Sedona ARTSource - Volume Four

86336as

Explore Sedona, Arizona's vibrant arts scene with highlights in Volume Four that include artists Christie Palmer, Greg Lawson, and Harold Schifman; a peek into the Max Ernst and Dorothea Tanning art exhibit at Sedona City Hall; sweet culinary creations by Andrea Carusetta; art galleries such as Exposure's International, Turquoise Tortoise, and Touchstone Gallery; Native American baskets from Kachina House; an interview with father and son luthiers Dan and Sean Bresnan; the Sedona International Film Festival's collaboration with the Red Rocks Music Festival and the Verde Valley Sinfonietta; "The Journey" art exhibition at Russ Lyon Sotheby's International; and the Sedona Hummingbird Festival.

VOLUME FOUR

TWELVE $


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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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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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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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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?


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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.”

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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

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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.

Sedona ARTSource

45


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.


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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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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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51

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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Sedona ARTSource


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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67


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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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.

76

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 Art Galleries - See Map pageS 82-83

B3

D3

E2

D3

A5

E2

D3

D3

C3

D3

D2

D3

E3

D3

C3

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

D3

D3

D3

D3

A3

E3

D3

E3

A5

C3

D3

E2

E2

E2

D3

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

B3

E2

B3

A5

E3

B4

D4

D3

D2

C3

E2

E3

A5

A5

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

E3

D2

B3

A3

E1

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

D3

E2

D3

D3

C3

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

D2

C3

D3

C3

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

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