Images Arizona August 2018 by Images Arizona Magazine

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Writer Amanda Christmann

JAMES MUIR

NATIVE PRIDE

Photography by Bryan Black

COMMUNITY EVENTS Writer Amanda Christmann

i m a g e s a r i z o n a . c o m aug ust 2 018

FIELD FRESH Photography by Bryan Black

FAUX THE BEAUTY Writer Amanda Christmann

TENDERLOIN BITES Writer Kyndra Kelly

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PUBLISHER Shelly Spence

MANAGING EDITOR Amanda Christmann

GRAPHIC DESIGNER Meaghan Mitchell

CONTRIBUTING WRITERS Lynette Carrington Amanda Christmann Sue Kern-Fleischer Kyndra Kelly Shannon Severson

PHOTOGRAPHERS Scott Baxter Bryan Black Kyndra Kelly Loralei Lazurek

ADVERTISING SALES Loren Sheck 480-309-6410 loren@imagesaz.com

Images Arizona P.O. Box 1416 Carefree, AZ. 85377 623-341-8221 imagesarizona.com Submission of news for community section should be in to

It takes only a cursory glance at the news or at social media to know that, possibly now more than any other time in my lifetime, we are a nation divided. That’s why it’s so important to speak the language that unite us all. I believe that language can be found in our common sense of community, which is often conveyed through our thriving visual and performing arts, colorful shared history and in the inspiring stories of those among us who turn their passions into something we can all enjoy. These are the stories that our Images Arizona family works hard to share each month, and I’m proud once again to bring you some of the best our Valley has to offer. Good writers and photographers are storytellers. They weave words as colorful as the brightest tapestries and capture moments through photographs that are felt more than seen. They take us on a journey to understand and connect, and I believe our talented team of writers and photographers has, once again, brought us one step closer to one another.

shelly@imagesaz.com by the 5th of the month prior to publication. Images Arizona is published by ImagesAZ Inc. Copyright © 2018 by ImagesAZ, Inc. All rights reserved. Reproduction, in whole or part, without permission is prohibited. The publisher is not responsible for the return of unsolicited material.

Local First A R I Z O NA

Enjoy this month’s issue, and remember to thank the many businesses and individuals whose advertising has made it all happen. We can’t do it without them, and we can’t do it without you. Together, we are strong. Cheers! Shelly Spence Publisher, Images Arizona magazine shelly@imagesaz.com 623-341-8221

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WINECELLAREXPERTS.COM 15979 N. 76th St., Suite A, Scottsdale

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Writer Amanda Christmann Photographer Bryan Black

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Walking into the art studio of James Muir’s well-appointed Sedona home, I can’t help but feel a sense of reverence. Gentle music is playing in the background, and deep fabrics and rich woods surround us. Collections of books and art, including many of his own beautiful bronze sculptures, are thoughtfully displayed, and a large picture window ushers in natural light and a magnificent view of majestic red mountains. Muir is world-renowned for his gripping bronze work. This year, the 33-foot-tall, “Christ of the Holy Cross” was installed at Sedona’s Chapel of the Holy Cross, and a life-sized installation called “Children” is on permanent display in the Auschwitz – Birkenau Holocaust Museum in Poland, to name just two of his many eminent works. He is one of Sedona’s most celebrated artists, and I’d had an opportunity to see some of his more accessible pieces throughout Sedona, including at Goldenstein Gallery. We sit slightly facing each other on solid yet comfortable leather chairs, and I dig into my satchel for a notebook and a pen. I begin with the most obvious of questions. “Tell me when you began your career in art,” I say. He shifts in his chair, his piano fingers intertwined but restless, and a look of reproach plays in his eyes. I sense reluctance as, for the next few minutes, he talks about the beginning of his journey. An attendee West Point and self-described historian who grew up in Indiana, he walked away from a traditional career path at the age of 35 in search of something more. Growing up, he explains, Muir had never been interested in art, but once he found his way to Sedona, he was drawn to the bronze sculptures on display at a local gallery. They were good art, he conceded, but as he looked closer, the avid horseman noticed inconsistencies in their depiction. A horse’s ears were not in the position they would be in, for

example, or the buttons on a Civil War soldier’s jacket were not historically accurate. Still, he was mesmerized, and in a story nearly too implausible to be fiction, Muir experienced what he believes is divine guidance into the world of bronze art. Having never touched a piece of clay outside of primary school art class, he began carving his first mold at 9 p.m. one fateful evening. By 3 a.m., he’d completed his first piece, titled “Parting Shot,” a small bust of a Cavalry soldier cocking his M1860 Colt .44 over his shoulder, the way it was done to keep the spent cap from becoming jammed. Muir took the clay original to the foundry where he was working and set it on a shelf, waiting until the end of the day when his work was done to cast it in bronze. As it sat, the foundry owner stopped by with a friend, and without even trying, he’d sold a limited edition of his first artwork. Muir shared that story, then reached onto a shelf to present me with the original piece. His eyes smiled as he examined it, as if he were admiring it for the first time. Then he shifted again in his chair, uncrossing and crossing his legs in the opposite direction, and his eyes wandered out the window. “But I hope you’re not going to write any of that,” he says. It is rare to find subjects who are not interested in talking about themselves. I was confused, and my face must have betrayed my thoughts. He looked me in the eye for the first time since I’d arrived. “It’s not about me,” he says. “It’s about my work and what it says—the stories behind it.” And with that, the real interview began. “The thing that pervades all my life, and getting into this, is divine serendipity. The guidance I have received …” At a loss, his words trail off.

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Caduceus

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“I almost wouldn’t believe all of the things that fell into place had they not happened to me. All the while, I was being guided for a purpose—a purpose I never knew.” Soft-spoken and restrained by nature, Muir is not one of many words. He rises and stretches toward a nearby shelf, extracting a copy of his book, “Lanterns Along the Path: The Allegorical Art of James N. Muir.” This is the first time I’ve heard the term “allegorical art,” and as he flips through the pages sharing stories, I recognize that the phrase is entirely germane. The book documents, in chronological order, the evolution of his work. The first years of his art, he explains, carried the theme “Courage.” His early military training and West Point Code of Honor are prevalent in these works, which more often than not tell stories through scenes of war. They often portray heroism in one form or another, and an ideal repeated frequently in the annals of history. “Rescue Under Fire,” for example, was created in 1980. It depicts a Cavalry soldier on foot being rescued by another soldier on horseback. They are taking fire and fighting valiantly. In 1983, he cast “The Last Embrace,” a stoic husband and an emotional wife entwined for the last time before he goes off to war. His horse stands patiently behind them, his head bowed, seemingly aware of the moment. Both are nods to the depth and breadth of human emotion, but they are also metaphors for Muir’s own spiritual journey. Muir is nothing if not pragmatic, and I sense he is most comfortable letting his art speak for him. Still, he attempts to explain. “Humanity—you and I and everyone else—functions on a day-to-day basis on automatic programming,” he says. “We have

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put these programs in ourselves and we tell ourselves they are true.” He pauses, measuring his words carefully. “The things we tell ourselves about life are limiting. We are held back in our spiritual life by not recognizing that.

That “going beyond” is what now defines his work. “Every piece I capture is something allegorical: something positive and uplifting to the human race. I never do anything dark. The silver thread that runs through all of my work is truth.” His face is animated, and his whole body relaxes as he explains: That truth, he says, must transcend common definition.

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“I don’t care if you are a homeless person struggling on the streets or a mega-millionaire, we all experience the same emotions: apathy, grief, fear, lust, anger and pride. To go beyond these emotions takes courage. To go beyond those emotions is to step into the spiritual world.”

“Truth must be heart-centered. We have to question the beliefs we have and ask ourselves, ‘Is it really valid?’ Our entire political and socioeconomic system has developed on what we have been told is true, and to question that takes courage.” Looking at Muir’s work, from his 12-feet high “Caduceus” to “The Holy Grail,” a stunning sculpture that depicts mediation and prayer (“The longest journey is the journey within,” Muir says of this work), there is an overarching energy of love. His work delves deeply into the realm of spirituality. The ideals of liberty, justice and peace are all intertwined in connection with each other, and with divine source. “Robert Schumann said, ‘To send light into the darkness of men’s hearts—such is the duty of the artist,’” Muir said with an easy smile. “Thirty-seven years ago, I never thought I would get to a point that, allegorically and symbolically, I was helping to bring light into the darkness, not from a hubristic sense, but through my struggles as a person.”

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As if they were children, Muir doesn’t claim to have favorite pieces, but one that strikes him— and me—as particularly meaningful is a sculpture with a surprisingly recognizable face: that of Muir himself. At first glance, “Fences” looks like the depiction of a rancher taking a break from building fences. The truth is in the details. Looking closely at his fencing tool, it isn’t the hammer side he’s been using; it’s the claw. “He’s not building fences,” Muir says with delight. “He’s taking them down!” Beyond the tremendous details like the infinity wedding ring, the grain and texture of cowhide in the chaps, and the knots in the fencepost, “Fences” stands out among Muir’s other sculptures. While his other pieces subtlely reflect his spiritual journey, “Fences” is an allegory for his role in this life. As music flows through the house, we take a brief tour so he can show me some of his favorite pieces. There is a peace about him now that was hidden when I arrived and I feel like I’ve learned what I needed from James Muir. After all, this is the message he wanted to tell all along. goldensteingallery.com

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COMMUNITY

2018 AUGUST

Writer Amanda Christmann

Aug. 3

ke a dri

VISIT SEDO

FIRST FRIDAY IN THE GALLERIES s

me r 2018

Browse Sedona Gallery Association galleries and meet highlighted artists, take in special exhibits and fun art events. Enjoy light refreshments and begin your weekend with an exploration of Sedona’s exciting art scene! Free. See website for featured locations. 5–8 p.m. sedonagalleryassociation.com

Aug. 1–12

IN THE COMPANY OF WOMEN

Aug. 4

Phoenix Art Museum has rummaged

THURSDAY NIGHT SCOTTSDALE ARTWALK

through the storage rooms to

Spend your Thursdays browsing

Grape Train Escape as a tribute to

assemble this show from the

more than 100 galleries and

great wines of the Grand Canyon

permanent collection, featuring

enjoying bubbling fountains,

State. Enjoy a sampling of Arizona

about 50 works by women artists

tree-covered courtyards, famed

Stronghold wines and enjoy

in the 20th and 21st centuries,

restaurants and live music. Free.

complimentary specialty dishes

including Frida Kahlo and Georgia

Old Town Scottsdale, Main St. and

and hors d’oeuvres. $99. 300 N.

O’Keeffe. $18; discounts available

Marshall Way, Scottsdale. 7–9 p.m.

Broadway, Clarkdale. 1 p.m. 800-

for students, seniors and children.

experiencescottsdale.com

582-7245; verdecanyonrr.com

1625 N. Central Ave. 602-2571222, phxart.org

Aug. 2, 9, 16, 23, 30

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GRAPE TRAIN ESCAPE Verde Canyon Railroad presents the

Aug. 4

PAYSON FOOD TRUCK FESTIVAL Head up to Rim Country for a weekend of fun as ASU football touches down in Payson. The Payson Food Truck Festival features dozens of food trucks with something for everyone, live music, a kids’ zone and more. Free. 11 a.m.–9 p.m. Green Valley Park, 1000 W. Country Club, Payson. 11 a.m.–9 p.m. 928-472-5110; paysonrimcountry.com

Aug. 4, 5

69TH ANNUAL NAVAJO FESTIVAL OF ARTS AND CULTURE Flagstaff’s Museum of Northern Arizona presents work from more than 70 Navajo artists, storytellers and cultural interpreters from many clans. Meet basket makers creating works on-site, join rug weavers, silversmiths, potters, painters and storytellers to learn about the Navajo way of living in harmony and hike with a Navajo ethno botanist. There’s plenty to do for the whole family. $8–$12. 3101 N. Fort Valley Rd., Flagstaff. 9 a.m.–5 p.m. 928-774-5213; musnaz.org

Aug. 6–16

MY BELOVED WORLD This riveting Herberger Lunchtime Theater presentation is based on the coming-of-age memoir by U.S. Supreme Court Justice Sonia Sotomayor, who grew up in a Bronx housing project and went on to attend Princeton and Yale. $7. Herberger Theater Kax Stage, 222 E. Monroe St., Phoenix. See website for show times. herbergertheater.org

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Aug. 11

MILE-HIGH BREW FESTIVAL Savor beer samples from some of the Southwest's finest craft breweries, take in live music, and taste from local restaurants and food trucks, all in the pleasant air of a Prescott summer. $40 general admission; see website for ticket options. Downtown Prescott. 4–8 p.m. 928-776-8686; milehighbrewfest.com

Aug. 10–26 NEWSIES

Aug. 15

Aug. 13–15

missing one of the most exciting

CONTEMPORARY FILM FESTIVAL: THE ART OF SATIRE

musicals today! Valley Youth Theatre

Phoenix Art Museum’s Contemporary

to use oil paints to create a still life

presents this tale of a charismatic

Forum Film Festival explores

work of art, this is your opportunity!

turn-of-the-century teenaged newsies

the art world through a satirical

Instructor Robert Lemler will

fighting the titans of publishing.

lens, celebrating characters who

discuss design, arrangement and

$20.50–$39.50. Herberger Theater

show moral courage in the face of

lighting, and provide aspiring

Center, 222 E. Monroe, Phoenix. See

uncertainty. $5. Whiteman Hall, 1625

painters of all levels with instruction

website for performance schedule.

N. Central Ave., Phoenix. 6:30 p.m.

and inspiration. $350. Scottsdale

602-254-7399; herbergertheater.org

phxart.org

Artists’ School, 3720 N. Marshall

If you haven’t seen Newsies, you’re

LEARN TO PAINT STILL LIFE If you’ve ever wanted to learn how

Way, Scottsdale. 9 a.m.–4 p.m. scottsdaleartsschool.org

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Aug. 16

ELIANE ELIAS AT MIM Grammy-winning pianist, singer and songwriter Eliane Elias blends her Brazilian roots and sensuous, alluring voice with virtuosic instrumental jazz, classical and compositional skills at MIM. $33.50–$48.50. 4725 E. Mayo, Phoenix. 7 p.m. and 9 p.m. 480-478-6000; mim.org

Aug. 16

WINEMAKER DINNER

Aug. 16–18

PAYSON RODEO It’s the world’s oldest continuous

PRICKLY PEAR FESTIVAL

Hyatt Regency Scottsdale Resort &

rodeo, and it’s right here in Arizona!

Come celebrate Arizona’s own

Spa at Gainey Ranch will host Frank

There’s nothing like the Payson

unique incredible, edible dessert,

Family Vineyards at this tasty event

Rodeo! See website for performance

the prickly pear! A foraging hike,

for foodies and wine connoisseurs

schedule, and don’t miss the rodeo

margarita shake-off, vendors, a

alike. $95–$105 per person. RSVP

after-party dance Aug. 17 and 18.

pageant, music, food and more!

required. 7500 E. Doubletree Ranch

Online adult tickets $18; Seniors

See website for schedule. Free. 199

Rd., Scottsdale. 6:30 p.m. 480-444-

$16; Children 8–12 $10; Free for

N. Lobb, Superior. 7 a.m.–6 p.m.

1234 ext. 8640; scottsdale.regency.

children 7 and under and active

superiorarizonachamber.org

hyatt.com

military. Tickets $20 at the gate. 1400 S. Beeline Hwy., Payson. paysonrimcountry.com

Aug. 18

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Aug. 19

OPERA AND GELATO FILM FESTIVAL Arizona Opera is proud to present the second annual Opera and Gelato Film Festival, featuring Puccini’s classic opera, La bohème. Enjoy gelato and refreshments for purchase. RSVP required. Free. Arizona Opera Center, Roma and Raymond Wittcoff Black Box Theater, 1636 N. Central Ave., Phoenix. 2 p.m. azopera.org

Aug. 25

ALBERTO ÁLVARO RIOS Swing back into the literary season with a casual community get-together with poet laureate Alberto Álvaro Rios for Changing Hands Phoenix’s Virginia G. Piper Center for Creative Writing Summer Social Fundraiser. Beverages, book giveaways, a silent auction and swag. Free. Changing Hands, 300 W. Camelback Rd, Phoenix. 6–8 p.m. piper-centersummer-social.eventbrite.com

DEAR LISTENER: THE WORKS OF NICHOLAS GALANIN The Heard Museum presents Dear Listener: Works by Nicholas Galanin, a retrospective of the contemporary Native Alaskan artist. The exhibition encourages dialogue about what it means to be indigenous, and addresses topics like colonialism and cultural appropriation. Open through Sept. 3. $7.50–$18. 2301 N. Central Ave., Phoenix. 602252-8840; heard.org

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Aug. 25, 26

HAPPY BIRTHDAY, LEONARD BERNSTEIN! Musical Instrument Museum is celebrating 100 years of Leonard Bernstein with musical performances, talks, workshops, film screenings and more. Come explore the life and works of this most accomplished of musicians and composers. Free with museum entrance. 4725 E. Mayo, Phoenix. 480-4786000; mim.org

ta k

e a d r

iv e

VISIT s

SEDON

me r 2018

MONDAY MORNING BIRDING

THE CURRENT

Desert Botanical Gardens is the place

presents The Current, an exhibition

DC RANCH CHEF FIGHTS HUNGER IN MYANMAR

to be when it comes to enjoying all

that celebrates a stunning array of

Lenard Rubin, executive chef at

the natural desert has to offer. Join

art from artists who have captivated

The Country Club at DC Ranch,

expert birders along the trails each

and inspired collectors from around

participated in the World Chefs

Monday morning to learn names

the globe. 10 a.m. to 5 p.m. daily.

Without Borders Myanmar Tour

and sounds of our favorite feathered

150 SR 179, Sedona. 928-204-1765;

for Humanity, traveling at his own

friends. Everyone is welcome. Bring

goldensteinart.com

expense with 59 other chefs to raise

Goldenstein Gallery in West Sedona

binoculars if possible. Admission

funds toward a goal of zero hunger by

$12.95â&#x20AC;&#x201C;$24.95. 1201 N. Galvin

providing education and resources to

Pkwy., Phoenix. 7 a.m. 480-941-

those in need and afflicted by natural

1225; dbg.org

disasters. The people of Myanmar are still recovering from a cyclonic storm that has been deemed the worst natural disaster in recorded history. worldchefswithoutborders.org

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NEW SOFTBALL COACH JOINS NDP TEAM Kim Braatz-Voisard has been named new head coach of the Notre Dame Saints girls’ softball. Braatz-Voisard brings a lot to the plate, having played professional softball in Europe, as well as for the Colorado Silver Bullets USA Women’s Baseball team, where she earned the title of first woman to hit an out-of-the-park home run and two gold medals. She has coached in Italy, France, Thailand, Japan, Taiwan and Canada. Most recently, she coached at Samford University in Birmingham, AL before coming to the Valley, where she coached at McClintock High School and Glendale Community College. In addition to sports, Braatz-Voisard is a busy mom to two children, Madison, 19, and Franklin, 16. Welcome, Coach Braatz-Voisard!

ART OF THE MONSOON Artist Laura Thurbon captures the magnificence of these summer storms, and has amassed worldwide collections in the United States, South America, Europe, Israel, and India. She has many published works, and public murals around the Southwest United States. Her work will be featured at Gallery Andrea this month. 7019 E. Main St., Scottsdale. Mon.–Sat., noon to 5 p.m. 480-481-2530; artandrea.com

NATURE’S NUMBERS AND PATTERNS If you’ve ever found yourself mesmerized by nature’s recurring numbers and patterns, you’re not alone. This month, the Arizona Science Center presents “A Mirror Maze: Numbers in Nature” so you can find out how it all adds up! General admission + $6.95–$8.95. 600 E. Washington St., Phoenix. 10 a.m.–5 p.m. 602-716-2000; azscience.org

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Writer Amanda Christmann Photographer Bryan Black

Way out east on Cave Creek Road, long past the manicured homes of the town it’s named for, is the wild of open desert that has lured artists and dreamers for half a century or so. Though it is still within city limits, the surrounding silent hush of Tonto National Forest’s three million acres of open space lends itself to a tranquil energy different from the buzz of the nearby towns. One mile past the popular turnoff to Bartlett Lake, across from the secluded and scenic Desert Mountain Outlaw Course is the quiet community of Tonto Hills, and at its entrance is an unexpected and delightful oasis. The outside of Raven’s View Wine Bar may be unassuming. In fact, it may even be confused for a simple, contemporary house, but step inside and it’s immediately clear that something different is happening out here on the frontier. With breezes 10 to 15 degrees cooler than

Phoenix air flowing through the open glass garage door window and voguish and eclectic artwork and décor, it’s an instant respite from more than just the heat. Dozens of white wines and reds, including some reserves, are on the menu, along with a selection of local craft beers and the traditional American stand-bys. Weekend brunch offers choices like breakfast paninis, Tonto tacos, the most savory bowl of oats you’ve ever seen (hello pesto, bacon, egg and feta!), and my own personal favorite, build-yourown avocado toast with toppings like chorizo, roasted peppers, red onion and jalapenos. Add a handcrafted fruity mimosa or homemade sangria, and there’s no better way to start the day! Daily small plates like truffle popcorn, Bavarian pretzels with blonde beer cheese and

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whole grain mustard, charcuterie plates, and freshly made jalapeño corn, artichoke spinach and white bean hummus dips compliment the beer and wine selection. Fresh salads and a small but to-die-for choice of paninis, and the house specialty, homemade meatballs served with crostini round out the menu in the most delicious way. For owner Kym Westhoff, it’s a dream come true. “My mom was a single mom who worked as a waitress. I can remember being five years old and sitting in the booth picking beans with her at the Chinese restaurant where she worked,” she says with a down-to-earth smile. “I grew up in the restaurant business and had a catering and events business of my own for seven years, so owning this place is kind of a wonderful culmination of everything I’ve done up to this point.”

Though Raven’s View now has her savvy welcoming fingerprint, the wine bar was originally her idea. Former owners Tom Linda Rawles finished building it two years before selling it to Westhoff.

and not and ago

Hers wasn’t the first offer they’d gotten. Other potential buyers had ideas that didn’t bode well with their vision. When Kym came along with experience and similar goals, they entrusted her to carry on its spirit. She’s done so with gusto.

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March 16, she took possession at 9 a.m. She and her husband Steve, a builder, spent the day painting and redecorating, then opened in time for dinner that evening. It was a whirlwind day, but Kym wouldn’t have it any other way. Since then, she’s expanded the menu and the hours, opening Raven’s View doors seven days a week. She contacted local artists she admires to feature their work on the walls on a rotating schedule, and employed some of the best servers and staff she knew to provide the kind of experience she herself would want to enjoy. “Tom and Linda built a great foundation, and we’re going to continue to expand on that,” she explains. Based on Raven’s View’s ratings and reviews, she’s doing a wonderful job. Westhoff pegs just as much of her success on her personal work ethic as she does on the food she serves and the wine she pours. “One thing I really like about the Cave Creek and Carefree area is that it isn’t just people supporting businesses; it’s other businesses supporting businesses,” she says. “They tend to really support entrepreneurs and people who are out there working hard.” There’s still plenty to do. First on the order is

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to expand the patio so that, as summer’s heat dies down, more people can take in the phenomenal sunsets and desert breezes. Sitting at the bar on a quiet Monday mid-afternoon, she takes a moment to appreciate how far she’s come. “The views are just awesome,” she says, almost to herself as she looks outside the large open window above the bar. The gorgeous green of the golf course looks as if it is part of her own private front yard, and the desert hums along with the calm music flowing through her speakers. “There’s really no better office view than this.” ravensviewwinebaraz.com

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Writer Amanda Christmann // Photography by Scott Baxter

Arizona is unique. Perhaps it’s the subtleties of the seasons that make us appreciate life’s moments all the more, or maybe it’s the resilient, scrappy people who live here despite the formidable desert heat, but the people who stay, whether for a decade or for generations, have more in common than we have differences.

CHILDREN In 2013, the Mesa Tourism Bureau hired Baxter to photograph people and events on the Fort McDowell Yavapai Nation, a tiny 950-member Native American tribe whose reservation is located 35 miles from Phoenix. The children pictured were originally photographed in the tourism shoot, but Baxter saw an opportunity to capture something special. In his trademark fashion, something much deeper than childhood comes out in his pictures.

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Today, the lines are often blurred between Arizona’s cultures, religions and heritage. For millenniums, Native American people hunted, farmed and prospered here. Their oft-neglected stories form the foundations of how we all came to survive in the harsh, arid desert, and how our economy, our agriculture, and even our political boundaries evolved into what we now know.

In Arizona, there are 21 recognized Native American tribes. Tribal lands make up over 27 percent of the state’s area. The name “Arizona” was derived from a Tohono O’odham word that translates to “little spring.”

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HORSES For Navajo people, Jones Benally and his family are nearly legends. They are world-famous hoop dancers, and their horsemanship skills and innate equine talents are widely regarded. His son Clayson (shown left and below) is a horse trainer, an environmental activist and member of the Navajo band Black Fire. The photographs in this portion of Baxterâ&#x20AC;&#x2122;s series were taken at the base of Doko'oosliid, the Navajo word for Flagstaffâ&#x20AC;&#x2122;s San Francisco Peaks. Some of Clayson's clothing was contemporary, but some very traditional, a testament to the dual existence of Native philosophy and Western influence within his life.

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For decades, freelance photographer Scott Baxter has captured moments in time and traces of Arizona history. Along the way, heâ&#x20AC;&#x2122;s connected with many indigenous people whose stories heâ&#x20AC;&#x2122;s managed to tell through photography.

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SHEEP Navajo churro sheep are used for both wool and food. Brought by Spanish settlers in the 16th century, Pueblo people were hired and enslaved to herd sheep and weave textiles, and they were a food and clothing staple for both the Spanish and area tribes. In the mid-1800s, Navajos began to resist occupation by the miners, ranchers and other settlers who’d begun encroaching in large numbers on Diné homelands. Kit Carson and John Carlton were ordered by the U.S. Government to raid Navajo villages and destroy their orchards and flocks. This military action led to the Long Walk of the Navajos, in which an estimated 9,000 Navajo people were forced on a 300-mile trek to an interment camp at Bosque Redondo, New Mexico. There is no official number of the people who died along the way, but the human and livestock toll was immense. Some Navajos who escaped were able to hide in remote canyons with their sheep, and survived that terrible chapter in history. Three years after it began, Navajos were allowed to return to their native lands and were issued two sheep per person—considered enough to survive, but not enough to thrive.

Scott Baxter About the Photographer I was born in Hartford, Connecticut. I grew up near Princeton, New Jersey, and I moved to Phoenix in 1982. I currently live in Carefree. I have been a professional photographer since 1986. I was teaching school and one of my ninth grade English students taught me how to process black and white film. I decided then that I wanted to become a photographer instead of going to law school. I am inspired to photograph Native Americans because of their reverence for our world. Photography is very subjective. I have always thought that you can tell a lot about a person by viewing their photographs. It's really pretty simple; I try really hard to make my photographs straightforward, simple and honest. scottbaxterphotographer.com

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Often photographs portray an instant—a smile, a celebration or a small piece of a day. It is the rare photographer who has the ability to find that crack of light between the real and the spiritual, penetrating the very soul of a subject. Scott is such a photographer. His photographs reveal an esoteric connection to what was, what is, and what will be, and they are often as breathtaking as they are resonant.

PEOPLE Photographing indigenous people comes with unique challenges. Baxter avoids contrived narratives, but he also knows that, for many of the native people he has come to know, there is great pride in wearing traditional ceremonial clothing. “I don’t treat Native Americans any differently than when I’m shooting cowboys, when I’m shooting kids, when I’m shooting other friends, or when I’m shooting my daughter. They show up, and my job is to make a connection. “For me its more about the person—how you relate to that person, and how they relate to you. It’s getting something deeper from them. “I’m particularly conscious of being respectful, and there’s so much that I don’t know. I become a conduit in a sense, but it’s not about me. I just hope that they trust me enough to be authentic.”

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POTTERY Nestled in eastern Arizona’s South Fork Canyon near the sleepy town of Greer is Little Bear Ruins. From about 500 to 900 A.D., ancestors of both the Hopi and Zuni people thrived in this former village. Today, blessings are still performed here, and for a price, tourists can have the opportunity to dig up the past. The pottery and shards are real, and one can’t help but wonder about the hands that created them. Lost in the unwritten annals of time, gone too are the dreams, thoughts and memories of these people who came before.

We are happy to share some of his work in this month’s Images Arizona photo essay, and hope it inspires you to look deeper into the cultures that have become part of who we are as Arizonans.

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Writer Amanda Christmann Photography by Scott Baxter and Kim Scodro Interiors

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For a couple of guys who make their living fooling the eye, Rich Kovacich and Felix Lagazo are as real as they come. Whether they’re creating a spot-on imitation of limestone to cover an outdated cantera fireplace mantle, or chatting about life on the scenic back porch of their Black Mountain home, the two approach life with candor and honesty. It’s those same timeless values, combined with their stellar work ethic, that have grown their faux finishing business, Faux Finishes, to be one of the most in-demand companies of its type in the Valley. In their small but lively studio, Francisco de la Cruz and Alberto Sanchez, both long-time employees, expertly apply glaze to a set of cabinet doors while Rich sorts through some of his ongoing projects. On top is a strie finish sample with impressive dimension. “We get a lot of inspiration from wallpapers and fabrics,” he explains, holding up a picture of the original finish he copied to perfection. To the untrained eye, the painted finish looks identical to, if not better than, the more expensive, less changeable wallpaper version. Next are samples of copper finishes, from a rich red with shiny undertones to a hammered copper finish, completely done with paint. “Metallics are coming back,” he explains. “Especially copper.” The hammered faux finish was created for a vent hood project—a bit of genius considering how difficult real copper is to keep clean and unoxidized. As he goes through his work, showing samples of designs made from paint and plasters—burlap finishes, bird’s eye maple and faux Venetian plaster, to name a few—he rattles off a few notable design trends that have influenced his work.

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This year, he explains, cream tones are replacing the grays and aquas of the last few years. Bright, monochromatic spaces accented with punches of dark wood are now favored over deep, darker colors. For many homeowners and designers, those looks begin with Rich and Felix. “This is a dream shop for me,” Rich says. “Whether people want something trendy or a classic look that will last for many years, I get to figure out how to create the look they’re going for. “It’s just amazing what you can do with painted finishes—what you can copy,” he adds. “You just play around a little bit, and before you know it, it’s a success story.”

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For Rich and Felix, that story is also the culmination of 30 years of hard work. Rich grew up in the Milwaukee area but found his heart in New York. After a high school trip, he made the decision to move there, renting an acquaintance’s sewing room to sleep in and picking up a job as a bus boy at the World Trade Center. He enrolled at the renowned Parsons School of Interior Design, bussing tables between classes, and earned his AAS in interior design. He began in the fabric business before exploring finishes, eventually earning clients like Donald Trump, CBS Television, Zaniz Corporation, and Broadway set designer David Mitchell.

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FAVORITE PROJECT: John McCainâ&#x20AC;&#x2122;s condo at Coronado Shores. FAVORITE THING TO DO WHEN NOT WORKING: Gardening and cooking. Felix has created an impressive landscape of trees and plants surrounding their Black Mountain home. SOMETHING FEW PEOPLE KNOW: The pair once had 30 chickens, a cow, a pig and 14 dogs at a house they owned in downtown Phoenix. DREAM CLIENTS: Bill Gates, or anything that brought them overseas.

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in with other artists and interior designers. “I loved it here,” he says. A stroke of luck and lots of hard work led him to Desert Mountain, where he got his big shot creating finishes for the clubhouse and spec homes. As he worked, friends and relatives of his clients wanted his finishes in their homes, too. Before long, he had more work than he could manage. Enter Felix, who, on the surface, was an unlikely partner for an artistic endeavor. Felix had a background in electroplating, and he’d been working in bookkeeping and records at Honeywell, and his first steps into design were a little shaky, to say the least. “When we first started this, I didn’t have the vision that Richard did,” he says with a laugh. “Early on, I was working on a project, and I remember calling Richard and saying, ‘Is this really what you want?’ I didn’t think it looked right at all. He looked at it and said, ‘Yes! It’s exactly right.’ Sure enough, when we attended the grand opening, people were touching the walls. They loved it! I couldn’t see the big picture like Richard could. Fortunately, I’ve gotten better.” Felix is the yin to Richard’s yang; Richard is often the one who brings new ideas to the table, while Felix manages the important small details. “He’s the grease that makes everything work,” Rich says of his partner. In truth, their synergism is palpable. They were fortunate, too, to have found Francisco and Alberto along the way. In fact, some of their greatest compliments come from clients who appreciate the quality of their work, and their integrity as guests in their homes. “Our policy is to never cut corners,” Rich explains. “It’s very reassuring to know that those guys will make the quality as good as I will. I sleep great at

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night knowing it’s going to be perfect. We are so lucky to have them.” Soon, too, they will add exterior finishes to their palette with the addition of new team members. “No matter what projects we do, our goal is to make it an enjoyable experience instead of something our clients have to stress over,” Felix says. Today, their current projects include faux limestone and plaster finishes in two Mirabel homes; faux limestone, painted strie finish, and cabinet refinishing in a Cave Creek remodel; and a gorgeous spec home remodel in Silverleaf in which they are refinishing a 20-foot fireplace and nearly all of the cabinetry. When they are finished, each home will look fresh and updated, all with the stroke of brushes and the troweling of plaster. Like their projects, the pair’s success comes from jumping in with both feet and getting the job done. “We never had a vision or a plan,” Rich says, three decades into his career. “It was basically—we refused to fail.” With a portfolio that now includes projects in Luxe, Arizona Home and Design, Phoenix Home and Garden, and several other top publications, failure is far from likely. In fact, it will be fun to see what these two are creating together for years to come. fauxfinishesinc.com

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Writer Amanda Christmann // Photographer Bryan Black

If summer heat has got you down, a taste of the Valley has moved to the cool pines of Prescott. Just an hour or so from Phoenix, Chef Ryan Peters and his wife Brittany, who kept crowds coming to Tonto Bar and Grill, have opened the doors to Farm Provisions, one of the newest farm-to-table ventures in a growing list of restaurants focused on fresh, local fare. In just two short months, even the most discrimination diners are crowing about Farm Provisions.

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Located on downtown Prescott’s Montezuma Street just a block from courthouse, Farm Provisions’ trendy industrial décor feels modern and clean. Garage door windows and sleek, black metal surfaces are anchored by warm wood accents. Special care has gone into choosing just the right combination of rustic and contemporary. Mason jars mingle with clean, white serving dishes, and fun farm-inspired artwork and bucolic sprays of dried flowers cover the walls. The menu is the real star of the show. Formally trained at Scottsdale Culinary Institute/ Le Cordon Bleu, the Ohio native has managed to add his personal signature to traditional dishes, much as he did at Tonto Bar and Grill, creating unexpected twists on old favorites. Peters eschews pre-packaged ingredients, and instead opts for locavore approach. He sources ingredients from nearby purveyors, including Whipstone Farm, Nowhere Farms, AZ GrassRaised Beef, Mt. Hope, Crows Dairy, and many more. Pasta is made by hand, and sauces are produced in the kitchen.

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Options change by the season, just the way they have for generations of ranchers and farmers. While there is no doubt the entire year will be filled with fantastic choices, this summer’s offerings are clearly a hit among diners. Deviled eggs are deep fried and served with maple peppered bacon jam and sriracha crème fraîche. Peters’ “Not Your Mom’s Chicken Pot Pie” features a heavenly flaky crust with roasted all-natural chicken, mirepoix, fresh peas and rosemary thyme veloute. Heritage Pork Tenderloin is served with asiago herbed polenta, roasted baby heirloom carrots, bacon onion marmalade, and Arizona apple cider rosemary gastrique. There is also a gorgeous selection of bountiful salads, and an impressive list of vegan and gluten-free options that won’t leave alternative diners hungry. The menu is rounded out nicely with a solid selection of domestic and imported wines, handcrafted signature cocktails and refreshing craft beers.

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While Peters’ work is behind-thescenes, it’s his wife, Brittany, who holds it all together at the front end. A Cave Creek native, she brings with her a wealth of knowledge in everything from wine and beer pairings to event coordination. Customer service is just as important to the two as putting delicious food on the table, and Brittany runs a tight ship. They’ve hired and trained employees who take pride in their work, and who truly care about their customers’ experience—not a small feat for a new establishment. It’s all part of their motto “simple food elevated,” and diners are loving it.

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Writer Amanda Christmann Photography Courtesy of Creative Gateways

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It’s the dawning of the Age of Aquarius. Every one of us is in the midst of a global conversation on a scale never before experienced in history. For the first time, thanks in large part to technology, we are seeing and hearing voices and perspectives of people outside our own echo chambers of experiences and ideas, and it is changing our political and cultural landscapes. Whether we are living in a village in rural Africa or sitting in a corner office on Wall Street, every one of us is feeling the influence of globalization. In many ways, it’s a boon of opportunity, but on the flip side is a quest to maintain cultural identity. In life and in art, Gerry Quotskuyva is approaching that paradox with one foot stepping toward the future, and the other firmly planted in tradition. A member of the Bear Strap Clan from the Second Mesa Village of Shungopavi on the Hopi Reservation, his quiet demeanor and calm presence belie the importance of his accomplishments. By trade, Quotskuyva is an acclaimed artist, but what he really does is plant seeds. Quotskuyva follows the agricultural path of his ancestors, coaxing beans, squash, gourds or corn out of the same soil as generations before ran their own fingers through at Verde Valley Ancestral Garden. He also nurtures kernels of peace through art. His katsinam (Anglicized as “kachinas”—there is no “ch” sound in the Hopi language), bronze work, painting and glasswork channel the wisdom of the ages revealed to him through dreams and visions. More often than not, his creations blossom in unexpected ways. Hidden meanings emerge long after a piece is completed, and doors to understanding are unearthed and discovered. “My work is really special when it comes to being Hopi,” he says from behind a tidy desk at Sedona’s Creative Gateways, his newest workspace. “A lot of times, I do not understand what I’m doing until it’s finished.” To illustrate this crux, he points to a tower forged in bronze. On it is a small metal plaque with the title “Cultural Fortitude.” “I had this idea of doing a kiva. That’s where we go to learn respect for our culture and ceremonial practices,” he begins, carefully measuring his words. “I carried the idea around for years. Then I had an odd exchange with a couple at the Washington Monument in Washington D.C.

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Experience The Art of Gerry Quotskuyva Kuivato Glass Gallery 336 Hwy. 179, Tlaquepaque, Suite B-125, Sedona 928-282-1212 kuivatoglassgallery.com Creative Gateways 45 Birch Blvd., Sedona 928-862-4440 creativegateways.com

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“The shape of the Washington Monument is an obelisk, which can be found in petroglyphs and in other parts of the culture of Pueblo people. It occurred to me that, what was part of the past for us is now a permanent symbol of who we are in the United States.” Quotskuyva planted that idea far away from his rational mind and let the creativity flow. What emerged was an obelisk with a round kiva top, much like Puebloan buildings in the pre-Spanish era. Corn, the foundation of Hopi agriculture and spirituality, grows up the front, and a prayer for peace is depicted in petroglyphic symbols. The back conveys earthen bricks, a fortress of sorts, which, over time, Quotskuyva realized symbolized the tightly held secrets of the Hopi world.

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“It’s interesting how it comes together for me,” he said, as if he were more of an observer of his process than an active participant. In many respects, Quotskuyva is building bridges. He is part of a new generation of Hopis, and the journey he is on is largely unchartered. For as long as anyone can remember, history, religion and many other aspects of Hopi culture were guarded from corruption by outside influences through secrecy; only a chosen few were trusted with many of the stories and ways that define what it means to be Hopi. Today, though there are still ceremonies and beliefs that are kept hidden away from the Western world, a new school of thought is evolving. By sharing pieces of tradition, the world outside of the 2,500-square-mile Hopi Reservation can begin to gain an understanding—ergo an appreciation—for the importance of preserving a disappearing way of life.

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He showed that first carving, “Corn Maiden,” to his grandfather, who was himself a famed carver. His grandfather was impressed. From that moment forward, Quotskuyva knew he had found his path.

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Quotskuyva’s role seems to have chosen him for the job, rather than the other way around. At the age of 35, after working in food service for Hollywood and holding various jobs in radio, he had a dream that changed the course of his life. In the dream, Corn Maiden, a spirit who symbolizes the gift of bountiful harvests, came to him. Katsinam flew from the corn, and husks turned into her robes. When he awoke, he knew he had to carve her image.

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Along the way, he realized that he did not have to sacrifice authenticity to form a connection between his Hopi roots and the outside world. He still listens to the roots of the cottonwood tree to discover what they want to become, and he has remained true to the teachings he’s learned in his clan’s kivas. At the same time, he has ventured out within the rules to express himself as an artist, infusing traditional images with contemporary styles. For example, is forbidden to forge katsinam from bronze in the Hopi culture, so instead, Quotskuyva has created other bronze figures, such as a striking bust of an eagle, titled “Tutuvena.”

His next project is perhaps his opus. A raw chunk of cottonwood root stands four-feet tall and two-feet wide inside his Sedona office. Its arms are intertwined, beautifully fused together in an earthen harmony that is art in and of itself. This root, which has been carefully cured for about 14 years, has big plans in store for Quotskuyva. Eventually, it will become an epic nod to the matriarchal culture in which he grew up, with several individual katsinam and faces carved into the wood.

He’s also embracing his newest passion, glass, as a medium.

The work begins this month in Santa Fe, where Quotskuyva has secured a Rollin and Mary Ella King Native Artist Fellowship hosted by the School for Advanced Research. There are also plans to document his work on video.

“They never said we couldn’t do katsinam in glass,” he said with a wry smile. “What better way to bring something to life than with light! Glass brings so much depth and color. It’s really something.”

Like the rest of the lessons he learns and imparts, this, too, will become part of preserving traditions so that they are not lost. After all, in a rapidly changing world, there is no better medium than art to ensure that the important things remain.

No matter his medium, museums, galleries and dozens of collectors have gained a solid appreciation for his work, and for the cultural lessons it holds.

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Writer and Photographer Kyndra Kelly

The perfect party appetizer to serve at your next get together or BBQ, these Tenderloin Bites are sure to be a hit! Prepare them up to two days ahead of time and pop them in the oven just before serving for an easy appetizer!

Tenderloin Bites Makes 20 to 24 bites Ingredients: 6- to 8-oz tenderloin 12 slices bacon (approx.) Marinade: 1/2 cup coconut aminos (similar to soy sauce) 3 tablespoons coconut or olive oil 1 tablespoon honey 1 tablespoon grated fresh ginger 1 teaspoon chopped garlic Directions: Combine marinade ingredients in a bowl. Cut tenderloin into 2-inch cubes. Place meat in marinade and refrigerate for 2 hours. Preheat oven to broil. Assemble the bites by taking one chunk of tenderloin out of the marinade and wrapping 1/2 piece of bacon around it, securing with a toothpick. Repeat these steps until all the tenderloin chunks are wrapped. Discard marinade. Place bacon-wrapped tenderloin on a foil-lined baking sheet. Broil for 5 minutes for medium rare, or until desired doneness. I like mine a little crispier, so I let them broil for 8 minutes. Remove from oven. Serve alone or with a sauce. kyndraclaire.com

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Chicken & Quinoa Stuffed Poblanos Step up your taco game with these fun stuffed poblanos! I promise they are just as delicious as they look! Make this recipe your own by using as much or as little chicken and quinoa as you’d like!

Makes 2–4 peppers Ingredients: 1–2 cups shredded rotisserie chicken 1–2 cups quinoa, cooked according to packaged directions 3–4 poblanos Taco seasoning Pepperjack cheese 1/3 cup salsa Lime Cilantro Queso fresco Avocado Corn Directions: Preheat oven to 350 degrees. Cut peppers in half and place on sheet pan lined with foil. Bake peppers for about 15 to 20 minutes while preparing quinoa according to package directions. In a medium skillet, shred chicken and season with your favorite taco seasoning. Pour your favorite salsa over the top and let simmer for a few minutes. Add 1 to 2 cups quinoa, depending on how many peppers you are making. Remove peppers from oven and stuff with chicken and quinoa mixture. Top with shredded pepper jack and bake for 15 minutes. Remove from oven and top with avocado, roasted corn, lime, cilantro and queso fresco. Enjoy! kyndraclaire.com

Writer iand Kelly m a gPhotographer e s a r i z o n a . cKyndra o m aug ust 2 018

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Andrew Bloom REALTOR®, Senior Partner Andrew@BVOLuxury.com David Van Omen REALTOR®, Senior Partner David@BVOLuxury.com

i m a g e s a r i z o n a . c o m aug ust 2 018

SINCUIDADOS 8400 E DIXILETA DR 136, Scottsdale, AZ 85266 4 BD | 3.5 BA | 5,976 SF

L SO $1,335,000

$1,500,000

$1,501,500

$1,532,500

ANCALA COUNTRY CLUB 12028 N 119TH ST, Scottsdale, AZ 85259 3 BD | 3.5 BA | 4,480 SF

PINNACLE PEAK VISTAS 22325 N 97TH ST, Scottsdale, AZ 85255 4 BD | 3.5 BA | 5,000 SF

L SO

$1,675,000

Each Office Is Independently Owned And Operated