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EL PAL VOGEL COLLECTION copy

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EL PAL VOGEL COLLECTION copy

  1. 1. RECENT ACQUISITIONS New Mexico Museum of Art The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States T he New Mexico Museum of Art has been selected to receive a gift of fifty works of art from New York collectors Dorothy and Herbert Vogel, with the help of the National Gallery of Art, the National Endowment for the Arts (NEA), and the Institute of Museum and Library Services (IMLS). The art is part of a national gifts pro- gram titled The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States. The program will distribute 2,500 works from the Vogel Collection of contemporary art throughout the nation, with fifty works going to select- ed art institutions in each of the fifty states. Among those whose work will be at the museum in Santa Fe are Neil Jenny, Katherine Porter, Lucio Pozzi, and Richard Tuttle. The best-known aspects of the Vogel Collection are minimal and conceptual art, but these donations also explore numerous directions of the post-minimalist period, including works of a figurative and expressionist nature. Primarily a collection of drawings, the 2,500 works the Vogels are donating also gather paintings, sculptures, photographs, and prints by more than 170 contemporary artists working mainly in the United States. Gifts to the first ten institutions were announced in the spring of 2008. The IMLS is providing funds for the disbursal of the art to the fifty institutions and for the development of a Web site to serve as an information center and exhibition area for this project. A book titled The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, published with funds from the NEA, was released in November 2008. Works from the Vogels’ collection have appeared in numerous exhibitions around the world, including two major exhibitions organized by the National Gallery that were selected solely from the couple’s collection. In 1994, From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection was on view at the National Gallery of Art in 1994 and at the Archer M. Huntington Art Gallery in Austin and the Portland Art Museum in Oregon in 1997. In 1998, the exhibition traveled abroad to the Tel Aviv Museum of Art, Israel, and the Wäinö Aaltonen Museum of Art, Turku, Finland. Following its 2002 presentation in Washington, Christo and Jeanne-Claude in the Vogel Collection was on view at the Museum of Contemporary Art, San Diego. The New Mexico Museum of Art plans its exhibition in 2010. ■ Katherine Porter, American, 1941–, Untitled, 1974, graphite, colored pencil, and glue, with incised and scraped lines, on paperboard, 12 x 18 in. New Mexico Museum of Art (MNM/DCA), The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support of the National Endowment for the Arts and the Institute of Museum and Library Services. Photograph by Lyle Peterzell.
  2. 2. 66 E l P a l a c i o Earth Now Exhibition Debuts Online BY STEVE CANTRELL ONEXHIBIT sublime and beautiful images to be used to sup- port a nascent environmental movement in this country. Today’s artists are sounding the twenty- first-century alarm, and some of their images are shocking. Responding to this urgent, compelling photo- graphic summons, exhibition curator Katherine Ware and the team involved in planning Earth Now utilized current internet technologies collectively known as social media. These tech- nologies can capture the passions surrounding debates about the environment, enabling and encouraging an ongoing dialogue involving the curator, artists, environmentalists, and those visit- ing the exhibition site. This interaction extends to sharing information between visitors and upload- E arth Now: American Photographers and the Environment breaks new ground for the New Mexico Museum of Art. The exhibition opens in the museum on April 8, 2011, but unlike any other exhibition in the museum’s history, Earth Now debuted on the Internet, going live in November, 2010. It can be visited now at earthnow.nmart- museum.org. Earth Now offers both a historical survey and a contem- porary view of how artists working in photography have addressed our relationship to the environment. Using beauty, humor, and horror to engage attention, these photographers provoke questions about the legacies of industry, construction, consumption, and waste disposal, while pointing in new directions such as local farming, new energy source technologies, green roofs, and a renewed connection with the landscapes we inhabit. The photographs in this exhibition are a call to action— some to a greater degree than others. Ansel Adams’s inspir- ing mountain majesties are in sharp contrast to the harsh environmental realities portrayed by photographers work- ing today, such as Subhankar Banerjee, Daniel Handal, and Brad Temkin. Adams and another classic landscape photographer in the exhibition, Eliot Porter, allowed their ABOVE: Eliot Porter, Green Reflections in Stream, Moqui Creek, Glen Canyon, Utah, September 2, 1962. Dye transfer print, 10 ½ x 8 ¼ in. Collection of the New Mexico Museum of Art, Gift of the Eliot Porter Estate, 1993. ©1990 Amon Carter Museum of American Art, Fort Worth, Texas. BELOW: Bill Owens, Monument Valley, Utah/Arizona, 2004. Pigment print, 16 x 20 in. Courtesy of the artist. ©Bill Owens.
  3. 3. E l P a l a c i o 67 ing onto the site videos and podcasts. The site includes artist statements and interviews, and links to important online sources of environmental infor- mation. With all of these elements, Earth Now online can be more than a static exhibition; it becomes a forum. This vibrant site allows a community to develop around Earth Now, and over the life of the museum exhibition and beyond, the online exhibi- tion will expand in directions dictated by the public’s interest and interaction with the site. The Earth Now online exhibition is its own living and breathing environment—albeit virtual. New Mexico Museum of Art director Mary Kershaw says, “Using these Internet technologies allows us to engage a global audience in ways we cannot do inside four walls in Santa Fe. Using the power of the Internet, this online exhibition is an important source of information about the current state of the environ- ment; it provides resources for addressing pressing issues and reminds us that the concerns in one community are in fact shared globally. At the same time the exhibition features work by some of photography’s greatest practitioners and those just now making their mark.” ONEXHIBIT Earth Now online, a social media experiment funded by Annenberg Foundation vice president and director Charles Annenberg Weingarten, is a dynamic exhibition, anticipating and augmenting the museum run of Earth Now. ■ Steve Cantrell is the public relations manager for the Center for Museum Resources. Weekends often find him in Abiquiu, where he is part owner of the gift shop Girasol and the Frosty Cow ice cream stand. ABOVE: Earth Now web site home page concept. BELOW RIGHT: Greg Mac Gregor, Fuel Tanks, 2006. Pigment print, 17 x 22 in. Courtesy of the artist. ©Greg Mac Gregor. The site includes interviews with curator Kate Ware, environmental activist Jack Loeffler, and Earth Now photographers. Kate Ware Jack Loeffler Subhankar Banerjee Sharon Stewart Bremner Benedict Carlan Tapp
  4. 4. 22 E l P a l a c i o El Palacio celebrates the state’s centennial by putting the first ten years of the magazine online, offering a window onto the state’s first decade. A vision of most magazine publishers, including that of El Palacio’s, is to see their publications live on in our digital age. The New Mexico State Library’s State Document Program shared this goal for El Palacio because of its historical content, focus on New Mexico, and compatibility with the library’s mission of increasing access to state publications. The New Mexico Museum of Art had scanned many volumes and was able to fill in gaps in the State Library’s collection. And thus a partnership was born. Putting nearly a century’s worth of a publication online presented many challenges. The editorial side of the magazine had to consider culturally sensitive content, knowing that increased access via the Internet enhances the possibility of causing offense or misuse. Regular contributor and consultant Susanne Caro wrote recently about the difficulties of navigat- ing our responsibilities to cultural sensibilities, cultural trea- sures, and the law (“Going Digital: A Newish Look for Old El Palacios,” El Palacio 115 [4], winter 2010). While El Palacio currently does not publish photographs of excavated burials or sacred artifacts out of respect for Native culture and beliefs, such information does appear in the digital version because the magazine is both a record of this state’s patrimony and an official state document that under New Mexico’s Inspection of Public Records Act (NMSA 1978, 14-2) cannot be altered. On the other hand, we are required to redact from the digital version detailed information on archaeological site locations in New Mexico in accordance with the New Mexico Cultural Properties Act (NMSA 1978, 18-6-1). El Palacio began as a broadsheet in November 1913 and evolved over the decades into a magazine. In its early years, El Palacio printed articles on architecture by Carlos Vierra, find- ings from archaeological excavations by A. V. Kidder, poetry by Alice Corbin Henderson, memorials to New Mexico soldiers lost in WWI, art criticism by Marsden Hartley, and early pho- tographs of Poh-We-Ka (Little Blue Corn Flower), later known as the famous potter Maria Martinez. Over the first decade (and beyond), El Palacio occasionally reflected on archaeology El Palacio Online Explore the first ten years of El Palacio, from 1913-1923, on the Web at: archives.elpalacio.org. The entire 100-year archive will go online in 2013. Excerpts from recent issues and web-only content is online at elpalacio.org. Look for El Palacio on Facebook and find exclusive content, news updates, behind-the-scenes reports, and snippets from print articles that wound up on the editing-room floor. El Palacio’s First Decade Goes Online BY STEVE CANTRELL AND CYNTHIA BAUGHMAN FROM THE ARCHIVES worldwide, though it concentrated then as now on “the art, history and culture of the Southwest.” A representative issue is Volume 8, Numbers 7–8, that was published in July 1920 and contained “The Crooked Fir,” a story by Mary Austin; a finan- cial statement showing how the School of American Research and Museum of New Mexico spent $43,078.40 to complete a museum building, pay salaries, cover maintenance, and more; and a lengthy report from Director Edgar Lee Hewett covering the previous year’s successes and plans for the coming year. The old El Palacios are in themselves their own archaeo- logical site. Digging through the volumes online will unearth idiosyncratic social mores, dated cultural norms, and quaint customs. Significant art criticism nestles alongside social news and gossip, as in this news bit first reported in the Santa Fe New Mexican: “Gustave Baumann of the art colony had another runaway with his new Chevrolet. Just after the DeVargas pro- cession had returned to the Cathedral from Rosario Cemetery, he turned down San Francisco Street and lost control of the car at the southeast corner of the Plaza. The Chevrolet jumped the curb and dashed into a tree scattering in flight quite a number of people who were sitting or standing in that part of the Plaza. Fortunately no one was injured” (El Palacio 8 [7-8], July 1920). That volume also included a letter from Dr. E. B. Bernard of the University of Denver, spending his vacation in upstate New York. El Palacio, he reported, “proved to be a delightful vacation reading in the shade of an eastern orchard although it made me long for the great Southwest which I have loved since I first saw it.” The balance of El Palacio’s hundred-year archive will become available online in our centennial year, 2013. In the meantime, we invite you to explore those early issues that Dr. Bernard admired, whether in your favorite reading chair or with a leafy orchard shading your screen. ■ Steve Cantrell is Public Relations Manager for the Department of Cultural Affairs and El Palacio Web Editor. Cynthia Baughman is El Palacio Managing Editor.

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