The Magazine of the Albuquerque Museum Foundation — Spring 2021
Common Ground Re-envisioned | Eye to I: Self Portraits | Shaken Not Stirred
“Art enables us to find ourselves and lose ourselves at the same time.” - T. Merton
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A MESSAGE FROM THE EXECUTIVE DIRECTOR
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
P
ANDREW RODGERS robably a bit like you, I’ve
Plus, adding to the fun, Museum
finally begun to breathe a sigh
Director Andrew Connors and I get to
of relief that the horrible, no
confound you all with the similarities
good, very bad year we’d
of our names! If you need
all rather forget is finally in
a way to tell us apart,
Closed Mondays and holidays
the rearview mirror. And
just remember: Museum
THE MUSEUM STORE
while keeping a nervous
Andrew and Foundation
eye on vaccines and
Andrew are totally NOT the
variants, I’ve allowed myself
same person, even though
to get excited about the
we have the same birthday.
Tuesday–Sunday, 9 a.m.–5 p.m. Third Thursday of each month open until 8:30 p.m.
505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048
possibilities this new year
505.898.3915
offers. More than dinners
MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services
I’m sure this won’t get confusing at all.
out or movies with friends,
I can’t wait to tell you
though (and, oh, don’t
more about my hopes
Emily Esterson, Editor
those sound wonderful), the thing I’m
and dreams for the Foundation. In
Glenna Stocks, Art Director
most excited about is … my new job!
the meantime, I’d love to learn more
Judy Rice, Designer
As of February 22, I am pleased to
about why YOU love the Albuquerque
CULTURAL SERVICES DEPARTMENT
be the new executive director and chief
Museum. So please drop me a line.
CITY OF ALBUQUERQUE
executive officer of YOUR Albuquerque
(And don’t forget to buy your tickets for
Museum Foundation. It’s a great gig,
our virtual Shaken Not Stirred event on
to be sure. And I have a lot of ideas
April 17. I hear they’re letting me near
and energy; passion for the Museum
a microphone!)
Tim Keller, Mayor ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2020-21 Joni Pierce, President
BJ Jones
and its mission; and a deep respect
Perry Bendicksen, President Elect
Anne Keleher
for the incredible team I get the
Beverly McMillan
opportunity to lead.
Dean Willingham, Treasurer Patricia Kurz, Secretary Marney Hupper, Past President
Max Parrill Kathleen Rowe Tiffany Sanchez Scott Schaffer
In This Issue:
Beverly Bendicksen, Museum Board of Trustees
Catherine Baker Stetson Corinne Thevenet
Hal Behl
Eye to I: Self Portraits from 1900 to Today....................................................................... 2
Stephanie Del Campo
Gerard (Roddy) Thomson Jr.
Albuquerque's Women Photographers............................................................................ 4
Elizabeth Earls
Kenton Van Harten
Catherine Goldberg
Tracey Weisberg
Maria Griego-Raby
Joyce Weitzel
Exploring Mexican Influences............................................................................................ 8
Elizabeth Hamm
Andrew Rodgers, CEO and Executive Director
Spring at Casa San Ysidro.................................................................................................... 9
Andrew Connors, Museum Director
Focus on Youth.................................................................................................................... 10
Alex Hauger Patricia Hancock
ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Beverly Bendicksen Chair Helen Atkins Sherri Burr Wayne G. Chew Paul Mondragon
Joni Pierce, Albuquerque Museum Foundation
Common Ground Gets a Makeover................................................................................... 6
Foundation News............................................................................................................... 11 Museum Store..................................................................................................................... 13
Judith Suiter Alan Weitzel
V I S I T U S AT:
AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org
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EYE TO I
The Artist’s Sense of Self
S
Eye to I: Self-Portraits from 1900 to Today
ELF-PORTRAITS IN THE
DIGITAL AGE are ubiquitous and instantaneous. Selfie-takers freeze a moment in time, often
one that attempts to show their desired public persona. The artist self-portrait takes longer to create, yet similarly tries to boil down the artist’s “self” to a single image. In a way, artists' self-portraits are not that different from selfies. They capture a moment, full of both public and private messages. Eye to I: Self-Portraits from 1900 to Today collects those artist selfies in a variety of mediums: prints, photographs, paintings, and drawings selected from the Smithsonian National Portrait Gallery’s vast collection. The exhibition examines how American artists have chosen to portray themselves since the beginning of the last century. “Individuals featured in Eye to I have approached self-portraiture at various points in history, under unique circumstances, and using different tools, but their representations—especially when seen together—all raise important questions about self-perception and selfreflection,” says Brandon Brame Fortune, chief curator emeritus at Smithsonian’s National Portrait Gallery. “Some artists reveal intimate details of their inner lives through self-portraiture, while others use the genre to obfuscate their private selves or invent alter egos.” Featured in Eye to I are self-portraits by prominent figures in the history of 2
SPRING 2021
Art. History. People.
Elaine de Kooning, Elaine de Kooning Self-Portrait, 1946, oil on Masonite, National Portrait Gallery, Smithsonian Institution, courtesy Elaine de Kooning Trust.
EYE TO I Left: Roger Shimomura, Shimomura Crossing the Delaware , 2010, acrylic on canvas, National Portrait Gallery, Smithsonian Institution; Gift of Raymond L. Ocampo Jr., Sandra Oleksy Ocampo, and Robert P. Ocampo, © 2010, Roger Shimomura
Below: María Magdalena Campos-Pons, Untitled from the series When I am not Here, Estoy alla, 1996, dye diffusion transfer print, National Portrait Gallery, Smithsonian Institution; gift of Julia P. and Horacio Herzberg, © María M. Campos-Pons
American visual art, including Robert Arneson, Alexander Calder, Jasper Johns, Allan Kaprow, Deborah Kass, Elaine de Kooning, Jacob Lawrence, Louise Nevelson, Irving Penn, Robert Rauschenberg, Fritz Scholder, Roger
ON VIEW EYE TO I: SELF PORTRAITS FROM 1900 TO TODAY June 12-September 12
Shimomura, Edward Steichen, and many more. Like the selfie, artist self-portraits are
presented through historical and cultural
a way to present a personal view of self
references. Created in the Japanese
in a broader social context. Sometimes
woodblock style, Shimomura is featured
abstract, sometimes realistic, some
in the pose of George Washington in
featured with representative objects or
a re-envisioning of Emanuel Leutze’s
in highly specific scenarios, each artist
famed 1851 Washington Crossing
manipulates their sense of self for public
the Delaware. Instead of Continental
viewing. Unlike the selfie, the artist
soldiers, the boat is filled with Japanese
self-portrait requires forethought and
samurai, and the scene is San Francisco
Maria Magdalena Campos-Pons
planning. The essence of these portraits,
Bay. Shimomura was born in the United
expands the narrative structure of self-
whether public image or private moment,
States, and had struggled throughout his
portrait in Untitled from the series When
is rarely accidental.
life with American xenophobia directed
I am not Here, Estoy alla, 1996. In it, she
at his Japanese identity. Along with his
composites pieces of her Afro-Cuban
Self Portrait with Grey Cat. Scholder was at
family, he was imprisoned in a Japanese
identity into a single photographic image.
the end of his life, suffering from diabetes.
internment camp during World War II.
As she noted in an article for a gallery
Take for example Fritz Scholder’s 2003
The dark canvas features tubes running
Elaine de Kooning’s self-portrait
that represents her work, “The body is a
from an oxygen tank, and a grey cat, likely
depicts her in her studio, although she is
metaphor, this is not a self-portrait. The
referencing the Egyptian feline goddess
holding a sketchbook rather than painting
personal is a vehicle to narrate a more
Bastet, a feminine figure who protected
materials (her medium of choice), and
complex story.”
the home from evil spirits and disease.
surrounded by still life objects that
The Smithsonian notes that Scholder was
reflect her training with famous teacher
influenced by Francis Bacon, and this
and husband Willem de Kooning. Their
piece nods to Bacon’s dark canvasses
relationship was tumultuous; as Elaine
The exhibition has been organized by the
and melting faces. No less personal is
de Kooning recalled, “Everything was
Smithsonian’s National Portrait Gallery,
Shimomura Crossing the Delaware, by
a matter of tension between objects or
Washington, D.C., and supported in part
Roger Shimomura, where identity is
edges and space.”
by Mr. and Mrs. Michael H. Podell.
AlbuquerqueMuseumFoundation.org
3
PHOTO ARCHIVES
Early 20th Century Women Photographers
T
Photo Archives features pioneering women. HE CURRENT PHOTO
and Ross families were first introduced
own photography studio, Ross Studio, in
while living in Kansas. When they found
1890. Eddie remained friends with Mrs.
OTHERS FOLLOW, features
themselves reunited in Albuquerque,
Albright, and Mrs. Albright’s Art Parlor
five women who owned
the intrepid Mrs. Albright discovered a
was the center of the photography world
willing trainee.
in Albuquerque. She knew everyone,
ARCHIVES SHOW, WE LEAD,
or co-owned photography studios in Albuquerque around the turn of the
Eddie Ross worked for Mrs. Albright’s
it seemed. It was Mrs. Albright who
20th Century. In the last issue, we
Art Parlor in the late 1880s and Mrs.
introduced Eddie Ross to a newly arrived
highlighted Mrs. Albright, an early
Albright’s support was invaluable
photographer from New York named
photographer and mentor in
to Eddie. During her time with Mrs.
William Cobb. Eddie and William married
Albuquerque. One of Mrs. Albright’s
Albright, she not only learned the art
in 1891 and Eddie joined William in the
earliest protégés was Eddie Ross, the
of photography, but also advertising,
running of his photography business,
daughter of New Mexico Territorial
networking, and general business skills.
Cobb Studio. The studio was truly a family
Governor Edmund Ross. The Albright
She was a quick learner and set up her
affair. The couple had four children,
4
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Art. History. People.
PHOTO ARCHIVES
represented Cobb Studio in organizations around town, especially the Business and Professional Women’s Club, which focused on training women for several dogs, and even, at one time, two
professional careers in Albuquerque.
young wolves. The family members and
It looked as though the chain of
pets were routine subjects at portrait
mentorship that began with Mrs. Albright
sittings. In terms of advertising, Eddie
was continuing through two generations
Cobb took a page from Mrs. Albright and
of Cobb women. Tragically, in 1928,
figured the more attention-grabbing the
Daphne Cobb died of tuberculosis while
ad, the better! Eddie sewed photographs
on a trip to California. Despite Wilfred
to the skirt of her dress and carried a
returning to help run the studio, Eddie
banner that read “Cobb’s Studio” to drum
gave up hope of passing Cobb Studio on
up business. It worked and Cobb Studio
to her children. Through grief, world war,
was a success.
an epidemic, a dust bowl, and the Great
William Cobb suffered from
Opposite: Cobb Studio, William Cobb with wolf pups. 1906, digital reproduction of a glass plate negative. Museum purchase. PA1990.013.396 Above left: Cobb Studio, Daphne Cobb reading a Kodak manual. ca. 1920, digital reproduction of a glass plate negative. Museum purchase. PA1990.013.399 Above right: Cobb Studio, Interior of Cobb Studio. ca. 1900, digital reproduction of a glass plate negative. Museum purchase. PA2011.003.485 Below: Cobb Studio, Eddie Cobb. ca. 1895, digital reproduction of a glass plate negative. Museum purchase. PA2011.003.683
Depression, Eddie Cobb remained the
tuberculosis and died in 1909. Eddie took
backbone of the studio for decades.
on the sole management of Cobb Studio,
In 1942, she closed Cobb Studio, and
plus the mentoring of her daughter,
three years later, she died. The Museum
Daphne, and her son, Wilfred, who were
has a collection of glass plates tracing
showing talent in the art of photography.
Cobb Studio’s infancy through its
Ultimately, Wilfred joined the United
waning years.
States Navy and worked as a military photographer. Eddie held hopes that Daphne would take on the management of Cobb Studio. In the 1920s, Daphne was involved in the everyday business of the studio, eventually holding the title “Master Photo Finisher.” She worked
ON VIEW WE LEAD, OTHERS FOLLOW Through November 14
alongside her mother and actively
AlbuquerqueMuseumFoundation.org
5
COMMON GROUND
influences on New Mexicans; and Visual Experiments—provocative new approaches to image-making in an aesthetically awe-inspiring land. Five years after that redesign, curators are once again revisiting Common Ground while also seeking to build a robust online exhibition. One element influencing this change was a demographic analysis of the collection performed last summer. The collections team aggregated artist info based on identified gender and race, and then compared that data with the demographics of Albuquerque, the theory being that the collection must reflect the people of the city. “Part of our thinking about Common Ground was how can we use this pro-
What’s New in Common Ground
I
The permanent collection gets a makeover and an online presence.
what’s in the collection and what we want to collect in the future,” says Curator of Art Josie Lopez, Ph.D. “How are we representing and reaching our broader communities?” At the same time, it’s become clear that online exhibitions are here to stay. While there is no substitute for seeing the work in person, an online version of Common Ground will bring the collection to a wider audience. It also allows curators to exhibit works on paper that can’t stay in the gallery for a long time due to their fragility, as well as very large works that won’t fit in a physical space. The team gained some insight and experience from Trinity, Reflections on
N 2016, ALBUQUERQUE MUSEUM
what New Mexico art is and how it speaks
CURATORS EMBARKED on an am-
to us. Common Ground is now organized
bitious re-envisioning of Common
around themed areas: Real New Mexico—
Ground, the showcase exhibition of
landscape, cityscape and other depic-
the permanent collection. Their shared ef-
tions of the local environment; Real New
fort went beyond simply rearranging art-
Mexicans—portraiture of New Mexicans
work to a fundamental change in themes
from a range of backgrounds, experienc-
and the overarching narrative exploring
es and cultures; Whose Culture?—cultural
6
cess [of demographic analysis] to assess
SPRING 2021
Art. History. People.
ON VIEW COMMON GROUND cabq.gov/common-ground
COMMON GROUND
the Bomb, and Seven Generations of Red
the website to somewhere else. Common
Power, exclusively online exhibitions that
Ground creators considered how people
the Museum and City of Albuquerque
tend to navigate from artwork to artwork,
team built as an interim solution when the
and how they interact with each piece.
Museum was closed last spring. These
Moving forward, the online exhibition will
exhibitions reached people all over the
also include a way to send messages to
country and the world, many of whom
curators, ask a question, and download
accessed the exhibitions for research
educational or art activities related to an
purposes. “One of the things we learned
artwork or a theme.
during COVID-19 was that this could
Both the gallery and online exhibitions
be an added value to the mission of the
are getting an infusion of new work, in-
Museum,” says Denise Crouse, director of
cluding a section designed for recent ac-
communications. “We can’t put every ex-
quisitions. The first installation of this area
hibition online, nor do we want to … but
includes works by AnaMaria Samaniego,
we can leverage what we have and make
Charles "Chaz" Bojorquez, Rufino Tamayo,
our works more accessible over a longer
Lydia Madrid, Gronk, and Eddie Domin-
period of time to a wider audience.”
guez. And curators aren’t shying away
An online exhibition requires curators
from difficult topics in Albuquerque’s his-
to think somewhat differently as they cre-
tory. Additions to the exhibition include
ate a narrative for a collection. Foremost,
Jaune Quick-to-See Smith's The Court-
curators have to envision how people visit
House Steps which is about the controver-
museum websites (rather than physical
sy in the late 1980s over development of
spaces) and what they do once they get
a road in the Petroglyph National Monu-
there. In a museum, if a visitor doesn’t like
ment. Karsten Creightney’s large painting
an exhibition, they generally just move on
and collage titled Black Hills features a
to another gallery. With a website, losing a
collaged landscape with images from the
visitor’s interest means clicking away from
western United States including a tiny
Above: Bob Haozous, Warm Spring Chiricahua Apache, born 1943, Los Angeles, California; lives Santa Fe, New Mexico. El Piloto, 1990, nickel-plated steel, 16 x 10 x 7 ½ in., gift of the J. Daniel Boley Collection, gift of Katherine Hauth, PC2019.51.12 Bottom left: Roxanne Swentzell, Santa Clara Pueblo, born 1962 Santa Clara, New Mexico; lives Santa Clara, New Mexico. Bathing Beauty, ca. 2000, bronze 8 1/4 × 10 × 16 1/4 in., gift in honor of Judith Lackner PC2019.54.5 Opposite: Karsten Creightney, born 1976, Albuquerque; lives Albuquerque. Black Hills, 2018, collage, watercolor, acrylic, oil, and wax on wood 64 x 78 x 2 in., museum purchase, PC2020.18.1
picture of Mt. Rushmore. In the painting, Creightney explores land sovereignty and the legacy of colonization. Other works include paintings by Josef Albers and Gustave Baumann as well as small sculptures by Roxanne Swentzell and Bob Haozous.
COMMON GROUND ARTIST DEMOGRAPHICS 140 artworks 121 (identified) artists NUMBER OF ARTISTS (NOT INDIVIDUAL WORKS) BY DEMOGRAPHIC CATEGORY Women: 34 Native: 18 Black: 2 Latino/a: 35 Asian: 2
AlbuquerqueMuseumFoundation.org
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MEXICAN MODERNISM José Clemente Orozco, 1883. Ciudad Guzmán, Mexico – 1949, Mexico City, Mexico, Dead Woman, 1935, lithograph on paper, ed. 123/140, gift of Dick Brackett
ON VIEW JOSÉ GUADALUPE POSADA: LEGENDARY PRINTMAKER OF MEXICO Through May 23 LUÍS JIMÉNEZ: MOTION AND EMOTION Through May 15 FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM Through May 2
V
Exploring Mexican Influences ISITORS TO THE
explore how Mexican art
figures from his prints. Posada
responded to and shaped the
was an inspiration to the
SPRING will have
political and creative identity
Mexican Modernists, as he
the opportunity
of Mexico.
was illustrating local stories
MUSEUM THIS
to deepen their knowledge of
steeped in tradition and ritual.
the Mexican Modernists, those
José Guadalupe Posada
that they influenced, and those
As a satirist and chronicler of
José Clemente Orozco
who influenced them.
Mexican society of the time,
José Clemente Orozco,
In a trifecta of the artistic
José Guadalupe Posada
whose work appears in two
narrative of Mexico; José
created expressive images
exhibitions, inspired Luis
Guadalupe Posada: Legendary
reflecting and informing
Jimenez’s muscular, flowing
Printmaker of Mexico; Luís
the transitioning culture
bodies. Orzoco’s Dead
Jiménez: Motion and Emotion;
of Mexico City’s residents.
Woman is also a commentary
and Frida Kahlo, Diego Rivera,
Posada’s skeletons, or
about class struggles
and Mexican Modernism
calaveras, have become the
that defined the Mexican
provide an opportunity to
most iconic and celebrated
Modernists.
8
SPRING 2021
Art. History. People.
José Guadalupe Posada (engraver), Antonio Vanegas Arroyo (publisher), Gran fandango y francachela (Dancing and Revelry), ca. 1900s, type-metal engraving, The Posada Art Foundation.
Spring at Casa San Ysidro
Spring Casa Events JOIN US FOR THESE ONLINE EVENTS 2ND SATURDAY NATIVE AMERICAN LANGUAGE REVITALIZATION IN NEW MEXICO APRIL 10, 2021, 1:00 – 3:00 PM | Free In his 1991 revision of “Acoma: Pueblo in the Sky,” Dr. Ward Alan Minge
IN THE MONTH OF APRIL Casa San
references some of the early work that initiated a bilingual program at Acoma
Ysidro celebrates El Camino Real Trade
Pueblo’s local school. Today, Acoma’s bilingual program is directed by Dr.
Fair, a virtual experience of 1800s life
Christine Sims, who is also the state director for the National Indian Bilingual
along El Camino Real filled with living
Center and an associate professor at UNM. Join us Saturday, April 10, to learn
history, music, demonstrations, local
about the leading efforts in indigenous language revitalization.
artisans, educational sessions, and other family-friendly activities. Last held in
HERITAGE DAY
2019 at the Gutierrez-Hubbell House
MAY 15, 2021 | Free
in the South Valley, this year’s event will
Each year in May, Casa San Ysidro joins the Corrales Historical Society to
be virtual and will feature participation
celebrate local heritage with a free event in heart of Corrales. This year’s event
from the National Trails division of
will be a virtual collaboration that exhibits the living traditions of New Mexico.
the National Park Service, Bernalillo County, Town of Bernalillo Museum, and
2ND SATURDAY
Gutierrez-Hubbell House. Viewers can
NATIVE DYE PLANTS OF NEW MEXICO
travel along the trail online and stop
JUNE 12, 2021, 1:00 – 3:00 PM | Free
at different virtual historic sites along
Native American and Spanish weavers’ expertise required the skill and
the way. Each site will offer a variety of
dexterity to create intricate patterns as well the knowledge of where to find
entertainment from speakers, artisans,
plants that yielded desired colors. Join us Saturday, June 12, as Las Arañas
demonstrators and more.
weaver Myra Chang Thompson and Rio Grande Return Conservation Director Cameron Weber describe native dye plants, their uses, and the local practices
To participate, visit our website:
that people have used in New Mexico for generations.
cabq.gov/casasanysidro
Coming Soon CANNUPA HANSKA LUGER
fiction, genetic memory, and reclaiming
VISITING ARTIST COMING TO
indigeneity. This new installation of the
ALBUQUERQUE MUSEUM JULY 2021
ongoing narrative offers multiple points
Cannupa Hanska Luger's Future
of entry into an undetermined moment
Ancestral Technologies approaches
in the future, engaging the viewer in an
Indigenous Futurism, blending media,
innovative life-based art installation that
place, storytelling and documentation
dreams of survival and solutions while
of a living practice. Future Ancestral
promoting a thriving indigeneity.
Technologies’ narrative stems from a multitude of themes, including science
Visit: cabq.gov/luger
AlbuquerqueMuseumFoundation.org
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Rachel Doyle, Self Portrait. La Cueva High School. Top right: A'Janae Reed, Popping Time, Manzano High School. Bottom right: Maya Daly, Iris, Sandia High School.
Focus on Youth A LONG-TIME PARTNERSHIP
change this year is that the APS
yet organizers hope that
2021’s Focus on Youth reflects
BETWEEN THE ALBUQUER-
art teachers will be jurying the
2022’s Focus on Youth will be
changes in how art is viewed
QUE MUSEUM AND
show, and some submissions
back in the gallery as well as
that will extend beyond the
ALBUQUERQUE PUBLIC
may appear in both the Metro
online. Cinamon Gentry, art
pandemic.
SCHOOLS pivots this year to
District-wide Art Exhibition and
resource teacher, coordinates
the online format. Focus on
Focus on Youth. Entries include
the show with Perry Heimer,
Youth, a digital media exhi-
digital media from cell phones,
digital resource teacher. Gentry
bition of works by APS high
DSLR cameras, video, and even
participated in Focus on Youth
school students, launches on
drone photography. Another
when she was a student.
the APS and Museum websites
pandemic-related impact is
in May. It’s a community effort
that many students didn’t have
learning opportunity to work
and cornerstone of the Muse-
access to APS-supplied DSLR
alongside Fine Arts teachers
um’s support of young artists.
cameras, so many images have
to mat and frame images and
been shot using cell phones.
prepare them for installation at
This year’s online version shares the student-
Due to COVID-19
In the past, students had the
the Museum. While this chance
photographers’ work with a
restrictions, this year's
to learn hands-on is missing
broader audience. Another
reception will also be virtual,
this year, the virtual nature of
10
SPRING 2021
Art. History. People.
ON VIEW FOCUS ON YOUTH Opening May 8, 2021 Visit online: cabq.gov/FOY
ENCHANTED NEW MEXICO RAFFLE GRAND PRIZE: Three (3) day/two (2) night experience with accommodations for two (2) at luxury Santa Fe hotel. Day 1: Bonanza Creek Movie Studio Jeep Tour; Artwork and dining experience at a private location near Abiqui.
SATURDAY, APRIL 17 6:00 P.M. A VIRTUAL COCKTAIL PARTY BENEFIT Broadcast live from Albuquerque Museum $75 per person includes Party Pack (appetizers and cocktail kits) and Virtual Event Invitation
Day 2: Cumbres & Toltec scenic journey with lunch included. Day 3: Soothing soak at the Ojo Santa Fe Spa and Resort.
ADDITIONAL PRIZES INCLUDE: Fresco Panel by world renowned Fresco Master, Frederico Vigil 18K Gold & Diamond ring Full Participation Oaxacan Mexican Dinner Party in the Style of Frida Kahlo for six people at Jane Butel’s Cooking School in Corrales, NM Uriarte Talavera Tall Carrot-Shaped Talavera Urn “Sevilla” Frida – I Am My Own Muse by Emilie Ramon, (30” x 45” custom framed fine art giclée print)
SHAKEN NOT STIRRED is the Albuquerque Museum Foundation's premiere spring fundraising event. This year, fun-loving professionals and patrons of the arts will pick up their Cocktail Party Pak that includes:
◆ Appetizers ◆ Cocktail party drink mixers with recipes ◆ Live mixology class ◆ Curator-led tour of the exhibition Frida Kahlo, Diego Rivera, and Mexican Modernism ◆ Art activity ◆ Museum Store 10% discount certificate Proceeds from Shaken Not Stirred benefit the educational programs at Albuquerque Museum.
THANK YOU TO OUR SHAKEN NOT STIRRED SPONSORS
Enchanted New Mexico Raffle Sponsored by: All World Travel • American Home Furniture & Mattress • Frederico Vigil • Jane F. Butel dba Tex-Mex, Inc. • Mediterránia
AlbuquerqueMuseumFoundation.org
11
ALBUQUERQUE MUSEUM FOUNDATION NEWS
FOUNDATION NEWS
Please join us for the
ALBUQUERQUE MUSEUM FOUNDATION (VIRTUAL) ANNUAL MEMBERSHIP MEETING Attend from the comfort of your home. Hear about the Foundation's developments and projects for the past fiscal year.
MONDAY, JUNE 28, 2021 9:30 A.M.
THANK YOU to all those who sponsored Masterworks for Frida Kahlo, Diego Rivera, and Mexican Modernism.
Revathi A-Davidson and Russ Davidson Karen Alarid Lynn Asbury and John Wronosky John Backus Sandra and Allen Benn
Via Zoom.
Barry K. Berkson
Visit our website for the link.
Erika Black and Roddy Thomson Maxine and Aubrey Bogle
MEMORIALS AND TRIBUTES IN MEMORY OF AHNA FERTIK from Irene Fertik IN MEMORY OF MARGUERITE MORGAN LAMBERT from Amy Lauer IN MEMORY OF MALCOLM BALDRIGE from Margaret Baldrige IN MEMORY OF GLENN PITTELL from Lynn Hillas IN MEMORY OF SAMUEL GLOVER from Dianne Glover IN MEMORY OF SOLON ARTHUR ELLISON from Jordan Ellison IN MEMORY OF MILDRED TAYLOR from Sandra and Mitch Taylor IN HONOR OF ELAINE & WAYNE CHEW from Bonnie Jennings IN HONOR OF ALICE THIEMAN from Cathy Woods
Elaine and Wayne Chew
Rosalyn Hurley BJ Jones and Orlando Lucero Julie King Patricia Kneen Patricia and Robert Kurz Carol and Peter LeSage Linda McDowell Kathleen and Dr. Andrew Metzger Mary and Joseph Mucci
Frida Kahlo, Self-Portrait with Braid, 1941, Oil on canvas, 51 x 38.5 cm, 20 1/16” x 15 1/16”
Rowe Collection Maureen Ryan
Mary and David Colton
Barbara Ann and Joseph Oser
Peg and Dick Cronin
Erik Parker
Terrence Sloan
Denise Crouse
Ava Peets
Judith Suiter
Jane and Richard Cunningham
Joni Pierce and Brian DeBruine
Marsha Swiss and Ronald M. Costell
Fran Dever
Ray Reeder
Ann Travelstead
Mandy Edwards
Elaine Richardson
Tracey B. Weisberg
Mary Ellen and Dr. Steve W. Ferguson
Christie Ross and Matt Stratton
Mary Beth Woiccak
Julie Silverman
Dean Yannias, M.D.
Janet and Robert Ford Monika and Robert Ghattas Roberto Gomez
SHARE THE LOVE! Show your love for the Albuquerque
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Front Cover Fritz Scholder (Luiseño), Self Portrait with Grey Cat, 2003, acrylic on canvas, National Portrait Gallery, Smithsonian Institution, © 2003 Estate of Fritz Scholder
COMING SOON TO THE ALBUQUERQUE MUSEUM ANOTHER WORLD: THE TRANSCENDENTAL PAINTING GROUP On view June 26–September 26, 2021 Centered in New Mexico, the Transcendental Painting Group artists transformed the dramatic natural surroundings of the Southwest into luminous reflections of the human spirit. Toward the end of the Great Depression, a loose configuration of artists organized to discuss and perpetuate an alternative to the social realism and homespun Americana that had been promoted by Regionalism and the Ashcan School. Initiated in Taos in 1938, the Transcendental Painting Group explored a heightened vision of the American landscape, employing free-wheeling surrealist imagery to depict a transfigured, spiritually alive America. Agnes Pelton, The Voice, 1930, oil on canvas, 26 x 21 in., bequest of Raymond Jonson, Raymond Jonson Collection, University of New Mexico Art Museum, Albuquerque, 82.221.1947
