2301 N. Central Avenue
Leon Polk Smith: Hiding in Plain Sight, organized by the Heard
Phoenix, AZ 85004
Museum and presented Feb. 5 through May 31, 2021. This exhibition was made possible through the lead support of the Leon Polk Smith Foundation and the Henry Luce Foundation.
602.252.8840 | heard.org
earth song HEARD MUSEUM MEMBERSHIP MAGAZINE
HEARD MUSEUM, HEARD MUSEUM SHOP BOARD OF TRUSTEES Wick Pilcher John F. Lomax James R. Huntwork Karen Abraham David M. Roche
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Stephen R. Lewis Marigold Linton Janis Lyon John Melamed Scott Montgomery Susan H. Navran Scott H. O’Connor Leland W. Peterson Jane Przeslica Guild President Trevor Reed William G. Ridenour Ginger Sykes Torres Christy Vezolles Trudy Wiesenberger David Wilshin
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FRONT COVER: Leon Polk Smith (American, 1906-1996), Constellation YellowBlue-Violet, 1972, acrylic on canvas, 77 x 47 1/2 x 1 inches. Leon Polk Smith Foundation, 1970.P.034a–e. Photograph courtesy of Lisson Gallery. BACK COVER: Unidentified artist (Comanche), shield and cover, c. 1880. Hide, cloth, color pigments, eagle feathers, horsehair, 18 inches diameter x 42 1/2 inches long. Fred Harvey Fine Art Collection, Heard Museum, 258CI-a.
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 6
Leon Polk Smith: Hiding in Plain Sight
The Fred Harvey Collection in the Leon Polk Smith Exhibition
Behind the Scenes with ps:studios
Reflecting on All At Once
physical/digital: representations of the body
GO + DO 29
Member Appreciation Month
Exhibition Openings and Virtual Art Talks
Circles Exclusive Events
Introducing New Member Benefits for 2021!
New Acquisitions: Major Storyteller Figure By Helen Cordero
New Acquisitions: A Focus On Indigenous Women
Recaps: Indigenous Peoples’ Day + Veterans Day
HOOP + FAIR 42
Heard Museum’s Annual Hoop Dance Contest Is Going Virtual
63rd Heard Museum Guild Indian Fair & Market
COMING SOON 48
Larger Than Memory Digital Experience
George Catlin on Indigenous Land
SHOP + DINE 54
Gotta Have It!
New Café Menu
Student Art Pop-Ups
Maie Bartlett Heard Society
Recap: Blue Moon Campaign WINTER 2021
DIRECTOR’S LETTER Dear Members, Happy New Year! On behalf of the Heard Museum team, we wish the best for you in 2021. In the year ahead, you can count on us to continue bringing the beauty and inspiration of American Indian art to you. One such example is the original exhibition Leon Polk Smith: Hiding in Plain Sight, which will open to our members exclusively on Feb. 5 in the Virginia G. Piper Charitable Trust Grand Gallery.
David M. Roche Dickey Family Director and CEO
Leon Polk Smith, known for his colorful and graphic paintings, is often referred to as the “American Mondrian.” In truth, he is an American original who has more in common with celebrated modernists such as Ellsworth Kelly and Frank Stella. Until a few years ago, I had given little thought to the personal history of this icon of modern art. Then a friend suggested I take a closer look.
Smith was born and raised in Oklahoma Territory surrounded by Indigenous people and culture. Through the lens of Native creative expression, I began to think about his work differently, and a primary question emerged—could a significant source of influence on this celebrated artist’s work have been largely unexplored? I reflected on the abstraction, geometry and color that can be found in late 19th- and early 20th-century designs created by Indigenous peoples from Oklahoma and became intrigued by the idea that a significant source of Smith’s inspiration was “hiding in plain sight.” Co-curated by Joe Baker (Delaware) and Diana Pardue, this exhibition pairs outstanding examples of late 19th- and early 20th-century works of Indigenous art from Oklahoma Territory, including beadwork, hide painting and ribbon appliqué, with paintings and works on paper that span Smith’s seven-decade career. The show reflects the Heard’s mission to emphasize the intersection of American Indian art with broader artistic movements. We hope you find it a colorful and fascinating experience, and we look forward to seeing you at the exhibition, and in the special exhibitionrelated programs we have planned for our members. We wish to thank the Leon Polk Smith Foundation and the Henry Luce Foundation for their outstanding support of this exhibition and publication. The catalogue is made possible through the generous support of the Carl and Marilynn Thoma Art Foundation. We also thank the Grand Gallery Exhibition Fund Supporters and Patrons. Finally, we thank you, our members, whose support enables all that we do. Following the fall openings of Larger Than Memory and Behind the Mask: Indigenous Artists Speak Out, we opened All at Once: The Gift of Navajo Weaving in December. This exhibition features highlights of a transformational gift of contemporary Navajo weavings from Heard Museum members Julie and Mark Dalrymple. Several of the artists included in the exhibition participate in the Heard Museum Guild Indian Fair & Market and/or show in The Shop and will be familiar to you. The exhibition reflects the vibrancy and diversity of Navajo artistry in the 21st century. As I marked my fifth anniversary as Director and CEO of the Heard Museum on Jan. 1, I find myself returning again and again to the amazing membership that I have encountered and feel pure gratitude for knowing you. Thank you.
Leon Polk Smith (American, 1906-1996), Constellation Happy Day, 1971, acrylic on canvas, 80 1/2 x 77 x 1 inches. Leon Polk Smith Foundation, 1971.P.001aâ&#x20AC;&#x201C;c. Photograph courtesy of Lisson Gallery.
Leon Polk Smith HIDING IN PLAIN SIGHT BY JOE BAKER | CO-CURATOR
Most of the art world understands Leon Polk Smith in terms of American VIEW
Modernism. Smith is often compared to Ellsworth Kelly for his hard-edge painting or the Dutch painter Piet Mondrian for his abstraction. However, little attention has been paid to the significance and influence of Smith’s Oklahoma upbringing. Smith was born near the town of Chickasha in Indian Territory in 1906, just before Oklahoma statehood. The second of nine children, he grew up on the ranches and farms of rural Oklahoma. “Leon grew up with the Chickasaws and Choctaws and understood the Indians’ philosophy. He felt the abstraction in their celebration of dance and song. His special relationship to nature possibly arose from growing up on a farm and ranch,” said Robert Jamieson, Smith’s assistant and longtime companion, in an interview for a 2001 book. The ancient Kiamichi Mountains to the east and the tallgrass prairie to the west and north provided the stage for Smith’s imagination. The surrounding Native communities provided the rhythm of what would become his visual abstractions. After graduating from Pocasset High School, Smith attended Oklahoma State College (East Central State University) in Ada, graduating in 1934 with a bachelor’s degree in English and a teacher’s certificate. Smith arrived in New York in 1937 to attend Columbia University Teacher’s College and earned a master’s in educational psychology in 1938. It was while attending Columbia University that Smith first saw the work of Piet Mondrian, Constantin Brancusi and Hans Arp. He also met the choreographer and dancer Martha Graham, whose influence and friendship remained true throughout his lifetime. After traveling to Europe and Mexico and teaching in several different locales, he moved to New York City in 1944 to commit full-time to making art. LEFT: Leon Polk Smith (American, 1906-1996), Constellation Yellow-Blue-Violet, 1972, acrylic on canvas, 77 x 47 1/2 x 1 inches. Leon Polk Smith Foundation, 1970.P.034a–e. Photograph courtesy of Lisson Gallery.
ABOVE: Unidentified artist (Comanche), shield and cover, c. 1880. Hide, cloth, color pigments, eagle feathers, horsehair, 18 inches diameter x 42 1/2 inches long. Fred Harvey Fine Art Collection, Heard Museum, 258CI-a.
LEON GREW UP WITH THE CHICK ASAWS AND CHOCTAWS AND UNDERSTOOD THE INDIANS’ PHILOSOPHY. HE FELT THE ABSTRACTION IN THEIR CELEBRATION OF DANCE AND SONG. HIS SPECIAL RELATIONSHIP TO NATURE POSSIBLY AROSE FROM GROWING UP ON A FARM AND RANCH.
IN THE INDIANS’ PHILOSOPHY, THINKING, AND WAY OF TELLING STORIES, MUCH DETAIL WAS LEFT OUT, SO MUCH WAS ABSTRACT. -LEON POLK SMITH
Having spent the first third of his life in Oklahoma, and now living and working in the creative community of New York City, Smith never leaves the landscape of the Southwest or the Native communities he knew there. It is from this unique cross-cultural vantage that Smith is able to read Mondrian’s geometric style as “an extension of the baskets and blankets he knew in the Southwest,” says Randolph Lewis, professor of American studies at the University of Texas, Austin. “In the Indians’ philosophy, thinking, and way of telling stories, much detail was left out, so much was abstract,” Smith once said. From the 1940s on, the landscape and Native cultures he knew resonated in Smith’s work. We see this expressed in the “Conversations” and “Constellation” series that define the artist’s mature work.
Leon Polk Smith: Hiding in Plain Sight, organized by the Heard Museum 25 years after Smith’s major exhibition at the Brooklyn Museum, seeks to broaden our understanding of Smith’s work through a Native context. The Territorial Works display, adjacent to the main exhibition gallery, provides the viewer with cultural arts collected from Indian Territory—bandolier bags, cradleboards, pipe bags, shield and cover, ribbonwork— that provide design references to Smith’s work. Their abstract patterns and color combinations echo the forms and color-blocking often encountered in Smith’s work. It requires no great stretch of the imagination to discover what, all this time, has been hiding in plain sight. ABOVE: Leon Polk Smith (American, 1906-1996), N.Y. City, 1945, oil and pencil on linen, 46 3/4 x 32 3/4 inches. Whitney Museum of American Art, New York. Purchased with funds from the Edward R. Downe, Jr. Purchase Fund and the National Endowment for the Arts in honor of the museum’s 50th anniversary, 79.24. RIGHT: Leon Polk Smith in his Union Square studio, 1945.
VIEW WINTER 2021
The Fred Harvey Collection in the Leon Polk Smith Exhibition BY DIANA F. PARDUE | CHIEF CURATOR
When we began to consider the types of works that Leon Polk Smith would have seen while he was growing up in Oklahoma in the early 1900s, we found that, as with other exhibitions that feature historical materials, a primary collection at the Heard Museum to review was the one formed by the Fred Harvey Co. beginning in 1901-1902. The Fred Harvey Collection was donated to the Heard in 1978 and includes more than 4,000 objects collected primarily west of the Mississippi. The collection contains items predominantly from the Southwest, but it also includes significant pieces from California and the Southern Plains. Although collection data is slight, much has been learned through research conducted by scholars who, through the years, have come to the Heard to view the collection. LEFT: Attributed to Doyetone (Kiowa, 1853â&#x20AC;&#x201C;1926), lattice cradle, c. 1890. Glass beads, thread, milled lumber, tanned deerskin, fabric, canvas, silver tacks. 50 x 15 1/2 x 9 inches. Fred Harvey Fine Arts Collection, Heard Museum, 82BE. Amie Honemeeda Bear appears in a c. 1890 photograph wearing this cradle, made by her mother, Doyetone, according to Amie Bearâ&#x20AC;&#x2122;s granddaughters Dorothy White Horse DeLaune and Joycetta Bear Elliott.
VIEW Detail of lattice cradle
Our goal for the exhibition Leon Polk Smith: Hiding in Plain Sight was to look at Leon Polk Smith’s use of color and pattern to identify similarities between his artworks and items that he would have seen as a child growing up in Oklahoma, an area that was home to many diverse culture groups. The Heard collection became even more important in this process, as several museums were closed or their collections were not available for loan during the coronavirus pandemic. One quote by Smith that caught our attention early on was this: “I grew up in the Southwest, where the colors in nature were pure and rampant, and where my Indian neighbors and relatives used color to vibrate and shock.” As we reviewed the items from the Territorial works, we could see the use of vivid primary colors—greens, blues, red and yellow—that partnered with the use of primary colors in bold tones evident in Smith’s paintings. We could also see patterns or shapes apparent in each. One major area of review in the Fred Harvey Collection was three Kiowa cradleboards, each fully covered in green glass beads with designs in yellow, blue and pink and smaller areas of white and red beads. The Heard staff learned some important information about these cradleboards through research from curator Barbara Hail at the Haffenreffer Museum at Brown University. In 1995 Hail began to meet with Kiowa community members and elders to talk about cradleboards. Over several years, she learned much about the cradles in the
Fred Harvey Collection, in addition to those in other museums and in private collections. The culmination of her research and collaboration with Kiowa individuals was the exhibition Gifts of Pride and Love: Kiowa and Comanche Cradles, exhibited at the Heard Museum from April to July 2000. Two of the cradles collected by the Fred Harvey Company were featured in the exhibition and displayed along with historical photographs that showed the cradles in use. One of the cradles, pictured here, was attributed to Doyetone (1853-1926) by her granddaughters Dorothy White Horse DeLaune and Joycetta Bear Elliott. Doyetone’s daughter, Amie Honemeeda Bear, appears with the cradleboard in a photograph taken in about 1890. Other items in the Fred Harvey Collection that exhibited similar colors and patterns to Smith’s paintings were Kiowa and Cheyenne pipe bags. In the summer of 2016, a curator from the Nelson-Atkins Museum, Gaylord Torrence, was at the museum to review the Fred Harvey Collection with Heard staff members. The interesting thing about the pipe bags is that many contain distinctive designs on each side. The beadworker who fashioned one of the pipe bags in the Fred Harvey Collection used bright blue beads as the background on one side and green beads on the other. The Fred Harvey Collection also contains a significant Comanche shield with two covers exquisitely painted in vibrant yellow, blue and red. We noted similarities in Smith’s use of color and pattern in paintings from his Constellation series.
Leon Polk Smith: Hiding in Plain Sight is an original exhibition organized by the Heard Museum. The unique approach to the exhibition is apparent in this statement by David Roche, Heard Museum Director and CEO. “Since Smith publicly acknowledged his indigeneity in 1996 in the Brooklyn Museum retrospective exhibition catalogue, scholars have speculated on how his work may have been influenced by Indigenous creative expression and philosophy (most notably in the 2001 American Indian Quarterly submission by Randolph Lewis). Until now, no effort has been made to specifically examine how the abstraction, geometry and color found in the beadwork, ribbon appliqué and painted hides, and other Indigenous creative practices from Oklahoma Territory, have manifested themselves in his paintings and drawings. In other words, we are placing in plain sight for our visitors the types of things that Leon Polk Smith saw growing up in Oklahoma alongside his paintings and works on paper so that they can see the strong visual, philosophical and emotional connection between them.”
SAVE THE DATE CIRCLES OF GIVING EXHIBITION PREVIEW Thursday, Feb. 4 12 noon to 4 p.m. MEMBERS-ONLY VIRTUAL ART TALK featuring Leon Polk Smith curator Joe Baker Thursday, Feb. 4 4 p.m. MEMBERS-ONLY EXHIBITION PREVIEW Friday, Feb. 5 10 a.m. to 4 p.m.
To RSVP, see page 30 for more details.
RIGHT: Unidentified artist (Kiowa), pipe bag, c. 1890. Deer hide, faceted glass beads, paint, ochre, sinew. 31 x 5 1/2 inches. Fred Harvey Fine Arts Collection, Heard Museum, 93BE.
Support for Leon Polk Smith: Hiding in Plain Sight Grand Gallery Exhibition Fund Supporters
Roberta Aidem Mary and Mark B. Bonsall Richard and Ann Carr Lili Chester, in memory of Sheldon Chester Dino J. and Elizabeth Murfee DeConcini Lillie S. Fletcher, in honor of Sharron Lewis Judith and Stanley Getch H. Malcolm and Lainie Grimmer Dr. Marigold Linton and Dr. Robert Barnhill Kristine and Leland W. Peterson
The catalogue for this exhibition is made possible through the generous support of the Carl & Marilynn Thoma Art Foundation.
Sacks Tierney P.A. Salmon, Lewis & Weldon, PLC Margo Simons Pam Slomski Carolyn and John G. Stuart Sheri Young
Major Supporters Sharron Lewis Mrs. Dennis Lyon Betty Van Denburgh
Grand Gallery Exhibition Fund Patrons Karen and Donald Abraham Anonymous
David and Joann Van Denburgh, in honor of Betty Van Denburgh
Arlene and Giora Ben-Horin
Elizabeth Van Denburgh, in honor of Betty Van Denburgh
Susan Esco Chandler and Alfred Chandler
The Virginia M. Ullman Foundation
Dr. Meryl Haber
Dr. George and Patricia Blue Spruce Peter Fine and Rebecca Ailes-Fine Jim and Patience Huntwork Ann Kaplan and Robert Fippinger
Adelante Foundation/established by Nadine and Eddie Basha Anonymous Arizona Public Service John L. and Hope L. Furth Mary Ellen and Robert H. McKee Janet and John Melamed SRP
Wan Kyun Rha Kim and Andrew Byong Soo Kim
The Summers Family
Robert Lehman Foundation Arizona Commission on the Arts Phoenix Office of Arts and Culture
Christy Vezolles and Gil Waldman
Jane and Steve Marmon Susan and James Navran Priscilla and Michael Nicholas Rose and Harry Papp Merle and Steve Rosskam Bill and Judy Schubert B.J. Shortridge
Trudy and Steven Wiesenberger Diane Willian
*List current as of January 1, 2021
shop TAKE LEON POLK SMITH: HIDING IN PLAIN SIGHT HOME WITH A FULLY ILLUSTRATED CATALOGUE AND SELECT LIMITEDEDITION MERCHANDISE. Visit heardmuseumshop.com or visit Books & More for the full Leon Polk Smith assortment including an apron, 500-piece jigsaw puzzle and more.
Leon Polk Smith Catalogue - $65
Mix and match coasters - $6 each
T-Shirt - $19.95
Leon Polk Smith HIDING IN PLAIN SIGHT F E B R U A R Y 4 â&#x20AC;&#x201C; M AY 2 5 , 2 0 2 1 Constellation Happy Day, acrylic on canvas, 1971
Constellation Happy Day Poster $19.95
Behind the Scenes with ps:studios Publishing a fully illustrated catalogue for a Heard Museum original exhibition is a massive undertaking months in the making that is a true team project to write, design and produce. Each publication can be different in how the final product comes together, but for two exhibitions, Larger Than Memory: Contemporary Art From Indigenous North America and Leon Polk Smith: Hiding in Plain Sight, the Heard Museum partnered with the team at local creative agency ps:studios to fully design and coordinate the production of these world-class publications. The Heard Museum interviews Peter Shikany, the owner of ps:tudios. Peter Shikany
Heard Museum: Do you prefer print books or e-books for art museum publications? And why? Peter Shikany: I always prefer the printed book— art books are beautiful objects and offer an ongoing availability to spend time with the artist. Currently it seems that publishers are seeing the same trend with book sales as well, as art and photography books have seen an increase in sales in the last few years. The printed art book is far superior when it comes to images. Many e-readers just render black and white, and the size and interface is rarely an intuitive or satisfying experience. There is nothing quite like spending time with a welldesigned book—the feel of the paper, the weight and size of the book, and the detail rendered by ink on paper.
HM: Where do you find inspiration? PS: There are so many things that I come in contact with that inspire me. They often fall in the realm of art, photography, architecture, design and music. In the world we are presently living in, it is more important than ever take the time to look for inspiration. Being alone in the studio every day, with all employees working from home, I’ve taken to leaving art books open on the worktables. The images, type and objects offer daily moments that can be beautiful, surprising and inspiring.
HM: What have been the biggest changes in the industry? PS: The biggest change within the publishing industry has been the introduction of e-books and audiobooks. The demand continues to increase, and it makes sense for many types of books. I think the trend has actually increased the interest in printed art books, as they have taken on a more “treasured object” status. Of course, the biggest challenge today is COVID-19. It has severely impacted independent bookstores, interrupted supply chains and slowed production. Not to mention the impact on cultural institutions and exhibitions that are often the catalyst for many books.
Inspiration in the studio
HM: Your studio is located in an Al Beadle–designed building on Third Street, not far from the Heard Museum. As a fan of modernism, this was an obvious project for you. What about this period of design appeals to you? PS: I am so fortunate to work in such a great space every day. I am always in awe of the modular simplicity and comfort of this space. Al Beadle’s original floor plan for the building is a masterpiece of understated elegance. There is something about that clean aesthetic that defines modernism for me. It feels timeless. Originating in another time, it is just as appropriate AL Beadle's studio blueprint for the ps:studios building. and modern today. It feels new—but somehow rooted in the past. I think HM: What is the most interesting thing you learned that also describes one aspect of the Leon Polk Smith: about Leon Polk Smith during this project? Hiding in Plain Sight exhibition. HM: This is the second publication you have designed for the Heard Museum. What were some of the key differences between the Larger Than Memory and Leon Polk Smith books? PS: Larger Than Memory required a design solution that showed multiple pieces by 24 different artists. In contrast, Leon Polk Smith featured one artist, showing context and connections to Native American pieces from the Heard Museum Collection. Each book follows its own path, driven by the content, the images and the vision of the curators. Whenever we design a book for an exhibition, we are always looking for a unique approach, one that respects the work and creates an enjoyable experience for the reader. We look for the small details that make a difference or help present the work in honest ways. For instance, in the Leon Polk Smith book, the lead designer, Brad Jones, explored many font options to find a version that was easy to read, felt appropriate and had a subtle Bauhaus reference. There is always a responsibility to deliver good design while respecting the written word, the art and artist, and the curators of the exhibition. The best results always follow a process that requires collaboration, trust and attention to detail.
PS: Not knowing much about Leon Polk Smith at the beginning of the project, it was fascinating to see how Smith’s background and identity informed his work so dramatically, while at the same time it was not referenced openly by him until late in life. That influence, vision and palette of this remarkable artist are front and center in this exhibition. HM: What about the American Indian works featured in the exhibition? PS: Having always been inspired and intrigued by Native American art and design, it was amazing to see that influence interpreted and brought into such a modern expression. As I started to see the connections of color and form, it reinforced just how remarkable and creatively advanced Native American cultures have always been. HM: What is the biggest challenge in producing an art publication? PS: Anytime you design a major publication it is a juggling act of deadline, content, budget, materials and creativity. A book capturing an exhibition as important as this one also had numerous design problems to solve—we are capturing a moment in time in a
VIEW Exterior of the ps:studios building.
publication that will live on as documentation of the exhibition—although the design happens before the exhibition actually takes place. Add in the complication of creating this book during a pandemic, with multiple press and bindery checks, oversight of all production steps, and managing all the details, and it was a unique experience for all of us involved. HM: What excites you about this exhibition, and why do you think people should view this show? PS: We feel so honored that we were asked to work with the museum to design this book. It is such an important exhibition, especially in this time we are living in. Not only is the work powerful and beautiful—and it illustrates a path that connects modernism to Native American cultures—but the point is clearly made how connected we all are and how important it is to respect that idea.
In addition to Peter Shikany and the team at ps:sstudios, the Heard Museum would like to thank the Leon Polk Smith Foundation for their support in creating this publication, as well as the Thoma Foundation, whose generous underwriting of the book’s production allows all proceeds from its sale to support the Heard Museum’s mission of advancing American Indian art. Learn more about ps:studios at https://psstudios.com.
view Reflecting on
On view through Sept. 26, 2021, All at Once: The Gift of Navajo Weaving showcases 46 exquisite textiles from contemporary Navajo weavers. All at Once has been made possible by the generous donation of longtime Heard Museum members and supporters Mark and Julie Dalrymple (see page 22 to read an article from Julie). These textiles, plus dozens more, now reside in the Heard Museum’s permanent collection. Also featured throughout this exhibition are artist statements from leading Navajo weavers including Marlowe Katoney, Marilou Schultz and sisters Barbara Teller Ornelas and Lynda Teller Pete. All at Once was curated by Dr. Ann Marshall, Director of Research, in collaboration with Velma Kee Craig, Assistant Curator, and the Andrew W. Mellon Fellows: César Bernal (Chicanx), Roshii Montano (Diné) and Ninabah Winton (Diné). Continue reading for personal reflections from Kee Craig and the Mellon Fellows about their time creating and curating this exhibition.
VELMA KEE CRAIG | ASSISTANT CURATOR At the end of 2019, the Heard Museum received a large donation of textiles from Mark and Julie Dalrymple, collectors and longtime Heard supporters. At that time, I was midway through my third season as an Andrew W. Mellon Fellow. I remember the excitement as the 2019-2020 Fellows and I first encountered the nearly 90 textiles as they lay stacked in neat piles on tables in the museum basement. We dove immediately into surveying each individual textile, in complete awe of the diversity of styles represented in this batch of weavings. As we laid out each textile for the team to discuss, one of us would read aloud the accompanying information, beginning with the assigned ID number, weaver’s name, the title of the weaving (if the weaver had given it one) and the type of design. Having this information to accompany the textiles was such a treat for us.
Two of us, Ninabah Winton and I, had just wrapped up working on the exhibition Color Riot! How Color Changed Navajo Weaving, in which all but the handful of textiles included in the “Still Rioting” or contemporary section of that exhibition were woven by people whom we labeled as Unidentified Artists. Time and again, we heard ourselves express out loud how we wished we could reach out to the makers of these masterfully woven Transitional-era textiles to get insight into their process, their design inspiration(s), and the story or meanings behind the design or included elements—or even just to know who the weavers were and what region they called home. With this new batch of donated textiles—the Dalrymple Collection—we recognized immediately the opportunity we had to center the weaver’s voice in the upcoming exhibition, and we began reaching out.
CÉSAR ESTEBAN BERNAL | ANDREW VIEW
W. MELLON FELLOW AND CO-CURATOR
Elverna Van Winkle (Diné), b. 1968, Revival textile, commercial wool, aniline dyes. Collected in 2013. Gift of Mark and Julie Dalrymple, 4951-15.
One of the more memorable conversations I had was with weaver Elverna Van Winkle. For Van Winkle, weaving allowed her a freedom to “pick up and go anytime and take work with me.” The most exciting part of the weaving process for her is seeing the design come to life on the loom, as she believes it is for all weavers. We also talked about her late grandmother, Nellie Joe, who taught Van Winkle to weave when she was just 6 or 7 years old. She became emotional when she relayed to me her grandmother’s words, “You should always have a rug set up and on the side to fall back on,” and expressed the gratitude she felt at knowing she has been able to fulfill this wish. It’s hard to narrow down my choice for “favorite” textile, but I’ve settled on Salina Dale’s impressive and exciting reinterpretation of the classic Two Grey Hills design. Dale’s version has the central diamond medallion turned inside-out or rearranged so that it is instead four triangles pointed toward the center to create an X. At the age of 86, Dale is a master. Her textile and her dissection and reinvention of an age-old classic Navajo design bring me joy.
When stepping into museum spaces, what intrigues me the most—besides my interest in what is being exhibited—is the question “How did this come to be exhibited?” This curiosity of mine was satisfied as an Andrew W. Mellon Fellow at the Heard Museum helping with putting together All at Once: The Gift of Navajo Weaving. It was exciting to walk into the workroom for the first time this past October, seeing the entire collection rolled up, and going through each and every textile as we unrolled them and discussed where they could go in the exhibition. Everything up to the point of hanging the textiles on the gallery walls, from learning about the process in conceiving this project to preparing for installation, was exactly the knowledge I was missing when walking into exhibition spaces before. As I had the opportunity to closely look at every textile, I grew fond of one in particular. A cornstalk pictorial by Charlotte Begay quickly stood out to me. What I really admire about this weaving, and what caught my eye first, is the attention to detail that is placed into the illustration of the birds that line both sides of the cornstalk. Compared with other representations of birds in weavings, these are finished with a more realistic touch. You can see where each feather on the wings and tails of the birds starts and ends. Every bird has its own distinct color markings, and that one thread of yarn that comes up for the eyes brings each of them to life. The cornstalk also has a dimension to it where you can see the depth of the space with the leaves extending back and to the side; it is not merely lying flat. Through viewing it more, the weaving takes the form of a digital rendering in my eyes, as the color shifts become pixelated. This is definitely a favorite of mine among a collection of great works.
Michele Laughing-Reeves (Diné), b. 1971, Canyonland Flight, 2015. Handspun wool, commercial wool, cochineal dye, indigo dye, vegetal and aniline dyes. Gift of Mark and Julie Dalrymple, 4951-56.
NINABAH WINTON | ANDREW W. MELLON FELLOW AND CO-CURATOR Working on All at Once has been very different from our work on our last project as Mellon Fellows (Color Riot!, 2018). For parts of 2020 and throughout the process, working on this exhibition has meant working from home, researching and sourcing information—calling and emailing weavers, trading posts, and galleries—while also enduring the doldrums of the pandemic at the same time. When we did return to the museum, meetings and discussions on the textiles were very different, of course.
During textile review sessions, we were unable to fully lean in and huddle over shared magnifying glasses as we once had; we weren’t always able to hear every word of each other’s insights beneath masks and face shields; the exhibition installation was much less populated; and all of the accompanying programming has been moved online. The whole experience has made me acutely homesick and longing for a place I can’t be right now. For that reason, I find myself drawn to two textiles within the exhibition in particular that evoke a very strong sense of time and place: Canyonland Flight by Michele Laughing-Reeves and a pictorial textile by Angelena Jackson. Each reminds me of a place I know—climbing amongst canyon bluffs, committing the colors of a landscape to memory, or even the warmth of home after a much too hectic day of sheepherding. Ahxéhee’ to all of the weavers for sharing their visions and works with us.
MELLON FELLOW AND CO-CURATOR I joined the Heard Museum through the Andrew W. Mellon Fellowship in early October, after graduating with my B.A. in art history from Stanford University. It has been a bizarre experience having to enter the fellowship during a global pandemic. Even though I’m new to the museum, I think that, no matter our experience, many of us have had to overcome similar challenges. There had already been a lot of work done on the exhibition before I was introduced to the project. I’ve never co-curated an exhibition of this scale. Working on All at Once: The Gift
of Navajo Weaving was truly a unique and collaborative experience. I honor the knowledge that I’ve gained from this project—working closely with the weavers’ work, their personal statements, and the discussions that arose within the curatorial team.
ROSHII MONTANO | ANDREW W.
It’s difficult to pick a favorite piece from the exhibition. When you’re in the room with the other curators thinking about the story you’re trying to tell or themes to bring out, you advocate for certain works to be included in the exhibition. I learned from this process that I developed an attachment to a few select works, one of those being the Ye’ii pictorial textile by Aurelia Joe. There’s an otherworldly, space-like aura that emanates from the landscape that the representational Ye’ii figures inhabit. Multicolored stars are speckled across the sky in colors red, yellow, blue, green and purple. The atmosphere Joe created in her work exemplifies the innovative essence that stands out in contemporary Diné weaving. When I get a quiet moment at the museum, I’ll walk into the Jacobson Gallery to look at the textiles hanging on the walls. I always look to find something new.
View of All at Once installation. Photo by Craig Smith, Heard Museum
BY JULIE DALRYMPLE
Helen Walker (Diné), Storm Pattern textile, 34 x 51 1/2 inches.
rug, bought at Garland’s, was woven by Helen Walker from hand-spun, hand-carded wool. It has a wonderful texture as well as design. I still have it.
Julie and Mark Dalrymple with Lynda Teller Pete.
My late husband Mark and I enjoyed traveling to places with great scenery, especially the Pacific Northwest and the Southwest. And we liked to bring home things that reminded us of our trips: honey, cheese, fabric for shirts for Mark, and beautiful things that would look nice in our house. We gathered Northwest Coast carvings, Zuni fetishes, Navajo silver seed pots and jewelry, a little Pueblo pottery, a few Inuit masks and some Navajo sandpaintings, along with Navajo rugs. We really liked three-dimensional, useful work. We had a few miscellaneous art pieces in 1989 when we made our first trip to the Southwest and bought our first rug (and then two more), along with four pottery storytellers, a sandpainting and a Zuni fetish. That first
We had already developed an appreciation for Northwest Coast nations’ art (starting on our honeymoon in 1969), and I think the same strong design elements connected us emotionally to Navajo weavings. So we continued trips to the Southwest and Northwest and continued to find art that appealed to us. In 2005 we went with friends to our first InterTribal Indian Ceremonial in Gallup. High on the wall was the First Prize and Best in Category, a hand-spun and vegetable-dyed rug by Mae Jean Chester. We asked them to take it down. I think it was the first rug that made me think about the person, the artist, who wove it. Mae Jean Chester (Diné), Eyedazzler textile, 22 1/2 x 16 inches.
In 2011, we first bought rugs from the Heard Museum Shop, visited trading posts on the reservation, and bought a rug online (also from the Heard Museum Shop). We first attended the Crownpoint Weavers Auction and the Santa Fe Indian Market in 2012. By the end of that year we had 43 rugs. Once we started online shopping, we discovered Steve Getzwiller’s Nizhoni Ranch Gallery, so we bought a first rug online and then visited in 2013. Steve’s expertise and relationships with the weavers taught us a lot about Navajo weaving. Mark and I were both introverts, pleased to meet weavers and hear what they had to say, but shy about asking questions or talking about much beyond how we admired their work, so the relaxed setting at Nizhoni appealed to us. We also visited our first Heard Indian Fair & Market and our first Hubbell auction that year. We were happy that buying contemporary weavings helped support the weavers and the continuation of a cultural tradition. And we filled our house with beauty. Sometime that year we ran out of space on our walls. What to do? I suggested that if we called ourselves collectors, we could buy more rugs and rotate them on the walls. Yay! Until 2017, we continued trips to shops, auctions, trading posts and markets. When Mark fell ill, we could no longer travel, but it was wonderful that he and I could continue to collect by shopping online.
We began to realize the work and artisanship that go into the best rugs. Mark was a recording engineer for the Music Department and the Memorial Church at Stanford University, and he built a lot of equipment for them. I was a librarian for the Santa Clara County library system and sewed and made beaded jewelry. As makers ourselves, both of us appreciated good design and attention to detail. We also developed a few quirks: Mark loved rugs with trains and didn’t like pictorials with stylized perspectives. I liked a few rugs mostly because I loved the colors used, but neither of us liked too-bright colors. Somehow our tastes were very similar, making it all too easy to find rugs we could agree on. However, we had a three-bedroom house with normalheight walls (and cats), so we wouldn’t buy rugs that measured longer than 5 feet vertically.
Florence Riggs (Diné), First Phase Chief/pictorial textile, 39 x 48 inches.
We had talked about what to do with our collection, as no one in our families shared our interest. Because we had enjoyed visiting and shopping at the Heard Museum and taking trips with the Heard Museum Guild, we decided that we would like to offer much of our Southwestern art to the Heard Museum. Fortunately, they accepted. I kept some of my favorites, although I do plan to leave them to the museum in my will. I’ll just share two more of the rugs I still have. The first (from the Heard Museum Shop) is a train pictorial rug by Florence Riggs that I hung where Mark could see it from his sickbed. The second is a sunrise pictorial by Bobbi Jo Whitehair that lifted my spirits during those dark days and still does today.
Bobbi Jo Whitehair (Diné), pictorial/raised outline textile, 24 x 34 inches.
Wonders BY DIANA F. PARDUE | CHIEF CURATOR
The exhibition Small Wonders provides the opportunity to see a range of intricately made small-format works including jewelry (rings, brooches, earrings and buckles) and specialty items such as silver seed pots, fetishes or stone carvings, and silver items in miniature. Each is shaped in silver, gold or from a variety of gemstones, and all are from the Heard Museumâ&#x20AC;&#x2122;s permanent collection. Some examples of the little treasures in the exhibition are the miniatures fabricated in silver. Some of these were made by jeweler Shawn Bluejacket (Shawnee), whose jewelry is known for its complexity of design and the myriad stones she adds to her silver or gold creations. Some 20 years ago, Bluejacket was looking at the spare
metal parts that remained after she made her signature earrings, necklaces and brooches, and she wanted to find a way to use them. She got the idea to make little houses on stilts. She began to fabricate the small houses, as well as furniture, flowerpots and other miniature shapes, out of her scrap silver. When completed, the miniatures also function as small boxes or containers. Bluejacket found that making the miniatures offered a respite from the other jewelry items she fabricated and allowed her to explore working creatively in metal but in a different format. One feels much like Alice in Wonderland when surveying these tiny works. ABOVE: Denise Wallace (Sugpiaq/Alutiiq), b. 1957, Yupâ&#x20AC;&#x2122;ik Amikuk mask, 2001. Fossilized ivory, silver, 14K gold. Bequest of Dr. E. Daniel Albrecht, 4837-35.
such as Norbert Peshlakai (Navajo), who was one of the first to make the pottery shape in silver. For those who enjoy jewelry, there is an assortment of brooches, many in animal or insect shapes, as well as complex figurative works by Denise Wallace (Aleut) and more traditional shapes in silver with inset turquoise. Additionally, there are rings, earrings, buckles and small stone carvings by artists from Zuni Pueblo. Small Wonders opens to Members on Friday, March 19, and continues through the summer.
Bluejacket made preliminary drawings of the miniatures before fabricating them, which is in keeping with her other metalworks. She has sketched since she was a small child and continued sketching throughout her teenage years. She took formal art classes in drawing and in metalsmithing at the Institute of American Indian Arts in Santa Fe. Bluejacket sketches all of her jewelry designs in advance of actually fabricating the works, including details such as which gemstones she will use and where. Once she came up with the idea for the miniatures, Bluejacket also decided to paint the silver in bright colors. In a Santa Fe shop, she found some pens that allowed her to paint and draw on the metal. When asked about the brightly colored paints she utilizes, Bluejacket notes that her choice of vivid paints is in keeping with the brilliant gemstones she adds to her jewelry. Some of Bluejacketâ&#x20AC;&#x2122;s miniatures hold little surprises. The treehouse has a removable roof and is fully equipped with a slide. Included in the exhibition is also a miniature table with two chairs. A candelabra is firmly secured to the tabletop. The table is also hinged and transforms into a small container. When opened, it reveals a bundle of carrots that Bluejacket painted on the interior. These are just two examples of the variety of items on display in the Small Wonders exhibition. Other miniatures include a silver yo-yo by Daniel Sunshine Reeves (Navajo), a silver teapot with coral inlay by Darrell Jumbo (Navajo), and silver spoons by Kenneth Begay (Navajo) and Awa Tsireh (San Ildefonso Pueblo). Silver seed pots include works by a number of artisans,
ABOVE LEFT: Shawn Bluejacket (Shawnee), b. 1962, Beau Monde series, miniature table and chairs, 2000. Silver, 18K gold, paint. Gift of Saul and Carol Cohen, 4925-9a-c. ABOVE: Yazzie Johnson and Gail Bird (Navajo, b. 1946 and Santo Domingo/ Laguna Pueblo, b. 1949), butterfly pin, 2005. Morenci turquoise, 18K gold. Gift of American Indian Art Magazine in honor of the Heard Museumâ&#x20AC;&#x2122;s 75th Anniversary, 4373-2.
SAVE THE DATES CIRCLES OF GIVING EXHIBITION PREVIEW Thursday, March 18 12 noon to 6 p.m. MEMBERS-ONLY EXHIBITION PREVIEW Friday, March 19 10 a.m. to 4 p.m. MEMBERS-ONLY VIRTUAL ART TALK Join us online to learn more about the objects in Small Wonders Friday, March 19 5 p.m.
To RSVP, see page 31 for more details.
representations of the body BY ERIN JOYCE | FINE ARTS CURATOR
In 2020, our Members and Donors went above and beyond with extraordinary support that took many formsâ&#x20AC;&#x201D;from making special gifts to countless acts of personal kindness. To express our deepest gratitude, we developed and unveiled exclusively to Members and Donors an exhibition like no other we have ever done. Curated by Fine Arts Curator Erin Joyce, physical/digital: representations of the body from the permanent collection is our first-ever digital exhibition taking place in a virtual environment.
During this time of remoteness, social distancing and isolation, our corporeal relationship to the world, and to one another, is much altered. The global health crisis has affected our work lives, home lives, friends and loved ones. The crisis has also affected the ways in which we interact with and commune with art and culture. Though many have been unable or perhaps uncertain about venturing out into public spaces, the need for accessibility to art has never been greater. It is through art that we question the world around us, we observe, we challenge ourselves, and we heal. To ensure that we serve our community and create accessibility to our collection in such unprecedented times as these, we embarked on organizing physical/digital: representations of the body from the permanent collection, featuring the works of 11 Indigenous artists.
As I began contemplating the exhibition, the reality of our inability to gather and be with one another was a constant presence in my thoughts. With that in mind, I sought to curate an exhibition to look at the ways in which artists from the 20th and 21st centuries have approached representation of the body over the past 50 years. Analyzing and interpreting the ways artists address and redress the corporeal self in landscapes and spaces asks us to question how we engage with and fit into those spaces—in person as well as in the digital realm.
LEFT: Steven J. Yazzie (Diné), b. 1970, It’s Alright if it Makes You Feel Better, 1998. Oil on canvas, 40 x 48 x 1 1/2 inches. Gift of Leigh and Beryl Sherman. Image by Craig Smith for the Heard Museum. ABOVE: Courtney M. Leonard (Shinnecock), b. 1980, ABUNDANCE (Red Algae), 2016. Ceramic, 16 x 5 inches. Gift of Loren G. Lipson, M.D. Video still by Craig Smith for the Heard Museum. RIGHT: Cara Romero (Chemehuevi, b. 1977), Coyote Tales No. 1, 2018. Digital print on paper, 41 1/8 x 41 1/8 inches. Gift of Loren G. Lipson, M.D. Image by Craig Smith for the Heard Museum.
Having curated several digital exhibitions prior to coming to the Heard, I knew that even though they can be dynamic, thought-provoking and exciting, there really is no replacement for in-person art encounters. Looking at a two-dimensional or three-dimensional object on a screen suspends the experience and denies interaction. It was a challenge of how to translate these very real physical objects into a virtual environment without sacrificing the experience of them. Through collaboration with our photographer, Craig Smith, and lead preparator Joseph Kolasinski, we built a large turntable that we instrumentalized for the sculptures in the show. The videos shot by Smith allow you, the viewer, to see the works in the round, as though you were seeing them in 360°. Once in the virtual gallery, you’ll be able to learn more about each artist and their work simply by clicking on their names, which then takes you to a page devoted to each artwork on view in the exhibition, allowing you to spend real, uninterrupted time with the works that speak to you personally.
The objects I selected for the exhibition depict the human form, which is seen in works like Auto Immune Response No. 1 by Will Wilson, or Cara Romero’s Coyote Tales No. 1, and more abstracted human forms like Fritz Scholder’s Indian Dying in Nebraska, or T.C. Cannon’s Mystic Smile. The viewer will also encounter animal forms, like coyotes in Harry Fonseca’s Fire, and Steven J. Yazzie’s Gazer and Lego-te. There are additional works that illustrate the absence of a body, such as Courtney M. Leonard’s empty ceramic fishing baskets or Paula Rasmus-Dede’s fantastical Pedaling My Inner Child. These works ask us to consider how we engage through remote modalities, looking at movement, transmotion and sovereignty through the expression of form. Through sculpture, found objects, painting, mixed media and photography, physical/digital seeks to create broader access to the fine art holdings of the Heard Museum to diverse communities locally, nationally and internationally.
ABOVE: Will Wilson (Diné, b. 1969), AIR (Auto Immune Response No. 1), 2004. Inkjet print, 43 1/2 x 114 1/2 inches. Gift of Lila Harnett. Image courtesy of the artist.
TO VIEW PHYSICAL/DIGITAL, SCAN THIS CODE WITH YOUR PHONE’S CAMERA:
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UPCOMING MEMBER EVENTS MEMBERS-ONLY JEWELRY SALE AND EXTENDED SHOPPING HOURS 20% OFF JEWELRY SALE | FEB. 9-14 EXTENDED SHOPPING HOURS FRIDAY, FEB. 12 | 4 TO 6 P.M. All Members will receive a 20% discount on most jewelry items from Feb. 9 through Feb. 14 and are invited to extended shopping hours from 4 to 6 p.m. on Friday, Feb. 12, when the Shop is closed to visitors. This will be the perfect opportunity to complete your Valentine’s Day shopping by picking up something special for your sweetheart or yourself! A young Heard visitor explores Home
MEMBER APPRECIATION MONTH
WE OUR MEMBERS APPRECIATION DAY
SATURDAY & SUNDAY, FEB. 13 & 14 IN PERSON | 10 A.M. TO 4 P.M.
As a Member, you help us achieve our mission of advancing and supporting American Indian art. Now we want to show you just how much you mean to us by celebrating you, our members, during the entire month of February! With a slate of virtual and inperson events, we hope you’ll join us for these upcoming activities (and keep an eye on your inbox for even more surprises).
COMPLIMENTARY COOKIES & COFFEE IN THE COFFEE CANTINA FEBRUARY 2021 Stop by the Coffee Cantina and show your Membership card to receive a free cookie and coffee (or tea or soda) of your choosing.
*Limited to 30 guests. Masks and social distancing required at all times. No food or drink allowed.
Join us for live music in the Courtyard and a special showing of the 2021 Virtual Hoop Dance Contest playing continuously in the Steele Auditorium*. The Holiday Recipe Contest-winning Dark Chocolate Snow Crinkle Cookies submitted by Member James Moore will also be available, so stop by the Coffee Cantina to pick up your free cookie!
MEMBERS-ONLY VIRTUAL YOGA SATURDAY, FEB. 20 | ONLINE | 10 A.M. Join us for complimentary Yoga with Rooted Community Yoga Project from the comfort of your own home. All you need is your smartphone, tablet or laptop, and a mat. To register for the event, please check your email for a link, or email us directly with the program title at email@example.com.
go + do Exhibition Openings and Virtual Art Talks MEMBERS-ONLY VIRTUAL ART TALK: A CONVERSATION ON PHYSICAL/DIGITAL WITH COURTNEY M. LEONARD AND FRANK BUFFALO HYDE MONDAY, FEB. 1 | ONLINE 12 NOON Join us for a conversation with artists Courtney M. Leonard and Frank Buffalo Hyde as they discuss their individual practices and collaborative works under their collective, CRANK!. To register for the event, please check your email for a link, or email us directly with the program title at firstname.lastname@example.org.
LEON POLK SMITH MEMBERS-ONLY EXHIBITION PREVIEW HOURS FRIDAY, FEB. 5 | IN PERSON 10 A.M. TO 4 P.M. All Members are invited to view Leon Polk Smith before it opens to the public. To ensure proper safety and social-distancing protocols, we will be limiting attendance to 20 Members per hour. Advance reservations are highly encouraged. Check your email for a link to the opening event or email email@example.com to reserve your time.
2020 World Championship Hoop Dance Contest.
Untitled photograph, 1935. Leon Polk Smith Papers, Archives of American Art, Smithsonian Institution.
MEMBERS-ONLY VIRTUAL ART TALK: THE LIFE OF LEON POLK SMITH WITH JOE BAKER THURSDAY, FEB. 4 | ONLINE | 4 P.M. Join us live, online to learn more about the life and works of Leon Polk Smith from exhibition curators Joe Baker and Chief Curator Diana Pardue before it opens to Members on Friday, Feb. 5. To register for the event, please check your email for a link, or email us directly with the program title at firstname.lastname@example.org.
MEMBERS-ONLY VIRTUAL ART TALK: HOW DO YOU ORGANIZE A VIRTUAL HOOP DANCE COMPETITION? WEDNESDAY, FEB. 10 | ONLINE 12 NOON Members are invited to join select Hoop Advisors for an in-depth discussion on what it was like organizing a completely virtual Hoop Dance Contest the Wednesday before the premiere. To register for the event, please check your email for a link, or email us directly with the program title at email@example.com. Please see page 35 for additional Memberexclusive virtual Hoop benefits.
WEDNESDAY, MARCH 10 | ONLINE 12 NOON Join us for a deeper look into Leon Polk Smith's artistic practice. The conversation will be moderated by Brooke Kamin Rapaport, the Deputy Director and Martin Friedman Chief Curator of the Madison Square Park Conservancy and curator for the Brooklyn Museum’s 1996 exhibition Leon Polk Smith: American Painter. Joining the discussion are Patterson Sims, President of the Leon Polk Smith Foundation, and Dana Miller, art historian, independent curator and former curator at the Whitney Museum of American Art. To register for the event, please check your email for a link or email us directly with the program title at firstname.lastname@example.org.
SMALL WONDERS MEMBERS-ONLY EXHIBITION PREVIEW HOURS FRIDAY, MARCH 19| IN PERSON 10 A.M. TO 4 P.M. All Members are invited to view Small Wonders before it opens to the public on March 20. To ensure proper safety and social-distancing protocols, we will be limiting attendance to 20 Members per hour. Advance reservations are highly encouraged. Check your email for a link to the opening event or email members@ heard.org to reserve your time.
MEMBERS-ONLY VIRTUAL ART TALK: SMALL WONDERS FRIDAY, MARCH 19 | ONLINE | 5 P.M. Join us live, online with the exhibition and Chief Curator Diana Pardue and Assistant
Curator Velma Kee Craig, who will highlight a few objects in Small Wonders. To register for the event, please check your email for a link, or email us directly with the program title at email@example.com.
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MEMBERS-ONLY VIRTUAL ART TALK: A DEEPER LOOK AT LEON POLK SMITH’S ARTISTIC PRACTICE
MEMBERS-ONLY VIRTUAL ART TALK: A CONVERSATION ON PHYSICAL/DIGITAL WITH CARA ROMERO AND WILL WILSON MONDAY, MARCH 29 | ONLINE 12 NOON Join us for a dynamic conversation with contemporary artists Cara Romero (Chemehuevi) and Will Wilson (Diné) as they discuss their process and conceptual practice as photographers and installation artists, and how their work relates to social justice, representations and equity building. To register for the event, please check your email for a link, or email us directly with the program title at firstname.lastname@example.org.
MEMBERS-ONLY VIRTUAL ART TALK: OKLAHOMA AND ITS INFLUENCE ON LEON POLK SMITH WEDNESDAY, APRIL 7 | ONLINE 12 NOON Join us live, online for a panel discussion with exhibition co-curator Joe Baker (Delaware); Dr. heather ahtone (Chickasaw/Choctaw), Senior Curator at First Americans Museum in Oklahoma City; and Dr. Dwanna McKay (Muscogee (Creek) Nation), Assistant Professor in the Race, Ethnicity and Migration Studies program at Colorado College, as they discuss Oklahoma historically and how that framed Leon Polk Smith's artwork. To register for the event, please check your email for a link, or email us directly with the program title at email@example.com.
go + do MEMBERS-ONLY VIRTUAL ART TALK: LEON POLK SMITH, AN ICON OF MID-CENTURY MODERN ART MONDAY, APRIL 19 | ONLINE 12 NOON Join us live online for a discussion with local mid-century modern furniture, art and architecture experts in relation to the work of Leon Polk Smith. To register for the event, please check your email for a link, or email us directly with the program title at members@ heard.org.
Circles Exclusive Events LEON POLK SMITH CIRCLES OF GIVING EXHIBITION PREVIEW HOURS THURSDAY, FEB. 4 | IN PERSON 12 NOON TO 4 P.M. Circles of Giving members are invited to view Leon Polk Smith before it opens to Members and the Public. To ensure proper safety and social-distancing protocols, we will be limiting attendance to 20 Circles of Giving Members per hour. Advance registrations are highly encouraged. Check your email for a link to the opening event or email circles@heard. org, or call Allison Lester at 602.251.0262 to reserve your time. ABOVE: Leon Polk Smith (American, 1906-1996), Cherokee, 1958. Oil on canvas; four panels, each measuring 80 x 16 inches. Leon Polk Smith Foundation, 1958.P.007a-d.
Denise Wallace (Sugpiaq/Alutiiq, b. 1957), Siberian Patterns, 2001. Fossilized ivory, 18K gold. Gift of Eric Tack, M.D., 4524-1.
SMALL WONDERS CIRCLES OF GIVING EXHIBITION PREVIEW HOURS THURSDAY, MARCH 18 | IN PERSON 2 TO 6 P.M. Circles of Giving members are invited to view Small Wonders before it opens to Members and the Public. To ensure proper safety and social-distancing protocols, we will be limiting attendance to 20 Circles of Giving Members per hour. Advance reservations are highly encouraged. Check your email for a link to the opening event or email firstname.lastname@example.org, or call Allison Lester at 602.251.0262 to reserve your time.
CIRCLES EXCLUSIVE HOURS BY APPOINTMENT | IN PERSON Circles Members are able to schedule an appointment to visit the Heard privately with an optional docent-led tour OR schedule an online docent-led tour through Zoom to view any exhibition from the comfort of their own home. Appointments are available Mondays from 9 a.m. to 4 p.m., when the museum is closed to the public; and Tuesdays through Fridays at 9 a.m., before the museum opens, or 4 p.m., after the museum closes. To reserve your time, email email@example.com or call Allison Lester at 602.251.0262.
Additional Events SATURDAY & SUNDAY, FEB. 13 & 14 IN PERSON | 11 A.M. The first ever Virtual Hoop Dance Contest premieres at 11 a.m. on Saturday and streams free to the public throughout the weekend. Members can enjoy the weekend premiere at home on the Heard’s Facebook or YouTube channels, or on a loop in Steele Auditorium* from 11 a.m. to 3 p.m. throughout the weekend. If you want to join us at the Museum, you’ll see the latest exhibitions while you enjoy live music to accompany your lunch in the Café or a coffee in the Piper Courtyard. *Limited to 30 guests. Masks and social distancing required at all times. No food or drink allowed.
INDIAN FAIR & MARKET JURIED COMPETITION SHOW & SALE | BEST OF SHOW VIRTUAL AWARDS EVENT | VIRTUAL MARKET THURSDAY TO SUNDAY | MARCH 4-7 ONLINE / IN-PERSON See pages 44-46 for full details.
SHOP FEATURED ARTISTS
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VIRTUAL HOOP DANCE CONTEST
SELECT FRIDAYS & SATURDAYS IN PERSON Join us for select Fridays and Saturdays when you will be able to meet with and buy from the Heard Museum Shop's featured American Indian artists. Visit heard.org/events for a list of scheduled artists.
MONTHLY GUILD MEETINGS WEDNESDAYS | FEB. 17, MARCH 17, APRIL 21 | ONLINE | 10 A.M. The Heard Museum Guild, the volunteer arm of the Museum, hosts monthly meetings with featured guest speakers. Guild Members, Heard Members and the public are invited to tune in by visiting heardguild.org/happeningnow on the morning of the meeting to get the link. Guest speakers to be announced.
MAIE BARTLETT HEARD SOCIETY: PRIVATE TOURS OF LEON POLK SMITH MONDAYS | MARCH 1, 8, 15, 22 & 29
FIRST FRIDAYS AT THE HEARD FRIDAYS | FEB. 5, APRIL 2, MAY 7 IN PERSON | 4 TO 8 P.M. We are open each First Friday (excluding March) with live music in our Central Courtyard, and Museum admission is free for all guests. The Coffee Cantina and Books & More will be open until 7:30 p.m. Times are subject to change; please see heard.org/ events for updated information.
Each Monday in March, between 10 a.m. and 4 p.m., members of the Maie Bartlett Heard Society are invited to sign up for private tours of Leon Polk Smith: Hiding in Plain Sight, with the added assurance that you will be the only visitors in the entire Museum during your tour. To schedule your tour, please contact Jack Schwimmer at firstname.lastname@example.org or 602.251.0245. For additional information about joining the Maie Bartlett Heard Society, feel free to contact Jack, visit heard.org/ plannedgiving, or simply turn to page 59.
INTRODUCING NEW MEMBER BENEFITS FOR 2021! Heard Members will experience even MORE in 2021 with all the benefits you love, plus new opportunities for you to enjoy the Museum both in-person and from the comfort of your own home. You’ll continue to receive free, unlimited admission to all exhibitions, a 10%* discount in our Heard Museum Shops and Café, as well as invitations to special exhibition previews and weekly Members-only Hours (currently 9 to 10 a.m. on Saturdays and Sundays). And, we’ll continue to take you behind the scenes of all our original exhibitions and programs in our new series of online dialogues with artists, curators and more. Two Member favorites—the Annual World Championship Hoop Dance Contest and the Heard Guild Indian Fair & Market—are going virtual this year too, with online and in-person options for Members to enjoy. More details on pages 42 and 44! Check out pages 29-33 for a full list of upcoming programs just for Members—and check your email for regular updates!
Discover all the new opportunities for you! ALL MEMBERSHIP LEVELS:
$1,000+ SUSTAINER AND UP:
• Invitations to Members-only Virtual Art Talks and events (see pages 29-33 for upcoming events, and you can find past programs on our YouTube channel at youtube.com/heardmuseum)
• Commemorative DVD of the 2021 Virtual World Championship Hoop Dance Contest
• A one-time-use Birthday Discount of 20%* in our Heard Museum Shops, valid for 30 days on or after your birthday
$2,000+ ALL CIRCLES OF GIVING LEVELS: • 20%* Circles of Giving Shop Discount for one item on the first Sunday of each month
• Complimentary access to the 2021 Virtual World Championship Hoop Dance Contest, Priority access to the virtual Heard Museum Guild Indian Fair & Market, and priority entry to the in-person Juried Competition & Sale, March 5–7 (see pages 44-47 for more information about the event)
• Circles-exclusive Hours on Mondays when the museum is closed to the public with an optional docent-led tour
• Digital subscription to member e-news Members@Home
• Indian Fair & Market VIP snack box available for pickup through March 5-7
• Invitations to Circles exclusive exhibition preview hours and Circles-exclusive virtual events
$250+ EXPERIENCE LEVELS AND UP: • Invitation to the Virtual Heard Museum Guild Indian Fair & Market Donor Preview Event on March 1
If you have any questions, or would like to upgrade your membership, please reach out to Christina Harris or Allison Lester at 602.251.0261 or email us at email@example.com.
• Invitation to one Circles of Giving opening event or virtual program per year
collection New Acquisitions:
Major Storyteller Figure By Helen Cordero Donated to the Heard BY DIANA F. PARDUE CHIEF CURATOR
In 1976, the Heard Museum held an important exhibition for the figurative ceramic artist Helen Cordero (Cochiti Pueblo, 1915-1994). When she created a pottery figure with children seated on its lap in 1964, Cordero sparked a resurgence in a pottery tradition that was Cochiti Pueblo potter Helen Cordero, standing at left, with Dr. Barbara Babcock at the far right. centuries old. She based the figure on her grandfather, Santiago Quintana, who work and formed a special friendship with her was was known as a gifted storyteller. With eyes closed and Dr. Barbara Babcock, Regents’ Professor of English mouth open, one could almost hear the stories being told and Comparative Cultural and Literary Studies at the as they looked at Cordero’s pottery figures. University of Arizona. In 1986, Dr. Babcock partnered with scholars Guy and Doris Monthan to write the The Heard’s exhibition was only one of several definitive book The Pueblo Storyteller. Dr. Babcock significant events in Cordero’s career. Her creative works lectured widely on the topic and published articles were widely covered by newspapers and magazines, and in American Indian Art Magazine, Journal of American one of her storytellers was featured on the cover of a Folklore and New Mexico Magazine and many other 1982 issue of National Geographic. Her figures caught the journals and books. attention of many, and as they grew in popularity, other potters began to make these “storytellers” in their own The Heard Museum presented another exhibition in styles or explore variations in figurative ceramics. 1988 titled Earth, Hands, Life: Southwestern Ceramic Figures, which explored the tradition of figurative One person who became keenly interested in Cordero’s ceramics from pre-contact through contemporary times.
storyteller figure from clay she brought from New Mexico. Recently, the family of Dr. Babcock donated a major storyteller by Cordero to the Heard. The figure is seated, with 19 children sitting on its lap, climbing its arms and hanging on its back—each with distinctively decorated clothing. This is now the most complex figure in the Heard Museum Collection. As a later example of Cordero’s work, it joins important early works by Cordero in the Heard Collection that were donated by Dennis and Janis Lyon. In addition to this remarkable figure, the family also gifted a charming storyteller turtle by Cordero’s grandson Tim Cordero (Cochiti Pueblo, b. 1963), a photograph of Cordero and Dr. Babcock, and a copy of The Pueblo Storyteller signed by most of the potters in the book.
ABOVE AND RIGHT: Helen Cordero (Cochiti Pueblo, 1915-1994), storyteller figure, 1969. Ceramic, pigment. Heard Museum purchase, NA-SW-CO-F-3.
As you entered the gallery, the exhibition began with the most recent works, with examples by Nora Naranjo Morse (Santa Clara Pueblo, b. 1953) and Roxanne Swentzell (Santa Clara Pueblo, b. 1962) and then moved to some of the earliest figures made in pre-contact times. Cordero’s figures illustrated an important turning point in the figurative pottery tradition and were joined by works in which other potters explored new themes. Seferina Ortiz (Cochiti Pueblo, 1931-2007) and her teenage son Virgil Ortiz (Cochiti Pueblo, b. 1969) both had works in the exhibition. Ortiz’s Cochiti Sunbathers provided a glimpse of the humorous caricature shared with some of the figures made almost 100 years before. The Heard held a symposium in conjunction with the exhibition. Dr. Babcock was among the presenters and Cordero’s daughter-in-law, Mary Trujillo, shaped a
collection New Acquisitions:
A Focus On Indigenous Women
BY ERIN JOYCE | FINE ARTS CURATOR
Three works recently exhibited in Larger Than Memory: Contemporary Art From Indigenous North America have been added to the Heard Museum’s permanent collection. The works by Cara Romero (Chemehuevi), Meryl McMaster (Plains Cree) and Tanya Lukin Linklater (Alutiiq) represent Indigenous women’s creativity, diversity and resilience, and reflect the critical conversations raised in the exhibition and the accompanying publication. Through the generosity of Karen Truax, in memory of her parents, Dr. Maurice L. Sievers and Bud Sievers, the Museum added Romero’s Indian Canyon to the collection. Originally commissioned as monumental billboards for the Desert X art installation in the Coachella Valley in 2018, the work is part of the artist’s larger photographic series Jackrabbit, Cottontail & Spirits
of the Desert. The series features four figures which the artist describes as “time-traveling visitors from Chemehuevi.” These four children represent warriors of memory, fighting to remind us of the importance of connecting with the land and acknowledging the original inhabitants of that portion of the Californian desert: the Chemehuevi, Cahuilla, Mojave and Serrano peoples. Indian Canyon features a small boy sitting atop a boulder in the Mojave Desert—wearing regalia while looking out at the viewer wearing regalia. By placing this boy as the central figure in the vast expanse of the Coachella Valley, Romero negates collective forgetfulness of Indigenous lands and alerts the viewer to the continued presence of California tribes. Indian Canyon, and the larger series of photographs, is about creating visibility for Indigenous peoples globally, and also specifically in the artist’s home territory in Cara Romero (Chemehuevi, b. 1977), Indian Canyon, 2018. Digital chromogenic print, 24 x 66 inches. Heard Museum Collection, Gift of Karen Truax in memory of her parents, Dr. Maurice L. Sievers and Bud Sievers, as a reflection of their respect and concern for all Native peoples.
and around the Chemehuevi reservation in Southern California. Another photograph we added to the permanent collection is What Will I Say to the Earth and Sky, II (2019) by nehiyaw (Plains Cree) artist Meryl McMaster. McMaster’s conceptual photographs represent movement, space and the natural world, and they often reference the artist’s multifaceted heritage as a person of nehiyaw, British and Dutch descent. In this work, the artist is pictured in a glacial landscape with a brilliant shock of blue sky behind her. She wears a floor-length gown which almost disappears against the white backdrop of the snow except for the red mayflies that cover it. The costumes McMaster constructs and wears are armor-like; they often feature insects and animals that are able to fly, such as mayflies, butterflies, ravens and bumblebees. The significance of flying beings is that these creatures are able to move and travel freely, unhampered by borders or nations. McMaster’s photograph obliquely discusses Indigenous sovereignty—a free movement of Indigenous peoples unhindered by colonial borders. The final work we added to the collection in 2020 was the single-channel video Slay All Day, (2015), by Alutiq artist Tanya Lukin Linklater. The work features Toronto-based dancer Ceinwen Gobert in a split-screen format, with Gobert playing the role of both light and dark. Lukin Linklater engages with the notion of positive/negative in relationship to balance in the film—collaborating on the choreography with Gobert as well as directing the work as a whole. Lukin Linklater drew inspiration from Robert Flaherty’s 1922 film Nanook of the North, making note of the ways in which it represented Indigenous peoples. The film was made as a documentary, but it was
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, 40 x 60 inches, edition 1/5. Heard Museum Collection, Gift of Kathleen L. and William G. Howard.
actually Flaherty’s constructed version of Indigenous identity to depict the past. The video (running time 4:16) features no sound, referencing the silent nature of the 1922 film. Gobert references Inuit athletics and culturally specific movements as she progresses through the enclosed room. Her limitations within the space represent the inability of Indigenous women to move freely throughout the world, both physically and intellectually. Just as Gobert is trapped inside the closed room, Indigenous women are often trapped inside a fixed or fetishized perception of their identity and bodies. These works are significant contributions to global contemporary art and are important additions to our permanent holdings—creating depth to our contemporary collection and continuing the Museum’s legacy of making space for and championing the artwork of Indigenous women.
Tanya Lukin Linklater (Alutiiq, b. 1976), Slay all Day, 2015. High-definition video with no sound on continuous loop. Running time 4:16. Heard Museum Collection.
learn INDIGENOUS PEOPLES’ DAY BY SAMANTHA TOLEDO EDUCATION ASSISTANT On October 10, 2020, the Heard Museum hosted its first in-person event since March 2020, the celebration of Indigenous Peoples’ Day, with programming dedicated to the Indigenous communities and voices of Arizona. The Heard Museum used a hybrid of in-person and virtual media to welcome our guests back with stringent precautions in order to create a safe, clean, comfortable and enjoyable visit. For the safety of our guests who could not join us in person, former Miss Navajo Nation 2017-18 Crystal Littleben, took to Facebook Live and Instagram to lead our virtual audience on a tour of the museum highlights. One stop of the virtual tour took guests through the warm and melodious guitar tunes from Grammy-nominated artist, Aaron White (Navajo/ Northern Ute). Another stop led the online viewers to the opening of the museum’s new installation, Behind the Mask: Indigenous Artists Speak Out. The face masks shown in the installation present a blank canvas for artists seeking to bring attention to the devastating effects that the
COVID-19 virus has had on Indigenous nations and the population at large. In addition to the opening, remarks were made by Heard Museum Trustee, Ginger Sykes Torres (Navajo), whose family has made and donated 400+ masks to the medical community serving the Navajo Nation. The museum virtually premiered a YouTube mask-making video with Nizhóníful Me, Caitlin O’Reilly (Navajo), which can be seen on our Heard Museum YouTube channel. Lastly, Indigenous Peoples’ Day closed with a virtual screening of Gather, a film focused on the growing movement among American Indians to reclaim their spiritual, political and cultural identities through food sovereignty while battling the trauma of centuries of genocide. Above: Miss Navajo Nation 2017-18 Crystal Littleben waving to online viewers Left: Nizhóníful Me, Caitlin O'Reilly (Navajo)
LEARN Army Ranger Kyle Mitchell (Diné)
Shaylin Shabi Young (Diné)
ENDURING SUPPORT FOR AMERICAN INDIAN VETERANS BY MARCUS MONENERKIT | DIRECTOR OF COMMUNITY ENGAGEMENT In November, the Heard Museum continued its tribute to Veterans with our 8th annual American Indian Veterans National Memorial celebration. Of course, it took a bit of a turn this past year, and we unfortunately could not invite all of our friends and allies who faithfully support American Veterans year in and year out. But we were ecstatic to present something different this year, and of course it is still something that recognizes and represents the diverse commitment and talent of our local Native community. As with previous years and keeping with Veteran protocol, the program began with our local drummer, Bo Koinva (Hopi), followed by an invocation by Troy Truax (White Mountain Apache), Commander for American Legion Post 114, the “Bushmasters.” We were thankful to get to work with past participants like Shaylin Shabi Young (Diné), a performer and former Miss Native American USA, who beautifully sang the national anthem in Navajo. We were also pleased and fortunate to once again hear an original story about family, traditions and serving in the armed forces from Army Ranger Kyle Mitchell (Diné).
Working on film and video always takes more time than planned, and we also had to navigate social-distancing protocols. Each participant was taped separately over the course of a couple of weeks in late October to keep them in concert with the natural lighting of the afternoon and early evening of late fall. Producing film and video is an excellent way to share what we do at the Museum, and, of course, we would always rather a person get the authentic experience of being at the Museum. This year we are happy we were able to do the Veteran film and would like to give a big thank-you to TriWest Healthcare Alliance for their continued support as Presenting Sponsor. If you have not watched it yet, the project was taped, archived and presented on YouTube. We hope to see you in November 2021 and for sure in 2022 as we celebrate the 10th annual American Indian Veterans National Memorial tribute.
HEARD MUSEUM’S ANNUAL HOOP DANCE CONTEST IS GOING VIRTUAL BY DAN HAGERTY | DIRECTOR OF STRATEGIC DEVELOPMENT AND PROGRAMS
SATURDAY, FEB. 13 ONLINE AT HEARD.ORG/HOOP Scott Sixkiller-Sinquah. Photo credit: Platt Photography
The Heard Museum World Championship Hoop Dance Contest, the beloved annual celebration of artistry, athleticism and cultural traditions, will premiere on the Heard’s Facebook and YouTube channels at 11 a.m. MST on Saturday, Feb. 13, with streaming access available free of charge throughout the weekend.
considering the impact that the COVID-19 pandemic is having around the world, most especially the devastating toll it is taking on many American Indian and First Nations communities, we felt it was important to transition our Hoop Dance Contest to a virtual platform for 2021.
Organizers hope that the event, which typically draws a crowd of 4,000, can resume in person in 2022, if public health and safety guidelines allow. In the meantime,
“The roots of hoop dancing can be traced back to traditional Native healing ceremonies,” said Dennis Bowen Sr. (Seneca), longtime host and emcee of
most recently he has been on a world tour as the lead Hoop Dancer with Cirque du Soleil’s TOTEM.
the World Championship Hoop Dance Contest. “Considering what we have all experienced this year, I can’t think of a better way of sharing this tradition of healing and offering hope and joy to audiences across North America.” Bowen is joined by Steve LaRance (Hopi/Assiniboine), Sue Pappas, Moontee Sinquah (Hopi/Tewa/Choctaw) and Ginger Sykes Torres (Diné) as advisors to the Virtual Hoop Dance Contest. Eric Hernandez (Lumbee), who will produce the virtual program, is a Native filmmaker from Los Angeles known for creating viral videos on his YouTube channel, CirqueLife. He has competed in the annual Hoop Dance Contest six times in the past, and
CONSIDERING WHAT WE HAVE ALL EXPERIENCED
Contestants will submit videos for review by contest judges, competing for $11,000 in cash prizes to be awarded thanks to generous support from event sponsors. As of the publication date, 88 dancers from the U.S. and Canada have registered for the virtual contest. Numerous past World Champions, including reigning champ Scott Sixkiller Sinquah (Gila River Pima/Hopi/ Cherokee), will be competing along with seven-time champion Derrick Suwaima Davis (Hopi/Choctaw), Tony Duncan (San Carlos Apache/MHA Nations), Tyrese Jensen (Diné/Pima Maricopa), Vincent Davis (Hopi), and many more champions and contestants from all age divisions.
SUPPORT FOR THIS PROGRAM HAS BEEN PROVIDED BY: Albertsons and Safeway Foundation The Lightning Boy Foundation
SAVE THE DATES! WORLD CHAMPIONSHIP HOOP DANCE CONTEST
THIS YEAR, I
Saturday and Sunday, Feb. 13 & 14 Premieres at 11 a.m.
CAN’T THINK OF
See page 33 for details
A BETTER WAY OF SHARING THIS TRADITION OF HEALING AND OFFERING HOPE AND JOY TO AUDIENCES ACROSS NORTH AMERICA .
indian fair & market
63rd HEARD MUSEUM GUILD INDIAN FAIR & MARKET THURSDAY TO SUNDAY, MARCH 4 TO 7
A message from Anna Flynn, Fair Chair We are delighted to announce our first-ever hybrid Fair. Hybrid simply means some activities (the art market, performances and interviews) will be virtual, some (featured artists in the Heard Shop) will be live, and some will be both virtual and live (Juried Competition Show & Sale). Wherever in the world you are on March 5 to 7, we invite you to purchase exquisite Indigenous art from some of the finest contemporary American Indian artists. The Heard Museum Guild Indian Fair & Market has always showcased the beauty and vitality of Indigenous creative expression from artists across Indian Country. This year will be no exception. The online art market will 2020 Heard Museum Guild Indian Fair & Market. Image courtesy Haute Photography. feature more than 325 American Indian artists from 80 tribal affiliations from Alaska to Maine selling art in a variety of media. Virtual events will also include musical and dance performances, interviews with artists and a pre-Fair webinar series. Visit the Fair website at heard.org/fair2021 for the schedule of events. Many artists will also enter the juried competition to vie for cash prizes and, more importantly, the enhanced reputation that comes with winning a coveted Heard ribbon. Thanks to generous donors, we expect to reach our goal of $76,150 for 110 awards across 10 classifications, the largest prize pool in Fair history. Plan to join us at the virtual Best of Show awards event on Thursday evening, March 4, when the winners will be announced in advance of the live and virtual Show & Sale. While the artists have always been the focus of the Fair, this has never been truer than this year. Indigenous communities have been impacted disproportionately by the pandemic, both healthwise and economically, with the cancellation of art markets, powwows, gallery shows and most other live venues for art sales. This has forced us allâ&#x20AC;&#x201D; artists, event organizers and collectors, some kicking and screamingâ&#x20AC;&#x201D;into the world of online events and e-commerce. For some of the artists, this may be their first foray into the world of virtual selling, and you may be their first virtual customer. So, mark your calendar for March 4 to 7. We hope that you and your family are safe and healthy during these uncertain times. We look forward to the time when we may all meet again under a sea of white tents on the beautiful Heard Museum campus. Until then, support Indigenous arts and cultures any way that you can.
Virtual Events FAIR
PRE-FAIR WEBINAR SERIES: ISSUES AND CHALLENGES FOR INDIGENOUS ARTISTS MONDAYS | FEB. 8 & 15 | 12 NOON Explore with Indigenous artists some of the challenges they face. Topics include the impact of climate change and urbanization on natural materials and how artists are adapting; and cultural appropriation, including the inappropriate use of Native imagery and symbols; and the fraudulent imitation, production and marketing of American Indian arts and crafts by non-Native people versus cultural appreciation. A donation is requested, although not required, to cover the cost of the webinars and to contribute to the operational costs of the virtual market. Any net profit from the Indian Fair & Market supports the mission and programs of the Heard Museum. Visit heard.org/fair2021 to register and for more details.
BEST OF SHOW VIRTUAL AWARDS EVENT
VIRTUAL INDIAN FAIR & MARKET
THURSDAY, MARCH 4 | ONLINE 5 P.M.
FRIDAY TO SUNDAY | MARCH 5 TO 7
The winners of the 2021 Juried Competition will be announced in a virtual event on the evening of March 4. See the Best of Show and Best of Classification winning art and hear from the winners and judges. All artists who are either invited or juried into the virtual Indian Fair & Market are eligible to submit entries in specific divisions in 10 classifications. A panel of distinguished judges will select winners in each division, who then compete for Best of Classification. The 10 Best of Classification winners then compete for the $15,000 Best of Show Award. Tickets are $10 for Heard Museum members, $15 for non-members, and free for $1,000 Sustainer-Level members, Circles of Giving members, Best of Show and Fair Sponsors, and Indian Fair & Market artists. Registration opens Feb. 5; for details, visit the Fair website at heard.org/fair2021
Shop and purchase art directly from more than 325 Indigenous artists from more than 80 tribal affiliations from Alaska to Maine. All participating artists were either invited or juried into the market. Shop by artist name, tribal affiliation or art classification: 2-Dimensional Art, Baskets, Diverse Art Forms including Quill- and Beadwork, Jewelry & Lapidary Work, Personal Attire & Accessories, Pottery, Pueblo Carvings, Sculpture, Weavings & Textiles, and Open Standards. Click through the Gallery and quickly link to an artistâ&#x20AC;&#x2122;s website. All sales are between buyers and artists. The artists set prices; collect payments; arrange packing, insurance and shipping; and manage post-sale issues. Members will be sent a link on Friday, March 5, an hour before the Indian Fair & Market opens to the public. Additional virtual events will take place throughout the weekend, including performances, storytelling and interviews with artists. Check the Fair website for a complete schedule of virtual events: heard.org/fair2021
indian fair & market
Live Events JURIED COMPETITION SHOW & SALE
FEATURED ARTISTS IN THE HEARD MUSEUM SHOP
FRIDAY TO SUNDAY | MARCH 5-7 IN PERSON AND ONLINE
HEARD MUSEUM SHOP HEARDMUSEUMSHOP.COM
Angela Babby with her 2020 winning piece.
Victoria Adams at the 2020 Indian Fair & Market.
All art submitted to the Juried Competition will be shown and available for sale in the Steele Auditorium and online. Classifications are: 2-Dimensional Art, Baskets, Diverse Art Forms including Quill- and Beadwork, Jewelry & Lapidary Work, Personal Attire & Accessories, Pottery, Pueblo Carvings, Sculpture, Weavings & Textiles, and Open Standards. The artists set the prices and all proceeds go to the artists.
Visit the Heard Museum Shop to meet seven artists who will be showing and selling their art. These are:
Visit the Fair website at heard.org/fair2021 on Feb. 5 for more details, including admission hours and health and safety protocols for the onsite Show & Sale at the Heard, as well as instructions for participating in the Virtual Show & Sale.
• Victoria Adams (Southern Cheyenne), jewelry and accessories • Darryl Dean and Rebecca Begay (Navajo), jewelry • Edison Cummings (Navajo), jewelry • Jesse Monongye (Navajo/Hopi), jewelry • Tim Blueflint (Bad River Chippewa/ Comanche), flutes and silverwork • Denise Wallace (Sugpiaq/Alutiiq), jewelry
FAIR Damian Jim (Diné), Corollary, 2021 Indian Fair & Market merchandise image.
Fair Merchandise Available Now Each year, an image created by a Fair artist is featured on merchandise. This year, multidisciplinary artist Damian Jim (Diné)—who began as a demonstration artist at the fair in the mid-2000s and had his first booth in 2017—will have his figurative painting Corollary on the T-shirts as part of the promotion for the show. Jim works in ink pens, acrylics, aerosol and oil paints; digital arts, including freehand sketching in Adobe Photoshop and Illustrator; as well as digital photography. He incorporates his Diné roots into his artwork. Jim won the Innovation Award in 2-Dimensional Art in the 2020 Juried Competition during the 62nd Indian Fair & Market. The T-shirt image is derived from a 30-by-24-inch acrylic-on-canvas painting titled Corollary. “I wanted to do a painting while in isolation that could contain the voices and frustrations of everyone during this time,” said Jim. “I created the background, but I didn’t have anything beyond that, until a few more months passed and the anxiety and feelings of helplessness with friends and family passing away led me to more drawing and sketching. This was when Corollary emerged from those dark times. I had a vision of Mother Earth carrying the burden of the living and the dead, and offering compassion and hope.” Visit heard.org/fair2021 to purchase merchandise.
coming soon LARGER THAN MEMORY DIGITAL EXPERIENCE BY ERIN JOYCE FINE ARTS CURATOR In September 2020, the Heard Museum opened its largest contemporary art exhibition to date, Larger Than Memory: Contemporary Art From Indigenous North America. To make the exhibition content more widely accessible because many were unable to view the exhibition in person, the Heard Museum is creating a digital experience of Larger Than Memory, which will be available for free at heard.org. Although the digital experience cannot replace the physical experience of actually viewing the exhibition in person, it will provide content and access to the ideas and themes represented through the art that was included. This digital initiative is not meant to replicate or serve as a standin for the in-person exhibition that was Larger Than Memory, but it can act as a digital augmentation of the exhibition to allow the community to experience the artworks and themes from the comfort and safety of home. The digital project is planned to launch to audiences in February and will continue through August. It will feature a suite of installation images, video documentation by exhibition artist Steven J. Yazzie, and didactic materials that were reviewed and approved by the artists for inclusion in the exhibition.
Larger Than Memory, installation view, Heard Museum, 2020. Platt Photography.
COMING SOON WINTER 2021
George Catlin on Indigenous Land BY KATHLEEN L. HOWARD, PH.D.
Like many Western artists who followed him, George Catlin traveled the West to make a record of the region’s American Indian tribes. Convinced of certain extinction of the American Indian, his goal was to preserve for future generations a pictorial history of a people he believed to be a vanishing race. George Catlin was born in the Wyoming Valley near Wilkes-Barre, Pennsylvania, on July 26, 1796. As he matured, he was surrounded by explorers, trappers and hunters as they embarked on and returned from their exploits and adventures in the West. Putnam and Polly Catlin, George’s parents, were most hospitable and curious to hear the reports of travelers who visited the Catlin home. When George was 21 years old, he studied law in Litchfield, Connecticut. Two years later he returned to Luzerne County, Pennsylvania, and established a law practice. Evidently, he found the practice of law to be too confining, and soon he resolved to pursue painting as his career. In 1823, Catlin went to Philadelphia and began painting miniature portraits. Although he lacked formal training as an artist, he enjoyed and benefited from associations with such distinguished artists as Charles Willson Peale, Rembrandt Peale, Thomas Sully and John Neagle. On Feb. 18, 1824, he was admitted to the Philadelphia Academy of Art. He supported himself by painting portraits of wealthy and prominent local citizens. It was in Philadelphia where Catlin met a delegation of 10 or
George Catlin (American, 1796-1872), Buffalo Bull Grazing, 1844. Lithograph. Gift of Laura and Arch Brown.
15 Native people arrayed in their ceremonial robes, their brows decorated with the quills of war eagles. This left a lasting impression on Catlin and gave him a direction to follow for the rest of his life. He determined to visit every Indian tribe on the continent of North America to create portraits of their notables along with descriptive narratives. He also intended to collect examples of their costumes, weapons and artifacts “for the use and instruction of future ages.”
RESEARCH George Catlin (American, 1796-1872), The Bear Dance, 1844. Lithograph. Gift of Laura and Arch Brown.
Catlin was elected to the National Academy of Fine Arts on May 3, 1826, and had a steady stream of portrait requests from prominent people. His goal, however, was to paint portraits of American Indians. Catlin married Clara Bartlett Gregory, of the wealthy and eminent Dudley S. Gregory family of Jersey City, New Jersey, on May 10, 1828. The couple had three daughters and a son. In early spring of 1830, Catlin was finally able to take the first step of his life’s work. He traveled to St. Louis, the center of all westward movement at that time, and met with General William Clark, governor of Missouri Territory, Territorial Indian Agent for Upper Louisiana, and Superintendent of Indian Affairs from 1813 to 1838. This was a fortuitous meeting for Catlin, for, with General Clark’s approval, he was able to begin his work. Many Indian leaders came to St. Louis to express grievances concerning treaty violations and made long speeches which had to be translated. This allowed Catlin to observe and paint them as they spoke, attired in their regalia.
Catlin met many prosperous people in St. Louis. Painting their portraits assisted his financial situation, since he received no fee for his Indian portraits. In the fall of 1830, he made two trips into Kansas, and there he painted the famous Shawnee leader Tecumseh. Accompanied by General Clark, he visited the villages of the Konza and painted notable persons of that tribe. Catlin left St. Louis in 1832 for the upper Missouri River, where he painted Blackfeet, Crows, Mandans and Hidatsas. He painted Chief Black Hawk during his imprisonment at Jefferson Barracks near St. Louis. Between 1834 and 1836 he painted Sioux, Comanches, Kiowas, Wichitas, Ojibwes, Sac and Foxes, Winnebagos and Menominees. His high regard and esteem for his Indian acquaintances and models is reflected throughout his descriptions of them. Each new painting was an addition to what Catlin called his “Indian Gallery,” eventually consisting of more than 500 paintings he completed during the 1830s. In 1837, Catlin exhibited his Indian Gallery at Clinton
Congress, a bill for the proposed purchase of the George Catlin Indian Gallery reached the floor of the Senate. Among others who praised Catlin and his works on the Indians was Sen. Jefferson Davis of Kentucky. However, since Davis was a Southern Democrat and his party was anti-Indian, he voted against the bill. The bill was defeated by one vote, so the government of the United States did not purchase Catlin’s collection. Hall, New York, and the following year he put on an exhibition at the Old Theatre in Washington, D.C. He traveled with his Gallery to London in 1839. Catlin published two volumes, Letters and Notes …, in London in 1841. While in London, he also published an elegant set of 25 chromolithographs titled North American Indian Portfolio. At the request of King Louis-Philippe of France, Catlin exhibited his Indian Gallery at the Louvre in Paris in 1845. Catlin returned to London in 1848, and from there he made two trips to South America, visited Panama, and later went to the Northwest Coast of what was to become the United States. During the 1852-53 session of
Throughout his life, Catlin was plagued by lack of funds. Among his many creditors was Joseph Harrison, a successful American who headed the Harrison Boiler Works in Philadelphia, at that time the largest locomotive-building operation in the world. Harrison paid off Catlin’s debts against the Indian Gallery and shipped the works of art off to Philadelphia in 1853. The Indian Gallery was stored in the Boiler Works until after Catlin’s death. Above, Left: George Catlin (American, 1796-1872), Untitled, 1844. Lithograph. Gift of Laura and Arch Brown. Above, Right: George Catlin (American, 1796-1872), Wi-Jon-Jou. The Pigeon’s Egg Head [going to and returning from Washington], 1844. Lithograph. Gift of Laura and Arch Brown.
RESEARCH George Catlin (American, 1796-1872), Untitled, 1844. Lithograph. Gift of Laura and Arch Brown.
During the 1860s, Catlin published Life Amongst the Indians, O-Kee-Pa and Last Rambles Among the Indians. The year 1868 found Catlin again in Europe, painting pieces for his second collection, called his Cartoon Collection, in Brussels. He was invited to hang his exhibition at the Smithsonian Institution in Washington. In 1871, he prepared a 99page catalogue, and his paintings were at last hung in the national museum. George Catlin spent his last days in rooms in the front tower of the Smithsonian building. He continued to paint and talk with visitors in the exhibition room. His health was failing. In October 1872, he packed up his paintings, planning to ship them to his daughters in New Jersey. He then traveled to Jersey City to be near his family. George Catlin died on December 23, 1872, and was buried in Brooklynâ&#x20AC;&#x2122;s Greenwood Cemetery.
The original Catlin Indian Gallery was given to the Smithsonian Institution by Joseph Harrisonâ&#x20AC;&#x2122;s heirs. As a result of many years of improper storage, most of the delicate Indian costumes and other fragile materials were ruined by moths, mice, fire and water. Many paintings were damaged. On May 19, 1879, the collection was turned over to Thomas Donaldson on behalf of the Smithsonian, where the restored paintings and surviving artifacts can be seen today. George Catlin was a man who followed his dream. During his lifetime he received little support, appreciation and funding for his projects. The legacy he left us, however, is a priceless documentation of Native America. An exhibition featuring the works of George Catlin will be premiered at the Heard Museum in the spring of 2021.
shop GOTTA HAVE IT!
TRAIN PICTORIAL WEAVING
by Leroy Yazzie (Navajo) $1,200
STERLING SILVER BRACELET
by Tom Charlie (Navajo) $149
STERLING SILVER/14K BALL ACCENT HOOP EARRINGS
by Edison Cummings (Navajo) $350
LIDDED BEAR POTTERY BOWL
by Dora Tse Pe (San Ildefonso Pueblo) $2,500
The Courtyard Café
The Courtyard Café is open and serving members five days a week exclusively on our outdoor patio. In addition to outstanding service and cuisine, we are committed to the safety of our guests. Service staff wear masks and gloves, and single-use menus or touchless digital menus are available. Reservations are encouraged. The Courtyard Café will be introducing its winter/spring menu just in time for the opening of our next Grand Gallery exhibition, Leon Polk Smith: Hiding in Plain Sight. For the new menu, Director of Restaurant Operations Irene Rutigliano has created a daily hand-stretched pizza inspired by this exhibition. We look forward to seeing you soon!
NEW MENU ITEM TOKYO GARDEN SHRIMP SALAD
Bell pepper, edamame, mandarin oranges, furikake, cabbage, romaine, toasted sesame dressing
DINE WINTER 2021
New Student Art Merchandise
STUDENT ART POP-UPS SUNDAY, FEB. 14 | 10 A.M. TO 4 P.M. The Heard Museum Guild's Student Art programs continue to support young, emerging artists. Watch for increased programming featuring virtual artmaking workshops for educators and students, with future opportunities to purchase new student artwork. In addition, the Guild continues to sell notecards and new products including a sunscreen, note card cube, and phone bag, all featuring the unique images created by American Indian student artists. Your purchases provide support for the Heard Museum Internship Program as well as artmaking resources for educators, whose grade 7-12 classroom populations include American Indian students. We are proud of the artwork of these young student artists and are eager to share their work with you! To purchase new Student Art products and notecards, join us for our next â&#x20AC;&#x153;pop-upâ&#x20AC;? on Feb. 14 or go to heardguild.org/studentart.
GIVE Members Rachel Blank, Sara Lieberman with artist Nanibaa Beck (Diné), image courtesy Haute Photography
MAIE BARTLETT HEARD SOCIETY BY JACK SCHWIMMER | MANAGER OF DONOR ENGAGEMENT
In 1925, Dwight Heard provided in his will $75,000 to be used by his wife, Maie Bartlett Heard, “for construction, maintenance, and endowment for any form of benefaction for the benefit of Phoenix and vicinity.” And so the vision for the Heard Museum was born, through the museum’s very first planned gift. Individuals who have embodied the Heards’ generosity and vision by similarly establishing planned gifts themselves are members of an esteemed group named for Ms. Heard: the Maie Bartlett Heard Society. Some have included the Heard Museum in their estate plans (through financial gifts, or gifts of art), while others have made lifetime gifts through tax-wise giving vehicles like IRAs or stock gifts. All have found creative ways to support the Heard in which they, their loved ones and the Heard itself all benefit at the same time. Whenever you might be interested in exploring such gifts, the Heard’s Development team is here to help! Visit heard.org/plannedgiving, or contact Jack Schwimmer at firstname.lastname@example.org or 602.251.0245 with any questions about the Maie Bartlett Heard Society or how to build your own legacy at the Heard Museum.
Blue Moon chairs Janet and John Melamed
GENEROUS SUPPORTERS MAKE THE HEARD MUSEUMâ&#x20AC;&#x2122;S FIRST VIRTUAL GALA A SUCCESS On Oct. 31, the Heard Museum celebrated the conclusion of the Once in a Blue Moon campaign, which took the place of Moondance. The Once in a Blue Moon campaign raised an astonishing $890,553 for operating support that sustained the Heard Museum through the most challenging spring and summer in our 90-year history. Nearly 150 donors made generous gifts in support of the effort, ranging from $50 to $100,000. The campaign was chaired by Janet and John Melamed, who led a dynamic and highly engaged committee of Trustees and community supporters. To celebrate the campaignâ&#x20AC;&#x2122;s success, the Heard hosted a free community admission day on the 31st in honor of our healthcare heroes and medical first responders, with music provided in the courtyard by flutist Jonah Littlesunday (Navajo).
GIVE Joy Harjo
Betty Van Denburgh
That evening, supporters of the Once in a Blue Moon campaign gathered virtually, enjoying Southwest favorites in Heard-themed gift boxes delivered prior to the event. Guests watched the blue moon rise and were the first to see the newly dedicated Blue Moon Garden located at the museum’s northern entrance. The Heard was thrilled to honor United States Poet Laureate Joy Harjo (Mvskoke) and longtime Museum supporter and volunteer Betty Van Denburgh. Acclaimed artist Steven Yazzie (Navajo/Laguna Pueblo/ European) produced beautiful videos celebrating each honoree which premiered at the event and are available for all to enjoy on the Heard’s YouTube channel.
David Roche, Dickey Family Director and CEO
Gabriel Ayala (Yaqui) wowed guests with his beautiful guitar playing, and Joy. Harjo did the same with her recitations of two poems, The Life of Beauty and Grace. Thanks to the generosity of individual and corporate sponsors, the Once in a Blue Moon campaign enabled the Heard Museum to safely reopen and continue pursuing its mission in new, innovative ways. Funds from the campaign supported the Heard’s ongoing operations, including its exhibitions, programs, grounds, and staff.
Thank you to each and every supporter of this important effort. Your generosity makes our work possible!
Ceremony honoring Joy Harjo (Mvskoke) and Betty Van Denburgh hosted at the home of Wick and Jill Pilcher, Heard Museum Board Chair
Remembering the Future I THINK THAT THE NATIVE AMERICAN COMMUNITY HAS SOMETHING TO OFFER THE WORLD. IT HAS A MEDICINE TO GIVE. James Lavadour, member of the Walla Walla Tribe, artist
SAVE THE DATE | FALL 2021
Patrick DesJarlait Ojibwa, 1921-1973 Chippewa Fishing Camp, 1970 Watercolor on board 14” x 11 1/4” Heard Museum Collection, 3675-1