Tag Archives: New Mexico

Collections Textiles Are Safe at Home

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RollingUp_72-7x5The New Mexico History Museum’s assistant collections manager, Pennie McBride, recently hit a major milestone, successfully rehousing the final object in the History Museum’s clothing, accessories and textile collection. It marked the end of a five-year effort that represented one of the primary reasons we needed to build a 92,000-square-foot museum: We needed a better place to store all our stuff.

McBride saved the biggest for last, pulling in collections and other staffers to help her unfold a 19×27’ 48-star U.S. flag and then carefully, with archival precision, re-roll it onto a custom-ordered 20’ tube. (To find one that large, she had to go to a construction-materials firm and adapt something usually used for creating concrete pillars.)

In 2005, an Institute of Museum and Library Services awarded the museum a $140,000 grant to rehouse the 3,406 items in the textiles collection – a group that ranges from wedding dresses to purses to rugs. The grant lasted until 2009, though work continued into this summer. The grant helped hire a textile conservator and train staff, volunteers and interns how to handle, treat and rehouse the objects.

First, the items had to be moved from the old Armory Building to the Halpin Building and then, in 2009, to the new museum. How big of a job was that? We’re talking along the lines of 296 shoes, 275 hats, 20 parasols, 47 floor coverings, 153 pieces of underwear, 67 fans, 27 art samplers, 32 U.S. flags of various starriness and more.

With the volunteers, McBride created padded hangers, cut and pieced together boxes, built mounts for hats and fans, stuffed shoes and boots, and entered every item’s details into a new database—all of it a build-up to one giant flag.

“Everything went according to plan,” McBride said. “We could have opened that flag and found an infestation or a tear, but it went very smoothly.”

Next up: Photographing all 3,406 pieces. But first, a moment of relief.

“It’s a good feeling,” McBride said. “With 10 volunteers, interns and a textiles conservator, it was a real team. For the last piece to be the largest one in the collection, that was great.”

Thus, It Is Written: The Saint Johns Bible Reaches its Final Word

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On Oct. 23, the History Museum opens its doors to an exhibit that celebrates an epic achievement in the book arts. Illuminating the Word: The Saint John’s Bible features 44 pages from the first handwritten and illuminated Bible commissioned by a Benedictine monastery.

Detail from Letter to the Seven Churches with the Heavenly Choir, Donald Jackson, 2011. The Saint John's Bible, Order of Saint Benedict, Collegeville, Minnesota.

You can find out more about our exhibit here. But for now, we’d like to send out heartiest congratulations to Saint John’s Abbey and University in Collegeville, Minn., along with Donald Jackson and his team of scribes and calligraphers. On Thursday, the abbey announced that 15 years of transatlantic work had been completed, with the word “Amen” having been written on the final page of the seventh and final volume of the Bible, Letters and Revelation.

(That volume goes on exhibit today through Nov. 13 at the Minneapolis Institute of Arts.)

From the official press release:

“Today we celebrate the culmination of a fifteen year commitment to revive a monastic tradition in the modern world and create a work of art that will ignite the spiritual imagination of the world,” said Abbot John Klassen, OSB, Saint John’s Abbey. “We also celebrate the beginning of The Saint John’s Bible’s journey to inspire people from all backgrounds through the many ways they can experience the project, beginning with this exhibition at the Minneapolis Institute of Arts.” …

The Saint John’s Bible is a fifteen year collaboration of scripture scholars and theologians at Saint John’s Abbey and University in Collegeville, Minnesota with a team of artists and calligraphers at the scriptorium in Wales, United Kingdom under the direction of Donald Jackson, one of the world’s foremost calligraphers and Senior Scribe to Her Majesty Queen Elizabeth’s Crown Office at the House of Lords. Written and drawn entirely by hand using quills and paints hand-ground from precious minerals and stones such as lapis lazuli, malachite, silver, and 24-karat gold, The Saint John’s Bible celebrates the tradition of medieval manuscripts while embracing 21st century technology to facilitate the design process and collaboration between Saint John’s in Collegeville and the scriptorium in Wales.

“Now that I have inscribed the final Amen, I realise that over the long years of this task, a boyhood dream, I have gradually absorbed an enduring conviction of the pin-sharp relevance of these ancient Biblical Texts to the past, present and the future of our personal and public life and experience,” said Jackson. “These texts have a life of their own and their life is a mirror of the human spirit and experience.”

The Saint John’s Bible illustrates scripture from a modern perspective, reflecting a multicultural world and humanity’s enormous strides in science, technology and space travel, as well as recent wars and genocide. “Illuminated manuscripts have always marked the time and place in which they were created, and The Saint John’s Bible will reflect our world at the beginning of the twenty-first century for future generations,” said Fr. Robert Koopmann, OSB, President of Saint John’s University. “The illuminations in The Saint John’s Bible provide a new way for people to see and experience scripture, which is a particularly exciting in our increasingly visual culture.”

(BTW: Donald Jackson, at left, will be in the house at the Lensic Peforming Arts Center on Nov. 7 for a 6 pm lecture. Tickets cost  $15. A $50 private reception with Jackson follows. Tickets at www.ticketssantafe.org, or call 505-982-1234.)

With his fellow scribes and illuminators at a to-die-for scriptorium in Wales, Jackson carried out the monks’ request for a monumental Bible. When opened, it will measure 2′ tall by 3′ wide, with its nearly 1,150 pages bound into seven volumes. Saint John’s Abbey and University are dedicated to ecumenism, and the text, translation and imagery in The Saint John’s Bible reflect this commitment. Theologians and scholars at Saint John’s University selected the New Revised Standard Version (NRSV) as the translation for The Saint John’s Bible. Though each letter is rendered by hand, The Saint John’s Bible uses state-of-the-art computer technology to create and manage page layouts as well as employing contemporary scripts and illumination.

Illuminating the Word will share its exhibit space and spirit with Contemplative Landscape, which uses archival and contemporary black-and-white photography to reveal how people have responded to New Mexico’s art, architecture, land and sacred rituals.

 

The Woman Who Helped Make Chile Hip

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Fabiola Cabeza de Baca (far left) with the Sociedad Folklorica in 1945. Courtesy Palace of the Governors Photo Archives.

Tough economic times and persistent droughts were nothing new to Fabiola Cabeza de Baca. The native New Mexican, home economist and author saw them as an opportunity to thrive.

During the Depression, she worked for the New Mexico Agricultural Extension Service, helping Hispanic and Tewa women learn new gardening and poultry-raising techniques, along with how to can vegetables and fruits, use sewing machines, and make simple home repairs. She valued traditional ways and documented the recipes for everyday fare that would one day grace restaurant menus throughout the state.

At 2 pm on Sunday, July 10, you can learn even more about this amazing woman when Dr. Tey Diana Rebolledo, regents professor at the University of New Mexico,  speaks on her life and legacy.  “Fabiola Cabeza de Baca and the Good life,” in the History Museum Auditorium, is free with admission; Sundays are free to NM residents.

The State Historian’s excellent web site has a comprehensive article on Cabeza de Baca, who’s also featured in the History Museum’s new exhibit, Home Lands: How Women Made the West. What follows is but a brief glimpse — an appetizer, if you will, to Dr. Rebolledo’s lecture.

Born in 1894 in Las Vegas, NM, she could trace her ancestry to Alvar Nuñez Cabeza de Vaca, a 1530s Spanish explorer. She grew up on her family’s ranch, but was schooled by the Sisters of Loretto and in Spain.

Fabiola in front of New Mexican schoolhouse

In 1916, she took her first job as a school teacher in a one-room school in rural Guadalupe County six miles from the family ranch but a day’s ride from the closest town. During her teaching career, she was introduced to a new field of study called Home Economics. She quickly became hooked and was eventually hired by the Extension Service at the start of the Great Depression.

At the time, none of the other extension agents spoke Spanish, even though more than half of the state’s resident spoke no English. Not only did Cabeza de Baca speak Spanish, but she learned enough Tewa to work with Pueblo women as well. Focusing at first in Rio Arriba and Santa Fe counties, she traveled among towns from dawn until midnight. “Some of our counties are larger in area than many of our eastern states,” she once said. “We say so many miles to a person rather than persons to a mile.”

In the 1940s, Cabeza de Baca began writing – Extension Service bulletins, including “Noche Buena,” documenting traditional cultural practices; The Good Life: New Mexico Traditions and Foods, a fictional account of a family that included recipes of their favorites foods; and We Fed Them Cactus, which told of her family’s four generations on the Llano Estacado, blending nostalgia with a critical view of how progress was affecting Southwestern Hispanics.

In the 1950s, Cabeza de Baca’s extension work went global when, with the United Nations, she began developing home economics programs in Mexico and, later, consulted for the Peace Corps.  She was an active member of La Sociedad Folklorica of Santa Fe, an organization that to this day is dedicated to preserving Spanish culture. Cabeza de Baca died in 1991, and is still fondly remembered by those who were lucky enough to know her when.

History in the Faking

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Here’s a tale of how the development of the upcoming Home Lands: How Women Made the West exhibit is mimicking history–in particular, an archival image taken by Russell Lee that’s become the cornerstone of our advertising for the exhibit.

First up, the historical image:

Spanish American Woman plastering, Chamisal, New Mexico, photograph by Russell Lee, 1940. Courtesy Library of Congress

Next, the modern-day image:

Plasterer Kathy Brennan checks the finish on her mud wall in the exhibit space for “Home Lands”

 

See the connection?

Exhibition designer Caroline Lajoie wanted visitors to Home Lands (opening June 19, btw) to be greeted by something elemental to the Rio Arriba section of the exhibit. At that heart is the role earth played in how women prevailed over often-daunting conditions. Whether they were using it to form cooking vessels and, eventually, fine-art pottery, or mudding the walls of their homes and churches, or wheeling, dealing and preserving the real estate of northern New Mexico, the dirt beneath of our feet has been a constant thread in the story of New Mexico women.

And now that story is on the wall, too, thanks to plasterer Kathy Brennan.

Brennan used American Clay Earth Plaster to mud the exhibit’s title wall in the style of how women have plastered the walls of adobe buildings for centuries. “It’s a type of veneer plaster,” she said, “that you can transfer to sheetrock.”

Although the precise recipe’s a secret, it includes clay, marble dust and natural pigments “straight out of the earth,” Brennan said.

She also added bits of straw and twigs for that old New Mexico look and used the Russell Lee image as an inspiration, though she didn’t don the overalls and straw hat of the photo’s plasterer.

“When Caroline called me, I thought it was really exciting–how to figure out how to come up with the color she was looking for and so on. I liked it, but it was a bit nerve-wracking at the same time. Still, I was really psyched. I love the photograph.”

This is her first experience mudding in a museum. Mostly, she works on home interiors, where people often ask her to include their handprints, their dogs’ pawprints, or their grandchildren’s footprints.

Home Lands focuses on the lives of women across the centuries in three regions–New Mexico’s Rio Arriba, Colorado’s Front Range, and Washington State’s Pugent Sound. Originally organized by the Autry National Center in Los Angeles, it features additional materials from the History Museum’s collections. It joins three smaller exhibitions–Ranch Women of New Mexico, New Mexico’s African American Legacy: Visible, Vital, Valuable, and Heart of the Home to put a spotlight on the unsung heroes of American history.

You can see Brennan’s mud wall in person June 19-Sept. 11, on the second floor of the History Museum, just north of the Santa Fe Plaza. Our grand opening, with refreshments in the Palace Courtyard, will be from 2-4 pm on Sunday, June 19. Admission is free on Sundays to NM residents.

New Mexico’s African American Story

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You can go all the way back to the 1527 exploration of Cabeza de Vaca and a Moor who accompanied him. Esteban de Dorantes was, by some accounts, the first African American to set foot in New Mexico, though other historians have traced the lineage as far back as 1050. Despite such a lengthy history, you don’t often hear the stories of New Mexico’s African Americans.

Enter The African American Legacy: Visible, Vital Valuable. The exhibition, produced by the African American Museum and Cultural Center of New Mexico took center stage at the History Museum today (May 15) and will be on display through Oct. 9.

The exhibition focuses on the African American experience from the Civil War into the 1950s and includes the communities of Las Cruces, Albuquerque, and Blackdom, a short-lived African American community near Roswell in the early 1900s.

Rita Powdrell, president of the African American Museum, which is still working toward a physical building, invoked a West African term, Sankofa in her remarks at the exhibit’s opening. Its meaning is simple: Go and fetch it. Retrieve the past that you might learn from it. In researching different communities’ African American experience in New Mexico, Powdrell said, members of the museum board learned that it differed, one place to the next.

“But the thread that runs through our culture in every community is we have grace in the face of adversity,” she said. “We have love in the face of hate. We have perseverance and a deep and abiding sense of joy. We hope when you see the faces in this exhibit, they will speak to you.”

Other speakers at the opening included retired NMSU Professor Clarence Fielder, the original curator of the exhibition’s Las Cruces section; Gary Williams from the state Office of African American Affairs; and Brenda Dabney, a board member of the African American Museum who paid tribute to the historians on whose shoulders today’s African American researchers stand.

Told on a series of panels, the exhibition focuses on migration, families, churches, social organizations and entrepreneurs, along with the struggles against segregation.

Among the people it features are Cedric and Merdest Billingsley Bradford (left), longtime operators of the U-Tote-Em Grocery Store in Las Cruces and community activists who devoted time to Planned Parenthood, the NAACP, and Las Cruces’ public schools.

Powdrell hopes other New Mexicans will come forward with tales of their family’s African American experience so that the exhibition can expand and, one day, cover every pocket of the state. A good place to bring those stories is to the two symposia that accompany the exhibition:

2-4 pm, Sunday, June 12: “The Journey of the African American North,” focusing on Santa Fe and other northern New Mexico communities.

2-4 pm, Sunday, September 25: “Entrepreneurship in the African American Community,” from gas stations to barber shops to restaurants and more.

The events are free and will be held in the History Museum Auditorium.

Today was a day for celebrating, and we’d like to share some glimpses of the event — while encouraging you to come to the museum and check out the show.


Dancers from Albuquerque’s Public Academy for the Performing Arts, accompanied by vocalist Josef Scott.

Poet Doris Fields shares a poem she wrote especially for the exhibition.

Clarence Fielder, a retired NMSU professor, who began the research for an exhibition about Las Cruces’ African Americans that, years later, grew into today’s version. His co-researcher, who couldn’t attend the event, was then-student Terry Moody, who today works for the state Historic Preservation Division.

Visitors enjoying the exhibition, which is in the museum’s second-floor Gathering Space.

The Gathering Space has plenty of comfy chairs, perfect for watching a 30-minute Colores program from KNME on Blackdom.

 

A Mary Colter Weekend, Part I

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What could inspire some 150 people to travel from Arizona, Pennsylvania and other parts to Santa Fe? Well, plenty of things, when you think about. Mountains, art, great food, a unique mix of cultures. But this weekend, for these particular 150-some people, it was the memory of Mary Elizabeth Jane Colter.

An 1893 portrait of Mary Jane Colter by Arthur Mathews, one of her professors. Photo by Tom Alexander, courtesy of the Pioneer Museum, Flagstaff, and the Arizona Historical Society.

An 1893 portrait of Mary Jane Colter by Arthur Mathews, one of her professors. Photo by Tom Alexander, courtesy of the Pioneer Museum, Flagstaff, and the Arizona Historical Society.

Starting Friday evening and continuing through Saturday, experts on the life and times of the Fred Harvey Co.’s “starchitect” are rubbing shoulders and ideas with railroad buffs, fans of history and an admirably large number of Harvey family members.

The event is co-sponsored by the New Mexico History Museum and La Fonda on the Plaza, one of the hotels where Colter left her design mark — along the way developing a version of Southwest style that lives today. The event is a fund-raiser for the History Museum, and we’re gratified to say, we’re sold out.

We began with a reception in the New Mexico room of La Fonda, where margaritas, tortillas and guacamole held court and folks started getting acquainted. A few glimpses:

millingStephenKatherine

milling1

milling3

Beyond food and conversation, we took note of the exquisite architectural details, like this eagle carved into a viga:

EagleViga

And this ceiling lamp:

lamp

Our generous sponsors then retired to the Santa Fe Room — the one room in La Fonda that retains about 90 percent of Colter’s original arts-and-crafts-meets-Native-American style — for dinner. Architect Barbara Felix delivered an amuse bouche of what participants will learn when our speakers hold court on Saturday. A Santa Fe architect, Felix oversaw the renovation of La Fonda’s restaurant, La Plazuela, taking care to restore what she could of Colter’s original intent for a room that, in her time, was an open-air plaza.

fireplaceAmong the difficulties that Felix encountered was the discovery that not all of Colter’s efforts were as solid and lasting as the sculpted terra-cotta mantels of German artist Arnold Ronnebeck, from whom she commissioned several pieces still inside the hotel.

Instead, some were piled in a storage room, where more than a few La Fonda honchos think they should stay. Not quite as well-made, they nevertheless held the charm of hand-crafted items, like the hanging lamp with hand-painted glass panels and an iron ashtray shaped like an antelope.

“It’s a little crude,” Felix said of the lamp. “It’s a little whimsical. It’s a little folk-arty.”

BarbaraPlant

And then there was…this metal palm tree to the right of Felix.

Before the event, as a worker wheeled it into the banquet room, one hotel employee sighed in apparent disappointment. But for those of us who troll eBay and Craigslist, it was a find like no other.

Kind of like Mary Colter.

Starting at 10:30 am Saturday, we’ll learn more about her many legacies, which include the magical buildings along the south rim of the Grand Canyon, Phantom Ranch at its bottom, and the onetime grand interior of Los Angeles’ Union Station. Speakers include Colter biographer Arnold Berke; Harvey biographer Stephen Fried; and Felix.

We’ll keep you posted with updates throughout the day. If you can’t attend, don’t despair. In honor of the event, we added items from the Fred Harvey legacy to our display in the museum’s Mezzanine level, including a Collier magazine ad urging readers “Let’s eat with the Harvey boys”; a meal ticket; and a poster of the Harvey Co.’s Indian detours.

We hope you’ll come visit.

Beyond the Marlboro Man

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When we think of the American West, our minds tend to conjure images of gunfighters, Indian wars and cattle barons. If we think of women at all, it’s most likely a saloon girl or Calamity Jane.

Historians know that’s hardly the distaff story of the West. From Native women who oversaw corn production and the building of adobe homes to Hispanic weavers, artists and property owners, to Anglo businesswomen, physicians and environmental stewards, the female side of the story of the West too often seems to fade into the Victorian wallpaper.

Up to now, that is.

Spanish American Woman plastering, Chamisal, New Mexico, photograph by Russel Lee, 1940. Courtesy Library of Congress, Prints and Photographs Division, LC-USF33-012823-M5

Spanish American Woman plastering, Chamisal, New Mexico, photograph by Russel Lee, 1940. Courtesy Library of Congress, Prints and Photographs Division, LC-USF33-012823-M5

This summer, the New Mexico History Museum begins filling in the historical gaps with four exhibitions focused on women past and present. Let’s round ’em up:

1. Home Lands: How Women Made the West, June 19-Sept. 11, a traveling exhibition from the Autry National Center in Los Angeles, features additional materials from the History Museum’s collections. The largest of the summer’s four exhibits, it sweeps across the centuries in three regions: the Rio Arriba of northern New Mexico; Colorado’s Front Rage; and the Puget Sound.

Evelyn Fite Tune, a longtime rancher outside Socorro, NM. Photo by Ann Bromberg, courtesy Palace of the Governors Photo Archives.

Evelyn Fite Tune, a longtime rancher outside Socorro, NM. Photo by Ann Bromberg, courtesy Palace of the Governors Photo Archives.

2. Ranch Women of New Mexico, April 15-Oct. 30 in the Mezzanine Gallery, highlights 11 women in this excerpt from an exhibit originally prepared by photographer Ann Bromberg and writer Sharon Niederman.

3. New Mexico’s African American Legacy: Visible, Vital, Valuable, May 15-Oct. 9 in the second-floor Gathering Space, tells the stories of the families who planted their roots and created a home in the Land of Enchantment following the Civil War.

4. Heart of the Home, May 27-Nov. 20 in La Ventana Gallery, spotlights historic kitchen items from the History Museum’s collections.

(Yes, they open at different times; that’s a reality of what it takes to mount an exhibition.)

“Since its opening in 2009, the New Mexico History Museum’s exhibits have included the stories of men, women and children – a conscious effort on our part to broaden the telling of history,” said museum director Frances Levine. “This summer’s exhibits highlight that commitment by focusing squarely on the contributions made by women that don’t begin and end with popular Western stereotypes.”

So you won’t find Miss Kitty or Calamity Jane or even Santa Fe’s own legendary madame, Dona Tules, in any of the exhibits. Instead, their shared focus is the universal desire to set down roots and create that place called “home.” That seemingly simple act is “a potent way of changing the world,” say Home Lands curators Virginia Scharff and Carolyn Brucken. Home Lands puts women at the center of that focus for a simple reason, the women write in their companion book: “Seeing women in history makes history look different.”

Among the women you will see in the exhibits:

Fabiola Cabeza de Baca in front of New Mexican schoolhouse, photographer and date unknown. Fabiola Cabeza de Baca Gilbert Photograph Collectioon, Center for the Southwest Research, University of New Mexico

Fabiola Cabeza de Baca in front of New Mexican schoolhouse, photographer and date unknown. Fabiola Cabeza de Baca Gilbert Photograph Collectioon, Center for the Southwest Research, University of New Mexico

Fabiola Cabeza de Baca. A Las Vegas, NM, native, this teacher and writer elevated both the art and science of homemaking from the Depression forward, blending traditional practices with modern-day conveniences. Beginning in the 1950s, her expertise went global when she started home-economics programs in Central and South America for the United Nations and became a trainer for the Peace Corps. Her story is included in Home Lands.

Legendary cowgirl Fern Sawyer. Photo by Ann Bromberg, courtesy of the Palace of the Governors Photo Archives.

Legendary cowgirl Fern Sawyer. Photo by Ann Bromberg, courtesy of the Palace of the Governors Photo Archives.

Fern Sawyer. New Mexico’s best-known cowgirl spent 77 years living up to her motto: “Do all you can as fast as you can.” An inductee into the Rodeo Cowboy Hall of Fame, Cowgirl Hall of Fame and National Cutting Horse Hall of Fame, Sawyer passed away in 1993, still with her boots on, still in the saddle. Ranch Women of New Mexico includes her story.

Clara Belle Drisdale. Photo courtesy New Mexico State University Archives.

Clara Belle Drisdale. Photo courtesy New Mexico State University Archives.

Clara Belle Drisdale Williams. In 1937, she became the first African American to graduate from New Mexico State University. After a career of teaching others, she received an honorary law degree from NMSU in 1980, along with an apology for how she was treated as a student. You’ll find her story in New Mexico’s African American Legacy.

Other New Mexico women in Home Lands: Pueblo potter Maria Martinez; painter Pablita Velarde; photographer Laura Gilpin; archaeologist Bertha Dutton; santera Gloria Lopez Cordova; Santa Clara Pueblo artist Nora Naranjo Morse; and poet and playwright Joy Harjo.

The Autry drew on its extensive collections to organize the exhibit, but also purchased must-have items, including Pablita Velarde’s monumental mural, Green Corn Dance. It’s impressive even in a computer-screen’s small scale:

GreenCornDance_72_3x10

Artifacts range from a 1,200-year-old Mogollon metate to a 20th-century station wagon, textiles, clothing, pottery, paintings, photographs, sculpture, books, and an art piece made of computer components by contemporary artist Marion Martinez.

To kick things off, the Museum of New Mexico Foundation is holding a $200-a-person party called Celebrate on Saturday, June 18. Put on your fancy Western wear and enjoy fine wines and creative cuisine in the Palace Courtyard. Learn more, including how to buy tickets by clicking here.

Throughout the summer, we’ll have special lectures, workshops and symposiums to further deepen your knowledge of women in the West. All these events are free and in the History Museum auditorium unless otherwise noted:

Sunday, June 12, 2 pm: Symposium on “The Journey of the African American North,” including stories from Santa Fe and Española.

Sunday, June 26, 2 pm: “Captive Women in the Slave System of the Southwest Borderland.” Lecture by James F. Brooks, president of the School for Advanced Research and prize-winning author of Captives & Cousins: Slavery, Kinship, and Community in the Southwest Borderlands.

Sunday, July 10, 2 pm: “Fabiola Cabeza de Baca and The Good Life.” Lecture by Tey Diana Rebolledo, regents professor at the University of New Mexico.

Sunday, July 17, 2 pm: “Moving Around to Settle In: Women of the Plains and Range.” Lecture by Virginia Scharff, co-curator of Home Lands and director of UNM’s Center for the Southwest.

Monday, 9 am to 4:30 pm, and Tuesday, 9 am to 12 pm: “Planting Seeds:  Home, Healing and Horticulture.” Conference in collaboration with the New Mexico Committee of the National Museum of Women in the Arts. $25.  (Details pending.)

Sunday, Aug. 7, 2-5 pm: “Homespun: Northern New Mexico Spinning and Weaving Techniques.” Members of the Española Valley Fiber Arts Center demonstrate Pueblo, Navajo and Spanish techniques in the Palace Courtyard.

Friday, Aug. 12, 6 pm: “Through Her Eyes: An American Indian Woman’s Perspective.” Lecture by Eunice Petramala, park ranger at the Sand Creek Massacre National Historic Site.

Sunday, Sept. 25, 2 pm: Symposium on “Entrepreneurship in the African American Community,” from barbers to caterers, mechanics to artists.

Home Lands is generously supported by Cam and Peter Starret, Ernst & Young, Eastman Kodak Company, the National Endowment for the Humanities, Unified Grocers, Wells Fargo, KCET and the Friends of the Autry. Local support is provided by Stanley S. and Karen Hubbard, Dr. Ezekiel and Edna Wattis Dumke Foundation, the Museum of New Mexico Foundation, the Palace Guard and the Montezuma Ball.

Al-Mutanabbi Street: Poets and Printers Respond to a Casualty of War

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On March 5, 2007, a car bomb exploded on Al-Mutanabbi Street in Baghdad, Iraq, killing 30 people and wounding more than 100. Named after the famed 10th-century classical Arab poet, Al-Mutanabbi, the street was for centuries the center of Baghdad bookselling, the heart and soul of an ancient city’s literary and intellectual community. From its wreckage came the Al-Mutanabbi Street Coalition, which sent out a call to letterpress printers worldwide: Craft a visual response to the attack.

Artist Garrett Queen, London

Artist Garrett Queen, Charlottesville, Va.

The response was immediate. More than 40 printers, including three from New Mexico, enthusiastically answered that first call with a powerful edition of broadsides. Since then, the number has grown to 130. A complete set will be donated to the National Library in Baghdad. Two other sets are traveling for exhibition.

The Press at the Palace of the Governors pays homage to the effort with a new exhibition in the John Gaw Meem Community Room and with a special reading from the broadsides at 6 pm on Friday, March 4, in the History Museum auditorium.

Readers include poets Anne Valley-Fox, Lisa Gill and James Thomas Stevens, bookstore owner Dorothy Massey, poet and bookstore owner Leo Romero, and poet-publishers Janet Rodney, JB Bryan and John Brandi. Many of the readings will be translations of work by Iraqi poets. New Mexico printers who contributed to the project are Suzanne Vilmain of the Counting Coup Press, Janet Rodney of Weaselsleeves Press, and Tom Leech of the Palace Press.

The event is free. From March 4 through April 30, the Broadsides from the Al-Mutanabbi Street Project exhibition is open by appointment. Call Tom Leech at (505) 476-5096.

Artist Nadia Chalabi, London

Artist Nadia Chalabi, London

“The Al-Mutanabbi Street Coalition is not an anti-war project, nor is it a healing project,” said Beau Beausoleil, San Francisco bookseller, poet, and founder of the Al-Mutanabbi Street Coalition. The coalition feels that until we truly see what happened on this one winding street of booksellers and readers, on this one day in Baghdad, until we understand all the implications of an attack on the printed word and its writers, printers, booksellers and readers, until we see that this is our street, until then, we cannot truly move forward.”

The Arthur and Matta Jaffe Center for Book Arts at Florida Atlantic University has more information about the project on its website.

The coalition offers copies of the broadsides for sale. Proceeds benefit Doctors Without Borders, a nonprofit agency working to relieve suffering in Iraq and other troubled areas of the world.

“We hope the books created will use al-Mutanabbi and its printers, writers, booksellers, and readers, as a touchstone,” Beausoleil said. “We hope that these books will make visible the literary bridge that connects us, made of words and images that move back and forth between the readers in Iraq and ourselves. These books will show the commonality of al-Mutanabbi Street with any street, anywhere, that holds a bookstore or cultural institution.”

Artist Heinz Stefan Bartkowiak, Germany

Artist Heinz Stefan Bartkowiak, Germany

Download high-resolution versions of the above images by clicking here.

Wanted: Your Opinion on “The Threads of Memory”

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ElHiloXbtDid you take a spin through The Threads of Memory: Spain and the United States (El Hilo de la Memoria: España y los Estados Unidos)? If so, we could use your help.

With a little help from Survey Monkey, we’ve devised eight short questions that will help guide us in future exhibits and satisfy some requirements for grants and the like.

It’s fast. It’s easy. And it’s a way of doing your part for a museum we know you love. Click here to get started – and thank you from everyone who toiled away on the exhibit.

Eating Up History: New Mexico’s Classic Restaurants

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Sugars72_4x5From Pappas Sweet Shop in Raton to Sparky’s in Hatch, the Bibo Bar in Cibola County to Sugar’s BBQ and Hamburgers in Dixon, New Mexico eateries have weathered tough times to tempt the palates of generations. At 2 pm on Sunday, Feb. 13, culinary explorer Cheryl Alters Jamison shares her on-the-road discoveries of places that helped define the tastiest part of our state’s heritage.

“Still Cooking: New Mexico’s Historic Diners, Chile Joints, and Burger Bars” is free with admission (Sundays free to NM residents). To jump-start your own gastro-adventure, we’ll share some special deals from some of the state’s longest-serving restaurants. Hit the highway or walk down the street to enjoy New Mexico’s home-style cooking and partake of our historic traditions.

During her 30 years in New Mexico, Jamison has eaten from border to border – while taking careful notes. She helped develop and continues to work on the New Mexico Tourism Department’s culinary trails initiatives (the Green Chile Cheeseburger Trail and the Culinary Adventures Trail).  With her husband, Bill, she’s a four-time James Beard award-winning author who has written numerous books on food and travel, including the upcoming Tasting New Mexico: 100 Years of New Mexican Cooking (Museum of New Mexico Press, 2012). Jamison teaches at the Santa Fe School of Cooking and appears as a guest instructor nationally and in France’s Dordogne region. She can discuss the finer points of smoking a turkey with Bobby Flay, show Matt Lauer how to make French toast, or argue with anyone about why New Mexican food ranks supreme among regional cooking styles.

4-culinary_Sparkys72Throughout the state’s history, New Mexicans have nurtured a love affair with their restaurants. Jamison will pull on heartstrings like the Taco Boxes in Portales and Clovis and reveal which Las Cruces restaurant is famous for its steak fingers and chicken-fried steak (served with green chile, of course). Do you know how Maria’s in Santa Fe got its start? Do you know where in Albuquerque can you get a green chile cheeseburger with egg fu yung? What differentiates New Mexico cooking styles in the north and south? Come to the lecture to find out.

Some 20 years ago, when Cheryl and Bill Jamison were writing travel guides, they took on a project that became The Rancho De Chimayó Cookbook. Turning their attention to the serious side of barbecue and grilling, they wrote The Big Book of Outdoor Cooking & Entertaining, Born to Grill, and the landmark Smoke & Spice, which has sold close to 1 million copies. The Jamisons also have played a leading role in the revival of good, robust American cooking with American Home Cooking, A Real American Breakfast, and The Border Cookbook. To write Around the World in 80 Dinners: The Ultimate Culinary Adventure, the couple cashed in 440,000 frequent-flyer miles and spent three months traveling the globe in search of great food.

JamisonMug72_1x2Jamison works as culinary consultant with the New Mexico Tourism Department and the New Mexico History Museum. She also consults on outdoor kitchen design with interior designer Barbara Templeman, through their business insideOUTsantafe. She is a board member of Cooking with Kids, one of the country’s first programs that addressed getting good food into our schools, and was a recipient of the University of Illinois’s alumni achievement award in 2007. Bill Jamison is retired from saving the world and keeps their lives in order from their home in Tesuque.