Sedona ARTSource - Volume Four

VOLUME FOUR
TWELVE $

Sedona ARTSource
1

FROM THE PUBLISHER
One of the significant
features of our little
pocket of Arizona
beauty is an everflowing
stream of
water that nourishes
life along the banks of
Oak Creek while
offering red rock
hikers a welcoming
water feature as a
bonus for their efforts.
A relished, playful moment
enjoyed in Africa.
Flowing from all sectors of Sedona is yet another
stream. One rich with talent and creative diversity;
one able to refresh the day while rewarding visitors
and residents alike with a flood of good emotions and
lasting impressions. The streaming talents emanating
from creative people in our community provide
a plethora of rich varietal options in the visual,
performing, culinary, literary, and design arts.
For all of us at ArtSource it is a genuine honor to bring
page after page of insight into qualifications, traditions,
motivations, and visions of accomplished people
worthy of a moment in the Arizona sun.
Greg Lawson
6 Editor’s Message
9 City of Sedona
State of the Arts
15 Sedona Plein Air Festival
18 Sweets + Heart = Sweet Art
Andrea Carusetta
24 Chamber of Commerce & Tourism Bureau
26 The Journey to Worldwide Recognition
Exposures International
Gallery of Fine Art
30 Toast of the Town
Nancy Lattanzi
Sedona
ARTSource
Published by Sedona ArtSource
2679 West State Route 89A
Sedona, AZ 86336
Volume Four
Design elements by Erick Hale Agency
and Nadezda Skocajic
Printed in PRC
SedonaArtSource.com
ON OUR COVER
Sedona Rouge
By Greg Lawson
Sedona ArtSource is published twice yearly.
Copyright © 2018-2020 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.
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Sedona ARTSource

CONTENTS
32 A New Chapter for Sedona’s
Turquoise Tortoise
34 Timeless
Greg Lawson Imagery
42 Nature as Art
Touchstone Gallery
48 Christie Palmer Art
The Longer You Look
the More You See
54 Gathering Nature for Art & Life
56 Sedona International Film Festival
Nurturing a Crowd with Music,
Movies & More
60 Real Art
When a Real Estate Office
is also an Art Gallery
65 Bresnan Guitars: A Passion for Perfection
Dan & Sean Bresnan
72 Art Fosters a Love of Hummingbirds
78 Culinary Palette
Tasteful, Creative Offerings
from Sedona Restaurants
80 Sedona Live Entertainment Venues
82 Sedona Gallery Map
84 Sedona Gallery Index
18 42
48 54
65
Publisher
Editor
Art Director
Web Master
Greg Lawson
Lynn Alison Trombetta
Kristina Gabrielle
Rick Cyge
SedonaArtSource.com
info@SedonaArtSource.com
Facebook.com/ArtSourcePublications
Linda Goldenstein emcees event at Sedona Plein Air Festival.
Photo by Sedona Arts Center.
The softest whisper
or a shout out load,
art has a voice that
is O so rousing to
my soul!”
— Coddington
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FROM THE EDITOR
Greetings!
The coming months are exciting
times for artists in Sedona! Annual
fall events such as the Sedona
Arts Festival and Sedona Plein Air
Festival form the cornerstone for
new art and for visitors to enjoy the
red rocks and the camaraderie that
occasions like these can bring. It is
in this spirit that we share Sedona
ARTSource’s fourth issue.
Fall is a time of gathering. In this
edition we present crafts that
have been created from such
gatherings. You’ll get a behind
the scenes glimpse into the work
of a local luthier and his son as they handcraft their unique guitars from rare
woods. There is an up close look at nature as art with features on two real gems:
dazzling photographs of hummingbirds gathered in the wild from worldwide
participants in the Sedona Hummingbird Festival and Touchstone Gallery’s
spectacular offering of mineral and fossil elements gathered into works of art.
The Kachina House shares beautiful baskets crafted by Native American artisans
and information about the natural materials gathered for use by the craftsmen.
Regional cactus and succulent-themed edible delicacies offered by Cake Couture
and the back story of these creations lend a taste of design as a sensory experience
for this issue.
Speaking of sensory art experiences, don’t miss the article about the new
collaborative events between Sedona International Film Festival and both
Red Rocks Music Festival and the Verde Valley Sinfonietta this season. The
Sinfonietta production celebrates the 250th birthdate anniversary of Beethoven
in an event combining live performance and narration as they show the film,
“Immortal Beloved.” Sinfonietta soloists, small ensembles and the full orchestra
will perform the movie soundtrack.
Additionally, there is a special feature interview with Greg Lawson, ARTSource
Publisher about his life as a global photographer, publisher and gallery owner.
Savor the stories behind his magnificent images gathered from locations around
the world over the past five decades.
There’s much more to explore within the pages of Sedona ARTSource which we
have lovingly filled with interviews and articles about artists from many genres
who live and share their work amongst the beauty that is Sedona.
Enjoy!
6 Sedona ARTSource
Lynn Alison Trombetta ∞

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Sedona ARTSource

THEArts
STATE
OF
Photo: Rick Dembow
NANCY LATTANZI
Arts & Culture Coordinator
City of Sedona
Photo: Nancy Lattanzi
Retired residents display
books created by students
As always there are many creative and significant endeavors
brewing at the City. One memorable mention is the highly
valued Artist in the Classroom program, which relaunched in
August for the new school year and welcomed a dedicated
group of returning seasoned artists. Some of the many skills
these artists possess include: drawing, painting, clay work,
poetry, writing and journalism, as well as music, theater, dance,
photography, sewing and paper arts. In addition, a fresh new
group of talented artists have been hired offering classes in:
storytelling, digital arts and commercial illustration, math
behind the magic, textile arts and weaving, which include an
introduction to natural dyes. All these exciting opportunities
are funded by the City of Sedona, so that our artists can collaborate with teachers and offer
students in our local schools integrative creative classes, which augment their curriculum and
inspire learning.
Photo: Nancy Lattanzi
Amelia Simone with
students Emily Frey
and Alana Schrader
Each year I try to elevate the program in some way. Last school year ended with a unique
and moving partnership. I am proud to work with outstanding teacher, Deb Sanders. Her
advanced 6th grade English Language Arts students at West Sedona Elementary joined efforts
with Sedona Winds Retirement Community. Each student
was assigned a senior to interview and learn about their life.
The students returned to school with the help of Artist in the
Classroom poet, Claire Pearson who guided them in poem
writing, as well as how to perform the poems they've written.
In addition they learned how to create a haiku, metaphor &
simile, cinquain, five senses, free verse, limerick, acrostic and
ballad. Each student created a book of illustrated poems and
brought the books with them when they returned to Sedona
Winds. In front of a group of seniors, the students performed
their poems and read their books aloud. What an inspirational
and heartwarming experience for both generations. All were
appreciative that these students took time to tell their stories
and gift them with a keepsake about their lives. It was truly a special and indelible way for the
young to honor our elders, which just raised the bar for this wonderful program!
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STATE OF THE ARTS
Photo: Blake Vadasy
Max Ernst + Dorothea Tanning Exhibit
Presented by Mark Rownd
Mark Rownd
The City Hall Art Rotation program, which exhibits two
artists every four months, has a special exhibit currently
running honoring Max Ernst and Dorothea Tanning, as
well as celebrating the work of abstract painter Harold
Schifman. The Ernst/Tanning exhibit is presented by
artist Mark Rownd, an artist himself, whose interest
runs deep researching these iconic figures. Mark
attended Rice University and his art education focused
on large scale abstract painting and drawing, as well as
art history. He was awarded the Christine Cronies
Sayres award by Rice University for excellence in the
Arts. After completing degrees in Art and Art History,
Mark continued a path in the arts while also becoming
a published composer. His exhibit at City Hall depicts
part of the collection he has assembled during his years
of study of the work of Ernst and Tanning.
Although not a well known story within the history of twentieth
century art, Sedona holds a key place in the evolution of the
modern art movement in America during the 1940s and '50s. For
the past several years, Mark has dedicated himself to researching
and uncovering details of this little known part of American art
history and has curated a collection of artworks to help visually
illustrate the story.
The inevitability of world war and the persecution of modern
artists by the Nazi regime led many members of the surrealist
movement in Europe to seek asylum in New York in the early
1940s. Among those seeking asylum was Max Ernst, recognized
as a key founder of the Dada and surrealist movements. Max
arrived in New York in the summer of 1941 along with other well
known surrealists. He became a considerable influence on the
young American painters in New York at that time. Those young
painters would later form the abstract expressionist movement,
which ultimately led to the perceived shift of the center of the
modern art world from Paris to New York.
Monotone Symphony - Mark Rownd
Desert Music - Mark Rownd
Max first visited Arizona on a cross country trip in 1941, soon
after arriving to the US and was profoundly inspired by the
landscape, as well as the art and culture of the Hopi. Less than
two years later Max would return to Arizona with emerging
artist Dorothea Tanning seeking to remove themselves from the
distractions of the busy art and social scene on the east coast.
For several months they focused on creating art in the idyllic
setting alongside the banks of Oak Creek in Sedona. Those
artworks were soon exhibited in leading modern art galleries on
the east coast and many are now in museums around the world.
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Sedona ARTSource

Microbe: de cruelles verdures, 1953
Max Ernst
Vue de ma fenetre, 1960
Max Ernst
Dorothea Tanning and Max Ernst with
Ernst's sculpture, Capricorn, Sedona
Max and Dorothea would later return to Sedona in the mid
1940s to build a home and studio near the area where they
first came to paint. The art they created here would continue
to impact the global art world. In addition to the impact of
the artworks themselves, numerous internationally recognized
artists traveled to Sedona to visit Max and Dorothea and were
often similarly inspired by the surreal setting of the red rock
landscape.
Microbe: QUOTIDIENNE, 1953
Max Ernst
Among the artworks on display will be examples of the
microbe series Max began to produce in Sedona in 1946,
which are minuscule artworks sometimes no bigger than a postage stamp. Max's microbe
series was featured in Life magazine, January 21, 1952, with the following headline: "Mite-size
Art is Shown Actual Size: Max Ernst Gets $400 for Some of His Surreal 'Microbe' Pictures."
Also included in the article was an iconic image of Max and Dorothea posing with Max's
most famous sculpture "Capricorn," which stood for years in Sedona until used as a form
for casting the bronze version. Additional artworks by Max and Dorothea from the Sedona
period will also be on display.
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Photos on pages 12-13: Vinh Chung
Blue Rising - Harold Schifman
Harold Schifman’s Exhibit
Harold Schifman is a classically trained artist. He gained
an appreciation for the beauty of the human body after
spending five years under the critical gaze of studio professors.
It is there where he stylistically evolved and like many
Abstract Impressionists, learned to embrace a very personal
understanding of organic shapes and movement. His career
straddled multiple artistic disciplines. He worked in commercial
art, industrial design and as a women's fashion designer in
New York City. He gained international acclaim in 1987 when
he started his company, which became the world's leader in
themed architectural experiences.
Harold Schifman
Schifman's fifty years of traveling and working around the world
has greatly influenced his aesthetic. He studied Asian design
for 10 years in Japan, the minimalist simplicity of form and
color clearly evident in his painting today. His use of metallic
pigments reflect experiences in the Middle East. In 2001 he
moved to Paradise Valley, Arizona, where he built his creative
sanctuary nestled peacefully at the top of Mummy Mountain.
The breathtaking views of desert flora alongside a dynamic
urban skyscape continue to fuel his artistic gestalt. "Anatomical
Deconstructionism" was thus born from Schifman’s both
corporeal and sublime life experiences. This style drizzles
effervescent metallics over a backdrop of primitive, primary
colors. The history of Schifman’s work spans five decades of art.
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STATE OF THE ARTS
The '60s
For decades, America's heartland has
been a breeding ground for worldrenowned
contemporary artists. Harold
Schifman, along with fellow artists Robert
Rauschenberg and Jackson Pollock, all
studied at the Kansas City Art Institute.
Schifman majored in Design and Painting
while at the University of Kansas.
The '70s
Schifman's early career began in
the Midwest where he worked as
a commercial artist and illustrator.
Alongside the likes of Andy Warhol, he
went on to serve as an Art Director
and expanded into fashion and industrial
design in New York.
The '80s / '90s
Fresh Beginning - Harold Schifman
Schifman relocated to the beautiful desert
of Tucson, Arizona and forged one of
the leading design/build companies in the
world. The Larson Company projects
included Mars futuristic simulation for
the Smithsonian Museum, a 150 foot
19th century shipwreck for Disney, an
artificial environment for the world’s
largest aquarium in Osaka Japan, as well as
fantasy characters at the Forum Shops at
Caesars Palace in Las Vegas. As owner of
The Larson Company, Schifman employed
over 450 artisans and maintained offices
in United States, Japan, the Middle East
and Mexico.
2000 and Beyond
Native Rights - Harold Schifman
Schifman sold The Larson Company and
moved to Paradise Valley, a hidden enclave
adjacent to Phoenix, Arizona. There
Schifman returned to his roots: painting.
Most recently, Schifman set up a second
studio amongst the gorgeous red rocks of
Sedona, Arizona. He continues to pursue
his true passion of painting and draws
inspiration from the spiritual surroundings.
∞
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14 Sedona ARTSource

15TH ANNUAL
2019 PARTICIPATING ARTISTS
Beth Bathe • Joshua Been
Lyn Boyer • Tom Brown
Betty Carr • Bill Cramer
Tracey Frugoli • Laura Gable
Kadin Goldberg • Bruce Gomez
Rick Kinateder • Gretchen Lopez
Mick McGinty • James McGrew
Alison Leigh Menke • Lilli-anne Price
Richard Russel Sneary • Elizabeth St. Hilaire
Matt Sterbenz • Gregory Stocks
Paula Swain • Charles Thomas
Melanie Thompson • Patty Voje
John Yerden
Come see artists painting in the Shangri-La of
the Southwest! Sedona is a sublime environment
with stunning beauty and the Sedona
Arts Center has roots going back 60 years to
the founding of Sedona’s identity as an ‘art colony’.
The Sedona Plein Air Festival takes place
during the best weather period of the year at
the height of tourist season and is supported
by a group of very experienced and enthusiastic
staff and volunteers. Our community of
art lovers opens their doors to host the twenty-five
artists from around the country who
have been selected to participate.
Announcing $10,000 in cash prizes including $5000 1st Prize!
"I am thrilled that two astute collectors that
have a love for the Sedona Plein Air Festival
have come forward to offer us a special boon.
$10,000 of prize money! Though they wish
to remain anonymous, I am deeply touched
and grateful on behalf of all the artists and the Sedona Arts
Center! This raises the prestige of our Festival as it enters
its 15th year and we are happy to announce that we are
spreading the award money throughout the event and creating
a special Best of Show award for $5000!" says Vince
Fazio, Executive Director of the Sedona Arts Center.
An opening exhibition of six works by each artist creates a
diverse representation in a variety of media and style incorporating
studio and plein air work. Works done during the
festival are integrated into the ongoing exhibition throughout
the week. Paintings are available for sale to patrons all
week long.
A keynote address mid-week and an awards
gala Friday evening provide added opportunity
to view and purchase. On Friday afternoon,
the artists select their best three works
to be judged for awards. The festival also includes
three paint-out events where all artists
paint and the public is invited to watch. Each
paint-out has its own awards accompanied
by a sales event.
O C T O B E R 1 2 - 1 9 , 2 0 1 9
H O S T E D B Y S E D O N A A R T S C E N T E R
SEDONA ARTS CENTER is one of Northern Arizona’s
most well-established cultural organizations and serves
as the creative heart of Sedona. Founded in 1958,
the nonprofit organization is based at the Art Barn in
Uptown and offers year-round classes, exhibitions, festivals,
and cultural events that enhance the creative life
of the Verde Valley. The Center’s Fine Art Gallery, open
daily from 10am to 5pm, promotes the original works of
over 100 local artists and regularly offers
special assistance for collectors and art
buyers, offers private studio visits, and
fosters hundreds of arts education opportunities
each year. For more information,
call the Gallery at 928-282-3865, the
Administrative offices at 928-282-3809 or
visit us online at SedonaArtsCenter.org
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Sweets
+ Heart
Andrea Carusetta
= Sweet Art
Creating a desire for sweets is the easy part!
Andrea Carusetta, owner of CREAM
& Cake Couture and Cake Couture
Coffee & Dessert in Sedona transforms
basic ingredients into visual, culinary and
artistic adventures. “To bite or not to bite”
becomes the decision when faced with her
delectable creations. Beautiful as they are,
the desire to taste will always win out.
We interviewed Andrea recently about
what brought her to today, with two shops
in the famous Tlaquepaque Arts & Crafts
Village where her thriving businesses serve
cactus cupcakes, sliced wedding cake and
homemade ice cream to those who travel
through, and her stunning cakes mark
eventful dates throughout Sedona.
Interviewed by Lynn Alison Trombetta
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Sedona ARTSource
JP Photography

Sedona ARTSource: How did you become involved in the
baking industry?
Andrea Carusetta: It was quite a coincidence actually,
because I was trained as an artist and I had been
working for years. I was a traditional old school oil
painter; I did commissioned portraits and things like
that and I loved it. I loved art and I also loved baking.
Those are my two loves. I started baking when I was five
or six.
I wasn’t making enough money, so I decided to go into
commercial art. Soon, the creativity just went out the
window. I did that for a while and was making a lot of
money until I sort of hit a wall. I realized, “I can’t do
that anymore … oh, I want to open a bakery!” I opened
this little hole-in-a-wall bakery in a strip mall. I didn’t
have a clue what I was doing, but I knew how to make a
few things and I started to build a clientele. Six months
passed and one day one of my customers came in and
told me her daughter was getting married and they
wanted me to make my white chocolate raspberry cake
for her wedding. It had never occurred to me to do
wedding cakes.
I said, “Hmm, a wedding cake … how hard can that be?”
Famous last words?
Right, I’m going to date myself by saying
this, but I drove to Barnes & Noble
and came home with a stack of books,
everything I could find on wedding
cakes! It was pre-internet, the mid-'90s when I started.
I did my first wedding cake and I never looked back. I
thought I’d died and gone to heaven because suddenly
I had my art back and I had my baking — I had the
magic combination!
Your creations are beautiful to look at. That creates an
irresistible desire in people right away!
I always say that with food, first you see it with your
eyes, then you smell it and then you taste it. So it’s a
sense process. I think many people forget that first step;
food as art.
What is the best thing about creating wedding cakes?
I think it’s the art form in it. When people ask, “Whoa
how much is that cake?” I need to point out, “You’re
not buying a cake. I can sell you a cake and it would
cost you a hundred dollars. This one will cost you eight
hundred dollars. Oh, but it has a sugared geode, or
it’s got sugar succulents made petal by petal by hand
and it’s a showpiece, it’s a centerpiece.” And then they
understand; they are paying for art and a cake. And
for the ones that don’t want the showpiece, they end
up getting a simple buttercream cake with some fresh
flowers on it and even those can be beautiful. I’ve done
some really pretty cakes that were just so simple and
easy.
You have a small shop in Tlaquepaque and a new larger
operation in Tlaquepaque North. How do they differ?

20 Sedona ARTSource
JP Photography

It will be three years in December since we opened
the small shop, Cake Couture Coffee & Dessert in
Tlaquepaque South. It was a whim; it was a scary whim!
I wasn’t sure I was doing the right thing when I did it. I
was very nervous, but it was successful right from the
get-go.
In the new CREAM & Cake Couture in Tlaquepaque
North, we are offering ice cream ... like ‘crazy good’
handmade ice cream and cake and coffee. We didn’t
want to reproduce what we were doing in the south
shop. We’re selling whole cakes
or you can come in and get a slice
of cake and really good coffee and
cappuccino and all that stuff. We
have a big kitchen there, that’s
where all the wedding cakes are
made.
What is your favorite cake?
The cake with cascading sugar
succulents — that’s my thing
right now. I love cactus and
succulents; and they’re so amazing
when they’re made out of sugar!
How have requests from couples changed in the last few
years?
Everything changed so dramatically with the
millennials, and I’ll tell you I think it kind of went
full circle. During the first decade of 2000 there was a
television show called Food Network Challenge.
It was the first and only real cake show. They had great
people doing really fine work and competing and that
show ran for several years. We were on the show three
times. We took two silver medals. Then we did a show
called Ultimate Cake Off and competed against three
other teams and for that one we won a $10,000 first
prize.
Where I was going with that is, when that show started
it put cakes on the map. A couple of things happened;
there was a huge boom in colored cakes and fondant
cake colors with accents bows
and decorations that hadn’t been
happening before. Along with that,
products started to appear in the
marketplace. It used to be that if
you wanted to use colored fondant,
you could get maybe three colors,
and for anything special you would
color it yourself with food coloring
and work it and knead it for hours.
Suddenly, there were 200 colors of
fondant for sale as a result of these
cakes being popularized by this TV
show and everyone wanted colored
cakes and lots of fondant.
And it went full circle: The millennials came of age
and they said, “Ick, food coloring! We want three
ingredients or less. How little icing can you put on a
cake?” They were the ones behind the newest trend
called “Naked Cakes.” It’s a cake where all the icing is
scraped off and you can see the cake through it. There
might be fresh flowers on top, but that’s pretty much it.
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So, that’s what’s happening. It’s been a total pendulum
swing: the millennials want just a little buttercream on a
naked cake, really simple.
What trend is most popular now and for the future?
The biggest trend I’ve seen is the cactus and succulents.
You might think it makes sense because it’s Arizona
and we have those here, but it’s an international trend.
I did the first succulent cake about eight years ago,
just crazy out of the blue did it and I had never seen
it done before. I follow cake artists on Instagram all
over the world and they’re all doing them. This trend
is everywhere, but it’s most native to us. I don’t see it
going away anytime soon. It’s the neatest trend I’ve
seen in the 19 years I’ve been doing cakes. It’s a kind of
signature look for Arizona cakes and Arizona weddings,
so it may stay with us permanently and fade out in other
places.
We do all things cactus. In the new shop we do
birthday-size cakes decorated with cactus and we
also have cactus-shaped cutout ice cream cakes.
Clearly, all this beautiful baking magic is not a one-person
job!
Correct, there’s a Chief Chef and a baker and between
the three of us we produce everything. I’m at a point
now that I’m doing the decorating — I earned that.
Do you know what I love about this business more than
anything? Our work is about celebration. Life is hard,
we are all dealing with all kinds of stuff, you know?
People get sick, they die, we lose loved ones, we have
hardships and I think it’s really important to celebrate
everything you can about life. Celebrate every birthday,
celebrate Valentine’s Day, and celebrate Christmas
and New Year’s. Just do it! The celebrations make life
more pleasant and pleasurable all the way around. Our
celebrations and our happy moments have a chance to
balance out the hardness of life. We feel celebrations
are important to people, so our treats go to the hearts
of celebration, whether it’s with cake or cupcakes or ice
cream.
Sedona ARTSource offers a unique focus on artists in the
community, and we’re sure our readers would love a glimpse
into your thoughts as the artist who shares her creations with
the world.
I love that about your magazine. It’s a great, great thing.
As far as being an artist, one can be an artist with
food and just be focused on how everything looks,
but there’s also an art to a recipe. There’s an art to
combining flavors, and I have a really strong ethic about
good, quality ingredients. The quality and the integrity
of the ingredients and the combination of flavors —
these are as important as the appearance.
When I first started doing wedding cakes people would
often say, “Oh, that’s really a pretty cake but I bet it
tastes awful.” That was how people thought of wedding
cakes a decade ago. But now, it’s got to be a fabulous
gourmet dessert cake and it surprises people that a
wedding cake has a layer of mango cheesecake in the
middle. So there’s that aspect to the art as well. For me
the art is combining elements to create a new “whole”
that somehow pleases the soul.
SAS: Thank you, Andrea.
See more at SedonaCakes.com and visit the Cake
Couture shops in Tlaquepaque Arts & Crafts Village. ∞
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Sedona Chamber of Commerce and Tourism Bureau
It’s really quite impossible for Sedona to leave you feeling flat. You don’t arrive
here, and say “Eh, it’s Okay.” Our research backs up that sentiment – 97% of
visitors confirm that Sedona is above average or excellent. That’s what comes over
you when you’re here – a positive and lasting gift from this beautiful city.
Photo: Mal Cooper
MICHELLE CONWAY
Director of Marketing,
Sedona Chamber of Commerce
& Tourism Bureau
Sedona is an incredible place to visit, as well as a wonderful place to live, work and
play. Its towering red rocks, far-reaching blue skies, and lush wooded canyons
continue to amaze all who spend time here. Both visitors and locals fall in love
with this small city on a daily basis, and for those with a bent for the arts, Sedona is
especially alluring. Why? Because everywhere you look, and with every single turn
you take, you see inspiring creations. Layered, rugged, emotional and raw natural
beauty – perfect for instigating a creative streak, whether you’re making art or
buying it.
Sedona has a rich history as an arts and culture destination. We have a longstanding
reputation as a City Animated by the Arts, with over 80 galleries and
shops amidst an eclectic local artist community. There are many weekly, monthly
and ongoing events that celebrate all art forms which are proudly featured on
VisitSedona.com. We continue to grow in the area of culinary and wine. We have a
deep respect for Native American culture, western history, and nearby heritage sites
and national monuments.
Ready to get out there and be inspired? We have a few ways to get you started.
Begin your gallery tour of Sedona on foot with the
GPS-enabled web map ArtWalkSedona.com. 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). As The New York Times claimed, Sedona
is “A ‘New-West’ enclave of art galleries”, and the galleries
certainly deliver. The varying styles of art in this city are
immense 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.
Interested in public art? You can find that on
ArtWalkSedona.com, too. Just click on the teal bar at
the top and a list of filters will drop down. Check “Public
Art Locations” (as well as Restaurants, Parking, and even
Parks and Trailheads) to view the nearly 30 public art
pieces peppered throughout the city that range in topic
from Native American heritage to Sedona’s orchard and
farming history.
You can also use the printed 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. This printed fold-out map helps art lovers find
their way to all of Sedona’s works of public art, including
sculptures and installations by talented artists such as
John M. Soderberg, John Waddell, W. Stanley Proctor and
James N. Muir, to name just a few.
Sedona’s Secret 7 is a guide to “secret” gems.
SedonaSecret7.com focuses on seven categories of
attractions: hiking, biking, vistas, picnics, spiritual,
stargazing, and arts and culture. In the arts and culture
24
Sedona ARTSource

BASKETS
JEWELRY
section, we promote the areas in Sedona that house arts-related shops
and galleries such as Gallery Row, the Village of Oak Creek, Uptown
Sedona, and West Sedona, as well as heritage sites that represent the
original artwork of ancient Sedona inhabitants.
HOPI
KATSINAM
If it’s the beginning of the month, join the festivities at 1st Friday in
the Galleries. From 5:00 – 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.
POTTERY
These are just some of the ways you can experience the arts in Sedona.
You’ll need at least three days to indulge your senses – longer is
even better. Check out VisitSedona.com to explore your options for
lodging, dining, galleries, tours, events and entertainment.
While you’re here, let the beauty of the area sweep you away. Allow
the cool breezes and sweet smell of Oak Creek Canyon move
you further from the outside world. Let your eyes gaze upon the
magnificent red rocks and vibrant vista sunsets. And, give yourself the
chance to add a layer to your being that is alive and artistic. Sedona is
the Most Beautiful Place on Earth, and it has the ability to change you.
Let it. ∞
ZUNI
FETISHES
Kachina House
2920 Hopi
Sedona
Drive Sedona,
ARTSource
AZ 86336
25
928-204-9750 info@kachinahouse.com

Exposures International Gallery of Fine Art
26
T he Journey to
Worldwide Recognition
“This is the most beautiful gallery I have ever seen!” proclaimed an excited visitor to Exposures International
Gallery of Fine Art in Sedona. “How can there be this much artistic talent in one place?” expressed another.
This amazing gallery, recognized as “One of the largest and most unique galleries in the world,” features
spectacular contemporary, traditional and southwestern art created by gifted, world-class artists.
Upon arriving at Exposures,
located in the heart of Sedona,
the impressive outside display of
monumental sculpture will take
your breath away and the grand
sculpture garden is certainly as
memorable. A walk down the
meandering art-lined pathway
brings an irresistible invitation
to explore 20,000-square-feet
of artistic display. Respected
author Judy Harper describes
it as “Going from black and
white to an energy-charged,
over-the-rainbow OZ.” Striking
bronze sculptures, provocative
fountains, color-splashed
paintings, photography of the
Southwest, designer jewelry,
Sedona ARTSource
The American Art Awards honored Exposures International
as one of the “25 Best Galleries in America.”
This expansive gallery features some of the finest contemporary
and southwestern art in the world.

“Exposures International
cares for the image of Sedona
for arriving visitors. Welcoming
them to the gallery as well as being
a welcoming gateway to our entire
community.” — Marty Herman, owner
Barbara Westwood
Amber Heart
18kt Yellow Gold
Diamonds
Tesa Michaels | Bursting with Passion
Painting with Semi-Precious Stones | 48"h x 72"w
stunning glass creations, plus
sculpted bells that awaken
visual and aural senses, are
created by some of today’s finest
living artists. With twists and turns
through cozy viewing rooms the gallery
unveils itself slowly, a perfect reflection
of its devoted owners, Marty and
Diane Herman, and their very talented,
professional staff.
For over two decades Exposures has been
voted “Best Art Gallery in Sedona,” selected
“Best Art Gallery in Arizona,” recognized
as “Best Jewelry Gallery in Sedona,” and
named “One of the 25 Best Galleries in
America.” These accolades further enhance
Marty and Diane’s commitment to the arts
and culture of Sedona.
The gallery’s reputation for artistic
excellence reaches audiences worldwide.
Collectors as far away as Europe and Asia
look to Sedona for their art collections. These
collectors often coordinate their travel plans to
ensure they will be present during the gallery’s
highly anticipated two-weekend Fall Shows, the
annual Valentine’s Show, and selected one-artist
shows. Locals and visitors alike know that these
events are full of fun, magic and a feast for the
eyes.
The story from tiny business to Sedona’s artistic
gateway is fascinating. Marty Herman was named
a Top 100 Executive by the Los Angeles Times,
and Diane Herman had already accumulated
years of experience in performing and visual arts.
Together, their efforts combined with positive
energy and enthusiasm for life led to Exposures
Bill Worrell | The Beginning
Sedona ARTSource 27
Limited Edition Bronze | 18.5"h x 9.5"w

Exposures International Gallery of Fine Art
28
Walking into
Exposures
International
visitors are greeted
with a large, open and
dynamic space filled
with magnificent colors
and visual textures.
Rebecca Tobey | Prometheus
Sedona Limited ARTSource Edition Bronze | 19"h x 11"w x 10”d
International’s explosion onto the Southwest art scene. The dynamic owners
point out that their gallery began as a labor of love for the arts, a small business
whose huge success has been decades in the making.
The journey to worldwide recognition began in 1996 when Marty and Diane
united their passion for the arts with their desire to energize and enhance
Sedona’s arts and culture community into a renowned oasis of art. Through
perseverance, dedication and determination they helped to support
Sedona as the cultural gem of the Southwest, and a top destination
for art lovers and connoisseurs. As their dream evolved
the gallery collection grew from six artists in 1996
to more than 100 today, and the gallery’s
space experienced multiple expansions
transitioning from 1,700-square-feet of
art display to over 20,000. Marty Herman
explains, “We wanted to bring our vision of a gallery to
Sedona. One with fun, enthusiasm and professionalism with
good old-fashioned values incorporated in a contemporary way.
We believe that the arts are, and should be, an essential part of
everyday life. We built the gallery on a foundation of honesty,
integrity, hard work and love.” Hoyt Johnson, former publisher
of Sedona Magazine, may have described it best when he wrote,
“Marty and Diane established this gallery with a dance from
their soul and a labor of love – love of art, artists, and this
community.”
As Exposures gains mature esteem, artists from around the
world seek to be a part of this special and evolving gallery.
From over 2,000 artist submissions each year the gallery
staff narrows the selection to less than a handful for gallery
representation. “Many of our artists are the most talented in
the world for their unique medium,” states gallery manager
Debbie Ibarrola. Sales manager, Jennifer Garcia adds, “Our
professional staff will assist you with information about
that perfect piece you fall in love with for that perfect
place.”
The partnership that is formed between the gallery
and the artists has led to much of the success. One
of the gallery’s more unique artists, painter Jd
Challenger explains, “These wonderful people
are an absolute blessing to the art world, it doesn’t

Jd Challenger
Crow Raven Society
Original Acrylic
36”h x 26”w
get any better than this!” Famed
bronze artist Rebecca Tobey tells
clients, “Marty and Diane have
created the most breathtaking
gallery in the country!” And one of
the gallery’s newest artists, painter
Tesa Michaels, says “I get so much
encouragement from this gallery.
There is an uplifting freedom to
be an artist.” World-class fine art
jeweler Barbara Westwood proudly
displays her entire, one-of-a-kind
collection at Exposures. And
sculptor/painter/poet Bill Worrell,
who has been one of the gallery’s
most famous and prolific artists for
over twenty years, shows all of his
artwork in the awe-inspiring east
wing of the gallery
Walking into Exposures
International today, visitors are
greeted with smiles, and an open,
dynamic space. The atmosphere in
the gallery is warm and welcoming,
the artwork is meticulously
merchandised, and the music
is guaranteed to get happy feet
tapping. Every inch of display is
put to use, and art lovers quickly
surrender to the joy of being
completely surrounded by a world
of extraordinarily talented artists.
Exposures International Gallery of Fine Art
561 State Route 179, Sedona, Arizona 86336
ExposuresFineArt.com • Sales@ExposuresFineArt.com
928-282-1125
Marty Herman’s philosophy is
simple, “We want visitors to
be happy and enjoy the gallery
experience. Our mission has
been to create an unparalleled
environment of artistic wonder.
Art seems to make people smile.
Art is for the soul!”
Sedona ARTSource
29

NANCY LATTANZI
“Nancy Lattanzi keeps the arts in the eyes and ears of
the community, especially in the classrooms of local
schools. As head of the Artist in the Classroom, she
knows what local artists can do and she knows how to
integrate them into the classrooms, helping teachers
and students learn new ways to create art as they pursue
their studies. Not only does Nancy do her job well, she
adds enthusiasm and excitement for all involved.”
Joan Bourque
Photo by Rick Dembow
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 the City of
Sedona’s Arts and Culture
Coordinator, Nancy Lattanzi.
“Nancy is an exemplary team member and overall a great
person to know and work with. What I love most about
Nancy is that she has a personality to match her job. She
brings a splash of color, a hint of music and a passionate,
emotive quality to everything she does. The community
and our organization are better because she’s here.”
Justin Clifton
“Whenever budgets for public education are tight, the
arts are among the first programs cut. Thanks are due
to the City of Sedona for creating a position for Arts
and Culture Coordinator and filling that position with Nancy
Lattanzi. Nancy’s Artist In the Classroom program places gifted
artists from all genres into Sedona’s public schools to teach
curriculum-related subjects through the arts. It’s never too early
to introduce children to the arts. Or perhaps I should say, it’s
to everyone’s benefit if we can preserve and cultivate children’s
natural artistic inclinations. Nancy understands this. Her
programs help fill the gaps in curriculum resulting from funding
shortages.”
Pam Frazier
“Nancy Lattanzi beautifully carries the vision for Sedona as a city
animated by the arts. She is a joyful inspiration and understands
the importance of the arts in Sedona‘s past and present.”
Linda Goldenstein
“Nancy Lattanzi is a one-woman whirlwind for the arts, an
inclusive and wide-reaching seeker of collaboration. She leaves
enthusiasm in her wake, and builds connections, generating
enthusiasm for the arts everywhere she goes.”
Lisa Schnebly Heidinger
30
Sedona ARTSource

“I was involved in the roundabout art project for five years so the installation of The Open Gate
by Reagan Word (shown opposite) has special meaning for me.” — Nancy Lattanzi
“I'll admit, when the City
decided to disband our Art in
Public Places committee, I was
disappointed. But, I'll have to
say, Nancy has done a great
job. Working with her on the
installation of ‘The Storytelling
Cowboy’ and his friends at the
Sedona Heritage Museum was
such a pleasure! We should all be
proud to have such a talented and
gracious person working for our
city.”
Susan Kliewer
“Nancy Lattanzi's energy and
enthusiasm for the arts and
the artists of Sedona is only
matched by her creativity in
finding ways for the City to be
a major supporter of the arts
community. The Mayor's Arts
Awards, the rotating Art Exhibits
in City Hall Council Chambers
and Conference Rooms, and
the Artists in the Classroom
programs are just a few examples
of successful programs. To me the
Artists in the Classroom program
is so important at this time when
so many schools have had to cut
funding for the arts. Through this
program the students learn from
artists in the community and this
can inspire students for life.”
Barbara Litrell
“Nancy Lattanzi is like the
Duracell bunny. Her energy is
boundless. She is authentic, and
has a deep passion for the work
she is doing. She would love to
see artwork all over Sedona and
to bring success to the many
emerging artists here. She would
love to expand the art offerings
in the classroom so that young
people can explore their creativity
and express it in undiscovered
media. Nancy is a relationship
builder and gets enormous
satisfaction bringing together
individuals or organizations
who share common visions and
goals. She is extremely organized,
stays focused, and has excellent
follow through. Nancy is one of
the most caring and nurturing
people I know. She brings all
these experiences and aspects of
herself into furthering the arts
and culture in our community.”
Harriet McInnis
“Nancy Lattanzi is one of
Sedona's greatest assets. Her
positive energy is unmatched in
the art community.”
Mike Medow
“Nancy has grown the city’s
Artist in the Classroom program
to include a wide range of artists
of all genres who provide a
unique, hands-on experience
for Sedona’s students. She also
produces our ‘Moment of Art’
at the first Council meeting
each month, as well as the
Mayor’s Arts Awards. She stays
in touch with the many arts
organizations in our community,
and she works with our Parks
and Recreation Department on
arts programming at the Hub. As
an artist herself, she brings true
passion to ensuring that Sedona
is truly animated by the arts, as
our mission statement proclaims.
The energy she brings to her work
never ceases to amaze me.”
Mayor Sandy Moriarty
“Nancy Lattanzi is the heart
and soul of the Artist In The
Classroom program. It is her
vision and organization that year
after year recruits, promotes and
energizes the artists and teachers
who in turn inspire students
within the program. Having
worked with Nancy on numerous
artist projects throughout my
years as a Sedona Oak Creek
Public School Teacher, I can
honestly say that her leadership
and passion sustain the program
and it thrives.”
Deb Sanders
“Sedona is so blessed to have
Nancy in our community!
Her vivacious personality and
heartwarming spirit invites
everyone that meets her to love
her. Her contribution to the arts
is so incredibly important. We
are a city of Arts and Culture
and she leads the way in our
representation that makes us ALL
PROUD! If you can't tell by now, I
am a Lattanzi fan!”
Glenn Scarpelli
“Nancy Lattanzi is a breath of
fresh air for the arts community
here in Sedona. She does so
much to create awareness of the
arts in Sedona. She nurtures an
extraordinary and vibrant art
scene in our community, and
she is a visionary for all that is
possible in the future. Sedona
truly is a city ‘animated by the
arts’, and Nancy is one of the key
brushstrokes in creating that
canvas!”
Patrick Schweiss ∞
Sedona ARTSource
31

A NEW CHAPTER FOR SEDONA’S
TURQUOISE TORTOISE
By Jennifer Bryant Nagel, MFA PhD
32
In 2007, the Heard Museum joined
with Smithsonian’s National
Museum of the American
Indian to present Remix: New
Modernities in a Post-Indian
World. The exhibition, cocurated
by Gerald McMaster
and Joe Baker, featured a diverse
group of young Native American
artists whose work challenges
traditional, external, essentializing
conceptions of “Indianness.”
Over a decade later, Remix
remains evidence of the growing
significance of “Post-Indian” in
contemporary arts discourse.
Like other forms of post-identity,
Sedona ARTSource
"Parrot" by Ira Lujan
18"h x 10"w x 10"d
hand-blown studio glass
Post-Indian has been a critical
watchword since it was first
coined by Anishinaabe writer
Gerald Vizenor in 1994. Now, in
the twenty-first century, claims
of “post-ness” are alternately
consciousness-raising and
mired in controversy. At their
most problematic, post-identity
formulations can exist as denials of
difference, harkening back to the
universalism of early twentiethcentury
modernist aesthetics
long understood to privilege the
particular tastes of a dominant
culture. But Vizenor, among
others, reminds readers that
“Indian” in the American context

Opposite Top:
"Claus Mouser" by Tony Abeyta
23"h x 27"w
mixed media
has no indigenous equivalent,
originates from the geographical
confusion of fifteenth-century
Europeans, and is inseparable from
the history of “surveillance and
domination” of indigenous persons
by their colonizers. Post-Indian, in
this framing, is not a term of naïve
universalism but a forward-looking
return to pre-colonial subjectivity,
self-determination, and communal
affiliation.
When we purchased the Turquoise
Tortoise and Lanning galleries
in 2017, Thomas and I saw an
exciting opportunity to build on
the incredible foundation of artists
represented in both spaces with an
eye towards current movements in
the arts, including constructions
of Post-Indianness. We wondered
then, as we continue to wonder,
to what extent a gallery that
features Native American art as a
distinct sub-category of American
(or global) art might someday be
viewed as an anachronism. Our
first major change was to rid the
Tortoise of its trading-post design,
an archaism we felt did little to show the vitality of contemporary
works. Then we began to think hard about how Tortoise’s
diverse group of talented, insightful, progressive artists would be
best represented: in a gallery that explicitly identifies their work
as Native-American, or as part of a wider collection of current
multicultural and international art.
Bryant Nagel Galleries
Our goal is not to take a definite position in the debates
over “post-ness,” but rather to use our galleries to reflect the
complexities of these discussions, and to further dialogue
among Sedona’s local and visiting art-lovers. With this in
mind, we recently merged Lanning and Turquoise Tortoise,
seamlessly combining the art while maintaining the ideological
integrity of each gallery. We are committed to continuing the
Tortoise’s 40-year history of knowledgeably representing the
best contemporary Native American artists and artisans. We
furthermore believe it’s essential that the Tortoise’s artists be
considered in conversation with, rather than separate from,
significant non-indigenous contemporary artists. We hope you’ll
visit the redesigned Bryant Nagel Galleries and see for yourself.
"Tatanka" by LarryYazzie
15"h x 21"w x 10"d
Sedona ARTSource
calcite
33

Greg Lawson images are found in cottages and castles the world over. They’ve been displayed in every
state in America, from the White House in Washington D.C. to cabins in the Rockies. The common
denominator is a love of nature and an appreciation for the timeless Lawson style. Learn about this
prolific naturalist photographer in the following article.
TIMELESS
Greg Lawson interviewed by Lynn Alison Trombetta
There is a certain timeless quality
to Greg Lawson imagery that
captures the viewer at the onset.
Whether you view a photograph
he created forty years ago, or one
captured four weeks ago, the style is
consistent. For our interview, Lawson,
Publisher of ARTSource, reflected
on over five decades of being a global
photographer and over 35 years as a
publisher and gallerist. In this issue,
he shares thoughts on his work.
34
Sedona ARTSource

“In my case any ‘timelessness’
comes from the standpoint of style.
Like the red rocks of Sedona, as
things change around me, I stay
pretty much the same. I’ve chosen
to avoid fads in photography. My
purpose and intent in capturing
every image is to bring the viewer
inside; to be right there with me in
the field. When people identify with
that sensitivity and can imagine
themselves on-site with me, I feel
that my work has achieved its goal;
my labors, my art have fulfilled their
purpose.”
He continued, “The body of work
is strong because it encompasses
decades of performance and it has
employed all significant capture
methods. Most photographers of
the 21st century don’t use film,
and many only think of it as a
historic stepping-stone to modern
digital capture methods. However,
my background is steeped in that
historic use, including medium
format and large format professional
films that required a lot of custodial
oversight due to their sensitivities.
I did the heavy-duty photography
work required of the day, hauling
gargantuan equipment and gear
around to difficult places. That’s
my history, that’s what I am made
of. It still influences what I capture,
it slows me down and makes me
work to capture the image wanted
rather than relying on the rapid-fire
collection and disposal methods
common today.”
Lawson seemed wistful. “I’m still
the same little boy who was excited
about life when I was young. I would
go to the library every week to read
books about distant places and have
my heart and mind energized with
the possibility of someday finding
my way there.”
He had just returned from a trip
to photograph migratory birds,
and as he spoke his eyes danced
with delight, like that little boy he
mentioned. “Two weeks ago I was in
Nebraska, excited to be with a halfa-million
Sandhill Cranes. These
majestic birds are on a mission they
fulfill every year. They had flown
from a variety of North American
wintering sites and gathered together
in the Platte River Valley like they do
each spring before dispersing into far
reaches of northern latitudes, places
like Siberia or northern Canada. I
was present with these birds during
the morning ritual of leaving their
overnight roosts along river margins.
I was present in the banquet fields
in the day as they made preparation
for the big flight that was coming up,
Evening’s blush from a position in West Sedona | Inset: Pacific wave Sedona action, Northern ARTSource California35

and I was present when they returned
for the night.”
When asked about his creative
process while photographing the
cranes on location, he replied, “I’m
a discoverer. I didn’t have a strict
itinerary in mind, I just wanted
to show up and let the experience
guide me. And it was a wonderful
experience for the naturalist.
They bugle in flight — they’re
communicating something to all
that can hear. For me the bugling is
a beautiful sound. I am enraptured
with them; I'm at one with each and
every bird.”
He is not simply telling the story;
he is reliving and revealing what
propels him. “The nature experience
is excitingly beautiful, and that’s
the way I feel about everything I do.
Chasing animals around in a safari
group is not my thing as it often
introduces stresses I prefer not to
engage in. Wherever possible, I have
bonded with each animal you see
in my collection. I spent time with
them. My work is intimate. This is
true even when working in an urban
setting. Whether with the land or its
occupants, I feel an intimacy with
our planetary place.”
Lawson pointed to the image of a
bobcat family he photographed years
ago. After spending much quiet time
near them and returning often to the
site of their den, the mother bobcat
trusted him enough to bring her kits
into the open. “I was going back to
see them every day for a perhaps
a week, and it was a wonderful
experience. Again, I’m not a rapidfire
image shooter. Instead, I want the
intimate experience. I want to look in
those eyes and I want to speak softly
to that creature; spending time trying
to connect with it to whatever degree
that is possible. We are all earthlings
and to brush next to one another
in peace and acquaintanceship is a
priceless privilege.”
36
Sedona ARTSource
Left: Substantial Illusion, Las Vegas
Opposite: Grizzly Catch, Alaska;
Ancient Arms, the millennial reach
of a Coast Live Oak

A thousand bugles herald the dawn as Sandhill Cranes take to the skies along the Platte River, Nebraska
Change is Inevitable
Much of Lawson’s work reflects a
consciousness for recording elements
of our world that will ultimately
change or be lost. For example,
his photograph of Florida’s former
Senator Tree is a testament to the
impermanence of things. At 125 feet
tall with a trunk diameter of 17.5
feet, it was the largest and oldest bald
cypress tree in the world.
“That tree was one of the most
important trees in the natural history
of North America. It endured for
millennia through whatever nature
threw its way, but was brought down
by the acts of a thoughtless person.
Though it died of its wounds several
years ago, artists have recorded its
splendor and saved it for posterity.
My collection of trees includes
another wonderful titan known
as the Great Oak. It resides on
private property in California and
is reputedly the oldest live oak in
the world. It excites me to be in the
presence of these icons of life; to
have honored them by recording their
Sedona ARTSource
37

waiting. I set up a tripod. I used the
time and energy I had available to
capture something that was enticing
to me. The purpose of my capture
is to share it with other people, to
bring them into a moment or place
in time they may have missed or
might never experience. Even though
we are all passing through the same
corridors of life together, we see and
sense things in our own unique way.
When a person chooses to own one
of my pieces of work, they have also
acquired the deliberate spirit of this
artist embedded in it.”
existence for others to contemplate
brings unspeakable joy.”
At the time of our interview, Notre
Dame Cathedral was on fire. Lawson
lamented, “Such tragic things
happen. Life alters life.” He gestured
toward another art piece. “To have
captured that building in St. Mark’s
Square in Venice and to have it
preserved in these dimensions as a
tribute to the artists, the designers
and the builders responsible for
its temporal existence is a great
privilege for me. Someday this will
be gone, but in our hearts and in
our minds it can live forever. To be
involved in maintaining the memory
of such places and magnificent
things is a privilege I care about. One
side of my work is about preserving
elements of nature that will someday
go away.”
Pointing to another architectural
piece he said, “Yes, I accept human
creations as nature too, because it is
our nature to design and build them.”
The Photographer’s Eye
When viewing Lawson’s work, the
sense of being in the exact place
and time where he was standing
to photograph draws you in. The
point of perspective is so present
you literally are seeing it through
his eyes. He likes to remind us he
wasn’t just passing through, pushing
a button on the camera, “I was
Lawson expressed how important
and significant this may be for people
who love to collect an artist’s work.
“When we own a piece of art by
someone we value, we bond with
them and we typically acknowledge
the name of the artist when we talk
about the piece. Instead of saying
‘That’s a wonderful view of Paris,’
we would likely say ‘That’s a
wonderful view of Paris by Monet.’
That acknowledgement of the artist
becomes part and parcel of the
package.”
An example of this might include his
beautiful image of the Eiffel Tower.
If you know the city of Paris and you
enjoy the trees and the misty weather
patterns of France, then his large
format photographic print embodies
all that, but it also imparts a mood
that is pure Lawson, even though its
every bit the city. On this piece he
commented, “We call Paris‘The City
of Light’... I also think of it as the
‘City of Life’ because all strata of life
coexist here, from the seedy to the
sumptuous. People who love Paris
relish the many artful expressions
that the city reflects and inspires; I
do and this piece in turn reflects my
vision of it: light and dark, nature
and contrivance, abstraction and
certainty, it's all here.”
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Sedona ARTSource

Opposite: As Paris Sleeps
Above: Peer to Peer, Namibia
Right: Celestial Sedona
Beginnings
Lawson’s mother gave him his first
camera in 1958 in New York City.
“I fell in love with the idea of freezing
elements into that little box and just walking down the
street with them.”
Interestingly, a decade later someone stole all of his
original photographs and cameras. “Everything I had
was gone in the twinkling of an eye — everything, it all
disappeared. I’d arrived in Pittsburgh and pulled into
a little convenience store. I went inside to buy a cup of
coffee. When I came out my car was gone along with all
that I owned. I had loaded everything that was ‘Greg’
into that old Cadillac, including my camera, my art, my
saxophone — I used play a saxophone and a bass guitar.
I was never any good at it, but I relished it. Anyway,
everything was gone in an instant. They never found the
car. To my knowledge they never found anything.”
However, Lawson found his future wife in Pittsburgh on
that fortuitous day as she and two girlfriends traveled to
the west coast from Philadelphia. He smiled, “Their car
broke down in Pittsburgh and we all ended up going to
something like Travelers Aid for help. That’s where Faye
and I met. We struck up a conversation. A couple years
later we married.”
Following the loss of equipment he went through a period
where he did no photography. “I had to start all over
again with gear. For a couple of years I got by with a little
Instamatic camera. When we were newly married we
moved to England, but we weren’t able to find our way.
We came back to Philadelphia where our first daughter
was born. We stayed there for eight months and then
headed back out west. Once there, I bought a new camera
and began pursuing my images again.”
Today, Lawson has an enormous body of work, likely one
of the most significant collections in the world amassed
by an independent producer. A thin slice of this collection
is on display in his West Sedona gallery showroom along
with a few of his historic working cameras.
oh, the PlaCes he’ll go…
Throughout his career Lawson has photographed many
unusual and sometimes nearly unattainable locations.
“When I go to a place, I don’t necessarily have a checklist
of the things I’m going to do. I rent a car or get off in a
subway station and I just walk and look for the things
that turn my head. As I said, I’m a discoverer — that’s
always been my style. I love to go out there and find what
I can find, linger with whatever commands my attention.”
However, he admitted to having an agenda when he went
to Abu Dhabi to visit a particular architectural treasure,
and again when he drove 300 miles in Australia because
he wanted to capture the occasional bloom of a beautiful
desert plant that was reportedly in flower… if he could
only find it. He smiled, “Those kinds of things energize
and excite me. It’s just that little boy coming out again!
Above all, I want to be intimate in my work. I thrive on
the little bonding experiences you can have with those
outside of self; it’s an electrifying experience… there’s
something in the air and the participants are excited when
it happens. I believe it happens more often than not for me
because I’m attuned to it. I’m attuned to it because I’ve
been through life and I accept all the difference it offers.
I am an Earthling. That is to say, I belong to Earth, and
it’s with the entire planet and its inhabitants that I feel at
home.”
Sedona ARTSource
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Night of Day, August 21, 2017
A Walk in the Fog, Sa Pa
He continued, “I’m not put off by most political or social
differences. I’ve gone to places many other people would
shun, like North Korea for example; places you really
have to want to visit, and,
of course, I want to. I love
the people everywhere,
even though I don’t like
the fact that entrenched
pressures and ideologies
divide us away from each
other. The hawk will fly
over a border, and no
one questions it. But we
humans who are part and
parcel of the planet — we
must seek permission to
go.”
Since nature’s magnetism
doesn’t stop at the border
neither does Lawson’s
ardor for it. “My passion
for the magnificent
whole earth doesn’t falter
because of a stop sign. I
love this planet and the
elements of it — all of
them. I’m attuned to the
physical side of the earth
and I am attuned to the
spiritual side. When it
comes to spirituality, we Thoughtful on the Pond
find ourselves led to many
different places by a variety of persuasions, yet I have
found that none of us are really so far apart. We are each
highly privileged to pass this way. Though we grapple
with differences introduced by cultural influences and
though we permit walls of separation between us, in the
final analysis we must acknowledge that, oh yes, there is
a sweet red apple, there is a tart green one and there is a
mellow yellow one, but the
core of all of them is pretty
much the same.”
To one final question
about self-analysis he
replied. “My work is
abstractive realism.
While some will favor
the obvious abstraction, I
favor realism in my art for
reasons associated with
the potential connectivity
that can be made between
it and the original event.
Even though the twodimensional
reflection
is an abstraction and not
an authentic portrayal, it
offers a lasting link to the
substantial reality and, of
course to the artist too.”
Lawson thoughtfully
added, “As time carries
us further and further
from birth, we witness
great changes all around
us. However, elements of
stability in the constancy
of nature, and even in the kind of conscious preservation
that artists like myself purposefully embody serve to
anchor us to a timelessness that we not only need, but
many of us cherish.” ∞
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Sedona ARTSource
41

Touchstone Gallery
Interviewed by Lynn Alison Trombetta
The artist, Michelangelo believed his task as the
sculptor was not to create, but simply to chip away
the excess, to reveal the figures he made from stone.
A visit to Touchstone Gallery in Sedona leads one to
ponder such things.
Ancient, undiscovered beauty hides within an
unassuming grey rock or lies just underfoot in a
dinosaur-era lakebed where modern man may seldom
travel. Working with paleontologists, quarry masters,
mine owners and even the old-timer 'rock hounds,'
gallery owners, Joe and Sue dedicate themselves to
revealing such treasures. Joe often comments,
"Mother Nature is truly the oldest Master. Our
preparators have done world class jobs of removing
the excess to reveal the natural masterpieces Mother
Nature created."
Joe added, "I always like to talk to customers about
the demanding life of the 186 individual folks that
we work with to find the collections we present for
them to consider. These folks work almost entirely
in very lonely and remote areas of the world. They
work long days in often searing heat conditions to
unearth these treasures. For every piece that is
genuinely worthy of Touchstone customers, they
remove 'excess rock' weighing many tons. They then
spend most of the winter ‘prepping’ the pieces, often
removing tiny bits of excess with sandblasting-type
equipment. This life is very demanding and you can
understand that getting a décor-worthy natural history
piece involves significantly more work and expertise
than just about anything a customer is likely to consider
for display in their home."
During a recent interview with ARTSource,
Gallery Manager, Heather Hakola explained, "So
much of what the owners do means working directly
with those who are involved in unearthing the
specimens. Each treasure is natural history art and
we offer certificates of authenticity with all the
pieces because they are very collectible."
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Sedona Dyplomystus and ARTSource
Knightia fossil plate 18” x 26”

many pieces are truly world class
like the Green River palm fossils
and the giant petrified woods. We
like to think of Susan and Joe as
curators who showcase exquisite
minerals and fossils, it is their special
art form, and we are proud to offer
the very best of what both nature
and man have to offer."
She added. "We invite everyone to
join us in celebrating Touchstone
Gallery’s tenth Anniversary! For
this special event, we are featuring
a wide range of minerals and fossils
found within the state of Arizona."
The Minerals
Ancient ammonite fossil from the Upper Jurassic period
Art within the Art
— The “Curators”
Joe and Susan work as conservators
for the prizes they offer, using their
many years of experience with
gemstone, mineral and fossil
collecting. The business began 40
years ago in New Mexico. October
2019 marks their tenth Anniversary
in the Uptown Sedona location.
Touchstone Gallery dazzles visitors
with a full-spectrum of minerals,
fossils and jewelry creations.
Incredible human size amethyst
geodes are often part of the
eye-catching display of nature’s art.
Heather and the knowledgeable
staff are eager to offer tours of the
collection with special insight into
unusual mineral compositions and
how the crystals and fossils formed.
Huge amethyst wings with rare copper oxide exterior 38" x 43"
Heather commented, "We work
diligently collecting, designing and
planning the ways we present these
specimens. We create the stands
and museum mount brackets to
integrate the individual pieces, but
ultimately they are museumquality.
All are authentic fossils;
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Luminescent layers of light, rare cave onyx vessel
21" x 18" x 11"
Natural multi-colored onyx vessel with organic edge
26" x 16" x 11"
One of the larger treasures on
exhibit is a megalithic amethyst
geode ring with deep purple points
surounded by a matrix layer of
green copper oxide and chalcedony.
Heather exclaimed, "We designed
and built the custom stand so it
rotates. It’s a one-of-a-kind piece
and the latest treasure to arrive
here and is so much fun to see!
There’s also the super-rare geode
from Brazil with green copper
oxide around the exterior which is
a very unusual formation. The wings
themselves weigh about 75 pounds
each and we built custom museum
mount stands for their life-size
presentation."
Amethyst is found in ancient
volcanic areas. As lava cooled it
created gas bubbles in the basalt.
Over eons, minerals and moisture
filled in the gaps and became
crystals. Specimens are acquired
through hard rock mining and are
hand selected, prepared in special
ways and mounted to best present
their beauty.
"The art within the art is that we
present each specimen so they
can be enjoyed and viewed from
anywhere in the room and the
bases are designed around the
mineral structure, as with the citrine
geode cocktail table," Heather said.
Collectors, curators and interior
designers especially appreciate the
idea of nature as art.
Many unusual natural items pair well
with wall art and other unique items
such as the petrified wood mounted
on bases. Peacock marble vases and
hand-carved cave onyx vessels are
stunning focal points for design.
"The quarry where rare cave onyx
is found is in Southern Mexico. A
young member of the family that
owns the quarry is the artisan who
carves out the stone to display the
natural formation. So first, nature
creates; it takes the Earth many
millions of years to form a piece
of onyx this size. Quite a number
of these were formed in caves
where there were stalagmites and
stalactites. Over time, the ‘bowl’
almost filled in solid. Quarry
masters with really good eyes spot
these particular stones and set
them aside."
The surrounding matrix and
material that filled the "bowl" is
meticulously removed, combining
nature and craft. "The particularly
large specimen in the photo was
a unique solid boulder that had all
this beautiful banding and a natural
rind on the edge. We have these in
various sizes and they are among
our most popular collections.
They’re such unique, spectacular
pieces that people often design
entire rooms around them."
Left: Megalithic amethyst geode
ring on rotating metal stand
5' 10" x 30”
Right: Citrine geode cocktail table
with 36” glass top
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Sedona ARTSource

Shown Here:
Citrine, mookaite, ammonite
with golden gems - necklace set
Bottom Left:
Turquoise, ammolite-ammonite
and pyrite with multi-gemstones necklace
Bottom Right:
"Original" watermelon tourmaline - signature necklace
Touchstone also offers a large selection of contemporary gemstone jewelry, each made from individually selected, genuine stones
and fossils. Gallery owner, Susan works with Southwest artists to modify, design and create exclusive signature, necklaces, limited
edition jewelry using natural color tourmaline and other enticing stones that showcase the relationship between nature and art.
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of North America. Heather described
how the entire continent was closer
to the equator, so it was much more
tropical and that’s why you see the
giant palms and things like banana
leaves fossilized in lakes similar in size
to our modern Great Lakes.
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Museum quality petrified "rainbow" wood slice 22" x 27" — Arizona’s state fossil
The Fossils
— Captured in Time
arizona petrified wood
"Back in the day everybody who went
down Route 66 with a station wagon
gathered some rocks in the back with
the kids — you know it was a 'thing.'"
Heather laughed as she stood next
to an impressive, rainbow-striped
cut stone. "This is the largest single
petrified wood specimen available
right now; it’s over six feet long and
over three feet wide with natural
bark on each side. There are only two
places in North America that have the
equipment to make the larger cuts like
these."
Petrified wood is Arizona’s state fossil
and the rainbow-colored specimens
were named after the state. "Only in
Arizona do you get this kind of
coloration, and it is the most
sought-after on earth because it
displays all these natural colors that
go all the way through the specimen.
It’s amazing — it’s 180 to 225 million
years old!"
We consider petrified wood a fossil
because it formed when the plant
material became buried by sediment.
This sediment protected the wood
from decay brought about by exposure
to oxygen and organisms. Minerals
such as silica, calcite, and pyrite in
groundwater flowed through the
sediment, and replaced the original
plant. The result is a fossil with
Sedona ARTSource
preserved details of the original
wood or other organic material.
giant palm frond
A great example of Nature’s craft are
the rare giant palm leaves, fossilized
complete in their original form in
fossil plates so large that when
prepared for display they dominate
a wall.
"There is a quarry here in the United
States that has two paleontologists
we have worked with over many
years and we acquire their finest
discoveries. This really is Nature’s art
and as with the custom design work
for displaying the minerals and fossils,
there is special engineering involved
in designing these structures for
display. Again, it’s the best of human
and nature."
Another large piece showcased
the impression of a banana leaf
with several small, unfortunate fish
fossilized during a time when a large
freshwater lake covered a portion
"While we may have some of the most
impressive fossils in North America
right now, we also have hand selected
a number of other fossils and had
them custom framed for us with
different burl woods to complement
them. They are very handsome in a
home library or an office environment
and are affordable," Heather added.
"Many people who invest in fine art
also collect natural history art because
they flow together so beautifully. You
can have a priceless painting on the
wall and compliment it with a beautiful
sliced petrified wood table or any of
these unique mineral formations."
Some of Touchstone Gallery’s most
intriguing treasures of nature are the
rare animal fossils, such as mammoth
tusks and the Mosasaurus fossil, an
extinct carnivorous aquatic lizard
which Heather explained was 'the
T-Rex of the ocean.' "They were giants.
This is an ultra-rare specimen in the
gallery! Where else can you go see an
entire Mosasaurus skull? It’s like
visiting a natural history museum,
there’s something here for everyone
and we encourage people to touch
and experience the nature that is art!"
Visit TouchstoneGalleries.com
for more information. ∞
Above: Mosasaurus jaw section. See
entire fossilized skull at Touchstone
Gallery.
Left: Fossil palm, wooly mammoth tusk,
peacock marble vase and amethyst
geode coffee table.

Sedona ARTSource
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Christie Palmer Art
The Longer You Look the More You See
Interviewed by Lynn Alison Trombetta
Christie Palmer
With the subtleties of airbrush and the nuances
of watercolor, artist Christie Palmer plays with
the edges of paint and reality. Her brilliantly
hued landscapes, inherently recognizable
as some longed-for horizon, capture the
ever-changing elements of place and time.
We visited her studio overlooking Sedona’s
distant red rock vistas where she shared insight
into the inspiration and motivation for her
original water media work.
Sedona ARTSource: Your original acrylic works look as if
you airbrushed them in fine layers onto the surface!
Christie Palmer: Yes, I’ve heard that before from
people familiar with airbrush. I’d never really seen
an airbrush until a few years ago when someone was
demonstrating one at the Watercolor Society meeting.
You have to clean the brush all the time and I knew
that I would not have the patience to do that. But
then, I have the patience to keep layering colors and
smoothing things out and somebody else might not
have the patience to do that.
So, you develop the piece through blending many layers?
Yes, it adds the subtlety to the painting.
People know you for integrating landscape and abstraction
in your work, which comes across as both dramatic and yet
serene. One can’t help but notice your atypical use of acrylic
paints on watercolor paper.
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Sedona ARTSource

Majestic Heights

Surreal Arizona
Yes, I’ve done different things for certain shows. I
do like working on the gesso board in all different
thicknesses as well.
Where is your work offered in Sedona?
I’m in the Sedona Arts Center. I’ve also been in other
galleries. I’ve been involved with Sedona Visual
Artists’ Coalition and I was just in their show. And I
was in the 39th Annual Juried Member Exhibition at
the Sedona Art Center this year.
What would you most like to say about your work and
what inspires you?
Mystery of Yellowstone II
I think it comes from a deep relationship with nature
and the varied elements of weather I see in the
landscapes. I’m more drawn to a vast landscape than
to a very complicated landscape or subject matter.
Maybe because I think nature is just so powerful in
how it speaks to us, and it speaks to me through the
landscape.
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Sedona ARTSource

Much of your work also has an architectural feel to it.
What inspires those works?
I’m intrigued by certain elements of architecture that
I sometimes use in my paintings. I will notice the way
that something happens to outline the landscape.
Part of a building, or part of an umbrella, for example,
might just kind of frame what I’m looking at in the
distance. Also, I just want to get people to look at the
colors. You know, at first glance a scene might look
mundane, but the longer you look the more you see.
I had a fellow artist who asked me, “Do you really see
these colors out there that you use in the landscape?”
I told him I really do. If you look long enough, you
see there’s a little more of this color and a little more
of that color. So, I like to help people to see things
differently than it looks in the way the camera might
pick it up and generate more of the feeling that I
experienced when I was there.
Are you working en plein air part of the time?
I don’t work outside a lot because I’m sensitive
to different outdoor elements. I never really liked
working outside when I was a student in college
although as a kid I did do a lot of sketching outdoors.
When I am concentrating on coming up with a
finished piece of artwork, I’ll start outside but I’ll
finish it in the studio.
Sunlight on Oak Creek
I often find that I’ll see something from inside the
car and I do not have the opportunity to stop. If
we are driving by, I will take the picture fast and do
the sketch at a later time and finish the work. It’s an
interpretation, so it’s not just trying to get a picture.
And, something like this doesn’t come from sitting
out there and drawing it. You are saying so much
more than any photo could say with what you are
doing with the depth and the color and everything.
Tell us about your history as an artist.
I come from a family where my parents were art
collectors and my mother was an artist.
She was more commercially oriented, painting
Toleware, decorative furniture, wedding invitations,
etc. She also drew maps for the phone company
during World War II.
So, I always had the tools around the house for any
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Colors of West Fork II

the university so I applied there and was accepted.
I was able to study with him and several other fine
gentlemen who are wonderful artists. I received my
BA degree in the Arts there.
Have you always worked with water media?
Creekside Morning
My interest in using water media came from my work
at the college. It became apparent that oil paint was
not my thing; it wouldn’t do what I wanted it to do.
When I started taking water media classes, I just fell
in love with it. I think initially there was just one
class in water media. I pursued that on independent
studies with my professor of water media so I had
more opportunity to work in that than I would have
had normally.
How would you describe your color palette?
It goes from really warm to cool. It just depends on
the subject matter.
How have your tools or techniques changed over the years?
Watercolor paint is different now. Pigments have
developed scientifically and are more permanent
than they used to be. I started seeing paintings I had
done in watercolor that were hanging on the wall and
just fading away into nothing. So I began working
with the acrylic, handling it more like watercolor
and found the intensity of color and the edges and
the things that I could do with it seemed to suit me
better. That’s kind of the direction I took my studies.
How long have you been in Sedona and how has that
affected your work?
West Fork Revisited
kind of artwork that I wanted whether it was painting
or drawing or whatever. I remember starting in an
art class about the age of four at our local art center,
Evanston Art Center in Illinois. Also, we would
go to the studios of various artists that my parents
were collecting and look for something new. It
was nice exposure to art. When I was looking for a
college, I spoke to a Maine artist with whom we were
friends who was on the faculty at the University
of New Hampshire. He thought I would do well at
My husband, Tom and I were living in the desert in
La Quinta, California previously.
We used to come here for about 15 years before we
decided that we’d like to retire here. I think moving
to the Southwest definitely had a big influence on my
use of color. Being in Sedona, it’s nice to be around
other artists to see what they are creating even if
it’s not something that would be of interest for you.
It’s stimulation for your senses and your work and
rewarding to get feedback at First Friday events or
shows at the Arts Center by talking to someone
who’s looking at the work.
Do you also offer giclée prints, or just originals?
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Sedona ARTSource

Island Blues
No, just originals. I did some note cards for the Open
Studios crowd. But I would prefer to just sell the
original art.
Do you ever find it difficult to part with a finished work?
It is hard to part with it, but a lot of the times you get
to meet the person who’s purchasing the art and that
is very rewarding. You find out where it’s going, and
it’s fun to get to know the people that will have your
artwork.
Christie Palmer
Is there anything else that you’d like to share with Sedona
ARTSource readers?
Maybe just one thing that I read today in my Georgia
O’Keefe biography book, her words about how form
and shape and color are more important than the
subject matter. She said, “The subject matter of a
painting should never obscure its form and color,
which are its real thematic contents.” That kind of
expresses how I feel about my work; that a painting
says more than I can say with words. I’m not much of
a talker so my paintings are kind of my conversation
with the people that see them, my connection. It’s
rewarding when I feel a painting speaks to someone
— that they connect to a painting in much the same
way that I connected with its inspiration.
Thank you, Christie. ∞
The Dark Side

Basket weaving using
materials from nature is
one of the oldest crafts
in Native American history.
Gathering was essential to
life, and baskets for gathering
were further utilized for sifting
seeds, drying meats and fruits,
processing hides, carrying and
storing water, and for cooking
and countless other uses.
Basket making is a fluid form
of art and culture that changes
with what each artist brings
to his or her craft. Every new
generation learns from the
generation before, and there are
as many styles of basket making
as there are craftspeople. Sadly,
the elders are passing away and
the younger generations are not
as interested in this painstaking
craft.
The Native Americans are
durable people and adapt well to
what their environment affords
them. If it was a dry winter or
very harsh, the basket weavers
would need to utilize a different
material to create their pieces.
Thus the baskets varied with
each growing season.
GATHERING
NATURE for
ART & LIFE
Article and Photos by Patty Topel, Kachina House
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Sedona ARTSource

Traditionally, Northeastern Indian baskets are made
from pounded ash splints or braided sweetgrass.
Southeastern Indians (Cherokee) use bundled pine
needles or rivercane wicker. Southwestern Indians
(Hopi and Navajo) utilize tightly coiled sumac or
willow, and Northwest Coast Indians weave with cedar
bark, swamp grass, and spruce root. Northern Indians
(Chippewa and Inuit) craft birch bark baskets, and even
whale baleen baskets.
For Navajo basket
makers, the Wedding
Basket is the most
popular of all.
However, they also
developed another
style, the pitch coated
baskets. Sealed inside
and outside with hot
pine pitch, the baskets
were utilized as water
bearing vessels.
Currently, in the southwest,
the Tohono O’odham and the
Hopi are the most prolific basket
makers. The Tohono
O’odham have
established a
system of trade
to keep their
art alive
and to
maintain
affordable
pricing.
The Hopi use their baskets in
ceremony and in payment and
so many are used within their
community while some may be sold to
collectors. ∞
Sedona ARTSource
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The Sedona International Film Festival’s 2019-2020 Season
Nurturing a Crowd
with Music, Movies & More
When you think of the Sedona
International Film Festival, you are
likely to think of the annual event,
entering its 26th season. It’s an
exciting time when the town of
Sedona fills up with people and
activities and all the excitement you
would expect from this world class
affair.
Yet, the organization’s offerings are
year-round and utilize venues such
as the Mary D. Fisher Theatre, the
Sedona Performing Arts Center
and additional off-site locales to
tuck in cultural events throughout
Sedona. The 2019-2020 season is no
exception and collaborations with
other non-profit organizations are
creating more buzz than ever about
the upcoming year.
The Film Festival’s Executive
Director, Patrick Schweiss
commented, "There was no theme
in mind for planning the season, but
it just came together that we are
collaborating with Red Rocks Music
Festival and Verde Valley Sinfonietta.
Especially because we’re doing
the Met Opera here, there now
seems to be more interest leaning
toward that kind of music. I think
that we are nurturing a crowd and
getting much more support that
way. This is a small town and our
organizations serve many of the
same members."
This first–time partnering with the
Red Rocks Music Festival, "Mozart
to Gershwin and More" concert
will include selections by Mozart,
Coleridge-Taylor, Gershwin and
Webern. Although the Red Rocks
Music Festival has
presented in Sedona
since 2002, this is the
first concert at Mary D.
Fisher Theatre. Featured
musicians are Alex
Laing, clarinet; David
Ehrlich, violin; Yibin
Li, violin; Christopher
McKay, viola; and Jan
Simiz, cello. For more
information, visit www.
redrocksmusicfestival.
com.
Perhaps most exciting
is the collaboration
between the Verde
Valley Sinfonietta and
Sedona International
Film Festival. Schweiss
explained, "It’s a big
birthday year for
Beethoven, so we will
be showing excerpts
from the 1994 film,“Immortal
Beloved” and the Sinfonietta will
play the works of Beethoven live to
sync with it."
This semi-biographical film’s plot
centers on discovering the identity
of "the immortal beloved" to
whom Beethoven wrote three
letters that were never sent. The
production will combine live
performance of the film’s dialogue
and narration with music from the
soundtrack performed by Verde
Valley Sinfonietta soloists, small
ensembles and the full orchestra.
Al Vander Peut, President, Board
of Trustees for Sinfonietta
commented, "We talked about
collaborating for a show a yearand-a-half
ago, but the timing
wasn’t right. Not to be confused
with Chamber Music Sedona, this
is Verde Valley Sinfonietta’s 15th
season. We chose 'Immortal
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VV
Kevin Kozacek
Beloved' because it’s the 250th
birthdate anniversary of Beethoven.
Beethoven was a genius composer,
if not a savant, but he struggled with
progressive deafness and couldn’t
hear finally, and it caused great
frustration and depression for him."
Schweiss added, "Verde Valley
Sinfonietta’s incredible conductor,
Kevin Kozacek was very excited
about this. He loves the concept
of performing the soundtrack live
as the movie is happening. This
October performance is actually
the kickoff to their season which
starts officially in November. We’re
doing this at the Sedona Performing
Arts Center and it’s exciting
because our tech people are getting
involved with taking the parts of
the film we will set to music and
editing the video. Kevin sits with the
orchestra and does the timing for
how everything syncs. There’s a lot
of moving parts for this and Kevin
handles it so beautifully. It will be
really fun for the audience to see
how that all comes together. This is
a wonderful collaboration between
two great nonprofits in this town."
Visit www.VVSinfonietta.org
Other fun Sedona International
Film Festival events this season
include the annual outdoor event,
"Rhythm at the Ranch" at Indian
Creek Ranch in Cornville. This
fundraiser kicks off the 26th annual
season in September. Schweiss
commented, "It’s great! We’ve done
this every year since 2004. There’s
a beautiful gazebo and opera house
and what looks like an old west
movies facade and the grounds
just spill out from the gazebo. We
go out there late afternoon for a
barbecue chuck wagon style dinner
and then we have a concert. We
keep tickets very affordable and
415 people attended last year." The
Met Live Opera season opens in
October and Sedona International
Film Festival will present live
simulcast productions via satellite
of two operas each in October
and November at Mary D. Fisher
Theatre. November also brings the
Festival’s annual black tie optional
Gala at the Enchantment Resort.
Schweiss added, "Be sure to
visit the website calendar at
www.sedonafilmfestival.com for
information on all of Sedona
International Film Festival's
films, events, and live theatre
and live performances by fine
notable local performers such
as guitarist,Anthony Mazzella;
fingerstyle guitarist, Rick Cyge;
flute and guitar duo, Meadowlark;
Zenprov Comedy troupe; Red
Earth Theatre; Sedona Poetry
Slam and more. For us to have
this caliber of performers and
events here in the Verde Valley
and specifically in Sedona is
tremendous!" ∞
Sedona ARTSource
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Echo Wang with Verde Valley Sinfonietta

SEDONA INTERNATIONAL FILM FESTIVAL
THE
PUSH
• JURY PRIZE | BEST DOCUMENTARY
33rd Annual Santa Barbara International Film Festival
• AUDIENCE AWARD | BEST DOCUMENTARY
Sonoma International Film Festival
• AUDIENCE AWARD | BEST DOCUMENTARY
American Documentary Film Festival
The Push is an award winning
documentary about the power of never
giving up. Grant Korgan is a world-class
adventurer, nano-mechanics professional,
and husband. On March 5, 2010, while
filming a snowmobiling segment in the
Sierra Nevada back country, the Lake
Tahoe native burst-fractured his L1
vertebrae, and suddenly added the world
of spinal cord injury recovery to his list of
pursuits.
On January 17, 2012, along with two
seasoned explorers, Grant attempted the
insurmountable, and became the first
spinal cord injured athlete to literally
PUSH himself – nearly 100 miles (the
final degree of latitude) to the most
inhospitable place on the planet – the
bottom of the globe, the geographic
South Pole.
Grant and his guides reached their
destination on the 100th anniversary of
the first explorers to travel to the South
Pole. Facing brutal elements, demanding
topography and presumed physical
limitations are just some of the challenges
they faced along the journey. With this
inspirational documentary, The Push team
hopes to inspire people in all walks of life
to achieve the seemingly insurmountable
in their life, to push their own everyday
limits, and to live their ultimate potential.
“Screening in Sedona was an honor and was one of the most enjoyable festivals of our tour. Sedona seems to have found the
sweet spot between art, culture, recreation, great food and community. I’ve been fortunate to participate in a couple dozen
post-screening Q & A sessions, but no audience has been more engaging than the audiences at our two shows in Sedona. We
started our project intending to make a simple adventure documentary but discovered along the way that our expedition was
merely a backdrop for a love story, a buddy story and a story about overcoming adversity. The adventure has continued through
the filmmaking process and has taken us around the world sharing our story. Sedona was a great host and we look forward to
returning.”
—TAL FLETCHER | Expedition Guide, Logistics Expert, Film Producer ∞
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Celebrating 26 Years!
The BEST independent films from around the world!
February 22 - March 1, 2020
www.SedonaFilmFestival.org 928.282.1177
Sedona ARTSource
59

Overseers • Gregory Stocks • Oil on Canvas • 48"h x 60"w
“My work is an effort to create images that serve as emotional detours from the noise and confusion of the surrounding
world. I find the process of painting to be similar to that of writing a song. There is a basic structure or rhythm to the
work. The melody comes into play in the form of color, brushwork and the expressive possibilities of process.”
60 Sedona ARTSource
~ Gregory Stocks

REAL
ART
WHEN A
REAL ESTATE OFFICE
IS ALSO AN ART GALLERY
Three Bartletts • Diane Eide
Acrylic on Gessoboard • 38"h x 50"w
When Russ Lyon Sotheby’s
International Realty chose
to build in Sedona they also chose to
make another commitment; to honor
art and art appreciation.
Associate broker Jolynn Greenfield
states, “The Sotheby’s name was
always associated with art, so Russ
Lyon built this beautiful building
here partially to support the arts in
Sedona. It looks like a gallery and in
fact, it is. Supporting the community
of artists was really important to us.”
Donna Chesler, another associate
with the agency has more than
just a historic interest in the arts.
She and her husband owned and
operated Gallery 527 in Jerome for
years. Chesler worked closely with
Greenfield to fulfill the dream of
operating an in-office gallery.
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61

I
Jolynn Greenfield and Donna Chesler
Together they have created a yearly art exhibit showcasing
a variety of local talent.
Greenfield adds, “Every week we do a promotional feature
in our ad in the Sedona Red Rock News and on our
Facebook page that spotlights one of our featured artists.
We also do an annual open house to showcase the artists
that are represented for the year-long show.” The public is
invited to their opening event on September 19, 4-6 pm.
“This year’s theme, ‘The Journey’ refers to both the
creative path of the artist and the subject matter of the
creation,” says Chesler. “We see, for instance the literal
journey of the Grand Canyon mules in Tom Brownold’s
photo essay and we see the celebration of life after some
dark moments in Bonnie Hartenstein’s monumental piece
called ‘The Dancer.’ Many of our artists will be at our
opening event and speak briefly about their work.”
According to Branch Manager Tod Christensen, the
gallery-in-office concept has proven to have numerous
benefits not only for the public and the clients but also
for the employees and real estate associates. “We all get
to enjoy a beautiful environment when doing business,”
he comments. “However, this exhibit would not exist if
it were not for the commitment and unceasing efforts of
Donna and Jolynn.”
II
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IV
III
V
I
II
Luciano’s Visit • Bonnie Hartenstein
Oil • 72"h x 60"w
The Chimney • Tom Brownold
Photograph • 23"h x 16"w
III Pour Over 1 • Joella Jean Mahoney (1933-2017)
Oil on Canvas • 48"h x 60"w
IV Pu’rpura • Harold Schifman
Mixed Media • 48"h x 60"w
V
Three Unwrapping Apples • Diane Eide
Oil • 26"h x 38"w
VI The Canyon • Joella Jean Mahoney (1933-2017)
Oil on Canvas • Private Collection
THE JOURNEY Art Exhibition 2019
VI
Monday-Friday 10:00-5:00
Saturday & Sunday 10:00-3:00
Open House - September 19, 2019, 4:00-6:00
Russ Lyon Sotheby’s International
20 Roadrunner Drive, Suite A, Sedona
Sedona ARTSource
63

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.
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Sedona ARTSource

BRESNAN
GUITARS
A Passion for Perfection
Interviewed by Lynn Alison Trombetta
When it comes to their guitars,
luthiers, Dan Bresnan and his son,
Sean are all about relationships,
resonance and balance. Look a
little closer and discover
that their shared
experience of
building these
fine instruments
is clearly rich
with those same
essences and more.
Enjoy this glimpse
into their very special
relationship and dedication
to patiently crafting fine guitars
of timeless quality.
Sedona ARTSource: Dan, obviously, the guitar has had far-reaching
influences on your musical lifetime. What was your very first
experience with the instrument?
DAN: My first experience with the guitar was not all that inspiring. I
grew up in a family where my parents required all the children to
take music lessons. I have two older brothers, one played
piano, one saxophone; I had to pick something, and
it turned out to be guitar. At age six, I don’t know
that I was emotionally ready for it. I took lessons
for five years because that was the rule in the
family. So, by the time I was eleven, I’d played
Camptown Races so many times, 'I’m done.'
But when I turned thirteen, rock and roll music
caught my attention and got me all the way
back into it. That’s when I really started to have a
relationship with the guitar; that it became part of
me, part of my soul.
When did you transition from playing guitars to crafting
guitars?
DAN: It wasn’t until quite a bit later, when I was 38 or 40. I had played
mostly on factory built instruments and I wasn’t even aware that there
was this world of handcrafted instruments out there. Then I read
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While growing up, I’d always seen my dad in the
shop. We’re very similar in that I noticed he is
really detail driven while creating his instruments;
there’s a level of detail, and occasionally
frustration that comes out of that. I saw and
identified with that feeling because even from
a really young age I was always putting things
together and taking things apart and trying to
see how they work.
Seeing him working on an incredibly complicated
project where all the individual pieces had to fit
in exactly right and be tuned to each other was
really inspiring.
about builders in Acoustic Guitar Magazine, and I decided to
try one. It was a big step for me - it was a five thousand
dollar guitar at the time. That opened my eyes to a different
world in terms of the tonal quality and the comfort and
the ease with which I was able to relate and express myself
through the instrument. That sort of got out of control and
I started accumulating very high-end guitars and that’s what
really led me into the building. I thought, 'Wow this is really
cool stuff. They are taking raw materials and creating this
beautiful object that’s not only beauty in itself, but it inspires
me to make music that hopefully enriches other people’s
lives.'
I thought I’d give it a try; thought I’d just putz around a bit
and maybe something would come out of it years down
the road. But I had a heretofore unknown proclivity toward
it that came out when I started building the first one. I
struggled with that first one, I think everyone does. But when
it was done, I couldn’t wait to get going on the next one. If
twenty years ago someone had said, "You’re going
to be building guitars," I would have said, "You’re
absolutely crazy. I know nothing about wood; I know
nothing about how to build a guitar." But you get bit
by the bug.
Playing the factory-built instruments, having people bring
guitars to us for repairs and all the other experience, it all
accumulates as knowledge. Like, if I get in a Taylor and find
something wrong with it, I always note exactly what it is, and
that kind of information accumulates over time.
We got to a point where my dad was starting to tone down
his production, and to have this great resource just sitting
there seemed wrong. It seemed like a waste, of not just the
tools and the materials, but also of his knowledge. I’ve been
doing it for several years with him now and we’re still just
scratching the surface of the knowledge he’s accumulated
over the 80 plus guitars he built.
In the process of honing your craft as a builder, have you
reached a point where you’ve had to go past the tools that
are readily available and modify or create tools yourself to
build the guitar the way that you wanted?
Sean, when were you bitten by the luthiery bug?
SEAN: Obviously, from my upbringing luthiery was
always in the back of my mind as a possibility. But
then going to music school helped me focus on
what I wanted to do as a career. I could be out there
playing music, which has always been important to
me, but to be creating these instruments that other
people are going to be using in the same way that
I would to make music, I find a really an interesting
idea.
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DAN: Yes, I do have several tools, jigs and fixtures that I
use for my process. There was a lot of start-up work at first
but that’s never really scared me away. It’s easier these days
than it was 30 years ago when there wasn’t quite so much
information available. When I decided to do this, I wanted
all the information I could possibly get. There are scholarly
journals published about acoustic science and stringed
instrument construction and I ordered a 20-year backlog of
those and read it all. I accumulated a bunch of tools and just
went to work. Now, probably sixty percent of those tools are
in a box somewhere because I found they weren’t the right
tools for the way I wanted to work.
Because I developed on my own and didn’t study under
somebody, I had to solve the problems on my own. That way
takes a little longer sometimes to get to the right answer. But
it also opens up a wide canvas of possibilities of how to solve
the problems because you haven’t been taught that 'this is the
way to do this, and that’s the way you do that.' I remember
bouncing ideas off of other luthiers. I’d go to the shows and
talk to them. I’d ask, "What if we did this?" And they said,
"No, you can’t do that, that’s incredibly hard. That’s crazy."
But I didn’t listen to that and that’s why I generated tools
and fixtures and jigs. As far as I know, I’m the only one that
constructs it in the way I do. I don’t know if it’s the best way
or not, but it’s the way that’s worked for me. And it creates a
beautiful sounding guitar, in my opinion. So I’m sticking with it.
SEAN: What my father was saying about the half of the tools
we ended up discarding because we were always changing
the method until he found what worked, doesn’t mean we’re
done. Even now we’re still constantly changing things and
trying new things, building off of what we already have. But
we’re also not afraid to say, "Well that works; let’s just keep
moving in this direction."
DAN: A lot of the building process is problem solving
because you’re taking a piece of wood that’s been a tree
all its life and trying to make it into something else, and it
doesn’t want to be that at first. You have to kind of convince
it and each piece is unique; there’s always some little quirk
that you have to figure out. That can be really frustrating at
times, but it’s also really rewarding when it’s done. So, as Sean
noted, we’re constantly evolving the process. I think we, like
all good luthiers are aiming for some Holy Grail, knowing
that you’re never actually going to get there, but that’s the
direction you’re going.
Are there times when the wood leads the project, more than
the project leads the wood?
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esponsiveness of the guitar?
DAN: That’s mostly discerned by the tap tone of the wood
- tapping the pieces. There are a number of activities in the
luthiery field that really are intuitive and I don’t know how
to tell you how to do it: I don’t know how to tell you how
I do it, or how to tell you how anyone else does it. I think
experience is a big part of it. You work with enough pieces of
wood and, 'Oh yeah, I worked with a piece like that before,
I’m staying away from that one.'
Sean, have you developed that?
SEAN: Yes, just from spending a lot of time in the wood
room, going through every set of Brazilian wood and seeing
how it sounds. The differences between them are really
subtle, but as you get further along in the building process, it
starts having more and more impact on the final product.
What is your musical background?
DAN: I’m fortunate enough to have a pretty good stash of
wood, so when I’ve got a project in mind I will select the
materials based on what we’re going for. If someone tells me
they want a particular look to the wood, or an expanded bass
capability in the instrument, or whatever they are looking for,
I will pick the materials to set me in the right direction for
what their expectations are for an instrument. Along the way
the process does change because of the quirks of wood. If I’m
cutting into the wood, and there’s a bug hole, or I’m sanding
down a piece of wood and there’s a sap pocket, then, okay
I’ve got to do something with that and so it kind of goes both
ways. I start off trying not to let the wood completely dictate
what I do, but you have to work with it, you can’t force it.
How do you develop the intuition or recognition when you
look at a piece of wood as to how that piece of wood is
going to respond and how that will affect the tonal quality or
SEAN: Growing up with my dad there was music all the
time, pretty much constantly, in my face. My very earliest
memory is driving up to our family farm and he always had
Grateful Dead on the radio. And a lot of times, when I was
really young he would play a lot for us. Like the tune "Freight
Train" was constantly engraved in my head from when I
must have been three or four. I don’t think I got a guitar until
around eight or nine years old, at which point it sat in the
closet for a couple years. I started picking it up again around
ten or eleven and then played all the way through school at
Berklee College of Music. The whole time, just being exposed
to literally every kind of music that I could possibly imagine
through my dad, opened my mind to the music and to the
musical possibilities. Add all the fingerstyle, acoustic-based
music where our instruments fit in and music was ingrained
in me at a very young age and gave me somewhat of an
intuitive base for it.
Dan, tell us your musical background.
DAN: I studied audio engineering as an undergraduate,
started out as a performance major then switched to what
is called Music and Technology, an audio engineering degree
through NYU. I worked in recording studios for a while.
Maybe I shouldn’t even mention this, but I worked for Muzak
for a number of years and then worked in a recording studio,
Big Apple Studios in New York City for a number of years.
I really focused on playing electric guitars to start out with.
Then when I got married and had kids, rock and roll bands
didn’t really fit into the picture quite as well. That’s when I
switched over to primarily fingerstyle acoustic instruments
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ecause I could get the kids to bed and play my
acoustic guitar. That kind of lead me in the direction
I’m in now.
Dan, when did you start to see the change in
Sean from just a casual interest to a more serious
involvement?
DAN: I think the bug probably started to hit Sean
when he was doing repair work at the Guitar Center.
He had built electrics, which were great and I could
see right away that he’s 'got it.' He’s an accomplished
musician and I think that makes a huge difference for
someone who is building instruments. For instance,
if you know how to play and what the issues are to
a player, and you’ve seen the really good ones and
the not so good ones, it puts you in a pretty unique
position if you want to carry it on and advance the art
of lutherie.
Sean, where does your passion lie in the crafting of
the guitar?
SEAN: Problem solving: every step is problem solving
in some way. In music school, where everybody was
focusing on getting in a band, being with other people
and doing something collectively, I wanted to go in
the shop, have it be quiet, be in my own space and
be able to focus on a problem and come up with a creative
solution for it. The electrics, for me were kind of just dipping
my toes in; I like this, it is rewarding to me. But I found out I
wanted to take it further. I wanted something a little bit more
scientifically involved because although with the electric, you
can make it look and feel great–as long as it’s a big chunk
of wood and it’s got good pickups in it, it’s going to sound
good. After I did a couple of electrics and became acclimated
to working in the shop, I started looking at what my dad
was doing and the idea of tuning every piece. Everything’s
tuned, and creating a sympathetic resonance between all
these pieces I found really interesting, even more so than the
electrics.
Because you’ve added the acoustic element of air to the
equation…
SEAN: Yes, and all the pieces are interacting together and you
need to kind of control that in a way.
Understanding that there’s a waiting list for Bresnan guitars,
are they built as custom guitars for one person, or is the
waiting list for whatever you're creating?
DAN: It’s some of both, as you might imagine. There are
some folks that have very specific requirements and they
have a dream instrument that they want me to create. But
there are also those who want instant gratification and so we
do both. Our instruments are pretty expensive, they start at
$7500, so most people have an idea of what they want when
buying a guitar at that price. They are usually accomplished
musicians and they may want something as simple as a neck
width or a certain amount of string spacing. Or, it could be
certain aesthetics, like really straight grain, brown-colored
Rosewood. Most people have something they want, so
ours are somewhat custom instruments, but normally I’m
pretty successful in convincing people to allow me artistic
expression on the instrument.
Sean, please share your thoughts on working beside your
father.
SEAN: Just observing his ethic has taught a lot; that even
if it is part of the guitar that no one ever looks at, it has to
be perfect. Whatever it may be; for example the truss rod
access point on the inside of the guitar, it has to be perfect.
Someone might never look at it but we want to know that
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69

if they ever did, they would see that we took the time to
do that. And just observing that level of focus I found really
interesting.
As we interview artists for Sedona ARTSource, one thing
we are finding that many have in common is a passion for
perfection.
DAN: Yes, maybe it’s all artists, but certainly luthiers I know
of for certain. You know your goal is perfection, but you
never get there. You never reach it. But the measurement
of perfection is really related to how granular your
perspective is on it. Because, I can sand a piece of
wood until it’s really smooth and shiny and you
may say, "Well, that’s perfect." Then, I’ll put on the
magnifying visor for you and you’ll say, "Oh there’s
a bunch of scratches in there." So, it’s finding a
balance with that equation because you always
going for it, but you know you’re never going to get
it. The carrot’s always a little further away, and you’re
always running after it. But otherwise, what’s the
purpose of doing it?
And the whole legacy thing is really important. Maybe
as I get older I think more about that stuff but you
know one thing that has really struck me, is the
contact I have with the people I sell the guitars to.
When you’re creating a guitar it’s almost like raising a
child; you’re intimately involved with everything, and
you’re trying to get them on the right path and then
you’re done and then, okay, moving on to the next
one.
'How am I going to make the next one
better?' I may not really be thinking
about what's happening with that
last guitar, but I get calls and emails
from customers, sometimes four or
five years later telling me, "Hey just
wanted to let you know I'm really
digging this guitar. I'm still playing it,
I love it and just wanted to say
‘hi’ and thank you for the guitar
again.”
That opened my eyes to the
fact that it’s not just the one
I’m working on now, it’s all
the stuff that I did before
that’s out there somewhere,
that someone’s playing and it’s
bringing them enjoyment and
maybe it’s inspiring them to write a song that makes millions
of people happy. Who knows in that sense? It’s easy to say,
'Oh well, the heck with it, this is a lot of work.' But then
you’ve got people calling that say, "Hey, you touched me with
this guitar, you impacted my life."
There’s not only the legacy of Bresnan guitars and what
happens later, who’s playing it and who it gets passed to, but
there is the legacy between father and son.
DAN: I see the father-son thing from both sides because I
worked with my dad for a long time and it gave me the
perspective of my father as a person, perspective that
I would not otherwise have had ... a very personal
view of someone I love and who was important in
my life and what made him tick.
You know, I was listening to a Billy Joel interview
once and he was relating a story about his daughter.
They were going through a really rough, tumultuous
time; he was getting divorced from Christie Brinkley and
his daughter came to him and asked what happens to us
when we die. The answer he gave her was that when we
die we go into the hearts of the people we love. I just
thought that was a really good way to put it because it’s
true. Every day I think of my dad, and I think him in ways
of, 'What would my dad have done? How would he have
handled the situation?' So, he’s still guiding me. He still
lives in my heart. Hopefully some of that gets passed on
to Sean, if he’s ready to take it, or if it’s useful to him. I
think it’s a wonderful thing to leave something behind
you.
I think a lot about that, and about the
instruments that are out there. I like
to read Acoustic Guitar Magazine and
usually at the end they have an old
guitar they talk about, like a 1920s
guitar or something. I guess I kind
of fantasize that someday, 80 years
from now someone’s going to dig
into a Bresnan and say, "What makes
this thing work? Wow, look at what
he did here!" And that it’s just an
infinitesimal piece of the world
that hopefully makes it a better
place, a more joyful place.
Thank you both!
Visit BresnanGuitars.com for more
information. ∞
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71

A pair of Allen’s hummingbirds depicting the spider webbing the mother hummingbird will use to glue her nesting
material together, which will also allow the nest to expand as the babies grow. Art by Gamini Ratnavira
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Sedona ARTSource

Dr. H. Ross Hawkins, founder
and executive director of the
International Hummingbird
Society says: “From the start, the
Hummingbird Society has believed
that wildlife art can be used to raise
consciousness. The Hummingbird Society
understands that what we learn to appreciate
and love, we will want to protect. Because of
the beauty of these birds, the world of art plays
a key role in accomplishing this goal.”
The International Hummingbird Society is
a non-profit organization founded in 1996 by
Dr. Hawkins when he was unable to find any
organization established to protect the 10%
of the 300 + species of hummingbirds that are
endangered. The Society’s mission is teaching
about hummingbirds and working to protect
the species at risk of extinction. None of the
hummingbird species in the US are currently
threatened; the ones at risk are found in Central
and South America. Towards that conservation
effort, the Society’s major outreach is the biennial
Sedona Hummingbird Festival.
Fiery-throated hummingbirds
found in Costa Rica.
Art by Gamini Ratnavira
ART FOSTERS A LOVE OF
Hummingbirds
Each year master photographers from all over the continent provide
images to contribute to The Hummingbird Society’s calendar.
Dr. Hawkins says, “It is perhaps surprising for a
conservation organization to acknowledge the role
of art, but that has always been our orientation
since our mission includes education. Even from
our very first festival in Tucson in 2003, the
presentations were coordinated with a wildlife art
show. Featured artists for each of our first three
years were Adele Earnshaw and Joe Garcia, both
well known in Sedona and currently showing
at the Mountain Trails Gallery, and renowned
wildlife artist, Gamini Ratnavira." Gamini was
born and raised in tropical Sri Lanka. He is one
of the top hummingbird artists in the world,
having spent a lifetime honoring nature and
endangered species through his art. He has
always had a popular booth at the Festival’s
Hummingbird Marketplace. This year he gave
a presentation on how he artfully stylizes
hummingbirds. Shown on these pages are two
of his paintings.
Sedona ARTSource
73

Art of course has a vital role
to play in education. Few
people have the chance to
see an albino hummingbird,
a rare occurrence in nature.
But one is shown here
receiving nectar while
pollinating a prized passion
flower that can be as
beautiful as the bird itself.
Many people are amazed to
learn of the sword-billed
hummingbird, whose beak is
longer than its body. In fact,
his bill is so long that it has to
sleep with it up in the air so
rhat he won’t lose his balance.
It is fascinating to learn that
the length, size and shape
of the hummingbird’s beak
may have co-evolved with the
shape of the flower it preferred.
Thus the hummingbird models
important lessons: It teaches
us the wisdom of receiving the
nectar it needs to sustain its life,
and giving back, assuring the
survival and continuation of the
plant through pollination.
Image © José Francisco Haydu, Brazil
Image © José Francisco Haydu, Brazil
Because of the depth of the Passiflora mixta blossom,
shown above, it can be pollinated only by the sword-billed
hummingbird. Their relationship is symbiotic; without this
hummingbird, the flower would cease to exist.
Perhaps you have never thought about the fact that your
breakfast banana also may have been pollinated by a
hummingbird. Shown left is the Green Hermit hummingbird
pollinating the banana blossom in Trinidad, West Indies.
Beth has travelled extensively to see and photograph
hummingbirds in their natural habitat and is in her
thirteenth year of offering her photographic art at the Sedona
Hummingbird Gallery in the Village of Oak Creek.
74
Sedona ARTSource
Image © Beth Kingsley Hawkins, West Indies

Image © Beth Kingsley Hawkins, Arizona
Here in Sedona, one
black-chinned ‘Hummer Mom’ took
her artistic role seriously. The male has a purple necklace
of feathers, designed to attract her attention. Building her nest in the bottom of
the ‘O’ in a welcome sign, she decorated it with purple pansies – a true exterior decorator! Many colors of
pansies were planted below her nest, but amazingly, she only chose the purple to match her mate’s feathers.
Lucky for us in
Sedona, one species
of hummingbird
blesses us with its
presence all winter
long – the Anna’s
hummingbird. The
male’s brilliant
head, helmeted in
vibrant magenta,
attracts the female
who will build a nest and lay two
tiny eggs the size of coffee beans. She will sit on her eggs for two weeks, turning them regularly. The devoted
mother will then feed them for over three weeks until they can fly and find food on their own.
Image © Beth Kingsley Hawkins, Arizona
Sedona ARTSource
75

SEDONA
HUMMINGBIRD
FESTIVAL
The Sedona Hummingbird Festival
incorporates three days of expert
presentations on hummingbirds.
Both a Hummingbird Marketplace
and the festival presentations take
place at the Sedona Performing Arts
Center. Off campus, there are banding
demonstrations, hummingbird gardens
open for learning about the flowers
that attract them and opportunities
for viewing the birds themselves. In
2019 Jacques Ducros flew from France
to share his experience raising a hundred
hummingbirds in his private aviary in
Roquevaire. Saturday night included a
celebratory banquet at Poco Diablo Resort with
nature-inspired music by Meadowlark, featuring
Lynn Trombetta on flute and Rick Cyge on guitar.
ARTISTS AND ARTISANS
PRESENT THEIR WORK
AT THE HUMMINGBIRD
MARKETPLACE
Hal Hjalmarsen of Phoenix, Arizona,
brought his exquisite pottery, much of
it featuring the little birds, shown above.
Superb artist, June Hart who designed the Festival logo for the Society, above, was found in the marketplace sharing
her creations.
Beth Kingsley Hawkins presented “Art Inspired by Hummingbirds” and had a book signing for her two books:
Anna’s in the Snow and Hummy the Magnificent: How a Hummingbird Learned to Read.
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Sedona ARTSource

This unique Festival
combines both the
beauty of hummingbirds
and the beauty of
Sedona. Fun aspects of
the Festival included
Pash Galbavy,
portraying the spirit of
the hummingbird and
encouraging people to
make a special wish
and commerating
it by tying a little
ribbon around their
wrist. Children were
especially fascinated
by her hummingbird
mask. Shown here
is Pash Galbavy
and guest speaker
David Salman at the
Festival.
As founder and executive director
of the Hummingbird Society,
Ross Hawkins gets to hear many
hummingbird stories and experiences.
He also has one of his own to tell.
Here’s how it happened:
“I wish you could have been there that
Saturday morning in May 2008,” Ross
begins. “I was just finishing breakfast
when I heard a knock on the back door.
I opened the door to see my neighbor
Brian, holding an old one gallon
pickle jar under his arm, covered with
aluminum foil with holes punched in it.
‘Ross,’ he said, ‘I found this hummingbird
on the floor of my garage. It must have
gotten shut inside and couldn’t get out. I
didn’t know what to do, but I figured you
would, so I’m bringing her to you.’
“Inside the jar was a black-chinned
hummingbird, and she didn’t look good. I explained to
Brian that she really needed to eat right away, so I took
the jar and the hummingbird from him and told him
I would take care of her. I walked around to the side
yard to one of our many hummingbird feeders. I held
her in my hand and put her beak in one of the feeder
ports. She drank and drank and drank for about
five minutes. Then she stopped. ‘Good,’ I thought to
myself. ‘Now she’ll be able to leave.’
Surprising things can happen when people get into
the spirit of the event. Carole Turek showed up in her
elaborately detailed hand-made hummingbird mask.
Friendships are made and renewed at each of the
Festival events.
For more information, please visit
HummingbirdSociety.org
“I sat there in the lawn chair and held out my
hand with the hummingbird in it. I was expecting
she would fly away immediately, but she didn’t.
She did stand up and blink her eyes at me,
but she just stayed put … for five minutes, ten
minutes … fifteen minutes! I was beginning to
get worried. But then she started flapping her
wings and rose up about 6 inches. I thought,
‘Ah, here she goes.’ But, she didn’t! Instead, she flew toward
my face, and with her tongue and her beak she tickled my
moustache, and then she flew away like a little skyrocket.
Now, I don’t speak hummingbird, but I think I know what
she was trying to say.”
Ross had been working since 1996, with a mission of
protecting and teaching people about hummingbirds. So,
here was a well-deserved ‘thank you’ — and not from just
anyone but from the little bird itself. He loves to say,
“I’ve been kissed by a
hummingbird!”
Sedona ARTSource
77

78
Culinary
Palette
Tasteful, Creative Offerings
from Sedona Restaurants
By Carole & Wade Bell
Hideaway
House
Looking for a twist on classic
Italian cuisine? Look no
further than Hideaway House.
Overlooking Oak Creek in the
heart of Sedona, it boasts beautiful
views of the surrounding red rocks
from its two level dining options.
The décor is rustic, comfortable
and inviting and seating is available
inside, or out on one of the patios.
On a recent visit we found the
staff to be exceptionally warm and
welcoming, very professional and
attentive without being intrusive.
It is clear that the chef prepares the
food with passion and we could
taste the love in every bite, even
as we marveled at the beautiful
presentation. We started with the
wine lovers board. Among the
assortment, the board contained
Sedona ARTSource
a stack of grilled vegetables, all
perfectly done and delicious.
There was also a selection of meats
and cheeses accompanied by
homemade grilled bread. This with
a glass of wine would make for an
especially happy “Happy Hour” or
a light dinner.
We also sampled the garlic cheese
blossom, a round of soft, warm
bread with a balloon of cheese
exploding out from the center and
includes a marinara dipping sauce.
For entrées we had the chicken,
which is marinated for three days
before cooking. It is then prepared
on the grill, under a brick. It was
tender and juicy, with a crispy
brown crust and it melted in
the mouth. It is among the best
chicken we have ever tasted! It was
accompanied by roasted potatoes
and sautéed vegetables.
Our other entrée was a salmon
special that evening, but the
salmon is a menu item, served over
polenta with grilled asparagus
and vegetables. The salmon was
exquisite: done to perfection,
moist and flavorful. Finding well
prepared, fresh seafood in the
desert is a real coup!
We had to sample dessert since
they are all homemade by “Mama”.
Hideaway House
For chocolate lovers, try the dense,
rich Ghirardelli Chocolate Caramel
Espresso Cake topped with sea
salt caramel gelato and whipped
cream. May we say, “decadent”?
For something a bit lighter we had
the Scoop and Shot, the same ice
cream with freshly made espresso
poured over the top. To sum up
our dining experience at Hideaway
House in one word – delicioso!
Reds
Restaurant
Reds is a delightful upscale dining
spot in the heart of West Sedona in
the luxurious Sedona Rouge Hotel
and Spa. Expect to find modern
interpretations of quintessentially
American food as we did on our
recent visit.
We began by sharing a superb
salad: slices of ripe red and yellow
heirloom tomatoes topped with a
mound of creamy Spanish buratta
cheese, drizzled with extra virgin
olive oil. Each bite delivered a
delicious combination of flavors
and provided an overture for what
was to follow.
Steak is a specialty and we were
persuaded to sample both the
melt in your mouth tender filet
mignon topped with a dollop of
blue cheese butter and a savory
sauce, and the New York strip with
its hearty texture and deep flavor,
served with a shallot demi glace.
Both were grilled to perfection and
accompanied by sautéed broccolini
and creamy garlic mashed potatoes.
Excellent! Either of these choices

would more than satisfy the most
discerning meat lover.
Another delectable entrée was the
grilled salmon filet with a white
wine citrus sauce. The salmon was
moist and delicate and served with
herbed rice and sautéed spinach.
The citrus sauce was a sublimely
subtle accompaniment to great fish.
Our taste buds were tingling!
We were delighted to learn that
Reds promotes the farm to table
movement, focusing on locally
sourced ingredients including
produce from a kitchen garden
behind the restaurant.
As a grand finale to a most
memorable meal we shared a
scrumptious crème brûlée, an
exquisite creamy custard with a
brittle sugar crust that cracked
with each dip of a spoon. Also on
the plate was a house made “sugar
cookie”, a lacy confection wrapped
cannoli style and filled with
macerated berries, creating the
perfect complement to the custard.
Save room for this one!
The quiet ambience, the attentive
professional staff, and the excellent
food creatively prepared with
passion and care and artfully
presented, make Reds a stand out
for dining in Sedona.
Gerardo’s
Italian Kitchen
Gerardo’s Italian Kitchen is a real
gem in West Sedona, popular with
locals and visitors alike, as our
recent visit proved. The restaurant
was buzzing with folks waiting
their turn to enjoy authentic Italian
cuisine in a casual setting. There is
a large outdoor patio and bar with
heaters for cooler nights that make
dining al fresco a delightful option.
The staff at Gerardo’s is friendly
and knowledgeable and service is
attentive. The kitchen is open and
we could see Gerardo and his team
busily preparing the dishes as the
tantalizing aromas filled the room.
We started with calamari fritti.
The calamari was lightly breaded,
crispy, tender and delicious. The
dish came with a marinara sauce
that tasted like sweet tomatoes, and
a creamy, yet light, garlic aioli sauce
for dipping. This was a winner!
Gerardo makes wonderful pizza
and we tried his special with
arugula, smoky prosciutto and
creamy burrata, drizzled with
balsamic vinegar. As you pull
apart pieces of the crispy crust
the soft burrata oozes out and the
combination of flavors is exquisite.
and ricotta in a mouthwatering
white wine sauce, served with
shaved ricotta salata and smashed
cherry tomatoes. Each bite was a
burst of flavor that made us dream
of a trip to Italy.
We also enjoyed the Shrimp
Scampi. The delicate shrimp were
sautéed in a lemon, white wine
garlic butter sauce and served over
fresh linguini. Is there anything
better than homemade pasta?
Gerardo’s passion for quality
ingredients, which he turns into
freshly prepared and beautifully
presented dishes, is evident in
every mouthful and we savored
each one!
Desserts vary each night, and
happily for us tiramisu was on
the menu. We were able to taste
the classic as well as a chocolate
espresso version. The chocolate
espresso was rich and mousse-like
– a chocoholic’s delight, but the
classic with its flavored sponge cake
and creamy mascarpone dusted
with cocoa is out of this world! We
also tried mini cannoli, crunchy
pastry rolls filled with sweet creamy
ricotta. Be sure to save room to
at least share one of these treats!
Buon appetito! ∞
REDS Restaurant
A must try entrée (and we did!) is
Mama Pearl’s Florentine Ravioli;
tender ravioli stuffed with spinach
Gerardo's Italian Kitchen
Sedona ARTSource
79

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
80 Browse Sedona the list for ARTSource 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
entertainment 336 AZ-179, Sedona, AZ 86336 928.282.4838
entertainment 7000 AZ-179, Sedona, AZ 86351 928.255.0900
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.
Sedona ARTSource
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Sedona ARTSource
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Sedona Art Galleries - See Map pageS 82-83
B3
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ALT Gallery
2301 W SR 89A
Andrea Smith Gallery
336 SR 179
Aurora Dora Gallery
320 N SR 89A
AZADI Rug Galleries
Creang worldwide beauty for over 200
years. Specializing in Contemporary and
Anque fine rugs.
336 SR 179
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
Eclecc Image Gallery
336 SR 179
El Dorado
101 N SR 89A
El Picaflor Gallery
336 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
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A5
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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
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 • LanningGallery.com
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
Nave Jewelry of Sedona
211 N SR 89A • NaveJewelryGallery.com
Navarro Gallery
336 SR 179
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Sedona Arst Market
2081 W SR 89A
Sedona Arts Center
15 Art Barn Road
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
Stan Rose Images
671 SR 179
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
Epic minerals, rare ancient fossils,
nature inspired home decor,
gemstone jewelry, gis.
320 N SR 89A • TouchstoneGalleries.com
Turquoise Tortoise, A Bryant Nagel Gallery
431 SR 179 • TurquoiseTortoiseGallery.com
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
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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
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
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Quilts Ltd. Gallery
313 SR 179
R.C. Gorman Navajo Gallery
285 Jordan Road
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
Rumi Tree Gallery
40 Soldier Pass
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Visions Fine Art Gallery
Award winning fine art gallery.
World renowned arsts, painngs,
sculptures, and glass.
101 N SR 89A
Vivian Tseng Fine Art
40 Soldier Pass
Vue Gallery
336 SR 179
Wayne B. Light Gallery
40 Soldier Pass Road • WayneBLight.com
ARTSource adversers listed in bold.
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Sedona ARTSource