Spring 2020 Member News

MUSEUM OF NEW MEXICO FOUNDATION | SPRING 2020

Championing History at Home Campaign for New Mexico History

Table of Contents Cover (clockwise from top left): 13th United States Infantry Band with leader Herman Trutner, Santa Fe Plaza in front of Palace of the Governors. Palace of the Governors Photo Archives. Negative No. 001705.

Detail of annotated postcard, colored, Billy the Kid, ca. 1920, Lincoln County Heritage Trust collection, 1879-1996, AC481. Fray Angélico Chávez History Library/New Mexico History Museum, Santa Fe, N.M. Zuni Girls at the River, Zuni Pueblo, New Mexico, © Edward Curtis. Palace of the Governors Photo Archives. Negative No. 076957.

Door to Fray Angélico Chávez History Library, New Mexico History Museum.

Photo © Saro Calewarts.

Ruins of Fort Selden in southern New Mexico near Radium Springs. Palace of the Governors Photo Archives. Negative No. 2007.20.435.

Overlook of the bosque and Río Grande at Coronado Historic Site. Photo © Andrew Kastner.

Bottom: Cowboys Going to Dinner, Mora County near Wagon Mound, New Mexico. Palace of the Governors Photo Archives. Negative No. 005324.

LETTER TO MEMBERS

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BOARD OF TRUSTEES

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CAMPAIGN FOR NEW MEXICO HISTORY

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MUSEUM OF INDIAN ARTS AND CULTURE

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MUSEUM OF INTERNATIONAL FOLK ART

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NEW MEXICO MUSEUM OF ART

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OFFICE OF ARCHAEOLOGICAL STUDIES

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CORPORATE PARTNER SPOTLIGHT

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THE SCOOP

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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, in collaboration with the Museum of New Mexico Board of Regents and the New Mexico Department of Cultural Affairs. The Foundation’s principal activities are fund development for exhibitions and education programs, retail and licensing programs, financial management, advocacy and special initiatives.

The Foundation serves the following state cultural institutions: • Museum of Indian Arts and Culture • Museum of International Folk Art • New Mexico History Museum • 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 Molly Boyle, Writer Saro Calewarts, Designer and Photographer

Dear Members, Over the past several years, Member News has covered three important Museum of New Mexico Foundation fundraising campaigns benefiting the Museum of New Mexico system. As we begin a new year, now is the perfect time to update you on the projects these campaigns support.

In this issue of Member News, we are delighted to report the latest developments at the Vladem Contemporary, the New Mexico Museum of Art’s contemporary art venue soon to begin construction in the Railyard Arts District and funded by the Centennial Campaign. You will learn about the State Historic Preservation Division’s review and approval of the project. You will also be among the first to hear about the public engagement opportunities afforded by the new museum.

We update you, as well, on the Here, Now and Always renovation project at the Museum of Indian Arts and Culture, where construction begins this spring. You will read about Native Treasures, the annual Native art market that benefits all of that museum’s exhibitions and educational programs.

Our final campaign progress report focuses on many Girard-related activities at the Museum of International Folk Art. Alexandar Girard: A Designer’s Universe had a successful six-month run at the museum and is now on view at the Palm Springs Art Museum. The clean sweep of the permanent Girard installation, Multiple Visions: A Common Bond, continues into the summer months. Finally, The Essential Alexander Girard, a comprehensive book covering Girard’s design and collecting legacies, will be published next year.

Our cover story, beginning on page 3, explores the Campaign for New Mexico History, our first-ever statewide campaign that launches this spring. Our goal is to raise $10 million in public and private funding over a three-year period for the New Mexico History Museum and the eight New Mexico Historic Sites throughout the state.

“As always, we are grateful to you, our members and donors, for contributing to these year-round initiatives,” says Foundation President/CEO Jamie Clements.

Photo © Saro Calewarts.

As always, we are grateful to you, our members and donors, for contributing to these important fundraising initiatives. Your year-round support of the Foundation and the Museum of New Mexico system make possible the world-class exhibitions and educational programs presented by our 13 cultural partners.

Spring is a wonderful time to venture out and enjoy our state museums and historic sites. See you there!

Sincerely,

Jamie Clements President/CEO

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Museum of New Mexico Foundation Board of Trustees 2019–2020 OFFICERS Guy Gronquist, Chair Harriet Schreiner, Vice Chair Maria Gale, Vice Chair John Rochester, Treasurer Frieda Simons Burnes, Secretary

The Museum of New Mexico Foundation welcomes Bryan “Chip” Chippeaux to the Board of Trustees. Chippeaux recently retired from Century Bank after more than 35 years. He began his career in 1983 as the bank’s principal accounting and operations officer and ended his tenure as president and CEO. He is a long-time Foundation member who has served on the Business Council steering committee and supported the Corporate Partners program and various Museum of New Mexico capital campaigns. Photo © Saro Calewarts.

Opposite: Charles Allison Stevens, Lincoln County Sheriff (1908-1911) in front of courthouse, Lincoln, New Mexico. Palace of the Governors Photo Archives. Negative No. 089710.

VOTING TRUSTEES Catherine A. Allen Anne Bingaman Cynthia Bolene William Butler Julia Catron Bryan “Chip” Chippeaux Kathryn King Coleman Sharon Curran-Wescott Christie Davis Sherry Davis Rosalind Doherty Diane Domenici George Duncan John Duncan Kirk Ellis Jed Foutz Robert Glick Pat Hall Marian Haight Bud Hamilton Steve Harris David Hawkanson Susie Herman Rae Hoffacker Peggy Hubbard Ann Rather Livingston Jim Manning Christine McDermott George Miraben Michael Ogg Sara Otto Dan Perry Michael Pettit Skip Poliner Kathleen Pugh Jerry Richardson Wilson Scanlan Nan Schwanfelder Judy Sherman Bob Vladem Matt Wilson David Young ADVISORY TRUSTEES Victoria Addison Charmay B. Allred Keith K. Anderson John Andrews

JoAnn Balzer Bob Bauernschmitt Dorothy H. Bracey Robert L. Clarke Stockton Colt Liz Crews Joan Dayton Steve Dunn Carlos Garcia Leroy Garcia J. Scott Hall Stephen Hochberg Ruth Hogan Barbara Hoover Kent F. Jacobs, M.D. Jim Kelly Bruce Larsen Lawrence Lazarus, M.D. Martin Levion David Matthews Helene Singer Merrin Doris Meyer Beverly Morris Kate Moss Mark Naylor Patty Newman Dennis A. O’Toole, Ph.D. Jane O’Toole J. Edd Stepp Suzanne Sugg Courtney Finch Taylor 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 TRUSTEES EMERITI John Berl* Thomas B. Catron III Saul Cohen Alan Rolley Marian Silver James Snead *Deceased

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PRESERVING ‘THE NEIGHBORHOOD’ Campaign for New Mexico History

Many things have changed in southeast New Mexico since Rory McMinn first came to live in Roswell at four years old. He was brought up “trucking and traipsing” around the oil fields with his oilman father. “We were up and down the road going through the country all the time. The landscape was totally different,” he says.

“There were a lot of older properties. Things are more modern now.”

In the mid-1960s, McMinn left New Mexico to make his own way in the oil biz. But 20 years later, when he returned to work in Roswell with his father at Robert O. Anderson’s Hondo Oil and Gas Company, he was suddenly struck by all the things that hadn’t changed in the southeastern reaches of the state.

“Our company hosted an education program that introduced the 4th-grade classes from all the schools in Roswell to New Mexico history,” McMinn recalls.

“Every fall, I was in charge of busing these kids to Lincoln. I’d take them to the courthouse and through all the town’s buildings. I got engrossed in history.”

There was blacksmithing. Sheep dogs. Vaqueros.

Mescalero Apache dancers. Women weavers. Even the bullet holes in the walls of the Lincoln County Courthouse, from which Billy the Kid made his famous 1881 escape, were still there.

Ten years ago, after marrying his wife, Elaine, McMinn moved to the heart of that history as he became one of the approximately 35 residents of Lincoln. The community comprises Lincoln Historic Site, a cluster of 17 adobe and stone structures and outbuildings that stood witness to the violence of the 1878-81 Lincoln County War. Billy the Kid made his name there and died there, his legend propelling tiny Lincoln to become the most-visited New Mexico Historic Site.

McMinn has since supported the site in various ways, as a former Museum of New Mexico Foundation trustee and former president of the Friends of Lincoln. His wife now leads the Lincoln friends as both acting chair and vice chair. But for as much pride as McMinn takes in his community, he says that Lincoln and Billy are but one chapter in the epic opus of New Mexico history. “I call him Saint Billy,” he says. “We all know Lincoln because of Billy the Kid—but we know it’s so much more than that, too.”

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The Story of More This spring, as the Museum of New Mexico Foundation begins its $10 million Campaign for New Mexico History with a launch in southern New Mexico, McMinn and other history-minded New Mexicans statewide will have the opportunity to tip their hats—and open their wallets— in support of local history. It’s the most comprehensive effort by the Foundation and the New Mexico Department of Cultural Affairs to link the far-flung pieces of state history into a more unified and inclusive whole.

“The Campaign for New Mexico History is truly ‘historic’ for three reasons,” says Foundation President/CEO Jamie Clements. “It is the first time ever we have brought together the New Mexico History Museum in Santa Fe and the eight historic sites throughout New Mexico in telling the story of our state’s history and heritage. It is the first statewide campaign ever conducted by the Foundation. And it is the first time we have formally joined public and private funding in a single campaign.”

Indeed, the three-year campaign takes a statewide approach to presenting and preserving the lives, structures and landscapes that have for centuries laid the stage for one of the most complex and compelling social and cultural narratives in all the Americas. Equal funding —$5 million apiece—will support exhibitions, preservation, and educational outreach at the New Mexico History Museum campus, and at the eight historic places that make up the New Mexico Historic Sites.

Pooled with capital outlay funding secured by the Department of Cultural Affairs from the New Mexico State Legislature, the campaign also will enable the restoration of irreplaceable historic structures that hold stories spanning time, people and place—from Ancestral Puebloans, Spanish conquistadors, and American traders, to Civil War soldiers, Wild West cowboys, art colony creatives, spiritualists, health-seekers, high-tech scientists and more.

All involved—including a cabinet of statewide advisors led by honorary campaign chair J. Paul Taylor—agree that more collaborative approaches to research, presentation and interpretation will create more relevant, accessible visitor experiences. While the initiative is rooted in history, the end goal is to engage current and future generations in a more comprehensive understanding of New Mexico today.

“In my experience, New Mexico history is told piecemeal, often based on where you are in the state,” says Clements.

“This campaign will knit all the separate pieces into a new framework for exploring our state’s storied past.”

Framing the Past New Mexico History Museum The history of framing New Mexico’s past in a formal museum setting dates to 1909 and the creation of the Museum of New Mexico in a place that literally embodies Southwest history: the Palace of the Governors. Designated

The Campaign for New Mexico History will support initiatives in preservation and best practices at the Fray Angélico Chávez History Library. Photo © Saro Calewarts.

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a National Treasure by the National Trust for Historic Preservation, the Palace is now part of the New Mexico History Museum, established in 2009 as the anchor of a campus that also includes the Fray Angélico Chávez History Library and Pete V. Domenici Building.

Billy Garrett, interim director of the New Mexico History Museum, says the Campaign for New Mexico History will provide the museum with $5 million to dramatically reimagine exhibitions, support the Chávez History Library, boost educational programming and advance historic preservation projects. (See sidebar.)

“In addition to producing great exhibitions, this museum has the responsibility to care for important collections, introduce our state’s heritage to kids, support academic research and expand public outreach,” he says. “This campaign will underwrite a bigger set of programs that are more relevant to more New Mexicans.”

On the exhibitions front, Garrett says, funding will enable the reworking of the museum’s permanent exhibitions to provide a more complete picture of New Mexico at the point of statehood and throughout the 20th century. He also hopes to begin “a more robust cycle of changing exhibitions” in various gallery spaces that explore the historic underpinnings of contemporary topics.

“This campaign will underwrite a bigger set of programs that are more relevant to more New Mexicans.”

Finally, the newly renovated Palace will reopen with an exhibition exploring the social, cultural and political significance of the building itself. The first phase will explain how archaeological, documentary and architectural sources have contributed to our understanding of this multilayered space. “The exhibits will be designed to provide information but will not get in the way of the visitor’s experience and enjoyment of this historic space,” he says.

Another historic space, the Chávez History Library, will also be addressed. Built as a public library around 1907, the building now houses valuable archival and photographic collections. “We need to make sure the building is properly cared for as a historic resource,” Garrett says.

“We also need to ensure that it supports best practices for both collection management and research activity.”

New Mexico History Museum Telling a Broader Story While the New Mexico History Museum is located in Santa Fe, Billy Garrett is keenly aware that its role is statewide in scope. “New Mexico history is relevant only to the extent that it encompasses all of our communities, as well as our connections to the nation and the world,” he says.

With $5 million in funding from the Campaign for New Mexico History, the museum will be able to take on this challenge. Here are highlights of Garrett’s campaign-related goals: Palace of the Governors • Improve safety, building protection and museum operations by completing a comprehensive rehabilitation in accordance with historic preservations standards • Complete installation of Palace Seen and Unseen exhibition • Present eight changing exhibitions over the next five years Domenici Building • Update Telling New Mexico, the museum’s core exhibition • Install three major changing exhibitions in main gallery • Develop exhibitions celebrating New Mexico’s food heritage and diverse communities Public Programs • Expand online resources from the Chávez History Library • Protect and expand use of the Photo Archives through accelerated digitization • Increase educational outreach • Initiate a New Mexico Film Showcase • Secure permanent funding for Native American Portal Program coordinator Research and Publications • Complete a report of past archaeological investigations at the Palace • Prepare a preservation guide and comprehensive assessment of work needed on the Chávez History Library

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Two vital educational initiatives are among Garrett’s campaign funding priorities. The first is to secure permanent funding for a Native American Portal Program coordinator. Program objectives are to increase public education of traditional Native arts while facilitating multigenerational training among participants.

Garrett’s second initiative is to reinvigorate “the arguably underused auditorium” by showcasing films about, set in, or made in New Mexico.

Garrett’s last priority is to increase research, documentation and publication of topics related to the museum’s historic buildings. “We have archaeological studies about the Palace that need to be written up and published,” he says. “We also need to share the informational base and decision making process affecting our historic structures with the public.”

Connecting the Past New Mexico Historic Sites Over at New Mexico Historic Sites, director Patrick Moore understands the value of the historic resources— eight historic sites statewide—under his watch. Moore enthusiastically welcomes the Campaign for New Mexico History as a means of getting back to the basics

of building buzz around a system that has arguably been neglected for decades—but whose statewide presence is key to connecting the dots and details that flesh out the story of New Mexico’s past.

The campaign will provide $5 million to preserve and restore historic structures, add important infrastructure, update long-neglected exhibitions and breathe new life into educational programs at all eight sites statewide.

“This is the first coordinated effort to raise resources for historic sites as a whole,” Moore says. “One part of the equation is to generate an understanding of what the historic sites have to offer and to find innovative new ways for visitors to understand and experience history.”

Even before the campaign launch, Moore, who came on board in 2015, began using social media and other tools to increase public awareness of the sites, which became a division of the Museum of New Mexico system in 1931.

“When I came in three-and-a-half years ago, we had some 300 Facebook likes,” Moore says. “We just crossed the threshold of over 25,000 likes.”

While museum attendance nationally has been on the decline, the increased awareness has led to increased visitation. At least two historic sites, Jemez and Fort Stanton, have seen double-digit increases. “You start a

Left: A visitor climbs into a kiva at Jemez Historic Site. Photo courtesy New Mexico Historic Sites.

Right: Members enjoy a stroll through the lush landscape of Los Luceros Historic Site. Photo © Andrew Kastner.

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fire, and a lot of people get excited,” Moore says. “The campaign will help spread the excitement further.”

New Mexico Historic Sites

With eight diverse and fragile sites in his purview, Moore admits there’s a lot to do to preserve these cultural treasures and get people out into the places where history happened. “There’s a lot of action that needs to take place for a statewide campaign, but what an opportunity we have to preserve this history with all its rich, messy, nuanced and complicated parts,” he says.

As an undergraduate at New Mexico State University, Patrick Moore visited Fort Selden Historic Site, where Mogollon Indians farmed for centuries before the area was transformed to a 19th century fort that now lies largely in ruin.

To that end, he has prioritized several funding initiatives statewide—from Fort Sumner/Bosque Redondo Memorial on the southeastern plains to Los Luceros ranch in the north, to Fort Selden and Taylor-Mesilla Historic Property in the south, to Lincoln, Fort Stanton, Jemez and Coronado. (See sidebar.)

“What an opportunity we have to preserve this history with all its rich, messy, nuanced and complicated parts.”

One goal is to present site structures as settings for stories that thread past history with contemporary history and serve as touchstones for visitors of all backgrounds. The campaign will enable Moore and his staff to continue to implement upgrades to sorely outdated exhibitions at all the sites.

“How can we tell the site’s individual story in a different way?” he asks. “We need to build around its core story, tell visitors why that site matters and how it links to the other sites, or with something at the history museum.

Actively telling the story will enable visitors to ask, ‘What does it have to do with me? How do I see myself in this story?’”

Expanded educational outreach is another critical need.

“We plan to more aggressively develop site-specific events and programs and work with the schools,” he says. “We also need to continue to build and support our Friends groups.”

Ultimately, says Moore, a Los Alamos native, the historic sites represent more than the bricks and mortar that keep them standing. They represent residents of the far-flung communities whose stories they tell—and whose support have kept them alive in the times when funding wasn’t flowing their way.

Setting the Building Blocks

“I thought then that the exhibits there were really out of date,” Moore says. “That was 1986. When I became director of historic sites, essentially the same exhibits were there.”

Going forward, Moore says, the Campaign for New Mexico History’s $5 million investment in the sites will represent “the first building blocks that will lead to a long-term legacy of support.” Following are Moore’s campaign-funded goals: Fort Sumner Historic Site/Bosque Redondo Memorial • Continue exhibitions based on input from the Navajo and Mescalero Apache tribes • Establish an oral history program to preserve memory and promote healing • Develop an interpretive trail connecting interior exhibition history to the exterior landscape • Build a Navajo hogan, a Mescalero Apache teepee and a sweat lodge to introduce visitors to traditional homes and ceremonial spaces • Expand Navajo Churro Sheep livestock program to educate the public on the history of fiber/weaving and to give sheep back to Navajo Nation herders Linclon Historic Site • Restore the Lincoln County Courthouse to better immerse visitors in New Mexico’s Wild West history, including Billy the Kid’s deadly 1881 jailbreak • Develop a permanent interactive children’s education exhibition to illuminate the lives of those who settled New Mexico • Reimagine the historic Tunstall Store exhibition to resemble what it would have looked like during the 1870s, when it played a role in the eruption of the Lincoln County War (continued next page)

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Los Luceros Historic Site • Restore jail interior and Hacienda balcony for increased visitor access

• Renovate the historic Nurses’ Quarters to replicate its original layout with the goal of creating the Fort Stanton Retreat Center offering overnight rental space

• Preserve Hacienda plaster and fireplace fresco murals

Taylor-Mesilla Historic Property • Create interpretive center exhibits about the heritage of New Mexico, Mesilla and the Southwest borderlands

• Design interactive exhibitions in the Hacienda featuring audio dramatizations of historic letters written by past residents • Create an interpretive trail from the visitor’s center to historic sites via wayside signs • Develop a nature trail linking the local environment to northern New Mexican culture

• Develop a virtual home tour using new technologies that open the site to visitors worldide • Obtain educational objects to connect visitors with the unique architectural features of the home Jemez Historic Site

• Construct a covered stage for live performances and educational community events

• Excavate, preserve and interpret additional pueblo rooms to tell a larger history of the site

Fort Selden Historic Site • Create shade structures for outdoor classrooms hosting demonstrations, living history and hands-on activities

• Complete the San José Mission Trail to meet wheelchair-accessibility standards and install new signage and solar powered audio stations

• Expand the pavilion to accommodate more visitors during special events • Develop outdoor exhibits with interpretive panels Fort Stanton Historic Site • Restore the historic Officers Quarters to represent two distinct periods at Fort Stanton: the late 1880s, when World War I commander John Pershing was stationed at the post; and the early 20th century, when the building housed medical staff of the fort’s tuberculosis hospital • Construct a boardwalk, trail and bridge to the ruins of the former Fort Stanton Internment Camp, where more than 400 German citizens and 17 Japanese Americans were detained across the river between 1940 and 1945

• Purchase surrounding land to protect site from encroaching development • Improve the ruins of San José Mission Church for use as an event venue Coronado Historic Site • Build a protective structure to preserve exposed excavations and highlight archaeology • Install a digital theatre to provide a 360-degree experience of Kuaua Pueblo’s painted kiva murals • Create new trails and signage highlighting the history of the Camino Real, Coronado battlefield, and native animal and plant species • Add an education pavilion for more special events and outreach activities • Create dock access to enable visitation by canoe, raft, kayak or boat

PHOTOS ©

(continued from page 7) “I think it’s important to understand just how much these places mean to the communities that surround them,” he says. “From our Friends groups in the village of Jemez Springs, to those in the tiny towns of Fort Sumner and Lincoln, to those amigos in Los Luceros or Mesilla, this campaign will begin to fulfill a promise these folks have made to these sites over decades of neglect.”

Family Ties Back in Lincoln, Rory McMinn is looking forward to what the Campaign for New Mexico History can accomplish for Lincoln, which he says, “is in dire need of funding, from the pageant grounds on one side of town to the cemetery on the east side.”

Yet he also understands that Lincoln’s story has to be tied into support for all the state’s other history-based institutions in order to fully thrive.

“It’s important to understand just how much these places mean to the communities that surround them.”

Just 12 miles down the road from Lincoln Historic Site is Fort Stanton Historic Site. Its 88 buildings make up one of the most intact 19th century military forts in the U.S. And like many of the state’s historic structures, they are in significant need of upgrades.

Fort Stanton not only played a role in the Lincoln County War, but in World War II and the tuber­culosis epidemic of the early 20th century. It’s just one example of how the impacts of one place, one story, one person, or one event ripple across the timeline of New Mexico history.

“New Mexico—it’s a neighborhood,” says McMinn.

“Preserving the history of my community means realizing that we’re all tied together. It’s the nature of small town life, where everybody knows the Smiths. You don’t want to say anything bad about the Smiths. You support them because everybody’s related to them.”

To support the Campaign for New Mexico History, contact Yvonne Montoya at 505.216.1592 or Yvonne@museumfoundation.org.

Top: The schoolhouse at Fort Stanton Historic Site.

Photo © Kenneth Walter.

Bottom: A Kuaua Pueblo tribal member showcases musical instruments at Coronado Historic Site. Photo © Andrew Kastner.

Opposite: Aerial view of Fort Sumner Historic Site/Bosque Redondo Memorial. Photo courtesy New Mexico Historic Sites.

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Museum of Indian Arts and Culture Here, Now and Always Celebrating National History Last fall, the Museum of Indian Arts and Culture had several reasons to celebrate. A reception with Doug Patterson, president of Living Designs Group Architects, presented plans to take Here, Now and Always from the design phase to the build phase.

Construction on the revamped exhibition begins this spring.

The 20-year-old Here, Now and Always was a collaborative effort between Native American curators, artists, musicians, storytellers, teachers, writers and elders to tell the diverse stories of the Southwest’s original settlers. At the October reception, master of ceremonies Wells Mahkee (Zuni Pueblo) emphasized that the revitalized exhibition is part of a growth cycle that aims to update and strengthen the stories, traditions and scholarship of the original.

MIAC Living Treasure Kathleen Wall Treasuring and Expanding Native Traditions

Don’t try to call Jemez Pueblo potter Kathleen Wall in the morning.

Chances are, she’s been up all night in her studio, crafting the clay works and large-scale installations that earned her the 2020 Museum of Indian Arts and Culture Living Treasure award.

The MIAC Living Treasure designation celebrates artists who have made indelible contributions to indigenous arts and culture. Wall will be honored Memorial Day Weekend, May 22 through 24, during the Native Treasures art market at the Santa Fe Community Convention Center. An exhibition of her work, including traditional clay pieces and more contemporary installations on canvas, will be mounted at the Museum of Indian Arts and Culture, whose exhibitions and education programs benefit from the annual Native Treasures event.

Jemez Pueblo potter Kathleen Wall will receive the 2020 Museum of Indian Arts and Culture Living Treasure Award on Memorial Day Weekend. Photo © Penny Singer.

Museum of Indian Arts and Culture Deputy Director Matthew Martinez says the new Here, Now and Always will feature a symbolic new acquisition: the traditional Pueblo dress worn by Deb Haaland, the first Native woman elected to Congress in New Mexico, at her inauguration in early 2019.

“That’s not only New Mexico history, that’s national history,” Martinez says of the dress donated by Rep. Haaland.

“And that’s the guiding force of our collections here.”

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“When you get an award like this, it’s kind of like, ‘What?

Did this really happen?’” Wall says during an afternoon phone conversation recounting her artistic journey. “I started selling my pottery prior to being the legal age to work.”

Now 47, the artist still digs clay and volcanic ash from the same pits her mother, Fannie Loretto, showed her as a girl. Her aunts Dorothy Trujillo, Mary Toya, Edna Coriz and Alma Concha also guided her in the storyteller pottery tradition.

Wall learned her trade not only by observing the artistic process, but also by absorbing her family’s savvy sales tactics. “These ladies worked hard and they pounded the pavement. Nobody was handed a gallery to completely take care of them,” she says.

Beginning in her late teens, she and a friend took road trips to distant cities, finding Native art galleries through local phone books. “I’d just go hit them up and ask for the buyer,” she says. “I learned that rejection isn’t personal.”

She settled into her more contemporary style during her twenties. One night, she accidentally left a storyteller figure out to dry, forgetting to add the traditional accompanying children to the sculpture. She took it to a gallery in Old Town Albuquerque, whose buyer purchased it on the spot and asked for more.

For her first solo show, she further expanded the boundaries of tradition, incorporating video and photography.

Over the last decade, she has worked on paintings that are thematically oriented to her sculptures in addition to larger-scale works, which she is excited to show at the museum.

The entirety of Native Treasures moves back downtown to the convention center this year after experimenting with last year’s Friday-night event on Museum Hill. The 2019 market raised more than $90,000 in support of the museum, an all-time record.

Event lead Bill Butler, a Museum of New Mexico Foundation trustee, says, “We hope that by being back at the convention center downtown, we’ll have expanded artist participation on Saturday and Sunday and have more through traffic.” He’s also looking to expand the Friday evening silent and live auctions.

Butler pointed to expanded sponsorship opportunities for this 16th year of Native Treasures. A new $10,000

Detail, Quo’ wha la’ pah The place where I began, 2016, by Kathleen Wall. Acrylic paint, sand, clays on canvas. Photo courtesy of the artist.

named sponsorship will be offered to support Wall’s exhibition at the Museum of Indian Arts and Culture.

Another sponsorship will help Wall host a springtime studio tour of her Jemez workspace.

The studio tour promises supporters an intimate look into Wall’s creative process—in the place where all the midnight magic happens.

To support Native Treasures and the Museum of Indian Arts and Culture, contact Celeste Guerrero at 505.982.2282 or Celeste@museumfoundation.org.

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Museum of International Folk Art It’s a Wrap!

Girard Campaign Nears Funding Goal The $1 million Girard Campaign at the Museum of International Folk Art has been a success. The best measure? It led to a temporary shortage of Plexiglas in the western United States.

That’s according to Museum of New Mexico Foundation Director of Leadership Giving Steve Cantrell. He says the museum ordered four tons of Plexiglas to update Multiple Visions: A Common Bond, the permanent exhibition installed by Alexander Girard in 1981.

The Girard Campaign is expected to wrap up in early 2020 with the help of a few sizeable gifts. The campaign funds the cleaning and cataloguing of the 10,000 pieces that make up Multiple Visions, a project Cantrell says is about one-third finished. It also paid for Alexander Girard: A Designer’s Universe, which traveled to the museum from the Vitra Design Museum in Germany. After Santa Fe, the exhibition moved on to other venues.

Additionally, the campaign supports a new, comprehensive book on Girard co-edited by Laura Addison, the museum’s curator of North American and European folk art, and set to be published in 2021. It includes scholarship from speakers at the two-day Alexander Girard Symposium hosted by the museum in October 2019.

Deeper Dive

Revitalized Gallery Inspires Visitors to Make Meaningful Connections “I will call my mother every day and stay with her through her death,” reads one card on a wall at the Museum of International Folk Art. “I will forgive—myself and others,” says another.

These notes of intention, handwritten by visitors to the museum’s Mark Naylor and Dale Gunn Gallery of Conscience, are meant to spread universal kindness. Like the rest of the Gallery of Conscience, they represent an opportunity to interact with exhibitions in personally meaningful ways.

“So often, you think of museums as all the work that happens in advance, and when it’s up, it’s done,” says Amy Groleau, the Folk Art Museum’s curator of Latin American collections. “But this is really continually a place of producing new ideas. It’s about connecting people.”

The cards are part of Community Through Making From Peru to New Mexico, an ever-evolving show in the Gallery of Conscience that runs through April 5, 2020. Community Through Making stems, in part, from museum programming that brought members of the National Association of Families of the Kidnapped, Detained, and Disappeared of Peru together with the Española-based Tewa Women United in 2018.

In workshops that combined art therapy with conversations about healing trauma, the two indigenous women-led organizations found much in common. The idea of universal kindness seemed paramount to both groups—and the Gallery of Conscience offered the perfect space to put it into public practice.

“The gallery is a place where we can take an even deeper dive.”

A decade after its inception, the Gallery of Conscience continues to forge dialogues around such difficult subjects as social justice and cultural and environmental trauma. It is part of the International Coalition of Sites of Conscience, a 65-country network of “places of memory”— historic sites, museums or memorials. The Sites of Conscience share the goal of bringing traumatic or violent histories to life in order to foster a more harmonious future.

Initially, the Gallery of Conscience aimed to address problematic issues underlying exhibitions on view throughout the museum, though the gallery also hosted stand-alone shows. Now, Groleau says, “We’re working

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Visitors to the Mark Naylor and Dale Gunn Gallery of Conscience post notes that express kind and positive sentiments, demonstrating their engagement in the Community through Making exhibition, on view through May 2020. Photo © Saro Calewarts.

those conversations more into our other exhibitions and other programming. The gallery is a place where we can take an even deeper dive.”

No longer overseen by one director, today’s Gallery of Conscience reflects a collaborative spirit, with a full museum team working with one curator taking the lead.

“All of what you see was co-curated,” Groleau says, referring to both the team and the community members who helped shape Community Through Making. The project grew out of a show curated by Groleau, Crafting Memory: The Art of Community in Peru, which ran through July 2019. The project team includes Director of Education Leslie Fagre, Outreach Educator Patricia Sigala, Bilingual Educator Kemely Gomez, Preparator Bryan Johnson-French, and Chloe Accardi, who does outreach and documentation.

Community Through Making has inhabited the Gallery of Conscience for more than a year, but the exhibition continues to bear new fruit. A time-lapse video shows the progression of the Alas de Agua Art Collective’s nearby wall mural, created in response to the show. Hanging from the ceiling is a bright sculpture of found objects and plastic left over from the International Folk Art Market, which Santa Clara Pueblo artist Nora Naranjo Morse made in collaboration with Peruvian sculptor Aymar

Ccopacatty. In January, the museum welcomed new artworks created from plastic waste by first- and fourthgrade students from Santa Clara under the direction of teacher (and Nora’s daughter) Eliza Naranjo Morse.

“We keep it low-budget and use what’s at hand so we can be more nimble,” Groleau says. “That allows us to change and adapt as we go along.”

The evolving themes provide unique opportunities for donors to support issues close to their hearts that can be expressed through collaborative, community-based art.

Future gallery programming will bring artists together to creatively address and explore environmental and climate change .

“It is with participants from all areas that everything is happening here,” says Groleau. “It’s not just the curatorial voice.”

To support the Museum of International Folk Art, contact Caroline Crupi at 505.216.0829 or Caroline@museumfoundation.org.

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New Mexico Museum of Art The Vladem Experience What does the new Vladem Contemporary have to offer a city that is already teeming with artistic spaces?

One answer is more practical than flashy: storage. According to Department of Cultural Affairs Secretary Debra Garcia y Griego, “Storage is a key part of this building.”

Garcia y Griego says the new space will allow the New Mexico Museum of Art “to continue bringing in contemporary collectors who in the past have been hesitant to donate because of the storage issues. This will help us maintain cultural patrimony in New Mexico, specifically around contemporary and modern art.”

Additionally, a dedicated education space at the new building enables expanded learning opportunities. The museum will be optimized to include digital media. Other high­lights include special­ized storage for color photography and a study room that provides visitors with a more intimate experience of the collection.

Michelle Gallagher-Roberts, acting director of the New Mexico Museum of Art, explains, “Our Plaza building is amazing and has served the museum well for over 100 years, but what people expect from museums has changed over the last century. The Vladem Contemporary offers us an opportunity to address those changes in museum experiences.”

‘A Dynamic Intersection’ Vladem Redesign Approved

It’s the motto of prime real estate: “Location, location, location.” It applies especially well to the corner of Montezuma Avenue and South Guadalupe Street, where the Vladem Contemporary broke ground in January.

Since the New Mexico Museum of Art’s revised design plans were approved in December by the New Mexico Historic Preservation Division, Vladem Contemporary is set to bridge the gap between the Guadalupe Historic District and the more modern buildings in the Santa Fe Railyard. Department of Cultural Affairs Secretary Debra Garcia y Griego calls the building “a keystone in what can ultimately be a dynamic intersection of historic preservation and Railyard development.”

Garcia y Griego uses the word “synergy” to describe the museum’s historic preservation review process, which took place last fall during a series of meetings between the Historic Preservation Division and the architectural team of DNCA Architects and StudioGP. “The review process was really a collaborative one that was designed to allow the local community to give input in a formalized setting into the design,” Garcia y Griego says.

Jamie Clements, President/CEO of the Museum of New Mexico Foundation, explains that the state-mandated process of submitting the design to the Historic Preservation Division focused on whether the museum plans had an “adverse effect” on the historic district.

The Southeast view of the Vladem Contemporary by DNCA Architects and StudioGP.

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The $12.5 million Centennial Campaign to build Vladem Contemporary has met its goal and final designs have been approved by the New Mexico Historic Preservation Division. The museum is scheduled to open in late 2021. Rendering courtesy DNCA Architects and StudioGP.

“Because there is such a mix of buildings in the historic district, there wasn’t a concentration of what they called historic resources, so that the Vladem really had no adverse effect on the district itself,” Clements says.

Echoing the spirit of progressive compromise that got the new plans approved, Garcia y Griego notes, “I think in a lot of ways, the Vladem is coming to embody transition.”

The revised design removes part of a second-story scrim from the earlier plan and implements a less monolithic exterior, particularly on the south end of the building.

According to Clements, the revision occurred “so that it was not one single mass dominating the area. It became better in scale and allowed one to fully see and experience the Railyard depot and Tomasita’s along with the Vladem.”

She cites its neighborhood as a built-in asset. “We’re so pleased to be next to the recently opened New Mexico School for the Arts and our neighbor immediately to the west, the Jean Cocteau Cinema. It really creates an enhanced pedestrian experience that I think will ultimately encourage people to move between the Railyard, Guadalupe and downtown in a way that is much more fluid.”

The approved design calls for the Guadalupe Street mural designed in the 1980s by artists Gilberto Guzmán, Zara Kriegstein and others to be removed due to its deteriorating condition. But Garcia y Griego says, “We’re hopeful we can continue working with the artist at least to document the history of the mural.”

At a January 2 meeting of Santa Fe’s Historic District Review Board, that body, too, endorsed the new design.

Though the city’s approval of the state project is not a requirement, around 20 individuals spoke at the hearing in favor of the plans, though some expressed concerns about the mural’s preservation.

The Foundation has reached its $12.5 million fundraising goal for the project, which has a projected cost of $16.5 million.

To make a gift to the Vladem Contemporary, contact Kristin Graham at 505.216.1199 or Kristin@museumfoundation.org.

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Office of Archaeological Studies Chiles and Sherds Mysteries of the Galisteo Basin Just a few minutes south of Santa Fe, the Galisteo Basin is one of the most unique cultural landscapes in the history of the Southwest.

Lightly occupied both today and through most of Pueblo history, farmers trickled and then flooded into the Basin on a wave of climate change beginning in the 12th century. Over several centuries, homesteads grew into hamlets and then villages, culminating in eight super-pueblos, four of which survived to host 17th century Spanish colonial missions.

On Sunday, May 31, Friends of Archaeology will host a day of site hikes in the Galisteo Basin organized around a catered lunch. Most public tours highlight the dramatic super-pueblos, but this day will focus on sites dating to the earlier period of immigration, population growth and coalescence that was the foundation for the 15th century pueblos.

A ‘Profound’ Engagement Gaining Knowledge through Giving

In 2007, when Sherill Spaar retired from a 26-year career teaching ancient history and archaeology at East Central University in Ada, Oklahoma, she figured she would return to Colorado, where she was born and raised.

Somewhat surprisingly, she instead decided to buy and run a bed-andbreakfast called The Lightheart Inn in Chama. Spending summers in northern New Mexico, Spaar started taking trips with Friends of Archaeology, the support group for the Office of Archaeological Studies.

Spaar figured she would expand her knowledge base of Southwest archaeology. She had a lot to learn: her academic focus was in Greece, Sherill Spaar is a volunteer research associate at the Office of Archaeological Studies. Photo © Eric Blinmann.

Tucked away on the eastern edge of the basin, this rarely visited area has one of the highest site densities in northern New Mexico.

For more about Chiles and Sherds, or to reserve space to participate, visit nmarchaeology.org or see the Friends of Archaeology newsletter.

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Rome and the ancient Near East. Soon, the classical archaeologist had succumbed to the siren song of Southwestern history.

These days, Spaar spends much of her time volunteering as a research associate at the Office of Archaeological Studies. And for more than a decade, she has been a steady donor to its research and education programs.

“Cumulatively, she has been a very generous donor” says Office of Archaeological Studies director Eric Blinman, adding that her academic rigor is equally valuable. “She has high standards that I’m rarely able to live up to, but she hasn’t run away screaming in frustration.”

When Blinman asked Spaar to take an office at the Center for New Mexico Archaeology, she recalls, “I said, ‘I’m not in any way a Southwest archaeologist.’ But he insisted. I jumped at the chance to have an office here.”

In her capacity as a research associate, Spaar supports staff with her knowledge base, helping to field inquiries from the public and streamline certain processes. “A lot of what I do out there, honestly, is just to pitch in wherever I can,” she says.

On occasion, Spaar’s far-flung area of expertise comes in handy. She remembers one inquiry from a man who brought in a stone covered in ancient Hebrew, which he had unearthed in a northern New Mexico forest.

Based on her knowledge of Masonic symbols and cemeteries, she identified the engraved stone as a leftover grave marker from a Masonic cemetery. “They used to put copies of things like the Ten Commandments in Hebrew for grave markers,” she says matter-of-factly.

“People mistake these for being relics of the past, and think the Phoenicians or the ancient Hebrews might have been in New Mexico and left these things,” she continues. “A lot of modern archaeologists don’t even know that kind of history, and those are the kinds of things that I can help with.”

Spaar is equally sensible about her charitable giving.

From her pension, she sets aside an annual amount to donate to the Office of Archaeological Studies, The Nature Conservancy and the New Mexico Environmental Law Center. “I made up my mind when I retired that I was going to give as much of my money to charity as I could, and this seemed like a very worthy cause,” she says.

Eric Blinman, Office of Archaeological Studies director.

Photo © Gabriella Marks.

She admires the Office’s ambitious goals, pointing to how hard the small staff works in fielding a unique volume of queries from the public on a daily basis. “The combination of academic and educational and community support—you wouldn’t believe how many phone calls Eric [Blinman] gets a day. I’m surprised he can even do his work,” she says.

She calls this engagement with the public profound. “It’s not something you can find in any other museum or any other facility of this kind, where people can actually touch—and/or certainly appreciate in context—ancient artifacts and ancient culture.”

Through her own engagement, Spaar says, she has traveled far in expanding her own wealth of knowledge.

“I have come to a great, deep understanding of the anthropological aspects of archaeology and the small, minute details that lead us to a knowledge of the past.

And an appreciation of not only Native American culture, but all cultures in this area.”

To support the Office of Archaeological Studies, contact Celeste Guerrero at 505.982.2282 or Celeste@museumfoundation.org.

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Corporate Partner Spotlight Rooted in Community

Presbyterian Santa Fe Medical Center “It doesn’t feel like a hospital.”

For Chief Medical Officer Dr. Anne Foster and her team at Presbyterian Santa Fe Medical Center, that often-heard compliment sparks confidence that their goal of improving the quality and dynamics of health care in Santa Fe and surrounding communities is gaining ground.

Opened on October 1, 2018, near the intersection of Cerrillos Road and I-25, the 342,000 square-foot medical center is Presbyterian’s ninth hospital in New Mexico offering a full host of medical services—including a 24-hour emergency room, urgent care, diagnostic imaging, multi-specialty outpatient medical clinics, and physical and occupational therapies.

The facility represents a substantial expansion of Presbyterian’s presence in Santa Fe, adding 24 inpatient medical/surgical beds, six intensive care beds, and six post-partem beds in a full-service Birthing Unit. By mid-2020, the center’s top floor will offer 42 additional medical/surgical beds.

Beyond its state-of-the-art surgical units and innovative use of technology, says Foster, the center’s unique design elements “take it all to a new level to create a calming, welcoming and anxiety-reducing environment for both patients and their families.” Highlights include large public spaces, wide corridors and an extensive use of natural lighting.

Every floor is filled with the work of local artists, including landscape paintings, weavings and sculptures. The second-floor “Terrace of Blessings and Joy,” showcases views of surrounding mountain ranges and two bronze sculptures from Jemez Pueblo artist Joe Cajero. The public, non-clinical areas feature wood ceilings, fireplaces and stone floors. “All of these components are utilized to create an atmosphere that facilitates healing and restoration,” says Foster.

Foster, who has generational roots in Las Vegas, New Mexico, and who moved to Taos Pueblo when she was a child, says the medical center’s goals are rooted in a

Presbyterian Santa Fe Medical Center, which opened in October 2018, is a Lead Corporate Partner of the Museum of New Mexico Foundation. Photo courtesy Presbyterian Medical Center.

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The Farmer’s Market Community Room and Teaching Kitchen at the Presbyterian Santa Fe Medical Center is available to the public for meetings, cooking demonstrations and classes. Photo courtesy Presbyterian Medical Center.

commitment to the community, ranging from its staffing to its local partnerships.

chapel and kitchen-equipped meeting rooms—that are available for use by local organizations.

“It’s comparable to starting a new museum. You need people who are committed to the region, the local community and your mission,” she says. “All the staff we’ve hired to date have a connection to New Mexico, either generational or recent. They appreciate and are invested in addressing the unique challenges and improvement of health care provision in the community.”

It doesn’t end there. The facility opens onto a pathway with a labyrinth and miles of hiking and biking trails that patients, their visitors and community members are invited to use. In total, Presbyterian owns 75 acres of land at the site. Additional expansion plans include a second office building for physicians and businesses that provide medical support services.

With this in mind, becoming a Lead Corporate Partner of the Museum of New Mexico Foundation was a natural, according to Rick Scott, president of the Presbyterian Healthcare Foundation, which raises and stewards funds benefiting Presbyterian’s statewide network of healthcare services.

Foster, a self-described “arts and history junkie,” says that Presbyterian’s community-minded vision aligns with the interests of the Museum of New Mexico Foundation in serving a diverse range of constituents in Santa Fe and beyond.

“The Presbyterian Healthcare Foundation is proud to partner with the Museum of New Mexico Foundation to strengthen our community,” says Scott.

Scott agrees. “We share a common purpose to improve the lives of New Mexicans,” he says, “whether that means elevating health care for our community or advancing the art, culture and history of our state.”

As Presbyterian Santa Fe Medical Center enters its second year, both Foster and Scott are focused on solidifying and enhancing the company’s local presence.

In addition to doctors’ offices, patient support services and a full-scale rehabilitation facility, the medical center has a range of community spaces—a cafeteria, patio,

For information about Corporate Partnership, contact Mariann Lovato at 505.216.0849 or Mariann@museumfoundation.org.

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Great Grants Grantor: National Film Preservation Foundation Grantee: Museum of International Folk Art Amount: $14,400 Purpose: Laboratory preservation and digitization of the film Prewar Peasants of Central Europe, chronicling San Francisco-based art collector and philanthropist Clare Hoover’s 1938 participation in an International School of Art workshop in Czechoslovakia and Hungary.

Spring into Member Events!

THURSDAY, MARCH 26 Conservation Lab Tour Museum of International Folk Art Learn how art history, chemistry and forensic examination come together in the care, cleaning and preparation of exhibition items. Benefactor level members and above.

FRIDAY, SATURDAY AND SUNDAY, MAY 8–10 Spring Members’ Shops Extra Discount Sale Museum Shops and shopmuseum.org Members receive an extra 10% discount—a full 20% off—on all purchases at the four Museum Shops and at shopmuseum.org. Circles members get 25% off.

FRIDAY, SATURDAY AND SUNDAY, MAY 22–24 Native Treasures Santa Fe Community Convention Center Shop for art made by more than 200 Native American artists while supporting the Museum of Indian Arts and Culture.

Visit museumfoundation.org/events for current information. Events subject to change.

Grantor: Santa Fe Community Foundation Grantee: Office of Archaeological Studies Amount: $5,000 Purpose: Statewide educational programs, including lectures, tours, hands-on artifact displays and craft demonstrations.

Grantor: Newman’s Own Foundation (requested by Patty and Arthur Newman) Grantee: Museum of New Mexico Foundation Amount: $30,000 Purpose: The recent exhibition A Gathering of Voices: Folk Art from the Judith Espinar and Tom Dillenberg Collection at the Museum of International Folk Art; the upcoming Water exhibition at the New Mexico History Museum; and Museum of New Mexico Foundation core operations.

Ways to Give Membership

Education Funds

Support the Museum of New Mexico Foundation’s ability to deliver essential services to our 13 partner cultural institutions while offering enjoyable member benefits.

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

The Circles

Exhibition Development Fund

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

Circles Explorers A Circles membership group whose members explore the art, culture and history of New Mexico through active, adventurous cultural excursions and other unique experiences.

Corporate Partners and Business Council

Support exhibitions, related programming and institutional advancement at the division of your choice.

Planned Gift Provide a lasting impact at our 13 partner cultural institutions through an estate gift, bequest, charitable gift annuity or gift of art.

Endowment

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

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.

Annual Fund

Special Campaigns

Provide critical operating support for the Museum of New Mexico Foundation to fulfill its mission on behalf of our 13 partner cultural institutions.

Give to special campaign initiatives designed to fund a range of capital expansions and programming advances throughout the Museum of New Mexico system.

For more information, visit museumfoundation.org/give.

Museum of New Mexico Foundation Staff EXECUTIVE OFFICE Jamie Clements Jamie@museumfoundation.org

Yvonne Montoya

New Mexico History Museum and Palace of the Governors New Mexico Historic Sites

Francesca Moradi 505.216.0826 Francesca@museumfoundation.org

505.216.1592 Yvonne@museumfoundation.org

DEVELOPMENT

Peggy Hermann 505.216.0839 Peggy@museumfoundation.org

Caroline Crupi

Museum of International Folk Art

505.216.0829 Caroline@museumfoundation.org Kristin Graham

New Mexico Museum of Art

505.216.1199 Kristin@museumfoundation.org

GRANTS

MEMBERSHIP Saro Calewarts 505.216.0617 Saro@museumfoundation.org

Celeste Guerrero

Mariann Minana-Lovato 505.216.0849 Mariann@museumfoundation.org

505.982.2282 Celeste@museumfoundation.org

Cara O’Brien 505.216.0848 Cara@museumfoundation.org

Museum of Indian Arts and Culture Office of Archaeological Studies

Brittny Wood 505.216.0837 Brittny@museumfoundation.org

Kylie Strijek 505.216.0651 Kylie@museumfoundation.org

FINANCE

LICENSING

Tammie Crowley 505.216.1619 Tammie@museumfoundation.org

Pamela Kelly 505.216.0614 Pamela@museumfoundation.org

Georgine Flores 505.216.1651 Georgine@museumfoundation.org

OPERATIONS Sachiko Hunter-Rivers 505.216.1663 Sachiko@museumfoundation.org

SHOPS

PHOTOS ©

Sara Birmingham 505.216.0725 Sara@museumfoundation.org

For a full Foundation staff list, visit: museumfoundation.org/staff

Santo Domingo Treasures

by Robert Tenorio

“Kewa birds are ‘life givers’ that represent the spirit of our ancestors providing us wisdom, connection and continuity,” says Robert Tenorio. We are proud to offer a new collection of accessories and apparel using his artwork. Supporting artists’ livelihood and their artwork is how we continue to represent the diversity of cultures and the Pueblo communities of New Mexico and beyond.

Santa Fe Plaza New Mexico Museum of Art The Spiegelberg Shop at the New Mexico History Museum

Museum Hill Museum of International Folk Art Colleen Cloney Duncan Museum Shop at the Museum of Indian Arts and Culture

shopmuseum.org