Art. History. People., Fall 2021

Albuquerque

The Magazine of the Albuquerque Museum Foundation — Fall 2021

Designing the New | Preserving Heritage | ArtsThrive: Art Exhibition and Benefit

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A MESSAGE FROM THE EXECUTIVE DIRECTOR

ALBUQUERQUE MUSEUM FOUNDATION

ANDREW RODGERS

PO Box 7006, Albuquerque, NM 87194 505.677.8500 ALBUQUERQUE MUSEUM 2000 Mountain Road NW in Old Town 505.243.7255, 311 Relay NM or 711 Tuesday–Sunday, 9 a.m.–5 p.m.

Closed Mondays and holidays THE MUSEUM STORE 505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.898.3915 MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services Emily Esterson, Editor Glenna Stocks, Art Director Judy Rice, Designer DEPARTMENT OF ARTS & CULTURE CITY OF ALBUQUERQUE Tim Keller, Mayor

A

s I write this, kids

program is so vital. During

are returning

the 2020-21 school year,

to classrooms

we augmented in-person

across the region.

Magic Bus visits with

This partial return to

virtual tours, more than

normalcy is a welcome

tripling the number of

relief, particularly for

students served. In these

working parents, but is

uncertain times, Magic

accompanied by growing

Bus is one of the most

concerns of a resurgent

powerful programs we

virus. The pandemic has taken so many

offer, impacting the lives of thousands of

formative experiences from all our

students annually.

children: in-person instruction, time

The Foundation is committed to

spent with friends, and after school

supporting teachers and students,

activities, to name just a few.

whether in person or virtually. I hope

Shelle Sanchez, Ph.D., Director

At the Albuquerque Museum

you might be too! In the coming days,

ALBUQUERQUE MUSEUM FOUNDATION

Foundation, we believe passionately

I'll be reaching out about how you can

that exposure to arts, culture, and history

help us with this important work.

BOARD OF DIRECTORS 2020-21 Perry Bendicksen, President

Sean McCabe

expands the horizons of students, allows

Beverly McMillan

Scott Schaffer, President Elect

Becca Owen

them to see the world differently, and

Roddy Thomson, Treasurer

Santiago Rivera

more: Studies show that regular access

Patricia Kurz, Secretary

Kathy Rowe

to arts and culture raises educational

Tiffany Sanchez

Joni Pierce, Past President

Sara Sternberger

outcomes and improves communities.

Alan F. Weitzel, Museum Board of Trustees Hal Behl Stephanie Del Campo Josef Díaz Elizabeth Earls Carrie Eaton Catherine Goldberg Alex Hauger Anne Keleher

Max Parrill

Catherine (Cate) Baker Stetson Kenton Van Harten Tracey Weisberg Joyce Weitzel Rick West Andrew Rodgers, CEO + Executive Director Andrew Connors, Museum Director

And that's why the Magic Bus

Andrew Rodgers Executive Director & CEO arodgers@albuquerquemuseumfoundation.org

In This Issue: Designing the New.............................................................................................................. 2 Layers of Meaning................................................................................................................ 5 Only in Albuquerque........................................................................................................... 6 We Built this City.................................................................................................................. 7 Preserving Heritage at Casa San Ysidro............................................................................ 8

ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Alan F. Weitzel, Chair

Sherri Burr, Ph.D

Helen Atkins Vice Chair

Wayne G. Chew

Paul M. Mondragon Secretary/Treasurer

Donald Couchman

Joni Pierce, Albuquerque Museum Foundation

Dr. Janet SamorodinMcIlwain

Beverly Bendicksen

become better global citizens. But even

Corinne Thevenet

Rhett Lynch

Chris Baca

Until then,

Hilma E. Chynoweth

New at the Foundation...................................................................................................... 10 Foundation: Award of Distinction.................................................................................... 11 Foundation: ArtsThrive...................................................................................................... 12

Christine Glidden

Pamela Weese Powell

V I S I T U S AT:

AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org

1

DESIGNING THE NEW

Charles Rennie Mackintosh, Port Vendres - La Ville, ca. 1925-26, watercolor, paper, 18 x 18 in. (unframed), Glasgow Museums, purchased from the Mackintosh Memorial Exhibition, 1933, © CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts

Designing the New

G

A sweeping retrospective celebrates the work and influence of Charles Rennie Mackintosh.

LASGOW STYLE FROM THE LATE 19TH TO THE EARLY

and colleagues from 1890s to 1914. The

Mackintosh was an architect, artist,

full spectrum in the exhibition includes

and designer whose hometown was

20TH CENTURY celebrates

books, ceramics, stained glass, glass,

the industrial heartland of 19th-century

the intersection of handmade

mosaic, metalwork, furniture, textiles,

Scotland. Shipbuilding and railroad

stenciling, needlework, posters, interior

fabrication brought the rapid growth

and architectural design, and painting

of wealth and population and a vibrant

time, Designing the New: Charles Rennie

and drawing. Designing the New: Charles

arts and education scene that earned

Mackintosh and the Glasgow Style,

Rennie Mackintosh and the Glasgow

Glasgow the nickname, “Second City of

includes 166 works of art and design

Style presents the most comprehensive

the British Empire.” While the world was

from the Glasgow School, a movement

appraisal of the Glasgow Style ever

celebrating industrialization, Mackintosh

developed by Charles Rennie Mackintosh

assembled in the United States.

and his contemporaries preferred the

artistry and the industrial revolution.

A vast retrospective of this unique

2

FALL 2021

Art. History. People.

DESIGNING THE NEW

W. G. Morton, Water Sprite, ca. 1896, stained glass, 28 1/4 x 25 1/8 x 3/4 in. (framed), Glasgow Museums, Purchased with grant aid from the National Fund for Acquisitions, © CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts Right: Margaret Macdonald Mackintosh, The May Queen: panel from the Ladies' Luncheon Room, Ingram Street Tea Rooms, 1900, gesso, hessian, scrim, twine, glass beads, thread, tin leaf.

62 1/2 x 179 7/8 in. (overall), Glasgow Museums, Acquired by Glasgow Corporation, as part of the Ingram Street Tearooms, 1950, © CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts

handmade, tinged with the Art Nouveau

granted, but Mackintosh elevated the

style and influenced by connections

chair to architecture,” says Museum

to Persian and Japanese style. While

Director Andrew Connors. “They loom

training at the Glasgow School of Art,

over you because they are so tall.

Mackintosh met James McNair and two

Previously a tall chair would have been

modern,” that exemplifies Glasgow Style,

sisters, Frances and Margaret McDonald.

oppressive, but this one is light and

Connors adds.

McNair later married Frances and

soaring and celebratory. Geometric in

Mackintosh married Margaret. They

their aesthetic, each one has incredible

Frank Lloyd Wright, in that he designed

became known as “The Four” and their

personality and yet their design is

buildings, but also considered the

work together became the center of

somewhat reductive—there’s that push-

aesthetics and design of furniture

what is today known as Glasgow Style.

pull between the handmade and the

Mackintosh has been compared to

Mackintosh designed the school’s new building in 1896.

Some of the most recognizable—and representative—objects in the exhibition are the surprisingly tall Mackintoshdesigned high-backed chairs. “Something as simple as a chair we can take for

CHARLES RENNIE MACKINTOSH AND THE GLASGOW TEA MOVEMENT SUNDAY, NOVEMBER 21, 1-2:00 PM Victorian Glasgow was filled with tearooms, thanks in part to the grand maven of tea Catherine Cranston, who owned four prosperous tea parlors by 1903.

She turned to local artist and architect Charles

ON VIEW DESIGNING THE NEW: CHARLES RENNIE MACKINTOSH AND THE GLASGOW STYLE October 30, 2021– January 23, 2022

Rennie Mackintosh for help with their design; one of them remains operational today. Tea historian Bruce Richardson discusses the history of British tea, Mackintosh’s relationship with Catherine Cranston, and the influence of japonisme on Scottish tea and art at the turn of the twentieth century.

Ann Macbeth (designer); Penrith Schofield (maker), Vase, after 1920, earthenware, 11 x 4 5/8 x 4 5/8 in., © CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts

AlbuquerqueMuseumFoundation.org

3

DESIGNING THE NEW

Designing the New: Charles Rennie Mackintosh and the Glasgow Style is a touring exhibition coorganized by Glasgow Museums and the American Federation of Arts. Support for the US national tour is provided by the Dr. Lee Walter Crane (designer); Maw & Co. (producer), Four tiles, 'The Elements', ca. 1877, glazed earthenware, 4 1/2 x 4 1/2 in. (unframed, each tile); 8 1/4 x 26 5/8 x 3/4 in. (framed, 30 degree mount TBC), Glasgow Museums, Acquired from G Maw & Co through Glasgow agents Galbraith & Winton, 1877, © CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts.

and fixtures, such as the chairs for

much a part of this exhibition as the works

the artistic and fantastical tearooms

themselves, Connors notes.

he designed. The exhibition includes

The Glasgow School artists struggled

designs, drawings, and photographs of

with conflicting objectives—there was a

process, as well as historic documentary

love of industrial process and modernism,

photos and the finished work itself.

while there was also a celebration of

Indeed, many of the drawings include

the worker, and the creativity of the

annotations in Mackintosh’s hand, as

handmade. The application of design

well as alternative colorways and fabric

skills and the thought process of creation

swatches. The process of creation is as

are celebrated here. “It was the handmade

MacCormick Edwards Charitable Foundation. The exhibition comprises works from the collections of Glasgow City Council (Museums and Collections), with loans from Scottish collections and private lenders.

aspects that made life worth living, as industry was booming around them,” Connors says.

HOW TO VISIT DESIGNING THE NEW In a good designer’s hand, the world itself becomes art. This is the lens through which visitors can best enjoy Designing the New: Charles Rennie Mackintosh and the Glasgow Style without becoming overwhelmed.

With 166 objects and three themes covering Mackintosh and The Four, plus a broader exploration of Glasgow Style at the mid-point of the exhibition, and Mackintosh’s later, strictly painterly work toward the end of the exhibition, it’s easy to get lost. “The exhibition is one of the most packed that we’ve brought to the Museum, and that can be overwhelming,” says Andrew Connors, Museum director.

Curators recommend looking through the exhibition—and visiting more than once—to find one thing that speaks to you; then revisit the exhibition and view it through the lens of that work. “You’ll see the same forms and same colors throughout,” says Connors.

Charles Rennie Mackintosh (designer); Alex Martin (maker), Chair designed for the writing desk for The Hill House, 1904-5, ebonised wood, modern upholstery, 43 3/4 x 16 x 19 7/8 in., Glasgow Museums, Given by Mr W Sommerville Shanks, RSA, 1940, © CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts

4

FALL 2021

Art. History. People.

Layered Meanings Works on Paper features collage, assemblage, montage.

ARTIST AND CNM FACULTY MEMBER

In all three mediums, the items are

CHANDLER WIGTON was teaching

often discarded, finding a new life and

a Collage at Home class on Zoom last

meaning in the the work. Santa Fe artist

summer for the Museum when the idea

Dana Newmann, for example, used

for a Works on Paper exhibition was

abandoned piano keys in Ivory, I. Valerie

born. Wigton used examples from the

Roybal used collaged paper and historic

permanent collection to demonstrate the

photographs. “I think my favorite works in

differences between collage, montage,

the exhibit are the Valerie Roybal collages

and assemblage for the class. He showed

on old photographs from the Incurable

his presentation to Curator of Art

series,” says Wigton. “Knowing the

Josie Lopez, and the seeds of Layered

backstory that she was living with breast

Meanings were planted.

cancer when she made them makes

The exhibition includes works by

them incredibly powerful. They are also

Robert Rauschenberg, Valerie Roybal,

aesthetically engaging to look at, with the

Jerry Uelsmann and Carlos Quinto

old black and white photos and the color

Kemm, among others. It also includes a

imagery. I also think they took on another

number of local artists who have not been

life with the pandemic and Covid-19.” The

shown before in the Museum, says Lacey

Roybal works were recently purchased

Chrisco, assistant curator of art, who

for the permanent collection through an

worked closely with Wigton and Lopez to

intiative with Albuquerque-based Richard

curate the exhibition.

Levy Galley to raise funds for breast

The word “collage” comes from the

Valerie Roybal, Untitled (from the series: Incurables), 2016-2018, collaged paper on historic photograph, Albuquerque Museum, gift of Mark Unverzagt and Laura Fashing, PC2019.61.3

cancer research.

French, “coller” or to stick together. In many cases, collages are made from mundane items, such as newspaper or magazine clippings, pieces of fabric, or other ephemera arranged and stuck together on a single-plane surface.

Assemblage is a three-dimensional collage, and montage is an assembly of related images that create a unified composition.

ON VIEW LAYERED MEANINGS August 7, 2021– February 20, 2022

Jaune Quick-to-See Smith, Cheyenne #31, ca. 1980s, watercolor and collage on paper, Albuquerque Museum, gift of Marge Devon, PC1990.85.3

AlbuquerqueMuseumFoundation.org

5

ONLY IN ALBUQUERQUE

Only in Albuquerque

S

New additions to the Museum’s history galleries are on display.

EPTEMBER 11, 2021 MARKED THE 20TH

ANNIVERSARY OF THE ATTACK ON THE WORLD

over several months. In the Navajo tradition, the “n” is backward, creating a conscious flaw. Marilyn Scott was trained in traditional

TRADE CENTER AND THE PENTAGON, taking the lives

Diné weaving by her mother, Bessie Yazzie. Curator of History

of almost 3000 people. Although Albuquerque seems

Leslie Kim says, “This weaving is particularly important to our

far removed from New York City and Washington, D.C., this

collecting efforts both because it is executed by a contemporary

historic day had an impact nationwide and globally.

Diné weaver, and because the subject matter addresses a topic we

The Museum, in its continuing work to tell a more complex

history, recently purchased a monumental weaving for the

have not yet been able to illuminate with objects.”

Scott’s son drew the design for the weaving to

permanent collection. Diné weaver Marilyn J. Scott, from Tuba City,

commemorate the events of that day. Skip Maisel, who

Arizona, created the stunning textile commemorating 9/11. The

operated Skip Maisel’s Indian Jewelry and Crafts on Central

weaving, which has a very tight weave, took 700 hours to complete

Avenue for decades and who purchased the business from his

6

FALL 2021

Art. History. People.

ONLY IN ALBUQUERQUE

ON VIEW SEPTEMBER 11 WEAVING Through December 2021

Opposite: Marilyn Y. Scott, Diné born Blue Canyon, Arizona 1983; lives Tuba City, Arizona, September 11 Weaving aniline dye on wool 87 ¼” x 119” x ¼” Albuquerque Museum purchase PC2021.39.1 Below: Ruben Olguin, born Santa Fe; lives Bernalillo, Treeflow, 2021, clay with acrylic sealant installation made possible by the Albuquerque Museum Foundation

grandfather who started it in 1939, contacted the Museum last year to offer the work. “It is a stunner, in scale, vision, and ambition,” says Kim. “You have to see it in person.” The weaving will be on display in the hallway outside Common Ground through the end of the year.

Brooks Studio, Organized Crafts of Albuquerque at the Tingley Beach Bathhouse, ca. 1937, gelatin silver print, gift of Channell Graham, PA1978.152.208

We Built this City

New Mural in Resourceful

Treeflow, created by artist Ruben

THE “ORGANIZED CRAFTS OF ALBUQUERQUE” WAS AN

Olguin, is now on view in the

ASSOCIATION MADE UP SPECIALIZED LABOR UNIONS

Resourceful gallery in Only

including the painters union, carpenters union, bricklayers

in Albuquerque. Olguin

union, steel workers union, and common labor union. The

works in ceramic, video,

labor movement was a strong force, politically, in the first half

sound, and adobe,

of the 20th Century, and Albuquerque’s labor unions were

exploring the nature

especially strong and outspoken. They were not afraid

of time and ancient

to make sure their members were heard in every sphere

materials. The earthwork

of politics.

mural documents climate change along the Middle Rio Grande watershed, stretching from Cochiti to Belen. Through US Geological Survey data, Olguin researched drought cycles over the past 530 years and

Albuquerque’s loyal political leader, Clyde Tingley, was friendly with the labor unions, himself being a laborer in his younger years. He persuaded the local unions to donate their time to build a large bathhouse at the newly-completed Civil Works Administration project, Conservancy Beach (now called Tingley Beach) which opened in August of 1931. This photograph, along with others focused on the construction

represented the dry and wet cycles in the width of the rings.

history of Albuquerque, will be included in an upcoming

He then harvested clay from the riverbed and applied it

photo archives exhibition, We Built This City.

over a vinyl stencil. After the mud dried, he peeled away the vinyl, revealing the waterways and leaving the rings intact.

The width and the color of the rings are an organic history of climate: “Clay holds the memory of the movement of water and references the spaces that the river carves,” Olguin says.

PHOTO ARCHIVES EXHIBITION COMING IN 2022

The clay’s colors reflect the history of the river valley. Browns

Preview a selection of images at

and red show times of heat and drought, whereas the yellow,

albuquerque.emuseum.com

green, and purple indicate cooler periods and rain. Olguin

and click on Collections

says that the purpose of the mural is to expose the fragility of the river’s flow.

AlbuquerqueMuseumFoundation.org

7

CASA SAN YSIDRO

View of Heritage Field with Casa San Ysidro to the right. Drone imagery: Consuelo Martinez-Moya

Growing and Preserving Heritage

Plans guide building and farming preservation at Casa San Ysidro

A

GRICULTURE HAS BEEN AN INTEGRAL PART OF

THE WAY OF LIFE IN THE

VILLAGE OF CORRALES for

Alan Minge donated the land to the

and restoration of New Mexico’s habitats.

Albuquerque Museum and established

Rio Grande Return’s partnership

a Deed of Conservation Easement that

with Casa San Ysidro has resulted in the

preserves the field from development

creation of community projects, public

centuries, driven by the flow of water

and keeps the land in agricultural

education regarding historical agricultural

that irrigated the land. Corrales' acequia,

production. To engage the community

methods, and generating seeds for

or irrigation ditch, was dug in the early

with interactive programs exhibiting

communities and habitat restoration.

18th century to guide irrigation water

traditional agriculture and to provide

The partnership also helps to preserve

throughout the village.

stewardship for Heritage Field, the

the state’s cultural heritage and increase

Albuquerque Museum entered into

community involvement.

Casa San Ysidro’s Heritage Field is a 2.38 acre strip of farm land adjacent

partnership with Rio Grande Return, a

to the property. In 2008, Dr. Ward

non-profit dedicated to the protection

8

FALL 2021

Art. History. People.

“The Heritage Field is looking into a future where agriculture and wildlife

CASA SAN YSIDRO

habitat restoration are close partners,”

replacement project was part of an

says RGR’s Conservation Director,

overall Preservation Plan for Casa.

Cameron Weber. “Heritage crops from

A number of other documents are

seeds that were carefully carried and

part of the ongoing work to preserve

saved for generations contain traits

the site. For example, the Historic

that make them especially valuable

Structures Report (HSR) is a record of

for high desert gardens. We are also

Casa’s past, its historic significance and

growing wild native species ... valuable

conditions, and its current state, plus

to our more-than-human neighbors—the

what needs to be done to maintain the

pollinators, the birds, the wildlife who

buildings in the future. The HSR helps

depend on healthy native plants to thrive

the site manager and museum curators

here. It is planting these together that

prioritize maintenance plans based on

makes the Heritage Field special. We

historical significance as well as develop

are looking ahead to a future where our

recommendations for work based on

interdependence with the local ecology

preservation priorities.

is once again deeply appreciated.” The

Curators and educators also prepare

project will also partner with Santa Ana

an Interpretive Plan which guides

Native Plants to grow native species

messages, stories, and experiences at

seedlings that RGR plans to transplant

Casa San Ysidro. The plan might include

into the growing beds.

what items/artifacts to display, how

Volunteers are welcome. Contact

they play a part in the overall story, who

UPCOMING EVENTS Find the Zoom link to these events at cabq.gov/casasanysidro OCTOBER 9 2ND SATURDAY From Spain to New Mexico: The Journey to Keep a Secret This presentation traces the history of the Crypto-Jews in Inquisitional Spain, including how Crypto-Jews kept their secrets in very dangerous times. Norma Libman researches Crypto-Jewish history and has interviewed more than 50 individuals about their family histories and religious practices. This program is cosponsored by the Historical Society of New Mexico

Rio Grande Return to learn more:

the audience is and how they should

Cameron@RioGrandeReturn.com.

be addressed. Additionally, a Cultural

NOVEMBER 13

Landscape Report (CLR) serves as a tool

2ND SATURDAY

Preserving precious resources

for the management of landscapes,

Civil War History in the

Last spring, Casa San Ysidro received a

determining which have historical

Lower Rio Grande Valley

new set of front doors, built to preserve

significance. A CLR might include

The Rio Grande’s unique role in

the architectural style of originals that

archeological records, maps, field notes,

the history of the American Civil

were no longer functional. The door

primary documents, drawings, and plant

War has been largely forgotten

materials. An architectural conservator is

or overlooked. Professor of

engaged to make recommendations for

Anthropology Russell Skowronek

the Preservation Plan. The regular

discusses Civil War history in

program for the preservation of the

the Southwest.

structure is then updated based on the recommendations.

The second element of the overall

DECEMBER – JANUARY Closed for the Season

strategic planning process is a Conservation Assessment, which lists all collection objects that are in need of conservation, prioritized in two levels.

Once those priorities have been met and a plan for conservation of the items most in need, a team of conservators assesses the rest of the collection.

AlbuquerqueMuseumFoundation.org

9

NEW AT THE FOUNDATION

Focus on Donors THE ALBUQUERQUE MUSEUM

major gifts to help fund the Museum’s

FOUNDATION WELCOMES KRISTI

programs and exhibitions. “My goal

DORR, TO THE NEWLY CREATED

is to look creatively at the many ways

POSITION OF DIRECTOR OF

that people support the work of the

DONOR IMPACT.

Museum. We are looking at where we

Dorr returns to Albuquerque after

have succeeded in the past and the

working as executive director of the El

opportunities to grow our donor base

Paso County Bar Association in Colorado

going forward,” Dorr says.

Springs. Earlier in her career, Dorr was

“The Museum has done such an

membership director for Girl Scouts of the

amazing job showcasing local, national,

USA, based in Albuquerque and worked

and international artists,” she says. “I’m

throughout the Rio Grande Valley.

Dorr’s family is multi-generational New Mexican, and her mother is from Corrales, currently living in Scotland.

thrilled to be a part of that. If you’re through the eyes of a New Mexican

interested in finding out how you can

audience,” Dorr says.

support our local artists or traveling

As the Director of Donor Impact,

exhibits, there are many opportunities

While visiting her mother, Dorr visited

Dorr plans to work on a strategic

at all giving levels. Just give me a

the Charles Rennie Mackintosh museum

two-year plan, with comprehensive

call!” Kristi can be reached at kdorr@

in Glasgow. “I am really excited about

fundraising goals, corporate

albuquerquemuseumfoundation.org

this exhibition, and seeing Mackintosh

sponsorship, planned giving, and

or 505.677.8489.

Member Engagement MARY BETH WOICCAK TAKES ON A NEW ROLE AS MANAGER OF MEMBER ENGAGEMENT. This newly created position focuses on member engagement including, retaining current members, increasing memberships, and fostering stronger connections between members and Museum Foundation. “I’m excited to meet more Foundation members,” Woiccak says. “I’d like to hear about their experiences at the Museum, what they value as members, and how they engage in the community, Foundation, and Museum.” Woicciak will be present at the Designing the New exhibition member preview day (October 29).

Get in touch with Woiccak to discuss your membership: mbwoiccak@albuquerquemuseumfoundation.org or 505.677.8487 (office).

10

FALL 2021

Art. History. People.

Hurd-Knief, Weitzel Recognized for Outstanding Service THE ALBUQUERQUE MUSEUM

Alan Weitzel

was named for Robert Wertheim after

PAM HURD-KNIEF AND ALAN WEITZEL

his passing in 2013. Wertheim was the

WITH THE ROBERT WERTHEIM AWARD

founder of Charter Bank, a recipient of the

OF DISTINCTION.

Ethics in Business award, and a community

This year’s recipients have both been

leader with a deep love for New Mexico.

dedicated members of the Albuquerque

His daughter, Helen Wertheim, recounts

Museum Foundation board and have

that Wertheim was part of a generation of

helped move the organization forward.

business leaders who were committed to

Weitzel, who worked as an engineer in New

working closely together to improve the

Mexico for more than 35 years, served on

state. “My father loved New Mexico, and

the Foundation’s board from 2012 to 2018,

wanted to make our state the best it could

and as board President in 2016-17. His

be," says Helen.

commitment always exceeded expectations,

Pam Hurd -Knief

The award, which was started in 1990,

FOUNDATION RECOGNIZED

Wertheim served on the Albuquerque

and he has continued to serve as a valuable

Museum Foundation Board from 2008 until

ambassador for the organization. Hurd-

his death. As a member of the fundraising

Knief worked in fundraising throughout

committee for Only in Albuquerque,

her career, including a nearly 20-year stint

Wertheim inspired fellow committee

on staff at the University of New Mexico.

members to raise twice the money of the

She served on the Foundation’s board

original goal. “It was the interactive map

from 2014-20; led the creation of the

(in Only in Albuquerque) that excited him,”

organization’s planned giving program,

Helen says. “He had a vision of kids on

the aM Society; and regularly advises the

their hands and knees pointing to places

Foundation’s development team.

in Albuquerque they know. He wanted to

The award honors an individual who

see it through.” Even though Wertheim

has served the Albuquerque Museum and/

battled cancer in the last years of his life,

or the Albuquerque Museum Foundation

he never missed a committee meeting. As

in an outstanding leadership capacity.

Helen tells it, just one day before he went

It is only given when there is a worthy

into the hospital for the last time, he was still

recipient, and not necessarily on an annual

making phone calls to raise money for the

basis. The criteria for the award includes

exhibition. “That made an enormous impact

time commitment, fundraising facilitation,

on me,” she says.

advocacy for the Museum and Foundation,

Wertheim served on many boards,

and being a community ambassador for

including Accion New Mexico, the University

the Museum and/or the Foundation. Past

of New Mexico Anderson School Alumni

recipients include Betty Sabo, Thelma

Council, and Presbyterian Healthcare

Domenici, Tom Keleher, Dr. Deborah

Services. He grew up in Fort Sumner, New

Good, and Beverly Bendicksen, among

Mexico, and graduated from UNM with a

many others.

business degree.

AlbuquerqueMuseumFoundation.org

11

MEMORIALS AND TRIBUTES IN MEMORY OF AHNA FERTIK Irene Fertik IN MEMORY OF ARMIN REMBE Laurie and Thomas Barrow Bronnie and Alan Blaugrund Robert Chavez

SAVE THE DATE Designing the New: Charles Rennie Mackintosh and the Glasgow Style Member Preview Day Friday, October 29, 9 a.m. - 5 p.m.

Reserve your ticket online at

Wayne and Elaine Chew

abqmuseum.holdmyticket.com

Nannette and Patrick Hurley

and use your Member promo code

Alison O'Leary Mullen Heller Architecture, PC Dorothy Gohdes Kaminsky Susan and Samuel Keith Fred Luthy Sandia Laboratory Federal Credit Union Louise Campbell-Tolber and Steven Tolber IN MEMORY OF CAROL M. MURPHY Thompson Twin Falls High School Class of 1957 IN MEMORY OF ESTHER DEAGUERO WELP Patricia Judge Deana Waddell

Exhibition Online and at Albuquerque Museum

OCTOBER 9 - DECEMBER 5, 2021

Nancy Weaver IN MEMORY OF EVELYN BERKSON Barry K. Berkson IN MEMORY OF MARY KOTZEN Addie Scotto IN MEMORY OF WARD ALAN MINGE Deb Slaney and James Iwerks Bronnie and Alan Blaugrund

SHARE THE LOVE! Show your love for the Albuquerque Museum by inviting a friend to become member today! They will have free access to local and global art exploring the issues of our time. Visit our website to learn more. albuquerquemuseumfoundation.org

12

FALL 2021

Art. History. People.

COLLECTORS DINNER

Thursday, October 7 6 - 9 p.m.

UN-GALA

Saturday, October 9

OFF THE WALL

Sunday, December 5 3 - 5 p.m.

For complete details visit:

albuquerquemuseumfoundation.org/artsthrive All art will be available online, at a buy it now price.

MUSEUM STORE MUSEUM STORE HOURS: Tuesday through Sunday, 10 a.m. to 5 p.m.

Closed Mondays, Thanksgiving, Christmas and New Year’s Day 505-242-0434 • store@albuquerquemuseumfoundation.org The innovative, ambitious, industrial heartland of Scotland was the birthplace of the only Art Nouveau movement in Great Britain: the Glasgow Style.

When applied to jewelry, textiles, and home goods, the Glasgow Style blends elongated and organic lines, and symbolic motifs to create otherworldly, stylized, and decorative forms.

You can take home a beautiful and artful memento of the modern design phenomenon born in the 1890s and celebrated today.

The Glasgow Rose

NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446

Albuquerque

ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194

Front Cover Charles Rennie Mackintosh (designer); Alex Martin (maker), Chair designed for the writing desk for The Hill House, 1904-5 Ebonised wood, modern upholstery, 43 3/4 x 16 x 19 7/8 in. Glasgow Museums, Given

by Mr W Sommerville Shanks, RSA, 1940, © CSG CIC Glasgow Museums Collection, Courtesy American Federation of Arts

COMING SOON TO THE ALBUQUERQUE MUSEUM THE PRINTER'S PROOF On view February 19 - May 15, 2022 The Albuquerque Museum is pleased to introduce the exhibition, The Printer’s Proof: Artist and Printer Collaborations. This exhibition focuses on the collaborative process of printmaking and celebrates printers who are or have been based in New Mexico as well as the artists they have worked with. The six printers featured are: Marina Ancona, Robert Arber, Steve Britko, Michael Costello, Bill Lagattuta, and Jennifer Lynch. Artist featured in the exhibition will include Donald Judd, Harmony Hammond, Jim Dine, Hung Liu, and many more. The Printer’s Proof will examine a variety of printing techniques and will explore how the final print is often shaped by the nature of the collaborative process between artist and printer. This exhibition was organized by the Albuquerque Museum.

Hung Liu (born 1948 Changchun, People’s Republic, China; lives Oakland, California), Sisters in Arms I, 2003, 6 color lithograph with chine collé of chinese designs, Albuquerque Museum, gift of Marjorie Devon, PC2014.59.1