Heard Museum Earth Song, Fall 2021

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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

Chair Vice-Chair Secretary Treasurer Dickey Family Director and CEO

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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

LIFE TRUSTEES Kay Benedict Howard R. Berlin James T. Bialac Dr. George Blue Spruce, Jr. Mark B. Bonsall Herbert J. Bool Robert B. Bulla F. Wesley Clelland, III Norma Jean Coulter Robert J. Duffy Mary G. Hamilton Barbara Heard Patricia K. Hibbeler Joel P. Hoxie Mary Hudak Dr. Thomas M. Hudak

Carrie L. Hulburd Edward F. Lowry Frederick A. Lynn Carol Ann Mackay Clint J. Magnussen Robert L. Matthews Mary Ellen McKee James Meenaghan Dr. Wayne Lee Mitchell Dr. Arthur L. Pelberg David E. Reese William C. Schubert Sheryl L. Sculley Richard H. Silverman John B. Stiteler John G. Stuart

Board of Trustees current as of Sept. 20, 2021

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EARTHSONG Sarah Moore

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Cover: Bob Haozous (Warm Springs Chiricahua Apache), b. 1943, Ozone Madonna, 1989. Mahogany, steel, paint, 57 x 24 x 12 inches. On exhibit in Remembering the Future: 100 Years of Inspiring Art, opening Oct. 24 at the Heard Museum. Purchased with funds provided by the National Endowment for the Arts and the Goldsmith Foundation, IAC2378.

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 4

Remembering the Future: 100 Years of Inspiring Artwork

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In Conversation: Nora Naranjo Morse

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In Conversation: Eliza Naranjo Morse

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Beginning to Weave It Together

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Reflecting on Toward the Morning Sun: Navajo Pictorial Textiles from the Jean-Paul and Rebecca Valette Collection

GO + DO 20

In-Person Exhibition Openings

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Learn with the Guild!

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Virtual Events

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First Fridays

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Indigenous Peoples Day Celebration

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Veterans Day Celebration & Sunset Tribute: Honoring Military Families

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Holidays at the Heard

LIBRARY 30

The Billie Jane Baguley Library and Archives

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Billie Jane Becker Baguley, 1919-2012

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Volunteers in the Billie Jane Baguley Library and Archives

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The Heard Library and Archives: An Incredible Resource

COLLECTION 38

Researching Artists Online in the Time of the Pandemic

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New Acquisition: Mario Martinez

SHOP + DINE 40

Gotta Have It!

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Decorate Your Holidays: Ornament Marketplace 2021

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Café Update

GIVE 44

Thank You for Your Support

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Moondance Preview

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DIRECTOR’S LETTER Dear Members, Throughout the past 16 months, the Heard Museum has maintained that art has never mattered more because of the inspiration it sparks and its unique ability to bring people together through meaningful and engaging discourse.

As a result, we have continued to create original exhibitions, eight in the past year alone, and have presented them in a safe and welcoming environment. Through the wonders of technology, we have even made it possible for people to enjoy the work we do from the comfort of their own homes.

David M. Roche Dickey Family Director and CEO

When assessing the long arc of art history and museums, it becomes clear why art and museums have never mattered more than they do right now: Art makes sense of the world we are encountering and transforms the events of our lives, even tragedy, into healing and hope, and museums make the art accessible to the communities in which they reside.

Throughout history, spiritual and artistic expression were often one and the same. In May 1991, at a conference organized by the Heard Museum, artist James Lavadour (Walla Walla) stated, “I think that the Native American community has something to offer the world. It has a medicine to give.” This statement takes on unique and powerful meaning amid the current global pandemic. Over hundreds of years, American Indian cultures have suffered catastrophic losses, many because of sickness caused by diseases such as smallpox. Even today, COVID-19 has had a disproportionate impact on American Indian communities across North America. Still, the creative spirit, the same spirit that unites all humanity, has persevered. Evidence of perseverance in the face of adversity can be found in the creative expression of countless Indigenous artists whose paintings, sculptures, and photographs, spanning two centuries, reside in the collection of the Heard Museum.

Remembering the Future: 100 Years of Inspiring Art, the ninth original exhibition in the Virginia G. Piper Charitable Trust Grand Gallery, will showcase the best of these works of art. Each work in the exhibition will be drawn from the Museum’s permanent collection and will reflect an artistic response to the challenges and opportunities presented by the decade in which it was created. These include, for example, T.C. Cannon’s response to the Vietnam War in the lithograph On Drinkin’ Beer in Vietnam in 1967, Oscar Howe’s response to the massacre at Wounded Knee in the painting Ghost Dance, Bob Haozous and Jaune Quick-to-See Smith’s responses to environmental crises in the sculpture Ozone Madonna and the painting Rain, and Harry Fonseca’s response to the gay rights movement in the painting When Coyote Leaves the Reservation (a portrait of the artist as a young Coyote).

Remembering the Future will be a visual testament to 100 years of the healing and hopeful act of artistic production in response to the challenges and opportunities of the time in which the work was made. The span of one century is meant to convey, with a meaningful depth of perspective and certitude, that in remembering the history of American Indian art, we are also remembering the future.

I wish to thank each of you, our members, for inspiring all of us during these unusually challenging times with your ongoing support, words of encouragement, and loyalty. The Heard Museum’s future is bright because of you.

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Opening Oct. 24, 2021, on display through Jan. 2, 2023

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BY ANN E. MARSHALL | DIRECTOR OF RESEARCH AND DIANA F. PARDUE | CHIEF CURATOR

Through the decades, the Heard Museum has experienced significant milestones in the process of exhibiting and collecting Indigenous

paintings and sculpture. This year, 2021, marks another important

event as we celebrate examples from the Heard Museum collection in

the exhibition Remembering the Future: 100 Years of Inspiring Art.

Charles Loloma (Hopi), 1921-1991, Buffalo Dance, c. 1940. Tempera on muslin, 69 1/2 x 187 inches. Anonymous gift, 4449-1.

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ooking back, it is important to note that Maie and Dwight Heard purchased three major works by Hopi artist Fred Kabotie in 1925. But it was with the leadership of curator Tom Cain in 1952 that the museum held its first exhibition of paintings, with help from Phoenix-based Native arts retailer Fred Wilson. Utilizing loans from local collectors, the Heard continued presenting painting exhibitions until 1964, when the museum began a series of single-artist exhibition sales shows that were scheduled monthly. The exhibitions were presented in the original auditorium of the Heard (now the Sandra Day O’Connor Gallery) in what was at that time called the Gallery of Indian Art.

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The year 1973 marked another important milestone, as the Heard began a series of invitational exhibitions following a major expansion in the late 1960s. The first invitational held in the newly built Gallery of Indian Art was titled Sculpture I. In 1983, the Heard hosted the first in a series of fine-art invitationals that became the foundation for the biennial invitationals that continued through the year 2002. Three large-scale landmark exhibitions included Shared Visions: Native American Painters and Sculptors in the Twentieth Century in 1991, Remix: New Modernities in a Post-Indian World (in partnership with the National Museum of the American Indian) in 2007, and, more recently, Larger Than Memory: Contemporary Art from Indigenous North America in 2020.

VIEW Fred Kabotie (Hopi), 1900-1986, Butterfly (Water Drinking) Dance, 1925. Watercolor on paper, 12 x 21 inches. Heard Museum Collection, IAC26.

Shonto Begay (Navajo), b. 1954, Moab Bound, 2011. Acrylic on canvas, 42 x 73 inches. Gift of American Indian Art Magazine, 4682-1.

Harrison Begay (Navajo), 1917-2012, Joo'ashi azhish, n.d. Tempera on paper, 22 x 30 inches. Heard Museum Collection, Gift of Mr. and Mrs. Read Mullan, IAC422.

These exhibitions and other significant individual-artist shows organized by the Heard brought contemporary works to our audiences while often adding significant works to the collection. Of particular note in this regard are Houser and Haozous: A Sculpture Retrospective in 1984, Dan Namingha: Hopi-Tewa Reflections in 1987, Harry Fonseca: An Artist’s Journey in 2009, and T.C. Cannon: Of God and Mortal Men in 2017, as well as exhibitions from our colleagues at other museums, such as Oscar Howe: A Retrospective Exhibition in 1982, Kay WalkingStick: An American Artist in 2016, and Rick Bartow: Things You Know But Cannot Explain in 2017.

Opening this October, Remembering the Future: 100 Years of Inspiring Art presents art by more than 70 artists from the Heard Museum’s collection. By looking back at past exhibitions and collecting practices, it is possible to identify important works in the collection, many of which were key to the myriad exhibitions that were previewed at the Heard. If there was a common theme, it was the emphasis on living artists and the creation of programming that allowed the artists to provide exciting and inspirational ideas.

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view 1920s The decade of the 1920s featured several artists. Awa Tsireh from San Ildefonso Pueblo was the first Native artist to be known nationally. His paintings were included in exhibitions in Chicago, Indianapolis and New York in the 1920s, and he received major coverage in a 1925 article in the New York Times. Largely selftaught after being provided the tools to draw at San Ildefonso Day School, Awa Tsireh became the leading painter and was followed by younger San Ildefonso artists Tonita Peña, Tse Ye Mu (Romando Vigil) and Gilbert Atencio, all of whom trained at Dorothy Dunn’s Studio at the Santa Fe Indian School.

dyeing yarn, which she has draped over nearby bushes.

He selected a subject that plays out in the present, as weavers inspired by the past continue to explore color through the art of dyeing.

In contrast, Waldo Mootzka, with his Pollination of the Corn series, was breaking new ground with exotic, European Art Deco–inspired works. Artists were receiving inspiration from a much wider world and experimenting with how it could fit into their past.

Fred Kabotie was another significant artist who came to prominence in the 1920s. Kabotie studied with Dunn, and, like many of these young artists, his work primarily focused on ceremonial themes. Kabotie spoke of his early interest in drawing Katsinam and ceremonies, painting what he missed Velino Shije Herrera (Zia Pueblo), 1902-1973, The Whirlwind, 1940-50. Gouache on paper, 14 5/8 x 23 1/8 inches. Gift in memory of Mary and Pablo Enriquez, 4636-4. while away from Hopi and at school.

The Heard’s paintings acquired in 1925 would have been painted around the time Kabotie was graduating from Santa Fe Public High School and beginning his career as an artist.

The 1940s selections feature action. Velino Herrera,

1940s

1930s In the 1930s, the Heard acquired a Buffalo Dance painting by Tonita Peña, probably from the early 1930s.

In her painting, Peña condensed the color and variety of a complex social ceremony into eight figures, shown in rhythmic coordination, with meticulously detailed accoutrements. Also acquired in this decade were paintings by Navajo artists Gerald Nailor and Andrew Van Tsinhnahjinnie, who also began their art practice at the Santa Fe Indian School in classes taught by Dorothy Dunn. Tsinhnahjinnie recalled Dunn supplying colors rather than dictating subject matter. His appreciation for color is evident in his painting of a Navajo woman

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another student at the Studio, painted horses, a rider and deer fleeing before a whirlwind. Ernest Spybuck created an animated scene of a Shawnee Indian war dance that, unlike earlier ceremony depictions, shows a rich landscape in which a lively group of community spectators visits and laughs. A young Charles Loloma created a mural for Hopi High School that portrays the Buffalo Dance. Loloma trained with Fred Kabotie, and at the age of only 17 traveled with him to San Francisco to paint murals at the 1939 Golden Gate International Exposition. As with Peña, Loloma was careful to depict certain aspects of the regalia correctly. A Hopi man knowledgeable about weaving, he captured the subtle differences in the twill weave of a woman’s dress.

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1950s Important works by Pablita Velarde and Pop Chalee were added to the museum’s collection in the 1950s, with very different but colorful landscapes. Pop Chalee was a frequent presence in Fred Wilson’s shop in downtown Phoenix.

Her Enchanted Forest is a night scene that drew inspiration from her Taos childhood, but it is entirely fanciful as a rich variety of animals leap and gambol through glowing trees and bushes.

Pop Chalee (born Merina Lujan, Taos Pueblo), 1906-1993, Enchanted Forest, n.d. Watercolor on paper, 19 3/4 x 25 3/4 inches.

Heard Museum Collection, Gift of Mr. and Mrs. Read Mullan, IAC347.

In contrast, Deer and Aspens by Pablita Velarde could also be a night scene, an autumn areas, painting night, but it is more realistic, with vividly dancers enveloped colored leaves and foliage and deer whose in flames. Howe bodies have coats with a velvet-like actively explored quality. They are both inspired scenes ways to bring that make a viewer want to step inside. forward the events

of the past using his own painting style.

He was certain that In 1964, the first of the Heard’s the way forward for ambitiously scheduled monthly American Indian art exhibitions featured Blackbear Bosin, lay with artists free Oscar Howe (Yanktonai), 1915-1983, Ghost Dance, 1960. Watercolor whose painting Kiowa Medicine Man on paper, 25 x 30 1/2 inches. Gift of Edward Jacobson, IAC85. to make individual exemplifies his early work. Also from statements apart from the established canon of Indian the 1960s is a cubist painting of an Apache Ga’an by art.

Cheyenne artist W. Richard West Sr. West earned both At the close of the decade, in 1969, the Heard Museum a BFA and MFA from the University of Oklahoma and inaugurated its two-level, 3,000-square-foot Gallery chaired the Bacone College art department from 1947 to of Indian Art. The first exhibition in the new gallery 1970. He later taught at Haskell Institute for seven years, featured paintings by San Ildefonso Pueblo artist Gilbert inspiring many of his American Indian students.

Atencio. Later exhibitions featured paintings by Helen In 1960, Oscar Howe remembered the Ghost Dance Hardin, Pop Chalee and Mary Morez. tradition that swept through Plains and Great Basin

1960s

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view 1970s With this gallery, the Heard moved into a new period in American Indian art.

Experimentation with style and subject matter, including social commentary, was growing. The invitational series that began with Sculpture I in 1973 was followed by a painting invitational in 1974, a second sculpture invitational in 1974-75 and a drawing invitational in 1977. With the inauguration of sculpture invitationals, sculpture became an increasingly important part of the Heard’s collection. Funding provided by the National Endowment for the Arts allowed the museum to purchase 32 new works, including paintings by Oscar Howe and sculptures by John Hoover, Allan Houser and Doug Hyde.

Invitational artists George Morrison and T.C. Cannon explored new directions, with Morrison working in abstract expressionism and Cannon turning the clichés of “Indian painting” into ironic statements. Typifying the turbulence of a decade of protest, Michael Kabotie painted Hopi deer dancers protesting the behavior of visitors as one deer dancer seized a camera. Kabotie said, “This was my protest painting, and the confiscation of the camera by the deer dancer was the symbol of taking back the spiritual sovereignty of Native ceremonies.”

statement, Ozone Madonna.

In creating Hidden Beauty, Houser chose to sculpt a nude figure, commonly done in mainstream art, but infrequently done by American Indian artists at the time. Haozous continued to amplify social statements.

In Ozone Madonna, the feminine “Earth mother” is besieged by pollutantspewing cars, and in Puppet Princess, the fetishized “Indian princess” is reduced to puppet status.

Harry Fonseca’s When Coyote Leaves the Rez was added, as were works by Biennial artists Jean LaMarr, Emmi Whitehorse, Kay WalkingStick, Joe Feddersen, Linda Lomahaftewa and Frank LaPena.

1990s

When Dr. Rennard Strickland and Heard Museum Curator of Fine Art Margaret Archuleta developed the exhibition Shared Visions: Native American Painters and Sculptors in the Twentieth Century, they planned a history-making conference, In the 1980s, the museum’s permanent Michael Kabotie (Hopi), 1942-2009, Deer Dancers held May 8-11, 1991. It was Protestors, 1972. Acrylic on matboard, 46 x 18 inches. collection grew further with the Heard Museum purchase, IAC457. an important time to stop addition of the sculpture Red Totem and reflect, as the 20th century was in its last decade and

by George Morrison and three female forms: Hidden many American Indian art events were contemplating Beauty, a nude in Carrara marble by Allan Houser, and the 1992 Quincentenary of Columbus’ arrival in the two sculptures by Bob Haozous, a mounted carved Western Hemisphere. Fourteen of the panelists who marionette titled Puppet Princess and an environmental

1980s

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2020s

Other pieces in the museum’s collection from this time are by Biennial artists Rick Bartow and Peter Jemison, as well as early works in glass by Preston Singletary and Susan Point.

2000s

The most recent addition to the museum’s fine-art collection is Steven Yazzie’s 2021 painting The Protector, from his Coyote Series. Yazzie’s protector in the painting is the rainbow. He explained, “A title for the painting came to me after the completion of the work. The rainbow in this regard is the originator of this theme of protection for Navajos. It is the protector of our stories, our life ways, and the world we live in.” As for Coyote, Yazzie said, “To create a bit of drama, Coyote stares back and focuses intently on this sculptural object in the foreground. This is the moment in question … the intersection of spiritual beings, of the ancestral and the modern.”

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spoke at the conference are represented in Remembering the Future, including elders Allan Houser, W. Richard West, Joe Herrera, George Morrison and Pablita Velarde.

Velarde’s memories of early painters created a link to the past. During the conference, Frank LaPena, listening to Houser, Velarde and West, said, “Looking at the elders, they have inspired me more by their example, than teaching me directly, ….” Some works, such as Jaune Quick-to-See Smith’s Rain and James Lavadour’s New Blood, were purchased for inclusion in the Shared Visions exhibition.

Reflecting on the inspiration that the 1991 Shared Visions Conference brought to participants and attendees, we hope to bring together artists showing in Remembering the Future in 2022. After 30 years of change and challenges, it seems an appropriate time to gather once again to remember and to find inspiration for the future.

In the 2000s, among the additions to the permanent collection were Diné photographer Will Wilson’s Auto Immune Response #1, a reaction to climate change from his exhibition, as well as the ceramic sculpture about Steven J. Yazzie (Diné/Laguna Pueblo), b. 1970, The Protector, 2021. Oil on canvas. Gift of Drs. William G. and Kathleen L. Howard, 4988-1. family and relationships titled Mothers and Daughters

by Roxanne Swentzell and Rose Simpson from the SAVE THE DATE exhibition Mothers and Daughters: Stories in Clay.

CIRCLES OF GIVING EXHIBITION PREVIEW HOURS

2010s

The 2010s added important works, including Shonto Begay’s Moab Bound. The Heard also commissioned the work Grand Canyon by Tony Abeyta to complement the exhibition Over the Edge: Fred Harvey at the Grand Canyon and in the Great Southwest. Works by Kent Monkman, Cara Romero and Meryl McMaster were included in the exhibition Larger Than Memory.

Sunday, Oct. 24 | 9 to 10 a.m.

MEMBERS-ONLY PREVIEW HOURS Sunday, Oct. 24 | 10 a.m. to 2 p.m.

MEMBERS-ONLY REMEMBERING THE FUTURE VIRTUAL ART TALK Thursday, Nov. 4 | 12 noon MST For more details and information on how to RSVP, see page 20 & 22

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view In Conversation:

Nora Naranjo Morse

BY DIANA F. PARDUE | CHIEF CURATOR

Diana Pardue: Nora, thank you so much for agreeing to discuss your ceramic sculpture Pearlene in the Heard’s permanent collection. You created this work in 1987 and the museum purchased it after it was included in the 1988 exhibition Earth, Hands, Life: Southwestern Ceramic Figures. What can you tell us about Pearlene of 1987?

What would Pearlene of 2021 be like?

Nora Naranjo Morse: Originally, Pearlene was inspired by a composite of older cousins who were my idols as an awkward teenager. Older cousins can be the coolest role models ever, and I was completely captivated by my cousins’ mannerisms and bravado. My cousins’ skirts were always just a tad too tight, and they wore red lipstick—an act of “White Man’s” vanity their elders scolded. It was the early Sixties and my cousins represented the modern Native women—more selfconfident and courageous navigating the White Man’s world. So all that scolding by elders fell on deaf ears.

Sometimes, my cousin lured me behind the shed near the corrals, and a stolen cigarette later, I was learning how to blow smoke rings into the air. I worshipped my naughty cousins; they represented all that was fun and a bit dangerous, and that was thrilling for an awkward teen.

I should note, I did have a relative who was actually named Pearlene.

When I started experimenting with traditional Pueblo clays, I gravitated toward the idea of creating a character that represented the modern Pueblo woman. Pearlene is layered with sociocultural symbolism that often goes unnoticed because she looks unlike traditional Pueblo clay work. That’s what I like about Pearlene’s energy; she may look kinda cheap, but she’s deep. Pearlene reflected

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Nora Naranjo Morse and her daughter, Eliza Naranjo Morse, 2009.

Photo: Craig Smith

my creative exploration that exploded with creative possibility, and the fact [that] I could make Pearlene using traditional Pueblo clay methods was a revelation and a true gift.

Pearlene was fearless because the women in her life showed her how to be that way.

The Pearlene of 2021 is a bit world-worn, although she is still eager to experience and learn about the world she lives in. Pearlene is rooted to a Pueblo worldview that has been her North Star, her navigation throughout life.

Her values are intact, but every now and then she enjoys meeting up behind the shed with other Pearlene types to share a smoke.

DP: Can you tell us how Pearlene fit with the other ceramics you were creating at that time?

NNM: The Pearlene series was made over several years, and during that time I was also exploring other

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mediums. I was writing. I DP: What are you working wrote about people I knew on currently? and places I’d been to. And NNM: I’ve been working because Pearlene was a large with discarded materials part of my work, I wrote about for a few years now. I make her. I conjured up narratives sculptural forms from incorporating people and places materials gathered on and that Pearlene could be a part off tribal lands. I work with of—like the time Pearlene goes plastic bags, wire and burlap to Las Vegas. She eventually chili [pepper] bags. I clean returned to the Pueblo a more what I gather and spend worldly woman. The results time figuring out how to became the sculpture titled repurpose this new material Pearlene Teaching Her Cousins into a reusable resource for Poker. For several years there my work. Right now I’m was a dynamic creative volley working on three sculptures of words and clay that spilled made out of Walmart plastic out of me. Those were the years Nora Naranjo Morse (Tewa, Kha’ P’o Owinge), b. 1953, Pearlene, 1987.

Clay, paint, turquoise, corn husk. 30 1/2 x 17 x 11 inches. Heard Museum bags, fencing wire and purchase, NA-SW-Sc-F-6.

Pearlene found her voice. So used burlap chili bags. They’re seated figures ranging in while I was making Pearlene, I was also working with size from 15 to 18 feet in length. I’m in new territory other concepts and materials and she just got included in with these sculptures; I’ve never made anything like whatever I was experiencing in life. this before. These sculptures have been inspired by DP: In planning to discuss this with you, I had such a Pueblo people who in the past have made their art from wonderful time reading your 1992 book Mud Woman: gathered materials, like the Depression-era jewelry made Poems from the Clay. In the introduction, which was so from battery casings and old 78 RPM records. beautifully written, you mentioned that you were saying Working with discarded materials has enlightened goodbye to Pearlene. How did you come to the decision me and given me the opportunity to learn more about to stop making that form? environmental concerns facing our world.

NNM: A chapter closed when I decided to end the DP: Is there a chance for another book of poetry?

Pearlene series. Pearlene had become popular to the point I was asked by a businessman to keep producing NNM: I write almost every day. So I’m constantly Pearlenes. When I understood the ramifications of gathering my words, stories and ideas. Maybe someday making Pearlene purely for money, I knew immediately I I’ll have another opportunity to write a book. Until then could not do that. And that may have been the moment I continue to write.

I began honoring my creative integrity. So I made one DP: What advice would you give to an artist who is just last Pearlene. The scene: Pearlene sat on a couch with her beginning a career? boyfriend. She wore a feather boa and was naked. They NNM: Follow your passion; it has value to your personal looked happy. well-being.

The last time I saw Pearlene, she and her man were Navigate your work/career with integrity. headed west to live in a museum. It was a bittersweet moment as I watched the art carrier close the van door; I Be fearless in your conviction. knew the way I made art was about to change.

Life—even the seemingly ordinary—has an endless I now understand that the spirit and intention of supply of inspiration and knowledge.

Pearlene still lives on, just in another form.

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view In Conversation:

Eliza Naranjo Morse

BY ANN E. MARSHALL | DIRECTOR OF RESEARCH

Eliza Naranjo Morse created Portrait of Ultimate Happiness in 2009, when she was 29. In 2011, she wrote an extended statement about the mixedmedia artwork and the process from which it grew. Just recently, 12 years after the deer’s creation and 10 years after her statement, I spoke with Naranjo Morse about her current thoughts given the passage of time and the current circumstances we find ourselves in.

I’M HAPPY WHEN I’M COMFORTABLE AND FLUID MAKING WORK. THERE IS A FEELING OF TRAVELING THROUGH SPACE ON

color and micaceous clay, and cutting holes in the surface. Looking back on her statement, she said she found it “endearing” that, at the time, she felt funny about making repeated versions of the deer, but now she recognizes that this is where the creativity comes from.

“I’m happy when I’m comfortable and fluid making work,” Naranjo Morse A PILGRIMAGE. AT said. “There is a feeling of traveling THE TIME I DIDN’T through space on a pilgrimage. At REALIZE THAT WAS The Heard’s artwork is a gift of David the time I didn’t realize that was and Sara Lieberman, who purchased what I was doing. This deer was WHAT I WAS DOING. it at a Santa Fe Rotary Foundation on its way.” She was beginning to THIS DEER WAS ON for the Arts auction. Eliza Naranjo uncover a long thread that she is still ITS WAY. Morse recalled that her mother, artist following—a theme in the life she Nora Naranjo Morse, was being honored at the event, has chosen to pursue with “pilgrimage” as a recurring and she wanted to lend her support. subject.

The deer figure in the Heard’s artwork made its first appearance when Eliza Naranjo Morse, a 2003 graduate of Skidmore College in Saratoga Springs, N.Y., was taking a Saturday-morning figure drawing class at a local community college. An assignment to draw a self-portrait was initially proving challenging; as she said, “Looking at self can be a difficult thing.” She chose instead to look at the artist version of herself, as the making of the art had become a source of happiness. In her 2011 statement, Naranjo Morse said, “I did not tire of the deer!” The Heard’s deer is young, with the beetcolored spots of a fawn, but with considerable antlers.

Looking at the piece, she remarked, “My goodness, I really went to town on those antlers!” In future works, she continued to draw and paint the figure, playing with

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In our discussion, Naranjo Morse wanted to celebrate patronage, such as the Liebermans’, which offers the artist time for exploration and creative uncovering. She recognizes how fortunate she and her mother have been, and in turn she wants to support young artists, as she sees the “incredible social value in creative thoughts.

Every voice is valuable.”

She also has found that the value systems Indigenous persons carry with them are of importance in the process of human experience as we try to navigate a global, commodified western culture. Engaging with the Indigenous perspective is a way to carry various forms of thinking into our future, and that kind of effort and thought she finds endlessly valuable. It is remembering the future.

VIEW Eliza Naranjo Morse (Tewa, Kha’ P’o Owinge/Anglo), b. 1980, Portrait of Ultimate Happiness, 2009. Mixed media on canvas, 50 x 38 inches.

Gift of Sara and David Lieberman, 4598-1.

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Opening Nov. 5, 2021, on display through Feb. 13, 2022 The Heard Museum exhibition Toward the Morning Sun: Navajo Pictorials from the Jean-Paul and Rebecca Valette Collection is set to open in November. It will feature a little more than half of the 57 pictorial textiles donated to the Heard by Jean-Paul and Rebecca Valette in 2018. The collection includes pictorial textiles with woven images of elements originally depicted solely in sandpaintings, as well as depictions of scenes from the dance portions of multi-day ceremonies, some of which are no longer practiced or not practiced as widely.

The exhibition’s co-curators are Director of Research Ann Marshall and Assistant Curator Velma Kee Craig, and the Mellon Fellows, Roshii Montano and Ninabah Winton. Our third Mellon Fellow, César Bernal, also worked on the exhibition up until June, when he had to leave for Maine to participate in an artist residency. Before his departure, he wrote this short reflection on how his participation in a Master Artist Diné weaving workshop facilitated by Gerard Begay helped him to better understand and appreciate the textiles within the collection. Enjoy!

—VELMA KEE CRAIG, ASSISTANT CURATOR Above: Asdzaan Nałi Chu (Diné, n.d.). Pictorial textile, 1895-1900. Four-ply commercial wool yarn, cotton embroidery thread, cotton warp, aniline dyes, 69 1/2 x 94 1/2 inches. The Valette Collection at the Heard Museum, Gift of Jean-Paul and Rebecca Valette, 4930-1

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VIEW

Beginning to Weave It Together

BY CÉSAR BERNAL | ANDREW W. MELLON FELLOW César Bernal

Having grown up in Phoenix, it is unfortunate that I never got the opportunity to visit the Heard Museum until I was in college. If I had, I would have encountered the value of weaving much sooner. While studying the visual arts, I learned about and practiced various techniques in artmaking but never tried my hand at starting to weave—until the opportunity presented itself at the museum.

Before coming to the museum as a Mellon Fellow, I understood weaving as a repeated intersection of aligned material. There were horizontal components that, when collectively built upon, constructed an image whose ultimate verticality extended the creative hand of its maker. However, in that perspective there is a lack of understanding, because, as an artist, I recognize that process and personal history hold meaning when creating. Getting to know that process as a whole was what I was missing.

When I first went through the textiles from the Valette Collection with everyone, each unrolling presented an individual process from a weaver, or multiple weavers.

Because most of them are pictorial weavings, they hold an array of uses of color; quick, subtle transitions from one to the next to fill a plane; and strands of detail that require a proximity to the textile to see how they play a part in the entirety of the image. When we began to take a closer look at these textiles to determine condition and possible repairs, that interconnectedness of material that I mentioned before rose to the forefront.

It was not until I took a Diné weaving workshop at the Heard Museum this past spring that I was able to deepen my knowledge, past the surface level, on the making of these weavings, their structure, and the personal work of the weavers.

Organized by Marcus Monenerkit and Samantha Toledo and led by Gerard Begay, this workshop covered everything from the construction of an upright loom to the practice of different design techniques. Progressing through each week of this month-long workshop, I developed a better understanding on technicality, like how the winding of the warp sets up a foundation for the weaving, how those fields of color and transitions were made, how each component of the process—from batten to tension bar—contributes to the finishing of these textiles, and much more. Now, when unrolling a textile from the collection, I found myself following a weft from right to left and back again until meeting another section, picturing the movement of the weaver as they passed each warp.

By taking a participatory approach to learning more about the medium of weaving, I began to understand the manner in which these textiles were physically made. A weaving was not a simple plane of intersecting material, as I once believed, but rather a carefully constructed system of image-making technology.

Beyond the technical properties of weaving, Gerard’s workshop emphasized an important aspect of the entire process I had not considered before: the connection the maker has with the process and their work. He stressed the importance for a weaver to be in a positive headspace and environment, because that energy radiates and translates onto a work. With that, it is important to recognize not only the results of the process, which is the weaving itself, but also the weavers themselves and the emotional labor this work stems from. This is especially important to acknowledge because most textiles in the collection are attributed to an unidentified artist. Let us not forget who they are and consider the weaver, the artist and their process when meeting these textiles.

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view In Conversation with Roshii Montano and Ninabah Winton

Roshii Montano

Ninabah Winton

Andrew W. Mellon Fellows and co-curators discuss the exhibition process, textile workshops, and themes of healing in this reflective conversation.

Reflecting on Toward the Morning Sun: Navajo Pictorial Textiles from the Jean-Paul and Rebecca Valette Collection Roshii Montano: I think you come from an interesting perspective because you’ve spent so much time with the collection. Have your feelings surrounding this project changed in any way?

Ninabah Winton: When we first started working with this collection, I was hesitant. My family taught me that you shouldn’t discuss the Nightway out of season, and you should never weave the Ye’ii Bicheii dancers.

My perspective on that changed a little bit through the textile review workshops, when we were able to look at them as art objects, as opposed to ceremonial pictorial weavings. We were trying to understand the textiles’ construction. In previous workshops, the information has been limited because we intended to seek out the pictorial subject. This year, I think it was focused on appreciating them as they are.

SOMETIMES IN OUR DISCUSSIONS, WE WERE SO OVERTAKEN BY A TEXTILE— EITHER FROM BEAUTY OR BECAUSE WE WERE CONFLICTED. THERE WERE SILENCES, BUT WE WERE Artist Once Known (Diné), Ye'ii Bicheii Pictorial textile, 1920s.

Four-ply commercial wool yarn, cotton warp, aniline dyes, 60 3/4 x 32 1/4 inches. The Valette Collection at the Heard Museum, Gift of Jean-Paul and Rebecca Valette, 4930-48

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CONNECTED IN THIS SILENCE.

VIEW Artist Once Known (Diné), Ye’ii Bicheii pictorial textile, c. 1925. Handspun wool, four-ply commercial wool yarn, wool warp, natural wool color, aniline dyes, 36 x 52 1/2 inches. The Valette Collection at the Heard Museum, Gift of Jean-Paul and Rebecca Valette, 4930-24.

RM: I felt similar. Going into this project, I didn’t know how we should be talking about these textiles— what was and wasn’t okay. I did appreciate the textile workshops, because everyone came in with different perspectives. They were all willing to speak on various aspects of the textiles. For example, Venancio Aragon was so excited to talk about the colors, dyes and production.

NW: I just thought of my favorite moment. It was when Raven Chacon teased me by shushing me (laughs). It was significant to have someone who wasn’t a weaver, a dancer, who is more in sound art and that contemporary new-media sphere. It was fascinating to hear his perspectives.

NW: It was so nice to be together in that space with the weavers we invited to see the collection. It felt very Navajo.

RM: Yes! Being together, laughing, talking about our personal experiences, our grandmas, the people in our lives who are weavers—it was beautiful to have that social connectivity.

Sometimes in our discussions, we were so overtaken by a textile—either from beauty or because we were conflicted.

There were silences, but we were connected in this silence.

Participants in Textile Review Session I, held June 11 to 13, 2021, getting a closer look at Pictorial Textile 4930-47 from the Valette Collection. Left to right: Venancio Aragon, Roshii Montano, Raven Chacon and Dr. Nancy Odegaard. (Ninabah Winton is hidden behind Roshii.)

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Weavers Kevin Aspaas and Tyrrell Tapaha inspect a Ye’ii Bicheii pictorial textile (4354-1) from the Heard Museum Permanent Collection during Textile Review Session II held June 30 to July 2, 2021.

RM: The curatorial team talks to each other every day about the exhibition content, cycling through similar thoughts. With the textile workshop, we get to hear about the things that stand out to them. Velma (Assistant Curator Velma Kee Craig) summarized this idea well; she talked about each workshop getting more refined in the details being brought out. In our last workshop, Kevin Aspaas and Tyrrell Tapaha spoke about the prominence of the colors red and orange in the collection, and I just thought, “Yes, of course!”

NW: It’s always a different experience when you view the collection with fresh eyes. I was excited to hear Tyrrell’s perspective, because he’s the grandson of master weaver Roy Kady. It was so cool to listen to Kevin and Tyrrell talk about the technical aspects of weaving, like warp to weft ratio, and a Navajo-defined standard of quality, imposing those Navajo standards, as opposed to institutional ones.

Something that stood out to me was the diversity of the participants in each workshop. We’ve had people in their 60s and 20s look at the collection. This last one was all male weavers, when in the past it had been all female.

It’s always assumed that only women are weavers, and I try to neutralize the language I use when talking about weavers, using terms like “they/them” in my practice.

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There’s also been discussion in these workshops about “Well, the weaver wouldn’t have woven it if it was truly sacred.” It’s like, “Do you know what they were up against?” During the Great Depression, one trader offered weavers $150 per snake design, weaving pound rugs, and then all of their sheep get slaughtered … It was a complicated socio-economic dynamic.1 RM: The Valettes wanted the collection to be here at the Heard, closer to Diné people. What do you think needs to be done further in terms of research and care?

NW: I would like to see more invitations for interpretation, rather than people seeking it out or expecting Diné to know the museum holds this collection. I would like to see interdisciplinary collaborations. There’s fertile ground for new collaborations.

There was this concept of synecdoche I was reading about, and how weavers don’t just put sheep’s wool into the textile. There are portions of their body, their hair, and the oils from their skin. Traditionally, those things— if you allow them to get away from you, they can bring harm. If we aren’t taking care of this collection with all of its power and its personhood effects, I wonder if we are inviting or perpetuating harm. I would love to see them receive additional conservation care.

VIEW Mellon Fellows Ninabah Winton and Roshii Montano look on as weaver Venancio Aragon takes photographs of Cross Textile (4930-37) from the Valette Collection during Textile Review Session I held June 11 to 13, 2021.

Mellon Fellows Roshii Montano and Ninabah Winton vacuum a textile with oversight from Conservator Dr. Nancy Odegaard during Textile Review Session I held June 11 to 13, 2021.

RM: One thing that we wanted to emphasize is the theme of healing. Have you learned anything about healing as you’ve been spending time with the collection for three years?

memory allowed me to make choices towards that praxis of care and Indigenous knowledge.

NW: It’s been an interesting year because of the pandemic.

Coming to the subject of healing after a period of intense trauma makes me try to empathetically understand or situate where these weavings are in history. In my way of seeing, some pieces are woven with healing in mind.

There are gestures of protection woven. In my research and writing, I’ve been intentional in understanding the traumas that inform why. When it comes to energy and healing, these textiles have life or personhood. It’s an embodied practice to handle and care for them.

RM: I like what you say about your experience going through the pandemic with this collection in mind. It brought an interesting element to my understanding of healing. We talk about weaving as a practice of healing.

I’m thinking about the beginning of my weaving practice and how I situate healing in my body, through the loom, and into a textile. With this collection, in particular, I have felt the need to be very careful and respectful.

We’re Navajo, and we have an indefinable reverence for these textiles. They are living.

NW: My mom once defined life force, and she said even your car has life force. That’s why you have to take care of it; that’s why you put bitter herb on it (laughs). In the beginning, it was hard to let go of the reservations I had about the collection because it was so strong to me.

Having those stories, having that living memory, and understanding [that] you just don’t do it. But having that

RM: It’s challenging to conceal certain aspects of our sacred knowledge while trying to convey the narrative for the exhibition. However, we want to bring points of memory to the forefront for the people that this collection is for, right? I do value the time that I’ve spent with the textiles, and it’s made me think more deeply about a lot of the things that we’ve brought up in this conversation. This experience has further contributed to my understanding of collective care, healing, and understanding of a textile’s personhood.

1

Peake, Nancy. “Chapter 1: Through Navajo Eyes: Pictorial Weavings from Spider Woman’s Loom” ed. Tad Tuleja. Usable Pasts: Traditions and Group Expressions in North America. University Press of Colorado: Utah State University Press. 1997.

In March 1989, Nancy Peake interviewed Walter Kennedy, who ran a trading post in Dennehotso, Arizona from 1950-1982. Kennedy allegedly stated: “Navajos have a thing against snakes, and some even say a woman went blind after weaving a yei rug with snakes,” According to Peake, Kennedy nevertheless offered to pay his weavers $150 for each snake woven into a rug.

SAVE THE DATE CIRCLES OF GIVING EXHIBITION OPENING Thursday, Nov. 4 | 6 to 8 p.m.

MEMBERS-ONLY PREVIEW HOURS Friday, Nov. 5 | 3 to 8 p.m.

MEMBERS-ONLY TOWARD THE MORNING SUN VIRTUAL ART TALK Wednesday, Dec. 1 | 12 noon MST For more details and information on how to RSVP, see page 21 & 23

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go + do IN-PERSON EXHIBITION OPENINGS REMEMBERING THE FUTURE CIRCLES-EXCLUSIVE PREVIEW HOUR SUNDAY, OCT. 24 | 9 TO 10 A.M.

Circles of Giving Members ($2,000+) are invited to an exclusive preview and reception for Remembering the Future one hour before it opens to Members and the public. Space is limited, so advance registration is highly encouraged.

Kindly RSVP to circles@heard.org or call Allison Lester at 602.251.0262 by Friday, Oct. 22.

Circles Members who are unable to attend during the exclusive preview hour may reserve during the Members-only hours.

Not a Circles of Giving Member? We invite you to deepen your connection to the Heard by joining or upgrading your existing membership by emailing us at circles@heard.org.

REMEMBERING THE FUTURE MEMBERS-ONLY PREVIEW HOURS

Bob Haozous, Chiricahua (Warm Springs) Apache, b. 1943. Puppet Princess, 1980, Wood, metal, ceramic, paint, 49 1/4 x 28 1/4 x 7 1/2 inches. Gift of Dr. Rennard Strickland, IAC2223

SUNDAY, OCT. 24 | 10 A.M. TO 2 P.M.

All Museum Members are invited to the Members-only preview and reception for Remembering the Future before it opens to the public. Space is limited, so advance registration is highly encouraged.

To RSVP, kindly email members@heard.org with the program title or call 602.251.0261

by Friday, Oct 22.

Not a Member? Join today at heard.org/membership.

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TOWARD THE MORNING SUN MEMBERS-ONLY EXHIBITION PREVIEW & RECEPTION

THURSDAY, NOV. 4 | 6 TO 8 P.M.

FRIDAY, NOV. 5 | 3 TO 8 P.M.

Circles of Giving Members ($2,000+) plus one guest are invited to an exclusive exhibition preview and reception for Toward the Morning Sun: Navajo Pictorial Textiles from the Jean-Paul and Rebecca Valette Collection before it opens to Members and the public. Space is limited; advance registration is highly encouraged.

All Heard Museum Members are invited to an exclusive exhibition preview and reception for Toward the Morning Sun: Navajo Pictorial Textiles from the Jean-Paul and Rebecca Valette Collection during First Fridays at the Heard. The reception will be held in the Nichols Garden.

Space is limited; advance registration is highly encouraged.

Kindly RSVP to circles@heard.org or call Allison Lester at 602.251.0262 by Wednesday, Nov. 3.

Circles Members who are unable to attend during the exclusive preview hour may reserve during the Members-only preview on Friday, Nov. 5.

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TOWARD THE MORNING SUN CIRCLES-EXCLUSIVE EXHIBITION PREVIEW & RECEPTION

To RSVP, kindly email members@heard.org with the program title or call 602.251.0261

by Wednesday, Nov. 3.

LEARN WITH THE GUILD! Happy Fall! The volunteer branch of the Heard Museum, the Guild, is alive and active. I invite you to participate in our upcoming events. Mark your calendars and remember to register. If you are not a member of the Guild, join us in our important work-supporting the mission of the Heard Museum.

Contact membership@heardguild.org to join today.

- Jane Przeslica | President, Heard Museum Guild

MONTHLY GUILD MEETINGS Every month from September through April, our volunteer force, the Heard Museum Guild, features a special guest speaker. Guild General Meetings are completely free and open to the public and a great way to learn how to become a volunteer.

OCT. 20 | 10 A.M. | STEELE AUDITORIUM*

Guest Speaker: Dimitra McCabe, the executive director of Rez Refuge, a nonprofit focusing on the community in the Navajo Nation.

NOV. 17 | DEC. 8 | JAN. 19 | FEB. 16 | MARCH 16 APRIL 20 | 10 A.M. | STEELE AUDITORIUM* *Location subject to change depending on current safety protocols. Visit heardguild.org/happening-now for the most

SHORT COURSE | HOME: NATIVE PEOPLES IN THE SOUTHWEST COURSE FEE: $45 | THURSDAYS, NOV. 4, 11 & 18, 9.30 A.M. TO 12.30 P.M. | MONTE VISTA ROOM

The Heard Museum Guild invites you to learn about the Indigenous peoples who have lived and thrived in the Southwest from prehistoric to current times. This three-part course includes an exciting overview of the land, culture and history of both the ancient peoples of the Southwest and the federally recognized tribes and pueblos who call Arizona and New Mexico home today.

To register, email Short Course Facilitator Susan Sherbocker at sjsherb11@gmail.com or go online at heardguildshop.com.

up-to-date list of speakers and meeting locations.

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VIRTUAL EVENTS To Register for a Virtual Event: Check your email for your Members-only link, or email us directly with the program title at members@heard.org.

MEMBERS-ONLY VIRTUAL ART TALK | IN CONVERSATION WITH REMEMBERING THE FUTURE ARTISTS NORA NARANJO MORSE AND ELIZA NARANJO MORSE

SMALL WONDERS MEMBERS-ONLY VIRTUAL ART TALK | IN THE STUDIO WITH KERI ATAUMBI AND TANIA LARSSON

THURSDAY, NOV. 4 | 12 NOON MST

Join us live and online for a Members-only Virtual Art Talk with Remembering the Future artists Nora Naranjo Morse (Santa Clara Pueblo) and Eliza Naranjo Morse (Santa Clara Pueblo), moderated by exhibition curator and Director of Research Dr. Ann Nora and Eliza Naranjo Morse Marshall. Nora Naranjo-Morse is a mixed-media artist and poet who is known for working in clay, organic matter and even recycled materials to create forms that pay homage to her long artistic lineage and at the same time embrace aspects of the contemporary world. Her daughter, Eliza Naranjo Morse, is a multidisciplinary artist who explores aspects of life’s journey through drawing and sculpture. Both have been exhibited internationally and featured in several Heard Museum exhibitions, including the 2009 exhibition Mothers & Daughters: Stories in Clay.

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Keri Ataumbi (Kiowa/Comanche, b. 1971). Ring, 2006,Amber, silver, 14K gold.

Heard Museum purchase, 4591-3

TUESDAY, NOV. 16 | 12 NOON MST

Join us live and online for a Members-only Virtual Art Talk and studio tour with jewelry designer Keri Ataumbi (Kiowa) and Tania Larsson (Gwich'in), moderated

by Chief Curator and Small Wonders cocurator Diana Pardue.

Ataumbi works in a mix of precious materials, such as Keri Ataumbi gemstones and diamonds, as well as found natural materials, and Larsson works primarily metal, beads and land-based materials. Exquisite examples of Ataumbi's work are currently on view in the Small Wonders exhibition.

VIRTUAL ART TALK | IN THE STUDIO WITH JAMES JOHNSON

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MEMBERS-ONLY VIRTUAL ART TALK | TOWARD THE MORNING SUN DISCUSSION WITH ARTIST VENANCIO ARAGON

WEDNESDAY, JAN. 12 | 12 NOON MST

Join us live and online for a Virtual Art Talk and studio tour with award-winning Tlingit artist and carver James Johnson moderated by Chief Curator Diana Pardue.

Johnson will give viewers a glimpse of his studio space and Tlingit formline design, James Johnson which was developed thousands of years ago and is the foundation for his artistic practice.

Johnson has demonstrated his work at several Heard Museum events, including Holidays at the Heard and Indian Fair & Market.

Artist Once Known (Diné), Ye'ii Bicheii Pictorial textile, 1920s. Handspun wool, commercial wool yarn, wool warp, natural wool color, aniline dyes, 71 x 87 inches. The Valette Collection at the Heard Museum, Gift of Jean-Paul and Rebecca Valette, 4930-15

WEDNESDAY, DECEMBER 1 | 12 NOON MST

Join us live and online for a Members-only Virtual Art Talk about Toward the Morning Sun: Navajo Pictorial Textiles from the Jean-Paul and Rebecca Valette Collection prior to the opening of the exhibition.

Moderated by exhibition co-curator and Assistant Curator Velma Kee Craig (Diné), the program will also feature a discussion Venancio Aragon with Venancio Aragon (Diné), a weaver who specializes in rare and uncommon techniques including various twills, two-faced, tufting and hybrids, and whose signature development is the Expanded Rainbow aesthetic.

MEMBERS-ONLY VIRTUAL ART TALK | THE MUSIC OF HOOP DANCE WITH RYON POLEQUAPTEWA AND KENNETH COZAD JR. NEW DATE! | WEDNESDAY, JAN. 26 12 NOON MST

Join us live online for a discussion about the music of hoop dance with Ryon Polequaptewa (Hopi) and Ken Cozad (Kiowa/ Comanche), moderated by Dan Hagerty, the museum’s director of strategic development and programs. Ryon Polequaptewa The panelists will discuss the long tradition of hoop dancing, explain the differences between Northern- and Southern-style drumming, and share their own personal experiences performing at the World Championship Hoop Dance Contest.

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The Heard’s First Fridays offer free admission for all and feature performances by and partnerships with some of your favorite local artists and cultural organizations. Our fall and winter lineup will celebrate original Heard Museum exhibitions and special partnerships.

OCT. 1 | 4 TO 8 P.M.

DEC. 3 | 4 TO 8 P.M.

FIRST FRIDAY: SCHOOL SPIRIT NIGHT

FIRST FRIDAY: HOLIDAY CHEER

Wear your favorite school jersey or shirt and show your spirit for your elementary school, high school, trade school or college. When you do, you will receive a free American Indian art poster or print. Enjoy the tunes of a local DJ.

The Heard is proud to partner with Phoenix Indian Center as they collect toys for American Indian families in the metropolitan area. We invite you to bring an unwrapped, packaged toy which will be donated to the Center’s annual Toy Drive. Bring the whole family and enjoy holiday tunes by a local DJ.

NOV. 5 | 4 TO 8 P.M. FIRST FRIDAY: EXHIBITION OPENING, TOWARD THE MORNING SUN

JAN. 7 | 4 TO 8 P.M.

Be among the first to see this new original exhibition showcasing a recent gift of textiles to the Heard Museum’s permanent collection.

Enjoy live music in the Piper Central Courtyard.

FIRST FRIDAY: WELCOME 2022

FREE ADMISSION FIRST FRIDAYS ARE MADE POSSIBLE THANKS TO GENEROUS SUPPORT FROM

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Ring in 2022 with a free visit to the Heard Museum and to celebrate our partners, the Boys & Girls Clubs of Greater Arizona! Artists and other partners to be confirmed.

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INDIGENOUS PEOPLES DAY CELEBRATION

James Johnson

Celebrate Indigenous art and culture at the Heard Museum. A visit to the museum is a perfect way to support American Indian artists, musicians, filmmakers, writers and chefs. Join us for this special day during which we honor the vitality, beauty and diversity of American Indian people.

Oct. 9 | Schedule of Events: ALL DAY:

1 TO 3 P.M.:

Tunes by: DJ This-Just-In, in the Central Courtyard

Featured Speaker Program: Indigenizing the Vessel: Tradition in Contemporary Self-Care Practice

Virtual Celebration hosted by Former Miss Navajo Nation 2017-2018, Crystal Littleben (Diné)

Radmilla Cody (Diné) Amber McCrary (Diné)

Xico Latino & Indigenous Arte Y Cultura will be sharing the printmaking process with custom bookmarks

Melody Lewis (Mojave/Tewa/Hopi) Tanaya Winder (Duckwater Shoshone/Southern Ute/Pyramid Lake Paiute/Diné/Black)

Crystal Littleben

11 A.M. TO 3 P.M.: Featured Artists in the Central Courtyard James Johnson (Tlingit) Selina Scott (Diné/Hispanic) Di’Orr Greenwood (Diné) La Morena Art: Lucinda Hinojos (Xicana/Pima/ Apache/Yaqui)

Radmilla Cody

INDIGENOUS PEOPLES DAY IS MADE POSSIBLE THANKS TO GENEROUS SUPPORT FROM

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go + do VETERANS DAY CELEBRATION & SUNSET TRIBUTE:

HONORING MILITARY FAMILIES

In 2012, the Heard Museum opened the nation’s first memorial to commemorate more than three centuries of American Indian military service. We invite you to join us as we honor the service and sacrifices given to our nation by American Indian veterans and all those who have served in the Armed Forces.

VETERANS DAY MEMBERS' LOUNGE All Members are invited to enjoy a special area with complimentary snacks and beverages. To gain access, show your membership card or check in with one of our Visitor Services associates.

THURSDAY, NOV. 11 | 1 TO 4 P.M. PRITZLAFF COURTYARD

Veterans plus one guest receive free museum admission all week, from Tuesday, Nov. 9 through Sunday, Nov. 14.

THURSDAY, NOV. 11 1 to 4 p.m.: Live music by the 108th Army Band & Veteran Artists in the Courtyard Live painting demonstration by Jim Covarrubias (Tarascan/Tewa), Army veteran and Arizona native 5 p.m.: 9th Annual Veterans Day Sunset Tribute Featured speakers and special guests: Senator Jamescita Peshlakai (Navajo), Speaker – Honoring Military Families Shirley Pino (Santa Ana Pueblo), Speaker – Family, Community and Military Service Hualapai Bird Singers Traditional Drum Color Guard: Ira H. Hayes American Legion Post 84 Featured presentations followed by presentation of commemorative medallions to all veterans in attendance Outdoor reception

Allan Houser (Haozous) (Chiricahua Apache, 1914-1994). Unconquered II, 1994.

Bronze, Artist’s Copy. On loan from the collection of Tia

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PRESENTING SPONSOR

GO + DO American Indian Veterans National Memorial. Photo: Heard Museum, Craig Smith

About the featured speakers: SENATOR JAMESCITA PESHLAKAI (NAVAJO)

SHIRLEY PINO (SANTA ANA PUEBLO)

As a young woman, Senator Peshlakai served in the U.S. Army and is a Persian Gulf War veteran.

A veterans’ advocate, she spearheaded an initiative to create an independent veterans’ affairs agency for the Navajo Nation and succeeded.

She was recently awarded the Copper Star Award by the Unified Arizona Veterans of Arizona for her advocacy. She is currently serving her second term in the Arizona Senate as the state’s first Native American woman senator, representing Legislative District 7.

Shirley Pino is a retired veteran and highly regarded speaker and mentor whose community service includes organizing community events for elders and youth. Her biggest inspiration comes from her late mother, Felicita Pino, wellknown for her talent in designing, sewing and embroidering many different types of contemporary and traditional attire. Shirley credits all of her teachings to her late mother, as she taught her the precise, intricate and loving ways to continue sewing with machine and hand needlework.

The Heard Museum extends its deepest gratitude to our long-term funding partner and Presenting Sponsor, TriWest Healthcare Alliance, for their generous support of the American Indian Veterans National Memorial and annual programming.

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A Phoenix tradition, Holidays at the Heard is a must-see event for your family, friends and out-of-town guests. Special programming is scheduled on weekends starting the Friday after Thanksgiving and running through Friday, December 31.

All Members are invited to enjoy a special area with complimentary snacks and beverages on select dates (see below). To gain access, show your membership card or check in with one of our Visitor Services associates.

DEC. 11 | DEC. 18 | DEC. 28 DEC. 29 | DEC. 30 | DEC. 31 10 A.M. TO 2 P.M. | PRITZLAFF COURTYARD

FRIDAY, NOV. 26 TO SUNDAY, NOV. 28

SATURDAY, DEC. 4 & SUNDAY, DEC. 5

11 A.M. TO 3 P.M.: GUITAR AND FLUTE WITH AARON WHITE (NORTHERN UTE/DINÉ)

11 A.M. TO 3 P.M.: TRADITIONAL FLUTE AND ENTERTAINMENT WITH LANE JENSEN (NAVAJO/MARICOPA)

An award-winning artist/singer/songwriter, Grammy-nominated musician Aaron White has been entertaining audiences for over 25 years. His work is a unique blend of Native American flute, acoustic guitar and world music.

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Lane Jensen is devoted to preserving his cultural values and his grandfather’s teachings. With this vision he strives to inform and educate the public about American Indian culture through music, dance and demonstrations.

11 A.M. TO 3 P.M.: SAGE CORNELIUS (DINÉ/ ONEIDA/POTAWATOMI/KICKAPOO)

Hailing from Topeka, Kansas, Sage Cornelius effortlessly puts a unique spin on violin with ease and flair. His playing style pays tribute to his years spent playing in symphonic orchestras as well as his roots as a bluegrass fiddle player. Whether it be in a chamber orchestra, busking solo on the street, or touring with head-banging hard-rock acts that perform on stages around the world, this proud Topekan Sage demonstrates his skill to provide a diverse, one-of-a-kind lively performance.

SATURDAY, DEC. 18 & SUNDAY, DEC. 19 11 A.M. TO 3 P.M.: SAGE BOND (SAN CARLOS APACHE/DINÉ)

Music is creative healing for acoustic rock metal artist Sage Bond.

Come out and listen to her unique sound with her mesmerizing voice singing favorite covers and original compositions.

Live Music & Dance Performances Dec. 28 to 31

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SATURDAY, DEC. 11 & SUNDAY, DEC. 12

TUESDAY, DEC. 28 11 a.m. & 2 p.m.: Dance performances by Moontee Sinquah (Hopi/Choctaw) and Family 11 a.m. to 3 p.m.: Tewakeedah and Dachuneeh Martin, who perform as The Martin Sisters, are a teenage duo from Farmington, New Mexico.

They cross modern themes and traditional music to inspire Diné youth interested in the style of songs that have been sung on the Navajo Nation for many years.

WEDNESDAY, DEC. 29 11 a.m. & 2 p.m.: Dance performances by five-time World Champion Hoop Dancer Tony Duncan and Family 11 a.m. to 3 p.m.: Flute and guitar with Randy Kemp (Choctaw/Muscogee Creek/Euchee )

THURSDAY, DEC. 30 11 a.m. & 2 p.m.: Dance performances by the Yellowhouse Dancers 11 a.m. to 3 p.m.: Live musical performances to be announced

FRIDAY, DEC. 31 11 a.m. & 2 p.m.: Dance performances by Dineh Tah Navajo Dancers 11 a.m. to 3 p.m.: Live musical performances to be announced

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library

The Billie Jane Baguley Library and Archives

BY ANN E. MARSHALL | DIRECTOR OF RESEARCH

When the Heard Museum opened in 1929, it had a library. Floor plans show it located with the museum office in the first room to the left upon entering the museum. No information exists on the size of the library’s book collection, but on Oct. 1, 1937, opening day for the Heard’s ninth season, two very similar newspaper articles were published in The Arizona Republic and The Phoenix Gazette, probably taken from a museum press release, with the Gazette’s headline reading “Many Books Added by Heard Museum.”

Although no specific quantity was mentioned, the article said that the library contained “several hundred reference books on archaeology and kindred subjects.”

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More than 20 years later, Curator Tom Cain reported to the Board of Trustees on June 20, 1958, that the library had been moved from the “old location” to office rooms on the second floor. How did that happen? The same way that so many projects at that time occurred: through the efforts of the Heard Museum Guild. According to Cain’s report to the Board, “Several women of the auxiliary graciously assisted in the hot and heavy chore.”

In 1962, for the first time, the museum’s library received the attentions of a professional librarian: Carol Ruppé, a research librarian at Arizona State University. The university allowed her to work half a day each week with the Heard library and its four Guild volunteers

LIBRARY Interior of the Heard Museum Library circa 1960. Researcher seated at marble-topped card catalog which also served as a library table. RC76(L52):51.1

as a community service. Ruppé’s work with the library continued through another move for the library into what was known as the Murdoch expansion, which added several structures to the north side of the museum.

Once again, the library was in an office area, available to researchers but primarily for use by museum staff.

That all changed in 1979, when Dr. Robert I. Schattner initially placed on loan, and then in 1987 donated, more than 30,000 volumes he had purchased from the Prescott College Library as a result of the college’s 1974 bankruptcy. A Jan. 14, 1987, press release from the Heard celebrating Dr. Schattner’s gift described some of the more important collections it contained.

Especially important was the Donald Scott library.

Scott was a former director of the Peabody Museum of Anthropology at Harvard University, and his library included 2,000 volumes with Southwest regional emphasis. Also included was the Paul Sears Pamphlet Collection of rare pamphlets, papers and ephemera concerning anthropology and natural history and some of the Prescott College Library’s Special Collection that included “classic works on anthropology.” It is difficult

to overestimate the importance of this gift. The Heard Museum now had a library that was an incredibly valuable resource for scholars and required the skills of a full-time librarian. Mary Graham was hired in 1979 to be the Heard’s first professional librarian. She remained the librarian until 1987. Upon her leaving, our present library and archives director, Mario Nick Klimiades, joined the staff.

Graham and Ruppé collaborated on a project that focused on collecting ephemera, which Graham characterized as “things that are elusive.” This was the beginning of what Klimiades has called a cornerstone of the Billie Jane Baguley Library and Archives, the Native American Artists Resource Collection. Building the collection, Graham and Ruppé covered an estimated 8,000 miles on road trips to artists’ homes across Arizona and New Mexico. One of Graham’s favorite stories involved visiting a friend of Ruppé’s at Laguna Pueblo, where they were met by two “gigantic guard geese” who kept them in their car until the owner called them off. In 1985 they published The Native American Indian Artists Directory, which was just the beginning.

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Phoenix Indian School band was raising funds for travel projects. Perfect! Graham planned meticulously, had special carrying racks built for the books, and set aside two days for the move. The students were finished by lunchtime on the first day.

Throughout the library’s history, it has been Heard Museum Guild volunteers who provided the hours of trained, knowledgeable work needed to process and record new materials, maximizing the library’s potential.

By 1985, library committees were growing to include the Library and Archives Committee, the Slide and Photograph Committee, and the Native American Resource Collection Committee. Graham began joining organizations such as the Art Libraries Society of North America, which brought the Heard to the attention of a wider audience.

As part of the 1984 move of the library and archives, members of the Phoenix Indian School Band placed books in their correct order on the new library’s shelving.

With the Schattner gift, the growing library once again needed to be relocated. A brief stay in the then-auditorium led to cracking of some of the ceiling slabs in the main collections storage area, so what is now the Sandra Day O’Connor Gallery became the library’s home until the 19831984 construction provided a much larger, dedicated space for the library, adjoining the administrative offices on the second floor. To move the library into the new secondfloor space, Graham needed movers who were young, full of energy, accustomed to working together, and most of all would take great care of the works they were moving. Fortunately, the

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In 1997, Guild volunteer Cookie Tarkoff convinced Klimiades that the Guild could create a book sale that would bring in needed funds to purchase books and place the museum’s catalog online. It didn’t happen overnight, but sale after sale, all very successful, raised funds that were supplemented in 2002 by a $68,000 grant from the Institute of Museum and Library Services through the Arizona State Library, Archives and Public Records agency. The records were given to

Phoenix Indian School Band members used specially constructed book holders designed by Librarian Mary Graham to carry books up the stairs to the new second floor library.

LIBRARY These pages from are from Kay WalkingStick’s 1993 artist’s book, Talking Leaves. The book includes self-portraits at various stages of the artist’s life with commentary.

the nonprofit group Online Computer Library Center for processing. Today, through the umbrella of the Phoenix Public Library, researchers can go online and search the holdings of the museum.

With the 2004 building expansion, the library and archives grew to cover all of the area formerly occupied by offices. An archival vault was constructed, and much-needed compact shelving was added. A visit to the Heard Museum website under the Education tab reveals a staggering number of resources available to researchers who visit in person or online. The Native American Archives collection includes archives from leading artists

such as Ramona Sakiestewa and Kay WalkingStick and organization archives such as the Native American Art Studies Association and Atlatl, Inc. The photo archives include more than 300,000 historical and contemporary photographs. The Native American Artists Resource Collection has grown to more than 28,000 names, and the Digital Library includes a Masterworks tab that links library records to artworks in the Heard’s collection.

Today, the Billie Jane Baguley Library and Archives is an international resource for scholars who visit in person and online, while still serving as the community resource that it set out to be in 1929. This has been accomplished through informed guidance and vision of a few professional librarians, leading and inspiring hundreds of volunteers who were prepared to tackle huge projects year after year to achieve the impressive standing that the library enjoys today.

Shoppers at the Library and Archives Booksale begun in 1997.

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library BILLIE JANE BECKER BAGULEY, 1919-2012

BY ANN E. MARSHALL | DIRECTOR OF RESEARCH Billie Jane Becker Baguley, for whom the Heard Museum’s Library and Archives is named, led a long life centered on learning, teaching and giving. She also had a wonderful sense of humor. When a reporter for The Arizona Republic approached 83-year-old Billie Jane for an interview, she was in the library trimming book pages with a pocketknife. As Angela Pancrazio, the reporter, approached, Billie Jane said, “Even though I have a knife in my hand, I’m not vicious.” Vintage Billie Jane. By the time of that interview in 2003, she had logged 11,000 volunteer hours in tasks that grew in importance as the library grew.

Billie Jane was born in Fresno, Calif., in 1919. Her father’s work as an engineer took the family to construction camps in the Sierra Nevada mountains. In 1922, William Becker moved the family to Phoenix, where he became a partner in the Phoenix Blue Print Company. Billie Jane attended Kenilworth Elementary School. She had childhood memories of the Heard Museum that included ringing a bell in order to be admitted through the gates by a caretaker. Other memories included attending with her mother an annual tea party and piano concert at the Heard and a 1930s program by Helen Keller.

A 1937 graduate of Phoenix Union High School, she continued her education at Phoenix College, where she began charting her course as a teacher. Her bachelor’s and master’s degrees in education were both earned at Arizona State Teacher’s College (now Arizona State University), from which she graduated in 1943.

Following graduation, she taught at Tempe Union High School and Casa Grande High School.

During her studies, a summer program at the University of Nottingham in England left an impression on her that led her to return to Nottingham for further study and teaching in 1948. She returned briefly to Phoenix in 1955 upon her father’s death to run and sell the family business, which became Thomas Reprographics. Her

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Billie Jane Baguley and former Heard Museum Director Frank H. Goodyear listen as Library and Archives Director Mario Nick Klimiades announces the dedication of the library and archives in Baguley’s name, making it officially The Billie Jane Baguley Library and Archives. The event was celebrated with a ribbon cutting ceremony.

father had hoped she would continue the business, but Billie Jane was still enjoying her life in England. She returned to Nottingham and teaching at Bradgate School for Girls. In Nottingham she met wine merchant Peter Baguley, whom she married in 1957.

Upon Peter’s retirement in 1975, the couple returned to Phoenix, and by 1978 both were volunteering at the Heard Museum, Peter as a guide and Billie Jane in the library. She chaired various committees which ensured that a growing cadre of volunteers was trained in the various collections of the library. In the late 1980s, she began a library fund in her parents’ names for the purchase of books, contributing $100 a month. That was just the beginning of her giving.

Her impressive donations of time and money led to the Heard’s 2000 dedication of the library and archives in her name: the Billie Jane Baguley Library and Archives.

That 2003 Arizona Republic newspaper interview by Angela Pancrazio quoted Library and Archives Director

Billie Jane’s impressive gifts to the Heard were not confined to the library and archives. She also donated artworks to the museum’s collection, including some California baskets that had been in the family and may well have been acquired during her father’s work in the Sierra Nevadas. One gift of a sterling silver butterfly pin made by the Navajo Guild is on display in the Small

Wonders exhibition. She was honored by the Phoenix Museum of History with the Spirit of Philanthropy Award in 2001, and in 2002 she was named a Phoenix College History Maker and inducted into their Hall of Fame. Other organizations also received support from Billie Jane, including the Desert Botanical Garden, the Pioneer Museum, the Camp Fire Association and the Arizona 4H Youth Foundation. Her ties to many deserving organizations are reminiscent of the Heard Museum’s founder, Maie Bartlett Heard. That little girl who came to tea with her mother at the Heard Museum grew up to be someone that Mrs. Heard would have understood and appreciated for her love of her community and the Heard Museum.

LIBRARY

Mario Nick Klimiades, who recognized Billie Jane’s impressive monetary donations, but said, “It’s how much she gives of herself in terms of the time and quality of her work that is in my mind what really matters.” At 83 years of age, Billie Jane said, “I am capable of doing something, of being interested in other people and not concentrating on myself.”

VOLUNTEERS IN THE BILLIE JANE BAGULEY LIBRARY AND ARCHIVES

BY DEE DOWERS | GUILD SECRETARY Working with just one permanent staff member, director Mario Nick Klimiades, the Billie Jane Baguley Library and Archives relies on Heard Museum Guild volunteers, who play a vital role in maintaining this renowned research facility. There are generally about 20 volunteers working on an enormous variety of tasks. Due to safety measures during the coronavirus pandemic, this has been reduced to a core volunteer staff of about 10.

It is safe to say that the Library and Archives would not exist in the same form today without the many years of dedicated support from Guild volunteers, starting with Carol Ruppé in the 1960s, and later Billie Jane Baguley, in whose honor the library is now named.

There is something for everyone in the Library and Archives, whether a researcher, staff member, Guild member or volunteer. If it’s books, volunteers order, catalog and shelve them; if it’s periodicals, volunteers review subscriptions, place orders and catch up with missing copies; and if it’s archives, volunteers process and handle valuable documents, photographs and everything else from vintage postcards to contemporary ephemera.

Unique to the Billie Jane Baguley Library and Archives is the Native American Artists Resource Collection (NAARC). This collection contains information on almost 30,000 Native artists working in all media and is accessible both online and in the museum, with items housed in special filing cabinets that are readily available for researchers. This valuable resource would not exist without Guild volunteers who perform a variety of tasks to keep the information updated: reviewing magazine clippings, gallery cards and other ephemera; checking the artist’s name against our database; reviewing lists of prize winners at American Indian art shows around the country; and entering all the data into the artist’s online file and placing the documentation into their physical file.

Guild volunteers who work in the Library and Archives come from many different careers and backgrounds, but they all have one thing in common: a dedication to the library and the spirit of the Heard Museum.

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library

The Heard Library and Archives: An Incredible Resource

BY DIANA F. PARDUE | CHIEF CURATOR

When I begin research for any Heard Museum exhibition or publication, the first place I go to is the Heard’s Billie Jane Baguley Library and Archives. Depending on the nature of the project, my first stop might be the Native American Artists Resource Collection, which we more informally call the “Artist Files.” Each of these more than 28,000 folders holds myriad pages that might include gallery announcements, copies of newspaper articles, artists’ business cards and, if one is really lucky, a copy of an interview with the artist.

In 2007 I had the opportunity to curate two jewelry exhibitions; one opened in February, on Valentine’s Day, and the other opened later in the fall. Both were accompanied by publications. The first exhibition was a retrospective for jewelers Yazzie Johnson and Gail Bird.

A few years before the exhibition opened, and before my meetings with Yazzie and Gail, I began with the Heard’s Artist Files. Because Yazzie and Gail had been working since the early 1970s and had received recognition for their great works for a number of years, their Artist File was filled with copies of newspaper articles that included interviews with them and quotes from them as well as a range of gallery announcements with photos of their jewelry from different years. Yazzie and Gail have maintained meticulous records of the jewelry they have made through the decades. They were integral to the development of both the exhibition and the publication,

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and it was possible for them not only to contribute information, but also to review everything that was written. In recent years, Richard Chavez agreed to an exhibition and publication at the Heard. Again, the Artist Files became the research starting point. Chavez also maintained meticulous records of the jewelry he had made and he was willing to review all details for the exhibition and book.

Around this same time, I had an opportunity to work on another book, titled Contemporary Southwestern Jewelry. One suggestion I made to the publisher, Gibbs Smith, was that we include a chapter in the book that featured emerging artists. That topic would also frame the fall exhibition, which we titled Young Jewelers. The first chapter of the book discusses some of the jewelers, such as Charles Loloma, who had a major impact on contemporary American Indian jewelry. Several areas of the Heard library proved to be great resources once more. In the archives, there are scrapbooks that were put together by the Heard Museum Guild historians.

In one of the scrapbooks, I found a newspaper clipping with a photo of young Charles Loloma announcing that he would be attending the first Heard Fair in 1959 and he would have pottery. This was around the time period that Loloma began exploring jewelry design and fabrication, and ironically the photo shows him holding a tufa stone used for casting jewelry.

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Because there was an archive of photographs that Craig Smith had taken for the collection and for the Heard Shop, and because he was available to take more photos as needed, it was possible to gather photos of a range of contemporary jewelry works. I decided to organize the book as a discussion of jewelry techniques, but I wanted to include biographical information for as many artists as possible. Fortunately, the Guild played an important role in this process, too. Artists applying for admission to the Heard Museum Guild Indian Fair & Market have completed application forms, and many of the forms are held in the individual Artist Files. In some years, the forms were designed with additional questions about birth year and birthplace as well as a question asking how the artist learned their craft.

These answers were helpful in drafting some interesting but brief biographical information for each jeweler.

Whenever possible, I sent the individual bios to each artist to review, and with their responses I could correct any previous misinformation. In some instances, they provided clarification on their birthplace or specific details about the process of developing their work.

For some topics, the first stop has been the vast selection of books in the Heard Library. I am often amazed when the Library contains a rare volume or pamphlet, and seldom do I have to go to another library to find a particular publication. When Norman Sandfield and I

began working on the book Native American Bolo Ties: Vintage and Contemporary Artistry, we found only one book about bolo ties. Norman began online research using newspapers.com and other sources, and in the process he gathered data that he later provided to the Library. Similarly, when Norman and I began research about artist Awa Tsireh, we first went to the Artist Files and next to Jeanne Snodgrass King’s book American Indian Painters: A Biographical Directory. King’s 1968 book lists museums that had paintings by Awa Tsireh in their collections. We needed to determine which museums had also collected his silverwork. I began emailing the various museums to determine their holdings—both paintings and silverwork—and Norman undertook his extensive online research. Our research led us to visit other archives in New Mexico, Texas, Washington, D.C., and Delaware, but our first efforts started at the Heard.

These are just a few examples of how the Heard Library and Archives has served as an incredible resource. Heard exhibitions and publications have been enriched by the vast resources that are literally at our fingertips.

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collection

Researching Artists Online in the Time of the Pandemic

BY MARIO NICK KLIMIADES | LIBRARY AND ARCHIVES DIRECTOR

The Heard Museum Billie Jane Baguley Library and Archives experienced a significant impact from the COVID-19 pandemic. Access to the Library and Archives resources, along with hours of operation, were reduced, and researchers were required to make appointments. The Library and Archives staff shrunk to one-fourth its previous size.

Even with this unprecedented challenge, the most important Library and Archives resource, the Native American Artists Resource Collection Online, was unaffected, and in fact it even flourished during this historic time. Accessing NAARCO, which identifies and documents the artistic achievements of thousands of American Indian artists, didn’t require gloves, social distancing or masks. Researchers could access this information from any computer or personal device anywhere in the world.

NAARCO, an outgrowth of the library’s physical Native American Artist Files, is nearly 40 years in the making and has as its mission to document the great artistic achievements of artists of American Indian heritage worldwide. The Heard’s original Native American Artist Files were created in the early 1980s by former Librarian Mary Graham. With funding from the Heard Museum Guild, the documentation was migrated online to the robust Argus database created by Lucidea for the 21st century. NAARCO debuted to the world in fall 2016, making available for the first time resources which previously were only accessible by physically consulting the artist files on-site. For the first time, the most oftenasked Library question, “Do you have information on XYZ artist?” could now be answered efficiently.

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NAARCO provides internet access to the world’s largest database of American Indian artists. It contains the names of nearly 28,000 artists along with selected biographical information. At present, the database serves as an index to all the artists found in the Native American Artists Resource Collection. Each entry provides the following basic information: the name of the artist, any alternative names, the gender and heritage of the artist, and the specialties and mediums for which the artist is known. The database does not provide all the content that can be found on an artist in his or her physical file, but it will provide basic biographical information online. For new artists added to the database during the past five years, NAARCO provides far more information online than can be found in the physical file. An added benefit to the online artist files is the capability to provide quick access to evaluated resources on the internet about an artist.

Also, in cooperation with the artist, the database may include enhanced digital content including portraits, a curriculum vitae and artist statements.

Artists who are affiliated with the Heard Museum through exhibitions or programs have more substantial information online. A researcher may also find life dates; the artist’s place of birth; external remarks that reference data about the artist in other Heard Museum collections; a list of the exhibitions, Heard Museum markets, and other Indian fairs and markets in which the artist has participated; awards that the artist has earned; citations to publications about and by the artist; and digital resources that the artist may have provided.

New Acquisition:

COLLECTION

Mario Martinez

BY ERIN JOYCE | FINE ARTS CURATOR

In the spring of 2021, the Heard Museum was fortunate to add another contemporary work to the permanent collection. Lone Blueish NYC Revelry is a 2019 acrylic on canvas by the Pascua Yaqui artist Mario Martinez. Martinez was born in the Penjamo village, a Yaqui settlement in South Scottsdale, Ariz., in 1953. He attended Arizona State University and the San Francisco Art Institute, where he earned his bachelor of fine arts and master of fine arts degrees, respectively.

Martinez’s work is part of a continuum of his Yaqui culture and heritage but is not derivative of it. Indigenous art and visual culture has a long history of abstraction, which Martinez embraces.

He eschews figural work that is the byproduct of European colonization and fetishization of Indigenous peoples and is saturated with fixed readings of Indigeneity and harmful tropes such as the “noble savage.” Instead, he thrusts his work into non-formal abstraction referencing Yaqui histories, all the Mario Martinez (Pascua Yaqui, b. 1953). Lone Blueish NYC Revelry, 2019. Acrylic on Canvas, 24 x 20.

Acquisition made possible in part by Frank and Betsy Goodyear. while creating a conversation between Indigenous visual practices and artists like Willem de you on the streets of New York, where Martinez lives Kooning and Lee Krasner. and works. The shapes morph into skyscrapers soaring above the viewer while at the same time rejecting any In Lone Blueish NYC Revelry, we see a work filled with a formalism, with amorphous shapes floating in a flattened quiet tension. There is a soft focus to the work, an almost painted plane. blurred, dream-like image, which is jolted with hints of bright blue and visible brushwork—reminding you that, As with any new acquisition to the permanent collection, indeed, this is a painting. The work is intimate in scale we look forward to exhibiting this work, which was at 24 by 20 inches, yet it has an enveloping presence. The purchased in part through the generosity of Frank and ways in which Martinez pushes the paint on and into the Betsy Goodyear. Lone Blueish NYC Revelry is truly a canvas suggest buildings and abstracted forms, placing stellar addition to the holdings of the Heard Museum.

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shop GOTTA HAVE IT!

"REMEMBERING THE KISS" BRONZE SCULPTURE

by Roxanne Swentzell (Santa Clara Pueblo), 14/25, $4,500

LIGHTNING GOURD

by Janet Travis (Maricopa), $900

"CHIEF LITTLE TURTLE" BRONZE SCULPTURE

by Doug Hyde (Nez Perce/Assiniboine/ Chippewa), 5/10, $12,000

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GO SHOP + DO POTTERY BOWL

by Debbie Clashin (Hopi), $3,000

LEDGER PAINTING

by Monte Yellowbird (Arikara/Hidatsa), $1,500

NEW HEARD MUSEUM MERCHANDISE

Heard Museum logo hat, $34 lapel pin, $12 17 oz. water bottle, $16.95 T-shirt, $19.95

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shop

DECORATE YOUR HOLIDAYS: ORNAMENT MARKETPLACE 2021

BY MEGAN RICHMOND | HEARD MUSEUM SHOP Let your home for the holidays reflect your one-of-a-kind style!

Decorate your home this holiday season with handmade American Indian ornaments from the Heard Museum Shop’s annual Ornament Marketplace, Nov. 26-28. You’ll find unique ornaments in a variety of styles and mediums for each person on your holiday list or branch on your tree.

This year’s featured artist, Jessica Tracey (Navajo), has designed a limited-edition signature ornament: a sterlingsilver feather with geometric stamping. She has made 40 of them, and each is signed and numbered. In addition to brightening your tree, this lovely decoration also can be worn as a pendant.

The signature ornament will go on sale at 10 a.m. on the first day of Ornament Marketplace, Friday, Nov. 26, for $195 each. (Signature ornaments are available on a first-come, firstserved basis and cannot be placed on hold prior to the event.)

Ornament Marketplace also will feature many other one-of-a-kind ornaments handmade

by American Indian artists. Here are some of the guest artists who will be appearing instore, selling their ornaments throughout the weekend:

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Peter Ray James (Navajo) Buddy Tubinaghtewa (Hopi) Berna and Anderson Koinva (Hopi) Michelle Tapia-Browning (Santa Clara Pueblo) Larry Melendez (Hopi) Ronald Chee (Navajo) Dakota Chee (Navajo)

These artists were confirmed at press time; more artists will be added to the list! Check online for updates: heard.org/event/ ornament-marketplace All ornaments will be available while supplies last, so visit us early for the best selection. Because of the handmade nature of these items, there will be slight color and style variations among the ornaments.

The Heard Museum Shop has a variety of unique gifts for all your holiday shopping needs. Plenty of free parking makes for easy and hassle-free holiday shopping.

ORNAMENT MARKETPLACE 2021 Friday to Sunday, Nov. 26 to 28 10 a.m. to 4 p.m.

Heard Museum Shop Variety of holiday ornaments starting at $20, plus limited-edition signature ornament by Jessica Tracey (Navajo)

SHOP | DINE

CAFÉ TO REOPEN IN OCTOBER

The Courtyard Café is scheduled to reopen for full-service dining in October* and will introduce a new Fall Menu!

It has been a hot and surprisingly rainy summer at the Heard Museum. Visitors and Members have continued to view our exhibitions, visit our shops, and experience everything the museum has to offer, but everyone knows that something has been missing: the Courtyard Café. With only outdoor patio seating available, we had made the hard decision to close the Café for the summer.

With fall quickly approaching and temperatures cooling down, things are beginning to heat up once again in the Courtyard Café kitchen. Irene and Michele are back and ready to put a fresh spin on old favorites such as the Oven Roasted Turkey and Crispy Shrimp Bánh Mì sandwiches, farmfresh salads, and our famous Southwestern specialties. The new menu will continue to focus on only the freshest locally sourced seasonal ingredients that are prepared daily.

We look forward to seeing and serving you again soon!

*Please refer to the Heard Museum website for the Courtyard Cafe's re-opening date in October. Outdoor and limited indoor seating will be available.

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give Thank You For Your Support!

The Heard Museum would not be able to advance its mission without the generosity of our members and supporters. Each year, we recognize YOU—our loyal donors—who have made thoughtful gifts to benefit the Heard and the communities we serve. Here is a list of those who made special contributions between Jan. 1, 2020, and Dec. 31, 2020. If you have any questions or corrections, please contact Jack Schwimmer at jschwimmer@heard.org or 602.251.0245.

$1,000,000+

$25,000 – $49,999

Sharron Lewis

Anonymous Arizona Community Foundation

$250,000 – $999,999

Aroha Philanthropies

Andrew W. Mellon Foundation

Hope L. and John L. Furth

Julie Dalrymple

Indian Arts and Crafts Association

Susan Diamond

Carol Ann and Harvey Mackay

Lilly Endowment Inc.

Mary Ellen and Bob McKee

Nina Mason Pulliam Charitable Trust

Janet and John Melamed

Virginia G. Piper Charitable Trust

The Moreno Family Foundation National Endowment for the Humanities

$100,000 – $249,999 Anonymous Henry Luce Foundation, Inc. Drs. Kathleen L. and William G. Howard The Leon Polk Smith Foundation Arlene and Jack Nygren

$50,000 – $99,999 Anonymous Arizona Commission on the Arts Arizona Public Service Sybilla and Alexandre Balkanski Bank of America Basha Adelante Foundation Carl and Marilynn Thoma Art Foundation Don Nierling Memorial Foundation Mrs. Dennis Lyon Phoenix Office of Arts and Culture Jo and David Van Denburgh Elizabeth Van Denburgh Virginia M. Ullman Foundation

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Kristine and Leland W. Peterson Jill and Wick Pilcher Merle and Steve Rosskam SRP Terra Foundation for American Art Vanguard

$10,000 – $24,999 Karen and Don Abraham Bobbie Aidem Arizona Cardinals Charities Milena and Tony Astorga Arlene and Giora Ben-Horin Joy and Howard Berlin Mary and Mark Bonsall Bob Bulla Ann and Richard Carr Lili Chester Julie and Wes Clelland Adrian and Carla Cohen Dr. Craig and Sharon Cohen Beth and Dino DeConcini

Char and Sid Clark

Cerelle Bolon

Sue Fletcher

Carol Cohen

Sue Bunch

Flinn Foundation

The Dickey Family

Jo Ann and Ronald Davis

Marianne and David Gates

DLR Group

Erika and Russ Dickey

Gila River Indian Community Betsy and Frank Goodyear

Judy Dworkin and David Pijawka

Drs. Terri G. Edersheim and B. Robert Meyer

Kathleen and John Graham

Stan and Judy Getch

Ardie and Steve Evans

Mary Hamilton

Pam Grant and Dan Cracchiolo

Globe Foundation

Martha Head

Dr. Meryl and Jean Haber

Angela and Jeffrey Glosser

The Head Family

Lila Harnett

Daniel Hidding

Judy Hewson

Tom and Ruth Ann Hornaday

Lynn Hoffman

Patience and Jim Huntwork

Cindy and Joel Hoxie

Jane and Mal Jozoff

Shari and Bob Levitan

Mary and Dr. Tom Hudak

Helen Kersting

Drs. Marigold Linton and Robert Barnhill

Ricki Dee and John Jennings

Bonnie Kraft Jeanette and Robert Latta

Kristen and George Lund

Ann Kaplan and Robert Fippinger

Jean and Jim Meenaghan

Helen and Dan Lindsay

Joseph S. and Mary Trigg Lentz Fund

Elaine and Scott Montgomery

Colleen and John Lomax

Sam and Judy Linhart

Sue and Jim Navran

Miriam and Mark Mertel

Ann and Fred Lynn

Rose and Harry Papp

Jane Sidney Oliver and Catherine Meschter

Audrey and Clint Magnussen Jane and Steve Marmon

Meyerson Family Foundation

Deirdre and Jim Mercurio

Phoenix Children’s Hospital

Don Miles

Sandy Raffealli

Carolyn and Dick Morgan

Weezie and David Reese

Dionne and Francis Najafi

Lois and John Rogers

Priscilla and Michael Nicholas

Samuel J. Parker PetSmart, Inc. RIESTER Robert Lehman Foundation Salt River Pima-Maricopa Indian Community Norman L. Sandfield

Sanderson Ford

Safeway, Inc.

Carol and Randy Schilling

Judy and Bill Schubert

Jennifer and Charles Sands

Margo Simons

Susie and Dick Silverman

Carol and Kenneth Seidberg

Pam Slomski

Dorothea and Don Smith

Dana and Kevin Smith

Ellen and John Stiteler

TriWest Healthcare Alliance

Snell & Wilmer LLP

Carolyn and John Stuart

Twin Arrows Navajo Casino Resort

Sue Snyder

Amy Thurston Christy Vezolles and Gil Waldman

Trudy and Steven Wiesenberger David Wilshin

Sheri Young

$2,500 – $4,999 $5,000 – $9,999

GIVE

Dr. Scholl Foundation

The Summers Family Karen Truax Waddell Gallery Daryl and Chip Weil Barry Westgate

Applied Materials Foundation

Deborah and Patrick Allender

Patricia and Frank AtLee

Ameriprise Financial

Audacy, Inc.

Julia and Jett Anderson

Christine and John Augustine

Robert Blashek

Shirley Avery

Oonagh and John Boppart

Neil Berman

Lisa and Greg Boyce

Allison and Robert Bertrand

FALL 2021

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give $1,000 – $2,499 George Abrams

Flo and Paul Eckstein

Catherine and Michael Murray

Dr. Hilda Allred and Roy Ageloff

Linda and Martin Ellison

John Ninomiya

Caralee Allsworth

Joseph Farina and Joelle Haspil

Melanie and Joseph Nordsieck

Janet and Benny Alon

Lynne Fenderson

Judy and Don Opatrny

Mary Dewane and Joseph Anderson

Peter Fine and Rebecca Ailes-Fine

Jody Pelusi

De Bachmann

Diane Gabriel

Valerie and Paul Piazza

Linda and Jim Ballinger

Dyan and George Getz

Ann and Brian Balusek

Nancy and Andrew Gordon

Pamela Ploetz and John Henderson

Jane and Jason Barlow

Katie and Fred Gullette

Linda and J. Michael Powers

Ambassador Barbara M. Barrett and Dr. Craig Barrett

Carolyn and James Halladay

Jane Przeslica and Jeff Briggs

Amanda and Frances Hammond

M.J. Pulliam

Eleanore Beals

Ashley J. Harder

Liz Raspolic

Kay and Lou Benedict

Jane Harker-Gersten

Zach Rawling

Joan and Charles Berry

Marilyn Harris

Judith and Bob Rothschild

Jim Bialac

Margaret and Carl Hedlund

Regina and Peter Bidstrup

Lynda Helmstadter-Barber

The Honorable Matt Salmon and Nancy Salmon

Sandra and Charles Bonstelle

Hensley Beverage Company

Marlene Scholsohn

Janet and Richard Bottarini

Terry Herbert

Susan and Ford Schumann

Pamela Briggs

Susan and John Horseman

Diane Seder and Bruce Rosen

Myra and Norm Brody

Mimi Horwitz

Mary and Stanley Seidler

Steve and Alison Carter

Judy Johnson

Nancy and Bruce Shaw

Cascade Foundation

Bob Jones

Mary Jo and Ted Shen

Patricia and John Case

Ann Julin

B.J. Shortridge

Caterpillar Foundation

Emily Kahn

Barbara Slater

Susan and Appy Chandler

Ellen and Howard Katz

Susannah and Leslie H. Small

Katherin and David Chase

Jeanette and Bernard Kirk

Corinne and Art Smith

Tara and John Coggins

Rich and Sally Lehmann

Joyce and James Smith

W. David Connell and Becky Sawyer

The Lester Family

Anna Sokolova and Michael Hawksworth

Norma Jean Coulter Jerry Cowdrey Drs. Michael Crow and Sybil Francis Leslie and Jack Dashew Victoria Dibner Fran and Paul Dickman Joyce Ditzler Judith Dobbs

Jennifer Loewenstein LaDonna Loitz and William Chuchro

Traci and James Swanson Beverly Terry Thunderbirds Charities

Fran and Biff MacCollum

Ginger Sykes Torres and Javier Torres

Shelia and Paul Mackasek Vance and Nancy Marshall Beth and Bob Matthews Georgette and Michael McConnell

Dee Dowers

Joan and Joseph McDonnell

Edra Drake

Paul Meginnis

Carmen and Michael Duffek

Trudi and Robert Murch

EARTHSONG

Jean and James Stengel

Marcia and Jim Lowman

Marilyn and Cliff Douglas

Diane and John Eckstein

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Virginia Lincoln

Francie and Mark Paper

Judith and Elise Travers Genie Trotter and Jack Watson John Ward Dr. Paul L. Weiden and Beverly Linkletter Joy and Dan Wilhelm Megan and Charles Wosaba David Young

MOON DA NCE 20th Anniversary Gala and the opening of Remembering the Future: 100 Years of Inspiring Art Saturday, October 23, 2021 • 6:00 p.m.

Pablita Velarde (1918-2006), Deer and Aspens, 1955, watercolor on paper, 8¾” x 18”, Heard Museum Collection, Gift of Dr. and Mrs. Oscar Thoeny, IAC 299.

moondance

Mary Ellen & Bob McKee

HONOREES

Denise Wallace (Chugach Sugpiaq/Alutiiq)

EV ENING EV ENTS

Cocktail Reception & Exhibition Preview Dinner & Honoree Celebration Silent Auction Live Music & Dancing

INFOR M ATION

Cocktail Attire • Valet Provided heard.org/moondance jschwimmer@heard.org or 602.251.0245 The Moondance silent auction will go live online by October 15 and culminate on October 23. We encourage you to check early and often to bid on one-of-a-kind artwork, jewelry and more.

Visit heard.org/moondance for details.

To RSVP or for more information, visit heard.org/moondance or contact Jack Schwimmer at jschwimmer@heard.org or 602.251.0245.

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EARTHSONG

CO-CH AIRS

Jan Cacheris & Marilyn Harris

COMMIT TEE

Milena & Tony Astorga Arlene Ben-Horin Joy & Howard Berlin Susan & Appy Chandler Erika & Russell Dickey Ardie & Steve Evans Mary & Dr. Tom Hudak Sharron Lewis Colleen & John Lomax

Janis Lyon Carol Ann & Harvey Mackay Jean Marley Nadine Mathis Basha Mary Ellen & Bob McKee Jean & James J. Meenaghan Janet & John Melamed Dionne & Francis Najafi Jill & Wick Pilcher

Merle & Steve Rosskam Jennifer E. & Charles F. Sands Carol & Randy Schilling Jean Spangler Ellen & John Stiteler Amy Thurston Jo & David Van Denburgh

PRESENTING SPONSORS Mary Ellen & Bob McKee

SIGNATURE SPONSORS Anonymous Joy & Howard Berlin Sharron Lewis Jo & David Van Denburgh

SUPPORTING SPONSORS

Basha Adelante Foundation Susan & Appy Chandler Jacquie & Bennett Dorrance John L. & Hope L. Furth

Christine & John R. Augustine Bashas’ / AJ’s Fine Foods / Food City Arlene & Giora Ben-Horin Lisa & Greg Boyce Jan & Chris Cacheris Donald E. & Hana Callaghan / Chip & Daryl Weil CBIZ Julie & Wes Clelland Carla & Adrian Cohen Dr. Craig & Sharon Cohen The Dickey Family

Janis Lyon Carol Ann & Harvey Mackay Moreno Family Foundation SRP

PREMIER SPONSORS DLR Group / Okland Freeport-McMoRan Inc. Frank & Betsy Goodyear Kathleen & John Graham Marilyn W. Harris Judy Hewson Mary & Dr. Tom Hudak Jennings, Strouss & Salmon PLC Jean & Jim Meenaghan Janet & John Melamed Pivotal Foundation / Francis and Dionne Najafi Rose & Harry Papp

All listings current as of September 15, 2021

Ellen & John Siteler Betty Van Denburgh

Perkins Coie LLP Kristine & Leland W. Peterson Jill & Wick Pilcher / USI PURE Insurance Merle & Steve Rosskam Salmon, Lewis & Weldon / Jim & Patience Huntwork Louis “Buzz” Sands Carol & Randy Schilling Snell & Wilmer Amy Thurston Torrey Pines Club Corp.

Christy Vezolles