Albuquerque Museum Member Magazine Winter 2022

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

1

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.

10

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

12

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