zocalo magazine - february 2013

Tucson’s urban scene Magazine / zocaLoMagazine.coM / february 2013

Zócalo

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PUBLISHER & CREATIVE DIRECTOR David OlsenCOPY EDITOR Amanda Frame-WawroCONTRIBUTORS Sydney Ballesteros, Marisa Bernal, Jon D’Auria, Emily Gindlesparger, Jess Holzworth, Krysta Jabczenski, Jim Lipson, Hannah McCain, Jared McKinley, Phoenix Michael, misterpaulfisher, Monica Surfaro Spigelman, Herb Stratford, Teya Vitu. LISTINGS Marisa Bernal, [email protected] ARTISTS Troy Martin, David Olsen

CONTACT US:[email protected]. Box 1171, Tucson, AZ 85702-1171520.955.ZMAG (9624)

Subscribe to Zocalo at www.zocalomagazine.com/subscriptions.All content copyright © 2009-2013 by Media Zóoócalo, LLC. Reproduction of any material in this or any other issue is prohibited without written permission from the publisher and author. No person may, without prior written permission of the publisher, take more than one copy of each issue.

05. Events15. Community16. Fashion18. Garden21. Food&Drink25. Southwest Indian Art Fair52. Gem Show55. Arts64. Tunes70. Life in Tucson

February 2013

index

Zócalo is an independently published community magazine, showcasing Tucson’s urban arts and culture.

on the coverThe Arizona State Museum presents the Southwest Indian Art Fair, February 23 & 24. See special section starting on page 25.

February 2013 | ZOCALOMAGAZINE.com 3

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4 ZOCALOMAGAZINE.com | February 2013

events Z

The 4Th AnnuAl Tucson sculpTure FesTivAl kicks sculpture into the 21st century,

showcasing the eclectic variety of local artists along with some 3D printed creations. Also featured is the Anar-

chestra, a complete orchestra of homemade welded musical instruments. The festival runs for 2 weeks during

the day, February 1 - 15, with an opening on Friday evening, February 1. This festival takes place at two locations

near downtown, The Whistle Stop Depot, 127 W 5th St (one block west of Stone Ave), and The Sculpture Resource

Center, 640 N Stone Avenue. More information, including maps, demos, evening events and other specifics online

at TucsonSculptureFestival2013.blogspot.com

Feb 1 - 15

february

sAT 2ArT sAFAri eXpo The Central Tucson Gallery Association is presenting its 13th mid-season art expo, ART

SAFARI, at downtown locations on Saturday, February 2, 2013. Galleries will be open during the day and evening

receptions will be held starting at 6:00 PM at many of the member galleries. ART SAFARI is an annual exposition of

contemporary art by gallery artists from Tucson and the country. Local galleries feature paintings, sculpture, draw-

ings, watercolors, fine prints, encaustics, photography and the studio arts, including fiber, wood, clay, glass and

unique objects d’art. The event is free and family friendly. Maps of the event locations are available at participating

galleries, the Tucson-Pima Arts Council, the Downtown Partnership, Metropolitan Tucson Convention and Visitors

Bureau and the Tucson Museum of Art. Call (520) 629-9759 for more information or visit CTGATucson.orgMunakata, oil on canvas by Amy Metier at Davis Dominguez Gallery


The FLAMe OFF had fairly simple beginnings, explains Tom Philabaum. It was during the 1997 Glass Arts Society Conference – the same year the society became an international organization – when the Philabaum Gal-lery showed over 30 artists’ work. “Since we had so many great artists in town, it occurred to me that we had to do something fun to further promote the Flame Arts. So, I issued a challenge to everyone, bought five cases of beer, and from six to ten on a Friday night we made collaborative stuff.” It was a spark to an event that not only continued through the years, but also spread a wildfire of similar exhibitions to cities across the world.

“The fire, the flame, the manipulation of molten glass has always kept audiences’ attention, and inspired many to try it themselves,” Philabaum writes about the draw for the Flame Off. “It’s dangerous, scary, and de-manding, commanding complete focus. And, through the nature of flame-working, one can create a complete sculpture in one two hour session.” Which is what 24 artists will do on the Rialto stage Friday, February 8th, in an event that has become a highlight of the Gem and Mineral Show.

The Rialto is in its second year hosting the event, which has moved venues several times since its inception. As the audience grew, they at-tempted to match it. From its humble start in the Philabaum Gallery, the Flame-Off had a few successful years in the Sonoran Glass School when it opened in 2001. Then it took place in a warehouse (too flat), Barrio Brew-ery (too small), and finally found its home with a crowd to fill the Rialto. “The ‘Flame-Off’ has taken on a life of its own, appearing all over America, and even in some other countries,” Philabaum writes. “Since that time the Flame Arts have flourished and expanded their influence throughout the Glass World.”

And the pressure is on, notes William Justiniano, the Facilities Director of Sonoran Glass School. “At any moment one false move could destroy their art work,” he clarifies, describing the intensity of creating work – which most artists do in the solitude of their studios – under the heat of

stage lights and with the acclaim of a crowd at least 500 strong. “The competition is very climactic because the pieces of glass art get more in-volved as the night goes on,” Justiniano adds. “We have seen glass roller coasters, three-foot-tall vases, giant marbles, glass fairy wings, goblets with winged horse stems, and other wild creations made at these events.” Artists work solo or in tandem with partners, creating spontaneous col-laborations that can be viewed both up close and personal and on video. For an art form that hinges on the details, several high definition screens will be mounted around the auditorium to give the audience a look at the growing facets of the work.

As the clock ticks on the artists’ creations, patrons will nosh on bar-becue from Mr. K’s, swig from the cash bar, and bid on the pieces taking shape onstage. At intermission, onlookers have a chance to mingle with the artists. Live music from the Satellite Freakout will rock out the night. And when the clock stops and the night is over, artists will have an oppor-tunity to put finishing touches on their work, such as a kiln firing, before they’re shipped off to the Best Bead Show at the Kino Center – where the pieces will feature in competition judging and a silent auction, beginning at 11:30 a.m. that will continue through 4:30 p.m. The pieces are donated by the artists to Sonoran Glass School, and in past years the proceeds have raised over $6,000, a sum that funds the school’s youth development program and its outreach to the community for education in the glass arts. And it just sounds like a flamin’ good time.

The Flame Off, February 8th, 6:30 p.m. - 1:30 a.m. at the Rialto Theater, 318 E. Congress St.Tickets $10/pre-event, $15/door. To purchase tickets by phone, call 740-1000. Silent auction for Flame Off pieces continues at the Best Bead Show in the Kino Center, 2805 E. Ajo Way, on February 9th. SonoranGlass.org, 520-884-7814

by Emily Gindlesparger

Up In FlamesThe Sonoran GlaSS School’S Flame oFF compeTiTion

events Z

photo: David Olsen


eventsZ

sun 10Fine vAlenTine couple’s relAY

The Southern Arizona Roadrunners will host the

Ninth Annual Fine Valentine Running & Walking

event. 8am. University Avenue. $10-$20. 326-9383,

AZRoadrunners.org

Thu 14-sun 17Tucson GeM AnD MinerAl shoW

Annual gem and mineral exhibition throughout Tuc-

son. See website for times. Tucson Convention Center,

260 S. Church Ave. 322-5773, TucsonConventionCenter.org

Thu 14Woo AT The Zoo Join the Reid Park Zoologi-

cal Society for the 5th annual Valentine’s Day dinner.

events includes a deluxe dinner, interactive activities,

and a light-hearted discussion on the mating behav-

iors of wild animals by Reid Park Zoo’s veterinarian,

Dr. Alexis Moreno of Valley Animal hospital. $50

per person. See website for prices. 5:30pm-7pm.

Reid Park Zoo, 1100 S. Randolph Way. 881-4753,

TucsonZoo.org

februaryFri 8 - sun 17Tucson DeserT sonG FesTivAl this 10 day inaugural classic voice festival brings internationally

known soloists and conductors to Tucson in a unique and collaborative effort in performances with the Tucson

Symphony Orchestra, UApresents, Tucson Chamber Artists, Ballet Tucson, Chamber Music Plus and Tucson

Guitar Society. Throughout the week, festival goers can also attend Master Classes, lectures and recitals hosted

by the University of Arizona’s School of Music featuring our guest artists, professors and students. Locations

vary. For more information about the festival, visit TucsonDesertSongFestival.org

sAT 9riAlTo TheATre GAlA AnD silenT AucTion The Rialto Theatre Foundation will host

its Inaugural Fundraising Gala and Silent Auction,

featuring live music and food. VIP ticket holders can

enjoy dinner starting at 6pm. event doors will open to

non-VIP ticket holders at 7pm, with the silent auction

starting at 7:30. At 9pm Grupo Fantasma, an eleven-

piece, Grammy Award winning Latin funk orchestra,

will wow guests with their musical incorporations

of funk, mambo, merengue, and cumbia. An after

party, featuring the live music of Brownout, will start

at 11pm. Tickets range from $10-$100 and can be

purchased at the Rialto box office, online, by phone

at 740-1000, or any Bookmans location. Please visit

RialtoTheatre.com for details.

sAT 9 (AnD MAr 23)kiDicAl MAss Tucsonans of all ages and abilities are invited to gather at the Mercado San Agustín,

100 S. Avenida del Convento at 10:00 am for the first of two in a series of kid-friendly, safe, and fun “Kidi-

cal Mass” bicycle rides exploring area neighborhoods. The February 9th route will include a tour of Manzo

elementary School located in Barrio hollywood, recently recognized as one of only two top green schools

in the US. The second Kidical Mass ride will take place Saturday, March 23rd at Catalina Park, South 4th

Avenue and east 2nd Street, at 10:00 am and will feature a cruise down Tucson’s newest bicycle amenity–

the Fourth Avenue/ Fontana Bicycle Boulevard. Kidical Mass rides are family-friendly, law-abiding rides

designed to bring families together to cycle safely as a group. Ride leaders and sweepers are present to assist

in making sure no one is left behind but all parents are asked to take responsibility for their children on the

road for the safety of all. Participants are encouraged to bring their helmets, however a limited supply of

children’s helmets will be provided for free courtesy of the City of Tucson Bicycle and Pedestrian Program.

Families can also decorate their bikes in advance for increased visibility and for fun. All kids will receive

stickers, temporary “Kidical Mass Tucson” tattoos, and a cool treat at the conclusion of the ride. Kidical

Mass is hosted by the local non-profit organization, Living Streets Alliance. For more information, please visit

LivingStreetsAlliance.org.


eventsZ

february

Fri 22AFTer pArTY The Tucson Conquistadors host a party for a cause, raising money for Southern

Arizona youth charities. Live music by 80s & Gentlemen and Lee Anne Savage. Located at the Formers

Bashas’, corner of Tangerine and Dove Mountain Blvd. Doors open at 3pm. Last call at 11pm. Tickets are

$30 pre sale, $40 at the door. Call 745-2300 for more info or find them on Facebook.

sAT 16FAMilY sci-FesT Visit the Children’s Museum Tucson and explore how much fun sci-

ence can be. Families will participate in interactive experiments and demonstrations with over

15 organizations. Free admission. Science activities are 10am - 2pm. Family SCIFest is part of

Science in the City. For more information, please visit ChildrensMuseumTucson.org.

sAT 23roDeo DAYs ArTs shoW DoWnToWn featuring Fine Art, Glass, Pot-

tery, Jewelry, Wood, Garden Art, more. Live Music by Ruben Moreno’s Mariachi her-

radura, Arizona Dancehands, George howard’s R & B Band, and Stefan George’s

country ensemble The Ditch Riders. FRee. 11am-8pm at the Steinfeld Warehouse,

101 W. 6th St. Call 820-1171 for more information.

Thu 21Tucson roDeo pArADe The largest non-motorized parade begins at Park

Ave and Ajo Way, goes south on Park to Irvington Rd., west on Irvington to Sixth Avenue

and north on Sixth Avenue. 8am. Free. 294-1280, TucsonRodeoParade.org

sAT 23-sun 2420Th AnnuAl souTh-WesT inDiAn ArT FAir

200 Southwest Native artists pres-

ent their work. Native food, music,

dance, performances. $7-$10.

Youth, under 18, and students are

free. Sat: 10am-5pm, Sun: 10am-

4pm. Arizona State Museum,

1013 e University Blvd. 626-8381,

StateMuseum.Arizona.edu. See

special section starting on page

25 of this issue.

sAT 16- sun 27 & Thu 21- sun 24lA FiesTA De los vAQueros Tucson roDeo The event features

competitions for adults & children, the Rodeo Dance & the Rodeo Parade. See the

website for times & parade route. Tucson Rodeo Grounds, 4823 S. 6th Ave. 741-2233,

TucsonRodeo.com

photo: Clea G. Hall

sAT 9velociprinTs: on The piTch art exhibition featuring limited

edition prints by 20 local soccer enthusiasts. Several soccer-inspired paint-

ings will also be on display. VelociPrints: On the Pitch debuts inside Border-

lands Brewery, 119 e Toole Ave, on February 9, from 5 to 10 pm. Follow-

ing opening day, the art will be available for viewing and sale during regular

brewery hours through February 28. The event is free and family friendly,

with food trucks and craft beer from Borderlands available on site. Visit

VelociPrints.com for more information.


by Teya Vitu

TUCSON’S STReeTCARS WILL be sparkling clean and provide smooth rides to your destinations. This will happen for each of Sun Link’s eight Modern Streetcars at the Maintenance and Storage Facility, or MSF. every night after the last runs, the streetcars will retreat to the MSF for the nightly cleaning and whatever repair needs arose during the day.

The $7.6 million Maintenance and Storage Facility is being built by the Tucson Department of Transportation, which specializes in horizontal con-struction like roads rather than vertical buildings. But Jesse Gutierrez, TDOT’s streetcar project construction man-ager, decided it made more sense for Transportation to oversee construction of the building since it’s function re-volves entirely around transportation.

The MSF is the three-bay, 39-foot-8-inch-high garage for the streetcars located where 8th Street dead-ends just west of 4th Avenue. It is the street-car system’s single largest structure.

each of the three service bays has a different specialty. Bay 1 has a 5-foot-9-inch deep posted rail pit measuring nearly 17 wide and 70 feet long and an upstairs mezzanine level that gives repair crews access to the streetcar roofs. The tracks are mounted on yellow vertical posts to al-low streetcars to roll over the pit. The pit gives allows repair crews to easily get to the undercarriages to carry out simple repairs to the wheel trucks or loosen the trucks if they need to be removed.

The mezzanine is an upper level used for equipment storage and the floor also reaches over the roof of the streetcar in Bay 1. This gives crews easy access to the four air condition-ing units on each streetcar roof and the pantograph arm that reaches up to the power line suspended above the street, called the overhead conductor system. “Most of the equipment is on the roof,” said Bruce Woodruff, the MSF project manager and an architect in the City of Tucson Architecture and engineering Division.

The 108-foot-long Bay 2 has the most overhead clearance because this is where portable lifts raise streetcar bodies from the trucks. “Believe it or not, they get flat tires. You’ll feel it and hear it,” Woodruff said. “Yes, the wheels are steel, but obstructions on the track or sudden braking can create tiny flat spots on the wheel that impact the smoothness or quietness of the ride”, he said.

Bay 3 is the longest bay at 143-feet long because it also includes the repair shop for the wheel trucks, called bogies in the trade. “The third bay is kind of a bonus,” Woodruff said. “That’s the hard down bay. If a streetcar needs a lot of work, that’s where they are going to do it.”

By mid-January, Bay 2 track was embedded in 2 feet of concrete. In Bay 1, the vertical posts were in place in the pit, but the track was not installed yet. Bay 3 was still dirt.

Bays 1 and 3 each have 5-ton over-head cranes. Bays 2 and 3 also have turntables at their far ends to allow wheel trucks to get rolled from bay to bay, to the truck shop and to the parts shop.

The Modern Streetcar’s administra-tive offices will be here as will the con-trol room tracking all streetcars on the route. Streetcar drivers will have their lockers and break room here. But as the name indicates, maintenance and stor-age (and cleaning) will be the dominant activities.

The Maintenance and Storage Facil-ity sits where the three-way intersection of the little used Stevens Avenue, 5th Avenue and 8th Street used to be. The Arroyo Chico also used to flow where the MSF stands. The arroyo was rerouted in the 8th Street Drainage Project.

This car wash differs a bit from the one you take your car to. The car wash sits on the former Stevens Avenue, which was reduced from a 50-foot-wide street to a 14-foot-wide fire lane wedged be-tween the car wash and Maloney’s.“The streetcars are going to be on the street for 20 hours a day,” Woodruff said. “They come here and clean them up. If it was a party night, they have to clean the vomit off and there are no rotating brushes,” Woodruff comments. “It’s all

high-pressure wash with reverse osmosis water that causes no spotting. The streetcars will drive through the wash at a slow speed.”

The Modern Streetcar system will be operated by RATP Dev McDonald Transit, for which Tucson and Washington, D.C. will be its first two street-car systems in the United States. D.C. like Tucson is still building its street-car line. RATP Dev operates streetcars in Florence, Italy; Manchester, england; hong Kong; and Paris.

The MSF should be completed by the end of February. The first street-car delivery from Portland is expected in April.

This article appears courtesy of the Downtown Tucson Partnership.

community Z

Where the Streetcar Lives


fashionZ

Dressing Roomby Sydney Ballesteros

The palest palette of blue, cream and pink, the alluring touch of silk and feathers, the glow of glamorous jewels: for a woman abandoned to her dressing quarters, the ultimate recipe for a slightly sinful game of dress up and an elegant revenge. And she hasn’t even put on her lipstick yet.

Fashion editor | Sydney Ballesteros. photography | Stacia Lugo. Model | Alexandra Smith {Agency Arizona}. Makeup | Tangie Duffey. hair | Raul Mendoza. Wardrobe | Black Cat Vintage, Razzle Dazzle Vintage, How Sweet it was Vintage.


Z garden

is it Wrong To Grow in The Desert?

SOMe PeOPLe reason that gardening in this climate is a waste of water. Others suggest that the desert is no place for gardening at all. The author admits to having a prejudice toward being pro-gardening. But there are some really good reasons we, in the desert southwest, should be garden-ing.

First of all, humans have been growing food in the Tucson basin for as long as people have been living in this part of the world. The truth is, Arizona is one of the best places to grow plants. The sun, the soil, and yes, the water, enable people to grow a wide variety of plants.

Arizona is indeed an arid land. Global warming is quickly turning a lot of land that humans live on into arid climates. We need to innovate and develop ways to produce food in arid lands because soon there will be few other choices for places to grow. We must not avoid our low resource problem but rather engage in the issue head-on in a creative and inven-tive way.

Arizonans are no different than anyone else in the world: we need to be closer to our food. The movement to localize food is rooted in the idea that we are spending too much importing food (using up fossil money, fuels, time and other resources) when we could be much more efficiently pro-viding for ourselves. This means encouraging local farming and it is even better if the food comes from our own backyards.

Backyard gardens have the capability of growing much more efficiently than commercial growers can manage. We can afford the time to mulch the base of the plants--agriculture fields are almost never mulched be-cause they cannot afford to cover acres of land with such material. We can carefully shape beds to collect rainwater, and prevent run-off. We have the ability to pay attention to our garden, and manage them by the square foot, while large-scale farmers must think in acres.

There are many ways we can cut back on water use: switching to ef-ficient faucets and other appliances, altering our daily habits to not be wasteful, using native and drought tolerant plants in the landscape, en-couraging our local economy to invest in crops that are more appropri-ate to our climate (growing jojoba instead of lettuce), and utilizing “grey water” or cleaning up wastewater and using it to recharge the water table. But to suggest that growing food is a waste of water is looking at the issue through tunnel vision and oversimplifying the challenges we face living on arid lands.

seasonal Guidelines

Pay close attention to the garden as it warms up. We will still be having cold snaps, but the temperatures are increasing, and spring will eventually also bring wind, which can really dry out the garden. Mulch, mulch, mulch the garden. You can start pruning back frost-damaged growth on land-scape and ornamental plants. Still be prepared to cover on the cold nights. It is also time to divide plants like mint, oregano, lemongrass, etc. You can plant the divisions in new locations or share with friends/neighbors. Divid-ing freshens up the plant, and stimulates new growth.

You should be getting ready for the warm season. Make some room. Time to plant tomatoes, eggplants, peppers, peas, corn, squash, and more if you want to get a good spring crop in. Protect them from any frost. Con-tinue planting any winter crops you aren’t sick of, paying attention to how many days your variety takes to mature. It is too late for crops that need a long time to mature. It is time to plant most perennial crops: artichokes, herbs, fruit trees, strawberries, blackberries, asparagus and more. This is the beginning of the best growing season we have, where both cool and warm season plants provide a vast diversity in the garden.

by Jared R. McKinley

Notes From A Plant Freak

photo: Konstantin S

utyagin


The SUBDUeD ambiance of May’s Counter, 2945 e Speedway Blvd, feels incongruous to cheery Southern cuisine. There are bright red diner stools marching along the bar, but black and dark wood dominate the decor. Six flat-screened TVs tuned to sports stations are dotted around the dining area: heavy tables spread across a tiled floor that mimics poured concrete. Black faux leather booths—each with a bold red racing strip down the cen-ter emblazoned with May’s Counter’s logo—line the wall opposite the bar. The overall atmosphere of “sports-bar-meets-diner-meets-grandfather’s-mahogany-paneled-study” is polished – but boring. As for the food, the concept is robust, but execution underwhelms.

Two friends weaned on grits and fried chicken in Louisiana joined me for my first dinner at May’s. We ordered a few beers – May’s has an entirely adequate selection of cocktails and beers, including the kitschy option of a PBR tallboy in a paper bag – while we mulled over the trendy-looking menu.

I selected the “hen” ($10): one waffle and two chicken breasts. The chicken arrived crisp and crunchy, its white meat moist within, but the batter could have used a jolt of seasoning. And the limp waffle was like elevator music: inoffensively bland.

My friend Daniel approved of his gigantic shrimp po’ boy ($11, with a side of tater tots or crinkle-cut fries), with the exception of the bread: it looked and tasted like an oversized hot dog bun and left him wishing for the traditional French bread. Jessie’s fried catfish “big plate” ($14 with two sides) was enjoyable, but she delivered a crushing blow when she admitted that the meal wasn’t as good as her elementary school cafeteria’s version. her collard greens were unexceptional – and tasted inexplicably of cumin. her second side order, grits, won top awards: fluffy and deliciously decadent. The three of us split two additional sides. Cheers for the crispy fried okra ($4), but the ranch dipping sauce overpowered. The house-made mac and cheese ($5) looked pretty, flecked with chile, but looks can be deceiving: it didn’t even taste as good as the boxed stuff.

My second visit to May’s Counter provided two delights: the pickle chips appetizer ($7) and the “best bite ever.” My dining companions and I dug into the crisp, salty pickles with gusto. They seem like a misfit among appetizers – they strike me as a perfect bar food – but they’re good enough that I’d eat them wherever they show up. The “best bite ever” I credit to

the culinary genius of my friend Alex. he ordered the “BYO” ($12 for a waffle and your choice of three pieces of fried chicken) and deconstructed the whole thing into a mess of dark meat, crispy skin, hot sauce, and maple syrup, scooping it all up with bits of waffle. he fed Ali and me each a big bite of chicken wrapped up in a waffle dripping with hot sauce and syrup. Absurdly messy – and equally delicious.

Our “Angry Bird” buffalo chicken sandwich ($9) tasted solidly O.K., but the “12 Gauge Chicken” sandwich ($9) should have stayed in the kitchen. A thick, puffy, hamburger-esque bun and dry grilled chicken over-whelmed the tentative spread of grayish guacamole and a few slices of jalapeño. A side of succotash – a buttery mix of grape tomatoes, corn, and lima beans – was colorful and had plenty of flavor, but wasn’t good enough to salvage the meal.

May’s attracts families looking for a casual meal out and groups of col-lege students looking for comfort food and a beer in a sports-bar environ-ment. The restaurant, brainchild of Arizona chef and restaurateur Aaron May, has a good concept, and they’ve got their marketing down pat (“eat Well, Drink A Lot” is their catchy slogan). With a relative dearth of fried-chicken-and-waffle joints in Tucson, sure, hit up May’s if that’s what you’re really craving. But, at least at dinner and lunch time (I didn’t try their breakfast offerings), don’t stray off the beaten path. May’s can fry up a good piece of chicken – they can fry anything pretty well, for that matter – but beyond that, they disappoint.

The lowdown:

how much? $$ (entrees average between $10 and $15)Who goes? Attracts sporty college students and families.What’s the vibe? Classed-up sports-bar ambiance; plenty of outdoor

seating. Service is inconsistent but not terrible.is it worth it? Go if you want fried chicken and waffles and don’t mind

that your meal’s a little overpriced. All major credit cards accepted.

The views expressed by authors in Zocalo Magazine are independent and do not necessarily reflect the opinion of the publisher. What’s your opinion? Email us at [email protected]

REVIEW: May’s Counterchicken and WaFFle experience UnderWhelmS

Zfood&drink

by Hannah McCain


DAVID ShARF, head bartender and my co-worker at Café Passé, lives a scant five minutes by bike from downtown Tucson and bustling 4th Avenue, but the house he shares with his girlfriend feels more like the rambling farmhouse of an eclectic artist than it does a downtown urbanite’s dwell-ing. Modern furniture—all bright colors and clean lines—shares space with rustic woven rugs, dried herbs and flowers, and a sundry assortment of art and curiosities, including sculptures of David’s own creation and vintage clothing collected by his girlfriend, Cynthia. The house and its surrounding gardens—which feature spicy mustard greens, herbs, wheat, and other vegetables, as well as a henhouse—are a tangible example of David’s philosophy towards life. It’s not a philosophy that can be distilled into a single phrase, but it involves living life locally (“it’s important to me to be from somewhere,” says David), solving problems artistically and intuitively, and having fun—or “playing around,” as David puts it. Just as his house and garden reflect this philosophy, so do David’s approaches to mixology and homebrewing.

When designing with new cocktails at Café Passé, David says, “I like to use what the café already has” or ingredients that are easily accessible, local, and preferably free, like herbs from his own garden. he enjoys the creative and hands-on aspects of cocktail design: dreaming up new reci-pes, creating house-made flavored syrups, and garnishing with homemade candied ginger and sprigs of rosemary; most recently he has begun infus-ing Passé liquors with herbs, teas, orange peel, and other aromatic edibles he finds around the café. his organic approach to mix0logy lends itself to the analogy of cooking—to David, the creative and intuitive process of cooking, especially with produce from one’s own garden, is similar to the process of mixing cocktails. he’s playful but only half-joking when he asks, “how about ‘gardening plus cooking equals bartending’? Is that snappy enough to be my quote?”

Though he is infinitely comfortable in the role of bartender today, homebrewing came before bartending for David. Before he began working at Passé he had no experience as a bartender—and his beginnings were not auspicious. “My first day on the job I broke a champagne glass,” he recalls ruefully. Brewing beer, on the other hand, has been a pastime of David’s for years. As I’m interviewing him at his house he offers me tastes of several beers he is currently bottling, opening up some finished prod-ucts and others that are still works-in-progress in order to illustrate the complexity of the fermentation process.

As we sip beers together, I ask David what he likes best about working at Café Passé. “I like being able to breathe personality into a place,” he says. “I’m not necessarily creating the bar I want to go to, because that’s selfish or unrealistic.” Instead, he describes a process of “guiding the growth” of Passé as a space where people can enjoy a variety of beverages (alcoholic and non-alcoholic alike), art and music, and—perhaps most importantly—good company. David muses: “White europeans have this alcohol tolerance that came in part from the fact that beer used to be safer to drink than water. But our lives are comfortable today—we don’t need to drink alcohol. So drinking is something that’s important to do in good company. Otherwise, what’s the point?”

David sharf of café passé’s sugar Triangle recipe:The Sugar Triangle recipe uses three infused liquors. Of the process of

flavoring alcoholic beverages, David writes, “Infused liquors, liqueurs, bit-ters, fortified wines, and even whiskey all benefit from the late addition of botanicals of various kinds. From macerated fruit (allowing whole fruit to soak) to dry hopped IPAs, plants have been and still are used to bitter and balance our brews in all inclusive ways. Remember alcohol is a chemi-cal, and plants each have their own essences to be harnessed. Use your imagination and keep it simple.”

Rim a cocktail glass with lemon and raw sugar. Add 1 oz. each of black tea infused gin, orange peel infused bourbon, and cocoa nib infused rum. Then add the juice from a wedge of lemon, a 1/2 oz. simple syrup, and 4-6 ice cubes. Finish with a cocktail straw.

Z food&drink

by Hannah McCain

A mixologist’s philosophy infused with local flavors

Han

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SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION

Southern Arizona’s Premier Indian Art Show & Market

FEBRUARY 23 & 24, 2013

th20 ANNUALSOUTHWESTINDIANART FAIR


Welcome

Performances

Featured Artist

Arizona State Museum Tours

SWIAF Grounds Map

On Buying Native Goods

A Basketry Class Act

Clay Speaks

Lifetime Achievment Award Winner, Delbridge Honanie

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Photo: Julie Luchetta

Photo: Emily Kleinkauf

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26 ZOCALOMAGAZINE.com | FEBRUARY 2013

Experience the Enduring Cultures of the Region!

Arizona State Museum is the oldest and largest anthropology museum in the region (est. 1893), an affiliate of the Smithsonian Institution, and home to the world’s largest collections of Southwest Indian pottery and American Indian basketry.

Arizona State Museum is renowned for its excellence in preserving, interpreting, and presenting the material culture of the region. The museum’s scholars and extensive collections are among the most significant resources in the world for the study of southwestern peoples.

Arizona State Museum offers the visitor many opportunities to experience the enduring cultures of the region through content-rich exhibits, dynamic docent tours, engaging programs, exciting travel tours, hands-on workshops, a research library, and an educational museum store.

Research

Collections

20 Annual Southwest Indian Art Fairth

PublicPrograms

Located on the front lawn of Arizona State Museum, the Southwest Indian Art Fair brings Native and non-Native peoples together in a celebration of cultural heritage that stimulates learning, and cross cultural dialogue.

University Pedicab available for transport from parking garages on Euclid Ave

Adults: $10 Students and Youth: Free

Join us for:

Experience the Enduring Cultures of the Region!

AuctionsFood

200+ Native ArtistsNative Music and DancesDemonstrations

s t a t emuseum.a r i zona . edu

Photo: Scott Kirkessner



Welcome to the Southwest Indian Art Fair!

In its 20th year, Arizona State Museum’s (ASM) Southwest Indian Art Fair (SWIAF) has grown from a small pottery fair into one of the most significant Indian art celebrations in the region. The fair’s growth and success over the past two decades was made possible only through the support of an army of volunteers, the hard work of tireless staff, the generosity of individual donors and corporate sponsors, the participation of hundreds of the region’s top Native art-ists, and the ever-growing interest of folks like you – our valued visitors.

The museum’s largest educational event, SWIAF brings together Native and non-Native peoples in a relaxed and social atmosphere to celebrate ancient traditions and to encourage cultural interaction. Through the exchange of cor-dial greetings, warm smiles, meaningful conversations, good stories, and through the purchase of culturally signifi-

cant works of art, we have seen friendships formed, relationships established and, year after year, those relationships renewed and strength-ened. Our Southwest Indian Art Fair is so much more than a shopping opportunity!

Still, importantly, your support of the Southwest Indian Art Fair, through your entry and through your purchases, helps Arizona State Museum support the industry of authentic, handmade southwestern Native art. By being with us today, you are supporting and ensuring the continuation of traditions that go back, some of them, thousands of years.

Thank you for your attendance today. And thank you for your ongoing interest. We look forward to seeing you again soon and often at Arizona State Museum!

All the best to you, Dan Vander PloegChair2013 Southwest Indian Art Fair Committee

Dear Friends,

To me, Arizona State Museum’s (ASM) Southwest Indian Art Fair (SWIAF) is a festival of life. Begun in 1993 in honor of ASM’s 100th birthday, its very founding was a celebration of the all the museum is and does. This year ASM is 120 years old. SWIAF is 20.

For 120 years we at ASM have worked to fulfill our founding mandate – to collect and preserve Arizona’s antiquities, its cultural treasures. Our mission is to promote understanding of and respect for the peoples and cultures of the region. Our vision is a community, indeed an entire state, which knows and celebrates its diverse cultural heritage and uses that heritage to build a better future.

Mandate, mission, and vision come together in our Southwest Indian Art Fair – ASM’s largest and signature annual event. Two hundred artists gather with us every year. As descendants of ancient cultures, each artist is a representative of a rich heritage, his/her talent the culmination of centuries of tradition, each piece the latest iteration of an ancient and enduring form of aesthetic expression. It is this they have come to share with you. Meet them, chat with them, get to know them, gain insight into their art, expand your knowledge and appreciation. Let us all learn from one another this weekend.

So, enjoy your time with us! I encourage you to experience everything the fair has to offer – not only the top-quality art, but the Grammy-nominated music, the world-class dance performances, the highly personalized demonstrations, the educational hands-on activities, and the ever popular live and silent auctions.

Be a part of our festival of life. I welcome you to the 20th annual Southwest Indian Art Fair!

Sincerely,

Beth Grindell, PhDDirectorArizona State Museum

Welcome to Arizona State Museum’s Southwest Indian Art Fair!

SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTIONSOUTHWEST INDIAN ART FAIR SPECIAL PROMOTIONAL SECTION


Native American music and dance is as diverse as the many tribes themselves. Most traditional Native songs and dances can be linked to ceremonies or social gatherings. Today Native musicians and dancers continue their traditional forms, and also draw from these for inspiration as they create new forms of music and dance that combine elements from Western music, other tribes’ traditions and their own imagination. The 20th Annual Southwest Indian Art Fair (SWIAF) is proud to present performances reflecting this diversity, a plethora of talent and creativity with strong ties to cultural traditions. Featured this year are:

Thunder, Ananeah, Quiet Fire, Sacred Clay, and the Conrads. He has received five GRAMMY nominations for Best New Age Album and Best Native American Album; a Native American Music Award for Best Instrumental Album; and a TAMMIE Award for Best Drummer.

Cellicion Traditional Zuni DancersThe Cellicion Traditional Zuni Dancers perform traditional

dances, songs and stories from Zuni Pueblo in southwestern New Mexico, as well as dances and music adapted from other tribal groups in the Southwest. Dances performed include the Eagle, Pottery, Tur-key, Deer and White Buffalo dances. Group leader Fernando Celli-cion plays his own compositions and Plains-style songs on the Native American flute.

The group was founded 30 years ago by Fernando’s father. Its members span several generations and are related by blood, marriage or clan. They now have a junior group that also performs. They have performed throughout the United States at festivals and powwows, in Washington, DC at the Library of Congress, Kennedy Center and Smithsonian’s National Museum of the American Indian, and inter-nationally, touring in Canada, Europe, Asia, and the South Pacific.

Dishchii’bikoh Apache DancersThe Dishchii’bikoh Apache Dancers are from Cibecue, one of

the five Western Apache (Ndee or Indé) tribes living in the moun-tainous region of eastern Arizona. Dishchii’bikoh, whose members span generations, has taken their dances to museums, schools and festivals primarily in the Southwest. At SWIAF they will perform

R. Carlos Nakai and Will ClipmanOf Navajo-Ute heritage, R. Carlos Nakai is the world’s premier

performer of the Native American flute. As an artist, he is an adven-turer and risk taker, combining traditional forms with other genres and his rich musical imagination. He enjoys exploring how the tra-ditional Native American flute can add to and borrow from other traditions, creating new musical expressions.

Nakai’s performances and recordings embrace diversity. He has performed extensively with a traditional Japanese ensemble, Tibetan flutist and chanter Nawang Khechog, Hawaiian slack key guitarist and singer Keola Beamer, and with Philadelphia Orchestra cellist Udi Bar-David combinding Native American melodies with Jewish and Arabic songs. With his Quartet Nakai explores the intersection of ethnic and jazz idioms, and with symphonies and chamber orchestras he explores the blend of traditional flute with classical music.

Nakai has 37 albums on the Canyon Records label, plus ad-ditional albums and guest appearances on other labels. His records Canyon Trilogy and Earth Spirit are the first and only Native Ameri-can recordings to earn two Gold Records. He has sold over four mil-lion albums, received nine GRAMMY nominations and eight Native American Music Awards. He holds a Master’s Degree in American Indian Studies from the University of Arizona, was awarded the Ari-zona Governor’s Arts Award (1992) and was inducted into the Ari-zona Music & Entertainment Hall of Fame (2005).

Will Clipman will be performing with R. Carlos Nakai. Clip-man plays a pan-global palette of indigenous instruments in addition to the traditional drum set. In a career that spans nearly every known musical genre, Clipman has recorded over fifty albums, including 21 for Canyon Records, where he is regarded as the house percus-sionist. Currently Clipman records and performs with the R. Carlos Nakai Quartet, the William Eaton Ensemble, the Wilde Boys, Gentle 30 ZOCALOMAGAZINE.com | FEBRUARY 2013

PerformancesBy Lisa Falk


Peformance Schedule

Saturday

10:30 Laguna Corn Dancers

11:30 Estan-buh - Native Ameri can flute, guitar, drum and hoop dancing

12:30 R. Carlos Nakai and Will Clipman, Native American flute and percussion, courtesy of Canyon Records

1:45 Cellicion Traditional Zuni Dancers

2:45 No:ligk Traditional Singers and Dancers

3:45 Dishchii’bikoh Apache Dancers

Sunday

10:00 Estan-buh - Native Ameri can flute, guitar, drum and hoop dancing

11:00 Laguna Corn Dancers

12:00 Cellicion Traditional Zuni Dancers

1:00 R. Carlos Nakai and Will Clipman, Native American flute and percussion, courtesy of Canyon Records

2:00 Dishchii’bikoh Apache Dancers

3:00 No:ligk Traditional Singers and Dancers

Founded in 1951, Canyon Records, one of the oldest independent records labels in existence, produces and distributes Native American music representing many tribes and styles. Canyon Records is sponsor of the performances at SWIAF and will be selling records at the fair.

Ga’an dances and a women’s warrior dance hon-oring all Apache women warriors.

The Ga’an are the spiritual ancestors of the Apache. They live in sacred caves in the moun-tains from which they watch over the Apache, protecting them and ensuring their wellbeing. At times the Ga’an leave their home to teach the Apache the correct way to live or to use their spiritual powers to heal. Crown Dancers em-body the Ga’an in this physical world serving as the Apache’s connection to the Mountain Spirit People. Each group of Crown Dancers consists of five dancers—four Ga’an who represent the four sacred directions and a caretaker who com-municates with the Spirit people. Ga’an Dancers are instrumental in healing and cleansing cer-emonies, including in the Sunrise ceremony, an Apache girl’s traditional coming of age ceremony.

The Apache were well known for their skilled warriors, but generally the attention is on the male warriors. Apache women have also been warriors, and in modern times, they serve as some of the United States’ top wild fire fighters.

Estun-Bah and Tony DuncanEstun-bah consists of Tony Duncan on Na-

tive American flute, Darrin Yazzie on guitar and Jeremy Dancing Bull on traditional Native American drums and percussion. Estun-Bah is an Apache word meaning “for the woman.” The Native American flute was traditionally used as

a courting instrument. A man would play on his flute before approaching a woman to show his honor and respect for the woman.

Five-time World Champion hoop dancer Tony Duncan (Apache & Arikara/Hidatsa/

Mandan) incorporates both the soutwestern and Northern Plains styles of song and dance in his performances. An accomplished pow-wow and hoop dancer, he recently performed in a Nelly Furtado music video. In the hoop dance Duncan creates many intricate designs inspired by nature, such as ones representing the eagle and the world.

Darrin Yazzie (Navajo), from Chinle, Ari-zona, is the composer of many of Estun-Bah’s songs. Jeremy Dancing Bull (Arikara/Hidatsa)grew up in North Dakota on the Fort Berthold Indian Reservation. He learned from, and was in-spired by, his father who also played the drums.

Estan-Bah has performed extensively for schools, festivals and corporate events. Among these, they performed for United States First Lady Laura Bush, at the Kennedy Center, the Smithsonian’s National Museum of the Ameri-can Indian, Santa Fe’s Indian Market and at the Gathering of Nations Pow-Wow.

No:ligk Traditional Singers and Dancers

The No:ligk Traditional Singers and Danc-ers are from the Tohono O’odham Nation in the southwestern part of Arizona. The Tohono O’odham are the Desert People. For centuries before the Spanish arrived they had adapted their lives to the cycles of the desert environment tak-ing advantage of the wild abundance of the So-noran Desert. They hunted, gathered plants, and made use of the summer rains to sustain crops. They wove baskets to collect, transport and store their foods. They practiced ceremonies, such as the Nawait that relates to the cycle of rains. Cer-emonies, songs, dances and basket making that have supported their desert life continue to be an important part of the O’odham culture today.

The group was formed 15 years ago under the direction of Christine Johnson to preserve Tohono O’odham heritage and identity for the younger generations and to promote basketmak-ing. Her daughter, son and granddaughter help teach the songs and dances. The dances include the Basket dance and a Friendship dance. The Basket dance symbolizes the weaving of a bas-ket. As the dancers acknowledge the four direc-tions they pay homage to basketweavers around the world. The songs speak to the creation of the earth and its relation to those who inhabit it.

FEBRUARY 2013 | ZOCALOMAGAZINE.com 31

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20 ANNUALth

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Featured Artist


Award-winning Hopi carver, sculptor, painter, print-maker, and community activist, Gerry Quotskuyva, is the featured artist of Arizona State Museum’s 20th annual Southwest Indian Art Fair, February 23 and 24, 2013.

The Michelangelo of Hopi CarversI clearly remember chatting with Quotskuyva at our 2010

show and dubbing him “the Michelangelo of Hopi carvers” after he had described to me his artistic method – one that brought to mind that of the cinquecento Florentine master. “When I look at a piece of cottonwood root, I can see the figure inside it,” he said. “All I have to do is bring it out.”

“In every block of marble I see a statue as plain as though it stood before me, shaped and perfect in attitude and action. I have only to hew away the rough walls that imprison the lovely apparition to reveal it to the other eyes as mine see it.”

– Michelangelo Buonarroti, 1475-1564

And like the master himself, Quotskuyva works in more

than one medium, is successful in all of them, and his numerous commis-sions include an ongoing multi-year project from a Catholic institution.

I Know Who I AmQuotskuyva identifies most closely with the Hopi community,

though he is also of Yaqui and Hispanic heritage. “I have always lived as a Hopi,” he explains, “but not on the mesas.”

The eldest of six grew up in Flagstaff with his mother and siblings (2 brothers and 3 sisters), spending summers with his maternal grandfather, William Quotsquyva, at Kykotsmovi on Third Mesa.

“I am fortunate to be from a culture that is very religious, but be-cause I don’t live at Hopi and I don’t participate in the day-to-day living practices I unfortunately feel excluded. Nevertheless, I would say that I do know who I am.”

Quotskuyva says he did not learn to carve from his grandfather, though a carver of renown himself. The elder’s work is featured in the Goldwater Collection at the Heard Museum in Phoenix and at the Cali-fornia Academy of Sciences in San Francisco.

Chef to the Stars“I learned to carve doing ice sculptures as a chef. I was known as ‘the

knife person.’ I was the go-to guy whenever rapid and precise chopping

Photo: Natalia Gabrielsen

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By Darlene Lizarraga


Continuing to Honor Hopi LifeIn the midst of an impressive slate of projects, Quotskuyva has

a new vision. “I am currently embarking on a series of bronzes. We know bronzes from romantic representations of Western or cowboy subjects, but we don’t really see that in Native American-made art,

especially not in Hopi art. My new project is a 6-part series of bronzes that will include a Michelangelo-inspired piece I’ll call For the Children, influ-enced by the design and iconography of the Creation of Adam panel on the Sistine Ceiling.”

The other pieces in his ambi-tious series include Corn Maiden, Cultural Fortitude, Grandmother’s House, Grandfather’s Dreams and For the Children – all honoring aspects of Hopi life and culture.

Quotskuyva also carves in pipe-stone and paints in acrylics. What-ever the medium, he wins awards and gains new commissions that demand a great deal of his time. Responsibility to Community

After moving to the Sedona area, Quotskuyva became involved with Montezuma Well National Monument and Friends of the Well, a non-profit organization dedicated to its protec-tion and preservation.

Not actually a well, the landmark is a limestone sinkhole sourced by sub-terranean springs. The area is rich with archaeological remains from numerous cultures throughout history. The site and water are considered sacred and are still used today by many Native Ameri-can groups for ceremonial purposes, including the Hopi. “My ancestors constructed this freshwater site about 1,000 years ago for the people living in the area. It belongs to me and my people and it is my responsibility to help preserve it.”

At this sacred site is another cul-tural treasure – a Hopi garden. After about 600 years, Hopi corn, beans, and watermelon, and even cotton, are be-ing grown here again. The crops rees-tablish the Hopis’ connection to their ancestral land. Seeds are handpicked from the ancient stock that are direct descendants of the crops grown by Si-nagua farmers at this very place, using

the very same water source. “This is a community garden, which means people can take produce at any time. We ask only that they save and share the seeds.”

Though he’s been on the board for about 4 years, Quotskuyva

was needed.” Starting out in the restaurant business as a dishwasher when still

in high school, Quotskuyva quickly became head of the Hobo Joe’s kitchen in Flagstaff. Eventually, he came to Tucson and worked at the Palomino Club and Tucson National before attending classes first at Pima Community College and then at the University of Arizona in the 1990s.

Ultimately, he became chef to the stars, first scoring a job cooking for Willie Nelson during the remake of Stagecoach, shot primarily at Old Tuc-son Studios. “I cooked fish specially for Mr. Nelson. After that he started rec-ommending me in Hollywood and so I also cooked for Clint Eastwood dur-ing the filming of Heartbreak Ridge, Matthew Broderick during the film-ing of Ferris Bueller’s Day Off, and Steve Martin, Chevy Chase, and Mar-tin Short during the filming of Three Amigos.”

A Family Legacy

“I started to carve katsinas be-cause my mom asked me to. She and my brother would sell my pieces. Now I feel like, in some way, I’m carrying on in her father’s footsteps.”

Like his grandfather, Quotskuy-va has commissions coming in from around the country and is included in the collections of at least five public in-stitutions and numerous private ones.

“One of my first dolls was a Corn Maiden. She has become my signature motif. I’ve even represented her in bronze. It is the Hopi custom to give away your first piece so I gave my first bronze Corn Maiden to my mom.” A Connection to the Pope

Because of an ongoing, multi-year commission from Xavier University, a Catholic institution in Cincinnati, Quotskuyva has gained an interest in the ceremonial practices of the Jesuits he has come to know over the years. He sees parallels to his own culture.

“During the papal inauguration of Benedict XVI in 2005, for example, I saw similarities. And, as a member of the Bear Strap Clan, I found it interest-ing when they unveiled the papal coat of arms and told the story of the bear featured in the center of the shield.”

Xavier University has accumulated about 47 dolls from Quotskuyva so far. Over the years, the standing order has decreased from 4 to 3 per year. Ultimately the collection will be displayed in the main entry of the institution’s administration building.


Hototo or badger katsina by Gerry Quotskuy-va is the featured piece for Arizona State Museum’s 20th annual Southwest Indian Art Fair. It can be seen on fliers, print ads, ban-

ners, and web sites advertising the event.Photo: Jannelle Weakly

Cont’d on page 47



Arizona State Museum (ASM) is the oldest anthropology museum in the Southwest. It was created in 1893, twenty-one years prior to Arizona statehood. ASM collects, preserves, and interprets the cultural and archeological history of the southwest, sharing it with a diverse audience through a variety of public programs. Docents help fulfill this mission by leading tours and providing demonstrations; they serve as an important link between museum exhibits and the visiting public.

ASM docents are trained volunteers whose major responsibility is to help visitors and the community better understand and appre-ciate the diverse cultures of our region. Coming from a variety of backgrounds, docents are volunteer teachers who provide dynamic learning experiences in the form of tours. They are vital to ASM’s public outreach efforts.

ASM docents and staff were interviewed for this article. They shared their thoughts and feelings about the museum. The primary motivation for becoming docents at ASM was to learn more about the Southwest and native cultures, particularly in the areas of his-tory and archeology. They also expressed a genuine love for the mu-seum and the people who work there.

The docents have a passion for learning that promotes atten-dance and participation in many ASM public programs. They also demonstrate a healthy respect for other cultures and personally be-lieve that we, as a community living in a multicultural Southwest, can learn from all cultures. We need only to listen to appreciate the wisdom that lies therein.

The docents have been a bit surprised by how little the general

public seems to know about native cultures of the Southwest. They also have been surprised by how few Tucsonans are aware of ASM. It is important to the staff and docents that native cultures be kept in the public eye, as they are an essential part of the composite we call ‘the public’. Dr. Beth Grindell, director of ASM, said it best: “We lose something as a people if we don’t understand the native cultures. It is important for us to know about native cultures to bet-ter understand the full scope of humanity, everything humanity is capable of as well as who we are as humans.”

In order for ASM to be a living museum that serves the pub-lic, community members must be actively engaged. Without people helping to interpret and understand what is seen, museums are just galleries that are filled with objects on display. Docents share their passion for the museum’s subject matter, which helps create excite-ment for the exhibits. In short, docents are part and parcel of ASM’s efforts to bring Southwest cultures to the public. They are dedicated teachers who bridge the museum’s collections and research for the general public.

Please join us for docent-led tours during the Southwest In-dian Art Fair. Docents will be available to provide orientation tours of museum exhibits beginning on the hour from 10:00am through 2:00pm each day.

If you enjoy learning about Southwest cultures and sharing your passion with others, please consider be-coming an ASM docent yourself! The next ASM do-cent class will be offered in the fall of 2013. Check the ASM website for more information and to register for the class. If you want to see a docent in action, they are regularly on duty at ASM to lead tours and an-swer questions Tuesday through Saturday afternoons from 1:00 to 3:00 PM, October through April. If you can’t come during these hours, visit the ASM website to schedule a docent-guided tour.

The Docents of Arizona State MuseumBy Gail Bornfield, Docent Council Chair (2012-2013)

Get Involved!

Photo: Natalia Gabrielsen

In the mid-1950s my father first met Charles and Otellie Loloma who were then becoming known for their ground-breaking ceramic art. Within a few years Charles was experimenting with sandcast jewelry and my father became the first to represent his work and the first have shows for his work. “It’s nice but it isn’t Indian” was the oft-heard comment then. But Charles stuck with his vi-sion and in doing so transformed American Indian jewelry in ways we are still discovering. His artistic legacy into the 21st century remains vibrant and strong and a continuing source of inspiration for subsequent generations of American Indian artist, many of whom we are very pleased to be able to represent.

Visit us in St Philip’s Plaza here in Tucson or in Santa Fe, just off the historic Plaza.

Or visit us at any time on the web at www.bahti.com


The 20th Annual Southwest Indian Art Fair gratefully acknowledges the generous support of our

Sponsors & Supporter

And to all of our volunteers, none of this would be possible without you!

AnonymousArizona Archaeological & Historical Society

Jean Bassett The Beckermans & The Nerenbergs

Laura & Arch BrownNan Carle

Terry DeWald American Indian ArtFriends of ASM Collections

Beatrice A. KablerCarol L. Laesecke

Jeanne HeyerickGary Hultman & Judith LeClair

Pat & Kim MessierMorning Star Trader - Rick RosenthalMike & Kay Rukasin Family Trust

Paddy & Ed SchwartzRalph & Ingeborg Silberschlag

Gail L. Gibbons & Raymond G. St.ClairRon & Trina TrimbleBC & Jean Waddell



For thousands of years the native people of the Americas have been making fine objects of great beauty. Historically most of these items were not viewed as art by their makers, but rather as utilitarian wares or ceremonial objects. The care in producing and the artistry in decorating these objects are undeniable, and it is no wonder that for centuries outsiders have valued and collected these items. This interest in native goods eventually led to a thriving market for the wares of Native Americans that lasts to this day. Often these wares were considered mere trinkets or curios, however over the last cen-tury there has been a slow shift in the perceived value of Native arts. Today there are stores, galleries, shows, and entire museums dedicated to Native American art, and now many Native people are viewed as serious artists, and as a result can command the prices af-forded to such talent.

This change in the perception of Native art has been very ben-eficial to many Native Americans. Many can now make their living, or at least supplement it by selling art grounded in their history. In some instances it may be the art itself that has helped preserve some of their traditional culture.

This shift has created something else that is not as good: a thriv-ing market, one of imitations and shortcuts. Baskets from Pakistan and Africa, jewelry from China, and other fake Native American art has flooded the market. Sometimes this has come from within as

well. One culture imitating another’s crafts, manufactured items be-ing sold as their own handmade ones. The use of inferior materials and quicker techniques has diminished the quality of some Native art. These things have had a huge negative impact on the legitimate native artist trying to make a living within their traditional cultures.

Still, purchasing a piece of native art should be a fun and excit-ing experience, and with a little care and information there should be no problem in finding a special piece. While imitations abound, a little bit of knowledge about what to look for, what questions to ask, and who to buy from will make it easy to find to find the right piece of authentic Native art for you.

First understand that the law is on your side. The Indian Arts and Crafts Act of 1990 is a truth in advertising law which makes it illegal to misrepresent Native American goods. By law labeling something as Native American made when it is not is illegal.

When looking at any art the first and most important thing sim-ply is whether or not it appeals to you. If it is something that speaks to you and you feel is in your budget don’t hesitate to buy it, you may not see another one.

PotteryWhen looking at pottery, keep in mind that each culture will

have its own characteristics and you can’t really compare pottery from

On Buying Native Goods


Photo: Julie Luchetta

On Buying Native GoodsBy Tim Price


one local with pieces from another area. Different techniques will give a different look, and the natural resources used in an area will make for a very different product at another place. Some clays are coarse and produce thick walled vessels, some are fine grained and can produce thin walled pots. It is just as hard to make a thick walled Acoma pot as it is to make a thin walled Kewa (Santo Do-mingo) pot, so it is only useful to compare Acoma to Acoma, and Kewa to Kewa.

Traditional pottery is hand coiled and hand painted which means that they will not be perfect, but they should be carefully made. Look at how symmetrical the shape of the vessel is and how well it sits on its base. If it is decorated the painting should be clean and even with a balanced design. If it is a polished pot the polish should be smooth and the evidence of the tool used (usually a smooth stone) should be minimal. Check the pot for hairline cracks or pitting (called spalling).

Don’t be afraid to ask questions of the artist or the person sell-ing the pot. Ask if it is made of natural or store bought clay and paints. Was it hand coiled and polished? Was it fired traditionally or in a kiln? There is no right or wrong answer to these questions, but they can be useful tools in helping you make a decision.

WeavingsWhen examining weavings make sure to spread them out and

check how flat they lay. Make sure the corners are squared and the edges are straight. If they curl or pucker along the edges it could be an issue. The design should be centered and woven lines should be even and straight. Colors should be uniform throughout the weaving and the inner warps should not show through. Ask where the weaving was made, and by who. Were any hand spun yarns or natural dyes used? These things can make a weaving more valuable.

Of course native people make many other types of art, both tradi-tional and contempory, but many of the same principles can be used in examining them. How carefully something was made should be evident. Look things over and ask a lot of questions if you wish. Most artist or dealers enjoy talking about their wares, and it is usually fairly easy to figure out who is being sincere and forthright. None of their answers should be a deal breaker, if you really like something and the price seems right then don’t hesitate about purchasing it, because, in the end, the only thing that truly matters is that you enjoy it.

JewelryNative Americans have been making jewelry for thousands of

years and silverwork was introduced to them in the 1850’s. There are some things to take notice of when looking at jewelry. Most of it will be made of silver so it is important to check the silver content. Sterling silver is 92.5% pure and most, but not all, silver-smiths will have STERLING stamped somewhere on the back of the piece. Notice how thick the silver is, if it is too thin it might too easily bend or break. Stamp work or overlay should be cleanly done.

Look to see how carefully and securely any stones are set. There should be no movement and you should not be able to see an abundance of jewelers epoxy around the setting. Ask about the stones, are they all natural and if so where are they from? Some turquoise is stabilized, which means epoxy has been added to strengthen softer stones. Reconstituted turquoise is when real turquoise is mixed with resin and dye. It can be pretty and strong, but not as expensive as natural. Sometimes silversmiths use block turquoise, which is purely synthetic. Don’t be afraid to ask about the stones, it is ok to buy any of it as long as you know what you are paying for.

In the end,All that truly matters is that

You enjoy it


Photo:Lana Tupponce

Photo:Jannelle Weakly


Cultural Arts teacher Lois Liston assists students Taylor Miguel, Lexi Lopez and Melissa Gonzales with their basketry starts at Ha:san Preparatory School.

The neighborhoods surrounding the University of Arizona hold a bounty of local treasures, from the Postal History Museum to an Ace Hardware with unrivaled vintage ambience. Also on this list of UA area unique institutions is Ha:san Preparatory and Leadership School, “a bicultural public high school for Tohono O’odham youth and Native students interested in a college prep curriculum.” Ha:san, its name comes from the O’odham word for saguaro cactus, occupies a former church at the corner of 10th and Santa Rita, just south of campus.

Lois Liston has taught basketry at Ha:san for over 12 years. Every spring term roughly fifty 10th graders learn to weave in her classroom, which is well stocked with traditional basketry materials that the students have gath-ered on fieldtrips or grown on-site: yucca (ta:kwi), beargrass (mo:ho), devil’s claw (i:hug) and red ba-nana yucca root (howi tatk). Three classes meet twice a week from January through mid-March in a program that integrates weaving and attendant cultural practices with the more formal curricula of writing, biology, and math.

Instituted by Tohono O’odham basketry artist Terrol Johnson, who also was a co-founder of the school that opened in 1998, the basketry program at Ha:san Prep began in 2000. “I was so thrilled when we went to the state to apply for charter school status and were successful,” Johnson recalls. “Our goal was to have O’odham stu-dents exposed to important aspects of their culture such as basketry and storytelling along with college prep curriculum.” Johnson is

now the executive director and CEO of TOCA (Tohono O’odham Community Action), a nonprofit organization based in Sells dedi-cated to compatible goals of preserving traditional O’odham foods and life ways including basketry.

Lois Liston first began working at Ha:san as an aide to Terrol Johnson. She comes from a long line of fine basket weavers, hav-ing first learned the craft from her maternal grandmother, Christine Johnson. When Terrol Johnson moved on to the TOCA director-ship, Liston took over the cultural arts program that, in addition to

basketry, also includes pottery making, storytelling, games, the calendar and harvesting traditional plants.

“Students come to Ha:san in order to learn more about who they are and where they came from,” notes Liston. “One thing I love about my work is

how every group of students is different. Most are Tohono O’odham, but we also have Yaquis [Yoemem] and Mexican O’odham students.” Liston continues: “Perhaps one-third of my students are somewhat familiar with basketry processes, but the rest have had no exposure, and they are wowed when we go out gathering materials and then bring them back to process and to begin weaving.”

Ha:san student Taylor Miguel remembers the first time she tried basketry as a little girl, at the age of six or seven. Now, almost a decade later, she is happy to return to the craft, learning from Lois Liston who was her original teacher as well. “Starting a basket is like starting a memory in my head. It reminds me of who I am.” “Ms. Liston has told us that we should give our first basket to an


A Basketry Class Act

Starting a basketis like starting a memory...

By Diane Dittemore

Photo:Jannelle Weakly


elder, someone we love,” She adds, “That is the hard part, for me to choose, because I love so many people.” Lexi Lopez plans to give her first basket to her grandfather. “He helped me through a lot of stuff through the years, with school and all. I never gave him anything in return, and now I can. I think he will like it.”

Ryan Pablo Moreno also was introduced to basket weaving when he was very young, which he thinks has helped him this time around. “I’m surprised that I’m catching on quicker than I thought I would. But weav-ing really takes a lot of patience!”

Students proudly include their basketry at the end of the school year when Ha:san holds its annual Academic Showcase. Have any students gone on to become full-time basket weavers? “Not that I know of,” says Ms. Liston. “But a few have continued to weave and all of the students come away with knowledge of how to make baskets. They learn patience and appreciation for the hard work that goes into the craft. Some have written about their experience with basketry as part of their course work at To-hono O’odham Community College or oth-er schools they have enrolled in.”

The students also are able to assist their elderly O’odham relatives by bringing them yucca and beargrass, having been shown the proper ways to gather these materials. The process includes offering blessings and tak-ing care to not injure the plants while har-vesting the leaves and roots.

“I encourage the non-O’odham students in my class to use what they learn about our culture as a launching point to explore their own traditions,” adds Ms. Liston.

The Arizona State Museum (ASM) has enjoyed partnering with Ha:san over the 15 years of the high school’s existence. The students have been exposed to ASM’s col-lections of Tohono O’odham and other Na-tive cultural arts, and have learned about museums from a behind-the-scenes perspec-tive. Museum programs such as the recent exhibit, Through the Eyes of the Eagle: Illus-trating Healthy Living, have been immeasur-ably enriched with refreshing youthful Na-tive perspectives about their cultures and the world at large.

Perhaps at a future Southwest Indian Art Fair one of Lois Liston’s students will receive a blue ribbon for basketry or some other artistic endeavor in the juried compe-tition. Meanwhile, fair goers can support and interact with Ha:san students by follow-ing their noses to the school’s ever-popular fry bread booth.

Tohono O’odham weavers coil their baskets in two major ways: open or “wheat” stitch (right) and closed stitch (below).


The Tohono O’odham today weave more basketry than any other American Indian tribe. It is estimated that there are 300-400 active weavers today. This num-ber is still a far cry from generations past when essentially all women wove baskets for their families and communities, for tasks that included desert plant gathering to holding ceremonial saguaro wine. Young girls learned basketry arts along with other important life skills through informal instruction from their mothers and other fe-male relatives.

Today, baskets do not enjoy the same central role in Tohono O’odham soci-ety but remain sources of artistic and cultural pride. They also provide income for weavers who might live in remote villages on the reservation or in cities such as Tuc-son and Casa Grande, neither of which offer plentiful employment options. Trading posts, Indian art stores and dealers, as well as TOCA’s Desert Rain Gallery in Sells provide outlets for weavers to sell their baskets. Since it was built in 1958, Kitt Peak Observatory on the Tohono O’odham Reservation also has been a popular place for visitors to purchase baskets. The Arizona State Museum gift shop always has a fine assortment of baskets for sale, and the inventory has been ramped up recently to ac-company the Museum’s recently installed exhibit, Basketry Treasured.

Tohono O’odham Basketry

Cont’d on page 47

Photo:Marnie Sharp

Photo: Marnie Sharp



Clay Speaks

Arizona State Museum’s Southwest Indian Art Fair brings ac-complished and well known Native artists from all over the South-west, but one family in particular stands out for their knack in mak-ing waves in the art world internationally.

The Folwell/Naranjo family originates from Santa Clara Pueblo in New Mexico, and their art is constantly pushing the boundaries of what defines Native American pottery. The family has deep histori-cal roots in creating works in clay, but the story here begins in the 1980’s.

Like Tucson’s annual Indian art fair on steroids, Santa Fe has held an internationally known Indian art fair for over 90 years. In 1985 Jody Naranjo Folwell submitted a clay jar that would forever change the understanding of what Native American art is and should be. The pot immediately became a problem for judges. It was con-sidered non-traditional, primarily because of the use of a green slip and its designs, and also because sculptor Bob Haozous (Chiracahua Apache) assisted in its design and incising. The pot’s appeal lay in its social commentary; the imagery depicted cowboys falling upside

down off their horses and Indians riding victoriously around them. The judging became intense as some praised the originality of the Folwell/Haozous piece while others had no desire to see an untradi-tional style of Indian pottery. “Cowboys and Indians” did however end up winning best of show, thus influencing what would be ac-cepted at subsequent Indian markets. Jody made the Indian market committee and the judges realize that they needed to create a whole new category in pottery classification. She had stepped out of the tra-ditional bubble of what has always defined Native American pottery

Today, Jody’s pottery is in museums across the world and she is often a focus in Native American books about contemporary pottery. She continues creating impressive ceramics that can range from a beautifully unpainted highly polished sculptural jar to an exquisitely painted piece with images and political commentary. She is one of the best known avant-garde potters, and it is an honor to have her come to the museums fair.

Jody has two daughters, and not surprisingly they too are excit-ing artists. Susan Follwell is on fire in the art world. She follows in

by Andrew Higgins

Photo: Jannelle WeaklyPhoto: Jannelle WeaklyPhoto: Jannelle Weakly

Photos: Jeff Smith



her mother’s footsteps by continually creating innovative pottery and has received countless awards. Her artistic imagination continues to wow critics and collectors. Every piece of her artwork is so unique, it is impossible to anticipate what she will produce next or with whom she might collaborate. “I may experiment with new materials, shapes and concepts, but I’ve never forgotten where both the clay and I come from and how far we’ve come together. I’m hopeful of the jour-ney we’ll continue to take together,” Susan Folwell recently said.

Susan’s pottery often tells us a story, with each clay form being the canvas for her designs and stories. Susan recently won the pres-tigious Tammy Garcia award for excellence at the Santa Fe Indian market with a work titled, “The Attack of the 50 foot Collector.” The jar was impressive in size and form, with an image of a red-headed pottery collector, reminiscent of the 1958 film Attack of the 50-Foot Woman, standing over the Santa Fe Plaza. Museums and galleries continue to acquire recent works, recognizing that her pot-tery continues to impress the art world. As Susan once said, “Clay will humble you”, and even with all her fame she unquestionably remains humble. We look forward to seeing Susan’s latest creations at the fair this year.

Jody’s other daughter Polly Rose Folwell, who was a judge at ASM’s fair in 2011, is another award winning artist and has been called a master in the art of hand polishing ceramics. This is a tech-nique that has been lost by many or simply not practiced because of its great difficulty. Like her sister and the relatives in her larger ex-tended family, Polly grew up seeing her mother, grandmother, aunts and cousins making clay in a variety of forms. According to Polly Rose, “We begin and end with pottery. Some are polished, some are unfired, some are cracked or broken, some are painted and/or carved, but they are always made with the connection of the past, the touch of the present and a story to tell the future.” Polly Rose developed one of the signature Folwell family designs that the three women call the “melted rim.” The experience in clay results in an uneven and darkened surface that gives the rim the look of what a traditional water jar might acquire after years of use and wear. Polly has taken a break from making pottery for a few years, so it will be exciting to see what the future holds for her.

The family has one more emerging artist who will join them at the fair, Polly Rose’s daughter Kaa (Jody Sue) Folwell. Kaa is just at the beginning of her career in clay. Fortunately for her, pottery is in her DNA and she has three gifted teachers to encourage and guide her. It’s likely as her talent is nourished it will grow to be as impres-sive as her aunt’s, mother’s and grandmother’s.

Clay willhumble you

Photos: Davison Koenig

Photos: Davison Koenig

Photo: Jannelle Weakly



Delbridge Honanie is a Hopi artist in paint and wood carvings, born in 1946 in Winslow, Arizona. Delbridge grew up in Shungopavi Village, Second Mesa, on the Hopi Reservation and has spent the last 20 years living in Flagstaff, Arizona. He gradu-ated from the Phoenix Indian Day School in 1968, where he studied painting with Win-ton Coles, and spent the next two years at the Institute of American Indian Arts, Santa Fe, where he studied with Otellie Lolma, graduating in 1970. For the next two years he taught art at the Phoenix Indian School before returning to Second Mesa. In 1972, Delbridge, a member of the Bear Clan who are the spiritual leaders of the Hopi people, was initiated into the Hopi Men’s Society and given the name, Coochsiwukioma, which means Falling White Snow. In 2006, Delbridge was named an Arizona Indian Living Treasure.

Delbridge made his first impression as an artist as a member of Artist Hopid, in which he was active from 1973 to 1983, whose goal was educating people to the val-ues and identity of the Hopi through the media of oil, acrylic, watercolor, wood, clay, stone, and silver. Other members of Artist Hopid were Terrance Talaswaima, Milland Lomakema, Michael Kabotie, and Neil Da-vid, Sr. Artist Hopid was best known for

their paintings using vibrant colors inspired by the murals at Hopi villages of Awat’ovi and Kawayka’a discovered and preserved by archaeologists from the Peabody Museum, Harvard University, in the late 1930s. They worked out of a studio at the Second Mesa Cultural Center where their work revolu-tionized subsequent Hopi painters to this day. This experience and the 15th century Hopi murals still influence Delbridge’s paintings. Perhaps the best known example of Delbridge’s innovative adaption of Hopi kiva murals is his collaboration with the late Michael Kabotie, in painting the nar-rative kiva murals for the full-scale replica of a Hopi kiva at the Museum of Northern Arizona, Flagstaff. This mural takes the visi-tor from the emergence of people from the Third World to our collective struggle with innovation and change represented by the computer and world wide web.

While active members of Artist Hopid, Delbridge and Terrance Talaswaima began carving kachina and Hopi sculptures from cottonwood root. As Delbridge notes “The reason that I am doing this kind of carving, using the soft roots from the cottonwood trees, is because it is more like traditional Hopi carving. I was taught to carve wood by my godfather when I was initiated into the Hopi Kachina Society. I learned to carve

dolls for the yearly ceremonies. Later, I de-cided that I was going to do something dif-ferent from kachina dolls but still showing the old way. ” Thus, Delbridge sees his spir-itual legacy in his sculptures, which have launched what today is known as the con-temporary style that still influences young carvers. This style emphasizes the grain of the wood through staining with painted faces and scenes inspired by kiva murals and petroglyphs blended with regular people to reflect everyday things in Hopi life.

His work has appeared internationally in museums and galleries, including murals at the Hopi Cultural Center, Second Mesa, his childhood home; Arizona State Univer-sity; the Institute of American Indian Art; the United States Department of the In-terior building; and Museum of Northern Arizona. Awards include the Santa Fe Indi-an Market Best of Division and First Place Award; the Wheelwright Museum’s Most Promising Young Sculptor; the Heard Mu-seum’s National Art Show; dozens of awards in competitions at the Museum of Northern Arizona, Heard Museum, and Santa Fe In-dian Market; the Swazo Memorial Award; and the “Discover America” Poster Award for Two Shalakos.

The Southwest Indain Art Fair is pround to name Delbridge as its 2013 Life-time Achievement Award Winner.

Delbridge HonanieHopi Artist&Katchina Carver

By Charles Adams, PhDPhoto: Jannelle Weakly

Photo: Helga Teiw

es

2013 Lifetime Achievement Award Winner



Arizona State Museum at The University of Arizona

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O’odham men have always contributed to the production of bas-ketry by gathering, transporting, and processing the necessary mate-rials. But today it is increasingly common for men to weave as well. When asked about this changing role, Terrol Johnson explains, “I tell people that traditionally weaving was done by women, but when I began learning basketry from the elders they assured me that it does not matter to them whether it is O’odham men or women who are doing the weaving today as long as the tradition is being kept alive.”

TOCA has participated in SWIAF for many years, first as a basketry cooperative and now representing their gallery enterprise, Desert Rain. Visitors can engage with the weavers at the TOCA tent while they demonstrate the difficult and time-consuming task of coiling basketry.

The process begins with preparing materials: shredding the mo:ho (beargrass) that forms the bundle foundation, and moistening and sizing the strips of ta:kwi (yucca) and i:hug (devil’s claw) that are used for the sewing material. The weaver knots or plaits a yucca “start” that becomes the center of the basket. Yucca coils are stitched around the start, with beargrass incorporated to form the bundle foundation. A sharp awl pierces the holes through which the stitches are threaded.

Tohono O’odham weavers coil their baskets in two major ways: open or “wheat” stitch and closed stitch. For the former, stitches from one coil split the stitches of the previous coil and the stitches are spaced far enough apart that the beargrass foundation is visible. The resulting pattern resembles a stalk of wheat. With closed stitch-ing, the sewing materials completely obscure the foundation.

The impressive array of basketry that TOCA brings to the Southwest Indian Art Fair comes from dozens of weavers. Buyers can be sure that the baskets they purchase at the TOCA booth are authentic—the real deal—as is the case with all of the artwork found at the fair.

The Arizona State Museum is proud to partner with Ha:san, TOCA, and other organizations dedicated to preserving and promot-ing traditional cultural arts. Indeed, it is at the core of the SWIAF mission to provide a venue for Native artists to sell their creations, enabling them to carry on and hand down these traditions to the younger generation, as well as share examples of outstanding Native arts with the fair’s visitors.


Cont’d from pg. 33

Cont’d from pg. 41

says he never really wants a posi tion of authority. Instead, he rec-ommends, “If you want to really have an impact on something, you should never go for an official position or a board chairmanship. I believe you can have more of an impact from the sidelines.” A Busy Man

Orders are so good and steady that Quotskuyva has closed down his brick and mortar store, Pueblo Sedona Gallery. A “happy choice” as he puts it. “I am so fortunate that I have paid work to keep me busy for the next couple of years. I spend a certain part of the month working on special orders, and the other part on pieces for the annual art shows like the Southwest Indian Art Fair.”

Quotskuyva and his wife, Debbi, live in Rimrock, AZ, just 17 miles from Sedona and a half mile from the garden at Montezuma Well.

For samples of his work and more on his exhibits, awards, publi-cations, and media appearances, see www.gquotskuyva.com/

SOUTHWEST INDIAN ART FAIR SPECIAL PROMOTIONAL SECTION

Michael D. HigginsAntique Indian Art

Antique Tribal Art Dealer’s AssociationCollections Purchased • Appraisal Service

4351 E Grant Rd • Tucson, AZ 85712 • [email protected] www.mhiggins.com

since 1972

ARI ShAPIRO IS a busy man. Despite his successes with Sparkroot and Xoom Juice, Shapiro dreamt of owning a “cozy, hole-in-a-beaut-wall au-thentic pizza joint.” When a space opened up in the Broadway Village, a historic Josias Joesler shopping center with tile floors and arched windows, Shapiro saw the perfect space. “I had to move my vision up a few years,” he joked. Now, he hopes Falora will be open by March 1st.

“We knew the space had tremendous potential, but after years of mul-tiple remodels, it needed to be stripped to its core to reveal the rustic beauty, which we are letting speak for itself.” The “we” in this instance is Shapiro’s partnership with Repp Design, who worked with him to cre-ate a specific atmosphere at Sparkroot. “They have a wonderful ability to coalesce my vision into a fully-formed space,” he said. And this project’s goal can be described with three words: rustic, historic, and authentic. “I adore the historic architecture of Josias Joesler, who built the entire shopping center in 1939. We want people to feel like they’re eating in an authentic neighborhood pizzeria. Most of the seating is at one long com-munity farm table. The lighting will be dim, music from a vintage stereo. We want folks to hear the crackling oven, get to know one another, truly enjoy the entire experience,” he elaborates. “I think a place can be bus-tling and comforting at the same time; my favorites in other cities always capture that essence.”

Shapiro’s vision is partly inspired by his trips to Italy, where a sense of community is paired with simple, inspired food. In a nod to the opera-tion of many Italian restaurants, Falora will be a different kind of place in the morning, where homemade breads, jams, and locally roasted coffee from Caffe Luce will grace the table. In the evenings, it will be laden with some ingredients imported from Italy, and others farmed locally. Shapiro

provided me with a list that sounds like geographical poetry: “San Marzano tomatoes which grow on volcanic plains near Mount Vesuvius; Mozzarella di Bufala from Italian water buffalo; and Caputo flour, a finely ground flour that has a lower gluten content” will all join local produce from Sleeping Frog Farms in Cochise for seasonal pizzas and salads. “We focus on bal-ancing tradition with a sharply creative angle,” Shapiro wrote, adding that an influence from the “diverse phenom” of New York pizza will make its way onto the menu. After all, Shapiro says, “I am a native New Yorker, so I have a tremendous appreciation and love of pizza, growing up with giant slices from Famous Ray’s. New York truly took the Naples invention to the next level.” The drink selection will be similarly matched, with Italian wines and european beers (“obviously Peroni,” Shapiro added) alongside note-worthy Tucson brews. And for dessert: homemade panna cotta, a magical simmered cream custard traditional to northern Italy.

The name, Falora, is a lyrical invented word meant to sound a little Ital-ian, a little like “flora”, and a little like “flour,” evoking an old world pizzeria atmosphere. The Stefano Ferrera wood fired oven certainly contributes to the character. hand-built by a third generation maker in Naples, the brick oven is fueled entirely by wood - most use natural gas to supplement - and cranks up to 800 degrees. This oven is the centerpiece that will make Falora’s simple and authentic Napoli pizza possible. If you read eat, Pray, Love and remember the scene where the author and her friend go crazy over their simple cheese pizzas in Naples, pizzas with crust that’s magi-cally thin and chewy, topped with a sliding layer of buffalo mozzarella and a sprig of basil - if you remember their happy delirium, then you’ll be as expectant for Falora as I am.

Zfood&drink

by Emily Gindlesparger

Old World Pies with a New Twist at Falora

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gem showZ

Tour the Gem Shows, for free!The City of Tucson and ParkWise are offering a free shuttle service between 25 gem, mineral and fossil shows. “GemRide”is available to the public and will run February 2 through February 17, 7am to 6pm daily. The wait time between shuttles is expected to be 15-20 minutes and gem show visitors can hop on board at 16 different stops, including 5 parking areas.

52 ZOCALOMAGAZINE.com | February 201352 ZOCALOMAGAZINE.com | February 2013

ZOCALOMAGAZINE.com 53

DANIeL MARTIN DIAZ is certainly the self-taught artist who has really done well, especially given that he wasn’t even an “artist” for the first two-thirds of his life. Now, in the most recent third of his 45 years, Diaz and his wife, Paula Catherine Valencia, have made a cottage industry out of his provocative surreal spiritual themes and more tactful, but no less color-ful, public art. It’s Diaz’s public art, Desert Splendor, you see at corner of the Centro Garage where Congress Street, Toole Avenue and 4th Avenue converge.

But soon Diaz’s art hits the big time in the biggest way yet in his 15-year art career – literally the biggest way. Diaz designed the terrazzo floor for the enclosed pedestrian bridge linking Phoenix Sky harbor Inter-national Airport’s brand new 44th Street PhX Sky Train station to the Valley Metro light rail 44th Street/Washington station. The Sky Train will transport people from the Valley Metro station to Terminal 3, Terminal 4 and the east economy parking lot when service starts early this year.The dimensions of the Diaz creation for the 500-by-40-foot pedestrian bridge dwarf all of the 200-plus pieces of art Diaz has ever created. “If you lay ev-erything out end to end, my art would probably fill a quarter of the length of the project,” Diaz estimated.

Diaz and Valencia are the forces behind the Sacred Machine Museum and Curiosity Shop, 245 e. Congress St. The gallery hours are just as curi-ous: 5 to 8 p.m. Wednesday to Friday and 4 to 9 p.m. Saturday. These hours are designed for the dinner and pre-theater crowd and the limited hours enable Diaz to have plenty of studio time and Valencia to push his art ca-reer. They also run their online shop, Mysticus Publishing, and headline the band Blind Divine, along with their son, Damion Demetrius, and Amy Muñoz Mendoza and ernie Mendoza.

Since 2008, the Sky Train station has been the big gorilla in Diaz’s career. Diaz was one of five artists selected by the City of Phoenix Arts and Culture Department to integrate art into the station platforms and pedes-trian bridge for Sky harbor’s new Sky Train.

Rebecca Blume Rothman, public art manager for the City of Phoenix, contacted Diaz to encourage him to respond to the request for proposals from artists of two-dimensional art. “Daniel is one of several artists whose work we’ve seen, and we wondered how come he’s never applied for one of our projects,” Rothman said.

Valencia insisted they had to go to the pre-submittal meeting that Roth-man had invited them to. “I don’t want to go, I don’t want to go,” Diaz

had said. “You’re up against teams of people. I just felt I had no business designing big projects without any experience,” Diaz said. “I was reluctant to the whole idea of public art. I was completely happy doing my personal stuff.”

Valencia, however, writes the job proposals for Diaz and hunts out pub-lic art projects. This was a job she wanted for her husband. “There was no reason not to. his art needs to be seen on a large scale,” Valencia said. Diaz and Valencia traveled to Phoenix and discovered individual artists

were sought for the Sky Train art. “I’ve got to say the people in Phoe-nix are so great,” Diaz said. “They really explained the whole process to us.”

Diaz proposed “Journey Through Nature” for the floor around the bridge’s moving walkway.

A panel of artists, arts profes-sionals, community members and city aviation staff selected Diaz’s submission in 2008. “The panel reacted very well to his work. They felt he could do something quite unique for this space,” Rothman said. “What Daniel did was a rich and telling processing of views of the Valley, the mountains and the sky all around you. You want it to be vibrant and colorful and still have an earthy quality. When the sun-light comes in you can really see it sparkle to life.”

Diaz was drawn to the all-glass walls on both sides of the bridge. “What’s neat to me is it’s all glass. When I started incorporating the blues, I was definitely inspired by being in the sky,” Diaz said. The terrazzo floor is made of 38,398 pounds of aggregate of native stone, abalone shell and recycled glass placed within aluminum dividers that serve as the art work’s pencil drawings. “It’s sacred geometry, the

whole idea of metamorphosis. It’s the idea of the design, shapes and colors changing throughout the design,” Diaz said. “You’re in this blue area and next thing it morphs into this red area.”

Some recognizable shapes appear such as vines and flowers and a Tree of Life at the entrance hall, but mostly Diaz drifted more into geomet-ric shapes. “You can see the metamorphosis. See these vines here? You can see it morph into these geometric patterns,” Diaz said. “every little square inch we picked out a color and put a number on it. We were up there every week when they started it.”

Diaz gives us a tour of the bridge walk:“As one traverses Journey Through Nature, we are met with the Tree

of Life, which is in full bloom with richly colored blossoms. This leads the

continued on page 57

Zarts

Sacred Geometryby Teya Vitu

Daniel Martin Diaz’s ‘Journey Through nature’ at sky harbor Airport, photo by bill Timmerman


artsZ

ATlAs Fine ArTs Albert Chamillard, an exhibition of works on paper cre-

ated during the past year. Opening reception Feb 2, 6pm-9pm. Show runs through

March. Wed-Thurs 11am-6:00pm, Fri-Sat, 11am-7pm. 41 S. 6th Ave. 622-2139

ArTseYe GAllerY Landings by Stephen Strom and Stu Jenks continues

through Thu, Feb 14. 3550 e. Grant Rd. 327-7291. Artseye.com

cenTer For creATive phoToGrAphY Sy Johnson: Tales from the

Loft shows Thu, Feb 7. Natan Lyons with Jessica McDonald: A Life in Photography

shows Tue, Feb 19. Sam Stephenson. The Making of the Jazz Loft Project: Archives

as Resource and Wellspring shows Tue, Feb 26. Mon-Fri, 9am-5pm; Sun, noon-

5pm. 1030 N. Olive Rd. 621-7968, CreativePhotography.org

conrAD WilDe GAllerY Willow Bader: A Night To Remember shows

Sat, Feb 2-Sat, Feb 23 with a reception on Sat, Feb 2 from 6pm-9pm. Tue-Sat,

11am-5pm. 439 N. 6th Ave. #171. 622-8997, ConradWildeGallery.com

conTrerAs GAllerY Rock, Trees and Water by Frank and Owen Rose

shows Sat, Feb 2- Sat, Feb 23. Tues-Fri 11am-5pm, Sat 11am-4pm. 110 e. 6th St.

398-6557, ContrerashouseFineArt.com

DAvis DoMinGueZ GAllerY Abstract paintings by David Pennington

and Amy Metier and abstract metal sculpture by Steve Murphy continues through

Sat, Feb 9. Tue-Fri, 11am-5pm; Sat, 11am-4pm.154 e. 6th St. 629-9759, Davis-

Dominguez.com

Deco Tue-Wed, Sat, 11am-4pm; Thu-Fri, 11am-5pm. 2612 e. Broadway Blvd.

319-0888, DecoArtTucson.com

DeGrAZiA GAllerY in The sun Oil on Panels and Canvas by Earl

Wettstein continues through Fri, Feb 8. Raku Sculptures and Pastel Landscapes by

Lewis Schellmann and elizabeth Manfredi shows Sun, Feb 10- Fri, Feb 22. Gourd

Art by Wanda Ryckman opens Sun, Feb 24. Daily, 10am-4pm. 6300 N. Swan Rd.

299-9191, DeGrazia.org

The DrAWinG sTuDio Brush Spirit with Five Elements: Yoshi Nakano

shows Sat, Feb 2- Sun, Feb 24. Reception Sat, Feb 2 from 6pm-9pm. 6pm-9pm.

Tue-Sat, noon-4pm. 33 S. 6th Ave. 620-0947, TheDrawingStudio.org

eTherTon GAllerY Surface Tension continues through April. Tue-Sat,

11am-5pm. 135 S. 6th Ave. 624-7370, ethertonGallery.com

FluXX sTuDio AnD GAllerY Fluxx Studio and Gallery, 414 e. 9th St.

Fluxxproductions.com

GeorGe sTrAsburGer sTuDio AnD GAllerY Oil paintings

by George Strasburger and Photographs by Alfonso Elia opens Fri, Feb 1. Thu-Sat,

11am-4pm and by appointment. 172 e. Toole St. 882-2160, GeorgeStrasburger.com

Joseph Gross GAllerY Subdivision #3 continues through Wed, Jan 9.

Language of the Land: Popular Culture within Indigenous Nations and the New Wave

of Artistic Perspectives continues through Fri, Mar 29. Mon-Fri, 9am-5pm; Sat-Sun,

10am-4pm. 1031 N. Olive Rd. 626-4215, CFA.arizona.edu/galleries

lionel roMbAch GAllerY Mon-Fri, 9am-5pm; Sat-Sun, 10am-4pm.

1031 N. Olive Rd. 624-4215, CFA.arizona.edu/galleries

louis cArlos bernAl GAllerY Rearranging The Sands continues

through Fri, Mar 8. Gallery talk Thu, Feb 7 from 1:30pm-2:30pm with a reception

to follow from 5pm-7pm. Wed 10:30am-5pm; Tue, Thu 10am-5pm; Fri 10am-3pm.

2202 W. Anklam Rd. 206-6942, Pima.edu/cfa

MuseuM oF conTeMporArY ArT Wed-Sun, noon-5pm. $8, adults;

free, children under 12, members, military; free to all second Wednesday of the

month. 265 S. Church Ave. 624-5019, MOCA-Tucson.org

obsiDiAn GAllerY Two Person Show continues through Sun, Mar 10. Ob-

sidian Gallery, 410 N. Toole Ave., #120. 577-3598, Obsidian-Gallery.com

philAbAuM GlAss GAllerY & sTuDio Cast & Cut opens Sat, Feb

2 with a reception from 5pm-8pm.10am-5pm. Tue-Sat, 10am-5pm. 711 S. 6th Ave.

884-7404, PhilabaumGlass.com

porTer hAll GAllerY $8, Adults; $4, Children 4-12; Free, Children 3

and younger. 2150 N. Alvernon Way. 326-9686, TucsonBotanical.org

sAcreD MAchine Wed-Fri, 1pm-4pm; Sat, 4pm-9pm; Sun, 3pm-6pm. 245

e. Congress St. 777-7403, SacredMachine.com

TeMple GAllerY Life Boat by David F. Brown continues through Tue, Feb

26. Mon–Fri, 10am-5pm. 330 S. Scott Ave. 624-7370, ethertonGallery.com

Tucson MuseuM oF ArT Desert Grasslands through July 7. Elements

in Western Art: Water, Fire, Air, and Earth through June 16. Feminina: Images of the

Feminine Latin America through June 16. Wed, Fri, Sat: 10am-5pm; Thu: 10am-

8pm; Sun, noon-5pm. $10, adults; $8, seniors; $5, students 13+; free, children

under 12. Free to all the first Sunday of the month. 140 N. Main Ave. 624-2333,

TucsonMuseumofArt.org

uA ArT MuseuM Broken Desert- Land And Sea: Greg Lindquist, Chris

McGinnis, Mary Mattingly and William Lamson continues through Sun, Mar 3. Tue-

Fri, 9am-5pm; Sat-Sun, noon-4pm. $5 adults; children/students/faculty, free. 1031

N. Olive Rd. ArtMuseum.arizona.edu

uA poeTrY cenTer Maps opens Mon, Feb 4. Mon/Thurs, 9am-8pm; Tues/

Wed, 9am-6pm; Fri, 9am-5pm. 1508 e. helen St. 626-3765, Poetry.Arizona.edu

WilDe MeYer GAllerY My Favorite Things continues through Fri, Feb 1.

The Muscle Car and the ol’ Truck continues through Fri, Feb 1. Celebrating Art con-

tinues through Sat, Feb 2. Leigh’s Observations opens with a reception on Thu, Feb

21. Native and Modern opens Thu, Feb 7. Heart and Spirit opens Thu, Feb 7. The

Gem Show opens Sat, Feb 2. Mon-Fri, 10am-5:30pm. Wilde Meyer Gallery, 3001 e.

Skyline Dr. WildeMeyer.com

The exhibit “brush spirit” by Yoshi nakano appears

at The Drawing studio, Feb 2-24


way to winding ivory vines, which are placed upon a sea of blue hues that glisten and morph into crimson geometric diamonds. The crescendo is the centerpiece. It is an intricate, circular voyage through spirals that meander and crisscross one another, which creates a beautifully uniform geometric pattern with rich colors and a sense of continuous movement. The journey continues through a mirror image of itself and returns where it began with the Tree of Life.”

The 44th Street Sky Train station has an early bag check counter just beyond the Diaz floor for Southwest Airlines and US Airways – those two account for nearly 80 percent of Sky harbor’s flights – and a boarding pass kiosk for several airlines. The Sky Train will deliver passengers to Terminal 3 and Terminal 4. The airport’s ambition is to get people to drop off and pick up travelers at the Sky Train stations rather than the terminals.

Sky harbor spokeswoman Julie Rodriguez could offer no specific open-ing date for the Sky Train and its stations other than early 2013.

Diaz is also designing the platform art for the Valley Metro light rails first extension to Main Street and Alma School Road in Mesa.

Until 1998 (they had met in 1990), Diaz and Valencia were merchan-dising representatives as independent contractors, primarily for AT&T, Procter & Gamble and Philip Morris. They helped stores determine how much product they needed on the shelves. “You need 10 more cases of Tide,” Diaz recited. “I loved that work.”

The 90s was a decade of transformation for Diaz. First, he met Valen-cia. Then they married. And then came Damion Demetrius (notice, every-one in this family goes by first and middle name). “One of the big things that changed my life was having our son,” Diaz said. he started dabbling without ever taking an art class. Valencia took immediate note. “Really, he’s been an artist since I met him,” Valencia said. “he was always a fan-tastic composer. When he stumbled on – I call it surreal iconography – I think he hit his mark.” So did the etherton Gallery and the Tucson Mu-seum of Art, which were the first to stage Diaz exhibitions in the very early days of his art career.

“I loved his work then and I love it even more now,” Terry etherton said. “I’m in awe of him, not just for his art but for all the things he does. I grew up Catholic, too. I understand a lot of the references. I had never seen the imagery presented in this way. When you see something he did, there’s no question who did it. he’s one of the better artists in this part of the country.”

Valencia said, “Because he’s self-taught, he just came from a desire to create. What I see is a realist. It’s just real work. It comes from the soul and the heart. People are attracted to that.”

Fun Facts: Journey Through Nature is 500 feet long and 40 feet wide. The total square footage is 9828. It contains aggregates of abalone and native desert stones and recycled glass from the area, and 48 60”x144” Aluminum sheets; 360 Coreplex sheets; 300 hours of Water-Jet cutting; 350 hours of CAD time; 36,740 linear feet of cut Aluminum and Coreplex sheets; 34,398 pounds of Aggregate; 13,620 pounds of Recycled Glass.

continued from page 55

Daniel Martin Diaz and paula catherine valencia


AriZonA-sonorA DeserT MuseuM Art Institute Student Exhibi-

tion opens Sun, Feb 9. Regularly: Desert flora and fauna, animal presentations,

Raptor Free Flights, more. $14.50, adults; $5, children 6-12. Daily, 7:30am-5pm.

2021 N. Kinney Rd. 883-1380, DesertMuseum.org

AriZonA sTATe MuseuM Basketry—An Essential Part of Life continues

through Thu, Feb 28.$5, children free. Mon-Sat, 10am-5pm. UA Campus, 1013 e.

University Blvd. 626-8381, StateMuseum.Arizona.edu

JeWish hisTorY MuseuM The Ketububah Exhibit continues through

Thu, Feb 28. Wed-Sun, 1pm-4pm.; Fri, 12pm-3pm. $5 non-members. Free for

members. 564 S. Stone Ave. 670-9073, JewishhistoryMuseum.org

Mini-TiMe MAchine MuseuM Small Scale Skirmishes: Battles from

Imagination and Reality continues through April. 1st Thursdays, open until 8pm.

Tue-Sat, 9am-4pm. $7, adults ($5 Thu); $6, seniors/military; $5, 4-17. 4455 e.

Camp Lowell. 881-0606, TheMiniTimeMachine.org

Tohono chul pArk Student Art Work from the School of Deaf and Blind

opens Fri, Feb 15. Paper: From All Sides continues through April. Daily events:

Reptile Ramble, eco-Station Walks, more. See the website for other events. Daily,

8am-5pm. $7, 13+; $5, 62+ & military; $3 students; $2 children. 7366 N. Paseo

del Norte. 742-6455, TohonoChulPark.org

Tucson boTAnicAl GArDens Gem and Mineral Sale takes place Fri,

Feb 15- Sat, Feb 16. Butterfly Magic continues through April. Regular entry fees:

$13, adults; $12 Student/ Military; $7.50, children 4-12. Daily, 8:30am-4:30pm

(except holidays). 2150 N. Alvernon Way. 326-9686, TucsonBotanical.org

museums & exhibitsSmall Scale Skirmishes: Battles from Imagination and Reality presents examples of toy soldiers (both antique and contemporary), wargaming figures and dioramas and military machines by war game enthusiasts, model builders and miniature artisans at the Mini-time Machine museum through April 7.


new FestivalThe inaugural tucson Desert song Fest will debut February 8-17 with a series of events around Tuc-son. This ten-day classical voice festival, featuring internationally known soloists will perform along with Tucson institutions such as the Tucson Symphony Orchestra, Ballet Tucson, Chamber Music PLUS, the Tucson Guitar Society and others. The festival is not just performances, but will also include master classes, lectures and other events. For more about the festival, visit tucsonDesert-songFestival.org for event schedules, tickets and other information.

tango-ManiaOne of the 2012-2013 season highlights for Ballet Tucson is their performance entitled “Passion-ately Piazzolla!” This event, features a collaboration with Chamber Music PLUS and the Tucson Desert Song Festival to present a tribute to the musical legend Astor Piazzolla. The composer and tango music godfather’s life will be portrayed through music, acting, dance and voice work. his music is haunting, memorable and some might say unforgettable, and this special event will have you running to find his music to download for yourself. Performances are at the Temple of Music and Art, 330 S. Scott Ave., on February 15, 16 and 17. Visit Ballettucson.org for more information and tickets.

new art exhiBitionsThe Tucson Museum of Art has three new art exhibitions on display through early summer. Up first is a show entitled “Desert grasslands” that features works in painting, photography and works on paper that express the beauty and vitality of the region. With a roster of 19 participating artists, from Tucson, Phoenix and beyond, the show is a great way to see how different artists interpret the world outside their studio doors. “elements in western art: water, Fire, air and earth” examines the presentation of the four elements in art of the American West with imagery from a variety of artists. Finally, “Feminina” examines the feminine form in artwork from Latin America. Featuring work that is both sacred and profane, the show has works dating from Pre-Colombian to the contemporary era. Visit tucsonMuseumofart.org for more details.

FilMTucson’s loft cinema will be showing the Academy Award nominated film “Amour” starting Febru-ary 8. The film directed by director Michael hancke locked up five nominations for its actors, direc-tor and for the film itself after wowing audiences in europe. A powerful and sobering look at both the end of life and a long relationship, this film is hard to watch but brilliant. loftcinema.com.

cineMA lA plAciTALa Placita Village, 110 S. Church Ave. Thursdays at

7:30pm, $3 suggested donation. CinemaLaPlacita.

com

The loFT cineMA3233 e. Speedway Blvd. 795-7777 (show times re-

cording), 322-LOFT, LoftCinema.com

Times and admissions vary. Dates indicate first date

of movie run.

Fri 1: First Friday Shorts, hecho en Mexico, Ground-

hog Day

sat 2: A Fistful of Spaghetti: Sergio Leone’s “Man With

No Name”

sun 3: The Magistrate

Mon 4: Thrashin’

tue 5: Please Subscribe: A Documentary about You-

Tube

wed 6: Tchoupitoulas

thu 7: The Wrecking Crew

Fri 8: Amour, Alien, 56 Up

sun 10: Black Orpheus

thu 14: Annie hall

Fri 15: Tabu, The All-Nite Scream-O-Rama, A Glimpse

Inside the Mind of Charles Swan III, Moonrise King-

dom

Fri 22: John Dies at the end, Masquerade, Fight Club

FoX TheATre17 W. Congress St. Admission is $6-$8. 624-1515,

FoxTucsonTheatre.org

piMA counTY public librAries594-5500, Library.Pima.Gov

Fri 1: The Powerbroker (Joyner-Green Valley)

sat 9: The Powerbroker (Woods Memorial)

Mon 11: The Powerbroker (himmel Park)

Fri 15: The Powerbroker (Oro Valley)

Mon 25: The Powerbroker (Mission)

The screeninG rooM127 e. Congress St. 882-0204, AZMac.org/Scroom

See the website

voices oF opposiTionUA’s Aerospace & Mechanical engineering Building,

1130 N. Mountain Ave. VoicesOfOpposition.com

“black orpheus” shows at The loft cinema on sun, Feb 10.

Photo courtesy of Last.Fm

film

by Herb Stratford

Academy Award nominated film “Amour” starting February 8 at The loft.


artsZ

IN TWO CONTRASTING exhibitions, the iconography of intimate photos and the designs of traditional weaving invite audiences to reconsider their understanding of our region’s culture…and soul.

Step into the Main hall of the Arizona State Museum (ASM) and soon you will have a quandary. To one side is a current exhibition that plunges into the power of traditional basketry as a source of inspiration, function and beauty. To the other, beginning March 8, is a new conversation in the form of intricate photography, in an exhibition that makes you look again at the immigration discussion. Where to turn first?

The creative excitement stirred in these striking ASM exhibits comes from a sense of place that is undeniably Sonora, a celebration of a region reborn in images and baskets. You need all your senses and imagination to undercover the stories behind these two unique exhibits that demonstrate the intersection of culture, conscience and community in amazing ways.

by Monica Surfaro Spigelman

Borders & BasketsSTirrinG The imaGinaTion Via phoToS and Fiber

Arizona state Museum’s largest example is a stunning Yavapai or Western Apache coiled olla that is almost 3.5 feet tall. it probably was made just after

1900 by an anonymous but extremely talented weaver who may have lived at san carlos. photo by Jannelle Weakly, from the permanent collections of

Arizona state Museum.

“A World Without borders.” untitled, by Alejandra platt-Torres


WRITTeN IN the language of the camera, an exhibition opening next month already is stirring a deeper collective thought about migration.

Alejandra Platt-Torres’ photographs are full of dramatic social com-mentary, and paint magical realism with melancholy and optimism. There is no flamboyancy in her images, just the vivid honesty of larger-format film photography that fractures the notion of pixel-perfect beauty.

The upcoming ASM exhibition will be multi-layered, featuring as its central focus 20 of Platt-Torres’ most stunning black-and-white photo-graphs. The photos depict migrants, their desert journeys, human repa-triation, border history and ecology.

In another layer, the exhibit experience will begin almost as a pilgrim-age via a “desert walk” – Images of desert floor footprints and fragments become a walkway leading exhibit-goers into the Museum and the core of the “journey,” the photographic exhibition. There, a concluding layer will feature a conceptual “Sanctuary” installation –a slide show of additional Platt-Torres photos projected on to a desert shrine image – accompanied by a soundtrack by Salvador Duran.

According to ASM Curator of exhibits Davison Packard Koenig, the exhibit offers visitors an opportunity to comment and reflect.”The exhibit is not necessarily to present all aspects of the border dilemma, but rather to humanize the border through the lens of Alejandra’s compelling imagery,” he notes.

The project represents over four years of Platt-Torres documentation of the border, which began after September 11, 2001. At the time, the photographer had been at the border crossing, and she recalls vividly the

changes that began occurring after that terrorism event.“I am the third generation in a family of migrants and my great grand-

father was born in New York City,” says Platt-Torres. “Since I was a child, I’ve been crossing the border with my family – there is no border in my world.”

But post-September 11 reaction prompted Platt-Torres to photograph images that symbolized the tension fueled by border issues as well as hu-man casualties. “The photos began to reveal their meaning to me,” she says.

Platt-Torres’ most compelling works convey a sense of personal con-nection, almost engaging the viewers in conversation. She employs a has-selblad 500 film camera, bringing viewers closer to the monumental sub-ject matter by way of large-scale images.

The University of Arizona Confluencenter for Creative Inquiry is a part-ner in the exhibit. “Alejandra Platt-Torres is one of the most accomplished photographers of contemporary Mexico,” says Dr. Javier Duran, director of the UA Confluencenter. “her photos evoke the strength, the struggles and the sorrows of the migrant people and reflect the lives of those who made it across and those who didn’t.”

Torres-Platt was born in hermosillo, Sonora and now divides her time between Mexico and Tucson. She began photography when she was sev-en, using an Instamatic as her tool. her photos reveal the truth of often uncomfortable subject matter in ways that can surprise the spectator. Like the desert itself, the photographs of A World Separated by Borders are both fragile and timeless.

Zarts

YOU COMe heRe for the gravitas. If you haven’t visited the exhibition’s sampling of the world’s largest collection of American Indian basketry, you should. Some 500 rare pieces, representing every indigenous basket-making group in North America from 6,000 years ago to the present, take viewers on a visual journey into culture. It’s a display of objects at first familiar but upon inspection transform into artful experiences of tradition and technique.

Basketry Treasured was unveiled last year as part of ASM’s Arizona Centennial programming and is a sweeping spectacle of baskets and what the Museum calls “other woven wonders” (including sandals, mats and cradleboards made from native fibers and botanicals). The exhibit gives viewers a window into the past and future of a traditional art used for ceremony and function. Through displays that are almost architectural, the exhibit provides a modern commentary on beautifully structured and designed cultural objects. Diverse ground is covered and no matter what your style, the baskets resonate. Visitors explore the nature of tradition in an inviting touch-and-feel area, or get connected via an introductory film full of native voices. In a display of miniature baskets, viewers are enriched by small-scale artistic structures that pay homage to ancestral traditions. Personal collections of three major Museum influencers dating to early 20th century are displayed around an entertaining “Indian Room,”

where absorbing contextual posters embellish storytelling.The future of basketry is also elegantly realized in the exhibit’s collec-

tion of contemporary pieces. This display demonstrates how today’s artists successfully adapt knowledge of elders to reflect images that capture a modern essence with intense design. Terrol Dew Johnson, a contempo-rary Tohono O’odham weaver, is collaborating curator of the exhibit. his community organization, TOCA, based in Sells, creates opportunities for learning, exchange and livelihood, and has helped his Tohono O’odham nation retain balance in honoring the past while entering mainstream. Dew Johnson’s work is showcased along with other contemporary artists in the show, building upon traditional patterns with originality that extends the expressive range of the craft.

Basketry Treasured is also presented in honor of a $400,000 Save America’s Treasures challenge grant, which intends to kick-start the con-struction of a climate-controlled “visible vault” and interpretive space for the woven wonders. ASM hopes the exhibition inspires viewers to support a new, upgraded venue for the collection, which continues to face risks of deterioration. As you walk the exhibit and reflect about what baskets old and new teach about the cultures of the people who made them, perhaps you’ll wonder what other baskets are hidden in the museum and what stories they might tell you.

vessels oF traDitionBasketry TreasuredASM Exhibition through January 4, 2014

Provocateur in FocusA World Separated By BordersPhotography of Alejandra Platt-TorresASM Exhibition March 8 – October 19, 2013


AriZonA FrienDs oF chAMber Music harlem Quartet performs

on Wed, Feb 13 at 7:30pm and Thu, Feb 14 at 3pm. TCC’s Leo Rich Theatre, 260

S. Church Ave. 577-3769, ArizonaChamberMusic.org

AriZonA rose TheATre coMpAnY The Rainmaker shows Sat, Feb

2- Sun, Feb 3 & Fri, Feb 8- Sun, Feb 10. Temple of Music and Art, 330 S. Scott Ave.

888-0509, ArizonaRoseTheatre.com

AriZonA TheATre coMpAnY Freud’s Last Session continues through

Sat, Feb 9. Temple of Music and Art, 330 S. Scott Ave. 884-8210, ArizonaTheatre.org

AriZonA operA Tosca, the tale of a corrupt politician pursuing a hot-blooded

diva, shows Sat, Feb 2- Sun, Feb 3. TCC’s Music hall, 260 S. Church Ave. 293-

4336, AZOpera.com

bAlleT Tucson Passionately, Piazzola! A collaboration with Chamber Music

Plus and the Tucson Guitar Society shows Fri, Feb 15- Sun, Feb 17. Temple of Music

and Art, 330 S. Scott Ave. 903-1445, BalletTucson.org

beoWulF AlleY TheATre The Pavilion premieres Fri, Feb 15. 11 S. 6th

Ave. 882-0555, BeowulfAlley.org

blAck cherrY burlesQue Tantalizing burlesque performance on Fri,

Feb 1 and Fri, Feb 15 at 8pm and 10pm. Surly Wench Pub, 424 N. 4th Ave. 882-

0009, TucsonBurlesque.com

broADWAY in Tucson Memphis shows Thu, Feb 26- Sun, Mar 3. TCC’s

Music hall, 260 S. Church Ave. 903-2929, BroadwayInTucson.com

cArnivAl oF illusion Shows weekends in February. See website for

times and locations. Double Tree Tucson hotel, 445 S. Alvernon Way. 615-5299,

CarnivalOfIllusion.com

chAMber Music plus Passionately, Piazzola! A collaboration with Ballet

Tucson and the Tucson Guitar Society shows Fri, Feb 15- Sun, Feb 17. Temple of

Music and Art, 330 S. Scott Ave. 400- 5439, ChamberMusicPlus.org

FoX TheATre A Salute to the Blues Brothers takes place Fri, Feb 1. An Acous-

tic Evening with the Desert Rose Band on Sat, Feb 2. Dwight Yoakam performs Thu,

Feb 7. Pavlo performs Sat, Feb 9. Tommy Emmanuel performs Tue, Feb 12. Harold

and Maude perform Thu, Feb 14. Wynonna & The Big Noise performs Fri, Feb 15.

The John Pizarrelli Quartet perform Sat, Feb 16. George Kahumoku performs Thu,

Feb 21. Barbara Cook performs Fri, Mar 1. Fox Theatre, 17 W. Congress St. 624-

1515, FoxTucsonTheatre.org

The GAsliGhT TheATre Lone Stranger continues through Sun, Mar 31.

Gaslight Theatre, 7010 e. Broadway Blvd. 886-9428, TheGaslightTheatre.com

invisible TheATre First Kisses shows Wed, Feb 13- Sun, Mar 3. Invisible

Theatre, 400 N. 1st Ave. 882-9721, InvisibleTheatre.com

live TheATre Workshop The Chosen continues through Sun, Feb 9.

Theatrum Orbis Terrarum Episode 1: Turkey shows Fri, Feb 1- Sat, Feb 2. Regrets

Only opens Thu, Feb 14. All Together Theater: Delia and the Mud People continues

through Sun, Feb 3. The Brave Little Tailor opens Sun, Feb 17.Live Theatre Work-

shop, 5317 e. Speedway Blvd. 327-4242, LiveTheatreWorkshop.org

noT burnT ouT JusT unscreWeD The improv comedy troupe

performs Fri, Feb 1; Fri, Feb 8; Fri, Feb 15 and Fri, Feb 22. See website for times

and locations. 861-2986, UnscrewedComedy.com

oDYsseY sTorYTellinG series When In Rome shows Thu, Feb 7 at

7pm. $7. Fluxx Studio and Gallery, 416 e. 9th St. 730-4112, OdysseyStoryTelling.com

pcc ArTs All Shook Up shows Thu, Feb 21-Sun, Mar 3. Dr. Jonathan Ng Tenor

performs at the recital hall Sun, Feb 10. PCC Proscenium Theatre, 2202 W. Anklam

Rd. Pima.edu/cfa

rhYThM & rooTs An Acoustic Evening with Desert Rose Quartet takes

place Sat, Feb 2. Paul Thorn Band performs Sun, Feb 10. Johnny Rawls performs

Sat, Feb 23. 2970 N. Swan Rd. RhythmandRoots.org

The roGue TheATre Kafka’s Monkey and Metamorphosis show Thu, Feb

28-Sun, Mar 17. 738 N. 5th Ave. 551-2053, TheRogueTheatre.org

Tucson sYMphonY orchesTrA Musical World Tour on Sat, Feb 2;

Laura Stoutenborough performs Sat, Feb 2; Beethoven and Wagner production on

Sat, Feb 9 and Sun, Feb 10; Amber Wagner and James Valenti perform Thu, Feb 14;

Jill Grove and Morris Robinson perform Sat, Feb 16; Valentine’s Concert featuring

Joshua Bell takes place Sat, Feb 16; Verdi’s Requiem takes place Fri, Feb 15 and

Sun, Feb 17; Broadways Rocks! Takes place Sat, Feb 23- Sun, Feb 24. TCC’s Music

hall, 260 S. Church Ave. 882-8585, TucsonSymphony.org

uA’s AriZonA reperTorY TheATre Love Song shows Sun, Feb

3- Sun, Feb 24. Cymbeline opens Sun, Feb 24. Tornabene Theatre, 1025 N. Olive

Rd. 621-1162, web.cfa.arizona.edu/theatre

uA presenTs Vancouver Symphony Orchestra performs Fri, Feb 1; Chinese

New Year Festival on Sun, Feb 3; Alonzo King Lines Ballet on Sun, Feb 10, St. Olaf

Choir performs Mon, Feb 11; UA Dance performs Thu, Feb 14; Nathan Gunn per-

forms Thu, Feb 14; UA Dance performs Fri, Feb 15 and Sat, Feb 16; John Pizarelli

Quartet performs Sat, Feb 16; UA Dance performs Sun, Feb 17; From the Top per-

forms on Sun, Feb 17; Barbara Cook performs Fri, Feb 22; Bridget Kibbey and UA

Dance perform Thu, Feb 28. Centennial hall, 1020 e. University Blvd. 621-3341,

UAPresents.org

WinDinG roAD TheATre enseMble August: Osage County contin-

ues through Sun, Feb 10. 749-3800, WindingRoadTheater.org

ZuZi! DAnce coMpAnY No Frills Dance Happenin’—Have a Heart takes

place Fri, Feb 15- Sat, Feb 16. Zuzi’s Little Theater, 738 N. 5th Ave. 629-0237,

ZUZIMoveIt.org

Memphis shows Thu, Feb 26- sun, Mar 3 as part of broadway in Tucson.

The pavilion premieres Fri, Feb 15 at beowulf

Alley Theatre.

artsZ

performances


Zarts

INSPIReD BY the 1960s fashion, musical and cultural Youthquake (move-ment), Tucson’s heap Collective is creating a stage for Tucson artists, mu-sicians, and taste makers to share their talents with the community with monthly pop-up shows. heap Collective are Tucson locals and artists Joie estrella, Matthew Banquet, and Claire Mirocha.

The name heap Collective stems from its dictionary definition; to load, supply, or fill abundantly: to heap a plate with food. In this case it would be art, which many agree, is food for the soul. “heap is about the masses... combining all people in celebration of the creative minds our desert oasis embodies,” says estrella.

The first heap Collective event opened on January 12, 2013 on a Sec-ond Saturday. It was held at an empty Peach Property space behind the Rialto Theatre. each show has a theme. This one was titled happy hour. An estimated four to five hundred patrons attended that fun and lively evening.

Displayed in the space were the works of twenty local artists, including photographs, drawings, paintings, and installations. Local artist Pat Foley and his Carne and Queso winter collection of tee shirts, sweatshirts, skate-

boards, and candles were admired for their happy go lucky apocalyptic theme. Desert Vintage presented an Americana inspired clothing instal-lation. Outfits were suspended from wire in front of an old American flag and over sized white balloons. Other standout work included a drawing of a nude skull-faced witch flying on her broom by artist Sharon Moon and also the dreamy photography of Krysta Jabczenski.

Local bands set the scene at the event including an epic ten-person “tribal punk” drum jam. The music finale was a performance by Cy Dune of the Akron Family while Altrice composed the sounds in between bands. Seis Curbside served food from their truck and Dish for Dosha served warm Ayurvedic drinks.

The heap Collective’s future plans are to create an online database for local artists and in the future create heap’s own music festival. Be in the know by browsing the heap Collective on Facebook and look around town for their rad poster art. You don’t want to miss the next heap Collec-tive event downtown in February. These events are a great way to help celebrate the innovative and artistic happenings in Tucson.

Contact: [email protected]

Heap Collective Celebrates Local Artistsby Jess Holzworth

photo: Joie Estrella


Grateful Dead Still Alive...

Ah, The GRATeFUL Dead…love ‘em, hate ‘em , ignore ‘em…whatever your personal feelings, they refuse to go away. While their reputation as the quintessential Frisco jam band may not be everyone’s cup of herbal tea, for 30 years, this group had been fertile ground for a creative process that has spawned hundreds of original tunes, many exquisitely crafted as evidenced by the likes of the Indigo Girls, elvis Costello, Los Lobos, Burn-ing Spear and many others who have covered their songs. Unfortunately, with some notable exceptions, the recordings and live execution of much of their work, have left many who have not drunk the kool-aid (metaphori-cally and literally), to wonder aloud, “What’s the big deal?”

Well, to the millions who had consistently made them one of the high-est grossing concert acts in the world, it was always about the songs and the jams, or as some folks in the education world like to put it, “content and delivery.”

When lead guitarist and band icon Jerry Garcia died in 1995 it was if a fast and smooth running train had been derailed. The Dead were playing 80-100 shows a year, averaging three hours plus in length and a differ-ent show every night. And while there were many jokes made about tour junkie Deadheads now being forced to “get a life”, the symbiotic nature of the Dead’s relationship with its fans meant it was only a matter of time before the band, either individually or collectively would find its way back onto the road.

Since that time there have been a handful of reunions amongst the four original surviving members—Bob Weir, Phil Lesh, Bill Kreutzman and Mickey hart. First came The Other Ones (a couple of tours and one great recording) and then a single tour under the moniker The Dead. Now there are periodic shows and short seasonal tours with Weir and Lesh fronting the group Furthur. While these shows have provided a relatively authentic GD experience, it’s been the band members’ various solo projects that seem to have captured most of their imagination and interest.

Much can be written about the Phil Lesh and Friends experience, but it is the impending arrival of the Mickey hart Band and the Bob Weir shows that is currently piquing interest. Weir’s principal post Dead project has been Ratdog, a group he founded with bassist Rob Wasserman shortly be-fore Garcia’s death. While that group has undergone various transforma-tions in substance and style (there’s that content and delivery again) it has evolved into a terrific Grateful Dead cover band with Weir actively working to keep Garcia’s legacy alive by continuing to sing many of his songs.

Weir’s last Tucson appearance was a few years ago at the Rialto with Ratdog, where that theater’s vastly improved sound system helped make for a memorable night. This time, Weir heads down the block to the Fox Theatre which should also provide the perfect backdrop for his solo acous-tic show. While this show will be free of improvisational jams, acoustic arrangements will allow listeners to experience the music as it was created and before songs morphed into jams. It’s also a given he’ll also include tunes written by Garcia and Robert hunter. Jonathan Wilson will open.

In sharp contrast, drummer and percussionist Mickey hart, with a band, returns to the Rialto where he rocked the house more than ten years ago with a band that not only covered the Dead but offered some creative rearrangements as well.

Since the death of Garcia he has recorded and toured with various ensembles including the Planet Drum experience as well as the superb Mickey Hart’s Mystery Box. While hart has bravely attempted to handle vocals on previous tours, he appears happy to be giving up these reigns to others better suited for this, most notably Crystal Monee hall and Joe Bagale. While there will be plenty of drums and percussion, this is a full-on electric 8 piece band which will be augmented by opening act the African Showboyz from Ghana.

Bob Weir plays at the Fox Theatre on Wednesday, February 27; The Mickey Hart Band is at the Rialto on Tuesday, March 5.

SorT oF (and cominG To TUcSon)!by Jim Lipson

tunesZ

bob Weir Mickey hart


tunesZ

2nD saturDaYs DowntownCongress Street,

2ndSaturdaysDowntown.com

sat 9: Scott Ave Stage: Silverbell,

The Jits

ava aMPhitheater at casino Del sol5655 W. Valencia Rd.

CasinoDelSol.com

BoonDocKs lounge3306 N. 1st Ave. 690-0991,

BoondocksLounge.com

Mondays: The Bryan Dean Trio

tuesdays: Lonny’s Lucky Poker

Night

wednesdays: The Titan Valley

Warheads

Fridays: Live Music with Neon

Prophet

sat 9: Whole Lotta Zep

sun 17: Last Call Girls

caFe Desta758 S. Stone Ave., 370-7000

CafeDesta.com

sun 3: Tango Night

sun 24: Chamberlab

cluB congress311 e. Congress St. 622-8848,

hotelCongress.com/club

Fri 1: electric Blankets and Tom

heavy and The Partymakers

sat 2: Daniel Johnston

Mon 4: Murs- The Road to Paid

Dues Tour

wed 6: Mando Madness Presents-

Brass hands, The Gallery, horse

Black

Fri 8: el Tambo

sat 9: That 1 Guy & The Magic

Pipe Present: An evening of

Musical Magical Wonder... The

LIkes of Which Ye haven’t Yet

Seen

sun 10: The Paul Thorn Band

thu 14: The Newlywed Game

sat 16: Ra Ra Riot

Mon 18: Night Beds

tue 19: Orange Kids Album

Release Show

wed 20: Resonars, Logan Greene,

Discos Free Show

wed 27: Caspian, Junius, North

cushing street Bar & restaurant 198 W. Cushing St. 622-7984,

CushingStreet.com

saturdays: Jazz

la cocina201 N. Court Ave. 622-0351,

LaCocinaTucson.com

wednesdays: CS Open Trio

saturdays: DJ herm, Ms. Lana

Rebel and Kevin Michael Mayfield

sundays: DJ herm, Catfish and

Weezie, Bungaloo BBQ

Fri 1: Sleep Like Trees, The Greg

Morton Band, Little Creatures

sat 2: Sleep Like Trees, hey

Bucko

wed 6: Daniel hart

thu 7: Daniel hart, Stefan George,

TV Mike and the Scarecrows

Fri 8: TV Mike and the

Scarecrows, The Greg Morton

Band, Dream Sick, Lenguas

Largas

sat 9: Dream Sick, Lenguas

Largas

sun 10: Andy See

wed 13: Black Jackalope

ensemble, Mombasa

thu 14: Stefan George, Black

Jackalope ensemble, Mombasa

Fri 15: The Greg Morton Band

wed 20: La Cerca, Jessa Cordova,

Burning Palms

thu 21: La Cerca, Jessa Cordova,

Burning Palms, Stefan George

sat 23: Tesoro, Coming Out: A

Queer Dance Party!, Ms. Lana

Rebel and Kevin Michael Mayfield

thu 28: Stefan George

DelectaBles restaurant 533 N. 4th Ave. 884-9289,

Delectables.com

Fri & sat: Live music

Fox tucson theatre17 W. Congress St. 624-1515,

FoxTucsonTheatre.org

Fri 1: A Salute to the Blues

Brothers

sat 2: An Acoustic evening with

Desert Rose Band

thu 7: Dwight Yoakam

sat 9: Downtown Second

Saturdays Presents: Pavlo

tue 12: Tommy emmanuel

thu 14: harold and Maude

Fri 15: Wynonna and The Big

Noise

sat 16: John Pizzarelli Quartet

thu 21: George Kahumoku

Fri 22: Barbara Cook

the hut305 N. 4th Ave. 623-3200,

hutTucson.com

sat 2: The Tryst

sat 9: K-Bass

sat 16: One Drop

live acoustic venue association (lava)Abounding Grace Sanctuary, 2450

S. Kolb. 647-3234, LavaMusic.org

sat 9: Sabra Faulk

sat 16: Dolan ellis

sat 23: The Redhouse Family

Jazz Band

MontereY court505 W. Miracle Mile,

MontereyCourtAZ.com

Fri 1: Greyhound Soul

sat 2: Sunday Jazz Showcase

thu 7: Shaky Bones

Fri 8: ernie Votto

sat 9: Angel Diamond

sun 10: Chillie Willie Groove

tue 12: Tommy Tucker

wed 13: Nashville Songwriters

Showcase

thu 14: Alisha Peru

Fri 15: hal Jackson

sat 16: Kevin Pakulis and Amy

Langley

sun 17: Sunday Jazz Showcase

tue 19: Jamie O’Brien

Fri 22: Small Potatoes

sat 23: Corey Spector

sun 24: Chillie Willie Groove

Plush340 e. 6th St. 798-1298,

PlushTucson.com

Fri 1: Kris Allen, Jillete Johnson

sat 2: Funky Bonz

Fri 8: Andrew See, Stunning Tonto

Presents

sat 9: Ghost Cow

sat 16: The Cordials, The

Possibles, Leila Lopez

wed 20: The Monitors, Lunar

Light Collectors, Fire Dust

tue 26: electic Six

thu 28: Adam Faucett, Plastic

Arts, Kaia Chesney

rhYthM & rootsPlaza Palomino, 2970 N. Swan

Rd. 319-9966, RhythmandRoots.org

sat 2: An Acoustic evening with

Desert Rose Quartet

sun 10: The Paul Thorn Band

sat 23: Johnny Rawls

rialto theatre318 e. Congress St. 740-1000,

RialtoTheatre.com

sat 9: Rialto Gala Afterparty with

Brownout,

tue 12: Tommy emmanuel at Fox

tue 12: Stone Sour/ Papa Roach

thu 14: ed Sheeran

sun 17: The XX

sat 23: Intergalactic Nemesis

sun 24: Leftover Salmon

sKY Bar536 N. 4th Ave. 622-4300,

SkyBarTucson.com

Mondays: Team Trivia

tuesdays: Jazz

wednesdays: Open Mic

thursdays: Live Music

solar culture31 e. Toole Ave. 884-0874,

SolarCulture.org

sat 2- Fri, 15: Temple of eden

sat 2: Illumination

wed 6: Arjun and Guardians

thu 7: Portland Cello Project

Fri 8: Baba Marimba

sat 9: Body and Soul Ritual

Drawing Workshop

sun 24: Sean Gaskell

surlY wench PuB424 N. 4th Ave., 882-0009,

SurlyWenchPub.com

Mondays: Black Mondays with

Matt McCoy and weekly guest

Fri 1: Black Cherry Burlesque

sat 2: Bike Race After Party

sat 9: Fineline Revisited

Fri 15: Black Cherry Raw

sat 16: Sanctuary

Fri 22: Pretty Things Peepshow


“ra ra riot” hotel congress on sat, Feb 16.

tunes Z

kxci’S 5 Tucson’s community radio station, at 91.3FM and KXCI.org, spins tracks from the following new albums in February.

Ben harPer with charlie Musselwhite, Get Up (STAx)It took more than a decade after they met while both recording with John

Lee hooker, but Ben and Charlie finally team up on the album they both

say they always knew they’d make: a ferocious set of energized blues

tunes.

local natives, HUmminGbird (FREnCHKiSS)Although now a quartet, Local Natives’ second album offers more of the

music we loved from their 2010 debut that earned them comparisons to

Grizzly Bear and Fleet Foxes.

tegan anD sara, HearttHrob (WARnER BROS)Though they are twin sisters, each half of this folk-rock duo brings a very

unique perspective to their songwriting in this highly anticipated follow up

to 2009’s Sainthood.

eels, wonDerFul, GlorioUS (VAGRAnT)For their 10th studio album, eels had only one rule: be open to

everything. The resulting tracks tell the story of a man at the crossroads –

but it’s an album brimming with life.

Matt costa, matt CoSta (BRuSHFiRE)The California singer-songwriter headed to Scotland to record these ten

new tracks of upbeat folk-pop, enlisting the help of members of Belle &

Sebastian. (Matt kicks off his tour in Tucson with a show March 14th at

Club Congress)

lAvA presents Dolan ellis on Feb 16.

lAvA presents sabra Faulk and the Angel band, Feb 9.


by Andrew BrownlifeintucsonZ

left to right, top to bottom: Last Ride of the Swingin’ Cowboy; Chick Cashman; Ty Segall at Club Congress; Ty Segall Crowd; Sean Watson at Optimist Club; Dallas is back in town; Lola Torch at Last Ride of the Swingin’ Cowboy.


zocalo magazine - february 2013

Documents

tucson museum of

art safari expo

southwest indian art

midseason art expo

metropolitan tucson

tucsonpima arts council

downtown locations

local galleries