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THANK YOU TO OUR SPONSORS
EARTHSONG
David Wheeler | Associate Director, Membership & Circles of Giving
Olive C. Mier Holland | Graphic Design
Sean Ornelas | Director of Marketing & Communications
Deborah Paddison | Copy Editing
CONTRIBUTING WRITERS
John Bulla, Dan Hagerty, Mario Nick Klimiades, Lucia Leigh Laughlin, Ann Marshall
Ph. D., Roshii Montaño, Rebeka Peshlakai, Luz Toscano, David M. Roche, David Wheeler
M. Roche | Dickey Family Director and CEO
TRUSTEES
Tony Astorga
LIFE TRUSTEES
Kay Benedict
Arlene K. Ben-Horin
Howard R. Berlin
Mark B. Bonsall
Robert B. Bulla
F. Wesley Clelland, III
Norma Jean Coulter
Robert J. Duffy
Mary G. Hamilton
Patricia K. Hibbeler
Joel P. Hoxie
Mary Hudak
Dr. Thomas M. Hudak
Carrie L. Hulburd
James R. Huntwork
Gov. Stephen R. Lewis
Edward F. Lowry
Frederick A. Lynn
Carol Ann Mackay
Clint J. Magnussen
Robert L. Matthews
Mary Ellen McKee
James Meenaghan
John Melamed
Dr. Wayne Lee Mitchell
Susan H. Navran
Scott H. O’Connor
Dr. Arthur L. Pelberg Leland Peterson
Wick Pilcher
David E. Reese
William C. Schubert
Sheryl L. Sculley
Richard H. Silverman
John G. Stuart
THANK YOU MEMBERS!
The Heard Museum ranks among "Top 10% of Things to Do Worldwide"
The Heard Museum is one of “The 26 Best Museums in the U.S.” July 2025
Dear Esteemed Members,
In June, the Heard Museum lost a very special member. Dr. George Blue Spruce, of Laguna and Ohkay Owingeh pueblos, passed away at the age of 94. He was the first American Indian to graduate from a U.S. dental school, Creighton University. According to the university’s archive, when Blue Spruce took the stage at his commencement to receive his diploma, the president paused the ceremony and asked for Blue Spruce’s parents to please stand. They were met with a long round of applause for their steadfast support of their son and for their family’s achievement.
“I can’t describe the joy I felt at that moment,” Dr. Blue Spruce said.
His parents’ dream, according to the archive, had been to send their children to college. In the early 1900s, Dr. Blue Spruce’s parents had been forced into a federal boarding school to be assimilated into mainstream society. They wanted a better, freer life for their children. If you have visited the Heard’s landmark exhibition Away From Home: American Indian Boarding School Stories , you are familiar with this history. In fact, quotations from Dr. Blue Spruce’s mother appear on two text panels within the exhibition.
DIRECTOR’S LETTER
After earning his Doctor of Dental Surgery degree from Creighton University in 1956, Dr. Blue Spruce went on to hold the distinguished rank of assistant surgeon general, dedicating over 30 years of service to clinical and administrative roles within the U.S. Navy and the U.S. Public Health Service.
He received numerous honors, including the Lifetime Achievement Award from the Josiah Macy Jr. Foundation, the Alumni Achievement Citation from Creighton University, and an induction into the American Indian Athletic Hall of Fame (his tennis racquet was recently accessioned into the Heard’s permanent collection).
Dr. Blue Spruce made it his mission to continue the dream of education for a new generation of American Indian dentists. According to his obituary in Native News Online, it is because of his advocacy and mentorship that there are approximately 450 American Indian dentists in the United States today.
Dr. Blue Spruce was a trailblazer and a beacon of leadership for American Indian and Alaska Native students. He was also devoted to the Heard Museum and supported us in every way possible. He was a member and served for 12 years as a trustee and then as a life trustee. He had a great sense of humor, an easy laugh and always an encouraging word. He lived an extraordinary life and reminded me how fortunate we were to have his leadership.
I have included a personal photo from Moondance 2023 with Dr. Blue Spruce, Honoree Richard Chavez and his wife Sharon (right) .
This issue of Earthsong is filled with highlights of the exciting exhibitions, programs and events that we have planned for you in the upcoming fall/winter seasons. Members are always top of mind for us as we develop these activities; our goal is to create a diverse range of work so that our members will be surprised and delighted by their experiences at the Heard Museum. Your support makes so much of what we do possible, and I thank you for that.
David M. Roche, Dickey Family Director and CEO
Bob Haozous: A Retrospective View Through Nov. 30, 2025
Kay Walkingstick / Hudson River School
Opens Jan. 23, 2026
Storyteller: The Photography of Jerry Jacka
Opens Oct. 17, 2025
Paintings from the Heard Collection
Opens Jan. 23, 2026
October Art: The Collection of Delores Browne Abelson
Opens Nov. 14, 2025
Blue Bird
Opens Feb. 6, 2026
OCTOBER ART: The Collection of Delores Browne Abelson
Open Nov 14, 2025 | Kitchell Gallery
The cover of the Fall 2025 issue of EarthSong, Swan Lake, Final Scene #2 (1984) by Harry Fonseca is a gift from the Delores Browne Abelson Trust to the Heard Museum Collection.
Left page: Harry Fonseca (Nisenan Maidu/Native Hawaiian/Portuguese, 1946-2006), Untitled (Ballet dancers in practice), 1984. Lithograph, 22 x 29 inches. Heard Museum Collection.
Right page: Archival Images of Delores Browne Abelson.
By Roshii Montaño | Curator
This November, the Heard Museum presents October Art: The Delores Browne Abelson Collection , an exhibition honoring ballerina, teacher and gallerist Delores Browne Abelson (1935–2023) and her remarkable collection of Native American art. The exhibition features approximately 35 works by artists including Gwen Tafoya (Santa Clara Pueblo, b. 1966), Hazel Koyiyumptewa (Hopi, 1914–1992), Harry Fonseca (Nisenan Maidu, 1946–2006), Stella Charvarria (Santa Clara Pueblo, b. 1939) and Dan Namingha (Hopi, b. 1950), among others. In addition to the artwork, a modest selection of ephemera drawn from Browne’s archive of letters, photographs and pamphlets will also be on view.
The exhibition title pays tribute to October Art Ltd., the New York gallery Browne founded in 1984. Located alongside the Whitney Museum of American Art at Philip Morris on Park Avenue, the gallery was devoted to championing Native American artists from the Southwest, including Namingha, Orville Tsinnie (Diné, 1943–2017), Fonseca and Verma Nequatewa (Hopi, b. 1949). Although the gallery closed after 10 years, Browne continued to advocate for Native artists throughout her life.
Browne’s love of ballet began at an early age. In 1949, she entered formal training at the Judimar School of Dance in Philadelphia, followed by study at the School of American Ballet in New York. She later performed with the Ballet Guild of Philadelphia. As writer and dancer Joselli Deans notes, “Black ballet dancers rarely performed with white companies in the 1950s.” Defying these barriers, Browne joined the New York Negro Ballet in the late 1950s, performing principal roles and touring internationally. By the late 1960s, she had transitioned to teaching and pursued initiatives that supported Black dancers. Her advocacy for Black artistry naturally extended to championing Native American arts.
October Art: The Delores Browne Abelson Collection honors Browne’s legacy by revisiting the history of October Art Ltd. while celebrating the deep relationships she built with artists, such as her friendship with Fonseca. This exhibition invites visitors to reflect on her enduring legacy and recognizes her solidarity with Native arts and artists.
“If I could describe Delores in one word, it would be generous,” says Alaiyo Bradshaw, former manager of October Art Ltd. and Browne’s close friend.
ARTIST NOW KNOWN: BEKAY BETSI BELIGACHE (1886–1987)
By Ann Marshall Ph.D. | Director of Research & Rebeka Peshlakai | Institutional Giving Coordinator
In 2018, Jean-Paul and Rebecca Valette gave the Heard Museum their remarkable collection of 57 Navajo textiles with ceremonial themes woven during the early decades of the 20th century. The Valettes had done breakthrough research to identify the weavers of some of their textiles from a time when few weavers’ names were recorded. Heard Museum curators don’t like writing “Artist Once Known” on exhibit labels; we want names and biographies. Now, we have that important information about a textile from the Valette Collection featuring a rare and highly unique depiction of Monster Slayer that is currently shown in our Substance of Stars exhibition.
Rebeka Peshlakai’s mother, Michelle Alex-Tsosie, recognized the textile as one woven by Alex-Tsosie’s grandmother, Bekay Betsi Beligache. Alex-Tsosie was visiting the museum’s exhibits during 2023’s World Championship Hoop Dance Contest. Peshlakai, now the museum’s Institutional Giving Coordinator, was, at the time, one of the Heard’s Andrew W. Mellon Fellows. Peshlakai was busy working with Hoop Dance when her mother texted her that she had recognized the weaving as being by Beligache.
Alex-Tsosie has fond childhood memories of her grandmother. Peshlakai interviewed her mother and is sharing some of what they discussed here.
Bekay Betsi Beligache (Navajo, 1886–1987) was a weaver who specialized in large-format textiles, characteristically adding more than one spirit line and, toward the end of her life, featuring Yei Bi Chei and Yei figures in her work. In addition to weaving, Beligache was also a midwife and herbalist. She was a pillar of the community and well respected; people listened to her when she spoke. The family honors her memory by passing down stories of her teachings to this day.
Alex-Tsosie affectionately refers to Beligache as her Nálí lady, which is a shortened version of the Diné word Análí Asdzą́ą́, meaning “paternal grandmother.” Beligache was important in Alex-Tsosie’s life, often telling her not to be afraid and to live her life to the fullest. Alex-Tsosie recalls when she was about 6 years old sitting with her grandmother, who would tell Alex-Tsosie about what she was weaving and educate her about “spirit lines.” It was these teachings that led Alex-Tsosie to recognize her grandmother’s work in the Heard Museum galleries.
Beligache’s sister was also a weaver. At’ééd Łibah Bima, meaning “Light-colored girl’s mother” in Diné Bizaad (the Navajo language) also wove textiles with ceremonial themes. Both sisters had a flock of sheep they cared for. Their wool was all hand-sheared, -carded, -spun and -dyed. Vegetal dyes were made from plants gathered around their home in Piñon, Arizona. For them, weaving was their way of life. Beligache sold her work at various trading posts around the reservation, traveling to even sell roadside to support her family. One of the trading posts she frequented was at Teec Nos Pos.
Often, the names of Diné weavers are not known. In Diné teachings, one’s name is known only to oneself and one’s parents, and by medicine people. So the names of weavers are not recorded, or weavers may be known by another name. It is of great importance to Alex-Tsosie and her family that Beligache’s teachings and skill be recognized today.
Rebeka Peshlakai (Diné, b.1996) standing next to Bekay Betsi Beligache’s Yei Textile, c.1920s. Handspun wool, natural wool color, aniline dyes; 62 ½ x 47 in. The Valette Collection at the Heard Museum, 4930-55. Gift of Jean-
Trader J.B. Moore included a photo of a very different textile by Beligache as Plate XXVI in his 1911 catalogue, which also included a photo of a textile by her sister At’ééd Łibah Bima as Plate XXXI. George Wharton James’ 1914 book Indian Blankets and Their Makers also included images of the same two textiles as figures 235 and 228, respectively.
Left page (top image):
Bekay Betsi Beligache (Diné, 1886–1987) standing next to newly completed textile, held up by relatives in front of family’s red truck. She often wove for the market to support her family.
Left page (bottom image):
Paul and Rebecca Valette.
Right page (top image):
Bekay posing for a photo with her husband Alex Beligache.
Right page (bottom image):
At’ééd Łibah Bima, Bekay’s sister, spinning wool for her own project.
GIVE THE GIFT OF MEMBERSHIP THIS HOLIDAY SEASON!
A Heard Museum membership is the gift that lasts all year, inviting your friends, loved ones, teachers, and colleagues to discover the rich and vibrant world of American Indian art.
Gift a membership by calling 602-251-0261, emailing members@heard.org, or scan the QR code to purchase on our website, heard.org/membership:
Through Dec. 31, 2025, gift recipients will receive a 14-month membership.
JERRY JACKA LANDSCAPES
By Mario Nick Klimiades | Library and Archives Director
The Billie Jane Bauley Library and Archives is honored to present the magnificent landscape photography of Jerry Jacka (1934-2017), one of the most celebrated photographers of the American Southwest.
Jacka’s presence at the Heard is the result of an extraordinary gift. His wife of 64 years, Lois, along with their children Cindy and Mike, donated his archive to the museum — with more than 133,000 publication-quality photographs spanning five decades of work. The gift preserves not only a lifetime of artistic achievement but also a priceless record of the region’s natural and cultural landscapes. In conjunction with the Heard’s exhibition Storyteller: The Photography of Jerry Jacka, 20 images were selected for large-scale reproduction. These prints, carefully produced by Heard Museum staff photographer Craig Smith, now greet visitors to the library with the brilliance, tonal depth and vibrancy that characterized Jacka’s vision.
Jacka’s images have appeared in countless books and magazines, particularly Arizona Highways, where his work set a standard for beauty and precision. Arizona Highways Photo Editor Jeff Kida recalls, “Jerry Jacka was, without question, one of the kindest people I’ve ever met, and his sensitivity was reflected in
his photography. He loved nature and had great respect and empathy for the people he photographed. When I first met him in the late 1970s, not only was he one of the ‘go-to’ photographers, he was family.”
Landscape photography has often been described as an art of patience, reverence and vision. As photographer Peter Lik once expressed, it is about capturing nature “in a way that makes the scene feel meaningful for the viewer.” Jacka’s landscapes embody this definition with remarkable clarity. Devoid of human presence — no roads, buildings or transmission wires — they present nature in its purest form. Each image conveys a stillness that recalls the land before industrialization reshaped it. For Jacka, these scenes were not simply subjects but relationships. His lifelong devotion to Arizona and the broader Southwest fostered an intimacy with the land that shines through every composition.
For over 50 years, Jacka worked with a large-format 4 x 5 camera, mounted on a tripod, requiring deliberate composition and patient attention to light and atmosphere. Each photograph was a meditation — an act of discipline as much as inspiration. The results transport viewers into canyons, deserts and plateaus, encouraging them to step inside the frame and see as Jacka saw. His images reveal subtle textures of rock and sky, the interplay of light and shadow, and the grandeur of landscapes that feel both vast and personal.
In a 1982 interview, Jacka explained his attraction to landscapes: “Landscape photography makes you really look at the environment and the world we live in. So many people just take it for granted when they’re scooting along the highway.” His wife Lois echoed this devotion: “Jerry loved the unique beauty of the Southwest, and he saw beauty wherever we went. He said that God had created such a beautiful world, he didn’t have to add anything to it; he just had to capture each ‘moment in time.’” Among the places most meaningful to him was Canyon de Chelly, which he described to his grandson Dan as “a magical place for a number of reasons” — a site where cultural history, natural beauty and personal reflection converged.
Jacka’s landscapes are more than images of striking terrain. They invite us to see, not merely to look — to pause long enough to experience the intricacy, dignity and vastness of the natural world. They remind us that land is not backdrop but presence, alive with history and memory.
Images Left to Right, Top to Bottom: Jerry Jacka (1934-2017). Canyon de Chelly near Tsegi Overlook. RC512: AZ-331. Gift of the Jacka Family.
Jerry Jacka (1934-2017). Canyon de Chelly near Lodge House Ruins Overlook. RC512: AZ-333. Gift of the Jacka Family.
Jerry Jacka (1934-2017). Cottonwood near Canyon de Chelly. RC512: AZ-326. Gift of the Jacka Family.
PREPARE FOR HOOP & FAIR SAVE THE DATE!
Join us for the 36th Annual World Championship Hoop Dance Competition on Febuary 14–15 and the 68th Annual Indian Fair and Market, March 7–8, 2026.
Members-only entrance and early Saturday entry are provided during both festivals.
Hoop member tickets available Tuesday, Dec. 2 | Fair member tickets available Tuesday, Jan. 6
Hoop Photography By: Danny Upshaw & Zee Peralta | Fair
Photography
By: Zee Peralta
THIS FALL, FALL IN LOVE WITH THE HEARD
…and all the fun programs we’re offering!
By Patty Talahongva | Chief Programming and Engagement Officer & Lucia Leigh Laughlin | Director of Engagement & Learning Programs
American Indian Veterans Day & Sunset Tribute, Nov. 11.
We will pay tribute to our veterans with special daytime events and a Sunset Tribute with a keynote address from Lt. Cmdr. Yvette Shumard (Hopi). Enjoy stories by veterans, veteran artist demonstrations, Native music, a film screening, family activities, dance performances, community partner tables and more. Because the Heard is a member of the Blue Star Museums program, all veterans and active-duty military personnel receive complimentary admission for themselves and one guest.
America at 250: Indigenous Voices, Nov. 12.
We will look ahead to America’s 250th anniversary in 2026 by showcasing a uniquely Arizona version of historical American Indian events that were taking place well before the American Revolution, such as the Pueblo Revolt of 1680. Our evening event, in partnership with Arizona PBS, will present excerpts from The American Revolution, the new documentary series by Ken Burns, Sarah Botstein and David Schmidt, and a panel discussion with prominent Native American historians and experts. We welcome you to join us to learn about this history.
First Fridays, Nov. 7 and Dec. 5.
The Hummingbird Singers, an all-women singing group from the Gila River Indian Community, will perform at our First Friday event on Nov. 7. Our Dec. 5 program will feature dance and movement inspired by the artwork in the October Art: The Collection of Delores Browne Abelson exhibition.
Holidays at the Heard, Dec. 27 – 29.
Head to the Heard and bring your out-of-town guests to enjoy! We’ll have three days of music, dance and art. Enjoy the music of Grammy® nominee Aaron White (Northern Ute/Diné) and Sydney Marian (Diné), or watch Chi’Chino Spirit O’odham Dance Group. We will also screen the award-winning short film, Courage, by Eric Hernandez (Lumbee), who was inspired by his real-life journey of learning hoop dance from his Uncle Terry.
Plein Air Art, Tuesdays in January.
Start off 2026 by coming to the Heard between 10 a.m. and 12 p.m. on Tuesdays in January to make your own plein air art influenced by the stunning paintings in the Kay WalkingStick/Hudson River School exhibition, opening on Jan. 23.
THE HEARD MUSEUM SHOP
As one of the nation’s premier destinations for authentic Native art, the Heard Museum Shop offers an exceptional selection of fine jewelry, pottery, textiles, baskets, books, and unique gifts. Every piece shown here is created by Native artists whose work reflects their traditions, as well as the innovative practices that continue to shape the field of Native art today.
With a refreshed look and thoughtful displays, the shop makes it easy to explore and take home something truly meaningful. Every purchase directly supports Native artists and the Heard Museum’s mission.
Stop by to browse our full selection of Native art or visit our website for new items added daily. heardmuseum.com/shop Museum Members receive a 10% Discount!
KLAGETOH RUG BY ROSE BENALLY (NAVAJO)
42" tall x 32" wide
Typical Klagetoh rugs resemble Ganado rugs but are distinguished by a grey background rather than red. Apart from the red areas, the wools usually used are natural and range from white, grey to tan and black although black wool may be enhanced with commercial dye. The name comes from a small area south of Ganado and translates as "Hidden Springs."
BY RANDY LUCIO (ZUNI)
1
15 1/2" tall x 5 1/2" wide x 6" deep
3/4" tall x 3" long x 7/8" wide
PRICKLY PEAR CACTUS YUNG-A KACHINA DOLL
BY CEDRIC HONYUMPTEWA (HOPII)
SHOP HOLIDAY GIFT GUIDE
Scan the QR code to view the full gift guide!
ORNAMENT MARKETPLACE
Join us for a members-only holiday breakfast with early access to the Ornament Marketplace
November 28, 9 a.m. – 11 a.m.
Celebrate the season with handmade American Indian ornaments in a vibrant range of styles and mediums at the Heard Museum Shop’s Annual Ornament Marketplace. Meet the artists and discover pieces that will make your holiday gifts and décor as meaningful as the moments you share with your loved ones. of warmth, life, and harmony. These sterling silver ornaments are available in a limited edition of 40, each signed and numbered by the artist.
*All ornaments are available while supplies last, so visit early for optimal selection. Due to the handmade nature of these items, there will be slight color and style variations between ornaments. Signature ornament cannot be held for purchase prior to the event.
MEMBER SPOTLIGHT
Diane Leonte
Las Guias & Heard Guild Board Communications Chair Years of Service: 15+ | Volunteer Hours: 9,000+
Diane Leonte is a longstanding member of the Heard Museum Guild, currently serving as a Las Guias tour guide and the Guild Board Communications Chair. As a 12-year member of the Guild’s Board of Directors with over 9,000 volunteer hours (and plans for more!), she is a valuable member and leader of our amazing Guild.
Originally from New York, Diane relocated to Scottsdale with her husband in 1991 following a career transfer. Diane earned her degree in Computer Science from NYU and spent her career as a Director of Sales & Marketing for pharmaceutical clients. She was first introduced to the Heard Museum by a friend who was a long-serving volunteer with the Heard Guild. Her decision to volunteer was an easy one—as a lover of history and culture, she was drawn to the Heard as the premier museum in the country dedicated to presenting American Indian art, history, music and language. Since then, she has not only led tours but also served as an unofficial ambassador for the museum, encouraging friends and acquaintances she meets socially to visit as her guests.
“My journey with the Heard has enhanced my life in too many ways to list.”
remained active through 2025. She also created the Guild’s monthly digital newsletter and, in 2024, began publishing Of Interest , a monthly resource featuring contributions from Guild members alongside research on Indigenous art exhibitions, cultural events, news and recommended readings.
Diane is the longest-serving member of the Heard Guild Board of Directors, having served continuously for 12 years. She first contributed as the Las Guias education coordinator, then served two years as co-chair of Indian Fair & Market cultural performances.
For the past six years she has served as co-chair of the Fair’s Best of Show security team. For the past 12 years, she has also served as communications chair, acting as liaison between the Guild Board’s program, Las Guias education coordinators and the museum staff in marketing, family programming and digital content. She also has scheduled private tours and provided marketing support for education programs. This year she will co-chair the Docent Performance Review Committee, where she continues to support excellence and growth among her fellow members of Las Guias.
For more than 15 years, Diane has guided visitors through the Heard Museum’s ongoing exhibitions, including Home: Native People in the Southwest and Away From Home: American Indian Boarding School Stories . She especially enjoys introducing guests to changing exhibitions that showcase the work of individual Indigenous artists, such as Maria and Modernism and Meryl McMaster: Bloodline
In addition to her docent work, Diane has been a driving force within the Heard Museum Guild. In 2013, she developed and launched the Guild’s website, which
Beyond the Heard, Diane has also volunteered as a docent at the Scottsdale Museum of the West and given her time to organizations that provide shelter and support for abused young girls and women.
Diane continues to enjoy the museum’s offerings and treasures the friendships she has built with many of her fellow volunteers. Reflecting on her service, she shares: “My journey with the Heard has enhanced my life in too many ways to list.”
CELEBRATING THE LEGACY OF HELEN COX KERSTING
By Daniel Hagerty | Chief Advancement Officer
The Heard Museum is honored to celebrate the remarkable life and legacy of Helen Cox Kersting, an internationally acclaimed artist whose extraordinary generosity will sustain the museum for generations to come. Through her estate plans, Kersting made a bequest of more than $2 million to strengthen the Heard’s endowment, one of the largest planned gifts in our nearly 100-year history.
Trained at the Millikin University School of Music and later at the Juilliard School in New York, Kersting embarked on a career that took her to leading opera stages across the United States and Europe. She received numerous awards in recognition of her talents, including the Chicago Lyric Opera Prize and the Marian Anderson Prize, and she debuted at Carnegie Hall with the New York Philharmonic under the baton of Leonard Bernstein.
As an adult living in Europe, Kersting developed severe allergies and asthma, which led her to spend time in the Phoenix area. From her Sun City West home, she nurtured a deep love of the people, art and cultures of the Southwest. She first joined the Heard Museum as a member in 1989 and remained a devoted Circles member for more than three decades. An avid collector of American Indian art—especially jewelry and pottery—she served on the museum’s Collections Committee and was a beloved presence at openings, markets and community celebrations.
Kersting’s gift reflects a lifelong love of art and culture and ensures that her legacy will live on. The Heard Museum is deeply saddened by her loss and forever grateful for her gift that will ensure future generations continue to experience the beauty of Indigenous art.
To learn how you can create your own legacy at the Heard Museum, please contact Judi Goldfader at 602.251.0245 or visit heard.org/plannedgiving.
Helen Kersting at the 2016 Maie Bartlett Heard Society event, with Dr. Ann Marshall and her dear friend and companion, Donald DeWitt.
MEET YOUR MEMBERSHIP TEAM
Your Heard Museum Membership Team is available to assist you with event registrations, renewals and any questions about your member benefits. Please contact us at members@heard.org or 602.251.0261.
David Wheeler
Associate
Director
of Membership and Circles of Giving
I’m thrilled to be a part of the Heard team as the Associate Director of Membership and Circles of Giving, responsible for the strategy and operations of the Membership Department. I joined the museum in April, with prior experience at the High Museum of Art, Arizona Science Center and Phoenix Children’s Foundation. I quickly realized how unique and special the Heard member community is—thank you for the warm welcome, and I hope to meet many more members at our monthly Artful Mornings and upcoming member previews. Outside the museum, you’ll find me exploring new restaurants, traveling with friends, on the ski slope and tennis court, or walking downtown with my dog, Marie.
Melissa Pochoema
Membership Associate
I joined the Heard two years ago as a member of the Visitor Services team and am currently the Membership Associate. I’m very grateful and pleased to meet you all. I am Hopi from the village of Shungopavi, Second Mesa. My clans are Water and Sun Forehead. I have studied and worked in the museum field for nine years, including time at the Institute of American Indian Arts in Santa Fe and the Smithsonian National Museum of American History in Washington, D.C. I am currently pursuing a bachelor’s degree in museum studies and business at Arizona State University, and I am also a professional painter with a passion for the arts.
MEMBERSHIP EVENT CALENDAR
Mark your calendars for these exclusive member opportunities as we approach the holiday season and open new exhibitions!
NOVEMBER
NOV 8
11:00 a.m. – 12:00
NOV 14
5:30 p.m. – 7:30 p.m.
NOV 28
9:00 a.m. – 11:00 a.m.
DECEMBER
DEC 13
11:00 a.m. – 12:00 p.m.
JANUARY
JAN 10
11:00 a.m. – 12:00 p.m.
JAN 22
5:30 p.m. – 7:30 p.m.
JAN 23
9:00 a.m. – 11:00 a.m.
FEBRUARY
FEB 2
11:00 a.m. – 12:00 p.m.
FEB 14 + 15
9:00 a.m. – 4:00 p.m.
LECTURES & WORKSHOPS
Artful Mornings with Curator Roshii Montano
EXHIBITION OPENING
Member and Circles of Giving Preview of October Art: The Collection of Delores Browne Abelson
ORNAMENT MARKETPLACE
Members holiday coffee with early access to our annual Ornament Marketplace
LECTURES & WORKSHOPS
Artful Mornings with Chief Curator
Diana Pardue
LECTURES & WORKSHOPS
Artful Mornings with Curator Roshii Montano
EXHIBITION OPENING
Circles of Giving preview
Kay WalkingStick/Hudson River School
EXHIBITION OPENING
Member preview of Kay WalkingStick/Hudson River School
LECTURES & WORKSHOPS
Artful Mornings with Director of Research
Ann Marshall
SIGNATURE EVENT
36th Annual World Championship
Hoop Dance Contest
KAY WALKINGSTICK / HUDSON RIVER SCHOOL
The Heard Museum’s new Grand Gallery Exhibition, Open Jan 23, 2026
Experience the beauty of the American landscape through two powerful perspectives. Kay WalkingStick / Hudson River School brings together breathtaking works by contemporary Cherokee artist Kay WalkingStick and iconic 19th-century paintings from the Hudson River School. Side by side, these works invite you to see the land through different lenses, ex ploring both deep reverence and the complex histories it holds.
Organized by the New-York Historical Society, Kay WalkingStick / Hudson River School invites you to reflect on beauty, history, and the stories that landscapes hold.
WE ENVISION A WORLD WHERE INDIGENOUS CREATIVITY THRIVES AND FOSTERS MUTUAL RESPECT AND UNDERSTANDING.
Harry Fonseca (Nisenan Maidu, 1946-2006), Swan Lake, Final Scene #2, 1984. Acrylic and mixed media on canvas. Heard Museum Collection, Gift of Delores Browne Abelson Trust, 5114-6.
