MUSEUM OF NEW MEXICO FOUNDATION FALL 2022 In the Stacks EXPLORING AND SUPPORTING MUSEUM LIBRARIES AND ARCHIVES
Indian Arts and Culture • Museum of International Folk Art • New Mexico History Museum • New Mexico Museum of Art • New Mexico Historic Sites • Office of Archaeological Studies Member News Contributors Mariann Lovato, Managing Editor Carmella Padilla, Writer and Editor Steve Cantrell, Writer Jennifer Levin, Writer Saro Calewarts, Designer and Photographer museumfoundation.org
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Table of Contents LETTER TO MEMBERS 1 BOARD OF TRUSTEES 2 LIBRARIES AND ARCHIVES 3 MUSEUM OF INDIAN ARTS AND CULTURE 8 MUSEUM OF INTERNATIONAL FOLK ART 10 NEW MEXICO MUSEUM OF ART 12 NEW MEXICO HISTORY MUSEUM 14 OFFICE OF ARCHAEOLOGICAL STUDIES 16 NEW MEXICO HISTORIC SITES 17 LICENSING 18 CORPORATE PARTNER SPOTLIGHT 19 NOTABLE NEWS 20 WAYS TO GIVE 21 Our
institutions: • Museum
Cover: Exterior of the Fray Angélico Chávez History Library at the New Mexico History Museum. Photo by Saro Calewarts. Below: Hand-labeled, decorative boxes contain articles, catalogs and notes from the personal research files of Alexander Girard, part of the extensive holdings of the Museum of International Folk Art’s Bartlett Library and Archives. Photo by Saro Calewarts. Mission The Museum of New Mexico Foundation supports the Museum of New Mexico system, in collaboration with the Museum of New Mexico Board of Regents and the New Mexico Department of Cultural Affairs. The Foundation’s principal activities are fund development for exhibitions and education programs, retail and licensing programs, financial management, advocacy and special initiatives. state cultural of
“I invite you to explore our libraries and archives. You will learn how curators, educators, researchers and the public benefit from these treasure troves of cultural and historical material.”—Jamie Clements
Moving nearly 300 miles south of Santa Fe, we report on the magnificent collection that Museum of New Mexico Regent J. Paul Taylor built over a life time with his late wife Mary. The collection and family home in Mesilla were donated to the State of New Mexico and will become our eighth historic site. Fall is one of the more glorious seasons in New Mexico. Enjoy the cooler temperatures and spectacular colors as you venture out to visit our museums and historic sites. As always, thank you for your wonderful support.
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Top: Photo by Saro Calewarts.
Dear ExhibitionsMembers,and education programs are the forward-facing activities of the Museum of New Mexico, and we can all take pride in supporting this core mission of our state museum system. Less well known, but important just the same, are the libraries and archives in each of the four state museums in Santa Fe. These vital resources are the scholarly backbone of our cultural institutions. They inform museum collec tions, exhibitions and education, and provide invaluable institutional history. I invite you to explore our libraries and archives in the feature story begin ning on page 3. You will learn how curators, educators, researchers and the public benefit from these treasure troves of cultural and historical material. Read on for more news about our museums in Santa Fe. One story tells of a digitization initiative for the Palace of the Governors Photo Archives at the New Mexico History Museum. Another provides a broad overview of the contemporary art collection at the New Mexico Museum of Art, soon to be moving into the new Vladem Contemporary in the Railyard. You’ll also learn that the Museum of Indian Arts and Culture recently opened an extraordinary new traveling exhibition, Grounded in Clay: The Spirit of Pueblo Pottery, organized by the School for Advanced Research and the Vilcek Foundation. Grounded in Clay features over 100 historic and contem porary works in clay, and similar to the museum’s Here, Now and Always exhibition, it was curated by the Native American communities it represents. We are also delighted to share a story to celebrate the generosity of former Museum of New Mexico Foundation trustee Lynn G. Brown. Lynn not only sponsored the “Reflecting and Imagining” section in Here, Now and Always, her name now graces the shop at the Museum of International Folk Art. This recognizes Lynn’s gift to the folk art museum, which will fund a new endow ment in support of the Girard Wing. Thank you, Lynn!
President/CEOJamieSincerely,Clements museumfoundation.org
Lorin Abbey Allan Affeldt
Sponsored by Lynn Godfrey Brown, a longtime museum supporter and former Museum of New Mexico Foundation trustee, this exhibition section includes a Jicarilla Apache teepee as a prominent feature. Museum curators and advisors agreed that a window would bring the outside world inside, grounding the exhibition in a sense of place that defines the stories and the Native peoples it celebrates.
ADVISORY TRUSTEES
Jim ClaireNancyJ.ChrisJerryKathleenJanePattyMarkBlairBeverlyHeleneDavidJimKentBarbaraRaeStephenSteveJ.LeroyCarlosKirkGeorgeGregJoanDavisDaytonDoveDuncanEllisGarciaGarciaScottHallHarrisHochbergHoffackerHooverF.Jacobs,M.D.ManningMatthewsSingerMerrinMorrisNaylorNaylorNewmanO’ToolePughRichardsonRyonEddSteppMeemWirthWoodcock
OFFICERS Frieda Simons, Chair Cathy A. Allen,Vice Chair Maria Gale, Vice Chair Michael Knight, Treasurer Kate Moss, Secretary VOTING TRUSTEES
Top: Lynn Godfrey Brown. Photo by Saro Calewarts. Opposite: Museum of International Folk Art Librarian and Archivist Brian Graney at work in the museum’s Bartlett Library and Archives.
A large photographic mural and ample bench seating will be added to the section soon, creating a special place for rest and reflection within the exhibition.
Victoria Addison Keith K. Anderson
John
Photo by Saro Calewarts.
HONORARY TRUSTEES
Anne Bingaman Jim Duncan Jr. John EileenCarolJ.EdwinaMarionMilnerPaulTaylorWarrenA.Wells Saul JamesCohenSnead 2 museumfoundation.org
When the Museum of Indian Arts and Culture recently opened its renovated Here, Now and Always exhibi tion, a new section, “Reflecting and Imagining,” had a striking addition—a full length window.
Robert L. Clarke Stockton Colt France Córdova Liz Crews
TRUSTEES EMERITI
MUSEUM OF NEW MEXICO FOUNDATION Board of 2022–2023Trustees
“The view to the northwest from that side of the museum is one of the most unparalleled vistas in Santa Fe,” says Tony Chavarria (Santa Clara Pueblo), the museum’s curator of ethnology. “The piñon and juniper covered hills of Santa Fe, with the Jemez Mountains, the Pajarito Plateau and amazing clouds in the distance, is a sight of beauty and of the ancestors.”
Sandy Zane Ellen Zieselman
DavidLauraRobertMargoCourtneyJudyHarrietWilsonJohnNatalieRobertSkipMichaelSaraDennisMichaelDanChristineBruceEdelmaPeggyRuthSusieDavidBudPatGuyRobertEricGwennJohnDianeRosalindJoeJenniferJuliaWilliamCynthiaAndrewsBoleneButlerCatronCervantesColvinDohertyDomeniciDuncanDjupedalGarduñoGlickGronquistHallHamiltonHawkansonHermanHoganHubbardHuntleyLarsenMcDermottMonroeOgg,M.D.A.O’Toole,Ph.D.OttoPettitPolinerReidy,M.D.RiveraRochesterScanlanSchreinerShermanFinchTaylorThomaVlademWidmarYoung
To the untrained eye, a library and archive probably looks like a quiet place to work, with shelves full of books and files stuffed with old photographs and historical records. But those in the know see how these inanimate objects practically vibrate in place.
Making the Invisible Visible Libraries and Archives Enhance Museum Education Mission
The staffs of these departments do a lot with a little, often applying for grants to pursue special projects like processing individual collections, preserving materials, or digitizing holdings to make them more accessible to the public online.
The eternal challenge of libraries and archives is that the work of maintaining a collection, by its very nature, never ends. Public access is the priority, but access is only as good as the cataloging system, which, ideally, is constantly being updated. Records also must be migrated from time to time into more technologically advanced databases. Then there is the need to preserve delicate or deteriorating objects, and time spent assisting researchers who use the collections for their work, which means pulling materials and then putting them back. And, because history never stops, new items are always coming in.
Jicarilla Apache tribal historian Veronica E. Tiller, who has researched in libraries and archives throughout the United States, says Colborne’s cataloging skills are unmatched.
Alicia Romero, New Mexico History Museum curator of New Mexico and Nuevomexicano/a history, discovered this illu minating bit of trivia while researching her latest exhibition, Curative Powers: New Mexico’s Hot Springs, on display at the museum through September 4. Romero pieced together the existence of these dinners from images she found at the Palace of the Governors Photo Archives, and from written documentation and ephemera from the Fray Angélico Chávez History Library.
In the early 1880s, the Montezuma Hotel in Las Vegas, New Mexico, hosted lavish dinners for wealthy health-seekers visiting the hot springs. The menus were decidedly non-New Mexican, offering guests from the East Coast and Europe such fare as sea turtle soup.
Top right: Allison Colborne directs the Museum of Indian Arts and Culture’s Library of Anthropology, a repository of resources related to the archaeology and cultural anthropology of Indigenous cultures in New Mexico and beyond. Opposite: Librarian and archivist Brian Graney displays a photo of Maria Martinez and Georgia O’Keeffe in a book in the Bartlett Library and Archives at the Museum of International Folk Art. Photos by Saro Calewarts. 4 museumfoundation.org
The research library collects and preserves resources on the archaeological record and cultural anthropology of the Indigenous cultures of New Mexico, the greater American Southwest, Mexico and Central America. The Library of Anthropology archives, directed by Diane Bird (Kewa/Santo Domingo Pueblo), contain institutional history, administra tive files and special collections.
Supporting the Curators
“Making hard to find materials easy to find, and making the invisible visible, are two fundamental ideas behind my work,” says Allison Colborne, director of the Library of Anthropology at the Museum of Indian Arts and Culture.
Hundreds of thousands of photographs and the full text of many written materials can already be accessed through the museums’ websites. And librarians are eager to answer questions about their institution’s unique holdings.
“Without her valuable assistance, my research in almost any topic would not be the same,” says Tiller.
Each of the four state museums in Santa Fe has an archive and a non-circulating library that support the work of cura tors as well as the public education mission of the museum.
“These are incredible resources for curators, educators, scholars and the general public,” says Museum of New Mexico Foundation President/CEO Jamie Clements. “They enhance our understanding of the museum collections and exhibitions, as well as the history of these magnificent insti tutions. We need to support them.”
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Laura Addison, curator of European and American Folk Art collections, is currently co-editing a book on the design legacy of Alexandar Girard, whose 106,000-object folk art collection is integral to the museum’s holdings. In addition to other materials, the museum library has Girard’s personal research files, a series of hand-labeled, decorative boxes that contain articles, catalogs and notes in careful penmanship about anything that interested him. There are also 6,000 of Girard’s travel slides, which were recently digitized at The Digital Ark’s Santa Fe imaging studio with financial support from the International Folk Art Foundation.
“We could use a lot more private donor support than we currently get. I’m not sure that people know we need the support.”
Hannah Abelbeck, the History Museum’s curator of photo graphs and archival collections, says the collection contains “in the upper hundreds of thousands” of photographs, nega tives, prints and digital images, mostly related to New Mexico history. “The figure ‘a million’ has been used, but we only have estimates, because not everything is cataloged,” she says.
Although the library is ostensibly specific to New Mexico artists, and artists in the museum’s collection, it also covers the art movements of Europe, Asia and Latin America that influenced artists in the Southwest.
Curators use the library and archives to research exhibi tions, often employing specific materials in the exhibitions themselves. Katherine Ware, the curator of photography, is using an artist book from the library in Transgressions and Amplifications: Mixed-Media Photography of the 1960s and 1970s, which opened July 23. Also located throughout the exhibition are engagement stations with library books about alternative photographic processes, where people can learn more about the topic, says librarian and archivist Abby Smith.
Meanwhile, the archives at the New Mexico Museum of Art hold institutional history and individual artist files, while the library collection is focused on periodicals and books relating to American art of the 20th and 21st centuries.
Graney sometimes stumbles upon important institutional history and shares his discoveries with curators. “He came across a photo of an event that happened in 1952, before the museum even opened to the public,” Addison says. “The very famous folk potter from Japan, Hamida Shoji, was great friends with the English potter Bernard Leach, and they were doing this cross-country tour demonstrating Japanese traditional pottery. They did a demonstration in the audito rium. In the audience is Maria Martinez, her son Popovi Da and Georgia O’Keeffe. The photo so represents what the museum was founded on, this idea of creating a place of cultural convergence, of mutual understanding.”
Librarian and archivist Brian Graney leads the Bartlett Library and Archives at the Museum of International Folk Art. Named for the museum’s founder Florence Dibell Bartlett, the archives house information on institutional history as well as field notes from curatorial travel and research. Documentation of the ongoing discussion about how the museum defines folk art, and individual files on local and global folk artists, are also included.
“When I started the research, I was shocked at the number of photos that we have of the hot springs in northern New Mexico. I didn’t know they had been regularly photo graphed,” she says. “That’s actually what prompted me to do the show. If I had found just a couple, it would have been harder to develop the exhibit.”
Smith’s scholarly research queries are varied, coming from academics as often as from people looking into a relative who made art in New Mexico decades ago.
At the Chávez History Library, librarians Kathleen Dull and Heather McClure recently completed digitizing over 200 audio recordings in the John S. Candelario collection. The project was supported with funding from a $15,000 grant from the Council on Library and Information Resources via the Museum of New Mexico Foundation.
Top right: Volunteer Barbara Arlen at work in the New Mexico Museum of Art Library and Archives. Opposite: Left to right: Hannah Abelbeck, Caitlyn Carl and Heather McClure oversee the vast library and archives of the Fray Angélico Chávez History Library at the New Mexico History Museum.
Smith says that docents also rely on the library’s extensive research materials. “The docents have their own study group that the library supports with material in any way we can. They want to be able to answer any questions that come up when they lead tours.”
“It’s a mystery as to why this set of recordings is in the Candelario archives, but a nice discovery,” Dull says. Addi tional audio recordings were recently located at the History Museum and Museum of Art, which they think are part of the Candelario collection but were separated over time. “We would like to digitize these and need funding to do so,” Dull says. “One of the recently discovered recordings is of Freida Lawrence reading D.H. Lawrence’s love poems. A copy of the audio on cassette was found in a desk in the History Library and another in an unlabeled drawer at the Museum of Art. Through conversations with our colleagues at the Photo Archives, we discovered there is motion picture footage as well.”
“Recently we had a couple of independent researchers preparing for Antiques Roadshow to visit town. They had an old painting, and they were trying to find out more about the artist,” she says. “There’s a graduate student trying to find out more information about Gisella Loeffler, one of the Taos Colony artists who’s not talked about so much. Another woman was writing about the Santa Fe Indian School and the history of those artists.”
Photos by Saro Calewarts. 6 museumfoundation.org
‘A Nice Discovery’ Library and archive collections rely heavily on private dona tions. These might range from stores of rare art books given to the Museum of Art, to someone’s family donation of photo albums to the Palace Photo Archives, to gifts of cash via the Museum of New Mexico Foundation designated to support the special needs of a particular library and archival collection. Collections that are donated directly to a specific museum must be processed and cataloged, requiring time and manpower to make them accessible to the public. It can take years to process every item that comes in, which is why stories abound about objects being “discovered” in mate rials waiting in the accessions queue. Often, an archivist looks into a query from a curator or scholar and is surprised by something in a file they’d never previously explored.
A seventh-generation New Mexican, Candelario was best known as a photographer. However his archives contain reel-to-reel and cassette tapes that include soundtracks to films he directed, Native songs, Spanish folk songs, inter views and lectures.
While most of the funding that the libraries and archives receive is through grants, they sometimes get generous tech nological gifts that help them with their work. The New Mexico Museum of Art Library and Archives now has a specialized color scanning system, a gift from Ambassador
It’s an issue that all museums face, says Romero, the History Museum curator. Born and raised in northern New Mexico, Romero has researched her own family in the archives.
Knowing how hard librarians and archivists work, Melwani still cringes when she runs across photos of people she knows whose names or dates are incorrectly labeled. When the photos were taken, she says, the subjects weren’t neces sarily asked for their permission or their names. “Personally, for me, coming from one of these communities, it’s impor tant to get it right.”
“People don’t know that our archives are interested in their family histories. That’s something we want to correct.”
Getting it Right How library and archival items are described is crucial to accessiblity, as descriptions contain the keywords that make them searchable. The time and effort required to make sure descriptions are accurate is another challenge.
“The closest thing I could find that pertained to them were photographs of the villages they were from, and kind of identifying where their houses were,” she says. “There are so many stories of everyday life that are left out of museums because people don’t know that our archives are interested in their family histories. That’s something we want to correct.”
To support our museum libraries and archives, contact: Museum of Indian Arts and Culture: Lauren Paige, 505.982.2282 or MuseumLauren@museumfoundation.org.ofInternationalFolkArt:Laura Sullivan, 505.216.0829 or NewLaura@museumfoundation.org.MexicoHistoryMuseum:Yvonne Montoya, 505.216.1592 or NewYvonne@museumfoundation.org.MexicoMuseumofArt:KristinGraham, 505.216.0826 or Kristin@museumfoundation.org.
Accuracy is an issue that Kim Suina Melwani (Cochiti Pueblo) sees all the time in archives, in Santa Fe museums and elsewhere. Melwani has been working with the Museum of Indian Arts and Culture on the renovated Here, Now and Always permanent exhibition, which opened July 2. She began in 2017 as a community curator, lending her point of view as a Cochiti tribal member, and then took on an enhanced role as a curatorial assistant. Much of her work involved fact-checking information contained in the exhibi tion at the Library of Anthropology.
Getting it right is an ongoing effort. It requires building trust with communities of color and other marginalized popula tions by involving them with the work of the collections.
David and Connie Girard-diCarlo. And the Palace of the Governors Photo Archives has a Digital Transitions Atom funded in part by a private donation. “Scans used to take us four to eight minutes to process. This is more of a shutter click, so the digitization process is much faster,” says Abelbeck of Photo Archives. “But the description part is no faster. It’s manual. Sometimes description requires transcription, sometimes there’s research. We could use a lot more private donor support than we currently get. I’m not sure that people know we need the support.”
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To view the documents, library.indianartsandculture.orgvisit:
Cuyamungue Tewa polychrome soup bowl. Photo courtesy Museum of Indian Arts and Culture. 8 museumfoundation.org
When Grounded in Clay: The Spirit of Pueblo Pottery opened at the Museum of Indian Arts and Culture on July 31, it provided ethnology curator Tony Chavarria (Santa Clara Pueblo) a rare opportunity to showcase some “unex pected” items from the museum’s collection.
While the exhibition’s more than 100 historic and contemporary works of Pueblo pottery are drawn from two significant collections—the Indian Arts Research Center of the School for Advanced Research in Santa Fe and the Vilcek Foundation of New York—the Museum of Indian Arts and Culture contributed 12 works for the show’s Santa Fe debut. Those works will not be included when the exhibition travels to New York’s Metropolitan Museum of Art, but Chavarria says they have important things to say to local viewers, especially children. “The last thing I wanted to do was a ‘best of’ from our collection. We can always do a retrospective,” he says. Instead, Chavarria selected “smaller pieces to not crowd the vitrines. A few are broken, several are figurative and some could even be dismissed as tourist art. But all, broken or not, have an important story to tell.”
Sharing the Spirit Pueblo Pottery through Indigenous Eyes
Chavarria selected figurines as a way to represent how pottery making is passed down through generations. “Making figures is the first thing master potters teach Pueblo kids,” he says. “Remember when we were kids and we’d Hidden Gem From the Library In 1940, scholars from North and South America came together in Pátzcuaro, Mexico, for the first InterAmerican Conference on Indian Life. In its coverage, The New York Times described the conference as a gathering to address “the Indian problem.” However, primary records of the conference convey a different story: a meeting to discuss land conservation that featured the historic and contemporary practices of Indigenous communities. The Library of Anthropology at the Museum of Indian Arts and Culture makes the order of proceedings and full text of presentations from this conference available online. The typewritten documents, now more than 80 years old, include information on soil erosion and soil conservation practices of pre-historic Indigenous agriculture, and laud contemporary Pueblo Indians along the Rio Grande for anticipating the need to preserve and conserve land, water and soil.
”We could not have done this exhibition without some of the proceeds from this year’s Native Treasures art sale and support from donors to the museum Exhibitions Develop ment Fund of the Museum of New Mexico Foundation,” Chavarria says. To support the Museum of Indian Arts and Culture, contact Lauren Paige at 505.982.2282 or Lauren@museumfoundation.org.
roll Play-Doh around in our hands making long snake-like figures or stick figures? Well, it’s the same when a master potter rolls clay into ‘snakes,’ which is really the first step of coil and scrape. From there, coiling leads to bowls and jars.”
Left: Cochiti Pueblo figurine. Gift of Dr. Phyllis Harroun. Right: Ako polychrome jar. Photos courtesy Museum of Indian Arts and Culture. museumfoundation.org
Thanks to private support, local museum viewers and visi tors will be first to experience Grounded in Clay before it travels nationally in 2023.
Figurines also “make people smile,” Chavarria continues. “I was hoping to engage children as perhaps they may be reminded of their toys.”
Following the Grounded in Clay curatorial model, Chavarria also invited tribal representatives to add their personal narrative to each piece from the museum’s collection.
“This exhibition really helps to establish a new model and shows we can work with communities to be authentic and genuine,” he says. “We could do more of these communitybased exhibitions, maybe at least every couple of years. But they can be expensive to mount.”
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As a whole, Grounded in Clay represents pottery making traditions from 19 New Mexico Pueblos, Ysleta del Sur Pueblo in Texas and the Hopi tribe of Arizona. The featured works were selected by the Pueblo Pottery Collective, which was established in 2019 as an initiative of the Indian Arts Research Center. This diverse group of Native Americans from 21 tribal communities in the Southwest was formed to both curate the exhibition and write about the works, providing completely Indigenous perspectives on the history, past and present, of Pueblo pottery. Each of the collective’s 60 members chose up to two works on display. Their writings recount their personal reflections and impressions about the pottery for viewers.
“This was one of the most collaborative projects I’ve ever been involved with,” says Chavarria, a member of the collec tive. “I felt truly valued and vital to the project.”
Perhaps the most historically significant work selected by Chavarria from the museum’s collections is the famed Sandia Pot. This is a very rare example of Sandia Pueblo pottery, in part because of its large size and because the clay used at that time resulted in especially brittle pottery. It is one of few historic Sandia pieces remaining.
Many visitors to Museum Hill make the Museum of International Folk Art their first stop. They then make a beeline to the museum’s gift shop—colorful and chockablock with collectible folk art.
Brown moved to Santa Fe in 1989. She soon became involved with the Foun dation as a trustee and supporter of the Museum Shops. Brown used her Hidden Gem From the Library In 1938, Illinois art collector and philanthropist Clara Viola Hoover joined the International School of Art’s summer program in Central Europe. She brought with her an electric typewriter and a 16mm camera, with which she shot a mix of black-and-white and Kodachrome film. Many years later, she recorded audio narrating the parades and festivals she captured, describing the many finely crafted peasant costumes she Althoughencountered.Hoover’s framing of these rural European cultures is old-fashioned, the film is a valuable visual record of a time and place before the sweeping changes brought about by World War II. Hoover donated the film to the Museum of International Folk Art in 1981. The gift was rediscovered in 2018 and restored and digitized thanks to a grant from the National Film Preservation Foundation.
Left to right: Shirley Pisacane, Lynn Godfrey Brown and Chris Yaeger at the Lynn Godfrey Brown Shop. Photo by Saro Calewarts. 10 museumfoundation.org
Lynn Godfrey Brown Shop Honoring a Devoted Donor
Lynn Godfrey Brown loves them both. “The folk art museum is especially close to my heart because of the years I’ve spent working with folk artists,” she says. In recognition of Brown’s recent $100,000 gift to the Museum of New Mexico Foundation’s newly established Alexander Girard Wing Endowment Fund, the shop has been named the Lynn Godfrey Brown Shop. The fund was created to support annual programming for the wing as well as the care and protection of the collection.
When that destiny finally led Brown to Santa Fe, she became involved in various folk art initiatives. For example, she helped develop Mentor to Market, an artist education program, for the International Folk Art Market. Originally supported by the Kellogg Foundation and recognized by UNESCO, the program provides participating artists with tools and opportunities to grow their businesses.
Like most tourists, Brown collected various mementos, but always the folk arts that represented the country she was visiting. While math had a professional hold on Brown, she describes her personal transition from “science to culture as my destiny.” She made it her mission to support artists from around the world.
Top right: Iron candle holders, on display at the Lynn Godfrey Brown Shop, are among various shop products related to the museum’s Dressing with Purpose: Belonging and Resistance in Scandinavia exhibition. Photo by Saro Calewarts. museumfoundation.org
collector’s eye to develop a section of the shops called “Collector’s Corner,” purchasing art directly from artists for “Iresale.was shopping at the Los Angeles, Las Vegas and Chicago gift shows to find product to try out in our shops and see what would fly,” she recalls.
“Lynn has a long history of supporting the shop,” says Curl. “I cannot think of a better fit. We are honored to have her name over our store.”
Brown remembers the day the family landed in Berlin, on August 13, 1961, the same day the Berlin Wall went up, temporarily sealing the family inside. After majoring in math at Antioch College, Brown’s travels took her further afield, around Africa, with Egypt and Ethiopia two favorite destina tions, and Asia, with memorable trips to Java.
For Teresa Curl, the Foundation’s vice president of retail operations, honoring Brown’s commitment to the world’s folk artists by renaming the gift shop makes perfect sense.
A self-described “grassroots person,” Brown’s particular passion for folk art took root as a child traveling with her father, a Pan American Airlines engineer, whose generous professional perks carried the family around the world.
Brown’s says her gift reflects her desire to honor and respect the art and cultures of the thousands of artists whose work is represented in Multiple Visions and throughout the museum.
“As a volunteer for decades, I have worked with hundreds of folk artists, and I have always felt that I was receiving more than I was giving,” she says. “The openness of these artists to share their culture, their artistic process, their aspirations and their art has been profound. For me, it has been an exhilarating and humbling journey. I feel very fortunate to be able to acknowledge these artists and those to come with my gift to the Museum of International Folk Art.”
To support exhibitions and public programs at the Museum of International Folk Art, contact Laura Sullivan at 505.216.0829 or Laura@museumfoundation.org.
Most recently, Brown worked with the folk art museum’s former executive director, Khristaan Villela, to support the Alexander Girard Wing Endowment Fund. With Brown’s gift, the endowment now totals $400,000. It’s a significant advance on a campaign that will be launched in December on the 40th anniversary of Girard’s permanent installation, Multiple Visions: A Common Bond.
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Vladem Contemporary
In every way, says White, Vladem Contemporary is “allowing us to push the boundaries of what is exhibited.”
Ruth LaNore, head of registration and collections at the New Mexico Museum of Art, offers a sneak peek of Stealth to Bring You Home by Erika Wanenmacher. Photo by Saro Calewarts. 12 museumfoundation.org
White says the museum’s contemporary art collection is rooted in its “most notable and substantial gift,” which came from acclaimed writer, curator and activist Lucy Lippard, who lives in Galisteo. The gift includes works by minimalist, conceptual, political and feminist artists, among them Carl Andre, Sol LeWitt, Hannah Wilke and Nancy Spero.
Hidden Gem From the Library Santa Fe ceramicist Rick Dillingham was known for his “broken pottery” style of destroying, painting and recreating objects. Before his untimely death in 1994 at age 41, Dillingham had an ongoing corre spondence with the Avant Garde potter Beatrice Wood, who was almost 60 years his senior.
Pushing Boundaries
The museum’s collecting mission sets it apart from other local contemporary art venues. White defines contemporary art as being post-1980, “being loosely the art of our time…without drawing any firm lines.” He explains that works collected for exhibition at Vladem Contemporary are part of the Museum of Art’s holdings. “We are one museum, two locations,” he says. “This also applies to the muse um’s collection. There is no distinction between the two sites.”
Construction of the New Mexico Museum of Art’s Vladem Contemporary provides opportunities for the museum and its supporters to give to the community, says the museum’s executive director Mark White.
The letters are part of the Rick Dillingham Collection at the New Mexico Museum of Art Library and Archives, and can be read in full online. Wood’s letters include passages about esoteric topics and world politics, as well as wisdom and encouragement for the younger artist. At 100 years old, she wrote to Dill ingham, “I know…I will have to leave this world before long. I am mad because there are so many glaze formulas I want to try!”
The spacious new venue in the Santa Fe Railyard will allow for the showing of works both larger and heavier than was previously possible in the galleries of the Museum of Art’s historic 1917 building. Perhaps most importantly, for the first time, contemporary art collectors will be able to donate works to a local collecting institution.
Two window projects and an installation on the building’s facade will provide passersby a 24/7 aesthetic experience without having to enter the building. The Video Window project will feature original video by a variety of artists on the building’s north facade. The Window Box, a storefront-like window display, will showcase site-specific installations by emerging New Mexico artists. The latter project is based on the Museum of Art’s well-received Alcove exhibitions (2012–2021), where artists from across New Mexico were exhibited five at a time every five weeks.
Contemporary art collectors Barbara Foshay and Thomas C. Turney underwrote the Window Box, while Foshay is also supporting the Villareal LED light installation. White is still seeking support for the Video Window project.
White says private support is crucial to public programming.
The museum also has an ever-evolving wish list of new works for collecting and exhibiting at Vladem Contemporary.
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“It gave us a meaningful range of contemporary art, expanding our collection’s breadth and depth,” White says. The generosity of donors will be on full display in the Vladem Contemporary’s inaugural exhibition, Shadow and Light. In addition to works from the Lippard collection, the show will feature items donated by collectors William Miller (TongueCut Sparrow (Inside Outside) by James Drake); David and Susan Hill (Stealth to Bring You Home by Erika Wanen macher); and Virginia Dwan (Three-part Serial Cube Set by Charles Ross).
While preparing for the inaugural exhibition, White says the museum staff is also working to “further develop the more visionary aspects of our programming, with the goal to make the Vladem Contemporary an outward-looking, communityfocused social hub of the Railyard’s northern side.”
Leo Villareal, an internationally renowned Albuquerque-born artist, is creating the facade installation. Villareal explains that the work, an LED light array with “constantly changing frequency, intensity and patterning,” comes from computergenerated code and will “suggest astronomical or celestial Collaborativeforms.”
public programming is also being planned with local arts nonprofit Vital Spaces and such Railyard institutions as the Jean Cocteau Cinema, New Mexico School for the Arts and SITE Santa Fe.
To support the New Mexico Museum of Art and Vladem Contemporary, contact Kristin Graham at 505.216.0826 or Kristin@museumfoundation.org. A rendering of Leo Villareal’s outdoor installation, soon to be on view at the New Mexico Museum of Art’s Vladem Contemporary. Courtesy Leo Villareal Studio. museumfoundation.org
“We are particularly interested in continuing to collect works by artists who have spent time or have worked in New Mexico,” says White. “For example, we have prints by Bruce Nauman, but we would like to add a video, sculpture or installation of his. Similarly, we have a number of works on paper and paintings by Larry Bell, but we would very much like to have one of his glass cubes.”
When a researcher inquired about eccentric Santa Fe art colony artist Howard Kretz Coluzzi, librarians at the New Mexico History Museum’s Fray Angélico Chávez History Library found two items in his file.
Into the Digital Age Expanding Access to Collections
One is an original drawing on light bond paper, thought to be rendered in pen and watercolor, of Coluzzi’s interpretation of an Indigenous corn maiden. The image is of a woman with hair styled in two large buns, kneeling over a sunburst in which the figure of another woman rises from a Originallymountaintop.from New York, Coluzzi worked primarily as a muralist, so this piece of artwork is considered rare.
The letter reads in part: “When the Yellow Maiden from the north came into the warmer climate where corn grew, she had an emotional experience.”
Thanks to initial support from the Department of Cultural Affairs and private funders through the Museum of New Mexico Foundation, the museum’s archival and library collections are increasingly available for viewing on the History Museum website at nmhistorymuseum.org. With combined collections numbering close to one million items dating from approximately 1845 to the present, this opens the window to the many stories the collection has to tell.
At the New Mexico History Museum’s Palace of the Governors Photo Archives and Fray Angélico Chávez History Library, digitization is making vast histor ical collections related to the cultures and history of New Mexico and the Southwest more accessible than ever before. “The museum has made collections digitization a high priority,” says the History Museum’s executive director Billy Garrett. “Researchers want to work from where they are, and this requires an investment in digitization.”
Hidden Gem From the Library
Caitlyn Carl, digital imaging archivist, at work in the Palace of the Governors Photo Archives at the New Mexico History Museum. Photo by Saro Calewarts. 14 museumfoundation.org
The digital era has changed the way the public and museums interact— allowing museums to electronically connect with other institutions and with a virtual audience, both local and global.
Also in the file is a letter from the Historical Society of New Mexico describing the drawing, which the historical society donated to the museum in December 1937.
What’s more, library and archival collections, both real and online, are not static. They continue to grow.
Next up for digitization are Museum of New Mexico founder Edgar Lee Hewett’s papers and photographs, supported by a $145,000 grant from the National Archives and Records Administration’s National Historical Publications and Records Commission. Currently, because the collection is not digitized, all research must be done in person.
Hannah Abelbeck, the History Museum’s curator of photo graphs and archival collections, says the most important aspect of digitization is speed. “We can now digitally scan at the speed of a shutter click, where it used to take up to eight minutes per scan. This speed means that we are not compro mising the integrity of fragile glass negatives or worrying about brittle book spines.”
Photographs from the archives of artist Gustave Baumann, a recent donation from the Ann Baumann Trust to the Palace of the Governors Photo Archives at the New Mexico History Museum.
Photo by Saro Calewarts. museumfoundation.org
Director Garrett adds, “Photo Archives needs to remain current with evolving technology, and this is where the Museum of New Mexico Foundation comes in. Technology is expensive and software constantly needs upgrading. Donations from individuals will give us the funds to stay up-to-date, serving New Mexicans and a worldwide public.” To support the New Mexico History Museum, contact Yvonne Montoya at 505.216.1592 or Yvonne@museumfoundation.org.
Other critical pieces of the archival puzzle are audio record ings. “Every time a researcher listens to one of these historic recordings, it shortens its life,” Abelbeck says. “Digitization allows us to both preserve them indefinitely and make them readily available to researchers around the world.”
“It’s both one of the largest and the most heavily used collec tions at the Chávez Library,” says librarian Kathleen Dull. “Over the next two years, we will organize, digitize, describe and digitally publish 24 linear feet of manuscript materials, which is about 108,000 pages, describe 12-linear-feet of photographic materials and digitize a selection of approxi mately 8,000 images.”
Abelbeck notes that there are also other large collections of personal papers that “we are working our way through.” One example is the extraordinary Gustave Baumann archive— which includes the artist’s writings, drawings, recordings and more—recently donated by the Ann Baumann Trust.
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The Baumann Trust is providing funding to support digitiza tion of the collection. But private gifts are always needed to help the museum make other collections accessible to the public “Donorsonline.interested in large research collections on history, culture and visual arts, or in formats like photography, motion picture, print culture, and oral history could help us launch, support or sustain work like this,” says Abelbeck.
The roughly 5,000 images now online “represent only about five percent of the collection,” Abelbeck continues, “which is one reason why the faster equipment is so important.”
A student participates in a Getty Conservation Institute educational workshop co-hosted by Office of Archaeological Studies at the Center for New Mexico Archaeology. Photo courtesy OAS. 16 museumfoundation.org
Multiple OAS offices, laboratory spaces and outdoor areas were restructured to accommodate the needs of participants and international instructors who attended in person and via Zoom. With a bit of creativity and a brand-new smart TV, the workshops went off without a hitch.
Future goals for the space include hosting ancient lifeways workshops and trainings for classroom teachers in the use of “Project Archaeology,” a Bureau of Land Management grantsponsored curriculum. This signature OAS program uses hands-on archaeology to teach critical thinking skills and cultural preservation values.
OAS staff and volunteers worked with Getty coordinators for nearly six months to prepare for the two-day workshops.
But the biggest beneficiary is the OAS education program. The reorganization and cleanup for the workshops created a formal classroom area that comfortably seats over 20 adults and even more students. While education programs were previously confined to the dark and not-very-inviting OAS library, the new space is bright and airy and features activity tables and sufficient floor space for hands-on learning.
”Donor contributions were essential to the improvements that worked so well for the Getty and that will provide lasting value for our education programs,” says OAS Director Eric Blinman. “Private support through the Friends of Archae ology allows OAS staff talent and creativity to flourish for the benefit of New Mexico.”
Creating a Classroom Earth, Preservation and Education Anthropologists, archaeologists, architects, preservationists and engineers from around the world convened in Santa Fe in June for Terra 2022: The 13th World Congress on Earthen Architectural Heritage. Organized by the Getty Conservation Institute, the National Park Service’s Vanishing Treasures Program and the Univer sity of Pennsylvania’s Stuart Weitzman School of Design, the four-day program featured lectures, presentations, tours and workshops. Two special workshops, “Earth as a Building Material” and “Methodology for the Development of Injec tion Mortars,” were co-hosted by the Office of Archaeolog ical Studies at the Center for New Mexico Archaeology.
To support research and education initiatives at the Office of Archaeological Studies, contact Lauren Paige at 505.982.2282 or Lauren@museumfoundation.org.
Benjamin Marcus of the Getty Conservation Institute wrote, “Thank you for sharing your time and amazing facility….We could not have done it without all of your assistance, so many thanks to you both [director Eric Blinman and labora tory supervisor Shelby Jones, who spearheaded the reorga nization and workshop preparations].”
The new classroom has already been used for students from San Ildefonso Pueblo’s summer program and Hands-onHeritage, a partnership with El Camino Real Academy.
“The Taylor Collection is valuable because it allows us to interpret the history and culture of Mesilla, New Mexico and the Southwest,” says collections specialist Ivana Montenegro. “Care of these objects will safeguard the magic of this home.”
“At Taylor-Mesilla, we look to private support through the Museum of New Mexico Foundation for visitor orientation and interpretation, and public and educational programs,” says Patrick Moore, executive director of New Mexico Historic Sites. To support the Taylor-Mesilla Historic Property, contact Yvonne Montoya at 505.216.1592 or Yvonne@museumfoundation.org.
Installing an HVAC system to stabilize the home’s interior temperatures and exterior environment created unusual constraints. Pipes and ductwork were hidden inside a fire place chimney and underneath the building’s pitched metal roof. The split-unit HVAC system itself was enclosed within a specially constructed wooden chest, a clever furniture-like disguise that appears to be part of the original décor.
Top right: Museum of New Mexico Regent J. Paul Taylor welcomes schoolchildren to the Taylor-Mesilla Historic Property, the site of his longtime home in Old Mesilla. Photo courtesy New Mexico Department of Cultural Affairs. museumfoundation.org
Montenegro has undertaken a room-by-room inventory of the home’s contents—including religious art, textiles, colonial New Mexican furniture, Native American art, photographs, fine art and folk art, some dating to the late 17th century. She photographs each object, records makers’ marks and artists’ signatures, and creates detailed condition reports. Each piece’s provenance, date and country of origin are noted, often assisted by Taylor and his daughter Rosemary Stolberg. Eight of fifteen rooms have been cataloged. A YouTube series, Exploring the Taylor Collection, examines many of these holdings in English and Spanish on the New Mexico Historic Sites website at nmhistoricsites.org. In one video, Monte negro highlights the family’s collection of more than two hundred nacimientos (nativity scenes). A special state legislative appropriation funded the HVAC and catalog projects. But many other projects will require private funding.
In 2006, the southern New Mexico home of J. Paul and the late Mary Daniels Taylor was dedicated as a historic property, part of the Museum of New Mexico system. Today, it is unique among the state’s eight historic sites. Located on Old Mesilla’s plaza, the Taylor-Mesilla Historic Property comprises three 19th-century adobe buildings and an extraordinary collection of New Mexican art and furnish ings. After purchasing the properties in 1953, the Taylors expanded and preserved the site as a family residence. Their gift of the property to the state set in motion a dream to give visitors a rare experience of the region’s history, culture and Atarchitecture.102years old, Museum of New Mexico Regent J. Paul Taylor, an influential former educator and state legislator, still lives on the property, which is open only by appointment or via virtual tours. Two recent projects—the installation of a museum-grade HVAC system and the cataloging of thou sands of objects in the home—ensure that the Taylor family legacy will live far into the future.
Preserving the Magic of Mesilla Taylor-Mesilla Historic Property
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LICENSING
Left: Turtle pin by Navajo silversmith Dave Taliman, ca. 1940. Gift of William (Bill) C. Ilfeld, New Mexico History Museum collection. Photo Blair Clark.
Right: Nickel and brass box adaptation of the turtle pin by Studio|A Home. Photo courtesy Studio|A Home. 18 museumfoundation.org
of bracelets, necklaces and pins, the jewelry collection is special for two reasons: its styling and choice of stones. Signature pieces feature insects, such as butterflies, spiders and beetles, and water animals, including turtles and fish. Instead of using precious stones, Navajo jeweler Dave Taliman used pipestone, agate, malachite, carnelian and turquoise to bring the creatures to life. The collection features signature Navajo stamping techniques, but because of the stones and the styling, the collection does not feel overtly Studio|ASouthwestern.Homedesigner Jeff Nesnadny designed a set of three charming, two-and-a-half-by-five-inch brass and nickel boxes: a fish, a turtle and a butterfly. These will be added to New West, a licensed collection developed by the Foundation in partnership with Studio|A Home. The collec tion will be presented in October at the High Point Market in North Carolina and available for purchase shortly after. “Once again, the Studio A team has done a fantastic job interpreting the museum material into interesting and wellcrafted products,” says Pamela Kelly, the Foundation’s vice president of licensing and brand management. “We are very proud of our partnership with them.” To learn more about the Foundation’s licensing program, visit museumfoundation.org or contact Pamela Kelly at 505.216.0614 or Pamela@museumfoundation.org.
Small Creatures, Big Style New Works from Studio | A Home
The Dallas-based decorative accessory and furniture manu facturer, a longtime Foundation licensee, turned for inspira tion to the little-known Ilfeld jewelry collection at the New Mexico History Museum. The 79-piece collection was part of a bequest given to the museum by William (Bill) C. Ilfeld, the grandson of Charles Ilfeld, a successful Jewish pioneer merchant in 19th century Santa Fe. The first of the Ilfeld family arrived in 1855, having traveled to Santa Fe from Hamburg, Germany. Over the next 10 years, five Ilfeld sons joined what had quickly become a thriving wholesale mercantile business: the Charles Ilfeld ComprisedCompany.
“Good things come in small packages.” — Aesop We have all heard versions of Aesop’s saying how often the smallest of packages deliver the biggest pleasure. In the case of the latest Museum of New Mexico Foundation licensing collaboration with Studio|A Home, the saying rings true.
TABLE Magazine New Mexico
New Mexicans are primed for conversations about the inter section of food and culture. With the debut of TABLE Maga zine New Mexico, a lifestyle magazine exploring the state’s culture of food and drink through craft, interior design, fashion and jewelry, editor-in-chief Keith Recker hopes to provide a new recipe for cultural and culinary connection.
“I see TABLE engaging our tastebuds as well as our retinas,” says Recker, whose passions for color, design and the art of the craftsperson run deep. Those elements converged many years back when Recker first visited the Alexander Girard Wing at the Museum of International Folk Art, causing him “to fall in love with the museum.”
Connecting Food, Art and Culture
Color, another throughline in Recker’s career, has led him to write three books on the subject. He will discuss his latest, Deep Color: The Shades That Shape Our Souls, in a Design Council event on September 22 at the folk art museum.
A Pittsburgh native, Recker also edits TABLE Magazine Western Pittsburgh, which explores culturally rich topics in that region. Locally, he is known to many folk art aficionados for his 12 years on the board of the Santa Fe International Folk Art Market, including five years as the market’s creative director. His past work as executive director of Aid to Arti sans and his previous publication, HAND/EYE magazine, further reflect his interest in creating economic opportuni ties for artisans worldwide.
With the launch of TABLE Magazine New Mexico, Recker became a Corporate Partner of the Museum of New Mexico Foundation at the $10,000 level. “We’re honored to support the Foundation and its work to nourish its museums,” he says.
With future issues of TABLE Magazine New Mexico, Recker plans to takes readers deeper into the world of the Museum of New Mexico system. “There are so many gems living in storage with riveting stories,” he says. “We’re looking forward to bringing to TABLE’s readers insight into the museums’ collections and the people who care for them.”
For information on becoming a Corporate Partner, contact Mariann Lovato at 505.216.0849 or Mariann@museumfoundation.org.
TABLE Magazine New Mexico’s debut issue paid homage to folk art at home and in the community. The article “Cooking is a Folk Art, Too!” features family recipes from international textile artists. They include Aziz Murtazaev’s rice pilaf (Uzbekistan), Juana Gutierrez Contreras’ chicken barbacoa (Mexico), Parth Purandar’s Jackfruit Vindaloo (India) and the Usai family’s take on ribs and polenta (Sardinia). The issue also celebrates the culinary folk hero San Pascual and ranks the best places to see folk art in Santa Fe. Topping the list is the beloved Museum of International Folk Art.
The cover of the fall issue of TABLE Magazine New Mexico museumfoundation.org 19
CORPORATE PARTNER SPOTLIGHT
The National Archives’ National Historical Publications and Records Commission awarded the New Mexico History Museum’s Fray Angélico Chávez History Library and Palace of the Governors Photo Archives $149,869 to organize, digitize, describe and digitally publish a trove of materials related to the life and career of Museum of New Mexico founder Edgar Lee Hewett.
Grant Highlights
From November 22 to 27, members will receive 20% off all Museum Shop purchases in all four stores and at shopmuseum.org. Circles members receive 25% off.
Double Discount at the Shops
NOTABLE NEWS
The National Park Service awarded the Office of Archaeological Studies $16,956 for Upper Cliff Dwelling Archaeomagnetic Sampling and Analysis, a project in collaboration with Tonto National Monument. OAS researchers will help NPS better understand Room 5 and the Upper Cliff dwelling at the monument, benefiting academics and augmenting public interpretation of the site.
Members Save at Opuntia Cafe A partnership with Opuntia Cafe inthe Santa Fe Railyard is the newestyear-round benefit for Museum ofNew Mexico Foundation members. Enjoy 10% off at the cafe when youshow a physical or digital membership card. Located upstairs at 1607Alcaldesa Street, across from VioletCrown cinema, Opuntia is a favoritestop near the Vladem Contemporary,set to open in 2023.
Terra Foundation for American Art awarded the Museum of Indian Arts and Culture a $75,000 grant to support the exhibition Horizons: Weaving Between the Lines with Diné Textiles. Scheduled to open in July 2023, Horizons will showcase over 30 textiles and related items from the museum’s collection, advancing knowledge of Native textile art, craft history and theory.
Left: Glass art available for purchase at the Colleen Cloney Duncan Shop at the Museum of Indian Arts and Culture. Right: Interior of Opuntia Cafe. 20 museumfoundation.org
Planned Gift
Ways to Give
Annual Fund Provide critical operating support for the Museum of New Mexico Foundation to fulfill its mission on behalf of our 13 partner cultural institutions.
Tammie Crowley Tammie@museumfoundation.org505.216.1619 Georgine Chavez Georgine@museumfoundation.org505.216.1651
FINANCEEduardoCorrales 505.216.1606Eduardo@museumfoundation.org
Education Funds Fund museum education and public outreach programs at our four museums, eight historic sites and the Office of Archaeological Studies.
Exhibition Development Funds
Yvonne Montoya New Mexico History Museum New Mexico Historic Sites Yvonne@museumfoundation.org505.216.1592
MUSEUM OF NEW FOUNDATIONMEXICO Staff For a full Foundation staff list, museumfoundation.org/staffvisit: EXECUTIVE OFFICE Jamie Clements Jamie@museumfoundation.org
MEMBERSHIP COMMUNICATIONSANDSaroCalewarts 505.216.0617Saro@museumfoundation.org
Give to special campaign initiatives designed to fund a range of capital expansions and programming advances throughout the Museum of New Mexico system. For more information, visit museumfoundation.org/give.
Special Campaigns
Provide a long-lasting impact at our 13 partner cultural insti tutions through an estate gift, bequest, charitable gift annuity or gift of art.
Laura Sullivan Museum of International Folk Art 505.216.0829Laura@museumfoundation.org GRANTSPeggyHermann 505.216.0839Peggy@museumfoundation.org
Lauren Paige Museum of Indian Arts and Culture Office of Archaeological Studies 505.982.2282Lauren@museumfoundation.org
Teresa@museumfoundation.org505.216.0725
LICENSINGPamelaKelly 505.216.0614Pamela@museumfoundation.org
Sachiko Hunter-Rivers 505.216.1663Sachiko@museumfoundation.org
TeresaSHOPSCurl
Endowment Establish a new fund, or add to the principal of an existing fund, to provide a reliable source of annual income that sustains a variety of cultural programs and purposes.
Brittny Wood 505.216.0837Brittny@museumfoundation.org
Membership
Support the Museum of New Mexico Foundation’s efforts to deliver essential services to our 13 partner cultural institu tions while offering enjoyable member benefits. The Circles Participate in a series of exclusive events while providing leadership-level support.
Support and explore the art, culture and history of New Mexico through active, adventurous, and educational cultural excursions and experiences.
Circles Explorers
Mariann Lovato 505.216.0849Mariann@museumfoundation.org Raven Malliett 505.216.1700Raven@museumfoundation.org Cara O’Brien Cara@museumfoundation.org505.216.0848
DEVELOPMENTKristinGraham New Mexico Museum of Art 505.216.1199Kristin@museumfoundation.org
Susie Little 505.216.3135Susie@museumfoundation.org
Kylie Strijek 505.216.0651Kylie@museumfoundation.org
Corporate Partners and Business Council Support the museums through your business and receive recognition and member benefits for your business, clients and employees.
Support exhibitions, related programming and institutional advancement at the division of your choice.
In honor of the exhibition Grounded in Clay: The Spirit of Pueblo Pottery, the Colleen Cloney Duncan Shop at the Museum of Indian Arts and Culture has a wide assortment of pottery from various Pueblos throughout the Southwest. Shop our beautiful assortment in-store and online at shopmuseum.org.
As always, members save 10% and Circles members save 15% on every purchase.
Spirit of the Southwest
shopmuseum.org
