Albuquerque Museum Member Magazine Summer 2022

Albuquerque

The Magazine of the Albuquerque Museum Foundation — Summer 2022

Between Two Worlds | Family Fun Guide | Acquisition and Care Fund

MUSEUM STORE 505-242-0434 • store@albuquerquemuseumfoundation.org

Summertime Activity Kits from Klutz From wacky gadgets and contraptions to trendy images to paint, these kits have everything you need to have some fun and learn a little along the way. $18.95-$24.95

We’re here to help you find your inner piece. The Museum Store has a dynamic collection of jigsaw puzzles that add some modern flair to this classic pastime. Karen Obuhanych’s Black Cat puzzle is

made from 90% recycled material and printed with soy-based inks with an anti-glare finish. $17.95

Waboba Wingman is a foldable, silicone flying disc that's always

along for the ride! With its unique aerodynamic design, Wingman flies over 130 feet! Plus, with its silicone material, you can easily catch it by squishing it in your hand, or fold it and put it in your pocket. $8.50 A Store Staff favorite: The Genius Square! Roll the dice and race your

opponent to complete the square. Puzzles can be solved in each of the

62,208 possible combinations, often with multiple solutions. $32.95

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

A MESSAGE FROM THE EXECUTIVE DIRECTOR

A

ANDREW RODGERS s I write this, it is

that’s not the full story.

early May, and

We met countless

I am immersed

people this year who

in planning for the

either discovered the

Foundation’s next fiscal

Albuquerque Museum or

year. I’ve spent countless

who grew to appreciate

hours reviewing our

its offerings enough to

revenues, plugging

offer their support—often

numbers into our budget

for the first time. That

for next year. This stuff

much to us. Your passion, I assure you,

Because I’ve spent the bulk of my career

does not get lost in the numbers.

leading arts organizations, though, it’s 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, President

Richard Luarkie

Roddy Thomson, Chair Elect

Cathryn McGill

Sean McCabe

second nature to me.

But while crunching numbers in the

else can we make a difference? What

crucially important to remember what

other programs or initiatives could we

those numbers represent.

support? Be sure to stay tuned as we

For instance, our membership year—by nearly 15 percent. (No doubt

Tracy Sherman

partly due to some folks coming

Perry Bendicksen, Past President

Catherine Baker Stetson

back after letting their memberships

Hal Behl

Corinne Thevenet

Adam Ciepiela

Kenton Van Harten

Jennie Crews

Tracey Weisberg

Stephanie DelCampo

Joyce Weitzel

Josef Díaz

Alan Weitzel, Museum Board of Trustees

Carrie Eaton Catherine Goldberg Alex Hauger Rhett Lynch

Andrew Rodgers, President + CEO Andrew Connors, Museum Director

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

Pamela Weese Powell

Chris Baca Beverly Bendicksen

Hilma E. Chynoweth Christine Glidden

of discussing how else we can assist the Museum in the year ahead. How

Tiffany Sanchez

Elizabeth Earls

support, we are in the enviable position

me at least), I’ve always believed it’s

Rebecca Owen

Sara Sternberger, Secretary

And because of your increased

aggregate can be interesting (well, to

revenues increased dramatically this

Kathy Rowe, Treasurer

commitment means so

makes some people’s eyes cross.

lapse during the pandemic.) But

explore those answers together!

Andrew Rodgers President & CEO arodgers@albuquerquemuseumfoundation.org

In This Issue: Between Two Worlds: The Photography of Lee Marmon.............................................. 2 Immersed in La Malinche.................................................................................................... 5 Family Summer Fun Guide to the Museum...................................................................... 6 Inspired by La Malinche...................................................................................................... 8 Casa San Ysidro This Summer........................................................................................... 10 Foundation News............................................................................................................... 11

Dr. Janet SamorodinMcIlwain

V I S I T U S AT:

AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org

1

BET WEEN T WO WORLDS Lee Marmon, Juana Marie Pino, 1959, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.12.A

Lee Marmon, White Man’s Moccasins, 1954, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.28

Two Worlds

B

Photographer Lee Marmon documented his own community.

ETWEEN TWO WORLDS: THE PHOTOGRAPHY OF

Lee Marmon, Bruce Riley, 1965, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.22.A

2

SUMMER 2022

Art. History. People.

cultures, as he reveled in capturing the personalities and beauty of his subjects,

LEE MARMON celebrates

both Indigenous and celebrity. Marmon

one of the first professional

passed away in 2021 at the age of 95.

Indigenous photographers, a New

Born in Laguna Pueblo across the street

Mexican with a prolific 60-year career. Lee

from his parent’s trading post, Marmon’s

Marmon’s work spanned decades and

life was full of photography from an early

BET WEEN T WO WORLDS

age. His father took photos with a Kodak

capturing them in their surroundings.

postcard camera, and photographers

These portraits, taken between 1936 and

such as Edward Curtis stayed with

1991, were shot with natural light as he

his family on the pueblo. In an article

went about his day job of working at the

published in 2021 in the Smithsonian’s

pueblo trading post. He was also able to

American Indian magazine, Marmon is

photograph traditions that were closed to

quoted, “I guess to a certain extent, my

the public.

dad was the biggest influence. … I think,

Marmon was a people-person and a

in his younger days, he took a lot of

storyteller, according to his son, Chris

pictures. We had a lot of pictures in this

Marmon. To many of his subjects, Lee

old Indian basket.”

Marmon was also a friend, able to capture

Marmon took his first photograph

elders in moments of spontaneity. When

when he was 11 years old, capturing the

he started working for the Bob Hope

aftermath of a truck accident on Route 66.

Desert Classic Golf Tournament in Palm

His father would encourage him to begin

Springs, “he would instantly have friends,”

taking photographs of Laguna elders,

says Chris Marmon. “He was really

Lee Marmon, Rosita Johnson, 1958, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.20.A

Lee Marmon, Buzzard Butte, 1985, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.31

ON VIEW BETWEEN TWO WORLDS: THE PHOTOGRAPHY OF LEE MARMON July 30-January 15, 2023

AlbuquerqueMuseumFoundation.org

3

BET WEEN T WO WORLDS

interested in getting to know people.

and took students from UNM Grants

He was a simple person, who loved

campus to his favorite places to shoot. A

preserving memories. He told me that his

frequent subject was Dripping Springs,

favorite celebrity was Bob Hope, because

southwest of Laguna Pueblo.

he was just a really nice person.” One of

Over the course of his career, Marmon

those friends was Betty Stetson, Chris

shot photographs for President and Mrs.

recounts, whose daughter Cate Stetson,

Nixon, was presented with a lifetime

a tribal law attorney, is a member of the

achievement award, worked for Time

Albuquerque Museum Foundation Board.

Magazine and the New York Times, and

She recently donated some Marmon

photographed the era’s most famous

photographs to the Museum, some of

celebrities. However, it is the Laguna

which are included in the exhibition.

photos that he was most proud of—

Chris talks about spending hours with

breathtaking landscapes, elders, and

his father in the darkroom, starting when

others going about their lives. “If you get

he was just seven or eight years old,

with some Lagunas and start showing

where Lee would put on jazz music and

pictures,” Marmon reflected in the

the two would make prints, working their

Smithsonian article, “immediately they

magic to extract expressive black and

come alive again. People telling stories

white images. He preferred a Hasselblad

and reminiscing, and how they knew

medium format camera, but surprisingly,

them. Then . . . . they get to where they

Chris says, adapted well to digital later in

start telling funny stories. And that really

life. He also loved teaching photography

was the goal that I had.”

4

SUMMER 2022

Art. History. People.

Lee Marmon, Laguna Buffalo Dancer, 1962, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.24 Top left: Lee Marmon, Acoma Mission Bell, 1985, gelatin silver print, #2000-017-0031, Center for Southwest Research, University of New Mexico.

Top right: Lee Marmon, Walter Sarracino, 1963, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.19.A

L A MALINCHE Nathan Felix filming in the background of an immersive opera at the Harn Museum in Florida

AM: How does one go about composing an opera from scratch?

NF: I do a lot of research, go online and

Immersed in La Malinche

The exhibition inspires a new composition.

C

try to find as much as I can about subject matter. Once I have an idea of a storyline and narrative, I sit down at my piano and start playing. I hone into certain feelings and sentiments that I want the characters to have. I keep building on the music’s theme and then write the libretto second.

Most of the time, people write the libretto first, or the librettist gives the script to the composer.

AM: What happens at an immersive

OMPOSER NATHAN FELIX

AM: What appeals to you about

opera? What can visitors expect?

HAS A UNIQUE NICHE. He

this story?

NF: Some of it will be in Spanish and

composes interactive operas

NF: It’s perfect for theater. I wanted to

because it is an immersive opera, it won’t

based on museum exhibitions.

feature La Malinche, who some looked

be in a traditional theater with traditional

One project was his critically acclaimed

at as a traitor, although a more positive

staging. The idea is to do it in the lobby,

immersive opera, Alien Wanderers : Alien

light has been shed on her now. I wanted

then it moves into the gallery with the

World : Alien Home, which premiered

that to be the focal point to build tension.

exhibition as a backdrop.

in 2019 at Blanton Museum in Austin,

What was her mentality, when she was

Texas. Alien addressed discrimination

essentially helping the Spanish wipe out

amazing singers [who are local to

and issues surrounding the United States’

her culture—did she have a choice? Also, I

Albuquerque], and very melodic, very

southern border, marginalized groups,

feel connected to the Mestizo elements of

beautiful music. They should come with an

and re-appropriation of borders. Felix,

the story. I am a product of Malinche and

open mind to experience opera in a truly

who is Mexican-American, is particularly

her service to Cortés.

unique way.

Curator of Education Jessica Coyle

AM: What kinds of difficulties did you

Editor’s Note: The interview has been

contacted Felix about creating an opera

face in creating this composition?

edited for length and clarity.

based on the exhibition Traitor, Survivor,

NF: There is not really a lot of

Icon: La Malinche. “I’m really excited that

documentation about La Malinche so it

we have the opportunity to try something

is hard to give her a voice. Everything

new, do a world premiere, and tie it into a

is really from the Spanish perspective.

gallery space,” Coyle says. “It’s a different

Historians tried to interpret and give

connection when you do a production like

their take. But I had to really fictionalize

this in front of the artwork.”

things—I tried to focus on what her

I think visitors can expect to hear

interested in Latinx stories, so Associate

The Museum caught up with Felix about his opera:

mentality would be … I try to picture her

ON VIEW IMMERSIVE OPERA July 21, 5-8:30 p.m.

feeling empowered.

AlbuquerqueMuseumFoundation.org

5

Family

Summer Fun Guide

TO THE MUSEUM

Create THINK OF ALBUQUERQUE MUSEUM AS A SUMMERTIME FAMILY DESTINATION—a place to create. Families can find inspiration for at-home projects, in-person family-oriented classes (free with admission), or enjoy a cool (in many ways)

Learn EXPLORE THE MUSEUM’S COLLECTIONS. Pick up the Museum’s Art Cards to use as a conversation-starter around the family dinner table. Art Cards, located next to select pieces in the La Malinche, provide tips for

VISIT THE FAMILY GALLERY as you exit the

LOOKING FOR SOMETHING TO DO ON A

exhibition Traitor, Survivor, Icon: The Legacy of

SATURDAY AFTERNOON from 1-2:30? Drop in

La Malinche. Families gather at the tables where

to Family Art Workshops, where the Museum’s

Museum-provided supplies and instructions help

expert, fun, and friendly art instructors are on

young and old alike to create art projects based

hand to help families fool around with art. There’s

on the exhibition. Take it home to remind you of

a new theme every week, many inspired by the

your visit.

Museum’s exhibitions and collections.

MUSEUM SCAVENGER HUNT

INSPIRATION

environment on a hot summer afternoon.

looking at art.

ALBUQUERQUE MUSEUM COLLECTS ARTWORKS AND OBJECTS THAT TELL THE STORIES of our city, state, and region. It displays some of these works in Common Ground: Art in New Mexico; Only in Albuquerque; and the Sculpture Garden (a great place for a summer picnic).

Find these in Common Ground.

SEE What do these works have in common?

What colors, shapes, lines, and textures do you see? What kinds of animals?

6

SUMMER 2022

Art. History. People.

ONLY IN ALBUQUERQUE

Can you locate the mountains and river on the floor map?

Can you find where you live?

What can you find

SCULPTURE GARDEN

in the galleries that is related to transportation, both old and new? (Hint: carreta, trains, planes, cars)

EXPLORE OUTDOORS AT THE MUSEUM. Check out these

Find the Duke of Alburquerque’s Coat of Arms:

sculptures and envision how the artist might have made

Learn about it by using the touchscreen, and then make your own. What symbols would it include?

them. For sculptures of people or animals, try to act out the pose yourself.

FACING PAGE: Felipe Archuleta, Coyote, 1977.

Carved and painted wood with glass marbles and rubber. 38 × 64 × 10 in. Albuquerque Museum, gift of Mary and David Corley.

PC2008.28.1; Jaune Quick-To-See Smith, Herding, 1985. Oil on canvas, 66 x 84 in.

Albuquerque Museum, museum purchase, 1985 General Obligation Bonds, PC1986.98.1.

THINK What does this artwork mean to you?

CONNECT What does this artwork have to do with New Mexico? Or your family and culture?

THIS PAGE, CLOCKWISE FROM TOP LEFT: Nora Naranjo Morse, Numbe Whageh, earthen work with native plant garden featuring boulders from nearby Pueblo, collection of Albuquerque Public Art (1% for Arts Funds, City of Albuquerque) PAC.2005.83.2 ; Jesus Bautista Moroles, Floating Mesa, 1982.

Texas pink granite, stainless steel, and fountain mechanism, 264 × 60 × 60 in. Albuquerque Museum purchase, 1% for Art Funds, City of Albuquerque, PC1984.24.; Dan Ostermiller, Les Bears, 1991, bronze, ed. 2/12, Albuquerque Museum, museum purchase, 1991 General Obligation Bonds and the Albuquerque Museum Foundation, PC1992.81.1; Eddie Dominguez, Correspondence, 1990. Wooden door, copper, wood, postcards, 81 x 36 x 2 in. Albuquerque Museum purchase PC1992.12.1; Tom Palmore, Survivor, 1995. Oil on canvas. Museum purchase, 1993 General Obligations Bonds PC1995.30.1; Michael A. Naranjo, The Dancer, 1990. Bronze, 75 × 38 × 32 in. Albuquerque Museum purchase, 1987 General Obligation Bonds PC1990.25.1; Teri Greeves, Kiowa, Rez Pride/Rez Girls: Beaded Shoes, 2009, beaded high-top tennis shoes, Albuquerque Museum, gift of Friends of Killer Heels, PC2015.23.1.1-2

AlbuquerqueMuseumFoundation.org

7

L A MALINCHE

Inspired by La Malinche

L

Delilah Montoya’s codex creates visual mythology.

A MALINCHE’S STORY IS

create a contemporary codex for the

similar to animal skin. Their pages

COMPLICATED: We know she

1992 exhibition The Chicano Codices:

folded accordion-style and contained

was Nahua royalty, enslaved

Encountering the Art of the Americas, at

pictographs or glyphs that oral

to Hernán Cortés, nicknamed

the Mexican Museum in San Francisco.

storytellers would interpret for their

“The Tongue” because of her facility with

The museum commissioned works from

audiences. Montoya notes that the

languages, and the mother of Martin,

26 artists to counter the stories of the

Nahua people—of which La Malinche

a Mestizo born of that relationship.

“discovery” of the Americas (it was the

was one—had government and monetary

Perhaps because of its ambiguity and

quincentennial of Columbus’ voyage).

systems, and had written language. The

contradictions, La Malinche’s story has

Montoya’s creation, Codex Delilah: Six-

Aztecs also had maps that depicted trade

long interested artists. The fruits of that

Deer, Journey from Mechica to Chicana

routes. However, during the conquest,

fascination can be seen in Traitor, Survivor,

was a collaboration with poet, playwright,

the Spanish, hoping to supplant the

Icon: The Legacy of La Malinche, curated

and Chicano activist Cecilio García-

Indigenous culture with their own

by the Denver Art Museum.

Camarillo, who wrote the story that would

system of power, destroyed much of

become the codex.

this rich written history. Very few codices

Albuquerque printmaker, photographer, and mixed-media artist

Codices, the original Mesoamerican

survived, perhaps saved by a friar or other

Delilah Montoya’s creative journey with

books, were often made of amate—

European who recognized their value and

La Malinche began with a request to

fig tree bark—and have a texture

smuggled them to Europe.

8

SUMMER 2022

Art. History. People.

L A MALINCHE

Delilah Montoya, Codex #2 Delilah: Six Deer: A Journey from Mechica to Chicana 1995 paint on paper, 18 in. x 60 in., University of New Mexico, Albuquerque, United States

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.

Special thanks to the National Institute of Anthropology and History and Mexico’s Secretary of Culture. Any views, findings, conclusions or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.

The codex story the collaborators

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

who guide her. Near Mexico City, Six

peoples, using Albuquerque as a stand-in

created contemporizes and combines

Deer encounters Llora Llora Malinche—a

for Aztlan.

female characters of folklore. “History is

combined character of the aggrieved

remembered from the vantage point of

La Llorona and La Malinche—who cries

printed on amate paper, just as an

men,” says Montoya, “and yet women

out in Spanish, “The conquistadors are

original would have been. Montoya used

are in the middle of everything, and

killing my children!” She also encounters

a style with no foreground or background,

no one has presented the women’s

Guadalupe and finally meets Crow

collaging photographs of the places

viewpoint,” she says. The creation of Six

Woman who has been implanted with

the imaginary main character, Six Deer,

Deer and her journey allowed Montoya

missiles, so Six Deer must deactivate

visits during her journey, intermixed

to create a child-like yet powerful and

them. The story moves through time

with prints and hand drawn and painted

mythic heroine.

from the 1500s to 2012, the end of the

elements. The character was modeled

In the story, Six Deer is a young

Montoya’s mixed-media codex was

fifth sun in the Aztec calendar. In the

after Montoya’s niece, a young girl at the

Indigenous girl who travels through

end, Six Deer “saves the world,” Montoya

time. “It’s fun to think about how women

time and space (in Nahua mythology,

says, and creates a vital link between

are the heroes and women are telling the

time and space are connected) toward

between Chicana and Indigenous

story of La Malinche,” Montoya says.

El Norte, almost like Dorothy in a Wizard of Oz-type journey. Moon Goddess tells Six Deer to search for Crow Woman and the mythical city of Aztlan, and along the way she encounters female power figures

AlbuquerqueMuseumFoundation.org

9

View of Heritage Field with Casa San Ysidro to the right. Drone imagery: Consuelo Martinez-Moya

Casa San Ysidro This Summer ACEQUIAS, THEIR HERITAGE

an adaptation of the Arabic as-

People: NM Acequia Heritage

who recently participated in

AND HISTORY ARE THE

saqiya, meaning water carrier.

in Global Context, Lamadrid's

the program is author, oral

FOCUS OF AN UPCOMING

talk will highlight how

historian, and Corrales native

TALK BY ENRIQUE R.

know as Yemen was the most

irrigation came to New Mexico

Gloria Zamora. She has been a

LAMADRID, distinguished

fertile and well-watered region

and its Arabic roots.

docent at the National Hispanic

professor emeritus of

in the Arabian Peninsula.

Spanish at the University of

Before Islam and the Arabic

BILINGUAL AND NATIVE

places, and is passionate about

New Mexico.

language arrived, Yemen

AMERICAN DOCENTS

history. “I made my first Holy

Although the Spanish

For four millennia, what we

Cultural Center among other

was part of the Kingdom of

Casa San Ysidro graduated

Communion at the church!

brought their system of

Sabaa (the Biblical Sheba)

a multi-cultural class of

I love old houses, and I love

irrigation to the New World,

and Sabaean lent Arabic

docents at the end of April.

history,” Zamora says. Although

the acequia system came

its extensive vocabulary on

Nine docents went through

she already knew about Casa,

from Muslims who invaded

watering the desert. There

the training and six of them

she says she learned a lot

Spain in the 8th century. When

are hundreds of Arabic words

are bilingual. Docents

during the training, including

Umayyad Caliphate collapsed

for wells, water containers,

aren’t just guides—they are

the difference between a

in 750 CE, the survivors of its

water quality, canals, and

passionate citizens with

hacienda and a rancho, plus

dynasty relocated to Córdova,

many more. Based on his new

strong connections to New

all about the old tools found

Spain. The word "acequia" is

book project, Water for the

Mexico history. One docent

at Casa.

10

SUMMER 2022

Art. History. People.

FOUNDATION NEWS Acquisition and Care Fund

WAYS TO GIVE There are many ways to

THE ALBUQUERQUE MUSEUM’S

At the same time, caring for the items

support the Museum and many

PERMANENT COLLECTION IS ALMOST

in the collection is also part of a museum’s

benefits we provide as we

A LIVING THING. The curators are tasked

mandate. For instance, outdoor sculptures

recognize your enthusiasm and

with growing and nurturing the artworks

need particular care given their exposure

contributions.

and history objects in their care while

to weather. For example, patina sometimes

keeping an eye toward the future.

needs to be reapplied to bronze

In 2020, Museum curators performed

sculptures. Additionally, history objects,

an analysis of its collection. The gaps

such as bultos and retablos, are made

uncovered now lead the curators in their

of wood and need their own specialized

efforts to seek out important objects and

attention. “Every object in the collection,

artworks that enhance and broaden areas

including ceramics, textiles, garments, and

of curatorial focus. And while the Museum

sculptures, has specific needs,” says Steve

receives many donated artworks and

Pettit, curator of collections. “There are

history objects, the curators often want to

33,000 objects to consider, from abacus

purchase items to expand the collection

beads to zither strings.”

in a specific way, for which there is a limited budget.

Andrew Rodgers, CEO of the Museum

• Make a direct, unrestricted contribution.

• Contribute to Magic Bus, which provides virtual and in-person tours, art activity kits, and curriculum resources for students and their teachers.

The Magic Bus brings the world of art, history, and culture to our schools.

Suggested donation, $175

Foundation, says that devoting assets

• Donate to the Acquisitions

to acquiring artwork and artifacts, and

and Care Fund (see related

caring for the collection is a critical need.

story) which empowers

“The Museum often approaches us about

the Museum to grow and

acquiring new items, and with our newly

preserve its collection for

created Acquisitions and Care Fund, if the

future generations.

Museum wants to purchase something or

• Become a Masterworks

needs help with a restoration, there will be

Sponsor and support the

a pool of money for the collection.”

world-class exhibitions at the

Please contact us at info@albuquerque

Museum. Your name is placed

museumfoundation.org if you would like

next to the sponsored work,

to help the Museum grow and care for

and you’ll receive special

its collection!

event invitations.

• Leave a legacy by joining the aM Society and including the Albuquerque Museum Foundation in your

Allan Houser, Chiricahua Apache, 1914. Apache, Oklahoma – 1994 Santa Fe, New Mexico Prayer 1994 bronze, ed. 1/8.

Albuquerque Museum, museum purchase, 1997 General Obligation Bonds PC1999.1.1

estate plans.

• Invite friends and family to become members of the Museum Foundation

AlbuquerqueMuseumFoundation.org

11

MEMORIALS AND TRIBUTES IN HONOR OF DEBBIE & SCOTT ELDER'S ANNIVERSARY Judy Elder IN MEMORY OF GAY BETZER Albuquerque Old Glass Club Nancy and Cliff Blaugrund Sarah and Doug Brown Louise Campbell-Tolber and Steven Tolber Corrales Historical Society Hanley Cox

Hal Behl Turns 100!

HAL HAS A CLEAR LOVE OF ART.

the front hallway. It’s a three-dimensional

Wall space in his Northeast Heights

history of the Behls’ globetrotting. Behl

home is covered with artifacts from his

has been chairman of the Museum’s

travels (100 countries and all continents,

Board of Trustees, currently serves on

including, yes, Antarctica): masks in the

the Foundation Board, and has been a

study, wooden spoons on the kitchen

member “forever. … A long time.” He

wall, Chinese marionettes, and tinwork in

continues to travel, too!

SAVE THE DATE - MARCH 4 - APRIL 16, 2023

Michelle Dillon Deborah Good and Andrew Schultz Suzi, Gary and Stacey Grant Del Gustafson Ann and Bernard Holladay Rosalyn Hurley Mary Molofsky Rebecca Perkins Diane and Matt Sloves Robert St. John Ann and A.C. Taylor IN MEMORY OF DR JAMES LOWRY Dr Andrew and Kathleen Metzger IN MEMORY OF JULIA SELIGMAN Cris and Kenneth Abbott Susan Kennedy Barbara Kleinfeld IN MEMORY OF SIDNEY SCHULTZ

ArtsThrive has been moved to the spring!

ArtsThrive: Art Exhibition and Benefit will be held at Albuquerque Museum, March 4 – April 16, 2023.

Cris and Kenneth Abbott

SHARE THE LOVE! Show your love for the Albuquerque Museum referring a member today! Members

Per current IRS policy, distributions made from Donor-Advised Funds or Family Foundations may not be used to fulfill a

have free access to local and global

pledge or Patrons’ Circle Membership that would result in a personal benefit to a donor or a member of donor’s family

art exploring the issues of our time.

(e.g., tickets to events, dinners, tables for events, etc.). Please call if you have additional questions or need clarification.

Visit our website to learn more. albuquerquemuseumfoundation.org

12

SUMMER 2022

Art. History. People.

PATRONS' CIRCLE DINNER, APRIL 7, 2022 TOP ROW: Cliff Blaugrund; Andrew Schultz and Dr. Deborah Good; SECOND ROW: Cornelius Smith and Kenneth Conwell, II; Albuquerque Museum Foundation’s Director of Events & Donor Relations Elaine Richardson; Debra and Clint Dodge; THIRD ROW: Orlando Lucero and BJ Jones; Katherine Kohlhepp and Max Parrill; BOTTOM: Kathleen and Dr. Andrew Metzger and Albuquerque Museum’s Curator of History Leslie Kim

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

Front Cover Lee Marmon, Juana Marie Pino, 1959, gelatin silver print, Albuquerque Museum, gift of Cate Stetson, PC2021.72.12.A

COMING SOON TO THE ALBUQUERQUE MUSEUM HISTORIC AND CONTEMPORARY LANDSCAPES REFLECT CHANGING ATTITUDES TOWARDS THE LAND On view October 8, 2022 – February 12, 2023 Three exhibitions from the Thomas Cole National Historic Site in New York feature works by Thomas Cole, Kiki Smith, and Shi Guorui, engaging with the Hudson River area in New York. In addition, Albuquerque Museum presents an exhibition of works by Paula Wilson and Nicola Lopez reflecting on human interactions in New Mexico’s desert landscapes.

Thomas Cole, Dream of Arcadia, about 1838, oil paint on canvas, 38 5/8 × 62 ¾ in. (98.1 × 159.4 cm), Denver Art Museum: Gift of Mrs. Lindsey Gentry, 1954.71, Image courtesy of the Denver Art Museum