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Tucson’s Urban Scene Magazine / ZOCALOMAGAZINE.COM / february 2013
index February 2013 05. Events 15. Community 16. Fashion 18. Garden 21. Food&Drink 25. Southwest Indian Art Fair 52. Gem Show 55. Arts 64. Tunes 70. Life in Tucson on the cover The Arizona State Museum presents the Southwest Indian Art Fair, February 23 & 24. See special section starting on page 25.
Zócalo is an independently published community magazine, showcasing Tucson’s urban arts and culture.
PUBLISHER & CREATIVE DIRECTOR David Olsen COPY EDITOR Amanda Frame-Wawro CONTRIBUTORS 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, listings@zocalotucson.com PRODUCTION ARTISTS Troy Martin, David Olsen
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february
events Z
feb 1 - 15
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 Anarchestra, 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
Sat 2 ART SAFARI EXPO
Munakata, oil on canvas by Amy Metier at Davis Dominguez Gallery
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, drawings, 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.org
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events Z
Up In Flames The Sonoran Glass School’s Flame Off Competition by Emily Gindlesparger 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 Gallery 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 demanding, commanding complete focus. And, through the nature of flameworking, 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 attempted 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 Brewery (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
photo: David Olsen
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 involved 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 collaborations 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 barbecue 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 opportunity 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 February 2013 | ZOCALOMAGAZINE.com 7
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february
Z events
fri 8 - sun 17 tucson 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 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 “Kidical 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.
Sun 10 FINE VALENTINE COUPLE’S RELAY
sat 9 rialto 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 elevenpiece, 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.
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 WOO AT THE ZOO Join the Reid Park Zoological Society for the 5th annual Valentine’s Day dinner. Events includes a deluxe dinner, interactive activities, and a light-hearted discussion on the mating behaviors 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
Thu 14-Sun 17 TUCsON GEM AND MINERAL SHOW Annual gem and mineral exhibition throughout Tucson. See website for times. Tucson Convention Center, 260 S. Church Ave. 322-5773, TucsonConventionCenter.org
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Z events
february sat 16 family sci-fest
Visit the Children’s Museum Tucson and explore how much fun science 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 16- Sun 27 & Thu 21- Sun 24 LA 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
Thu 21 TUCSON 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 9 VelociPrints: On the Pitch
art exhibition featuring limited edition prints by 20 local soccer enthusiasts. Several soccer-inspired paintings will also be on display. VelociPrints: On the Pitch debuts inside Borderlands Brewery, 119 E Toole Ave, on February 9, from 5 to 10 pm. Following 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.
Sat 23-Sun 24
photo: Clea G. Hall
20TH ANNUAL SOUTHWEST INDIAN ART FAIR 200 Southwest Native artists present their work. Native food, music, dance, performances. $7-$10. Youth, under 18, and students are free. Sat: 10am-5pm, Sun: 10am4pm. Arizona State Museum, 1013 E University Blvd. 626-8381, StateMuseum.Arizona.Edu. See special section starting on page 25 of this issue.
sat 23 RODEO days arts show downtown featuring Fine Art, Glass, Pottery, Jewelry, Wood, Garden Art, more. Live Music by Ruben Moreno’s Mariachi Herradura, 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.
fri 22 AFTER 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.
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community Z
Where the Streetcar Lives 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 construction like roads rather than vertical buildings. But Jesse Gutierrez, TDOT’s streetcar project construction manager, decided it made more sense for Transportation to oversee construction of the building since it’s function revolves entirely around transportation. The MSF is the three-bay, 39-foot8-inch-high garage for the streetcars located where 8th Street dead-ends just west of 4th Avenue. It is the streetcar 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 allow 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 conditioning 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 overhead 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 administrative offices will be here as will the control room tracking all streetcars on the route. Streetcar drivers will have their lockers and break room here. But as the name indicates, maintenance and storage (and cleaning) will be the dominant activities. The Maintenance and Storage Facility 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 between 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 streetcar systems in the United States. D.C. like Tucson is still building its streetcar 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 streetcar delivery from Portland is expected in April. This article appears courtesy of the Downtown Tucson Partnership.
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Z fashion
Dressing Room by 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.
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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.
photo: Konstantin Sutyagin
Z garden
Notes From A Plant Freak by Jared R. McKinley
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 gardening. 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 inventive 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 providing 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 because 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. 18 ZOCALOMAGAZINE.com | February 2013
There are many ways we can cut back on water use: switching to efficient faucets and other appliances, altering our daily habits to not be wasteful, using native and drought tolerant plants in the landscape, encouraging our local economy to invest in crops that are more appropriate 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 landscape 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. Dividing 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. Continue 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.
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food&drink Z
REVIEW: May’s Counter
Chicken And Waffle Experience Underwhelms by Hannah McCain 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 center emblazoned with May’s Counter’s logo—line the wall opposite the bar. The overall atmosphere of “sports-bar-meets-diner-meets-grandfather’smahogany-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 housemade 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 overwhelmed 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 college students looking for comfort food and a beer in a sports-bar environment. 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 friedchicken-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 FrontDesk@ZocaloTucson.com February 2013 | ZOCALOMAGAZINE.com 21
Z food&drink
A mixologist’s philosophy infused with local flavors
Hannah McCain
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 dwelling. 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 recipes, creating house-made flavored syrups, and garnishing with homemade candied ginger and sprigs of rosemary; most recently he has begun infusing 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 products 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, bitters, 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 chemical, 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.
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SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION
SOUTHWEST
INDIAN ART FAIR
Southern Arizona’s Premier Indian Art Show & Market
FEBRUARY 23 & 24, 2013
SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION Photo: Julie Luchetta
20 ANNUAL th
SOUTHWEST
INDIAN
ART FAIR
28 Welcome 30 Performances 32 Featured Artist 34 Arizona State Museum Tours Photo: Emily Kleinkauf
37 SWIAF Grounds Map 38 On Buying Native Goods 39 A Basketry Class Act 42 Clay Speaks 44 Lifetime Achievment Award Winner, Delbridge Honanie
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Experience the Enduring Cultures of the Region!
Photo: Scott Kirkessner
statemuseum.arizona.edu Public Programs
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.
Collections
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.
Research
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.
th
20 Annual Southwest Indian Art Fair Adults: $10
Students and Youth: Free
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.
Join us for:
200+ Native Artists Native Music and Dances Demonstrations
Auctions Food
University Pedicab available for transport from parking garages on Euclid Ave
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Welcome to Arizona State Museum’s Southwest Indian Art Fair! 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 Grammynominated 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, PhD Director Arizona State Museum 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 artists, 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 cordial greetings, warm smiles, meaningful conversations, good stories, and through the purchase of culturally significant works of art, we have seen friendships formed, relationships established and, year after year, those relationships renewed and strengthened. 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 Ploeg Chair 2013 Southwest Indian Art Fair Committee 28 ZOCALOMAGAZINE.com | FEBRUARY 2013
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Performances
By Lisa Falk
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:
R. Carlos Nakai and Will Clipman Of Navajo-Ute heritage, R. Carlos Nakai is the world’s premier performer of the Native American flute. As an artist, he is an adventurer and risk taker, combining traditional forms with other genres and his rich musical imagination. He enjoys exploring how the traditional 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 additional albums and guest appearances on other labels. His records Canyon Trilogy and Earth Spirit are the first and only Native American recordings to earn two Gold Records. He has sold over four million 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 Arizona Governor’s Arts Award (1992) and was inducted into the Arizona Music & Entertainment Hall of Fame (2005). Will Clipman will be performing with R. Carlos Nakai. Clipman 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 percussionist. Currently Clipman records and performs with the R. Carlos Nakai Quartet, the William Eaton Ensemble, the Wilde Boys, Gentle 30 ZOCALOMAGAZINE.com | FEBRUARY 2013
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 Dancers The 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, Turkey, Deer and White Buffalo dances. Group leader Fernando Cellicion 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 internationally, touring in Canada, Europe, Asia, and the South Pacific.
Dishchii’bikoh Apache Dancers The Dishchii’bikoh Apache Dancers are from Cibecue, one of the five Western Apache (Ndee or Indé) tribes living in the mountainous 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
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Photo: Natalia Gabrielsen
Ga’an dances and a women’s warrior dance honoring all Apache women warriors.
The Ga’an are the spiritual ancestors of the Apache. They live in sacred caves in the mountains 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 embody 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 communicates with the Spirit people. Ga’an Dancers are instrumental in healing and cleansing ceremonies, 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 Duncan Estun-bah consists of Tony Duncan on Native 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, Arizona, 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 inspired 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 American 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 Dancers 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 taking advantage of the wild abundance of the Sonoran 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. Ceremonies, songs, dances and basket making that have supported their desert life continue to be an important part of the O’odham culture today.
Peformance Schedule
Saturday 10:30 Laguna Corn Dancers 11:30 Estan-buh - Native Ameri can flute, guitar, drum and hoop dancing 12:30
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
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 basketmaking. 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 basket. As the dancers acknowledge the four directions 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.
R. Carlos Nakai and Will Clipman, Native American flute and percussion, courtesy of Canyon Records
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.
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20 ANNUAL th
SOUTHWEST
INDIAN
ART FAIR
Featured Artist Photo: Jannelle Weakly
By Darlene Lizarraga
Photo: Natalia Gabrielsen
Award-winning Hopi carver, sculptor, painter, printmaker, 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 Carvers I 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 32 ZOCALOMAGAZINE.com | FEBRUARY 2013
than one medium, is successful in all of them, and his numerous commissions include an ongoing multi-year project from a Catholic institution. I Know Who I Am Quotskuyva 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 because 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 California 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
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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 Tucson Studios. “I cooked fish specially for Mr. Nelson. After that he started recommending me in Hollywood and so I also cooked for Clint Eastwood during the filming of Heartbreak Ridge, Matthew Broderick during the filming of Ferris Bueller’s Day Off, and Steve Martin, Chevy Chase, and Martin Short during the filming of Three Amigos.” A Family Legacy “I started to carve katsinas because 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, Quotskuyva has commissions coming in from around the country and is included in the collections of at least five public institutions 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.”
Continuing to Honor Hopi Life In 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, influenced by the design and iconography of the Creation of Adam panel on the Sistine Ceiling.” The other pieces in his ambitious 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 pipestone and paints in acrylics. Whatever 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 protection and preservation. Not actually a well, the landmark is a limestone sinkhole sourced by subterranean 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 American groups for ceremonial purposes, including the Hopi. “My ancestors A Connection to the Pope constructed this freshwater site about Because of an ongoing, multi-year 1,000 years ago for the people living commission from Xavier University, in the area. It belongs to me and my a Catholic institution in Cincinnati, people and it is my responsibility to Quotskuyva has gained an interest in help preserve it.” the ceremonial practices of the Jesuits At this sacred site is another culhe has come to know over the years. tural treasure – a Hopi garden. After Hototo or badger katsina by Gerry QuotskuyHe sees parallels to his own culture. about 600 years, Hopi corn, beans, and va is the featured piece for Arizona State “During the papal inauguration of watermelon, and even cotton, are beMuseum’s 20th annual Southwest Indian Art Benedict XVI in 2005, for example, I ing grown here again. The crops reesFair. It can be seen on fliers, print ads, bansaw similarities. And, as a member of tablish the Hopis’ connection to their the Bear Strap Clan, I found it interestancestral land. Seeds are handpicked ners, and web sites advertising the event. ing when they unveiled the papal coat from the ancient stock that are direct Photo: Jannelle Weakly of arms and told the story of the bear descendants of the crops grown by Sifeatured in the center of the shield.” nagua farmers at this very place, using Xavier University has accumulated about 47 dolls from the very same water source. “This is a community garden, which Quotskuyva so far. Over the years, the standing order has decreased means people can take produce at any time. We ask only that they from 4 to 3 per year. Ultimately the collection will be displayed save and share the seeds.” in the main entry of the institution’s administration building. Though he’s been on the board for about 4 years, Quotskuyva
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The Docents of Arizona State Museum By Gail Bornfield, Docent Council Chair (2012-2013)
Get Involved! Photo: Natalia Gabrielsen
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 appreciate 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 history and archeology. They also expressed a genuine love for the museum and the people who work there. The docents have a passion for learning that promotes attendance and participation in many ASM public programs. They also demonstrate a healthy respect for other cultures and personally believe 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 34 ZOCALOMAGAZINE.com | FEBRUARY 2013
If you enjoy learning about Southwest cultures and sharing your passion with others, please consider becoming an ASM docent yourself! The next ASM docent 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 answer 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.
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 better 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 public, 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 excitement 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 Indian 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.
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 vision 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
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The 20th Annual Southwest Indian Art Fair gratefully acknowledges the generous support of our
Sponsors & Supporter
Anonymous Arizona Archaeological & Historical Society Jean Bassett The Beckermans & The Nerenbergs Laura & Arch Brown Nan Carle Terry DeWald American Indian Art Friends of ASM Collections Beatrice A. Kabler Carol L. Laesecke
Jeanne Heyerick Gary Hultman & Judith LeClair Pat & Kim Messier Morning Star Trader - Rick Rosenthal Mike & Kay Rukasin Family Trust Paddy & Ed Schwartz Ralph & Ingeborg Silberschlag Gail L. Gibbons & Raymond G. St.Clair Ron & Trina Trimble BC & Jean Waddell
And to all of our volunteers, none of this would be possible without you! 36 ZOCALOMAGAZINE.com | FEBRUARY 2013
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On Buying On Buying Native Goods Native Goods
By Tim Price
Photo: Julie Luchetta
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 century 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 afforded to such talent. This change in the perception of Native art has been very beneficial 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 thriving 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 38 ZOCALOMAGAZINE.com | FEBRUARY 2013
well. One culture imitating another’s crafts, manufactured items being 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 exciting 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 simply 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. Pottery When looking at pottery, keep in mind that each culture will have its own characteristics and you can’t really compare pottery from
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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 Domingo) 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 selling 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.
In the end,
Weavings When 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 traditional 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. Photo:Jannelle Weakly
All that truly matters is that
You enjoy it Jewelry Native 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, silversmiths 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.
Photo:Lana Tupponce
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A Basketry Class Act
Cultural Arts teacher Lois Liston assists students Taylor Miguel, Lexi Lopez and Melissa Gonzales with their basketry starts at Ha:san Preparatory School.
By Diane Dittemore
Photo:Jannelle Weakly
The neighborhoods surrounding the University of Arizona hold now the executive director and CEO of TOCA (Tohono O’odham a bounty of local treasures, from the Postal History Museum to an Community Action), a nonprofit organization based in Sells dediAce Hardware with unrivaled vintage ambience. Also on this list of cated to compatible goals of preserving traditional O’odham foods UA area unique institutions is Ha:san Preparatory and Leadership and life ways including basketry. School, “a bicultural public high school for Tohono O’odham youth Lois Liston first began working at Ha:san as an aide to Terrol and Native students interested in a college prep curriculum.” Ha:san, Johnson. She comes from a long line of fine basket weavers, havits name comes from the O’odham word for saguaro cactus, occupies ing first learned the craft from her maternal grandmother, Christine a former church at the corner of 10th and Santa Rita, just south of Johnson. When Terrol Johnson moved on to the TOCA directorcampus. ship, Liston took over the cultural arts program that, in addition to Lois Liston has taught basketry at basketry, also includes pottery making, Ha:san for over 12 years. Every spring storytelling, games, the calendar and term roughly fifty 10th graders learn harvesting traditional plants. to weave in her classroom, which is “Students come to Ha:san in order well stocked with traditional basketry to learn more about who they are and is like starting a memory... where they materials that the students have gathcame from,” notes Liston. ered on fieldtrips or grown on-site: “One thing I love about my work is yucca (ta:kwi), beargrass (mo:ho), devil’s claw (i:hug) and red bahow every group of students is different. Most are Tohono O’odham, nana yucca root (howi tatk). Three classes meet twice a week from but we also have Yaquis [Yoemem] and Mexican O’odham students.” January through mid-March in a program that integrates weaving Liston continues: “Perhaps one-third of my students are somewhat and attendant cultural practices with the more formal curricula of familiar with basketry processes, but the rest have had no exposure, writing, biology, and math. and they are wowed when we go out gathering materials and then Instituted by Tohono O’odham basketry artist Terrol Johnson, bring them back to process and to begin weaving.” who also was a co-founder of the school that opened in 1998, the Ha:san student Taylor Miguel remembers the first time she tried basketry program at Ha:san Prep began in 2000. “I was so thrilled basketry as a little girl, at the age of six or seven. Now, almost a when we went to the state to apply for charter school status and were decade later, she is happy to return to the craft, learning from Lois successful,” Johnson recalls. “Our goal was to have O’odham stuListon who was her original teacher as well. “Starting a basket is dents exposed to important aspects of their culture such as basketry like starting a memory in my head. It reminds me of who I am.” and storytelling along with college prep curriculum.” Johnson is “Ms. Liston has told us that we should give our first basket to an
Starting a basket
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SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION
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 weaving 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 Tohono O’odham Community College or other 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 taking care to not injure the plants while harvesting 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 collections of Tohono O’odham and other Native cultural arts, and have learned about museums from a behind-the-scenes perspective. Museum programs such as the recent exhibit, Through the Eyes of the Eagle: Illustrating Healthy Living, have been immeasurably enriched with refreshing youthful Native 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 competition. Meanwhile, fair goers can support and interact with Ha:san students by following 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). Photo:Marnie Sharp
Photo: Marnie Sharp
Tohono O’odham Basketry 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 number 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 female relatives. Today, baskets do not enjoy the same central role in Tohono O’odham society 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 Tucson 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 accompany the Museum’s recently installed exhibit, Basketry Treasured. Cont’d on page 47 FEBRUARY 2013 | ZOCALOMAGAZINE.com 41
SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION
Clay Speaks
Photo: Jannelle Weakly
Photo: Jannelle Weakly
Photo: Jannelle Weakly
by Andrew Higgins
Photos: Jeff Smith
Arizona State Museum’s Southwest Indian Art Fair brings accomplished and well known Native artists from all over the Southwest, but one family in particular stands out for their knack in making 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 historical 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 considered 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 42 ZOCALOMAGAZINE.com | FEBRUARY 2013
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 untraditional style of Indian pottery. “Cowboys and Indians” did however end up winning best of show, thus influencing what would be accepted 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 traditional 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 exciting artists. Susan Follwell is on fire in the art world. She follows in
SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION
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 journey 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 prestigious 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 redheaded 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 pottery 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.
Photos: Davison Koenig
Clay will
humble you
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 technique that has been lost by many or simply not practiced because of its great difficulty. Like her sister and the relatives in her larger extended 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 impressive as her aunt’s, mother’s and grandmother’s.
Photos: Davison Koenig
Photo: Jannelle Weakly
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SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION Photo: Helga Teiwes
2013 Lifetime Achievement Award Winner
Delbridge Honanie
&
Hopi Artist
Katchina Carver
Photo: Jannelle Weakly
By Charles Adams, PhD
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 graduated from the Phoenix Indian Day School in 1968, where he studied painting with Winton 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 values 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 David, Sr. Artist Hopid was best known for 44 ZOCALOMAGAZINE.com | FEBRUARY 2013
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 revolutionized 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 narrative kiva murals for the full-scale replica of a Hopi kiva at the Museum of Northern Arizona, Flagstaff. This mural takes the visitor 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 decided that I was going to do something different from kachina dolls but still showing the old way. ” Thus, Delbridge sees his spiritual legacy in his sculptures, which have launched what today is known as the contemporary 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 University; the Institute of American Indian Art; the United States Department of the Interior building; and Museum of Northern Arizona. Awards include the Santa Fe Indian Market Best of Division and First Place Award; the Wheelwright Museum’s Most Promising Young Sculptor; the Heard Museum’s National Art Show; dozens of awards in competitions at the Museum of Northern Arizona, Heard Museum, and Santa Fe Indian 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 Lifetime Achievement Award Winner.
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SOUTHWEST INDIAN ART FAIR | FEB 23 & 24 | SPECIAL PROMOTIONAL SECTION
Native Goods Arizona State Museum at The University of Arizona
≈ Experience Culture Through Authentic Native Arts of the Greater Southwest ≈
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Cont’d from pg. 33 says he never really wants a posi tion of authority. Instead, he recommends, “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, publications, and media appearances, see www.gquotskuyva.com/ Cont’d from pg. 41 O’odham men have always contributed to the production of basketry by gathering, transporting, and processing the necessary materials. 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 stitching, 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 promoting 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. FEBRUARY 2013 | ZOCALOMAGAZINE.com 47
SOUTHWEST INDIAN ART FAIR SPECIAL PROMOTIONAL SECTION
Michael D. Higgins Antique Indian Art Antique Tribal Art Dealer’s Association Collections Purchased • Appraisal Service 4351 E Grant Rd • Tucson, AZ 85712 • 520.577.8330 mdhiggins@earthlink.net www.mhiggins.com since 1972
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Ari Shapiro
photo: Krysta Jabczenski
food&drink Z
Old World Pies with a New Twist at Falora by Emily Gindlesparger 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 authentic 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 multiple 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 create 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 community 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 bustling 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 operation 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 balancing 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 noteworthy 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 Italian, 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 magically 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. February 2013 | ZOCALOMAGAZINE.com 51
Z gem show
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.
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Sacred Geometry
arts Z
by Teya Vitu
Daniel Martin Diaz is certainly the self-taught artist who has really had said. “You’re up against teams of people. I just felt I had no business done well, especially given that he wasn’t even an “artist” for the first twodesigning big projects without any experience,” Diaz said. “I was reluctant thirds of his life. Now, in the most recent third of his 45 years, Diaz and to the whole idea of public art. I was completely happy doing my personal his wife, Paula Catherine Valencia, have made a cottage industry out of his stuff.” provocative surreal spiritual themes and more tactful, but no less colorValencia, however, writes the job proposals for Diaz and hunts out pubful, public art. It’s Diaz’s public art, Desert Splendor, you see at corner of lic art projects. This was a job she wanted for her husband. “There was no the Centro Garage where Congress Street, Toole Avenue and 4th Avenue reason not to. His art needs to be seen on a large scale,” Valencia said. converge. Diaz and Valencia traveled to Phoenix and discovered individual artists But soon Diaz’s art hits the big were sought for the Sky Train art. time in the biggest way yet in his 15“I’ve got to say the people in Phoeyear art career – literally the biggest nix are so great,” Diaz said. “They way. Diaz designed the terrazzo floor really explained the whole process for the enclosed pedestrian bridge to us.” linking Phoenix Sky Harbor InterDiaz proposed “Journey Through national Airport’s brand new 44th Nature” for the floor around the Street PHX Sky Train station to the bridge’s moving walkway. Valley Metro light rail 44th Street/ A panel of artists, arts profesWashington station. The Sky Train sionals, community members and will transport people from the Valley city aviation staff selected Diaz’s Metro station to Terminal 3, Terminal submission in 2008. “The panel 4 and the East Economy parking lot reacted very well to his work. They when service starts early this year.The felt he could do something quite dimensions of the Diaz creation for unique for this space,” Rothman the 500-by-40-foot pedestrian bridge said. “What Daniel did was a rich dwarf all of the 200-plus pieces of art and telling processing of views of Diaz has ever created. “If you lay evthe Valley, the mountains and the erything out end to end, my art would sky all around you. You want it to be probably fill a quarter of the length of vibrant and colorful and still have the project,” Diaz estimated. an earthy quality. When the sunDiaz and Valencia are the forces light comes in you can really see it behind the Sacred Machine Museum sparkle to life.” and Curiosity Shop, 245 E. Congress Diaz was drawn to the all-glass St. The gallery hours are just as curiwalls on both sides of the bridge. ous: 5 to 8 p.m. Wednesday to Friday “What’s neat to me is it’s all glass. and 4 to 9 p.m. Saturday. These hours When I started incorporating the are designed for the dinner and preblues, I was definitely inspired by theater crowd and the limited hours being in the sky,” Diaz said. The enable Diaz to have plenty of studio terrazzo floor is made of 38,398 time and Valencia to push his art capounds of aggregate of native stone, Daniel Martin Diaz’s ‘Journey Through Nature’ at Sky Harbor Airport, Photo by Bill Timmerman reer. They also run their online shop, abalone shell and recycled glass Mysticus Publishing, and headline the placed within aluminum dividers band Blind Divine, along with their that serve as the art work’s pencil son, Damion Demetrius, and Amy drawings. “It’s sacred geometry, the Muñoz Mendoza and Ernie Mendoza. whole idea of metamorphosis. It’s the idea of the design, shapes and colors Since 2008, the Sky Train station has been the big gorilla in Diaz’s changing throughout the design,” Diaz said. “You’re in this blue area and career. Diaz was one of five artists selected by the City of Phoenix Arts and next thing it morphs into this red area.” Culture Department to integrate art into the station platforms and pedesSome recognizable shapes appear such as vines and flowers and a trian bridge for Sky Harbor’s new Sky Train. Tree of Life at the entrance hall, but mostly Diaz drifted more into geometRebecca Blume Rothman, public art manager for the City of Phoenix, ric shapes. “You can see the metamorphosis. See these vines here? You contacted Diaz to encourage him to respond to the request for proposals can see it morph into these geometric patterns,” Diaz said. “Every little from artists of two-dimensional art. “Daniel is one of several artists whose square inch we picked out a color and put a number on it. We were up work we’ve seen, and we wondered how come he’s never applied for one there every week when they started it.” of our projects,” Rothman said. Diaz gives us a tour of the bridge walk: Valencia insisted they had to go to the pre-submittal meeting that Roth“As one traverses Journey Through Nature, we are met with the Tree man had invited them to. “I don’t want to go, I don’t want to go,” Diaz of Life, which is in full bloom with richly colored blossoms. This leads the
continued on page 57 February 2013 | ZOCALOMAGAZINE.com 55
Z arts
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 The exhibit “Brush Spirit” by Yoshi Nakano appears at The Drawing Studio, Feb 2-24
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
ATLAS Fine arts
OBSIDIAN GALLERY Two Person Show continues through Sun, Mar 10. Ob-
March. Wed-Thurs 11am-6:00pm, Fri-Sat, 11am-7pm. 41 S. 6th Ave. 622-2139
PHILABAUM GLASS GALLERY & STUDIO Cast & Cut opens Sat, Feb
ARTSEYE GALLERY
2 with a reception from 5pm-8pm.10am-5pm. Tue-Sat, 10am-5pm. 711 S. 6th Ave. 884-7404, PhilabaumGlass.com
Albert Chamillard, an exhibition of works on paper created during the past year. Opening reception Feb 2, 6pm-9pm. Show runs through
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, noon5pm. 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, DavisDominguez.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
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sidian Gallery, 410 N. Toole Ave., #120. 577-3598, Obsidian-Gallery.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: 10am8pm; 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. TueFri, 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 continues 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
continued from page 55 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 opening 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 merchandising 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.”
Daniel Martin Diaz and Paula Catherine Valencia
The 90s was a decade of transformation for Diaz. First, he met Valencia. Then they married. And then came Damion Demetrius (notice, everyone 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 fantastic composer. When he stumbled on – I call it surreal iconography – I think he hit his mark.” So did the Etherton Gallery and the Tucson Museum 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.
February 2013 | ZOCALOMAGAZINE.com 57
museums & exhibits
Small 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.
ARIZONA-SONORA DESERT MUSEUM
Art Institute Student Exhibition 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
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film Cinema La Placita La Placita Village, 110 S. Church Ave. Thursdays at 7:30pm, $3 suggested donation. CinemaLaPlacita. com
Academy Award nominated film “Amour” starting February 8 at The Loft.
by Herb Stratford
New Festival The inaugural Tucson Desert Song Fest will debut February 8-17 with a series of events around Tucson. 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 TucsonDesertSongFestival.org for event schedules, tickets and other information.
Tango-Mania One of the 2012-2013 season highlights for Ballet Tucson is their performance entitled “Passionately 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.
The Loft Cinema 3233 E. Speedway Blvd. 795-7777 (show times recording), 322-LOFT, LoftCinema.com Times and admissions vary. Dates indicate first date of movie run. Fri 1: First Friday Shorts, Hecho En Mexico, Groundhog 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 YouTube 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 Kingdom Fri 22: John Dies at the End, Masquerade, Fight Club Fox Theatre 17 W. Congress St. Admission is $6-$8. 624-1515, FoxTucsonTheatre.org Pima County Public Libraries 594-5500, 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 Room 127 E. Congress St. 882-0204, AZMac.org/Scroom See the website Voices of Opposition UA’s Aerospace & Mechanical Engineering Building, 1130 N. Mountain Ave. VoicesOfOpposition.com
New Art Exhibitions “Black Orpheus” shows at The Loft Cinema on Sun, Feb 10. Photo courtesy of Last.Fm
The 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.
Film Tucson’s Loft Cinema will be showing the Academy Award nominated film “Amour” starting February 8. The film directed by director Michael Hancke locked up five nominations for its actors, director 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. February 2013 | ZOCALOMAGAZINE.com 59
Z arts
Borders & Baskets Stirring the Imagination Via Photos and Fiber
by Monica Surfaro Spigelman
“A World Without Borders.” untitled, by Alejandra Platt-Torres
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.
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. 60 ZOCALOMAGAZINE.com | February 2013
arts Z Provocateur in Focus A World Separated By Borders Photography of Alejandra Platt-Torres ASM Exhibition March 8 – October 19, 2013 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 commentary, 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 photographs. The photos depict migrants, their desert journeys, human repatriation, border history and ecology. In another layer, the exhibit experience will begin almost as a pilgrimage 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 grandfather 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 human casualties. “The photos began to reveal their meaning to me,” she says. Platt-Torres’ most compelling works convey a sense of personal connection, almost engaging the viewers in conversation. She employs a Hasselblad 500 film camera, bringing viewers closer to the monumental subject matter by way of large-scale images. The University of Arizona Confluencenter for Creative Inquiry is a partner 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 seven, 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.
Vessels of Tradition Basketry Treasured ASM Exhibition through January 4, 2014 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 basketmaking 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 collection 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 contemporary 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 construction 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. February 2013 | ZOCALOMAGAZINE.com 61
Z arts
Memphis shows Thu, Feb 26- Sun, Mar 3 as part of Broadway in Tucson.
The Pavilion premieres Fri, Feb 15 at Beowulf Alley Theatre.
performances ARIZONA FRIENDS OF CHAMBER MUSIC Harlem Quartet performs
LIVE THEATRE WORKSHOP The Chosen continues through Sun, Feb 9.
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
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 Workshop, 5317 E. Speedway Blvd. 327-4242, LiveTheatreWorkshop.org
2- Sun, Feb 3 & Fri, Feb 8- Sun, Feb 10. Temple of Music and Art, 330 S. Scott Ave. 888-0509, ArizonaRoseTheatre.com
NOT BURNT OUT JUST UNSCREWED
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
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
diva, shows Sat, Feb 2- Sun, Feb 3. TCC’s Music Hall, 260 S. Church Ave. 2934336, AZOpera.com
PCC ARTS All Shook Up shows Thu, Feb 21-Sun, Mar 3. Dr. Jonathan Ng Tenor
BALLET TUCSON Passionately, Piazzola! A collaboration with Chamber Music
performs at the recital hall Sun, Feb 10. PCC Proscenium Theatre, 2202 W. Anklam Rd. Pima.edu/cfa
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
RHYTHM & ROOTS
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. 8820009, 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-
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
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. 6241515, FoxTucsonTheatre.org
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 performs 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 performs 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
THE GASLIGHT THEATRE Lone Stranger continues through Sun, Mar 31.
WINDING ROAD THEATRE ENSEMBLE August: Osage County contin-
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
62 ZOCALOMAGAZINE.com | February 2013
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
arts Z
Heap Collective Celebrates Local Artists
photo: Joie Estrella
by Jess Holzworth Inspired by the 1960s fashion, musical and cultural Youthquake (movement), Tucson’s Heap Collective is creating a stage for Tucson artists, musicians, 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 Second 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 installation. 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 Collective event downtown in February. These events are a great way to help celebrate the innovative and artistic happenings in Tucson. Contact: heapcollective@gmail.com February 2013 | ZOCALOMAGAZINE.com 63
Z tunes
Grateful Dead Still Alive... sort of (and coming to Tucson)! by Jim Lipson
Bob Weir
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, Burning 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 (metaphorically and literally), to wonder aloud, “What’s the big deal?” Well, to the millions who had consistently made them one of the highest 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 different 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. 64 ZOCALOMAGAZINE.com | February 2013
Mickey Hart
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 before Garcia’s death. While that group has undergone various transformations 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 acoustic 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.
February 2013 | ZOCALOMAGAZINE.com 65
Z tunes 2ND SATURDAYS DOWNTOWN
CUSHING STREET BAR & RESTAURANT
Congress Street, 2ndSaturdaysDowntown.com Sat 9: Scott Ave Stage: Silverbell, The Jits
198 W. Cushing St. 622-7984, CushingStreet.com Saturdays: Jazz
AVA AMPHITHEATER at Casino Del Sol
201 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
5655 W. Valencia Rd. CasinoDelSol.com
BOONDOCKS LOUNGE 3306 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 desta 758 S. Stone Ave., 370-7000 CafeDesta.com Sun 3: Tango Night Sun 24: Chamberlab
CLUB CONGRESS 311 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 PresentsBrass 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
LA COCINA
DELECTABLES RESTAURANT 533 N. 4th Ave. 884-9289, Delectables.com FRI & SAT: Live music
FOX TUCSON THEATRE 17 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
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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 HUT 305 N. 4th Ave. 623-3200, HutTucson.com Sat 2: The Tryst Sat 9: K-Bass Sat 16: One Drop
Tue 26: Electic Six Thu 28: Adam Faucett, Plastic Arts, Kaia Chesney
RHYTHM & ROOTS Plaza 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 THEATRE
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
318 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
MONTEREY COURT
SKY BAR
505 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
536 N. 4th Ave. 622-4300, SkyBarTucson.com Mondays: Team Trivia Tuesdays: Jazz Wednesdays: Open Mic Thursdays: Live Music
LIVE ACOUSTIC VENUE ASSOCIATION (LAVA)
PLUSH 340 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
SOLAR CULTURE 31 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 PUB 424 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
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. LAVA presents Sabra Faulk and the Angel Band, Feb 9.
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) “Ra Ra Riot” Hotel Congress on Sat, Feb 16.
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. February 2013 | ZOCALOMAGAZINE.com 69
Z lifeintucson by Andrew Brown
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.
70 ZOCALOMAGAZINE.com | February 2013