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
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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.”
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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?
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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
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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.
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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.
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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
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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
