Sedona ARTSource - Volume Four

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

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


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



One of the significant<br />

features of our little<br />

pocket of Arizona<br />

beauty is an everflowing<br />

stream of<br />

water that nourishes<br />

life along the banks of<br />

Oak Creek while<br />

offering red rock<br />

hikers a welcoming<br />

water feature as a<br />

bonus for their efforts.<br />

A relished, playful moment<br />

enjoyed in Africa.<br />

Flowing from all sectors of <strong>Sedona</strong> is yet another<br />

stream. One rich with talent and creative diversity;<br />

one able to refresh the day while rewarding visitors<br />

and residents alike with a flood of good emotions and<br />

lasting impressions. The streaming talents emanating<br />

from creative people in our community provide<br />

a plethora of rich varietal options in the visual,<br />

performing, culinary, literary, and design arts.<br />

For all of us at ArtSource it is a genuine honor to bring<br />

page after page of insight into qualifications, traditions,<br />

motivations, and visions of accomplished people<br />

worthy of a moment in the Arizona sun.<br />

Greg Lawson<br />

6 Editor’s Message<br />

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

State of the Arts<br />

15 <strong>Sedona</strong> Plein Air Festival<br />

18 Sweets + Heart = Sweet Art<br />

Andrea Carusetta<br />

24 Chamber of Commerce & Tourism Bureau<br />

26 The Journey to Worldwide Recognition<br />

Exposures International<br />

Gallery of Fine Art<br />

30 Toast of the Town<br />

Nancy Lattanzi<br />

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

<strong>ARTSource</strong><br />

Published by <strong>Sedona</strong> ArtSource<br />

2679 West State Route 89A<br />

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

<strong>Volume</strong> <strong>Four</strong><br />

Design elements by Erick Hale Agency<br />

and Nadezda Skocajic<br />

Printed in PRC<br />

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


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

By Greg Lawson<br />

<strong>Sedona</strong> ArtSource is published twice yearly.<br />

Copyright © 2018-2020 <strong>Sedona</strong> ArtSource. All world rights reserved.<br />

No part of this publication may be reproduced, transmitted, transcribed, stored<br />

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

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

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

Opinions expressed do not necessarily reflect the views of the publisher.<br />

2<br />

<strong>Sedona</strong> <strong>ARTSource</strong>


32 A New Chapter for <strong>Sedona</strong>’s<br />

Turquoise Tortoise<br />

34 Timeless<br />

Greg Lawson Imagery<br />

42 Nature as Art<br />

Touchstone Gallery<br />

48 Christie Palmer Art<br />

The Longer You Look<br />

the More You See<br />

54 Gathering Nature for Art & Life<br />

56 <strong>Sedona</strong> International Film Festival<br />

Nurturing a Crowd with Music,<br />

Movies & More<br />

60 Real Art<br />

When a Real Estate Office<br />

is also an Art Gallery<br />

65 Bresnan Guitars: A Passion for Perfection<br />

Dan & Sean Bresnan<br />

72 Art Fosters a Love of Hummingbirds<br />

78 Culinary Palette<br />

Tasteful, Creative Offerings<br />

from <strong>Sedona</strong> Restaurants<br />

80 <strong>Sedona</strong> Live Entertainment Venues<br />

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

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

18 42<br />

48 54<br />

65<br />

Publisher<br />

Editor<br />

Art Director<br />

Web Master<br />

Greg Lawson<br />

Lynn Alison Trombetta<br />

Kristina Gabrielle<br />

Rick Cyge<br />

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

info@<strong>Sedona</strong>ArtSource.com<br />

Facebook.com/ArtSourcePublications<br />

Linda Goldenstein emcees event at <strong>Sedona</strong> Plein Air Festival.<br />

Photo by <strong>Sedona</strong> Arts Center.<br />

The softest whisper<br />

or a shout out load,<br />

art has a voice that<br />

is O so rousing to<br />

my soul!”<br />

— Coddington<br />

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


4<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

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



Greetings!<br />

The coming months are exciting<br />

times for artists in <strong>Sedona</strong>! Annual<br />

fall events such as the <strong>Sedona</strong><br />

Arts Festival and <strong>Sedona</strong> Plein Air<br />

Festival form the cornerstone for<br />

new art and for visitors to enjoy the<br />

red rocks and the camaraderie that<br />

occasions like these can bring. It is<br />

in this spirit that we share <strong>Sedona</strong><br />

<strong>ARTSource</strong>’s fourth issue.<br />

Fall is a time of gathering. In this<br />

edition we present crafts that<br />

have been created from such<br />

gatherings. You’ll get a behind<br />

the scenes glimpse into the work<br />

of a local luthier and his son as they handcraft their unique guitars from rare<br />

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

dazzling photographs of hummingbirds gathered in the wild from worldwide<br />

participants in the <strong>Sedona</strong> Hummingbird Festival and Touchstone Gallery’s<br />

spectacular offering of mineral and fossil elements gathered into works of art.<br />

The Kachina House shares beautiful baskets crafted by Native American artisans<br />

and information about the natural materials gathered for use by the craftsmen.<br />

Regional cactus and succulent-themed edible delicacies offered by Cake Couture<br />

and the back story of these creations lend a taste of design as a sensory experience<br />

for this issue.<br />

Speaking of sensory art experiences, don’t miss the article about the new<br />

collaborative events between <strong>Sedona</strong> International Film Festival and both<br />

Red Rocks Music Festival and the Verde Valley Sinfonietta this season. The<br />

Sinfonietta production celebrates the 250th birthdate anniversary of Beethoven<br />

in an event combining live performance and narration as they show the film,<br />

“Immortal Beloved.” Sinfonietta soloists, small ensembles and the full orchestra<br />

will perform the movie soundtrack.<br />

Additionally, there is a special feature interview with Greg Lawson, <strong>ARTSource</strong><br />

Publisher about his life as a global photographer, publisher and gallery owner.<br />

Savor the stories behind his magnificent images gathered from locations around<br />

the world over the past five decades.<br />

There’s much more to explore within the pages of <strong>Sedona</strong> <strong>ARTSource</strong> which we<br />

have lovingly filled with interviews and articles about artists from many genres<br />

who live and share their work amongst the beauty that is <strong>Sedona</strong>.<br />

Enjoy!<br />

6 <strong>Sedona</strong> <strong>ARTSource</strong><br />

Lynn Alison Trombetta ∞

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


8<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

THEArts<br />

STATE<br />

OF<br />

Photo: Rick Dembow<br />


Arts & Culture Coordinator<br />

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

Photo: Nancy Lattanzi<br />

Retired residents display<br />

books created by students<br />

As always there are many creative and significant endeavors<br />

brewing at the City. One memorable mention is the highly<br />

valued Artist in the Classroom program, which relaunched in<br />

August for the new school year and welcomed a dedicated<br />

group of returning seasoned artists. Some of the many skills<br />

these artists possess include: drawing, painting, clay work,<br />

poetry, writing and journalism, as well as music, theater, dance,<br />

photography, sewing and paper arts. In addition, a fresh new<br />

group of talented artists have been hired offering classes in:<br />

storytelling, digital arts and commercial illustration, math<br />

behind the magic, textile arts and weaving, which include an<br />

introduction to natural dyes. All these exciting opportunities<br />

are funded by the City of <strong>Sedona</strong>, so that our artists can collaborate with teachers and offer<br />

students in our local schools integrative creative classes, which augment their curriculum and<br />

inspire learning.<br />

Photo: Nancy Lattanzi<br />

Amelia Simone with<br />

students Emily Frey<br />

and Alana Schrader<br />

Each year I try to elevate the program in some way. Last school year ended with a unique<br />

and moving partnership. I am proud to work with outstanding teacher, Deb Sanders. Her<br />

advanced 6th grade English Language Arts students at West <strong>Sedona</strong> Elementary joined efforts<br />

with <strong>Sedona</strong> Winds Retirement Community. Each student<br />

was assigned a senior to interview and learn about their life.<br />

The students returned to school with the help of Artist in the<br />

Classroom poet, Claire Pearson who guided them in poem<br />

writing, as well as how to perform the poems they've written.<br />

In addition they learned how to create a haiku, metaphor &<br />

simile, cinquain, five senses, free verse, limerick, acrostic and<br />

ballad. Each student created a book of illustrated poems and<br />

brought the books with them when they returned to <strong>Sedona</strong><br />

Winds. In front of a group of seniors, the students performed<br />

their poems and read their books aloud. What an inspirational<br />

and heartwarming experience for both generations. All were<br />

appreciative that these students took time to tell their stories<br />

and gift them with a keepsake about their lives. It was truly a special and indelible way for the<br />

young to honor our elders, which just raised the bar for this wonderful program!<br />

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



Photo: Blake Vadasy<br />

Max Ernst + Dorothea Tanning Exhibit<br />

Presented by Mark Rownd<br />

Mark Rownd<br />

The City Hall Art Rotation program, which exhibits two<br />

artists every four months, has a special exhibit currently<br />

running honoring Max Ernst and Dorothea Tanning, as<br />

well as celebrating the work of abstract painter Harold<br />

Schifman. The Ernst/Tanning exhibit is presented by<br />

artist Mark Rownd, an artist himself, whose interest<br />

runs deep researching these iconic figures. Mark<br />

attended Rice University and his art education focused<br />

on large scale abstract painting and drawing, as well as<br />

art history. He was awarded the Christine Cronies<br />

Sayres award by Rice University for excellence in the<br />

Arts. After completing degrees in Art and Art History,<br />

Mark continued a path in the arts while also becoming<br />

a published composer. His exhibit at City Hall depicts<br />

part of the collection he has assembled during his years<br />

of study of the work of Ernst and Tanning.<br />

Although not a well known story within the history of twentieth<br />

century art, <strong>Sedona</strong> holds a key place in the evolution of the<br />

modern art movement in America during the 1940s and '50s. For<br />

the past several years, Mark has dedicated himself to researching<br />

and uncovering details of this little known part of American art<br />

history and has curated a collection of artworks to help visually<br />

illustrate the story.<br />

The inevitability of world war and the persecution of modern<br />

artists by the Nazi regime led many members of the surrealist<br />

movement in Europe to seek asylum in New York in the early<br />

1940s. Among those seeking asylum was Max Ernst, recognized<br />

as a key founder of the Dada and surrealist movements. Max<br />

arrived in New York in the summer of 1941 along with other well<br />

known surrealists. He became a considerable influence on the<br />

young American painters in New York at that time. Those young<br />

painters would later form the abstract expressionist movement,<br />

which ultimately led to the perceived shift of the center of the<br />

modern art world from Paris to New York.<br />

Monotone Symphony - Mark Rownd<br />

Desert Music - Mark Rownd<br />

Max first visited Arizona on a cross country trip in 1941, soon<br />

after arriving to the US and was profoundly inspired by the<br />

landscape, as well as the art and culture of the Hopi. Less than<br />

two years later Max would return to Arizona with emerging<br />

artist Dorothea Tanning seeking to remove themselves from the<br />

distractions of the busy art and social scene on the east coast.<br />

For several months they focused on creating art in the idyllic<br />

setting alongside the banks of Oak Creek in <strong>Sedona</strong>. Those<br />

artworks were soon exhibited in leading modern art galleries on<br />

the east coast and many are now in museums around the world.<br />

10<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Microbe: de cruelles verdures, 1953<br />

Max Ernst<br />

Vue de ma fenetre, 1960<br />

Max Ernst<br />

Dorothea Tanning and Max Ernst with<br />

Ernst's sculpture, Capricorn, <strong>Sedona</strong><br />

Max and Dorothea would later return to <strong>Sedona</strong> in the mid<br />

1940s to build a home and studio near the area where they<br />

first came to paint. The art they created here would continue<br />

to impact the global art world. In addition to the impact of<br />

the artworks themselves, numerous internationally recognized<br />

artists traveled to <strong>Sedona</strong> to visit Max and Dorothea and were<br />

often similarly inspired by the surreal setting of the red rock<br />

landscape.<br />

Microbe: QUOTIDIENNE, 1953<br />

Max Ernst<br />

Among the artworks on display will be examples of the<br />

microbe series Max began to produce in <strong>Sedona</strong> in 1946,<br />

which are minuscule artworks sometimes no bigger than a postage stamp. Max's microbe<br />

series was featured in Life magazine, January 21, 1952, with the following headline: "Mite-size<br />

Art is Shown Actual Size: Max Ernst Gets $400 for Some of His Surreal 'Microbe' Pictures."<br />

Also included in the article was an iconic image of Max and Dorothea posing with Max's<br />

most famous sculpture "Capricorn," which stood for years in <strong>Sedona</strong> until used as a form<br />

for casting the bronze version. Additional artworks by Max and Dorothea from the <strong>Sedona</strong><br />

period will also be on display.<br />

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


Photos on pages 12-13: Vinh Chung<br />

Blue Rising - Harold Schifman<br />

Harold Schifman’s Exhibit<br />

Harold Schifman is a classically trained artist. He gained<br />

an appreciation for the beauty of the human body after<br />

spending five years under the critical gaze of studio professors.<br />

It is there where he stylistically evolved and like many<br />

Abstract Impressionists, learned to embrace a very personal<br />

understanding of organic shapes and movement. His career<br />

straddled multiple artistic disciplines. He worked in commercial<br />

art, industrial design and as a women's fashion designer in<br />

New York City. He gained international acclaim in 1987 when<br />

he started his company, which became the world's leader in<br />

themed architectural experiences.<br />

Harold Schifman<br />

Schifman's fifty years of traveling and working around the world<br />

has greatly influenced his aesthetic. He studied Asian design<br />

for 10 years in Japan, the minimalist simplicity of form and<br />

color clearly evident in his painting today. His use of metallic<br />

pigments reflect experiences in the Middle East. In 2001 he<br />

moved to Paradise Valley, Arizona, where he built his creative<br />

sanctuary nestled peacefully at the top of Mummy Mountain.<br />

The breathtaking views of desert flora alongside a dynamic<br />

urban skyscape continue to fuel his artistic gestalt. "Anatomical<br />

Deconstructionism" was thus born from Schifman’s both<br />

corporeal and sublime life experiences. This style drizzles<br />

effervescent metallics over a backdrop of primitive, primary<br />

colors. The history of Schifman’s work spans five decades of art.<br />

12<br />

<strong>Sedona</strong> <strong>ARTSource</strong>


The '60s<br />

For decades, America's heartland has<br />

been a breeding ground for worldrenowned<br />

contemporary artists. Harold<br />

Schifman, along with fellow artists Robert<br />

Rauschenberg and Jackson Pollock, all<br />

studied at the Kansas City Art Institute.<br />

Schifman majored in Design and Painting<br />

while at the University of Kansas.<br />

The '70s<br />

Schifman's early career began in<br />

the Midwest where he worked as<br />

a commercial artist and illustrator.<br />

Alongside the likes of Andy Warhol, he<br />

went on to serve as an Art Director<br />

and expanded into fashion and industrial<br />

design in New York.<br />

The '80s / '90s<br />

Fresh Beginning - Harold Schifman<br />

Schifman relocated to the beautiful desert<br />

of Tucson, Arizona and forged one of<br />

the leading design/build companies in the<br />

world. The Larson Company projects<br />

included Mars futuristic simulation for<br />

the Smithsonian Museum, a 150 foot<br />

19th century shipwreck for Disney, an<br />

artificial environment for the world’s<br />

largest aquarium in Osaka Japan, as well as<br />

fantasy characters at the Forum Shops at<br />

Caesars Palace in Las Vegas. As owner of<br />

The Larson Company, Schifman employed<br />

over 450 artisans and maintained offices<br />

in United States, Japan, the Middle East<br />

and Mexico.<br />

2000 and Beyond<br />

Native Rights - Harold Schifman<br />

Schifman sold The Larson Company and<br />

moved to Paradise Valley, a hidden enclave<br />

adjacent to Phoenix, Arizona. There<br />

Schifman returned to his roots: painting.<br />

Most recently, Schifman set up a second<br />

studio amongst the gorgeous red rocks of<br />

<strong>Sedona</strong>, Arizona. He continues to pursue<br />

his true passion of painting and draws<br />

inspiration from the spiritual surroundings.<br />

∞<br />

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


14 <strong>Sedona</strong> <strong>ARTSource</strong>

15TH ANNUAL<br />


Beth Bathe • Joshua Been<br />

Lyn Boyer • Tom Brown<br />

Betty Carr • Bill Cramer<br />

Tracey Frugoli • Laura Gable<br />

Kadin Goldberg • Bruce Gomez<br />

Rick Kinateder • Gretchen Lopez<br />

Mick McGinty • James McGrew<br />

Alison Leigh Menke • Lilli-anne Price<br />

Richard Russel Sneary • Elizabeth St. Hilaire<br />

Matt Sterbenz • Gregory Stocks<br />

Paula Swain • Charles Thomas<br />

Melanie Thompson • Patty Voje<br />

John Yerden<br />

Come see artists painting in the Shangri-La of<br />

the Southwest! <strong>Sedona</strong> is a sublime environment<br />

with stunning beauty and the <strong>Sedona</strong><br />

Arts Center has roots going back 60 years to<br />

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

The <strong>Sedona</strong> Plein Air Festival takes place<br />

during the best weather period of the year at<br />

the height of tourist season and is supported<br />

by a group of very experienced and enthusiastic<br />

staff and volunteers. Our community of<br />

art lovers opens their doors to host the twenty-five<br />

artists from around the country who<br />

have been selected to participate.<br />

Announcing $10,000 in cash prizes including $5000 1st Prize!<br />

"I am thrilled that two astute collectors that<br />

have a love for the <strong>Sedona</strong> Plein Air Festival<br />

have come forward to offer us a special boon.<br />

$10,000 of prize money! Though they wish<br />

to remain anonymous, I am deeply touched<br />

and grateful on behalf of all the artists and the <strong>Sedona</strong> Arts<br />

Center! This raises the prestige of our Festival as it enters<br />

its 15th year and we are happy to announce that we are<br />

spreading the award money throughout the event and creating<br />

a special Best of Show award for $5000!" says Vince<br />

Fazio, Executive Director of the <strong>Sedona</strong> Arts Center.<br />

An opening exhibition of six works by each artist creates a<br />

diverse representation in a variety of media and style incorporating<br />

studio and plein air work. Works done during the<br />

festival are integrated into the ongoing exhibition throughout<br />

the week. Paintings are available for sale to patrons all<br />

week long.<br />

A keynote address mid-week and an awards<br />

gala Friday evening provide added opportunity<br />

to view and purchase. On Friday afternoon,<br />

the artists select their best three works<br />

to be judged for awards. The festival also includes<br />

three paint-out events where all artists<br />

paint and the public is invited to watch. Each<br />

paint-out has its own awards accompanied<br />

by a sales event.<br />

O C T O B E R 1 2 - 1 9 , 2 0 1 9<br />

H O S T E D B Y S E D O N A A R T S C E N T E R<br />

SEDONA ARTS CENTER is one of Northern Arizona’s<br />

most well-established cultural organizations and serves<br />

as the creative heart of <strong>Sedona</strong>. Founded in 1958,<br />

the nonprofit organization is based at the Art Barn in<br />

Uptown and offers year-round classes, exhibitions, festivals,<br />

and cultural events that enhance the creative life<br />

of the Verde Valley. The Center’s Fine Art Gallery, open<br />

daily from 10am to 5pm, promotes the original works of<br />

over 100 local artists and regularly offers<br />

special assistance for collectors and art<br />

buyers, offers private studio visits, and<br />

fosters hundreds of arts education opportunities<br />

each year. For more information,<br />

call the Gallery at 928-282-3865, the<br />

Administrative offices at 928-282-3809 or<br />

visit us online at <strong>Sedona</strong>ArtsCenter.org<br />

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


16 <strong>Sedona</strong> <strong>ARTSource</strong>

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


Sweets<br />

+ Heart<br />

Andrea Carusetta<br />

= Sweet Art<br />

Creating a desire for sweets is the easy part!<br />

Andrea Carusetta, owner of CREAM<br />

& Cake Couture and Cake Couture<br />

Coffee & Dessert in <strong>Sedona</strong> transforms<br />

basic ingredients into visual, culinary and<br />

artistic adventures. “To bite or not to bite”<br />

becomes the decision when faced with her<br />

delectable creations. Beautiful as they are,<br />

the desire to taste will always win out.<br />

We interviewed Andrea recently about<br />

what brought her to today, with two shops<br />

in the famous Tlaquepaque Arts & Crafts<br />

Village where her thriving businesses serve<br />

cactus cupcakes, sliced wedding cake and<br />

homemade ice cream to those who travel<br />

through, and her stunning cakes mark<br />

eventful dates throughout <strong>Sedona</strong>.<br />

Interviewed by Lynn Alison Trombetta<br />

18<br />

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

JP Photography

<strong>Sedona</strong> <strong>ARTSource</strong>: How did you become involved in the<br />

baking industry?<br />

Andrea Carusetta: It was quite a coincidence actually,<br />

because I was trained as an artist and I had been<br />

working for years. I was a traditional old school oil<br />

painter; I did commissioned portraits and things like<br />

that and I loved it. I loved art and I also loved baking.<br />

Those are my two loves. I started baking when I was five<br />

or six.<br />

I wasn’t making enough money, so I decided to go into<br />

commercial art. Soon, the creativity just went out the<br />

window. I did that for a while and was making a lot of<br />

money until I sort of hit a wall. I realized, “I can’t do<br />

that anymore … oh, I want to open a bakery!” I opened<br />

this little hole-in-a-wall bakery in a strip mall. I didn’t<br />

have a clue what I was doing, but I knew how to make a<br />

few things and I started to build a clientele. Six months<br />

passed and one day one of my customers came in and<br />

told me her daughter was getting married and they<br />

wanted me to make my white chocolate raspberry cake<br />

for her wedding. It had never occurred to me to do<br />

wedding cakes.<br />

I said, “Hmm, a wedding cake … how hard can that be?”<br />

Famous last words?<br />

Right, I’m going to date myself by saying<br />

this, but I drove to Barnes & Noble<br />

and came home with a stack of books,<br />

everything I could find on wedding<br />

cakes! It was pre-internet, the mid-'90s when I started.<br />

I did my first wedding cake and I never looked back. I<br />

thought I’d died and gone to heaven because suddenly<br />

I had my art back and I had my baking — I had the<br />

magic combination!<br />

Your creations are beautiful to look at. That creates an<br />

irresistible desire in people right away!<br />

I always say that with food, first you see it with your<br />

eyes, then you smell it and then you taste it. So it’s a<br />

sense process. I think many people forget that first step;<br />

food as art.<br />

What is the best thing about creating wedding cakes?<br />

I think it’s the art form in it. When people ask, “Whoa<br />

how much is that cake?” I need to point out, “You’re<br />

not buying a cake. I can sell you a cake and it would<br />

cost you a hundred dollars. This one will cost you eight<br />

hundred dollars. Oh, but it has a sugared geode, or<br />

it’s got sugar succulents made petal by petal by hand<br />

and it’s a showpiece, it’s a centerpiece.” And then they<br />

understand; they are paying for art and a cake. And<br />

for the ones that don’t want the showpiece, they end<br />

up getting a simple buttercream cake with some fresh<br />

flowers on it and even those can be beautiful. I’ve done<br />

some really pretty cakes that were just so simple and<br />

easy.<br />

You have a small shop in Tlaquepaque and a new larger<br />

operation in Tlaquepaque North. How do they differ?

20 <strong>Sedona</strong> <strong>ARTSource</strong><br />

JP Photography

It will be three years in December since we opened<br />

the small shop, Cake Couture Coffee & Dessert in<br />

Tlaquepaque South. It was a whim; it was a scary whim!<br />

I wasn’t sure I was doing the right thing when I did it. I<br />

was very nervous, but it was successful right from the<br />

get-go.<br />

In the new CREAM & Cake Couture in Tlaquepaque<br />

North, we are offering ice cream ... like ‘crazy good’<br />

handmade ice cream and cake and coffee. We didn’t<br />

want to reproduce what we were doing in the south<br />

shop. We’re selling whole cakes<br />

or you can come in and get a slice<br />

of cake and really good coffee and<br />

cappuccino and all that stuff. We<br />

have a big kitchen there, that’s<br />

where all the wedding cakes are<br />

made.<br />

What is your favorite cake?<br />

The cake with cascading sugar<br />

succulents — that’s my thing<br />

right now. I love cactus and<br />

succulents; and they’re so amazing<br />

when they’re made out of sugar!<br />

How have requests from couples changed in the last few<br />

years?<br />

Everything changed so dramatically with the<br />

millennials, and I’ll tell you I think it kind of went<br />

full circle. During the first decade of 2000 there was a<br />

television show called Food Network Challenge.<br />

It was the first and only real cake show. They had great<br />

people doing really fine work and competing and that<br />

show ran for several years. We were on the show three<br />

times. We took two silver medals. Then we did a show<br />

called Ultimate Cake Off and competed against three<br />

other teams and for that one we won a $10,000 first<br />

prize.<br />

Where I was going with that is, when that show started<br />

it put cakes on the map. A couple of things happened;<br />

there was a huge boom in colored cakes and fondant<br />

cake colors with accents bows<br />

and decorations that hadn’t been<br />

happening before. Along with that,<br />

products started to appear in the<br />

marketplace. It used to be that if<br />

you wanted to use colored fondant,<br />

you could get maybe three colors,<br />

and for anything special you would<br />

color it yourself with food coloring<br />

and work it and knead it for hours.<br />

Suddenly, there were 200 colors of<br />

fondant for sale as a result of these<br />

cakes being popularized by this TV<br />

show and everyone wanted colored<br />

cakes and lots of fondant.<br />

And it went full circle: The millennials came of age<br />

and they said, “Ick, food coloring! We want three<br />

ingredients or less. How little icing can you put on a<br />

cake?” They were the ones behind the newest trend<br />

called “Naked Cakes.” It’s a cake where all the icing is<br />

scraped off and you can see the cake through it. There<br />

might be fresh flowers on top, but that’s pretty much it.<br />

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


So, that’s what’s happening. It’s been a total pendulum<br />

swing: the millennials want just a little buttercream on a<br />

naked cake, really simple.<br />

What trend is most popular now and for the future?<br />

The biggest trend I’ve seen is the cactus and succulents.<br />

You might think it makes sense because it’s Arizona<br />

and we have those here, but it’s an international trend.<br />

I did the first succulent cake about eight years ago,<br />

just crazy out of the blue did it and I had never seen<br />

it done before. I follow cake artists on Instagram all<br />

over the world and they’re all doing them. This trend<br />

is everywhere, but it’s most native to us. I don’t see it<br />

going away anytime soon. It’s the neatest trend I’ve<br />

seen in the 19 years I’ve been doing cakes. It’s a kind of<br />

signature look for Arizona cakes and Arizona weddings,<br />

so it may stay with us permanently and fade out in other<br />

places.<br />

We do all things cactus. In the new shop we do<br />

birthday-size cakes decorated with cactus and we<br />

also have cactus-shaped cutout ice cream cakes.<br />

Clearly, all this beautiful baking magic is not a one-person<br />

job!<br />

Correct, there’s a Chief Chef and a baker and between<br />

the three of us we produce everything. I’m at a point<br />

now that I’m doing the decorating — I earned that.<br />

Do you know what I love about this business more than<br />

anything? Our work is about celebration. Life is hard,<br />

we are all dealing with all kinds of stuff, you know?<br />

People get sick, they die, we lose loved ones, we have<br />

hardships and I think it’s really important to celebrate<br />

everything you can about life. Celebrate every birthday,<br />

celebrate Valentine’s Day, and celebrate Christmas<br />

and New Year’s. Just do it! The celebrations make life<br />

more pleasant and pleasurable all the way around. Our<br />

celebrations and our happy moments have a chance to<br />

balance out the hardness of life. We feel celebrations<br />

are important to people, so our treats go to the hearts<br />

of celebration, whether it’s with cake or cupcakes or ice<br />

cream.<br />

<strong>Sedona</strong> <strong>ARTSource</strong> offers a unique focus on artists in the<br />

community, and we’re sure our readers would love a glimpse<br />

into your thoughts as the artist who shares her creations with<br />

the world.<br />

I love that about your magazine. It’s a great, great thing.<br />

As far as being an artist, one can be an artist with<br />

food and just be focused on how everything looks,<br />

but there’s also an art to a recipe. There’s an art to<br />

combining flavors, and I have a really strong ethic about<br />

good, quality ingredients. The quality and the integrity<br />

of the ingredients and the combination of flavors —<br />

these are as important as the appearance.<br />

When I first started doing wedding cakes people would<br />

often say, “Oh, that’s really a pretty cake but I bet it<br />

tastes awful.” That was how people thought of wedding<br />

cakes a decade ago. But now, it’s got to be a fabulous<br />

gourmet dessert cake and it surprises people that a<br />

wedding cake has a layer of mango cheesecake in the<br />

middle. So there’s that aspect to the art as well. For me<br />

the art is combining elements to create a new “whole”<br />

that somehow pleases the soul.<br />

SAS: Thank you, Andrea.<br />

See more at <strong>Sedona</strong>Cakes.com and visit the Cake<br />

Couture shops in Tlaquepaque Arts & Crafts Village. ∞<br />

22<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

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


<strong>Sedona</strong> Chamber of Commerce and Tourism Bureau<br />

It’s really quite impossible for <strong>Sedona</strong> to leave you feeling flat. You don’t arrive<br />

here, and say “Eh, it’s Okay.” Our research backs up that sentiment – 97% of<br />

visitors confirm that <strong>Sedona</strong> is above average or excellent. That’s what comes over<br />

you when you’re here – a positive and lasting gift from this beautiful city.<br />

Photo: Mal Cooper<br />


Director of Marketing,<br />

<strong>Sedona</strong> Chamber of Commerce<br />

& Tourism Bureau<br />

<strong>Sedona</strong> is an incredible place to visit, as well as a wonderful place to live, work and<br />

play. Its towering red rocks, far-reaching blue skies, and lush wooded canyons<br />

continue to amaze all who spend time here. Both visitors and locals fall in love<br />

with this small city on a daily basis, and for those with a bent for the arts, <strong>Sedona</strong> is<br />

especially alluring. Why? Because everywhere you look, and with every single turn<br />

you take, you see inspiring creations. Layered, rugged, emotional and raw natural<br />

beauty – perfect for instigating a creative streak, whether you’re making art or<br />

buying it.<br />

<strong>Sedona</strong> has a rich history as an arts and culture destination. We have a longstanding<br />

reputation as a City Animated by the Arts, with over 80 galleries and<br />

shops amidst an eclectic local artist community. There are many weekly, monthly<br />

and ongoing events that celebrate all art forms which are proudly featured on<br />

Visit<strong>Sedona</strong>.com. We continue to grow in the area of culinary and wine. We have a<br />

deep respect for Native American culture, western history, and nearby heritage sites<br />

and national monuments.<br />

Ready to get out there and be inspired? We have a few ways to get you started.<br />

Begin your gallery tour of <strong>Sedona</strong> on foot with the<br />

GPS-enabled web map ArtWalk<strong>Sedona</strong>.com. Peruse the<br />

numerous galleries throughout West <strong>Sedona</strong>, Uptown and<br />

Gallery Row (from the “Y” down through Tlaquepaque<br />

Arts & Crafts Village and up SR 179 including Hozho and<br />

Hillside plazas). As The New York Times claimed, <strong>Sedona</strong><br />

is “A ‘New-West’ enclave of art galleries”, and the galleries<br />

certainly deliver. The varying styles of art in this city are<br />

immense and come from both emerging and established<br />

artists. From Western bronzes, Native American weavings<br />

and contemporary jewelry, to woodcarvings, landscape<br />

photography and fine art paintings, and much more. By<br />

now, you’re feeling inspired and moved by all that you’re<br />

experiencing in this magical city. Let that feeling guide you<br />

as you choose an art piece that resonates most with you.<br />

Take it home as a memory of your visit that will enrich<br />

your life for years to come.<br />

Interested in public art? You can find that on<br />

ArtWalk<strong>Sedona</strong>.com, too. Just click on the teal bar at<br />

the top and a list of filters will drop down. Check “Public<br />

Art Locations” (as well as Restaurants, Parking, and even<br />

Parks and Trailheads) to view the nearly 30 public art<br />

pieces peppered throughout the city that range in topic<br />

from Native American heritage to <strong>Sedona</strong>’s orchard and<br />

farming history.<br />

You can also use the printed Public Art Map distributed at<br />

the <strong>Sedona</strong> Chamber of Commerce Official Visitor Center<br />

at 331 Forest Road and SR 89A to guide you to the various<br />

pieces. This printed fold-out map helps art lovers find<br />

their way to all of <strong>Sedona</strong>’s works of public art, including<br />

sculptures and installations by talented artists such as<br />

John M. Soderberg, John Waddell, W. Stanley Proctor and<br />

James N. Muir, to name just a few.<br />

<strong>Sedona</strong>’s Secret 7 is a guide to “secret” gems.<br />

<strong>Sedona</strong>Secret7.com focuses on seven categories of<br />

attractions: hiking, biking, vistas, picnics, spiritual,<br />

stargazing, and arts and culture. In the arts and culture<br />

24<br />

<strong>Sedona</strong> <strong>ARTSource</strong>



section, we promote the areas in <strong>Sedona</strong> that house arts-related shops<br />

and galleries such as Gallery Row, the Village of Oak Creek, Uptown<br />

<strong>Sedona</strong>, and West <strong>Sedona</strong>, as well as heritage sites that represent the<br />

original artwork of ancient <strong>Sedona</strong> inhabitants.<br />

HOPI<br />


If it’s the beginning of the month, join the festivities at 1st Friday in<br />

the Galleries. From 5:00 – 8:00 p.m., members of the <strong>Sedona</strong> Gallery<br />

Association offer a monthly showcase of artists, art events and special<br />

exhibits. This event gives <strong>Sedona</strong> visitors and residents the chance<br />

to socialize with other art lovers – both novice collectors and longstanding<br />

supporters – in a relaxed and open reception environment<br />

complete with light refreshments.<br />


These are just some of the ways you can experience the arts in <strong>Sedona</strong>.<br />

You’ll need at least three days to indulge your senses – longer is<br />

even better. Check out Visit<strong>Sedona</strong>.com to explore your options for<br />

lodging, dining, galleries, tours, events and entertainment.<br />

While you’re here, let the beauty of the area sweep you away. Allow<br />

the cool breezes and sweet smell of Oak Creek Canyon move<br />

you further from the outside world. Let your eyes gaze upon the<br />

magnificent red rocks and vibrant vista sunsets. And, give yourself the<br />

chance to add a layer to your being that is alive and artistic. <strong>Sedona</strong> is<br />

the Most Beautiful Place on Earth, and it has the ability to change you.<br />

Let it. ∞<br />

ZUNI<br />


Kachina House<br />

2920 Hopi<br />

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

Drive <strong>Sedona</strong>,<br />

<strong>ARTSource</strong><br />

AZ 86336<br />

25<br />

928-204-9750 info@kachinahouse.com

Exposures International Gallery of Fine Art<br />

26<br />

T he Journey to<br />

Worldwide Recognition<br />

“This is the most beautiful gallery I have ever seen!” proclaimed an excited visitor to Exposures International<br />

Gallery of Fine Art in <strong>Sedona</strong>. “How can there be this much artistic talent in one place?” expressed another.<br />

This amazing gallery, recognized as “One of the largest and most unique galleries in the world,” features<br />

spectacular contemporary, traditional and southwestern art created by gifted, world-class artists.<br />

Upon arriving at Exposures,<br />

located in the heart of <strong>Sedona</strong>,<br />

the impressive outside display of<br />

monumental sculpture will take<br />

your breath away and the grand<br />

sculpture garden is certainly as<br />

memorable. A walk down the<br />

meandering art-lined pathway<br />

brings an irresistible invitation<br />

to explore 20,000-square-feet<br />

of artistic display. Respected<br />

author Judy Harper describes<br />

it as “Going from black and<br />

white to an energy-charged,<br />

over-the-rainbow OZ.” Striking<br />

bronze sculptures, provocative<br />

fountains, color-splashed<br />

paintings, photography of the<br />

Southwest, designer jewelry,<br />

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

The American Art Awards honored Exposures International<br />

as one of the “25 Best Galleries in America.”<br />

This expansive gallery features some of the finest contemporary<br />

and southwestern art in the world.

“Exposures International<br />

cares for the image of <strong>Sedona</strong><br />

for arriving visitors. Welcoming<br />

them to the gallery as well as being<br />

a welcoming gateway to our entire<br />

community.” — Marty Herman, owner<br />

Barbara Westwood<br />

Amber Heart<br />

18kt Yellow Gold<br />

Diamonds<br />

Tesa Michaels | Bursting with Passion<br />

Painting with Semi-Precious Stones | 48"h x 72"w<br />

stunning glass creations, plus<br />

sculpted bells that awaken<br />

visual and aural senses, are<br />

created by some of today’s finest<br />

living artists. With twists and turns<br />

through cozy viewing rooms the gallery<br />

unveils itself slowly, a perfect reflection<br />

of its devoted owners, Marty and<br />

Diane Herman, and their very talented,<br />

professional staff.<br />

For over two decades Exposures has been<br />

voted “Best Art Gallery in <strong>Sedona</strong>,” selected<br />

“Best Art Gallery in Arizona,” recognized<br />

as “Best Jewelry Gallery in <strong>Sedona</strong>,” and<br />

named “One of the 25 Best Galleries in<br />

America.” These accolades further enhance<br />

Marty and Diane’s commitment to the arts<br />

and culture of <strong>Sedona</strong>.<br />

The gallery’s reputation for artistic<br />

excellence reaches audiences worldwide.<br />

Collectors as far away as Europe and Asia<br />

look to <strong>Sedona</strong> for their art collections. These<br />

collectors often coordinate their travel plans to<br />

ensure they will be present during the gallery’s<br />

highly anticipated two-weekend Fall Shows, the<br />

annual Valentine’s Show, and selected one-artist<br />

shows. Locals and visitors alike know that these<br />

events are full of fun, magic and a feast for the<br />

eyes.<br />

The story from tiny business to <strong>Sedona</strong>’s artistic<br />

gateway is fascinating. Marty Herman was named<br />

a Top 100 Executive by the Los Angeles Times,<br />

and Diane Herman had already accumulated<br />

years of experience in performing and visual arts.<br />

Together, their efforts combined with positive<br />

energy and enthusiasm for life led to Exposures<br />

Bill Worrell | The Beginning<br />

<strong>Sedona</strong> <strong>ARTSource</strong> 27<br />

Limited Edition Bronze | 18.5"h x 9.5"w

Exposures International Gallery of Fine Art<br />

28<br />

Walking into<br />

Exposures<br />

International<br />

visitors are greeted<br />

with a large, open and<br />

dynamic space filled<br />

with magnificent colors<br />

and visual textures.<br />

Rebecca Tobey | Prometheus<br />

<strong>Sedona</strong> Limited <strong>ARTSource</strong> Edition Bronze | 19"h x 11"w x 10”d<br />

International’s explosion onto the Southwest art scene. The dynamic owners<br />

point out that their gallery began as a labor of love for the arts, a small business<br />

whose huge success has been decades in the making.<br />

The journey to worldwide recognition began in 1996 when Marty and Diane<br />

united their passion for the arts with their desire to energize and enhance<br />

<strong>Sedona</strong>’s arts and culture community into a renowned oasis of art. Through<br />

perseverance, dedication and determination they helped to support<br />

<strong>Sedona</strong> as the cultural gem of the Southwest, and a top destination<br />

for art lovers and connoisseurs. As their dream evolved<br />

the gallery collection grew from six artists in 1996<br />

to more than 100 today, and the gallery’s<br />

space experienced multiple expansions<br />

transitioning from 1,700-square-feet of<br />

art display to over 20,000. Marty Herman<br />

explains, “We wanted to bring our vision of a gallery to<br />

<strong>Sedona</strong>. One with fun, enthusiasm and professionalism with<br />

good old-fashioned values incorporated in a contemporary way.<br />

We believe that the arts are, and should be, an essential part of<br />

everyday life. We built the gallery on a foundation of honesty,<br />

integrity, hard work and love.” Hoyt Johnson, former publisher<br />

of <strong>Sedona</strong> Magazine, may have described it best when he wrote,<br />

“Marty and Diane established this gallery with a dance from<br />

their soul and a labor of love – love of art, artists, and this<br />

community.”<br />

As Exposures gains mature esteem, artists from around the<br />

world seek to be a part of this special and evolving gallery.<br />

From over 2,000 artist submissions each year the gallery<br />

staff narrows the selection to less than a handful for gallery<br />

representation. “Many of our artists are the most talented in<br />

the world for their unique medium,” states gallery manager<br />

Debbie Ibarrola. Sales manager, Jennifer Garcia adds, “Our<br />

professional staff will assist you with information about<br />

that perfect piece you fall in love with for that perfect<br />

place.”<br />

The partnership that is formed between the gallery<br />

and the artists has led to much of the success. One<br />

of the gallery’s more unique artists, painter Jd<br />

Challenger explains, “These wonderful people<br />

are an absolute blessing to the art world, it doesn’t

Jd Challenger<br />

Crow Raven Society<br />

Original Acrylic<br />

36”h x 26”w<br />

get any better than this!” Famed<br />

bronze artist Rebecca Tobey tells<br />

clients, “Marty and Diane have<br />

created the most breathtaking<br />

gallery in the country!” And one of<br />

the gallery’s newest artists, painter<br />

Tesa Michaels, says “I get so much<br />

encouragement from this gallery.<br />

There is an uplifting freedom to<br />

be an artist.” World-class fine art<br />

jeweler Barbara Westwood proudly<br />

displays her entire, one-of-a-kind<br />

collection at Exposures. And<br />

sculptor/painter/poet Bill Worrell,<br />

who has been one of the gallery’s<br />

most famous and prolific artists for<br />

over twenty years, shows all of his<br />

artwork in the awe-inspiring east<br />

wing of the gallery<br />

Walking into Exposures<br />

International today, visitors are<br />

greeted with smiles, and an open,<br />

dynamic space. The atmosphere in<br />

the gallery is warm and welcoming,<br />

the artwork is meticulously<br />

merchandised, and the music<br />

is guaranteed to get happy feet<br />

tapping. Every inch of display is<br />

put to use, and art lovers quickly<br />

surrender to the joy of being<br />

completely surrounded by a world<br />

of extraordinarily talented artists.<br />

Exposures International Gallery of Fine Art<br />

561 State Route 179, <strong>Sedona</strong>, Arizona 86336<br />

ExposuresFineArt.com • Sales@ExposuresFineArt.com<br />

928-282-1125<br />

Marty Herman’s philosophy is<br />

simple, “We want visitors to<br />

be happy and enjoy the gallery<br />

experience. Our mission has<br />

been to create an unparalleled<br />

environment of artistic wonder.<br />

Art seems to make people smile.<br />

Art is for the soul!”<br />

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



“Nancy Lattanzi keeps the arts in the eyes and ears of<br />

the community, especially in the classrooms of local<br />

schools. As head of the Artist in the Classroom, she<br />

knows what local artists can do and she knows how to<br />

integrate them into the classrooms, helping teachers<br />

and students learn new ways to create art as they pursue<br />

their studies. Not only does Nancy do her job well, she<br />

adds enthusiasm and excitement for all involved.”<br />

Joan Bourque<br />

Photo by Rick Dembow<br />

Toast of the Town<br />

<strong>Sedona</strong> <strong>ARTSource</strong> is pleased<br />

to host the Toast of the<br />

Town feature which honors<br />

those responsible for helping<br />

create the vibrant <strong>Sedona</strong><br />

art scene. In this issue we<br />

share in a community toast<br />

that recognizes the City of<br />

<strong>Sedona</strong>’s Arts and Culture<br />

Coordinator, Nancy Lattanzi.<br />

“Nancy is an exemplary team member and overall a great<br />

person to know and work with. What I love most about<br />

Nancy is that she has a personality to match her job. She<br />

brings a splash of color, a hint of music and a passionate,<br />

emotive quality to everything she does. The community<br />

and our organization are better because she’s here.”<br />

Justin Clifton<br />

“Whenever budgets for public education are tight, the<br />

arts are among the first programs cut. Thanks are due<br />

to the City of <strong>Sedona</strong> for creating a position for Arts<br />

and Culture Coordinator and filling that position with Nancy<br />

Lattanzi. Nancy’s Artist In the Classroom program places gifted<br />

artists from all genres into <strong>Sedona</strong>’s public schools to teach<br />

curriculum-related subjects through the arts. It’s never too early<br />

to introduce children to the arts. Or perhaps I should say, it’s<br />

to everyone’s benefit if we can preserve and cultivate children’s<br />

natural artistic inclinations. Nancy understands this. Her<br />

programs help fill the gaps in curriculum resulting from funding<br />

shortages.”<br />

Pam Frazier<br />

“Nancy Lattanzi beautifully carries the vision for <strong>Sedona</strong> as a city<br />

animated by the arts. She is a joyful inspiration and understands<br />

the importance of the arts in <strong>Sedona</strong>‘s past and present.”<br />

Linda Goldenstein<br />

“Nancy Lattanzi is a one-woman whirlwind for the arts, an<br />

inclusive and wide-reaching seeker of collaboration. She leaves<br />

enthusiasm in her wake, and builds connections, generating<br />

enthusiasm for the arts everywhere she goes.”<br />

Lisa Schnebly Heidinger<br />

30<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

“I was involved in the roundabout art project for five years so the installation of The Open Gate<br />

by Reagan Word (shown opposite) has special meaning for me.” — Nancy Lattanzi<br />

“I'll admit, when the City<br />

decided to disband our Art in<br />

Public Places committee, I was<br />

disappointed. But, I'll have to<br />

say, Nancy has done a great<br />

job. Working with her on the<br />

installation of ‘The Storytelling<br />

Cowboy’ and his friends at the<br />

<strong>Sedona</strong> Heritage Museum was<br />

such a pleasure! We should all be<br />

proud to have such a talented and<br />

gracious person working for our<br />

city.”<br />

Susan Kliewer<br />

“Nancy Lattanzi's energy and<br />

enthusiasm for the arts and<br />

the artists of <strong>Sedona</strong> is only<br />

matched by her creativity in<br />

finding ways for the City to be<br />

a major supporter of the arts<br />

community. The Mayor's Arts<br />

Awards, the rotating Art Exhibits<br />

in City Hall Council Chambers<br />

and Conference Rooms, and<br />

the Artists in the Classroom<br />

programs are just a few examples<br />

of successful programs. To me the<br />

Artists in the Classroom program<br />

is so important at this time when<br />

so many schools have had to cut<br />

funding for the arts. Through this<br />

program the students learn from<br />

artists in the community and this<br />

can inspire students for life.”<br />

Barbara Litrell<br />

“Nancy Lattanzi is like the<br />

Duracell bunny. Her energy is<br />

boundless. She is authentic, and<br />

has a deep passion for the work<br />

she is doing. She would love to<br />

see artwork all over <strong>Sedona</strong> and<br />

to bring success to the many<br />

emerging artists here. She would<br />

love to expand the art offerings<br />

in the classroom so that young<br />

people can explore their creativity<br />

and express it in undiscovered<br />

media. Nancy is a relationship<br />

builder and gets enormous<br />

satisfaction bringing together<br />

individuals or organizations<br />

who share common visions and<br />

goals. She is extremely organized,<br />

stays focused, and has excellent<br />

follow through. Nancy is one of<br />

the most caring and nurturing<br />

people I know. She brings all<br />

these experiences and aspects of<br />

herself into furthering the arts<br />

and culture in our community.”<br />

Harriet McInnis<br />

“Nancy Lattanzi is one of<br />

<strong>Sedona</strong>'s greatest assets. Her<br />

positive energy is unmatched in<br />

the art community.”<br />

Mike Medow<br />

“Nancy has grown the city’s<br />

Artist in the Classroom program<br />

to include a wide range of artists<br />

of all genres who provide a<br />

unique, hands-on experience<br />

for <strong>Sedona</strong>’s students. She also<br />

produces our ‘Moment of Art’<br />

at the first Council meeting<br />

each month, as well as the<br />

Mayor’s Arts Awards. She stays<br />

in touch with the many arts<br />

organizations in our community,<br />

and she works with our Parks<br />

and Recreation Department on<br />

arts programming at the Hub. As<br />

an artist herself, she brings true<br />

passion to ensuring that <strong>Sedona</strong><br />

is truly animated by the arts, as<br />

our mission statement proclaims.<br />

The energy she brings to her work<br />

never ceases to amaze me.”<br />

Mayor Sandy Moriarty<br />

“Nancy Lattanzi is the heart<br />

and soul of the Artist In The<br />

Classroom program. It is her<br />

vision and organization that year<br />

after year recruits, promotes and<br />

energizes the artists and teachers<br />

who in turn inspire students<br />

within the program. Having<br />

worked with Nancy on numerous<br />

artist projects throughout my<br />

years as a <strong>Sedona</strong> Oak Creek<br />

Public School Teacher, I can<br />

honestly say that her leadership<br />

and passion sustain the program<br />

and it thrives.”<br />

Deb Sanders<br />

“<strong>Sedona</strong> is so blessed to have<br />

Nancy in our community!<br />

Her vivacious personality and<br />

heartwarming spirit invites<br />

everyone that meets her to love<br />

her. Her contribution to the arts<br />

is so incredibly important. We<br />

are a city of Arts and Culture<br />

and she leads the way in our<br />

representation that makes us ALL<br />

PROUD! If you can't tell by now, I<br />

am a Lattanzi fan!”<br />

Glenn Scarpelli<br />

“Nancy Lattanzi is a breath of<br />

fresh air for the arts community<br />

here in <strong>Sedona</strong>. She does so<br />

much to create awareness of the<br />

arts in <strong>Sedona</strong>. She nurtures an<br />

extraordinary and vibrant art<br />

scene in our community, and<br />

she is a visionary for all that is<br />

possible in the future. <strong>Sedona</strong><br />

truly is a city ‘animated by the<br />

arts’, and Nancy is one of the key<br />

brushstrokes in creating that<br />

canvas!”<br />

Patrick Schweiss ∞<br />

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




By Jennifer Bryant Nagel, MFA PhD<br />

32<br />

In 2007, the Heard Museum joined<br />

with Smithsonian’s National<br />

Museum of the American<br />

Indian to present Remix: New<br />

Modernities in a Post-Indian<br />

World. The exhibition, cocurated<br />

by Gerald McMaster<br />

and Joe Baker, featured a diverse<br />

group of young Native American<br />

artists whose work challenges<br />

traditional, external, essentializing<br />

conceptions of “Indianness.”<br />

Over a decade later, Remix<br />

remains evidence of the growing<br />

significance of “Post-Indian” in<br />

contemporary arts discourse.<br />

Like other forms of post-identity,<br />

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

"Parrot" by Ira Lujan<br />

18"h x 10"w x 10"d<br />

hand-blown studio glass<br />

Post-Indian has been a critical<br />

watchword since it was first<br />

coined by Anishinaabe writer<br />

Gerald Vizenor in 1994. Now, in<br />

the twenty-first century, claims<br />

of “post-ness” are alternately<br />

consciousness-raising and<br />

mired in controversy. At their<br />

most problematic, post-identity<br />

formulations can exist as denials of<br />

difference, harkening back to the<br />

universalism of early twentiethcentury<br />

modernist aesthetics<br />

long understood to privilege the<br />

particular tastes of a dominant<br />

culture. But Vizenor, among<br />

others, reminds readers that<br />

“Indian” in the American context

Opposite Top:<br />

"Claus Mouser" by Tony Abeyta<br />

23"h x 27"w<br />

mixed media<br />

has no indigenous equivalent,<br />

originates from the geographical<br />

confusion of fifteenth-century<br />

Europeans, and is inseparable from<br />

the history of “surveillance and<br />

domination” of indigenous persons<br />

by their colonizers. Post-Indian, in<br />

this framing, is not a term of naïve<br />

universalism but a forward-looking<br />

return to pre-colonial subjectivity,<br />

self-determination, and communal<br />

affiliation.<br />

When we purchased the Turquoise<br />

Tortoise and Lanning galleries<br />

in 2017, Thomas and I saw an<br />

exciting opportunity to build on<br />

the incredible foundation of artists<br />

represented in both spaces with an<br />

eye towards current movements in<br />

the arts, including constructions<br />

of Post-Indianness. We wondered<br />

then, as we continue to wonder,<br />

to what extent a gallery that<br />

features Native American art as a<br />

distinct sub-category of American<br />

(or global) art might someday be<br />

viewed as an anachronism. Our<br />

first major change was to rid the<br />

Tortoise of its trading-post design,<br />

an archaism we felt did little to show the vitality of contemporary<br />

works. Then we began to think hard about how Tortoise’s<br />

diverse group of talented, insightful, progressive artists would be<br />

best represented: in a gallery that explicitly identifies their work<br />

as Native-American, or as part of a wider collection of current<br />

multicultural and international art.<br />

Bryant Nagel Galleries<br />

Our goal is not to take a definite position in the debates<br />

over “post-ness,” but rather to use our galleries to reflect the<br />

complexities of these discussions, and to further dialogue<br />

among <strong>Sedona</strong>’s local and visiting art-lovers. With this in<br />

mind, we recently merged Lanning and Turquoise Tortoise,<br />

seamlessly combining the art while maintaining the ideological<br />

integrity of each gallery. We are committed to continuing the<br />

Tortoise’s 40-year history of knowledgeably representing the<br />

best contemporary Native American artists and artisans. We<br />

furthermore believe it’s essential that the Tortoise’s artists be<br />

considered in conversation with, rather than separate from,<br />

significant non-indigenous contemporary artists. We hope you’ll<br />

visit the redesigned Bryant Nagel Galleries and see for yourself.<br />

"Tatanka" by LarryYazzie<br />

15"h x 21"w x 10"d<br />

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

calcite<br />


Greg Lawson images are found in cottages and castles the world over. They’ve been displayed in every<br />

state in America, from the White House in Washington D.C. to cabins in the Rockies. The common<br />

denominator is a love of nature and an appreciation for the timeless Lawson style. Learn about this<br />

prolific naturalist photographer in the following article.<br />


Greg Lawson interviewed by Lynn Alison Trombetta<br />

There is a certain timeless quality<br />

to Greg Lawson imagery that<br />

captures the viewer at the onset.<br />

Whether you view a photograph<br />

he created forty years ago, or one<br />

captured four weeks ago, the style is<br />

consistent. For our interview, Lawson,<br />

Publisher of <strong>ARTSource</strong>, reflected<br />

on over five decades of being a global<br />

photographer and over 35 years as a<br />

publisher and gallerist. In this issue,<br />

he shares thoughts on his work.<br />

34<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

“In my case any ‘timelessness’<br />

comes from the standpoint of style.<br />

Like the red rocks of <strong>Sedona</strong>, as<br />

things change around me, I stay<br />

pretty much the same. I’ve chosen<br />

to avoid fads in photography. My<br />

purpose and intent in capturing<br />

every image is to bring the viewer<br />

inside; to be right there with me in<br />

the field. When people identify with<br />

that sensitivity and can imagine<br />

themselves on-site with me, I feel<br />

that my work has achieved its goal;<br />

my labors, my art have fulfilled their<br />

purpose.”<br />

He continued, “The body of work<br />

is strong because it encompasses<br />

decades of performance and it has<br />

employed all significant capture<br />

methods. Most photographers of<br />

the 21st century don’t use film,<br />

and many only think of it as a<br />

historic stepping-stone to modern<br />

digital capture methods. However,<br />

my background is steeped in that<br />

historic use, including medium<br />

format and large format professional<br />

films that required a lot of custodial<br />

oversight due to their sensitivities.<br />

I did the heavy-duty photography<br />

work required of the day, hauling<br />

gargantuan equipment and gear<br />

around to difficult places. That’s<br />

my history, that’s what I am made<br />

of. It still influences what I capture,<br />

it slows me down and makes me<br />

work to capture the image wanted<br />

rather than relying on the rapid-fire<br />

collection and disposal methods<br />

common today.”<br />

Lawson seemed wistful. “I’m still<br />

the same little boy who was excited<br />

about life when I was young. I would<br />

go to the library every week to read<br />

books about distant places and have<br />

my heart and mind energized with<br />

the possibility of someday finding<br />

my way there.”<br />

He had just returned from a trip<br />

to photograph migratory birds,<br />

and as he spoke his eyes danced<br />

with delight, like that little boy he<br />

mentioned. “Two weeks ago I was in<br />

Nebraska, excited to be with a halfa-million<br />

Sandhill Cranes. These<br />

majestic birds are on a mission they<br />

fulfill every year. They had flown<br />

from a variety of North American<br />

wintering sites and gathered together<br />

in the Platte River Valley like they do<br />

each spring before dispersing into far<br />

reaches of northern latitudes, places<br />

like Siberia or northern Canada. I<br />

was present with these birds during<br />

the morning ritual of leaving their<br />

overnight roosts along river margins.<br />

I was present in the banquet fields<br />

in the day as they made preparation<br />

for the big flight that was coming up,<br />

Evening’s blush from a position in West <strong>Sedona</strong> | Inset: Pacific wave <strong>Sedona</strong> action, Northern <strong>ARTSource</strong> California35

and I was present when they returned<br />

for the night.”<br />

When asked about his creative<br />

process while photographing the<br />

cranes on location, he replied, “I’m<br />

a discoverer. I didn’t have a strict<br />

itinerary in mind, I just wanted<br />

to show up and let the experience<br />

guide me. And it was a wonderful<br />

experience for the naturalist.<br />

They bugle in flight — they’re<br />

communicating something to all<br />

that can hear. For me the bugling is<br />

a beautiful sound. I am enraptured<br />

with them; I'm at one with each and<br />

every bird.”<br />

He is not simply telling the story;<br />

he is reliving and revealing what<br />

propels him. “The nature experience<br />

is excitingly beautiful, and that’s<br />

the way I feel about everything I do.<br />

Chasing animals around in a safari<br />

group is not my thing as it often<br />

introduces stresses I prefer not to<br />

engage in. Wherever possible, I have<br />

bonded with each animal you see<br />

in my collection. I spent time with<br />

them. My work is intimate. This is<br />

true even when working in an urban<br />

setting. Whether with the land or its<br />

occupants, I feel an intimacy with<br />

our planetary place.”<br />

Lawson pointed to the image of a<br />

bobcat family he photographed years<br />

ago. After spending much quiet time<br />

near them and returning often to the<br />

site of their den, the mother bobcat<br />

trusted him enough to bring her kits<br />

into the open. “I was going back to<br />

see them every day for a perhaps<br />

a week, and it was a wonderful<br />

experience. Again, I’m not a rapidfire<br />

image shooter. Instead, I want the<br />

intimate experience. I want to look in<br />

those eyes and I want to speak softly<br />

to that creature; spending time trying<br />

to connect with it to whatever degree<br />

that is possible. We are all earthlings<br />

and to brush next to one another<br />

in peace and acquaintanceship is a<br />

priceless privilege.”<br />

36<br />

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

Left: Substantial Illusion, Las Vegas<br />

Opposite: Grizzly Catch, Alaska;<br />

Ancient Arms, the millennial reach<br />

of a Coast Live Oak

A thousand bugles herald the dawn as Sandhill Cranes take to the skies along the Platte River, Nebraska<br />

Change is Inevitable<br />

Much of Lawson’s work reflects a<br />

consciousness for recording elements<br />

of our world that will ultimately<br />

change or be lost. For example,<br />

his photograph of Florida’s former<br />

Senator Tree is a testament to the<br />

impermanence of things. At 125 feet<br />

tall with a trunk diameter of 17.5<br />

feet, it was the largest and oldest bald<br />

cypress tree in the world.<br />

“That tree was one of the most<br />

important trees in the natural history<br />

of North America. It endured for<br />

millennia through whatever nature<br />

threw its way, but was brought down<br />

by the acts of a thoughtless person.<br />

Though it died of its wounds several<br />

years ago, artists have recorded its<br />

splendor and saved it for posterity.<br />

My collection of trees includes<br />

another wonderful titan known<br />

as the Great Oak. It resides on<br />

private property in California and<br />

is reputedly the oldest live oak in<br />

the world. It excites me to be in the<br />

presence of these icons of life; to<br />

have honored them by recording their<br />

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


waiting. I set up a tripod. I used the<br />

time and energy I had available to<br />

capture something that was enticing<br />

to me. The purpose of my capture<br />

is to share it with other people, to<br />

bring them into a moment or place<br />

in time they may have missed or<br />

might never experience. Even though<br />

we are all passing through the same<br />

corridors of life together, we see and<br />

sense things in our own unique way.<br />

When a person chooses to own one<br />

of my pieces of work, they have also<br />

acquired the deliberate spirit of this<br />

artist embedded in it.”<br />

existence for others to contemplate<br />

brings unspeakable joy.”<br />

At the time of our interview, Notre<br />

Dame Cathedral was on fire. Lawson<br />

lamented, “Such tragic things<br />

happen. Life alters life.” He gestured<br />

toward another art piece. “To have<br />

captured that building in St. Mark’s<br />

Square in Venice and to have it<br />

preserved in these dimensions as a<br />

tribute to the artists, the designers<br />

and the builders responsible for<br />

its temporal existence is a great<br />

privilege for me. Someday this will<br />

be gone, but in our hearts and in<br />

our minds it can live forever. To be<br />

involved in maintaining the memory<br />

of such places and magnificent<br />

things is a privilege I care about. One<br />

side of my work is about preserving<br />

elements of nature that will someday<br />

go away.”<br />

Pointing to another architectural<br />

piece he said, “Yes, I accept human<br />

creations as nature too, because it is<br />

our nature to design and build them.”<br />

The Photographer’s Eye<br />

When viewing Lawson’s work, the<br />

sense of being in the exact place<br />

and time where he was standing<br />

to photograph draws you in. The<br />

point of perspective is so present<br />

you literally are seeing it through<br />

his eyes. He likes to remind us he<br />

wasn’t just passing through, pushing<br />

a button on the camera, “I was<br />

Lawson expressed how important<br />

and significant this may be for people<br />

who love to collect an artist’s work.<br />

“When we own a piece of art by<br />

someone we value, we bond with<br />

them and we typically acknowledge<br />

the name of the artist when we talk<br />

about the piece. Instead of saying<br />

‘That’s a wonderful view of Paris,’<br />

we would likely say ‘That’s a<br />

wonderful view of Paris by Monet.’<br />

That acknowledgement of the artist<br />

becomes part and parcel of the<br />

package.”<br />

An example of this might include his<br />

beautiful image of the Eiffel Tower.<br />

If you know the city of Paris and you<br />

enjoy the trees and the misty weather<br />

patterns of France, then his large<br />

format photographic print embodies<br />

all that, but it also imparts a mood<br />

that is pure Lawson, even though its<br />

every bit the city. On this piece he<br />

commented, “We call Paris‘The City<br />

of Light’... I also think of it as the<br />

‘City of Life’ because all strata of life<br />

coexist here, from the seedy to the<br />

sumptuous. People who love Paris<br />

relish the many artful expressions<br />

that the city reflects and inspires; I<br />

do and this piece in turn reflects my<br />

vision of it: light and dark, nature<br />

and contrivance, abstraction and<br />

certainty, it's all here.”<br />

38<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Opposite: As Paris Sleeps<br />

Above: Peer to Peer, Namibia<br />

Right: Celestial <strong>Sedona</strong><br />

Beginnings<br />

Lawson’s mother gave him his first<br />

camera in 1958 in New York City.<br />

“I fell in love with the idea of freezing<br />

elements into that little box and just walking down the<br />

street with them.”<br />

Interestingly, a decade later someone stole all of his<br />

original photographs and cameras. “Everything I had<br />

was gone in the twinkling of an eye — everything, it all<br />

disappeared. I’d arrived in Pittsburgh and pulled into<br />

a little convenience store. I went inside to buy a cup of<br />

coffee. When I came out my car was gone along with all<br />

that I owned. I had loaded everything that was ‘Greg’<br />

into that old Cadillac, including my camera, my art, my<br />

saxophone — I used play a saxophone and a bass guitar.<br />

I was never any good at it, but I relished it. Anyway,<br />

everything was gone in an instant. They never found the<br />

car. To my knowledge they never found anything.”<br />

However, Lawson found his future wife in Pittsburgh on<br />

that fortuitous day as she and two girlfriends traveled to<br />

the west coast from Philadelphia. He smiled, “Their car<br />

broke down in Pittsburgh and we all ended up going to<br />

something like Travelers Aid for help. That’s where Faye<br />

and I met. We struck up a conversation. A couple years<br />

later we married.”<br />

Following the loss of equipment he went through a period<br />

where he did no photography. “I had to start all over<br />

again with gear. For a couple of years I got by with a little<br />

Instamatic camera. When we were newly married we<br />

moved to England, but we weren’t able to find our way.<br />

We came back to Philadelphia where our first daughter<br />

was born. We stayed there for eight months and then<br />

headed back out west. Once there, I bought a new camera<br />

and began pursuing my images again.”<br />

Today, Lawson has an enormous body of work, likely one<br />

of the most significant collections in the world amassed<br />

by an independent producer. A thin slice of this collection<br />

is on display in his West <strong>Sedona</strong> gallery showroom along<br />

with a few of his historic working cameras.<br />

oh, the PlaCes he’ll go…<br />

Throughout his career Lawson has photographed many<br />

unusual and sometimes nearly unattainable locations.<br />

“When I go to a place, I don’t necessarily have a checklist<br />

of the things I’m going to do. I rent a car or get off in a<br />

subway station and I just walk and look for the things<br />

that turn my head. As I said, I’m a discoverer — that’s<br />

always been my style. I love to go out there and find what<br />

I can find, linger with whatever commands my attention.”<br />

However, he admitted to having an agenda when he went<br />

to Abu Dhabi to visit a particular architectural treasure,<br />

and again when he drove 300 miles in Australia because<br />

he wanted to capture the occasional bloom of a beautiful<br />

desert plant that was reportedly in flower… if he could<br />

only find it. He smiled, “Those kinds of things energize<br />

and excite me. It’s just that little boy coming out again!<br />

Above all, I want to be intimate in my work. I thrive on<br />

the little bonding experiences you can have with those<br />

outside of self; it’s an electrifying experience… there’s<br />

something in the air and the participants are excited when<br />

it happens. I believe it happens more often than not for me<br />

because I’m attuned to it. I’m attuned to it because I’ve<br />

been through life and I accept all the difference it offers.<br />

I am an Earthling. That is to say, I belong to Earth, and<br />

it’s with the entire planet and its inhabitants that I feel at<br />

home.”<br />

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


Night of Day, August 21, 2017<br />

A Walk in the Fog, Sa Pa<br />

He continued, “I’m not put off by most political or social<br />

differences. I’ve gone to places many other people would<br />

shun, like North Korea for example; places you really<br />

have to want to visit, and,<br />

of course, I want to. I love<br />

the people everywhere,<br />

even though I don’t like<br />

the fact that entrenched<br />

pressures and ideologies<br />

divide us away from each<br />

other. The hawk will fly<br />

over a border, and no<br />

one questions it. But we<br />

humans who are part and<br />

parcel of the planet — we<br />

must seek permission to<br />

go.”<br />

Since nature’s magnetism<br />

doesn’t stop at the border<br />

neither does Lawson’s<br />

ardor for it. “My passion<br />

for the magnificent<br />

whole earth doesn’t falter<br />

because of a stop sign. I<br />

love this planet and the<br />

elements of it — all of<br />

them. I’m attuned to the<br />

physical side of the earth<br />

and I am attuned to the<br />

spiritual side. When it<br />

comes to spirituality, we Thoughtful on the Pond<br />

find ourselves led to many<br />

different places by a variety of persuasions, yet I have<br />

found that none of us are really so far apart. We are each<br />

highly privileged to pass this way. Though we grapple<br />

with differences introduced by cultural influences and<br />

though we permit walls of separation between us, in the<br />

final analysis we must acknowledge that, oh yes, there is<br />

a sweet red apple, there is a tart green one and there is a<br />

mellow yellow one, but the<br />

core of all of them is pretty<br />

much the same.”<br />

To one final question<br />

about self-analysis he<br />

replied. “My work is<br />

abstractive realism.<br />

While some will favor<br />

the obvious abstraction, I<br />

favor realism in my art for<br />

reasons associated with<br />

the potential connectivity<br />

that can be made between<br />

it and the original event.<br />

Even though the twodimensional<br />

reflection<br />

is an abstraction and not<br />

an authentic portrayal, it<br />

offers a lasting link to the<br />

substantial reality and, of<br />

course to the artist too.”<br />

Lawson thoughtfully<br />

added, “As time carries<br />

us further and further<br />

from birth, we witness<br />

great changes all around<br />

us. However, elements of<br />

stability in the constancy<br />

of nature, and even in the kind of conscious preservation<br />

that artists like myself purposefully embody serve to<br />

anchor us to a timelessness that we not only need, but<br />

many of us cherish.” ∞<br />

40<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

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


Touchstone Gallery<br />

Interviewed by Lynn Alison Trombetta<br />

The artist, Michelangelo believed his task as the<br />

sculptor was not to create, but simply to chip away<br />

the excess, to reveal the figures he made from stone.<br />

A visit to Touchstone Gallery in <strong>Sedona</strong> leads one to<br />

ponder such things.<br />

Ancient, undiscovered beauty hides within an<br />

unassuming grey rock or lies just underfoot in a<br />

dinosaur-era lakebed where modern man may seldom<br />

travel. Working with paleontologists, quarry masters,<br />

mine owners and even the old-timer 'rock hounds,'<br />

gallery owners, Joe and Sue dedicate themselves to<br />

revealing such treasures. Joe often comments,<br />

"Mother Nature is truly the oldest Master. Our<br />

preparators have done world class jobs of removing<br />

the excess to reveal the natural masterpieces Mother<br />

Nature created."<br />

Joe added, "I always like to talk to customers about<br />

the demanding life of the 186 individual folks that<br />

we work with to find the collections we present for<br />

them to consider. These folks work almost entirely<br />

in very lonely and remote areas of the world. They<br />

work long days in often searing heat conditions to<br />

unearth these treasures. For every piece that is<br />

genuinely worthy of Touchstone customers, they<br />

remove 'excess rock' weighing many tons. They then<br />

spend most of the winter ‘prepping’ the pieces, often<br />

removing tiny bits of excess with sandblasting-type<br />

equipment. This life is very demanding and you can<br />

understand that getting a décor-worthy natural history<br />

piece involves significantly more work and expertise<br />

than just about anything a customer is likely to consider<br />

for display in their home."<br />

During a recent interview with <strong>ARTSource</strong>,<br />

Gallery Manager, Heather Hakola explained, "So<br />

much of what the owners do means working directly<br />

with those who are involved in unearthing the<br />

specimens. Each treasure is natural history art and<br />

we offer certificates of authenticity with all the<br />

pieces because they are very collectible."<br />

42<br />

<strong>Sedona</strong> Dyplomystus and <strong>ARTSource</strong><br />

Knightia fossil plate 18” x 26”

many pieces are truly world class<br />

like the Green River palm fossils<br />

and the giant petrified woods. We<br />

like to think of Susan and Joe as<br />

curators who showcase exquisite<br />

minerals and fossils, it is their special<br />

art form, and we are proud to offer<br />

the very best of what both nature<br />

and man have to offer."<br />

She added. "We invite everyone to<br />

join us in celebrating Touchstone<br />

Gallery’s tenth Anniversary! For<br />

this special event, we are featuring<br />

a wide range of minerals and fossils<br />

found within the state of Arizona."<br />

The Minerals<br />

Ancient ammonite fossil from the Upper Jurassic period<br />

Art within the Art<br />

— The “Curators”<br />

Joe and Susan work as conservators<br />

for the prizes they offer, using their<br />

many years of experience with<br />

gemstone, mineral and fossil<br />

collecting. The business began 40<br />

years ago in New Mexico. October<br />

2019 marks their tenth Anniversary<br />

in the Uptown <strong>Sedona</strong> location.<br />

Touchstone Gallery dazzles visitors<br />

with a full-spectrum of minerals,<br />

fossils and jewelry creations.<br />

Incredible human size amethyst<br />

geodes are often part of the<br />

eye-catching display of nature’s art.<br />

Heather and the knowledgeable<br />

staff are eager to offer tours of the<br />

collection with special insight into<br />

unusual mineral compositions and<br />

how the crystals and fossils formed.<br />

Huge amethyst wings with rare copper oxide exterior 38" x 43"<br />

Heather commented, "We work<br />

diligently collecting, designing and<br />

planning the ways we present these<br />

specimens. We create the stands<br />

and museum mount brackets to<br />

integrate the individual pieces, but<br />

ultimately they are museumquality.<br />

All are authentic fossils;<br />

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


Luminescent layers of light, rare cave onyx vessel<br />

21" x 18" x 11"<br />

Natural multi-colored onyx vessel with organic edge<br />

26" x 16" x 11"<br />

One of the larger treasures on<br />

exhibit is a megalithic amethyst<br />

geode ring with deep purple points<br />

surounded by a matrix layer of<br />

green copper oxide and chalcedony.<br />

Heather exclaimed, "We designed<br />

and built the custom stand so it<br />

rotates. It’s a one-of-a-kind piece<br />

and the latest treasure to arrive<br />

here and is so much fun to see!<br />

There’s also the super-rare geode<br />

from Brazil with green copper<br />

oxide around the exterior which is<br />

a very unusual formation. The wings<br />

themselves weigh about 75 pounds<br />

each and we built custom museum<br />

mount stands for their life-size<br />

presentation."<br />

Amethyst is found in ancient<br />

volcanic areas. As lava cooled it<br />

created gas bubbles in the basalt.<br />

Over eons, minerals and moisture<br />

filled in the gaps and became<br />

crystals. Specimens are acquired<br />

through hard rock mining and are<br />

hand selected, prepared in special<br />

ways and mounted to best present<br />

their beauty.<br />

"The art within the art is that we<br />

present each specimen so they<br />

can be enjoyed and viewed from<br />

anywhere in the room and the<br />

bases are designed around the<br />

mineral structure, as with the citrine<br />

geode cocktail table," Heather said.<br />

Collectors, curators and interior<br />

designers especially appreciate the<br />

idea of nature as art.<br />

Many unusual natural items pair well<br />

with wall art and other unique items<br />

such as the petrified wood mounted<br />

on bases. Peacock marble vases and<br />

hand-carved cave onyx vessels are<br />

stunning focal points for design.<br />

"The quarry where rare cave onyx<br />

is found is in Southern Mexico. A<br />

young member of the family that<br />

owns the quarry is the artisan who<br />

carves out the stone to display the<br />

natural formation. So first, nature<br />

creates; it takes the Earth many<br />

millions of years to form a piece<br />

of onyx this size. Quite a number<br />

of these were formed in caves<br />

where there were stalagmites and<br />

stalactites. Over time, the ‘bowl’<br />

almost filled in solid. Quarry<br />

masters with really good eyes spot<br />

these particular stones and set<br />

them aside."<br />

The surrounding matrix and<br />

material that filled the "bowl" is<br />

meticulously removed, combining<br />

nature and craft. "The particularly<br />

large specimen in the photo was<br />

a unique solid boulder that had all<br />

this beautiful banding and a natural<br />

rind on the edge. We have these in<br />

various sizes and they are among<br />

our most popular collections.<br />

They’re such unique, spectacular<br />

pieces that people often design<br />

entire rooms around them."<br />

Left: Megalithic amethyst geode<br />

ring on rotating metal stand<br />

5' 10" x 30”<br />

Right: Citrine geode cocktail table<br />

with 36” glass top<br />

44<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Shown Here:<br />

Citrine, mookaite, ammonite<br />

with golden gems - necklace set<br />

Bottom Left:<br />

Turquoise, ammolite-ammonite<br />

and pyrite with multi-gemstones necklace<br />

Bottom Right:<br />

"Original" watermelon tourmaline - signature necklace<br />

Touchstone also offers a large selection of contemporary gemstone jewelry, each made from individually selected, genuine stones<br />

and fossils. Gallery owner, Susan works with Southwest artists to modify, design and create exclusive signature, necklaces, limited<br />

edition jewelry using natural color tourmaline and other enticing stones that showcase the relationship between nature and art.<br />

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


of North America. Heather described<br />

how the entire continent was closer<br />

to the equator, so it was much more<br />

tropical and that’s why you see the<br />

giant palms and things like banana<br />

leaves fossilized in lakes similar in size<br />

to our modern Great Lakes.<br />

46<br />

Museum quality petrified "rainbow" wood slice 22" x 27" — Arizona’s state fossil<br />

The Fossils<br />

— Captured in Time<br />

arizona petrified wood<br />

"Back in the day everybody who went<br />

down Route 66 with a station wagon<br />

gathered some rocks in the back with<br />

the kids — you know it was a 'thing.'"<br />

Heather laughed as she stood next<br />

to an impressive, rainbow-striped<br />

cut stone. "This is the largest single<br />

petrified wood specimen available<br />

right now; it’s over six feet long and<br />

over three feet wide with natural<br />

bark on each side. There are only two<br />

places in North America that have the<br />

equipment to make the larger cuts like<br />

these."<br />

Petrified wood is Arizona’s state fossil<br />

and the rainbow-colored specimens<br />

were named after the state. "Only in<br />

Arizona do you get this kind of<br />

coloration, and it is the most<br />

sought-after on earth because it<br />

displays all these natural colors that<br />

go all the way through the specimen.<br />

It’s amazing — it’s 180 to 225 million<br />

years old!"<br />

We consider petrified wood a fossil<br />

because it formed when the plant<br />

material became buried by sediment.<br />

This sediment protected the wood<br />

from decay brought about by exposure<br />

to oxygen and organisms. Minerals<br />

such as silica, calcite, and pyrite in<br />

groundwater flowed through the<br />

sediment, and replaced the original<br />

plant. The result is a fossil with<br />

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

preserved details of the original<br />

wood or other organic material.<br />

giant palm frond<br />

A great example of Nature’s craft are<br />

the rare giant palm leaves, fossilized<br />

complete in their original form in<br />

fossil plates so large that when<br />

prepared for display they dominate<br />

a wall.<br />

"There is a quarry here in the United<br />

States that has two paleontologists<br />

we have worked with over many<br />

years and we acquire their finest<br />

discoveries. This really is Nature’s art<br />

and as with the custom design work<br />

for displaying the minerals and fossils,<br />

there is special engineering involved<br />

in designing these structures for<br />

display. Again, it’s the best of human<br />

and nature."<br />

Another large piece showcased<br />

the impression of a banana leaf<br />

with several small, unfortunate fish<br />

fossilized during a time when a large<br />

freshwater lake covered a portion<br />

"While we may have some of the most<br />

impressive fossils in North America<br />

right now, we also have hand selected<br />

a number of other fossils and had<br />

them custom framed for us with<br />

different burl woods to complement<br />

them. They are very handsome in a<br />

home library or an office environment<br />

and are affordable," Heather added.<br />

"Many people who invest in fine art<br />

also collect natural history art because<br />

they flow together so beautifully. You<br />

can have a priceless painting on the<br />

wall and compliment it with a beautiful<br />

sliced petrified wood table or any of<br />

these unique mineral formations."<br />

Some of Touchstone Gallery’s most<br />

intriguing treasures of nature are the<br />

rare animal fossils, such as mammoth<br />

tusks and the Mosasaurus fossil, an<br />

extinct carnivorous aquatic lizard<br />

which Heather explained was 'the<br />

T-Rex of the ocean.' "They were giants.<br />

This is an ultra-rare specimen in the<br />

gallery! Where else can you go see an<br />

entire Mosasaurus skull? It’s like<br />

visiting a natural history museum,<br />

there’s something here for everyone<br />

and we encourage people to touch<br />

and experience the nature that is art!"<br />

Visit TouchstoneGalleries.com<br />

for more information. ∞<br />

Above: Mosasaurus jaw section. See<br />

entire fossilized skull at Touchstone<br />

Gallery.<br />

Left: Fossil palm, wooly mammoth tusk,<br />

peacock marble vase and amethyst<br />

geode coffee table.

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


Christie Palmer Art<br />

The Longer You Look the More You See<br />

Interviewed by Lynn Alison Trombetta<br />

Christie Palmer<br />

With the subtleties of airbrush and the nuances<br />

of watercolor, artist Christie Palmer plays with<br />

the edges of paint and reality. Her brilliantly<br />

hued landscapes, inherently recognizable<br />

as some longed-for horizon, capture the<br />

ever-changing elements of place and time.<br />

We visited her studio overlooking <strong>Sedona</strong>’s<br />

distant red rock vistas where she shared insight<br />

into the inspiration and motivation for her<br />

original water media work.<br />

<strong>Sedona</strong> <strong>ARTSource</strong>: Your original acrylic works look as if<br />

you airbrushed them in fine layers onto the surface!<br />

Christie Palmer: Yes, I’ve heard that before from<br />

people familiar with airbrush. I’d never really seen<br />

an airbrush until a few years ago when someone was<br />

demonstrating one at the Watercolor Society meeting.<br />

You have to clean the brush all the time and I knew<br />

that I would not have the patience to do that. But<br />

then, I have the patience to keep layering colors and<br />

smoothing things out and somebody else might not<br />

have the patience to do that.<br />

So, you develop the piece through blending many layers?<br />

Yes, it adds the subtlety to the painting.<br />

People know you for integrating landscape and abstraction<br />

in your work, which comes across as both dramatic and yet<br />

serene. One can’t help but notice your atypical use of acrylic<br />

paints on watercolor paper.<br />

48<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Majestic Heights

Surreal Arizona<br />

Yes, I’ve done different things for certain shows. I<br />

do like working on the gesso board in all different<br />

thicknesses as well.<br />

Where is your work offered in <strong>Sedona</strong>?<br />

I’m in the <strong>Sedona</strong> Arts Center. I’ve also been in other<br />

galleries. I’ve been involved with <strong>Sedona</strong> Visual<br />

Artists’ Coalition and I was just in their show. And I<br />

was in the 39th Annual Juried Member Exhibition at<br />

the <strong>Sedona</strong> Art Center this year.<br />

What would you most like to say about your work and<br />

what inspires you?<br />

Mystery of Yellowstone II<br />

I think it comes from a deep relationship with nature<br />

and the varied elements of weather I see in the<br />

landscapes. I’m more drawn to a vast landscape than<br />

to a very complicated landscape or subject matter.<br />

Maybe because I think nature is just so powerful in<br />

how it speaks to us, and it speaks to me through the<br />

landscape.<br />

50<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Much of your work also has an architectural feel to it.<br />

What inspires those works?<br />

I’m intrigued by certain elements of architecture that<br />

I sometimes use in my paintings. I will notice the way<br />

that something happens to outline the landscape.<br />

Part of a building, or part of an umbrella, for example,<br />

might just kind of frame what I’m looking at in the<br />

distance. Also, I just want to get people to look at the<br />

colors. You know, at first glance a scene might look<br />

mundane, but the longer you look the more you see.<br />

I had a fellow artist who asked me, “Do you really see<br />

these colors out there that you use in the landscape?”<br />

I told him I really do. If you look long enough, you<br />

see there’s a little more of this color and a little more<br />

of that color. So, I like to help people to see things<br />

differently than it looks in the way the camera might<br />

pick it up and generate more of the feeling that I<br />

experienced when I was there.<br />

Are you working en plein air part of the time?<br />

I don’t work outside a lot because I’m sensitive<br />

to different outdoor elements. I never really liked<br />

working outside when I was a student in college<br />

although as a kid I did do a lot of sketching outdoors.<br />

When I am concentrating on coming up with a<br />

finished piece of artwork, I’ll start outside but I’ll<br />

finish it in the studio.<br />

Sunlight on Oak Creek<br />

I often find that I’ll see something from inside the<br />

car and I do not have the opportunity to stop. If<br />

we are driving by, I will take the picture fast and do<br />

the sketch at a later time and finish the work. It’s an<br />

interpretation, so it’s not just trying to get a picture.<br />

And, something like this doesn’t come from sitting<br />

out there and drawing it. You are saying so much<br />

more than any photo could say with what you are<br />

doing with the depth and the color and everything.<br />

Tell us about your history as an artist.<br />

I come from a family where my parents were art<br />

collectors and my mother was an artist.<br />

She was more commercially oriented, painting<br />

Toleware, decorative furniture, wedding invitations,<br />

etc. She also drew maps for the phone company<br />

during World War II.<br />

So, I always had the tools around the house for any<br />

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

51<br />

Colors of West Fork II

the university so I applied there and was accepted.<br />

I was able to study with him and several other fine<br />

gentlemen who are wonderful artists. I received my<br />

BA degree in the Arts there.<br />

Have you always worked with water media?<br />

Creekside Morning<br />

My interest in using water media came from my work<br />

at the college. It became apparent that oil paint was<br />

not my thing; it wouldn’t do what I wanted it to do.<br />

When I started taking water media classes, I just fell<br />

in love with it. I think initially there was just one<br />

class in water media. I pursued that on independent<br />

studies with my professor of water media so I had<br />

more opportunity to work in that than I would have<br />

had normally.<br />

How would you describe your color palette?<br />

It goes from really warm to cool. It just depends on<br />

the subject matter.<br />

How have your tools or techniques changed over the years?<br />

Watercolor paint is different now. Pigments have<br />

developed scientifically and are more permanent<br />

than they used to be. I started seeing paintings I had<br />

done in watercolor that were hanging on the wall and<br />

just fading away into nothing. So I began working<br />

with the acrylic, handling it more like watercolor<br />

and found the intensity of color and the edges and<br />

the things that I could do with it seemed to suit me<br />

better. That’s kind of the direction I took my studies.<br />

How long have you been in <strong>Sedona</strong> and how has that<br />

affected your work?<br />

West Fork Revisited<br />

kind of artwork that I wanted whether it was painting<br />

or drawing or whatever. I remember starting in an<br />

art class about the age of four at our local art center,<br />

Evanston Art Center in Illinois. Also, we would<br />

go to the studios of various artists that my parents<br />

were collecting and look for something new. It<br />

was nice exposure to art. When I was looking for a<br />

college, I spoke to a Maine artist with whom we were<br />

friends who was on the faculty at the University<br />

of New Hampshire. He thought I would do well at<br />

My husband, Tom and I were living in the desert in<br />

La Quinta, California previously.<br />

We used to come here for about 15 years before we<br />

decided that we’d like to retire here. I think moving<br />

to the Southwest definitely had a big influence on my<br />

use of color. Being in <strong>Sedona</strong>, it’s nice to be around<br />

other artists to see what they are creating even if<br />

it’s not something that would be of interest for you.<br />

It’s stimulation for your senses and your work and<br />

rewarding to get feedback at First Friday events or<br />

shows at the Arts Center by talking to someone<br />

who’s looking at the work.<br />

Do you also offer giclée prints, or just originals?<br />

52<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Island Blues<br />

No, just originals. I did some note cards for the Open<br />

Studios crowd. But I would prefer to just sell the<br />

original art.<br />

Do you ever find it difficult to part with a finished work?<br />

It is hard to part with it, but a lot of the times you get<br />

to meet the person who’s purchasing the art and that<br />

is very rewarding. You find out where it’s going, and<br />

it’s fun to get to know the people that will have your<br />

artwork.<br />

Christie Palmer<br />

Is there anything else that you’d like to share with <strong>Sedona</strong><br />

<strong>ARTSource</strong> readers?<br />

Maybe just one thing that I read today in my Georgia<br />

O’Keefe biography book, her words about how form<br />

and shape and color are more important than the<br />

subject matter. She said, “The subject matter of a<br />

painting should never obscure its form and color,<br />

which are its real thematic contents.” That kind of<br />

expresses how I feel about my work; that a painting<br />

says more than I can say with words. I’m not much of<br />

a talker so my paintings are kind of my conversation<br />

with the people that see them, my connection. It’s<br />

rewarding when I feel a painting speaks to someone<br />

— that they connect to a painting in much the same<br />

way that I connected with its inspiration.<br />

Thank you, Christie. ∞<br />

The Dark Side

Basket weaving using<br />

materials from nature is<br />

one of the oldest crafts<br />

in Native American history.<br />

Gathering was essential to<br />

life, and baskets for gathering<br />

were further utilized for sifting<br />

seeds, drying meats and fruits,<br />

processing hides, carrying and<br />

storing water, and for cooking<br />

and countless other uses.<br />

Basket making is a fluid form<br />

of art and culture that changes<br />

with what each artist brings<br />

to his or her craft. Every new<br />

generation learns from the<br />

generation before, and there are<br />

as many styles of basket making<br />

as there are craftspeople. Sadly,<br />

the elders are passing away and<br />

the younger generations are not<br />

as interested in this painstaking<br />

craft.<br />

The Native Americans are<br />

durable people and adapt well to<br />

what their environment affords<br />

them. If it was a dry winter or<br />

very harsh, the basket weavers<br />

would need to utilize a different<br />

material to create their pieces.<br />

Thus the baskets varied with<br />

each growing season.<br />


NATURE for<br />

ART & LIFE<br />

Article and Photos by Patty Topel, Kachina House<br />

54<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Traditionally, Northeastern Indian baskets are made<br />

from pounded ash splints or braided sweetgrass.<br />

Southeastern Indians (Cherokee) use bundled pine<br />

needles or rivercane wicker. Southwestern Indians<br />

(Hopi and Navajo) utilize tightly coiled sumac or<br />

willow, and Northwest Coast Indians weave with cedar<br />

bark, swamp grass, and spruce root. Northern Indians<br />

(Chippewa and Inuit) craft birch bark baskets, and even<br />

whale baleen baskets.<br />

For Navajo basket<br />

makers, the Wedding<br />

Basket is the most<br />

popular of all.<br />

However, they also<br />

developed another<br />

style, the pitch coated<br />

baskets. Sealed inside<br />

and outside with hot<br />

pine pitch, the baskets<br />

were utilized as water<br />

bearing vessels.<br />

Currently, in the southwest,<br />

the Tohono O’odham and the<br />

Hopi are the most prolific basket<br />

makers. The Tohono<br />

O’odham have<br />

established a<br />

system of trade<br />

to keep their<br />

art alive<br />

and to<br />

maintain<br />

affordable<br />

pricing.<br />

The Hopi use their baskets in<br />

ceremony and in payment and<br />

so many are used within their<br />

community while some may be sold to<br />

collectors. ∞<br />

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


The <strong>Sedona</strong> International Film Festival’s 2019-2020 Season<br />

Nurturing a Crowd<br />

with Music, Movies & More<br />

When you think of the <strong>Sedona</strong><br />

International Film Festival, you are<br />

likely to think of the annual event,<br />

entering its 26th season. It’s an<br />

exciting time when the town of<br />

<strong>Sedona</strong> fills up with people and<br />

activities and all the excitement you<br />

would expect from this world class<br />

affair.<br />

Yet, the organization’s offerings are<br />

year-round and utilize venues such<br />

as the Mary D. Fisher Theatre, the<br />

<strong>Sedona</strong> Performing Arts Center<br />

and additional off-site locales to<br />

tuck in cultural events throughout<br />

<strong>Sedona</strong>. The 2019-2020 season is no<br />

exception and collaborations with<br />

other non-profit organizations are<br />

creating more buzz than ever about<br />

the upcoming year.<br />

The Film Festival’s Executive<br />

Director, Patrick Schweiss<br />

commented, "There was no theme<br />

in mind for planning the season, but<br />

it just came together that we are<br />

collaborating with Red Rocks Music<br />

Festival and Verde Valley Sinfonietta.<br />

Especially because we’re doing<br />

the Met Opera here, there now<br />

seems to be more interest leaning<br />

toward that kind of music. I think<br />

that we are nurturing a crowd and<br />

getting much more support that<br />

way. This is a small town and our<br />

organizations serve many of the<br />

same members."<br />

This first–time partnering with the<br />

Red Rocks Music Festival, "Mozart<br />

to Gershwin and More" concert<br />

will include selections by Mozart,<br />

Coleridge-Taylor, Gershwin and<br />

Webern. Although the Red Rocks<br />

Music Festival has<br />

presented in <strong>Sedona</strong><br />

since 2002, this is the<br />

first concert at Mary D.<br />

Fisher Theatre. Featured<br />

musicians are Alex<br />

Laing, clarinet; David<br />

Ehrlich, violin; Yibin<br />

Li, violin; Christopher<br />

McKay, viola; and Jan<br />

Simiz, cello. For more<br />

information, visit www.<br />

redrocksmusicfestival.<br />

com.<br />

Perhaps most exciting<br />

is the collaboration<br />

between the Verde<br />

Valley Sinfonietta and<br />

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

Film Festival. Schweiss<br />

explained, "It’s a big<br />

birthday year for<br />

Beethoven, so we will<br />

be showing excerpts<br />

from the 1994 film,“Immortal<br />

Beloved” and the Sinfonietta will<br />

play the works of Beethoven live to<br />

sync with it."<br />

This semi-biographical film’s plot<br />

centers on discovering the identity<br />

of "the immortal beloved" to<br />

whom Beethoven wrote three<br />

letters that were never sent. The<br />

production will combine live<br />

performance of the film’s dialogue<br />

and narration with music from the<br />

soundtrack performed by Verde<br />

Valley Sinfonietta soloists, small<br />

ensembles and the full orchestra.<br />

Al Vander Peut, President, Board<br />

of Trustees for Sinfonietta<br />

commented, "We talked about<br />

collaborating for a show a yearand-a-half<br />

ago, but the timing<br />

wasn’t right. Not to be confused<br />

with Chamber Music <strong>Sedona</strong>, this<br />

is Verde Valley Sinfonietta’s 15th<br />

season. We chose 'Immortal<br />

56<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

VV<br />

Kevin Kozacek<br />

Beloved' because it’s the 250th<br />

birthdate anniversary of Beethoven.<br />

Beethoven was a genius composer,<br />

if not a savant, but he struggled with<br />

progressive deafness and couldn’t<br />

hear finally, and it caused great<br />

frustration and depression for him."<br />

Schweiss added, "Verde Valley<br />

Sinfonietta’s incredible conductor,<br />

Kevin Kozacek was very excited<br />

about this. He loves the concept<br />

of performing the soundtrack live<br />

as the movie is happening. This<br />

October performance is actually<br />

the kickoff to their season which<br />

starts officially in November. We’re<br />

doing this at the <strong>Sedona</strong> Performing<br />

Arts Center and it’s exciting<br />

because our tech people are getting<br />

involved with taking the parts of<br />

the film we will set to music and<br />

editing the video. Kevin sits with the<br />

orchestra and does the timing for<br />

how everything syncs. There’s a lot<br />

of moving parts for this and Kevin<br />

handles it so beautifully. It will be<br />

really fun for the audience to see<br />

how that all comes together. This is<br />

a wonderful collaboration between<br />

two great nonprofits in this town."<br />

Visit www.VVSinfonietta.org<br />

Other fun <strong>Sedona</strong> International<br />

Film Festival events this season<br />

include the annual outdoor event,<br />

"Rhythm at the Ranch" at Indian<br />

Creek Ranch in Cornville. This<br />

fundraiser kicks off the 26th annual<br />

season in September. Schweiss<br />

commented, "It’s great! We’ve done<br />

this every year since 2004. There’s<br />

a beautiful gazebo and opera house<br />

and what looks like an old west<br />

movies facade and the grounds<br />

just spill out from the gazebo. We<br />

go out there late afternoon for a<br />

barbecue chuck wagon style dinner<br />

and then we have a concert. We<br />

keep tickets very affordable and<br />

415 people attended last year." The<br />

Met Live Opera season opens in<br />

October and <strong>Sedona</strong> International<br />

Film Festival will present live<br />

simulcast productions via satellite<br />

of two operas each in October<br />

and November at Mary D. Fisher<br />

Theatre. November also brings the<br />

Festival’s annual black tie optional<br />

Gala at the Enchantment Resort.<br />

Schweiss added, "Be sure to<br />

visit the website calendar at<br />

www.sedonafilmfestival.com for<br />

information on all of <strong>Sedona</strong><br />

International Film Festival's<br />

films, events, and live theatre<br />

and live performances by fine<br />

notable local performers such<br />

as guitarist,Anthony Mazzella;<br />

fingerstyle guitarist, Rick Cyge;<br />

flute and guitar duo, Meadowlark;<br />

Zenprov Comedy troupe; Red<br />

Earth Theatre; <strong>Sedona</strong> Poetry<br />

Slam and more. For us to have<br />

this caliber of performers and<br />

events here in the Verde Valley<br />

and specifically in <strong>Sedona</strong> is<br />

tremendous!" ∞<br />

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

57<br />

Echo Wang with Verde Valley Sinfonietta


THE<br />

PUSH<br />


33rd Annual Santa Barbara International Film Festival<br />


Sonoma International Film Festival<br />


American Documentary Film Festival<br />

The Push is an award winning<br />

documentary about the power of never<br />

giving up. Grant Korgan is a world-class<br />

adventurer, nano-mechanics professional,<br />

and husband. On March 5, 2010, while<br />

filming a snowmobiling segment in the<br />

Sierra Nevada back country, the Lake<br />

Tahoe native burst-fractured his L1<br />

vertebrae, and suddenly added the world<br />

of spinal cord injury recovery to his list of<br />

pursuits.<br />

On January 17, 2012, along with two<br />

seasoned explorers, Grant attempted the<br />

insurmountable, and became the first<br />

spinal cord injured athlete to literally<br />

PUSH himself – nearly 100 miles (the<br />

final degree of latitude) to the most<br />

inhospitable place on the planet – the<br />

bottom of the globe, the geographic<br />

South Pole.<br />

Grant and his guides reached their<br />

destination on the 100th anniversary of<br />

the first explorers to travel to the South<br />

Pole. Facing brutal elements, demanding<br />

topography and presumed physical<br />

limitations are just some of the challenges<br />

they faced along the journey. With this<br />

inspirational documentary, The Push team<br />

hopes to inspire people in all walks of life<br />

to achieve the seemingly insurmountable<br />

in their life, to push their own everyday<br />

limits, and to live their ultimate potential.<br />

“Screening in <strong>Sedona</strong> was an honor and was one of the most enjoyable festivals of our tour. <strong>Sedona</strong> seems to have found the<br />

sweet spot between art, culture, recreation, great food and community. I’ve been fortunate to participate in a couple dozen<br />

post-screening Q & A sessions, but no audience has been more engaging than the audiences at our two shows in <strong>Sedona</strong>. We<br />

started our project intending to make a simple adventure documentary but discovered along the way that our expedition was<br />

merely a backdrop for a love story, a buddy story and a story about overcoming adversity. The adventure has continued through<br />

the filmmaking process and has taken us around the world sharing our story. <strong>Sedona</strong> was a great host and we look forward to<br />

returning.”<br />

—TAL FLETCHER | Expedition Guide, Logistics Expert, Film Producer ∞<br />

58<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Celebrating 26 Years!<br />

The BEST independent films from around the world!<br />

February 22 - March 1, 2020<br />

www.<strong>Sedona</strong>FilmFestival.org 928.282.1177<br />

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


Overseers • Gregory Stocks • Oil on Canvas • 48"h x 60"w<br />

“My work is an effort to create images that serve as emotional detours from the noise and confusion of the surrounding<br />

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<br />

work. The melody comes into play in the form of color, brushwork and the expressive possibilities of process.”<br />

60 <strong>Sedona</strong> <strong>ARTSource</strong><br />

~ Gregory Stocks

REAL<br />

ART<br />

WHEN A<br />



Three Bartletts • Diane Eide<br />

Acrylic on Gessoboard • 38"h x 50"w<br />

When Russ Lyon Sotheby’s<br />

International Realty chose<br />

to build in <strong>Sedona</strong> they also chose to<br />

make another commitment; to honor<br />

art and art appreciation.<br />

Associate broker Jolynn Greenfield<br />

states, “The Sotheby’s name was<br />

always associated with art, so Russ<br />

Lyon built this beautiful building<br />

here partially to support the arts in<br />

<strong>Sedona</strong>. It looks like a gallery and in<br />

fact, it is. Supporting the community<br />

of artists was really important to us.”<br />

Donna Chesler, another associate<br />

with the agency has more than<br />

just a historic interest in the arts.<br />

She and her husband owned and<br />

operated Gallery 527 in Jerome for<br />

years. Chesler worked closely with<br />

Greenfield to fulfill the dream of<br />

operating an in-office gallery.<br />

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


I<br />

Jolynn Greenfield and Donna Chesler<br />

Together they have created a yearly art exhibit showcasing<br />

a variety of local talent.<br />

Greenfield adds, “Every week we do a promotional feature<br />

in our ad in the <strong>Sedona</strong> Red Rock News and on our<br />

Facebook page that spotlights one of our featured artists.<br />

We also do an annual open house to showcase the artists<br />

that are represented for the year-long show.” The public is<br />

invited to their opening event on September 19, 4-6 pm.<br />

“This year’s theme, ‘The Journey’ refers to both the<br />

creative path of the artist and the subject matter of the<br />

creation,” says Chesler. “We see, for instance the literal<br />

journey of the Grand Canyon mules in Tom Brownold’s<br />

photo essay and we see the celebration of life after some<br />

dark moments in Bonnie Hartenstein’s monumental piece<br />

called ‘The Dancer.’ Many of our artists will be at our<br />

opening event and speak briefly about their work.”<br />

According to Branch Manager Tod Christensen, the<br />

gallery-in-office concept has proven to have numerous<br />

benefits not only for the public and the clients but also<br />

for the employees and real estate associates. “We all get<br />

to enjoy a beautiful environment when doing business,”<br />

he comments. “However, this exhibit would not exist if<br />

it were not for the commitment and unceasing efforts of<br />

Donna and Jolynn.”<br />

II<br />

62<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

IV<br />

III<br />

V<br />

I<br />

II<br />

Luciano’s Visit • Bonnie Hartenstein<br />

Oil • 72"h x 60"w<br />

The Chimney • Tom Brownold<br />

Photograph • 23"h x 16"w<br />

III Pour Over 1 • Joella Jean Mahoney (1933-2017)<br />

Oil on Canvas • 48"h x 60"w<br />

IV Pu’rpura • Harold Schifman<br />

Mixed Media • 48"h x 60"w<br />

V<br />

Three Unwrapping Apples • Diane Eide<br />

Oil • 26"h x 38"w<br />

VI The Canyon • Joella Jean Mahoney (1933-2017)<br />

Oil on Canvas • Private Collection<br />

THE JOURNEY Art Exhibition 2019<br />

VI<br />

Monday-Friday 10:00-5:00<br />

Saturday & Sunday 10:00-3:00<br />

Open House - September 19, 2019, 4:00-6:00<br />

Russ Lyon Sotheby’s International<br />

20 Roadrunner Drive, Suite A, <strong>Sedona</strong><br />

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


SEDONATROLLEY.COM • 928-282-4211<br />

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

the <strong>Sedona</strong> Trolley and enjoy a fun, informative tour of the entire City. Between two different fully<br />

narrated 55 minute tours, we’ll take you to all of the best places in <strong>Sedona</strong>.<br />

Visit historic spots and inspirational landmarks, take in breathtaking views, learn where to experience<br />

a vortex and get many great photos. Learn about <strong>Sedona</strong>’s past and present and get tips on hiking,<br />

shopping, dining, and watching gorgeous red rock sunsets.<br />

TOUR “A” 55 MINUTES<br />

Visit the South side of town, highlighted by scenic<br />

Highway 179, featuring a 15-20 minute stop at the<br />

famous Chapel of the Holy Cross. Fully narrated with<br />

lots of photo opportunities among the Red Rock<br />

formations.<br />

TOUR “B” 55 MINUTES<br />

Head out west through the City of <strong>Sedona</strong> and on out<br />

to Dry Creek Valley highlighted by the breathtaking<br />

scenery of Boynton and Long Canyons. Fully narrated<br />

with two photo stops in the Coconino National Forest.<br />

64<br />

<strong>Sedona</strong> <strong>ARTSource</strong>



A Passion for Perfection<br />

Interviewed by Lynn Alison Trombetta<br />

When it comes to their guitars,<br />

luthiers, Dan Bresnan and his son,<br />

Sean are all about relationships,<br />

resonance and balance. Look a<br />

little closer and discover<br />

that their shared<br />

experience of<br />

building these<br />

fine instruments<br />

is clearly rich<br />

with those same<br />

essences and more.<br />

Enjoy this glimpse<br />

into their very special<br />

relationship and dedication<br />

to patiently crafting fine guitars<br />

of timeless quality.<br />

<strong>Sedona</strong> <strong>ARTSource</strong>: Dan, obviously, the guitar has had far-reaching<br />

influences on your musical lifetime. What was your very first<br />

experience with the instrument?<br />

DAN: My first experience with the guitar was not all that inspiring. I<br />

grew up in a family where my parents required all the children to<br />

take music lessons. I have two older brothers, one played<br />

piano, one saxophone; I had to pick something, and<br />

it turned out to be guitar. At age six, I don’t know<br />

that I was emotionally ready for it. I took lessons<br />

for five years because that was the rule in the<br />

family. So, by the time I was eleven, I’d played<br />

Camptown Races so many times, 'I’m done.'<br />

But when I turned thirteen, rock and roll music<br />

caught my attention and got me all the way<br />

back into it. That’s when I really started to have a<br />

relationship with the guitar; that it became part of<br />

me, part of my soul.<br />

When did you transition from playing guitars to crafting<br />

guitars?<br />

DAN: It wasn’t until quite a bit later, when I was 38 or 40. I had played<br />

mostly on factory built instruments and I wasn’t even aware that there<br />

was this world of handcrafted instruments out there. Then I read<br />

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


While growing up, I’d always seen my dad in the<br />

shop. We’re very similar in that I noticed he is<br />

really detail driven while creating his instruments;<br />

there’s a level of detail, and occasionally<br />

frustration that comes out of that. I saw and<br />

identified with that feeling because even from<br />

a really young age I was always putting things<br />

together and taking things apart and trying to<br />

see how they work.<br />

Seeing him working on an incredibly complicated<br />

project where all the individual pieces had to fit<br />

in exactly right and be tuned to each other was<br />

really inspiring.<br />

about builders in Acoustic Guitar Magazine, and I decided to<br />

try one. It was a big step for me - it was a five thousand<br />

dollar guitar at the time. That opened my eyes to a different<br />

world in terms of the tonal quality and the comfort and<br />

the ease with which I was able to relate and express myself<br />

through the instrument. That sort of got out of control and<br />

I started accumulating very high-end guitars and that’s what<br />

really led me into the building. I thought, 'Wow this is really<br />

cool stuff. They are taking raw materials and creating this<br />

beautiful object that’s not only beauty in itself, but it inspires<br />

me to make music that hopefully enriches other people’s<br />

lives.'<br />

I thought I’d give it a try; thought I’d just putz around a bit<br />

and maybe something would come out of it years down<br />

the road. But I had a heretofore unknown proclivity toward<br />

it that came out when I started building the first one. I<br />

struggled with that first one, I think everyone does. But when<br />

it was done, I couldn’t wait to get going on the next one. If<br />

twenty years ago someone had said, "You’re going<br />

to be building guitars," I would have said, "You’re<br />

absolutely crazy. I know nothing about wood; I know<br />

nothing about how to build a guitar." But you get bit<br />

by the bug.<br />

Playing the factory-built instruments, having people bring<br />

guitars to us for repairs and all the other experience, it all<br />

accumulates as knowledge. Like, if I get in a Taylor and find<br />

something wrong with it, I always note exactly what it is, and<br />

that kind of information accumulates over time.<br />

We got to a point where my dad was starting to tone down<br />

his production, and to have this great resource just sitting<br />

there seemed wrong. It seemed like a waste, of not just the<br />

tools and the materials, but also of his knowledge. I’ve been<br />

doing it for several years with him now and we’re still just<br />

scratching the surface of the knowledge he’s accumulated<br />

over the 80 plus guitars he built.<br />

In the process of honing your craft as a builder, have you<br />

reached a point where you’ve had to go past the tools that<br />

are readily available and modify or create tools yourself to<br />

build the guitar the way that you wanted?<br />

Sean, when were you bitten by the luthiery bug?<br />

SEAN: Obviously, from my upbringing luthiery was<br />

always in the back of my mind as a possibility. But<br />

then going to music school helped me focus on<br />

what I wanted to do as a career. I could be out there<br />

playing music, which has always been important to<br />

me, but to be creating these instruments that other<br />

people are going to be using in the same way that<br />

I would to make music, I find a really an interesting<br />

idea.<br />

66<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

DAN: Yes, I do have several tools, jigs and fixtures that I<br />

use for my process. There was a lot of start-up work at first<br />

but that’s never really scared me away. It’s easier these days<br />

than it was 30 years ago when there wasn’t quite so much<br />

information available. When I decided to do this, I wanted<br />

all the information I could possibly get. There are scholarly<br />

journals published about acoustic science and stringed<br />

instrument construction and I ordered a 20-year backlog of<br />

those and read it all. I accumulated a bunch of tools and just<br />

went to work. Now, probably sixty percent of those tools are<br />

in a box somewhere because I found they weren’t the right<br />

tools for the way I wanted to work.<br />

Because I developed on my own and didn’t study under<br />

somebody, I had to solve the problems on my own. That way<br />

takes a little longer sometimes to get to the right answer. But<br />

it also opens up a wide canvas of possibilities of how to solve<br />

the problems because you haven’t been taught that 'this is the<br />

way to do this, and that’s the way you do that.' I remember<br />

bouncing ideas off of other luthiers. I’d go to the shows and<br />

talk to them. I’d ask, "What if we did this?" And they said,<br />

"No, you can’t do that, that’s incredibly hard. That’s crazy."<br />

But I didn’t listen to that and that’s why I generated tools<br />

and fixtures and jigs. As far as I know, I’m the only one that<br />

constructs it in the way I do. I don’t know if it’s the best way<br />

or not, but it’s the way that’s worked for me. And it creates a<br />

beautiful sounding guitar, in my opinion. So I’m sticking with it.<br />

SEAN: What my father was saying about the half of the tools<br />

we ended up discarding because we were always changing<br />

the method until he found what worked, doesn’t mean we’re<br />

done. Even now we’re still constantly changing things and<br />

trying new things, building off of what we already have. But<br />

we’re also not afraid to say, "Well that works; let’s just keep<br />

moving in this direction."<br />

DAN: A lot of the building process is problem solving<br />

because you’re taking a piece of wood that’s been a tree<br />

all its life and trying to make it into something else, and it<br />

doesn’t want to be that at first. You have to kind of convince<br />

it and each piece is unique; there’s always some little quirk<br />

that you have to figure out. That can be really frustrating at<br />

times, but it’s also really rewarding when it’s done. So, as Sean<br />

noted, we’re constantly evolving the process. I think we, like<br />

all good luthiers are aiming for some Holy Grail, knowing<br />

that you’re never actually going to get there, but that’s the<br />

direction you’re going.<br />

Are there times when the wood leads the project, more than<br />

the project leads the wood?<br />

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


esponsiveness of the guitar?<br />

DAN: That’s mostly discerned by the tap tone of the wood<br />

- tapping the pieces. There are a number of activities in the<br />

luthiery field that really are intuitive and I don’t know how<br />

to tell you how to do it: I don’t know how to tell you how<br />

I do it, or how to tell you how anyone else does it. I think<br />

experience is a big part of it. You work with enough pieces of<br />

wood and, 'Oh yeah, I worked with a piece like that before,<br />

I’m staying away from that one.'<br />

Sean, have you developed that?<br />

SEAN: Yes, just from spending a lot of time in the wood<br />

room, going through every set of Brazilian wood and seeing<br />

how it sounds. The differences between them are really<br />

subtle, but as you get further along in the building process, it<br />

starts having more and more impact on the final product.<br />

What is your musical background?<br />

DAN: I’m fortunate enough to have a pretty good stash of<br />

wood, so when I’ve got a project in mind I will select the<br />

materials based on what we’re going for. If someone tells me<br />

they want a particular look to the wood, or an expanded bass<br />

capability in the instrument, or whatever they are looking for,<br />

I will pick the materials to set me in the right direction for<br />

what their expectations are for an instrument. Along the way<br />

the process does change because of the quirks of wood. If I’m<br />

cutting into the wood, and there’s a bug hole, or I’m sanding<br />

down a piece of wood and there’s a sap pocket, then, okay<br />

I’ve got to do something with that and so it kind of goes both<br />

ways. I start off trying not to let the wood completely dictate<br />

what I do, but you have to work with it, you can’t force it.<br />

How do you develop the intuition or recognition when you<br />

look at a piece of wood as to how that piece of wood is<br />

going to respond and how that will affect the tonal quality or<br />

SEAN: Growing up with my dad there was music all the<br />

time, pretty much constantly, in my face. My very earliest<br />

memory is driving up to our family farm and he always had<br />

Grateful Dead on the radio. And a lot of times, when I was<br />

really young he would play a lot for us. Like the tune "Freight<br />

Train" was constantly engraved in my head from when I<br />

must have been three or four. I don’t think I got a guitar until<br />

around eight or nine years old, at which point it sat in the<br />

closet for a couple years. I started picking it up again around<br />

ten or eleven and then played all the way through school at<br />

Berklee College of Music. The whole time, just being exposed<br />

to literally every kind of music that I could possibly imagine<br />

through my dad, opened my mind to the music and to the<br />

musical possibilities. Add all the fingerstyle, acoustic-based<br />

music where our instruments fit in and music was ingrained<br />

in me at a very young age and gave me somewhat of an<br />

intuitive base for it.<br />

Dan, tell us your musical background.<br />

DAN: I studied audio engineering as an undergraduate,<br />

started out as a performance major then switched to what<br />

is called Music and Technology, an audio engineering degree<br />

through NYU. I worked in recording studios for a while.<br />

Maybe I shouldn’t even mention this, but I worked for Muzak<br />

for a number of years and then worked in a recording studio,<br />

Big Apple Studios in New York City for a number of years.<br />

I really focused on playing electric guitars to start out with.<br />

Then when I got married and had kids, rock and roll bands<br />

didn’t really fit into the picture quite as well. That’s when I<br />

switched over to primarily fingerstyle acoustic instruments<br />

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<strong>Sedona</strong> <strong>ARTSource</strong>

ecause I could get the kids to bed and play my<br />

acoustic guitar. That kind of lead me in the direction<br />

I’m in now.<br />

Dan, when did you start to see the change in<br />

Sean from just a casual interest to a more serious<br />

involvement?<br />

DAN: I think the bug probably started to hit Sean<br />

when he was doing repair work at the Guitar Center.<br />

He had built electrics, which were great and I could<br />

see right away that he’s 'got it.' He’s an accomplished<br />

musician and I think that makes a huge difference for<br />

someone who is building instruments. For instance,<br />

if you know how to play and what the issues are to<br />

a player, and you’ve seen the really good ones and<br />

the not so good ones, it puts you in a pretty unique<br />

position if you want to carry it on and advance the art<br />

of lutherie.<br />

Sean, where does your passion lie in the crafting of<br />

the guitar?<br />

SEAN: Problem solving: every step is problem solving<br />

in some way. In music school, where everybody was<br />

focusing on getting in a band, being with other people<br />

and doing something collectively, I wanted to go in<br />

the shop, have it be quiet, be in my own space and<br />

be able to focus on a problem and come up with a creative<br />

solution for it. The electrics, for me were kind of just dipping<br />

my toes in; I like this, it is rewarding to me. But I found out I<br />

wanted to take it further. I wanted something a little bit more<br />

scientifically involved because although with the electric, you<br />

can make it look and feel great–as long as it’s a big chunk<br />

of wood and it’s got good pickups in it, it’s going to sound<br />

good. After I did a couple of electrics and became acclimated<br />

to working in the shop, I started looking at what my dad<br />

was doing and the idea of tuning every piece. Everything’s<br />

tuned, and creating a sympathetic resonance between all<br />

these pieces I found really interesting, even more so than the<br />

electrics.<br />

Because you’ve added the acoustic element of air to the<br />

equation…<br />

SEAN: Yes, and all the pieces are interacting together and you<br />

need to kind of control that in a way.<br />

Understanding that there’s a waiting list for Bresnan guitars,<br />

are they built as custom guitars for one person, or is the<br />

waiting list for whatever you're creating?<br />

DAN: It’s some of both, as you might imagine. There are<br />

some folks that have very specific requirements and they<br />

have a dream instrument that they want me to create. But<br />

there are also those who want instant gratification and so we<br />

do both. Our instruments are pretty expensive, they start at<br />

$7500, so most people have an idea of what they want when<br />

buying a guitar at that price. They are usually accomplished<br />

musicians and they may want something as simple as a neck<br />

width or a certain amount of string spacing. Or, it could be<br />

certain aesthetics, like really straight grain, brown-colored<br />

Rosewood. Most people have something they want, so<br />

ours are somewhat custom instruments, but normally I’m<br />

pretty successful in convincing people to allow me artistic<br />

expression on the instrument.<br />

Sean, please share your thoughts on working beside your<br />

father.<br />

SEAN: Just observing his ethic has taught a lot; that even<br />

if it is part of the guitar that no one ever looks at, it has to<br />

be perfect. Whatever it may be; for example the truss rod<br />

access point on the inside of the guitar, it has to be perfect.<br />

Someone might never look at it but we want to know that<br />

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


if they ever did, they would see that we took the time to<br />

do that. And just observing that level of focus I found really<br />

interesting.<br />

As we interview artists for <strong>Sedona</strong> <strong>ARTSource</strong>, one thing<br />

we are finding that many have in common is a passion for<br />

perfection.<br />

DAN: Yes, maybe it’s all artists, but certainly luthiers I know<br />

of for certain. You know your goal is perfection, but you<br />

never get there. You never reach it. But the measurement<br />

of perfection is really related to how granular your<br />

perspective is on it. Because, I can sand a piece of<br />

wood until it’s really smooth and shiny and you<br />

may say, "Well, that’s perfect." Then, I’ll put on the<br />

magnifying visor for you and you’ll say, "Oh there’s<br />

a bunch of scratches in there." So, it’s finding a<br />

balance with that equation because you always<br />

going for it, but you know you’re never going to get<br />

it. The carrot’s always a little further away, and you’re<br />

always running after it. But otherwise, what’s the<br />

purpose of doing it?<br />

And the whole legacy thing is really important. Maybe<br />

as I get older I think more about that stuff but you<br />

know one thing that has really struck me, is the<br />

contact I have with the people I sell the guitars to.<br />

When you’re creating a guitar it’s almost like raising a<br />

child; you’re intimately involved with everything, and<br />

you’re trying to get them on the right path and then<br />

you’re done and then, okay, moving on to the next<br />

one.<br />

'How am I going to make the next one<br />

better?' I may not really be thinking<br />

about what's happening with that<br />

last guitar, but I get calls and emails<br />

from customers, sometimes four or<br />

five years later telling me, "Hey just<br />

wanted to let you know I'm really<br />

digging this guitar. I'm still playing it,<br />

I love it and just wanted to say<br />

‘hi’ and thank you for the guitar<br />

again.”<br />

That opened my eyes to the<br />

fact that it’s not just the one<br />

I’m working on now, it’s all<br />

the stuff that I did before<br />

that’s out there somewhere,<br />

that someone’s playing and it’s<br />

bringing them enjoyment and<br />

maybe it’s inspiring them to write a song that makes millions<br />

of people happy. Who knows in that sense? It’s easy to say,<br />

'Oh well, the heck with it, this is a lot of work.' But then<br />

you’ve got people calling that say, "Hey, you touched me with<br />

this guitar, you impacted my life."<br />

There’s not only the legacy of Bresnan guitars and what<br />

happens later, who’s playing it and who it gets passed to, but<br />

there is the legacy between father and son.<br />

DAN: I see the father-son thing from both sides because I<br />

worked with my dad for a long time and it gave me the<br />

perspective of my father as a person, perspective that<br />

I would not otherwise have had ... a very personal<br />

view of someone I love and who was important in<br />

my life and what made him tick.<br />

You know, I was listening to a Billy Joel interview<br />

once and he was relating a story about his daughter.<br />

They were going through a really rough, tumultuous<br />

time; he was getting divorced from Christie Brinkley and<br />

his daughter came to him and asked what happens to us<br />

when we die. The answer he gave her was that when we<br />

die we go into the hearts of the people we love. I just<br />

thought that was a really good way to put it because it’s<br />

true. Every day I think of my dad, and I think him in ways<br />

of, 'What would my dad have done? How would he have<br />

handled the situation?' So, he’s still guiding me. He still<br />

lives in my heart. Hopefully some of that gets passed on<br />

to Sean, if he’s ready to take it, or if it’s useful to him. I<br />

think it’s a wonderful thing to leave something behind<br />

you.<br />

I think a lot about that, and about the<br />

instruments that are out there. I like<br />

to read Acoustic Guitar Magazine and<br />

usually at the end they have an old<br />

guitar they talk about, like a 1920s<br />

guitar or something. I guess I kind<br />

of fantasize that someday, 80 years<br />

from now someone’s going to dig<br />

into a Bresnan and say, "What makes<br />

this thing work? Wow, look at what<br />

he did here!" And that it’s just an<br />

infinitesimal piece of the world<br />

that hopefully makes it a better<br />

place, a more joyful place.<br />

Thank you both!<br />

Visit BresnanGuitars.com for more<br />

information. ∞<br />

70<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

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


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

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

72<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

Dr. H. Ross Hawkins, founder<br />

and executive director of the<br />

International Hummingbird<br />

Society says: “From the start, the<br />

Hummingbird Society has believed<br />

that wildlife art can be used to raise<br />

consciousness. The Hummingbird Society<br />

understands that what we learn to appreciate<br />

and love, we will want to protect. Because of<br />

the beauty of these birds, the world of art plays<br />

a key role in accomplishing this goal.”<br />

The International Hummingbird Society is<br />

a non-profit organization founded in 1996 by<br />

Dr. Hawkins when he was unable to find any<br />

organization established to protect the 10%<br />

of the 300 + species of hummingbirds that are<br />

endangered. The Society’s mission is teaching<br />

about hummingbirds and working to protect<br />

the species at risk of extinction. None of the<br />

hummingbird species in the US are currently<br />

threatened; the ones at risk are found in Central<br />

and South America. Towards that conservation<br />

effort, the Society’s major outreach is the biennial<br />

<strong>Sedona</strong> Hummingbird Festival.<br />

Fiery-throated hummingbirds<br />

found in Costa Rica.<br />

Art by Gamini Ratnavira<br />


Hummingbirds<br />

Each year master photographers from all over the continent provide<br />

images to contribute to The Hummingbird Society’s calendar.<br />

Dr. Hawkins says, “It is perhaps surprising for a<br />

conservation organization to acknowledge the role<br />

of art, but that has always been our orientation<br />

since our mission includes education. Even from<br />

our very first festival in Tucson in 2003, the<br />

presentations were coordinated with a wildlife art<br />

show. Featured artists for each of our first three<br />

years were Adele Earnshaw and Joe Garcia, both<br />

well known in <strong>Sedona</strong> and currently showing<br />

at the Mountain Trails Gallery, and renowned<br />

wildlife artist, Gamini Ratnavira." Gamini was<br />

born and raised in tropical Sri Lanka. He is one<br />

of the top hummingbird artists in the world,<br />

having spent a lifetime honoring nature and<br />

endangered species through his art. He has<br />

always had a popular booth at the Festival’s<br />

Hummingbird Marketplace. This year he gave<br />

a presentation on how he artfully stylizes<br />

hummingbirds. Shown on these pages are two<br />

of his paintings.<br />

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


Art of course has a vital role<br />

to play in education. Few<br />

people have the chance to<br />

see an albino hummingbird,<br />

a rare occurrence in nature.<br />

But one is shown here<br />

receiving nectar while<br />

pollinating a prized passion<br />

flower that can be as<br />

beautiful as the bird itself.<br />

Many people are amazed to<br />

learn of the sword-billed<br />

hummingbird, whose beak is<br />

longer than its body. In fact,<br />

his bill is so long that it has to<br />

sleep with it up in the air so<br />

rhat he won’t lose his balance.<br />

It is fascinating to learn that<br />

the length, size and shape<br />

of the hummingbird’s beak<br />

may have co-evolved with the<br />

shape of the flower it preferred.<br />

Thus the hummingbird models<br />

important lessons: It teaches<br />

us the wisdom of receiving the<br />

nectar it needs to sustain its life,<br />

and giving back, assuring the<br />

survival and continuation of the<br />

plant through pollination.<br />

Image © José Francisco Haydu, Brazil<br />

Image © José Francisco Haydu, Brazil<br />

Because of the depth of the Passiflora mixta blossom,<br />

shown above, it can be pollinated only by the sword-billed<br />

hummingbird. Their relationship is symbiotic; without this<br />

hummingbird, the flower would cease to exist.<br />

Perhaps you have never thought about the fact that your<br />

breakfast banana also may have been pollinated by a<br />

hummingbird. Shown left is the Green Hermit hummingbird<br />

pollinating the banana blossom in Trinidad, West Indies.<br />

Beth has travelled extensively to see and photograph<br />

hummingbirds in their natural habitat and is in her<br />

thirteenth year of offering her photographic art at the <strong>Sedona</strong><br />

Hummingbird Gallery in the Village of Oak Creek.<br />

74<br />

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

Image © Beth Kingsley Hawkins, West Indies

Image © Beth Kingsley Hawkins, Arizona<br />

Here in <strong>Sedona</strong>, one<br />

black-chinned ‘Hummer Mom’ took<br />

her artistic role seriously. The male has a purple necklace<br />

of feathers, designed to attract her attention. Building her nest in the bottom of<br />

the ‘O’ in a welcome sign, she decorated it with purple pansies – a true exterior decorator! Many colors of<br />

pansies were planted below her nest, but amazingly, she only chose the purple to match her mate’s feathers.<br />

Lucky for us in<br />

<strong>Sedona</strong>, one species<br />

of hummingbird<br />

blesses us with its<br />

presence all winter<br />

long – the Anna’s<br />

hummingbird. The<br />

male’s brilliant<br />

head, helmeted in<br />

vibrant magenta,<br />

attracts the female<br />

who will build a nest and lay two<br />

tiny eggs the size of coffee beans. She will sit on her eggs for two weeks, turning them regularly. The devoted<br />

mother will then feed them for over three weeks until they can fly and find food on their own.<br />

Image © Beth Kingsley Hawkins, Arizona<br />

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


SEDONA<br />



The <strong>Sedona</strong> Hummingbird Festival<br />

incorporates three days of expert<br />

presentations on hummingbirds.<br />

Both a Hummingbird Marketplace<br />

and the festival presentations take<br />

place at the <strong>Sedona</strong> Performing Arts<br />

Center. Off campus, there are banding<br />

demonstrations, hummingbird gardens<br />

open for learning about the flowers<br />

that attract them and opportunities<br />

for viewing the birds themselves. In<br />

2019 Jacques Ducros flew from France<br />

to share his experience raising a hundred<br />

hummingbirds in his private aviary in<br />

Roquevaire. Saturday night included a<br />

celebratory banquet at Poco Diablo Resort with<br />

nature-inspired music by Meadowlark, featuring<br />

Lynn Trombetta on flute and Rick Cyge on guitar.<br />





Hal Hjalmarsen of Phoenix, Arizona,<br />

brought his exquisite pottery, much of<br />

it featuring the little birds, shown above.<br />

Superb artist, June Hart who designed the Festival logo for the Society, above, was found in the marketplace sharing<br />

her creations.<br />

Beth Kingsley Hawkins presented “Art Inspired by Hummingbirds” and had a book signing for her two books:<br />

Anna’s in the Snow and Hummy the Magnificent: How a Hummingbird Learned to Read.<br />

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<strong>Sedona</strong> <strong>ARTSource</strong>

This unique Festival<br />

combines both the<br />

beauty of hummingbirds<br />

and the beauty of<br />

<strong>Sedona</strong>. Fun aspects of<br />

the Festival included<br />

Pash Galbavy,<br />

portraying the spirit of<br />

the hummingbird and<br />

encouraging people to<br />

make a special wish<br />

and commerating<br />

it by tying a little<br />

ribbon around their<br />

wrist. Children were<br />

especially fascinated<br />

by her hummingbird<br />

mask. Shown here<br />

is Pash Galbavy<br />

and guest speaker<br />

David Salman at the<br />

Festival.<br />

As founder and executive director<br />

of the Hummingbird Society,<br />

Ross Hawkins gets to hear many<br />

hummingbird stories and experiences.<br />

He also has one of his own to tell.<br />

Here’s how it happened:<br />

“I wish you could have been there that<br />

Saturday morning in May 2008,” Ross<br />

begins. “I was just finishing breakfast<br />

when I heard a knock on the back door.<br />

I opened the door to see my neighbor<br />

Brian, holding an old one gallon<br />

pickle jar under his arm, covered with<br />

aluminum foil with holes punched in it.<br />

‘Ross,’ he said, ‘I found this hummingbird<br />

on the floor of my garage. It must have<br />

gotten shut inside and couldn’t get out. I<br />

didn’t know what to do, but I figured you<br />

would, so I’m bringing her to you.’<br />

“Inside the jar was a black-chinned<br />

hummingbird, and she didn’t look good. I explained to<br />

Brian that she really needed to eat right away, so I took<br />

the jar and the hummingbird from him and told him<br />

I would take care of her. I walked around to the side<br />

yard to one of our many hummingbird feeders. I held<br />

her in my hand and put her beak in one of the feeder<br />

ports. She drank and drank and drank for about<br />

five minutes. Then she stopped. ‘Good,’ I thought to<br />

myself. ‘Now she’ll be able to leave.’<br />

Surprising things can happen when people get into<br />

the spirit of the event. Carole Turek showed up in her<br />

elaborately detailed hand-made hummingbird mask.<br />

Friendships are made and renewed at each of the<br />

Festival events.<br />

For more information, please visit<br />

HummingbirdSociety.org<br />

“I sat there in the lawn chair and held out my<br />

hand with the hummingbird in it. I was expecting<br />

she would fly away immediately, but she didn’t.<br />

She did stand up and blink her eyes at me,<br />

but she just stayed put … for five minutes, ten<br />

minutes … fifteen minutes! I was beginning to<br />

get worried. But then she started flapping her<br />

wings and rose up about 6 inches. I thought,<br />

‘Ah, here she goes.’ But, she didn’t! Instead, she flew toward<br />

my face, and with her tongue and her beak she tickled my<br />

moustache, and then she flew away like a little skyrocket.<br />

Now, I don’t speak hummingbird, but I think I know what<br />

she was trying to say.”<br />

Ross had been working since 1996, with a mission of<br />

protecting and teaching people about hummingbirds. So,<br />

here was a well-deserved ‘thank you’ — and not from just<br />

anyone but from the little bird itself. He loves to say,<br />

“I’ve been kissed by a<br />

hummingbird!”<br />

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


78<br />

Culinary<br />

Palette<br />

Tasteful, Creative Offerings<br />

from <strong>Sedona</strong> Restaurants<br />

By Carole & Wade Bell<br />

Hideaway<br />

House<br />

Looking for a twist on classic<br />

Italian cuisine? Look no<br />

further than Hideaway House.<br />

Overlooking Oak Creek in the<br />

heart of <strong>Sedona</strong>, it boasts beautiful<br />

views of the surrounding red rocks<br />

from its two level dining options.<br />

The décor is rustic, comfortable<br />

and inviting and seating is available<br />

inside, or out on one of the patios.<br />

On a recent visit we found the<br />

staff to be exceptionally warm and<br />

welcoming, very professional and<br />

attentive without being intrusive.<br />

It is clear that the chef prepares the<br />

food with passion and we could<br />

taste the love in every bite, even<br />

as we marveled at the beautiful<br />

presentation. We started with the<br />

wine lovers board. Among the<br />

assortment, the board contained<br />

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

a stack of grilled vegetables, all<br />

perfectly done and delicious.<br />

There was also a selection of meats<br />

and cheeses accompanied by<br />

homemade grilled bread. This with<br />

a glass of wine would make for an<br />

especially happy “Happy Hour” or<br />

a light dinner.<br />

We also sampled the garlic cheese<br />

blossom, a round of soft, warm<br />

bread with a balloon of cheese<br />

exploding out from the center and<br />

includes a marinara dipping sauce.<br />

For entrées we had the chicken,<br />

which is marinated for three days<br />

before cooking. It is then prepared<br />

on the grill, under a brick. It was<br />

tender and juicy, with a crispy<br />

brown crust and it melted in<br />

the mouth. It is among the best<br />

chicken we have ever tasted! It was<br />

accompanied by roasted potatoes<br />

and sautéed vegetables.<br />

Our other entrée was a salmon<br />

special that evening, but the<br />

salmon is a menu item, served over<br />

polenta with grilled asparagus<br />

and vegetables. The salmon was<br />

exquisite: done to perfection,<br />

moist and flavorful. Finding well<br />

prepared, fresh seafood in the<br />

desert is a real coup!<br />

We had to sample dessert since<br />

they are all homemade by “Mama”.<br />

Hideaway House<br />

For chocolate lovers, try the dense,<br />

rich Ghirardelli Chocolate Caramel<br />

Espresso Cake topped with sea<br />

salt caramel gelato and whipped<br />

cream. May we say, “decadent”?<br />

For something a bit lighter we had<br />

the Scoop and Shot, the same ice<br />

cream with freshly made espresso<br />

poured over the top. To sum up<br />

our dining experience at Hideaway<br />

House in one word – delicioso!<br />

Reds<br />

Restaurant<br />

Reds is a delightful upscale dining<br />

spot in the heart of West <strong>Sedona</strong> in<br />

the luxurious <strong>Sedona</strong> Rouge Hotel<br />

and Spa. Expect to find modern<br />

interpretations of quintessentially<br />

American food as we did on our<br />

recent visit.<br />

We began by sharing a superb<br />

salad: slices of ripe red and yellow<br />

heirloom tomatoes topped with a<br />

mound of creamy Spanish buratta<br />

cheese, drizzled with extra virgin<br />

olive oil. Each bite delivered a<br />

delicious combination of flavors<br />

and provided an overture for what<br />

was to follow.<br />

Steak is a specialty and we were<br />

persuaded to sample both the<br />

melt in your mouth tender filet<br />

mignon topped with a dollop of<br />

blue cheese butter and a savory<br />

sauce, and the New York strip with<br />

its hearty texture and deep flavor,<br />

served with a shallot demi glace.<br />

Both were grilled to perfection and<br />

accompanied by sautéed broccolini<br />

and creamy garlic mashed potatoes.<br />

Excellent! Either of these choices

would more than satisfy the most<br />

discerning meat lover.<br />

Another delectable entrée was the<br />

grilled salmon filet with a white<br />

wine citrus sauce. The salmon was<br />

moist and delicate and served with<br />

herbed rice and sautéed spinach.<br />

The citrus sauce was a sublimely<br />

subtle accompaniment to great fish.<br />

Our taste buds were tingling!<br />

We were delighted to learn that<br />

Reds promotes the farm to table<br />

movement, focusing on locally<br />

sourced ingredients including<br />

produce from a kitchen garden<br />

behind the restaurant.<br />

As a grand finale to a most<br />

memorable meal we shared a<br />

scrumptious crème brûlée, an<br />

exquisite creamy custard with a<br />

brittle sugar crust that cracked<br />

with each dip of a spoon. Also on<br />

the plate was a house made “sugar<br />

cookie”, a lacy confection wrapped<br />

cannoli style and filled with<br />

macerated berries, creating the<br />

perfect complement to the custard.<br />

Save room for this one!<br />

The quiet ambience, the attentive<br />

professional staff, and the excellent<br />

food creatively prepared with<br />

passion and care and artfully<br />

presented, make Reds a stand out<br />

for dining in <strong>Sedona</strong>.<br />

Gerardo’s<br />

Italian Kitchen<br />

Gerardo’s Italian Kitchen is a real<br />

gem in West <strong>Sedona</strong>, popular with<br />

locals and visitors alike, as our<br />

recent visit proved. The restaurant<br />

was buzzing with folks waiting<br />

their turn to enjoy authentic Italian<br />

cuisine in a casual setting. There is<br />

a large outdoor patio and bar with<br />

heaters for cooler nights that make<br />

dining al fresco a delightful option.<br />

The staff at Gerardo’s is friendly<br />

and knowledgeable and service is<br />

attentive. The kitchen is open and<br />

we could see Gerardo and his team<br />

busily preparing the dishes as the<br />

tantalizing aromas filled the room.<br />

We started with calamari fritti.<br />

The calamari was lightly breaded,<br />

crispy, tender and delicious. The<br />

dish came with a marinara sauce<br />

that tasted like sweet tomatoes, and<br />

a creamy, yet light, garlic aioli sauce<br />

for dipping. This was a winner!<br />

Gerardo makes wonderful pizza<br />

and we tried his special with<br />

arugula, smoky prosciutto and<br />

creamy burrata, drizzled with<br />

balsamic vinegar. As you pull<br />

apart pieces of the crispy crust<br />

the soft burrata oozes out and the<br />

combination of flavors is exquisite.<br />

and ricotta in a mouthwatering<br />

white wine sauce, served with<br />

shaved ricotta salata and smashed<br />

cherry tomatoes. Each bite was a<br />

burst of flavor that made us dream<br />

of a trip to Italy.<br />

We also enjoyed the Shrimp<br />

Scampi. The delicate shrimp were<br />

sautéed in a lemon, white wine<br />

garlic butter sauce and served over<br />

fresh linguini. Is there anything<br />

better than homemade pasta?<br />

Gerardo’s passion for quality<br />

ingredients, which he turns into<br />

freshly prepared and beautifully<br />

presented dishes, is evident in<br />

every mouthful and we savored<br />

each one!<br />

Desserts vary each night, and<br />

happily for us tiramisu was on<br />

the menu. We were able to taste<br />

the classic as well as a chocolate<br />

espresso version. The chocolate<br />

espresso was rich and mousse-like<br />

– a chocoholic’s delight, but the<br />

classic with its flavored sponge cake<br />

and creamy mascarpone dusted<br />

with cocoa is out of this world! We<br />

also tried mini cannoli, crunchy<br />

pastry rolls filled with sweet creamy<br />

ricotta. Be sure to save room to<br />

at least share one of these treats!<br />

Buon appetito! ∞<br />

REDS Restaurant<br />

A must try entrée (and we did!) is<br />

Mama Pearl’s Florentine Ravioli;<br />

tender ravioli stuffed with spinach<br />

Gerardo's Italian Kitchen<br />

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


The Spotlight<br />

VENUES<br />


Bella Vita Ristorante<br />

ChocolaTree<br />

Dahl & DeLuca<br />

Enchantment Resort<br />

Gerardo’s Italian Kitchen<br />

Golden Goose American Grill<br />

Greg Lawson Gallereum<br />

Judi’s Restaurant<br />

Mary D. Fisher Theatre<br />

Mesa Grill<br />

Music in the House<br />

Oak Creek Brewing Co.<br />

Olde <strong>Sedona</strong> Bar & Grill<br />

Reds Lounge<br />

<strong>Sedona</strong> Chamber Music<br />

<strong>Sedona</strong> Performing Arts Center<br />

SteakHouse89<br />

Vino di <strong>Sedona</strong><br />


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

Fri, Sun 6 - 8 p.m.<br />

Fri - Mon 7 - 9 p.m.<br />

Thu-Sat 5 - 8 p.m.<br />

Tue 5:30 - 8:30 p.m.<br />

Sun, Tue, Thu 5:30 - 8:30 p.m.<br />

Occasional concerts - call for details<br />

Thu 6 - 9 p.m.<br />

Concert performances throughout the year - call for details<br />

Thu 4 - 7 p.m.; Sat & Sun 11 a.m. -2 p.m.<br />

2nd Fri of each month, September - May, 7 - 9 p.m.<br />

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

Live Music: Fri 9 p.m. - 2 a.m.; DJ: Sat 9 p.m. - 2 a.m.<br />

Wed, Fri, Sat, Sun 6 - 9 p.m.<br />

Monthly concerts seasonally - call for details<br />

Occasional concerts - call for details<br />

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

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

UPTOWN<br />

Briar Patch Inn<br />

El Rincon<br />

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

L’Auberge de <strong>Sedona</strong><br />

Mooney’s Irish Pub<br />

Rene’s Retaurant<br />

SaltRock Southwest Kitchen<br />

Secret Garden Café<br />

Sound Bites Grill<br />

Thai Palace Uptown<br />

Tlaquepaque<br />

Thu - Sun 8:30 - 10:30 a.m. June - September<br />

Sun - Tue 5:30 - 7:30 p.m. March - October<br />

First Friday ArtWalks 5 - 8 p.m.<br />

Sun - Thu 5 - 7 p.m.; Fri 6 - 9 p.m.<br />

Fri & Sat 9 p.m. - 1 a.m.<br />

Sat 5:30 - 8:30 p.m.<br />

Fri & Sat 6 - 9 p.m.<br />

Tue - Fri 5:30 - 8:30 p.m.; year round weather permitting<br />

Sun - Thu 6 - 9 p.m.; Fri & Sat 7 - 10 p.m.<br />

Mon & Tue 6 - 9 p.m.<br />

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


Collective, The<br />

Cucina Rustica<br />

Full Moon Saloon<br />

J Wine Bistro<br />

PJ’s Pub<br />

Special events and concerts year round - call for details<br />

nightly 6:30 - 9:30 p.m.<br />

Fri & Sat 8:30 - midnight<br />

Thu & Fri 6 - 9 p.m.<br />

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

80 Browse <strong>Sedona</strong> the list for <strong>ARTSource</strong> details about live music at other area venues and visit www.<strong>Sedona</strong><strong>ARTSource</strong>.com<br />

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

Live Entertainment Venues in <strong>Sedona</strong><br />


entertainment 6701 AZ-89A, <strong>Sedona</strong>, AZ 86336 928.282.4540<br />

ambience/entertainment 1595 West Hwy 89A, <strong>Sedona</strong>, AZ 86336 928.282.2997<br />

ambience 2321 West Highway 89A, <strong>Sedona</strong>, AZ 86336 928.282.5219<br />

ambience The View Restaurant, 525 Boynton Canyon Road, <strong>Sedona</strong>, AZ 86336 928.204.6014<br />

ambience 2675 W State Rte 89A, <strong>Sedona</strong>, AZ 86336 928.862.4009<br />

ambience/entertainment 2545 W State Rte 89A, <strong>Sedona</strong>, AZ 86336 928.282.1447<br />

entertainment 2679 W. Highway 89A, <strong>Sedona</strong>, AZ 86336 928.202.0340<br />

ambience 40 Soldiers Pass Rd, <strong>Sedona</strong>, Arizona 86336 928.282.4449<br />

entertainment 2030 AZ-89A Suite A-3, <strong>Sedona</strong>, AZ 86336 928.282.1177<br />

ambience 1185 Airport Road, <strong>Sedona</strong>, AZ 86336 928.282.2400<br />

entertainment The Hub, 525-B Posse Ground Road, <strong>Sedona</strong> AZ 86336 207.907.9365<br />

entertainment 2050 Yavapai Drive, <strong>Sedona</strong>, AZ 86336 928.204.1300<br />

entertainment 1405 West Highway 89A, <strong>Sedona</strong>, AZ 86336 928.282.5670<br />

entertainment Located in <strong>Sedona</strong> Rouge Hotel & Spa, 2250 AZ-89A, <strong>Sedona</strong>, AZ 86336 928.340.5321<br />

entertainment 2030 W. State Route 89A, Suite B5, <strong>Sedona</strong>, AZ 86336 928.204.2415<br />

entertainment 995 Upper Red Rock Loop Road, <strong>Sedona</strong>, AZ 86336 928.282.0549<br />

ambience/entertainment 2620 W. Hwy 89A, <strong>Sedona</strong>, AZ 86336 928.204.2000<br />

entertainment 2575 W. State Route 89A, <strong>Sedona</strong>, AZ 86336 928.554.4682<br />

ambience 3190 N State Rte 89A, <strong>Sedona</strong>, AZ 86336 928.282.2342<br />

entertainment Tlaquepaque Arts & Crafts Village, 336 AZ-179, <strong>Sedona</strong>, AZ 86336 928.282.4648<br />

entertainment 671 AZ-179, <strong>Sedona</strong>, AZ 86336 480.998.5025<br />

ambience/entertainment 301 Little Lane, <strong>Sedona</strong>, AZ 86336 800.905.5745<br />

entertainment Hillside <strong>Sedona</strong> Shopping Center, 671 AZ-179, <strong>Sedona</strong>, AZ 86336 928.282.2331<br />

ambience Tlaquepaque Arts & Crafts Village, 336 AZ-179, <strong>Sedona</strong>, AZ 86336 928.282.9225<br />

ambience Amara Resort, 100 Amara Lane, #101, <strong>Sedona</strong>, AZ 86336 928.340.8803<br />

ambience/entertainment 336 AZ-179, F101, <strong>Sedona</strong>, AZ 86336 928.203.9564<br />

entertainment 101 N. State Rte. 89A, <strong>Sedona</strong>, AZ 86336 928.282.2713<br />

ambience 260 Van Deren Rd., <strong>Sedona</strong>, AZ 86336 928.282.8424<br />

entertainment 336 AZ-179, <strong>Sedona</strong>, AZ 86336 928.282.4838<br />

entertainment 7000 AZ-179, <strong>Sedona</strong>, AZ 86351 928.255.0900<br />

ambience The Collective <strong>Sedona</strong>, 7000 Arizona Rt. 179, <strong>Sedona</strong>, AZ 86351 928.284.3010<br />

entertainment The Collective <strong>Sedona</strong>, 7000 Arizona Rt. 179, <strong>Sedona</strong>, AZ 86351 928.284.1872<br />

ambience The Collective <strong>Sedona</strong>, 7000 Arizona Rt. 179, Suite E100, <strong>Sedona</strong>, AZ 86351 928.641.6587<br />

entertainment 40 W Cortez Dr., # 7, <strong>Sedona</strong>, AZ 86351 928-284-2250<br />

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

Deadline for submission is 2 months before next quarterly publication date.<br />

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


82 <strong>Sedona</strong> <strong>ARTSource</strong>

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


<strong>Sedona</strong> Art Galleries - See Map pageS 82-83<br />

B3<br />

D3<br />

E2<br />

D3<br />

A5<br />

E2<br />

D3<br />

D3<br />

C3<br />

D3<br />

D2<br />

D3<br />

E3<br />

D3<br />

C3<br />

ALT Gallery<br />

2301 W SR 89A<br />

Andrea Smith Gallery<br />

336 SR 179<br />

Aurora Dora Gallery<br />

320 N SR 89A<br />

AZADI Rug Galleries<br />

Creang worldwide beauty for over 200<br />

years. Specializing in Contemporary and<br />

Anque fine rugs.<br />

336 SR 179<br />

Bearcloud Gallery<br />

7000 SR 179 • BearcloudGallery.com<br />

Bearcloud Gallery<br />

390 N SR 89A • BearcloudGallery.com<br />

Big Vision Art Gallery & Design Studio<br />

Pamela Becker’s studio + gallery: Symbolic<br />

Portraits, Desert Lotus Altars® & Charisma<br />

Cards.<br />

251 SR 179<br />

Carre D’Arstes<br />

336 SR 179<br />

Creave Gateways<br />

45 Birch Blvd<br />

Eclecc Image Gallery<br />

336 SR 179<br />

El Dorado<br />

101 N SR 89A<br />

El Picaflor Gallery<br />

336 SR 179<br />

Exposures Internaonal Gallery of Fine Art<br />

561 SR 179 • ExposuresFineArt.com<br />

Gallery of Modern Masters<br />

World renowned contemporary arsts of all<br />

mediums for both inside and outside display.<br />

671 SR 179<br />

Gallery Tesla<br />

2030 W SR 89A<br />

D3<br />

D3<br />

D3<br />

D3<br />

A3<br />

E3<br />

D3<br />

E3<br />

A5<br />

C3<br />

D3<br />

E2<br />

E2<br />

E2<br />

D3<br />

Honshin Fine Art:<br />

Gallery of Wholeness, Harmony & Radiance<br />

336 SR 179<br />

Honshin Fine Art:<br />

Gallery of the Ascending Spirit<br />

336 SR 179<br />

Inner Eye Gallery<br />

336 SR 179<br />

James Ratliff Gallery<br />

671 SR 179<br />

Kachina House<br />

2920 Hopi Drive • KachinaHouse.com<br />

Kopavi Internaonal<br />

Specializing in fine Hopi jewelry. Beauty<br />

from the hand of America.<br />

411 SR 179<br />

Kuivato, A Creave Gateways Gallery<br />

336 SR 179<br />

KuivatoGlassGallery.com<br />

Lanning, A Bryant Nagel Gallery<br />

431 SR 179 • LanningGallery.com<br />

Magical Mandala Kaleidoscope Gallery<br />

7000 SR 179<br />

Mexidona<br />

1670 W SR 89A<br />

Mountain Trails Galleries<br />

Painngs, sculpture & more by tradional,<br />

contemporary award-winning arsts from<br />

the West.<br />

336 SR 179<br />

Nave American Traders<br />

321 N SR 89A<br />

Nave Jewelry of <strong>Sedona</strong><br />

276 N SR 89A • NaveJewelryGallery.com<br />

Nave Jewelry of <strong>Sedona</strong><br />

211 N SR 89A • NaveJewelryGallery.com<br />

Navarro Gallery<br />

336 SR 179<br />

B3<br />

E2<br />

B3<br />

A5<br />

E3<br />

B4<br />

D4<br />

D3<br />

D2<br />

C3<br />

E2<br />

E3<br />

A5<br />

A5<br />

<strong>Sedona</strong> Arst Market<br />

2081 W SR 89A<br />

<strong>Sedona</strong> Arts Center<br />

15 Art Barn Road<br />

<strong>Sedona</strong> Giclee Gallery<br />

2055 W SR 89A<br />

<strong>Sedona</strong> Hummingbird Gallery<br />

Gallery features spiritual nature<br />

photography by Beth Kingsley Hawkins<br />

and everything hummingbird.<br />

6560 SR 179<br />

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

411 SR 179<br />

Soderberg Bronze<br />

45 Finley Drive<br />

Son Silver West Gallery<br />

1476 SR 179 • SonSilverWest.com<br />

Stan Rose Images<br />

671 SR 179<br />

The DeSerio Gallery<br />

101 N SR 89A<br />

The Melng Point<br />

This educaonal facility provides home to<br />

locally craed glass of all forms.<br />

1449 W SR 89A<br />

Touchstone Gallery<br />

Epic minerals, rare ancient fossils,<br />

nature inspired home decor,<br />

gemstone jewelry, gis.<br />

320 N SR 89A • TouchstoneGalleries.com<br />

Turquoise Tortoise, A Bryant Nagel Gallery<br />

431 SR 179 • TurquoiseTortoiseGallery.com<br />

Van Loenen Gallery<br />

7000 SR 179<br />

Village Gallery of Local Arsts<br />

Over 40 local arsts cooperavely<br />

sharing mulple genres of affordable<br />

artwork. • 6512 SR 179<br />

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

E3<br />

D2<br />

B3<br />

A3<br />

E1<br />

Garland’s Navajo Rugs / Collector’s Room<br />

411 SR 179<br />

Goldenstein Gallery<br />

Represenng renowned local and regional<br />

arsts in all styles and mediums.<br />

150 SR 179 • GoldensteinArt.com<br />

Gordon’s Clock Soup Gallery<br />

2370 W SR 89A<br />

Greg Lawson Galleries: Passion for Place<br />

Greg Lawson Images featuring people,<br />

places and wildlife; an enre global<br />

experience.<br />

2679 W SR 89A • GregLawsonGalleries.com<br />

Hoel's Indian Shop<br />

9589 N SR 89A<br />

D3<br />

E2<br />

D3<br />

D3<br />

C3<br />

Quilts Ltd. Gallery<br />

313 SR 179<br />

R.C. Gorman Navajo Gallery<br />

285 Jordan Road<br />

Renee Taylor Galleries<br />

336 SR 179<br />

Rowe Fine Art Gallery<br />

Nature and wildlife art. Tradional and contemporary<br />

southwestern sculptors, painters<br />

and jewelers.<br />

336 SR 179<br />

Rumi Tree Gallery<br />

40 Soldier Pass<br />

D2<br />

C3<br />

D3<br />

C3<br />

Visions Fine Art Gallery<br />

Award winning fine art gallery.<br />

World renowned arsts, painngs,<br />

sculptures, and glass.<br />

101 N SR 89A<br />

Vivian Tseng Fine Art<br />

40 Soldier Pass<br />

Vue Gallery<br />

336 SR 179<br />

Wayne B. Light Gallery<br />

40 Soldier Pass Road • WayneBLight.com<br />

<strong>ARTSource</strong> adversers listed in bold.<br />

84<br />

<strong>Sedona</strong> <strong>ARTSource</strong>

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