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
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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
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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.