receive an additional discount. One lucky shopper could receive an additional 30% off your purchase, plus your regular 10% member discount, for a whopping 40% off your day’s purchase!
Shop at the Museum Store for your sweetheart this Valentine’s Day!
TOTE BAG Meet our new Albuquerque Museum tote bag. Its stylish design and classic color looks smart and sleek for both guys and gals. Machine washable paper (yep, paper!) that stays strong and soft.
TELEPHONE WIRE BASKETS All the colors of the rainbow are hand-woven into these sturdy baskets and bowls by South African craftspeople. These pieces represent an extraordinary blend of the tradition, vibrancy, and the beauty of modern Africa.
ALBUQUERQUE MUSEUM FOUNDATION PO Box 7006, Albuquerque, NM 87194 505.842.0111
2017 ARTSTHRIVE NUMBERS
ALBUQUERQUE MUSEUM 2000 Mountain Road NW in Old Town 505.243.7255, 311 Relay NM or 711 Tuesday–Sunday, 9 a.m.–5 p.m. Third Thursday of each month open until 8:30 p.m. Closed Mondays and holidays THE MUSEUM STORE 505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.897.8828 SLATE AT THE MUSEUM 505.243.2220 Breakfast and lunch: Tuesday–Sunday, 10 a.m.–2:30 p.m. Snacks, coffee, drinks, & pastries until 3 p.m. MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services Emily Esterson, Editor Glenna Stocks, Art Director Alissa Kinney Moe, Associate Editor CULTURAL SERVICES DEPARTMENT CITY OF ALBUQUERQUE Tim Keller, Mayor ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2017–18 Deborah Good, President*
Margaret (Peg) Cronin
Maria Griego-Raby, Vice-President / President-Elect*
Catherine Goldberg
Mark Joiner, Treasurer*
Lorraine Goss*
Patricia Hancock, Secretary*
Pamela Hurd-Knief
Alan Weitzel, Past-President*
Ellen King
Karen Alarid Elizabeth Allbright Alan Blaugrund Emily Blaugrund Fox, Executive Director
473 $42,315
2017
Saturday Gala Attendees
Total Ticket Sales
$
$47,668 Total Sponsor Dollars (cash and in-kind)
$225,840 Total Art Sales (as of Nov. 30)
Robert Gabaldon Dr. Jerome Goss* Marney Hupper Judy Jones Patricia Kurz Joni Pierce Tiffany Roach Martin Garrett Smith* Corinne Thevenet
Thomas Blueher
Alfred Volden
Catherine Cooper Abdallah
*Executive Committe
Dean Willingham*
In This Issue: The Future Belongs to Africa.............................................................................................. 2 Crossing Boundaries: US-Mexico Border......................................................................... 4 From a Fresh Voice: A young volunteer becomes a curator.......................................... 6 Five Questions for Cathy Wright........................................................................................ 8 Author Festival Attracts Local Literature Lovers............................................................... 9 Thanks to Masterworks Sponsors.................................................................................... 10
ALBUQUERQUE MUSEUM BOARD OF TRUSTEES
ArtsThrive Raises Funds for Programs............................................................................. 12
Dr. Jerome Goss, Chair
Deborah Good, AM Foundation
Making an impact on Albuquerque’s children............................................................... 13
Pamela M. Chavez, Vice Chair
Joni M. Palmer, PhD
Louise Campbell-Tolber
Judith Suiter Secretary/Treasurer
Wayne G. Chew
Pamela Weese
V I S I T U S AT:
AlbuquerqueMuseum.org
MAKING AFRICA
The Future Belongs to Africa Contemporary design meets tradition
TOP: A gallery shot from the High Museum in Atlanta, of Cyrus Kabiru’s C-Stunners. Photo by Alissa Kinney Moe. ABOVE: J.D. ‘Okhai Ojeikere, Onile Gogoro Or Akaba, fotografie/ photograph, 1975, © Ojeikere Estate, Courtesy CAAC Courtesy Magnin-A Gallery, Paris.
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Art. History. People.
M
AKING AFRICA:
A CONTINENT OF CONTEMPORARY
DESIGN, scheduled
countries and 1.2 billion people that comprise Africa today through sculpture, fashion, film, photography, furniture, and more.
to arrive at the Albuquerque Museum
Consisting of four parts—“Prologue”
in February, provides a vast—yet finely
(focused on Western preconceptions of
curated—collection of media, color, and
Africa); “I and We” (an exploration of how
sensory experiences for the viewer to
design allows us to express who we are);
absorb as they move through this wide-
“Space and Object” (a look at individuals
ranging exhibition. Over 120 featured
and how they relate to their environments);
African artists and designers share their
and “Origin and Future” (reflections
experiences and commentaries on the
of contemporary African culture)—the
past, present, and future of the over 50
exhibition is expansive and filled with
MAKING AFRICA LEFT: Pierre-Christophe Gam,
The Kingdom of Taali, 2012. Website for the French-Congolese, © PierreChristophe Gam. BELOW LEFT: Studio Riot, My Africa Is,
2012, limited poster edition, © R!OT, Johannesburg.
Particularly compelling works in Making Africa include Caribbean Sun from Cyrus Kabiru; Studio Riot, My Africa Is; J.D. ‘Okhai Ojeikere, Onile Gogoro Or Akaba, Pierre-Christophe Gam’s The Kingdom of Taali; and so many others. At the close of Making Africa, the visitor is left with an observation that echoes long sculptural eyewear series in the center of a
after leaving the exhibition, from Nigerian
darkened room, as a collection of African
art critic and writer Okwui Enwezor: “To
cultural and artistic thought leaders are
think about the future is to think about
projected onto three walls, discussing
one’s possibilities in the world, and I have
the avalanche of change and the pace at
often said that the future belongs to Africa,
which Africa is barreling towards its future.
because it seems to have happened
The exhibition galleries are filled with
everywhere else already.”
everything from haute couture clothing to newsreel footage from the Nairobibased Slum TV. All are designed to represent the new generation of African voices from across a vast continent that, as graphic designer Kai Krause’s map entitled The True Size of Africa illustrates, is equal in size to the United States, China, India, and much of Europe combined. And while such a collection could present a cacophony, the voices of Making Africa ring in strong and focused. The designers and artists on diverse routes through a complex
display have created a rich story for
continent; for the visitor, the journey itself
the world to re-discover a place many
seems to speed by.
already thought they knew from the
We previewed the exhibition at Atlanta’s
evening news, to leave the preconceived
High Museum of Art. As soon as the viewer
notions behind and to delve into the
enters the exhibition, they are greeted with
true experience of this fascinating,
Kenyan artist Cyrus Kabiru’s C-Stunners
thrilling, beautiful corner of the globe.
ON VIEW
FEBRUARY 3–MAY 6 FEBRUARY 1 6 p.m. Patrons’ Circle Dinner and Preview of Making Africa: A Continent of Contemporary Design FEBRUARY 2 5:30–8 p.m. Members Opening Preview of Making Africa: A Continent of Contemporary Design
AlbuquerqueMuseum.org
3
US-MEXICO BORDER
Crossing Boundaries
A community conversation about place and imagination
C
OLLABORATION AND COMMUNITY-WIDE
problem-solving processes, sometimes described as “design thinking,” which
CONVERSATION could be
involve invention, social engagement,
an additional subtitle for
and the task of making.
the upcoming exhibition, The US-Mexico
The original exhibition travels to
Border: Place, Imagination, and Possibility.
Albuquerque from the Los Angeles
Co-curated by Dr. Lowery Stokes Sims
Craft and Folk Art Museum. The two-site
and Ana Elena Mallet, the exhibition
exhibition is hosted by the Albuquerque
presents the work of contemporary artists
Museum and 516 ARTS, and was adapted
who explore the border as a physical
to each venue by curators Andrew
reality (place), as a subject (imagination),
Connors and Titus O’Brien for the
and as a site for production and solution
Museum, and Dr. Josie Lopez, Executive
(possibility).
Director Suzanne Sbarge, and Claude
The inclusion of artists from various
ON VIEW JANUARY 13–APRIL 15, 2018 For information about programs, visit 516arts.org, or pick up a calendar for the four months of special programming, available at 516 ARTS, the Museum, and partner venues around town.
Smith for 516 ARTS. “We had been in
disciplines—including design, architecture,
conversation with Andrew [Connors] and
collection. “It fits into the trajectory of
sculpture, painting, and photography—
thought the exhibition could be at more
content-based art,” Connors says. “I love
reflects the ways in which contemporary
than one site,” Sbarge explains.
that arts can knock you over the head with
artists and designers themselves cross
The US-Mexico Border offered Museum
disciplinary borders. Many of the artists
curators an opportunity to bring out some
featured in the exhibition pursue creative
of the edgier works of the permanent
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WINTER 2018
Art. History. People.
a powerful and unexpected message.” Connors points to Chiricahua Apache artist Bob Haozous’ Border Crossing to
US-MEXICO BORDER
FAR LEFT: Delilah Montoya, Humane Borders
Water Station, 2004, inkjet print mounted on panel, 21 x 52 5/8 in. FAR LEFT ABOVE: Delilah Montoya, Power Line Trail
ronwood, Arizona, 2004, inkjet print mounted on panel, 16 x 89 ½ in.. FAR LEFT BELOW: Delilah Montoya, Migrant Campsite, Ironwood, Arizona, 2004, inkjet print mounted on panel 16 ¼ x 69 5/8 in. LEFT: Luis Jiménez, El Buen Pastor, 1999 lithograph,
#20/62 Albuquerque Museum1997 General Obligation Bond purchase, 2000.10.1 BELOW: Lowery Stokes Sims at the Studio Museum in Harlem, New York. Photo by Emily Johnston for Artsy.
underscore how the term “border” is
crossing—an empty water bottle, a trail
themselves is juxtaposed with how the
defined in the context of the Albuquerque
through a dry arroyo, a discarded child’s
exhibition and related programming
Museum exhibition: “Indigenous people
daypack. “These are beautiful traditional
will unfold in Albuquerque. The
who traditionally lived on both sides find
landscapes, but when you look closely,
collaboration between 516 ARTS; the
that the border is a complete bifurcation
they tell these horrifying and absolutely
Museum; the National Hispanic Cultural
of their lands—an arbitrary political
human stories,” Connors says.
Center; and venues such as the Outpost
line that separates families from their
Although this exhibition was conceived
Performance Space, UNM, and the
relatives,” says Connors. “These nomadic
before the topic of “building a wall”
KiMo Theatre will encourage discussion
communities can no longer chase game
along the US-Mexico border captured
and community gathering. Among the
across the border, for example. And Bob
media headlines, its relevance is more
programming highlights are talks by
Haozous never shies away from making
potent than ever. “The border has been a
journalists Maria Hinojosa of Latino USA
a comment. His work is always direct and
contentious site for much longer than the
and Simon Romero of The New York
highly provocative.”
current news cycle’s focus on ‘the wall,’“
Times, a Third Thursday program
says Sims. “And though the exhibition
focused on art and social commentary,
work of Luis Jiménez will be on display,
has taken on a particular urgency in the
and a panel discussion on humane
as will the stunning photographs of
current political environment, this project
immigration policy. Music, dance, and
Delilah Montoya. These images of
recognizes the border as a long-standing
celebration of heritage are all on the
desert landscapes are scattered with
site of interdependence and connectivity,
extensive docket through the winter
ghostly evidence of those who made
despite the painful divisions it causes.”
and spring.
The colorful, stylized, and thoughtful
the long and sometimes deadly border
The divisive undercurrent in the works AlbuquerqueMuseum.org
5
PROFILE OF BEN MASEMAN
LEFT: Ben Maseman in the
Works on Paper gallery. The work next to him is by Ester Hernández, La Ofrenda, from the National Chicano Screenprint Taller, 1988-1989. RIGHT: Rachel Stein, Cardboard sign reading “Truth,” Albuquerque Museum. BELOW: Dan Budnik, The large flag at the end of the first day, 1965.
writer and activist Eldridge Cleaver. Curating Art of Politics has allowed him to interact with the art, rather than just reading about theory and criticism in books or watching video lectures. “I hadn’t
From a Fresh Voice A young volunteer becomes a curator.
V
really thought about how to put pieces together or form a specific argument. It really made me think about curation a lot more practically.” The idea for curating an exhibition came to him just after the presidential election, when Maseman noted that other art museums were delving into
OLUNTEER BEN MASEMAN
art curriculum, which focused on popular
politically charged exhibitions and
curated the works on paper
forms such as impressionism (Monet)
programming. Maseman researched the
exhibition, Art of Politics. He
and cubism (Picasso). At Amy Biehl,
topic through the Museum’s database,
also helped to organize the
however, he took Brett Aker’s art class.
and he questioned Curator of Art Andrew
related January Third Thursday panel
“I learned about [performance artist]
Connors about what was in the collection
discussion.
Joseph Beuys, and conceptualism and a
It’s not unusual for volunteers to become
lot of different ways of thinking about art
deeply involved in Albuquerque Museum
that I hadn’t really known about before. I
exhibitions. It is exceptional, however,
plunged into this well of contemporary
that Maseman hasn’t yet graduated from
art.” He was particularly interested in
high school. The 17-year-old senior at
1970s performance artists such as Laurie
Amy Biehl has been volunteering at the
Anderson, Marina Abramovic, and Chris
Museum for a couple of years, and in that
Burden.
short time has been involved in database
Throughout his Museum career,
research, helping kids during Museum
Maseman’s had some memorable
School sessions, and curation and
experiences: He sorted through 3,000 art
programming.
and literature books from New Mexican
Maseman had taken art classes in
artist Earl Stroh’s estate. “It introduced
elementary and middle school, but
me to a lot of art I didn’t know about,”
says he wasn’t very good at it, or that
Maseman says. Among the books, he
interested in the standard high school
discovered poet Rainer Maria Rilke and
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WINTER 2018
Art. History. People.
Coming Soon ON VIEW THROUGH APRIL 8 Works on Paper: Art of Politics
FROM INVISIBLE TO VISIBLE: THE CHINESE AMERICAN EXPERIENCE IN ALBUQUERQUE
by a book by Joe Traugott, published by the Museum of New Mexico Press. The series documents in narrative fashion the discoveries of a fictional
Exhibitions in the William A. + Loretta Barrett Keleher Gallery delve into the rich heritage of Albuquerque through the stories of the people and community groups that make up the city. From Invisible to Visible: The Chinese American Experience in Albuquerque will explore immigration and its backlash, which
that might fit his theme. “I’d go down to
led to anti-Chinese discrimination;
the vault and pull a piece, and sit with
the rise of the Chinese American
it for an hour. The first works I looked
civil rights movement dating to the
at were the Dan Budnik photographs
late 1800s; the Chinese American
[of protest marches in Selma, Alabama,
entrepreneurial spirit to gain an
Japanese archaeologist named
in the 1960s]. I think I spent like two
economic foothold in this country;
Ryoichi who discovered automobiles
Patrick Nagatani, Ferrari, Moche Burial Site, Pyramids at Moche, Peru, giclee print, 10 1/4 × 14 inin. (26 × 35.6 cm), Albuquerque Museum; gift of the artist and museum purchase. 2016.49.48.3
hours flipping through them. That was a
buried at ceremonial sites around the
wonderful experience, looking at photos
world. Nagatani imagined himself as
of Martin Luther King, and James Baldwin,
the field photographer recording the
and Joan Baez.”
excavations and discoveries.
Now that the exhibition is on the walls,
Nagatani, who passed away on
Maseman is working in the Museum
October 27, 2017 at age 72, has
School with students between three and
been an important presence at the
five years old. “It’s been really fun to watch
Albuquerque Museum, which owns
these kids think critically about works by Lee Krasner and Alexander Calder.” What’s next for Maseman? He applied
about 140 of his photographs. He has Fremont Grocery Chocolate Window Display, c. 1930 Museum purchase, 1987 General Obligation Bonds.
early decision to Brown University,
participated as an artist and donor in ArtsThrive, and just a week before his death he signed copies of his new
hoping to study art and
and examples of how the Chinese
novel, The Race: Tales in Flight, about
performance. “I had
American community has enriched
women spitfire pilots racing across
read about superstar
Albuquerque’s diverse cultural
the Pacific.
curators. I thought
tapestry through social, political,
museum work was done
legal, educational, and artistic
the nuclear bomb fell on Hiroshima,
in places like MoMA.
engagement.
Nagatani’s work often covered topics
made me think about
On View: June 9, 2018–January 6,
experience, including internment
how much wonderful
2019. Presented in affiliation with the
camps and the aftermath of nuclear
art takes place in
Chinese American Citizens Alliance.
war. In his constructed and staged
Volunteering here
Born in Chicago just days after
related to World War II and the Japanese
smaller places … What
photographs, he explored the results of
the Albuquerque
EXCAVATIONS
the nuclear experiment on the desert,
Museum is doing is
The complete series of renowned
Native American culture, and himself.
just as valuable as what
art photographer Patrick Nagatani’s
is happening at the
Excavations will be on view at the
On View: June 23–September 23,
Guggenheim.”
Albuquerque Museum, accompanied
2018 AlbuquerqueMuseum.org
7
Cathy Wright retired in December after 11 years as the director of the Albuquerque Museum.
and Albuquerque to the world.” We’re one of the few institutions to bring national and international traveling exhibits to Albuquerque and New Mexico. It’s exciting when we can bring these quality exhibitions to Albuquerque,
Five Questions for Cathy Wright
because a lot people wouldn’t travel to see them. What’s your favorite
ALBUQUERQUE MUSEUM DIRECTOR CATHY WRIGHT retired at
trying to make the Museum
the end of December after 11
collection/piece?
more accessible. We have lots
I was thrilled that the
of community partners, more
We’ve lived
Albuquerque Museum had
families, and Native American
up to our new
taken over the management
years. We spent a few minutes
and Hispanic visitors. People
mission statement:
of Casa San Ysidro. Historic
looking back at the milestones
look at the Museum as a
of her tenure.
destination now. We serve about 60 to 65 percent locals.
“Bringing the world to Albuquerque
houses are a challenge, but it has great energy and people and is becoming more well-
How did you get to the
And we’re doing at least 50
Albuquerque Museum?
percent more programming.
and Albuquerque
I was the director and chief
We have a really strong staff
to the world.”
curator of the Taylor Museum,
who are really devoted to
future of the Albuquerque
part of the Colorado Springs
drawing the community to
Museum?
Fine Arts Center. We had great
the Museum.
I hope it gets the community
Southwestern collections—a
known all the time. What’s your hope for the
really the basis of the Museum
and financial support to
lot of Native American and
Describe some memorable
and its collections, and what
keep doing a really good
Hispanic collections. It was a
moments.
we teach about the Rio Grande
job. It’s hard to leave, but
natural move for me.
Some of the most memorable
Valley. Also the Keleher
I feel so good about what
moments were opening two
Community History gallery
we’ve accomplished. We’ve
How has the Albuquerque
of the grandest exhibitions
allowed us to forge some great
completed two-thirds of our
Museum changed since
we’ve ever done: Only in
community connections.
Master Plan, and the last
you’ve been here? Describe
Albuquerque, which is the new
We’ve lived up to our new
your major accomplishments.
history exhibit, and the redo of
mission statement: “ Bringing
center, an incredible resource
One accomplishment was
Common Ground. Those are
the world to Albuquerque
for the community.
8
WINTER 2018
Art. History. People.
part will be an educational
MUSEUM MEMBER DEALS Simply present your membership card to the cashier.
JANUA RY SMALL PIECE OF TOFFEE YOUR CHOICE OF FLAVOR WITH ENTREE PURCHASE
The aM Author Festival featured book signings, workshops, and plenty of discussions with New Mexico writers from a variety of genres. Photos by Nora Vanesky.
Author Festival Attracts Local Literature Lovers of writing talent in mystery, thriller, western, science fiction, fantasy, self help and children’s writing at the aM Author Festival, held in November. Over 400 people attended the all-day event featuring author presentations in the Museum’s auditorium, a panel discussion, and a writing contest for
WITH ANY SANDWICH PURCHASE
MARC H BUY ANY SPECIALTY COFFEE AND RECEIVE
TWENTY-TWO PARTICIPATING authors represented a diverse range
F EB RUA RY FREE CASE SALAD OR CUP OF SOUP
NON-FICTION WINNER: TANIA CASSELLE, THE WISHBONE
FICTION WINNER: KARIMA ALAVI, MERCHANT OF COLOR
1/2 OFF ANY BAKERY ITEM Slate Street Café provides catering services to private and corporate clients. We are committed to making each event unique and extraordinary. We specialize in wedding receptions, wrap parties, VIP functions, business lunches, and other events. Contact us to discuss your next event.
unpublished works. The David Morrell prize for fiction went to Karima Alavi, and Tania Casselle received the Lesley Poling-Kempes prize for nonfiction. The aM Author Festival is a
participating authors and the Museum’s educational programming.
collaboration between New
Plans are already in process for the
Mexico authors, the Albuquerque
2018 aM Author Festival. Authors
Museum and Foundation to benefit
interested in supporting the 2018 event should send an email to abqauthorfest@gmail.com. Special thanks to Garcia Automotive Group as the presenting sponsor and a congratulations to all the participating authors. 2000 MOUNTAIN ROAD NW ALBUQUERQUE, NM 87104 Located inside the Albuquerque Museum
About 400 people came to the second annual event, held at the Albuquerque Museum.
505-243-2220
www.slatestreetcafe.com
Donating
I
Evelyn M. Neil in Memory of Don Neil Georgia O’Keeffe, Lake George by Early Moonrise Dean Yannias, M.D. Jackson Pollock, Number 8 Betsey and Harry Linneman Richard Diebenkorn, Girl on a Terrace Marilyn and Stanley Stark Jack Levine, The Banquet Janet Long Ford and Robert Ford George Luks, The White Macaw
THANKS TO THE FOLLOWING MASTERWORKS SPONSORS FOR WHEN MODERN WAS CONTEMPORARY The Girls: Patricia Hancock, Maria Griego-Raby and Karen Alarid Jose De Rivera, Yellow Black Barry K. Berkson Herbert Ferber, The House (The Staircase) Anonymous John Marin, Sea and Rocks Irene Vlitos Rowe and Kevin Rowe Jacob Lawrence, In the Evening Evangelists Preach and Sing on Street Corners Mary and Joseph Mucci Kenzo Okada, Abstraction No. 7 10
WINTER 2018
Glen Brandvold and Sunny Kirkby Ralston Crawford, At the Dock The Rimson Bernstein Family Helen Frankenthaler, Mount Sinai Ray Reeder Forrest Bess, Before Man Kris and Terry Linton Grace Hartigan, Giftwares Dr. Anne W. Normann Stanton Macdonald-Wright, Head of Jean Dracopoli Crissi Hernandez Letherer and Anne W. Normann Nathan Oliveira, Standing Woman with Hat
Art. History. People.
Richard Van Dongen in Memory of Barbara Van Dongen Will Barnet, Child Reading-Yellow Madeleine Grigg-Damberger and Stan Damberger Niles Spencer, Two Bridges Dr. Andrew and Kathleen Metzger Louis Michel Eilshemius, The Dream Mary and David Colton Rufino Tamayo, Woman Spinning Rebecca and Bill Tallman Marsden Hartley, Fishermen’s Last Supper
Angelique and Jim Lowry David Smith, Billiard Player III Milagro Book Binding Lorraine and Jerome Goss Roberto Matta, The Creators Marsha Swiss and Ronald M. Costell, M.D. Mark Tobey, Lyric Dr. and Mrs. Joseph Oser Milton Avery, Walker by the Sea Jeanette Kinker Horace Pippin, Cabin in the Cotton Barbara Taylor Philip Guston, Night Children Rebecca Brooks-Fournier #FreeingOfClosedThinking Lyonel Feininger, High Houses II
MEMORIALS AND TRIBUTES September 1 through December 1, 2017 MAGIC BUS IN MEMORY OF MARTHA C. CONE Nancy Hagood MAGIC BUS IN MEMORY
SHAKEN NOT
OF BARBARA OSBORNE Robert Osborne
STIRRED
MAGIC BUS IN MEMORY
Albuquerque Museum April 14, 2018, 7 p.m.
OF JAMES F. PHIPPARD Karen Wormley Phippard IN MEMORY OF DEBRA Y. ROMERO Ellen and Jim King Catherine and Joseph Goldberg IN MEMORY OF EDITH SCHNIDER Janet Youngberg
SHAKEN, NOT STIRRED and the “PASSPORT TO ROME” RAFFLE is the Albuquerque
recommended. Tickets go on sale
Museum Foundation’s premiere
February 9 tickets are $65 each.
January 25 and are discounted to $55 each through February 8. On
SHAKEN
spring fundraising event. Each
Passport to Rome raffle tickets are
IN MEMORY OF PATRICIA WALLER Martha and Phillip Day
year, the Museum’s beautiful open
$50 each or $100 for three.
The Albuquerque Museum Foundation makes every effort to record and acknowledge our donors accurately and appropriately. Please contact the AMF offices at 505.842.0111 if you notice incorrect information. Thank you.
professionals gathering to enjoy
spaces host hundreds of young premium cocktails, food, music, dancing, interactive activities and special access to the Museum’s latest exhibition. This year, the fun-filled event also features a raffle trip for two to Rome, Italy! It is a memorable night and great opportunity to entertain friends, clients, and associates. Proceeds help support educational programs at the
ABOVE LEFT: Marsden Hartley
Fishermen’s Last Supper, Nova Scotia, 1940-41 Oil on canvas. 30 1/8 x 41 1/8 in. (76.5 x 104.5 cm) Collection Friends of the Neuberger Museum of Art, Purchase College, State University of New York, Gift from the Estate of Roy R. Neuberger, EL 02.2011.67 Photo: Jim Frank Courtesy American Federation of Arts.
Museum. We hope you will join us! Tickets are limited and sold out last year, so purchasing early is
For more information about the event and raffle, available sponsorships, or to view pictures from Shaken 2017, please visit: www.albuquerquemuseum.org/shaken. Sponsors to date include: New Mexico Bank & Trust, Salmon | Hauger Wealth Management Group, All World Travel, Aspen Printing, Resolution Graphics, 100.3 The Peak.
AlbuquerqueMuseum.org
11
Making an Impact
I
ArtsThrive 2017 Raises Funds for Programs CHANGING THE NAME AND OTHER DETAILS of a well-
representational painters and sculptors
established event and exhibition such
opportunity to introduce ourselves to work
as Miniatures and More always comes
beyond any one genre.”
makes this exhibition an ongoing
with challenges, but the success of
The numbers tell a delightful success
ArtsThrive 2017 illustrates that this
story, with a sold-out Saturday night gala
fundraiser is more popular than ever.
and strong art sales of over $200,000 at
The rebranding was developed to
press time. And yet the real strength of
speak to those who are passionate
ArtsThrive comes from the reaction of
about art, as well as communicate and
the attendees, some of whom told us it
celebrate the longevity and success of
was the “strongest exhibition with the
the event. The exhibition is unique in
broadest content so far” with “something
that it features museum-quality art that is
for everyone.”
also available for purchase. “The intimate
The Albuquerque Museum Foundation
A sold-out Saturday night gala (above left) saw upwards of 450 guests, many of whom “dropped” bids in boxes (above right) to purchase art.
countless hours hanging, organizing, and preparing the exhibition; and of course
size of most of the works allows a large
recognizes the importance of the
those who attended the events and
number of voices to express themselves
community: sponsors who contributed
purchased art. Such deep and dedicated
in the gallery,” says Curator of Art Andrew
more than $50,000 in financial and in-
community support for this popular
Connors. “Contemporary, experimental
kind donations; artists who provide their
event and exhibition will continue to help
works by both established and emerging
brilliant work and some of the proceeds
fund Museum programs and exhibitions
artists combined with more traditional
from the sales; museum staff who spend
to the benefit of all who live here.
12
WINTER 2018
Art. History. People.
visits during the school year. These educational tours foster critical thinking, collaboration and social skills and provide exposure to a reliable and rich source of information. So far this school year, 58 of 142 APS schools have visited the Albuquerque Museum and Casa San Ysidro on a Magic Bus; 42 of those schools were Title I. We’re School groups ride the Magic Bus to Casa San Ysidro.
not even half way through the school year but we’ve
Magic Kids, Magic Bus
cannot afford admission,
already had a positive impact
transportation, or time to
on the lives of students!
visit. The Magic Bus provides
Support the Magic Bus and
ALBUQUERQUE PUBLIC SCHOOLS serves 82,000
members of our community,
free access, transportation,
support Museum education!
especially children, should
education and helps teachers
www.albuquerquemuseum.
students in 142 schools and
not be prevented from visiting
schedule time for their
org/support/magic-bus or call
many students in need: seven
the Museum because they
classes to enjoy Museum
505.842.0111 to contribute.
out of 10 qualify for the federal school meals program and seven out of 10 have been identified as high poverty Title I schools that qualify for federal funding. Families can’t find work or are barely scraping by, working two or three lowpaying jobs and relying on school services to help their children. This is not a minority issue or one that only impacts pockets of our community. It’s widespread, in every school, in every classroom. The Magic Bus program partners with APS to serve a key role in the mission of the Albuquerque Museum: To provide access to all and educate our community on the art, history and culture
WHAT THE MAGIC KIDS SAY: “One elementary school visitor to Casa San Ysidro said, upon learning that New Mexican families beat down the dust of their dirt floors by soaking them with oxen blood, that she would NEVER have walked in bare feet if she lived back then, demonstrating that she’s starting to be transported into the past and think about what it would be like to live here in Spanish colonial times. She is hearing impaired; we work with a wide range of kiddos and benefit enormously from collaboration with teachers to best serve our Magic Kids that come on the Magic Bus!” –Emily Stovel, Site Manager, Casa San Ysidro “I really appreciate you sponsoring us. I really enjoyed it and I learned a lot in your history museum. I thank you for paying for the Magic School Bus and letting us go through the Museum. I really enjoyed the Navajo Code Talkers , because I look up to them, so thank you for making that exhibit. I also am from a Navajo tribe. I was losing my language but this museum really inspired me to start back up on my language and relearn it. I also liked the water wheel and how much we use water.” –6th grader from Grant Middle School
of our region. At risk, high poverty and vulnerable AlbuquerqueMuseum.org
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NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446
ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194
Front Cover Omar Victor Diop, The Studio of Vanities, 2014. Mame. Pigment inkjet image on Hahnemühle harman paper, 90 x 90 cm. Courtesy of Galerie Magnin-A, Paris © Omar Victor Diop
COMING SOON TO THE ALBUQUERQUE MUSEUM AMERICAN JEWELRY FROM NEW MEXICO On view June 2 to October 14, 2018 The Albuquerque Museum presents an exhibition surveying, through approximately 300 spectacular objects, all aspects of jewelry adornment from prehistory to the present. Rather than focus on a single cultural group, individual artist, time period, or medium, American Jewelry from New Mexico tells the stories of diverse heritages simultaneously. Some of the earliest adornments included in the exhibition, dating to approximately 450 CE, were made with materials imported from elsewhere. Artists in the region have been in contact with outside groups, adopting new materials and aesthetics that reflect the influx of culture and materials to the state. Jewelry-making in New Mexico has always been about innovation, with artists using a wide variety of traditional and non-traditional materials. This exhibition will focus on that sometimes-idiosyncratic adoption of materials and techniques. Ema Tanigaki, Gold Eagle Necklace, 2002-2003. Crocheted gold plated stainless steel wire, glass, and amber. 14 ¼ x 5 7/8 in. Albuquerque Museum, gift of Barbara Bergman, Tucson, Arizona PC2017.29.1. Photograph by John L. Healey