EarthSong - Fall 2020

earth song HEARD MUSEUM MEMBERSHIP MAGAZINE

FALL 2020

HEARD MUSEUM, HEARD MUSEUM SHOP BOARD OF TRUSTEES Wick Pilcher John F. Lomax James R. Huntwork Karen Abraham David M. Roche TRUSTEES Tony Astorga Nadine Basha Arlene K. Ben-Horin Gregory H. Boyce Susan Chandler John Coggins Adrian N. Cohen Dr. Craig Cohen Robert A. Cowie Elizabeth Murfee DeConcini Judy Dworkin John Furth John Graham David A. Hansen 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 Jane Przeslica Guild President Trevor Reed William G. Ridenour Margo Simons Don Smith Ginger Sykes Torres Christy Vezolles Trudy Wiesenberger David Wilshin

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

2301 N. Central Ave. Phoenix, AZ 85004 Tuesday to Sunday, 10 a.m. to 4 p.m.

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INCREASE YOUR SUPPORT THROUGH OUR COMMUNITY PARTNERS:

EARTHSONG Allison Lester

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COVER: C. Maxx Stevens, Seminole/Mvskoke, b. 1951, Last Supper, 2011, Wax casts, tables, fabric, glitter, Dimensions variable. Collection of IAIA Museum of Contemporary Native Arts. Photography: Jason S. Ordaz 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 VIEW 8

An Exhibition: Larger Than Memory

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In Conversation: Jaune Quick-to-See Smith

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In Conversation: Ian Kuali’i

GO + DO 20

earth song HEARD MUSEUM MEMBERSHIP MAGAZINE

Exclusive Events

RESEARCH 22

Library Poetry Collection

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Andrew W. Mellon Fellowship Update

RECAP 28

30th World Championship Hoop Dance Contest

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62nd Heard Museum Guild Indian Fair & Market

COMING SOON 38

Heard Museum Mobile App

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Turning Masks into Art

COVID-19 40

COVID-19 Tests the Strength of the Navajo Nation

SHOP + READ + DINE 44

Gotta Have It!

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Great Reads for Fall

LEARN 48

New Guild President Jane Przeslica

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Guild Events

EXPERIENCE 50

Member Highlights

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Member Submission

TRUSTEES 54

New Members of the Board of Trustees

GIVE 56

Once in a Blue Moon Campaign

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Heard Museum Donors FALL 2020

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DIRECTOR’S LETTER Larger Than Memory is the largest contemporary art exhibition that the Heard Museum has ever organized. Our intention is to present outstanding work by living North American Indigenous artists in a diverse range of mediums while creating a reckoning with the marginalization and misrepresentation of American Indian people within the field of contemporary art. With each work of art presented, we are asking our members to make room for new ideas, as well as challenge them to re-think what they believe about contemporary art.

The first twenty years of the 21st century, on which this exhibition is focused, have been an exciting and dynamic time for North American Indigenous artists. Many are creating work that merits inclusion at the highest levels, and these artists are justly demanding to have their work David M. Roche presented and evaluated with the same objectivity afforded to nonDickey Family Director and CEO Indigenous artists. Their work is addressing critical issues that affect all of us, such as the environment, race, gender, equality, and power. And while their work is universally relevant, it is also personal and culturally specific; therefore, identity has never mattered more.

Art in the 21st century is changing and evolving at a rapid pace; technology accounts for much of this. The artists in Larger Than Memory are more than keeping pace with these changes by working masterfully in diverse mediums including painting and sculpture, drawings, prints, photography, sound, and video. They are not just building on Indigenous, and non-Indigenous, artistic legacies, but also innovating and contributing to new forms and ideas that are being developed.

Efforts to understand and integrate the important contributions that living Indigenous artists are making is essential not only to the continuation of their cultures but to the ways in which these works of art enrich and broaden, if not transform, the field of contemporary art. This is at the heart of our mission to advance American Indian art. We are grateful to many people for supporting us in this effort but especially to you, our members.

The Heard is open and we are maintaining the highest safety standards for our members so that you can have a comfortable and inspiring visit. We look forward to seeing you soon.

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A Special Thanks to our Community The COVID-19 global pandemic is like nothing we have ever seen in our 90-year history. We are humbled by the support our Members, Foundations, Government entities and donors have given us in direct response to this crisis, and we recognize their generosity below.

As we continue to confront the challenges ahead, we ask that you consider contributing in one of the following ways: • Renew your membership early.

• Support our Once in a Blue Moon Campaign (see page 56 for more information).

• Make an unrestricted gift or tribute (through the mail or online at heard.org/donate).

• Make a purchase in our Shop for yourself or others.

• Continue to advocate on our behalf.

Every dollar counts, and your help will be critical in continuing our mission of advancing American Indian Art. We are grateful to the following individuals, trustees, foundations, and government entities who made grants and special gifts to the Heard Museum in direct response to COVID-19 relief efforts.

The Andrew W. Mellon Foundation

Dr. Marigold Linton and Dr. Robert Barnhill

Applied Materials Foundation

John and Colleen Lomax

Arizona Commission on the Arts

Henry Luce Foundation

Arizona Community Foundation

Janis Lyon

Aroha Philanthropies

Clint and Audrey Magnussen

Nadine Mathis Basha

Meyerson Family Foundation

Mary and Mark Bonsall

Wayne and Marie Mitchell

City of Phoenix Office of Arts and Culture

Elaine and Scott Montgomery

Karen and Donald Abraham

Julie and F. Wesley Clelland, III

National Endowment for the Humanities

Adrian and Carla Cohen

Sue and Jim Navran

Norma Jean Coulter

Nina Mason Pulliam Charitable Trust

Dino J. and Elizabeth Murfee DeConcini

We also thank those who participated in #GivingTuesdayNow on May 5, a global day of giving & unity created as an emergency response to the unprecedented need caused by COVID-19 Ted Anderson Shaliyah Ben Katlyn Hemmingsen Berge Dr. Scott Crawford Lura Dymond Rex Gulbranson George and Carol Lee Gunn Mary A. Hagerty Jaela Marquez Mary Matroni

Kristine and Leland W. Peterson

Deirdre and Jim Mercurio

Don Nierling Memorial Foundation

Wick and Jill Pilcher

Rex and Ellen Nelsen

Judy Dworkin

Sacks Tierney P.A.

Robert and Myra Page

Flinn Foundation

Season for Sharing

Jane Przeslica and Jeff Briggs

John L. and Hope L. Furth

Terra Foundation

Sarah and Byron Rose

Kathleen and John Graham

Virginia G. Piper Charitable Trust

Carol and Ken Seidberg

Sharron and Delbert Lewis

Virginia M. Ullman Foundation

Reta and Rene Severtson Ms. Barbara Sparman

And, we extend a very special thanks to the 685 members who joined or renewed their membership between March 17 - July 31, 2020.

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Larger Than Memory: Contemporary Art from Indigenous North America opens on September 4, 2020, and runs through January 3, 2021.

Meryl McMaster, nehiyaw (Plains Cree)/English/Scottish/Dutch, b. 1988, What Will I Say to the Sky and the Earth II, 2019, Chromogenic print mounted to aluminum composite panel, ed. 1/5, 40" x 60." Heard Museum Collection, Gift of Kathleen L. and William G. Howard

view AN EXHIBITION: LARGER THAN MEMORY

BY ERIN JOYCE | FINE ARTS CURATOR

In September of this year, we are launching our

largest exhibition of contemporary art to-date. Larger Than Memory: Contemporary Art from Indigenous North America is an exciting project featuring works of art produced between the years 2000-2020, co-organized

by Diana Pardue and myself. The first 20 years of the 21st century have been a dynamic and transformative period for contemporary Indigenous art in the United States and Canada; from mediums employed, concepts explored, engagement with politics and issues facing Indigenous peoples as well as broader cultural issues, artists have created complex works that challenge the status quo and expand the notions of Indigenous art.

The exhibition features 24 artists from across the United States and Canada working in a vast array of mediums including painting, sculpture, video and time-based media, photography, soft sculpture, and performance.

Diana and I have worked fervently to identify and select artists working at the top of their field, from established and mid-career artists to emerging new talents. The exhibition will create criticality surrounding the work produced by Indigenous artists, not as a footnote to contemporary art, but as a vital part of the North American and Global contemporary art landscape. The title of the exhibition, Larger Than Memory, is borrowed from the poem Grace by Joy Harjo (Muscogee), in which she states, “I know there is something larger than the memory of a dispossessed people. We have seen it.”

(The poem in full is printed on page 24.) In selecting this title, we aim to illustrate the vast richness, diversity, and imbricated nature of Indigenous contemporary art and identity.

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MONUMENTS ARE OFTEN TIED TO ACTS OF VIOLENCE, THE COLONIZATION OF A PEOPLE AND CORRUPTION OF THE LAND.

Artists in the exhibition include Jeffrey Gibson (Cherokee/Choctaw), Jaune Quick-to-See Smith (SalishKootenai), Cannupa Hanska Luger (Mandan/Hidatsa/ Arikara/Lakota), and Kent Monkman (Cree), as well as Kanaka Maoli artist Ian Kuali’i—whose extraordinarily timely site-specific cut vinyl installation, Monument/ Pillar, interrogates, deconstructs and reconstructs the practice of monument making—all in the wake of a global reckoning and reconsideration of the impacts monuments have on the communities where they are installed. Monuments are often tied to acts of violence, the colonization of a people and corruption of the land.

The two large-scale works were commissioned for the arches in the Heard Museum’s Dennis H. Lyon Family Gallery. One of the works depicts King Kamehameha III, who reigned over the Kingdom of Hawaii from 1825 to 1854. The second work is positioned upside-down and renders the likeness of James Cook, the British explorer, cartographer and captain in the Royal Navy, who was the first European settler to travel to the Hawaiian Islands.

Kuali’i creates tension by situating King Kamehameha adjacent to James Cook. Additionally, by inverting Cook, Kuali’i forces viewers to consider their perspective as they enter the gallery.

Ian Kuali’i (Kanaka Maoli), Monument/Pillar, 2020, cut vinyl, Approximately 240” x 120.” Collection of the artist

SUMMER 2020

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Another series of work in the exhibition that engages with tropes of Western art history, but from an Indigenous lens, is the work of Kali Spitzer, a Kaska Dena artist based in Vancouver. A selection of six photographs from her series Places feature the artist in nude self-portraits, situated in abandoned and rundown locations. The cis-female nude has long been a device used in art history as a stand-in for multiple concepts such as divinity, fertility, and the land. It is also representative of the cis-male gaze, and echoes notions of objectification of women and their bodies.

By picturing herself nude, the artist reclaims her agency of representation and her body, while at the same time, placing her naked body in these forgotten and rundown spaces, Spitzer comments on the fetishization of women, specifically Indigenous women, and the plague of violence and rape that has afflicted their communities.

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A sonic video work in the show, I Lost My Shadow, made in collaboration by Laura Ortman (White Mountain Apache), Nanobah Becker (Diné), and Jock Soto (Diné/ Puerto Rican), is a haunting visual and musical end-oflove poem, one soaked in heartbreak and the vacuous feeling which occurs when a separation happens between two people. The video features two figures: artist, composer, and musician Laura Ortman; and former New York City Ballet principal dancer, Jock Soto.

Ortman composed and performs the song, I Lost My Shadow, in the film, which originally appeared on her second solo album Someday We’ll Be Together released in 2011. Meandering through the streets of Williamsburg, Brooklyn, Ortman seems to be in procession to a destination of which we do not know. Soto encounters Ortman entering the subway. Soto follows Ortman up the stairs and onto the train; he then proceeds to

VEIW dance mournfully in the train car while the melody of Ortman’s violin hangs in the air.

The two figures act as shadow to one another, following each other but never lining up. They reflect and remember emotions and identities borrowed from one another, while maintaining the elements not returned upon parting.

There is a phantasmagoric nature to the work, directed and filmed by Nanobah Becker; it asks questions that it knows will never be answered in a harshly cinematic tableau.

I LOST MY SHADOW WHILE I WAS AWAY LOOK O LOOK SO LONG I SAY THE QUAKING OF THE NIGHT BROUGHT ON WITH DESPISE FANTASIES ARISE BLAZIN DISGUISE / BLAZIN THE SKIES -L AUR A ORTMAN, I LOST MY SHADOW

LEFT: Kali Spitzer, Kaska Dena/Jewish, b. 1987, Untitled no. 4, 2016, Digital chromogenic print, 16” x 24,” Collection of the artist

The works in the exhibition are transmutable, shifting perspectival and colonial ways of viewing work by Indigenous artists that are predicated on harmful stereotypical frameworks, and replacing those antiquated notions with engaging and exciting works that discuss love, loss, trauma, hope, and futurism.

ABOVE: Laura Ortman, White Mountain Apache, b. 1973; Nanobah Becker Diné, b.

1975; Jock Soto, Diné/Puerto Rican, b. 1965..I Lost My Shadow, 2011 Single-channel video with sound on continuous loop, 3:52” Collection of the artists

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In Conversation:

JAUNE QUICK-TO-SEE SMITH

Chief Curator Diana Pardue, spoke with Larger Than Memory artist Jaune Quick-to-See Smith (Member Confederated Salish and Kootenai Nation MT) to discuss her extraordinary career and inspirations for her work.

Diana Pardue: Throughout your career, you have been an advocate for other artists and particularly young artists. What advice would you offer artists who are just beginning a career?

Jaune Quick-to-See Smith: Often, I tell young artists who have the mistaken belief that they can leave grad school, be discovered and make lots of money, that is not how this works or rarely does it work that way.

First you need a job to support your habit. My art is my drug of choice or my habit, it keeps me balanced and centered even when I’m not sure about what I’m doing or struggling with a print. It’s important to keep making your art. Even if you’re not in the mood some days, cleaning brushes or switching medias will keep you engaged in your zone. If you are a true artist, meaning that you were born with “The Gift,” then you need to be engaged with your art in some way or many believe, including me, you might not feel well. Writing or drawing in a notebook or a sketchbook, doing watercolors, writing poetry or noodling with clay figures,

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or walking and making cell phone photos of clouds will keep your creative juices moving. It’s also important for you to have a community that’s engaged with art. When you are young, it is easy to drift away; you have to work at staying tethered to your art. Your community is part of the glue that stabilizes your focus. It’s your support system. As Louise Bourgeois said, in part, “Art is a life, it is what you do through breakups and breakdowns and when you can’t sleep at night.” You may have to work in a gallery, sell Hondas, tend bar or give tango lessons to support your habit. Our art keeps us balanced through a meditative process. We offer goodness to the world vs. all that goes on in the news. We give inspiration through music, dance, paint and creative ideas that might be attached to science, medicine and engineering as well as the environment. We artists are flexible, change and move with the times. We artists make the world a better place. We artists bring joy, curiosity, profound thoughts, political and intellectual ideas, a startling and unique view to the world.

VIEW

Trade Canoe: Fry Bread, 2018 DP: Your work has been included in 650 group exhibitions and 125 one-person shows. Which is the most memorable exhibition experience for you?

JQTSS: I can’t say that any one exhibit gave me a singular memorable art experience. Often they are like a blur, many people, many conversations at an opening.

But I will say that to see my work hung in a room is like seeing old friends that I will never see again, so there’s nostalgia and emotion always connected to an exhibition.

However, printmaking workshops or visiting artist gigs have left me with indelible memories. One in particular was at a small museum in Indiana where they bussed students every two hours to do monoprinting with me.

One young man, maybe a junior in high school, asked if he could talk to me in private, so I stepped away from the class to a corner and he shared with me that that was the best day he had had in three months. I have no idea whether his parents split up, his grandmother was sick or his dog died. He didn’t tell me. But I was very aware that it had only been a week after the Columbine shootings with troubled teenagers. Those few moments have been seared into my memory. There are others too, but this truly lets me know the power of art and why I feel the importance of handing out an art experience like it’s a gift—I never know who is on the receiving end, and it could be someone who needs it like that young man. I have other stories about participants’ emotional response to my workshops and what that two hours meant to them. Perhaps the best way to phrase it is to say they were moved in a spiritual way, like meditative prayerfulness. Native peoples talk about this as an aspect of making their work.

ABOVE: Jaune Quick-to-See Smith and Neal Inuksois Ambrose-Smith, Confederated Salish and Kootenai Nation, b. 1940 and b. 1966. Trade Canoe: Fry Bread, 2018. Wood lath, artificial sinew, fry bread, varnish, 19" x 120" x 18" Courtesy of the artists and Garth Greenan Gallery, New York

Collaboration between Jaune Quickto-See Smith (Confederated Salish and Kootenai Nation MT) and Neal Ambrose-Smith (Confederated Salish and Kootenai Nation MT) Frybread by Delight Talawepi (Hopi.)

The U.S. Government sent Trade Canoes up river to our reservation, the Confederated Salish and Kootenai Nation in Western Montana, with smallpox-infected blankets, wormy beef, moldy flour and whiskey laced with lead. The U.S. Government was operating under a planned genocide to rid itself of “The Indian Problem,” as they referred to our families. The artist and professor Neal AmbroseSmith and I made this canoe sculpture to symbolically mitigate problems our country has today in dealing with the Indian problem.

When the Trade Canoes came upriver with moldy flour, eventually the tribes figured out how to use it by making frybread with it. That bread has become a standard throughout Indian Country, though it’s not so healthy because it is deep-fried in lard and eventually leads to diabetes and heart disease. Our friend Steven Deo (Yuchee Creek) used to talk about how unhealthy frybread is. We were remembering Steven when we made this canoe. So we’re offering to trade the frybread back.

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VIEW DP: As an artist with a more than 50-year career, what person or event has had the greatest impact on your work?

JQTSS: I could say my father for not giving me up for adoption after my mother left us.

His influence was deeply important. I could also say that my husband, my partner, who has supported the chaotic life of an adventurous artist, has been the stability I needed to keep moving forward. Then there is my son Neal Ambrose-Smith, who has continued to give me a helping hand in the studio, with my computer technology, printing for me, and as I age, we have switched roles, for he has become my teacher. I could also say that Fritz Scholder’s encouragement and introduction to Marilyn Butler was a great send-off into the life of an artist. I could say that Bill Benton of the Clark Benton Gallery in Santa Fe, choosing my work from the back of Navajo artist Larry Emerson’s pickup truck amongst all the other artists whose work we carried that day, was serendipitously a remarkable start in Santa Fe. Benton’s artists were Roy DeForest, Joe Brainard, Susan Rothenberg, Pat Steir and others.

I could say that Lise Hoshour in Albuquerque, finding my work in a grad school exhibit and inviting me to participate in her gallery with John Knight, Betty Parsons, Esteban Vicente, Robert Therrien and Daniel Buren, opened a door into the New York art world and set me on a path that continues today. I could keep going with this thread—the point is that no one carries on alone, there are very important people who assist along the way. I made a partial list and share it with audiences when I speak, and there are other names such as Arlene LewAllen, Susan Crile, Jules Pfeiffer, Miriam Schapiro, Lowery Sims, Marge Devon, Howardena Pindell and many more, some illustrious and some not so, but who appeared at the right time to give a helping hand or a word of encouragement that let me know, yes, I need to keep making my art.

“Where do we come from? What are we? Where are we going?” is the title of a painting by Paul Gauguin while he was living on the Island of Tahiti in 1897. Though there are varying ideas about what this means, it often is thought he meant to question the future of the Tahitian people. Some who saw my painting thought I was referencing Native Peoples and posing questions about their future. However, I thought these questions should be relevant for America and especially now with the events of the past few months, though I painted this over a decade ago.

Jaune Quick-to-See Smith, Confederated Salish and Kootenai Nation, b. 1940. Where Do We Come From? I, 2001. Mixed media on canvas 36" x 48" The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College Photography: courtesy of the artist and Garth Greenan Gallery, New York

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Kuali’i mounting a hand cut portrait.

In Conversation:

IAN KUALI’I

Kuali’i in his studio.

Our Fine Arts Curator, Erin Joyce, recently spoke with Larger Than Memory artist Ian Kuali’i (Kanaka Maoli) to discuss his practice, the contemporary art field, and the works you will see in the show. Enjoy.

Erin Joyce: For our readers who are new to your work, tell us a little bit about your practice.

Ian Kuali’i: Aloha, readers! My practice for the past couple of decades has primarily consisted of murals, site-specific installations and intricate hand-cut paper portraits, as well as journal entries. I refer to my handcut paper works as “the meditative process of destroying to create,” meaning that from a single sheet of pristine paper and using only a standard #11 Xacto blade, I cut and extract form and structure, ultimately transforming the pristine into something else.

Also, for the last two years I have also been creating large-scale ephemeral earthworks, which are more akin to offerings and land acknowledgments, and by that I do not mean acknowledging the people from a specific territory, but the land itself as the entity being acknowledged.

Earthworks Research & Development Study, 2018. Riverbed rocks & organic material.

Courtesy of the artist

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EJ: This is your first time showing at the Heard. What do you hope our audiences take away from your work in Larger Than Memory?

IK: Short of taking in the technical abilities of my work, I hope that the audience will take in a sense of responsible curiosity in regards to my Native Hawaiian culture and do further research on the beauties, innovations, history and religion of our people.

VEIW Mural at the School for Advanced Research, Santa Fe, NM.

The artist prepares a paper cut portrait that will later become a mural.

EJ: What were your thoughts when you found out who other artists were in Larger Than Memory?

IK: I was blown away and a bit intimidated, to be honest.

So many of the creatives on the roster are individuals I respect greatly for their skill sets and subject matter.

Truly honored to have the opportunity to exhibit alongside them, especially in a cultural institution such as the Heard.

EJ: Your work includes cut paper installations and framed works, but also includes a street art. Tell us more about that.

IK: All of my mentors are pioneers and style innovators in graffiti writing and the cultural hip hop movement of the late ‘70s and early ‘80s in New York City (Lenapehoking), so I come from that legacy. I have, for decades, done both legal and unsanctioned works in public spaces. I would say in regards to that side of my practice, I am more of an urban contemporary creator with a focus on studio practice.

EJ: The large-scale installation in the show—tell us about your process of formulating the concept.

IK: The idea behind the Monument/Pillar works is to bring attention to the problematic global histories around colonialism, genocide, white supremacy and the narratives, or systems, that continue to perpetuate and uphold associated ideologies. The King Kamehameha III and inverted Captain James Cook statues are the first of this new ongoing body of work. What I hope to accomplish with this series is the empowerment and honoring of key Indigenous figures from specific regions of interest, by shifting the lens of narratives currently in place to a more equitable view.

Photos Garret Vreeland. Courtesy School for Advanced Research

Three Sisters #1, 2019

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Support for Larger Than Memory In addition to generous loans by many of the artists, we would like to thank the following:

Grand Gallery Exhibition Fund Supporters

Bockley Gallery

Mary and Mark B. Bonsall

Catriona Jeffries, Vancouver

Richard and Ann Carr

Cornell Fine Arts Museum, Rollins College

Lili Chester, In Memory of Sheldon Chester

Eiteljorg Museum of American Indians and Western Art

Dino J. and Elizabeth Murfee DeConcini

Garth Greenan Gallery, New York

Judith and Stanley Getch

IAIA Museum of Contemporary Native Arts

H. Malcolm and Lainie Grimmer

Jordan Schnitzer Family Foundation

Dr. Marigold Linton and Dr. Robert Barnhill

Musée des beaux-arts de Montreal

Kristine and Leland W. Peterson

Musée national de beaux-arts du Quebec

Sacks Tierney P.A.

Sikkema Jenkins, Co., New York

Salmon, Lewis & Weldon, PLC

Private Collections

Margo and John Simons

Roberta Aidem

Lillie S. Fletcher, In Honor of Sharron Lewis

Carolyn and John G. Stuart

Lead Support

Grand Gallery Exhibition Fund Patrons Karen and Donald Abraham Anonymous Arlene and Giora Ben-Horin Carol J. Cohen Peter Fine and Rebecca Ailes-Fine Dr. Meryl Haber Jim and Patience Huntwork

Ethel and Kemper Marley Foundation

Ann Kaplan and Robert Fippinger Wan Kyun Rha Kim and Andrew Byong Soo Kim

Major Supporters

The Lester Family

Drs. William G. and Kathleen L. Howard

Jane and Steve Marmon

Sharron and Delbert Lewis

Janet and John Melamed Susan and James Navran

Additional Support Arizona Commission on the Arts Hotel Valley Ho Phoenix Office of Arts and Culture

Priscilla and Michael Nicholas Rose and Harry Papp Jody Pelusi Merle and Steve Rosskam Bill and Judy Schubert B.J. Shortridge The Summers Family Christy Vezolles and Gil Waldman Diane Willian

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BRING THE EXHIBITION HOME WITH YOU! Fully illustrated catalogue, now on sale in the Heard Museum Shop and Books & More FALL 2020

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CIRCLES EXCLUSIVE EVENTS Larger Than Memory Circles of Giving Preview Hours SEPT. 3 | 2 TO 5 P.M. Circles of Giving Members are invited to view Larger Than Memory before it opens to the public during exclusive preview hours on Thursday, Sept. 3. To ensure proper safety and social distancing protocols, we will be limiting attendance to 20 Members per hour.

Advance registrations are highly encouraged—check your email for a link to the opening event or email circles@heard.org to reserve your time.

Circles Exclusive Hours MONDAYS | 10 A.M. & 2 P.M. Beginning Sept. 7, Circles of Giving Members are invited to enjoy the museum on Mondays when it is closed to the public. Circles Members will be able to visit the museum privately with an optional docent-led tour, OR may schedule an online docent-led tour through Zoom to view any exhibition from the comfort of their own home.

To reserve, email circles@heard.org.

Lewis deSoto, Cahuilla, b. 1954. Suburban Skookum (Self-portrait), 2018. Plasticized painted and printed cloth, printed Tyvek, 3D printed plastic, electric fan 140" x 45" x 45" Collection of the artist. Photography: Heard Museum, Craig Smith

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Larger Than Memory Members-only Preview Hours SEPT. 4 & SEPT. 5 9 A.M. TO 12 P.M. All Members are invited to view Larger than Memory before it opens to the public on Friday, Sept. 4 from 9 a.m. to noon, and again on Saturday, Sept. 5. To ensure proper safety and social distancing protocols, we will be limiting attendance to 20 Members per hour.

Advance registrations are highly encouraged.

Check your email for a link to the opening event or email members@heard.org to reserve your time.

Larger Than Memory Members-only Artist Talk

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MEMBER EXCLUSIVE EVENTS Members-only Hours SATURDAYS & SUNDAYS 9 TO 10 A.M. The museum is open an hour early on Saturdays and Sundays just for Members to enjoy the galleries, including Larger than Memory, before it opens to the public.

Reserve online at heard.org/events or visit in person.

Members Annual Meeting OCT. 5 | 12 P.M. | ONLINE All Members are invited to join us for the Members Annual Meeting online, where we will share special insights about the upcoming year at the Heard Museum. Members will hear from David M. Roche, Dickey Family Director & CEO, and other key members of the staff.

Kindly RSVP by emailing us at members@heard.org or calling 602.251.0261.

SEPT. 4 | 5 P.M. | ONLINE Join us live online for a Membersonly Artist Talk to view the exhibition and hear remarks from the exhibition curators and several artists from the comfort of your home!

To register for the event and receive details about online attendance please check your email for a link or email us directly at members@heard.org.

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research

Library Poetry Collection: The Fine Art of the Word

BY BETTY MURPHY | LIBRARIAN WITH THE ASSISTANCE OF

MARIO NICK KLIMIADES | LIBRARY AND ARCHIVES DIRECTOR

O

n prominent display in a place of honor on the south wall of the Library is a framed, hand-printed, limited edition of the poem This Vessel by Nora Naranjo Morse (Santa Clara/Tewa). This work was commissioned by Heard Museum Circles of Giving Members Joel and Lila Harnett for the occasion of the Grand Opening of the Billie Jane Baguley Library and Archives at the Heard Museum in November 2000. How fitting that this thoughtful work describes the Library and Archives as the “sanctuary of our recollections ... sanctuary of our remembrance” in such rich poetic terms. These phrases validate that Native American literature is a significant area of collection development for the Library.

In particular, the collection currently holds over 900 published works of poetry.

The Library not only collects these works but also documents the careers of American Indian and First Nations poets. The Native American Artists Resource Collection houses more than 600 files for artists whose media include poetry. Sharing the works of these talented literary artists is part of the daily activities of the Library. To hear that a closing line from the poem Grace by Joy Harjo (Muscogee (Creek)) had inspired

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NATIVE AMERICAN LITERATURE IS A SIGNIFICANT AREA OF COLLECTION DEVELOPMENT FOR THE LIBRARY.

Joan Naviyuk Kane. Portrait photograph by and copyright Seth Kantner.

Image courtesy of Joan Naviyuk Kane

RESEARCH Nora Naranjo Morse. Portrait photograph courtesy and copyright Nora Naranjo Morse

the title of the 2020 exhibition, Larger than Memory: Contemporary Art from Indigenous North America, was delightful news. To learn that Joy Harjo became the first Native American honored as the Poet Laureate Consultant in Poetry in 2019 was cause for celebration.

This accolade from the Library of Congress is important recognition, but more significant is praise from the Native American community and acclaim from within the poetry community.

The Library has been adding works by Joy Harjo to the collection since the 1980s and continues today with the addition of Harjo’s 2019 work, An American Sunrise. Each year throughout the 21st century, the Library has regularly added chapbooks and poetry anthologies, making this area of collecting current and relevant. For example, the Library has collected all the published works of Joan Naviyuk Kane (Inupiaq). This gifted artist and inspiring educator was chosen as a Harvard University Radcliffe Institute for Advanced Study Fellow in 2019-2020. When selected for the

Guggenheim Fellowship in Poetry in 2018, she became the first Indigenous artist so honored. As the recognition of talented Indigenous poets increases, the Library efforts to add their work to the collection has been aided with generous support from Heard Museum Member Beverly Schueneman, whose donation created the Beverly Schueneman Library Fund on Native American Literature.

The poetry in the Library collection conveys a wide range of perspectives and presents diverse authors writing in a variety of styles. Many of these literary artists not only express their creativity through poetry, but also are multitalented with artistic expressions across the entire range of arts including sculpture, music, and filmmaking, to name a few. Yet, for each poet, their voice as an indigenous artist is an essential component of their work. In the words of Nora Naranjo Morse, the Library is proud to acquire the creative efforts of these literary artists that will become “layered into the walls of this vessel.”

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Grace I think of Wind and her wild ways the year we had nothing to lose and lost it anyway in the cursed country of the fox. We still talk about that winter, how the cold froze imaginary buffalo on the stuffed horizon of snowbanks. The haunting voices of the starved and mutilated broke fences, crashed our thermostat dreams, and we couldn’t stand it one more time. So once again we lost a winter in stubborn memory, walked through cheap apartment walls, skated through fields of ghosts into a town that never wanted us, in the epic search for grace.

Like Coyote, like Rabbit, we could not contain our terror and clowned our way through a season of false midnights. We had to swallow that town with laughter, so it would go down easy as honey. And one morning as the sun struggled to break ice, and our dreams had found us with coffee and pancakes in a truck stop along Highway 80, we found grace.

I could say grace was a woman with time on her hands, or a white buffalo escaped from memory. But in that dingy light it was a promise of balance. We once again understood the talk of animals, and spring was lean and hungry with the hope of children and corn.

I would like to say, with grace, we picked ourselves up and walked into the spring thaw. We didn’t; the next season was worse. You went home to Leech Lake to work with the tribe and I went south. And, Wind, I am still crazy. I know there is something larger than the memory of a dispossessed people. We have seen it.

(For Wind and Jim Welch) “Grace” from In Mad Love and War ©1990 by Joy Harjo. Published by Wesleyan University Press and reprinted with permission.

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Joy Harjo. Portrait photograph by and copyright karen kuehn. Image courtesy of Joy Harjo

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research

Left to Right: Ninabah Winton, Kimberleigh Begay, Natalia Miles and Velma Kee Craig

Zooming to Completion:

THE ANDREW W. MELLON FELLOWSHIPS At the end of June, the Heard Museum will complete a three-year $300,000 grant from The Andrew W. Mellon Foundation. The three years passed too quickly—they zoomed by. Of course the word “zoom” has a double meaning as during April and May when Mellon Fellows discussed via Zoom meetings readings from museum studies literature. It kept the connection and learning that we all valued moving forward.

It was just three years ago in 2017 that the Mellon Fellowships began. Titled Opening a Window, the grant was designed to provide paid fellowships for three Fellows per year who were interested in pursuing careers in museums or in the field of conservation.

Over three years, five talented Fellows participated

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in the program: Velma Kee Craig (Diné), Kayannon George (Diné), Natalia Miles (Diné/O’odham/Apache) Ninabah Winton (Diné) and Kimberleigh Begay (Diné).

The Fellows worked on a wide variety of projects with curatorial, library and archives, and education staff documenting, caring for, and interpreting the collection.

The grant’s special focus was on Navajo textiles and made possible two workshops each year that included master weavers, such as Barbara Teller Ornelas, Lynda Teller Pete, Marlowe Katoney, Lola Cody, Marilou Schultz and Melissa Cody. In the workshops these weavers joined with conservators, including Dr. Nancy Odegaard, University of Arizona, and Jeanne Brako, curator and conservator, Art Conservation Services of

One workshop took place at the conservation laboratory at Arizona State University with conservator Dana Mossman Tepper participating. At the workshop, a traditional Navajo cleaning technique involving brushing dry snow over textiles was simulated by spot cleaning test textiles with balls of crushed ice, and Barbara Teller Ornelas taught Fellows to repair broken warps on Heard textiles.

Not all of the Fellows’ conservation experience was focused on Navajo textiles. Each year, the Fellows spent a week working with sculpture conservator, Ron Harvey of Tuckerbrook Conservation LLC. The outdoor bronze, steel, and stone sculpture on the museum grounds offer a wide variety of preservation challenges, as they are exposed to the extreme heat of the desert. In discussing her experience, Mellon Fellow Natalia Miles noted the memorable experience of Fellows being allowed to set a protective coating of wax on a sculpture using a blow torch. Sculpture review and cleaning continued to be a part of the Fellows activities through the year and made certain that any potential sculpture condition issues would be quickly recognized and addressed.

Fellows assisted textile conservator Martha Grimm in dressing mannequins for Away From Home: American Indian Boarding School Stories. Starting with a standard figure, the Fellows learned how to create realistic human forms by reducing or building mass. The process is quite demanding, as it involves extensive handling of fragile garments.

With the first year of the Fellowship focused on reviewing and discussing the Heard’s impressive collection of Navajo textiles, we began in the second year to discuss a small exhibition of the collection in the Lovena Ohl Gallery. When it was decided to present the exhibition in the much larger Virginia G. Piper Grand Gallery, Fellows and staff began working with lenders Carol Ann Mackay, Steve and Gail Getzwiller of Nizhoni Ranch and Tony Berlant to create Color Riot!

How Color Changed Navajo Textiles. Prior to Color Riot!, Fellows had worked on exhibitions during installation and deinstallation, but this put them in the center of the process as co-curators. They rose to the occasion beautifully, offering new research and insights into the period of the late 1800s and linking that period to the present. Ninabah Winton became interested in studying the development of aniline dyes and considering how the use of those dyes would have presented challenges to Navajo weavers who did not possess ready supplies of water and other materials need to use the dyes. As a weaver with a textile in the exhibition, Velma Craig offered insights into how a Navajo weaver, of more than 100 years ago, would have composed her textile design and planned the execution, sometimes changing course mid-textile.

RESEARCH

Colorado. Bringing together knowledgeable weavers with conservators, for the first time in the Heard’s experience, made it possible to explore traditional Navajo methods of textile cleaning and care combined with the current conservation techniques.

As we moved into the third year of the Mellon Fellowship, it became clear that a catalog of Color Riot! was needed, especially as the exhibition would travel.

The planning of a catalog offered a chance for Fellows to develop essays that extended their observations of the textiles beyond the limited space of exhibition labels.

Also the preparation of textiles for travel, involves creating a detailed condition assessment of each textile that will be consulted at every venue at the time of installation and when the exhibition closes.

Throughout the three years, Mellon funds have supported attendance at a variety of professional meetings at the state, regional and national level. At one meeting of the Association of Tribal Archives, Libraries and Museums, Fellows presented a panel that discussed the formation of Color Riot! As we enter the final month of the Mellon Fellowship in the era of Zoom meetings, Fellows will be attending the national meeting of the American Alliance of Museums via Zoom.

With the completion of these great three years, we were pleased to hear that The Andrew W. Mellon Foundation has extended their investment in this project with a $500,000 grant for four more years. This grant expands on the original project with the full breadth of the Heard’s collection and supports a permanent position of Assistant Curator.

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recap: hoop dance

Scott Sixkiller-Sinquah. Photo credit: Platt Photography

Sixkiller-Sinquah wins Hoop Dance Championship

BY DAN HAGERTY | DIRECTOR OF STRATEGIC DEVELOPMENT AND PROGRAMMING Capping off a weekend of thrilling dance, powerful music and beautiful weather, Scott Sixkiller-Sinquah clinched the adult division of the 30th Annual World Championship Hoop Dance Contest and a cash prize of $4,000 with an electrifying performance in the final round.

Sixkiller-Sinquah (Gila River Pima, Hopi) won his spot in the finals after two days of competition, facing off with 22 contestants in the adult division, which featured numerous past champions, including 2nd place

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winner Tyrese Jensen (Diné, Pima, Maricopa), Nakotah LaRance (Hopi, Tewa, Assiniboine), Dallas Arcand (Cree, Sioux, Metis), and Tony Duncan (San Carlos Apache, Arikara, Hidatsa). Sixkiller-Sinquah had placed in the top ten of the adult division for the past four years, and—together with his brother Sampson SixkillerSinquah (Gila River Pima, Hopi, Cherokee), who placed fourth in the 2020 finals—represents a family with a long connection to Hoop Dance. Moontee Sinquah— Scott and Sampson’s father—also took home a top prize, placing first in the Senior Division.

ALL OF THE INCREDIBLE PERFORMANCES BY THE HOOP

YOUNG CONTESTANTS POINT TO A GROWING ROSTER OF INCREDIBLY TALENTED FUTURE HOOP STARS AND WORLD CHAMPIONS TO COME The Annual Hoop Dance Contest features four competitive age divisions, plus an exhibition-only “Tiny Tots” category for dancers under the age of 5. Each competition category featured outstanding performances, including those delivered by other division winners.

The Teen Division was taken by Phoenix’s Nedallas Hammill (Diné), the son of former World Champion Brian Hammill. Kailayne Jensen (Diné) took the Youth Division for the third time in a row, competing with her brother Tyrese (Adult Division) and her father Lane (Senior Division). All of the incredible performances

Kailayne Jensen

by the young contestants point to a growing roster of incredibly talented future Hoop stars and World Champions to come, and each of the top division winners won cash prizes.

In total, a record number of contestants—97 Hoop Dancers—took part in the two-day contest, which celebrated a special anniversary with a free kick-off

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hoop dance 2020 WINNERS ADULT (18-39) World Adult Champion: Scott SixkillerSinquah (Gila River Pima, Hopi) 2nd Place: Tyrese Jensen (Diné, Pima Maricopa) 3rd Place: James Jones (Tallcree First Nation) 4th Place: Sampson Sixkiller-Sinquah (Gila River Pima, Hopi, Cherokee) 5th Place: Talon Duncan (San Carlos, Apache, Arikara/Hidatsa/Mandan) 6th Place: Patrick Willie (Diné) SENIOR (40 AND ABOVE) World Senior Champion: Moontee Sinquah (Hopi, Tewa, Choctaw) Second Place: Lisa Odjig (Ojibwe, Odawa, Pottawatomi) Third Place: Terry Goedel (Yakama) TEENS (13-17) World Teen Champion: Nedallas Hammill (Diné) Second Place: Josiah Enriquez (Pueblo of Pojaque) Third Place: Joseph Romero (Pueblo of Pojoaque/Nambé) YOUTH (6-12) World Youth Champion: Kailayne Jensen (Diné) Second Place: Isaiah George (Santa Clara Pueblo) Third Place: JaiP’o Harvier (Pueblo of Pojoaque)

For a full listing of winners, visit heard.org/hoop

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party on “First Friday” night with popular Navajo band Stateline. More than three dozen Tribes were represented in the Hoop arena, and the event was once again hosted by beloved Master of Ceremonies Dennis Bowen Sr. (Seneca). Eric Manuelito Jr. (Diné) served as Arena Director alongside five outstanding judges: Eddie Swimmer (Eastern Band of Cherokee Indians, Chippewa-Cree) who was the first ever World Champion (1991); Ann Abeyta (Eastern Shoshone, Isleta Pueblo); Preston Eugene Tone-Pah-Hote Jr. (Kiowa); Thomas Phillips (Kiowa, Muskogee Creek); and Charlene Bomberry (Onondaga Nation).

HOOP DANCE WOULD NOT HOOP

BE WHAT IT IS WITHOUT THE SINGERS AND DRUMMERS WHO PROVIDE THE HEARTBEAT OF THE PRAYER THAT HOOP DANCE REPRESENTS. THROUGHOUT THE WEEKEND, THESE INCREDIBLE ARTISTS PERFORMED MORE THAN 100 SONGS EACH.

Hoop Dance would not be what it is without the singers and drummers who provide the heartbeat of the prayer that Hoop Dance represents. Throughout the weekend, these incredible artists performed more than 100 songs each. Kenneth Cozad Sr. (Kiowa, Comanche) organized the Cozad Singers, who represented the Southern Drum, and Ryon Polequaptewa (Hopi) led the Thunder Boy Singers, making their first appearance at the contest and performing the Northern Drum style.

The 30th Annual Hoop Dance Contest was officially opened by Phoenix Mayor Kate Gallego. During the weekend, special honors were accorded to Mr. Bowen and Mr. Swimmer in recognition for their service to the Hoop community, and a memorial song was played in honor of Heard Museum Trustee A.J. Dickey, who was one of the event’s biggest fans and supporters. The memory of Tony Whitecloud (Jemez Pueblo) was also celebrated throughout the weekend. Mr. Whitecloud is widely recognized for creating a performance program during the 1930s, ‘40s and ‘50s that laid the groundwork for today’s Hoop Dance community, and his vision continues to inspire countless dancers (and fans) who have benefitted from his talent and vision.

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in memoriam Nakotah LaRance AUGUST 23, 1989 - JULY 12, 2020

The Heard Museum mourns the tragic loss of Nakotah LaRance, a three-time World Championship Hoop Dance Contest winner and beloved member of the community.

The memory of his dazzling artistry in the Hoop Dance arena is a gift to all of us who had the good fortune to see him perform, but his legacy as a teacher to countless Native Youth is what will ensure that his legacy lives on. We extend our deepest condolences to the LaRance family, and to his many friends and fans.

-David M. Roche

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recap: fair A Look Back at the

62nd Heard Museum Guild

Indian Fair & Market On March 6-8, the Heard’s eight-acre campus was transformed into a sea of white tents filled with 663 artists representing more than 100 Tribes from across North America. They offered dazzling jewelry, intricate baskets, detailed pots, colorful paintings and every other kind of art imaginable. More than 13,000 guests purchased art, listened to drumming and singing, watched dancers and listened to storytellers.

“The Fair is the signature event run by the Guild, the volunteer arm of the museum, and the single largest annual event held at the Heard,” Fair chair Anna Flynn said. “It is a gathering place for the artists and their families along with art lovers and the wider community; a place to celebrate, support and learn about indigenous visual and performing arts.”

The weekend started with the Best of Show Awards reception on Friday evening. Overall, $74,200 and 136 ribbons were awarded to 97 artists from 49 Tribes, as well as 30 non-cash Honorable Mention awards. This was the highest prize pool in the history of the Fair, and all prize money was raised from individual sponsors.

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Jamie Okuma (Luiseño/Shoshone-Bannock) won the $15,000 Best of Show Award for her beaded cradleboard, “Common Ground: Culture Isn’t Black and White.” The first-ever People’s Choice Award, selected by Best of Show attendees, was won by Denise Wallace (Aleut) for “Yup’ik Dancer Belt.” The evening concluded with a fashion show featuring designs by Fair artists.

Juried Competition Highlights

$74,200 total prize money awarded

136 ribbons awarded 30 honorable mentions

97 artists representing 49 Tribes received awards Visit heard.org/fair for a list of all winners.

IT IS A GATHERING PLACE FOR THE ARTISTS AND THEIR FAMILIES ALONG WITH ART LOVERS AND THE WIDER COMMUNITY; A PLACE TO CELEBRATE, SUPPORT AND LEARN ABOUT INDIGENOUS VISUAL AND PERFORMING ARTS.

Best of Show Jamie Okuma (Luiseño/Shoshone-Bannock) “Common Ground: Culture Isn’t Black and White”

People’s Choice Award Denise Wallace (Aleut) | “Yup’ik Dancer Belt”

Jamie Okuma with her award-winning cradleboard.

Photo by Cameron Linton.

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fair Fair festivities began with an opening ceremony in the amphitheater that included the Presentation of Colors, the Native American Flag Song performed

by Thunder Springs Drum Group, and a Native blessing offered by Miss Indian Arizona, Audriana Mitchell (Navajo).

Amphitheater performances included Native flutist and world-champion hoop dancer, Tony Duncan (Apache/Arikara/ Hidatsa) and family; the Thunder Boy Dance Troop led by Ryon Polequaptewa (Hopi); and the group The Women Dance, Beautifully led by Doreen Duncan (Mandan/Hidatsa/Arikara).

The Courtyard Stage, sponsored by Canyon Records, featured Canyon artists Aaron White (Navajo-Ute), Native American flute; Xavier Quijas Yxayotl (Huichol), Mayan and Aztec-style flutes; Jonah Littlesunday (Navajo), Native American flute; Jay Begaye (Navajo), traditional singer; Kenneth Shirley (Diné) and Ty LodgePole (Diné) of Indigenous Enterprise performing Pow Wow style dances; and Tony Duncan on Native American flute.

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Kids of all ages enjoyed Young Warriors Storytelling and Crafts with Violet Duncan (Plains Cree/Taíno), her children and her parents, Melvin and Rosa John.

FAIR The Fair has been a labor of love for the Guild since its inception in 1959. It continues to flourish under the creative inspiration, managerial skills, thoughtful leadership, and hard work of many Guild members in collaboration with museum staff. More than 350 volunteers worked all weekend behind the scenes on tasks ranging from receiving, classifying and organizing the art for the juried competition to serving the artists breakfast, snacks, fresh citrus and water, to providing booths to the artists.

Plans are under way for the 2021 Indian Fair & Market to be held March 5-7. If you would like to find out how you can contribute to the Fair as a donor, sponsor or volunteer, please email Anna Flynn at fairchair@heardguild.org. See you at the Fair!

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coming soon DOWNLOAD THE NEW HEARD MUSEUM MOBILE APP This Summer we were one of only four institutions in Arizona to be awarded the CARES Act stabilization grant from the National Endowment for the Humanities. The support we received from the CARES Act grant was used to develop, in partnership with Cuseum, digital/audio tours in three languages (Navajo, Spanish and English) for our two most impactful permanent exhibitions, HOME: Native Peoples of the Southwest and Away from Home: The Boarding School Experience. This September you be able to access these tours during your next visit on your smartphone!

INCLUDES •

Museum Maps

•

Audio Guides

•

Exhibition information

•

Donate

•

& more Scan this code with your smartphone’s camera:

Created by Komkrit Noenpoempisut from the Noun Project

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COMING SOON

Turning Masks into Art Artists across the globe are responding to the COVID-19 pandemic in creative ways, through music, poetry, performance and a variety of art forms.

The face masks worn to prevent spread of the virus present a blank canvas for artists seeking to bring attention to the devastating effects the virus has had on Indigenous nations and the population at large.

The Heard is working with several American Indian artists who are creating uniquely decorated face masks for a small exhibition that will go on display Oct. 10 in conjunction with our Indigenous Peoples’ Day Celebration.

Keri Ataumbi, Kiowa, b. 1971. Yee Doye Tdo-ByeKoy, 2020. Brain-tanned buckskin, vintage wool trade cloth, silk ribbon, antique beads, cotton flannel, rubies, sterling silver, brass, 22k gold, natural earth paint, blueing. Collection of the artist. Photograph by Underexposed Studio

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covid-19

COVID-19 tests the strength of the Navajo Nation Over the past five months, the Navajo Nation has worked to slow the spread of COVID-19 on the 27,000-square-mile reservation that encompasses portions of vast rural lands in Arizona, New Mexico, and Utah. The first wave of Navajo COVID-19 cases began in Chilchinbeto, Arizona, on March 17 and spread outward, sending positive cases to the nearest hospitals in the towns of Kayenta and Tuba City, and eventually throughout the Navajo Nation. By mid-May, the Navajo Nation surpassed New York for the highest per-capita coronavirus infection rate in the United States–a clear sign of COVID-19's disproportionate impact on Native communities.

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In March 2020, the thought of COVID-19 spreading throughout the Navajo Nation weighed heavy on the mind of trustee Ginger Sykes Torres (Diné). Her parents grew up in the reservation town of Tuba City, Arizona, which is where she and her younger sister were both born. Tuba City, the largest community on the Navajo Nation, is located approximately 220 miles north of Phoenix. Despite having only one grocery store, it is home to the largest medical center on the western half of the Navajo Nation.

Nation is considered a “food desert”—it is larger than the state of West Virginia but has only 13 full-size grocery stores to support an on-reservation population of over 170,000 residents. Health conditions such as diabetes, obesity, and heart disease that increase risk of complications from COVID-19 are prevalent within Native populations. In addition, limited internet and phone service across the reservation hinders communication of critical public health information to rural areas.

Quarantined in her Phoenix home with her husband, mom, and three children, Ginger wondered how Navajo leaders would be able to contain the virus, something that was proving difficult in the largest states and cities in the US. It is now clear that compounding factors contributed to the disproportionate rate of spread on the reservation. For example, many Native families live in multigenerational and close-knit family units which make isolation of infected individuals nearly impossible. Approximately one-third of the reservation lacks access to running water and/or electricity, necessary infrastructure to adhere to CDC handwashing and sanitization guidelines and shelterin-place recommendations. Obtaining essential supplies is impossible for many, especially elders, as the Navajo

On March 25, new cases of COVID-19 on the reservation spiked by 40% in a single day. On that same day, Ginger came across a social media post by a doctor pleading for help from Tuba City, which had become a clear hotspot for infections. The doctor requested homemade gowns, masks, and face shields to protect members of triage, ER, and inpatient units because medical-grade personal protective equipment (PPE) was in short supply. Ginger was shocked that a doctor would need homemade supplies. Ginger’s mom, Sherry Denipah Sykes (Diné) and sister Deborah Sector, both expert seamstresses, had been sewing Native regalia for years. The three started immediately making cloth

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Right: Masks made by the Heard Museum Guild as coordinated by Anna Flynn, Fair Chair. Far Right: Blue Bird Flour sacks were repurposed into masks by Ginger Sykes Torres and Sherry Denipah Sykes.

COVID-19 Ginger Sykes Torres (Diné) and a PPE for Navajo First Responders volunteer load supplies.

masks out of various leftover prints. Ginger’s house turned into a mask-making factory: she cut and ironed fabric, her kids turned out the material and her mom sewed the pieces together. They spent up to 12 hours per day making masks, motivated by the thought of doctors, nurses and first responders, brave warriors, fighting the virus without proper protection. They made and sent hundreds of their own masks—along with masks received from friends and family and mask makers in Phoenix and across the country from New Jersey, Georgia, New Mexico, California, and even Vietnam— to the hospital in Tuba City.

The need for masks extended beyond medical personnel to frontline workers in the community, such as EMTs, corrections officers, and utility workers. In April, EMTs asked for help finding bleach. There were shortages of other critical sanitization supplies throughout Tuba City and Kayenta—two of the hardest-hit areas—and the need was quickly escalating and urgent. On April 20, together with late trustee A.J. Dickey’s son, Russ Dickey and his wife Erika, trustee Ginger and her husband Javier Torres co-founded the “PPE for Navajo First Responders” GoFundMe campaign to begin a coordinated effort to find and send supplies

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covid-19 to frontline warriors on the Navajo Nation, recognizing the critical role these workers play in the community. In the following weeks, trustee Christy Vezolles (Shawnee), Dr. Karletta Chief (Diné) and Andrea Odegard-Begay joined the team.

Over the past four months, the team has raised over Most of the PPE for Navajo First Responders members: Erika $65,000 and sent PPE supplies to Navajo, Hopi and Russ Dickey, Ginger and Javier Torres, Lewis Yazzie, Christy Vezolles, Andrea Odegard-Begay, Sherry Denipah Sykes and White Mountain Apache frontline warriors.

They have sent over 35 loads of hand sanitizer, receiving supplies, overwhelmed with joy to have PPE bleach, gloves, masks, face shields, and disinfectant on hand when their departments couldn't obtain any due cleaners, to a “PPE Pantry” in Tuba City. From there, to purchasing limitations and nearby stores were sold out. these supplies have been distributed by community members Lewis Yazzie (Diné) of Kayenta and Marie As of August, the team has delivered over 143,000 Nez-Gamble (Diné) of Tuba City to over 85 Navajo gloves, 2,000 gallons of bleach, 1,000 gallons of hand and Hopi organizations, including fire/rescue, police, sanitizer, 27,000 masks (14,000 of them hand-made corrections, EMTs, senior centers, community health reusable fabric masks), 240 reusable gowns, and 4,000 representatives, domestic violence shelters, home care face shields directly to the hands of front line workers providers, utility workers, food handlers, hospitals, and and first responders. The team has received donations medical clinics. Supplies have been delivered directly and support from many organizations, including to first responders and frontline warriors in the larger Brophy College Preparatory, Mayo Clinic, Scottsdale cities of Tuba City, Kayenta, Chinle, and Shiprock, as Bible Church, Valley Leadership, Bow and Arrow well as remote communities like Navajo Mountain/ Brewing Co., Day and Night Medical Transportation, Inscription House, Oljato-Monument Valley, Pinion, the Arizona Cardinals, UCLA Health, Southwest Kaibeto, Dilkon, Lychee, and Forest Lakes. The team Shakespeare Company, and the Heard Museum staff has also supported Navajo frontline workers in the and Guild.

New Mexico communities of IN RESPONSE TO THIS The importance of this project is rooted in the Tohatchi, Crownpoint, and Navajo way of life, or K’e—in which clanships Gallup through distribution PANDEMIC , NAVAJO establish relationships, unify Navajo people,

by Heard Hoop arena director COMMUNITIES HAVE and guide civic responsibility. In response Eric Manuelito (Diné) and to this pandemic, Navajo communities have COME TOGETHER White Mountain Apache come together to help each other at the first responders through TO HELP EACH grassroots level with a renewed appreciation distribution by Navajo OTHER AT THE for cultural values, traditional agricultural County Supervisor Dawnafe practices, and K’e. To Lewis, who has driven GRASSROOTS LEVEL Whitesinger. Early on, the hundreds of miles delivering PPE donations donation deliveries were the WITH A RENEWED to some of the most remote areas and is a only outside supplies that APPRECIATION FOR Navajo elder himself, the most important part several of these organizations of this effort is to preserve Navajo culture, CULTURAL VALUES, had received since the heritage, and tradition by helping the elderly pandemic started. On more TRADITIONAL survive the pandemic on the reservation. He than one occasion, Marie saw AGRICULTURAL feels strongly that the team has likely “saved first responders in tears upon a lot of lives” by coming together to fight the PRACTICES, AND K’E.

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THIS PANDEMIC HAS FOCUSED AWARENESS ON THE SYMPTOMS COVID-19

OF HISTORICAL INEQUITIES THAT THE NEXT GENERATION OF NAVAJO CHILDREN WILL HAVE TO DEAL WITH LONG AFTER THE THREAT OF COVID-19 IS GONE Navajo Nation EMTs carry supplies to their ambulance from the PPE Pantry in Tuba City.

virus. The goal is to save as many lives as possible through leveraging urban resources to source supplies and fundraise to help elders and front line workers on the reservation stay healthy.

Many on the team are parents to Navajo children who are learning the importance of giving back—a testament to how Navajos demonstrate K’e. For example, Marie and her husband William volunteer many hours to store, sort, and deliver supplies each week and are teaching their daughter the importance of helping within their community. Children of team members are learning that together they will make it through this challenging time and that helping others is how Navajo people remain resilient. Like their Navajo ancestors who endured the Long Walk to Bosque Redondo, one day, their children will be able to share today’s stories of resilience with their grandkids. This pandemic has focused awareness on the symptoms of historical inequities that the next generation of Navajo children will have to deal with long after the threat of COVID-19 is gone—such as increasing access to clean water, electricity, and communication infrastructure—

in order to ensure the long-term health, vitality and economic prosperity of those who will carry on Navajo heritage.

As of August 12, there were 9,356 positive cases of COVID-19 on the Navajo Nation and 477 confirmed deaths. Navajo Nation President Jonathan Nez reports that the curve is flattening and stay-at-home restrictions are starting to loosen; however, the world remains in the middle of the pandemic. Elders, healers, storytellers and culture keepers are still at risk. We must keep working to protect our K’e.

Ahé’hee ntsaago to the first responders, medical personnel, and essential employees on the Navajo Nation who continue working to serve the Navajo people during this pandemic.

PPE for Navajo First Responders Co-founders: Ginger and Javier Torres, Erika and Russ Dickey Team: Christy Vezolles, Dr. Karletta Chief, Andrea Odegard-Begay Written by: Trustee Ginger Sykes Torres (Diné), champion hoop dancer born in Tuba City; Trustee Christy Vezolles (Shawnee), art consultant and former resident of Tuba City; and Dr. Karletta Chief (Diné), University of Arizona hydrology professor from the Western Navajo Nation and former Miss Navajo Nation 2000-01.

Photos Courtesy Ginger Sykes Torres (Diné)

The PPE Pantry supplied the volunteers of Kaibeto Covid Relief with face shields and face masks for their work delivering food and supplies to the remote areas around Inscription House, Arizona.

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shop GOTTA HAVE IT! THE DALRYMPLE TEXTILE COLLECTION CONTEMPORARY 3RD PHASE CHIEF TEXTILE

by Elvie Van Winkle 26"x 25.5" $1800

TWO GREY HILLS

by Peggy Toney 21" x 31" $1500

CONTEMPORARY 3RD PHASE CHIEF TEXTILE

by Elvie Van Winkle 27" x 36" $2700

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SHOP TEEC NOS POS TEXTILE

by Alice Thompson 23.5" x 30" $3000

MOKI REVIVAL TEXTILE

by Elvie Van Winkle 23.5" x 23.5" $950

CHIEF REVIVAL TEXTILE

by Gloria Begay 27" x 30" $1500

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read BOOKS & MORE

Great Reads for Fall Looking for something new to read?

Check out buyer Emily Hogan’s latest picks!

1. Ruth M. Underhill wrote a memoir, An Anthropologist’s Arrival, and it

somehow manages to be both modest and bold. Underhill was raised as a Quaker, with a mother who continually admonished her for hubris and ambition. As a result, Ruth Underhill became a woman who knew how to approach other women with courteous questions that would become the basis of both her social work and eventually her work as an anthropologist.

People trying to learn about other cultures would do well to emulate Ms. Underhill’s philosophy.

2. Walking the Clouds is an anthology of Indigenous Science Fiction,

edited by Grace L. Dillon. The collection includes writers from North America and First Nations, as well as Aboriginal and Maori authors. Plenty of people have written about the experiences of Indigenous people in the past and present: these authors dare to imagine an Indigenous future.

3. Once you’ve satisfied your intellectual curiosity

with the first two titles, indulge your feet and your tummy with Boots and Burgers, an Arizona Handbook for Hungry Hikers, by Roger Naylor. Not content to simply tell you where the good hikes are, Mr. Naylor goes the extra mile and recommends good burger joints to try after you’ve put mileage on your boots. Thanks to this nifty guide, I’ve discovered some of my favorite hamburgers in Arizona.

4. And in the children’s corner, we’ve got

The Night Flower, by Lara Hawthorne, and beautifully illustrated picture book about the saguaro bloom. I really wish the artist sold wallpaper based on this art. I would re-do my home in a cactus theme...

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dine READ + DINE

The Café and Cantina staff have been preparing for the reopening of the Museum. We have been following the CDC, OSHA and Local Governments guideline when putting together our reopening plans and will do everything necessary to provide our guests and staff a safe and healthy experience.

While we do not have a reopening date for the Courtyard Café, our Coffee Cantina is open with an expanded to-go menu that includes a few Café favorites. One of the accommodations we have made in this first reopening phase is comfortable indoor seating for our Cantina guests. The indoor tables, located in our air-conditioned Steele Auditorium, are properly distanced, cleaned and sanitized after every use.

Menu planning and development has not stopped since the closure in March.

When the time comes, we look forward to sharing these exciting new café menu items on our next seasonal menu. We will always continue to innovate and incorporate Native ingredients in our menu in an effort to bring you new and unique flavor experiences.

We miss you and look forward to seeing you and welcoming you back to the to the Coffee Cantina on your next visit.

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learn

WELCOME NEW GUILD PRESIDENT JANE PRZESLICA The Heard Museum’s volunteer organization, the Heard Museum Guild, installed its new Board of Directors and is now led by President Jane Przeslica. In addition to her work on the Board, she will serve as an ex-officio member of the Heard Museum Board of Trustees.

Ms. Przeslica has been a member of the Guild since 2014. She is a museum docent and acted as the Student Art Program Coordinator prior to being becoming President-Elect. Ms. Przeslica is honored to be part of a volunteer organization started in 1956 and continuing today with over 400 members.

A message from the President: The Guild works to make the world a better place one positive act at a time. We support the museum’s mission through volunteerism in the areas of education, public outreach, support of American Indian artists and their communities, enhancement of the visitors’ experience, and fund-raising. The year ahead will necessitate a new way of moving forward. I am confident that the Guild is up for the challenge. Your thoughts and ideas will help shape our future. If you are a member of the Guild, thank you. If you are not, please join us today. You can reach me at president@heardguild.org.

We extend our best wishes to the Tribal communities around the country who are bravely battling the COVID-19 crisis. We especially want to acknowledge the Tribal communities in the state of Arizona and our neighbors in Utah, and New Mexico. We stand in solidarity with you and look forward to the day when this difficult time is just a memory.

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LEARN The Heard Museum Guild supports the mission and goals of the Heard Museum through volunteerism in: • Education • Support of American Indian artists and their communities • Enhancement of the visitor experience • Public outreach • Fund-raising Guild volunteers are an integral part of the daily life of the Museum. Whether contributing time to a single event or “living” at the Museum pursuing multiple projects and assignments,

our members are actively engaged throughout the Museum campus. Given COVID-19 concerns, many of the roles Guild members perform have been put on pause. Additionally, the monthly Guild meetings, which are normally held in person, will be moved online through the end of December. The meeting format will be the same, with guest speakers and volunteer updates.

The first Guild meeting will be held on September 16 at 10 a.m. using Zoom, and all are welcome to attend, simply visit www.heardguild.org/happening-now/ the morning of for the meeting link.

Monthly Guild Meetings – Online!

SEPT 16 | OCT 21 | NOV 18 | DEC 16 10 A.M. Guest speakers to be announced. Open to all Guild Members, Heard Members and the public.

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experience

Members participate in an event-only scavenger hunt

We {Heart} Our Members is an event enjoyed by Members year after year.

Museum Members enjoying a quick refreshment before attending the live performance by Jazzola.

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Delightful bites by Arizona Taste

WE

EXPERIENCE

In each issue we highlight past Member events as a way to reminisce and celebrate the achievements we have reached together. While this issue is no different, we must acknowledge the changing landscape of what events will look like in foreseeable future. Until we are able to gather as we used to, we will instead use this space to welcome members are guest contributors.

We invite you to tell us about your favorite exhibition, event or work in our permanent collection. We’ve already begun collecting your submissions, and hope you’ll enjoy one from member Cozette Matthews on page 53. To contribute just send an email to members@heard.org.

Steven Yazzie discusses his work Fear of a Red Planet: Relocation and Removal, 2000, originally created and installed in the former Ullman Gallery.

OUR MEMBERS

We kicked off this year’s Member Appreciation Month with our annual Valentine’s Day event. During the evening members were treated to a pop-inspired performance by the band, Jazzola, enjoyed hors d'oeuvres provided by Arizona Taste and a special event-only museum scavenger hunt.

MAIE BARTLETT HEARD SOCIETY

Warren and Delores Stromberg

On Tuesday, February 18th we welcomed long time members, and members of the Maie Bartlett Heard Society for afternoon tea and a special conversation with Steven J. Yazzie (Navajo/Laguna Pueblo/ Anglo). Our Maie Bartlett Heard Society is a special group of donors who have designated the Heard in their will or trust.

Photos: Haute Photography and Videography

Maie Bartlet Heard society attendees and their guests listening to the presentation.

LaVone Bartine and Stefanie Cargill

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experience

Member Submission

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EXPERIENCE

Roxanne Swentzell's Tse-ping is one of my most favorite art pieces in the museum. I always stop there with my tour group because it gives them the groundwork for understanding the Native American's love and connection to Mother Earth. As Roxanne has stated, the bowl in the center of her piece represents the belly button or center of the Earth from which they emerged. The family is made from clay, which again represents Mother Earth. During one of our Heard Fairs, Roxanne was a guest artist in the gift shop. I was determined to meet her. I met her husband first. She was not around, so he called her on her cell phone and told her that a lady really wanted to meet her. So, she appeared shorthly thereafter. I told Roxanne how much I love Tse-ping and her other art pieces. Then I asked her what the beans meant in the bowl. She told me that they represented her prayers for harmony and peace in our world. So, whenever I give a tour, I tell my visitors about the meaning behind the beans. This piece has such meaning for me.

Therefore, it is always a joy for me to talk about it. I do have to laugh, when I give a school tour to young children, I see their eyes light up and the giggles start as they search the family with curious glances to wonder why they are missing their clothes! Such a delightful piece and such a joy to have in our fabulous museum.

-Cozette Matthews Send us your submissions to members@heard.org to be featured in the next issue!

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trustees NEW MEMBERS OF THE BOARD OF TRUSTEES Nadine Mathis Basha A former teacher, educator, small-business owner and volunteer, Mathis Basha has spent her adult life advocating for Arizona’s children, particularly with regard to early childhood education within the state.

She served as founding chair of the First Things First board from 2007-2009, and recently completed a twoyear term as Chair. First Things First is committed to supporting the healthy development and learning of Arizona’s young children from birth to age 5.

Mathis Basha developed Proposition 203, which was approved by voters in November 2006—a ballot initiative to generate tax funds to establish a comprehensive system of early childhood development and health.

The First Things First (FTF) board is in charge of the implementation and oversight of Proposition 203. In 2010, Mathis Basha led a successful ballot initiative campaign preserving the funding for FTF. Mathis Basha has served on numerous boards and committees in conjunction with state and community agencies, the Governor’s Office and Arizona State University. In 1989, she founded the Children’s Action Alliance, a children’s public policy advocacy group that

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has significantly influenced the policies that enhance educational and medical needs for families with considerable financial constraints. Her accomplishments in the field of early childhood have been acknowledged by the countless awards she has received over the years.

Mathis Basha was presented with an honorary degree of Doctor of Humanities from the University of Arizona in December 2009. She also holds an honorary degree of Doctor of Education from Northern Arizona University as well as Arizona State University‘s Distinguished Achievement Award. She received a Bachelor of Science in Elementary Education from the University of Kansas and a Master’s degree in Early Childhood Education from Arizona State University.

Susan Esco Chandler Oklahoma City native, Susan Esco Chandler, received her BA from the University of Oklahoma, then spent her 20s on the move from New Orleans to London, then back to her birthplace. There she employed her new Cordon Bleu certification and established Creative Catering, Ltd. Her 30s were spent raising two young children in Dallas, learning the value of trained volunteers in the Junior League, and becoming a single mother. Under the tutelage of Stanley Marcus, she initiated a new career as a buyer of women’s designer sportswear at NeimanMarcus. Her 40s saw yet another life transformation as she segued from high-end retail to earning her Masters of Divinity degree at the General Theological Seminary of the Episcopal Church in New York City. Her 50s took her from Chelsea Square to a parish in Beverly Farms, Massachusetts, and a salt marsh in Rowley, MA, where she settled with her new husband, Appy. Most recently, she welcomed her 60s retiring from parish ministry, moving into a second home in Tucson, buying a third in Santa Fe, and enthusiastically continuing to volunteer with an array of highly diverse philanthropic organizations. She collects Decorative Arts and Native American jewelry, along with Vintage and Emerging Fashion designs.

TRUSTEES

Trevor Reed

Trudy Wiesenberger

Trevor Reed is an Associate Professor of Law in the Sandra Day O’Connor College of Law at Arizona State University, where he teaches courses in Federal Indian Law and Intellectual Property. Prior to joining the faculty at ASU, Reed taught in Columbia’s Core Curriculum and worked for Columbia’s Copyright Advisory Office on the development of intellectual property rights automation.

His research explores the social impacts of intellectual property law on individual and group autonomy. His recent work has focused on the linkages between creative production and Native American sovereignty, which has involved community-partnered research coupled with on-the-ground efforts to repatriate Indigenous intellectual properties from museums, archives and other holding institutions back to local communities.

His recent publications include Who Owns Our Ancestors’ Voices? (Columbia Journal for Law and the Arts, Andrew Fried Prize), Reclaiming Ownership of the Indigenous Voice in the Oxford Handbook of Musical Repatriation (Oxford University Press), and Listening to Our Modern Lives in Music and Modernity among First Peoples of North America (Wesleyan University Press). Forthcoming publications include articles in the journals Anthropological Quarterly and the Journal for the Society of American Music. Professor Reed remains an active musician and composer.

Trudy Wiesenberger has been involved in the visual arts community her entire life: as an artist, educator, advocate, patron and curator. She worked as an instructor in the education department at the Cleveland Museum of Art. She served on the boards of the Cleveland Institute of Art, where she founded a Craft Council; the Museum of Contemporary Art Cleveland (MOCA); the Print Club of Cleveland and the Contemporary Art Society of the Cleveland Museum of Art; and Contemporary Forum, Phoenix Art Museum.

In 1988, she created the art collection at University Hospitals in Cleveland and served as founding curator until her retirement in 2011. In 1998, the Cleveland Arts Foundation honored her, and in 2010 she was awarded the coveted Cleveland Arts Prize. In 2017, the rotating art gallery at the main campus of University Hospitals was renamed the Trudy Wiesenberger Gallery.

She also serves as an independent curator. Since her retirement, Trudy has focused on her own artwork. She is a printmaker and collage artist and is represented by Gebert Gallery in Scottsdale.

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give

CA M PA I G N OVE R VI EW Each October, the Heard Museum typically hosts Moondance, an evening where our we celebrate special honorees and supporters under the stars. Early in this year’s Moondance planning process, it became clear that planning a gala would not be appropriate, although the funds raised through Moondance have never been more critical.

So, instead of a Moondance gala this year, we have transitioned to the Once in a Blue Moon campaign, which acknowledges and confronts the most serious challenge the Heard has faced in its 90-year history. This campaign celebrates what makes the Heard so special by ensuring that every dollar raised will directly support our unparalleled exhibitions, collections, facilities, programs, staff, and volunteers.

This campaign has seen remarkable success already, thanks to the generosity of nearly 100 supporters who have made gifts ranging from $50 to $100,000. Through this special effort, we will still celebrate two remarkable honorees: Betty Van Denburgh and US Poet Laureate Joy Harjo (Mvscoke).

Once in a Blue Moon is an opportunity for you—our closest friends—to help ensure that our work continues, and we welcome supporters of this effort at any level!

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C A M PA I G N C E L E B R AT I O N & MO ON R ISE PICN IC

GIVE

The phrase “once in a blue moon” evokes images of exceedingly unlikely occurrences. How fitting that the next blue moon happens to occur in October 2020, the month Moondance would have been held! All campaign contributors at or above the ‘New Moon’ ($1,000) level will be invited to celebrate a successful campaign at the next blue moon on October 31, 2020. The Moonrise Picnic, held virtually and/or in person in accordance with government guidelines, will be open to all campaign contributors at or above the ‘New Moon’ ($1,000) level.

BLU E MO ON GA R DEN

In Fall 2020, the Heard Museum will beautify the North Garden, where Doug Hyde’s Southwest Summer Showers serves as the first work of American Indian art that many visitors see when entering the Heard’s campus. The garden surrounding this magnificent sculpture, adjacent to the Dorrance Education Center and the Libby Amphitheater, will remind visitors of the remarkable commitment shown by the Once in a Blue Moon campaign’s most generous supporters.

A lasting monument recognizing the dedication of all campaign contributors, by name, at or above the ‘Harvest Moon’ ($7,500) level will be unveiled at the Moonrise Picnic and remain a prominent feature of the revitalized Garden for years to come.

SUPPORT ONCE IN A BLUE MOON For more information on how to support the Once in a Blue Moon campaign,

visit heard.org/bluemoon or contact Jack Schwimmer at jschwimmer@heard.org or 602.251.0245.

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give Thank you for your support.

The Heard Museum would not achieve and advance its mission without the generosity of its members and supporters. Each year, we recognize all of our loyal donors for their gifts. Below is a listing of those who made a contribution during the museum’s fiscal year 2019 (Oct. 1, 2018 through Sept. 30, 2019). If you have any questions or corrections, please contact Jack Schwimmer at jschwimmer@heard.org or 602.251.0245.

$1,000,000+

$25,000 - $49,999

Virginia G. Piper Charitable Trust

Arizona Commission on the Arts Arizona Community Foundation

$100,000 - $249,999

Aroha Philanthropies BBVA Compass

Drs. Kathleen L. and William G. Howard

Mr. and Mrs. Giora Ben-Horin

National Endowment for the Humanities

Mr. and Mrs. Howard Berlin

Mr. and Mrs. Delbert Lewis Lilly Endowment Inc Kemper and Ethel Marley Foundation

Blue Cross Blue Shield of Arizona Mr. and Mrs. Gregory Denk Alice J. Dickey The Chester and Ann Goldberg Family Trust JP Morgan Chase Mrs. Dennis H. Lyon

$50,000 - $99,999

Mr. and Mrs. John Melamed

Arizona Public Service

Mr. and Mrs. James Navran

Dorrance Family Foundation

Mr. and Mrs. Leland W. Peterson PetSmart, Inc.

Flinn Foundation

Phoenix Office of Arts and Culture

Diane and Bruce Halle Foundation

Salt River Pima Maricopa Indian Community

Henry Luce Foundation, Inc.

Steele Foundation

Mr. and Mrs. Robert H. McKee

$10,000 - $24,999

Salt River Project

Mrs. Howard Aidem

John and Margo Simons Foundation

Mr. and Mrs. Tony Astorga

In Memory of Betty Lou Summers Virginia M. Ullman Foundation

Arizona Lottery Bank of America Mr. Carter Berlin Mr. and Mrs. Mark B. Bonsall Mrs. Frances P. Breitner Mr. Robert Bulla Mr. and Mrs. Richard Carr

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Mr. and Mrs. Jon Hulburd

Harold and Jean Grossman

Mr. Robert Fippinger and Ms. Ann Kaplan

Dr. and Mrs. Thomas M. Hudak

Pamela Grant and Daniel Cracchiolo

Mr. Robert Meyer

Mr. and Mrs. John R. Jennings

Mr. and Mrs. Herman Miller

Mr. Ron Eriksson and Mrs. Nancy Hanley Eriksson

Jewish Federation of Cleveland

Mr. and Mrs. Scott Montgomery

Mrs. Jean Lester and Mr. Christian Lester

Mr. Christopher Cole

Mr. and Mrs. James R. Huntwork

Hope and John Furth

Dino J. and Elizabeth Murfee DeConcini

Great Clips, Inc.

Neuberger Berman

Ms. Mary G. Hamilton

Northern Trust Bank

Mr. and Mrs. James J. Meenaghan

Mr. and Mrs. Thomas Hornaday

Perkins Coie Brown & Bain PA

Meyerson Family Foundation

Robert Lehman Foundation

PURE Insurance

MUFG Union Bank Foundation

Mr. and Mrs. William Levine

Sacks Tierney P.A.

Mr. and Mrs. David E. Reese

Dr. Marigold Linton and Dr. Robert Barnhill

Mrs. Jean Spangler

RIESTER

Ellen and John Stiteler

Mr. and Mrs. John E. Rogers

Mr. and Mrs. Arte Moreno

Mr. Gilbert Waldman and Ms. Christy Vezolles

Salmon, Lewis & Weldon, PLC

Mr. and Mrs. Francis Najafi

Wells Fargo

Rose and Harry Papp

Mr. and Mrs. Kenneth Seidberg

Mr. David Wilshin

Mr. and Mrs. Richard H. Silverman

$5,000 - $7,499

Mr. and Mrs. Donald Smith

Mr. and Mrs. Harvey Mackay

Dr. and Mrs. Arthur Pelberg Mr. and Mrs. Wick Pilcher / USI Mr. Zachary M. Rawling and Ms. Taylor Larson

Mr. and Mrs. Donald Abraham

Mr. and Mrs. Frederick A. Lynn

Mr. and Mrs. Charles F. Sands

Twin Arrows Navajo Casino Resort

Mr. and Mrs. Steve Rosskam

Adelante Foundation

Sanderson Ford

Mr. and Mrs. Patrick Allender

Mr. and Mrs. Randy Schilling

Jett and Julia Anderson

Dr. Scholl Foundation

Arizona Cardinals Charities

$2,500 - $4,999

Snell & Wilmer LLP

Ms. Rachel Blank

Mrs. Ginger Allingham

Mr. and Mrs. John G. Stuart

Mr. and Mrs. Donald E. Brandt

Applied Materials Foundation

Torrey Pines Club Corporation

Mr. and Mrs. Christopher J. Cacheris

Mrs. Delores Bachmann

Mr. and Mrs. Donald Callaghan

Mr. and Mrs. Peter Bidstrup

Cascade Foundation

Mrs. Cerelle Bolon

The Chickasaw Nation

Mrs. Carol J. Cohen

Mr. and Mrs. Sidney Clark Mr. and Mrs. Robert A. Cowie

CopperPoint Insurance Companies

Mrs. Susan Diamond

Mr. Jerry Cowdrey

Mrs. James Drake

Mr. and Mrs. Ronald T. Davis

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

First Things First

Dr. and Mrs. Craig Cohen Freeport-McMoRan Copper & Gold

Mr. H. Malcolm Grimmer

Mr. and Mrs. William Goldberg

The Maurice & Meta Gross Foundation

Dr. and Mrs. Meryl Haber

Mrs. Betty Van Denburgh Vanguard Group Ms. Elizabeth M. Vincent

$7,500 - $9,999 Arizona Department of Veterans' Services Mr. and Mrs. Greg Boyce

Mr. and Mrs. John Graham Mr. and Mrs. Joel P. Hoxie

GIVE

Mr. and Mrs. F. Wesley Clelland, III

Ms. Sheila White Horse

Mr. Neil Berman

Mr. and Mrs. Bert Getz

Ms. Martha M. Head

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give Hensley Beverage Company

Dr. Gretchen Bataille

Mr. and Mrs. Jed Foutz

High Five Foundation

Mrs. Vaughn Beals

Dr. and Mrs. Jack Friedland

Ms. Alexis Hill

Mr. Thomas Beecher, Jr.

Howard Garr

Dr. Norma F. Kafer and Mr. James Gordon

Mr. and Mrs. Louis Benedict

Mr. and Mrs. Stanley J. Getch

Mr. and Mrs. Robert Bertrand

Gila River Indian Community

Mr. and Mrs. George Karas

Mr. Matthew Boland and Mr. Christopher Greulich

Mr. Scott Grainger

Mr. and Mrs. Robert P. Latta Joseph S. and Mary Trigg Lentz

Mr. and Mrs. Herbert Bool

Dr. Sam Gualtieri

Sam and Judy Linhart

Mr. Fred Gullette

Mr. and Mrs. John Lomax

Mr. Richard Bottarini and Ms. Janet Shubert

Mr. and Mrs. Clint Magnussen

Mr. Salvador Bretts

Ms. Miriam J. McClennen

Mr. Daniel E. Brooks

Dr. and Mrs. Donald Miles

Ms. Sue Bunch

Dr. Carolyn Halladay and Mr. James Halladay

Dr. and Mrs. Richard L. Morgan

Mr. and Mrs. John P. Case

Mrs. Joel Harnett

Okland Construction

Mr. and Mrs. Alfred Chandler III

Mr. Samuel J. Parker

Mr. and Ms. Sheldon Chester

Mr. Michael Hawksworth and Ms. Anna Sokolova

Ms. Jody Pelusi

Mr. Tim Childs

Ms. Elizabeth Raspolic

Mr. William Chuchro and Ms. LaDonna Loitz

James and Louise Roche Foundation

Mr. and Mrs. Larry A. Gunning Ms. Roberta D. Hall

Mr. Bill Healey and Ms. Cindy Riding Mr. and Mrs. Carl Hedlund

Cocopah Indian Tribe

Ms. Lynda Helmstadter Barber

Mr. W. David Connell and Mrs. Becky Sawyer

Ms. Ashley J. Harder

Dr. and Mrs. Lattie Coor

Ms. Anita Hicks

Mrs. Norma Jean Coulter

Mr. Daniel Hidding

Mrs. Betty Dahlberg

Mr. Jason Hope

Mr. and Mrs. James Swanson

Drs. Frances and Paul Dickman

Mr. and Mrs. Helmut Horchler

Mr. and Mrs. Ray R. Thurston

Ms. Judith Dobbs

Idyllwild Arts Foundation

Mrs. Anne-Marie T. Dobbs

Thomas Ingeman

Mr. and Mrs. Cliff Douglas

Dr. L. A. Jones

Ms. Denise Dowers

Mr. and Ms. Malcolm Jozoff

Ms. Betty A. Drake

Mrs. Maurine Kahn

Mr. and Mrs. Michael Duffek

Dr. Sona Kalousdian and Dr. Ira D. Lawrence

Ms. B. J. Shortridge Mr. and Ms. Kevin Smith Ms. Christina S. Snyder Mr. and Mrs. Joachim W. Staackmann

$1,000 - $2,499 Ak-Chin Indian Community Mr. and Mrs. Benny Alon Mr. Joseph Anderson and Ms. Mary Dewane

Mr. Robert Duffy

Mr. and Mrs. Edwin D. Hetz

Dr. Christopher Appleton and Dr. Marcia Ko

Mr. Denis B. Duran and Ms. Georgia Heller

Ms. Helen Kersting

Arizona Archives Alliance

Ms. Judith M. Dworkin and Mr. Kalman D. Pijawka

Mr. and Mrs. Mark Kolman

AtLee Family Foundation Inc. Mr. and Mrs. John Augustine Mrs. Shirley Avery Mr. and Mrs. Judson Ball Dr. Reginald Barr and Ms. Sandra E. Barr

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Ms. Carol A. Gray

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Mr. and Mrs. Fred Edwards Ms. Lynne Fenderson Mr. and Mrs. Peter Fine Mr. Seth Finkel Mrs. Jo Flittie

Mr. and Mrs. Andrew Kim Mrs. and Mr. Barbara Korn Mrs. Bonnie Kraft Mr. and Mrs. Harold G. Kuller Mr. and Mrs. Richard Lehmann Mr. and Mrs. Robert Levitan T.W. Lewis Company

Mary and Stanley Seidler

Mr. and Mrs. James Lowman

Mr. and Ms. Sam Serrapede

Dr. and Mrs. John Lucking

Mr. and Mrs. Bruce Shaw

Dr. and Mrs. M.S. MacCollum

Mr. and Mrs. Ted Shen

Mr. Mac Magruder

Shiprock Santa Fe

Mr. and Mrs. Vance Marshall

Shoumaker Family Fund

Mr. and Mrs. Robert L. Matthews

Ms. Barbara Slater

Miss Sallie McCutcheon

Mr. and Mrs. C.A. Smith

Kimberly McGovern

James and Joyce Smith

Tahnia McKeever

Ms. Beverly G. Terry

Mr. and Mrs. Burton J. Miller

Mrs. Gay Thomas

Mr. Joseph E. Nordsieck and Ms. Melanie A. Ringer

Mrs. Linda Thompson

Dr. and Mrs. Hong-Kee Ong Mr. and Mrs. Donald Ottosen Dr. and Mrs. Deane Penn Mr. and Mrs. Paul M. Piazza

Mr. and Mrs. Leslie H. Small

Thunderbirds Charities TNT Enterprise Solutions, LLC Ms. Judith Travers Mr. Donald Ulrich, Jr.

Ms. M.J. Pulliam

Mr. and Mrs. David Van Denburgh

Mrs. Sandra Raffealli

Mr. and Mrs. Gene Waddell

Ms. Margaret Ranck

Nancy Walker

Ms. Marian Reichert

Mr. John R. Ward

Mr. and Mrs. William Reilly Jr.

Ms. Beverly T. Watkins

Ms. Diane Reynolds

Mr. and Mrs. Brad Wilde

Mr. David Roche

Mr. and Ms. Daniel I. Wilhelm

Mr. and Ms. Bruce Rosen

Mrs. Diane Willian

Mr. and Mrs. Lance Carleton Ross

Ms. Diana Wykes

Mr. and Mrs. Robert Rothschild David Rothschild Memorial Foundation

GIVE

John F. Long Foundation

Dr. David Young Sheri Young

Mr. Robert Ryan and Ms. Annie Waters Ms. Esther Sager Mr. Jack Salisbury and Mrs. Leslie Dashew Mr. and Mrs. Michael Salke Ms. Joette Schmidt and Mr. Kent Derdivanis Mr. and Mrs. Stanley Scholsohn Mr. and Mrus. William Schubert Susan and Ford Schumann Scottsdale League for the Arts

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