EarthSong - Summer 2023

BOARD OF TRUSTEES

John F. Lomax

John Coggins

Ginger Sykes Torres

Karen Abraham

David M. Roche

TRUSTEES

Tony Astorga

Nadine Basha

Jeri Y. Ben-Horin

Gregory H. Boyce

Susan Esco Chandler

Adrian Cohen

Dr. Craig Cohen

Robert A. Cowie

Judy Dworkin

John Furth

John Graham

Joe Gysel

David A. Hansen

Sharron Lewis

LIFE TRUSTEES

Kay Benedict

Arlene K. Ben-Horin

Howard R. Berlin

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

James R. Huntwork

Edward F. Lowry

Chair Vice-Chair Secretary Treasurer

Dickey Family Director and CEO

HEARD MUSEUM, HEARD MUSEUM SHOP

2301 N. Central Ave. Phoenix, AZ 85004

Tuesday to Sunday, 10 a.m. to 4 p.m.

Closed Easter Sunday, Independence Day, Thanksgiving Day & Christmas Day

Main: 602.252.8840

Events Hotline: 602.252.8848

Shop: 602.252.8344 or 1.800.252.8344

THE COURTYARD CAFÉ

Gov. Stephen R. Lewis

Marigold Linton

John Lucas

Janis Lyon

John Melamed

John Miller, Guild President

Scott Montgomery

Paige Rothermel

Christy Vezolles

Frank Walter III

Trudy Wiesenberger

David Wilshin

Visit heard.org/dining for availability. 602.251.0204

COFFEE CANTINA

Tuesday to Sunday, 10 a.m. to 4 p.m.

WE APPRECIATE THE SUPPORT OF THESE SPONSORS:

INCREASE YOUR SUPPORT THROUGH OUR COMMUNITY PARTNERS:

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

Leland Peterson

Wick Pilcher

David E. Reese

William C. Schubert

Sheryl L. Sculley

Richard H. Silverman

John G. Stuart

EARTHSONG

Kim Alexis Adversario Membership & Circles Manager

Sarah Moore

Graphic Design

Sean Ornelas Director of Marketing & Communications

Deborah Paddison Copy Editing

CONTRIBUTING WRITERS:

Kim Alexis Adversario, Olivia Barney, Kelly Gould, Dan Hagerty, Mario Nick Klimiades, Lucia Leigh

Laughlin, Ann Marshall, Roshii Montaño, Diana F. Pardue, David M. Roche, Jack Schwimmer

Cover: Brenda Mallory (Cherokee Nation), b. 1955. ᏓᏓᏅᏘᏐᏗᏍᎬᎢ ᏗᎦᏊᎡᏅᏍᎩ #24 (ᏕᎦᏄᎪᎬᎢ ᏚᏙᏢᏒᎢ), (Reformed Packings #24 (Emergent Forms)), 2022. Honeycomb packing sheet, paint, encaustic. Collection of the artist.

Photograph by Mario Gallucci.

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.

Dear Members,

I am dedicating my letter in this issue of Earthsong to the Heard Museum Guild, who have a direct impact on the membership experience (and many of whom are also members). The men and women that comprise the Guild are our partners in all that we do, from Indian Fair and Market to Guiding to Volunteering in the Library and Archive, and so much more.

In 1956, 30 women founded an Auxiliary to the Heard Museum with the goals of supporting the Museum’s mission, providing financial assistance, and conducting guided tours of the collection. Founding President Helen Shackelford said of the role of Heard Guild volunteers, “Much needed doing, and we did it.” For 67 years the Guild has been doing just that, with passion, intelligence, humor, and hard work.

It is the commitment to service that I see in our volunteers that inspires me. Every day, I see volunteers contribute their time, energy, and talent to come to the Heard and work, to make an impact: collectively the Heard Guild has contributed well over 1 million volunteer hours and their fundraising efforts provided $75,000 this year alone to support Museum operations and activities. Of course, not all that the Guild does can be so neatly measured.

Volunteers, for example, are often the face of the Heard Museum to our members. When you check in at the Information Desk, take a guided tour of our newest exhibitions Brenda Mallory The North Star Changes and Arriving Forever Into The Present World , or visit the Shop to buy that perfect and unique gift for a friend or family member, you are often interacting with a volunteer (one way to know for sure is to look at their badge, which includes the number of service hours they have contributed to the Museum). They are often the front lines of the Museum’s operations, helping to build relationships between our members and the Institution; relationships being the foundation on which the Museum’s future success will be built.

I want to share one memory from the second weekend of December 2020 that stands out in my mind. You’ll recall what a bleak time that was for our country and the world. The Heard Museum was open but attendance and earned revenues were severely depressed. Those weeks leading into the holidays were vitally important for the Shop, because of the artists the Shop serves and the revenues

the Shop generates to support the operations of the Museum. That weekend, Saturday to be precise, several Shop employees called in sick. Who came to the rescue, our volunteers Mary and Lynn Endorff. When I saw them in the parking lot headed to the Shop, I wanted to throw my arms around them to thank them but, of course, during COVID we didn’t do that sort of thing. But that memory lives in my heart.

I am deeply grateful for the support of so many talented and dedicated individuals, and feel pride and gratitude, as does the entire Heard staff, that we get to partner with the Guild. I’ll add that if you want to engage in meaningful work that touches and transforms lives, consider joining the Heard Museum Guild.

April was National Volunteer Month. Although we celebrate the Guild yearround, we marked the occasion with the annual Guild Appreciation Dinner, which is hosted by the Heard Museum staff. We recognized our volunteer’s many accomplishments and achievements and extended our deepest gratitude for their remarkable contributions to the Heard Museum. I respectfully ask that you do the same when you next visit the Museum and encounter a volunteer.

David M. Roche

Dickey Family Director and CEO

David M. Roche and Board Chair John Lomax with Guild members Jane Przeslica, John Miller and Mary & Lynn Endorff. Photo: Haute Media

Creating a Land Acknowledgement

Twenty years ago, the Heard Museum convened gatherings of Native American advisors from Arizona and New Mexico to ask about important topics we should present in the new installation of our permanent collection that became HOME: Native People in the Southwest. Land was a topic they all identified as one of fundamental importance. Native people’s past and present ties to the land, their knowledge of the land, their ongoing care of the land, and their loss of land through settler colonialism all were part of the important heritage that our advisors discussed and presented in the HOME exhibition.

These considerations within the context of the exhibition were appropriately regional. But what about the people on whose ancestral land the Heard Museum was built? We needed to be much more specific, so we began a twoyear process that led to the approval of a land acknowledgement statement by the Heard Museum Board of Trustees on November 18, 2022.

Heard Museum Dickey Family Director & CEO David Roche reached out to Dr. David Martinez (Akimel O’otham/ Hia Ced O’odham/Mexican) to lead the process in concert with the Board Program Committee and the American

Indian Advisory Committee. The museum is fortunate to have active participation from American Indian community members on both committees, in addition to leadership by American Indian members of the Board. Discussion within the American Indian Advisory Committee was foundational, including consideration of why an acknowledgement was needed, who should be included in the acknowledgement, a literature review of existing acknowledgements, and appropriate use of a land acknowledgement. With this background, Dr. Martinez drafted an acknowledgement. He was joined by Director Roche and Dr. Trevor Reed (Hopi), Heard Museum

Trustee and Co-Chair of the Board Program Committee, in presenting the draft to the Four Southern Tribes Cultural Resource Working Group.

The Four Southern Tribes group consists of representatives from the Gila River Indian Community, the Salt River Pima-Maricopa Indian Community, the Ak-Chin Indian Community, and the Tohono O’odham Nation. In the past, this group has been enormously helpful to the museum in matters of repatriation.

As the Four Southern Tribes considered the draft, we were very appreciative of the support of Gila River Indian Community Governor and Heard Museum Trustee Stephen Roe Lewis and the guidance of Gila River Indian

Land Acknowledgement panel on display in HOME. Photo: Craig Smith

Community Historic Preservation Officer Barnaby Lewis. Based on feedback, revisions to the draft were made and ultimately approved by the Four Southern Tribes.

On November 18, 2022, Dr. Reed presented the land acknowledgement to the Heard Museum’s Board of Trustees. In his presentation, Dr. Reed commented, “In the genre of land acknowledgement, this is a standout and something you don’t get to see. Usually, land acknowledgements are a couple of sentences that get right to the point. This one requires us to think through history and [consider], in the future, what our relationship with the Akimel O’odham will be.”

The Board then voted to approve the land acknowledgement.

The next decision involved where to place the land acknowledgement in the museum. It was decided to place the statement at the entrance to the Sonoran Desert section of the HOME exhibition, where visitors may learn in some depth about the ancestral Huhugam and their descendants, today’s O’odham. If you have not visited the HOME exhibition recently, we hope you will take a few minutes to view it and consider the Heard Museum’s relationship to the people who are part of the land on which the museum is located.

Heard Museum Land Acknowledgement Statement

The Heard Museum acknowledges that the land this institution has stood upon since 1929 is within the O’otham Jeved, which the Akimel O’otham have regarded as their homeland since time immemorial. Despite the land’s annexation into New Spain, the Mexican Republic, and the United States, which assumed control after the 1854 Gadsden Purchase, the Akimel O’otham have consistently asserted that this land is theirs, as recounted in their Creation Story, in which Jeved Ma:kai, Earth Doctor, made this place. Today the Akimel O’otham are part of the Four Southern Tribes of Arizona, which is a coalition comprised of the Gila River Indian Community, the Salt River Pima-Maricopa Indian Community, the Ak-Chin Indian Community, and the Tohono O’odham Nation.

The Heard Museum, in what is today downtown Phoenix, Arizona, occupies land within sight of numerous Huhugam, or Ancestral O’otham, canals, farmlands and villages, which is evidence of a presence going back countless generations, long before Father Eusebio Kino and the Conquistador

Juan Mateo Mange arrived in the area on November 21, 1697, which harbingered a succession of colonization. Indeed, the founders of the Heard Museum, in particular, benefited from the US making Arizona a Territory in 1863, then a state in 1912, which led to the economic development of Phoenix, which became an election precinct in 1868. Consequently, the Heard acknowledges that it has a moral obligation to the Akimel O’otham, on whose land this museum continues to thrive. The latter is in addition to the Indigenous peoples, from within and well beyond Arizona, currently inhabiting the Greater Phoenix Metropolitan Area. With this in mind, the Heard proclaims that it remains dedicated to honoring its relationship with the Akimel O’otham through its programming, exhibits, public events, publications, and community service, which it extends to the other Indigenous peoples represented in its collections. The Heard hereby proudly commits itself to a future of building, improving, and nurturing its relationships with the Akimel O’otham and other Indigenous communities, locally, regionally, nationally and internationally.

– David Martínez, Ph.D (Akimel O’Odham/Hia Ced O’odham/Mexican)

Video still by James Jay (O'odham) and Andrew Marreitta (O'odham), Gila River Broadcasting Company, for Substance of Stars

Brenda Mallory (Cherokee Nation), b. 1955. ᏧᏣᏔᏊ ᏓᎾᎵᎪᏗᏍᎬᎢ, (Common Connections), 2019. Fused glass. Collection of the Jordan Schnitzer Family Foundation, from the Arlene and Harold Schnitzer Collection. Photograph by Mario Gallucci.

The North Star Changes opened on April 7 at the Heard Museum, presenting work by Brenda Mallory, a citizen of the Cherokee Nation. Mallory is an awardwinning artist whose accolades include an Eiteljorg Contemporary Art Fellowship in 2015, a National Artist Fellowship from the Native Arts and Cultures Foundation in 2016, and a Hallie Ford Fellowship in the Visual Arts from The Ford Family Foundation in 2022. The title of Mallory’s exhibition derives from the idea that people perceive the North Star as permanent; yet, over the course of thousands of years, different stars assume the name and the position. Currently, the North Star is Polaris. In about 12,000 years, it will be Vega. Mallory’s use of this title asks the viewer to question ideas of absolutes and permanence.

The exhibition features sculptures Mallory has made using reclaimed and found materials that take the form of installations. The exhibition is on display in multiple galleries of the museum: the Kitchell Gallery at the entrance, the Lyon Family Crossroads Gallery, and the Alcove Gallery directly across from the Lovena Ohl Gallery. As soon as visitors enter the museum, they are welcomed by Mallory’s work and the title of the exhibition, The North Star Changes

, printed in both English and Cherokee. The Cherokee syllabary is different from the English alphabet in that each character represents a syllable, while in the English alphabet the letters represent sounds that form different syllables depending on their sequence. In addition to the exhibition name,

OLIVIA BARNEY | COLLECTIONS COORDINATOR

the titles of each of Mallory’s works on display also appear in the Cherokee syllabary alongside their English versions. The translations were provided by ᏩᏕ ᎦᎵᏍᎨᏫ wahde galisgewi of the Cherokee Nation. An essay accompanies the exhibition as well, and it is available for visitors to pick up in the Kitchell Gallery. It is formatted into a gallery guide booklet written by Joseph M. Pierce, who is also of the Cherokee Nation and an associate professor at Stony Brook University. His writing gives further insight into Mallory as an artist and interpretations of her work. One of the significant themes explored throughout Mallory’s work is connections. She uses nuts, bolts and similar pieces of hardware to visualize them. For Mallory, “These connections represent repairs, suturing broken things or broken worlds. It’s a way to show networks, too, and the interconnections between systems, people and cultures.” Visitors can see physical references to these connections throughout the exhibition in works such as Consensual Attachments: Across Time and Space, Precession and Common Connections Mallory additionally explores aspects of her culture through the designs and forms of her creations. An example of this can be seen in a new work she created for the exhibition titled To Carry an Ember, which is on view in the Lyon Family Crossroads Gallery. It is assembled from deconstructed thread spools and spool cores, but the design is inspired by a cropped-in portion of a Cherokee basket-maker’s pattern, which is also linked to Water Spider, who brought fire to the Cherokee people.

In an interview with Mallory from the Spring 2023 issue of EarthSong, she voiced that “Everybody brings their own experience to the museum, and I have found that people bring ideas to my work that I hadn’t even consciously thought of, and I love that. I’m interested in multiple interpretations of a work.”

Visitors can view The North Star Changes at the Heard Museum now through Feb. 4, 2024, and see the sensational work that can be created from found and reformed materials. Mallory has commented that “there’s something special about giving a second life, a second function to something that’s been deemed ‘trash’ by someone else.”

ᎤᎾᏫᏘᏗ ᎠᏥᎸᎢ, (To Carry an Ember), 2023. Deconstructed thread spools, spool cores, paint on wood panel. Collection of the artist. Photograph by Mario Gallucci.

Whitney Museum Holds Retrospective Exhibition for Jaune Quick-to-See Smith

DIANA F. PARDUE | CHIEF CURATOR

Artist Jaune Quick-to-See Smith received much-deserved recognition for her works of art in a retrospective exhibition organized and presented recently by the Whitney Museum of American Art in New York. The exhibition draws works from museums, galleries and private collectors to show the breadth and range of Smith’s works throughout her more than 50-year artistic career. The Heard Museum was pleased to loan to the exhibition one of Smith’s mixed-media works, Rain, a work that references acid rain and responds to climate change. Rain was acquired by the Heard for the 1991 exhibition and accompanying publication Shared Visions: Native American Painters and Sculptors in the Twentieth Century

The Whitney celebrated Smith’s exhibition with a series of opening events held to honor the artist and to acknowledge lenders and supporters. It was a privilege to attend one of the events on the evening of April 12. Upon entering the gallery, two things were evident. First, the Whitney, which moved to its new building near the Hudson River eight years ago, has an expansive gallery with a vast ceiling height and light-colored wood floors that serves as a perfect venue for Smith’s works. Second, present among the sponsors and lenders were many of Smith’s longtime friends—artist Emmi Whitehorse was one of the first to arrive. Jeff Gibson, Peter Jemison, Sonya Kelliher-Combs, Mario Martinez and many others were there to celebrate the event and honor their fellow artist and friend.

The Whitney exhibition covers numerous periods in Smith’s career, beginning with the rich pastels she created in the 1970s and continuing with more recent

large-scale provocative works, such as her canoe paintings and one of the canoe sculptures she created with her son, artist Neal Ambrose-Smith. The early works brought back memories of Smith’s participation in a two-person exhibition at the Heard Museum in 1979 titled Imagery from the Plains, while in recent years one of the canoe sculptures was included in the Heard exhibition Larger Than Memory: Contemporary Art from Indigenous North America.

Smith, who is perhaps best known for her paintings, pastels and mixed-media works of art, has also forged an indelible path as a curator, author, activist, lecturer and teacher. Her works of art speak to her life experiences and her ability to capture points in time through complex executions.

At the opening, the Whitney gave their guests an hour to view, absorb and appreciate the artworks before heading to a dinner on a different floor of the museum. Wearing matching black hats with beaded rims, Jaune and Neal arrived and were greeted warmly by friends as they entered the room. Adam Weinberg, director of the Whitney, opened the event with remarks about the importance of Smith’s work. A vegan dinner was served, and this neophyte foodie enjoyed the salad of puréed English peas on a bed of lettuce, which was seasoned to perfection.

Following the dinner, Curator Laura Phipps mentioned the generous time Smith had spent earlier that day with the Whitney docents. Phipps noted that planning the exhibition with Smith was an incredible experience that took place over a four-year period, with some delays due to the pandemic. Smith was the last to speak. She

read three poems, acknowledged the positive experience she had working with Phipps and the Whitney staff, and was pleased that the design team met her specific requests. She wanted the exhibition to have an exterior view from the gallery. The team accomplished this through the use of partial walls that allowed a view but insured that direct light did not strike any of the works. Smith requested that the gallery not have a central aisle. The team designed the gallery with a series of temporary walls that create intimate spaces for the different works. After Smith spoke, as friends gathered to talk with her and her son, both responded graciously. When I had a chance to say hello, Smith complimented my silver dragonfly pin by Christina Eustace and I her silver dragonfly earrings by Keri Ataumbi. People lingered as the evening’s events came to an end.

During a recent exhibition discussion, my colleagues and I were challenged by an artist to consider the positions of power that museums hold. Certainly, museums extend power through the exhibitions they plan and the acquisitions they select. Similarly, one must consider the power of art. In Smith’s works, power is evident in the ability of the works to inspire awe, to promote contemplation, and to challenge historical narratives. The Whitney should be applauded for their selection of Smith for this retrospective exhibition.

Jaune Quick-to-See Smith (Confederated Salish and Kootenai Nation, b. 1940) Rain, 1990. Mixed media on canvas. Purchased with funds provided by the National Endowment for the Arts and the Goldsmith Foundation, IAC2394

Remembering Fine Art Curator Margaret

L. Archuleta (Tewa/Hispanic)

MARIO NICK KLIMIADES | LIBRARY AND ARCHIVES DIRECTOR

Ifirst met Margaret Archuleta (1950-2023) during the 1987 Santa Fe Indian Market at the legendary Burrito Company off the Santa Fe Plaza. I had not yet started my position as the Heard Museum Librarian and was getting a head start by meeting this intriguing Native colleague. From this early meeting, we became best friends. She was to be a trusted advisor and library supporter. Margaret’s career at the Heard Museum from 1986 to 2001 was distinguished by her work on some of the most significant and memorable exhibitions and programs that continue to impact the Heard today.

Margaret curated a series of standard-setting exhibitions, beginning with the 1987 3rd Biennial Native American Fine Arts Invitational through the 1997 7th Native American Fine Arts Invitational, culminating in 1999 with the exhibition and catalogue Art in Two Worlds: The Native American Fine Art Invitational 1983-1997. Each exhibition was juried and accompanied by a catalogue which Margaret authored. These exhibitions featured many leading artists, including Joe Feddersen, Rick Bartow, Gail Tremblay, Rebecca Belmore, Nora Naranjo Morse, Joe Baker and nearly 40 others. Notable

Mary Morez, Jean LaMarr, Margaret Archuleta, James Luna. Photograph by Robert C. Buitron, 1991. RC10(4):19

judges, many who were Native American, included Harry Fonseca, Allan Houser, Kay WalkingStick, Lucy Lippard, Truman Lowe and James Luna. The artwork represented the new and the challenging. As Margaret explained, “The Invitational recognizes Indian artists who are producing artwork that does not conform to the dogma of acceptable Indian art … the art that they are producing is a continuation of living cultures. Most importantly, the Invitational recognizes that this is a significant part of what Indian artists are doing today.”

Working with her friend and colleague Dr. Rennard Strickland, Margaret developed an exhibition, catalogue, conference and proceedings titled Shared Visions: Native American Painters and Sculptors in the Twentieth Century The exhibition showcased Native American art by the most important fine artists of the 20th century, those who shaped the direction and development of American Indian painting and sculpture. The exhibition traveled nationally and internationally. A conference sponsored by the Rockefeller Foundation held on May 8-11, 1991, at the Heard Museum set the stage for author Jeanne Snodgrass King to announce the donation of her monumental library, artist files and archives to the Heard Museum. Both Margaret and Dr. Strickland observed that Shared Visions offered a powerful message about cultural persistence in response to the challenge of cultural and technological change.

In 1997, the Heard Museum was selected to organize an exhibition supported by First Lady Hillary Rodham Clinton and curated by Margaret titled Twentieth Century American Sculpture at the White House: Honoring Native America. This prestigious showcase of Native American sculpture was the first installation in the Jacqueline Kennedy Garden to present works by Native American artists. From October 1997 to October 1998, this exhibition presented the diversity of contemporary Native American sculpture for a national and international audience to enjoy. Artists selected included Allan Houser, Susie Bevins Ericsen, Doug Hyde, Bob Haozous, Willard Stone, Rick Bartow, John Hoover, Doug Coffin, George Morrison, Nora Naranjo Morse, Roxanne Swentzell and Truman Lowe.

With the assistance of Rayna Green, Brenda J. Child, K. Tsianina Lomawaima, Karen Swisher, Tessie Naranjo

and Janet Cantley, Margaret developed the landmark exhibition Remembering Our Indian School Days: The Boarding School Experience. Opened to the public on Nov. 18, 2000, it ranked as the first comprehensive exhibition that examined the efforts of the federal government to assimilate American Indians through education. This powerful and poignant exhibition became one of the most visited in the history of the Heard Museum. It was accompanied by a catalogue, Away from Home: American Indian Boarding School Experiences, 1879-2000, edited by Margaret, Brenda J. Child and K. Tsianina Lomawaima. It is held in more libraries worldwide than any other exhibition catalogue published by the Heard Museum. After 15 years of the exhibition in its original form, curator Janet Cantley, with the assistance of K. Tsianina Lomawaima, Brenda Child and others, updated the exhibition to create Away from Home: American Indian Boarding School Stories.

During her tenure at the Heard Museum, Margaret was a powerful advocate for Native artists and set high standards for Native American art. In addition, Margaret’s influence on artists and organizations to donate documentation and artists’ papers to the Library and Archives, as well as her own generosity, grew the holdings of the Library and Archives exponentially. As a final act in honor of their sibling “Margie,” her sister Catherine O’Hara and brother Rick Miller donated Margaret’s library, research and papers to the Billie Jane Baguley Library and Archives. Her legacy at the Heard Museum and her family donation come together as a fitting and lasting tribute.

Margaret Archuleta and George Morrison. Photograph by W. Jackson Rushing, 1991. RC10(7):9

New Acquisition: T.C. Cannon

In the spring of 2023, the Heard Museum acquired a work on paper by Caddo/Kiowa artist T.C. Cannon, expanding the museum’s collection of artworks by this influential artist. Painted in 1974, Moon and Stars over Taos is an exceptional and unique example of the artistic experimentation in media that Cannon was working on toward the latter years of his life.

Tommy Wayne Cannon (1946-1978) grew up in Gracemont, Oklahoma, the son of Minnie Ahdunko Cannon (Caddo) and Walter Cannon (Kiowa). From 1964 to 1966, Cannon lived in New Mexico while attending the Institute of American Indian Arts, where the Kiowa and Caddo cultural landscapes that grounded his personal philosophies translated to his emerging artistic practice. Following his graduation from IAIA, Cannon served as a paratrooper in the Vietnam war, returning in 1968. Throughout the 1970s, Cannon would create an iconic body of work that articulated his unique subjectivity. On May 8, 1978, Cannon passed away at 31 years old. His work continues to emerge as a prevailing force in American modernism, an arena in which he has been previously unacknowledged.

Vast celestial bodies loom over two figures tightly wrapped in striped blankets—Moon and Stars over Taos assumes a quiet stillness emanating from the winter atmosphere, suggested by the cool-toned colored paper and prominent use of metallic silver. Cannon applies metallic silver and gold to illuminate the sky and provide a glow to the landscape behind the figures. In this technique he draws inspiration from the work of Austrian artist Gustav Klimt, who made use of dynamic movement through the application of gold leaf in paintings such as The Kiss (1907-08) and Portrait of Adele Bloch-Bauer I (1907).

This acquisition follows a recent donation of five Cannon woodcut prints from 1977 that translated his well-known paintings to print. These were generously donated to the Heard by Christy Vezolles, in memory of Gil Waldman. The acquisition of Moon and Stars over Taos was made possible thanks to the generosity of 18 supporters, in memory of Gil Waldman. The woodcut prints and Moon and Stars over Taos are featured in the exhibition Indeterminate Beauty, open through April 2024.

ROSHII MONTAÑO | ASSISTANT REGISTRAR

T.C. Cannon, Kiowa/Caddo, 1946-1978, Moon and Stars over Taos, 1974, Acrylic and metallic paint on paper. Acquisition made possible thanks to the generosity of the following, in memory of Gil Waldman: Tony Abeyta, Susan Esco Chandler and Alfred D. Chandler, Pam Hait, Vickie Hamilton-Smith and Jerry Smith, Linda Herold, Anita Hicks, Ellen and Steve Hoffman, Kathleen L. and William G. Howard, Annadru and Richard Lampert, Patsy and Ed Lowry, John Otto, The Owings Gallery, Sallyann Paschall, Laura Finlay Smith, Tia Collection, Christy Vezolles, Paul Vezolles, The Waldman Family, 5038-1.

Substance

Kalani Pe'a in Concert WEDNESDAY, FEB. 8 POST-PERFORMANCE

World Championship Hoop Dance Competition

SATURDAY & SUNDAY, FEB. 18 & 19

Heard Museum Guild Indian Fair & Market

SATURDAY & SUNDAY, MARCH 4 & 5

Maie Bartlett Heard Society Tea

TUESDAY, MARCH 21

The North Star Changes: Works by

Brenda Mallory

KITCHELL GALLERY | OPENED THURSDAY, APRIL 6

Gathering

of

Carvers:

The 21st Annual Katsina Doll Marketplace

SATURDAY, APRIL 8

T.C. Cannon: Indeterminate Beauty

THRILLS AUDIENCES ONCE AGAIN

Each year, the World Championship Hoop Dance Contest draws thousands of spectators, dancers, families and friends to the Heard Museum’s Libby Amphitheater for a weekend of thrilling performances, fellowship and prizes for the world’s top hoop dancers.

The 2023 event, which took place over President’s Day weekend, attracted 108 dancers—the most ever to compete in its 33-year history. Not only did the dancers show up, but so did the crowds. Over the two-day event, 4,677 attendees cheered on their favorite dancers in four competitive age divisions: the Youth Division (39 contestants), the Teen Division (14 contestants), the Senior Division (five contestants) and the Adult Division (35 contestants). For the first time in contest history, the field was so large that dancers performed two at a time during the early rounds of the contest. Additionally, a crowd favorite, the Tiny Tots contest (for dancers age 5 and younger), which is not scored by judges, was held on Saturday. Each day began with a Grand Entry of contestants, a procession led by flag bearers carrying the U.S. and Canadian banners.

DAN HAGERTY | CHIEF ADVANCEMENT & ENGAGEMENT OFFICER

LEFT: 2023 World Champion Scott Sinquah (Gila River Pima/ Hopi-Tewa/Cherokee/Choctaw).

BELOW: Dancers assemble in the arena for the Grand Entry.

Scott Sinquah (Gila River Pima/Hopi-Tewa/Cherokee/Choctaw) won in the Adult Division for the second time, after earning his first championship title in 2020. Rounding out the top six in the Adult Division were Talon Duncan (San Carlos Apache/MHA Nation) in second place, Tony Duncan (San Carlos Apache/MHA Nation) in third, Josiah Enriquez (Pueblo of Pojoaque/Pueblo of Isleta/Navajo) in fourth place, Eric Hernandez (Lumbee Tribe) in fifth, and defending champion Sampson Sinquah (Gila River Pima/Hopi-Tewa/Cherokee/Choctaw) in sixth place. Moontee Sinquah (Hopi-Tewa/Choctaw) took the Senior Division title, Mateo Ulibarri (Pueblo of Pojoaque) won the Teen Division, and Naiche Duncan (Cree/Taino/Apache/MHA Nations) was the winner of the Youth Division.

Native song and drum, representing both Northern and Southern styles, are the heartbeat of the contest. Two outstanding singing groups returned this year, the Cozad Singers and the Thunder Boy Singers. Each group performed nearly 100 songs during the weekend’s events. The Cozad Singers, led by Kenneth Cozad Sr. (Kiowa/Comanche), recently took first prize for Southern Drum at the nation’s largest annual powwow, the Gathering of Nations. And Ryon Polequaptewa’s (Hopi) Thunder Boy Singers also gave remarkable performances as the host Northern Drum.

ABOVE: Winning dancers in the arena at the end of the competition.

BELOW: Young dancers enter the arena in the morning.

Dennis Bowen Sr. (Seneca) offered his singular talents for the 32nd year in a row as the master of ceremonies, capably supported by Arena Director Eric Manuelito Jr. (Diné) and five returning judges: Lowery Begay (Diné), Charlene Bomberry (Onondaga Nation/Deer Clan from Six Nations of the Grand River Territory), Thomas Phillips (Kiowa/Muskogee Creek), Kricket Rhoads-Connywerdy (Kiowa/ Caddo) and Preston Eugene Tone-Pah-Hote Jr. (Kiowa). Guild volunteers Sue Pappas and Jackie Stubbs also played critical roles in supporting the museum’s staff and the Hoop Dance Committee in organizing the event.

The Heard Museum offers its sincere gratitude to every partner and collaborator who made this annual event possible, and our congratulations go to the remarkable community of hoop dancers—contestants and winners alike—who contributed their unique talents to make an unforgettable and exciting weekend.

FEBRUARY 17 & 18, 2024

Photo: Rich Bottarini

Dennis Bowen Sr. (Seneca)

TH ANNUAL HEARD MUSEUM GUILD

INDIAN FAIR + MARKET

Best of Show

Raynard Scott (Navajo) Dinetah-Poly

Raynard Scott (Navajo)

Best of Class: I Jewelry and Lapidary Work

Denise Wallace (Aleut) My Brother, The Seal

Best of Class: IV Pueblo Carvings

Arthur Holmes, Jr. (Hopi) Coming Together As One—Mud Head & Tuhuve (paralyzed)

Victoria Adams (Southern Cheyenne/Arapaho) and Sharron Lewis

Adrian Pinnecoose (Navajo/Southern Ute)

Best of Class: II Pottery

Jared Tso (Navajo) Red and White Rippled Jar

Best of Class: III 2-Dimensional Art

Eugene Tapahe (Navajo)

Strength and Dignity

Naiomi and Tyler Glasses (Navajo) Jilli Oyenque (Ohkay Owingeh Pueblo)

Manaya Duncan (ApacheMandan/Hidatsa/Arikara) performs in the amphitheatre.

Best of Class: IV Weavings and Textiles

Phil Singer (Diné)

Pure Chaos

Now on view in Arriving Forever into the Present World

Best of Class: VIII Baskets

Don Johnston (Qagan Tayagungin)

Hunting Seal

Tyrrell Tapaha (Navajo) Barbara Teller Ornelas (Diné)

Held on April 8, Gathering of Carvers: The 21st Annual Katsina Doll Marketplace was an overwhelming success. Sponsored by the Heard Museum Shop, this largest gathering of its kind in the world welcomed 85 Hopi artists who showcased their expert carving skills. Katsina doll collectors were able to meet with and purchase directly from the artists, enjoy musical performances and connect with old friends.

The Marketplace included a juried competition, and this year’s Best of Show was awarded to Ronald Honyouti for his carving titled “Heheya Family.” Honyouti is an award-winning Hopi carver who comes from a family of artists. He has been actively carving since the 1970s and is well known for the intricate bases he creates for his katsina dolls.

The Marketplace also included a raffle for a beautifully carved Qoqole katsina doll by Michael Dean Jenkins valued at $3,000, along with a poster of the doll signed by all the carvers who attended the event. Jenkins has been actively carving since the 1990s and is well known for his contemporary, one-piece carvings using muted pigments to achieve unique finishes.

Mark your calendar for all the fun next year. The Katsina Doll Marketplace is held annually on the first Saturday in April, which is April 6, 2024.

Best of Show: “Heheya Family” by Ron Honyouti (Hopi)

THE COOL SUMMER MENU HAS ARRIVED COURTYARD CAFÉ

FRESH WATERMELLON AND MIXED BERRY SALADS ARE BACK!

Open Daily 11a.m. to 3p.m.

Member Appreciation Month at the Heard Museum!

KIM ALEXIS ADVERSARIO | MEMBERSHIP & CIRCLES MANAGER

Our members are the drivers of the Heard Museum’s growth and inspiration. Members provide the largest unrestricted annual income to the museum and propel our ability to advance our mission. Your continued support has allowed us to expand our youth and family programming and welcome more than 140,000 visitors each year, broadening the Heard’s presentation of Indigenous art and culture to museum-goers of all ages and backgrounds.

Over this year we have celebrated six original exhibition openings together, launched a new program highlighting items from the Heard Museum Permanent Collection, and experienced wonderful new programs and signature events. The past few months have been an exciting whirlwind of activities, and all of them have been extra-special thanks to you!

In gratitude to our members, the Heard Museum offered new membership benefits such as free admission for additional guests, special discounts in the Heard Museum Shop, a chance to win exclusive giveaways, and so much more! We loved celebrating Member Appreciation Month with you in April, and we look forward to many more shared moments together.

Members Opening of Substance of Stars.

Photo: Haute Media

January Bagel Breakfast with Director of Research Ann Marshall

Guild Appreciation Dinner

A very special thank-you to our Heard Museum Guild for another amazing year of volunteer work and support for our mission and programs! Consisting of 153 volunteers, the Guild accumulated a total of 32,250 hours of work from Fall 2022 to Spring 2023. We welcomed the 2023 Las Guias Class at the Heard Museum Guild Appreciation Dinner on April 20.

Annual Members Picnic

In coordination with Lei Day, we celebrated our annual Members Picnic on April 30. Members enjoyed an exclusive members-only performance from local halau (dance group)

Kaimikahu Hale O Hula and opportunities to win prizes for the whole family! This Members Picnic was a wonderful celebration and a warm reminder of the many connections we have fostered over the years.

Fair Chair Frank Vickory and Joey Muzzy at the 2023 Heard Museum Guild Indian Fair and Market.

Photo: Haute Media

Las Guias Class of 2023.

Photo: Haute Media

Heard Museum Shop Staff and Volunteers. Photo: Haute Media

Kaimikahu Hale O Hula. Photo: Haute Media

Did You Know?

The Maie Bartlett Heard Society

JACK SCHWIMMER | ASSOCIATE DIRECTOR OF DEVELOPMENT

In 1925, Phoenix businessman and newspaper publisher Dwight Heard provided in his will $75,000 to be used by his wife, Maie Bartlett Heard, “for construction, maintenance, and endowment for any form of benefaction for the benefit of Phoenix and vicinity.” And so the vision for the Heard Museum was born, through the museum’s first planned gift.

Individuals who have embodied the Heards’ generosity and vision by similarly establishing planned gifts themselves are members of 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 donations. All have found creative ways to support the Heard in which they, their loved ones and the Heard itself all benefit.

Members of the Maie Bartlett Heard Society, along with longtime Heard Museum members, gathered for this year’s annual event on March 21. The theme of the afternoon was “Americans in Paris.” Guests enjoyed delectable treats from Creations in Cuisine and engaging presentations from Substance of Stars exhibition advisors Jamie Jacobs and Sean Mooney about their experiences at Paris’s Quai Branly Museum.

Richard & Ann Carr.

Photo: Haute Media

Roberta Aidem. Photo: Haute Media

Consider Making a Gift That Lasts Forever

There are some simple ways you can leave a lasting legacy at the Heard Museum. Making a gift through your will or trust can be:

Easy

All it takes is a simple addition to your existing documents. We can provide you with sample language to give to your attorney.

Changeable

You can easily alter or revoke your gift down the road if needed.

Flexible

Give a specific asset or a percentage of your estate. Support a particular program or let your gift go where it’s needed most.

Memorable

If there’s a special person you wish to honor, a gift through your will or trust makes a beautiful tribute.

Transformational

When you leave the Heard a gift in your will or trust, you build our longterm financial strength and enable us to continue to help our community into the future.

To learn more, contact JSchwimmer@Heard.org or 602.251.0245, or visit heard.org/plannedgiving.

Jamie Jacobs.

Photo: Haute Media

Sean Mooney. Photo: Haute Media

All have found creative ways to support the Heard in which they, their loved ones and the Heard itself all benefit.

Celebrating

at and Families Children

Since opening in January, the Heard Museum exhibition Heʻe Nalu: The Art and Legacy of Hawaiian Surfing, which closes on July 16, has inspired vibrant programs for visitors of all ages. Whether you attended the opening weekend Hoʻolauleʻa with the John Rivera Collective and Hālau Ka Lei Mokihana O Leināʻala, watched the sun set while being transported to the Pacific through the stunning vocals of Kalani Peʻa, or cozied up to watch Disney’s Moana dubbed in Hawaiian at Outdoor Family Movie Night, you know that honoring Hawaiian culture filled the Heard with joy. Rooted in one of the exhibition’s key themes—community—Lei Day brought more than a thousand children and their ohana (families) to the museum on April 30.

LUCIA LEIGH LAUGHLIN | YOUTH & FAMILY ENGAGEMENT MANAGER

Making paper flower lei while wearing orchid wrist lei.

First officially observed on May 1, 1928, children in Hawaii celebrate Lei Day by learning about the official colors, flowers and lei materials of each of the Hawaiian Islands. Nā Maoli o Nā Moku commenced the Heard Museum’s Lei Day celebration with oli (chants), mele (songs) and hula (dance), including the Hawaiian anthem, “Hawaiʻi Ponoʻī.” Throughout the day, guests enjoyed a performance by Kaimikahu Hale O Hula and a hula lesson and performance from Hālau Hoʻokahi I Ka Hula.

In town from Hawaiʻi especially for the event, Shar Tuiʻasoa, artist and author of Punky Aloha, created a paint-by-number mural that took shape over the course of the afternoon. The mural features the character Punky, in her signature sunglasses and bun, confidently surfing past palm trees and a crab. After hearing Shar read her book, visitors channeled Punky’s gusto by using their favorite colors to bring the mural to life.

Kaimikahu Hale O Hula dance group performs.

Addinggreentothe paint-by-numbermural.

Artist and author Shar Tuiʻasoa helps children paint the mural.

Keikicatchthewave.

Children enjoy Punky Aloha coloring pages

Learning hula with Hālau Hoʻokahi I Ka Hula.

Volunteer Jasmin Menjivar and her mother, Rosa, teach ʻukulele.

Inside the museum, Heʻe Nalu guest curator Carolyn Kualiʻi and Heard Museum Guild Education Coordinator Linda Hefter led Family Tours of Heʻe Nalu as ʻukulele music wafted down from the Berlin Mezzanine. While families completed activities from the Heʻe Nalu Family Guide, children could be seen frolicking in the South Courtyard with ribbon dancers in the colors of each of the islands.

Keiki (children) learned Hawaiian with Makamae Sniffen, played the Hawaiian games palaʻie and hū, made paper flower lei and fresh orchid kupeʻe (wrist lei), and stamped postcards with traditional tapa designs. Members of Na Leo ʻO Ke Kai Outrigger Canoe Club led children in games of dart sliding and shared their knowledge about the sport of canoe racing.

Guests noshed on specialty items from the Heard Museum Café and Cantina, cooled off with treats from 10th Island Shave Ice, enjoyed made-toorder dishes from Emerson Frybread, sampled Hawaiian classics from Pacific Rim & Sushi, and satisfied their sweet tooths with filled pastry from Wiki-licious Malasadas.

It was our absolute pleasure to plan this program alongside our partners Arizona Aloha Festival and Lau Kānaka No Hawaiʻi, and we look forward to our next season of exhibition-specific programs.

Photos: Haute Media

Food trucks fill the Plaza.

Special thanks to our Heard Museum Circles of Giving

Gold Circle ($10,000)

Anonymous (2)

Nadine Basha

Howard and Joy Berlin

Bob Bulla

Richard and Ann Carr

Mr. and Mrs. F. Wesley Clelland III

Mary G. Hamilton

Sharron and Delbert Lewis

Fred and Ann Lynn

Janis Lyon

Carol Ann and Harvey Mackay

Mary Ellen McKee

Samuel J. Parker

Arthur and Linda Pelberg

Sandy Raffealli

David and Weezie Reese

Merle and Steve Rosskam

Ms. B. J. Shortridge

John G. and Carolyn W. Stuart

Margo and Frank Walter

Silver Circle ($5,000)

Karen and Donald Abraham

Roberta Aidem

Patrick and Deborah Allender

Jett and Julia Anderson

Tony and Milena Astorga

Eleanore Beals

Arlene and Giora Ben-Horin

Mark and Mary Bonsall

Mr. and Mrs. John Boppart

Sue Bunch

Susan Esco Chandler and Alfred Chandler

Sidney and Charlotte Clark

Carol Cohen

Robert and Vanne Cowie

Susan Diamond

Drs. Terri G. Edersheim and B. Robert Meyer

John and Hope Furth

Meryl and Jeanne Haber

Joel and Lila Harnett

Martha M. Head, Head Family

Foundation

Carl and Margaret Hedlund

Thomas and Ruth Ann Hornaday

Drs. Kathleen L. and William G. Howard

Mr. Robert Fippinger and Ms. Ann F. Kaplan

Shari and Bob Levitan

Marigold Linton and Robert Barnhill

James and Jean Meenaghan

Deirdre and Jim Mercurio

Elaine and Scott Montgomery

Susan and James Navran

Donald and Barbara Ottosen

Kristine and Leland Peterson

Mr. and Mrs. John E. Rogers

Richard and Susie Silverman

Donald and Dorothea Smith

Naoma Tate

David Wilshin

Mrs. Sheri Young

Copper Circle ($2,000)

Joseph Anderson and Mary Dewane

Drs. Christopher Appleton and Marcia Ko

Patricia AtLee and Frank AtLee IV

Shirley Avery and Amy Hurst

Delores Bachmann

Judson and Sue Ball

Reginald M. Ballantyne III

Mr. and Mrs. James K. Ballinger

Louis and Kay Benedict

Neil S. Berman

Regina and Peter Bidstrup

Dr. and Mrs. Michael K. Block

Mark and Olga Boardman

Mrs. Cerelle Bolon

Richard and Janet Bottarini

Greg and Lisa Boyce

Pamela Briggs and Stephen

DePasquale

Mr. and Mrs. Christopher J. Cacheris

Mrs. Lili Chester

John and Tara Coggins

Craig and Sharon Cohen

Adrian and Carla Cohen

Ms. Alexis M. Cosca

Norma Jean Coulter

Jerry Cowdrey and Anita Hicks

Julie Dalrymple

Leslie Dashew and Jack Salisbury

Ronald and Jo Ann Davis

Dino J. and Elizabeth Murfee DeConcini

Drs. Frances and Paul Dickman

Ms. Judith Dobbs

Larry Donelson

Cliff Douglas

Betty Drake

Mr. and Mrs. Michael Duffek

Judith Dworkin and David Pijawka Ph.D.

Linda and Martin Ellison

Mr. and Mrs. Steve Evans

Lynne Fenderson

Peter Fine and Rebecca Ailes-Fine

Mr. and Mrs. Jed Foutz

Judith and Stanley Getch

Bert and Sandy Getz

Frank and Betsy Goodyear

Nancy and Andrew Gordon

Spencer and Michael Gregg

Ashley J. Harder

Ms. Marilyn W. Harris

Michael Hawksworth and Anna Sokolova

Judy Hewson

Daniel Hidding

Maureen and David Horwitz

Joel and Cindy Hoxie

Thomas and Mary Hudak

Carrie and Jon Hulburd

James and Patience Huntwork

Susan and Thomas Ingeman

Cindy Jacka

Tom and Mary Jeffries

Malcolm and Jane Jozoff

Ann Julin

Shirley and George Karas

Mrs. Bonnie Kraft

Richard and Sally Lehmann

The Lester Family

Jan and Tom Lewis

Newton Linebaugh and Frank Vickory

Samuel and Judy Linhart

William Chuchro and LaDonna Loitz

John and Colleen Lomax

Evelyn and John C. Lucking

Fran and M.S. MacCollum

Clint and Audrey Magnussen

Mr. and Mrs. Vance Marshall

Robert and Beth Matthews

Miriam J. McClennen

John and Janet Melamed

Pat and Kim Messier

Dr. Donald Miles

Carolyn and Richard L. Morgan

Trudi and Robert Murch

Michael and Catherine Murray

The Honorable Sandra Day

O'Connor

Susan Orr

Harry and Rose Papp

Jody Pelusi

Sara and Fred Phillips

Wick and Jill Pilcher

Mahi Riley and Skye Thomas

Robert and Judith Rothschild

Norman Sandfield

Charles F. and Jennifer E. Sands

Carol and Randy Schilling

Marlene Scholsohn

William and Judith Schubert

Susan H. and W. Ford Schumann

Carol and Ken Seidberg

Mary and Stanley Seidler

Bruce and Nancy Shaw

Ted and Mary Jo Shen

Barbara Slater

Paul and Diane Smith

C. A. and Corinne Smith

Dana and Kevin Smith

Jim and Joyce Smith

James and Traci Swanson

Amy and Ray Thurston

Eric and Karah Trevan

David and Joann Van Denburgh

Betty Van Denburgh

Christy Vezolles

Gary and Diane West, West Family Foundation

Trudy and Steven Wiesenberger

Mr. and Mrs. Daniel J. Wilhelm

Megan Wosaba and Shannon Myers

Diana Wykes

Mike and Ann Zemke

Featured Item

A timeless piece, ancient and yet modern.

KELLY GOULD | DIRECTOR OF RETAIL OPERATIONS

We selected an Al Qöyawayma (often referred to as “Al Q”) bowl as our featured item for this issue of EarthSong because of its beauty and simple elegance. It also appears in the Heard Museum’s advertisement in Native American Art magazine’s June/July 2023 issue. The piece is a large, wide-shouldered bowl (6" high x 19" wide) in the classic Sikyatki shape. The coil-built bowl has thin walls and a smooth, stone-polished surface. The piece features a large Mosquito Man design in matte relief created in repoussé, or pushed out from the inside. Mosquito Man is a design seen in Pueblo kiva murals. The result is a timeless piece, ancient and yet modern.

Qöyawayma (Hopi/Cherokee) writes of himself: “My clay creations reflect the Southwest environment’s aesthetic influences and values passed down through our family. Form, textures, contrasts, shadow, and the softness of desert color hues are foremost in my work. Oral history and research provide me with emerging themes; identifying who we are is a profound pursuit. At the same time, my repoussé technique offers a ‘contemporary’ style of ceramics. A particular tradition does not restrict me; I’m free to innovate. I find myself trying to ‘reach’ in my creative pursuit as I strive to bring into focus human and spiritual things beyond my reach. Creativity will always be my challenge.”

This piece is quintessential Al Q.

Institutional & Foundation Sponsors

500,000 - 999,000

Virginia G. Piper Charitable Trust

250,000 - 499,000

Margaret A. Cargill Philanthropies

100,000 - 249,000

Arizona Community Foundation

Bank of America

Diane and Bruce Halle Foundation

E.A. Michelson Philanthropy

Hearst Foundations

Nina Mason Pulliam Charitable Trust

Steele Foundation

Terra Foundation for American Art

50,000 - 99,000

Adelante Foundation

APS/Pinnacle West

Arizona Commission on the Arts

Arizona Department of Veterans' Services

Arthur M. Blank Family Foundation

EPCOR

Robert H. McKee and Mary Ellen McKee Charitable Family Foundation

TriWest Healthcare Alliance

Virginia M. Ullman Foundation

25,000 - 49,000

Blue Cross Blue Shield of Arizona

Elizabeth Firestone Graham Foundation

Flinn Foundation

Garcia Family Foundation

Gila River Indian Community

J.P. Morgan Securities LLC

Phoenix Office of Arts and Culture

Pivotal Group Foundation

SRP

The Moreno Family Foundation

Wyeth Foundation for American Art

10,000 - 24,900

AARP

Ameriprise Financial

Bashas' Inc.

BBVA Compass Foundation

Benevity Community Impact Fund

David S. Van Denburgh Family Foundation

Dr. Scholl Foundation

Edythe Fairbanks Whiteman Family Foundation

Freeport-McMoRan Copper & Gold

Goldman Sachs Philanthropy Fund

J. William Boyce and Marilyn W. Boyce Charitable Fund

Jennings, Strouss, & Salmon, PLC

Kelleher Family Foundation

Kensington Square Foundation

L. Roy Papp Charitable Trust

Ledgeways Charitable Trust

Lynn and Joe Pinto Family Foundation

Michael W. Louis Private Foundation

Northern Trust Bank

PNC Bank

Premises Properties LLC

RBC Capital Markets, LLC

Renewal by Andersen of Arizona

Salt River Pima Maricopa Indian Community

Snell & Wilmer LLP

The Head Family Foundation

Torrey Pines Club Corporation

Twin Arrows Navajo Casino Resort

UBS Financial Services

Union Pacific Foundation

USI Insurance Services, LLC

Valley of the Sun United Way

2,000 - 9,900

Arizona Cardinals Charities

Cox Communications

DLR Group

Greater Kansas City Community Foundation

Hellman & Friedman Gives Foundation

Mass Mutual Trust Company

Minneapolis Foundation

National Philanthropic Trust

Okland Construction

Pershing LLC

Sacks Tierney P.A.

The Callaghan Family Foundation

The Boeing Company

The Rudolph & Gladys Miller Medical Foundation

Waymo

West Family Foundation

Albertsons-Safeway Foundation

American Foundation

Applied Materials Foundation

Arch W. Shaw Foundation

Arizona Taste Catering

Atlasta Catering & Event Concepts

AtLee Family Foundation Inc.

Aventura Catering

Craig and Barbara Barrett Foundation

Creations in Cuisine Catering

Fabulous Food Fine Catering and Events

Facebook

Fidelity Brokerage Services LLC

Globe Foundation

Hensley Beverage Company

Lumina Foundation

M Catering by Michael's

Matson Foundation

Meyerson Family Foundation

Myers Vitkin Foundation, Inc.

RBC Wealth Management

Rochester Area Community Foundation

Safeway, Inc.

Sam and Judy Linhart Foundation

Santa Barbara Catering Company

Shiprock Gallery of Santa Fe

Strong Foundation of New York

The Wenden Foundation

West Family Foundation

OCTOBER 21, 2023

Celebrating

Early Days: Indigenous Art from the McMichael

Four centuries of Canadian Indigenous Art

Lawrence Paul Yuxweluptun (b. 1957). New Climate Landscape (Northwest Coast Climate Change), 2019. Acrylic on canvas, 193 x 243.8 cm. 2020.10 Purchase 2020, BMO Financial Group. Image courtesy of Sarah Macaulay & Co. Fine Art

Detail of D. Y. Begay, Navajo, b. 1953, Palette of Cochineal, 2013, handspun churro wool, cochineal dye, synthetic dyes, 33 x 47 inches. Heard Museum Collection, Gift of the Heard Museum Council in honor of Werner Braum, the Max M and Carol W. Sandfield Philanthropic Fund of the Dallas Jewish Community Foundation as recommended by Norman Sandfield, and the Bruce T. Halle Family Foundation at the recommendation of Diane and Bruce Halle and in honor of Harvey and Carol Ann Mackay, 4732-1.