Spring/Summer Member Magazine

Albuquerque’s Contemporary Art Museum

Spring/Summer

2018

516 ARTS • Contemporary Art for Everyone 3

Introduction

10 Donor’s Circle

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Artist Interview

11 State of the Arts

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Profile

12 Featured Murals

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Preview

13 Members

8

Fulcrum Fund

14 Business Supporters

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Education

2018 Exhibitions The US-Mexico Border: Place, Imagination, and Possibility Through April 14, 2018

Keynote Talk & Closing Reception: Friday, April 13 (see back cover) The US-Mexico Border: Place, Imagination, and Possibility, curated by Dr. Lowery Stokes Sims and Ana Elena Mallet, features the work of 45 artists from Mexico and the United States who are engaging life in the border region as subject matter. The exhibition comes to Albuquerque from the Craft and Folk Art Museum where it was developed for Pacific Standard Time LA/LA. The exhibition at 516 ARTS is part of a collaboration that includes an expansion of the exhibition to the Albuquerque Museum and public programs around the city.

21st Century Cyphers May 12 – July 14, 2018

Member Preview: Saturday, May 12, 5-6pm 21st Century Cyphers, curated by Claude Smith, represents and depicts language, translation/mistranslations, abbreviated means of communication (symbols, glyphs) and visually coded ways to represent and store information. Not only do artists use language and words as the basis for literal compositional structure, but they also create new systems for communication that reflect a growing hybridization with technology and a desire to locate oneself within that expanding universe of possibility.

Puerto Rico: Defying Darkness August 11 – October 6, 2018

Member Preview: Saturday, August 11, 5-6pm This exhibition spotlights Puerto Rico as a non-incorporated territory of the United States and its current situation after hurricanes Irma and Maria in 2017. Curated by Dr. Josie Lopez, it features artists living in Puerto Rico and the U.S. who are engaging with issues of climate change, continued colonialism and imperialism. 516 ARTS is joining with many arts institutions across the country in response to the situation that Puerto Ricans currently face.

Currency November 3, 2018 – January 12, 2019

Member Preview: Saturday, November 3, 5-6pm Currency, co-curated by Dr. Josie Lopez and Dr. Manuel Montoya, features local, national and international artists exploring alternative models of worth and value and the relationship between economics, the arts and creativity. Myths about money and value from various cultural and historical perspectives help frame the exhibition and promote dialogue around topics of pricelessness/ worthlessness, quantity/quality and sacred/profane. This exhibition provides a place for reflection on society's priorities and how we live our lives.

Daisy Quezada Ureña, Untitled • John Phillip Abbott, Datsun • Patrick McGrath Muñiz, Alba’s Dream • Christy Chow, Come, run in me (from the Laborland series)

INTRODUCTION

Welcome to 516 ARTS’ member magazine I am excited to share that 516 ARTS is entering a new phase in our organization’s evolution, and it’s time to embrace our identity as Albuquerque’s contemporary art museum! After doing the work of a non-collecting museum for 11 years—presenting curated exhibitions, public programs and education activities and partnering with museums around the country—516 ARTS has distinguished itself as Albuquerque’s only museum dedicated exclusively to contemporary art.

If you’re receiving this magazine, you are one of the essential Friends of 516 ARTS, our members who make art happen. We truly couldn’t do it without you. Known for collaboration, 516 ARTS is committed to joining forces to make a bigger impact together than we could alone. In this spirit, I encourage you to support the businesses that support 516 ARTS (see pages 14-15). Together we make the creative economy stronger in our community.

Museums provide places for dialogue and exchange of ideas in an ever-changing society. As 516 ARTS continues to evolve as a museum, the practice of bringing together diverse artists, audiences and social discourses, remains at the core of who we are and what we do. As an independent, grass-roots organization, 516 ARTS has the agility to respond in a timely way to what’s happening in the world and to take on ambitious projects based on their relevance to our particular time and place. On behalf of our Board and Staff, we extend our gratitude to you, our family of members, for believing in the unique role 516 ARTS plays and grasping the pressing need to support it. See you soon!

Suzanne Sbarge Executive Director

GOVERNING BOARD Danny López, Chair Suzanne Sbarge, President Mark Rohde, Vice President Joshua Edwards, Treasurer Sommer Smith, Secretary Kathleen Metzger Dr. Kymberly Pinder Tim Price Tonya Turner Carroll ADVISORY BOARD Michael Berman Rebecca Black David Campbell Andrew Connors Devendra Contractor Ray Dewey Debi Dodge

Melinda Frame Idris Goodwin Tom Guralnick Ohad Jehassi Deborah Jojola Jane Kennedy Arif Khan Brian McMath Jenny McMath Elsa Menéndez Rhiannon Mercer Marla Painter Dr. Andrea Polli Henry Rael Mary Anne Redding Rick Rennie Augustine Romero Arturo Sandoval Rob Strell

STAFF

LEAD FUNDERS

Suzanne Sbarge Executive Director Claude Smith Exhibitions & Fulcrum Fund Manager Dr. Josie Lopez Curator Mackensie Lewis Administrative Coordinator Ann Gaziano Program Coordinator

McCune Charitable Foundation The Andy Warhol Foundation for the Visual Arts The City of Albuquerque The FUNd at Albuquerque Community Foundation The National Endowment for the Arts Center for Educational Initiatives n

CONSULTANTS Carla Nieto, Accountant Jane Kennedy, Development Associate Melody Mock, Web designer Ian Jones, Preparator

ADDITIONAL FUNDERS Bernalillo County New Mexico Arts New Mexico Endowment for the Humanities PNM Foundation The University of New Mexico

516arts.org

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The US-Mexico Border: Place, Imagination, and Possibility

Tequila Bottle Houses and Border Relations Interview with Viviana Paredes

Viviana Paredes, The House That Tequila Built, featured in The US-Mexico Border: Place, Imagination, and Possibility, 2018

In conjunction with the two-part exhibition The US-Mexico Border:

intellectually. It became trendy in the United States to drink tequila,

Place, Imagination, and Possibility at 516 ARTS and the Albuquerque

and now mescal, in the last several years. The one thing that most

Museum, co-curated by Dr. Lowery Stokes Sims and Ana Elena

people know about the maguey plant is that it is a substrate for

Mallet, Josie Lopez interviewed guest artist Viviana Paredes. Viviana

making tequila. I found it ironic that an American-owned company

shares how her work traverses borders, cultures and traditions. Her

which is called Patron meaning “boss” in Spanish, produces the

piece The House that Tequila Built, is an example of how she engages

national drink of Mexico. I decided that mimicking a maguey shelter

with complex issues including cross-border relationships between

out of deconstructed recycled tequila bottles would offer a unique

the United States and Mexico, the appropriation of traditions, and

opportunity for viewers to engage in conversations about this sacred

how environmental issues impact indigenous peoples. Working

and mythical plant.

primarily in the medium of glass, Paredes discusses how her work engages the material but also tells stories that are related both to

I’m interested in the intersections of cultural and environmental

tradition and activism.

issues and how they affect indigenous cultures throughout the world.

JL: What stories are being told through the The House That Tequila

uses. I am intrigued by how the maguey has been used not just in

Built and how does the maguey cactus figure into your work?

historical art, but also in contemporary Chicano art. I began my own

VP: The House That Tequila Built is a sculpture that is layered with underlying meanings meant to intrigue the viewer both visually and

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The maguey is an iconic plant with many medicinal and utilitarian

research on the maguey and its many utilitarian and medicinal uses.

After learning how every part of the plant has a purpose, I began to see possibilities on how I could use its materials to tell stories.

ARTIST INTERVIEW

JL: Nature, the sacred, and human conceptions of the natural world are recurring themes in your work. I am fascinated by old images of tlachiqueros harvesting maguey nectar. What roles does this iconic and complex plant play in

“Glass is both fragile and solid. Like culture it can break if it not cared for and can be transformed and reshaped like our current environment.”

your work?

VP: I have been collecting different parts of the maguey plant and exploring ways to make art with its material as a way to tell stories about how the plant has been important to the people of the Americas. I have harvested quiotes (stalks) to make sound sculptures, both the actual quiote stalks and out of glass. The quiotes are the stalks that grow at the end of the plant’s life. These quiotes were and are still used to make an instrument that sounds every much like the Australian didgeridoo. I also did a series of glass gourds called Tlachiquero.

They represent the gourds used to suck out the aqua miel (honey water) that is used to make pulque. The people that exact the aqua miel are called tlachiqueros; their practice is being lost in our industrial world. Many of these ancient practices and uses of the maguey plant are being lost due to more industrial methods of exacting the nectar of this prodigious plant that has been called the “mother maguey.” From its heart to the very top of the plant it gives food,

Viviana Paredes speaking at Member Preview at 516 ARTS

medicine, building material, rope and shelter. Its thorns are used in

the breath, the lungs and mouth and placed them in glass-shaped

ritualistic piercing. Using the maguey in my art highlights the culture

tongues. The piece is meant to offer a kind of forgiveness for losing

of this sacred plant.

my mother tongue. This piece resonated with so many people both

JL: How has activism influenced your work and has it changed in response to heighten discourses around the environment, borders, women’s rights and human rights?

VP: I think that I am who I am because of my exposure to the rich history of the Bay Area with its long history of political activism. I believe that it is a both an opportunity and a personal commitment to use my place as an artist to make art that is both visually pleasing while telling important stories about my cultural experience as a Chicana, as an environmental feminist, and as a member of the

for what it was addressing and because of the personal memories that many Latinos have with traditional medicine. Since then I have employed traditional foods, smells and traditional healing herbs to evoke memories. While glass is often thought of as decorative, I use it strictly as a material. We look at the world from behind glass, from out of the windows of our homes and workplaces, from our cars and from the lens of our seeing glasses. I see it as the perfect material in which to contain my ideas. Glass is both fragile and solid. Like culture it can break if it not cared for and can be transformed and reshaped like our current environment.

human race. My existence is my resistance. Making art is how I cope with our current political climate and the devastating global environmental crisis we are facing.

A version of this interview was published in Pyragraph.com, January 25, 2018.

JL: How has your art practice been shaped by the materials you use?

How are you engaging with, as well as subverting the traditions of glass-making?

KEYNOTE: Maria Hinojosa & Simon Romero in Conversation • April 13, 7pm

VP: In one of my first and seminal pieces titled My Pocha Tongues

at the KiMo Theatre, $8 for members, kimotickets.com followed by closing reception at 516 ARTS

(shown at 516 ARTS in 2011), I used medicinal herbs used to heal

516arts.org

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PROFILE

Introducing Curator Josie Lopez What drew you to becoming a curator?

When I was a senior in high school I participated in a college trip to the West Coast and at Stanford we toured the many murals on that campus with Tony Burciaga. Tony spoke passionately about the murals that represented Chicano and Latino history and culture.

He spoke of the power of the works in way that I had not seen in my life up to that point.

Growing up in the South Valley, access to art and museums was limited. The exchange with Burciaga and his insistence that Latinos embrace our history and our culture was so powerful that it has influenced my interest in making history and art accessible to everyone.

This past year, 516 ARTS welcomed our first curator, Dr. Josie Lopez. In 2018, she is curating Puerto Rico: Hope From the Darkness and co-curating Currency (see inside cover).

She received her B.A. in History and M.A. in Teaching from Brown University. She completed an M.A. in Art History at the University of New Mexico and her Ph.D. from the University of California, Berkeley.

Her dissertation on Mexican lithographer Constantino Escalante considers 19thcentury caricature and visual satire of Mexico, France and Spain. Her 2013 essay “Picasso and the Forgotten War” appears in Picasso and the Politics of Visual Representation: War and Peace in the Era of the Cold War and Since, edited by Jonathon Harris, Liverpool University Press.

Dr. Lopez was a guest curator at the Albuquerque Museum in 2016. She wrote The Carved Line: Block Printmaking in New Mexico and curated the accompanying exhibition. Her research interests include examining art as a discursive agent in the political arena, modern and contemporary Latin American art, 19th-century France and Mexico, and the history of New Mexican art with a focus on printmaking. She was a Jacob K. Javits fellow from 2009-2013.

As the 2013-15 Eleanor Tufts Fellow at SMU, she taught courses on modern Mexico and the prints of Francisco Goya.

She has also taught courses on the history of printmaking and European art at the University of New Mexico.

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Why did you come back to Albuquerque to settle after earning several degrees at Ivy League schools in other parts of the country?

After living on the East Coast for about ten years and working in a corporate setting, I was at a point where I had to commit to a longer term career goal. After some soulsearching I felt that it was important to come back to my community and to contribute so I completed a Master’s in Teaching at Brown University and then returned to Albuquerque to teach history - first at Rio Grande High School and then at South Valley Academy. It was an exciting time at SVA because several of us who had gone away to colleges all over the country came back to work on building a community school. I see education as a civil right and whether I am engaging students in the classroom or visitors in a museum I am driven by that belief in the same way that Burciaga was.

It seems like your work as a curator brings together scholarship, activism and community engagement. Why is contemporary art a good vehicle for this combination of interests?

My research on caricature and visual satire is embedded in the idea that some of the most powerful works of art are historically specific and temporally situated. Though I was looking at 19th-century France and Mexico, the theory holds true for art being produced today. Many artists working now are also interested in revealing truths, exposing hypocrisies, critiquing the world we live in, and empowering diverse voices.

Others are interested in making something beautiful that moves and inspires people.

Contemporary art has the potential to speak to audiences in a way that compels them to see the world from different perspectives. That is something I think we need now more than ever.

Why did you choose to work with 516 ARTS? Today, curators are often tasked with bringing exhibitions from other institutions and do not always have the opportunity to curate their own exhibitions outside of their collections. Though I do love working with archives and collections, 516 ARTS offers the opportunity to work with artists, to do independent research, and to engage with current pressing social issues. Like many others, I am compelled by the current political situation to speak out for social justice and 516 ARTS is a venue that embraces art as an agent of social change. And it’s a terrific opportunity to work with artists and curators, such as Dr. Lowery Stokes Sims and Ana Elena Mallet on the US-Mexico border exhibition, who share this belief and like to collaborate.

21st Century Cyphers

PREVIEW

“...textual abbreviations, symbols, glyphs, memes, gifs and even video/sound clips are ready for deployment as clever substitutions for words.”

Karla Knight, Red Spaceship 8, featured in 21st Century Cyphers, 2018

Visualizing the phenomenon of language

By Claude Smith Evolutionary biologist Mark Pagel describes

gifs and even video/sound clips are ready for deployment as clever

language as the “most powerful, dangerous

substitutions for words.

and subversive tool natural selection has ever devised.” Using what he describes as “neural audio technology,”—or simply language to us lay people—humans are unique in their ability to directly implant original thoughts or ideas directly into the minds of others, effectively re-wiring someone’s brain. Likening language to that of a remote control, Pagel illustrates that while a remote control designed for a television relies on infra-red light, language uses dis-

Language has provided numerous avenues of experimentation for visual artists throughout the past half century as a way of communicating or documenting contemporary life. In 21st Century Cyphers, artists explore the representation—and abstraction—of contemporary language and its various structures for conveying information through a variety of processes that include painting, sculpture, technology and new media, installation and film. The works on view in this exhibition highlight language as a diverse medium

crete pulses of sound to transmit information.

being explored, dissected and re-framed to reflect the nuances of

Suppose for a moment that this transmission of information happens

Phillip Abbott, Gina Adams, Bart Exposito, Asuko Goto, Guillermo

all the time and may not always be processed aurally. Contemporary

Gómez-Peña & Enrique Chagoya, Sky Hopinka, Karla Knight, Hayal

language is a complex melting pot of syntax, emotion and expression.

Pozanti, Matt Magee, Walter Robinson and Joel Swanson.

communication in the 21st century. Featured artists include John

It has become increasingly common to express our feelings visually, in shorthand using what linguist John McWhorter refers to as the “artifice” of speech. Due in part to the frequency in which our daily correspondence is mediated by a screen, we now conveniently have

Member Preview • Saturday, May 12, 5-6pm

immediate access to entire dictionaries or repositories of alternative

followed by public reception 6-8pm at 516 ARTS

language signifiers: textual abbreviations, symbols, glyphs, memes,

Claude Smith, Curator of 21st Century Cyphers, is the Exhibitions Manager & Fulcrum Fund Manager at 516 ARTS. 516arts.org

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FULCRUM FUND

516 ARTS’ Fulcrum Fund awarded $110,000 to local artists All too often, opportunities for experimentation happen under the radar and receive little or no funding, particularly in geographic areas like New Mexico that are not considered urban centers of arts and culture. In unprecedented fashion, The Andy Warhol Foundation for the Arts is changing this trend by supporting arts ecosystems in and around Albuquerque through the Fulcrum Fund created and administered by 516 ARTS. The Fulcrum Fund’s focus on providing unrestricted support directly to artists goes a long way toward promoting creative inquiry and allowing artists to take risks that might not otherwise be possible. The Fulcrum Fund challenges artists to work in new ways and collaboratively. It also provides a sense of artistic and intellectual freedom which reinforces and validates how artists can and do shape our communities.

The Andy Warhol Foundation for the Arts’ commitment grew partially out of studies such as the ongoing Cultural Data Project which indicates that the arts are vital for the cultural health of a community.

Responding to these types of studies conducted in various cities across the country, The Andy Warhol Foundation determined that they wanted their efforts to reach artists on the ground. One way in which they addressed this need was to create regional regranting opportunities. According to James Bewley, Program Officer of the Warhol Foundation, “With the Regional Regranting Program, we partner with organizations to reach those collectives, living room

Aryon Hopkins, Jesse Littlebird & Eric Martinez, DRY MTN, page spread from zine, 2017

galleries, spontaneous festivals and unincorporated artist groups that we ordinarily would simply be unable to fund. These efforts are part of the local arts ecology, yet existing mechanisms for support were not always set up to serve these artists and collectives…we found a way to reach them, in order to assist them in doing the vital work they do.”

The Warhol Foundation approached 516 ARTS to create a regranting program in Albuquerque because they saw a high concentration of artist-organized activity here, partially due to the efforts of 516 ARTS in promoting collaborative and experimental work. In its first two years, the Fulcrum Fund has granted a total of $110,000 to 24 artistdriven projects selected from 216 proposals. The program funds projects that take place within an 80-mile radius of Albuquerque and are selected through a juried process involving esteemed curators and arts professionals from around the country. These awards are intended to fortify artistic processes that are out-of-the-box and may not always fit into traditional museum and gallery systems.

Learn more about the Fulcrum Fund and the 2018 call for proposals: 516arts.org/fulcrumfund Roberto Espinosa, She/Rider, still from video, 2017

“Human beings are born solitary, but everywhere they are in chains... of interactivity. Social actions are makeshift forms, often courageous, sometimes ridiculous, always strange. And in a way, every social action is a negotiation, a compromise between 'his,' 'her' or 'their' wish and yours.” —Andy Warhol 8 Spring/Summer 2018

EDUCATION

Why should school groups visit museums?

Museums teach students how to think critically and feel empathy. Trips to museums help get kids excited about school subjects. Museums expand the general world knowledge of students and contribute to students becoming life-long learners. Museum visits increase students’ cultural capital; in turn, school groups help museums reach a more diverse group of museum goers. 516 ARTS has been dedicated to arts education with schools and youth programs since we opened. For each exhibition, we offer interactive tours for schools

“The teachers were inspired by the beautiful pollinators show, and I’ve seen amazing student work in the classrooms as a result.”

—Denise Rudd, Visual Arts Manager, APS

and community groups, accompanied by curriculum materials for teachers. When students come to 516 ARTS, they get involved in discussing art and current issues. Rather than just hear a lecture, our exhibition guides ask students questions and get them thinking and talking about what the art is all about and why it matters.

The exhibition Cross Pollination in fall of 2017 provided an opportunity for 516 ARTS to reach out to kids by connecting art and science.

After hosting 50 elementary arts teachers from Albuquerque Public Schools and engaging them in one of our tours, many of them signed their classes up for a visit to the museum. Having participated in a guided tour and discussion themselves, the teachers were reminded of the impact museums can have on supplementing classroom learning, inspiring wonder and stimulating the imagination. Every K-5 class from our neighborhood school, Lew Wallace Elementary, participated in a tour.

Students from Elevation Children’s Center visiting 516 ARTS

Exhibition tours at 516 ARTS provide extended encounters with

large-scale, collaborative piece for the Moth Migration Project, an

objects, facilitate group conversation through challenging open-

international crowd-sourced installation of hand printed, drawn and

ended prompts, and encourage looking closely. Supplemental

cut paper moths that brought together participants from 24 countries.

activities that can be done before and after the visit provide a chance for teachers to further excite students about a subject and give them time to explore independently. Some teachers had their students create murals and other art projects in response to the exhibition.

Learn more & sign up for school tours: 516arts.org/education

400 students at Adobe Acres Elementary School created their own

Participants in the Moth Migration Project by Hilary Lorenz

Hilary Lorenz, Moth Migration Project (detail), featured in Cross Pollination, 2017

516arts.org

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DONOR’S CIRCLE

Stand up for art and join our Donor’s Circle

By Tonya Turner Carroll I am so happy to have joined the 516 ARTS’ Governing Board at a pivotal time in the process of the organization’s growth. Along with the feeling of abundance that comes from the wealth of culture 516 ARTS involved me in, also come financial hurdles.

While we are embracing our role as Albuquerque’s contemporary art museum, the federal government is putting art on the chopping block and several of 516 ARTS’ key funding sources are in peril, scaling back or taking a hiatus next year. That means we need individual donors like you more than ever. I would like to encourage everyone who can to join our Donor’s Circle, a group of individuals who stand up for art by giving $1,000 or more each year.

When you contribute to 516 ARTS, your biggest reward is knowing that you are helping to create meaningful and unique experiences for the entire community. The more you give, the more you can feel responsible for making possible these very special moments of togetherness, learning and inspiration.

What do each one of us do to make the world a better place? This is a value we try to instill in our children. Joining our Donor’s Circle or increasing your membership level is one way you can do just that by helping 516 ARTS to produce this year’s programs focusing on relevant topics like the US-Mexico border, Puerto Rico, language, value and the economy. In addition to making a difference in the big picture, members of our Donor’s Circle are also invited to small gatherings with artists and curators in the homes

Donor’s Circle Benefits • Invitations to private dinners and visits to homes of contemporary art collectors • Personal meet & greet opportunities with visiting artists and curators • Opportunities to receive gifts of limited edition signed prints • 10% discount on art sales from 516 ARTS’ exhibitions and Turner Carroll Gallery • Priority sign up for contemporary art inspired trips • Invitations to Coffee with the Curator event for each exhibition • Membership to the North American Reciprocal Museum Association (narmassociation.org) • All of our mailings delivered to your door, including this magazine for members only • Invitations to private gallery talks and preview receptions

of art lovers. You get to meet other people with vision who stand up for art, and be part

• 10% discount in the 516 Store

of the future of Albuquerque’s contemporary art museum. To learn more about joining

• Discounts to ticketed events and workshops

this effort, please contact our Executive Director suzanne@516arts.org. Thank you!

Tonya Turner Carroll is a 516 ARTS Board Member and the co-owner of Turmer Carroll Gallery, Santa Fe, turnercarrollgallery.com.

Learn more about membership levels and benefits: 516arts.org/join

Jennifer Angus, Case of Interruption and Disruption, featured in Cross Pollination, 2017

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Spring/Summer 2018

STATE OF THE ARTS

Museums and trust in the age of fake news

By Danny López The topic of the public’s trust is at the forefront as we grapple with issues such as immigration, equal rights and climate justice.

Museums across the world, some more than others, consider how to address these issues head on by presenting exhibitions and/ or public programs that encourage participation and dialogue. I believe that museums today are playing an ever-more-important

Food for thought From Hyperallergic.com, article by Daniel A. Gross March 6, 2018

role in our society because they are viewed as credible sources of information with a foundation built upon research and dialogue.

“New data suggests that in a single

Data now confirms that museums are in fact held in high public esteem and are trusted

year, the U.S. arts and culture sector

more than many other organizations and news sources.

contributed a whopping $763.6 billion to the nation’s economy, which is more

A recent report titled National Awareness, Attitudes and Usage Study has quantified the

than the entire Gross Domestic Product

opinions, perceptions and behaviors of over 100,000 U.S. adults. The results are note-

of Switzerland. That translates into 4.2%

worthy, especially for those of us in the museum field. For example, data shows that over

of the U.S. economy, suggesting that the

75% of adults see art museums as more credible sources of information than NGO’s

arts and culture sector is worth almost

(64%), state agencies (61%), federal agencies (51%) or daily newspapers (67%). This

as much as the food and agriculture

study implies that the public looks to art museums as conveyors of credible information

industry (valued at around a trillion dollars a year).... The data was released less than a month after President Trump’s 2019 budget proposal, which suggested the elimination of federal funding for the National Endowment for the Arts... There are clear limits to what economics can say about the state of the arts. ‘I certainly don’t go to a museum because I think it generates jobs,’ said Daniel Fujiwara, an economist at Simetrica. Neither does Sunil Iyengar, NEA researcher. ‘We can’t hope to measure the total value of the arts, because there’s just so many dimensions,’ he told Hyperallergic. ‘This is one way of knowing’.”

Kameelah Janaan Rashid, No Instructions for Assembly, featured in At Home in the World, 2016

in addition to being centers for culture. Beyond these statistics, the American Alliance of

politically divisive times we embrace this role

Museums has identified empathy as one of the key elements of building a more just future,

and look forward to continued meaningful

siting museums as contributors to building this emotional capacity. In a recent article in

encounters. Read more about visitor-serving,

Vox, Edward Linenthal, history professor at the University of Indiana Bloomington, shared

cultural organizations and related topics at

that museums are, “not just places, temples, to display beautiful or interesting or strange

colleendilen.com.

things that people just come in to look at…but are places to engage in really important issues.”

Since the founding of 516 ARTS in 2006, we have remained committed to providing an accessible venue for thoughtful discourse and reflection. We recognize the responsibility we have to the public to educate, inform and inspire a healthy civic culture. In these

Danny López is the Board Chair of 516 ARTS and serves on the Board of New Mexico Endowment for the Humanities.

516arts.org

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FEATURED MURALS

Curiot Tlalpazotl mural on view through April 14 This January, 516 ARTS invited muralist Curiot Tlalpazotl from Mexico

of that culture. This mural brings together his trademark flora, fauna

City to create a temporary mural on the subject of the US–Mexico

and figures with delicate metallic gold ornamental patterns. Curiot

border on our 25-foot high entrance wall. In response, he designed

says, “The composition of the mural is developed around the seven

a monumental mandala entitled Unity (pictured on the cover) which

chakras, using seven bright colors. Stylistically it is a mix of what I

he says is about “the connection of all cultures on the planet,

experienced in India and all I’ve worked on up to now. It just keeps

remembering where we come from.” Having come to Albuquerque

building. The central figure references the spirit world, combining

right after spending two months in India, Curiot brought a new

deities from both Mexican and Indian culture.”

sensibility to his work inspired by the colors, patterns and spirituality

Born in Michoacán, Mexico and in Mexico City for the past ten years, Curiot Tlalpazotl has painted murals around the world, including in Germany, France, Spain, Tunisia, Australia, Brazil, Switzerland, Sweden, Canada, Mexico and the United States. His work is influenced by the bright colors, folklore, and the handcrafts of Mexican culture. His murals often feature mythological creatures, vibrant colors, and geometric shapes.

Don’t miss it! This mural is only on view through the exhibition The US-Mexico Border: Place, Imagination, and Possibility.” A limited number of signed printed of the mural are available from the 516 Store ($100). Purchase in person, by phone 505-242-1445 or online at 516arts.org/store.

Photo of Curiot Tlalpazotl by Sergio Salvador

Pastel’s botanical murals highlight plants pollinators love In March of 2017, 516 ARTS commissioned world-renowned muralist

MURAL SITES:

Pastel from Buenos Aires, Argentina to paint two new Downtown

Tower Building: 510 2nd St. NW

murals in conjunction with our Cross Pollination exhibition about

Sanitary Tortilla Factory: 401 2nd St. SW

bees and others pollinators. Both an architect and a painter, Pastel has created murals on almost every continent of the planet. Using his distinct visual language and decorative style, he fills immense wall surfaces with patterns based on the local flora of the region. His botanical references address history, geography, society and politics, while exploring the relationships between urban art, architecture and city life. He describes his street art as “urban acupuncture,” saying: “Modern cities are full of ‘non-places’ because of irregular and not inclusive master-planning... Working with symbolism of local flora my pieces begin a dialogue about the nature of human beings and our surroundings.”

Since 2010, 516 ARTS has presented 22 professional, contemporary art murals in Downtown Albuquerque by local, national

6,650 square-foot mural by Pastel on the Tower Building

and international artists. Twelve are on view now, as some have been temporary projects. Many of them have been produced in partnership with The City of Albuquerque Public Art Program and other arts organizations and building owners.

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Spring/Summer 2018

To learn more about the Fulcrum Fund and the 2018 call for proposals: 516arts.org/fulcrumfund

MEMBERS

Thank you to the Friends of 516 ARTS! CONTRIBUTORS & SUPPORTERS

PATRONS & DONORS Anonymous Mark Baker & Nancy Dowd Hakim Bellamy, Beyond Poetry Ray & Judy Dewey Gary Goodman Ohad Jehassi Mark Huey, Perspectives, LLC Marietta Patricia Leis & David Vogel Alan Marks Ann Marks Kathleen & Andy Metzger David & Judy Neunuebel

Tim Price Rick Rennie & Sandy Hill Mark & Karen Rohde Michael & Annalisa Sbarge Mark Unverzagt & Laura Fashing Vista Larga Fund Clint Wells Dean Yannias

Anonymous Rebecca Black & Gregory Polk Erin Brown Beverly Chavez Page Coleman Debi & Clint Dodge Lynn Dehler Craig & Abigail Eaves Richard Ellenberg Cara Gordon Potter Emily Harmon & Arand Pierce Catherine Hill Norty & Summers Kalishman

Kathryn Kaminsky & Tomas Singleton Irene Kersting & Albert Chavez Diana & Kevin McDonald Mark Owen & Felicity More Marla Painter & Mark Rudd Mary Anne Redding Shelle Sanchez Virginia Scharff Sommer Smith Karen Stone Rob Strell Chuck & JD Wellborn

INDIVIDUALS & FAMILIES Fay Abrams Renee Adams Karen Alarid Steve & Lindi Anderson Thomas Andrzejewski Lynne Arany Joshua Atlas Philip Augustin Michael Backus Cynthia & RJ Bailie Louisa Barkalow Holly Barnet-Sanchez & David Foster Thomas & Laurie Barrow Clint Bergum Rich Besser Bonnie Bluhm Steve Borbas John Boyd & Roberta Price Jamie Brunson & Walter Robinson Stanley Burg Diane Burke Nina Buscemi Joe Cardillo Susanna Carlisle & Bruce Hamilton Jonathan Carlson Matthew & Julie Chase-Daniel Sally Condon Deborah Cooper Ronald Costell & Marsha Swiss Devendra Contractor John & Mary Covan Reid Cramer Dianne Cress & Jon McCorkell Suzi Davidoff Bruce Davis Susan Davis & Dan Schiller Jorge Diaz Sondra Diepen Joshua & Kristen Edwards

Jules Epstein Lucinda Fairfield Dave Farina Mark Fidel Melinda Frame Alison Franks Suzanne Fricke Ilsa Garduno John Garrett Ann Gateley Molly & John Geissman Chuck & Judy Gibbon Kirk Gittings Diane Glenn Raphaelle Goethals Abby Goldstein & Rebecca Schreiber Virginia Gredell George Ann Gregory Barbara Grothus Ricardo Guillermo Flash Hagan Betty Hahn Cathy Haight Katherine Hauth Lucy Hays Marianne & Dennis Hill Barbara Hill Judith Ann Isaacs Linda Johnson Evey Jones Loren Kahn & Isabelle Kessler Frank Katz & Conci Bokum Susanna Kearny Michael & Peggy Keleher Jessica Kennedy Irene Kerstin Jack Kessler Emily Kim Joanne Kimmey

Eugene & Margie Kimzey Shirley Klinghoffer Natasha Kolchevska Jeff Krueger Mary Lance Barry Lauesen Lucy Lippard Julie Littlefield Matt Loehman David Lujan Maureen MacDonald John Mahoney Sheila Mahoney Gerald May Karen Mazur Jim McManus Carolyn Meyer Carl Miranda Gerry Mlynek Aziza Murray Patrice Mutchnick Candy Nartonis Alaura & John Nellos Theresa Noyes & Trey Saenz Steffi Ostrowski Kate Padilla Mark Petrick Stephen Poland Thomas Prettyman Daniel Puccetti John Putnam & Linda Putnam-Johnson Phil Putnam Walter Putnam & Yaeko Zeigler Jaune Quick-To-See-Smith Silvia Ramos Edward & Melanie Ranney Judith Reynolds Margaret Roberts Susan Roden

Len Romano Joshua Rose Adam Rubinstein Julie Ruth Adrienne Salinger John Serkin & Catherine Kurland Garrett Smith Cirrelda & Bryan Snider Martha Somerville Kathryn Stately Patricia Stauber Robert Steinberg Frank & Maddy Stevens Katie & Andrew Stone James Stone Dennis Summers Nick Tauro Craig Timm & James Wilterding Kei Tsuzuki Karen Turner Joan Weissman & Micheal Nutkiewicz Alan & Joyce Weitzel Merida & Joseph Wexler Robert White Harvey White Joshua Willis Bob Willis Janet Yagoda Shagam Karen Yank Greta Young Emily Lipson Zambello Mary Zaremba Michael Zientek Susan Zimmerman

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EVENTS NOT TO MISS!

Denise Chávez, Demetria Martinez & Mari Simbaña POETRY:

516 WORDS Reading at The Outpost Performance Space 210 Yale Blvd. SE • Free

Saturday, April 7, 7:30pm: MUSIC:

Frontera Bugalú & Lone Piñon

Concert at The Outpost Performance Space $20/$15 Outpost & 516 ARTS Members & Students available at outpostspace.org, 268-0044 or 516 ARTS

Friday, April 13, 7pm

Journalists Maria Hinojosa & Simon Romero in Conversation KEYNOTE:

Guest speakers presented in partnership with the National Hispanic Cultural Center at the KiMo Theatre, 423 Central Ave. SW $12 / $8 Friends of 516 ARTS, at kimotickets.com followed by free closing reception at 516 ARTS

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