Albuquerque
The Magazine of the Albuquerque Museum Foundation — Winter 2022
Indelible Blue | Facing the Rising Sun | The Gay Betzer Children’s Fund
a sp e c i a l
THANK YOU to the 31st Annual A rt s Th r i v e sponsors!
GOLD SPONSORS
BRONZE SPONSORS
FRIEND LEVEL SPONSORS BeeHive Homes George and Kathleen Luger
ALBUQUERQUE MUSEUM FOUNDATION
A MESSAGE FROM THE EXECUTIVE DIRECTOR
PO Box 7006, Albuquerque, NM 87194 505.677.8500
ANDREW RODGERS
ALBUQUERQUE MUSEUM 2000 Mountain Road NW in Old Town 505.243.7255, 311 Relay NM or 711 Tuesday–Sunday, 9 a.m.–5 p.m. Closed Mondays and holidays THE MUSEUM STORE 505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.898.3915 MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services Emily Esterson, Editor Glenna Stocks, Art Director Judy Rice, Designer DEPARTMENT OF ARTS & CULTURE CITY OF ALBUQUERQUE Tim Keller, Mayor Shelle Sanchez, Ph.D., Director ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2020-21
O
ne of the great joys
their children made a
of my role with
remarkable gift to the
the Foundation is
Foundation—one that will
all the stories I get to hear
have a lasting impact for
from longtime supporters!
many local children, and
As I meet folks, I love to
(we hope) will inspire
hear about their history
similar expressions
with the Museum, how
of appreciation in
they first got involved, and which exhibitions, programs, and items in the collection are their favorites. Recently, I got the chance to meet Stan Betzer and learn about his remarkable wife Gay, who devoted
Scott Schaffer, President Elect
Becca Owen
Museum and also served on the
Roddy Thomson, Treasurer
Santiago Rivera
Foundation’s Board of Directors. As a tribute to Gay’s long-standing
Patricia Kurz, Secretary
Kathy Rowe
dedication to the Museum and its
Tiffany Sanchez
Joni Pierce, Past President
Sara Sternberger
educational programs, Stan and
Josef Díaz Elizabeth Earls Carrie Eaton Catherine Goldberg Alex Hauger Anne Keleher
Corinne Thevenet Kenton Van Harten Tracey Weisberg Joyce Weitzel Rick West Andrew Rodgers, CEO + Executive Director Andrew Connors, Museum Director
Executive Director & CEO arodgers@albuquerquemuseumfoundation.org
In This Issue: Indelible Blue: Indigo Across the Globe .......................................................................... 2 Facing the Rising Sun........................................................................................................... 4 Works of Paper..................................................................................................................... 5 Collaborative Effors: The Printer’s Proof........................................................................... 6 A Love of Giving................................................................................................................... 8
ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Alan F. Weitzel, Chair
Sherri Burr, Ph.D
Helen Atkins Vice Chair
Wayne G. Chew
Paul M. Mondragon Secretary/Treasurer
Donald Couchman
Joni Pierce, Albuquerque Museum Foundation
Dr. Janet SamorodinMcIlwain
Beverly Bendicksen
Andrew Rodgers
Catherine (Cate) Baker Stetson
Rhett Lynch
Chris Baca
By the way, if we haven’t yet I’d love to hear YOUR story!
as a docent for the Albuquerque
Stephanie Del Campo
issue of the member magazine. met, please feel free drop me a line.
Beverly McMillan
Hal Behl
can help us magnify its impact—in this
educator. For many years Gay served
Sean McCabe
Alan F. Weitzel, Museum Board of Trustees
the Betzer family’s gift—and how you
herself to serving others as an
Perry Bendicksen, President
Max Parrill
our community. You can read more about Gay and
Hilma E. Chynoweth
Casa San Ysidro................................................................................................................... 10 Foundation: Matching Fund............................................................................................. 11 Foundation: ArtsThrive Revisited..................................................................................... 12
Christine Glidden
Pamela Weese Powell
V I S I T U S AT:
AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org
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INDELIBLE BLUE
True Blue
F
A new exhibition explores the beauty and history of indigo.
OR THE PAST TWO YEARS, ALBUQUERQUE MUSEUM CURATORS HAVE BEEN
EXPLORING THE WORLD OF
INDIGO FROM A HISTORICAL AND
art curators, as well as the expertise
Ricketts, Nikesha Breeze, Gasali
and object loans from individuals and
Adeyemo, Laura Anderson Barbata,
institutions in New Mexico and beyond.
Eduardo Portillo and Mariá Eugenia
The exhibition explores the history, techniques, and movement of indigo,
Dávila, Hiroyuki Shindo, Yukiyo Kawano, Scott Sutton and more.
ARTISTIC PERSPECTIVE. Indigo is much
tracing the many regions and cultures
more than a shade of the color blue.
that have used this elusive dye for
For some artists, it’s an encompassing
millennia. Indelible Blue features artwork
process that includes growing the plants
and historical objects from Asia, South
and making the dye, and using it to create
Asia, Africa, The Americas, and New
final works. For others it’s a representation
Mexico. The exhibition also includes
of the past, a way to honor ancestors.
works that reflect on indigo’s historical,
INDELIBLE BLUE: INDIGO ACROSS THE GLOBE
ecological, and spiritual significance.
January 8 – April 24, 2022
Indelible Blue: Indigo Across the Globe is the result of a collaboration between the Museum's history and 2
WINTER 2022
Art. History. People.
Artists featured in the exhibition include Rowland Ricketts, Chinami
ON VIEW
INDELIBLE BLUE
Indelible Blue was conceived after
today, the circa-1860 spun and dyed wool
Albuquerque Museum Curator Josie
is a stunning example of Diné weavers’
Lopez, Ph.D, viewed the documentary
use of indigo, says Curator of History
film Blue Alchemy, by Corrales filmmaker
Leslie Kim.
Mary Lance, which tracks the history
Some of the contemporary indigo
of indigo from ancient past to today—a
artwork featured in the exhibition
journey around the globe.
explores the history and the process
Indigo, made from a variety of plants
of indigo production. For some artists,
Left: Katsushika Hokusai, Picture Book on the Use of Coloring, first volume 1848, woodblock printed book; ink on paper, The Metropolitan Museum of Art, Purchase, Mary and James G. Wallach Foundation Gift,2013, 2013.881. © Public Domain Right: African Chief’s Garment; early to mid-20th century; handspun cotton and indigo dye; 82 x 57 in.; courtesy of the Museum of International Folk Art, gift of Lloyd E. Cotsen and the Neutrogena Corporation; A.1995.93.39
that produce the chemical compound
such as Rowland and Chinami Ricketts
indican, dates back 6,200 years. The
who seek a purity to the color, indigo
labor-intensive process of extracting
is a lifestyle. They use natural materials
indigo dye is deeply intertwined with
and traditional process to create textiles.
its history and products. Albuquerque
The artists grow the plants and produce
Museum curators long considered how
their own indigo dye. Taos artist Nikesha
to best present this rich historical and
Breeze explored her connection to indigo
indigo. Her installation uses blue jeans
contemporary material, from how it
from South Carolina enslaved ancestors
created for one market, re-exported
travels across the globe to how it has
who were involved in the production of
to Africa as used goods, and then re-
Opposite left: Laura Anderson Barbata in collaboration with the Brooklyn Jumbies, Chris Walker, and Jarana Beat; Intervention: Indigo, Brooklyn, New York, 2015, photo by Rene Cervantes
influenced New Mexico culture and artists. The Museum’s History Department connected with curators at the Maxwell
Indigofera spp.
Museum of Anthropology and the
Isatis spp.
Museum of International Folk Art; and
Polygonum tinctorium
Museum curators looked specifically
Strobilanthes spp.
for artists whose use of indigo is central
Philenoptera spp.
to their work, as well as those who use
Marsdenia tinctoria
indigo for either outright or underlying
Wrightia spp.
political reasons. One notable item that is a direct
Justicia spp. Eupatorieae and yangua
product of that collaborative spirit is the chief’s blanket on loan from the Maxwell Museum. One of only a few in existence
Distribution of different varieties of indigo around the world. Adapted from: Natural Dyes: Sources, Tradition, Technology and Science. Archetype publications. Cardon, Dominique (2007).
AlbuquerqueMuseumFoundation.org
3
INDELIBLE BLUE
imported to the United States. Her work is a kind of altar, she says, to the indigo journey. “I have been in a pretty deep study about African American history, the South Carolina indigo plantations, the history of indigo in America, and enslaved Africans,” says Breeze. She notes that Ku Klux Klan members were wearing blue jeans made from cotton grown by slaves and dyed with indigo grown on plantations. The blue jeans were created for the enslaved by the
Unknown photographer, R.A. Pettes with Children and Grandchildren, ca. 1952
enslaved but have been appropriated as a mainstream American icon. “I’m interested in untying that history and honoring those roots.”
Facing the Rising Sun
LEARN MORE:
FACING THE RISING SUN:
FILM SCREENING AND DISCUSSION
HOMESTEADING FROM A BLACK
that brought with it hope of ownership,
PERSPECTIVE is a high-tech traveling
of being in charge, of self-determination,
exhibition telling the story of the first
rooted in the story of owning your
African American families to homestead
land,”says Rita Powdrell, executive
New Mexico. Facing the Rising Sun
director of AAMCCNM.
WEDNESDAY FEBRUARY 2, 1-3:00 PM Blue Alchemy: Stories of Indigo is a feature length documentary that explores the history and reveals the beauty and importance of indigo, weaving together stories about textiles and culture through interviews with artists, artisans, and historians. This film was produced and directed by Mary Lance, a filmmaker with over 40 years experience in documentary production. She has made documentaries about indigo, the blue dye; artists Agnes Martin and Diego Rivera; and the New Deal art projects of the 1930s, in addition to many documentaries for museums and arts organizations. Lance will introduce the film and will be available to answer questions following the screening.
is a partnership between the African American Museum and Cultural Center of New Mexico (AAMCCNM), Electric Playhouse, and the City of Albuquerque Department of Arts and Culture. The exhibition highlights the history of several families homesteading in three significant areas in New Mexico —Albuquerque, Las Cruces, and Vado. Family histories included in the exhibit are those of Boyer and Fuller; Collins; Holsome; Lewis-Outley-Ballou; Pettes;
WINTER 2022
Art. History. People.
Thomas Williams, Holsome Homestead, 2021
and Williams. The story of African American settlement in the New Mexico revolves around federal legislation that helped families through various homesteading acts beginning in 1862. Following six family histories, interactive structures allow the visitor to physically step into the world of homesteading in New Mexico.
4
“It was a fairly significant migration,
ON VIEW FACING THE RISING SUN: HOMESTEADING FROM A BLACK PERSPECTIVE January 22 – July 10, 2022
Barton Lidicé Beneš, Souvenirs, 1983, collage with paper constructs, Albuquerque Museum, gift of the Albuquerque Museum Foundation from the Lucia v.B. Batten Estate, PC2015.26.192 Below: Judy Chicago, Double Head, 1986, oil on handmade cast paper with Soluvar varnish, Albuquerque Museum, gift of Russell Hamilton, PC1997.18.1
ON VIEW PAPERCENTRIC February 26 – August 28, 2022
Works of Paper Paper arts from the permanent collection PAPERCENTRIC, AN EXHIBITION
explore the expressive possibilities of
included is Sammy Vigil’s prison-art cross
FEATURING PAPER ARTS FROM THE
paper itself. Abstract sculptural works by
constructed out of cigarette wrappers
MUSEUM’S PERMANENT COLLECTION,
Barbara Bock and Susan Wing show the
made while he was incarcerated. Paper
features works that use paper as the
malleability of paper and its potential to
folding is one of several prison art forms
primary material rather than a substrate for
transform the space around it in subtle
that demonstrates the ingenuity and
other mediums. Works in this exhibition
ways. A large playful work titled Souvenirs
resourcefulness of incarcerated individuals
emphasize the simplicity, flexibility,
by Barton Lidicé Beneš includes currency
seeking creative outlets. Other artists
strength, and fragility of paper and honor
that has been folded into a sculpture that
included in Papercentric are Jeannie
the material as a medium in its own right.
is in some way iconic of its country; the
Meejin Yoon, Catalina Delgado-Trunk,
square for England holds a 1978 one
Michelle Stuart, Robert Hooton, Judy
paper, papier maché, embossed paper,
Through techniques including cast
pound bill folded into a paper tea bag
Tuwalestiwa, Judy Chicago, and Brian
cut paper, and paper sculptures, artists
bearing Queen Elizabeth’s portrait. Also
Blount.
AlbuquerqueMuseumFoundation.org
5
THE PRINTER’S PROOF
Collaborative Efforts
The Printer’s Proof focuses on how artists and printers work together.
H
OW DO ARTISTS MAKE PRINTS, ESPECIALLY WITHOUT STRONG
TECHNICAL EXPERTISE
OR THE LATEST EQUIPMENT? They
their vision. Prints are often a combination
have been based in New Mexico, as well
of artist ideas, printmaker’s knowledge
as the artists they have worked with. The
and technique, occasional risk taking, and
six printers featured are: Marina Ancona,
cherished happy accidents.
Robert Arber, Steve Britko, Michael
One of three exhibitions this winter
Costello, Bill Lagattuta, and Jennifer Lynch.
collaborate with an expert—a master
curated by Albuquerque Museum
Artists featured in the exhibition include
printer with deep knowledge of various
staff, The Printer’s Proof: Artist and
Donald Judd, Harmony Hammond, Jim
mediums, technical skills, problem
Printer Collaborations, focuses on the
Dine, Hung Liu, and many more. The
solving acumen, and most importantly, a
collaborative process of printmaking. It
Printer’s Proof will examine a variety of
commitment to helping the artist realize
celebrates several printers who are or
printing techniques, exploring how the
6
WINTER 2022
Art. History. People.
THE PRINTER’S PROOF
whom would come for two week stays. In addition to helping artists realize their vision, he had to reassure them that they’d
,
LEARN MORE:
have an edition at the end of their visit.
PRINTER’S PROOF PANEL
He also had to be a creative thinker; for
SUNDAY, FEBRUARY 27,
example, the background of Jim Dine’s
1:00-2:00 PM
Double Diana were prints made from the tops of old drawing tables that were in the basement of the former architecture building. “They were scarred from Exacto blades. I thought, ‘these would be great for a background.’” Dine loved the idea, but didn’t want it dominating the image, so they printed it in a beige color. Artist and printmaker Jennifer Lynch, based in Taos, has also worked with dozens of artists to create works on paper. Each artist and each experience in the print studio is different, she says. If she is working on her own prints, the studio reflects her creative process, which can be messy. But if she is working with an artist, all signs of her own work—plates, prints,
A panel featuring discussions between master printers and artists. Jennifer Lynch, Santa Fe artist, educator and owner of Lynch Pin Press, where she printed works by artists Earl Stroh, Ron Cooper and Ken Price among others. Steve Britko has over four decades of printing experience including at Tamarind Institute as the shop manager and master printer. He opened Naravisa Press in 1980, collaborating with a wide range of artists including Dan Namingha, Susan Rothenberg and Roy DeForest among others.
process—are eliminated. “When a client comes to the studio, it is clear of my stuff. Everything in the studio is dedicated to the artist. At that point, I’m not in the creative process. I’m approaching it from the technical side.”
Opposite page: Dine, Jim, Double Diana 2009, 3-color lithograph, BAT lent by Bill LagattutaThis page: Strong, Charles White Rose Suite 2010 photopolymer color etching on Hahnemuhle paper, P.P. lent by Jennifer Lynch
Lynch worked with Charles Strong to create White Rose Suite. After spending final print is often shaped by the nature of
time in Munich, Strong was profoundly
the interaction between artist and printer.
affected by what he learned of the
Printmaking is a labor and equipment-
Nazi resistance movement. He took
intensive operation, with different skills
photos from his TV of a video about the
from artmaking, although many printers
movement, bringing them to Lynch in the
are also artists themselves. It requires
form of transparencies. Strong wanted
technical knowledge and constant
to use them somehow. "We started
experimentation. Bill Lagatutta worked
working with color schemes similar to Nazi
at Tamarind Institute from 1987 to 2015,
uniforms. … The prints have every bit of
collaborating with many artists, most of
his emotion about the subject.”
ON VIEW THE PRINTER’S PROOF: ARTIST AND PRINTER COLLABORATIONS February 19 – May 15, 2022
AlbuquerqueMuseumFoundation.org
7
EASON EIGE
Top: Harvey, Sheldon (born 1978 Gallup, New Mexico; lives Window Rock, Arizona) Nilinigíí Baadáádoolyeed, 2005 oil on canvas, 28 x 22 1/4 in. (71.1 x 56.5 cm) Albuquerque Museum, gift of Eason Eige. PC2014.16.2 Below: Maiolica, glaze, earthenware, 1650 – 1750. 7 3/4 x 4 3/8 in. (19.7 x 11.1 cm) Albuquerque Museum, gift of Eason Eige. PC2014.2.1 Far Right: Matthew Charley, Diné Concha Belt, ca. 2015 stamped silver on leather 44 7/8 x 3 1/8 x 5/8 in. 2 7/8 x 3 ¾ in. (buckle), 3 in. diam. (each concha). Albuquerque Museum, gift of Eason Eige. PC2021.28.15
A Love of Giving Collector and curator Eason Eige has donated 399 objects to the Museum.
A
S A BOY, EASON EIGE’S
GRANDMOTHER KEPT A COLLECTION OF GLASS
ANIMALS IN A DRAWER
WINTER 2022
Art. History. People.
He would grow up to be an expert on glass, a curator, an artist, a collector, and a donor. That childhood experience
IN THE LIVING ROOM. She allowed
“taught me to take care of things that
him to take them out one-by-one, slowly
were fragile and unusual,” he says.
unwrapping them from the paper that
8
creating imaginary parades and zoos.
Eige, originally from Iowa, has spent
protected them. Young Eige—only eight
a lifetime of collecting—and donating—
years old at the time—was careful with
precious, fragile, and stunning
the precious collection, even as he was
objects. Today, he’s a major donor to
EASON EIGE
museums in New Mexico and beyond.
thinking about giving his collections
His massive collection over the years
to museums after visiting with another
reflects eclectic interests, and many
collector. “Someone asked him, ‘why did
of these objects are now part of the
you give it to the [museum] before you
Albuquerque Museum’s permanent
die? Why don’t you just loan it to them?’
collection, including jewelry, prints,
And the man answered, ‘Because I want
paintings, Zuni fetishes, sculpture, and
to be at the party.’ That really resonated
of course, glass. “His keen collecting
with me.”
eye, finding masterworks in all sorts of
The secret to a good donor-museum
unexpected locations, has benefited the
relationship? An honest dialogue with
Albuquerque Museum so richly,” says
curators, Eige says. With his gift of
Museum Director Andrew Connors.
301 pieces of Native American jewelry
As a teenager, Eige began collecting
in 2010 alone, the long-time donor
Japanese stamps and toy lead soldiers
worked with Museum curators closely.
from England from stores visited during
“We had all the pieces spread out on a
his job delivering the newspaper. His
table in the basement. I told them, ‘Take
route ended at the largest auction
everything that you will use and nothing
house in the Midwest. There, he learned
more. … I want to be responsible for
about the objects and their stories. He
giving you objects that are special.’”
gradually became a more sophisticated
Unsurprisingly, donors such as
collector, helped by reading voraciously
Eige and Museum staff share a mutual
about American glass, which would
enthusiasm for these important objects.
become his specialty.
“I just gave them a handwoven manta
During college, Eige volunteered
(Diné shawl). Andrew [Connors] took
at the Nelson-Atkins Museum of Art in
me to the vault and showed me a Zuni
Kansas City, where he learned about
manta that was similar, but 100 years
curation by bringing his own objects
older.” Connors notes that, of the 399
into the museum to show the staff. Once,
objects Eason has given, each reflects
he showed the director a 17th Century
his personal passion for human creativity
Blanc du Chine piece (white Chinese
and his desire that his local museum
porcelain). “[The director] asked, ‘Hey,
preserves them and shares them with
can we borrow that?’ and he did that
scholars and the general public. “It is
for a number of things I brought in, and
Eason’s sincere hope that his generosity
that gave me a taste for collecting and
to the collection will inspire other major
for museum work.” Eige later took a job
collectors to similarly improve the
at the Huntington Museum of Art (then
Museum’s holdings,” Connors says.
called Huntington Galleries) in West Virginia where he worked for 21 years.
For Eige, the joy in donating also comes from the knowledge that
Over the years, Eige has collected
museums protect and provide context
thousands of objects for the Huntington
for works of art. “It’s a pleasure to give
Museum of Art, including over 5000
things to museums—it’s like [the items]
works in glass. But he really started
are old friends and they’re okay now.”
CASA EVENTS JANUARY: CLOSED
FEBRUARY 2/12/22 2nd Saturday: New Mexico's Money, Coins of the Colonists: 1536 – 1812
2/19/22
New Mexico’s Early Money SPANISH CURRENCY FIRST CAME TO
coinage, and
THE NORTH AMERICAN COLONIES
Colonial (US) paper
THROUGH LUCRATIVE TRADE WITH
money in this
THE WEST INDIES. The Spanish silver
Second Saturday
dollar had been the world’s outstanding
event. Rod Frechette
coin since the early 16th century, and was
is a scholar from
spread through the vast silver output of
the Florence School
the Spanish colonies in Latin America.
of Numismatics. In
Spanish coinage was a legal contender
addition to winning
with the US dollar up until the coinage act
the National Coin Week Award, he’s
of 1857.
won dozens of 1st place ribbons for
Numismatic scholar, Rod Frechette,
competitive coin exhibits. Rod presents
unfolds the history at Casa San Ysidro,
coin and stamp displays to schools for
speaking about Mexican coinage,
the Albuquerque Coin Club’s Magical
contemporary US and European
History Tour.
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WINTER 2022
Art. History. People.
Blacksmithing Basics: The technique of heating metal and forging it into necessary implements and tools dates back over a thousand years. There has been a recent resurgence of interest in this field. Most blacksmiths are self-taught, however understanding the basic principles and techniques can speed the learning process. This hands‐on opportunity provides the knowledge to begin making your own tools, knives, and decorative art. Registration Required 9:00AM – 1:00 PM
2/26/22 Heritage Spinning and Weaving – Fiber Prep: This class features the origins and histories of fiber in Spanish Colonial New Mexico, fiber harvest, and preparation using Churro wool. Learn to wash, carding, and comb wool. Museum Admission 1:30 – 3:00 PM
FOUNDATION NEWS
Gay Betzer Children’s Fund Supports Education TEACHER, LIBRARIAN, CULTURE LOVER,
enjoyable service was activity involving
AND DEDICATED MEMBER OF THE
children, including serving as a Casa and
ALBUQUERQUE MUSEUM FAMILY,
Museum tour guide for childrens’ groups.
GAY BETZER understands the immensely valuable education museums provide. The Gay Betzer Children’s Fund is a new
"We are so grateful to the Betzer family for their support of both the Albuquerque Museum and our Foundation over the
initiative, dedicated to Gay, that will broadly
years,” says Andrew Rodgers, executive
DONATIONS FOR
support the Museum’s education programs
director and CEO of the Albuquerque
THE GAY BETZER
over the next decade. The Betzer family
Museum Foundation. “Gay’s impact has
has donated $50,000 to the Albuquerque
been vital to both organizations.”
Museum Foundation, pledging an additional
The pandemic has increased demand
CHILDREN’S FUND are 100 percent tax-deductible.
$50,000 as match to any other contributions
for the Museum’s youth education
There are a variety of convenient
received for the fund.
programs exponentially. Teachers
payment methods available,
Gay became active with the Albuquerque Museum as a docent in 1987, as a way to
increasingly look to the Museum to provide resources and opportunities—both in-
learn about the history of New Mexico after
person and virtual—to expand the horizons
the family relocated to Albuquerque from
of their students.
including: with a check (payable to the Albuquerque Museum Foundation), through your Donor-Advised Fund, via
Oklahoma. The docent training, she wrote
This gift from the
our website (www.albuquerque
in a personal biography, greatly enriched
Betzer family allows the
museumfoundation.org), or
her experience in Albuquerque and with
Foundation, through
the Museum. Later, Gay served on the
education program
by calling the Foundation 505-677-8500.
Albuquerque Museum Board of Directors
funding, to serve more
If you have questions,
for two terms and was one of the first group
students, and continue
email info@albuquerque
of docents trained for Casa San Ysidro when
to use the Museum’s
museumfoundation.org.
the city acquired it. She has served on the
collection, exhibitions,
Casa Advisory Committee, the Batten House
and programs to
Committee, and has given countless hours
reach children.
to Museum service through volunteering.
“We couldn’t
“One of the nicest honors I received was the
think of a more
Foundation’s Honor of Distinction in 1998-
fitting tribute for
1999,” she wrote. The family directed the
Gay’s passion,"
donation to education because her most
Rodgers says.
Gay Betzer
AlbuquerqueMuseumFoundation.org
11
MEMORIALS AND TRIBUTES IN MEMORY OF REGGIE BEHL Hal Behl IN MEMORY OF FRED FRIEDMAN Richard Friedman IN MEMORY OF FRAN RORER GREICIUS Louise and Walter Rosett IN MEMORY OF JAMES L. LOWRY, M.D. Bronnie and Alan Blaugrund Susanna Carlow Gale Doyel and Gary Moore Susan Feil Donna and Hal Hankinson Gene Henderson Greta and Tom Keleher Ellen and Jim King Linda and Martin Koehn Christine Long Pamela and Don Michaelis Gino and Donna Miles Mr. and Mrs. Philip K. Olson Daniel O’Neil Bruce Phillips Nancy and Paul Pierce Joyce and Alan Weitzel Helen Wertheim Dean Yannias IN MEMORY OF DR WARD ALAN MINGE Ann Carson IN MEMORY OF ARMIN REMBE Suzanne and William Ebel Mary Kay and James Foley Jean and Ulton Hodgin IN MEMORY OF ESTHER WELP Mary and George Novotny IN HONOR OF MARCIA CONGDON AND CAMPBELL WADE Libby Foster
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WINTER 2022
Art. History. People.
Thank you to everyone who helped make ArtsThrive a success!
Recycled glass beads in a variety of sizes and shapes from Ghana. $10.00-$25.00
MUSEUM STORE 505-242-0434
store@albuquerquemuseumfoundation.org
Rich textiles from India, Africa, Central Asia and Japan show ancient techniques, patterns, and clothing traditions that characterize ethnic textile design. $35.00-$150.00
Gloriously pieced together, Indigo: The Colour that Changed the World takes the reader on an international tour of remarkable clothing, people, and textiles. $65.00
Recycled plastic bangles from Mali. Load them up both wrists! $0.75 each
MUSEUM STORE HOURS: Tuesday through Sunday, 10 a.m. to 5 p.m. Closed Mondays, Thanksgiving, Christmas and New Year's Day
Porcelain vases from Art Floral Trading add a pop of indigo to your modern home. Cluster several together for an artistic display. $10.00-$75.00
NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446 ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194
Front Cover Laura Anderson Barbata, Rolling Calf, 2015, hand-woven indigo-dyed cotton textile by Habibou Coulibaly, courtesy of L’Aviva Home; indigo-dyed cotton brocade, printed cotton, machine embroidery from Oaxaca, decorated sneakers, natural fiber basket, buttons, fabric-maché, leather, character from Intervention: Indigo, photo by Rene Cervantes, courtesy of the artist.
COMING SOON TO THE ALBUQUERQUE MUSEUM TRAITOR, SURVIVOR, ICON: THE LEGACY OF LA MALINCHE On view June 11 – September 4, 2022 Traitor, Survivor, Icon: The Legacy of La Malinche examines the historical and cultural legacy of the Indigenous woman at the heart of the Spanish Conquest of Mexico (1519-1521). A controversial and enigmatic figure with a complicated life story, the woman known colloquially as Malinche played a central role in the major and minor transactions, negotiations, and conflicts between the Spanish and the Indigenous populations of Mexico. The Legacy of La Malinche establishes and examines her symbolic importance and the ways artists, scholars, activists, and everyday women have appropriated and used her as means of expression. Delilah Montoya (Chicanx, born 1955), La Malinche, 1993. Collotype; 21 1/2 x 17 x 1 ¼ in. The Abarca Family Collection, Denver. © Delilah Montoya. Photo courtesy Denver Art Museum
