Sedona Art Source

VOLUME THREE TWELVE $

Voted Best Gallery in Sedona 11 Years Running! 

“Broken Arrows” 

Bronze Limited Edition of 12 

by James Muir 

Cochise “broke the Arrow” in a sign of Peace. 

The government broke the treaty in a sign of War. 

The loyal “Apache Scouts” were shipped to prison 

with the “Hostiles”. 

“We are all “Broken Arrows” 

…James N. Muir 

GOLDENSTEIN GALLERY 

Sedona ARTSource 

150 State Route 179, Sedona ◊ 928.204.1765 ◊ GoldensteinArt.com 

1

FROM THE PUBLISHER 

The third issue of Sedona ARTSource continues 

to build on a commitment to serve the arts 

community and the general public by providing an 

informative platform supporting the arts and those 

that contribute to the fabric of the art scene in 

Sedona. 

Veteran writer and musician Lynn Alison Trombetta, 

who has been with us from the beginning, has moved 

into the position of editor bringing years of creative 

experience along with a zest for all the arts to 

complement her role. 

Volume lll introduces a new feature titled Toast of 

the Town that will honor a person or group that has 

contributed positively in supporting the arts in our 

community. 

Special “Thanks” too for the thoughtful expressions 

and well wishes received from many that have taken 

time to express support for the ARTSource project. 

Art has such a wonderful capacity to cheer us on and 

inspire us; it can pull us up when we’re down, satisfy 

many of our hungers and stimulate all of our senses 

and emotions. Art is surely worth the time we invest 

in creating and appreciating it! 

Greg Lawson 

6 Editor’s Message 

8 City of Sedona 

State of the Arts 

15 Chamber of Commerce & Tourism Bureau 

Nature’s Masterpiece 

18 Artist Bearcloud 

Echo in the Clouds 

26 Sedona International Film Festival 

Art in Action 

34 Marty Herman 

Toast of the Town 

Sedona 

ARTSource 

Published by Sedona ArtSource 

2679 West State Route 89A 

Sedona, AZ 86336 

Volume Three 

Design elements by Erick Hale Agency 

and Nadezda Skocajic 

Printed in PRC 

SedonaArtSource.com 

ON OUR COVER 

“Shadow Wolf” 

By James N. Muir 

Ed. 12 

Sedona ArtSource is published quaterly. 

Copyright © 2019 Sedona ArtSource. All world rights reserved. No part 

of this publication may be reproduced, transmitted, transcribed, stored 

in a retrieval system or used as a model for any type of reproduction, 

in any medium, by any means without the publisher’s prior written permission. 

The publisher assumes no responsibility for errors or omissions. 

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

4 

Sedona ARTSource

CONTENTS 

36 Linda Goldenstein 

Putting Her Heart Into Art 

42 Zuni Fetishes 

The Spirit Within the Art 

46 Artist Nicholas Kirsten Honshin 

Fifty Years of Creativity 

54 Guitarist Rick Cyge 

A Personal Evolution of Acoustic Music 

61 Anna’s in the Snow 

64 Sedona Seasons 

Winter to Spring 

66 Chef Jeff Smedstad 

Southwest & Mexican Flavors 

75 The Spotlight 

76 Sedona Entertainment Venues 

78 Sedona Gallery Map 

80 Sedona Gallery Index 

18 26 

46 66 

Publisher 

Editor 

Art Director 

Web Master 

Greg Lawson 

Lynn Alison Trombetta 

Kristina Gabrielle 

Rick Cyge 

SedonaArtSource.com 

info@SedonaArtSource.com 

Facebook.com/SedonaArtSourceForce 

From the beginning 

mankind has advanced on two legs: 

one is science, the other is art. 

— Coddington 


3

6 


GERARDO’S 

Italian Kitchen 

2675 West State Route 89A, Sedona 

GerardosItalianKitchen.com 

928.862.4009


5

FROM THE EDITOR 

As the team that is the ArtSource force achieves the milestone of one year of 

production, planning and publication, we celebrate the artistic fabric that is 

Sedona. That artistic fabric, made up of artistic types who live, work and are 

represented in Sedona is more rich and varied than one would ever imagine. 

On the pages of Sedona ARTSource, we focus on all of the arts; music, film, 

culinary, visual art, design, education, literary and performing arts. 

Be sure to visit our website, www.SedonaARTSource.com for the calendar 

of local arts, music and performance related events and to see articles and 

interviews in previous issues of the 

Sedona ARTSource publication. 

In the world outside of Sedona, especially 

during creativity seminars that my 

husband, Rick Cyge and I taught, we 

would often hear the phrase, “But I have 

no artistic talent at all!” It occurred to me 

that I haven’t heard those words during 

my encounters while living here the past 

nearly ten years. As my grandmother, 

who was one of Sedona’s earliest 

transplants once said, “Everybody’s 

dancing or dreaming of dancing.” 

I believe that is the artistic, creative 

energy that is a force of its own in 

Sedona. We are honored to get to know our innovative neighbors who call this 

magnificent place home and to shine a light on those who work quietly in their 

studios and out in the field to bring us the products of their creative endeavors. 

The still waters run deep here. 

As we complete this issue of Sedona ARTSource, the one thing that we are 

certain of is that we will never run out of creative people to interview in Sedona! 

Here’s to the dancing! 

Lynn Alison Trombetta 

Editor 

6 



7

Arts 

STATE 

OF THE 

By Nancy Lattanzi 

Art has healing benefits. Virtues promote collective and individual greatness. What 

better way to start the new year than by promoting the virtues of peace and kindness 

through the arts? 

I am honored to collaborate and help spread the messages for two special 

connections I have made: The first is prolific painter Steve Simon, whom has created 

a detailed collection of portraits capturing the Great Peacemakers of our time. The 

other is SedonaKind. This generous group of industrious women lives by their motto 

“to encourage acts of kindness, large and small, locally and around the world.” 

NANCY LATTANZI 

Arts & Culture Coordinator 

City of Sedona 

Steve Simon 

Beginning with the salient and timeless 

message of spreading peace, painter Steve 

Simon has been working on his collection 

for six years. Simon is the son of immigrant 

parents from Luxembourg. His late father 

survived the Nazi concentration camps. 

In a series of nightly chats, Simon’s father 

recounted everything he could remember 

about those dark days to his then twelve 

year-old son. Those chats would leave a 

lifelong impression on Simon and a strong 

sense that he wanted to leave the world a 

more peaceful place. The future artist began 

by presenting his father’s story to his sixthgrade 

class. 

Steve Simon 

The young idealist eventually focused his 

attention on more pragmatic career pursuits. 

Simon received a degree in mechanical 

engineering and an MBA. By the age of 

twenty-nine he had studied, worked and 

traveled in thirty countries. It was while 

he was working as a consultant in Paris, 

France he made the decision to seek his own 

version of personal peace by listening to his 

inner voice. The voice urged him to paint 

and so Simon began a professional painting 

career that has now spanned 25 years. 

He left France and opened his own gallery 

on Balboa Island in southern California. He 

8 Sedona ARTSource

egan painting landscape oils, eventually publishing seven coffee-table books of his art and 

poetry. In 2007, Simon moved to Sedona with his wife and children and continued to find 

peace in painting the inspirational landscape. With no experience painting portraits or 

figurative work, Simon nevertheless began to pursue what had become his new muse; he 

studied and painted three-dozen historical peacemakers. 

Simon is currently in the process of writing a book offering brief peacemaker biographies, 

the lessons he has learned from studying each peacemaker and the broader, collective 

perspectives he has gleaned as well. He believes these lessons are imminently relevant. 

One example includes a remarkably consequential peacemaker few of us have ever 

heard of. His name is Deganawidah. Referred to by the Iroquois simply as the Great 

Peacemaker, this figure united the five warring nations of the Iroquois into the world’s 

first democratic confederation. 

Steve Simon 

Simon’s painting 

depicts the Great 

Peacemaker 

figuratively 

straightening the 

seven crooked 

places in the 

body of a chief 

who served 

as a stubborn 

obstacle to 

peace. Meanwhile 

the Great 

Peacemaker’s 

accomplice, 

Hiawatha, combs 

the snakes from 

the wicked 

chief’s hair. 

Deganawidah’s 

Great Law of 

Peace would 

eventually influence 

our nation’s 

founding fathers 

in establishing their own confederation of colonies and the U.S. Constitution would 

incorporate many aspects of his “Law.” Interestingly, this ancient surviving democracy of 

the Iroquois does not rely on the competition of majority rule, but rather on a shared 

consensus—a lesson Simon finds particularly intriguing given our current state of polarity. 

The paintings are not being sold individually. Simon is instead seeking a single buyer and a 

venue to permanently exhibit the complete collection of oil paintings. In addition to the 

original artwork, the artist is creating a traveling educational exhibit featuring the art. 

Don’t miss viewing this extraordinary Great Peacemakers Solo Exhibit, which will be 

on display at Sedona City Hall from January through the end of April 2019. To make an 

appointment for viewing, please contact Nancy Lattanzi, Arts & Culture Coordinator at 

NLattanzi@sedonaaz.gov or 928-203-5078. 


9

Photos: Larry Kane 

SedonaKind 

SedonaKind began by creating charms made from donated 

recycled jewelry that say, “Take me home and spread 

kindness.” Over 6,000 of these charms were delivered to 

every state in the US and to three dozen countries, in the 

hopes they remind people they are loved. After the positive 

impact the project made, the organization took off with a 

long list of kindness projects and has partnered with 15 other 

non-profit groups, which financially support a special group 

each year. Some of the projects include: Welcome Home 

Vietnam Vets, Kindness in Schools, Kind Art from the Heart, 

Winter Hats Knitting projects just to name a few. Many 

volunteers have knitted hundreds of warm winter hats for 

school children, veterans and the homeless. Each spring our 

unsung heroes are honored with a special, crafted “thank 

you.” 

SedonaKind has sponsored Sedona Kindness Week for the 

past three years, sharing films and raising money for the 

Yavapai Food Council, Veteran PTSD programs and this year 

for local teachers. There also are Gratitude Trees sprouting 

up all over the community for everyone to express what 

they have been grateful for. The latest donation the group 

has created is a project called “Kindness Benches.” These 15 

beautifully crafted mosaic benches, each with a message of 

kindness inscribed on them are a generous gift to the City of 

Sedona. 

It would be remiss to not include gratitude for all those who 

donated their time and efforts to make this project possible 

for our community. SedonaKind and the City of Sedona 

would like to thank the following: 

10 


The artists who have so kindly dedicated time to creating these works 

of art: Lucy Paradise, Lenore Hemingway, Katie Hamilton, Joy Sinnott, Dottie Webster, 

Carol Wallen, Mary Feeney, Ruti Lovett, Wendy Bialek-Kling, Lori Reinhard, Heather 

Molens, Brenda Cosse, Cheri Baldwin and Linda Brecher. The artists and residents who 

have assisted with fabrication are: Steve Fiedler, Ed Paradise, Judi Kizzier, Jackie McCarthy, 

Donna Werner, Ruth Cornell, Sue Haan, Janice Gary and Suzanne Owens. 

Bench Donors include: Lucy Paradise, Patricia Wheat, Dottie Webster, Joy and Brian 

Sinnott, Brenda Cosse, Laurie and Dick Dawe, Lenore and Steve Fiedler, Carol Wallen, 

Cheri Baldwin, Linda Brecher, Heather Molans, Katie and Cliff Hamilton, Mary Feeney, 

Ruti Lovett, Janet Misamore, Wendy Bialek-Kling, Jawn and John McKinley, Connie 

Levinson. 

Photos: Larry Kane 

Community Members who assisted in the Kindness Bench project 

include: Gandolfo Studio for their work space, Excalibur for the cement benches, 

City of Sedona Public Works, Sir Moves A Lot and Go Orange for moving these heavy 

benches to their locations, Judith Fogarty for storing benches in summer, Larry Kane 

photography and Nancy Lattanzi, Arts & Culture Coordinator for facilitating the project 

and inviting the group to present their work to the City Council for November’s 

Moment of Art. SedonaKind truly strives to “Be the Reason Someone Believes in the 

Goodness of People.” 

Kindness Benches can be found throughout the City at the following locations: Sedona 

City Hall courtyard and Mary D. Fisher Theatre have two benches each, Sedona Medical 

Center, the Amitabha Stupa and The Village Gallery of Local Artists in Village of Oak 

Creek each have one bench, Forest Point has three benches and the remaining five are 

placed around Uptown Sedona. ∞ 


11

Celebrating 25 Years! 

12 

The BEST independent films from around the world! 

February 23 - March 3, 2019 

PASSES NOW ON SALE! 


www.SedonaFilmFestival.org 928.282.1177

GREG LAWSON 

Now Celebrating 60 Years behind an Independent Lens 

Three Sedona Galleries 

270 N. SR 89A 

Lawson Legacy 

Images in Low-Number 

Limited Editions and 

Exclusive Creations 

Passion for Place 

2679 W. SR 89A 

Seven Continents, Fifty States, 

an Entire Global Experience 

ART TASTING ROOM 

270 N. SR 89A 

Lawson Images 

in Appetizer Sizes 

GREG LAWSON GALLERIES 

GREGLAWSONGALLERIES.COM 


13


Sedona is nature’s masterpiece. This small city — with its crimson earth and shapely 

spires, expansive azure skies, and green wooded canyons — is a testament to the raw beauty that only nature 

could create. Visitors and residents alike can surely relate to the timelessness of this attraction. Whether 

you’ve been here for two days, or 20 years, Sedona’s allure never fades. 

However, Sedona is more than just its majestic 

landscape. Simply being here affects you. Whether 

you’re thoughtfully lingering along a labyrinth’s 

swirling path, ambling on a quiet trail, or sitting with 

a cup of locally-roasted java watching the sun bathe 

the red rocks in its early morning glory, this place will 

make an impact on your life. Similar to the way that 

art impacts you. 

As if Sedona doesn’t already satisfy your senses, the 

city also has a rich art scene with an eclectic past. 

It began most notably in the early 1930s when two 

famous sculptors, Robert and Mary Kittredge, found 

solace in the town’s beauty and chose to call Sedona 

home. During the 1950s, surrealist icons Max Ernst 

and Dorothea Tanning claimed Sedona as a source 

of inspiration. In 1958, famed Egyptian sculptor 

Nassan Gobran together with a group of other artists 

founded what would become the Sedona Arts Center. 

Contemporary Western artist Joe Beeler along with 

John Hampton, George Phippen, Frank McCarthy 

and Charlie Dye founded the prestigious Cowboy 

Artists of America in 1965 at the Oak Creek Tavern in 

Uptown Sedona — known today as the Cowboy Club 

Grille & Spirits. The intrigue of Sedona as a place for 

creative awakening has continued as people come here 

to open themselves up to their imagination in this 

incredibly stimulating and unique setting. 

MICHELLE CONWAY 

Director of Marketing, 

Sedona Chamber of Commerce 

& Tourism Bureau 

Photo: Mal Cooper 

What would a modern-day Sedona creative immersion look like? How can you experience the arts in this city 

while you’re visiting? Your perfect agenda might look something like this: 

• Artists hold light in high esteem when painting 

or photographing, especially outside. The different 

natural light, changing minute-by-minute, can make 

or break a photo, for example. Observe a particularly 

glorious time of day with sunrise coloring while 

floating in a peaceful hot air balloon. 

• Enjoy a scrumptious trout and ham benedict 

with citrus basil hollandaise at Etch Kitchen/Bar 

at L’Auberge de Sedona as the dappled shade from 

sycamore trees dances on the ground and cool water 

bubbles over multi-hued rocks in the nearby creek. 

While here, interact with any one of the more than 10 

local Sedona artists as they paint and sculpt as part of 

the Artist in Residence program. 

• Take a tour of Sedona on foot with the GPSenabled 

web map, WalkSedona.com. Everywhere 

you turn, you will be surrounded by natural beauty, 

which is only amplified by perfectly appointed 


15

sculptures. Sedona has nearly 30 public art pieces 

throughout the city that range in topic from Native 

American heritage to Sedona’s apple farming history. 

Use the Public Art Map distributed at the Sedona 

Chamber of Commerce Official Visitor Center at 331 

Forest Road and SR 89A to guide you to the various 

pieces. 

• Art is not only visual. Layer your senses with a 

flavorful treat. There’s nothing prettier (and tastier) 

than an array of frozen artisan dessert in brightlycolored 

Prickly Pear, rich Double Chocolate, and 

swirled Amarena Cherry at Red Rock Gelato. 

Delectable raw chocolate cups, magic bars, and 

truffles made from scratch abound at ChocolaTree 

Organic Oasis. At these locales you’ll likely rub 

elbows with the locals, many of whom are painters, 

photographers and writers who once had Red Rock 

Fever before making Sedona their home. 

• Peruse the numerous galleries throughout West 

Sedona, Uptown and Gallery Row (from the “Y” 

down through Tlaquepaque Arts & Crafts Village 

and up SR 179 including Hozho and Hillside plazas). 

The New York Times referred to Sedona as, “A 

‘New-West’ enclave of art galleries,” and the galleries 

certainly deliver. The varying styles of art in this city 

are numerous and come from both emerging and 

established artists. From Western bronzes, Native 

American weavings and contemporary jewelry, to 

woodcarvings, landscape photography and fine art 

paintings, and much more. By now, you’re feeling 

inspired and moved by all that you’re experiencing 

in this magical city. Let that feeling guide you as 

you choose an art piece that resonates most with 

you. Take it home as a memory of your visit that will 

enrich your life for years to come. 

• If it’s the beginning of the month, join the 

festivities at 1st Friday in the Galleries. From 5:00 

until 8:00 p.m., members of the Sedona Gallery 

Association offer a monthly showcase of artists, art 

events and special exhibits. This event gives Sedona 

visitors and residents the chance to socialize with 

other art lovers – both novice collectors and longstanding 

supporters – in a relaxed and open reception 

environment complete with light refreshments. 

Your exploration of innovation doesn’t end at 

dinnertime. 

• Restaurants in Sedona revere the culinary 

arts and the respective atmosphere provided to 

their guests. As with varied styles of art, there is 

an equal amount of diversity in cuisine. Relax at 

Pump House Station Urban Eatery while delighting 

in their Crispy Skin Red Trout. Or partake in an 

innovative and regionally-infused prix fixe dinner 

menu at Cress on Oak Creek which recently claimed 

one of the “Top 100 Al Fresco Dining” spots in the 

U.S. by OpenTable. Enhance the palette and pair 

your dinner with locally grown wine co-created by 

passionate winemakers and the area’s abundant 

sunshine, cool nights and rich volcanic soil. 

• Mary D Fisher Theatre hosts films year-round, 

along with the esteemed Sedona International 

Film Festival’s annual celebration of independent 

filmmakers in February/March. Sound Bites Grill 

has live entertainment nearly every night and various 

local restaurants offer a variety of music throughout 

the week. Other performing arts include the Verde 

Valley Sinfonietta which is in its 14th season, and 

the Red Rocks Music Festival showcases a unique 

collaboration of musicians. The Emerson Theater 

Collaborative at The Collective Sedona offers 

live theater, and the Sedona Photofest returns 

in June 2019 with a series of presentations on top 

photographers’ perspectives, photographic technique 

and use of digital software. Details about these 

events and more can be found at SedonaEvents.com. 

This is a full day! You’ll need to stay longer to 

really immerse yourself in the full artistic and 

cultural experience that is Sedona. Check out 

VisitSedona.com to explore your options for lodging, 

dining, galleries, tours, events and entertainment. 

With such rich layers of artistry, Sedona is an 

incredible destination to visit, and an extraordinary 

place to live, work and play. It’s as if this small piece 

of the planet was created solely for the purpose of 

inspiring and connecting people to what matters 

most in life. There’s no better place to do just that 

than Sedona, The Most Beautiful Place on Earth. ∞ 

16 


Introduction by Ian Westfield. Artwork and accompanying quotations by Bearcloud. 

A Gathering of Nations 

Have you ever lain in the grass, peering into the clouds only to find 

yourself imagining the likeness of creatures or other familiar objects 

unfolding in the passing mists? Then you will no doubt appreciate the 

story and the artwork of an iconic Sedona artist, Rod Bearcloud Berry. 

As a young Native American boy born in the rolling grasslands of Oklahoma, 

he recalls seeing visions of towering monuments in his head even before he 

ever laid eyes on them. In fact, it wasn’t until he was about twenty years old 

18 


Lodge of the Buffalo Bear Heart 

when he was driving through the Four Corners area 

of the American Southwest for the first time that he 

understood his earlier visions. As his car crested a 

hilltop, he was mesmerized by the landscape that spread 

out before him. 

The perfect panorama filled with red-hued monuments 

was the very reality of his youthful visions. He came to 

learn that this was known as Monument Valley. And 

even though it was his first visit to this magical place, 

for this young artist it felt like he was just coming home. 

Bearcloud, as he came to be known, had been drawing 

and painting such monuments even before he left 

his native, Ni U Kon Ska homeland in Oklahoma. 

Eventually migrating to Sedona, his visions were 

transformed to paint and pigment with a focus on 

‘cloud-reveals’ and are appreciated and collected by a 

global audience. Bearcloud says his mission is to depict 

powerful realities of both the physical and spiritual 

planes in his landscape and nature portrayals. A careful 

analysis of each of his paintings reveals concealed gems 

not discernable to the casual observer, most of them 

hidden in the clouds. 

The Bearcloud Gallery in Sedona has been operating 

since the 1990’s and today’s expanded Bearcloud 

galleries include locations in Uptown Sedona and at 

The Collective Sedona in the Village of Oak Creek. 

The gallery in The Collective Sedona includes a Native 

Cultural Center created to help visitors glean insights 

about regional tribes such as the Yavapai, the Hopi and 

the Navajo. 

Depicted on these pages are a few of Bearcloud’s 

powerful creations, accompanied by poetic 

commentaries by the artist. 


19

As Above As Below 

As Above As Below 

As I stand upon the Earth Mother I feel the strength of the Eagle Spirit at my side. The old ones gather in the mountains of truth 

bringing their messages of the Great Mystery and there are visions of harmony between the Earth and Sky. The thunder of the 

buffalo pounds through my body. My heart soars as the Eagle Dancers wings touch the sky. The sky unfolds with the powers 

of the four sacred winds that brush my face and touch my spirit. As my thoughts cross the winds of the Great Mystery and the 

reflections of the waters of harmony, As Above is as Below and I will continue to walk a humble path. 

found my way to the top of a 

I small knoll one day. I was out 

seeking a vision near a place similar 

to the mountains in this painting. 

There was a heavy breeze as I 

reached to grab a rock next to a 

plant to pull m myself on top. Just 

next to my hand a leaf from the 

plant shimmered in the sun. It was 

summer and a small patch of Indian 

paint brushes were growing from a 

split in the red rock. I turned and 

looked behind me at the massive 

red rock that reached upward 

pushing through the bottom. The 

wind blew the clouds in such a way 

they came closer to the ground. 

When they lifted back up a herd 

of buffalo formed in the lower 

rock and was coming towards me. 

They seemed to be coming straight 

up out of the ground and a dust 

storm followed behind them. The 

power of their thrust carried a voice 

that suggested they were coming 

to assist the earth. The vision 

had begun and the magic of the 

20 


mountain had come to life. 

Faces in the upper rock caught 

my attention. Arms of these rock 

beings reached skyward and 

the vertical spires of the rock 

formations turned into wings. 

Seven of these spirit Eagle Dancers 

slowly came to appearance. I 

could almost see these rock spirits 

dancing to a drumbeat when the 

thunder crashed off in the distance. 

The sunlight coming through the 

clouds made them appear to be 

moving on the rocks on this stormy 

evening. 

Lightning in the distance had a 

slight yellow cast when it bolted 

from the clouds, hitting a distant 

rock mountain. I knew my vision 

was in a sacred manner when the 

lightning flash formed into a white 

buffalo. 

It reminded me of a vision of a 

white buffalo I had seen long ago 

from a remote cave high in red 

rock cliffs. That had marked the 

beginning of an important time 

when I was making shifts in my life 

and was beginning to paint visions 

and their stories. 

The old vision seemed to return 

when the entire landscape had 

come alive and was filled with 

spirits. The clouds above the red 

rock formation formed into a spirit 

with out reaching arms. One arm 

gifted the ways of the Eagle spirit 

bringing new vision with its eyes of 

far-reaching sight. The other arm 

sitting in the shadow of the cloud 

offered out four horses, bringing 

the powers of the four winds. One 

arm was the color of the sun while 

the other was the color of the night. 

Together they formed a harmony 

that had connected to earth and as 

above was as below. − Bearcloud 

Heart of Oneness 

“Although this painting took a year to create, 

I would have to say it was a lifetime adventure that 

unfolded a piece at a time.” 

− Bearcloud, “Heart of Oneness” 


21

Send Me Visions, Guide My Path 

As in the old ways, one may call on the wolf-medicine for 

guidance. A wolf would know his way very easily, and in 

days gone past would sense and know the way once again 

with ease. 

Gazing into the fire, I seek the ways and the spirit world 

calling on the wolf medicine to show me the trail to the 

vision in the night from the night eagle and the knowledge 

of the ancient one. For the ways of the old one can show the 

knowledge of the spirit and balance with the universe. 

climbed to the top of a rocky mountain that was high 

I in the Sierras. It was summertime but at timberline 

heights, it appeared as if spring had just arrived. The 

wild flowers spread across the landscape like daubs 

of paint on an artist's palette. Patches of red, purple, 

yellow and orange looked beautiful on the tall green 

grass. A granite cliff was against the back edge of the 

grassy field almost touching the clouds. Small streams 

of water ran through the grass that was only a few 

inches wide. I realized it was the headwaters for the 

river far below I had seen when I was making my way up 

the pass road. A cool breeze softened the hot sun. 

I felt compelled to seek a vision with the assistance of 

an elder. I found a spot to connect with the earth and 

a circle I had created along with the universe and spirit 

that had been calling to me. 

I watched a distant mountain through a break in the 

pine trees. A small fire I built broke the cold of the 

night and its glow danced on the bushes around me. 

The moon was full and the magic of the stars seemed to 

sing in the wind. I looked all around for signs. I could 

hear cracks of snapping wood breaking the silence of 

the night. It was the sound of wildlife moving in the 

forest. It brought visions that left me with the feeling 

as if my relative the wolf was close at hand. The moon 

struck the mountain in front of me illuminating the face 

of it. My vision was growing into a story. An owl had 

appeared next to the face of the old one. Deep in the 

cinders of the fire, an image of a Night Eagle, my relative 

the owl was emerging, assisting my vision. It was giving 

me eyes to see the things I was seeking in the wind. 

The old people talk about this being a gift that comes 

from the owl, something it accepted on its journey on 

the Earth Mother, eyes to see in the darkest part of the 

night and ones inner circle, the darkest shadow. When 

I glanced out through a canyon I could feel wolves 

lingering in the clouds singing to 

the moon. I could see spirit filtering 

from the stars like stardust that 

magically surrounded my circle. 

The sound left the lingering feeling 

of always knowing where I was 

going, like the wolf has the ability 

to find an old trail weeks after he 

had been down it. Through such 

ways its teachings emerge. 

Send Me a Vision 

When I gazed back into the cinders 

of the fire I could feel the spirit 

would send me visions and guide 

my path. All would be perfect as 

I connected my heartbeat to the 

heartbeat of the Earth and the 

heartbeat of the Sky. In the same 

manner in which my vision was 

progressing the spirits had told 

me my life was a journey. It wasn’t 

about having gotten somewhere 

or attaining something from the 

visions, but how the journey was 

lived. − Bearcloud 

22 


Call of the Eagle Spirit 

Call of the Eagle Spirit 

I sit in ceremony looking 

down the long stem of my 

sacred pipe watching the 

smoke curl into the Universe. 

As I sit, I humble myself 

before the magnificent 

power of creation. The 

thought of the sacred ways 

flow in. Looking into 

the sky I see the buffalo, 

remembering how the days 

of past were plenty and an 

eagle formed overhead. I 

thought of the seven feathers 

on the sacred pipe and saw 

seven buffalos in the sky 

and felt completeness as all 

seven were visible. I saw the 

White Buffalo and the Bear 

in the clouds. The symbols 

of wisdom and strength 

come my way on the wings 

of the things I seek. 

There are three sacred mountains that I have drawn 

and painted since I was young. Teachings of the 

sky came from here. This painting is one of those 

mountains. I felt something much more would come 

from them, so I watched carefully. A rocky ledge 

was a guide towards a place I like to sit and view this 

mountain. The trail opens to a large, flat, red rock area 

that creates a great circle. Sometimes I felt this magical 

mountain had stars that filtered through it, mingling 

with the sky. I had a calling to do a ceremony in this 

place when a vision came to view. The clouds had 

parted and sunbeams pierced through them creating 

shafts of light that touched the ground. The sun shed 

a blessing of light on the edge of the mountain gracing 

it with the elements of the cosmos. I looked towards 

the clouds and saw buffalos forming. An ancient voice 

had brought them forward to manifest on the Earth 

plane. They thundered through the air rising cloud 

dust which formed an Eagle spirit above them. It 

carried deep meaning for me because of the ceremony 

and connection I was doing and now it was sitting on 

the sacred winds swirling into my circle. A bear in 

the shadow of the cloud formed, bringing pathways 

of strength. The Great Mystery overcame my essence, 

visions of these spirits were manifesting in the clouds. 

I made a gift to this Eagle spirit and sent it as thank 

you and a voice of humble gratitude for whatever gifts 

were sitting on this wind. It had rained recently and the 

smell of the desert was heavy in the air. Large puddles 

of water mirrored the red rocks and clouds. Almost like 

stars from the sky I saw the reflection of a warrior shape 

shifting in pools of water. The warrior held his pipe 

towards the sky. In the reflection I saw wings forming 

from the warriors arms. This silent voice was intended 

as a gift. Then he became the Eagle spirit. 

In the old native ways, the elements, everything around 

us possessed teachings of spirit if one had the ears to 

listen closely. There wasn’t anything that didn’t carry a 

voice or a teaching or an understanding of the nature of 

the cosmos, spirit and the ways of the Earth Mother. It 

is a world of plenty. Anyone who had come to find this 

understanding and connect to it would, also discover 

their world would have synchronistic and serendipitous 

elements. One finds themselves moving against a 

magical realm. − Bearcloud 


23

A Gifting of Spirit 

A Gifting of Spirit 

.... When I had almost completed this painting a 

vision of a lizard kept appearing and fading as it was 

progressing. I had been uncertain if it was supposed to 

be there or not. I completed the painting and was still 

undecided. 

I recall it was 4:00 in the morning when I was sitting 

in the darkness observing this slightly illuminated 

painting off in the distance deciding if the lizard was 

supposed to be in the painting or not. It was so quiet 

one could have heard a pen drop. The sound of a 

crumpling piece of paper caught my attention near a 

sliding glass door. Oh no, mice, I thought to myself. I 

continued gazing at the painting when a loud thunking 

sound along with another loud crashing noise occurred 

and I jumped to my feet. A bit caught off guard I asked 

myself, what was that? That was way too big to be a 

mouse. A wooden box was in front of the glass door 

blocking my view in the direction of the noise. I got 

up and crept slowly towards it hoping not to disturb 

what ever had happened. When I got near the box, I 

looked very slowly over the top of it. I stood there in 

amazement when I saw a lizard that must have been 

around 15 inches long. It was the biggest I had ever 

seen short of an iguana in the Yucatan. It was the most 

amazing color of blue that had an iridescence that could 

have only come from the stars. It was about an inch 

and a half wide. I opened the glass door in an effort 

Thunder Mountain 

to get him to move out. When I bent over the box it 

bolted into the front room and under a sofa faster than 

anything I had ever seen before. I knew that there was 

no way I would be able to catch it. I grew concerned it 

might die in the house. How it got inside the house was 

a mystery. I saw the lizard as a sign to be in my painting. 

It was a gift from the cosmos. But the story did not end 

there. 

The next day I pulled up in my driveway. It was early 

afternoon. I was walking towards the front door and 

was caught by surprise once again. There, over the top 

of the door flawlessly horizontal to the doorframe was 

a lizard. It was so perfectly placed, it appeared as if it 

were part of the architecture. I paused in surprise and at 

the same time knowing that the universe was speaking 

to me. I walked underneath it to go inside. I never saw 

it again. I had never seen one like it and suspected I 

24 


Thunder Mountain 

In the circle of spirit and the elements of night and day, I saw 

the waters that moved between light and shadow, all flowed 

in harmony with the Earth Mother and within the nature of 

the universe. 

I saw sunbeams pierce through the clouds and the elements of 

the sky earth move as one in magical symmetry. 

Ravens flew with wings of spirit through the sky and on the 

Earth brought their magic like stars on sacred water. 

There was the balance of light all connected to the nature of 

the wind as the lightning spirits blew its breath through the Sky 

and the Earth chanting its cries on Thunder Mountain, in the 

circle of spirit and elements of night and day. − Bearcloud 

would never see one again. Although he was real, for 

me it was pure magic. When I walked underneath it, 

I felt it had left me a story. It came to me almost like a 

sprinkling of stars. It said this: 

Greetings relative, we are as one 

because we are of the Earth Mother. 

You may think I am asleep, 

I am not. I am the dreaming 

because I am the dreamer. 

I manifest dreams to reality 

and this is my gift. A-ho. 

− Bearcloud 

Voices of the Ancient Ones 

For more about Bearcloud’s art visit 

www.BearcloudGallery.com ∞ 


25


Interview by Lynn Alison Trombetta. Photos by Mark Short provided by the Sedona International Film Festival. 

Art in Action 

The Sedona International Film Festival 

Like the first flicker of film on a screen, the idea that has come to be 

the Sedona International Film Festival has sparked the imaginations of 

thousands since its inception. Now celebrating its 25th anniversary, this 

nine day event brings in some 160 films and fills the town with filmmakers, 

audience members and draws like-minded community members together 

in participation in the film festival experience. With all eyes on that silver 

screen, it is easy to be lulled into different times, different perspectives and 

different experiences. We may be drawn so deeply into the magic that we 

may be unaware of the machinery behind the event. The Festival’s Executive 

Director, Patrick Schweiss shares some insight into all that came before and 

the year round offerings that have been birthed from those early dreams. 

Sedona ARTSource 29 27

SAS: Clearly, many people in the Sedona community 

wanted to be involved in this wonderful event long 

before it became what it is now. 

PS: When I started with the festival 14 ½ years 

ago, we were just a three day festival. The board 

was trying to figure out how we might expand the 

festival and also how to expand our reach in the 

community beyond the festival. We were launching a 

membership program and knew patrons would want 

to be a member of something that happened more 

than just once a year. To expand our presence year 

round, we launched the Second Tuesday cinema series 

at Harkins Theatre. Once a month we rented one of 

Harkins theatres and brought in an independent film, 

something that people weren’t going to see otherwise. 

SAS: Was it an immediate success? 

PS: Not at first. It was very comical the first two or 

three months because although we had the publicity 

out there, people didn’t really know what it was. I was 

literally standing out on the street giving tickets away, 

‘just come in, just come in…try this’ kind of thing. 

Finally, after about four or five months it started taking 

off and pretty soon, after nine months, we were selling 

out the show. Soon we added a second screen, and 

then we added a second show and offered shows at 

4:00 p.m. and 7:00 p.m. People liked it so much we 

started doing multiple Tuesdays! 

28 


a demand for this. If people like independent films and 

want this more as a year round offering, we should 

investigate opening our own theatre.’ We wanted to 

do it kind of small because we didn’t want to over 

invest and then have the community say, “Yes, we liked 

it once a week, but seven nights a week is a little 

much.” 

SAS: The small theatre you now occupy is a little jewel 

nestled in west Sedona. 

PS: This wonderful building was available and sitting 

vacant for several years. We moved our offices into 

the backside of it before we even had the idea of 

opening a theatre up front. I brought in an architect 

and a theatre specialist and a sound and light specialist 

and asked, ‘Ok, tell me if I am I crazy. Can this building 

be converted into a theatre?’ And they both not only 

didn’t tell me I was crazy, they each separately drew 

up plans for the theatre that were exactly the same! 

So, we knew it was meant to be. 

SAS: How did you fund the project? 

SAS: And meanwhile, the film festival event was in the 

works each year? 

PS: Yes, while all this was happening, the festival was 

growing. It went to four days, and then it went to five 

days over the next few years. 

We were starting to do multiple events like a fourweek 

foreign film series and we’d rent Harkins every 

Tuesday for four straight weeks. Then we would do a 

Sundance here, then a comedy series. It ended up that 

within about two, three or four years we were actually 

renting 45 of the 52 Tuesdays of the year at Harkins. 

We kind of scratched our heads and said, ‘Well, there’s 

PS: Mary Fisher was on our board at the time so 

we went to her for advice on how to fundraise for 

something like this. I asked about family foundations 

we might reach out to and if there was a way to get 

the project funded quicker. Mary is a philanthropist 

and I knew she would know who we could ask, and 

how we make that ask. She reviewed the plans and 

heard the budget, gave me some advice and told me 

how we would do it. Then she said, “But frankly, I want 

to do it. I’ve got a foundation, I’m very supportive of 

the arts and my foundation is set up for wonderful 

things like this–I’d like to do it.” 

SAS: The theatre seemed to happen overnight! 

PS: It was literally the fastest turnaround. We had that 

concept in summer of 2011. By maybe July or August 

the plans were starting to come together; we broke 

ground on the first of November and we opened by 

the 18th of February that year for the film festival. 

That was back in spring of 2012, and now the theatre 


31 29

is going to be seven years old soon. 

SAS: And that was an overnight success? 

PS: It’s been going splendidly. When we first opened 

six and a half years ago, we were just doing things 

four nights a week - Tuesday through Friday - just to 

see again if the community could support it. That is, 

if the community wanted it, how much did they want 

it? Within about a year, Mary Fisher came to me and 

said, “It just seems so silly, why are we closed on the 

weekends when people would go to movies?” We 

30 

Opening Night 

By Tom Fish 


decided to try seven days a week. This incredible 

place has been a gift to us and to the community, 

allowing us to expand our programming tenfold. 

Now that the festival has expanded to 9 days for the 

past few years, we bring in around 160 films. The Mary 

D. Fisher Theatre has allowed us to bring in hundreds 

more programs that the community would not be 

able to see if we didn’t have this theater. It’s kind of 

become this hub of wonderful activity and people are 

here multiple times a week because we do so many 

different things. They can have an opera on Saturday, a 

ballet on Sunday, a special series on Monday, and two 

different foreign or independent films the rest of the 

week. 

It’s allowed us to not just feature films, but cultural 

events from around the world. Like the ballet; like 

the Met Live Opera. We take ballet from Bolshoi, 

the Royal Ballet in London; we also do theatrical 

productions in high definition from the National 

Theatre from Broadway, and all the places that make 

them available- it’s really quite wonderful. Then we do 

simulcast events, live events, and small concert events. 

This place has been a gift to us. Mary’s been a gift to 

us – what she gave to this community. Every day we 

pinch ourselves because there’s so many fun things 

that we’re doing. 

SAS: When it comes to the programs you offer, 

everything you could offer here, from films to live 

theatre broadcast and concerts has a community 

behind it that made it happen. 

PS: We do think about that. Especially since ours is 

more involved with the filmmakers who are living their 

dream. And they’ve got hundreds of people behind 

them that are also living their dream. Places like the 

Mary D. Fisher Theatre and the Sedona International 

Film Festival are often the only places their dreams get 

seen. The ratio of how many films are made around 

the country every year to how many actually get 

picked up for distribution and shown in big theatres 

is tiny. So, independent filmmakers and foreign film 

makers have to depend on art house theatres, like us 

and film festivals like ours to get their products out 

there and get their baby shown to the world. We fill 

an amazing gap; we provide a tremendous service. 

SAS: You provide this service to both the patron and 

the filmmaker. 


33 31

Celebrating 

25 th Year 

of entertaining 

and enriching 

the lives of everyone 

in our community 

SEDONA 

INTERNATIONAL 

FILM FESTIVAL AND 

MARY D. FISHER THEATRE 

447 Exciting Programs 

year round 

Sedona International Film Festival 

9 Days / 168 Films 

152 

34 

34 

26 

19 

14 

Mary D. Fisher Theatre 

FEATURE FILMS 

Narrative, Documentary 

THEATRE 

Shakespeare, Broadway, 

National Theatre 

CULTURE 

Performances, Met Opera, 

Ballet 

LIVE SHOWS 

Music, Comedy, Acting 

EDUCATION 

Ted Talks, Student 

Programs, Outreach 

ART ON SCREEN 

Learn about the matters of 

music and visual arts 

PS: Our patrons are certainly part 

of that circle. If it wasn’t for them 

seeing the film, why would the 

filmmakers make it? If it wasn’t 

for them coming and supporting 

art house theatres, non-profit 

organizations like the film festival, 

and this kind of thing, the cycle 

would be broken. 

SAS: One outstanding feature 

of the Sedona International Film 

Festival is that many filmmakers 

actually come to the event and 

represent their films during the 

festival. 

PS: Yes, of the 160 films that we 

bring in and show at the festival, 

between 100 and 120 of the 

filmmakers come and represent 

their films. And, yes every film 

festival has to have its celebrities; 

those are the eye candy that 

helps get people to come to 

appreciate all the films. But our 

true celebrities at the film festival 

are our filmmakers, and we treat 

them as such. 

SAS: It is easy to see that those 

in the Sedona community who 

participate in the annual Sedona 

International Film Festival as well 

in as the year-round programming 

at Mary D. Fisher Theatre are also 

living a bit of their own dreams. 

PS: Absolutely, we are so thankful 

for this incredibly generous 

community. All of the hotel 

accommodations are donated for 

our filmmakers, and that’s a lot 

– it’s over 900 room nights that 

32 


VV 

are given to us by our incredible 

hospitality industry here. Our 

restaurants donate meals in the 

VIP lounge and resorts. We get 

tremendous community support 

and the filmmakers can feel that. 

They often rave that this is not 

only the best run, but the best, 

most ‘filmmaker friendly’ film 

festival that they’ve ever attended. 

We’ve received a lot of emails 

and comments, sometimes six, or 

seven months later saying that 

we were the first film festival 

that a filmmaker got into. They’ve 

commented, ‘Wow, I’ve just been 

in eight festivals and nothing 

compares to how you treated us!’ 

And again, it takes a village; 

it takes our staff, our board, 

our volunteers, the generous 

community that donates their 

accommodations and food, it’s 

amazing. And of course, if any 

one of those in that cycle is not 

working, or is not donating, it 

breaks that chain. So we pride 

ourselves on all of that and being 

part of all of the people living their 

passion and living their dream. 

SAS: Your volunteer staff clearly 

has ownership in the festival and 

they treat it like it’s part of their 

dream. 

PS: I think that we are one of the 

only organizations in town that 

by event time we have a wait list 

of people wanting to volunteer 

for the festival. We just can’t 

accommodate everybody. We 

want the patrons to feel that sense 

of family and our volunteers are 

a big part of their Sedona Film 

Festival experience. We require 

the volunteers to do three or 

four six-hour shifts. Because the 

volunteers are the ones that they 

are interacting with, people often 

remember our volunteers much 

more than those of us who are 

hosting the films. It’s all part of 

the philosophy that we have here 

at the festival. And people feel 

that; the patrons feel that, the 

filmmakers feel that and that’s why 

everybody comes back here year 

after year. 

SAS: Thank you, Patrick! 

For more information or to 

donate online visit 

www.SedonaFilmFestival.org ∞ 


35 33

MARTY HERMAN 

“One of the first places we visited upon 

purchasing a home in Sedona was Exposures 

Gallery. We were drawn to Marty’s photography 

and were delighted to find that he was the owner 

of this beautiful gallery. We now own three 

pieces of Marty’s work as well as numerous other 

artists. Thanks to Marty’s wonderful vision, we 

are all blessed with sharing the joy of being able 

to collect beautiful art from so many talented 

and diversified artists. Thank you Marty!” 

Gail Alba 

“Marty Herman is a true visionary with an eye 

for detail and quality that is exemplary in every 

way. I have known the man for over 40 years and 

yet I am repeatedly amazed at his ability to see 

beyond the obvious and to discern the attributes 

that define value and quality every time. His 

honesty & integrity are a core part of who he is 

and he inspires the same in others.” 

Jim Brunen 

Toast of the Town 

Sedona ARTSource is pleased to 

host the Toast of the Town feature 

which honors those responsible for 

helping create the vibrant Sedona 

art scene. In this issue we share in 

a community toast that recognizes 

Marty Herman whose insightful 

efforts have helped create one of 

Arizona’s iconic art destinations, 

Sedona’s own Exposures Gallery. 

“When it comes to knowing and showing art, 

Marty Herman is the ultimate impresario. By 

following his dream of showcasing artists and craftmanship, he has brought 

acclaim to Sedona, Arizona, and put us on the map as a leading haven for 

world-class artisans from all realms and creative mediums.” 

Chef Lisa Dahl 

“I have known Marty Herman for the better part of a decade. His life has 

been fascinating and it shows in his outgoing, cheerful demeanor. Marty 

not only loves the arts and represents great artists but he is an extremely 

smart businessman! That combination has made Marty’s gallery one of 

the best in Arizona, if not the United States. Many may not know it, but 

Marty’s creative side is Photography and in his gallery you can find many 

outstanding images Marty has taken over the years. It has been a pleasure 

to work with him and get to know him so well. He’s just an outstanding 

person!” 

Ron Draxler, CIC 

“I have known Marty Herman for over 16 years. He is a very complex and 

consummate professional. He is passionate about art and the artists who 

create it. He and his wife Diane have created an art gallery that is known 

worldwide and is one of the best west of the Mississippi. I am honored to 

be his friend.” 

Chris Foreman 

“I have worked for Marty and Diane at Exposures Gallery for over 5 years 

as the Sales Manager. I love to see how Marty inspires many of our artists 

to create their very best works, and even encourages them to create pieces 

34 


they never thought they would or to a 

scale they never thought they could. 

With Marty’s encouragement and 

support, our artists have no limits, 

which leads to the most spectacular 

artwork that we are so honored to 

display.” 

Jennifer Garcia 

“Marty Herman and I were successful 

business colleagues as young 

entrepreneurs when he revolutionized 

retailing in Southern California. Back 

then his nickname was Magic Marty as 

everything he touched seemed to turn 

to gold. It appears Marty has brought 

that same magic to Sedona in the 

form of the extraordinary Exposures 

International ... a stunningly unique 

one-of-a-kind Art Gallery, ambiance 

and experience." 

Monte Gast 

“His kindness, sensitivity, integrity and 

his romancing of me were absolutely, 

mesmerizingly wonderful. How 

could I resist him? He won my heart 

completely.” 

Diane Herman 

“Marty and Diane have created 

something special that goes beyond 

just an Art Gallery. It is a home for 

incredible, hardworking artists. It is 

a familiar place for clients, in which 

they can be welcomed by name and 

discover new works of art. And for me 

personally, it is a place that has become 

so special and dear to my heart because 

of the wonderful role-model and leader 

I have had in Marty. His love for the 

arts really comes through in every way 

at Exposures Gallery. He is not only 

a very generous and caring boss, and 

a wonderful friend, but he is family. It 

has been an honor working alongside 

Marty for 12 years and I look forward to 

doing so for many more years to come. 

Thank you both for all you do!!!” 

Debbie Ibarrola, General Manager 

Exposures International Gallery 

“As a member of 

the family that 

published Sedona 

Magazine for 26 

years, and now 

as an exhibiting 

artist at Exposures 

International, 

I’ve had the 

opportunity to 

Marty Herman with Exposures Gallery Staff 

know and work 

closely with Marty Herman since he attests to that. He is looking forward 

opened his art gallery in Sedona. His never back. He sets the pace and is an 

love for the arts, our community, and independent thinker.” 

the artists he represents is a passion 

Wendy Lippman 

that drives his success as a gallery 

owner. Marty forges a special bond “Marty Herman is a rare and true 

with the many clients who visit the renaissance man. His spirit, knowledge 

gallery, assisting them to discover 

and integrity is unlike anyone else 

the unique piece of art they will truly I’ve met. As one of his artists he 

treasure.” 

continues to provide me with valuable 

Tom Johnson insight that inspires me to grow and 

encourages me to expand my creativity 

“Marty is proud of his heritage and is with no boundaries. “ 

all about sharing happiness and joy. 

Tesa Michaels 

His soul’s purity is infectious. It is a 

pleasure and an honor to know him!” “Marty Herman is an exceptional man 

on so many levels. He has a brilliant 

Rabbi Mendel Kessler mind, impeccable taste, a huge heart, 

and incredible advice to share. It is a 

“Before moving to Sedona ten years rare day when you have the honor to 

ago, Marty made us feel at home and say Marty is your friend. As busy as 

welcome at Exposures International. he is, he still is a humble human, who 

We have been fortunate enough to believes in friendship and love. A walk 

collect high quality art from near and through his gallery is a wonderland for 

far, yet we continue to return again and the imagination.” 

again to Marty’s gallery to be met by 

Deborah Murray 

his warm welcome. We are lucky to call 

him our friend.” 

“For more than twenty years I have 

observed Marty and Diane Herman’s 

Daryl Kling and Lewis Guthrie genuine passion for art, the variety 

and quality of choices they make for 

“Marty is a one of the modern art 

their gallery, and the close personal 

pioneers in Sedona, and is a great asset relationships they build with their 

to not only the arts community, but to artists and collectors. As a result, they 

the City of Sedona as a whole” 

have created one of the top galleries 

in the U.S. There is no doubt in my 

Kyle Larson, General Manager, mind that Sedona is more desirable 

Larson Newspapers and attractive as an art destination, and 

that the city benefits significantly due 

“Marty knows what he is doing! His to their endeavors.” 

longevity and success in Sedona 

Richard Ruehs 


35

Linda Goldenstein 

By Lynn Alison Trombetta 

Linda Goldenstein 

proudly announced, 

“From day one, my 

mission statement has 

been, ‘Life Enhancement 

through Art.’ At 

Goldenstein Gallery we 

realize we’re part of 

people’s lives through 

the artwork and that’s 

really what shapes 

everything we do. It is 

the real joy and juice that 

feeds us at the gallery!” 

Obviously, sales have 

been important to keep 

the gallery sustainable 

over its nearly eighteen 

years in various Sedona 

locations, yet enter into 

the magic contained in 

the four walls of the 

gallery and you instantly 

recognize the feeling of 

something greater. 

Linda Goldenstein with "The Holy Grail" by James N. Muir and "Wheel of Compassion" by Sherab Khandro 

at L'Auberge de Sedona. Photo by Connie Perez. 

From the warmest greeting as you enter, through the 

staff’s obvious excitement over each and every artist 

represented, you get the impression that this is 

a family of sort. A family lovingly adopted as 

each artist birthed works that help complete the 

eclectic offering that fills the gallery location 

and extends outward into the community. 

“I’m just so blessed; I hear praises about my 

staff all the time and we have so many big 

exciting projects and fun things happening,” 

Goldenstein smiled. “Our satellite exhibits are 

thriving; we have a beautiful relationship with 

L'Auberge de Sedona where we have our Artist 

in Residence program. We are probably getting 

close to 3000 artist hours there and have had 

well over 100 artists participate since we 

started.” 

DENNIS ELLIOTT | Turned Wall Sculpture 

Big Leaf Maple Burl

Putting Her Heart into Art 

The L'Auberge de Sedona 

satellite exhibit also includes 

over 50 pieces of outdoor 

sculpture and indoor paintings 

on display with an art map 

available in the gallery and on 

site in the lobby for visitors to 

walk the property and enjoy the 

work. 

“We’re our own program 

within Sedona’s Art in Public 

Places, but it’s just part of our 

citywide presence. There’s the 

Chapel of the Holy Cross with 

the majestically sculpted ‘Christ 

of the Holy Cross’ by James N. 

Muir and we still show pieces at 

City Hall. We just have a very 

big presence at many locations 

throughout Sedona.” 

The Goldenstein Art Gallery 

satellite exhibits illustrate a 

wonderful symbiotic relationship 

with the community. 

Goldenstein explained, “We 

have always been very happily 

a community-oriented gallery 

where we’ve worked with 

endless groups to support their 

cause and also to bring a 

different experience to people. 

Be it Tony Curtis and his films 

with the Sedona Film Festival 

and showing his art; or giving 

a platform to charities that we 

think are important such as the 

Verde Valley Sanctuary, the 

women’s shelter.” 

Blending the creative from many 

genres, Goldenstein has had 

Chamber Music Sedona 

SHERAB KHANDRO | “Mother Tara: Angel of Peace” 

Acrylic on Board 


37

DAVID DEVARY | “Roman Wall” 

Oil on Canvas 

38 


perform in the gallery multiple times over the 

years. She added, “At least a dozen times the 

musicians have come into the gallery space and 

allowed people to experience the music. And 

then, on the reverse side, it allows Chamber 

Music to reach those people. We’ve had many 

different musicians perform in the gallery, some 

famous like Lee Oskar who started the band 

‘War’ and ‘LowRider Band.’ He’s one of our 

artists. I think to have music and art together is 

just wonderful! It feeds the soul.” 

LYNETTE JENNINGS | “Breach” | Oil on Canvas 

The gallery’s visual artists are primarily local 

and regional, although Goldenstein is quick to 

add that some are from outside the region. “We 

love all of our artists and I’m very happy to say 

that a very high percentage of our artists have 

been with us since the beginning. We have had 

long standing relationships with most of our 

artists, and over time you become like family.” 

Goldenstein art collectors, both local and from 

out of town feel the same way, and many return 

year after year. “We have some that say, ‘It’s 

holiday time, here’s my list of people.’” 

Adding to that sense of family, several clients 

celebrate their milestone birthdays by renting 

the gallery for the evening complete with artists’ 

painting demonstrations while the party is in 

progress. 

JOURDAN DERN | “Monsoon” | Acrylic on Board 

Goldenstein marveled, “I could never have 

imagined the people I would meet and the roads 

I would go down through the arts. When I 

was a kid growing up in Camp Verde I could 

never have dreamed that all these amazing 

things would occur. Every day we come in, we 

don’t know what’s going to happen - it’s 

so exciting, it’s a challenge!” 

In fact, as Goldenstein mentioned, the art business 

can be extremely unpredictable. “That 

JAMES COOK | “Oak Creek #12” | Oil on Canvas

is actually one of things that we’re so addicted 

to! We love the excitement over what’s going 

to happen each day. When we’re able to make 

a dream come true it’s so exciting for both the 

collector and the artist; it’s just great - we love it 

… the sharing of the love.” 

CARLA ROMERO | “Sunset Elders” | Acrylic on Canvas 

She reflected, “You know, that’s really what it’s 

all about. We want to love unlocking the gallery 

door and opening it up for the world. And when 

we open that door, we open our hearts for 

everybody to come in … whether they can collect 

or not, whether they choose to collect or not. My 

prayer is that their life will be better for having 

been here.” 

About the gallery, Goldenstein commented, 

“I especially love something that surprises me a 

little bit, and I’d like to think that’s what we have 

a lot of in our gallery. Because we’re very 

eclectic in the way we choose to display work, 

we’ve helped so many clients see they can put 

one kind of art with very different art; and they 

don’t have to be all western. They can 

incorporate pieces of art that speak to them.” 

She laughed, “Sofas come and go. Art hopefully 

stays with you for a lifetime.” 

Goldenstein reflected on the feeling she 

experiences when someone finds a piece that 

changes their life. “They sometimes come back 

to us a year or more later and say, ‘I’m a different 

person because of this; tell me more about the 

piece I bought because it’s making this impact 

on my life’, or ‘I use this image as my way to heal 

every day, and now I’m healed from something 

that was pretty terminal for me a year ago.’ We 

have many, many stories like that.” 

PATRICIA GRIFFIN | “Magda” | Oil on Linen 

Possibly most heartwarming, there’s the legacy 

of art passed along from one generation to the 

next and loving stories told to the family at 

Goldenstein Gallery. “Now, because we’re

RAFE TERRY | “Sunset’s Touch” | Acrylic on Board 

BEN WRIGHT | “Visions of Drinks Water” | Mixed Media Painting 

entering our eighteenth year, 

people tell us, ‘I grew up with 

a piece from your gallery in my 

parents’ home. My parents have 

said it can come to my house 

and I’m so excited!’” She added, 

“When that happens, we 

realize we’re part of people’s 

lives through the artwork. I 

really think that art is a critical 

component of the human 

experience, for those that create 

it and for those that view it.” 

Goldenstein Gallery is located 

at 150 State Route 179 in Sedona, 

Arizona. For more information 

visit www.GoldensteinArt.com 

∞ 


41

TURTLE by Albert Eustace 

MOUNTAIN LION by Burt Awalaghte 

HOOVED ANIMALS / above 

Dilbert Seciwa • Jimmy Yawakia 

Brandon Philllips • Clive Hustito 

Colin Weeka • Chad Quandelacy 

Carol Martinez • Donovan Laiwakete 

Daryl Shack • Mike Yatsayte 

4 

42 Sedona ARTSource 

HORNED TOAD 

by Lewis Malie 

ALTAR DOLL 

by Marvelita Phillips

BEARS 

Double by Paulette and Farlan Quam • Arnie Calavaza • Burt Awelagte • Kenric Laiwakete • Jimmy Yawakia 

Ernest Mackel III • Dilbert Gasper • Freddie Leekya • Herbert Halate • Herbert Him 

Zuni Fetishes 

The Spirit within the Art 

IT IS SAID THAT ONLY THE PURE OF HEART WILL BE ABLE 

TO STIR THE SPIRITS WITH ANY TRUE POWER. 

Article and Photos by Patty Topel, Kachina House 

Among indigenous peoples in the 

world, it is often believed that all 

things possess a spirit, including 

humans, animals, birds, plants, 

insects, and even rocks. 

Though many indigenous people 

worldwide use fetishes, the 

Zuni are renowned as gifted and 

prolific Native American carvers 

of these fascinating artifacts. For 

the Zuni people of New Mexico, 

the complex carvings they create 

are commonly called fetishes and 

are part of a complex religious 

tradition designed to ensure good 

health, abundant crops, game for 

hunting, and fertility for the people 

and the land. 

Beginning as early as 900 A.D., 

there is evidence that Zuni hunters 

and spiritual leaders found rocks 

(accretions) that resembled 

animals and often enhanced the 

objects with natural pigments or 

by wrapping feathers, shells and 

arrowheads around the rocks for 

use in ceremonies. 

The contemporary carvings 

available for sale to the public 

have always been carvings, not the 

sacred objects that the Zuni use 

on their altars. Prior to the 1970s, 

the Zuni paid little attention to the 

shape of the carving or whether 

outsiders would find it appealing. 

It has taken decades to encourage 


43

BAT & BIRDS 

Bat by Pernell Laate • Rooster by Derrick Kamasee • Turkey by Enrike Leekya 

Quail by Jonas Hustito • Raven with Berry by Calvert Bowannie • Hummingbird by Jusstin Red Elk 

Eagle by Jerold Laheleon • Owl by Nelson Yatsatie • Owl by Freddy Leekya 

4 

4 

4 

44 

CORN MAIDENS 

Double by Gloria Chattin • Claudia Peina • Stuart Quandelacy 


4

WATER ANIMALS 

Swans by Hubert Pincion • Frog by Reynold Lunasee and Georgette Quam 

Lizard by Esteban Najera • Fish by Mike Yatsayte • Otter by Jesus Espino 

Turtle by Daphne Quam • Duck by Darrin Boone 

Animals and ‘supernaturals’ 

depicted in the fetishes are believed 

to have certain characteristics that 

are transferred to the carvings 

themselves. If you own a fetish, you 

may then be able to tap into the 

respective properties that the fetish 

represents. Some animals have 

important symbolic characteristics 

that are relatively consistent; 

however, the spirit of the fetish 

can be interpreted in many 

ways depending on the owner’s 

perspective. 

Although for centuries the Zuni 

people have created the carvings 

for personal use from different 

materials such as wood, antler, 

shell, clay, coral and even silver, 

more Zuni carvings are made 

from stone than other material. It 

is believed that the spirits of the 

animals and ‘supernaturals’ can 

act as messengers to the gods and 

provide protection from various 

evils as well as promote the benefits 

of other elements. As mentioned, 

the animals are sometimes depicted 

with ‘offering bundles’ of shell, 

stone, arrowheads, feathers and 

other symbolic elements. These are 

offerings that the animal spirit will 

carry to the gods on behalf of itself 

and the owner of the fetish. ∞ 

6 DIRECTIONS by Ernest Mackel III 

people to view these beautiful and 

meaningful traditional carvings, 

not just as mere souvenir pieces, 

but as the intricate and ancient art 

form they are. The Zuni artists state 

that if one treats the fetishes with 

respect, the spirits that reside in the 

carvings will aid their owners in 

their journeys. 

Today, the carvings are available 

in a great variety of styles, from 

the old style carvings made 

from ‘found rocks’ that often 

have ‘offering bundles’ added, 

to the very complex and highly 

detailed contemporary, sometimes 

playful, carvings of today. The 

subject matter also has changed 

dramatically from the traditional 

spiritual animals of the Zuni, which 

include buffalo, bear, eagle, wolf, 

badger and mole, to the esoteric. 

Contemporary carvings of dragons, 

elephants, whales, and domestic 

animals are not traditionally 

associated with Native American 

traditions. 

LIZARD by Ernest Mackel III 


45

Artist 

Nicholas 

Kirsten 

Honshin 

Interview by Lynn Alison Trombetta 

Fifty years of Creativity 

For Honshin, art flows from the sacred space within. His original paintings, sculpture and jewelry are filled with 

the joy of the artist’s creative process. Rich with archetypal symbols of Christianity, Zen, and Tibetan Buddhism, 

the art exhibits his keen desire to express a moment of peace and beauty that will enrich the lives of others. Here 

the artist Honshin shares insight into his process and inspiration. 


Golden Moment Journey of the Ascending Spirit 

“The art we create, whether its beauty, writing, 

or painting or sculpting or dance, it goes out 

and it helps the world.” 

NICHOLAS KIRSTEN HONSHIN 

SAS: There’s a lot of Asian influence in your art, please tell us 

about that. 

NKH: The Asian influence in my art comes from my early background. My 

father was the artist before me and I entered his studio at a very early age. 

He set up a place for me and I worked with him. When I became ten he left 

and went to Japan for nine months on a grant from the Seattle Art Museum to 

study Japanese art and culture. 

When he came back he was a totally different person and our whole world 

changed to a very Eastern directed philosophy, artwork, and music. He made 

a Shinto shrine in his yard and a Zen garden and he spent many years going 

back and forth to Japan. That influenced me into the Eastern way of looking 

at art and creativity and how to go about it and also brought the spiritual 

aspects of Zen Buddhism. He eventually, after ten years, became an ordained 

Zen Buddhist priest at the Zen Kenchoji Temple in Kamakura, and then 

that actually focused my own personal Journey on spiritual awakening and 

discovery and what you could manifest through creative artwork. And so 

that’s been my whole journey, fifty years of creativity. 

SAS: What is the meaning of your name, Honshin? 

NKH: In 1985, my father, teacher, twin soul brother and friend, Richard Kirsten 

Daiensai Kuden Bonseki Dojin, after 38 years of sharing each other’s space, 

time, energy and the awareness of the forces of yin/yang in various levels of 

consciousness, acknowledged with joy that I, his son, had arrived at my own 

GOLDEN MOMENT JOURNEY 

OF THE ASCENDING SPIRIT 

ON THE PATH 

OF MEDITATION 

BRINGING PEACE 

COMPASSION 

AND LOVE 

IN EVERY 

PRECIOUS PRESENT MOMENT 

TO THE SPIRIT TREE 

OF LIFE 

EVERY MOMENT 

EVERY HEARTBEAT 

EVERY BREATH 

EMBRACING 

THE ONENESS 

A JOURNEY OF MEDITATION 

A JOURNEY OF COMPASSION 

A JOURNEY OF LOVE 

A JOURNEY OF PEACE 

ON THE ASCENDING PATH 

OF DISCOVERY 

THE JOURNEY OF THE HEART 

- Honshin 


47

true creative individual path though my art. 

Daiensai bestowed upon me the grace of my Zen name (gago) 

“Honshin Kaigen.” Honshin reflects the original mind, true or 

pure heart - unfolding the Tao nature. Kaigen is the opening 

of the spiritual eye and the transmission of visions through the 

creative. 

SAS: Please tell us about the early years as a 

working artist. 

NKH: My first painting sold in 1966 and it wasn’t even for 

sale! People went into the art building at the University of 

Washington where I had an exhibition up that wasn’t for sale - 

it was just for show, and people came in and started buying my 

work. And that was the beginning of my art career. 

Nicholas Kirsten Honshin 

I feel very fortunate that I’ve had the opportunity to paint and 

create for all these years. It is a blessing and it’s also some 

sacrifice. In the beginning it was a very sacrificial because, 

as many beginning artist even though you sold something, 

and say, ‘Now I’m selling; I’m going to be an 

artist and make my money that way,’ it doesn’t 

always flow like a paycheck coming from whatever 

the corporation you’re working for. Some 

of the time I lived without electricity or running 

water in the wilderness. That’s what evolved, 

and then that evolved into our gallery in Seattle 

which just closed after being open for forty-five 

years. I ran that gallery for twenty-five years before 

coming here to Sedona. 

SAS: What prompted the decision to close the 

Seattle location after so many years? 

NKH: There were all kinds of reasons for closing. We just 

chose Sedona over everything because that’s where we want 

to be. Seattle changed a lot in the last twenty-five years, so it’s 

not what we used to have there. Good time to change it and 

move on. Our Japanese garden that we built there is going to 

be preserved. 

SAS: Japanese garden? That sounds interesting! 

NKH: We had a big Japanese garden that I built around the 

gallery in Seattle which became a landmark of Seattle, and the 

people who bought our buildings are going to keep that as a 

permanent part of the city. Pretty exciting! The garden was 

another part of my whole embracing of the Eastern spiritual 

philosophy. It’s all about nature and gardens and relating to 

nature as a living thing rather than objects. 

48 


The Sacred Space of the Treasures of Bother Raven Corvus Council 

THE CORVUS COUNCIL HOLDING 

A REQUIEM OF THE 

ANCIENT ANCESTRAL HEARTS 

BROTHER RAVEN SINGING THE SONG 

SHARING THE MEDICINE 

SHARING THE TRANSFORMATION 

SHARING THE RENEWAL & REBIRTH 

SHARING THE PATH 

SHARING THE GUIDANCE 

SHARING THE PROTECTION OF THE 

GUARDIANS OF THE HEART 

SHARING THE SACRED SYMBOLS 

ALL THE TREASURES 

OF BROTHER RAVEN 

REVEALED 

IN THE LUMINOUS LIGHT 

OF A MOON OF MEDITATION 

A MOON OF NATURE’S HEART 

EMBRACED BY THE WINDS OF 

THE ANCIENT ONES 

AS THEY MOVE IN 

THE INVISIBLE REALMS 

OF TIME AND SPACE 

- Honshin 

SAS: Clearly, nature offers inspiration to the art you 

create. 

NKH: Basically, the inspiration of my art comes from nature because 

nature provides us all of our experience. And then, through all those 

experiences I always ask people, ‘When you paint a mountain, what 

mountain is it?’ Well, it’s all the mountains there ever are or have been 

that I’ve experienced. It’s the same with the birds and anything that I 

paint. It all comes out of my deep experience and represents a symbol 

of the energies that I wish to portray. Not the actual object, but the 

energy and the idea in the object or the symbol that’s being portrayed. 

SAS: What do you call your style of art? 

NKH: As you put all the symbols together they create a story. The 

story is the painting, and to me, that’s my kind of art – which in the 

art world is called “Symbolism.” It is Symbolism art as opposed to 

Romantic art or “art for art’s sake” which doesn’t have to tell a story 

and you just create something that people appreciate. But, in the 

Symbolism art world there’s always a story. 

The story tells us something about what’s going on inside of us as it 

relates to what is happening on the outside. But the viewpoint is from 

the inside, not the outside. To me that’s the biggest, most important 

part of distinguishing what my art is. 

There are other symbolist artists, and their art tells a story. However, 


49

unfolds while I’m painting, but not 

usually. It unfolds when I’ve reached 

a certain point … a stage of 

completion. Then, as it’s going well, 

it seems to say, “Hey, let’s give you a 

review of what is happening here,” 

and then it just flows out. 

SAS: Tell us about your 

unusual manner of painting. 

most art today is only about “this is 

art,” and it doesn’t have to do anything 

– it just gets to be art. I’m for 

that too, but that’s not my style. 

SAS: Then, each image you 

create has a story that lives in 

the symbolism of the elements 

that you have included 

in the piece? 

NKH: I am brought from not really 

knowing what I’m going to do into a 

journey that takes me each step and 

brings me closer to the story that I 

am telling. 

And I don’t know the story until I 

finish the painting. Sometimes I even 

have to just sit there and the painting 

will teach me the story, and then a 

poem comes and then I tell the story 

to whoever will listen and who’s 

excited about seeing and hearing it. 

SAS: The poem is simultaneous 

as you’re completing the 

painting? 

NKH: Yes, it begins to talk to me. 

In my world the painting is alive just 

like I’m alive. It has the intrinsic 

energy, consciousness as it were, 

to communicate back to me what’s 

going on in the painting and that 

reflects back into me and my 

experience and then there’s the 

process of poem. Sometimes it 

NKH: My process is that I paint a lot 

of time on wood panels. The whole 

idea is to make a whole bunch of 

panels and then I work on texturing 

those panels. At that stage I don’t 

know what I’m painting. So the panel 

gets cut, it gets textured and then 

colors start to go on it and I still am 

not sure what’s going on, other than 

I’m making something that is very 

beautiful to me and pleasing to my 

aesthetics. 

And then as that evolves, and the 

colors go on, the imagery starts 

to suggest itself from internally, it 

starts to flow out of me. Something 

like this; ‘Oh well, this is the perfect 

background and texture and energy 

in this shape for Brother Raven; he 

has a story to tell and he’s ready to 

tell it now.’ 

50 


Golden Koi on the Path of the Living Waters of Nature’s Heart 

So I won’t know that story until I get to the place where the painting is 

showing me the energy it likes and what it wants to do. It’s sort of like 

working out of nothing and learning what is happening in your 

interactions with the paint and the wood and the brush. 

SAS: Do you have a name for the technique you use while 

painting? 

NKH: My texture and technique is called “Dancing Brush,” because I’m 

painting flat and I dance around the painting with a giant brush. I make 

these dancing energy motions of spirals and swirls, like Van Gogh’s 

Starry Night sky, but it’s much subtler than that. You look into the painting 

and you see all this energy that I call ‘the invisible energy of nature.’ 

That energy holds us all together and connects us all in the oneness of 

being here alive on this planet with other life. All of this energy is completely 

interpenetrating us all the time. 

When I look out my breakfast window at Thunder Mountain, I know the 

mountain is connected to us. The energy of the mountain is flowing in, 

and then to us and around us. We don’t see it but it’s there. And now, of 

course because of the development of the wonderful technology that’s 

used in science, we can look into things and see it with our eyes; we see 

that all this energy is there and it’s interpenetrating everything. 

This is what the mystics and the spiritual seekers saw through 

medication long ago and now we have science. You put it down in hardware 

– this is real, this is not just somebody meditating on guessing that’s 

what’s happening. 

THE WISH FULFILLING 

GOLDEN KOI 

ON THE PATH 

OF THE LIVING WATERS 

OF NATURES HEART 

IN THE FLOW OF 

THE SACRED BLUEGREEN WATERS 

OF LIFE 

ARE FOUND THE DYNAMIC ENERGIES 

OF THE WISH FULFILLING 

GOLDEN KOI 

IN THEIR PRESENT MOMENT 

AWARENESS, 

THROUGH MEDITATION 

THEY ARE DISCOVERING THE ONENESS 

AND GATHERING 

THE GOLDEN MOMENTS 

OF NATURES HEART 

NOW SHARING THEIR 

TREASURES OF COMPASSION AND 

PEACE 

WITH ALL SENTIENT BEINGS 

- Honshin 


51

So, that’s a lot of what my art is all about. It’s about 

revealing and showing how the invisible is the greatest 

part of nature. What we see is the smallest part of nature. 

So what we’re trying to do is reconnect ourselves with 

nature. It’s honoring nature because nature is alive, just 

like we’re alive. Now, of course we’re learning how 

important it is to renew our connection with nature and 

how we affect it by the way we relate to it. 

SAS: You offer not only originals and prints, 

but also are internationally recognized for 

your calendar series. 

NKH: In 2001 I was invited by Thich Nhat Hanh’s 

publishing company to collaborate on a series of 

calendars, datebooks, journals and notecards. These 

combine my meditation paintings, Zen symbols and 

reflections of nature infused with transcendental and 

archetypal symbols with the words of the renowned Zen 

master and peace activist. 

The Zen Cat calendars are a meditation in art and words 

on the interconnectedness of all life. I use painting and 

poetry to convey a message from the pure heart of the 

universe. The teachings of the Zen Cat are born in 

awareness and the oneness of existence. They 

demonstrate the love, peace, and joy that unfold in 

our hearts as we embrace the sacredness and beauty 

of all life. 

SAS: When it comes to art, you speak often 

about trusting your heart. 

NKH: You have to trust your heart when it comes to 

relating to art and everything else that you do. It’s about 

finding that which speaks to you and it’s about emotion, 

it’s not just about collecting. It’s about all kinds of things. 

For us, for our gallery it’s about emotion. If a piece speaks 

to you then you might consider collecting it. 

We also consider our space a place of connectivity 

because it is connecting people to all these inner energies 

and themselves. The people that come from all over the 

world to Sedona are looking for the connection, and it’s 

here. 

I give a talk about that too – about how the whole energy 

of Sedona is about the heart. That goes way back to when 

the first people, the native people were putting art in 

the canyon walls because they felt this incredible energy 

coming from nature and they had to inscribe it in symbols 

to pass it on to us. We can go out there and see those 

energies in those symbols and relate to them just like they 

did. 

We all know how important Sedona became in art when 

Max Ernst, Dorothea Tanning, Walt Disney, Orson Welles, 

Maxfield Parrish and all these people came here because 

they felt the energy that was here. That energy just 

52 


He wrote a book about what’s happening inside the inner 

mind of the artist and the people who look at art and he 

stated the very same thing – that the most important and 

rewarding part is when the relationship opens up and 

the artwork’s energy is flowing between them and 

communicating something that’s deeply meaningful in our 

inner psychological world to each person. It’s coming from 

the art and we’re sharing our relationship and the kinship 

and harmony with a resonance with each other through 

art. “Wow! Hey I’m not separate, I am connected!” 

I love to share that energy coming from nature – it’s really 

not coming from me. That energy is coming through me 

as a translator of the experience that nature provides, 

translating that into a common language of the art. And 

there are pathways to connectivity to make me more 

whole. For me, the greatest experience about the arts is 

getting to that place where it’s doing that to every person, 

because it does it to me every time I paint. 

exudes out of the rocks and the canyons and it’s been 

imbued with the spiritual energy from nature. We 

discovered it and Sedona is all about art. 

It’s also about healing and the medicine that comes from 

that art itself, which is medicine and has the ability to heal 

and bring people back to a balance inside themselves. 

This is because it’s telling the story about them. It’s telling 

them the internal about themselves, so when a person 

responds to the art they are actually getting something. 

SAS: Thank you, Honshin! 

For more information, visit Honshin Fine Art 

in Tlaquepaque Arts & Crafts Village, Sedona 

or the website 

www.HonshinFineArt.com ∞ 

SAS: What is the most rewarding experience 

for you as it relates to your art? 

NKH: My favorite experience in the gallery is when 

somebody is standing in front of a painting and 

they’re crying. Well what’s happening? They have 

described it numerous times; “It’s talking to my 

heart. There’s something going on that I’m feeling in 

my heart that I haven’t felt and I’m feeling it now. I want 

to buy that painting and take it home with me.” 

The most important thing to me and the most meaning I 

get out of my work is when that person shares that story. 

Colors and shapes and forms are packed in into each 

painting and when people can share back to me, I get the 

reward. So it’s a circle. 

There’s a great writer, Eric Kandel. He’s a 

neuroscientist who won the Nobel Prize. 

Earth Dragon Iris

“For me, the guitar is an extension of myself. When I am truly at one 

with my playing, I don’t feel any separation between myself 

and the instrument.” 

RICK CYGE 

G U I T A R I S T 

Fingerstyle guitarist, Rick 

Cyge’s passion for music 

transfers seamlessly 

from hands to guitar in an 

unexpected tapestry of string 

voices, harmonies, rhythms and 

counterpoint and communicates a 

lifetime of influences in a brilliant 

display of musicality. 

“For me, the guitar is an extension 

of myself,” he offered. “When I am 

truly at one with my playing, I don’t 

feel any separation between myself 

and the instrument.” 

The story of this mastery unfolds 

as a personal evolution of acoustic 

music told through the eyes of a 

man powered by the music of the 

day, each passage along the way. 

Following a strong foundation of 

mostly classical piano training at 

an early age, the changing music 

scene began to catch Cyge’s ear in 

his teen years and influence the 

musical paths he would travel. 

“Years ago, I realized nobody 

had really taught me how to play 

guitar. I don’t remember learning 

to play guitar. I was so driven, I just 

remember practicing and playing.” 

At the time, there was no written 

music or guitar tablature available 

for learning the music that had 

drawn him in. “I jokingly say, ‘the 

Beatles and James Taylor taught me 

to play.’ Sitting there with a record, 

picking the needle up, putting it 

back, over and over again was a 

painstaking way to learn a song. 

There were no cassettes to rewind 

and replay, no digital music, and 

no YouTube videos. The only way 

to learn was to listen and repeat, 

repeat, repeat until you got it. You 

had to be passionate about it; you 

had to have patience and absolute 

determination to play.” 

An aptitude for that learning 

process led him not only in 

learning the guitar, but to an 

understanding of the intricacies 

of the music, creating a strong 

preference for the characteristics 

he would seek out in the individual 

pieces he chose to examine and 

reconstruct on the strings of the 

guitar. “The guitar, like the piano, 

allows you to express multiple 

voices, harmonies, rhythms and 

counterpoint simultaneously as a 

single performer. The music that I 

tend to want to arrange or perform 

on guitar is music with substance 

beyond just the melody with other 

parts that enhance the melody and 

create something bigger.” 

Cyge fell naturally into arranging 

music for the first band he was part 

of in his teen years. He chuckled, 

“By the time I was proficient 

enough on the guitar to want to 

be in a band it was the mid to late 

60’s. The whole ‘hippie thing’ 

was happening and ‘psychedelic’ 

was the catchphrase of the day. 

We thought our band should be 

somehow psychedelic and called 

ourselves ‘Vacuum Pact.’ We 

spelled it Pact – as in ‘a bond’ or ‘an 

agreement.’ We were not the most 

popular band when we started; a 

little rough around the edges and 

there were a couple of bands that 

54 


were more polished and played 

more of the AM radio hits. We 

tended to like the ‘B’ sides of the 

songs and album cuts that were 

not the hits, so we’d learn songs by 

groups like Steppenwolf, Cream 

and the Grateful Dead when they 

weren’t the big, popular groups. 

We were playing the kind of 

alternative rock music you’d hear 

on FM radio.” 

He continued, “We decided to go 

underground for a few months, 

not play any gigs and work on 

our music. The lead singer’s 

brother created a psychedelic 

light show for us. A few friends 

from other schools snagged some 

band uniforms so we could do 

a Sgt. Pepper’s sort of thing. All 

dressed up in different colored 

band jackets, playing things like 

‘Purple Haze’ and songs from the 

Sgt. Pepper’s album, we debuted 

our new look, name and the light 

show at a battle of the bands. And 

we won!” 

The summer of Cyge’s senior year 

was the summer of Woodstock. 

It was also a time of transition in 

popular music when electric bands 

took a back seat to a burgeoning 

acoustic singer/songwriter 

movement happening with the 

likes of James Taylor, Joni Mitchell, 

Simon and Garfunkel. 

Cyge added, “Crosby, Stills and 

Nash were huge components, and 

Cat Stevens, the list goes on and 

on. All these people were hitting 

and changing the face of popular 

music. I got very excited about 

acoustic music, got rid of my 

electric guitar and bought a cheap 

folk guitar. That’s what I brought 

to college with me. When I wasn’t 

studying, I was playing the guitar 

and working on this music by 

listening to a lot of James Taylor 

and all of these people." 

Rick Cyge & Leverett Wharton 1972 

“I hooked up with a young woman 

and we played in the coffee houses 

around campus. She had a great 

voice and sang Joni Mitchell songs 

beautifully. I played fingerstyle 

guitar, kind of like Paul Simon and 

James Taylor. My idea of folk music 

at that point was based on this new 

generation of folk music happening 

at that time. By junior year I’d 

become pretty good on the guitar 

and got my first serious guitar, a 

beautiful Martin,” he reminisced. 

While attending University of 

Rhode Island, Cyge was introduced 

to another guitarist, Leverett 

Wharton who grew up in Rhode 

Island and spent his childhood 

going to the Newport Folk Festival 

with his family. The annual festival 

was one of the most famous in the 

country; people like Bob Dylan and 

Joan Baez and many others got their 

start playing there. 

“Lev had been exposed to all of the 

traditional folk music: Country 

Blues, people like Mississippi John 

Hurt, Reverend Gary Davis and 

Doc Watson and all this great 

‘roots’ music, so when we started 

playing music together, he turned 

me on to all of that. It completely 

opened my mind, transformed 

me and my taste in acoustic music 

to go way beyond just what was 

happening then, to all of the 

tradition of folk and acoustic 

music. The experience really 

steeped me in the evolution of 

acoustic music and made me more 

passionate about playing.” 

Wharton lived in Jamestown, a 

little island about two miles wide 

by eight miles long between the 

mainland of Rhode Island and 

Newport, a larger island. “Lev’s 

grandparents had owned property 

on the island and there were a few 

houses and the Wharton Shipyard 

still owned by the family. In my 

Junior year I took a job in that oldfashioned 

shipyard.” Cyge smiled 

at the memories, “When I wasn't in 

class I was wet-sanding the bottoms 

of large boats and helping to launch 

them. I learned to sail while I was 

there, Lev taught me.” 

A few thousand yards from shore 

was a cluster of rocks out in 

Narragansett Bay. Surrounded 

on all sides by water, Wharton’s 

grandfather had built a house on 

the cluster of rocks, they called it 

‘Clingstone’ and the only way to 


55

music while living in Boston and I 

brought that passion and influence 

with me to Arizona in 1988. There 

I met the person who was later 

to become my wife, flutist Lynn 

Trombetta. We started out playing 

Celtic music together and I was 

arranging these little pieces for 

guitar, mandolin, flute and Irish 

whistles. Soon, I booked our new 

duo, Meadowlark a tour to play 

some dates on the west coast.” 

Clingstone, Narragansett Bay 

get there was by boat. 

“When Lev’s family went to the 

Newport Folk Festival, they would 

invite some of the performers back 

to the house afterward. At the 

time, Clingstone had no electricity 

so there was just candlelight at 

night. They’d sit around the table, 

have dinner and then pull out their 

instruments. Lev told the story 

of sitting on the floor as a little 

kid, listening to several festival 

performers casually playing music 

while he just sat there, listening 

and soaking it up.” 

Cyge paused, “So, fast forward 

15 years and here we are, Lev and 

me, living in the Captain’s House 

behind the shipyard. Lev would 

take me out to Clingstone … 

nobody was living in it at the time 

and the windows were boarded up 

for the winter. There were porches 

on all four sides. We’d go out by 

boat, climb up the rocks to sit out 

and listen to the buoy bells and 

he’d tell me the stories about all 

those musicians playing their music 

at Clingstone. Not surprisingly, 

by the early eighties I had written 

an instrumental guitar piece about 

the experience and the place called 

‘Clingstone.’” 

After college, Cyge began to offer 

lessons and at the 

suggestion of a friend, he decided 

to put together what would later 

become Wood and Strings Music 

Center, a center for teaching, 

selling and renting instruments and 

producing acoustic music concerts 

in Arlington, Massachusetts. Early 

in that period a student came to 

see him who wanted to learn to 

play music by a young French 

guitarist, Pierre Bensusan. “When 

I first heard Bensusan’s music, it 

stunned me! I’d never experienced 

anything like it. It was in an open 

tuning and, while style-wise 

it was fingerstyle guitar, it was 

radically different than anything 

I’d ever heard. I became extremely 

passionate about it and obsessed 

to learn to play the music he was 

composing and performing.” 

There’s a direct line from Cyge’s 

exposure to Pierre Bensusan and 

the music he would later compose 

in open tunings, specifically a 

tuning Bensusan popularized, 

DADGAD, named after the way 

you tune the strings from low 

to high. “I adopted DADGAD 

as a home tuning for my guitar. 

That tuning is closely tied to the 

tradition of Celtic music. I’d been 

exposed to wonderful Celtic 

As they traveled, Cyge became 

aware that through the flute he had 

a voice to write for that didn’t need 

lyrics. He started writing music for 

Meadowlark while they were still 

on the road. Between performances 

the pair spent their days sitting on 

the beach, hiking in the redwood 

forest or exploring some part of the 

California coastline. “Back where 

we were staying, I’d pull out the 

guitar and this music spilled out 

of me. I captured it as best I could, 

jotting down notes, recording it 

when possible, calling out melodies 

to Lynn to try on the flute and new 

pieces were born.” 

Performing several dates at 

Ghirardelli Square in San 

Francisco, they began to notice 

there was something magical about 

the music that drew people in. “As 

we played the new Meadowlark 

pieces, we noticed people who 

were bustling around, in and out 

of the gift shops and chocolate 

shops would gather seated in the 

courtyard and become mesmerized, 

as if under a spell and would stay 

for extended periods to soak it up. 

When we’d take a break, people 

would surround us, wanting to buy 

CDs and talk about the music. We 

were astounded by the response. 

We’d recently heard of a concept 

called ‘entrainment’ and realized 

others were experiencing that 

through our music. Our music 

56 


“It fuels my passion and creativity 

to know that everything that I work 

to create through my music is, 

in some way unique.” 

RICK CYGE 

was recreating the experience of 

some of the melodic contours and 

rhythms we had heard in nature. 

Whether it’s the ebb and flow 

of ocean waves or the sound of 

wind through pine needles in the 

redwood forest and the creaking of 

the trees, we humans relate to these 

sounds on a very primitive level. 

I was creating music inspired by 

nature and trying to capture those 

sounds and rhythms, and that was 

being transmitted through the 

music. People who were listening 

were entraining with the music.” 

So, after being what he called, “a 

frustrated songwriter for many 

years,” Cyge had written the 

nature-inspired music that became 

Meadowlark’s debut album, “Dance 

of the Sandpiper" on that first tour. 

Meadowlark’s subsequent album 

releases reflect a deep passion for 

the planet in a vibrant, colorful 

mix of world-influenced music 

inspired by the beauty of natural 

places and Cyge's compositions 

meld influences as diverse as Celtic, 

African, and Mediterranean. 

In 2000, Cyge and Trombetta 

married. Following several years 

of featured resort performances 

in Scottsdale, Arizona, the couple 

moved to Sedona. Soon, Cyge 

began to respond to new audiences 

for his solo performances with 

arrangements of popular music, 

especially reaching back in 

time to the era of the Beatles. 

The transition happened by 

circumstance; Trombetta was being 

drawn back to her art and writing 

and there was less opportunity 

for ensembles to perform in 

Sedona. “To best adapt, I sought 

out opportunities as a soloist. I 

felt that for most opportunities 

in restaurants, wine bars and 

hotel settings the music should be 

instrumental. So I reconnected 

with that side of my musical 

personality.” 

Through years of teaching how 

to arrange for fingerstyle guitar, 

Cyge had arranged a large number 

of tunes and soon amassed an 

impressive repertoire of fingerstyle 

guitar arrangements of what he 

calls, “Baby Boomer classics,” music 

from the late 50s to early 80s and 

started going out. 

Cyge commented, “I wasn’t doing 

a lot of writing, but was still 

compelled to get on the guitar and 

create. Finding a way to express 

songs as a solo guitar piece with the 

vocal melody, the guitar or piano 

accompaniment and the rhythms 


57

of whatever band might have 

played it gave me the same sense of 

satisfaction and accomplishment as 

composing." 

“In the end, it is always about the 

music,” Cyge pointed out. “There 

are a lot of good guitarists out 

there, but when I listen to them 

I hear the predictable kinds of 

patterns that happen naturally 

on the guitar. I call them ‘guitarisms.’ 

It’s very easy to fall into 

guitar-isms. When I am writing or 

arranging, I consciously work to 

not do it from the standpoint of 

what falls naturally on the guitar, 

but through what I can capture on 

the guitar to adequately reproduce 

musically what I have heard or 

want to express.” 

Honoring the music 

of the Beatles as one of the first 

profound influences on his 

music, Cyge recently completed 

a project that’s been in the 

works for a while. “There’s so 

much counterpoint, so many 

different voices all happening 

concurrently in the Beatles music 

that arranging their music for the 

guitar was really satisfying.” 

“Rick Picks The Beatles," Cyge’s 

third solo release invites listeners 

to enjoy all those details arranged 

for fingerstyle guitar in a nostalgic 

look back at the group. “They 

burned so bright and created such 

magnificent music for the short 

time they were together.” 

Recently voted 

“Sedona’s Best 

Musician” in KUDOS 

Reader’s Choice 

Awards, what Cyge 

finds most exciting 

is performing in 

concert settings. 

“As I engage the 

audience, the 

energy I put out 

through my 

music is reflected 

back to me and 

amplified by the 

audience. Both 

the audience 

and I can 

experience a higher and more 

intense, creative experience of the 

music in those true concert settings 

than can be had anywhere else.” 

Being surrounded by the 

dramatic landscape of Sedona has 

strengthened Cyge’s connection 

to nature. “Living in the canyon 

where we’re exposed to raw nature 

in a really dramatic form every 

time I walk out the door keeps me 

passionate and that passion spills 

into my making music, whether it’s 

writing or arranging. Passion is the 

driving force that makes me want 

to create.” 

On creativity, Cyge has offered this 

insight in workshops and seminars 

he’s taught over the years: “I do 

believe we all are creative beings 

in whatever capacity we find to 

express that creativity, and we’re 

an amalgam of our life experiences. 

Early in my life experience I felt 

unsure if I had anything unique to 

offer. That is, every time I tried to 

do what I thought was creative, I 

feared that it might be derivative 

of something I’d heard before. 

However, I came to embrace the 

idea of that and realized that we 

ARE a product of everything 

we’ve heard and everything we’ve 

experienced.” 

He continued, “If you take all 

the influences in our lives and 

combine their impact on us, what 

comes out of us is a creativity 

that incorporates elements of 

everything we’ve experienced. 

That makes it unique, in that no 

two people experience the same 

thing. Even if we’re in the same 

room, we’re not experiencing the 

same thing. It fuels my passion and 

creativity to know that everything 

that I work to create through my 

music is, in some way unique.” 

Visit www.RickCyge.com ∞ 

58 


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“Once upon a time, in a place not unlike this place, in a time not unlike this time, there 

was a lovely Anna’s hummingbird...” begins Sedona artist Beth Kingsley Hawkins’ book 

Anna’s in the Snow. Based on her experience discovering a nesting hummingbird in 

Sedona late one winter, Beth shares her story. 

Anna's Snow 

in the 

“All life is in the nature of the miraculous” 

One year, an Anna’s hummingbird made her nest in our neighbor’s 

cottonwood tree. 

The Anna’s hummingbird is a full-time resident in Sedona. Choosing not to 

migrate, this cold-hardy hummingbird starts nesting early in the winter, in the 

chilly months of February and March! 

Because our neighbor’s patio was high above the base of the tree, the nest 

was readily visible. I carefully negotiated the space between the nest and my 

camera with a 300 mm lens on the tripod and faithfully returned mornings 

and early evenings to document the process. 

Story and Photographs 

by Beth Kingsley Hawkins 


61

Her nest placement, under a larger protective branch, 

turned out to be very serendipitous. In March, 

Sedona had a surprise snowstorm. Lasting two days, 

the storm left seven inches of beautiful white snow, 

just when her eggs were hatching. 

I was worried! Could the mother and chicks survive? 

Was her nest location the best choice? Was she 

overconfident that they could endure anything the 

weather presented? Would they all endure? 

She rarely left the nursery. Luckily, a sapsucker 

had drilled holes in the tree next to her which gave 

her access to the sap as a nearby source of food. To 

keep the new babies warm, she hunkered down and 

spread her breast feathers completely over the nest. 

Her high metabolism maintains a body temperature 

around 104°, so any snowflake landing on her would 

melt instantly. 

Thank goodness, she succeeded! I continued 

photographing even after all the snow had melted. 

My most exciting photo shot was one that occurred 

as the sun was setting, making the shadows of the 

babies’ heads visible through the leaf, with their little 

beaks open to be fed when Mama returned. 

I even managed to get a shot of the first chick after 

it flew, and documented the mother finding it and 

continuing to feed it even after it had fledged. 

My husband, Ross Hawkins is the founder and 

director of the International Hummingbird Society, 

a nonprofit organization headquartered in Sedona 

dedicated to teaching about hummingbirds and 

working to prevent their extinction. I share that 

mission and at that year’s Sedona Hummingbird 

62 


“I even managed to get a shot of 

the first chick after it flew, and 

documented the mother finding it 

and continuing to feed it 

even after it had fledged.” 

Festival, I gave a presentation with 

my images and the story of the 

Anna’s success. As stories often 

do, this one opened hearts and a 

number of people were so moved 

they suggested I make it into a 

book! That was a whole new idea 

and adventure for me and, as it 

turned out, a very satisfying one. 

Anna’s in the Snow was published 

and a portion of the proceeds 

from the sale of each book are 

donated to the International 

Hummingbird Society to help in 

its mission of conservation and 

education. 

When Cesar Frank, a Peruvian 

artisan living in Massachusetts 

Nesting Anna’s Hummingbird, 

sterling silver pendant by 

Cesar Frank, a Peruvian artisan 

living in Massachusetts. 

came into my store, Sedona 

Hummingbird Gallery and saw 

my book, he proposed creating 

a sterling silver pendant of the 

Anna’s hummer mom. I was 

thrilled and commissioned a 

necklace. I first met this amazing 

artist at the Sedona Arts Festival 

where his jewelry representing 

the flora and fauna of Peru was 

featured. When I walked into 

his booth, I was amazed to see his 

inlaid hummingbird pendant and 

exclaimed, ‘Oh my goodness, you 

have the Marvelous Spatuletail!’ 

He replied, “Oh my goodness, you 

know what it is!” and a friendship 

began. 

The commissioned pendant is 

perhaps the first necklace that 

shows a nesting hummingbird. 

Of course, it’s of our very own 

Anna’s who lives in Sedona 

all year round, and, it ties in so 

beautifully with the book! 

Through my nature photography 

I invite others to focus on the 

beauty in life and to celebrate 

what’s right with the world. I 

concluded the book with an 

invitation to ‘stand still like the 

hummingbird and know that 

all life is in the nature of the 

miraculous.’ ∞ 

Beth Kingsley Hawkins received 

a master’s degree in music and 

music therapy for studies at the Orff 

Institute, part of the Mozarteum, in 

Salzburg, Austria. Her background in 

the fine arts as a music therapist and 

her work in hospice gives her a unique 

perspective on life, which comes 

through in her photography. At the 

age of eighty, the inner child within 

the grandmother is still alive and well. 

She has recently published another 

joyful book, Hummy the Magnificent: 

How a Hummingbird Learned to 

Read, beautifully and whimsically 

illustrated by local artist S. Ann 

Rhinehart. It is about a hummingbird 

whose hero’s journey begins because 

he is allergic to flowers. Its overall 

message is that in the same way that 

hummingbirds receive nurturance 

from the flowers, children can receive 

nurturance from reading books. 

Beth is a charter member of the 

North American Nature Photography 

Association (NANPA). Her 

photographic mentors include: DeWitt 

Jones, with travel to Monet’s garden 

in Giverny, France and to Molokai, 

Hawaii; Freeman Patterson, with travel 

to Shampers Bluff, New Brunswick 

and Namaqualand, South Africa and 

the Namib Desert; and Courtney 

Milne with travel to Saskatchewan and 

the study of photography as an Inner 

Landscape. 

Her husband, Ross, is the founder 

and director of the International 

Hummingbird Society, headquartered 

in Sedona, with its mission of 

conservation and education. Beth 

is a popular speaker at the Sedona 

Hummingbird Festival each year and 

she shares an essential part of that 

mission. 

Beth is the owner of the 

Sedona Hummingbird Gallery 

and can be contacted at 

hummerlady@hummerlady.com or 

(928) 284 0339. For more information 

visit www.hummerlady.com 


65 63

PETER GASSNER 

WEST FORK

ELAINE BELVIN 

ROBBERS ROOST 

Members of the Sedona Camera 

Club share recorded memories of 

transition from Winter to Spring in 

Sedona's landscape. 

SEDONA 

S 

EASONS 

JOHN GAFFORD 

COFFEE POT ROCK 


65

Chef Jeff Smedstad 

Takes Southwest & Mexican 

Flavors to Artistic New Levels 

at Elote Café in Sedona 

Interview by Lynn Alison Trombetta 

Photos provided by Elote Cafe 

Chef Jeff Smedstad specializes in the bold, flavorful cuisine of southern and interior 

Mexico combined with the unique flavors of the Southwest. As owner of Elote Café 

in Sedona, Arizona, he translates the beautiful flavors into a cooking style he calls, 

“Authentically me,” as he stays true and respectfully interprets the influences of a lifetime 

through cooking for others. 

SAS: Was yours a conscious decision to become 

a chef or did you find you fell into it? 

JS: I started cooking in the Coast Guard, so my first gig 

cooking was on a desert island halfway between Japan and 

Hawaii. And that doesn’t sound like much to most people, 

but that experience is one of those times that really 

shaped my life because I started cooking for a group of 

30 guys, and they had no options as far as where to eat. 

It was all food made by me, period. There were no 

commercial outlets and so I got to see the difference that 

food can make in somebody’s life, in their day. I think my 

way of getting into food in that way was different than 

most people’s. 

It was just something that I experienced. And I knew 

that year, which was 1987, that there would be no turning 

back. That this was something that I really wanted to do 

because I could do this and make people happy. And if I 

did, I figured I’d end up rewarded for it. And it’s worked 

really well as a two-way-street, if you will. 

SAS: What would you say was a major turning 

point for your career as chef? 

JS: It was when I spent time in Mexico. For me, I knew 

I wanted to be a chef, and that’s great, but I was just 

starting out. Then I spent time down in Oaxaca. I studied 

primarily with a lady named Susana Trilling, who now 

operates Seasons of my Heart Cooking School, but then 

we went around to other ranches and we cooked with 

a lot of different ladies. The flavors and the way that the 

food was prepared, that was sort of a lightbulb moment as 

to what was going to be my style of cooking. 

I felt like there was this beautiful, full earthiness and 

vibrancy. It was just food that seemed more alive than 

what I was used to seeing as a young man growing up in 

66 


UCHEPOS 

Michoacan Style fresh corn Tamales 

with Tomato Chipotle Sauce and Crema

SAS: What do you call your cooking style? 

JS: “Authentically me.” I’ve also called it Mexican and 

Southwestern cuisine, and the reason that I’ve added 

Southwestern to it now is that we see influences from 

the area happening all the time. I’m an Arizona guy, I grew 

up here, I’m proud of where I’m from. I want to make 

sure that we don’t lose the actual ideas of what the early 

cuisine of this area was. 

I think that we can get romanced by different 

ingredients at the farmer’s markets that might not 

have much in common with what the earlier people's 

were in this area. I want to make sure that we are not 

losing some of those traditions as well. 

Whether it’s using a hatch chile, or doing something with 

the citrus or mesquite in the area, or remembering the 

Tepary Beans, or the Anasazi beans, foods like these have 

become very important to me. They aren’t what you’re 

going to search for in Mexico, but that’s what you’re going 

to search for in the southwest US and in New Mexico, 

Arizona and parts of California. 

Chef Jeff Smedstad 

the desert. I love the entire bounty of the Southwest, 

but the refinement and where they took things in the 

markets and houses of Oaxaca really showed me a new 

level of where these flavors could go. That’s what became 

the nucleus for what I do now. 

SAS: So Oaxaca and the ladies you were cooking 

with would be the biggest influences on your 

cooking? 

JS: Yes, it would be and probably twenty, thirty years of 

traveling back to Mexico; I’m always going back there to 

try to have foods in their element. And then I come back 

and show you my interpretations of them. But in doing 

that, we weave authenticity into everything because for 

me it’s really important to do what I do respectfully. I am 

doing much more than translating recipes, I am honoring a 

land and traditions of the people and the very food itself 

with authenticity from my heart and from my experience. 

I work with a lot of people from Mexico, I have a lot of 

people that come in here for dinner that are visiting from 

Mexico, and I do want to make sure that I’m giving the 

respect due to that food that it deserves. 

SAS: What’s your favorite ingredient? 

JS: Corn! Corn all the way! Corn for the win! 

SAS: Is it fair to say that you are constantly 

innovating? 

JS: Absolutely! The biggest thing that can happen to me, 

and I don’t always know where it comes from anymore, 

is I just come across new ingredients, or maybe an old 

ingredient and somehow I see it differently. 

There’s nothing in the world that doesn’t touch your 

world when you do this for a living. I mean, just being 

alive, being present, I guess is going to make you a better 

chef. But there’s a lot out there, and I’m discovering even 

after thirty years of being in kitchens that you don’t know 

much and you’re always humbled by what you’re learning. 

So yes, the innovating will never stop, whether I want it to 

or not! 

SAS: Are you finding sustainable, local, organic 

product available to incorporate into the menu? 

JS: Quite a bit of things we use are from Arizona. We 

do get in a few things from the Verde Valley. I’ve had 

people show up at my back door with peaches and we get 

mushrooms and berries from up in the canyon every year. 

We’ve been known to use beef from a couple of different 

68 


cattle ranches around here. We had somebody in 

Wickenburg raise pigs for us a couple years ago and 

we did a sort of a study as to where to go with pig. 

We do try to get a variety and we have fun with it. 

SAS: Tell us about your cookbooks. 

JS: I have two cookbooks out: The Elote Café Cookbook and 

The Elote Café Notebook. The first book, the Cookbook 

was about getting down to basics of where we were in the 

restaurant and sharing that with the public. The second 

book has a few new ‘stars’ in it, if you will; things that have 

become very popular since the publication of the first 

book that I’ve shared with people many, many times. 

And then there’s a lot of things in there that I just like to 

cook at home offering a little more fun on a couple of new 

ideas: things like brisket and tri tips, different sauces that 

have become more popular over the years, and potato 

tacos that I make at home on the weekends. It’s fun to 

share it. Both books are pretty laid back experiences, but 

both are unique in their own way. 

SAS: What big changes have you noticed over 

the last 25 years? 

JS: Food has evolved in the last 25 years a thousand fold. 

Everybody’s got an opinion about something now, a lot of 

people are very food savvy, and people have traveled a lot 

more than they did 25 years ago. The internet’s made the 

world a lot smaller too. A lot of times in the early parts 

of my career, it was sort of trailblazing; you were showing 

people something that they’d never seen before. And now, 

usually the best you can hope for is to be the best version 

of that. But that’s the new way of being pushed forward. 

I feel like 25 years ago, for me the push was to innovate 

and now the push is to refine; to absolutely make that 

one plate of food as close to wonderful, every single time, 

which could be twenty-thousand times in a year. And 

make it absolutely wonderful, so that if people come back 

a year later you’re still impressing them. 

SAS: What is your favorite recipe from the book 

– or the one you are most proud of? 

JS: I love a potato taco, but I don’t really serve them here. 

I’ve always loved my Lamb Adobo – that’s’ never gotten 

old! And I think that I love the flavor of it, but there’s also 

an emotional attachment to it. I consider it to be one of 

the dishes that made my career. It’s sort of like having a 

LAMB ADOBO 


69

I noticed that the crew didn’t seem 

excited about the food there. At 

the age of seventeen or eighteen I 

didn’t know what I was going to do 

to improve on that because there 

are government recipes that you’re 

given. So I started cooking things 

I’d never heard of out of the James 

Beard cookbook. I’m just a country 

boy from what was Chandler, which 

was cotton fields when I left it - at 

the time it was pretty humble. 

hit song and I find that it always makes me happy, that’s not 

gone away. The thrill of making that dish, smelling that dish 

and eating that dish has never gone away. 

SAS: How does people’s relationship with food 

differ between Mexico and here? 

JS: I think that the relationship with food in Mexico is just 

kind of matter-of-fact. It’s just part of the fabric of your 

day, of your life. It’s what you do; you’ve been eating tacos, 

the pollo, tacos al pastor or whatever your whole life. And 

that’s just something you’ve done. 

ELOTE CAFÉ, Sedona 

SAS: What were some of the 

first recipes you tried? 

JS: I started cooking things like 

Crème Brulee, and to me it was 

pudding that had a burnt top – I’d never had it. They loved 

it. And then I would work on this recipe or that recipe; 

they loved it. I had limited ingredients, but we had a papaya 

grove in the middle of the island, and I knew the pilots that 

would fly our supplies out once a week. The plane would 

drop off stuff and leave you. I started trading papayas 

to them and then the next week they’d show up with a 

contraband bottle of wine that complimented roasts really 

good that they gave to my commanding officer. Or I’d get 

in real prime beef or a prime rib roast that you’re just not 

going to get on a military budget. And I’m not going to tell 

you I knew what I was doing, I just kept trying. 

Here in the US, we’re seekers. In Mexico people are 

eating it, they are getting their nutrition from it, they are 

not gorging, and it is just part of their day. It seems there’s 

more of a balanced approach to eating in Mexico than 

there is here. People here often eat for an experience. 

There, they mostly eat for sustenance. 

SAS: Please tell us a bit more about your time 

with the Coast Guard. 

JS: That was at the Loran Station, pre-dating GPS, 

so there’s no boat involved there. That was a great 

experience to get me really excited about cooking. I was 

a deckhand on an ice-breaker before that, and when I left, 

they gave me a cookbook out of the ship’s library. They 

said, “Good luck, kid,” and they tossed a book at me. I put 

it in my bag and off I went. When I unpacked everything 

when I finally arrived in Japan, I noticed that it was an old 

paperback book with some fat, bald guy on the cover, who 

I assumed was Chef Boyardee. (It was James Beard, but 

that meant nothing to me.) 

SAS: Is that when you decided you wanted to be 

a chef? 

JS: My mother sent me a book on patisserie, which is 

French and I started making croissants. I’d never had a 

croissant in my life, so I spent seventy-six hours on the 

recipe! I noticed that these things would really keep the 

morale way up high and I was like, “Okay, I want to be a 

chef, I want to learn more about this.” 

SAS: And one thing led to another? 

JS: Yes, my next experience after I left there was I lived in 

Morro Bay, California, and here we were next to San Luis 

Obispo, which at the time had something new and novel 

that I’d never seen growing up in Arizona … it’s called 

a Farmer’s Market. They didn’t exist here! There were 

pick-up trucks full of turnips and beets, and there were 

real farmers like hanging out on their trucks, and some guy 

with a barbecue thing making barbecue! And Mojo Nixon 

would be playing in the bar up the street … it was a 

70 


I am doing much more than translating recipes, I am honoring 

a land and traditions of the people and the very food itself 

with authenticity from my heart and from my experience. 

CHEF JEFF SMEDSTAD 

different time. I don’t know if it was better, but it 

definitely got me into the idea of how much was going 

on in cuisine. 

Then, I got a gift of a Wolfgang Puck cookbook. Who 

again, I’d never seen, had no idea who the guy was. And 

I’d never made Szechuan Beef - I’d probably never eaten 

Szechuan Beef. But I knew guys talked about it, and there 

was a recipe in the Wolfgang Puck cookbook, which is the 

furthest thing from real Chinese food, but I was doing a 

Frenchified version of Chinese food and I literally fanned 

out New York Strip and it went 

over so big and the rumors got 

out to all the police departments, 

the fire departments and the 

harbor patrol guys. 

JS: That was a great thing; as I had that opportunity in the 

Coast Guard, I had the faith of my crew. Which, number 

one, if you don’t get that faith, you’re dead in the water. 

It’s similar to having the faith of your customers, and I’ve 

been dealing with that ever since then. As soon as you get 

that faith, you get kind of carte blanche for where you can 

go and do what you want. 

So, I expanded beyond what normal people would do in 

the military and cooked whatever I wanted. Then I got out 

and went to Scottsdale Culinary Institute with a G.I. Bill 

They would buy tickets; you 

could actually sell a limited 

amount tickets for lunches. You 

could make money; you just 

couldn’t keep the money. So, if 

I made money on these lunches, 

then I could use that money to 

buy better food. Suddenly I’d 

expanded my budget and found 

a way within the system to beat 

the system so that we could eat 

crab and lobster. That’s what the 

guys wanted and I’d tell them, 

‘We’re going to eat hot dogs for 

three days straight, but we’re 

going to save that money and 

then that’s going to go into the 

Friday feast.’ Not that I knew 

how to cook everything, but I 

was going to try. 

SAS: How did that 

experience shape your 

ideas of your future and 

your relationship with the 

people who enjoyed your 

food? 

Chef Jeff in the Blue Agave fields of the Jalisco valleys, Mexico

and then I worked in some 

hotels and things like that 

where I felt very detached. 

I knew that someday I had to 

get back to a restaurant, I just 

didn’t know how, what and 

where it was going to happen. 

Chef Jeff and Elote Cafe 

General Manager, 

Juan Rojas at Tlaquepaque 

in Guadalajara, Mexico 

I tried to work in Mexican 

restaurants, because I really 

liked the food after the first 

time that I was down there when 

I discovered both the food, and at 

the time, a girl which worked out 

really well for a while. But I had 

to get back to the idea of having a 

relationship with the people I was 

cooking for; otherwise, I can’t do it. 

SAS: Having one, very successful restaurant 

in this beautiful Sedona setting has filled that 

need? 

JS: People have often asked me about why I don’t have 

several of these. Because once you get so busy, people 

expect you to plant, do another one, and do another one. 

But in that plan, I would never have that relationship with 

people. When I was working in hotels, where you were 

detached and pushed into the back, it just didn’t ever feel 

like it had the meaning. And so now, when I pass through 

the dining room, it’s to check on the customers, but it’s 

also to give my day meaning, probably more so than even 

checking on the customers. It’s about me. Because 

without that, I don’t feel inspired to get up the next 

day and do this again. I don’t do this for the money 

anymore – I’m humbled and lucky. I do it because I 

want to. 

SAS: It gives meaning to your life, to cook for 

people. 

JS: It does, and to have those connections. Some people 

think that I get off by having a big line here. But I don’t – 

I want everybody to get in and be happy, but I’m humbled 

that so many people try to get in the doors. It’s blowing 

my mind. I never expected it. I’ve been very lucky here, 

but that’s what keeps me from trying to build something 

bigger. My life’s been damn charming. 

SAS: Please share little more about your 

experience on the Backroads of Mexico. 

JS: I think the backroads of Mexico 

are one of the most misunderstood 

things to most people that are north of the border. 

Generally when you are out in the country, people are 

very welcoming and of course, the food can be wonderful. 

You can definitely still take a step back in time in some 

places. You’ll find a lot of people that live a simpler life. 

In a way, when you’re out in the backroads of Mexico you 

become inspired about what maybe is more important 

in the world, that can give you that one moment of quiet, 

you know? I find that there’s a much more ‘in tune’ sort 

of circle of life consciousness when you’re out in the 

country like that. People seem to have a whole lot less 

they’re hung up about. If anything, I’m jealous of that. They 

are not concerned with being a vegan, a vegetarian, or 

whatever dietary restriction might be popular this week. 

They just live in tune with nature, with sustenance, with 

what they’ve got. They seem happy. 

I’ve driven on back roads from Mexico City all the way to 

Oaxaca and then all the way over to Veracruz from there. 

If anything, I find the cities more overwhelming than the 

country. 

And I think that you can still see real happiness out there. 

Happiness without the deep “needs” that we all have 

decided we need. Yeah, I think that in the US we have that 

too, you can find it, but I think it’s a little harder. There’s 

just something real beautiful about the connection of life 

and earth when you’re way out there. 

SAS: Thank you, Jeff. 

Enjoying a tlacoyo 

For more about Chef Jeff Smedstad’s award-winning 

cuisine, visit www.EloteCafe.com ∞ 

72 


SEDONATROLLEY.COM • 928-282-4211 

Sedona Trolley, “The Best First Thing To Do in Sedona” for over 25 years. Take a step back in time on 

the Sedona Trolley and enjoy a fun, informative tour of the entire City. Between two different fully 

narrated 55 minute tours, we’ll take you to all of the best places in Sedona. 

Visit historic spots and inspirational landmarks, take in breathtaking views, learn where to experience 

a vortex and get many great photos. Learn about Sedona’s past and present and get tips on hiking, 

shopping, dining, and watching gorgeous red rock sunsets. 

TOUR “A” 55 MINUTES 

Visit the South side of town, highlighted by scenic 

Highway 179, featuring a 15-20 minute stop at the 

famous Chapel of the Holy Cross. Fully narrated with 

lots of photo opportunities among the Red Rock 

formations. 

TOUR “B” 55 MINUTES 

Head out west through the City of Sedona and on out 

to Dry Creek Valley highlighted by the breathtaking 

scenery of Boynton and Long Canyons. Fully narrated 

with two photo stops in the Coconino National Forest. 


73

SAS quarter page ad:Layout 1 12/4/18 7:19 PM Page 1 


promotes the arts 

and the artists in 

Sedona by forging 

a beneficial alliance 

between the arts 

and business 

communities. 


online publishes 

performance venues 

as a public service. 

All Sedona venues 

have a free 

promotional 

opportunity for 

their events and 

performances at 

SedonaArtSource.com/Sedona-Event-Calendar

The Spotlight 

Live Entertainment Venues in Sedona 

Sammy Davis Band at Club 89 

Music is alive and well in Sedona venues all over town! To give area visitors some insight into what’s behind those doors, 

we break it down with information on each venue’s musical flavor and focus. In this issue, we shine The Spotlight on 

Steakhouse89 where live music is on the menu every day with Happy Hour and offerings for those ‘late night’ crowds. 

Where: 

When: 

Steakhouse89 and Club89 

2620 W. Hwy 89A, Sedona, 

928.204.2000 

HAPPY HOUR: Entertainment every 

Tuesday through Sunday; 5 – 8 p.m. 

LATE NIGHT SERIES: Entertainment 

Wednesdays through Saturdays; 8:30 – 11:30 

p.m. (or later) Late night entertainment 

takes place in Club89, a separate dining 

room from the main bar/dining area that 

features a stage and a dance floor. Club89 

offers a smaller late night menu until 10 

p.m. with live entertainment continuing until 

11:30 or later, depending on the crowd. 

SUNDAY BRUNCH: Entertainment weekly; 

11 a.m. – 2 p.m. 

COMMENTS: Reservations are not required but strongly 

suggested due to limited seating in the venue. 

Type of Music Featured: 

Happy hour entertainment in the bar is mostly solo 

musicians, primarily pianists and piano/vocalists. These 

performances are usually ambient in nature with music at a 

modest volume to allow for comfortable conversation while 

providing a relaxed environment to enjoy the happy hour 

drink and food specials. 

The late night series in Club89 typically features various 

ensembles, DJs and other unique performers. Much of 

this music is danceable and engaging with the focus in this 

room being on the entertainment. Stylistically, the late 

night music includes a broad spectrum of artists and genres 

ranging from rock and roll to jazz, from live music to DJs, 

and even some regional and touring acts, with something for 

everyone. ∞ 


77 75

The Spotlight 

VENUES 

WEST SEDONA 

Bella Vita Ristorante 

ChocolaTree 

Dahl & DeLuca 

Enchantment Resort 

Gerardo’s Italian Kitchen 

Golden Goose American Grill 

Greg Lawson Gallereum 

Judi’s Restaurant 

Mary D. Fisher Theatre 

Mesa Grill 

Music in the House 

Oak Creek Brewing Co. 

Olde Sedona Bar & Grill 

Reds Lounge 

Sedona Chamber Music 

Sedona Performing Arts Center 

SteakHouse89 

Vino di Sedona 

MUSIC DAYS & TIMES 

Wed, Thu, Sun 6:30 - 8:30 p.m.; Fri, Sat 6:30 - 9:30 p.m. 

Fri, Sun 6 - 8 p.m. 

Fri - Mon 7 - 9 p.m. 

Thu-Sat 5 - 8 p.m. 

Tue 5:30 - 8:30 p.m. 

Sun, Tue, Thu 5:30 - 8:30 p.m. 

Occasional concerts - call for details 

Thu 6 - 9 p.m. 

Concert performances throughout the year - call for details 

Thu 4 - 7 p.m.; Sat & Sun 11 a.m. -2 p.m. 

2nd Fri of each month, September - May, 7 - 9 p.m. 

Wed & Thu 6 - 9 p.m.; Fri 8 - 11 p.m.; Sat & Sun 3 - 6 p.m.; Jam Nite: Sat 7 - 11 p.m. 

Live Music: Fri 9 p.m. - 2 a.m.; DJ: Sat 9 p.m. - 2 a.m. 

Wed, Fri, Sat, Sun 6 - 9 p.m. 

Monthly concerts seasonally - call for details 

Occasional concerts - call for details 

Happy Hour: Tue - Sun 5 - 8 p.m.; Late night: Wed - Sat 8:30 - 11:30 p.m. (or later) 

Sun - Tue 6 - 9 p.m.; Wed - Sat 7 - 10 p.m.; Wine Tasting: Fri 3:30 - 6 p.m. 

UPTOWN 

Briar Patch Inn 

El Rincon 

Hillside Sedona 

L’Auberge de Sedona 

Mooney’s Irish Pub 

Rene’s Retaurant 

SaltRock Southwest Kitchen 

Secret Garden Café 

Sound Bites Grill 

Thai Palace Uptown 

Tlaquepaque 

Thu - Sun 8:30 - 10:30 a.m. June - September 

Sun - Tue 5:30 - 7:30 p.m. March - October 

First Friday ArtWalks 5 - 8 p.m. 

Sun - Thu 5 - 7 p.m.; Fri 6 - 9 p.m. 

Fri & Sat 9 p.m. - 1 a.m. 

Sat 5:30 - 8:30 p.m. 

Fri & Sat 6 - 9 p.m. 

Tue - Fri 5:30 - 8:30 p.m.; year round weather permitting 

Sun - Thu 6 - 9 p.m.; Fri & Sat 7 - 10 p.m. 

Mon & Tue 6 - 9 p.m. 

First Friday Art Walks 5 - 8 p.m. March -October; special events year round - call for details 

VILLAGE OF OAK CREEK 

Collective, The 

Cucina Rustica 

Full Moon Saloon 

J Wine Bistro 

PJ’s Pub 

Special events and concerts year round - call for details 

nightly 6:30 - 9:30 p.m. 

Fri & Sat 8:30 - midnight 

Thu & Fri 6 - 9 p.m. 

Tue (every other) 6 - 9 p.m.; Wed 6 - 9 p.m.; Sat (times vary) - call for details 

Browse the list for details about live music at other area venues and visit www.SedonaARTSource.com 

for calendar and performance information. Dates and times are subject to change, please check with venue.

Live Entertainment Venues in Sedona 

TYPE ADDRESS PHONE 

entertainment 6701 AZ-89A, Sedona, AZ 86336 928.282.4540 

ambience/entertainment 1595 West Hwy 89A, Sedona, AZ 86336 928.282.2997 

ambience 2321 West Highway 89A, Sedona, AZ 86336 928.282.5219 

ambience The View Restaurant, 525 Boynton Canyon Road, Sedona, AZ 86336 928.204.6014 

ambience 2675 W State Rte 89A, Sedona, AZ 86336 928.862.4009 

ambience/entertainment 2545 W State Rte 89A, Sedona, AZ 86336 928.282.1447 

entertainment 2679 W. Highway 89A, Sedona, AZ 86336 928.202.0340 

ambience 40 Soldiers Pass Rd, Sedona, Arizona 86336 928.282.4449 

entertainment 2030 AZ-89A Suite A-3, Sedona, AZ 86336 928.282.1177 

ambience 1185 Airport Road, Sedona, AZ 86336 928.282.2400 

entertainment The Hub, 525-B Posse Ground Road, Sedona AZ 86336 207.907.9365 

entertainment 2050 Yavapai Drive, Sedona, AZ 86336 928.204.1300 

entertainment 1405 West Highway 89A, Sedona, AZ 86336 928.282.5670 

entertainment Located in Sedona Rouge Hotel & Spa, 2250 AZ-89A, Sedona, AZ 86336 928.340.5321 

entertainment 2030 W. State Route 89A, Suite B5, Sedona, AZ 86336 928.204.2415 

entertainment 995 Upper Red Rock Loop Road, Sedona, AZ 86336 928.282.0549 

ambience/entertainment 2620 W. Hwy 89A, Sedona, AZ 86336 928.204.2000 

entertainment 2575 W. State Route 89A, Sedona, AZ 86336 928.554.4682 

ambience 3190 N State Rte 89A, Sedona, AZ 86336 928.282.2342 

entertainment Tlaquepaque Arts & Crafts Village, 336 AZ-179, Sedona, AZ 86336 928.282.4648 

entertainment 671 AZ-179, Sedona, AZ 86336 480.998.5025 

ambience/entertainment 301 Little Lane, Sedona, AZ 86336 800.905.5745 

entertainment Hillside Sedona Shopping Center, 671 AZ-179, Sedona, AZ 86336 928.282.2331 

ambience Tlaquepaque Arts & Crafts Village, 336 AZ-179, Sedona, AZ 86336 928.282.9225 

ambience Amara Resort, 100 Amara Lane, #101, Sedona, AZ 86336 928.340.8803 

ambience/entertainment 336 AZ-179, F101, Sedona, AZ 86336 928.203.9564 

entertainment 101 N. State Rte. 89A, Sedona, AZ 86336 928.282.2713 

ambience 260 Van Deren Rd., Sedona, AZ 86336 928.282.8424 



ambience The Collective Sedona, 7000 Arizona Rt. 179, Sedona, AZ 86351 928.284.3010 

entertainment The Collective Sedona, 7000 Arizona Rt. 179, Sedona, AZ 86351 928.284.1872 

ambience The Collective Sedona, 7000 Arizona Rt. 179, Suite E100, Sedona, AZ 86351 928.641.6587 

entertainment 40 W Cortez Dr., # 7, Sedona, AZ 86351 928-284-2250 

Want to be on the List? Email your venue and event information to rickcyge@gmail.com. 

Deadline for submission is 2 months before next quarterly publication date.



79

Sedona Art Galleries - See Map pageS 78-79 

E2 

B3 

D3 

D3 

Adonai Chrisan Fine Art Gallery 

101 N SR 89A 

ALT Gallery 

2301 W SR 89A 

Andrea Smith Gallery 

336 SR 179 

AZADI Rug Galleries 

Creang worldwide beauty for over 200 

years. Specializing in Contemporary and 

Anque fine rugs. 

336 SR 179 

E2 

A3 

E1 

Greg Lawson Galleries: L’Image 

Lawson Legacy Images offering lownumber 

collector edions and exclusive 

commission opportunies. 

270 N SR 89A • GregLawsonGalleries.com 

Greg Lawson Galleries: Passion for Place 

Greg Lawson Images featuring people, 

places and wildlife; an enre global 

experience. 

2679 W SR 89A • GregLawsonGalleries.com 

Hoel's Indian Shop 

9589 N SR 89A 

D3 

D3 

B3 

E2 

Renee Taylor Galleries 

336 SR 179 

Rowe Fine Art Gallery 

Nature and wildlife art. Tradional and 

contemporary southwestern sculptors, 

painters and jewelers. 

336 SR 179 

Sedona Arst Market 

2081 W SR 89A 

Sedona Arts Center 

15 Art Barn Road 

A5 

E2 

D3 

D3 

C3 

Bearcloud Gallery 

7000 SR 179 • BearcloudGallery.com 

Bearcloud Gallery 

390 N SR 89A • BearcloudGallery.com 

Big Vision Art Gallery & Design Studio 

Pamela Becker’s studio + gallery: Symbolic 

Portraits, Desert Lotus Altars® & Charisma 

Cards. 

251 SR 179 

Carre D’Arstes 

336 SR 179 

Creave Gateways 

45 Birch Blvd 

D3 

D3 

D3 

D3 

A3 

Honshin Fine Art: 

Gallery of Wholeness, Harmony & Radiance 

336 SR 179 

Honshin Fine Art: 

Gallery of the Ascending Spirit 

336 SR 179 

Inner Eye Gallery 

336 SR 179 

James Ratliff Gallery 

671 SR 179 

Kachina House 

2920 Hopi Drive 

KachinaHouse.com 

B3 

A5 

E3 

B4 

D4 

Sedona Giclee Gallery 

2055 W SR 89A 

Sedona Hummingbird Gallery 

Gallery features spiritual nature 

photography by Beth Kingsley Hawkins 

and everything hummingbird. 

6560 SR 179 

Sedona Poery 

411 SR 179 

Soderberg Bronze 

45 Finley Drive 

Son Silver West Gallery 

1476 SR 179 • SonSilverWest.com 

D3 

D2 

D3 

E3 

E3 

D3 

C3 

E3 

D2 

B3 

D3 

E2 

Eclecc Image Gallery 

336 SR 179 

El Dorado 

101 N SR 89A 

El Picaflor Gallery 

336 SR 179 

Eve Franc - A Bryant Nagel Gallery 

431 SR 179 

Exposures Internaonal Gallery of Fine Art 

561 SR 179 • ExposuresFineArt.com 

Gallery of Modern Masters 

World renowned contemporary arsts of all 

mediums for both inside and outside display. 

671 SR 179 

Gallery Tesla 

2030 W SR 89A 

Garland’s Navajo Rugs / Collector’s Room 

411 SR 179 

Goldenstein Gallery 

Represenng renowned local and regional 

arsts in all styles and mediums. 

150 SR 179 • GoldensteinArt.com 

Gordon’s Clock Soup Gallery 

2370 W SR 89A 

Great Southwest Gallery 

336 SR 179 

Greg Lawson Galleries: Art Tasng Room 

Appezer sizes of Lawson images produced 

for people on the go. 

270 N SR 89A • GregLawsonGalleries.com 

E3 

D3 

E3 

E3 

A5 

C3 

D3 

E2 

E2 

D3 

D3 

E2 

Kopavi Internaonal 

Specializing in fine Hopi jewelry. Beauty 

from the hand of America. 

411 SR 179 

Kuivato, A Creave Gateways Gallery 

336 SR 179 

KuivatoGlassGallery.com 

Lanning, A Bryant Nagel Gallery 

431 SR 179 

Lark Art 

431 SR 179 

Magical Mandala Kaleidoscope Gallery 

7000 SR 179 

Mexidona 

1670 W SR 89A 

Mountain Trails Galleries 

Painngs, sculpture & more by tradional, 

contemporary award-winning arsts from 

the West. 

336 SR 179 

Nave American Traders 

321 N SR 89A 

Nave Jewelry of Sedona 

276 N SR 89A • NaveJewelryGallery.com 

Navarro Gallery 

336 SR 179 

Quilts Ltd. Gallery 

313 SR 179 

R.C. Gorman Navajo Gallery 

285 Jordan Road 

D2 

C3 

E2 

E3 

A5 

A5 

D2 

D3 

C3 

The DeSerio Gallery 

101 N SR 89A 

The Melng Point 

This educaonal facility provides home to 

locally craed glass of all forms. 

1449 W SR 89A 

Touchstone Gallery 

320 N SR 89A 

Turquoise Tortoise, A Bryant Nagel Gallery 

431 SR 179 

Van Loenen Gallery 

7000 SR 179 

Village Gallery of Local Arsts 

Over 40 local arsts cooperavely 

sharing mulple genres of affordable 

artwork. 

6512 SR 179 • SedonaLocalArsts.com 

Visions Fine Art Gallery 

Award winning fine art gallery. 

World renowned arsts, painngs, 

sculptures, and glass. 

101 N SR 89A 

Vue Gallery 

336 SR 179 

Wayne B. Light Gallery 

40 Soldier Pass Road • WayneBLight.com 

ARTSource adversers listed in bold.

Extraordinary 

and 

Unforgettable 

“One of the Largest and Most Unique Galleries in the World” 

800-526-7668 561 State Route 179, Sedona, AZ 86336 928-282-1125 

ExposuresFineArt.com 

Sales@ExposuresFineArt.com 

©2018 Exposures International LLC

Sedona Art Source - Volume Three

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