Festival Program - Artosphere Festival

Arts 

Nature 

Sustainability 

Inspiration 

Festival Program 

May+June 2013 

artospherefestival.org

Welcome to our fourth year of Artosphere, 

Arkansas’ Arts and Nature Festival! 

After a long winter, celebrating the natural beauty of Arkansas and the inspiring power of the arts feels 

particularly special to us. This year features the return of several favorite programs, including the Trail Mix 

Concert Tour, which will place bands along our hiking and biking trails in downtown Fayetteville and at Crystal 

Bridges Museum of American Art and the nationally recognized Artosphere Festival Orchestra, under the 

direction of Corrado Rovaris. We welcome back visual artist Stacy Levy, who will create a unique environmental 

art installation at Lake Fayetteville, and we proudly announce a new partnership with Crystal Bridges Museum of 

American Art; Live from Crystal Bridges, a live broadcast on KUAF 91.3 FM/NPR from the Great Hall, featuring 

the Artosphere Festival Orchestra. 

Thanks to the tremendous generosity of our funders and partners, most tickets to Artosphere events are free or 

low cost. Thank you for being a part of this regional conversation about art, nature and sustainability. 

Peter B. Lane | President/CEO, Walton Arts Center 

SPONSORS AND FUNDERS 

The Walmart 

Foundation 

MEDIA PARTNERS 

FESTIVAL DONORS 

Les & Mina Baledge 

David & Rosamond Banks 

James & Emily Bost 

Ed & Karlee Bradberry 

June Carter 

Dale & Prudie Caudle 

Chip & Susan Chambers 

Nick & Carolyn Cole 

Rick Hays & Marybeth 

Cornwall 

Cynthia & Tom Coughlin 

Sandy Edwards 

Pete & Shirley Esch 

Hershey & Denise Garner 

Jeff & Lisa Gearhart 

Orville & Susan Hall 

Malcolm & Ellen Hayward 

Tony & Susan Hui 

Tom & Jill King 

Tim & Christine Klinger 

David & Deborah Malone 

Bob & Melinda Nickle 

David & Pam Parks 

John & Marsha Phillips 

Mary Lynn Reese 

Mitchell & Barbara Singleton 

2 | www.artospherefestival.org

Contents 

4 Jack Hanna’s Into the 

Wild Live 

May 3 

5 Artosphere at Bentonville 

First Friday: Art & Nature 

May 3 

6 Erth’s Dinosaur Petting Zoo 

May 3 + 4 

8 Trail Mix Concert Tour 

May 4 

11 Artosphere Chamber 

Music Series: 

• Jayme Stone’s Room 

of Wonders 

May 6 

• Three Penny Acre with 

Gregory Alan Isakov Trio 

May 7 

12 Terrapin Puppet 

Theatre’s Boats 

May 11 

14 We’re Going On A Bear Hunt 

May 12 

15 Sustainability & Artosphere 

16 Windmill Theatre’s Grug 

May 18 

18 Spiral Wetland at 

Lake Fayetteville 

Construction begins 

April 23 

20 Untamed in the Joy Pratt 

Markham Gallery 

May 2 - June 28 

22 Artosphere Partner Grant: 

The Herd & The Swarm 


23 Artosphere Partner Grant: 

Sun Boxes 

May - June 

24 The Dover Quartet 

June 16 + 17 

26 The Nature of Strings 

June 19 + 26 

27 Artosphere Documentary 

Film Night: 

• INSTALL: Sound, Light 

and Craig Colorusso 

• 10,000 Trees 

• Bending Sticks: The 

Sculpture of Patrick 

Dougherty 

June 20 

28 More Artosphere 

Music events 

29 Journey to the Solstice - 

Sunset Concert 

June 22 

30 The Artosphere Festival 

Orchestra 

32 An Evening of Beethoven 

June 21 

34 Live from Crystal Bridges: 

Mozart in the Museum 

June 24 

36 Russian Masterpieces 

June 28 

38 Artosphere partners 

Artosphere 2013 | Arkansas’ Arts + Nature Festival | 3

support a number of Rwandan wildlife and humanitarian 

organizations including the Mountain Gorilla Veterinary Project 

and Partner In Conservation. He is also an active supporter of 

the Leukemia Society, St. Jude Children’s Research Hospital, and 

the SeaWorld Busch Gardens Conservation Fund, to name a few. 

Jack Hanna’s 

Into the Wild Live 

Friday, May 3 | 7pm 

Walton Arts Center 

Local support for this performance provided by Jeff & Lisa 

Gearhart and Kimberly Clark. 

As a child, Jack spent his days cleaning animal cages for his local 

veterinarian and exploring the creek behind his house. Today, 

Jack Hanna explores the corners of the globe as one of the most 

visible and respected animal ambassadors in the world. His 

enthusiasm and “hands-on” approach to wildlife conservation 

has won him widespread acclaim as an author, television 

personality, conservationist, and director emeritus of the 

Columbus Zoo and Aquarium. 

Recognized around the country as America’s favorite zookeeper, 

Jack has made countless television appearances since 1983 on 

shows such as “Good Morning America,” CNN’s “Larry King 

Live,” “The Ellen DeGeneres Show,” Fox News Programs, and the 

“Late Show with David Letterman.” 

Hanna took his infectious energy to the airwaves by creating two of 

his own nationally syndicated television programs “Jack Hanna’s 

Animal Adventures” and most recently “Jack Hanna’s Into the 

Wild.” Into the Wild is unscripted and action-packed— be sure to 

tune in as he and his family explore the corners of the globe and 

discover amazing animals and cultures. In its first season, Into 

the Wild won an Emmy for Outstanding Children’s Series. 

Jack and his TV crew have had the privilege to travel to Africa 

more than forty times and visit each continent at least twice. 

Although he has explored many fascinating cultures and animals 

throughout his travels, the country that has truly captured his 

heart is Rwanda. There he has experienced the thrill of 

Rick A. Prebeg – World Class Images 

observing the magnificent mountain gorillas, while also spending 

time with many people in the community. Jack is proud to 

Author of ten books — and counting — his timeless tales continue 

to captivate audiences of every generation. In September 2008, 

Jack released his new autobiography, Jack Hanna: My Wild Life. 

You can find it on Amazon and at bookstores near you. He also 

has recently released the newest book in his children’s series, 

Passport Into the Wild. This book allows readers to travel by 

Jack’s side across all seven continents to explore fascinating 

cultures and animals. 

Jack has been married for forty years to his beautiful wife Suzi. 

They have three daughters and six grandchildren together. In 

their free time they love spending as much time as they can with 

their family. 

Whatever Jack’s role, he will always be an adventurer at heart, 

never hesitating to jump at the chance to travel, explore, and 

generate support for the animal world. 

This Emmy-Award winning TV host and lifelong animal advocate 

loves sharing his knowledge and passion for animals, and is 

honored to speak with you today. So sit back and enjoy this aweinspiring 

program as you learn about amazing animal species 

and the wild adventures of Jack Hanna! 

For more information about Jack, his upcoming appearances, 

photos from his adventures, and station listings for 

“Into the Wild” go to: www.jackhanna.com. 

Family Fun Series Sponsor / 

Balancing the wise use of our earth’s resources with 

our need to produce high-quality essentials for 

better lives is a delicate equation. It is a responsibility 

we take seriously. We challenge ourselves to: 

• Engage with people to build enduring relationships 

• Respect our planet and conserve its resources 

• Deliver quality products today and for future 

generations to come 

Thanks to our focused environmental programs, 

consumers can feel good about choosing Kimberly- 

Clark’s products. 


pg 6 

pg 10 

Artosphere 

at Bentonville 

First Friday: 

Art & Nature 

pg 10 

pg 9 

Friday, May 4 | 5pm-8pm 

For exact times and locations, visit the Artosphere 

or Downtown Bentonville booths 

Erth’s Dinosaur Petting Zoo 

(see page 6 for company bio) 

On the Walton Arts Center Main Stage 

Carter Sampson 

(see page 10 for artist bio) 

Jayme Stone’s Room of Wonders 


Brick Fields Band 


Walton Arts Center is a 

proud sponsor of Downtown 

Bentonville, Inc.’s First Friday 

celebrations. From March to 

November, the Bentonville 

Square is transformed into a 

huge block party filled with 

live music, great food and lots 

of fun for an entire day. In 

partnership with Artosphere, 

May’s First Friday features art 

& nature focused events.

Erth’s Dinosaur 

Petting Zoo 

Friday, May 3 

at Bentonville First Friday 

Saturday, May 4 

at the Trail Mix Concert Tour (Fayetteville sites only, 10am to noon) 

Dinosaur Petting Zoo allows heaps of interaction for kids and 

adults while they travel with Erth’s multi-faceted performers on a 

journey through prehistoric ages. Experience an amazing selection 

of dinosaurs and creatures that inhabited the Earth millions of 

years ago. Audiences will have the opportunity to feed, water and 

care for these prehistoric marvels via simple lessons in animal 

husbandry. The Meganuera, Dwarf Allosaur and Leallynasaura can’t 

wait to be petted and fed. Dare you get too close? 

Erth has gained a reputation worldwide for creating original live 

theatre at the forefront of new performance practice. Since its 

beginnings in 1990, the company has strived to provide 

audiences with eye-popping visual experiences. Giant puppetry, 

stilt-walkers, inflatable environments, aerial and flying creatures 

are only the beginning of the Erth experience. Their vision has 

brought them all over the world and continues to spread its 

distinct appreciation for the audience’s imagination in a realm 

unprecedented in its boundless ambition. The company is bound 

to inspire awe to all who strive for truly dynamic performance. 

Erth Visual & Physical Inc. 

www.erth.com.au 

BABY MINMI 

PARAVERTEBRA 

Early Cretaceous: 110 –115 million years ago 

Fossils of Minmi Paravertebra were first discovered 

near Roma, Queensland in 1964. In 1990 an almost 

complete specimen was discovered on Marathon 

Station, Queensland. A small armoured dinosaur 

(ankylosaur) that was a quadruped, this herbivore 

had horizontal plates of bones that ran along the 

sides of its vertebrae called “scutes” and even the 

underside was protected by small bony scutes 

imbedded in the skin. Minmi grew to about 3 metres 

long and was approximately 1-metre tall to the top of 

the shoulder. 

BABY 

DRYOSAUR 

Order: Ornithischia 

Suborder: Ornithopoda 

Dryosaur means: “Oak Reptile” or Tree Lizard 

Late Jurassic: 145 –161 million years ago 

Fossils have been found in the western United States, 

Tanzania and also in New Zealand. Dryosaurs were 

herbivores, using their hard beak to cut leaves and 

plants, and the oak shaped teeth at the back of the 

mouth to grind them up. Dryosaur had powerful back 

legs and was probably a fast runner. The stiff tail 

balanced the body while standing or moving. 

Dryosaur grew to approximately 3 to 4 meters long. 


DWARF ALLOSAUR 

Pronunciation: ALL-o-saw 

Meaning: “strange lizard’ on account 

of its light vertebrae 

TYRANNOSAUR 

Pronunciation: tye-RAN-uh-SAWR 

Meaning: “tyrant lizard” 

The Tyrannosaur is any of a group of predatory dinosaurs that 

lived from the late Jurassic Period (approx. 150 million years 

ago) to the latest Cretaceous Period (about 65 million years 

ago), at which time they reached their greatest dominance. Most 

were large predators with very large, high skulls of 

approximately 1 metre in length. They had up to 60 teeth - those 

of the juveniles being serrated front and back and could easily 

bite through skulls, pelvises and limbs of other dinosaurs. A 

fossil found at Dinosaur Cove, Victoria in 1989 has led 

paleontologist Tom Rich to suggest that Tyrannosaurids were 

not only restricted to the northern hemisphere. 

There are limited recordings of this animal in Australia. It 

appears to have been a more robust form of the giant Allosaurs 

of the northern hemisphere, thought to have adapted to survive 

in Australia after the Ice Age. The Dwarf Allosaur grew to about 

6 metres in length and could probably rear to about 2.2 metres. 

It weighed just over half a tonne. It was a general carnivore and 

scavenger. It was the largest predator in Gondwana, existed in 

the early Cretaceous period (104 -112 million years ago). 

LEPTICTIDIUM 

Pronunciation: lep-tik-TID-ee-um 

Meaning: “delicate weasel” 

Leptictidium were mammals 50-40 million years ago. They 

survived through the Cretaceous period and the great extinction 

of the large dinosaurs, but became extinct 40 million years ago. 

They lived in the Northern Hemisphere, and possibly in the 

Southern hemisphere. 

MEGANEURA 

Pronunciation: meg-a-NEW-ra 

Meganeura was a gigantic primitive dragonfly with a 70 cm 

wingspan. It flew to hunt flying insects above tropical forests 

and had swiveling multi-faceted eyes like headlamps which were 

quick to spot movement and sharp enough to allow it to pounce 

on flying prey. Meganeura flew by beating 2 pairs of wings 

stiffened by “veins”. It dashed to and fro in forests, changing 

speed and direction almost instantly, grabbing insects with its 

legs and bringing them up to the mouth to feed. Meganeura 

itself were around in the late Carboniferous period (355-295 

million years ago), but not in either the Jurassic or the 

Cretaceous period. However, there were still large dragonflies in 

both these periods. The present day dragonflies are descended 

from these. 

LEAELLYNASAURA 

Pronunciation: lee-EL-in-a-SAW-rah 

104 to112 million years ago 

Period: Early Cretaceous 

The Leaellynasaura is one of many dinosaurs whose partial 

remains have been dug (and blasted) out of the solid rocks of 

Dinosaur Cove in the south east of Australia. Evidence of 

Leaellynasaura is known from a well-preserved skull. This 

dinosaur was a small turkey sized herbivorous Ornithopod. In 

early Cretaceous times the residing areas of Australia were well 

within the Antarctic Circle where the climate was extreme with 

limited sun visible for months of the year. Its skull has unusually 

large eye-sockets suggesting that Leaellynasaura adapted to the 

long winter darkness of the Antarctic and implies that it could 

withstand low, perhaps even sub-zero, temperatures. To do this, 

it would have needed some way of generating body heat, which 

some people have taken as evidence that dinosaurs were in fact 

warm-blooded. 


Trail Mix 

Concert Tour 

Saturday, May 4 

10am to noon on the 

Frisco Trail in Fayetteville 

In Fayetteville, artists/musicians will be located 

along a one-mile stretch of the Frisco Trail, near the 

following intersections and locations: 

• Prairie Street 

• Center Street 

• Nadine Baum Studios plaza 

• The Depot: Arsaga’s 

• Lafayette Street 

• Prospect & Frisco Streets 

3pm to 5pm on the 

Crystal Bridges Trails 

in Bentonville 

In Bentonville, artists/musicians will be located at 

the following stops along the Crystal Bridges Trails: 

• Dan Ostermiller’s Shore Lunch, on the Art Trail 

• Robert Tannen’s Grains of Sand, near the 

intersection of the Art Trail and Tulip Tree Trail 

• On the Tulip Tree Trail, just below the Tulip 

Tree Shelter 

• Along the Orchard Trail, near the main museum 

entrance 

• Near Robin Horn’s Already Set in Motion, just north 

of the main museum entrance 

For maps, please find an Artosphere staff member or 

volunteer (you’ll know them by their bright green 

t-shirts) 

Rain date: Sunday, May 5 


Trail Mix Artists (in alphabetical order) 

Asphalt Orchestra 

Asphalt Orchestra is a radical new street band that brings 

ambitious processional music to the mobile masses. Created by 

the founders of the “relentlessly inventive” new music presenter 

Bang on a Can (New York Magazine), Asphalt Orchestra 

unleashes innovative music from concert halls, rock clubs and 

jazz basements and takes it to the streets and beyond. The band 

brings together some of the most exciting rock, jazz and 

classical players in New York City who The New York Times 

called “12 top-notch brass and percussion players.” Asphalt 

Orchestra’s debut album was released in 2010 by Cantaloupe 

Music. The group is co-directed by Ken Thomson and Jessica 

Schmitz. www.asphaltorchestra.com 

C 

Erth’s Dinosaur Petting Zoo 

(Fayetteville only) 

See page 6 for more information 

C 

Lizzie Lehman 

Lizzy Lehman was born in Evanston, IL, cut her songwriting 

teeth in Portland, OR, and is now making a name for herself in 

the Austin, Texas music scene. Lizzy Lehman’s first release, “A 

Place I Know You’ll Love”, sounds like the effort of a seasoned 

veteran. “A Place I Know You’ll Love” proves that Lizzy Lehman 

is on her way to becoming a household name in the folk music 

world. She is the type of artist that can make a listener stop in 

their tracks so as not to forget the first moment they heard her 

sing. http://www.reverbnation.com/lizzylehman 

C 

Brick Fields Music 

Multi-award winning Brick Fields Music from Northwest Arkansas 

plays an array of Blues, Roots, and Gospel music from an 

intimate relaxed setting with the acoustic duo to a full Blues 

band experience and everything in between. Featuring husband 

and wife team Larry Brick (guitar and back vocals) and Rachel 

Fields (vocals, flute, and guitar), both who are Arkansas natives, 

Brick Fields Music has been called an “Unleashed cleansing of 

the soul” by Nashville Blues Society. Brick Fields music can be 

heard on blues, gospel, folk, and even children’s radio nationally 

and internationally. This band is an Arkansas Treasure and a 

must see. For more information check out: 

www.BrickFieldsMusic.com 

C 

Tasha Lewis: The Swarm 

See page 22 for more information 

C 

Continued 


Trail Mix 

Carter Sampson 

Carter Sampson is an Okie born, award winning, touring, singer 

songwriter. She has self-released three studio albums and plays 

200+ show a year. Her empowering, relate-able and appealing 

music has garnered her an incredibly diverse and loyal fan base. 

Audiences and sound engineers alike find that appearances can 

be deceiving as this diminutive figure delivers a powerful and 

compelling performance. Carter’s newest release “Mockingbird 

Sing”, recorded in Fayetteville, AR at East Hall Studios, is 

available on iTunes. www.cartersampson.net 

C 

Jayme Stone’s Room of Wonders C 

Jayme Stone (banjo) | Rob Mosher (woodwinds) | Bobby Hawk 

(fiddle) | Andrew Small (bass) 

Two-time Juno-winning banjoist Jayme Stone makes music 

inspired by sounds from around the world bridging folk, jazz 

and chamber music. His award-winning albums both defy and 

honor the banjo’s long role in the world’s music, turning 

historical connections into compelling music. The repertoire 

includes a Bach fugue, a Moorish sword-fighting dance, Malian 

melodies, an Appalachian barnburner and Stone’s own tiny 

symphonies. http://jaymestone.com 

Still on the Hill (Fayetteville only) C 

The Still on the Hill duo of Kelly Mulhollan & Donna Stjerna have 

played together for 17 years, performing all over the U.S., 

Canada & Europe as ambassadors of the Ozarks. They play a 

plethora of unusual instruments including Banjo, Guitar, Fiddle, 

Harmonica, Ukulele, Ukelin, Scrub board, saw, dulcimer, 

handmade Ozark Instruments, jaw bone and more. Still on the 

Hill received the Governor’s Folk Life Award in 2011 for their 

work in preserving the stories of people and places in the 

Ozarks. They have been inducted into the Hall of Fame in both 

O.M.A (Ozark Music Awards) and N.A.M.A (Northwest Arkansas 

Music Awards). They have 9 albums to their credit. 

www.stillonthehill.com 

Three Penny Acre 

3 Penny Acre is a musical collaboration between three 

songwriters: Bayard Blain, Bernice Hembree, and Bryan 

Hembree. Fans and critics have identified their unique, Ozarkinspired 

sound as distinct, yet universally appealing. Listeners in 

all corners have come to appreciate their attention to lyrics, 

harmony, and carefully crafted acoustic arrangements steeped 

in roots music traditions but with a focus on fresh, new 

songwriting. For more information, including detail on their 

newest CD “Rag and Bone”, visit www.3pennyacre.com. 

C 



Chamber 

Music Series 

Jayme Stone’s 

Room of Wonders 

Monday, May 6 | 6pm 

Thorncrown Chapel, Eureka Springs 

Jayme Stone (banjo) | Rob Mosher (woodwinds) 

Bobby Hawk (fiddle) | Andrew Small (bass) 

“The Yo-Yo Ma of the banjo.” 

-GLOBE AND MAIL 

Two-time Juno Award-winning banjoist Jayme Stone makes 

music inspired by folk traditions from around the world. His 

latest album, Room of Wonders, explores music from Norway, 

Sweden, Bulgaria, Brazil, Italy and North America. The repertoire 

includes a movement from Bach’s French Suite, a Moorish 

sword-fighting dance and Stone’s lush, edgy originals. 

Stone thrives on unexpected inspiration: Japanese poetry, 

Brazilian literature, instruments he found while traveling in 

remote Malian villages. He finds it with influences as diverse 

as Anouar Brahem, Bill Frisell, and Toumani Diabaté. His Juno 

Award-winning albums, most notably Africa to Appalachia, 

both defy and honor the banjo’s long role in the world’s music, 

turning historical connections into compelling music. 

For more information, visit http://jaymestone.com. 

Three Penny Acre with 


Tuesday, May 7 | 6pm 

Mildred B. Cooper Memorial Chapel, Bella Vista 

3 Penny Acre is a musical collaboration between three 

songwriters: Bayard Blain, Bernice Hembree, and Bryan 

Hembree. Fans and critics have identified their unique, 

Ozark-inspired sound as distinct, yet universally appealing. 

Listeners in all corners have come to appreciate their 

attention to lyrics, harmony, and carefully crafted acoustic 

arrangements steeped in roots music traditions but with a 

focus on fresh, new songwriting. 

For more information, including detail on their newest CD 

“Rag and Bone”, visit www.3pennyacre.com. 

Born in Johannesburg, South Africa, and now calling Colorado 

home, Gregory Alan Isakov has been traveling all his life. Songs 

that hone a masterful quality beyond his years, tell a story of 

miles and landscapes, and the search for a sense of place. His 

song-craft lends to the deepest lyrical masterpieces, with hints 

of his influences, Leonard Cohen and Bruce Springsteen. 

Gregory has played numerous music festivals and venues across 

the US, Canada, and Europe. When he is not on the road or 

writing, he is in his garden. A degree in horticulture might seem 

contradictory to a life spent in motion, but Gregory finds 

balance in the quiet concentration of the work, creating roots 

that keep him connected to home. 

Visit http://gregoryalanisakov.com for more information. 


Terrapin Puppet 

Theatre’s Boats 

Written by Finegan Kruckemeyer, directed by Frank Newman 

Saturday, May 11 | 10am, 12noon 

and 2pm 

Walton Arts Center’s Starr Theater 

A Note from the Director 

Boats is a show about the power of stories. It is a play about the 

life of a sailor called Jof Argos. Jof’s story is told to us by his 

friend, and fellow seaman, Nic. Together they recount Jof’s life 

from birth up until his final moments. We learn how the friends 

met as they were each running away from something and then 

found that the sea answered their calls. Boats is full of clever 

storytelling techniques that span from the traditional to the 

highly inventive; puppets are tied from ropes, a boat is made 

from a table and many of the sound effects are made live. 

Boats follows an old and established storytelling format. Nic and 

Jof are on a boat, mainly in the galley (the kitchen) and use stuff 

in the world to tell a story. They are two good friends telling a 

group of people a story, acting out the scenes by making them 

come to life with puppets that they make from the things in their 

kitchen. This follows a very Australian tradition of telling tall 

stories, embellishing them for the sake of the story. Yet like all 

good stories when well told they have a larger purpose which 

both the audience and its teller learn from. 

Nic has much to learn from the telling of this story. His mate’s life 

continues to teach him even after he is gone. While the play is a 

wild ride following the ups and downs of two great characters, it 

is what Nic and Jof learn from each other, the sea and the 

retelling of these stories that leaves a lasting impression. 


Cast & Creative: 

Director: Frank Newman 

Writer: Finegan Kruckemeyer 

Composer: Matthew Fargher 

Set and Puppet Design: Greg Methé 

Costume Design: Roz Wren 

Performed by: Quinn Griggs and Jeff Michel 

About Jeff Michel (performer): 

Originally from the USA, Jeff trained in New York City with The 

Michael Howard Studios Summer Acting Conservatory and the 

School of Russian Art Theatre at Columbia University. In New 

York, he appeared in the Sydney Theatre Company production 

of The White Devil. Since moving to Tasmania, he has performed 

in a variety of shows including Alice in Wonderland and 

Pinocchio, (Royal Tasmanian Botanical Gardens), The Wizard of 

Oz and Beauty and the Beast (Theatre Royal), and at the Hobart 

Rep with The Wind in the Willows and A Slice of Saturday Night. 

In 2010 he co-founded The Blue Cow Theatre Company and 

performed in their inaugural show Art. For Terrapin he has 

toured Tasmania and Victoria with The Falling Room and the 

Flying Room, toured Tasmania with The Gatekeeper and Love, 

and toured Boats to the Come Out Festival Adelaide, the Arts 

Centre Melbourne, Victoria, Sydney, New Zealand, Ireland, and 

the USA. 

About Quinn Griggs (performer): 

Quinn began training with Is Theatre while completing a 

Bachelor of Fine Arts Degree at UTAS in 2002. Since then he has 

performed and trained with Is Theatre, Terrapin Puppet Theatre, 

Festival of Voices, About Face, The Mountain Festival, corporate 

performances and also presented a variety of independent 

works. From Shakespeare to Moliere to contemporary physical 

theatre, Quinn’s skills have seen him operate through a wide 

base of performance styles, and he has enjoyed playing many 

diverse and challenging roles. For Terrapin, Quinn has performed 

in Con Artists and toured nationally and internationally since 

2008 with Boats. 

About TERRAPIN: 

Terrapin is the Australian innovator of puppetry-based visual 

theatre embracing new technologies, creating contemporary 

storytelling, and touring and collaborating nationally and 

internationally. The company injects skills and programs into the 

Tasmanian community, entertaining family audiences and 

supporting and developing artists. The company is exploring 

digital puppetry, which uses new technologies and cross 

platform practice to continually challenge and redefine puppetry 

as a visual theatre form. Terrapin creates new works through 

research and developmental processes that are designed 

specifically for each work. Whilst Terrapin reaches to the future 

in its exploration of form and storytelling styles, it does so with 

its feet firmly grounded in the age-old craft of puppetry and 

theatre’s rich traditions. Terrapin’s productions engage all age 

groups and are designed to tour. www.terrapin.org.au 

Terrapin Puppet Theatre and the tour of Boats is assisted by the 

Australian Government through the Australia Council, its arts 

funding and advisory body, and through Arts Tasmania by the 

Minister for the Arts. 



Director: Sally Cookson 

Music and Lyrics: Benji Bower 

Designer: Katie Sykes 

Lighting Designer: Tony Simpson 

Assistant Lighting Designer: David Alcorta 

Puppet Maker: Marc Parrett 

Costume Supervisor: Jennie Faulkner 

Production Manager: Nick May 

Company Stage Manager: Joanne Davies 

Performers: Duncan Foster (Dad), 

Gareth Warren (Son), Rowena Lennon (Daughter), 

and Ben Harrison (Dog/musician). 

Adapted from the picture book written by 

Michael Rosen and illustrated by Helen Oxenbury. 

Sunday, May 12 | 2pm 

Walton Arts Center’s Baum Walker Hall 

Local support for this performance provided 

by Lee and Linda Scott. 

Michael Rosen’s award-winning book We’re Going On A Bear 

Hunt is brought vividly and noisily to the stage in director Sally 

Cookson’s fun-filled adaptation set to Benji Bower’s versatile 

lively score. Join our intrepid adventurers on their quest to find a 

bear; as they wade through the gigantic swishy swashy grass, 

the splishy splashy river and the thick oozy, squelchy mud! 

Expect catchy songs, interactive scenes and plenty of hands-on 

adventure - plus a few special surprises! 


Sustainability 

& Artosphere 

Artosphere seeks to introduce the 

artist’s voice into the discussion 

about sustainability. Here are some 

of the ways we do this. 

O Using Facebook, Twitter and our website, we share what 

the visiting artists have to say about how they strive to live 

more sustainably. 

O Artosphere Festival Orchestra auditions were conducted via 

YouTube, saving thousands of dollars on travel expenses and 

reducing our carbon footprint. 

O Most of our Artosphere materials (including this program) are 

printed on 100% post-consumer recycled paper, using certified 

Forest Friendly printing practices. Special thanks to printing 

partner The Roark Group, the first commercial printer in 

Northwest Arkansas to achieve Forest Stewardship Council 

(FSC) certification. 

O Many stages at our Trail Mix Concert Tour will be pedal or 

solar-powered. 

O This is the only program we will print for the two month 

festival, saving reams of paper and printing expenses. 

The introduction of Artosphere in Spring 2010 launched an 

organization-wide sustainability effort at Walton Arts Center, 

which continues to evolve. The Walton Arts Center Sustainability 

Team, made up of members from all departments, worked 

together to create and implement a variety of initiatives designed 

to save energy and resources year-round. 

Here are a few highlights: 

O Lighting and controls upgrades for our facilities have 

significantly reduced the amount of electricity and gas we use 

to operate our facilities. These reductions both save us money 

and minimize our carbon footprint. 

O Aerators installed in all of our public restrooms and our offices 

reduce faucet water use by 75% without lessening the quality of 

our patrons’ experience. 

O We worked with the Broadway Green Alliance to initiate a Green 

Certification for performing arts center throughout the country. 

O We are implementing a program to compost our food waste 

year-round for use in the gardens on our campus. Composting 

on-site allows us to reduce the waste we produce, to reduce the 

amount of soil we purchase, and to provide our gardens with 

nutrient-rich organic matter. 

O By using a software program called Hyper-V, we have reduced 

the number of server platforms our network requires by 50%. 

With only half of the platforms running, our network’s energy 

consumption, heat production, and noise pollution have all been 

significantly reduced. 

O We will be working with Boy Scout Troop 46 this year to help us 

clean up Frisco Trail following Trail Mix on May 4. The troops 

and WAC staff will pick up trash along the trail to minimize the 

impact our event has on the surrounding environment and to 

keep the trail looking beautiful! 

O Recycling efforts in our lobby continue to expand. In addition to 

recycling glass, plastics, aluminum, and paper, we encourage 

our patrons to return their programs to us as they exit the 

building if they do not wish to keep them. Programs that are in 

good condition are re-used for future performances, reducing 

the number of programs we need to print. Programs not 

suitable for re-use are recycled. 

O Our special meetings and events are catered by local caterers 

and our food is purchased from local businesses. Working with 

local companies fosters great professional relationships with 

members of our community, ensures we use quality products, 

and invests in our local economy. 

O Our facilities are maintained using green cleaning products. 

These products contain natural, biodegradable ingredients and 

use environmentally sustainable packaging. 

For more information, including a full list of 

Walton Arts Center’s sustainability initiatives, 

visit www.artospherefestival.org 

O To save money, and to cut down on the use of petroleum and 

other products to produce disposable bottles, we provide 

reusable water bottles to our artists, both backstage and at 

off-site events, and provide hydration stations for refilling. 



Director: Sam Haren 

Designer: Jonathon Oxlade 

Composer: DJ TR!P 

Performers: Matt Crook, Hamish Fletcher 

and Ellen Steele 

A Windmill Theatre and Queensland 

Performing Arts Centre’s 

Out of the Box Festival co-production 

Based on the much loved 

picture book character 

created by Ted Prior 

Saturday, May 18 | 10am, noon & 2pm 

Walton Arts Center’s Baum Walker Hall 

Grug began his life as the top of a Burrawang tree that fell to the 

ground. Resembling a small, striped haystack with feet and a 

nose, Grug is fascinated by the world around him and solves 

everyday problems creatively and without fuss. When dancing 

instructions are too difficult to understand, he invents his own 

dance and calls it ‘The Grug’. When snails eat his cabbages, Grug 

plants more cabbages so there will be enough for both him and 

the snails. Ted Prior’s hugely popular character (with over 

120,000 Facebook fans!) is brought to life for this magical stage 

production for very young theatre lovers. 


About Matthew Crook (performer): 

Matt is a 2008 graduate from Flinders Drama Centre. He 

performed in The Give And Take with State Theatre Company of 

South Australia as well as the international kids musical Once 

Upon a Midnight, The Share, Belonging, Worlds End, Arabian 

Night, Boys’ Life, Erroneous and Krang!. Matt’s film credits 

include short films Italian Spiderman, Priya, Courting, Take Two 

and music videos including Steering By Stars’ IF Award 

nominated ‘Closer’. Matt has provided acting and voice talent for 

features and a myriad of television and radio commercials. Matt 

will appear in the 2011 television comedy series Danger 5 and 

The Girl Who Cried Wolf is his first show with Windmill Theatre. 

About Hamish Fletcher (performer): 

Since 1998 Hamish has worked with such companies as 

Kneehigh Puppeteers, Slack Taxi, Melbourne Aquarium, Arena 

Theatre, Company Miji, Adelaide Fringe Festival and Strut n Fret 

to name a few. He has worked with and studied under Peter 

Wilson, Philippe Genty, Mary Underwood and Duda Paiva. 

Highlights include the Sydney Olympics, the Melbourne 

Commonwealth Games and designing part of the Australia day 

celebrations at the World Expo 2005 (Japan). More recently, he 

is a performer and co-creator of “Men Of Steel”; a cookingbased 

puppetry show premiering at Melbourne International 

Comedy Festival 2005 receiving a 5 star review from the Age 

and winning the Festival Directors award. He is currently at ABC 

Television playing Hoot the Owl on a preschool childrens hosted 

block called “Giggle and Hoot”. 

Windmill Theatre creates and presents 

incredible performances that captivate 

our audience’s imaginations and resonate 

deeply. The company’s artistic vision has 

created a unique and distinctive house 

style of theatre that makes true adventure 

and creative ingenuity synonymous with 

the Windmill name. 

Windmill artists are inspired by the 

vibrancy, sophistication and inventiveness 

of young people and the exhilarating 

challenges they pose to creating theatre 

of genuine relevance in this modern time. 

In meeting this challenge Windmill 

Theatre positions theatre for children, 

young people and families in a dynamic 

national and international conversation 

that is defining the future of theatre 

practice. www.windmill.org.au 

About Ellen Steele (performer): 

Ellen graduated from Flinders Drama Centre in 2006. Since 

graduating she has worked in theatre, dance and film, with 

companies including the State Theatre Company of South 

Australia, Vitalstatistix, Slingsby, Windmill and Patch Theatre 

Company. Ellen is also a founding member of theatre company is 

this yours?, whose latest production Best We Forget was 

performed as part of the Adelaide Fringe. 

Since graduating Ellen has worked steadily creating devised 

work with local companies throughout Victoria and South 

Australia, with children’s theatre a strong focus. In 2009 Ellen 

toured Slingsby’s one woman physical theatre show Wolf. Most 

recently she joined Patch Theatre Company to develop a new 

work Giant. 


Artist renderings of Spiral Wetland created during the design 

phase to illustrate the scale and vision of the project. 

Spiral Wetland 

April - ongoing 


Spiral Wetland is an outdoor eco-art project inspired by Spiral 

Jetty (1970), Robert Smithson’s famous earthwork sited in the 

Great Salt Lake, Utah. Celebrating the beauty of the spiral in 

nature and art, Stacy Levy’s artwork unfolds across space and 

time. As it grows and changes, it calls attention to the 

interdependence of water, air, light, and land. 

Stacy Levy designed Spiral Wetland with an ecological goal: to 

improve the water quality of Lake Fayetteville. Spiral Wetland 

uses the native plant, soft rush (juncus effuses), growing in a 

sculpture made of closed-cell foam floating wetland 

mats. The plants help remove excess nutrients like 

nitrogen and phosphorus from the lake water, and 

add shade for fish habitat. At the end of the 

installation, sections of the floating wetland will be 

adopted and transplanted into other wetlands and 

retention basins in the region, so their benefits can 

continue in new waters. 

Frequently asked 

questions about 

Spiral Wetland: 

Who built the sculpture, and how did they do it? 

Stacy Levy created, designed and constructed all 

aspects of the 129 foot long spiral during a three 

week period in April/May. She was assisted by a 

team of Walton Arts Center staff and community 

volunteers interested in gardening, art, project 

construction and sustainability. This team worked 

under the project management of Robert Ginsburg, 

who when not curating Walton Arts Center’s annual 

Jazz series is an avid outdoor enthusiast and 

passionate about Northwest Arkansas. The team 

helped Stacy in basic construction of the platforms, 

planting the vegetation, launching the finished 

sculpture into the water and securing it to last 

throughout the upcoming year. 

Artosphere Sponsor / 

GE Lighting invents with the vigor of its founder Thomas Edison to develop energy-efficient 

solutions that change the way people light their world in commercial, industrial, municipal and 

residential settings. GE works on things that matter to build a world that works better. For more 

information, visit www.gelighting.com 


Robert Smithson’s famous earthwork, Spiral Jetty (1970), sited in the 

Great Salt Lake, Utah and made of black basalt rocks and earth. 

Spiral Jetty was the inspiration for Spiral Wetland. 

Spiral Wetland prototype built at artist’s 

home in Pennsylvania as she experimented 

with materials, shape and scale of sculpture. 

Prototype built to 1/3 scale. 

What about the materials that you are using to float 

the plants? Are they environmentally friendly? 

The “Bee Mats” that we will use are made of ethylene 

vinyl acetate EVA, a petroleum based product. The 

advantage of these mats is that the chemical 

formulation seals in air bubbles so that our plants 

float on the surface of the water, even when they 

have grown quite heavy. The mats are re-usable for 

at least five consecutive growing seasons with very 

little breakdown. They are resistant to ultraviolet 

damage and maintain their flotation and integrity for 

years. The washers and plant clips are made in 

Flippin, Arkansas by a company called Microplastics. 

The coconut wraps are made from the husks of 

coconuts which are typically waste materials. 

About Stacy Levy 

Stacy Levy, whose artwork was a part of 

Artosphere’s inaugural visual arts exhibition, creates 

projects that reveal the beauty of unseen patterns 

and forces in natural and built environments. Her 

principal focus is on our understanding of water in all 

its forms including acid mine drainage, urban 

streams, and rainwater. Many of her recent projects 

redirect storm water runoff to reduce erosion and 

pollution. Levy graduated from Yale University with a 

B.A. in Sculpture with a minor in Forestry. She earned 

an M.F.A. from Tyler School of Art, Temple University, 

Philadelphia. Her numerous awards include the Pew 

Fellowship in the Arts. 

How will you measure if this sculpture improves the 

water quality at Lake Fayetteville? 

Initial discussions indicate that measurable results 

may be difficult to achieve due to the ratio of the 

garden size to the volume of the lake. That said, 

Professor Van Brahana from the Hydro-Geology 

department at the University of Arkansas has agreed 

to devise protocols to quantify as best as possible 

effects of the garden on water quality. This tracking 

may not produce definitive, all inclusive results, but 

could supply data that verifies quality issues 

immediately around the Spiral Garden. 


In the Joy Pratt 

Markham Gallery 

UNTAMED 

Jose Bedia | Keith Carter 

Mary Frank | Melissa Miller 

Peter Paone | Tom Uttech 

May 2–June 28, 2013 

Joy Pratt Markham Gallery 


Fayetteville, Arkansas 

Curated by Andrea Packard 

Opening reception, May 2 

Reception 5-7pm, Curator talk 6pm 

Re-imagining Animals, 

Humanity, and the 

Wilderness Within 

by Andrea Packard 

Untamed brings together compelling paintings, prints, 

photographs, and mixed media works that express 

essential aspects of the human condition. The 

featured artists—Jose Bedia, Keith Carter, Mary Frank, 

Melissa Miller, Peter Paone, and Tom Uttech—work in 

diverse media and styles, yet share a fascination with 

the way images of animals can convey experiences 

that defy traditional description or analysis. Whereas 

Medieval bestiariesand varied fables use animal 

imagery to teach moral or liturgical lessons, Untamed 

brings together unconventional representations of 

animal-human interactions that challenge our 

preconceptions about what is “human” or “natural.” 

Although the selected artists are concerned about the 

way human interventions pose a danger to numerous 

ecosystems and species, they do not illustrate the 

consequences of industrial development. Instead,their 

works are deeply personal journeys of inquiry and 

discovery. Often portraying anthropomorphic images 

or human-animal hybrids through unexpected 

contrasts, shifts in scale, and expressive detail, these 

artists encourage us to look beyond our habitual 

frames of reference and consider the interconnection 

between human and animal essences. Collectively, 

they prompt us to consider the way our natural 

habitats shape the terrain of our imagination. Distilling 

lessons from both contemporary and traditional art 

forms, these artists celebrate the “untamed” in both 

nature and humanity. 

Jose Bedia was born in 

January 1959 in Cuba, the same 

month that Fidel Castro came to 

power. During his mandatory 

military service, he was stationed in 

Angola, a difficult experience, but 

one that allowed him to explore the 

origins of Palo Monte, an Afro- 

Cuban earth-based religion that he 

practices as an ordained priest. He 

recognized the affinities between 

Central African art and his own 

aesthetic, both of which emphasize 

the interrelation of animal and 

human worlds. Bedia’s art expands upon the spiritual practices 

of Palo Monte, including the use of animal imagery and symbolic 

line drawings to seek the wisdom of ancestors, commune more 

closely with the earth, and find spiritual guidance. In many of his 

works, animals, masked figures, and sacred ritual objects lead us 

through a world that blends external and internal realities and 

emphasizes the interrelationships between nature and culture. 

Image: Jose Bedia, En El Tronco de un Arbol una Niña, 1999, acrylic on canvas, 94 x 69 1 /2 inches, 

© José Bedia. Courtesy of George Adams Gallery, New York. 

Keith Carter was born in 

1948 in Madison, Wisconsin and 

grew up in Beaumont, Texas. After 

his father left the family, his mother 

supported him as a child portrait 

photographer. Upon completing a 

degree in business administration, 

Carter studied photography 

independently and conducted 

darkroom experiments. Inspired by 

Walker Evans, whose works 

reminded him of his rural upbringing, he focused on portraying 

idiosyncratic moments in daily life and magical experiences of 

the natural world. A few years ago, after suffering from ocular 

cancer in his left eye, Carter underwent radiation treatments 

that resulted in scratches and speckling across his vision. He 

noted that if he closes his unaffected eye, his vision appeared 

mottled and “dirty” and if he closes his injured eye, he sees the 

world with compressed depth perception. Subsequently, Carter 

began experimenting with chemicals and abrasion techniques 

on his negative images in order to approximate the scarring 

effect, flattened space, and unexpected poetry intrinsic to his 

new way of seeing. 

Image: Keith Carter, Map of the World, 1998, Toned gelatin silver print, 15 1 /2 x 15 1 /2 inches, Courtesy of 

the artist. 


Mary Frank was born in London, 

England in 1933. As a child, she was 

evacuated to a series of boarding 

schools in the country to escape Nazi 

bombardment, which eventually 

destroyed the family’s home. In 1940, 

she and her mother, the painter, 

Eleanor Lockspeiser, moved to 

Brooklyn, New York to live with her 

maternal grandparents. As a teenager, 

she attended the Professional 

Children’s School and studied dance 

with Martha Graham. At 17, she married 

the Swissborn photographer Robert 

Frank. She then transitioned from dancing to carving wood 

sculptures, studied drawing with Hans Hoffman and Max 

Beckmann, travelled extensively through Europe and the United 

States, and raised two children, Pablo and Andrea. During her 

wide-ranging creative practice over the subsequent 5 decades, 

her empathy for both nature and the human body in motion has 

informed her work in varied media from drawing and large multipart 

ceramic sculptures to monoprints, paintings, and digital works. 

Image: Mary Frank, Approach (detail), 1996, Acrylic, oil, and collage on panel, 74 x 48 1 /2 inches, 

Courtesy of DC Moore Gallery, New York. 

Melissa Miller was born in 

1951 in Houston, Texas. A fifth 

generation Texan who learned to 

ride and cut cattle on her 

grandfather’s livestock farm in 

Flatonia, Miller has always felt a 

strong affinity for animals. 

Summers spent in the Sangre de 

Cristo Mountains in northern 

New Mexico allowed her to become a close observer of flora and 

fauna and to consider the differences between wild and 

domesticated life. Her works also take inspiration from a wide 

range of literary and art historical sources ranging from her 

childhood love of Fredric Remmington to her later appreciation 

of works as different as Charles Burchfield’s lyrical and 

transcendental landscapes and Philip Guston’s expressive 

paintings of hooded Klansmen. Throughout her career, Miller has 

portrayed animals in fantastical or visionary settings, 

dynamically active interactions, or serene formal compositions. 

More recently, she has portrayed animals surrounded by the 

residue of human industry. Mesmerized by the evocative and 

narrative potential of animal imagery, Miller has explored the 

way diverse languages of representation shape our notions of 

place, purpose and identity. 

Peter Paone was 

born in 1936 in 

Philadelphia. Coming of 

age during the heyday of 

Abstract Expressionism, 

he resisted the popularity 

of sweeping brushwork 

and mural-sized canvases 

in order to develop a visual 

vocabulary that could incorporate resonant symbols and 

psychologically charged narratives. Animated by his inventive 

use of collage processes, contrasts, and textures, Paone’s 

images of both animals and figures have a visionary and hybrid 

quality. Visitors to his studio in Mount Airy, Philadelphia, where 

he has worked for the past 30 years, encounter the diversity of 

his sources of inspiration. Towering bookcases are packed with 

exhibition catalogs, museum publications, and artist 

biographies. Flat files archive the artists’ many series of prints 

and drawings and the space is filled with highlights from his 

collections of tin toys, Halloween figurines, vases, French ivory 

boxes, African sculpture, as well as fine art prints and 

photographs by seminal artists. Through analyzing and 

reassembling visual fragments from art history, popular culture, 

observation, and imagination, Paone explores our complex 

relationship to nature. 

Image: Peter Paone, Katrina, 2005, watercolor, 31 1 /2 x 24 inches. Courtesy of the artist. 

Tom Uttech’s visionary 

landscapes teem with wildlife 

and spring from his lifelong 

communion with nature. His 

compelling narratives 

synthesize observations he 

has made as a birdwatcher 

who has repeatedly counted 

over 300 species annually; a 

conservationist who spent the 

past twenty years converting 

farmland to prairie habitats; and a photographer who has shot 

over a thousand rolls of film on wilderness trips in the northern 

woods and wetlands of Wisconsin, Minnesota, and Quetico 

Provincial Park in Ontario, Canada. Revealing the abundance of 

life he has witnessed on such journeys, Uttech re-connects us 

with states of nature and being that are hauntingly unfamiliar 

and disturbingly rare. 

Image: Tom Uttech, Kikinowijiwed, 2011–12, oil on linen, 32 1 /2 x 32 1 /2 inches. © Tom Uttech, courtesy of 

Alexandre Gallery, New York 

Image: Melissa Miller, Group,1998, oil on canvas, 22 x 28 inches. Collection of Sylvia and Gibson Martin. 


The Herd 

May 3 – June 28 

Cynthia H. Coughlin Gallery Lobby, Walton Arts Center 

The Swarm 

At locations throughout Arkansas 

By Tasha Lewis 

Singled out as an emerging artist to watch by Walton Arts 

Center’s consulting curator, Andrea Packard, Tasha Lewis 

currently works in her hometown of Indianapolis, Indiana. 

Combining cyanotype, a 19th century photographic printing 

process, with contemporary digital techniques and Internet 

research, Lewis’ installations of animal groups challenge our 

habits of thinking about both art and wildlife. 

The Herd 

Tasha Lewis’ installation, The Herd, planned for Walton Arts 

Center’s Cynthia H. Coughlin Gallery Lobby, consists of more 

than 17 sculptures of antelopes, impalas and gazelles leaping 

high through the air. Many animals appear to penetrate hanging 

glass panels or emerge from or disappear into surrounding walls. 

Lewis covers her sculptures with fabric printed with images and 

textures that she finds on the Internet and adapts in Photoshop. 

She prints these images using cyanotype, a photographic 

process using a light-sensitive emulsion. Unified by the radiant 

cyan coloring, the creatures embody aspects of human industry 

as well as nature. Sewing this fabric onto her sculptural armatures 

with large and uneven stitches, Lewis calls attention to domestic 

traditions of craftwork including tailoring and quilting. She 

hopes that the animals’ unexpected placement, tumultuous 

movement, and playful coloring will spark curiosity, engaging 

viewers with the beauty of both natural and artificial worlds. 

The Swarm around Arkansas 

Bridging boundaries between art, nature, and everyday life, 

Tasha Lewis’ ephemeral installations of The Swarm consist of 

more than 2,000 butterflies printed in various sizes with 

cyanotype on fabric. Placing a small but powerful magnet on 

their bellies, Lewis can temporarily adhere them to varied metal 

surfaces, without leaving trace. In the past, she has installed The 

Swarm at sites in Indianapolis, IN; Evanston, IL; Berkeley, CA; 

Philadelphia, PA; Kona, HI and New York City. During her 

Artosphere residency, she will reconfigure The Swarm in 

unexpected locations at various Artosphere events, including 

the Trail Mix Concert Tour. At each site, she will invite visitors to 

move the butterflies across the available metalwork, effectively 

reshaping the contours of The Swarm and redefining public 

areas that usually go unnoticed. Lewis will periodically rephotograph 

each configuration to create a video animation 

showing the work’s evolution. 

Tasha Lewis’ residency is supported 

by an Artosphere Partner Grant. 

Partner Grants are offered to local, 

regional and national artists with unique 

work that fits within the Artosphere 

theme. For more information on Tasha 

Lewis, The Herd or The Swarm, visit 

www.artospherefestival.org 


Sun Boxes 

May and June 

Sun Boxes may be seen and heard at Walton Arts Center, John 

Brown University, Crystal Bridges and other locations 

throughout northwest Arkansas. For a listing of locations, visit 


By Craig Colorusso 

Craig Colorusso was born April 18th, 1970 in Mount Vernon, NY. 

With a guitar and some inspiration from the Punk Rock 

movement of the 1980’s he began to write his own music. By 

the 1990’s he was in touring bands and started his own record 

company. His artistic endeavors continued to evolve as he 

explored music, light and sculpture. Craig is fascinated by the 

way light and sound alter the way we perceive time and space. 

Rogers based artist Craig Colorusso’s Sun Boxes is a solar 

powered sound installation. It’s comprised of twenty speakers 

operating independently, each powered by the sun via solar 

panels. Inside each Sun Box is a PC board that has a recorded 

guitar note loaded and programmed to play continuously in 

a loop. These guitar notes collectively make a Bb chord. 

Because the loops are different in length, once the piece 

begins they continually overlap and the piece slowly evolves 

over time. In three years the piece has traveled to 15 states 

including Universities, Museums and most recently 5 state 

parks in Vermont. 

The piece creates space; it’s an environment for one to enter and 

exit. Participants are encouraged to walk amongst the speakers, 

and surround themselves with the piece. Certain speakers will 

be closer and, therefore, louder so the piece will sound different 

to different people in different positions throughout the array. 

A note from the artist: 

The footprint this environment occupies is similar to that of a 

city. A metropolis. It’s a burst of technology in the middle of 

nature. Unlike most cities I have been to, it does not just take 

over the space. Rather Sun Boxes interfaces with the 

environment and collaborates with nature. It is the perfect 

combination of technology and nature that create art, an 

environment, and a metropolis. 

Craig Colorusso’s residency is supported by an Artosphere 

Partner Grant. Partner Grants are offered to local, regional 

and national artists with unique work that fits within the 

Artosphere theme. For more information on Sun Boxes, 

visit www.artospherefestival.org 


Clorox is proud to support Walton Arts Center’s Artosphere Festival 

We are fully committed to making environmental sustainability core to how we do business. 

This includes continuing to reduce the impact of our operations as well as the products we make. 

And while we have a dedicated Eco Office committed to driving our Environmental Sustainability 

strategy, at Clorox, Environmental Sustainability is everyone’s job. 

We recognize we all have a long way to go, and we’re in it for the long haul. Learn more at: 

www.thecloroxcompany.com/corporate-responsibility/planet/ 


The Dover 

Quartet 

Bryan Lee, violin 

Joel Link, violin 

Milena Pajaro-van de Stadt, viola 

Camden Shaw, cello 


Sunday, June 16 | 7pm 

St. Paul’s Episcopal Church, Fayetteville 

Both of these concerts 

will be recorded live. 

Program 

Franz Schubert String Quartet No. 9 in G Minor D. 173 

Break 

Dmitri Shostakovich String Quartet No. 3 in F major Op. 73 

Monday, June 17 | 7pm 

Thorncrown Chapel in Eureka Springs 


Joseph Haydn String Quartet No. 4 Op. 76 “The Sunrise” 

Break 

Johannes Brahms String Quartet No.2 in A Minor Op. 51 

Considered one of the most remarkably talented 

young string quartets ever to emerge at such a 

young age, the Dover Quartet (formerly known as the 

Old City String Quartet) was the Grand Prize-winner 

of the 2010 Fischoff Competition. Formed at the 

Curtis Institute of Music in 2008, when its members 

were just 19 years old, the Quartet draws from the 

musical lineage of both the Vermeer and Guarneri 

Quartets, but brings a youthful enthusiasm and 

musical conviction to the repertoire that is truly its 

own. The Strad recently raved that the Quartet is 

“already pulling away from their peers with their 

exceptional interpretative maturity, tonal refinement 

and taut ensemble.” 

The Dover Quartet has won top prizes at the London 

International String Quartet Competition, and has 

taken part in festivals such as Artosphere, La Jolla 

SummerFest, and the Amelia Island Chamber Music 

Festival. Recent performances include those for such 

influential series as the Washington Performing Arts 

Society, the Philadelphia Chamber Music Society, 

Peoples’ Symphony, Schneider Concerts, Kneisel Hall, 

and the Houston Friends of Chamber Music. The Dover 

Quartet will be continuing their close collaboration 

with violist Roberto Díaz on an extensive European 

tour in spring 2013 including performances throughout 

Germany, Austria, Spain, and the United Kingdom. 

Members of the Quartet have appeared as soloists 

with some of the world’s finest orchestras, including 

the Philadelphia Orchestra, Tokyo Philharmonic, 

Kansas City Symphony and BBC Concert 

Orchestra. The group’s recording of the 

Mendelssohn and Debussy quartets (Unipheye Music) 

was awarded the Blue Moon Award by the highly 

respected audiophile website 6moons.com. The 

album’s review by David Kan proclaimed that “...the 

maturity in these interpretations is phenomenal and 

disproportionate to the age [of the group].” 

The ensemble worked intensively at the Curtis 

Institute with such renowned chamber musicians as 

Shmuel Ashkenasi, Arnold Steinhardt, Joseph 

Silverstein, and Peter Wiley, and is currently the 

Graduate String Quartet-in-Residence at Rice 

University’s Shepherd School of Music in Houston, 

Texas. In addition, the Quartet is an active member 

of Music for Food, an initiative by musicians to help 

fight hunger in their home communities. 


The Nature 

of Strings: 

Quintets 

Vivek Jayaraman, violin 

Erin Zehngut, violin 

Laurel Borden, viola 

Anthony Parce, viola 

Meredith McCook, cello 

Wednesday, June 19 | 7pm 

Mildred B. Cooper Memorial Chapel, Bella Vista 

Wednesday, June 26 | 7pm 

Thorncrown Chapel, Eureka Springs 


W. A. Mozart String Quintet in G minor K. 516 

Break 

Johannes Brahms String Quintet in G major Op. 111 

Thank you for joining us for this concert. Please see the signs at the 

entrance to chapel for biography information on the musicians. 



Documentary 

Film Night 

Thursday, June 20 | 7:30pm 

Starr Theater 

This year’s Artosphere brings together 3 uniquely connected 

documentaries. Install: Sound, Light and Craig Colorusso follows the work of 

artist Craig Colorusso whose Sun Boxes are currently being displayed 

around Northwest Arkansas. 10,000 Trees, a film by Missouri native and 

Artosphere documentarian Sarah Ginsburg and Bending Sticks: The 

Sculpture of Patrick Dougherty that highlights the career of Artosphere 

artist who created Out of the Woodwork with the help of hundreds of 

volunteers from around region in May 2012 

INSTALL: Sound, Light 

and Craig Colorusso 

Run Time: 20 minutes 

By: Kevin Belli 

INSTALL the film enters the world of installation artist Craig 

Colorusso who is transforming our environment through 

sculpture, light and sound. A series of audio interviews with the 

artist accompany a wide breadth of footage that traverses the 

New England landscape to capture three installations: MB 89, 

CUBEMUSIC, and SUN BOXES. Colorusso candidly recalls the 

salient moments that have helped shape both the world he is 

creating and the life he is living. 

About the Filmmaker 

Kevin Belli is a Boston-based filmmaker where he has worked for 

PRINCIPLE PICTURES since January 2002. Throughout that 

time Kevin has filmed in over 22 countries on 4 continents and 

says that the travel has made him a more open-minded and 

tolerant human being. Most recently, he was the Director of 

Photography and Editor for the ITVS-funded documentary THE 

LIST, which premiered at the Tribeca Film Festival in April 2012. 

Kevin’s previous credits include co-Director of Photography and 

Editor for the Sundance Channel’s award-winning BEYOND 

BELIEF, Co-Editor and Director of Photography for the film 

DIVIDING LINES, as well as numerous documentaries for television 

outlets such as the History Channel & History Channel International, 

Discovery Channel, Lifetime Network and Discovery Health. 

http://installfilm.com/ 

10,000 Trees is the story of Victor actualizing his vision and finding 

fulfillment, eighty-five years young. Despite the physical hurdles 

that accompany age, Victor embraces both the spring season and 

life itself as he prepares to plant his final seedling. It doesn’t bother 

Victor to know his age will prevent him from witnessing his trees 

become a grand forest. Instead, he sees himself as “a friendly 

observer as life grows the plant.” This film makes us ask ourselves 

what we aim to grow in this lifetime, and it’s Victor who gently 

teaches us that it’s never too late to begin. 

About the Filmmakers 

SARAH GINSBURG – Cambridge, MA 

New Yorkers claim to live in the epicenter, but Sarah comes from 

Columbia, Missouri, our country’s true center. In this small town 

she enjoyed a colorful childhood that would prime her for the 

city she buzzes around today: Boston. 

SARAH BERKOVICH – San Francisco, CA 

Sarah recently received her degree in Documentary Film 

Production at Emerson College. Tired of all the snow, she 

decided to move out to San Francisco, making it the sixth city 

she’s called home over the past four years. 

http://10ktreesdocumentary.com/ 

Bending Sticks: 

The Sculpture of 

Patrick Dougherty 

Run Time: 55min 

By: Penelope Maunsell and 

Kenny Dalsheimer 

10,000 Trees 

Run Time: 21 minutes 

By: Sarah Berkovich and 

Sarah Ginsburg 

To some, age is only a number; 85-year-old Victor Kaufmann 

embraces this philosophy as he meets his lifelong goal and 

plants his 10,000th tree. 

In 2001, Victor Kaufmann looked at his plot of land in Lyle, 

Washington and realized that something was missing: trees. 

This is a captivating portrait of pioneering environmental artist 

Patrick Dougherty and the whimsical, interactive and ultimately 

temporary sculptures he creates using only saplings. 

Bending Sticks celebrates the twenty-five year career of 

internationally renowned environmental artist Patrick Dougherty, 

who has created hundreds of monumental, site-specific 

sculptures out of nothing more than saplings. The film follows the 

artist and his collaborators during a year of stick work and reveals 

Dougherty’s process, personal story and inspirations. 

http://bendingsticksthefilm.com/ 


More Artosphere 

Music events 

Artosphere Festival 

Orchestra Pub Crawl 

Thursday, June 20 | 6pm 

Restaurants, Bars and Coffee houses of the Dickson Street 

Entertainment District, Fayetteville 

Starting at Tyson Plaza in front of Walton Arts Center 

Travel with the Musicians from the Artosphere Festival Orchestra and grab 

a drink of your favorite beverage as we move around the Dickson Street 

Entertainment District, playing classical hits in everyone’s favorite 

Fayetteville haunts. Music you might hear includes fun selections from 

Bach & Vivaldi to Piazzolla & Star Wars. 

Nature of Strings | 

Chamber Music at St. Paul’s 

Sunday, June 23 | 7pm 

Saint Paul’s Episcopal Church, Fayetteville 

Featuring musicians from the Artosphere Festival Orchestra. 

Program selections to be announced from the stage. 

Chamber Music at the Depot 

Tuesday, June 25 | 7pm 

The Depot: Arsaga’s, Fayetteville 

Featuring musicians from the Artosphere Festival Orchestra. 

Program selections to be announced from the stage. 

An Evening of Clarinet & Friends 

Thursday, June 27 | 7pm 

Mildred B. Cooper Chapel, Bella Vista 

Featuring Amitai Vardi on Clarinet joined by musicians from the Artosphere 

Festival Orchestra. Program selections to be announced from the stage. 


Special thanks to the Chancellor Hotel for 

their generous support of the Artosphere 

Festival Orchestra musicians, who will be 

making the Chancellor their home during their 

Artosphere residency. 


James Turrell 

The Way of Color 

2009 

Stone, concrete, stainless steel, and LED lighting 

228 x 652 in. (579.1 x 1656.1 cm) 

© James Turrell. 

Photography by Timothy Hursley 

Skyspace Night | 

Journey to the Solstice 

Sunset Concert Event 

A joint production of Artosphere 

Festival and Crystal Bridges Museum 

of American Art 

Curated by Steve Parker & Molly Emerman 

About Inuksuit 

This work is unique because it is intended to be 

performed outdoors where the percussionists are 

spaced throughout a large area. Audiences are free 

to wander throughout the performance, and no 

two experiences of the work are alike. Like many of 

John Luther Adams’ pieces, the work is inspired by 

mankind’s interaction with nature. 

Saturday, June 22 

Activities begin at 6:30pm 

Sunset Concert to begin one hour before sunset 

James Turrell’s Skyspace on the Art Trail at 

Crystal Bridges Museum of American Art, Bentonville 

Prior to the concert please enjoy the solar powered 

sound installation, Sun Boxes by Craig Colorusso 

For exact performance times, please visit the information 

booth on site or artospherefestival.org 


Inuksuit, John Luther Adams 

Performed by Artosphere Festival Orchestra 

Musicians, regional brass musicians and 

percussionist 

Solo Clarinet program played in 

conjunction with James Turrell’s 

The Way of Color sunset experience 

Performed by Amitai Vardi 

Jazz Standards with the 

Alex Lewis Jazz Trio 

Artists bios: 

Clarinetist Amitai Vardi 

Clarinetist Amitai Vardi, an avid soloist, orchestral, 

and chamber musician, is Assistant Professor of 

Clarinet at Kent State University. Vardi made his solo 

debut at the age of sixteen with the Madison 

Symphony Orchestra as a first place winner of the 

Steenbock Young Artist Competition. He has since 

won several concerto competitions, including the 

Round Top International Festival Competition, The 

Cleveland Institute of Music Concerto Competition, 

and the Agnes Fowler Competition. In addition, Vardi 

has been a featured soloist with the Spoleto 

Symphony Orchestra, and performed the North 

American premiere of Srul Glick’s concerto, The 

Klezmer’s Wedding, with members of the Pittsburgh 

Symphony. As an orchestral player, Vardi served as 

principal clarinetist of Red {an orchestra}, and Lyric 

Opera Cleveland. He currently holds positions with 

Opera Cleveland, Blue Water Chamber Orchestra, 

City Music Cleveland, and Blossom Band and Orchestra. 

Alex Lewis Jazz Trio 

Alex Lewis studied jazz guitar under the instruction 

of Dr James Greeson at U of Arkansas and now 

performs throughout the state specializing in 

30’s and 40’s swing music. Influences include 

Jim Hall, Joe Pass, Wes Montgomery, Les Paul, 

and Barney Kessell. 


The Artosphere 

Festival Orchestra 

Corrado Rovaris, Music Director 

In its third year, the Artosphere Festival Orchestra, comprised of musicians from major symphonies 

and distinguished music programs from around the world, has gathered in the Ozarks for a 

professional music-making experience unique to Artosphere. Under the baton of Music Director 

Corrado Rovaris the 2013 orchestra will perform three concerts, two in Baum Walker Hall at Walton 

Arts Center and a third in the Great Hall at Crystal Bridges Museum of American Art. 

Artosphere Festival Orchestra musicians will also participate in various, outreach mini-concerts, 

impromptu 5 to 10 minute performances in unexpected locations, and in more traditional chamber 

music concerts throughout Northwest Arkansas (see pages 24-29) . 

Corrado Rovaris, 

Music Director 

Artosphere Festival Orchestra 

Music Director Corrado Rovaris 

serves as Music Director of 

Opera Philadelphia, and 

concurrently as the Principal 

Conductor of I Virtuosi Italiani, 

based in Verona Italy. 

Mr. Rovaris leads three productions in Opera Philadelphia’s 2012- 

2013 season: Pucicini’s La Boheme, Mozart’s The Magic Flute, and 

a company premier and new production of Thomas Ades’ Powder 

Her Face. In the 2011-12 season, in addition to his Philadelphia 

season, Mr. Rovaris conducted the Spanish premiere of Osvaldo 

Golijov’s Ainadamar at the Oviedo Opera. While in Europe, he 

also conducted Britten’s Peter Grimes and led Verdi’s Rigoletto in 

Trieste, and conducted concerts in Milan and Siena. Last summer, 

in addition to Artosphere, he conducted Hasse’s Artaserse in 

Martina Franca, Italy; and a revival of Spontini’s “lost” opera 

La Fuga in maschera at the Festival Spontini Pergolesi. 

A regular guest in Italy’s historic opera houses, Mr. Rovaris’ has 

led multiple productions at La Scala, Maggio Musicale Fiorentino 

(Florence), Teatro La Fenice (Venice), Teatro Comunale di 

Bologna, and Rossini Opera Festival (Pesaro). Elsewhere in Europe 

he has led productions for the Opéra de Lausanne, Opéra de Lyon, 

Oper Köln and Oper Frankfurt, to name a few places. 

In the US, he has worked with the Santa Fe Opera, the Opera 

Theatre of St. Louis, and Glimmerglass Opera. He has established 

a close connection with the Curtis Institute of Music, leading a 


2013 Artosphere Festival Orchestra 

Violin 

Joel Link, Concertmaster 

Bryan Lee, Concertmaster 

Hye Jin Chang 

Jerry Chiu 

Elena Chernova-Davis 

Jane Minjeung Choi 

Molly Emerman 

Brian Fox 

Seth Freeman 

Pascal Innocenti 

Jeannette Jang 

Vivek Jayaraman 

JiYun Jeong 

Jeoung-Yin Kim 

Analise Kukelhan 

Jina Lee 

Angela Lee 

Jennifer Lee 

Yiying Julia Li 

Zoe Martin-Doike 

Cecee Pantikian 

Diana Pepelea 

Elizabeth Phelps 

Miho Saegusa 

Benjamin Scott 

Ko Sugiyama 

Jin Suk Yu 

Erin Zehngut 

Viola 

Milena Pajaro-van de Stadt, 

Principal 

Laurel Borden 

Meghan Casper 

Michael Davis 

Michelle Gasworth 

Arnaud Ghillebaert 

Allyson Goodman 

Charles Krenner 

Carl Larson 

Anthony Parce 

Madeline Sharp 

Frank Shaw 

Cello 

Camden Shaw, Principal 

Carl Baron 

Troy Chang 

Joanne Choi 

Ross Gasworth 

Meredith McCook 

Paul Miahky 

Karen Ouzounian 

Avery Waite 

Bass 

Brandon McLean, Principal 

Gabriel Katz 

Paul Macres 

Karl Olsen 

Ed Paulsen 

Brian Thacker 

Mark Wallace 

Bert Witzel 

Flute/Piccolo 

Maron Khoury, Principal 

Elizabeth Landon 

Yevgeny Faniuk 

Oboe 

Emily Brebach, Principal 

Stanley Chyi 

Clarinet 

Andrea Levine, Principal 

Marianne Shifrin 

Bassoon 

Ellen Connors, Principal 

Adam Trussell 

Horn 

Robert Rearden, Principal 

Geoffrey Pilkington 

Peter Erb 

Nathan Mitchell 

Trumpet 

Nathaniel Hepler, Principal 

Travis Peterson 

Trombone/Bass Trombone 

Christopher Wolf, Principal 

Steve Parker 

Skyler Johnson 

Tuba 

Ben Pierce, Principal 

Percussion 

Dorothy Valencia, Principal 

Fernando Valencia 

Timpani 

Stephen Craft, Principal 

Librarian 

Colleen Hood 

Bob Loy 

General Manager 

Jason Howell Smith 

joint Curtis/Opera Company of Philadelphia production of Berg’s 

Wozzeck in 2009, with plans for joint productions in future seasons. 

Symphonically, Mr. Rovaris has led ensembles such as La Scala 

Filarmonica, Orchestra e Coro del Maggio Musicale Fiorentino, 

Accademia Nazionale di Santa Cecilia (Rome), Orchestra Sinfonica 

di Milano Giuseppe Verdi, Orchestre de Chambre de Lausanne, 

and the Orchestra du Théâtre Royal de la Monnaie (Brussels), 

among others. 


As we enter our third year of partnership, Greenwood 

Gearhart Inc. is pleased to support Artosphere and 

Music Director, Corrado Rovaris. As long-time 

supporters of the arts, we are proud of our association 

with the Festival and its focus on sustainability. 

Sustainability is core to our business, both in our daily 

use of resources and our emphasis on providing 

long-term, sustainable results for our investment clients. 

The piano for Artosphere Festival Orchestra 

performances is provided by Saied Music Company 

with locations in Tulsa, Fayetteville, Little Rock, & Fort Smith. 

Percussion provided by SoNA, Symphony of Northwest Arkansas. 


This concert will be recorded live. 

An Evening of 

Beethoven  

Friday, June 21 | 7pm 



Corrado Rovaris, Conductor 

Bryan Lee, Violin 

Camden Shaw, Cello 

Andrew Tyson, Piano 

Concerto for Violin, Cello, and Piano in C major, 

Op. 56 “Triple Concerto” 

I. Allegro 

II. Largo 

III. Rondo alla polacca 

Intermission 

Symphony No. 7 in A major, Op. 92 

I. Poco sostenuto, Vivace 

II. Allegretto 

III. Presto 

IV. Allegro con brio 

Bryan lee, Violin 

Bryan Lee has performed as a soloist with the 

Philadelphia Orchestra and the Delaware, 

Lansdowne, and Temple University Symphony 

Orchestras, among others. Bryan was awarded 

the Bronze Medal at the 2005 Stulberg 

International String Competition and won second prize at the 

2004 Kingsville International Young Performers Competition.. 

Bryan is a graduate of the Curtis Institute of Music where he 

studied with Pamela Frank and Victor Danchenko. His previous 

studies were with Choong-Jin Chang and Soovin Kim. Full bio 

available at www.artospherefestival.org 

Camden Shaw, Cello 

Camden Shaw’s playing has been described as 

“Wonderfully rich” (Kansas City Star) as well as 

“dynamic and brave” (Stereo Times.) Shaw is 

the cellist of The Dover String Quartet, formed 

at the Curtis Institute of Music in Philadelphia 

and grand prizewinner of the 2010 Fischoff Chamber Music 

Competition. In addition to his studies at the Curtis Institute 

where he graduated in 2010, Shaw has studied intensively with 

Steven Isserlis at the International Musician’s Seminar in England. 

Full bio available at www.artospherefestival.org 


Pianist Andrew Tyson is emerging as a 

distinctive and intriguing musical voice. First 

Prize Winner of the 2011 Young Concert 

Artists International Auditions, he makes 

his New York debut in the Rhoda Walker 

Teagle Concert at Merkin Hall and his Washington, DC debut 

at the Kennedy Center’s Terrace Theater this season in the 

Young Concert Artists Series. At the 2012 Leeds International 

Piano Competition, Mr. Tyson won both 5th Prize and the new 

Terence Judd - Hallé Orchestra Prize, which is awarded by the 

Orchestra’s musicians and its Music Director, Sir Mark Elder. The 

Prize brought three performances of Rachmaninoff’s Concerto 

No. 2 with the Orchestra in November 2012, which resulted in his 

being re-engaged for next season. 

He has been heard at prestigious venues including the Caramoor 

Festival’s Rising Stars, the Coolidge Auditorium at the Library of 

Congress in Washington, DC, the National Chopin Foundation 

in Miami, and the Brevard Music Festival in North Carolina. 

Mr. Tyson has performed abroad in Europe, Mexico and in 

throughout the United States. At the YCA Auditions, Mr. Tyson 

Continued on page 36 

ARTOSPHERE 2013 - All-Beethoven Program 

Beethoven: Eccentric and Genius 

By Laurie Shulman ©2007 

Many music lovers consider Beethoven to be the greatest musical 

genius who ever lived. The literature about him is enormous, 

examining every aspect of his life and works. Who doesn’t 

respond to the iconic opening gesture of Beethoven’s Fifth 

Symphony? Or the majesty of the Ode to Joy? 

Because he was famous during his lifetime, we know more about 

Beethoven than other composers – at least we think we do. But 

what comes to mind beyond an awareness that he composed 

dramatic, memorable music? Or that he lost his hearing by his 30s 

and was profoundly deaf during his 40s and 50s? 

Concert-goers may be surprised at some unusual tidbits about 

Beethoven’s background, life, and colorful personality. Consider 

the following: 

• Beethoven began his career as a court organist in Germany; 

he also played violin in the court orchestra. 

• For the first few years after he moved to Vienna in the 1790s, 

he was better known as a pianist than as a composer. 

• Beethoven fell in love frequently with women who were 

beyond his reach. He never married. 

• Beethoven loved being in nature and the outdoors, even 

taking long walks in the rain. 

• Between 1792 and 1827, Beethoven changed residences 

eighty-seven times. 

• Twelve museums in five European countries are devoted to 

Beethoven. Four of them are in Vienna, where he lived for 

most of his adult life. 

• Beethoven’s favorite composers were Mozart, Haydn, Bach 

and Handel, and he preferred Handel to Bach. 


• Although he was critical of most of his contemporaries, he 

admired the operas of Spontini and Cherubini – composers 

who are all but forgotten today. 

• Beethoven was a prankster, playing practical jokes on both 

friends and servants. His best jokes, however, are within his 

music. 

• He composed in almost every genre: sonata and symphony, 

opera and oratorio, chamber music, songs and masses. 

Beethoven even wrote a duo for viola and cello with 

eyeglasses - a musical joke directed toward the two 

nearsighted players for whom he composed it! 

• The familiar images of Beethoven show a craggy-faced man 

with windswept grey hair. All surviving portraits depict him as 

clean-shaven. 

– L.S. ©2013 

Follow the leader 

Kraft’s prominence accounts for the imbalance in the level of 

difficulty among the three solo roles. Although the cello shares 

equal billing with violin and piano, its role is more prominent and 

difficult than either of the other two instruments. Beethoven 

clearly casts the cello as leader, awarding it the principal thematic 

material in all three movements. 

Beethoven’s central slow movement is fairly short, basically 

serving as an introduction to the finale. The last movement is 

dominated by a majestic polonaise rhythm, a Polish dance that 

was popular in Europe in the early 19 th century. 

. . . ripe for the madhouse. 

— Carl Maria von Weber on Beethoven, 

after hearing Beethoven’s Seventh 

This evening’s program pairs two of Beethoven’s large works: 

the Concerto for Violin, Cello, and Piano in C major, Op. 56, 

known as the “Triple Concerto,” and the Symphony No.7 in A 

major, Op.92. Both pieces fall into what is called Beethoven’s 

“heroic decade.” During this period – approximately 1802 to 1812 

-- Beethoven wrote major compositions in a grand style. While 

many of his works from this period are stormy and powerful, these 

two pieces are striking for their resolute good mood. 

The term ‘concerto’ comes from an Italian verb that means “to join 

together” and a Latin verb that means “to fight.” These two concepts 

are both at play in a concerto, which generally features a soloist with 

orchestra. Sometimes the soloists play music that is different from 

the orchestra; other times they share musical material. 

A triple concerto is one that features three soloists. Beethoven’s 

choice of violin, cello, and piano is special because that 

combination of instruments also exists as a free-standing chamber 

music ensemble, called a piano trio. Beethoven composed nearly 

a dozen works for piano trio, and the idea of chamber music is 

important to the Triple Concerto. In places, the three soloists 

engage in an intimate musical conversation. 

An experiment in expanded concerto form 

Beethoven composed the Triple Concerto in 1804. The Triple 

Concerto has a large scope, like the “Eroica” Symphony. Here,the 

length results because each soloist takes a turn with the themes. 

As in most solo concertos, the order of the movements is fastslow-fast, 

but Beethoven’s music throughout this work unfolds at 

a leisurely pace. 

One student and two colleagues: 

players guide the composer’s hand 

A challenge Beethoven addressed was how to distribute the 

musical material equably. The players he had in mind were not 

musicians of equal ability. The piano part was almost certainly 

written for the Archduke Rudolph, a preferred student of 

Beethoven, but only sixteen at the time. The violinist was Carl 

August Seidler, a competent violinist but not a great one. The 

cellist, on the other hand, was Anton Kraft (1752-1820), one of the 

most celebrated virtuosos of his day. 

. . . the apotheosis of the dance. 

— Richard Wagner on Beethoven’s Seventh 

You can chase a Beethoven symphony all your life and 

never catch up. 

— André Previn 

In Beethoven’s day, the Seventh Symphony was strongly 

associated with the English victory over Napoleon in Vitoria, 

Spain in 1813. Although Elba and Waterloo still lay ahead, Austria 

and Prussia were as elated as England, knowing that the tide had 

turned against the French Emperor. 

Beethoven had suffered greatly during the French occupation 

of Vienna in 1803. When news of the Vitoria battle reached 

the Austrian capital, its citizens erupted in jubilant celebration. 

Beethoven’s response was to compose Wellington’s Siege, 

[“Battle Symphony”], a programmatic movement that gave 

free rein to his patriotism. The Battle Symphony is virtually 

contemporary with the Seventh and Eighth Symphonies, 

which date from 1811 and 1812. All three works were first 

performed in Vienna , on December 8, 1813. The high musical 

quality of the Seventh Symphony earned it a prominent place 

in public affection. 

Beethoven’s ‘other’ pastoral symphony? 

Among Beethoven’s heroic works, the Seventh Symphony is 

resolutely upbeat. Music historian J.W.N. Sullivan has written: 

The great introduction to the first movement seems 

to convey the awakening and murmuring of the 

multitudinous life of an immense forest. Much more 

than in the Pastoral symphony do we feel here in the 

presence of Nature itself. It is life, life in every form, 

not merely human life, of which the exultation is 

here expressed. 

That spirit of exultation bursts forth in the ensuing Allegro, whose 

pronounced dotted rhythm dominates the entire movement. 


This concert will be broadcast live 

on KUAF 91.3FM National Public Radio 

Walton Arts Center &  

Crystal Bridges Museum of American Art 

Present 

Live from 

Crystal Bridges: 

Mozart in 

the Museum  

Monday, June 24 | 8pm 

Great Hall, Crystal Bridges Museum of 

American Art 



Joel Link, Violin 

Overture to the Marriage of Figaro K. 492 

Violin Concerto No. 4 in D major K.218 

I. Allegro 

II. Andante cantabile 

III. Rondeau 

Intermission 

Symphony No. 40 in G Minor, K. 550 

I. Molto Allegro 

II. Andante 

III. Menuetto 

IV. Allegro assai 

Unfortunately, there are no public tickets available to 

this program. Tune in to KUAF/91.3FM NPR for the live 

radio broadcast. 

Joel Link, Violin 

From a young age, violinist Joel Link has met 

much success both as a soloist and chamber 

musician. As a top prize winner of numerous 

competitions including the Johansen 

International Competition in Washington 

D.C. and the Yehudi Menuhin International Competition in 

England, Link’s playing has received accolades for being both 

highly refined and captivatingly passionate. A graduate of the 

Curtis Institute of Music, he studied with renowned violinists 

Joseph Silverstein and Pamela Frank, and served as the Curtis 

Symphony Orchestra’s concertmaster for the 2009-2010 season. 

As a member of the Dover String Quartet, (formerly the Old City 

String Quartet) Joel has received the Grand Prize as well as the 

Gold Medal from the Fischoff Chamber Music Competition, and 

concertizes with the ensemble to great critical acclaim. For full 

bio, visit www.artospherefestival.org 

Artosphere Festival all-Mozart program 

The Mozart Mystique 

Notes by Laurie Shulman ©2013 

Everybody recognizes Mozart’s name. His story is compelling: 

an astounding prodigy, he was the toast of European courts as 

a child and adolescent. Yet his career collapsed in his mid-30s, 

and when he died, he was in debt and ended up buried in an 

unmarked pauper’s grave. The play and film, Amadeus, made 

Mozart a pop culture icon. Most important, of course, is his 

music: familiar and irresistible, beloved by both listeners and the 

musicians who perform it. 

Mozart is everyman’s favorite composer. More recordings are 

available of Mozart’s music than of any other composer, including 

Bach. That alone is evidence of his widespread popularity with the 

general public. Children beam with pleasure when they hear the 

strains of Eine kleine Nachtmusik and Papageno’s arias from The 

Magic Flute. As for teenagers who may dismiss all classical music 

as uncool, eventually it is Mozart’s music that will draw them back, 

whether through the magic of The Marriage of Figaro, the majesty 

of the Jupiter Symphony, or the rhythm of his piano concertos. 

What is it about his music that enchants us? 

That question is at the heart of the mystery of music, the most 

abstract of the lively arts. Basically, Mozart was wonderful at 

inventing melodies. His themes stay in our memories long after we 

exit the concert hall. They return to us when we’re singing in the 

shower, walking, or relaxing with our thoughts. 

But there is more to his appeal than melody alone. Harmony and 

rhythm are the other essential elements of music, and Mozart 

excelled at both. So did many of his contemporaries. What 

sets him apart is that elusive quality of genius. It is probably 

indefinable, but manifests itself in several ways. 


One is flow: a sense of inevitability, our feeling that this is the only 

way the music could unfold. Another quality is charm, an inherent 

appeal to our best selves.. Mozart knew how to please listeners 

with his music. 

Perhaps most important is musical balance. Mozart understood 

voices and instruments and how to combine them. The result is 

that every musical part shines, yet the whole composition adds up 

to more than the sum of its parts. 

Finally, there is the matter of emotional balance. In 18 th - 

century Viennese culture, as in our world, music was written for 

entertainment as well as inspiration for our souls and our intellect. 

Mozart’s works reveal a complex individual. In his personal 

and professional life, Mozart experienced joy and frustration, 

exultation and depression, serenity and anxiety. Profoundly human 

layers of experience are expressed through his music, touching 

nerves that resonate within us, reaching us personally. Mozart’s 

insight into humanity comes together with his command over the 

elements of high classicism. The result is the most perfect music 

we have – perhaps the best explanation for his universal appeal. 

This program samples the best of Mozart: an overture, a concerto, 

and a symphony that collectively celebrate the beauty and variety 

in his music. Maestro Rovaris opens with the Overture to The 

Marriage of Figaro (1786), a comic opera based on a French farce 

about revenge and misdirected love between social classes. The 

music is delicious. 

Unlike overtures to Broadway shows, Mozart’s overture includes 

no themes from the opera. The music captures the madcap, 

effervescent atmosphere of the “single day of madness” with 

exquisite skill. 

A young lion with a bright future 

At seventeen, young Wolfgang Mozart seemed to have the world 

in his pocket. He had written a successful comic opera for the 

leading Munich theater in 1775, and made a fine impression on 

Munich society. Upon his return to Salzburg, his employer the 

Archbishop commissioned him to write another opera. 

Bumper crop of violin concertos 

In between the two operas, he composed four violin concertos. 

Most people know that Mozart was a virtuoso pianist. He was also 

an excellent violinist, and composed more concertos and sonatas 

for violin than any other instrument apart from piano. 

Italian sunshine 

As a result of his extensive travels in Italy, Mozart had exposure 

to the music of his Italian contemporaries. Italianate flavor spilled 

over from his operas into his other music. The Violin Concerto No. 

4 in D major, K.218 shows a pronounced Italian style. In the slow 

movement, for example, the soloist plays a complex and delicate 

melodic line that is related to Italian arias. The finale switches tempo 

and meter several times, which allows Mozart to introduce a number 

of new melodies. Some of them may have been popular tunes of 

the day; they are presented as a sort of rondo, in elegant style. 

Few works in the classical symphonic literature are more beloved 

than Mozart’s Symphony No.40 in G minor, known as “The 

Great G minor.” While we have little information about the 

circumstances of its composition, we know Mozart composed his 

last three symphonies: Nos. 39, 40, and 41 in mere six weeks in 

1788, an amazing achievement. 

But why did he compose them? There is no mention of any of the 

three symphonies in Mozart’s letters to give us a clue as to their 

origin. One theory holds that Mozart was planning to present 

these works at a series of subscription concerts, but no such 

series took place that year. Scholars have hypothesized that a 

performance of the three final symphonies may have taken place 

in 1790. No documentation exists to prove that theory. 

If the Viennese public did hear the G minor symphony, they 

might have been baffled. Works in minor keys were unusual in 

the late 18th-century, and Mozart’s symphony is singularly dark 

throughout its four movements. The nervous agitation that 

introduces the opening movement was a radical departure from 

the norm, and when we hear the theme it is quiet. What we hear 

as balanced and refined would have been deeply disturbing to 

late 18th-century listeners. The next generation heard the G-minor 

symphony as evidence that Mozart was the harbinger of musical 

romanticism. 

Mozart expands the emotional boundaries of the classical 

symphony in this work by his very expressive, intensely personal 

musical language. Particularly lovely is the delicate woodwind 

scoring and the subtly irregular rhythmic patterns. 

The finale is harmonically adventurous and dramatic, with 

extremes of dynamics and greater passion that anticipate 

Beethoven. The G minor symphony’s perfection of form and 

elegant proportions are a reminder that in Mozart, the classical 

era reached its pinnacle. 

He wrote these concertos for Antonio Brunetti, the concertmaster 

of the Salzburg court orchestra,and his music demands 

extraordinary musicianship and superior tone quality. 


This concert will be recorded live. 

Russian 

Masterpieces  

Friday, June 28 | 7pm 





Rachmaninoff – Piano Concerto No. 2 in C Minor, 

Op. 18 

I. Moderato 

II. Adagio sostenuto 

III. Allegro scherzando 

Intermission 

Tchaikovsky – Symphony No. 5, Op. 64 

I. Andante, Allegro con anima 

II. Andante cantabile con alcuna licenza 

III. Valse, Allegro moderato 

IV. Finale, Andante maestoso, Allegro vivace 

Andrew Tyson, Piano Continued from page 32 

was awarded YCA’s Paul A. Fish Memorial 

Prize and the John Browning Prize as well 

as three performance prizes: the Brownville 

Concert Series, the Lied Center of Kansas, 

and the Bronder Prize for Piano of Saint 

Vincent College. 

Born in Durham, North Carolina, Mr. Tyson made his orchestral 

debut at the age of 15 as winner of the Eastern Music Festival’s 

competition to appear with the Guilford Symphony. His early 

studies were with Dr. Thomas Otten of the University of North 

Carolina. He graduated from the Curtis Institute of Music where 

he worked with Claude Frank, earned his Master’s degree at The 

Juilliard School working with Robert McDonald, and is currently 

in the Artist Diploma program at The Juilliard School, where he 

won the Gina Bachauer Piano Competition. 

Artosphere Festival all-Russian program 

Notes by Laurie Shulman ©2013 

Over the past week, the Artosphere Festival Orchestra has 

explored the music of two titans of Western art music: the 

German-born Beethoven, who spent most of his adult life in 

Vienna, and Salzburg’s beloved native son Mozart, who also 

settled in Vienna in his early twenties. 

This evening, Maestro Rovaris and the orchestra turn their 

attention east, to music of the Russian empire. Tchaikovsky and 

Rachmaninoff are composers who loom larger-than-life in the 

world of classical music. Yet how different their lives were! 

Both men were born into affluent families well before the 

Russian Revolution of 1917. The three-decade spread in their ages 

accounts in part for the uniqueness in the worlds in which they 

lived. Certainly they both grew up within a class structure that 

comprised a huge lower class of serfs, a growing middle class, 

and an influential Russian Orthodox clergy whose patriarch was 

almost as powerful as the Czar himself. 

The two composers enjoyed international careers. Tchaikovsky 

traveled widely throughout Europe and toured the USA as a 

conductor in 1891. Rachmaninoff toured even more extensively, 

first as a virtuoso pianist and later as a conductor. He also lived 

well into the 20 th century, beyond World War I and the Russian 

Revolution, the Roaring Twenties and the Great Depression. He 

settled in the USA in 1939, and died during the Second World War. 

Tchaikovsky pursued conducting and teaching, but was able to 

focus on composing, thanks to the generous support of a wealthy 

noble patron. Rachmaninoff was destined from his conservatory 

days to be a virtuoso pianist. 

The works on this program show both Rachmaninoff and 

Tchaikovsky at the top of their game. The Piano Concerto No. 2 in 

C minor, Op. 18 catapulted Rachmaninoff to international success 

as a composer and pianist. He has remained an audience favorite 

ever since. Here is a concerto filled with melodies so memorable, 

they became popular songs. With its passion and sumptuous 

harmonies, this work proved to be a breakthrough both 

psychologically and professionally. Tchaikovsky’s Symphony No.5 

in E minor, Op.64 is one of the triumphs of his maturity: heartfelt 

and emotional, yet sturdy and powerful, with masterful writing for 

full orchestra and several instruments featured in cameo solos. As 

with the Rachmaninoff Concerto, the Tchaikovsky Symphony is 

brimful of wonderful tunes that are sure to please. 

Piano Concerto No.2 in C minor, Op.18 

Sergei Rachmaninoff 

Born 1 April, 1873 in Oneg, Novgorod District, Russia 

Died 28 March, 1943 in Beverly Hills, California 

Unforgettable opening 

The opening of Rachmaninoff’s Second Piano Concerto is one 

of the marvels of the literature. With no orchestral preparation, 


the pianist plays a series of quiet chords in F minor, alternating 

with a low F in the lowest region of the keyboard. Seven times 

we hear the chord, each time with a slightly different harmony 

and another response from that low F. Each time the exchange 

takes place, the volume increases slightly. The eighth time, now 

quite loudly, the pianist thunders another big chord, then three 

portentous notes leading to a decisive landing on C. It is the first 

time Rachmaninoff has let us hear that his concerto is in C minor, 

the advertised key. His opening ploy has been building suspense, 

putting us on the edge of our seats, waiting for a door to slam,– 

or a rocket to blast off. 

Takeoff, as it happens, is immediate. The piano is off and running in 

a swirl of arpeggios. The orchestra, silent thus far, plunges in with 

the passionate first theme, and the tapestry of Rachmaninoff’s 

music comes into focus. His remarkable opening is one of the most 

dramatic and original in the literature. That simple, eight-bar piano 

introduction declares the soloist’s dominance over the orchestra, 

yet paradoxically indicates co-dependence. 

The relationship between piano and orchestra in this concerto is 

unusual. Throughout the work, Rachmaninoff entrusts most of the 

melodies to the orchestra, while the piano takes a decorative role, 

providing a lush embroidery for the dense fabric of the music. 

Straddling two centuries 

The Second Concerto is a twentieth-century work – just barely. 

Rachmaninoff composed the second and third movements in 

1900, adding the first movement in 1901. For practical purposes, 

however, this is a late Romantic concerto in the tradition of the 

19 th -century virtuoso. What distinguishes it from other Romantic 

concerti is the glorious piano writing and Rachmaninoff’s 

increased skill in handling orchestral resources. He also strikes a 

fine balance between Russian gloom and rhapsodic ecstasy. It is 

little wonder that several popular songs of the 1930s and 1940s 

were based on this concerto’s themes. 

The Second Concerto was a breakthrough work for Rachmaninoff. 

Its composition marked his emergence from a deep depression 

that had gripped him for three years, following the disastrous 

premiere of his Symphony No.1 in March 1897[see sidebar]. This 

piece also boosted Rachmaninoff’s international reputation as a 

master of the concerto. It affirmed his genius to a broad public. 

Symphony No.5 in E-minor, Op.64 

Peter Ilich Tchaikovsky 

Born 7 May, 1840 in Votkinsk, Viatka district, Russia 

Died 6 November, 1893 in St. Petersburg, Russia 

Nationalism vs. classicism 

Most of Tchaikovsky’s contemporaries were caught up in 

Russian nationalism. In terms of music, that means they sought 

to separate themselves from western musical models (like 

symphonies). Instead, they incorporated Russian folk tunes and 

Orthodox chants into their music. 

Tchaikovsky was more classically oriented. He understood the 

principles of musical form and development learned during his 

conservatory training, and favored those ideas more than his 

nationalist contemporaries. Nevertheless, he was an intensely 

emotional man. For him, the symphony was the ultimate 

expression of musical ideas and personal feelings. 

The inherent conflict between these two approaches to the 

symphony is at the heart of Tchaikovsky’s Fifth Symphony. From 

its opening measures, where the clarinet plays a lugubrious 

Russian march tune, this symphony grips our emotions. Nowhere 

is Tchaikovsky less subtle, and nowhere is he more effective. 

Similarly, the horn melody that dominates the famous slow 

movement is one of the triumphs of the symphonic literature: 

memorable and singable, it lingers in our memory for weeks after 

we hear this symphony. 

And the waltz is a reminder that Tchaikovsky was the greatest 

ballet composer of the nineteenth century. His reliance on dance 

rhythms in this symphony, particularly waltzes and marches, 

contributes to its unity and emphasizes his gift as a composer for 

the ballet stage. 

Inspiration from nature 

Tchaikovsky began work on his Fifth Symphony shortly after 

taking occupancy of his new country house at Frolovskoye, 

near Klin. He moved there in April 1888, and was entranced 

by gardening and the natural beauty of his surroundings. By 

midsummer he commenced work on the E-minor symphony, his 

first in over a decade. The premiere performances took place that 

autumn in St. Petersburg, receiving several bad reviews. 

Insecure composer 

The perceived failure depressed Tchaikovsky, whose opinion of 

his own compositions tended to waver wildly with public and 

critical opinion. He was encouraged by Johannes Brahms’s words 

the following spring in Hamburg, when the new symphony was 

first heard in Germany. In a letter to his brother Modest in 1889, 

Tchaikovsky reported: 

Brahms stayed an extra day to hear my symphony and 

was very kind. We had lunch together after the rehearsal 

and quite a few drinks. He is very sympathetic and I like 

his honesty and open-mindedness. Neither he nor the 

players liked the Finale, which I also think rather horrible. 

But two weeks later, from Hanover, this harsh self-criticism had 

passed, and he was able to write: 

The Fifth Symphony was beautifully played and I have 

started to love it again . . . 

The Fifth Symphony focuses on mankind’s futile struggle with 

destiny. Specifically, Tchaikovsky wanted to address man’s 

spiritual helplessness and inadequacy. These thoughts are most 

evident in the finale, which opens with great solemnity. But the 

entire symphony is filled with operatic crescendos and dramatic, 

sudden shifts in tempo, all of which indicate a soul in torment, 

searching for its own release. 


Artosphere Partners 

Walton Arts Center thanks these great local organizations, who are already 

working toward sustainability goals, for making Artosphere a truly inspiring 

and regional festival. 

The Depot 

Arsaga’s coffee, food and libations 

www.arsagasdepot.com 

Partnership events: 

• Trail Mix on May 4 (see page 8) 

• Art opening on June 20 as part of the Artosphere Festival 

Orchestra Pub Crawl (see page 28) 

• Chamber Music at the Depot on June 25 (see page 28) 

The Depot building itself was a project of repurposing. 

Cindy Arsaga plants and maintains various vegetables and 

herbs surrounding The Depot which are incorporated into menu 

items. The back portion of the building faces the trail and was 

created with the vision of commuters coming and going, to 

encourage a healthier and more sustainable lifestyle. Emily 

Lawson, Executive Chef and General manager of The Depot, 

works with more than ten farms in an effort to bring as much 

local food into the restaurant as possible. Emily also works with 

Feed Fayetteville on a mission to compost the kitchen’s food 

waste. Around the side of the building, it would be hard not to 

notice the extensive series of recycle bins and the large purple 

glass recycling station. 

Greenhouse Grille 

www.greenhousegrille.com 

Greenhouse Grille has been creating conscious cuisine for 

Fayetteville and the Ozark Region since 2006. We believe that 

our business is a powerful tool for change on a local and global 

level. We put our focus on fresh ingredients, using local and 

organic products whenever possible, and we practice 

sustainable business habits daily. For Greenhouse Grille, world 

peace starts in our kitchen and with our business. 

Greenhouse Grille believes in the enrichment of culture in our 

community through the arts with focus on environmental 

sustainability. In the history of our fine city, no event has 

embodied this better than Artosphere. 

Partnership events: 

• Trail Mix on May 4 (see page 8), 

• Artosphere Local Music Series (see below) 

Artosphere Local Music Series 

Enjoy a tasty, locally sourced meal and live music every 

Wednesday, Friday and Sunday. Show times: 

Wednesdays 6-9, Fridays 6-9, Sunday Brunch 10:30-1:30 

5/1: Scott Elliot 

5/3: Al Gibson Jazz 

5/5: Pat Pathoumthong 

5/8: Tiffany Christopher 

5/10: Matt Smith Jazz 

5/12: Mother’s Day Brunch/ 

Beth Stockdell 

5/15: Sarah Hughes 

5/17: Dave Gesualdo 

5/19: Melody & Morty 

5/22: Chooch 

5/24: Alex Lewis Jazz 

5/26: Fork and Knife 

5/29: Lindsey Will 

5/31: Sarah Hughes & 

Dave Gesualdo 


Clubhaus Fitness & Soul Yoga 

Putting the health back in the Health Club is our mission at 

Clubhaus Fitness. Our sustainable facility design improves the 

quality of our surroundings and impacts both our personal 

fitness and the goal of sustainable living for the health of our 

community. 

The staff at Clubhaus Fitness is pleased to have the opportunity 

to partner with the Walton Arts Center and the Artosphere 

festival to provide the Natural Movement Series. Our mission for 

this event is to help people slow down, and experience how their 

body moves in their natural environment. By taking the time to 

breathe deeply, feel every muscle, and sincerely appreciate the 

gift of movement in NWA’s natural surroundings, we connect 

with ourselves, each other, and the environment. While our 

community strives to protect our environment every day, we 

often fail to realize that living a healthier lifestyle leaves a smaller 

footprint on this earth and provides us with a less stressful, more 

fulfilled life. Our belief at Clubhaus Fitness is that if we take good 

care of ourselves, our ability to take care of this community will 

just grow by leaps and bounds. 

The Natural Movement Series 

The Art of Strength | May 11 | Walker Park 9:30am-12pm 

Urban Challenge | May 18 | Dickson Garage, Town Center 

Garage, Fayetteville Public Library Rooftop Garage | 9:30am 

Soul Circle / Sun Boxes | June 2 | Botanical Garden of the 

Ozarks | 8:30am–9:45am 

Sunrise Yoga / Summer Solstice | June 22 | Crystal Bridges | 

Sunrise, 10am and 11am 

Downtown Bentonville, Inc 

www.downtownbentonville.org 

From the Bentonville Farmers Market to our award winning 

restaurant scene, cooking workshops, chef demonstrations and 

special foodie events, downtown Bentonville is garnering 

national attention for its growing culinary scene. DBI is proud to 

work with Walton Arts Center and the Artosphere Festival to 

explore art, nature and sustainability through the First Friday: 

Art and Nature (May 3) and ongoing culinary explorations of 

local food and chefs. 

Crystal Bridges 

www.crystalbridges.org 

Crystal Bridges Museum of American Art welcomes all to 

celebrate the American spirit in a setting that unites the power 

of art with the beauty of landscape. Surrounded by 120 acres of 

forests and gardens, Crystal Bridges offers a revitalizing 

environment for experiencing art and cultural events. We are 

proud to partner with Walton Arts Center and Artosphere to 

offer unique ways that guests can connect to art, music and the 

natural beauty of Arkansas. 

Special thanks to Ironside Photography 

and The RoArk Group, Inc. 

Get more information on the Natural Movement Series at 



Live Music + More 

Artosphere at First Friday 

May 3 // Live music and 

theater on the Bentonvile 

Square 

Trail Mix Concert Tour 

May 4 // Featuring live music 

and art on local trails 

Fayetteville 10am - noon 

Bentonville 3 - 5pm 

Jayme Stone’s 

Room of Wonders 

May 6 // Thorncrown Chapel 

in Eureka Springs 

Three Penny Acre with 


May 7 // Mildred B. Cooper 

Memorial Chapel in Bella Vista 

Natural Movement Series 

May - June 

4 special events in May and 

June, visit website for dates 

Artosphere Documentary 

Film Night 

June 20 // Walton Arts 

Center’s Starr Theater 

Greenhouse Grille 

Local Music Series 

Throughout May // 

Greenhouse Grille in 

Fayetteville 

Family Events 

Jack Hanna’s Into the Wild 

LIVE! 

May 3 // Walton Arts Center 

ERTH’s Dinosaur Petting Zoo 

May 3 // First Friday on the 

Bentonville Square 

May 4 // Trail Mix Concert 

Tour in Fayetteville 

Boats, by Terrapin 

Puppet Theatre 

For ages 7 + up 

May 11 // Walton Arts Center’s 

Starr Theater 

We’re Going on a Bear Hunt 

For ages 3-6 

May 12 // Walton Arts Center 

Grug, by Windmill Theatre 

For ages 1-6 

May 18 // Walton Arts Center’s 

Starr Theater 

Classical Music 

The Dover Quartet at St. Paul’s 

June 16 // St. Paul’s Episcopal 

Church in Fayetteville 

The Dover Quartet at 

Thorncrown Chapel 

June 17 // Thorncrown Chapel 


The Nature of Strings: 

Quintets at Cooper Chapel 

June 19 // Mildred B. Cooper 



Orchestra Pub Crawl 

June 20 

Dickson St., Fayetteville 


Orchestra: An Evening of 

Beethoven 


June 21 // Walton Arts Center 

Skyspace Night: 

Journey to the Solstice 

June 22 // Crystal Bridges 

Museum of American Art 

Nature of Strings: 

Chamber Music at St. Paul’s 

June 23 // St. Paul’s Episcopal 

Church in Fayetteville 

Live from Crystal Bridges: 

Mozart in the Museum 

Featuring the Artosphere 

Festival Orchestra 

broadcast live on 

KUAF 91.3 FM/NPR 


June 24 // Crystal Bridges 

Museum of American Art 

Chamber Music at The Depot 

June 25 // The Depot in 

Fayetteville 

The Nature of Strings: 

Quintets at Thorncrown Chapel 

June 26 // Thorncrown Chapel 


An Evening of Clarinet 

and Friends 

June 27 // Mildred B. Cooper 



Orchestra: Russian 

Masterpieces 


June 28 // Walton Arts Center 

Visual Arts 

Stacy Levy’s Spiral Wetland 

Construction begins April 23 


Untamed: Jose Bedia, 

Keith Carter, Mary Frank, 

Melissa Miller, Peter Paone 

and Tom Uttech 



Joy Pratt Markham Gallery 

The Herd and The Swarm 

by Tasha Lewis 


Walton Arts Center & 

various locations in 

Northwest Arkansas 

Sun Boxes by Craig Colorusso 

May - June 

Various locations in 

Northwest Arkansas 

For more information about 

all of the Artosphere events 

and to purchase tickets, visit 

artospherefestival.org. 

artospherefestival.org

Festival Program - Artosphere Festival

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