Heard Museum Earth Song, Winter 2022 by Heard Museum

FALL 2020

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OF GOD AND MORTAL MEN

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CELEBRATING FIVE YEARS

FRIDA K AHLO AND DIEGO RIVER A

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

MASTERWORKS BY T.C. CANNON FROM THE NANCY AND

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

Dav

GELMAN COLLEC TION

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RICHARD BLOCH COLLECTION

FALL 2017

AND MAST

FRIDA AND DIEGO

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OF AMBITIOUS GRAND

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GALLERY EXHIBITIONS

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Leon Polk Smith: Hiding in Plain Sight, organized by the Heard

Phoenix, AZ 85004

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HEARD the Leon Polk Smith Foundation and the Henry Luce Foundation.

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2301 N. Central Avenue

The inaugural exhibition to open in the new Virginia G. Piper Charitable Trust Grand Gallery

OF GOD AND MORTAL MEN

FRIDA K AHLO AND DIEGO RIVER A

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

MASTERWORKS BY T.C. CANNON FROM THE NANCY AND

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

David Hockney’S YOSEMITE

GELMAN COLLEC TION

Members Preview | October 28, 2018

RICHARD BLOCH COLLECTION

FALL 2017

AND MASTERS OF CALIFORNIA BASKETRY

FRIDA AND DIEGO

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2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

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2301 N. Central Avenue

Museum and presented Feb. 5 through May 31, 2021. This exhibition was made possible through the lead support of

HEARD the Leon Polk Smith Foundation and the Henry Luce Foundation.

HEARD MUSEUM MEMBERSHIP MAGAZINE

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JANUARY - MARCH 2017 | INSIDE THE HEARD MUSEUM

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Leon Polk Smith: Hiding in Plain Sight, organized by the Heard

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OF GOD AND MORTAL MEN

October 7, 2017 - April 15, 2018

April 11 - September 4, 2017

FROM THE NANCY AND

new Virginia G. Piper Charitable Trust Grand Gallery

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Leon Polk Smith: Hiding in Plain Sight, organized by the Heard Museum and presented Feb. 5 through May 31, 2021. This exhibition was made possible through the lead support of HEARD the Leon Polk Smith Foundation and the Henry Luce Foundation.

HEARD MUSEUM MEMBERSHIP MAGAZINE

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RICHARD BLOCH COLLECTION

FALL 2017

AND MASTERS OF CALIFORNIA BASKETRY

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

MASTERWORKS BY T.C. CANNON

The inaugural exhibition to open in the

David Hockney’S YOSEMITE

October 29, 2018 – February 3, 2019 FRIDA K AHLO AND DIEGO RIVER A

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

The inaugural exhibition to open in the

David Hockney’S YOSEMITE

GELMAN COLLEC TION

new Virginia G. Piper Charitable Trust Grand Gallery

AND MASTERS OF CALIFORNIA BASKETRY

SPECIAL EDITION earthsong FRIDA AND DIEGO

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RECORD-SETTING NUMBERS

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Leon Polk Smith: Hiding in Plain Sight, organized by the Heard Museum and presented Feb. 5 through May 31, 2021. This exhibition was made possible through the lead support of the Leon Polk Smith Foundation and the Henry Luce Foundation.

HEARD MUSEUM MEMBERSHIP MAGAZINE

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JANUARY - MARCH 2017 | INSIDE THE HEARD MUSEUM

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May 4 - September 3, 2018

October 28, 2019 – April 5, 2020

April 5 - September 29, 2019

OF GOD AND MORTAL MEN

MASTERWORKS BY T.C. CANNON

The inaugural exhibition to open in the

FROM THE NANCY AND

new Virginia G. Piper Charitable Trust Grand Gallery

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FRIDA K AHLO AND DIEGO RIVER A

PRESENTED BY

FROM THE JACQUES AND NATASHA

SUPPORTED BY

David Hockney’S YOSEMITE

GELMAN COLLEC TION

Members Preview | October 28, 2018

AND MASTERS OF CALIFORNIA BASKETRY

FRIDA AND DIEGO

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RECORD-SETTING NUMBERS

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APRIL - SEPTEMBER 2017 | INSIDE THE HEARD MUSEUM

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MUSEUM MEMBERSHIP MAGAZINE

HEARD MUSEUM MEMBERSHIP MAGAZINE

FA L L 2019

February 5 – July 3, 2021

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

RICHARD BLOCH COLLECTION

FALL 2017

ON VIEW NOW

OF GOD AND MORTAL MEN

MASTERWORKS BY T.C. CANNON

The inaugural exhibition to open in the new Virginia G. Piper Charitable Trust Grand Gallery

May 1 – October 25, 2020

FROM THE NANCY AND

FALL 2017

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

FRIDA K AHLO AND DIEGO RIVER A

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

David Hockney’S YOSEMITE

GELMAN COLLEC TION

Members Preview | October 28, 2018

RICHARD BLOCH COLLECTION

AND MASTERS OF CALIFORNIA BASKETRY

FRIDA AND DIEGO

October 23, 2021 Through August 2022

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HEARD MUSEUM, HEARD MUSEUM SHOP BOARD OF TRUSTEES John F. Lomax John Coggins Ginger Sykes Torres Karen Abraham David M. Roche

TRUSTEES Tony Astorga Nadine Basha Gregory H. Boyce Susan Esco Chandler Adrian Cohen Dr. Craig Cohen Robert A. Cowie Elizabeth Murfee DeConcini Judy Dworkin John Furth John Graham David A. Hansen James R. Huntwork Sharron Lewis LIFE TRUSTEES Kay Benedict Arlene K. Ben-Horin Howard R. Berlin James T. Bialac Dr. George Blue Spruce, Jr. Mark B. Bonsall 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

Chair Vice-Chair Secretary Treasurer Dickey Family Director and CEO

Gov. Stephen R. Lewis Marigold Linton Janis Lyon John Melamed Scott Montgomery Leland Peterson Jane Przeslica, Guild President Trevor Reed William G. Ridenour Paige Rothermel Christy Vezolles Trudy Wiesenberger David Wilshin

Frederick A. Lynn Carol Ann Mackay Clint J. Magnussen Robert L. Matthews Mary Ellen McKee James Meenaghan Dr. Wayne Lee Mitchell Susan H. Navran Scott H. O’Connor Dr. Arthur L. Pelberg Wick Pilcher David E. Reese William C. Schubert Sheryl L. Sculley Richard H. Silverman John B. Stiteler John G. Stuart

Board of Trustees current as of Dec. 27, 2021

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Copy Editing

Cover: Past issues of EarthSong featuring Grand Gallery exhibition stories. 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 GRAND GALLERY 4

Grand Gallery Exhibitions

Impressions From Our Guest Curators

The Love Embrace of the Universe: The Radical In-Betweenness of Frida Kahlo

Of God and Mortal Men

Paitaq

Color Riot! How Color Changed Navajo Textiles

David Hockney's Yosemite and Masters of California Basketry

Leon Polk Smith: Hiding In Plain Sight

Grand Gallery Supporters

Southwest Silverwork, 1850-1940

GO + DO 32

First Fridays at the Heard

Día Del Niño Celebration

64th Heard Museum Guild Indian Fair & Market

World Championship Hoop Dance Contest Returns

COLLECTION 40

The Landscape of NFTs

SHOP + DINE 42

Gotta Have It!

Katsina Doll Marketplace

New Offerings at the Courtyard Café

MOONDANCE 46

Celebrating 20 Years

GIVE 48

Ways to Give

WINTER 2022

DIRECTOR’S LETTER Dear Members,

David M. Roche Dickey Family Director and CEO

One of my most indelible memories of the Heard Museum is the line of people stretching from the admission lobby, across the campus to its main entrance, and down Central Avenue on July 6, 2017. The occasion was the 100th anniversary of the birth of legendary Mexican artist Frida Kahlo and the Heard Museum’s blockbuster exhibition Frida Kahlo and Diego Rivera. The willingness of people of all ages and backgrounds to stand for hours in extreme heat to catch a glimpse of the Heard’s exhibition was cause for concern about their personal safety, but also cause for celebration: There had never been a clearer sign that the Phoenix community was embracing art and was so deeply engaged with the work of the Heard Museum!

That is just one of countless joyous memories sparked by the work we have done in the Virginia G. Piper Charitable Trust Grand Gallery since it opened five years ago. We hope that our members, too, have been inspired by this work. This issue of EarthSong looks back on the 10 original exhibitions created so far for the Grand Gallery and the six publications and hundreds of programs they inspired. (This includes opening three original exhibitions amid a global pandemic—no easy feat.) The inaugural exhibition in 2017, Beauty Speaks for Us, showcased 400 years of Indigenous creativity. It was followed by Frida Kahlo and Diego Rivera, which was the most successful exhibition in the museum’s 93-year history and set attendance and revenue records. Of God and Mortal Men followed; this was the first major exhibition and publication dedicated to the genius of T.C. Cannon in more than 25 years and gave our members a oncein-a-lifetime opportunity to see his most iconic paintings gathered in one place. Yua: Henri Matisse and the Inner Arctic Spirit opened in 2018; it set monthly attendance records for the museum’s busiest months of December, January and February and advanced important new scholarship on Yup’ik masks. The online marketing efforts for the exhibition resulted in more than 750 million online impressions and created an avalanche of press coverage from Miami to Moscow. Color Riot! How Color Changed Navajo Textiles has traveled the country and earned rave reviews. David Hockney’s Yosemite and Masters of California Basketry was the internationally renowned artist’s first exhibition in Arizona and was listed by the New York Times as a “must-see” exhibition of 2019. New publications accompanied six Grand Gallery exhibitions, with contributions by Indigenous scholars including Chuna McIntyre (Yup’ik), Dr. David Martinez (Akimel O’odham/Hia Ced O’odham/Mexican), Dr. heather ahtone (Chickasaw) and Pulitzer Prize-winning author N. Scott Momaday (Kiowa), among others. The Yua publication was nominated for a prestigious Dedalus Foundation award. Larger Than Memory, the Heard’s largest-ever exhibition of contemporary Indigenous art, received a Gold Addy from the American Advertising Awards. The publication for Leon Polk Smith: Hiding in Plain Sight sold out in record time. The current Grand Gallery exhibition, Remembering the Future: 100 Years of Inspiring Art, is our institutional response to the pandemic-related challenges of the past two years. Throughout, we have maintained our belief that art has never mattered more, because art makes sense of the world we are encountering and transforms the events of our lives, even tragedy, into healing and hope. Evidence of this can be found in the creative expression of 75 Indigenous artists whose paintings, sculptures and photographs, spanning two centuries, are on view. If you haven’t already, please come and see this spectacular exhibition curated by Diana F. Pardue and Dr. Ann Marshall.

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Jacob Meders and his son view David Hockney’s Yosemite and Masters of California Basketry in the Grand Gallery, view of David Hockney's Yosemite II, October 16th 2011 iPad drawing printed on four sheets of paper (46 3/8 x 34 7/8” each), mounted on four sheets of Dibond, Edition 1 of 12. 92 3/4 x 69 3/4” overall © David Hockney Collection The David Hockney Foundation.

But our work is far from finished! We have Grand Gallery exhibitions planned through 2025. I am pleased to announce that our next Grand Gallery exhibition will be He`e Nalu: The Art and Legacy of Hawaiian Surfing. This thrilling exhibition will reveal the Indigenous origins of this Native Hawaiian tradition. None of the exciting exhibitions, educational programs, entertaining cultural performances or groundbreaking publications inspired by the Grand Gallery would have been possible without the support and participation of our members. We thank you for five incredible years, and I look forward to celebrating this milestone with you at the Heard Museum.

David M. Roche Dickey Family Director and CEO Frida Kahlo and Diego Rivera offered fun and free ways for family visitors to engage with art

WINTER 2022

VIRGINIA G. PIPER CHARITABLE TRUST

Grand Gallery Exhibitions BY DIANA PARDUE | CHIEF CURATOR

Moments create memories. The past five years in the Heard Museum’s Grand Gallery have added some of the most memorable exhibitions in the museum’s history. The opening exhibition, Beauty Speaks for Us, drew upon the expertise of guest curators Carol Ann Mackay and Janis Lyon, each of whom brought a depth of knowledge of Native American art to the exhibition. They selected works from the Heard collection and Arizona-based private collections that ranged from early 19th-century wearing blankets to the groundbreaking 1960s-80s jewelry of Charles Loloma. Artists, collectors and visitors drew inspiration from these works as they traversed the gallery. The next Grand Gallery exhibition was Frida Kahlo and Diego Rivera. Our visitors marveled at the creative genius of the artists, and many came dressed as Frida. Of note were two young children who dressed as the iconic couple; the young boy added a pillow to his stomach for special effect. Each exhibition that followed was a unique exhibition produced by the Heard. In 2017, Of God and Mortal Men: Masterworks by T.C. Cannon featured the artist’s innovative paintings. A timeline chronicled his short career, and the exhibition was enriched through the display of his early sketchbook, loaned by Howard and Joy Berlin. In 2018, guest curators Sean Mooney and Chuna McIntyre planned the exhibition Yua: Henri Matisse and the Inner Arctic Spirit. As exciting as it was to see Matisse’s renditions of Inuit people, the exhibition

reunited pairs of Yup’ik masks that had been separated for more than a century. Master artist Henri Matisse was working during the same years master carvers from Alaska were creating works. Through diligent research, the guest curators identified some Yup’ik carvers who had previously been unknown. In 2019, David Hockney’s Yosemite and Masters of California Basketry presented Hockney’s iPad drawings of Yosemite and partnered them with baskets that were made in Yosemite Valley in the mid-1900s. This was Hockney’s first major exhibition in an Arizona museum. Color Riot!: How Color Changed Navajo Textiles followed and drew upon the expertise of Carol Ann Mackay, who worked closely with Dr. Ann Marshall and a talented trio of Mellon Fellows, Velma Kee Craig, Natalia Miles and Ninabah Winton. In 2021, Leon Polk Smith: Hiding in Plain Sight, curated by Joe Baker (enrolled Delaware), illustrated that artist’s ties to his native Oklahoma and the range of beadwork, ribbon work and painted hides that he experienced in his youth. Other exhibitions featured contemporary artists including Nicholas Galanin (2018) in Dear Listener and 24 artists in the 2020 exhibition Larger Than Memory: Contemporary Art from Indigenous North America. The current exhibition, Remembering the Future: 100 Years of Inspiring Art chronicles important works of art from the 1920s onward. Each exhibition reinforces our love of art and adds to our memories.

The next seventeen pages offer an opportunity to revisit Grand Gallery exhibitions through essays written for past issues of Earthsong. 4

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Impressions From Our Guest Curators BY CAROL ANN MACKAY | GUEST CURATOR

It is hard to believe that 2017 begins the 50th year of my infatuation, obsession and love affair with Navajo weaving, one which began in 1967 with an innocent question from a first-year graduate student in art history. I asked Dr. Sidney Simon, modern art history professor at the University of Minnesota, “What is Kenneth Noland looking at?” He replied, “I think he owns some Navajo blankets and rugs.” That same year Harvey and I came to Arizona, Harvey to attend a national convention, and I, with $50 stolen from the grocery money, to buy one Navajo blanket in homage to Kenneth Noland. My hunt was fruitless until Peter Huldermann, at his House of Six Directions gallery, said, “You need to go to the Heard Museum to see one of those.”

I did, immediately, and the first thing I saw was a blanket from the 1880s on a manikin. Bands of “Noland’s chevrons” crossed the blanket, alternating with wide ivory stripes. I was hooked. That moment led to 50 years of research, adventures with new Navajo friends at Navajo Mountain, and years of treasure-hunting in some very unlikely places. Sometime in the 1970s, at the Santa Fe Indian Market, at about 6 a.m. in front of Gail Bird and Yazzie Johnson’s booth, I met Denny and Janis Lyon. The rest, as they say, is history, and we have been fast friends ever since. Over the past 50 years, I have collected Navajo blankets and rugs whose images speak to me like the abstract, modern geometric paintings of the mid-20th century, and those textiles I consider Navajo folk art.

ABOVE: Gallery view of Beauty Speaks for Us. Photo by Craig Smith, Heard Museum

WINTER 2022

February 10 - March 31, 2017

I am convinced that the women (and possibly a few men) who wove the abstract, geometric blankets in this exhibition saw in much the same way as the 20th-century modern artists, although these creative, mostly anonymous weavers never went to art school. As recently as the 1960s and ’70s, when the elderly Navajo women still spoke Spanish, they would tell me over and over again that they saw the borderless blankets “extending into infinity.” Many American artists of the conceptual art movement have said virtually the same thing. Commercial three- and four-ply yarns, dyed in a wide array of colors, and packets of bright aniline dyes arrived on the Navajo reservation in 1857 into the hands of wildly creative weavers. By 1885, Navajo weaving had exploded into a riot of zigzags, stripes, diamonds and systems of terraced triangles and complex visual relationships of negative and positive spaces. These “eye dazzlers,” as they became known, have naturally always been some of my favorites. The riotous zigzag design with bold primary and secondary colors, its asymmetrical layout and largerthan-life size—all of this says that clearly it was not woven to be worn, but to be looked at, whether on the floor or in my home or on the wall. Most remarkable to me is the very simple and primitive-looking upright loom on which these blankets and rugs were woven. The contrast between the precise designs of the Classic, Late Classic and early Transitional blankets spanning the second half of the 19th century and the very rustic-looking looms on which they were produced has never ceased to amaze me. In addition, the weaver, sitting on the ground, rolling the rug under and out of sight as she wove it, did not see the finished piece until it

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was finished and she removed it from the loom. The elderly weavers would tell me, “We see it on the loom,” their version of photographic memory, because the warp threads were completely unmarked. As more rugs were woven instead of wearing blankets, and Navajo rugs became a commodity, weavers rushed to finish rugs and take them to the trading post to sell, where they would recover their pawn jewelry held as collateral and purchase items they needed. Mistakes and coarser weaving led to “pound rugs,” so named because they were bought and sold literally by the pound. (Interestingly, these very flaws often produced some

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arresting, quirky and beautiful images by today’s modern art standards, and whenever I find one that speaks to me, I include it in my collection.) The other category of Navajo weaving that captured my heart from the very beginning were the pictorial rugs and blankets. Pictorial blankets, both old and new, are a window into everyday Navajo life. Everything the weavers saw was fair game, from railroad locomotives to cowboys, animals to quilt patterns, letters, numbers—even early Linoleum patterns captured the weavers’ imaginations. I have an odd habit of naming most of my pictorials, usually with the first association that pops into my head. For example, one of my favorite rugs in this exhibition I call “The Sun, The Moon and The Stars.” It illustrates so eloquently the weaver’s way of life: the morning sunrise in the east-facing door of her hogan; the skies with the sun, moon and stars, the subject of so many sandpainting ceremonies; and the cornstalk, which represents the very sacred importance of corn in Navajo daily life and religion. Here is a stunning composition that feels modern, bold and timeless. There is a chant from the Nightway, a Navajo sandpainting curing ceremony, that speaks eloquently to the Navajo culture, just as the title of this exhibition speaks to all the Native cultures in this show: In beauty happily I walk With beauty before me I walk With beauty behind me I walk With beauty below me I walk With beauty above me I walk With beauty all around me I walk It is finished again in beauty It is finished in beauty

BY JANIS LYON | GUEST CURATOR As a longtime collector of Southwest American Indian art, the offer from Heard Museum Director David Roche to be involved with his idea for a special exhibition which will feature masterpieces from the Heard Museum collections as well as masterpieces from local collectors has been a very exciting challenge. Beauty Speaks for Us will be the inaugural exhibition in the new Piper Gallery. The inauguration of the gallery is February 9, 2017. It has been a pleasure to be invited into homes where we had the privilege of viewing masterpieces in all categories of Native American art. All of the collectors have been enthusiastic to participate. These collectors are all supporters of the Heard Museum. As we all know, the Heard Museum is a true treasure in the United States for its devotion to the Native American arts. Mr. and Mrs. Heard’s foresight created a legacy for their family. It is our hope that all of you in Arizona will come to see these treasures as Beauty Speaks for Us. You will leave with a true appreciation of textiles, pottery, katsina dolls, cradleboards, shields and jewelry, as well as paintings and sculpture, which exemplifies the passion that all of the lenders have for this art.

All Photos: Gallery views of Beauty Speaks for Us. Photos by Craig Smith, Heard Museum

WINTER 2022

April 11 - September 4, 2017

The Love Embrace of the Universe: THE RADICAL IN-BETWEENNESS OF FRIDA KAHLO BY CLAUDIA MESCH

Gallery view of Frida Kahlo, Self Portrait with Monkeys by Frida Kahlo (1943), on display in Frida Kahlo and Diego Rivera, April 11 through September 4, 2017. Photo by Craig Smith, Heard Museum.

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beauty who often depicted herself with a shadowy, masculine mustache; she was mestiza, of mixed race, both European and Mexican, a hybrid identity she examined in some of her greatest self-portraits, like The Two Fridas; she pursued her desires in both hetero- and homosexual affairs; and she constructed cosmic bridges to Mexican indigenous myth in her art. Gallery view of Frida Kahlo and Diego Rivera, featuring (left) Angel Zárraga, Portrait of Natacha Gelman (unfinished), oil on canvas, 1946. and at right, Frida Kahlo, Diego on my mind, (Self-portrait as Tehuana), oil on Masonite, 1943. Photo: Craig Smith, Heard Museum

Many writers have noted that during her lifetime, Frida Kahlo (1907–1954) was best known as the wife of the famed Mexican modern artist Diego Rivera. However, by the close of the 20th century, Rivera had become better known as the husband of Frida. In this dramatic turnaround of artistic significance, Kahlo achieved a level of fame and celebrity that makes her surname superfluous, since in the art world it is understood that there is only one Frida. Although Frida died in 1954 at age 47, and therefore didn’t make it past middle age, we have come to understand the power and radicality of not only her art, but also of her dramatically independent personality. We now recognize Frida as a fearless artist who fully articulated modern Mexican identity, feminism and an explicit politics long before it was fashionable to do so as a woman. Is part of this fame due to her association with surrealism, which was at first a French, and then a global, art movement? Frida herself denied the connection, insisting, “I don’t paint dreams or nightmares, I paint my own reality.” Yet after meeting the leader of the French surrealists, André Breton, in Mexico in 1938, she readily contributed artworks to her first solo exhibition at the surrealism-geared Julien Levy Gallery in New York, as well as to the fourth International Surrealist Exhibition in Mexico City in 1940.

In her remarkable painting of 1949, The Love Embrace of the Universe, the Earth (Mexico), Diego, Me and Señor Xolotl, she fuses the Aztec earth goddess Cihuacoatl with the form of the Christian pièta: Frida depicts herself in the arms of this hybrid deity, gently cradling Diego as an infant. Her dog is positioned nearby, taking the form of the dog figure Xótotl, the guardian of the underworld. We might finally understand Frida’s refusal to ascribe to Breton’s orthodox surrealism as part of her unwavering revolutionary, feminist and postcolonialist demand for absolute freedom beyond the confines of any set cultural and historical categories. Claudia Mesch is a professor of art history at Arizona State University. Her books include Modern Art at the Berlin Wall (2009), and Art and Politics: a Small History of Art for Social Change (2013). She is a founding editor of the Journal of Surrealism and the Americas. Currently she is working on a study of European and American surrealist artists’ engagement with ethnography and Native culture in North America in the 1930s and ‘40s and the work of Native artists who critically reexamine those interactions.

Arguably the surrealists’ practice of using art to stage head-on collisions between different realities did affirm and perhaps validate the state of in-betweenness Frida already found herself in. She was an unconventional RIGHT: Gallery view of Frida Kahlo and Diego Rivera. Photo: Craig Smith, Heard Museum

WINTER 2022

October 7, 2017 - April 15, 2018

Of God and Mortal Men

MASTERWORKS BY T.C. CANNON FROM THE NANCY AND RICHARD BLOCH COLLECTION BY ANN MARSHALL

DIRECTOR OF CURATION AND RESEARCH

Paintings by Kiowa/Caddo artist T.C. Cannon will be featured this fall in a major new exhibition at the Heard Museum drawn from the collection of Nancy and Richard Bloch. In concert with the opening of the exhibition, a new publication from Museum of New Mexico Press and the Heard Museum, Of God and Mortal Men: T.C. Cannon, will be premiered. The book is composed of essays by seven authors reflecting on Cannon’s life and his impact on American Indian art and on the international art world. Speaking of the importance of the exhibition and book, Heard Museum Director and CEO David Roche said, “American art and American Indian art are often told as two distinct stories and judged by different standards. T.C. Cannon’s work is so compelling not only because he represents the convergence of these stories, but also

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because his work is great by any measure, transcending categorization. His paintings reflect his American Indian identity and heritage, and also his creativity and intellect. They are both specific and universal. In viewing a T.C. Cannon painting, one is challenged to think differently about American Indian people, and therein lies the power of his work. For this, the Heard Museum is proud to be a part of T.C. Cannon’s continuing legacy.” Tommy Wayne Cannon was born in 1946 in Lawton, Oklahoma. His Kiowa name translates to “He Who Stands in the Sun.” The Heard presented Cannon’s art twice in his lifetime, in 1974 and 1977. Both exhibitions were part of a series of invitational exhibitions that the Heard mounted during a decade of major changes ABOVE: T.C. Cannon, Self-Portrait in the Studio, 1975, oil on canvas, 72 x 52 inches. Collection of Nancy and Richard Bloch. Photograph by Addison Doty. ©2017 Estate of T. C. Cannon.

GRAND GALLERY in American Indian art. Following Cannon’s untimely death in an auto accident at the age of 31, the Heard presented a memorial exhibition, Remember Me Blues, in 1981, and Paintings and Poems by T.C. Cannon at Heard Museum North in 2003. The exhibition and book titles were inspired by a phrase from Cannon’s artist statement for the Heard Invitational ’74, a painting exhibition. In his statement, he said, “I choose the places where I live in a very scrupulous manner. There must be room for development and germination of the expectant forces that inevitably come to seek me out in my occupied rooms. There must be opportunity for all of the elements to show themselves to me and suitable occasions to view humanity and its reflexes from these powers. I must dwell in places where I am always in awe of God and mortal men. There must always be people present with answers to questions that I am continually baffled by. My abode shall have access to small creatures and many-colored leaves and a better than average view of the ever-changing colors and waxing of the heavens.” The centerpiece of the exhibition and book are nine major canvases comprising Nancy and Richard Bloch’s collection. In his introductory essay to the book, Roche said, “This is the finest group of Cannon’s paintings in any collection, public or private, and the fact that they assembled them is a testament to Nancy and Richard’s prescient eye. While earlier examples of Cannon’s work are represented in the collection, such as Man I’d Like to Have That Pinto Pony, the majority are from his ‘mature’ Santa Fe period, and many are considered masterpieces.” Cannon’s mature period lasted only a brief few years before his death in 1978. The New Mexico Museum of Art has also agreed to lend another Cannon painting,

Washington Landscape with Peace Medal Indian, given to that museum by the Blochs. To accompany Cannon’s painting A Remembered Muse (Tosca), the Blochs are loaning the drawing that is a study for the painting. In addition to Cannon’s major canvases, the exhibition will include woodblock prints, lithographs and drawings by Cannon. Joy and Howard Berlin are lending one of Cannon’s sketchbooks from 1965, during his student days at the Institute of American Indian Arts (IAIA). Visitors will be able to page digitally through the sketchbook, which contains, in addition to drawings, poems written by Cannon and notes about lyrics to songs that he particularly appreciated, especially Bob Dylan lyrics. Cannon wrote poetry on many topics, including poems that reference his paintings. The exhibition’s companion book, Of God and Mortal Men: T.C. Cannon, was an important project to pursue, particularly given the fact that the last major publication on Cannon was the excellent Joan Frederick biography T.C. Cannon: He Stood in the Sun, published 22 years ago in 1995. Commenting on the Cannon book and exhibition, Roche said, “The diversity of authors in this book helps to bring new voices and perspectives to the consideration of T.C. Cannon’s work. We are all united in the passionate belief that there is more to know about this intriguing artist whose life and promising career ended too soon. It’s tempting to think about the path that Cannon’s career might have taken had his life not ended when it did. Fortunately, the powerful art he left behind continues to excite and engage audiences and offers with each viewing the opportunity to see the world in a slightly different way: the reality beneath the surface.”

ABOVE: Gallery view of Of God and Mortal Men: Masterworks By T.C. Cannon from the Nancy and Richard Bloch Collection. Photo: Craig Smith, Heard Museum

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October 29, 2018 – February 3, 2019

Paitaq

AN EXCERPT BY CHUNA MCINTYRE AND SEAN MOONEY FROM THE PUBLICATION YUA: HENRI MATISSE AND THE INNER ARCTIC SPIRIT The main body of Yup’ik masks included in this exhibition, and which have attracted the most attention among collectors in the 20th century, derive mainly from three Alaskan villages: Nushagak, Napaskiaq and Nunivak Island. Nushagak was primarily a trading post in the 19th century, and masks collected there most likely represent a mask-making tradition reflective of many nearby villages within a certain radius. The same is probably true for St. Michael’s and other places where trading posts were established at the time. In any case, these three locations offer an opportunity to analyze Yup’ik masks from the point of view of localized styles, following family traditions passed down between generations. Variations from place to place can be interpreted in much the same manner as we might look at different schools in European art, the Flemish School or the studio of Rubens or the Carracci brothers, for example. Each locality exhibits the influences of particular master artists who developed a vocabulary of iconographic representation that became a local tradition for generations. In Alaska, Native villages are the chief factor in self-identity and expression; thus, particular forms of dance, storytelling, parka construction, and

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mask iconography are intimately tied to location as well as to family. Local stylistic traditions vary according to the passing down of individual makers’ carving and decorating techniques, but they follow common understandings of what compositional features should be included. Certain elements of masks are always present: the yua representation of the entity described in the song, its animal or spiritual counterpart, and its activity or movement within a spirit plane. Each village has, over time, created distinctive approaches to express this vocabulary of elements, leaving the manifestations of the story open to visualization by the artist. Compare the weight and heaviness of Nushagak pieces, for example, to the lightness of Nunivak works. Masks from Nushagak have impact, created in part by the material weight of wood, which has been carved into shape from large masses. They are forceful and bold. On the opposite end of the spectrum, Nunivak pieces have an airiness, a sense of economy; everything springs out from the center, arranged along the outer rings of hoops Gallery views of the exhibition featuring Yup’ik masks created c. 1900 (above) and 1870s-80s (right). Various Collections. Photographs by Craig Smith, Heard Museum.

GRAND GALLERY (ellanguaq). The central faces are smooth, clean, and clearly defined. Nushagak masks are more sculptural and materially solid; Nunivak masks are like drawings, almost immaterial, linear and floating, each independent element moving away from the other, freely and centrifugally. Kuskokwim River pieces, for which those from Napaskiaq are the standard-bearer, are more introspective: There is more painting, a wider variety of imagery. They employ the hoops to create openness, and oscillate back and forth between heaviness and lightness.

Napaskiaq masks look massive and sculptural but are actually delicate; they achieve both qualities in an artful way. For instance, the pair of Swan and Loon masks (the Swan collected by André Breton, the Loon by Georges Duthuit) have incredible impact, but they are physically small and delicate. These masks are deceptive when seen in photographs, appearing much larger in scale than in reality. They have grandeur and expansiveness, albeit through an economy of means and materials. And they are quirky and inventive in their interpretation of the elements required, using kinetic features that make them appear to be in constant motion. Masks from the Kuskokwim are like poems, unique and personal yet communicative and engaging, and surprising in their virtuosity. The transfer of visual vocabulary is very much like spoken language, as it is a way of communicating to successive members of a family their common history and inheritance. The Yup’ik term for this is paitaq, an ancient word that suggests cultural heritage but is more nuanced in meaning. Paitaq is a form of gift, one given to the next generation in a somewhat magical way. The term comes from paifluku: to make apparent, available, to be made physical, to manifest at this moment. Paitaq

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is not simply passed down; it is granted, invisible until prepared and conveyed when its receiver is ready. It is the ultimate form of wealth, the very essence of identity. Paitaq is a village’s form of communion with the spirit world, and with itself. Without such traditions, this wealth disappears, for paitaq is the process of these riches being made visible, so that paitaq may be transmitted and continued. It is entirely personal, yet communal, for it sets the stage for inspiration to be found. Napaskiaq was an ancient cultural power, and to analyze its masks we read the symbols of a deeply traditional expression of village paitaq. Centrally located on the Kuskokwim, practices there reflect influences from surrounding villages, while maintaining its traditional gravity and role of authority. This hybridization is visible in the incorporation of various elements, executed in a masterly fashion.

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Once the basic elements of the masks have been pointed out and understood, it is rewarding to apply the patterning of these terms to the interpretation of other masks. This vocabulary has innumerable variations, each according to the uniqueness of each carver, each dance, each village. It is possible to “read” each mask, with the understanding that the masks are not texts but expressive guidelines for the choreography of song verses and movements. One might say that the masks are a series of mnemonic devices that convey the stories danced before a community who would have been intimately familiar with their message and meaning.

Gallery views of the exhibition featuring artworks by Henri Matisse (French, 1869-1954). Above: Maquette for a window at the Chapel of the Rosary, Vence, France, 1950 (center) and two aquatints, 1951-52. Below: Aquatints on paper, 1947-48. Private Collection. Photographs by Craig Smith, Heard Museum.

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Color Riot!

HOW COLOR CHANGED NAVAJO TEXTILES BY ANN MARSHALL | DIRECTOR OF RESEARCH In the late 19th century, Navajo weavers began an unprecedented period of experimentation, translating the design system they had observed in Hispanic textiles into their unique vision. Weavers also began utilizing aniline dyes for their handspun yarns and colorful commercial yarns—a true Color Riot! And the experiments didn’t stop there—they also developed a style of weaving known as wedge weave, where instead of weaving straight across, from edge to edge, a wedge was woven at one edge and then repeatedly outlined, pulling the textile’s warp and creating a textile that can seem to undulate. The Heard’s new exhibition in the Virginia G. Piper Charitable Trust Grand Gallery, Color Riot! How Color Changed Navajo Textiles, visits the explosion of color and design that occurred following the Navajos’ return to rebuild their lives on a reservation following the dark years of imprisonment in the Bosque Redondo concentration camp in New Mexico between 1863 and 1868.

The 1868 treaty signed with the U.S. government provided 10 years of annuity goods to the Navajo. Of these annuities, commercial yarns and dyes were procured from a variety of sources; these contributed to the development of several new, distinct Navajo weaving styles. For instance, Germantown yarn, named for the Germantown suburb of Philadelphia where the mill was located, was produced with aniline dyes to make colors of green, red, orange-red, blue, lavender-purple, dull yellow and brown. Bayeta blankets (baize trade cloth) were raveled to yield red. Blankets of indigo blue were raveled as well. Weavers also received their own packets of indigo and other commercial dyes for their handspun yarns, along with wool cards for combing the wool prior to spinning. Design changes influenced by Hispanic weavings were also an integral part of this period. The longerthan-wide dimensions of Hispanic sarapes were most commonly used as reference, as was the central medallion with multiple serrate outlines. These outlined

ABOVE: Gallery view of Color Riot! How Color Changed Navajo Textiles. Photo by Craig Smith, Heard Museum

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April 5 - September 29, 2019

As this new trade developed, outside market tastes began to limit this previous riot of color and experimentation. Fortunately, the exciting design, color and contemporary feel of the Transitional Period was not only appreciated by collectors, but it also continued to be appreciated by artists like Anni and Josef Albers and is influential today on contemporary weavers like Melissa Cody (Diné).

serrate designs, when woven in the brilliant colors of the aniline dyes, gave rise to the term “Eyedazzlers” to describe these Navajo weavings. All of this change occurred in a time when markets for textiles were in transition and Navajos’ former Indigenous markets for blankets were in disarray. In some instances, military escorts were needed for trade expeditions. A small but growing number of Anglo traders were establishing relations with the Navajo and supplying them with materials for weaving, but until the 1890s the traders’ primary interest was in purchasing wool from the Navajo for sale to Eastern markets. As a result, outside market influences on Navajo weavers were relatively weak, allowing space for these new designs and colors to develop, until the collapse of the wool market in the 1890s. Traders then began searching for a product that the Navajo could produce, so they focused their attention on encouraging production of floor coverings, bedspreads, lap robes, pillowcases and ancillary small textiles. THIS PAGE: Gallery views of Color Riot! How Color Changed Navajo Textiles. Photos by Craig Smith, Heard Museum

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Shaping the Color Riot! exhibition has involved many people and resources. In addition to utilizing the textiles in the Heard’s collection, we are fortunate to have the invaluable consultation and loan of textiles by Heard Museum life trustee and co-curator, Carol Ann Mackay. The exhibition will also feature weavings on loan from the collections of Anthony Berlant and Steve and Gail Getzwiller of Nizhoni Ranch Gallery.

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DAVID HOCKNEY'S YOSEMITE AND

Masters of California Basketry BY ANN MARSHALL | DIRECTOR OF RESEARCH During the early decades of the 20th century, artists of the Yosemite region created baskets that are regarded as the pinnacle of Indigenous basketry arts. Too often the names of weavers—textiles or baskets—are lost through the years. Even in the Yosemite Valley that was generally true; but, fortunately, a few outstanding weavers, such as Lucy Telles, Carrie Bethel and Tina Charlie, are celebrated into the present day. Baskets played a critical role in the lives of Yosemite people for centuries. Before the high glacier-carved valley of Yosemite on the western slope of the Sierra Nevada Mountains became a national park, it was a garden tended by its Indigenous residents. The Southern

Sierra Miwok people of the region relied upon baskets to gather and process the seeds and berries that were basic to their diet. They tended the land through pruning and controlled burning to provide the materials for their baskets. On the eastern side of the mountain range, the Paiute of Mono Lake lived in a high desert formed by a rain shadow cast by the mountain range. Although in a very different ecosystem, basketry was essential to the lifeway of the Paiute, and they too tended the garden of Yosemite. The lives of people in the Yosemite region changed radically and rapidly with the discovery of gold just west of Yosemite in 1849. A stampede of miners sought to

ABOVE: Gallery Installation. Basket in foreground by Carrie Bethel, Mono Lake Paiute (Kutzadika’a), 1898-1974. Woven in 1936. 21 x 32 1/4 inches. The James H. Schwabacher Collection, Yosemite National Park, YOSE 66820. Drawings in background by David Hockney. Left: Yosemite I, October 5th 2011 iPad drawing printed on four sheets of paper (46 3/8 x 34 7/8” each), mounted on four sheets of Dibond, Edition 1 of 12; 92 3/4 x 69 3/4” overall; right: Yosemite II, October 5th 2011 iPad drawing printed on four sheets of paper (46 3/8 x 34 7/8” each), mounted on four sheets of Dibond, Edition 1 of 12. 92 3/4 x 69 3/4” overall © David Hockney Collection The David Hockney Foundation Photo by Craig Smith, Heard Museum

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October 28, 2019 – April 5, 2020

make their fortune and leave. They killed Indigenous people with impunity, claimed Indigenous land, clearcut trees, killed game animals and killed the plants people relied upon for food. Yosemite people starved. When they fought back, the Mariposa Battalion was formed to pursue, punish and force the resident Miwok and Paiute people onto a newly established Fresno River reservation in the San Joaquin Valley. The attempt failed, and Indigenous people gradually returned to Yosemite. Soon, the beauty of Yosemite began to draw tourists. As early as 1869, there were three hotels and a cash economy became important. In 1890, Yosemite was designated as a national park. A growing number of Mono Lake Paiute were drawn to the area, gradually outnumbering the Yosemite Miwok. Indigenous people found lowpaying jobs in tourism: women as hotel maids, kitchen helpers, laundresses; men as laborers on road crews and guides. Curio stores purchased baskets, but tourists were less interested in the traditional baskets and wanted a new style of basket with three colors, complex designs and lids. In 1916, the Yosemite Indian Field Days summer event was inaugurated by the National Park Service and park concessionaires. The Field Days were held from 1916 to 1926 and in 1929. The event included a rodeo,

parade and baby contest. Indigenous participants were expected to dress in a manner that conformed to tourist stereotypes—basically Plains Indians with buckskin beaded dresses, shirts and feathered headgear. A basketry competition was part of the event, and despite some attempts to encourage smaller baskets that were readily affordable and transportable by tourists, Field Days judges and collectors recognized and purchased phenomenal large baskets with bold designs. Weavers received cash for entering and for award-winning baskets and displays. Beaded baskets, belts and hatbands were also popular and beadwork displays received cash awards. After the competition, the makers sold their baskets. The prize-winning weavers were mainly Mono Lake Paiute. Following the end of the Field Days, the new-style baskets continued to be woven; however, with the end of the Arts and Crafts Movement and the Great Depression, the number of collectors dwindled, and by the 1940s most were not adding to their collections. A very few extraordinary baskets were woven in the 1950s. David Hockney’s Yosemite and Masters of California Basketry will feature more than 20 works from public and private collections that are part of the story of Yosemite and the inspiration it has provided to artists of many cultures through the years.

BY ERIN JOYCE | FINE ARTS CURATOR David Hockney is considered one of the preeminent draftsmen of the 20th and 21st centuries and is often referred to as Britain’s greatest living artist. His work has been shown in monographic exhibitions and retrospectives globally over the course of his more than five-decade career, though his involvement with Yosemite as a subject did not really begin until the 1980s. In 1982, Hockney began the first of his many expeditions to Yosemite, which resulted in a series of photographic collages, some of which are on view in this

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exhibition. The works comprise dozens of photographs assembled to make one cohesive, visually lush image. There is a cinematic quality in these collages. Movement and energy undulate within the work, as though the aura of the Valley is too big to be contained in one singular photograph. In 2010, and again in 2011, Hockney visited Yosemite Valley. There, for the first time, he used his iPad to draw en plein air while taking inspiration from the landmarks,

GRAND GALLERY vistas, and iconic landscape of the Valley. Featured in the exhibition are 29 limited-edition iPad drawings printed on paper. This work not only reflects Hockney’s ongoing and inspired visual interpretation of the American West, it also captures Hockney’s willingness to experiment, embrace and employ different tools for artistic production including photography, digital technologies, and his work as a painter and draftsman. Though, abstracted, the iconic imagery of the Valley is illustrated in Hockney’s capturing of Yosemite in his series—you see the famous silhouette of El Capitan, but it is through the artist’s eyes. Using supremely saturated, non-local digital colors, Hockney suggests the landscape but does not render it in a literal way. Both David Hockney and the basket weavers are extracting and abstracting the Yosemite Valley through their own personal or cultural lenses.

The underlying thesis of the show is Yosemite as Muse— the star of the show. Yosemite’s geography and natural resources have inspired, and continue to inspire, artists across time and space. Lucy Telles, Carrie Bethel, Tina Charlie and other Indigenous basketmakers used the fibers, pushing the medium of basketry beyond its habitual utilitarianism or ceremonial purpose to fine art objects intended for consumption. These baskets are Yosemite. Conversely, Hockney captures the majestic landscape through a very non-natural tool, a computer, in a poetic and beautiful figural representation. Indeed, both David Hockney and the basket weavers express the Yosemite Valley through their own personal and cultural lens. The exhibition promises to be a rich visual and conceptual experience, one that will transport you to the Yosemite Valley and allow you to view the landscape through multiple perspectives.

ABOVE: Gallery Installation. Baskets in foreground by Lucy Parker Telles, Yosemite Miwok/Mono Lake Paiute (Kutzadika’a), 1885-1955. (Basket on left: Collection of the Colorado Springs Fine Arts Center at Colorado College, Gift of the Estate of Philip B. Stewart, TM5641 and basket on right: Courtesy of the Museum of Indian Arts and Culture, Santa Fe, New Mexico). Background drawing David Hockney's Yosemite II, October 16th 2011 iPad drawing printed on four sheets of paper (46 3/8 x 34 7/8” each), mounted on four sheets of Dibond, Edition 1 of 12. 92 3/4 x 69 3/4” overall © David Hockney Collection The David Hockney Foundation. Photo by Craig Smith, Heard Museum.

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February 5 – July 3, 2021

Leon Polk Smith:

HIDING IN PLAIN SIGHT BY JOE BAKER | CO-CURATOR

Most of the art world understands Leon Polk Smith in terms of American Modernism. Smith is often compared to Ellsworth Kelly for his hard-edge painting or the Dutch painter Piet Mondrian for his abstraction. However, little attention has been paid to the significance and influence of Smith’s Oklahoma upbringing. Smith was born near the town of Chickasha in Indian Territory in 1906, just before Oklahoma statehood. The second of nine children, he grew up on the ranches and farms of rural Oklahoma. “Leon grew up with the Chickasaws and Choctaws and understood the Indians’ philosophy. He felt the abstraction in their celebration of dance and song. His special relationship to nature possibly arose from growing up on a farm and ranch,” said Robert Jamieson, Smith’s assistant and longtime ABOVE: Leon Polk Smith at his studio in Union Square, n.d. Photograph courtesy of the Leon Polk Smith Foundation.

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companion, in an interview for a 2001 book. The ancient Kiamichi Mountains to the east and the tallgrass prairie to the west and north provided the stage for Smith’s imagination. The surrounding Native communities provided the rhythm of what would become his visual abstractions. After graduating from Pocasset High School, Smith attended Oklahoma State College (East Central State University) in Ada, graduating in 1934 with a bachelor’s degree in English and a teacher’s certificate. Smith arrived in New York in 1937 to attend Columbia University Teacher’s College and earned a master’s in educational psychology in 1938. It was while attending Columbia University that Smith first saw the work of Piet Mondrian, Constantin Brancusi and Hans Arp. He also met the choreographer and dancer Martha

GRAND GALLERY Graham, whose influence and friendship remained true throughout his lifetime. After traveling to Europe and Mexico and teaching in several different locales, he moved to New York City in 1944 to commit full-time to making art. Having spent the first third of his life in Oklahoma, and now living and working in the creative community of New York City, Smith never leaves the landscape of the Southwest or the Native communities he knew there. It is from this unique cross-cultural vantage that Smith is able to read Mondrian’s geometric style as “an extension of the baskets and blankets he knew in the Southwest,” says Randolph Lewis, professor of American studies at the University of Texas, Austin. “In the Indians’ philosophy, thinking, and way of telling stories, much detail was left out, so much was abstract,” Smith once said. From the 1940s on, the landscape and Native cultures he knew resonated in Smith’s

work. We see this expressed in the “Conversations” and “Constellation” series that define the artist’s mature work. Leon Polk Smith: Hiding in Plain Sight, organized by the Heard Museum 25 years after Smith’s major exhibition at the Brooklyn Museum, seeks to broaden our understanding of Smith’s work through a Native context. The Territorial Works display, adjacent to the main exhibition gallery, provides the viewer with cultural arts collected from Indian Territory—bandolier bags, cradleboards, pipe bags, shield and cover, ribbonwork— that provide design references to Smith’s work. Their abstract patterns and color combinations echo the forms and color-blocking often encountered in Smith’s work. It requires no great stretch of the imagination to discover what, all this time, has been hiding in plain sight.

TOP: Installation view of the exhibition featuring paintings by Leon Polk Smith. ABOVE: Leon Polk Smith, Constellation Yellow-Blue-Violet, 1972. Collection of the Leon Polk Smith Foundation. LEFT: Artist once known, Comanche shield and cover, c. 1880. Fred Harvey Fine Arts Collection, Heard Museum, 258CI. Photos by Craig Smith, Heard Museum

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Five years of original exhibitions in the Virginia G. Piper Charitable Trust Grand Gallery would not have been possible without the unparalleled generosity of museum supporters. We extend our sincerest gratitude to the hundreds of individuals and institutions whose investment of time and resources enabled the Heard Museum to organize these exhibitions.

This work would not have been possible first and foremost without the support of the

Virginia G. Piper Charitable Trust Nina Mason Pulliam Charitable Trust Grand Gallery exhibitions, catalogues and programs have been generously supported by: Institutional Supporters Henry Luce Foundation The Kemper & Ethel Marley Foundation Terra Foundation for American Art Andy Warhol Foundation for the Visual Arts, Inc. Leon Polk Smith Foundation The Virginia M. Ullman Foundation Carl & Marilynn Thoma Art Foundation Steele Foundation Arizona Commission on the Arts

Moreno Family Foundation

Arizona Community Foundation

Phoenix Office of Arts & Culture

Arizona Humanities

The Rob & Melani Walton Foundation, Inc.

Basha Adelante Foundation

Robert Lehman Foundation

Diane & Bruce Halle Foundation

Union Pacific Foundation

Matson Foundation

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Arizona Public Service

Great Clips, Inc.

Azadi Rugs

Hotel Valley Ho

SRP

Bank of America

MUFG

Wells Fargo

BBVA Compass

Native American Art Magazine

Zaplin Lampert Gallery

Blue Cross Blue Shield of Arizona

PetSmart

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Corporate Supporters Sacks Tierney P.A.

PNC

Individual Supporters Anonymous

H. Malcolm & Lainie Grimmer

Priscilla & Michael Nicholas

Karen & Donald Abraham David E. Adler

Evelyn & Lou Grubb Charitable Fund

Frances & Mark Paper, in honor of Carol Ann Mackay

Roberta Aidem

Dr. Meryl Haber

Rose & Harry Papp

Sue & Judson Ball

Mary G. Hamilton

Bob & Dianne Patterson

Arlene & Giora Ben-Horin

Jeanie Harlan

Jody Pelusi

Joy & Howard Berlin

Kristine & Leland W. Peterson

Dr. George & Patricia Blue Spruce

Drs. William G. & Kathleen L. Howard

Jill & Wick Pilcher

Carrie & Jon Hulburd

Lois & John Rogers

Mary & Mark Bonsall

Jim & Patience Huntwork

Merle & Steve Rosskam

Lisa & Greg Boyce

Ann Kaplan & Robert Fippinger

Bill & Judy Schubert

Richard & Ann Carr

Richard Kelleher

Bruce & Nancy Shaw

Susan Esco Chandler & Alfred Chandler III

Wan Kyun Rha Kim & Andrew Byong Soo Kim

B.J. Shortridge

Lili Chester, in Memory of Sheldon Chester

Sam & Betty Kitchell Family The Lester Family

Carol J. Cohen

Sharron & Delbert Lewis

W. David Connell & Becky Sawyer

Dr. Marigold Linton & Dr. Robert Barnhill

Carolyn & John G. Stuart

Dino J. & Elizabeth Murfee DeConcini

Janis Lyon

The Summers Family

Carol Ann & Harvey Mackay

Betty Van Denburgh

Alice “A.J.” Dickey

Jane & Steve Marmon

Jacquie & Bennett Dorrance

Nancy & Vance Marshall

Elizabeth Van Denburgh, in honor of Betty Van Denburgh

Carmen & Michael Duffek

Nadine Mathis Basha

Peter Fine & Rebecca Ailes-Fine

Jo & David Van Denburgh, in honor of Betty Van Denburgh

Mary Ellen & Robert H. McKee

Lillie S. Fletcher, in Honor of Sharron Lewis

Christy Vezolles

Jean & Jim Meenaghan

Chip & Daryl Weil

Janet & John Melamed

Trudy & Steven Wiesenberger

Dr. & Mrs. Wayne L. Mitchell

Diane Willian

Elaine & Scott Montgomery

Sheri Young

Hope & John Furth Judith & Stanley Getch Kathleen & John Graham

Margo Simons Pam Slomski Joyce & James Smith Ellen & John Stiteler

Susan & James Navran

Special thanks to supporters listed above who made special contributions through the Grand Gallery Exhibition Fund and to Heard Museum Members whose annual support makes all museum exhibitions and programs possible.

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Southwest Silverwork, 1850-1940

BY ROBERT BAUVER | GUEST CURATOR

NEW N B ITI O E XH I FE B . 19 S OPEN IEW E ER PR MEMB EB. 18 F

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y the 1800s, metal in all its various forms became integral to Native culture. Iron and steel, introduced through European contact, quickly became part of the necessities of daily life. But it was silver, the metal of the moon, that captured the attention of Native populations. As early as 1795, the governor of New Mexico recorded Navajo people wearing silver jewelry.

Davis observed a leather belt highly ornamented with silver being worn. Belts fitting this description can be seen in lithograph illustrations made during 1857 for the Colorado Exploring Expedition, a topographical and navigational survey of the Colorado River.

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The ensuing years brought warfare and incarceration to the Navajo people. While the Navajo were confined at Bosque Redondo from 1864 to 1868, military reports recorded observations of Navajo skills in both iron and silver working. An 1864 report describes an incident in which a Navajo chief had his “silver belt worth one hundred dollars stolen … theft traced to … soldiers.” In 1868, the Navajo were allowed to return home as an impoverished nation, and Navajo skills in weaving and the beginnings of silverwork were noted, encouraged and promoted by local traders. The following decades saw Southwest Native arts flourish and gain recognition as an international art form. Initially, in the early 1800s, limited blacksmithing was practiced among the Navajo and Pueblo people. By the 1850s and 1860s, some of these early blacksmiths were turning their attention to silverwork as well, applying their existing skills in ironwork. Evidence of this can be seen in the shared techniques appearing on items made of iron and silver. For example, chisels used in blacksmithing were impressed into silver to create simple decorative elements. Smiths also began using their ironwork punches, stamps and files on their early silver items.

Dating back to the 1500s, Franciscan friars made sporadic references to Native American attempts at ironwork. In the mid-1830s, two blacksmiths, Ramon Sena of Santa Fe and José Castillo, were engaged by Navajo men to instruct them in the rudiments of blacksmithing. Using dendrochronology, archaeologists have verified two sites bearing evidence of Navajo smiths dating to 1830 and 1846.

Navajo artisan Atsidi Sani, who worked with iron before becoming a silversmith, made bridle bits out of scrap iron. He made them with jingles hanging from the bottom. The smaller units of jingle pendants at the sides of the bit were called zarcillos, the Spanish word for earrings. These may have influenced later silver earring designs.

In 1853, Lieutenant Henry Dodge established a Navajo agency at Washington Pass, bringing with him a blacksmith and a Mexican silversmith. A Navajo headman named Herrero, later called Atsidi Sani, credited with being the first Navajo silversmith, came by “to look on and learn some things.” By 1855, W.W.

The Navajo smiths’ proficiency in working iron was apparent in their abilities to design and fabricate increasingly intricate stamps out of iron tools, such as nails and files. Through time, the stamps grew in size and complexity and became the primary method of decorating silver.

LEFT: Artist once known (Navajo), necklace, c. 1885, turquoise, silver. Heard Museum purchase, NA-SW-NA-J-55. ABOVE: Silverwork is worn by Zuni leaders and ethnographer Frank Hamilton Cushing in Boston, 1882. Note the bowguard and shoulder najas Cushing is wearing. Photograph courtesy of the Wheelwright Museum of the American Indian.

ABOVE: Artist once known (Navajo), hair comb, c. 1915, silver. Fred Harvey Fine Art Collection, Heard Museum, 1176S.

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Silver was never mined by Native people of the Southwest; their source of silver was old Spanish and Mexican coins. In the 1870s, traders imported pesos that were melted down for use; later, American coins were used. When both countries outlawed the defacing of their currency, traders sought out a refinery in California that would supply 1-ounce squares of silver, which they provided to smiths. Silver coins were easily turned into buttons. Crafting larger jewelry pieces involved melting and casting the required amount of silver into a rectangular or diskformed ingot. These could then be forged into the desired object shape. Uneven forging often resulted in cracked silver, requiring repairs and patches. An alternative method to hammering an ingot into a shape was to cast the form. In 1879, Dr. Washington Matthews observed molten silver poured into open-faced stone molds. Sand casting, learned from the Mexican plateros (silversmiths), involved tightly packing a frame with finely grained sand into which the desired form and pouring channel was cut. Then, backed with a similar frame of sand or a flat stone, the silver was poured into the cavity. Later, the same technique was employed using locally obtained volcanic tufa. Fine grained, easily carved and heat resistant, tufa was found to be a superior material for casting. Allowing more intricately designed work and capable of yielding multiple castings from the same mold, tufa quickly became the medium of choice as opposed to the sand method, which required a new mold from each casting.

Bridles Navajo silver mounted headstalls are a direct adaptation of a type used by neighboring horse culture tribes living on the Southern Plains. Their bridles of German silver or brass were based on a Spanish design produced by Mexican smiths working at Bent’s Fort in Colorado as trade items to the Plains groups. These trade bridles were based on Spanish/Mexican silver bridles, often fashioned with a round side buckle through which a silver-tipped strap was passed, allowing the bridle to be adjusted to fit the horse. As some Plains groups gained a LEFT: Artist once known (Navajo), bridle, 1890-1910, silver, leather. Fred Harvey Fine Art Collection, Heard Museum, 267S.

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RIGHT, TOP TO BOTTOM: Artist once known (Navajo), naja, 1885-95, turquoise, pipestone, silver. Fred Harvey Fine Art Collection, Heard Museum, 182S. Artist once known (Navajo), earrings, 1890-1910, silver. Fred Harvey Fine Art Collection, Heard Museum, 52S.

Early Navajo bridles emulated the wide, flat pattern of Plains styles decorated with uncomplicated designs along the borders. The designs were made by rocker engraving, a method using a narrow, flat-edged tool that is pushed over the surface of the silver and rocked continually to create a zigzag line. Navajo smiths added a simple crescent-shaped pendant (naja) from the bridle frontlet, the central forehead unit. In the creative hands of the Navajo smiths, bridle styles evolved along with the design and technical advances seen in the jewelry being produced and would appear in the unprecedented forms seen here. Silver mounted headstalls fell into disuse in the 20th century. Many would see the removal of the naja for use elsewhere, most likely on necklaces.

Earrings One of the earliest forms of personal adornment, earrings, existed in the American Southwest long before European contact. Bits of colored stone, shell or bone were drilled and shaped into ear pendants, with turquoise being the most favored. Mosaic earrings worn at the Zuni and Hopi pueblos date back to the precontact era. Exclusively worn by women, these earrings are said to represent “blue corn stacked up.” The long loops of discoidal turquoise beads, called jaclas, a name derived from a Navajo term for ear rope, have been worn by both genders. They are also worn as pendants on necklaces. In the mid-1800s, copper, brass and later silver wire were formed into large hoops. Adding silver beads to the hoops resulted in such weight that observers noted the wearers hooking the earrings over their ears while riding horses. The chiseled lines in one pair of wire hoops

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rudimentary knowledge of metalwork, copying Spanish horse gear, they lacked the technical skills needed to recreate the buckle mechanism. Maintaining its position on the bridle, the buckle was replaced with a simple round concho. The now-unused belt tip was lengthened and gained placement as a purely decorative unit. These bridles would in turn serve as the model for the first Navajo smiths to reproduce in silver.

reflect the same approach to decoration seen on very early bracelets made in the 1870s. At times, the lower portion of the hoop was flattened and decorated with stamped designs or turquoise settings. Lanyade, the first silversmith at Zuni, stated that he made many pairs of the type described in the 1890s. The elongated cones with pendant pomegranates seem to be a style particular to Pueblo peoples. They are possibly derived from silver ornaments that were attached to Spanish capes. Many cone-shaped earrings were made at Isleta Pueblo, and some date to 1879. Once Native smiths gained the ability to set turquoise into silver in about 1880, turquoise was used in every form of jewelry. As turquoise sources were limited, necklace beads were often repurposed for settings. What started out of necessity became, for a short period, a style in the 1920s-30s. Drilled beads were set in earrings and bracelets and occasionally enhanced with silver filling the drill holes. A style unique to Zuni documented in the mid-1920s consisted of “flat hoops set with turquoise discs which showed from each side.” In the following decade, earrings especially would reflect the increasing skills in silverwork and stone cutting in both the imagination and diversity of styles produced.

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Necklaces Native people wore necklaces they crafted of shell and stone beads for centuries before European contact. Spanish explorers introduced “fine coral beads,” which are still favored today. From 1864 to 1868, military officials stationed with the exiled Navajo at Bosque Redondo reported Navajo men making silver buttons, some of which were strung together to fashion necklaces. The squash blossom necklace as we know it today developed over a period of time. Long necklaces of round silver beads were observed in the late 1870s. Commonly, these had a single- or double-barred cross pendant. Beads with crescent-shaped pendants appeared on necklaces in about 1880. At about the same time, Native smiths began to set turquoise and other stones in jewelry. Many imaginative stories have been attached to the squash blossoms. None seem true when considering that the Navajo word for them translates to “bead that flares out.” The downward curving pendant common on silver necklaces and bridles has been called a naja by the Navajo people, their word for crescent. Many false stories, myths and legends have been attached to it, alleging a spiritual connection to Navajo ceremonialism.

To the Native inhabitants of the Southwest, it is simply an article of jewelry. This basic form has a history dating back into antiquity, when Bucephalus, the steed of Alexander the Great, bore a crescent-shaped blaze on his forehead. In deference to the great horse and rider, many Mediterranean cultures adopted the form as a bridle ornament. It arrived in Spain with the Moors and from there traveled to the Americas, eventually arriving on the Southern Plains in the mid-1800s and into the lives of the Navajo. In the 1870s, silver najas based on the bridle ornament began to be added to necklaces and became part of the evolving styles of Navajo dress. In the 1880s, najas were observed suspended from the shoulders and belts of wearers. The basic naja form still appears in various incarnations, most frequently as the focal point on necklaces. Throughout the history of the craft, najas were fashioned from both hammered and cast silver. The original crescent became more elaborate as it kept pace with advances in silverwork design and techniques. ABOVE: Artist once known (Zuni Pueblo), necklace, 1930-40, turquoise, silver. Gift of Brian Schoeffler and Anne Kurtz, 3542-2.

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Bracelets Bracelets appear in greater variation than any other form of Native jewelry. In the Southwest in the 1840s, observers noted copper and brass being used as simple bracelet forms. When heavy copper wire became available in the early 1860s, it was “pounded up into bracelets” by Navajo people before and during their time at Fort Sumner at Bosque Redondo, from about 1864 to 1868. In the late 1870s, Navajo people would trade sheep for copper wire right off the spool. Formed into simple openended bangles or C-shaped bracelets, the wire was left plain or decorated with a series of chiseled or filed lines in a chevron motif at the center with a reduced version repeated at the ends. As silver became more plentiful, this type of bracelet shape and design was replicated in the preferred metal. In fact, this concept of design placement, also seen in early blanket designs, was maintained well into the 20th century, even as jewelry evolved into far more elaborate styles. Though silver assumed prominence in jewelry, use of copper and brass did not completely die out. Combined with silver and turquoise, examples could be seen as late as the early 1940s. Silver wire bracelets were shaped into triangular cross section as well and worn in great numbers. In 1881, U.S. Army Lieutenant John G. Bourke reported that Native women were wearing 10 or 11 on each wrist. By the second half of the 1880s, stampwork was being applied to flat bracelets. Loose bangles, often with a central length of twisted wires, were soldered together at the distal ends to serve as the foundation for larger bracelets set with turquoise. Heavy cast-silver ingots were hammered

out and then chiseled lengthwise and filed with grooves, replicating the appearance of stacked bangles. Casting allowed silversmiths to produce intricate bracelets that were difficult to create using other methods. Setting turquoise and other stones into bracelets and other jewelry forms began in the 1880s. By the 1890s, it was a widespread practice. Flat Native-cut turquoise and some locally found garnets encased in silver mountings to hold the stones, known as bezels, were common additions to every form of jewelry. It is not uncommon to see previously unset pieces of jewelry from this period updated with stones added over existing stampwork. Native populations knew about the rich turquoise deposits in the American Southwest long before European contact. Native mining procured a limited supply of the precious stones. The popularity, and at the time scarcity, of the favored turquoise prompted traders to import Persian turquoise stones. Native stone workers began emulating the high-domed Persian cutting technique. By 1900, stones were rising above the setting. To satisfy the growing interest in Southwest silver and turquoise jewelry, modern mining interests started supplying turquoise on a commercial scale. In the 1920s, the abundance of rough and polished stones obtained by smiths could be combined in multiple settings on a single piece of jewelry. ABOVE: Artists once known, bracelets, turquoise, silver. From left: Navajo, 1885-1895, Fred Harvey Fine Art Collection, Heard Museum, 153S; Zuni Pueblo, 1930-40, gift of the Graham Foundation for Advanced Studies in the Fine Arts, NA-SW-ZU-J-404; and Zuni Pueblo, 1930s, gift of the family of Isabel A. Burgess, 4063-1.

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Conchos

G. Ben Wittick, Return of the Bear Hunters, Navajo, gelatin silver print, c. 1890. Courtesy of the Palace of the Governors Photo Archives (NMHM/DCA), 015931.

Spanish Colonial buckles, with their scalloped and perforated edges, influenced the design of Navajo conchos. It has long been thought that early Navajo smiths copied this form. A copper Spanish buckle found at a Navajo site that dated to 1750 indicates the Navajo smiths’ long association with the form. The diamond-shaped centers of early concho belts allowed the leather belt to pass through and secure the concho. Previous scholars proposed that Navajo smiths created conchos with open centers because they lacked the soldering skills required to attach a belt loop to the backs. However, Long Moustache, one of the pioneer Navajo smiths who learned from Atsidi Sani (the first known Navajo silversmith), related firsthand knowledge of soldering in the early days of the craft. THIS PAGE, LEFT: Artists once known (Navajo), concho belts, turquoise, silver. From top: c. 1880, 1051S; 1885-1890, 361S; 1885, NA-J-134; 1895-1915, NA-J-123; 1915-1930, NA-J-59; 1925-1950, 826S; 1930s, NA-J-304.

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Bow Guards Anyone who has ever used a bow understands the need for a wrist guard. Leather wrist guards were used by archers in the Native Southwest as well. Derived from the Navajo term for bow guards, they have come to be known as ketohs or gatos. Ethnographers in the late 1870s and 1880s reported heavy leather wristlets mounted with silver disks. At Zuni Pueblo, bow guards decorated with pieces of tin arranged as pairs of panels or as a plate bearing simple cutouts were collected in 1879. Both forms occurred with small crimped-on additions along the edges of the leather foundation. This style was later reproduced in silver. As the availability of silver increased, so did the size of the silver mounted bow guards, acquiring a rectangular shape covering the top of the wrist. The disk form still observed in period photos from the 1890s was eventually abandoned in favor of the larger format, giving silversmiths greater opportunity to showcase their decorative techniques. While the Navajo smiths gained their knowledge of metalworking through Anglo-European contact, they needed look no further than the looms of the Navajo women for design inspiration. The developmental aspect of design seen particularly in bow guards coincides very visibly with changes in Navajo weaving patterns. In the ensuing decades, bow guard design would expand and change along with other forms of jewelry. Smiths created skillfully stamped and repousséd ketohs, along with intricate sand-cast designs often having single and multiple settings of turquoise. Zuni smiths embellished their work with images borrowed from their rich cultural heritage, creating beautiful examples in silver and stone. ABOVE: Artists once known (Navajo), bow guards, turquoise, silver. From left: 1885-95, gift of the Graham Foundation for Studies in the Fine Arts, NA-SWNA-J-564; 1895-1915, gift of Mr. and Mrs. Byron Harvey III, NA-SW-NA-J-118.

SOUTHWEST SILVERWORK CIRCLES EXCLUSIVE EXHIBITION PREVIEW HOUR & RECEPTION Friday, Feb. 18 | 4 to 5 p.m. All Circles of Giving Members ($2,000+) are invited to an exclusive Circles of Giving exhibition preview hour and outdoor reception in our Piper Central Courtyard for Southwest Silverwork: 1850–1940, one hour before it opens to Members at 6 p.m. Space is limited, so advance registration is highly encouraged. Kindly RSVP to circles@heard.org or call 602.251.0261 by Feb. 15. SOUTHWEST SILVERWORK MEMBERS EXHIBITION PREVIEW & RECEPTION Friday, Feb. 18 | 5 to 7 p.m. All Museum Members are invited to an exhibition preview and outdoor reception in our Piper Central Courtyard for Southwest Silverwork: 1850–1940, before it opens to the public on Saturday, Feb. 19. Space is limited, so advance registration is highly encouraged. Kindly RSVP to members@heard.org or call 602.251.0261 by Feb. 15.

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go + do

Taking place on the first Friday of the month (except March), this evening event offers free admission for everyone, features local performances and artists, and highlights partner organizations.

APRIL 1 | 4 TO 8 P.M. Join us as we continue the jazz tradition at the Heard for Jazz Appreciation Month. Celebrate the extraordinary history and sounds of jazz with a live performance by the Alan Lewine Xtet.

MAY 6 | 4 TO 8 P.M. Featuring DJ This Just In—treat yourself to the modern sound from a talented local Native DJ.

JUNE 3 | 4 TO 8 P.M. Celebrate Pride Month with the Heard and enjoy music, performances and art activities. Partner organization: one•n•ten. NOTE: MASKS ARE STRONGLY ENCOURAGED FOR ALL VISITORS, REGARDLESS OF VACCINE STATUS.

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MAJOR SPONSOR

SPONSOR

GO + DO

DÍA DEL NIÑO CELEBRATION SUNDAY, APRIL 24, 10 A.M. TO 4 P.M.

Come out for a day dedicated to celebrating our young people. Commemorate Día del Niño with special outdoor performances and free admission for children 12 and under with up to two accompanying adults. Scheduled to appear: Tony Duncan, a five-time World Champion Hoop Dancer, with family members performing music, dance and Young Warriors storytelling. Take in some music and comedy and catch a rare appearance of Bob the Eagle with his friend Jonah Littlesunday. Día del Niño will also offer two special performances by Phoenix Children’s Chorus and onsite art activities for the whole family. Selina Scott (Navajo/Hispanic) offers a painting interactive, James Johnson (Tlingit) will showcase carving techniques, and Jacob Meders (Mechoopda Indian Tribe of Chico Rancheria) will lead a drop-in printmaking activity.

SIGNATURE SPONSOR

SPONSOR

In Memory of Lois & Dutch Lichliter

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indian fair & market

buckle by Pat Pruitt

64TH HEARD MUSEUM GUILD

INDIAN FAIR & MARKET

silver tie detail by Norbert Peshlakai

Barbara Teller Ornelas

BY JANE PRZESLICA | HEARD MUSEUM GUILD PRESIDENT Please join us as we celebrate the 64th Annual Heard Museum Guild Indian Fair & Market on the beautiful Heard Museum campus, March 5 & 6, 2022. This event has always showcased the beauty and vitality of Indigenous creative expression by artists across Indian Country. The 2022 Indian Fair & Market will highlight the work of more than 650 artists who enter the juried competition to vie for cash prizes and the prestige that comes with winning a coveted Heard ribbon. A renowned group of judges composed of artists, collectors

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and museum professionals will select the winning art. Thanks to generous donors, we expect to reach our goal of $97,400 in prize money across 10 classifications, including an unprecedented $25,000 Best of Show award prize. This is the largest prize pool in Fair history and reflects the Heard’s mission of advancing American Indian art and supporting the careers of the winning artists. Plan to join us on Friday evening, March 4, when the Best of Show winners will be announced in advance of the live Indian Fair & Market.

FAIR New for 2022, we are excited to announce the addition of the Youth Art Show and Sale (formerly the Student Art Show and Sale) to be held as part of the 64th Annual Indian Fair & Market. The Heard Museum Guild and the Museum staff are pleased to offer the increased resources of the Fair to bring youth artwork to a wider audience. The Youth Art Show and Sale invites American Indian students in grades 7-12 to submit their original artwork for display and sale. Students will have their art judged by a professional panel and compete for ribbons and cash prizes totaling $10,000. We are delighted that the Fair & Market will be held in person on the Museum campus and welcome all to join in the festivities!

Juried Art Competition and Best of Show Reception FRIDAY, MARCH 4 | 5:30 TO 8 P.M.

Don’t miss this evening kickoff to Fair weekend! The winning artworks in 10 classifications will be unveiled. These works demonstrate the energy, creativity and skills of our Fair artists. Come see these breathtaking creations up close and congratulate the artists. Relax with old and new friends while enjoying small plates, desserts and beverages under the twinkling lights of the Courtyard. The Heard Museum Guild thanks Howard R. and Joy M. Berlin, Kristine and Leland W. Peterson, the Heard Family and Sharron Lewis for their generous support of Indian Fair & Market in co-sponsoring the $25,000 Best of Show Award. ABOVE, left: The Youth Art Show & Sale will be located in the Monte Vista Room. Right: Venancio Aragon at the 2020 Best of Show Reception. LEFT: Victoria Adams

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indian fair & market

Event and Cultural Performances Schedule SATURDAY 11 a.m. - Opening ceremony: Color guard, blessing, national anthem, welcome by Fair Chair and Heard CEO David Roche, drum group Noon - Thunder Boy Dance Group 1 p.m. - Tony Duncan and Family 2 p.m. - Cellicion Traditional Zuni Dancers 3 p.m. - Doreen Duncan/Women Who Dance Beautifully

SUNDAY Noon - Thunder Boy Dance Group 1 p.m. - Tony Duncan and Family 2 p.m. - Cellicion Traditional Zuni Dancers 3 p.m. - Doreen Duncan/Women Who Dance Beautifully 3:50 p.m. - Closing ceremony ABOVE, left: Violet Duncan and family. Right: Kevin Pourier BOTTOM, middle: Black Pinto Horse, aka Monte Yellowbird; Ephraim "Zefren" Anderson.

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BEST OF SHOW RECEPTION Friday, March 4 | 5:30 to 8 p.m. Tickets: $75 Members/$100 Non-Members (Early admission for Circles of Giving Members at 5 p.m.) 64TH ANNUAL HEARD MUSEUM GUILD INDIAN FAIR & MARKET Saturday, March 5 | 9:30 a.m. to 5 p.m. (Early admission for Museum Members at 8:30 am) Sunday, March 6 | 9:30 a.m. to 4 p.m. SINGLE-DAY FAIR ADMISSION Museum Members: $15 (limit 4) Non-Members: $22 advance purchase, $25 at the gate Seniors (65+): $20 advance purchase, $22 at the gate Children (6-17): $9 Children under 6: Free American Indians/Alaska Natives: $10 (with ID; no online sales)

Tickets are required for all events. Purchase online at www.heard.org/fair, via telephone at (602) 252-8840, at the Museum prior to the Fair, and at the Fair entrance gates. All events held rain or shine at the Heard Museum. A Metro Light Rail stop (Encanto/ Heard Museum) is in front of the Museum. Look for signage indicating free parking in lots near the Museum.

FAIR EXPERIENCELEVEL MEMBER AND CIRCLES BENEFITS

FAIR

Hours & Admission

COMPLIMENTARY TICKETS FOR EXPERIENCE-LEVEL ($250+) MEMBERS AND CIRCLES OF GIVING MEMBERS Members at the $250+ level and Circles of Giving members receive a select number of complimentary tickets, which will be mailed in February. If you would like to upgrade your membership to receive complimentary tickets, please give us a call at 602.251.0261.

CIRCLES OF GIVING VIP TENT Circles of Giving members and their guests are invited to enjoy the Circles of Giving VIP Tent throughout the weekend. To access the tent, please show your VIP tickets at the gate, where you will be given a special wristband and directions to the tent (located in the Children’s Courtyard). Once you check in at the tent, a variety of beverages and snacks will be available for you to enjoy, along with lunch catered by our own Courtyard Café.

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hoop dance

WORLD CHAMPIONSHIP HOOP DANCE CONTEST RETURNS The World Championship Hoop Dance Contest returns to the Heard Museum on March 26 & 27, 2022, when the top American Indian and Canadian First Nations hoop dancers will compete at the Heard Museum for the prestigious World Champion title and cash prizes.

MAJOR SPONSORS

YOUTH AND TEEN DIVISIONS SPONSOR

Richard O. Kern Fund SUPPORTERS

Anonymous Renewal by Andersen of Arizona

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ABOVE, Left: Two-time Adult World Champion Lisa Odjig (Ojibwe/ Odawa/Pottawatomi) Right: Tony Duncan (San Carlos Apache/MHA Nations) won the 2021 virtual contest.

ABOUT HOOP DANCING

Over the years, as the hoop dance community has grown, dancers have incorporated new and creative designs and intricate footwork while still respecting the fundamentals of the form. Each dancer presents his or her own choreography, weaving in aspects of tradition and culture. Men and women compete on an equal field, and individual routines may feature as few as four to as many as 50 hoops, which are manipulated to create a variety of designs such as animals, insects and globes. Traditional hoops were made from the wood of a willow tree. Modern-day hoops are often made from reed and plastic hose because of the durability of the material when traveling. The hoops are decorated with tape and paint to symbolize the changing colors of each season. The traditional wooden hoops are still used on rare occasions. Dancers are judged on a slate of five skills: precision, timing/rhythm, showmanship, creativity and speed. Contestants compete in one of five divisions: Tiny Tots (age 5 and younger), Youth (6-12), Teen (13-17), Adult (18-39) and Senior (40 and older). Cash prizes totaling $25,000 are awarded to winners in each division, and victors in each division can claim the honor of being the World Champion. Through stunning performances of those women and men competing to be named the next World Champion Hoop Dancer, the event combines artistry, athleticism, tradition and suspense for an unforgettable weekend of fellowship and competition.

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The art of hoop dance honors cultural traditions shared by multiple Indigenous communities. With roots in healing ceremonies, traditions and practices, today hoop dance is shared as an artistic expression to celebrate and honor Indigenous traditions throughout the U.S. and Canada.

2020 Adult World Champion Scott Sixkiller Sinquah (Gila River Pima/Hopi)

HOOP EXPERIENCELEVEL MEMBER AND CIRCLES BENEFITS COMPLIMENTARY TICKETS FOR EXPERIENCE-LEVEL ($250+) MEMBERS AND CIRCLES OF GIVING MEMBERS Members at the $250+ level and Circles of Giving members receive a select number of complimentary tickets, which will be mailed in February. If you would like to upgrade your membership to receive complimentary tickets, please give us a call at 602.251.0261.

CIRCLES OF GIVING VIP TENT Circles of Giving Members and their guests are invited to enjoy the Circles of Giving VIP Tent throughout the weekend. To access the tent, please show your VIP tickets at the gate, where you will be given a special wristband and directions to the tent (located on the upper north side of the Amphitheater). Once you check in at the tent, a variety of beverages and snacks will be available for you to enjoy, along with lunch catered by our own Courtyard Café.

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collection

The Landscape of

NFTs BY ERIN JOYCE | FINE ARTS CURATOR

The bourgeoning landscape of digital art, and its intersection with the art market, has never been more robust and complex. The advent of NFTs (non-fungible tokens that exist on a blockchain) and their effects on art production are evolving at a rapid pace. It is clear to see that a migration from a physical art world into a digital one is not going away; in the way we collect and exchange art, view art and interact with it, NFTs are a new frontier in the global art economy and museological world. What exactly is an NFT? As stated, it is a form of cryptocurrency that lives on the Ethereum blockchain and can be assigned to various types of unique assets, such as real estate deeds, contracts, music and, in many cases, digital art or CryptoArt. The thing to stress here is that an NFT is unique, meaning it cannot be exchanged for and is not identical to other tokens—it is non-fungible. NFTs are not brand new; they first came into being

in 2014 when Kevin McCoy minted the first non-fungible token, titled “Quantum.” They are on a rapid accession in the contemporary art world, in part due to their newness and innovative reality—but also in part due to the groundbreaking advances this creates for artists’ rights and privileges over their work. For example, traditionally when an artist sells an artwork, either through their gallery representative or on their own, they make money from the sale. But when the work in question changes hands again, on the secondary market, the artist is left out of the transaction, and thus gains no further profit from their labor. With NFTs and the “smart contracts” that accompany them, an artist can require a certain percentage for any subsequent sale of the digital art in question— essentially earning a royalty in perpetuity for each sale. ABOVE: Dorothy Lopez (Tohono O’odham), Man-in-the Maze basket, 1974. Gift of Mr. and Mrs. Glenn Quick, Sr., NA-SW-PG-B-96.

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“SMART CONTRACTS” THAT ACCOMPANY THEM, AN ARTIST CAN REQUIRE A CERTAIN PERCENTAGE FOR ANY SUBSEQUENT SALE OF THE DIGITAL ART IN QUESTION— ESSENTIALLY EARNING A ROYALTY IN PERPETUITY FOR EACH SALE.

WHAT IS A NON-FUNGIBLE TOKEN?

COLLECTION

WITH NFTS AND THE

An NFT is a unique digital identifier that cannot be copied, substituted, or subdivided, that is recorded in a blockchain, and that is used to certify authenticity and ownership (as of a specific digital asset and specific rights relating to it) Source: Merriam-Webster

This all makes sense in terms of the art market and the ways in which NFTs can benefit an artist or team of artists, but how exactly do NFTs fit into the landscape of museums? While it is still very new, museums are starting to explore various models and applications of NFTs through digital exhibitions, minting NFT versions of works from their permanent collections to generate income. Some new museums are even being constructed in New York and Seattle to serve the community solely through the presentation of NFT digital art. Time will tell how the integration of nonfungible token CryptoArt will situate itself within the context of art museums, how sustainable it will be and in which ways artists will gain from it in the long term. While it would be interesting to investigate NFTs through the lens of medium, it is nearly impossible to exact commerce from them due to their very nature as a cog in the cryptocurrency wheel. That being said, the realm of digital art as medium is one that will astound, shock, challenge and evolve our understanding of the world around us through the brilliance and innovation of the artists who engage in it.

FUNGIBLE Asset can be exchanged with or substituted for similar assets of the same value.

= NON-FUNGIBLE Assest is entirely unique and cannot easily be substituted for similar assets.

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shop GOTTA HAVE IT! COW KATSINA DOLL

by Gene Dawahoya (Hopi), $350

ARGENTIUM SILVER & HORSEHAIR PIN

by Heidi Bigknife (Shawnee), $315

BEADED BUTTERFLY FORM NECKLACE

by Jovanna Poblano (Zuni Pueblo), $950

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GO SHOP + DO STERLING SILVER FIGURAL BOLO TIE WITH LONE MOUNTAIN TURQUOISE & MEXICAN OPAL

by Ric Charlie (Navajo), $4,700

EYEDAZZLER RUG

by Sandra James (Navajo), $4,500

TURQUOISE PENDANT

by Tommy Jackson (Navajo), $350

18K LAPIS & OPAL EARRINGS

APPLE CORAL CORN MAIDEN FETISH CARVING

by Larry Vasquez (Mescalero Apache), $7,800

by Faye Quandelacy (Zuni Pueblo), $295

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shop + dine

KATSINA DOLL MARKETPLACE On Saturday, April 2, the nation's largest gathering of Hopi katsina doll carvers will show and sell their unique creations at the Katsina Doll Marketplace: A Gathering of Carvers, in the Steele Auditorium. Enjoy musical performances, carving demonstrations and a drawing for the featured katsina doll. Hopi carvers will show and sell their carvings in both traditional and contemporary styles. As a new or experienced collector, attend the Marketplace to meet the best established and emerging carvers.

SIGNATURE KATSINA The 2022 featured doll will be given away to the winner of a drawing to take place on the day of the event, along with a poster of the event signed by the attending carvers.

DRAWING TICKETS Tickets for the drawing will be available in the Heard Museum Shop for $2 each or 6 for $10. You can also order tickets by calling the Shop at 602.252.8344. You do not need to be present to win! KATSINA DOLL MARKETPLACE Saturday, April 2 | 10 a.m. – 4 p.m. Cost: Free Location: Steele Auditorium C.1990 Qoqole Katsina Doll by Lowell Talashoma (Hopi, 1950-2003)

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SHOP | DINE

NEW OFFERINGS AT THE COURTYARD CAFÉ BY IRENE RUTIGLIANO | DIRECTOR OF RESTAURANT OPERATIONS

The New Year has arrived, and we are so pleased to welcome our guests back to the museum and the Courtyard Café. While seating is still limited, we are now open on Sundays and have expanded our hours to 11 a.m. - 3 p.m.!

Our new Winter/Spring menu features exciting additions to our much-loved Member favorites. Several new menu items are rising stars, like our Grilled Ham and Swiss on Toasted Ciabatta and our Impossible Street Tacos wrapped in handmade corn tortillas made fresh daily. But the most unique addition is our Toasted Turkey Tapenade. Quickly becoming my personal recommendation, it is made with our oven-roasted turkey breast, house-made

Kalamata olive tapenade, aged provolone and arugula, all of which are encased in our toasted griddle flatbread. Just tell your server you would like Irene’s favorite sandwich! The Courtyard Café will also be open on First Friday evenings. We look forward to seeing and serving you again soon. Bon Appétit!

WINTER 2022

moondance

MOONDANCE’S RECORD-BREAKING 20TH ANNIVERSARY CELEBRATES ART, PHILANTHROPY AND THE OPENING OF REMEMBERING THE FUTURE Honorees Denise Wallace and Mary Ellen McKee

On a beautiful October evening, guests celebrated a joyous outdoor evening filled with exceptional art, a silent auction, live music, and dancing at the Heard’s largest annual fundraiser. The 20th anniversary gala marked the opening of the Heard’s new Grand Gallery exhibition, Remembering the Future: 100 Years of Inspiring Art, and honored longtime supporters Robert H. and Mary Ellen McKee and distinguished jewelry artist Denise Wallace (Chugach Sugpiaq/Alutiiq). This year’s Moondance campaign committee was cochaired by Jan Cacheris and Marilyn Harris, who led a record-setting fundraising effort that totaled $1.4 million in support for museum operations, exhibitions and programs.

Save the Date! Moondance October 22, 2022 46

EARTHSONG

Howard Berlin, Denise Wallace, Joy Berlin and Mary Ellen McKee

MOONDANCE Seated: Bennett & Jacquie Dorrance, John & Armity Simon. Standing: Carrie Hulburd, Katie Mueller, Erin & John Gogolak.

Wick Pilcher, Kolby & Kenny Moffatt, Bill & Peggy Clarke

Sharron Lewis and David Roche

Governor Stephen Roe Lewis, Patti Hibbeler, Dina Huntinghorse and Ivan Makil

Hailey Neher, Marilyn Harris, Jan Cacheris and Catherine Cacheris Mayhew

WINTER 2022

give

Ways to Give There are many ways to support the Heard Museum, from volunteering or becoming a member to making financial gifts that support a range of programs, exhibitions, and other priorities. As a Heard Museum Member, chances are you may be familiar with these ways of supporting the museum and our mission. But you may be less familiar with two other ways of supporting the Heard Museum, each of which also offers special tax-wise opportunities: the Grand Gallery Exhibition Fund and our Planned Giving Program.

Grand Gallery Exhibition Fund The Grand Gallery Exhibition Fund is a new initiative that provides direct support for the Heard’s world-class exhibitions. 100% of gifts to the Fund go directly toward planning and implementing the original and ambitious exhibitions you’ve come to expect in the Virginia G. Piper Charitable Trust Grand Gallery. In addition, supporters of the initiative receive special recognition and exclusive benefits. This year, Grand Gallery Exhibition Fund donors enabled: •

The opportunity for over 12,000 in-person visitors and 2.5 million more online to experience Larger Than Memory: Contemporary Art from Indigenous North America and Leon Polk Smith: Hiding in Plain Sight

•

Virtual Art Talks and other online programs with dozens of artists, curators and scholars associated with these two Grand Gallery exhibitions

•

Recognition by Phoenix New Times of Larger Than Memory as Best Art Exhibit in their Best of Phoenix 2020 issue

•

The ability and confidence to plan exhibitions months and years into the future, sustaining our creative efforts through and beyond the pandemic To learn more, please contact Jack Schwimmer at jschwimmer@heard.org or 602.251.0245.

EARTHSONG

Planned Giving In 1925, Dwight Heard provided $75,000 in his will to be used by his wife, Maie Bartlett Heard, “for construction, maintenance, and endowment for any form of benefaction for the benefit of Phoenix and vicinity.” And so the vision for the Heard Museum was born, through the museum’s very first “planned gift.” Individuals who have embodied the Heards’ generosity and vision by similarly establishing planned gifts themselves are members of an esteemed group named for Ms. Heard: the Maie Bartlett Heard Society. Some have included the Heard Museum in their estate plans (through financial gifts, or gifts of art), while others have made lifetime gifts through tax-wise giving vehicles like IRAs or stock gifts. All have found creative ways to support the Heard in which they, their loved ones, and the Heard itself all benefit at the same time. Whenever you might be interested in exploring such gifts, the Heard’s Development team is here to help! Visit heard.org/plannedgiving, or contact Jack Schwimmer at jschwimmer@heard.org or 602.251.0245 with any questions about the Maie Bartlett Heard Society or how to build your own legacy at the Heard Museum.

SAVE THE DATE | FALL 2022 HE`E NALU:

THE ART AND LEGACY OF HAWAIIAN SURFING SPONSORED BY Photo by Ha'a Keaulana

FALL 2020

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OF GOD AND MORTAL MEN

Phoenix, AZ 85004 602.252.8840 | heard.org

CELEBRATING FIVE YEARS

FRIDA K AHLO AND DIEGO RIVER A

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

MASTERWORKS BY T.C. CANNON FROM THE NANCY AND

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

Dav

GELMAN COLLEC TION

Members Preview | October 28, 2018

RICHARD BLOCH COLLECTION

FALL 2017

AND MAST

FRIDA AND DIEGO

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RECORD-SETTING NUMBERS

OF AMBITIOUS GRAND

P. 14

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MUSEUM MEMBERSHIP MAGAZINE

HEARD MUSEUM MEMBERSHIP MAGAZINE

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2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

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GALLERY EXHIBITIONS

earth song

2301 N. Central Avenue

Leon Polk Smith: Hiding in Plain Sight, organized by the Heard

Phoenix, AZ 85004

Museum and presented Feb. 5 through May 31, 2021. This exhibition was made possible through the lead support of

602.252.8840 | heard.org

earth song

HEARD the Leon Polk Smith Foundation and the Henry Luce Foundation.

HEARD MUSEUM MEMBERSHIP MAGAZINE

APRIL - SEPTEMBER 2017 | INSIDE THE HEARD MUSEUM

MUSEUM MEMBERSHIP MAGAZINE

HEARD MUSEUM MEMBERSHIP MAGAZINE

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2301 N. Central Avenue

The inaugural exhibition to open in the new Virginia G. Piper Charitable Trust Grand Gallery

OF GOD AND MORTAL MEN

FRIDA K AHLO AND DIEGO RIVER A

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

MASTERWORKS BY T.C. CANNON FROM THE NANCY AND

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

David Hockney’S YOSEMITE

GELMAN COLLEC TION

Members Preview | October 28, 2018

RICHARD BLOCH COLLECTION

FALL 2017

AND MASTERS OF CALIFORNIA BASKETRY

FRIDA AND DIEGO

earth song

2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

earth song

2301 N. Central Avenue

Museum and presented Feb. 5 through May 31, 2021. This exhibition was made possible through the lead support of

HEARD the Leon Polk Smith Foundation and the Henry Luce Foundation.

HEARD MUSEUM MEMBERSHIP MAGAZINE

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MEMBERSHIP MAGAZINE

P. 14

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MUSEUM MEMBERSHIP MAGAZINE

HEARD MUSEUM MEMBERSHIP MAGAZINE

JANUARY - MARCH 2017 | INSIDE THE HEARD MUSEUM

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February 10 - March 31, 2017

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RECORD-SETTING NUMBERS

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Leon Polk Smith: Hiding in Plain Sight, organized by the Heard

Phoenix, AZ 85004 602.252.8840 | heard.org

HEARD MUSEUM MEMBERSH MAGAZIN

FALL 2020

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OF GOD AND MORTAL MEN

October 7, 2017 - April 15, 2018

April 11 - September 4, 2017

FROM THE NANCY AND

new Virginia G. Piper Charitable Trust Grand Gallery

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2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

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MUSEUM MEMBERSHIP MAGAZINE

HEARD MUSEUM MEMBERSHIP MAGAZINE

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HEARD MUSEU MEMBERSH MAGAZI

JANUARY - MARCH 2017 | INSIDE THE HEARD MUSEUM

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APRIL - SEPTEMBER 2017 | INSIDE THE HEARD MUSEUM

Members Preview | October 28, 2018

RICHARD BLOCH COLLECTION

FALL 2017

AND MASTERS OF CALIFORNIA BASKETRY

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

MASTERWORKS BY T.C. CANNON

The inaugural exhibition to open in the

David Hockney’S YOSEMITE

October 29, 2018 – February 3, 2019 FRIDA K AHLO AND DIEGO RIVER A

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

The inaugural exhibition to open in the

David Hockney’S YOSEMITE

GELMAN COLLEC TION

new Virginia G. Piper Charitable Trust Grand Gallery

AND MASTERS OF CALIFORNIA BASKETRY

SPECIAL EDITION earthsong FRIDA AND DIEGO

2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

RECORD-SETTING NUMBERS

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HEARD MUSEUM MEMBERSHIP MAGAZINE

earth song HEARD MUSEUM MEMBERSHIP MAGAZINE

JANUARY - MARCH 2017 | INSIDE THE HEARD MUSEUM

P. 14

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HEARD MUSEUM MEMBERSHIP MAGAZINE

FALL 2020

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2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

HEARD MUSEUM MEMBERSHIP MAGAZINE

APRIL - SEPTEMBER 2017 | INSIDE THE HEARD MUSEUM

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FA L L 2019

May 4 - September 3, 2018

October 28, 2019 – April 5, 2020

April 5 - September 29, 2019

OF GOD AND MORTAL MEN

MASTERWORKS BY T.C. CANNON

The inaugural exhibition to open in the

FROM THE NANCY AND

new Virginia G. Piper Charitable Trust Grand Gallery

earthsong JANUARY - MARCH 2017 | INSIDE THE HEARD MUSEUM

FRIDA K AHLO AND DIEGO RIVER A

PRESENTED BY

FROM THE JACQUES AND NATASHA

SUPPORTED BY

David Hockney’S YOSEMITE

GELMAN COLLEC TION

Members Preview | October 28, 2018

AND MASTERS OF CALIFORNIA BASKETRY

FRIDA AND DIEGO

earthsong

RECORD-SETTING NUMBERS

earth song HEARD MUSEUM MEMBERSHIP MAGAZINE

P. 14

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MUSEUM MEMBERSHIP MAGAZINE

HEARD MUSEUM MEMBERSHIP MAGAZINE

FALL 2020

earthsong

earth song

2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

HEARD MUSEUM MEMBERSHIP MAGAZINE

APRIL - SEPTEMBER 2017 | INSIDE THE HEARD MUSEUM

FA L L 2018

2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

earth song

MUSEUM MEMBERSHIP MAGAZINE

HEARD MUSEUM MEMBERSHIP MAGAZINE

FA L L 2019

February 5 – July 3, 2021

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

RICHARD BLOCH COLLECTION

FALL 2017

ON VIEW NOW

OF GOD AND MORTAL MEN

MASTERWORKS BY T.C. CANNON

The inaugural exhibition to open in the new Virginia G. Piper Charitable Trust Grand Gallery

May 1 – October 25, 2020

FROM THE NANCY AND

FALL 2017

YUA HENRI MATISSE AND THE INNER ARCTIC SPIRIT

FRIDA K AHLO AND DIEGO RIVER A

PRESENTED BY

SUPPORTED BY

FROM THE JACQUES AND NATASHA

David Hockney’S YOSEMITE

GELMAN COLLEC TION

Members Preview | October 28, 2018

RICHARD BLOCH COLLECTION

AND MASTERS OF CALIFORNIA BASKETRY

FRIDA AND DIEGO

October 23, 2021 Through August 2022

earthsong JANUARY - MARCH 2017 | INSIDE THE HEARD MUSEUM

2301 N. Central Avenue Phoenix, AZ 85004 602.252.8840 | heard.org

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HEARD MUSEUM MEMBERSHIP MAGAZINE

FALL 2020

earth song HEARD MUSEUM MEMBERSHIP MAGAZINE

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MUSEUM MEMBERSHIP MAGAZINE

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