Albuquerque Museum Member Magazine Spring 2022

Albuquerque

The Magazine of the Albuquerque Museum Foundation — Spring 2022

Wit, Humor, Satire | La Malinche: Traitor, Survivor, Icon | 2021 in Review

Thank you sponsors of Magic Bus Every year, the Albuquerque Museum Foundation underwrites the cost for 10,000+ students from our community to connect with art and history exhibits at the Albuquerque Museum, offering many children their only chance to visit a museum. By providing complimentary buses, underwriting take-home art activities, and supporting the creation of docentled video tours, the Foundation sustains a vital educational resource for our community.

ALBUQUERQUE MUSEUM FOUNDATION PO Box 7006, Albuquerque, NM 87194 505.677.8500 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.

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 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

A MESSAGE FROM THE EXECUTIVE DIRECTOR

I

ANDREW RODGERS recently celebrated my

fabulous to realize we

one-year anniversary in

all share the same work

this role. What are the

ethic, love for the Museum,

highlights for me? (I’m so

and passion for serving

glad you asked!)

you, our supporters and

This past year I truly

members.

discovered New Mexico

We sincerely hope

and fell in love with the

our commitment to you

glorious landscapes

is evident in everything

and sunsets, rich history,

we do: in all our

distinctive culture, and architecture, and

communications and updates, the

most importantly, the people!

personal attention we try to provide

I’ve loved meeting so many of you at

to contributors and members at every

our member preview days and hearing

level, and our ongoing efforts to make

Shelle Sanchez, Ph.D., Director

your thoughts on the latest exhibitions.

our events as safe, enjoyable, and

ALBUQUERQUE MUSEUM FOUNDATION

You’ve made this year memorable in so

inclusive as possible.

Tim Keller, Mayor

BOARD OF DIRECTORS 2020-21

many wonderful ways: you came back

Thank you for your enthusiasm

Perry Bendicksen, President

Sean McCabe

to the Museum in droves these past

for the Museum, and for the opportunity

Beverly McMillan

Scott Schaffer, President Elect

Becca Owen

few months; rejoined or upgraded your

to serve you. The past year was great,

memberships; shopped in our Museum

but I suspect the coming year will be

Santiago Rivera

Store; and shared countless stories,

even better!

Patricia Kurz, Secretary

Kathy Rowe

laughs, and tears with us. We cannot

Tiffany Sanchez

Joni Pierce, Past President

Sara Sternberger

thank you enough.

Roddy Thomson, Treasurer

Alan F. Weitzel, Museum Board of Trustees Hal Behl Stephanie Del Campo Josef Díaz Elizabeth Earls Carrie Eaton Catherine Goldberg Alex Hauger

Max Parrill

the incredible team I get to work

Corinne Thevenet

alongside at the Foundation. It was

President & CEO arodgers@albuquerquemuseumfoundation.org

Tracey Weisberg Joyce Weitzel Andrew Rodgers, CEO + Executive Director

In This Issue:

Andrew Connors, Museum Director

Traitor, Survivor, Icon............................................................................................................ 2 The Printer's Proof: Paper and Conversation................................................................... 4

Rhett Lynch ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Alan F. Weitzel, Chair

Sherri Burr, Ph.D

Helen Atkins Vice Chair

Wayne G. Chew

Paul M. Mondragon Secretary/Treasurer

Donald Couchman

Joni Pierce, Albuquerque Museum Foundation

Dr. Janet SamorodinMcIlwain

Beverly Bendicksen

Andrew Rodgers

Kenton Van Harten

Anne Keleher

Chris Baca

Additionally, I was thrilled to discover

Catherine (Cate) Baker Stetson

Hilma E. Chynoweth

Wit, Humor, Satire................................................................................................................ 7 A Carreta for Casa San Ysidro............................................................................................. 8 Foundation News............................................................................................................... 10

Christine Glidden

Pamela Weese Powell

V I S I T U S AT:

AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org

1

THE LEGACY OF L A MALINCHE

Left: Jesús Helguera (Mexican, 1910–71), La Malinche, 1941, oil paint on canvas; 6 ft. 9 in. x 5 ft. 7 in.

Below: Santa Barraza (Chicana, born 1951), La Malinche, 1991, oil paint on metal; 9 x 8 in. Private collection, Pittsburgh, PA. © Santa Barraza.

Traitor, Survivor, Icon

T

The Legacy of La Malinche

RAITOR, SURVIVOR,

symbolic importance and the ways artists,

Candelaria. Her mother even reportedly

scholars, activists, and everyday women

held a fake funeral to explain Malinal’s

LA MALINCHE examines the

have appropriated her and used her as

disappearance. It is almost impossible

historical and cultural legacy of

means of expression.

to know the real story, as Cortés barely

ICON: THE LEGACY OF

the Indigenous woman at the heart of the

Malinal was born around 1500, eldest

Spanish Conquest of Mexico (1519-1521).

child of an Aztec cacique (chief). Malinal’s

early historical accounts are based

A controversial and enigmatic figure

father, according to Hernán Cortés'

merely on Castillo’s work. He was Cortés’

with a complicated life story, the woman

fellow conquistador who documented

companion, so may not have been the

known colloquially as Malinche played

events, Bernal Diaz Del Castillo (1495-

most reliable narrator. Malinal was a

a central role in the major and minor

1584), died when she was young. Her

polyglot, fluent in both Nahuatl (Aztec)

transactions, negotiations, and conflicts

mother married another cacique. To

and the Mayan dialects of the Tabascans.

between the Spanish and the Indigenous

preserve the inheritance of the first-

populations of Mexico. Curated by the

born son, Malinal was sold (under the

Translator and Survivor

Denver Art Museum, The Legacy of La

cover of night) to the ruling chief of the

The story goes that Hernán Cortés

Malinche establishes and examines her

Tabascans, according to scholar Cordelia

showed up in Tabasco in 1519. The

2

SPRING 2022

Art. History. People.

mentioned Malinal in his papers, and

THE LEGACY OF L A MALINCHE

local cacique gifted Cortes with 20 Aztec

representation of female identity speaks

captives, Malinal included. The Spaniards,

to the very nature of what it means to be

who referred to her as La Lengua (the

Latina,” Albuquerque Museum Curator

tongue—or translator) baptized her Marina,

Josie Lopez says. “Of mixed race, and

and gave her the honorific of Doña,

experiencing a push and pull between her

representing her royal lineage, education,

indigenous lineage, her enslavement, and

and facility with languages. Her fellow

her role today in feminist Latina culture.”

enslaved Nahua people added the “tzin” as a sign of respect. She was sometimes

La Malinche as Archetype

referred to as Malintzin Tenepal—Tenepal

Victimizer and victim, indentured and

meaning “One who speaks with liveliness.”

yet powerful, symbolic progenitor

Doña Marina’s life became complicated:

of modern Mexico, the virginal yet

She was Cortés’ mistress; eventually

violated mother, Malinche’s legacy

mother to Cortés’ son Martin, reputedly

is complicated. “For five centuries

one of the first mixed-race children born

Malinche has remained a contentious

in Mexico. Notably she was a woman who

figure, revered and reviled on both sides

accompanied Cortés to the battlefield and

of the Mexico-U.S. border,” Denver Art

had great influence on the outcome of the

Museum Curator Victoria Lyall writes. “In

conflict. “La Malinche’s revival as an iconic

examining and presenting the legacy of Malinche from the 16th century through today, we hope to illuminate the multifaceted image of a woman unable to share her own story, allowing visitors to form their own impressions of who she was and the struggles she faced.”

ON VIEW TRAITOR, SURVIVOR, ICON: THE LEGACY OF LA MALINCHE June 11–September 4, 2022

Top Left: Gloria Osuna Pérez (Mexican American, 1947–99), La Malinche, 1994, acrylic paint on canvas; 30 x 30 in.

Collection of Xoxi Nayapiltzin. © and courtesy the estate of Gloria Osuna Pérez.

Top Right: Alfredo Arreguín (Mexican American, born 1935), La Malinche (con Tlaloc) (Malinche [with Tlaloc]), 1993, oil paint on canvas; 48 × 36 in.

The Keller Family. © Alfredo Arreguín, image courtesy Rob Vinnedge Photo.

Left: Emanuel Martinez (Chicano, born 1947), La Malinche, 1987. Bronze; 15 x 17 x 13 in. The Abarca Family Collection, Denver. © Emanuel Martinez.

Photo © Denver Art Museum

Traitor, Survivor, Icon: The Legacy of La Malinche is organized by the Denver Art Museum. This exhibition has been made possible in part by a major grant from the National Endowment for the Humanities: Democracy demands wisdom. Additional funding is provided by Furthermore: a program of the J.M. Kaplan Fund, University of Denver: College of Arts, Humanities & Social Sciences, the donors to the Annual Fund Leadership Campaign, and the residents who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine and CBS4.

Any views, findings, conclusions or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.

AlbuquerqueMuseumFoundation.org

3

THE PRINTER'S PROOF

Paper and Conversation

T

A relationship between a printer and artist in detail

HE PRINTER’S PROOF

artists, it’s one-to-one, and I get to know

influential minimalist artist and founder

FOCUSES ON HOW

them, see what they like.”

of the Chinati Foundation for nearly three

ARTISTS AND PRINTERS

Al Taylor, and lately, Sofia Coppola who

Texas, as a tourist, a casual conversation

SHAPES THE FINAL ARTWORK. For

makes collages when she’s not making

with Judd’s assistant led Arber to present

printer Robert Arber, that relationship

movies. He may waffle on whether

a proposal for a print shop on the site.

often begins with a glass of whiskey and

Donald Judd falls into the friend category,

Arber says after the presentation, no one

conversation. “When I’m working with

but Arber has been connected to the late

asked a single question. “I had my best

4

COLLABORATION BETWEEN

SPRING 2022

Art. History. People.

Arber has worked with Bruce Nauman,

decades. After visiting Chinati in Marfa,

THE PRINTER'S PROOF

Donald Judd, Untitled, 1992-93/2020, set of 20 woodcuts, edition of 25 (Foundation Stamped), 2 Proofs, 5 AP, 5 P, printed by Robert Arber: Arber and Son Editions, Marfa, Texas; Published

by Judd Foundation. Donald Judd Art© 2021 Judd Foundation/Artists Rights Society (ARS), New York.

Opposite page: Installation view at Albuquerque Museum.

Photo by David Nufer

cowboy shirt on, and as I was walking

Among the works on view in the

out, Judd said, ‘nice belt buckle.’ That

exhibition is the untitled Judd woodcut

bought in Korea was not really art paper.”

The brown flecks that appeared were

was all. No questions. Nothing.” Given

suite, which Arber started working on

the result of a process called foxing,

the silence, Arber says he was sure he

with Judd in 1992, and finished in 2020.

and while you can bleach the paper and

had blown the presentation, but a check

“We unofficially called it the Korean

kill the mold, it’s labor-intensive and

arrived a week later for the full amount

project,” Arber says. The story goes that

best left to art conservators. The project

he had proposed, including enough

Judd found some beautiful handmade

languished without the proper paper.

to purchase one of the biggest Takach

paper in Korea and purchased a lot of it.

Judd became ill with lymphoma and

presses ever made. Later, “we walked

He returned to Marfa and presented the

died in 1994. The print shop at Chinati,

around the grounds and Judd said,

paper to Arber: “‘Take this. This is what

with no one to run it full-time (Arber was

‘pick out a building.’ So I did, but Judd

I want you to print on,’” Arber recounts.

operating his own shop in New Mexico)

said, ‘Nah, how ‘bout this one.’ He had

This was in 1991. Arber presented Judd

also went dormant. The proofs, blocks,

always had one in mind.” The famously

with proofs, and Judd signed off on the

and color samples all went into storage.

taciturn and prickly Judd, as the New York

colors and the size of the edition.

Times wrote in his obituary, could also

“All of a sudden we realized that the

purchased an old movie theater in

be quite generous.

paper had mold in it. The paper he

downtown Marfa, converting the

In 1998, Arber and his wife Valerie

MASTER PRINTERS SUNDAY, MAY 1, 1:00 - 2:00 P.M. Robert Arber and Bill Lagattuta talk about technical elements of printmaking, in a panel moderated by Marjorie Devon, former director of the Tamarind

ON VIEW

Institute in Albuquerque.

THE PRINTER’S PROOF: ARTIST AND PRINTER COLLABORATIONS

Donald Judd and Elaine de Kooning. Bill Lagattuta worked as a master printer

Through May 15, 2022

Arber has worked with a wide range of artists including Bruce Nauman, and shop manager at Tamarind Institute until 2015. Lagattuta’s long career included collaborations with artists Jim Dine, Hung Liu and Roy Deforest among others. During her tenure, Devon spearheaded the Institute’s efforts at growing collaborative lithography beyond US borders.

AlbuquerqueMuseumFoundation.org

5

THE PRINTER'S PROOF

RECENT ACQUISITION The Albuquerque Museum recently purchased the Ron Adams painting, Madame downstairs to a print shop and the

Butterfly. Known mostly for

upstairs projection room into an

his role as a printmaker and

apartment, eventually moving to

the owner of Santa Fe’s Hand

Marfa full time, moving Arber & Son

Graphics, the acquisition deepens

from New Mexico to Marfa. A few

the historical record of artists who

years ago, the Judd Foundation Board,

work in New Mexico. Museum

now run by Judd’s children Rainer

Curator Josie Lopez, Ph.D, says

and Flavin, approached Arber about

that Adams’ contribution to

finishing those prints, using the long-

printmaking and his connection

stored blocks and color proofs from

to the art community in New

the original project. Only this time, the

Mexico make this work important

Judd Foundation had archival paper

to the Museum. “This painting is a play between the normal, every-

made in Korea specifically for the project, sheet by sheet. It took him two years to make 800 prints. “I did

Ron Adams, Madame Butterfly, acrylic on linen, 1997, 40 x 20 x 2 in., Albuquerque Museum, museum purchase, PC2021.85.1

day and the elevated female figure,” she says.

nothing else in the shop during that time,” he says.

Focus on Youth STUDENTS PARTICIPATING IN THIS YEAR'S FOCUS ON YOUTH PHOTOGRAPHY EXHIBITION were invited through Albuquerque Public Schools' high school visual art programs. Students had to be enrolled in their school's art, photography, digital media, and/or computer graphics courses. Work was accepted in the following categories: Artist Photo Book, Digital Film, Digital Photography,

“

Digital - Special Techniques, Non-Digital Special Techniques, This is my first year as the APS Fine Arts lead for the Focus on Youth photography exhibition and I am looking forward to the roll out, including jurying, mat, and framing of the work and the opening of the show with awards and reception on May 8, 2022.

— MICHELLE SANCHEZ ST. ANDRE, MA, ED Visual Arts Director, Zones 1 & 4, Albuquerque Public Schools

6

SPRING 2022

Art. History. People.

and Silver Print Photography.

FOCUS ON YOUTH PHOTOGRAPHY EXHIBIT May 6–June 4, 2022

WIT, HUMOR, AND SATIRE

Wit, Humor, Satire What is funny?

W

HAT MAKES SOME-

THING FUNNY? What is humor? What is satire?

All big questions, and

Patrick McGrath Muñiz, The Disneyfication of a Hero, 2010, oil on canvas, Albuquerque Museum, gift of Patrick McGrath Muñiz and the Jane Sauer Gallery, PC2012.27.1

the focus of the upcoming exhibition, Wit, Humor, and Satire curated by Albuquerque Museum from its permanent collec-

artist tackles the more difficult and

Curator Josie Lopez, Assistant Curator

tion. The exhibition showcases many ways

confrontational element of satire, often

of Art Lacey Chrisco, and Preparator

artists use humor in a variety of media,

defined by its essential intention to attack.

Chris Bratton collectively teased out

including photography, prints, painting,

Romero’s lithograph, decorated with

exhibition themes and combined their

ceramics, and sculpture. The works gener-

traditional Cochiti patterns, underscores

institutional knowledge to choose

ate not only laughter, but contemplation,

the duality—and possibly the anger—of

artwork that the public may not have

exploring how humor operates in visual

the modern indigenous experience,

seen. Lopez says working on Common

art, challenging viewers to question what

destruction, and patriotism. Satire also

Ground: Art Collection Guide, published

makes an image funny or clever.

asks open-ended questions left to the

in 2020, helped them to get to know the

viewer to grapple with giving the artwork

permanent collection better. “Curating an

meaning or underlying truth revealed

Often, once a joke is analyzed, the

its power. With satire, the viewer must

in-house exhibition like this gives us the

may be dark or unpleasant. And almost

interpret and interact with the work—it is

opportunity to present the collection in a

always humor and satire are defined by

meant to elicit response.

more in-depth way,” says Lopez.

context. Without an understanding of

Wit as it applies to art is about inclusion

the background of the image, the time

and exclusion of elements meant to create

it was created, and the various elements

humor. It surprises us, makes us think or

and how they work together, the viewer

changes our perception. For example,

might miss the message. Writing about

in Disneyfication of a Hero, Patrick

art as humor and humor in art, historian

McGrath Muñiz riffs on the Hercules story,

Roy Behrens notes the association of

inserting Mickey Mouse and friends in a

incompatibles is often what makes art

repackaging of a classic.

funny. Homer Simpson as Buddha? Check.

Diego Romero’s Apocalypto provides another masterful example, as the

Wit, Humor, and Satire is one of

ON VIEW WIT, HUMOR, AND SATIRE June 25 – October 9, 2022

several recent exhibitions from the Museum’s extensive permanent collection.

AlbuquerqueMuseumFoundation.org

7

CASA SAN YSIDRO

The carreta for Casa San Ysidro in process, built by artist Luis Tapia. Photo by Aaron Gardner.

A Carreta for Casa

I

This simple cart moved goods to New Mexico.

N A LAND WITH SCARCE

along the Camino Real. Think of the

piñon nuts, wine, brandy, and salt—it all

RESOURCES, no iron, and

carreta as the semi-truck of those

went into this cart.

where moving goods required

ancient pathways.

travel over rocky, gravelly, and

Introduced by the Spanish the 1600s,

Screeching wheels throughout a bumpy ride, the oxen-pulled carreta

sandy terrain, the simple wooden cart

the carreta was one way Spanish settlers

hardly seems innovative compared to

known as a carreta was completely

moved goods through the Southwest.

cars with backup cameras and built-in

inventive for its time. This ingenious

From furs, to sacks of grain, to blankets,

Wi-Fi. But consider that the entire cart

mode of transportation was key to life

clothes, buffalo hides, antelope skins,

was made purely from wood—no bolts or

8

SPRING 2022

Art. History. People.

CASA SAN YSIDRO

screws, no metal or iron of any kind.

To build the carreta, Tapia was largely

The Spaniards who settled New Mexico

on his own. There are no YouTube videos

had little metal, so most of their tools

or how-to guides. He studied carretas

were made of wood. To make the

in museums, but “most of the research

carreta, wood was harvested and hewn

is hands-on. When you start making

from the local pine and cottonwood

something, you realize, ‘oh, this isn’t

trees, so if your wheel needed a hub or

going to work.’” He also encountered a

a stanchion, it was easily repaired. No

supply chain issue: scarce cottonwood

waiting for parts.

branches that were the diameter and

Each piece fit ingenuously together

length he needed. “It took me three

George Ben Wittick, Carretta in front of adobe building ca. 1882, albumen silver stereorgraph, Albuquerque Museum, gift of Nancy Tucker

like a puzzle. “The wheels are never

months to build it. Materials are not

greased, and as they are driven along

as accessible today as they were in

they make an unearthly sound. ...”

historical times,” he says. After searching

wrote U. S. Attorney for the New Mexico

from Taos to Albuquerque, Tapia went

have to make the wheels. “I had to

Territory William Watts Hart Davis

door-to-door in La Cienaga where he

think about how the cart was used,

in the 1850s. Legend has it that the

lives, looking for wood with enough

and how the axle was attached to the

screeching wheels kept evil spirits at

dimension for carreta’s sizeable wheel

cart. I did a lot of research. … I’m happy

bay, making safe these important trade

hubs and spokes. The entire project was

the Museum contacted me to build it,

route journeys. The roads were two-

made by hand, except, Tapia says, for

I learned a lot.”

track rutted paths, and the carreta was

the initial cutting for which he used a

made to travel those paths as smoothly

chain saw.

[Note: A portion of this article is

This wasn’t his first carreta. He built

reprinted from Spring 2016 edition,

antiquated to us today, the carreta was

one for the Palace of the Governors 30

written by former Curator of History

an innovation which paved the trade

years ago, but for that one, he didn’t

Deb Slaney.]

as possible. Although creaky and

route and made Albuquerque what it is today.

Visitors to Casa San Ysidro can experience the carreta—its weight, construction, and materials—first

Featured Event at Casa San Ysidro

hand. Artist, Spanish Colonial furniture

TRADITIONAL WET FELTING WORKSHOP

maker and historian Luis Tapia has built

SATURDAY, APRIL 23, 2022, 1:00 - 3:00 PM

one to the standards of the 17th and

Casa San Ysidro hosts a workshop for students

18th centuries.

14 years and older. Learn basic wet felting technique

The carreta is part of an effort to

with Eliseo Curley, an award-winning Navajo

include more interactive opportunities

sheepherder from Shiprock. Materials for the project,

for Casa visitors, so it can be taken

a small coin bag, will be provided. Registration is

apart and put back together, and also

required at donbixby2438@gmail.com.

drug around the grounds. That way, visitors can understand just what it must have taken to move goods along the

Check the website for information on the many events happening at Casa San Ysidro.

Camino Real.

AlbuquerqueMuseumFoundation.org

9

2021 IN REVIEW

by ANDREW RODGERS, Executive Director and CEO

THE PAST YEAR HAS BROUGHT A

began offering new virtual education

of a six-figure gift to support the

LOT OF EXCITING DEVELOPMENTS

opportunities—which exploded in

Museum’s education program from

AT THE ALBUQUERQUE MUSEUM

popularity. Today, the Museum

Dr. Charles “Charlie” Wood upon

FOUNDATION. WE WANTED TO

creates video tours of exhibitions,

his passing. We are humbled by

SHARE THE HIGHLIGHTS.

hosts live classroom conversations

this generosity.

This past year, the Museum

with docents, and provides free

Gifts of this sort are so important to

reopened and many of you renewed or

take-home art activities. As a result,

the long-term growth of the Museum

upgraded your memberships, taking full

the Museum’s reach has expanded

and Foundation, and we also want

advantage of the benefits (such as free

tremendously with online visitors joining

to recognize people who intend to

admission and discounts at the Museum

us from around the state, the country,

leave such a donation. That’s why the

Store). One exciting metric? The

and the world.

Foundation created aM Society, which

Foundation has members from 23 states

The Foundation has also greatly

carries specific benefits and recognition

around the country! We’re also excited

increased its fundraising for education.

for supporters who plan to leave a

to welcome four new Platinum Level

After receiving $50,000 matching gift

legacy gift. Should you like to join the

Patrons' Circle members, including the

challenge from the family of former

aM Society and make an estate gift

Family of Jim Lowry, Steven Tolber and

docent Gay Betzer, the Foundation

pledge, please contact Kristi Dorr

Louise Campbell-Tolber, Mary and Joe

was able to achieve its goal within two

at kdorr@albuquerquemuseum

McKinney, and Nancy Lindas. We’re

weeks of announcing it to the public.

foundation.org.

so grateful for support from all our

We are excited to announce that we

members, and a special thank you to

have more than $160,000 in the Gay

Looking Ahead

our Platinum members.

Betzer Children’s Fund to expand the

No matter the amount, gifts to the

Museum’s education programs.

Albuquerque Museum Foundation are

Education

greatly appreciated and help support

One of the most exciting developments

Planned Giving

the programs, exhibitions, and activities

in 2021 has been the growth of our

In 2021, we mourned the loss of

at the Albuquerque Museum. We have

educational initiatives. Previously,

Dr. Ward Alan Minge, who previously

some exciting developments planned

the Foundation’s Magic Bus program

donated Casa San Ysidro to the

for 2022 that will help the Foundation

brought kids from around the region to

Museum. Upon his passing, we learned

achieve its mission, and expand the

visit the Museum in person—often the

he had bequeathed additional funds to

support we’re able to provide the

only time in their lives they visited any

support Casa’s programs and historic

Museum each year.

museum. Because of the pandemic,

preservation activities. We also

the Museum staff and docents

learned that we are to be the recipient

10

SPRING 2022

Art. History. People.

As always, thank you so much—we couldn’t do this without you!

Photos by Nora Vanesky

AlbuquerqueMuseumFoundation.org

11

NEW AT THE FOUNDATION MEET MIKAELA GUGGINO, THE ALBUQUERQUE MUSEUM FOUNDATION’S NEW DEVELOPMENT COORDINATOR. Mikaela was born in Albuquerque and grew up in Los Lunas. And although

YOUNG DONOR

Mikaela is new to the position, she is not new to the Foundation or the Albuquerque Museum community. Mikaela interned with the Foundation in 2014 followed by the Museum in 2015. She has a strong passion for art and history, having

Tavish McConnell (left) recently donated to the Albuquerque Museum

received her BA in Studio Art and her Master’s in

Foundation. The idea started when his sister Clementine (right), asked

Art History/Museum Studies from the University

friends to donate to a charity instead of bringing gifts to a birthday

of Denver. “I am excited to help a wonderful

party. This year, Tavish followed suit, choosing the Museum Foundation

nonprofit like the Foundation, especially

as his charity. Tavish's mother, Hillary Elwood, notes that he particularly

because my work here lets me give back to

enjoyed the Jim Henson and Frida Kahlo exhibitions.

the community.” Mikaela looks forward to the opportunity to work with Foundation members.

MEMORIALS AND TRIBUTES IN MEMORY OF ANDREA RECTOR

IN MEMORY OF

IN MEMORY OF MARIE M. DAVIS

Cristina Letherer

DR. WARD ALAN MINGE

Linda Morgan Davis and Louis Lafrado

IN MEMORY OF ANN TAYLOR Ann and A.C. Taylor IN MEMORY OF APRIL F. PRICE Laurie & Thomas Barrow IN MEMORY OF ARMIN REMBE Susan Nelson Anderson and Robert Anderson IN MEMORY OF COMMANDER AUBREY W. BOGLE Maxine Bogle IN MEMORY OF DR. JAMES H. RENKEN Patricia Cazier Renken

Mary Ann Bessom Patricia and Phillip Osbourne IN MEMORY OF DRS. ROSE RUTH & SOLON Arthur Ellison Joe Ellison IN MEMORY OF JAMES L. LOWRY, M.D. Amy Collis Anne and Kyle Taylor

IN MEMORY OF MILDRED TAYLOR Sandra and Mitch Taylor IN HONOR OF ROGER DOWNEY Darlene Ceremello and Jessea Greenman IN HONOR OF TAVISH MCCONNELL Hillary Elwood IN HONOR OF ANDREW CONNORS Elizabeth Glassman

Kristin Umland & Jeff Lowry

IN HONOR OF ANDREW,

Vincent Lowry

MIA AND ANYA RODGERS AND

IN MEMORY OF JULIA SELIGMAN Nancy Bodinet

IANA DONTCHEVA Ginger Hendricks

Robert Rosenberg

IN HONOR OF KATHLEEN KILLORIN

Terry Seligman

The Docent Book Club

Todd Enders

Per current IRS policy, distributions made from Donor-Advised Funds or Family Foundations may not be used to fulfill a pledge or Patrons’ Circle Membership that would result in a personal benefit to a donor or a member of donor’s family (e.g., tickets to events, dinners, tables for events, etc.). Please call if you have additional questions or need clarification.

12

SPRING 2022

Art. History. People.

MUSEUM STORE 505-242-0434

store@albuquerquemuseumfoundation.org

Introducing a new collection of wood jewelry from local favorite, Danny Hart. Shown here are the Kabuto Necklace and Gingko earrings.

Prices from $50-$15

For Mom, your best friend’s birthday, or a great hostess gift choose from our collection of expandable vases from Modgy. Contemporary and fine art inspired designs. $9.95

How about a Fricken Cool Pen for Dad? It’s the ultimate tech pen!

Features: stylus tip, ruler, two headed screwdriver, bottle opener, phone stand.

Pocket clip to securely fasten onto surfaces. Retractable ballpoint pen. $12.95

MUSEUM STORE HOURS: Tuesday through Sunday, 10 a.m. to 5 p.m.

Closed Mondays, Thanksgiving, Christmas and New Year's Day

NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446 ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194

Front Cover Alfredo Ramos Martínez (Mexican, 1871–1946), La Malinche (Young Girl of Yalala, Oaxaca), 1940, oil paint on canvas; 50 x 40 1/2 in.

Phoenix Art Museum: Museum purchase with funds provided by the Friends of Mexican Art, 1979.86. © The Alfredo Ramos Martínez Research Project, reproduced by permission

MEMBERS: PLEASE JOIN US FOR THE

Albuquerque Museum Foundation

ANNUAL MEMBERSHIP MEETING Albuquerque Museum June 27, 2022 | 9:30-10:30 a.m. | Ventana Salon No reservation necessary. Location subject to change.

LEARN ABOUT THE FOUNDATION’S DEVELOPMENTS AND PROJECTS OF THE PAST FISCAL YEAR.