Information about previous exhibits at the Albuquerque Museum.
Amozoc Style Spur, First half of the 20th century. Courtesy of José Lugo Guerrero. Photograph courtesy of 33PHOTO and Arte en la Charrería.
Arte en la Charrería: The Artisanship of Mexican Equestrian Culture
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.
Robert Christensen, "Louie's, Cleveland, New Mexico," 1977, Albuquerque Museum of Art and History, gift of the artist
Vernacular Architecture of New Mexico: Photographs by Robert Christensen
Sept. 21, 2013 – 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 Some have been replaced by mundane new construction, some have been chicly remodeled at the expense of their original allure, and some have just vanished."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.
John Biggers, Shotgun, Third Ward #1, 1966, tempera and oil, Smithsonian American Art Museum, Museum purchase made possible by Anacostia Museum, Smithsonian Institution
African American Art in the 20th Century
Through January 19th, 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.
Erika Osborne, Looking for Moran, 2012, oil on canvas, 48 x 96 in., Lent by the artist
Changing Perceptions of the Western Landscape
May 18 - 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.
Francisco Goya y Lucientes,"The sleep of reason produces monsters,"1796-97, etching & aquatint on paper, 8 7/16 x 5 15/16 in.
Goya's "Los Caprichos" and Social Satire
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
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
Social Satire and Commentary from the Museum Collection
Dec. 18 , 2011 - 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 - 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.
Simon Baca and Sofia Anaya, c. 1900 Photographer: William Cobb, PA2011.3.10
Faces From Our Past, Facing The Future: Albuquerque and the Turn of the 20th Century
July 31, 2011 – 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.
Monica Sosaya-Halford, Reredo, 1982, acrylic and gesso on pine, Gift of Anheuser-Busch Companies, Inc.,1982.201.1
Hispanic Traditional Arts of New Mexico
Sept. 18, 2011 – 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.
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
A New Light on Tiffany: Clara Driscoll and the Tiffany Girls
May 8 - 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.
Peacock shade, probably designed by Clara Driscoll pre-1906, model 1472, 18 1/2 in. diam.; Peacock base designed pre-1906, model 224. New-York Historical Society
Numerous education programs will be presented in support of this exhibition, including a special Family Gallery and Guide, which were made possible through the generous local support of Wells Fargo. A companion catalogue will be available for sale at The Museum Gallery Store.
The exhibition at the New-York Historical Society was generously supported by Robert G. Goelet,
Barbara and Richard Debs, Mr. and Mrs. John Klingenstein, Donna and Marvin Schwartz, Barrie and Deedee Wigmore, Sue Ann Weinberg, Lois Chiles, S. Parker Gilbert, the Elizabeth Morse Genius Foundation, and Arlie Sulka.
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.
View a list of all of the previous exhibitions at The Albuquerque Museum of Art and History.
You may also view a list of the Museum's Exhibition Publications.