Roswell Museum Board of Trustees

BOARD OF TRUSTEES MEETING AGENDA Monday, June 22, 2019 at 3:00 PM GoTo Meeting 1011 N. Richardson Ave. Roswell, NM 88201 Members: Anne Baker, Jamie Barnes, Donovan Fulkerson, Peggy Krantz, Priscilla Ornelas, Jessica Parham, Kay Cargill Jenkins, Lorrina Segovia, Bill Siders, and Valli West. City Council Liaison: Barry Foster RMAC Staff Coordinator: Caroline Brooks, Executive Director RMAC Foundation: Cindy Torrez, Executive Director A. Call to Order B. Roll Call ACTION ITEMS: C. Approval of Agenda D. Approval of the January 27, 2020 meeting minutes E. Approval of the February 24, 2020 meeting minutes F. Loan request of Georgia O'Keeffe work G. Discuss and consider approval of Carlos Hall donation H. Discuss and consider approval of Rachel Stevens donations I. Discuss and consider approval of Howard Cook donations J. Discuss and consider approval of Barbara Latham donations K. Discuss and consider approval of potential purchase of Peter Rogers’ works L. Discuss and consider approval of purchase of digital files of Axle Contemporary as well as one print M. Vote: Cymantha Liakos second term on board N. Consider nominations and vote on President and Vice President Positions O. Discuss and consider approval of Sunday closures P. Discuss and consider approval of admission fees Q. Discuss composition and consider approval of reopening of Membership Working Group INFORMATION ONLY ITEMS: R. Update on Cedra Wood purchase S. Director’s Report T. RMAC Foundation Report U. Chair’s Remarks and Board Announcements V. Public Comment W. Adjourn Notice of this meeting has been given to the public in compliance with Sections 10-15-1 through 10-15-4 NMSA 1978 and Resolution 20- 26. NOTICE OF POTENTIAL QUORUM – A quorum of the City Council may or may not attend, but there will not be debate by the City Council, and no action will be taken. If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service to attend or participate in the hearing or meeting, please contact Human Resources at 575-624-6700 at least one week prior to the meeting or as soon as possible. Public documents, including the agenda and minutes, can be provided in various accessible formats. Please contact the City Clerk at 575-624-6700 if a summary or other type of accessible format is needed. Printed and posted: June 19, 2020 Please join my meeting from your computer, tablet or smartphone. https://global.gotomeeting.com/join/302543173 You can also dial in using your phone. United States: +1 (872) 240-3412 Access Code: 302-543-173 New to GoToMeeting? Get the app now and be ready when your first meeting starts: https://global.gotomeeting.com/install/302543173 Public are encouraged to participate electronically through the goto meeting app and physically not attend during the pandemic.  ROSWELL MUSEUM AND ART CENTER MINUTES OF THE BOARD OF TRUSTEES MEETING Monday, January 27, 2020 DRAFT DOCUMENT REGULAR MEETING AT 4:00pm A. CALL TO ORDER Vice President Bill Siders called the meeting of the Board of Trustees to order at 4pm B. ROLL CALL The meeting of the Board of Trustees convened with members Jamie Barnes, Lorrina Segovia, Priscilla Ornelas, Valli West, Bill Siders, Peggy Krantz and Kay Cargill Jenkins being present. A quorum was established with members Cymantha Liakos, Donovan Fulkerson, Anne Baker, and Jessica Parham being absent. Staff present: Caroline Brooks, Executive Director; Wendy Cook, Communications and Events Coordinator and Cindy Torrez, Executive Director RMAC Foundation. Community members present: none. C. APPROVAL OF AGENDA Member Segovia motioned to approve the agenda. Member West seconded. A voice vote was unanimous, and the motion passed with members Liakos, Fulkerson, Baker and Parham being absent. D. APPROVAL OF MINUTES Member Segovia motioned to approve the minutes for the November 18, 2019, board meeting. Member Jenkins seconded. A voice vote was unanimous, and the motion passed with members Fulkerson, Baker and Parham being absent. FOR THE RECORD: President Liakos joined the meeting at 4:02pm F. MEMBERSHIP/ATTENDANCE REPORT Director Brooks reviewed the November and December 2019 membership and attendance reports. Director Brooks also shared a draft example of a new template she developed for the 2020 member and attendance reports that also includes the director’s report as a part of the same document. G. DIRECTORS REPORT: See attached H. RMAC FOUNDATION REPORT RMAC Foundation Director Torrez shared that tickets are on sale now for the Foundation annual Mystery at the Museum fundraising event. The event will take place on 2/22/20 at the Roswell Convention Center. The Foundation is currently seeking corporate sponsors for the dinner. I. CHAIR’S REMARKS AND BOARD ANNOUNCEMENTS None J. PUBLIC COMMENT None K. ADJOURN Member Segovia motioned to adjourn. Member Krantz seconded. A voice vote was unanimous, and the motion passed with members Fulkerson, Baker and Parham being absent. The meeting adjourned at 4:37pm  ROSWELL MUSEUM AND ART CENTER MINUTES OF THE BOARD OF TRUSTEES MEETING Monday, February 24, 2020 DRAFT DOCUMENT REGULAR MEETING AT 4:00pm A. CALL TO ORDER President Cymantha Liakos called the meeting of the Board of Trustees to order at 4:03pm B. ROLL CALL The meeting of the Board of Trustees convened with members Jessica Parham, Jamie Barnes, Valli West, Cymantha Liakos, Donovan Fulkerson, and Bill Siders being present. A quorum was established with members Anne Baker, Lorrina Segovia, Peggy Krantz, Priscilla Ornelas, and Kay Cargill Jenkins being absent. Staff present: Caroline Brooks, Executive Director; Aubrey Hobart, Curator of Collections & Exhibitions; Amberly Meli, Registrar; Wendy Cook, Communications and Events Coordinator and Cindy Torrez, Executive Director RMAC Foundation. Community members present: none. C. APPROVAL OF AGENDA Agenda was not approved as it was not posted in time for the meeting. Therefore, no voting will take place at this meeting. No action was taken on this item. D. APPROVAL OF MINUTES Due to the inability to vote, approval of the minutes for the January 27, 2020, board meeting was tabled until the March trustees meeting. No action was taken on this item. FOR THE RECORD: Anne Baker joined the meeting at 4:03pm FOR THE RECORD: Kay Cargill Jenkins joined the meeting at 4:07pm DISCUSSION ONLY E. Loan request of Georgia O'Keeffe work Curator of Collections and Exhibitions, Aubrey Hobart shared a request made by the San Diego Museum of Art to loan our Georgia O’Keeffe work for a US/Canada touring exhibition. It is the recommendation of the collections working group to decline the request. No action was taken on this item. F. Discuss and consider Carlos Hall donation Curator of Collections and Exhibitions, Aubrey Hobart shared that a Carlos Hall work has been offered to RMAC. Carlos Hall was a Clovis native and NMMI graduate. The NMMI Museum was gifted one of his works and has offered it to RMAC. It is the recommendation of the collections working group to decline the offer as it is not one of Hall’s strongest works. No action was taken on this item. G. Discuss and consider Rachel Stevens donations Curator of Collections and Exhibitions, Aubrey Hobart shared that New Mexico State University sculpture professor has offered three of her works to RMAC. One being titled Jacob’s ladder, a 16’ outdoor sculpture and two indoor sculptures. It is the recommendation of the collections working group that RMAC accept the donation of the Jacob’s ladder sculpture for the Museum patio sculpture garden. No action was taken on this item. H. Discuss and consider Howard Cook donations Curator of Collections and Exhibitions, Aubrey Hobart shared that a private collection of 50 Howard Cook prints have been offered as a donation to RMAC. A few of the prints are duplicates within the donation and a few are duplicates within our collection. It is the recommendation of the collections working group that RMAC accept all 50 Howard Cook prints. No action was taken on this item. I. Discuss and consider Barbara Latham donations Curator of Collections and Exhibitions, Aubrey Hobart shared that a private collection of 30 Barbara Latham prints have been offered as a donation to RMAC. A few of the prints are duplicates within the donation and a few are duplicates within our collection. It is the recommendation of the collections working group that RMAC accept all 30 Barbara Latham prints. No action was taken on this item. J. Discuss and consider potential purchase of Peter Rogers’ works Curator of Collections and Exhibitions, Aubrey Hobart shared that two works from Peter Rogers’ Quest Series have been offered for purchase to RMAC. It is the recommendation of the collections working group that RMAC purchase the Rogers’ works through the RMAC Foundation. No action was taken on this item. K. Discuss and consider digital files of Axle Contemporary as well as one print Curator of Collections and Exhibitions, Aubrey Hobart shared that the artists of the Axle Contemporary exhibition have offered to sell a digital file of the exhibition and one print to RMAC. It is the recommendation of the collections working group that RMAC purchase the digital file through the RMAC Foundation. No action was taken on this item. L. BOARD TERM REVIEW Director Brooks shared that Board President Cymantha Liakos membership would be expiring and asked that President Liakos go through the application process if she would like to continue on to a new term. In addition, yearly voting for the positons of Board President and Vice President will be taking place at the March BOT meeting. No action was taken on this item. F. MEMBERSHIP/ATTENDANCE REPORT Director Brooks reviewed the January 2020 membership and attendance reports. G. DIRECTORS REPORT: See attached H. RMAC FOUNDATION REPORT RMAC Foundation Director Torrez shared that the Foundation annual Murder Mystery fundraising event went well with 198 tickets sold. I. CHAIR’S REMARKS AND BOARD ANNOUNCEMENTS None J. PUBLIC COMMENT None K. ADJOURN The meeting adjourned at 5:47pm PAGE 2  The Studios of Henry Moore and Georgia O’Keeffe: From Bones & Stones to Oil & Bronze The San Diego Museum of Art is honored to present and make available for touring, a unique exhibition in an unprecedented collaboration between the Henry Moore Foundation and the Georgia O’Keeffe Museum. This exhibition explores the organic roots of Modernism, which both Moore and O’Keeffe developed independently, yet concurrently, and from similar collections of found objects. From their studios in relatively isolated locations, they amassed personal collections of animal bones, flint stones, pebbles, and the coils of seashells, from which they created art forms in a variety of media, encompassing the intimate to the monumental in scale. These artworks question the accepted evolution of Modernism at a time when Abstract Expressionism, denying the relevance of nature, was on the rise, and furthermore timelessly draw parallels between the forms of figure and landscape. 1 PAGE 4  Henry Moore (1898–1986) and Georgia O’Keeffe (1887–1986) are two of the most recognized names in the history of twentieth-century art, and while many studies have been undertaken on them as individuals, never before has their work and development as modern artists been examined in parallel. Despite seemingly disparate existences, the artistic lives that Moore and O’Keeffe led in fact not only intersected, but their methodological approach to the production of their art was also shared. The year 1946 was pivotal in the lives of both Moore and O’Keeffe. In May of that year, the Museum of Modern Art (MOMA) in New York opened its first retrospective ever devoted to a woman artist—Georgia O’Keeffe. The exhibition marked an historical shift in the contemporary art world. MOMA was not only recognizing the artistic achievements of a woman, but they were doing so in a substantial way. Devoted entirely to O’Keeffe, the exhibition featured approximately 60 works of art, and was accompanied by a catalogue written by the director of the museum’s Department of Painting and Sculpture. Later that year, MOMA opened yet another seminal exhibition, this time featuring the work of Henry Moore. The exhibition marked the first retrospective of Moore’s work held in the United States as well as the largest exhibition of his work ever held in any country. It was also the first time Henry Moore had visited the United States. It is striking to note that two artists who have become key figures of the twentieth century would be recognized in such a significant way in the same year by the same formidable institution. Other parallels exist as well. Coincidentally, both artists were one of seven children, both chose to leave their respective cities in favor of a more rural existence, and both died in 1986. More significantly, while each artist ultimately chose to live in relative isolation—Moore in Hertfordshire, England and O’Keeffe in Abiquiú, New Mexico—each artist drew upon nature, 2 PAGE 5 using found objects, which they then utilized in order to distill that which is organic into its purest form. Thus, the organic became the abstract. The resulting drawings, sculptures, and paintings represent a highly innovative approach to abstraction and modernism that each artist shared. At the heart of the exhibition is the recreation of Henry Moore and Georgia O’Keeffe’s studios for the first time, reassembling the original found objects from their private working spaces. This allows for an immersive experience and an understanding of their working methods, as well as how they developed their own sense of Modernism through organic forms at a time when the rise of Abstract Expressionism and critics such as Clement Greenberg and Hilton Kramer eschewed anything having to do with nature. The exhibition begins, however, with an introduction to both artists’ studies from life, and their experiments with Surrealism. With Surrealism, Moore was profoundly influenced by the tenets of metamorphosis and transformation, making objects that depict the process of bone forms or other found objects turning into figures. For O’Keeffe, the interest was more one of exploring dream imagery and the Surrealist juxtaposition of objects; both artists looked closely at the relationships between two forms. Following the recreation of Moore and O’Keeffe’s studios are sections that look intently at what came out of the studios—the paintings and sculptures derived from studies of bones and stones, and from seashells and internal/external forms. Moore’s sculptures taken from bone fragments pressed into clay and cast in plaster and bronze will be contrasted with O’Keeffe’s pelvis series, often seen as objects against the sky. This also echoes Moore’s practice of photographing his maquettes against the sky to give these intimate hand-held 3 PAGE 6 sculptures an ambiguity of scale and possibility to imagine any size. The stones section will feature a juxtaposition between Moore’s studies of Stonehenge and O’Keeffe’s of Machu Picchu. The shells and internal/external forms section also encompasses O’Keeffe’s floral paintings in which these compositions involve depictions of an outer form enclosing an internal one—key to this will be the Jack-in-the-Pulpit series from the National Gallery of Art. For Moore, the exploration of internal/external forms can be traced throughout his career, from his Surrealist stringed pieces, such as Bird Basket in lignum vitae of 1939 to a series of helmet heads, and mother and child sculptures, often using abstracted forms from sea shells to convey ideas of enclosure, protection, and metamorphosis. With an underlying humanism, these works, created from a variety of materials from Elmwood, white marble, and even stalactite carvings, question our relationship with nature. The last sections will look at both artists’ depictions of landscapes of forms—both in paintings and sculpture, where the works evoke a narrative quality of time and repetition, intersections of cliff forms and layered depths of surface. The exhibition finishes on the reduction of complexity in form in both artists’ later work, while also enlarging scale — a ‘monumental simplicity’. 4 PAGE 7 Aubrey Hobart From: Sent: To: Subject: Aubrey, Greetings and Happy New Year! It was a pleasure to speak with you a few weeks ago. I promised to contact you about a sculpture donation in the new year. Many of my pieces are directly influenced by southern New Mexico’s landscape or myths relating to the desert. Perhaps one or more of the available pieces will be appropriate for the Roswell Museum and Art Center's collection. The first piece is called Jabob’s Ladder. It would be perfect for an outdoor space - you had mentioned that the museum is building a sculpture garden. Jacob’s Ladder is 16’ tall, made of steel, and is comprised of more than two dozen sections. Were the piece to to enter the museum's collection, I would recommend welding more sections together. I am be available to assist with this. The sculpture is amazingly stable. The four images below show the work from different perspectives. I’ve also included an installation detail of my solo exhibition at the Turchin Center for the Arts in Boone, NC, and a photo with the Director of the Turchin Center so you can get a sense of human scale. A little bit about me: I’m proud of my 25 year legacy of heading the sculpture area at New Mexico State University. I’ve received numerous grants, including a Pollock Krasner Foundation grant, as well as two Fulbright Research Scholarships (Nepal and Ukraine respectively). I’ve had a rewarding career of serving 1st generation students and exhibiting internationally. No matter how far my research might me, I am ultimately dedicated to the people and culture of New Mexico. Due to space constraints, I will send you a 2nd email with more sculpture options. It would be a pleasure to work together. Best wishes, Rachel 1 PAGE 10 2 PAGE 11 3 PAGE 12 4 PAGE 13 5 PAGE 14 From: To: Subject: Date: Hello again Aubrey, Here are three more available sculptures, all from the 1990s. Each work is made from steel, charred plywood, and flocking. The imagery shows musical instruments morphed with abstractions of the human body. They speak to the symbiotic relationship between musician and instrument, and of feelings imparted by music on a listener. Ideally, Steel Guitar and Cello Ascending would be collected as a pair (duet) as the horizontality of the guitar and the verticality of the cello make a dramatic couple. I look forward to hearing from you. Best wishes, Rachel Below: Steel Guitar, 3’7” x 8’x7” x 5’9”, PAGE 15 Below: Cello Ascending, 8’2” x 4’10” x 4’2 PAGE 16 Bellow: Cello Trio, 7’2” x 10’ x 9' PAGE 17 Rachel Stevens PAGE 18  Page 1 PRINTS OF HOWARD N. COOK ------------------------------------------------------------------------------------------------------------------------------- #) title or short description; type of print (if known); date; height of image X width of image (in inches); H X W of paper; Duffy plate # ; Duffy page # (if applicable); quantity of prints; notes on condition “Duffy” refers to The Graphic Work of Howard Cook, a Catalogue Raisonne by Betty and Douglas Duffy ------------------------------------------------------------------------------------------------------------------------------- 1a) Gravedigger; woodcut; 1950 ; image: 2-1/16 X 1-9/32; paper: ~3 X 2-1/4 (various) Duffy plate# Supplement RR; page 154; 5 woodcuts, 3 signed & 2 unsigned 1b) Gravedigger; woodcut; 1950 ; image: 2-1/16 X 1-9/32; paper: ~4-1/8 X 2-1/2 (irregular) Note: signed and matted; slight crease left to right across image 2) Man on Burro; woodcut; 1950; image: 1-1/32 X 1-1/4; paper: ~2 X 2-3/4 (various) Duffy plate# Supplement UU; Duffy page# 155; 4 signed woodcuts 3) Girl on Merry-Go-Round; 1950; woodcut; image: 1-1/16 X 1-3/8; paper: ~2-1/4 X 2-1/2 (various); Duffy pl# Supplement PP; Duffy pg# 154; 7 signed woodcuts PAGE 20  Page 2 PRINTS OF HOWARD N. COOK 4) Phil; ?print; undated; image: 3-3/8 X 2-5/8; paper: 3-13/16 X 3; 1 print; “HNC” signed in plate 5) Forms; woodcut; 1950; image: 1-15/16 X 2-9/16; paper: ~3-1/4 X 4 (various); Duffy pl# Supplement OO; Duffy pg# 154; 5 woodcuts, 3 are signed, 2 are unsigned 6) Sunburst; woodcut; 1950; image: 1-9/16 X 1-1/2; paper: ~2-7/8 X 2-5/8 (various); Duffy pl# Supplement YY; Duffy pg# 155; 4 woodcuts - 3 are signed, 2 are unsigned Note: one is signed on a different side of the image 7) Wardens of the Shoals; woodcut; 1928; image: 3-9/32 X 2-19/32; paper: ~3-1/2 X 4-1/2 (irregular); 1 woodcut Note: “COOK” is signed in block PAGE 21  Page 3 PRINTS OF HOWARD N COOK 8) SW Design; woodcut; 1950; image: 1-5/16 X 2-24/32; paper: ~2-1/4 X 3; Duffy pl# Supplement XX; Duffy pg# 155; 1 unsigned woodcut Note: paper is irregular 9) Dog’s Head; woodcut; 1947; image: 1-1/4 X 1-15/32; paper: ~5 X 3-1/2 (various); Duffy plate# Supplement LL; Duffy page#154; 2 unsigned woodcuts Note: paper is irregular; one corner slightly creased (10) (11) 10) Irene Doyle bookplate; woodcut; 1926; image: 4-1/4 X 2-3/4; paper: ~6-3/4 X 4 (various); Duffy pl#19; Duffy pg# 51; 5 woodcuts Note: all 5 prints unsigned; imprinted on very thin paper which appears to have been torn to size; 2 of the prints have been taped together on one side with tape that is yellowed 11) Irene Doyle bookplate; original pen & ink; 1926; image: 3-15/16 X 3; cardstock: ~6-5/8 X 4-9/16; one original, unsigned pen & ink over pencil sketch PAGE 22  Page 4 PRINTS OF HOWARD N. COOK 12) title? [man in nature setting]; ?print; image: 6-3/4 X 2-15/16; paper: ~8-1/8 X 4-1/16; one unsigned print Note: paper is very thin with irregular edges 13) title? [candle]; ?print; image: 3-7/16 X 5-9/16 ; paper: ~5-3/4 X 8-1/2; one print Note: “HNCook” signed in plate; paper is very irregular; what appears to be white ink is covering some areas; very poor condition 14) Bougainville Barracks Bags; lithograph; 1945; image: 12-3/16 X 15-5/8; paper: one print is ~12-1/2 X 15-3/4 (irregular), 5 prints are ~ 15 X 18-1/2 (various); Duffy pl# 205; Duffy pg# 140; 6 lithographs; 4 are signed, 2 are unsigned PAGE 23  Page 5 PRINTS OF HOWARD N. COOK 14 cont.) Note: scene is Rendova Island, Soloman Islands; edition of 40 originally, 15 in salmon & black; 25 in gray & black—these 6 are in gray & black; unsigned prints have pinhole on either side of image (rt. and left); one signed print is creased in lower right corner 15a) Exodus; etching, aquatint, soft-ground and roulette; 1950; image: 10-7/16 X 13-15/16; paper: ~13 X 17-1/2 (irregular); Duffy pl#208; Duffy pg# 141; one signed etching Note: original edition of 30 15b) Exodus; etching, aquatint, soft-ground and roulette; 1950; image: 10-7/16 X 13-15/16; paper: ~13 X 17-1/2 (irregular); Duffy pl#208; Duffy pg# 141; one etching Note: original edition of 30; this one is signed; print has some brown paper adhered to top, bottom and right edges; “6” in lower left corner, under the image 15c) Exodus; etching, aquatint, soft-ground and roulette; 1950; image: 10-7/16 X 13-15/16; paper: ~13 X 17-1/2 (irregular); Duffy pl#208; Duffy pg# 141; one etching Note: original edition of 30; this one is signed; evidence of tape residue on back of upper left & right corners, under the image; on the back is a partial stamp in purple ink “GANA DI ROMA”; small thin areas in the paper on the right side 15d) Exodus; etching, aquatint, soft-ground and roulette; 1946 [?]; image: 10-7/16 X 13-15/16; paper: 11-3/4 X 16-1/2; Duffy pl#208; Duffy pg# 141; one matted etching Note: original edition of 30; titled “Exodus” & signed “Howard Cook imp 1946” [date is different from Duffy book]; brown paper adhered to all 4 edges of print; 18 X 20 in poor condition; written on front lower edge of mat “Exodus Aquatint John Taylor Arms Award National Academy – AND OTHERS” 15e) Exodus; etching, aquatint, soft-ground and roulette; 1946 [?]; image: 10-7/16 X 13-15/16; paper: ~12-15/16 X 17-5/8 (irregular); Duffy pl#208; Duffy pg# 141; one matted etching Note: original edition of 30; titled & signed “Exodus Howard Cook 1946” [date is different from Duffy book]; brown paper adhered to top edge of print; 18 X 20 in poor condition; written on PAGE 24  Page 6 PRINTS OF HOWARD N. COOK 15e cont.) front lower edge of mat “Exodus Aquatint Rts [? illegible] HENRY F NOYES AWARD SOC. AM. ETCHERS – PRIZE PRINTS 20TH CENTURY”; and in lower left corner “X – 1393”; “20” in lower right corner of mat; paper is discolored around image [in places not covered by mat] 16) Head of Indian, Facing Right; woodcut; 1950; image: 2-9/16 X 2-1/2; paper: 4-14 X 3-3/4; Duffy pl# Supplement TT; Duffy pg#154; one signed & matted woodcut (20 X 16 mat) Note: “20” in lower left corner of paper; mat is slightly soiled 17a) Seabird; woodcut; 1926; image: 14-1/8 X 9-7/8; paper: ~16-1/8 X 13 (irregular); Duffy pl# 31; Duffy pg# 57; one signed & matted print (20 X 16 mat) Note: from an original edition of 50; “50” in lower left corner of print; mat is marred with maroon- colored pencil 17b) Seabird; woodcut; 1926; image: 14-1/8 X 9-13/16; paper: ~16-3/4 X 12-1/4 (irregular); Duffy pl# 31; Duffy pg# 57; one signed & matted print (20 X 16 mat) Note: from an original edition of 50; “50” in lower left corner of print; “HC018” on back of upper left corner PAGE 25  Page 7 PRINTS OF HOWARD N. COOK 18) title? [cathedral interior]; ?print; image: 9-7/32 X 6-11/16; paper: ~12 X 9 (irregular); one signed in plate “H Cook” Note: paper is slightly creased but not in printed area 19) “HONGKONG” and “TOKIO” (2 images on one page); ?print; 1924 (in plate); “Hongkong” image: 7-7/8 X 3-1/8; “Tokio” image: 3-15/16 X 5-5/16; paper: ~12-5/8 X 13-1/2; 1 print Note: “Howard N. Cook” signed in plate; paper is folded and torn at top and right side; creased at bottom 20) “China 1924”; ?print; 1924; image: 6-1/4 X 4-9/16; paper: 13-1/2 X 9-7/16; one print signed in plate “HOWARD N. COOK” PAGE 26  Page 8 PRINTS OF HOWARD N. COOK 20 cont.) Note: paper is torn & folded at top, torn & creased at bottom; small, maroon-colored mark below image 21) “YOKOHAMA 1924”; ?print; 1924; image: 6-13/16 X 5-5/16; paper: 13-1/2 X 9-7/16; one print signed in plate 22a) Mexican Boy, Taxco; etching, aquatint & softground; 1940; image: 15-7/16 X 10-3/8; paper:~18 X 11-1/2 (various); Duffy pl# 199; Duffy pg# 138; one print of original edition of 20; image reproduced is 7th state of 8 according to Duffy Note: initialed “HC imp 1940”; “10th [18th? - number has been changed] State Face & back- ground roulettes” written below image; brown paper adhered to paper at top & right edges 22b) Mexican Boy, Taxco; etching, aquatint & softground; 1940; image: 15-7/16 X 10-3/8; paper:~18 X 11-1/2 (various); Duffy pl# 199; Duffy pg# 138; one print of original edition of 20; image reproduced is 7th state of 8 according to Duffy PAGE 27  Page 9 PRINTS OF HOWARD N. COOK 22b cont.) Note: one signed print; “4th State (softground, Line, Sandpaper, Aquatint) Aquatint background, Aquat rubbed down a face” written below image; corners of paper slightly worn or creased 22c) Mexican Boy, Taxco; etching, aquatint & softground; 1940; image: 15-7/16 X 10-3/8; paper:~18 X 11-1/2 (various); Duffy pl# 199; Duffy pg# 138; one print of original edition of 20; image reproduced is 7th state of 8 according to Duffy Note: one signed print; there is a small hole in the print on the left side above the figure’s shoulder; pink spots all over (more visible from the back); very poor condition 23) “Weary Men – Guadalcanal 10/43”; lithograph; 1943; image: 11-1/4 X 15-9/16; paper: ~16-1/8 X 20 (irregular); Duffy pl# 207; Duffy pg# 141; one print signed & dated Note: “25” with a circle around it written under bottom left corner of image; lower left corner wrinkled & creased (crease crosses bottom left corner of image); SEE “Guadalcanal WWII” on Wikipedia 24) Town & Church; oil on board; undated; image: 14-1/2 X 19; board: 15-15/16 X 20; Note: signed “Howard Cook”; brown paper adhered to top & left edges of board 06/11/20 PAGE 28  Page 10 PRINTS OF HOWARD N. COOK 25a) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 16-3/32 X 11-7/16; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: Signed “-BY HOWARD COOK, 190 LEXINGTON AVE., NEW YORK, 16 N.Y.”; on back “Submitted to War Department for censorship clearance. Please return to: Howard Cook 190 Lexington Ave New York 16 N.Y.”; stamp in purple ink says “Released for Publication etc” [see photo]; some spots on back of print 25b) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: signed, titled and “Soloman Islands” in lower right below image; “E6046” on back of lower right corner 25c) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: signed, titled and “Soloman Islands” in lower right below image; “E6046 as-” on back of lower right corner; brown paper adhered to top edge on front of print; discoloration of paper from previous matting 25d) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: signed, titled and “Soloman Islands” in lower right below image; “E6129/as-” on back of lower right corner; yellowed tape stuck to top edge of print; tear in paper (but not in image) on upper left has been repaired with tape on the back of print; tear on lower edge; brown discoloration surrounds image, approx 1/8” 25e) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: signed, titled and “Soloman Islands” in lower right below image; “E6046” on back of lower right corner; small tears in upper left edge; slight creases in paper; marks on edges with maroon-colored pencil 06/11/20 PAGE 29  Page 11 PRINTS OF HOWARD N. COOK 25f) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: no signature or title; slight creases/wrinkles; black ink specks, mostly on the left side 25g) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: signed “Howard Cook 1925[!]”; “40” in a circle in lower left corner below image; evidence of black ink along left edge; upper right corner creased; soiled area and small tear at bottom 25h) Jungle Rations; lithograph; 1944; image: 15-7/8 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: signed “Howard Cook”; titled “Jungle Rations – Guadalcanal – 15” on lower left below image; “E6046/as-” on back of lower right corner; small tear in upper right corner 25i) Jungle Rations; lithograph; 1943 [?]; image: 15-11/16 X 11-3/8; paper: 19-1/4 X 14; Duffy pl# 204; Duffy pg# 140; one print from original edition of 25 Note: signed “Howard Cook 1943 Guadalcanal”; date is different from other prints; print is taped to mat board; paper is discolored around image [in places not covered by mat]; mat is dingy/yellowed 26) “Our Empire ON THE RIO GRANDE”; woodcut; 1927; image: 12-7/8 X 9-1/8; paper: ~13-3/4 X 10-5/8; Duffy pl# Supplement S; Duffy pg# 151; one woodcut Note: “COLOUR PRINTS BY HOWARD COOK” signed in block; very thin paper is torn & folded on all edges 06/11/20 PAGE 30  Page 13 PRINTS OF HOWARD N. COOK 30b) Worker with Harvest – Factory; woodcut; 1929; image: 4-31/32 X 4-11/16; paper: ~6-1/4 X 5-7/8 (irregular); Duffy pl# Supplement GG; Duffy pg# 153; one unsigned woodcut Note: farmer in the image appears to be Hispanic; folds & creases in paper on left & right edges 31) Merry Christmas; woodcut; undated; woodcut; image: 1-13/16 X 2-11/16; paper: ~3 X 5-1/4 (various); 5 woodcuts Note: all 5 prints unsigned; 4 images in black ink, one in red & green ink (red letters, green stars) 32) title? [female/male figures]; undated; pencil sketch; image: 5-5/8 X 8-1/8; paper: 13-3/16 X 9-5/8; one signed sketch 33) Wood Interior; wood engraving; 1931; image: 6-1/2 X 4-1/8; paper: ~11 X 6 (various); 06/11/20 PAGE 32  Page 14 PRINTS OF HOWARD N. COOK 33 cont.) Duffy pl# 171; Duffy pg# 123; 3 prints from original edition of “Approx. 150” Note: 1 print signed, dated & titled and “100” written and circled in lower left corner; 2 prints unsigned; slight wrinkles/crease in all 3 prints 34) The Orient; woodcut; 1929; image: 6-1/4 X 5-1/16; paper: ~9-3/4 X 7-1/4 (irregular); Duffy pl# Supplement EE; Duffy pg# 153; one unsigned print 35) Man in Harbor; ?print; undated; image: 5-1/4 X 5-31/32; paper: ~8_1/2 X 9-3/4; one print; “H N COOK” signed in plate Note: “1st proof” written on bottom left edge in pencil; bottom edge badly torn, but not in image 36) Sun and Desertion [titled “Sun and Desolation” in Duffy]; woodcut; 1926; image: 9-1/8 X 13-5/8; paper: ~12-3/4 X 17 (irregular); Duffy pl# 34; Duffy pg# 58; 2 prints from an original edition of 50; both signed, titled & dated and both signed in block “HOWARD N COOK” Note; one print has “HC015” and “10•” in top right corner and on a piece of tape stuck to the back 06/11/20 PAGE 33  Page 15 PRINTS OF HOWARD N. COOK 37) Portrait of a Man; ?print; undated; image: 3-5/32 X 2-5/8; paper: ~5 X 4 (various); 3 prints Note: initials “HC” in plate; one print is heavily creased at top & bottom and smudged at bottom 38) The Charm of Buddha; ?print; 1924; image: 5-3/8 X 8-29/32; paper: ~9-1/2 X 13-1/2; one print, signed in plate Note: appears to be title page for a book, full title “The Charm of Buddha Impressions of the Orient by Howard N. Cook” with 2 images on one page—one image, of a pagoda, is titled “Kobe 1924” and the other, of some ships, has been printed in reverse, as the signature is backwards; paper is folded over and torn on left side and upper right corner 39) “Shanghai 1924” in plate; ?print; 1924; image; 2-1/16 X 2-15/16; paper: 13-1/2 X 9-1/2; one print signed “HOWARD N COOK” in plate Note: paper is folded over at top & torn on all edges; “40” written on back of upper left corner in pencil 06/11/20 PAGE 34  Page 16 PRINTS OF HOWARD N COOK 40) ?title [4 images of the Orient]; ?print; 1924; image: 6-15/16 X 7; paper: 13-1/2 X 9-1/2; one page containing 4 images; signed, titled & dated in plate Note: paper is folded over at top, smudged at bottom; small tears in all edges; “38” written on back of upper left corner in pencil; images, going clockwise, starting from top left: “HongKong 1924” depicts man with pole & basket “JAPAN” [? not sure, hard to read] depicts 2 boats “YOKOHAMA 1924” depicts volcano [? not sure, hard to read] depicts volcano & boat 41) ?title [head with sombrero]; pencil sketch; undated; image: 1-3/4 X 2-17/32; paper: 10-3/4 X 9-5/16; one unsigned sketch on a folded piece of paper Note: “Black Ewe” written in blue ink at bottom right edge; on back is another sketch with erasures of a similar hat-wearing head 42) ?title [2 mules]; charcoal sketch: undated; image: 4-11/16 X 11-13/16; paper: ~7-1/8 X 13-½ (irregular); one signed sketch Note: “115” written in pencil on top left corner and bottom left corner 06/11/20 PAGE 35  Page 17 PRINTS OF HOWARD N. COOK 43) A MERRY CHRISTMAS from Ann and Joseph Blumenthal; ?print; undated; image: 4-5/16 X 6-1/2; paper: 14 X 6; 3 unsigned prints Note: border is printed in brown ink and everything else in black ink; image is printed in the lower right quadrant of a piece of paper folded into fourths; some creases 44) Buck and Master; woodcut; 1947; image: 1-9/16 X 4-3/32; paper: ~2-15/16 X 6-1/16 (irregular); Duffy pl# Supplement KK; Duffy pg# 154; one matted print (mat is 6-1/4 X 8-3/8); one woodcut, signed and dated 45) ?title [landscape]; etching; undated; image: 4-5/16 X 5-5/8; paper: ~6-1/2 X 7-3/4 (ir- regular); one unsigned etching 06/11/20 PAGE 36  Page 18 PRINTS OF HOWARD N. COOK 46) ?title [woman with shawl]; ?print; undated; image: 5-5/16 X 3-7/8; paper: ~8-5/8 X 5 (irregular); one unsigned print Note: stain on lower right edge; tear below image on left side 47) ?title [Grecian columns]; ?print; undated; image: 5-5/16 X 4-13/16; paper: ~9 X 9 (various); 2 unsigned prints Note: some creases/wrinkles but not in image 48a) [Head of Girl]; lithograph; 1948; image: 5-7/8 X 4-1/16; paper: 9-5/8 X 6-11/16; Duffy pl# 211; Duffy pg# 143; one print from an edition of 15 printed by Lynton Kistler, Los Angeles, CA; signed in plate “COOK” Note: embossed at lower left, below image, with an unidentified chop; “PROOF” written in pencil on lower left corner; some wrinkles in paper 06/11/20 PAGE 37  Page 19 PRINTS OF HOWARD N. COOK 48b) [Head of Girl]; lithograph; 1948; image: 5-7/8 X 4-1/16; paper: 9-1/2 X 8-5/8 (irregular); Duffy pl# 211; Duffy pg# 143; one print from an edition of 15; signed in plate “COOK” Note: embossed at lower left, below image, with an unidentified chop; “17” written in pencil on lower left corner; upper right corner is creased; light smudge in upper left 49) The Pack; woodcut; 1947; image: 3-7/8 X 4-15/16; paper: 5-3/8 X 5-7/8 (various); Duffy pl# Supplement MM; Duffy pg# 154; 2 woodcuts - one is signed, dated & matted print (mat is 7-7/8 X 8-1/4), one is unsigned 50) ?title [man balancing on blocks]; charcoal; undated; image: 8-1/16 X 4-13/16; paper: 10-7/8 X 8-3/8; one signed sketch Note: tape on back of both upper corners; faint drawing on back of a woman’s face 06/11/20 PAGE 38  Page 20 PRINTS OF HOWARD N. COOK 51) ?title [2 seated men in hats/serapes]; pencil; undated; image: 7-7/16 X 7-15/16; paper: 8-3/16 X 10-3/4; one signed sketch Note: paper is torn at top & creased on 3 sides; brown paper adhered to both corner on left side 52) ?title [dockside view]; ?print; undated; image: 10-3/16 X 6-15/16; paper: 11-3/8 X 7-5/8 (irregular); one unsigned print Note: ~2-1/2 X ¼ hole in left lower section of printed image [see photo disc] 53) Buck; woodcut; 1947; image: 3-1/16 X 4-1/16; paper: ~4-1/2 X 6-1/4 (various); 2 signed and dated prints, one print is matted (mat is 6-1/8 X 7-1/2) Note: yellowed tape on top edge of both prints 06/11/20 PAGE 39  Page 21 PRINTS OF HOWARD N. COOK 54) Walpi, Arizona; etching; 1927; image: 9-13/16 X 6-15/16; paper: 10-1/16 X 7-11/16; Duffy pl# 74; Duffy pg# 76; one signed print Note: Duffy says “Edition: few printed”; this print in brown ink; lower left corner is bent; overall condition is smudged/dirty 55) GRAHAME[Y?]; ?print; undated; image: 2-15/16 X 2-15/32; paper: ~4-1/8 X 2-15/16 (irregular); one print signed in plate “H COOK” Note: E. Mayans Gallery label titles this as “Grahamey”, but it looks like a tiny tennis racket, not a “Y” 56) Bright Angel; lithograph; 1948 [1947 according to Duffy]; image: 12-3/8 X 9-5/8; paper: 16 X 12; Duffy pl#209; Duffy pg# 142; 2 signed, titled & dated prints from original edition of 25 Note: “25” inside a circle on both prints in lower left under image 06/11/20 PAGE 40  Page 22 PRINTS OF HOWARD N COOK 57) Valdez; oil on board; undated; image: ~14-34 X 19-1/4; board: 15-3/4 X 20; one signed painting Note: shop-worn condition—chips at corners/edge 58) Cumberland Girl; lithograph; 1937; image: 17-7/8 X 12-3/4; paper: ~23-5/8 X 12-5/8 (irregular); Duffy pl# 191; Duffy pg# 134; 5 unsigned prints from edition of 25 06/11/20 PAGE 41    PRINTS OF BARBARA LATHAM ------------------------------------------------------------------------------------------------------------------------------- #) title or short description; type of print (if known); date (if known); height of image X width of image (in inches); H X W of paper; quantity of prints; notes on condition ------------------------------------------------------------------------------------------------------------------------------- 1) Wedding Dance, Guesrant [sp?] ‘24; ?print; 1924; image: 5 X 6-3/4; paper: 8 X 9-3/8; one signed, titled and dated print Note: paper is torn in top left corner and on the back of top right 2) Negro Family; ?print; re-strikes from 1985; image: 7-3/8 X 8-1/8; paper: ~9-7/8 X 12-15/16 (various); 11 prints, 4 signed, 7 unsigned Note: 4 prints titled & signed, each with a number in the lower left corner (12, 13, 16 and 17 respectively); one print is titled but unsigned and has “23” in lower left corner; 6 prints are unsigned and printed on paper of various sizes & type 06/11/20 PAGE 42    PRINTS OF BARBARA LATHAM 3) ?title [Barbara & Howard at home]; ?print; undated; image: 5-3/4 X 9-1/8; paper: ~6-7/8 X 10 (various); 3 unsigned prints Note: one is printed on paper with a wrinkle flaw 4) ?title [woman seated by fireplace]; ?print; undated; image: 5-9/16 X 7-3/4; paper: ~8-3/4 X 12 (various); 2 unsigned prints Note: some creases in paper but not in image 5) Texans; wood engraving; re-strikes from 1985; image: 7-15/16 X 9-15/16; paper: ~9-15/16 X 12-15/16 (various); 16 unsigned prints Note: 2 of the prints are on paper somewhat creased, but not in the image 06/11/20 PAGE 43   PRINTS OF BARBARA LATHAM 8b) Geraniums; ?print; re-strikes from 1985; image: 5-15/16 X 7-1/16; paper: 9-1/2 X 13; 16 signed, titled and numbered prints; #11 is matted ( mat is 16 X 20) Note: prints numbered in lower left corner 1, 3, 5, 9,10, 11,12, 15, 16, 18, 19, 21, 24, and 25; 2 prints are NOT numbered; one is on thinner paper and is smudged/stained 9) Castle; pencil; undated; image: 5-5/8 X 9-1/8; paper: 6 X 9-1/8; one signed sketch Note: paper is in poor condition, torn & creased; one tear goes into image on right side 10) Bush Birds; lithograph; 1967; image: 10-5/8 X 13-7/32; paper: 12 X 17; 2 prints Note: at top is printed “1967 Edition…The Fine American Art Calendar® Collection”; at the bottom is printed ‘ “Bush Birds” by Barbara Latham’ 11) The Stable; ?print; undated re-strikes from 1985; image: 5-7/8 X 8-15/16; paper: 9-1/2 X 13; 18 prints 06/11/20 PAGE 45   PRINTS OF BARBARA LATHAM 11 cont.) Note: one print is signed, titled and matted (mat is 20 X 16); 17 prints are signed & titled and numbered in lower left corner, respectively, 2, 3, 5, 7, 8, 10, 12, 15, 16, 17, 18, 19, 21, 22, 23 and 25; #10, #21, #23 and #25 have some smudges; one print, printed on brown paper, is unsigned; the 1985 Limited edition of 25 from the original 1926 blocks was printed at the Palace of the Governors print shop in Santa Fe, NM 12) White Rabbits; etching; undated re-strikes attributed to1985; image: 7-25/32 X 9-3/4 paper: ~9-15/16 X 12-7/8 (various); 19 prints Note: 2 prints are signed & titled; 17 prints are unsigned (two of these are printed on thinner paper 13) ?title [5 puppies]; ?print; undated; image: 2-1/16 X 4-3/4; paper: ~2-1/4 X 5-5/8 (irregular); one signed print Note: image is cropped too close at top 14) ?title [dog]; ?print; undated; image: 2-1/32 X 3-15/16; paper: 8-5/8 X 11-7/16; one signed print Note: adhesive marks on back of print from previous mounting 06/11/20 PAGE 46   PRINTS OF BARBARA LATHAM 15) ?title [dog, begging]; ?print; undated; image: 3-9/16 X 2-5/8; paper: 11-1/2 X 8-23/32; one signed print Note: adhesive marks on back 16a) Kitchen Sink; woodcut; undated; image: 6 X 7-3/16; paper: eight prints are on thin paper ~7 X 9-1/4 (various) and 2 prints are on heavy paper ~9-9/16 X 13-1/8; 11 prints, 10 are unsigned, one is signed, titled and framed 16b) Kitchen Sink; woodcut; re-strikes from 1985; image: 6 X 7-3/16; paper ~9-9/16 X 13-1/8; 21 woodcuts, 19 unsigned and 2 signed and titled; one of each is matted Note: the 2 signed prints are numbered “1” and “2” respectively in the lower left corner; one print is printed in grey and black ink 17) Chateau, Le Conquet: ?print; undated; image: 4 X 6-9/32; paper: ~8-1/4 X 9-5/16 (irregular); one signed, titled and matted print (mat is 20 X 16) Note: print is tacked in 2 upper corners to another piece of paper causing stains & wrinkles in the corners 06/11/20 PAGE 47   PRINTS OF BARBARA LATHAM 18) I Like Butterflies [book jacket]; lithograph; [book published in 1960]; unfolded jacket dimensions: 10 X 24; 3 book jackets Note: one of the jackets has an area ~5 X 3-3/4 cut out [missing] from the lower left side [see photos]; there are numerous pinholes in the top edge of this same jacket and a scribbled area on the back; one other jacket has “This paper color right?” written on the right side [see photos] 19) ?title [cowboy on rearing horse]; pen & ink; undated; image: 7-1/4 X 7-3/16; heavy paper: ~20 X 14 (irregular); one unsigned drawing Note: this unsigned artwork is “attributed to Barbara Latham” according to Ernesto Mayans; pin holes in various places; pencil lines define 2 smaller areas around the image; there are some sketches at the bottom edge; the paper is dirty/dingy 06/11/20 PAGE 48   PRINTS OF BARBARA LATHAM 20) ?title [women on horses]; oil painting; undated; image: ~24-3/4 X 33-3/4; one framed painting (frame is ~27-1/4 X 36) Note: This painting was hanging up high over a window in the gallery storage room. Ernesto did not want me to take it down. I had to climb on a step stool of inadequate height to take these measurements, which is why they are listed as approximate. I peeked behind the painting and could not see anything on the back. It was very dusty. 06/11/20 PAGE 49 Aubrey Hobart From: Sent: To: Subject: Attachments: Dear Aubrey Hobart, In the early 1970’s, I was blessed to know Peter Rogers well. At the time he gave me two beautiful, inscribed pieces of his work – a 13” x 17” oil painting of the Baptism of Christ and an 11” x 15” numbered print titled, “The Premonition.” I’ve attached photographs showing the two works and their inscriptions. I’ve cherished them for many years, but now it is time for me to sell them. I’m asking $3,500.00 for the two. I also have four archival brochures of his “Quest” series and earlier works, which I would be glad to donate along with selling the painting and print. Just prior to sending you this, I had the pleasure of talking by phone with Caroline Brooks and sharing with her a little of how I came to know Peter. It is she who suggested I contact you with the enclosed photos and information. I really hope you are interested in obtaining these rare early works of Peter’s – and I look forward to hearing from you! Thanks so much! 1 06/11/20 PAGE 50 06/11/20 PAGE 51 06/11/20 PAGE 52 06/11/20 PAGE 53 06/11/20 PAGE 54 06/11/20 PAGE 55 06/11/20 PAGE 56  CITY OF ROSWELL Museum Board of Trustees Monday, June 22, 2020 at 4:30 p.m. ACTION REQUESTED: Discussion and Consider approval of Museum Sunday Closure Proposal BACKGROUND: Initiated by: Caroline Brooks Due to recently lowered staffing numbers, the Museum is requesting to change its days of operation from Tuesday to Sunday (closed on Mondays) to Tuesday to Saturday, closing the additional day of Sunday. Museum protocols require a minimum of two Guest Service Associates each day to allow for sufficient coverage of the front desk and galleries. As we currently only have two associates, coverage for 6 days will no longer be feasible. STAFF PROPOSAL: Close on Sundays due to decrease in staffing. NEXT STEPS: Vote to move to full council for consideration.  CITY OF ROSWELL Museum Board of Trustees Monday, June 22, 2020 at 3 p.m. BOT ACTION REQUESTED: Discussion and Consider Approval of Museum Admissions Rates BACKGROUND: Initiated by: Caroline Brooks Since its opening in 1937, the Roswell Museum has never charged admission in order to ensure accessibility. In recent years, charging admission has been in discussion and was being tabled for official consideration until the status of a potential renovation was determined that would move the museum store to the front and reorient the lobby (a design that would be more conducive for charging admissions). In light of the economic downturn, the proposal to charge admissions is being brought before the Museum Board of Trustees and City Council for consideration despite the renovation not being able to take place at this time. STAFF PROPOSAL: Proposed categories for discussion: • Adult (16 and up): $10 • Students (age 16+), Seniors (60+), Active Military and Veterans: $7 • Combined Adult rate for Museum and Planetarium: $12 • Groups of 10 or more: $8 per person with reservation • $2 discount on Museum fee on rack cards or for UFO Museum visitors (with sticker, receipt) • Free: o Children 15 and under o Museum Members and NARM Members o School Groups, including chaperones (with reservation) o Second Saturday of the month for Roswell Residents with ID o Seniors (60+) every Wednesday Specified community partners to consider giving complimentary tickets or free on Wednesdays: Tabosa, Boys and Girls Club, Big Brothers/Big Sisters, Girl Scouts, Boy Scouts, Senior Caregivers, Assurance Home NEXT STEPS: Move to General Services Committee for consideration. Comparison of Museum Admission Rates Museum Location Adult Child Rates Discounted Rates Notes Rates Albuquerque Albuquerque $6. Children 12 and $5 - NM Resident with ID Special exhibits Museum under free $4 - Seniors (65+) like Jim Henson is an additional $5 Free to: exhibit surcharge • Members • General admission is free to all: • 9-5 first Wed of month • 5-8:30 third Thur of month • 9-1 every Sunday Harwood Taos $10 18 and under $8 - Seniors (65+) Museum of Art are free Free to: • Members • UNM faculty and students • Taos County Residents on Sundays • Military with ID and their families NM Museum of Alamogordo $8 for $6 for children Free to: Add planetarium Space History Non-NM (4-12) (Non-NM • Members to admission for Residents Residents) • Seniors (60+) $3 more for adults • Military and $1 more for Children 3 and • All NM Residents children (4-12). under are free. Free for all others. NM Museum of Santa Fe $12 Children 16 and $7 - New Mexico residents with ID Some special Art under are free $8 - Group rate for parties of 10+ exhibitions or events may School Groups, Free to: require an including all • Members additional fee. chaperones, are • New Mexico foster parents and admitted free. foster children are admitted free (state law). • New Mexico residents 60 and older on Wed. • New Mexico residents on the first Sunday of each month and 5 - 7 pm on the first Friday of every month (Nov-Apr) and every Friday 5 - 7 p.m. (May-Oct). NM Museum of Albuquerque $8 $5 - children (3- $7 - seniors Add planetarium Natural History 12). to admission for Free to: $2 more Children under • Members 3 are free. • NM residents on the first Sunday of each month. • New Mexico foster families O’Keeffe Santa Fe $13 Children under $11 – College students Museum 18 are Free $11 – Group Tickets (10+ people) Free to: • Members  • NM Residents, first Friday of Month • NM K – 12 Educators and Administrators NM Farm and Las Cruces Adults $5 $3 - Children (4- $4 – Seniors Ranch Museum 17) $2 - Active U.S. Military & Veterans Free to children Free to: 3 and under • Members • New Mexico foster families NM Museum of Santa Fe $12 Children 16 and $7 - New Mexico residents and International Folk under are Art admitted free. Free to: • Members • NM residents first Sunday of month. • New Mexico Seniors on Wed National Hispanic Albuquerque $6 for Children 16 and $5 - NM Residents (17+) Cultural Center Adults under are $3 - K-12 NM Educators and (17+) admitted free. Administrators Free to: • Members • New Mexico foster families • NM Seniors (60+) on Wednesdays • US Active Duty Military Personnel between Memorial Day and Labor Day • NM Residents on the first Sunday of each month NMSU Art Las Cruces Free Museum Las Cruces Las Cruces Free Museum of Art UNM Museum of Albuquerque Free Art Loveland Loveland, CO $7 per Children 12 and $3/person - families who receive Museum person under are free SNAP/food assistance benefits (up to 4 people) $4 – Group Tickets (10+ people), reservations required Free to: • Members • US Active Duty Military and their families between Memorial Day and Labor Day • NARM Members  MAY 2020 MONTHLY REPORT ATTENDANCE REVENUES 2020 2019 2018 2017 MUSEUM 0 996 1124 1060 2020 2019 2018 2017 EVENTS 0 701 510 427 CLASSES 0 5,316 5,309 3,719 CLASSES 0 520 340 531 PLANETARIUM 0 823 722 169 PLANETARIUM 0 245 149 124 MEMBERSHIP 1,910 5,875 2,515 3,265 SCHOOL/ADULT TOURS 0 1154 865 835 FACILITY USE 0 0 150 400 FACILITY USE 0 207 384 245 STORE 0 6,136 4,547 4,238 OUTREACH 0 65 0 0 MAY TOTALS 1,910 13,215 12,831 10,950 VOLUNTEER VISITS 0 53 201 27 YEAR TO DATE TOTALS 28,689 72,524 61,722 53,498 MAY TOTALS 0 3,941 3,573 3,249 YEAR TO DATE TOTALS 5,115 15,041 13,565 10,141 PROGRAMMING SESSIONS CONTACT CLASSES CANCELLED: for MONTH ATTENDEES HOURS MEMBERS Shibori 370 2 session Adult Clay 16 session 610 current active current active Kids Clay 6 sessions memberships members 1 Gentle Yoga 35 2 sessions FOR TOTAL 0 0 MONTH new members renewals OCCURENCES YEAR to DATE 15 new members 92 renewals EVENTS for MONTH ATTENDEES PARTNERSHIP CANCELLED Planetarium General Shows 13 VOLUNTEERS Family After Hours 1 RAiR Reception and 1 Lecture Pop-Up Playdate 1 TOTAL 0 FOR MONTH 7 volunteer hours 2 volunteers YEAR to DATE 144 30 SCHOOL VISITS/ volunteer hours volunteers ADULT TOURS GRADE(S) STUDENTS ADULTS GALLERIES PLANETARIUM STUDIOS CANCELLED Sun Tours for 50 adults 4,081 FACEBOOK FOLLOWERS Road Scholars for 72 adults RISD Tours 247 INSTAGRAM FOLLOWERS TOTALS 0  MAY 2020 MUSEUM ACTIVITIES & HIGHLIGHTS Submitted by Museum Director Caroline Brooks The Museum closed to the public on Kids Craft Corner is a video series EVENTS Wednesday, March 18, in response presented by staff and volunteers of to the coronavirus pandemic. Remaining 2020 events are presumed hands-on activities for kids to do with A reopening date has yet to be canceled due to state restrictions until simple materials from home. Space is confirmed. further notice. Awesome will be starting in June with a focus on fun space facts presented by Planetarium Coordinator Jeremy Howe. GRANT FUNDING STAFF NEWS The Museum heard back about its NEH Wendy Cook completed a Master’s in COLLECTIONS & EXHIBITIONS Professional Studies in Organizational CARES grant application and it was unfortunately not selected. There were Leadership with a focus in Non-Profit/ The Museum is lending seven pieces 2,333 applications focused on recovery Public Organization Management from of furniture from its Works Progress efforts for COVID-19 of which 303 were Fort Hayes State University. Administration (WPA) collection to the selected for funding. Branigan Cultural Center in Las Cruces Staff returned from reassignments on for an exhibition on wood carvings A second federal grant has been May 26. They have since continued on produced during the WPA. Once open, submitted to the Institute of Museum with deep clean projects and collections the exhibition is anticipated to be on and Library Services. Again, it will care. display until October 3, 2020, dependent be highly competitive. The award on state restrictions. The furniture was announcement will be sometime in Four staff have chosen to take the hand-crafted by artisans at the Museum August. volunteer severance packages and one in 1936 and 1937 and used in galleries position has been removed, reducing and offices until the 1980s. The pieces The Museum, in partnership with the the staff size from 15 FTE to 10.5 FTE. provide a wonderful example of the RMAC Foundation, has been selected Final work days for these individuals artisanship that contributed to the WPA to receive $10,000 from Xcel Energy will be staggered over June and July. and Federal Art Program as well as the Foundation to go toward children’s Consolidation of work is being identified Spanish Colonial Revival style popular programming. and trainings are taking place to ensure during the time. ease of transitions. Years of service range for the departing staff range from 24 to Collections staff are working on VIRTUAL PROGRAMMING 3 years. We appreciate all that they have rehousing some of the American West done in service to the community as collection items that are in storage. Staff are using social media to dive part of the Museum team. Housing in conservation boxes and/or into some of the Museum’s engaging with customized support mounts are history and present art and science fun. checked periodically on all collection Spotlight on the Permanent Collection IN MEMORIAM items for signs of age or the need for explores the origins of the collection potential improvements. With the The Museum recently lost a dear through postings about donors, cleaning and inventorying of the Aston friend. Don Anderson passed away including the Roswell Assistance League Collection earlier this year, some of the on Sunday, June 7 at the age of 101. (now Chaves County), Mr. and Mrs. housing was identified for replacement He took on the role of the Museum’s Tom Ingram, the former Southwest or upgrade. The current project will not first volunteer curator in 1947 helping Bank of Roswell, Mr. and Mrs. Robert only improve the housing conditions of facilitate exhibitions and early donations O. Anderson, and Dr. and Mrs. Leland these items while in storage, but also including the first contributions of work Fellows. condense them to make room for other by Peter Hurd and an international items. print collection. In 1967, he started the Throwback Thursdays is an ongoing weekly series on Facebook drawing from Roswell Artist-in-Residence Program With the current closure of the under the auspices of RMAC, bringing the Museum’s archives of interesting Museum, exhibition dates are currently contemporary art to Roswell from pictures of past events and activities. undetermined. around the world. The RAiR Program split Museum Moments with the Curator presents exhibit tours and investigations from the Museum in 2002 to function into collection items with Curator independently, but has continued Aubrey Hobart. to partner with the Museum in the presentation of RAiR fellow exhibitions.