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Press Release Contact: Michele Mountain,
MNA Marketing Director 928-774-5213 x273
2008
Press Releases
September 4, 2008
19th ANNUAL TRAPPINGS OF THE AMERICAN WEST OPENS AT
MNA’S HISTORIC McMILLAN HOMESTEAD
Flagstaff’s oldest remaining Anglo-American residence will be open to the
public for the first time from October 4 through November 2, 2008 for this
year’s 19th Annual Trappings of the American West. The
McMillan Homestead was built in 1886 on what is now the grounds of the
Museum of Northern Arizona and is listed on the National Register of
Historic Places.
Trappings at the Homestead will showcase
two hundred pieces of contemporary art of the American West in this
historic setting. This exhibit also sheds light on Flagstaff’s founding
and its most exceptional early residents. Trappings is the product
of Dry Creek Arts Fellowship’s unique vision and its three-year
partnership with the Museum.
Dry Creek Arts Director Linda Stedman
said, “Trappings combines both fine and functional art of the American
cowboy in one exhibit. Visitors will have the opportunity to purchase the
juried work of 75 artists from 14 Western states, Hawaii, and Canada.
Artistic mediums represented include painting, sculpture, photography,
saddles, tooled leather, bits and spurs, boots, hats, knives, engraving,
rawhide braiding, and horsehair hitching.”
“The pairing of Trappings and the
McMillan Homestead is an incredible chance for visitors to learn about
Flagstaff’s history and view time-honored traditions of Western art that
have their roots in the same time period as Flagstaff’s beginnings,”
stated MNA Director Robert Breunig.
To commemorate the U.S. Centennial on
July 4, 1876, Flagstaff's first permanent Anglo settler Thomas McMillan
joined others to raise a flag on a pine stripped of its bark, near what is
now known today as Thorpe Park. The flag and staff stood for years and
gave the town its name. Ten years later in 1886, McMillan built his home;
a two-story, saltbox structure with logs hewn onsite.
Forty years later in 1928, zoologist Dr.
Harold S. Colton and artist Mary-Russell Ferrell Colton founded the Museum
of Northern Arizona. The Homestead, situated across the street from the
Museum’s Exhibit Building, was in disrepair. The Coltons restored it and
used it as housing for summer visitors and later, as the biology lab and
collections area. Several MNA directors, including Ned Danson (father of
actor Ted Danson) lived with his family in the Homestead until the mid
1980s. Grand Canyon Trust leased the building until 1997, when another
refurbishing treatment was undertaken.
Upcoming Trappings Public
Programming
(included with Museum admission)
Saturdays and Sundays in October, 10
a.m.–4 p.m.
Tricks of the Trade
Two Trappings artists each weekend will demonstrate their skills on the
front porch of the McMillan Homestead. Demonstrations include silver
engraving, horsehair hitching, saddle making, rawhide braiding, hat
making, leather tooling, sculpture, and painting.
Saturdays in October and the first
Saturday in November, 2 p.m.
Telling the Story of the McMillan Homestead
Take an in-depth walking tour outside and inside MNA’s historic McMillan
Homestead with a Museum docent. Hear about the original Antelope Valley
Ranch upon which the McMillan Homestead was built.
Saturday, November 1, 12 noon–4 p.m.
Riding the Rim: The 8th Annual Cowboy Poetry Gathering
Poets from around the state of Arizona join together to share verse,
music, and tall tales about early cowboy life. The gathering will take
place in the Museum’s Branigar Hall. Frontier samplings of Dutch oven
cooking will complete the day, back at the Homestead.
Saturday and Sunday, October 25 and
26, 1 p.m.
Pilgrimage to Cristo Rey
As part of MNA’s 5th Annual Celebraciones de la Gente, visitors learn
about this half century-old epic journey on horseback. Over 5,000 riders
travel up Cubilete Mountain in the state of Guanajuato, Mexico. Dry Creek
artist Raechel Running has documented this pilgrimage and will talk about
her photographic images and experience as an artist-in-residence in Casas
Grandes.
Located three miles north of historic
downtown Flagstaff on Highway 180, the Museum of Northern Arizona is open
daily, 9 a.m. to 5 p.m., except Thanksgiving, Christmas, and New Year’s
Day. Admission to the Museum and the Trappings exhibition is free
to MNA and DCAF members. General admission is $7 adults, $6 seniors (65+),
$5 students, and $4 children. Ample free parking for cars and buses is
available at the Museum Exhibit Building.
For more information, contact the Museum
at 928/774-5213 and online a musnaz.org or the Dry Creek Arts Fellowship
at 928/774-8861 and online at drycreekarts.com.
September 3, 2008
MUSEUM OF NORTHERN ARIZONA SCIENTIST WINS AWARD FOR
OUTSTANDING RESEARCH
Under a big tent in the Coconino National Forest just north of Flagstaff
on August 9, Museum of Northern Arizona Senior Research Anthropologist Dr.
David R. Wilcox was presented the 2007 Byron S. Cummings Award. One of
four presented awards at this year’s Pecos Conference, Wilcox was
recognized for outstanding research and contributions to knowledge in
archaeology, anthropology, and museology by the Arizona Archaeological and
Historical Society.
The society’s monthly newsletter Glyphs stated, “David R. Wilcox is
a scholar of unmatched depth and breadth among those who study the
anthropology and history of the American Southwest and western
Mexico…Wilcox is notable for his control of details, their analyses,
assessments, and comparisons. He specializes in large-scale syntheses, the
“Big Picture” way of viewing polity, warfare, the Hohokam, architecture,
settlement patterns, and the history of American anthropology.”
The award’s namesake, archaeologist Byron Cummings [1860–1954], was known
for his directorship of the Arizona State Museum and his focus on the
archaeology of the American Southwest. He guided hundreds of students into
the profession of archaeology.
“The staff and board of MNA are proud of this high honor awarded to Dr.
Wilcox. This recognition to one of the most important intellectual leaders
in Southwestern archaeology today is richly deserved,” said MNA Director
Dr. Robert Breunig.
Dr. Wilcox joined the staff of the Museum of Northern Arizona in 1984 as a
scholar in residence. He became an associate curator of anthropology in
1985 and head of anthropology in 1988. In 2006 he stepped down as head of
the department and was appointed senior research anthropologist.
Earlier in the year, Dr. Wilcox was selected by the Arizona Archaeological
Society to receive its 2008 Professional Archaeologist of the Year Award,
to be presented at the Arizona Archaeological Council’s October 24 and 25
conference at Pueblo Grande Museum in Phoenix. That award recognized him
as the professional archaeologist who contributed the most to the
advancement of avocational archaeology in Arizona over a period of years,
as well as announcing the organization’s high regard for him.
Byron Cummings gave the first lecture at the Museum of Northern Arizona’s
opening on September 6, 1928. In celebration of MNA’s 80th Anniversary
on Saturday, September 6, Byron S. Cummings Award recipient Dr. Wilcox
will present “Seizing the Moment—Collaboration and Cooperation in the
Founding and Growth of the Museum of Northern Arizona.” This public
lecture at 4:30–5:30 p.m. is included with Museum admission: $7 adult, $6
senior (65+), $5 student, and $4 child (7–17).
August 19, 2008
AAM RESTORES MNA’S ACCREDITATION
On August 8, the Museum of Northern Arizona in Flagstaff received word
from the American Association of Museums (AAM) that its accreditation by
the AAM had been restored. AAM accreditation is the highest national
recognition for a museum, signifying excellence to the museum community,
to governments, funders, outside agencies, and to the museum-going public.
In its letter to MNA, the AAM Accreditation Commission stated, MNA “has
done a considerable and commendable amount of work to re-earn
accreditation. You are setting a standard for transparency in operations.
We applaud the extensive work you have done in the area of collections
stewardship and your new fiscal philosophies to build long term
sustainability. While the museum still has work ahead of it, you
identified and faced your problems, and are living within your means and
moving ahead prudently”.
AAM Accreditation brings national recognition to a museum for its
commitment to excellence, accountability, high professional standards, and
continued institutional improvement. Developed and sustained by museum
professionals for 35 years, AAM’s museum accreditation program is the
field’s primary vehicle for quality assurance, self-regulation, and public
accountability. It strengthens the museum profession by promoting
practices that enable leaders to make informed decisions, allocate
resources wisely, and remain, financially and ethically accountable in
order to provide the best possible service to the public.
On December 3, 2003, MNA’s accreditation was withdrawn by AAM’s
Accreditation Commission in response to the sale of 21 pieces from its
collections by MNA’s former administration and board of trustees. The
funds were used to finance an operating deficit, violating the Museum’s
own collection policies. Under new leadership and wanting to regain
accreditation as soon as possible, in December 2004 (one year later), MNA
sent its accreditation application to the AAM and was accepted into the
accreditation program in February 2005. MNA completed and submitted its
self-study ahead of schedule in August 2006 and received interim
accreditation on March 26, 2007. On August 8, 2008 MNA officially received
word from AAM that it had been granted full accreditation by the
commission.
MNA Director Robert Breunig stated, “All of us at MNA are extremely happy
and proud about the restoration of our accreditation by the American
Association of Museums. Our staff and board worked very hard over the past
few years to complete the accreditation process and to restore our good
name.”
“The 2003 loss of accreditation was a significant event in the life of
this museum,” continued Breunig, “However, we used the accreditation
self-study process as a framework for a complete and thorough
institutional evaluation. By returning MNA to the community of accredited
institutions, we hope we have regained the public’s trust in the
professionalism and high standards governing the operation of this
museum.”
“Since its founding in 1928, the Museum of Northern Arizona has
exemplified leadership,” Breunig continues. “It was the first private
museum in Arizona and one of the earliest in the West. It had early and
significant programs in regional research, art education, and collections.
Over its 80-year history, MNA has developed a major regional collection,
advanced research about the Colorado Plateau, sponsored innovative
educational programs, and presented award-winning exhibitions, festivals,
and publications.”
MNA was one of the first institutions in Arizona to be awarded AAM
accreditation, receiving this status in 1973, just two years after the
establishment of the accreditation program. Since then, it has received
two subsequent reaccreditations before its recent recognition.
Accreditation is a very rigorous, but highly rewarding process that
examines all aspects of a museum’s operations. To earn accreditation, a
museum first must conduct a year of self-study, then undergo a site visit
by a team of peer reviewers. AAM’s Accreditation Commission, an
independent and autonomous body of museum professionals, consider the
self-study and visiting committee report to determine whether a museum
should receive accreditation. While the time to complete the process
varies by museum, it generally takes as much as three years.
Of the nation’s nearly 17,500 museums, about 775 are currently accredited.
The Museum of Northern Arizona is one of only eleven museums accredited in
Arizona.
The Museum of Northern Arizona is one of the most important regional
museums in the U.S. It was a pioneer of research on the Colorado Plateau.
Today MNA’s comprehensive collection of natural and cultural history
constitutes a unique historical record representing scientific
exploration, research, and aesthetic appreciation over the past century.
The MNA collections tell a compelling story about the natural environment
and the people of this region throughout time.
MNA holds over 600,000 artifacts in its permanent collections of
anthropology, geology and paleontology, biology, and fine art from Native
and non-Native artists dating from the 1860s. It also houses extensive
federal and tribal research collections, and a significant library and
photo archive collection. Construction has begun on MNA’s new Easton
Collection Center, a sustainable green building with state-of-the-art
storage facilities. This new center aims to be a place that is sensitive
to cultural needs, is aesthetically pleasing, and provides enhanced access
for visitors and researchers.
The Museum is located at the base of the San Francisco Peaks, three miles
north of historic downtown Flagstaff on Highway 180. It is open 9 a.m. to
5 p.m. daily, except Thanksgiving, Christmas, and New Year’s Day. More
Museum information is at musnaz.org or 928/774-5213.
[The American Association of Museums
has been bringing museums together since 1906, helping to develop
standards and best practices, gathering and sharing knowledge, and
providing advocacy on issues of concern to the entire museum community.
With more than 15,000 individual, 3,000 institutional, and 300 corporate
members, AAM is dedicated to enduring that museums remain a vital part of
the American landscape, connecting people with the greatest achievements
of the human experience, past, present, and future. For more information,
visit aam-us.org.]
July 17, 2008
ENCOUNTER DINÉ CULTURE AT MNA’S NAVAJO FESTIVAL
Navajo Code Talkers and the fine art of Navajo weaving will be explored
in-depth at the Museum of Northern Arizona’s 59th Annual Navajo Festival
of Arts and Culture on Saturday and Sunday, August 2 and 3 in Flagstaff.
Seventy-five artists, traditional music and dances, Heritage Insight
programming, and food will round out the weekend’s celebration of the
vibrant Diné culture.
“Navajo Festival comes to Flagstaff at a very special time of year, with
the monsoon rains and cool air,” said MNA Director Robert Breunig. “I
especially like the festival’s Heritage Insights programming that provides
a glimpse into Diné lifeways and cultural traditions. These presentations
show other ways of looking at the world. This year a professor of Navajo
philosophy, a Navajo linguist, and a Navajo ethnobotanist will be joining
us to look deeper into our nation’s largest tribe.”
Anne Doyle, MNA’s Heritage Program coordinator, added, “Some of the
festival’s prominent returning artists include internationally known
contemporary painter Shonto Begay, last year’s Best of Show Award-winning
basket maker Sally Black, Grand Canyon Railway singer Clarence Clearwater,
and renowned weaver Morris Muskett, one of only a few males who weave in
the Navajo tradition.”
Navajo Code Talkers
The U.S. Marine Corps’ Navajo Code Talkers are legendary. Their heroic
efforts come to light with Our Fathers, Our Grandfathers, Our
Heroes…The Navajo Code Talkers of World War II, the most comprehensive
exhibit yet created about the over 400 Navajo young men who were recruited
by the U.S. government to devise an unbreakable code in the language they
had previously been forbidden to speak. This exhibit is on loan from the
Circle of Light Navajo Education Project of Gallup, New Mexico. This
organization focuses on building cultural pride, self worth, and
motivation among Navajo youth and educating non-Navajos about the rich
history, culture, language, and contributions of the Navajo people. This
exhibit is generously sponsored by Arizona Public Service (APS).
Zonnie Gorman, daughter of Code Talker Carl Gorman and a recognized
historian on the subject, will present “Growing Up with Heroes…The Navajo
Code Talkers of World War II: A Daughter’s Journey.” Gorman shares the
touching story about her father’s role as one of the first twenty-nine
Code Talkers, the Navajo Reservation of the 1940s, and the U.S.
Government’s policy of assimilation and eradication of Indigenous
languages. She is currently the project coordinator for the Circle of
Light Navajo Education Project.
Navajo Weaving
A talk by Dr. Teresa Wilkins, Associate Professor of Anthropology at the
University of New Mexico in Gallup focuses on Southwest textiles and
specializes in Navajo weaving. Her new book Patterns of Exchange:
Navajo Weavers and Traders represents her research in trading post
archives and interviews with weavers. Wilkins also looks at the intricate
relationship between weavers and traders, economic pressures, and how the
traders influenced patterns and ideas, guiding Navajo weavers to produce
textiles that are emblems for the American Southwest.
Dr. Jennifer McLerran, an MNA research associate and associate professor
at Northern Arizona University who specializes in twentieth-century Native
art, will talk about the textiles in Many Colored Weaves. The
exhibit of Navajo textiles from the Museum’s collection is on display at
the Coconino Center for the Arts. Following her 11:30 a.m. talk, a
festival shuttle will take visitors to CCA at 12:45 p.m. to view the
exhibit and hear additional interpretation by McLerran.
Heritage Insights—Investigations into Navajo Lifeways
Navajo linguist Larry King from Farmington, New Mexico walks his audiences
along a path of history and legend, highlighting the resilience of the
Navajo language in the twenty-first century and adding his own humor.
Theresa Boone Schuler, a Diné educator from Flagstaff, will again lead the
very popular ethnobotany walks along the Museum’s Rio de Flag Nature Trail
and discuss the traditional Navajo uses of regional native plants. Schuler
gained her knowledge from her father, a noted Diné herbalist who urged her
to pass on the knowledge of traditional healing plants by teaching about
identification and usage.
Richard Wiebe, a professor of philosophy and history at Fresno Pacific
University, is a MNA research associate and studies Navajo philosophy.
Wiebe’s presentation and accompanying visuals “The Four Sacred Mountains
of the Navajo” is an exploration into geography and its relationship to
Navajo language and beliefs.
Navajo Festival’s Heritage Insight programming is generously sponsored by
the Arizona Humanities Council and creates cultural understanding and a
forum for dialog.
Performances Under the Big Tent
The Pollen Trail Dancers from Joseph City, Arizona will present social
dances and five colorful storytelling dances meant to be performed in the
warm season. The Dance of Holy People comes from Navajo Blessing Way
beliefs, the Corn Grinding Dance is connected to the coming of age of a
young woman and reinforces the relationship between Navajo people and
corn, the Sash Belt or Weaving Dance tells the story of Spider Woman’s
influence in weaving, and the Basket Dance depicts the important role of
baskets in Navajo life. There will also be a dance that tells the story of
the Long Walk of the Navajo People. A fashion show illustrating the
changes in Navajo clothing through time will also be presented by the
Pollen Trail Dancers, emceed by Brent Chase who also accompanies the dance
troupe on the Navajo flute.
Blackfire is Flagstaff’s own high energy rock trio. Rolling Stone
Magazine’s David Fricke writes, “Blackfire raise their voices, like a
painted-desert X, for anyone with a righteous fight…Blackfire are also
Navajo Indians who connect their distortion-warrior originals to the
traditional songs of their people.” They will be playing songs from their
2007 CD Silence Is a Weapon, as well as songs from their other CDs.
They add to their rock format stories and dance about traditional Diné
ways by their medicine man father Jones Benally.
Clarence Clearwater is a singer/songwriter who returned to the Navajo
Reservation more than 27 years ago to learn to speak Navajo and to gain a
better understanding of his people and their traditions. Today, his deep
voice and stirring guitar can be heard on the Grand Canyon Railway as he
entertains passengers. He sings traditional songs in Navajo and
contemporary songs in English about his spirituality and the oppression of
Native people.
Activities for Kids
“Goat in the Rug” puppet show by the MNA docents will be performed both
days at 10:45 a.m. and 1:15 p.m. All day at Creative Corner, kids of all
ages will enjoy making beaded bow guards, sheep puppets, and weaving
projects as take-home crafts.
59th Annual Navajo Festival Sponsors
The 2008 Navajo Festival is sponsored by the Arizona Commission on the
Arts, National Endowment for the Arts, Arizona ArtShare, Flagstaff
Cultural Partners, City of Flagstaff, Coconino County, and the Arizona
Humanities Council.
About the Navajo Nation
The Navajo Nation is the largest tribe in the U.S., covering nearly 27,000
square miles in Arizona, New Mexico, and Utah. With a population that has
surpassed 250,000, this sovereign nation is focused on health care,
education, economic development, and employment to benefit the Navajo
people. Thousands of tourists each year are attracted to its natural
wonders at Monument Valley, Canyon de Chelly, and Chaco Canyon.
About the Museum
The Museum of Northern Arizona is located three miles north of historic
downtown Flagstaff on Highway 180. Festival admission is $7 adult, $6
senior (65+), $5 student, $4 child (7–17), and free to MNA members. Become
a member today in time to attend the Navajo Festival Members’ Preview,
Arts Award Ceremony, and Silent Auction on Friday evening before the
festival. For more information, go to musnaz.org or call 928/774-5213.
June 27, 2008
MUSEUM OF NORTHERN ARIZONA SCIENTIST NAMED
ARCHAEOLOGIST OF THE YEAR
At its spring statewide meeting in Flagstaff on May 24, 2008, the Arizona
Archaeological Society announced that Dr. David R. Wilcox, senior research
anthropologist at the Museum of Northern Arizona, has been selected to
receive its 2008 Professional Archaeologist of the Year Award.
This award recognizes the professional archaeologist who has contributed
the most to the advancement of avocational archaeology in Arizona over a
period of years, and announces to the professional archaeology community
the high regard the Arizona Archaeological Society has for this
individual. Dr. Wilcox joins Peter Pilles, Dr. Alfred Dittert, and Dr. Lex
Lindsay as previous winners of this award.
The AAS chair customarily presents this award at the fall conference of
the Arizona Archaeological Council, to be held this year at Pueblo Grande
Museum in Phoenix on October 24 and 25, 2008.
The Arizona Archaeological Society congratulates Dr. Wilcox on his
selection and expresses its deepest admiration for his efforts on behalf
of the avocational archaeologist community.
June 18, 2008
MNA'S HOPI FESTIVAL COMMEMORATES 75 YEARS
This year’s Fourth of July Weekend marks 75 years for the Hopi Festival
of Arts and Culture at the Museum of Northern Arizona in Flagstaff.
Saturday and Sunday, July 5 and 6, “the Oldest Hopi Show in the World”
will again immerse visitors in the artistry and language of this ancient
people. Over 60 artists from the twelve Hopi villages will present art
forms they have created, continuing to innovate upon centuries old arts
and crafts traditions. The weekend’s insightful cultural presentations
will focus on the Hopi values of humility, cooperation, respect, balance,
and earth stewardship.
MNA’s early focus on preserving and promoting Hopi art forms evolved into
the Hopi Craftsman Exhibition on the Fourth of July Weekend of 1930.
Lacking a market for their traditional items due to traders’ interest in
tourist items only, the Hopi artists, over time, looked to the Museum
every Fourth of July to connect with collectors interested in their work.
And over those seventy-five years, the event has become a regional
tradition. The Museum collected both award-winning and other fine examples
of Hopi arts from these annual shows. In celebration of this diamond
anniversary year, MNA Director Robert Breunig has personally selected
objects from this collection for display at the festival. Visitors will
see work by hand-coil potters Garnet Pavatea (b. 1915–d. 1981) and Rena
Kavena (b. 1898–d. 1993), anchor artists of the shows from the 50s to the
70s. They will also see a wicker plaque basket from Sarah Gashwytewa (b.
unknown–d. 2005) and a silver ladle by world-renowned jeweler Charles
Loloma (b. 1921–d. 1992), among other extraordinary collection items.
Breunig stated, “This display of exceptional items from MNA’s many years
of collecting Hopi art illustrates the development and depth of the
Museum’s Hopi collections and represents the Museum’s working relationship
with the Hopi people throughout all of those 75 years.”
He added, “Years ago, all of us at the Museum knew these artists. The
collection that we’re showing is a record of those relationships that
brings back memories. Like with Garnet Pavatea’s work, when I see her
pottery, I feel her presence. In my mind I still see her. I can only
imagine what this collection might do for some Hopi people when they see
it.”
Hopi textiles come to the forefront this year in weaving and quilting. At
the Hopi pueblos, men are always the weavers. In the 1930s, MNA recorded
213 Hopi weavers, all men. By the 1980s, there were only about twenty
active weavers. Today, traditional weaving is done mostly for ceremonies
by a very small number of weavers.
MNA Heritage Program Coordinator Anne Doyle said, “A group of weavers will
be working both days at the festival and talking to visitors about their
craft. There are two types of looms in use today by Hopis, the vertical
loom which is suspended upright from the floor to the ceiling and the belt
or waist loom which is suspended at the upper end and fastened around the
weaver’s waist. Benson Honyumptewa, last year’s Hopi Festival Best of Show
artist, will be demonstrating the process of weaving Hopi sashes and
wedding robes, joined by Louie Josytewa and other male weavers.”
Quilting was introduced to Hopi women over 100 years ago by Mennonite
missionaries. Since then, the simple patchwork bed coverings have evolved
into contemporary works of art, their importance only recognized recently.
Adopting this traditional American art form, Hopi quilters have
incorporated cultural symbols and designs to make their quilts uniquely
their own. Quilting has become part of the Hopi matrilineal society and
the skill is passed from mother to daughter, with quilts being given as
gifts at baby naming ceremonies, weddings, and other special occasions.
For the first time, a Native fashion show of traditional and contemporary
apparel will be presented by Hopi artist and seamstress Maya David. Ten
seamstresses from all three Hopi mesas are involved in creating these
fashions with intricate detailing and an emphasis on design.
Not to be missed is a modern Hopi kiva mural entitled Journey of the
Human Spirit, a permanent installation in MNA’s Kiva Gallery. The kiva
mural is inspired by a brilliant mural painting tradition that flourished
in the Southwest between the fourteenth and seventeenth centuries. The
five by forty-eight foot mural by Michael Kabotie and Delbridge Honanie
moves from the mythic emergence of the Hopi people, through ancient
migrations, the coming of the Spanish, the coming of the Anglos, strip
mining at Black Mesa, the abuse of fast foods, drugs, and drink by Native
people, and finally, the rebirth of Hopi beliefs and traditions¾all from
the Hopi point of view.
Heritage Insights Presentations
Heritage Insights presentations about Hopi arts and lifeways seek to
provide a deeper exploration of Hopi beliefs and current issues, creating
uncommon dialogs about subjects important to the Hopi people. The
presentations are sponsored by a grant from the Arizona Humanities
Council.
Award-winning jeweler Sidney Sekakuku Jr. will demonstrate popular silver
overlay techniques with bird, katsina, animal, and clan motifs adapted
from fifteenth and sixteenth century pottery shards. During his 38 years
of silversmithing, he has taught at Northland Pioneer College and the Hopi
Arts and Crafts Guild. His work is inspired by ceremonies, pictographs,
and petroglyphs at Hopi.
Carver, jeweler, poet, and educator Ramson Lomatewama will present an
overview of the Hopi culture, including how he expresses his cultural
beliefs through the medium of glassblowing, bridging the old to the new.
Victor Masayesva Jr., a documentary filmmaker and advocate for the
Indigenous voice within the international art community, will talk about
water use and water issues on Hopi and the spring project at Third Mesa.
Masayesva will recount stories of historical water wars of this region,
forced migration, and how the Hopi people learned to communicate with the
clouds.
A remembrance and celebration of the life of former Hopi chairman Ferrell
Secakuku will be presented by Northern Arizona University’s Dr. Miguel
Vasquez. Secakuku helped resolve a longtime land dispute between the Hopi
Tribe and the Navajo Nation by facilitating the negotiations of the
Navajo-Hopi Land Settlement. Secakuku earned his master’s degree in
anthropology from NAU.
Miss Hopi 2007–2008 Kassondra Ryanna Yaiva and her First Attendant
Emmalynn Mae Thompson will attend the festival as goodwill ambassadors and
to raise awareness of health and wellness issues affecting Hopi people.
Utilizing Hopi legends and fables to preserve the Hopi language, on
Saturday only Three Mesas Production will present a puppet show
performance by youth volunteers from the three Hopi Mesas.
At Creative Corner, children of all ages will make pottery pinch pots,
corn necklaces, and color maps of the four directions as take-home crafts
related to the Hopi culture. The MNA docents will also present “Field
Mouse Goes to War,” a puppet show.
Returning to the Hopi Festival
The Nuvatukya’ ovi Sinom Dance Group will perform the Supai dance
celebrating the Havasupai people and the Polhikmana or water maiden
dance on Saturday at 1:45 p.m. and 4:15 p.m., and on Sunday at 2:45 p.m.
On Sunday only, Casper and the Mighty 602 Band will perform their Hopi
reggae at 1 and 4 p.m. Festival crowds gather again and again to hear this
band’s positive message of hope and vision that comes straight from the
heart. Their songs also talk about feelings of oppression, poverty, and
the hardships of modern reservation life.
Consignment Items for Sale
In addition to the more than 60 anticipated booth artists, the Museum
staff has collected one-of-a-kind consigned works for sale from individual
artists across the Hopi reservation.
Hopi Dancers at Heritage Square
As a special celebration of this 75th year, the Homolovi Dance Group will
perform at downtown Flagstaff’s Heritage Square for free from 11 a.m. to
12 noon on both Saturday and Sunday. A free shuttle to and from the Museum
and Heritage Square will also run from 10 a.m. to 4 p.m. both days.
This year’s Hopi Festival won the American Bus Association’s Top Event in
the U.S. award, from among the top 100 events in North America. The ABA
represents approximately 1,000 motorcoach and tour companies within the
U.S. and Canada and is the oldest group travel association.
75th Annual Hopi Festival Sponsors
The 2008 Hopi Festival is sponsored by the Arizona Commission on the Arts,
National Endowment for the Arts, Arizona ArtShare, Flagstaff Cultural
Partners, City of Flagtaff, Coconino County, Arizona Humanities Council.
About the Museum
The Museum of Northern Arizona is located three miles north of historic
downtown Flagstaff on Highway 180. Festival admission is $7 adult, $6
senior (65+), $5 student, $4 child (7–17), and free to MNA members. Become
a member today in time to attend the Hopi Festival Members’ Preview, Arts
Award Ceremony, and Silent Auction on Friday evening before the festival.
For more information, go to musnaz.org or call 928/774-5213.
June 6, 2008
MUSEUM OFFERS SUMMER DISCOVERY FOR YOUTHS AGES 4-18
The Museum of Northern Arizona’s
summer Discovery Program aims to inspire a sense of love and
responsibility for the Colorado Plateau, while providing a pathway into
the future. Discovery 2008 offers 54 classes and summer camp sessions that
connect youths ages 4–18 to this region and draw out their natural
curiosity, creating a thirst for knowledge through direct experience.
Science investigations with experts, art
projects with accomplished artists, and field trips led by experienced,
energetic outdoor educators provide optimal learning experiences for
Discovery’s students. Low student to teacher ratios bring students of all
ages in direct contact with the cultural and biological heritage of this
region. Through hands-on explorations and adventures, children not only
learn more about their homeland, they learn how to work together and
individually discover their own creative and investigative abilities.
“Every week at camp I feel quite certain
I’m meeting the next generation’s great artists and scientists,” says MNA
Youth Program Coordinator Rosemary Logan. “We’re not just imparting
knowledge to our children with these programs, we’re teaching them the
skills to become lifelong learners. We are encouraging their own innate
abilities to explore, to discover, and to ask questions.
This year’s classes offer a diverse and
exciting range of opportunities to learn about the region’s incomparable
traditions―fine arts, natural sciences, Native cultures, and ecology. An
old-time favorite class such as Urban Artist, inspires children to
transform ordinary objects from our every day lives into extraordinary
works of art, while one of the new classes, “It’s Not Easy Being Green,”
teaches children more about the natural world around them through science
experiments, crafts, songs, and games. Additionally, Discovery’s Summer
Among the Peaks, for ages 9–13 and led by Andy Yazzie will celebrate 11
years of overnight camping adventures to places such as Zion, Bryce, Grand
Canyon, the San Juan River, Chaco Canyon, and the Navajo and Hopi Nations.
This summer Discovery continues it’s
commitment to reach children of all ages. In addition to program
expansions for preschool age children, MNA has renewed its commitment to
ages 13–18 with the Junior Counselor program, Field Archaeologist and
Field Entomology classes, and Discovery’s first backpacking and volunteer
trip in partnership with the Grand Canyon Trust.
Discovery’s Junior Counselor program is
entering its fourth year. Junior Counselors ages 13–17 assist Discovery
teachers with programs. This volunteer opportunity provides valuable job
experience and allows Discovery participants to stay connected in new
ways. When asked about her experience as a former Discovery participant
and now three year Junior Counselor, Kelly Reid exclaims, “"I always
looked forward to summer camps at MNA as a participant. Now that I’m
older, I still love camp, but return each year because of the joy it
brings me to pass on my experiences to new kids.”
For reservations or information, contact
the Discovery Office at 928/774-5213, ext. 241 or discovery@mna.mus.az.us.
Scholarships are available and are awarded based on financial need and
student interest. Class descriptions, scholarship information, and an
application are available at www.musnaz.org.
The following sponsors support MNA’s
Discovery 2008:
Albertsons Community Partners
Arizona Commission on the Arts/National Endowment for the Arts
Arizona Community Foundation
Flagstaff Community Foundation
Flagstaff Cultural Partners/City of Flagstaff
Forest Highlands Foundation
Bashas’ Thanks a Million
McCoy Motors
National Endowment for the Arts
New Frontiers
Sam’s Club
Walgreens
Wells Fargo Foundation
Target Stores
Wal-Mart Stores, Inc.
and anonymous contributors
The Museum of Northern Arizona is
surrounded by tremendous geological, biological, and cultural resources in
one of Earth’s most spectacular landscapes. With a long and illustrious
history, MNA evokes the very spirit of the Colorado Plateau, including the
Grand Canyon and Four Corners regions, inspiring a sense of love and
responsibility for the beauty and diversity of the area. The Museum is
located three miles north of historic downtown Flagstaff at the base of
the San Francisco Peaks, on scenic Highway 180.
June 4, 2008
OUTDOOR BRUNCH WITH WESTERN LANDSCAPE ARTIST MERRILL
MAHAFFEY
The public is invited to join artist Merrill Mahaffey at a special brunch
on Sunday, June 22 at the Museum of Northern Arizona in Flagstaff. This
same weekend will mark the opening of the exhibit Merrill Mahaffey:
Interior Landscapes of the West, a Fifty-Year Retrospective.
The monumental landscapes of painter Merrill Mahaffey arrive at MNA the
weekend of June 22 for a first-time retrospective of the artist's work
from the last fifty years.
The brunch will include dining along the Rio de Flag, exhibit viewing,
remarks by the artist, and an exciting silent auction. Tickets are $55 per
person for the general public and seating is limited. Tickets can be
purchased through June 16 by calling Cassie Dakan at the Museum,
928/774-5213, ext. 225. Information about Merrill Mahaffey, event details,
and silent auction items are at www.musnaz.org.
The Mahaffey brunch is part of MNA's second annual gala fundraising
weekend. Enjoy food from Main Street Catering and inspiring art in a
spectacular outdoor setting, while supporting MNA and its unique exhibits
and programs.
Mary 25, 2008
THE ART OF ESSENTIAL MEANINGS
“Next summer I’ll be sixty and after due consideration and worry,
it is time to live a life of essential meanings; so cut to the artistic
chase.
Do not tilt with windmills and do not rest.” ―Merrill Mahaffey, 1997
Vast landscapes, sublime beauty, and remote, uninhabited spaces at the
heart of the West are all hallmarks of Merrill Mahaffey’s paintings. A
self-proclaimed spiritual naturalist, Mahaffey’s work inspires a sense of
awe and reverence for his subject matter, whether it is close-up rock
formations, panoramic views of mountainsides and canyons, or reflections
of canyon walls in the water.
Merrill Mahaffey: Interior Landscapes of the West, a Fifty-Year
Retrospective, a new exhibit at the Museum of Northern Arizona in
Flagstaff, opens June 22 and runs through November 9. The exhibit
is a unique inquiry into the meaning of western landscapes and their role
in American culture at the beginning of the twenty-first century.
Mahaffey’s view of the natural world as an expression of the creative
power of the universe is paired with his analytical temperament and love
of science and geological formations. He revels in realism, but stops
short of photographic detail, infusing color and softening lines to
express his feelings. His work seems to say, “Look here. This is what is
essential. This viewpoint, right here, has meaning.”
Mahaffey is particularly interested in the interface of land and water.
Many of his works focus on the dramatic contrast between the glassy,
reflective surfaces of rivers and lakes and the textured rock walls that
tower above them.
MNA Curator of Fine Art Alan Petersen says, “Merrill Mahaffey’s paintings
examine the visual power of landscapes, the nature of their constituent
parts, and the effects of human interaction. Characterized by a dynamic
combination of realism and abstraction, his works celebrate the monumental
scale of geological formations of the Southwest and express a lifelong
concern for wilderness in our modern society.”
Mahaffey’s body of work exists within a great tradition of American
landscape painters. However, unlike much American landscape painting,
Mahaffey’s is neither sentimental, nor romanticized. His images are direct
and assertive. He tends to avoid dramatic lighting and many of his works
have glaring, midday light that enhances their objective quality that in
the artist’s words, “de-romanticizes” the subject. Mahaffey says there are
scenes that he won’t paint, because he considers them too picturesque and
admits that one of his goals is to “make the commonplace seem special.”
Born in Albuquerque, New Mexico, Mahaffey grew up in Grand Junction,
Colorado. By the age of eight he had already begun his lifelong passion
for art. He attended California College of Arts and Crafts in Oakland (now
California College of Arts) and Sacramento State University (now
California State University, Sacramento). He received his Master of Fine
Arts from Arizona State University and taught at Phoenix College and ASU.
He took his first river trip through the Grand Canyon in 1980 and has
since made many more Colorado River journeys that have greatly influenced
his work.
Collections of his work can be found at the Smithsonian, The Metropolitan
Museum of Art, the Denver Art Museum, the Phoenix and Tucson Art Museums,
and numerous private and corporate collections. He resides in Phoenix,
Arizona.
A GALA WEEKEND IS PLANNED
Renowned Grand Canyon painter Merrill Mahaffey is honored at the Museum of
Northern Arizona on June 21 and 22 with a Gala Dinner on Saturday night
and a Brunch the following morning. These events are scheduled in
conjunction with the opening of the new exhibit Merrill Mahaffey:
Interior Landscapes of the West, a Fifty-Year Retrospective.
Participants will meet the artist and dine alongside the Rio de Flag at
these events.
At MNA’s 2nd Annual Summer Fundraising Gala Dinner on Saturday, June 21at
5:30 p.m., some of the Mahaffey paintings on exhibit will be for sale. A
live auction to benefit the Museum will round out the evening. Tickets are
$250 per person and underwriting opportunities are still available.
An Artist Reception and Brunch for museum members on Sunday, June 22
at 10 a.m. includes a silent auction and exhibit sales. Tickets are $45
per person for Museum members. Tickets can also be purchased at the same
time as a membership.
Both events will be held at the Museum of Northern Arizona, 3101 N. Fort
Valley Road in Flagstaff.
To request additional information or to purchase tickets, contact Cassie
Dakan at 928/774-5213, ext. 225 or e-mail her at cdakan@mna.mus.az.us.
May 25, 2008
NAVAJO RUG AUCTION
Coconino Center for the Arts – Flagstaff, Arizona
Navajo Rug Auction Saturday, June 14, 2008 at 5 p.m.
Preview 10 a.m. – 4 p.m.
Flagstaff Cultural Partners (FCP) and Museum of Northern Arizona (MNA)
host Flagstaff’s first Navajo Rug Auction on Saturday, June 14,
2008. The Auction will be held at the Coconino Center for the Arts and
will feature 300 vintage and contemporary Navajo weavings from artists,
consigners, and the R. B. Burnham & Co. Trading Post. Rug styles being
auctioned include Two Grey Hills, Ganado, Teec Nos Pos, Yeis, Pictorial,
Wide Ruins, Storm, Sandpainting, and Eye Dazzler.
A preview of all weavings in the auction begins at 10 a.m. and continues
until 4 p.m. on June 14. The Auction begins promptly at 5 p.m. and is free
to the public. A portion of the proceeds from this event will provide
support for Flagstaff Cultural Partners and the Museum of Northern
Arizona. The majority of the proceeds will go directly to the weavers and
consigners.
Consignments will be accepted from the public for the Auction. Artists and
other consigners are invited to bring their Navajo weavings to the
Coconino Center for the Arts on Tuesday, June 10 through Thursday June 12
between 11 a.m. and 5 p.m. and on Friday, June 13 between 9 a.m. and 12
noon. Experts will be on hand to view, select, and assist with the pricing
of consignments.
The Auction will be led by auctioneers from R. B. Burnham & Co. Trading
Post and Collector’s Gallery in Sanders, Arizona. Bruce Burnham, his wife
Virginia, and their family are well known for their work in trading Native
art of the Four Corners region for the last five generations. Burnham has
been a trader to the Navajo for over forty years and is also the
auctioneer for Hubbell Trading Post in Ganado, Arizona. The Burnham family
is known for their encouragement of innovation and quality in Navajo
textiles and their expertise in buying, selling, and trading has earned
them the respect of area collectors and peers nationwide.
Specialists and experts in the field of American Indian art and Navajo
weaving will be on-site to identify hand-spun, hand-carded, and vintage
rugs versus rugs made from acrylic yarns, to ensure quality items and
prices for the Auction. Information on how to evaluate and buy Navajo rugs
will be available at the event.
Navajo rug auctions are an excellent opportunity to learn about American
Indian art. Before the auction, hold rugs and appreciate them up close.
Experts in the field of Navajo weaving and culture will be available
during the auction to discuss specific rugs, artists, and other details
about individual weavings.
The breadth of artists and styles, and the opportunity to bid rather than
pay a set price has made rug auctions an affordable way to collect high
quality rugs. Prices can range from as low as $50 to as high as several
thousand dollars.
The Coconino Center for the Arts is located at 2300 N. Fort Valley Road in
Flagstaff, Arizona on Hwy 180, on the way to the Museum of Northern
Arizona and the Grand Canyon. Call (928) 779-2300 or visit
www.culturalpartners.org for more information.
May 2, 2008
EXPLORING ZUNI WAYS OF KNOWING
A broad, scenic valley with red mesas and an expansive blue sky is home to
the A:shiwi, or Zuni people. This ancient and proud people live at Zuni
Pueblo where their ancestors have lived for thousands of years, about 150
miles west of Albuquerque at an historic crossroads of travel and trade.
On Saturday and Sunday, May 24 and 25, the 18th Annual Zuni Festival of
Arts and Culture at the Museum of Northern Arizona in Flagstaff will
explore A:shiwi philosophy, emergence and migration beliefs, worldviews,
values, and current day issues on the Zuni Indian Reservation.
Humanities Insights programming, fine arts, music, and dances will serve
as windows into the ancient and vibrant Zuni culture. Zuni Pueblo is the
largest of nineteen New Mexican pueblos, with eleven thousand members
spread out over 600 square miles. They are often considered the most
traditional of all of the Southwestern pueblo people, having managed to
preserve their core beliefs and identity while integrating useful parts of
the modern world. The fact that the A:shiwi language bears no similarity
to any other known language is indicative of their isolation. Eighty
percent of Zuni families are involved in making fine arts, home-based work
that makes it possible for Zunis to remain in their community. Each piece
of inlay silver jewelry, stone fetish carving, and pottery represents
generations of tradition paired with the artist’s individual unique style.
MNA and the A:shiwi A:wan Museum and Heritage Center at Zuni Pueblo are
collaborating to bring back the annual Zuni Festival last held in 2003.
After a four-year hiatus, this festival returns with new vitality and
excitement. Since then, MNA has worked to develop a deeper relationship
with the Zuni Tribe. This festival is, in the words of A:shiwi A:wan
Director Jim Enote, “…more than an event about Zuni, it is a very public
gesture, acknowledging Zuni presence and influence on the Colorado
Plateau.”
MNA Director Robert Breunig added, “The Zuni culture is an integral part
of the Colorado Plateau, with close cultural connections to the land and
ancestral villages in southeastern Arizona and western New Mexico. The
spiritual and ancestral landscape of the Zuni or A:shiwi includes the San
Francisco Peaks or Sunha:kwin K'yaba:chu Yalanne in the west,
Steamboat Wash in the north, Mount Taylor in the east, the Salt and Gila
River Basins to the south, and of course, the Grand Canyon, the Zuni place
of origin. By creating a collaborative relationship with the Zuni Tribe,
MNA is able to ensure that the dialogue and cultural exchange about the
Zuni people and their lifeways comes directly from the source.”
The Zuni People
Zunis believe they emerged from Mother Earth within the Grand Canyon and
migrated across the Colorado Plateau to Halona Idiwana’a or the Middle
Place of the World, home of the Zuni for at least the last 1300 years.
A:shiwi A:wan Museum Technician Curtis Quam will present “Zuni Emergence
and Migration History,” beginning in the Grand Canyon, then European
contact at the ancestral A:shiwi village of Hawikku, post contact history,
arrival of the Americans, and finally the influence of ethnographers,
anthropologists, and archaeologists on the A:shiwi way of life.
Accompanying images for Quam’s talk are from the A:shiwi A:wan exhibit
Hawikku: Echoes from Our Past.
Heritage Insights Programming
A:shiwi A:wan Director Jim Enote will give two presentations. His
talk “The A:shiwi Map Art Project” will describe how art is used to evoke
reactions and memories about cultural places. Enote says, “Indigenous
people have always had maps. We’ve had maps created as songs, prayers,
migration stories, shell arrangements, drawings on hides, drawings on wood
and stone.” The map art project uses Indigenous artistic sensibilities and
Indigenous names of places to connect with cultural values and ways of
seeing the world. His second presentation will be a panel discussion and
open conversation with the audience that focuses on “The Challenges of
Bilingual Education.” Zuni schools have State supported bilingual
programming which could use retrospective evaluation, but the most
critical issue is how to continue bilingual learning outside of the school
and inside the home.
Dan Simplicio, a Zuni tribal member, educator, and jeweler will
present “Zuni Traditions of Art and Community” and will examine the Native
art industry and how it has influenced Zuni economy and the shift from the
traditional family to the nuclear family.
The Nawetsa Family Dancers bring the pageantry of traditional Zuni
social dancing. Colorful headdresses, beaded and fringed arm bands, and
traditional woven outfits add to their magical performance of dances
symbolizing the dreams, visions, and beliefs of the A:shiwi.
Olla Pottery Maidens, decorated with turquoise jewelry and
traditional woven outfits, dance while carefully balancing water pots on
their heads. The pots are indented on the bottom for this purpose and in
the past, these same pots were used for carrying food and water.
The Zuni Pueblo Band, scheduled to play both festival days, is one
of the few remaining American Indian community bands in the U.S. today.
They proudly wear the traditional Pueblo style of dress, with a red woven
sash belt around the waist along with a handmade concho belt and exquisite
Zuni jewelry. The men wear bowguards and a traditional white headscarf
across their foreheads and the women tie their hair in the back with a
small red sash. All band members wear red leather moccasins. Membership in
the band is open to all Zunis, regardless of age or experience. In recent
years, the band has had members from eight to 80 years old and it is no
surprise to see three or four generations of families participating in the
band at any given time. Since their formation, the Zuni Pueblo Band has
played marches by John Phillip Sousa, K. L. King, Roland Seitz, and other
well-known composers for parades and concerts.
Zuni Artists and Demonstrators
Zuni artists are known for some of the most sought after Native works of
art. Through their distinctive sense of color and patterns, intricately
crafted designs, and traditional symbols, they represent an ancient
people. The following award-winning and emerging artists will present
their work at this year’s festival:
Colin Coonsis―inlay jewelry, Kenneth Epaloose―pottery,
Rolanda Haloo―jewelry,
Silvester Hustitio―painting, Otto Lucio―jewelry, Claudia
Peina―fetish carving,
Lynn Quam―fetish carving, Octavius and Irma Seowtewa―needlepoint
jewelry,
Margia Simplicio―beadwork, and Noreen Simplicio―pottery.
In addition, demonstrators will create artwork and talk with visitors
about materials and designs they use. Raylan and Patty Edaakie make
silver jewelry with multiple stone inlays of lapis, sugilite, coral, and
turquoise. Lorandina Sheche creates traditional animal fetish
carvings from stone and Todd Westika makes contemporary fetish
carvings which are naturalistic and lifelike.
About the A:shiwi A:wan Museum and Heritage Center
Established by a small group of Zuni tribal members in 1992, the A:shiwi
A:wan Museum and Heritage Center is a private, not-for-profit 501c(3)
organization dedicated to serving the Zuni community with programs and
exhibits that reflect on their past and are relevant to their present and
future. The A:shiwi A:wan emphasizes A:shiwi ways of knowing, while also
exploring modern and mainstream concepts of knowledge. The Pathways to
Zuni Wisdom program is gaining national attention as an example of how
youth can learn traditional life skills and apply them to modern
circumstances. The old films, photo archives, and collection of digitized
oral history interviews are popular with many Zunis. Art is a fundamental
part of the culture. Whether through collections of contemporary Zuni art,
its Zuni prehistoric art collection, or Zuni school art exhibitions, the
A:shiwi A:wan Museum and Heritage Center provides a venue and forum for
local artists to study and reflect on the possibilities of art in their
community. Visit www.ashiwi-museum.org for more information.
About the Museum of Northern Arizona
Now celebrating its 80th year, the Museum of Northern Arizona has a long
and illustrious history and evokes the very spirit of the Colorado
Plateau. It serves as the gateway to understanding this region, with nine
exhibit galleries, revealing Native cultures, artistic traditions, and
natural sciences. MNA’s four Heritage Program festivals highlight the
region’s cultures and encourage communication and the exchange of ideas
between visitors, educators, and artists. More information about MNA is at
www.musnaz.org.
Zuni Festival’s Heritage Insights programming was made possible through a
grant from the Arizona Humanities Council. Additional sponsors of this
year’s Zuni Festival include the Arizona Commission on the Arts, the
National Endowment for the Arts, Arizona ArtShare, Flagtaff Cultural
Partners, and the City of Flagstaff.
The Museum of Northern Arizona is located three miles north of downtown
Flagstaff on Highway 180. The Zuni Festival is open from 9 a.m. to 5 p.m.
both days. Admission is $7 adults, $6 seniors (65+), $5 students, $4
Native people, and $4 children (7–17).
April 15, 2008
MANY COLORED WEAVES
Navajo Textiles from the Collection of the Museum of Northern Arizona
Coconino Center for the Arts – Flagstaff, Arizona
MNA/FCP Members’ Reception: Friday, June 13, 2008, 6–8pm
Navajo Rug Auction: Saturday, June 14, 2008
Exhibition Open to the Public: June 14 – August 9, 2008
Navajo legend tells the story of humankind’s progression through
successive worlds. Each world previous to the current one was associated
with a particular color. The current world, on the other hand, which is
variously known as the “glittering,” “sparkling,” or “many-colored world,”
is associated with a multitude of hues. The Navajo weaver’s art reflects
the multi-colored aspect of this environment.
Flagstaff Cultural Partners (FCP) and the Museum of Northern Arizona (MNA)
have joined forces to present a new exhibition at the Coconino Center for
the Arts this summer. Many Colored Weaves, which features
selections from MNA’s collection of Navajo textiles, will be open to the
public from June 14 through August 9, 2008. There will be a Preview
Reception for FCP and MNA members on Friday, June 13, at 6 p.m.
Navajo weaving is a holistic practice that brings together the
many-colored strands of life to create beauty. The individual weaving
stands as a concrete expression of the interconnectedness—the interwoven
nature and harmonious relationship—of the diverse elements of the world.
In this exhibition, Navajo weavers share their reflections on the
processes and practices of weaving and how they are meaningful to them.
Many Colored Weaves will feature 36 textiles from both the early
and late twentieth century. The textiles are representative of various
regions producing quality works during that period. The exhibition’s
curator is Jennifer McLerran, director of the Northern Arizona University
Art Museum and Assistant Professor of Art History at NAU.
“This exhibition represents some of the finest work in the exquisite
collection of weavings at the Museum of Northern Arizona,” says John
Tannous, executive director of Flagstaff Cultural Partners. “This
partnership between the Museum of Northern Arizona and Flagstaff Cultural
Partners provides the community its first opportunity to view this
culturally significant artwork in the spacious setting of the Coconino
Center for the Arts gallery.”
The Navajo weaver brings beauty into the world, providing a model of right
behavior and right relationship to the environment. Like the culture
heroes of Navajo legend, whose tales are told in healing ceremonies and
traditional chants, the weaver’s artistic practice constitutes a journey
of discovery through which the harmony-generating potential and the
healing capacity of the plants and animals that populate this world are
explored and demonstrated. The knowledge that sustains this practice
requires a nuanced understanding of the physical world that allows weavers
to produce objects of beauty and affords them the opportunity to serve as
modesl of the individual’s proper place in the world
Traditionally, Navajo weavers gained their dyes from plants in their
immediate environment. Many of these were the same plants as those used in
healing ceremonies. They gained their wool from their own or other family
members’ sheep, animals that were seen as gifts from the holy people,
provided to them for their spiritual and physical sustenance.
With the advent of a Euro-American market for Navajo textiles, weavers
turned to artificial dyes and commercial wools. While this increased
output made weavings more affordable, thus engendering a wider market for
them, the intimate connection of the weaver to their environment was
compromised in important ways. The quality of their product—many
believe—diminished, as well.
A number of efforts have been mounted over the past 75 to 80 years to
revive the use of natural dyes in Navajo weaving. Sometimes motivated by a
desire to improve the quality—and thus marketability—of Navajo weaving and
other times by a wish to restore a right relationship of the weaver to
their physical and cultural environment, these efforts have enjoyed varied
degrees of success. The Many Colored Weaves exhibition
examines the history of these efforts, providing examples of weavings
produced.
FCP and MNA will also host Flagstaff’s first Navajo Rug Auction on
Saturday, June 14, 2008. The Auction will be held at the Coconino Center
for the Arts and feature 300 unique Navajo weavings on sale throughout the
fast-paced event. The R.B. Burnham & Co. Trading Post will serve as
auctioneers. A preview of all weavings in the auction begins at 10 a.m.
and continues until 4 p.m. The auction itself begins at 5 p.m. All
proceeds from this event will provide support for Flagstaff Cultural
Partners and the Museum of Northern Arizona.
March 18, 2008
GRAND ARCHAEOLOGY ALONG THE COLORADO RIVER
A new exhibit by Flagstaff adventure photographer Dawn Kish, Grand
Archaeology: New Excavations along the Colorado River, will be
featured during Archaeology Awareness Month, at the Museum of Northern
Arizona in Flagstaff. The exhibit, which will run from March 22 through
July 13, 2008, documents recent archaeological excavation and research in
Grand Canyon National Park, conducted by MNA in partnership with GCNP. The
exhibit is made possible through the generous support of the Grand Canyon
Association.
“The Grand Canyon archaeological project between the Grand Canyon National
Park and MNA is the first major archaeological project within Grand Canyon
National Park in a generation and provides a unique opportunity to study
sites along the Colorado River corridor. It is hoped that this project
will provide new information about the lifeways of the people who lived in
the Grand Canyon in the past,” said MNA Director Robert Breunig.
The exhibit’s featured excavation is part of a project focused on nine
archaeological sites. The project began in 2005 and will continue through
2011, with excavations being led by MNA Archaeologist and Principal
Investigator Ted Neff and Grand Canyon National Park River Corridor
Archaeologist Lisa Leap. In the mid-1980s, Grand Canyon National Park
archaeologists noted an increase of erosion at a number of sites along the
Colorado River due to natural deterioration, visitor impact, and overall
sediment depletion caused by the operation of Glen Canyon Dam. These
excavation and research efforts will, therefore, collect valuable
information about past life ways in Grand Canyon before it is lost
forever.
About her experience on the canyon trip, exhibit photographer Dawn Kish
says, “Working in the field is the best studio. The world is where I love
to be, honored to be surrounded by the elements. Working along the river
corridor of the Colorado River is a dream. It might be 125 degrees and the
sand is embedding in my camera equipment, but it is all worth it.”
Kish adds, “I love being outside and usually my activities become my
subject. Mother Nature is my main inspiration. My job as a photographer
gives me opportunities to constantly embrace knowledge. Like an
anthropologist, I go in deep to tell the stories.” The story of this
exhibition is well documented, with descriptive images that give the
audience an understanding of what archaeology is all about.
Kish received her first camera at the age of 17. Later on, she gained
experience from being a photography assistant to Flagstaff photographers
John Running and Sue Bennett. With her eye-catching talent developing,
Kish started to shoot professionally by 23. Kish’s latest works are two
articles featured in the March 2008 issue of National Geographic
Adventure, “Arch Hunting” and “Knowledge from a Navajo Rancher.”
Recent clients include Teva, Patagonia, and Amerprise. Kish also received
the Red Bull Photo Extreme Award in January 2007 for best close-up photo.
The combination of her passion for outdoor activities and her eye for
composition of shapes and shadows results in her unique and interesting
images.
February 2, 2008
MNA'S NEW COLLECTION CENTER BREAKS GROUND
The Museum of Northern Arizona broke ground today on the construction of
its new Easton Collection Center, named in honor of the facility’s donors,
Betsy and Harry Easton of Flagstaff and Sedona. This 17,000 square foot
building will symbolically represent the importance of collections to
MNA’s mission by its construction in the heart of the Museum’s historic
Harold S. Colton Research Center, in MNA’s 80th year. The Collection
Center is designed to hold a significant portion of MNA’s collections
within its solid walls and provide a stable and secure environment for
collections, with optimal ranges of temperature and humidity; a fire
suppression system; protection from insect damage; and a high degree of
security. The estimated building cost is $4,500,000 and construction is
expected to take one year.
The building was designed by a team led
by James Roberts, senior principle architect at Roberts׀Jones Associates,
Inc. of Phoenix, an award-winning architectural firm that specializes in
sustainable design and the sensitive integration of buildings with their
natural and man-made environment. Also advising on the building design was
Richard Cronenberger, an architect for the National Park Service who
specializes in designing collections facilities, and collections
conservation consultant Matt Crawford.
The development of a new collections
facility has been one of MNA’s top priorities for many years and was
listed as one of MNA’s highest institutional goals in the 2006
Institutional Plan. Over the past two decades various conservation
consultants who have worked with MNA on collections care have consistently
pointed out the need for new collections facilities.
Museum Director Robert Breunig states,
“The beginning of the construction of the Easton Collection Center is one
of the most exciting—and significant―events in MNA’s history, a wonderful
kick off to our 80th birthday year. MNA has needed this building for over
30 years to house its comprehensive collection of natural and cultural
history of the Colorado Plateau. Since the late 80s, collections
consultants have been advising us of the pressing need to improve our
level of care. With this new facility, MNA will be able to fulfill its
stewardship responsibilities to the public to take the best care possible
of MNA, Federal, and tribal collections.
Breunig continues, “We believe that the
building will be a model for collections facilities and will provide an
ideal environment for the Museum’s collections for generations to come.
Funded by a private gift, the Collection Center represents one of the most
significant building projects in MNA’s history and underscores the
long-term commitment of MNA to its incomparable collections.”
“The design of the Collection Center has
been a very enlightening and challenging process for our entire team,”
adds architect Jim Roberts. “Our goal from the beginning has been to
create a core facility for the Museum that embodies the spirit of the MNA
mission, ‘to inspire a sense of love and responsibility for the Colorado
Plateau.’”
The building has been carefully designed,
taking into consideration how collections “flow” through a building from
initial acquisition, through the cataloguing process, and on to the
various stages of collections care and storage. The design will also
optimize access to these important cultural resources by researchers, and
also by the public through regular public tours. The building will
accommodate those collections that are most at risk of damage due to
improper storage environment. It will house the Museum’s sensitive
anthropological (archaeological and ethnographic), biological, fine art,
and archival collections. Collections will be stored in new storage
cabinets that will glide on tracks embedded in the floor, creating a
storage system that makes efficient use of space.
The new building will be “green.” It has
been registered through the U.S. Green Building Council’s LEED (Leadership
in Energy and Environmental Design) certification program and will embody
the best principles of environmentally sustainable design. It has been
designed to maximize energy efficiency, minimizing the use of fossil
fuels. The high thermal mass of the building will efficiently provide
stable environmental conditions for collections. More information on the
LEED program is at www.usgbc.org.
In 2007 the MNA Collections Department
received two major federal grants totaling $825,000 to support the
acquisition of new storage cabinetry for the Collection Center. These
grants, from the federal Save America’s Treasures program and from the
National Endowment for the Humanities, will provide new museum grade
cabinets for the long-term care of MNA’s anthropological collections.
The office area for the collections staff
will be located on the south facing side of the building to maximize
access to natural daylight and solar gain in the winter months. Careful
selection of materials for minimal environmental impact will eliminate
off-gassing substances harmful to people and collections. The new MNA
Collection Center will provide not only an ideal environment for
collections, but also for the collections staff.
The building design also emphasizes
connections to the region’s American Indian community. Following
recommendations from an American Indian Advisory Committee, the building
will have a number of symbolic and functional elements designed to make
the Native community feel at home in the structure. The building entrance
will face to the east and the building lobby captures dramatic views of
the San Francisco Peaks. A glazed solar aperture next to the main entry
door will cast rays from the rising sun onto the structure’s inner door on
the vernal and autumnal equinoxes and will mark the path between the
summer and winter solstices on the inner wall of the building’s vestibule.
The front facade of the building will be formed in a gentle curve and be
composed of native basalt rock. The exterior landscape design will consist
of plants native to this region.
Perhaps one of the structure’s most
innovative features will be an extensive living roof, planted with native
grasses and wildflowers, and designed to provide a high degree of
insulation for the structure and to slow run-off from the building onto
the surrounding landscape. The primary consultant on the living roof
design is Paul Kephart of Rana Creek Living Architecture, a firm
specializing in green roof design and ecological restoration projects.
Additional elevations and floor plans for
the building are at www.musnaz.org and construction progress
through an online webcam is also available at this website. An official
dedication ceremony will follow construction of the building.
-end-
February 1, 2008
2008 HERITAGE PROGRAM
At the base of the San Francisco Peaks―an integral part of the Colorado
Plateau’s spiritual landscape―MNA’s four festivals highlight the region’s
cultures and encourage communication and the exchange of ideas between
visitors, educators, and artists. Art, music, performances, and Heritage
Insights presentations, together, create cultural understanding and a
forum for dialogue.
18th Annual Zuni Festival of Arts and
Culture
Saturday, May 24 and Sunday, May 25
Dialogues on Creativity and Culture
In partnership with the A:shiwi
A:wan Museum and Heritage Center, a celebration of the Zuni way of life
and Zuni expressions of creativity returns after a four year hiatus. The
A:shiwi people will share Zuni language, lifeways, and traditional dances
and flute playing. Prepare to be amazed and inspired by weavers, inlay
jewelers, fetish carvers, and painters. See exotic stone, shell, and
antler being carved into Zuni animal fetishes of the six directions. Learn
about the shaping, forming, and painting of traditional Zuni pottery.
75th Annual Hopi Festival of Arts and
Culture
Saturday, July 5 and Sunday, July 6
The Oldest Hopi Show in the World Celebrates 75 Years!
First named the Hopi Craftsman
Exhibition in 1930, the Hopi Festival was discontinued during the years of
1943–1946. Artists from the twelve Hopi villages continue to create and to
innovate upon centuries old arts and crafts traditions. MNA is excited to
celebrate this milestone event by featuring over 60 Hopi artists
specializing katsina doll carving, basket weaving, jewelry, pottery,
textile weaving, painting, and sculpture. Up-close demonstrations, dance
groups, music, traditional foods, and insightful discussions about the
Hopi values of humility, cooperation, respect, balance, and earth
stewardship
fill the Museum grounds during the July 4th weekend.
59th Annual Navajo Festival of Arts
and Culture
Saturday, August 2 and Sunday, August 3
Innovation Meets Tradition
Traditional Navajo (Diné)
families and clans meet to share traditional storytelling and cultural
interpretation with festival visitors. Weavers and potters work side by
side with modern jewelers and filmmakers during this colorful and exciting
summer festival. Traditional dance, a retrospective fashion show, modern
music, and presentations on Navajo language and philosophy combine with
more than 70 artists and their original artwork. Weavers work on upright
looms on their intricate designs. Renowned Navajo painters share their
inspiration and techniques with visitors. And a special Navajo Code Talker
exhibit brings a few of these World War II heroes to MNA.
5th Annual Celebraciones de la Gente
Saturday, October 25 and Sunday, October 26
A Lively Celebration of the Day of the Dead
The Museum comes to life for
Dia de los Muertos or Day of the Dead, an ancient Meso-American
holiday held throughout Mexico, Latin America, and the Southwest.
Transforming grief into celebration, this ritual pays homage to the lives
of lost loved ones by inviting them back to enjoy their favorite music and
foods, and to honor their contributions in life. More than a dozen
Flagstaff families bring ofrendas (altars) from their homes to
share in a courtyard exhibit, illuminated by candles and luminarias. Learn
how traditions evolved and the meanings behind the objects on the
ofrendas. Created in partnership with Flagstaff Hispanic pioneers
Nuestras Raices.
-end-
January 25, 2008
GRAND CANYON, THROUGH THE EYES OF 24 HISTORIC
ARTISTS
Many of America’s greatest artists have tried to capture the majesty of
the Grand Canyon in their work, challenging both their perception and
their skill. Grand Canyon Grandeur: Early Paintings and Prints from
the Hays Collection, a new exhibit opening Saturday, February 9
and running through Monday, May 26, 2008 at the Museum of Northern
Arizona, brings together a who’s who of preeminent artists who chose Grand
Canyon as their subject. The artworks in this exhibit are from the
collection of Mr. and Mrs. A. P. Hays of Paradise Valley, Arizona.
This exhibit’s 24 artists labored from
1854 to the mid-1930s to reproduce a small measure of the canyon’s
monumental beauty in their 55 works in this show. Many strived for
detailed realism, while others saw the canyon as atmospheric and
impressionistic. Among the exhibit’s artists are masters such as Louis
Akin, Carl Oscar Borg, George Elbert Burr, Thomas Moran, and Gunnar
Widforss.
Collector Abe Hays has assembled art and
artifacts most of his life. Together with his wife Lalla, Hays also has
important collections of four artists who are prominent in the current
exhibition, Carl Oscar Borg, George Elbert Burr, Edgar Alwin Payne, and
Gunnar Widforss. The Hayses also have major collections of Western artists
Maynard Dixon, Will James, and Lon Megargee, which have been shown at
major museums in the U.S. and Canada.
Collector Abe Hays states, “For sixty
years I have been trying to collect art of the Grand Canyon, Colorado
Plateau, and other Arizona subjects, in both prints and paintings. At the
top of my collecting interests are the Grand Canyon and Walpi, as I
consider both to be the most important and relevant to our state’s
history. I particularly like to collect worthwhile artists whose best
known and accomplished artwork was done in Arizona. In addition to those
artists, I value William Henry Holmes, William R. Leigh, and Julian Scott.
I have felt a responsibility to collect in this field and to provide the
artists’ works for future generations to enjoy.”
MNA Curator of Fine Art Alan Petersen
adds, “The Hays Collection contains some of the Southwest’s finest work,
created by outstanding artists from the mid-nineteenth to the
mid-twentieth century. Grand Canyon Grandeur dramatically
illustrates the creative richness of a period that could be called a
“Golden Age” of Western art. This period followed the exploration of the
Great Surveys, when the Santa Fe Railroad, Fred Harvey Company, and other
business interests began to bring enthusiastic attention to the beauty of
the Southwestern landscape and cultures. The artwork in this exhibit has a
vibrancy that reflects the artists’ fascination with the newly revealed
landscape of Grand Canyon and their ability to convey the intensity of
what it meant to encounter this landscape.”
With a long and illustrious history, the
Museum of Northern Arizona evokes the very spirit of the Colorado Plateau,
including the Grand Canyon and the Four Corners regions, inspiring a sense
of love and responsibility for the beauty and diversity of the area. It is
located at the base of the San Francisco Peaks, three miles north of
downtown Flagstaff on Highway 180. The Museum is open daily from 9 a.m. to
5 p.m. Further information is available at 928/774-5213 and www.musnaz.org.
Image: Grand Canyon of Arizona from
Hermit Rim Road, 1912 by Thomas Moran, N.A.
Grand Canyon Grandeur Public Programs
Public programs included with museum admission.
February 9
2:30–3:30 p.m.
Grand Canyon Grandeur
Gallery Tour
Take a tour of the Grand Canyon Grandeur exhibit with collector Abe
Hays and MNA Curator of Fine Arts Alan Petersen. Learn about the artists
and their work that make this collection of early Grand Canyon paintings
so rich and fascinating. Hays will also discuss his passion and motivation
for collecting the finest Southwestern art.
March 8
2–3 p.m.
The Incredible Canyon
Scott Thybony talks about his new book The Incredible Canyon.
It includes bits of canyon lore which have slipped through the cracks and
a few of the classic stories that still resonate. Thybony covers canyon
characters, both certifiable and aspiring, with the best of the tall tales
trimmed down to size. He includes a few scandals, a little romance, and
some grand schemes gone awry. And since people never seem to tire of
hearing about other people getting in over their heads, there are a few
cliffhangers thrown in. Geared for both canyon junkies and first-timers,
Thybony’s talk offers a light take on the hard facts. A book sale and
signing will follow this presentation.
March 15
2–3 p.m.
Early Paintings of the Grand Canyon
Following the completion of John
Wesley Powell’s survey of the Grand Canyon region in 1880, artists were
attracted to the canyon in ever-increasing numbers. Patronage of the arts
by the Santa Fe Railroad helped to publicize the Grand Canyon and the
greater Southwest as an exciting destination, as well as give artists a
strong market for their work. Discover the rich history of Grand Canyon
art created in the early decades of the twentieth century with MNA Curator
of Fine Arts Alan Petersen.
March 22
2–3 p.m.
Bruce Aiken’s Grand Canyon: An Intimate Affair
In a remote side canyon along a stream
that flows into the Colorado River, Bruce and his wife Mary raised three
children while he tended Grand Canyon National Park’s precious water
supply at Roaring Springs . . . and painted. Out of this intimate
relationship between the artist and his canyon muse came a body of work
unparalleled in the annals of Grand Canyon landscape painters. Join Aiken
as he shares his story with a visual presentation of more than thirty
years of living and painting at the bottom of the Grand Canyon. This event
celebrates the publication of the new book Bruce Aiken’s Grand Canyon:
An Intimate Affair, published by the Grand Canyon Association. A book
sale and signing will follow this presentation.
March 29
10–11 a.m.
It’s a Squirrel's Life!
Anyone who has seen an Abert's
squirrel in the forests around Flagstaff and the Grand Canyon knows that
the tassel-eared squirrel is one of the cutest squirrels in the world. No
one knows just how amazing these squirrels can be until they hear Northern
Arizona University Biology Professor Sylvester Allred talk about them and
the importance of their forest home. Allred will read from his new book
Rascal, the Tassel-Eared Squirrel and MNA docents will present a
squirrel puppet show and craft activity. A book sale and signing will
follow this youth and family program.
March 29
2–3 p.m.
Imaging a People
When the Havasupai people asked
Steve and Lois Hirst to document their life and history, the Hirsts made
visual records a large part their effort. They and photographer friends
Terry and Lyntha Eiler enjoyed unique opportunities to record everyday
lives of Havasupai friends and neighbors. At the same time, while combing
museums and archives across the country, the Hirsts also discovered
hundreds of exquisite historic photographs, many over a century old and
never before seen. The Hirsts will share examples of early and
contemporary imagery and discuss how they located and identified early
portraiture. A book sale and signing will follow this presentation.
-end-
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