MUSEUM OF NEW MEXICO FOUNDATION
Here. Now. Always. CELEBRATING NATIVE COMMUNITIES
SUMMER 2022
Table of Contents LETTER TO MEMBERS
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BOARD OF TRUSTEES
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HERE, NOW AND ALWAYS
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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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MUSEUM SHOPS
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GRANT HIGHLIGHTS
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WAYS TO GIVE
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Our Mission Cover: Tony Abeyta (Navajo), Father Sky, Mother Earth, 1995. Gift of Ernest J. and Edith M. Schwartz. Photo courtesy Museum of Indian Arts and Culture. Below: Dextra Quotskuyva Nampeyo (Hopi/Tewa), Jar, ca. 1985. Gift of Diane P. and Sanford M. Besser. Photo courtesy Museum of Indian Arts and Culture.
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
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Dear Members, It was eight years ago, in 2014, when the Museum of New Mexico Foundation partnered with the Museum of Indian Arts and Culture to set in motion a major renovation of the museum’s core exhibition, Here, Now and Always. The exhibition first opened in 1997 after 10 years of planning, design and construction. It was groundbreaking at the time and became a national model for Indigenous communities telling their own stories about Native art, culture and lifeways in a museum setting. But by 2014, it needed an update. Seventy tribal members from throughout the Southwest, some of whom had advised the original exhibition, came together again to reimagine Here, Now and Always in partnership with the museum’s curatorial staff. Our feature story, beginning on page 3, recounts the exhibition’s history and renovation, which culminates in a grand reopening on July 2 and 3. The celebration continues later that month with the July 30-31 opening of Grounded in Clay: The Spirit of Pueblo Pottery. This extraordinary traveling exhibition, organized by the School for Advanced Research and the Vilcek Foundation of New York, makes its debut at the museum. As with Here, Now and Always, Grounded in Clay utilized the expertise of some 60 Native curators from throughout the Southwest in selecting this showcase of more than 100 Pueblo pots from a community-informed perspective. The Museum of Indian Arts and Culture is also part of IC22—Indigenous Celebration 2022. Forty organizations in New Mexico have come together to support and promote the vast array of Indigenous events taking place in our state this year. A highlight of IC22 is the 100-year anniversary of Indian Market in August. The New Mexico History Museum will mark this major milestone for the Southwest Association of Indian Arts with an exhibition of Indian Market art and photographs from the past 100 years, and a celebration of the artists who represent this world-famous event.
“I urge you to visit all four of our state museums in Santa Fe and eight historic sites throughout New Mexico this summer.” —Jamie Clements
I urge you to visit all four of our state museums in Santa Fe and eight historic sites throughout New Mexico this summer. The exhibitions and programs you will enjoy are all made possible by your generosity in supporting the Foundation and Museum of New Mexico system. Thank you! Sincerely,
Jamie Clements President/CEO
Top: Photo by Saro Calewarts.
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MUSEUM OF NEW MEXICO FOUNDATION
Board of Trustees 2021–2022 OFFICERS
ADVISORY TRUSTEES
Guy Gronquist, Chair Frieda Simons, First Vice Chair Robert Vladem, Second Vice Chair Michael Knight, Treasurer Maria Gale, Secretary
Victoria Addison Keith K. Anderson JoAnn Balzer Robert L. Clarke Stockton Colt France Córdova Liz Crews Jim Davis Joan Dayton Greg Dove George Duncan Karen Freeman Carlos Garcia Leroy Garcia J. Scott Hall Stephen Hochberg Ruth Hogan Barbara Hoover Kent F. Jacobs, M.D. Jim Manning David Matthews Helene Singer Merrin Beverly Morris Blair Naylor Mark Naylor Patty Newman Jane O’Toole Dan Perry John Rochester Wilson Scanlan Harriet Schreiner J. Edd Stepp Courtney Finch Taylor Nancy Meem Wirth Claire Woodcock
VOTING TRUSTEES
Museum of New Mexico Foundation Trustee Bill Butler is surely smiling this summer as the longawaited renovation of Here, Now and Always, the permanent exhibition at the Museum of Indian Arts and Culture, is unveiled. Though he first joined the Foundation at a Museum of International Folk Art event in 2005, Butler has since become a passionate advocate for the Museum of Indian Arts and Culture. He not only leads the museum’s advancement committee, he and his wife Uschi have generously supported various museum initiatives—as major contributors to the Here, Now and Always upgrade, annual Native Treasures Art Market sponsors, and leadership-level funders of museum acquisitions, exhibitions and educational programming. They also enjoy membership in The Circles and Friends of Indian Art. In anticipation of the new Here, Now and Always, the Butlers recently extended their giving to the museum by establishing the Friends of MIAC Exhibition Endowment Fund. This decade-long commitment is valued at more than $250,000 in exhibitions support.
Top: Photo © Jason S. Ordaz. Opposite: Mateo Romero (Cochiti Pueblo), Deer Dancer Series, ca. 2010. Gift of Deborah Fishbein in loving memory of Martin Fishbein. Photo courtesy Museum of Indian Arts and Culture.
Lorin Abbey Allen Affeldt Catherine A. Allen John Andrews Cynthia Bolene William Butler Julia Catron Christie Davis Rosalind Doherty Diane Domenici John Duncan Gwenn Djupedal Kirk Ellis Jed Foutz Eric Garduño Robert Glick Pat Hall Bud Hamilton Steve Harris David Hawkanson Susie Herman Rae Hoffacker Peggy Hubbard Edelma Huntley Bruce Larsen Christine McDermott Dan Monroe Kate Moss Michael Ogg, M.D. Dennis A. O’Toole, Ph.D. Sara Otto Michael Pettit Skip Poliner Kathleen Pugh Robert Reidy, M.D. Jerry Richardson Judy Sherman Laura Widmar David Young Ellen Zieselman
HONORARY TRUSTEES Anne Bingaman Jim Duncan Jr. John Marion Edwina Milner J. Paul Taylor Carol Warren Eileen A. Wells
TRUSTEES EMERITI Saul Cohen James Snead
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Reimagined Permanent Exhibition Inspires and Endures Inside the newly constructed replica of a 1940 Pueblo house at the Museum of Indian Arts and Culture, it smells of sawdust and oiled wood. Diane Bird (Kewa/Santo Domingo Pueblo), the museum’s archivist, sweeps her hand over the vigas and latillas in the exemplary building, which reminds her of her grandmother’s Pueblo home.
“I brought the Acoma man who made the moccasins for our Zuni Olla Maiden in here,” Bird says. It felt familiar to him, too. “He said, ‘This feels so good.” Over and over, curators, artists, donors and early viewers of Here, Now and Always, the museum’s reinvigorated permanent exhibition, have echoed that positivity. Opening to Museum of New Mexico Foundation members July 1, and to the public July 2 and 3, the exhibition’s course is truly a feelgood story for all involved. Twenty-five years after its debut, a new generation of museum professionals has given birth to a modern exhibition about Native peoples created and constructed by Native peoples. With an original showcase of never-beforeseen artifacts, art and objects, the latest technology, a chorus of individual voices, and a diverse cast of curators and supporters, Here, Now and Always rolls out the story of the past, present and future of the Indigenous Southwest—and leaves ample room for new versions of the story. “It’s high time for this,” says Bird, one of nearly 20 exhibition co-curators whose tribal affiliations range from Pueblo to Navajo to Tohono O’odham. They worked with over 60 community-based Native advisers, including members of
the museum’s longstanding Indian Advisory Panel, to conceptualize and develop the exhibition’s seven thematic areas: Cycles, Ancestors, Community and Home, Trade and Exchange, Arts, Language and Song, and Survival and Resilience. “The title of the exhibit is that we’re very grounded— here, now and always,” says Bird. “We’re being represented. We’re using our own voices.”
A Vision Revisited When Here, Now and Always launched in 1997, its Nativedriven vision was revolutionary for its time, a model for other museums nationwide. But from a visitor standpoint, the desire for updates started soon after. Bird began getting calls about the exhibition at least 20 years ago. “The questions were like, ‘But where are the Indians now?’” she recalls. She often told callers that if they had flown into Albuquerque, they likely passed over three pueblos, then drove past seven more on the way to Santa Fe. Still, she learned that the “now and always” of the show was getting lost in the deep history of Indigeneity in the Southwest. Tony Chavarria (Santa Clara Pueblo), the museum’s curator of ethnology who worked on the original exhibition, says a generational shift and rapidly changing technology catalyzed
Left: Evalena Henry (San Carlos Apache), Carrying basket, ca. 2001. Gift of Yara and Gerald Pitchford. Right: Attributed to Whe’wa (Zuni Pueblo), Zuni jar with heartline deer, ca. 1890. Honorable Daniel H. McMillan Collection. Photos courtesy Museum of Indian Arts and Culture. Opposite: Loren Aragon (Acoma Pueblo), Sketch, 2019. Photograph by Addison Doty, courtesy Loren Aragon.
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matters. “You have to update the voices, the people you’re talking to,” he says. “When we put together the first exhibition, the videos were on VHS.” By late 2010, it was clear the exhibition needed a revamp. The passage of time brought new opportunity to re-cast the exhibition narrative—presenting the origin stories and modern histories of the Southwestern tribes through new technology and voices, and an altogether new organizational structure. But revisiting the exhibition vision would require more than scholarly and creative inspiration. It would take a village of private and public donors to fulfill the museum’s financial needs and bring the new exhibition to fruition. “While devoted museum visitors inspired the renovation, and a large community of Native curators and advisers reimagined it, the generous commitment of donors pushed Here, Now and Always forward,” says Foundation President/CEO Jamie Clements. “Without them, we would not be celebrating the exhibition’s reopening.”
Circles of Support In 2014, when the Museum of Indian Arts and Culture staff prioritized the renovation, Foundation staff and donors sprang into action. Nearly a decade later, the Foundation’s private-public partnership with the State of New Mexico had generated more than $3 million for the project. Over $2 million in private funding came from the Foundation, which included a very generous $560,000 implementation grant from the National Endowment for the Humanities. Private donors lined up to support the thematic sections of the exhibition. Foundation honorary trustee Eileen Wells had contributed funds for construction and artifact acquisitions for the original Here, Now and Always. She queued up again to fund the Arts section of the exhibition. “This is so important to the Native community,” Wells says. “The museum, of course, is important, but to have so much of the
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history contained in the exhibit so that everybody can look at it, whether they be Native or not, is key.” As Wells looks forward to the new exhibition, she reflects on former supporters Nancy and Richard Bloch, who funded construction of a new wing to house the original display. The Amy Rose Bloch Wing, an homage to their deceased daughter, remains an integral part of the new project. Now both deceased, the couple also sponsored the Language and Song portion of the renewed exhibition. In addition to longtime devotees like Wells and the Blochs, a community of equally committed new donors also moved the project along. With their support, Here, Now and Always has been reconstructed from the ground up. It now comprises the entire west side of the museum with construction of brand-new galleries, $1 million in new casework and a new entrance leading into a gathering space funded by Foundation trustee Bill Butler and his wife Uschi. A Native-owned construction company installed the framing, wiring and lighting, drywalled and painted each exhibition section, and renovated the space to be ADA compliant. Unique interior décor touches in the exhibition’s entrance were donated by Durkan and its hospitality division, Mohawk Industries Inc., a Museum of New Mexico Foundation licensing partner. They created carpet tiles based on traditional corrugated Ancestral Pueblo pottery styles held in the museum’s collections.
Cycling Forward In the show’s atmospheric new chambers, the story of Indigenous peoples in the Southwest is represented by more than 600 objects. The content resonated with donors, who were inspired aesthetically, culturally, or often for personal reasons, to fund signature artifacts, interactive technologies, in-gallery education components and more. The educational aspects of the exhibition’s Cycles section attracted the vital support of Skip and Ildy Poliner. As
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a Foundation trustee, Skip has focused on fundraising for the Museum of Indian Arts and Culture. When first approached to support the exhibition refresh, he recalls the couple “didn’t need a lot of convincing.”
Joaquin “was not from the immediate area, neither Pueblo, Apache or Navajo, but he’s a Native person of this region,” Chavarria says. “He was able to give this very insideroutsider perspective.”
“Frankly, it was the educational outreach we thought that Here, Now and Always would make with the schools that convinced us that we needed to be part of it,” he says. “How impactful these programs are to young people and to families. We knew this was something we would be able to make a lasting contribution toward.”
The exhibition is highlighted by a striking range of new donor-funded interactive technology. Each section now includes multiple iPads that connect to related content, including video interviews. These feature people of diverse backgrounds speaking to the exhibition themes, and are the result of more than 70 interviews conducted by the exhibition team over five years.
Chavarria co-curated Cycles, which explores the life cycles of Native peoples as they relate to tribal culture and experience. Sections on childhood, youth and adult life highlight the characteristics of these periods. A rites of passage portion spotlights Navajo and Apache puberty ceremonies as well as graduations, baptisms and naming ceremonies.
“The ideas in each of the sections are reiterated in these video snippets—so that people can see that this is cultural continuity, that people are tied to tradition,” says Chavarria. “Basically, that’s a foundation for continuing to grow and to live in a society that has an awful lot of challenges.”
Speaking of rites of passage, Chavarria noted the death of exhibition co-curator and Indian Advisory Panel member Angelo Joaquin Jr. (Tohono O’odham). His passing from complications of COVID-19 in 2021 hit the museum community hard, Chavarria says, and brought home the significance of these life cycles in Native communities throughout the Southwest.
The section titled Survival and Resilience, co-curated by Bird, addresses the challenges of contemporary Native life in the context of difficult histories—the Pueblo Revolt, the Long Walk to Bosque Redondo and more. For example, Bird says that many people of her grandparents’ generation didn’t consider themselves citizens of the United States. “We are citizens of our respective pueblos. We are nations within a nation,” she says. “So, it’s looking at history, and New Mexico, and what has gone on from a different viewpoint and perspective.” The section emphasizes Pueblo sovereignty. Two items on display highlight Laguna Pueblo and the historic significance of women. On view is a large-scale vertical mural by Marla Allison (Laguna Pueblo) of pueblo girls carrying water, based on historical photos. The dress worn and donated by U.S. Secretary of the Interior Deb Haaland (Laguna Pueblo) when she was sworn in as one of the first Native American women elected to Congress is also shown.
Figurine, prior to 1930, Ohkay Owingeh. Museum purchase. Photo courtesy Museum of Indian Arts and Culture.
Native roles in protecting tribal lands and natural resources are addressed in sections on uranium mining and climate change. On view is the firefighting gear of an Indigenous female member of a hotshot wildland crew. The significance of water is represented by a depiction of a Zuni Olla Maiden, a traditional water bearer. Its acquisition was made possible by Friends of Indian Art. The Survival and Resilience section was sponsored by Olga Echevarria and James Hutson-Wiley. Their family foundation also contributed to a $100,000 endowment honoring the museum’s former executive director, Della Warrior (Otoe-Missouria), which will bolster the museum and its permanent exhibition far into the future.
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Serving Diverse Communities “The broad scope of this exhibition offers something to compel donors with various interests to give,” says Foundation President/CEO Clements. “Here, Now and Always truly reflects the various communities it was built to serve.” Apropos of this is the exhibition’s Community and Home section, whose representation of Native architectural traditions and daily life also drew donor support. Foundation trustee John Duncan and his wife Anita Sarafa funded the creation of a traditional turkey feather blanket made by Mary Weahkee (Comanche/Santa Clara Pueblo) of the Office of Archaeological Studies. Another Foundation trustee, David Young, and his wife Sheila sponsored the Community and Home section in honor of their late daughter, Liesel Diane Aist. Another textile, a Navajo shoulder blanket, compelled Foundation trustee Rosalind Doherty and her late husband Lowell to contribute to its acquisition as a central piece for the exhibition’s Trade and Exchange section, featuring a replica of the historic Jemez Pueblo trading post. The dyes in the shoulder blanket were procured from various points on the Navajo trade route. Longtime MIAC supporter and Foundation trustee Harriet Schreiner and her husband Karl funded this section. The lure of Native language brought support for other sections, including Ancestors, funded by the Maggy Ryan Charitable Trust. The introduction to Ancestors is in six Native languages, a feat accomplished in collaboration with staff from the Center for New Mexico Archaeology and the Laboratory of Anthropology. Donor Maureen McCarthy, who sponsored the Emergence Tunnel, where visitors begin their journey through the new exhibition, was drawn by the history of pueblo pottery. After moving to Santa Fe 15 years ago, she began collecting pottery from Robert Tenorio (Kewa/Santo Domingo Pueblo). That relationship, she says, “led me to MIAC, a hidden gem of Santa Fe museums, where my goal was to learn as much as I could.” McCarthy’s education was enhanced by her exploration of the original Here, Now and Always. “I was thrilled that I could see pieces of art made today that resemble pieces of art that were made centuries ago,” she says. “The story that the exhibition tells of traditional pottery is extraordinary. I’m very happy to be involved in its evolution.” museumfoundation.org
Marla Allison (Laguna Pueblo), Water Girls, 2017. Museum purchase. Photograph by Addison Doty, courtesy Museum of Indian Arts and Culture.
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A Community of Curators Meet the Here, Now and Always curatorial team, who spent years revising the original exhibition to make it ever-more relevant for today—and tomorrow.
Ancestors Dr. Maxine McBrinn Dr. Joseph “Woody” Aguilar (San Ildefonso Pueblo)
Arts Marla Allison (Laguna Pueblo) Lillia McEnaney and MIAC Staff
Community and Home Dr. Maxine McBrinn Angelo Joaquin Jr. (Tohono O’odham) Lillia McEnaney Ulysses Reid (Zia Pueblo)
Cycles Tony Chavarria (Santa Clara Pueblo) John Garcia (Santa Clara Pueblo)
Language and Song Tony Chavarria (Santa Clara Pueblo) Angelo Joaquin Jr. (Tohono O’odham) Dr. Christine Sims (Acoma Pueblo)
Survival and Resilience Diane Bird (Kewa/Santo Domingo Pueblo) Kim Suina Melwani (Cochiti Pueblo) Lola Henio (Ramah Navajo)
Trade and Exchange Cathy Notarnicola D.Y. Begay (Navajo) Lillia McEnaney
Learning, Listening, Evolving For curators, artists, donors and visitors alike, Here, Now and Always is a window to the multiple histories and expressions of the Indigenous Southwest. The collective hope is that, when viewers leave the new exhibition, they’ll better understand that past and present are interwoven, perhaps even one and the same. Wells Mahkee Jr. (Zuni Pueblo), a two-decade member and co-chair of the museum’s Indian Advisory Panel, has been integrally involved in all aspects of the renovation. As a member of one of the tribal communities it represents, he is particularly interested in the visitor experience of the span of Indigenous history and contemporary culture. “The old exhibition, each time I went in there, I saw something different,” he says. He believes the new exhibition will feel more expansive, and more unique, with every viewing. “It’s like looking into a kaleidoscope. You spin it around, you never see the same image twice. Instead of looking at different colors in a tube, you’re inside of it,” he says. “You’ll look up, look around, explore, experience different sights, sounds, smells. The sounds of drums, storytelling, singing. The smell of wood burning in an horno. The sensation of putting your hands into cold, wet clay. “I see Here, Now and Always as filling an intrinsic need to validate our physical, emotional and spiritual connection to the world,” Wells continues. “I strongly believe that it will help people, wherever they are from, realize a part of themselves and relate to that when they go back into the world.” Chavarria underscores the opportunities for Native peoples to integrate their history into their modern lives. “With social media, computers, phones, Top and opposite: D.Y. Begay (Navajo), Rug (detail), 2018. Museum purchase. Photo courtesy Museum of Indian Arts and Culture.
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maybe our people will realize they can help bolster language and other types of traditional things, like plant identification, and how it’s been used in their culture,” he says. “Maybe we can help our own communities.” Fashion designer Loren Aragon (Acoma Pueblo), whose work appears in the exhibition’s new Arts section, seized the opportunity to represent the progression from tradition to innovation. After viewing the museum’s pottery collection, he created a dress inspired by the geometry and curvature of a historic pot. A cream-colored silk underdress serves as the base of the garment. “That’s basically the representation of the clay,” Aragon says. “And the designs on top will be out of leather, silks and metal.” Aragon says the exhibition has put Native peoples “in this strengthened position to really be able to tell our stories, to tell it from our perspective, to show people that we still have a say in today’s society, that we’re still existing among so many other communities and still representing our traditions.” Most important of all, he says, “People are listening.”
“I see Here, Now and Always as filling an intrinsic need to validate our physical, emotional and spiritual connection to the world.” As the exhibition reopens and evolves, Chavarria says the museum will keep listening—“Whether that’s introducing more hands-on aspects, more interactive areas, or people going off-site to teach different school curricula.” The museum’s ability to respond to visitors, however, will require the continued support of the Native and museum communities. “To make this exhibit continue to be better,” Chavarria says, “there are always going to be areas where we will need support.”
To support exhibitions and public programs at the Museum of Indian Arts and Culture, contact Lauren Paige at 505.982.2282 or Lauren@museumfoundation.org.
A Community of Donors Meet the donors whose generous contributions helped renew Here, Now and Always.
Section Sponsors Nancy and Richard Bloch Lynn G. Brown Uschi and Bill Butler Olga Echevarria and James Hutson-Wiley Maureen McCarthy Ildy and Skip Poliner Maggy Ryan Charitable Trust Harriet and Karl Schreiner Eileen Wells David and Sheila Young, in memory of Liesel Diane Aist
Interactive Technology Charmay Allred Susan and Conrad De Jong Karen Freeman Friends of Indian Art Enid Margolies Beverly and Mike Morris Cindi and Michael Pettit
Signature Artifacts Rosalind and Lowell Doherty John Duncan and Anita Sarafa Ardith Eicher and David Rashin Valerie and Bud Hamilton Enid Margolies Ann Parker, in memory of Angelo Joaquin Jr. Arnold and Doris Roland Christy Vezolles and Gilbert Waldman David and Sheila Young
Other Notable Donations The Family of Marie and Tony Hillerman Gail and Joel Bernstein Benjamin Crane Ashlyn and Dan Perry
Other Sponsors JoAnn and Robert Balzer, Felicity Broennan and Burke Denman, Sally Dillon and Family, Diane Domenici and Larry Saunders, Catherine and Guy Gronquist, Richard Hertz and Doris Meyer, Friends and Family of Angelo Joaquin Jr., Jack Jackson and Kathleen Sullivan, Robb Lucas, Mohawk Group, Yara and Gerald Pitchford, Mary and Alex Ross, Gary, Brenda and Hayley Ruttenberg, Stephen Snyder, Nancy Sussman, Donald and Sharon Wright. And the many others who contributed to the Here, Now and Always campaign.
Design in Mind
A Season of Inviting Public Programs As summer lights up Museum Hill, the season kicks off a steady stream of public events at the Museum of International Folk Art.
Super Summer Event Folk Art Flea Saturday, June 11 | 10 a.m. to 3 p.m. Santa Fe County Fairgrounds After a two-year hiatus, the Friends of Folk Art are excited to present the 11th Annual Folk Art Flea. The event returns in a spacious new location at the Santa Fe County Fairgrounds, 3229 Rodeo Road. This year’s Flea will be the largest and most diverse in its history with a rare assortment of international folk art. Event proceeds benefit educational programs and exhibitions at the Museum of International Folk Art.
There’s the Family Mornings at Folk Art program on June 5, featuring stories, activities and gallery explorations. Visitors can celebrate Midsummer on June 18 with a flower crown making workshop and an evening cocktail party on Museum Hill on June 21. July 24 marks Bailes, in which attendees learn traditional New Mexico dances. On July 26 and 28, the museum welcomes back Arts Alive!, its popular multigenerational art-making workshop. These and other events dovetail with current exhibitions, including Dressing with Purpose: Belonging and Resistance in Scandinavia and Música Buena: Hispano Folk Music of New Mexico. But it is the rebirth of the Museum of International Folk Art’s Design Council—a member group focused on bringing awareness to the design aspects of the museum’s global folk art
Admission is free to the public from 10 a.m. to 3 p.m. Friends of Folk Art members enjoy early admission from 9 to 10 a.m. To join Friends of Folk Art, call 505.216.0829. A Foundation membership is required. Friends membership is $100 per individual or $150 for two people.
Steve Cantrell, Design Council coordinator. Photo by Saro Calewarts.
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collection—that has Steve Cantrell, the Design Council’s volunteer coordinator, truly jazzed about what’s to come. Cantrell, who launched the Design Council in 2019 while working as the Museum of New Mexico Foundation director of leadership giving for the folk art museum, says the original idea behind the group was to showcase the natural connections between folk art and other truly extraordinary masterpieces of design. “I was seeing the exact same faces at the museum,” Cantrell recalls. He worried that the folk art designation precluded the opportunity to draw fans of more contemporary art and design to the museum. The timing coincided with the museum’s debut of a traveling exhibition, Alexander Girard: A Designer’s Universe, from Germany’s Vitra Design Museum. Cantrell sought to expand a pool of potential donors with the goal of raising funds for the exhibition and related public programming. The thennewly created Design Council reached out to a group of architects, fashion and furniture designers to create programming for this new art crowd. “We had a couple lectures, a couple tours,” remembers Cantrell, who left the Foundation in 2020, but couldn’t shake his devotion to the museum. “The turnout was really good for a nascent organization.” The exhibition, which emphasized Girard as both a modern designer and a folk art collector, was a huge success. But then, COVID-19 hit. Suddenly, the Design Council was dormant. This spring, the museum’s former executive director, Khristaan Villela, and Laura Addison, curator of European and American folk art collections, prevailed upon Cantrell to revive the group for a Sunday lecture. In late March, 50 people showed up to hear noted design critic and author Alexandra Lange discuss Girard’s work in the context of other mid-century designers who created toys and play spaces. “Obviously it remains an interest,” says Cantrell. “MOIFA has a high profile in the community anyway, and it’s not rocket science when you’re building off its fame. But there are very strong design elements there.” More Design Council programming is planned, including a September talk by color forecaster Keith Recker on his new book, Deep Color: The Shades That Shape Our Souls. Cantrell also has set his sights on an annual design lecture with its roots in the 10,000-object exhibition Multiple museumfoundation.org
A member views a mid-century textile display featured in the 2019 exhibition, Alexander Girard: A Designer’s Universe. Photo © Andrew Kastner.
Visions: A Common Bond, which will celebrate its 40th anniversary in December 2022 and highlights the global folk art collection gifted to the museum by Girard and his wife Susan. “It’s really taking on a life of its own,” says Cantrell, speaking to the goals of any museum collection—and now, to the rebirth of the Design Council. To support exhibitions and public programs at the Museum of International Folk Art, contact Laura Sullivan at 505.216.0829 or Laura@museumfoundation.org.
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Let There Be Light
Raising the Curtain on Vladem Contemporary
Super Summer Event Vladem Contemporary Community Block Party Friday, August 26 Santa Fe Railyard and Vladem Contemporary Museum of New Mexico Foundation donors, members and the community are invited to the kick-off celebration for the New Mexico Museum of Art’s Vladem Contemporary in the Santa Fe Railyard. The evening begins with a free concert at the Railyard Water Tower sponsored by the Foundation in partnership with AMP Concerts. The party includes special museum member viewing areas, plus food and drink specials at neighboring bars and restaurants. A dance party at the new Vladem Contemporary tops off a night to remember. It’s all part of the Railyard’s monthly Friday Night Art Walk, so be sure to stop by neighboring museums, galleries and shops, which will be open late. For details on this event and the forthcoming Vladem Contemporary donor celebration, Member Preview and public opening, visit museumfoundation.org.
The oft-stated vision of “one museum, two locations” will soon become reality with the opening of the New Mexico Museum of Art’s Vladem Contemporary. Situated in an architecturally thrilling new building in Santa Fe’s Railyard Arts District, the Vladem Contemporary galleries add nearly 10,000 additional square feet to extend the art museum’s exhibition mission deeper into the community. Designed to showcase the museum’s postwar and contemporary collections, the Vladem Contemporary’s inaugural exhibition, Shadow and Light, sets the stage for the shows to follow, says Merry Scully, the museum’s head of curatorial affairs and curator of contemporary art. “It’s national, it’s international. And there are such great connections and cross-communications. It might be 70 percent from our collection,” she says. The exhibition’s title springs from the particular quality of New Mexico light that has been a draw for artists and photographers for more than a century. Moreover, says Scully, its theme echoes one of the original ideas behind the 1917 founding of the downtown art museum. As the exhibition description puts it, the Vladem Contemporary’s collections and exhibitions will go beyond replication and illustration to “engage the big ideas and experiences of human life.” Big ideas tend to translate well on a larger scale. On that note, the Indigenous Futurism of Cochiti Pueblo artist Virgil Ortiz dominates Shadow and Light. In Leviathan: Plight of the Recon Watchmen, situated within the inaugural exhibition, Ortiz debuts his largest works to date: a new cast of characters in his ongoing Revolt 1680/2180 series that extends the Pueblo Revolt to two dimensions in time. Five-foot busts sporting high-fire glazes, a spectrum of colors and flashy LED lights set Ortiz’s new sculptures as relics in a futuristic, video-enhanced environment. The works, which were created during Ortiz’s 2021 residency at the Archie Bray Foundation for the Ceramic Arts in Helena, Montana, embody the avant-garde spirit of the new museum. Elsewhere in Shadow and Light, Scully is excited about the long-awaited opportunity to display works from the permanent collection that fit the theme. “It’s about light as metaphor, light as media, light in contrast to darkness,” she says. The exhibition’s arc begins with the Transcendental Painting Group, and particularly, Florence Miller Pierce, who sought to express enlightenment and transcendence. It then moves to incorporate Light and Space and landbased artists, including an early work by Nancy Holt. Other regional, national and international artists include Larry Bell, Emil Bisttram, Lee Bul, Judy Chicago, Ron Cooper, James Drake, Angela Ellsworth,
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Gloria Graham, Jennifer Joseph, Agnes Martin, Jen Pack, Helen Pashgian, Charles Ross, Susan York, Leo Villareal and Erika Wanenmacher. “Shadow and light as a theme,” explains Scully, “was about defining things and making decisions. But now it’s about possibility.” At the downtown art museum, another exhibition, Transgressions and Amplifications: Mixed-Media Photography of the 1960s and 1970s, offers an innovative perspective on the history of contemporary photography. Organized by photography curator Katherine Ware and opening July 23, Transgressions traces the development of artists incorporating collage, printmaking, photocopying and even sculpture into their photo processes. Many of these mixed-media artists settled in New Mexico and contributed valuable works to the museum’s collection, including Thomas F. Barrow, Darryl Curran, Robert Fichter, Betty Hahn, Robert Heinecken, Joan Lyons, Jerry McMillan, Joyce Neimanas, Bea Nettles, Keith A. Smith, Michael Stone and Alex Traube.
Virgil Ortiz (Cochiti Pueblo), Mitz Nopek. Photo courtesy of the artist.
Funding needs are abundant for both locations, which include exhibitions, education and public programs, and long-term acquisitions. The Vladem Contemporary recently received a generous gift from Harriet and Karl Schreiner to support the museum’s “video window” project, set up to showcase single-channel videos, films and LED light installations that viewers will experience throughout the museum. Funding for audio support for
and research purposes. This funding also includes support for a program coordinator. “The New Mexico Museum of Art is still actively fund raising for exhibitions, programs and acquisitions at both locations, says Mark White, the museum’s executive director. “The response from members in supporting the Vladem Contemporary has been phenomenal over the last two years.”
other video installations is also needed. A $110,000 gift from the Frederick Hammersley Foundation has generously paid for at least two years to fund an artist-inresidence program at the Vladem Contemporary that is expected to bring five artists a year to the museum for work museumfoundation.org
To support the New Mexico Museum of Art and Vladem Contemporary, contact Kristin Graham at 505.216.0826 or Kristin@museumfoundation.org. 13
Full Circle Honoring 100 Years of Indian Market
Super Summer Event Member Day and Donor Celebration Friday, August 5 and Saturday, August 6 New Mexico History Museum Museum of New Mexico Foundation members and donors are invited to preview and celebrate Honoring Tradition and Innovation: 100 Years of Santa Fe’s Indian Market 1922-2022 at the New Mexico History Museum. The exhibition commemorates a century of Santa Fe’s Indian Market, honoring the artists and collectors who have made the event possible. More than 200 pieces of artwork by Indian Market artists from private and public collections will be on view. Historic and contemporary photographs, and interviews with artists and collectors, round out the Indian Market anniversary experience. Invitations and more details will be sent prior to each event. For additional information, visit museumfoundation.org.
We often hear of events coming full circle, cycling back to where they came from. That’s certainly the case with Honoring Tradition and Innovation: 100 Years of Santa Fe’s Indian Market 1922–2022, opening to the public August 7 at the New Mexico History Museum. With the commemoration of Indian Market’s first century, the Southwestern Association of Indian Arts returns to a collaboration with Indian Market’s original organizer: the Museum of New Mexico. Overseeing Indian Market during its first five years, the museum system played a significant role in developing what is now the world’s largest Native art market. Museum of New Mexico founder and director Edgar Lee Hewett helped create Indian Market with artist-archaeologist Kenneth Chapman in 1922. Cathy Notarnicola, the history museum’s curator of Southwest history, says Hewett and Chapman rolled the first market into their (also newly created) Santa Fe Fiesta celebrations. But their intentions went beyond providing a venue for Indigenous artisans to sell their works. Notarnicola describes their main goal as “an attempt to try to revive and perpetuate Native-made goods” within the larger Pueblo Revival makeover of Santa Fe, which began in earnest in the 1920s. Hewett and Chapman, among other Anglo museum professionals, felt that older styles of Pueblo pottery and sculpture were falling out of fashion in the early 1920s. Thus, the first Indian Market, held indoors with prizes awarded, was an attempt to influence artists to create more traditional artworks. “The people running the Indian Market,” Notarnicola explains, “were encouraging artists to make the old style of pottery that was more utilitarian and larger, like storage and water jars, versus the small curios that were being sold as souvenirs.” Though Indian Market is now run by a primarily Native staff and board members, Honoring Tradition and Innovation does not shy away from its problematic origin story of white museum professionals curating an Indigenous art market. Nor does it dodge any other histories, difficult or otherwise. For example, Indian Market organizers, in conjunction with area Pueblo Indian leaders, were instrumental in helping to defeat the Bursum Bill in the U.S. Congress in 1923. The bill would have allowed non-Native people to claim Pueblo Indian lands. Honoring Tradition and Innovation traces these larger stories while celebrating the career paths of individual artists via Indian Market, where they received honors and notoriety. The interactions between artists and collectors that make the market such an enduring attraction, Notarnicola says, are also a common thread that runs through the Indian Market story.
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The exhibition features more than 200 works by Indian Market artists, drawn from private and public collections, along with featured interviews with artists and collectors. More than 100 historic and contemporary photos, including photos of early markets sourced by Palace of the Governors Photo Archives curator Hannah Abelbeck, are also featured. The exhibition begins with a giant graphic of an 1880 train stopping in Laguna Pueblo. “Tourism flourished once the train started coming through,” Notarnicola says. “Artists were making these figures in reaction to that. And then you’ll see a re-creation of the first Indian Market from that.” Honoring Tradition and Innovation cycles through the century, pausing to spotlight influential artistic families, including the Tafoya (Santa Clara Pueblo) and Martinez (San Ildefonso Pueblo) clans. Important policy decisions (Native American Graves Protection and Repatriation Act and the Indian Arts and Crafts Act) and debates about what is “authentic” Native art are also explored. A final section on the future of Indian Market benefits from the Indigenous Futurism of Cochiti Pueblo artist Virgil Ortiz,
who presents his multimedia vision of evolving Indian Market art via his science-fiction series Revolt 1680/2180. Over the exhibition’s yearlong run, programming will include a lecture series featuring Ortiz and artists in various Indian Market genres. Private funding is needed for honoraria for lecture guests, as well as for artists participating in the interview series that accompanies the show. Due to staffing shortages, Honoring Tradition and Innovation’s installation also cost more than its original budget. Despite the difficulties, Notarnicola is firm about the significance of remembering 100 years of Indian Market with an exhibition of this caliber. “What happens at this market is really important. It’s not just exchanging money. It influences the Native art world,” she says. “There are real friendships and relationships being formed, which last for decades.” Or, more precisely, a century and counting. To support exhibitions and public programs at the New Mexico History Museum, contact Yvonne Montoya at 505 215.1592 or Yvonne@museumfoundation.org.
Top: Pueblo pottery vendors on the Palace of the Governors portal during Fiesta, Santa Fe, 1948. Photo by Robert H. Martin, courtesy Palace of the Governors Photo Archives (NMHM/DCA), neg. no. 041392.
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Hands-On Heritage Native Archaeologist Mary Weahkee
In downtown Santa Fe in 2006, Mary Weahkee (Comanche/ Santa Clara Pueblo) peered through the fence surrounding the site of an Office of Archaeological Studies excavation. She was so intrigued, she signed up to volunteer. Eventually, she joined OAS—one of two Native Americans now on staff. “Native Americans were part of the archaeology staff when I joined in 1988,” recalls Eric Blinman, Office of Archaeological Studies director. “Although it can be challenging to be Native and an archaeologist, in the right hands, knowledge of the past can strengthen identities and communities.” Today, Weahkee is known as a skilled analyst and versatile crew chief whose archaeological abilities are complemented by her commitment to education. In early January, Weahkee’s knowledge and experience resulted in a $52,500 grant to OAS from the Futures for Children Legacy Fund, earmarked for supporting Native education. The fund is housed at the Santa Fe Community Foundation and
supported by longtime Museum of New Mexico Foundation member and donor Mary Anne Larsen. The grant supports OAS educators’ time and travel to Native communities throughout New Mexico. Their programs are designed to support the educational and cultural development of Native students by providing accurate, stimulating and relevant information about their history and culture. “Being Native American and doing archaeology across the West has given me a broad perspective about tribes and the relationships between the past and present,” Weahkee says. “Archaeology emphasizes technologies and survival skills, and the sophisticated knowledge and artistry of my ancestors are an inspiration and a bond between all of us. When I can demonstrate making things the old way, and when children and adults feel and use what I’ve just made, the connections are remarkable.” Weahkee and the other OAS educators will work directly with teachers, aligning programs with classroom goals and providing connections to Indigenous community representatives. In Nick Felipe’s seventh- and eighth-grade classes at the Native American Community Academy in Albuquerque, Weahkee says, “They learned Pueblo Revolt history as I demonstrated using yucca to make the knotted cords that synchronized the revolt.” For this summer, Weahkee designed special programs for youth at Santa Clara and San Ildefonso pueblos, the Alamo Navajo Nation School and other communities. “The value of programming with strong heritage content is especially important for urban Native American children, such as those who are in public schools,” she says. “The enterprise side of OAS produces knowledge of the past, but that’s where client funding stops,” says Blinman. “Mary’s commitment to using knowledge to strengthen Native communities is totally dependent on private philanthropy.”
Archaeologist Mary Weahkee (Comanche/Santa Clara Pueblo). Photo courtesy Office of Archaeological Studies.
To support the Office of Archaeological Studies, contact Lauren Paige at 505.982.2282 or Lauren@museumfoundation.org.
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History Live and Online New Website an Invitation to Engage
When the new Fort Sumner Historic Site/Bosque Redondo Memorial website went live earlier this year, it was only partially complete. That was the intention. “It’s a project designed for partnership,” says site manager Aaron Roth, “to give people a sense of the history, yes, but also, to give them an opportunity to contribute in some way.” Much like the Bosque Redondo Memorial, which celebrated the grand opening of its new exhibition, Bosque Redondo: A Place of Suffering, A Place of Survival, over Memorial Day weekend, the website introduces viewers to the history behind the Fort Sumner Historic Site. Elements from exhibition mockups were repurposed with the same font and texts on the website, giving far-flung visitors a visual and contentbased slice of the in-person exhibition. A timeline begins the year the historic site was opened and describes the long road to today’s Bosque Redondo Memorial. “In 1968,” says Roth, “over 3,000 people gathered in this open field [where the site now stands] to talk about Fort Sumner.” They discussed the atrocities that occurred there during the forced march of Diné (Navajo) and N’de (Mescalero Apache) peoples to the reservation at Bosque Redondo from 1863– 1868. “From that point through the opening of the exhibition, you have a timeline of critical events that gives you the story behind the story of how we came to be,” he says. What most excites Roth and other Bosque Redondo historians about the new website is its interactive option. This enables website visitors, including eager amateur historians, to dig through archives of more than 13,000 documents and directly contribute to the project via transcription. “You can actually transcribe documents for the site and learn as you go along,” Roth says. museumfoundation.org
Website viewers can contribute to the website in other important ways, including oral histories from descendants of people held at Bosque Redondo. Ideally, they will take advantage of the site’s opportunity to respond to the materials provided and comment personally on their unique experiences and histories. A committee from New Mexico Historic Sites and the tribal communities represented on the site will review transcriptions and histories as they come in. Roth says the new website’s interactivity means that the exhibition at Bosque Redondo Memorial, and its complementary online presence, will never quite be complete. In fact, he is confident that the site’s story will live and grow far beyond his tenure at Fort Sumner. Citing the Native communities and private donors whose partnerships and funding made the exhibition possible, Roth says, “This is the kind of insurance that says we will continue to collaborate for the future.” Fort Sumner Historic Site/Bosque Redondo Memorial website: archivebosqueredondomemorial.nmhistoricsites.org/ To support the New Mexico Historic Sites, contact Yvonne Montoya at 505.216.1592 or Yvonne@museumfoundation.org.
Screenshot from Fort Sumner Historic Site/Bosque Redondo website. Image courtesy New Mexico Historic Sites.
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CORPORATE PARTNER SPOTLIGHT
Blue Rain Gallery Neighbors in Art and Community When Blue Rain Gallery first partnered with the Museum of
at the $5,000 leadership level. “You figure out the lay of the
New Mexico Foundation in 2005, they were neighbors
land,” Phetteplace explains, “and then your purposes dove-
located a couple doors down from each other on Lincoln
tail inevitably.”
Avenue in downtown Santa Fe.
The mutually beneficial relationship has allowed Foundation
“We had this great big parking lot in the back of the gallery,”
and museum staff, in addition to board members, to
remembers Denise Phetteplace, Blue Rain’s executive
acquaint themselves with Blue Rain’s diverse roster of
director. “A lot of the Foundation board members who were
contemporary artists working in various mediums, including
going to meetings would park in the lot. They’d come and
paintings, sculpture, glass, ceramics and jewelry. It helps
look at art in the gallery and then go to their meeting. And
that gallery founder and owner Leroy Garcia is a former
then, they’d come back and look again on their way out.
Foundation trustee who now sits on its advisory board.
Relationships just kind of build that way.” Beginning as a Business Council member, Blue Rain became a Corporate Partner of the Foundation in 2021, contributing
“There’s an open line of communication there,” Phetteplace says, adding that Blue Rain has helped build awareness for Foundation education- and exhibition-related development projects. “Over the years, we’ve hosted a number of events that have promoted learning in terms of the artwork we show and the different artists we work with,” she says. During its long affiliation with the Foundation, Blue Rain has contributed through membership and the Annual Fund and to the Museum of Indian Arts and Culture’s education programs and annual Native Treasures event. Their passion for representing Native artists in their gallery extends to their museum support, including helping to secure a number of pieces for the Clearly Indigenous glass exhibition, on view through June 16 at the Museum of Indian Arts and Culture. The gallery’s contributions to the future Vladem Contemporary further reflects their commitment to promoting contemporary Indigenous artists in their gallery and beyond. “The Foundation is a vital organization in our community,” says Phetteplace. “I don’t know where we’d be as an art community without the umbrella of museums we enjoy.”
Interior of Blue Rain Gallery. Photo courtesy Blue Rain Gallery.
For information on becoming a Corporate Partner, contact Mariann Lovato at 505.216.0849 or Mariann@museumfoundation.org.
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MUSEUM SHOPS
‘True Excitement’ New Retail VP Embraces Museum Experience Hearing Teresa Curl recount her career experiences, it seems
the business with a summer job at New Mexico-based Avila
the new vice president of Retail for the Museum of New
Retail, which operates airport specialty stores in Albu-
Mexico Foundation’s Museum Shops was tailor-made for
querque, Denver, Phoenix and San Francisco. She eventu-
the job.
ally rose to become the company’s CEO.
“My whole life has been in retail,” admits Curl, who started
Curl says she logged valuable experience working with
her new role in January. Despite her vast experience working
regional and Indigenous artists at Avila’s 25 stores. In 2018,
with New Mexican and Native American artists, and curating
after Avila was sold, she says, “I wanted to be working with
retail stores throughout the Southwest, Curl maintains she
local artists, folk art, Native American artists and regional
has a lot to learn. She says she feels “true excitement” when
goods. This is the job for me.”
driving to work at museums she visited as a child growing up in Albuquerque.
Curl says her favorite part of working for the Museum Shops is buying from artists. She’s impressed by the seamless rela-
Curl recently spent a year at Los Poblanos Historic Inn and
tionship between the shops at the New Mexico History
Organic Farm, in Albuquerque’s North Valley, as director of
Museum, Museum of Indian Arts and Culture, New Mexico
retail brand strategy. Beginning at age 19, she came up in
Museum of Art and Museum of International Folk Art. Their partnership with the Foundation, she says, “really gives us economy of scale when we’re trying to buy for multiple stores. It also provides flexibility in staffing. It provides a lot of benefits to be associated. It allows us to run it more affordably.” What’s next for the Museum Shops? Curl is jazzed about curating items for the future opening of the Vladem Contemporary shop. “It’s really exciting to think of how that store can have its own character, and at the same time, be the sister store to the art museum downtown,” she says. The focus will be on contemporary items in all price ranges, including high-end art and functional design items and jewelry. She’s got more on her plate, of course, from designing a 2023 budget to streamlining the inventory control system. “I don’t know that that’s incredibly fascinating,” she laughs, “but it is to me, because I’m a retail nerd.”
Teresa Curl, Museum Shops vice president of retail. Photo by Saro Calewarts.
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For more information about the Museum Shops, contact Teresa Curl at 505.216.0725 or Teresa@museumfoundation.org. 19
GRANT HIGHLIGHTS
Supporting Collections at Vladem Contemporary The New Mexico Museum of Art received a highly-competitive $250,000 Museums for America grant from the Institute of Museum and Library Services to support the conservation and digitization of selected collections and their relocation to the Vladem Contemporary.
Rescuing Museums The Institute of Museum and Library Services awarded American Rescue Plan grants to the New Mexico Museum of Art and Museum of Indian Arts and Culture. The art museum’s $50,000 grant supports the development and initial implementation of an innovative digital platform. The Museum of Indian Arts and Culture will use its $49,490 grant to re-establish its onsite school tours and support their robust online educational activities.
Funding Cultural Convenings The JA Community Foundation awarded the New Mexico History Museum $35,000 for the project “Memories, Stories, and Legacies: The Santa Fe Internment Camp.” In April, the History Museum will host a daylong symposium about the camp. It will be recorded by award-winning film maker Claudia Katayanagi as part of a 30-minute documentary. Thanks to a $15,000 grant from the McCune Charitable Trust, the Museum of International Folk Art will convene a Cultural Advisory Network to guide the museum on shaping a more diverse and inclusive narrative for the permanent exhibition Multiple Visions: A Common Bond.
Top: Entrance to the Multiple Visions: A Common Bond exhibition at the Museum of International Folk Art. Bottom: Japanese-Americans in “The College of Horticulture,” Santa Fe Internment Camp, New Mexico. Photo courtesy Palace of the Governors Photo Archives (NMHM/DCA).
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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 Funds
Participate in a series of exclusive events while providing leadership-level support.
Support exhibitions, related programming and institutional advancement at the division of your choice.
Circles Explorers
Planned Gift
Support and explore the art, culture and history of New Mexico through active, adventurous, and educational cultural excursions and experiences.
Provide a long-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 Kristin Graham
MEMBERSHIP AND COMMUNICATIONS
505.216.1199 Kristin@museumfoundation.org
Saro Calewarts 505.216.0617 Saro@museumfoundation.org
New Mexico Museum of Art
Yvonne Montoya
New Mexico History Museum New Mexico Historic Sites
505.216.1592 Yvonne@museumfoundation.org
SHOPS
Lauren Paige
Cara O’Brien 505.216.0848 Cara@museumfoundation.org
505.982.2282 Lauren@museumfoundation.org
Brittny Wood 505.216.0837 Brittny@museumfoundation.org
Susie Little 505.216.3135 Susie@museumfoundation.org
FINANCE
Kylie Strijek 505.216.0651 Kylie@museumfoundation.org
Laura Sullivan
Museum of International Folk Art
EXECUTIVE OFFICE
Sachiko Hunter-Rivers 505.216.1663 Sachiko@museumfoundation.org Teresa Curl 505.216.0725 Teresa@museumfoundation.org
Museum of Indian Arts and Culture Office of Archaeological Studies For a full Foundation staff list, visit: museumfoundation.org/staff
Mariann Lovato 505.216.0849 Mariann@museumfoundation.org
Georgine Chavez 505.216.1651 Georgine@museumfoundation.org
505.216.0829 Laura@museumfoundation.org
Jamie Clements Jamie@museumfoundation.org
GRANTS
Francesca Moradi 505.216.0826 Francesca@museumfoundation.org
Peggy Hermann 505.216.0839 Peggy@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
Rooted in Clay at the Colleen Cloney Duncan Shop at the Museum of Indian Arts and Culture
San Ildefenso pottery is one of the most iconic examples of Pueblo pottery, coveted by collectors around the world. Martha Appleleaf learned the art of pottery as a child from her aunts, Maria Martinez and Desideria Montoya. For 50 years, she has created distinctive pottery with traditional designs. Martha passed the tradition on to her son, Eric Fender, who creates unique and contemporary designs.
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
