Heard Museum Earth Song, Winter 2019

HEARD MUSEUM MEMBERSHIP MAGAZINE

W I N T ER 2020

earth song

On Display Through May 3, 2020

The mission of the Heard Museum is to be the world’s preeminent museum for the presentation, interpretation and advancement of American Indian art, emphasizing its intersection with broader artistic and cultural themes.

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earth song HEARD MUSEUM MEMBERSHIP MAGAZINE

FALL 2019

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HEARD MUSEUM, HEARD MUSEUM SHOP BOARD OF TRUSTEES Wick Pilcher John F. Lomax James R. Huntwork Karen Abraham David M. Roche TRUSTEES Tony Astorga Arlene K. Ben-Horin Gregory H. Boyce John Coggins Adrian N. Cohen Dr. Craig Cohen Robert A. Cowie Elizabeth Murfee DeConcini Judy Dworkin John Furth John Graham David A. Hansen Carrie L. Hulburd Sharron Lewis Stephen R. Lewis Marigold Linton LIFE TRUSTEES Kay Benedict Howard R. Berlin James T. Bialac Dr. George Blue Spruce, Jr. Mark B. Bonsall Herbert J. Bool Robert B. Bulla F. Wesley Clelland, III Norma Jean Coulter Alice J. Dickey† Robert J. Duffy Mary G. Hamilton Barbara Heard Patricia K. Hibbeler Joel P. Hoxie Mary Hudak Dr. Thomas M. Hudak Carrie L. Hulburd † deceased

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Chair Vice-Chair Secretary Treasurer Dickey Family Director and CEO Janis Lyon John Melamed Robert Meyer Scott Montgomery Susan H. Navran Scott H. O’Connor Leland W. Peterson Trevor Reed William G. Ridenour Margo Simons Don Smith Sue Snyder Guild President Ginger Sykes Torres Christy Vezolles David Wilshin

2301 N. Central Ave. Phoenix, AZ 85004 Monday to Saturday, 9:30 a.m. to 5 p.m.

Sunday, 11 a.m. to 5 p.m.

Closed Easter Sunday, Independence Day, Thanksgiving Day & Christmas.

Main: 602.252.8840 Events Hotline: 602.252.8848 Shop: 602.252.8344 or 1.800.252.8344 THE COURTYARD CAFÉ Open Every Day, 11 a.m. to 3 p.m.

602.251.0204 COFFEE CANTINA Monday to Saturday, 9 a.m. to 5 p.m.

Sunday, 11 a.m. to 5 p.m.

WE APPRECIATE THE SUPPORT OF THESE SPONSORS:

Partial funding provided by the Phoenix Office of Arts and Culture through appropriations from the Phoenix City Council.

INCREASE YOUR SUPPORT THROUGH OUR COMMUNITY PARTNERS: Richard L. Johnes Edward F. Lowry Frederick A. Lynn Dennis H. Lyon† Carol Ann Mackay Clint J. Magnussen Robert L. Matthews Miriam J. McClennen Mary Ellen McKee James Meenaghan Dr. Wayne Lee Mitchell Dr. Arthur L. Pelberg David E. Reese William C. Schubert Sheryl L. Sculley Richard H. Silverman John B. Stiteler John G. Stuart

EARTHSONG Allison Lester

Associate Director of Visitor and Member Engagement

Caesar Chaves

Creative Director

Deborah Paddison Michael Ziffer

Copy Editing

Sarah Moore

Graphic Design

COVER: Double Punch, 2011. Found striking gloves, assorted gold-tone bells.

Collection of the artist. Photo: Craig Smith.

The Heard Museum is a 501(c)(3) charitable organization incorporated in the State of Arizona. Exhibition, event and program funding provided in part by the Arizona Commission on the Arts, the Arizona Humanities Council, the National Endowment for the Arts, the National Endowment for the Humanities and the Phoenix Office of Arts and Culture.

WHAT'S INSIDE 90 YEARS 7

Maie Bartlett Heard: Beginning a Museum and Guiding the Early Years

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Let’s Celebrate 90 Years

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90 Years at a Glance

earth song HEARD MUSEUM MEMBERSHIP MAGAZINE

COLLECTION 23

The Heard Museum Collection by the Numbers

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A Look Back at the First Acquisition: Fred Kabotie

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Most Recent Acquisition: Kent Monkman

RESEARCH 31

Researching the Heard Museum’s History

FESTIVALS 35

Celebrating 30 years of Hoop Dance

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62nd Heard Museum Guild Indian Fair & Market

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Featured Fair Artists in the Shop

GO + DO 45 Calendar 49

New Member Experience + Exclusive Events

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Public Programs

SHOP + DINE 57

Gotta Have It!

LEARN 59

60 Years With Volunteers

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Guild Events

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Master Artist Workshop Series

EXPERIENCE 65

Member Highlights

GIVE 69

Heard Museum Donors WINTER 2020

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DIRECTOR’S LETTER The Heard Museum recently opened Maria Hupfield: Nine Years Towards the Sun, the first in a series of five monographic exhibitions, each of which will be dedicated to the work of a contemporary Indigenous woman artist. The opening coincides with the 90th Anniversary of the Heard Museum. I imagine Maie Bartlett Heard, the Museum’s founder, would be delighted by this exhibition because she, like Maria, was a woman of vision.

David M. Roche Dickey Family Director and CEO

Let me give you an example of her vision. In the Museum’s Articles of Incorporation, it states that as nearly as practicable, the Board of Trustees shall be equally comprised of men and women. Remember, this museum was founded less than 10 years after the 19th Amendment was passed, giving women the right to vote. For women to share equal responsibility in the governance of this Museum was an extraordinary mandate.

At the same time, when there was no government funding for the type of organizations that ensured the protection of women’s rights, Maie Bartlett Heard’s work in the public sector centered on families and social welfare. She organized and supported, for example, the creation of the Social Service Center that included a free clinic and assistance to the poor. She was one of the founders of Friendly House and Planned Parenthood.

She paid for building the YWCA auditorium and gym. She gave the land on which the Woman’s Club was built and was named Woman of the Year in 1948 by Beta Sigma Phi, an international sorority of businesswomen. All of this in addition to the outstanding generosity she provided to the City of Phoenix to support its artistic and cultural life. This includes the donation of the land for a civic center that would become the Phoenix Art Museum, the Phoenix Public Library and Phoenix Little Theater (now the Phoenix Theatre). A journalist, George F. Miller, described her as “a courageous person who often stood almost alone to fight for the rights of individuals.”

Maie Bartlett Heard died in 1951 but her legacy of supporting the rights of individuals, especially women, continued at the museum she founded. In 1964, at a time when most museums and galleries would not show the work of American Indian artists, let alone women artists, the Heard organized a solo show for Joan Hill, who was of Creek and Cherokee heritage. Since then, there have been numerous exhibitions at the Heard Museum dedicated exclusively to the work of women artists. Our current curatorial team including Ann Marshall, Diana Pardue, Janet Cantley and Erin Joyce have been responsible for the majority of them.

Thank you to our members for enabling us to continue our 90-year legacy of celebrating and supporting the hearts and minds of women, which we do, in part, to honor our extraordinary founder Maie Bartlett Heard.

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On Display Through May 3, 2020

90 Years

Maie Bartlett Heard Beginning a Museum and Guiding the Early Years

BY ANN MARSHALL | DIRECTOR OF RESEARCH

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90 YEARS

It takes courage to start a museum, but it takes a great deal more to continue when

your husband of 36 years dies just as the

exhibits are being installed. Maie Bartlett

Heard had that courage in abundance and saw the Heard Museum through

its first 22 years. Her civic activities are

well documented in the many awards

she received in her later years prior to her death on March 14, 1951—22 years to

the day after Dwight Heard’s passing.

Above: Maie Bartlett Heard and Dwight Bancroft Heard, c.1928 Spread: The Heard Museum in the 1930s.

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Histories of the museum’s founding invariably and appropriately begin with Dwight and Maie Heard’s international travels. Their collecting started prior to their marriage on August 10, 1893, in the Chicago home of Maie’s Father, Adolphus Bartlett. The couple traveled as far as Egypt in a family party, and their findings would mark the beginning of what would eventually become the Heard Museum.

Plans for continuing married life in Chicago changed in 1894. Dwight developed respiratory problems and needed to seek a more healthful climate. The couple spent 1894 traveling through Texas and New Mexico by horse and buggy. An 1895 a train trip with Maie’s father took them to Phoenix, where a planned stop of 24 hours led to a two-week stay. Just four months later, the Heards purchased their first property, which they named Buena Ranche, located at what is now 51st Avenue and McDowell.

The Heards made a good team. Mr. Heard, a big man, was characterized as outgoing and energetic. The list of enterprises he was involved with is long and includes real estate developer, ranch owner, newspaper publisher, political party participant and candidate for governor of Arizona. Through his father-in-law, Dwight Heard was an important conduit for Chicago investment funds in capital-poor Phoenix.

Much has been recorded about Dwight Heard; much less about Maie Heard. In contrast to her husband, Mrs. Heard was described by her longtime secretary and friend, Eula Parker Murphy, as being “quiet, tiny and fragile-looking.” A 1964 newspaper article written by George F. Miller as Scout Executive of the Theodore Roosevelt Council, and a personal acquaintance, referred to her as “a slight, frail giant” and “a tower of strength … a courageous person [who] often stood almost alone to fight for the rights of individuals.” A neighbor and friend Barbara Williams, who would later become the president of the Heard Museum’s Board of Trustees, echoed Miller’s assessment of Maie as “pleasing and gentle of manner, which hid a will of iron.”

The years between 1895 and the early 1920s saw the Heards traveling back to Egypt and the Sudan, to Mexico, to Hawaii, to Pacific Expositions, to Yosemite, and throughout Arizona. Their second home, Casa Blanca, became filled with mementos of their travels, even to the point of having to store some pieces.

Winifred Heard, wife of the Heards’ only son Bartlett, recalled the circumstances around the Heards’ decision Left: Maie Heard with President Theodore Roosevelt, who visited Arizona on several occasions including a 1916 stay as a houseguest at the Heards’ home, Casa Blanca.

Above: Maie Heard with the couple’s only child, Bartlett Bradford Heard, born December 17, 1898.

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to start a museum in an oral history recorded by the University of California, Berkeley’s Bancroft Library: “When I came into the family in ’21, the house was just so crammed full of things that Mrs. Heard and I were talking one day about what to do with them, and she was saying that she would sort of like to build a small building to put them in. I said ‘Why don’t you?’ She felt that this was a little presumptuous, but I urged her on; and so that’s how the Heard Museum started and why it was on the grounds [of the Heards’ home].”

Planning for a museum became more specific when in 1925 Dwight provided in his will $75,000 to be used by Maie “for construction, maintenance, and endowment for any form of benefaction for the benefit of Phoenix and vicinity.”

Augmenting the collection was a next step. By at least 1927, Herb BraMé and Allie Walling BraMé of the Arizona Curio Company (Allie would become the museum’s first curator) were working on commission purchasing indigenous art from people of the western United States.

Chicago architect H. H. Green was then hired to design the museum. With the Heards actively involved, Green created a structure that fit into the residential nature of its surroundings. Eula Parker Murphy described the planning of the museum, “They really had fun on this one. They sent for books on Spanish architecture, they

It is important to note that what the Heards planned was entirely different from anything existing in Phoenix at the time. The Arizona Museum was focused on Arizona history. In 1924, the City had been given the land on the site of a Hohokam mound, and where the Pueblo Grande Museum would open in 1929. The museum the Heards envisioned would have an international scope and a focus on indigenous people.

Baskets, ceramics and textiles collected on the Heards’ travels decorated the interior of Casa Blanca in this 1910 photograph.

Casa Blanca was built in 1910 in Dwight Heard’s Los Olivos development.

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pored over books about museum display cases, they designed some of the furniture and drew the plans for the wonderful wrought iron gates, and they saw it all built just as they dreamed.”

The building was completed in 1928 and cost in total $42,000. The museum had eleven galleries between the two floors, an auditorium, a kitchen, a library, an office, an apartment for a caretaker, and no collections storage. Installation of the galleries proceeded shortly after completion. According to Winifred Heard, it was exertion from handling Navajo textiles during a meeting at the museum with the Wetherills (probably John and Louisa) to discuss the textile installation that led to Dwight’s fatal heart attack later that day.

The articles of incorporation and formal announcement of the founding of the Heard Museum followed the settling of the estate on June 18, 1929. The very next day, the first meeting of the Heard Museum’s Board of Trustees took place. Only two people were present— Maie as President and her son Bartlett as Secretary/ Treasurer. Maie’s sister Florence Dibell Bartlett was also appointed Vice President, but as a resident of Chicago, was not in attendance. At that first meeting it was decided that “as near as practicable the board would have an equal number of men and women, not less than three members or more than 25 with a majority Phoenix residents.”

The second meeting of the Heard’s board—again, just Maie and Bartlett—included the decision to send out letters inviting “representative citizens of Phoenix” to join the board. The museum’s strong emphasis on education was apparent with the establishment as a permanent policy of four ex-officio members to include “the principal of the Phoenix high school, the superintendent of the city school, the superintendent of the county schools and the president of the Phoenix Parent Teacher association.” Unfortunately, the other Phoenix school, the Phoenix Indian School, was not included.

When the Heard Museum opened on December 26, 1929, it was a low-key public announcement in the Arizona Republican. Less than one column inch, the announcement consisted of a headline “Heard Museum

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THERE WAS NO ACQUISITION FUND. MRS. HEARD SIMPLY BOUGHT WHAT SHE THOUGHT THE MUSEUM NEEDED. SHE BOUGHT FROM LOCAL INDIAN ART STORES AND WAS ACTIVELY PURCHASING FROM THE FRED HARVEY COMPANY. MAIE WAS IMMERSED IN EVERY DETAIL, NO MATTER HOW SMALL.

to Open” and one sentence—“Beginning December 26, the Heard Museum, 22 East Monte Vista Road, will open to the public every day except Sunday, from 10 to 4.”

Shortly following the opening, standing committees were created that established policy for decades to come.

The House Committee established the policy that the auditorium would not be available for purely social affairs—the meeting had to have some interest or theme relating them to the museum’s mission. Successes in attracting club meetings in the first year of the museum led to establishment of fees and essentially began the private use revenue stream—decades before the 1980s, when the museum initiated its current program.

The Program and Publicity Committee, chaired by Winifred Heard, was the most active in their charge to encourage schools, societies and other appropriate organizations to visit. At the committee’s first meeting, many programs for children were outlined including Saturday morning story hour, traveling exhibits with a storyteller sent to schools, handcraft classes, and even the possibility of cooperation with playgrounds for over the summer. For adults, the committee planned outreach to clubs encouraging them to hold regular meetings at the museum, a speakers bureau, and lectures related to exhibits. Ambitious, breath-taking and perhaps naïve are three words that come to mind in reading the list. This was a museum without an educator or volunteer guild.

The Heard Museum was featured on Maie Heard’s 1929 Christmas card.

The museum’s central courtyard, now the South Courtyard, was the site of a concert in the early years.

RC46(3):13A

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the Secretary/Treasurer of the Southwest Museum in Pasadena, who spoke on Navajo textiles. Dean Byron Cummings of the Arizona State Museum, Kenneth Chapman of the Laboratory of Anthropology in Santa Fe, Mrs. Heard’s sister Florence Dibell Bartlett, a folk art collector and the founder of the Museum of International Folk Art in Santa Fe, spoke on “Colorful Guatemala,” and Harold and Mary-Russell Ferrell Colton, founders of the Museum of Northern Arizona, spoke in 1934 on the Hopi Craftsman Exhibition. One of the most popular speakers was Barry Goldwater, before his senatorial days, who showed films about going down the Colorado River which had to be shown on two successive nights to accommodate audiences.

The museum’s auditorium, now the Sandra Day O’Connor Gallery, set for a dinner. There was a kitchen off of the auditorium.

There were definite early programming successes, including a meeting of art teachers from all over the Valley and ten meetings of women’s clubs booked through the next year, all before the museum closed in May (and re-opened in October). In the early 1930s, Miss Samuels was brought in as the museum’s Storyteller, and Mrs. Margaret Hyde as an outreach speaker for schools. Unfortunately, the museum could not maintain the extension program, as the Great Depression took a deeper hold on the nation’s economy.

It is very important to note that 90 years later, the museum has continued to develop and present these same original programs.

Adult programs in the form of lecture series were also vitally important. The first speaker (whose name is not recorded) was an initial misfire, as the individual had never visited the museum and assumed it was a history museum. Subsequent speakers in following years included Charles Avery Amsden, at the time

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Through the years, it was Mrs. Heard who was mainly responsible for communicating with speakers and transmitting content to the newspapers, the Arizona Republic and Phoenix Gazette, with whom the museum maintained a close relationship. One example from 1950 is a typewritten article announcing Dr. George Brainerd’s talk. Eleven paragraphs later she summarized, “This is an awful mess—just bits picked from several books on the Yucatan—mostly from National Geographic.

I could find very little that seemed appropriate for publicity, and am not sure that you can use any of the above. It is after midnight and the books are over at the Museum or I would try again.”

Maie was involved in acquisitions as well. She responded personally to potential donors with unfailing grace. In one letter she explained that “As you probably know, our small museum is already crowded and we can find space for only those articles which are lacking in our collection or are better than anything we already have, in which case we remove the inferior items.”

There was also no need for an acquisition fund. Mrs. Heard simply bought what she thought the museum needed, including purchases from local Indian arts stores and from the Fred Harvey Company. Of course many dealers approached Mrs. Heard about purchases.

One exchange of letters in April of 1930 was with Fred Wetzler of Wetzler Supply, Furniture and Hardware in Holbrook, Arizona. Wetzler was on his way to the coast with a collection of Navajo rugs and would be passing through Phoenix on Sunday morning. He offered to

bring them to her residence, but Mrs. Heard told him to go to the museum and meet Mrs. BraMé, who “will inspect them and let me know if it will be worthwhile for me to run over.” A handwritten note on the letter from Mrs. Heard indicates that she bought from this group a textile for $200, originally priced at $1,580.

One colorful exchange of correspondence took place in 1929 between Mrs. Heard and artist Lon Megargee, who wanted to sell Mrs. Heard some Spanish antiques acquired on a painting trip to Spain. Mrs. Heard’s response questioned one of the chests saying, “My attention has been called several times to the fact that the carved panels appear to be modern work. On the continent they are so clever in the matter of these reproductions that I presume you did not consider the possibility that the chest had been ‘improved’ for the trade.” To which Megargee fired back, “My Dear Mrs. Heard—The bold statements of the individual or individuals who suggested that the carvings on the chest was of a later period than other parts brands himself as an ignoramus of the first water—no one who had real knowledge relating to Spanish antiques could come honestly to such conclusions.”

Today, looking back over 90 years, several things are striking about the early years of the Heard Museum.

At the time of the Heard’s founding, many museums were defining themselves as research institutions and conducting field work. Some museums attempted to do both. The Heard Museum has always had a commitment to presenting to a general audience information about indigenous people through exhibitions, programs and publications. Also, its exhibitions and collections have always included the art of living artists and contemporary works. Its broad, international scope has changed over the years as other institutions and other sources of information emerged, offering the Heard the chance to dive a bit deeper into regional subject matter.

Perhaps the thing that is most striking is the courage and devotion displayed by Maie Bartlett Heard over the first 22 years of the museum’s existence that began everything we are today.

An aerial view rendering of Casa Blanca and grounds, including the guest house and the covered walkway that led from the guest house to the museum.

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90 Years

Let’s Celebrate 90 Years

BY JANET CANTLEY | CURATOR

Over the next few pages, we’ve featured an expanded timeline from our 90th Anniversary exhibition, Celebrate! 90 Years at the Heard Museum, followed by highlights from our permanent collection. In preparation for this issue, we asked Celebrate! curator Janet Cantley to reflect on 90 years of the Heard Museum: It’s all about relationships. This may seem surprising, coming from a curator. Of course, the collection and exhibition program are central, but what I celebrate at the Heard Museum are the people.

I have watched the ten-year-old great-greatgranddaughter of Maria Martinez come to the Heard Museum Indian Fair & Market. Over the Above, Top to Bottom: Dallin Maybee (Northern Arapaho/Seneca, b.

1974), Beniiseiht, 2011, ledger art. Billie Jane Baguley Library and Archives years, I’ve bought a pinch-pot, snake, and a Collection, Heard Museum.

Persephone Bebo-Maybee (Northern Arapaho/Seneca, Menominee/ top-heavy rabbit that rests on his nose—all Hochunk), Untitled, 2017. Colored pencil on paper. made from micaceous black clay from San Ildefonso. Another budding young artist, following in her father’s footsteps, is making ledger art.

Her muse is food. She draws ice cream cone emojis, candy corn emojis and s’more emojis—you get the picture—on antique ledger paper.

We also get calls from people wanting to donate to the Heard. A memorable one was a couple in Sun City who had a hide painting made by Naiche, Chiricahua Apache prisoner-of-war. I was in my car and in their home that afternoon. This colorful turn-of-the-century painting of a coming-of-age ceremony is one of only a dozen made by the son of Cochise, and is a gem now in our collection.

This network of people make my job unique and enjoyable. I have had the great pleasure of working with Heard staff, Heard Guild and members, artists, collectors, tribal representatives and cultural officers, donors, lenders, museum professionals, gallery owners and appraisers.

In this special issue, you’ll learn about the relationships and people pivotal to our major milestones, permanent collection, signature events, volunteer force the Guild, and so much more. We have a great deal to celebrate as we approach our 90th anniversary—I invite you to join us at many of our upcoming programs as we kick off the next 90 years!

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RIGHT: Naiche, (Chiricahua Apache, 1856–1921), Hide painting, c. 1905. Deer hide, pigment; 25.5 x 33 x .25. Gift of Brig. Gen. (USA, Ret.) and Mrs. Neal R. Christensen.

IT’S ALL ABOUT RELATIONSHIPS. THIS MAY SEEM SURPRISING, COMING FROM A CURATOR. OF COURSE , THE COLLECTION 90 YEARS

AND EXHIBITION PROGRAM ARE CENTRAL , BUT WHAT I CELEBRATE AT THE HEARD MUSEUM ARE THE PEOPLE .

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90 Years at a glance

1929

Heard Museum, designed by architect H.H. Green, opens December 26 with 12,000 square feet and 12 exhibit galleries.

1958

Small expansion of the Museum adds air-conditioning, a new gallery, classroom and sales room for Heard Guild.

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1959

First Indian Fair, which continues each year during the first weekend of March as the Heard Museum Guild Indian Fair & Market.

Charles Loloma demonstrates pottery-making; Lloyd Kiva New puts on fashion show with design elements from Heard collection.

1972 The first all American Indian jury at the 5th annual Indian Arts & Crafts Show, includes Al Momaday (Kiowa), Fred Kabotie (Hopi), Allan Houser (Chiricahua Apache), Charles Loloma (Hopi) and Tony Da (San Ildefonso Pueblo).

1967-69 Expansion by architect Bennie M. Gonzales adds 3 new galleries including a new Gallery of Indian Art, a collections storage space, a larger auditorium and arched arcade along the front of the building parallel to Monte Vista.

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1983-84

Expansion of 37,000 square feet, including 350-seat Lincoln Auditorium, a kitchen, exhibition preparation area, a new classroom and sculpture garden.

1983

1984

Native Peoples of the Southwest exhibition features the museum’s permanent collection and first-person voice.

First fine art invitational, continued in 1985, 1987, 1989, 1991, 1994, 1997 and 2002.

1991

World Championship Hoop Dance Competition established and continues the second weekend of each February.

Exhibition Shared Visions: Native American Painters & Sculptors in the Twentieth Century accompanied by catalogue, conference, national and international tours.

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1995

1997

Exhibition Inventing the Southwest: the Fred Harvey Company and Native American Art celebrates the collection of more than 4,000 objects and is accompanied by two books, conference and national tour.

Exhibition Twentieth Century American Sculpture at the White House: Honoring Native Americans.

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Exhibition Remembering Our Indian School Days: The Boarding School Experience is first nation-wide examination and interpretation of American Indian boarding schools.

2000

1999-2000

Expansion adds 50,000 square feet of space, including Dorrance Education Center, Steele Auditorium, Shop, Nina Mason Pulliam Pavilion, Crossroads Gallery and expanded Library. The expansion rotates the museum entrance to welcome visitors coming off Central Avenue.

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2005

HOME: Native Peoples in the Southwest exhibition features the museum’s permanent collection and elevates the use of first-person voice.

2013 First National American Indian Veterans National Memorial honors American Indian veterans of three centuries of conflicts.

2019

Update of Boarding School exhibition, renamed Away From Home: American Indian Boarding School Stories; NEH on the Road Away From Home travels across the U.S., 2020-2025.

Books & More and Coffee Cantina open.

2011 2009 Heard Museum CafĂŠ opens.

2020-2029 The Heard Museum prepares to celebrate a century of advancing American Indian art.

2017

Virginia G. Piper Charitable Trust Grand Gallery and Nina Mason Pulliam Charitable Trust Crosswalk open.

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collection The Heard Museum Collection

more than

BY THE NUMBERS

44,000

objects in the Heard Museum Collection

1st

set of paintings Maie Heard purchased by Fred Kabotie

Fred Kabotie, Hopi, 1900-1986. Two Eagle Dancers, 1925, Watercolor on paper.

Heard Museum purchase, IAC7

120 Concho Belts Unknown artist, Navajo. Concho belt, c. 1890, Silver, leather. Gift of the Graham Foundation for Advanced Studies in the Arts, NA-SW-NA-J-522

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82 Charles Loloma jewelry items in the Collection

Charles Loloma, Hopi, 1921-1991.

Pendant, 1970, Turquoise, coral, malachite, lapis lazuli, ironwood, silver. Heard Museum purchase, NA-SW-HO-J-4

COLLECTION

more than

4,000

objects in the Fred Harvey Collection Unknown artist, Navajo. Textile, c. 1875, Wool. Fred Harvey Fine Arts Collection, Heard Museum, 1BL

169

Fritz Scholder paintings and prints

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Harry Fonseca paintings and drawings

Harry Fonseca, Maidu/Nisenan/Portuguese/Hawaiian, 1946-2006. Coyote in the Mission, 1983, Lithograph. Gift of Limestone Press, IAC1705

Fritz Scholder, LuseĂąo, 1937-2005. Self Portrait with French Wallpaper, 1976, Acrylic on canvas. Gift of Lisa Scholder, 4340-1

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collection

BY THE NUMBERS more than

1,700

Hopi Katsina Carvings

in the Collection Arvin Saufkie, Hopi, b. 1977. Muy’inga, 2012, Cottonwood root, pigment. Gift of Helen Kersting, 4801-3

437

Katsina Carvings donated by Senator Barry M. Goldwater Unknown artist, Hopi. Ahöla, early 1900s, Cottonwood root, pigment, kaolin, feathers, cloth. Gift of Senator Barry M. Goldwater, NA-SW-HO-F-127

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more than

COLLECTION

5,000 Baskets

Unknown artist, Western Apache.

Basket, c. 1900, Willow, martynia.

Heard Museum Collection, NA-SW-AP-B-6

more than

6,000

works of Pottery Tammy Garcia, Santa Clara Pueblo, b. 1969. Jar, 1992, Ceramic. Gift of the Estate of Les Goldberg, 4683-42

more than

27,000

artist files in the Billie Jane Baguley Library and Archives

Kay WalkingStick, Talking Leaves, Reader spread of pages 20-21. Gift of artist, RC165(7):1

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collection

A Look Back at the First Acquisition of Fine-Art Paintings at the Heard Museum:

Fred Kabotie

BY JANET CANTLEY | CURATOR

Butterfly (Water Drinking) Dance was one of three watercolor paintings by Fred Kabotie (Hopi) that Dwight and Maie Heard purchased in 1925 and 1926.

This was the start of the Heard collection of Native American fine art, which has grown to more than 4,600 paintings and sculptures.

The painting communicates a wealth of cultural information. The dancers wear and carry regalia appropriate to the gender of each dancer and the particular ceremony. Kabotie’s work transmits clarity and pride in his Pueblo heritage.

The painting, with its semicircle of colorful dancers, expresses rhythm and movement. The right foot of each dancer is raised in unison. The rain sashes on the women sway, and the necklaces of both male and female dancers bounce. The dancers demonstrate their intensity and humility by angling their bodies forward, eyes to the ground.

It is fitting that the first paintings in the Heard collection are by Kabotie, who was a leader, innovator and educator in American Indian art. His talent surfaced early as a student at Santa Fe Indian School, where he painted scenes of home life and ceremony to ease his homesickness. The drawings he did of Katsinam, ceremonies and regalia—all in great detail—were from memory.

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Kabotie attended Santa Fe Indian School from 1915 to the early 1920s. This time period at the Indian boarding schools was one of forced assimilation, when obliteration of Indian traditions was the thrust of the institutional mission. Yet, the wife of the superintendent at Santa Fe Indian School, Elizabeth DeHuff, invited six students to draw scenes of their home communities. DeHuff hosted the students in her house, provided them supplies and encouraged their artistic exploration with watercolor on paper. This was a new medium for the Pueblo students; in the pueblos, painting on pottery and wall murals had continued for centuries, but they had no experience with watercolor paints and paper. Elizabeth DeHuff’s husband, school superintendent J.D. DeHuff, was removed from his position because of this practice of “reviving Indian culture instead of eliminating it” (Fred Kabotie, Hopi Indian Artist, 1977). J. D. DeHuff was transferred to Sherman Indian School as a principal, a demotion from superintendent. Shortly afterward, DeHuff resigned, and he and Elizabeth returned to Santa Fe. Meanwhile, Kabotie went on to graduate from the public high school in Santa Fe in 1925. It was at this time that the Heards purchased the three watercolors.

Much of Kabotie’s career focused on introducing the world to the beauty of Hopi ceremony. The artist, like many of the Pueblo painters at the time, was getting support from the community of non-Native artists

HE [K ABOTIE] PAINTED SCENES OF HOME LIFE AND CEREMONY TO EASE HIS HOMESICKNESS. and museum professionals in Santa Fe. In the 1930s, he was commissioned to paint murals for the Peabody Museum and at the Desert View Watchtower at the Grand Canyon. Kabotie taught art at Hopi High School for 20 years, influencing new generations of artists. He received a Guggenheim Fellowship in 1945. In 1949 he helped establish the Hopi Silvercraft Guild, and he was instrumental in founding the Hopi Cultural Center in 1971.

Kabotie’s legacy lives on through his students, the artists he influenced and the artworks he leaves with us. His desire to teach the world about his heritage comes to fruition when people visit the Hopi Cultural Center or examine his paintings. We cherish Butterfly (Water Drinking) Dance, made at a time when, for decades, the government policy was to eliminate all expression of Indian art, spirituality and identity.

Above: Fred Kabotie, Hopi, 1900-1986, Butterfly (Water Drinking) Dance, 1925. Watercolor on paper, Heard Museum Purchase, IAC6

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collection Most Recent Acquisition:

Kent Monkman

BY ERIN JOYCE | FINE ARTS CURATOR

In the fall of 2019, we were thrilled to have a new work gifted to the collection. The work Danaë Receiving the Golden Rain, 2015, by Kent Monkman (Cree, Irish) was purchased for the museum by Francis and Dionne Najafi on behalf of the Pivotal Foundation in honor of their longtime friends and Heard Museum supporters, John and Ellen Stiteler.

Kent Monkman, b. 1965, is arguably one of the most esteemed contemporary painters and multi-disciplinary artists working today. In his work, Monkman intervenes in the colonial representation of Indigenous bodies and landscapes, and inserts new meanings, Indigenous sexuality and sovereignty.

Monkman has exhibited his work at prestigious institutions globally including Musée des Beaux-Arts, Montréal; the Art Gallery of Ontario; the National Gallery of Canada; Crystal Bridges Museum of American Art; Palais de Tokyo, Paris; and the Heard Museum.

Monkman is the first Indigenous Canadian to receive a solo exhibition at the Metropolitan Museum of Art in New York. The exhibition will be opening in December of 2019 with two commissioned works for the Great Hall. Through his paintings, installations, video works, and performances, Monkman often includes his genderfluid alter ego, Miss Chief Eagle Testickle, a satirical play on words which illuminate mischievous behaviors and the egotistical framework of dominant heteronormative society. Monkman describes Miss Chief as “a time-traveling, shape-shifting, supernatural

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being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples.”

Danaë Receiving the Golden Rain features Miss Chief in a woodland setting; reclining nude on a boulder adjacent to a stream wearing their trademark Christian Louboutin stiletto heels. Invoking a passage in Ovid’s Metamorphosis (published 8 BCE), Monkman portrays a narrative in which an oracle informs King Acrisius that his daughter, Danaë, will bear a son who will kill him. King Acrisius attempts to avoid his fate by imprisoning his daughter. Zeus then takes the form of golden rain and enters the tower through the skylight in which Danaë is being held and impregnates her. The child would be born as Perseus, who eventually fulfills the prophecy and kills King Acrisius.

Monkman is one of a long list of artists who have depicted this tableau from Titian, Rembrandt van Rijn, Anthony van Dyke, Gustav Klimt, and Orazio Gentileschi (illustrated here).

This significant addition to our collection adds to our holdings of 21st-century artwork, and is the first in our collection by Monkman.

Thank you to both Francis and Dionne Najafi for their generosity, as well as John and Ellen Stiteler for their continued support.

ABOVE: Orazio Gentileschi (Italian, 1563 - 1639), Danaë and the Shower of Gold, 1621–1623, Oil on canvas. 161.5 x 227.1 cm (63 9/16 x 89 7/16 in.), 2016.6, The J. Paul Getty Museum, Los Angeles. Digital image courtesy of the Getty’s Open Content Program.

RIGHT: Kent Monkman (Cree, Irish), Danaë Receiving the Golden Rain, 2015.

Acrylic on canvas. Gift of Francis and Dionne Najafi in honor of John and Ellen Stiteler.

research

Researching the Heard Museum’s History: DOCUMENTARY RESOURCES ABOUT THE HEARD MUSEUM IN THE BILLIE JANE BAGULEY LIBRARY AND ARCHIVES

BY MARIO NICK KLIMIADES | LIBRARY AND ARCHIVES DIRECTOR & BETTY MURPHY | LIBRARIAN WITH THE ASSISTANCE OF DEE DOWERS | ARCHIVES VOLUNTEER In preparation for the Heard Museum’s 90th anniversary, the collections of the Billie Jane Baguley Library and Archives have been the focus of attention by staff and researchers. Listed below are some of the primary resources in its collection on the history of the Heard Museum.

The Heard Museum’s first clipping file ranks as one of the rare earlier sources on the museum’s history. With extensive contributions from the Heard Museum’s founder Maie Bartlett Heard and her assistants, this collection forms the basis of the Heard Museum Newspaper Clipping Collection, 1930s-1960s (RC469).

The early clippings are housed in a series of six notebooks, with tables of contents that list lectures and exhibitions at the Heard Museum during our founder’s lifetime. Mostly newspaper clippings, the collection also includes early press releases, typed memoranda, and handwritten notes.

The Heard Museum Board of Trustees Minutes (RC470) are another resource. Initially transferred to the Library and Archives over 30 years ago, the minutes remain the most popular resource for staff. They begin with the June 18, 1929, Articles of Incorporation signed by Maie Bartlett Heard and her son, Bartlett Bradford Heard.

Meeting minutes from early on discussed obtaining the “services of a silver-smith, blanket weaver, or pottery maker” for museum programming purposes, and the Acquisitions Committee unanimously passed on the

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Hopi Special exhibit 1959-60 Season brochure front cover

RESEARCH Earliest known view of the interior of the Heard Museum Library circa 1960. Researcher seated at marble-topped card catalog which also served as a library table. [RC76(L52):51.1]

acquisition of numerous objects acquired by Maie Bartlett Heard from the Fred Harvey Company.

The Heard Museum newsletter has a nearly 60-year history. This official publication has changed titles numerous times including Museum Notes, Heard Museum Newsletter, and the most recent version, Earth Song. The newsletter is an ongoing comprehensive record of the programming and exhibition calendar of the Heard Museum from 1960 and, with the museum’s website, it continues as a primary source of information. The Library and Archives has a near-complete collection, with the exception of some of the earliest issues. A reprint of the first newsletter, Museum Notes, volume 1, no. 1 (March 1960) is reproduced here.

As the backbone of the Heard Museum, the Heard Museum Guild has documented the activities and history of the museum and the Guild by way of

its annual scrapbooks. The Heard Museum Guild Scrapbooks (RC285) date from 1952 and document the activities of the Guild with original photographs, clippings, and ephemera meticulously affixed to album pages and identified as to who, what, where and when.

Where the Heard Museum Newsletter fails to capture the excitement of an event, the Guild scrapbooks feature snapshots and commentary.

Over twenty other research collections, rich in both Heard family and museum history, reside in the archives.

The most notable are Heard Museum: Buildings, Staff and People (RC76); Heard Family Photographs and Ephemera, ca. 1890-present (RC8); and Anna Maie Murphy Collection of Heard Family Ephemera (RC101).

The latter collection includes Maie Bartlett Heard’s travel case, including an elegant mirror and brush, and correspondence. Eula Parker Murphy held on to these

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Library volunteers since the 1970s have been actively collecting information resources on the Heard Museum, amassing an ongoing collection of brochures and clippings from a variety of sources. This documentation is available through the Library’s Pamphlet File Collection. Divided into over 230 categories and consisting of 27 linear feet, material in the Pamphlet File Collection documents every aspect of the Museum including its events, staff, and the Guild!

A less well-known source of information, due to its restricted use, is the Museum’s Institutional Records.

Left: Board of Trustees members Sandra Day O’Connor and Norma Jean Coulter during Sandra Day O’Connor book signing at the Heard Museum, February 12, 2011 [RC76(E93):180.14]

Stored off-site, this collection consists of nearly 400 banker boxes of administrative and departmental records, including planning documents, departmental minutes, calendars, diaries, memoranda, and records on the decision-making process for all types of activities.

RESEARCH

after Maie passed, and entrusted them to her daughter, Guild member Anna Maie Murphy, who generously donated them to the Heard Museum. Eula Parker Murphy was Mrs. Heard's personal secretary.

Finally, it is important to note that not all history resides in paper, electronic bytes, and audio-visual material.

Sometimes the very best sources of information are current staff members and active Board of Trustee members who have dedicated decades of service to the Heard Museum. These walking encyclopedias include Research Director Dr. Ann Marshall, Chief Curator Diana Pardue, and Board of Trustees member and shop volunteer Norma Jean Coulter. They continue to make Heard Museum history and know this great institution’s legacy intimately.

Reprint of Museum Notes, volume 1, no. 1 (March 1960)

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hoop dance

Celebrating 30 Years of Hoop Dance

Photo: Jewel Clark, Heard Museum

MASTER OF CEREMONIES DENNIS BOWEN JR. REFLECTS ON THE POPULAR ANNUAL CONTEST “The hoop is a classroom—a university of learning,” says Dennis Bowen Jr. (Seneca) who, for the past three decades, has been an event judge, Master of Ceremonies and the guiding voice of the Annual Heard Museum World Championship Hoop Dance Contest, which turns 30 years old in February. “Infancy, childhood, adulthood and old age—those [are] the four times of our life. That’s represented on this hoop. An Elder could sit with you and teach you about life [using] this hoop.”

Bowen’s longtime perspective on the annual contest transcends what many competitors, families, and audience members may think about the event. Hoop

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dancing, Bowen believes, is much more than a thrilling spectacle, especially when you understand its roots and its evolution. “Hoop dance came from traditional teachings and traditional thinking. And it came from healing and helping people.”

The hoop dance as we know it today began with Tony Whitecloud (Jemez Pueblo) in the 1930s. He created a performance program for the tourism industry using willow hoops to form shapes and designs, while dancing to intertribal music. Whitecloud shared his art form with other young Native dancers as he traveled through North America over many years. The movement he

HOOP

flowers and insects, all while continuously dancing and keeping time to live music. Bowen says that the dancers “tell us a story with their formations.”

Singers and drummers are essential to the hoop dance, and during the course of the weekend, each of the two drum groups representing Northern and Southern styles may perform more than 100 songs. In the early years, there was no time limit for each routine. “One singer, who is a legendary singer,” Bowen says with a characteristic smile, “sang for 22 minutes straight. Can you imagine?”

In its first year, Bowen remembers, “we had, I believe, eight hoop dancers.” Eddie Swimmer (Eastern Band Cherokee/Chippewa-Cree) took that first adult title in 1991, and he returned in 2017 as a competition judge.

Since Swimmer’s win, several champions have gone on to win the adult division multiple times, including 7-time winner Derrick Davis (Hopi/Choctaw). Three Eddie Swimmer, 1996.

inspired led to the first World Championship Hoop Dance Contest at the New Mexico State Fair in 1991.

The following year, the contest was moved to the Heard Museum, where it continues today.

HOOP DANCE CAME FROM TRADITIONAL TEACHINGS AND TRADITIONAL THINKING. AND IT CAME FROM HEALING AND HELPING PEOPLE. The competition itself is thrilling and intense. Dancers must display remarkable artistry, speed, focus, endurance and rhythm as they vie to win a title in one of four age divisions—Youth, Teen, Adult, and Senior. The contest features more than 80 competitors and attracts more than 4,000 spectators—not to mention more than 1 million online views. It is without a doubt one of Arizona’s most exhilarating and unique annual events.

Competitors must use multiple hoops (some use as many as 50) to make formations such as eagles, butterflies, Lisa Odjig. Photo: Craig Smith, Heard Museum

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Canadian champions—Quentin Pipestem (Tsuu Tina First Nation), Alex Wells (Lil’wat Nation), and Dallas Arcand (Alexander First Nation)—and one American, Nakotah LaRance (Hopi Choctaw), have taken the title 3 times. And another Canadian, Lisa Odjig (Odawa, Ojibwe Nation) won the adult title twice.

During the contest, men and women compete together in their respective age divisions. Odjig was the first female competitor to win the adult category, and her win was preceded by Ginger Sykes Torres (Diné), now a Heard Museum Trustee, who was the first female

THERE IS PERSONAL GROWTH WITH OUR HOOP DANCERS AND THE AUDIENCE GETS TO SEE THAT. THEY GET TO SEE A DANCER WHEN THEY HOOP DANCE [AT] 10 YEARS OLD, AND IF THEY COME YEAR AFTER YEAR, THEY SEE THEM DANCE WHEN THEY ARE 25 YEARS OLD.

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Nanabah Kadenehii, 2017. Photo: Jewel Clark, Heard Museum

contestant to win any division by claiming the teen title in 1997. Jackie Bird (Mandan / Hidatsa / Santee Sioux) was the first woman to enter in the contest in 1994.

Today, nearly half of all competitors are female, and in recent years, competitors like Nanabah Kadenehii (Diné) and Kailayne Jensen (Diné/Maricopa) have won teen and youth divisions multiple years in a row.

Tyrese Jensen, 2017. Photo: Jewel Clark, Heard Museum

HOOP Nakotah LaRance, 2016. Photo: Jewel Clark, Heard Museum

Bowen’s three decades as the host of the annual event have given him a unique perspective on the next generation of competitors, and the contest’s future. “There is personal growth with our hoop dancers, and the audience gets to see that. They get to see a dancer when they hoop dance [at] 10 years old, and if they come year after year, they see them dance when they are 25 years old.” Many longtime fans recall seeing champions like Tony Duncan (Apache/ Arikara/Hidatsa) and Tyrese Jensen (Diné/Maricopa) as contestants in youth and teen divisions.

SCHEDULE OF EVENTS HOOP DANCE Saturday, Feb. 8 9 a.m. to 5 p.m. (gates open 8:45 a.m.; grand entry 9:30 a.m.)

Sunday, Feb. 9 9 a.m. to 5 p.m. (gates open 8:45 a.m.; grand entry 9:30 a.m.)

COST

This continuum of generations of families and friends who take part in hoop dance is a reflection of the unbroken circle of the hoop itself, and points to a rich future for the form.

Adults: $25

“We began with traditional teachings and thoughts about the hoop dance. It’s grown in 30 years. There’s more contemporary styles,” says Bowen. However styles may change, though, Bowen cautions that contestants keep the origins of the event in mind. “If you’re going to dance in our world championship, know the history.

Because we’re going to share that history out of respect for those who came before us.”

Children age 4–12: $7.50

Seniors (65 and older): $15 American Indians: $10 Heard Museum members: $15 Children 3 and younger: free 2-DAY PASS: $30 Members at the Supporter Level ($250) and above receive 2 or more complimentary tickets. Circles of Giving members receive access to the VIP viewing tent. Visit heard.org/membership for more information.

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indian fair & market

62nd Heard Museum Guild Indian Fair & Market

Venancio Francis Aragon, Navajo, b. 1985. Prism of Emotions, 2019. Merino and merino/mohair blend commercial yarn, aniline dye, cochineal dye, vegetal dyes of red and yellow onion skins, Navajo tea, rabbitbrush and turmeric.

BY ANNA FLYNN Best of Show dinner. Photo: Caesar Chaves, Heard Museum

The Guild and the Indian Fair & Market have been an integral part of the Heard Museum for over 6o years. In 1956, 30 women formed an auxiliary to support the mission of the Heard, provide financial assistance, and guide tours of the museum’s collection. This intrepid band of women—and they were all women up until 1972— committed themselves with passion and zeal. In 1958, they opened a gift shop and decided that Phoenix needed a family-friendly event to help keep the museum doors open. They held the first Indian Fair in 1959.

Since then, the Fair has provided an opportunity for American Indian artists to display and sell their work and for visitors to meet and learn about American Indian arts and cultures, while also raising funds to support the mission and programs of the Heard.

More than 300 Guild and community volunteers work on Fair weekend.

The Fair includes the Best of Show Awards Reception and Fashion Show on Friday evening and the Indian Fair & Market on Saturday and Sunday.

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FAIR

Best of Show Awards Reception and Fashion Show Don’t miss this dazzling evening kick-off to the Fair weekend! At this festive and highly anticipated event, the winning art in 10 classifications will be unveiled.

These works demonstrate the energy, creativity and skills of our Fair artists. Come see these breathtaking creations up close and congratulate the artists. Preview a stunning array of wearable art as models walk the Heard catwalk in “must have” fashions designed by Fair artists.

Relax with old and new friends while enjoying small plates, desserts and beverages under the twinkling lights of the Courtyard. Enjoy music compliments of Canyon Records.

A renowned group of judges composed of artists, collectors and museum professionals select the winning art. The prestige of winning a Heard ribbon enhances artists’ professional reputations and potentially increases the value of their work. $74,050 will be distributed across 134 awards along with 30 non-cash Honorable Mentions.

Howard R. & Joy M. Berlin, Kristine & Leland W. Peterson and Martha Head are co-sponsoring the

$15,000 Best of Show Award. We’ve come a long way from our first $500 Best of Show Award in 1974! Lee Peterson is Treasurer of the Heard Museum Board of Trustees and Howard Berlin is a Life Trustee of the Heard Museum. Head is a Museum member from Minneapolis. The Guild thanks the Berlins, the Best of Show fashion show.

Petersons and Head for Photo: Caesar Chaves, Heard Museum their generous support of the Indian Fair & Market and our outstanding artists.

We still need ribbon sponsors for awards ranging from $150 to $1500 as well as Friend of the Fair donations under $150. For more information, contact IlgaAnn Bunjer at ilgaann@centurylink.net or 602.438.4384, or go to heard.org/fair/support/donate.

SCHEDULE OF EVENTS JURIED ART COMPETITION RECEPTION AND FASHION SHOW Friday, March 6, 5:30 - 8 p.m.

Tickets: $75 Members/$100 Non-members heard.org/fair/tickets or 602.252.8840 Circles of Giving members receive 2 or more complimentary tickets and early entry at 5 p.m.

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Venancio Francis Aragon, Navajo, b. 1985. Prism of Emotions, 2019. Merino and merino/mohair blend commercial yarn, aniline dye, cochineal dye, vegetal dyes of red and yellow onion skins, Navajo tea, rabbitbrush and turmeric.

Photo: Caesar Chaves, Heard Museum

Fancy dancer. Photo: Haute Photography

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Dance circle. Photo: Haute Photography

FAIR Yellow Bird Productions Indian Dancers, featuring Violet Duncan (top left) and Tony Duncan (top right). Photo: Haute Photography

Indian Fair & Market Experience American Indian arts and cultures in a beautiful setting and visit the museum all for one low ticket price. From an application pool of 920 artists, the judges selected just over 600 artists from more than 100 North American tribes. These artists, in some cases with their children and grandchildren, will exhibit and sell authentic one-of-a-kind art including jewelry, pottery, paintings, digital arts, baskets, personal attire, weavings, Pueblo carvings, sculpture and more. Pieces are available at many price points.

Other art forms celebrated at the Fair include music, dance, storytelling and writing. Enjoy live performances on two stages. Canyon Records recording artists will perform on the Courtyard Stage.

The Opening Ceremony, Hopi Butterfly Dancers, Zuni Traditional Dancers, Hoop Dancer Tony Duncan and The Women Dance, beautifully will be in the amphitheater. Violet Duncan (Plains Cree/Taíno) will lead storytelling and crafts, and authors will sign books at Books & More. Food and beverages will be available at multiple locations. Don’t forget your Fair admission includes admission into the museum, so bring the family and make a day of it!

SCHEDULE OF EVENTS INDIAN FAIR & MARKET Saturday, March 7, 9:30 a.m. to 5 p.m.

(Early bird admission for museum members only at 8:30 a.m.)

Sunday, March 8, 9:30 a.m. to 4 p.m.

PRICE PER DAY (INCLUDES FAIR AND MUSEUM ADMISSION) Advance tickets: $20 Members $23 Non-members Day-of tickets: $23 Members $25 Non-members Students, active and retired military with ID, and American Indians with tribal ID: $10 (no online sales) Children 16 and under: Free Tickets: heard.org/fair, 602.252.8840, museum admissions and Fair entrance.

Members at the Supporter Level ($250) and above receive 2 or more complimentary tickets. Visit heard.org/membership for more information.

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fair

Featured Fair Artists in the Shop

MIKE-BIRD ROMERO (SAN JUAN) Born on San Juan Pueblo in New Mexico, Mike-Bird comes from a long line of artists. His mother was known for textile art and his grandmother, Luteria Atencio, was a respected potter with art collected by the Smithsonian. He is primarily a self-taught jeweler and silversmith and has been making jewelry since 1972. He is well known for his traditional and contemporary gold and silver jewelry and beadwork, and has experimented with sculpture.

NANCY YOUNGBLOOD (SANTA CLARA) Nancy Youngblood (native name Yellow Aspen) was born in 1955. She was introduced to pottery by her mother and her grandmother, the famed Margaret Tafoya. She started competing in 1972 at the Gallup Intertribal Ceremonial, winning second place. After briefly attending San Francisco Art Institute, she returned to Santa Clara and continued to show her work at the Santa Fe Indian Market. In 1976, at 21, she had her first major exhibition at Gallery 10 in Scottsdale.

She is well known for her S-shaped melon jars and the innovative way she explores her craft while maintaining the Santa Clara traditional form.

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Denise Wallace (Aleut) was born in 1957 in Seattle, Washington. She and her husband Samuel moved to Santa Fe in 1977 so Denise could attend the Institute of American Indian Arts. They opened a studio together where they made work based on the imagery and legends of Denise’s Aleut heritage until her husband’s death in 2010.

Dawn Wallace was born in Santa Fe and spent her formative years in her parents’ gallery. She started crafting jewelry herself at the age of 12 and exhibiting in local Indian Fairs just two years later. Dawn’s work is a combination of her own heritage and architectural elements of New York, where she received an associate’s degree at the Fashion Institute of Technology.

RAYMOND NORDWALL (PAWNEE/OJIBWE/CHEROKEE) Nordwall began his painting studies under noted artist, Johnny Tiger Junior. He attended the Institute of American Indian Arts in Santa Fe and would go on to work under Frank Howell. He currently lives in Santa Fe, where the Nordwall Gallery & Studio is located.

JON DECELLES (GROS VENTRE) As a boy, DeCelles grew up on various reservations in South Dakota, Oregon and Montana. He began his studies at the Institute of American Indian Arts in Santa Fe, where he studied twodimensional design. After deciding painting was not his forte, he discovered sculpture, going on to receive an associate’s degree in three-dimensional design in 1985. He is known for his sculptures that capture fluidity and motion, taking special interest in carving out many of the designs so that light will permeate the piece and give it an “inner light.”

NON-ARTIST, BASKET AUTHORITY: TERRY DEWALD Terry DeWald is the author of The Papago Indians and Their Basketry. As a member of the Antique Tribal Art Dealers Associated (ATADA), he has extensively studied and lectured about historic Southwest and California basketry as well as contemporary Tohono O’odham and Apache basketry.

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FAIR

DENISE & DAWN WALLACE (ALEUT)

go + do

This calendar is accurate as of 12/13/2019, but we are always planning more events. Check heard.org or our Facebook page for the most up-to-date information.

JANUARY 3 | FRIDAY

11 A.M.

16 | THURSDAY

6 TO 10 P.M.

CIRCLES OF GIVING NEW MEMBER LUNCH

5 TO 8 P.M.

A NIGHT OF RHYTHM - MUSIC AND POETRY

RSVP required.

MEMBERS EXTENDED HOURS

Heard Museum Campus

see p.52

see p.51

see p.53

1:30 P.M.

11 | SATURDAY 9:30 TO 10:30 A.M.

SCENE AND HEARD FILM SERIES: OHIYESA: THE SOUL OF AN INDIAN

9:30 A.M. TO 12:30 P.M.

Steele Auditorium

SHORT COURSE: BASKETRY

see p.54

Steele Auditorium

MUSEUM YOGA

see p.55 9:30 A.M. TO 12:30 P.M. SHORT COURSE: BASKETRY

Steele Auditorium Registration required. see p.61 10 A.M. TO 4 P.M. SECOND SATURDAY

Heard Museum Campus see p.55

18 | SATURDAY

15 | WEDNESDAY

Registration required. see p.61

9:30 A.M. GUILD MEETING

Guest Speaker: Jhane Myers (Comanche/Blackfeet)

23 | THURSDAY

see p.60

4 P.M.

1 P.M.

CIRCLES COLLECTS: DAVID HOCKNEY

SCENE AND HEARD FILM SERIES: N. SCOTT MOMADAY: WORDS FROM A BEAR

Steele Auditorium see p.54

RSVP required. see p.52

25 | SATURDAY 9:30 TO 10:30 A.M. MUSEUM YOGA

see p.55 9:30 A.M. TO 12:30 P.M. SHORT COURSE: BASKETRY

Steele Auditorium Registration required. see p.61

Photo: Haute Photography

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14 | FRIDAY

22 | SATURDAY

6 TO 8 P.M.

9:30 TO 10:30 A.M.

WE

MUSEUM YOGA

OUR MEMBERS

see p.51

GO + DO

FEBRUARY see p.55

18 | TUESDAY 2 P.M. MAIE BARTLETT HEARD SOCIETY ANNUAL GATHERING

RSVP required.

Photo: Jewel Clark, Heard Museum

see p.52

7 | FRIDAY

19 | WEDNESDAY

6 TO 10 P.M.

9:30 A.M.

FIRST FRIDAY: 30TH ANNIVERSARY HOOP DANCE KICK-OFF EVENT

Heard Museum Campus see p.53

8 | SATURDAY 9 A.M. TO 5 P.M. 30TH ANNUAL WORLD CHAMPIONSHIP HOOP DANCE CONTEST

Libby Amphitheater

GUILD MEETING

Guest Speaker: Jim Turner see p.60

20 | THURSDAY 5 TO 8 P.M. MEMBERS EXTENDED HOURS

Louis Tewanima

1 P.M.

see p.51

LECTURE: MARATHONER LOUIS TEWANIMA AND THE CONTINUITY OF HOPI RUNNING

6 P.M.

Monte Vista Room

see p.38

SCENE AND HEARD FILM SERIES: HOCKNEY

Speaker: Matthew Sakiestewa Gilbert

9 | SUNDAY

Steele Auditorium

see p.55

see p.54

24-27 | MONDAY-THURSDAY

9 A.M. TO 5 P.M. 30TH ANNUAL WORLD CHAMPIONSHIP HOOP DANCE CONTEST

GUILD TRAVEL: MATA ORTIZ AND NORTHERN CHIHUAHUA

RSVP required.

Libby Amphitheater

see p.63

see p.38

MARCH 6 | FRIDAY

7 | SATURDAY

8 | SUNDAY

5:30 TO 8 P.M.

9:30 A.M. TO 5 P.M.

9:30 A.M. TO 4 P.M.

HEARD MUSEUM GUILD INDIAN FAIR & MARKET: BEST OF SHOW RECEPTION AND FASHION SHOW

62ND ANNUAL HEARD MUSEUM GUILD INDIAN FAIR & MARKET

62ND ANNUAL HEARD MUSEUM GUILD INDIAN FAIR & MARKET

Heard Museum Campus

Heard Museum Campus

see p.42

see p.42

Heard Museum Campus see p.40

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go + do se

MARCH

14 | SATURDAY

21 | SATURDAY

9:30 TO 10:30 A.M.

11:30 A.M.

MUSEUM YOGA

SCENE AND HEARD FILM SERIES: OUT OF STATE

AMERICAN INDIAN STUDENT ART SHOW MEMBERS ONLY SILENT AUCTION & SALE

Steele Auditorium

see p.64

see p.55 11 A.M. TO 1 P.M. MEMBER APPRECIATION MONTH: FAMILY PICNIC

see p.54

Libby Amphitheater

27 | FRIDAY

see p.51

12 TO 5 P.M.

18 | WEDNESDAY 9:30 A.M. GUILD MEETING

Guest Speakers: Doug Passon and Melanie Yazza

AMERICAN INDIAN STUDENT ART SHOW PREVIEW

see p.64

28 | SATURDAY

see p.60

9:30 TO 10:30 A.M.

19 | THURSDAY

see p.55

5 TO 8 P.M.

MUSEUM YOGA

5:30 TO 8 P.M.

29 | SUNDAY 11 A.M. TO 5 P.M. AMERICAN INDIAN STUDENT ART SHOW PUBLIC SALE

see p.64

30 | MONDAY 10 A.M. TO 4 P.M. AMERICAN INDIAN STUDENT ART SHOW PUBLIC SALE

see p.64

10 A.M. TO 5 P.M.

MEMBERS EXTENDED HOURS

AMERICAN INDIAN STUDENT ART SHOW PREVIEW

see p.51

see p.64

APRIL 3 | FRIDAY

16 | THURSDAY

26 | SUNDAY

6 TO 10 P.M.

5 TO 8 P.M.

11 A.M. TO 3 P.M.

CANYON RECORDS NIGHT

MEMBERS EXTENDED HOURS

DIA DEL NIÑO

Heard Museum Campus see p.53

11 | SATURDAY 9:30 TO 10:30 A.M. MUSEUM YOGA

see p.55 10 A.M. TO 4 P.M. SECOND SATURDAY: KATSINA MARKETPLACE

15 | WEDNESDAY 9:30 A.M. GUILD MEETING

see p.51

Heard Museum Campus see p.56

18 | SATURDAY 11:30 A.M. & 1:30 P.M. SCENE AND HEARD FILM SERIES: PAYA: THE WATER STORY OF THE PAUITE

Steele Auditorium see p.54

25 | SATURDAY 9:30 TO 10:30 A.M. MUSEUM YOGA

see p.55

Guest Speaker: Teri Greeves (Kiowa) see p.60

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Photo: Craig Smith, Heard Museum

EXPERIENCE THE WORK OF ONE OF THE WORLD’S GREATEST LIVING ARTISTS ONLY AT THE HEARD MUSEUM.

ON VIEW NOW THROUGH APRIL 5, 2020 Visit heard.org/hockney to find out more about the exhibition, David Hockney’s Yosemite and Masters of California Basketry

David Hockney, Yosemite II, October 16th 2011. iPad drawing printed on four sheets of paper (46 3/8 x 34 7/8” each), mounted on four sheets of Dibond. Edition 1 of 12; 92 3/4” x 69 3/4” overall. © David Hockney. Photo Credit: Richard Schmidt.

Collection The David Hockney Foundation

go + do Welcome to your new Member Experience!

This past October we unveiled our completely refreshed and inviting Virginia G. Piper Charitable Trust Central Courtyard and Admissions Lobby. We’ve created an exceptional and welcoming experience just for you, our members. On your next visit, check-in on the right side of the Lobby at the dedicated Membership Services desk.

You’ll be welcomed by one of our fantastic team members who can inform you of upcoming member events, make changes to your membership record and even print new membership cards! As members who visit often, we invite you to share your thoughts and ideas on anything you would like to see or do at the Heard; simply tell the team member at the desk or send us an email at members@heard.org.

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GO + DO The new digital Welcome Wall and updated Admissions Lobby

The refreshed Virginia G. Piper Charitble Trust Courtyard

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MEMBER EXCLUSIVE EVENTS Heard Members truly experience more.

We hope you’ll join us at these upcoming Members-Only events:

Extended Hours JAN. 16 | FEB. 20 | MARCH 19 | APRIL 16 We’re staying open late until 8 p.m. for members exclusively on the third Thursday of the month through April.

Members’ Lounge JAN. 11 | APRIL 11 Join us for the next two Members’ Lounges during our Second Saturday events, located in the Pritzlaff Courtyard.

We

Our Members

Member Appreciation Month FEB. 14 – MARCH 14 We REALLY love our Members! Beginning Feb. 14, we are kicking off an entire month Our Members event on Valentine’s Day. dedicated to members with our annual We At this year’s event, we are celebrating the decades between our founding in 1929 and today with a special performance by the band, Jazzola. We invite you to bring your friends, family and each other throughout the entire appreciation month. Enjoy special treats like free MembersOnly Yoga during Members Extended Hours on Feb. 20, ‘Cookies and Coffee On Us’ on Feb. 29, plus a few more surprises! We’ll then conclude the month with a fun family picnic in the Libby Amphitheater on March 14.

Please look to the corresponding dates on our calendar for exact times. Let us know if you are able to join us for any of these events by calling 602.251.0261 or emailing members@heard.org.

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EXCLUSIVE EVENTS We invite you to deepen your connection to the Heard and join our premier giving program. Our Circles of Giving members provide vital funding to further our mission while gaining access to exclusive benefits and events. Dues begin at $2,000. Call Allison Lester at 602.251.0262 or visit heard.org/membership.

GO + DO

CIRCLES

LEGACY EVENTS Maie Bartlett Heard Society Annual Gathering

Circles of Giving New Member Lunch JAN. 11 | 11 A.M. We welcome newly joined Circles of Giving members to meet key members of the staff and get to know each other at a special lunch and behind-the-scenes look at our permanent collection.

Kindly RSVP to Allison Lester at 602.251.0262 or alester@heard.org.

Circles Collects: David Hockney JAN. 23 | 4 P.M. NORTH SCOTTSDALE Circles of Giving members are invited to deepen their connection to David Hockney’s Yosemite and Masters of California Basketry with a Circles-exclusive lecture with Richard Benefield, former executive director of the David Hockney Foundation.

FEB. 18 | 2 P.M. This annual gathering is held to recognize members of the Maie Bartlett Heard Society and members of the Heard Museum for more than 25 years. This year’s event will honor the legacy of our founders, Dwight and Maie Bartlett Heard.

RSVP to Jack Schwimmer at 602.251.0245 or jschwimmer@heard.org.

Are you interested in leaving a legacy gift? Contact the Development office at 602.251.0261 or email giving@heard.org.

Kindly RSVP to Allison Lester at 602.251.0262 or alester@heard.org.

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go + do JANUARY 3

A NIGHT OF RHYTHM - MUSIC AND POETRY Welcome 2020 at the Heard for the First Friday of the New Year.

Come listen to Randy Kemp fill the museum with music and hear poetry readings from Sareya Taylor (White Sareya Taylor Mountain Apache), the 2019 Phoenix Youth Poet Laureate. She will read five poems and discuss what inspires her to write poetry.

Come listen to all forms of rhythm on this First Friday!

FEBRUARY 7

30TH ANNIVERSARY HOOP DANCE KICK-OFF EVENT Please join us for this special First Friday. This year we are celebrating 30 years of the Heard Museum World Championship Hoop Dance Contest! Please join us for a live musical event in Steele Auditorium starting at 7 p.m.; doors open at 6 p.m. Come inside the museum, and see all we have to offer on this celebratory First Friday!

Special Event - Come join us for a fun live storytelling event with A Real Love Real Stories Podcast Production from 7 to 8:30 p.m. This is a paid ticketed event, and space is limited. For more information, please visit realloverealstories.com.

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APRIL 3

CANYON RECORDS NIGHT The second of three collaboration First Fridays with Canyon Records. Canyon Records is one of the oldest independent record labels in the music industry, as well as one of the oldest cultural institutions in the state of Arizona.

Listen to live music fill the museum galleries.

Live music, and artist demonstrations will also be taking place until 9 p.m..

FIRST FRIDAYS AND THE SCENE AND HEARD FILM SERIES ARE GENEROUSLY FUNDED BY:

JANUARY 11 | 1:30 P.M.

OHIYESA: THE SOUL OF AN INDIAN

FEBRUARY 20 | 6 P.M.

HOCKNEY

Following the film Dr. David Martinez will discuss Charles Eastman. Dr. Martinez is the author of Dakota Philosopher: Charles Eastman and American Indian Thought.

Hockney sees the charismatic artist take director Randall Wright on an exclusive tour of his archives and into his studio, where he still paints seven days a week. The film looks back at Hockney’s formative years in the British Pop Art scene.

JANUARY 15 | 1 P.M.

MARCH 21 | 11:30 A.M.

N. SCOTT MOMADAY: WORDS FROM A BEAR Stay after the film for a Q&A with one of the Associate Producers of the film, Jhane Myers (Comanche/ Blackfeet).

GO + DO

SCENE AND HEARD FILM SERIES

OUT OF STATE Shipped thousands of miles away from the tropical islands of Hawaii to a private prison in the Arizona desert, two native Hawaiians discover their indigenous traditions from a fellow inmate serving a life sentence.

FEBRUARY 15 | 11:30 A.M. & 1 P.M.

PAYA: THE WATER STORY OF THE PAIUTE Watch the untold story of the longestlived water war as the Paiute fight to save their waterworks throughout the Owens Valley Landscape.

Stick around following the film for a conversation with Teri Red Owl, Executive Director of the Owens Valley Indian Water Commission, and her staff on the current state of water rights in the Owens Valley.

APRIL 18 | 11:30 A.M.

EARTH DAY CELEBRATION KAYAK TO KLEMTU After her uncle’s death, a 14-year-old girl must speak on his behalf against a proposed pipeline that would bring oil tanker traffic to the waters around her hometown in British Columbia.

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go + do LECTURE:

Marathoner Louis Tewanima and the Continuity of Hopi Running

Museum Yoga

FEBRUARY 22 | 1 P.M. MONTE VISTA ROOM MATTHEW SAKIESTEWA GILBERT, PROFESSOR AND HEAD DEPARTMENT OF AMERICAN INDIAN STUDIES, UNIVERSITY OF ARIZONA

In January 1907, Louis Tewanima, from the Hopi Reservation in northeastern Arizona, enrolled at the Carlisle Indian Industrial School in Pennsylvania. While at Carlisle, Tewanima joined the school's cross-country team. He won numerous races and earned the opportunity to compete in the 1908 and 1912 Summer Olympic Games. Tewanima's story represents his ability to redefine Hopi running in the twentieth century and shows how he maneuvered within American and European perceptions of Natives and sports.

His participation in running events recalls a time when white Americans situated indigenous people at Indian boarding schools on the fringes of U.S. society, but embraced them when they brought honors to the country by representing the nation in athletic competitions at home and abroad.

Furthermore, Tewanima's involvement in marathons and Olympic races demonstrates the ways Americans used his success to further the ideals of U.S. nationalism, as he simultaneously continued the long tradition of running among his people.

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JANUARY 11 | JANUARY 25 | FEBRUARY 22 | MARCH 14 | MARCH 28 | APRIL 11 | APRIL 25 9:30-10:30 a.m.

Second Saturdays at the Heard JANUARY 11 | 10 A.M. TO 4 P.M. Join us for another wonderful Second Saturday at the Heard for live music and artist demonstrations in the Central Courtyard.

Museum attendees and members have the opportunity to meet indigenous artists in an intimate setting, learning about each artist’s own technique and approach to their art. Best of all, Second Saturdays are free to attend and open from 10 a.m. to 4 p.m.

This month, come see beautiful jewelry artists creating and discussing the artistic process involved in making jewelry. Come meet the artists and see their beautiful creations.

SPONSORED BY:

GO + DO

APRIL 26 | 11 A.M. - 3 P.M. Join the Heard Museum as we celebrate the youth with Children’s Day, Día del Niño, a day-long program with music, food, family activities, Folklorico performances, music in the courtyard, and so much more! FREE admission to the museum for children 12 and under with up to two accompanying parents or guardians!

Bring the entire family out for a day of fun, arts, storytelling, music, dance, food, and activities for kids of all ages!

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shop GOTTA HAVE IT!

STERLING SILVER HOLLOW CUT OUT CONCHO BELT

by Peter Nelson (Diné) $7000

POTTERY

by Alice Cling (Diné) $185

REVIVAL RUG

by Rena Begay (Diné) $9650

C. 1912 COILED BASKET

by Daisy (Charlie) Mallory (Mono Lake Paiute) $9900

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VISIT THE COURTYARD CAFÉ FOR NEW MENU ITEMS, INSPIRED BY DAVID HOCKNEY’S YOSEMITE AND MASTERS OF CALIFORNIA BASKETRY

WINTER 2020

SHOP / DINE

dine

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learn

Supporters of the Heard Museum meet in 1959 for the first meeting of the Heard Museum Guild.

THE HEARD MUSEUM GUILD: 60 YEARS WITH VOLUNTEERS

BY DEE DOWERS | HEARD MUSEUM GUILD SECRETARY In January 2019, the Heard Museum Guild published an updated Guild history written by Beverly T. Watkins, a volunteer in the Heard Museum Billie Jane Baguley Library and Archives. Watkins conducted a long series of interviews with Guild volunteers who assist museum staff in many departments and at many events and functions. The Guild is managed by its own Board of Directors and has its own bylaws and policies, although it falls under the umbrella of the Heard Museum and works closely with museum staff.

The Heard Museum was founded in 1929, and in 1956 thirty women founded an auxiliary to the museum with the goals of supporting the museum’s mission, providing financial assistance, and conducting guided tours of the

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collection. Sixty-three years later, the Heard Museum Guild has more than 400 dedicated members. These men and women have collectively contributed more than one million volunteer hours and make an annual financial gift to the museum of about $100,000.

Many Guild volunteers give their time regularly in areas such as the Museum Shop, the Library and Archives, and the Information Desk, presenting courses on a variety of topics, and arranging trips in and out of state.

The Guild docents are known as Las Guias (the guides) and give visitors tours of the museum’s collections and exhibits throughout the year. Other volunteers prefer to help at specific events like the annual Katsina Market or the Student Art Show and Sale.

The Heard Museum Guild also looks to future artists by supporting a Student Art Show and Sale. Students in grades 7 to 12 can submit artwork in any media,

which is judged, given awards, and opened for sale to Museum members and the public. Every year, a few of the students’ works are selected to be reproduced on professionally printed note cards which are sold at all Guild and Museum events. The profit from card sales is used to fund scholarships and internships for Native American students.

LEARN

The one event in which nearly every volunteer plays a role is the Heard Museum Guild Indian Fair and Market.

Over 600 Native American artists turn the grounds of the museum into a thriving showplace for Native art, with dancers, musicians, and demonstrations creating a colorful and dynamic scene each year. Not only are many volunteers needed during the two days of the Fair, but the preparations begin several months earlier with artist applications, ordering equipment and supplies, designing the physical layout of the grounds, and so much more.

All this work is done by Guild volunteers, with the invaluable assistance of museum staff.

Each member joins the Guild for different reasons.

Many want to learn more about the early people of the Southwest. Others come to learn more about Phoenix and its history. Still others come to find new friends with similar interests. We all stay because it is easy and fun to combine all three and to be a part of the beautiful, vibrant, and important work that is done at the Heard Museum.

General Meeting Speakers Every month from September through April, the Heard Museum Guild features a special guest speaker. Guild General Meetings are completely free and open to the public.

JAN. 15 | 9:30 A.M.

MARCH 18 | 9:30 A.M.

Jhane Myers (Comanche/ Blackfeet) is the Principal Executive of Red Ambition Productions. A multitalented artist, Jhane has won many awards as a fashion designer, dancer, jeweler, doll-maker, and film producer. She recently won an Emmy for the production of the 4th episode of “Native America” on PBS.

“Criminal Justice in Indian Country: The Past, Present, and Future.” Doug Passon, a federal criminal defense attorney, and Melanie Yazza, a defense attorney who exclusively handles tribal court cases, discuss major crimes jurisdiction in “Indian Country.”

FEB. 19 | 9:30 A.M. “The Shadow Catchers: 150 Years of Arizona Photography.” Jim Turner, author and historian, will present powerful images of Arizona from the cameras of Edward Curtis through to Barry Goldwater and Ansel Adams.

APRIL 15 | 9:30 A.M. Teri Greeves, award-winning Kiowa beadwork artist, will talk about her role as co-curator of the recent exhibition “Hearts of Our People: Native Women Artists” at the Minneapolis Institute of Arts.

This major exhibition of artwork by Native women honored the achievement of over 115 artists from the United States and Canada.

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SHORT COURSE

Basketry Saturdays, Jan. 11, 18 & 25 9:30 a.m. - 12:30 p.m.

Steele Auditorium

This winter, the Heard Museum is presenting David Hockney’s Yosemite and Masters of California Basketry. Coinciding with the exhibition, this Short Course will explore the ancient art of basketry, especially by the American Indians who live in northern and central California, near Yosemite.

You will hear from Lucy Parker (Yosemite/Miwok/Mono Lake Paiute/Kashaya Pomo), who is part of a long-established basket-making family, a teacher and student of basketry traditions; and Gracie Tagweeseedda Dick (Mono Lake Paiute), a basket weaver who will talk about the history of weaving in her area and her personal experiences. Well-known weaver, Terrol Dew Johnson (Tohono O’Oodham), will talk about basketry from southern Arizona, and the different techniques between California and Arizona baskets. Changing weather, brush fires, pesticides and other factors all affect the materials the weavers use. We will hear about the effects of these things and what this means for the future of American Indian basketry.

Register online with a credit card at shortcourse@heardguild.org. Cost is $45. Registration closes on January 3, 2020.

PRESENTED BY THE HEARD MUSEUM GUILD

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LEARN

STUDENT ART SHOW & SALE Student artists participating in the 2019 Heard Museum Guild American Indian Student Art Show & Sale submitted over 350 pieces of artwork and received $7,400 in award money and $15,500 in art sales.

From Arapaho to Zuni, these students represented 33 tribal communities from across the country. Through the sale of Heard Museum Guild Student Notecards, the Student Art program granted $8,000 for supplies to art teachers with students in the 2019 show.

As school art programs increasingly lose public funding, the Student Art Show & Sale provides an effective avenue to support emerging American Indian student artists in tribal communities around the United States. Join us March 27-30, as we celebrate the 34th year of the Heard Museum Guild American Indian Student Art Show & Sale.

Autumn Secakuku (Hopi) Age 16, Morning of the Bean Dance, Colored Pencil, 2019.

SHOW PREVIEW (NO SALES) Friday, March 27 | noon to 5 p.m.

Saturday, March 28 | 10 a.m. to 5 p.m.

MEMBERS ONLY SILENT AUCTION & SALE – NEW EVENING! Saturday night, March 28 | 5:30-8 p.m.

OPEN TO THE PUBLIC SALES EVENT Sunday, March 29 | 11 a.m. to 5 p.m.

Monday, March 30 | 10 a.m. to 4 p.m.

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TRAVEL WITH THE GUILD Mata Ortiz and Northern Chihuahua - Feb. 24-27, 2020 Join the Heard Guild on a journey to visit the high plateau of northern Chihuahua, Mexico, on a tour to Mata Ortiz. Our focus of this tour is the Paquimé culture and the amazing pottery produced by very talented artists in the region, highlighting the inspiration born out of the curiosity and diligence of artist Juan Quezada. Combing the hills as a boy, Juan frequently made discoveries of fantastic highly decorated, utilitarian Paquimé pottery. Juan’s interest to re-create this fine earthenware spurred the explosion of an artistic and economic phenomenon in a very short time.

We have a special invitation to meet Juan and his charming family in their home to hear Juan share his life’s journey. You’ll get a chance to test your decorating ability and see pots in various parts of the process, culminating with a live firing. We’ll spend time with Spencer and Emi MacCallum. It was Spencer who “discovered” Juan’s pots in a New Mexico curio store and then journeyed to Mata Ortiz to find the young man.

Not far from Juan’s home is a vast archeological complex known as Paquimé. From the 13th to the 15th century, Paquimé played a key role in trade and cultural contacts between the Pueblo culture of the southwestern United States and northern Mexico and the more advanced civilizations of Mesoamerica. In Paquimé, we’ll visit the world-class interpretive museum and explore the vast ruins, which are the largest archaeological zone that represents the peoples and cultures of the Chihuahua Desert. Development took place in the years 700-1475 AD and reached its apogee in the 14th and 15th centuries.

In addition, we’ll meet and spend time with incredible artists in their homes and workshops.

Enjoy the wonderful cuisine of northern Chihuahua, highlighted with an amazing dinner at Belgian Chef Phillipe Gentes’ Malmedy Restaurant.

Contact Shelley Mowry at travel@heardguild.org to join the trip!

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update

For nearly five years, the Heard Museum has had the opportunity to collaborate on a program called the Master Artist Workshop Series. It does not get a lot of public advertisement and you cannot find it on the season calendar, but that is for a specific purpose. The reason for the absence in public broadcasting is that the program specifically targets American Indian Southwest communities and Tribal members. The goal of this grant-funded series is to preserve American Indian cultural art knowledge and skill. The impetus for the program comes from increasingly scarce opportunities Native individuals have to connect to their cultural arts.

There is a dearth of practicing master artists, and many Tribes risk losing traditional art forms and the knowledge that surrounds them.

Since December 2014, the museum has produced 26 workshops with an average of 15 students per class. This may seem small, but the classes are extremely popular. They are kept small because of the amount of quality time needed between artist and pupil.

Since initiating the program, the museum has partnered with 450 students with ages ranging from 10 to 80 years old and from 58 different Tribal backgrounds.

LEARN

MASTER ARTIST WORKSHOP SERIES

One major facet of the series is to provide access to Native art resources. Because of this, many of the workshops happen at the Heard Museum with its historic collection and its power to instill pride and perspective through fine examples of detail and style. In addition to the Heard collection, the program has also visited 12 venues with important material collections from San Diego to Santa Fe. Engaging artworks from the past is an important component to the program and every class includes a collection engagement of some type.

The staff survey and reflect with participants at the close of each workshop. Every class has overwhelmingly asked for more, emphasizing the need for the arts to grow in their communities.

Overall, the feedback has been positive: 33% of participants report improved cultural arts knowledge, with 95% of Novices improving. Also, 37% of participants reported an increase in their artistic skill, with 73% of Novices improving. You can see examples of the Master Artist Workshop Series classes on the Heard Museum YouTube site.

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experience

65

Moondance Honoree John Stiteler with grandchildren Brody Stiteler and Allison Stiteler

Life Trustees Mary & Tom Hudak

2019 Honoree Doug Hyde (Nez Perce/Assiniboine/Chippewa)

Derrick Suwaima Davis (Hopi/Choctaw) performs on stage

Jan and Howard Hendler

Moondance Chair Mary Ellen McKee greets guests from Perkins Coie Brown & Bain PA during the dinner portion of the evening.

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EXPERIENCE

9 MOONDANCE AT THE HEARD CELEBRATING 9O YEARS 1929-2O19

On October 26 we held our annual fundraising event, Moondance at the Heard where we kicked off our 90th Anniversary Season, premiered the Virginia G. Piper Charitable Trust Courtyard and opened David Hockney’s Yosemite and Masters of California Basketry. The evening’s honorees were longtime supporters Ellen and John Stiteler and renowned artist Doug Hyde (NezPerce/Assiniboine/Chippewa). This year’s event was chaired by Mary Ellen and Robert H. McKee, who led a recordsetting fundraising effort that totaled $1.1 million to support exhibitions and programs for the coming year.

Moondance Chair Mary Ellen McKee, Moondance Honoree Ellen Stiteler, Laurie Stiteler & Dickey Family Director & CEO David Roche

Throughout the evening guests were treated to the very first look at David Hockney’s Yosemite and Masters of California Basketry, live music, cultural performances, pre-recorded congratulatory messages from Governor Doug Ducey and Mayor Kate Gallego, and dinner served by Arizona Taste Catering.

We sincerely thank the generosity of our individual and corporate sponsors who made this our most successful fundraising event to date.

Photos: Haute Photography and Videography

Marina & Robert Moric & Janis Lyon

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experience

View of the Virginia G. Piper Charitable Trust Courtyard during the cocktail hour of the evening.

Oscar Ortega and Museum Trustee Sharron Lewis

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Kimberly Karp and Margo Simons

Javier Torres & Museum Trustee Ginger Sykes Torres

EXPERIENCE

DAVID HOCKNEY’S YOSEMITE AND MASTERS OF CALIFORNIA BASKETRY CIRCLES OF GIVING OPENING BRUNCH AND MEMBER PREVIEW DAY On October 27 we welcomed Circles of Giving Members to a private brunch celebrating the opening of David Hockney’s Yosemite and Masters of California Basketry. Museum Members were also invited to view the exhibition a full day before opening to the public.

Photos: Haute Photography and Videography

Oonagh and John Boppart viewing a photographic collage in the exhibition

Dr. Dorothy Lincoln Smith with friend Kristin McIver

Marie Wittwer, Anita Hicks and Jerry Cowdrey

Circles Member Betty Bool with her son and daughter-in-law Robert and Missy Cohen.

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give The Heard Museum's service to its mission is made possible through funding from our members and supporters. On the occasion of our 90th Anniversary, we recognize the generous cumulative giving of our donors that have and continue to promote the museum's excellence.

5,000,000+

Marguerite S. Roll Trust

250,000 - 499,000

Anonymous

Betty and Newton Rosenzweig

American Express Company

Dwight and Maie Bartlett Heard

Paul and Beverly Schueneman

Jack and Rose Marie Anderson

Heard Museum Guild

SRP

Billie Jane Baguley

Steele Foundation

Neil Berman

Virginia M. Ullman Foundation

Robert Bulla

2,000,000+ Howard and Joy Berlin National Endowment for the Humanities

500,000 - 999,000

Virginia G. Piper Charitable Trust

Bank of America

Nina Mason Pulliam Charitable Trust

Blue Cross Blue Shield of Arizona The Marjorie Bernice Blum Estate

1,000,000+

Mr. and Mrs. F. Wesley Clelland, III

Mr. and Mrs. E. Daniel Albrecht

The Flinn Foundation

Anonymous

Freeport-McMoRan

APS/Pinnacle West

Dr. William and Kathleen Howard

Arizona Commission on the Arts

Casino Arizona Combined Metro Phoenix Arts and Sciences Vanne and Robert Cowie De Grazia Art and Cultural Foundation Verde Dickey H. James Douglass Exxon/Mobil Foundation Duane B. Freeman Les Goldberg

Edward Jacobson

Mary G. Hamilton

Giora and Arlene Ben-Horin

Sam and Betty Kitchell

Lila and Joel Harnett

Alice J. Dickey

National Endowment for the Arts

William Randolph Hearst Foundation

The David E. Reese Family Foundation

KB Home

JP Morgan Chase

Richard K. Reynolds Marital Trust

Integra Telecom

The Kemper and Ethel Marley Foundation

Charles and Linda Rimmer

Dorrance Family Foundation Winnie and Bill Freeman Gila River Indian Community

Elaine D. Klieger Estate Rusty and Rosie Lyon

Ann B. Ritt Russ Lyon Realty Company

National Arts Stabilization Fund

Salt River Pima Maricopa Indian Community

Jack and Elaine Parker

Betty Lou Summers

Phoenix Office of Arts and Culture

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Anonymous

Burlington Northern Santa Fe Foundation

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Mary and Thomas Hudak The Kresge Foundation Henry Luce Foundation, Inc. Frederick and Ann Lynn Dennis and Janis Lyon Harvey and Carol Ann Mackay Dan McGuinness Mary Ellen and Robert McKee James and Jean Meenaghan

GIVE WINTER 2020

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Andrew W. Mellon Foundation

Diana Douglass

Richard and Carolyn Morgan

Nathan Cummings Foundation

Motorola Foundation

Mareen Allen Nichols

The Herbert H. and Barbara C. Dow Foundation

Arthur and Linda Pelberg

Mr. and Mrs. Robert Duffy

Francis and Dionne Najafi

Leland and Kristine Peterson

Edith Edward Estate

Susan and James Navran

The Arizona Republic

Natalie Eigen

Norman L. Sandfield

Helen C. Lincoln Estate

Don Nierling Memorial Foundation

City of Scottsdale

Mr. and Mrs. Richard J. Faletti

Ralph T. O'Neil

Institute of Museum and Library Services

James and Pat Feeney

Deane and Susan Penn

Albion and Lynne Fenderson

PetSmart, Inc.

George Sheer

First Interstate Bank

George and Frances Phillips

John and Ellen Stiteler

Patrick and Ashley Gallagher

Wick and Jill Pilcher

Target Foundation

GE Foundation

Willard Pope Estate

Anthony J. Terrana

Bert and Sandy Getz

Ms. Nina Mason Pulliam

Mary Louise Menk and Patti Townsend

Globe Foundation

Qwest Services Corporation

Mr. and Mrs. Frank H. Goodyear, Jr.

Paul and Mary Schilling

TriWest Healthcare Alliance David Van Denburgh

Jean Grossman

William and Judith Schubert

Louis and Daryl Weil

Gutwillig Revocable Trust

Snell & Wilmer LLP

Wells Fargo

Nancy Eriksson Hanley

Louise C. Solheim

Whiteman Foundation

Mr. and Mrs. Lee T. Hanley

Stardust Foundation

Barbara Heard

John and Carolyn Stuart

Heard Museum Council

100,000 - 249,000

Dr. Scholl Foundation

Roberta Aidem

Henkel/Dial Corporation

Terra Foundation For American Art

Altria

Joel and Cindy Hoxie

Betty Van Denburgh

American Airlines

Carrie and Jon Hulburd

Anonymous

IBM Corporation

Gilbert Waldman and Christy Vezolles

Apollo Education Group

Jeffrey and Maurine Kahn

ARE-LEI Phoenix Gateway Associates LLC

Mary Catherine Katona Trust

Arizona Community Foundation

J.W. Kieckhefer and Margaret T. Morris Foundation

Lila Wallace Readers Digest Fund Wallis Foundation Virginia and W.F. Waterman

The Andy Warhol Foundation For The Visual Arts

Owen and Jean Kirkley

Western Refining Southwest Inc.

Kitchell Corporation

Al Wolfe

Nadine and Eddie Basha

Brian A.Kopf Trust

Mr. and Mrs. Bernard C. Ziegler

Vaughn and Eleanore Beals

Delbert and Sharron Lewis

The Boeing Company

David and Sara Lieberman

Mark and Mary Bonsall

Lilly Endowment Inc.

John and Oonagh Boppart Pamela and G. Stuart Bruder

Michael W. Louis Charitable Trust

Canyon Records

Clint and Audrey Magnussen

Arizona Cardinals Charities

William and Katie McCullough

Sidney and Charlotte Clark

John and Janet Melamed

Saul and Carol Cohen

Naomi Caras-Miller and Alvin Miller

Robert and Susan Diamond

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Stephen and Lynda Nacht

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Miriam Minz

Michael and Sheila Geddes

Scott and Joanie O'Connor

Arizona Taste Catering

Vivian Gentleman

Harry and Rose Papp

Atlasta Catering & Event Concepts

John and Kathleen Graham

Peabody Energy

Barbara A. Haas

Penske Automotive Group

Aventura

Diane and Bruce Halle Foundation

Patricia Pfister

Shirley Avery Virginia Barnes

J. David Hann

Pivotal Group Foundation

William and Marcia Berman

Arch and Laree Rambeau

James T. Bialac

Edwin Wade and Carol Haralson

Peter and Regina Bidstrup

Ann Heil

Cecil Roy Dick and Rachel Dick Rasdal

Arthur M. Blank Family Foundation

Honeywell International, Inc.

Pam Rentschler

Herbert and Betty Bool

Thomas and Ruth Ann Hornaday

William and Jo Elizabeth Ridenour

J. William and Lynn Boyce

Robert Hulseman

Rockefeller Foundation

Donald and Ginger Brandt

James and Patience Huntwork

Tom Cain

Intel Corporation

Ronald McDonald House Charities of Phoenix

Richard and Ann Carr

Robert Kampfe and Nancy Kruse-Kampfe

Phoenix IDA

Merle and Steve Rosskam

Lillian M. Kemp Estate

Santa Barbara Catering Company

Randy and Ken Kendrick

Carol and Randy Schilling

Andrew and Wan Kim

Bernice Shaffer

Copper Square Kitchen

Shirley P. Shaw

Norma Jean Coulter

Dalton and Elaine Knauss/Dek Family Foundation

Richard and Susie Silverman

Betty and Kenneth Dahlberg

Susan H. LaFollette

Dino DeConcini and Elizabeth Murfee DeConcini

Margo Simons

Joseph S. and Mary Trigg Lentz Fund

Peter and Carolyn Slocum

Pam Del Duca and Harry Gries

Thomas and Janet Lewis

Joette Schmidt and Kent Derdivanis

Scott Libby

Helen Kersting and Donald DeWitt

M.S. and Fran MacCollum

Cereal Food Processors Neal and Sara Christensen City of Surprise William and Karen Clements Estate of Mary Moore Coughlin

M Catering by Michael's

Ronald and Faye Douglass

Robert and Beth Matthews

Barbara Dow

Miriam J. McClennen

Scott S. Eller

Elizabeth Dichter and Thomas Melancon

Mary Enriziquez Trust Fabulous Food Fine Catering and Events

Merrill Lynch Fred and Virginia Merrill

Peter Fine and Rebecca Ailes-Fine

Mervyns

Ann Kaplan and Robert Fippinger

MicroAge, Inc.

Eunice Fort Estate

Morgan Stanley

Friess Associates of Delaware

William and Rebecca Nassikas

Robert W. Galvin

C. W. Neely

David C. and Marianne Gates

Linda Noyes

MetLife Foundation David and Jeanne Milton

GIVE

50,000 - 99,000

John and Margo Simons

Leslie H. and Susannah Small C.A. and Corinne Smith Larry and Vicki Smith Morton and Estelle Sosland Southwest Gas Corporation Scott and Jean Spangler Betty Lou Summers Living Trust Ardele H. Sweeney Trust Jane Wallace Thorne Thunderbirds Charities Tosco Marketing Company Rae Turley Viad Corp.

Richard and Teresa West David and Barbara Wilshin Winegard Company Gerard and Caecilia Wolfe Mary Zicarelli

WINTER 2020

72

25,000 - 49,000 Accenture

Columbine Garden Club

Mr. and Mrs. Gary Herberger

Aetna

Mr. Daniel Hidding

Allied Signal Aerospace Co.

CopperPoint Insurance Companies

Ginger and Robert Allingham

Cox Communications

Hirtle, Callaghan and Company

Caralee Allsworth

Dan Cracchiolo and Pamela Grant

Mary B. Holt

American Honda Foundation Ameriprise Financial Maxine and Stuart Applebaum Jeanne and Shreve Archer

Matthew Crow David Wright House

Harry and Lenore Howard Jeanne Hoxie Byron and Marybeth Hunter

Ronald and Jo Ann Davis

Hyatt Regency Scottsdale at Gainey Ranch

Desert Botanical Garden

Dorothy Hyer Estate

Desert Mountain Properties

Arizona Historical Foundation

Sylvia Diamond

Intermodal Surface Transportation Efficiency Act

Arizona Humanities Council

Frances and Paul Dickman

Jennings Strouss PLC

Aroha Philanthropies

Dillard's

Johnson Bank

Milena and Tony Astorga

Cliff and Marilyn Douglas

Keven and Thomas Jones

ATT Foundation Matching Gifts Program

Edra and James Drake

Jane and Malcolm Jozoff

The Theodore Dubin Foundation

George and Shirley Karas

Delores Bachmann C. W. Balis

Robert and Peggy Ann Dunn

J. W. Kieckhefer Foundation

Judson and Sue Ball

Constance L. Estes

Gaither and Bonnie Kodis

Ballard Spahr LLP

Alice Feffer

Don and Phyllis Langston

Rick Bartow

FINOVA Group, Inc.

Larry Laughlin

BBVA Compass

First American Title Insurance Company

Mr. and Mrs. William Lavidge

Arizona Diamondbacks Arizona Department of Veterans' Services

Louis and Kay Benedict Christel and Jurg Bieri Mr. and Mrs. James Binns, Jr. Blum-Kovler Foundation Monica and Raymond Boley Bonhams Greg and Lisa Boyce Charles and Nancy Brickman Mr. and Mrs. John Burlingame G. Kent and Debby Burnett Jose and Frances Burruel Fletcher Byrom Carefree Resorts Dr. and Dr. Letitia Chambers

73

Cramer-Krasselt

Highground Inc.

Robert and Rose Fitzsimmons Ed and Jackie Foutz Gallery 10 Philip Gassman Diana Gast Mr. and Mrs. David C. Gates General Mills Foundation Gila River Casinos

Robert and Sue Karatz

Robert and Margaret Lavidge Richard and Sally Lehmann Robert Lehman Foundation The Lester Family Susan and William Levine Martha and Leroy Lewis C. W. Lingenfelter Samuel and Judy Linhart

Richard and Anita Gilford

Marigold Linton and Robert Barnhill

The Chester and Ann Goldberg Family Trust

John W. Lissack

Ann Gorton Great Clips, Inc.

James and Marcia Lowman Vance and Nancy Marshall Dixie Melby

Estate of Martindale fbo Champ

Evelyn and Lou Grubb Charitable Fund

The Chickasaw Nation

Janet and Mike Halvorson

Donald and Judith Miles

Clelland Family Foundation

Mrs. Homer Havermale

Arjay Miller

Barbara and Frank Clelland

Anne Henry

Helen and Peter Miller

Craig and Sharon Cohen

Hensley Beverage Company

Samuel R. Money

EARTHSONG

Michael and Linda Messenger

We are so thankful to all of our loyal GIVE

supporters! Should you have any questions about this listing or your cumulative giving, please contact Jack Schwimmer at jschwimmer@heard.org or call 602.251.0245.

Scott and Elaine Montgomery

The Rudolph & Gladys Miller Medical Foundation

Richard and Sharon Wand

William Stern and Ellenor Mueller

Nancy and Frank Russell

Larry V. Wetter

Salmon, Lewis & Weldon, PLC

J. Whisler

Richard and Beverly Nason

Sanderson Ford

Allan and Diana Winston

Norwest Bank Arizona

Stephen and Lois Savage

Roger Wolf

Northern Trust Bank

Thomas and Sophann Schleifer

Margaret and Ian Wright

Sandra Day O'Connor

Jeanette Schmidt

Galen and Wendy Zens

David and Mary Patino

Marlene and Stanley Scholsohn

Patsy and Louis Ziegler

Myra Ann G. Pearson

Therese M. Shoumaker

Jack A. Pfister

Martin Slater

The Phoenix Suns

Barbara Slater

Phoenix Coyotes Goals for Kids

Harriet and Edson Spencer

QV Distributors, Inc.

Martin and Kate Sullivan

Carson, Messenger, Elliott, Laughlin & Ragan

Bethany Sullivan

Marjorie Raike

Mr. and Mrs. William Taubman

Elizabeth Raspolic

Isabelle Taylor

Patrick and Michelle Ray

Deloitte Touche Tohmatsu

Lois Rogers

UBS Financial Services

John and Lois Rogers

USI Insurance Services

Milton Rosenthal

Valley Automobile Dealers Association

Moreno Family Foundation

Harry Rosenzweig Charitable Trust Robert and Judith Rothschild

Michael and Cindy Watts

Thomas and Patsy Tait

Vanguard Charitable Vestar Development Co.

Diane Roush

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74

CONTEMPORARY ART FROM INDIGENOUS NORTH AMERICA

LARGER THAN MEMORY

next issue

75

EARTHSONG

Meryl McMaster, What Will I Say to the Sky and Earth II, 2019, Chromogenic print flush mounted to Aluminum Composite Panel, Edition 1/5, 40 x 60 inches. Gift of Kathleen L. and William G. Howard.

OPENS MAY 1, 2020

Since its founding in 1929, the Heard Museum has grown in size and stature to become recognized internationally for the quality of its collections, world-class exhibitions, educational programming and its unmatched festivals. Dedicated to the advancement of American Indian art, the Heard successfully presents the stories of American Indian people from a first-person perspective, as well as exhibitions that showcase the beauty and vitality of traditional and contemporary art.

The Heard Museum sets the standard for collaborating with American Indian artists and tribal communities to provide visitors with a distinctive perspective about the art of Native people, especially those from the Southwest.