The Magazine of the Albuquerque Museum Foundation — Fall 2020
30 Americans |
Nicola López’s Haunted |
Sculpture Garden
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A MESSAGE FROM THE PRESIDENT
ALBUQUERQUE MUSEUM FOUNDATION PO Box 7006, Albuquerque, NM 87194 505.842.0111 ALBUQUERQUE MUSEUM 2000 Mountain Road NW in Old Town 505.243.7255, 311 Relay NM or 711 Tuesday–Sunday, 9 a.m.–5 p.m. Third Thursday of each month open until 8:30 p.m. Closed Mondays and holidays THE MUSEUM STORE 505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.898.3915 SLATE AT THE MUSEUM 505.243.2220 Breakfast and lunch: Tuesday–Sunday, 10 a.m.–2:30 p.m. Snacks, coffee, drinks, & pastries until 3 p.m. MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services Emily Esterson, Editor Glenna Stocks, Art Director Sarah Kinzbach Williams, Associate Editor CULTURAL SERVICES DEPARTMENT CITY OF ALBUQUERQUE Tim Keller, Mayor ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2020-21 Joni Pierce, President
Patricia Hancock
Perry Bendicksen, President Elect
BJ Jones
Dean Willingham, Treasurer Patricia Kurz, Secretary Marney Hupper, Past President
Anne Keleher Beverly McMillan
Roddy Thomson Jr.
Perry Bendicksen
Kenton Van Harten
Paula Blacher
Tracey Weisberg
Stephanie Del Campo
Joyce Thees Weitzel
Elizabeth Earls
Ann Travelstead, Interim Executive Director
Corinne Thevenet
Andrew Connors, Museum Director
Alex Hauger
Helen Atkins Beverly Bendicksen Sherri Burr Wayne G. Chew
challenge.” —Thomas S. Monson
use our creativity and resourcefulness to find new ways to achieve
As I accepted the gavel to
our goals.
become this year’s presi-
None of our efforts
dent of the Albuquerque
would be possible without
Museum Foundation
your financial support. So,
Board of Directors, and as I
I want to thank each and
thought about the chal-
every one of you for your
lenges that lie ahead for the
steadfast commitment to
Foundation, I was reminded
the Albuquerque Museum
of this quote. The year to
Foundation. Your annual
come would be like no
membership dues, do-
other. I could already see the challenges
nations, purchases, and sponsorships
that we would face reflected in the final
allow the Albuquerque Museum to con-
quarter of 2019-20. But, I do believe that
tinue to provide educational programs,
challenges do present opportunities.
online exhibitions, lectures, concerts,
Over the past month, I have invest-
and other programs, at a time when
ed many hours in conversations with
these diversions are so badly needed
key stakeholders and volunteers of the
and greatly appreciated by the peo-
Foundation. During these conversa-
ple of our community. Thank you very
tions, I sensed a strong commitment to
much for your continued support.
our mission and great enthusiasm for our vision. I am convinced that we will
In This Issue: 30 Americans........................................................................................................................ 2 Shifting Perspectives: Nicola LÓpez's Haunted............................................................... 4 Meandering Through the Sculpture Garden.................................................................... 6 Seven Generations: The Art of Native American Activism............................................. 7 History Made Today: Collecting Covid-19........................................................................ 8 Casa San Ysidro Hires Aaron Gardner............................................................................... 9 Under Glass......................................................................................................................... 10
ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Pamela Weese Powell, Chair
with unwaivering optimism; and, we will
Scott Schaffer
Hal Behl
Elizabeth Hamm
face the challenges of the coming year
will be found in times of greatest
Tiffany Sanchez Catherine Baker Stetson
Maria Griego-Raby
"Our most significant opportunities
Max Parrill
Beverly Bendickson, Museum Board of Trustees
Catherine Goldberg
JONI PIERCE
Paul Mondragon Joni Pierce, Albuquerque Museum Foundation Judith Suiter Alan Weitzel
Museum Foundation News............................................................................................... 11
V I S I T U S AT:
AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org
1
30 AMERICANS Nina Chanel Abney, Class of 2007, 2007, acrylic on canvas, diptych, overall 114 x 183 in. (289.6 x 4 64.8 cm), Rubell Museum, Miami, acquired in 2008
Jean-Michel Basquiat, Bird On Money, 1981, acrylic and oil on canvas, 66 x 90 in. (167.6 x 228.6 cm), Rubell Museum, Miami, acquired in 1981
30 Americans
T Hank Willis Thomas, Basketball and Chain, 2003, digital chromogenic print, ed. 2/3, 99 x 55 in. (251.5 x 139.7 cm), Rubell Museum, Miami, acquired in 2007
The exhibition highlights complex explorations into identity
HE INFLUENTIAL EXHIBI-
TION 30 Americans showcases
view and write about 30 Americans today
work by some of the most
may be vastly different from how we
important artists of the last
would have written about it ten years ago.
three decades. It focuses on issues of
And yet, according to Curator Gwendolyn
racial, sexual, and historical identity in
Dubois Shaw's 2019 article in Art News:
contemporary culture while exploring the
“Because these artists occupy complex
powerful influence of artistic legacy and
subject positions, to say that they share
community. Highlights include works
a common identity as African Americans
by Jean-Michel Basquiat, Nick Cave,
belies the richness of their varied and
Robert Colescott, Lorna Simpson,
often intersectional experiences as men,
Wangenchi Mutu, Kehinde Wiley, and
women, straight, gay, queer, wealthy,
Mickalene Thomas.
working class, and so forth. Just as there
30 Americans was conceived during
is no single type of work in this exhibition,
the Barack Obama presidency in 2008
which includes sculpture, painting, video,
when the media touted the beginning of
and installation, neither is there one kind
a post-racial period in American history.
of ‘Black’ artist in the group.”
In the ten years since, the political land2
FALL 2020
Art. History. People.
scape has shifted considerably. How we
The Miami-based collectors, the Rubell
30 AMERICANS
Rashid Johnson, The New Negro Escapist Social and Athletic Club (Thurgood), 2008, Lambda print, ed. 2/5, 69 x 55 1/2 in. (175.3 x 141 cm), Rubell Museum, Miami, acquired in 2008
Mickalene Thomas, Baby I Am Ready Now, 2007, acrylic, rhinestone and enamel on panel, diptych, overall 72 x 132 in. (182.9 x 335.3 cm), Rubell Museum, Miami, acquired in 2007
family, consciously
Ligon, Kerry James Marshall,
Race underscores many of the works,
named the exhibition 30
Lorna Simpson, and Kara
sometimes subtly, sometimes directly, such
Americans rather than 30
Walker, all of whom have
as Gary Simmons' Duck Duck Noose, an
Black Americans or 30 African Americans. “Nationality is a statement of fact,” they write in the
works in 30 Americans.
installation of Ku Klux Klan hoods on stools
Perhaps most well
surrounding a noose. Kehinde Wiley riffs
known are the neo-ex-
on traditional European portraiture and
pressionists Jean-Mi-
power, putting a Black man in the saddle
introduction to the exhi-
chel Basquiat and
in the stylized Equestrian Portrait of Count
bition catalog, “while
Robert Colescott. Bas-
Duke Olivares. Carrie Mae Weems' From
racial identity is a
quiat’s Bird on Money
Here I Saw What Happened and I Cried
question each artist
pays homage to mu-
takes historic daguerreotype portraits
answers in his or her
sician Charlie “Bird”
of American slaves and re-photographs
own way, or not at
Parker. Colescott’s
them. Lorna Simpson’s prints, Wigs, refers
all.” The Rubells be-
paintings challenge
to the body without including it.
gan collecting African
iconic European works
There’s much to discover in 30 Ameri-
American art as the
by creating alternative
cans. The exhibition presents the provoc-
narratives that feature
ative, stunning, and thought-provoking
Black Arts Movement gained steam in the
Black figures. They are also
1960s and 1970s. Ground-
among those who influenced
breaking exhibitions deeply
younger artists in the exhibition.
influenced the collectors, notably Freestyle at the Studio
of contemporary Black artists. They also tapped into museum retrospectives of Glenn
artists of the last three decades.
There is no doubt that 30 Americans offers challenging material.
Museum in Harlem, which identified a new generation
works of some of the most important
Nick Cave, Soundsuit, 2008, fabric, fiberglass and metal, 102 x 36 x 28 in. (259 x 9 1.5 x 71 cm), Rubell Museum, Miami, acquired in 2008
ON VIEW 30 AMERICANS October 3 – January 3
AlbuquerqueMuseumFoundation.org
3
ARTIST IN RESIDENCE
Shifting Perspectives
T
Nicola López’s geologic forms reflect New Mexico
HE ALBUQUERQUE MUSEUM
changes as light shifts in the lobby space
on 'place' and stems from an interest
LOBBY SEEMS enlivened
from different weather conditions and
in urban planning, architecture, and
thanks to the installation of
from morning to evening.
anthropology; it's further fueled by
Nicola López’s Haunted. The
large-scale installation features a site
The lobby seems an appropriate place for López’s work. Her art focuses
time working and traveling in different landscapes. According to the artist, there
specific landscape that vibrantly changes
is no longer any such thing as nature un-
throughout the day.
marked by humanity. Indeed, humanity
López is this year’s Visiting Artist, a
haunts nature with what we inflict on the
program funded in part by a grant from
ON VIEW
the Frederick Hammersley Foundation.
HAUNTED
Her three-dimensional piece includes col-
Through June 2021
teaches at Columbia University in New
Watch a video interview with the artist at cabq.gov/haunted
printmaking. Her work often has an archi-
laged, printed, and hand-drawn elements. It creates a landscape where natural and human-built features intertwine. Video projections animate the work. The piece 4
FALL 2020
Art. History. People.
environment in the name of progress. López, who now lives in Brooklyn and York, works in installation, drawing, and tectural feel, as evidenced by two prints the Museum recently acquired from the
ARTIST IN RESIDENCE
Nicola López Born Santa Fe, NM 1975 Lives Brooklyn, NY Haunted 2020 Monotype on mylar, projectors with steel mounts and video lent by the artist. Supported by the Frederick Hammersley Fund for the Arts at the Albuquerque Community. Photos by Stephan Hutchins
series Ideal Structures for a Dubious
to be back in New Mexico. We also
Catalina Delgado-Trunk, Paul Sarkisian,
Future, shown in conjunction with Trinity:
acquired for the collection Objects for
and most recently, Karl Hofmann. The
Reflections on the Bomb on view on the
a Dubious Future,” says Lopez. “It shows
annual program provides an invited artist
Museum’s website. The Works on Paper
the artist’s process of engaging with
the opportunity to reimagine and acti-
gallery features a small selection from
architectural landscapes. That, too, was
vate the Museum's lobby; some artists
the online exhibition. The prints are part
a New Mexico project, based on the
create works specifically for the space.
of a project which connected López with
Trinity blast.”
The program includes displaying the
technical support from the Los Alamos National Laboratory.
The Visiting Artist program has
artist's work for one year, public engage-
featured contemporary artists—both
ment, and artist talks. The program aims
During the COVID-19 quarantine,
well established and emerging—with
to provide a bridge between the artistic
López stayed with her mother in Santa
a connection to New Mexico. Among
practice of the visiting artist and the pub-
Fe. A modification in her artistic pro-
those featured were Gronk, Virgil Ortiz,
lic's experience of contemporary art.
cess—working in a makeshift studio, with monoprint, and the nature of the New Mexico landscape—is evident in Haunted. The strata of geologic formations layer and spread across the lobby wall, the representation of textures part of the printing process. Videos of human impact—pipes coming out of a rock formation, for example—underscore López's thesis that the human footprint exists even in remote places. “If you look at López’s typical visual language, it’s very urban and architectural,” says Josie Lopez, Ph.D., curator of art. “This piece is very much about New Mexico landscape, with texture and color on multiple layers. She is working in different circumstances but also grappling with what it means
AlbuquerqueMuseumFoundation.org
5
Left: Frederico M. Vigil, Santa Madre Tierra y su Alma, 1991, buon fresco Albuquerque Museum, museum purchase, 1989 General Obligation Bonds, 1% for Art funds, City of Albuquerque, and funds provided by Nancy R. Briggs. Below: Sebastian (born Enrique Carbajal González), Variacion Nuevo México, 1989, painted steel, Albuquerque Museum, museum purchase, 1987 General Obligation Bonds and 1% for Art Funds, City of Albuquerque.
Meandering Through Art The Sculpture Garden provides a socially distanced Museum experience. THE ALBUQUERQUE
world. The bronze Prayer, by
sculpture of Spanish novelist
MUSEUM SCULPTURE
Bob’s father Alan Houser, is
Miguel de Cervantes, author
GARDEN contains more
one of the most recognizable
of Don Quixote. The artist
than 50 works located in the
pieces in the east garden,
experiments with perspective,
Museum's lobby, atriums, and
reflecting on culture and tra-
allowing the viewer to see
beautifully landscaped grounds.
dition by combining abstract
Cervantes as an abstract work
The garden contains artworks
forms and the body.
from different angles.
by a diverse cross-section of
Other works like Michael
Alma by Frederico Vigil is a
Another formidable sculp-
combination of familiar and
artists, addressing themes such
Orgel’s Nurturance, Oliver
ture, Atomic Needle, is made
abstract shapes. With a rich
as the relationships between
LaGrones’ Mercy, and Glenna
of metal collected from
earthen color palette, the fres-
humans and nature, and his-
Goodacres’ Park Place reflect
discarded equipment at Los
co honors Holy Mother Earth
torical and cultural narratives
on the importance of people
Alamos National Labs. Tony
and Her Soul. Fresco is an
specific to New Mexico and
and place, showing figures
Price transforms the vestiges of
age-old painting technique
the Southwest.
coming together, the cycle of
destruction into new symbols.
that has been utilized by art-
life, and people taking care of
Santa Madre Tierra y su
On the east side of the Museum, visitors might be familiar
one another. Jesus Moroles’
with Sebastian, whose large
Floating Mesa and Tom Wal-
blue installation is an abstract
dron’s Blue Tank reflect on the
expression of Pueblo architec-
landscape of New Mexico
ture. For Bear with Planes and
and the importance of water
Clouds, Bob Haozous used a
in our region.
single sheet of steel to illus-
Highlights in the west
trate the impact of technology
garden include Charles
on the natural and spiritual
Strong's large-scale bronze
6
FALL 2020
Art. History. People.
ists all over the world.
ON VIEW TAKE A GUIDED VIDEO TOUR WITH CURATOR JOSIE LOPEZ VISIT ONLINE: cabq.gov/sculpture-garden
Unidentified artist, Defend the Land Struggle, 1970s-1980s, lithograph on paper, Albuquerque Museum, gift of Diane Palley.
Unidentified artist, Stop the Rape of Mt. Taylor, 1979, lithograph on paper, Albuquerque Museum, gift of Diane Palley.
Virtual Exhibit Showcases a Tradition of Activism in New Mexico THE PHRASE “SEVEN GENERATIONS” MAY not mean what
assistance from Rebecca Prinster, assistant curator of history. His
you think it does.
educational background in history and his long involvement in
The concept of seven generations is often misconstrued as be-
activism made him a key voice to tell the story.
ing about seven generations in the future.
The exhibition includes a section
Instead, “seven generations” refers to the
on art as activism. One featured artist,
three generations that came before, the
Jared Yazzie (Diné), designs streetwear
three generations that will come next, and
that incorporates Navajo designs under
the present generation. For many Native
his brand OXDX. He recently created
American communities, this idea is a way
a poster in response to the COVID-19
to conceptualize change and a way to live
emergency on the Navajo Nation. The
in right relation with all living beings.
image serves as a reminder to stay safe,
This fall, the Albuquerque Museum will
wear a face mask, and look forward to a
launch Seven Generations of Red Power in
better future.
New Mexico. The virtual exhibition will tell
Art has often been used to react to
the long story of Indigenous resistance in
historical upheavals and stand up to injus-
this region and reflect on how the activism
tice. Likewise, standing up to injustice has
of today is part of that long, unbroken
consistently been a way to be a good rel-
legacy.
ative—to the three generations that came
Nick Estes, a citizen of the Lower Brule
before and the three that will come next.
Sioux Tribe, and University of New Mexico assistant professor in American Studies, is guest curating the exhibition, with
Seven Generations seeks to illuminate Jared Yazzie, Better Future, 2020, digital print, courtesy of the artist.
that history of resistance and its ongoing legacy in New Mexico. AlbuquerqueMuseumFoundation.org
7
PHOTO ARCHIVES
Noe’ Bennett works on a mural dedicated to medical staff on Pino Avenue Northeast. Offered gift of Roland Penttila
History Made Today
H
Collecting Covid-19 for Future Generations
ISTORY IS BEING
with other collecting institutions around
lect history as it happens. It allows us, as a
MADE EVERY DAY. At the
the nation to collect Covid-19 pandem-
community going through an unpredict-
Albuquerque Museum, we
ic-related items from the community. The
able yet shared experience, to have an
collect items that might be
Museum asked community members to
outlet for our stories, hoping they will be
of particular interest to future genera-
share artifacts that illustrate how they are
told, and our voices heard, in the future.
tions. When future researchers wonder
living in New Mexico during this time.
how we coped and what life was like
By collecting images, items, and artwork
this collecting initiative. In the months
during the pandemic of 2020, our collec-
right now, the Museum hopes to tell a
following the announcement, community
tions might provide an answer.
more full and inclusive history of the
members have donated several hundred
Covid-19 pandemic.
images from Albuquerque, the East
In April 2020, the Albuquerque Museum launched an initiative in conjunction
The initiative allows the Museum to col-
There is no deadline for the end of
Mountains, and the Pueblos. Images
THE ALBUQUERQUE MUSEUM COVID COLLECTION is part of a national movement spearheaded by the Smithsonian Institution, History Made by Us. Hundreds of history and civic organizations have come together to use history to inspire, inform, and empower specifically young changemakers. The social and digital media campaign invites people to voice their hopes and dreams for the United States, as the country approaches its 250th anniversary. Anyone can participate by going to MyWishforUs.org and posting a wish. Made By Us is also hosting a series of free workshops. This summer, it focused on three tools: Ecosystem Mapping; Vote by Design; and Backcasting, that connect young people to each other to discover ways to navigate the unknown and unprecedented times we’re living in. To join the movement, login on to historymadebyus.org
8
FALL 2020
Art. History. People.
PHOTO ARCHIVES
Gardner Hired as Site Supervisor ALBUQUERQUE MUSEUM HAS NAMED AARON GARDNER as the site supervisor for Casa San Ysidro: The Gutiérrez-Minge House. Gardner has functioned as the part-time, temporary site manager at Casa since 2018. The City of Albuquerque's hiring of Gardner as a full-time, permanent employee demonstrates a commitment to the educational programs and historic significance of the property. “Aaron’s knowledge and enthusiasm for Casa San Ysidro make him an invaluable asset to Albuquerque Museum," says Curator of History Leslie Kim. "We are thrilled to have
Gardner. " My vision for Casa San
Aaron as a permanent part of the
Ysidro includes new innovation for
history department at Albuquerque
shaping the museum’s programming,
capture the introduction of mask-wearing
Museum." Gardner received his
conservation care for one of the
in public, the closure of restaurants, the
Bachelor of Arts in Anthropology
most comprehensive Territorial New
new challenge of home-schooling chil-
from the University of New Mexico.
Mexican collections in the Southwest,
dren, the socially distanced lines for Senior
He is certified in Museum Education
and strategizing plans for the
Hour at grocery stores, and the creativity of
and Outreach from the American
property’s future. Casa is a unique and
street muralists who paint walls honoring
Association for State and Local History.
memorable experience for visitors.
the health care workers. Physical objects,
“Casa San Ysidro is a part of the
My main priority is to assist people in
such as cloth masks for the public and 3-D
Museum that requires devoted
living vicariously through traditional
masks made for the healthcare workers
care, attention, and foresight," says
knowledge.”
have also been donated to the collection. Artists have been sending images of the works they’ve been inspired to create by the pandemic experience. To donate your photographs to the Covid-19 Collection, please email them to the Museum’s Digital Archivist, Jill Hartke, at: jhartke@cabq.gov.
This page: Homemade cloth mask. Offered gift of Deb Slaney. Facing page: Grocery worker at Whole Foods sanitizes carts at the store on Carlisle Northeast. Offered gift of Roland Penttila.
THIS FALL AT CASA SAN YSIDRO: THE GUTIÉRREZ-MINGE HOUSE DIARIES OF WOMEN PIONEERS NOVEMBER 14, 2020 1:00–2:30 PM 2nd Saturday with Casa San Ysidro. Email agardner@cabq. gov to register for this lecture and Q&A that will be held via Zoom.
AlbuquerqueMuseumFoundation.org
9
ON VIEW ABSTRACT IN YOUR HOME AT THE CORNER OF MOUNTAIN AND 20TH Watch an interview with the artist at cabq.gov/ windows
Left: Neal AmbroseSmith, Abstract in Your Home, 2009, Albuquerque Museum at 2000 Mountain Rd. NW.
Under Glass A neon sculpture represents Indigenous culture and the shifting nature of home. THE ALBUQUERQUE MUSEUM’S CORNER WINDOW, visible from
many of the Windows on the
depending on time and place
Ambrose-Smith transforms
Future pieces have been taken
but also embodies universal
the triangle, reclaiming the
down, Abstract in Your Home
ideas of shelter, familiarity,
teepee, indigenizing the
Mountain Road and 20th
remains in the Museum's
traditions, and family.
familiar concept of home,
Street, encloses the neon work
window through the end of
of pop artist Neal Ambrose-
the year.
Smith, Abstract in Your Home.
“The teepee can withstand
Ambrose-Smith was
while speaking to his specific
inspired by a neon work
understanding of place and
created by Italian artist
culture. He also invites the
The sculpture is a neon teepee,
hurricanes and incredible
Pier Paolo Calzolari which
viewer to grapple with the
representative of the strength
environmental conditions,”
featured a blue triangle.
different meanings of the term
of the structure of home.
Ambrose-Smith says. “If it is
It’s one of 60 such works of
abstract in art.
put up properly and facing
Vital Spaces in Santa Fe,
art that, during the summer,
east, you can regulate the
which finds affordable spaces
embellished otherwise empty
temperature inside it. It looks
for artists, initiated the Windows
window spaces around
like a rocket ship, but it’s a
on the Future project this spring.
Albuquerque, Santa Fe,
house—my house, and my
It partnered with 516 Arts in
and Taos. It provided a way
culture’s house.”
Albuquerque and the Paseo
for people to see great art
He describes a teepee as a
without going into galleries
perfectly engineered structure
in each city were selected. The
and museums—to get outside
that is incredibly versatile,
resulting installations took on
and discover the state’s
sturdy. It represents how the
a variety of topics in various
contemporary artists. While
idea of home may be different
mediums and styles.
10
FALL 2020
Art. History. People.
Project in Taos. Twenty artists
ALBUQUERQUE MUSEUM FOUNDATION NEWS
THE MAGIC BUS KEEPS ROLLING Even without in-person field trips, the Albuquerque Museum Foundation is hosting virtual Magic Bus experiences, including providing teaching resources and access to art activities. Since 1994, more than 180,000 Albuquerque-area children have been inspired by and connected to art and KEHINDE WILEY , Equestrian Portrait of the Count Duke Olivares, 2005, oil on canvas, 108 x 108 in. (274.3 x 274.3 cm), Rubell Museum, Miami, acquired in 2005
history objects on display at Albuquerque Museum. Last year, school tours brought more than 10,000 students and teachers to the Muse-
Join 3rd Thursday Virtual Events:
um and Casa San Ysidro—that’s a big
supplies are being provided
impact on our youth and our future.
to schools for students’ use during
Our relationships with schools, teach-
these digital sessions.
ers, kids, and families help us build a healthy and vibrant community. In
SUPPORT THE COLLECTIONS
these unique times, your support of
Artwork at the Museum must be kept
Magic Bus is even more important.
safe and climate controlled, ensuring best collection management
SUPPORT VIRTUAL PROGRAMMING
practices continue even without
Foundation donations support
those artworks. Security and grounds
Albuquerque Museum partners with
myriad virtual educational program-
upkeep/maintenance continues at
local artist and activist Ebony Isis Booth
ming that has transitioned to an
the Museum so that our facility and
to curate an evening of livestreamed
online format for the duration of the
the artistic gems kept on the grounds
performance based on the exhibition
Covid-19 crisis, including online Third
and inside the building are well cared
30 Americans.
Thursday programs that offer engag-
for. In short, life at the Albuquerque
ing, enjoyable virtual evenings for the
Museum continues for our collec-
cultural strategist, and curator of vibes.
whole family, and virtual Magic Bus
tions, facilities, and staff, though we
She is founder of the African American
sessions for the schoolchildren who
are temporarily without our most
multimedia showcase, Burque Noir.
would have otherwise visited Albu-
cherished element: our audience.
3RD THURSDAY, OCTOBER 15, 2020
Ebony Isis Booth is a poet, writer,
querque Museum in person this Fall.
the public’s participation in viewing
Please contact Elaine Richardson,
3RD THURSDAY, NOVEMBER 19, 2020
Funding needs for these new formats
erichardson@albuquerquemuse-
include production costs: profession-
umfoundation, 505.338.8733, with
Albuquerque Museum highlights
al videographers, content producers,
any questions or to request further
30 Americans with livestreamed music
and associated staffing. Magic Bus art
information.
and a virtual tour of the exhibition.
albuquerquemuseumfoundation.org/give
MISSION: The Albuquerque Museum Foundation — an independent, nonprofit corporation — raises funds for the Albuquerque Museum. VISION: The Foundation champions the Museum’s exceptional exhibitions, educational programs, and acquisitions.
AlbuquerqueMuseumFoundation.org
11
ALBUQUERQUE MUSEUM FOUNDATION NEWS
MEMORIALS AND TRIBUTES IN MEMORY OF GLORIA PERRETTI NOLTE from Ron Hjelm IN HONOR OF JONI PIERCE from Lori & Jon Ochsner
albuquerquemuseumfoundation.org Betsy James, Malpaís: Purple Snow Watercolor and gouache on Arches #300 cold press sheet: 11” x 11" Framed: 13.25” x 13.25”
ARTSTHRIVE GOES ONLINE It’s time again for Artsthrive, the Albuquerque Museum Foundation’s annual showcase and sale of contemporary art. This year, over 100 artists will be showing their work both in the Museum and online. Artsthrive is unique in that it is the only exhibition at the Museum where the works are for sale, and proceeds of each sale benefit both the artist and the Museum. Watercolor artist Betsy James' works celebrate the mountains, the blessing of rain, and the traces humans have left on the land. “This will be my seventh year in the ArtsThrive. It’s rare that I don’t sell everything I show, sometimes with extra sales through the Museum afterward.”
The ArtsThrive LIVE ONLINE
The ArtsThrive TIMED ONLINE
COLLECTOR’S DINNER AUCTION
AUCTION features over 300
will come to you on the Bidsquare
original juried works of art by
platform. This event will begin
outstanding artists from around
on October 24 at 6 p.m., with a
the country. Online bidding opens
spirited live online auction of 13
October 24, directly following our
exclusive and highly collectable
live online auction, and will close
artworks and the evening’s fund-
on November 8, at 3 p.m. MST.
a-need. Your group can join the Collector’s Dinner auction from
LINK TO BID ONLINE HERE:
ARTSTHRIVE 2020
the comfort of your home with
albuquerquemuseumfoundation.
Online beginning October 1
a catered, delivered dinner and
org/artsthrive
Bidding runs October 24 through November 8. ArtsThrive will be on view at Albuquerque Museum to the general public October 25– December 6, 2020. Go to albuquerquemuseumfoundation. org/artsthrive to bid, to purchase tickets, and for complete details about the art exhibition and benefit.
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The 30th annual ArtsThrive Art Exhibition & Benefit will occur both in the Museum and online, featuring the following two celebratory components:
FALL 2020
Art. History. People.
champagne for every ticket holder.
Per current IRS policy, distributions made from Donor-Advised Funds or Family Foundations may not be used to fulfill a pledge or Patrons’ Circle Membership that would result in a personal benefit to a donor or a member of donor’s family (e.g. tickets to events, dinners, tables for events etc.) Please call if you have additional questions or need clarification.
MUSEUM STORE 505-242-0434 • store@albuquerquemuseumfoundation.org
This Holiday Season we all need a little
Sparkle.
Allow us to help you find gifts that will enhance the beauty of the Season no matter your aesthetic. Find eclectic pieces that are colorful and fun, inspiring a childlike wonder. Or cozy up to the fire with an absorbing book about a favorite artist. Add a touch of glamour with a shimmer of silver from our amazing jewelers. New Mexico nostalgia? No problem! We are happy to ship our yummy food products and local cravings to your out-of-town loved ones. MUSEUM STORE HOURS: Tuesday through Sunday, 10 a.m. to 5 p.m. Closed Mondays, Thanksgiving, Christmas and New Year's Day 12 mm Navajo Pearl Necklace with vintage rhinestone pendant, $425, by Shoofly505
NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446
ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194
Front Cover Nick Cave, Soundsuit, 2008, fabric, fiberglass and metal, 102 x 36 x 28 in. (259 x 9 1.5 x 71 cm), Rubell Museum, Miami, acquired in 2008
COMING SOON TO THE ALBUQUERQUE MUSEUM FRIDA KAHLO, DIEGO RIVERA AND MEXICAN MODERNISM From the Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Foundation.
February 6–May 2, 2021 The works in the Jacques and Natasha Gelman collection epitomize the vitality and expressiveness of modern Mexican art. They were produced in a pivotal period in Mexican history, when the nation sought to redefine itself through political, social, and cultural reforms. Some of the figures in this exhibition are household names in Mexico and a handful of these have, over time, received international recognition. Perhaps none are more well-known then Diego Rivera and Frida Kahlo. Rivera’s bombastic personality, revolutionary politics, and inspiring murals made him a celebrity during his lifetime. Although once overshadowing his equally talented wife, Kahlo’s fame has far outstripped that of her husband in the years since her death. The raw emotion of her paintings still resonates today, and her intense self-portraits have made her face familiar throughout the globe. The exhibition is organized by MondoMostre.
Frida Kahlo, Diego on My Mind, 1943, oil on Masonite. The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.
