Art. History. People., Spring 2021

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.”

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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

1

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

SPRING 2021

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

9

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

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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