Sedona Art Source - Volume Two

Sedona Art Source Volume II features plein air artist Bill Cramer, wood carver Mike Medow, painter Allison Rae Nichols, performing artist Louis Landon, film-maker Bryan Reinhart, fashion designer Candace Walters, and chef Gerardo Moceri. Learn about the tradition of Hopi Kachina. Discover annual festivals such as the Sedona Arts Festival and Sedona Plein Air Festival plus. Find art in a variety of forms at local galleries including Exposures International Gallery of Fine Art, Son Silver West Gallery, The Village Gallery and Mountain Trails Gallery.

Sedona Art Source Volume II features plein air artist Bill Cramer, wood carver Mike Medow, painter Allison Rae Nichols, performing artist Louis Landon, film-maker Bryan Reinhart, fashion designer Candace Walters, and chef Gerardo Moceri. Learn about the tradition of Hopi Kachina. Discover annual festivals such as the Sedona Arts Festival and Sedona Plein Air Festival plus. Find art in a variety of forms at local galleries including Exposures International Gallery of Fine Art, Son Silver West Gallery, The Village Gallery and Mountain Trails Gallery.


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<strong>Sedona</strong> ART<strong>Source</strong><br />



2<br />

<strong>Sedona</strong> ART<strong>Source</strong>

Voted Best Gallery in <strong>Sedona</strong> 10 years Running!<br />

Ben Wright<br />

Over 50 Renowned <strong>Art</strong>ists<br />

Local & Regional<br />

<strong>Art</strong>ists in Residence<br />

Satellite Exhibits<br />

<strong>Sedona</strong> Citywide<br />

Reagan Word<br />

Ray Tigerman<br />


<strong>Sedona</strong> ART<strong>Source</strong><br />

150 State Route 179, <strong>Sedona</strong> ◊ 928.204.1765 ◊ Goldenstein<strong>Art</strong>.com<br />



<strong>Sedona</strong> <strong>Art</strong><strong>Source</strong> is back with <strong>Volume</strong> <strong>Two</strong> and my<br />

message is simply one of gratitude for our team,<br />

our advertisers and our thoughtful supporters. In<br />

fulfilling our mission, this issue contains a host of<br />

interesting articles, revelations and perspectives<br />

from a plethora of people in the arts community.<br />

To further that end, <strong>Volume</strong> <strong>Two</strong> introduces<br />

Sacred Spaces, a feature that will throw light into<br />

often unseen corners of the artist community.<br />

Carol Kahn’s love for telling the backstory will<br />

be unveiled in each issue with this intimate peek<br />

into the artist’s working space that will provide<br />

insights into the art produced while expanding<br />

appreciation for the artists themselves. Expect<br />

to see wonderfully creative people you know and<br />

to be introduced to accomplished new ones in<br />

Sacred Spaces.<br />

In this and every issue of <strong>Art</strong><strong>Source</strong> people will<br />

amaze us with their core values, commitment to<br />

craft, and unrelenting perseverance in following<br />

creative dreams regardless of the gravitational<br />

pulls.<br />

Greg Lawson<br />

6 Editor’s Message<br />

8 Mountain Trails Gallery<br />

Gallery Profile<br />

10 City of <strong>Sedona</strong><br />

State of the <strong>Art</strong>s<br />

14 The <strong>Art</strong> of Fashion<br />

23 Allison Rae Nichols<br />

<strong>Art</strong>ist Spotlight<br />

24 The Tradition of Hopi Kachina<br />

34 Plein Air - More Than Meets the Eye<br />

<strong>Sedona</strong><br />

ART<strong>Source</strong><br />

2 <strong>Sedona</strong> ART<strong>Source</strong><br />

The denial<br />

of art is the<br />

greatest futility<br />

— Coddington<br />

Published by <strong>Sedona</strong> <strong>Art</strong><strong>Source</strong><br />

2679 West State Route 89A<br />

<strong>Sedona</strong>, AZ 86336<br />

<strong>Volume</strong> <strong>Two</strong><br />

Design elements by Erick Hale Agency<br />

and Nadezda Skocajic<br />

Printed in PRC<br />

<strong>Sedona</strong><strong>Art</strong><strong>Source</strong>.com<br />

<strong>Sedona</strong> <strong>Art</strong><strong>Source</strong> is published quaterly.<br />

Copyright © 2018 <strong>Sedona</strong> <strong>Art</strong><strong>Source</strong>. All world rights reserved. No part<br />

of this publication may be reproduced, transmitted, transcribed, stored<br />

in a retrieval system or used as a model for any type of reproduction,<br />

in any medium, by any means without the publisher’s prior written permission.<br />

The publisher assumes no responsibility for errors or omissions.<br />

Opinions expressed do not necessarily reflect the views of the publisher.


42 Louis Landon<br />

The <strong>Art</strong> of Music<br />

48 Exposures International Gallery of Fine <strong>Art</strong><br />

Gallery Profile<br />

50 Mike Medow<br />

“The Chiseler”<br />

56 A Tribute to Sculptor, Diki Medow<br />

58 Bryan Reinhart<br />

The <strong>Art</strong> of Filmmaking<br />

60 Lori Reinhart<br />

One Thing Leads to Another<br />

62 <strong>Sedona</strong> <strong>Art</strong>s Festival<br />

64 Gerardo Moceri<br />

The Cooking Starts Early<br />

70 A Little Taste of Tchotchke Heaven<br />

74 The Future of <strong>Art</strong>s in <strong>Sedona</strong><br />

Some Notes About What’s Possible<br />

76 The Village Gallery<br />

Gallery Profile<br />

78 <strong>Sedona</strong> Gallery Map<br />

80 <strong>Sedona</strong> Gallery Index<br />

42<br />

70<br />

Publisher<br />

Editor<br />

<strong>Art</strong> Director<br />

Web Master<br />

Writer and Public Relations<br />

Marketing<br />

Greg Lawson<br />

Carol Kahn<br />

Kristina Gabrielle<br />

Rick Cyge<br />

Lynn Alison Trombetta<br />

Patti Polinard<br />

<strong>Sedona</strong><strong>Art</strong><strong>Source</strong>.com<br />

info@<strong>Sedona</strong><strong>Art</strong><strong>Source</strong>.com<br />

Facebook.com/<strong>Sedona</strong><strong>Art</strong><strong>Source</strong><br />

Twitter.com/<strong>Sedona</strong><strong>Art</strong><strong>Source</strong><br />

Instagram.com/<strong>Sedona</strong><strong>Art</strong><strong>Source</strong><br />


“<strong>Sedona</strong> is surrounded<br />

by inspiration! On that<br />

day, thunderstorms<br />

kept happening all over<br />

the <strong>Sedona</strong> area. Rain,<br />

lightning, and wind<br />

can be a real challenge<br />

when painting outside.<br />

Beneath the clouds,<br />

Coffee Pot Rock seemed determined to ride out the foul weather. This gave me<br />

the inspiration to paint it, despite the brewing storms. (Pun intended.)”<br />

— Bill Cramer<br />

Plein Air - More Than Meets the Eye, PAGE 34<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


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Personal stories are powerful. They<br />

entertain, inspire, teach, and even affect<br />

our emotions. They allow us to think<br />

about things in ways we’ve never thought of<br />

before. In many instances, stories connect us to<br />

one another on a much deeper level. Throughout<br />

the pages of <strong>Sedona</strong> <strong>Art</strong><strong>Source</strong> there are a<br />

multitude of stories that uncover the depths of<br />

the artist's creative soul. These revelations are<br />

discovered through the interview process, which<br />

is an art in itself. We discuss everything from<br />

how artists create, their passions, desires, talents,<br />

ambitions, dreams, accomplishments as well<br />

as those emotional moments of their lives. We<br />

laugh. We cry. I believe the interview is where the<br />

heart and soul of the story unveils itself.<br />

After conducting more than three hundred<br />

interviews throughout my career, I can attest<br />

that not all interviews are the same. Each<br />

person is different. Each story has a unique<br />

twist. Many poignant moments unfold. But<br />

what remains steadfast is this invisible thread of<br />

connectedness that occurs between the person<br />

and myself. A rhythmic interlude takes place as<br />

if choreographed from some unknown source.<br />

During the conversation, when we have reached<br />

a delicate osmosis of giving and receiving, I am<br />

handed a sacred gift – the keys that unlock their<br />

innermost being.<br />

Within the words of this ancient Native<br />

American proverb lays the inherent truth:<br />

“Tell me the facts and I’ll learn. Tell me the truth and<br />

I’ll believe. But tell me a story and it will live in my<br />

heart forever.”<br />

It is an honor and a privilege to share the stories<br />

of <strong>Sedona</strong>’s most creative individuals with you.<br />

Their stories will always live within our hearts. It<br />

is our hope that their stories will live in your heart<br />

as well.<br />

8<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />

Lee Israel, Carol Kahn, Mike Medow<br />

SEE PAGE 50<br />

With gratitude,<br />

Carol Kahn<br />


<strong>Sedona</strong> ART<strong>Source</strong><br />





by Patti Polinard<br />

Mountain Trails Gallery in Tlaquepaque<br />

is home to one of the last representational<br />

galleries in <strong>Sedona</strong>. It has offered<br />

traditional storytelling with historical<br />

details in iconic Western, “Cowboy<br />

<strong>Art</strong>ists of America,” and Native American<br />

sculpture and paintings, for over 30 years.<br />

Their award-winning artists draw<br />

collectors from around the world. The<br />

gallery showcases over 50 magnificent<br />

artists like Susan Kliewer; Betty &<br />

Howard Carr; Lisa Danielle; Amy Lay;<br />

Ken, Vic and Dustin Payne; to Vicki<br />

Catapano; Michael Trcic; and Scott<br />

Rogers. The gallery offers extraordinary art<br />

from skillful artists whose technique and<br />

experience match their styles. Mountain<br />

Trails features realistic art that literally<br />

pulls at the heart with appreciation.<br />

Taking traditional subjects and bringing<br />

them into a modern world … Mountain<br />

Trails also has a contemporary edge with<br />

artists like Troy Collins, Gregory Stocks,<br />

and Terry Cooke Hall. This is a great<br />

gallery for plein air art with its colorful<br />

landscapes, floral paintings, figurative<br />

wildlife, still life, and cultural objects with<br />

varying contemporary styles.<br />

It is evident the visual language in<br />

Mountain Trails has something for every<br />

art lover. The gallery recently added the<br />

jewelry of Kim Yubeta, cowboy artist Curt<br />

Mattson from the National Sculpture<br />

Society, and the bells of Michael E. Beals.<br />

And if you wish to experience an artist in<br />

residence demonstrating techniques and<br />

capturing their subject’s essence, there<br />

are opportunities to witness this creative<br />

process as well.<br />

Mountain Trails Gallery at Tlaquepaque<br />

336 SR 179, Suite A201, <strong>Sedona</strong> AZ 86336<br />

Open 10 am - 6 pm Seven Days a Week<br />

Phone 800-527-6556 or 928-282-3225<br />

MountainTrails<strong>Sedona</strong>.com<br />

8 <strong>Sedona</strong> ART<strong>Source</strong><br />

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In my experience in all 50 states I never had a more thorough<br />

inside and out cleaning of a vehicle than at Cleaner Quicker.<br />

Your entire organization is geared to total customer<br />

satisfaction and perfection. Without a shadow of a doubt<br />

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<strong>Sedona</strong> ART<strong>Source</strong><br />


THE<strong>Art</strong>s<br />

STATE<br />

OF<br />

By Nancy Lattanzi<br />

The last few months have been buzzing with creative projects in the <strong>Art</strong>s & Culture<br />

Department at the City of <strong>Sedona</strong>. Beginning with our children, our <strong>Art</strong>ist in the Classroom<br />

is a valuable program that supports arts education in the schools. The school year came to<br />

a close with many engaging and inspiring projects being completed. Classes in photography,<br />

writing, painting, mask making, digital storytelling, theater, poetry, clay and tile mural work<br />

captivated our students who eagerly explored their creative abilities.<br />


<strong>Art</strong>s & Culture Coordinator<br />

City of <strong>Sedona</strong><br />

Featured artists at City Hall during the year include Harriet McInnis, whose alluring oil<br />

paintings include landscapes, still life, and portraits. Most know Harriet as a long-time<br />

volunteer and supporter for the arts. Not only is Harriet proficient in her work for<br />

the arts, she is also a gifted painter, which makes exhibiting her work even more special.<br />

Also featured was Meg Munro’s exhibit, “Beauty’s Bounty.” Her exquisite watercolor<br />

paintings include detailed florals and whimsical Mexican scenes. Meg lived in Mexico for<br />

30 years, where she connected to the culture and landscape. It was during these years<br />


Haystacks<br />

10<br />

<strong>Sedona</strong> ART<strong>Source</strong>

that her artistic body of work developed flowing art from<br />

her heart and vice versa.<br />


Sentinels<br />

Earlier this year we celebrated our local<br />

culture during our Moment of <strong>Art</strong>, presented<br />

monthly to the City Council. Our guest for<br />

Women’s History Month was the esteemed<br />

Adele Seronde, life artist, author and visionary<br />

who shared how art transforms the world.<br />

Lisa Schnebly Heidinger spoke about her<br />

great-grandmother <strong>Sedona</strong> Schnebly’s life and<br />

shared stories from her new book, The Journal<br />

of <strong>Sedona</strong> Schnebly. The <strong>Sedona</strong> Heritage<br />

Museum celebrated it’s 20th anniversary in May<br />

and we saw a film promoting our community’s<br />

history. This landmark building is a true gift to<br />

our community and a place that preserves and<br />

educates the public as caretakers of <strong>Sedona</strong>’s<br />

history.<br />

Film is an important part of <strong>Sedona</strong>’s history. June’s<br />

Moment of <strong>Art</strong> featured a film incorporating scenes of<br />

old Westerns filmed in <strong>Sedona</strong>. Graham Hill, a seasoned<br />

Hollywood Film Historian visited with myself and Ron<br />

Eland from the Red Rock News to share his passion for<br />

<strong>Sedona</strong>’s past. Film directors have been drawn to our<br />

iconic rock formations and unique landscape where close<br />

to 100 films were made in our area from the 1940s to<br />

the 1960s. Delmer Daves was one of the lesser-known<br />

directors, yet his body of work is impressive. He filmed<br />

all 4 movies we viewed at the City Council meetings:<br />

Broken Arrow, Drum Beat, The Last Wagon and 3:10 to Yuma. We are<br />

fortunate that the <strong>Sedona</strong> Heritage Museum restored the telegraph<br />

office, which is the last structure used in these old film clips. At the<br />

museum the public is invited to view scenes and read about the old<br />

films from our area.<br />

Another movie enthusiast, Joe McNeill, earned a Mayor’s <strong>Art</strong>s<br />

Award for his 678 page book, Arizona’s Little Hollywood. This<br />

exhaustive tome documents stories and tales that make up the<br />

lore and legend about <strong>Sedona</strong>’s filmmaking years. Graham Hill feels<br />

<strong>Sedona</strong> is sitting on an untapped resource. He would love to see<br />

our legacy come to life, through those that might be interested in<br />

developing more ways to promote our film history and educating<br />

the public about it. His hopes are for <strong>Sedona</strong> to recognize what<br />

the world sees from movies that has put us on the film map. Even<br />

modern Hollywood is recognizing <strong>Sedona</strong>. The recently released<br />

movie, Book Club, shows spectacular aerial scenes of our landscape,<br />

which took the audience by surprise. We all clapped as Diane<br />

Keaton looked down in awe from a<br />

small plane and gasped, “Wow, that<br />

is Cathedral Rock. This place is<br />

so beautiful.”<br />

<strong>Sedona</strong> has always been<br />

recognized as one of the most<br />

magnificent places in the world<br />

and has inspired a plethora of<br />

artists who have settled here<br />

or just come to visit in order<br />

to tap into their creative<br />

muse. In the words of<br />

Henry David Thoreau, “The<br />

world is but a canvas to<br />

our imagination.” We are<br />

fortunate to live in a place<br />

that is an iconic canvas,<br />

which is universally<br />

revered as such.<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


22 nd Annual Fall<br />

ARTIST<br />

SHOWS<br />

2018 ~ <strong>Two</strong> Weekends<br />

October 5 th 6 th 7 th<br />

Bill Worrell<br />

Barbara Westwood<br />

Adams <strong>Art</strong>ist Family<br />

John Maisano<br />

Tesa Michaels<br />

October 12 th 13 th 14 th<br />

Rebecca Tobey<br />

Jd Challenger<br />

Soho<br />

Daniel Newman<br />

Alexander Volkov<br />

Bling by Wilkening<br />

Friday* 4-8pm Saturday 3-7pm Sunday 11Am-2pm<br />

*Friday shows rsvp only<br />

14<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />

ExposuresFine<strong>Art</strong>.com • Sales@ExposuresFine<strong>Art</strong>.com<br />

800-526-7668 • 928-282-1125<br />

561 State Route 179, <strong>Sedona</strong>, AZ 86336 (1/4 mile south of 89A)<br />

©2018 Exposures International LLC

Barbara Westwood<br />

fine art jeweler<br />

Creating exquisite<br />

one-of-a-kind pairings<br />

of stunning gems,<br />

diamonds, and gold<br />

to delight<br />

collectors.<br />

Celebrating a lifelong<br />

career dedicated to<br />

creating fine art<br />

that conveys<br />

messages of joy,<br />

freedom, and spirit.<br />

Bill Worrell<br />

sculptor, poet,<br />

painter<br />

Jd Challenger<br />

painter<br />

Exploring his<br />

subject with depth,<br />

authenticity, and<br />

respect through<br />

paintings that convey<br />

the story of a people<br />

rich in heritage<br />

and traditions.<br />

John Maisano<br />

bronze sculptor<br />

Tesa Michaels<br />

painter using semi-precious stones<br />

Adams <strong>Art</strong>ist Family<br />

bell sculptors, painter<br />

Rebecca Tobey<br />

sculptor, painter<br />

Focusing on<br />

graceful<br />

interpretations<br />

of animals<br />

shaped in<br />

a way that<br />

captures<br />

each one’s<br />

life force.<br />

Blending<br />

semi-precious<br />

stones with<br />

original<br />

paintings to<br />

create unique<br />

and mesmerizing works of art.<br />

Using raw artistic<br />

talent to create bells<br />

of astounding visual<br />

and aural beauty, and<br />

paintings inspired by<br />

a magical process.<br />

Drawing from<br />

experience with<br />

the outdoors,<br />

animals, family,<br />

love, life and travel<br />

brings a fresh<br />

perspective<br />

to each creation.<br />

Soho<br />

fine art jeweler<br />

Daniel Newman<br />

stone sculptor<br />

Alexander Volkov<br />

painter<br />

Bling by Wilkening<br />

semi-precious & regal travel jewelry<br />

Transforming<br />

the age-old<br />

art of enamelmaking,<br />

Ceava Kats<br />

creates<br />

designs cherished the world over<br />

for their<br />

stylish<br />

appeal.<br />

Sculpting poetry<br />

in stone, his<br />

compositions of<br />

ethereal beauty and<br />

romance are collected<br />

worldwide.<br />

Fascination<br />

with the<br />

mystery of<br />

light traveling<br />

through<br />

darkness<br />

brings drama and poetic expression<br />

into his work.<br />

Working at<br />

the cutting<br />

edge of estate<br />

fashion,<br />

Whitney<br />

designs and<br />

creates exquisite jewelry for travel<br />

and everyday wear.<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


THE ART OF<br />


By Carol Kahn<br />

“Dress shabbily and they remember the dress;<br />

dress impeccably and they remember<br />

the woman” – Coco Chanel<br />

<strong>Art</strong> and fashion have forever been entwined. Fashion designers have<br />

transcended art, while artists have been inspired by fashion. In 1918, Pablo<br />

Picasso painted Women Bathing, a portrait of women wearing provocative<br />

Chanel bathing suits. He was fascinated by these suits and how the<br />

women behaved wearing them.<br />

Fashion icon Coco Chanel was a rule-breaker in life and in work.<br />

She happily joined the creative circle of impresario Sergei Diaghilev,<br />

who invited both Chanel and Picasso to dress rehearsals for his new<br />

productions. Diaghilev staged “fashion parades” of costumed dancers for<br />

the pair, seeking their opinions and suggestions. His Ballets Russes was as<br />

famous for its highly original sets and costumes as it was for its music and<br />

choreography.<br />

Fashion was then, and is now, big business. From designer runways,<br />

to television shows, to the red carpet, fashion statements are made and<br />

16<br />

<strong>Sedona</strong> ART<strong>Source</strong>


Fashion designer and<br />

<strong>Sedona</strong> boutique owner<br />

<strong>Sedona</strong> ART<strong>Source</strong> 15

eported on. Coverage of “who is wearing what<br />

outfit designed by whom” makes headlines all<br />

the time. Fashion stylists gain notoriety when<br />

power brokers for Hollywood’s elite clamor<br />

for exclusivity and the perfect outfits for their<br />

clients.<br />

The way you dress – the clothes you wear – can<br />

unequivocally define who you are. “There is no<br />

road map to style. It’s about self-expression and,<br />

above all, attitude,” says fashion icon Iris Apfel,<br />

whose sense of style and claim to fame include<br />

wearing owl-shaped glasses and layers of vintage<br />

and costume jewelry. At the age of 96, Apfel’s<br />

eclectic style, wit, and humor have earned her<br />

the right to say what she wants about clothes and<br />

fashion.<br />

It’s clear that Iris Apfel has a point: Clothing<br />

can be used to express who you are. “People are<br />

afraid of fashion,” explains Candace Walters,<br />

owner of Victorian Cowgirl and Posh boutique in<br />

<strong>Sedona</strong>. “I try to help women feel good in outfits<br />

that I know look great on them. I get excited<br />

about watching them be transformed,” she says.<br />

16<br />

<strong>Sedona</strong> ART<strong>Source</strong>

...One of these purses<br />

can complete an outfit.<br />

They are art pieces!<br />


<strong>Sedona</strong> ART<strong>Source</strong><br />


I truly love helping<br />

others find their own<br />

particular sense of syle.<br />


20<br />

<strong>Sedona</strong> ART<strong>Source</strong>

Candace’s passion is fashion. Growing up<br />

in Indiana, she always knew fashion was her<br />

destiny. After convincing her mother that she<br />

was ready for the big city, Candace hopped on<br />

a bus and arrived in Los Angeles, only to realize<br />

that she wasn’t prepared for urban living. “I was<br />

scared to death,” she says, “and I wanted to go<br />

home, but my mother taught me never to say ‘I<br />

can’t,’ so I persevered.” Walters attended the<br />

Fashion Institute, studied costume design, and<br />

worked in a women’s boutique, helping many<br />

celebrity clients. While there, she accumulated<br />

a portfolio and was hired as a stylist for fashion<br />

shoots, working closely with Harry Langdon, Jr.,<br />

one of the world’s top commercial and glamour<br />

photographers.<br />

Candace dressed actresses Morgan Fairchild,<br />

Charlene Tilton, and Victoria Principal from<br />

the TV show Dallas. She worked with Diana<br />

Ross on photo shoots and created costumes<br />

emblazoned with rainbow fringe and lots of<br />

sparkles for country singer Crystal Gayle.<br />

Candace’s taste in clothes is diverse. She<br />

appreciates various styles, from Edwardian<br />

to vintage, from steampunk to over-the-top<br />

glamorous. She loves the designs of John<br />

Galliano, Christian Lacroix, Kenzo, and other<br />

designers who have stepped out of the traditional<br />

fashion box and created edgy haute couture.<br />

“I have always been ahead of the times,” says<br />

Candace. “My fashion sense is really my gift,<br />

and I truly love helping others find their own<br />

particular sense of style.”<br />

As a collector of vintage clothing, buttons,<br />

fabrics, and lace, Candace lights up as she talks<br />

about the items she has gathered, some of which<br />

she has trouble parting with. “I have been<br />

<strong>Sedona</strong> ART<strong>Source</strong> 19

Celebrity stylization by Candace Walters<br />

22<br />

<strong>Sedona</strong> ART<strong>Source</strong>

“There is no road map to style.<br />

It’s about self-expression and,<br />

above all, attitude.”<br />


collecting vintage clothing since I was twenty<br />

years old. I have some unbelievable buttons from<br />

the late 1800s,” she says. “It’s difficult for me to<br />

let go of them, even though I know they would<br />

make a fabulous statement on an outfit … There’s<br />

a dress from the 1890s, which is my most prized<br />

possession. It’s a little shredded now, but to see<br />

how it is constructed, with undergarments built<br />

into the dress, is fascinating to me … Years ago,<br />

I created my own clothing line. I used mostly<br />

velvet fabrics. I am going to start designing again,<br />

this time with a ‘Ralph Lauren’ type of look.<br />

That’s the best way I can describe it,” she says.<br />

Glancing around Victorian Cowgirl and Posh,<br />

people can see photographs of the celebrities for<br />

whom Candace has worked, as well as colorful<br />

bolts of vintage fabrics and a signature collection<br />

from her past. Clothing, shoes, belts, scarves,<br />

and jewelry have been carefully selected in order<br />

to create the perfect ensemble for her customers.<br />

Vintage handbags hang along a wall, as if the<br />

display pays “homage to fashion of yesteryear.”<br />

Walters says, “People often ask about the purses.<br />

They are vintage-inspired. People seem to be<br />

attracted to vintage, and one of these purses can<br />

complete an outfit. They are art pieces!”<br />

Vintage-inspired purses from<br />

Victorian Cowgirl Boutique<br />

The art of the purse, the art of fashion, the art<br />

of designing clothing—past and present—these<br />

imbue the Candace Walters persona. Her art<br />

epitomizes the doing of something that pops out<br />

of her head. Her joy comes from having people<br />

recognize that it also comes from her heart.<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


24 <strong>Sedona</strong> ART<strong>Source</strong>


Allison Rae Nichols<br />

Inspired by themes of romantic love and<br />

as the vehicle to express the intricacies of<br />

partnership, Allison uses two miniature<br />

figurines in her collection, which represent<br />

Humphrey Bogart and Ingrid Bergman. The<br />

characters are emboldened by a surreal journey<br />

that offers insight into topics of vulnerability,<br />

compromise, joy, loss and desire. Using<br />

elements that are familiar and fanciful, she<br />

says the goal of her work is to promote poetic<br />

insights into the human psyche and lead to<br />

personal discoveries that connect us to each<br />

other as well as to the natural and spiritual<br />

world.<br />

Growing up in a house full of artists, the<br />

symmetry between art and life has always been<br />

part of Allison’s story. From a very young age<br />

she recognized the connections and has been<br />

exploring them ever since. “I seek to inspire<br />

awe and wonder," says Nichols. “The work in<br />

my recent City Hall exhibition was inspired by<br />

my move to the Southwest and speaks to ideas<br />

of romance,<br />

love, loss, and<br />

possibilities.<br />

It was a show<br />

for lovers and<br />

fighters and<br />

anyone who's<br />

taken a leap<br />

of faith with<br />

a person or a<br />

place."<br />

It was a<br />

passionate<br />

show, one in<br />

which the artist<br />

hoped viewers<br />


would find<br />

meaning, camaraderie, and joy. She hopes to<br />

provide a new lens to interpret our memories<br />

and push our imagination about the future.<br />

Nichols earned a BFA in painting from<br />

Northern Illinois University<br />

and has appeared in<br />

numerous group and solo<br />

exhibitions throughout<br />

the country including such<br />

places as Chicago, New<br />

York and New Mexico.<br />

She was artist-in-residence<br />

at the Historic Santa Fe<br />

Foundation and at Petrified<br />

Forest National Park. After<br />

spending two years on the<br />

road travelling and painting<br />

throughout America,<br />

Nichols now lives in <strong>Sedona</strong><br />

and loves calling it home.<br />

— Nancy Lattanzi<br />

THE RIFT by Allison Rae Nichols<br />

ALLISON RAE NICHOLS and “THE RIFT” photo: Chris Nichols<br />

<strong>Sedona</strong> ART<strong>Source</strong> 23

the tradition of<br />

Hopi Kachina<br />

By Lynn Alison Trombetta<br />


At the Kachina House in <strong>Sedona</strong>, colorful handcrafted dolls reveal a rich<br />

and varied history of a people and a culture nearly lost to time.<br />

To understand the meaning of katsina dolls, you must understand<br />

some of the Hopi culture and way of life.<br />

Visit the Kachina House in <strong>Sedona</strong> and your attention<br />

will be equally divided between the amazing story of a<br />

people, and the hundreds of katsina doll faces that seem<br />

to stand vigil on the shelves. Since 2004, Patty Topel<br />

and sisters, Toby Frank and Judy Frank have studied,<br />

learned and shared the art of Native Americans. They<br />

purchase directly from the artists and ship all over<br />

the world. “We are the largest distributor of Native<br />

American arts and crafts in the state of Arizona,” Topel<br />

said.<br />

She added, “We’re doing what we can, in this little<br />

way, in this little business to keep this culture thriving.<br />

That’s it. And without the traders that did this<br />

hundreds of years ago when they were trading for flour<br />

and getting baskets from the people, all of this would<br />

be gone. I can’t commend us for anything; I can just say<br />

that we’ve been able to take advantage of the fact that<br />

other traders led the way for this. Without that, these<br />

people couldn’t make a living doing their artwork. We<br />

couldn’t teach anybody; the stuff would be gone. And<br />

that would be so sad.”<br />

About the Hopi Katsina<br />

Also known as Kachina, Katsinam (kat-see-nam)<br />

are spirit guides, deities, and friends of the Hopi, a<br />

communal farming Native American people who live<br />

in villages on a reservation in northeastern Arizona.<br />

There are three aspects to the katsina concept among<br />

Native American peoples: the supernatural being or<br />

deity; the dancers and members of the community<br />

who represent the deities in dance and for religious<br />

ceremonies; and colorful katsina dolls carved in the<br />

likeness of the spirit being.<br />

24<br />

<strong>Sedona</strong> ART<strong>Source</strong>

The Spiritual<br />

For all of time, the Hopi people have carved katsinam<br />

to represent the hundreds of spiritual beings central to<br />

their religion. These carved figures range from the very<br />

simple, ‘flat form,’ or ‘traditional,’ to the ‘contemporary<br />

form’ which is more complex. This carving tradition<br />

is unique to the Pueblo Tribes of Arizona and New<br />

Mexico.<br />

The dolls are used to teach the women and children<br />

about their religion and about what their katsinam<br />

mean in the Hopi world. This transmission of custom<br />

and belief through the represented spirit essence of<br />

everything in the world of Hopi is most important,<br />

because this is not written down. The children must<br />

learn in this manner from the time they are very young.<br />

The Dancers<br />

Hopis believe that when they wear the masks and<br />

regalia that depict their spiritual beings for ceremonies<br />

and perform that particular katsina’s spirit dance, they<br />

themselves become that supernatural being. As such,<br />

it is believed they may cure illness, bring rain, and help<br />

maintain balance in the Hopi world.<br />

During the katsina season, a yearly cycle of religious<br />

ceremonies, Hopi men wear masks passed down for<br />

generation upon generation and dress as their katsinam<br />

for ceremonies and to appear in the town streets and<br />

plazas.<br />

“Only males are allowed to dance and there’s training<br />

for that,” Topel commented. “You have to know the<br />

songs, you have to know the dance steps, and you<br />

have to know everything you’re supposed to do as that<br />

particular katsina. And when you put that mask on, it is<br />

the same mask that your great, great, great grandfather<br />

wore. And he breathed in that same mask! Just knowing<br />

that, just the honor that comes with that, would be<br />

enough to drop you to your knees!”<br />

Each katsina has special meaning: The Grandmother<br />

katsina and Broadface are protectors; the Sunface is<br />

very powerful because it is the sun. Maasaw, the most<br />

powerful Hopi katsina, is said to circumnavigate the<br />

earth every night and decide who goes on to the next life<br />

and who does not. He decides who is good, and who is<br />

not and it is he who controls the night and fire.<br />

Topel estimates that there are about 650 active katsinam<br />

right now, each with a male and female counterpart,<br />

but all of the dancers except one are male. When<br />

represented in human form, the dancer behind the<br />

mask of Maasaw Mana, Maasaw’s partner, is female<br />

because it is believed that it is necessary to have a true<br />

female by his side to stop Maasaw from over-reaching<br />

with his power.<br />

The principal idea is that the katsinam are the ones who<br />

make the dolls and then give them to the people. Yet,<br />

the man who dances as the katsina is not necessarily the<br />

one who carved the doll. Generally, someone else has<br />

carved several different dolls for the ceremony, but it is<br />

the katsina, that is, the spirit in human form, who must<br />

hand them out. Even as adults, these are gifts from the<br />

katsinam, they are not gifts from carvers or that<br />

<strong>Sedona</strong> ART<strong>Source</strong> 25


someone else purchased.<br />

The doll is usually given along with something else, like<br />

corn, or beans, and carries meaning and a burden of<br />

responsibility behind the gift, thereby offering direction<br />

to where the person should now direct his or her energy<br />

in life.<br />

The Dolls<br />

1<br />

2<br />

3<br />

The first known katsina dolls were obtained by regional<br />

traders in the 1800s, and the collection on display at<br />

Kachina House offers more than a glimpse into the<br />

culture and history of the Hopi and other Plains Indians.<br />

In the early 1900s the U.S. Government<br />

informed the Native Americans that they could<br />

no longer use migratory and predatory bird<br />

feathers on their dolls. However, the regulations<br />

weren’t truly enforced until the early 1970s when<br />

they clamped down hard. This complicated<br />

law dramatically altered the methods used for<br />

making the dolls: The Hopi changed completely<br />

to all wood carvings, and the Navajo began using<br />

dyed turkey feathers, marabou, and rabbit skins<br />

for their dolls. Today, the only time feathers are<br />

used on the Hopi dolls are for the traditional<br />

katsinam, and it is illegal to sell, buy or own any<br />

items containing the restricted feathers.<br />

1. (shown front and back) YELLOW AHOTE<br />

Allen Joshevama<br />

2. (shown front and back) BLUE AHOTE<br />

Everett Curley (from the 1970s)<br />


Augustine Mowa III<br />

“Their trailing headdresses<br />

show the difference<br />

between the use<br />

of feathers in the<br />

older carving and<br />

the carved<br />

feathers in the<br />

contemporary<br />

carvings.”<br />

- Patty Topel<br />

Traditionally, only cottonwood root has been used by<br />

the Hopi for carving representations of their spiritual<br />

beings.<br />

It is no surprise that collectors are often drawn to the<br />

same katsina face over and over again. According to<br />

Topel, that may mean something. The Badger and the<br />

Bear are powerful healers and a lot of doctors collect<br />

them. The Sunface is very powerful. The Broadface<br />

katsina is not only a personal protector, but also<br />

protects against evil spirits, so it is hung by the front<br />

door.<br />

The Grandmother is a powerful protector and is the<br />

first katsina a child receives when he or she is born.<br />

Kept inside the baby’s blankets for the first year of<br />

life, the katsina is with him or her at all times. As the<br />

child grows, the katsina is hung over the bed, like a<br />

mobile. The female children will receive more complex<br />

katsinam as they get older.<br />

A question that Topel is often asked is about the best<br />

way to distinguish between authentic katsinam and fake<br />

ones. Her reply is complex.<br />

“Only the Pueblo Indians do katsinam. The Navajo<br />

make Kachinas, but they do them for economic reasons.<br />

They mean nothing spiritually to the Navajo people.<br />

Most of their doll parts are machine made and they<br />

are pegged and glued together by the Navajo people<br />

and painted from a color chart to replicate the Hopi<br />

katsinam. Pricing for the Navajo dolls is much lower<br />

and we sell plenty of them to collectors that don’t have<br />

the funding to buy the more expensive Hopi creations.<br />

They are nice, they may still have spiritual meaning for<br />

the person who owns them, but they don’t have<br />

1<br />

28<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


“This Grandmother Katsina<br />

is a protector and keeps the child safe ...<br />

much like a grandmother does ...<br />

She is the first carving an infant receives<br />

and it is placed inside the<br />

blankets that the baby is<br />

wrapped in for the entire<br />

first year of the baby’s<br />

life. The carving is then<br />

hung above the bed<br />

of the child and as the<br />

child gets older she<br />

or he will get more<br />

katsinam as gifts.”<br />


2<br />

1<br />

3<br />

5<br />

4<br />

Grandmother Katsina<br />

1. Marty Naha 2. Raynard Lalo 3. Malcolm Fred 4. John Fredericks 5. Marlin Honhongva<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


3<br />

4<br />

2<br />

1<br />

5<br />

1. Darrell Youvella<br />

4. Dwight Armstrong<br />

6<br />

The Sunface<br />

2. Leander Tenakhongva<br />

5. Jason Curley<br />

3. Orlan Honyumptewa<br />

6. Joe Gash<br />

30<br />

<strong>Sedona</strong> ART<strong>Source</strong>

collector quality. They are souvenir quality dolls. You<br />

will know by the feathers and the price point.”<br />

The best way to understand your purchase is through<br />

personal education and by buying from someone<br />

reputable. If authenticity is important to you, learn the<br />

names of the carvers. Realize that most of the artists will<br />

sign things differently, and in some cases they won’t<br />

sign them at all.<br />

The old style dolls will have mineral paint on them<br />

and appear significantly more muted in color. In fact,<br />

the intensity of color used to paint the katsinam offers<br />

important clues; if the<br />

colors are very intense, or<br />

saturated, then they are<br />

commercial pigments. If<br />

they are subdued, they are<br />

likely traditional natural<br />

powdered pigments. Some<br />

clay-based paints are made<br />

with natural pigments, but<br />

if the color is, for example,<br />

too red, then it is likely that<br />

a commercial additive has<br />

been used to intensify the<br />

hue. For other colors the<br />

contemporary artist will use<br />

acrylic or watercolor.<br />

Topel explained, “If the<br />

dolls are carved for dances<br />

and not for the trade, when<br />

you pick them up the paint<br />

“The saucer holds the natural<br />

pigments that are dry ... they<br />

are very concentrated clay<br />

based paint, add a little<br />

water and paint.<br />

It is wonderful pigment.”<br />

- Patty Topel<br />


Bryan Nasetoynewa<br />

will smear and you will ruin them. If they’re produced<br />

for the trade, then the artists use a clay-based paint<br />

which adheres to the wood so you can pick them up and<br />

it doesn’t rub off.” She added, “Now, in the full figures,<br />

the really expensive ones, it’s easier to tell. Because, for<br />

example as you look at all the Sunfaces, you’re going<br />

to see that there’s repetition with each one in the way<br />

the face is painted, how their regalia looks, and what<br />

they carry in their hands. They all have a reason why<br />

they are made to look certain ways. So really, it’s an<br />

education process, and I think you really have to be<br />

careful because the fakes are everywhere and they’re<br />

getting better and better.”<br />

In summary, the Hopi people share a complex living<br />

history that is different by mesa and different by village,<br />

but there are enough commonalities in the artistic<br />

interpretation of the deities that, through observation,<br />

the authentic pieces begin to stand apart from the fakes.<br />

It takes a lot of knowledge overall, and a reputable<br />

dealer, who is likely to know and will honestly tell you<br />

if he does not know, can guide you in a purchase.<br />

The People<br />

Topel spoke freely of her affinity for the Hopi people<br />

and of their respect of the natural world. Like a campfire<br />

story, her words conjured up images from the past as<br />

she explained that the Hopi, and in some cases, others<br />

such as the Cherokee, share an ethic where they use<br />

every part of an animal that they kill. They use the hide<br />

for warmth, they use the<br />

meat for food, they use all<br />

of the bones; the jaw for<br />

weapons, the rib bones for<br />

breast plates, and they grind<br />

the shards into powders<br />

to be added to their food<br />

as medicinals. Nothing is<br />

wasted.<br />

“They use the legs as<br />

handles for weapons,” she<br />

explained. “They keep<br />

the skulls. A small deer<br />

skull with the antlers still<br />

attached to it would be<br />

used for a dance staff for a<br />

medicine man. They have<br />

rattles made from a turtle<br />

shell after they took the<br />

meat out of it and ate it.<br />

The rawhide is part of a deer or a moose or buffalo or<br />

something that they killed, soaked the skin and turned<br />

into rawhide. Every piece is used. And something is<br />

always left behind for the other wild animals to share<br />

their blessings.”<br />

This practice of using all available materials is also<br />

evident in the other Native American crafts on display.<br />

Their baskets are woven from local grasses and, in many<br />

cases, the pigments used to paint the traditional, or ‘oldstyle’<br />

katsinam are natural colors derived from berries<br />

and plants. Boiled-down spinach produces a dull black<br />

shade, certain dried and prepared insects yield crimson<br />

and scarlet hues, and crushed berries provide red and<br />

blue.<br />

It is the traditional katsina you would see in a Hopi<br />

home because they hang them on the wall in their one<br />

<strong>Sedona</strong> ART<strong>Source</strong> 29

oom house and use them as teaching tools. In some<br />

cases, you might see an incredibly detailed figure that<br />

one of the carvers has carved to be given at a dance.<br />

“When you’re born into Hopi, from what I understand,<br />

it’s not like when you are born on the outside,” Topel<br />

remarked. “There seems to be a religious and cultural<br />

constraint set upon you from the day you’re born. You<br />

have responsibility for your clan, your family and for<br />

your pueblo. You have guidelines; there are some places<br />

you can’t go. You’ll never be higher in the Hopi class<br />

than where you were born. You have to marry within<br />

certain clan lines and outside of others. To outsiders it<br />

might seem really restrictive, but it isn’t because they<br />

know the rules from the beginning. You can see the<br />

respect that these people have for their culture and the<br />

history behind it. And the community is pushing really<br />

hard to have the kids speak Hopi again. It’s critical<br />

because if you lose your language, you lose a big piece of<br />

who you are.”<br />

The Kachina House offers extensive educational<br />

material online with photos of each doll and stories<br />

about who they are and what they stand for. Topel<br />

mused, “I could talk about the Hopi culture, and the<br />

dolls and the people forever. They are so respectful of<br />

everything.”<br />

She added, “These things that I know, I’ve learned from<br />

the Hopi people … things they have discussed with us.<br />

I’ve learned some very interesting things. And there<br />

are other things that they won’t talk about, and dolls<br />

they won’t carve. We will find old ones and I’ll say, ‘Hey<br />

guys, I’ve never seen this, make it for me.’ But they may<br />

say, ‘I can’t.’ And that’s the answer. I never ask why. It’s<br />

not my business, it’s not my religion, it’s not my life, and<br />

it’s not my culture.”<br />

The Hopi people reportedly are the only Native<br />

American tribe that is in situ, which means they are in<br />

the place they have always been.<br />

32<br />

Red Tail Hawk<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />

Topel’s voice softened. “Everyone else, every other<br />

tribe, every other group has been relocated by the U.S.<br />

Government. But not the Hopi. They really are a living<br />

history in that location. That’s important because you<br />

can study their history and culture so much easier when<br />

you know they haven’t lost anything. They were never<br />

pushed, never moved out of their place. They didn’t lose<br />

their clay beds, or their ceremonial grounds, or their<br />

natural resources like salt for curing meat, their water<br />

and their planting fields. They have always been there.<br />

No one else has that.”

<strong>Sedona</strong> ART<strong>Source</strong><br />


34 <strong>Sedona</strong> ART<strong>Source</strong>

SteakHouse 89<br />

c l a s s i c s t e a k h o u s e • m o de r n s o p h i s t i c a t i o n<br />

steakhouse 89 works with local farmers,<br />

purveyors, and producers to prepare<br />

what’s fresh and in season.<br />

Serving responsibly raised meats,<br />

bread baked from scratch daily,<br />

and an extensive selection of<br />

beer, wine & cocktails.<br />

classic Sunday Brunch<br />

with live music.<br />

2620 SR 89A <strong>Sedona</strong>, Arizona<br />

www.SteakHouse89.com<br />

928.204.2000<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


"CATHEDRAL ROCK" in progress, by Bill Cramer<br />

36<br />

<strong>Sedona</strong> ART<strong>Source</strong>

P lein Air<br />


Interview by Lynn Alison Trombetta<br />

Plein air artist, Bill Cramer, keynote speaker for the 2018 <strong>Sedona</strong> Plein Air Festival,<br />

offers a behind the scenes glimpse into the art form, the artist’s process and the<br />

event. This week-long celebration of natural beauty and art serves as inspiration<br />

for painters, art collectors, and visitors alike.<br />

SAS: The <strong>Sedona</strong> <strong>Art</strong>s Center dates back sixty years<br />

to the founding of <strong>Sedona</strong>’s identity as an ‘art colony.’<br />

When did their <strong>Sedona</strong> Plein Air Festival become an<br />

annual event for the community?<br />

BC: About two decades ago there was a resurgence<br />

in painting outdoors, or plein air painting. Some areas<br />

started to have plein air events; <strong>Sedona</strong> was one of the<br />

early ones. Now they are all over the country. This is<br />

the fourteenth year for <strong>Sedona</strong>!<br />

SAS: Every October this week-long celebration<br />

draws world-renowned artists and art lovers to the<br />

beautiful <strong>Sedona</strong> landscape. When did you become<br />

involved?<br />

BC: My wife, Michelle and I moved to Arizona in 1993.<br />

I have a degree in art from Cal State, Long Beach but I<br />

wasn’t doing much with it. I didn’t know what I wanted<br />

to do with my art. Then I read an article about plein air<br />

painting, grabbed what I had in the house and went out<br />

and painted in the backyard. I still have that painting!<br />

I do a lot of rock climbing and hiking, and it occurred<br />

to me that plein air painting might be a good way to<br />

combine the two − be outdoors and create art. So I<br />

just kept doing it. I began participating in the festival<br />

about ten years ago.<br />

SAS: The town buzzes with excitement during the<br />

event, which creates a lot of curiosity about how it all<br />

works.<br />

BC: Yes, it’s a fun event and there are workshops,<br />

exhibits and lectures to enjoy and help artists and art<br />

lovers understand some of the process. There are a<br />

lot of artists who just do plein air and that’s all they<br />

sell. But that’s not practical for everybody; maybe they<br />

don’t live in a beautiful place where they can always<br />

walk outside their door and paint. For the workshop I<br />

offer, we go out and paint a couple of days, bring those<br />

back into the studio and create an ‘en studio’ painting.<br />

This way, people can learn how to transfer a plein air<br />

into a more finished studio painting, which is a very<br />

traditional way to work. So they can take their plein air<br />

experience, bring it back home and create some fresh<br />

new work that way.<br />

SAS: How many artists participate?<br />

BC: It varies, but about thirty. Most plein air events<br />

seem to be in the twenties, some forties, and some of<br />

the ones in other locations that aren’t juried get a lot<br />

of participants.<br />

People come to the <strong>Sedona</strong> event from all over the<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


country. There are so many good painters, and a lot of them<br />

have been here previously and painted independently, so<br />

they’re familiar with the area.<br />

SAS: What advice do you have for someone who dreams<br />

of someday being part of a plein air painting event?<br />

BC: Hopefully they’ve done a lot of outdoor painting before<br />

they start applying to shows. You really have to be on your<br />

game to show up for those things. If you’re just starting out,<br />

or tying to see if you want to do this, I’d say go to some of<br />

the shows as a spectator and bring your paints, maybe ask<br />

if you can just hang out with some of the artists … I know I<br />

don’t mind if people just show up.<br />

You learn a lot from the other painters about how it all<br />

works and then you kind of morph that into your own<br />

method. Everybody’s method is a little different, but unless<br />

you see other people working, you might not get a good<br />

grasp of how to do it. That’s the way I got started. I went<br />

to some plein air events, watched other artists, took some<br />

pictures of their equipment, asked what kind of paint<br />

brushes they used, and then I applied to a couple of shows<br />

that aren’t juried, events where you can just show up and<br />

paint.<br />

For the <strong>Sedona</strong> Plein Air Festival, you have to apply and you<br />

get juried in. However, there are a number of shows for<br />

beginners, or anybody really, where you just apply and go<br />

there and paint for a week and put the paintings up for sale.<br />

They’re not very stressful, kind of low-key, fun events. That’s<br />

a great way to get your feet wet, meet a lot of artists and<br />

figure out the ‘plein air’ thing.<br />

SAS: Any tips for those getting in a little deeper?<br />

BC: I try to let people know that the events can be kind<br />

of stressful in some ways, but I still try to make them fun. It<br />

seems silly, but for me the plein air events are a great chance<br />

to hang out and relax. We will bring a cooler of beer and<br />

some wine and make it something of an event instead of<br />

making it all about cranking out paintings.<br />

Also, I didn’t even think about this when I got started, but a<br />

lot of the people that I’ve come to know at these events are<br />

some of my best friends now and we hang out and do other<br />

things together. So, that’s been one of the notable things<br />

about participating that I didn’t expect. It’s been the thing<br />

that surprised me the most, how great the people are and<br />

how large my ‘art family’ has become. You know, you don’t<br />

get that from being in the studio by yourself all of the time.<br />

SAS: Let’s talk about what it’s like from behind the artist’s<br />

easel: Painting en plein air is not necessarily always the<br />

bucolic scene depicted in paintings from the past, and<br />

doing art outdoors can present challenges. Is it possible<br />

to work in less than ideal weather conditions?<br />

BC: It depends, if it’s a light rain or wind you deal with it<br />

best you can. If there’s lightning, maybe not! I’ve almost<br />

been hit a couple times, like very close within yards of me.<br />

So that’s something to be avoided. Excessive heat as well.<br />

Any of the extremes make it difficult. But you can manage<br />

up to a point; we’ll go out and paint in snow, we just dress<br />

right. You can make it work. But, the weather will definitely<br />

play a part. There are also other aspects of being outdoors:<br />

too many tourists coming around, too many distractions and<br />

insects. When I say insects, I mean not just on<br />

you, but they stick to your painting!<br />

SAS: Or maybe, wind blowing your canvases<br />

away?<br />

BC: Yeah, I’ve had a couple of friends lose their<br />

whole rig over the side of the Grand Canyon.<br />

I’ve rescued a couple … climbed down and<br />

retrieved their materials. Don’t use umbrellas<br />

− that’s my advice. They’re handy to a point,<br />

but if there’s any kind of breeze, they’re going<br />

to blow your rig over.<br />

SAS: While many artists work in oil, are we<br />

likely to see other media at a plein air event?<br />

Virgin River, Zion National Park<br />

BC: Everybody uses all media work −<br />

gouache, a water-based technique, watercolors,<br />

36<br />

<strong>Sedona</strong> ART<strong>Source</strong>

“When you stand there and work<br />

on a painting for a few hours,<br />

you see the landscape change<br />

and you really understand better<br />

the lighting and the features<br />

of the landscape; you really<br />

start to get it.”<br />


acrylic, and oil paints. I know at Grand Canyon they’ve<br />

had sculptors who sculpt animals in plein air. Oil is most<br />

common, being the most traditional, and in many ways it is<br />

easier to handle outdoors. Acrylic paints dry very fast, but<br />

watercolor, pastel and gouache all work fine.<br />

SAS: I know we’ve touched on this, but do most plein air<br />

artists work entirely outdoors, on location, to create their<br />

paintings, or are these considered rough drafts along with<br />

photographs for greater projects back in a studio? That is,<br />

aside from the juried competitions, is the goal to complete<br />

a whole painting? Or is it more about absorbing the<br />

sensory experience, enjoying the process and then being<br />

able to translate that into a larger, more finished piece?<br />

BC: Yes, all of those things. You may end up with a finished<br />

painting, you may end up with a nice sketch that you can<br />

use for something in the studio later, it runs anywhere in<br />

between. And you may end up with a painting you just<br />

scrape off and that was it and you paint another. That’s<br />

totally okay too. You learn by doing that, you know. They<br />

don’t have to be finished paintings. During the events,<br />

yes, you have to end up with a framed painting. But the<br />

level of finish depends on what you are trying to achieve,<br />

and when you are trying to achieve it. Paintings that are<br />

done outdoors and then brought indoors to finish, we call<br />

"pleinudios"− plein air-studio paintings. That’s a legitimate<br />

way to work. The paintings done in the field sometimes<br />

need a little love back in the studio to make them a better<br />

painting: knock the bugs off, clean things off.<br />

SAS: In summary, plein air painting is all about “seeing”<br />

accurately, isn’t it?<br />

BC: Yes, because if you are working from photographs,<br />

that can have all kinds of problems. Working from photos<br />

has become pretty common in studio, but I think to really<br />

understand the landscapes you’ve got to go outside,<br />

experience it, and try to paint it. When you stand there and<br />

work on a painting for a few hours, you see the landscape<br />

change and you really understand better the lighting and<br />

the features of the landscape; you really start to get it.<br />

Photographs can be deceptive, the values can be off, the<br />

colors can be off, the proportions can be off, and if you<br />

don’t know that, your paintings are going to be a little off.<br />

People should be careful and understand that photography<br />

shouldn’t be their only tool.<br />

SAS: Going out in nature offers the opportunity to know<br />

the place not only three dimensionally, but to feel and<br />

smell the land as well.<br />

BC: Yeah, I love that, I’m kind of known for hanging out in<br />

bare feet. I’ll stop painting and go climb around and jump in<br />

<strong>Sedona</strong> ART<strong>Source</strong> 37

“Bridge to Forever”<br />

Inset: Bill Cramer, Grand Canyon<br />

the creek and really immerse myself<br />

in that landscape a little bit, which is<br />

one of the joys of being able to be<br />

outside and work.<br />

Usually, I go out in the mornings and<br />

paint all morning. I might get one,<br />

two, three paintings done and then<br />

when the afternoon comes around if<br />

it’s hot, or the light gets kind of flat, I<br />

might take a break and then wait until evening and then do<br />

another session. You paint sunrise to sunset during the plein<br />

air events. Throw in some hiking to get to a certain spot<br />

and you’re pretty wiped out by the end of the week − but<br />

it’s worth it!<br />

SAS: In your experience, what one thing do all of the<br />

artists who have participated through the years have in<br />

common?<br />

BC: For all the artists I have come to know and respect and<br />

who have become friends of mine, it is two things: The love<br />

of nature and being outdoors, and the love of the work.<br />

They’re out there before sunrise and they stick it out pretty<br />

much all day. And they don’t just ‘get it done,’ but there’s a<br />

real desire to get at it.<br />

SAS: And from the other side of the easel, you are<br />

participating in different ways, including as the keynote<br />

speaker for <strong>Sedona</strong> Plein Air Festival this year, correct?<br />

the judge of the awards, so it’s all my<br />

fault!<br />

SAS: What do you feel is the<br />

Festival’s greatest benefit to those<br />

who attend and for the community<br />

of <strong>Sedona</strong>?<br />

BC: The community really backs<br />

the event in more ways than can be<br />

counted. There’s so much behind putting the event together.<br />

The employees and volunteers are great and there are also<br />

businesses and families that give us lodging − it’s really great.<br />

The event draws collectors and art lovers to <strong>Sedona</strong> at<br />

a beautiful time of year. I imagine there are a number<br />

of tourists who come and watch, but I think these kinds<br />

of shows in general are really a great cultural event that<br />

is relatively new and it brings together the idea of being<br />

outdoors and the creation of art. Also, it gives people a<br />

greater perspective of the environment that’s around them.<br />

You know, often people look at the painting and ask, “Well,<br />

where’s that?” You start to talk with them about the fact<br />

that there’s more to <strong>Sedona</strong> than just uptown; there are all<br />

kinds of trails and places to go and interesting formations<br />

and river canyons to check out. That helps provide a greater<br />

perspective − it’s a way of sharpening their focus and<br />

appreciation for where they are. They see things through<br />

the artist’s eyes.<br />

BC: Yes, I juried the participants and then I’m going to be<br />

38<br />

<strong>Sedona</strong> ART<strong>Source</strong>

<strong>Sedona</strong> ART<strong>Source</strong><br />


42 <strong>Sedona</strong> ART<strong>Source</strong>

<strong>Sedona</strong> ART<strong>Source</strong><br />


LOUIS<br />




44<br />

<strong>Sedona</strong> ART<strong>Source</strong>

The <strong>Art</strong> of Music<br />

Good, Good Vibrations<br />

LANDON<br />

The comradery of seven decades of shared creativity, shared art,<br />

and shared memories comes together in this interview with two of<br />

“I play what I consider to be harmonically pleasing, mostly upbeat, positive music<br />

<strong>Sedona</strong>’s most notable artists, John Henry Waddell and his wife,<br />

Ruth ... it’s like Waddell food; I feel who like have music lived is food in for the my Verde soul, and Valley whenever near <strong>Sedona</strong>, possible I Arizona<br />

down since at the 1970. piano and play.” – Steinway Piano <strong>Art</strong>ist, Louis<br />

sit<br />

Landon<br />

By Lynn Alison Trombetta<br />

For much of his fifty-one years as a professional<br />

musician, pianist Louis Landon played music<br />

written by others. Yet even in his early teens,<br />

there was something within him that yearned to be<br />

expressed in his own compositions. His exploration<br />

led him from youthful years on the piano to the<br />

guitar and what he calls “kind of a rock thing” until,<br />

at age 18 he heard John Coltrane play and found his<br />

way back to his piano. Studies at Berklee College of<br />

Music, and years of jazz music followed.<br />

In order to earn a living, Landon toured with a<br />

variety of musicians performing in many different<br />

styles. A pivotal point in his musical career occurred<br />

on tour with Pucho & His Latin Soul Brothers, a<br />

Latin jazz, soul jazz, and R&B group. “I was doing a<br />

rehearsal and my life at the time was pretty chaotic;<br />

I had two young kids, but I was not a happy camper<br />

for a lot of years. I was on the road with Pucho and<br />

we did this rehearsal in a studio and he had a Kawai<br />

piano there. During the rehearsal, he recorded me<br />

playing something, just on my own, just playing<br />

around. Later he called me over, played the recording<br />

back, and said, ‘You know, this sounds really good.<br />

You should do a solo piano album.' ”<br />

That single moment changed Landon’s life. Pucho<br />

had set the stage, offered up his recording studio, and<br />

provided the encouragement that launched a new<br />

direction for Landon’s music. “I went into the studio<br />

and started to record a jazz album. Out of every song<br />

that I had written and wanted to record, nothing<br />

“Keys for Peace” logo by Skye Landon<br />

<strong>Sedona</strong> ART<strong>Source</strong> 43

worked. Everything slowed down and became kind<br />

of New Agey and calm. I got real peaceful being<br />

in the studio with the sounds of the piano. It was<br />

kind of my sanctuary. The music became something<br />

completely different than I’d intended. I had no idea<br />

what to do with it. My life was pretty crazy at the<br />

time, but I’d get in the studio and everything would<br />

just become peaceful and beautiful.”<br />

Landon realized a mission: Invite peace within<br />

through music and instill that peace in composition<br />

and performance.<br />

Through the creation of twenty-six albums, nineteen<br />

of which are solo piano, Landon discovered a<br />

second mission: Inspire people to live joyously and<br />

passionately. His compositions soon began to reflect<br />

that ideal. “That started to come out … the palette<br />

Photo by Tom Bushey<br />

<strong>Art</strong> is creative and elevates people. I put experience, emotion, and intention into<br />

the music as much as possible so that I bring people to the place where I go<br />

when I am creating or I’m inspired.<br />


was broadened … it wasn’t just peaceful music – it<br />

was all this."<br />

Landon reflected on his music as art, “Music was<br />

the only thing I stayed with in my life. I play what I<br />

consider to be harmonically pleasing, mostly upbeat,<br />

positive music … it’s like food: I feel like music is food<br />

for my soul, and whenever possible, I sit down at the<br />

piano and play.”<br />

He added, “My job is to go as deep as I can within<br />

and then to play from that ‘most, deepest place’ and<br />

put everything into the music that I intended when I<br />

wrote it so that it goes out there. That brings me back<br />

to my mission: that my music creates peace and inner<br />

harmony. Life changed for me when I realized that as<br />

an artist, my job is to take the people somewhere, to<br />

do something for people – it’s not about me.”<br />

Photo by Staci Jacobsen<br />

44<br />

<strong>Sedona</strong> ART<strong>Source</strong>

<strong>Sedona</strong> pianist Louis Landon has a mission:<br />

Invite peace within through music.<br />

Instill peace in composition and performance.<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


48 <strong>Sedona</strong> ART<strong>Source</strong>

<strong>Sedona</strong> ART<strong>Source</strong><br />





<strong>Art</strong> From The Heart<br />

Every great dream begins with a dreamer.<br />

By Carol Kahn<br />

Within the walls of one of the largest<br />

galleries in the Southwest, people will<br />

discover the dreams and passions of over a<br />

hundred artists who share their vision and imagination<br />

through art. Their works are inspiring and thoughtprovoking.<br />

Over 20,000 square feet of paintings,<br />

sculpture, glass, mixed media, ceramic, and jewelry are<br />

exhibited throughout Exposures International Gallery<br />

of Fine <strong>Art</strong>, which is a powerful tribute to a dream, the<br />

dream of Marty and Diane Herman. Twenty-two years<br />

ago, Marty and Diane reached for the stars and helped<br />

to change the landscape of what is called “Gallery<br />

Row” in <strong>Sedona</strong>. They both share an Affaire de Coeur<br />

with art, a testament of their love for one another,<br />

as well as for the world of art. Extremely passionate<br />

about their gallery and the artists they represent,<br />

Marty and Diane believe that art should be an essential<br />

part of everyone’s life.<br />

It is said, “<strong>Art</strong> is in the eye of the beholder.” To Marty,<br />

this adage is accurate. “I can tell whether or not<br />

you like a piece by checking your pulse. Your heart<br />

beats that much<br />

faster when you see<br />

something that you<br />

love. I believe it’s a<br />

part of our DNA,”<br />

he says, smiling.<br />

Diane & Marty Herman<br />

The people who visit<br />

Exposures International Gallery of Fine <strong>Art</strong> come<br />

from around the world. Many who walk through the<br />

doors know about fine art, but others are sometimes<br />

intimidated by the experience. “We are very sensitive<br />

and in-tune to what people want when they come<br />

into our gallery,” says Marty. “We may be their first<br />

and only exposure to fine art. It is a big responsibility<br />

that we take seriously. Our job is to make them feel<br />

comfortable and educate them about the artists we<br />

represent.”<br />

The gallery is designed to let visitors sense the art.<br />

The atmosphere is comfortable and unpretentious.<br />

The Hermans’ focus is on their customers and on<br />

48<br />

<strong>Sedona</strong> ART<strong>Source</strong>

educating them about the artists, not on the<br />

gallery per se. It is of great importance that<br />

they uphold the highest level of honesty<br />

and integrity in dealing with their clients.<br />

“Many of our customers are thankful and<br />

appreciative of the experience, and they will<br />

come back again and again,” says Marty. “We<br />

have to get it right the first time; otherwise,<br />

there won’t be a second, third, or fourth<br />

time.”<br />

Owning an art gallery is a challenging<br />

business today and many gallery owners will<br />

tell you that they are in it for the sheer love of<br />

the art. Owners act as liaisons between the<br />

artist and the client and have a responsibility<br />

to sell the artwork. Marty says this is a<br />

partnership created without pretense. “The<br />

artists we have at the gallery are important<br />

to us, and we want to be important to them.<br />

What that means is that both parties do as<br />

much as we can for each other. Many of the<br />

artists at Exposures International Gallery of<br />

Fine <strong>Art</strong> are filled with gratitude to be a part<br />

of the gallery.” To them, looking to Marty for<br />

mentorship is a worthwhile experience. He<br />

has offered advice to those who have asked for<br />

his guidance. “We don’t have arrogant artists<br />

here. It is a prerequisite that they have to be<br />

nice. We have avoided the representation of<br />

some really great artists that we felt needed<br />

an attitude adjustment. My belief is that if it<br />

doesn’t sell, we shouldn’t have it. At the end<br />

of the day, the gallery is a business. I have to<br />

make a profit to keep the doors open and the<br />

lights on and to be able to pay our consultants<br />

— so, I choose artwork that will sell, and we<br />

do have a lot of great work here.”<br />

Exposures International Gallery of Fine <strong>Art</strong> offers the<br />

work of acclaimed artists such as Bill Worrell, Yuroz,<br />

Rebecca Tobey, Doug Adams, Alexander Volkov,<br />

Barbara Westwood, JD Challenger, Kim Obrzut, and<br />

local artists Frasca and Halliday, as well as other fine<br />

artists. Traveling the world extensively and visiting<br />

a multitude of art galleries, Marty knew, before his<br />

vision became a reality, what he wanted to do. “I have<br />

been to a lot of galleries and hated most of them with<br />

the exception of one or two. I remember that no one<br />

ever got up to greet me, and I knew immediately that<br />

was not the kind of attitude I wanted to project in my<br />

gallery,” he says emphatically.<br />

Oils on Canvas by Yuroz<br />

As a collector<br />

himself, Marty<br />

owns work<br />

that embraces<br />

intimacy<br />

and love. “I<br />

appreciate<br />

the emotion,”<br />

he says.<br />

“Everything<br />

I own or<br />

purchase is<br />

tied to that<br />

embrace.”<br />

“<strong>Art</strong> from the<br />

Heart” is the<br />

descriptive<br />

SELF MADE MAN Bronze by Bobbie Carlyle metaphor of<br />

Exposures<br />

International Gallery of Fine <strong>Art</strong> and the love that<br />

goes into it. “I do realize that I am competitive. I don’t<br />

want to be just smart or clever. I want to win. But I<br />

also enjoy giving back — so it all comes down to just<br />

doing the right thing, not only for the business, but<br />

for the artists and the clients. I employ both creativity<br />

and integrity, and together they work beautifully. But<br />

know this, I’m also having fun. I still get excited about<br />

everything involved with art ... Now, if I could just<br />

build a second level on this gallery with escalators —<br />

that would be amazing!”<br />

Exposures International Gallery of Fine <strong>Art</strong> is located at<br />

561 State Route 179, <strong>Sedona</strong>. Open Monday-Sunday,<br />

10:00 am to 5:30 pm. (928)282-1125 ExposuresFine<strong>Art</strong>.com<br />

<strong>Sedona</strong> ART<strong>Source</strong> 49

50 years of carving, chiseling, scraping, sanding, smoothing and sculpting all kinds of wood into anything and everything he imagines.<br />


Mike Medow<br />

“Live your life<br />

loving what you do<br />

and always<br />

have fun while<br />

doing it.”<br />

52<br />

<strong>Sedona</strong> ART<strong>Source</strong>

<strong>Art</strong> & Soul<br />


The Chiseler<br />

By Carol Kahn<br />

The Back-Story<br />

I first met Mike Medow in January<br />

2016 while working on a project for<br />

Red Rock TV 16 and the <strong>Sedona</strong><br />

Chamber of Commerce and<br />

Tourism Bureau. He was one of<br />

four artists selected for a series that<br />

I produced called “<strong>Art</strong> & Soul.” It<br />

was beautifully filmed and edited by<br />

Lee Israel.<br />

As we pulled into his driveway,<br />

Mike graciously met us at the door.<br />

With a big smile, he welcomed<br />

us into his studio. This studio is<br />

like no other. Not only is it Mike<br />

Medow’s sacred space, it is home<br />

to hundreds of his creations.<br />

Scanning the room, there was so<br />

much to see, and we didn’t want to<br />

miss one thing. Marionettes, in all<br />

sizes, dangle from their strings as<br />

they patiently wait for that tug that<br />

will bring them to life. Hand-held<br />

masks with comical expressions<br />

beckon to be held. A mural filled<br />

with caricature images of people<br />

from all nationalities wanting to be<br />

discovered. There are paintings,<br />

musical instruments, animals,<br />

miniature houses, artist tools, and<br />

of course, raw wood. Everything<br />

is in its proper place. As he circled<br />

the room, he talked about the birth<br />

of his creations, his adventures,<br />

his treasures and his family. It was<br />

the stories about his family that<br />

brought tears to our eyes, and gave<br />

us a greater understanding and<br />

insight of how big his heart is.<br />

We spent two days watching him<br />

play with his toys as he entertained<br />

us. Quickly, we were immersed<br />

into his fantasy world, and without<br />

hesitation we eagerly followed.<br />

He led us down a rabbit hole,<br />

only to experience a whimsical<br />

and fun ‘Alice in Wonderland’<br />

kind of adventure. He wanted to<br />

demonstrate one of his marionettes<br />

and carefully selected a Bob<br />

Marley-looking character. He<br />

placed his hands strategically on<br />

the constructed paddles as he<br />

maneuvered the strings, bringing it<br />

to life. The puppet-master was in<br />

complete control of his puppet even<br />

as the ritual began. He sang while<br />

they danced around the room in<br />

perfect synchronicity.<br />

As he performed, we were highly<br />

entertained. We had ringside seats.<br />

He gave us a free pass to act like<br />

kids again. Handing us a bunch<br />

of wooden masks that he carved,<br />

we were instructed to choose our<br />

favorite. Behind them we acted<br />

silly, talked in different voices with<br />

fun accents, laughed, and captured<br />

these memorable moments on<br />

camera.<br />

Mike Medow, artist, wood sculptor,<br />

painter, puppeteer and creative<br />

extraordinaire, made us laugh; he<br />

made us cry, and he touched our<br />

heart in a very special way. At the<br />

end of the day, he taught us many<br />

valuable life lessons. But the one<br />

that stuck with us the most is this:<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


Self-portrait, Mike Medow at work<br />

Yoga Pose, Jelutong Wood<br />

To live your life loving what you do<br />

and to always have fun while doing<br />

it.<br />

A Trip Down Memory Lane<br />

Ever since he was a child Mike<br />

Medow was creating things. At<br />

age 11, a friend’s mother noticed his<br />

talent and kindly offered to send<br />

him to art school, but he wasn’t<br />

interested in going to school all<br />

day and then having to end the<br />

day going to school again. Instead,<br />

he chose to teach himself how to<br />

create art in his own way.<br />

Twelve years later, while working<br />

at a clothing store in Chicago,<br />

he sculpted three large wooden<br />

heads that were placed on display<br />

in the window. One day a man,<br />

finding value in Mike's work, came<br />

in and offered $900 for the heads.<br />

With that money, Mike traveled<br />

to England, the Netherlands,<br />

Afghanistan, and finally to India. It<br />

was a trip he had planned with two<br />

other friends. “I thought, ‘Wow,<br />

some guy gave me money for that!<br />

That’s going to be my job when I<br />

get back. I’m going to be a wood<br />

sculptor.' I thought about that<br />

every day for five and a half months.<br />

The second day after I got home,<br />

I bought four chisels and never<br />

looked back. I did little else but<br />

carve wood,” he says.<br />

Over the years, Mike acquired<br />

more tools of his trade. Mallets,<br />

chisels, handsaws, rifflers, files<br />

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and sandpaper – all<br />

carefully arranged and<br />

organized along the wall<br />

of his studio. He prefers<br />

using hand tools instead<br />

of power tools because<br />

these allow him to feel<br />

a connection with the<br />

wood. Notebooks of his sketches<br />

are carefully organized and piled<br />

high. These contain his life’s<br />

work. “I don’t usually plan too far<br />

in advance on what I am going to<br />

create. After all these years I still<br />

don’t know how I do what I do. It<br />

comes from somewhere else. I don’t<br />

feel like I am spiritual, but when<br />

I am working, I am centered. I<br />

believe it comes from a higher place.<br />

I am not sure where that is – I just<br />

know how to make stuff,” he says<br />

with a twinkle in his eye.<br />

It is the tapping sound of the mallet<br />

against the wood, the aroma of the<br />

wood itself and his connection<br />

with nature that gives Mike that<br />

euphoric high necessary to create<br />

his whimsical masterpieces. There<br />

is this sense of calmness and being<br />

in something of a meditative state<br />

that he relishes. Many times he<br />

will sit in his studio and canvas the<br />

years of his work in wonderment.<br />

It is hard for him to believe that<br />

he is the one who created all<br />

this “fun stuff,” as he describes<br />

it. It’s been more than 50 years<br />

of carving, chiseling, scraping,<br />

sanding, smoothing and sculpting<br />

all kinds of wood into anything<br />

and everything he imagines. He<br />

enjoys working with black walnut,<br />

juniper, jelutong, mahogany and<br />

cherry. He says, physically it is hard<br />

work, yet he can’t wait to get up in<br />

the morning to do it all over again.<br />

There are many times he forgets to<br />

eat, unless his wife, Paula, reminds<br />

him.<br />

“This is something deep inside me<br />

that I feel like I have to do. I need<br />

to be creative. It’s who I am.”<br />

18 Months Later<br />

“The Whimsical Village of Medow”<br />

“I’m in total bliss! It’s a high!<br />

Nothing else on my mind, just me<br />

and my work – that’s why I look so<br />

good at 105!”<br />

Mike Medow smiles, as he knows<br />

you will laugh at his quips and that<br />

just encourages him to tell more.<br />

At age 74 he is still a child at heart.<br />

He is the court jester of his own<br />

artistic kingdom. He can’t wait for<br />

the fun to begin. Today, his studio<br />

is a little different than a year and<br />

a half ago. The outside façade is<br />

brand new as he added signature<br />

wooden doors to his home and<br />

studio. It was a surprise gift for his<br />

wife, Paula. “Paula left town and it<br />

gave me incentive to do it. I wanted<br />

it to be a secret. I picked her up at<br />

the airport, and when we pulled<br />

into the driveway she asked why the<br />

flowers looked so good. She knew<br />

something was different, but didn’t<br />

see the doors. When she realized<br />

what I had done, she started to cry.<br />

I didn’t think she would cry,” he<br />

says, smiling.<br />

His workshop is still filled with<br />

many of his amazing wooden<br />

creations. Some are put away to<br />

make room for new work, miniature<br />

houses and other structures he has<br />

built. Among these are a medieval<br />

castle, a tree house, log cabin, a shoe<br />

house and a model of his brother’s<br />

home in Formentera, Spain. His<br />

ingenious housing development<br />

could be appropriately dubbed<br />

the “The Whimsical Village of<br />

Medow.”<br />

Sadly, the tools and workbench<br />

have been put away. The pain in<br />

his shoulder is now too great for<br />

him to continue pounding the<br />

mallet against the wood. It bothers<br />

him to think about it, but in the<br />

next breath, with a mischievous<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


A collage of Mike Medow’s Multimedia Productions<br />

smile, he discusses the new and innovative way he is<br />

working his craft. “Since you have been here last,”<br />

he says, (referring to my January 2016 interview), “I<br />

have been making ukuleles.” He proudly opens a case<br />

containing a Johnny Marvin ukulele<br />

made in ribbon mahogany that<br />

belonged to his father. “My Dad<br />

used to play this when he was 21. My<br />

Mom would tell me that he would<br />

bring the ukulele to the beach and<br />

the girls would gather around. My<br />

Dad was a good looking guy!”<br />

Inspired by his father’s musical<br />

prowess, Mike decided to carve out<br />

his own story, and to build his own<br />

ukulele. He acquired some pieces of<br />

juniper and mesquite wood, then he watched YouTube<br />

videos to learn how the ukulele was constructed. “I was<br />

on cloud nine all week after I made these. They play<br />

perfectly!”<br />

As he picks up his newly made masterpiece, an<br />

impromptu performance begins. He positions his<br />

fingers on one of the four strings, trying to remember<br />

the chords while singing slightly out of tune. It’s<br />

time for ‘ukulele karaoke’ as<br />

Mike Medow plays a song from<br />

Taj Mahal and you can see he is<br />

in utter bliss. “I’m not a musical<br />

genius,” he says laughing, “but I<br />

keep surprising myself because I am<br />

making progress. Now I feel like<br />

I can create anything, because if I<br />

made these ukuleles, and they work,<br />

perhaps I can do anything!”<br />

Surveying his updated creative<br />

space, I see there are photos on<br />

the shelves of his brother, Diki, as well as a painting<br />

of Diki’s home in Formentera. Mike began discussing<br />

the recent passing of his brother. “His birth name was<br />

Richard Arnold Medow, but we never called him by his<br />

56 54<br />

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“Size 7” Alligator Juniper<br />

Diki Medow's island home in Formentera, Spain, by Mike Medow<br />

first name,” he said. “He always<br />

went by Diki. He was 4 years older<br />

than I and he was 78 years old<br />

when he died.”<br />

Diki lived on the island of<br />

Formentera, which is the smallest<br />

of Spain’s Balearic Islands in the<br />

Mediterranean Sea. It’s only<br />

reachable by ferry from its betterknown<br />

island neighbor, Ibiza.<br />

“Many years ago, in 1967, I told<br />

a buddy I wanted to go visit my<br />

brother. The two of us went to<br />

Barcelona, hopped on two separate<br />

boats to get to Ibiza. When we got<br />

off the boat at our stop I didn’t see<br />

one person, or even one building.<br />

I was convinced we got off at the<br />

wrong place and we were stuck<br />

there forever. When the boat<br />

left us on the dock, I thought we<br />

were going to die! I don’t even<br />

know how to swim! We wandered<br />

around for an hour and a half<br />

searching for my brother until we<br />

finally found him. He didn’t even<br />

know we were coming!”<br />

Although Mike and Diki were<br />

brothers and grew up in<br />

Chicago<br />

together, they lived polar opposite<br />

lives and had little physical<br />

contact. Yet there was still a deep<br />

connection; they understood and<br />

respected their differences. Mike<br />

talked about his brother as a tear<br />

fell from his eye, “Everyone on<br />

the island knew Diki. He was<br />

comfortable; he had no money.<br />

I don’t know anyone who lived<br />

like he did. He had no running<br />

water or electricity. He told<br />

himself he would never be unhappy<br />

again. He wanted to be free, and<br />

serendipitously he found his own<br />

paradise in Formentera. His was an<br />

interesting way of life and he was<br />

always on my mind. Writing was<br />

our only form of communication,<br />

unless his kids were visiting him,<br />

and then we would use FaceTime.”<br />

(See Tribute to Diki Medow, page 56)<br />

Mike Medow is a sensitive, funny<br />

man. He loves to make you smile<br />

and laugh. He has one of the<br />

biggest hearts. He describes art as<br />

something that creates emotion<br />

but acknowledges that for him art<br />

in itself is hard to define. “I never<br />

worked because of the money, it’s<br />

about making something I love to<br />

make. I am so fortunate that people<br />

want to buy it. I never got rich,<br />

making all of this, but I am rich. I<br />

am blessed with a beautiful wife<br />

and kids. What more can I ask<br />

for?”<br />

Mike Medow is represented<br />

by Goldenstein Gallery<br />

in <strong>Sedona</strong>.<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


A Tribute to Diki Medow,<br />

Diki Medow Wanted Freedom. Sculptor, 1940-2018<br />

Growing up in Chicago, Diki said<br />

the 1950s was a time of paranoia<br />

and felt the American public<br />

was being brainwashed with a barrage of<br />

television nonsense. The way of the world<br />

made him unhappy. He felt alienated, lost,<br />

and unprepared for a life with rules and<br />

regulations as he searched for a better place.<br />

Through his travels he came upon the island of Formentera,<br />

which is the smallest of Spain’s Balearic Islands in the<br />

Mediterranean Sea. It’s reachable by ferry from its betterknown<br />

island neighbor, Ibiza. Since the 1960s, Formentera<br />

has been attractive as a destination for the hippie community.<br />

It was once considered part of the “Hippies<br />

trail” that ran from Europe to India —<br />

an underground railroad of stoners<br />

and people seeking a perpetual<br />

bohemian vacation.<br />

A model of Diki’s house in Formentera, made by his brother, Mike Medow.<br />

It was Diki’s belief that<br />

in order to be free, you<br />

need to live a life without<br />

attachment. And if you<br />

can live a life without<br />

attachment you will<br />

live a life of richness.<br />

His house had no running water or electricity, but the view to the Mediterranean was exquisite. The weather<br />

determined how he was going to live that day, which is hard for most of us to comprehend. He felt so rich<br />

and proud to live a very simple life, without wants or needs. “When you look at yourself humbly, you become<br />

closer to who you are,” Diki said.<br />

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“My brother, Mike, came to visit. He<br />

brought me a set of tools: A knife, chisels,<br />

mallet, and knife sharpener. He made a<br />

sculpture in front of me rather quickly and<br />

left me the tools. I told him I didn’t think<br />

I could do a sculpture and he replied, “You<br />

only need two things: To like working<br />

with your hands and lots of time. Now<br />

you have both!” I searched Formentera for<br />

wood and found a small piece of an olive<br />

tree. As I began working, it felt awkward at<br />

first, but before I finished, I had this feeling<br />

that this sculpting was a wonderful thing<br />

for me to do. Since then, I called myself a<br />

Woodpecker!”<br />

His first sculpture was the most difficult, he said,<br />

simply because he didn’t know what he was doing.<br />

Soon he came to realize that all he needed to do was<br />

follow the wood and it would take him where he<br />

needed to go. Metaphorically, this particular lesson<br />

sounds like his life and his quest for freedom.<br />

“My brother is my inspiration … and to work in<br />

nature and with nature, the peace and feeling<br />

that I have goes into my woodcarving. At my age,<br />

everything is difficult. I accept that.”<br />

In the end, a beauty in it all, is that Diki Medow<br />

lived a life in his paradise, nurtured by a brother’s<br />

thoughtful attention and fulfilled by the awakening<br />

of his own creative spirit.<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />





By Carol Kahn<br />

“Film is one of the most powerful mediums to tell<br />

stories. It’s a forum to reach the masses and tell the<br />

truth about a particular subject.” — Bryan Reinhart<br />

Bryan Reinhart is a filmmaker with a 360-degree<br />

view of what it takes to produce, direct, and<br />

shoot films. His resumè includes: Editor,<br />

Cinematographer, Actor, Writer, Projectionist,<br />

and Teacher. Most of the time, he works as a<br />

projectionist for the Mary D. Fisher Theatre and<br />

the <strong>Sedona</strong> International Film Festival, but in his<br />

spare time, he does what he loves — making films.<br />

A native of Northwest Indiana, Reinhart was<br />

raised in a theatrical family and was on stage by<br />

age six. By thirteen, he was making short films.<br />

In his first Hollywood experience, he produced a<br />

documentary on the feature film Hoosiers. Reinhart<br />

went on to produce the nationally televised<br />

American Highways for Public Television.<br />

Last year, Bryan completed a film titled Born to<br />

Rewild that was shown during the 23rd <strong>Sedona</strong><br />

International Film Festival. He did it to honor a<br />

friend, Ed George, a Cinematographer who died<br />

suddenly of a heart attack before the documentary<br />

could be finished. This film chronicles the amazing<br />

5,000 mile-long expedition of outdoor adventurer<br />

and conservationist John Davis, who, in search of<br />

wildlife corridors, traveled along a landscape that<br />

runs from Mexico to Canada.<br />

“It was really sudden. I received a call asking if I<br />

could fill in the gaps,” says Bryan. “Ed had a third<br />

of it done; I just finished the other two-thirds,<br />

trying to do it in his style — the way he would have<br />

done it. Ironically, we showed it at the <strong>Sedona</strong> Film<br />

Festival almost a year to the day of his passing.<br />

“Filmmaking is one of the most powerful mediums<br />

we have, especially documentaries,” says Bryan.<br />

“But we have to be careful with the message. There<br />

are people out there who will twist the truth and<br />

abuse what documentaries are supposed to be<br />

about. Journalistically, there is a code of ethics<br />

at play here. Storytelling in this form can be<br />

extremely powerful and can reach a lot of people.<br />

Therefore, it’s important to research the topic in<br />

order to get the facts right, interview the subjects<br />

for their perspectives, and keep the storyline<br />

focused, so that the audience will understand the<br />

point to the story.<br />

“You have to be a reporter, a journalist, a<br />

documentary producer. You also have to be open,<br />

in case the story goes where you didn’t expect it.<br />

That’s when the magic happens. Those magical<br />

moments are few and far between, but when they<br />

do occur, you recognize it in an instant. It’s an<br />

amazing feeling! It could be something as simple as<br />

one sentence that becomes the title of the movie. I<br />

love when something unexpected happens!”<br />

Documentary filmmaking is about capturing<br />

reality. The script is often written after the<br />

shooting has begun, and the story unfolds as<br />

events occur. With narrative filmmaking, on<br />

the other hand, the story and script are crafted<br />

in the beginning. Bryan’s preference is to direct<br />

narrative films, rather than documentaries, even<br />

though these two forms have many similarities.<br />

“Filmmaking, whether a documentary or a<br />

narrative, utilizes many of the components<br />

associated with art. Cameras are used to capture<br />

the visual element; audio for sound; music creates<br />

an emotional impact; writing emphasizes the<br />

storyline; actors are used to relate the narrative.<br />

Film is really a collaborative art form; it is not<br />

a one-person art form. Everything I have been<br />

working on by myself is still sitting on the shelf<br />

in my house. But anything I am working on with<br />

a group of people — that’s what gets done. I love<br />

collaboration and brainstorming,” says Bryan.<br />

“It’s my favorite part of the process.”<br />

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<strong>Sedona</strong> ART<strong>Source</strong>

There is a process<br />

to filmmaking, and<br />

learning curves are<br />

inevitable. Bryan<br />

knows that all too<br />

well. He used to be<br />

an instructor at the<br />

Zaki Gordon Institute<br />

for Independent<br />

Filmmaking and<br />

the <strong>Sedona</strong> Film<br />

School. He was<br />

the coordinator of<br />

the documentary<br />

program for eight<br />

years before the school<br />

closed. Today, he still<br />

finds time to teach<br />

filmmaking at the <strong>Sedona</strong> <strong>Art</strong>s Center.<br />

“First of all, teaching humbles you. You think you<br />

have all the answers, but then you realize, ‘Oh, I don’t<br />

have all the answers’ and you begin to learn from your<br />

students. I try to educate them to be flexible in their<br />

careers. Too many times people believe that if they<br />

can’t actually do what they want to do, they should quit.<br />

Others allow their wounded ego to get the best of them.<br />

Instead, both types need to try again — another attempt<br />

might get their foot in the door. That doesn’t mean you<br />

can’t be great at what you do immediately, but if you try<br />

to be Steven Spielberg right out of the gate, it might not<br />

work out the way you expected.<br />

“When someone tells me they are a filmmaker, my<br />

first reaction is, ‘Oh, I’m so sorry!’ I try to tell budding<br />

filmmakers, ‘Film festivals may not be the place to<br />

launch your career, but they are good ways of getting<br />

your films out there and seeing how people react to<br />

them.’ The younger filmmakers coming to the festival<br />

will learn what it’s like to make a living by making films.<br />

A lot of them don’t want to compromise. They come<br />

into the business wanting to be a Director and nothing<br />

else. I have seen some great films and try to find the<br />

person who made it in order to follow their career …<br />

only to find out that they are no longer in the business.<br />

That bothers me. Then, there are others who keep<br />

themselves open to do other things and at least stay<br />

within the industry. It’s a curse. It’s not something you<br />

want to do, it’s something you have to do. Sometimes, I<br />

wish that I could do something else, but filmmaking just<br />

“People have forgotten how to tell a story.<br />

Stories don’t have a middle or an end anymore.<br />

They usually have a beginning that never stops beginning.”<br />

keeps coming back.<br />

There have been<br />

times when I said<br />

I am going to quit,<br />

and then it sucks<br />

me back in again.<br />

So, I guess I am<br />

sticking with this."<br />

— Steven Spielberg<br />

Bryan Reinhart and crew on location in <strong>Sedona</strong>, Arizona<br />

At one point,<br />

Bryan wanted to<br />

be just like Steven<br />

Spielberg, whose<br />

work he admires,<br />

but the lifestyle<br />

in Los Angeles<br />

was too much of a<br />

deterrent for him<br />

and his family.<br />

“My wife Lori has been a huge supporter, and she<br />

encourages me to do what I love. I can tell you this, I<br />

wouldn’t want to be married to me,” he laughs.<br />

“I always believe in ‘picking the freedom you want.’ It’s<br />

my motto. I asked myself, is living in Hollywood and<br />

making those kinds of movies the freedom I want? If<br />

it is, then I’d have to pay a heavy price to live there,<br />

around millions of people, fighting traffic every day. If I<br />

can find what I love to do, in a place and living a lifestyle<br />

that makes me happy, then it doesn’t matter where I do<br />

it, just as long as I am doing what I love — and <strong>Sedona</strong><br />

is that perfect place!”<br />

<strong>Sedona</strong> ART<strong>Source</strong> 59

Lori<br />

Reinhart<br />

One Thing Leads to Another…<br />

By Lynn Alison Trombetta<br />

By Lynn Alison Trombetta<br />

The <strong>Sedona</strong> Cultural Park was Lori<br />

Reinhart’s first introduction to the<br />

events world in <strong>Sedona</strong>. Hired as box<br />

office staff prior to the Cultural Park<br />

opening in May of 2000, little did she<br />

know that job would lead to a career<br />

working with two of <strong>Sedona</strong>’s most<br />

celebrated events: The <strong>Sedona</strong> <strong>Art</strong>s<br />

Festival and the <strong>Sedona</strong> Film Festival.<br />

“I’d been in <strong>Sedona</strong> for a couple<br />

of years before that job happened.<br />

About the same time that I started<br />

working for the Cultural Park, my<br />

husband, Bryan started working<br />

for the film school. We were both<br />

right there on that Yavapai College<br />

property ... it was great. I would walk<br />

around out there thinking, ‘I can’t<br />

believe this is real!’”<br />

At that time the <strong>Sedona</strong> Film<br />

Festival was a product of the <strong>Sedona</strong><br />

Cultural Park, and Reinhart became<br />

involved with their box office as<br />

well. When the <strong>Sedona</strong> Cultural<br />

Park quit operations, Reinhart stayed<br />

active with the Film Festival. She<br />

explained, “When Patrick Schweiss<br />

came on as Executive Director for<br />

the Film Festival he asked me to<br />

manage the box office. So for years<br />

62 60 <strong>Sedona</strong> ART<strong>Source</strong><br />

“Never in a million<br />

years did I think<br />

I would be in events!<br />

But now, after twenty<br />

years I can say,<br />

‘Yes, I am an<br />

events person.’<br />

That’s what I do.”<br />


I was seasonal, I would come in and<br />

work for the Film Festival from the<br />

beginning of November until the<br />

end of March, and then I would move<br />

on to the jazz festival in the summer.<br />

I worked with Jazz on the Rocks for<br />

probably four summers before it<br />

dissolved.”<br />

When the Executive Director<br />

position for the <strong>Sedona</strong> <strong>Art</strong>s Festival<br />

came available, Reinhart was the<br />

perfect candidate. Soon, the Mary<br />

D. Fisher Theatre was built. New<br />

ticketing software needed to be<br />

installed, and her combined position<br />

became year round. Ten years have<br />

passed, with her serving as Executive<br />

Director for the <strong>Sedona</strong> <strong>Art</strong>s Festival<br />

for nine of those years.<br />

She commented, “I work for two<br />

non-profits, the Film Festival and<br />

the <strong>Art</strong>s Festival. It’s actually been a<br />

lovely arrangement because they’re<br />

in two different seasons, and it’s all<br />

consuming in different times of the<br />

year. So it works out great.”<br />

The <strong>Sedona</strong> <strong>Art</strong>s Festival has<br />

benefitted from Reinhart’s previous<br />

experience with the various

associations and ties to the music and art communities, and on a few occasions<br />

has been able to do collaborations with the Film Festival and show a film at the<br />

Mary D. Fisher Theatre as part of the <strong>Art</strong>s Festival.<br />

Reinhart and husband, Bryan Reinhart had moved to the area shortly before<br />

she began working for the <strong>Sedona</strong> Cultural Park. Both grew up in northwest<br />

Indiana, just outside of Chicago and have known each other since their teen<br />

years. She added, “And then, the last year of college, he came to visit a friend<br />

who was living with his girlfriend and all they did was fight. I lived a block away<br />

and Bryan would run to me and say, ‘Those two are fighting again, can I come<br />

here?’ And of course, we were already friends and liked each other, so our<br />

relationship developed from there.”<br />

She continued, “He’s from a big family of eight. They never went anywhere and<br />

he never got to travel, while I traveled extensively as a kid. One year, our choir<br />

was going to a musical in Chicago and Bryan plunked himself down on the bus<br />

seat next to me and said, ‘I hear you’ve been to the Grand Canyon. Tell me<br />

about the Grand Canyon.’ So we talked all about it and when we started dating,<br />

the first thing we did was go to the Grand Canyon on spring break. Then we<br />

ended up getting engaged at the Grand Canyon, and now we live an hour and a<br />

half from there!”<br />

Reinhart was a psychology major and went into social work right after college.<br />

“I learned in very quick time it is a low pay-high burnout area and decided I<br />

wasn’t going to do that. As an aspiring filmmaker, Bryan wanted to go and do<br />

the LA thing for a while, and he also worked on movies here in Arizona. So for<br />

me it was just sort of like, ‘we’ll go together.’ I wasn’t really career-oriented, like<br />

‘this is what I have to do with my life,’ whereas Bryan is very much, ‘this is what<br />

I have to do with my life!’ And so I just always took jobs at whatever worked.<br />

We didn’t stay in L.A. for long; it sucks you up, spits you out and we made that<br />

life choice based on what we wanted our quality of life to be.”<br />

It was back in Indiana that they married, bought a house, and had two children,<br />

but a different lifestyle called to them. The decision to move to northern<br />

Arizona came swiftly. Reinhart explained, “My daughter was just two and we<br />

were on spring break. Since my parents were snowbirds and my sister has<br />

lived in Phoenix since 1972, we decided to go there and get away from the bad<br />

weather. While there, Bryan saw an ad in the Phoenix paper for an editor’s job<br />

in <strong>Sedona</strong>. We came up and interviewed and took it on the spot. When we<br />

left to go back to Indiana, we didn’t tell any of our family that we were going to<br />

leave. We sold our house and we were back here in six weeks!”<br />

Reinhart reminisced, “It took us a good solid three years to know that we were<br />

going to stay. It’s not a place where you can easily get work and make a living. It<br />

was about three years before Bryan got hired at the film school, then I got the<br />

gig at the Cultural Park and it’s been good ever since then. So it has worked<br />

out. Bryan’s gone back to being a freelance filmmaker and is working on a big<br />

film right now. My situation, being able to blend the <strong>Art</strong>s Festival and the Film<br />

Festival together, working two separate three-quarter-time jobs makes me a<br />

living here. And I feel very fortunate that I have that.”<br />

She added, “Never in a million years did I think I would be in events! But now,<br />

after twenty years I can say, “Yes, I am an events person. That’s what I do.”<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


Lori Reinhart<br />


SAS: Lori, as Executive Director of<br />

the <strong>Sedona</strong> <strong>Art</strong>s Festival, please share<br />

your thoughts on the Festival, both<br />

past and present.<br />

LR: First and foremost, I think that the<br />

<strong>Art</strong>s Festival is the longest continuous<br />

event that there is in <strong>Sedona</strong> right<br />

now. This is our 28th year! There’s<br />

pride in that. When it started in<br />

1989, it was the Apple Festival, and it<br />

was very much a community event. It<br />

wasn’t focused only on art. Over time<br />

that’s what the focus became.<br />

Today, the Festival attracts artists from<br />

across the country, and showcases<br />

a diverse lineup of over 100 juried<br />

artists as well as continuous live<br />

music, food, and fun art projects for<br />

the kids. The event as a whole is<br />

well respected. People in town look<br />

forward to it all year, visitors plan their<br />

vacations around when it is going<br />

to be. And it’s always the second<br />

weekend in October.<br />

SAS: Behind the festivities,<br />

approximately $300,000 has been<br />

distributed to arts education groups<br />

as well as to graduating seniors<br />

pursuing higher education in the arts<br />

since the Festival’s inception in 1989.<br />

LR: Yes, I think the Festival’s biggest<br />

contribution to the community is<br />

that we are supporting scholarships<br />

and grants. Kids who are pursuing<br />

a career in the arts in college are<br />

eligible for our scholarships. We<br />

give anything from $250 to $2000.<br />

Depending on their need and where<br />

they’re going and how much we have<br />

available to give each year. There are<br />

a lot of factors that go into the award<br />

amounts.<br />

Then there’s the Grants program,<br />

which has funded projects like<br />

Gardens for Humanity, and Camp<br />

Bear Wallow. There are several<br />

organizations that have been the<br />

recipients of funding provided by the<br />

<strong>Sedona</strong> <strong>Art</strong>s Festival.<br />

SAS: Going forward, what one<br />

message about the Festival would you<br />

most like to impart?<br />

LR: The <strong>Sedona</strong> <strong>Art</strong>s Festival is<br />

really the sole fundraiser for that<br />

education piece. Many don’t realize<br />

that the Festival is a fundraiser for the<br />

community. In spite of the fact that we<br />

heavily promote it; it’s in everything we<br />

print, it's in our Mission statement, and<br />

on our website, but still often people<br />

will say to me is, “I didn’t know that!”<br />

SAS: What’s the most rewarding part<br />

of your job as Executive Director of<br />

the <strong>Sedona</strong> <strong>Art</strong>s Festival?<br />

LR: Probably the most rewarding part<br />

of my job is going to those scholarship<br />

award ceremonies and giving out<br />

those award amounts. It just feels<br />

good to contribute to a kid’s future,<br />

even if it’s in a small way.<br />

Above: Aerial view of the <strong>Sedona</strong> <strong>Art</strong>s Festival<br />

62<br />

<strong>Sedona</strong> ART<strong>Source</strong>

Meadowlark Trio<br />

Music Among the<br />

Red Rocks of <strong>Sedona</strong><br />

In addition to fine arts and crafts, continuous live music is featured<br />

throughout the annual <strong>Sedona</strong> <strong>Art</strong>s Festival with special performances by<br />

two innovative groups whose music is inspired by the natural environment;<br />

William Eaton and his group Earth Speak and Rick Cyge’s trio, Meadowlark.<br />


William Eaton, a four-time Grammy nominee, has recorded sixteen<br />

albums for Canyon Records and tours nationally and internationally.<br />

Earth Speak offers a soundscape fusion of folk, new age, world music<br />

and jazz, blending original and familiar songs. Band members also include<br />

flutist-vocalist Claudia Tulip, percussionist-vocalist Susannah Martin,<br />

harp-bass guitarist Bart Applewhite.<br />

SAS 2 Carol Kahn:Layout 1 7/20/18 4:58 AM Page 1<br />


Meadowlark’s nine album releases reflect a deep<br />

passion for the planet in a vibrant, colorful mix<br />

of world-influenced music inspired by the beauty<br />

of natural places. Fingerstyle guitarist, Rick Cyge,<br />

flutist Lynn Trombetta and violinist Allen Ames<br />

meld influences as diverse as Celtic, African, and<br />

Mediterranean to create captivating, organic music as<br />

distinctive in sound as it is diverse in scope.<br />

Patti Polinard Quarter Ad Final:Layout 1 4/16/18 11:46 AM Pa<br />

Earth Speak<br />

A B S T R A C T P H O T O G R A P H Y<br />

Heart Stones of Mother Earth<br />

Transformational <strong>Art</strong> Revealing A Connective Thread<br />

Available at:<br />

<strong>Art</strong> & Soul Gallery of <strong>Sedona</strong> in Hillside Shopping Ctr.<br />

<strong>Sedona</strong>’s New Day Spa at 3004 W SR 89A in West <strong>Sedona</strong><br />

CAROLKAHNDESIGNS.COM 336.339.4709<br />

For Special Orders Contact <strong>Art</strong>ist — PATTI POLINARD<br />

commonthreadsforus@gmail.com<br />

<strong>Sedona</strong> ART<strong>Source</strong> 65


Chef Gerardo Moceri<br />

“We are more artists<br />

than ordinary cooks.” – CHEF GERARDO MOCERI<br />

Chef Gerardo Moceri’s interview took place in his <strong>Sedona</strong> restaurant,<br />

Gerardo’s Italian Kitchen, many hours before the patrons would arrive. As he spoke<br />

passionately of both the past and future dreams for himself and his family, young men<br />

patiently worked the pasta for his mother’s recipe of spinach ravioli. With the rhythm<br />

of the kitchen staff gently pacing the ambience, and the hint of basil and spinach<br />

beckoning from the oven, the stage was set for the story of a chef.<br />

Interview by Lynn Alison Trombetta<br />

66<br />

<strong>Sedona</strong> ART<strong>Source</strong>

GM: When I was a kid, just seven or eight, we lived in<br />

Detroit, outside Canada. We’d get snails from Canada<br />

and cook them in tomato sauce and red wine. I’m little<br />

and I’d take a pin and I’d pop out snails - that was my<br />

job! And I cleaned all the calamari.<br />

SAS: Was your family in the restaurant business?<br />

GM: My family started the first produce company<br />

in Michigan back in 1896 and went back and forth to<br />

Sicily, between the wars and everything else happening.<br />

At first they had a horse and<br />

buggy! My grandparents<br />

started the Eastern Market,<br />

the Western Market, and I was<br />

in the produce business.<br />

Usually each seller had one<br />

thing; “I sell carrots,” “I sell<br />

celery,” “I sell potatoes.” My<br />

grandfather was the first one<br />

to have a cooler warehouse.<br />

He started buying a little bit<br />

of everything and saying, “I<br />

got potatoes, onion, carrots,<br />

lettuce, and this and that.”<br />

That’s what started it all. It<br />

was a tough business – get up<br />

early, meet the farmers from<br />

Canada, Ohio, Michigan ... I<br />

grew up in the market.<br />

SAS: So, you had first-hand<br />

experience with the very freshest<br />

produce ingredients.<br />

GM: Yes, and because I sold<br />

at the market, I met chefs. I<br />

literally was in everyone’s kitchen. I’d go through the<br />

back door and I’d see stuff going on and I kind of got<br />

involved in a little bit of it.<br />

I met German chefs, Italian chefs, all different ones and<br />

I fell in love with the cooking. So, it was either cooking<br />

or produce.<br />

SAS: When did you become more dedicated to the cooking?<br />

GM: In Italy I met a very famous chef, Angelo<br />

Paracucchi. I didn’t know who he was. He knew I<br />

didn’t know who he was, so he gave me room and<br />

board and took me in. He became like my dad, so I<br />

lived there for years off and on while he trained me in<br />

his restaurant, Locanda dell' Angelo Paracucchi, in<br />

Sarzana, La Spezia, Italy.<br />

My chef gave me the opportunity to apprentice in his<br />

restaurant and I became dedicated when I saw the<br />

passion of Italian cuisine from him and the love for food<br />

through my mother. I never went to school – that was<br />

my school. He was my mentor and then he sent me to<br />

other restaurants to work. I went anywhere he set it up.<br />

I always had work at three restaurants planned ahead;<br />

but my home was with him<br />

in Italy.<br />

I studied the culinary arts<br />

all over the world from Italy,<br />

Hawaii, Switzerland, Paris,<br />

California, and New York.<br />

SAS: What was the biggest<br />

original influence on your<br />

cooking?<br />

GM: My mother and<br />

grandparents by far. Then<br />

came the farmers and the<br />

technique and creativity of<br />

Futuristic Italian cooking.<br />

SAS: You gestured toward the<br />

intriguing plate collection on<br />

the wall. Are those some of the<br />

restaurants where you worked?<br />

GM: The plates on the wall<br />

represent just some of the<br />

restaurants I worked at, like<br />

La Mora in Lucca Italy; da<br />

Romano in Viareggio Italy; Locanda dell’ Amorosa in<br />

Sinalunga, Siena, Italy; and Ristorante Charleston in<br />

Palermo, Sicily. And in America, my friend’s plates are<br />

Marcelo’s in Suffern, New York and Dragos in Santa<br />

Monica, California.<br />

I worked on all the Hawaiian Islands doing Italian<br />

cuisine for the Hyatt, Donderos at the Grand Hyatt<br />

Kauai in Hawaii, and I worked and opened Hyatt Kauai<br />

and Grand Wailea on Maui.<br />

SAS: What do you consider to be your career turning point?<br />

GM: The turning point was when my mom passed<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


away, and then my daughter was born,<br />

all within a year. You realize that<br />

you want to go back to the roots.<br />

And now, instead of cooking<br />

for John Travolta, James<br />

Caan, or whatever celebrity<br />

is coming in, the way we<br />

did in Hawaii, you want to<br />

go home and be with your<br />

baby.<br />

I don’t have to prove to<br />

anyone any more. Before, you<br />

felt like ‘you’re a chef, you’re<br />

cooking and showing everyone what<br />

you can do.’ When my mom passed away<br />

it was like, ‘I don’t need that anymore.’ And<br />

then my daughter comes in, later my son is<br />

born. And they look at you like you’re the<br />

celebrity; you’re “it,” right? And that’s<br />

all that matters!<br />

SAS: What influences your<br />

cooking today?<br />

GM: I wanted to go back to<br />

the cooking of Italian food<br />

so the kids understand –<br />

and be a Dad – I enjoy that.<br />

My son is in Italy now,<br />

studying farming. He planted<br />

Italian parsley. “How many<br />

recipes can we get out of that and<br />

smell it? Wow, that Italian parsley is<br />

really good – put it with basil and pine nuts<br />

and oil and cheese and now you’ve got<br />

pesto! Wow, now that is flavor!”<br />

He’s going back to even a step<br />

farther than I did: I got it<br />

from the farmers. Now he’s<br />

a farmer. Learning farming<br />

now is another step closer<br />

to understanding these<br />

products.<br />

SAS: What recipe, are you<br />

most proud of?<br />

GM: The ravioli dish we sell<br />

in the restaurant, Mama Pearl’s<br />

Florentine Raviolis. That’s my mom’s<br />

recipe, her name was Pearl Rose. We had<br />

two kitchens in our house and the day after<br />

Thanksgiving my grandparents and my aunts<br />

and everyone comes to the house and they’re<br />

making spinach and cheese raviolis for<br />

Christmas Eve and going to freeze them.<br />

It’s not Black Friday, it’s not shopping.<br />

The day after Thanksgiving, it’s right into<br />

preparing for Christmas Eve and Christmas<br />

Day! I’m helping cut them and doing all that.<br />

I did that from the time I was little. And all<br />

the scraps from those raviolis, I would eat<br />

with tomato sauce. It was like heaven for me!<br />

So when we did this restaurant, we said we’re<br />

doing those raviolis here. We make them<br />

every day and it’s our biggest seller. We want<br />

to interpret the stories with the dishes.<br />

SAS: What are your essential ingredients, the<br />

things you couldn’t live without?<br />

GM: The basic roots are still your anchovies,<br />

your golden raisins, your almonds, your<br />

pine nuts, your extra virgin olive oil, your<br />

parmesan cheese. These are all staples of<br />

a really good Italian kitchen. I’m always<br />

cooking with figs. I do gelato with figs,<br />

fig pastry, and we made flambé dish called<br />

Semifreddo – it’s a classic Italian dessert.<br />

SAS: What would you describe as your<br />

ingredient obsession?<br />

GM: Quality is a big deal, you’re always<br />

trying to find that super quality until you<br />

make that dish the way you want it. You<br />

want to make it somewhat perfect, but<br />

that means finding the best, like if I want<br />

Hawaiian fish, I’m calling Hawaii.<br />

It all goes back to the memories of my<br />

mom, memories of working with my chef,<br />

and now giving that to my kids and my<br />

sous chefs and all my employees who work<br />

underneath me. There are people in Hawaii,<br />

Mexico, California, and New York that have<br />

learned something from me. And that’s a<br />

good feeling – you pass it on. That’s the real<br />

thing when that the knowledge is getting<br />

68<br />

<strong>Sedona</strong> ART<strong>Source</strong>

passed on from my mom’s passion, and from my chef’s<br />

knowledge and creativity and his desire to teach others<br />

and bring them in.<br />

SAS: Have you written any cookbooks?<br />

GM: We wrote a cookbook before my mom passed<br />

away. My cookbook is called Cucina Creativa Italiana.<br />

We want to do a new one, from this restaurant.<br />

The first book was recipes I grew up with and recipes we<br />

did in Hawaii. My mom helped me write the cookbook<br />

while in the hospice care. We gave the money to<br />

hospice. No money for us. If I do another book, it will<br />

be for a cause. Because giving, that’s the real key.<br />

Also, my first book was very fun, but now I want recipes<br />

with my kids: ‘What do you guys like to make? What<br />

do you like to eat?’ I’d like to go from that generation<br />

to this generation. And let me tell you, they’ll be really<br />

different!<br />

SAS: You seem to be building a bridge between the old<br />

traditions and the new.<br />

GM: We want to educate and teach the staff that cooks<br />

here. They’ve been with me for a long time – let them<br />

keep learning. They see it from the beginning, and<br />

that’s important. The people that come in the front of<br />

the house, we try to educate them on food, wine, real<br />

Italian, kosher and authenticity. I lived there so I know<br />

the difference.<br />

Same with the wine; we just don’t have a wine dinner<br />

saying ‘this is the wine and this gentleman is going to<br />

talk about the wine.’ When we have a winemaker come,<br />

it’s a completely different experience and you see the<br />

world of Italian food like he would.<br />

SAS: Imported Italian flour, local wines, and made-fromscratch<br />

sauces! Give us a little taste of how you would put<br />

those beautiful ingredients together into a favorite recipe.<br />

GM: So, here’s our thing; we make a Mozzarella<br />

Caprese on the menu. We like to make all different<br />

types of mozzarella. We make it and we put basil in it.<br />

We roll and slice the mozzarella a little bit at an angle, so<br />

that when you get a Caprese with heirloom tomatoes,<br />

you see the basil in it and you know that this isn’t from<br />

a store.<br />

We put it on our eggplant, we put it on our chicken<br />

and on our pizzas. We won’t be lazy about the food.<br />

There’s nothing I can’t make, so it’s just taking the time<br />

to make it. When you know how to make it, it feels like<br />

you’re cheating yourself if you don’t, if you buy it from<br />

someone else.<br />

My Chef, Angelo Paracucchi, man … there was none of<br />

that happening in his world! He made jams. He even<br />

made the table decorations!<br />

SAS: What big changes have you noticed over the last<br />

twenty-five years?<br />

GM: Everybody’s going too fast. We need to slow<br />

down. That’s why this is only open for dinner – we<br />

want it to slow down. So, the slow food movement is<br />

just another thing that that the restaurant wants to be<br />

into, and we do. It all ties in.<br />

And I think in time, people will understand. We<br />

will teach that we make our doughs fresh daily with<br />

imported flours from Italy and I get my olive oil from<br />

pure sources. The pepperoni is different – it’s naturally<br />

cured meat and the sausage, we make ‘in house.’ We<br />

make everything here and it’s all authentic and good<br />

quality. It all takes time, but everything we can make,<br />

we make!<br />

SAS: People have become very switched on about things like<br />

seasonal and local produce. What excites you about food<br />

now?<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


GM: We want to keep the quality up. We’re<br />

finding out things every day about people growing<br />

different produce locally. We can do this in a little<br />

restaurant. We always support this. When I go<br />

to Italy I’m sure I’ll discover new things, and that<br />

information needs to be passed on.<br />

It’s the generation, like my son, that says, ‘we<br />

can become more green, more sustainable.' I’d<br />

never heard that word before. It has to start with<br />

someone to say, ‘this can be.’ My dream would be,<br />

let’s turn this little restaurant into that.<br />

SAS: You seem to have a ‘recipe’ in mind for the<br />

restaurant itself!<br />

GM: We want a restaurant where the staff, can<br />

learn. I give them my recipes from my chef in Italy,<br />

and they can learn and can create their own. And<br />

that’s the real thing.<br />

We have a lot of ideas to make the restaurant more<br />

natural and more organic.<br />

It’s very tough because we still have an American<br />

palette, but we also have an international crowd.<br />

I know the difference between doing Italian-<br />

Italian and doing the American-Italian cooking.<br />

I was born in the States. I never grew up like<br />

an American; never ate peanut butter and jelly<br />

sandwiches. I’m Italian. I ate Italian food cooked<br />

by my mom, my grandparents, my aunts … they<br />

were just great cooks. The flavors are so nice,<br />

and the cooking slow. Everything took time and<br />

preparation. And that’s where I want to do a little<br />

more here.<br />

Even making the basic lasagna, we don’t make it<br />

in batches. I never made lasagna in Italy - it’s not a<br />

dish you find.<br />

Over here we make homemade pasta, we cut them<br />

stracci and we make grass fed meat sauce with<br />

really nice beef, slow-cooked for three and a half<br />

hours. Then, we combine it with really fine ricotta<br />

cheese, made to order, and then we bake it in a<br />

wood-fired oven. So it’s our version of lasagna,<br />

but it’s a fresh one. We do specialty versions<br />

with spinach and butternut squash, cook it in a<br />

terracotta pot and we let that slow bake for an<br />

hour. It’s not frozen, there’s no microwave, we let<br />

the flavors come of age, and when we’re out we’re<br />

out.<br />

SAS: What is your main goal going forward?<br />

GM: The goal is to become more sustainable, and<br />

as authentic as I can be working with dairy farmers<br />

and the farmers themselves. We get grass fed<br />

meat and natural chickens. To continue getting<br />

the right products, the right grains, the right flour<br />

and the Italian products. It’s fun, it’s a small place.<br />

Another goal is to have these guys go to Italy and<br />

work, where I worked. As I mentioned, my son’s<br />

there now.<br />

SAS: You’re not just passionate about the food and the<br />

experience here, but also for teaching and passing the<br />

torch, this is also quite evident.<br />

GM: They always have a job. That’s the real key<br />

– I don’t want to limit it. It’s true; I have a lot of<br />

history. But we want to look at the future, because<br />

that’s what my kids are doing. They didn’t know<br />

the past. They didn’t know him, [Chef Paracucchi].<br />

SAS: We take it for granted and think our children<br />

know us, but they really don’t.<br />

GM: Exactly, that’s why I’m taking my son and my<br />

family to see where I lived and cooked when I was<br />

his age. The trip’s going to be really exciting and it<br />

will be quite emotional when we are there.<br />

We’re going to eat right there where I worked.<br />

It’s a dream it’s a ‘bucket list’ thing. It’s amazing!<br />

They’ve seen pictures, now they’ll understand it.<br />

They’ll come full circle with me. They’ll say, ‘This<br />

is why Dad’s so passionate about authentic Italian<br />

food.’ My kids will get to see and understand a<br />

little bit more.<br />

70<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />

And then after, it will be like, ‘Ok guys, what do<br />

you want to do here?’<br />

Gerardo's Italian Kitchen is located at 2675 W. State Route 89A in <strong>Sedona</strong>. (928)862-4009 GerardosItalianKitchen.com

<strong>Sedona</strong> ART<strong>Source</strong><br />



Tchotchke Heaven<br />

72<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />

By Carol Kahn

“When someone is creating with their hands,<br />

that’s art. I don’t care if you are painting, sculpting,<br />

working with clay - you are creating art. I think we<br />

are all doing the same thing – creating things that<br />

are coming out of our head – that’s how I see it.”<br />


Bill Robson is a recognized ceramic artist with over fifty<br />

years’ experience in the medium. He has exhibited<br />

his work throughout the southwestern United States<br />

including the prestigious Laguna Beach <strong>Art</strong>s Festival.<br />

Bill’s Master Degree in <strong>Art</strong> Education led him to a<br />

fifteen year teaching career, as well as a year teaching on<br />

the Navajo reservation where he further explored the<br />

area of design.<br />

“When I first arrived on the Navajo Reservation, I was<br />

told that I couldn’t teach art here and I had to teach<br />

sixth grade studies. They told me there was nothing<br />

I could teach the Native Americans that they didn’t<br />

already know about art. I didn’t believe it at first, but<br />

it turns out, they were right!” Bill found himself in the<br />

midst of the finest artisans: rug weavers, basket makers<br />

and potters. At that point in his life, he had no interest<br />

in any of it. “Looking back,” he says, “I certainly could<br />

have learned a thing or two from the Native Americans<br />

and their craft. I should have paid closer attention! It’s<br />

ironic that now I carry some of the very same things I<br />

could have learned about years ago.”<br />

In 1962, Bill created his first ceramic pot and<br />

immediately fell in love with the medium. “I still have a<br />

few prized pieces,” he proclaims. “I don’t do art shows;<br />

there are no blue ribbons for my work; that’s not what<br />

I am about. But, there are some proud moments I<br />

can attest to<br />

during my<br />

career. I was<br />

fortunate to have worked alongside of F. Carlton Ball,<br />

one of the greatest ceramists of my time. His work can<br />

be found at the Metropolitan Museum of <strong>Art</strong> and the<br />

Smithsonian. I should have collected one of his pieces.<br />

His work is definitely worth something now, he explains.<br />

That seems to happen a lot to me in life. I don’t realize<br />

what I had until years later.”<br />

His extensive travels throughout the Southwest in<br />

search of unique antique objects led him to <strong>Sedona</strong>.<br />

It was <strong>Sedona</strong>’s natural beauty and the potential of a<br />

home and business site that led Bill and his wife Rose to<br />

move to Arizona and establish Son Silver West Gallery.<br />

“I used to sell my art to a woman who owned this<br />

gallery years ago.”<br />

“La Galeria” as it was known, was devoted to Western<br />

<strong>Art</strong> and included works from two of the founding<br />

members of the Cowboy <strong>Art</strong>ists of America, Charlie<br />

Dye and Joe Beeler. “One day she asked if I would buy<br />

her gallery, and the rest is history! I got rid of the artists<br />

and decided to do my own thing,” says Bill.<br />

Driving on State Route 179, between <strong>Sedona</strong> and the<br />

Village of Oak Creek, Son Silver West is now a landmark<br />

that catches everyone’s eye. It’s a destination that is<br />

hard to miss! A huge chicken, strategically positioned,<br />

greets visitors as they enter the parking lot. “Rio, my<br />

son, and I found that chicken in Tucson and the minute<br />

I saw it, I thought it would be a hoot if we put that<br />

outside our gallery. I had to have it!” says Bill.<br />

Roaming through Son Silver West you will find a lot<br />

of things you may never have seen before. A giant<br />

dinosaur hovers over the entranceway. This prehistoric<br />

creature looks like it escaped from Jurassic Park, but<br />

it seems to fit right in. Bill found it in Mexico and<br />

knew he had to have that too! Porcelain advertising<br />

signs hang throughout the property; many of those<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


usinesses and their logos are long gone. These mementos<br />

of the past are all part of Bill’s private collection, and<br />

something he is not willing to let go of. Bill likes to collect<br />

things – lot’s of things. Most of his prized possessions can<br />

be seen while milling around the property. Each building<br />

is filled with object’s d’art. Each piece has it’s own unique<br />

story and purpose. One building in particular contains<br />

nothing but tribal art. Picking up a drum-like object, he<br />

describes what it is and how nice it would look as a wall<br />

sconce. “You just need a little imagination,” he says. African<br />

masks, fetishes, and carved sculptures adorn the space. “All<br />

of it is authentic,” Bill confirms. “Most of it is frightening<br />

to look at. Some were made to ward off evil spirits – or<br />

maybe just for annoying people,” Bill jokes. He explains how<br />

he acquired each piece, what part of the world it came<br />

from, and a brief history. It’s all interesting, especially the<br />

backstory. Laughing, he reiterates that<br />

stories can make a piece of artwork<br />

more attractive. Admittedly, he mentions<br />

that he may have embellished, a time or<br />

two, on some of those stories.<br />

Bill and his son, Rio, have their own<br />

working studios tucked away within<br />

the confines of the gallery. Rio<br />

specializes in metal work and creates<br />

the plethora of metal signs, sculptures,<br />

decorative garden pieces and wall<br />

sconces found throughout. Bill creates mixed<br />

media artwork incorporating unusual leather pieces with<br />

antique bells, objects from India and even primitive-style<br />

reproduction farm tools and glass hanging terrariums.<br />

74 72<br />

<strong>Sedona</strong> ART<strong>Source</strong>

Bill Robson & his son Rio<br />

Every now and then you may find him creating a new piece<br />

of pottery. “Typically, I will work nonstop in the studio for<br />

one month straight every day and then it may be six months<br />

before I get back in the studio again. It’s harder now with<br />

three businesses to focus on but I like going to sleep at<br />

night with visions in my head of what I can make next. Just<br />

thinking about my work and the process, keeps my mind off<br />

of the negativity in the world,” says Bill.<br />

As the sound of wind chimes dance in the gentle breeze, a<br />

synchronistic “flow of chi” weaves throughout the nooks and<br />

crannies of this Tchotchke Heaven. Smoke from the logs of<br />

burning pinion permeates the air – as though a smudging<br />

ceremony is about to take place. There are three vortexes<br />

on the property as Bill describes it. “Some guy stood right<br />

here," he says as he points to a bench underneath a juniper<br />

tree. “He told me that he could feel the energy, and that<br />

his body was vibrating. He convinced me that this spot is a<br />

vortex. So, I put up a sign marking the location,” laughs Bill.<br />

For over 38 years this combination art gallery, retail gift<br />

store and ceramic/leather studio has been an ever-evolving<br />

favorite of both locals and visitors coming to <strong>Sedona</strong>. It has<br />

a little bit of everything, and something for everyone. “I just<br />

want people to have fun,” says Bill. “That’s what Son Silver<br />

West is all about.”<br />

Currently, Son Silver West has three locations in Arizona:<br />

<strong>Sedona</strong>, Cottonwood and Wickenburg.<br />

Son Silver West Gallery is located at 1476 State Route 179,<br />

in <strong>Sedona</strong>. (928) 282-3580 SonSilverWest.com<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />



Some Notes about What’s Possible<br />

by Jim Peterson, President of the <strong>Sedona</strong> Culture Collaborative.<br />

In the inaugural issue<br />

of <strong>Sedona</strong> <strong>Art</strong><strong>Source</strong>,<br />

we introduced you to<br />

the <strong>Sedona</strong> Culture<br />

Collaborative’s current<br />

direction and activities. These signal<br />

a new chapter in our service to the<br />

community, and we’re very excited to be<br />

implementing them!<br />

But one thing I’m often asked<br />

about is our longer term objectives.<br />

Where will our current initiatives lead,<br />

and what do we hope to accomplish in the<br />

community as a result? To answer that,<br />

I’d like to share a few thoughts (maybe<br />

even a dream or two) about our vision for<br />

the future of the arts in <strong>Sedona</strong>.<br />

I’ll start with an observation<br />

about the current state of affairs. One<br />

phenomenon I’ve long noted during<br />

the 11 years I’ve lived here is that local<br />

artists and arts groups tend to be pretty<br />

scattered. I don’t mean geographically<br />

scattered – we’re all working within<br />

the same region, after all. But<br />

organizationally, we tend to be quite<br />

independent of each other. We might<br />

occasionally get together to collaborate<br />

on an event or exhibit, but much more<br />

commonly we work alone.<br />

That’s not necessarily a bad<br />

thing, of course. <strong>Art</strong>ists typically want<br />

to immerse themselves in their work and<br />

avoid distractions, and organizations are<br />

usually most effective in meeting their<br />

short term goals when their efforts are<br />

narrowly focused.<br />

But to identify our community’s<br />

needs, the Collaborative has been polling<br />

local artists and organizations and<br />

researching other communities known<br />

for nurturing a vital arts scene. What<br />

we have learned from this is that the<br />

resources and facilities needed to support<br />

arts activities are generally in short supply<br />

around here, compared to other locales<br />

recognized as notable arts destinations.<br />

Many of us, for example, need<br />

more space for our activities - studio<br />

space, performance and exhibit spaces,<br />

rehearsal and practice spaces, teaching<br />

space, and office space. And many<br />

individuals and organizations would<br />

benefit greatly from increased access to<br />

business services (insurance, accounting,<br />

legal, ticketing and sales, etc.), assistance<br />

with marketing and publicity, fundraising<br />

training and support, organizational<br />

development, etc.<br />

We believe that needs such as<br />

these within the local arts community are<br />

not likely to be addressed when everyone<br />

works in isolation. Based on our research,<br />

we believe that artists, arts groups, and<br />

arts-related businesses have the potential<br />

to accomplish much more by working<br />

together than they are likely to achieve<br />

separately. And we’re here to help!<br />

We kicked off our <strong>Art</strong>s Service<br />

Organization initiative (described in our<br />

previous article) as a very significant step<br />

in bringing more unity and cooperation<br />

into our arts community, and we’re taking<br />

other important steps in addition.<br />

For example, we’re in<br />

discussions with the <strong>Sedona</strong> <strong>Art</strong>s Center<br />

and SCORE to establish workshops and<br />

mentoring programs that will help artists<br />

and arts groups address their business<br />

and organizational needs. We’ve worked<br />

with the <strong>Sedona</strong> Chamber of Commerce<br />

to help identify ways to attract visitors<br />

who are interested in our many local arts<br />

opportunities. We’re partnering with<br />

city government and several performing<br />

arts organizations in a working group to<br />

help chart the future of the city’s Posse<br />

Grounds Hub performing arts space.<br />

And we’re working with other<br />

arts groups as well, such as the <strong>Sedona</strong><br />

Conservatory, the Fine <strong>Art</strong> Museum of<br />

<strong>Sedona</strong>, Chamber Music <strong>Sedona</strong>, <strong>Sedona</strong><br />

Chamber Ballet, and <strong>Sedona</strong> Camera<br />

Club, plus businesses like Creative<br />

Gateways, Gandolfo’s <strong>Art</strong> Studio, and<br />

ALT Gallery. We see such collaborations<br />

as essential to serving our mission, which<br />

is to help make <strong>Sedona</strong> an internationally<br />

recognized destination for education and<br />

engagement in the widest possible range<br />

of artistic disciplines.<br />

So (back to the original<br />

question) what would it look like if our<br />

dreams all came true – if we were able to<br />

fulfill our mission completely? Let me<br />

offer a few examples of what we could<br />

have some day:<br />

• Institutions and facilities that<br />

attract the world’s top artists and teachers<br />

across a wide range of artistic endeavors<br />

• Performances and exhibits<br />

that rival the best anywhere and attract<br />

international audiences and accolades<br />

• A thriving ecosystem of arts<br />

businesses and nonprofit groups that<br />

serve the needs of the community, its<br />

artists, and its visitors<br />

• Available and affordable<br />

resources and facilities that allow artists<br />

to focus their energy on what they love:<br />

creativity<br />

• Residency programs,<br />

educational and mentoring programs,<br />

internships, and other development<br />

opportunities that turn out renowned<br />

artists and arts managers<br />

• A robust partnership<br />

between institutions, artists and<br />

groups, businesses, foundations and<br />

philanthropists, government entities,<br />

and volunteers, all working together<br />

to sustain a flourishing arts scene that<br />

significantly boosts the local economy<br />

Is all of that too much to hope for? We<br />

truly don’t think so; we believe that it is,<br />

in fact, eminently achievable. It won’t<br />

happen overnight, of course, and it<br />

certainly won’t be handed to us on a silver<br />

platter. But if the many fine and talented<br />

individuals and groups in our community<br />

really come together to support this<br />

vision, there’s nothing that will stop us!<br />

* * *<br />

To learn more about the <strong>Sedona</strong> Culture<br />

Collaborative or to get involved in<br />

its exciting projects and activities,<br />

contact Jim Peterson at 928-554-4340 or<br />

President@sedonacollaborative.org.<br />

74<br />

<strong>Sedona</strong> ART<strong>Source</strong>

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<strong>Sedona</strong> ART<strong>Source</strong><br />



The<br />

Village<br />

Gallery<br />

<strong>Art</strong>ists - Our Human Hummingbirds<br />

Brian Myers<br />

By Patti Polinard<br />

<strong>Art</strong>ists and hummingbirds have something in common. They<br />

both seed humanity by taking their messages out into the<br />

world. Hummingbirds use nectar as fuel for their body heat,<br />

as they pollinate flowers. <strong>Art</strong>ists use inspiration for creativity,<br />

as they impact the minds and hearts of individuals, cultures,<br />

and the world at large.<br />

Lenore Hemingway, co-owner of The Village Gallery<br />

with Suzen Brackell; rescues and assists with banding<br />

hummingbirds. Her appreciation and understanding of these<br />

birds lend an insight into the nature of her art and the artists<br />

in their gallery.<br />

In the summer Lenore hosts a hummingbird event; assisting<br />

with capturing then banding the birds for research. She<br />

also hosts two photography workshops where guests find<br />

themselves surrounded by over 1000 hummingbirds with 30<br />

feeders. Lenore says they are a huge inspiration carrying a<br />

spiritual message into her life and in her art.<br />

Lenore moved to <strong>Sedona</strong> in 2006 and hand-built a 'green'<br />

home with her husband. She was raised on a farm with<br />

a reverence for nature and animals and her home is a<br />

sanctuary for all that surrounds her. She is also a veteran of<br />

27 years, having served as a Lt. Col. with the<br />

Air Force. She never imagined she had an<br />

array of artistic abilities before retiring and<br />

residing in <strong>Sedona</strong>.<br />

Her media of choice became mosaic art;<br />

which happened quite by accident at<br />

a garage sale where she found a small<br />

table she turned into her first mosaic<br />

piece. Focusing on abstracts, she<br />

began creating wall mosaics. Later, her<br />

signature mosaics became all kinds of<br />

shapes from Kokopelli, spirit animals,<br />

lighthouses and suns, to hummingbirds.<br />

She also creates beautiful glass jewelry. Lenore<br />

is currently participating with the Women’s<br />

Kindness Group in <strong>Sedona</strong>, creating mosaic<br />

76<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />

Lenore Hemingway<br />

Iam Allah Ali<br />


ench designs with Lucy Paradise and<br />

other women, to Spread the Message<br />

of Kindness.<br />

The Village Gallery is a true cooperative,<br />

where each artist not<br />

only showcases their art; but<br />

also contributes to its success by<br />

participating on different committees<br />

running its day to day operations. In<br />

2009 the building was a timeshare<br />

displaying a little local art in its office.<br />

It was later transformed into The<br />

Kathy O’Connell<br />

Village Gallery through the vision of<br />

Suzen Brackell. Suzen, co-owner of the<br />

gallery with Lenore; is a unique fabric<br />

designer who takes scraps of materials<br />

and creates beautiful, one of a kind,<br />

fashionable clothing for women. Suzen<br />

and Lenore “believe the success of the<br />

gallery is because they put love in their<br />

art.”<br />

Lenore joined The Village Gallery<br />

in 2011 and in 2016 she and Suzen<br />

became owners and partners in the<br />

gallery but chose to maintain it as a<br />

co-operative. <strong>Art</strong>ists today, see art in<br />

everything from nature to industry<br />

as they view the colors and<br />

shapes of our world. These two<br />

women have created a venue<br />

that supports an artistic freedom,<br />

to create art from literally<br />

everything on the planet. These<br />

art mediums have launched a<br />

magnificent array of repurposing,<br />

or ‘art-cycling’ from everyday<br />

objects and nature, to what<br />

was once considered trash.<br />

Although ‘Fine <strong>Art</strong>’ still maintains<br />

a reverence all its own; people<br />

today are exploring and relating<br />

to art in ways they never imagined.<br />

There are forty artists in The<br />

Village Gallery. The art represented<br />

showcases everything from mosaic,<br />

fabric design, jewelry, Native American<br />

crafts, wood carvings, furniture, pottery,<br />

gourds, acrylic, oil, and watercolor<br />

paintings, photography, and glass work,<br />

to mixed media. Each artist is juried<br />

in so they don’t have too much of<br />

anything, with enough variety for every<br />

taste. Some like June Payne Hart, have<br />

spent a lifetime painting. Others like<br />

Joanne and <strong>Art</strong> Hiscox mix up medias<br />

with functional art furnishings and<br />

large outside installations. Much of<br />

what a visitor will find in this gallery is<br />

reflected from nature. However, there<br />

is also an industrial aspect of creative<br />

energies with forged metal objects<br />

produced from recycled materials. Tom<br />

Williams creates cactus sculptures<br />

from the horseshoes of the Grand<br />

Canyon mules; and transforms propane<br />

cylinders and tanks into drums and<br />

bells.<br />

Lenore showed me two hummingbird<br />

nests in my interview with her. The<br />

first one had an unhatched egg. The<br />

nest itself was only about the size of<br />

Peggy Doig<br />

a half dollar and made of cobwebs,<br />

feathers, bark, leaves, lint, flowers<br />

and other soft materials. The second<br />

was slightly larger because it had<br />

stretched to accommodate four<br />

baby hummingbirds. If we are to fully<br />

appreciate art in all its forms … we<br />

must stretch our nests to include<br />

everything we see and experience in<br />

life. These interdisciplinary artists give<br />

us an opportunity to view the world<br />

with a new sense of appreciation and<br />

awe. They illustrate aspects of the web<br />

of life, and remind us of the connective<br />

thread to everything. Such vision<br />

nurtures us and our world in a way<br />

we can all embrace and share … the<br />

hummingbird’s message.<br />

Suzen Brackell<br />

The Village Gallery is located at 6512 State Route 179 in <strong>Sedona</strong>.<br />

Open 10 am - 6 pm Seven days a week.<br />

Phone: (928) 284-1416<br />

<strong>Sedona</strong>Local<strong>Art</strong>ists.com<br />

<strong>Sedona</strong> ART<strong>Source</strong><br />


78 <strong>Sedona</strong> ART<strong>Source</strong>

<strong>Sedona</strong> ART<strong>Source</strong><br />


<strong>Sedona</strong> <strong>Art</strong> Galleries - See Map pageS 78-79<br />

E2<br />

Adonai Chrisan Fine <strong>Art</strong> Gallery<br />

101 N SR 89A<br />

D3<br />

Great Southwest Gallery<br />

336 SR 179<br />

E2<br />

R.C. Gorman Navajo Gallery<br />

285 Jordan Road<br />

B3<br />

D3<br />

D3<br />

D3<br />

A5<br />

D3<br />

D3<br />

C3<br />

D3<br />

D2<br />

D3<br />

E3<br />

E3<br />

D3<br />

C3<br />

E3<br />

D2<br />

ALT Gallery<br />

2301 W SR 89A<br />

Andrea Smith Gallery<br />

336 SR 179<br />

<strong>Art</strong> & Soul of <strong>Sedona</strong><br />

671 SR 179<br />

Azadi Rug Galleries<br />

336 SR 179<br />

Bearcloud Gallery<br />

7000 SR 179<br />

BearcloudGallery.com<br />

Big Vision <strong>Art</strong> Gallery<br />

& Design Studio<br />

251 SR 179<br />

BigVision<strong>Art</strong>s.com<br />

Carre D’Arstes<br />

336 SR 179<br />

Creave Gateways<br />

45 Birch Blvd<br />

Eclecc Image Gallery<br />

336 SR 179<br />

El Dorado<br />

101 N SR 89A<br />

El Picaflor Gallery<br />

336 SR 179<br />

Eve Franc - A Bryant Nagel Gallery<br />

431 SR 179<br />

Exposures Internaonal<br />

Gallery of Fine <strong>Art</strong><br />

561 SR 179<br />

ExposuresFine<strong>Art</strong>.com<br />

Gallery of Modern Masters<br />

671 SR 179<br />

Gallery Tesla<br />

2030 W SR 89A<br />

Garland’s Navajo Rugs/<br />

The Collector’s Room<br />

411 SR 179<br />

Goldenstein Gallery<br />

150 SR 179<br />

Goldenstein<strong>Art</strong>.com<br />

E2<br />

A3<br />

E1<br />

D3<br />

D3<br />

D3<br />

D3<br />

E3<br />

D3<br />

E3<br />

E3<br />

A5<br />

D3<br />

E2<br />

E2<br />

D3<br />

Greg Lawson Galleries:<br />

<strong>Art</strong> Tasng Room<br />

270 N SR 89A<br />

GregLawsonGalleries.com<br />

Greg Lawson Galleries:<br />

Passion for Place<br />

2679 W SR 89A<br />

GregLawsonGalleries.com<br />

Hoel's Indian Shop<br />

9589 N SR 89A<br />

Honshin Fine <strong>Art</strong>:<br />

Gallery of Wholeness,<br />

Harmony & Radiance<br />

336 SR 179<br />

Honshin Fine <strong>Art</strong>:<br />

Gallery of the Ascending Spirit<br />

336 SR 179<br />

Inner Eye Gallery<br />

336 SR 179<br />

James Ratliff Gallery<br />

671 SR 179<br />

Kopavi<br />

411 SR 179<br />

Kuivato Glass Gallery<br />

336 SR 179<br />

KuivatoGlassGallery.com<br />

Lanning - A Bryant Nagel Gallery<br />

431 SR 179<br />

Lark <strong>Art</strong><br />

431 SR 179<br />

Magical Mandala<br />

Kaleidoscope Gallery<br />

7000 SR 179<br />

Mountain Trails Galleries<br />

336 SR 179<br />

Nave American Traders<br />

321 N SR 89A<br />

Nave Jewelry of <strong>Sedona</strong><br />

276 N SR 89A<br />

NaveJewelryGallery.com<br />

Navarro Gallery<br />

336 SR 179<br />

D3<br />

D3<br />

B3<br />

E2<br />

B3<br />

A5<br />

E3<br />

B4<br />

D4<br />

D2<br />

C3<br />

E2<br />

E3<br />

A5<br />

A5<br />

D2<br />

D3<br />

C3<br />

Renee Taylor Galleries<br />

336 SR 179<br />

Rowe Fine <strong>Art</strong> Gallery<br />

336 SR 179<br />

<strong>Sedona</strong> Arst Market<br />

2081 W SR 89A<br />

<strong>Sedona</strong>ArstMarket.com<br />

<strong>Sedona</strong> <strong>Art</strong>s Center<br />

15 <strong>Art</strong> Barn Road<br />

<strong>Sedona</strong> Giclee Gallery<br />

2055 W SR 89A<br />

<strong>Sedona</strong> Hummingbird Gallery<br />

6560 SR 179<br />

<strong>Sedona</strong> Poery<br />

411 SR 179<br />

<strong>Sedona</strong>Poer.com<br />

Soderberg Bronze<br />

45 Finley Drive<br />

Son Silver West Gallery<br />

1476 SR 179<br />

The DeSerio Gallery<br />

101 N SR 89A<br />

The Melng Point<br />

1449 W SR 89A<br />

Touchstone Gallery<br />

320 N SR 89A<br />

Turquoise Tortoise<br />

- A Bryant Nagel Gallery<br />

431 SR 179<br />

Van Loenen Gallery<br />

7000 SR 179<br />

Village Gallery of Local Arsts<br />

6512 SR 179<br />

<strong>Sedona</strong>LocalArsts.com<br />

Visions Fine <strong>Art</strong> Gallery<br />

101 N SR 89A<br />

Vue Gallery<br />

336 SR 179<br />

Wayne B. Light Gallery<br />

40 Soldier Pass Road<br />

B3<br />

Gordon’s Clock Soup Gallery<br />

2370 W SR 89A<br />

D3<br />

Quilts Ltd. Gallery<br />

313 SR 179<br />

<strong>Art</strong><strong>Source</strong> adversers listed in bold<br />

80 <strong>Sedona</strong> ART<strong>Source</strong>

<strong>Sedona</strong> ART<strong>Source</strong><br />


Extraordinary<br />

and<br />

Unforgettable<br />

“One of the Largest and Most Unique Galleries in the World”<br />

800-526-7668 561 State Route 179, <strong>Sedona</strong>, AZ 86336 928-282-1125<br />

ExposuresFine<strong>Art</strong>.com<br />

Sales@ExposuresFine<strong>Art</strong>.com<br />

©2018 Exposures International LLC

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