Art. History. People., Winter 2021

The Magazine of the Albuquerque Museum Foundation — Winter 2021

Printmaker Posada |

Frida Kahlo, Diego Rivera, and Mexican Modernism |

Lincoln’s Legacy

“Art enables us to find ourselves and lose ourselves at the same time.”

- T. Merton

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ALBUQUERQUE MUSEUM FOUNDATION PO Box 7006, Albuquerque, NM 87194 505.842.0111 ALBUQUERQUE MUSEUM 2000 Mountain Road NW in Old Town 505.243.7255, 311 Relay NM or 711 Tuesday–Sunday, 9 a.m.–5 p.m.

Third Thursday of each month open until 8:30 p.m.

Closed Mondays and holidays THE MUSEUM STORE 505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.898.3915 SLATE AT THE MUSEUM 505.243.2220 Breakfast and lunch: Tuesday–Sunday, 10 a.m.–2:30 p.m.

Snacks, coffee, drinks, & pastries until 3 p.m.

MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services Emily Esterson, Editor Glenna Stocks, Art Director

The Live Auction brought in $23,350 in gross sales.

There were more than 150,000 views of the Live Auction on the Bidsquare auction platform.

ARTSTHRIVE TIMED AUCTION A total of 89 lots sold at the Timed Auction of over 350 original works of art. The Timed Auction brought in $65,130 in gross sales.

There were more than 930,000 views of the Timed Auction on the Bidsquare auction platform. Art Marketplace made $24,335.

ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2020-21 Joni Pierce, President

BJ Jones

Perry Bendicksen, President Elect

Anne Keleher

Dean Willingham, Treasurer Patricia Kurz, Secretary Marney Hupper, Past President

Beverly McMillan Max Parrill

COURTESY BJ JONES

CULTURAL SERVICES DEPARTMENT CITY OF ALBUQUERQUE Tim Keller, Mayor

ARTSTHRIVE LIVE AUCTION

THANKS TO OUR SPONSORS, AND THOSE WHO PARTICIPATED IN THE AT-HOME GALA! SEE PAGE 12 FOR THE LIST OF SPONSORS.

Tiffany Sanchez Scott Schaffer Catherine Baker Stetson Corinne Thevenet

In This Issue:

Hal Behl

Gerard (Roddy) Thomson Jr.

Mexican Modernism............................................................................................................ 2

Stephanie Del Campo

Kenton Van Harten Tracey Weisberg

We Lead, Others Follow...................................................................................................... 5

Elizabeth Earls Catherine Goldberg

Joyce Thees Weitzel

Maria Griego-Raby

Ann Travelstead, Interim Executive Director

Beverly Bendickson, Museum Board of Trustees

Elizabeth Hamm Alex Hauger Patricia Hancock

Andrew Connors, Museum Director

ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Beverly Bendicksen Chair Helen Atkins Sherri Burr Wayne G. Chew Paul Mondragon

Joni Pierce, Albuquerque Museum Foundation

Printmaker José Guadalupe Posada.................................................................................. 6 Works on Paper: Luís Jiménez............................................................................................ 8 History Acquisitions............................................................................................................. 9 Honest Abe at Casa San Ysidro........................................................................................ 10 Museum Foundation Celebrates Members.................................................................... 11 Museum Foundation News............................................................................................... 12

Judith Suiter Alan Weitzel

V I S I T U S AT:

AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org

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MEXICAN MODERNISM

Diego Rivera, Sunflowers, 1943, oil on canvas, 90 x 130 cm, 35 ½” x 51 ¼”

Mexican Modernism

Frida Kahlo, Diego Rivera, and their compatriots come to the Museum

F

RIDA KAHLO, DIEGO RIVERA,

Mexican Modernism, defined as the

AND MEXICAN MODERNISM

period from the 1910s to the 1940s, is

features more than 150 artworks

perhaps best known for muralism. Works

from the Jacques and Natasha

of Mexican muralists David Siqueiros, José

Gelman collection. Most of the works

Clemente Orozco, and Diego Rivera are

were created in the era directly following

emblematic of this period, as Mexican

the Mexican Revolution. Frida Kahlo’s inti-

Modernists expressed pride in indigenous

mate self-portraits, Diego Rivera’s organic

Mexican cultural traditions and the abstract

modernist works, folk dresses representa-

styles gaining popularity in Europe at the

tive of the period, and the works of some of Kahlo’s and Rivera’s contemporaries are included. The exhibition offers a sense of Frida, Diego, and some of the artists and people in their lives. Frida and Diego’s distinctive personalities are Frida Kahlo, Self-Portrait with Monkeys, 1943, oil on canvas, 81.5 x 63 cm, 32 1/8” x 24 ¾”

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Art. History. People.

featured alongside a close look at this pivotal moment in Mexican history.

ON VIEW FRIDA KAHLO, DIEGO RIVERA, AND MEXICAN MODERNISM February 6 – May 2, 2021

MEXICAN MODERNISM

Nickolas Muray, Frida Kahlo on Bench #5, 1939, Carbro print, 45.5 x 36 cm, 17 15/16” x 14 3/16”, © Nickolas Muray Photo Archives

Diego Rivera, Portrait of Natasha Gelman, 1943, oil on canvas, 115 x 153 cm, 45 ¼” x 60 ¼”

time. These muralists were engaging with

influence. It wasn’t until the Bravos sepa-

photographers of the period, including

politics and culture in a way that defined

rated in 1939 that Lola began to make a

Edward Weston, who lived in Mexico City

Mexican identity as rooted in the people,

name for herself. She worked as a photo-

from 1923 to 1926. Álvarez Bravo owned

land, and traditions of Mexico.

journalist, illustrating Mexico’s shifting

a gallery from 1951 to 1958, and present-

Photography features prominently in

society. Among her works in the exhibi-

ed Kahlo’s work in 1953, the artist’s only

the exhibition. Photographers from the

tion is Frida Kahlo’s Death Portrait, as well

solo show during her lifetime.

United States and Europe came to Mexico

as images of Kahlo painting in galleries,

In a 1982 interview, Álvarez Bravo said:

City during this time of rapid cultural

in hospital beds, and among her peers.

“I don’t have great artistic pretensions, but

evolution, changing the photographic

Álvarez Bravo also created abstract,

focus from commercial or documentary to

almost painterly images, such as Burial at

fine art. From this influx of talent emerged

Yalalag and The Dream of the Drowned,

Lola Álvarez Bravo, one of Mexico’s most

which marry shapes and light with

influential photographers. Like many

documentary elements. She also photo-

females of the time, Álvarez Bravo was

graphed for political propaganda and

overshadowed in her early career by her

produced large-scale photomontages for

famous photographer husband, Manuel,

government and corporate buildings.

whose work is also in the exhibition.

The Center for Creative Photogra-

Álvarez Bravo met Frida Kahlo and

phy, which holds the Lola Álvarez Bravo

Diego Rivera through her husband, who

archive, writes that her images of Mexi-

already traveled in the couple’s sphere of

can life place her among the renowned

Organized by the Vergel Foundation and MondoMostre in collaboration with the Instituto Nacional de Bellas Artes y Literatura (INBAL)

Nickolas Muray, Frida with Red "Rebozo," 1939, Carbro print, 25 x 20.3 cm, © Nickolas Muray Photo Archives, 9 7/8” x 8”

AlbuquerqueMuseumFoundation.org

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MEXICAN MODERNISM

if something useful results from my photographs, it will be as a chronicle of my country, my times, my people, how Mexico has changed. [I captured] images that affected me deeply, like electricity, and made me press the shutter; and not only with a great artistic sense, or great beauty and light and all, but also with a sense of humor, with that sort of playfulness that is so Mexican… and then also the terrible things, those that strike you with great pain, the misery, and the suffering.”

Lola Álvarez Bravo was part of a circle of intellectuals, artists, and patrons, many of whom documented or were influenced by Kahlo and Rivera. Rivera’s

FRIDA AND FRIENDS

modernist yet indigenous landscapes are present, along with Kahlo’s self-portraits and drawings. Frida, Diego, and Mexican

PORTRAITS OF FRIDA KAHLO sometimes show her with a Xoloitzcuintli dog (Xolo),

Modernism presents a vision of these two

a hairless Mexican breed said to have originated 3500 years ago. It’s one of many

larger-than-life influences and this pivotal

animals that appear with Kahlo, both in self-portraits and others’ works.

moment in Mexico’s rich artistic history.

The Xoloitzcuintli dogs frequently take shape in Mesoamerican art, says Albuquerque artist Catalina Delgado-Trunk, who notes that smaller Xolos were sacrificial animals. Xolos were also sometimes eaten and considered medicinal because their body temperature is 10 degrees warmer than normal. Although deeply embedded in Mexican lore, the dogs faced extinction around the Mexican Revolution, says Delgado-Trunk, who is from Mexico City.

“The Mexican Revolution brought a renewed interest in moviemiento indigena [indigenous movement]. We have deep roots in high civilizations prior to the Spaniards’ arrival.”

In the 1940s and 1950s, an effort was made to bring back the Xolo, and Delgado-Trunk’s mother was among those involved in breeding them. “These were the dogs we grew up with. We lived in Coyoacán, several blocks from Kahlo and Rivera. My father was a big fan of Rivera’s. We would go see him painting his murals, and through the dogs, he befriended my mother, who gave him Xolo dogs.”

Both Kahlo and Rivera were proud of their Mesoamerican heritage.

Delgado-Trunk, who was a young girl at the time, says that interest in heritage made the dogs attractive to the couple. The most famous of Kahlo’s dogs was Señor Xolotl. He is depicted in the lower right corner of The Love Embrace of the Universe, the Earth (Mexico), Myself, Diego and Señor Xolotl.

Delgado-Trunk recently donated one of her works to the Albuquerque Museum.

She uses a cut paper technique—papel picado—and her work illustrates the stories, myths, and beliefs of Mesoamerica. The image of a Xolo dog in the center, surrounded by four quail, represents the journey to the underworld to find immortality.

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Art. History. People.

Héctor García, 1923-2012, Mexico City, Mexico, Frida Kahlo with Itzcuintli Dog. 1952, gelatin silver print New York, Throckmorton Fine Art Top: Catalina Delgado-Trunk, born 1945 Mexico City, Mexico; lives Albuquerque. Xoloitzcuintli y el mito de nuestra mortalidad (Xoloitcuintli and the Myth of Mortality). 2020 papel picado (cut paper). 23 x 17 in.

Promised gift of the artist in honor of Andrew Connors.

We Lead, Others Follow WOMEN AT THE HELM OF EARLY

from her older sister, Sarah Latimer,

PHOTOGRAPHY STUDIOS in

who ran a successful photography

Albuquerque were tenacious. They

studio in Kansas. By 1883, she had

were determined to not only make their

arrived in Albuquerque and opened

mark through their success in business,

Mrs. Albright’s Art Parlor in New Town,

but also pass on their experience

building a high-society clientele, and

and knowledge to other women. The

training young women and men in the

earliest female photography mentor in

photography business. Mrs. Albright’s

Albuquerque was the artist and bold

work was recognizable and she traveled

business woman, Mrs. Franc Emma

extensively, becoming active in national

Luce Albright.

photography organizations. Her eye for

Mrs. Albright had an artistic

portraiture and her incredible artistry

talent that went beyond traditional

were matched with extraordinary

photography, learning the art of

business insight. She ran creative

painting and drawing from European

advertisements in newspapers extolling

artists who lived at her mother’s

the quality of her work. “We Lead,

boarding house in Wyoming Territory.

Others Follow” was one of her intrepid

She learned the art of photography

slogans.

The next Photo Archives show, We Lead, Others Follow, opens March 6,

ON VIEW

2021. It showcases the photography of five female studio owners, including

WE LEAD, OTHERS FOLLOW

Mrs. Albright, who advanced the role of

Opening March 6, 2021

businesswomen through advocacy and mentorship in the first half of the 20th Century in Albuquerque.

Mrs. Franc Luce Emma Albright (1852, Pennsylvania – 1912, Albuquerque), Albright’s Art Parlor, Mrs. Mattie L. Eakin, ca. 1890, gelatin print cabinet card, Albuquerque Museum, gift of Simmons & Simmons Books, PA1998.011.017

View our Online Exhibitions Seven Generations of Red Power in New Mexico illuminates a history of resistance and its ongoing legacy in New Mexico. cabq.gov/seven-generations Trinity: Reflections on the Bomb presents artists’s responses to the first detonation of a nuclear weapon near Alamogordo, New Mexico, coinciding with the 75th anniversary of the Trinity explosion. cabq.gov/trinity Take a video tour of the Albuquerque Museum Sculpture Garden with Curator of Art Josie Lopez and view the works of art online. cabq.gov/sculpture-garden Unidentified Artist, ¡Viva la huelga!, 1965-1970, United Farm Workers, lithograph on paper, Albuquerque Museum, gift of Diane Palley, PC2020.34.151

AlbuquerqueMuseumFoundation.org

5

PRINTMAKER POSADA

Unknown Fame

O

José Guadalupe Posada created famous calaveras we see today

NE OF MEXICO’S MOST

CELEBRATED ARTISTS WAS

with published materials to satisfy the growing metropolis and its budding

A PRINTMAKER, a com-

mon man who died without

means, his body interred in an unmarked grave. Yet, José Guadalupe Posada reached his countrymen through perhaps more than 20,000 images documenting nearly every aspect of life.

As Mexico modernized in the late 19th century, its bustling capital was besieged

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Art. History. People.

ON VIEW JOSÉ GUADALUPE POSADA: LEGENDARY PRINTMAKER OF MEXICO Through May 23, 2021

PRINTMAKER POSADA Left: José Guadalupe Posada (engraver), Antonio Vanegas Arroyo (publisher), Gran fandango y francachela (Dancing and Revelry), ca. 1900s, type-metal engraving, The Posada Art Foundation Opposite top: Collaborators: José Guadalupe Posada, Art Hazelwood, Jim Nikas, and Marsha Shaw, Produced at Misión Grafica, Mission Cultural Center for Latino Arts, La Calavera 99% (The 99 percent Skull), 2012, serigraph on paper, The Posada Art Foundation Opposite bottom: José Guadalupe Posada (engraver) Antonio Vanegas Arroyo (publisher), El purgatorio (Purgatory), ca. 1900s, Broadside, double fullsheet, type-metal engraving, The Posada Art Foundation

middle class, intelligentsias, and

mopolitan, on par with Paris and London.”

er de Gráfica Popular to use art for social

thousands of new residents relocating

But there was a push and pull between

causes, helped the Cuban Revolution suc-

from the countryside. Employed by the

the global and the quintessentially Mexi-

ceed, and later, adorned concert tickets

visionary publisher Antonio Vanegas

can, Lopez notes, and Posada was trying

for the Grateful Dead. Today, we see his

Arroyo, Posada created expressive images

to capture the identity of the city based

calaveras during Day of the Dead.

reflecting and informing the transition-

on that dichotomy. He was an inspiration

ing culture of Mexico City’s residents.

to Diego Rivera, because Posada was

and artists continue to recognize Posa-

Posada’s sometimes satirical skeletons, or

illustrating local stories, some steeped

da’s cultural contributions, reflecting not

calaveras, have become the most iconic

in tradition and ritual in a time when the

only the spirit of Mexican identity in his

and celebrated figures from his prints.

government itself was more interested in

time and ours but imparting a universal

the metropolitan view of Mexico City.

perspective extending well beyond the

“Posada engaged with the visual language of the time,” says Curator of Art

Posada’s art lampooned politicians,

Josie Lopez, Ph.D. “Modernism was de-

recorded vivid images of the Mexican

veloping. Mexico City was becoming cos-

Revolution, inspired Mexico's famed Tall-

José Guadalupe Posada, Placa para grabados, Gran fandango (Printing Plate, Grand Fandango), ca. 1900s, lead engraving, The Posada Art Foundation

Decades after his death, art historians

borders of his native Mexico.

José Guadalupe Posada (artist), Antonio Vanegas Arroyo (publisher), D. Francisco I. Madero, published 1912, Broadside, fullsheet, zinc etching, The Posada Art Foundation

AlbuquerqueMuseumFoundation.org

7

ON VIEW LUÍS JIMÉNEZ: MOTION AND EMOTION Opening January 16, 2021

Luís Jiménez, 1940 El Paso Texas - 2006 Hondo, New Mexico, Southwest Pieta, 1983, lithograph on paper, museum purchase, 1981 General Obligation Bonds

Luís Jiménez: Motion and Emotion These works on paper explore larger than life characters.

DRAWINGS AND LITHOGRAPHS BY

political themes, and working class

LUÍS JIMÉNEZ—who masterfully depicted

heroes. He used unorthodox materials

the human figure—often focus on working-

such as fiberglass, glitter, and lights as

class and Chicano subjects. These works

way to engage with Chicano culture.

on paper from Albuquerque Museum's

While much of the sculpture of the '60s

permanent collection are infused with a

and '70s in the United States tended

sense of movement and vivacity.

toward abstraction and minimalism,

Luís Jiménez’s work covers a full

Jiménez boldly focused on the figure,

swath of human emotions; at times his

creating characters that were larger than

visual language is humorous, at other

life and impossible to overlook in the

moments, it is heart wrenching and

public settings where they were placed.

unabashedly political. His work often

His drawing skills were equally vibrant,

challenges viewers to confront myths

infused with a sense of movement

and issues surrounding la frontera (the

and action. Many of the drawings and

border) and the idea of cultural purity.

lithographs seen in this exhibition were

Jiménez became well-known through

later realized as sculptures, such as

his sculptures, which incorporate bold

Southwest Pieta, Border Crossing, and

colors, muscular figures, lively movement,

Sodbuster.

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Art. History. People.

Luís Jiménez, 1940 El Paso, Texas - 2006 Hondo, New Mexico, Steve Jordan, 1984, lithograph on paper, ed.

7/40 museum purchase

Recent Acquisitions Two items provide future generations a window into how we live.

TWO RECENT ACQUISITIONS ILLUSTRATE

National Pressure Cooker Company, Pressure Cooker, heavy aluminum cast with brass rods and bakelite handles and thumbnuts, Albuquerque Museum gift of Kate Padilla

HISTORIC MOMENTS in New Mexicans’ lives.

One represents the

Francisco Rodriguez, Small Coronavirus Piñata, papier mache, Albuquerque Museum gift of anonymous donor

struggles of rural women during the 1930s and '40s. The other item shows history in the making in the form of a piñata.

Curator of History Leslie

Another recent acquisition

Kim says she was intrigued

comes from Casa de Piñata.

by the story of a 1940s

The 30-year-old business,

pressure cooker, donated

in its struggle to survive the

by Kate Padilla. “We want

homesteaded land in Des

to them as if they were

pandemic, began making

to collect material that is

Montes in northern New

currency,” Padilla says. “My

coronavirus-shaped piñatas

authentic history and tells a

Mexico, where they had a

grandmother’s cellar was

and now has a months-long

story about the people here.

farm with fruit trees, pigs,

lined with jars of cherries,

waiting list. “We are thrilled

This pressure cooker gives us

horses, and chickens. She

apples, even meat. The thing

to have it in the Museum, as it

a window into rural women’s

tells how her grandmother

that they valued was that they

represents both a moment in

lives in New Mexico.” The

and mother drove their

could also preserve meat.

time and how we celebrate”

Museum also acquired the

horse-drawn wagon from

It was a miracle for them.”

says Kim.

1940s-era cookbooks and

Des Montes to Arroyo Seco

Padilla says her mother saw

manuals that came with the

to learn to use the pressure

the pressure cooker as a

pressure cooker, some in

cooker. “In the schoolhouse

lifeline in case there was

DO YOU HAVE ITEMS

Spanish and some in English.

they were taught how

another Depression. “My

REPRESENTATIVE OF

to use the cookers. My

mother treasured her pot,

COVID-19 THAT WILL

extension agents traveled

grandmother and mother

and so did my grandmother.

to rural counties to teach

had enough money to

I was supposed to keep them

In the 1940s, university

INFORM FUTURE GENERATIONS?

women how to preserve food

purchase their own but it was

because, my mother said,

Contact the Museum to

using large pressure cookers.

at a great financial sacrifice,

‘you never know when you

inquire about donating.

Padilla’s grandparents

which is why she held on

might need them.’”

AlbuquerqueMuseumFoundation.org 9

New Mexico was a pawn in the Civil War, and President Abraham Lincoln had an impact on the territory.

Coming Soon 2ND SATURDAY THE UNIQUE LEGACY OF ABRAHAM LINCOLN IN NEW MEXICO February 13, 2021 1:00 – 4:00 PM Free Join us Saturday, February 13, as NMSU professors Christopher Schurtz and Dr. Dwight Pitcaithley WIKIMEDIA COMMONS

describe Lincoln’s connection to the New Mexico Territory.

2ND SATURDAY TRADITIONS OF THE SANTERO: BULTO-MAKING TECHNIQUES

Uncovered History: Lincoln’s Legacy

March 13, 2021 1:00 – 4:00 PM Free Bultos are a living tradition within the religious iconography of Spanish folk art. The tradition of wooden santo carving was

LINCOLN NATIONAL FOREST, THE VIL-

New Mexico was briefly under the confed-

LAGE OF LINCOLN, LINCOLN COUN-

erate flag, but the battle at Glorieta—“The

TY: It’s clear from our place names that

Gettysburg of the West”—changed the tide

President Abraham Lincoln had a huge

for Union forces. Lincoln’s legacy is a long

impact on New Mexico. The territory was a

one, from the Civil War to the first railroads

pawn in an effort to avert war, a major part

to territory battles to Billy the Kid. “No oth-

of the Confederate plan to provide access

er U.S. president can claim such a lasting

to the trade ports of the Pacific Ocean, and

and unique legacy in New Mexico,” wrote

between July 1861 and March 1862, two

speaker and NMSU professor Christopher

major battles were fought here. Indeed,

Schurtz.

preserved as a folk art in parts of Mexico and Northern New Mexico.

Conservators Allison Herrera and Keith Bakker discuss bultos and bulto-making techniques while referencing objects from the Museum's collection and other important examples in New Mexico.

PASSIONATE ABOUT NEW MEXICO HISTORY? Become a docent at Casa San Ysidro CASA SAN YSIDRO DOCENT TRAINING April 17, April 24, and May 1 from 9:30 AM – 12:30 PM Contact Aaron Gardner, agardner@cabq.gov to reserve your place.

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WINTER 2021

Art. History. People.

FOUNDATION NEWS

MEMBER PROFILES Nigel Nowlin Nigel Nowlin is a new member but a

What’s your favorite thing

long-time Museum fan and attendee.

about the Museum?

He became a member this spring.

My memory of the Museum goes back so far. One favorite was Cristo. I

Helen Lucero

Why did you join the Museum?

remember his drawings. Also Making

I’d been meaning to do it for a few

Africa was a really exciting exhibition.

Helen Lucero, Ph.D, has been a member

years, and with the pandemic I wanted

And of course, Henson was over-the-top

since 2001, but has been visiting

to lend more support.

amazing. Also, I love to hear Andrew

the Museum since it was in the old

Connors speak. And I went to the

Albuquerque airport.

What’s your philanthropy

Museum when Deb Haaland

philosophy?

spoke there. The Museum is

You’ve had a prestigious museum

Being a local Albuquerque-born

more than a museum—it's

curation career. From that

guy, I wanted to support local

a community center with

perspective, what do you love about

causes. There are lots of people

great music and speakers.

the Albuquerque Museum?

who are doing wonderful things

Most of all I love the welcoming nature

in this town. Owning my own

of the Albuquerque Museum. I love the

business, I don’t have time

multicultural staff of this museum. There

to do the volunteer work I’d like to do,

Nigel Nowlin

so I try to donate

is a cohesion of vision and a camaraderie among the staff that enhances the visitor’s experience.

a little here and there to make

What are your favorite works

Albuquerque

in the Museum?

a better place

There are so many! I love the work by

to live.

the Taos Society of Artists and Santa Fe’s Cinco Pintores.

One of my favorite paintings is

SHARE THE LOVE! Show your love for the Albuquerque Museum

Ernest L. Blumenschein’s Star Road and

by joining as a member today! By becoming a member you have free access

White Sun. I enjoy seeing Rain Priest

to local and global art exploring the issues of our time. Visit our website to

by Gene Kloss, several bultos by New

learn more. albuquerquemuseumfoundation.org

Mexican santeros, and the work of Raymond Jonson, among others.

AlbuquerqueMuseumFoundation.org

11

FOUNDATION NEWS

ALBUQUERQUE MUSEUM FOUNDATION NEWS

MAGIC BUS Donations to Magic Bus continue to roll in. Art at Home projects have been very popular during pandemic home-schooling. And thanks to your generous support, teachers and students learning at home have art resources. Donate today to keep the virtual Magic Bus rolling!

THANK YOU TO THE SPONSORS OF THE 30TH ANNUAL ARTSTHRIVE EXHIBITION & BENEFIT

SAVE THE DATE April 17, 2021 For more information visit albuquerquemuseumfoundation.org

MEMORIALS AND TRIBUTES IN MEMORY OF DAVID DAPRATO from Diane Anderson IN MEMORY OF DAVID DAPRATO from Sandra DaPrato IN MEMORY OF RENEE HOCKMUTH from Mary Kay and James Foley IN MEMORY OF JOHN L. CHESTER from Harry Benjamin and Kevin Shay IN MEMORY OF JOHN L. CHESTER from Molly and Jim Roth IN HONOR OF LESLIE KIM from Eileen Grevey Hillson and David Hillson IN HONOR OF EMILY BLAUGRUND FOX from Erika Rimson and David Bernstein

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Art. History. People.

Per current IRS policy, distributions made from Donor-Advised Funds or Family Foundations may not be used to fulfill a pledge or Patrons’ Circle Membership that would result in a personal benefit to a donor or a member of donor’s family (e.g. tickets to events, dinners, tables for events etc.) Please call if you have additional questions or need clarification.

MUSEUM STORE 505-242-0434 • store@albuquerquemuseumfoundation.org

NICHOS Direct from San Miguel de Allende, these charming nichos are surely inspired by the exuberant flowers of this charming town.

Mini cuarteto nicho (above) $59.95 Mini nicho $36.95

WHAT WOULD FRIDA DO? A GUIDE TO LIVING BOLDLY

by Arianna Davis

What Would Frida Do? explores the feminist icon’s signature style, outspoken politics, and boldness in love and art, even in the face of pain and heartbreak. The book celebrates her larger than life persona as a woman who loved passionately and lived ambitiously, refusing to remain in her husband’s shadow. $25.00

FRIDA ROSE PAPPWATCH

The Pappwatch – its sleek and simple design will fit any wrist. Handmade in Berlin from tear-proof and water-resistant TYVEK®, this watch will keep you on time everytime! $29.95

Visit our website, albuquerquemuseumfoundation.org/store for hours and online specials.

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

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

Front Cover Frida Kahlo, Diego on my Mind, 1943, oil on masonite 29 7/8 x 24 in

COMING SOON TO THE ALBUQUERQUE MUSEUM EYE TO I: SELF-PORTRAITS FROM THE NATIONAL PORTRAIT GALLERY Opening June 2021 The Albuquerque Museum presents Eye to I: Self-Portraits from the National Portrait Gallery organized by the Portrait Gallery’s Chief Curator, Brandon Brame Fortune.

At a time when countless “selfies” are being posted on social media channels and identity is proving to be more and more fluid, the exhibition presents a sampling of how artists have approached the exploration of representation and self-depiction through portraiture. With each self-portrait, artists either reaffirm or rebel against a sense of identity that links the eye to “I.” Drawing from the National Portrait Gallery’s vast collection, Eye to I will examine how artists in the United States have chosen to portray themselves since the beginning of the last century. The exhibition will be on view beginning June 2021.

Eye to I features 58 works in a variety of styles and media ranging from caricatures to photographs, from colorful watercolors to dramatic paintings and time-based media. Included are self-portraits by prominent figures in the history of portraiture, 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 Shimomura, Edward Steichen, and many more.

Elaine de Kooning, Self-Portrait, oil on Masonite, 1946, National Portrait Gallery, Smithsonian Institution, courtesy Elaine de Kooning Trust