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Born to the Tó’tsohnii (Big Water) Clan and born for the Táchii'nii (Red Running into Earth) Clan, Begay divides her time between her homes in the small reservation community of Tselani (“Many Rocks”) on the Navajo Nation and Santa Fe, New Mexico. Inspired by the beauty of the high desert landscape, Begay has repeatedly returned to Tselani, the wellspring for her fiber art. Begay tells us, “I live in northern Arizona in a beautiful community of wide-open space, beautiful mesas and canyons, and endless colors in the sky in the early mornings and in the evenings. I am blessed with all this natural beauty.” Evoking its mesas and rock formations, its constantly changing textures and colors in finely woven tapestries, Begay memorializes her experience of a land that is rich with natural beauty and family history.

Growing up in Tselani, Begay learned how to spin, card and dye wool and weave on an upright loom in the traditional Diné fashion. Her family raised their own sheep and created their own dyes from local plants and minerals. Through the tutelage of her grandmother, Desbah Nez, and intensive individual study and experimentation, Begay learned when and how to gather plants surrounding her Tselani home to create a wide range of colors.

Begay attended Chinle boarding schools through fifth grade. At the age of 14, she transferred to St. Michael’s Indian School, from which she graduated in 1974. She then went on to study at Rocky Mountain College (Billings, Montana) and Arizona State University (ASU), graduating in 1978 with a degree in art education. Selling her weavings to help pay for her education, Begay studied fiber arts and gained valuable exposure to worldwide weaving practices at ASU.

In 1982, after earning her bachelor’s degree and teaching at Coconino High School in Flagstaff, Arizona, Begay married cinematographer Howie Meyer and the two moved to New Jersey to be close to Myers’ family and to allow him to pursue his career. The couple’s son, Kelso Myer, was born in New Jersey in 1988. While living in the northeastern United States, Begay was able to visit museums and galleries to view historical Navajo weavings and the works of contemporary fiber artists, many of whom she had previously studied at ASU. She observed the many directions contemporary artists have taken in their search for new means of expression through fiber arts, but ultimately chose to create innovative tapestries while honoring the principal structure and materials of Diné cultural practice.

During this period, Begay befriended the Swedish tapestry artist, Helena Hernmarck, who found Begay’s sense of color extraordinary and encouraged her to build on her strengths as a colorist. Begay studied Hernmarck and other contemporary tapestry artists’ color handling techniques and, through this study, developed a distinctive method for building evocative compositions through color. Like the formation of the mesas of Begay’s homeland, which build over time, Begay painstakingly lays down layer after layer of individually selected colored yarn to create the emotive and atmospheric landscape around her and within her.

Throughout her early career, Begay explored the visual conventions and techniques of traditional Diné weaving. She incorporated into her work the stepped and terraced designs of regional style Diné weaving and the even, horizontal stripes of historic wearing blankets. For Begay, mastering the language of Diné weaving has always meant perfecting her technical proficiency, as well as developing a personal style that looked deeply into and beyond Diné weaving traditions. She has explored both traditional vegetal dyes as well as dyes not typically found in Diné weaving, and she has experimented with techniques and materials from widely varied worldwide weaving traditions.

Begay has traveled extensively to study fiber arts. Her travels have included a Fulbright project among Indigenous communities in South America; indigo and ikat studies in Japan; a trek across Bhutan; and investigating velvet manufacturing in Venice. Connecting with other weavers and scholars of fiber arts has always been important to Begay. These travels have deepened her knowledge of the profound cultural and spiritual importance of weaving in many Indigenous societies and have served to heighten her own interests in the possibilities of the artform.

Many of Begay’s tapestries take the landscape around Tselani as their subject. Begay began creating tapestries evocative of the Tselani landscape around 2000, and her early landscape tapestries represent an important turning point in her career. It was with her early landscapes that Begay refined her color and design sensibilities and created the style of weaving that distinguishes her as a gifted and visionary fiber artist.

Begay is an astute observer of the Tselani landscape and its shifting colors, depending on the time of day or season, and weather conditions. But when viewed by her, the arresting Tselani terrain is colored as much by family history as it is by geological history. Begay’s observations are shaped to a great degree by the knowledge of her family’s ties to the land and, for her, observing the land means sifting through family memories and probing the personal feelings they evoke, as she absorbs the ever-changing display of color and form before her. Throughout her career, Begay has looked both inward and outward for inspiration, and has experimented with materials, motifs, and techniques from a number of Indigenous cultures of the Americas and abroad. Working outside of Diné conventions has given Begay the freedom she has always yearned for while charting a new direction for her own fiber art practice.

Public Collections Augustana College of Art Museum, Rock Island, Illinois Autry National Center, Los Angeles, California C. N. Gorman Museum, University of California-Davis, Davis, California Heard Museum, Phoenix, Arizona Kennedy Museum of Art, Ohio University, Athens, Ohio Minneapolis Institute of Art, Minneapolis, Minnesota Museum of Fine Arts, Boston, Massachusetts Museum of Indian Arts & Culture, Santa Fe, New Mexico National Museum of the American Indian/Smithsonian Institution, Washington, D.C. National Museum of Scotland, Edinburgh, Scotland St. Louis Art Museum, St. Louis, Missouri Smithsonian Institution, Washington, D.C. Virginia Museum of Fine Art, University of Virginia, Wheelwright Museum, Santa Fe, New Mexico

Exhibitions

1984 “Cultural Connections,” Marymount Manhattan College, New York, NY, 12/1984-12/1984.

1984 “Navajo Weaving: Tradition and Change,” March and April 1984, Trocadero Textile Art Gallery, Washington, D.C.

1985 “Begay and Prokopiof: An Exhibition,” October 6-November 26, 1985, Southern Plains Indian Museum and Crafts Center, Anadarko, Oklahoma.

1985 “So The Spirit Flows”. Museum of the American Indian, Heye Foundation. New York, NY. 1985.

1994 Lawrence Indian Arts Show, The University of Kansas Museum of Anthropology, Lawrence, Kansas.

1994 Exhibition: “The Image Weavers: Contemporary Navajo Pictorial Textiles,” Wheelwright Museum of the American Indian, Santa Fe, New Mexico, 05/15/1994-10/26/1994.

1996-1998 “Woven by the Grandmothers: Nineteenth-Century Navajo Textiles.” National Museum of the American Indian, George Gustav Heye Center. New York, New York. October 6, 1996 - January 8, 1997. Travelling exhibition with exhibition venues: Navajo Nation Museum, Window Rock, Arizona, August 11-October 17, 1997; National Museum of Women in the Arts, Washington, D.C., November 1, 1997-January 11, 1998; Heard Museum, Phoenix, Arizona, February 1-April 26, 1998.

2003 “The Passionate Journey: Contemporary Southwest Weaving,” The Roswell Museum and Art Center, September 20, 2003-January 25, 2004.

2003 “Weavings of the Southwest: Ramona Sakiestewa, D. Y. Begay, Donna Lopez,” Blue Rain Gallery, Taos, New Mexico, May 2003.

2005 “Weaving Is Life: Navajo Weavings from the Edwin L. and Ruth E. Kennedy Southwest Native American Collection,” Kennedy Museum of Art, Ohio University. Exhibition traveled to Cusco Guatemala.

2005 “Gifts to Celebrate,” Heard Museum, Phoenix, AZ, 10/2005-07/2006.

2007 “Choices and Change: American Indian Artists in the Southwest,” Heard Museum North, Scottsdale, AZ, 6/30/2007-ongoing.

2008 “Land, Art and the Sacred: Three Perspectives,” Louis Carlos Bernal Gallery, Pima Community College, January 22-March 7, 2008.

2011 “A Turning Point: Navajo Weaving in the Late 20th Century,” Heard Museum, Phoenix, AZ, 2/5/2011-5/22/2011.

2012 “Shapeshifting: Transformations in Native American Art,” Peabody Essex Museum, Salem, MA, January 14, 2012-April 29, 2012.

2013 “The Weavings of D. Y. Begay,” C. N. Gorman Museum, University of California-Davis, Davis, California, January 8 – March 15, 2013.

2013 “Chili & Cochineal: Changing Taste Around the World.” Heard Museum, Phoenix, AZ. 2/16/2013-10/27/2013

2014 “Navajo Weaving: Tradition & Trade,” Stark Museum of Art, Orange, TX, 2/8/2014-7/12/2014.

2015-2017 “Native Fashion Now,” Peabody-Essex Museum, Salem, Massachusetts, 2015-2017. Exhibition venues: Peabody Essex Museum, Salem, Massachusetts, 11/21/2015-3/6/2017. Portland Art Museum, Portland, Oregon, June 4 – September 5, 2016 Philbrook Museum of Art, Tulsa, Oklahoma, October 2, 2016 – January 8, 2017 National Museum of the American Indian, Smithsonian Institution, New York, New York, February 17 – September 4, 2017

2016 “Woven”, Schingoethe Center, Aurora University, Aurora, Illinois, 10/2016 – 12/2016.

2018 “Tselani/Terrain,” Museum of Northern Arizona, June-October 2018, Museum of Northern Arizona.

2019-2020 “Hearts of Our People: Native Women Artists,” Minneapolis Institute of Art, Minneapolis, Minnesota, 2019-2020. Exhibition venues: Minneapolis Institute of Art, Minneapolis, Minnesota Frist Museum, Nashville, Tennessee, September 27, 2019–January 12, 2020 Renwick Gallery, Smithsonian American Art Museum, Washington, D.C., February 21–August 2, 2020 Philbrook Museum of Art, Tulsa, Oklahoma, October 7, 2020–January 3, 2021

Awards, Grants and Honors

2010 SWAIA Discovery Fellowship, which supported her travel to Peru to work in collaboration with weavers there and participate in a Tinkuy de Tejedores gathering of weavers. She then traveled to Bolivia and Guatemala to facilitate workshops with local weavers. 2013 Native American Art Studies Association Lifetime Achievement Award. 2018 USA Fellow, United States Artists. 2019 Fellow, Mellon Indigenous Arts Program, University of Virginia. 2020 Exhibition Planning Grant, American Women’s History Initiative, Smithsonian Institution 2020 Anonymous Was a Woman Award, Anonymous Was a Woman Foundation

Art Awards

1994 Lawrence Indian Art Show Merit Award Awarded for Navajo Weaving

1995 Lawrence Indian Art Show Merit Award Awarded for Navajo Weaving

1995 Santa Fe Indian Market (SWAIA) First Place Awarded for Navajo Weaving

1996 Heard Museum Guild Indian Fair & Market Honorable Mention Awarded for Navajo Weaving

1996 Santa Fe Indian Market (SWAIA) Best of Division Awarded for Navajo Weaving

1999 Santa Fe Indian Market (SWAIA) Challenge Award Awarded for Navajo Weaving

1999 Heard Museum Guild Indian Fair & Market Honorable Mention Awarded for Navajo Weaving

2000 Santa Fe Indian Market (SWAIA) Second Place Awarded for Navajo Weaving

2001 Santa Fe Indian Market (SWAIA) First Place/Best of Division Awarded for Navajo Weaving

2001 Santa Fe Indian Market (SWAIA) Special Award: Weaving, Baskets, Textiles & Attire

2002 Santa Fe Indian Market (SWAIA) Second Place Awarded for Navajo Weaving

2003 Heard Museum Guild Indian Fair & Market Conrad House Award Awarded for Drought 2002

2003 Heard Museum Guild Indian Fair & Market Honorable Mention Awarded for Navajo Weaving

2003 Santa Fe Indian Market (SWAIA) Second Place Awarded for Navajo Weaving

2004 Heard Museum Honorable Mention Awarded for Navajo Weaving

2004 Santa Fe Indian Market (SWAIA) First Place Awarded for Navajo Weaving

2005 Santa Fe Indian Market (SWAIA) First Place Awarded for Navajo Weaving

2005 Heard Museum Guild Indian Fair & Market Judge’s Choice Award Judge's Choice: Mary Dieterich. Awarded to "Journey" 2005 Heard Museum Guild Indian Fair & Market Honorable Mention Awarded for Navajo Weaving

2006 Heard Museum Guild Indian Fair & Market Best of Class First Place Honorable Mention Judge’s Choice: Ramona Sakiestewa. Awarded to "Biil doo Beeldlei (Woven dress and manta)"

2006 Lawrence Indian Art Show Merit Award Awarded for Navajo Weaving 2008 Heard Museum Guild Indian Fair & Market First Place Award Awarded for Navajo Weaving

2008 Santa Fe Indian Market (SWAIA) First Place Award Awarded for Navajo Weaving

2009 Heard Museum Guild Indian Fair & Market Judge’s Choice: Janet Cantley. Awarded to Night Way.

2009 Santa Fe Indian Market (SWAIA) First Place Awarded to Shadows of Cota

2010 Heard Museum Guild Indian Fair & Market Best of Classification Awarded to First Phase 2 Judges Choice Awards: Judge: Mary Diettrich Transformation 2010 Judge: Jennifer McLerran Transformation 2010

2010 Santa Fe Indian Market (SWAIA) First Place Awarded for Navajo Weaving

2011 Santa Fe Indian Market (SWAIA) First Place “Bini'gha'dzi'lto'oni” (Woven Through) Second Place Sunset on the Mesas

2012 Heard Museum Guild Indian Fair & Market Second Place, Binigha'dzi'lto'oni (Woven Through) Judge’s Choice: Henrietta Lidchi Transformation 2012

2012 Santa Fe Indian Market (SWAIA) First Place & Best of Division Transitional Phase

2015 Heard Museum Guild Indian Fair & Market 1st Place & Judge’s Choice Awards Judge: Carol Ann Mackay Feasting on Green

2015 Santa Fe Indian Market (SWAIA) Best of Classification: 1st place, Best of Division Blessings of Rain

2016 Santa Fe Indian Market (SWAIA) Second Place Confluence of Lavender

Curatorial and Museum Consulting Experience

1994 National Museum of the American Indian Smithsonian Institute Guest Co-Consultant, “All Roads Are Good, Native Voices on Life and Cultures,” National Museum of the American Indian, Smithsonian Institute, Washington, D.C., October 1994.

1994 Wheelwright Museum of the American Indian Guest Co-curator, “The Image Weavers: Contemporary Navajo Pictorial Textiles,” Wheelwright Museum of the American Indian, Santa Fe, New Mexico, 1994.

1995 Heard Museum Guest Co-Curator, “Inventing the Southwest: The Fred Harvey Company & Native American Art,” Heard Museum, Phoenix, Arizona, 1995.

1996 National Museum of the American Indian Smithsonian Institute Consultant, Navajo Textile Exhibit Project, “Woven by The Grandmothers: Nineteenth - Century Navajo Textiles from the National Museum of the American Indian.” National Museum of the American Indian, Smithsonian Institution, Washington, D.C., 1996.

2005 Kennedy Museum of Art Guest Co-Curator, “Weaving Is Life: Navajo Weavings from the Edwin L. and Ruth E. Kennedy Southwest Native American Collection,” Kennedy Museum of Art, Ohio University, March 2005. Exhibition traveled to Cusco, Guatemala.

2011-2012 Museum of Northern Arizona Curatorial Consultant, “Native Peoples of the Colorado Plateau,” Museum of Northern Arizona, Flagstaff, Arizona, 2011-2012 (reinstallation of the museum’s southwest Native American collections).

2016-2017 Museum of Indian Arts & Culture Guest Curatorial Consultant, Renewal & Renovation of “Here, Now and Always” exhibit, Museum of Indian Arts & Culture, Santa Fe, New Mexico, October 2016 – May 2017.

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M6. • Smith, Toby, “Tribal Treasures,” Impact: Albuquerque Journal Magazine, January 15, 1985, p. 4-9. • Sorg, Susan L. “Family Ties,” Indian Fair & Market, Summer 2020, p. 78-85. • Soruco, Jorge, “Tejidos Navajo: Urdiendo la Tradacion,” Escape, 24 October 2010, p. 6-8. • Summar, Polly, “Mark of Distinction: Fellowship Winners Get Their Turn in the Spotlight,” The Santa Fe New Mexican, August 15, 2010, p. Z068. • Summers, Kathy, “American Artisan: Weaving Navajo Tradition,” American Profile, November 8, 2006, p. 18-20. • Summers, Kathy, “Weaving Navajo Tradition,” American Profile, November 5, 2006. • Talahongva, Patty, “D. Y. Begay,” Native Peoples (November/December 2002): 69. • Weideman, Paul, “Dig This,” Pasatiempo, June 5, 2015, p. 11. • Whyte, Murray, “At the MFA, A Native American Collection in Progress,” Boston Globe, January 18, 2019, p. G1. • Winse, Linda, “NAU Show Weaves Images on Textile,” Arizona Daily Sun (Flagstaff, Arizona), April 17, 1988, p. 28. • Yohe, Jill Ahlberg, “A Painter with Wool,” Tselani/Terrain: The Textiles of D. Y. Begay, Museum of Northern Arizona, 2018, p. 28-31. • Yohe, Jill Ahlberg, Teri Greeves, et al. Hearts of Our People: Native Women Artists. Minneapolis: Minneapolis Institute of Art/Seattle: University of Washington Press, 2019. • Zeaman, John, “Hello Indian Culture, Goodbye Columbus,” The Record (Hackensack, New Jersey), November 14, 1992, p. 15. • Zorn, Elaine, “D. Y. Begay,” Encyclopedia of Native American Artists, Deborah Everett and Elayne L. Zorn, eds., Greenwood Press, 2008.

External Links D. Y. Begay, Weaver: http://navajo-indian.com/

“D. Y. Begay, Navajo Weaver,” Museum of Fine Arts, Boston: https://www.mfa.org/exhibitions/collecting-stories-native-american-art/d-y-begay

“Hear My Voice: Artist Profile,” Virginia Museum of Fine Arts: https://www.youtube.com/watch?v=v9wmz5rf1NU[https://www.youtube.com/watch?v=v9wmz5rf1NU]

“Woven by the Grandmothers: 19th Century Navajo Textiles,” Smithsonian Institution: https://www.youtube.com/watch?v=imjtRvvA_OQ

Netherzone (talk) 21:09, 6 May 2022 (UTC)[reply]