Art. History. People., Summer 2021 by Stocks Creative

The Magazine of the Albuquerque Museum Foundation — Summer 2021

Transcendental Painting Group | Cannupa Hanska Luger | Preserving Casa

A MESSAGE FROM THE EXECUTIVE DIRECTOR

ALBUQUERQUE MUSEUM FOUNDATION 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. Third Thursday of each month open until 8:30 p.m. Closed Mondays and holidays THE MUSEUM STORE 505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.898.3915 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 Shelle Sanchez, Ph.D., Director ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2020-21

ANDREW RODGERS he past couple

by every object on display,

of months have

and marveling at the

been filled with

passion and knowledge of

many firsts as my family

Casa San Ysidro, or it’s been

the Albuquerque Museum

a while since you stopped

Foundation: Our first trip to

in, I encourage you to fix

Sandia Peak; our first meal

that. Summer is the perfect

at Los Poblanos; our first

or friends, get some dust on your shoes,

our young daughters saw a roadrunner.

and take a journey back in time. (As a

It’s been a thrilling time of discovery.

bonus, don’t forget that members get

Today, though, I want to tell you about another of our family firsts:

your support. We couldn’t do this work without you. And, if you have any

Gutiérrez/Minge House is an historic

suggestions for local firsts that my

house museum run by the Albuquerque

family should explore this summer,

Museum and operated jointly with the

please let me know!

filled with artifacts that tell the story of

Roddy Thomson, Treasurer

Max Parrill

New Mexico—both the good and the

Santiago Rivera

bad. Recently, we toured the home

Patricia Kurz, Secretary

Kathy Rowe

and property, falling in love with the

Joni Pierce, Past President

Sara Sternberger

Stephanie Del Campo Josef Díaz Elizabeth Earls Carrie Eaton Catherine Goldberg Alex Hauger Anne Keleher

Corinne Thevenet Kenton Van Harten Tracey Weisberg Joyce Weitzel Rick West Andrew Rodgers, CEO + Executive Director Andrew Connors, Museum Director

Beverly R. Bendicksen, Chair

Hilma E. Chynoweth

Joni Pierce, Albuquerque Museum Foundation

Christine Glidden

Helen Atkins

Dr. Janet SamorodinMcIlwain

Wayne G. Chew

architecture, loving the stories unlocked

arodgers@ albuquerquemuseumfoundation.org

In This Issue: Transcendental Painting Group.......................................................................................... 2 New Mexicans in Eye to I: Self Portraits............................................................................ 4 Preserving Casa San Ysidro................................................................................................. 6 Recent Acquisitions.............................................................................................................. 8 An Indigenous Future: Cannupa Hanska Luger .............................................................. 9

ALBUQUERQUE MUSEUM BOARD OF TRUSTEES

Sherri Burr, Ph.D

Village of Corrales. It’s a time capsule

Catherine (Cate) Baker Stetson

Rhett Lynch

Chris Baca

I want to thank you so much for

may not be aware, Casa San Ysidro:

Rebecca Owen

Hal Behl

free admission!)

visiting Casa San Ysidro. For those who

Scott Schaffer, President Elect

Beverly Bendickson, Museum Board of Trustees

time to gather your family

walk along the acequias; the first time

Sean McCabe

Tiffany Sanchez

If you’ve never visited

role as the new head of

Perry Bendicksen, President

Beverly McMillan

our guides.

and I have adjusted to my

Donald Couchman Paul M. Mondragon

Pamela Weese Powell Alan F. Weitzel

What's Growing in the Museum Garden........................................................................ 10 Foundation Member Profile.............................................................................................. 11 Foundation News............................................................................................................... 12

V I S I T U S AT:

AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org

TR ANSCENDENTAL PAINTING GROUP Florence Miller Pierce (American, 1918–2007), Blue Forms, 1942. Oil on canvas, 29 3/4 x 34 in. Collection of Georgia and Michael de Havenon, New York.

Raymond Jonson (American, 1891–1982), Oil No. 2, 1942. Oil on canvas, 42 x 36 in. Crocker Art Museum Purchase, George and Bea Gibson Fund with contributions from Barbara and William Hyland and Loren G. Lipson, M.D., 2015.25.

Transcending Landscapes New Mexico painters formed the genre

T Robert Gribbroek (American, 1906–1971), Composition #57 / Pattern 29, 1938. Oil on canvas, 36 x 27 in. Fine Arts Museums of San Francisco, The Harriet and Maurice Gregg Collection of American Abstract Art, 2019.42.

SUMMER 2021

Art. History. People.

HE TRAVELLING EXHIBITION ANOTHER WORLD:

Tulsa, New York, Sacramento, and Los Angeles.

THE TRANSCENDENTAL

PAINTING GROUP FEATURES

The Transcendental Painting Group (TPG), formed in 1938, transformed the

APPROXIMATELY 90 WORKS. Seven

dramatic natural surroundings of the

works plus a series of watercolor/

Southwest into luminous reflections of

gouache come from the Albuquerque

the human spirit. Under the guidance of

Museum permanent collection.

New Mexico painters Raymond Jonson

Organized by the Crocker Art Museum

and Emil Bisttram, artists Agnes Pelton,

in Sacramento, this major exhibition of a

Lawren Harris, Florence Miller Pierce,

New Mexico-based art movement comes

Horace Pierce, Robert Gribbroek, William

to Albuquerque first, and then travels to

Lumpkins, Dane Rudhyar, Stuart Walker,

TR ANSCENDENTAL PAINTING GROUP Lawren Harris (Canadian, 1885– 1970), Abstract Painting, No. 95, 1939. Oil on canvas, 56 x 46 1/2 in. Collection of Georgia and Michael de Havenon, New York.

ON VIEW ANOTHER WORLD: THE TRANSCENDENTAL PAINTING GROUP Through September 26

and Ed Garman issued a manifesto

the TPG carried on, but were not shown

stating their purpose: “To carry painting

as a group again until a gallerist named

beyond the appearance of the physical

Martin Diamond discovered Raymond

world, through new concepts of space,

Jonson in Albuquerque in 1979 and

color, light, and design, to imaginative

began exploring other artists who had

of TPG artists with who lived in California

realms that are idealistic and spiritual.”

shown with Jonson. In 1981, Diamond

and the American West. “Though there

contacted James Moore, then-director of

were no TPG artists with Sacramento

wave of Modernism that arrived in the

the Albuquerque Museum, to show the

connections, many of the TPG had

United States in the 1930s, driven in

works. That exhibition took place in 1982.

strong connections—or at times lived in—

part by artists who came from Europe

The Albuquerque Museum has a number

California,” says Scott Shields, associate

during the pre-WWII political upheaval.

of works by members of the TPG, some of

director and chief curator of the Crocker.

Wassily Kandinsky and Piet Mondrian,

which were acquired during this period.

Notably, the Crocker has a number of

in particular, influenced the TPG artists,

The Crocker’s interest in organizing

works by Agnes Pelton, one of two women

who developed diverse styles that went

Another World stems from the number

members of the TPG. Pelton lived briefly in

The TPG was part of the second

beyond the landscape paintings of the Taos Moderns into a more spiritual realm. One of the group’s aims was to arrange exhibitions for this body of work: “The goal is to make known the nature of transcending painting which, developed in its various phases, will serve to widen the horizon of art.” The group found some short-lived success in carrying out its goal, mounting shows at the 1939 World’s Fair, the Golden Gate International Exhibition,

Emil Bisttram (American, born Romania, 1895–1976), Creative Forces, 1936. Oil on canvas, 36 x 27 in. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe.

Taos, invited there by Mabel Dodge Luhan,

AT THE MUSEUM STORE “ANOTHER WORLD: THE TRANSCENDENTAL PAINTING GROUP” Abstract painting meets spirituality in 1930s New Mexico: the first book on a radical, astonishingly prescient episode in American modernism

patron and catalyst for the movement that would become the Taos Moderns. Luhan helped fund the Armory show in New York, where she discovered Pelton and invited her to New Mexico. She didn’t stay long, though, moving instead to California for much of her career. Why curate an exhibition about this group of painters? Shields says the times seem to call for a re-examination of

and at the Museum of Non-Objective

Edited with text by Michael Duncan.

these works and their nod to theosophy.

Painting (now the Guggenheim).

Text by Scott Shields, MaLin Wilson

“The art is exquisite and so thoughtfully

However, the onset of World War II caused the group to disband by the early 1940s. Individually, the painters in

Powell, Catherine Whitney, Ilene Susan Fort, Dane Rudhyar.

created, it seemed to be the right moment for art seeking transcendence from earthly realms,” Shields says.

AlbuquerqueMuseumFoundation.org

EYE TO I

Place and Process Self-portraits offer latitude to experiment

ANY ARTISTS APPROACH SELF-PORTRAITURE AT SOME POINT IN THEIR

CAREERS. Experimenting

with the concepts of identity and place, as well as the process of creation. Collecting many self-portraits in different mediums in one exhibition shines a light on how self-perception and self-reflection encompasses the full artist practice. Eye to I: Self Portraits from 1900 to Today from the National Portrait Gallery, originally scheduled for last summer, was pushed back due to Covid closures and restrictions. One important work had to ship by courier and could not travel; another was committed to another exhibition. When Albuquerque Museum curators learned two works would not be part of the rescheduled exhibition, it gave them the opportunity to add New Mexico-based artists to the exhibition. Museum curators chose three selfportraits from the permanent collection. Although vastly different in style, they share the view of the artists living and working in a specific place—in this case, New Mexico’s desert landscapes. Mixed media artist Paula Wilson, who lives in Carrizozo, came to New 4

SUMMER 2021

Art. History. People.

Paula Wilson, In the Desert: Mooning, 2016, collagraph on muslin from two plates, handprinted collage on muslin and inkjet collage on silk on canvas and wood, Albuquerque Museum, promised gift of Nancy Zastudil and the artist

Gus Foster, On the Road (Pilar Hill), 1982, 542 degree panoramic photograph, type C print, Albuquerque Museum, museum purchase, 1983 General Obligation Bonds, PC1985.11.2

Mexico from New York—purchasing a

Taos-based photographer Gus

5,000-square-foot building near the

Foster has been making photos with

featured in Eye to I are self-portraits

center of town (pop. 900), where she has

panoramic cameras since the early 1970s.

by prominent figures in the history

the space for the monumental pieces

The panorama, however, is almost as

of portraiture, including Robert

she sometimes creates. Her work ranges

old as photography itself, with the first

Arneson, Alexander Calder, Jasper

from collage to sculpture to painting to

commercial panorama cameras dating

Johns, Allan Kaprow, Deborah Kass,

installation to printmaking, and many

from the late 19th and early 20th centuries.

Elaine de Kooning, Jacob Lawrence,

combinations thereof. Her work often

Foster’s work plays extensively with

Louise Nevelson, Irving Penn, Robert

depicts the body, parts of the body, and

grand landscapes, wilderness, space, and

Rauschenberg, Fritz Scholder, Roger

sometimes reflections of identity as seen

movement. To make the self-portrait in Eye

Shimomura, Alfaro Siqueiros, Edward

through technology. She often includes

to I, he used 35mm Globuscope camera,

Steichen, and many more.

her own image in her works. The Wilson

which makes a 360-degree revolution in

print included in Eye to I is relatively new

.8 seconds. This unique process captures

to the permanent collection, says Josie

panoramas that incorporate motion into

Lopez, curator of art. “This print really

still images, pushing the possibilities

reflects on identity and the body and how

of photography. On the Road (Pilar

specifically Wilson uses her relationship

Hill), 1982, is a 542-degree panoramic

to place, in particular the desert.”

photograph that incorporates Foster’s

Two New Mexico photographers in the exhibition both experiment

image behind the wheel of a car with the

National Portrait Gallery works

ON VIEW EYE TO I: SELF PORTRAITS FROM 1900 TO TODAY Through September 12

landscape undulating through the image.

with technique and process but in different ways. Will Wilson, no relation to Paula, lives and works in Santa Fe. His photographic project, Critical Indigenous Photographic Exchange uses wet collodion printing—an early photographic technique that requires quick exposure and development. It’s a manual process, requiring a metal plate that is sensitized with salted collodion and silver nitrate, and developed within minutes. The works produced are reminiscent of Edward Curtis’s early 20th century photographs (using the same process) of Native Americans. Wilson’s work, How the West is One shows the Diné photographer juxtaposed against himself —essentially his two identities. The photograph is inherently political as he portrays himself as both cowboy and Indian, underscoring how identity is bound up in history and place.

Will Wilson, How the West is One, 2012, digital inkjet print on paper, Albuquerque Museum, museum purchase, PC2015.24.1.A-B

AlbuquerqueMuseumFoundation.org

CASA SAN YSIDRO

Preserving an Historic Property

Casa San Ysidro requires thoughtful preservation and upkeep. ASA SAN YSIDRO: THE

Jesús María Gutiérrez. The Gutiérrez

adobe rooms around a traditional

family made multiple additions to their

eighteenth- to early nineteenth-century-

home over time. In 1952, Dr. Ward Alan

style plazuela using structural parts from

Minge and his wife Shirley Jolly Minge

significant, at-risk historical buildings.

DELIGHTFULLY COMPLICATED. Casa is

purchased the house, and made many

They also re-created a mid- to late

a Territorial period Greek Revival rancho

renovations and additions. They carefully

nineteenth-century corral surrounding

(ranch house), built around 1875 by

designed and hand-built additional

a historic barn and cabins moved to the

GUTIÉRREZ MINGE

HOUSE’S HISTORY AND CONSTRUCTION IS

SUMMER 2021

Art. History. People.

CASA SAN YSIDRO

property by the Minges. By 1998, the

use. To preserve the doors and enhance

Albuquerque Museum had acquired

security—an important representation of

Casa San Ysidro and its contents both

Manzano carpentry—a new front security

through the generosity of the Minges

door had to be built and installed.

and the support of the City. Maintaining Casa San Ysidro and

Replacing the doors was more complicated than a trip to the home

ensuring its preservation for future

improvement store. Regionally specific

generations requires a long-term plan

in both design and character, plus able

and constant care. The Albuquerque

to securely maintain the historic integrity

Museum’s curators and site manager

of Casa, the door project required

must consider what is sustainable for

the services of special artisans. Chris

the historic house to retain its character

Sandoval, a furniture maker and artist who

in communicating culture and history

specializes in traditional woodcraft, was

to the public, and also how to sustain

tapped to build the doors. Albuquerque

the building's functionality. The plan

Museum Exhibit Fabricators Anthony

also notes the importance of preserving

Vargas and Jose Meija finished them with

objects and the judicious use of

hardware and windows. Built in the style

reproduction artifacts where possible.

of the original, the reproduction provides

Casa’s front doors—considered

a permanent—and secure—entrance that

part of the collection— presented an

allows for the original doors’ preservation,

unusual conundrum. These historic

and solves wear and tear caused by daily

doors had suffered through time and

use on front entrance.

The original doors were showing their age, and were no longer secure. Opposite: New doors, in the style of the originals, were built to last, but with traditional styling.

Casa San Ysidro Online July 10, 1:00 p.m.

August 14, 1:00 p.m.

BIOREGIONAL PERSPECTIVES WITH JACK LOEFFLER

HERREROS - THE SPANISH HISTORY

In the ever expending civic and suburban sprawl of the

OF BLACKSMITHS

southwest, an understanding for creating sustainable

Herreros, or Spanish blacksmiths, were highly valued

relationships between people and the lands that they

members of Spanish expeditions to New Mexico.

inhabit is needed now more than ever. Join us to hear Jack

Their most common function was to shoe horses and

Loeffler, bioregionalist, aural historian, environmentalist, and

repair armor, horse gear, firearms, and small tools. Dave

author/ editor of numerous books, describe the developing

Sabo, a local blacksmith skilled in the traditional methods

notion of indigenous-minded environmentalism and

of herreros, describes some of the early iron manufacturing

bioregionalism occurring in New Mexico and the Southwest.

and blacksmithing practices that were used in New Mexico.

Loeffler’s work has focused on the importance of indigenous mindedness, citing Native American, Hispano,

September 25 & 26

Anglo, and countercultural excerpts, 3000 Native American

HARVEST FESTIVAL

and Hispano folksongs for projects involving folklore, folk

Watch the website for news about the Annual Corrales

music, and local history from recorded interviews.

Harvest Festival.

AlbuquerqueMuseumFoundation.org

Recent Acquisitions Albuquerque's Asian Heritage THE EXHIBITION, COURAGE

have many objects like this

AND COMPASSION:

that enable us to tell the

OUR SHARED STORY

stories of Asian Americans.”

OF THE JAPANESE

The Miyoshis moved to

AMERICAN WORLD WAR

Albuquerque in the late

II EXPERIENCE, presented

1960s as newlyweds when

in the Keleher Gallery in

Dennis secured a job as a

2019, focused on the history

physicist at Sandia National

of Japanese Americans in

Laboratory. They have lived

Albuquerque. And it was

here since, raising two

also the exhibition that

daughters and bringing

prompted Geri and Dennis

both sets of their parents

Miyoshi to donate two

to Albuquerque. The crests

framed family crests to the

were presented to Geri and

Albuquerque Museum

Dennis’ parents on their 50th

History Collection.

wedding anniversaries, in

These stunning artifacts are

1990 and 1991. The family

each made from 1,000 folded

folded every crane in the two

origami cranes, and measure

crests and had them finished

24 inches. Each crane is made

in Hawaii, where such crests

from a single sheet of origami

are particularly popular.

gold-foil paper. One crest

When Geri visited the

features chrysanthemum and

Courage and Compassion

the other features gentian

exhibition in 2019, she

leaves encasing a flower-like

thought the crests would

family emblem.

make a good addition to the

Family crests made in this

Museum’s chronicle of Asian

way are a popular Japanese

Americans in New Mexico. In

American tradition in honor of

research files included as part

50th wedding anniversaries.

of the donation, Geri wrote,

“This is a particularly exciting

“…We would be honored

acquisition because we would

to share these crest art

like to build our collection

pieces with the Albuquerque

of Asian American historical

community to offer a glimpse

objects as they relate to our

into some of the culture

community,” says Leslie Kim,

and tradition of a Japanese

curator of history. “We don’t

American family.”

SUMMER 2021

Art. History. People.

Unidentified artist, dates unknown; Kauai County, Hawaii Ouchi Family Crest, 1991, mounted and framed origami Albuquerque Museum, gift of Geri and Dennis Miyoshi, PC2021.20.1 Unidentified artist, dates unknown; Kauai County, Hawaii Miyoshi Family Crest, 1990, mounted and framed origami Albuquerque Museum, gift of Geri and Dennis Miyoshi PC2021.20.2

Cannupa Hanska Luger, Future Ancestral Technologies: Muscle, Bone & Sinew Regalia, 2020. Photo courtesy of the artist.

An Indigenous Future ARTIST AND MULTIMEDIA CREATOR

of home and how we imagine it in

CANNUPA HANSKA LUGER COMES

the future.

TO THE MUSEUM IN JULY as the

Luger, a multi-disciplinary artist of

Using social collaboration, Luger produces multi-pronged projects that provoke diverse publics to engage

Hammersley Foundation Visiting Artist.

Mandan, Hidatsa, Arikara, Lakota, and

with Indigenous peoples and values

His current project, Future Ancestral

European descent, was raised on the

apart from the lens of colonial social

Technologies, is a multimedia installation

Standing Rock Reservation. He now lives

structuring. Luger lectures and

project that approaches Indigenous

in Glorieta, where his studio includes a

participates in residencies and projects

futurism, blending media, place,

kiln, clay, ceramics and woodworking

around the globe and his work is

storytelling, and documentation of a

tools, a sewing machine, fabric, and

collected internationally. He is a 2020

living practice. It will be installed in the

found afghans he is using to construct

Creative Capital Award recipient, a

Museum lobby in July and will be on

futuristic regalia pieces. These serve to

2019 Joan Mitchell Foundation Painters

display for one year.

anchor a theme in the installation and

& Sculptors Grant recipient and the

are both traditional and futuristic in their

recipient of the 2018 Museum of Arts

design and construction.

and Design’s inaugural Burke Prize.

Future Ancestral Technologies’ overall narrative stems from the themes of science fiction, genetic memory,

The project also consists of art

and reclaiming indigeneity. This new

objects, videos, and performance,

installation of an ongoing narrative

imagining a post-apocalyptic time

offers multiple points of entry into an

through an indigenous lens. Some of

undetermined moment in the future,

the work is land-based and site-specific,

ON VIEW

engaging the viewer in an innovative

using traditional crafts and ritual, and

CANNUPA HANSKA LUGER

life-based art installation that dreams

yet re-envisions art practice to create

of survival and solutions. The Museum’s

indigenous culture and stories that thrive

July 2021-June 2022

installation will play on the nature

in the future.

AlbuquerqueMuseumFoundation.org

University of New Mexico agroecology students and community members installing the garden in 2019. The garden has been re-planted this year on the west side of the Museum.

A Garden UNIVERSITY OF NEW MEXICO LAND

Eastern and SW Asian heritage grains

ARTS AGROECOLOGY STUDENTS

einkorn, spelt, Sonoran Wheat, and Cache

PLANTED THE GARDEN just west of

Valley Rye as a winter cover crop. In the

the Sculpture Garden on Mountain Road

summer, local indigenous amaranth will

in May. The installation, A Garden, is an

succeed the grains. As an experiment, the

earthwork and experimental project that

garden employs two varying methods

was conceived, designed, and created by

for production: dryland farming waffle

Land Arts of the American West and 7th

gardens and drip irrigation beds. It also

regen, in conjunction with SeedBroadcast’s

accommodates the shadow line of the

2019 exhibition Seed: Climate Change

building. The garden aims to be an

Resilience. Land Arts of the American

area for artistic installation and future

West artists designed concentric planting

community engagement. This project

beds radiating from a central existing

is about possibility, variability, and

pine tree and seeded these with Middle

engagement.

SPRING 2021

Art. History. People.

The plan includes dryland farming techniques and drip irrigation beds.

FOUNDATION NEWS

MEMBER PROFILE Advice for ArtsThrive Collectors ALEX HAUGER’S LOVE OF ART HAS

same artists who are in the permanent

Are they doing something really new?

BEEN INGRAINED IN HIM since he was

exhibition.” Standout exhibitions for

The second way to collect is simpler—

young. His parents are art collectors,

Hauger include the When Modern Was

buy what appeals, and know that your

Museum Foundation donors, and

Contemporary exhibition, which played

purchase is going to a great cause.

ArtsThrive supporters and attendees.

into his sensibility as an avid collector

“When you are looking at a piece, do

When he was 16, the family traveled to

himself. His tastes trend toward Young

you really like it? Also keep in mind that

Rome and the Vatican, and Hauger points

British Artists (YBAs), who, according

ArtsThrive is really for pure art lovers as

to seeing Rafael’s School of Athens as the

to the Tate Museum, began to exhibit

much as its for collectors. If something

moment he became truly interested in

together in 1988. Damien Hirst, who

makes you say, ‘wow! I want to look at the

art. He pursued an art history degree at

emerged on the art scene in the

object every day,’ then you should buy

University of Colorado, Boulder, and then

1980s, is considered the ringleader,

it. ArtsThrive is really the essence of art

completed a Masters in Art Business at

curating a pop-up exhibition in an

collecting: buy it because you love it, and

Sotheby’s Institute of Art in New York. He

empty warehouse. Hauger also likes the

you’re supporting the Museum.” Hauger

worked in Aspen, Colorado, at Galleries

minimalists works of Donald Judd, Dan

also advises would-be collectors not to

Maximillian, where he became enamored

Flavin, and the conceptual works of artists

pigeon-hole themselves into a theme,

with prints and printmaking. “The gallery

such as Lawrence Weiner.

a place, or a type of artist, but instead

in Aspen sold fine prints from modern

With ArtsThrive opening in October,

masters to contemporary, and working

Hauger offers advice to would-be

there about I got excited about prints,”

collectors on purchasing art. He says

he says. “I was interested in dispelling

there are two schools of thought:

the common misunderstandings about

One is to consider the staying

printing—that’s it’s just a photo print-out.

power and collectability of

I really tried to help people understand

works by looking into an artist’s

[the printing process], such as lithography

resumé. Where have they

and etching and photogravure.”

shown? How long have they

Hauger’s involvement with the

let the art you purchase drive your theme. He says, “It will develop organically.”

been around?

Museum Foundation began about five years ago when he returned to Albuquerque and joined the Shaken Not Stirred organizing committee. From there, he became more involved in the Foundation, and a year ago he was asked to join the Board of Directors. “My parents have been involved with the Museum. … They are avid collectors. One of the cool things growing up was that my parents own some works by the

Alex and Nadine Hauger

AlbuquerqueMuseumFoundation.org

FOUNDATION NEWS

ALBUQUERQUE MUSEUM FOUNDATION NEWS

MEMORIALS AND TRIBUTES IN HONOR OF ANDREW CONNORS from Pamela Beardsley IN HONOR OF ANDREW RODGERS from Marney and David Hupper IN MEMORY OF AUBREY W. BOGLE from Mary Anna Bogle

by the

numbers

IN MEMORY OF HOWARD KAPLAN from Barbara and Philip Bock

Party Paks Distributed

Mary Kircher

from Nancy and Cliff Blaugrund Tom Broderick, Daniel Farley and the Moss Adams Team

Raffle Prizes

169

IN MEMORY OF ARLETA PICKETT from Sherry Bunyer

Anonymous

of Shaken Not Stirred Celebrated

IN MEMORY OF KAY FOWLER from Deb Slaney and James Iwerks

IN MEMORY OF ARMIN REMBE

Years

Shaken Not Stirred partygoers at home.

307

Raffle Tickets Sold

21 Generous

Thousands

of youth benefited from the educational programs supported by the event!