Albuquerque Museum: Current Exhibitions
Back to Life: The Community of Historic Fairview Cemetery
Front entrance of Historic Fairview Cemetery, 2011, Courtesy Susan Schwartz
March 26 to Sept. 11, 2016
"Back to Life: The Community of Historic Fairview Cemetery" features photographs, maps, artifacts, documents, and interviews detailing the lives of New Albuquerque's founders, railroad employees, and other individuals buried in the cemetery.
Coordinated by Historic Fairview Cemetery historian Susan Schwartz, "Back to Life" is the first community-based project to open in the Museum's newly sponsored William A. + Loretta Barrett Keleher Gallery.
Limited tours of the exhibition are available on Thursdays and Fridays from Susan Schwartz, Community Historian of Historic Fairview Cemetery. Please contact Theresa Sedillo at 505-764-6502 to schedule your tour.
Hard Edge Abstraction in the 20th Century
Victor Vasarely, 1906 Pécs, Hungary – 1997 Paris, France, Planetarische Folklore, 1964, serigraph on paper, Albuquerque Museum, gift bequest of Earl Stroh
Oct. 17, 2015 – May 22, 2016
Unlike representational images and narrative illustration, “non-objective” abstraction emphasizes the power of pure color, scale, and form. In the 1940s and ‘50s, while doing much toward developing the idea of non-objective art, Abstract Expressionism tended to emphasize the “hand of the artist,” often featuring bold physical brush work deployed at a heroic scale. By the 1960’s, a new generation of artists responded by creating generally smaller compositions with simpler shapes in bright, unmodulated colors, almost mechanically executed. This movement came to be known as “hard edge abstraction.”
Whether she was being caustic or poignant, famously all modernist writer Gertrude Stein had to say later about her hometown was, “There is no there there.” Some viewers may have a similar feeling about this type of abstract art. However, the hard-won simplicity and elegance of these futuristic works continues to provide rewarding opportunities to transform perception and heighten our aesthetic responses. The absence of traditional pictorial illusions invites attention to more immediate perceptions and subtler sensations. Engagement with a different sort of presence is indicated; a different kind of “there.”
Works are selected from the Museum’s permanent collection of works on paper, and include prints and drawings by Josef Albers, Garo Antreasian, Paul Feeley, Frederick Hammersley, Oli Sihvonen, Deborah Remington, and Victor Vasarely, among others.
Chasing the Cure to Albuquerque
May 2015 through April 2016
A grim pronouncement from one’s doctor at the turn of the century was tuberculosis. More than 80 percent of the American population was infected by the age of 20. The bacterial infection meant a search for any recommended cure, where there was none to be found. Many sufferers made their way to the American Southwest. The high desert climate and air was advertised as a panacea. Modern Albuquerque was built by the railroad steam engine and the engine of tuberculosis.
The Catholic Sister’s of Charity based at Mount St. Joseph, Ohio opened the first sanatorium and hospital in Albuquerque in 1902. The Mt. St. Joseph Sanatorium was soon followed by the Rev. Hugh Albert Cooper’s Presbyterian Sanatorium and the Methodist Deaconess Sanatorium among others. The legacy of these early “Sans” in Albuquerque is the state of the art medical care facilities we have today. The Photoarchive exhibit will feature images of the tuberculosis sanatoriums of Albuquerque as well as the patients and health providers.
Summer Artist-in-Residence: Lea Anderson
For the fifth year, the Albuquerque Museum has invited an artist to create a temporary intervention in the Museum’s lobby. From July 14 through July 26, Albuquerque artist Lea Anderson will create a site-specific work of art on the north windows of the museum’s lobby. Anderson works in a variety of non-traditional sculptural materials including fiber and textiles, paper, and plastic.
During each work day Anderson will prepare printed plastic, organic-inspired elements and collaborate with Museum staff to install the individual parts on the inside of the lobby windows. Visitors are encouraged to watch the artist work and follow the development of her vision throughout the two week period. This dramatic, colorful, and monumental installation is titled Meridiae ((pronounced meh-rih-dee-yay) which is an invented word for the plural of meridian. Through this work, the artist is exploring 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 will bring a lively, colorful, organic vitality to this grand space. The installation Meridiae will remain on view at the museum through the Summer of 2016.