YOURS SINCERELY

GOODNESS OF HEART IS NOT TAX DEDUCTIBLE

As we go to press we learn that the Tony Begay Memorial show and auction fell far short of the ideal. We were not acquainted with Tony Begay, the man. We knew him through his art and through his friends who loved him and respected him. It made no difference to members of other tribes that Tony Begay was a full blooded Navajo. Art is a universal language to civilized humans regardless of race, creed or ethnic and political difference. We don't know exactly who first thought of a collective tribute to Tony Begay's memory in the form of a trust fund for his three minor children. We do know many of the distin-guished artists and craftsmen who gave of their souls and resources and they are, in every way, the "royalty" of Indian artists and artisans. Each gave of the best of his resources available at the time. The trustees and directors of the Heard Museum did everything possible to attain the ideal. The local press notices were frequent and appealing, but as is the case with shows and auctions of this import, national awareness and participation are vital. Our publication schedule pre-empted timely coverage and the best we hoped for is not enough to give three minor fatherless children the break in life they deserve. Although we did not know their father we are hooked on his philosophy that "work-ing together kindles the fires of friendship and understanding." After consulting with those qualified to counsel and advise on the advantages and disadvantages of using this space for this special appeal we decided to test the measure of the chari-table qualities of the human race. In truth no contribution or donation to the Tony Begay Memorial fund can be deductible for tax purposes. Here the only reward for a charitable impulse is the pure satisfaction related to something called goodness of heart. From the beginning the Great West-ern Bank and Trust offered to act as Trustee for the Begay children waiving all fees and costs. We have mailed our non-tax-deductible check to:

Belated Acknowledgement

In response to the many inquiries we have had about the name of the potter pictured on pages 4-5 of our February issue: Her name is Vivian Mumzewa, she lives in First Mesa Village of Sichomovi on the Hopi Indian Reservation and continues to make beautiful pottery in the traditional manner.

As a subscriber to Arizona Highways I feel that it is the finest publication of its type. I find pleasure in each edition. You and your staff are to be complimented for your outstanding efforts.

The real purpose of this letter, however, is to try to find out why what is accepted and published as art by erudite people like yourself is totally unac-ceptable to me as such.

In the January 1974 Issue you published three pictures by Fritz Scholder with an article by Mr. Joshua C. Taylor. I have read and reread Mr. Taylor's words and find in them the ambiguities, equivocations and plain double talk used by many critics in defending their stand on socalled art works such as these. And defending is the right word because in explaining works such as these to the general public, whether or not he admits it, the critic is always on the defensive.

Mr. Stacey, I make no pretense to the understanding of art. I do know that were I an Indian and I saw myself portrayed by some painter as a mongoloid negro with a blue nose and chin I would be incensed and might even consider demanding an apology. If Mr. Scholder sees this subject as he has painted it he has my sympathy. If he sees this subject as a normal, dignified human being and he has the ability to paint him as such but instead resorts to caricature and calls it art he is degrading both the subject and himself.

For a long time I have been seeking understanding and I am beginning to believe that many contemporary artists are the present day counterparts of the con men who sold the King the invisible fabric and that the critics who so glibly tout their works can be likened to the King's subjects who dared not speak the truth. Perhaps I have not the wits or the understanding to comprehend but as far as I am concerned the King has no clothes.

I continue to hope that my artistic soul is not beyond redemption. Perhaps you can point the way to salvation so that someday I can view Mr. Scholder's Indian with pleasure and understanding instead of the saddness and revulsion that I now feel.

We cannot expect everyone to be enthusiastic about all the art we choose to present in this magazine so when we received a letter from L.H.F., we felt that she in a sense spoke for many of our readers who do not necessarily understand, enjoy or approve the role of the artist in our society.

The key words to understanding art are "seeing" and "thinking." The art of Fritz Scholder needs no defending or explaining. The viewer's artistic soul needs no redemption because they do not see "eye to eye."

The artist makes his statement upon a system of communication based on the truth that vision through the human eye is merely the open door to the clearing house of thought.

The artist sees many things others miss. His work is a statement of his senses expressed through whatever medium of communication he knows and understands.

In all exchanges of communications there must be transmitters and receivers. All receivers are not tuned to the same frequencies and wave lengths. Art is a sensual medium of communication for artist and viewer - nothing more - nothing less - interpreted according to the measure of moral, religious, social and political make-up of the transmitter and the receiver, and the periods during which they live.

In reacting to a painting we appreciate it or reject it to the degree presented to our senses.

Art generally must fall into three major categories of visual interpretation - the picturesque, the ideal and the real.