Bøger udgivet af Museum of New Mexico Press

A Painter's Kitchen highlights Georgia O'Keeffe's creativity--not on canvas, but in the kitchen--where she took great pride in her healthy culinary style. The meals served in her household focused on homegrown and natural foods. This new edition features a new cover and a new foreword by celebrated cookbook author and local food advocate Deborah Madison.

Quarantining during the COVID pandemic offered photographer David Scheinbaum the removal of life's distractions and the time and focus to embark on a long-desired path to work camera-less. Using the tools of a Zen calligrapher and darkroom chemistry, Scheinbaum's creative process involved exposure of photographic paper, using various brush types brushing on chemistry under a dim safelight, sometimes using fixer, other times developer, at times both. His technique varied with each image.This beautiful book presents a portfolio of Scheinbaum's ensō drawings with an insightful essay by Zen monk and poet Ninso John High and an introduction by Zen calligrapher, teacher, author, and Buddhist translator Kazuaki Tanahashi. The book includes examples of Tanahashi's and High's recognizable vibrant colored ensōs.

"One day, while living in New Mexico in the late 1970s and ʹ80s, I met the young photographer Kevin Bubriski, who had moved here like so many of us, coming from elsewhere. He showed me his prints of Nepal, and I knew right away that he was a true photographer. Kevin stayed, like many of us, for years, [capturing] the different lifestyles of this state, moving from south to north, from Santa Fe chic to Albuquerque real, and on up to Taos."--Bernard Plossu Kevin Bubriski arrived in New Mexico the first week of January 1981. Fresh out of the Peace Corps, he had spent four years in Nepal photographing its remote mountain villages. He enrolled to study documentary filmmaking at Santa Fe's Anthropology Film Center. He met Michael Hausman, producer of the film The Ballad of Gregorio Cortez that was shooting locally and hired on as still photographer for the production. Bubriski soon turned to photojournalism, covering news stories and photographing local people and events from the Balloon Fiesta to dances and feast days at San Juan, Santa Clara, and Tesuque Pueblos. He also spent time with a dozen incarcerated men at the New Mexico State Penitentiary, photographing them with a 4x5 field camera. In between, he would connect with photographers at the center of Santa Fe's thriving photography community. They included French photographer Bernard Plossu, who introduced him to Pierre Mahaim, Walter Nelson, Mary Peck, Doug Keats, Ed Ranney, Siegfried Halus, and Paul Caponigro. By the summer of 1983, longing to return to his documentary work in Nepal, Bubriski left New Mexico. THE NEW MEXICANS presents nearly two hundred images selected from his "New Mexico period" of 1981 to 1983. At the heart of Kevin Bubriski's work are the faces of the people he met and photographed at home, at work, and at play in the Land of Enchantment: the New Mexicans.

"This publication coincides with an exhibition at the Museum of Indian Arts & Culture in Santa Fe on display through January 2025."--Publishers website.

For more than two hundred years, women have served in the American Armed Forces in various capacities, aiding their country when they could not enlist themselves. In 1948, President Harry S. Truman signed the Women's Armed Services Integration Act into law, officially allowing women to serve as full, permanent members of all branches of the military, though they could not yet serve in direct combat. Just a decade ago, in 2013, the ban on women in combat was lifted, allowing them to serve in direct combat roles. This book is an absorbing account of the contributions and experiences of a dozen women serving in the military in recent decades. Photojournalist Steven Clevenger met the women on his various assignments covering wars overseas and at their home bases in the United States, as well as through the Warrior Games and other programs for veterans. Pairing powerful photographs with interviews, Clevenger intimately captures each soldier's strength, vulnerability, and resilience, creating a poignant and heartfelt body of work that is sure to inspire anyone.

Enigmatic rock art featuring a myriad of symbols and designs can be found throughout remote and arid landscapes of the Greater Southwest, from the Four Corners region of the American West to the Baja California peninsula in Mexico. This vast gallery of ancient art offers intriguing questions. Who created these images on stone and what were their motivations? What do they mean? Are they to be taken literally or might they stand for something else? In this book, William Frej's powerful black and white photographs of rock art in the American Southwest and Baja California provide the opportunity to explore this diverse and mysterious imagery--and to ponder these questions. By framing these images on stone by the expansive landscapes in which they are found, his photographs emphasize the importance of their settings. The accompanying photo captions by noted rock art scholar Polly Schaafsma present clues to the symbolic content of these stone murals. Her essay, "Blurred Boundaries," addresses the ambiguities latent in their complex meanings. To illustrate, Schaafsma addresses several elements of the visual vocabulary of rock art in the region-the spiral, stepped clouds, depictions of the human form, animals, and shields. Schaafsma notes that rock art can be viewed from many perspectives and she suggests that we move beyond Western philosophy to consider an animistic universe in which all things are sacred. In the foreword Frank Graziano also emphasizes how our own beliefs and perceptions influence the way we experience rock art. Rock art is more than a static reminder of the faraway past. The images continue to impact us even today, no matter what our perspective.

"The rise and imposition of military dictatorships in South America in the late twentieth century holds particular relevance today as the world has experienced a broad resurgence of authoritarianism. This publication marks the fiftieth anniversary of Chile's coup d'âetat, whic was led by Augusto Pinochet and ushered in seventeen years of repression. Chile's reign of terro under military dictatorship had counterparts in the continent's other 'Southern Cone' countries--Argentina, Bolivia, Brazil, Paraguay, and Uruguay--as democracy fell to dictatorial rule. In time, citizens across the continent and abroad bonded in their fight against authoritarianism. Rising against oppression, they were supported by local, regional, hemispheric, and international organizations, solidarity groups, and persons in exile. By 1990, when Chile began its return to democracy, all the region's countries had--in varying degrees--repudiated the military-authoritarian model. Dictators and the Disappeared: Democracy Lost and Restored is a timely look at a tumultuous period in Latin American history. Essays represent a range of topics and perspectives considering political events and what it means to live and struggle today with the legacies of past dictatorships. The book features artwork from the collections of the Albuquerque Museum and the University of New Mexico's Sam L. Slick and Chile Ephemera collections"--Page 4 of cover.

These voices rise as a canto, singing the joys, sorrows, and praises of individual experiences to form a poetry collective that encompasses the poetic-cultural landscape that is New Mexico."--Levi Romero (New Mexico Inaugural Poet Laureate) and Michelle Otero (Emerita Albuquerque Poet Laureate) New Mexico Poetry Anthology 2023 is an ode and homage to nuestra querencia, our beloved homeland. Two hundred original, previously unpublished poems resonate themes including community, culture, history, identity, landscape, and water. From a diverse group of poets, the poems are introspective and personal; reflective and astute; steady and celebratory. Including poignant, unique, even humorous perspectives on life in New Mexico influenced by the COVID-19 pandemic, this collective of voices serves as a welcome remedio to all aspects of post-pandemic life, for ears aching for words of beauty, strength, and solace as we emerge from the cocoon of survivability.

This book centers on the true story of Plâacida Romero, a nuevomexicana who was taken captive and whose husband, Domingo Gallegos, was murdered at their Cebolla Springs Ranch by an Apache war party led by Nana during their raid into south and central New Mexico Territory in 1881. This incursion, one of the last major Apache raids into the territory, took place near the end of the southwestern Indian wars. Her captors took Plâacida to Mexico, she subsequently escaped, was returned to her family, and then told her story to her relatives and community in Cubero. Plâacida's story was later written as a ballad in Spanish and set to music. Aulton E. Roland first heard about Plâacida Romero's plight when he met Arthur "Arty" Bibo in 1961. With his knowledge of the land and the Native American and Hispano people of the area, Roland helped Bibo research the events behind the story. Over time and after Bibo's death, Roland found the exact locations of the events of Nana's raid, some of them in very remote locations and in Mexico, and even chartered airplanes to aid in his search. He also corrected a number of historical misconceptions concerning the events of the bloody raid, discovering in the process that Plâacida Romero never recovered her abducted daughter, Trinidad Gallegos, although the child had grown up with the Navajo people near Prewitt only fifty miles from Cubero, where Plâacida lived, died, and is buried. The Ballad of Plâacida Romero: A Woman's Captivity & Redemption is a harrowing, deeply moving, and incisive piece of New Mexico history. It is a provocative yet uplifting account of survival and suspense on a fragile frontier in territorial New Mexico in the late nineteenth century.

"In these pages are the words of Native peoples of the Southwest remembering the thoughts and perceptions of our ancestors in which the beauty of life and place is acknowledged. They talk about the emergence from the womb of the Earth Mother, moving from darkness into the light of the Father Sun. They talk about traveling and searching for the center place alongside lightning, sacred clouds, rainbows, and water spiders. They remember that the center place is where prayers and songs of the mountains, the rain, the deer, and the clouds are given to the breath of the cosmos. They also remember that transformation is in our very next step, much as clouds transform before our eyes."--Rina Swentzell from the Foreword Twenty years after the first edition was published, this revised and expanded 2nd edition of Here, Now & Always, is reissued as a companion to the recently renovated permanent exhibition at the Museum of Indian Arts & Culture in Santa Fe. The book and exhibit draw from the museum's vast collections, including art, basketry, pottery, textiles and ancestral items, to illustrate Native narratives speaking to themes of origin, place and self-determination.

Ollie Owl and Uni Unicorn bravely face three guardians of the Dark Forest as they seek Jackie Jackalope, who ran away from Wisdom School after being bullied. Includes activities.

This book tells the story of Art1, a computer program developed in 1968 at the University of New Mexico by electrical engineer Richard Williams with the encouragement of art department chair and renowned kinetic artist Charles Mattox, who wanted to make UNM a center of high-tech creativity. In a wider sense, Art1 was an attempt to bridge the cultural divide between art and science. Artists on the one hand were working in avant-garde modes beyond the comprehension of most people, just as scientists were using ever more arcane theories to describe the universe; the notion of a shared common culture that could draw the two together seemed remote in the modern age. UNM art faculty member Frederick Hammersley took a strong interest in Art1 and in two years made more than 150 works using it. The book features 50 illustrations by Hammersley, Charles Mattox, Katherine Nash, and James Hill and interviews with Williams and Hill. The story of Art1 and its role in early digital creativity documents for the first time its far-reaching impact.

This book is a sci-fi artistic creation from the mind of internationally recognized photographer and multimedia artist Patrick Nagatani (1945-2017).

The Albuquerque Museums fiftieth anniversary is commemorated in a series of books highlighting the museums various collections in art, photography, history, and of its historic house museum Casa San Ysidro located in Corrales, New Mexico. The museums rich archive of historic photographs -- over 130,000 -- document Albuquerque, its people, architecture, businesses, urban landscape, and depictions of daily life and important events. The archives have long served as an important resource for the community, including artists and writers. This guide to the Photo Archives features 180 images drawn from six collections acquired over the years. Essays discuss the founding of the archive, expansion of its photographic holdings, and its role in preserving Albuquerques past.

Highlights the drama that unfolded for young nineteenth-century European Jewish immigrants who built on their cultural and social relationships to become successful citizens.

Millicent Rogers assembled a stellar collection of Navajo, Zuni, Hopi, and Pueblo jewelry during the late 1940s and early 1950s, creating the basis of Taos's Millicent Rogers Museum.

Tramp art describes a particular type of wood carving practiced in the United States and Europe between the 1880s and 1940s in which discarded cigar boxes and fruit crates were notched and layered to make a variety of domestic objects. These were primarily boxes and frames in addition to small private altars, crosses, wall pockets, clock cases, plant stands, and even furniture. Whittling objects such as chains and ball-in-cage whimsies was a common hobby -- including among rail-riding hobos -- and for many years tramp art was believed to have been made by these itinerants as well. Although this notion has been widely dispelled, the name has stuck. In recent years efforts have been made to identify makers by name and reveal their stories. While some examples of tramp art may be attributed to itinerants, this carving style was more commonly a practice of working-class men creating functional objects for their households. The book presents over one hundred and fifty tramp art objects collected mainly from the United States and also including pieces from France, Germany, Switzerland, Scandinavia, Canada, Mexico, and Brazil -- demonstrating the far reach this art form has had. It includes works by contemporary artists, thus establishing tramp art as an ongoing folk art form rather than a vestige of the past. The pieces reproduced here reveal an artistic and intricate sensibility applied to each handcrafted piece. Essays consider assumptions about tramp art related to class, quality, and the anonymity of its makers and examine this practice through the lens of home and family while tracing its relationship to the tobacco industry. The book will cultivate an appreciation of an art form that is as thought-provoking as it is enduring.