MUSEUM OF NEW MEXICO FOUNDATION
SPRING 2021
The Inspiration Equation Inside Shops and Licensing
Table of Contents
Cover: Sara Birmingham, the Museum of New Mexico Foundation’s vice president of retail, shows a sampling of necklaces offered by the Shops. The featured works were created by Lester Abeyta (Santo Domingo), Wanda Lobito and Marie Yazzie (Navajo). Photo © Saro Calewarts. Bottom: Sankuru vases, part of the New West collection from Studio A, a licensee of the Museum of New Mexico Foundation’s Licensing program. Photo courtesy of Studio A Home, a Global Views Company.
LETTER TO MEMBERS
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BOARD OF TRUSTEES
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SHOPS AND LICENSING
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MUSEUM OF INDIAN ARTS AND CULTURE
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MUSEUM OF INTERNATIONAL FOLK ART
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NEW MEXICO MUSEUM OF ART
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NEW MEXICO HISTORY MUSEUM
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OFFICE OF ARCHAEOLOGICAL STUDIES
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NEW MEXICO HISTORIC SITES
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CORPORATE PARTNER SPOTLIGHT
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NOTABLE NEWS AND EVENTS
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WAYS TO GIVE
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Our 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. The Museum of New Mexico Foundation serves the following state cultural institutions: • Museum of 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 Molly Boyle, Writer Saro Calewarts, Designer and Photographer
museumfoundation.org
Dear Members, We are delighted to showcase the Museum of New Mexico Foundation’s Shops and Licensing programs in this issue of Member News. It was 56 years ago, in 1965, when the Foundation opened a small retail space in the basement of today’s New Mexico Museum of Art. Since then, we have added shops in the three other state museums in Santa Fe, with a fifth shop destined for the new Vladem Contemporary opening in the Railyard Arts District in 2022. All of our shops also have a dynamic online presence at shopmuseum.org. Led by the expert eye and experience of Sara Birmingham, our vice president of retail, the Shops program is vital to fulfilling our mission to support the Museum of New Mexico system. The shops enrich the visitor experience at our four state museums in Santa Fe. Their revenues bolster the Foundation’s operations so that we, in turn, can generate private funding for exhibitions and educational programs at all 13 of our affiliated cultural institutions. Admittedly, this past year has been challenging for the Foundation’s retail business, prompting the temporary closure of our four physical shops this past winter. We plan to reopen in April and continue building upon our 56-year record of retail success. Our online shops remain open for business in the meantime. The Foundation’s Licensing program was founded in 1998 by Pamela Kelly, our vice president of licensing and brand management. During the past two decades, the program has generated over $1 million in support for the Museum of New Mexico system while also promoting our diverse museum collections to a worldwide audience. Licensing is an innovative approach to earning revenue and building awareness that is usually the domain of much larger museums than ours. It is the distinctive collections in our museums, combined with Pamela’s extraordinary design sense and entrepreneurial skills, that have made this program such a success. Thank you for helping sustain these special programs in good years and challenging years. Remember that your membership affords you special discounts in our shops and at shopmuseum.org. Your patronage supports the Foundation, the Museum of New Mexico system, and talented artists in New Mexico and throughout the world. Sincerely,
Jamie Clements President/CEO Photo © Saro Calewarts. museumfoundation.org 1
MUSEUM OF NEW MEXICO FOUNDATION
Board of Trustees 2020–2021 OFFICERS
ADVISORY TRUSTEES
Guy Gronquist, Chair Harriet Schreiner, Vice Chair Frieda Simons, Vice Chair John Rochester, Treasurer Maria Gale, Secretary
Victoria Addison Catherine A. Allen Keith K. Anderson JoAnn Balzer Robert L. Clarke Stockton Colt Liz Crews Joan Dayton Greg Dove George Duncan Karen Freeman Carlos Garcia Leroy Garcia J. Scott Hall Pat Hall Stephen Hochberg Ruth Hogan Barbara Hoover Kent F. Jacobs, M.D. David Matthews Christine McDermott Helene Singer Merrin Beverly Morris Blair Naylor Mark Naylor Patty Newman Jane O’Toole Dan Perry J. Edd Stepp Courtney Finch Taylor Nancy Meem Wirth Matt Wilson Claire Woodcock
VOTING TRUSTEES
By the time she became a Museum of New Mexico Foundation trustee in 2010, Cynthia Bolene had immersed herself in Foundation activities, including work on committees overseeing our retail operations and as a member of The Circles. Today, as chair of the Shops and Licensing Committee, she continues to provide leadership and perspective from her decades of experience in retail, design and fashion to benefit the Museum of New Mexico system. Bolene moved to Santa Fe in 2007 after retiring as corporate vice president from Neiman Marcus, where she held several positions. Bolene had previously attended the New York School of Interior Design and served on the board of the Fashion Footwear Association of New York. “I always wanted to give back from a philanthropic point of view, so I’ve been looking for an opportunity to put all of my years of work to good use,” she said shortly after joining the Foundation board. In addition to her work with Shops and Licensing, Bolene is a former co-chair of The Circles.
Above: Museum of New Mexico Foundation trustee Cynthia Bolene chairs the Shops and Licensing Committee. Photo courtesy Cynthia Bolene. Opposite: A folk-art-adorned wreath gifted by the late and beloved Charmay Allred welcomed visitors to the downtown Holiday Pop-Up Shop last winter. Photo © Saro Calewarts.
Lorin Abbey John Andrews Cynthia Bolene William Butler Julia Catron Chip Chippeaux Kathryn King Coleman Sharon Curran-Wescott Christie Davis Rosalind Doherty Diane Domenici John Duncan Kirk Ellis Jed Foutz Robert Glick Chris Hall Bud Hamilton Steve Harris David Hawkanson Susie Herman Rae Hoffacker Peggy Hubbard Michael Knight Bruce Larsen Jim Manning George Miraben Dan Monroe Kate Moss Michael Ogg, M.D. Dennis A. O’Toole, Ph.D. Sara Otto Michael Pettit Skip Poliner Kathleen Pugh Jenny Ramo Jerry Richardson Wilson Scanlan Judy Sherman Bob Vladem Laura Widmar David Young
HONORARY TRUSTEES Anne Bingaman Jim Duncan Jr. John Marion Edwina and Charles Milner J. Paul Taylor Carol Warren Eileen A. Wells
TRUSTEES EMERITI Saul Cohen Alan Rolley Marian Silver James Snead
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It was a miracle on Lincoln Avenue. Last fall, the Museum of International Folk Art and Museum of Indian Arts and Culture shuttered in response to pandemic-related state health orders. Their respective shops closed, too. A local family with deep roots in the real estate community offered free downtown retail space. A pop-up museum shop arose on Lincoln Avenue—just in time to save Christmas. The Holiday Pop-Up Shop is one example of how the Museum of New Mexico Foundation’s four dynamic museum shops have worked to stay robust despite the commercial ravages wreaked by COVID-19. Thanks to social media marketing and nonprofit networking, online sales are booming in broader markets, benefiting the Foundation’s brick-and-mortar and online shops. The hard work and enthusiasm of staff, including James Wood and Simone Ward in the Shops warehouse and the entire team of sales associates and volunteers, made these successes possible. Even so, economic uncertainties prompted the Foundation to take a conservative approach. During the traditionally slow winter retail season between January and March, the Shops paused in-person shopping and shifted exclusively to online sales at shopmuseum.org. On-the-ground retail spaces are expected to reopen in April. The Foundation’s distinguished Licensing program has also held strong in the face of international supply chain delays. The program’s wholesale partners have rolled out an impressive four new product lines inspired by museum collections over the past six months. The earned income from both Shops and Licensing—$2.4 million and $133,000, respectively, in the last fiscal year—supports the Foundation in shoring up its four Santa Fe museums, eight historic sites statewide and the Office of Archaeological Studies. But the goals behind the two programs are aimed at more than pure profit. Bringing awareness to museum collections and forging lasting relationships with consumers are of equal importance, along with one trailblazing rule that can best be summed up as “inspiration, not replication.”
Foundation President/CEO Jamie Clements explains the philosophy behind each program. “We use the Shops to enhance visitor experiences, and Licensing to advance our collections,” he says. “Bringing exposure to our museums and collections is the greater goal.”
Keeping Retail Relevant Sara Birmingham, the Foundation’s vice president of retail, stresses the importance of flexible thinking when it comes to buying and selling museum-related merchandise. “If the electricity goes off, we get out the flashlights,” she laughs. “In retail, it’s always thinking what’s going to come next.” About the pandemic, the former Nordstrom buyer says, “This has been the worst ‘next’ I’ve ever experienced.” Birmingham’s seasonal buying trips may have temporarily been relegated to Zoom calls, but she sticks to the building blocks of the retail process, beginning with a budget. “It’s how much inventory you should own based on the space you have and the volume of sales you project for a year. The higher the turn of merchandise over that year, the more efficient you are as a buyer,” she says. With her assistant buyer, Kylie Strijek, Birmingham assesses both the minimum and maximum of merchandise she can fit into a store space, assigning a budget to each department: books, cards, stationery, jewelry, apparel, children’s items, accessories. Then the real critical thinking begins.
“What is the best price for this product? What’s the perceived value? Is it a fair price for the customer and the maker? How much will an eventual markdown affect our bottom line?” Birmingham explains. First priority, as it has been since the Shops program began in 1965, is purchasing works from New Mexico artists, artisans and makers. In the case of the Museum of International Folk Art Shop, Birmingham also seeks out international vendors with quality products. All told, the Shops contribute substantially to the local-global creative economy, serving as a sales and marketing venue for nearly 1,000 artists and artisans statewide, as well as for 400 international artists.
Enhancing the Visitor Experience Birmingham keenly understands the role of the Shops in serving the vision—and the visitors—of their respective museums. She works with museum planning teams for exhibitions, paying close attention to tying products to the themes of the exhibitions on view. For example, for the Folk Art Museum’s 2015 exhibition The Red That Colored the World, Birmingham sought vendors who used cochineal insect dye in their products—including a Taos cosmetics company and a sock-maker from Truth or Consequences. The shop, conveniently the first sight for visitors to the museum, “turned red, too,” she says, becoming a sort of exhibition in itself. The display inspired visitors to delve deeper into the experience of the color red.
Above left: Sara Birmingham, vice president of retail, provides buying and sales expertise to select the extraordinary range of goods offered by the Shops. Above right: A selection of Native jewelry sold at the Museum of Indian Arts and Culture’s Colleen Cloney Duncan Shop. Photos © Saro Calewarts.
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When she’s assessing an item for inclusion in a shop, Birmingham rifles through a mental Rolodex of everyone she knows. “If I can’t think of one person who would buy it, I pass on it,” she says. The driving idea behind every item is the goal of forging a lasting connection between the customer and the museum, along with increasing the possibility of a return visit—whether it’s in person or online. “The person who spends a half day at the History Museum is not necessarily the same person who visits the Folk Art Museum. The inspiration within those walls is what you hope will motivate them to possibly take home a remembrance of their visit. It connects them to us. It’s more about the feeling and experience you have in a place rather than what you purchase.”
Making the Most of Modern Marketing Marketing and advertising have changed significantly since the old days of local advertising in magazines and newspapers. Now, the Foundation uses Shopify to run its Shops website—shopmuseum.org—and advertises through sites like Facebook, Pinterest, Instagram and Google. The social media reach is instantaneous and vast. “I can decide right now that I want to promote some new jewelry and then we quickly promote it on social media,” Birmingham says. “In the past, you’d hire a professional photographer, build an advertising platform, print a catalog
and mail it. Truly, marketing has become more accessible and less expensive for the retailer.” The Shops have also expanded their reach this year through the Foundation’s partnership with 10 national museums, including the Boston Museum of Fine Arts and the de Young Museum in San Francisco. This enables the Shops to advertise and share discounts with museum members beyond the Museum of New Mexico system. The effect has been immediate: orders have flown into shopmuseum.org from such far-flung markets as New England, Virginia and Florida. This has translated to an estimated $38,000 in increased online sales for the Shops.
Museum Best Buys Exhibition-related products come and go, but each shop boasts a set of perennial bestsellers. Some are no-brainers: jewelry sales account for half of all Shops profits, Birmingham says, stressing the importance of rotating the selection. New Mexico history and literature books always sell well to visitors wishing to learn more about local art and culture at home or in their hotel rooms. But it just might be one certain $48 faux-ostrich-leather handbag that best illustrates the benefit of Birmingham’s painstaking assessments of every item she selects. “I think every woman in Santa Fe has that bag,” Birmingham laughs. “It has a top zippper, so it’s functional for travel and safety. It just shows you that function is as important as design.”
Above left: Retail vice president Sara Birmingham (left) and assistant buyer Kylie Strijek process the popular faux ostrich handbags at the Shops warehouse. Above right: Vibrant Iznik pottery, handcrafted in Turkey, is a perennial customer favorite. Photos © Saro Calewarts.
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Birmingham points to a couple of brand new items in the Museum of Art and History Museum shops that meet the current moment with form and function: face masks featuring designs inspired by artists Gustave Baumann and others. The key words are “inspired by,” she says, noting that the Foundation steers clear of replication.
Adapting Museum Designs When it comes to showcasing the rich design legacy of the Museum of New Mexico collections, the Licensing program does its share of heavy lifting. Top of mind for Pamela Kelly, the Foundation’s vice president of licensing and brand management, are the ways in which museum collection items can connect to a broader audience. Such connections are on display in the Licensing program’s New West collection of furniture and home accessories, just released by Studio A and available to view online at studioa-home.com/brand-partners/new-west. Objects in the collections of the Museum of International Folk Art and Museum of Indian Arts and Culture—including German ceramics, furniture from North Africa and Spain, raffia textiles from the Kuba people of the Democratic Republic of Congo, and Native American pottery and basketry—sparked the collaboration with Studio A. The New West line of vases, keepsake boxes, beaded pillows, mirrors and other items reflects this lineage of design heritage. The resulting objects range from a white ceramic vase with a
raffia pattern to a console adorned with tiles featuring petroglyph-like designs. The New West collection, as well as three other collections introduced over the last six months, are the latest in the diverse design lines created since the Licensing program was established in 1998. Kelly’s international partnerships with manufacturers who draw design inspiration from cultural artifacts in museum collections have since become a vital and lasting extension of the Museum of New Mexico’s design legacy. “The world has kind of caught up with us. When we were first bringing things to market, the whole idea of craft and folk cultures was pretty new,” says Kelly. “We were early with this idea of telling the world about beautiful design traditions from cultures around the world and in New Mexico.”
Art and Access Kelly explains that the Foundation’s license gives a manufacturer access to two things: the Museum of New Mexico brand and a collection from which to draw design inspiration. The word “inspiration” is as key to Licensing as it is to the Shops, as licensees are never allowed to exactly replicate designs from museum artifacts. This protective policy ensures that museum collections are shared to respectfully showcase and educate the public about the cultures they represent.
Above left: Seed Beaded Pillow, from the New West collection by Studio A. Photo courtesy Studio A Home, a Global Views Company. Above right: Pamela Kelly, vice president of licensing and brand management, launched the Museum of New Mexico Foundation’s Licensing program in 1998. Photo © Saro Calewarts.
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From the outset of contracting with a manufacturer for an advance against royalties and a percentage (usually five to 10 percent) of net wholesale profits, the licensing process is intensely collaborative. It is loaded with checks and balances to ensure a faithful tribute to the original design.
marketing. While the world of gift shows and in-person sales
“The product design process involves a fair amount of collaboration between museum curators, us and our licensees,” Kelly says. “However, the development of sales and marketing materials is our domain. How a product is named and explained is vital to us, so we manage that entire process.”
spaces of Shops and Licensing.
At the Museum of Indian Arts and Culture, for example, Kelly meets with the Indian Advisory Panel early on in the process to make sure a manufacturer’s vision is aligned with the museum’s educational goals. For the museum’s collaboration with West Elm on a line of handwoven rugs inspired by designs from the museum’s basketry and textile collections, Kelly says, “We went over every word in the catalog.”
and product development has momentarily gone the way of the pandemic, the elements on which both programs are built—creativity, cultural diversity and inspired design—are resonating with the public more than ever in the virtual
Rest assured, when the world opens up again, there will be new exhibition- and collection-inspired products to reconnect visitors with their favorite museums.
Textile and rug designs have made up the majority of successful collaborations over the span of the program, though manufacturers are also frequently captivated by the intangible qualities of the cultures the museum collections reflect. The New West collection, for example, includes a line of beautifully beaded throw pillows featuring graphic and modern designs inspired by the dramatic landscape and natural world of the Southwest.
“The inspiration of our museums, and the innovation of
In Licensing, as in the Shops, close attention is paid to details of cultural preservation, contemporary design and savvy
For information on Licensing, visit mnmlicensing.org or contact Pamela Kelly at Pamela@museumfoundation.org or 505.216.0614.
the Shops and Licensing programs, is taking us beyond COVID-19,” says Clements. “We’re looking toward a new era of support.”
For information on the Shops, visit shopmuseum.org or contact Sara Birmingham at Sara@museumfoundation.org or 505.216.0725.
Visit the Shops for Daily Member Discounts The Museum of New Mexico Foundation Shops welcome all customers, but Foundation members receive discounts every day. Members get 10% off and The Circles save 15%. All members benefit from seasonal double discount sales. Visit our downtown and Museum Hill shops in Santa Fe when they reopen in April or shop online at shopmuseum.org.
DOWNTOWN
MUSEUM HILL
ONLINE
New Mexico Museum of Art Shop 107 West Palace Avenue 505.982.1131
Colleen Cloney Duncan Shop at the Museum of Indian Arts and Culture 706 Camino Lejo 505.982.5057
shopmuseum.org
Spiegelberg Shop at the New Mexico History Museum 113 Lincoln Avenue 505.982.9543
Museum of International Folk Art Shop 706 Camino Lejo 505.982.5186
Member Discounts 10% for members 15% for The Circles
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Sterling Shopping A Trove of Native-Made Products
Shop Talk with Felipita Ortiz
Colleen Cloney Duncan Shop Manager I’ve worked at the Foundation for 30 years. I’ve been at the Museum of Indian Arts and Culture since 2003. I have a passion for pottery. It was something I grew up with in my family from Nambe Pueblo. My grandfather’s sister was a potter, Josefita Peña. And potter Lonnie Vigil is my cousin. Being from a family that is represented in museums is like being connected to the whole world. Visitors can see pieces from my great-grandmother, my cousin, and it’s something that will live on. I can be part of that connection as well. Sometimes visitors don’t get the connection between the exhibit until they come into the shop. They are more interested when I tell them pottery is not just something we make and sell, there’s family behind it. There are stories behind it. I’ll tell a story about my grandmother sending us kids to pick up the cow patties to throw in the fire, and they find that interesting. When they learn about what is involved in making a piece, that’s my opportunity.
At the Colleen Cloney Duncan Shop in the Museum of Indian Arts and Culture, visitors quickly realize that the buying opportunities are unique. A selection of jewelry, crafts and apparel made by more than 100 artists from area Pueblos, as well as from Navajo and Hopi makers, have cast a sterling reputation for the shop as a hub for Native works not always found elsewhere. These objects are cultural envoys to shoppers who take them home. Among the shop’s treasures are storyteller dolls made by Jemez Pueblo artist Judy Toya Waquie, a straw and turquoise cross from Carlton Gallegos (Santa Ana Pueblo) and sterling silver cuffs by Cippy Crazy Horse (Cochiti Pueblo). Shops buyer Sara Birmingham works closely with the shop’s longtime manager Felipita Ortiz to stock the largest possible selection of works by Native artists that dovetail with artifacts shown in museum galleries. For Birmingham, it’s all about handpicking art, in the widest possible price range, that helps create a lifelong connection between museum visitors and the shop. “I can find a storyteller from Jemez Pueblo that children made for $10 at a craft fair, or from an adult artisan selling it for $100,” says Birmingham. “People can take those things home with them from the shop. They’re not going to find that anywhere else.” Of all the Museum of New Mexico Foundation shops, the Colleen Cloney Duncan Shop carries the largest line of products exclusive to the museum. These include Navajo chief’s blanket-adorned T-shirts and bags; coasters and cards featuring designs from Navajo rugs and woven Native baskets;
There are several people I’ve made connections with over the years. These friendships hold a soft place in my heart. Not only do those customers love the crafts, they love the people who make the crafts, and they love Santa Fe. That’s the whole cycle.
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and a scarf, umbrella, journal and hooded wrap bearing pottery-inspired designs from renowned Santo Domingo potter Robert Tenorio. The museum’s deputy director Matthew Martinez calls Tenorio a great example of an artist who, through his products and his artistic practice, serves as an ambassador of the museum’s mission to promote awareness of Indigenous art in the Southwest. “He’s really good about teaching and mentoring and talking about his artwork and what it means from a cultural perspective,” says Martinez. “We rely on artists like Tenorio to inform people about the museum and what it means to have a collaborative relationship with an artist who supports our practice of good stewardship. He’s a good fit for that bridge.” The jewelry sold at the shop also educates visitors about the deeper meanings behind precious stones and works in silver. Martinez recalls the 2014 exhibition Turquoise, Water, Sky: The Stone and Its Meaning. The show explored the stone from its geological, mining and cultural history to questions of authenticity and value. “Obviously, turquoise signifies water, but it’s made within the cracks of dry rocks. So that exhibit walked people through the explanations of the meanings of turquoise,” he says. “It’s a special symbol and you can see it in the silver bracelets and bolo ties that are available in the shop.” The connection that visitors made between everything they learned about the stone in the exhibition and the item they chose to buy from the store is lifelong, Martinez says. The knowledge they took from the museum carries forth in future conversations they have about that piece of jewelry. Martinez smiles as he mentions the bolo tie selection again. He notes that the Colleen Cloney Duncan Shop carries the largest selection of gender-neutral jewelry on Museum Hill. That in itself gives people a reason to keep coming back, he says. To support the Museum of Indian Arts and Culture, contact Lauren Paige at Lauren@museumfoundation.org or 505.982.2282.
Opposite: Sterling silver pins are fine examples of Zuni, Hopi and Navajo craftmanship. Right: A Robert Tenorio pot. Photos © Saro Calewarts.
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The Thrill of Discovery Shop Offers the Unexpected
Shop Talk with Christine Jaeger
Museum of International Folk Art Shop Manager I’ve been the manager for seven years, and whatever is tied to an exhibition always sells best. The Yokai: Ghosts and Demons of Japan exhibition product is great because it goes across all ages. There are fabulous things for little kids, very sophisticated accordion books and crafts. We get new shipments almost daily. People come in and get the thrill of new treasures. I do love selling the Alexander Girard product. It’s so fabulous. I love the Girard dolls. Those are so fun to have. I also love being able to introduce people to a new author or a new topic. So many of our books are about women and immigrants and I love being able to share some stories with people and see their excitement. In the warmer months, we sell Indian kurtis. People come in asking, “Where are your kurtis?” They buy those in bulk sometimes, because they’re very affordable and perfect for our climate. The Holiday Pop-Up Shop has been one of the smartest things we’ve done. I’m so proud the Foundation put that together. Literally, we physically moved our shop. We sold in all categories.
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It’s easy to see why the Museum of International Folk Art Shop might be Shops buyer Sara Birmingham’s favorite store to curate. Her buying trips have led her to villages near Macchu Picchu, where she looked for handcrafted goods to complement the 2017 exhibition Crafting Memory: The Art of Community in Peru. In 2012, she scoured the Fancy Food Show in San Francisco for specialty chocolates to sell in conjunction with the New World Cuisine exhibition. For Birmingham and her customers, it’s about the thrill of discovery and an unwavering mission to support artists. Folk Art Shop manager Chris Jaeger says their customers expect the unexpected. “What are customers expecting to find here? Variety, variety, variety. Uniqueness,” she says. “I think people in general love shopping in museum shops for that reason.” The Folk Art Shop takes merchandising to another level with its thorough selection of objects surrounding exhibition themes. Japan-made ceramics, dolls, toys and books related to the popular Yokai: Ghosts and Demons of Japan exhibition (now extended until 2022) have sold well, including online when the museum shut down due to COVID-19. “By country, we carry as much as possible that’s tied to exhibitions,” says Jaeger. “We have our African section, we have Peru, we have Mexico, we have South America. When you walk in, what you will see is a variety of different countries. What the customers say about our wide assortment of things is, ‘I can always find something different here. I can always find something for the person who thinks they have everything.’” Museum executive director Khristaan Villela says the shop is “an extension of our mission.” He adds, “The Folk Art Shop is a destination in and of itself. The quality of goods keep people coming back year after year.”
Villela, Jaeger, Birmingham and the museum’s curators all
fitting tribute to the man who donated a vast majority of the
take pride in the shop’s commitment to featuring working
museum’s collection. The museum’s collaboration with the
artists. “The nature of folk art is that it’s less centralized,”
Vitra Design Museum in Germany and the Girard Studio for
Villela says, which can make it difficult for artists to receive
the 2019 exhibition Alexander Girard: A Designer’s Universe
compensation or even recognition for their work. “We feel
was the very first time the shop was permitted to sell Girard-
it’s important that we do everything we can to make sure
designed merchandise.
that the dollars people spend here actually get into the
Jaeger shares her customers’ enthusiasm for finding unique
pockets of the artists themselves.”
and unexpected exhibition-inspired items. She especially
Villela praises the Museum of New Mexico Foundation’s
loves to tell stories that connect her buyers to global artists
commitment to not featuring reproductions or other items
whose names may not be as well known as Girard’s, but
that may compromise an artist’s agency.
whose products he might have taken home himself.
“It’s very important to the team at the Folk Art Museum that
“Like the embroidered pieces we have from Peru—when
part of supporting artists is supporting their intellectual property rights,” he says. “The issue of not buying reproductions and cultural appropriation is a hot one now. We really appreciate that the Shops and Sara [Birmingham] and the Foundation are responsive to feedback around that.” It’s perhaps no coincidence that the shop logged strong recent sales for Alexander Girard-branded merchandise, a
people are looking at them, you tell them a little bit about the women making them, and you get a big smile,” she says. “It’s the discovery you share with someone else. They can take it home and love it, or give it to someone else who’s going to love it.” To support the Museum of International Folk Art, contact Caroline Crupi at Caroline@museumfoundation.org or 505.216.0829.
Opposite: Christine Jaeger, Museum of International Folk Art Shop manager at the Holiday Pop-Up Shop last December. Photo © Saro Calewarts. Above: A handmade Peruvian arpillera (left) and wooden dolls designed by Alexander Girard represent a unique range of folk art products. Left photo © Saro Calewarts. Right photo courtesy Vitra Design Museum.
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Little Shop of Images Sharing Lasting Impressions of New Mexico
Shop Talk with Liz Rannefeld
In its small alcove on the northwestern corner of the Santa Fe Plaza, the New Mexico Museum of Art Shop holds the least amount of square footage in the Museum of New Mexico Foundation’s stable of museum shops. Yet it brims with books, cards, exhibition catalogs, prints and other products devoted to the historic and contemporary artists featured at the museum.
New Mexico Museum of Art Shop Manager
“Our challenge is to pack as much interesting merchandise as possible into a very small space,” says shop manager Liz Rannefeld.
I have been here nearly 22 years. I always laugh when repeat customers come in and say, “Are you still here?” I always tell them that I was born in the basement of the museum and that Gustave Baumann used to babysit me.
The shop succeeds in stocking a whopping 357 matted card images for visitors eager to take home a print of the artworks they have just seen in person. A carefully curated lineup of jewelry, clothing and other decorative items offer a contemporary aesthetic. Avant-garde necklaces made from stainlesssteel piano wire share a display case with a sterling-silver pin by local artist Catherine Maziere depicting the museum’s Saint Francis Auditorium.
What I have loved most over the years is my relationship with the Willard Clark woodblock prints. Clark was a genius at capturing the spirit of Santa Fe, and so some of my favorite friends are Willard Clark customers. We connect on some emotional level as kindred spirits, so I am thrilled when I can turn a customer into a collector.
Fittingly, the shop is all about image—many different images, in fact. Shop buyer Sara Birmingham says the key to strong sales and return visits from art museum visitors is featuring items related to artists who are strongly identified with Santa Fe and New Mexico. Painter-printmaker Gustave Baumann and printmaker Willard Clark are ever-popular examples. Calendars featuring Baumann’s colorful woodblock prints and greeting cards boasting Clark’s charming prints of life in early 20th century Santa Fe achieve a dual purpose, says Birmingham. They provide the visitor with a cherished memento of both their museum experience and their Santa Fe visit.
Sara Birmingham is a total joy to work with. She is a phenomenal buyer who asks for opinions and actually listens, which is always affirming. She really has her finger on the pulse. A real challenge during COVID is that I am limited to three customers. It is really difficult to tell prospective customers that they have to wait. What gives me the most pleasure is when a customer leaves with a full shopping bag and says, “I just had so much fun!” I hope that we’re not just a shop, but an experience. It really is all about the customer.
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Museum executive director Mark A. White points to the role of the shop’s products in achieving a greater museum purpose. “That memento can be a very important thing,” he says. “It can be an emotional or intellectual or spiritual reminder of an experience had in the galleries. On another level, it can offer something more educational, a way of taking the educational impact of the museum home with you.” Birmingham and her colleagues continually look for ways to feature artists in a fresh and contemporary fashion. The shop’s brand new line of face masks inspired by Baumann prints is one way visitors are carrying a cherished artist into the world of today. The German-born printmaker’s distinctive color woodcuts lent themselves particularly well to the blank canvas of a modern mask. “It’s an engaging way to take an artist who has been very important in the context of Santa Fe and New Mexico and American art history in general, and to create something fun that is a way of dealing with the stresses of the pandemic,” explains White. “It has a kind of resonance. We thought it would be a nice way to expand the aesthetic interest in Baumann into a practical dimension.” Other strong-selling images include a matted greeting card of Gerald Cassidy’s famous 1911 Cui Bono? painting. In it, a life-sized figure of an unidentified person clad in blinding white garments stands outside a Taos Pueblo home. The Latin title of the painting translates as “Who benefits?” Art historians interpret the title as Cassidy’s response to certain stereotypical early 20th century renderings of Native Americans. The image educates visitors about the artist’s mission in identifying his subject as a human being first and an Indigenous person second. For shop visitors who purchase the matted card, the answer to Cui Bono? is simple. Whether taking the card back to Ohio or Amsterdam, the opportunity to own a small piece of the larger-than-life painting provides a sustaining connection to one of the earliest, unforgettable images in the museum’s permanent collection. For that, the art-loving visitor is by far the beneficiary. To support the New Mexico Museum of Art, contact Kristin Graham at Kristin@museumfoundation.org or 505.216.0826. Opposite: Liz Rannefeld, Museum of Art Shop sales associate, with her favorite print by artist Willard Clark. Photo © Saro Calewarts. Above: Gerald Cassidy, Cui Bono?, ca. 1911, oil on canvas. New Mexico Museum of Art Collection. Gift of Gerald Cassidy, 1915. Photo by Blair Clark.
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Hub of History
Shop is Ambassador to the Past To survey the vast book collection at the Spiegelberg Shop at the New Mexico History Museum is to be swept away to far-flung places in the state’s history.
Shop Talk with Vince Gioielli
Spiegelberg Shop Manager I’ve been here since the museum opened in 2009. Before that, I used to float around the other shops. Fourteen, 17 years. I don’t know, I exaggerate. We have incredible books on the history of New Mexico. A lot of people come in here who are doing research, and we have the archives in the same building. It’s a great connection. There are books here that will always sell, no matter what. Turn Left at the Sleeping Dog by John Pen La Farge, Death Comes for the Archbishop by Willa Cather, Bless Me, Ultima by Rudolfo Anaya, Laughing Boy by Oliver La Farge. Route 66 books, books on Fred Harvey. People come in for jewelry by two famous local Hispanic silversmiths. The museum’s relationship with these artists goes back years. We have Lawrence Baca, with his famous Baca beads and bishop’s hook pendants made of oxidized silver. Then there’s Ralph Sena. Here’s a Sena shell necklace with a Rosarita gold slag. There’s quartz in there. People know to come back. There are some real treasures here.
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J. Robert Oppenheimer’s haunted face stares out from one corner. Across from him, one of the Wicked Women of New Mexico pulls up her skirt to reveal a petticoat. Leaf through Chasing the Cure in New Mexico, Nancy Owen Lewis’ history of tuberculosis asylums in the state, to soak up the fascinating story of the “lungers” who began to arrive in the New Mexico Territory in the 1880s, forever changing the artistic landscape. Shop manager Vince Gioielli is firm about the shop’s mission: “We’re an annex of the History Museum itself,” he says. During the museum’s shutdown due to COVID-19, the store doubled down on that reputation. Because of its exterior access to the street, the Spiegelberg Shop stayed open as an ambassador for would-be museum visitors. Gioielli and his staff expanded book displays into the lobby to allow for socially distanced perusing. Though the shop sells everything from jewelry to cards to apparel, local bookworms consider it to be one of the very best bookstores in town for its comprehensive selection of New Mexico literature and history. Gioielli notes that he sells just as much fiction as nonfiction. Museum executive director Billy Garrett is equally proud of the breadth in the book section. “We have a great collection of books that complement both the exhibitions and the educational programs of the museum,” he says. “It’s quite important to us, and we think it’s an outstanding collection.”
Gioielli, who has been with the Spiegelberg Shop since 2009, says customers also come in for Santo Domingo Pueblo pottery and inlaid silver jewelry. He is proud of the longtime, multigenerational relationships forged with the artists and artisans whose works are sold in the store.
Santa Fe santera and mystery series author Marie Romero Cash is a perennial bestseller, he says. The shop also features an array of sculptures and artwork by her son, Gregory Lomayesva. Pendants and cuff bracelets by Cochiti-Zuni jeweler Jolene Eustace are another customer favorite, and Gioielli knows many in her family. “There were 12 sisters,” he remembers, “and two have passed on. So many of these relationships go back for years.” Gioielli says that Shops buyer Sara Birmingham has a reputation for “really going all out” to find and sell merchandise to complement its exhibitions. One of his favorite merchandising moments came with 2016’s Lowriders, Hoppers, and Hot Rods: Car Culture of Northern New Mexico, when the
exhibition’s Old English-styled T-shirts quickly sold out. He enjoyed selling the hippie accessories and books that were paired with Voices of Counterculture in the Southwest in 2017. And art books flew out of the shop during the 2014 run of Painting the Divine: Images of Mary in the New World, in which colonial Iberian paintings from the Collier collection were shown for the first time and paired with modern paintings from New Mexico artists. As the museum put many of its programs online during the shutdowns brought on by COVID-19, the shop has offered a way for history lovers to continue their relationship with the museum. “Being able to come in and get a book, or ordering a book and having it delivered, is still something that prepares one for a virtual exhibition or program at the museum,” says executive director Garrett. He adds that quarantine reads from the shop offer an avenue to bone up on history in anticipation of future physical exhibitions. “This is a great time for people who are interested in New Mexico history to do some additional reading before they can come in and enjoy our exhibitions and our programs again,” he says.
To support the New Mexico History Museum, contact Yvonne Montoya at Yvonne@museumfoundation.org or 505.216.1592.
Opposite: Spiegelberg Shop manager Vince Gioielli shows two best-selling books on important women in New Mexico history. Above: An array of handmade jewelry by Lawrence Baca, Wanda Lobito and Ralph Sena represent the shop’s strong relationships with local artists. Photos © Saro Calewarts.
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Dog Days of Archaeology The Vladem Contemporary Site
Before construction began on the future Vladem Contemporary art museum site, the Office of Archaeological Studies did not turn up many earth-shattering discoveries.
Local veterinary records dating to the era have only recently been destroyed, so it is impossible to know who owned the dachshund.
Nonetheless, field director Susan Moga and her crew made a few interesting finds in the course of test excavations around the former Joseph F. Halpin Building—including a mummified dog who met an unexpected end in the 1960s.
Blinman excitedly calls one excavation in the north parking lot “some of the most beautiful, even, layer-cake stratigraphy any of us have ever seen in our lives.”
Field director Moga calls the dog “a highlight of my year,” referring to both the surprising and relatively mundane nature of the find. The tame results of the archaeological investigation meant that the staff’s preliminary research was sound. The Vladem project, a second museum location for the New Mexico Museum of Art, was cleared to move forward. Office director Eric Blinman discussed the project in a fall 2020 Museum of New Mexico Foundation member lecture, “Conversation with the Archaeologists: Discoveries at the Vladem Contemporary.” The presentation can be viewed at museumfoundation.org/ online-event-recordings/. “Everyone within the Department of Cultural Affairs and the Foundation has breathed a tremendous sigh of relief that Susan and her crew found nothing spectacular, and nothing that we really didn’t know had existed prior to our doing the historic research in the area,” Blinman says. The new museum is being constructed around the skeleton of the 1960 Halpin Building, whose structure is informed by the 1921 Charles Ilfeld & Company Warehouse. At some point during the warehouse’s renovation to the state records archives, Blinman recounts, “A small dachshund appears to have stumbled into the area, died, and became mummified in the debris. It had a rabies tag from 1962-1963.”
Those layers clearly delineate a general history of the site, the very bottom consisting of compact alluvial deposits with caliche mud. Atop those are early Railyard-era features that reveal 1880s construction clues, including the toothmarks of a backhoe that most likely eliminated any Spanish Colonial ground surface. Roof tiles from the construction of the original 1909 depot, which still stands beside the museum site, were also found, along with remnants from the Capital Coal Company. Other discoveries include rotten wooden railroad ties from the famed Chili Line Railroad, which discontinued active use in 1941, and chunks of metal alloy that appear to be raw material for a one-time foundry operation in the Santa Fe area. Blinman says the Ilfeld Warehouse has “really good bones,” upon which to build the new museum. “It’s ironic that it’s known to us as the Halpin Building, and very few people know it as the more historically important Ilfeld Warehouse,” he continues. “What makes it special is the solid design and construction work by Gordon Street and the contractor’s crew. They created a strong building with great potential for several reuses.”
To support the Office of Archaeological Studies, contact Lauren Paige at Lauren@museumfoundation.org or 505.982.2282.
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The Vladem Contemporary Site: A Timeline Spanish Colonial through early Territorial
The area was part of the pastoral and agricultural neighborhood of households living along Agua Fria Street, with fields and gardens watered by a nearby acequia.
1880 Railroad arrives in Santa Fe and speculators begin buying nearby land to subdivide and sell commercial and residential lots. 1885 Lot remains open, but the area is used to store coal and other railroad supplies.
1909 Santa Fe Depot is built next to site. Coal storage continues as principal use of the property.
1921 Charles Ilfeld, one of the state’s most prominent retailers, purchases the site and constructs the Charles Ilfeld & Company Warehouse at 404 Montezuma Ave.
1960 State of New Mexico acquires Ilfeld Warehouse and begins renovating the building for use by Records and Archives, including storage and office spaces.
1987 Building is dedicated to Joseph F. Halpin (1918-1985), the state’s first records administrator.
1998 Records and Archives moves to new (current) building at the New Mexico State Library.
1998-2004 Halpin Building is used for temporary state offices and storage.
2004 The building is leased by the Museum of New Mexico as storage space for New Mexico History Museum artifacts. After La Villa Rivera building (now the Drury Hotel) is flooded, it is also used for emergency storage of Museum of Indian Arts and Culture archaeological collections. 2007 Office of Archaeological Studies takes up temporary
residence in Halpin Building along with the archaeological collections.
2011-12 Office of Archaeological Studies begins moving to
1962-63 A dachshund wanders into an Ilfeld-era mechanic’s pit hidden by the renovations and dies.
the new Center for New Mexico Archaeology, closely followed by the Museum of Indian Arts and Culture archaeological collections.
1980 Artist Gilberto Guzmán creates Multi-Cultural, a
2016 Halpin Building is designated for expansion to house
mural celebrating the Indo-Hispano heritage of Santa Fe, which is painted on the north side of the building.
a second location for the New Mexico Museum of Art, initiating the Vladem Contemporary development.
Opposite: Along with abundant coal debris, layers under the south parking lot at the Vladem Contemporary site yielded small chunks of a copper metal alloy that appear to have been destined for a foundry before being spilled on the Railyard grounds. Photo © Susan Moga. Above: Staff, donors, trustees, and other advocates and supporters from the State of New Mexico, Museum of New Mexico system and Museum of New Mexico Foundation broke ground on the future site of the Vladem Contemporary last fall. Photo © Saro Calewarts.
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Silver Lining
Environmental Installations Enhance Site Engagement There was an unexpected silver lining to last summer’s shutdown of Fort Sumner Historic Site and Bosque Redondo Memorial. The situation delayed the planned June 2020 opening of the reworked permanent exhibition Bosque Redondo: A Place of Suffering, A Place of Survival. It also provided time to add four new temporary outdoor artworks designed to deepen visitor engagement with the site.
The project was supported by the New Mexico Department of Cultural Affairs T.I.M.E. NOW project (Temporary Installations Made for the Environment) with funding from a $10,000 National Endowment for the Arts grant that provides $2,500 per installation. The exhibition coincides with the 31st anniversary of a letter found at the site on June 27, 1990. Written by Diné student visitors, the letter called for a more accurate account of the 1864-1868 forced relocation of the Mescalero Apache and Navajo peoples from Arizona to the Bosque Redondo Indian Reservation. The chosen artists—Miriam and Sarah Diddy, Winoka and Garron Yepa, Paula Castillo, Mark Horst, Amaris Ketcham and Sara Rivera—will install artworks on four designated circles representing the four sacred mountains and cardinal directions for the Navajo Nation. “Each of the artists had to have some sort of component that brings the people in, has them look a little bit deeper,” says site manager Aaron Roth. Forgotten Soles, by the all-Native artist team of Miriam and Sarah Diddy and Winoka and Garron Yepa, features a Navajo wedding basket made from the soles of 400 shoes. “There are so many meanings to that—the soles of shoes, the souls of the people who were forced to walk here. The number 400 is synonymous with 400 miles of walking to get here,” Roth says. “It means so much more when it’s coming from a Navajo or Mescalero Apache artist.”
A mural inside the Bosque Redondo Memorial at Fort Sumner Historic Site depicts The Long Walk of the Navajo people. Photo courtesy New Mexico Historic Sites.
The exhibition’s projected June 2021 opening will now dovetail with the unveiling of the newly commissioned artworks. The four environmental installations consider the cultural histories of the area to encourage meaningful dialogue about the history of the site.
While Roth says, “We may have had to sit on our hands for a little bit,” the added artworks will enhance the visitor’s experience of the site’s painful cultural history. “It’s going to be a fantastic opening,” he says. “There will be many connections to be made, both indoors and outdoors.”
To support the New Mexico Historic Sites, contact Yvonne Montoya at Yvonne@museumfoundation.org or 505.216.1592.
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CORPORATE PARTNER SPOTLIGHT
Hotel Parq Central
Family Business Steeped in History, Philanthropy
As native Santa Feans, the Bertram family—Marc, Cathryn, Alicia, Amalia and Julia—is keenly attuned to life in a city and state where history beckons at every turn. Their appreciation translates to businesses steeped in a sense of place and support for the cultural community. Among the businesses the family has developed over nearly 40 years in real estate is the Hotel Parq Central, a Lead Corporate Partner of the Museum of New Mexico Foundation at the $10,000 level. Located a mile from downtown Albuquerque, the luxury boutique hotel is a historic landmark originally built in 1926 as a hospital for employees of the Atchison, Topeka & Santa Fe Railway Company. The three-story, Mediterranean-inspired building later housed tuberculosis and psychiatric patients as well. Acquiring the property in 2010, the Bertrams’ architectural and interior restoration remained faithful to its story as a place of comfort and renewal. Guests today can book a room in the former doctors’ quarters where on-call physicians once lounged. Primo sky-gazing spots are coveted at the rooftop Apothecary Lounge, which specializes in flavored bitters, signature Prohibition-era cocktails and savory small plates. Its healing offerings aside, the menu notes the lounge is “not a licensed pharmacy.”
on Lincoln Avenue added energy to the downtown business community suffering from the COVID-19 slowdown. Looking ahead to 2021, Bertram says his family is committed to continuing its support of history and the cultural community in Albuquerque and Santa Fe. “We’re a local family. We love this place. We’re in it forever,” Bertram says. “We’ve all got to do what we can to keep this community alive.” For information on becoming a Corporate Partner, contact Mariann Lovato at Mariann@museumfoundation.org or 505.216.0849.
The Bertrams’ support for the museum system also extends to their hometown of Santa Fe. Last fall, when the Foundation’s two Museum Hill shops shut down due to the pandemic, they stepped in to help keep the shops afloat during the vital holiday retail season. “The museum system is an important part of this town, and it has been forever. It’s like your neighbor asking you for a favor,” says Marc Bertram. Their donation of prime downtown retail space for a special Holiday Pop-Up Shop provided exposure for products from the shuttered shops. The pop-up shop’s eight-week presence Right: Exterior view of the historic Hotel Parq Central at dusk near downtown Albuquerque. Photo Courtesy Hotel Parq Central.
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NOTABLE NEWS AND EVENTS
Great Grants
Indigenous Digital Archives The Council on Library and Information Resources awarded $178,130 to the Museum of Indian Arts and Culture’s Indigenous Digital Archives project to digitize and catalog records of eight Indian boarding schools dating from 1824 to 1949. This support is part of a larger grant awarded to a partnership of Indigenous Digital Archives, National Native American Boarding School Healing Coalition and Saginaw Chippewa Indian Tribe of Michigan.
Edgar Lee Hewett House 0 The New Mexico Museum of Art received $5,50 n rvatio Prese ric Histo from the National Trust for ric histo to support a structural survey of the Edgar Lee Hewett House. Project Archaeology Project Archaeology, one of the Office of Archaeological Studies’ outstanding educational outreach programs, received a $32,000 grant from the Bureau of Land Management.
Photo © Jason S. Ordaz
Los Luceros Historic Site The National Park Service awarded Los Luceros Historic Site a $451,252 Save America’s Treasures grant to help preserve and stabilize two key structures—the Hacienda and Storehouse. Established in 1998, this grant program is a ute partnership of the National Park Service, Instit nal Natio ces, of Museum and Library Servi Endowment for the Arts and National Endowment for the Humanities.
Native Treasures Online Art Auction Returns The Native Treasures online auction returns Memorial Day Weekend, Saturday and Sunday, May 29 and 30. The auction will again feature more than 150 works of art by 50 Native American artists, including jewelry, pottery, paintings, textiles, sculpture and more. Auction proceeds are shared by the participating artists and the Museum of Indian Arts and Culture, with museum funds supporting exhibitions and education programs.
Double Discounts at the Shops The Shops annual spring Members Double Discount Sale will take place Mother’s Day Weekend, Friday, Saturday and Sunday, May 7, 8 and 9, in stores and at shopmuseum.org. All purchases for general members will be double-discounted to 20% off, while members of The Circles receive 25% off. Call the Shops Information Hotline at 505.216.0738 for current hours at all locations.
Ways to Give Membership
Education Funds
Support the Museum of New Mexico Foundation’s efforts to deliver essential services to our 13 partner cultural institutions while offering enjoyable member benefits.
Fund museum education and public outreach programs at our four museums, eight historic sites and the Office of Archaeological Studies.
The Circles
Exhibition Development Fund
Leadership-level membership that gives members access to a series of exclusive events.
Support exhibitions, related programming and institutional advancement at the division of your choice.
Circles Explorers
Planned Gift
A Circles membership group whose members explore the art, culture and history of New Mexico through active and adventurous cultural excursions and experiences.
Provide a lasting impact at our 13 partner cultural institutions through an estate gift, bequest, charitable gift annuity or gift of art.
Corporate Partners and Business Council
Endowment
Support the museums through your business and receive recognition and member benefits for your business, clients and employees.
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.
Annual Fund
Special Campaigns
Provide critical operating support for the Museum of New Mexico Foundation to fulfill its mission on behalf of our 13 partner cultural institutions.
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.
MUSEUM OF NEW MEXICO FOUNDATION
Staff
DEVELOPMENT
Caroline Crupi
Museum of International Folk Art
505.216.0829 Caroline@museumfoundation.org Kristin Graham
New Mexico Museum of Art
505.216.1199 Kristin@museumfoundation.org Yvonne Montoya
New Mexico History Museum New Mexico Historic Sites
For a full Foundation staff list, visit: museumfoundation.org/staff
EXECUTIVE OFFICE
Jamie Clements Jamie@museumfoundation.org Francesca Moradi 505.216.0826 Francesca@museumfoundation.org
505.216.1592 Yvonne@museumfoundation.org Lauren Paige
Museum of Indian Arts and Culture Office of Archaeological Studies
505.982.2282 Lauren@museumfoundation.org
GRANTS
Peggy Hermann 505.216.0839 Peggy@museumfoundation.org
MEMBERSHIP AND COMMUNICATIONS
Saro Calewarts 505.216.0617 Saro@museumfoundation.org Mariann Minana-Lovato 505.216.0849 Mariann@museumfoundation.org Cara O’Brien 505.216.0848 Cara@museumfoundation.org
Georgine Flores 505.216.1651 Georgine@museumfoundation.org Sachiko Hunter-Rivers 505.216.1663 Sachiko@museumfoundation.org
SHOPS
Sara Birmingham 505.216.0725 Sara@museumfoundation.org
Brittny Wood 505.216.0837 Brittny@museumfoundation.org
Kylie Strijek 505.216.0651 Kylie@museumfoundation.org
FINANCE
James Wood 505.216.0651 James@museumfoundation.org
Eduardo Corrales 505.216.1606 Eduardo@museumfoundation.org Tammie Crowley 505.216.1619 Tammie@museumfoundation.org
LICENSING
Pamela Kelly 505.216.0614 Pamela@museumfoundation.org
Treasures from Our Shops Distinctive, Creative, Bold
With optimism for the future, our Shops continue to offer a wide variety of handcrafted, unique, museum-related treasures. Whether shopping online or returning in person, we look forward to supporting artists and businesses in 2021 and beyond!
Santa Fe Plaza New Mexico Museum of Art The Spiegelberg Shop at the New Mexico History Museum
Museum Hill Museum of International Folk Art Colleen Cloney Duncan Museum Shop at the Museum of Indian Arts and Culture
shopmuseum.org
