The magazine of the Albuquerque Museum Foundation — Winter 2016
New Territories | Community Curators | Making Music | Shaken, Not Stirred | Renewing Common Ground
SPECIAL EVENT February 6th from 1–5 p.m. the Museum Store will host Sweets and Sparkle Trunk Show featuring the jewelry of Chela Gurnee, ShooFly 505 and Mary Salazar along with the tantalizing chocolates of The Chocolate Cartel. Prepare to be dazzled!
Shop Our Museum Store MUSEUM MEMBER DEALS: JANUARY
FEBRUARY
MARCH
The first 100 Members who come to the Museum Store in January will receive a free set of notecards.
From February 1–14 in honor of Valentine’s Day, purchase any item that has a heart on it, and draw for an additional secret discount at the time of purchase. Discounts will vary from an additional 5% to 30%.
Members can purchase Museum art and history postcards at 50% off through the month of March.
A MESSAGE FROM THE EXECUTIVE DIRECTOR
DEBRA ROMERO
ALBUQUERQUE MUSEUM FOUNDATION PO Box 7006, Albuquerque, NM 87194 505.842.0111 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. 3rd 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 505.898.3915 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. CULTURAL SERVICES DEPARTMENT CITY OF ALBUQUERQUE Richard J. Berry, Mayor ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS
Dear Members, You may notice some changes in this winter issue of the Albuquerque Museum Member Magazine. We’ve focused more on the people involved in the Museum, the Foundation and our Museum community. In this edition, we catch up with Hal Behl, a long-time supporter of the Museum and the newly appointed chair of the Board of Trustees. Hal is a museum and art lover, a world traveler, and delightful person. We’ve also redesigned our quarterly
Membership support is key to the
Museum and Foundation Calendar.
Albuquerque Museum’s success, and
This new format highlights the many
the Museum Foundation values your
exciting events and exhibitions that
relationship with us. We encourage you
are taking place every month at the
to take advantage of the many benefits
Museum. Our hope is that you will use
Museum membership offers such as
it frequently to plan your visits.
members-only openings and events,
Exciting news from the Common
free admission to ticketed exhibitions,
Beverly Bendicksen, President*
Patricia Hancock
Ground Gallery: The Albuquerque
and member discounts. We look
Pamela Hurd-Knief
Alan Weitzel, Vice-President/ President-Elect*
Museum curators will be reinstalling
forward to continuing our partnership
Kim Jew
this showcase of our permanent col-
as we make our Museum an important
Mark Joiner, Treasurer*
David Kleinfeld
lection during January and February,
part of Albuquerque’s cultural landscape
David Crum, Secretary*
Josie Lopez
highlighting works in four themes from
in 2016.
Julie Gutiérrez, Past President*
Kathleen Metzger *
Elizabeth Allbright*
Joni Pierce
Hal Behl*
Barry Ramo
Alan Blaugrund*
Tiffany Roach Martin
Gail Bundy* Ann Maloney Conway
Debra Y. Romero, Executive Director
In This Issue:
Margaret Cronin
Garrett Smith
New Territories: exploring design, craft, and art in Latin America ............................... 2
Russ Davidson
David Tinker
Robert Gabaldon*
Alfred Volden
Carlos Garcia
Dean Willingham
Only in Albuquerque: focus on the Innovative gallery.................................................... 6
Paul Gibson
Cathy Wright, Museum Director
Nurturing Future Artists: the Museum School’s super talent ......................................... 7
Roberta Zamora
Singing With Higinio: celebrating traditional corridos................................................... 8
Deborah Good Lorraine Goss
Ellen King *
our vast vaults.
Many thanks,
Jennifer Mulliniks
* Executive Committee
Maria Griego-Raby ALBUQUERQUE MUSEUM BOARD OF TRUSTEES
Community As Curator: history from the citizen’s viewpoint ......................................... 4
Cazos at Casa San Ysidro .................................................................................................... 9 Museum Acquires Ghost Ranch Photos ......................................................................... 10
Harold G. Behl, Chair
John J. Cordova
Three Questions for Trustee Hal Behl ............................................................................. 11
Dr. Jerome Goss Vice Chair
Kathleen Davison Lebeck
News from the Foundation .............................................................................................. 12
Pamela M. Chavez Secretary/Treasurer
Dr. Siu G. Wong
Louise Campbell-Tolber
Beverly Bendickson, AM Foundation
V I S I T U S AT:
AlbuquerqueMuseum.org
NEW TERRITORIES
MAURO KURY
New Territories
Exploring the confluence of design and craft in Latin America
A
CHANDELIER OF
society, a phenomenon that has helped
craftspeople, artists, and
to spur a confluence of art, design, and
designers, resulting
BOTTLES, woven
craft. The exhibition examines this trend
in work which
synthetic fiber sculptures
throughout Latin America, where some
addresses not
reminiscent of traditional
of the most fascinating new directions in
only the issues of commodification and
global arts and design are emerging.
production, but also of urbanization,
RECLAIMED PLASTIC
Latin American craft, a guitar made from destroyed weapons—all are pieces
One of the first American museum
featured in New Territories: Laboratories
group exhibitions dedicated to
for Design, Craft, and Art in Latin
contemporary Latin American design, the
America, an exploration of contemporary
exhibition features more than seventy-
design and its convergence with
five designers, artists, craftspeople, and
traditional art and crafts in the region.
collectives from ten Latin American
The term “new territories,” as evoked
countries. New Territories surveys
by Italian architect and designer
the innovative, cross-disciplinary
Gaetano Pesce, refers to the current
21st century collaborations between
state of “making” in today’s globalized
small manufacturing operations and
2
WINTER 2016
Art. History. People.
displacement and sustainability. “Design in Latin America today manifests a number of interesting
TOP LEFT: Vik Muniz, Marat (Sebastião), from Pictures
of Garbage, 2008. Digital C-print, 37 5/8 x 31 x 1 1/2 in. (95.6 x 78.7 x 3.8 cm.). Courtesy of the Tiroche DeLeon Collection and Art Vantage PCC Limited. TOP RIGHT: Mana Bernardes, Môbiluz, 2011. Leftover
sequins material, Freijó wood veneers, LED lights, nylon thread, magnets, metal. Courtesy of the artist.
NEW TERRITORIES
ON VIEW JANUARY 9 – APRIL 1
FOR MORE JANUARY 9 PUBLIC OPENING, 1–4:00 P.M. Featuring chief curator emerita
Lowery Stokes Sims, Museum of Arts and Design, New York. FEBRUARY 3 GALLERY TALK, 11:00 A.M.–12:00 P.M. Gallery tour by Andrew Connors, Curator of Art. ERASMO WONG SEOANE
ABOVE: Lucia Cuba, Articulo 6: Narratives of gender, strength, and politics (detail), 2012-2014. Cotton canvas,
FEBRUARY 18 3RD THURSDAY, 5-8:00 P.M. Explore contemporary design in Albuquerque. Meet with local designers and create designs
thread, digital printing, hand and machine sewing, 31 /8 x 29 1/8 in. Courtesy of the artist.
inspired by the exhibition.
LEFT: Leo Capote, Tulip Bolts Chair, 2013. Carbon steel nuts, electroless nickel plating, 32 11/16 x 27 9/16 x 24 7/16 in. Courtesy of Firma Casa Gallery.
MARCH 6
7
FILM AND DISCUSSION: aspects,” says Lowery Stokes Sims, chief
“I’m hoping New Territories provokes
curator emerita at the Museum of Arts
conversation about how handmade and
and Design in New York, which created
craft work and design all fit into a society
the exhibition. “For example, upcycling
dominated by technology,” notes Ms. Sims.
and recycling are current themes of artists
WASTE LAND, 1–3:00 P.M. Artist Vik Muniz journeys to his
native Brazil and the world’s largest garbage dump, Jardim Gramacho.
A truly diverse examination, New
in Brazil, counter to the stereotype of
Territories celebrates work emanating from
MARCH 17
design there. Recycling materials leads to
Latin American cultural hubs, including the
3RD THURSDAY, 5-8:00 P.M.
an interesting level of creativity. Imagine
cities of Caracas, Sa˜o Paulo, Rio de Janeiro,
Celebrate the diverse cultures of
a plastic bottle in conjunction with
Santiago, Buenos Aires, San Salvador, San
traditional weaving.”
Juan, Havana, and Mexico City, as well as
Key themes include the dialogue
the Mexican state of Oaxaca.
between contemporary trends and artistic legacies in Latin American art,
Funding to support educational programs
the use of repurposed materials, the
for New Territories: Laboratories for
blending of digital and traditional skill,
Design, Art, and Craft in Latin America
and the reclamation of personal and
provided by The Albuquerque Chapter of
public space.
Links, Incorporated.
Latin America through music,
art-making and demonstrations. For additional information and programs for the exhibition, visit www.albuquerquemuseum.org
AlbuquerqueMuseum.org
3
COMMUNITY AS CURATOR
LEFT: Mr. and Mrs. Michael
Keleher, and Mr. and Mrs. William B. Keleher at the 2015 opening of the gallery in honor of their parents.
ERIC WILLIAMS
BELOW: “Loretta Barrett Keleher and William A. Keleher in Yard with Roses.” Photograph, William A. Keleher Collection (PICT 000742-0920), Center for Southwest Research, University Libraries, University of New Mexico.
Community as Curator
I
The Keleher Gallery offers community groups an opportunity to tell Albuquerque’s history
IN THIS AGE OF INSTANT interaction, museums are
of its inhabitants. Community involvement was
Only in Albuquerque (see related story, page 6), that had been in the master
redefining themselves from
integral in the Museum’s 2012-2017
plan for many years. Taking a blueprint
static institutions to those that
Strategic Framework. The framework
from the Brooklyn Historical Society’s
seek citizens’ input in telling
included a new mission statement:
Public Perspectives Exhibition Series, the
a community’s story. With its diverse
“The Albuquerque Museum: where
Museum created the Community History
population and historically fascinating
our community is involved in Art and
and Contemporary Issues Series. Six-
past, Albuquerque is perfect for just such
History and shares the stories of our rich
month rotating exhibitions encourage
engagement. Now, the Albuquerque
heritage and many cultures. The Museum
active community engagement in
Museum’s William A. + Loretta
brings Albuquerque to the world and the
determining the content of the gallery.
Barrett Keleher Gallery is becoming a
world to Albuquerque.”
“Not only did we want to tell the many
community-curated exhibition space that tells the story of the city through the eyes 4
WINTER 2016
Art. History. People.
A significant part of the plan was to implement a new history exhibition,
stories of Albuquerque and share our significant collections of historic artifacts,”
COMMUNITY AS CURATOR
says Museum Director Cathy Wright, “we wanted visitors to be able to tell their
Center among others. “Over the many years of Albuquerque’s
own Albuquerque stories and use them
growth … a variety of people have
to refresh the core exhibit.”
come to Albuquerque with different
Community groups research and
views, backgrounds and cultures. Those
develop each exhibition to tell a story
different communities should be allowed
of Albuquerque’s history from that
to present their history,” says review panel
group’s perspective. The gallery will
member William B. Keleher.
toggle between Community History and
Members rotate off periodically,
Contemporary Issues every six months.
but there are always one or two who
Each group submits
have been through
an application that describes the exhibition and the artifacts available, as well as the value of such an exhibition
the process before.
SIX-MONTH ROTATING
EXHIBITIONS ENCOURAGE ACTIVE COMMUNITY ENGAGEMENT IN
to Albuquerque’s history. The proposals are submitted to the 12-member
DETERMINING THE
CONTENT OF THE GALLERY.
“By establishing the Keleher history gallery to feature focused exhibits about Albuquerque, we could expand our connection
Simply present your membership number to the cashier.
JANUA RY PURCHASE A SPECIALTY COFFEE DRINK, ENJOY A ¼ OUNCE OF TOFFEE
ON THE HOUSE F EBR UARY PURCHASE AN APPETIZER, RECEIVE
50% OFF
A GLASS OF WINE
to the community and provide opportunities to learn from those
Keleher Gallery
first-hand experiences,”
Review Panel, which
says Wright.
consists of community members,
MUSEUM MEMBER DEALS
Once the exhibit proposal is accepted,
representatives from the Albuquerque
the group works with Museum staff to
Museum Foundation staff, Museum
stage the exhibition, and with the review
board members, historians, folklorists,
panel and the Albuquerque Museum
artists, and educators. The current panel
Foundation to develop the budget
includes notables such as Dick Knipfing,
and schedule. Any community group
newscaster; attorney William B. Keleher
can apply. Says Curator of History Deb
(after whose parents the gallery is
Slaney: “It’s a way for people to feel
named); Rabbi Paul Citrin; and historian
connected to the city and its history,
Rose Diaz of the Indian Pueblo Cultural
because they’re invested in the story.”
MARCH ENJOY A
COMPLIMENTARY SALAD OR BOWL OF SOUP WITH THE PURCHASE OF ANY SANDWICH.
COURTESY FAIRVIEW CEMETERY
ON VIEW THE COMMUNITY HISTORY SERIES will open
March 26, 2016 with an exhibit featuring the Fairview
Cemetery. To suggest an idea or submit a proposal for an
2000 MOUNTAIN ROAD NW
museum or contact: Deborah Slaney, Curator of History,
Located inside the Albuquerque Museum
exhibit, download the application from www.cabq.gov/ Albuquerque Museum, dslaney@cabq.gov
ALBUQUERQUE, NM 87104 505-243-2220
www.slatestreetcafe.com
LEFT: In the Innovative gallery,
a computer-animated storybook details the construction and use of carretas. BELOW: The carreta was loaded with many goods to trade.
Only in Albuquerque | E X H I B I T U P DAT E — I N N OVAT I V E | This is the fourth article in our
for the era. This ingenious
Southwest. The
carreta was to break a wheel
mode of transportation was
Museum has developed
or a stanchion, it was easily
key to life along the Camino
a computer-animated
repaired. No waiting for parts.
exhibition. Only in Albuquerque
Real. Think of the carreta as
storybook allowing visitors to
Each piece fit ingenuously
features the story of our city
the semi-truck of its time.
watch the construction and
together like a puzzle.
From the time of Oñate’s
deconstruction of a carreta,
first settlement to the 1800s,
illustrating just how innovative
greased, and as they are
the carreta was one way
and important to trade this
driven along they make an
Spanish settlers moved goods
humble vehicle was.
unearthly sound. ...” wrote
Screeching wheels
U. S. Attorney for the New
series exploring topics in the Museum’s new long-term history
from 12,000 B.C.E. to the present, set in an engaging and interactive atmosphere. Our story is told through four galleries—Spirited, Courageous,
through the Southwest.
“The wheels are never
From furs, to sacks of grain,
throughout a bumpy ride,
Mexico Territory William
Resourceful and Innovative—
blankets, clothes, buffalo
the oxen-pulled carreta
Watts Hart Davis in the
all connected to a central gallery
hides, antelope skins, piñon
hardly seems innovative
1850s. Legend has it that the
entitled Our Land.
nuts, wine, brandy, and salt—it
compared to cars with back-
screeching wheels kept evil
all went into this cart.
up cameras and built-in wi-Fi.
spirits at bay, making safe
But consider that the entire
these important trade route
IN A LAND WITH SCARCE RESOURCES,
explores the history of
cart was made purely from
journeys. The roads were
Albuquerque from a farming,
wood—no bolts or screws, no
two-track rutted paths, and
little iron, where moving
trade, and barter economy
metal or iron of any kind. The
the carreta was made to travel
goods required travel over
to inventions which have
Spaniards who settled New
those paths as smoothly as
rocky, gravelly, and sandy
made Albuquerque what it
Mexico had little metal, so
possible. Although creaky
open spaces, the primitive
is today—a center for space,
most of their tools were made
and antiquated to us today,
wooden cart known as a
science and technology
of wood. To make the carreta,
the carreta was an innovation
carreta (“little cart”) featured
research, home of long-
wood was harvested and
which paved the trade
in the Innovative gallery,
distance balloon flight, and
hewn from the local pine and
route, and helped make
was completely inventive
a transportation hub for the
cottonwood trees, so if the
Albuquerque what it is today.
The Innovative gallery
6
WINTER 2016
Art. History. People.
Learning
I
VISIT THE MUSEUM ON A WEEKDAY MORNING and
Art teacher Ophelia Adelai Cornet works closely with her students.
you’ll likely find Ophelia Adelai Cornet surrounded by kids in one of the Museum’s galleries. They’ll be taking inspiration from the Museum’s exhibitions and creating their own interpretations in the Museum School classroom. And while Ophelia guides the students and DAVID NUFER
creates her own version alongside them, she tells them, “Now this is how I’m doing it. But I want you to surprise me.” The Museum School is a studio art
Santa Fe area to offer dedicated studio
Nurturing Future Artists
art instruction in a museum setting. The
School over the past decade. Countless
surprising her with their combinations
program offers low-cost art classes for
Albuquerque children have grown up
of colors and materials. With the
children ages 3-14 during the school
taking classes from Ophelia, beginning
tweens, Ophelia says she focuses on
year and the summer, and weekly drop-
when they are three years old, all the way
fundamentals—skills that serve artists but
in workshops for families. Passionate
to 14. “I become friends with the families
yet don’t inhibit exploration. Family art
artists and educators, such as Ophelia,
and see the progression of the kids
workshops often bring adults who come
teach the classes. Many classes are
turning into really neat people,” she says.
in grudgingly, but then leave smiling
program for children and families. It is the only program in the Albuquerque/
inspired by the Museum’s exhibitions and
As an artist who works in oils and
and inspired. “It’s really therapeutic for
incorporate gallery walks as part of the
ceramic murals, Ophelia finds her
them, and sometimes the kids grow
class. All this activity takes place in the
personal work influenced by the
up and the parents keep coming back
small room that was formerly the Museum
students at the Museum. “It’s a fabulous
without them.”
Store. As the Museum expands, adding
combination, working with kids and
more educational space is a priority.
creating art, because the kids constantly
Ophelia has been an instructor at
inspire me.” With each age group,
the Museum for 15 years, and she has
Ophelia sees different types of creative
designed and taught the majority of
energy emerge: The littlest kids need
the classes offered in the Museum
more nurturing but are constantly
MUSEUM SCHOOL WINTER-SPRING OFFERINGS • Weekday classes for preschool and homeschool. • Saturday classes for children ages 6-10. • Member discount available.
MUSEUM SCHOOL BY THE NUMBERS (based on last fiscal year)
211 107
days of instruction art classes
577 registrants 445 family art workshops participants in the
• Family Art Workshops every Saturday, 1-2:30. No registration required. Included with general admission. Free to members! For class information and registration, visit www.albuquerquemuseum.org
AlbuquerqueMuseum.org
7
Q&A
Singing with Higinio reading them in the Spanish language newspapers.
A PROLIFIC TINSMITH, POET, AND EDUCATOR, HIGINIO V. GONZALES (1842-1921) also wrote and performed music in the
AM: What will be performed
popular genres of canción and corrido. “The Artistic Odyssey of
at your Museum appearance
Higinio V. Gonzales: A Tinsmith and Poet in Territorial New Mexico
on February 7?
shows Gonzales’ masterful tinwork, based on the ground-breaking research of artist and art history scholar Maurice M. Dixon Jr.,
DR. GARCÍA: I will be
B.F.A., M.F.A. In February, Museum visitors can also explore the
demonstrating two ballads
influences of Gonzales’ musical accomplishments.
and one canción, including the cuándo ballad “Cuándo de La
Cultural anthropologist Dr. David García, a recent doctoral graduate from the Department of Anthropology at the University
Seca de 1899 (The cuándo of
of Texas, Austin, and literary folklorist Dr. Enrique Lamadrid from
the drought of 1899).” Cuándo
the University of New Mexico, present different perspectives on Gonzales’ life. Dr. García recently
ballads were related to corrido,
spoke with the Museum about Gonzales’s music, poetry and the importance of corrido on regional
but were often sarcastic in
culture in the 19th and 20th Century.
tone. In “Cuándo de La Seca de 1899,” the text sarcastically asks, “When will the much-
ON VIEW THROUGH APRIL 3 The Artistic Odyssey of Higinio V. Gonzales: A Tinsmith and Poet in Territorial New Mexico
AM: Describe the original
AM: What cultural role did
corrido form and the role
corridos play?
of Higinio V. Gonzales in
AM: What has been your own
expanding its popularity
DR. GARCÍA: One corrido,
and importance.
“Corrido de la Muerte de
involvement with corrido?
Antonio Maestas,” relates
DR. GARCÍA: I have been
DR. GARCÍA: Poetas such as
the story of a ranch worker
playing music for 17 years,
3rd Thursday, January 21
Gonzales were held in high
found dead due to a horse-
focusing on local genres and
5–8:30 p.m.
esteem and were seen as
related accident. It directly
performing in community
Visit with contemporary
documenters of everyday life.
details how the news of
contexts as well as museum
tinsmiths, hear music by
Corridos were often published
the death devastates the
exhibit demonstrations. In
modern day corridistas and
in local Spanish language
deceased man’s kinship
the talk we will discuss the
create your own artwork
newspapers as part of a familial
network. I personally learned
format of the corrido ballad
inspired by Gonzales’ work.
practice of remembering a
“... Antonio Maestas” from my
as well as my own process
lost loved one, akin to modern
grandmother, who learned to
for composing such texts for
funerary memorials.
recite many of these texts from
contemporary audiences.
Canciones y Corridos
of Higinio V. Gonzales:
Song Texts and Contexts Sunday, February 7 1–2:00 p.m.
Cultural anthropologist Dr. David García and literary
folklorist Dr. Enrique Lama-
drid discuss how the canción music genres in New Mexico.
Many songs or corrido texts that appeared in newspapers never became popular and were quickly forgotten by the
University of New Mexico, John Donald Robb Musical Trust. PICT 000-497. BELOW: Dr. David García studies and performs corridos and other genres of traditional music.
public. Instead, families often cut out corridos dedicated to loved ones and placed these clippings in trunks with family papers. These clippings were often taken out and the corridos performed for anniversary memorials or family reunions.
WINTER 2016
ABOVE: Higinio V. Gonzales, (1842-1921), born Santa Fé, n.d. Courtesy of the
Art. History. People.
ALEJANDRO LOPEZ
and corrido served as popular
8
needed rains come?”
Numerous copper pots, called cazos, are part of the Ward Alan Minge and Shirley Jolly Minge collection.
copper item in exchange for conducting funeral services for an upper-class woman, Juana Luján, in 1762. That cazos were used for simple daily activities in many households did not diminish their importance EMILY STOVEL
to colonial families. Instead, cazos were enumerated in inventories and passed down for generations through wills. Over the years they
Cazos at Casa San Ysidro
were repaired many times to extend their lives. Several at Casa were soldered using small copper segments and
ONE OF THE OBJECTS MOST VISITORS NOTICE
copper smelting in Pueblo
reinforced with large-headed
assumed to originate in
San Marcos show that copper
rivets along their rims.
right away at Casa San
western Mexico (Michoacán),
production was not limited to
Ysidro: The Gutiérrez/Minge
traveling with families to
Mexico.
House are the numerous
New Mexico up the Camino
Regardless of where they
cazos located throughout
Real. There are a few clues,
originated, cazos were clearly
repaired solely in Mexico
the property. Cazos are
however, that suggest that the
a necessary and valuable part
or also produced and/or
copper pots or kettles—vital
reverse may also be true.
of domestic life, even used for
repaired in colonial New
components of daily life in colonial New Mexico. Dr. Ward and Shirley Minge
Cazos have long been
For instance, in 1810,
It remains a mystery whether cazos were definitively made and
bartering purposes. Richard
Mexico. Nevertheless, their
Captain Zebulon Montgomery
Eighme Ahlborn, a former
importance to the daily
Pike published his famous
curator at the Smithsonian
life of many New Mexican
collected an impressive
report of his expedition into
National Museum of American
colonists is easily and brightly
number of these useful
the Southwest, including his
History, relates a story of how
illustrated in any tour through
objects in a range of sizes,
observations of Spain’s colony
a local priest was given such a
Casa San Ysidro.
showcased in their former
of New Mexico. He wrote that
home at Casa San Ysidro.
New Mexico carried on trade
Many of these vessels were
directly with Mexico and “sent
hammered from sheets of
wrought copper vessels of a
copper by colonial Mexican
superior quality.”
coppersmiths and transported
Additionally, the work
CASA SAN YSIDRO TOURS DOCENT–LED TOURS AT CASA SAN YSIDRO: THE GUTIÉRREZ/MINGE HOUSE No tours in January.
into New Mexico via the
of archaeologist Charles
Camino Real. They served a
Vaughn reveals that central
wide number of household
New Mexico may have
roles including cooking,
been an important source
washing, and wool dyeing.
of copper even before the
SECOND SATURDAYS AT CASA SAN YSIDRO 1–4 P.M.
One large cazo exhibited
late eighteenth century.
Free event including special programs and informal tours.
at Casa has a date of 1689
Specifically, copper mining
punched just below its rim.
in the Cerrillos Hills and
Tuesday–Friday: 9:30 a.m. and 1:30 p.m.
Saturday: 10:30 a.m., 12:00 p.m., and 1:30 p.m.
No program in January.
AlbuquerqueMuseum.org
9
Museum Acquires Ghost Ranch Photos THE DRAMA OF NEW MEXICO’S ROILING SKIES, the stark cliffs and
Museum by the
to thank Museum Director
Albuquerque
Cathy Wright for creating the
Museum
original exhibition and curator
ruined structures, the timeless
Foundation,” says
Andrew Connors for his
expanse characteristic of the
Varjabedian.
thoughtful selection of images
Ghost Ranch geography—
The exhibition,
that will be permanently
New Mexico photographer
which launched
Craig Varjabedian captured
in Albuquerque,
the haunting and ephemeral
traveled to six
acclaimed for his images
museums across
capturing the people and
nature of the landscape in
housed at the Museum.” Varjabedian is widely
his 2009 exhibition, Ghost
by the Albuquerque Museum
the United States. Ghost
places of the American West,
Ranch and the Faraway
Foundation, which purchased
Ranch holds an important
taken over a photography
Nearby: Photographs by Craig
a substantial body of the
place in the history of New
career spanning more than 35
Varjabedian.
Ghost Ranch photographs
Mexico, particularly as
years. While his work reveals
and will offer those for sale.
Georgia O’Keeffe painted
a deep grasp of the technical
through the Museum
The proceeds of that sale will
some of her most important
aspects of the photographic
Foundation, has recently
support the Museum.
works there. “Its beauty is
process, his gift is his intuitive
The Albuquerque Museum,
acquired 15 gelatin silver
“I am honored the original
iconic of the west, which
ability to make authentic
prints that were part of that
photographic prints from
is what the photographs
and compelling images that
national traveling exhibition.
my exhibition have been
ultimately speak to,”
illuminate the inseparable
The acquisition was facilitated
acquired for the Albuquerque
Varjabedian says. “I wish
ties between identity, place,
10 WINTER 2016 Art. History. People.
LEFT: Red Hill and Juniper
(Arroyo Seco Pasture), Ghost Ranch, New Mexico, 2005, gelatin silver print, 30 x 40 in. BELOW LEFT: Icicles, Alfalfa Field, Ghost Ranch, New Mexico, 2006, gelatin silver print, 20 x 24 in. BELOW: Chimney Rock and the Red Hills of Ghost Ranch, New Mexico, 2007, gelatin silver print, 30 x 40 in.
COURTESY HAL BEHL
and the act of perceiving— the “landscape behind the landscape.” Varjabedian achieves this through a painstaking approach that is intentionally receptive rather than constructive: he waits for the elements of a scene
Three Questions for Hal Behl Chairman, Board of Trustees
to come together to create
HAL BEHL HAS BEEN INVOLVED
AM: Do you have a favorite gallery or
in just about every museum in
object from the collection?
represents Varjabedian at
Albuquerque, from the Maxwell Museum
his best: From the iconic
of Anthropology to the National Museum
HAL BEHL: There are so many great things
Chimney Rock to the abstract,
of Nuclear Science & History. The retired
painterly icicles and stark
aerospace engineer has a clear love of
Ghost Ranch buildings. “This
art. Wall space in his Northeast Heights
series of photographs are
home is covered with artifacts from his
quintessential representations
travels (100 countries and all continents,
of every New Mexican’s
including, yes, Antarctica): masks in the
experience of landscape—both
study, wooden spoons on the kitchen
the grand and the sublime,”
wall, Chinese marionettes and tinwork in
says Debra Romero, executive
the front hallway. It’s a three-dimensional
director of the Albuquerque
history of the Behls’ globetrotting. Hal’s
Museum Foundation. “It was
wife Reg, who died four years ago, was an
a great opportunity to have
artist of renown, and her paintings—some
been able to facilitate this
watercolors, some whimsical collages,
important acquisition for the
some graphic interpretations of geologic
Albuquerque Museum.”
formations—are the centerpieces of the
moments of profound beauty. The Museum’s acquisition
main rooms. Behl, who was elected chairman of the Board of Trustees this past fall and will serve a one-year term, has been a member of the Museum Foundation “forever. … A long time.”
in that museum. But I guess my favorite is the newest one, the Only in Albuquerque exhibit. I’ve seen that start from scratch. AM: What do you like in particular about that exhibit? HAL BEHL: One of the interesting things about it was the public participation in designing it. Normally a museum has an in-house exhibit designer, curators, and so forth putting together an exhibit, but this one had committees of people from all over the community giving their input when it started. Teachers, politicians, business people were all involved and I thought that was fabulous. AM: How does the Museum fit into the Albuquerque landscape? HAL BEHL: The Museum has so much of an outreach program. It’s an educational institution. It’s a destination museum. People come here just to see some of
ABOVE: World traveler Hal Behl in Pisa, Italy.
the exhibits. It’s a tremendous asset to the city. AlbuquerqueMuseum.org
11
Invited
I
FROM LEFT TO RIGHT: Jessica Bridwell
and Lisa Myhre enjoy scarf painting at Shaken, Not Stirred 2015.
RED CARPET, PAPARAZZI, PHOTOS GALORE—it’s time to pull
installation. They study the museum
who participated in the program during
collection, and work with professional
the 2013-2014 school year. The twelve
out your finest cocktail threads. The
artists and curators. “Lead with the
students commit one afternoon a week
Albuquerque Museum’s Shaken, Not
Arts is the highlight of my week. It’s
for 28 weeks to work on a collaborative,
Stirred fundraiser offers supporters an
definitely motivated me and is giving me
gallery-ready project. They design and
evening of martinis, hors d’oeuvres, art-
the opportunity to do art more often,”
install the exhibit themselves. This year’s
making, music and dancing. Proceeds
said Victoria Roy, Sandia High School,
exhibit opens on April 30th.
from Shaken, Not Stirred support the Lead with the Arts high school education program and other education programs at the Museum. Among the activities at
SHAKEN, NOT STIRRED
the Shaken, Not Stirred fundraiser are an
is sponsored by: All World Travel, American Home,
interactive scarf-painting area, martinis
Aspen Printing, Clear Channel Outdoor, New Mexico
galore, and an opportunity to win a
Bank & Trust, Resolution Graphics, Tractor Brewing
once-in-a-lifetime trip to Paris, France.
Company and 100.3 The Peak.
Lead with the Arts is a free afterschool program that brings together high school students, professional artists and museum staff to plan, create, design and install a group exhibition in the Museum. Students have a unique opportunity to see how the elements of a creating museum exhibition—from creation to 12
WINTER 2016
Art. History. People.
EVENT DETAILS: Saturday, April 9, 2016, from 7 to 11 p.m. at the Museum. For more information go to: www.albuquerquemuseum.org/shaken or call 505-842-0111.
NEWS
MEMORIALS AND TRIBUTES
and proceeds benefit the artists, the
August 25 through
Foundation and the Museum. Two
December 10, 2015
hundred special guests attended Friday’s premier; 500 people came for Saturday’s
In Memory of Betty Blackwell
gala. The Museum Foundation is grateful
Ben Blackwell
to sponsors Garcia Automotive, Gruet, and Pat and Terry Keene of Artichoke Café, Frontier / Golden Pride Restaurant,Los
In Memory of Evangeline “Vangie” Hernandez Karen Abraham Elaine and Wayne Chew Gale Williams Doyel and Gary K. Moore Maria Duffield Monika and Robert Ghattas Robert Gorham Celeste Meyer-Greeley Roxanna Meyers and Stanley Mount Julia Seligman Frances Tuthill
In Memory of Ambassador BC Hernandez and Evangeline “Vangie” Hernandez Estelle Rosenblum In Memory of Bob Light Diane and Matthew Sloves In Memory of Edith Schneider Anonymous Renate and Bruno Manz
Alamos National Bank, American Home,
MAGIC BUS DRIVES ON
Taste Boutique Catering and Stixon for
With the 2015–16 school year already
their support.
half over, the Magic Bus tours at the Ysidro are well underway. Hundreds
REINSTALLATION OF COMMON GROUND
of local school children have already
In January and February 2016, the
experienced the “Magic,” and more
Museum staff will reinstall the Common
will visit before the end of the spring
Ground gallery, an exhibition of art in
semester. This program is made possible
the Museum’s permanent collection. The
due to the generosity of donors like you.
revised exhibition will explore the history
To date, almost 200 Museum friends
of New Mexican art with its cross-cultural
have donated to the Magic Bus program
diversity. The installation will focus on
this school year, and you can join them.
four working themes: Real New Mexico—
A Magic Bus tour sponsorship is $150,
landscape, cityscape and other depictions
but any amount is appreciated. To
of the environment; Real New Mexicans—
donate, call the Foundation offices at
portraiture of New Mexicans from a range
505-842-0111 or visit us online at www.
of backgrounds, experiences and cultures;
albuquerquemuseum.org/support/giving.
Assembling from Parts—cultural influences
Or you can mail a check to The Magic Bus,
on New Mexicans; and Developing the
PO Box 7006, Albuquerque, NM 87194.
Modern—provocative new approaches
Albuquerque Museum and at Casa San
to image-making in an aesthetically
HUNDREDS CELEBRATE MINIATURES & MORE 25TH ANNIVERSARY
overwhelming land. The works will come from the Museum’s culutrally diverse art and history collection.
One hundred and twelve artists showing a total of 300 pieces of art were the main attraction for attendees at a weekend’s
The Albuquerque Museum Foundation makes every effort to record and acknowledge our donors accurately and appropriately. Please contact the AMF offices at 505-8420111 if you notice incorrect information. Thank you.
worth of events to raise money for the Museum. The annual Miniatures & More exhibition—a favorite for collectors because all the art is for sale—launched with a twist to celebrate the event’s 25th anniversary. On October 22, invited guests were allowed to “buy it now,” rather than hope for the luck of the draw at Saturday night’s event. Art in the exhibition was on sale through the first week in December
Jack Garver (1925 Larned, Kansas – 1987 Santa Rosa, New Mexico), Cat, 1954. Oil on canvas, 35 x 41 in. Gift of Rose Mary Mack.
AlbuquerqueMuseum.org
13
NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446
ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194
Front Cover Jack Garver (1925 Larned, Kansas – 1987 Santa Rosa, New Mexico), Cat (detail), 1954. Oil on canvas, 35 x 41 in. Gift of Rose Mary Mack.
COMING SOON TO THE ALBUQUERQUE MUSEUM ROUTE 66: RADIANCE, RUST, AND REVIVAL ON THE MOTHER ROAD May 14, 2016 – October 2, 2016 From her hotly debated beginnings to her decades-long role as a pathway for adventurers, migrant workers, post-war veterans, tourists, hippies and sentimental souls, Route 66 has fascinated and engaged us, and compelled us to follow her beaten, crumbling path. Conceived in honor of the 90th anniversary of Route 66, this exhibition celebrates the art, history and popular culture of the iconic Mother Road.
Albuquerque’s Central Avenue (Route 66) at night, 2014. Courtesy David Nufer