Summer 2018 Member News

MUSEUM OF NEW MEXICO FOUNDATION | SUMMER 2018

Mining the Past, Funding the Future Office of Archaeological Studies

Table of Contents LETTER TO MEMBERS

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BOARD OF TRUSTEES

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STORIES FROM THE UNDERGROUND

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NEW MEXICO MUSEUM OF ART

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NEW MEXICO HISTORY MUSEUM AND PALACE OF THE GOVERNORS

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MUSEUM OF INTERNATIONAL FOLK ART

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MUSEUM OF INDIAN ARTS AND CULTURE

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NEW MEXICO HISTORIC SITES

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LICENSING 18

Cover: Office of Archaeological Studies Director Eric Blinman displays one of his recent excavation finds. See page 3 for details.

Photo by Saro Calewarts.

Below: The Museum of New Mexico Foundation recently broke ground on the site of the future Thomas B. Catron III building at the Eugenie Shonnard House property. Named in honor of the Foundation’s founder, the building will be the permanent home for Foundation staff offices.

Photo by Saro Calewarts.

CIRCLES EXPLORERS

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WAYS TO GIVE

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Our Mission The Museum of New Mexico Foundation supports the Museum of New Mexico system through fund development for exhibitions and education programs, financial management, retail, licensing and advocacy.

The Foundation serves the following state cultural institutions: • Museum of Indian Arts and Culture and Laboratory of Anthropology • Museum of International Folk Art • New Mexico History Museum and Palace of the Governors • New Mexico Museum of Art • New Mexico Historic Sites • Office of Archaeological Studies

Member News Contributors Mariann Lovato, Managing Editor Carmella Padilla, Writer and Editor Alexandra Hesbrook Ramier, Writer Bram Meehan, Graphic Designer Saro Calewarts, Photographer

Dear Members, We are delighted to feature the Office of Archaeological Studies in this issue of Member News.

The Office is perhaps the least known division of the Museum of New Mexico system, which also includes four state museums in Santa Fe and seven historic sites statewide. Yet extremely important work — archaeological, educational and research-oriented — takes place in its offices and laboratories at the Center for New Mexico Archaeology and in classrooms and communities statewide.

Eric Blinman has been on staff there for 30 years and director since 2006. “This office operates on passion,” says Blinman. “There is some element of truth and justice to the science of archaeology.

We try to create the most accurate picture of the past.”

Beginning on page 3, you will learn about the Office’s recent and ongoing work, including the archaeological excavations undertaken by Blinman and staff at the Museum of New Mexico Foundation’s future permanent home, the Eugenie Shonnard House. You will also read about the division’s award-winning educational and outreach programs that last year involved 14,000 participants throughout New Mexico, and their scientific research projects that have a global reach.

While the Office’s archaeological projects are largely covered by contracts with public and private entities, its educational and research activities are funded solely through private contributions from granting organizations and Foundation members and donors.

Your support is critical to the Office’s ongoing success. A great way to see your support in action is to join Friends of Archaeology, which is offered free of charge for Foundation members. See page 6 for more details.

As always, spring and summer bring new exhibitions to our state museums in Santa Fe. Be sure and drop in to the downtown New Mexico Museum of Art to view the new exhibition of Patrick Nagatani’s photographs alongside work by another longtime New Mexico artist, Frederick Hammersley. Across the street at the New Mexico History Museum, the new Atomic Histories exhibition features two extraordinary works of art by Meridel Rubenstein, among a number of historical artifacts.

“While the Office’s archaeological projects are largely covered by contracts with public and private entities, its educational and research activities are funded solely through private contributions from granting organizations and Foundation members and donors,” says Foundation President/CEO Jamie Clements. Photo © Daniel Quat Photography.

On Museum Hill, take in Beadwork Adorns the World at the Museum of International Folk Art. Then stroll to the other end of Milner Plaza, where Maria Samora: Master of Elegance is on view at the Museum of Indian Arts and Culture.

Summer is the perfect time to experience the magnificent art, culture and history of New Mexico at our museums and historic sites. And don’t forget to keep your eyes open for ongoing Office of Archaeological Studies lectures and events.

Sincerely,

Jamie Clements President/CEO museumfoundation.org 1

Museum of New Mexico Foundation Board of Trustees 2017–18 J. Scott Hall, Chair Pat Hall, Vice Chair Dan Perry, Vice Chair John Rochester, Treasurer Harriet Schreiner, Secretary

Jane and Bill Buschbaum at home with their beloved dog. The Museum of New Mexico Foundation thanks Jane, who until recently was one of our longest serving trustees, for her many contributions to both the Foundation and the Museum of New Mexico system. In addition to serving as vice chair of the Foundation board, Jane was active on the development and shops and licensing committees. She continues to support the Museum of Indian Arts and Culture, a museum to which she is deeply devoted as a docent, volunteer and philanthropist.

Jane’s work on the museum’s annual Native Treasures and Collector’s Sale events has helped provide significant funding for museum exhibitions and education programs. Jane and her husband Bill’s philanthropy has also advanced the museum in significant ways. The Buchsbaum Gallery of Southwestern Pottery features more than 300 pottery works donated by the couple. Their generosity provides visitors the opportunity to learn about the extraordinary pottery traditions of artists from New Mexico and Arizona.

Together Jane and Bill have made a profound difference to the Foundation and in the Museum of New Mexico Foundation.

Photo by Saro Calewarts.

Catherine A. Allen Anne Bingaman Nancy Bloch Cynthia Bolene Jane Buchsbaum Frieda Simons Burnes William Butler Rebecca Carrier Sharon Curran-Wescott Christie Davis Sherry Davis George Duncan Kirk Ellis Maria Gale Carlos Garcia Robert Glick Guy Gronquist Marian Haight Bud Hamilton Steve Harris Nicole A. Hixon Stephen Hochberg Rae Hoffacker Jim Kelly Bruce Larsen Lawrence Lazarus, M.D. Martin Levion Ann Livingston Jim Manning Christine McDermott Helene Singer Merrin George Miraben Beverly Morris Mark Naylor Dennis A. O’Toole, Ph.D. Michael Pettit Kathleen Pugh Jerry Richardson Wilson Scanlan Nan Schwanfelder Judy Sherman John Silver Courtney Finch Taylor Matt Wilson

ADVISORY TRUSTEES Victoria Addison Charmay B. Allred Keith K. Anderson JoAnn Balzer Dorothy H. Bracey Lynn Brown Rosa Ramirez Carlson Robert L. Clarke Stockton Colt Liz Crews Joan Dayton Rosalind Doherty Leroy Garcia Catherine M. Harvey Susie Herman Ruth H. Hogan Barbara Hoover Peggy Hubbard Kent F. Jacobs, M.D, Cathy Kalenian David Matthews Doris Meyer Patty Newman Jane O’Toole J. Edd Stepp Suzanne Sugg Nancy Meem Wirth Claire Woodcock Robert Zone, M.D. HONORARY TRUSTEES Lloyd E. Cotsen* Jim Duncan Jr. Anne and John Marion Edwina and Charles Milner Bob Nurock* Keith Roth J. Paul Taylor Carol Warren Eileen A. Wells *deceased TRUSTEES EMERITI John Berl Thomas B. Catron III Saul Cohen Alan Rolley Marian Silver James Snead

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Stories from the Underground

Above: Masses of melted bricks were among the many interesting items found in the well at the Eugenie Shonnard House during pre-construction excavations by the Office of Archaeological Studies. Photo by Saro Calewarts.

Previous page: Photo top right © Caitlin Elizabeth; additional photos courtesy Office of Archaeological Studies.

“Bricks just melted into each other — a solid mass,” says Eric Blinman, director of the Office of Archaeological Studies. He is holding one of many rock-like chunks of fused bricks that were found during excavation of the property surrounding the historic Shonnard House, located at 1411 Paseo de Peralta in downtown Santa Fe. The former home and studio of internationally known sculptor Eugenie Shonnard, the site is soon to be the permanent home of the Museum of New Mexico Foundation. Blinman and Office staff were hired by the Foundation to complete a required archaeological survey before construction of office space—in the new Thomas B. Catron III building—can commence.

Blinman explains his theory that the large rocks — found in Shonnard’s well — are likely the result of a failed attempt to create homemade Portland cement.

“The temperature you need to roast limestone to produce cement exceeds the temperature it takes to fire normal building bricks,” he says. “This brick furnace was probably used once and it failed before Shonnard’s very eyes. Imagine your backyard barbeque glowing red hot and collapsing in on itself. The melted bricks had to be broken up with a sledge hammer and were used to fill the well.”

Blinman guesses the filling of the well occurred in the early 1960s, based on the discovery of a Rainbo Bread wrapper also pulled from the well.

“There are no newspaper articles, nothing in Shonnard’s notes, that hint at what this grand experiment was or when it happened,” Blinman continues. “But we know that Rainbo Bread started production and distribution in Santa Fe in 1958.”

New Mexico’s Best Kept Secret As director of the Office of Archaeological Studies since 2006, and a staff member since 1988, Blinman says he has “never been bored” piecing together the stories of the past.

“There is some element of truth and justice to the science of archaeology,” Blinman says. “We try to create the most accurate picture of the past, which is not often reflected even in written records.”

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As head of a not-for-profit enterprise program within the Museum of New Mexico system, Blinman is also very much involved in ensuring the vitality of archaeology in the present. Unlike other divisions in the museum system, the Office supports its scientific and educational mission by supporting itself. Work-for-hire archaeology, such as the Foundation’s Shonnard project, provides vital operational funding. But what Blinman calls “our pride and joy” — its award-winning educational outreach programs and scientific research projects — are fully dependent on private gifts and grants.

“While the Office operates on an enterprise model distinct from the other Museum of New Mexico divisions, it has very robust programming that is sustained through private support,” says Foundation President/CEO Jamie Clements. “Our members and donors enable it to provide educational opportunities throughout New Mexico and conduct groundbreaking research that is recognized globally. The Office is our state’s best kept secret!”

Indeed, in their respective roles as scientists, educators and storytellers, Blinman, his staff and their committed corps of volunteers are often unseen advocates for the verifiable stories of New Mexico and beyond. And despite the financial challenges, Blinman says, “Doing the best job possible to move knowledge forward is really important.

“Somebody drops off 70,000 pieces of pottery and expects me to analyze it all. It can be overwhelming, but there is a reason to look at every single sherd,” he continues. “Trying to understand the life of the woman who was making the pot, who she traded it with, how that pot was used, when the pot started to fail, how pieces were recycled, and eventually, how it ended up in the hands of the archaeologist is fascinating.”

Following the Pot The Educational Component From the woman who made it to the archaeologist who analyzes it, the reason to follow the pot and the stories it holds is education. Among its various functions, the Office is nationally recognized for award-winning educational programs that, in 2017 alone, reached some 14,000 individuals statewide with some 350 initiatives both in the community and the classroom.

Fifty-two of these projects featured staff members providing outreach to Native communities. For example, archaeologist Mary Weahkee (Comanche Nation and Santa Clara Pueblo) is fluent in many ancient technologies and known for teaching yucca fiber technologies to tribal members.

Archaeologist Mary Weahkee (Comanche Nation and Santa Clara Pueblo) demonstrates yucca fiber production at an Office of Archaeological Studies community outreach event. Photo courtesy Office of Archaeological Studies.

“We are lucky to have Native American staff members who are skilled in survival technologies,” Blinman says. “Now, tribes are coming to us to borrow Native archaeologists for education programs.”

Another major initiative is Project Archaeology.

Working with teachers across New Mexico, outreach educator Mollie Toll and volunteer docents provide classroom training, materials and activities that encourage students in critical thought, science, math and literacy skills.

“We are far less concerned with teaching the dates and phase names of prehistory than concepts of critical thinking, of the adaptability of human populations, and of the basic richness of New Mexico’s community histories,” Blinman says. “We are creating educational opportunities that are wholly unique and that benefit thousands of schoolchildren.

But our achievements depend solely on private support.”

Finding the Privy The Enterprise Function “We’re hired guns,” says Blinman. “None of the people in this office have a paycheck unless a client needs their services.”

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This year, Blinman and staff will work on over 20 projects for private and public clients, including state, federal, county and city agencies. Much of the work is due to historic preservation regulations that require archaeological investigations before construction and other types of ground disturbance.

This ensures that culturally sensitive areas or artifacts are preserved.

“The whole idea of historic preservation laws, the reason we are excavating stuff, is to discover new knowledge of the past,” says Blinman. Recent examples range from Comcast laying fiberoptic cables on Lincoln Avenue to the Foundation’s construction at the Shonnard property, both in the city’s historic district.

Friends of Archaeology, Friends in Fundraising Since it was founded in 1991 by Tim Maxwell, former director of the Office of Archaeological Studies, and Doc Weaver, a private supporter, Friends of Archaeology has been a major player in the organization’s success.

With more than 1,000 members, it also ranks as the largest of the Museum of New Mexico Foundation’s member support groups. Free with a Foundation membership, members partake in various activities that immerse them in the subjects of archaeology. These activities generate funds for important Office research and education programs.

“Friends of Archaeology is an essential source of private funding,” says director Eric Blinman.

“Its members help us continue to grow, offer educational programming, and be responsive to the public.”

According to Blinman, the group consists of individuals, often retired teachers or professors, who have a passion for archaeology. In addition to participating in group activities, many members also volunteer as education docents or assist with the Office’s year-round events.

If you are a Foundation member and want to join Friends of Archaeology, call 505.982.6366 ext. 100.

Though the privy has yet to be found, the Shonnard property is telling a less-sordid story, one that speaks to the development of Shonnard’s historic neighborhood. After interviewing an elderly neighbor who grew up playing on Shonnard’s property, Blinman believes Shonnard’s privy might lie under one of the large apricot trees.

“We asked the neighbor, ‘Where’s your privy?’ and she pointed to a fruit tree in her yard,” he says “When they connected up to the city sewer, they didn’t need a privy anymore, so they planted a fruit tree.”

What’s in My Back Yard?

The Public Responsibility As a public entity, Blinman says, the Office has a great sense of public responsibility.

“If the public has a question — ‘How old is this thing in my backyard?’ or ‘What do I do with this skull in my grandmother’s garage?’ — they don’t go to private archaeologists,” he says. “They go to the museum archaeologists.”

Blinman and his staff relish opportunities to supplement work-for-hire archaeology with research projects that analyze, interpret and compare discoveries from their own fieldwork and others. Such

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PHOTO COURTESY FRIENDS OF ARCHAEOLOGY

These include the popular OAS Brown Bag Talks, expert-driven lectures at the Center for New Mexico Archaeology; Chiles and Sherds, an archaeological-themed outing; International Archaeology Day, an annual open house featuring laboratory and collections tours and artist demonstrations; and the year-end Holiday Party/Silent Auction.

While an initial survey of the latter property revealed evidence of Shonnard’s failed cement experiment, the city’s Archaeological Review Committee requested a deeper look. “They said, ‘You guys haven’t found the privy, you have to go back to do more,’” Blinman says. “Everybody had a privy, and privies accumulate all that stuff that people are not willing to own up to. Out swilling laudanum? It goes down the privy hole. That revolver we found in the privy in the railyard? Did it accidently fall out of somebody’s holster as they were dropping their pants, or was it evidence of a crime?”

research takes advantage of state-of-the-art laboratories at the Center for New Mexico Archaeology, the home base for the team and its archaeological collections. They include ethnobotany, osteology and archaeomagnetic labs, as well as one of only three places for plasma radiocarbon sampling in the world.

The latter was recently used to help determine the age of a possible Picasso painting suspected of being a forgery.

Ceramic and stone artifact analysis round out the research specialties of Blinman and his staff. Together their expertise builds the story of the human and material cultures of New Mexico, the greater Southwest and beyond. For an article prepared for American Antiquity, for example, chipped stone artifact expert James Moore compared obsidian sourcing data from individual projects throughout the northern Rio Grande region to build a model of changing social and economic networks over time.

“You can’t do this type of work from any individual project because you can never have the time or geography to build the picture of how people were obtaining, using and distributing obsidian,” Blinman says. “Jim has been able to look at the big picture all on the basis of obsidian.”

While some research projects are paid for by clients, independent projects such as this require private funding or volunteer support. “When Jim pulled obsidian samples from our collections and began having them sourced, the researcher on the other end was great,” Blinman says. “He said, ‘If you can find the money to do half, I will do the other half for free.’ We were able to leverage Friends of Archaeology support for Jim’s research to get more data available for study.”

Funding the Undone, Fueling the Passion “Enterprise archeology is always triage. No one is ever going to give you enough money to do what could be done,” Blinman says. “Part of our responsibility is to walk the thin line of doing enough, but that does leave a tremendous amount undone.”

One undone project that is a current funding priority for Blinman goes to the heart of the Office’s responsibility to the public. The Office plays a key role in the state’s compliance with the federal Native American Graves Protection and Repatriation Act, which

Dr. Marvin Rowe, scientist and research associate for the Office of Archaeological Studies and Museum of New Mexico Conservation Department, directs the Center for New Mexico Archaeology’s Low Energy Plasma Radiocarbon Sampling Laboratory. Rowe is shown here recording observations at the start of the argon plasma sample cleaning process. Photo courtesy Office of Archaeological Studies.

requires that all human burials found on state and private lands be dealt with in a culturally appropriate manner.

“This is an incredible challenge on a day-to-day basis because there are a lot of burials that have never been properly brought to a conclusion,” says Blinman. “The work has a legal minimum requirement, but to do a truly through job of documenting the archaeology can take tremendous staff time.”

Dr. Ann Stodder, a staff osteologist, currently works on these projects when she can. But Blinman is seeking funding to provide for additional support.

“We have to do this right, and we have to be respectful in how we do things,” he says.

One might think that dealing with such complicated cultural responsibilities and stressful financial realities would make Blinman a less-enthusiastic leader. His big-picture perspective, however, always brings him back to the reason he and his staff come to work every day.

“This office operates on passion. The people here could be much better off financially if they embraced different careers, but their concern for history spreads to everyone we interact with,” he says. “One of the strengths of being part of the Museum of New Mexico are these connections and responsibilities.

Everything we do contributes to the whole in some way, shape or form.”

For information on how to donate to the Office of Archaeological Studies, or to join Friends of Archaeology, contact Celeste Guerrero at 505.982.6366 ext. 116 or Celeste@museumfoundation.org. museumfoundation.org 7

New Mexico Museum of Art Your Name Here Many of the following naming opportunities are still available at Vladem Contemporary: First Floor • Main Gallery $2,000,000 • Education Center $1,000,000 • Grande Alee $1,000,000 • Café Reserved • Welcome Center Reserved • Pavilion Reserved • North Entry Plaza $250,000 • Office Suite Reserved • Grand Sculptural Staircase Reserved • Loading Suite $100,000 • Education Vestibule $100,000 • Southern Outdoor Stairwell $50,000 • North Alcove Gallery $75,000 • South Alcove Gallery $75,000 • Coat Hall $50,000 • Main Elevator Reserved • Secondary Stairwell $50,000

Vladem Contemporary A Gift of Love Bob Vladem is a self-described “go big or go home” type of guy.

He told a good friend he would marry Ellen, his wife of 38 years, the moment he saw her.

He started house hunting in Santa Fe after one visit, during a parent’s weekend at St. John’s College, where his daughter attended school.

And he knew he and Ellen would make a significant gift to the Centennial Campaign for the New Mexico Museum of Art after attending a short informational session last fall about the museum’s effort to build a contemporary art annex.

“I love Santa Fe,” says Bob, who relocated to the city from Chicago in 2013. “When you love something, you want to make a gift. You want to give something back.”

The Vladems’ gift of $4 million is the largest cash gift in the history of the Museum of New Mexico Foundation. When the art annex

Second Floor • Upper Gallery $1,500,000 • Rooftop Terrace $1,000,000 • Sculpture Terrace $500,000 • Light Gallery $250,000 • Bridge 1 $250,000 • Artist Studios Reserved • Collections on View $250,000 • Bridge 2 $100,000

Ellen and Bob Vladem at the future Vladem Contemporary, the satellite location of the New Mexico Museum of Art, opening in 2020 in the Santa Fe Railyard. Photo by Saro Calewarts.

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PHOTO UPPER LEFT © DANIEL QUAT PHOTOGRAPHY

For more information about how to support the Centennial Campaign for the New Mexico Museum of Art, contact Jamie Clements at 505.982.6366 ext. 110 or Jamie@museumfoundation.org.

Architectural rendering of the north entrance of the future Vladem Contemporary. Photo courtesy DCNA Architects.

opens in 2020 in the Santa Fe Railyard Arts District, it will be called Vladem Contemporary in recognition of the couple’s generosity.

“When we think back 100 years ago, it was one individual, Frank Springer, a prominent lawyer of the time, who gave half the money to make the Museum of Art possible,” says Foundation President/CEO Jamie Clements. “Today, it’s one gift from one couple that represents half of what we need to make this contemporary museum possible.”

Like the original New Mexico Museum of Art, Vladem Contemporary at once honors the history and future of Santa Fe. The new museum will transform an original territorial-style warehouse into a modern exhibition and education space for contemporary art, artists and audiences from New Mexico, nationwide and internationally.

“A lot of collectors want somewhere to give their collections, and they don’t want them to be in a basement or in another state,” says Bob. “This is absolutely the best choice. Otherwise, these gifts are going somewhere else and it is going to diminish Santa Fe.”

“All In” Generosity Bob, a former accountant who now invests in Pennsylvania car dealerships, intermodal trucking

companies and logistics companies nationwide, and Ellen, a former nurse, had long considered leaving their native Chicago. Santa Fe fit the bill for their love of the outdoors, opera and the arts.

“That narrows the list down considerably,” says Ellen.

“This is an entire town built on the arts.”

While the couple admits they never envisioned helping to build Santa Fe’s next museum, Ellen says, “We were so impressed with the architects’ design. It just wowed us. That’s when we said we are all in.”

Indeed, along with their generous gift comes a commitment from Ellen to volunteer at the new museum. Bob will join the Foundation’s board of trustees in August.

“Bob said from the very beginning, ‘This isn’t just a gift and I walk away. I am going to be very involved in your organization,’” says Clements. “We look forward to his and Ellen’s greater involvement.”

More than anything, the couple plans to focus on education. “Museums are changing. They are not just places where people come and point. They are places where people come and live and experience,” says Bob. “This is more than a contemporary art museum.

I feel this is going to be an amazing place that will have a life of its own.”

For information about how to give to the Centennial Campaign, contact Jamie Clements at 505.982.6366 ext. 110 or Jamie@museumfoundation.org.

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New Mexico History Museum Palace of the Governors Happy Birthday, Meriom!

As Meriom Kastner turns 100 on July 10, she feels gratitude for the life she shared with her late husband Howard, who died in 2003.

“My husband escaped the arrival of Hitler in Austria by about five minutes. He and I were one person.

What he felt I felt and vice versa,” she says. “We both grew up during difficult times in history, so we have a lot to be thankful for.”

When it comes to the Kastners, the New Mexico History Museum is also grateful. In 1988, the couple was instrumental in helping to bring the Segesser Hides, one of New Mexico’s most treasured cultural artifacts, to the Palace of the Governors, where they are on permanent exhibition today.

Exploring Atomic History “See that smoke alarm there?” asks Melanie LaBorwit, educator and curator for Atomic Histories, opening June 2 at the New Mexico History Museum. “The thing that makes a smoke alarm work is a little chip of americium, which is radioactive. But it’s not giving off rays like science fiction from the 1950s. It’s not like Spider-Man.” The idea of a spider irradiated by a particle beam, whose bite gives Peter Parker (aka Spider-Man) radioactive superpowers probably fits many people’s idea of radioactivity. But Atomic Histories shows that nuclear energy, and New Mexico’s role in this scientific discovery, is a story of much more complexity and nuance.

“We are looking at the places in New Mexico that are important to telling this history, and the people who made that history,” says LaBorwit.

The exhibition highlights two major installations, The Meeting and Oppenheimer’s Chair, both by Meridel Rubenstein. The Meeting was created in 1993 as part of Critical Mass, a collaborative traveling exhibition (with artists Ellen Zweig and Steina and Woody Vasulka) of the New Mexico Museum of Fine Arts (now the New Mexico Museum of Art). The work explores the meeting of Puebloans and nuclear scientists at the home of Edith Warner during the making of the first atomic bomb. Oppenheimer’s Chair was commissioned for the first SITE Santa Fe International Biennial in July 1995, the 50th anniversary of the first nuclear detonation at Trinity Site in southern New Mexico. In both works, Rubenstein utilized a variety of media— including glass, photo, video and steel—to interpret key events and locations in the state’s atomic history.

Rubenstein’s pieces will be complemented by an interpretive exploration of atomic history in the museum’s second-floor gathering space. In addition to all-ages, hands-on activities — such as calculating your annual radiation dose or using a Geiger counter — an array of images and interviews will show the people who worked on the Manhattan Project, as well as some of their descendants. Visitors will encounter voices from civilian, military and scientific communities, as well as those from local Hispanic and Native communities who were not often included in early atomic histories.

“There is an opportunity, through real-time recordings, to hear individuals tell what life was like in that time,” says LaBorwit. “There is more immediacy when you bring in community voices.”

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NEW MEXICO HISTORY MUSEUM LOBBY PHOTO © DANIEL QUAT PHOTOGRAPHY MERIOM KASTNER PHOTO © MICHELLE VEST

Meriom Kastner has also been a powerhouse in her commitment to culture throughout Santa Fe, volunteering at almost every cultural institution in the city. For all of her big-hearted contributions to the history museum, we say Happy Birthday, Meriom!

From Spider-Man to Dr. Atomic

Vital Community Collaboration The museum is again partnering with the Santa Fe Opera for “Tech and the West.” This series of exhibition-related programs culminates in a July 13–14 museum symposium. Guest speakers include Richard Rhodes, Hugh Gusterson, Rachel Bronson, James Nolan and Meridel Rubenstein.

“After the first joint symposium in 2016, we were delighted to discover that we had a whole new audience,” says Andrea Fellows Walters, Santa Fe Opera director of education and community programs. “We anticipated overlap between opera and museum goers. What we didn’t anticipate was that people who hadn’t found either of our institutions would come out for this programming.”

The opera debuts Dr. Atomic as part of its 2018 season, an opera set in the days before the first atomic bomb test at Trinity Site.

“It’s an opera about New Mexico that has never been presented in New Mexico, “says Fellows Walters. “We are in a time where people are still questioning this delicate subject. That is why this collaboration is so vital.”

LaBorwit agrees. “It’s important that the museum plays a role in helping people understand the history of technology, especially in New Mexico,” she says.

For information about how to support community programs at the New Mexico History Museum, contact Yvonne Montoya at 505.982.6366 ext. 102 or Yvonne@museumfoundation.org.

Top: Meridel Rubenstein, The Meeting, 1993, mixed media.

Photo © Robert Reck.

Above: Meridel Rubenstein, Oppenheimer’s Chair, 1995, mixed media. Photo © Robert Reck.

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Museum of International Folk Art Mark Naylor and Dale Gunn Gallery of Conscience

Marsha, Marsha, Marsha

Reclaiming Community Roots, Forging the Future

“This is Lakota,” explains Marsha Bol, curator of Beadwork Adorns the World, which opened April 22 at the Museum of International Folk Art. She is pointing to an image of three beaded turtle amulets encasing umbilical cords that is highlighted in the opening chapter of her exhibition-related book The Art & Tradition of Beadwork.

The Mark Naylor and Dale Gunn Gallery of Conscience at the Museum of International Folk Art begins a new chapter September 16 as the museum debuts a new community-curated installation, Reclaiming Community Roots, Forging the Future.

The show highlights collaborative projects between local artists and Peruvian artists who are visiting the museum in conjunction with the exhibition Crafting Memory: The Art of Community in Peru. Together they have filled the gallery with video, stories and artworks created over the course of the spring and summer of 2018.

The projects explore the importance of cultural traditions in confronting contemporary social and environmental issues. Featured are collaborations by sculptors Nora Naranjo Morse (Santa Clara Pueblo) and Aymar Ccopacatty; Tewa Women United and the National Association of the Abducted, Detained and Disappeared of Peru; and Amapolay with a group of local print makers.

Curator, Director, Curator

“Beads tend to be used on objects when it’s a peak or special moment,” she continues. “The book is organized by themes of lifespan: childhood, puberty, marriage, having babies, death. Lots of photographs of people because this is really about how people use these things.”

Like the turtle amulets, Bol’s new book and exhibition could be case studies for themes from her own life. Many of her career highlights involve the folk art museum, from her beginnings as its curator of Latin American folk art, to six years as director, to her current guest curator role.

Bol’s master’s degree in Spanish Colonial art led to her first major curatorial job at the museum. After completing her Ph.D. in Native American art history, focusing on the arts of the Lakota — painting, quillwork and beading — she left Santa Fe for Pittsburgh’s Carnegie Museum of Natural History. Later, a teaching position took her to the University of Texas in San Antonio. There she realized she belonged in a museum. “I found I prefer to do museum work rather than teach it,” she says.

Bol returned to New Mexico. In 2009, after seven-and-a-half years directing the New Mexico Museum of Art, she found herself back at the folk art museum.

Reclaiming Community Roots, Forging the Future will be on view at the museum through May 6, 2019.

Above: Wari tie dye tunic panel, south coast of Peru, AD 600–900, camelid fiber. Museum of International Folk Art, gift of Lloyd Cotsen and the Neutrogena Corporation.

Marsha Bol, guest curator of Beadwork Adorns the World, now on view at the Museum of International Folk Art. Photo by Saro Calewarts.

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Left: Turtle and lizard amulets, ca. 1890, Lakota Nation or North Dakota or South Dakota, USA. Native-tanned hide, glass beads, sweet grass, horsehair, metal, porcupine quills. Museum of Indian Arts and Culture/Laboratory of Anthropology. Photo © Addison Doty.

Right: China poblana blouse, ca. 1935, Puebla city and state, México. Cotton, glass beads. Gift of Florence Dibell Bartlett, Museum of International Folk Art. Photograph © Addison Doty.

A Director’s Perspective Bol’s bead research originally began as a book, a joint project between Gibbs Smith Publishing and the folk art museum. “When you’re a director, you don’t really have time to do research and that’s the one thing I missed,” she recalls. “This was an opportunity for me to get back to something that started with my dissertation.”

Curating an exhibition on beadwork was not part of Bol’s initial plan. But after her retirement in 2015, a show became her retirement gift back to the museum.

Drawing on collections from the museum and other public and private entities, The Art & Tradition of Beadwork book highlights 560 beaded objects from cultures around the world. Beadwork Adorns the World

showcases 260 of the same objects, 70 percent of them from the folk art museum. “This was an amazing opportunity to learn the collection,” she says.

With the publication of her book (available to members at 10 percent off in the museum shops), and her exhibition (on view through February 3, 2019), Bol is moving on. She hopes her efforts in illuminating the cultures, the makers and the meaning behind the world’s beadwork will inspire more interest in her favorite museum.

“The museum has beadwork scattered throughout its collection, but it would be nice to keep adding to that,” she says. “Often, an exhibit like this will attract collectors, so I am hoping that there will be collections of beadwork that will come to the museum.”

For information about how to support this and other exhibitions, contact Steve Cantrell at 505.982.6366 ext. 106 or Steve@museumfoundation.org. museumfoundation.org 13

Museum of Indian Arts and Culture/ Laboratory of Anthropology Sizzling Summer Programs The Museum of Indian Arts and Culture again features its popular Arts Alive! program this summer.

The free, hands-on workshops are designed for children of all ages.

The June lineup includes: • Tuesday, June 5: Micaceous Pottery • Thursday, June 7: Beadwork • Tuesday, June 12: Pottery • Thursday, June 14: Southwest Native American Foods The Tuesday-Thursday workshops run throughout the summer. Each of the hour-long workshops begin on the hour between 10 a.m. and 2 p.m. Children must be accompanied by an adult.

To register, contact Joyce Begay Foss at 505.476.1271 or Joyce.Begay-Foss@state.nm.us.

Libraries Rock!

The fourth annual Tribal Libraries Summer Reading Workshop takes place at the museum July 23 to 25 featuring the theme Libraries Rock!, focusing on music and dance.

Keeping Up with the Times Gift of Prized Contemporary Collection a Boon for Museum Dan Namingha. Jody Naranjo. Tony Abeyta. Tammy Garcia.

Roxanne Swentzell. It’s a list of contemporary Native artists whose works many collectors crave.

Due to their high demand, however, contemporary works by popular artists can be difficult for museums to obtain for their own collections.

“We don’t have a lot of contemporary works — especially pottery and jewelry. It’s not the strength of our collection,” says Valerie Verzuh, curator of individually catalogued collections at the Museum of Indian Arts and Culture.

This is why Verzuh calls a generous donation by Carol Warren, a Museum of New Mexico Foundation honorary trustee, “really fabulous.”

“Carol’s collection has been a boon for us,” Verzuh continues. “We like to keep up with the times and highlight contemporary works by living artists.”

Originally, in 2005, the collection was designated as a planned gift

by Carol and her husband Robert. The couple pledged over 200 items — contemporary pottery, bronze and paintings — as well as monetary support to help care for the collection. When Robert passed away in 2011, Warren decided to give the collection while she was still living, and before she moved to Arizona.

“I didn’t want to stay in my house in Santa Fe. It was too big,” says Warren. “I don’t have children, and I didn’t want to rely on anyone else.”

More than 200 Native students representing New Mexico tribal libraries are expected to participate in art activities, games and in-gallery discussions.

Carol Warren and husband Robert (deceased) pictured in their home.

Carol gifted her contemporary pottery collection to the Museum of Indian Arts and Culture. Photo Museum of New Mexico Foundation files.

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PHOTO © DANIEL QUAT PHOTOGRAPHY

For details, contact Marla RedcornMiller at 505.476.1339 or Marla.

Redcorn-Miller@state.nm.us.

The museum has plenty of opportunity to showcase the collection. Some objects will go into the redesign of the Here, Now and Always permanent exhibition. Others will be on view in What’s New in New: Selections of the Carol Warren Collection, which opens June 3.

Left: Jars with lids, Autumn Borts, Santa Clara Pueblo, ca. 2000. Museum of Indian Arts and Culture/Laboratory of Anthropology.

Right: Jars, Dolly Naranjo, Santa Clara Pueblo. Front row, left to right, ca. 2000; ca. 1992. Back row, ca. 1995. Museum of Indian Arts and Culture/Laboratory of Anthropology.

A Visionary Volunteer Warren started volunteering in the Colleen Cloney Duncan Museum Shop 25 years ago. She began working with Verzuh as a collections volunteer around 18 years ago, shortly after Verzuh started working at the museum.

“It was a way to see and work with items in collections,” Warren recalls. “Only a very small portion is available for viewing, so volunteering allowed me to see all sorts of items.”

During her time volunteering, Warren and Verzuh became close. Still, when Warren approached Verzuh about giving her collection early, Verzuh says, “It was a surprise because I know Carol loves her collection.”

Choosing which items to give was difficult for Warren. “An awful lot were my favorites,” she says. “I

couldn’t choose.” She kept buying until she moved and now plans to donate her most recent purchases of Native art to the museum. Warren also has two other large collections of glass and turned wood that are with her in Arizona.

One thing Warren learned from Verzuh while volunteering is that costs to care for collections can add up.

From moving items to the museum, to paying for storage and providing storage materials, “It can get quite expensive to maintain a collection,” says Verzuh. The monetary support included in the Warrens’ gift will ensure that the items they loved are preserved for generations to come.

When asked why she decided to donate, Warren says it’s simple: “I have a great affinity for the museum. I started volunteering within a few months of moving to Santa Fe and I stayed there forever.”

For information about how to support Museum of Indian Arts and Culture collections or exhibitions, contact Celeste Guerrero at 505.982.6366 ext. 116 or Celeste@museumfoundation.org. museumfoundation.org 15

New Mexico Historic Sites Summer at Bosque Redondo Commemorating 150 Years It’s been 150 years since the historic signing of the Treaty of 1868 at Bosque Redondo. The following free public events will honor the anniversary: 150-Year Commemoration June 8 and 9 10 a.m. to 6 p.m.

See a sneak peek of the new Bosque Redondo Memorial permanent exhibition. Featured activities include cultural dances, tribal and state speakers, and tribal elders sharing their oral traditions. Traditional foods and artisans will also be on site.

6.5 Mile Walk/Run June 9 Participate in a 6.5-mile walk or run from Bosque Redondo Memorial to Fort Sumner High School in honor of the Navajo’s 1868 return to their homeland.

Letters from the Reservation August 25 4:30 to 7 p.m.

This unique reading event highlights 16 letters from the Bosque Redondo Memorial archives. Read chronologically, the letters tell the story of life at Bosque Redondo for the Navajo and Mescalero Apache people from 1863 to 1868. A light supper and dessert will be served before the readings.

Making History Meaningful Challenge Grant Needs Your Support One hundred and fifty years ago, Fort Sumner held hostage almost 10,000 captives from the Navajo and Mescalero Apache nations. From 1863 to 1868, thousands perished and cultural genocide occurred at the Bosque Redondo site. On June 1, 1868, the conflict culminated with the signing of the Treaty of 1868 between the U.S. government and the Navajo Nation, establishing the sovereignty of the tribe.

This year, on June 8 and 9, Bosque Redondo will be in stark contrast to the past as visitors to the Bosque Redondo Memorial at Fort Sumner Historic Site explore the meaning of the tragedy through the eyes and experiences of the Navajo and Mescalero Apache tribes. The 150th commemorative weekend, a free public event featuring Native art, foods and vendors, celebrates new collaborations between the site and tribal communities in preserving the Bosque Redondo story.

Among the weekend’s speakers are Manuelito Wheeler (Diné), director of the Navajo Nation Museum, and Holly Houghten, historic preservation officer of the Mescalero Apache tribe. Over the past two years, staff from New Mexico’s historic sites and historic preservation divisions have worked together with nationally recognized exhibition designers, Historical Research Associates and Potter Designs, to create a new permanent exhibition that speaks to the past as well as the present.

“In the past, we didn’t really have a partnership with either the Navajo Nation or the Mescalero Apache tribe,” says historic site manager Aaron Roth. “We are trying to understand this history on a whole new level.”

The new exhibition emphasizes individual narratives that highlight perspectives of tribal members. In addition to pre-treaty narratives, such topics as Native boarding schools and cultural genocide after the U.S. Treaty are also explored.

For details about events or other questions, contact Aaron Roth at 575.355.2573 or Aaron.Roth@state.nm.us.

Navajo girls, Fort Sumner at Bosque Redondo, 1864-1868?

Palace of the Governors Photo Archives, Neg.# 038208.

“Everything is story-driven,” Roth says.

“Yes, we are going to have historical information and objects, but it is not enough to listen to traditional scholars.

Firsthand tribal knowledge will be in every part of the exhibition.”

Longtime site supporter Mary Ann Cortese, a member of the Museum of

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Staff from the New Mexico Department of Cultural Affairs toured previous exhibitions at Bosque Redondo Memorial with partners from the Navajo Nation, Mescalero Apache Tribe, Potter Designs and Historical Research Associates to develop ideas for the site’s new permanent exhibition. Photo courtesy New Mexico Historic Sites.

New Mexico Board of Regents, says the exhibition powerfully illuminates issues of healing and human rights.

“This is a story of preservation, strength and selfreliance, of doing something with the past so your future is different,” Cortese says. “A lot of people who come here are going through a healing process. Many (Native peoples) were told not to come back here, and so for family to come is a big step. It is solemn and emotional. All visitors have to come to grips with the human rights aspect.”

funding from NEH of up to $150,000. To receive the full amount, the historic site must match the grant offer over a three-year period. While the site met the first-year goal of $25,000, an additional $50,000 must be raised by February 1, 2019, and another $75,000 by February 1, 2020. Meeting these match goals would result in total project funding of $300,000.

Supporting Humanities Programs

Roth says the NEH funding will help provide the tools to create humanities programs that honor and memorialize those lost at Bosque Redondo 150 years ago. It also offers a rare opportunity for the public to contribute to something truly meaningful for the tribes today.

Plans for the new exhibition and educational programs received a major boost in 2017 when the National Endowment for the Humanities (NEH) awarded the Bosque Redondo Memorial a three-year challenge grant with the potential to provide project

“This year gives us the perfect opportunity to reflect on the consequences of such a horrendous period in our history,” he says, “and to celebrate the resilience, endurance and continuation of the tribal cultures as they are today.”

For information about how to support education programs at Bosque Redondo Memorial Site, contact Yvonne Montoya at 505.982.6366 ext. 102 or Yvonne@museumfoundation.org. museumfoundation.org 17

Museum of New Mexico Foundation Licensing Program

The Beauty of Handwork Museum Collections Inspire Carpet and Fabric Designs

Jan Kath’s Common Threads and Native Legends carpet collections are both designed by Kyle Clarkson.

Darning samplers from the folk art museum stimulated design themes for Common Threads. The late 18th- and early 19th-century samplers come from Germany, England, Belgium and other European countries, where young women of the period learned to mend the worn and torn cloth of domestic garments and household items. These small, delicate works of art feature various woven patterns in patches of colored thread on linen ground cloth. The woven carpets they inspired are a breathtakingly modern woven tour-de-force.

A rug from Jan Kath © Common Threads Collection.

A rug from Jan Kath © Native Legends Collection.

Jan Kath Design and Pollack Fabrics recently launched collections inspired by objects and textiles from the collections of the Museum of Indian Arts and Culture and Museum of International Folk Art. While each company’s design team visited the museums separately, each was attracted to objects and textiles featuring fine handwork.

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Left: A selection of fabrics from the Undaunted Collection by Pollack.

Right: Chair and pillow upholstered in fabrics from the Undaunted Collection by Pollack.

The Native Legends collection is equally magnificent for its skillful interpretation of the artistic perfection of pottery and basketry from the Museum of Indian Arts and Culture. Clarkson’s modern interpretations feature vibrant contemporary colors that bind the present to a storied past.

The resulting collection features 11 designs based on textiles from China, Hungary, Syria, Burma, Turkey and Guatemala. The Pollack team employed a fresh eye, great skill and 21st-century technology to transform the original textile designs into distinctly modern fabrics.

Meanwhile, Pollack Fabrics introduced Undaunted, a fabric collection inspired by textiles from the folk art museum. Pollack is known for its creative and artistic approach to design, its sumptuous fabric choices, and for seeking sources of inspiration well off the beaten path.

“That these talented designers from two such well regarded companies chose to explore the museums’ world-class textile, pottery and basketry collections was an honor and a thrill,” says Pamela Kelly, Museum of New Mexico Foundation’s vice president of licensing and brand management. “Both collections have been very well received because of their compelling design and because of their affiliation with the museums. Consumers are hungry for product that tells a meaningful story or that represents an artistic tradition.”

Pollack’s talented group of designers chose to explore the museum’s world-class ethnographic textile collection — specifically, hand-worked textiles collected by museum founder Florence Dibell Bartlett. The selected textiles share a grid-like geometry and are either hand stitched or woven.

For information about licensing, visit mnmlicensing.org. Or contact Pamela Kelly at 505.982.6366 ext. 27 or Pamela@museumfoundation.org. museumfoundation.org 19

Great Grants The PNM Fund, a division of PNM Resources Foundation, has awarded a $10,000 grant to the New Mexico Museum of Art to support the museum’s Centennial Campaign.

Funding will support museum exhibitions, collections, public education programs and community collaborations.

The Institute of Museum and Library Services has awarded the Museum of Indian Arts and Culture a $99,650 grant to support Wonder on Wheels (WOW!), a mobile museum outreach program for underserved students and families in rural communities statewide.

Newman’s Own Foundation has awarded a $25,000 grant to support renovation of the Museum of Indian Arts and Culture’s Here, Now and Always permanent exhibition; Museum of New Mexico Foundation operations; and acquisition of a textile made by the Oncebay family of Ayacucho, Peru, now on view in Crafting Memory: The Art of Community in Peru at the Museum of International Folk Art.

As founding member of the Museum of New Mexico Foundation’s Circles Explorers Program, Morgan Stanley financial advisor Matt Bunkowski exemplifies the ideal candidate for the group.

Bunkowski is an adventuresome soul, interested in the outdoors, epicurean experiences, cultural and artistic happenings, and social engagements. He also has a philanthropic passion for the Foundation’s mission of funding four museums in Santa Fe, seven historic sites statewide and the Office of Archaeological Studies.

“Something about the program struck a chord,” he says of his motivation to sign up in 2017. “The membership is more outdoor- and nature-based.”

Circles Explorers members embark on two excursions a year highlighting themes related to the museums, historic sites and the work of the Office of Archeological Studies. Past trips have included hiking and observing petroglyphs at Mesa Prieta near the historic property of Los Luceros and glam camping among the archaeological treasures in Chaco Canyon.

Events also include more traditional Circles gatherings, such as The Circles Signature Summer Event and artist studio tours. “Since I joined, I have encouraged at least a half dozen of my friends to join,” he says. “It helps to share the experience with friends, and adds a heightened sense of meaning.”

Having managed assets in London, New York City and beyond, Bunkowski moved to Santa Fe in 2013 to be near his parents. He quickly became involved in the Santa Fe community and now serves on a number of nonprofit boards and committees. His decision to be the first to join Circles Explorers reflects his excitement about the community-based focus of the Foundation.

“There are many facets of history and culture in New Mexico. Being able to ensure these legacies continue for new generations to enjoy and experience is essential,” he says. “It’s a major reason I felt it was important to invest in this mission.”

For more information about joining Circles Explorers, contact Cara O’Brien at 505.982.6366 ext. 118 or Cara@museumfoundation.org.

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PHOTO BY SARO CALEWARTS

The Toomey Foundation for the Natural Sciences has awarded the Museum of Indian Arts and Culture/Laboratory of Anthropology a $2,500 grant to support Archaeology 101, a lecture series featuring archaeologists pursuing masters and doctoral degrees from New Mexico universities.

Wanted Adventuresome Individuals Seeking Friendship and Philanthropy

Ways to Give Membership

Education Funds

Support the Museum of New Mexico Foundation’s ability to deliver essential services to our 12 partner cultural institutions while offering enjoyable member benefits.

Fund museum education and outreach programs at our four museums, seven historic sites and the Office of Archaeological Studies.

The Circles Leadership-level membership that gives members access to a series of exclusive events.

Corporate Partnership and Business Council

Director’s Leadership Fund and Exhibitions Development Fund Support exhibitions, related programming and institutional advancement at the division of your choice.

Planned Gift

Support the museums through your business and receive recognition and member benefits for your business, clients and employees.

Provide a lasting impact at our 12 partner cultural institutions through an estate gift, bequest, charitable gift annuity or gift of art.

Annual Fund

Endowment

Provide critical operating support for the Museum of New Mexico Foundation to fulfill its mission on behalf of our 12 partner cultural institutions.

Establish a new fund, or add to the principal of an existing fund, to provide a reliable source of annual income that sustains a variety of cultural programs and purposes.

Museum of New Mexico Foundation Staff EXECUTIVE OFFICE Jamie Clements Jamie@museumfoundation.org Jessica Ordaz 505.982.6366 ext. 103 Jessica@museumfoundation.org

DEVELOPMENT NEW MEXICO MUSEUM OF ART Lindsay Jaeger 505.982.6366 ext. 120 Lindsay@museumfoundation.org MUSEUM OF INDIAN ARTS AND CULTURE OFFICE OF ARCHAEOLOGICAL STUDIES Celeste Guerrero 505.982.6366 ext. 116 Celeste@museumfoundation.org

NEW MEXICO HISTORY MUSEUM PALACE OF THE GOVERNORS NEW MEXICO HISTORIC SITES Yvonne Montoya 505.982.6366 ext. 102 Yvonne@museumfoundation.org

Cara O’Brien 505.982.6366 ext. 118 Cara@museumfoundation.org

MUSEUM OF INTERNATIONAL FOLK ART Steve Cantrell 505.982.6366 ext. 106 Steve@museumfoundation.org

FINANCE

GRANTS Jack Price 505.982.6366 ext.108 Jack@museumfoundation.org

MEMBERSHIP Mariann Minana-Lovato 505.982.6366 ext. 117 Mariann@museumfoundation.org

Brittny Wood 505.982.6366 ext. 107 Brittny@museumfoundation.org

Carl Condit 505.982.6366 ext. 112 Carl@museumfoundation.org Georgine Flores 505.982.6366 ext. 114 Georgine@museumfoundation.org Jeanne Peters 505.982.6366 ext. 115 Jeanne@museumfoundation.org Patrick Ranker 505.982.6366 ext. 101 Patrick@museumfoundation.org

OPERATIONS Sachiko Hunter-Rivers 505.982.6366 ext. 104 Sachiko@museumfoundation.org Marylee McInnes 505.982.6366 ext. 111 Marylee@museumfoundation.org

SHOPS John Stafford 505.982.3016 ext. 25 John@museumfoundation.org

LICENSING Saro Calewarts 505.982.3016 ext.24 Saro@museumfoundation.org Pamela Kelly 505.982.3016 ext. 27 Pamela@museumfoundation.org

The Art and Tradition of Beadwork

Extraordinary how a small glass bead from the island of Murano (Venice, Italy) or the mountains of Bohemia (Czech Republic) can travel around the world, entering into the cultural life of people far distant. Glass beads are the ultimate migrants. Where they start out is seldom where they end up. No matter where they originate, the locale that uses them makes them into something specific to their own world view.

A wide range of beaded products from around the world are available at the Museum of International Folk Art Gift Shop.

Museum of International Folk Art Gift Shop

MUSEUM OF NEW MEXICO FOUNDATION

worldfolkart.org