The Albuquerque Museum of Art and History
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The Albuquerque Museum celebrates the art, history and popular culture of the bolo tie with a distinctive exhibit, Native American Bolo Ties: Vintage and Modern Artistry, traveled by the Heard Museum in Phoenix, Arizona. Worn in New Mexico for decades, the act making the bolo tie New Mexico’s official neckwear passed here in 2007.
Having evolved from a tradition of Victorian neckwear and scarf slides, the bolo tie as we know it today originated in the Southwest. Emerging as a form of men’s neckwear in the 1940s, its popularity quickly spread via television and movie personalities throughout the West and other parts of the country. Bolo ties, New Mexico’s answer to the formality of neckties and bow ties, convey to the world that we are fashionable and interesting; professional but relaxed. American Indian jewelers and silversmiths bring individuality and creativity to the bolo tie, offering a broad range of unique and artistic options.
Native American Bolo Ties features more than 370 stunning bolos from the Heard Museum’s permanent collection and a promised gift from Chicago collector Norman L. Sandfield. Accompanying the exhibit is a catalogue by exhibit curator Diana Pardue with Norman L. Sandfield, of the same title, published by the Museum of New Mexico Press. Pardue and Sandfield bring to the project their knowledge of early patents for backings and fittings made for bolo ties, in addition to their expertise in Native American silversmithing and lapidary work. Works in the exhibition include an early steer head scarf slide by Zuni carver Leekya Deyuse, a 1950s rams-head bolo tie by Hopi silversmith Charles Loloma, a contemporary bolo by Navajo artist and Albuquerque resident L. Eugene Nelson, and a Navajo bolo tie made from petrified wood in the 1950s, shaped like – of all things – a necktie.
Think of your favorite landmark…the one building or bridge or national monument that leaves you in awe no matter how many times you see it. Now imagine that landmark temporarily wrapped and bound in a fabric drape. While the exact look of the landmark is no longer “visible”, its essence still remains, only now you look at it in a different light. This is the inspiration of many of the works of Christo & Jeanne-Claude, and the Albuquerque Museum is delighted to present a sweeping collection of their work in the exhibition: Christo & Jeanne-Claude: The Tom Golden Collection.
This unique collection of works of art by renowned artists Christo and Jeanne-Claude includes original drawings, sculptures, collages and photographs capturing the versatility, longevity and international scope of the duo’s extensive career. Tom Golden built one of the largest collections of art by Christo and Jeanne-Claude in the United States, and later donated it to the Sonoma County Museum. Golden’s personal and professional relationship with the artists began during the 1974 public hearings in Northern California for Christo and Jeanne-Claude’s project “Running Fence.” Golden continued to manage and assist with several of the artist’s large-scale projects including “The Umbrellas” in California and “Over the River” in Colorado. Drawings and collages of the large-scale public works, sold to fund the actual installations, are an important component of this collection.
As partners for more than 40 years, Christo and Jeanne-Claude (who passed away in 2009) have created influential environmental installation art throughout the world. Their works include the wrapping of the Reichstag in Berlin and the Pont Neuf bridge in Paris, the 24-mile long curtain titled “Running Fence” in California, and most recently “The Gates” in New York City’s Central Park. Because their large-scale public projects are temporary, these preliminary artworks remain as evidence of these installations.
This collection represents not only the special relationship between an artist and a collector, but also the collaborative effort between the artists and the many people involved in producing the works.
The exhibition is organized by the Sonoma County Museum, Santa Rosa, CA which received the collection in 2001 as a donation by Tom Golden, a close friend of the artists.
So many of us grew up watching I Love Lucy throughout the years, and we probably do our best to catch re-runs on TV whenever we get the chance. There is something about the nostalgia of it all that proves irresistible. But I bet that most of us never knew that one of this famous TV show’s beloved stars was actually an Albuquerque talent.
Everybody’s Neighbor: Vivian Vance features the history and popular culture of vaudeville star and actress Vivian Vance, who appeared regularly at Albuquerque Little Theater (ALT) and the KiMo. Vance, who spent part of her young adult life in Albuquerque, eventually won her most endearing role as Ethel Mertz on the TV situation comedy, I Love Lucy. The exhibition will be on view at the Albuquerque Museum from March 29, 2014 – January 31, 2015.
Vivian Roberta Jones, known as “Viv” to her friends and family, was born in 1909 in Cherryvale, Kansas. As a teenager she decided to pursue acting career, against the wishes of her religious mother, Mae. Vivian’s large family eventually moved to Albuquerque and Vivian and her husband Joe Danneck joined the Joneses. She found a job modeling clothes, but in 1930 she defiantly announced that she had landed a role in the racy vaudeville show, Cushman’s Revue, playing at the KiMo Theater. She traveled with the show, then returned to Albuquerque.
Under the guidance of ALT director Kathryn Kennedy O’Connor, Vivian appeared in the theater’s first two seasons. Convinced that she had potential, O’Connor and the theatre held a benefit in 1932 by selling tickets to The Trial of Mary Dugan. Critics raved, writing, “Whether Vivian Vance can make good in New York will be decided next month, but the Albuquerque actress…showed that she can make good before a hometown audience.” With the proceeds, O’Connor sent Vivian to New York to study under actress Eva Le Gallienne.
Soon Vivian started landing chorus roles, eventually graduating to supporting roles in Hooray for What! and Let’s Face it! with Danny Kaye and Eve Arden. In between productions Vivian returned to Albuquerque. Vivian always felt that she owed a debt of gratitude to the people of Albuquerque for supporting her early career, and returned often to appear at the ALT free of charge. By the early 1940s, Vivian was living in New York but had also purchased a small adobe ranch house in Cubero, west of Albuquerque near Grants.
Vivian then moved to California to work on film and theatre projects. While visiting the La Jolla Playhouse in
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