Fall Member Magazine

Albuquerque’s Contemporary Art Museum

Fall/Winter

2018

Contents 3

Introduction

10 Fulcrum Fund

4

Artist Interview

12 Friends of 516 ARTS

6

Education

13 Board & Staff

7

Preview

14 Members

8

Curator Interview

15 Business Supporters

Member Benefit!

16 Events not to miss

Members $100 & up, pick up your free tote bag designed by artist Karl Hofmann

Exhibitions

ON VIEW NOW:

WINTER:

SPRING:

Puerto Rico: Defying Darkness

Currency

In Our Own Backyard

Through October 20, 2018

November 17, 2018 – January 26, 2019

February 23 – May 4, 2019

Member Preview & Tour: Saturday, November 17, 5-6pm

Member Preview & Tour: Saturday, February 23, 5-6pm

Co-curated by Dr. Josie Lopez and Dr. Manuel Montoya, Currency features local, national and international artists examining the relationship between art and economics. The exhibition provides a place for reflection on what we value and how we live our lives. Artists reveal the inequities of an upside down world in which the value of money overshadows human and environmental concerns. The works in the exhibition promote dialogue around themes of corporate excess, debt, work and time. Major installations include DebtFair New Mexico, a project of Occupy Museums reflecting the debt of New Mexico artists; The New Bootleggers, a faux storefront stocked with knock-off goods that mock, celebrate and mimic luxury and cult commodities.

In Our Own Backyard is a two-part exhibition about New Mexico’s contemporary history from the 1970s to the present. Part I features work from the collection of Ray Graham, focusing on the 1970s through the 1990s.

Mr. Graham is a pivotal arts supporter and longtime collector of many major regional and national artists. Part II includes new work by a selection of emerging and established New Mexico artists who are addressing relevant discourses around place, materials, practice and process. The exhibition brings together a cross-section of approaches and genres that explore the creative energy of New Mexico’s artists and their legacy in the larger contemporary art world.

This exhibition spotlights Puerto Rico as a non-incorporated territory of the United States that was devastated by hurricanes Irma and Maria in September 2017, while celebrating contemporary artists from Puerto Rico. Artists who were already living and working in the shadow of severe economic crisis were further impacted by the physical damage of the storms that resulted in most of the island being left without power and many structures being damaged or destroyed. Arts institutions across the United States are responding to try and help ensure the safety of artworks and to bring attention to the situation that Puerto Ricans currently face. Puerto Rico: Defying Darkness features artists living in Puerto Rico and the mainland who are engaging with issues of climate justice, continued colonialism and imperialism.

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COVER: Erica Harrsh, Foreign Aid • ABOVE: Patrick McGrath Muñiz, Alba’s Dream (detail) • Hernan Chavez Gomez, Abstract Model Series #5 • Richard Hogan, Never Hook (detail)

INTRODUCTION

As we continue to embrace 516 ARTS’ identity as a non-collecting, contemporary art museum, we are actively expanding our membership program, docent program and gift shop to complement our focus on curated exhibitions, public programs, and education activities. In this issue of our Member Magazine, you’ll find articles, interviews and a variety of content reflecting on our exhibitions and programs in the context of the national state of the arts. Be sure not to miss the talks this fall, including Juan D. González, co-host of Democracy Now! and artist Chemi Rosado-Seijo from Puerto Rico on September 28 at the KiMo Theatre. And check out the art and cooking workshops with member discounts (see page 6).

County, especially Councilor Isaac Benton and Commissioners Debbie O’Malley and Maggie Hart-Stebbins. We are honored to receive a grant from the National Endowment for the Arts for our Currency exhibition later this fall. In these times with the NEA under threat, we feel especially fortunate to receive a major grant from the federal government to create an exhibition that re-examines the relationship between art and economics and questions our current systems that perpetuate inequities.

I would like to extend special thanks to Lannan Foundation for joining us as a funder and partner on the exhibition and programs for Puerto Rico: Defying Darkness. We are excited that 516 ARTS is one of the 200+ organizations across the United States that have received their support for contemporary art exhibitions and special projects.

Thank you to our supporters in the City of Albuquerque and Bernalillo

My heartfelt thanks to you, our members of the Friends of 516 ARTS. Every one of you makes a difference and is essential to all that we do. Come visit us soon and often!

GOVERNING BOARD Danny López, Chair Suzanne Sbarge, President Mark Rohde, Vice President Joshua Edwards, Treasurer Sommer Smith, Secretary Pamela Cheek Kathleen Metzger Tim Price Tonya Turner Carroll ADVISORY BOARD Michael Berman Rebecca Black David Campbell Mark Chavez Andrew Connors Ray Dewey

Debi Dodge Idris Goodwin Tom Guralnick Ohad Jehassi Deborah Jojola Jane Kennedy Arif Khan Brian McMath Jenny McMath Elsa Menéndez Rhiannon Mercer Marla Painter Dr. Andrea Polli Henry Rael Mary Anne Redding Rick Rennie Augustine Romero Arturo Sandoval Rob Strell

Although 516 ARTS relies heavily on grants, we are working hard to build our group of individual contributors through our Donor Circle program. Special thanks go to Ray and Judy Dewey for helping us to grow the program and for hosting our Donor Circle dinner this year at their home. Learn more about the program on page 12.

— Suzanne Sbarge, Executive Director

STAFF

LEAD FUNDERS

Suzanne Sbarge, Executive Director Claude Smith, Exhibitions & Fulcrum Fund Manager Dr. Josie Lopez, Curator Mackensie Lewis, Development Coordinator Katie Doyle, Education Coordinator Jordyn Bernicke, Gallery Assistant

The Andy Warhol Foundation for the Visual Arts McCune Charitable Foundation The City of Albuquerque The FUNd at Albuquerque Community Foundation The National Endowment for the Arts Lannan Foundation Center for Educational Initiatives

CONSULTANTS Joni Thompson, Bookkeeper Jane Kennedy, Development Associate Ian Jones, Preparator Caroline Blaker, Petroglyph Creative

The Andy Warhol Foundation for the Visual Arts

ADDITIONAL FUNDERS Bank of America Bernalillo County JB & Margaret Blaugrund Foundation New Mexico Arts New Mexico Humanities Council

Tim Keller Mayor

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PUERTO RICO: DEFYING DARKNESS

Vital Growth

by Maggie Grimason

4

Nathan Budoff, Santurce

ARTIST INTERVIEW

“Defying darkness is a full-time job,” Puerto Rican artist Antonio Martorell wrote to 516 ARTS curator Josie Lopez as she was in the throes of putting together an upcoming exhibition at the Downtown art hub. “I knew immediately that had to be our title,” Lopez recalled.

And so it is—Defying Darkness is an exhibition featuring more than

“We have to keep reminding ourselves to grab onto things, the beauty and the pain... the wonder and the strife.”

a dozen artists working in Puerto Rico and throughout the diaspora, confronting “contemporary issues of economic struggle, identity and the vestiges of colonialism,” as Lopez put it, while maintaining

duress can compel people to

a “long memory of history,” and fighting literal darkness, too, in

be more creative, because

the aftermath of Hurricane Maria. “Maria was just part of a much

it [gives you] freedom from

larger story,” Lopez explained, serving to underline more pervasive

the idea of selling things.”

problems in the island’s economic, social and political structures. It

More alternative spaces are

became clear to Lopez very quickly that “any exhibition on Puerto

opening, and the coming

Rico would have to tackle the economic situation—a devastating

and going of people brings

debt, continued colonization and, of course, climate change and

new energy and ideas in

natural disasters. I see this exhibition as an opportunity to raise

waves, but economically, it

questions and facilitate dialogue that will inform our communities

has become challenging to

about the current situation in Puerto Rico and hopefully encourage

support the arts, particularly

us all to find our voices on these issues,” Lopez said.

in the public sector, the

Two weeks out from the opening, the gallery floor was dusted with drywall and sawdust. Artist Nathan Budoff had just arrived to stretch a few large canvases of his dynamic island topographies. His work

effects of which are “more cumulative.” In turn, with fewer buyers and galleries, there aren’t as many opportunities for creatives to be validated in their efforts.

is executed in bright colors in oil, charcoal and other mediums,

In part, that is why this exhibition is so crucial—“there are some really

juxtaposing, for example, an octopus floating above the San Juan

incredible artists in this very small territory. They deserve to be more

skyline or whales coasting across the sky as seen from his Santurce

visible, to get out and have a chance to generate discussion.” But,

studio. “One of the really big things that I’m trying to do is kind of

“not a pitying, sort of worry about ‘poor Puerto Rico,’ ” he continued,

rediscover worlds that aren’t really visible, that we’re not seeing,”

“because we already came through the storm.” Instead, Budoff

Budoff said. “My work is trying to re-contextualize how we live and

would like to see more people challenged to examine the geopolitical

where we live. … [Our environment] is such a vital place, there are

history of the island and ask ourselves, “How do we create structures

all these creatures around us.”

where more people are pulled up into the middle class? Where more

This sensibility in his art has, in part, grown out of living on the island, where he has resided for the last 20 years. “Puerto Rico—it’s kind

people have a productive and comfortable quality of life? Where fewer people are living in the margins?”

of a smallish place, 35 by 100 miles. But it’s really hilly—the terrain

From a place of uncertainty, with Puerto Rico poised at a critical

is folded, so you feel like you can really be in there—there’s things

juncture that will undoubtedly shape its future, Budoff’s work

growing on top of things, there’s all this vital growth. Every space

seems to lean on the side of hope. There’s a joyfulness in his surreal

becomes much more charged, more weighted. You really begin to

landscapes that bleed through the oil and acrylic paint. “I always

see how life is all tied together, how things help each other and take

have the idea that something unexpected might happen,” he said,

advantage of each other and nurture each other all at once.” That

“and that’s the whole wonder of it all…There’s just a kind of richness

symbiosis has been powerful for Budoff, and has generated work

and urgency to our life on the planet. We have to keep reminding

wherein these vastly different life forms are overlaid on top of each

ourselves to grab onto things, the beauty and the pain, or something

other, creating visual dialogues that reveal both connectedness and

like that. The wonder and the strife.”

dislocation, resilience and tenuousness.

“In a storm,” Budoff said, of Hurricane Maria, “a lot of stuff is literally thrown up in the air. Maybe that’s something that’s also literally happening in my paintings…There’s a literal event, and from that comes a feeling of the uncertainty of life, which is both threatening and freeing.” In the wake of the storm—and more potently, the ‘economic storm,’ as Budoff put it—there’s a feeling of desperation. Taxes are increasing, the electrical grid has been knocked out, people are leaving. “I don’t know if that has impacted art production,” he said, “because, you know, sometimes economic

Reprinted with permission from the Weekly Alibi, August 9, 2018.

Nathan Budoff at 516 ARTS

Juan D. González & Chemi Rosado-Seijo Saturday, September 28, 7:30pm at the KiMo Theatre, tickets at kimotickets.com followed by free reception & booksigning at 516 ARTS 5

EDUCATION

Art and cooking workshops Each workshop is $60 / $50 members • Register: 505-242-1445, info@516arts.org

Puerto Rican Cuisine with Chef Marc Quinõnes

ReMember: Collage with Kai Margarida-Ramírez

Papier Mâché Carnival Masks with crashlovedog

Sunday, September 30, 4-7pm

Sunday, October 14, 1-5pm

Sunday, October 21, 1-5pm

at Three Sisters Kitchen, 109 Gold SW

at 516 ARTS

at 516 ARTS

Sign up for a unique, hands-on cooking workshop in Albuquerque’s new homegrown test kitchen, Three Sisters Kitchen.

Learn about the ingredients, stories and history of traditional Puerto Rican recipes with a modern flare from Marc Quiñones, Executive Chef at Hotel Andaluz. Participants work in small groups on separate dishes and come together at the end to eat a delicious meal with the Chef. Three Sisters Kitchen is a welcoming space that celebrates and supports local food producers year-round, promotes a healthy community, and offers meaningful opportunities to engage in the local food system.

This hands-on artmaking workshop utilizes the medium of collage to help us connect to our families, histories and ancestral homes.

How can we collage to connect with what is not familiar to us? Where do we stand within our family histories? Participants are encouraged to bring in photocopies of photos, maps, drawings, sheet music, poetry, buttons and other ephemera. Kai Margarida-Ramírez is a Brooklyn-based artist who grew up in Albuquerque and was born in Puerto Rico. She works primarily in cut paper, drawing and embroidery. The workshop is open to teens and adults.

Vejigantes, traditional Puerto Rican carnival masks, are a colorful art form from the island which depict a folkloric character whose origins trace back to Medieval Spain. It brings together African bomba y plena music with Native Taíno costumes and masks. The mask of the vejigante is known as the careta, made from papier mâché. It usually has horns, fangs, beaks and is vibrantly colored and patterned. Crash (Michael J. Beltran), aka crashlovedog, is a native New Mexican working in aerosol, tin and papier mâché. The workshop is open to adults and kids (age 10 and up).

Tours for schools and community groups 516 ARTS’ education program actively makes contemporary art accessible to everyone. Tours for schools and community groups are ongoing. We supply engaging, interactive education addressing the themes of each exhibition.

Our Docent Program allows high school and college students as well as other interested volunteers to study the current exhibition and lead tours for school groups and the public. We strive to inspire a sense of discovery in our visitors, broaden perspectives and encourage dialogue. As a place of learning, 516 ARTS welcomes people of all ages and backgrounds to attend, participate and explore how contemporary artists are actively responding to current issues that impact us all.

Schedule an exhibition tour for students or community groups: info@516arts.org 6 Kai Margarida-Ramírez, La Danza de Nuesrto Mestizaje (detail) • Vejigantes image: Bob Krist/Getty Images • Students from Upward Bound visiting 21st Century Cyhers exhibition

PREVIEW

Currency exhibition explores money and what we value

By Dr. Josie Lopez Currency is a group exhibition that examines the relationship between art and money by exploring the flaws of our current economic reality. Literary critic and philosopher Mikhail Bakhtin explored the concept of the Carnival as a subversive, disruptive, world-upsidedown event in which the hypocrisy of everyday life was unmasked. During Carnival, social structures including those that defined class and status were disrupted by common people.

“Artists explore how materialism and corporate interests often take precedence over human and environmental concerns and they address the issue of how debt and money impact creativity.”

In Currency, artists take up the role of shedding light on money and how it shapes what we value. Through their works, the artists expose the complex relationships between currency and how society values or doesn’t value work, time and the environment.

The idea of the upside-down world is meant to demonstrate that the real world is actually upside-down particularly in the case of the economic realities that permeate all aspects of life.

Artists explore how materialism and corporate interests often take precedence over human and

environmental

concerns

and they address the issue of how debt and money impact creativity.

The exhibition brings together national, international and local artists who engage with these themes through a variety of media and artistic approaches often employing wit and satire to reveal economic inequities and dysfunctions. In Debtfair, Occupy Museums continues their ongoing

Member Preview: Saturday, November 17, 5-6pm

intervention that began at Art League Houston and appeared at the

Private tour with curators and artists

Whitney Biennial in 2017. The collective asks New Mexico artists how debt affects them and their art and uses collected data to explore the real impacts of debt at a time when U.S. credit card debt alone is over

He demonstrates how these objects, that have such a hold on us,

one trillion dollars.

quickly lose their novelty as they become obsolete. By placing the objects in a geologic context, he also raises questions around

Albuquerque artist Leonard Fresquez has organized an installation

corporate influence, environmental neglect and a future in which

in which several artists explore how high-end commodities are

nature reclaims its place over technology. Other artists include: Erika

valued and question the worth of such products by producing knock-

Harrsch, Hernan Gomez Chavez, Scott Greene, Yoshiko Shimano,

off versions of popular items. New York artist Evan Desmond Yee

Jennifer Dalton and Nina Elder., among others.

fossilizes outmoded technologies including specific Apple products.

Leonard Fresquez & 18 artists, The New Bootleggers

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CURRENCY

Into the mind of Dr. Manuel Montoya Curator Dr. Josie Lopez interviews her co-curator of the Currency exhibition Dr. Manual Montoya, giving a glimpse into his expansive thoughts on the subject of money. This fall/winter, Montoya will participate in public programs for Currency, including talks on art, creativity and entrepreneurship.

JL: Several artists in the exhibition use their art to expose how corporate interests (Apple, oil, banks) often dictate how we value money over creativity, the environment and even how we spend our time. How much of an impact do corporations have on the value of money?

MM: Corporations are influential institutions because they have figured out in part how a practice (the use of a product or resource) can be monetized mostly at a large scale. Money relies on the stability of behavior that can be monetized. It’s not necessarily that corporate interests value money over creativity or other things. One could say that money represents the value of things that reaches a high level of commonality based on what groups of people are able or willing to say about our values through consumption.

JL: We have spent some time talking about creativity and how it is impacted by our relationships with money. Do you think that we are experiencing a shift in the ways that we think about creativity and money in light of alternative currencies and the blockchain?

MM: There’s several interesting things that come from this question.

First, we know that consumers are increasingly willing to pay more if a product has a meaningful story behind it. Second, currencies like blockchain are challenging what we know about money as a political object. People who use blockchain normally do so because they cannot or will not participate in the use of money that connects them to a specific way of being in the world. When you spend a dollar bill or demand a product that is valued in dollars, you are effectively saying that the U.S. Economy (or anyone who uses dollars as their official currency) is a safe and recognized medium of exchange. But it also reinforces boundaries and ways of being in the world that aren’t explained anymore by our belonging to nations.

Hence, you have situations where alternative currencies gain popularity. A crypto currency is a digital currency that uses high levels of

encryption to either stabilize that currency or protect the information whereby that currency gets its value. Blockchain is both a technology and a method whereby information is reorganized and put into “blocks” mostly to promote anonymity and security. From a political perspective, people are choosing to think creatively about how they belong to the world, and sometimes that requires technologies that make you anonymous (i.e. how we account for our buying and selling). If money is a story we tell about an economy, alternative currencies also contain alternative stories, which sometimes require different media to tell that story.

JL: An intervention by Occupy Museums, called Debtfair, is included in the exhibition. New Mexico artists are asked, “How does your debt affect your art?” I know that you have spent a significant amount of time thinking about debt both theoretically and in terms of its relationship to economic systems. Do you think that there are specific characteristics of debt that are unique to New Mexico?

MM: There is more to debt than simply thinking about what is owed.

Debt is a very complex relational thing. People don’t just say things like “much obliged,” “I owe you one” or “we always pay our debts” spontaneously. Those are deeply ingrained values that mean different things culturally and socially. Some people won’t trust you unless

Dr. Manuel Montoya, co-curator of the Currency exhibition at 516 ARTS (on view November 17, 2018 – January 26, 2019), is an Associate Professor of Global Structures and International Management at the University of New Mexico’s Anderson School of Management. He was born and raised in Mora, New Mexico, and received his B.A. in English Literature and Economics from the University of New Mexico. He has Master’s degrees from Oxford University and NYU as a Truman Scholar and Rhodes Scholar. He received his PhD at Emory University in Foreign Relations and Comparative Literature as a George Woodruff Scholar and a UNM Center for Regional Studies Fellow.

Montoya’s research interests mainly focus on a concept he refers to as “global legibility,” the process whereby humans conceptualize the planet and make it a meaningful part of their realities. This work incorporates ideas drawn from studies in Global Political Economy, Emerging Markets, Creative Economy, and Critical Management Studies. Montoya has also served as a policy analyst for the United States Senate and considers public service a pillar of his work.

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CURATOR INTERVIEW

“If money is a story we tell about an economy, alternative currencies also contain alternative stories, which sometimes require different media to tell that story.” you can prove you are indebted to others. Faulkner once wrote that the greatest tragedy one could have is to be “beholden to none.” In New Mexico, places like the acequia systems used to serve as the insurance brokers and creditors for community members. Follow my line of logic for a moment. Acequias and acequia culture are partially imported from the Moorish conquest of Spain. In several of those systems, it’s illegal (and considered immoral) to charge debt. There’s a lot to be said about this, but basically we can say that New Mexico is a deep and formidable cultural and economic system, and that has a lot to do with how our indigenous communities and early colonial diasporic communities view and value debt.

To be overly simplistic, New Mexico can contribute greatly to the dialogue the whole world is having about how we use global resources, how we value those people we do business with, and how authenticity is a deeply felt part of what happens when we produce and consume. Add to this that New Mexicans report highly in terms of debt to income ratios and you see somewhere in between all of this that New Mexicans not only bear a lot of debt, they bear it in a very complex and valuable way.

JL: With recent global events such as Brexit and Venezuela revaluing their currency (the Bolivar), I am curious about your take on the sovereignty of money.

MM: That’s a complex story. Let me just say again that if money is a story you tell about an economy, there is something to the increased appeal of nationalism that explains why nations hold on so tightly to money. It’s very similar to the debate about national languages.

People want to believe that the place they belong to reflects what they feel most accurately celebrates who they believe themselves to be. But now how things are made and who consumes them is very complicated. Venezuela’s recent attempt to revalue its currency is an attempt to regain control of its national narrative and part of that has to do with a group of people saying that its economic and social destiny has been taken away from them. The same goes with those who support Brexit. Or the United States for that matter. This means that sovereignty, a form of self-determination, is heavily connected to the anxieties of people who grow nostalgic for a world that once made sense in the boxes that nations once contained. There’s a lot more to say about this, but the connection between money and sovereignty is very powerful.

LEFT: Jennifer Dalton, Your Name Here • RIGHT: Evan Desmond Yee, iPhossil

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FULCRUM FUND

2018 Fulcrum Fund grant awards announced

The Fulcrum Fund is a grant program developed and administered by 516 ARTS at the invitation of The Andy Warhol Foundation for the Visual Arts as part of their Regional Regranting Program. Now in it’s third year, the Fulcrum Fund has awarded $170,000 to 35 collaborative, experimental art projects. This year guest jurors from around the country selected 11 proposals to receive a total of $60,000. 115 proposals were submitted by applicants from 10 cities in an 80-mile radius of Albuquerque. Jurors Nancy Marie Mithlo, Hamza Walker and Louise Martorano selected the following projects: 1000 Tiny Mirrors, Santa Fe Reverence/Rage • $10,000 Activating creative spaces for queer/trans/non-binary/two spirit and BIPOC (black, indigenous, people of color) to portray individual and communal self-determined artistic expressions in a Rock Opera performance, community artmaking and a film screening.

Collaborators include Mimi Madrid Puga, Allesandra Ogran, Nikesha Breeze, Patricia Trujillo, Rafa Tarin among others.

Autumn Chacon, Albuquerque New Mexico Common Media • $6,000 A New Mexican-based, online gallery, featuring a home-grown, independent, artist-centered version of YouTube where viewers can readily access and stream content by community members. In collaboration with Margaret Wright.

Barbara Grothus, Albuquerque BLACK HOLE/Atomic City • $5,000 Challenging the dominant nuclear narrative maintained by Los Alamos (and others) for almost 75 years, this project spotlights the artist’s father, “Atomic Ed,” an entrepreneur and creative anti-nuclear activist who created the Black Hole: a business, collection, destination, tourist attraction and curiosity. Collaborators include Erika Wanenmacher, James Hart, Matthew Chase-Daniel and Thomas Powell.

Alicia Inez Guzmán, Santa Fe Cafecito Collective • $5,000 A QTPOC-first collective focusing on the creativity, wellness and safety of the Norteño community (Santa Fe/Española) by sharing resources and knowledge, organizing toward equity, and making art in their central Santa Fe location on the Railyard. In collaboration with Alicia A. Martinez.

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Adam Horowitz, Santa Fe DEUS ATOMICA - ‘ATOMIC GODS’ • $7,000 A surrealistic, satirical short film based on ‘guerilla-theatre’ public performance events filmed in Albuquerque, Santa Fe, Los Alamos and elsewhere in New Mexico, revealing the secret mythical, magical, and supernatural forces behind the Manhattan Project in Los Alamos during the making of the first atomic bomb. Collaborators include Isolde Kille, Drew Lenihan, Matthew Chase-Daniel, Willem Malten, Brian Moe, Nick Deamer, Steina Vasulka, Sadaf Cameron, Igor Vamos, Alex Reed, and Meridel Rubenstein among others.

Lena Kassicieh, Albuquerque Daftar Asfar: The Collaborative Sketchbook Project • $3,000 A traveling sketchbook conceived from the notion that art should be accessible, a nourishing way of life and a collaborative communal experience. In collaboration with Samantha Andrews.

Erica Lord, Santa Fe Remembering James Luna • $6,000 Working with local artists and students from the Institute of American Indian Arts, the artist will create and collaborate on a series of performances, readings an exhibition and a workshop/symposium to honor and learn from the work of the late James Luna.

Lance Ryan McGoldrick, Albuquerque Lost Highways • $5,000 A series of static, large-scale sculptures and interactive installations along old highways in New Mexico viewed via road trip as a series of destinations and singular surprises.

Scott Williams, Vitrine: An Art Place • Valerie Roybal, Incurables group 4, Cartes des Visites

FULCRUM FUND

Larry Bob Phillips, Albuquerque The FRACKING of Sandoval County • $3,000 A 16-page comic depicting the people and dynamics in the fight over resource extraction in the Albuquerque Basin and outlining the history of Rio Rancho and intensifying efforts to exploit petroleum adjacent to the Rio Grande aquifer. In collaboration with Mark LeClaire.

Valerie Roybal, Albuquerque For-Get-Me-Not: Words and Images on Living with Incurable Cancer • $3,000 Using images from women of the past as a basis for transformation, the artist visually explores the idea of “wearing” the disease and overtly presenting feeling about the disease—inside out through a book and an exhibition. In collaboration with Martha Carlson.

Scott Williams, Albuquerque Vitrine: An Art Place • $7,000 An exhibition and community space in Downtown Albuquerque, run by a collective of three artists., dedicated to supporting and cultivating underrepresented artists and providing space for our community to share its artistic and practical skills through art exhibitions, workshops and other events. Collaborators include Anna Reser and Jaime Tillotson.

Fulcrum juror reflections “These sparks of communication and dialogue ultimately create a core feeling of belonging, that, whether ‘at home’ or ‘away,’ is the ultimate product of our collective efforts.“ What is the higher good? Relevancy to one’s home community or circulation in global conversations? For many Indigenous artists, these tensions may seem eternal. Restrictive frames of reception, like those exercised in historic Indian markets, minimize the expansive dialogues enabled by the open and provocative nature of the arts. The situation in the Southwest is especially weighted as consumerism has often over-informed viewers to anticipate conventional narratives and reject hybrid or emerging art forms.

It was instructive to serve as a juror for 516 ARTS’ 2018 round of Fulcrum Fund applicants and to witness the passion and commitment that came vibrating off the pages of the proposals submitted. Witnessing the expansion of the Native arts field and the obvious trust and rapport that artists have formed with 516 ARTS gave me real hope that even in these dangerous times for the arts (recall the proposals to eliminate the NEA just a year ago?), there is life after all.

I want to thank the other jurors Louise Martorano and Hamza Walker who were a pleasure to work with along with the 516 staff. I also wish to acknowledge the applicants whose proposals were the basis for our vibrant exchanges. After all, it takes work to create those dynamic moments that the arts afford. The quick exchange of ideas, the potent give and take and even open disagreement about core issues of relevancy, accomplishment and vision are all life-affirming gifts. These sparks of communication and dialogue ultimately create a core feeling of belonging, that, whether “at home” or “away,” is the ultimate product of our collective efforts.

—Nancy Marie Mithlo Visiting Scholar, UCLA Institute of American Cultures American Indian Center, Los Angeles, CA

Learn more about the annual Fulcrum Fund at: 516arts.org/fulcrumfund Larry Bob Phillips, The FRACKING of Sandoval County

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FRIENDS OF 516 ARTS

Members connect directly with artists and curators Longevity, integrity and vision As arts supporters in Santa Fe for many years, we look for organizations and individuals that are relevant within their communities or field. Longevity, integrity and vision are qualities which are essential in non-profit cultural organizations in today’s society. 516 ARTS has proved for many years its commitment not only to Albuquerque and New Mexico arts but internationally as well. It has become a cornerstone for the presentation of independent, forward-looking exhibitions and publications. Today with strong leadership, curatorial depth, and dedicated staff and trustees, it is poised to realize its full potential.

Expanded Member Benefits INDIVIDUAL: $50 (Student/Senior $25) • All of our mailings delivered to your door, including our magazine for members only • Invitations to preview receptions

Strong financial support from committed individuals, foundations and corporations will make continued success a reality. Now, as residents of Albuquerque, we often talk with friends and community members about the future and potential here. We have learned that there is a growing sense of confidence, entrepreneurship and an overall view the city is heading in the right direction. 516 ARTS, the Outpost Performance Space, KUNM Radio and NM-PBS television are to be cherished and honored within the broader public and by contributors they serve. These organizations with a proven track record create part of our cultural fabric we all enjoy and learn from. We know from being involved in the arts one can find meaning and friendships that evolve and last for a lifetime. We hope you will join us in this quest!

— Ray & Judy Dewey, Donor Circle members

• 10% discount in the 516 Store • Discounts to ticketed events and workshops

FAMILY: $100 The benefits listed above, plus: • Membership to the North American Reciprocal Museum Association* • Artist-designed tote bag

SUPPORTER: $250 The benefits listed above, plus: • Private tour of nearby contemporary art destinations • Invitations to Coffee with the Curator events for each show

CONTRIBUTOR: $500 The benefits listed above, plus: • Personal meet & greet opportunities with visiting artists and curators • Priority sign-up for contemporary art inspired trips

DONOR CIRCLE: $1,000 & up The benefits listed above, plus: • Donor Circle dinner in homes of contemporary art collectors and unique locales • Gift of limited edition signed print • 10% discount on art sales from 516 ARTS’ exhibitions and Turner Carroll Gallery

Grow your membership & sign up your friends: 516arts.org/join 12

* North American Reciprocal Museum Association includes free admission to more than 900 institutions across the U.S. and Canada.

Learn more at narmassociation.org.

Frances Gallardo, Murmuration

BOARD & STAFF

Behind the scenes Farewell to Dr. Kymberly Pinder

Celebrating the arts together

516 ARTS bids farewell to long-time Board

I recently read Mayor Tim Keller’s economic

member Dr. Kymberly Pinder. In January,

development strategy for Albuquerque and

she will join Massachusetts College of Art

was happy to see his focus on supporting our

and Design as Provost after 25 years in

creative economy, with an emphasis on culture,

academia. Currently, she is the Dean of the

cuisine, art, music and film. It is comforting to

College of Fine Arts at the University of New

know that our leaders realize that in addition to

Mexico. During her time in Albuquerque,

having a safe and economically vibrant city, we

she has been an active member of the Governing Board of 516 ARTS and has worked closely with us on numerous collaborations including PhotoSummer and bringing many special guest artists to speak, exhibit their work and interact with UNM students and the broader community. Our partnerships helped bring artists Mel Chin, Jennifer Angel and Jessica Angus, among others over the years. We are very sorry to see her leave our community, where she is a highly respected contributor to our shared efforts for the arts. Among Dr. Pinder’s many accomplishments, she- edited Race-ing Art History: Critical Readings in Race and Art History (Routledge, 2002) and most recently authored Painting the Gospel: Black Public Art and Religion in Chicago (University of Illinois, 2016). She has received awards and fellowships from the National Endowment for the Humanities and the Mellon, Ford and Henry Luce Foundations, among others. As a mural scholar, Dr. Pinder has always been committed to community engagement and interdisciplinary initiatives. In 2015 the college partnered with the City of Albuquerque to open the CFA Downtown Studio gallery, and she served on the Board of the Downtown Arts & Cultural District in addition to 516 ARTS. We congratulate her on her new position with Mass Art and will greatly miss her in Albuquerque!

also need spaces and places where creativity can be expressed, celebrated and supported.

At the recent opening of Puerto Rico: Defying Darkness, we opened our doors to over 800 people on a warm summer evening in Downtown Albuquerque. I was able to spend a few moments on the second-floor balcony watching dozens of excited visitors walk through our doors. There were many opportunities to meet the visiting artists from Puerto Rico and the mainland as well as engage with 516 ARTS staff and other community leaders. The museum was abuzz with excitement and positive energy. I’d like to believe that everyone who visited that night left downtown a little more satisfied, inspired and educated. It reminded me of what Mayor Keller shared about his desire to ‘create an inclusive and safe city for all of us.’ That night our museum provided a respite, albeit brief, where a diverse portion of our city could gather, share, contemplate and dream. We look forward to continually opening our doors as we showcase highquality, contemporary art of a local, national and international scope.

We hope you visit soon and consider joining our family!

— Danny López, Board Chair

Small but mighty We operate with a tiny staff, but we have no shortage of passion for the arts! Working collaboratively as a team, and being small allows us to be agile and respond quickly to what’s happening in the world. While we have embraced the role of a museum, we have not become more bureaucratic. We are constantly in dialogue with artists, curators, scholars, people from other fields like science and technology, colleagues from around the country and the world, as well as community members and our neighbors Downtown.

Our volunteers and interns come in many forms, from students to professionals to retirees, spanning roles from board members to event helpers to docents. It takes a village!

Volunteer or intern with us! To inquire, email: info@516arts.org Claude Smith, Suzanne Sbarge, Josie Lopez, Mackensie Lewis

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Thank you to the Friends of 516 ARTS! CONTRIBUTORS & SUPPORTERS

PATRONS & DONORS Carlos Acosta & John Strong Anonymous Anonymous Mark Baker & Nancy Dowd Hakim Bellamy, Beyond Poetry, LLC David Bernstein Ray & Judy Dewey Cameron Duncan Joshua Edwards Gary Goodman Mark Huey, Perspectives, LLC Ohad Jehassi Alan Marks

Ann Marks Kathleen & Andy Metzger David & Judy Neunebel Tim Price Rick Rennie & Sandy Hill Mark & Karen Rohde Michael & Annalisa Sbarge Sommer Smith Mark Unverzagt & Laura Fashing Vista Larga Fund David Vogel & Marietta Patricia Leis Dean Yannias

Maria Elena Alvarez Jon Anderson Holly Barnett-Sanchez & David Foster Lynn Dehler Debi & Clint Dodge Lucia Duncan Craig & Abigail Eaves Richard Ellenburg Miguel Gandert Tom Guralnick Emily Harmon & Arand Pierce Norty & Summers Kalishman Diana & Kevin McDonald

Mark Owen & Felicity More Cara Gordon Potter Judith Reynolds Mark Rudd & Marla Painter Arturo Sandoval Virginia Scharff Karen Stone Rob Strell & Gary McAfee

INDIVIDUALS & FAMILIES Juan Abeyta Fay Abrams Renee Adams Karen Alarid Steve & Lindi Anderson Thomas Andrzejewski Lynne Arany Joshua Atlas Michael Backus Cynthia & RJ Bailie Carolyn Bancroft Louisa Barkalow Thomas & Laurie Barrow Clint Bergum Rich Besser Deborah Blank Bonnie Bluhm Steve Borbas John Boyd Jamie Brunson & Walter Robinson Stanley Burg Diane Burke Nina Buscemi Susanna Carlisle & Bruce Hamilton Jonathan Carlson Matthew & Julie Chase-Daniel Dana Christensen Rebecca Cohen Sally Condon Devendra Contractor & Alina Boyko Deborah Cooper Jose Cortes Ronald Costell & Marsha Swiss John & Mary Covan Reid Cramer Dianne Cress & Jon McCorkell Mary Ann Crowe & Paul Ganzenmuller Suzi Davidoff Bruce Davis Susan Davis & Dan Schiller Jorge Diaz Lauri Dickinson Sondra Diepen Jules Epstein Dave Farina

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Mark Fidel Sharon Franklet Alison Franks Melinda Frame Suzanne Fricke Ilsa Garduno John Garrett Ann Gateley Molly & John Geissman Chuck & Judy Gibbon Kirk Gittings Diane Glenn Raphaelle Goethals Abby Goldstein Virginia Gredell GeorgeAnn Gregory Ricardo Guillermo & Cynthia Elliott Cathy Haight Flash Hagan Betty Hahn Katherine Hauth Lucy Hays Barbara Hill Catherine Hill Marianne & Dennis Hill Basia Irland Judith Ann Isaacs Linda Johnson Evey Jones Loren Kahn & Isabelle Kessler Kathryn Kaminsky Frank Katz & Conci Bokum Susanna Kearny Lucinda Keers Michael & Peggy Keleher Tim & Elizabeth Keller Jessica Kennedy Irene Kersting & Albert Chavez Jack Kessler & Marcia Prager Emily Kim Joanne Kimmey Eurgene & Margie Kimzey Shirley Klinghoffer Natasha Kolchevska Jeff Krueger

Vera Watson & Bill Laguttata Mary Lance Barry Lauesen Orlando & Kelley Leyba Lucy Lippard Julie & Larry Littlefield Matt Loehman Maureen MacDonald Sheila Mahoney Bob & Gloria Mallory Elizabeth Mangual & Robert Kanegis Louise Martorano Gerald May Karen Mazur Pamela McBride Cathaleen McGrath-Farmer Jim McManus Carolyn Meyer Carl Miranda Gerry Mlynek Erin Moody & Greg Robinson Darlene Moore Aziza Murray Patrice Mutchnick Candy Nartonis Teri Neville Theresa Noyes & Trey Saenz Michelle Otero & Henry Rael Steffi Ostrowski Nicky Ovitt Kate Padilla Adrian Pedroza Mark Petrick Stephen Poland Andrea Polli Thomas Prettyman Roberta Price Daniel & Regina Puccetti John Putnam & Lin Putnam-Johnson Walter Putnam & Yaeko Zeigler Jaune Quick-To-See-Smith Silvia Ramos Edward & Melanie Ranney Margaret Roberts Jay Rodecap

Susan Roden Len Romano Joshua Rose Ramsey Rose Adam Rubenstein Julie Ruth Adrienne Salinger Shelle Sanchez Veronica Sanchez Victoria Sanchez Rebecca Schreiber & Aloysha Goldstein John Serkin & Catherine Kurland Elliot & Rosie Shratter Garrett Smith Cirrelda & Bryan Snider Martha Somerville Kathryn Stately Patricia Stauber Robert Steinberg Frank & Maddy Stevens Laura Stokes James Stone Karen Stone Katie & Andrew Stone Dennis Summers Jane Swift Nick Tauro & Jessica Tatu Nina Tichava Craig Timm & James Wilterding Kei Tsuzuki & Molly Luethi Karen Turner Sarah Vance Joan Weissman & Michael Nutkiewicz Chuck & JD Wellborn Merida & Joseph Wexler Harvey White Robert White Bob Willis Joshua Willis Janet Yagoda Shagam Karen Yank Greta Young Tasia Young & Robert Icnoy Mary Zaremba Ramon Zielomski Susan Zimmerman & Lynn Slade

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2018-2019 SEASON HIGHLIGHTS

NOV

28

The Book of Longing with Scott Colley & Chico Pinheiro

Kaushiki Chakraborty Ali Ryerson Idris Ackamoor & the Pyramids Mariano Morales & Nestor Torres Tia Fuller Jane Bunnett & Maqueque Django Festival Allstars Cuncordu Sas Bator Colonnas Andy Milne

Joe Lovano Trio Chris Potter Zakir Hussain Masters of Percussion 14th Annual New Mexico Jazz Festival: July 2019 24th Annual Summer Thursday Jazz Nights PLUS Classes, Art Exhibits & More

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Dinner: Tues-Sat open at 5pm Brunch: sat-sun 9am-2pm

Bank of America applauds 516 ARTS for bringing the arts to all

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505.503.7124 Farmandtablenm.com

BREAKFAST & LUNCH Downtown Albuquerque 200 Lomas NW, Suite 100 • Inside the Wells Fargo Building 243-3995 • Open Mon-Fri, 8am-3pm 15

Contemporary Art for Everyone

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PAID Albuquerque, NM

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516 Central Ave. SW Albuquerque, NM 87102 Open Tue – Sat, 12-5pm

Thursday & Friday, September 13 & 14 11:30am-1:30pm Art Lunches with Rosebar Have lunch at the Museum and see the show! at 516 ARTS • Prices vary, pay in person

Saturday, September 22, 7pm: Dinner with Chef Marc Quiñones Join Curator Dr. Josie Lopez for a fine Puerto Rican dinner and wine pairings in the museum. $85 / $75 Members Reserve & pay in advance at info@516arts.org

Friday, September 28, 7pm Journalist Juan D. González & artist Chemi Rosado-Seijo in conversation Guest speakers presented in partnership with Lannan Foundation, at the KiMo Theatre, 423 Central Ave. SW $12 / $8 Friends of 516 ARTS, at kimotickets.com followed by reception & booksigning at 516 ARTS

Thursday, October 4, 5:30pm: David Ungerleider, S.J. & artist Antonio Martorell in conversation Guest speakers presented in partnership with Lannan Foundation, at 516 ARTS • Free

Friday, October 19, 7:30pm: Mariano Morales & Pikante with Nestor Torres in concert $30 / $25 Outpost & 516 ARTS members at the Outpost Performance Space

10% discount for members in the 516 Store 516arts.org/store

See inside for art & cooking workshops 16

Saturday, November 17, 5-6pm: Member Preview: Currency exhibition followed by public reception 6-8pm, at 516 ARTS • Free