Sedona ARTSource - Volume Four

VOLUME FOUR 

TWELVE $

Sedona ARTSource 

1

FROM THE PUBLISHER 

One of the significant 

features of our little 

pocket of Arizona 

beauty is an everflowing 

stream of 

water that nourishes 

life along the banks of 

Oak Creek while 

offering red rock 

hikers a welcoming 

water feature as a 

bonus for their efforts. 

A relished, playful moment 

enjoyed in Africa. 

Flowing from all sectors of Sedona is yet another 

stream. One rich with talent and creative diversity; 

one able to refresh the day while rewarding visitors 

and residents alike with a flood of good emotions and 

lasting impressions. The streaming talents emanating 

from creative people in our community provide 

a plethora of rich varietal options in the visual, 

performing, culinary, literary, and design arts. 

For all of us at ArtSource it is a genuine honor to bring 

page after page of insight into qualifications, traditions, 

motivations, and visions of accomplished people 

worthy of a moment in the Arizona sun. 

Greg Lawson 

6 Editor’s Message 

9 City of Sedona 

State of the Arts 

15 Sedona Plein Air Festival 

18 Sweets + Heart = Sweet Art 

Andrea Carusetta 

24 Chamber of Commerce & Tourism Bureau 

26 The Journey to Worldwide Recognition 

Exposures International 

Gallery of Fine Art 

30 Toast of the Town 

Nancy Lattanzi 

Sedona 

ARTSource 

Published by Sedona ArtSource 

2679 West State Route 89A 

Sedona, AZ 86336 

Volume Four 

Design elements by Erick Hale Agency 

and Nadezda Skocajic 

Printed in PRC 

SedonaArtSource.com 

ON OUR COVER 

Sedona Rouge 

By Greg Lawson 

Sedona ArtSource is published twice yearly. 

Copyright © 2018-2020 Sedona ArtSource. All world rights reserved. 

No part of this publication may be reproduced, transmitted, transcribed, stored 

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

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

The publisher assumes no responsibility for errors or omissions. 

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

2 

Sedona ARTSource

CONTENTS 

32 A New Chapter for Sedona’s 

Turquoise Tortoise 

34 Timeless 

Greg Lawson Imagery 

42 Nature as Art 

Touchstone Gallery 

48 Christie Palmer Art 

The Longer You Look 

the More You See 

54 Gathering Nature for Art & Life 

56 Sedona International Film Festival 

Nurturing a Crowd with Music, 

Movies & More 

60 Real Art 

When a Real Estate Office 

is also an Art Gallery 

65 Bresnan Guitars: A Passion for Perfection 

Dan & Sean Bresnan 

72 Art Fosters a Love of Hummingbirds 

78 Culinary Palette 

Tasteful, Creative Offerings 

from Sedona Restaurants 

80 Sedona Live Entertainment Venues 

82 Sedona Gallery Map 

84 Sedona Gallery Index 

18 42 

48 54 

65 

Publisher 

Editor 

Art Director 

Web Master 

Greg Lawson 

Lynn Alison Trombetta 

Kristina Gabrielle 

Rick Cyge 

SedonaArtSource.com 

info@SedonaArtSource.com 

Facebook.com/ArtSourcePublications 

Linda Goldenstein emcees event at Sedona Plein Air Festival. 

Photo by Sedona Arts Center. 

The softest whisper 

or a shout out load, 

art has a voice that 

is O so rousing to 

my soul!” 

— Coddington 


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FROM THE EDITOR 

Greetings! 

The coming months are exciting 

times for artists in Sedona! Annual 

fall events such as the Sedona 

Arts Festival and Sedona Plein Air 

Festival form the cornerstone for 

new art and for visitors to enjoy the 

red rocks and the camaraderie that 

occasions like these can bring. It is 

in this spirit that we share Sedona 

ARTSource’s fourth issue. 

Fall is a time of gathering. In this 

edition we present crafts that 

have been created from such 

gatherings. You’ll get a behind 

the scenes glimpse into the work 

of a local luthier and his son as they handcraft their unique guitars from rare 

woods. There is an up close look at nature as art with features on two real gems: 

dazzling photographs of hummingbirds gathered in the wild from worldwide 

participants in the Sedona Hummingbird Festival and Touchstone Gallery’s 

spectacular offering of mineral and fossil elements gathered into works of art. 

The Kachina House shares beautiful baskets crafted by Native American artisans 

and information about the natural materials gathered for use by the craftsmen. 

Regional cactus and succulent-themed edible delicacies offered by Cake Couture 

and the back story of these creations lend a taste of design as a sensory experience 

for this issue. 

Speaking of sensory art experiences, don’t miss the article about the new 

collaborative events between Sedona International Film Festival and both 

Red Rocks Music Festival and the Verde Valley Sinfonietta this season. The 

Sinfonietta production celebrates the 250th birthdate anniversary of Beethoven 

in an event combining live performance and narration as they show the film, 

“Immortal Beloved.” Sinfonietta soloists, small ensembles and the full orchestra 

will perform the movie soundtrack. 

Additionally, there is a special feature interview with Greg Lawson, ARTSource 

Publisher about his life as a global photographer, publisher and gallery owner. 

Savor the stories behind his magnificent images gathered from locations around 

the world over the past five decades. 

There’s much more to explore within the pages of Sedona ARTSource which we 

have lovingly filled with interviews and articles about artists from many genres 

who live and share their work amongst the beauty that is Sedona. 

Enjoy! 

6 Sedona ARTSource 

Lynn Alison Trombetta ∞


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8 


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! 


9

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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17

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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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?


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. 


21

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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23

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 


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, 


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


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. 


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!” 


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 


“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 ∞ 


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, 


"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 


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 


“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 


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 


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.” 

38 


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.” 


39

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.” ∞ 

40 



41



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." 

42 

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; 


43

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 

44 


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. 


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. 

46 

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 


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.


47

Christie Palmer Art 

The Longer You Look the More You See 


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. 

48 


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. 

50 


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 


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? 

52 


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 

54 


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. ∞ 


55

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 

56 


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!" ∞ 


57 

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 ∞ 

58 


Celebrating 26 Years! 

The BEST independent films from around the world! 

February 22 - March 1, 2020 

www.SedonaFilmFestival.org 928.282.1177 


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.” 


~ 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. 


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 

62 


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 


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. 

64 


BRESNAN 

GUITARS 

A Passion for Perfection 


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 


65

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. 

66 


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? 


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 

68 


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 


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. ∞ 

70 



71

A pair of Allen’s hummingbirds depicting the spider webbing the mother hummingbird will use to glue her nesting 

material together, which will also allow the nest to expand as the babies grow. Art by Gamini Ratnavira 

72 


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. 


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 


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 


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 


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!” 


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 


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 


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 



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. 


81



83

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 


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. 

84

Sedona ARTSource - Volume Four

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