Who has the nation’s No. 1 Western museum? We do, we do!

Posted on July 24, 2014 by admin

Now landing in subscribers’ mailboxes, the September 2014 issue of True West magazine names the New Mexico History Museum as the nation’s best Western museum, “in recognition of their superior exhibitions and ability to reach all generations through their creativity in interpreting the West while fulfilling their institution’s mission.”

The honor follows the announcement that the museum won a national Award of Merit for Leadership in History from the American Association of State and Local History for its 2013–14 exhibit, Cowboys Real and Imagined.

“New Mexico History Museum’s dedication to excellence, and their mission of preserving and interpreting our great Western history for all generations, is inspiring,” said True West Executive Editor Bob Boze Bell. “They keep the Old West alive.”

Other honorees include the Buffalo Soldiers Museum in Houston, Boot Hill Museum in Dodge City, Kan., and the Autry National Center of the American West in Los Angeles. In a media release announcing the honor, the magazine noted the History Museum’s “extraordinary, award-winning exhibitions, such as Cowboys Real and Imagined, but [also] cutting-edge, creative exhibits like Toys and Games: A New Mexico Childhood [and] the long-term exhibit Telling New Mexico: Stories from Then and Now.” The magazine article lauds the cowboy exhibit for its state-of-the-art quality and robust programming. “Best of all, the exhibit made cowboys—and history—interesting to today’s youth.”

“This is a fantastic recognition of the team at the N.M. History Museum and their hard work in preserving and interpreting our state’s unique heritage,” said Interim Director Jon Hunner. “From cowboys to Spanish colonial devotional art and from pinhole photography to the Native American Artisans Program under the Palace Portal, this museum takes joy in presenting exhibits and programs about New Mexico and the true west.”

Upon its opening in May 2009, the museum was named “one to watch” by the magazine. In this, its fifth-anniversary year, the museum has two major exhibits featuring treasures from its collections: Painting the Divine: Images of Mary in the New World and Poetics of Light: Pinhole Photography.

Spur Award-winning writer Johnny D. Boggs selected the winners for True West’s annual award based on his extensive travels, research and firsthand experiences in visiting dozens of Western museums each year. True West magazine is in its 61st year of leading the way in presenting the true stories of Old West adventure, history, culture and preservation. For subscriptions and more information, visit http://www.twmag.com or call 888-687-1881.

Go Ask Alice

Posted on June 27, 2014 by admin

On Wednesday, June 25, the History Museum happily welcomed the Alzheimer’s Poetry Project and 29 participants for a 90-minute workshop that was, in a word, wonderful. Or perhaps it was frabjous, an appropriate word given the Lewis Carroll overtone the day took on.

Gary Glazner (at left), a Brooklyn-based poet with strong New Mexico ranching roots, directs the project, which helps people with memory illnesses, their caregivers and family members find a moment of respite through the literary arts. He’s brought the project to the museum before, but this was the first time he had the psychedelic images and cameras of Poetics of Light: Pinhole Photography to work with.

Joined by Palace Press Director Tom Leech, Glazner began in the museum’s main lobby, leading participants through a museum-ish poem, calling out a line then encouraging them to repeat it. Then repeating it again. Then adding a rhythm section. Then encouraging a hip bump. Then a dance move. And laughter all the way.

The poem, “The Museum Heart,” is by Alberto Ríos, and it begins like this:

We, each of us, keep what we remember in our hearts.

We, all of us, keep what we remember in museums.

In this way, museums beat inside us. …

Then the group moved upstairs to the Poetics of Light exhibit. After a few exercises in the exhibit, participants gathered around Bethany de Forest’s Rosetvliders, an imagined landscape of impossible flowers and lighter-than-air butterflies:

Glazner asked folk what the painting looked like, felt like, smelled like, sounded like. A cacophany of answers followed. Honey. Oranges. Morning rain. Bzzzzz-bzzzzz-bzzzzz. One woman spied a rabbit and hopped up, scrambling around the group in imitation of a bunny. Another flapped her arms as elegantly as a ballet dancer. Alice in Wonderland came to one man’s mind.

Finally, Chimayo poet Michelle Holland, who had kept careful track of the answers, turned them into a call-and-repeat poem that ended with a lengthy (if slightly amateur) version of Handel’s “Hallelujah Chorus.” Here it is:

Go Ask Alice

Moving clouds

and sunshine

and joy

and a rabbit eating it, a rabbit running.

The colors make it real, like Alice in Wonderland –

go ask Alice, go ask Alice, go ask Alice B. Toklas,

“What does one pill make you?”

Where the flowers taste like cotton candy, oranges, and honey in a magical museum.

Where the flowers smell like whoa…! and rain and wet green morning and leaves,

and leaves wet as the rain clouds.

Hear a slight rustle, laughter, busy like bees. Bzzzz. Bzzzz. Whoosh. Whoosh. Flap. Flap. Bzzzz. Whoosh. Flap. Flap.

Feels warm, soft, and floaty.

Feels cushy. Shout, “Cushy!”

There’s no sense. There’s only nonsense.

Nonsense!

Whirling dervishes – a living community —

We could go forever and ever in them. Amen. Forever and ever. Forever. Halleluiah!

Later in the week, Glazner gathered with staffers and others involved in the arts as well as aging issues to plan a Dementia Arts Conference for Oct. 25 at the museum. (Stay tuned for frabjous details.) In the meantime, consider the woman who brought her father to the event and left beaming at the joy she had witnessed. “It was just wonderful,” she sighed, although, her father added, “It would help to have a fiddle.” To which we say: Callooh! Callay!

Yee-Haw! History Museum Wins National Award for Cowboys Real and Imagined

Posted on June 19, 2014 by admin

The American Association for State and Local History will bestow an Award of Merit for Leadership in History on the New Mexico History Museum in honor of the excellence achieved by Cowboys Real and Imagined. The award recognizes the 2013-2014 exhibition, its public programs, and the publication of Jack Thorp’s Songs of the Cowboys by the Press at the Palace of the Governors.

“The staff of the museum brought intelligence, inventiveness and a lot of hard work to Cowboys,” said interim Director Jon Hunner. “This award is shared by the entire staff, our generous donors and the many visitors who enjoyed our hospitality—especially the ones who `cowboyed up’ and practiced roping a dummy calf.”

From April 14, 2013, through March 16 of this year, Cowboys Real and Imagined was a major exhibition that traced the cowboy’s roots in Spanish New Mexico and carried his (and her!) story through modern-day rodeos, movies, singers and ranch hands struggling through climate change. Programming was funded by the New Mexico Humanities Council, which shares in the AASLH award. Special programming events included classic cowboy movie nights; panel discussions and presentations that focused on gay cowboys, Hispanic cowboys, Jewish cowboys, and African American cowboys; musical performances; and a Wild West Weekend with re-enactors and demonstrators.

Jack Thorp’s Songs of the Cowboys represents the first fine-press printing of the classic book, which was born in New Mexico and, in a way, gave birth to country-western music. Tom Leech, director of the Palace Press, and Arlyn Nathan, a book designer and typography instructor at the Santa Fe University of Art and Design, also won the esteemed Carl Hertzog Award from the University of Texas at El Paso for the caliber of the book’s production.

Throughout its run, Cowboys Real and Imagined drew a steady stream of visitors and was so admired that portions of the exhibit live on. Cowboys: The Real Deal opens June 26 at the New Mexico Farm and Ranch Heritage Museum in Las Cruces. The exhibit helped the museum earn a 2013 “Cowboy Keepers Award” from the National Day of the Cowboy.

The AASLH Leadership in History Awards, now in their 69^th year, are the most prestigious recognition for achievement in the preservation and interpretation of state and local history. In a media release, AASLH said it is conferring 77 national awards honoring people, projects, exhibits, books and organizations. The winners represent the best in the field and provide leadership for the future of state and local history. The awards will be presented during the 2014 AASLH Annual Meeting in St. Paul, Minn., on Sept. 19.

The AASLH awards program was initiated in 1945 to establish and encourage standards of excellence in the collection, preservation, and interpretation of state and local history throughout the United States. For more information about the awards, contact AASLH at 615-320-3203, or go to www.aaslh.org.

The American Association for State and Local History is a not-for-profit professional organization of individuals and institutions working to preserve and promote history. From its headquarters in Nashville, AASLH provides leadership, service, and support for its members who preserve and interpret state and local history in order to make the past more meaningful in American society. AASLH publishes books, technical publications, a quarterly magazine, and monthly newsletter. The association also sponsors regional and national training workshops and an annual meeting.

Image above: Unidentified cowboy on bucking horse, ca. 1922-1934. Tex Austin Collection. Palace of the Governors Photo Archives 200061.

Orphans in the Archives

Posted on May 16, 2014 by admin

With something like 1 million images in its files, boxes, drawers and stacks, the Palace of the Governors Photo Archives has a tough time keeping up with knowing what’s what. Often, we rely on volunteers to help us identify who’s who, which mountain is which or whose hand opened the shutter in photos that arrive with little documentation. Sometimes, our Facebook fans help out.

Lacking such knowledge, the images are known are “orphans.” Tonight, the Matthews Gallery on Canyon Road opens a new exhibit, Familiar Strangers: Vernacular Photography (through May 23), dedicated to celebrating unknown photographers whose works are as haunting as those from “celebrity” shooters.

“Provenance is so important when it comes to our historic work, but brilliant art doesn’t have to have a famous name on it,” says gallery owner Lawrence Matthews. “Familiar Strangers is a tribute to amateur artists who never got—or perhaps even sought—the recognition they deserved.”

In advance of the opening, the gallery interviewed Hannah Abelbeck, the Photo Archives’ digitization specialist. Part of her job involves the hunt and discovery of unknown talents. Here’s a little excerpt:

We have a set of collections that exist in this limbo land between the old cataloguing system and the new cataloguing system. We might know something about them, or they might just be a box of photographs sitting on a shelf. This box says “Forrest Fenn“, so he probably donated them. Some have a photographer’s name on the back and some don’t. The stack of files is catalogued by location or subject— “New Mexico Towns” or “Portraits”.

There’s more; it’s a great interview. Give it a read here.

Learn more about the exhibit here.

Pinhole Photographers, Unite!

Posted on April 30, 2014 by admin

When we decided to showcase some of the images and cameras in the museum’s Pinhole Resource Collection, we knew that thousands of visitors would become enchanted. Little did we know how the photographers themselves would react.

When Poetics of Light: Pinhole Photography opened April 27, 30 photographers from around the world arrived in Santa Fe, eager to see their work included in the exhibition. And, it turns out, eager to meet one another. They met the evening before at a private reception generously hosted by Verve Gallery. And by the time the opening rolled around, their camaraderie had an old school reunion feeling to it.

Some of them purchased copies of the Museum of New Mexico Press book, Poetics of Light: Contemporary Pinhole Photography, then passed them around for signing almost as though they were yearbooks. Here’s astrophysicist Ed Fenimore signing someone’s copy:

And here’s some of the gang gathered in the museum lobby after shooting a group photograph (yeah, they took lots of photographs) in the Palace Courtyard:

Guest curators Eric Renner and Nancy Spencer founded the Pinhole Resource in San Lorenzo, NM, and donated its 6,000 photos to the Palace of the Governors Photo Archives in 2012. Upstairs, in the exhibit area, Renner (at right) greeted old friends and photographers:

And out in the Palace Courtyard, photographer Donald Lawrence sat on a chair surrounded by photo-developing chemicals, carefully working on a new negative the traditional way:

“I always thought of myself as a loner,” said Lawrence, who lives in Camloops, British Columbia, and whose underwater kayak camera is on display in the exhibit. “Being here shows me that I’m really part of a community.”

We’re especially grateful to all the other folks who showed up on Sunday, yet another part of our community, people who are just learning that they may want to be part of that Pinhole Photography Fraternity, too.

Poetics of Light: Pinhole Photography is on display at the New Mexico History Museum through January 10, 2016, so there’s plenty of time to come and …. check out how a pinhole camera works:

…test a simple camera obscura device:

…and learn how camera obscuras work:

Why Did the Harley Cross the Road…?

Posted on March 31, 2014 by admin

…to get to the other museum.

Today, the New Mexico Museum of Art transferred ownership of its 1940 Harley-Davidson WLD Extra High Compression 45 Special Sport Solo to the New Mexico History Museum. Longtime visitors to MOA will remember the bike on display for years, a thing of beauty and exemplar of New Mexico’s open roads. But our sister museum needed space in its collections vault, and we saw a way to blend it with the “My New Mexico” theme in our main exhibition, Telling New Mexico: Stories from Then and Now.

Eventually, it will join a broken-in-two car that juts from two walls in a lower-level theater. Short documentaries that rotate in the theater include one on Route 66, a road seemingly made for an open-throated, two-wheeled beast of a bike.

First, though, we had to get the Harley from their vault to our vault. That posed a number of problems. The engine hasn’t been started in years, so you can’t just fire it up and drive it over. The MOA folks could have loaded it onto a truck, but its bed didn’t reach our loading dock, where its delivery would have been nice, neat and behind-the-scenes. Instead, we went old-school: Their collections staff wheeled it across the street, in through our front doors, down two hallways, into a freight elevator, down another hallway and, finally, into our collections vault.

The original owner of the Harley is believed to be Chris Elliott Davis of Winston Salem, NC, who sold it in 1980 to Francis Harlow. “Frank” is a Los Alamos physicist, an artist, and a noted Native pottery collector and researcher. He specialized in studying the evolution of historical Pueblo pottery and wrote or co-wrote five books about it, including The Pottery of Zia Pueblo (2003), Historic Pottery of the Pueblo Indians, 1600-1880 (1990); and The Pottery of Santa Ana Pueblo (2005).

He moved to Los Alamos to work at the lab in the 1950s, when it was still a closed city. Maybe that explains part of the appeal of the bike. According to the booklet, Harlow, written by Jeanne Hassenzahl in 1975, Harlow wanted “a big, powerful, throaty sounding machine that really rumbled and sounded great.” In 2001, he donated it to the Museum of Art. It first delighted visitors in the 2001-02 exhibition Tourist Icons, Native American Kitsch, Camp and Fine Art at yet another one of our sister museums, the Museum of Indian Arts & Culture. It went on exhibit at MOA in 2006.

For those who salivate for such details, here goes: The bike has a 3-speed transmission and a 45 cubic-inch flathead engine with aluminum heads. Its color is “clipper blue” with white striping. Customized elements include black leather saddle bags, black saddle and light bar. Enjoy the views:

Pinhole Photo Meets Poet Laureate

Posted on March 28, 2014 by admin

Opening April 27, the exhibit Poetics of Light: Pinhole Photography took its name from the way light becomes an object of play when set between an object and a pinhole camera. The photos produced take what we think we know of the world and turn it upside-down, backward and more.

It seemed only natural to reach out to Santa Fe Poet Laureate Jon Davis to help us with events during the exhibition’s run. He agreed (see list of events at bottom), but went one better. Using Gregg D. Kemp‘s pinhole photograph, Jane Always Dreaded Flying Home, as his inspiration, Davis wrote a poem that the Palace Press is turning into a broadside.

Director Tom Leech decided to try a new technique, having Kemp’s photograph digitally printed on the paper, then applying Davis’ poem via traditional letterpress. “I’ve never seen this done before,” he said.

Here’s Leech feeding it into the press to apply the poem’s headline:

Studying the typography:

And holding the almost-finished product:

The broadside will be released on the exhibition’s opening day. Copies will sell for around $75.

For Leech, the project held a coincidental quirk: In 1974, he and Kemp owned Virginia Woodworks in Colorado Springs, where they made Appalachian dulcimers. The business didn’t last, but this photography (fittingly, a pinhole image) of the two of them way-back-when survived:

Poetics of Light: Pinhole Photography events with Santa Fe Poet Laureate Jon Davis:

Friday, May 30, 6 pm, “Santa Fe Poets 5,” the fifth of six group poetry readings Davis is organizing as part of his tenure. Joining him in the History Museum Auditorium will be Chee Brossy, Joan Logghe, Carol Moldaw, Henry Shukman, and Farren Stanley. Free.

Sunday, June 1, 1 – 4 pm, “The Poetry of Light,” a writing workshop building on inspiration from Poetics of Light images. Open to high schoolers and older, the event is free, but reservations are recommended. Call 476-5096.

Volunteers: The Hands that Make Us Stronger

Posted on March 10, 2014 by admin

They led visitors on tours. They scanned WPA oral histories. They shelved books. They catalogued rare photographic collections. They gussied up our filing system. They served cookies.

All in all, volunteers to the New Mexico History Museum and Palace of the Governors in 2013 donated something like 5,300 hours of intelligence and hard work that helped make our institution stronger. For two comparisons:

A full-time employee puts in 1,920 regular hours a year. And, by rough estimate, the Independent Sector values those 5,300 hours of volunteer labor at $117,342.

Behind the numbers is something far more important: The names and faces, heads and hearts of people who brought us their best. That includes the museum guides who led 693 tours for 198 children and 5,634 adults. Library volunteers put in 973 hours, and Photo Archives volunteers logged another 900 hours.

Continue reading →

Donald Woodman Photographs Celebrate New Mexico

Posted on March 4, 2014 by admin

Beginning with his early years working as a research photographer at the Sacramento Peak Solar Observatory in southern New Mexico, photographer Donald Woodman honed a photographic vision first through stars and clouds and then through sandy soil, majestic peaks and his own interior life. You can experience that journey in Donald Woodman: Transformed by New Mexico, in the Mezzanine gallery through Oct. 12.

The exhibit represents the first of a yearlong series of events celebrating all the museum has accomplished since opening in 2009. In 2011, Woodman was the first person to donate his photographs and materials to the Photo Legacy Project at the Palace of the Governors Photo Archives. Since then, numerous other contemporary photographers have added their archives, including Jack Parsons, Sam Adams, Herbert A. Lotz, and more.

Curated by Mary Anne Redding,photography chair at the Santa Fe University of Art and Design, Transformed by new Mexico includes more than a dozen examples of the Belen-based photographer’s work from the early 1970s to 1998. Among the images are ones taken at the Sacramento Peak Solar Observatory in Sunspot, NM, and intimate selections from his Therapist Series. Each one invites you to look deeply at the tones, forms and shapes; to begin to understand the relationship Woodman has with his cameras, his world, and himself as he moves quietly from behind the lens to placing himself in its focus.

“In many ways,” Redding said, “Donald Woodman is one of the stereotypical free spirits who arrived in New Mexico in a VW van in the early 1970s, searching for a new life unfettered by the conservative conventions and stodginess of the East Coast, to experiment with new-found freedoms involving hallucinatory drugs and liberated sexual exploration. And yet, Woodman’s long personal aesthetic trajectory, which continues today, is uniquely his own.”

After his initial New Mexico work at Sunspot, Woodman became a personal assistant to legendary painter Agnes Martin in Galisteo. In 1985 he married artist Judy Chicago, whose paintings will be at the New Mexico Museum of Art in Local Color: Judy Chicago in New Mexico 1984-2014, opening June 6.

Images above, from top: Sand Dune with Bush — White Sands, NM, ca. 1972. Silver gelatin print, 9×12 in. Waning Moon, ca. 1970s. Archival pigment print, 5×5 in. Two Boys in a Doorway, ca. 1970. Archival pigment print, 25×20 in. All photos by Donald Woodman. Palace of the Governors Photo Archives, Photo Legacy Project.

Crazy ’bout a Sharp-Dressed Man

Posted on February 26, 2014 by admin

Pinhole photography, at its heart, combines the most low-tech materials with the highest ideals of art. Nowhere can that be better seen than in Ben Conrad’s pinhole suit.

Lately, the only place to see it has been the Conservation Lab behind the museum’s administrative offices. There, Casey Mallinckrodt, an intern for the Conservation Department of the Museum of New Mexico, has painstakingly repaired cameras that consist of little more than cardboard, duct tape, electrician’s tape and glue. In 1994, Conrad used Velcro to affix 125 of the rickety cameras to a pair of Big Ben coveralls and a motorcycle helmet. Working with assistants in a darkroom, he loaded the cameras with film. His helpers covered him with a tarp and ferried him outside, where they lifted the tarp to expose the film. Quickly covering him again, they returned to the darkroom to develop the multi-eyed vision of his surroundings.

As Conrad explained the purpose in 1995: “The pinhole suit is an experiment to see what it would look like if the pores of the human skin were camera apertures. … (I) want to photograph on locations in public areas that are under surveillance, such as banks, airports, parks and grocery stores. With the pinhole suit I’m exposing myself and exposing the film. Where the 35mm is a spectator, the pinhole suit is both spectator and spectacle.”

Caroline Lajoie, designer of the exhibition, Poetics of Light: Pinhole Photography, opening April 27, has devised a way to display the suit on a mannequin surrounded by the images it took.

As basic as Conrad’s materials may have been, nothing goes on exhibit without conservators taking a serious look at them. Mallinckrodt did just that, even subjecting various parts of the suit to spectral examination, solubility tests, and Fourier-Transform Infrared Spectroscopy. Knowing the suit’s roots, her report almost reads scientifically tongue-in-cheek: “The motorcycle helmet is structurally sound. … There are areas of fine cracking in the outer layer of plastic that may be the result of impact or deterioration of the material, but these cracks do not impair use in this assembly.”

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