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. 4
WINTER 2021
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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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
