krēˈāt issue 14

Page 1

mountain arts + culture e-zine

Published by Breckenridge Creative Arts | ISSUE NO. 14, Spring/Summer 2019



: to make or produce : to cause to exist


: to bring into being







/krē’āt/ is an online magazine published triannually by Breckenridge Creative Arts. Each issue profiles creative individuals or businesses, cultural organizations, events, and objects of art in a thoughtfully curated visual journey that aims to highlight and promote the greater creative community of Breckenridge.

Creative Director Robb Woulfe, Breckenridge Creative Arts

Editor + Content Writer Erica M. Davis

Art Director Kate Hudnut, GatherHouse Inc.


departments Foreword


Objectified CATTAILS


Around town SPANGLED


Conversations A TIME FOR CHANGE








Angela Knightley

Contributing Photographers Liam Doran, Joe Kusumoto

Additional Photo Credits WAVE festival images: Russick Smith photo by Joe Kusumoto; ‘CLOUD’ photos by Doug Wong and Caitlin r.c. Brown; ‘Loop’ photo by Steven Csorba; ‘Les Voyageurs’ and ‘Les Oiseaux’ photos courtesy of the artist; ‘Iceberg’ photos by Martine Doyon; and ‘Light Matters’ photo courtesy of the artists. ‘4 Local Photographers’ images by Liam Doran, Jenise Jensen, Joe Kusumoto, and Carl Scofield. ‘Spangled,’ Breckenridge Backstage Theatre, and Tree-o photos by Joe Kusumoto. Ecoventions images: ‘Green Patriot Posters’ photo courtesy of the artists; ‘Contrappunto’ photo by Uli Westphal, courtesy of MING Studios; ‘Golden Shelter’ photo courtesy of the artist. BANDALOOP photos by Basil Tsimoyianis. Anne Murphy and ‘Cattails’ photos by Liam Doran.

Cover + Back Cover Artwork Joe Kusumoto Special thanks to the Town of Breckenridge for its generous support.

@breckcreate //






FOREWORD /krē’āt/ SPRING/SUMMER 2019 Our spring/summer issue of /krē’āt/ challenges us to hear sonic landscapes—whether water dripping from a melting iceberg at BCA’s spring festival, WAVE: Light + Water + Sound, or the rushing and gurgling of the Blue River, transported indoors as part of a series on climate change and ecology to grace the Breckenridge International Festival of Arts this summer. In these and our upcoming Street Arts festival, we recognize the benefits of shared public celebration, and trace the growth of the Breckenridge arts scene through the iconic imagery of four local photographers. Change is a constant in today’s art world—and through that lens we look ahead to what’s in store for the Backstage Theatre, under new leadership as of fall 2018.






FEATURED EVENT Wave: Light + Water + Sound

The 4th annual WAVE festival illuminates Breckenridge May 31 to June 2 with a feast of interactive light and sound works for the eyes, ears, hands, and minds.






A sensory feast WAVE festival presents oscillating marvels of sound, light, water + community interaction







f a tree falls in the forest and we are there to hear it, does it a make a different sound? What altered vibration filters through the listening ear? Or does a whole new resonance hum when humans are present?

‘Iceberg’ by ATOMIC3 + APPAREIL Architecture For the artists who created “Iceberg”—a large-scale, interactive, sonic sculpture that will make its Colorado premiere at the 4th annual WAVE: Light + Water + Sound festival in Breckenridge May 31 to June 2, 2019—there is new music to explore in the intersection between humans and nature. “An iceberg, in nature, makes sound because the water and wind that goes in the cracks resonates like a pipe organ,” said Canadian artist Félix Dagenais of ATOMIC3, which created the work in partnership with APPAREIL Architecture in collaboration with Jean-Sébastien Côté and Philippe Jean as part of a competition run by Quartier des Spectacles for Montréal en Lumière, Montreal’s festival of lights. The year before, the artists had entered a work designed to create reflections off snow, only to see it rain at the December festival. So the next year they decided to bring winter, in the form of an iceberg, to downtown Montreal. “Icebergs are a barometer of climate change,” said Dagenais, recalling the white Christmases of his youth. “We wanted to create a comment about this reality—about why it’s hard to have snow in December in Montreal.” Constructed of aluminum arches with sensors that react when visitors interact with it, “Iceberg” creates a spectacle of light and sound that changes as guests pass through from start to finish, intended to evoke an iceberg’s journey from the cold, isolated north to warmer, more populated lands to the south.

“At first, you hear natural sounds, cold sounds

art festival, Nuit Blanche Calgary. Since then,

like ice and wind,” Dagenais said. But as

the work has been exhibited around the world,

temperatures warm and the iceberg begins to

soon to include its Colorado premiere at WAVE.

melt, the sonic landscape transforms into water

“We like to think of ‘CLOUD’ as a puppet. When

drops and pipe organ musical notes. “There’s

enough people participate, you get a really

kind of a propagation effect. At the beginning

interesting social spectacle that occurs under

it’s blue and cold. If there are people inside it,

the artwork.”

it becomes red, and reaches a lighting climax,” he said. “We’ve been inspired by nature. When

The sculpture is hewn from more than 6,000

an iceberg melts, it becomes unstable and flips

incandescent light bulbs to resemble a storm

on one side and creates a huge water splash.

cloud, with pull-chains hanging down like sheets

That is how we created that climax effect.”

of rain. Illuminated at night, it draws passersby to it like a beacon. “There’s something physiological

“We play with the concept that human activity

about how we process light at night, especially

transforms the iceberg,” he explained. “We use

electric light,” Brown said. “We want to move

the human activity in our piece, and make it more

toward it.” After that, guests find themselves

musical and more human from that point.”

compelled to tug on the pull-chains to see what will happen.

Although the work calls attention to climate change, it is intended to be welcoming and

“There’s this wonderful moment when people

interactive first and foremost. “For us the

are underneath, and they pull the chain and

playfulness of that kind of installation art

look up and their eyeballs get very glittery and

is important because they are made for

they have this moment of ‘Oh! That’s how it

everyone—from 4 years old to 78 years old,”

works,’” said Brown, describing the “reveal”

Dagenais said. “After that it needs to be built

moment when the audience realizes the

on a stronger statement. People play, come

incandescent lightbulbs do not light up—instead,

back and read [about the sculpture], and then

they serve as a diffusion layer for LED lights,

go explore it some more. People who want to

which illuminate the piece with a cool glow.

dig deep can enjoy it more.” Many of the incandescent bulbs are in fact ‘CLOUD’ by Caitlind r.c. Brown + Wayne Garrett

repurposed, burned-out bulbs—and Summit

The resonance of light waves is at play in

County residents are invited to donate theirs

“CLOUD,” an interactive work by Calgary-

too, to repair the inevitable breakage that

based artists Caitlind r.c. Brown and Wayne

happens in shipping.

Garrett—and the combined effect depends on spontaneous human cooperation.

Reflections on recycling may be inescapable, but they are incidental to the piece. “We

“We wanted to make a work where the

wouldn’t brand ourselves as environmental or

audience becomes performers,” said Brown,

recycling artists,” Garrett said, although they

describing how they were originally invited to

often work with urban byproducts. What started

create a performance piece for the late-night

as a cheap way to source materials turned into






a “sort of morbid curiosity in the scale of things

illustrate,” explained Julie Boniche, the agency’s

we use, the extent to which an object exists,”

creative director. “A floating, animated light will

he said. “It’s interesting to see all these together;

appear on this surface,” depicting natural

it helps you think about your footprint.”

wonders from the “silver lines of clouds” and Northern lights to water caustics—the envelope

“CLOUD” itself was less about commenting

of light rays reflected or refracted by water. A

on the environment, and more about the

“sonic atmosphere” accompanies the installation.

universality of the symbol. “We were fascinated by the fact that weather exists everywhere,

“We chose to work above the beautiful river

regardless of boundaries or borders,” said Brown.

of the site, which brings a flowing feeling to

It takes on “a familiar shape to someone even

our floating light,” Boniche said, because “we

if they don’t share a language, so it’s a way of

thought that the theme should be linked to the

communicating with people.”

essential roots of the place. The river will be reflecting and spreading the light all around

“If a group of people work independently, pulling

the area, which amplifies greatly the immersion

things randomly, not much happens—things

and creates a strong link between water and

turn on and off and generally cancel each other

light. There is so much wonder to discover in

out, creating a gentle flicker, a steady glow,”

the darkness of the night,” she said.

Garrett said. “If people try to self-organize and coordinate, you can see the effects of the

Partnerships + Pieces

group on the exterior of the artwork. I think

Numerous other spectacles of light, sound,

there’s a connection to be made about the

nature, and human interaction are slated to

power of people when they work together.”

grace the 2019 WAVE festival, among them the luminous wire sculptures, “Les Voyageurs”

“We are pretty curious to see how the environment

(The Voyagers) and “Les Oiseaux” (The Birds),

of Breckenridge will affect how people see the

by French artist Cédric Le Borgne. Integrated

piece,” said Brown. “For us it’s quite delightful

seamlessly into natural and man-made public

to see ‘CLOUD’ settle into different cities.

spaces, these delicate, wire-mesh figures also

Sometimes we think of ‘CLOUD’ as a barometer

make their U.S. premiere at WAVE, animating

for the personality in different places.”

a corridor from the Breckenridge Arts District to Blue River Plaza in downtown Breckenridge.

‘Light Flows’ by ACT Lighting Design Above the Blue River, the Brussels-based

Local artist Scott Young, of Denver, will

agency ACT Lighting Design makes its U.S.

illuminate the Arts District with gas-lit, neon

premiere with “Light Flows,” a site-specific

sculptures inside and out—including “Tension,”

work intended to “immerse the public in a

an all-new work upstairs in Gallery@OMH that

poetic tale” told through light, shadow, sound,

uses hand-worked neon to create a glowing,

and riverine reflections.





Positive Reinforcement,” the first-time showing “We use a very light, almost invisible, suspended

of a 400-pound smiley face in which guests

surface as the canvas of the story we want to

use Instagram to change its expression. Young






will also offer a neon-bending workshop and

Arts District, where there will also be an expanded

artist talk.

slate of free workshops and family activities.

Guests are invited to bring animated movies to

Popular favorites including the LightCycles

life in a musical art installation, “Loop,” by the

community bike ride, and a cello performance



by Russick Smith on an island in the Blue River,


return again in 2019. In addition, the National

Villeneuve, and Ottoblix, in collaboration with

Repertory Orchestra presents “Floating Brass,”

Générique Design, Jérôme Roy, and Thomas

a series of mobile pop-up performances that

Ouellet Fredericks—by climbing inside giant

drift around the festival, animating the sonic













powered levers to operate them. Once the wheels are spinning, they play fairytale-based,

“WAVE transforms the Breckenridge nightscape

musical movies that vary in tempo, light

into a hub for community interaction through

frequency, and image speed depending on

artistic explorations of light, water, and sound—

how fast guests move the lever. The concept is

all spectacles of nature that travel in wave

based on the 19th century zoetrope, a pre-film

form,” said Robb Woulfe, CEO of Breckenridge

optical toy in which a sequence of subjects in

Creative Arts. “With support from our partners

progressive stages of action become animations

and funders—including the Town of Breckenridge

when set in motion.

and the National Endowment for the Arts— WAVE gets better every year. We hope you will

Afterwards, visitors can enjoy a more relaxing

join us in 2019 as we infuse the night with a rich

screening of water, light, and ecology-based

banquet of light and sound works, a sensory

films by the Breckenridge Film Festival at the

feast for the eyes, ears, hands, and minds.”

ACT Lighting Design // APPAREIL Architecture // ATOMIC3 // Caitlind r.c. Brown + Wayne Garrett // Cédric Le Borgne // Ekumen // WAVE: Light + Water + Sound //







Cattails Cattails are nature’s regenerators. They colonize disturbed wetlands, extracting pollutants and helping ecosystems return to a state of health. In another sense, sculptor Doyle Svenby gives new life to discarded industrial materials, which he salvages from scrapyards and repurposes into works of art. Svenby donated this found-steel sculpture of cattails to grace the Breckenridge Arts District, the campus of renovated historic buildings in downtown Breckenridge that opened in 2014 and is now home to artists in residence, studios and workspaces, classes and workshops, community gatherings, and a public gallery. Breckenridge public art collection // Doyle Svenby //







Carl Scofield, Liam Doran, Joe Kusumoto, and Jenise Jensen speak on image-making in the high country, offering a window into the world of our visual storytellers.






The storytellers behind the lens

Four local photographers weigh in on the profession, the craft + the high countr








ountain country is a beacon for outdoor adventurers—for skiers and snowboarders, bikers and hikers, fly fishermen and fisherwomen. Set against a backdrop of brilliant blue sky, emerald forest, and craggy peaks, it lures dreamers and lovers of creative expression too.

Most would-be travelers learn of Breckenridge from its storytellers—the writers and imagemakers whose work, shared broadly and widely, capture the imaginations of so many. Chief among them are four local photographers whose work has immortalized the high country for decades. Carl Scofield Carl Scofield has been telling the Breckenridge story from behind the camera lens for nearly 40 years. Like so many longtime locals, he moved to the mountains to ski, waiting tables to support his habit before transitioning to full-time photographer around 1984-85. Back then, in addition to assignment and editorial work for magazines, the bulk of his work was in stock photography— mountain scenics and lifestyle shots leased for use in print brochures. He got his first real break after shooting some ski events—among them the Freestyle World Cup, back when “freestyle” meant moguls, ski ballet, and aerials—which turned into a long-term gig doing promotional work for the ski area. “I’ve made my living as an assignment photographer,” explained Scofield, who has done “a little bit of everything” from “food to fashion to aerial shots from helicopters to ski action sports and editorial work for magazines.” These days he shoots a lot of high-end architecture, events, and pretty much anything else that is sent his way. He has one client that manufactures chairlifts who hires him to travel around to photograph new chairlifts. “I’ve had to continually reinvent it over the years,” he said, to keep pace with changes like the transition from film to digital, and the decline of stock photography as an income source. “I’ve managed to stay in business by being very fair and honest. I’m very proud I’m still working with the same clients I started working with 30 years ago.” One of his latest ventures is a foray into fine art and décor in the form of colorful, abstract “digital mosaics,” created with layers of original photographs and brush effects, and printed on metal with flush-mount frames. “I’m starting to get a little traction with those,” he said, describing a series of commissions he created to fit the size, décor, and needs of a prominent resort property at the behest of a longtime client. “I pride myself on what I can produce for clients,” he said. “After years of being a commercial assignment photographer, I’m very comfortable with meeting clients’ needs.” In recent years, Scofield has indulged his inner artist more and more, finding himself drawn to compose images about “time and entropy and ‘wabi-sabi’—the perfect imperfectness of being.” In one series, he captures “peeling and decaying paint,” he explained, “that in the end to me looks like a really interesting abstract painting—just a product of time and weather and age. It reminds us of our impermanence, and also the beauty of decline and decay.”






Only recently has he begun showing his more

an assignment he admitted was out of his

challenging images, starting with his first show of

wheelhouse as an outdoor sports photographer.

abstract work in 2014, prompted by Breckenridge

“To shoot something out of your comfort zone

Creative Arts (BCA), at the renovated Gallery@

makes you better,” he said. “It has helped me

BRK in Breckenridge Theater. “That opened the

grow as a photographer.”

door for me. It was very reaffirming and gave me the confidence to continue to pursue some

Often, he is to be found somewhere around

of the art that I’m doing now and getting

the globe shooting professional skiers, most

recognized for,” he said.

recently in Chile, Switzerland, and Canada. “I usually work with 1-3 athletes,” he explained.

Scofield has also appreciated the opportunity

“We go out and set up shots. Sometimes we

to shoot for BCA—an organization he watched

find a beautiful area we like and we farm it. I

from the early vantage point of resident artist

get skier one, move a little, get skier two, reset,

at the new Breckenridge Arts District. “His

and skier one comes in again, and skier two

vision has been so much bigger than any of

comes in again—that way we maximize the

us might have imagined,” he said of its CEO,

number of shots we can get in perfectly fresh

Robb Woulfe. “He’s done so much more than

snow. You’ll never see another track in any of

just getting the campus moving—the scale and

my photography; it’s always 100% fresh.”

scope and variety of art that he’s brought to the community has been tremendous.”

An avid skier who grew up in Denver and hit the mountains on weekends and holidays with

For Scofield, telling the story of Breckenridge

his family, Doran moved to Summit County

as a creative community for BCA involves

in 1996-97 and started shooting in 2001-02,

“creative license to do things very differently,”

transitioning to full-time photographer around

whether he’s working “with colors and motion

2008. Since then he has built a resume of

and reflections” or telling a narrative story. “I’m

high profile clients, among them “Powder,”

encouraged to do it as creatively as I can,” he

“Outside,” and “Patagonia.”

said. “That’s a very refreshing perspective to try to bring to an assignment.”

“I am a storyteller,” he said. “That’s probably the main reason I get hired for most of my jobs.

“I am blessed and grateful and thankful to have

I’m good at telling the full, well-rounded story,

been able to live in this tremendous community,

not just the extreme stuff but all of the travel

and create such an awesome, fascinating

aspects—the food, the après ski, the portraits

lifestyle working with my camera,” he added.

and landscapes. That’s what I do best—tell the

“It’s been a dream come true.”

entire story of a trip or an adventure we do.” While








Liam Doran

photography, he also shoots mountain biking,

As staff photographer for BCA’s /krē’āt/

fishing, kayaking, backpacking, landscapes,

magazine, Liam Doran has also appreciated the

and wildlife. His favorite subjects are “basically

opportunity to shoot the creative community—

anything I can do in Breckenridge,” he said.

“I’m most happy when I’m shooting outside.”

outdoor photographers make the images we make, and how we survive, business-wise,” he

“I’m an active participant in all the sports that

said. He likes to joke that he got into outdoor

I shoot,” he added. “It’s very different than

photography “out of pure fear of having a desk job.”

football, baseball, and hockey. Whereas those guys shoot from the sidelines, I am actively

In Breckenridge, Doran likes to walk into town

doing all the things the athletes are doing, with

from Warriors Mark with his kids to take part in

a 40-pound pack.”

BCA festivals and activities at the Breckenridge Arts District. “I’ve been here 22 years. When

As a Sigma pro photographer, Doran also travels

I moved here there was no Arts District, no

around the country giving presentations on

creative scene. It has come a long way. I’m

outdoor photography, sharing “what we do, how

really excited about where it is.”






Joe Kusumoto

worked. Later, Kusumoto worked for his school

If there’s one story Joe Kusumoto likes to tell,

paper. He came to Summit County in 1997, and

it’s that of adaptive sports. He worked with the

taught photography classes for Colorado

Breckenridge Outdoor Education Center for

Mountain College in the early 2000’s before

years, and traveled to shoot every Paralympic

opening his business in 2004. For the most

Games since Athens in 2004. “I love getting

part, he has stopped shooting film, and primarily

that story out there—about these elite athletes

uses a digital camera. “I say that with a little bit

and what they are able to do,” he said.

of sadness because I miss it,” he admitted.

Locally, he enjoys capturing the “other” side

He really values the local community of

of Summit—not just the ski town story, but

photographers. “I think building relationships

“the other things that are happening in our

with each other, helping each other out, and

community,” from the good works of The

helping folks who are interested in working in

Summit Foundation to the “diverse mix of

photography … is an important thing,” he said.

artists and performances” BCA brings. “It

“There’s enough for all of us to do that we can

means a lot to me to have that diversity,”

support each other and really have a thriving

Kusumoto said, naming the Aztec dancers at

community of colleagues.”

BCA’s Día de los Muertos celebration. “Getting the chance to be involved in that, and shooting

Jenise Jensen

that, is one of the things I value greatly.”

One of those up-and-comers is Jenise Jensen, who is quick to credit Kusumoto and other

Kusumoto makes a living by tackling a wide

photographers in the county for their help,

range of subjects—including public events,

whether in the form of advice or selling her

weddings, local sports, portraits, and architecture.

their used gear.

“Up here in Summit County it works out to do a bunch of different things,” he said. “I enjoy

Jensen began to pursue her interest in

that. It keeps things interesting.”

photography in earnest a few years ago. “Summit County has some amazing things to

He went to school for architecture, so he

experience,” she said. “I kind of fell in love with

enjoys shooting it, and “looking at spaces.” The

the fox families in Breckenridge—all the baby

same interest underlies his fascination with

foxes in the springtime. It really motivated me

events like Trail Mix, a series of art and musical

to learn more about photography so I could

installations on local trails presented as part of

capture some of these amazing images.”

the Breckenridge International Festival of Arts. “I’ve always been drawn to the interaction of

Although she initially dabbled in blogging, she

the built environment with nature—our human

discovered she preferred to tell stories through

interaction with nature,” he said.

photographs. “There are so many great stories here—whether the amazing mountains and

Kusumoto grew up with photography. His dad

skiing or wildlife or great concerts in Summit

had a darkroom in their house, and a camera

County where you can have an intimate

club at the Veterans Affairs hospital where he

experience with musicians that you don’t get in






big cities,” she said. “I think we are very lucky.”

“I still don’t enjoy going onstage,” she said. “Especially at Red Rocks, I’m hiding behind the

Jensen started out volunteering her services

speakers trying to stay out of the way. There’s

taking pictures for BCA, driving to the Front

a reason I’m behind the camera.”

Range for advanced photography classes, and interning with a local band—anything to

Still, she makes a point to encourage other

build her skill and experience. Working with

female photographers. “Especially in media

the band broadened her horizons, she said,

or concert photography, there are very few

the challenge inspiring an interest in stage

females. It’s a very intimidating environment,”

and concert photography, and the attention

she said. “If you are shooting for newspapers

to lighting quality dynamics and specialized

or magazines, you get the first three songs

equipment required to capture it.

from what’s called the pit in front of the stage. The photographers I talk with are always like,

She got her first real break photographing the

‘How did you get stage access, how did you do

music industry with the Grammy-winning band

that?’ I tell them to keep working on it. It’s just

Ozomatli, when they came to Breckenridge as

like anything else you do—you have to keep

part of BCA programming. She’d first heard

practicing, stick with it, and you can get there.

them in Breckenridge in 2006. “They blew me

I was in their shoes, only shooting from the pit,”

away, so I researched them,” she said. “Besides

she reflected. “It’s not like I’m photographing

being Grammy winners, they were cultural

Lady Gaga at the Pepsi Center—but I’d like to,

ambassadors for the U.S. State Department. I

so I’m still working and I’m still learning.”

liked their music, but I also like their social activism. I have a lot of respect for Ozomatli.”

In her BCA work, Jensen enjoys trying to

After Breckenridge, the band invited Jensen to

capture images that “show something in a

shoot them at Red Rocks Amphitheatre—and

different light, from a different perspective,”

her career has blossomed since. “They gave

whether that means deciding to shoot from

me a chance,” she said.

ground level or eye level. She also enjoys capturing people’s facial expressions—“those

Now she regularly finds herself at Red Rocks

moments when they are enjoying the art.”

and other large Front Range venues with an allaccess pass, having been hired by bands,

“It all goes back to storytelling,” she said. “That’s

management companies, publicists, or venues.

what I like.”

Carl Scofield // Liam Doran // Joe Kusumoto // Jenise Jensen //






/around town/






Street Arts: Spangled July 4 Street Arts festival returns with glitter, sequins + a tunnel of love


he Breckenridge Arts District transforms

because I rebelled against all of that for so

into a glittery, sequined hotbed for

long—to finally see that coming to life in my

Independence Day fun this July 4 with

studio of all places, it really kind of cracks me up.”

the return of the Street Arts festival, interpreted this year to include not only the much-loved

Minyard traces her glittery, sequined aesthetic

chalk art contest, but also old-timey American

to Louisiana, where she grew up surrounded

fun like bingo, a sack race, a tug-of-war, a pie-

by Mardi Gras—that annual excuse for spirited

eating contest, denim bedazzling, a beer garden,

celebration and wild self-expression, and all

and a dog fashion show.

the colors, sequins, and beads that come with it. “There’s something about Southern women

“This year’s festival will be just as goofy as last

and ‘blingy,’ sparkly things that kind of comes

year,” said Nicole Dial-Kay, director of exhibitions

hand-in-hand,” she said.

and special projects for Breckenridge Creative Arts (BCA), which puts on the event. “People

Parade floats are popular in Louisiana, and

want to stop in and have fun. They want to see

Minyard has worked on a few of them, including

people cover their faces with pies—and we

prom floats. “I feel like it’s really bringing in what

look forward to delivering that.”

I’m used to back home, into my new place where I live,” she said. “I’m really excited about it.”

The centerpiece of this year’s festival is a “Tunnel of Love” parade float by Katie Minyard, replete

At the day’s end, BCA will host a Blue Ribbon

with a giant swan and marquee-style heart, done

Ceremony at the Arts District, where winners

up in glittery red sequins and holographic gold.

of the dog fashion show, pie-eating contest, and other games will be recognized.

“I have this obsession with love hotels, swan float rides—stuff that’s very cheesy and quote-

“A tunnel of love is just so American,” said Robb

on-quote romantic,” said Minyard, who is currently

Woulfe, BCA’s CEO. “It evokes summer fun and

pursuing a Master’s Degree in studio processes

carnival rides—the very things you’d expect

at the University of Colorado Boulder. “I’ve been

at a fun-filled Fourth of July party. Our Street

surrounded by that my whole life,” she said,

Arts festival embraces all that is nostalgic and

explaining how her great grandmother, a Polish

folksy and fun, offering a contemporary twist

Jew who emigrated to the U.S. during World War

on patriotism, public celebration, and what

II, would collect tchotchkes with a “super feminine

it means to be American. We look forward

motif to them.” Her grandmother cultivated a

to Katie’s fantastic float, and to celebrating

similar aesthetic, as did her mother after that.

Independence Day with all the glittery red,

“My whole house, as a child, was covered in pink

white, and blue fanfare we can muster at the

roses and butterflies,” Minyard said. “It’s so funny

Breckenridge Arts District this July 4.”

Street Arts: Spangled // Katie Minyard //







A time for change Backstage Theatre’s new leadership speak on the current season + future plans

Can you tell us about some of the upcoming

play—there’s some unifying concept that fits


them together. This season was inspired by us

Debbie: Coming up in June we have ‘Taming

bringing new leadership to the theater, and the

of the Shrew.’ We are excited to present Shakespeare. Many people aren’t familiar with Shakespeare, so by bringing it to our theater we are expanding the minds of our community. It’s also great for kids to have the opportunity to see Shakespeare. Each season we want a combination of things from comedy to drama, musicals, artistic pieces, and classical productions. The people who come to the theater month after month need variety.

idea of change—how it’s hard, but sometimes it’s necessary and it makes us better. All of our plays this season have a character dealing with this idea of change and what they think is right. They either take the plunge and they make a change, or they fight against it and they lose everything. Debbie: Nathan and I really wanted to focus on the growth of the theater from an artistic perspective, as well as the number of people

Nathan: We will have a daytime children’s

we reach—whether audience members, people

production called ‘Totally Red’ in July and

we reach through marketing, or community

August, running at same time on the same set

members who are sponsoring us. We wanted

as ‘Into the Woods.’ ‘Into the Woods’ is a

to reach more people and grow our artistic

Sondheim musical about multiple fairy tale

community. Our graphic artist, Collin Perrier,

characters—Cinderella and her prince, Little

designed our posters to have a theme, but also

Red Riding Hood and the wolf, Jack and the

designed the cover of our program to depict

giant from ‘Jack and the Beanstalk,’ the baker

an awakening where the Backstage is rising up

and his wife, the witch, Rapunzel and Rapunzel’s’

and coming into a new place of growth. We do

prince—who end up in the woods at the same

an insert for each show but the program stays

time and their stories get changed as a result

the same. From the way the lobby looks to the

of each other. ‘Into the Woods’ is definitely for

theme of the show and our marketing, we want

adults, and ‘Totally Red’ is like a kids’ version of

everything to tie together. We want it to feel

it, a comedic piece for children. When I was

like everyone is entering the play with us; they

thinking about artistic programming, I wanted

are joining in more than just watching.

something that could play in same space on same set. I thought ‘Totally Red’ was a nice spin off. After that is ‘Little Shop of Horrors,’ our show featuring performers from the community, which runs August 23 to September 1.

Nathan: We are also expanding our kids’ programming. There’s a new full-time position as associate director that’s going to help us add more. We are looking to add an extra STEP production that’s a play, in addition to our

What is your vision for the Backstage Theatre?

musical, and add a couple more weeks to our kids’ summer camps. We are planning those

Nathan: One of the super important things to

now, for all ages. I taught high school theater

me when I came on board was that every season

for 8 years, and I wrote the theater curriculum

has a unifying concept to it—from the designs

for three different school districts. I know how

to the way we market it to the whole role of the

valuable theater is for kids.






How has the reception been so far?

to produce. We already have our 2019-20

Debbie: It’s been positive. Our January/

season planned—the season, the sets, who’s

February production, ‘Almost Maine,’ was an artistic piece. I would say that it’s a little bit outside of what the Backstage has done in the past; they’ve done more popular titles. During what typically is a slow time and maybe 700800 people come to see a show, we had over 1,300 people. We were really excited to see the community embrace an artistic piece.

performing, who’s directing, and the marketing scheme. We already planned it, got the rights, and presented it to the board. It’s nice to be ahead of the game. Can you tell us anything about the 2019-20 season? Nathan: All of the stories we are going to tell next season have characters that become obsessed

Nathan: ‘Almost Maine’ has some uncomfortable

with where they want to go—and in doing that,

moments. We marketed it as a Valentine’s Day

they lose track of time and miss where they are

show; there are some great moments of love

now. I was inspired because for me personally, this

and some bad moments of love. Seeing people

is the first time since grad school I’m somewhere

in the audience experience some moments

I’m going to stay. I’ve been in such a hurry to

that may have happened to them—it can hit

get somewhere, I’m afraid I’ve missed out on

home. But I think that is what art is supposed

something. As Thornton Wilder said, only poets

to do. Art is supposed to affect you, to make

truly know what it’s like to live in the moment.

you feel, and it could be good or bad. Aristotle said theater should educate or entertain. I think good theater does both.

Debbie: The new season will start a month earlier this year, in October 2019, and we will announce the complete 46th season at our

I imagine you’ve been pretty busy, having just come on board in fall?

annual fundraising bash on July 11th. The annual Backstage Bash this year will be a compilation of numbers from all of the shows we performed

Debbie: My first 90 days were a whirlwind. We

in our 45th season. It has been a fantastic

are focused on professionalism, and for me,

anniversary season and we look forward to

that means doing the organizational work on

celebrating the growth of the theater with all

the business side that leads to the opportunity

of our donors and sponsors. It’s going to be a

for Nathan to produce the season he wants

fun night!

The Backstage Theatre in Breckenridge launched its 45th season in November of 2018 with new leadership and a vision for change. Here, Executive Director Debbie Trevino and Artistic Director Nathan Autrey weigh in on current efforts and future directions for the theater company. Breckenridge Backstage Theatre //







The Breckenridge International Festival of Arts returns August 8-19, its whimsical outdoor programming bolstered by a new series on climate change and green activism.






Art, nature + ‘green patriotism’

BCA presents series on climate change and humanity


at Breckenridge International Festival of Arts PAGE





he Breckenridge International Festival

create posters around local environment goals.

of Arts (BIFA) returns for its 5th year

Launched by artists Susannah Sayler and

August 9-18, 2019 with a series of artworks

Edward Morris in 2008 as part of The Canary

and performances that entreat guests to frolic

Project—an arts collaborative they created to

in our wild lands, reveling in arts, culture, and

deepen public understanding of ecological

music in the very setting that makes Breckenridge

issues—the idea for “Green Patriot Posters”

so popular with outdoor enthusiasts.

came to them when they toured an exhibition of World War II posters showing down the hall

Juxtaposed with so much lighthearted play,

from their own exhibition of climate change

this year’s BIFA festival also promises a series

photographs. “It was really shocking—the

of ecological artworks and experiences, made

degree to which the posters talk about what

possible with funding from the National

we are doing now,” said Morris, citing a series

Endowment for the Arts’ Our Town program,

of “save fuel” posters as an example. “We

to inspire a range of thought-provoking

realized posters could do something our



photos of climate change could not do.”









humankind, to environmental activism as an

The first iteration of “Green Patriot Posters”

expression of patriotism.

featured a series of bus ads by renowned designer and educator Michael Bierut “that kind of valorized

‘Green Patriot Posters 2.0’ by Sayler/Morris

riding the bus,” Morris explained. From there it

Green activism is community-based in “Green

grew to a website where designers could submit

Patriot Posters 2.0,” a project that invites students,

posters, to an exhibit, a book, and billboards. “It’s

artists, designers, and community members to

not just about design as an isolated exercise,

but how to get designs into the world,” he said.

self-identity.” But the artists felt that “acts of

Both Sayler and Morris are faculty members in

sustainability could be patriotic,” she said. “We

the art department at Syracuse University,

want this notion to be shared and not separating

where they teach students to see art as more

people. That’s why we adopted the term ‘patriot.’”

than self-expression, but as a way to address social issues, and as a form of communication.

In Breckenridge, “Green Patriot Posters 2.0” will take the form of artist-led workshops for

To prepare for the Breckenridge launch of

participating students, an exhibition of project

“Green Patriot Posters 2.0,” the artists met with

posters within the visual media of Town public

Summit County leaders who are working on

spaces and businesses, and a pop-up exhibition

sustainability initiatives, such as the Town of

of posters created since the project’s 2008 start.

Breckenridge’s effort to achieve 100% renewable energy for municipal facilities by 2025, and

‘Contrappunto,’ ‘Golden Shelter,’

efforts to address the bark beetle epidemic.

+ ‘Blue River’ by Guiseppe Licari

These local goals will serve as a menu of ideas

Whereas “Green Patriot Posters” works within

around which posters will be created. “The

the language of mass media, the Sicilian artist

posters become like an advertisement for things

Giuseppe Licari, who is based in the Netherlands,

that are already happening, to communicate a

will impress the urgency of climate change and

sense of pride in these activities,” Morris said.

human impact upon viewers in a series of large-scale installation artworks—two indoors

“We think of our job, as artists, as to create

at Gallery@OMH and a third along the

public sentiment,” he explained. “By taking

Moonstone Trail in Breckenridge.

action—even a simple action like recycling— you are creating public sentiment, public will

“I’ve been fascinated by the relationship between

that can create political will, and that’s what we

fire and society,” said Licari, whose work,

need [to combat climate change].” The project

“Contrappunto,” consists of a gently smoking

is a good fit with the National Endowment for

forest of black, burned trees set against the white

the Arts’ Our Town funding program, which

backdrop of gallery walls. His concept dates to

seeks initiatives that unite arts organizations

2007, when he presented a single burned tree

with municipalities to impact community goals.

to comment on the Sicilian forest fires, followed by a 2016 residency at Ming Studios in Boise,

The artists’ idea to invoke patriotism was inspired

Idaho, where he created “an installation made

by the American spirit of rallying around a common

in multiple trees that addresses the issue more to

cause embodied in the World War II posters—

a global level,” he said. In the U.S., he is interested

particularly the iconic “We Can Do It!” poster of

in the juxtaposition between forest management

Rosie the Riveter. “There seems to be this political

practices and environmental impact—in this

divide where the notion of patriotism is reserved

case the practice of suppressing fires, and how

for more conservative politics,” explained Sayler.

that creates fuel for the huge forest fires we

“Certainly on the left, the notion of patriotism

are seeing today.

is challenging. The left typically does not like to think about patriotism in terms of their own


“Fire has the duality of being good for the





forest because it brings life, but also horrible

landscape was so filled with this sign, especially

because it destroys everything,” he said. “In

the dredge rocks.” He did some research, and

that sense, we have ‘Contrappunto.’” By

discovered that in order for the town to reclaim

rendering these “dead trees, miserable trees”

the once-buried Blue River from underneath

indoors, they “become more domestic” and

mountains of dredge rock, a layer of thick plastic

serve as “a metaphor to talk about people,” he

was added to keep the water aboveground.

said. “I think they become somehow a mirror.” “The water flowing is creating a sound that Licari pursues that concept further in “Golden

was created, that was manmade,” he said. “The

Shelter,” an outdoor installation for which he

idea of the plastic membrane holding the water

will wrap a community of small trees—which

made me think, ‘How will water sound when it

are growing in spaces created by land managers following




guidelines—in space blankets, which have come to symbolize emergency care. “The idea of wrapping the trees shows this duality of taking care of the forest—making sure it is protected, but also suffocating it,” he said. At the same time, “when the trees are wrapped in blankets, they look like people. The trees become again like humans. The same care we take for trees is reflected in the care we have for people.” “The problems climate change is bringing is not for nature but for the people,” he said. “Nature will continue to evolve and exist as it has for millions of years. We are within nature. In the end, that’s why I like to compare nature to humanity. In society, if you see what we have been doing to nature, you can see what we are capable of,

hits the plastic?’ We will try to find it along these 9 miles in August, and extract these artificial sounds.” The recordings will be used to create a multichannel soundscape that will “create the presence of the Blue River without it being visible” and serve, together with the landscape of dredge rock, as a space for contemplation—not only about the mining activities that made the river disappear in the first place, but about “the Blue River as it is now.” ‘Rocks’ by Gretchen Marie Schaefer Presented together as part of the “Blue River” installation will be a study of natural objects and the meanings we imbue in them by Denver artist Gretchen Marie Schaefer. Much of her work involves displays of objects

what we have been doing to humanity.”

ranging from bone, shell, and wood to synthetic

His third installation, “Blue River,” will consist of

shape, color, texture, and other formal elements.

many tons of dredge rock transported to the

“Often they are placed in a line, almost creating

upstairs space at Gallery@OMH, accompanied

a visual horizon directly on the wall,” said

by a soundscape created with Italian sound

Schaefer, who directs the Rocky Mountain

artist Nicola Di Croce. The idea came to Licari

College of Art and Design’s Visiting Artist,

during a visit to Breckenridge last August. “I

Scholar, and Designer program. “They almost

am very much fascinated with mining activities,”

become beats in a score of music or words in a

he said. “Even though I knew Breckenridge was

sentence in the way they relate to each other

created by the Gold Rush, I didn’t know the

but altogether create a larger whole.”

materials like string and paint, organized by

Shaefer reuses objects again and again,

where they are floating—[it’s about] looking at



this differently. How can we change the physical

configurations. “Anytime you move objects

properties of a thing that seems unchangeable?

closer to each other, or further, or change the

If I can make rocks float, maybe I can break

orientation, it changes the work; it changes the

down the patriarchy. We can change things in

meaning,” she said. “I really value the energy in

our landscape,” she concluded. “Maybe it’s all

an object; they have a lot of things to say. It’s

about changing how we view them.”






fun to see how putting these objects next to each other—there becomes this beautiful, poetic conversation.”

BIFA 2019 “Like many of the works we have presented at

Rocks have become a focal point for her recently, and she has created several bodies of work studying them, including a series of papier-mâché rocks she plans to exhibit in Breckenridge. “Rocks are simultaneously as unique as fingerprints, and as ubiquitous as sand,” she said. “No rock is the same as any other. They make up our entire earth. When they are removed from their context—which is a very common thing to do; you pick up a stone or collect a rock—it becomes sort of abstracted. It now becomes this really interesting

the Breckenridge International Festival of Arts in the past, our ecological series can be appreciated on a purely aesthetic level, because it will transform the landscape with the kinds of aweinspiring spectacles our 10-day summer festival is known for,” said Robb Woulfe, the festival’s creator. “However, for those who wish to dig deeper, these works will also provide a jumpingoff point for contemplations—and ecological action—concerning our role in nature.” Other feats and wonders to grace the 2019 BIFA

precious object.”

festival include “vertical dance” performances

Schaefer is also fascinated by the way rocks

dancers who use rock-climbing technology; a

are at once “stable and solid and strong” as

reinstallation of the newly imagined “Isak

they are constantly and invisibly changing.

Heartstone” troll sculpture in a new location;

“Lately I’ve been thinking how that’s an

Riverwalk Center concerts including DeVotchKa



(ticketed) and Paul D. Miller a.k.a. DJ Spooky

social, patriarchal—it feels insurmountable,

(free); and a slate of outdoor performances for

always,” she said. “By making rocks out of light

Trail Mix, including the return of the Chirp!

material like paper, delicately balanced on a

sound art installation, and Tree-o, featuring

glass rod, or positioning them in a drawing

musicians high in the trees.


by BANDALOOP, a company of world-renowned


Green Patriot Posters // Sayler/Morris // // Guiseppe Licari // Gretchen Marie Schaefer // Breckenridge International Festival of Arts //







Anne Murphy

Open Space and Trails Manager, Town of Breckenridge Background Home: Wellington neighborhood, Breckenridge Family: Dog, Lucy Education: Alma College, Bachelor of Arts in biology and Bachelor of Music in piano performance; Cleveland State, graduate certificate in GIS; Duke, certificate in nonprofit management; CU Denver, Master’s in executive public administration, May 2018 Why Breckenridge? The mountains were calling! Art Medium: Piano, photography, and silversmithing Latest project: Watermelon tourmaline ring set in sterling silver Favorite creative space: Anywhere above tree line where the distance is limitless Source of inspiration: The land is my inspiration and lifeblood Creativity is: Like air for breathing, a necessary component of my wellbeing

Insights Personal hero: My dad, who taught me to rise, shine, and greet each day as a gift Favorite book: “The Power of One” by Bryce Courtenay Favorite restaurant: Ember Song in your head right now: Nina Simone’s “Sinnerman” Unique home or office decor: Houseplants and orchids that fill every available space Favorite movie: “The Secret Life of Walter Mitty” Favorite causes: Nonprofit land conservation Favorite way to spend free time: Hiking with my dog, Lucy, and a camera

Confessions What keeps you up at night? Reading a good book Pet peeve: Lack of accountability First job: Jewelry design and fabrication for a Native American gallery First choice for a new career: Photographer What do you do to recharge your batteries? Go hiking with Lucy or play piano Guilty pleasure: Coconut chai latte

Originally from Petoskey, Michigan, Anne Murphy, 42, began playing piano at age 5 and has worked in land conservation for more than 20 years.












Dancing on rock + air BANDALOOP brings ‘vertical dance’ to Breckenridge International Festival of Arts


o play in natural spaces, buffeted by the

Endowment for the Arts and the U.S. Embassy.

elements—it is this passion that unites so many high country adventurers, and

“BANDALOOP is rooted in climbing culture,” said

underpins the Breckenridge International Festival

Thomas Cavanagh, executive director, explaining

of Arts (BIFA), upcoming August 8-19, 2019.

how the company employs redundancy to spread the load on the ropes that support each dancer.

Making its debut performance at BIFA this year

That same ethos of protecting one another

is BANDALOOP, an Oakland, California-based

extends to their Leave No Trace policy in natural

dance company that epitomizes what it means to

environments—from the fragile ecosystem of

dance in the wild, inspired by natural phenomena.

Yosemite where they shot their film, “Shift,” in

Founded by Amelia Rudolph, the group is

2015, to “honoring all activities that respect nature

among a small number to pioneer the concept

and integrate the human relationship to place that

of “vertical dance,” performed on walls as if the

wilderness and urban landscapes provide,” he

stage were shifted sideways.

said. “We want to be conscious of and connected to all audiences, both intended and incidental.”

Rudolph had been dancing for 20 years before she took on rock climbing in California’s Sierra

In Breckenridge, BANDALOOP will perform their

Nevada in 1989. “I was intrigued by how dance

indoor repertoire at the Riverwalk Center, “dancing

and climbing shared many skills, and my dance

in ways that use the air and walls as well as the

made me a better climber,” she said. “As I clung

ground as our ‘stage,’” Rudolph said. This will be

to a knife edge ridge of granite at high altitude,

accompanied by live music and film selections from

I wondered ‘What would it feel like to dance

their outdoor work. The performances, on August

here?’ I wanted to explore putting dance in the

16 and 17, will be free and open to the public.

mountains and using climbing technology to expand what dance could be.” BANDALOOP

“Music plays a key role in the sentiment and energy

was born of this intersection.

of every dance and film we make,” said Rudolph, who hopes to work with Zachary Carrettin,

Today the company reaches millions, traveling

artistic director of the Boulder Bach Festival,

around the world to perform on rock walls,

on the project. “We love to work with composers

suspended in air in indoor spaces, even on the

to realize the arc of the energetic narrative of

walls of historical heritage sites. In March,

the dances we are making. From the interaction

BANDALOOP performed in Malaysia at the 8th

of the composer/musician and the dance,

World Summit on Art and Culture for the

unexpected and unplanned moments emerge

International Federation of Arts Councils and

that are not available in the same way when we

Culture Agencies, commissioned by the National

are using music that is already composed.”

While in Colorado, BANDALOOP also plans to

for the sloping edge of that plateau, or the cliff

shoot a new film—a project for which Cavanagh

on a rock face,” Cavanagh explained.

has already scouted local rock walls and submitted permit requests to local land management

“There is a subtle something, unnamable, that we

agencies—with selections to be screened at

humans go to the mountains for,” Rudolph said.

the company’s Riverwalk Center performances.

“It is the way we feel humbled and alone and the way we feel connected to the power that nature

“Dancing on cliffs is a feeling like no other,” said

holds and the cycles of decay and renewal it

Rudolph. “Often you are literally hundreds,

expresses. …I also appreciate the tension between

sometimes several thousands of feet up, a

the discomfort and challenge of the mountains,

place where usually only the peregrines, lizards,

and the fluidity and grace of dance. You have to

and swallows inhabit—though of course so too

be really hearty to be a BANDALOOP dancer in

do serious rock climbers and vertical dancers.

the mountains—not in the name of conquering a

The feeling is exhilarating, vast, and extremely

peak, but in the name of realizing art and beauty.”

focusing,” she said. “You are also managing the sense of exposure, wind, temperature, uneven

“It is a great honor to be invited to perform for

landings on natural rock, often the effects of

BIFA in the summer of 2019, not just to realize

altitude, and many other things that are not

work at Riverwalk Center for an awaiting and

usually in the realm of dancer experience.”

eager audience, but also to take our dance to altitude and celebrate the impressive Rocky

This natural variability leads BANDALOOP to

Mountains at a grand scale with both cliff and

describe their work as “site-reactive,” meaning

alpine meadow,” Cavanaugh said. “BIFA is

the dancers must adapt their choreography

inviting us to share what we do best, dance on

based on the environments they encounter.

mountains and bring that to the people in an

“You can prepare the choreography and music

arc of public art not seen before in this enclave

at home, but there’s no way you can prepare

of progressive eco-experience.”

BANDALOOP // // ‘Shift’ // Breckenridge International Festival of Arts //






/sourced/ A guide to creative businesses and organizations in and around Breckenridge Cultural Organizations Breckenridge Backstage Theatre 121 S. Ridge St. Breckenridge Creative Arts 150 W. Adams Ave. Breckenridge Film Festival 103 S. Harris St. Breckenridge Heritage Alliance 309 N. Main St. Breckenridge Music 201 S. Ridge Street Breckenridge Tourism Office 111 Ski Hill Rd. National Repertory Orchestra 111 S. Main St.

Branding + Design The Brandon Agency 160 E Adams Ave. GatherHouse Inc. 110 Second Ave., Frisco KL Creative Design 304 Illinois Gulch Rd. McGraphix Creative & Consulting 201 N Ridge St. Nikki LaRochelle Design

Squeeze Designz Straughn Design 552 97 Circle Summit Creations 102 Continental Ct.

Galleries Arts Alive 500 S. Main St. Blue River Fine Art Gallery 411 S. Main St. Breckenridge Gallery 124 S. Main St. Colorado Scenics 421 S. Main St.

Museums + Historic Sites Alice G. Milne House and Memorial Park 102 N. Harris St. Barney Ford House Museum 111 E. Washington Ave. Breckenridge Sawmill Museum Boreas Pass Rd. William H. Briggle House 104 N. Harris St. Country Boy Mine 542 French Gulch Rd. Edwin Carter Museum 111 N. Ridge St.

Gallery@BRK 121 S. Ridge St.

High Line Railroad Park 189 Boreas Pass Rd.

Gallery@OMH Old Masonic Hall 136 S. Main St.

Lomax Gulch 301 Ski Hill Rd.

Gallery@SBL 103 S. Harris St.

Mountain Top Children’s Museum 605 S. Park Ave.

Gary Soles Gallery 300 S. Main St. JK Studio 100 S. Main St., 2nd floor Raitman Art Galleries 100 N. Main St. 421 S. Main St.

Prospector Park 112 N. Main St. Red White and Blue Fire Museum 308 N. Main St. Summit Ski Exhibit 308-B S. Main St.

Boutiques + Specialty


Breckenridge Photographics 500 S. Main St.

Allen Guerra Architecture 1915 Airport Rd.

The Glass Art Company 411 S. Main St. #16

Arapahoe Architects 322-C N. Main St.

Global Candle Gallery 326 S. Main St.

bhh Partners 160 E. Adams Ave.

Magical Scraps 310 S. Main St.

Equinox Architecture, LLC 520 S. Main St.

Marigolds Farmhouse Funk + Junk 215 S. Main St.

J.L. Sutterley Architect 500 S. Ridge St.

Ole Man Berkins 326 S. Main St. Portiera Designs 326 S. Main St. Ready Paint Fire 323 N. Main St. Ruby Jane 232 S. Main St. Wandering Daisy 326 S. Main St. Young Colors 226 S. Main St., Unit 1

Matthew Stais Architects 108 N. Ridge St. Michael F. Gallagher Architect Neely Architecture 1705 Airport Rd.

Healing Arts Alpine Spa and Salon 500 S. Main St., 3rd floor Ambika Healing 435 N. Park Ave. Blue Sage Spa 224 S. Main St.

Meta Yoga Studios 118 S. Ridge St.

Breweries + Craft Beverages Après Handcrafted Libations 130 S. Main St. Breckenridge Brewery 600 S. Main St. Breckenridge Distillery 1925 Airport Rd. Broken Compass Brewing 68 Continental Ct.

Cafes + Coffee Houses Amazing Grace 213 Lincoln Ave. Cabin Coffee Company 222 S. Main St. Clint’s Bakery & Coffee House 131 S. Main St. Cuppa Joe 118 S. Ridge St. Mug Shot Café 435 N. Park Ave. Starbucks 225 S. Main St.

Breckenridge Bliss Massage Therapy 325 S. Main St.






Part of the Breckenridge International Festival of Arts, Tree-o is a performance art installation featuring three musicians— cellist Russick Smith, violinist Karen Lauffer, and mandolinist Kevin Larkin—in a series of free concerts held in the forest, high among the pine boughs.