Art. History. People., Fall 2020

The Magazine of the Albuquerque Museum Foundation — Fall 2020

30 Americans |

Nicola López’s Haunted |

Sculpture Garden

Opening Minds through Proud supporters of the arts live in Haverland Carter Communities.

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A MESSAGE FROM THE PRESIDENT

ALBUQUERQUE MUSEUM FOUNDATION PO Box 7006, Albuquerque, NM 87194 505.842.0111 ALBUQUERQUE MUSEUM 2000 Mountain Road NW in Old Town 505.243.7255, 311 Relay NM or 711 Tuesday–Sunday, 9 a.m.–5 p.m.

Third Thursday of each month open until 8:30 p.m.

Closed Mondays and holidays THE MUSEUM STORE 505.242.0434 CASA SAN YSIDRO The Gutiérrez/Minge House 973 Old Church Road, Corrales, NM 87048 505.898.3915 SLATE AT THE MUSEUM 505.243.2220 Breakfast and lunch: Tuesday–Sunday, 10 a.m.–2:30 p.m.

Snacks, coffee, drinks, & pastries until 3 p.m.

MAGAZINE EDITORIAL AND DESIGN E-Squared Editorial Services Emily Esterson, Editor Glenna Stocks, Art Director Sarah Kinzbach Williams, Associate Editor CULTURAL SERVICES DEPARTMENT CITY OF ALBUQUERQUE Tim Keller, Mayor ALBUQUERQUE MUSEUM FOUNDATION BOARD OF DIRECTORS 2020-21 Joni Pierce, President

Patricia Hancock

Perry Bendicksen, President Elect

BJ Jones

Dean Willingham, Treasurer Patricia Kurz, Secretary Marney Hupper, Past President

Anne Keleher Beverly McMillan

Roddy Thomson Jr.

Perry Bendicksen

Kenton Van Harten

Paula Blacher

Tracey Weisberg

Stephanie Del Campo

Joyce Thees Weitzel

Elizabeth Earls

Ann Travelstead, Interim Executive Director

Corinne Thevenet

Andrew Connors, Museum Director

Alex Hauger

Helen Atkins Beverly Bendicksen Sherri Burr Wayne G. Chew

challenge.” —Thomas S. Monson

use our creativity and resourcefulness to find new ways to achieve

As I accepted the gavel to

our goals.

become this year’s presi-

None of our efforts

dent of the Albuquerque

would be possible without

Museum Foundation

your financial support. So,

Board of Directors, and as I

I want to thank each and

thought about the chal-

every one of you for your

lenges that lie ahead for the

steadfast commitment to

Foundation, I was reminded

the Albuquerque Museum

of this quote. The year to

Foundation. Your annual

come would be like no

membership dues, do-

other. I could already see the challenges

nations, purchases, and sponsorships

that we would face reflected in the final

allow the Albuquerque Museum to con-

quarter of 2019-20. But, I do believe that

tinue to provide educational programs,

challenges do present opportunities.

online exhibitions, lectures, concerts,

Over the past month, I have invest-

and other programs, at a time when

ed many hours in conversations with

these diversions are so badly needed

key stakeholders and volunteers of the

and greatly appreciated by the peo-

Foundation. During these conversa-

ple of our community. Thank you very

tions, I sensed a strong commitment to

much for your continued support.

our mission and great enthusiasm for our vision. I am convinced that we will

In This Issue: 30 Americans........................................................................................................................ 2 Shifting Perspectives: Nicola LÓpez's Haunted............................................................... 4 Meandering Through the Sculpture Garden.................................................................... 6 Seven Generations: The Art of Native American Activism............................................. 7 History Made Today: Collecting Covid-19........................................................................ 8 Casa San Ysidro Hires Aaron Gardner............................................................................... 9 Under Glass......................................................................................................................... 10

ALBUQUERQUE MUSEUM BOARD OF TRUSTEES Pamela Weese Powell, Chair

with unwaivering optimism; and, we will

Scott Schaffer

Hal Behl

Elizabeth Hamm

face the challenges of the coming year

will be found in times of greatest

Tiffany Sanchez Catherine Baker Stetson

Maria Griego-Raby

"Our most significant opportunities

Max Parrill

Beverly Bendickson, Museum Board of Trustees

Catherine Goldberg

JONI PIERCE

Paul Mondragon Joni Pierce, Albuquerque Museum Foundation Judith Suiter Alan Weitzel

Museum Foundation News............................................................................................... 11

V I S I T U S AT:

AlbuquerqueMuseumFoundation.org AlbuquerqueMuseumFoundation.org

1

30 AMERICANS Nina Chanel Abney, Class of 2007, 2007, acrylic on canvas, diptych, overall 114 x 183 in. (289.6 x 4 64.8 cm), Rubell Museum, Miami, acquired in 2008

Jean-Michel Basquiat, Bird On Money, 1981, acrylic and oil on canvas, 66 x 90 in. (167.6 x 228.6 cm), Rubell Museum, Miami, acquired in 1981

30 Americans

T Hank Willis Thomas, Basketball and Chain, 2003, digital chromogenic print, ed. 2/3, 99 x 55 in.

(251.5 x 139.7 cm), Rubell Museum, Miami, acquired in 2007

The exhibition highlights complex explorations into identity

HE INFLUENTIAL EXHIBI-

TION 30 Americans showcases

view and write about 30 Americans today

work by some of the most

may be vastly different from how we

important artists of the last

would have written about it ten years ago.

three decades. It focuses on issues of

And yet, according to Curator Gwendolyn

racial, sexual, and historical identity in

Dubois Shaw's 2019 article in Art News:

contemporary culture while exploring the

“Because these artists occupy complex

powerful influence of artistic legacy and

subject positions, to say that they share

community. Highlights include works

a common identity as African Americans

by Jean-Michel Basquiat, Nick Cave,

belies the richness of their varied and

Robert Colescott, Lorna Simpson,

often intersectional experiences as men,

Wangenchi Mutu, Kehinde Wiley, and

women, straight, gay, queer, wealthy,

Mickalene Thomas.

working class, and so forth. Just as there

30 Americans was conceived during

is no single type of work in this exhibition,

the Barack Obama presidency in 2008

which includes sculpture, painting, video,

when the media touted the beginning of

and installation, neither is there one kind

a post-racial period in American history.

of ‘Black’ artist in the group.”

In the ten years since, the political land2

FALL 2020

Art. History. People.

scape has shifted considerably. How we

The Miami-based collectors, the Rubell

30 AMERICANS

Rashid Johnson, The New Negro Escapist Social and Athletic Club (Thurgood), 2008, Lambda print, ed. 2/5, 69 x 55 1/2 in.

(175.3 x 141 cm), Rubell Museum, Miami, acquired in 2008

Mickalene Thomas, Baby I Am Ready Now, 2007, acrylic, rhinestone and enamel on panel, diptych, overall 72 x 132 in. (182.9 x 335.3 cm), Rubell Museum, Miami, acquired in 2007

family, consciously

Ligon, Kerry James Marshall,

Race underscores many of the works,

named the exhibition 30

Lorna Simpson, and Kara

sometimes subtly, sometimes directly, such

Americans rather than 30

Walker, all of whom have

as Gary Simmons' Duck Duck Noose, an

Black Americans or 30 African Americans. “Nationality is a statement of fact,” they write in the

works in 30 Americans.

installation of Ku Klux Klan hoods on stools

Perhaps most well

surrounding a noose. Kehinde Wiley riffs

known are the neo-ex-

on traditional European portraiture and

pressionists Jean-Mi-

power, putting a Black man in the saddle

introduction to the exhi-

chel Basquiat and

in the stylized Equestrian Portrait of Count

bition catalog, “while

Robert Colescott. Bas-

Duke Olivares. Carrie Mae Weems' From

racial identity is a

quiat’s Bird on Money

Here I Saw What Happened and I Cried

question each artist

pays homage to mu-

takes historic daguerreotype portraits

answers in his or her

sician Charlie “Bird”

of American slaves and re-photographs

own way, or not at

Parker. Colescott’s

them. Lorna Simpson’s prints, Wigs, refers

all.” The Rubells be-

paintings challenge

to the body without including it.

gan collecting African

iconic European works

There’s much to discover in 30 Ameri-

American art as the

by creating alternative

cans. The exhibition presents the provoc-

narratives that feature

ative, stunning, and thought-provoking

Black Arts Movement gained steam in the

Black figures. They are also

1960s and 1970s. Ground-

among those who influenced

breaking exhibitions deeply

younger artists in the exhibition.

influenced the collectors, notably Freestyle at the Studio

of contemporary Black artists.

They also tapped into museum retrospectives of Glenn

artists of the last three decades.

There is no doubt that 30 Americans offers challenging material.

Museum in Harlem, which identified a new generation

works of some of the most important

Nick Cave, Soundsuit, 2008, fabric, fiberglass and metal, 102 x 36 x 28 in. (259 x 9 1.5 x 71 cm), Rubell Museum, Miami, acquired in 2008

ON VIEW 30 AMERICANS October 3 – January 3

AlbuquerqueMuseumFoundation.org

3

ARTIST IN RESIDENCE

Shifting Perspectives

T

Nicola López’s geologic forms reflect New Mexico

HE ALBUQUERQUE MUSEUM

changes as light shifts in the lobby space

on 'place' and stems from an interest

LOBBY SEEMS enlivened

from different weather conditions and

in urban planning, architecture, and

thanks to the installation of

from morning to evening.

anthropology; it's further fueled by

Nicola López’s Haunted. The

large-scale installation features a site

The lobby seems an appropriate place for López’s work. Her art focuses

time working and traveling in different landscapes. According to the artist, there

specific landscape that vibrantly changes

is no longer any such thing as nature un-

throughout the day.

marked by humanity. Indeed, humanity

López is this year’s Visiting Artist, a

haunts nature with what we inflict on the

program funded in part by a grant from

ON VIEW

the Frederick Hammersley Foundation.

HAUNTED

Her three-dimensional piece includes col-

Through June 2021

teaches at Columbia University in New

Watch a video interview with the artist at cabq.gov/haunted

printmaking. Her work often has an archi-

laged, printed, and hand-drawn elements.

It creates a landscape where natural and human-built features intertwine. Video projections animate the work. The piece 4

FALL 2020

Art. History. People.

environment in the name of progress.

López, who now lives in Brooklyn and York, works in installation, drawing, and tectural feel, as evidenced by two prints the Museum recently acquired from the

ARTIST IN RESIDENCE

Nicola López Born Santa Fe, NM 1975 Lives Brooklyn, NY Haunted 2020 Monotype on mylar, projectors with steel mounts and video lent by the artist.

Supported by the Frederick Hammersley Fund for the Arts at the Albuquerque Community. Photos by Stephan Hutchins

series Ideal Structures for a Dubious

to be back in New Mexico. We also

Catalina Delgado-Trunk, Paul Sarkisian,

Future, shown in conjunction with Trinity:

acquired for the collection Objects for

and most recently, Karl Hofmann. The

Reflections on the Bomb on view on the

a Dubious Future,” says Lopez. “It shows

annual program provides an invited artist

Museum’s website. The Works on Paper

the artist’s process of engaging with

the opportunity to reimagine and acti-

gallery features a small selection from

architectural landscapes. That, too, was

vate the Museum's lobby; some artists

the online exhibition. The prints are part

a New Mexico project, based on the

create works specifically for the space.

of a project which connected López with

Trinity blast.”

The program includes displaying the

technical support from the Los Alamos National Laboratory.

The Visiting Artist program has

artist's work for one year, public engage-

featured contemporary artists—both

ment, and artist talks. The program aims

During the COVID-19 quarantine,

well established and emerging—with

to provide a bridge between the artistic

López stayed with her mother in Santa

a connection to New Mexico. Among

practice of the visiting artist and the pub-

Fe. A modification in her artistic pro-

those featured were Gronk, Virgil Ortiz,

lic's experience of contemporary art.

cess—working in a makeshift studio, with monoprint, and the nature of the New Mexico landscape—is evident in Haunted. The strata of geologic formations layer and spread across the lobby wall, the representation of textures part of the printing process. Videos of human impact—pipes coming out of a rock formation, for example—underscore López's thesis that the human footprint exists even in remote places. “If you look at López’s typical visual language, it’s very urban and architectural,” says Josie Lopez, Ph.D., curator of art. “This piece is very much about New Mexico landscape, with texture and color on multiple layers.

She is working in different circumstances but also grappling with what it means

AlbuquerqueMuseumFoundation.org

5

Left: Frederico M. Vigil, Santa Madre Tierra y su Alma, 1991, buon fresco Albuquerque Museum, museum purchase, 1989 General Obligation Bonds, 1% for Art funds, City of Albuquerque, and funds provided by Nancy R. Briggs.

Below: Sebastian (born Enrique Carbajal González), Variacion Nuevo México, 1989, painted steel, Albuquerque Museum, museum purchase, 1987 General Obligation Bonds and 1% for Art Funds, City of Albuquerque.

Meandering Through Art The Sculpture Garden provides a socially distanced Museum experience.

THE ALBUQUERQUE

world. The bronze Prayer, by

sculpture of Spanish novelist

MUSEUM SCULPTURE

Bob’s father Alan Houser, is

Miguel de Cervantes, author

GARDEN contains more

one of the most recognizable

of Don Quixote. The artist

than 50 works located in the

pieces in the east garden,

experiments with perspective,

Museum's lobby, atriums, and

reflecting on culture and tra-

allowing the viewer to see

beautifully landscaped grounds.

dition by combining abstract

Cervantes as an abstract work

The garden contains artworks

forms and the body.

from different angles.

by a diverse cross-section of

Other works like Michael

Alma by Frederico Vigil is a

Another formidable sculp-

combination of familiar and

artists, addressing themes such

Orgel’s Nurturance, Oliver

ture, Atomic Needle, is made

abstract shapes. With a rich

as the relationships between

LaGrones’ Mercy, and Glenna

of metal collected from

earthen color palette, the fres-

humans and nature, and his-

Goodacres’ Park Place reflect

discarded equipment at Los

co honors Holy Mother Earth

torical and cultural narratives

on the importance of people

Alamos National Labs. Tony

and Her Soul. Fresco is an

specific to New Mexico and

and place, showing figures

Price transforms the vestiges of

age-old painting technique

the Southwest.

coming together, the cycle of

destruction into new symbols.

that has been utilized by art-

life, and people taking care of

Santa Madre Tierra y su

On the east side of the Museum, visitors might be familiar

one another. Jesus Moroles’

with Sebastian, whose large

Floating Mesa and Tom Wal-

blue installation is an abstract

dron’s Blue Tank reflect on the

expression of Pueblo architec-

landscape of New Mexico

ture. For Bear with Planes and

and the importance of water

Clouds, Bob Haozous used a

in our region.

single sheet of steel to illus-

Highlights in the west

trate the impact of technology

garden include Charles

on the natural and spiritual

Strong's large-scale bronze

6

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Art. History. People.

ists all over the world.

ON VIEW TAKE A GUIDED VIDEO TOUR WITH CURATOR JOSIE LOPEZ VISIT ONLINE: cabq.gov/sculpture-garden

Unidentified artist, Defend the Land Struggle, 1970s-1980s, lithograph on paper, Albuquerque Museum, gift of Diane Palley.

Unidentified artist, Stop the Rape of Mt. Taylor, 1979, lithograph on paper, Albuquerque Museum, gift of Diane Palley.

Virtual Exhibit Showcases a Tradition of Activism in New Mexico THE PHRASE “SEVEN GENERATIONS” MAY not mean what

assistance from Rebecca Prinster, assistant curator of history. His

you think it does.

educational background in history and his long involvement in

The concept of seven generations is often misconstrued as be-

activism made him a key voice to tell the story.

ing about seven generations in the future.

The exhibition includes a section

Instead, “seven generations” refers to the

on art as activism. One featured artist,

three generations that came before, the

Jared Yazzie (Diné), designs streetwear

three generations that will come next, and

that incorporates Navajo designs under

the present generation. For many Native

his brand OXDX. He recently created

American communities, this idea is a way

a poster in response to the COVID-19

to conceptualize change and a way to live

emergency on the Navajo Nation. The

in right relation with all living beings.

image serves as a reminder to stay safe,

This fall, the Albuquerque Museum will

wear a face mask, and look forward to a

launch Seven Generations of Red Power in

better future.

New Mexico. The virtual exhibition will tell

Art has often been used to react to

the long story of Indigenous resistance in

historical upheavals and stand up to injus-

this region and reflect on how the activism

tice. Likewise, standing up to injustice has

of today is part of that long, unbroken

consistently been a way to be a good rel-

legacy.

ative—to the three generations that came

Nick Estes, a citizen of the Lower Brule

before and the three that will come next.

Sioux Tribe, and University of New Mexico assistant professor in American Studies, is guest curating the exhibition, with

Seven Generations seeks to illuminate Jared Yazzie, Better Future, 2020, digital print, courtesy of the artist.

that history of resistance and its ongoing legacy in New Mexico.

AlbuquerqueMuseumFoundation.org

7

PHOTO ARCHIVES

Noe’ Bennett works on a mural dedicated to medical staff on Pino Avenue Northeast. Offered gift of Roland Penttila

History Made Today

H

Collecting Covid-19 for Future Generations

ISTORY IS BEING

with other collecting institutions around

lect history as it happens. It allows us, as a

MADE EVERY DAY. At the

the nation to collect Covid-19 pandem-

community going through an unpredict-

Albuquerque Museum, we

ic-related items from the community. The

able yet shared experience, to have an

collect items that might be

Museum asked community members to

outlet for our stories, hoping they will be

of particular interest to future genera-

share artifacts that illustrate how they are

told, and our voices heard, in the future.

tions. When future researchers wonder

living in New Mexico during this time.

how we coped and what life was like

By collecting images, items, and artwork

this collecting initiative. In the months

during the pandemic of 2020, our collec-

right now, the Museum hopes to tell a

following the announcement, community

tions might provide an answer.

more full and inclusive history of the

members have donated several hundred

Covid-19 pandemic.

images from Albuquerque, the East

In April 2020, the Albuquerque Museum launched an initiative in conjunction

The initiative allows the Museum to col-

There is no deadline for the end of

Mountains, and the Pueblos. Images

THE ALBUQUERQUE MUSEUM COVID COLLECTION is part of a national movement spearheaded by the Smithsonian Institution, History Made by Us. Hundreds of history and civic organizations have come together to use history to inspire, inform, and empower specifically young changemakers. The social and digital media campaign invites people to voice their hopes and dreams for the United States, as the country approaches its 250th anniversary. Anyone can participate by going to MyWishforUs.org and posting a wish.

Made By Us is also hosting a series of free workshops. This summer, it focused on three tools: Ecosystem Mapping; Vote by Design; and Backcasting, that connect young people to each other to discover ways to navigate the unknown and unprecedented times we’re living in. To join the movement, login on to historymadebyus.org

8

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Art. History. People.

PHOTO ARCHIVES

Gardner Hired as Site Supervisor ALBUQUERQUE MUSEUM HAS NAMED AARON GARDNER as the site supervisor for Casa San Ysidro: The Gutiérrez-Minge House. Gardner has functioned as the part-time, temporary site manager at Casa since 2018.

The City of Albuquerque's hiring of Gardner as a full-time, permanent employee demonstrates a commitment to the educational programs and historic significance of the property.

“Aaron’s knowledge and enthusiasm for Casa San Ysidro make him an invaluable asset to Albuquerque Museum," says Curator of History Leslie Kim. "We are thrilled to have

Gardner. " My vision for Casa San

Aaron as a permanent part of the

Ysidro includes new innovation for

history department at Albuquerque

shaping the museum’s programming,

capture the introduction of mask-wearing

Museum." Gardner received his

conservation care for one of the

in public, the closure of restaurants, the

Bachelor of Arts in Anthropology

most comprehensive Territorial New

new challenge of home-schooling chil-

from the University of New Mexico.

Mexican collections in the Southwest,

dren, the socially distanced lines for Senior

He is certified in Museum Education

and strategizing plans for the

Hour at grocery stores, and the creativity of

and Outreach from the American

property’s future. Casa is a unique and

street muralists who paint walls honoring

Association for State and Local History.

memorable experience for visitors.

the health care workers. Physical objects,

“Casa San Ysidro is a part of the

My main priority is to assist people in

such as cloth masks for the public and 3-D

Museum that requires devoted

living vicariously through traditional

masks made for the healthcare workers

care, attention, and foresight," says

knowledge.”

have also been donated to the collection.

Artists have been sending images of the works they’ve been inspired to create by the pandemic experience.

To donate your photographs to the Covid-19 Collection, please email them to the Museum’s Digital Archivist, Jill Hartke, at: jhartke@cabq.gov.

This page: Homemade cloth mask. Offered gift of Deb Slaney.

Facing page: Grocery worker at Whole Foods sanitizes carts at the store on Carlisle Northeast.

Offered gift of Roland Penttila.

THIS FALL AT CASA SAN YSIDRO: THE GUTIÉRREZ-MINGE HOUSE DIARIES OF WOMEN PIONEERS NOVEMBER 14, 2020 1:00–2:30 PM 2nd Saturday with Casa San Ysidro. Email agardner@cabq. gov to register for this lecture and Q&A that will be held via Zoom.

AlbuquerqueMuseumFoundation.org

9

ON VIEW ABSTRACT IN YOUR HOME AT THE CORNER OF MOUNTAIN AND 20TH Watch an interview with the artist at cabq.gov/ windows

Left: Neal AmbroseSmith, Abstract in Your Home, 2009, Albuquerque Museum at 2000 Mountain Rd. NW.

Under Glass A neon sculpture represents Indigenous culture and the shifting nature of home.

THE ALBUQUERQUE MUSEUM’S CORNER WINDOW, visible from

many of the Windows on the

depending on time and place

Ambrose-Smith transforms

Future pieces have been taken

but also embodies universal

the triangle, reclaiming the

down, Abstract in Your Home

ideas of shelter, familiarity,

teepee, indigenizing the

Mountain Road and 20th

remains in the Museum's

traditions, and family.

familiar concept of home,

Street, encloses the neon work

window through the end of

of pop artist Neal Ambrose-

the year.

Smith, Abstract in Your Home.

“The teepee can withstand

Ambrose-Smith was

while speaking to his specific

inspired by a neon work

understanding of place and

created by Italian artist

culture. He also invites the

The sculpture is a neon teepee,

hurricanes and incredible

Pier Paolo Calzolari which

viewer to grapple with the

representative of the strength

environmental conditions,”

featured a blue triangle.

different meanings of the term

of the structure of home.

Ambrose-Smith says. “If it is

It’s one of 60 such works of

abstract in art.

put up properly and facing

Vital Spaces in Santa Fe,

art that, during the summer,

east, you can regulate the

which finds affordable spaces

embellished otherwise empty

temperature inside it. It looks

for artists, initiated the Windows

window spaces around

like a rocket ship, but it’s a

on the Future project this spring.

Albuquerque, Santa Fe,

house—my house, and my

It partnered with 516 Arts in

and Taos. It provided a way

culture’s house.”

Albuquerque and the Paseo

for people to see great art

He describes a teepee as a

without going into galleries

perfectly engineered structure

in each city were selected. The

and museums—to get outside

that is incredibly versatile,

resulting installations took on

and discover the state’s

sturdy. It represents how the

a variety of topics in various

contemporary artists. While

idea of home may be different

mediums and styles.

10

FALL 2020

Art. History. People.

Project in Taos. Twenty artists

ALBUQUERQUE MUSEUM FOUNDATION NEWS

THE MAGIC BUS KEEPS ROLLING Even without in-person field trips, the Albuquerque Museum Foundation is hosting virtual Magic Bus experiences, including providing teaching resources and access to art activities.

Since 1994, more than 180,000 Albuquerque-area children have been inspired by and connected to art and KEHINDE WILEY , Equestrian Portrait of the Count Duke Olivares, 2005, oil on canvas, 108 x 108 in.

(274.3 x 274.3 cm), Rubell Museum, Miami, acquired in 2005

history objects on display at Albuquerque Museum. Last year, school tours brought more than 10,000 students and teachers to the Muse-

Join 3rd Thursday Virtual Events:

um and Casa San Ysidro—that’s a big

supplies are being provided

impact on our youth and our future.

to schools for students’ use during

Our relationships with schools, teach-

these digital sessions.

ers, kids, and families help us build a healthy and vibrant community. In

SUPPORT THE COLLECTIONS

these unique times, your support of

Artwork at the Museum must be kept

Magic Bus is even more important.

safe and climate controlled, ensuring best collection management

SUPPORT VIRTUAL PROGRAMMING

practices continue even without

Foundation donations support

those artworks. Security and grounds

Albuquerque Museum partners with

myriad virtual educational program-

upkeep/maintenance continues at

local artist and activist Ebony Isis Booth

ming that has transitioned to an

the Museum so that our facility and

to curate an evening of livestreamed

online format for the duration of the

the artistic gems kept on the grounds

performance based on the exhibition

Covid-19 crisis, including online Third

and inside the building are well cared

30 Americans.

Thursday programs that offer engag-

for. In short, life at the Albuquerque

ing, enjoyable virtual evenings for the

Museum continues for our collec-

cultural strategist, and curator of vibes.

whole family, and virtual Magic Bus

tions, facilities, and staff, though we

She is founder of the African American

sessions for the schoolchildren who

are temporarily without our most

multimedia showcase, Burque Noir.

would have otherwise visited Albu-

cherished element: our audience.

3RD THURSDAY, OCTOBER 15, 2020

Ebony Isis Booth is a poet, writer,

querque Museum in person this Fall.

the public’s participation in viewing

Please contact Elaine Richardson,

3RD THURSDAY, NOVEMBER 19, 2020

Funding needs for these new formats

erichardson@albuquerquemuse-

include production costs: profession-

umfoundation, 505.338.8733, with

Albuquerque Museum highlights

al videographers, content producers,

any questions or to request further

30 Americans with livestreamed music

and associated staffing. Magic Bus art

information.

and a virtual tour of the exhibition.

albuquerquemuseumfoundation.org/give

MISSION: The Albuquerque Museum Foundation — an independent, nonprofit corporation — raises funds for the Albuquerque Museum.

VISION: The Foundation champions the Museum’s exceptional exhibitions, educational programs, and acquisitions.

AlbuquerqueMuseumFoundation.org

11

ALBUQUERQUE MUSEUM FOUNDATION NEWS

MEMORIALS AND TRIBUTES IN MEMORY OF GLORIA PERRETTI NOLTE from Ron Hjelm IN HONOR OF JONI PIERCE from Lori & Jon Ochsner

albuquerquemuseumfoundation.org Betsy James, Malpaís: Purple Snow Watercolor and gouache on Arches #300 cold press sheet: 11” x 11" Framed: 13.25” x 13.25”

ARTSTHRIVE GOES ONLINE It’s time again for Artsthrive, the Albuquerque Museum Foundation’s annual showcase and sale of contemporary art. This year, over 100 artists will be showing their work both in the Museum and online. Artsthrive is unique in that it is the only exhibition at the Museum where the works are for sale, and proceeds of each sale benefit both the artist and the Museum. Watercolor artist Betsy James' works celebrate the mountains, the blessing of rain, and the traces humans have left on the land. “This will be my seventh year in the ArtsThrive.

It’s rare that I don’t sell everything I show, sometimes with extra sales through the Museum afterward.”

The ArtsThrive LIVE ONLINE

The ArtsThrive TIMED ONLINE

COLLECTOR’S DINNER AUCTION

AUCTION features over 300

will come to you on the Bidsquare

original juried works of art by

platform. This event will begin

outstanding artists from around

on October 24 at 6 p.m., with a

the country. Online bidding opens

spirited live online auction of 13

October 24, directly following our

exclusive and highly collectable

live online auction, and will close

artworks and the evening’s fund-

on November 8, at 3 p.m. MST.

a-need. Your group can join the Collector’s Dinner auction from

LINK TO BID ONLINE HERE:

ARTSTHRIVE 2020

the comfort of your home with

albuquerquemuseumfoundation.

Online beginning October 1

a catered, delivered dinner and

org/artsthrive

Bidding runs October 24 through November 8.

ArtsThrive will be on view at Albuquerque Museum to the general public October 25– December 6, 2020.

Go to albuquerquemuseumfoundation. org/artsthrive to bid, to purchase tickets, and for complete details about the art exhibition and benefit.

12

The 30th annual ArtsThrive Art Exhibition & Benefit will occur both in the Museum and online, featuring the following two celebratory components:

FALL 2020

Art. History. People.

champagne for every ticket holder.

Per current IRS policy, distributions made from Donor-Advised Funds or Family Foundations may not be used to fulfill a pledge or Patrons’ Circle Membership that would result in a personal benefit to a donor or a member of donor’s family (e.g. tickets to events, dinners, tables for events etc.) Please call if you have additional questions or need clarification.

MUSEUM STORE 505-242-0434 • store@albuquerquemuseumfoundation.org

This Holiday Season we all need a little

Sparkle.

Allow us to help you find gifts that will enhance the beauty of the Season no matter your aesthetic.

Find eclectic pieces that are colorful and fun, inspiring a childlike wonder.

Or cozy up to the fire with an absorbing book about a favorite artist.

Add a touch of glamour with a shimmer of silver from our amazing jewelers.

New Mexico nostalgia?

No problem!

We are happy to ship our yummy food products and local cravings to your out-of-town loved ones.

MUSEUM STORE HOURS: Tuesday through Sunday, 10 a.m. to 5 p.m.

Closed Mondays, Thanksgiving, Christmas and New Year's Day 12 mm Navajo Pearl Necklace with vintage rhinestone pendant, $425, by Shoofly505

NON-PROFIT ORG. U.S. POSTAGE PAID ALBUQUERQUE, NM PERMIT NO. 446

ALBUQUERQUE MUSEUM FOUNDATION P.O. BOX 7006 ALBUQUERQUE, NM 87194

Front Cover Nick Cave, Soundsuit, 2008, fabric, fiberglass and metal, 102 x 36 x 28 in.

(259 x 9 1.5 x 71 cm), Rubell Museum, Miami, acquired in 2008

COMING SOON TO THE ALBUQUERQUE MUSEUM FRIDA KAHLO, DIEGO RIVERA AND MEXICAN MODERNISM From the Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Foundation.

February 6–May 2, 2021 The works in the Jacques and Natasha Gelman collection epitomize the vitality and expressiveness of modern Mexican art. They were produced in a pivotal period in Mexican history, when the nation sought to redefine itself through political, social, and cultural reforms. Some of the figures in this exhibition are household names in Mexico and a handful of these have, over time, received international recognition. Perhaps none are more well-known then Diego Rivera and Frida Kahlo. Rivera’s bombastic personality, revolutionary politics, and inspiring murals made him a celebrity during his lifetime. Although once overshadowing his equally talented wife, Kahlo’s fame has far outstripped that of her husband in the years since her death. The raw emotion of her paintings still resonates today, and her intense self-portraits have made her face familiar throughout the globe.

The exhibition is organized by MondoMostre.

Frida Kahlo, Diego on My Mind, 1943, oil on Masonite. The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.