Heard Fair Guide 2018

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Bill Glass Jr. - “The Discussion Revolves” (sculpture) Best of Class

Sequoyah Convention Center at Hard Rock Hotel & Casino Tulsa CherokeeArtMarket.com

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Wheelwright Museum OF THE AMERICAN INDIAN

www.wheelwright.org 704 Camino Lejo, Santa Fe, NM 87505 505-982- 4636 or 1- 800 -607- 4636

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A Universe of Meaning Through April 15, 2018

BAG DEPICTING A WHITE-TAILED DEER Sandra Okuma, Luiseño/ Shoshone-Bannock, 2011 Private Collection

Also on Exhibition Center for the Study of Southwestern Jewelry Permanent Exhibition

Eye Candy: Visual Treats from the Permanent Collection

Through April 15, 2018

Support for this exhibition is provided in part by the Enivar Charitable Fund in Memory of Nancy Florsheim; Leo and Donna Krulitz; Richard and Willa Sisson; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; the FRIENDS of the Wheelwright Museum; and several other donors. Photo: Neebinnaukzhik Southall.

MEMORIAL DAY WEEKEND MAY 26–27, 2018 SANTA FE CONVENTION CENTER FREE ADMISSION Join more than 200 invited Native American artists selling their work in an intimate setting. Proceeds benefit the artists and the Museum of Indian Arts & Culture. nativetreasures.org

Traditional | Contemporary | Timeless Jewelry by Maria Samora (Taos), 2018 MIAC Living Treasure and Featured Artist. Photo by Kevin Rebholtz

INSPIRED BY COLOR

To create his unique jewelry, Allen Aragon (Navajo), paints intricate abstract images on pieces of pottery. He then fires the pieces and sets each one in sterling silver to create beautiful pendants, earrings, rings, bolo ties and concho belts. Each piece of jewelry is truly one of a kind.

Painted pottery pendant set in sterling silver by Allen Aragon (Navajo). Photo: Megan Richmond, Heard Museum.

HEARD MUSEUM MEMBERS GET 10% OFF A LARGE SELECTION OF ITEMS

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CLASSIC TO CONTEMPORARY “THIS EXCEPTIONAL GALLERY SHOWCASES NATIVE AMERICAN POTTERY AND MANAGES TO ELEVATE THE ART FORM.” TRAVEL + LEISURE, 2017

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Ray Tsalate: Feathered Friend (two views)

227 Don Gaspar Santa Fe, NM 87501 505.989.8728 www.keshi.com Since 1981

jewelry

fetishes

pottery

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C E L E B R AT I N G A R T I S T I C E X C E L L E N C E

Welcome

to the 60th Annual Heard Museum Guild Indian Fair & Market. Once again, a vast effort will transform the Heard’s eight-acre campus into a sea of white tents filled with artists representing tribes from across North America offering dazzling jewelry, intricate baskets, detailed pots, colorful paintings, and every other kind of art imaginable. While much has changed, much has stayed the same. The fair has been a labor of love for the Heard Guild since its inception and continues to flourish under the creative inspiration, managerial skills, thoughtful leadership, and hard work of hundreds of volunteers. It is the signature event run by the guild and the largest annual event held at the museum with over 10,000 guests from all over the world. More than 600 artists from American Indian and Alaska Native tribes and Canadian First Nations participate. In honor of the 60th annual Heard Museum Guild Indian Fair & Market, we are delighted to announce a one-time, special $10,000 Best of Show Award sponsored by Howard R. and Joy M. Berlin and Kristine and Leland W. Peterson. Leland Peterson is treasurer of the Heard Museum Board of Trustees and Howard Berlin is a life trustee of the Heard Museum. The guild thanks the Berlins and Petersons for their generous support of our outstanding artists and this historic event. Join us at the Best of Show reception to preview the award-winning art and meet the artists from the juried competition. We are also excited to present a special exhibition, Artistic Excellence: The Heard Museum Guild Indian Fair & Market Celebrates 60 Years, in the Kitchell Gallery. Museum admission is included with your fair ticket. In addition to raising $60,000 for the ribbon awards, the guild typically donates over $100,000 in fair proceeds to support the mission and programs of the Heard Museum. And the value of the thousands of hours of donated labor to plan, organize, and execute the fair is, as they say, priceless. We are confident your experience at the fair will give you a greater understanding and affinity for contemporary Indigenous arts and culture. On behalf of all who work to support the fair and the artists, we thank you! See you at the fair!

Fair Hours & Admissions

DAVID R. ROCHE, Dickey Family Director & CEO, Heard Museum MARY ENDORF, Guild President SHELLEY MOWRY, 2018 Fair Chair

Reduced admission with ID: $10 (no online sales) for American Indians and Alaska Natives, students age 17 and younger, and retired and active military

Hours and Admission BEST OF SHOW RECEPTION Friday, March 2, 2018 5:30–8:00 pm Tickets: $75 museum members, $100 nonmembers 60TH ANNUAL HEARD GUILD INDIAN FAIR & MARKET

Saturday, March 3, 2018 9:30 am–5:00 pm 8:30 am: early-bird admission for museum members only Sunday, March 4, 2018 9:30 am–4:00 pm All events held rain or shine at: HEARD MUSEUM 2301 N. CENTRAL AVENUE PHOENIX, AZ 85004. Valley Metro Light Rail stops in front of the museum and there is free parking nearby. SINGLE-DAY FAIR ADMISSION AND MUSEUM ADMISSION Adults: $20 Children 16 and under: free

TWO-DAY DELUXE PASS BEST VALUE! Includes two fair admission tickets and one Best of Show reception ticket: $100 museum members $125 nonmembers

Purchase tickets at HEARD.ORG/FAIR. 602.251.0261 6 | First American Art Magazine Heard Fair Guide 2018

Feature Articles Norbert Peshlakai by Cheri Falkenstien-Doyle The 2017 Heard Fair Best of Show and Best of Classification Winners by Stacy Pratt, PhD, and America Meredith, photography by Craig Smith Then and Now: Sixty Years of the Heard Museum Guild Indian Fair & Market by Anna Flynn

60TH ANNUAL

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HEARD MUSEUM GUILD INDIAN FAIR & MARKET OFFICIAL GUIDE

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Published First American Art Magazine, LLC, in partnership with the Heard Museum Guild

Publishing Editor America Meredith

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Made for the Body: 21st-Century Native American Accessories by Suzanne Newman Fricke, PhD

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Exhibitions at the Heard Museum by Diana Pardue and Ann Marshall

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Contributing Editor Staci Golar

Heard Liaison & Fair Marketing Chair Anna Flynn

Calendar Editor Tammi Hanawalt, PhD

Design Team Natalie Baca, America Meredith, Neebinnaukzhik Southall

On the Cover

Cover Design

Norbert Peshlakai (Navajo), the 2018 Heard Museum Guild Indian Fair & Market signature artist, created a concho belt that inspired the graphic on the cover of this guide. This exquisite artwork is part of the Artistic Excellence: The Heard Museum Guild Indian Fair & Market Celebrates 60 Years exhibition. Caesar Chaves, the Heard director of creative design and marketing, adapted Peshlakai’s design to a graphic for the cover, posters, T-shirts, and other Heard Fair merchandise and promotional materials.

Caesar Chaves

Advertising Barbara Harjo

Copy Editors Rosa Cays, Staci Golar

Proofreaders Staci Golar, Jean Merz-Edwards Š 2018 All rights reserved.

Contact First American Art Magazine 133 24th Avenue NW #126 Norman, OK 73069 Papyrus-font free since 2013

Norbert Peshlakai (Navajo), detail of Mr. and Mrs. Slim Cowboy Nature Walk, 2017, silver, leather, collection of the Heard Museum, gift of the Heard Museum Council, 4894-1. Photo: Craig Smith, Heard Museum. ABOVE

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Native American Workshops and Festival 2018 Fair Highlights

June 18 through July 2 Scholarships for Native American adults and kids available for all workshops! summer@idyllwildarts.org IdyllwildArts.org/nativearts 951-468-7265

Use the promo code: HEARD2018 for $25 off of Idyllwild Arts Summer Adult Programs. Expires: 4/1/18 8 | First American Art Magazine Heard Fair Guide 2018

• World-class art: baskets, beadwork, quillwork, diverse arts, jewelry, lapidary, paintings, photography, graphics, personal attire, pottery, Pueblo carvings, sculpture, textiles, weaving, and many other artistic media • 600+ juried artists from the United States and Canada • Dazzling cultural performances: you can relax in the grassy amphitheater and enjoy Apache crown dancers, fancy dancers, hoop dancers, drummers, singers, and more • Canyon Records’ recording artists performing on the Courtyard Stage • Artist demonstrations • Dancing, storytelling, and crafts for children • Admission to the museum included in your fair ticket ($18 value). Be sure to visit the exhibitions Artistic Excellence: The Heard Museum Guild Indian Fair & Market Celebrates 60 Years, Of God and Mortal Men: Masterworks by T.C. Cannon from the Nancy and Richard Bloch Collection, Symmetry in Stone: The Jewelry of Richard I. Chavez, and much more • Specially designed merchandise commemorating the 60th annual Heard Museum Guild Indian Fair & Market • Book signings and featured artists and art dealers in the Heard Museum Shops • Silent auction open for viewing and bidding Friday evening at the Best of Show reception and all day Saturday or view and bid online starting February 16 • Raffle tickets on sale for a chance to win works donated by the artists • A variety of food choices from snacks to grilled items to salads to a special menu at the Heard Museum Café • Free parking at lots close to the museum campus • Easy access to the Valley Metro Light Rail stop across from the museum’s main entrance

ANGELA BABBY GLASS MOSAICS

Photo: James Pepper Henry (Kaw-Muscogee)

Fair Services Ask Me Booths: General Information Volunteers are stationed at designated Ask Me booths throughout the campus to help you locate particular artists’ booths, find the restrooms, preview the cultural performance schedule, provide directions, and obtain answers to your questions. Refer to the map on page 10 for locations.

“Love Trumps Hate,” kiln-fired vitreous enamel on glass mosaic, 24 × 20 inches, August 2016, Best of Show at Native POP: People of the Plains, 2017

ATMs Automated Teller Machines (ATMs) are located throughout the campus as well as in the museum bookstore. Credit cards are also widely accepted by fair artists; at the fair merchandise booth, food court and admissions; as well as in the museum gift shop, cafe, and bookstore.

First Aid A first aid station, staffed by professionals, is located close to the west fair entrance at Encanto Boulevard and Central Avenue.

Restrooms Portable restrooms are located near the west Central Avenue entrance and behind Steele Auditorium. Restrooms are available inside the museum for parents with infants and special needs visitors.

Shipping The Heard Museum Guild offers on-site packing and shipping through UPS for purchases made at the fair. Please refer to the fair map on the next page for the location. Please note: the Heard Museum Shops do not provide packing and/or shipping for items bought from artists at the fair.

“Swept Away (Water Is Sacred, Water Is Life),” glass mosaic, 27 × 27 inches, September 2017, Best of Show at Northern Plains Indian Art Market, 2017

ANGELABABBY.COM

ababby@earthlink.net

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406-672-2949

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Cultural Performance Schedule Saturday and Sunday, March 3 and 4, 2018 Amphitheater Stage MASTER OF CEREMONIES: Dennis Bowen Sr. (Seneca) SOUND ENGINEER: William Eaton, Wisdom Tree Music DRUM: Thunder Springs Drum Group, northern singers led by Lamon Barehand (Hopi/Pima) ARENA DIRECTOR: Eric Manuelito (Diné) 11:00 AM Opening Ceremony Presentation of the Colors: First Nations Warrior Society, Mike Smith (Diné), President Native American Flag Song: Thunder Springs Drum Group Blessing: Crystal Littleben (Diné), the 71st Naabeehó Bich’eeke’ (Miss Navajo) Remarks: 2018 Fair Chair Shelley Mowry & Heard Museum Director & CEO David M. Roche 12:00 PM The Cha’Bii’Tu Apache Crown Dancers 1:00 PM Tony Duncan (Apache/Arikara/Hidatsa) 2:00 PM Kenneth Shirley (Diné) & Indigenous Enterprise, dancing 3:00 PM Moontee Sinquah (Hopi/Tewa/Choctaw), hoop dancing 3:50 PM Sunday Only: Closing Ceremony

Courtyard Stage

Sponsored by Canyon Records 11:30 AM Kenneth Shirley (Diné) & Indigenous Enterprise, dancing 12:00 PM Clark Tenakhongva (Hopi), singer 12:30 PM Xavier Quijas Yxayotl (Huichol), flute player with handmade Indigenous instruments 1:00 PM Ken Duncan Sr. (San Carlos Apache), storyteller 1:30 PM Jonah Littlesunday (Diné), Native American flute player 2:00 PM Jay Begaye (Diné), singer

Steele Auditorium 10:00 AM, 12:00 PM, AND 2:00 PM Children’s Storytelling and Crafts with Violet Duncan (Plains Cree-Taíno) 12 | First American Art Magazine Heard Fair Guide 2018

Cultural Performers JAY BEGAYE (Navajo) is an acclaimed drummer, singer, songwriter, painter, and sculptor, and also a horse trainer who used to compete in rodeos. The multitalented artist was born in Steamboat Canyon, Arizona, in the Navajo Nation. After hearing the Snake River Singers at his first powwow in Salt Lake City, Jay was inspired to compose and sing his own songs. He first sang with the White Eagle Singers and later founded the Northern-style drum group, Cathedral Lakes Singers. Begaye’s musical awards include NAMMYs, Indian Summer Music Awards, AFIM Indie Awards, and a Grammy nomination for a powwow recording. He and his family live in Ganado, Arizona, where Begaye mentors Navajo youth when he’s not busy touring. DENNIS BOWEN SR. (Seneca, Bear Clan) is a singer, artist, and former fancy dancer who has emceed powwows from coast to coast and cofounded the Red Nation Singers. After the Kinzua Dam flooded his homelands, he committed to fight for Indigenous rights. Dennis was an early member of the American Indian Movement and served as president of the Seneca Nation in the 1990s. He has been a counselor and is a board member of the Seva Foundation, a philanthropic nonprofit organization. After living in Tuba City for many years, he has returned to the Allegany Reservation in western New York.

CANYON RECORDS, founded in 1951 by Ray and Mary Boley of Phoenix, remains one Arizona’s enduring cultural institutions and one of the earliest independent record labels. From their first recording of a collection of Navajo songs by Ed Lee Natay (still in active release) to the two gold records by R. Carlos Nakai (Navajo/Ute), Canyon Records has served as an important commercial outlet and supporter of Native music, artists, culture, and community. In 2000, Canyon Records was one of the main sponsors of the Heard Fair, and in 2009, they established a stage at the fair that features only Canyon Record artists. Since 2013, they have provided sound and lighting for the Best of Show performances and the fashion show. The Heard Museum Guild appreciates the long-time support of Canyon Records’ owner, Robert Doyle, and his staff. Visit canyonrecords.com CHA’BII’TU APACHE CROWN DANCERS feature members of the White Mountain Apache Tribe from McNary, Arizona. Cione Carroll is the group’s manager. Since 2010, they have danced throughout Arizona and New Mexico and ABOVE  LEFT

garnered numerous awards, including best dance group at the Alamo Indian Days and best marching band at the San Juan Fiesta Parade. Cha’Bii’Tu dances the Ga’an, Crown, or Mountain Spirit Dance, which is a blessing and healing dance among Western Apache tribes. KEN DUNCAN SR. (San Carlos Apache) is an accomplished cultural teacher, flute player and storyteller, who graduated from the Institute of American Indian Arts. He directs the family-based dance company, Yellow Bird Productions, based in Phoenix. They sing, dance, tell stories, speak publicly about American Indian cultures, and have performed on The Tonight Show and the Billboard Music Awards show, at the Kennedy Center in New York, and at the London 2012 Summer Olympics. Among his many accomplishments, Ken served as a Native American consultant to the United Nations, the US State Department, and Lebanon Tourism. He was named a Culture Keeper of Arizona in 2004 and won the Arizona Native American Business of the Year Award in 2016.

First Nations Warrior Society. Photo: Lizard Light Productions (Citizen Potawatomi).

Jay Begaye (Navajo).

OPPOSITE

Sinquah Family Dance Troupe. 60 TH Annual Heard Museum Guild Indian Fair & Market | 13

TONY DUNCAN (Apache/Mandan/ Hidatsa/Arikara), renowned for playing Native American flute, was named 2013 Artist of the Year by the Native American Music Association. He has toured worldwide, appeared on The Tonight Show, and performed at the White House. A five-time world champion hoop dancer, Tony danced on pop star Nelly Furtado’s video for Big Hoops (Bigger the Better). He is signed with Canyon Records. They have produced seven albums of his music. Tony finds Native American flute music is a tool for healing and finding peace. VIOLET DUNCAN (Plains Cree/Taíno), former Miss Indian World, combines Native dance styles and storytelling to share stories passed down from generations. Hailing from Kehewin Reserve in Alberta, Canada, she has toured throughout the United States, Canada, and Europe. Violet wrote and illustrated When We Dance and Let’s Hoop Dance, inspired by watching her husband, Tony Duncan, teach their son to dance. She has published these children’s books as part of A Sweet Violet Series. WILLIAM EATON designs and builds innovative guitars and other stringed instruments and is a founder and director of the Roberto-Venn School of Luthiery in Phoenix. His unique instruments have been displayed at the Musical Instrument Museum in Phoenix, Tohono Chul Park in Tucson, Arizona, and the Winter NAMM Exhibit in Anaheim, California. In 2015, he received the Arizona Governor’s Arts Award. A four-time GRAMMY nominee,

Eaton has recorded 16 albums for Canyon Records and tours nationally and internationally. Eaton has performed and collaborated with R. Carlos Nakai for more than 25 years. His wife and he codirect Old Town Center for the Arts, in Cottonwood, Arizona. FIRST NATIONS WARRIOR SOCIETY COLOR GUARD is comprised of Army, Navy, Air Force, and Marine veterans who represent all major branches of the service, as well as several tribal nations. This group of Native American veterans, led by former Marine Michael Smith (Diné), has proudly presented the colors at the Heard Guild Fair for many years. CRYSTAL LITTLEBEN (Diné), the 71st Naabeehó Bich’eeke’ (Miss Navajo), was crowned after a rigorous contest that included sheep butchering, traditional food preparation, and a question-andanswer session. Crystal has a bachelor’s degree in psychology with an emphasis in

14 | First American Art Magazine Heard Fair Guide 2018

LEFT, TOP  Kenneth Shirley (Diné) of Indigenous Enterprise. Photo: Robert Doyle/Canyon Records. RIGHT, TOP Tony Duncan (Apache/Mandan/ Hidatsa/Arikara. Photo: Robert Doyle/Canyon Records LEFT, BOTTOM

Crystal Littleben (Diné).

RIGHT, BOTTOM

Clark Tenakhongva (Hopi).

Native American studies from Northern Arizona University. Her platform for Miss Navajo was holistic well-being, made up of physical, mental, and emotional components combined to create balance. JONAH LITTLESUNDAY (Navajo) has been playing the Native American flute since the age of 14. The Navajo musician, originally from Grey Mountain, Arizona, gained media attention when he journeyed

2018

Native POP

Northern Plains Indian Art Market

Rapid City, SD

Sioux Falls, SD

Artesian Arts Festival

Santa Fe Indian Market

Cherokee Art Market

Sulphur, OK

Santa Fe, NM

Tulsa, OK

SHOW SCHEDULE

to Los Angeles to audition for season ten of NBC’s America’s Got Talent, an experience that ultimately inspired him to focus on his music career. Since that time, he has performed across the country with fellow Canyon Records artists R. Carlos Nakai and Tony Duncan and has also shared the stage with large ensembles such as the Flagstaff Symphony Orchestra. Littlesunday’s debut album, Gratitude, was released by Canyon Records. ERIC MANUELITO (Diné) brings national experience to the fair. He has served as head man and arena manager at powwows across the country, as well as educator, flute player, and more at other events. Manuelito is now the arena director of the Heard Amphitheater stage, a role established in 2015. KENNETH SHIRLEY (Diné) is the CEO and founder of Indigenous Enterprise, representing Indigenous people, tribes, and nations from all over Canada and the United States. The company showcases Native traditions and cultures through world champion dancing, filmmaking, and fashion. In 2014, he performed weekly for

thousands of tourists from all over the world with “Spirit of the Mist” in Niagara Falls, New York. When not dancing at powwows or performing, Shirley attends college where he is majoring in film production. MOONTEE SINQUAH (Hopi/Tewa/ Choctaw) is a well-known singer, flutist, dancer, drum maker, and music producer. He is also a champion hoop and grass dancer, and has performed with the likes of Buffy Sainte-Marie, Bonnie Raitt, and many others. He is the owner of Moontee’s Monster House Music, and performs with his two sons, Sampson and Scott, in the Sinquah Family Dance Troupe. The group has toured in Europe, Canada, and the US, sharing their songs and dance styles, including the Hoop Dance, Men’s Fancy War Dance, Men’s Grass Dance, Friendship Dance, and more. CLARK TENAKHONGVA (Hopi), of the Rabbit and Tobacco clans, was born at Keams Canyon, Arizona, and hails from the village of Hoat‘ve’la (Hotevilla), “Place of Cedars,” on Third Mesa. He passionately follows the Hopi cultural protocols, is a katsina carver, and hosts a radio show on

KUYI featuring songs, oral history, and winter storytelling. His recordings include Canyon Record’s Hear My Song, Hear My Prayer, Hoat’Ve’La, and Po’li. Clark also served in the US Army for ten years, has been actively involved in tribal government, and worked in the Office of Veterans’ Outreach Services for 17 years. THUNDER SPRINGS DRUM GROUP is prominent in the opening and closing ceremonies of the Heard Fair. The Hopi drum group, led by Lamon Barehand (Hopi/Pima), features Lamar Barehand, Budge Mahle, and Nate Barehand. XAVIER QUIJAS YXAYOTL (Huichol) was born in Guadalajara. He lived and studied in the mountains of Jalisco and Nayarit in Mexico with his Huichol relatives and the Tepehuanes. He makes pre-Columbian-style instruments such as Maya and Aztec drums and flutes, turtle-shell drums, rainsticks, log drums, rattles, and gourds, including those used in the movie Apocalypto. After moving to Los Angeles, he founded America Indigena, a group that specializes in the music, instruments, and dances native to Mexico.

60 TH Annual Heard Museum Guild Indian Fair & Market | 15

Support the Fair and the Museum Online Silent Auction Opens Friday, February 16, 2018

Bid Anywhere, Anytime on Your Phone Join the fun! Even better, encourage friendly competition with loved ones and bid on fabulous items donated by fair artists and patrons of the Heard Museum. Or, make a monetary donation by clicking the “donation” button on the auction website. Proceeds support the mission and programs of the Heard Museum.

BID! BID! BID! 1. Via text: Reply to the text message that welcomed you and send the three-digit item number and your bid (e.g., 101 500). No dollar signs or decimals are needed. 2. Via smartphone: Click the link in your registration text. It will take you to a personal bidding page. Click on an item and place a bid.

Fast and Easy Registration

3. View items during the Best of Show reception on Friday evening, March 2, and all day Saturday, March 3, in the south staging corridor of the Steele Auditorium. Volunteers will be on hand to help. We’re confident you’ll be tempted by the awesome array of auction items!

Auction opens Friday, February 16, 2018. Register early to start bidding on a stunning selection of artwork by fair artists. Receive updates as new items are added and bids increase!

WIN! WIN! WIN!

• Go to hm2018.auction-bid.org and click on “register” • Enter your name, cell phone number, email, mailing address, and credit card information • Receive a text message welcoming you to the auction • View full descriptions including sizes, materials, artist booth numbers, starting bids, and an amount for incremental increases

GE T Y O U R L IMI T E D E DI T IO N C O M M E M O R AT I V E M E R C H A N DI S E AVA IL A B L E M A R C H 3 - 4 AT T H E F A IR L IMI T E D M E R C H A N DI S E AVA IL A B L E AT H E A R DM U S E U M S H OP S . C O M Limited Edition T-Shirt: Detail of concho stamping by Norbert Peshlakai (Navajo)

16 | First American Art Magazine Heard Fair Guide 2018

4. Check the status of items on your phone and keep your bid in the competition!

• Winners will be notified by text message at auction close, 9:00 pm on Saturday, March 3, with instructions to confirm and authorize payment.

• Free admission will be offered to auction winners on Sunday, March 4, in order to collect item(s) in the Steele Auditorium south corridor or to arrange for items to be packed and shipped at an additional cost.

Fair Merchandise For the 60th annual celebration of the Indian Fair & Market, the Heard Museum Guild selected a silver concho from a belt made by Norbert Peshlakai (Navajo) to be the signature artwork. A silversmith for over thirty years, Peshlakai is an acknowledged master of stamp work whose practice exemplifies the unlimited artistic possibilities within this complex technique. He makes his own stamps from concrete nails and has developed his own style of texturing, design pairing, and overlay to create beautiful, richly meaningful jewelry and small sculpture. His work has inspired a numerous contemporary silversmiths. Norbert Peshlakai has won countless ribbons at the Heard Museum Guild Indian Fair & Market, Santa Fe Indian Market, Pueblo Grande Indian Market, and other prestigious art fairs. Norbert's intricate stamp work in metal has been translated into a bold, graphic design for our merchandise that is at once timeless and current. We are honored to feature this example of his magnificent vision. White-on-black posters featuring Norbert’s work are available at the Indian Market & Fair merchandise booth. Signed, silver foil on black, limited edition posters are available via the online auction.

Dining A wide variety of food options are available throughout the campus. COURTYARD CAFÉ. Heard Museum is proud to feature fine Southwest-inspired fare at the Courtyard Café. Enjoy freshly prepared salads, sandwiches, and entrées, many of which feature American Indian and locally sourced, all-natural ingredients. During the fair, the museum café will serve from a special menu. Hours: 11:00 am–3:00 pm For more information about the café, visit heard.org/dine. COFFEE CANTINA. Don’t have time for a sit-down meal, but still want to enjoy the Heard’s lush, serene setting? Stop in the Coffee Cantina for grab-and-go lunches, snacks, or drinks. Enjoy

Merchandise includes unisex, short sleeve, and ladies’ threequarter sleeve T-shirts with the graphic image of Norbert Peshlakai’s concho; denim, long-sleeve shirts embroidered with Heard Museum Guild Indian Fair & Market, and totes with the fair logo. Purchase T-shirts online by visiting the Books & More tab at heardmuseumshop.com. At the fair, all items may be purchased at the merchandise booth located in the courtyard close to the Amphitheater Stage.

Raffle

Jewelry, pottery, baskets, and more have been donated by fair artists and supporters, and all will be raffled off throughout the fair weekend. Proceeds support the mission and programs of the Heard Museum, including the Indian Fair & Market. Raffle tickets are available online at heard.org/fair/support/ raffle/ and at the fair. Drawings will be held several times during the weekend. Buy more to increase your chances of winning! One does not need to be present to win. • 1 ticket: $2 • 6 tickets: $10 • 20 tickets: $30

Above

Making piki bread at the Heard Fair.

gourmet coffees, smoothies, an array of freshly baked goodies, or healthy salads and wraps all at your own pace. Dine in our courtyard patio or take it with you. Open all day. FOOD PAVILION. For a more casual, quick meal, try a savory hamburger, hot dog, wrap, or salad prepared with Southwest flair. Tented seating is available in the Food Pavilion located along the driveway leading to Monte Vista Road at the back of the campus. FOOD BOOTHS. Fry bread is a popular option for many fairgoers, and several booths will sell this popular treat. For a quick pick-me-up snack, choose from options including gelato, kettle corn, and more. Don’t forget to hydrate. Beverage stations are located throughout the campus and will be selling bottled water as well as your favorite soft drinks. 60 TH Annual Heard Museum Guild Indian Fair & Market | 17

Norbert Peshlakai This innovative silversmith and longtime Heard Fair supporter is celebrated as this year’s signature artist by Cheri Falkenstien-Doyle

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mong Southwestern silversmiths, Norbert Peshlakai (Navajo) stands out for his skill, his remarkable wit, and his innovative use of stamp work and texturing on metal. In 2017, Norbert created a concho belt that exemplifies these qualities. He was chosen to be the Heard Museum Guild Indian Fair & Market’s signature artist for 2018. In October 2017 the curatorial staff of the Wheelwright Museum of the American Indian made a visit to his Peshlakai Vision Studio in Gallup, New Mexico, in order to discuss plans for an exhibition scheduled to open in May 2018. Norbert met us at the door, offering a softly spoken “Yá’át’ééh” and a handshake to each person in the group. Norbert keeps a well-ordered, yet obviously busy, workshop. Stations for cutting, forging, and heating silver are covered with projects in progress but neatly arranged. A rolling cart holds blocks of wood that are riddled with hollows to contain the hundreds of handmade stamps he uses to decorate and texture his works. Walls are hung with sketches, memorabilia, and inspirational objects—including an eye chart that became the subject

of a pin now in the Wheelwright’s collection. He shows us the piece of railroad track that his grandfather Fred Stevens, like other smiths of his generation, used for an anvil. Born in Fort Defiance, Arizona, in 1953, Norbert is the son of Ben Peshlakai and Lydia Stevens Peshlakai, a well-regarded weaver of Crystal-style textiles. Norbert is a fourth-generation silversmith who traces his ancestry to Peshlakai, also known as Slim Silversmith. Norbert’s mother’s father was Fred Stevens, a silversmith at Crystal, New Mexico. Lydia’s brother, Fred Stevens Jr., was a medicine man and artist who is credited with popularizing sand paintings as a secular art form.1 Norbert went to Crystal Boarding School until the eighth grade when his family moved to Albuquerque, where he attended Jefferson Junior High. He graduated in 1972 from Highland High School, where he ran cross-country. He loved to draw cartoons and doodles in his school notebooks, which he says got him into trouble, until someone noticed that his drawings showed promise and suggested that he go to the Institute of American

1. “1930 U. S. Federal Census, New Mexico, San Juan, Precinct 14, District 0019, Household 18, Fred Stevens,” Ancestry.com, accessed January 2018, web; Nancy J. Parezo, Navajo Sandpainting: From Religious Act to Commercial Art (Albuquerque: University of New Mexico Press, 1983), 105–107.

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Indian Arts. Instead, his athletic ability won him a place on the cross-country team at Haskell Indian Junior College in Lawrence, Kansas. There he majored in art, studying with Southern Cheyenne painter Dick West. However, Norbert soon encountered another inspirational teacher who would change the course of his artistic career. An advisor informed Norbert that he needed additional credits and suggested that he enroll in a jewelry course taught by ceramicist, sculptor, and humanities instructor Clinton Leon. Norbert reluctantly signed up for the course and admits he often ditched class, until Leon spotted him in a hallway and called out, “Norbert! I miss you in class!” Leon told him that if he completed six pieces, turned in his sketchbooks, and could demonstrate that he understood the tools used in class he “might” get a good grade. Norbert did the assignments and finished more than the six required pieces. He became inspired when Clinton had him look at his work through the lens of a camera, which enabled him to see it differently. When Norbert lacked the funds to go home for Thanksgiving, Clinton invited him to dinner. Norbert committed to a second semester, and began to enjoy silversmithing. Norbert’s habit of doodling and cartooning led to his signature technique of heavily embellishing silver surfaces with whimsical characters. Some of these, like his owls, seem to have their origins in curio silver of the early 20th century, where they appear frequently on spoons and other items made for tourists and mail-order consumers. Prior to 1910, as they collected information for An Ethnologic Dictionary of the Navaho Language, the Franciscan Fathers interviewed Navajo people living in the area around St. Michaels, Arizona— the part of the reservation that was home to the Peshlakai family. Information about silversmithing, as well as “the names of tools used in carpentry and other professions” came from Slim Silversmith.2 The Fathers indicate that among the people they interviewed, “By way of hyperbole a foolish child or person is often called

náshjā . . . owl, or náshjātso . . . big owl, as this bird is a good figure of stupidity.”3 Others images, including a character called Cowboy Slim, arise from Norbert’s fertile imagination. When Cowboy Slim takes a nature walk (as he does on the Heard Museum’s concho belt), he encounters a world of fanciful creatures including birds, rabbits, and insects—all rendered through combinations of the stamps that Norbert designs and makes. He has also designed a pictographic alphabet with which he stamps names or messages onto his work. He frequently places highly polished, appliquéd elements against a dark, textured background, and makes deliberate use of fire scale—a form of oxidation (usually considered something to avoid) that can penetrate the surface of silver as it is annealed with a gas flame. During the late 1970s, Norbert began making miniature silver vessels called seed pots. He tells the story of how his cousin-in-law, sculptor John Boomer, encouraged him to make these. While building a hogan, he and Boomer lunched on mutton stew, coffee, and frybread and discussed how a small silver pot might be constructed. Later Norbert made his first examples from sheet silver supplied by Boomer as payment for his help with the building project. At a Wheelwright Museum event honoring art dealer Martha Hopkins Struever, Norbert recalled that the first completed seed pot was purchased by collector Norman Sandfield through Struever’s Chicago gallery, The Indian Tree. Norbert developed close relationships with both Sandfield and Struever. After she moved to Santa Fe, Struever promoted and sold his work until her death in 2017. Norbert recalls that Struever encouraged him to begin showing his work at the Santa Fe Indian Market—and that when he arrived one year at four a.m. to begin setting up his display, he found Sandfield sleeping in his booth, determined to have first crack at Norbert’s newest creations. Norbert Peshlakai’s great talent, along with his warmth and humor, tends to elicit such devotion.

Top   Norbert Peshlakai with his Best of Show winning Vision silver bowl at the 1994 Heard Fair. Image courtesy of the Billie Jane Baguley Library and Archives, Native American Artists Resource Collection, Heard Museum, NAA Peshlakai, Norbert:1. Bottom  Norbert Peshlakai (Navajo), Mokume Jar, 2006, collection of the Heard Museum, gift of Norman L. Sandfield. Opposite Norbert Peshlakai (Navajo), detail of Mr. and Mrs. Slim Cowboy Nature Walk, 2017, silver, leather, collection of the Heard Museum, gift of the Heard Museum Council, 4894-1. Photo: Craig Smith, Heard Museum.

2. Anselm Weber, OFM, “Suspicion Is almost a Virtue Here,” in The Navajo as Seen by the Franciscans, 1898–1921: A Sourcebook, ed. Howard M. Bahr (Lanham, MD: The Scarecrow Press, 2004), 32. 3. The Franciscan Fathers, 1910 Ethnologic Dictionary of the Navaho Language (St. Michaels, AZ: The Franciscan Fathers, 1929), 495.

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LEFT Don Johnston (Qagan Tayagungin Unangan), Qagaxtag (Love), 2017, baleen, walrus ivory. Photo: Craig Smith, Heard Museum.

Best of Class The 2017 Heard Fair Best of Show and Best of Classification Winners by Stacy Pratt, PhD, and America Meredith, photography by Craig Smith

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rt is subjective. Philosophers and art theorists have debated the nature of aesthetics for centuries. The big question: Does artistic excellence transcend time and place? To reconcile diverse perspectives about the merits of a work of art, the Heard Museum Guild carefully chooses judges from different backgrounds and viewpoints within the Native art world, being sure to include Native artists themselves. The guild creates teams of judges, each from different fields, to select winners for a classification. Sometimes they agree; sometimes they debate passionately. In turn, all the judges collectively decide the Best of Show winner. Through this process, the Heard Museum Guild attempts to achieve the improbable: to make subjective, aesthetic judgments objective. Individual stances join a multiplicity of perspectives. Do you believe it is possible to objectively look at art? Do you think some artworks can be objectively superior to others? While some qualities may not be universal, they may be widely shared, such as technical excellence, an intimate knowledge of materials and processes, an understanding of design principals, a coherent vision, respect for the artists’ cultural heritage, and pure passion. Most importantly, these artists took that gut-wrenching, daring step of pushing themselves out of their comfort zone, taking a risk, and leaping into the unknown. Here are the creations that stood out and spoke most strongly to the collective minds at work in last year’s Heard Fair competition. —AM

Best of Show and Best of Classification VIII. Basketry Don Johnston (Qa gan Tay a g u n g i n U n a n g a n ) , Qagaxtag (Love) Last year was the first time Don Johnston showed his baskets at the Heard Fair. After he hadn’t received a call, he just assumed he hadn’t won the competition, although he wasn’t exactly available. “We were hiking at the cave dwellings,” he says. “There was poor cell reception.” But when the organizers finally reached him that evening, his disappointment vanished. He had won Best of Show. His booth that Saturday morning was in a frenzy. A private collector purchased Johnston’s Best of Show piece. Informed collectors gladly collected his remaining baskets. “We sold out in four and half hours. It went so quickly,” he says. “There was no time to take photos of the booth. Everything just happened so fast.” The Aleut artist’s introduction to basketry has humble roots. In 1989, Johnston worked as a cook in Anchorage, Alaska, until a back injury rendered him unable to continue. He had to support his family, and his situation grew desperate. One day, “I was walking in downtown Anchorage and I saw a man carving baleen. I sat next to him and he gave me some of the baleen to shave down.” That man was James Omnik Sr., an Iñupiaq artist from Point Hope, north of the Arctic Circle. Johnston says he doesn’t know why Omnik gave him the baleen

to work that day, but he must have seen something special in the younger man. While Omnik had other apprentices, Johnston was uniquely motivated to master baleen basketry and learned quickly. “It was a necessity. I picked it up and started doing it immediately.” Baleen is the name for the keratin plates in the upper jaws of certain whales. An Iñupiaq man named Kinguktuk from Barrow wove the first baleen baskets sometime in the early 1900s.1 He offset the lustrous, black baleen with gleaming white, walrus ivory. Johnston says it’s important for the public to understand the labor-intensive process to fully appreciate this rare art form. Preparing the materials takes far longer than the weaving. “This year we’ll be demonstrating. Just processing a single baleen plate can take days. I can spend four to six hundred hours on a basket and carving the ivory finial.” Baleen baskets are coiled; however, Johnston created a spiral weave. “I wanted to do something unique—something more dramatic.” His prizewinning piece has accents of white baleen—from older, female whales—spiraling up the body and lid of the black basket to echo the graceful dance of the design. The walrus ivory, a sculpture in its own right, flows from white to cream and pale rose. The two carved whale flukes elegantly entwined on the finial inspired Johnston to name it Qagaxtag, the Aleut word for love. —AM

1. Art historians debate the exact year, with the range falling between 1914 and 1919.

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Classification I. Pottery Al Qöyawayma (Hopi), Three-Sided Polychrome Vase A successful mechanical engineer and one of the few artists who can boast of having his artwork orbit the planet (on space shuttle Endeavor), Al Qöyawayma says, “I seek balance in all my work and shapes that speak to others. I am a perfectionist.” The three-sided form he developed has grown into a series. “I try to imagine how Sikyátki pottery would have evolved had there never been any European contact.” Qöyawayma explains, “The three sides in this piece allow my rendering of two Sikyátki-styled motifs and my own unique architectural reliefs.” In Three-Sided Polychrome Vase, two sides are incised to resemble masonry walls of Ancestral Pueblo settlements with windows and keyhole-shaped doorways. The third side of the vase displays graceful design inspired by historic Sikyátki polychrome pottery. The flowing design is composed of raised and incised surfaces, glossy to rough textures, and slips ranging from pale cream to Tuscan red. “I am a descendant of the Coyote group,” he says. The Coyote clan was the main population of Sikyátki village that flourished between 1275 and 1530 . His work, as well as that of his relatives, such as his aunt Polingaysi Qöyawayma, is in the Heard Museum’s permanent collection. “I have been associated with the Heard my entire pottery career, starting in the early 1980s. The Heard has embraced the entire Native American community, and it has been a privilege to have their support,” the artist says. “Participating in the Heard Fair brings me in contact with other Native artists and the general public, including collectors.” Besides exhibiting his artwork at the Heard, Qöyawayma has also served on the museum’s board. “I have always enjoyed the association with the Heard Museum.” —AM 22 | First American Art Magazine Heard Fair Guide 2018

Classification II. Jewelry and Lapidary Olin Tsingine (Hopi-Navajo), Morning Dew Hopi jeweler Olin Tsingine used to sell Native American jewelry. He learned to fix broken pieces but discovered that he preferred to design his own. Since then, he has developed the style for which he is now known. Morning Dew is a piece that showcases some of the hallmarks of Tsingine’s skill. The hand carved, tufa-cast bracelet features 18-karat gold, 21 diamonds, and high-grade Candelaria turquoise. It was inspired by the memory of a fleeting beauty. “I grew up with horses in Tuba City, Arizona, and every morning before school, we had to feed the horses,” says Tsingine. “Sometimes when it would rain, in the morning there would be really big spider webs by the horse corrals. When the sun is barely coming up, you can see all that morning dew on those spider webs, and that was always on my mind. So that’s how I used the diamonds: as the morning dew.” He knew the piece had succeeded when he saw the reaction of other artists. “Usually they’ll just say ‘good job,’” says Tsingine. “But when they started saying, ‘Let me look at it. Let me hold it.’ That’s when I realized it was special.” Tsingine says he knows firsthand the dedication of Heard volunteers and what the Heard Fair means to Phoenix, his hometown. That is why he chose it for his return to competition. “When I first started, I was new to the business, so I was coming in with new concepts and new designs, and I started winning awards. Then all of a sudden about two years in, I started not getting anything,” the artist explains. “So after awhile, I stopped entering because it’s kind of an emotional roller coaster.” He continues, “But I entered the Heard because it’s a home show. I live in Phoenix, and it’s funny because everybody doesn’t even know I live here.” —SP

Classification III. Paintings, Drawings, Graphics, Photography (2-D Art) Zoe Urness (Tlingit), No Spiritual Surrender

Classification IV. Pueblo Carvings Mavasta Honyouti (Hopi), Strength and Beauty

Zoe Urness realized her role as an artist on the day she took the now-iconic photograph, No Spiritual Surrender, at Standing Rock, North Dakota. “That day thousands of vets showed up in support of the water protectors, and so I marched to the front lines ... where everyone had gathered,” the photographer says. “It was really chaotic. The temperature was dropping, a blizzard was hitting, and the camp had the most people that had been there thus far, under the most extreme conditions, and lots of elders were there as well. ” Urness says recognition of home led her to take the photograph. “I had perched myself up on top of the high vantage point to look down over the front lines” she says. “Then I saw this man with a button blanket robe. The button blanket is what my regalia is, being Tlingit Alaskan Native. Imagine this blizzard going on and you see your traditional regalia robe out there.... I went running down to get in front of him so I could get that shot of him marching. I threw up my camera and had one capture, and that was it. I knew instantly what I had gotten. As if you could ever choreograph something like that—not in a million years. I was guided by that button blanket, the Tlingit robe.” The moment was impactful for her. “I had actually fallen onto my knees afterward in the snow, and I started crying because I had no intention to go up there to get a photograph by any means, but then to realize, Wow, I’m going to do right with this. It’s going to be able to live on, so that the efforts and sacrifices don’t go unnoticed and unremembered.” Urness values the Heard for recognizing the artistic merit of photography. “I really appreciated the Heard Museum honoring that historical moment and this medium of photography,” she says. —SP

Mavasta Honyouti may be best known as the creator of carvings depicting Hopi-style engagement with American popular culture. At first glance, Strength and Beauty would appear to be a different style entirely, but closer examination reveals that the carving depicts Hopi women performing the seemingly small, everyday actions that add up to the great influence women have in every generation, including this current one. The three-dimensional, painted, cottonwood carving depicts motherhood, female friendship, and the spiritual and ceremonial roles women play throughout their lives. “I dedicated this carving to my daughters and wrote their Hopi names underneath the base. In a way, this was my prayer for my girls to grow and develop to be strong and beautiful women.” Honyouti explains the wood and his own memories combined to form the piece. “When I first started shaping out the cottonwood root, I knew what images I wanted to portray,” he says. “It was the different stages of life, from birth to becoming an elder carrying on traditions. Once I starting sketching and carving different sections of the carving, parts of the wood were flat surfaces and other areas protruded, so it helped me place figures in different places. I used photographs of family members along with memories of my childhood to capture the imagery I wanted to portray.” Honyouti comes from a family of artists. “I learned carving and painting techniques from my father, Ron Honyouti. My style of work is influenced by him, my uncles, and grandfather.” Honyouti says he appreciates the wide audience that the Heard award gives Strength and Beauty. “I fully enjoyed working on this piece and it is how I envisioned it to show itself. It’s a nice feeling to have people appreciate the work as much as I enjoyed working on it.” —SP 60 TH Annual Heard Museum Guild Indian Fair & Market | 23

Classification V. Sculpture Nathan Hart (Southern Cheyenne), Silver Maple Wood

Classification VI. Weavings and Textiles Barbara Teller Ornelas (Navajo), My Mother’s Legacy

A former football star, Nathan Hart serves as the economic development director for the Cheyenne-Arapaho Tribes. When not working there, he is a dedicated and talented wood turner. He earned a degree in business administration and industrial arts education from Bethel College in North Newton, Kansas. Hart grew up in Clinton, Oklahoma on the CheyenneArapaho Tribal Jurisdictional Area. There he explored creeks and developed a lifelong love of wood. He took every woodworking class Bethel College offered, and an interest in furniture making led Hart to purchase a lathe. He has mastered this tool that allows him to carve fine bowls from blocks of woods to reveal the complexity of their patterning. Years of working with different woods has taught Hart how to select and process those that are beautiful, but also stable over time. He knows how to work with burls, round tree growths that have particularly complex patterns that were historically prized by Native artists to make bowls and ball-headed clubs. Burls are often enhanced by spalting, a change in color and texture caused by fungi. Hart’s Best of Classification piece was hollowed out from spalted maple wood. Silver maple, known for its pale leaves, consists of a lightcolored sapwood classified as a soft wood. Hart challenges himself by creating bowls with very small mouths, and in Silver Maple Wood, he added four peaks to the mouth of the bowl. The number four is sacred to the Cheyenne people as it corresponds to the four cardinal directions. Above the opening one sees a Cheyenne symbol for the Morning Star. The angularity of these pyramids forms peaks, a reminder of the Rocky Mountains that were home to the Cheyenne during the 18th and 19th centuries, and contrast with the rounded form of the bowl. The sculpture elegantly balances on a narrow base, lending it a sense of weightlessness. —AM

Weaving has been in Barbara Teller Ornelas’ family for more than seven generations. Her weaving, My Mother’s Legacy, is a culmination of that history. “I learned the myths and legends of weaving from both my grandmothers,” she says. “I learned the basic weaving from my mother, and I learned the design, techniques, and troubleshooting from my sister Rose Ann. I’ve always remembered weaving as a child, even when I was sent to sheep camp with my paternal grandparents in White Rock, New Mexico.” She says the creation of the piece was a powerful family experience. “I was the main caretaker for my mom who after living by herself for over 80 years couldn’t anymore,” she continues. “She had a lot of medical problems but was always in high spirits. But when my mom’s mind would start to wander, sitting her near me while I worked on this piece had a calming effect on her.” Teller Ornelas finished the piece a year after her mother passed. “Toward the finishing, my daughter gave me a new baby grandson,” she says. “I felt like this piece just tied my mother and my grandson together. I put in some real white bands to announce that: one for my mom’s passing and the other for my grandson’s new beginning. This weaving holds a very special place in my heart.” The weaver has a long history with the Heard. “I owe my whole career to the Heard,” she says. “I started working with them in 1982. They have guided me throughout my whole weaving life, so to get another award from the Heard makes my heart happy.” Teller Ornelas says Heard volunteers are a big part of that work. “I love how they all take care of us artists and make sure we are all doing great so we can sell our art,” she says. “I know the Heard staff work very hard all year to make sure this market happens. I think they do a wonderful job.” —SP

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Classification VII. Diverse Art Forms Glenda McKay (Ingalik Athabaskan), High Standing

Classification IX. Personal Attire Sho Sho Esquiro (Kaska Dena/Cree), Ascension

“I wanted to make something that would be more ceremonial like I’d seen as I was growing up,” Glenda McKay explains about her classification-winning knife and sheath. Not only did the construction of the sheath require almost surgical precision, gathering the materials was akin to a Herculean task. The pouch and strap are constructed from braintanned, smoked deer and moose hides. Glenda hunted the moose herself in Alaska, and she tans and smokes her own hides. The lining is sea otter pelt, a sea mammal that can only be hunted by Native Alaskans in the United States and one whose numbers are thankfully on the rise. The knife has a caribou antler handle. “The knife blade is done from one-hundred to two-hundred-year-old cross-cut saw blades. We find them and then the blades get cut out of those.” She salvages the antique saw blades because their high-carbon steel is particularly strong and resilient. “It keeps the edge a long time.” While the fringe beads are 15°, the floral designs are made up of 20° to 24° beads. These minuscule sizes are no longer made; McKay has to search for century-old beads. “They call them salt and pepper beads,” because they are the size of a grain of spice. She beads them with special twisted wires, “about as thin as your hair.” “The designs are Alaskan wild flowers, and then it has [walrus] ivory charms—a replica of a shaman amulet and then two spirit masks to keep the evil spirits away and only good spirits around you, and the fish charm,” she says. “I made the piece, and I worked on it ’til like, 3:00 in the morning, then we jumped in a truck and headed to the Heard. We pulled up and I was filling out the paperwork.” She admitted to her husband Cliff that she hadn’t yet named the pouch. “And he goes, ‘Well, what does it represent?’ I said, ‘Someone of high standing.’ And he goes, ‘High Standing.’ So, he named it.” —AM

Designer Sho Sho Esquiro grew up in Yukon, Canada, without a television in a family of artists, including her mother. That childhood “allowed me to grow up being very creative,” Esquiro says. “My favorite auntie was always working on a pair of moccasins, mitts, or a button blanket. I always marveled at her beads and skill. I’ve always wanted to be able to create beautiful things like her.” Today, Esquiro is known for doing just that. Her designs have appeared on runways from New York City to Paris, and she has won several awards. Throughout, family has remained at the center of her work. Ascension was inspired by her grandparents. “They both passed away within the past two years,” says Esquiro. “I believe we never really die, because energy never dies. The beads used start off as colorful at the bottom, and as the spirit ascends to the spirit world, it transforms to pure energy, thus my use of the platinum beads toward the top. It was a healing project for me, because in our way we aren’t supposed to sew sad or while in mourning.” Ascension features 24-karat gold beads, sterling silver, platinum, 14-karat gold, seed beads, raw woven silk (from prayer scarves), silk, calf hide, and bullfrog and lynx paws that Esquiro’s 90-year-old great-uncle trapped for her on their hereditary land in Canada. “The piece is very special to me because it’s honoring my late grandparents. They supported my dream to be an artist.” Esquiro is deeply moved by the Heard prize. “It was such an honor to get the acknowledgment from the Heard and the judges,” she says. “This is my most meaningful piece and took the longest to make. Using new techniques is always a little scary; you wonder if they will be understood and well received.” Clearly, creating Ascension was worth the risk. —SP 60 TH Annual Heard Museum Guild Indian Fair & Market | 25

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PHOTO: UNDEREXPOSED STUDIO

Heard Museum Guild Fair & Market March 3 & 4, 2018

Classification X. Quillwork and Beadwork Juanita Growing Thunder Fogarty (Fort Peck Assiniboine-Sioux), Wo’yuoniha

Classification XI. Conrad House Cutting-Edge Award Marlowe Katoney (Navajo), Axis Radius

Juanita Growing Thunder Fogarty is a Nakoda/Dakota bead and quillworker. Along with her mother, she makes Northern Plains clothing, and she is also a doll maker. Her intricately dressed dolls, including the Heard Fair classification winner, Wo’yuoniha, are inspired by the virtues, resilience, and generational knowledge of her culture. “I began doing beadwork and quillwork at a very young age by watching and learning from my mother, Joyce Growing Thunder Fogarty. I learned how to make dolls with her when I was a teenager and completed my first one at the age of 19.” Growing Thunder Fogarty says, “Wo’yuoniha was created to show the virtues of a Dakota woman. This is seen with the horse mask she carries and the dress she is wearing. Both items she has made to display the honor her family carries. The quilled horse mask is a skill she has acquired by her position within her community. The ledger dress displays the war deeds of the men in her family.” The artist says naming the doll was an especially important part of its creation. “As the piece was coming together, I searched for a name that would best represent the pride and honor of her attire,” she says. “Her name reflects the way you choose to live your life; she lives an honorable and selfless life.” She says the Heard Fair best of classification award is an honor not just for her but also for all Dakota and Nakoda artists. “I strive to better myself in each piece of art I create,” Growing Thunder Fogarty says. “I also carry a lot of gratitude for this award and the support it shows for Northern Plains artists. My family works hard to help carry on these traditional teachings of beadwork and quillwork so that all future generations will see the beauty in it. To receive this award is an honor for all of Dakota/ Nakoda relatives that continue these teachings.” —SP

Marlowe Katoney has a growing reputation for his vibrant pictorial weavings. He combines vivid color palettes and detailed human figures with the optical effects of 19th-century eyedazzler weaving. His inspiration for Axis Radius, named for a Scottsdale dance club, is street art and culture. Lighting designs, diamonds, and frets create a super-charged backdrop to a muscular breakdancer spinning on a lit-up dance floor. Rounded, billowing clouds contrast with the geometric shapes, while variegated salt-andpepper yarn lend a tension of television static to the scene. “If you look at a pictorial weaving, whenever it had come from, it always reflects the times that the weaver is in. Sometimes you’ll see trucks, sometimes you’ll see trading posts, sometimes you’ll see cattle, sometimes you’ll see sheep,” explains Katoney. “I wanted to reflect what is going on right now. “Axis Radius, reflects upon my own experience of dance culture. When I was in college, I used to always look forward to going out on Friday and Saturday nights. We would go out to underground parties, and breakdancing was much a part of that movement,” Katoney continues. “I was really excited to see other Native Americans at those parties.” This weaving is currently available from Malouf on the Plaza, a gallery in Santa Fe. Katoney’s background in figurative painting informs his weaving practice. Other pictorial weavers have begun asking him for advice, and he says, “My advice is draw and paint. Get out of your comfort zone. Those are the things that are going to develop you as an artist.” Katoney says this is “the first major award I’ve ever taken at the Heard Museum, besides the awards I got in high school, so it was really exciting for me” to have won first in the Conrad House innovation classification. “I’ve always considered the Heard to be home base.” —AM 60 TH Annual Heard Museum Guild Indian Fair & Market | 27

Juried Competition Judges Classification I: Classification III: Jewelry & Lapidary Work Paintings, Drawings, Graphics & Photography RAYMOND YAZZIE (Navajo). Jeweler known for his gradation of colors and precisely beveled stones. He and his family were the subjects of Glittering World: Navajo Jewelry of the Yazzie Family, a 2014 exhibition at the National Museum of the American Indian.

NORMAN L. SANDFIELD. Co-curator of three Heard Museum exhibitions: Awa Tsireh: Pueblo Painter and Metalsmith; Old Traditions in New Pots: Silver Seed Pots from the Norman L. Sandfield Collection; and Native American Bolo Ties: Vintage and Contemporary Artistry. He has also published extensively. DEB SLANEY. Curator of history at the Albuquerque Museum. Her recent exhibitions include The Leekya Family: Master Carvers of Zuni Pueblo and The Eason Eige Collection: Navajo and Pueblo Jewelry, 1870–Present.

Classification II: Pottery GARTH JOHNSON. Curator of ceramics at the Arizona State University (ASU) Art Museum Ceramics Research Center in Tempe. He is an artist, writer, curator, and educator whose contributed to Repositioning Paolo Soleri: The City Is Nature. DWIGHT P. LANMON. Author of several books including The Pottery of Zuni Pueblo, and The Pottery of Acoma Pueblo. Lanmon served as CEO and director of the Winterthur Museum and the director and curator of European glass at the Corning Museum of Glass. He presented at the Heard Museum’s 2016 Prepare for the Fair lecture series. COURTNEY M. LEONARD (Shinnecock). Ceramic artist and filmmaker. She has had numerous solo exhibitions, including shows at the ASU Ceramic Research Center and the IAIA Museum of Contemporary Native Arts. She earned her MFA degree at the Rhode Island School of Design in 2008. Her current art practice explores concepts of “breach” and ties to water, whales, and sustainability.

BETSY FAHLMAN, PhD. Professor of Art History, Arizona State University, and adjunct curator of American Art, Phoenix Art Museum. She has written more than thirty books, catalogues, articles, and essays including the New Deal Art in Arizona and The Cowboy’s Dream: The Mythic Life and Art of Lon Megargee. FAUSTO FERNANDEZ. Mixed media collage artist. His public art projects include works installed at the Scottsdale Waterfront and the terrazzo floor design at the Sky Train Station at the Phoenix Sky Harbor Airport. His collages are in the permanent collections of the Tucson Museum of Art, Phoenix Art Museum, and the Heard Museum. JOHN P. LUKAVIC, PhD. Curator of Native Arts, Denver Art Museum. He curated Jeffrey Gibson: Like a Hammer; Super Indian: Fritz Scholder, 1967–1980; and Revolt 1680/2180: Virgil Ortiz. He also contributed an essay to the Heard Museum’s catalogue, Of God and Mortal Men: Masterworks by T.C. Cannon from the Nancy and Richard Bloch Collection.

Classification IV: Pueblo Carvings and Classification V: Sculpture NEIL S. BERMAN, PhD. Professor Emeritus of Chemical Engineering, Arizona State University. Neil and his wife Sarah collected contemporary Native American Art for 40 years. Sarah died in 2010, yet her legacy lives on with their donations of pottery, katsinam, and paintings to the Heard Museum. DOUG HYDE (Nez Perce/Assiniboine/ Chippewa). Sculptor. He is a fellow of The National Sculpture Society, and Phoenix Home & Garden named him Master of the Southwest. Two of his sculptures are at the Smithsonian Institution in Washington, DC. His 1989 bronze, Tribute to Navajo Code Talkers, is a Phoenix landmark. Several of his works are in the Heard collection, including Intertribal Greeting.

28 | First American Art Magazine Heard Fair Guide 2018

KENT McMANIS. Co-owner of Grey Dog Trading in Old Town Albuquerque. He has authored five books on Native American arts and curated two exhibitions on Zuni fetishes for the Wheelwright Museum of the American Indian in Santa Fe. McManis is also the codirector of the forthcoming Zuni Fetish Museum in Albuquerque.

Classification VI: Weavings & Textiles NANCY J. BLOMBERG. Chief curator and Andrew W. Mellon Curator of Native Arts, Denver Art Museum. Blomberg curated dozens of exhibitions and led the complete renovation of the American Indian galleries at the Denver Art Museum. She has published extensively in such periodicals as the Journal of California and Great Basin Anthropology, Kiva, and American Indian Art Magazine. ANN LANE HEDLUND, PhD. Curator of ethnology, Arizona State Museum, 1997–2013. She wrote many publications and curated numerous exhibitions. Her book, Navajo Weaving in the Late Twentieth Century: Kin, Community, and Collectors (2004), received the Arizona Highways/Arizona Library Association Award for Nonfiction. She presented at the Heard’s 2017 Prepare for the Fair lecture series. ARTHUR PELBERG, MD, MPA. Chief advisor, Bayless Integrated Healthcare. He is a Heard Museum Trustee and avid collector of art. He earned his medical degree at Temple University in Philadelphia.

Classification VII: Diverse Arts and Classification X: Beadwork & Quillwork TWIG JOHNSON. Retired senior curator, Native American Art, Montclair Art Museum. She served as curator at the Montclair Art Museum in New Jersey for more than twenty years. She also taught Native American art history and museum curation methods at Montclair State University and served on the New Jersey Council for the Humanities Horizon Speakers Bureau.

GAYLORD TORRENCE. Fred and Virginia Merrill Senior Curator of American Indian Art, Nelson-Atkins Museum of Art; professor emeritus, Drake University. His major exhibitions and publications include The Plains Indians: Artists of Earth and Sky, The American Indian Parfleche: A Tradition of Abstract Painting, and Art of the Red Earth People: The Mesquakie of Iowa. He is guest curator for the 2018 installation of Native American art in the American Wing of the Metropolitan Museum of Art. NINA SANDERS (Apsáalooke). Beadwork artist, curator, writer, artist, and museum professional. She has worked for the School for Advanced Research, the Museum of Indian Arts and Culture, and the Smithsonian’s National Museum of the American Indian. In 2017, she curated Catch 22: Paradox on Paper at the Ralph T. Coe Foundation for the Arts in Santa Fe. She has contributed articles for Smithsonian Magazine, First American Art Magazine, and Earth Song Magazine.

Classification VIII: Baskets NORMA JEAN COULTER. Heard Museum Life Trustee and a Heard Museum Guild member for over fifty years. Having held virtually every job in the guild, including fair chair and president, she also worked many years in the Heard gift shop and bookstore.

Institute of American Indian Arts and Arizona State University graduate, she manages Yellow Bird Productions, a Native performing arts group. She has worked in public programs at the Heard and was director of the Huhugam Ki Museum for the Salt River Pima-Maricopa Indian Community.

books including Spirit in the Stone: A Handbook of Southwest Indian Animal Carvings and Beliefs and Silver and Stone: Profiles of American Indian Jewelers. He serves on the board of the Tucson Indian Center, IAIA Foundation, the Amerind Foundation, and the Southwestern Association for Indian Arts (SWAIA).

SUSAN KENNEDY ZELLER, PhD. Former curator of Native American art, Brooklyn Museum, 1998–2016. She has curated many exhibitions including Tipi: Heritage of the Great Plains and cowrote its accompanying catalogue. She taught at Columbia University, Long Island University, and the New School for Social Research.

JACOB MEDERS (Mechoopda Maidu). Master printmaker, Warbird Press, Phoenix; assistant professor in Interdisciplinary Arts and Performance, Arizona State University. Meders’s work focuses on altered perceptions of place, culture, and identity built on the assimilation and homogenization of Indigenous peoples.

DENNITA SEWELL. Curator of fashion design, Phoenix Art Museum; professor of practice, Arizona State University. She earned her MFA from Yale University and previously worked at the Metropolitan Museum of Art.

ELLEN TAUBMAN. Curator. She co-curated the Museum of Arts and Design’s Changing Hands: Art Without Reservation, a three-part exhibition series that showcased the diversity of contemporary Native American, First Nations, Métis, and Inuit art. She is currently organizing Redefine, an exhibition scheduled for spring 2019 at the Heard Museum. She is a former vice president of Sotheby’s in charge of American Indian, Inuit, and Oceanic Art.

Classification XI: Conrad House Cutting-Edge MARK BAHTI. Owner, Bahti Indian Arts, Tucson and Santa Fe. He wrote numerous

TERRY DeWALD. Owner of Terry DeWald American Indian Art, Tucson. He specializes in historic Southwest and California basketry, as well as contemporary Tohono O’odham and Apache basketry. He was a presenter at Prepare for the Fair at the Heard Museum in 2016. BRYN BARABAS POTTER. Museum curatorial consultant specializing in basketry. Working with many institutions and tribes, Potter has curated dozens of exhibitions. She has written about basketry for American Indian Art Magazine, First American Art Magazine, and other publications.

Classification IX: Personal Attire DOREEN DUNCAN (Mandan/Hidatsa/ Arikara). Beadwork artist and educator. An

ABOVE   Michael Roanhorse (Navajo), Gathering at Daybreak, 2017, tufa-cast silver bracelet. Winner of the 2017 Heard Fair’s Andy Eisenberg Award for Contemporary Jewelry. Photo: Craig Smith, Heard Museum.

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Best of Show Reception Judge’s Choice; and one special award, the Conrad House Cutting-Edge Award.

One-time Best of Show Award of $10,000

FRIDAY, MARCH 2, 2018 5:30–8:00 PM • Best of Show art on display in Steele Auditorium • Silent Auction: view and bid in South corridor of Steele Auditorium • Hors d'oeuvres, dessert stations, and no-host bars in Steele Plaza • Museum and museum shop open

In honor of the 60th annual Heard Museum Guild Indian Fair & Market, we are delighted to announce a one-time, special $10,000 Best of Show Award sponsored by Howard R. and Joy M. Berlin and Kristine and Leland W. Peterson. Peterson is the treasurer of the Heard Museum Board of Trustees and Berlin is a life trustee of the Heard

Museum. The guild thanks the Berlins and Petersons for their generous support of the Indian Fair & Market and the outstanding artists.

Fashion Show Watch our models show off work by Loren Aragon (Acoma Pueblo), Della BigHair-Stump (Apsáalooke [Crow]), Nanibaa Beck (Diné), Summer Peters (Saginaw Ojibwe), and many more.

Online Silent Auction Join the fun and encourage friendly competition with your family and friends for fabulous items donated by fair artists and friends of the Heard Museum! Items will be on view throughout the evening. Bid anywhere, anytime via mobile phone.

6:20 PM. Welcome and award announcement by Fair Chair Shelley Mowry, and Heard Museum Director & CEO, David Roche 6:30–7:15 PM. Fashion Show, main courtyard

Ticket Information $75 museum members $100 nonmembers Purchase tickets at: HEARD.ORG/FAIR/TICKETS

Juried Art Competition In honor of the 60th annual fair, the goal is $60,000 in prize money to be awarded at the Best of Show reception. Award categories include jewelry and lapidary; pottery; paintings, photography, and graphics; Pueblo carvings; sculpture; weavings and textiles; diverse art forms; baskets; personal attire; and beadwork and quillwork. In all, 149 ribbons are awarded including an overall Best of Show; Best of Classification, and an Innovation Award for each classification; First Place in Division; Second Place in Division; 30 | First American Art Magazine Heard Fair Guide 2018

ABOVE Left

Ken Williams (Northern Arapaho/Seneca) at the 2014 Heard Fair Best of Show display with his Best of Show beaded pouch, He Was Iconic. ABOVE RIGHT   Loren Aragon/ACONAV (Acoma), Emergence Gown, silk crepe back satin, silk charmeuse, leather, silk taffeta, sterling silver, from 2018 ACONAV Spring/ Summer Collection. Model: Juanita Toledo (Walatowa). Photo: Loren Aragon.

6 0 TH A N N UA L H E A R D M U S E U M G U I L D 6 0 TH A N N UA L H E A R D M U S E U M G U I L D

B E ST O F S H OW R ECE P TIO N B E ST O F S H OW R ECE P TIO N “The best of show results in major awards recognition. Artists “The bestand of show results in major come from over the US. It is awards andall recognition. Artists a mustfrom see.”all over the US. It is come a must—see.” Trip Advisor, March 22, 2016

“Start planning your 2018 visit to theplanning Heard’s Indian Market. “Start your 2018 visit If neverIndian been......GO!” toyou’ve the Heard’s Market. If you’ve never been......GO!” — Trip Advisor, March 26, 2017 — Trip Advisor, March 26, 2017

— Trip Advisor, March 22, 2016

2017 Best of Show, Don Johnston’s (Qagan Tayagungin) “Qagaxtag (Love)”, Photo: Craig Smith, Heard Museum 2017 Best of Show, Don Johnston’s (Qagan Tayagungin) “Qagaxtag (Love)”, Photo: Craig Smith, Heard Museum

BE THE FIRST TO SEE THE BEST OF SHOW BE THE FIRST MARCH TO SEE 2, THE BEST OF 5:30 SHOW FRIDAY 2018 FROM -8 FRIDAY MARCH 2, 2018 FROM 5:30 -8

WINNERS WINNERS P.M. P.M.

Tickets for the reception and for the fair are on sale now | 602.252.8840 2301 N. for Central Ave. Phoenix, AZ heard.org/fair Tickets the reception and for the| fair are on sale now | 602.252.8840 2301 N. Central Ave. Phoenix, AZ | heard.org/fair

Artist Demonstrators

BELOW, RIGHT  Jane

Hyden (Navajo), pictorial weaver. Photo: Margie Parrish.

All Day, Saturday & Sunday, March 3 & 4 Courtyard in front of Steele Auditorium (see Fair Map on page 10) MARLOWE KATONEY (Navajo) of Winslow, Arizona, draws upon his skills as a figurative painter in his exquisite PICTORIAL WEAVINGS. He incorporates pop culture and humor into customary Navajo weaving designs and challenges himself by weaving curvilinear shapes. His Angry Birds—Tree of Life weaving is in the Heard Museum’s permanent collection.

TAHNEE MARIE AHTONEHARJOGROWINGTHUNDER (Kiowa/Muscogee/ Seminole) creates cultural attire influenced by the techniques of her Mvskoke and Kiowa people. As an artist of Woodlandsstyle BEADWORK and QUILLWORK, she incorporates new materials and constantly explores designs to create wearable art that displays her Woodland identity. ANTHONY BELVADO (San Carlos Apache) is a second-generation APACHE VIOLIN maker who learned the skill from his grandfather. His violins have an agave body, a mesquite string holder and tuner, and a rawhide cap. Belvado has devoted the last thirty years to revive this endangered art. RON CARLOS (Salt River PimaMaricopa) uses the precontact Hohokam “paddle and anvil” technique to make POTTERY, with hand-processed clay and natural pigments harvested within the Salt River Pima-Maricopa Indian Community. Carlos also a teaches ceramics to his tribe.. LINDA & CHRISLYN FRAGUA (both Jemez) are part of a renowned POTTERYmaking family. Both mother and daughter make corn maidens, storytellers, nativity scenes, and other ceramic figures. The cheeks of their ceramic figures always have a large

dot that has smaller dots around the edges as a Fragua trademark. JANE HYDEN (Navajo) is a PICTORIAL WEAVER from Tuba City, Arizona, whose rugs are in the permanent collection of the Heard Museum. Her mother, Louise Y. Nez, her grandmother, and her motherin-law taught Hyden how to weave. Hyden’s considerable knowledge of Navajo oral history is expressed in her artwork. PETER RAY JAMES (Navajo) has had his SOFT SCULPTURES featured on album covers, exhibition posters, and magazine covers. He attended the Parsons School of Design and graduated from the Institute of American Indian Arts. James’s Navajo name, Nahat’a Yilth Yil Wood (“One Who Delivers the Message”) reflects the storytelling aspect of his artistic endeavors. DON JOHNSTON (Qagan Tayagungin Unangan) weaves BALEEN BASKETS with walrus ivory finials. After a chance meeting, Iñupiaq weaver James Omnik Sr. taught Johnston this labor-intensive art form. His 2017 Heard Fair Best of Show basket, Qagaxtag (Love), is on display in the Artistic Excellence exhibition in the Heard Museum.

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JACINTHE LeCORNU (Haida) learned BASKET WEAVING at age seven from her mother, Vicki LeCornu, and cedar bark harvesting from her Uncle Douglas Burgess. All her weaving designs have names and meanings rooted in Haida culture. Born in Ketchikan, she lives in Hydaburg, Alaska. ROYCE MANUEL (Akmierl Aw-Thum), a tribal historian and retired fire fighter, has revived the Salt River Pima-Maricopa Indian Community’s kiaha, or BURDEN BASKET. He weaves these open-work, utilitarian baskets from agave fibers. Manuel also makes fiber sandals, flutes, bows and arrows, and calendar sticks. JENNIFER SAPIEL NEPTUNE (Penobscot) is a brown ash BASKET MAKER and a beadwork and quillwork artist. A member and former manager of the Maine Indian Basketweavers Alliance, she earned a bachelor’s degree in anthropology from the University of Maine, Orono. She is also an herbalist and cultural preservationist. JILLI OYENQUE (Ohkay Owingeh) is a basket maker, specializing in Pueblo RED WILLOW BASKETS. One of six or so artists reviving this art form, she has practiced this art form for over 20 years, and harvests and processes her willow. NORBERT PESHLAKAI (Navajo), this year’s Heard Fair Signature Artist, makes his own stamps from concrete nails and developed his own styles of textures and overlays in SILVERSMITHING. His work in on view in Artistic Excellence in the museum.

CHARLENE SANCHEZ REANO (San Felipe Pueblo) is a mosaic inlay JEWELER, who studied studio art at New Mexico Highlands University and with her Kewa in-laws. Sanchez Reano specializes in two-sided necklaces that juxtapose precontact materials such as spondylus

YOLANDA HART STEVENS (Piipaash/ Quechan) is a dancer and BEADWORK artist from Komatke on the Fort Yuma Indian Reservation along the Colorado River. She studies Pee Posh ceramics and uses clay beads in her beaded necklaces. She codirects the Pee-Posh Project.

sculptural work with architects Aranda\ Lasch. LOUIS VALENZUELA (Pascua Yaqui), a MASK MAKER, mentors Yoeme (Yaqui) youth and teaches art at Hohokam Middle School. Born in Eloy, Arizona and raised in Barrio Libre of South Tucson, he attended the Chicago Art Institute in the 1980s. TOP, LEFT

Royce Manuel (Akmierl Aw-Thum).

TOP, RIGHT

Hands of Daisy Simms (Quechan).

Tufa-casting process. Photo: Lizard Light Productions (Citizen Potawatomi). BOTTOM, LEFT

BOTTOM, RIGHT

Rosie Yellowhair (Navajo).

and turquoise with stones from around the world. MELANIE TALLMADGE SAINZ (Ho-Chunk Nation), a multidisciplinary artist, will demonstrate porcupine QUILLWORK, an art form unique to North America. She is the founding director of the Little Eagle Arts Foundation (LEAF), a Native arts and community nonprofit that operates the Native Presence Gallery and Learning Center in Wisconsin Dells. KEVIN SEKAKUKU (Hopi), of the Sun Clan, is a KATSINA CARVER, who was already making full figures by age ten after learning to carve from his three uncles. He grew up in Kykotsmovi and now lives in Phoenix. Sekakuku has been exhibiting his artwork at the Heard Museum since he was a student at Hopi High School. DAISY SIMMS (Quechan) was named an Arizona Living Treasure for her legacy of creating NET-BEADED COLLARS worn by Native women throughout the Colorado River region.

TIM TERRY JR. (Gila River Akimel O’odham) is one of the few living masters of the ancient Sonoran Desert SHELL ETCHING technique that uses cactus juice to etch exquisite designs in shell gorgets. TOHONO O’ODHAM COMMUNITY ACTION (TOCA) and TERROL DEW JOHNSON (Tohono O’odham) promote food sovereignty, Indigenous farming practices, and BASKET WEAVING on the Tohono O’odham Reservation in southeastern Arizona. Johnson studied customary basketry with tribal elders before creating his own styles with unusual woods and fibers. He now collaborates on woven

TODD WESTIKA (Zuni) taught himself to CARVE FETISHES after a relative gave him a small bear fetish to use as a “guide.” He gained a vast knowledge of rocks from geology classes he took as a geological engineering student. Westika won first place at the 1994 American Indian and Western Relic Show and numerous awards at Museum of Northern Arizona’s Zuni Show. ROSIE YELLOWHAIR (Navajo), of Upper Fruitland, New Mexico, is a SAND PAINTER who harvests and grinds her own natural earth pigments. Her vast knowledge of Navajo oral history comes from her traditionalist grandfather, uncles, and father, Earl Yellowhair.

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Then and Now Sixty Years of the Heard Museum Guild Indian Fair & Market

T

he Heard Museum was founded in 1929 by Dwight and Maie Bartlett Heard, avid collectors of American Indian art. In 1956, 30 women formed an auxiliary organization to support the mission of the museum, provide financial assistance, and guide tours of the museum’s collection. This intrepid band of women—and they were all women up until 1972—committed themselves with passion and zeal. In 1958, when the museum’s prospects looked dim, Heard Guild volunteers opened a gift shop “pledging to sell only the good, the authentic.”1 James Varner Parker, an artist from Missouri, had joined the museum’s staff. According to Helen Metzger Shackelford, the founding President of the auxiliary, “The Museum was still poor and it was Jim Parker who presented the simple plan which has developed to such immense beauty. He said, ‘Let’s have a Heard Museum Fair!’ ” 2 The auxiliary decided that Phoenix needed a familyfriendly event that would help keep the doors open. And so, in 1959, the Indian Fair began. The fair provided an opportunity for American Indian artists to display and sell their work and for Phoenix area families to meet and learn about American Indian arts and cultures. That first year, Bruce Timeche (Hopi) set up an easel on the lawn and painted canvases for sale. A young Charles Loloma (Hopi) demonstrated and sold pottery and fashion

by Anna Flynn

identified as being of Arapaho descent, Jay Silverheels (Mohawk) famous for his role as Tonto in the TV show The Lone Ranger, and Congressman Will Rogers Jr. (Cherokee Nation), journalist and son of legendary humorist Will Rogers (Cherokee). Senator Barry Goldwater served as emcee for many years. In 1972, when guild membership opened to men, the senator was one of the first to join. Guild members hosted artists at their homes, and other members prepared dinner for artists, the guild, and their families on the Friday evening before the fair. A plea for help in the April 1977 Guild Newsletter read: WANTED for Pre-Fair Buffet: Cookies and Stew—Your Oranges Too

designer Lloyd Kiva New (Cherokee Nation) held a fashion show. Other well-known artists participating that year included potter Ida Redbird (Maricopa), painter Fred Kabotie (Hopi), jeweler Willie Shaw (Navajo), and katsina carver Frederick Myron (Hopi). Guild member’s husbands and children were enlisted on fair weekend for setup, food sales, and teardown. In the early years, activities included llama rides, a fishing booth, cake sales, and a raffle. Celebrities were sought out to be masters of ceremony. These included Acquanetta Ross, an actress and local celebrity who

…On April 1 the Indians who will be participating in the fair will be arriving—many from distant places. All will bring healthy appetites and the Guild has invited them to a buffet supper at the Museum. The Pre-Fair committee is expecting to serve over 250 persons. May we count on you to contribute either green chili stew or dessert or freshly picked oranges.” 3 Founding auxiliary President Helen Metzger Shackelford noted that during the second fair, “Joie Davidson, who was both witty and pretty, initiated a wonderful project. She simply situated herself near the front entrance with a large old pickle jar—a big smile and a sign that

1. Mrs. James G. Shackelford Jr. (Helen Metzger Shackelford), “Presidential Memories of 20 Years, 1956–1959,” in Heard Museum Guild History 1958–1997 (Phoenix: Heard Museum, 1997), 22. 2. Ibid., 23. 3. Heard Museum Guild Newsletter, April 1977.

34 | First American Art Magazine Heard Fair Guide 2018

ABOVE

Bruce Timeche (Hopi, 1923–1987), painting a portrait, 1965, Heard Museum PDC199A 1276589_0013. Photo: Paul Coze. LEFT

Elaine Mayer, Heard Fair chair, with Jay Silverheels (Mohawk 1912–1980), actor, and Beverly Jones, Heard Guild president, Heard Museum, PCD:199A 1276589_0014. OPPOSITE

Charles Loloma (Hopi, 1921–1991) in newspaper promotional for first Heard Fair, 1959, Heard Museum, PCD:199A 1276589_0001. All images in this article courtesy of the Billie Jane Baguley Library and Archives, Heard Museum, Phoenix, Arizona.

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TOP  All-Indian jury at 5th annual Heard Museum Guild Indian Arts and Crafts Show, 1972. The first all-Indian jury in at the Heard Fair. Judges were Al Momaday (Kiowa), Fred Kabotie (Hopi), Allan Houser (Chiricahua), Charles Loloma (Hopi), and Tony Da (San Ildefonso Pueblo), Heard Museum, PCD199A:1276589_0022. BOTTOM

Seri dancer, late 1970s, Heard Museum, PCD:199B 1276589_0045.

read, ‘We need help.’ Worked wonders: there were gratifying donations.”4 Each year brought its own challenges and opportunities for the fair chair, committees, and artists. As the hard work of volunteers and staff took root, the Heard Museum expanded several times and the layout and size of the fair morphed as needed to accommodate the changes. Knowing the weather could make or break the fair, organizers dreaded torrential rain, high winds, or soaring temperatures. In 1965, Pam Gilbert wrote, “The Heard Fair was practically a washout—the rains DID come. The Fair chairman, Jane Towner, said, upon arriving the second day of the Fair to see the tents drooping with water—paper decorations peeling off everything, electrical hookups for the food under three inches of water, people standing around in the rain staring—that the only thing as bad as this that she could remember was the

evacuation of the Americans from Seoul, Korea, when the North Koreans invaded, at the time she and her husband were there with the State Department.” 5 In 1967, there were even discussions about discontinuing the fair because of a shortage of labor and fears about damaging art in the museum. These discussions were quickly squelched. Through booming and busting economies, fair and foul weather, and construction and expansion of the museum, the guild persevered and has succeeded in hosting an Indian Fair every year since 1959.

Indian Arts and Crafts Exhibit (1968–1984) In 1968, the Heard Guild initiated their first nationwide, juried competition show and sale known as the Indian Arts and Crafts Exhibit. Work from student artists was included in the 1970s, thereby

4. Shackelford, Heard Museum Guild History, 24. 5. Mrs. Edward I. Gilbert (Pam), “Presidential Memories of 20 Years, 1964–1966,” in Heard Museum Guild History 1958–1997 (Phoenix: Heard Museum, 1997), 27.

36 | First American Art Magazine Heard Fair Guide 2018

LEFT  Ida Redbird (Maricopa, 1982–1971), potter, ca. 1960s. Photo: Robert Nuss. Heard Museum, PCD:199A 1276589_0009. Redbird was instrumental in reviving Maricopa redware pottery and served as president of the Maricopa Pottery Makers Association. ABOVE  Hopi singers from Shungopavi (Second Mesa), Floyd Namingha, McBride Lomayestewa; Vernon Mansfield; and Eldon Kewanyama, Heard Museum, PCD:199B 1276589_0049. BOTTOM

San Carlos Apache Crown dancers, 1970s, Heard Museum, PCD:199B 1276589_0032.

boosting the guild’s support of young artists. According to former Guild president Ann Bergin, in 1968, “The original idea was to open the exhibit only to Indian artists and craftsmen—no traders, no agents. We wanted the sale and prize money to go directly to the artists. We wanted to provide another dimension to the Fair and at the same time encourage Indian artists to keep at it. We only hoped to break even. The total gestation period was—and this is the truth—10 months from inspiration to preview. We compiled a list of Indian artists from nearly every state, solicited and collected prize money, devised entry regulations, organized systems by which to receive and catalogue, store and display. We set up a system to judge, sell and return entries. Monumental… A couple of years later, Board Member Joan Hale said, ‘We had been hopelessly naïve and had made it on blatant enthusiasm and raw luck.’ ”6

The Best of Show Award In 1974 the Indian Arts and Crafts Exhibit announced a new top award, the Best of Show, carrying a $500 prize. The committee asked guild members to fund the award since the show was a guild fundraising project. A blurb in the Guild Newsletter in October 1974 read, “…toss all spare change (and bills too, of course) into Awards Chairman Mary 6. Ann Bergin, “Presidential Memories of 20 Years, 1967–68,” in Heard Museum Guild History 1958–1997 (Phoenix: Heard Museum, 1997), 20–21.

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Guilford’s glass fish bowl. It will appear at all functions and be a permanent figurehead on the Information Desk.”7 The juried competition was important for artists’ reputations and income. Artists sometimes went to great lengths to participate in the juried competition, as did collectors to purchase the winning art. The 1978 Best of Show winner was Lois Gutierrez de la Cruz (Pojoaque/Santa Clara Pueblos) with her pot, Hunter and Turkey. “To get the pottery to the museum in time for the judging, she wrapped it in diapers, boxed it and shipped it by Greyhound Bus. The collectors, Bob and Donna Teegardin arrived at the museum early the morning of the exhibition opening. They were first in line and staked their position with lawn chairs in front of the Heard Museum’s Monte Vista Road entrance. They took turns previewing the show, and at the opening reception that evening they were the first to reach Hunter and Turkey, which they purchased. In 2012, the Teegardins gifted the jar to the Heard Museum.”8

The Heard Museum Guild Indian Fair & Market In 1984 the Arts and Craft Exhibit was discontinued and in 1985 the Fair was renamed the Indian Fair & Market. In 1990, a juried competition was resurrected, but not as a standalone event. It became part of the 1991 Indian Fair & Market. While much has changed, much has stayed the same. Hospitality is still the byword for the fair. The Hospitality Committee collects homemade and store-bought snacks to distribute to artists throughout the weekend. An orangepicking day is held at the home of longtime supporter A.J. Dickey, and crates of oranges can be seen stacked under the hospitality tent or loaded on a dolly pulled by a volunteer who goes, tent to tent, offering oranges to the artists and their families. Booth Relief volunteers stay in artists’ booths while artists take a break. Ask Me volunteers assist guests and artists throughout the weekend with all kinds of questions. Each day, over 300 volunteers work behind the scenes to execute the plans laid months earlier to ensure that the artists’ and guests’ experiences are memorable. Each year, many fair artists submit their best work in hopes of winning a coveted award ribbon and prize money. Juried competition is a rigorous process. A renowned group of judges, composed of artists, collectors, and museum professionals, reviews and rates each submitted piece. Winning these awards can strengthen artists’ professional reputations and potentially increase the value of their work. The Heard Guild has come a long way from collecting donations in a glass fish bowl for that first $500 award to this year’s one-time, special $10,000 Best of Show Award sponsored by Howard R. and Joy M. Berlin and Kristine and Leland W. Peterson. Peterson is treasurer of the Heard Museum Board of Trustees and Berlin is a life trustee of the Heard Museum. The guild thanks the Berlins and Petersons for their generous 7. Heard Museum Guild Newsletter, October 1974. 8. Lois Gutierrez-de la Cruz, Turkey and Hunter, 1978, ceramic jar, collection of the Heard Museum, Heard Digital Library, Catalogue Number 4277-1, web.

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OPPOSITE, TOP

Lillian Dineyazhe (Navajo, 1924–2014), textile artist demonstration weaving on an upright loom, 1980, Heard Museum, PCD:199B 1276589_0031. Photo: Howard De Wald.

OPPOSITE, BOTTOM

Dean Wilson (Navajo, 1923–1999), code talker, tribal judge, and fair emcee presents an honoring blanket, 1980s, Heard Museum, PCD:199B 1276589_0041.

BELOW  Sherrilla, Michelle, and Julie McKinley (all Northern Ute), members of the Central Plains Indian Club, 1983, Heard Museum, PCD:199B 1276589_0046.

support of the Indian Fair & Market and our outstanding artists. The Best of Show Reception on Friday evening honors the award-winners in all classifications and showcases the energy, creativity, and skills of the artists. It is an opportunity for guests to meet the artists, see their best work and hear their stories. The evening also includes a fashion show featuring designers who will be participating in the art market. Along with art and fashion, guests enjoy small plates, dessert and beverages with old and new friends under twinkling lights in the Heard’s historic main courtyard. All fair artists receive tickets to the event. Best

of all for Guild members, unlike early pre-Fair dinners, the event is catered. On Saturday and Sunday, guests will have the opportunity, as they have for the previous 59 fairs, to meet Native artists and learn about Indigenous arts and cultures. Twenty-two master artists from sixteen tribal nations from Maine to Alaska will demonstrate and discuss their creative processes just as Bruce Timeche and Charles Loloma did in 1959. Campus wide, over 600 American Indian, Alaska Native, and Canadian First Nations artists will display and sell their artwork. Cultural performances are still an important part of the Heard Fair with drum groups, Native American flutists, 60 TH Annual Heard Museum Guild Indian Fair & Market | 39

Apache crown dancers, fancy dancers, and hoop dancers performing on two stages. The Heard Guild still supports young artists with its Student Art Show and Sale (March 23 to 26, 2018). Some former student artists will be at the fair, including Hopi carver Kevin Sekakuku, Navajo weaver Melissa Cody, and Zuni jeweler Dylan Poblano. As a child, Sekakuku was taught katsina woodcarving by three of his uncles. In elementary school, he won a first-place age-group ribbon at the Heard Museum Guild Student Art Show. Cody, a fourth-generation weaver, began weaving at age five. Her tapestries are sophisticated geometric arrangements in striking color combinations. Poblano is the grandson of famed Zuni jeweler Leo Poblano and the son of innovative jeweler Veronica Poblano. His unique designs and materials are highly-styled and influenced by his mastery of stone carving and inlay. Many other young and emerging artists will display their work. Since 1958, the Heard Museum Shop label has guaranteed authenticity, as our buyers source directly from American Indian artists. Many Navajo Code Talkers honored at the Heard Fair, 1982, Billie Jane Baguley Library and Archives, PCD:199A.

ABOVE

LEFT  Alfred H. QÜyawayma (Hopi), potter, ca. 1980. Heard Museum, PHD:RC62(Q26):2.

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fair artists also sell their work through the shop or participate in the guild’s Prepare for the Fair lecture series. The collaboration among artists, shop staff and volunteers, guild members, and museum staff is part of what makes the Heard Museum Guild Indian Fair & Market a unique experience. The Heard Fair remains a family affair for the multiple generations of artists, some who return year after year; for the guild members who join as couples or commandeer their significant others to labor on fair weekend; for the Heard Museum staff who patiently and lovingly adapt to each round of volunteer committee chairs; and for the thousands of guests, young and old, who spend the weekend with us. A nationally recognized event, the fair is the second largest market of its kind attracting over 10,000 guests from all over the world. It is a gathering place for art lovers and the community; a place to celebrate and learn about Native visual and performing arts. The artists are well established and emerging, acclaimed and yet-to-be-discovered, old and young. The result is a sea of white tents on a March weekend filled with dazzling works of art, and the creators and collectors united in their love and appreciation of artistic excellence. While the fair is physically constrained by its Central Phoenix location, the heart of the fair is large and has a strong beat.

TOP  Heard Museum Guild Indian Fair & Market judges Larry Golsh (Pala Luiseño/Cherokee), Ken Osborn of Many Hands Gallery, Gail Bird (Kewa/Laguna), and Barbara Jean Teller Ornelas (Navajo), 1992, Heard Museum, PCD:199A 1276589_0004. BOTTOM   Akimel O’odham woman making frybread, late 1960s, Heard Museum, PCD199Ad:1276589_0018.

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LEFT  Kristen Dorsey (Chickasaw Nation), Panther Woman Collection jewelry, sterling silver, stingray skin, black onyx, and labradorite. Model: Brandi Bondoc. Hair and makeup: Bernice Gallegos. Photo: Chiara Salomoni.

Made for the Body 21st-Century Native American Accessories by Suzanne Newman Fricke, PhD

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arrings in the shape of a turtle body to see how it lays, then make narratives from Chickasaw culture and shell. T he suggestion of adjustments. I’m always looking for other influences, including Art Nouveau, mounds on a handbag. Fret ways to make jewelry more comfortable, Art Deco, and Islamic architectural patterns across a stainless-steel bracelet. especially earrings. I’m on a mission, design from Istanbul. Her shield design More and more of today’s Indigenous asking my customers what they like, reflects Art Deco patterns but also the strength of the warriors from her designers are bringing historic elements what they wear.” For her large rings, she adds hinges homeland. In college, Dorsey studied and patterns into their work to offer a 21st-century version of long-established so they bend at the joints. She chooses precontact Southeastern pieces at the Native American designs. Three living materials carefully, such as rose gold; Peabody Museum of Archaeology and Native artists are forging new paths .999 fine silver rather than sterling silver Ethnology at Harvard University, such for themselves and their wearable art: for repoussé; 22-karat gold for gem as intricately pierced shell patterns on Maya Stewart, Chickasaw/Muscogee/ settings to give an extra yellow tone. She water disks, shell carvings, and copper Choctaw handbag designer; Kristen uses a number of techniques, including repoussé plates. Her earrings and Dorsey, Chickasaw jeweler; and Pat inlay, wax carving, and bezel-set stones. pendants with turtle-shell motifs refer Pruitt, Laguna jeweler and metal Dorsey likes to play with layers as a to the shell shakers filled with pebbles sculptor. By fusing community and clothing designer would, combining worn on women dancers’ legs at stomp individualized designs, these artists colors, textures, and finishes. “My work dances. For her Hatchet Women Collection, are creating waves. By mixing historic has evolved to bring together organic forms and lacy textures to make a more Dorsey researched Chickasaw oral images with a global sensibility and a rock-and-roll vibe they give the world architectural structure and to make history to learn about the hatchet something it’s never seen before.

Kristen Dorsey: Mississippian Deco Kristen Dorsey majored in Native studies and earned a BA in Native studies and a BFA from Tufts University and the School of the Museum of Fine Arts in Boston, Massachusetts, where she studied drawing, painting, and sculpture. While she enjoyed the challenge of large sculpture, she found her calling in jewelry. She designs with the body in mind. “I hold it up to the

By fusing community and individualized designs, these artists are creating waves

strong compelling lines throughout the piece with interesting carvings.” Dorsey’s work merges ideology with design from delicate earrings and bracelets to substantial breastplates, cuffs, and collars. The pieces are beautiful and draw upon important

women. W hen French soldiers attacked Native communities in the early 18th century, the women defended themselves and their lands armed only with hatchets. Dorsey’s images of crossed hatchets serve as visual metaphors for the strength of

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Right  Kristen Dorsey (Chickasaw Nation), Panther Woman Hair Comb, fine silver, 14-karat gold, labradorite, diamond. Model: Brandi Bondoc. Hair and makeup: Bernice Gallegos. Photo: Chiara Salomoni.

See their work Pat Pruitt:

Heard booth J-11, patpruitt.com

Maya Stewart:

Heard booth J-08, mayastewart.com

Kristen Dorsey:

Heard booth H-32 kristendorseydesigns.com

the women in her community—in the past and in the future. Dorsey’s Panther Woman Collection relates to the Chickasaw clan system, in which the panther is the clan animal for a group historically known for skilled hunters. As a top predator and an endangered animal, the panther suggests the power and beauty of nature found in the Chickasaw homelands. Felines symbolize the waterways of the Mississippi River and were frequently depicted in shell carvings and ceramics. Dorsey uses labradorite, a dark stone with iridescent flashes of color, to evoke the surface of the water. She added the spiral design from pottery patterns on the body of the panther, layering the historic elements. Kristen Dorsey appreciates the support that the Chickasaw Nation provides. “I owe my whole career to the Chickasaw Nation, their support

for artists and innovations.” She hopes to teach at the Chickasaw Nation once a jewelry-making center is established.

Maya Stewart: Luxury in Leather

Kristen Dorsey (Chickasaw), Yaupon Earrings, sterling silver, opal, sapphire. ABOVE

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Maya Stewart also credits the Chickasaw Nation with helping her achieve her goals. The Chickasaw Nation encourages artists by sponsoring traveling exhibitions, festivals, and training programs. Stewart teaches handbag design at the Chickasaw Nation Arts Academy, a summer program for Native youth taught by

ABOVE

Kristen Dorsey (Chickasaw), Hatchet Cuff, sterling silver, labradorite.

professional artists from several tribes. In her classes, she teaches students how to sketch, research designs and styles, build mood boards, construct bags, and create collections. Stewart acknowledges, “I would not be where I am today without the help of the Chickasaw Nation.” Stewart combines Southeastern Woodland iconography with inspiration from her years in London, New York, and Los Angeles. She has presented her collections at Fashion Week in Paris, Los Angeles and New York, along with other Native American designers, including Maria Samora and Patricia

ABOVE

Kristen Dorsey (Chickasaw), Possum Grape Earrings, sterling silver, blue lace agate, pink sapphire, garnet.

Michaels, both from Taos Pueblo. Stewart has worked for successful names in fashion including Judith Leiber, Jill Milan, and Matthew Williamson, who taught her “to consider other design aspects.” Stewart has encountered a strong response to her work, and many magazines including Vogue, Lucky, Women’s Wear Daily, and Marie Claire have featured her bags. As a child, Stewart knew she wanted to study fashion design in Europe. She attended the London College of Fashion, where she was a finalist for Student Accessory Designer of the Year and was one of the top ten picks in the LCF LTD 100 Collection. While living in London, she took advantage of every opportunity to learn and grow as an artist. She traveled widely through Europe and along the way won the Professor Jimmy Choo Award and the Lineapelle Young Designers Contest. After graduating, Stewart interned with Matthew Williamson in London and with Judith Leiber in New York City, which Stewart describes as great learning experiences. Growing up, Stewart was surrounded by Native art. Her mother, Jimmie Carole Fife (Muscogee Creek), studied with Lloyd Kiva New (Cherokee Nation) at the University of Arizona in Tucson, Arizona, and became his 60 TH Annual Heard Museum Guild Indian Fair & Market | 45

TOP   Model with Maya Stewart’s Arrow and Lightning Wrap Bracelets (and a Pat Pruitt bracelet) and clutch. Photo: Robert I. Mesa (Navajo/Soboba). BOTTOM  Maya Stewart (Chickasaw/Muscogee/ Choctaw), Silver Tokyo Wristlet.

key assistant. Kiva New, noted fashion leader, educator, and textile designer, hired Fife to help screen print. Fife and her sisters started their own line, the Fife Collection, with a chic style that was, as Stewart describes, “ahead of its time.” Stewart loves to play with new materials, tools, and techniques in her West Hollywood studio. She is inspired by art of Southeastern tribes, from textile patterns to earthworks. Some of her bags are shaped like a pyramid, such as her Tokyo purse, or

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have pyramid shapes on the surface, which are decorative but also help the bags fit comfortably between the arm and the body. Stewart invents her own patterns. She designs and constructs her bags herself, paying attention to the details in all aspects of her work, from the choice of materials to the fringe and the quilting. She works only with high-quality leather and suede in matte and shiny finishes, which may add to the retail price of the bag but creates a better product.

Pat Pruitt: New Directions in Metal Pat Pruitt from Laguna Pueblo won the Best in Show award at the 2017 SWAIA Santa Fe Indian Market for Sentinel v1.0, his metal sculpture with the contour of a Laguna pot.1 The sculpture echoes a piece he created a decade ago when he won Best of Classification at his first Santa Fe Indian Market but highlights new skills and materials. Pruitt considers the context of the Southwest Native art scene, with

its immense pride in making things by hand with historic tools. “After winning Best in Show, I got flack for winning with a piece that used CNC technology to fabricate.” The biggest pushback was by art dealers. Some people were accepting and open, but others were resistant. The conversation about how the works are made, seen, and understood should be led by artists. I am pushing the boundaries of arts” at Santa Fe Indian Market. Pruitt notes that he is “not the first kid on the block

1. The print version of this article incorrectly stated lasers were used to create Sentinel v1.0; they were not —Ed..

TOP  Model with Maya Stewart leather bracelets and clutch. Photo: Robert I Mesa (Navajo/Soboba). BOTTOM

Maya Stewart (Chickasaw/Muscogee/ Choctaw), Jimmie Tote.

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to use industrial materials, but I’m the one who keeps using it.” Pruitt grew up at Laguna Pueblo, home to many noted potters whose designs influence his work. He studied mechanical engineering at Southern Methodist University in Dallas, Texas. This field underscored the need for precision in mathematics. While at college, he worked in a prototype machine shop to build one-off components for various mechanical devices. “Learning the skills of a machinist was a blessing,” the artist says, and he launched his own business, Custom Steel, 15 years ago, to produce stainless steel jewelry for body piercing. Pruitt then apprenticed under silversmiths Greg Lewis (Laguna/Acoma) and Charlie Bird (Laguna/Kewa). Working in silver and copper, he learned repoussé, stamping, and hammering techniques to develop a firm foundation in jewelry fabrication, tool development, and general craftsmanship. Pruitt approaches his designs by considering how all the parts work together and finishes everything professionally. He sees his design style as “fairly universal. It’s clean, simple, and timeless. A stainless steel with stingray bracelet I designed ten years ago is still popular.” His designs are inspired by everything from pottery to tire tracks. Combining metals of varying hardness, Pruitt uses different finishes to create a complex palette. He constantly experiments by working and reworking the same piece. “There are times when I’ve gone through various iterations of a piece, because after it was made it didn’t work. I have a box of failures.” He continues, “If you excel at a range of techniques, the design choices are boundless. Sometimes I have a vision and I have to learn how to make it. I have to make my own materials and tools.” He enjoys learning new techniques, including the Japanese method for fusing gold and silver at a high temperature and pressure. 48 | First American Art Magazine Heard Fair Guide 2018

OPPOSITE, TOP   Pat Pruitt (Laguna Pueblo), Christina’s Bracelet, 2016, zirconium, industrial diamonds. LEFT

Pat Pruitt (Laguna Pueblo), Bracelet , 2015, zirconium, 18-karat gold, white diamonds.

OPPOSITE, Bottom  Pat Pruitt (Laguna Pueblo), Ben’s Wedding Ring , 2017, zirconium, stainless Damascus steel. BELOW  Pat Pruitt (Laguna Pueblo), Sentinel v1.0, 2017, titanium, zirconium, 14 × 14 × 12 in. Photo: Pat Pruitt. All images courtesy of the artist.

Broadening Horizons These artists recognize the human desire to adorn one’s body with exquisite, unique objects. Like Stewart and Dorsey, Pruitt works to keep an accessible price point while maintaining quality in materials and techniques. “Some of my collectors are in their twenties and they can buy a ring for $200, and it’s a big purchase for them,” says Pruitt. “Then as they mature they might be able to get more. Adornment, in general, is inherent to every culture.” While these three artists have garnered major recognition in the Native art world, they understand the need to push boundaries and showcase their work on an international stage— and not lose touch with their heritage. Kristen Dorsey says, “I would like my work to appeal to a broad audience, but as you look more closely [at my work], you can learn about Chickasaw history. I like to challenge the stereotypes of Native images.” Jeweler and metal artist Pat Pruitt also shows primarily in Native art markets but his work has a wide appeal due in part to his materials and techniques. He also recognizes the need to push boundaries within the Native art world: “My job is to pave the way to getting newer work accepted.” 60 TH Annual Heard Museum Guild Indian Fair & Market | 49

Symmetry in Stone The Jewelry of Richard I. Chavez by Diana Pardue

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Richard I. Chavez (San Felipe Pueblo), Bolo Tie, 2007, fossilized walrus ivory, Edwards black jade, turquoise, coral, 14-karat gold. TOP

Richard I. Chavez (San Felipe Pueblo), Ring, 2007, sugilite, coral, turquoise, 14-karat gold. BOTTOM

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ichard I. Chavez, of San Felipe Pueblo, is recognizably one of the Southwest’s best lapidary artists and one of the leading jewelers of his generation. Chavez’s jewelry also reflects his architectural studies and his interest in minimalist works of art and Scandinavian designs. In the early 1970s, Chavez studied to be an architectural draftsman and later took formal architecture classes at the University of New Mexico in Albuquerque. While still a student, Chavez started to work at the architecture firm of Harvey S. Hoshour. One of the buildings Hoshour’s firm was hired to design in 1975 was the inaugural building for the Indian Pueblo Cultural Center. Chavez was part of the design team for the new building. Hoshour had studied with architect Ludwig Mies van der Rohe, who stressed “less is more.” Hoshour’s minimalist approach to architecture and his love for contemporary art, including the paintings of Mark Rothko and Josef Albers, would have a direct influence on Chavez’s approach to architectural design and ultimately his jewelry designs. While working for Hoshour’s firm as a draftsman, Chavez realized that he needed to supplement his income to support his young family. At first he sought help from his grandfather to learn how to shape fine heishi beads from shell and turquoise. Within a few short years, competition with imports from the Philippines forced him on a different path. Around 1975, he tried his hand at silverwork and continued to emphasize a variety of stones in his jewelry. Initially he used epoxy to secure strands of his handmade beads to silver bracelet forms he made, later adding stones in complex patterns. Chavez has always cut and shaped the stones he uses for the delicate inlay work he creates. For more than four decades, he has meticulously made every piece by hand. His work drew the

attention of several gallerists, including Martha “Marti” Struever (1931–2017), who was known for her ability to identify talented, emerging artists. On her website, Struever noted, “Richard creates pieces of jewelry that really are restrained compositions of modern art, perfectly attuned to form and color.” When he first started making silver jewelry with inlaid stones, Chavez was drawn to a dark palette and often chose the deep hues of lapis lazuli for primary stones, to which he added accents of turquoise and coral. Many of the unusual stones Chavez incorporated were just beginning to be used by a handful of Southwestern jewelers. And while other Southwestern jewelers used local jet, Chavez rarely did. Early in his career, he occasionally used black onyx but quickly abandoned it when he learned that onyx was dyed to achieve its dark color. The Southwestern Association of Indian Arts (SWAIA) Market, held each year in August in Santa Fe and known as Indian Market, discouraged the use of treated stones, so Chavez began using black jade in 1988. He found that he could polish jade to achieve the rich, satiny finish he sought. Throughout his career, Chavez has successfully combined materials of different colors, including fossilized ivory, to achieve striking color palettes. He often combines the creamy, white tones with various browns and arranges the different colors in engaging patterns by adding accents of turquoise and coral. In a bracelet he made in the mid-1990s, Chavez used Siberian green jade, choosing sections with flecks of black for interest. Most recently, Chavez has collaborated with his son, Jared, to create new designs that emphasize Richard’s inlay and Jared’s intricate metal patterning. The two have created several necklaces and a belt, the first in Richard’s career. The Heard Museum exhibition and accompanying book, Symmetry in Stone: The Jewelry of Richard I. Chavez, chronicles the 40-year career of this talented artist.

TOP

Richard I. Chavez (San Felipe Pueblo), Double-Bracelet, 2003-4, Edwards black jade, coral, turquoise, 18-karat gold. BOTTOM

Richard I. Chavez (San Felipe Pueblo), Buckle, 2009, lapis lazuli, coral, turquoise, 14-karat gold, silver. All photos in this article: Craig Smith, Heard Museum.

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Artistic Excellence

The Heard Museum Guild Indian Fair & Market Celebrates 60 Years by Ann Marshall

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ounded in 1959, the Heard Museum Guild Indian Fair & Market is the oldest continuing Native art event in Arizona. The exhibition Excellence: The Heard Museum Guild Indian Fair & Market Celebrates 60 Years celebrates this legacy by presenting artworks from the Heard Museum’s permanent collection that were either purchased at the fair or made by past Indian Fair & Market Signature Artists. The Heard Museum Guild Indian Fair, as it was known when it began 60 years ago, has always featured superb artists. Charles Loloma (Hopi), Fred Kabotie (Hopi), Maria Martinez (San Ildefonso), Adam and Santana Martinez (San Ildefonso), and Helen Cordero (Cochiti), just to name a few, were all exhibitors at early Heard Fairs. In 1991, the Heard Museum Guild launched the Best of Show competition to be held the Friday night preceding fair weekend. This gathering provides an opportunity for artists selected for the fair

to receive special recognition through a juried art competition with cash awards. It is an important and needed successor to the juried Heard Museum Guild Arts and Crafts Show, which ended in fall 1984. The talented artists who show and enter their work for competition at the fair every year offer the Heard Museum an opportunity to acquire pieces for its permanent collection. Over the years, collectors have supported the museum by donating work, including many award-winning pieces from Friday’s Best of Show reception. Other generous donors have provided funds to purchase artwork for the permanent collection. For a number of years, the Heard Museum Council has donated proceeds from its successful Appraisal Day events for the museum purchase work from the fair, as well. Former Heard Fair Signature Artists, such as David Bradley (White Earth Ojibwe), are also featured in Artistic Excellence. For many years the Heard

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Museum Guild gave a leading artist this designation, showcasing the artist’s work on official fair merchandise such as posters and T-shirts. The fact that the Heard Museum seeks work at the Heard Fair for its permanent collection speaks volumes about the quality of the art showcased at the market. On that brief weekend, outstanding artists who create the newest trends and enduring classics of American Indian, Alaskan Native, and First Nations art are celebrated. On view through on March 11, 2018, the exhibition Artistic Excellence: The Heard Museum Guild Indian Fair & Market Celebrates 60 Years gives visitors the opportunity to enjoy decades of the award-winning artistic excellence that has been discovered and nurtured at the fair. ABOVE David P. Bradley (White Earth Ojibwe), The Tradition Lives On, 2007, acrylic on canvas, 36 x 72.5 in., collection of the Heard Museum, Gift of Alice J. Fleet Dickey, 4522-1. Photo: Craig Smith.

Of God and Mortal Men

Masterworks by T.C. Cannon from the Nancy and Richard Bloch Collection by Ann Marshall

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his solo exhibition of work by the Kiowa/Caddo painter T. C. Cannon features ten major canvases—nine from the Bloch Collection and one donated to the New Mexico Museum of Art by Nancy and Richard Bloch. A catalogue published by the Museum of New Mexico Press accompanies the show. Heard Museum Dickey Family Director and CEO David M. Roche says, “We believe this recognition of one the 20th century’s most gifted artists is long overdue.” The primary goal of the exhibition is “to encourage a more inclusive approach to interpreting the work of T.C. Cannon.” Roche continues, “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.” Tommy Wayne Cannon was born in 1946 in Lawton, Oklahoma. His Kiowa name, Pai-doungu-day, translates to “One Who Stands in the Sun.” His career was brief—cut short when he was tragically killed in an auto accident at a young age. Despite the brevity of his career, Cannon’s impact as a leader of the 1960s revolution in American Indian art is beyond question. He fused the art of his heritage and his knowledge of American Indian history with ideas inspired by diverse, international, artistic movements. His introduction to the wider world of art began in his art appreciation classes at the Institute of American Indian Arts in Santa Fe taught by Fritz Scholder (Luiseño). Eight of the Cannon paintings in the Bloch Collection are from Cannon’s mature period, painted between 1975 and 1978, the year of his death. These include two of Cannon’s most famous paintings, Self Portrait in the Studio and Collector #5 (Man in a Wicker Chair), both painted in 1975. In these artworks, Cannon references art from different periods and places, whether it is the African mask and Matisse-like painting in his self-portrait or the Vincent van Gogh painting on the wall behind the Collector.

TOP

T.C. Cannon (Kiowa/Caddo, 1946–1978), Self Portrait in the Studio, 1975, oil on canvas, from the Nancy and Richard Bloch Collection. Reproduced by permission of the Estate of T.C. Cannon. © 2017 Estate of T.C. Cannon. All photos in this article: Addison Doty.

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ABOVE  T.C. Cannon (Kiowa/Caddo, 1946– 1978), Collector #5 (Man in Wicker Chair), 1975, oil, acrylic on canvas, from the Nancy and Richard Bloch Collection. Reproduced by permission of the Estate of T.C. Cannon. © 2017 Estate of T.C. Cannon. Opposite T.C. Cannon (Kiowa/Caddo, 1946– 1978), Woman at the Window, 1975, oil on canvas, from the Nancy and Richard Bloch Collection. Reproduced by permission of the Estate of T.C. Cannon. © 2017 Estate of T.C. Cannon.

The rich color palette that infuses the landscapes and interiors of both paintings is seen in the oldest painting in the exhibition, Man I’d Like to Have That Pinto Pony (1971), an earlier demonstration of Cannon’s mastery of color. The painting is a salute to the artists of his Oklahoma roots, the members of the Kiowa Six, some with whom he was personally acquainted. Those roots are emphasized in a companion exhibition, Lines and Codes: T.C. Cannon’s Inheritance. The title derives a 1970 comment by Cannon: “I have tried to align myself along the lines and codes of my ethnic background.” Visitors to Lines and Codes will see pinto ponies in art by Stephen Mopope

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and Spencer Asah, both Kiowa, and in an 1839 pictograph in a Húnkpapa Lakota winter count, attributed to Long Soldier, that denotes capturing a herd of pinto ponies. Cannon’s regard for the strength of women is depicted in two 1975 works, Woman at the Window and Grandmother Gestating Father and the Washita River Runs Ribbon-Like. Both present formidable women whose gazes radiate power. Cannon’s portrait of Big Bow’s Children portrays youths prematurely aged by sadness and suffering. Washington Landscape with Peace Medal Indian (1976), a gift of the Blochs to the New Mexico Museum of Art, and Chief Watching (1978) showcase the evolution of Cannon’s style around a similar theme. Both figures, wearing peace medals with their customary regalia, sit in rooms with extravagantly colored wallpaper and floor treatments. The clothing and room furnishings are less detailed in the earlier piece, showing a looser style of painting, but in both paintings the faces of the men carry a wealth of emotion. The figure in Peace Medal Indian seems to know that, despite the medal, the promises of the treaties will count for nothing. Chief Watching knows that as well, but he is on guard and holds a gun. Several of the paintings in the exhibition employ Cannon’s device of dramatically shading a figure’s eyes, as he does to great effect in Turn of the Century Dandy (1976). Standing in front of the painting, a viewer is drawn into the deep shadow cast by the Dandy’s hat to be met with the bare suggestion of a piercing stare. Painted in the final year of Cannon’s life, A Remembered Muse (Tosca) (1978) addresses Cannon’s growing appreciation for opera, just one of the many forms of artistic expression that he enjoyed. Cannon’s pencil study for the painting, also from the Bloch collection, offers the public a chance to see how Cannon’s thinking changed from the study to the final canvas.

Augmenting the Bloch canvases are Cannon’s poems, drawings, woodblock prints, and a small painting from the Heard’s collection, Big Foot in the Snow (1971). The figure depicts Lakota Chief Spotted Elk, who was killed in the Wounded Knee Massacre of December 29, 1890. Cannon is said to have drawn the figure at least a dozen times. Lithographs in the exhibition include On Drinkin’ Beer in Vietnam in 1967 (1971) and Waiting for the Bus (Anadarko Princess) (1977). When Cannon printed these, he was a regular attendee of Santa Fe Opera and donated a portion of the lithograph edition of Waiting for the Bus to the Santa Fe Opera Guild to aid their fundraising. Cannon’s Vietnam experience and many events of his life are movingly told in a 1991 video biography from the New Mexico PBS station KNME’s ¡COLORES! series. Exhibition visitors can electronically turn the pages of Cannon’s 1965 student sketchbook on loan from Howard and Joy Berlin. Large photomurals and an illustrated timeline provide further insights into the artist’s life and times. The exhibition title, Of God and Mortal Men, is taken from an eloquent artist statement Cannon submitted with his art to the Heard’s Invitational ’74 exhibition. Cannon participated in the Heard’s Invitational ’77 drawing exhibition as well. By including work by other artists in those invitational exhibitions, the current exhibition underscores the remarkable variety of styles that artists were exploring at the time. The artists include Bob Haozous, Fritz Scholder, Helen Hardin, George Morrison, Robert Freeman and Joe Jaqua. Art by Dr. N. Scott Momaday further augments the exhibition. In his essay for the catalogue, Momaday remarked on his and Cannon’s shared Oklahoma Kiowa heritage and their ultimate selection of New Mexico as a home. Momaday thanked Cannon for his paintings and his words, saying, “They are the gifts of a good and generous man.” Momaday’s

honor song for Cannon is included in the exhibition. Of God and Mortal Men: Masterworks by T.C. Cannon from the Nancy and Richard Bloch Collection marks the Heard’s fifth presentation of Cannon’s work, with the last exhibition being in 2003.

SEE THE WORK O f God and Mor tal Men: Masterworks by T.C. Cannon From the Nancy and Richard Bloch Collection is on view at the Virginia G. Piper Charitable Trust Grand Gallery in the Heard Museum through April 15, 2018.

Also, check out the related Lines and Codes: T.C. Cannon’s Inheritance, featuring historical Plains Indian representational art leading up to Cannon, and the kid-friendly, interactive exhibition, It’s Your Turn.

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Heard Museum Guild 2018 Indian Fair & Market Committee Chairs

Thank you!

An event of this magnitude takes thousands of hours of planning, immense talent, and dedication. We are grateful to all the Heard Museum Guild committee chairs and volunteers who so generously make this labor of love a success every year. Special thanks to the Heard Museum staff for their talent, ideas, and enthusiasm. INDIAN FAIR & MARKET CHAIR: Shelley Mowry ADMISSIONS: Barb Sparman ARTIST EXHIBITORS: Lynn Endorf & Rita Baker ARTIST HOSPITALITY: Charles & Dorothy Starnes BEST OF SHOW (BOS) LOGISTICS: David Mowry BOS FASHION SHOW: Sue Snyder BOS RECEPTION: Shelley Mowry BOS SECURITY: Judy Pykare BOOTH RELIEF: Kathie Serrapede CULTURAL PERFORMANCES: Diane Leonte & Sheila Mehlem DEMONSTRATORS: Carol Gunn FOOD & BEVERAGE: Howard Gangl & Dave Newark INFORMATION: Connie Thornton JURIED COMPETITION: Pat Kilburn & Maryann Fast

MARKETING: Anna Flynn MERCHANDISE: John Nesbitt MONITORS: Sandy Nielsen MUSEUM/GUILD LIAISON: Allison Lester NONPROFITS: Carol Gunn OPERATIONS CENTER: Rod Passmore PIKI BREAD: Ellen Nelsen PRE-FAIR TICKETING: Deborah Benoit PREPARE FOR THE FAIR LECTURE SERIES: Anita Hicks RAFFLE: Louise Wakem & Fran Dickman SIGNAGE: Don Montrey SILENT AUCTION: Susan Kolman SPONSORS & AWARDS: IlgaAnn Bunjer STAGING: Joel Muzzy VOLUNTEER PLACEMENT: Richard Borgmann

Heard Museum Guild Board Officers PRESIDENT: Mary Endorf PRESIDENT-ELECT: Sue Snyder SECRETARY: Maryann Fast TREASURER: Theresa Nesbitt PAST PRESIDENT: Susan Kolman PARLIAMENTARIAN: Delores Bachmann AT-LARGE MEMBERS COMMUNICATIONS CHAIR: Diane Leonte

GUILD PROGRAMS COORDINATOR: Kathie Serrapede GUILD TECHNOLOGY: Dave Newark INDIAN FAIR & MARKET CHAIR: Shelley Mowry MEMBERSHIP SERVICES COORDINATOR: Judy Pykare MUSEUM EDUCATION COORDINATOR: Sheila Mehlem MUSEUM SERVICES COORDINATOR: Dee Dowers NOMINATING CHAIR: Susan Pappas STRATEGIC PLANNING: Stu Passon STUDENT ART COORDINATOR: Jane Przeslica

Heard Museum Guild members selling T-shirts at the Heard Fair. ABOVE

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About the Heard Museum Guild The brainchild of museum cofounder Maie Bartlett Heard (1868–1951), the Heard Museum Guild formed in 1956 with a group of thirty women volunteers who wanted to support the mission and programs of the museum, provide financial assistance, and conduct guided tours of the museum’s collection. Volunteers opened a gift shop in 1958 “pledging to sell only the good, the authentic.” The first Indian fair was held in 1959, and the Heard Guild Arts & Crafts Exhibit was created in 1968 as a juried competition. These two events were the basis for the Heard Museum Guild Indian Fair & Market, the guild’s main annual fundraising event. Men, including Senator Barry Goldwater, joined the guild in 1972. The Heard Museum Indian Fair & Market has been a labor of love for the guild since its inception and continues to flourish under the creative inspiration, managerial skills, thoughtful leadership, and hard work of hundreds of volunteers. In addition to the fair, volunteers actively engage in all aspects of museum work. This dynamic and talented group leads gallery tours, promotes sales in the gift shop and bookstore, greets and assists museum visitors, and conducts research in the museum’s library. The guild designs, plans, and implements educational programs and special activities such as the Student Art Show & Sale and the Student Art Note Card sales program, which raises funds for educational scholarships and art supplies for American Indian youth. The guild also provides museum internships in partnership with Arizona State University’s American Indian Student Support Services. As of November 30, 2017, the guild has accumulated a total of 1,284,975 service hours, with 18,690 of those hours donated in 2017 to 2018, alone. Volunteer roles and schedules are flexible to meet the demands of everyone’s busy lives. For more information and to join the Heard Museum Guild, visit HEARDGUILD.ORG.

MARCH 23 - 26, 2018 Support emerging American Indian artists by coming to the 32nd Annual American Indian Student Art Show & Sale. See and shop for artwork by students from communities across the United States. There is no better way to support tomorrow’s master artists than by supporting today’s student artists. Image courtesy of the Heard Museum Guild.

Visit heardguild.org/studentart for more information. Above: Mikail Morgan (Navajo), Age 16 “Na’hookos Bi’aadii” (Northern Female) 2017, Heard Guild American Indian Art Show & Sale Participant.

Special Thanks to All of Our

2018 Fair Sponsors There is still time to become a sponsor. Visit HEARD.ORG/FAIR/DONATE CORPORATE SPONSORS Canyon Records

Sanderson Ford

CIRCLES OF GIVING VIP TENT SPONSOR Arizona Public Service Company (APS)

MEDIA SPONSORS First American Art Magazine

Native American Art Magazine

BEST OF SHOW AWARD SPONSORS Howard R. & Joy M. Berlin and Kristine & Leland W. Peterson CONRAD HOUSE CUTTING-EDGE AWARD Heard Museum Guild

PHILLIPS SCHOLARSHIP FOR YOUNG ARTISTS Antique Tribal Art Dealers Association (ATADA) BEST OF CLASSIFICATION SPONSORS Anonymous Anonymous Delores Bachmann G. M. & Barbara Korn Heard Museum Gift Shops King Galleries Pro Em Party & Event Rentals Waddell Gallery INNOVATION AWARD SPONSORS Leslie Beebe & Bruce Nussbaum Neil S. Berman Idyllwild Arts, Native American Arts Program Dr. Mari Koerner & Frank Koerner Marian L. Reichert Richardson Trading Post South of the Border Tours, LLC Christy Vezolles and Gil Waldman 1ST PLACE DIVISION SPONSORS Cerelle Bolon W. David Connell Dee Dowers Denis Duran & Georgia Heccer Faust Galleries Allan Houser Inc. Buck & Barbara Johnson Las Guias Class of 2017 for Facilitators Jackie Kemmerer, Rex Nelsen, Jim Szabo Dr. Don & Judith Miles Burt & Norma Miller Valerie & Paul Piazza Shiprock Santa Fe (Jed Foutz) Betty Vandenburgh

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2ND PLACE DIVISION SPONSORS Carol Cohen Hoel’s Indian Store George & Shirley Karas Carl & Saralou Merrell Susan Navran Ken Noone. In Memory of Phyllis Aaron Noone. Betty Vandenburgh JUDGE’S CHOICE SPONSORS Neil S. Berman Ben & Katie Blackstock IlgaAnn Bunjer Ellen A. Gildersleeve John C. Hill Antique Indian Art Gallery Sona Kalousdian & Ira D. Lawrence Dennis & Janis Lyon Dr. Edwin & Phyllis Manning Jan McAdams Jean Humlicek Meier David & Shelley Mowry David & Elinor Rothberg Sandra Straub Pat & Dorothy Sullivan Ronnie & Abbott Wainwright FRIENDS OF THE FAIR Anonymous Kay & Lou Benedict Ellen Cromer Stephanie Dodge Barbara Filosi Anna Flynn & Dean Hansen Susan K. Grenyo Cozette & Bill Matthews Dee Murdy Gloria Murison Lillian Vancel Judy Wallace

Heard Museum Shops Heard Museum Shop Since 1958, the award-winning Heard Museum Shop has offered an unparalleled selection of the finest American Indian artwork. In support of the museum’s mission, the Heard Museum Shop promotes Native cultures and art by providing American Indian artists an exceptional venue in which to sell their art and enhance their careers. The Heard Museum Shop label guarantees authenticity, as our buyers source directly from the artists, thus ensuring the integrity and authenticity of the art offered for sale. —Kelly Gould

Books & More An extension of the Museum Shop, this boutique venue is dedicated to providing one of the country’s finest collection of books by and about American Indians, including art, culture, history, and literature. Also on hand is an assortment of gifts including T-shirts, hats, souvenirs, and children’s items. These shops provide a shopping and educational experience 361 days a year. HEARDSHOPS.COM Shop 24 hours a day, 365 days a year online at heardshops.com. The online shop offers a selection of more than 1,500 one-of-a-kind, handmade pieces including jewelry, rugs, pottery and katsina figures. We are always adding new items, so visit often! The Heard Museum Shop thanks you for your patronage, and thus your support of the artists that we represent.

Shop Presenters The Heard Museum Shop offers an unparalleled selection of American Indian artwork. The shop will be open Friday evening (March 2) and during the day on Saturday and Sunday (March 3 and 4). Artists and an art dealer will be in the shop to sell work and answer your questions. For details, inquire at the shop or visit heard.org/fair.

Featured Shop Artists and Dealer SHAWN BLUEJACKET (Loyal

Shawnee/Cherokee) is best known for her

unique and whimsical jewelry with precious gemstones, various types of tourmaline, and silver. Her pieces are not cast but hand fabricated from 30-gauge precious metals like gold and silver sheets. As a nod to her geologist father, she seeks out unique stones for her jewelry, choosing rare and distinctive materials such as South American druzy, Queensland Yowah nut opal, and fossilized ivory. She has recently begun experimenting with mokume-gane, the 17th-century Japanese metalworking technique.

PHILANDER BEGAY (Navajo) is

known for fine, one-of-a-kind tufa castings that often include intricate scenes of Navajo and Southwest life combined with natural turquoise. He won the 2007 Artists’ Choice Peer Award for Exceptional, Innovative Work in Any Media at Santa Fe Indian Market as well as blue ribbons and many other awards at Indian Market, Gallup Inter-tribal Indian Ceremonial, and other shows. In 2010, Begay received a Best of Division award at the Heard Museum Guild Fair.

UPTON GREYSHOES ETHELBAH JR. (Santa Clara/White Mountain

Apache) sculpts flowing, stylized forms

inspired by the aesthetics and movements of his tribes’ dances, including the Apache crown dance; Pueblo corn, deer, elk, antelope and buffalo dance; and even the Matachines dance. He also sculpts animals that have cultural significance in the Southwest. His medium of choice is stone, carving exotic and domestic marble, limestone, alabaster, and onyx. Ethelbah sometimes selects his unique stone sculptures to cast into limited-edition bronzes that feature patinas in a range of colors, patterns, and textures.

TERRY DeWALD, BASKET DEALER. A member of the Antique Tribal Art Dealers Association (ATADA), DeWald has extensively studied and lectured about historic Southwest and California basketry, as well as contemporary Tohono O’odham and Apache basketry. He is the author of The Papago Indians and Their Basketry.

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Books & More Book Signing Schedule The museum’s Books & More shop brings in noted authors on American Indian art, history and the Southwest every year. Meet the writers and have them autograph your books!

Born in Phoenix, Paul Scharbach is a professional photographer on commercial, stock, and book projects. Enthusiastic about local history, he concentrates mostly on Phoenix and researches historic photographs of Arizona. He was the photographer and image researcher for John H. Aker’s 2005 book, Phoenix Then and Now.

Saturday, March 3 2:00–3:00 pm ANN E. MARSHALL, PHD Of God and Mortal Men: T. C. Cannon, ed.

the Sonoran desert in this adventure, showing young readers how they can get along with others while finding their own strengths.

Saturday, March 3 10:00 am–12:00 pm

Saturday, March 3 12:00–2:00 pm

JIM TURNER Arizona: A Celebration of the Grand Canyon State (new edition), Native Roads: A Complete Motoring Guide to the Navajo and Hopi Nations, and The Mighty Colorado River: From the Glaciers to the Gulf

LISA SCHNEBLY HEIDINGER The Journal of Sedona Schnebly

Turner taught history at the University of Arizona and worked at the Arizona Historical Society. After retiring he began writing and editing for Rio Nuevo Publishers in Tucson. He shares his passion for Arizona travel and history through his many public engagements.

CAROL HAGEMAN Bubby’s Puddle Pond: A Tortuga’s Tale of the Desert A lifelong love of wildlife and the outdoors inspired Hageman, who lives in Tempe, to write a children’s book based on animal behaviors she’s observed firsthand. She follows the exploits of a tortoise in

Lisa Schnebly Heidinger wrote Arizona: 100 Years Grand 1912–2012 for the state’s centennial anniversary. Besides writing several books, Heidinger was a television and radio reporter in Tucson and Flagstaff, a contributor to Arizona Highways, a Road Scholar speaker for Arizona Humanities, and an active volunteer.

PAUL SCHARBACH & ROBERT A. MELIKIAN Phoenix: Past and Present Robert Melikian grew up in Phoenix, where his family has proudly run the Hotel San Carlos since 1973, and graduated from Arizona State University. A lawyer with a passion for historic preservation, he has painstakingly documented the architectural history of Phoenix. He is the author of Vanishing Phoenix and Hotel San Carlos.

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Marshall serves as the director of research at the Heard Museum. Prior to that she worked at the Bishop Museum in Honolulu. She has curated major Heard exhibitions and served as the project director for the museum’s signature exhibition Home: Native People in the Southwest and edited the accompanying catalogue. She wrote Rain: Native Expressions from the American Southwest and cowrote The Heard Museum History and Collections: American Indian Cultures and Art.

DIANA F. PARDUE Awa Tsireh: Pueblo Painter and Metalsmith, Over the Edge: Fred Harvey at the Grand Canyon and in the Great Southwest, and Of God and Mortal Men: T. C. Cannon, ed. As the Heard Museum’s chief curator, Pardue organizes exhibitions of historic and contemporary Native American arts. Apple Valley Foundation of California bestowed their Curatorial Excellence Award upon her in 2009. She has written numerous books about Southwest Indigenous art and articles for Heard Museum Journal, Ornament, and American Indian Art Magazine.

KATHLEEN L. HOWARD, PHD Over the Edge: Fred Harvey at the Grand Canyon and in the Great Southwest A research associate at the Heard Museum, Howard earned her master’s and doctoral degrees in history from Arizona State University. Her research interests include the history of the American Southwest and its Native cultures.

NORMAN L. SANDFIELD Awa Tsireh: Pueblo Painter and Metalsmith An internationally known collector and antique dealer in Chicago, Sandfield is an expert in fine antique and contemporary Japanese netsuke, or toggles, collecting and writing about them for more than forty years. Awa Tsireh: Pueblo Painter and Metalsmith is his third book and exhibition in collaboration with the Heard Museum.

Signing time TBA STEPHEN HIRST Lauren Greasewater’s War For eleven years, Hirst and his wife lived in a Havasupai community at the Grand Canyon. The couple’s research helped lead to the United States restoring Havasupai’s land to the tribe in 1975 and laid the groundwork for his nonfiction book, I Am the Grand Canyon: The Story of the Havasupai People and his novel Lauren Greasewater’s War. Hirst coordinated science and mathematics programs for Ojibwe, Odawa, and Potawatomi students in Michigan. Today, he and his wife volunteer as interpretive rangers for the US Forest Service in Flagstaff.

Sunday, March 4 10:00 am—2:00 pm JIM TURNER Arizona: A Celebration of the Grand Canyon State (new edition), Native Roads: A Complete Motoring Guide to the Navajo and Hopi Nations, and The Mighty Colorado River: From the Glaciers to the Gulf CAROL HAGEMAN Bubby’s Puddle Pond: A Tortuga’s Tale of the Desert

JOIN Membership to the Heard pays for itself in an average of 3 visits or fewer! Memberships start at $60 and include: ■ Free admission ■ Invitations to special exhibition previews ■ 10% discount (plus additional Members Sale days) in Heard Museum Shops, Courtyard Café and Coffee Cantina

Sunday, March 4 12:00–2:00 pm

■ Member pricing for events and festivals and

THE HISTORICAL LEAGUE Tastes & Treasures II: A Storytelling Cookbook of Historic Arizona

Ask about upgrading your membership and experience more!

much more!

Tastes & Treasures II shares recipes and stories from members of the Historical League, including several past and present members of the Heard Museum Guild. It’s a treat for cooks and non-cooks alike. The Historical League supports the Arizona Heritage Center.

MARGARET MOORE BOOKER Southwest Art Defined: An Illustrated Guide Since 2004, Booker has lived in Santa Fe, where she splits her time between her own writing projects and freelance work with a focus on the arts and history of the Southwest. She has written numerous books, articles, and encyclopedic entries about visual arts, decorative arts, architecture, and history.

For more information, or to process your membership immediately, please call 602.251.0261, email members@heard.org or visit heard.org/membership.

HEARD MUSEUM 2301 N. CENTRAL AVE. PHOENIX, AZ 85004

Necklace detail: Leekya Deyuse (Zuni Pueblo), 1889-1966, silver and turquoise squash blossom necklace, 1939.

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Calendar March 1–3: Fairbanks, AK 45th annual Festival of Native Arts at the University of Alaska, Fairbanks | (907) 474-6528 | fna.community.uaf.edu March 2–July 28: Missoula, MT The Shape of Things: New Approaches to Indigenous Abstraction at the Missoula Art Museum, 335 N. Pattee Street (406) 728-0447 | missoulaartmuseum.org March 3 & 4: Phoenix, AZ 60th annual Heard Museum Guild Indian Fair & Market at the Heard Museum, 2301 N. Central Avenue (602) 252-8840 / heard.org/fair March 3–June 10: Salem, MA T.C. Cannon: At the Edge of America at the Peabody Essex Museum, 161 Essex Street | (978) 745-9500 | pem.org March 9–11, 2018: El Prado, NM 6th annual Taos Pueblo Art Winter Show at the Millicent Rogers Museum, 1504 Millicent Rogers Road (575) 758-2462 | millicentrogers.org March 9–June 1, 2018: Rapid City, SD Takuwe, sponsored by Center for American Indian Research and Native Studies (CAIRNS), at the Journey Museum and Learning Center, 222 New York Street (605) 394-6923 |nativecairns.org March 18, 2018–February 2019: Vancouver, BC Culture at the Center at the Museum of Anthropology, University of British Columbia, 6393 NW Marine Drive, showcasing the work by five Indigenous-run cultural centers | +1 (604) 822-5087 | moa.ubc.ca

April 14–September 9: Seattle, WA The Brink: Demian DinéYazhi´ at Henry Art Gallery, University of Washington, 15th Ave NE and NE 41st Street (206) 543-2280 | henryart.org April TBD– December 31: Bar Harbor, ME Emergence: Root Clubs of the Penobscot Nation at the Abbe Museum, 26 Mount Desert St, Bar Harbor (207) 288-3519 | abbemuseum.org April 26–June 3: Nuuk, Greenland Annual KIMIK Exhibition at the Katuaq Cultural Centre, Imaneq 21, group show of Greenlandic arts collective +299 36 37 70 | katauq.gl | kimikart.com May 4–September 3: Phoenix, AZ Dear Listener: Works by Nicholas Galanin at the Heard Museum, 2301 N. Central Avenue (602) 252-8840 | heard.org | dearlistener.org May 5: Gallup, NM Native American Art Auctions, hosted by the Friends of Hubbell National Historic Site, at the Gallup Community Services Building, 410 Bataan Veterans Street (602) 370-2875 | friendsofhubbell.org May 5–June 16: Montreal, QC Contemporary Native Art Biennial, 4th edition, at Art Mûr, 5826 St-Hubert. Reception: Saturday, May 5, 3:00–5:00 pm +1 (514) 933-0711 | artmur.com May 12, 2018–January 6, 2109: Los Angeles, CA Rick Bartow: Things You Know But Cannot Explain at the Autry Museum of the American West, 4700 Western Heritage Way | (323) 667-2000 | theautry.org

April 3–April 28: Portland, OR Saimaiyu Akesuk: New Prints from the Dorset Fine Arts 2017 Annual Collection at the Froelick Gallery, 714 NW Davis Street | (503) 222-1142 | froelickgallery.com

May 12: Seattle, WA Native Art Market at the Burke Museum of Natural History and Culture, University of Washington Campus, 17th Avenue NE and NE 45th Street, 10:00 am–4:00 pm (206) 543-5590 | burkemuseum.org

April 5–June 30: Salem, MA Raven’s Many Gifts: Native Art of the Northwest Coast at the Peabody Essex Museum, 161 Essex Street (978) 745-9500 | pem.org

May 13–Aug. 12: Denver, CO Jeffrey Gibson: Like a Hammer at the Denver Art Museum, 100 West 14th Avenue Parkway (720) 865-5000 | denverartmuseum.org

April 8–May 5: Park Hill, OK 47th annual Trail of Tears Art Show at the Cherokee Heritage Center, 21192 S. Keeler Drive (918) 456-6007 | cherokeeheritage.org

May 13–October 7: Santa Fe, NM Memory Weaving: Works by Melanie Yazzie at the Wheelwright Museum of the American Indian, 704 Camino Lejo (505) 982-4636 | wheelwright.org

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May 13–October 7: Santa Fe, NM Peshlakai Vision at the Wheelwright Museum of the American Indian, 704 Camino Lejo (505) 982-4636 | wheelwright.org May 18–20: Bar Harbor, ME Abbe Museum Indian Market in downtown Bar Harbor, Maine, Hosted by the Abbe Museum, 26 Mount Desert St, Bar Harbor | (207) 288-3519 | abbemuseum.org May 20: Minneapolis, MN For Directions at five-gallery art crawl, hosted by All My Relations Arts, 1414 E. Franklin Avenue (612) 235-4970 | allmyrelationsarts.com May 25–26: Sulphur, OK 5th Annual Artesian Arts Festival, sponsored by the Chickasaw Nation, in Artesian Plaza, West Muskogee Avenue, Friday evening reception, market Saturday from 10:00 am–8:00 pm | (580) 272-5520 | chickasaw.net May 25–27: Santa Fe, NM Native Treasures Indian Arts Festival, hosted by the Museum of Indian Arts & Culture, at the Santa Fe Convention Center, 201 W. Marcy Street. More than 200

artists, benefits the Museum of Indian Arts and Culture (505) 216-0683 | nativetreasures.org May 26 & 27: Flagstaff, AZ Zuni Heritage Festival at the Museum of Northern Arizona, 3101 N. Fort Valley Road | (928) 774-5213 | musnaz.org May 26–July 27: Brantford, ON 44th annual Indigenous Art (formerly called the First Nations Art Exhibition) at the Woodland Cultural Centre, 184 Mohawk Street | (519) 759-2650 | woodland-centre.on.ca May 26–July 27: Brantford, ON Gichitwaawizi’igewin: Honouring at the Woodland Cultural Centre, 184 Mohawk Street (519) 759-2650 | woodland-centre.on.ca May 26–August 19: Winnipeg, MB SakKijâjuk: Art and Craft from Nunatsiavut at the Winnipeg Art Gallery, 300 Memorial Boulevard +1 (204) 786-6641 | wag.ca June 1–3: Oneida, WI Woodland Indian Art Show & Market at the Oneida Radisson Hotel & Conference Center, 2040 Airport Drive, free (920) 490-3985 | woodlandindianart.com 60 TH Annual Heard Museum Guild Indian Fair & Market | 63

MAGAZINE

FırstAmericanArt

Go to the source.

Leading the conversation on Native art. Read online content or subscribe today at

FirstAmericanArtMagazine.com/ subscribe

June 8–10: Oklahoma City, OK 32nd annual Red Earth Native American Cultural Festival at the Cox Convention Center, 1 Myriad Gardens (405) 427-5228 | redearth.org June 8–September 9: Norman, OK Visual Voices: Contemporary Chickasaw Art at the Fred Jones Jr. Museum of Art, 555 Elm Avenue (405) 325-3272 | chickasawartists.com June 14–September 9: Seattle, WA Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson at the Seattle Art Museum, 1300 First Avenue | (206)645-3100 | seattleartmuseum.org June 15–17: Crazy Horse, SD Gift from Mother Earth Art Show, art market, at the Crazy Horse Memorial, 12151 Avenue of the Gods (605) 673-4681 | crazyhorsememorial.org June 23 & 24: Okmulgee, OK Council House Art Market at the Muscogee Creek Nation Council House, 106 W. 6th Street. Open to all tribes (918) 549-2434 | creekfestival.com June 22–24: Indianapolis, IN Eiteljorg Indian Market & Festival at the Eiteljorg Museum of American Indians and Western Art, 500 W. Washington Street | (317) 636-9378 | eiteljorg.org June 3–August 12: Pine Ridge, SD 50th annual Red Cloud Indian Art Show at the Heritage Center at Red Cloud Indian School, 100 Mission Drive (605) 867-5491 | redcloudschool.org/ArtShow June TBD, 2018–March 2019: Minneapolis, MN The Horse Nation of the Očhéthi Šakówiŋ at the Minneapolis Institute of Art, 2400 Third Avenue South, (612) 870-3000, and All My Relations Gallery, 1414 E Franklin Avenue (612) 235-4970 | redcloudschool.org/horsenation June 19–July 2: Idyllwild, CA Native American Arts Festival at Idyllwild Arts, 52500 Temecula Road. Exhibits, performances, demonstrations, films and the Michael Kabotie Lecture Series (951) 659-2171 | idyllwildarts.org September 21–23: Sioux Falls, SD 31st annual Northern Plains Indian Art Market (NPIAM). Friday, September 22, at the Old Courthouse Museum, 200 W. 6th Street. Market: Saturday, September 23, and Sunday, September 24, at the Sioux Falls Convention Center, 1101 N. West Avenue | (605) 856-8193 | npiam.org For more events, visit our online calendar at FIRSTAMERICANARTMAGAZINE.COM/CALENDAR

64 | First American Art Magazine Heard Fair Guide 2018

Northern Plains Indian Art Market

SIOUX FALLS, SD | -30, SEPTEMBER 23 - 24, 2017 September 29 2018 SIOUX FALLS CONVENTION CENTER Sioux Falls, SD

Best of Show Art Preview & Reception September 28, 2018 Old CourtHouse Museum

www.NPIAM.org