Albuquerque Museum: Current Exhibitions
Drawing Into Architecture: Sketches & Models by Antoine Predock
Pantheon Slice, Rome, Italy 2008 ink and oil pastel, 6 x 8 inches. Lent by the artist and the Center for Southwest Research, University of New Mexico
June 25 to Oct. 2, 2016
"Drawing Into Architecture: Sketches and Models by Antoine Predock" makes a case for the continued relevance of drawings made by hand in our increasingly electronic world. The exhibition will be accompanied by a book published by University of New Mexico Press, "Drawing Into Architecture: The Sketches of Antoine Predock," edited by Mead and designed by Woodson.
Whether capturing a site visited on one of his globe-trotting trips, or imagining one of his buildings, Predock's sketches trace the hand's intuitive rush across a surface, condensing a rich sensorium of perceptions and experiences into memorably succinct collations of line and color.
As a student in the 1950s at the University of New Mexico, Predock regularly drifted from the architecture program (in Engineering) over to the Art Department to study with the sculptor and painter John Tatschl, and the painters Elaine De Kooning and Walter Kulhman. These artists showed Predock how seeing and making ran together in a dialogue between visuality and materiality mediated by the human body: as De Kooning explained at the time, "painting to me is primarily a verb, not a noun, an event first and only secondarily an image." Carved by hand with a knife, in place of a drawing's pen or brush, Predock's clay models use a sculptural material to painterly effect, shaping form and space into planes of solid and void.
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. To schedule a tour, please call (505) 764-6502.
Pueblo Revolt by Virgil Ortiz: 2016 Artist-in-Residence
Photo credit: Translator, Head Commander of the Spirit World Army. Revolt 1680/2180: Virgil Ortiz
July 2016 to June 2017
Summer artist-in-residence transforms Albuquerque Museum into Pueblo Revolt. Cochiti Pueblo artist, potter, fashion designer and photographer Virgil Ortiz to install work July 19 - 31, 2016.
Once a year, the atrium of the Albuquerque Museum transforms into a working laboratory for artists to create installations and interact with the public. This July, famed artist Virgil Ortiz will bring a futuristic world with deep roots in New Mexico’s past. For the last 15 years, Ortiz, of Cochiti Pueblo, has focused on the Pueblo Revolt of 1680. “It’s the first American Revolution — and it's not told in classrooms,” he says. “I felt it was important to tell that story because no one else is.” But he does it in a way that he feels young people will relate to by envisioning a futuristic revolt set in 2180. His characters are a mix of actual historical figures, such as Po pay, the leader of the 1680 revolt, and new characters, including Tahu, leader of the blind archers, and the Translator, who leads the army of the spirit world.
The public is invited to watch Ortiz at work July 19-31 in the Albuquerque Museum lobby. His installation will be on view through June 2017.
The Los Angeles artist Gronk kicked off the lobby art program in 2011. Since then artists Catalina Delgado Trunk, Larry Bob Phillips, Ernest Doty and Lea Anderson have adorned the space. Connors says this process allows people to see artists at work and engage with them directly. It fosters new understanding and appreciation for the work. “It’s very important the public understand that art-making is hard work,” he says.