The magazine of the Albuquerque Museum Foundation — Winter 2019
Revolutionary Views | Goya’s Obsession | Motion and Musicality
It’s Okay if Life Gets a Little Easier. Enjoy Your Retirement:
• Maintenance-free living • Housekeeping every other week • All utilities included • Flexible dining options • Aquatic and Fitness Center with hot tub
• Active schedule including: • • • •
Continuing Education Popejoy and Sporting events Musical Programs Art Exhibits
• Make new friends • And More!
LaVidaLlena.com NeighborhoodRioRancho.com (505) 994-2296 A not-for-profit affiliate of Haverland Carter LifeStyle Group
(505) 293-4001 Albuquerque
ALBUQUERQUE MUSEUM FOUNDATION PO Box 7006, Albuquerque, NM 87194 505.842.0111
ATTENTION ALL ARTISTS: ARTSTHRIVE 2019 “CALL FOR ENTRY” COMING SOON! Artists from across the nation can apply to participate in the Albuquerque Museum Foundation’s 29th Annual ArtsThrive: Art Exhibition & Benefit.
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. Third Thursday of each month open until 8:30 p.m. Closed Mondays and holidays
• Applications are accepted electronically
THE MUSEUM STORE 505.242.0434
• Artists may apply to multiple categories.
through CaFÉ from January–March 2019. A link to the CaFÉ call for entry will be listed on the ArtsThrive webpage.
•H igh quality, digital images of artwork are required with the application. • Artwork must be delivered to Albuquerque Museum in September 2019.
• In June 2019, artists will be told whether or not
• The ArtsThrive exhibition is open to the public October 20 – December 1, 2019, with ticketed opening weekend events
they are invited to participate.
CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.898.3915
• Artwork submitted with an application will be
SLATE AT THE MUSEUM 505.243.2220 Breakfast and lunch: Tuesday–Sunday, 10 a.m.–2:30 p.m. Snacks, coffee, drinks, & pastries until 3 p.m.
Contact the Albuquerque Museum Foundation for more information about the application prospectus: 505.842.0111. You can learn more about Learn more about CaFÉ here: WWW.CALLFORENTRY.ORG
October 18 and 19.
the same artwork shown in ArtsThrive, if invited.
MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services Emily Esterson, Editor Glenna Stocks, Art Director Ashley M. Biggers, Associate Editor Michelle Frank, Designer CULTURAL SERVICES DEPARTMENT CITY OF ALBUQUERQUE Tim Keller, Mayor ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2018–19 Maria Griego-Raby, President
Margaret (Peg) Cronin
Marney Hupper, Vice-President
Catherine Goldberg
Dean Willingham, Treasurer
Pamela Hurd-Knief Mark Joiner BJ Jones
Deborah Good, Past-President
Patricia Kurz
Alan Blaugrund Emily Blaugrund Fox, Executive Director Perry Bendicksen Thomas Blueher Andrew Connors, Museum Director
405 SATURDAY NIGHT GALA ATTENDEES
$40,146
$37,075 TOTAL TICKET SALESS
TOTAL SPONSOR DOLLARS
Stephanie Del Campo
Patricia Hancock, Secretary
Elizabeth Allbright
BY THE NUMBERS
$194,090
154
TOTAL ART SALES
ARTWORKS SOLD
Judy Jones Joni Pierce Tiffany Roach Martin Scott Schaffer
In This Issue: Goya’s Alba Obsession........................................................................................................ 2
Corinne Thevenet
Revolutionary Views............................................................................................................. 6
Gerard (Roddy) Thomson, Jr.
Redman Photo Archives...................................................................................................... 8
Alfred Volden
Modern Legend: Garo Antreasian................................................................................... 10
Tracey Weisberg
I aM Reading....................................................................................................................... 11
ALBUQUERQUE MUSEUM BOARD OF TRUSTEES
Motion and Musicality ...................................................................................................... 11
Judith Suiter, Chair
Maria Griego-Raby, AM Foundation
I aM Giving.......................................................................................................................... 12
Hal Behl
Joni M. Palmer, PhD
Beverly Bendicksen
Pamela Weese
Wayne G. Chew
Alan Weitzel
V I S I T U S AT:
AlbuquerqueMuseum.org
VISIONS OF THE HISPANIC WORLD
2
WINTER 2019
Art. History. People.
VISIONS OF THE HISPANIC WORLD
Goya’s Alba Obsession The iconic painting of the Duchess of Alba has a deep backstory.
V
ISIONS OF THE HISPANIC
to do her makeup—she wanted to be
World: Treasures from
“painted by Goya”! He wrote to a friend
the Hispanic Society of
that it was much more fun to paint her
America is a two-part
face than to paint her on canvas. It is
exhibition of two hundred of the most
pretty clear that he was fascinated by
exceptional (and rarely seen) works
her beauty, liveliness, intelligence, joie
from the Hispanic Society of America.
de vivre, and high social status—and of
The exhibition spans 3,000 years of
course benefitted enormously from her
Iberian and Hispano culture. Part II,
patronage and that of her husband. A
which opened on December 22 and
French visitor said of her that “every
runs through March 31, features works
hair on her head elicits desire.” She
from Francisco de Goya (1790s) through
apparently was a combination of Lady Di
the 1920s. The Albuquerque Museum
and Angelina Jolie.
will be hosting Marcus B. Burke, Ph.D.,
María del Pilar Teresa Cayetana de
senior curator of the Hispanic Society
Silva Álvarez de Toledo y Silva Bazán—
of America, who will speak about Goya
which is only part of her full name—was
and his relationship with the Duchess
born June 10, 1762, and died July 23,
of Alba, among other topics. We talked
1802. At age 12 (!), she married her
with Burke for a preview.
distant cousin, Don José Álvarez de Toledo Osorio y Gonzaga (1756–1796);
What was Goya’s relationship with the Duchess of Alba?
their combined inheritances would
LEFT: Francisco de Goya y Lucientes, The Duchess of Alba,1797. Oil on canvas, 210.2 x 149.2 cm, A102.
come to represent one of the largest
ABOVE: Francisco de Goya y Lucientes,
joint estates in Spain, rivaled only by
Self Portrait, 1976-7. 7.1” x4.8.“ Collection of the Museo del Prado
BURKE: From the late 1770s, Goya
that of the Dukes of Osuna. Part of her
was highly sought after as a portraitist,
reputation for being a wild thing, by
including by the new king, Charles IV
the way, was simply due to her being
and his wife, Queen Maria Luisa; they
an adolescent in the early years of
made Goya court painter in 1786. At
her marriage. She did have, however,
the same time, Goya was painting for
very advanced ideas for the times: she
ON VIEW:
the best noble households, especially
adopted an Afro-Hispanic infant girl
THROUGH MARCH 31
the Dukes of Osuna and the Dukes of
who later inherited part of her estate
Alba, who were rival patrons at court
(but not the titles, of course). Also
(and very different in many ways). It is
important is that she was the Duchess
clear from other works that Goya was
of Alba (and a lot of other things) in her
admitted to the most intimate circles
own right, not through marriage—Don
of the Alba household. At one point,
José became the Duke consort of Alba
Visions of the Hispanic World: Treasures from the Hispanic Society of America Lecture: More than Goya’s Muse, the Duchess of Alba Sunday, January 13, 2–3 p.m.
the Duchess called him to their palace
when he married her.
AlbuquerqueMuseum.org
3
VISIONS OF THE HISPANIC WORLD
THE ORIGINAL CULTURAL STEW Spain’s cultural roots include Roman, Celtic, and Moorish influences, all of which can be seen in the works exhibited in Visions.
Her husband died in June 1796 at Seville, where the
•T he Gallaeci settled in northwest Spain. Gallicia is considered the seventh of the original Celtic nations, along with Eire (Ireland), Kernow (Cornwall), Mannin (Isle of Mann), Breizh (Brittany), Alba (Scotland), and Cymru (Wales).
couple had gone following his being implicated in a failed coup d’etat in Madrid and shortly thereafter moved to her palace at nearby Sanlúcar de la Barrameda, on the Guadalquivir River. Goya was also probably in Andalucía.
•T he Romans invaded the Iberian Peninsula in 206 B.C. They remained in Spain, and particularly the area around Cádiz, for seven hundred years.
Between that point and January 1797, Goya painted the picture, probably at Sanlúcar.
There are elements of the Portrait of the Duchess of Alba that the casual viewer might not notice. Is she pointing at her fancy shoes? BURKE: The Duchess stands beside what is presumably the Guadalquivir River or one of its tributaries, dressed in a black basquiña skirt and a black lace mantilla. That is, she is dressed as a
indistinctly inscribed “Goya.” Now, in
“maja,” a popular type based on women
western civilization, when you put your
of the Madrid demi-monde [jet-set].
ring on someone’s finger, it means only
By 1796, however, the black ensemble
one thing. However, whereas the Duchess
had become a feminine symbol of
was a young widow and could remarry at
Spain itself, as it remains today. She also
will, Goya was married, and there was no
wears a red sash with two gold braids
divorce then. Furthermore, the Duchess
indicating the rank of a teniente general
was the highest born noblewoman
(lieutenant general, or two-star general).
in Spain, probably in Europe, and
Her grandfather held this rank, and the
Goya—well, while he was an hidalgo—a
sash may have belonged to him.
gentleman of the gentry—he was also an
She points to a signature at her feet, “Solo Goya” (only Goya) and on her fingers are two rings, one which clearly says, “Alba,” and the other which is 4
WINTER 2019
Art. History. People.
artist, middle-aged, and a bit crazy, not to mention deaf, if rather handsome. A major influence on Goya at this time was British early romanticism, with its
• I n 711 A.D., Muslim forces conquered the Iberian Peninsula, the heart of which was Andalusia. The name Andalusia comes from the term Al-Andalus used by the Arabs. Islamic Spain treated Christians and Jews with more humanity than their predecessors, the Visigoths—they were allowed to practice their faiths, were not slaves and were able to work. Nonetheless, they were encouraged to convert, and did not have the same rights as Muslims at the time. By the fifteenth century, Christians would gain the upper hand in Spain and they quashed other religious practice. •B y the time Christopher Columbus landed in America, Imperial Spain was a leading European power.
VISIONS OF THE HISPANIC WORLD
influence from Edmund Burke’s theory of the sublime. Notice the landscape with its
FACTS TO KNOW ABOUT VISIONS
misty, shrouded horizon. You could get lost in there, lose your bearings. And then
•T he funerary monument, The Duchess of Alburquerque weighs 955 kilos and was installed using a forklift.
there is the slash of red (a general’s sash— maybe she was the captain of his heart) and the explosive brushwork on her gold cuffs and bodice. That is the artist telling
•T he two-gallery installation includes 214 objects.
us how he feels. Anyway, he kept the picture for himself.
•T he earliest object: 2400–1900 BCE. The latest object: 1916. • The exhibition used sixty-four gallons of paint and five gallons of primer. It also used 3,200 linear feet of lumber and sixty sheets of four-by-ten-foot sheetrock.
TOP LEFT: Diego Velázquez, Portrait
of a Little Girl, ca. 1638-42. Oil on canvas, 51.5 x 41 cm. A108. LOWER LEFT:
Fibula, Celtiberian Spain, ca. 125-100 BCE. Silver, gold foil, H 3.3 x L 6.5 x W 2.5 cm. R3176.
•T he Albuquerque Museum team (twelve people) ate six pounds of pastries over the two-week installation period of the first part of the exhibition.
RIGHT: Khalaf, Pyxis, ca. 966. Ivory
with chased and nielloed silver-gilt mounts, H 16 x 10.1 cm. D752.
SPONSOR SPOTLIGHT American Home Furniture & Mattress has been a fixture in
information and possibilities. The Albuquerque Museum is a
1936. From the outset, this company had a very strong de-
able institution that is such an asset to our community.”
New Mexico since first opening its doors in Albuquerque in sire to be part of the New Mexico community. Over the years
true gem and I’m proud American Home supports this valuAmerican Home Furniture & Mattress is launching a
they’ve supported numerous organizations, including visual
program to help local organizations raise funds. Amer-
and women who’ve experienced domestic violence, as well
efforts to help support organizations in the local com-
and performing arts, education, shelters for the homeless
as local food banks. Under new ownership, American Home Furniture & Mattress has continued a generous tradition
of philanthropy. Together with the Albuquerque Museum
Foundation, American Home Furniture & Mattress has been an instrumental part of the team in encouraging the development of the museum as an outstanding museum of its
kind in the Southwest. American Home has been a proud
sponsor of both ArtsThrive and Shaken Not Stirred events
held annually at the museum. As Elaine Roy, vice president of merchandising states, “Museums open new worlds of
ican Home and its mattress suppliers are combining
munity by giving a portion of the price of any mattress
purchased at American Home Furniture & Mattress back to the guest’s organization of choice. When it’s time to upgrade your sleep, simply go to any of the six American
Home Furniture & Mattress stores in the state and let the sales associate know you are buying as a member of
the Museum. Not only will you get the state’s best comfort guarantee and guaranteed lowest price, but also a portion
of the sale will be used to help your favorite museum earn additional funds.
AlbuquerqueMuseum.org
5
REVOLUTIONARY VIEWS
Revolutionary Views Exhibition unveils New Mexico’s role in the American War of Independence.
G
ARCIA, Miera, Rael,
independence effort. “A lot of New
and Patriots: New Mexico’s Role in
Torres, Romero, and Vigil.
Mexicans have connections to these
the American War of Independence,
They’re common New
patriots and they don’t even know it,” says
an exhibition exploring little-known
Mexican last names, which
Henrietta Martinez Christmas, president
connections between Spain, New
Spanish soldiers who supported the
of the New Mexico Genealogical Society
Mexico, and the American Revolution.
American Revolution share. Stationed
and member of the Daughters of the
in New Mexico at the presidio (fortress)
American Revolution.
in Santa Fe, these soldiers made a
Martinez Christmas and DAR Charles
Pesos and Patriots spotlights Spain’s often overlooked involvement in the war. While France took center stage as a
one time donation of two pesos from
Dibrell Chapter Regent Nancy Bennett
colonial ally, Spain engaged the British
their paychecks to the American
are leading the organization of Pesos
Navy around Cuba and Florida, drove
6
WINTER 2019
Art. History. People.
REVOLUTIONARY VIEWS
ten thousand cattle from Texas to New
tell this story, including musket balls,
England to feed George Washington’s
a powder horn, and a clay tobacco
troops, and donated gun powder to the
pipe. The exhibition also includes
colonial efforts, to name a few of Spain’s
maps; timelines; items from the
interventions.
Museum’s permanent collection; and
Bennett joined the Dibrell Chapter
a reproduction of a Spanish presidio
when she moved to New Mexico
soldier’s uniform, borrowed from Sons
eleven years ago. She counts several
of the American Revolution.
Revolutionary War soldiers who fought
Named after an ancestor of one of
at the battles of Lexington and Concord
the founding members, the Charles
in her lineage. Several artifacts from
Dibrell Chapter is one of sixteen in New
Bennett’s personal collection help
Mexico. The local activities revolve
ON VIEW: JANUARY 26–MAY 19, 2019 Pesos and Patriots: New Mexico’s Role in the American War of Independence Objects exploring Spain and the state’s connections to the American Revolution.
around historical preservation and patriotism, such as handing out pocket-sized copies of the U.S. Constitution and creating holiday LEFT: A soldier from the Province of New
Spain, by Ramon de Murillo. Courtesy of the Archivo Géneral de Indias, Sevilla, Spain. RIGHT: The enlistment record of twentytwo-year-old Jose Francisco Martinez into the Light Soldier Dragoon on July 1, 1779. The document describes his appearance, including the scars on his nose and right cheek. Martinez mentions that he is unmarried and can read and write. From the Spanish Archives of New Mexico, Series II, Reel 21, Frame 877. BELOW: Reproduction of a Miera y Pacheco map of Nuevo México.
gift bags for hospitalized veterans. The chapter is fulfilling its educational mission with this exhibition, part of the Albuquerque Museum’s Community History series in the William A. + Loretta Barrett Keleher Gallery. The series gives community groups the opportunity to curate exhibitions based on the city’s rich heritage and the stories of its people. Previous exhibitions have highlighted Albuquerque’s Jewish community, Fairview Cemetery, tuberculosis sanitariums, and the Chinese American community’s contributions to the city. Martinez Christmas has compiled names of the Spanish soldiers in New Mexico who donated to the American independence effort. Her own relatives are on the list—and she wants other New Mexicans to discover their
The exhibition opening will feature classical guitar music and a talk. General admission to the Museum is free opening day, from 1 to 5 p.m.
connections. “I want people to say, ‘Oh, this is a Garcia. Am I related to him?’”
AlbuquerqueMuseum.org
7
Citizen Redman Photographer captured decades of Albuquerque life.
Commercial photographer C.E. Redman. Photo by J.R. Gonzales.
8
WINTER 2019
Art. History. People.
COMMERCIAL PHOTOGRAPHER
Redman, a former railroad man and
Clarence Eugene (C.E.) Redman (1898–
veteran of both world wars, began his
1970) spent three and a half decades
career in New Mexico as a Santa Fe New
capturing life in Albuquerque. Those slices
Mexican advertising manager in 1928. In
of life appear in the current photo archives
1930, he moved his family to Albuquerque
exhibition, Everyday People: Photos by C.E.
and worked for the Ward Hicks Advertising
Redman.
Agency, where he used photography
LEFT: Albuquerque Dukes
baseball team. Transfer, Albuquerque Public Library PA1978.141.306 RIGHT: Three girls work a booth at a Community Health Fair. Gift of Albuquerque Public Schools PA1997.046.466 BELOW: Soldiers purchase
to create promotional materials for businesses. Throughout the 1930s, Redman would hone his photography skills, describing the evolution of his work
items from the mobile Kirtland Field Post Exchange. Gift of an anonymous donor, in memory of Clarence Eugene Redman and Bess Curry Redman, PA1986.019.007
to the Albuquerque Journal in 1938: “[I] used to just point the camera and let it click but now, oh it’s very different. First you measure the distance, then the timing, to say nothing of the exposure and focus, angle, position.” Redman would shoot hundreds of photographs to get the picture he wanted. He was in demand throughout the city; his photographs appeared in most editions of the newspapers and in Albuquerque Progress, a monthly business journal. He made a point of identifying his subjects and providing background details and quotes, adding value to his photographs. After service in WWII, Redman founded a commercial photography studio. He shot community events for the New Mexico State Fair and Albuquerque Public Schools, as well as weddings, business events, and graduation ceremonies. In April 1952, Life magazine interviewed and photographed him for an article entitled “Have We Visitors from Space?” in which the magazine highlighted 10 UFO sightings and had the Air Force evaluate them. Redman’s sighting was supported by a second person in a different area of Albuquerque, and the Air Force had no record of government aircraft in the area at the time. Redman’s photographic chronicle of the lives of Albuquerque’s citizens provides an intimate portrait of the city life from the 1930s until his death in 1970.
ON VIEW: THROUGH NOVEMBER 30 Everyday People: Photos by C.E. Redman
AlbuquerqueMuseum.org
9
CHARLES R. RUSHTON. MUSEUM PURCHASE, 1987 GENERAL OBLIGATION BONDS PC1989.7.9.
Modern Legend ALBUQUERQUE HAS LOST
celebrations of the pure power of
its last great high modern art legend.
line, shape, pattern, color, texture,
Garo Antreasian passed away Saturday,
and composition have few equals.
November 3. He was 96. He was still
When representation did start to
working in his studio mere days earlier.
creep back in to his later works, it took
By the time Garo moved from Los
the fascinating form of abstracted
Angeles to Albuquerque in 1964, he
calligraphy and ritualistic game
was already an accomplished artist
boards. While his work could often
and print technician. As the founding
be described as mod cool and hard
technical director of Tamarind
edge, it nevertheless always sang with
Lithography Institute, Antreasian took
a spiritual joie de vivre he embodied in
lithography in revolutionary directions,
his life, labors, and relationships.
setting exacting professional and
In addition to being an artist without
aesthetic standards that his many
true parallel, Garo Antreasian was a
thousands of students, followers,
devoted father and family man, whose
and fellow printmaking professionals
children have themselves made
continue to attest and adhere to. This
important contributions to the arts
influence alone is incalculable.
and civic life in New Mexico. He was a
Antreasian served in World War
MUSEUM MEMBER DEALS Simply present your membership card to the cashier.
JANUA RY BUY AN ESPRESSO DRINK
AND RECEIVE A FREE BISCOTTI F EB RUARY
BUY A CASE SALAD
AND RECEIVE 50% OFF A CUP OF SOUP MARCH BUY ONE DRIP COFFEE
AND GET ONE FREE Slate Street Café provides catering services to private and corporate clients. We are committed to making each event unique and extraordinary. We specialize in wedding receptions, wrap parties, VIP functions, business lunches, and other events. Contact us to discuss your next event.
generous patron of the Albuquerque
II, where he worked as a combat
Museum, over time donating an
illustrator. After the war, his mature style
exemplary survey of his own works in
developed independent of innovations
various media, as well as many pieces by
in New York or Europe, although he
the best known New Mexico artists of the
often seemed to be a step or three
twentieth century, who often happened
ahead of his contemporaries. By the
to be his close friends and colleagues.
1960s, many artists had abandoned
He remained a regular visitor and
worldly representation in favor of
lecturer at the Museum, and his good
the possibilities of non-objective
cheer and appreciation of our efforts
abstraction, including Antreasian.
continued to inspire the entire staff. —
However, his prolific and innovative
Titus O’Brien, assistant curator of art
2000 MOUNTAIN ROAD NW ALBUQUERQUE, NM 87104 Located inside the Albuquerque Museum
505-243-2220
www.slatestreetcafe.com 10
WINTER 2019
Art. History. People.
Reading
I
aMF Author Festival Attracts Literature Lovers
ANNE HILLERMAN PRIZE FOR NON-FICTION WINNER
THE ALBUQUERQUE MUSEUM FOUNDATION
Judy Avila, who won the New Mexico/Arizona Book
CURATOR OF HISTORY WINS BOOK AWARD
supports the Museum by
Award for “Code Talker,”
Albuquerque Museum
raising funds, and by helping
says, “This festival is a great
Curator of History Deb Slaney
the Museum be a cultural
opportunity to connect with
received the New Mexico/
community center—as it did
other authors as well as our
Arizona Book Award for
with the third annual aMF
readers.” The festival also
the Multi-cultural Subject
Author Festival. The two-day
featured a writing contest for
category. The award was
event, held in November,
unpublished works.
presented in November
featured writing workshops,
New Mexico authors and the
MADISON BLOCK "WHITE BABY IN A HANBOK"
and honored the Museum's
author presentations, and a
Foundation collaborated on the
publication “Leekya: Master
book signing and sale. The
festival to benefit the Museum.
Carver of Zuni Pueblo.”
Museum was packed with
Garcia Automotive was the
JENNIFER BLACK
fifty participating authors.
event’s presenting sponsor.
"BOXED"
DAVID MORRELL PRIZE FOR FICTION WINNER
Motion and Musicality descend from the ceiling—a first for this
was a librarian, and he was raised in
ongoing series of year-long artist-in-
Michigan surrounded by books. It’s a poetic
residence installations. He relates that
irony that his musically improvisational
he developed these extemporaneous,
sculptures, drawings, and paintings on
short-term installations as a response to
paper are so emphatically non-narrative.
basic existential concerns: “Faced with
“I’m much more interested in just how
the awareness of catastrophic possibilities
one intuited move leads to another, with
human beings face on Earth right now, I
the harmony of all the elements in mind.”
began to wonder what the point of making
Hofmann even uses the word “jazz” to
a ‘permanent’ art object might be. These
describe his method of arranging materials.
installations are instead only meant to exist
sublime spaciousness and stillness New
Wood lath, clamps, ladders, clip lamps
for a while, then disappear, like we all will
Mexico’s landscapes impress on visitors and
with colored bulbs, string, worn furniture,
eventually in any case. They’re meant to
residents alike. Hofmann never represents
and other random found bits and bobs are
be enjoyed, then go away. It’s allowed me
or depicts specific places. Rather, he hopes
configured in what he somewhat reluctantly
to actually work through a certain sense of
to generate unique sensations and moods
calls “constructions." “I don’t want to coin a
futility about making art.”
that correspond to the vastness of our
new term for what it is I do, but it’s not really quite painting or sculpture.” Hofmann’s work will occupy the Albuquerque Museum lobby. It will also
Viewers are unlikely to sense any of this
KARL HOFFMAN, IN THE BALANCE.
ARTIST KARL HOFMANN’S mother
region. At the same time, these esoteric
disquiet. While Hofmann’s installations are
intentions playfully give way to delight at the
extremely dynamic and genuinely fun, he
absurdity of such mundane materials put in
nevertheless intends to also invoke the
service to the highest cultural aspirations. AlbuquerqueMuseum.org
11
Giving
I
GET ON THE MAGIC BUS The academic year is only half over, but already hundreds of school children have visited the Albuquerque Museum and Casa San Ysidro due to the generosity of more than 160 organizations and individuals who have donated to this popular program. “ . . . one of the best field trips so far!” according to one young visitor. A very special thank-you to Sandia Laboratory Federal Credit Union for their generous donation!
Donations to Magic Bus are still Please contact Program Director Rita Butler at 505.338.8732 if you are interested in donating or have questions.
TERI NEVILLE
needed for the 2018–19 school year.
LEAVE A LEGACY The aM Society
the future of the
WE WELCOME OUR NEW AM SOCIETY MEMBERS AND THANK THEM FOR THEIR VISION AND LEADERSHIP
Albuquerque
Judith and L. Henry Lackner
Museum by including the Albuquerque
It is important to list the Albuquerque
Saturday, April 13, 2019
Museum Foundation in their estate
Museum Foundation in your will and
"ALOHA MAUI" trip to be raffled!
plans. Giving from generation
not the Albuquerque Museum so that
Cocktail party and benefit for
to generation is one of the most
your gift may be properly managed
educational programs
meaningful and significant ways people
and acknowledged, and your wishes
at the Albuquerque Museum
can leave a lasting legacy. “The Museum
honored. If you are interested in joining
inspires and illuminates our community.
the aM Society or want information
We want to be sure it remains vital for
about estate giving, please call or email
future generations,” say Beverly R. and
Emily Blaugrund Fox at 505.338.8738 or
Perry E. Bendicksen.
ebfox@albuquerquemuseum.org
honors those who have chosen to commit to
12
WINTER 2019
Art. History. People.
SAVE THE DATE SHAKEN, NOT STIRRED AND "ALOHA MAUI" RAFFLE Mark Your Calendars Now!
Tickets go on sale January 22, 2019 More information to come www.albuquerquemuseum.org/shaken
MAGIC BUS DONORS as of December 5, 2018
Patricia DeVivi
Judith and L. Henry Lackner Dr. Dale Lang
Richard M. Adam
Charles Dibrell Chapter, Daughters of American Revolution
Mary Adkins
Frances DiMarco
Dr. Mercedes Agogino
Vicki and Richard Donaldson
Rudolfo Anaya
Sheila Doucette
Harry W. and Mary Margaret Anderson Charitable Foundation
Priscilla and David Drummond
Valerie Armer
Linda and James Fahey
Patricia Berry and John Arnold in loving rememberance of Ruby Berry and Grace Ardelle Arnold
Alice and William Fienning
Janice Arrott
Richard Friedman
Betty Bailey
Monika and Robert Ghattas
Cynthia and RJ Bailie, Untitled Fine Art Service, Inc.
Sandy Gold
Patricia M. Barron
Deborah Good and Andrew Schultz
Anonymous
Hal Behl in Memory of Reggie Behl
Pat and Max Evans Ellen and David Evans
Nancy Francis Mary and Lawrence Fricke
Anne B. Gonzales
MEMORIALS AND TRIBUTES September 5, 2018 through December 10, 2018
Susan and George Lind Kris and Terry Linton Donna and Donald Loftis
IN MEMORY OF JOE CATASCA Elaine and Wayne Chew
Judy Love Angelique and Jim Lowry Maureen and Robert Luna Myra and Richard Lynch Renate Manz Nancy and Peter Mattern Janice and Stephen Matthews Josephine and David McClurg
IN MEMORY OF ESTELLE KRAMER Nancy Blaugrund IN MEMORY OF BEVERLY ROGOFF Nancy and Cliff Blaugrund IN MEMORY OF KEITH ROTH Nancy and Cliff Blaugrund
John McEnaney Thomas McEnnerney Karen McSorley Suzette and Gerald Miera Kay E. Miller Dr. Ward Alan Minge
IN HONOR OF LUCIANNA STERNER’S BIRTHDAY Janice Cambron, Gordon Thornton and their families IN MEMORY OF BARBARA VLIET Meredith Merkley, Ellen Lyn Chapman Wilken
Marti and Robert Goodman
Elaine and Gary Montague
Clinton Bergum
John W. Gorsuch
Cathy Montgomery
Bronnie and Alan Blaugrund
Lorraine and Jerome Goss
Mary Jean Murphy
Lee Blaugrund, Tanager Property Management
Mae Green
Kathryn Naassan
Marilyn and Norman Grossblatt
Shanna and Albert Narath
Ginger Grossetete
Evelyn Neil
Suzanne and Richard Guilford
Mary Nunez
Alice Haddix
Susan Bell and Peter Ogilvie
Karen Halderson
Dianne Parker
Chuck and Sara Hall
Richard G. Payne
Cheryl Hall and M.D. Bustamante
Caroline H. Persson-Reeves
Dawn and Joseph Calek
Nancy Rutland and Michael Harbour
Juane Quick-to-See Smith and Andy Ambrose
Joyce Ann Carden
Anita and Jerry Harper
Dorothy and Larry Rainosek
Shari Carraher
Cissy Henig
Rainosek Family
Susan and James Carson
Barbara Herbert
Roberta and Barry Ramo
Peggy Cavett-Walden and Professor Jerrold Walden Fund
Geraldine and Joseph Hertogs
Pam and Chuck Reardon
Dolores H. Hines
Andrea Rector
Walt Hogsett
Lynn Reed
Kathy and Mike Humalainen
Ray Reeder
Shannon and Patrick Hurley
Roxana and Ogden Reid
Julie Silverman
J.D. and Chuck Wellborn
Patricia Cazier Renken
Katharine Sisk
Elizabeth Wills
Gay and Dusty Blech Myra Blottner Genelia E. Boenig David Bower Virginia and George Boyden Grace S. Brown Emily and William Browning Evelyn Byatt-Ballantine
Teresa Chanatry Elaine and William Chapman The Cherry Picker Foundation
Janis and Richard Pfaff
IN MEMORY OF ROSALYN ZIMMERMAN Nancy Blaugrund IN HONOR OF ANDREW CONNORS Lisa Darling IN HONOR OF THERESA SEDILLO Nancy and Cliff Blaugrund IN MEMORY OF GWENDOLYN D. MITCHELL Jan Elizabeth Mitchell The Albuquerque Museum Foundation makes every effort to record and acknowledge our donors accurately and appropriately. Please contact the AMF offices at 505.842.0111 if you notice incorrect information. Thank you.
Carol and Richard Chilson
Sandy Henderson and Mark Jaffe
Katherine and Lance Chilton
Deborah Ridley and Richard Nenoff
Diane and Matthew Sloves
Barbara and Hugh Witemeyer
Sandra James
Frankie Clemons
Mike Smock
Evangeline and James Jett
Nancy A. Robinson
Dr. Siu G. Wong and Dr. William L. Jones
Contemporary Arts Society
Helen and Roy Johnson
Dr. Rayme Romanik
Penelope Hunter-Stiebel and Gerald Stiebel
Cowboys and Indians Antiques
Carmen Johnson
Glynda and John Samford
Grace and Sigurd Stocking
Charles Wood
Jennie and Michael Crews
Sherry and Lucas Jojola
Sunbelt Properties, Inc.
Sandria and Hugh Woodruff
Amy Tanler
Karen Wormley Phippard in memory of James F. Phippard
Carolyn and Robert Wood
Carol Kaemper
Sandia Laboratory Federal Credit Union
Margaret and Robert Dalmas
Jan and William Keleher
Marian and H.L. Schreyer
Barbara L. Taylor
Revathi and Russ Davidson
Greta and Tom Keleher
Ruth and Sidney Schultz
Linda L. Davis
Kathleen Killorin and Jim Duran
Karen Schwartz-Smith
Mary Hershberger and Chris Taylor
Mary and Paul Davis
Ellen and Jim King
Cheryll Schwarz
Richard Van Dongen
Beverly and John Young
Susie Davis
Ricki and Scott Kresan
Sam and Frederick Sherman
Jean and Charles Villamarin
Marianne and Peter Zagorski
Dwight Auten and Thomas Decker
Noreen and Marc Kwasman
Karen and Martin Shore
Rose Warzinski
Miriam and John Zyskind
Krys and Philip Custer
Dean Yannias
AlbuquerqueMuseum.org
13
NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446
ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194
Front Cover Joaquín de Sorolla y Bastida (1863 Valencia, Spain –1923 Madrid, Spain), After the Bath, 1908. Oil on canvas, 176 x 111.5 cm, A296.
COMING SOON TO THE ALBUQUERQUE MUSEUM A PAST REDISCOVERED: HIGHLIGHTS FROM THE PALACE OF THE GOVERNORS May 11 to October 13, 2019 Following on the heels of Visions of the Hispanic World, this exhibition draws upon five centuries of Palace of the Governors archives to tell New Mexico’s story. Since the first decades of the seventeenth century, the Palace of the Governors has witnessed every phase of New Mexico history—including the Museum of New Mexico’s birth in 1909 after which time it became an anchor of the Museum’s campus, which contains the Palace, the Photo Archives, the Fray Angélico Chávez History Library, the Palace Press, and the History Museum itself, the most recent addition to this center for the understanding of New Mexican and Southwest regional history, erected in 2009. The exhibition is a visual encyclopedia of the story of the Southwest and its peoples—revealing the depth, richness, and bright hope for the future of the storied Land of Enchantment. Photographer Unknown, Mary Brian, Paramount Pictures Actress with 1929 New Mexico License Plate, 1929. Courtesy Palace of the Governors, Negative #HP.2012.20.3.