Albuquerque Museum: Previous Exhibitions
Meridiae by Lea Anderson: 2015 Artist-in-Residence
July 2015 to June 2016
For the fifth year, Albuquerque Museum invited an artist to create a temporary intervention in the Museum's lobby. From July 14 - 26, Albuquerque artist Lea Anderson created a site-specific work of art on the north windows of the museum's lobby. Through this work, the artist explored the concept of a work of art as a "meridian" or a "portal"; a place of connection between the physical world and unseen cosmological entities. With the formal geometric architectural grid of the lobby windows as a backdrop and framework, Anderson's work brought a lively, colorful, organic vitality to this grand space.
New Territories: Laboratories for Design, Craft, and Art in Latin America
DFC (Tony Moxham & Mauricio Paniagua), Orange Crush fiberglass wall console, 2013, fiberglass, hand airbrushed, Courtesy of the artists
Jan. 9 to April 17, 2016
Featuring more than 75 designers, artists, craftspersons, and collectives, "New Territories" surveys the innovative, cross-disciplinary collaborations and new directions in creative production that have been occurring throughout Latin America since 2000. The exhibition includes art, design, and craft in several distinct cities throughout Latin America, where some of the most pertinent new directions in arts and design are emerging today. The featured collaborations between small manufacturing operations and craftspersons, artists, and designers, demonstrate not only the issues of commodification and production, but also of urbanization, displacement and sustainability.
The exhibition celebrates the art and design work emanating from key cities that serve as cultural hubs for some of the most pertinent new ideas about art, design, and craft, including: Caracas, São Paulo, Rio de Janeiro, Santiago, Buenos Aires, San Salvador, San Juan, Havana, Mexico City, and the state of Oaxaca.
"New Territories" is the first museum group exhibition in the United States dedicated to contemporary Latin American design and was organized by Lowery Stokes Sims at the Museum of Arts and Design, New York.
IBM Machine, Albuquerque National Bank Auditing Department, 1947, Photographer: Barnes & Caplin, Gift of Albuquerque National Bank, PA1980.184.624
Feb. 21 to Jan. 3, 2016
"Rad Gadgets" is a fun look at off-the-wall vintage tools and equipment from the Museum collection. The exhibit will be presented in the newly named William A. + Loretta Barrett Keleher Gallery just a few weeks before the opening of the new history exhibition.
"Rad Gadgets" will inspire visitors to explore the Museum's collection of antique and vintage gadgets, with an eye toward recycling. Particularly trendy is the notion of using Victorian-era industrial design as inspiration for contemporary Steampunk art and fashion.
"Rad Gadgets" features vintage tools and equipment including recent gifts from the Hays family, Keleher family, Bob Myers, PNM Forerunners, and others. The collection ranges from simple and strange to quirky and complicated. No single object will be identified upon first glance – you'll have to guess what it is!
Visitors will be able draw fantasy gadgets and vote for their favorite gadget. Programs will explore the role historic tools, equipment and their intriguing parts play in fashion design, recycled art, and Steampunk art.
Jan. 31 to May 3, 2015
At the heart of this collaboration, the Albuquerque Museum's exhibition titled Visualizing Albuquerque, curated by Joseph Traugott, will investigate the unique history and present of central New Mexico art and serve as an umbrella for institutional partners.
Traugott says, "Albuquerque artists found their own artistic voice after World War II and transformed a western boom town into a thriving art center. This exhibition demonstrates how an influx of modern-minded Californians moved to Albuquerque and changed the city by unleashing the creativity of local artists.
The resulting abstract works broke with traditional New Mexico scenes. Visualizing Albuquerque revels in the region's diverse artists and reveals how their distinctive fusions have bridged aesthetic divides and cultural rifts.”
Gods and Heroes: Masterpieces from the École des Beaux-Arts, Paris
Michel-Martin Drolling The Wrath of Achilles, 1810 Oil on canvas 44 1/2 x 57 1/2 in. École des Beaux-Arts, Paris (PRP 48) Courtesy American Federation of Arts.
Oct. 11, 2014 to Jan. 4, 2015
This rich overview of masterpieces from the École des Beaux-Arts—the original school of fine arts in Paris and a repository for work by Europe's most renowned artists since the fifteenth century—includes approximately 140 paintings, sculptures, and works on paper. These works of art explore heroic themes such as courage, sacrifice, and death, and the exhibition examines the ways that changing political and philosophical systems affected the choice and execution of these subjects.
The epic deeds of gods and heroes, enshrined in the Bible and the works of Homer, were the primary narratives from which both aspiring and established academicians drew their inspiration. Although mostly out of favor today, their ideology was rooted in the study of the idealized human form as envisioned in classical art. At the École, learning how to construct persuasive and powerful paintings from carefully delineated anatomy, expressive faces, and convincing architectural and landscape settings was understood by aspiring artists to be the route to success and recognition.
Gods and Heroes offers unique insight into the development of an aesthetic that fostered some of western art's most magnificent achievements.
Gods and Heroes is organized by the American Federation of Arts and the École des Beaux- Arts, Paris. This exhibition is generously supported by an indemnity from the Federal Council on the Arts and Humanities, the JFM Foundation, and Mrs. Donald M. Cox. Funding for the catalogue is provided by the Eugene V. and Clare E. Thaw Charitable Trust, the Stavros Niarchos Foundation, and the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane and Christie's.
Arte en la Charrería: The Artisanship of Mexican Equestrian Culture
Amozoc Style Spur, First half of the 20th century. Courtesy of José Lugo Guerrero. Photograph courtesy of 33PHOTO and Arte en la Charrería.
Dec. 21, 2013 – March 30, 2014
Comprising more than 150 examples of superlative artisan craftsmanship and design distinctive to the charro, Charrería features leather work, costumes, textiles, silver, and iron work that illustrate the life of these revered horsemen.
History is an intrinsic part of charrería artifacts and culture, as modern day artisans continue to employ the techniques passed down by their ancestors through the centuries.
It is slow, patient work, without the rush of mass production, where the artisan takes pleasure in making each object exceptional and handcrafted with the bearer in mind.
It is in these social processes that the tradition of civic spirit is consecrated, making the artisans an indelible and essential component of the charrería.
The spectacular objects in Arte en la Charrería, many dating from the late 1800s, come from prestigious collections throughout Mexico and have rarely been seen outside of the country. These objects are more than vestiges of a nation's folk customs; they are reminders of a rich culture and way of life that continues to this day.
From work attire to grand gala and etiquette suits, China poblano and Adelita dresses, the exhibition reveals the care and attention to detail that has helped make the charro the keeper of a tradition that dates to the birth of a nation more than 500 years ago.
Arte en la Charrería is organized by International Arts & Artists, Washington, DC, in collaboration with Marisú González and Gabriel Cabello.
Vernacular Architecture of New Mexico: Photographs by Robert Christensen
Robert Christensen, "Louie's, Cleveland, New Mexico," 1977, Albuquerque Museum of Art and History, gift of the artist
Sept. 21, 2013 to March 16, 2014
In 52 stunning black and white photographs, Belen-based photographer Robert Christensen has documented in a spare compositional format, spontaneously designed buildings such as gas stations, garages, barns, bars, sheds, and shops.
The artist states, "While quite a few of these buildings still stand, as a genus they are fading away, along with the individualism and self-reliance that produced them. Some have been replaced by mundane new construction, some have been chicly remodeled at the expense of their original allure, and some have just vanished."
This installation includes recent prints of images created from 1974 through 2013 which were donated by the artist to the Albuquerque Museum.
African American Art in the 20th Century
John Biggers, Shotgun, Third Ward #1, 1966, tempera and oil, Smithsonian American Art Museum, Museum purchase made possible by Anacostia Museum, Smithsonian Institution
Jan. 19, 2014
The exhibition presents 100 paintings, sculptures, and photographs by 43 African American artists from the premier collection of the Smithsonian American Art Museum, more than half of which are being shown for the first time.
The exhibition features artists who came to prominence during the period bracketed by the Harlem renaissance and the Civil Rights movement.
Some trained in the country's most prestigious art schools, others in the ateliers of Paris. Many were teachers; others worked at whatever jobs allowed them time to create. All participated in the multivalent dialogues about art, black identity, and the rights of the individual that engaged American society throughout the 20th Century.
The Museum would like to thank the educational sponsor of this exhibition, The Albuquerque Chapter of the Links, Incorporated.
Changing Perceptions of the Western Landscape
Erika Osborne, Looking for Moran, 2012, oil on canvas, 48 x 96 in., Lent by the artist
May 18 to Sept. 1, 2013
Changing Perceptions examines the revived interest in landscape by contemporary artists, demonstrating the power of the land to speak to the imagination.
Recent works in painting, photography, printmaking, and even sculpture trace the evolving image of the landscape in art of the last 40 years. Many contemporary landscape artists explore the way that humanity has laid its hands on the land. Fences, dams, highways, and billboards appear as an acknowledgement that pristine wilderness is a rarity, foreign to most peoples' experience.
Among the diverse artists showcased are Gus Foster, Woody Gwyn,Amelia Bauer, Wes Hempel, Joanne Lefrak, Jack Loeffler, Patrick Nagatani, Donald Woodman, Erika Osborne, Ed Ruscha, Mary Tsiongas, and Vincent Valdez.
Their passionate visions of the landscape take viewers on vividly detailed journeys around the American West and into the challenging imaginations of modern day explorers.
Goya's "Los Caprichos" and Social Satire
Francisco Goya y Lucientes,"The sleep of reason produces monsters,"1796-97, etching & aquatint on paper, 8 7/16 x 5 15/16 in.
Feb. 5, 2012 - May 13, 2012 (North Gallery)
This exhibition features an early first edition of "Los Caprichos," a set of eighty etchings by Spanish artist Francisco de Goya y Lucientes published in 1799. Included in the exhibition for comparison are other works by Goya.
To augment Goya's "Los Caprichos" prints, the exhibition will also include the work of several contemporary artists including Enrique Chagoya, Jason Garcia (Santa Clara), Roger Shimomura, and Jaune Quick-to-See Smith (Flathead, Shoshone). Like Goya, these exceptional artists all incorporate social commentary and social critique as integral aspects of their work.
This exhibition is made possible through the generous support of Bank of America
Social Satire & Commentary from the Museum Collection
Andy Warhol, "Mao," 1972, color serigraph on paper, Anonymous Donor, 1986.108.3 A-J; ©2011 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
Dec. 18 , 2011 to April 8, 2012
Drawn from the Museum's extensive holdings of works on paper, this exhibition will examine artists who comment on society by drawing attention to injustice or poking fun at the human condition. Most of these objects have not previously been exhibited at the Museum and include powerful works by Barton Benes, T.C. Cannon, Mexican master Jose Luis Cuevas, Harry Fonseca, Luis Jimenez, John Sloan, and Masami Teraoka.
Major Trevanion Teel and the Civil War in Albuquerque
Feb. 19, 2012 to April 15, 2012 (East Hallway)
This exhibit relates the story of Confederate artillery commander Major Trevanion Teel and his role in the burial and subsequent unearthing of eight Mountain Howitzers in Albuquerque's Old Town Plaza. From the collection of The Albuquerque Museum of Art and History and loans courtesy Dick and Betty Teel.
Faces From Our Past, Facing The Future: Albuquerque & the Turn of the 20th Century
Simon Baca and Sofia Anaya, c. 1900 Photographer: William Cobb, PA2011.3.10
July 31, 2011 to April 2012
This exhibition features prints made from a collection of glass plate negatives by the Cobb family of photographers that was recently acquired by the Museum. The collection, found in its original custom crates and individual glass plate boxes dating from the late 1800s, was originally discovered in the
1960s in an Albuquerque Bekins storage unit. The collection was purchased with funding provided by individual donors in memory of Edith Kubie, Katy Lou McIntosh Ely, Carolyn Leach, Sarah Shortle Blue, Millie Santillanes, Vernon D. Robertson, Sally Stockman, and Jane Williams.
This will be the first time in Albuquerque's history that images from this collection will be made available to the public. Approximately 80 photographs will be on display along with original packaging and more than 800 digital images of the collection. Many of these individuals were citizens of Albuquerque when New Mexico became a state in 1912.
Hispanic Traditional Arts of New Mexico
Monica Sosaya-Halford, Reredo, 1982, acrylic and gesso on pine, Gift of Anheuser-Busch Companies, Inc.,1982.201.1
Sept. 18, 2011 to Jan. 8, 2012 (North Gallery)
Since its founding in 1967, The Albuquerque Museum of Art and History has quietly built an impressive and diverse collection of Hispanic Traditional Art from across the state. This exhibition, celebrating masterworks and little known gems from the permanent collection of The Albuquerque Museum, will provide a broad reaching exploration of the historical development and contemporary new directions in Hispanic traditional art.
From the colonial era to the present, Hispanic artists in New Mexico have contributed significantly to all art forms. Traditions such as religious image-making, weaving and colcha embroidery, furniture making, silverwork, straw appliqué, and tinwork have been practiced in New Mexico in some cases for more than four hundred years, and artists continue to create innovative interpretations using historical techniques. By modifying and adding their personal visions, contemporary artists keep the early aesthetics, traditional utility, subject matter, and materials alive. Providing a bold and compelling introduction to the continuing impact of the state's rich Hispanic visual heritage, this exhibition will place historic objects from the 19th and early 20th centuries beside passionate and dynamic recent examples of the art form.
The exhibition will include masterworks from the traditions of religious image making, weaving, colcha embroidery, and filigree jewelry and will also include examples of tinwork and straw appliqué. Many additional important objects in these traditions as well as furniture and architectural woodworking can be seen in the Museum's history exhibition, Four Centuries: A History of Albuquerque, and at the Museum's historic site, Casa San Ysidro, the Gutiérrez/Minge House, located in Corrales.
In addition to historic objects, the exhibition includes works of art by many contemporary artists. The Museum's collection is remarkably broad in scope; it was developed as a celebration of both adherence to historic precedent and innovation within the revival of tradition. From the beginning the museum purchased work by artists who broke new ground within the revival movement in the 1970s and thus the collection contains some very surprising and unexpected early work by artists who later became masters of the tradition.
A New Light on Tiffany: Clara Driscoll & the Tiffany Girls
The Tiffany Girls on the Roof of Tiffany Studios, c. 1904-05, Reproduction courtesy the Charles Hosmer Morse Museum of American Art, Winter Park, Florida
May 8 to Aug. 21, 2011 (North Gallery)
Louis Comfort Tiffany was one of the most recognized designers of his time in decorative arts, especially in stained glass. However, some lamps, windows and other decorative objects which were originally thought to be designed by Tiffany himself, are now recognized as designed and executed by a special group of women who worked for Tiffany at the turn of the 20th century.
The "Tiffany Girls, as they were called, worked for Louis Comfort Tiffany in the Women's Glass Cutting Department of Tiffany Studios along with their department head, Ohio-born designer Clara Driscoll (1861-1944).
This ground-breaking exhibition explores the turn of the 20th century New York women who created many of Tiffany Studios' celebrated decorative objects. Included are approximately 70 Tiffany lamps, windows, mosaics, enamels and ceramics, as well as pages of newly discovered documents written by designer Clara Driscoll.
The presentation in Albuquerque of A New Light on Tiffany, has been made possible through the generous local support from REDW, Garcia Infiniti, and Wells Fargo.