The Magazine of the Albuquerque Museum Foundation â€” Winter 2020
Dreams Unreal | The Jim Henson Exhibition | Let the Sunshine In
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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 Sarah Kinzbach Williams, Associate Editor CULTURAL SERVICES DEPARTMENT CITY OF ALBUQUERQUE Tim Keller, Mayor ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2019–20 Marney Hupper, President
Margaret (Peg) Cronin
Joni Pierce, President Elect
Dean Willingham, Treasurer
ee Attend nd Weeke g n i n Ope ld: rks So o w t r A ks
twor r a 0 1 1
ollars D r o s pon : Total S -Kind) n I d n a (Cash 50
Artists can apply to participate in the 30 Annual ArtsThrive: Art Exhibition & Benefit. th
The application will be online from January 6 until March 9, 2020.
Please visit the Albuquerque Museum Foundation for more information about the application prospectus by going to www.albuquerquemuseumfoundation.org/ artsthrive or by calling 505.338.8732. You can learn more about CaFÉ here: www.callforentry.org. ArtsThrive 2020 will mark the 30th anniversary of this truly special and unique event.
Catherine Goldberg Mark Joiner
Maria Griego-Raby, Past President
Pamela Weese Powell, Museum Board of Trustees
Andrew Connors, Museum Director
ay Nig Saturd
Stephanie Del Campo
Patricia Kurz, Secretary
Emily Blaugrund Fox, Executive Director
BY THE NUMBERS 2019
BJ Jones Beverly McMillan Scott Schaffer Corinne Thevenet Gerard (Roddy) Thomson, Jr. Kenton Van Harten
In This Issue: Realizing Dreams Unreal..................................................................................................... 2 Oral Histories: Let the Sunshine In..................................................................................... 4 Unusual People: The Jim Henson Exhibition................................................................... 6 Expressive Works On Paper................................................................................................ 8 Blacksmithing at Casa San Ysidro...................................................................................... 9 Firsthand History................................................................................................................ 10 I aM Giving: Foundation News......................................................................................... 12 Thank You to Our Donors.................................................................................................. 13
ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Pamela Weese Powell, Chair Helen Atkins Hal Behl
Marney Hupper, Albuquerque Museum Foundation Jonie M. Palmer, Ph.D.
Wayne G. Chew
V I S I T U S AT:
Realizing Dreams Unreal
Psychedelic posters represent the art and artists of 1960s counterculture.
HE RISE OF THE TEENAGER. The birth of the hippie. Changing times. The 1960s and ‘70s meant experimen-
tation, love, war, music, and death—all themes represented in Dreams Unreal: The Genesis of the Psychedelic Rock Poster. Curated by Titus O’Brien, the exhibition and accompanying book, published by the University of New Mexico Press, explores the development of an art form that hinged on life in San Francisco from 1965 to 1970. The exhibition features more than 150 psychedelic posters, handbills, and postcards while the nearly 400-page book includes 50 illustrations and photographs, as well as 200 full-color plates. Much of the work in the exhibition comes from Dr. James Gunn, a private collector who lives in Truth or Consequences and recently donated the posters to the Museum. Gunn was attending UC Berkeley Medical School in the late 1960s, when someone handed him a concert handbill. Prior to medical school, Gunn had studied art and the handbill’s style intrigued him. This was the genesis of his collection, and although he lost many of the first handbills he collected, he found a store selling psychedelic concert posters and bought nearly 300 of them. Gunn moved from Berkeley to Gallup and then to T or C, and the posters languished in storage. Gunn approached the Albuquerque Museum, hoping to donate the collection. “I wanted them to have a good home,” he says.
Art. History. People.
Bonnie MacLean BG89: Eric Burdon, Mother Earth, Hour Glass; Fillmore, Oct. 19-21, 1967, offset lithograph on paper, Albuquerque Museum, gift of Dr. James Gunn
O’Brien learned that Gunn had virtually all the necessary artifacts to tell the story of the art, and of the era itself. “The ‘60s have left us with some difficult legacies,” says O’Brien. “Most accounts of the period and this material come more from a ‘fan’ perspective; hippies are often quite proud and idealistic about the era, and treatments of the period have tended to reflect that. The poster art, in particular, gives a unique, sideways perspective on it.” Poster artists were typically a bit older than hippies and often skeptical of the counterculture to which they became integral. Indeed, many of the poster artists didn’t even enjoy the music, O’Brien says. As such, he curated the exhibition with a distinctive approach—focusing on the artists and elevating the art to “museum level,” rather than emphasizing the psychedelia aesthetic. Artists featured include Wes Wilson, considered the first psychedelic poster artist, who would, in 1966, pioneer what became a ubiquitous, liquefied lava-lamp style, rapidly moving on to create some of the most innovative
Rick Griffin, “Aoxomoxoa”: Grateful Dead, Sons of Champlin, Initial Shock; Avalon, Jan. 24-26, 1969, offset lithograph on paper, Albuquerque Museum, gift of Dr. James Gunn
and difficult-to-decipher fonts. Stanley Rick Griffin, FDD18: Doors; Denver Dog, Dec. 29-31, 1967, offset lithograph on paper. Albuquerque Museum, gift of Dr.James Gunn
Mouse and Alton Kelly, whose refined
paper packaging. Also included is Rick
lettering and reverse-type graphics de-
Griffin’s poster for the Human Be-In, which
fined the look of the Grateful Dead, Big
would lead into the 1967 Summer of Love.
Brother and the Holding Company, and
Griffin and Victor Moscoso created “fonts”
Quicksilver Messenger Service among
that looked like writing but were not actu-
others. Mouse created the famous “Zig
al letters. The illegibility of the posters was
comprehensive collection of psychedelic
Zag” poster, which was based on rolling
part of their appeal.
posters in the world. However, with the
ON VIEW JANUARY 11-APRIL 12, 2020 Dreams Unreal: Genesis of the Psychedelic Poster
The Denver Art Museum holds the most
Half a century later, the poster designs
accession of Gunn’s collection, the Albu-
remain groundbreaking, and O’Brien hopes
querque Museum has become a signifi-
they will amaze and inspire a younger and
cant repository for the genre, says O’Brien.
broader audience. “I really focused on
“[Dr. Gunn’s] collection has inspired the
the individual artists, and what it was they
Museum to acquire some other posters
were doing in the posters themselves. The
and artifacts like a Jimi Hendrix shirt and
book and exhibition are designed to be
poster,” says O’Brien. “New Mexico was
uncluttered and modern, not attempting to
very important in the ’60s counterculture,
recreate or match the experiential cacopho-
and the Museum is now much better
ny of the era,” says O’Brien.
poised to tell some of these stories.”
LET THE SUNSHINE IN
Walter McDonald, Chelwood Park Boulevard NE, November 1969, Digital reproduction of a 35mm slide, Albuquerque Museum
Oral Histories Shine a Light on the Past HE CURRENT COMMUNITY
It was important to the curators though
would quickly turn. He was on hand for the
that the exhibition incorporate local
unrest, and his photographs of that day
Let the Sunshine In, opened
voices. To that end, Hartke and Prinster
are in the Museum’s Photo Archives.
December 21, 2019. The
conducted oral history interviews of
In the interview, he reflected on the
project was a collaboration between the
local residents in order to gain important
chaos of that day: “I think that was part of
Museum’s Digital Archivist Jill Hartke
insights into Albuquerque’s past.
the dilemma for the cops too. Say, these
and Assistant History Curator Rebecca
Interviewee Jim Kubie, former presi-
Prinster. The exhibition is a departure
dent of Kurt’s Camera Corral, discussed
arms and ready to, you know—these are
from the usual exhibitions that circulate
the civil unrest that occurred around
folk. Even to the point where you say, ‘Hey
through the Keleher gallery because
Roosevelt Park June 13–15, 1971. He was
I know you, didn’t we go to high school
it was conceived of and developed
at the park June 13 to photograph the
together?’ kind of thing. So it was not
by Museum staff, not by an outside
day’s goings-on, as was typical for him on
something that [the cops] were used to.”
a Sunday. Little did he know the peace
Art. History. People.
aren’t criminals. They’re not carrying side
Other stories in Let the Sunshine In in-
LET THE SUNSHINE IN
Jim Kubie. Police officers and spectators at Roosevelt Park, June 13, 1971. Digital reproduction of a gelatin silver print, Albuquerque Museum, gift of Jim Kubie
Jim Kubie. Police officers at Roosevelt Park, June 13, 1971. Digital reproduction of a gelatin silver print, Albuquerque Museum, gift of Jim Kubie
clude urban renewal and the birth of the Al-
tors…and authors—and they respected the
use interviews for historic preservation of
buquerque Museum, both major city events
history. Whereas some people here only
buildings, or they can be used to capture
in the late 1960s. Thanks to interviews with
thought of shopping malls and housing de-
institutional and cultural history.
Kathleen Schwartzman and Bill Keleher, the
velopments and things. …[Culture] was all
curators were able to tell a richer story of
around, but nobody really created the focus
interviewee to speak expansively about
how these parallel events developed.
for it. And so the City had to step in.”
their life and experiences but will inter-
Schwartzman, who was Albuquerque
Oral history interviews differ from
Typically, the interviewer allows the
ject at times to move the story forward.
Museum Association president from 1978-
regular interviews in that they delve more
These sessions can take surprising turns,
1980, talked about the founding of the
deeply into the interviewee’s life and cov-
and unexpected emotions can arise. They
Museum and the city’s role: “It was very per-
er a broad range of topics. Historians use
require exceptional listening skills on
sonal to a lot of people because there were
the information garnered from these in-
the part of the interviewer. The Museum
a lot of historians in this city. And there were
terviews to stitch together a better picture
hopes to continue collecting oral histo-
a lot of archivists in this city. And collec-
of the past. For example, oral historians
ries, as funds and staffing allow.
Unusual People An Albuquerque artist influenced Jim Henson’s films.
UPPETEERS ARE UNUSUAL people. They create and inhabit imaginary beings with vaguely human attributes—all
born from the imagination. Puppets are on display this winter at the Albuquer-
que Museum as part of The Jim Henson HEATHER KENNEDY DERIVAT
Exhibition: Imagination Unlimited. Most well-known for the Muppets, Jim Henson’s darker stories and creatures came to life in feature films such as The Dark Crystal and Labyrinth. Both were a good fit for Michael McCormick, sculptor, painter, storyteller, teacher, of pieces of Jim Henson’s imaginary
squeaky voice. From there, McCormick
in Albuquerque, has been (and still is) a
creatures, and a teacher who thrives on
was compelled to become a Punch and
Punch and Judy street performer, creator
the art of the story in its many forms. His
Judy street performer, which he did
sculpture, Dead Pawn, was previously
for years all over the country, creating
featured in Common Ground and is part
his own versions of the puppets. Once,
of the Albuquerque Museum’s perma-
when he was performing with son Sean
in Santa Fe, country music singer Roger
COURTESY MICHAEL MCCORMICK
and puppeteer. McCormick, who lives
As a young adult studying art therapy, McCormick had what he calls a Jungian
mick how his puppets had scared his
epiphany. The figure of Punch—from the
own son. Miller asked him, “Has Jim
famous 300-year-old puppet show Punch
Henson ever seen your puppets?”
and Judy—burst into his consciousness, and he began dreaming in Punch’s 6
Art. History. People.
Miller caught the show. He told McCor-
Thus began a two-year family adventure working on The Dark Crystal in
Left: An original Skeksis used in the Jim Henson film, The Dark Crystal, on display at the Puppetry Arts Center in Atlanta, Georgia. Lower left: Michael McCormick at work Michael McCormick, Dead Pawn, neoprene, plaster, ceramic, metal, fabric, wood, and paint, 38 1/2 x 34 5/8 x 13 in. Albuquerque Museum, museum purchase, 1993 General Obligation Bonds
about a production with David Bowie called Labyrinth. “I was hired to ‘schmutify’ the armor, weapons, and to develop costumes,” he says. Indeed, McCormick says one of his artistic attributes is his ability to make things look old, scary, dirty, and dark, but also whimsical. Deep down, though, McCormick is a Punch and Judy Professor—the official name for those who are dedicated to performing the show. When his puppets were stolen out of his car in England, he said it was like losing nine children. “It’s one of the worst things that ever happened to me.” The puppets were Hampstead, England. McCormick’s wife
of Henson’s mind. Brian Froud created
found (nicked by a theater student,
worked in the office, and Sean worked as
the visuals. He produced an amazing
returned out of guilt), but McCormick
an apprentice, while McCormick worked
body of work. We worked directly with
still considers this a dark time in his life.
on the creatures. McCormick says Hen-
him in the shop.” McCormick collaborat-
son’s great genius was gathering very
ed with sculptor Lyle Conway and others
starring a time-traveling, science-teaching
gifted artists together and then keeping
to detail and build the Skeksis, reptilian
beaked creature that’s part crow, and (not
his hands off their work. “An interesting
creatures with long necks, six limbs, and
surprisingly) part professor.
thing about puppet-makers,” McCormick
personalities that are both whimsical and
says, “is that you are, by definition, a
cruel. On weekends, because money was
sculptor, painter, performer, and all-
tight, McCormick and his son would per-
around unusual person relative to the
form Punch and Judy at Camden Lock, an
society we live in.”
outdoor marketplace near London.
Working on The Dark Crystal, McCor-
McCormick went on to Return of
mick met Brian Froud, a well-known Brit-
the Jedi, playing the role of Salacious
ish illustrator who was the production’s
Crumb, but then fell into a creative funk.
conceptual and costume designer. “[The
Out of the blue, Conway called to tell
idea for] The Dark Crystal boiled up out
him to expect a called from Henson
Today, he’s at work on a new story
ON VIEW THROUGH APRIL 19 The Jim Henson Exhibition: Imagination Unlimited
Expressive Works on Paper Cartoon Formalism explores the 1960s and ‘70s. CARTOON FORMALISM in
the burgeoning counterculture
the Works on Paper gallery
of the times.
explores how artists returned
The use of the word ‘cartoon’
to figurative expression in
in the exhibition title refers to
the sketch-like immediacy of
The style began with the Bay
the artist’s hand. “While the
Area Figurative Movement in
subject matter varies from
San Francisco in the 1950s,
pets to social satire, the work
where artists like Joan Brown
conveys something personal or
and Richard Diebenkorn
intimate, functioning in a similar
developed a whimsical, more
fashion to a diary,” says Bratton,
figurative style. Other works
who curated the exhibition.
featured in Cartoon Formalism
Funk is an intensely personal
come from the San Francisco
process, contrasting the formal
Funk era, which evolved par-
characteristics of the happy
allel to the Beatnik movement
cartoon to address intense and
in the late 1950s, and blended
serious topics. Other artists
pop culture with cartoonish
featured in Cartoon Formalism
drawings. Roy De Forest prints,
include Robert Colescott, Andy
for example, feature narrative
Warhol, and William T. Wiley.
scenes in vivid colors, often depicting dogs and people. In fact, it was the De Forest
Carol Summers, Burning Mountain (#88/100), date unknown, color lithograph, gift of Dr. and Mrs. Richard Cronin
Artist Jim Melchert described funk as an “attempt to resolve those two essences
print in the Albuquerque
of mankind: one a striving
Museum permanent collec-
toward perfectibility, the other
tion that sparked Preparator
a kind of gross realization that
Chris Bratton to start a list of
we’re all just animals.” This
artists with a similar aesthetic.
exhibition will be the first time
“The idea really solidified after
most of this work is displayed.
Titus O’Brien, then-assistant curator of art, and I were he says. While not directly
connected, both figurative
OPENS FEBRUARY 1
expressionist art and psyche-
talking about psychedelic art,”
delic art began in the Bay Area and were outgrowths of 8
Art. History. People.
John Altoon, Tamarind #1, 1965, lithograph, Albuquerque Museum, gift of Jeri Coates
Celebrating Traditions of Colonial New Mexico Corrales blacksmith Dave Sabo brings his artistic flair to Casa San Ysidro. DAVE SABO, WHO TEACHES
more than 300 forged metal
of six students and usually has
dents will learn to wash,
the popular “Blacksmithing Ba-
pieces a year, which he sells to
a waiting list to enroll.
card, comb, and spin with
sics” class at Casa San Ysidro:
collectors around the world.
The Gutiérrez Minge House,
Native American imagery has
people to learn the techniques
taught himself blacksmithing
influenced his anthropomor-
correctly so that they can go
after a lifetime of working with
phic forms in metal, stone,
off and do it and progress
metal and wood. After retiring
and fused glass. He also
faster than how I did, beating
from his government job, Sabo
thrives on experimentation.
my fingers to death and so
built a complete shop and be-
“I’m actually trying new stuff
on,” says Sabo.
gan making forged sculptures.
all the time,” says Sabo. This
He now offers blacksmithing
past year, Sabo began exper-
tion and talk called Herreros:
demonstrations during Second
imenting with copper and
The Spanish History of Black-
Saturdays at Casa San Ysidro.
brass using a jewelry maker’s
smiths, on March 14, 2020.
In his studio, Sabo creates
technique called repoussé.
architectural metalwork on
Sabo anneals (heats, then
winter events include the
commission but prefers to
cools) and hammers the metal
2020 reopening on February
make sculptures. “To me, it’s
to create a bas-relief design.
8; families are invited to learn
“I try to make it easy for
Sabo is hosting a demonstra-
Sabo spreads the love of
about New Mexico’s cultur-
creativity involved with coming
the forge through a four-hour
al, artistic, and agricultural
up with new and different
workshop at Casa San Ysidro,
traditions. On February 22
things all the time.”
through University of New
and March 28, professional
Mexico Continuing Education.
fiber artists will teach Heritage
Each class takes a maximum
Spinning and Weaving; stu-
Art Studio, Sabo turns out
February 8: 2020 Opening February 22: Heritage Spinning & Weaving March 14: Herreros: The Spanish History of Blacksmiths
Other Casa San Ysidro
more innovative; there’s more
Through his Desert Dawg
UPCOMING CASA SAN YSIDRO EVENTS
March 28: Blacksmithing Basics (register through UNM Continuing Education) March 28: Heritage Spinning & Weaving
Firsthand History: A Curator Reflects By Rebecca Prinster, Assistant Curator of History AS ASSISTANT CURATOR OF HISTORY at the Albuquerque Museum, it’s my role to oversee the development of exhibits on view in the William
Join Creative Age Workshops
A. + Loretta Barrett Keleher community history gallery. This small gallery was set aside to be a space where community members could tell their
THIS WINTER, THE ALBUQUERQUE MUSEUM
own (hi)stories and was first initiated in 2015 as a way to fill thematic and
continues the Creative Age workshops for
narrative gaps in our then-newly renovated, permanent history exhibit.
adults ages 55 and older. Sponsored by a
For these exhibitions, members of the community propose and devel-
grant from Aroha Philanthropies, Creative Age
op a project, and our staff makes their dreams a reality. My job through
workshops are part of the Vitality Arts education
this is to keep the community group on schedule and act as a translator
programs for older adults. Community artists
between them and the Museum staff.
teach the workshops, which complement current exhibitions in the Museum.
Past exhibitions have explored a variety of community
PUPPET MAKING WITH DEVON LUDLOW
Devon Ludlow, puppeteer for Human Beast Box
the influx of people
and Meow Wolf, will teach puppet making in
January and February. This class accompanies
seeking treatment for
The Jim Henson Exhibition: Imagination Unlim-
ited. Classes are held from 1 to 3 p.m. on Sun-
view Cemetery, the
days and Tuesdays from January 7 to February
2. Classes culminate with a public presentation
community, and the
and reception on February 4.
role of the Territory of New Mexico during the American Revolu-
Baby lions used in an opening day performance for the Chinese American community history exhibition.
DREAMS UNREAL DANCE AND MOVEMENT WORKSHOP
tion. Our most recent
The new exhibition, Dreams Unreal: The Genesis
exhibition was about the Japanese incarceration camps that were in New
of the Psychedelic Rock Poster, will serve as the
Mexico during World War Two.
springboard for a dance workshop taught by
Creating exhibitions with nonprofessionals is not without its chal-
Keshet Center for the Arts’ faculty member Adri-
lenges, though. Community groups and Museum staff may prioritize
an Moore Trask. “Participants will draw from the
deadlines differently, and work schedules are not always complementary.
formal elements and imagery of the psychedelic
Moreover there is the question—who or what constitutes a “community”?
posters, the emotion of the music, and the ideas
Despite the challenges, my experience co-curating these exhibitions has
and historical context as inspiration for move-
been rich and rewarding. These groups have educated me through the
ment invention, discussion and connection, and
retelling of their experiences and taught me how to be a better collabora-
creative exploration,” says Trask.
tor. Plus, these relationships often carry on beyond the exhibit closing date, which is a reward in itself. Community members are invited to contact the Museum for more information or for an exhibition proposal form. 10
Art. History. People.
Dance and movement will be offered from 10 a.m. to 12 p.m. on Wednesdays, January 22 through March 11, followed by a public performance and reception on March 18.
New MUSEUM MEMBER DEALS Julie looks forward to
Simply present your membership card to the cashier.
working with the community to host business and personal gatherings. WOICCAK JOINS THE FOUNDATION The Albuquerque Museum Foundation welcomes Mary Beth Woiccak as the execVALDEZ IS THE NEW
utive assistant. Mary Beth
has more than 18 years of
experience from other art-re-
The Albuquerque Museum welcomes Julie Valdez, who
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tality, event and film industries for the past 22 years. Prior to coming to Albuquerque Museum, Julie was the director of catering for
Albuquerque. Prior to that,
lated roles as gallery manag-
Julie worked as a destination
er, program director, and art
wedding coordinator and
consultant, among others. Her
catering sales with Bekker’s
passion for the arts, project
Catering in San Diego. Orig-
inally from Albuquerque, she
and personality is a welcome
moved back in 2016 to be
addition to the staff.
near her children and grandchildren. A world traveler, Julie lived
Born in Endwell, New York, she has made her way to New Mexico via Georgia and
on a sailboat for two and a
Texas. Mary Beth is an artist
half years while in San Diego,
and loves the outdoors. She
and joined a sailboat racing
is overjoyed to call Albuquer-
team to learn how to sail.
que her new home and looks
“Being from New Mexico, I
forward to supporting the
had no clue how to sail when I
Foundation’s director, staff,
bought the sailboat,” she says.
2000 MOUNTAIN ROAD NW ALBUQUERQUE, NM 87104 Located inside the Albuquerque Museum
It is important to specifically list the Albuquerque Museum Foundation in
museums and art can be fun and acces-
your will so that your gift may be properly
sible to young children,” says Elizabeth
managed and acknowledged, and your
Becker, curator of education. “Art Start has
wishes honored. Estate gifts can be des-
inspired us to consider how we can grow
ignated to the following areas: Education
our programming for young children and
Program, General Endowment, Acquisi-
tions, or Exhibitions.
DON’T WAFFLE! SAVE THE DATE FOR THE SILVER ANNIVERSARY Shaken, Not Stirred 10th Anniversary & Passport to Belgium Raffle Albuquerque Museum May 30, 2020 7-11 p.m. Join us for a special diamond anniversary celebration. Plan on a fun-filled evening with great food and delicious martinis!
children with their community through
Society or want information about estate
art, culture and history. Students receive
giving, please call or email Emily Blau-
free transportation to a one-hour tour of
grund Fox at 505.338.8738 or ebfox@
the museum, followed by a 30-minute art
activity. The program is open to students from public, private, or home schools and
SAVE THE DATE: TURNING YOUR COLLECTIONS INTO A LEGACY Caballero and attorney Kate Fitz Gibbon, Sunday, March 1, 2020, 2:30-4:30pm, Ventana Salon, Albuquerque Museum. For information, contact the Foundation at 842.0111.
Art Start introduces pre-schoolers to
Since it began in 2018, ten couples and
art in a museum setting. The program,
individuals have chosen to include the Al-
sponsored by Vintage Albuquerque,
buquerque Museum Foundation in their
and organized as part of Magic Bus, was
estate plans, pledging approximately $3
developed in collaboration with Early
million. These individuals understand
Learning Specialists at Albuquerque
that giving from generation to genera-
Public Schools to provide access to
tion is one of the most significant ways
quality art museum visits, and education-
to leave a lasting legacy. According to
al materials for early childhood students,
one anonymous donor, “I love the estate
teachers, and family members. Specially
intention gift. It gives my husband and me
trained guides lead groups through an
the opportunity to put down a marker for
interactive exploration of select artworks
where we want our money to go when we
using storytelling, performance, and
are ready. It’s not a huge commitment that
hands-on experience. The program will
I have to ponder and recommit to every
be offered three days a month from
few years but something that will grow as
January through March, and free bus
we grow in our love for the museum.
transportation is available.
Art. History. People.
is funded through generous donations.
A conversation with appraiser Joan
The Magic Bus program connects older
If you are interested in joining the aM
GIVING KEEPS THE WHEELS SPINNING
“We are creating an environment where
MEMORIALS AND TRIBUTES IN MEMORY OF JAMES F. PHIPPARD Karen W. Phippard IN MEMORY OF JOAN VOGELSBERG Cynthia Richardson, Linda Colson, Dorothy George & Wayne Mikos IN HONOR OF JULIAN DE MAESENEER Joan Blythe and John Clubbe The Albuquerque Museum Foundation makes every effort to record and acknowledge our donors accurately and appropriately. Please contact the AMF offices at 505.842.0111 if you notice incorrect information. Thank you.
to Albuquerque Museum Foundation Contributors and Patrons Fiscal Year July 2018-June 2019
hat a treat and honor to be working for an institution that melds incredible beauty, remarkable history, passionate cultures, and community partners all under one roof. It is also remarkable that all this is shared freely with over 10,000+ school children pre-K through 12th grade. The Albuquerque Museum Foundation is honored to have earned your trust for more than 50 years. As members and donors, your gifts ensure we have an internationally recognized Museum and cultural community gathering place with a first-class reputation.
As we enter the next decade, your Museum and Foundation have started to plan the final phase of a master plan focusing on education for all. Stay tuned for more exciting information. My heartfelt thanks to each and every one of you! Emily Blaugrund Fox | Executive Director
Corporate Patrons’ Circle 100.3 The Peak - iHeart Media Abba Technologies All World Travel Inc. American Home Artichoke Café Bank of America Berger Briggs Real Estate & Property Management Inc Century Bank Contract Associates Fresco Books Fidelity Investments Garcia Automotive Group Haverland Carter Lifestyle Group HB Construction High Desert Art & Frame Holman’s, Inc. Los Poblanos Historic Inn & Organic Farm New Mexico Bank & Trust New Mexico Mutual RBC Wealth Management REDW Rio Grande Rodey, Dickason, Sloan, Akin & Robb, P.A. Slate Street Cafe Southern Glazer’s Wine & Spirits Starline Printing, Inc. Studio Southwest Architects, Inc. Taste Boutique Catering by Zinc, Seasons & Savoy The Cheesecake Factory Albuquerque
US Bank VARA
Patrons’ Circle PLATINUM Tracey Weisberg
GOLD Lee Blaugrund Peg and Dick Cronin Cyrene Inman Ohad Jehassi Jan Elizabeth Mitchell Harriet and Jim Neal Richard Van Dongen Dean Yannias
SILVER Linda and Carl Alongi Anonymous Beverly and Perry Bendicksen Ron Bronitsky Karla and Bill Cates Madeleine Grigg-Damberger and Stanley Damberger Revathi and Russ Davidson Janet and Robert Ford Monika and Robert Ghattas Deborah Good and Andrew Schultz Ellen and James Hubbell Marney and David Hupper Rosalyn Hurley Melinda and Will Itoh
Greta and Tom Keleher Ellen and Jim King Patricia and Robert Kurz Angelique and Jim Lowry Connie Lovelady-Rappaport and Stuart Rappaport Terri and John Salazar Carol and Scott Schaffer Sandralee and William Thompson Joyce and Alan Weitzel Helen Wertheim Elizabeth Wertheim Elizabeth Wills
BRONZE Karen Alarid Elizabeth and Lee Allbright Christopher and Karen Bard Mary and Leonard Beavis Hal Behl Fran Dever and Dale Belcher Margaret and Hugh Bell Barry K. Berkson Paula and David Blacher Nancy and Cliff Blaugrund Bronnie and Alan Blaugrund Emily Blaugrund Fox Francesca and Thomas Blueher Julia B. Bowdich and John Carey Sarah and Doug Brown Emily and Ken Brudos Elaine and William Chapman Elaine and Wayne Chew AlbuquerqueMuseumFoundation.org
JoAnn and Fred Chreist Pat Clauser Linda and Paul Cochran Ellen Moore and Robert Coffland Mary and David Colton Ann Conway Kenneth Conwell Tamara Coombs and Channell Graham Jennie and Michael Crews Krys and Philip Custer Linley and Michael Daly Kathleen Davis and Robert Wengrod Vicki and Sam Dazzo Catherine Deans-Barrett Stephanie and Robert Del Campo Jeanne and David Dettmann Franny Dever and David Tinker Judy and Ray Dewey Josef Diaz and Malcolm Purdy Margaret and James Dotson Gale Doyel and Gary Moore Andrea Escher and Todd Tibbals Alice and William Fienning Michael Freccia Carolyn Freese Debra and Howard Friedman Anne M. Galer
National Cash Register, Model 50, 1906, brass, marble or obsidian, wood, glass, 10.5 inches x 16 inches x 17 inches, Albuquerque Museum, gift of University Museums, Iowa State University and the estate of Joyce Brewer, PC2019.37.1
Art. History. People.
Mike Godwin Catherine and Joseph Goldberg Joel Goldfrank Lorraine and Jerome Goss Harvey Grasty Maria Griego-Raby and Randy Royster Sharon Gross Lauro Guaderrama Julie and Alberto Gutiérrez Patricia Hancock and Glenn Fellows The Honorable Harris Hartz Michael Hauger Dee Hines Catherine Hollander and Charles Price Ruthie Horn Robbins and David Robbins Debbie and Michael Houx Susan Hudson Pam Hurd-Knief and Ronald Knief April Steffens and Mark Joiner BJ Jones and Orlando Lucero Judy Jones Peggy and Michael Keleher Jan and William Keleher Bonnie and Hank Kelly Melanie Kenderdine and Steven Cary Debbie and Patrick Kinsella Elizabeth and Leonard Kirby Patricia Kneen Elizabeth and Jim Kubié Judith and Henry Lackner Patricia Larrabee Kathleen and Alan Lebeck Johnnye Lewis and Verner Westerberg Judy Love Dr. and Mrs. Bruce Lovett Joann and Scott MacKenzie Thoula and Gary Mallory Carolyn Dooley Martinez Bob McDade Millie McMahon Kathleen and Andrew Metzger Judy and Michael Muldawer Shirley Murphy, MD Evelyn Neil Janice and The Hon. James A. Parker Janice and Stuart Paster Joni Pierce and Brian DeBruine Sonya Priestly and Art Gardenswartz Dorothy and Larry Rainosek Roberta and Barry Ramo Marythelma and Richard Ransom Lynn Reed Roxana and Ogden Reid Patricia Cazier Renken Tiffany Roach Martin and Brian Martin Irene Vlitos Rowe and Kevin Rowe
Elaine Roy and Tom Jenkins Ellen Ann Ryan Prestina, Brenda and Samina Sánchez-Davis Cheryll and Peter Schwarz Susan and Richard Seligman Susan and Neal Shadoff Susan Zimmerman and Lynn Slade Terrence Sloan Rhonda Sorenson Diana and Chester French Stewart Penelope Hunter-Stiebel and Gerald Stiebel Judith Suiter Meg and Earl Tarble Corinne Thevenet Erika Black and Roddy Thomson Louise Campbell-Tolber and Steven Tolber Leslie Umphrey Hilary and Alfred Volden Ann Walton and Alon Carter Diane Waters and Charles Braun William Weber Pamela Weese Powell and Marc Powell Susan and David Weymouth Heather and Dean Willingham Sharon and Sheldon Wright Anne and Vince Yegge Beverly and John Young Janet Youngberg
Acquisitions Fund Margaret and J.B. Blaugrund Foundation
MasterWorks: Visions of the Hispanic World Textile Arts Bank of Albuquerque Albuquerque Old Glass Club Karen Alarid Lynne and Michael Arendall Sandra and Allen Benn Barry K. Berkson Francesca and Thomas Blueher Mariruth Brooks-Wittkamp Olinda Luna Chavez Joy Clausen Ellen Moore and Robert Coffland Mary and David Colton Tamara Coombs and Channell Graham Marsha Swiss and Ronald Costell Madeleine Grigg-Damberger and Stanley Damberger Revathi and Russ Davidson
Josef Diaz and Malcolm Purdy Janet and Robert Ford Monika and Robert Ghattas Roberto Gomez Deborah Good and Andrew Schultz Maria Griego-Raby and Randy Royster Patricia Hancock and Glenn Fellows Sarah Hamilton and Francis Harding Martha Heard Margot Heffernan Rosalyn Hurley Peggy Jones BJ Jones and Orlando Lucero Cristina Letherer Betsey and Harry Linneman Kris and Terry Linton Conchita and John Lucero David Lyman and Christopher Alexander Kathleen and Andrew Metzger Mary and Joseph Mucci Evelyn Neil Anne Normann Barbara Ann and Joseph Oser Ray Reeder Irene Vlitos Rowe and Kevin Rowe Brenda Sanchez-Davis Kendall Serota and Luis Campos Penelope Hunter-Stiebel and Gerald Stiebel Martha Sturgis Judith Suiter Rebecca and William Tallman Barbara Taylor Richard Van Dongen Tracey Weisberg Maria and Ted Wolff Dean Yannias Beverly and John Young
Membership SUPPORTERS Richard M. Adam JoAnn Albrecht Susan Nelson Anderson and Robert Anderson Valerie Armer Patricia Barron Susan Beckmann Dana Bell and Richard Wood Frances and Howard Berger Erika Rimson and David Bernstein Susan Bortz-Johnson David Bower and Thom Lange Denae Brake and Robert Byrd
Marilyn Bromberg Carol and George Burleson Nancy and Howard Carr Susan and Les Carter Pamela and Victor Chavez Patricia and Jim Coad Page Coleman and Cecilia Quintana Sharon and Robert Craig Emily Esterson and Scot Key Susan Feil Heidi Fleischmann and James Scott Frances and Robert Fosnaugh Ken Fraser and Ron Kamann J. Arthur Freed Marie and Stephen Fritz Ann Gallegos Polly Garner and Bill Vega Tanner and David Gay Judy and Charles Gibbon Elizabeth Gordon Blanche and Justin Griffin Wendy and Karl Gustafson Sheila and Michael Hannah Betty and Lee Higbie Walt Hogsett Sherry Horton Shannon and Patrick Hurley Nannette and Patrick Hurley Carol Jones Elizabeth Kistin and Tim Keller Jenna Kloeppel and Dietger De Maeseneer Ricki and Scott Kresan Nandini and Woody Kuehn Charles S. Larrabee Sandra and Lee Liggett Nancy Lindas Betsey and Harry Linneman Myra and Richard Lynch Toni Martorelli Donese Mayfield and Dave Bailey Peggy Sanchez Mills and Jim Mills Shanna and Albert Narath Townley and Robert Neill Sarah and Thomas Nelson Mary and George Novotny Barbara and Del Packwood Laurie and Kelly Parkhill Mark Rainosek Leo and Robin Romero Eileen and Kenneth Ross Glynda and John Samford Barbara and Heinz Schmitt Marian and H.L. Schreyer Sidney Schultz Joyce Scott
Wendy Shannon and Rick Higgins Susan Stamm and Dick Evans Rex Swanda and Ruben Gallegos Linda Switzer Susan and Larry Tackman Carolyn Tinker and Michael Norviel Martha and Leo Twiggs James Voet J.D. and Chuck Wellborn Luke and Meg Wenger Harvey White, Jr. Wendy Wilkins and Jay Rodman
Bruce S. Lowney, The Diver, 1987, lithograph on paper, 23 Ă— 22 1/4 in. (58.4 Ă— 56.5 cm), Albuquerque Museum, gift of the artist, PC2018.73.9
Marty and Rodney Wilson Ann and Thomas Wood Carol de Montel and Kelly Wright
BENEFACTORS Dana Asbury and Richard Levy Laurie and Thomas Barrow Wendy Beach Judy and Stephen Chreist James Culpepper Mike Dexter Jane and Michael Flax Nora Clyde Stats Goldman and Robert Goldman Cheryl Hall and M.D. Bustamante Jean and Joe Harris Mary Herring Sandra James Paula and Michael Jarvis Patricia and Robert Johnson Rita Leard Barbara McAneny and Steven Kanig Mary and Bernard Metzgar AlbuquerqueMuseumFoundation.org
Virginia and Jason Moran Carol and Gary Overturf Doris and Thomas Parry Jaye Pearson Virginia Printz-Feddersen and Richard Feddersen Irving Rapaport Lenore and John Reeve Rayme and Allan Romanik Nancy and Don Schmierbach Kendall Serota and Luis Campos Sam and Fred Sherman Garrett Smith Marsha Swiss and Ronald Costell Mari-Pat Weber
aM Contemporaries Bobby Beals Karen Blaha and Theron Rodgers Paul Campbell Jacob Candelaria Christina Chavez Adam Ciepiela Brianne Clarkson Jane and Kenneth Cole Dea and Matt Crichton Kathleen DeBlassie Sarah Diddy Liz and Mitch Earls Laura Fashing and Mark Unverzagt Molly Geissman Stephen Gilliam Ty Harris Michelle Horndeski and Micah Gatz Norah Kissell and Lincoln Collins Karanina Madden-Krall Zahra Marwan Danielle Nelson and Elise Espat Meghan Nicholson Sara Niedbalski and Andrew Caloca Alarie Ray-Garcia and Bryan Garcia Megan Schultz and Arif Khan Lauren Tresp and Clayton Porter Katie Wertz
James Evans Frederick Hammersley Foundation Dr. Bebe Han Chuck Jones Gallery – Santa Fe Wanda Keahe Kay Khan Lores Klingbeil Louise Laval and J. Frederick Laval Richard Levy and Dana Asbury Kelley and Orlando Leyba Bruce Lowney Frank McCulloch Harold O’Connor Deborah Lynne O’Grady Steve Padilla Wes Pulkka Janis Randall Rémy Rotenier Paul Sarkisian Meg and Earl Tarble Joe Traugott Emily Trovillion Kei Tsuzuki
History Collection Item Donors Dan Bandel Katy Boone Meredith Bunting Patrick Conroy James Covell Eason Eige Jerome Goss Deb Haaland for Congress William B. Heeter Christine Holdeman Iowa State University, University Museums | Allison Sheridan Skip Maisel Josephine Marquez Marilee Schmit Nason Deb Slaney Robert Smith Nancy Tucker
Photo Archives Item Donors Rex Allender Alan Blaugrund Gordon Bronitsky Jacqueline Gabrielle Tommie Garcia Lou Ann Garner Jerry Goss Deb Haaland for Congress Historic Albuquerque, Inc. Nanette Huffman Skip Maisel David Pitchford John B. Richardson Susan Schwartz Tularosa Basin Historical Society Nancy Tucker
Annual Fund Donors ($500+) Sara and Joseph Badal Margaret Baldrige Barbara and Daniel Balik Gay and Stan Betzer Robert Bradley Elaine and William Chapman JoAnn and Fred Chreist Ann Conway Eugenia and Charles Eberle Jane Einhorn and Meg Cox Francis Elkin and Phyllis Frier Andrea Escher and Todd Tibbals Monika and Robert Ghattas Mary Herring Susan Hudson Rosalyn Hurley Ambassador and Mrs. Itoh Robin and Julius Kaplan Virginia Printz-Feddersen and Richard Feddersen Gwyn Metz Marythelma and Richard Ransom Lenore and John Reeve Ellen Ann Ryan
Art Collection Item Donors Albuquerque Museum Education Program Andrés Armijo Ho Baron J. Daniel Boley (promised bequest) Peter Bowles and David Donaldson Peg Cronin Marjorie Devon Eason Eige ETKIE 16
Art. History. People.
We are grateful to all our donors. Due to space limitations, we cannot include everyone. Magic Bus Donors are recognized on the Albuquerque Museum Foundation website.
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MUSEUM STORE 505-242-0434
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Front Cover Bob Schnepf, BG84: Lothar & The Hand People, The Doors, Captain Beefheart & His Magic Band; Sept. 29, 30, Denver, 1967, offset lithograph on paper, Albuquerque Museum, gift of Dr. James Gunn
COMING SOON TO THE ALBUQUERQUE MUSEUM TRINITY: REFLECTIONS ON THE BOMB May 23 to September 6, 2020 Trinity: Reflections on the Bomb displays a diverse range of artists’ responses to nuclear issues and the detonation of the first nuclear weapon at the Trinity Site near Alamogordo, New Mexico, on July 16, 1945. The exhibition marks the 75th anniversary of the Trinity explosion. Trinity presents a brief history of artistic, ecological, humanitarian, political, and popular culture responses. These works offer an aesthetic dimension to the scientific and historical exhibitions offered by other museums in New Mexico.
Karsten Creightney, The Beginning, 2011, collage, watercolor, acrylic, oil and wax on wood, 72 x 96 in., collection of Ken Sandoval