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 - 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.
The Artistic Odyssey of Higinio V. Gonzales: A Tinsmith & Poet in Territorial New Mexico
Higinio Gonzales, b. 1842, Tin frame with mirror, c. 1885, Punched tin, glass, Gift of Ward Alan Minge and Shirley Jolly Minge, PC1991.51.27
Dec. 19, 2015 - April 4, 2016
After more than a century of obscurity, art historian and tinsmith Maurice Dixon discovers that a New Mexican artisan, formerly known only as the Valencia Red and Green Tinsmith, is actually Higinio V. Gonzales, a prolific and bilingual 19th-century educator, artisan, poet, and musician.
This exhibition traces the life of Gonzales and, for the very first time, explores his influence on music, poetry, and the arts in New Mexico.
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 to March 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.
Common Ground: Art in New Mexico
Ernest Blumenschein, " Star Road and White Sun", 1920, 1986.50.3
Permanent Exhibition - East Gallery
Common Ground will be closed from January 26-February 23 for a re-design of the exhibition.
A permanent art exhibition highlighting a significant and museum-owned works from the late 19th century to the present day, including some that have never before been viewed by the public.
In January 2013, Albuquerque Poet Laureate Hakim Bellamy presented poems he had written based on artwork in the "Common Ground" exhibition. The poetry is available for visitors to view in the exhibition or by downloading a copy.