Albuquerque Museum Foundation Magazine Fall 2022

Albuquerque Museum Foundation

Thomas

MUSEUM STORE

Grace.

“

You are always in the clouds,” I used to hear as a child. I believe many of my jewelry designs come during one of those moments, in a day or night dream. As an artist, inspiration comes from so many sources, from visual stimulation, a feeling transposed into wearable art, some enlightening words, a memory... I have been designing jewelry for close to 40 years and the thought of creating an object of art that will be worn and enjoyed by someone is always a thrill. The Winged pendant and the Pensive Angel pendant have some things in common, they are arial and delicate, both protecting and elevating the wearer. Winged protectors are found in every religion.

Find Rémy’s jewelry—and so much more— at the Museum Store this holiday season.

MUSEUM STORE HOURS: Tuesday through Sunday 10 a.m. to 5 p.m. Closed Mondays, Thanksgiving, Christmas and New Years Day

Rémy Rotenier, rhodium plated sterling silver with CZ, Winged Pendant $158, Angel Pendant $148

ALBUQUERQUE MUSEUM FOUNDATION

PO Box 7006, Albuquerque, NM 87194

ALBUQUERQUE MUSEUM

2000 Mountain Road NW in Old Town 505.243.7255, 311 Relay NM or 711

9 a.m.–5 p.m.

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

MAGAZINE EDITORIAL AND DESIGN

E-Squared Editorial Services

Emily Esterson, Editor

Glenna Stocks, Art Director Judy Rice, Designer

DEPARTMENT OF ARTS & CULTURE

CITY OF ALBUQUERQUE

Tim Keller, Mayor Shelle Sanchez, Ph.D., Director

ALBUQUERQUE MUSEUM FOUNDATION

BOARD OF DIRECTORS 2022-2023

Scott Schaffer, Chair

Roddy Thomson, Chair Elect Kathy Rowe, Treasurer

Sara Sternberger, Secretary Perry Bendicksen, Past Chair

Hal Behl

Adam Ciepiela

Jennie Crews

Stephanie DelCampo

Josef Díaz

Elizabeth Earls Carrie Eaton

Catherine Goldberg Alex Hauger

Richard Luarkie

Rhett Lynch Sean McCabe Cathryn McGill Rebecca Owen

Tiffany Sanchez Tracy Sherman Catherine Baker Stetson

Corinne Thevenet

Kenton Van Harten

Tracey Weisberg

Joyce Weitzel

Alan Weitzel, Museum Board of Trustees

Andrew Rodgers, President + CEO

Andrew Connors, Museum Director

ALBUQUERQUE MUSEUM BOARD OF TRUSTEES

Alan F. Weitzel, Chair

Helen Atkins Vice Chair Paul M. Mondragon Secretary/Treasurer

Chris Baca Sherri Burr, Ph.D

Hilma E. Chynoweth

Steve Gallegos Christine Glidden Scott Schaffer, Albuquerque Museum Foundation

Pamela Weese Powell

Sen. William Tallman

A MESSAGE FROM THE EXECUTIVE DIRECTOR ANDREW RODGERS

In the early 1900s, Aldo Leopold killed a wolf. At the time, he was a young man working for the Forest Service in Arizona and New Mexico and was assigned to kill predators bothering the local ranchers. After fatally shooting the wolf, he watched the “fierce green fire dying in her eyes.” The experience changed him. He wrote about it in “A Sand County Almanac” in 1944, in which he fostered a vision for Land Ethic which changed our nation’s relationship to nature.

Aldo, who lived for a time in Albuquerque, became a fierce advocate for forest preservation and wildlife protection. He helped found the Wilderness Society and spent his life pursuing a more sustainable balance between nature and humans. Today he’s recognized as one of our most important environmental pioneers.

As the Albuquerque Museum presents a series of important exhibitions this fall featuring work by five artists about how we interpret and interact with

the land around us, I find myself thinking back to Aldo Leopold.

He was a prolific writer and left a legacy of powerful philosophies that still resonate. Consider, for instance, this deceptively simple advice: “Ethical behavior is doing the right thing when no one else is watching—even when doing the wrong thing is legal.”

Aldo’s words have been a guiding philosophy in my own life—and I’m proud the Albuquerque Museum Foundation intuitively believes the same. This summer you may have seen we returned some looted antiquities to Mexico (see page 15). It’s an important demonstration of our intent to always do the right thing.

Thank you for being a member. We couldn’t do this without you!

Andrew Rodgers President & CEO arodgers@albuquerquemuseumfoundation.org

VISIT US AT:

Land and Landscapes

Five artists intersect in their depiction of the natural world.

THIS FALL, THE ALBUQUERQUE MUSEUM PRESENTS FOUR EXHIBITIONS IN WHICH FIVE DIFFERENT ARTISTS REACT TO THE LAND, ECOLOGY, AND THE CHANGING ENVIRONMENT.

Anchored by Thomas Cole’s Studio: Memory and Inspiration, the exhibition

reassembles the paintings that were in the artist’s studio when he died in 1848, exploring in particular the significance of Cole’s late work. The influential artist and architect was key to the development of the Hudson River School and served as a mentor and a force in legitimizing landscape painting.

When Cole built his studio, there was no other place to see his work—the Metropolitan Museum of Art did not yet exist, and the Wadsworth Atheneum in Hartford, Connecticut, had only one or two of his paintings. After an early death at 47, Cole’s purpose-built studio in Catskill, New York, became a repository

Thomas Cole, Landscape with Clouds, 1846–1847, oil on canvas, 48 × 72 in., Private Collection

Opposite: Thomas Cole's Studio: Memory and Inspiration Installation View © Peter Aaron OTTO

ʻʻ

[The land is] a subject that to every American ought to be of surpassing interest; for whether he beholds the Hudson mingling its waters with the Atlantic, explores the central wilds of this vast continent, or stands on the margin of the distant Pacific, he is still in the midst of American scenery—it is his own land; its beauty, its magnificence, its sublimity, all are his; and how undeserving of such a birthright if he can turn towards it an unobserving eye, an unaffected heart!

—THOMAS COLE

higher than landscapes. Cole produced paintings drawn from specific moments, illustrating and celebrating landscape through inclusion of historical elements.

“There was complement and conflict, as he made landscape more important than just painting scenery,” says Kelly.

and even a shrine. Artists could contact the family and arrange private visits.

In “Essay on American Scenery,” (1841) Cole makes his case for the beauty of the American landscape, and the importance of landscape art in the cultural canon. “Did our limits permit,” he wrote, “I would endeavor more fully to show how necessary to the complete appreciation of fine arts is the study of scenery, and

how conducive to our happiness and well-being is that study and those arts…”

A major focus for Cole was the effort to legitimize landscape painting, thought at the time to be less important than history painting. Franklin Kelly, senior curator at the National Gallery of Art in Washington, DC, and curator of this exhibition, says Cole was ambitious and aware that various types of art were ranked

The Thomas Cole National Historic Site rebuilt Cole’s studio, and the artifacts and art in the exhibition reflect both past works and the promise of what would have been had Cole lived longer. Kelly says the most representative of this potential is the unfinished Landscape with Clouds. “I could see that it was empty and almost modern and abstract,” Kelly says of an early encounter with the work. “The painting was like a door opening into his mind and into his creative process. The landscape—it was enigmatic, mysterious,

LAND AND LANDSCAPE

“Essay on American Scenery” (1841)

and beautiful for what it both was and wasn’t.” In the lower left corner are the ghostly presence of an angel and a small child holding a cross. “It gives you a sense of his ambition,” says Kelly.

Cole did indeed have big plans for his future, both in the construction of the studio and in the unfinished works that illustrated and venerated the land surrounding the studio. The 19thcentury Catskills were not the pristine, light-filled and mysterious landscapes Cole presented. The reality was more industrial with tanneries, the railroad, and steel factories. Cole’s body of work turns reality into allegory: the sawn trees present in some of his paintings are a slight nod to human intrusion, but other evidence of the built environment has been studiously deleted. For example, Cole’s rendering of Catskill Creek doesn’t include the railroad tracks or hints at industry that existed at the time. Cole’s deletions say as much as his imaginative additions—there are consequences to the rush of civilization and to man’s intrusion. In that way, Cole was prescient.

“Cole was painting before we even knew the word ‘ecology,’” says Kate Menconeri, chief curator and director of curatorial affairs at the Thomas Cole National Historic Site, who coordinated the exhibition and edited the accompanying catalog. "[When Cole was working] Darwin has not yet been published. This idea that the land is a system and we are part of that doesn’t exist yet.”

Responding to Cole

Over the past few years, the Thomas Cole National Historic Site has invited contemporary artists to create responses to Cole. The artist owned a small camera obscura, using it to capture and frame the landscape and define the composition for his paintings. So it was appropriate that

photographer Shi Guorui used a camera obscura to recreate Cole’s landscapes as photographs, using sketches of his paintings to match the locations. Shi, born in Beijing, moved to Catskill in 2014 and lives and works just a mile from the Thomas Cole National Historic Site. He had been using a camera obscura long before discovering Cole. His works in Ab/Sense–Pre/Sense are pinhole photographs of the area, sometimes the exact views Cole painted.

Shi’s process of setting up a giant camera obscura in the woods required building ten- to 20-foot tents and the rental of a 20-foot box truck. Exposures can take as long as 36 hours, during which time Shi remained inside the tent. Because moving items disappear or blur

CAMERA OBSCURA

The exhibition features a walk-in camera obscura, which will bring the outdoor environment into the gallery. A camera obscura (which literally translates in Latin to "dark room"), creates an image when light passes through a small aperture into a darkened chamber and creates an inverted image.

during long exposures, Shi’s images are missing people—just as Cole edited out the tourists on the viewing platform at Kaaterskill Falls.

These camera obscura images have movement and an almost electric light. “It’s a literal record of time and light at a place, a way to slow down time and be mindful of the natural world,” Menconeri says. For Shi, Cole’s locations and artifacts inform a new version, but the large prints, with their depth of field, light, and detail also speak to Chinese landscape scrolls of the Northern Song Dynasty (960-1127).

“We invited artists to create site specific works ... Some responded directly, like Shi,” says Menconeri. “Other artists are responding to what’s happening now in our own world. Shi retraced Thomas Cole’s footsteps and went to the places that Cole painted 180 years before. He studied his writing and made new interpretations of the places.” The way artists today approach the genre is far more varied than in Cole’s time, such as making landscapes out of natural material itself—using soil and earth, or through photographic processes or sculpture. “Or [Shi] reimaging the

landscapes through light and time, or Kiki Smith is thinking about elements that make up land,” she says.

Smith also lives in Catskill. The multi-disciplinary artist focuses on the natural world, myth, cycles, and the interconnectedness between humans and the land in which they live. While Cole’s landscapes encompass light-filled views, Smith animates the details, focusing her artistic lens on the animals, plants, stars, and pollinators. “I think more about being in a specific place, rather than being in a landscape. A place reveals itself to you over time … a place can hold so many different perceptions and meanings manifesting very different aspects of a place,” Smith says.

Smith’s From the Creek was originally conceived as an installation in Cole’s house and studio. The artist presents an expanded version for the Albuquerque Museum exhibition, developing works that both respond to Cole directly and go beyond, addressing themes such as art, landscape, and history, balancing the built and natural world. “Think of it as a wild kingdom of animals, [Smith

Thomas Cole, Study for “Catskill Creek,” c.1844–45, oil on wood, 12 × 18 in. (Framed: 15 ¾ x 21 5/8 in.), National Gallery of Art, Washington, Avalon Fund, 1998.67.1

Below: Kiki Smith, Fortune, 2014, cotton Jacquard tapestry, 9' 5" × 6' 3" (287 cm × 190.5 cm), Published by Magnolia Editions, Photograph by Tom Barratt, courtesy Pace Gallery, © Kiki Smith, courtesy Pace Gallery

Opposite: Shi Guorui, View of Catskill Mountains, New York, February 6-7, 2019; 2019; unique camera obscura gelatin silver print; 44 15/16 in. x 115 in.; collection of the artist, image courtesy of the artist

is] not a conventional horizon line landscape artist,” says Menconeri. In the installation at the Museum, Smith didn’t want to include labels on the works, to underscore the feeling of encountering the art in the forest.

From New York to New Mexico

"Nature as a site untouched by humanity is a ghost that haunts us,” Nicola López wrote in 2020 when the Museum exhibited Haunted in the lobby.

ON VIEW

SHI GUORUI: AB/SENSE – PRE/SENSE

October 8, 2022 –February 12, 2023

KIKI SMITH: FROM THE CREEK

October 8, 2022 –February 12, 2023

NICOLA LÓPEZ AND PAULA WILSON: BECOMING LAND

October 8, 2022 –February 12, 2023

THOMAS COLE’S STUDIO: MEMORY AND INSPIRATION

November 19, 2022 –February 12, 2023

López resides in both New York and Santa Fe, and is personally familiar with the Hudson River Valley from childhood journeys through the area and feels connected to both places. The exhibition, Nicola López and Paula Wilson: Becoming Land, allowed her to focus on the idea of how landscapes are changing and to reflect on human influence on the land. “Landscape painting implies the idea of human vision, or surveying the land, and embedded in that gaze is an implied hierarchy—a sense of human ownership and conquest,” she says. The actual human impact on the land is evidenced, for example, by the almost ghostly and transparent architectural structures imposed on the desert landscapes in her work. “The insertion of a piece of imaginary architecture is an act of questioning the position and role of humanity in this landscape, alluding to an intervention, or a dominance,” Lopez says.

Like Shi, López uses the process of light sensitivity in creating cyanotype

prints. Both the camera obscura and the cyanotype require the participation of the natural world—the sun and the environment—as collaborators in the work.

Thomas Cole’s efforts to elevate “landscape” and his questioning of the human impact on the land set the stage for artists like López and fellow New York/New Mexico transplant Paula Wilson to respond to the land and to consider landscape in reference to our current sensibilities about ecosystem, environment, and climate change.

Wilson’s work includes large-scale figures that contain landscape views, integrating different perspectives, seasons, and relationships. Other works show current technologies such as phones as part of the relationship between humans and the natural world. Her work offers a nuanced exploration of nature, incorporating plants and animals, and human technology and debris which are undeniably and increasingly part of our evolving connection to the land.

Nicola López; Apparition I; 2019; collograph on archival inkjet print on paper; 21 ½ x 31 ¼ in., Edition of 8; Published by LeRoy Neiman Center for Print Studies; image courtesy of Nicola López

Left: Paula Wilson, Eye Spots, 2021, two-color lithograph with chine collé on Thai Kozo, white Arches cover, and Gampi papers, 27 ¾ x 22 in. (sheet), image courtesy of Paula Wilson

Connors Appointed to Presidential Advisory Committee

PRESIDENT JOE BIDEN RECENTLY APPOINTED ALBUQUERQUE MUSEUM DIRECTOR ANDREW CONNORS

TO THE WHITE HOUSE CULTURAL PROPERTY ADVISORY COMMITTEE.

The Cultural Property Advisory Committee reviews requests for import restrictions submitted to the United States by foreign governments, considers proposals to extend existing agreements and emergency actions, carries out ongoing review of current import restrictions, and provides reports of its findings and recommendations to the Department of State, according to a White House media release.

“This is a surprise and an incredible honor to serve the federal government helping the international community

protect national heritage and patrimony,” says Connors, who doesn’t know who nominated him or even that he was a candidate until two weeks before the announcement.

Connors is one of three members of the 11-person committee with expertise in museums and international cultural property.

The Convention on Cultural Property Implementation Act established the 11-member presidentially appointed Committee to ensure that the U.S. government receives advice from diverse public interests in cultural property matters. The Committee includes two members who represent the interests of museums; three members who are experts in archaeology, anthropology, ethnology, or related fields; three members who are experts in the international sale of cultural property; and three members who represent the interest of the general public.

THOSE (UN)FAMILIAR FACES

November 5, 2022–July 9, 2023

Brooks

Our faces carry our collective heritage and individual histories. We often describe another person in relation to their ancestors: “He has his father’s chin” or “She has her grandma’s nose,” and we rely on family portraits to support those claims. Photographers were taught to study the face of a client and, through studio lighting and re-touching, accentuate features indicating “positive” character traits, while diminishing or removing features with “negative” traits. In the 1920s 1940s, a master re-toucher named Harold A. Brooks owned a photography studio in Albuquerque. Tens of thousands of Brooks Studio portraits are held in the Museum’s photo archives, both untouched and re-touched. In Those (un)Familiar Faces, we look at a selection of these portraits side-by-side in an examination of photographic techniques and the “ideal” face.

DAVID NUFER

A Long Journey

An acquisition links agricultural traditions

V ISITORS TO THE ALBUQUERQUE MUSEUM WEST SCULPTURE GARDEN will find a new structure next to Charles Strong’s Cervantes, perhaps a fitting neighbor to an 18th century stone hórreo (granary in Spanish). The hórreo came to its permanent home at the Albuquerque Museum from a small town

on the border between Galicia, Spain and Portugal by way of the Design District in Miami, where it was center stage in a high-end clothing and leather-goods retail store and played an annual role in Art Basel Miami.

The stone structure was installed in the Sculpture Garden in July and opened to the public in August. It is 36 feet long

and supported by 20 vertical stone pillars. Hórreos are elevated to protect stored grain and other crops from rodents and the damp environment, and are held together only by the grace of gravity. Wooden slats contain the materials but also allow air to circulate around the grain or other crops that are stored within. They are still in use in northwestern Spain and Portugal.

The Spanish luxury fashion company Loewe installed the hórreo in its flagship U.S. store in Miami’s Design District in 2015. During Art Basel Miami, a global art fair that connects collectors, galleries, and artists, the hórreo was a centerpiece in the Loewe Foundation’s Chance Encounters exhibition curated by Loewe Creative Director Jonathan Anderson. “This structure, which represents the rural, the artisanal, the slow and thoughtful work, becomes during Art Basel Miami a ‘temple’ of art that represents the idea that tradition and craftsmanship, innovation and contemporary, are far [from] being antagonistic: they are rather complementary,” Sheila Loewe, president of the Loewe Foundacion in Madrid told Arteinformado in a February 2020 interview.

The hórreo’s journey to Albuquerque began with an entirely different exhibition. Cynthia Garcia, Museum administrator, has spent a lot of time in Spain, and she developed great

HÓRREO

connections with the staff of the Hispanic Society Museum & Library in New York while the Museum hosted the exhibition, Visions of the Hispanic World in 2019. Garcia says working on that exhibition led to a friendship with the Director of Public Relations, Programs, and Special Events, Mencia Figueroa from Madrid. In fall 2021, Loewe decided to move the hórreo out of its store and find a permanent home for it, but wanted a place where it would fit in, Garcia says, so they approached the Hispanic Society. However, installing a stone building in the Society’s already crowded Manhattan campus wasn’t an option. Mencia Figueroa suggested that perhaps the Albuquerque Museum was an option, given the deep historical link between Albuquerque and Spain, and the shared traditions of agriculture. “[Figueroa] is the catalyst and first to think that maybe New Mexico would offer a welcoming new home to the hórreo,” Garcia says.

When Museum Director Andrew Connors heard about the possibility, he says he got excited about it, but would not have gone forward without the full support of the curatorial team, given the logistical challenges of moving an 18th century stone building across the country.

Curator of Exhibitions Stephen Hutchins planned the structure’s location and delivery. Garcia says originally, she thought of Casa San Ysidro as a potential location given its strong agricultural connection, but the West Sculpture Garden was a safer option. Hutchins used Google maps, imposing an image of the hórreo on an image of the area in the sculpture garden to create a digital rendering of how it would look when installed. Once the site was planned and the paperwork completed, the hórreo was shipped in two semi trucks from Miami and took a week to assemble in Albuquerque.

The Loewe Foundation generously gave the Museum two gifts—one of the hórreo itself, and the other the cost of the shipping and installation. The Albuquerque Museum Foundation supervised the financial transactions with the Loewe Foundation and the shipping and installation companies, while the City of Albuquerque’s legal team worked with Loewe’s legal team to iron out the complex and unique Deed of Gift.

The stone and wood building underscores how connections made through exhibitions benefit both the narratives the Museum brings to its visitors, and deepens modern and historical connections between the two countries. Connors, who was thrilled that the Museum staff was on board the project, says, “It’s exciting to have a history object in the sculpture garden that hints at the complex story of agriculture and the shared histories between the Iberian Peninsula and New Mexico.”

The hórreo will be dedicated at the Museum during the October 20 Third Thursday event.

JILL HARTKE

JILL HARTKE

JILL HARTKE

DAVID NUFER

Heritage Field is growing native plants for seeds which are in demand for habitat restoration projects. This summer's drought meant using a drip irrigation system instead of the acequia method.

Fruits of the Land

Casa San Ysidro’s Heritage Field produces native seeds for restoration

THE LAND AND THE RIVER—HOW THEY ARE CULTIVATED, REVERED, AND CARED FOR, IS INTEGRAL TO THE RIO GRANDE VALLEY’S HISTORY.

Heritage Field at Casa San Ysidro is a 2.38 acre strip of farmland that is being used to benefit the Rio Grande Valley and its citizens. In 2008, Dr. Ward Alan Minge donated the land to the Albuquerque Museum and established a Deed of Conservation Easement that preserves the field from development and keeps the land in agricultural production.

Last year, Rio Grande Return, a nonprofit whose mission is to protect and restore watersheds, waters, and the native plants and wildlife, partnered with the Museum to manage the field. They began to develop a procedure of best practices for agriculture and education.

Agriculture has been integral to the way of life in the Village of Corrales for centuries, driven by the flow of water

that irrigated the land. Corrales' acequia, or irrigation ditch, was dug in the early 18th century to guide irrigation water throughout the village. However, like most of the Southwest, Corrales is experiencing a drought and acequia irrigation has been inconsistent. Rio Grande Return’s Habitat Conservation Director Cameron Weber has equipped the Heritage Field with drip irrigation through a system of acquired water tanks, a hydro pump, and water lines.

With the help of the Youth Conservation Corps, Sandoval County Master Gardeners, and the Institute for

Applied Ecology, the farm program is growing. “We have two new hires who have spent a lot of time at Casa San Ysidro so we have more hands involved,” says Weber. “Instead of growing plants by putting seeds in the ground and depending on ditch water, we used funding through the Healthy Soils program to contract with Santa Ana Native Plants. We planted 5000 little bitty plugs to grow out eight species of native plants, and also planted through biodegradable mulch made out of paper.”

The native plants will produce seeds which are in demand for habitat restoration projects. And the field has become home to several wildlife species, including falcons, rabbits and a variety of pollinators. In addition, Weber and the Heritage Field team are creating an outdoor classroom, complete with a shaded structure, for programming in traditional agricultural practices, permaculture, ecology, and community farming. An ethnobotanical demonstration plot with 55 container plants, shrubs and vines includes plants that have historic and contemporary use. The demonstration garden will be used as part of classes about the territorial period, and as an opportunity to re-establish small grains and plants used for dye and fiber.

VISIT CASA SAN YSIDRO AND HERITAGE FIELD

FOUNDATION

Youth Program Receives Donation

CHARLES E. WOOD HAD DIVERSE AND WIDE-RANGING PHILANTHROPIC

INTERESTS, according to his son, Stephen Wood. One of those was the Foundation's Youth Education programs to which he bequeathed $100,000. The program supports youth art education such as Magic Bus, bringing students to the Museum and Museum art education to students.

Wood passed away in January 2022. A proud Albuquerquean, Wood was a supporter and patron of the arts. “My mom and dad were symphony members, loved art, and loved exhibitions about architecture in particular,” Stephen says. Over the years, his father had given money to the Magic Bus program. He thought it was a unique opportunity for children to experience everything that the Museum has to offer.

“New Mexico is so spread out and young people don’t have access. He thought it was really cool that it would connect young kids to art. He had a real desire to reach out and touch young minds and have a chance to have a dramatic impact.”

MEMBERS SPEAK!

“WE ENJOYED A LOVELY MORNING WITH FRIENDS at the Albuquerque Museum. We compared our reactions to the Wit, Humor and Satire exhibit; had fun finding our homes on the giant “floor map” in the Only in Albuquerque Gallery; and finished off with a little (too much) shopping at the wonderful Museum Shop, which always has some great finds. Our friends decided to join the Museum and did a little more shopping to take advantage of their member discount. Our fun morning concluded with a delightful chat with Mary Beth, the Museum’s Member Engagement Manager, who gifted us a coffee mug decorated with a copy of Sarape/Saltillo Blanket to celebrate our friends joining the Museum. A great morning indeed.” —Carol Levy

Left to right: Craig and Carol Levy, Sandra and Arnold Farley

Five Member Favorites

Learn Something New

The Museum’s well-trained docents provide walking tours of Old Town, the Sculpture Garden, Casa San Ysidro and the galleries. You may have visited the Museum many times, but a guided tour provides a new perspective.

Feel-Good Feels

Benefits, yes, but it is also the emotional connection to an organization (and community) that plays an important role in bringing art and history to Albuquerque.

SOMETIMES MEMBERS FORGET TO TAKE ADVANTAGE OF THEIR MEMBER BENEFITS. As we approach the holiday season, here are five reasons to be a member and visit the Museum.

Unique, Authentic, Local

The Museum Store offers Double Discount Days, the first weekend in December, where members get 20% off store items. The store has unique pieces for the home, jewelry for all tastes, clothing, local food items, even books and fashionable reading glasses. Members receive a 10% discount all year-round.

Members See it First

Member preview openings occur the day before the exhibition opens to the public and are more intimate, less crowded and typically a curator or museum director is on hand.

Members and Friends

Guest passes provide a great opportunity to introduce friends and family to the Museum. This fall and winter as you welcome visitors for Balloon Fiesta or the holiday season, add the Museum to your touring agenda. Passes are an added benefit to the Friend level and above.

MEMORIALS AND TRIBUTES

IN MEMORY OF BETTY BLACKWELL

IN MEMORY OF GRANDMA, JULIE MYERS Theo Myers

IN MEMORY OF RAYMOND PEÑA

Bennie Blackwell

Therese Peña Anonymous

IN MEMORY OF ROBERT "BOB" PETERS Contemporary Arts Society

IN MEMORY OF TOM SLANEY Deb Slaney and James Iwerks

IN HONOR OF DOUG BARRETT UNMH Child Neurology

IN HONOR OF TERI AND PAUL NEVILLE Rebecca Drechsel

THE ALBUQUERQUE MUSEUM FOUNDATION CELEBRATED THE REPATRIATION OF A DOZEN ANCIENT SCULPTURES in a ceremony on July 27, 2022. The local Consulate of Mexico accepted Olmec greenstone sculptures, a figure from the city of Zacatecas, bowls that were buried with tombs and other clay figurines that date back thousands of years.

“We appreciate and recognize actions taken by the Albuquerque Museum Foundation to voluntarily return these archaeological pieces back to the Mexican nation,” said Consul of México Norma Ang Sánchez. “They are important elements of memory and identity for our native communities, and we are pleased they will be recovered.”

Pictured: Consul of México Norma Ang Sánchez with Albuquerque Museum Foundation President and CEO Andrew Rodgers

ALBUQUERQUE MUSEUM AND ALBUQUERQUE MUSEUM FOUNDATION VOLUNTEERS WERE

HONORED at the annual Volunteer Recognition Breakfast on June 26, 2022.

Top Center: Renata Manz and Alan Weitzel. Top Right: Nancy Lindas and Sara Sternberger. Bottom: Dean Sherer, Lynn Ribble, Renata Manz, Kathleen Metzger, Steve Pettit, and Sharon Wright.

Photos: Nora Vanesky

Front Cover

Thomas Cole, Study for The Cross and the World—The Pilgrim of the World on his Journey, 1846-47, oil on canvas, 12 × 18 in. (Framed; 16 ½ x 22 ½ in.), Albany Institute of History & Art Purchase, 1943.82

COMING SOON TO THE ALBUQUERQUE MUSEUM

DANNY LYON: JOURNEY WEST

March 11–August 27, 2023

Photographer Danny Lyon became internationally known and celebrated through his photographs of the Civil Rights Movement, the Chicago Outlaw Motorcycle Club, and the Texas prison system. Capturing the energy of an era of revolution, Lyon documented major figures such as John Lewis and Muhammed Ali, while also photographing and getting to know people who are largely overlooked—undocumented workers, incarcerated people, children playing in the ditches of Bernalillo. Danny Lyon: Journey West features a selection of 175 photographs, films, and montages spanning his 60-year career. Throughout most of that career, Lyon has been a resident of Bernalillo, creating sensitive portraits of his family, friends, and neighbors. Lyon’s work is considered a force in defining the role of photography in art.

Danny Lyon, Crossing the Ohio River, Louisville, Kentucky, 1966, gelatin silver print on paper from Nikon F 35mm negative, image courtesy of the artist, © 2022 Danny Lyon