here.

How they came to be at the Palace of the Governors is a tale as circuitous as it was fortuitous. The hides found their way back to the Southwest—and eventually to the Palace—more than 200 years after Philipp von Segesser von Brunegg, a Jesuit priest, sent them to his family in Switzerland in 1758. It is believed that he acquired them in Sonora, Mexico, between 1732 and 1758, from the Anzas, a family that was prominent in military and civil affairs in both New Mexico and the Sonoran village where Father Segesser’s mission was situated.

The existence of the hide paintings had long had been known, but their availability came to light in 1983 when another museum wanted to borrow them, only to discover that the von Segesser who then owned them wanted to sell rather than lend. Enter the interest of the Palace of the Governors, which purchased in 1988 the hide paintings designated Segesser I and Segesser II.

Segesser I and II were painted on hides, likely bison, that had been tanned to make them supple, pumiced so that the grain was no longer visible, and sewn together to form a large canvas. The hides do not exhibit any distinctive ground or gesso layer under the paint.

Some scholars believe that the Segesser Hide Paintings were created in New Mexico, where imported canvas was rare and processed hides were used for a variety of purposes, including paintings on hide, or reposteros, that were exported to Mexico. There is documentary evidence that hides were painted in workshops in Santa Fe. Because the Segesser renderings include several distinct styles, some scholars suggest that as many as three artists painted specific elements of the overall rendering. We believe that the artists were indigenous New Mexicans with tribal affiliation who had the benefit of eyewitness descriptions and were taught European painting techniques. Yet the Segesser paintings were not rendered in a traditional European style typical of military paintings of that era; rather they are more characteristic of indigenous or folk-art paintings.

The late 17th and early 18th centuries were the final great period of European battle tapestries. Such textiles, imported to the Americas, might have influenced the commissioned Segesser hides. The hides contain wide, broadly painted flower and leaf borders that simulate carved or gilded frames, which also was typical of European tapestries from the same era.

Segesser I

This set of hides represents an encounter between rival tribesmen, the attacking side possibly accompanied by a Spanish leader. Scholars agree that the painting’s features, including hills, cliffs, deciduous trees, bison, deer and pumas, indicate that this encounter took place over varied terrain.

Who took part in the conflict and where and when it occurred remains the subject of scholarly debate. Basing their theories on historical records and the painting’s account of the event, some scholars suggest that Segesser I portrays one or more Spanish officers with Indian allies—possibly the Manso, Opata, Tlascalan, Tarascan, Pima and a faction of the Suma—who are attacking rival Sumas or Apaches, in the El Paso, Texas region.

Others say that the painters were unfamiliar with both the encounter and the cultures involved, and so substituted familiar individuals, animals and terrain in a painting that actually portrays Pueblo Indian auxiliaries attacking Plains Apache Indians. Such fighting took place in any one of a half-dozen expeditions launched between 1693 and 1719 from the Palace to the eastern plains to discourage raids by tribal factions.

Because the encounter has not been pinpointed, it is not known if the individuals behind the wooden palisade are members of the defending tribe or captive slaves taken from other tribes. The attackers on horseback are equipped with Spanish weapons, clothing and leather armor to distinguish them from the opposition.

There are pieces missing from the original rendering. Parts were separated from the work sometime before 1908 and given to a Segesser family member where they are today.

Segesser II

These hides depict a disastrous, 1720 rout of Spanish troops and their allies in present-day Nebraska.

Throughout the Spanish Colonial period, officials at the Palace of the Governors routinely dispatched troops to patrol and explore beyond the colonial boundaries. Hearing of encroachment by the French, New Mexico Governor Antonio Valverde y Cosio dispatched Spanish troops and Pueblo Indian auxiliaries to verify the rumors. Led by New Mexico Lieutenant Governor and Commander-in-chief Pedro de Villasur, the military expedition also was charged with locating a suitable site on the remote eastern plains for a Spanish military post, requested by the Spanish Viceroy in Mexico City.

The Villasur expedition headed north from Santa Fe to Taos, turned east, then northeast into present-day Kansas. They followed a Pawnee route to the Platte River, moving north into eastern Nebraska. Beyond the junction of the Platte and Loup rivers, they encountered a large Pawnee Indian encampment. Villasur initiated a dialogue and asked Juan de Archibeque (Jean l’Archévêque), a Frenchman and expedition interpreter, to write a letter in French to a European within the Pawnee camp. The efforts failed and sensing a potentially hostile situation, the expedition retreated and camped at the confluence of the Loup and Platte rivers.

The Segesser II painting can be pinpointed to the August 13, 1720, skirmish at the expedition camp. After daybreak, the Pawnee and their Oto Indian allies—illustrated throughout the painting by their painted and unclothed bodies and shaved or close-cropped heads—ambushed the Villasur party. The painting also includes 37 French soldiers, identified by their European-style clothing—conical hats, coats, breeches, cuffs and leggings—firing long arms at the Spanish military expedition.

Composed of 43 royal troops, three Spanish civilians, 60 Pueblo Indian auxiliaries and several other Indian allies, the Villasur expedition was caught off guard, and the pitched battle left many of them for dead in the tall prairie grass. The attack was a major catastrophe for New Mexico and casualties amounted to a third of the province’s best soldiers. The center of the painting portrays French soldiers with Pawnee and Oto supporters surrounding the camp. At the right of the painting, Villasur expedition members who were guarding the animals are shown running to assist their Spanish comrades.

Interestingly, oral and written accounts of the battle do not mention French soldiers in the area of the encounter. Several Villasur survivors reported a volley of musket fire, but in the confusion of the battle, they did not know who was attacking them. It is possible that French traders took part in the ambush. Governor Valverde y Cosio, perhaps in an effort to defend the actions of Villasur, reported “two hundred Frenchmen had fired, supported by a countless number of Pawnee allies.”

 

 

[eventFullDescription] =>

Though the source of the Segesser Hide Paintings is obscure, their significance cannot be clearer: the hides are rare examples of the earliest known depictions of colonial life in the United States. Moreover, the tanned and smoothed hides carry the very faces of men whose descendants live in New Mexico today. Perhaps both paintings illustrate military expeditions dispatched from the Palace of the Governors, when it was called las casas reales, the royal houses.

The hides are on display in the Palace of the Governors; a computer interactive offering more detailed information about the sections is next door at the New Mexico History Museum (on the same campus) and can also be found online here.

How they came to be at the Palace of the Governors is a tale as circuitous as it was fortuitous. The hides found their way back to the Southwest—and eventually to the Palace—more than 200 years after Philipp von Segesser von Brunegg, a Jesuit priest, sent them to his family in Switzerland in 1758. It is believed that he acquired them in Sonora, Mexico, between 1732 and 1758, from the Anzas, a family that was prominent in military and civil affairs in both New Mexico and the Sonoran village where Father Segesser’s mission was situated.

The existence of the hide paintings had long had been known, but their availability came to light in 1983 when another museum wanted to borrow them, only to discover that the von Segesser who then owned them wanted to sell rather than lend. Enter the interest of the Palace of the Governors, which purchased in 1988 the hide paintings designated Segesser I and Segesser II.

Segesser I and II were painted on hides, likely bison, that had been tanned to make them supple, pumiced so that the grain was no longer visible, and sewn together to form a large canvas. The hides do not exhibit any distinctive ground or gesso layer under the paint.

Some scholars believe that the Segesser Hide Paintings were created in New Mexico, where imported canvas was rare and processed hides were used for a variety of purposes, including paintings on hide, or reposteros, that were exported to Mexico. There is documentary evidence that hides were painted in workshops in Santa Fe. Because the Segesser renderings include several distinct styles, some scholars suggest that as many as three artists painted specific elements of the overall rendering. We believe that the artists were indigenous New Mexicans with tribal affiliation who had the benefit of eyewitness descriptions and were taught European painting techniques. Yet the Segesser paintings were not rendered in a traditional European style typical of military paintings of that era; rather they are more characteristic of indigenous or folk-art paintings.

The late 17th and early 18th centuries were the final great period of European battle tapestries. Such textiles, imported to the Americas, might have influenced the commissioned Segesser hides. The hides contain wide, broadly painted flower and leaf borders that simulate carved or gilded frames, which also was typical of European tapestries from the same era.

Segesser I

This set of hides represents an encounter between rival tribesmen, the attacking side possibly accompanied by a Spanish leader. Scholars agree that the painting’s features, including hills, cliffs, deciduous trees, bison, deer and pumas, indicate that this encounter took place over varied terrain.

Who took part in the conflict and where and when it occurred remains the subject of scholarly debate. Basing their theories on historical records and the painting’s account of the event, some scholars suggest that Segesser I portrays one or more Spanish officers with Indian allies—possibly the Manso, Opata, Tlascalan, Tarascan, Pima and a faction of the Suma—who are attacking rival Sumas or Apaches, in the El Paso, Texas region.

Others say that the painters were unfamiliar with both the encounter and the cultures involved, and so substituted familiar individuals, animals and terrain in a painting that actually portrays Pueblo Indian auxiliaries attacking Plains Apache Indians. Such fighting took place in any one of a half-dozen expeditions launched between 1693 and 1719 from the Palace to the eastern plains to discourage raids by tribal factions.

Because the encounter has not been pinpointed, it is not known if the individuals behind the wooden palisade are members of the defending tribe or captive slaves taken from other tribes. The attackers on horseback are equipped with Spanish weapons, clothing and leather armor to distinguish them from the opposition.

There are pieces missing from the original rendering. Parts were separated from the work sometime before 1908 and given to a Segesser family member where they are today.

Segesser II

These hides depict a disastrous, 1720 rout of Spanish troops and their allies in present-day Nebraska.

Throughout the Spanish Colonial period, officials at the Palace of the Governors routinely dispatched troops to patrol and explore beyond the colonial boundaries. Hearing of encroachment by the French, New Mexico Governor Antonio Valverde y Cosio dispatched Spanish troops and Pueblo Indian auxiliaries to verify the rumors. Led by New Mexico Lieutenant Governor and Commander-in-chief Pedro de Villasur, the military expedition also was charged with locating a suitable site on the remote eastern plains for a Spanish military post, requested by the Spanish Viceroy in Mexico City.

The Villasur expedition headed north from Santa Fe to Taos, turned east, then northeast into present-day Kansas. They followed a Pawnee route to the Platte River, moving north into eastern Nebraska. Beyond the junction of the Platte and Loup rivers, they encountered a large Pawnee Indian encampment. Villasur initiated a dialogue and asked Juan de Archibeque (Jean l’Archévêque), a Frenchman and expedition interpreter, to write a letter in French to a European within the Pawnee camp. The efforts failed and sensing a potentially hostile situation, the expedition retreated and camped at the confluence of the Loup and Platte rivers.

The Segesser II painting can be pinpointed to the August 13, 1720, skirmish at the expedition camp. After daybreak, the Pawnee and their Oto Indian allies—illustrated throughout the painting by their painted and unclothed bodies and shaved or close-cropped heads—ambushed the Villasur party. The painting also includes 37 French soldiers, identified by their European-style clothing—conical hats, coats, breeches, cuffs and leggings—firing long arms at the Spanish military expedition.

Composed of 43 royal troops, three Spanish civilians, 60 Pueblo Indian auxiliaries and several other Indian allies, the Villasur expedition was caught off guard, and the pitched battle left many of them for dead in the tall prairie grass. The attack was a major catastrophe for New Mexico and casualties amounted to a third of the province’s best soldiers. The center of the painting portrays French soldiers with Pawnee and Oto supporters surrounding the camp. At the right of the painting, Villasur expedition members who were guarding the animals are shown running to assist their Spanish comrades.

Interestingly, oral and written accounts of the battle do not mention French soldiers in the area of the encounter. Several Villasur survivors reported a volley of musket fire, but in the confusion of the battle, they did not know who was attacking them. It is possible that French traders took part in the ambush. Governor Valverde y Cosio, perhaps in an effort to defend the actions of Villasur, reported “two hundred Frenchmen had fired, supported by a countless number of Pawnee allies.”

 

 

[6] => [eventURL] => [7] => 37_thumb.jpg [eventFileName] => 37_thumb.jpg [8] => 2007-04-24 [eventStartDate] => 2007-04-24 [9] => 2030-04-24 [eventEndDate] => 2030-04-24 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 19 [instID] => 19 [15] => 72 [contactID] => 72 [16] => 2017-07-22 13:52:40 [eventUpdated] => 2017-07-22 13:52:40 [17] => 37_1200.jpg [eventBanner] => 37_1200.jpg [18] => 19 [19] => New Mexico History Museum [instName] => New Mexico History Museum [20] => 19.jpg [instFileName] => 19.jpg [urlSlug] => segesser-hide-paintings ) [2] => Array ( [0] => 31 [eventID] => 31 [1] => exhibition [eventType] => exhibition [2] => Treasures of Devotion/Tesoros de Devoción [eventTitle] => Treasures of Devotion/Tesoros de Devoción [3] => [eventSubTitle] => [4] =>

Treasures of Devotion/Tesoros de Devoción contains bultos, retablos, and crucifijos dating from the late 1700s to 1900 which illustrate the distinctive tradition of santo making in New Mexico introduced by settlers from Mexico.

[eventBriefDescription] =>

Treasures of Devotion/Tesoros de Devoción contains bultos, retablos, and crucifijos dating from the late 1700s to 1900 which illustrate the distinctive tradition of santo making in New Mexico introduced by settlers from Mexico.

[5] =>

The exhibition contains bultos, retablos, and crucifijos, dating from the late 1700s to 1900. They demonstrate how European stylistic traditions and iconography were combined with new palettes, different styles, and distinctive regional decorative designs that transformed New Mexican santo making into a unique hybrid. Highlighting the exhibit will be esoteric pieces such as the Crucifixion in a Large Nicho by the Laguna Santero and La Santísima Trinidad, a wood retablo with an applied paper painting of the Holy Trinity.

The pieces in Treasures of Devotion/Tesoros de Devoción show the diverse artistic responses that occurred as santeros answered the demand from their respective communities to bring devotional images into their churches, homes, and lives. The bultos, retablos, and crucifijos presented reveal a visual documentation of New Mexico’s cultural heritage.

The exhibit, once part of the private collection of Mr. and Mrs. Larry Frank, was recently purchased by the New Mexican legislature for the Palace of the Governors, New Mexico History Museum in order to preserve New Mexico’s cultural heritage. It is one of the defining traditional art forms of the region and a source of pride and identity for New Mexican Hispanics.

[eventFullDescription] =>

The exhibition contains bultos, retablos, and crucifijos, dating from the late 1700s to 1900. They demonstrate how European stylistic traditions and iconography were combined with new palettes, different styles, and distinctive regional decorative designs that transformed New Mexican santo making into a unique hybrid. Highlighting the exhibit will be esoteric pieces such as the Crucifixion in a Large Nicho by the Laguna Santero and La Santísima Trinidad, a wood retablo with an applied paper painting of the Holy Trinity.

The pieces in Treasures of Devotion/Tesoros de Devoción show the diverse artistic responses that occurred as santeros answered the demand from their respective communities to bring devotional images into their churches, homes, and lives. The bultos, retablos, and crucifijos presented reveal a visual documentation of New Mexico’s cultural heritage.

The exhibit, once part of the private collection of Mr. and Mrs. Larry Frank, was recently purchased by the New Mexican legislature for the Palace of the Governors, New Mexico History Museum in order to preserve New Mexico’s cultural heritage. It is one of the defining traditional art forms of the region and a source of pride and identity for New Mexican Hispanics.

[6] => [eventURL] => [7] => 31_thumb.jpg [eventFileName] => 31_thumb.jpg [8] => 2008-07-20 [eventStartDate] => 2008-07-20 [9] => 2030-07-20 [eventEndDate] => 2030-07-20 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 19 [instID] => 19 [15] => 72 [contactID] => 72 [16] => 2017-07-22 13:39:32 [eventUpdated] => 2017-07-22 13:39:32 [17] => 31_1200.jpg [eventBanner] => 31_1200.jpg [18] => 19 [19] => New Mexico History Museum [instName] => New Mexico History Museum [20] => 19.jpg [instFileName] => 19.jpg [urlSlug] => treasures-of-devotion-tesoros-de-devocion ) [3] => Array ( [0] => 214 [eventID] => 214 [1] => exhibition [eventType] => exhibition [2] => Telling New Mexico: Stories from Then and Now [eventTitle] => Telling New Mexico: Stories from Then and Now [3] => [eventSubTitle] => [4] =>

Telling New Mexico: Stories from Then and Now, the main exhibition of the New Mexico History Museum, sweeps across more than 500 years of stories - from early Native inhabitants to today’s residents - told through artifacts, films, photographs, computer interactives, oral histories and more. Together, they breath life into the people who made the American West: Native Americans, Spanish colonists, Mexican traders, Santa Fe Trail riders, fur trappers, outlaws, railroad men, scientists, hippies and artists.

 

[eventBriefDescription] =>

Telling New Mexico: Stories from Then and Now, the main exhibition of the New Mexico History Museum, sweeps across more than 500 years of stories - from early Native inhabitants to today’s residents - told through artifacts, films, photographs, computer interactives, oral histories and more. Together, they breath life into the people who made the American West: Native Americans, Spanish colonists, Mexican traders, Santa Fe Trail riders, fur trappers, outlaws, railroad men, scientists, hippies and artists.

 

[5] =>

Telling New Mexico: Stories from Then and Now, the main exhibition of the New Mexico History Museum, sweeps across more than 500 years of stories - from early Native inhabitants to today’s residents - with stories told through artifacts, films, photographs, computer interactives, oral histories and more. Together, they breath life into the people who made the American West: Native Americans, Spanish colonists, Mexican traders, Santa Fe Trail riders, fur trappers, outlaws, railroad men, scientists, hippies and artists.

The exhibit is divided into six sections representing chronological periods from the pre-colonial era to the present. Each is set apart by time frames and contrasting views from first-person accounts of the people who lived during the different periods.

AREA 1    BEYOND HISTORY’S RECORDS

“We have lived upon this land from days beyond history’s records, far past any living memory, deep into the time of legend. The story of my people and the story of this place are one single story. No man can think of us without thinking of this place. We are always joined together.”

—Taos Pueblo (Tuah-Tah) elder

Visitors enter the exhibition in a curved space that mimics a cliff wall above a river. Cast-metal handprints of modern-day Native residents are triggered by your hand’s touch to play audios of how New Mexico’s longest inhabitants viewed the land around them. Pottery, baskets and jewelry from pre-European contact convey the first gallery’s main message: Native peoples have lived across present-day New Mexico for thousands of years. They have explored throughout the region and traded with other peoples across North and Central America. The American Southwest remains their home, never empty nor waiting to be discovered, neither a frontier nor a paradise.

AREA 2    THE FAR NORTHERN FRONTIER

The Spanish join the story at the beginning of the next gallery. Chasing legends of gold, the first Spanish explorers pushed into New Mexico in the early 1500s. They found much hardship but no gold, and returned to Mexico or Spain or perished on the way. At the end of the century, Juan de Oñate and his 500 followers founded a capital in northern New Mexico.

Sections within this area include:

The Spanish Mission: For the next 200 years, the Spanish struggled to establish a colony in New Mexico. Missionaries, aristocrats and settlers competed among themselves for land and power. Soldiers and settlers exploited Native American labor, imposed taxes and claimed vast tracts of land. Missionaries sought Christian converts, suppressing Native customs and religion. Spanish and Native life ways mixed and clashed. Exchange and interaction changed both cultures.

The Pueblo Revolt: In 1680, Pueblo Indians across New Mexico rose up in revolt and drove the Spanish from the territory. Spanish soldiers and settlers returned in 1693, ultimately subdued the Pueblo resistance after years of warfare, and re-established a fragile colony. Many Pueblo Indians traveled west to live with Zuni (A:shiwi) and Hopi peoples, some reconciled themselves to the Spanish presence, and some never would.

Neighbors and Strangers: For another century, Spanish and Indian peoples lived together in New Mexico and forged a rough coexistence. After signing treaties with Comanches (Nemene) and other Indians in the late 1700s, the Spanish and Pueblos of New Mexico enjoyed a decade or two of relative peace as the century ended.

AREA 3    LINKING NATIONS

In 1821, the people of Mexico threw off the rule of the Spanish king and created a new nation--the Republic of Mexico, which included present-day New Mexico. Mexicans enjoyed new freedoms to own property, earn a living, and trade. But the new nation also had growing pains. In 1846, the United States invaded and, in a two-year war, defeated the new republic.

Sections within this area include:

Mexican Independence: New Mexicans joined a new republic and grappled with a mixture of new laws and immigrants, and old frustrations.

Trials of a New Nation: In August 1837, Indian peoples and settlers in northern New Mexico began the Chimayó Rebellion. Though they professed loyalty to the republic, they protested taxes from Mexico City and the appointed governors. Gov. Albino Pérez was killed, but the rebellion was crushed.

Santa Fe Trail: The same year that Mexico won independence from Spain, a Missouri trader named William Becknell reached Santa Fe. His path came to be called the Santa Fe Trail--the first and most important of the pathways connecting New Mexico with the United States.

Trails, Traders and New Connections: The Santa Fe Trail was part of a network that opened up commerce across the Southwest. That commerce led to partnerships, settlements, marriages and friction among New Mexicans, Native Americans and Anglo-Americans.

Trappers and Mountain Men: Fur traders and mountain men—Mexican, American and French—traveled the Santa Fe Trail to New Mexico. Many remained to become farmers, ranchers, miners or distillers and began to open New Mexico to American influence.

Shifting Boundaries: Many Americans considered it the nation’s destiny to rule the continent west to the Pacific. New Mexico was caught in the middle. California was the most important goal, but the United States also hoped to pry New Mexico from the Mexican republic, by force if necessary.

The Mexican American War, or la intervención norteamericana: Gen. Stephen Watts Kearny invaded New Mexico in 1846 and installed a military government. Col. Alexander William Doniphan defeated the Mexican army at the Battle of Brazito, near El Paso.

The Taos Rebellion: Many New Mexicans deeply resented U.S. occupation. In 1847, hundreds of Native Americans and Hispanic New Mexicans led by Tomás Ortiz, or “Tomasito,” and Pablo Montoya rebelled against the U.S. territorial government and its appointed officials. Gov. Charles Bent and other officials near Taos were assassinated. U.S. troops from Santa Fe quickly crushed the rebellion, and resistance to the American invasion faded.

Manifest Destiny: New Mexico had very different destinies in the eyes of different New Mexicans. Native Americans, Hispanics and newly arrived Anglo-Americans all imagined and contested different futures for the territory.

AREA 4    BECOMING THE SOUTHWEST

With the Treaty of Guadalupe Hidalgo in 1848, Mexico lost vast territories, New Mexicans lost their country, and most of modern-day New Mexico became part of the United States. Becoming the "American Southwest" involved decades of accommodation, struggle and violence.

Sections within this exhibit include:

Indian Policy: The U.S. Army established a string of forts across New Mexico, and Native Americans responded with decades of resistance. Army leaders tried to confine Native Americans to a life of farming and raising livestock on reservations. The army forced thousands of Apaches (N’de) and Navajos (Diné) to walk hundreds of miles from their homelands to a reservation. Hundreds of Native Americans perished during this "Long Walk" and their imprisonment at Bosque Redondo near present-day Fort Sumner.

Land and Water: Who owned New Mexico’s land and water—the earth, the king, the people who cared for them, the holders of deeds? Conflicts over land and water created friction and confusion and sometimes erupted in violence, as in the Colfax County and the Lincoln County wars. New Mexico and other parts of the Southwest earned reputations for lawlessness in the late 1800s.The legend of Billy the Kid was born.

The Coming of the Railroad: By the 1880s, the railroad began to transform New Mexico. Trains brought in machinery, workers and manufactured goods—and left with ore, cattle, lumber and agricultural products. As railroads crisscrossed the state, ranching, mining, the timber industry and tourism grew up around them.

Enchantment and "Exploitation": The railroads brought more newcomers to New Mexico and spread word of the enchanting territory. People came for their health, art, the natural beauty, curiosity, scientific interest, to see Native Americans and to make money. They transformed the territory.

AREA 5    OUR PLACE IN THE NATION

New Mexico connects to the nation and the world. Conflicts and challenges—local, national and international—have profound impacts in New Mexico.

Statehood at Last: To become a state, New Mexico struggled to overcome prejudice against Hispanics and Native Americans, political corruption, its reputation for violence and Washington politics. After some 60 years as a territory, New Mexico drafted a constitution and joined the United States on January 6, 1912.

The Great Depression: The effects of the Great Depression were as complicated as New Mexico itself. Some areas suffered greatly, but new federal money poured into the state for agricultural aid and other projects. The Works Progress Administration and other government agencies helped artists, writers, photographers and many others.

World War II: Some 60,000 New Mexicans enlisted in armed forces for WWII. In the early years of the war, New Mexico suffered the highest casualty rate of any state. Displays on the Bataan Death March, Native American code talkers and Japanese internment camps show how New Mexicans were affected by World War II at home and on the battlefield.

New Mexico’s Secret: At Los Alamos, the U.S. government assembled the greatest concentration of scientific resources and brainpower in history to develop the atom bomb—and keep it a secret. The project changed New Mexico by bringing money, scientists and nuclear technology to the state. The bomb changed the world, and concerns about the atomic age began to grow.

The Post-War Booms: In the "Boom" theater, see five short documentaries on the changes New Mexico experienced post-WWII: Route 66, civil rights and land-grant struggles, hippies, continued atomic research, and the sprawling growth of our cities.

AREA 6    MY NEW MEXICO

The past lives in the present. Our memories and traditions will become New Mexico’s history. Whether cowboy, miner, immigrant or scientist, whatever your ethnic or religious background, the stories of New Mexicans today reveal unbroken connections to the past. Our work in ranching, mining, tourism, government, oil and gas, and technology; our ceremonies of celebration; our festivals of feasting and fun; our oral traditions, and our families—these are the stories that touch on all that is important in the long life of an ancient land that became our New Mexico.

Take a moment to write down a story of your own and leave it on the wall. Become part of history!

[eventFullDescription] =>

Telling New Mexico: Stories from Then and Now, the main exhibition of the New Mexico History Museum, sweeps across more than 500 years of stories - from early Native inhabitants to today’s residents - with stories told through artifacts, films, photographs, computer interactives, oral histories and more. Together, they breath life into the people who made the American West: Native Americans, Spanish colonists, Mexican traders, Santa Fe Trail riders, fur trappers, outlaws, railroad men, scientists, hippies and artists.

The exhibit is divided into six sections representing chronological periods from the pre-colonial era to the present. Each is set apart by time frames and contrasting views from first-person accounts of the people who lived during the different periods.

AREA 1    BEYOND HISTORY’S RECORDS

“We have lived upon this land from days beyond history’s records, far past any living memory, deep into the time of legend. The story of my people and the story of this place are one single story. No man can think of us without thinking of this place. We are always joined together.”

—Taos Pueblo (Tuah-Tah) elder

Visitors enter the exhibition in a curved space that mimics a cliff wall above a river. Cast-metal handprints of modern-day Native residents are triggered by your hand’s touch to play audios of how New Mexico’s longest inhabitants viewed the land around them. Pottery, baskets and jewelry from pre-European contact convey the first gallery’s main message: Native peoples have lived across present-day New Mexico for thousands of years. They have explored throughout the region and traded with other peoples across North and Central America. The American Southwest remains their home, never empty nor waiting to be discovered, neither a frontier nor a paradise.

AREA 2    THE FAR NORTHERN FRONTIER

The Spanish join the story at the beginning of the next gallery. Chasing legends of gold, the first Spanish explorers pushed into New Mexico in the early 1500s. They found much hardship but no gold, and returned to Mexico or Spain or perished on the way. At the end of the century, Juan de Oñate and his 500 followers founded a capital in northern New Mexico.

Sections within this area include:

The Spanish Mission: For the next 200 years, the Spanish struggled to establish a colony in New Mexico. Missionaries, aristocrats and settlers competed among themselves for land and power. Soldiers and settlers exploited Native American labor, imposed taxes and claimed vast tracts of land. Missionaries sought Christian converts, suppressing Native customs and religion. Spanish and Native life ways mixed and clashed. Exchange and interaction changed both cultures.

The Pueblo Revolt: In 1680, Pueblo Indians across New Mexico rose up in revolt and drove the Spanish from the territory. Spanish soldiers and settlers returned in 1693, ultimately subdued the Pueblo resistance after years of warfare, and re-established a fragile colony. Many Pueblo Indians traveled west to live with Zuni (A:shiwi) and Hopi peoples, some reconciled themselves to the Spanish presence, and some never would.

Neighbors and Strangers: For another century, Spanish and Indian peoples lived together in New Mexico and forged a rough coexistence. After signing treaties with Comanches (Nemene) and other Indians in the late 1700s, the Spanish and Pueblos of New Mexico enjoyed a decade or two of relative peace as the century ended.

AREA 3    LINKING NATIONS

In 1821, the people of Mexico threw off the rule of the Spanish king and created a new nation--the Republic of Mexico, which included present-day New Mexico. Mexicans enjoyed new freedoms to own property, earn a living, and trade. But the new nation also had growing pains. In 1846, the United States invaded and, in a two-year war, defeated the new republic.

Sections within this area include:

Mexican Independence: New Mexicans joined a new republic and grappled with a mixture of new laws and immigrants, and old frustrations.

Trials of a New Nation: In August 1837, Indian peoples and settlers in northern New Mexico began the Chimayó Rebellion. Though they professed loyalty to the republic, they protested taxes from Mexico City and the appointed governors. Gov. Albino Pérez was killed, but the rebellion was crushed.

Santa Fe Trail: The same year that Mexico won independence from Spain, a Missouri trader named William Becknell reached Santa Fe. His path came to be called the Santa Fe Trail--the first and most important of the pathways connecting New Mexico with the United States.

Trails, Traders and New Connections: The Santa Fe Trail was part of a network that opened up commerce across the Southwest. That commerce led to partnerships, settlements, marriages and friction among New Mexicans, Native Americans and Anglo-Americans.

Trappers and Mountain Men: Fur traders and mountain men—Mexican, American and French—traveled the Santa Fe Trail to New Mexico. Many remained to become farmers, ranchers, miners or distillers and began to open New Mexico to American influence.

Shifting Boundaries: Many Americans considered it the nation’s destiny to rule the continent west to the Pacific. New Mexico was caught in the middle. California was the most important goal, but the United States also hoped to pry New Mexico from the Mexican republic, by force if necessary.

The Mexican American War, or la intervención norteamericana: Gen. Stephen Watts Kearny invaded New Mexico in 1846 and installed a military government. Col. Alexander William Doniphan defeated the Mexican army at the Battle of Brazito, near El Paso.

The Taos Rebellion: Many New Mexicans deeply resented U.S. occupation. In 1847, hundreds of Native Americans and Hispanic New Mexicans led by Tomás Ortiz, or “Tomasito,” and Pablo Montoya rebelled against the U.S. territorial government and its appointed officials. Gov. Charles Bent and other officials near Taos were assassinated. U.S. troops from Santa Fe quickly crushed the rebellion, and resistance to the American invasion faded.

Manifest Destiny: New Mexico had very different destinies in the eyes of different New Mexicans. Native Americans, Hispanics and newly arrived Anglo-Americans all imagined and contested different futures for the territory.

AREA 4    BECOMING THE SOUTHWEST

With the Treaty of Guadalupe Hidalgo in 1848, Mexico lost vast territories, New Mexicans lost their country, and most of modern-day New Mexico became part of the United States. Becoming the "American Southwest" involved decades of accommodation, struggle and violence.

Sections within this exhibit include:

Indian Policy: The U.S. Army established a string of forts across New Mexico, and Native Americans responded with decades of resistance. Army leaders tried to confine Native Americans to a life of farming and raising livestock on reservations. The army forced thousands of Apaches (N’de) and Navajos (Diné) to walk hundreds of miles from their homelands to a reservation. Hundreds of Native Americans perished during this "Long Walk" and their imprisonment at Bosque Redondo near present-day Fort Sumner.

Land and Water: Who owned New Mexico’s land and water—the earth, the king, the people who cared for them, the holders of deeds? Conflicts over land and water created friction and confusion and sometimes erupted in violence, as in the Colfax County and the Lincoln County wars. New Mexico and other parts of the Southwest earned reputations for lawlessness in the late 1800s.The legend of Billy the Kid was born.

The Coming of the Railroad: By the 1880s, the railroad began to transform New Mexico. Trains brought in machinery, workers and manufactured goods—and left with ore, cattle, lumber and agricultural products. As railroads crisscrossed the state, ranching, mining, the timber industry and tourism grew up around them.

Enchantment and "Exploitation": The railroads brought more newcomers to New Mexico and spread word of the enchanting territory. People came for their health, art, the natural beauty, curiosity, scientific interest, to see Native Americans and to make money. They transformed the territory.

AREA 5    OUR PLACE IN THE NATION

New Mexico connects to the nation and the world. Conflicts and challenges—local, national and international—have profound impacts in New Mexico.

Statehood at Last: To become a state, New Mexico struggled to overcome prejudice against Hispanics and Native Americans, political corruption, its reputation for violence and Washington politics. After some 60 years as a territory, New Mexico drafted a constitution and joined the United States on January 6, 1912.

The Great Depression: The effects of the Great Depression were as complicated as New Mexico itself. Some areas suffered greatly, but new federal money poured into the state for agricultural aid and other projects. The Works Progress Administration and other government agencies helped artists, writers, photographers and many others.

World War II: Some 60,000 New Mexicans enlisted in armed forces for WWII. In the early years of the war, New Mexico suffered the highest casualty rate of any state. Displays on the Bataan Death March, Native American code talkers and Japanese internment camps show how New Mexicans were affected by World War II at home and on the battlefield.

New Mexico’s Secret: At Los Alamos, the U.S. government assembled the greatest concentration of scientific resources and brainpower in history to develop the atom bomb—and keep it a secret. The project changed New Mexico by bringing money, scientists and nuclear technology to the state. The bomb changed the world, and concerns about the atomic age began to grow.

The Post-War Booms: In the "Boom" theater, see five short documentaries on the changes New Mexico experienced post-WWII: Route 66, civil rights and land-grant struggles, hippies, continued atomic research, and the sprawling growth of our cities.

AREA 6    MY NEW MEXICO

The past lives in the present. Our memories and traditions will become New Mexico’s history. Whether cowboy, miner, immigrant or scientist, whatever your ethnic or religious background, the stories of New Mexicans today reveal unbroken connections to the past. Our work in ranching, mining, tourism, government, oil and gas, and technology; our ceremonies of celebration; our festivals of feasting and fun; our oral traditions, and our families—these are the stories that touch on all that is important in the long life of an ancient land that became our New Mexico.

Take a moment to write down a story of your own and leave it on the wall. Become part of history!

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Now 400 years old, Santa Fe was once an infant city on the remote frontier.  Santa Fe Found: Fragments of Time, on long-term exhibit in the Palace of the Governors, explores the archaeological evidence and historical documentation of the City Different before the Spanish arrived, as well as at the settling of the first colony in San Gabriel del Yungue, the founding of Santa Fe and its first 100 years as New Mexico’s first capital.

Co-curated by Josef Diaz of the New Mexico History Museum/Palace of the Governors and Stephen Post of the DCA/Office of Archaeological Studies, Santa Fe Found collects more than 160 artifacts from four historic sites, along with maps, documents, household goods, weaponry and religious objects. Together, they tell the story of cultural encounters between early colonists and the Native Americans who had long called this place home.

[eventBriefDescription] =>

Now 400 years old, Santa Fe was once an infant city on the remote frontier.  Santa Fe Found: Fragments of Time, on long-term exhibit in the Palace of the Governors, explores the archaeological evidence and historical documentation of the City Different before the Spanish arrived, as well as at the settling of the first colony in San Gabriel del Yungue, the founding of Santa Fe and its first 100 years as New Mexico’s first capital.

Co-curated by Josef Diaz of the New Mexico History Museum/Palace of the Governors and Stephen Post of the DCA/Office of Archaeological Studies, Santa Fe Found collects more than 160 artifacts from four historic sites, along with maps, documents, household goods, weaponry and religious objects. Together, they tell the story of cultural encounters between early colonists and the Native Americans who had long called this place home.

[5] =>

Now 400 years old, Santa Fe was once an infant city on the remote frontier.  Santa Fe Found: Fragments of Time, on long-term exhibit in the Palace of the Governors, explores the archaeological evidence and historical documentation of the City Different before the Spanish arrived, as well as at the settling of the first colony in San Gabriel del Yungue, the founding of Santa Fe and its first 100 years as New Mexico’s first capital.

Co-curated by Josef Diaz of the New Mexico History Museum/Palace of the Governors and Stephen Post of the DCA/Office of Archaeological Studies, Santa Fe Found collects more than 160 artifacts from four historic sites, along with maps, documents, household goods, weaponry and religious objects. Together, they tell the story of cultural encounters between early colonists and the Native Americans who had long called this place home.

“This exhibition gives visitors a broad perspective of the settling of Santa Fe and the web of cultural influences the Spanish brought with them,” Diaz said. “The founding of Santa Fe is a big and complex story to tell, and this show offers a glimpse of different aspects of Spanish colonial life, from the domestic to the economic to the political and religious.”

Santa Fe Found serves as living proof of how the lives of the founders were lived, including who they married, the hardships they faced, the tools they used and the foods they ate. (Hint: Carne Adovada was generations away; turkey, deer and rabbit were often the dish of the day.)

Prior to the construction of the New Mexico History Museum, which opened in May 2009, Post and his fellow archaeologists conducted a two-year dig to investigate the archaeology of the site at 113 Lincoln Ave., just off the Santa Fe Plaza. More than 90,000 artifacts were unearthed from the 17th-century, revealing tales of life as it once was.

“Surprising to some and not to others, the New Mexico History Museum was complex and rich in the information it yielded on 300 years of people living and working behind the Palace of the Governors,” Post said. “Combined with Dedie Snow’s 1974-1975 excavations within the Palace, our work gives a unique inside-outside look at a central place in New Mexico history.”

Other featured archaeological sites add to the story. The Baca-Garvisu site was the home of a prominent Santa Fe family in the 1700s, located where the Santa Fe Community Convention Center now stands. The Sanchez Site, an early Spanish estancia, or rural settlement, was partly excavated in the 1980s and is now managed by El Rancho de los Golondrinas. Also prominent in the exhibition is San Gabriel del Yungue at the Pueblo of Ohkay Owingeh, where the first Spanish colonists briefly set their roots.

Spain’s far northern colony of Santa Fe was reached by a six-month journey up El Camino Real, a barely mapped and uncertain route that held only hazy promises of water and shelter. Holding together a caravan of 700 people – soldiers, friars, men and a few women and children – and the tools and livestock it would take to build a new colony tested the explorers’ abilities and, sometimes, their humanity.

Some of the artifacts show that, despite the frontier conditions, fine goods had managed to travel up El Camino Real to homes and missions in the colony. A sampling of the pottery that was found on the digs includes Spanish majolica, blue-and-white Mexican pottery modeled on examples from the Ming Dynasty in China, colorful Mexican pottery and Pueblo pottery. Also found were tobacco pipes, gold earrings, gunflints and arrowheads.

A few sherds of the pottery found by archaeologists speak to a monumental expedition. Centuries past, they were parts of delicate Ming vases loaded onto a Spanish galleon at a Chinese port for an ocean journey then a bumpy trip up El Camino Real to the young colony.

“Considering the Chinese pottery traveled across the ocean and then 1,600 miles up the Camino Real, it’s not surprising – and it’s even amazing – that we found only one or two pieces of these vessels,” Post said.

From these roots grew La Villa Real de Santa Fe, the Royal City of Santa Fe. What do the historical accounts say of the homes they built and the crops they grew? What has the soil yielded of their lives, the fragile beginnings of a young Spanish colony?

Come to the exhibit to find out.

Funding for the Santa Fe Found exhibition and lecture series was made possible by the Palace Guard, a support group of the Museum of New Mexico Foundation; the Gala Opening Committee; Friends of Archaeology, a support group of the Museum of New Mexico Foundation; the Santa Fe 400th; and the Museum of New Mexico Foundation.

 

 

[eventFullDescription] =>

Now 400 years old, Santa Fe was once an infant city on the remote frontier.  Santa Fe Found: Fragments of Time, on long-term exhibit in the Palace of the Governors, explores the archaeological evidence and historical documentation of the City Different before the Spanish arrived, as well as at the settling of the first colony in San Gabriel del Yungue, the founding of Santa Fe and its first 100 years as New Mexico’s first capital.

Co-curated by Josef Diaz of the New Mexico History Museum/Palace of the Governors and Stephen Post of the DCA/Office of Archaeological Studies, Santa Fe Found collects more than 160 artifacts from four historic sites, along with maps, documents, household goods, weaponry and religious objects. Together, they tell the story of cultural encounters between early colonists and the Native Americans who had long called this place home.

“This exhibition gives visitors a broad perspective of the settling of Santa Fe and the web of cultural influences the Spanish brought with them,” Diaz said. “The founding of Santa Fe is a big and complex story to tell, and this show offers a glimpse of different aspects of Spanish colonial life, from the domestic to the economic to the political and religious.”

Santa Fe Found serves as living proof of how the lives of the founders were lived, including who they married, the hardships they faced, the tools they used and the foods they ate. (Hint: Carne Adovada was generations away; turkey, deer and rabbit were often the dish of the day.)

Prior to the construction of the New Mexico History Museum, which opened in May 2009, Post and his fellow archaeologists conducted a two-year dig to investigate the archaeology of the site at 113 Lincoln Ave., just off the Santa Fe Plaza. More than 90,000 artifacts were unearthed from the 17th-century, revealing tales of life as it once was.

“Surprising to some and not to others, the New Mexico History Museum was complex and rich in the information it yielded on 300 years of people living and working behind the Palace of the Governors,” Post said. “Combined with Dedie Snow’s 1974-1975 excavations within the Palace, our work gives a unique inside-outside look at a central place in New Mexico history.”

Other featured archaeological sites add to the story. The Baca-Garvisu site was the home of a prominent Santa Fe family in the 1700s, located where the Santa Fe Community Convention Center now stands. The Sanchez Site, an early Spanish estancia, or rural settlement, was partly excavated in the 1980s and is now managed by El Rancho de los Golondrinas. Also prominent in the exhibition is San Gabriel del Yungue at the Pueblo of Ohkay Owingeh, where the first Spanish colonists briefly set their roots.

Spain’s far northern colony of Santa Fe was reached by a six-month journey up El Camino Real, a barely mapped and uncertain route that held only hazy promises of water and shelter. Holding together a caravan of 700 people – soldiers, friars, men and a few women and children – and the tools and livestock it would take to build a new colony tested the explorers’ abilities and, sometimes, their humanity.

Some of the artifacts show that, despite the frontier conditions, fine goods had managed to travel up El Camino Real to homes and missions in the colony. A sampling of the pottery that was found on the digs includes Spanish majolica, blue-and-white Mexican pottery modeled on examples from the Ming Dynasty in China, colorful Mexican pottery and Pueblo pottery. Also found were tobacco pipes, gold earrings, gunflints and arrowheads.

A few sherds of the pottery found by archaeologists speak to a monumental expedition. Centuries past, they were parts of delicate Ming vases loaded onto a Spanish galleon at a Chinese port for an ocean journey then a bumpy trip up El Camino Real to the young colony.

“Considering the Chinese pottery traveled across the ocean and then 1,600 miles up the Camino Real, it’s not surprising – and it’s even amazing – that we found only one or two pieces of these vessels,” Post said.

From these roots grew La Villa Real de Santa Fe, the Royal City of Santa Fe. What do the historical accounts say of the homes they built and the crops they grew? What has the soil yielded of their lives, the fragile beginnings of a young Spanish colony?

Come to the exhibit to find out.

Funding for the Santa Fe Found exhibition and lecture series was made possible by the Palace Guard, a support group of the Museum of New Mexico Foundation; the Gala Opening Committee; Friends of Archaeology, a support group of the Museum of New Mexico Foundation; the Santa Fe 400th; and the Museum of New Mexico Foundation.

 

 

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"I believe we should preserve this evidence of the past, not as a pattern for sentimental imitation, but as nourishment for the creative spirit of the present."

- Alexander Girard

[eventBriefDescription] =>

"I believe we should preserve this evidence of the past, not as a pattern for sentimental imitation, but as nourishment for the creative spirit of the present."

- Alexander Girard

[5] =>

The Girard Collection: Enduring Appeal It is entirely possible to be both delighted and overwhelmed by the Alexander Girard’s one-of-a-kind exhibition—even after more than twenty-five years. The vastness of the exhibit space, the complexity of the design, the sheer quantity of objects on display—the immensity and intensity can be overpowering. And compelling.That’s why Multiple Visions: A Common Bond has been the destination for well over a million first-time and repeat visitors to the Museum of International Folk Art. First, second, third, or countless times around, we find our gaze drawn by different objects, different scenes. With more than 10,000 objects to see, this exhibition continues to enchant museum visitors, staff and patrons.

With his singular vision and intuitive understanding of the multiplicity of cultures and artistic genres, perhaps Girard himself felt the same unflagging delight when he was designing the exhibit. Girard rewards those who look carefully with touches of wit and whimsy, amazing us with his command of detail and sense of perspective. He appeals to children and adults alike who peer into the sets from different angles, to glimpse people and animals, puppets, dolls, and small figures of clay, wood, paper, cloth, and, yes, even plastics. Some look familiar, clearly identifiable as the products of specific cultures and places. Others take us to places we can only imagine. Who can ever tire of going back to these places of enjoyment and creativity?

The Girard Family collection of more than 100,000 objects is unique in part because of its size and breadth: more than 100 countries on six continents are represented. Enjoy this text-free gallery with or without a docent, pick up a Gallery Guide to read more about the cases, or pick up a multi-media tour on an Ipod touch available at the front desk for no additional fee. 

 

 

[eventFullDescription] =>

The Girard Collection: Enduring Appeal It is entirely possible to be both delighted and overwhelmed by the Alexander Girard’s one-of-a-kind exhibition—even after more than twenty-five years. The vastness of the exhibit space, the complexity of the design, the sheer quantity of objects on display—the immensity and intensity can be overpowering. And compelling.That’s why Multiple Visions: A Common Bond has been the destination for well over a million first-time and repeat visitors to the Museum of International Folk Art. First, second, third, or countless times around, we find our gaze drawn by different objects, different scenes. With more than 10,000 objects to see, this exhibition continues to enchant museum visitors, staff and patrons.

With his singular vision and intuitive understanding of the multiplicity of cultures and artistic genres, perhaps Girard himself felt the same unflagging delight when he was designing the exhibit. Girard rewards those who look carefully with touches of wit and whimsy, amazing us with his command of detail and sense of perspective. He appeals to children and adults alike who peer into the sets from different angles, to glimpse people and animals, puppets, dolls, and small figures of clay, wood, paper, cloth, and, yes, even plastics. Some look familiar, clearly identifiable as the products of specific cultures and places. Others take us to places we can only imagine. Who can ever tire of going back to these places of enjoyment and creativity?

The Girard Family collection of more than 100,000 objects is unique in part because of its size and breadth: more than 100 countries on six continents are represented. Enjoy this text-free gallery with or without a docent, pick up a Gallery Guide to read more about the cases, or pick up a multi-media tour on an Ipod touch available at the front desk for no additional fee. 

 

 

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Will Rogers noted that Fred Harvey “kept the West in food—and wives.” But the company’s Harvey Girls are by no means its only legacy. From the Atchison, Topeka and Santa Fe Railway’s 1879 arrival in New Mexico to the 1970 demolition of Albuquerque’s Alvarado Hotel, the Fred Harvey name and its company’s influence have been felt across New Mexico, not to mention the American West. The company and its New Mexico establishments served as the stage on which people such as Mary Colter were able to fashion an “authentic” tourist experience, along with Herman Schweizer who helped drive the direction of Native American jewelry and crafts as an industry.

Setting the Standard: The Fred Harvey Company and Its Legacy, a new section that joins the New Mexico History Museum’s main exhibit, Telling New Mexico: Stories from Then and Now, helps tell those stories. Opening December 7, Setting the Standard uses artifacts from the museum’s collection, images from the Palace of the Governors Photo Archives and loans from other museums and private collectors. Focusing on the rise of the Fred Harvey Company as a family business and events that transpired specifically in the Land of Enchantment, the tale will leave visitors with an understanding of how the Harvey experience resonates in our Southwest today.

[eventBriefDescription] =>

Will Rogers noted that Fred Harvey “kept the West in food—and wives.” But the company’s Harvey Girls are by no means its only legacy. From the Atchison, Topeka and Santa Fe Railway’s 1879 arrival in New Mexico to the 1970 demolition of Albuquerque’s Alvarado Hotel, the Fred Harvey name and its company’s influence have been felt across New Mexico, not to mention the American West. The company and its New Mexico establishments served as the stage on which people such as Mary Colter were able to fashion an “authentic” tourist experience, along with Herman Schweizer who helped drive the direction of Native American jewelry and crafts as an industry.

Setting the Standard: The Fred Harvey Company and Its Legacy, a new section that joins the New Mexico History Museum’s main exhibit, Telling New Mexico: Stories from Then and Now, helps tell those stories. Opening December 7, Setting the Standard uses artifacts from the museum’s collection, images from the Palace of the Governors Photo Archives and loans from other museums and private collectors. Focusing on the rise of the Fred Harvey Company as a family business and events that transpired specifically in the Land of Enchantment, the tale will leave visitors with an understanding of how the Harvey experience resonates in our Southwest today.

[5] =>

Will Rogers noted that Fred Harvey “kept the West in food—and wives.” But the company’s Harvey Girls are by no means its only legacy. From the Atchison, Topeka and Santa Fe Railway’s 1879 arrival in New Mexico to the 1970 demolition of Albuquerque’s Alvarado Hotel, the Fred Harvey name and its company’s influence have been felt across New Mexico, not to mention the American West. The company and its New Mexico establishments served as the stage on which people such as Mary Colter were able to fashion an “authentic” tourist experience, along with Herman Schweizer who helped drive the direction of Native American jewelry and crafts as an industry.

Setting the Standard: The Fred Harvey Company and Its Legacy, a new section that joins the New Mexico History Museum’s main exhibit, Telling New Mexico: Stories from Then and Now, helps tell those stories. Opening December 7, Setting the Standard uses artifacts from the museum’s collection, images from the Palace of the Governors Photo Archives and loans from other museums and private collectors. Focusing on the rise of the Fred Harvey Company as a family business and events that transpired specifically in the Land of Enchantment, the tale will leave visitors with an understanding of how the Harvey experience resonates in our Southwest today.

“People don’t always realize that many of the turning points in the company’s history are specific to New Mexico,” said Meredith Davidson, curator of 19th- and 20th-century Southwest collections. “The Harvey Girls were invented in Raton. Native American jewelry, pottery, blankets and other goods were shaped by sales at the Alvarado’s Indian Room in Albuquerque. Tourists experienced `the authentic Southwest’ through Indian Detours that left from Santa Fe’s La Fonda Hotel and countless others.

“In many ways, Fred Harvey and the AT&SF Railway grew up together in New Mexico. As tracks were laid through cities, a Harvey House appeared. From small eating houses in cities like Deming, to large hotels like the Alvarado, each place left an imprint on the local community as well as on the tourists who returned to their homes with tales of that Fred Harvey experience.”

Artifacts in the exhibit include: the original Atchison, Topeka & Santa Fe Railway track sign for Albuquerque’s Alvarado Hotel; Harvey Girl uniforms (including the unique embroidered blouse worn by La Fonda waitresses in the 1950s); furniture designed by famed architect and interior decorator Mary Colter; hand-stamped Navajo spoons; Fred Harvey’s original datebook and an iconic painting of the man behind the empire. Other artifacts include a gong similar to ones that rang travelers to their meals (this one hung in the company’s Chicago office) and an original Doris Lee painting while helping to plan MGM’s The Harvey Girls, starring Judy Garland. The image Lee created was adopted by the Harvey Company and used on menus at El Navajo in Gallup and El Tovar at the Grand Canyon.

In addition, an interactive station will feature excerpts of Harvey Girl interviews conducted by Katrina Parks for her 2013 documentary, The Harvey Girls: Opportunity Bound.

Opening events, Sunday, December 7, 2014:

10 am, 11 am, noon and 4 pm, see The Harvey Girls: Opportunity Bound, a 57-minute documentary, in the museum auditorium

2 pm, gather in the auditorium for a conversation with curator Meredith Davidson, documentary producer Katrina Parks, and Stephen Fried, author of the acclaimed biography Appetite for America

3 pm, refreshments in the lobby

Free with admission; Sundays free to NM residents; children 16 and under free daily

 

[eventFullDescription] =>

Will Rogers noted that Fred Harvey “kept the West in food—and wives.” But the company’s Harvey Girls are by no means its only legacy. From the Atchison, Topeka and Santa Fe Railway’s 1879 arrival in New Mexico to the 1970 demolition of Albuquerque’s Alvarado Hotel, the Fred Harvey name and its company’s influence have been felt across New Mexico, not to mention the American West. The company and its New Mexico establishments served as the stage on which people such as Mary Colter were able to fashion an “authentic” tourist experience, along with Herman Schweizer who helped drive the direction of Native American jewelry and crafts as an industry.

Setting the Standard: The Fred Harvey Company and Its Legacy, a new section that joins the New Mexico History Museum’s main exhibit, Telling New Mexico: Stories from Then and Now, helps tell those stories. Opening December 7, Setting the Standard uses artifacts from the museum’s collection, images from the Palace of the Governors Photo Archives and loans from other museums and private collectors. Focusing on the rise of the Fred Harvey Company as a family business and events that transpired specifically in the Land of Enchantment, the tale will leave visitors with an understanding of how the Harvey experience resonates in our Southwest today.

“People don’t always realize that many of the turning points in the company’s history are specific to New Mexico,” said Meredith Davidson, curator of 19th- and 20th-century Southwest collections. “The Harvey Girls were invented in Raton. Native American jewelry, pottery, blankets and other goods were shaped by sales at the Alvarado’s Indian Room in Albuquerque. Tourists experienced `the authentic Southwest’ through Indian Detours that left from Santa Fe’s La Fonda Hotel and countless others.

“In many ways, Fred Harvey and the AT&SF Railway grew up together in New Mexico. As tracks were laid through cities, a Harvey House appeared. From small eating houses in cities like Deming, to large hotels like the Alvarado, each place left an imprint on the local community as well as on the tourists who returned to their homes with tales of that Fred Harvey experience.”

Artifacts in the exhibit include: the original Atchison, Topeka & Santa Fe Railway track sign for Albuquerque’s Alvarado Hotel; Harvey Girl uniforms (including the unique embroidered blouse worn by La Fonda waitresses in the 1950s); furniture designed by famed architect and interior decorator Mary Colter; hand-stamped Navajo spoons; Fred Harvey’s original datebook and an iconic painting of the man behind the empire. Other artifacts include a gong similar to ones that rang travelers to their meals (this one hung in the company’s Chicago office) and an original Doris Lee painting while helping to plan MGM’s The Harvey Girls, starring Judy Garland. The image Lee created was adopted by the Harvey Company and used on menus at El Navajo in Gallup and El Tovar at the Grand Canyon.

In addition, an interactive station will feature excerpts of Harvey Girl interviews conducted by Katrina Parks for her 2013 documentary, The Harvey Girls: Opportunity Bound.

Opening events, Sunday, December 7, 2014:

10 am, 11 am, noon and 4 pm, see The Harvey Girls: Opportunity Bound, a 57-minute documentary, in the museum auditorium

2 pm, gather in the auditorium for a conversation with curator Meredith Davidson, documentary producer Katrina Parks, and Stephen Fried, author of the acclaimed biography Appetite for America

3 pm, refreshments in the lobby

Free with admission; Sundays free to NM residents; children 16 and under free daily

 

[6] => www.nmhistorymuseum.org [eventURL] => www.nmhistorymuseum.org [7] => 1950_thumb.jpg [eventFileName] => 1950_thumb.jpg [8] => 2014-12-07 [eventStartDate] => 2014-12-07 [9] => 2030-12-31 [eventEndDate] => 2030-12-31 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 19 [instID] => 19 [15] => 72 [contactID] => 72 [16] => 2017-07-04 18:45:31 [eventUpdated] => 2017-07-04 18:45:31 [17] => 1950_1200.jpg [eventBanner] => 1950_1200.jpg [18] => 19 [19] => New Mexico History Museum [instName] => New Mexico History Museum [20] => 19.jpg [instFileName] => 19.jpg [urlSlug] => setting-the-standard-the-fred-harvey-company-and-its-legacy ) [7] => Array ( [0] => 2683 [eventID] => 2683 [1] => exhibition [eventType] => exhibition [2] => FLAMENCO: From Spain to New Mexico [eventTitle] => FLAMENCO: From Spain to New Mexico [3] => In the Hispanic Heritage Wing [eventSubTitle] => In the Hispanic Heritage Wing [4] =>

Passionate, fiery, sensual, intense In-depth examination of the history and culture of flamenco dance and music.

The Museum of International Folk Art presents Flamenco: From Spain to New Mexico, the most comprehensive exhibition to celebrate and study this living tradition as an art form. The exhibition opened November 22, 2015 and runs through September 10, 2017.  More than 150 objects are featured. Among them, items once used by renowned artists Encarnación López y Júlvez “La Argentinita”, José Greco, and Vicente Romero and María Benítez (both from New Mexico). In addition to other stunning loans from private collectors will be those from the museum’s expansive permanent collection.

[eventBriefDescription] =>

Passionate, fiery, sensual, intense In-depth examination of the history and culture of flamenco dance and music.

The Museum of International Folk Art presents Flamenco: From Spain to New Mexico, the most comprehensive exhibition to celebrate and study this living tradition as an art form. The exhibition opened November 22, 2015 and runs through September 10, 2017.  More than 150 objects are featured. Among them, items once used by renowned artists Encarnación López y Júlvez “La Argentinita”, José Greco, and Vicente Romero and María Benítez (both from New Mexico). In addition to other stunning loans from private collectors will be those from the museum’s expansive permanent collection.

[5] =>

Known as a folkloric art form that began among the Gypsy people of southern Spain, this exhibition traces Flamenco to its arrival in the U.S. and its rise as an international art form now enjoyed by millions. The exhibition features costumes, play bills, instruments, and paintings, complemented by lectures, workshops and performances.  Tracing flamenco’s journey from fifteenth and sixteenth century Spain to twentieth century Europe’s most cultured cities will be costumes both historic and contemporary, musical instruments, costume and set design sketches, playbills, sheet music, posters, and more. These objects chronicle flamenco’s evolution from rural, folkloric tradition to elaborate staged productions incorporating extravagantly costumed dancers accompanied by virtuoso guitarists. The objects also trace flamenco’s transition to recording studios and the silver screen permitting it to gain a massive popular audience. Handed down from generation to generation, between family and community members living at society’s edges, flamenco incorporates historic dance and music traditions from Roman times to the Arabic period. Flamenco expresses a way of life shaped by a multitude of cultural and regional influences such as the Gitanos (Romany people) of Spain and Andalusian regional customs. In 2010, UNESCO declared flamenco a Masterpiece of the Intangible Heritage of Humanity. This exhibition also examines Spain’s ferias and fiestas their introduction to the southwestern US, and the individuals who contributed to making flamenco a popular art form in this country. And as the exhibition title suggests, flamenco’s integration into New Mexico’s culture will be examined.  This exhibition is the first ever to show the history and development of flamenco and its treasured role within the cultural milieu of New Mexico. The exhibition is accompanied by the book, The Spirit of Flamenco: From Spain to New Mexico, by Nicolasa Chávez (Museum of New Mexico Press, Jacketed hardbound $39.95 ISBN:978-0-89013-608-9, 192 pages, 86 color and 54 black-and-white photographs).

[eventFullDescription] =>

Known as a folkloric art form that began among the Gypsy people of southern Spain, this exhibition traces Flamenco to its arrival in the U.S. and its rise as an international art form now enjoyed by millions. The exhibition features costumes, play bills, instruments, and paintings, complemented by lectures, workshops and performances.  Tracing flamenco’s journey from fifteenth and sixteenth century Spain to twentieth century Europe’s most cultured cities will be costumes both historic and contemporary, musical instruments, costume and set design sketches, playbills, sheet music, posters, and more. These objects chronicle flamenco’s evolution from rural, folkloric tradition to elaborate staged productions incorporating extravagantly costumed dancers accompanied by virtuoso guitarists. The objects also trace flamenco’s transition to recording studios and the silver screen permitting it to gain a massive popular audience. Handed down from generation to generation, between family and community members living at society’s edges, flamenco incorporates historic dance and music traditions from Roman times to the Arabic period. Flamenco expresses a way of life shaped by a multitude of cultural and regional influences such as the Gitanos (Romany people) of Spain and Andalusian regional customs. In 2010, UNESCO declared flamenco a Masterpiece of the Intangible Heritage of Humanity. This exhibition also examines Spain’s ferias and fiestas their introduction to the southwestern US, and the individuals who contributed to making flamenco a popular art form in this country. And as the exhibition title suggests, flamenco’s integration into New Mexico’s culture will be examined.  This exhibition is the first ever to show the history and development of flamenco and its treasured role within the cultural milieu of New Mexico. The exhibition is accompanied by the book, The Spirit of Flamenco: From Spain to New Mexico, by Nicolasa Chávez (Museum of New Mexico Press, Jacketed hardbound $39.95 ISBN:978-0-89013-608-9, 192 pages, 86 color and 54 black-and-white photographs).

[6] => http://media.museumofnewmexico.org/press_releases.php?action=detail&releaseID=411 [eventURL] => http://media.museumofnewmexico.org/press_releases.php?action=detail&releaseID=411 [7] => 2683_thumb.jpg [eventFileName] => 2683_thumb.jpg [8] => 2015-11-22 [eventStartDate] => 2015-11-22 [9] => 2017-09-10 [eventEndDate] => 2017-09-10 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 2 [recurID] => 2 [13] => 1 [publishID] => 1 [14] => 2 [instID] => 2 [15] => 64 [contactID] => 64 [16] => 2017-07-19 16:26:02 [eventUpdated] => 2017-07-19 16:26:02 [17] => 2683_1200.jpg [eventBanner] => 2683_1200.jpg [18] => 2 [19] => Museum of International Folk Art [instName] => Museum of International Folk Art [20] => 2.jpg [instFileName] => 2.jpg [urlSlug] => flamenco-from-spain-to-new-mexico ) [8] => Array ( [0] => 2976 [eventID] => 2976 [1] => exhibition [eventType] => exhibition [2] => Negotiate, Navigate, Innovate: Strategies Folk Artists Use in Today’s Global Market Place [eventTitle] => Negotiate, Navigate, Innovate: Strategies Folk Artists Use in Today’s Global Market Place [3] => in the Mark Naylor & Dale Gunn Gallery of Conscience [eventSubTitle] => in the Mark Naylor & Dale Gunn Gallery of Conscience [4] =>

The  Mark Naylor and Dale Gunn Gallery of Conscience is an experimental gallery inside the Museum of International Folk Art where the public is invited to help shape the content and form of the exhibition in real tme.

[eventBriefDescription] =>

The  Mark Naylor and Dale Gunn Gallery of Conscience is an experimental gallery inside the Museum of International Folk Art where the public is invited to help shape the content and form of the exhibition in real tme.

[5] =>

Visitors notice the Gallery of Conscience looks different than the rest of the museum.  In this gallery, visitors are invited behind the scenes to participate directly in the creation of an exhibition.  That is why the space looks informal and unpolished- it’s on purpose.  The Gallery of Conscience team seeks to make visitors feel welcome to write comments, leave thoughts and participate in the exhibition’s creation.

Negotiate, Navigate, Innovate is about contemporary folk artists and their relationship with their patrons, buyers and collectors. We are especially interested in understanding the pressures they might feel to keep their traditions alive in the face of modern technological advances and new consumer demands. Visitors will see a kind of "mock up" or series of idea sketches. The artworks will come at a later point in the process- after we have heard from visitors, artists and local community members. 

See six digital stories created as part of a six month master apprenticeship program in 2016, that focues on cross-generational conversation, documentation and learning of traditonal New Mexican folk arts

Iyamopo: My Life in Indigo  https://www.youtube.com/watch?v=93BQvlaWLoQ

Pueblo Weaving  https://www.youtube.com/watch?v=Dre1SamDIXQ

Native Arts: Rooted in Tradition  https://www.youtube.com/watch?v=iffnsiFva7k

Colcha Embroidery: Stitching a Story https://www.youtube.com/watch?v=Y2H7J6SyFI8

Unfolding Tradition  https://www.youtube.com/watch?v=s4Lxduz1IFo

Loving Creations in Clay  https://www.youtube.com/watch?v=-06LO_f2emk

[eventFullDescription] =>

Visitors notice the Gallery of Conscience looks different than the rest of the museum.  In this gallery, visitors are invited behind the scenes to participate directly in the creation of an exhibition.  That is why the space looks informal and unpolished- it’s on purpose.  The Gallery of Conscience team seeks to make visitors feel welcome to write comments, leave thoughts and participate in the exhibition’s creation.

Negotiate, Navigate, Innovate is about contemporary folk artists and their relationship with their patrons, buyers and collectors. We are especially interested in understanding the pressures they might feel to keep their traditions alive in the face of modern technological advances and new consumer demands. Visitors will see a kind of "mock up" or series of idea sketches. The artworks will come at a later point in the process- after we have heard from visitors, artists and local community members. 

See six digital stories created as part of a six month master apprenticeship program in 2016, that focues on cross-generational conversation, documentation and learning of traditonal New Mexican folk arts

Iyamopo: My Life in Indigo  https://www.youtube.com/watch?v=93BQvlaWLoQ

Pueblo Weaving  https://www.youtube.com/watch?v=Dre1SamDIXQ

Native Arts: Rooted in Tradition  https://www.youtube.com/watch?v=iffnsiFva7k

Colcha Embroidery: Stitching a Story https://www.youtube.com/watch?v=Y2H7J6SyFI8

Unfolding Tradition  https://www.youtube.com/watch?v=s4Lxduz1IFo

Loving Creations in Clay  https://www.youtube.com/watch?v=-06LO_f2emk

[6] => http://www.internationalfolkart.org/exhibitions/exhibition-details?eventID=2966 [eventURL] => http://www.internationalfolkart.org/exhibitions/exhibition-details?eventID=2966 [7] => 2976_thumb.jpg [eventFileName] => 2976_thumb.jpg [8] => 2016-07-03 [eventStartDate] => 2016-07-03 [9] => 2018-01-08 [eventEndDate] => 2018-01-08 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 2 [recurID] => 2 [13] => 1 [publishID] => 1 [14] => 2 [instID] => 2 [15] => 64 [contactID] => 64 [16] => 2017-07-19 16:24:55 [eventUpdated] => 2017-07-19 16:24:55 [17] => 2976_1200.jpg [eventBanner] => 2976_1200.jpg [18] => 2 [19] => Museum of International Folk Art [instName] => Museum of International Folk Art [20] => 2.jpg [instFileName] => 2.jpg [urlSlug] => negotiate-navigate-innovate-strategies-folk-artists-use-in-todays-global-market-place ) [9] => Array ( [0] => 2954 [eventID] => 2954 [1] => exhibition [eventType] => exhibition [2] => Into the Future: Culture Power in Native American Art [eventTitle] => Into the Future: Culture Power in Native American Art [3] => [eventSubTitle] => [4] =>

Sponge Bob Square Pants, Pac Man, and Curious George, all sporting a particularly Native American twist, are just a few images from popular mainstream culture seen in the exhibition, Into the Future: Culture Power in Native American Art.

The free to the public opening for Into the Future: Culture Power in Native American Art at the Museum of Indian Arts and Culture is on July 17, 2016 from 1 to 4 pm and the show runs through October 22, 2017.

Featuring nearly 100 objects by more than fifty artists from the museum’s collections as well as others borrowed from collectors and artists, the work on view in Into the Future will be in such various media as traditional clothing and jewelry, pottery and weaving, photography and video, through to comics, and on into cyberspace.

 

[eventBriefDescription] =>

Sponge Bob Square Pants, Pac Man, and Curious George, all sporting a particularly Native American twist, are just a few images from popular mainstream culture seen in the exhibition, Into the Future: Culture Power in Native American Art.

The free to the public opening for Into the Future: Culture Power in Native American Art at the Museum of Indian Arts and Culture is on July 17, 2016 from 1 to 4 pm and the show runs through October 22, 2017.

Featuring nearly 100 objects by more than fifty artists from the museum’s collections as well as others borrowed from collectors and artists, the work on view in Into the Future will be in such various media as traditional clothing and jewelry, pottery and weaving, photography and video, through to comics, and on into cyberspace.

 

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Shrouded in myth, the artist Agnes Martin (1912-2004), an iconic figure in 20th-century art, was emotionally and artistically tortured, exquisitely sensitive yet socially inept. Canadian born, she started to make a name for herself in the New York art scene in the late 1950s and early 1960s, but in 1967, abandoned her career for a reclusive life in the New Mexico desert. She did not return to her work for nearly a decade.

Several years after she began creating art again, photographer Donald Woodman met her and remained a fixture in her life from 1977 through 1984. In Agnes Martin and Me, an exhibit opening August 5 at the New Mexico History Museum (precise closing date to be determined), Woodman shares his photographs of their time together. The exhibit accompanies his new book, Agnes Martin and Me (Lyon Art Books; May 2016), which reveals the raw, unveiled person he knew in the seven rollercoaster years of their constant contact.

[eventBriefDescription] =>

Shrouded in myth, the artist Agnes Martin (1912-2004), an iconic figure in 20th-century art, was emotionally and artistically tortured, exquisitely sensitive yet socially inept. Canadian born, she started to make a name for herself in the New York art scene in the late 1950s and early 1960s, but in 1967, abandoned her career for a reclusive life in the New Mexico desert. She did not return to her work for nearly a decade.

Several years after she began creating art again, photographer Donald Woodman met her and remained a fixture in her life from 1977 through 1984. In Agnes Martin and Me, an exhibit opening August 5 at the New Mexico History Museum (precise closing date to be determined), Woodman shares his photographs of their time together. The exhibit accompanies his new book, Agnes Martin and Me (Lyon Art Books; May 2016), which reveals the raw, unveiled person he knew in the seven rollercoaster years of their constant contact.

[5] =>

Shrouded in myth, the artist Agnes Martin (1912-2004), an iconic figure in 20th-century art, was emotionally and artistically tortured, exquisitely sensitive yet socially inept. Canadian born, she started to make a name for herself in the New York art scene in the late 1950s and early 1960s, but in 1967, abandoned her career for a reclusive life in the New Mexico desert. She did not return to her work for nearly a decade.

Several years after she began creating art again, photographer Donald Woodman met her and remained a fixture in her life from 1977 through 1984. In Agnes Martin and Me, an exhibit opening August 5 at the New Mexico History Museum (precise closing date to be determined), Woodman shares his photographs of their time together. The exhibit accompanies his new book, Agnes Martin and Me (Lyon Art Books; May 2016), which reveals the raw, unveiled person he knew in the seven rollercoaster years of their constant contact.

The exhibit consists of about 20 photographs, including ones from their 1978 misguided and dangerous river excursion through the Northwest Territories of Canada. The trip was a lifelong dream for Martin. Woodman embarked as her keeper, guide, and companion. Upon returning from this trip, the two co-existed on a plot of land owned by Woodman in Galisteo, New Mexico, where her cycles of depression, spitefulness, genius, and eventually incapacitation from schizophrenia played out before Woodman’s eyes.

In his book, Woodman paints a new portrait of Martin, different from what has been written about her art and personal life. He replaces the oracular metaphysics and Zen-inflected edicts with that of a maddening, self-centered, needy, and abusive, if brilliant, artist suffering from mental illness and in denial about her sexuality. From their first meeting where Martin admits that “the voices” told her that their lives were to intersect, he recounts what she did and what she said over their long, alternating cycles of dependence on one another.

Donald Woodman began his career as an assistant to architectural photographer Ezra Stoller and subsequently studied with and assisted Minor White at MIT, where Woodman directed the Creative Photography Lab’s gallery. In 1972, he settled in New Mexico, where he worked for five years at the Sacramento Peak Solar Observatory, doing scientific photography and pursuing personal creative photo projects. In 1977, he met Agnes Martin, beginning a seven-year association, sharing with her his property in Galisteo, New Mexico, and serving as her personal assistant. In 1985, Woodman married the renowned feminist artist Judy Chicago, with whom he has collaborated on many art and educational projects.

While grounded in 20th century modernist photographic techniques, Woodman’s work fuses this tradition with digital photography to create individualistic images on a range of subjects. His photographs have been exhibited both nationally and internationally and are included in numerous collections. He lives with Chicago and their beloved cats in Belen, New Mexico.

 

[eventFullDescription] =>

Shrouded in myth, the artist Agnes Martin (1912-2004), an iconic figure in 20th-century art, was emotionally and artistically tortured, exquisitely sensitive yet socially inept. Canadian born, she started to make a name for herself in the New York art scene in the late 1950s and early 1960s, but in 1967, abandoned her career for a reclusive life in the New Mexico desert. She did not return to her work for nearly a decade.

Several years after she began creating art again, photographer Donald Woodman met her and remained a fixture in her life from 1977 through 1984. In Agnes Martin and Me, an exhibit opening August 5 at the New Mexico History Museum (precise closing date to be determined), Woodman shares his photographs of their time together. The exhibit accompanies his new book, Agnes Martin and Me (Lyon Art Books; May 2016), which reveals the raw, unveiled person he knew in the seven rollercoaster years of their constant contact.

The exhibit consists of about 20 photographs, including ones from their 1978 misguided and dangerous river excursion through the Northwest Territories of Canada. The trip was a lifelong dream for Martin. Woodman embarked as her keeper, guide, and companion. Upon returning from this trip, the two co-existed on a plot of land owned by Woodman in Galisteo, New Mexico, where her cycles of depression, spitefulness, genius, and eventually incapacitation from schizophrenia played out before Woodman’s eyes.

In his book, Woodman paints a new portrait of Martin, different from what has been written about her art and personal life. He replaces the oracular metaphysics and Zen-inflected edicts with that of a maddening, self-centered, needy, and abusive, if brilliant, artist suffering from mental illness and in denial about her sexuality. From their first meeting where Martin admits that “the voices” told her that their lives were to intersect, he recounts what she did and what she said over their long, alternating cycles of dependence on one another.

Donald Woodman began his career as an assistant to architectural photographer Ezra Stoller and subsequently studied with and assisted Minor White at MIT, where Woodman directed the Creative Photography Lab’s gallery. In 1972, he settled in New Mexico, where he worked for five years at the Sacramento Peak Solar Observatory, doing scientific photography and pursuing personal creative photo projects. In 1977, he met Agnes Martin, beginning a seven-year association, sharing with her his property in Galisteo, New Mexico, and serving as her personal assistant. In 1985, Woodman married the renowned feminist artist Judy Chicago, with whom he has collaborated on many art and educational projects.

While grounded in 20th century modernist photographic techniques, Woodman’s work fuses this tradition with digital photography to create individualistic images on a range of subjects. His photographs have been exhibited both nationally and internationally and are included in numerous collections. He lives with Chicago and their beloved cats in Belen, New Mexico.

 

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From the 1880s into the early 20th century, cigar manufacturers provided an avenue for the lithographic arts to flourish. Layering up to 10 colors in a stone-lithography process and even adding gold embellishments and stamped embossings, the images sold cigars through romantic landscapes, Western adventures, and hot-blooded señoritas. In Out of the Box: The Art of the Cigar, opening Oct. 7, 2016 (precise closing date to be determined), Palace Press Curator Thomas Leech shares primo examples to showcase the rich breadth of artwork created during the golden age of cigar box labels.

[eventBriefDescription] =>

From the 1880s into the early 20th century, cigar manufacturers provided an avenue for the lithographic arts to flourish. Layering up to 10 colors in a stone-lithography process and even adding gold embellishments and stamped embossings, the images sold cigars through romantic landscapes, Western adventures, and hot-blooded señoritas. In Out of the Box: The Art of the Cigar, opening Oct. 7, 2016 (precise closing date to be determined), Palace Press Curator Thomas Leech shares primo examples to showcase the rich breadth of artwork created during the golden age of cigar box labels.

[5] =>

From the 1880s into the early 20th century, cigar manufacturers provided an avenue for the lithographic arts to flourish. Layering up to 10 colors in a stone-lithography process and even adding gold embellishments and stamped embossings, the images sold cigars through romantic landscapes, Western adventures, and hot-blooded señoritas.

Historian Loy Glenn Westfall recently donated a portion of his collection of lusciously printed cigar box labels (possibly the world’s largest collection) to the New Mexico History Museum. In Out of the Box: The Art of the Cigar, opening Oct. 7, 2016 (precise closing date to be determined), Palace Press Curator Thomas Leech shares primo examples to showcase the rich breadth of artwork created during the golden age of cigar box labels.

“Western imagery portrayed in this collection includes the brands Nue Mexico, Santa Fe, Flora Fina (Annie Oakley), Tom Mix and Chas. M Russell,” Leech said. “The themes run from Western Americana to printing technology, advertising, popular culture, and Cuban-American relations, past and present.”

The exhibit includes a 19th-century lithography press and an explanation of the lithographic process.

 

[eventFullDescription] =>

From the 1880s into the early 20th century, cigar manufacturers provided an avenue for the lithographic arts to flourish. Layering up to 10 colors in a stone-lithography process and even adding gold embellishments and stamped embossings, the images sold cigars through romantic landscapes, Western adventures, and hot-blooded señoritas.

Historian Loy Glenn Westfall recently donated a portion of his collection of lusciously printed cigar box labels (possibly the world’s largest collection) to the New Mexico History Museum. In Out of the Box: The Art of the Cigar, opening Oct. 7, 2016 (precise closing date to be determined), Palace Press Curator Thomas Leech shares primo examples to showcase the rich breadth of artwork created during the golden age of cigar box labels.

“Western imagery portrayed in this collection includes the brands Nue Mexico, Santa Fe, Flora Fina (Annie Oakley), Tom Mix and Chas. M Russell,” Leech said. “The themes run from Western Americana to printing technology, advertising, popular culture, and Cuban-American relations, past and present.”

The exhibit includes a 19th-century lithography press and an explanation of the lithographic process.

 

[6] => www.nmhistorymuseum.org [eventURL] => www.nmhistorymuseum.org [7] => 2939_thumb.jpg [eventFileName] => 2939_thumb.jpg [8] => 2016-10-14 [eventStartDate] => 2016-10-14 [9] => 2017-10-14 [eventEndDate] => 2017-10-14 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 19 [instID] => 19 [15] => 72 [contactID] => 72 [16] => 2017-07-05 23:54:26 [eventUpdated] => 2017-07-05 23:54:26 [17] => 2939_1200.jpg [eventBanner] => 2939_1200.jpg [18] => 19 [19] => New Mexico History Museum [instName] => New Mexico History Museum [20] => 19.jpg [instFileName] => 19.jpg [urlSlug] => out-of-the-box-the-art-of-the-cigar ) [12] => Array ( [0] => 3047 [eventID] => 3047 [1] => exhibition [eventType] => exhibition [2] => Lloyd’s Treasure Chest [eventTitle] => Lloyd’s Treasure Chest [3] => [eventSubTitle] => [4] =>

Folk Art is a treasure, and Lloyd’s Treasure Chest offers a participatory gallery experience highlighting the Museum’s permanent collection of over 136,000 objects of international folk art from over 100 countries, representing thousands of unique cultures. Because the entire collection can never be on view at the same time, collections are carefully stored and cared for in rooms such as our Neutrogena Vault, which visitors can view from the Treasure Chest gallery.

[eventBriefDescription] =>

Folk Art is a treasure, and Lloyd’s Treasure Chest offers a participatory gallery experience highlighting the Museum’s permanent collection of over 136,000 objects of international folk art from over 100 countries, representing thousands of unique cultures. Because the entire collection can never be on view at the same time, collections are carefully stored and cared for in rooms such as our Neutrogena Vault, which visitors can view from the Treasure Chest gallery.

[5] =>

Folk Art is a treasure, and Lloyd’s Treasure Chest offers a participatory gallery experience highlighting the Museum’s permanent collection of over 136,000 objects of international folk art from over 100 countries, representing thousands of unique cultures. Because the entire collection can never be on view at the same time, collections are carefully stored and cared for in rooms such as our Neutrogena Vault, which visitors can view from the Treasure Chest gallery.

Visitors are invited to think about folk art. In fact, there is no one definition of folk art. In collecting and displaying folk art, the museum considers various concepts: Folk art is traditional art, reflecting shared cultural aesthetics, community values, priorities, and social issues. Folk art may change over time and include innovations in traditions. Folk art is handmade, although it may include new, synthetic, or recycled components. Folk art may constitute income and empowerment for an individual, a family, or a community. Folk art may be art of the everyday or reserved for special occasions. Folk art may be learned formally or informally, from family or other artists. Folk art may be intangible, including various forms of expressive culture like dance, song, poetry, and food ways. Folk art is of, by, and for the people. We mean all people, inclusive of class, culture, community, ethnicity, and religion. Together, we can consider the multitude of perspectives and come closer to understanding “What is Folk Art?”

Rotating thematic displays will offer close-up views of the museum’s folk art collection. In collaboration with the New Mexico History Museum’s exhibition Syria: Cultural Patrimony Under Threat, opening June 23  a display of Syrian folk art opens June 4, 2017. Hands on activities appropriate for ages 3 to 103 in the gallery include: coloring activities, origami and a Javanese musical instrument.  The cultural context of folk art can be explored with a map, book area. The notion that Folk Art may be intangible is explored with a musical instrument: a gender, a gamelan instrument The re-opening brings back some old favorites from past exhibitions, including “Last of the Red Hot Lovers”, an American sculpture made from recycled metal by artist Dwight Martinek (aka “Wild Willie”), “The Followers of Ghandi” by renowned Master Folk artists Nek Chand, and a Wedding Rickshaw from Bangladesh.

 

[eventFullDescription] =>

Folk Art is a treasure, and Lloyd’s Treasure Chest offers a participatory gallery experience highlighting the Museum’s permanent collection of over 136,000 objects of international folk art from over 100 countries, representing thousands of unique cultures. Because the entire collection can never be on view at the same time, collections are carefully stored and cared for in rooms such as our Neutrogena Vault, which visitors can view from the Treasure Chest gallery.

Visitors are invited to think about folk art. In fact, there is no one definition of folk art. In collecting and displaying folk art, the museum considers various concepts: Folk art is traditional art, reflecting shared cultural aesthetics, community values, priorities, and social issues. Folk art may change over time and include innovations in traditions. Folk art is handmade, although it may include new, synthetic, or recycled components. Folk art may constitute income and empowerment for an individual, a family, or a community. Folk art may be art of the everyday or reserved for special occasions. Folk art may be learned formally or informally, from family or other artists. Folk art may be intangible, including various forms of expressive culture like dance, song, poetry, and food ways. Folk art is of, by, and for the people. We mean all people, inclusive of class, culture, community, ethnicity, and religion. Together, we can consider the multitude of perspectives and come closer to understanding “What is Folk Art?”

Rotating thematic displays will offer close-up views of the museum’s folk art collection. In collaboration with the New Mexico History Museum’s exhibition Syria: Cultural Patrimony Under Threat, opening June 23  a display of Syrian folk art opens June 4, 2017. Hands on activities appropriate for ages 3 to 103 in the gallery include: coloring activities, origami and a Javanese musical instrument.  The cultural context of folk art can be explored with a map, book area. The notion that Folk Art may be intangible is explored with a musical instrument: a gender, a gamelan instrument The re-opening brings back some old favorites from past exhibitions, including “Last of the Red Hot Lovers”, an American sculpture made from recycled metal by artist Dwight Martinek (aka “Wild Willie”), “The Followers of Ghandi” by renowned Master Folk artists Nek Chand, and a Wedding Rickshaw from Bangladesh.

 

[6] => http://moifa.org/about/our-history/neutrogenawing.html [eventURL] => http://moifa.org/about/our-history/neutrogenawing.html [7] => 3047_thumb.jpg [eventFileName] => 3047_thumb.jpg [8] => 2017-01-29 [eventStartDate] => 2017-01-29 [9] => 2017-12-29 [eventEndDate] => 2017-12-29 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 3 [recurID] => 3 [13] => 1 [publishID] => 1 [14] => 2 [instID] => 2 [15] => 40 [contactID] => 40 [16] => 2017-07-07 12:34:09 [eventUpdated] => 2017-07-07 12:34:09 [17] => 3047_1200.jpg [eventBanner] => 3047_1200.jpg [18] => 2 [19] => Museum of International Folk Art [instName] => Museum of International Folk Art [20] => 2.jpg [instFileName] => 2.jpg [urlSlug] => lloyds-treasure-chest ) [13] => Array ( [0] => 2803 [eventID] => 2803 [1] => exhibition [eventType] => exhibition [2] => I-Witness Culture: Frank Buffalo Hyde [eventTitle] => I-Witness Culture: Frank Buffalo Hyde [3] => [eventSubTitle] => [4] =>

Artist Frank Buffalo Hyde (Onondaga/Nez Perce) believes it is the artist’s responsibility to represent the times in which they live. Transforming street art techniques into fine art practices, his humorous and acerbic narrative artworks do exactly that. In I-Witness Culture, Hyde investigates the space where Native Americans exist today: between the ancient and the new; between the accepted truth and the truth; between the known and the unknown. Hyde, who created fourteen paintings and three sculptures for I-Witness, divides his contemporary narrative into three sections: Paranormal: The Truth is Out There; Selfie Skndns; and In-Appropriate.

Pre-millennium, if you asked anyone if Native Americans existed, they would tell you only in the past, in black and white photos. They are almost extinct, they would say, and their lands are gone. If you ever meet one, ask if you can touch their hair, take a picture of them as proof that you actually saw one—like Bigfoot they exist beyond the scope of normal experience.

Post-millennium, Native Americans are part of the digital age, the selfie age, where if something hasn’t been posted to social media, it never happened. We are sharing information at a rate that has never been possible before in human history: We no longer just experience reality; we filter reality through our electronic devices. Today’s Native artists use technology as a tool of Indigenous activism, a means to document, and a form of validation.

In a nation obsessed with sameness—afraid of difference—popular culture homogenizes indigenous cultures, "honoring" us with fashion lines, misogynistic music videos, or offensive mascots and Halloween costumes. Today, these stereotypes and romantic notions are irrelevant as a new generation of Native American artists uses social media to let the world know who they are. Today, we are the observers, as well as the observed. We are here, we are educated, and we define Indian art.

 

 

 

[eventBriefDescription] =>

Artist Frank Buffalo Hyde (Onondaga/Nez Perce) believes it is the artist’s responsibility to represent the times in which they live. Transforming street art techniques into fine art practices, his humorous and acerbic narrative artworks do exactly that. In I-Witness Culture, Hyde investigates the space where Native Americans exist today: between the ancient and the new; between the accepted truth and the truth; between the known and the unknown. Hyde, who created fourteen paintings and three sculptures for I-Witness, divides his contemporary narrative into three sections: Paranormal: The Truth is Out There; Selfie Skndns; and In-Appropriate.

Pre-millennium, if you asked anyone if Native Americans existed, they would tell you only in the past, in black and white photos. They are almost extinct, they would say, and their lands are gone. If you ever meet one, ask if you can touch their hair, take a picture of them as proof that you actually saw one—like Bigfoot they exist beyond the scope of normal experience.

Post-millennium, Native Americans are part of the digital age, the selfie age, where if something hasn’t been posted to social media, it never happened. We are sharing information at a rate that has never been possible before in human history: We no longer just experience reality; we filter reality through our electronic devices. Today’s Native artists use technology as a tool of Indigenous activism, a means to document, and a form of validation.

In a nation obsessed with sameness—afraid of difference—popular culture homogenizes indigenous cultures, "honoring" us with fashion lines, misogynistic music videos, or offensive mascots and Halloween costumes. Today, these stereotypes and romantic notions are irrelevant as a new generation of Native American artists uses social media to let the world know who they are. Today, we are the observers, as well as the observed. We are here, we are educated, and we define Indian art.

 

 

 

[5] =>

Artist Frank Buffalo Hyde (Onondaga/Nez Perce) believes it is the artist’s responsibility to represent the times in which they live. Transforming street art techniques into fine art practices, his humorous and acerbic narrative artworks do exactly that. In I-Witness Culture, Hyde investigates the space where Native Americans exist today: between the ancient and the new; between the accepted truth and the truth; between the known and the unknown. Hyde, who created fourteen paintings and three sculptures for I-Witness, divides his contemporary narrative into three sections: Paranormal: The Truth is Out There; Selfie Skndns; and In-Appropriate

Pre-millennium, if you asked anyone if Native Americans existed, they would tell you only in the past, in black and white photos. They are almost extinct, they would say, and their lands are gone. If you ever meet one, ask if you can touch their hair, take a picture of them as proof that you actually saw one—like Bigfoot they exist beyond the scope of normal experience.

Post-millennium, Native Americans are part of the digital age, the selfie age, where if something hasn’t been posted to social media, it never happened. We are sharing information at a rate that has never been possible before in human history: We no longer just experience reality; we filter reality through our electronic devices. Today’s Native artists use technology as a tool of Indigenous activism, a means to document, and a form of validation. 

In a nation obsessed with sameness—afraid of difference—popular culture homogenizes indigenous cultures, "honoring" us with fashion lines, misogynistic music videos, or offensive mascots and Halloween costumes. Today, these stereotypes and romantic notions are irrelevant as a new generation of Native American artists uses social media to let the world know who they are. Today, we are the observers, as well as the observed. We are here, we are educated, and we define Indian art.

[eventFullDescription] =>

Artist Frank Buffalo Hyde (Onondaga/Nez Perce) believes it is the artist’s responsibility to represent the times in which they live. Transforming street art techniques into fine art practices, his humorous and acerbic narrative artworks do exactly that. In I-Witness Culture, Hyde investigates the space where Native Americans exist today: between the ancient and the new; between the accepted truth and the truth; between the known and the unknown. Hyde, who created fourteen paintings and three sculptures for I-Witness, divides his contemporary narrative into three sections: Paranormal: The Truth is Out There; Selfie Skndns; and In-Appropriate

Pre-millennium, if you asked anyone if Native Americans existed, they would tell you only in the past, in black and white photos. They are almost extinct, they would say, and their lands are gone. If you ever meet one, ask if you can touch their hair, take a picture of them as proof that you actually saw one—like Bigfoot they exist beyond the scope of normal experience.

Post-millennium, Native Americans are part of the digital age, the selfie age, where if something hasn’t been posted to social media, it never happened. We are sharing information at a rate that has never been possible before in human history: We no longer just experience reality; we filter reality through our electronic devices. Today’s Native artists use technology as a tool of Indigenous activism, a means to document, and a form of validation. 

In a nation obsessed with sameness—afraid of difference—popular culture homogenizes indigenous cultures, "honoring" us with fashion lines, misogynistic music videos, or offensive mascots and Halloween costumes. Today, these stereotypes and romantic notions are irrelevant as a new generation of Native American artists uses social media to let the world know who they are. Today, we are the observers, as well as the observed. We are here, we are educated, and we define Indian art.

[6] => [eventURL] => [7] => 2803_thumb.jpg [eventFileName] => 2803_thumb.jpg [8] => 2017-02-03 [eventStartDate] => 2017-02-03 [9] => 2018-01-07 [eventEndDate] => 2018-01-07 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 1 [instID] => 1 [15] => 107 [contactID] => 107 [16] => 2017-07-19 16:05:15 [eventUpdated] => 2017-07-19 16:05:15 [17] => 2803_1200.jpg [eventBanner] => 2803_1200.jpg [18] => 1 [19] => Museum of Indian Arts and Culture [instName] => Museum of Indian Arts and Culture [20] => 1.jpg [instFileName] => 1.jpg [urlSlug] => i-witness-culture-frank-buffalo-hyde ) [14] => Array ( [0] => 2834 [eventID] => 2834 [1] => exhibition [eventType] => exhibition [2] => No Idle Hands: The Myths & Meanings of Tramp Art [eventTitle] => No Idle Hands: The Myths & Meanings of Tramp Art [3] => [eventSubTitle] => [4] =>

Tramp art is the product of industry, a style of woodworking from the late 19th and early 20th centuries that made use of discarded cigar boxes and fruit crates that were notched and layered to make a variety of domestic objects.

[eventBriefDescription] =>

Tramp art is the product of industry, a style of woodworking from the late 19th and early 20th centuries that made use of discarded cigar boxes and fruit crates that were notched and layered to make a variety of domestic objects.

[5] =>

No Idle Hands: The Myths & Meanings of Tramp Art will present more than 150 examples of tramp art, concentrating on works the from the United States, with additional examples from France, Germany, Switzerland, Scandinavia, Canada, Mexico and Brazil to demonstrate the far reach this art form has had.

This is the first large-scale museum exhibition dedicated to tramp art since 1975. For many years, “tramp art” was believed to have been made by itinerants and hobos, thus its name. It has been demonstrated that this notion is largely erroneous, however the name “tramp art” has remained the only terminology used for this practice, and the paucity of scholarly studies to dispel the mistaken notions about tramp art have allowed the myths to persist. No Idle Hands will examine the assumptions related to class, quality, and the anonymity of the makers of tramp art and consider this practice instead through the lens of home and family while tracing its relationship to industry—whether as individual ethos or big industry. No Idle Hands will also include works by contemporary makers, thus establishing tramp art as an ongoing folk art form rather than a vestige of the past.

[eventFullDescription] =>

No Idle Hands: The Myths & Meanings of Tramp Art will present more than 150 examples of tramp art, concentrating on works the from the United States, with additional examples from France, Germany, Switzerland, Scandinavia, Canada, Mexico and Brazil to demonstrate the far reach this art form has had.

This is the first large-scale museum exhibition dedicated to tramp art since 1975. For many years, “tramp art” was believed to have been made by itinerants and hobos, thus its name. It has been demonstrated that this notion is largely erroneous, however the name “tramp art” has remained the only terminology used for this practice, and the paucity of scholarly studies to dispel the mistaken notions about tramp art have allowed the myths to persist. No Idle Hands will examine the assumptions related to class, quality, and the anonymity of the makers of tramp art and consider this practice instead through the lens of home and family while tracing its relationship to industry—whether as individual ethos or big industry. No Idle Hands will also include works by contemporary makers, thus establishing tramp art as an ongoing folk art form rather than a vestige of the past.

[6] => http://moifa.org/exhibitions/exhibition-details?eventID=2834 [eventURL] => http://moifa.org/exhibitions/exhibition-details?eventID=2834 [7] => 2834_thumb.jpg [eventFileName] => 2834_thumb.jpg [8] => 2017-03-12 [eventStartDate] => 2017-03-12 [9] => 2018-09-16 [eventEndDate] => 2018-09-16 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 2 [recurID] => 2 [13] => 1 [publishID] => 1 [14] => 2 [instID] => 2 [15] => 93 [contactID] => 93 [16] => 2017-07-19 16:22:27 [eventUpdated] => 2017-07-19 16:22:27 [17] => 2834_1200.jpg [eventBanner] => 2834_1200.jpg [18] => 2 [19] => Museum of International Folk Art [instName] => Museum of International Folk Art [20] => 2.jpg [instFileName] => 2.jpg [urlSlug] => no-idle-hands-the-myths-meanings-of-tramp-art ) [15] => Array ( [0] => 3219 [eventID] => 3219 [1] => exhibition [eventType] => exhibition [2] => Light Tight : New Work by Meggan Gould and Andy Mattern [eventTitle] => Light Tight : New Work by Meggan Gould and Andy Mattern [3] => [eventSubTitle] => [4] =>

Artists Meggan Gould and Andy Mattern investigate the basic materials of photography and subvert the idea of photographic representation and the commercialization of the medium. The title of the show refers to the need to keep light sensitive material covered up, or “light tight,” until it is ready to be used. 

[eventBriefDescription] =>

Artists Meggan Gould and Andy Mattern investigate the basic materials of photography and subvert the idea of photographic representation and the commercialization of the medium. The title of the show refers to the need to keep light sensitive material covered up, or “light tight,” until it is ready to be used. 

[5] =>

This two-person exhibition creates a visual conversation about how the tools and conventions of photography can be reconsidered and manipulated. The title of the show refers to the need to keep light sensitive material covered up, or “light tight,” until it is ready to be used.

Gould’s work has long been characterized by an ongoing exploration of how photography affects the way we see the world. In her most recent series Don’t Open Box in the Light (2015-2016), she uses photographic sheet film, but not in the usual way. Instead of placing it in a camera to capture latent images, she renders it impotent by rubbing away the emulsion, burnishing what is left, and then drawing on it using pigment ink drained from digital printers. Her methods are both meditative and laborious, intimately reconnecting the artist with her materials while simultaneously creating a hybrid between darkroom and digital photography that defies classification. The final pieces are unique, hand-made images with a patterned, rhythmic appeal.

While Gould focuses on the material aspects of the medium, Andy Mattern turns his attention to the standardization of commercially manufactured photography paper and its packaging and marketing. Starting with the cardboard boxes in which the paper is advertised and stored, Mattern sands and scrapes off their recognizable logos and images before adding tape and other collage elements. His interventions neutralize the boxes’ corporate messages, creating a new surface that denies their original function. He photographs the resulting abstract images, reclaiming the boxes as sites for creative freedom and transforms their corporate messaging into a personal vision. The resulting prints in the series Standard Size (2014) are both straightforward and cryptic, familiar and strange.

[eventFullDescription] =>

This two-person exhibition creates a visual conversation about how the tools and conventions of photography can be reconsidered and manipulated. The title of the show refers to the need to keep light sensitive material covered up, or “light tight,” until it is ready to be used.

Gould’s work has long been characterized by an ongoing exploration of how photography affects the way we see the world. In her most recent series Don’t Open Box in the Light (2015-2016), she uses photographic sheet film, but not in the usual way. Instead of placing it in a camera to capture latent images, she renders it impotent by rubbing away the emulsion, burnishing what is left, and then drawing on it using pigment ink drained from digital printers. Her methods are both meditative and laborious, intimately reconnecting the artist with her materials while simultaneously creating a hybrid between darkroom and digital photography that defies classification. The final pieces are unique, hand-made images with a patterned, rhythmic appeal.

While Gould focuses on the material aspects of the medium, Andy Mattern turns his attention to the standardization of commercially manufactured photography paper and its packaging and marketing. Starting with the cardboard boxes in which the paper is advertised and stored, Mattern sands and scrapes off their recognizable logos and images before adding tape and other collage elements. His interventions neutralize the boxes’ corporate messages, creating a new surface that denies their original function. He photographs the resulting abstract images, reclaiming the boxes as sites for creative freedom and transforms their corporate messaging into a personal vision. The resulting prints in the series Standard Size (2014) are both straightforward and cryptic, familiar and strange.

[6] => [eventURL] => [7] => 3219_thumb.jpg [eventFileName] => 3219_thumb.jpg [8] => 2017-03-25 [eventStartDate] => 2017-03-25 [9] => 2017-09-17 [eventEndDate] => 2017-09-17 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 2 [recurID] => 2 [13] => 1 [publishID] => 1 [14] => 3 [instID] => 3 [15] => 65 [contactID] => 65 [16] => 2017-03-21 16:03:36 [eventUpdated] => 2017-03-21 16:03:36 [17] => [eventBanner] => [18] => 3 [19] => New Mexico Museum of Art [instName] => New Mexico Museum of Art [20] => 3.jpg [instFileName] => 3.jpg [urlSlug] => light-tight-new-work-by-meggan-gould-and-andy-mattern ) [16] => Array ( [0] => 3221 [eventID] => 3221 [1] => exhibition [eventType] => exhibition [2] => Cady Wells: Ruminations [eventTitle] => Cady Wells: Ruminations [3] => [eventSubTitle] => [4] =>

The New Mexico Museum of Art, in partnership with The Philbrook Museum of Art, Tulsa, OK, presents the dynamic and psychologically penetrating watercolor paintings of Cady Wells (1904-1954). This group of more than 25 works features Wells’ uniquely modernist interpretations of Southwestern landforms and cultural-religious traditions. Born to a traditional, well-to-do New England family, Wells settled in northern New Mexico beginning in 1932. There, his art took on the complex layering of a spirit inspired by music, calligraphy and stained glass, but traumatized by active WWII combat, sexual intolerance, and Atomic bomb experiments at Los Alamos, just 12 miles from where he lived and painted. Such mid-century influences marked his increasingly surrealist style with equal parts rapture and disquietude.

[eventBriefDescription] =>

The New Mexico Museum of Art, in partnership with The Philbrook Museum of Art, Tulsa, OK, presents the dynamic and psychologically penetrating watercolor paintings of Cady Wells (1904-1954). This group of more than 25 works features Wells’ uniquely modernist interpretations of Southwestern landforms and cultural-religious traditions. Born to a traditional, well-to-do New England family, Wells settled in northern New Mexico beginning in 1932. There, his art took on the complex layering of a spirit inspired by music, calligraphy and stained glass, but traumatized by active WWII combat, sexual intolerance, and Atomic bomb experiments at Los Alamos, just 12 miles from where he lived and painted. Such mid-century influences marked his increasingly surrealist style with equal parts rapture and disquietude.

[5] =>

The New Mexico Museum of Art, in partnership with The Philbrook Museum of Art, Tulsa, OK, presents the dynamic and psychologically penetrating watercolor paintings of Cady Wells (1904-1954). This group of more than 25 works features Wells’ uniquely modernist interpretations of Southwestern landforms and cultural-religious traditions.

Born to a traditional, well-to-do New England family, Wells settled in northern New Mexico beginning in 1932. There, his art took on the complex layering of a spirit inspired by music, calligraphy and stained glass, but traumatized by active WWII combat, sexual intolerance, and Atomic bomb experiments at Los Alamos, just 12 miles from where he lived and painted. Such mid-century influences marked his increasingly surrealist style with equal parts rapture and disquietude.

[eventFullDescription] =>

The New Mexico Museum of Art, in partnership with The Philbrook Museum of Art, Tulsa, OK, presents the dynamic and psychologically penetrating watercolor paintings of Cady Wells (1904-1954). This group of more than 25 works features Wells’ uniquely modernist interpretations of Southwestern landforms and cultural-religious traditions.

Born to a traditional, well-to-do New England family, Wells settled in northern New Mexico beginning in 1932. There, his art took on the complex layering of a spirit inspired by music, calligraphy and stained glass, but traumatized by active WWII combat, sexual intolerance, and Atomic bomb experiments at Los Alamos, just 12 miles from where he lived and painted. Such mid-century influences marked his increasingly surrealist style with equal parts rapture and disquietude.

[6] => [eventURL] => [7] => 3221_thumb.jpg [eventFileName] => 3221_thumb.jpg [8] => 2017-03-25 [eventStartDate] => 2017-03-25 [9] => 2017-09-17 [eventEndDate] => 2017-09-17 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 3 [instID] => 3 [15] => 128 [contactID] => 128 [16] => 2017-07-17 11:03:34 [eventUpdated] => 2017-07-17 11:03:34 [17] => 3221_1200.jpg [eventBanner] => 3221_1200.jpg [18] => 3 [19] => New Mexico Museum of Art [instName] => New Mexico Museum of Art [20] => 3.jpg [instFileName] => 3.jpg [urlSlug] => cady-wells-ruminations ) [17] => Array ( [0] => 3143 [eventID] => 3143 [1] => exhibition [eventType] => exhibition [2] => Jody Naranjo: Revealing Joy [eventTitle] => Jody Naranjo: Revealing Joy [3] => [eventSubTitle] => [4] =>

The Museum of Indian Arts & Culture will host a solo exhibition featuring the work of current Living Treasure, prolific Santa Clara pueblo potter Jody Naranjo, in the lobby of the museum.

[eventBriefDescription] =>

The Museum of Indian Arts & Culture will host a solo exhibition featuring the work of current Living Treasure, prolific Santa Clara pueblo potter Jody Naranjo, in the lobby of the museum.

[5] => [eventFullDescription] => [6] => [eventURL] => [7] => 3143_thumb.jpg [eventFileName] => 3143_thumb.jpg [8] => 2017-04-01 [eventStartDate] => 2017-04-01 [9] => 2017-12-31 [eventEndDate] => 2017-12-31 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 1 [instID] => 1 [15] => 107 [contactID] => 107 [16] => 2017-05-04 16:51:34 [eventUpdated] => 2017-05-04 16:51:34 [17] => 3143_1200.jpg [eventBanner] => 3143_1200.jpg [18] => 1 [19] => Museum of Indian Arts and Culture [instName] => Museum of Indian Arts and Culture [20] => 1.jpg [instFileName] => 1.jpg [urlSlug] => jody-naranjo-revealing-joy ) [18] => Array ( [0] => 3258 [eventID] => 3258 [1] => exhibition [eventType] => exhibition [2] => Sleeping During the Day [eventTitle] => Sleeping During the Day [3] => Vietnam 1968 [eventSubTitle] => Vietnam 1968 [4] =>

Photographs by Herbert Lotz

[eventBriefDescription] =>

Photographs by Herbert Lotz

[5] =>

There is no shortage of photographs documenting the horrors of the Vietnam War. In fact, between military photographers and the free press, millions of photographs of the Vietnam conflict were taken between 1962 and 1975. But, there are very few that document the war from the perspective of a young gay man serving in the United States Army. The New Mexico History Museum will display this unique perspective through the photographs of Santa Fean Herbert Lotz, acquired through the museum’s Photo Legacy Project in 2008. The exhibition, Sleeping During the Day: Vietnam 1968, will run from April 7 to October 1, 2017. 

[eventFullDescription] =>

There is no shortage of photographs documenting the horrors of the Vietnam War. In fact, between military photographers and the free press, millions of photographs of the Vietnam conflict were taken between 1962 and 1975. But, there are very few that document the war from the perspective of a young gay man serving in the United States Army. The New Mexico History Museum will display this unique perspective through the photographs of Santa Fean Herbert Lotz, acquired through the museum’s Photo Legacy Project in 2008. The exhibition, Sleeping During the Day: Vietnam 1968, will run from April 7 to October 1, 2017. 

[6] => [eventURL] => [7] => [eventFileName] => [8] => 2017-04-07 [eventStartDate] => 2017-04-07 [9] => 2017-10-01 [eventEndDate] => 2017-10-01 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 2 [recurID] => 2 [13] => 1 [publishID] => 1 [14] => 19 [instID] => 19 [15] => 52 [contactID] => 52 [16] => 2017-04-06 14:58:47 [eventUpdated] => 2017-04-06 14:58:47 [17] => [eventBanner] => [18] => 19 [19] => New Mexico History Museum [instName] => New Mexico History Museum [20] => 19.jpg [instFileName] => 19.jpg [urlSlug] => sleeping-during-the-day ) [19] => Array ( [0] => 3218 [eventID] => 3218 [1] => exhibition [eventType] => exhibition [2] => Imagining New Mexico [eventTitle] => Imagining New Mexico [3] => [eventSubTitle] => [4] =>

Over the past century artists have imagined and reimagined New Mexico through their work. The New Mexico Museum of Art presents an exhibition of work from the collection that investigates how artists in New Mexico have responded to key themes as they relate to the state’s identity. New Mexico, like all places, is as much an idea as it is a geographical location. This exhibition considers how the states identity was formed by various, sometimes fantastical and often contradictory interpretations of the areas land, traditions, and histories. Imagining New Mexico does not presume to be a complete survey of the history of the state, but instead a collection of fantasies about what New Mexico has come to mean for artists over time. 

[eventBriefDescription] =>

Over the past century artists have imagined and reimagined New Mexico through their work. The New Mexico Museum of Art presents an exhibition of work from the collection that investigates how artists in New Mexico have responded to key themes as they relate to the state’s identity. New Mexico, like all places, is as much an idea as it is a geographical location. This exhibition considers how the states identity was formed by various, sometimes fantastical and often contradictory interpretations of the areas land, traditions, and histories. Imagining New Mexico does not presume to be a complete survey of the history of the state, but instead a collection of fantasies about what New Mexico has come to mean for artists over time. 

[5] => [eventFullDescription] => [6] => [eventURL] => [7] => 3218_thumb.jpg [eventFileName] => 3218_thumb.jpg [8] => 2017-04-08 [eventStartDate] => 2017-04-08 [9] => 2017-09-17 [eventEndDate] => 2017-09-17 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 2 [recurID] => 2 [13] => 1 [publishID] => 1 [14] => 3 [instID] => 3 [15] => 128 [contactID] => 128 [16] => 2017-04-25 13:07:05 [eventUpdated] => 2017-04-25 13:07:05 [17] => [eventBanner] => [18] => 3 [19] => New Mexico Museum of Art [instName] => New Mexico Museum of Art [20] => 3.jpg [instFileName] => 3.jpg [urlSlug] => imagining-new-mexico ) [20] => Array ( [0] => 3289 [eventID] => 3289 [1] => exhibition [eventType] => exhibition [2] => A Movable Feast: Foods of New Mexico [eventTitle] => A Movable Feast: Foods of New Mexico [3] => [eventSubTitle] => [4] =>

"A Movable Feast: Foods of New Mexico" is an art show presented by the New Mexico Watercolor Society, Southern Chapter. The show will be in the Museum’s Arts Corridor from through Aug. 6.

[eventBriefDescription] =>

"A Movable Feast: Foods of New Mexico" is an art show presented by the New Mexico Watercolor Society, Southern Chapter. The show will be in the Museum’s Arts Corridor from through Aug. 6.

[5] =>

"A Movable Feast: Foods of New Mexico" is an art show presented by the New Mexico Watercolor Society, Southern Chapter. The show will be in the Museum’s Arts Corridor from through Aug. 6.

From Puebloan times to the present, agriculture and farming have played a very important role in making the Chihuahuan Desert and all of New Mexico a place where people could live. Indian, Spanish and modern farmers have always accepted the challenges of limited water and harsh terrain as they planted and plowed to produce the foods we eat today. With hard work and dedication, they have given us such foods as chile, nuts, wine, honey and fruit; along with things like squash, corn, beans, sunflowers and yuccas. In this exhibit, NMWS members have created works based on their own visions and inspirations.

The New Mexico Watercolor Society was founded in 1969 as a statewide chapter of the Southwestern Watercolor Society, and became an independent entity in 1975. The purpose of the NMWS is to elevate the stature of watercolor as an important painting medium and to educate the public to this effort; the ultimate goal is to make New Mexico known nationally for its watercolor artists. As the southern half of the state of New Mexico grew, the need for a local chapter of the NMWS was recognized by a small group of active artists in the Las Cruces area. A proposal for the Southern Chapter’s formation was presented to and approved by the NMWS Board (in Albuquerque) in October, 2001.

[eventFullDescription] =>

"A Movable Feast: Foods of New Mexico" is an art show presented by the New Mexico Watercolor Society, Southern Chapter. The show will be in the Museum’s Arts Corridor from through Aug. 6.

From Puebloan times to the present, agriculture and farming have played a very important role in making the Chihuahuan Desert and all of New Mexico a place where people could live. Indian, Spanish and modern farmers have always accepted the challenges of limited water and harsh terrain as they planted and plowed to produce the foods we eat today. With hard work and dedication, they have given us such foods as chile, nuts, wine, honey and fruit; along with things like squash, corn, beans, sunflowers and yuccas. In this exhibit, NMWS members have created works based on their own visions and inspirations.

The New Mexico Watercolor Society was founded in 1969 as a statewide chapter of the Southwestern Watercolor Society, and became an independent entity in 1975. The purpose of the NMWS is to elevate the stature of watercolor as an important painting medium and to educate the public to this effort; the ultimate goal is to make New Mexico known nationally for its watercolor artists. As the southern half of the state of New Mexico grew, the need for a local chapter of the NMWS was recognized by a small group of active artists in the Las Cruces area. A proposal for the Southern Chapter’s formation was presented to and approved by the NMWS Board (in Albuquerque) in October, 2001.

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Since 2006, the Museum of Indian Arts and Culture has awarded outstanding indigenous artists with the designation of “Living Treasure” during the Museum’s annual Native Treasures Festival. Living Treasures: A Celebration of Vision celebrates those awardees. The pieces on display from artists such as Lonnie Vigil, Roxanne Swentzell, Teri Greeves, and Robert Tenorio, stand as a powerful reminder that tradition and cultural practices thrive within the vibrant, creative worlds of New Mexico’s Pueblo and tribal communities.

 

[eventBriefDescription] =>

Since 2006, the Museum of Indian Arts and Culture has awarded outstanding indigenous artists with the designation of “Living Treasure” during the Museum’s annual Native Treasures Festival. Living Treasures: A Celebration of Vision celebrates those awardees. The pieces on display from artists such as Lonnie Vigil, Roxanne Swentzell, Teri Greeves, and Robert Tenorio, stand as a powerful reminder that tradition and cultural practices thrive within the vibrant, creative worlds of New Mexico’s Pueblo and tribal communities.

 

[5] =>

Living Treasures: A Celebration of Vision exhibition, Governors Gallery, 4th floor of the State Capital Building, Santa Fe New Mexico. May 5, thru August 25th 2017

Upcoming Event: Meet the Living Treasures, reception August 17th, 3 p.m. to 5 p.m. the Governors Gallery, 4th floor of the State Capital Building.

Living Treasures: A Celebration of Vision presents a selection of indigenous arts that could only come from the State of New Mexico.  As a state that celebrates the great artistic achievements of its residents – past and present – the exhibit is fittingly installed in the Governor’s Gallery of the State Capitol.  Works by fourteen of the Museum of Indian Arts and Culture’s “Living Treasures” enliven the space with bold assertions of creativity, cultural survival and beauty. 

Since 2006, the Museum of Indian Arts and Culture has awarded outstanding indigenous artists with the designation of “Living Treasure” during the Museum’s annual Native Treasures Festival. These artists, who have left their mark in the field of contemporary indigenous arts and culture, have achieved excellence in the areas of painting, sculpture, beadwork, pottery and jewelry.  The more adventurous museum goer, who takes the time to go off the beaten track to the fourth floor of the Rotunda, will find a hidden gem in Living Treasures: A Celebration of Vision. The pieces on display from artists such as Lonnie Vigil, Roxanne Swentzell, Teri Greeves, and Robert Tenorio, stand as a powerful reminder that tradition and cultural practices thrive within the vibrant, creative worlds of New Mexico’s Pueblo and tribal communities.

The Museum of Indian Arts and Culture provides a venue for communities throughout New Mexico to come together to celebrate, educate, and promote transformative opportunities for dialogue and exchange between people. The Museum serves over 45,000 visitors a year with education programs, art and history exhibitions, lectures and artist demonstrations.

The Museum of Indian Arts and Culture Living Treasures:

2006---Robert Tenorio, Santo Domingo Pueblo

2007---Mike-Bird Romero, San Juan Pueblo

2008---Connie Tsosie Gaussoin, Picuris Pueblo/Navajo

2009---Upton S. Ethelbah, Jr., White Mountain Apache/Santa Clara Pueblo

2010---Lonnie Vigil, Nambe’ Pueblo

2011---Roxanne Swentzell, Santa Clara Pueblo

2012---Tony Abeyta, Navajo 

2013---Tammy Garcia, Santa Clara Pueblo

2014---Althea Cajero, Santo Domingo Pueblo/Acoma Pueblo

2014---Joe Cajero, Jemez Pueblo

2015---Teri Greeves, Kiowa

2015---Keri Ataumbi, Kiowa

2016---Dan Namingha, Tewa/Hopi

2017---Jody Naranjo, Santa Clara Pueblo

 

Exhibition Thumbnail photo:

Rainbow Dancers by Tammy Garcia, Santa Clara Pueblo, c. 1999. Clay. Purchased with funds from the Buchsbaum Purchase Fund for the Museum of Indian Arts and Culture.

[eventFullDescription] =>

Living Treasures: A Celebration of Vision exhibition, Governors Gallery, 4th floor of the State Capital Building, Santa Fe New Mexico. May 5, thru August 25th 2017

Upcoming Event: Meet the Living Treasures, reception August 17th, 3 p.m. to 5 p.m. the Governors Gallery, 4th floor of the State Capital Building.

Living Treasures: A Celebration of Vision presents a selection of indigenous arts that could only come from the State of New Mexico.  As a state that celebrates the great artistic achievements of its residents – past and present – the exhibit is fittingly installed in the Governor’s Gallery of the State Capitol.  Works by fourteen of the Museum of Indian Arts and Culture’s “Living Treasures” enliven the space with bold assertions of creativity, cultural survival and beauty. 

Since 2006, the Museum of Indian Arts and Culture has awarded outstanding indigenous artists with the designation of “Living Treasure” during the Museum’s annual Native Treasures Festival. These artists, who have left their mark in the field of contemporary indigenous arts and culture, have achieved excellence in the areas of painting, sculpture, beadwork, pottery and jewelry.  The more adventurous museum goer, who takes the time to go off the beaten track to the fourth floor of the Rotunda, will find a hidden gem in Living Treasures: A Celebration of Vision. The pieces on display from artists such as Lonnie Vigil, Roxanne Swentzell, Teri Greeves, and Robert Tenorio, stand as a powerful reminder that tradition and cultural practices thrive within the vibrant, creative worlds of New Mexico’s Pueblo and tribal communities.

The Museum of Indian Arts and Culture provides a venue for communities throughout New Mexico to come together to celebrate, educate, and promote transformative opportunities for dialogue and exchange between people. The Museum serves over 45,000 visitors a year with education programs, art and history exhibitions, lectures and artist demonstrations.

The Museum of Indian Arts and Culture Living Treasures:

2006---Robert Tenorio, Santo Domingo Pueblo

2007---Mike-Bird Romero, San Juan Pueblo

2008---Connie Tsosie Gaussoin, Picuris Pueblo/Navajo

2009---Upton S. Ethelbah, Jr., White Mountain Apache/Santa Clara Pueblo

2010---Lonnie Vigil, Nambe’ Pueblo

2011---Roxanne Swentzell, Santa Clara Pueblo

2012---Tony Abeyta, Navajo 

2013---Tammy Garcia, Santa Clara Pueblo

2014---Althea Cajero, Santo Domingo Pueblo/Acoma Pueblo

2014---Joe Cajero, Jemez Pueblo

2015---Teri Greeves, Kiowa

2015---Keri Ataumbi, Kiowa

2016---Dan Namingha, Tewa/Hopi

2017---Jody Naranjo, Santa Clara Pueblo

 

Exhibition Thumbnail photo:

Rainbow Dancers by Tammy Garcia, Santa Clara Pueblo, c. 1999. Clay. Purchased with funds from the Buchsbaum Purchase Fund for the Museum of Indian Arts and Culture.

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At a time when concerts and gatherings on the West Coast gave birth to 1967’s infamous “Summer of Love,” New Mexico was experiencing its own social and environmental revolution depicted in Voices of Counterculture in the Southwest.

On display through February 11, 2018, the exhibition spans the decades of the 60s and 70s exploring this influx of young people to New Mexico and the subsequent collision of cultures. Through archival footage, oral histories, photography, ephemera and artifacts, the exhibition examines this cultural revolution and asks how these forms of rebellion inform the ways we think about contemporary social and political questions of what it means to be an engaged citizen.

[eventBriefDescription] =>

At a time when concerts and gatherings on the West Coast gave birth to 1967’s infamous “Summer of Love,” New Mexico was experiencing its own social and environmental revolution depicted in Voices of Counterculture in the Southwest.

On display through February 11, 2018, the exhibition spans the decades of the 60s and 70s exploring this influx of young people to New Mexico and the subsequent collision of cultures. Through archival footage, oral histories, photography, ephemera and artifacts, the exhibition examines this cultural revolution and asks how these forms of rebellion inform the ways we think about contemporary social and political questions of what it means to be an engaged citizen.

[5] =>

At a time when concerts and gatherings on the West Coast gave birth to 1967’s infamous “Summer of Love,” New Mexico was experiencing its own social and environmental revolution depicted in Voices of Counterculture in the Southwest.

As the Vietnam conflict dragged on for more than a decade, and the trajectory of civil rights activism escalated nationally, issues of justice, identity and social norms sparked activism among the nation’s youth. Young people from across the country flocked to alternative living situations in growing communes or organized to fight social and political injustices. From the mid-1960s into the 1970s, the well-known draw of New Mexico’s open skies and cross-cultural environment sparked a pilgrimage of many young people to the area.

On display through February 11, 2018, the exhibition spans the decades of the 60s and 70s exploring this influx of young people to New Mexico and the subsequent collision of cultures. Through archival footage, oral histories, photography, ephemera and artifacts, the exhibition examines this cultural revolution and asks how these forms of rebellion inform the ways we think about contemporary social and political questions of what it means to be an engaged citizen.

[eventFullDescription] =>

At a time when concerts and gatherings on the West Coast gave birth to 1967’s infamous “Summer of Love,” New Mexico was experiencing its own social and environmental revolution depicted in Voices of Counterculture in the Southwest.

As the Vietnam conflict dragged on for more than a decade, and the trajectory of civil rights activism escalated nationally, issues of justice, identity and social norms sparked activism among the nation’s youth. Young people from across the country flocked to alternative living situations in growing communes or organized to fight social and political injustices. From the mid-1960s into the 1970s, the well-known draw of New Mexico’s open skies and cross-cultural environment sparked a pilgrimage of many young people to the area.

On display through February 11, 2018, the exhibition spans the decades of the 60s and 70s exploring this influx of young people to New Mexico and the subsequent collision of cultures. Through archival footage, oral histories, photography, ephemera and artifacts, the exhibition examines this cultural revolution and asks how these forms of rebellion inform the ways we think about contemporary social and political questions of what it means to be an engaged citizen.

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Lines of Thought: Drawing from Michelangelo to Now examines the many ways artists have used drawing as a means of recording and provoking thought from the fifteenth century to today.

The internationally recognized line-up of artists featured in the exhibition is a ‘who’s who’ of artists through the centuries. The exhibition includes work by artists as diverse as Leonardo da Vinci, Michelangelo, Albrecht Dürer, Piet Mondrian, Paul Cézanne, Pablo Picasso, Bridget Riley, Barbara Hepworth, Henry Moore, Franz Kline and Rachel Whiteread.

Combining work from master artists of the past with artists working today, clearly demonstrates the common thread of drawing as the basis for creation. Drawing is one of the most effective mediums for the immediate expression and representation of an artist’s ideas. Drawing often serves as the starting point for other creative arts including painting, sculpture, even basic engineering design and architecture. The exhibition will help visitors to explore the range inherent in the medium of drawing and may even inspire them to draw as well.

[eventBriefDescription] =>

Lines of Thought: Drawing from Michelangelo to Now examines the many ways artists have used drawing as a means of recording and provoking thought from the fifteenth century to today.

The internationally recognized line-up of artists featured in the exhibition is a ‘who’s who’ of artists through the centuries. The exhibition includes work by artists as diverse as Leonardo da Vinci, Michelangelo, Albrecht Dürer, Piet Mondrian, Paul Cézanne, Pablo Picasso, Bridget Riley, Barbara Hepworth, Henry Moore, Franz Kline and Rachel Whiteread.

Combining work from master artists of the past with artists working today, clearly demonstrates the common thread of drawing as the basis for creation. Drawing is one of the most effective mediums for the immediate expression and representation of an artist’s ideas. Drawing often serves as the starting point for other creative arts including painting, sculpture, even basic engineering design and architecture. The exhibition will help visitors to explore the range inherent in the medium of drawing and may even inspire them to draw as well.

[5] =>

Lines of Thought: Drawing from Michelangelo to Now examines the many ways artists have used drawing as a means of recording and provoking thought from the fifteenth century to today.

The internationally recognized line-up of artists featured in the exhibition is a ‘who’s who’ of artists through the centuries. The exhibition includes work by artists as diverse as Leonardo da Vinci, Michelangelo, Albrecht Dürer, Piet Mondrian, Paul Cézanne, Pablo Picasso, Bridget Riley, Barbara Hepworth, Henry Moore, Franz Kline and Rachel Whiteread.

Combining work from master artists of the past with artists working today, clearly demonstrates the common thread of drawing as the basis for creation. Drawing is one of the most effective mediums for the immediate expression and representation of an artist’s ideas. Drawing often serves as the starting point for other creative arts including painting, sculpture, even basic engineering design and architecture. The exhibition will help visitors to explore the range inherent in the medium of drawing and may even inspire them to draw as well.

[eventFullDescription] =>

Lines of Thought: Drawing from Michelangelo to Now examines the many ways artists have used drawing as a means of recording and provoking thought from the fifteenth century to today.

The internationally recognized line-up of artists featured in the exhibition is a ‘who’s who’ of artists through the centuries. The exhibition includes work by artists as diverse as Leonardo da Vinci, Michelangelo, Albrecht Dürer, Piet Mondrian, Paul Cézanne, Pablo Picasso, Bridget Riley, Barbara Hepworth, Henry Moore, Franz Kline and Rachel Whiteread.

Combining work from master artists of the past with artists working today, clearly demonstrates the common thread of drawing as the basis for creation. Drawing is one of the most effective mediums for the immediate expression and representation of an artist’s ideas. Drawing often serves as the starting point for other creative arts including painting, sculpture, even basic engineering design and architecture. The exhibition will help visitors to explore the range inherent in the medium of drawing and may even inspire them to draw as well.

[6] => [eventURL] => [7] => 3220_thumb.jpg [eventFileName] => 3220_thumb.jpg [8] => 2017-05-27 [eventStartDate] => 2017-05-27 [9] => 2017-09-17 [eventEndDate] => 2017-09-17 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 3 [instID] => 3 [15] => 128 [contactID] => 128 [16] => 2017-07-21 08:04:56 [eventUpdated] => 2017-07-21 08:04:56 [17] => 3220_1200.jpg [eventBanner] => 3220_1200.jpg [18] => 3 [19] => New Mexico Museum of Art [instName] => New Mexico Museum of Art [20] => 3.jpg [instFileName] => 3.jpg [urlSlug] => lines-of-thought-drawing-from-michelangelo-to-now-from-the-british-museum ) [24] => Array ( [0] => 3296 [eventID] => 3296 [1] => exhibition [eventType] => exhibition [2] => Syria: Cultural Patrimony Under Threat [eventTitle] => Syria: Cultural Patrimony Under Threat [3] => [eventSubTitle] => [4] =>

As Syria’s ongoing civil war, staggering death toll, and displacement of thousands of refugees threatens to destroy Syrian culture, the Palace of the Governors will display seven albums of photographs of historic sites in Syria taken between 1899 and 1909. Entitled Syria: Cultural Patrimony Under Threat, the exhibition will includes a multi-functional information kiosk with insights into Syrian people and culture.

[eventBriefDescription] =>

As Syria’s ongoing civil war, staggering death toll, and displacement of thousands of refugees threatens to destroy Syrian culture, the Palace of the Governors will display seven albums of photographs of historic sites in Syria taken between 1899 and 1909. Entitled Syria: Cultural Patrimony Under Threat, the exhibition will includes a multi-functional information kiosk with insights into Syrian people and culture.

[5] =>

As Syria’s ongoing civil war, staggering death toll, and displacement of thousands of refugees threatens to destroy Syrian culture, the Palace of the Governors will display seven albums of photographs of historic sites in Syria taken between 1899 and 1909. Entitled Syria: Cultural Patrimony Under Threat, the exhibition will includes a multi-functional information kiosk with insights into Syrian people and culture.

Partnering with Curators Without Borders, a non-profit that specializes in innovative museum collaborations for humanitarian response, the exhibition highlights the vast collection of albumen prints, showing not only the historic sites now destroyed in Syria, but representations of its people in adjacent collections within the Photo Archives.

As New Mexico has been the home to many diverse groups through its millennia who sought refuge from social, political, ethnic and religious strife, it continues to welcome most recently Syrian refugee families who are escaping the terrors of life in Syria today. The principal message of the exhibition is one of shared concern, empathy, unity, and support for those suffering amid diaspora.

 

[eventFullDescription] =>

As Syria’s ongoing civil war, staggering death toll, and displacement of thousands of refugees threatens to destroy Syrian culture, the Palace of the Governors will display seven albums of photographs of historic sites in Syria taken between 1899 and 1909. Entitled Syria: Cultural Patrimony Under Threat, the exhibition will includes a multi-functional information kiosk with insights into Syrian people and culture.

Partnering with Curators Without Borders, a non-profit that specializes in innovative museum collaborations for humanitarian response, the exhibition highlights the vast collection of albumen prints, showing not only the historic sites now destroyed in Syria, but representations of its people in adjacent collections within the Photo Archives.

As New Mexico has been the home to many diverse groups through its millennia who sought refuge from social, political, ethnic and religious strife, it continues to welcome most recently Syrian refugee families who are escaping the terrors of life in Syria today. The principal message of the exhibition is one of shared concern, empathy, unity, and support for those suffering amid diaspora.

 

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Chinese quilts have received little attention from scholars, collectors, or museums.  The examples featured here offer an introduction based on new research by a bi-national consortium of American and Chinese museums, including participation by the Museum of International Folk Art.  Embodying layers of history, identity, and expertise, these quilts reveal new insights into the contemporary lives of minority communities adapting to a period of great change in China.

[eventBriefDescription] =>

Chinese quilts have received little attention from scholars, collectors, or museums.  The examples featured here offer an introduction based on new research by a bi-national consortium of American and Chinese museums, including participation by the Museum of International Folk Art.  Embodying layers of history, identity, and expertise, these quilts reveal new insights into the contemporary lives of minority communities adapting to a period of great change in China.

[5] =>

In southwest China, traditional bed coverings, clothing, and household items have long been made from patched and appliqued scraps to create artistic and functional textiles. A bi-national consortium of American and Chinese museums has worked together to document and research these quilts, an art form little known outside certain ethnic minority communities. Although the making and using of these quilts have declined, a surge of renewed interest among scholars, artists, and locals is leading to growing efforts to study the textiles and the skills needed to continue making them.

 

This exhibit is sponsored by The Henry Luce Foundation. Additional support comes from the International Folk Art Foundation; the Museum of New Mexico Foundation and donors to the Exhibitions Development Fund; and the E. Rhodes and Leona B. Carpenter Foundation. Project partners include Yunnan Nationalities Museum (Kunming, Yunnan, China); Anthropology Museum of Guangxi (Nanning, Guangxi, China); Guizhou Nationalities Museum (Guiyang, Guizhou, China); Michigan State University Museum (East Lansing, Michigan, USA); Mathers Museum of World Cultures, Indiana University (Bloomington, Indiana, USA); the International Quilt Study Center and Museum, University of Nebraska-Lincoln (Lincoln, Nebraska, USA); the American Folklore Society; and the Chinese Folklore Society.

[eventFullDescription] =>

In southwest China, traditional bed coverings, clothing, and household items have long been made from patched and appliqued scraps to create artistic and functional textiles. A bi-national consortium of American and Chinese museums has worked together to document and research these quilts, an art form little known outside certain ethnic minority communities. Although the making and using of these quilts have declined, a surge of renewed interest among scholars, artists, and locals is leading to growing efforts to study the textiles and the skills needed to continue making them.

 

This exhibit is sponsored by The Henry Luce Foundation. Additional support comes from the International Folk Art Foundation; the Museum of New Mexico Foundation and donors to the Exhibitions Development Fund; and the E. Rhodes and Leona B. Carpenter Foundation. Project partners include Yunnan Nationalities Museum (Kunming, Yunnan, China); Anthropology Museum of Guangxi (Nanning, Guangxi, China); Guizhou Nationalities Museum (Guiyang, Guizhou, China); Michigan State University Museum (East Lansing, Michigan, USA); Mathers Museum of World Cultures, Indiana University (Bloomington, Indiana, USA); the International Quilt Study Center and Museum, University of Nebraska-Lincoln (Lincoln, Nebraska, USA); the American Folklore Society; and the Chinese Folklore Society.

[6] => http://www.moifa.org [eventURL] => http://www.moifa.org [7] => 2890_thumb.jpg [eventFileName] => 2890_thumb.jpg [8] => 2017-07-09 [eventStartDate] => 2017-07-09 [9] => 2018-01-21 [eventEndDate] => 2018-01-21 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 3 [recurID] => 3 [13] => 1 [publishID] => 1 [14] => 2 [instID] => 2 [15] => 103 [contactID] => 103 [16] => 2017-07-19 15:49:20 [eventUpdated] => 2017-07-19 15:49:20 [17] => 2890_1200.jpg [eventBanner] => 2890_1200.jpg [18] => 2 [19] => Museum of International Folk Art [instName] => Museum of International Folk Art [20] => 2.jpg [instFileName] => 2.jpg [urlSlug] => quilts-of-southwest-china ) [26] => Array ( [0] => 3148 [eventID] => 3148 [1] => exhibition [eventType] => exhibition [2] => Stepping Out: 10,000 Years of Walking the West [eventTitle] => Stepping Out: 10,000 Years of Walking the West [3] => [eventSubTitle] => [4] =>

Footwear is evocative. It tells us about belonging, love, and social aspiration, reflecting the lives of makers and wearers and offering a window into the past and the present.

This exhibition features sandals that date back thousands of years found in the dry caves of New Mexico and nearby regions; includes Plains and Southwest moccasins, many beautifully beaded or quilled, and exhibited for the first time in decades; and concludes with examples of contemporary high fashion footwear made artists like Teri Greeves, Lisa Telford, and Emil Her Many Horses.

Stepping Out: 10,000 Years of Walking the West opens at the Museum of Indian Arts and Culture on August 27, 2017, and will be on display until September 3, 2018.

[eventBriefDescription] =>

Footwear is evocative. It tells us about belonging, love, and social aspiration, reflecting the lives of makers and wearers and offering a window into the past and the present.

This exhibition features sandals that date back thousands of years found in the dry caves of New Mexico and nearby regions; includes Plains and Southwest moccasins, many beautifully beaded or quilled, and exhibited for the first time in decades; and concludes with examples of contemporary high fashion footwear made artists like Teri Greeves, Lisa Telford, and Emil Her Many Horses.

Stepping Out: 10,000 Years of Walking the West opens at the Museum of Indian Arts and Culture on August 27, 2017, and will be on display until September 3, 2018.

[5] =>

Footwear is evocative. The shoe tells us if the wearer was a child or an adult, and can often tell us whether they were an adult man or woman, based on size and style. Shoes retain signs of the wearer, showing imprints of toes and heels and repairs made as much-needed or much-loved footwear became ragged. They can also hint at health problems; for example, bunions and uneven gaits can be visible on the shoes.

How we protect out feet is influenced by the environment (hot, cold, stony, soft), the materials available (leather, plants, beads, quills), and tradition. Tradition guides whether people wear sandals or leather footwear, as well as how they decorate them, but tradition varies over time as conditions, environmental and social, change.

The style of the shoe also tells us about belonging, love, and social aspiration. Beaded moccasins are time-consuming to make, comfortable to wear, and beautiful to behold. Moccasins created for a family member will often reflect the love and commitment of the maker toward the wearer. Some styles of moccasins or sandals were reserved for those with status, wealth, or a special role in society. Footwear reflects the lives of their makers and wearers, offering a window into the past and the present.

This exhibition will feature sandals that date back thousands of years found in the dry caves of New Mexico and nearby regions. The Museum of Indian Arts and Culture has amassed a significant collection of Plains and Southwest moccasins, many beautifully beaded or quilled, and these will be exhibited for the first time in decades. The exhibition will conclude with examples of contemporary high fashion footwear made artists like Teri Greeves, Lisa Telford, and Emil Her Many Horses, showing how traditional designs and techniques are now being used to create gorgeous, meaningful shoes in the 21st Century.

Stepping Out: 10,000 Years of Walking the West opens at the Museum of Indian Arts and Culture on August 27, 2017 and will be on exhibit until September 3, 2018.

Curator’s Statement by Maxine McBrinn, PhD.

[eventFullDescription] =>

Footwear is evocative. The shoe tells us if the wearer was a child or an adult, and can often tell us whether they were an adult man or woman, based on size and style. Shoes retain signs of the wearer, showing imprints of toes and heels and repairs made as much-needed or much-loved footwear became ragged. They can also hint at health problems; for example, bunions and uneven gaits can be visible on the shoes.

How we protect out feet is influenced by the environment (hot, cold, stony, soft), the materials available (leather, plants, beads, quills), and tradition. Tradition guides whether people wear sandals or leather footwear, as well as how they decorate them, but tradition varies over time as conditions, environmental and social, change.

The style of the shoe also tells us about belonging, love, and social aspiration. Beaded moccasins are time-consuming to make, comfortable to wear, and beautiful to behold. Moccasins created for a family member will often reflect the love and commitment of the maker toward the wearer. Some styles of moccasins or sandals were reserved for those with status, wealth, or a special role in society. Footwear reflects the lives of their makers and wearers, offering a window into the past and the present.

This exhibition will feature sandals that date back thousands of years found in the dry caves of New Mexico and nearby regions. The Museum of Indian Arts and Culture has amassed a significant collection of Plains and Southwest moccasins, many beautifully beaded or quilled, and these will be exhibited for the first time in decades. The exhibition will conclude with examples of contemporary high fashion footwear made artists like Teri Greeves, Lisa Telford, and Emil Her Many Horses, showing how traditional designs and techniques are now being used to create gorgeous, meaningful shoes in the 21st Century.

Stepping Out: 10,000 Years of Walking the West opens at the Museum of Indian Arts and Culture on August 27, 2017 and will be on exhibit until September 3, 2018.

Curator’s Statement by Maxine McBrinn, PhD.

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This exhibition explores the new directions taken by current Peruvian folk artists during the recent decades of social and political upheaval and economic change. The exhibition will highlight the biographies and social histories of contemporary artists along with examples of work that: preserve family tradition; reimagine older artforms; reclaim pre-Columbian techniques and styles; and forge new directions for arte popular in the 21st century.

[eventBriefDescription] =>

This exhibition explores the new directions taken by current Peruvian folk artists during the recent decades of social and political upheaval and economic change. The exhibition will highlight the biographies and social histories of contemporary artists along with examples of work that: preserve family tradition; reimagine older artforms; reclaim pre-Columbian techniques and styles; and forge new directions for arte popular in the 21st century.

[5] =>

The past forty years have been a time of tremendous change in the Andes, beginning with the Agrarian Reform of 1969 that broke up the large haciendas; a twenty-year internal armed conflict with the Shining Path that engulfed the 1980’s and 1990’s and claimed nearly 70,000 lives; economic swings, rapid development, the recent large investment in preserving archaeological heritage and the current booming tourism industry. 

All of these forces have all shaped the lives of artists and informed the art they create.  Crafting Memory visits a series of contemporary folk artists in Peru and places their work within this larger framework of Peruvian history and social change. The exhibition will explore the many routes through which craft and folk arts are learned and practiced, including multigenerational crafting families, self-taught artisans, and others who came to folk arts as a means of economic survival during the time of violence.  The show includes a third generation silversmith reviving the art of tupus or shawl stick pins that were worn during the Inca Empire; the art of war orphans from the 1980’s who were trained in traditional arts to give hope in dark times; and a collective of young artists in Lima using the medium of silk screening to promote conversations between rural highland and jungle communities with their counterpart migrant neighborhoods in the city, celebrating their shared arts, culture, and customs and emphasizing the value of the handmade, and the ideas, values, and aesthetics that arise from Cultura Popular - common people and everyday life.

[eventFullDescription] =>

The past forty years have been a time of tremendous change in the Andes, beginning with the Agrarian Reform of 1969 that broke up the large haciendas; a twenty-year internal armed conflict with the Shining Path that engulfed the 1980’s and 1990’s and claimed nearly 70,000 lives; economic swings, rapid development, the recent large investment in preserving archaeological heritage and the current booming tourism industry. 

All of these forces have all shaped the lives of artists and informed the art they create.  Crafting Memory visits a series of contemporary folk artists in Peru and places their work within this larger framework of Peruvian history and social change. The exhibition will explore the many routes through which craft and folk arts are learned and practiced, including multigenerational crafting families, self-taught artisans, and others who came to folk arts as a means of economic survival during the time of violence.  The show includes a third generation silversmith reviving the art of tupus or shawl stick pins that were worn during the Inca Empire; the art of war orphans from the 1980’s who were trained in traditional arts to give hope in dark times; and a collective of young artists in Lima using the medium of silk screening to promote conversations between rural highland and jungle communities with their counterpart migrant neighborhoods in the city, celebrating their shared arts, culture, and customs and emphasizing the value of the handmade, and the ideas, values, and aesthetics that arise from Cultura Popular - common people and everyday life.

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The Museum of Indian Arts and Culture will exhibit over 100 objects dating from the late 1880s to the present. Cultural objects will represent the lifeways of the different Apachean groups in New Mexico and Arizona. These cultural objects include basketry, beaded clothing, parfleche, hunting and horse gear.

These groups are: Jicarilla Apache, Mescalero Apache, Fort Sill Apache (Chiricahua), San Carlos Apache and White Mountain Apache.

[eventBriefDescription] =>

The Museum of Indian Arts and Culture will exhibit over 100 objects dating from the late 1880s to the present. Cultural objects will represent the lifeways of the different Apachean groups in New Mexico and Arizona. These cultural objects include basketry, beaded clothing, parfleche, hunting and horse gear.

These groups are: Jicarilla Apache, Mescalero Apache, Fort Sill Apache (Chiricahua), San Carlos Apache and White Mountain Apache.

[5] =>

The Museum of Indian Arts and Culture will exhibit over 100 objects dating from the late 1880s to the present. Cultural objects will represent the lifeways of the different Apachean groups in New Mexico and Arizona. These cultural objects include basketry, beaded clothing, parfleche, hunting and horse gear.

These groups are: Jicarilla Apache, Mescalero Apache, Fort Sill Apache (Chiricahua), San Carlos Apache and White Mountain Apache.

[eventFullDescription] =>

The Museum of Indian Arts and Culture will exhibit over 100 objects dating from the late 1880s to the present. Cultural objects will represent the lifeways of the different Apachean groups in New Mexico and Arizona. These cultural objects include basketry, beaded clothing, parfleche, hunting and horse gear.

These groups are: Jicarilla Apache, Mescalero Apache, Fort Sill Apache (Chiricahua), San Carlos Apache and White Mountain Apache.

[6] => [eventURL] => [7] => [eventFileName] => [8] => 2017-12-10 [eventStartDate] => 2017-12-10 [9] => 2018-12-31 [eventEndDate] => 2018-12-31 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 1 [instID] => 1 [15] => 30 [contactID] => 30 [16] => 2017-07-20 07:23:47 [eventUpdated] => 2017-07-20 07:23:47 [17] => [eventBanner] => [18] => 1 [19] => Museum of Indian Arts and Culture [instName] => Museum of Indian Arts and Culture [20] => 1.jpg [instFileName] => 1.jpg [urlSlug] => lifeways-of-the-southern-athabaskans ) [29] => Array ( [0] => 3348 [eventID] => 3348 [1] => exhibition [eventType] => exhibition [2] => Beadwork Adorns the World [eventTitle] => Beadwork Adorns the World [3] => [eventSubTitle] => [4] =>

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

[eventBriefDescription] =>

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

[5] =>

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

This exhibition is about what happens to these beads when they arrive at their final destination, whether it be the African continent (Botswana, Cameroon, the Democratic Republic of Congo, Ghana, Nigeria, South Africa), to Borneo, to Burma, to India, Native North America to Latin America (Mexico, Bolivia to Ecuador).  However, this exhibit is not actually about beads, rather it is about the working beads resulting in Beadwork, and what a collective of beads in a garment or an object reveals about the intentions of its makers or users.

[eventFullDescription] =>

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

This exhibition is about what happens to these beads when they arrive at their final destination, whether it be the African continent (Botswana, Cameroon, the Democratic Republic of Congo, Ghana, Nigeria, South Africa), to Borneo, to Burma, to India, Native North America to Latin America (Mexico, Bolivia to Ecuador).  However, this exhibit is not actually about beads, rather it is about the working beads resulting in Beadwork, and what a collective of beads in a garment or an object reveals about the intentions of its makers or users.

[6] => [eventURL] => [7] => 3348_thumb.jpg [eventFileName] => 3348_thumb.jpg [8] => 2018-04-22 [eventStartDate] => 2018-04-22 [9] => 2019-02-03 [eventEndDate] => 2019-02-03 [10] => 00:00:00 [eventStartTime] => 00:00:00 [11] => 00:00:00 [eventEndTime] => 00:00:00 [12] => 1 [recurID] => 1 [13] => 1 [publishID] => 1 [14] => 2 [instID] => 2 [15] => 103 [contactID] => 103 [16] => 2017-07-16 14:40:26 [eventUpdated] => 2017-07-16 14:40:26 [17] => 3348_1200.jpg [eventBanner] => 3348_1200.jpg [18] => 2 [19] => Museum of International Folk Art [instName] => Museum of International Folk Art [20] => 2.jpg [instFileName] => 2.jpg [urlSlug] => beadwork-adorns-the-world ) [30] => Array ( [0] => 2892 [eventID] => 2892 [1] => exhibition [eventType] => exhibition [2] => Traditional Dress in Contemporary Scandinavia [eventTitle] => Traditional Dress in Contemporary Scandinavia [3] => [eventSubTitle] => [4] =>

Folk Dress. National Costume. Bunad. Gákti. What are these and who has the right to wear them? Traditional Dress in Contemporary Scandinavia examines current efforts to revive, preserve, or innovate styles of dress emblematic of particular historical, regional, religious, or ethnic identities.

[eventBriefDescription] =>

Folk Dress. National Costume. Bunad. Gákti. What are these and who has the right to wear them? Traditional Dress in Contemporary Scandinavia examines current efforts to revive, preserve, or innovate styles of dress emblematic of particular historical, regional, religious, or ethnic identities.

[5] =>

Based on fieldwork with wearers and artists, including tailors, designers, shoemakers, leather workers, jewelers and silversmiths, the exhibition highlights the experiences, opinions, and creativity of individuals. Many historical and newly-made garments and accessories will be featured, illustrating the ways traditional dress and notions of the past can become tools for negotiating what it means to be Scandinavian in the 21st century

[eventFullDescription] =>

Based on fieldwork with wearers and artists, including tailors, designers, shoemakers, leather workers, jewelers and silversmiths, the exhibition highlights the experiences, opinions, and creativity of individuals. Many historical and newly-made garments and accessories will be featured, illustrating the ways traditional dress and notions of the past can become tools for negotiating what it means to be Scandinavian in the 21st century

[6] => http://moifa.org/exhibitions/exhibition-details?eventID=2892 [eventURL] => http://moifa.org/exhibitions/exhibition-details?eventID=2892 [7] => 2892_thumb.jpg [eventFileName] => 2892_thumb.jpg [8] => 2021-01-10 [eventStartDate] => 2021-01-10 [9] => 2021-09-26 [eventEndDate] => 2021-09-26 [10] => 10:00:00 [eventStartTime] => 10:00:00 [11] => 17:00:00 [eventEndTime] => 17:00:00 [12] => 2 [recurID] => 2 [13] => 1 [publishID] => 1 [14] => 2 [instID] => 2 [15] => 103 [contactID] => 103 [16] => 2017-01-19 16:00:22 [eventUpdated] => 2017-01-19 16:00:22 [17] => [eventBanner] => [18] => 2 [19] => Museum of International Folk Art [instName] => Museum of International Folk Art [20] => 2.jpg [instFileName] => 2.jpg [urlSlug] => traditional-dress-in-contemporary-scandinavia ) ) --> Department of Cultural Affairs Media Center :: Events Calendar

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Long Term Exhibition
The Buchsbaum Gallery of Southwestern Pottery
Museum of Indian Arts and Culture

The Buchsbaum Gallery features each of the Pueblos of New Mexico and Arizona in a selection of pieces that represent the development of a community tradition. In addition, a changing area of the gallery, entitled Traditions Today highlights the evolving contemporary traditions of the ancient art of pottery making.

more information »

Long Term Exhibition
Segesser Hide Paintings
New Mexico History Museum

Though the source of the Segesser Hide Paintings is obscure, their significance cannot be clearer: the hides are rare examples of the earliest known depictions of colonial life in the United States. Moreover, the tanned and smoothed hides carry the very faces of men whose descendants live in New Mexico today...

more information »

Long Term Exhibition
Treasures of Devotion/Tesoros de Devoción
New Mexico History Museum

Treasures of Devotion/Tesoros de Devoción contains bultos, retablos, and crucifijos dating from the late 1700s to 1900 which illustrate the distinctive tradition of santo making in New Mexico introduced by settlers from Mexico.

more information »

Long Term Exhibition
Telling New Mexico: Stories from Then and Now
New Mexico History Museum

Telling New Mexico: Stories from Then and Now, the main exhibition of the New Mexico History Museum, sweeps across more than 500 years of stories - from early Native inhabitants to today’s residents - told through artifacts, films, photographs, computer interactives, oral histories and more. Together, they breath life into the people who made the American West: Native Americans, Spanish colonists, Mexican traders, Santa Fe Trail riders, fur trappers, outlaws, railroad men, scientists, hippies and artists.

 

more information »

Long Term Exhibition
Santa Fe Found: Fragments of Time
New Mexico History Museum
The archaeological and historic roots of America’s oldest capital city

Now 400 years old, Santa Fe was once an infant city on the remote frontier.  Santa Fe Found: Fragments of Time, on long-term exhibit in the Palace of the Governors, explores the archaeological evidence and historical documentation of the City Different before the Spanish arrived, as well as at the settling of the first colony in San Gabriel del Yungue, the founding of Santa Fe and its first 100 years as New Mexico’s first capital.

Co-curated by Josef Diaz of the New Mexico History Museum/Palace of the Governors and Stephen Post of the DCA/Office of Archaeological Studies, Santa Fe Found collects more than 160 artifacts from four historic sites, along with maps, documents, household goods, weaponry and religious objects. Together, they tell the story of cultural encounters between early colonists and the Native Americans who had long called this place home.

more information »

Long Term Exhibition
Multiple Visions: A Common Bond
Museum of International Folk Art
Longterm

"I believe we should preserve this evidence of the past, not as a pattern for sentimental imitation, but as nourishment for the creative spirit of the present."

- Alexander Girard

more information »

Long Term Exhibition
Setting the Standard: The Fred Harvey Company and Its Legacy
New Mexico History Museum

Will Rogers noted that Fred Harvey “kept the West in food—and wives.” But the company’s Harvey Girls are by no means its only legacy. From the Atchison, Topeka and Santa Fe Railway’s 1879 arrival in New Mexico to the 1970 demolition of Albuquerque’s Alvarado Hotel, the Fred Harvey name and its company’s influence have been felt across New Mexico, not to mention the American West. The company and its New Mexico establishments served as the stage on which people such as Mary Colter were able to fashion an “authentic” tourist experience, along with Herman Schweizer who helped drive the direction of Native American jewelry and crafts as an industry.

Setting the Standard: The Fred Harvey Company and Its Legacy, a new section that joins the New Mexico History Museum’s main exhibit, Telling New Mexico: Stories from Then and Now, helps tell those stories. Opening December 7, Setting the Standard uses artifacts from the museum’s collection, images from the Palace of the Governors Photo Archives and loans from other museums and private collectors. Focusing on the rise of the Fred Harvey Company as a family business and events that transpired specifically in the Land of Enchantment, the tale will leave visitors with an understanding of how the Harvey experience resonates in our Southwest today.

more information »

Nov 22, 2015 - Sep 10, 2017
FLAMENCO: From Spain to New Mexico
Museum of International Folk Art
In the Hispanic Heritage Wing

Passionate, fiery, sensual, intense In-depth examination of the history and culture of flamenco dance and music.

The Museum of International Folk Art presents Flamenco: From Spain to New Mexico, the most comprehensive exhibition to celebrate and study this living tradition as an art form. The exhibition opened November 22, 2015 and runs through September 10, 2017.  More than 150 objects are featured. Among them, items once used by renowned artists Encarnación López y Júlvez “La Argentinita”, José Greco, and Vicente Romero and María Benítez (both from New Mexico). In addition to other stunning loans from private collectors will be those from the museum’s expansive permanent collection.

more information »

Jul 3, 2016 - Jan 8, 2018
Negotiate, Navigate, Innovate: Strategies Folk Artists Use in Today’s Global Market Place
Museum of International Folk Art
in the Mark Naylor & Dale Gunn Gallery of Conscience

The  Mark Naylor and Dale Gunn Gallery of Conscience is an experimental gallery inside the Museum of International Folk Art where the public is invited to help shape the content and form of the exhibition in real tme.

more information »

Jul 17, 2016 - Oct 22, 2017
Into the Future: Culture Power in Native American Art
Museum of Indian Arts and Culture

Sponge Bob Square Pants, Pac Man, and Curious George, all sporting a particularly Native American twist, are just a few images from popular mainstream culture seen in the exhibition, Into the Future: Culture Power in Native American Art.

The free to the public opening for Into the Future: Culture Power in Native American Art at the Museum of Indian Arts and Culture is on July 17, 2016 from 1 to 4 pm and the show runs through October 22, 2017.

Featuring nearly 100 objects by more than fifty artists from the museum’s collections as well as others borrowed from collectors and artists, the work on view in Into the Future will be in such various media as traditional clothing and jewelry, pottery and weaving, photography and video, through to comics, and on into cyberspace.

 

more information »

Aug 5, 2016 - Aug 5, 2017
Agnes Martin and Me
New Mexico History Museum

Shrouded in myth, the artist Agnes Martin (1912-2004), an iconic figure in 20th-century art, was emotionally and artistically tortured, exquisitely sensitive yet socially inept. Canadian born, she started to make a name for herself in the New York art scene in the late 1950s and early 1960s, but in 1967, abandoned her career for a reclusive life in the New Mexico desert. She did not return to her work for nearly a decade.

Several years after she began creating art again, photographer Donald Woodman met her and remained a fixture in her life from 1977 through 1984. In Agnes Martin and Me, an exhibit opening August 5 at the New Mexico History Museum (precise closing date to be determined), Woodman shares his photographs of their time together. The exhibit accompanies his new book, Agnes Martin and Me (Lyon Art Books; May 2016), which reveals the raw, unveiled person he knew in the seven rollercoaster years of their constant contact.

more information »

Oct 14, 2016 - Oct 14, 2017
Out of the Box: The Art of the Cigar
New Mexico History Museum

From the 1880s into the early 20th century, cigar manufacturers provided an avenue for the lithographic arts to flourish. Layering up to 10 colors in a stone-lithography process and even adding gold embellishments and stamped embossings, the images sold cigars through romantic landscapes, Western adventures, and hot-blooded señoritas. In Out of the Box: The Art of the Cigar, opening Oct. 7, 2016 (precise closing date to be determined), Palace Press Curator Thomas Leech shares primo examples to showcase the rich breadth of artwork created during the golden age of cigar box labels.

more information »

Jan 29, 2017 - Dec 29, 2017
Lloyd’s Treasure Chest
Museum of International Folk Art

Folk Art is a treasure, and Lloyd’s Treasure Chest offers a participatory gallery experience highlighting the Museum’s permanent collection of over 136,000 objects of international folk art from over 100 countries, representing thousands of unique cultures. Because the entire collection can never be on view at the same time, collections are carefully stored and cared for in rooms such as our Neutrogena Vault, which visitors can view from the Treasure Chest gallery.

more information »

Feb 3, 2017 - Jan 7, 2018
I-Witness Culture: Frank Buffalo Hyde
Museum of Indian Arts and Culture

Artist Frank Buffalo Hyde (Onondaga/Nez Perce) believes it is the artist’s responsibility to represent the times in which they live. Transforming street art techniques into fine art practices, his humorous and acerbic narrative artworks do exactly that. In I-Witness Culture, Hyde investigates the space where Native Americans exist today: between the ancient and the new; between the accepted truth and the truth; between the known and the unknown. Hyde, who created fourteen paintings and three sculptures for I-Witness, divides his contemporary narrative into three sections: Paranormal: The Truth is Out There; Selfie Skndns; and In-Appropriate.

Pre-millennium, if you asked anyone if Native Americans existed, they would tell you only in the past, in black and white photos. They are almost extinct, they would say, and their lands are gone. If you ever meet one, ask if you can touch their hair, take a picture of them as proof that you actually saw one—like Bigfoot they exist beyond the scope of normal experience.

Post-millennium, Native Americans are part of the digital age, the selfie age, where if something hasn’t been posted to social media, it never happened. We are sharing information at a rate that has never been possible before in human history: We no longer just experience reality; we filter reality through our electronic devices. Today’s Native artists use technology as a tool of Indigenous activism, a means to document, and a form of validation.

In a nation obsessed with sameness—afraid of difference—popular culture homogenizes indigenous cultures, "honoring" us with fashion lines, misogynistic music videos, or offensive mascots and Halloween costumes. Today, these stereotypes and romantic notions are irrelevant as a new generation of Native American artists uses social media to let the world know who they are. Today, we are the observers, as well as the observed. We are here, we are educated, and we define Indian art.

 

 

 

more information »

Mar 12, 2017 - Sep 16, 2018
No Idle Hands: The Myths & Meanings of Tramp Art
Museum of International Folk Art

Tramp art is the product of industry, a style of woodworking from the late 19th and early 20th centuries that made use of discarded cigar boxes and fruit crates that were notched and layered to make a variety of domestic objects.

more information »

Mar 25, 2017 - Sep 17, 2017
Light Tight : New Work by Meggan Gould and Andy Mattern
New Mexico Museum of Art

Artists Meggan Gould and Andy Mattern investigate the basic materials of photography and subvert the idea of photographic representation and the commercialization of the medium. The title of the show refers to the need to keep light sensitive material covered up, or “light tight,” until it is ready to be used. 

more information »

Mar 25, 2017 - Sep 17, 2017
Cady Wells: Ruminations
New Mexico Museum of Art

The New Mexico Museum of Art, in partnership with The Philbrook Museum of Art, Tulsa, OK, presents the dynamic and psychologically penetrating watercolor paintings of Cady Wells (1904-1954). This group of more than 25 works features Wells’ uniquely modernist interpretations of Southwestern landforms and cultural-religious traditions. Born to a traditional, well-to-do New England family, Wells settled in northern New Mexico beginning in 1932. There, his art took on the complex layering of a spirit inspired by music, calligraphy and stained glass, but traumatized by active WWII combat, sexual intolerance, and Atomic bomb experiments at Los Alamos, just 12 miles from where he lived and painted. Such mid-century influences marked his increasingly surrealist style with equal parts rapture and disquietude.

more information »

Apr 1, 2017 - Dec 31, 2017
Jody Naranjo: Revealing Joy
Museum of Indian Arts and Culture

The Museum of Indian Arts & Culture will host a solo exhibition featuring the work of current Living Treasure, prolific Santa Clara pueblo potter Jody Naranjo, in the lobby of the museum.

more information »

Apr 7, 2017 - Oct 1, 2017
Sleeping During the Day
New Mexico History Museum
Vietnam 1968

Photographs by Herbert Lotz

more information »

Apr 8, 2017 - Sep 17, 2017
Imagining New Mexico
New Mexico Museum of Art

Over the past century artists have imagined and reimagined New Mexico through their work. The New Mexico Museum of Art presents an exhibition of work from the collection that investigates how artists in New Mexico have responded to key themes as they relate to the state’s identity. New Mexico, like all places, is as much an idea as it is a geographical location. This exhibition considers how the states identity was formed by various, sometimes fantastical and often contradictory interpretations of the areas land, traditions, and histories. Imagining New Mexico does not presume to be a complete survey of the history of the state, but instead a collection of fantasies about what New Mexico has come to mean for artists over time. 

more information »

Apr 14, 2017 - Aug 6, 2017
A Movable Feast: Foods of New Mexico
New Mexico Farm and Ranch Heritage Museum

"A Movable Feast: Foods of New Mexico" is an art show presented by the New Mexico Watercolor Society, Southern Chapter. The show will be in the Museum’s Arts Corridor from through Aug. 6.

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May 5, 2017 - Aug 25, 2017
Living Treasures: A Celebration of Vision - At the Governor’s Gallery
Museum of Indian Arts and Culture

Since 2006, the Museum of Indian Arts and Culture has awarded outstanding indigenous artists with the designation of “Living Treasure” during the Museum’s annual Native Treasures Festival. Living Treasures: A Celebration of Vision celebrates those awardees. The pieces on display from artists such as Lonnie Vigil, Roxanne Swentzell, Teri Greeves, and Robert Tenorio, stand as a powerful reminder that tradition and cultural practices thrive within the vibrant, creative worlds of New Mexico’s Pueblo and tribal communities.

 

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May 14, 2017 - Feb 11, 2018
Voices of the Counterculture in the Southwest
New Mexico History Museum

At a time when concerts and gatherings on the West Coast gave birth to 1967’s infamous “Summer of Love,” New Mexico was experiencing its own social and environmental revolution depicted in Voices of Counterculture in the Southwest.

On display through February 11, 2018, the exhibition spans the decades of the 60s and 70s exploring this influx of young people to New Mexico and the subsequent collision of cultures. Through archival footage, oral histories, photography, ephemera and artifacts, the exhibition examines this cultural revolution and asks how these forms of rebellion inform the ways we think about contemporary social and political questions of what it means to be an engaged citizen.

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May 27, 2017 - Sep 17, 2017
Lines of Thought: Drawing from Michelangelo to Now: from the British Museum
New Mexico Museum of Art

Lines of Thought: Drawing from Michelangelo to Now examines the many ways artists have used drawing as a means of recording and provoking thought from the fifteenth century to today.

The internationally recognized line-up of artists featured in the exhibition is a ‘who’s who’ of artists through the centuries. The exhibition includes work by artists as diverse as Leonardo da Vinci, Michelangelo, Albrecht Dürer, Piet Mondrian, Paul Cézanne, Pablo Picasso, Bridget Riley, Barbara Hepworth, Henry Moore, Franz Kline and Rachel Whiteread.

Combining work from master artists of the past with artists working today, clearly demonstrates the common thread of drawing as the basis for creation. Drawing is one of the most effective mediums for the immediate expression and representation of an artist’s ideas. Drawing often serves as the starting point for other creative arts including painting, sculpture, even basic engineering design and architecture. The exhibition will help visitors to explore the range inherent in the medium of drawing and may even inspire them to draw as well.

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Jun 23, 2017 - Dec 31, 2017
Syria: Cultural Patrimony Under Threat
New Mexico History Museum

As Syria’s ongoing civil war, staggering death toll, and displacement of thousands of refugees threatens to destroy Syrian culture, the Palace of the Governors will display seven albums of photographs of historic sites in Syria taken between 1899 and 1909. Entitled Syria: Cultural Patrimony Under Threat, the exhibition will includes a multi-functional information kiosk with insights into Syrian people and culture.

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Jul 9, 2017 - Jan 21, 2018
Quilts of Southwest China
Museum of International Folk Art

Chinese quilts have received little attention from scholars, collectors, or museums.  The examples featured here offer an introduction based on new research by a bi-national consortium of American and Chinese museums, including participation by the Museum of International Folk Art.  Embodying layers of history, identity, and expertise, these quilts reveal new insights into the contemporary lives of minority communities adapting to a period of great change in China.

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Aug 27, 2017 - Sep 3, 2018
Stepping Out: 10,000 Years of Walking the West
Museum of Indian Arts and Culture

Footwear is evocative. It tells us about belonging, love, and social aspiration, reflecting the lives of makers and wearers and offering a window into the past and the present.

This exhibition features sandals that date back thousands of years found in the dry caves of New Mexico and nearby regions; includes Plains and Southwest moccasins, many beautifully beaded or quilled, and exhibited for the first time in decades; and concludes with examples of contemporary high fashion footwear made artists like Teri Greeves, Lisa Telford, and Emil Her Many Horses.

Stepping Out: 10,000 Years of Walking the West opens at the Museum of Indian Arts and Culture on August 27, 2017, and will be on display until September 3, 2018.

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Dec 3, 2017 - Mar 8, 2019
Crafting Memory: Contemporary Life and Folk Art in the Andes
Museum of International Folk Art

This exhibition explores the new directions taken by current Peruvian folk artists during the recent decades of social and political upheaval and economic change. The exhibition will highlight the biographies and social histories of contemporary artists along with examples of work that: preserve family tradition; reimagine older artforms; reclaim pre-Columbian techniques and styles; and forge new directions for arte popular in the 21st century.

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Dec 10, 2017 - Dec 31, 2018
Lifeways of the Southern Athabaskans
Museum of Indian Arts and Culture

The Museum of Indian Arts and Culture will exhibit over 100 objects dating from the late 1880s to the present. Cultural objects will represent the lifeways of the different Apachean groups in New Mexico and Arizona. These cultural objects include basketry, beaded clothing, parfleche, hunting and horse gear.

These groups are: Jicarilla Apache, Mescalero Apache, Fort Sill Apache (Chiricahua), San Carlos Apache and White Mountain Apache.

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Apr 22, 2018 - Feb 3, 2019
Beadwork Adorns the World
Museum of International Folk Art

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

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Jan 10, 2021 - Sep 26, 2021
Traditional Dress in Contemporary Scandinavia
Museum of International Folk Art

Folk Dress. National Costume. Bunad. Gákti. What are these and who has the right to wear them? Traditional Dress in Contemporary Scandinavia examines current efforts to revive, preserve, or innovate styles of dress emblematic of particular historical, regional, religious, or ethnic identities.

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