Like other artist markets, fairs, and festivals, the Native American vendor program (Portal Program) at the New Mexico History Museum remains closed in accordance with the current Public Health Order (PHO). The New Mexico History Museum understands that this closure has had a significant economic impact on program participants and their families. We also recognize that many visitors look forward to meeting Native vendors on the Portal and buying their work as part of their Santa Fe experience. The Portal Program will resume as soon as reopening is authorized.
Thank you for your patience and support of COVID Safe Practices.
An entry in the December 31,1919 issue of El Palacio magazine reported an exhibit of woodcut prints by Gustave Baumann. On display were pages of what the article called a “wonder book,” Indian Pottery Old and New, said to have been printed in an edition of 50 copies. That showing, and another in Chicago in 1920, were the last times the work was seen in public, and the book was little-known to collectors and admirers of Baumann’s work for nearly a century. Only a few of the fifty copies planned for that 1919 edition were completed, and no more than a dozen are found today in museum, library or private collections. In 1937 Baumann worked on a much-expanded version, and as late as 1950 he still spoke of his intent to bring out a book on Southwestern Indian pottery. So, like the book’s title, we present a book by Gustave Baumann that is both old and new. It is yet another display of the artist’s wit, ever-sharp eye and sure hand.
The block-book style text and fifteen woodcut studies of Indian pottery were carved within a year of Baumann’s arrival in Santa Fe, and we have followed the design of the booklet as he first conceived it. Variations in its black-only format were suggested by changes in his 1937 prototypes, most notably the introduction of brown background blocks carved for all of the pottery groupings. Those blocks, now in the collection of the New Mexico History Museum, are printed here for the first time. Many of the pots, so skillfully rendered, are in the collections of the Museum of Indian Arts and Culture and the School for Advanced Research.
One hundred forty-five copies of the book were printed by Thomas Leech and James Bourland on Baumann’s remaining supply of Arak paper made by the Whitehead and Alliger Company. That a ream of this paper remained at the time of his death in 1971 may indicate that he had been saving the paper for this very project. Handmade paper covers by Thomas Leech include Baumann’s mouse-chewed canvas tool belt (too far gone to restore), New Mexico mica, and recycled paper trimmings from some of Baumann’s other papers.
The 28-page soft cover book measures 6.75 by 8 inches and comes in a hard-cover folder made by Rosalia Galassi. The price of the book is one hundred sixty dollars, which includes USPS Priority postage.
For 10 years the New Mexico History Museum has played host to the series of lectures that are a part of the Fred Harvey History Weekend. This annual event is a chance for “Fred Heads” from all over to converge on Santa Fe an regale themselves in all things Fred Harvey.
This year, the weekend event produced by MightMakesWriteLLC is moving entirely online due the COVID-19 situation we are facing.
The full roster of Harvey related talks, along with the Saturday night Foodie Dinner Demonstration* & Auction to benefit the History Museum programming with accessible with registration. has delved into the history and impact of this popular historic travel brand. This year, the event’s 11th, will be completely online, with streamed lectures, a virtual version of the highlight of the weekend, the Foodie Dinner & Auction to benefit programming at New Mexico History Museum.
For more information on the schedule of events visit:
And to register to for tickets for any of the events, you can visit the event listing on eventbrite.
*The Dinner Demonstration offers an opportunity for you to learn how to prepare a contemporary take on classic Fred Harvey cuisine with top chefs from La Fonda and La Castaneda! You will receive an ingredient list ahead of time.
Were you the owner? Did your family run one for decades and decades? Did you work for one? Or did you just frequent a favorite shop around the corner?
The New Mexico History Museum is researching historic and modern small businesses to explore for a possible exhibition in the future.
New Mexico has many memorable and iconic establishments that would help to tell this story. In particular, we’d like to focus on sole-proprietor operations and family-owned businesses that sold goods or provided services to local communities in every part of the state.
(We’d like to avoid national chains and franchises.)
We’re looking for corner stores, tienditas, general stores, barber shops, moms & pops, cobblers, meat markets, bookstores, record stores, radio stores, repair shops, feed stores, trading posts, very small restaurants and cafes, tailors and seamstresses, laundries, bicycle shops, and so on, that were unique, characteristic, or served as anchors in their neighborhood or town.
Here’s a very simple form where you can add ideas from anywhere in the state.
Today, August 10, is the anniversary of the Pueblo Revolt in 1680. To observe Pueblo Independence Day 2020, New Mexico Historic Sites, particularly the Jemez, Coronado and Los Luceros sites are joining together to create a program of related video content.
Part of this program includes a video talk given by Matthew Barbour highlighting the religious and political context that led up to the revolt.
1940 Harley-Davidson owned by Francis H. Harlow (22 January 1928 – 1 July 2016)( The Library of Congress’s listing on Francis H Harlow.) , an American theoretical physicist and researcher at Los Alamos National Laboratory, Los Alamos, New Mexico. Harlow was also a noted expert on Pueblo pottery of the Southwest, publishing in this field as well as in physics. In fact, Harlow traded one of his favorite Pueblo pottery jars for this 1940 Harley Davidson and was known to ride it to nearby Pueblos in search of pottery. He donated his extensive collection of Pueblo pottery to the Museum of Indian Arts and Culture several years before his death. In 2016, Harlow’s autobiography was published in the collection Adventures in Physics and Pueblo Pottery: Memoirs of a Los Alamos Scientist.
The Stonewall riots began in Greenwich Village after 1 am on June 28, 1969, and they continued with varied levels of intensity through July 3rd. For those who witnessed or heard about the events, the rebellion sparked a sense of urgency for change. Stonewall’s aftermath inspired new organizations and new tactics, in New York City and across the country.
This pressing desire for action resonated in New Mexico too; organizers in Albuquerque attempted to form a chapter of the Gay Liberation Front at UNM in 1970. By 1975, activist energy in Albuquerque coalesced around two organizations, a local group called Juniper and the Metropolitan Community Church, both of which focused on community, support, and self-acceptance in the face of mainstream prejudice. In 1976, these organizations co-hosted the first Pride march in Albuquerque with about 25 participants, no permit, and no media attention.
100+ marchers from the MCC, the Gay Co-op, and Lambdas de Santa Fe again celebrated “Christopher Street Resistance” in Albuquerque in 1977, chanting “Out of the closets, into the streets.” The featured speaker that year was Mattachine Society founder (and New Mexico resident) Harry Hay, who called for a “coalition among all scapegoat minorities—Indians, Chicanos, Blacks, women in the women’s movement, and gays.” The marchers’ cars were egged, they were booed and heckled (but also cheered), and a local church passed out “Gay No More” pamphlets. Undaunted, one woman told a reporter for the alternative newspaper Seers Rio Grande Weekly that “The homophobes and hatemongers will just have to look out ‘cause we’re coming out and we’re not going back.”
By 1981, when this Lesbian & Gay Pride Week program was created, Pride was organized by the Gay Co-op. Around that time, 1980 or 1981, one woman marched with a paper bag over her head, a compromise since she wanted to be a part of the public demonstration but was worried that being out could cause her to lose her job or her son.
These early parades might have been the first time that Albuquerque locals could see how many gay people, often talked about in the abstract or singly, were members of the community: neighbors, friends, family, coworkers, and teachers. But, it is important to note, these celebrations and demonstrations weren’t for the straights, they were for the gay community and for liberation.
Albuquerque Pride gave us permission to post their copy of this 1981 program, signed by the artist, Ray Sandoval.
Joining our friends group, the Palace Guard, carries perks. Among them: a series of field trips, including a September visit to an unknown gem of Santa Fe.
Jack Lemon (at left) founded Landfall Press in Chicago in 1970. Eleven years ago, he moved the operation here, carrying a legacy of working with international artists and fine stone lithography.
To better understand the role that lithographic images played in forming people’s opinions of the Civil War, Palace Press Director Tom Leech arranged a special tour and a demonstration on Landfall’s mammoth Marinoni Voirin press. (See a cool video here.)
With Meredith Davidson and Daniel Kosharek, Leech co-curated our exhibit, Fading Memories: Echoes of the Civil War. His portion explores how mass distribution of lithographic images shaped the opinions of a largely illiterate public. Pointing to Landfall’s precious stone bearing an image of Frederick Douglass, Leech noted that it was made by Louis Kurz of the Kurz and Allison publishing team.
“In our exhibit, The Fort Pillow Massacre is one outstanding example of their work,” he said. “These prints were sold to survivors and families as memorial pieces that glorified the war. Somewhere along the line, Kurz’s conscience got to him, and he included black soldiers in a way that was very honorable.”