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LIGHTING TECHNICIAN For Andie Szekely, the decision to attend Southern Utah University was an easy one. The campus was beautiful and offered a degree in theatre design and technology. Andie had several opportunities to design shows, rig lights and work as a master electrician at SUU. Andie now works as a freelance lighting assistant on a variety of jobs that takes her across the country. â€œMy education at SUU gave me a strong foundation, which I use to execute any project that comes my way.â€?
The Land of Art
options soul searchers
compassion feeds creativity 16
the unconventional way to unlock a pure creative force
holding onto the book 18
a tribute to pages bound by history
desert dwellers gold butte 24
nevada’s national monument stuck between a rock and a hard place
lost cultures: the aztecs 34
compelling images of an ancient culture
the reservation as you’ve never seen it 40
how one navajo family has embraced change ... and visitors
art lovers the tank 46
saving the place where celestial sound resides
the land of art 52
how a collusion of art and politics brought forth a new national monument
abraham mccowan 58
variations on obsessions with printmaking
getting creative 62
a look at the unique arts groups and organizations across the central southwest
expectations in every issue
etched in time 6 leaving their mark 8 experiencethesouthwest.com 10 meditations 12 southwest arts 44 southwest flavor 84 snapshots 87 arts & entertainment calendar 92
adventure seekers wire mesa 70
a trail to experience all-levels of mountain biking at its best
rising to the demand 74
more than golf is driving the ‘green’ in mesquite, nevada
regional arts & events information 78
the people, the places, the dates – the vibe of the southwest
on our cover Michael Sloan Photography by Nick Adams
ETCHED in time
The road to the Grand Canyon from our home in Parker, Arizona led us out into the solitary stretches of historic Route 66. It was the 1970s. With the family piled into our wood-sided station wagon, a childhood friend and I claimed the far back seat that actually faced outward from the rear. Here we had a magnificent view of the desert’s wide open spaces. The completion of Interstate 40 would eventually reroute history and the world away from this remote wilderness. The tram at the Grand Canyon takes you along a route of lookouts. My parents sat us kids away from the windows “for safety sake.” The swaying of the cars as the tram slithered along the rim was hypnotic to me. My dad, on the other hand, wasn’t ‘feelin’ it’. He was known as Big John. My giant of a father took one look out of the window and quickly traded me places. The pavement below nearly met the canyon’s edge. Looking down scared the swear words out of him. I, in turn, gazed out in ignorant bliss wondering, “Who carved this canyon?” My initial perception of the Grand Canyon’s creation mirrored my wild imagination. However, around the same time, an art movement of similar imagery was well underway in the southwest. It was called earth art. And it, too, was obscure in its essence. Land art, earthworks, or earth art, all refer to the idea of using the natural landscape to create site-specific artwork and accepts decay as part of the process. In short, land art’s movement in the late 1960s evolved as an extension of environmentalism. It challenged the commoditization of American art with the idea of getting people out of museums and into nature. A few of these earth-moving pieces are worth noting: – In 1970, Robert Smithson constructed Spiral Jetty along the shores of the Great Salt Lake in Utah. The late world-renowned land artist utilized over 6,000 tons of rock and earth from the site, arranged in a counterclockwise coil extending 1,500 feet out into the lake. – American artist Nancy Holt created Sun Tunnels in 1976. It consisted of four large concrete tubes, precisely drilled with holes positioned to align with the sunrise and sunset of the summer and winter solstices, constellations, and for viewing the remote landscape of the Great Basin Desert. – In 1977, the late American sculptor Walter De Mariahe installed The Lightning Field. Set in the remote high desert of western New Mexico, a series of 400 stainless steel poles are arranged in a grid shape designed to attract lightning strikes. – American artist James Turrell acquired Roden Crater in 1977. Turrell has since spent over 30 years converting the dormant cinder cone in northern Arizona’s Painted Desert into a huge naked-eye observatory. The intrigue of a time where earth and art came together in a rather anti-cultural but ‘monumental’ way is what drive’s this Arts Issue of Etched. We take you to, through, and inside some of nature’s most visually generous gifts. Our pages explore the people and the places whose paths have crossed and together forged art; and a conversation. Included in the issue is a look at Contemporary American land artist Michael Heizer whose reclusive journey digs into the heart of his land, art, and the national monument now surrounding it. They don’t make station wagons like they use to. Or those (dangerously) reversed back seats. I cherish the views though, that it once offered. But life continues to be an adventure. I find myself hiking with family or friends to get a closer view of what I used to see from that window. The southwest is a world of its own filled with beauty, mystery, and history. The preservation of it all requires monumental efforts, work, and a conscious.
darci hansen editor in chief @EtchedMagazine
THE ARTS ISSUE 2018
leaving their mark
MONUMENTAL WORK: THE LAND OF ART relentless | captivating | remote | work | restoration
has worked as a full-time photo-journalist, wedding and portrait photographer since 1993, earning industry awards and recognition for artistic excellence. With a degree in Anthropology from Berkeley, he has traveled the world photographing clients and has taught photography in the US and Europe. A seasoned musician, Nick sings and plays guitar in bands of notoriety, performing on the Warped Tour and at the House of Blues. Nick lives in St. George with his wife and creative partner Signe Adams.
ZADRA is a composition instructor, freelance writer, and mother of three crazy, fabulous boys. This Rangely, Colorado native took interest in The Tank as a teen (as did many longtime locals), curious about the allure of the abandoned space. Heather was reintroduced to The Tank 20 years later while writing about the efforts to preserve it. When not writing, you will find Heather reading a book, on the racquetball court, or exploring wide open spaces.
one or two cameras around for 30 years or more, first taking film images of ghost towns in Nevada to digital images of southern Utah’s red rocks. Not to be outdone by the youngsters, the Kanab, Utah resident found a new passion at age 60, canyoneering! If Barry’s not stocking shelves or fixing electrical problems at his family business, he is out photographing wildlife and slot canyons. “My personal goal is to preserve time—to gaze upon a moment and feel the emotions rising from that image.”
THE ARTS ISSUE
Darci Hansen Founder Editor in Chief
• • Laurie James Design Editor
• • Carrie Leishman Vice President of Publishing
• • Associate Editors Vicki Christian Editorial Assistant Erin Jensen Copy
Nick Adams Lead Photographer JJ Abernathy Contributing Writers Nick Adams Cindy Clemens Amyanne Rigby
BARRY GLAZIER has been carrying
volume 12 – issue 2
Lori Ann Barnson Contributors Laurel Beesley Richard Cozzens Amyanne Rigby Heather Zadra
• • Wesley Billingslea Contributing Brooklynn Ann Cox Photographers Richard Cozzens Gallen Clarke Georgia Craig Jim Federico Barry Glazier Michael Heizer Donna Horton Mark McCoin Ryan McLean Ashley Rankin-Ruth Mho Salim Jodi Worthington
Dale Dumm Circulation & Distribution
is embarking upon projects that are “complex, emotional and comprehensive.” As a photographer Wesley sees his work with people of ancient cultures as a collaboration conveying their historic truth and traditions. Wesley, an avid traveler based in Santa Monica, CA, is passionate about indigenous cultures, history, archaeology, and story-telling which he exhibits best in his thiocarbamide and selenium toned photographs.
p.o. box 910346 • st. george, ut 84791 tel 435.627.9662 • fax 435.656.2615 www.ExperienceTheSouthwest.com
The entire content is copyright of Etched Magazine. No part of this magazine may be reproduced without express written permission. Etched Magazine does not assume liability for articles, products or services advertised herein. Etched Magazine trademark pending.
ON OUR COVER
instagram.com/donutsanddumplings Follow Etched’s Design Editor and resident FOODIE along her favorite eats and finds.
Michael Sloan is a fieldwork employee for Northern Arizona University. Sloan is working on a project that studies and develops restoration techniques in the Mojave Desert. While tending to a restoration plot along Gold Butte Road, Etched photographer, Nick Adams, caught up with Sloan on the job west of Mesquite, Nevada.
Refreshingly gorgeous. The Royden Lemonade Supreme at @xetava. All natural lemonade with vanilla, coconut, and fresh mint. It doesn’t get any better. That view’s not so bad either.
Check out Nick’s story for more about Gold Butte National Monument on page 24.
MARCH 2018 - women’s history month 28
SIMPLIFY YOUR LIFE DAY
DAYLIGHT SAVINGS TIME BEGINS
SPRING (VERNAL EQUINOX)
DAY FOR WOMEN’S RIGHTS & INTERNATIONAL PEACE
ST. PATRICK’S DAY
DOCUTAH: Last Men in Aleppo Las Vegas, Nevada docutah.com
DOCUTAH: My Father’s Highway St. George, Utah docutah.com Art Works Gallery: Jack Seibold: Metal etc. etc St. George, Utah artworkscedarcity.com
Driving Miss Daisy Ivins, Utah kayentaarts.com
Driving Miss Daisy Ivins, Utah kayentaarts.com
New Visions Art Show St. George, Utah illumegalleryoffineart.com
THE ARTS ISSUE 2018
desert dwellers | adventure seekers | soul searchers | art lovers | culture creators hashtagalongwithus: #EtchedMagazine #ExperienceTheSouthwest #getoutoftheoffice
FACEBOOK etched magazine elan editors
celebrate diversity month - 2018 APRIL
1 APRIL FOOLâ€™S DAY
WORLD ART DAY
Street Painting Festival Ivins, Utah kayentaarts.com
6 FIRST ORGANIZED THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS DAY
DOCUTAH: Pancho Barnes & the Happy Bottom Riding Club St. George, Utah docutah.com m
DOCUTAH: Pancho Barnes & the Happy Bottom Riding Club Las Vegas, Nevada docutah.com
Art Works Gallery Yidan Guo Cedar City, Utah artworkscedarcity.com
Inspiration from the Sun
FEBRUARY 20 - MARCH 20 A rested mind gives us the ability to remain calm during uncertain circumstances and provides the clarity and insight to make wiser decisions. If you focus on the stillness and silence within you, you will be able to tune into a deeper sense of inner peace that can help clear the anxiety from your mind and restore a sense of balance again.
MARCH 21 - APRIL 20 Intuition is often a reflection of the wisdom of the inner self and thus, when heeded, can aid us as we strive to realize our ambitions. When we listen to the messages of our intuitive minds, we benefit from guidance drawn from a source concerned only with our true and most precious needs and desires. Your willingness to have faith in your intuition today will enable you to actively manifest your dreams.
APRIL 21 - MAY 21 We create nearly unbreakable bonds linking us to our loved ones when we are both willing to trust in them and be faithful in our words and deeds. The circle of confidence that is created when we both give and receive trust can strengthen any relationship. The connections you share with your loved ones will grow ever stronger as you learn to trust one another more deeply.
MAY 22 - JUNE 21 You might be feeling reclusive, seeking your solace in solitude. But this seclusion may also leave you feeling isolated, which would not offer the comfort you desire. Spending time alone doesn’t need to be lonely. Even if we let all human contact fall away, the life-throb of the universe is there for us, connecting us to all living things. So enjoy your solitude, but know that it’s not ever necessary for you to feel lonely.
JUNE 22 - JULY 22 Learning to seek validation from within allows us to see that everything we do has value. Acknowledgment from others often gives us the feeling that we have worth. In reality, our significance lies inside of us. By being grateful for the praise you receive today and then letting it go, you will find the freedom to live your life without requiring validation from others.
JULY 23 - AUGUST 21 The spirit of cooperation may guide you as you consider the nature of your goals. In sharing our goals and the duties they entail with like-minded, dedicated individuals, our burden is lightened and we can approach our objectives with a self assurance born of collaboration. You’ll work confidently and with enthusiasm when your ardor is matched by your partners.
SEPTEMBER 24 - OCTOBER 23 Detaching from turbulent emotions and reconnecting with our inner peace builds our strength and encourages a state of harmonious balance that keeps us steady in even unsettling circumstances. By releasing unsettled emotions and focusing on inner harmony, you can regain your balance and navigate through any situation peacefully. OCTOBER 24 - NOVEMBER 22 When we approach interpersonal interactions gently and with a compassionate purpose, we make certain that our loving intentions are clear and that others understand how deeply we care for them. The warmhearted approach to personal contact you adopt will help you establish personable and communally beneficial relations with a wide variety of individuals in your personal and professional spheres. NOVEMBER 23 - DECEMBER 22 Being able to think things through thoroughly could give you greater awareness of the fact that nothing in life really exists in black and white. We need to relinquish the ideas we identify with and instead develop the ability to see that everything in our world contains all elements of existences—yin, or darker earthier side, and yang, or lighter and more active side. By understanding that there are many forces at work in the world, your biases will lift and you will gain new perspectives on the issues that concern you.
DECEMBER 23 - JANUARY 20 You may feel ill at ease with your life situation. When we feel our lives are unstable, it is important to take an inventory of everything we have. The world is always luring us with promises that happiness and stability lie in acquiring more material goods. Find comfort in what you have, and you will gain a greater feeling of stability and sense of well-being.
JANUARY 21 - FEBRUARY 19 In employing conscious thoughtfulness in our daily lives, we ensure that we are cognizant of how the circumstances unfolding all around us affect us personally. Likewise, our cognizance provides us with a foundation from which we can actively transform our existence. You will feel centered and mindful as you contemplate the joys and sorrows that define your life as a whole.
AUGUST 22 - SEPTEMBER 23 Your willingness to reflect upon your life’s journey up until this point can become your greatest asset. The events we have lived through and the choices we have made as we struggled to gain understanding can tell us much about how best to triumph over life’s many challenges. A few moments of reflection can give you the strength to face difficulties head-on. As you muse upon all you have been and done in the past, you’ll find that you are prepared to meet your future.
THE ARTS ISSUE 2018
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“The more that you read, the more things you will know. The more that you learn, the more places you’ll go.”
– Dr. Seuss
Compassion Feeds Creativity
16 | Holding Onto The Book 18
Compassion Feeds Creativity written by CINDY CLEMENS
“As you go deeper into integrity, you’ll realize that the creative power which makes everything happen is love. It is compassion. So the more compassionate you become, the more powerfully you can create.” – Martha Beck When I first read this powerful quote from Martha Beck, it stopped me in my tracks. It rang true in a very deep part of my heart. When we are loving ourselves and others, suspending judgment, and finding ways to build bridges, we unlock a pure creative force. Instead of the artistic inspiration having to fight through all of our layers of internal junk, it can easily find its way into our hearts and imagination. As I explored this idea of compassion and creativity, I realized that being able to see others for who they are unlocks our ability to relate to, and in turn creatively represent, the world around us. I was reminded of this in re-reading Cherie Carter-Scott’s powerful little book, If Life Is A Game, These Are the Rules. ”Compassion is the emotional glue that keeps you rooted in the universality of the human experience, as it connects you to your essence and to the essence of those around you.” However, just knowing about the benefits of compassion is not enough. It needs to become part of our default if we want compassion to become our artistic muse. I am still learning how to do this, and I know it is a lifelong pursuit. These three practices have been helpful in my journey to develop more compassion and unlock the creative spirits in my soul.
THE ARTS ISSUE 2018
1. WANT WHAT IS BEST FOR OTHERS A simple thought shift has helped me move away from judgment or disapproval and into loving acceptance. When I feel the selfrighteous taste of not liking or accepting how someone else looks, acts, or even what they say, I stop right there. I remind myself they are doing the best they can on their path in life, and I bless them. End of story. I have come to realize that it is absolutely no business of mine what path someone else is on or how far along their path they are. I simply want what is best for them and assume they are figuring that out. I agree with the Dalai Lama that compassion is an empowered state where we want what is best for the other person.
2. SAY I’M SORRY We are human and we do make mistakes, even though most of the time we do not mean to. One of the easiest ways to make things right is to own the mistake. Just say a prompt “I’m sorry” and let the receiver know you are sincere. It is almost magical how quickly honesty and love clear the path back to clarity and creativity. I love the wise words about asking for forgiveness from Alexandra Stoddard in Choosing Happiness:
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“It takes self-confidence to say “I’m sorry.” There’s something wonderfully refreshing about admitting it when we’re wrong and doing something about it right away ... We clear our consciences by forgiving ourselves.”
3. LET GO OF COMPARISONS This is where compassion must be applied to our own artistic pursuits. We must stop comparing ourselves to other people and their creative expressions. Author and sociologist Brene Brown agrees. One of her Ten Guideposts for Wholehearted Living is to cultivate creativity by letting go of comparison. Creativity is not a zero-sum gain. There is room for all of us, and we are all part of the mosaic tapestry of human expression. This connection between self-compassion and creativity is beautifully explored in Elizabeth Gilbert’s insightful new book, Big Magic: Creative Living Beyond Fear. Gilbert says the key to seeing a creative project through is self-forgiveness. “You have to look back at what you created and say, I’m still learning and experimenting. Even if I don’t know exactly what I’m doing; this is still worth my time,” she says. So the next time you are feeling blocked in a creative project, take a look inside and see where you have a challenge with accepting others or yourself. If you need to clear the air or show some extra love, do it. You’ll be amazed how the creative juices will flow once again.
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Holding Onto The Book written by AMYANNE RIGBY
“I opened a book and in I strode. Now nobody can find me. I’ve left my chair, my house, my road, My town and my world behind me.” – Julia Donaldson
THERE’S JUST SOMETHING IN THE WAY IT FEELS… Books are magical. Each is filled with written words carefully chosen to intrigue the imagination and/or broaden the mind of its reader. Surviving centuries as a means of communication through time, the Millennium has turned the page on the future of the book, fighting for the attention of reader’s in this digital age. Tablets, E-Readers, and other handheld devices delivered immediate entertainment in bite-sized portions and digested on the go. The book demands more. It begs you to slow down and experience each page, deep and fraught with knowledge, wisdom, creativity, and imagination.
Books on CD and then on the World Wide Web in 1989 gave electronic options to traditional reading. In 1995 Google was invented and the digitizing of books began at incomprehensible rates making reading on e-books and kindles the next step. As technology continues to advance and change, the future of the traditional book format is uncertain.
The history of the book began in Mesopotamia in 3500 BC. It is here the book was first etched on a movable material. Papyrus was the next medium on which the story was kept, followed by parchment paper, and then the wax tablet. The Paper Revolution was the next medium for the book in 105 AD followed by “block printing” on cloth, used by the Chinese. The Chinese are also credited for having printed the first book with the first moveable type components. This invention provided for the reproduction of manuscripts.
“As technology changes the way we absorb information and communicate, books remain physical representations of our human struggles, dreams, and personalities. Imagine your favorite childhood books or maybe the title that changed how you understood the world.
However, it was a German, Johannes Gutenberg who ushered in the printing revolution with the invention of the printing press between 1490 and 1500 AD. This revolution spread to 236 countries and produced more than 20 million books. The printing press made it possible for more books to be in more hands. Books in North America began with the printing of “Bay of Psalms” by the Puritans. Over time, the book’s design has varied as has its content. The first variance took shape as “Dime Novels in 1832
followed by the rise and fall of the paperback between 1920-1938. In 1971, the invention of the microprocessor forever changed the story of the book as it ushered in the current technological revolution.
Aaron Downey at Rio Nueve Publishers in Tucson, Arizona, had this to say about the legacy of the book:
What did the cover look like? Do you picture a gnawed e-reader? Will anyone ever get nostalgic about an app on their phone? Books don’t need batteries. Paper and ink smell better than algorithms. Technology brings wonderful options for all sorts of readers, but at the heart of the matter is an actual treasure that we have cherished for centuries past and, I would bet, will cherish for centuries to come.” Three southwest authors from Colorado, Utah, and New Mexico are part of the movement to take back the mind of readers and put books back into their hands. Here is what they have to say about their writing and why the book matters.
THE ARTS ISSUE 2018
“People should be interested in books, not their authors.” – Agatha Christie
e: When did you start writing? EV:
I’ve always been a writer, although that’s taken many different forms, from the stories I wrote in first grade to the advice column for the high school newspaper to a dissertation in graduate school. It wasn’t until about seven years ago that I thought I might like to try writing a novel. I wrote a draft, put it in a drawer, and it would probably still be there today if a friend hadn’t invited me to join her writing group about a year later.
e: Books always have a setting. Where did the
setting of your favorite adventure take place? EV: When I was in graduate school, I left the city for six days to take
Elaine Vickers was born and raised in the crimson-colored country of southern Utah—more specifically, Cedar City. Nestled in the heart of the National Parks, Elaine’s parents constantly took her on adventures of every kind. These adventures fed her curiosity and spirit. As a daughter and granddaughter of educators, it was little surprise when Elaine became one herself. She obtained her doctorate from the University of Utah and then returned to “CC town” to teach chemistry at Southern Utah University. By day she ‘blows things up’ in the lab and by night she moonlights as a middle-grade author. Her debut novel, Like Magic, is an endearing story of friendship and discovery with diverse characters that beg connection. Her most recent novel, Paper Chains, is the story of discovery of self, friendship, and family. For pleasure, Elaine devours books (she read over 100 books last year) and writes. She and her husband, Robbie, are the parents of, “...three pretty terrific kids.”
a river trip with my mom, my youngest sister, and a group of family friends. We fixed simple meals by the river and slept under the stars. There was an astronomer friend who told us about the universe at night and biologists who taught us about the animals and plants we saw, and our guide taught us about the river itself. I’ll never forget that trip.
e: Who is your favorite author? EV:
My author idol is Gary D. Schmidt. Everything he writes is so heartfelt and powerful. He has two Newberry Honors and is the kind of author who can make you laugh and cry and feel like you learned something about yourself—all while telling a compelling story.
e: What inspires you to write? EV:
This is a tough one—there are so many inspiring things in the world! Overall, I think I’m inspired by a desire to connect. Whether it’s the clarity and beauty of a perfect fall day, the peace, and comfort of a familiar voice at just the right moment, the ache of loss—I love the idea that words on a page can communicate these things that make us feel alive, and connect us with each other.
Jeannie is a Colorado native who has spent much of her life daydreaming herself into other centuries. This tendency has led her to multiple degrees in history and anthropology, and a passion for writing fiction. She is currently a professor of anthropology in northern Colorado as well as a two-time winner of The Colorado Book Award. Her books have received critical acclaim including starred reviews, awards, both state and national notables lists. Her latest book, Bobby Lee Claremont and the Criminal Element was released in September of 2017 and is a Junior Library Guild Selection.
e: Who was your first storyteller?
JM: My dad. He was an amazing storyteller. My mom also encouraged curiosity. Because of these experiences, I love to see my own children listening to or reading a good story.
e: What makes you sit down and start to pen a story?
JM: Nature and a clutter-free environment. But really, story ideas can come from anywhere, and at any time. My most recent came to me in the shower.
e: What do you love about living in the southwest?
JM: When I’m not writing fiction, I’m a Southwest archaeologist, so I’ve had a lot of temporary
homes in the southwest. And I have set many stories there. I love pretty much everything about the Colorado Plateau, except maybe the gnats. The weather, slick rock, and the smell of pinion wood are some of my favorites.
THE ARTS ISSUE 2018
Creating Customized Compound Medications
JUST FOR YOU!
CAROLINE STARR ROSE
Caroline Starr Rose is an award-winning, middle-grade picture-book author whose work has been recognized by ALA-ALSC Notable, Junior Library Guild, ABA New Voices, Kids’ Indi Next, Amazon’s best Books of the Month for Kids and Bank Street College of Education Best Books. Caroline’s publications have been nominated for almost two dozen state award lists. In 2012, Caroline was named a Publishers Weekly Flying Start Author for her debut novel, May B. She spent her childhood in the deserts of Saudi Arabia and New Mexico. Caroline, who now resides in New Mexico with her husband and two sons, shares her journey with writing:
e: What is your favorite read ever? CSR:
It’s a tie between A.S. Byatt’s Possession and Alexandre Dumas’ The Count of Monte Cristo.
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e: Where do you like to go to write?
CSR: My home office, the backyard, Starbucks, and the library, and sometimes even my car in the parking lot.
e: What is it about holding a book that
is different than reading on an electronic device? CSR: Reading a physical book is a sensory experience—My eyes
love to study the cover and jacket flaps, the smell reminds me of my childhood library, the sound of a page-turning heightens the anticipation—it builds tension contributing to the overall storytelling process. I am simply more fully engaged and delighted when I read with a book in my hands.
e: What is your favorite southwest adventure? CSR: Balloon Fiesta in Albuquerque, New Mexico.
e: What hobbies and interests inspire you? CSR:
Reading, running, photography, crossword puzzles, and spending time with family.
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“I finished my book and out I came. The cloak can no longer hide me. My chair and my house are just the same, But I have a book inside me.” – Julia Donaldson
LITTLE FREE LIBRARY There is a phenomenon spreading across the world promoting literacy—it is also preserving the written word in book form. It’s a “new take” on the traditional library. It is the “Little Free Library.” There are over 60,000 of these libraries dotting the globe today. They come in various shapes and sizes, but they all have the same mission—“Let’s read again.” The idea behind the Little Free Library is “leave a book, take a book.” These libraries are for kids and adults alike. It’s a way to have a library in your own front yard. Not only do Little Free Libraries promote literacy, but they also promote neighborhood interaction as neighbors connect in the “real world” and not just on social media.
Five Steps for Beginning Your Own Little Free Library
1. Identify a location and a steward: be sure to observe zoning laws. 2. Order or build a library: littlefreelibrary.org—It need not be extravagant. Check out resources: online catalogs, plans and tips for builders, and community grants. Even Pinterest is full of creative ideas. Your little library can be built on a shoe-string budget. 3. Register library on-line littlefreelibrary.org—This registration provides benefits and tips from the organization and puts your library on the map. 4. Garner support—Have a ribbon cutting ceremony, invite neighbors and friends in person, and send out a press release to the local papers. 5. Little Free libraries and stewards everywhere have been recognized by The Library of Congress for creating communities of literacy.
Amyanne Rigby is a story chaser! As a 1996 Summa Cumm Laude graduate of Southern Utah University, Amyanne loves to wander and discover the tales of the southwest. She and her husband, Travis, love exploring the crimson colored country of the southwest. Join her adventures at barnwoodandtulips.com
THE ARTS ISSUE 2018
COLORS - LOCATIONS - LOCALS
“There is a delight in the hardy life of the open. There are no words that can tell the hidden spirit of the wilderness that can reveal its mystery, its melancholy and its charm.”
– Theodore Roosevelt
Gold Butte 24
| Lost Cultures: The Aztecs 34 | The Reservation as You’ve Never Seen It 40
THE ARTS ISSUE 2018
Gold Butte NEVADA’S NATIONAL MONUMENT STUCK BETWEEN A ROCK AND A HARD PLACE written and photographed by NICK ADAMS
Check your spare. It’s about 20 miles of paved road into Gold Butte National Monument, but nothing about it is easy. First, sandy washed-out curves near the infamous Bundy Ranch show the power of floodwaters. Continuing along the way there are so many potholes it becomes a deft game of swerving avoidance for the driver. After miles of this pavement you might start to think a dirt road would offer a smoother transit, but once the pavement ends there are jagged angry rocks cemented in caliche to make the ride just as bad. Where the pavement ends you see the colorful folds of red, gold and white Aztec sandstone rising out of the Mojave desert landscape: Whitney Pocket. On one side the Virgin Mountains, with peaks near 8000 feet, rise to the sky; on the other side lower ridges funnel the Virgin River down to the Colorado River, somewhere near 1200 feet in elevation. In between is a rich and varied landscape with a diversity of climate. Welcome to Gold Butte. Nestled between the Lake Mead National Recreation Area on the south and west and the Grand CanyonParashant National Monument on the east, it’s a narrow strip of land that is a grab bag for natural and cultural wonders. The area is named after a mining town on the south end that thrived for a few years in the early 1900s, but was quickly abandoned. But people still worked the land—ranchers from a handful of pioneer families ran cows where the displaced Southern Paiute had lived for centuries, and others before them. Gold Butte is the subject of MONUMENTS, a gallery show at The Space (West Sahara Library) in Las Vegas. Put together by UNLV photography professor, Checko Salgado, along with Friends of Gold Butte, spotlighting Gold Butte and the two other national monuments in Nevada: Basin and Range and Tule Springs Fossil Bed; all three monuments are in the southern part of the state. MONUMENTS features artwork and photographs from Salgado’s students as well as artists from the region (ed. note: this author has participated in the show).
Salgado, a Las Vegas native, is enthusiastic about conserving land. Of Gold Butte, he says, “I like the distance from the city. Even though I grew up with Red Rock (Red Rock Canyon National Conservation Area) right behind me, I’ve seen what has happened to Red Rock in proximity to the city, and I know there’s stuff that was damaged out there that wasn’t (protected) in time, and now with the influx of population—I think there’s two million now in the city—that place is just intense. There’s traffic jams, you go hiking and there’s people everywhere.” There are people everywhere. The southwest is booming. Las Vegas is spilling out of its valley in all directions. Other western cities are experiencing record population levels: Phoenix area with 4.6 million; Tucson, 1 million; Salt Lake City area, 1.2 million; and St. George, in the top ten fastest growing metropolitan areas in the nation with 160,000. Add another 24 million from nearby southern California, plus millions of tourists flying into Las Vegas every year, and the demand for outdoor recreation in the southwest is extremely high. Most of the venerable national parks are overrun in the high seasons, and many, like Zion National Park and Grand Canyon National Park, are now crowded year round. Sales of RVs, 4WD trucks and off-road vehicles are skyrocketing, enabling urban recreationalists access like never before, sharing and cataloging every inch of their adventures on the Internet with cell phone cameras, GPS units and Google Maps. Towns on the fringes of the parks, once engines for local small tourism business, are filling up with corporate hotels and food establishments. Air pollution is now everywhere, reaching hundreds of miles from urban centers, hazing legendary vistas that used to be clear. The sheer numbers of people are impacting nearly every remote place.
But it’s not just the invasion of people moving to cities in the southwest. The progeny of pioneer families in the rural areas have been quite successful, also swelling the numbers and increasing demands on the land. And with growth, the land has become far more valuable. Farmland has been sold, giving way to golf courses and gated communities. Open space has been gobbled up by large development corporations and turned into homogenous airconditioned housing tracts with street names seemingly chosen to maximize lifestyle branding. World class views are developed and sold to outsiders with money to pay. More roads, more traffic, more people, and higher costs for land. The traditional lifestyles of the rural west are fading into myth under burgeoning population growth. People from these rural areas are understandably nervous, though not necessarily directly from population pressures. As more people come in, there are more rules, regulations, and restrictions, and they tend to blame the federal government. Many resist changes in land management on federal public lands because they feel that outside bureaucrats do not have the same close connection with the land that they have enjoyed for generations. They feel that more restrictive management policies, including those that restrict mining, oil and gas exploration, timber harvesting, roads, grazing and water use will negatively impact their livelihood in rural areas where economic opportunities have been dwindling. The politics of land management have become sharply polarized and have veered into a federalism vs. states’ rights quagmire where misinformation abounds and emotions run high.
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Jaina Moan is executive director of a grassroots non-profit organization, Friends of Gold Butte (FOGB), started in 2003 with a mission to achieve permanent protection for the Gold Butte area. With the designation of Gold Butte National Monument by President Obama in 2016, that goal was achieved, so now the focus of the group has changed to promoting the responsible enjoyment of the monument. Asked about local vs federal control of the land, Moan does not mince words in her support of making Gold Butte a national monument. “It’s federal land, and it’s important that it stay federal land,” Moan said. “Federal land is public land that belongs to all Americans. I don’t know how you can transfer a big chunk of federal land over to the state because you’re basically taking it away from the American people. Furthermore, I would argue that we already have local control of the land—all of the BLM agents who work out there in the southern Nevada district are local residents. They know about the land, and they work and interface with the communities. The local population has been giving information and input to the BLM for decades. All of that is taken into account when a management plan is developed.” But why not just transfer the land to the state? Moan says the management guidelines for state parks are often more strict than for national monuments. And then there is the financial burden to manage a large area with a relatively low population. The fear is that local budget constraints would mean little or no management with ever-increasing visitation, a sure recipe for irreparable damage. “Land management costs a lot of money,” Moan said, “especially when you have disasters like wildfires, and it also requires personnel ... I don’t think that the states can adequately manage all of this land.”
Even though protection for Gold Butte was not acted on by congress, she says that the national monument designation had broad support from Nevadans.
“In order to get some of these places protected as a national monument or conservation area you need to get a lot of public support behind it,” Moan said. One of the ways the organization makes a difference is through volunteerism. “Right now we have about 30 active volunteers, but we get new volunteers all the time. We’re on the ground a lot. We’re out in the monument every week, at least several days every week, and we’re out there doing a variety of things. Today we had about 15 people out there picking up trash along the Gold Butte Road.” Friends of Gold Butte volunteers also help with science. There’s not a lot of money available to fund science projects, so volunteer crews can really make a difference by helping collect native seeds, soil samples—whatever they are directed to do. Often such work is a learning experience. One such project currently underway involves the study of biological soil crusts in the area. These soil crusts are vital to the desert ecology, preventing topsoil erosion, fixing nitrogen, and helping water absorption among other things. It turns out that many of the desert plants associated with the Mojave Desert are slow-growing and challenging to raise and transplant, making restoration efforts very difficult. The project aims to determine how long it takes soil crusts to recover from disturbance, and to develop long-term strategies that land managers can use to restore disturbed areas with native plants.
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DEVILS THROAT The Devils Throat Sinkhole is a large hole in the ground that was created by a massive underground collapse in the 1940s and has been increasing in size since the 1990s. At around 120-feet wide and 140-feet deep, it is the largest sinkhole of about ten that are known in the area. Another very large-diameter sinkhole is located a few miles north of Devils Throat, but it is still only a shallow depression. Only two sinkholes in the area are deep, and thus dangerous (the other one, Devils Nostril, is much smaller in diameter). Research done in the area suggests that the sinkholes are likely caused by something called â€œevaporite dissolution.â€? Long ago a body of water was in the area, likely an ocean, that was cut off. As the water evaporated, solids formed from the minerals in the water. Scientists think the solids formed a layer of gypsum, which remained solid and was covered by other layers of sediment over geologic time. Then, more recently, water from the water table and other sources, percolates through the earth below. The gypsum is rehydrated and carried away, leaving an underground void. If the void becomes large enough, it can collapse, leaving a sinkhole.
FALLING MAN Native Americans inhabited the Gold Butte region for many thousands of years before the arrival of European settlers. Their stories are written on rock surfaces all through the national monument. The highest concentration of petroglyphs is found in a sandstone and limestone outcrop off of Black Butte Road. Here erosional forces have cut small canyons through the rock, leaving small pools of standing water in a step-down landscape with some precipitous ledges. Falling Man is one of the most distinctive and original etchings, telling a story easily imagined. But there are many other glyphs in this beautiful area.
RAINBOW SPRINGS One of many springs in the area, Rainbow Springs is striking for how it fits into the eroded landscape. It lies along the Muddy Wash near a wide bend where a chocolate brown earth form is capped by a harder desert tan. Mixed in close to the stream bed are multi-colored conglomerate rocks in blues, yellows, greens, reds and purples. The stream bed has room for islands of grassy flats and native river shrubs, then it narrows through the mountain ridge on its way to the Virgin River beyond.
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In the 1930s the federal government sent workers from the Civilian Conservation Corps (CCC) to make improvements to water collection at Whitney Pocket. The pocket is a large sandstone block rising out of the Mojave desert floor, bringing color, shelter and water to the open desert. The CCC workers built a dam of rock and cement in a short, narrow slot canyon, and drew a pipe from it to a trough (also made of rock and cement) just outside the narrow where livestock could reach it. Whitney Pocket is a popular camping spot and is the main staging point for off road vehicle enthusiasts.
It’s a chilly morning in February when Moan and Salgado lead a group of UNLV students out to Gold Butte. The students are there to work on projects for their classes that will support or be a part of the Monuments gallery show. It’s another example of Moan’s effort to educate and inspire; the work the students do will dovetail nicely into FOGB’s efforts, promoting awareness and education. All of the students have brought cameras. Some of them are working on posters they will design to promote the gallery show. Other students are assigned to make environmental portraits of volunteers and workers on the soils project. Moan leads the group on a walk around the sandstone mountain at Whitney Pocket, talking about soil crusts, native flora and fauna, and archaeology, including discussions on Native American pit roasting, petroglyphs, and depression-era work done by the Civilian Conservation Corps. Salgado follows up with pointers on composition and exposure, and seeks to inspire by citing the classic artwork and photography done during the Great Depression by the Work Projects Administration, noting the power these artists had in helping shape public opinion and land policy.
Moan emphasizes the need for volunteers on the monument and notes the positive impact they can have. Volunteers check road conditions in the monument, help BLM staff with projects, and act as an educational interface with the public, among other things. Gold Butte is nearly 300,000 acres of remote land with no facilities or information on site, so Friends of Gold Butte Ambassadors are training to help. “One of the things that is needed is more information to give to people coming out to the monument— what to do, where to go, how to behave in the desert, and leave no trace guidelines,” Moan said. “Our approach and our strategy is to use volunteer power and coordinate with the management agency. We feel that our volunteers will be able to communicate information and education out there, not just what to do but also how to behave. Hopefully in that area, over time people will have a better idea about the monument and become a part of the preservation as opposed to part of the negative impact.”
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A World Away to Come and Play LITTLE FINLAND AKA DEVIL’S FIRE Millions of years ago sand dunes formed in this area, then were covered up. Moisture, minerals, pressure and other forces combined to create blocks of Aztec sandstone out of the dunes that time has gradually tilted and uncovered to reveal beautiful colors and striations. There is something about the Aztec sandstone that makes up Little Finland, combined with the erosional forces of wind and water, that turns the rock into impossibly balanced fantastical formations in bright red hues. Spring water flows through the sandstone, providing water for an oasis at the sandstone’s end. The desert fan palm, the only palm tree indigenous to the southwest, grows there. It is surprising to see these tall and bushy palms in the desert.
United States Secretary of the Interior, Ryan Zinke, following a directive from President Trump to review all monuments over 100,000 acres, created under the Antiquities Act from 1996 on, visited Gold Butte last year. In his memo to the president, Zinke recommended shrinking the monument by an unspecified amount to allow the city of Mesquite, Nevada, better access to their water rights in the area. As of now no action has been taken to formally reduce the monument. Moan says they are ready to fight any reduction attempt in court.
“Gold Butte is still a wild and primitive area and I think that it would be good to keep it that way,” Moan said. “In the hundred years plus, since the Antiquities Act has been in effect, there has been something like 190 national monuments designated, and of those they’ve turned like 50 of them into national parks. Most of the big national parks that we have were once national monuments at some point in time—think about Grand Canyon, Zion, Great Basin, Death Valley—those are just four in our immediate area that were originally protected as national monuments using the Antiquities Act because congress failed to act to protect cultural and national resources, and now they are one of the best things we have in our American life.“
MONUMENTS at The Studio (inside the Sahara West Library) 9600 West Sahara Avenue Las Vegas, NV 89117 702-507-3630 Opens Friday, April 27, 2018 Reception Thursday, May 3, 2018 5:30pm - 7pm Runs through Saturday, June 23, 2018
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Huitzilin Kuauhminani: Translated from the Nahuatl language, his name is essentially hummingbird. Which also describes his personality and characteristics. This is common among the nahuatl people. This photo was taken outside of Mexico City high in the mountains.
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Lost Cultures: The Aztecs COMPELLING IMAGES OF AN ANCIENT CULTURE written by DARCI HANSEN | photos by WESLEY BILLINGSLEA
“…this is my culture, my roots and my traditions, and I am very proud to say that I am Mexhicamhe Azteca.” -Epifanio López Contreras
This photo taken in Tazumal, located in Chalchuapa, Santa Ana, El Salvador firtst settled more than 3,000 years ago by sedentary agricultural villages. The Mayas settled here around 1,200 BC. It reached its greatest splendor between 400 BC to 300 AD.
“I have always had a personal interest in several ancient cultures such as the Aztecs, Mayans, Huicholes and Incas,” says Wesley Billingslea, a documentary photographer whose fascination with ancient cultures has taken him right into the very heart of the people. “When I studied history in high school there was little information about these cultures who were often referred to as ‘savages’. How could ‘savages’ have built those cities and been so accurate in astronomy, engineering, and other sciences, I wondered. Even today both the Aztec and Mayan calendars are considered the most accurate in the world.” Rather than spending his lifetime thinking about it, Wes dug into research, embedded himself with ‘the people’, and committed to raising awareness about those western cultures that have been forgotten or misunderstood. For Wes, the subject of human rights has always been a fundamental belief.
Wes is the author of Lost Cultures: The Aztecs and the ebook The Aztecs: The Truth About Sacrifices And Other Customs. He and co-author, H. Henrietta Stockel, spent years compiling remarkable stories, truths, and accounts from the Aztec decedents themselves. Their work is further achieved through Wes’s photography, which he says, “…merges strict technical form with a poetic vision to produce a socio-documentary realism in both documentary and portrait images.” There is no question that his thiocarbamide and selenium toned photographs shot on film are highly charged and strong in their visual impact. Curiosity in the ancient cultures peaked for Wes after meeting Huitzilin, an Aztec descendant from San Jose, California. So began their friendship and what Wes considers a ‘natural and organic process’ of realigning his work to match that of his convictions. “These ‘lost cultures’ have much in common today - from the economic survival of their people, whose lives are often filled with racism and endless human rights challenges, to the attempts to keep their own ancient traditions alive.” It became Wes’s mission to be a source to communicate the Aztec history and traditions as would be told by them; and witnessed by him. The Aztecs were a Mesoamerican people of central Mexico in the fourteenth, fifteenth, and sixteenth centuries. They were a civilization rich in cultural heritage. The Aztec capital of Tenochtitlan, rivaled some of Europe’s greatest cities, such as Rome. These ancient people survived the conquest by the Spaniards. Today, there are millions of their descendants still living yet struggling for survival. They call themselves Mexicah. After attending an extraordinary ceremony in 1999 in the mountains of Mexico, Wes put his intentions into motion. He learned the art of photography on film and printing in the darkroom. He explored the boundaries of an authentic collaboration with the people of the Mexicahs culture. And he researched. He knew this experience would require patience- on his part and on theirs.
MY NAME IS EPIFANIO LÓPEZ CONTRERAS “YEI MIQUIZTLI” “What I really enjoy to do with my hands are art crafts, because is a way to express the imagination from our soul. Through the handcrafts we can demonstrate our capacities, all of us we can be someone in life… Spirituality the Mexihca culture for me, is the way to see the life and the way that we have to live it, the danza make us feel both existing worlds: life and death; in order to understand that here in this life we are just visiting and knowing each other. The danza also teach us to understand the nature, that we are part of it and that we need to live like brothers and sisters even though we belong to different cultures. It is important for me to keep my traditions because I am part of those traditions, because I understand that if a person does not know which are his roots and his own culture, does not know who is. Because if I do not follow my culture as Mexhicame or Mexhicvano, I could not understand what I am doing here, in this place and at this time; therefore, this is my culture, my roots and my traditions, and I am very proud to say that I am Mexhicamhe Azteca.” This photo was taken in Xochimilco which is just south of Mexico City. Xochimilco today looks much like it did in ancient times, comprised of small Aztec-built islands. This was the large market where merchants came from hundreds of miles away to buy, sell, and trade goods.
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Lupe and Karim: Karim Luna Gonzalez covering his wife, (Lupe) Maria Guadalupe Jimenez Ramirez, Malinalco, Mexico. This is one of three major Universities for the ancient Aztecs. It is the location for the final exam in order to become an Eagle Warrior. The Eagle Warriors, along with the Jaguar Warriors, were the bravest of all Aztec warriors and were elite. I was told that for their final exam, they would lay flat within the temple and must fly between the two mountains. MAGAZINE
Daniel & Epi, Xochimilco, Mexico: Two good friends, they agreed to stand together for these photos in Xochimilco, Mexico, which is near their home, just south of Mexico City.
Maya, Xochimilco, Mexico: Maya is a remarkable woman who has fully embraced her Aztec heritage. She makes traditional dresses and clothes by hand which represents her Aztec culture.
Daniel, Xochimilco, Mexico: On a small island built in ancient times by the Aztecs. Embracing his ancient heritage has helped him cope with many life challenges and made him a stronger person.
Gerardo Soto Soto, Mexico City, Mexico: He was dancing with Maestro Meztliâ€™s calpulli on this day. This photo was taken at the Zocalo (city center) in Mexico City. It was very crowded that day so I moved in close to block the background. #ExperienceTheSouthwest
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Like many ancient cultures, the Aztecs are extremely different from their linear-thinking conquerors. Wes explained:
“Understanding their values and rhythm created numerous challenges for myself and those with whom I collaborated. Our work together took several years of building trust, friendship, and respect for one another. Ultimately, our collaboration resulted in a deeper insight into the human condition supplied by the same people whose lives have been directly impacted by, in some cases, hundreds of years of untruths and skewed histories. From human sacrifices to the Spanish conquest— one of the first known acts of genocide—I recorded the unflinching view of the Aztec people’s history. My work is formed by their words, not an account contrived by outsiders…. These are strong and independent people who, through their first-hand and unheard accounts, shared their hopes, dreams and innermost thoughts with us… McGhee Insur Agcy Sherry
Inc Sherry S McGhee, Principal Officer And despite the tragic costs that are frequently North East endured from being 67 denied even300 the simplest forms of human rights, their true stories provide an St George, UT 84770 extraordinary look their undeniable spirit and Tollinside Free: 855-805-6450 a willingness to survive.”
The result of the partnership between Wes, Henrietta, and the Mexicah people generated a cultural educational experience which has been transferred into books, exhibitions, documentary films, lecture series, and a variety of educational materials. “By raising awareness we can build a connection for better understanding of these unique and often excluded civilizations,” Wes says. He has spoken to children and students across the country, sharing the journey and the struggles of a people whom most have never been acquainted with. But it is his images of the Mexicah that drive the story ‘home’. If only one message is conveyed, Wes hopes it is a longing for universal understanding and kindness ... a message written in their eyes. IF YOU THINK THE COURSE HAS EPIC VIEWS,
The Aztecs: The Truth About Sacrifices & Other Customs, as well as Lost Cultures: The Aztecs by Wesley Billingslea, with H. Henrietta Stockel can be purchased from www.wesleyimages.com, Amazon.com, and iBooks.
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The Reservation AS YOU’VE NEVER SEEN IT written by LAUREL BEESLEY | photos by BARRY GLAZIER
A desire to remain on their land and make a living lead one Navajo family with deep ancestral roots to embrace change ... and visitors. The slot canyons of the central southwest region are some of the earth’s most amazing anomalies—strange geologic wonders that exist nearly nowhere else on earth. Colorful and convoluted walls of rock within deep slotted earth chambers display a primordial story about rushing water and other mad changes happening in our earth many millions of years ago. Fascinating, even bizarre. There is more than one way to explore the slot canyons of southern Utah and northern Arizona. Some of the best are here on Navajo land, around Page, Arizona.
Sitting together at Ligai Si Anii Tours, we enjoy the shade thrown off their trailer and look across the dryscrub and great red-rock mesas, sharing stories. Melanie, Marjorie (Margie), Melanie, Amelia, Mike, and Herman are here. This family has created a way to make a living off the land that they have been given. Together, they offer personalized tours of the many solemn slot canyons hidden in the 5-acre property they have leased from the government. Part of their “business plan,” or better put, their mission, is to share the story of their people, the Navajo—or, in their own language, the Diné meaning “the people”. Although it feels like spring on this day, it is still officially winter. This is the only time in Navajo culture when it is allowed to share stories of Coyote—the irresponsible and trouble-making character that is also one of the most revered characters in Navajo mythology. Coyote is always mischievous, changing the stars and earth and leaving legends behind. This, right here, is still the land where Coyote lives in both mythology and reality. Coyotes, bobcats, elk, porcupine, owls and other creatures are all part of the sparse land immediately surrounding us. This remarkable land is also the home of a persistent indigenous culture determined to protect its original identity and native values. It is the land of Coyote and the Diné culture. “This land has changed so much since I was young,” muses Amelia. Her niece Melanie nods and says that even she still remembers. “This,” says Amelia, nodding toward the broad landscape. “This was full of rich grasses and so many beautiful sunflowers. We used to make sunflower bracelets and weave them into our hair. In springtime, the aroma of the wildflowers was so beautiful. That aroma is still here but it is not the same. The land and our culture keep changing, we are trying to keep up with all the challenges.“
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One of the three slots on the Wind Pebble Canyon tour exhibits beautiful round marble-shaped rocks impressed into the surrounding rock. In the right light, they glimmer like a rain of diamondsâ€”the Wind Pebbles.
Inside of a slot canyon reveals swirling waves of twisting, smooth rock walls, narrow by default of the waters flow, illuminated from above. Light trickles down into the cracks illuminating the space like a kaleidoscope of brilliant color as each bend of the wall dances in its own individual chamber of light. There is simply nothing else like a slot canyon.
Mike answers the inevitable, “What do we, Ligai Si Anii Tours, want to do now?” question. He is firm, saying that, “One of our three most important goals here with Ligai Si Anii tours is to protect this natural habitat. For me, it is the most important thing we are doing here.” He pauses in a moment of reflection and continues. “It all goes back to government. Back to the days when Kit Carson and his troops rounded up our ancestors and tore us away from our homes, our family, our land. We had family members from the past generations who were in the Long Walk. And they returned—from wherever they were, they returned here.”
A sweat lodge
For those who don’t know this piece of history, a series of US Army enforced marches starting in 1864 forced over 9,500-11,500 Navajo and 500 Mescalero Apache to walk 400 miles from their reservations in northeastern Arizona to the edge of the Pecos River in eastern New Mexico. Thousands died, elders were left behind after being shot, and along the route, desperate mothers gave their young children away to non-natives in the hope they might survive. They were walked to Fort Sumner, essentially a prison camp where Col. Kit Carson planned to “tame the savages.” The stories are haunting, and the consequences of the Long Walk are still and always will be present. The Long Walk, and the “re-education through assimilation” programs that followed nearly collapsed the Navajo Nation. In the late 19th century through the early 1970s, the federal government began sending American Indian children to off-reservation government or church-operated boarding schools. Very young children were taken from their families, forced to cut their hair and give up native clothing as well as punished for speaking their native language. An irony is that many of the “Code Talkers” who played a critical part in winning World War II, through the use of their native language, had been forced into the boarding schools.
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Mike, Marjorie, and Amelia remember being taken away to schools or put into “placement” with Mormon families as far away as California. It is not a good memory.
forced into the outside work field in order to support their families, creating further imbalance in their traditional relationship between men and women.
They returned to their native land, remembering and committed to educating their children and even visitors on the values of the still existing Navajo culture. The entire family repeated that “our culture is losing so much and too fast, both the land and the language but we are here—proudly establishing this business so perhaps people, and our own children, learn more about us so we can continue to pass it on.”
And so it is, this family has made use of what they have- the land. It is beautiful, alluring, and resourceful. They know the shapes and curves of each slot. It is personal. Time spent in these canyons is where generations of the Diné have come for shelter, rest, and spiritual space. Their children have grown up exploring and playing here. These canyons now have a different purpose. A purpose that opens the door to visitors. A door that opens to a look inside of a culture—one that is transitioning between the walls of its past and the possibilities of progress.
Melanie adds, “ ... We wanted guests to come here for a great hike in a slot canyon and leave with a better understanding of the land they have just seen and everything about it. Everything. The geology, the plants, the surrounding natural landscape and, certainly, our Navajo Nation history.” Ligai Si Anii Tours, which means White Dome, began when three generations of women from the Black Streak and Big Bear Black Streak clans decided to open a 5-acre property and create personalized slot canyon adventures. From grandmother to grand-daughter, the matrilineal committee of five close female family members, now including husbands and fathers as helpers, is committed to providing one-on-one tours. The family explains that in their culture, men and women enjoy equal status so this is simply a very natural way to organize their business. Mike says, “It all comes back to the government. In 1928, the American government passed the Livestock Reduction Act and issued permits limiting the number of livestock per permit. Permits were only given to men, which was a direct affront to Navajo women. This same act effectively ended the Navajo lifestyle of self-sustainability, dependent on the land and livestock. Men felt Traveling between the slots of the Wind Pebble canyon tour you will see original hogans and corrals dating back over eighty years while the tradition of male and female hogans is explained.
The author’s noted sources for the History of The Long Walk include: Legacy of Forced March Still Haunts Navajo Nation, www.npr.org; The Navajo Nation’s Own Trail of Tears, www.npr.org. Because slot canyons are formed from rushing water, their danger of flooding will always exist. Hikers have died from flash flooding in these types of canyons. Before hiking through any slot or narrow canyon, check the local and surrounding area weather. If rain is predicted, do not enter a slot canyon. As beautiful as they are, they are derived from nature and subject to the environment.
Laurel Beesley is doing what she loves, writing about the mysterious beauty and cultural history of the Colorado Plateau. She attempts to capture in words what speaks to us from the past and in our current social, political, athletic, and creative lives. Her own “home tribe” of cairn terriers, cat, budgie-birds, and Park Ranger husband welcome international B&B guests into their generous orchard-garden.
ART WORKS GALLERY
DSU SEARS ART MUSEUM GALLERY
Art Works is a fine art, fine crafts gallery located in gorgeous Cedar City, Utah. We represent local, regional and national artists who create in a variety of styles and mediums, and bring something special and unique to their work. Along with our amazing offerings, we host solo exhibits throughout the year. We are located a short block away from the Beverley Taylor Sorenson Center for the Arts—home to the Utah Shakespeare Festival and the Southern Utah Museum of Art (SUMA); barely an hour from Zion National Park and a leisurely ride from Las Vegas. We look forward to your visit!
Located in the Delores Doré Eccles Fine Arts Center on the Dixie State University campus, the Robert N. and Peggy Sears Art Museum Gallery features six exhibits each year. Offering a variety of art styles from traditional to contemporary, the Gallery has an outstanding reputation. The Gallery exists for the enjoyment and education of DSU students and the community.
16 North 100 West 503-810-0958 | artworkscedarcity.com
CEDAR CITY, UTAH
ST. GEORGE, UTAH
155 South University Avenue 435-652-7909 | searsart.com
”ARTS TO ZION” SHOWCASE AT GALLERY 35
LaFave Gallery represents an eclectic and talented group of regional artists who capture the landscape and spirit of this high desert country in a variety of mediums including sculpture, ceramics, photography, wind sculptures, jewelry, watercolor, pastel, oil painting, glass, etc.
In the heart of downtown St. George, Utah, located at 35 N. Main, “Arts to Zion” Showcase at Gallery 35 is a collaboration with the Dixie Watercolor Society. Patrons can watch artists at work, purchase original artwork, and get exciting information from Arts to Zion/ Southern Utah galleries and museums. It is also the largest “exclusively” watercolor gallery in the state of Utah.
1214 Zion Park Blvd. 435-772-0464 | lafavegallery.com
ST. GEORGE, UTAH
35 North Main 435-218-6939
ILLUME GALLERY OF FINE ART
ST. GEORGE ART MUSEUM
Illume Gallery of Fine Art Mission Statement: A Wise Hearted person is one endowed with a Good Gift who, in authenticity, and with a connection to their Higher Self is willing to give this gift to the betterment of Man and the Glory of a Higher Power. We are the Wise Hearted. We come to the canvas and clay with what is authentic and genuine. We are not influenced by commercialism, nor do we seek the praise or critique of any person. We present our offerings in gratitude and humility without thought of public accolade. When crafted in this place, we believe that our works live and breathe with light and joy. And, in thus creating, we carve space within ourselves to create on a higher plane.
The St. George Art Museum celebrates 20 years in our beautiful building, featuring four major art groups: Dixie Watercolor Society, Color Country Camera Club, Fiber Artists of Washington County, and Southern Utah Art Guild. For the 20 years, we are offering 20 special events 20/20 spaced throughout the year. Become a museum supporter by volunteering, fine art contributions or membership. Visit YOUR ART MUSEUM.
29 West 200 North 435-313-5008 | illumegalleryoffineart.com
ST. GEORGE, UTAH
47 North 200 East 435-627-4525 | sgcity.org/artmuseum
ST. GEORGE, UTAH
KAYENTA ART VILLAGE
DeZion Gallery’s primary focus is to present the works of local artists who are inspired by the southwest region and Zion in particular. DeZion represents both emerging artists who have not yet acquired mainstream attention, as well as established artists of national and international renown.
In the community of Kayenta, in Ivins, Utah, there is a special place called the Art Village. Known as the Kayenta Art Village and also referred to as Coyote Gulch, the village offers a unique environment. Stroll the village, have a bite to eat at the café, and relax. Its array of arts-oriented enterprises offers fine art, gifts, photography, events, classes, and gourmet food and coffee.
1051 Zion Mount Carmel Hwy 435-772-6888 | deziongallery.com
875 Coyote Gulch Ct 435-674-2306 | coyotegulchartvillage.com #ExperienceTheSouthwest
THE ARTS ISSUE 2018
VISUAL - PERFORMING - CRAFTSMAN
“Each of us is carving a stone, erecting a column, or cutting a piece of stained glass in the construction of something much bigger than ourselves.”
– Adrienne Clarkson
46 | The Land of Art 52 | Abraham McCowan 58 | Getting Creative 62
SAVING THE PLACE WHERE CELESTIAL SOUND RESIDES written by HEATHER ZADRA
Editor’s Note: The repurposing of a 1930s railroad water treatment tank is rather fetching. The 60-foot-tall, 30-foot across, circular steel structure’s unique ability to carry sound warranted its revival. A single note alone is capable of traveling forty-seconds-long. In the process, the sound of the note is as if it has been transformed by some musical deity. It is astonishing; almost inconceivable. But the journey of the sound and the Tank are real. Heather Zadra has been following the story of the Tank since its first Kickstart fundraising campaign to save the musical anomaly. Raised in Rangely, Colorado, Heather was introduced to the abandoned structure as a teen (as were most of the local kids who were looking for an adventure). How the Tank arrived in the rural Colorado community led Heather to research its history and write about what has become known as The Tank Center for Sonic Arts.
Sound’s curious behavior in the Tank is not unlike the story of the Tank itself. Its tidy beginning, hijacked by chance, morphs into a series of improbable events, repurposing the Tank far from its intended use. No part of the story predicts the next. After years of sitting empty on a hillside north of Rangely, seemingly devoid of purpose, it was “saved” by friends nobody knew had loved it for more than three decades. In March 2013, the “Friends of the Tank”—dubbing themselves “an eclectic group of artists, sonic explorers and practical minds bound by a common experience” —emerged from a group of musicians and sound-lovers who had been experimenting with Tank sounds since the late 1970s.
THE ARTS ISSUE 2018
Tom Wasinger plays Weissenborn in The Tank.
To prevent the Tank’s being dismantled for scrap metal, the Friends launched a Kickstarter crowdsourcing campaign that, in three weeks, unveiled the Tank to the public imagination, prompted 800 supporters worldwide to donate more than $46,000, and rechristened the Tank with an unlikely title indeed: Center for Sonic Arts. The vision to create a space for community engagement, education, performance, and recording continues to evolve. Since the campaign, the Friends of the Tank have earned nonprofit status and acquired a building permit to adapt the space for assembly purposes. In September of 2014, college students, a handful of local businesses, residents, and others, committed to repurposing the Tank. Together they installed lighting, fencing, ventilation, and access points. Architectural design company Rhino Cubed completed renovations to the Tank in 2015. The Control Room received an acoustical makeover in 2017, installing new equipment to make the recording studio at the Tank state-of-the-art. But as storytellers, musicians, and other Tank-faithfuls have passed on oral and written stories of the Tank’s salvation, its origins have taken on near-mythic qualities. For instance, in popular lore, the Tank never held liquid (and it didn’t—at least, not since it was hauled in pieces to Rangely and reconstructed there in the mid-1960s). It was purported to have come from Loma or perhaps the Arkansas Valley in southeastern Colorado. A March 2013 article in Denver’s Westwood stated the Tank was “originally intended for a railroad project that was never completed.” Colorado railroad scholar William Reich, however, believes the Tank did serve a purpose before it arrived in Rangely. Water treatment tanks like this one were essential to the railroad industry in the first half of the 20th century until diesel engines replaced steam power in the late 1950s. Although the Denver and Rio Grande Western Railroad (D&RGW), to which the Tank once belonged, didn’t treat water until the mid to late 1930s, thanks to higher-quality water sources from the mountains,
other railroad companies used beginning late in the 19th century.
“The whole idea was to use soft water in the steam engines so that they would have to be cleaned less often,” Reich said. “Boiler tube cleaning was a laborious and expensive task ... hard, untreated water treated with a combination of lime water (calcium oxide) and soda ash precipitated out the carbonates that foul boiler tubes.” Softened water moved from the smaller treatment tank to a large storage tank. Water was transferred either via pipe or by overflowing directly into the tank that held both the smaller tank and storage water. Rangely’s Tank, Reich believes, was likely this latter “combination” model. Despite local history’s placing the Tank in Loma or Mack, Colorado, the D&RGW did not have water stations, where the softening process would have occurred, in these locations. Though the Uintah Railway had a wooden and later, a steel storage tank in Mack for locomotives and town water, and the D&RGW had a wooden tank in Fruita, Rangely’s Tank was likely built for water stations in Rifle or Grand Valley (near modern-day Parachute) or perhaps, a nearby station in Utah. Constructed between 1937 and 1941, the Tank would have been relevant to the industry until 1957 or 1958. Once it was no longer useful, it may have been sold for as little as $1, providing the buyer moved the structure. How the Moon Lake Electric Association (MLEA) acquired the Tank in 1963 or 1964, under what conditions and at what price is a mystery contained in some long-buried accounting record, many of which still sit in railroad boxcars. We do know that a sale made sense for a railroad company upgrading to diesel technology and an electric company still producing its own power. The Tank’s potential lay just beneath the surface of things, its form as yet unrealized. By the early 1960s, Moon Lake hoped to lower insurance costs by adding a fire suppression system to draw water to the plant quickly during an emergency. Without town water lines to tie into, however, Moon Lake needed other options. The company already processed its own water and had plenty to spare. Why not purchase a water treatment tank, a railroad station nearby no longer needed, use it for water storage, and lower insurance costs in one go? By the time the Tank arrived in Rangely in 1963 or 1964, Claude White had been Moon Lake’s Superintendent of Generation for four or five years. He, wife Arlene, and their three children lived in a small house just northwest of the plant on Moon Lake property. The youngest of the Whites’ three children, Kelvin, was approximately ten years old when he saw trucks turning off of Highway 64 carrying pieces of the Tank. “I remember standing in the yard, watching them weld that thing together,” he said. “As a little kid, I wanted to go over and do it with them. I’m sure I was told, ‘You leave the yard, you’re dead meat.’ They cut it in the biggest sections they could to put it on trucks and get it here, so it went up pretty fast.”
The Tank at dawn. Photo by Mark McCoin.
White and other locals who remember the Tank’s reconstruction said it was pieced together in little more than a week using a crane and welding tools. Six-inch rods of steel pipe intended to transport the water to hydrants were laid near the plant. In the town proper, most residents took little notice of Rangely’s new “skyline.” #ExperienceTheSouthwest
THE ARTS ISSUE 2018
Moon Lake, however, would soon need to contend with the repercussions of their well-intentioned plan. Despite his coming to the company several years after the Tank did, Ken Winder, a Moon Lake electrical engineer from 1972 to 1981 and MLEA’s engineering department manager until his retirement in 2013, knows as much as anyone about why the Tank would never again hold water. “The Tank’s position had to be near and above the plant so that we’d have water pressure,” Winder said. “But after it was placed, there were questions about the adequacy of the foundation. It wasn’t properly done; from an engineering standpoint, you have tons of water to support, and it’s not a very good hillside, to begin with. There were a lot of issues concerning to me, even though the Tank was already in place.” As the nation moved toward establishing a Federal Power Grid and Moon Lake increasingly relied on hydroelectric power, natural gas supplies in northwestern Colorado and California became sporadic, driving up local power production costs. Rangely’s power plant scaled back production, running its generators only during the daytime. By 1975, Moon Lake administrators had decided the local power plant was no longer earning its keep and shut it down for good. While the company sold the generators and other plant equipment, nobody seemed to want the Tank, although local tradition holds that Moon Lake eventually offered it up for as little as $1. Perhaps it’s no wonder that the Tank held little value in most people’s eyes. It must have seemed forlorn and abandoned, a modern-day Tower of Babel. But even as the Tank’s purpose for Moon Lake evaporated, its emptiness became the very thing that drew native speakers to it. MAGAZINE
The first group to discover the way Tank sounds dipped, climbed and meandered was comprised of the usual suspects: partygoers, love-smitten and lovelorn teenagers, oilfield workers, and graduates echoing the last strains of their school years before heading out into the world. Locals recollect customs: spray-painting graduation years on the Tank; modifying car stereo systems with speaker cords of sufficient length to grace the tank with music, and experimenting with the range of reverberations made when a beer bottle smashed against the Tank’s metallic jacket. While not as popular a party spot as other nearby hangouts, the Tank was positively a draw for its novelty. There was something about the way it transformed whoops, whispers, and hollers into something nearly reverent, perhaps other-worldly. In 1976, a second group of Tank inhabitants sprang from a random encounter between visiting artists and Rangely natives. One of the most fortuitous moments of “sonic thinker” and composer Bruce Odland’s life, happened during the last stop of the Colorado Council on the Arts and Humanities’ Chautauqua Tour, a traveling arts festival which found Odland rambling around town gathering sounds for an event installation. Two roughnecks, still unidentified after nearly 40 years, sent him into the Tank along with his recording equipment, striking the outside of the structure with two-by-fours and rocks. That night, the Tank drew Odland back, this time with instruments and a friend from the Tour. Though he left Rangely the next day, New York-based Odland could never stay away for long. He felt an almost visceral need to plumb the ways the Tank spoke to him. Wanting it to be explored by different creative minds, he brought musician friends, recording equipment, and instruments from around the world to test the sonic waters of the Tank.
Looking through the portal into a recording session at the Tank. left to right: Bruce Odland, Marc McCoin, Jeremiah Moore. Photo by Mho Salim.
“This is like the well spring. This is the place to learn about sound. You can hear your sound stretch out like taffy ... spinning around like curly-q’s and crazy eights, spiraling at the top of the tank…” For more than two decades, artists made albums whose titles echoed their experiences in the structure: The Soaring Bird, Leaving Eden, and Ray of Life among them. With two disparate groups virtually unknown to each other regularly visiting the hilltop sanctuary, it’s a mystery they never really crossed paths again. “There were occasions while we were recording, that a dirt bike sound would echo into the Tank, followed by a visored-helmet, headpoking-through-the-portal spaceman,” Odland recalled. “I think that, given the music and instruments collected inside, this passed for interplanetary communication in both directions, however brief.” While each group felt a sense of belonging to the Tank, neither gave much thought to who actually owned it. Local oral history holds that in the early 1980s, Moon Lake finally sold the structure to the Town of Rangely. Town planners apparently hoped the community might yet find an official use for the empty space, but longtime MLEA lineman, Don Wade recalled that it wasn’t long before Moon Lake owned the Tank, however unwillingly, once again.
County records show that by 1989, Moon Lake had found somebody else willing to take it on. A quitclaim deed issued in February documented Moon Lake selling the Tank and the nine acres surrounding it to Jude Hacking, owner of the Ouray Brine Corporation. Hacking, who is skeptical that the Tank was never filled because of foundation issues, planned to fill the Tank with 10-pound brine water, but when a major contract with the Chevron Corporation fell through; he abandoned the plan. In the mid-1990s, he tried to sell it to the Town of Rangely, which was initially interested in a sale to use the Tank for city water. The lead paint in the Tank’s interior, however, soon killed any potential deal. #ExperienceTheSouthwest
THE ARTS ISSUE 2018
In the meantime, Tank devotees continued to make regular pilgrimages to their Mecca. In 1999, Michael Stanwood, a musician and longtime friend of Odland’s who visited the Tank regularly for the better part of two decades arrived with sound artist Jeremiah Moore to find the Tank’s portal welded shut, and its exterior ladder cut off. Hacking, who was concerned about liability as the party crowds made more regular visits to the Tank, didn’t hesitate to sell it and five of the original nine acres to Stanwood for a mere $10. Soon after acquiring the property, Stanwood started a small organization called the “Order of the Tank,” through which a dozen or so loyal Tank friends made small annual donations to help with taxes. Though Stanwood’s own liability was covered by another property he owned, he too soon learned the unusual routine of Tank guardianship. “I had to be pretty conscious every time I went out to put ‘Private Property’ signs back up that had been torn down,” Stanwood said. “I usually ended up getting a new padlock, which had been broken or cut off in the time between my coming out there again. It was a challenge, but I was not aware of it as much as the man who passed it on to me.” Another decade and a half trickled by, with an eclectic, evolving group of international musicians and artists making journeys to rest, record, and explore the Tank’s soundscape. In 2005, Stanwood recorded his album Portal, christening the Tank “a vessel where serendipity is always alive, patience is rewarded, trust is sustained, and surrender can at times give way to a sense of grace.” But as years passed, Stanwood and others began to feel that their exploration of the Tank’s secrets was coming to a close. When somebody offered to buy the Tank, even talking about parting it out for scrap metal, Stanwood reached out to the people who loved it most before making a decision. “I had this feeling I had done my thing at the Tank,” he said. “I’d said everything I had to say ... Most people agreed I should go ahead and let it go, that they didn’t need to go back out.” Bruce Odland was one of the first people Stanwood called. As Odland contemplated a future without the Tank, he sought input from good friend David Shoemaker, who had produced Odland’s Tank album, Leaving Eden. “Since none of us had been there for awhile, the first idea was to get the old gang together and have one last recording session out in Rangely,” Odland said. “When I called David ... he said, ‘No, I’m not going to a funeral! Have you ever in 30 years of traveling the world for sound found a better sounding place?’” Odland had to admit he hadn’t. “Then we have to save it somehow,” Shoemaker said. A few days later, as Odland and his friends celebrated his 60th birthday, a group of Tank-faithfuls sat up late into the night, making plans to do just that. Though Stanwood returned to the Friends of the Tank double what the Order of the Tank had contributed for his stewardship for 14 years, they little understood what would be involved in the permitting process. The Tank folks attribute much of their success to town and county officials in particular for helping guide them toward making the Center a reality.
“[W]e really did not know a thing about conditional use permits or building permits or international codes, so it is a continuous learning curve,” Odland said. “Nobody has ever before heard of a Center for Sonic Arts.” Odland is right. Even as an international community of musicians and artists travel to, learn from, and record in the Tank, there remains a curiosity for some locals who don’t fully comprehend this acoustical marvel’s ability. But there is support—and the belief that the people involved with the Tank have the interest of the community at heart. “The town arranged for us to get fiber optic wi-fi, a gift worth $20,000,” says Executive Director, James Paul. Along with a $6,000 grant from the city, various firms in Rangely regularly make in-kind gifts or donate labor. “With the oil industry down, the town is looking to the Tank as a reason for visitors to come to town, and as its identity, in some sense. To me, it’s one of the best things about the Tank—these very different Americans rallying around this odd artistic endeavor.” For more information about the Tank and its upcoming season go to: tanksounds.org
The Land of Art
Looking west across Basin and Range National Monument, Coal Valley is in the foreground and Garden Valley is seen through a gap in the Golden Gate Range. Beyond a low hill in the gap is where Michael Heizerâ€™s City sculpture lies.
THE ARTS ISSUE 2018
HOW A COLLUSION OF ART AND POLITICS BROUGHT FORTH A NEW NATIONAL MONUMENT written and photographed by NICK ADAMS
“Awe is a state of mind equivalent to religious experience.” – Michael Heizer If you’ve ever driven east-west through the middle of Nevada, you understand the description of the landform you are traversing: Basin and Range. Or, put another way, valleys and mountains. For many, it is just endless miles of desolate, nondescript desert, punctuated by undulations of high mountain passes and low basins. To the impatient eye it is nothing special. It’s just a place you have to go through to get somewhere else. Anywhere else. As quickly as possible. But there are some who feel the middle of Nevada is an acquired taste, a landscape of unsurpassed rugged beauty where the mountains are large, the basins even larger, and where the sky is biggest of all. It is monumental in scale. Maybe, too, it is revered because it is one of the last places on earth that isn’t overrun with the trappings of the modern world. Cell phone service is non-existent or spotty at best and the gas stations in Alamo and Tonopah are over a hundred and fifty miles apart with nothing in between. It feels lonely and dangerous, like you could be swallowed up by its unforgiving vastness and disappear in isolation, forever. And yet if you slow down, put your feet on the ground and open up your senses, this landscape can offer a sense of tranquility, quietude and revelation.
All of this is likely a part of what drew artist Michael Heizer to Nevada in the late 1960s. Heizer is probably one of the most famous artists you’ve never heard of. Born in 1944 in Berkeley, California, his father was Robert Heizer, a well-known anthropologist of the Great Basin and Mesoamerica. Never a scholarly type, Michael always sensed he was an artist. In his teens, Heizer accompanied his father on archaeological digs, using his talent to make site drawings. The megalithic pyramids and carved stone heads from sites in Mesoamerica were likely influential, as were trips to Europe and Egypt. Heizer dropped out of high school at seventeen and took some classes at the San Francisco Art Institute where he also dropped out. But while there he had become interested in geometric painting. In 1966 he moved to New York City where he found other artists interested in working with geometric shapes, elementary forms and abstract reduction, part of the art scene in New York City in the late 1960s. He was often seen at Max’s Kansas City, a storied New York art club that drew artists like Robert Smithson, Andy Warhol, Lou Reed, and others. Heizer’s paintings at the time often utilized negative space, and he soon translated the idea of negative space into sculpture with a work titled North, East, South, West in 1967. Where traditional sculptors commanded a mass into form
and shape, Heizer’s work used space, contained by form (negative space), to achieve its aesthetic. Around the same time he decided that galleries were not conducive to the kind of large-scale projects he envisioned, so he left New York in 1968 and headed west. One of his first major works was made in the Nevada desert on the Mormon Mesa near Overton. Heizer used dynamite and earthmoving equipment to cut two square-bottomed trenches on either side of the irregular edges of the mesa overlooking the Virgin River. The trenches were lined up perfectly, 1500 feet in total length, 50 feet deep and 30 feet wide; in all, some 240,000 tons of earth was excavated, pushed into the gap between the two trenches. The work, completed in 1969, was titled Double Negative. Heizer spent about $23,000 on the project, which was commissioned by Virginia Dwan, heir to the 3M fortune, gallery owner, and art supporter. In 1985 Dwan donated the work to the Museum of Contemporary Art (MOCA) in Los Angeles, with the stipulation that there would be no conservation effort in order to respect Heizer’s wishes to let the piece gradually erode back into nature. For nearly fifty years erosion has been eating away at Double Negative, drawing boulders from the walls to the floor of the cut Heizer made. More recently, however, Heizer has indicated he might like to see the site restored.
The view from inside Michael Heizer’s Double Negative (1969), located on the Mormon Mesa near Overton, Nevada.
THE ARTS ISSUE 2018
“I think that large sculptures produced in the ‘60s and ‘70s by a number of artists were reminiscent of the time when societies were committed to the construction of massive, significant works of art.” – Michael Heizer Double Negative became profoundly influential in the modern art world. It was a time when modern environmentalism was being born in the public consciousness. The Vietnam War was raging, we saw Earth from space for the first time, and youth in America was bent on escaping the confines of cultural norms. Heizer’s ideas were radical, anti-establishment gestures that shook a fist at the traditional gallery scene and the very notion of what constituted art. Here was a sculpture that was nothing but space, on a large scale, surrounded by a vast desert environment. Immediately you became part of the sculpture; you were in it. From the flat plane of the plateau, Double Negative took you into the earth where eons of time were written in geologic layers on the walls. In the middle was a platform created by the excavated earth, flattened to match the floor of the cut from which it came. And there below lie the meandering currents of the Virgin River along green riverbanks in the desert, with the ruggedly majestic Virgin Mountains looming beyond. Negative space, monumental size, and environment combined to provide an experience for the viewer. Heizer saw this new form of art, called Land Art or Earth Art, as an extension of the effect (but not necessarily the style) of megalithic monuments of ancient cultures—Easter Island, the pyramids of Egypt and Mesoamerica, Stonehenge, and others.
Govan, with his fine art training and experience in art administration, was the perfect person to champion Heizer’s art. While Govan was at Dia, Heizer was provided a large interior space for North, East, South, West. Later, after Govan was hired in 2006 to head the Los Angeles County Museum of Art (LACMA), he commissioned the 2012 piece, Levitated Mass, a multimillion dollar installation at the museum. Levitated Mass consists of a 340-ton boulder quarried from a site in Riverside, California, placed on a concrete-lined trench of negative space in Los Angeles. A good chunk of the cost of the project was spent in transporting the two-story tall boulder over 100 miles on surface streets from Riverside to Los Angeles via a custom 300-foot long carriage with over 200 wheels. A film by the same name provides a detailed account of the project, and is worth watching. While still at Dia, Govan visited Heizer’s ranch in the Nevada desert and was able to see the progress on City. He was impressed. Govan began using his talents and resources to help obtain funding for Heizer to continue his work. City has been built using rock, sand and concrete quarried and mixed on-site, and Heizer has hired locals with construction experience to work on the massive sculpture. Over the decades Heizer has been working on the project, he has had to deal with erosion and weathering damage, and has changed materials and techniques, essentially rebuilding and improving as he goes along. City is built to last thousands of years. But erosion was probably the easiest thing Heizer had to deal with.
Heizer had an idea for an even larger creation. In 1972 he started buying land with Dwan’s money in the isolated Garden Valley, near Hiko, Nevada. There he began what would be his life’s work, a massive and still unfinished earth sculpture titled City. For City, Heizer imagined a large, ceremonial organization of abstract forms. Now nearly 50 years later it’s a mile and a half long, and over 1200 feet wide. Little else is known about it since Heizer is reclusive, allows few visitors, rarely does interviews, and has allowed only a few authorized photographs released (he doesn’t like any of his art to be photographed, especially unfinished work, and emphasizes the need to physically experience his work). Heizer did some commissioned works in the 1970s, but isolation in Nevada, far away from the New York art scene, took a toll on his career, as did health problems in the 1980s; running out of money, he began to wonder if City could ever be completed.
“Nobody encourages any of this. There is no demand for stuff like this, so, the artist has to do it himself, or in collusion with somebody like Michael Govan, who knows what it is and why it’s done and what it’s for and what you’re supposed to do with it ….” – Michael Heizer Enter Michael Govan. Govan was training to be an artist in the 1980s and working toward an MFA when he was tapped by a former teacher to work for the Guggenheim Foundation in an administrative position. Six years later, in 1994, he became president and director of the Dia Art Foundation in New York City. Dia was formed in the 1970s as a non-profit organization with a mission to support art that by its nature was difficult to fund otherwise, and it was here that Govan began working with Heizer, helping him with new commissions and funding for the ultimate project, City. MAGAZINE
45˚, 90˚, 180˚ of City – Photo courtesy of Michael Heizer/Triple Aught Foundation
Complex Two of City – Photo courtesy of Michael Heizer/Triple Aught Foundation
A key element of Heizer’s work is the environment. All of the land surrounding Heizer was public land, with the standard multiple use management from the Bureau of Land Management (BLM) that included mining, oil and gas exploration, and other uses. Many of these uses could potentially destroy Heizer’s vision of how his artwork is expressed in the environment. For example, in the early 1980s Garden Valley was considered as a location for the train-based MX missile system. Then, in the 2000s, with the proposal of nearby Yucca Mountain as a massive underground storage area for the country’s nuclear waste, a rail spur was planned that would run right through Garden Valley. Heizer vowed to destroy City if that happened. Nevada Senator Harry Reid was persuasive and powerful enough to stall the Yucca Mountain project, not wanting it in Nevada. Perhaps sensing a confluence of interests, Govan deftly invited Reid, who had a history of environmental conservation in the state, to visit City to see it for himself. Reid was impressed, and enthusiastically wanted to help protect the valley, not only for City, but for the archaeological and cultural history, natural history and wildlife habitat found there. In 2015 Reid introduced a bill to create the Basin and Range National Monument that included Garden Valley and nearby Coal Valley— over 700,000 acres of land. The bill was defeated when Nevada Republican members of congress objected, citing concerns of government overreach and economic oppression for the people who live and work in the area. You could say what Reid did next was the nuclear option—he asked President Obama to create the monument under the 1906 Antiquities Act.
“There are no values attached to something like this, because it’s not portable, not a malleable barterexchange object. And that says it—you can’t trade this thing, you can’t put it in your pocket, if you have a war you can’t move it around, it’s not worth anything, in fact it’s an obligation. The theory is that art and land are the things that have the greatest value. And here you have both art and land, if either is excusable then neither are really worth very much.” – Michael Heizer
A dirt road meanders through Garden Valley in Basin and Range National Monument.
On July 10, 2015, President Obama signed the declaration creating the Basin and Range National Monument, protecting the area from further development. By now, Govan had been working with Heizer for nearly 20 years trying to protect City and its surroundings. The monument designation was the ultimate expression of, in Heizer’s words, their “collusion”—creating the largest piece of Land Art ever known at roughly 704,000 acres. Collusion is an interesting word for Heizer to use. It implies conspiracy, secrecy, deceit, trickery, fraud. But, as Heizer says of City, the thing really has no value, made of the dirt that was already there. It is either worthless or it is priceless, and so is the surrounding land. If either one is compromised, they both fail. Govan’s ultimate feat of political power was to convince donors, representatives, the president and others that both City and its surroundings are priceless by creating a national monument. That should be the end of the story, but it’s not. After Donald Trump was elected president, he told Secretary of the Interior Ryan Zinke to review all monuments created under the Antiquities Act since 1996 and make recommendations for reduction. Trump ordered the review to conform to a stipulation in the Antiquities Act that states when protecting antiquities the smallest possible area should be used to create a national monument. Utah Senator Orrin Hatch was behind this push to reduce the size of monuments in Utah, particularly the Grand Staircase-Escalante National Monument, created in 1996 by President Bill Clinton, and Bears Ears, created just before Obama left office in 2016. But monuments in other states were also looked at because local residents tended to have the same concerns—big #ExperienceTheSouthwest
THE ARTS ISSUE 2018
Complex One of City – Photo courtesy of Michael Heizer/Triple Aught Foundation
government, economic oppression. Whether or not those concerns are valid is still debated. Zinke visited Utah and made drastic reductions to Grand StaircaseEscalante and Bears Ears, opening up hundreds of thousands of acres to potential mining and drilling. But Nevada was different. After Zinke visited Nevada, he concluded that the boundaries of Gold Butte National Monument (another Obama creation under the Antiquities Act) should be reduced by an as-yet unknown amount to allow the city of Mesquite, Nevada, to access its water rights. But Basin and Range National Monument, over double the size of Gold Butte and seemingly ripe for reduction under the stated intent, was quietly left alone with little comment from Zinke. So how did Michael Govan’s monument get spared? The question posed to LACMA went unanswered. But Heizer gives us a clue when he says, “The theory is that art and land are the things that have the greatest value.” There is a lot of money in art, and where you find a lot of money you will also find politics and power. City has already cost tens of millions of dollars gifted by wealthy donors. Some of those same donors, while actively supporting arts organizations through donations and executive board positions, also donate generously to election campaigns. We may never know for sure why Basin and Range was spared Zinke’s paring knife. But with Zinke’s decision, City is well-protected and Heizer has stated plans to open it to the public in 2020. The land it sits on has reportedly been deeded to LACMA, who will help MAGAZINE
administer and maintain the site. We don’t know yet how public access will be implemented. Will people drive into the complex like they would go to any other attraction, bringing crowds and filling the site? Or will LACMA provide limited access by reservation and shuttle a small number of visitors to the site each day, similar to how Walter De Maria’s Lightning Field, located in rural New Mexico, is managed by the Dia Art Foundation? What kind of experience does Heizer want to offer?
“Awe is a state of mind equivalent to religious experience.” – Michael Heizer Awe is what City is about—a deeply-felt experience. Those who have personally been to City rave about its impact, calling it a monumental gift to culture and one of the most important works of art to have been made in the last 100 years. If that is true, all of this effort will have been worthwhile. In the meantime, if you decide to take a trip out to Basin and Range, be aware that there really is nothing extraordinary to see at this time. Aside from wilderness and a few petroglyph sites on the fringes, it is mostly basins and ranges, love ‘em or hate ‘em. City, currently locked behind a gate and not really viewable from afar, will eventually change that after it opens, but we don’t yet know how. One thing is certain: the relatively unknown genre of Land Art is about to get a lot more interesting.
THE ARTS ISSUE 2018
VARIATIONS ON OBSESSIONS WITH PRINTMAKING written and photographed by NICK ADAMS
“The snakes ... snakes are everywhere in the desert and I’ve almost been bitten several times, so I’m kind of obsessed with the rattlesnakes, especially that moment of striking ... you know, when you step in a bush, you hear it and you see it rearing like this and you dive five feet ... you know, scares the (expletive) out of me, but it’s kind of a really real experience. The snakes are finding their way more into my work.”
Abraham McCowan’s words slide out slow and easy like a California surfer with a Utah twang. It’s strangely charming. He smiles from under a thin strawberry beard, flashing deep blue eyes and laughs easily. Wearing a trucker hat over longish straggly hair, a blue pullover shirt, tan canvas work pants and a pair of all-season sandals, he’s ready for anything. Family and friends call him Abe; he’s an artist that makes prints from designs carved in wood. “I start by drawing an image on a block with a pencil and a sharpie. And then I carve the block with flex-cut carving tools. From the block, prints are made. It’s basically giant stamps.” It seems simple enough, but there is a lot more to it. He can do unique limited edition runs that can never be reproduced by carving and printing in steps.
Woodcut shown above, with the resulting print on the right. Also shown are two prints.
THE ARTS ISSUE 2018
“Sometimes instead of making a direct print I will do what is called a reduction printing, or some people call it a Suicide Printing. When you do that, the image is drawn on and printed at various stages of the carving process. So on this one, I printed the yellow, carved; printed the brown, carved; printed the red, carved; printed the black, carved; then printed the blue, finished. It’s called Suicide Printing because there is no turning back, once you carve it away it’s gone.” To get a little bit of mixed media, he might make a reduction print and add acrylic paint, then draw with charcoal. In a print edition of 12, each piece will be an original because each will be painted differently. McCowan used to work with wildlife rehabilitation at Best Friends Animal Sanctuary in Kanab, Utah. Wildlife is emblematic in his work: owls and rattlers and other desert creatures twisting in Escher-like abstractions abounding with geometric and earth shapes, composed and carved in reverse, then printed by hand. A lifetime of drawing and painting experience goes into every print.
“I just always knew I wanted to be an artist, since I was a little kid, always drawing. I was always encouraged to do art, like every Christmas I got my paints, I got my drawing pads, I got my first professional easel when I was like 12. I really learned to draw by spending hours in my room, just teaching myself. But then I ended up doing some college.” He attended Northland College in Ashland, Wisconsin, as an undergraduate where he discovered print-making. “I took my first print-making class there, did my first woodcut there, and just fell in love with printmaking. My parents were like WTF you’re not going to do printmaking, ‘cause I was thinking about grad school. I applied to grad school, got into several grad schools but decided to go to Utah State University. It was kind of a risk, but I went up there and did three years of graduate school printmaking, and that’s it, I’m just really obsessed with printmaking.” He’s hoping that obsession will turn into a viable career. It’s a long road and it has its share of snakes. “Now I teach at Dixie State University. I’m an adjunct, I teach printmaking and drawing there, and I run my own little online printmaking business, Chuckawalla press. It’s not huge but for a guy with a wife and three kids and working part-time jobs it really helps, you know.”
Arlene Braithwaite paints with Kolob Society at Zion Canyon by the Virgin River. Photo by Brooklynn Ann Cox.
THE ARTS ISSUE 2018
Getting Creative written by LORI ANN BARNSON
“Engaging with art is not simply a solitary event. The arts and culture represent one of the few areas in our society where people can come together to share an experience even if they see the world in radically different ways. The important thing is not that we agree about the experience that we share, but that we consider it worthwhile sharing an experience at all. In art and other forms of cultural expression, disagreement is accepted and embraced as an essential ingredient.” – Olafur Eliasson, 2016 World Economic Forum, “Why art has the power to change the world.” Artists have long been some of the most influential and interesting people in society. As historians look through culture and history, they can determine a great deal about the development of a society by the development of their art. Abraham Maslow described human needs in a simple pyramid to show that when a human has filled all of the basic needs; food, shelter, family, belonging, etc., the energy that drives a human forward becomes focused on leaving a legacy and self-actualization. People who have met all of their other needs want to create an expression of how they lived their life or how they relate to other people by using art. Creativity is necessary for the invention of tools and industry and can sometimes show great artistic interest, but when a society has met all basic needs, it invests in the creation and display of art. Therefore, by looking at the art of the area and time, it is easy to tell when a community, or a person for that matter, has ascended beyond survival and begins to thrive.
The recent study “Art & Economic Prosperity 5” by The Americans for the Arts, found that the nation’s nonprofit arts and culture industry generated 166.3 billion in economic activity in 2015. In America, 4.6 million jobs were created to support the arts. “By every measure, the results of Arts & Economic Prosperity 5 prove that the arts are an industry—a generator of government revenue, a cornerstone of tourism, and an employment powerhouse both locally and across the nation,” said Robert L. Lynch, president, and CEO of Americans for the Arts. Further, Lynch added, “Leaders who care about community and economic vitality, growing tourism, attracting an innovative workforce, and community engagement can feel good about choosing to invest in the arts.” MAGAZINE
Art is a subjective field. The relationship between the artist and the expression of their art is unique to each person. How an artist chooses to describe their human experience and portrays their stories or pictures so that the viewer can understand the intent is as individual as the art itself. Some artists focus on bringing humans together in a common experience that the artist describes. Some artists hope the viewer will have a completely unique and individual experience that speaks to the viewer in a way that only the viewer will understand. Because art reflects one’s own knowledge, emotions, experiences, and preferences therapists can use art to help a person relate to their world, solve problems, develop interpersonal skills, manage behavior, increase self-esteem, and resolve conflicts. The Gestalt psychologist, Rudolf Arnheim, was well known for focusing on the experience of art to provide insights into people’s lives. In his eyes, artwork reflects one’s ‘lived experience’ and believed that all psychological processes have emotional, cognitive, and motivational qualities and can be reflected in the composition of art. In short, a person could be asked to create art and it doesn’t matter how good, accurate, or professional the art is done, the art created speaks volumes about how the person interprets the environment. Frequently, during the process of creating, understanding, or experiencing art, the person involved will lose track of time or will report feeling an altered state of consciousness where they can have an experience that is truly private and beautiful. Because of the intensely personal nature of the creation of art, artists often thrive in solitary environments and are very individualistic. They are often introverts who blossom in quiet environments. Creating or observing art is a transformative event and best experienced as an individual. This idea prompted the exploration of art groups in the region and why they meet. If artists are so private and personal and seeking the individual experience, why do they so often form groups and societies and guilds?
Arlene Braithwaite and Nick Froyd painting with Kolob Society Photo by Brooklynn Ann Cox.
SOCIALIZATION Nick Froyd and the painters of the Kolob Society meet twice a week. “Let’s face it, artists can be reclusive, but honestly we need social interaction, whether we like it or not,” states Froyd. The first and most important reason to meet as a group is that “You become the AVERAGE of the five people you spend the most time with,” says motivational speaker and self-help guru, Jim Rohn. Froyd explained that he paints with some of the most impressive and technically advanced painters in the region and when they meet they have the opportunity to compare notes and give advice and feedback. He said, “Just being around them, I can’t help but be a better artist.” What you gain in collaboration and feedback can be as important as creating the art at the time. Sometimes when you’re in the creative process, your mind lets you see what you want to see and not necessarily what is actually on the canvas. Having fresh eyes of another artist gives you a perspective that can help improve your skills and ultimately make you, as an artist, better and therefore the art better.
Kolob Society left to right: Brad Hall, Nick Froyd, Arelene Braithwaite, Debbie Robb, Megumi Dold, Richard Lindenberg, Mona Woolsey, Mary Jabens, and Max (the dog). Photo by Brooklynn Ann Cox.
The Kolob Society artists don’t plan ahead, they meet at Starbucks and decide that day where best to paint. They are a Plein Air group with an interesting team dynamic. They thoroughly enjoy each other’s company and think of themselves as part of a family. The artists include oil painters, acrylic painters, watercolor experts, and pastel artists. Some of them are parts of other societies and guilds but this group is where many of them find their ‘social home.’
THE ARTS ISSUE 2018
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SHARING CULTURAL TRADITIONS
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The ever-shrinking world forces many different cultures together in business and personal lives. Geert Hofstede, the leading cultural comparison guru states, “There is a narrow sense in which ‘culture’ is only used for the arts: music, painting, literature. In our work, we also consider all other human social activities as cultural. Greeting, eating, tweeting and cheating are all affected by culture.” Without another culture to compare it to, the study of a single culture is unproductive. A single culture is just habits and behaviors. When comparing cultures, the differences become dynamic and intriguing. Ethnic and cultural art groups help us, as humans, understand one another and become respectful and caring in our interactions. How another culture interprets our culture can help us become tolerant and accepting therefore avoiding disagreements and promoting connectivity. The Confucius Institute is a collaborative entity that has over a million members. There is a cooperative agreement with a Chinese University and a university in any other country. Southern Utah University (SUU) has one such group. Members of this group learn Chinese and volunteer to teach dual immersion classes at Elementary Schools or other learning centers, in the process introducing Eastern art and culture to western societies. Zihao “Ray” Wu with the SUU Confucius group recently helped host a Cultural Celebration in honor of Chinese New Year at the Heritage Theater in Cedar City, Utah. Samples of traditional Chinese food were available. Attendees were treated to acrobatics, a magic show, kung fu drumming, and Chinese folk song-and-dance, which included an impressive opera number. Ray talked about how it is important for people from different cultures to interact so they become accepting of each other and can work together.
Mention Etched20 at Checkout and Get 20% OFF One Regular Priced Item Chinese Opera performed at the Heritage Center in Cedar City, Utah as part of the Cultural Celebration. Photo courtesy of Richard Cozzens.
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The River Valley Artist Guild’s target mission is “…to promote the visual arts at the highest level of excellence throughout of the TriState Region (Laughlin, NV., Bullhead City, Fort Mohave, Mohave Valley, Mohave Indian Reservation and Needles CA.) We believe our efforts help to make our communities unique and a better place to live. We give to artists of all ages in recognition of excellence in the fine arts, and we offer venues for artists to show their work. We are also strong supporters of the arts and crafters in our region.” The Red Rock Writers Club - Photo courtesy of Ashley Rankin-Ruth.
DEVELOPING SKILLS If you’re looking to improve your art skills, it is great to surround yourself with accomplished artists. The Red Rock Writers Club capitalizes on that principle. They are a writing club that meets in the Kanab Utah library. They promote their group with the following statement, “Write a lot? Write a little? Want to start writing? Want help? Want encouragement? Ready to refine your work?”, as a way to interest new participants to attend.
The Black Mountain Art Show in early March is in its 17th year and showcases local artists. Their next cooperative event is the Mohave Valley Contractors Association at the end of March in a 2-day event where guild members will be showing their work.
The Red Rock Writers Club is a local writers group. Writers of all genres, styles, and skill level are welcome to the monthly meetings at the Kanab City Library. There is discussion on projects, progress, and ideas. They have lessons presented by members, sharing time, workshops, and exercises. Optionally join the all-new, completely online, Constructive Criticism Club available to the members. When they meet, they have brainstorming meetings and then writing marathons. When they are done, they read to each other and give feedback for their process. When an art group gets together with a purpose to develop skills, all of the members benefit from the construction and deconstruction process. YAAC Members painting the Mural of John Wayne. Photo courtesy of Jim Federico.
DISPLAY AND PROMOTE ART
When an art group wants to make big plans and big events they form what is called a “Guild”. A guild is traditionally a group of merchants or craftsman that have considerable power in a community. Although modern art guilds are not seeking ‘power,’ they are seeking to bring efforts together to produce large events, host art shows or develop a community appreciation for the arts.
Yucca Arizona was put on the map when the Santa Fe Railroad needed a water stop for their steam locomotives. The area is on the edge of the Wabayuma wilderness and the Hualapai Mountains and offers some amazing desert scenery. With a desire to bring a blend of artists, musicians, and the rich and beautiful history of the area together, Jim Federico organized the Yucca Area Arts Council. The mission of the council is to “…foster artistic expression, civic participation and the economic growth of our diverse community by supporting, promoting, and advocating for arts and culture.” In honor of the old west history and the railroad beginnings, Jim and the YAAC are painting a mural depicting the steam engine, a spooky mining entrance, and completing the mural with a 10ft tall John Wayne.
Vase made from “stringer glass” fused and slumped by Georgia Craig. Photo courtesy of Georgia Craig.
Moapa Valley Art Guild (MVAG) in Logandale, Nevada’s mission statement is “…to coordinate, promote and assist in the development and advancement of Cultural Arts activities in Moapa Valley through the cooperative efforts of citizens and organizations acting in concert.” The Pomegranate Festival takes place in November of each year. It draws thousands of people to enjoy the artwork along with the valley in the nicer south west desert weather. Amy Potts with the MVAG explained the guild gives 100% of the proceeds from the raffle at the Pomegranate Arts Festival and a good chunk of the proceeds from the sale of homemade pomegranate jelly into a scholarship. They have proudly aided the careers of several very talented young people from the valley.
The Boulder Valley Art Guild welcomes everyone with an interest in promoting art in the greater Las Vegas and Southern Nevada area. With exhibits, events, festivals, and classes, they show off some of the areas best art. Their guild has the distinction of being the first cooperative gallery in Southern Nevada. The art in the gallery includes original works done by the members in acrylic, oil, watercolor, ceramics, metal, glass, wood, photography, pottery, sculpture, and limited-edition prints. In addition to that, the gallery gift shop has other artful items.
THE ARTS ISSUE 2018
YAAC members painting the mural of the historic steam engine. Photo courtesy of Jim Federico.
CONNECTING WITH STRANGERS Virtual groups are all the rage. Most people belong to one or more groups in which they will never meet the other members in person. Escaping to a virtual reality is nothing new. As far back as the 1940s researchers became concerned that people would become more and more dependent on virtual reality that they fail to develop social skills. But these new online groups do not limit our access or participation in the outside world, in fact, they encourage it and challenge us to explore our world. One such online community promoting getting out and being involved in your surroundings is called the Kindness Rock Project. In a nutshell, you paint a rock with encouraging words, then put your social media group on the back of the rock. Painted rocks are as unique as the painters. They can be anywhere from A group of toddlers participate in the creation and distribution of painted rocks funny, to inspirational. After as part of a Kindness Rock Project group. you have your masterpiece, Photo Courtesy of Donna Horton. drop the rock where it can be spotted by someone enjoying the outdoors or public places. The idea behind the Kindness Rock Project is that when a person finds something that they can see was created with thought and love, they have the same sensation of accomplishing a goal or finding something that is lost. Notably, the sensation of finding something that was lost, or not previously found releases a chemical in your brain called dopamine. Dopamine causes you to have a boost of good feelings and encouragement. It can help a person avoid depression and anxiety.
Dixie.Rocks are found and then hidden in new places. This rock was found and shared on instagram in Bryce Canyon, Utah. Photo courtesy of Jodi Worthington.
Local St George, Utah resident, Jodi Worthington, found a painted rock while vacationing in Hawaii and then another painted rock when hiking in Nevada. As a fun project for her grandkids and to put a local spin with the iconic sandstone on this fast-growing phenomenon, Worthington created Dixie.Rocks. Her summer project with her grandkids has turned into an Instagram hit in Utah’s Dixie. With over 2,500 followers on Instagram, her ‘business’ of kindness and good feelings is booming. Worthington shared, “I’ve been stopped at the mall and told that their bad day has been completely turned around when they found one of her rocks.” If you’re looking for a virtual group that won’t get you stuck in the house, a rock finding group is just the thing. The point is to get out and get going, and when you find a rock, you take a picture of yourself with the rock and the area where you found it. The person can keep the rock as a souvenir or re-hide the rock for another person to find. It’s a way of sharing kindness and showing the Instagram followers sights and landmarks they may want to visit. Dixie.Rocks rocks are making their way around the southwest with members of the group.
Patrons will describe being swept away and the feeling of timelessness. The symphony comes together as an art group to showcase incredible talent and help an audience immerse themselves in an experience they will cherish.
Lucas Darger, conductor with the Southwest Symphony Orchestra. Photo courtesy of Southwest Symphony Orchestra.
ENTERTAIN Performance art is one of the oldest forms of group art expression. This is to tell a story with words or music in such a way the viewer is transported to a place of discovery.
One of the favorite forms of performance is symphony music. Southwest Symphony’s mission statement is, “We inspire and enrich audiences through the transformative power of symphonic music. As the cultural heart of the community, we share the beauty of music through educational and entertaining performances.”
A group on the opposite end of the performance art develops the art of comedy. Although very different from the symphony in the way they aspire to transport a viewer to entertainment, Off The Cuff Comedy brings performance artists together to help an audience laugh and enjoy the idiosyncrasies of the world around us. Ryan McLean with Off The Cuff talks about the reason they started the group. “In 2004 as a group of like-minded individuals who enjoyed performing improvisational theater who wanted to do more than just the limited workshops that were happening at the local university got together to perform both short form games like, Whose Line is it Anyway? and long form (more theatrical and experimental) improv techniques. Their goal is to be a leader in improvisational theater by providing world-class shows and educational experiences while cultivating a thriving community of performance artists. McLean says, “We’re out to show everyone that improv is a valued art form like any other.”
A Rt W RKS GALLERY Fine art. Fine crafts. Inspired artists.
March 30, 2018, 5-8pm JACK SEIBOLD: METAL etc. etc. Robert Curl and Carl Mazur, Photographs April 27, 2018 Yidan Guo Painting in the Chinese Tradition
Wendy Penrod entertains on stage at OTC. Photo courtesy of Ryan McLean.
Whether artists meet for socialization, sharing culture, developing skills, collaboration, display/promote, connect with strangers, or to entertain, they all agree meeting as a group is an important part of their experience. Some artists even admit, quietly with promises of forever secrecy, that they just meet for plain old fun. Groups help artists find their niche and share their perspective, and when your group is really a group where you feel comfortable, they can help you “burn the evidence” that you ever created anything less than perfect.
May 25, 2018 Jennifer Rasmusson Abstracts and Figures e it
16 N 100 W Cedar City, UT 503.810.0958 us
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Lori Ann Barnson was raised on a horse ranch in southern Utah. She has a bachelor degree in Psychology and a 20-year career in Human Resource Management. Lori’s latest project is a budding divorce recovery coaching program. She lives her life very much in the moment and believes every day is a gift to be appreciated and lived to the fullest.
Learn more about us in the “Gallery Guide” #ExperienceTheSouthwest
THE ARTS ISSUE 2018
TRAVEL - RECREATION - EXPLORE
“I thought of that while riding my bicycle.” – Albert Einstein (in reference to the Theory of Relativity)
70 | Rising to the Demand 74
A TRAIL TO EXPERIENCE ALL-LEVELS OF MOUNTAIN BIKING AT ITS BEST written and photographed by RICHARD COZZENS
The southwest is home to some of the best mountain biking trails in the country. Southern Utah sits smack dab in the middle of it all—offering anything from slick rock, crosscountry, downhill, to technical, and everything in between. Starting at nearly 11,000 feet are trails dropping off Brian Head Peak. These trails are perfect for endless summer runs. In the dead of winter, the St. George area offers a great escape from the cold and snow. At an elevation averaging 2,900 feet, a majority of the trails offer an adrenalin fix all winter long. In the heart of this mecca of mountain biking is a relatively new mountain bike trail, one that represents a little of the best of everything that the southwest has to offer to the avid mountain biker. This is the Wire Mesa Mountain Bike Trail (MBT). Wire Mesa MBT overlooks the Virgin River as it winds along Utah Scenic Byway 9 (SR-9) near the town of Rockville and the pioneer ghost town of Grafton. At an elevation near 4,380 feet, the trail is perfectly situated for year-round (winter weather permitting) mountain biking. There are many reasons to love Wire Mesa. It is moderate in difficulty with some slick rock and technical challenges, but it is not overwhelming to the novice mountain biker. There is just enough climbing to make it a good workout without burning the legs out. The trail also offers fast, flowy sections for the cross-country rider. The best feature of Wire Mesa? The views—colorful landscapes and majestic mountains are around every turn. Even the drive up to the trailhead captivates the visual senses with an epic view of Smithsonian Butte to the south. Ride the trail counterclockwise and the eastern edge of the Wire Mesa cliff reveals significant vertical drops with the red and white sandstone cliffs of Mount Kinesava and West Temple of Zion National Park (ZNP) as your backdrop. Near the north end of the Mesa, the town of Rockville comes into view below. But wait, there’s more along this epic trail.
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1.5 miles from the trailhead (ccw) with Mount Kinesava and West Temple in the background.
Approximately 600 feet down and about a mile away you will parallel the Virgin River as it flows westward. Round the Wire Mesa point and you look down on the historic ghost town of Grafton (see sidebar). Looking up from this point is probably the dramatic panoramic view including the West Rim of ZNP across to the great sandstone cliffs of Kolob Fingers. Westward are the blue colored Pine Valley mountains towering over Hurricane Mesa. Finish the loop continuing counterclockwise and the trail cuts along the western cliffs of Wire Mesa where Smithsonian Butte is now in full view. This photo op is memorizing. Stop and enjoy the moment because finishing this seven-mile loop leaves you wanting more. Riders Note: Be aware of deer on the trail year-round. During the warmer seasons note that rattlesnakes are present. The trailhead is relatively close to Highway 9 but the road to the top of the mesa is steep, narrow, and flanked with sharp drops. Note that this road is dangerous (not for the faint of heart), especially when wet. This trail is in close proximity to the widely known Gooseberry Mesa Mountain Bike Trail.
In the foreground you see the most northern point of the Wire Mesa trail with Hurricane Mesa to the right and the Pine Valley Mountains in the background.
THE ARTS ISSUE 2018
HISTORIC GRAFTON, UTAH The ghost town of Grafton was part of the Utah cotton-growing project in which Mormon church leader, Brigham Young sent settlers to southern Utah. This little town has a great big history along with spectacular landscape. A group from the town of Virgin, led by Nathan Tenny, established the original settlement called, Wheeler. The entire town was wiped out in one night by the Virgin River, leaving the little community a spot in history as part of the western United States significantly affected by the “Great Flood of 1862.”
N OPE RYEA ND ROU
The town was resettled upriver and named, New Grafton after Grafton, Massachusetts. The town grew quickly and for a year, 18661867, was the county seat of Kane County, until boundary changes placed Grafton in Washington County. At one time the town had 28 families with 168 people and was fast growing. In 1865 a Mormon settler in San Pete County offended a Ute delegation. Black Hawk left the meeting with the intent for retribution. Due to the rough relationship between the LDS faithful in Utah and the federal government, federal aid did not come as swiftly as it did for non-Mormon settlers. The unfettered Black Hawk War in Utah raged for two years, in that time 76 Utah settlers were killed, including four people in Grafton. The settlers were ordered out of Grafton to reside in communities of at least 150 men to provide protection. When residents were allowed to return to Grafton, less than half of the townspeople returned. Because of the towns landscape and limiting boundaries, children had to leave to find farming land and most of the decedents headed to nearby Hurricane, Utah. Over the years, the town did not suffer the fate of other settlements, such as overgrowth or destruction by natural phenomenon. Grafton was frozen in time and maintained its frontier ambiance. The ghost town caught the attention of Hollywood and was featured in old-west scenes from movies like “In Old Arizona” and “Butch Cassidy and the Sundance Kid.” 30 of the original structures still remain in Grafton and are currently preserved by Grafton Heritage Partnership Project. Because of the location along the access road to Wire Mesa, mountain bikers often take a little detour to step back in time by visiting the historical Grafton ghost town.
Featuring the Locally Handcrafted Ales of Zion Brewery Entrance of Zion National Park 95 Zion Park Blvd, Springdale, UT Turn into Zion Canyon Theatre Live Music Every Weekend! Great Food | Large Riverside Patio | Kid’s Menu Open for Lunch and Dinner 435-772-0336 | www.zionbrewery.com
Rising to the Demand MORE THAN GOLF IS DRIVING THE ‘GREEN’ IN MESQUITE, NEVADA written by DARCI HANSEN | photos courtesy of RISING STAR SPORTS RANCH AND RESORT
On the corner of Mesquite Boulevard in the Nevada community baring the same name, stands a historical marker, documented as HM9R by the Historical Marker Project. Accounting the strife of the settlers in their pursuit to civilize the land, the marker reads:
“After two failed attempts to settle Mesquite, a few resolute men… camped along the abandoned irrigation canal. The year was 1894, and the workers, all in their early twenties, labored to repair the damage ... In a miraculous way, the youthful men prevailed. …Reveling in celebrations, they used any excuse to feast, picnic, and compete in sports.” A century and some decades later, the city that lies along Nevada’s southeastern border carries on, perhaps consciously, that competitive pioneer tradition. Described by its own settlers as “the scorched earth,” Mesquite has certainly heated up its game.
THE ARTS ISSUE 2018
Longtime residents of the area recall recreation once being defined by the nature of their livelihood—farming, agriculture, and dairies demanded physical labor (a.k.a. chores) for both young and old. In spite of the heat, people ‘acclimated’. Time was spent outdoors. When the work was done, play ensued, often along the banks of the Virgin River. Times have changed over the past one hundred years yet it wasn’t until the 1990s that golf placed Mesquite on the athletic map. A plethora of events led to golf growing in the region: warm weather, no state tax, low cost of living, and gaming launched an immigration of retirees to the desert; developers capitalized on the golf course construction boom; Mesquite was chosen to host the World Long Drive Championship; release of the Tiger Woods PGA Tour video game which incorporated Mesquite’s Wolf Creek Golf Course; and four Mesquite golf courses were featured on Golf Channels reality show, The Big Break. Sprinkle the above with virtually year-round golfing weather and the city had a sporting presence that made them (and others) ‘green’ in every sense of the word. As the community grew, so did the desire and demand for options. The city responded. In recent decades the City of Mesquite has built a multi-purpose recreational center along with a number of parks including sporting venues that allure high school, college, pro and semi-pro athletic teams and tournaments. Then there’s the Mesquite Sports and Events Complex which includes five full-size soccer fields (three of which are synthetic turf) used for soccer and football games, as well as archery, golf, and other events. The business community also responded to the changes that have diversified Mesquite’s draw for tourism and economic development. One of the biggest commitments being that of the Rising Star Sports Ranch and Resort.
It would take a multi-million dollar renovation for the then 17-yearold building to be brought back to life. The Mesquite Star Hotel and Casino’s hollowed halls had stood vacant for the majority of its existence. After a potential sale of the property fell through, it was Urban Land of Nevada’s Vice President, Greg Lee, who vowed to revive it. Greg is a visionary with heart. He also knows a little something about the resort business as the CEO and Chairman of the Board for Eureka Casino Resort, also in Mesquite. His father Ted’s real estate career began in San Francisco focusing on urban renewal and nonprofit housing projects. In 1971, Ted and his wife, Doris, relocated to Las Vegas for a career in real estate development and investment. The Lee’s understood the altruistic sense of community—something Greg and his brother Ernie, both emulate. The Rising Star is an extension of that magnanimous mindset; one which the Resort’s President and COO, Andre Carrier also shares. All benevolence aside, the concept behind the sports ranch evolved as Greg and Andre became aware of the increasing number of youth sports tournaments coming to Mesquite. The idea to leverage the recreational assets already established by the City and the Rising Star’s central location to those sports venues helped solidify the niche concept. “Our vision is to improve the overall travel experience for athletes, coaches, and parents by creating an environment where all involved in youth sports tournaments can get the most from their time on and off the field,” says Andre.
and lit at night. And ... (yes, there’s more) the Ranch features 4-70 ft. batting cages (or 8-35 ft. hitting stations) and a practice infield for softball or baseball. Completing its first year in 2017, the Rising Star has welcomed Nike sports camps provided collegiate and elite level training for athletes, and was selected as home and host for the North American Premier Basketball league’s Nevada Desert Dogs.
The Resort has built an entire ecosystem for athletes including custom designed bunk rooms, and on property training facilities. Taking into consideration the season when the earth is “scorched,” the Rising Star built a state-of-the-art, 30,000 square-foot field house dubbed, “The Barn.” Impressively, The Barn offers three basketball courts, six volleyball courts, 12 pickleball courts, and a field turf set-up. In addition to the outdoor basketball/volleyball court, pickleball courts, and horseshoe pits located in “The Backyard,” there is an onsite, field that can be striped for soccer, lacrosse, or football games
The question that lingers about the gaming community turned sports mecca is whether or not the enormous investment in the athletic venues can be sustained. The September 2017 issue of Time Magazine, “How Kid Sports Turned Pro,” reported that the youth sports business was a $15 billion market, growing at a remarkable pace of more than 55% since 2010. Combined with the increased travel to the southwest region with its national parks and monuments, the odds of success are looking good. The will and tenacity of the settlers prevailed the “remoteness of the area, the water woes, the scanty provisions,” and even, “the scorched earth.” On that very same historical marker, HM9R, the question is probably best answered:
“Etched in the past—more than the dam, the road, or the bridge—are the builders, the dreamers, those willing to dedicate their lives for a better tomorrow. Tomorrow is here, and dreams do come true.”
Spring Pledge Drive: March 22-29
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CYNTHA WRIGHT ... Specializing in Real Estate in Springdale, Utah, entrance to Zion National Park. “Be happy for this moment, this moment is your life.”
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Contact Cyntha “Your Dreamcatcher” 435-680-6769 | zionspringdalerealestate.com
COMMUNITY - ARTS - EVENTS
“If you reject the food, ignore the customs, fear the religion, and avoid the people, you might better stay home.”
– James Michener
Regional Arts & Events Information
#getoutoftheoffice WHAT’S HAPPENING AT THE ST. GEORGE ART MUSEUM CURRENT EXHIBITS on display January 13, 2018 – April 28, 2018 MAIN GALLERY: DANA RUSSELL: METAL MASH UP MEZZANINE GALLERY: SAYAKA GANZ: RECLAIMED CREATIONS LEGACY GALLERY: PRISTINE LAND BY MILTON GOLDSTEIN from the Permanent Collection IN THE MAIN GALLERY, Dana Russell, a recent transplant, has been working with pieces of metal for many years. He chooses metal from places that have meaning for him. Since moving to St. George, he has begun to work with materials sourced locally. With significance he welds these elements into abstractions. An almost musical and storied quality attends the art, as if they are archaeological remnants that have been rediscovered from a past civilization. IN THE MEZZANINE GALLERY, we present Sayaka Ganz. Born in Japan, she writes: “I grew up with Shinto animist belief that all things in the world have spirits. Thus, when I see discarded items on the street or thrift store shelves, I feel a deep sadness for them and I am moved to make these abandoned objects happy ... I use mostly common household items to create animal forms with a sense of movement and self-awareness...”
the mountain west, capturing iconic images of Yosemite, Grand Teton, Yellowstone, and the Grand Canyon National Parks. His wife, Martha, a devoted editor and supporter throughout his career, has generously gifted these pieces and we appreciate her continued support. MUSEUM EVENTS Every Thursday, the Museum is open until 8pm. Explore the exhibits, read or play board games in the Adult Study Center and encourage the kids create and learn in the Family Discovery Center. Admission is free after 5 pm. On 3rd Thursdays we present Art Conversations at 7pm and Book Club at 4pm. Upcoming Book Club selections for discussion are Ancient Evenings by Norman Mailer, on March 15th and The Last of the Wine by Mary Renault, on April 19th. All are welcome to read their own composition or recite a favorite by another at Poetry Jam on 4th Thursdays at 7pm. For children, we teach smART Saturday classes on 2nd Saturdays at 10 am. The topics for March and April are “Bold! The Pop Art of Romero Britto” and “Amedeo Madigliani and Self-Portraits”; SmART Saturdays admission is $3 per child. In the summer, art and culture classes return with the exploration of Ancient Rome.
Using various plastic pieces, she creates a wonderland of animals. Whether it is a bird, whale or polar bear, each piece coalesces into a masterpiece of integration.
SAVE THE DATE! Mark your calendar for these exciting events coming up later in 2018: Teen Night on July 20th, Date Night on August 17th and Singles Night on December 7th. Our annual Fashion Designs & Show Competition will take place this year on November 11th.
IN THE LEGACY GALLERY, the gorgeously rich photographs of Milton Goldstein complete the three exhibits. Goldstein photographed throughout
There is much to experience. All we need is you and your family. Thank you for your 20 years of support!
HIKE THE WAVE Hidden in the Paria Canyon-Vermilion Cliffs Wilderness, not far from the southern Utah town of Kanab, is a spectacular red sandstone formation known as The Wave. This unique formation is only reachable by hiking through beautiful desert wilderness on the Utah/Arizona border in an area mostly untouched by humans, with no formal trail leading to it.
Take a hike.
To preserve the integrity of this treasure of nature, a permit is required to hike in the area. Twenty permits are offered each day for the hike through a lottery system. Due to the popularity of the area, it can be difficult to get aWhile permit.lots Here are a few tips to improve your chances of getting a permit.
of people flock to well-known hiking spots like
Zion, Bryce, and the Grand Canyon, if you’re looking to
Four months previous to your desired hiking date, you can apply for permits get off the beaten path and onto some trails that are just to hike the Coyote Buttes North (including the Wave) through an online as breathtaking, you need to plan a trip to Kanab and lottery system on the Bureau of Land Management website: www.blm.gov/ visit/kanab-visitor-center. As permits in the summer months are most in surrounding Kane County. You’ll find an incredible array demand, try planning a hike for late fall or winter. Your chances of winning the lottery are best in the beautiful cooler winter months when there areoffewer redrock trails, slot canyons, and high mountain visitors to the area.
forests. And you’re sure to find just the hike you’ve
If you don’t get an online permit, don’t worry! Ten walk-in permits are offered by lottery daily. The lottery is held in the Grand Staircase-Escalante National Monument Visitor Center in Kanab, Utah. Applications for the Coyote Buttes North (including the Wave) permits are submitted between 8:30 and 9:00am on the day before you wish to hike.
If you are flexible on times to hike, you have the best chances to get a permit by applying on a Friday in mid-November through mid-March. The Visitor Center is closed on Saturday and Sunday, so on Fridays, there will be a lottery for thirty total permits! Ten permits for Saturday, ten for Sunday, and ten for Monday. If you miss out on permits for the Wave, there are amazing hikes all around southern Utah with breathtaking scenery. Try for a permit to the Coyote Buttes South area, which is full of beautiful red sandstone formations. Another great hike in the area is Buckskin Gulch, which is one of the longest and deepest slot canyons in the southwest. The towering red sandstone walls are a sight you won’t want to miss. For more information about great hikes in the area, head over to the Kanab Visitor’s Center. There they have a list of ten alternatives to the Wave, 25 adventure maps to alternate locations and friendly staff full of great advice for visitors. No matter which trail you find yourself on, there are breathtaking views and adventures to be found in beautiful southern Utah.
been looking for. VisitSouthernUtah.com/Trail-Maps
KAYENTA STREET PAINTING FESTIVAL BE A PART OF THE ART Yes, it is that time again. Time when the paved pathways of Kayenta Art Village are transformed into canvases for professional chalk artists and talented school teams. Over the two-day Street Painting Festival, the black macadam comes alive with bursts of color and art, rivaling the best in galleries. Artists and teams will create from 10 a.m. to 6 p.m. on Saturday, April 28th with school team awards announced at 3:30. Adult artists will continue on Sunday from 10 a.m. to 5 p.m. with awards announced at 4:00. As in the past, young artists will be able to purchase a box of chalk and contribute to the children’s mosaic—a crowd favorite. A variety of food is available during the Festival, and local musicians will fill the Village with music of diverse genres. Please join us and Be A Part Of The Art! A new, intimate, indoor theater at the Center for the Arts at Kayenta is a beautiful venue. It is the home base for ongoing, diverse and thought-provoking events, plays, lectures, musicals, films, storytelling and concerts! See KayentaArts.com for a complete list. Designed as flexible space to accommodate a variety of venue needs, the Center for the Arts at Kayenta is 10,831 square feet of space. It consists of a lobby, office, studio, workshop/catering area, orchestra area, a 3,000-square-foot black box theatre, men’s and women’s restrooms, dressing rooms with showers and an outdoor plaza. Featuring Alfred Uhry’s Pulitzer prize-winning play, Driving Miss Daisy, is the second in a series of professional plays from CFA’s partnership with the Neil Simon Festival. The show runs March 20th 25th. Tuesday’s opening performance will offer a gourmet picnic dinner preceding the show, catered by Harmons. A meditation on race relations in America, the play is a tale of pride, changing times, and the bonds which transcend the fetters of suspicion and prejudice. The story unfolds in the complex relationship between two of popular culture’s most enduring characters: Daisy Werthan, and Hoke Colburn. What begins as a troubled and hostile pairing soon blossoms into a profound, life-altering friendship that transcends the societal boundaries placed between them. Their iconic tale has warmed the hearts of millions worldwide. With TV star Clarence Gilyard as Hoke and Jan Broberg returning to her role as Miss Daisy, this pulitzer prize winning piece will give all in attendance the opportunity for self examination and reflection.
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Information about the screening dates, times and locations can be found at docutah.com. Tickets for St. George screenings are $10 and may be reserved on the DOCUTAH Website. Tickets for Eclipse Theater screenings will be available on its website two weeks before each screening.
Although each film has an intriguing subject, the Boys of Bonneville screening will provide audiences with a special treat. Boys of Bonneville is that rare animal: an exhilarating film about an unknown American hero which leaves its audience cheering to the rafters and grabbing for their cell phones demanding to know, “Who is this guy and where can I see this car?” Well you can see that car—The Mormon Meteor, outside the Eccles Theater on the campus of Dixie State University on the night of the screening. It is the fastest car in the world, which set its records on the Salt Flats of Utah.
This year, as always, the films will be screened on the last Friday of each month, February through August, and hosted by the Directors or Producers of each film. Most of the films will also screen on the Wednesday before at The Eclipse Theaters in Las Vegas, a luxurious complex built for the discerning filmgoer.
“In this, the third season of monthly documentaries, we are delighted to bring high-quality documentaries to not only St. George but also to The Eclipse Theaters in Las Vegas,” said Phil Tuckett, Professor of Digital Film, and Executive Director of DOCUTAH International Documentary Film Festival at Dixie State University. “We are also expanding the venues in St. George for these screenings, where possible, to accommodate larger crowds, including the Eccles Main Stage at DSU and the new state-of-the-art theater facility at the Dixie Applied Technology College. Besides the DOCUTAH International Documentary Film Festival in September, we feel it is important to continue to provide our community with this important genre of entertainment.”
That is the glory of documentary. You never know what the topic is, or what you’ll learn. You may laugh, cry, be astonished, open the world to events, ideas and adventures you have never seen.
in St. George, UT & Las Vegas, NV
World’s fastest car; the epic story of an impossible road built on an improbable route; the most famous female stunt pilot you’ve never heard of; one of the most original bands of the 80s demolished the walls of genre and challenged the racial stereotypes and political order; a film about how not to make a film—a cautionary tale; some of the child survivors of Buchenwald tell their story of heartbreak and bravery; and how we, as humans, really relate to the world of other animals.
DOCUMENTARY FILM SERIES
THE VAST VARIETY OF DOCUTAH’S MONTHLY SERIES
30th 25th 27th
Blackfire Electric Theater, St. George My Father’s Highway Eclipse Theater, Las Vegas Boys of Bonneville Eclipse Theater, Las Vegas Boys of Bonneville Eccles Theater, St. George Last Men in Aleppo Eclipse Theater, Las Vegas My Fathers Highway Dixie Applied Technology College, St George Pancho Barnes & the Happy Bottom Riding Club Eclipse Theater, Las Vegas Pancho Barnes & the Happy Bottom Riding Club Electric Theater, St. George Everyday Sunshine The Story of Fishbone Eclipse Theater, Las Vegas Everyday Sunshine The Story of Fishbone Electric Theater, St. George Lost in LaMancha Eclipse Theater, Las Vegas Lost in LaMancha Electric Theater, St. George Kinderblock 66 Eclipse Theater, Las Vegas Kinderblock 66 Electric Theater, St. George Earthlings Eclipse Theater, Las Vegas Earthlings Electric Theater, St. George
All Screenings Start at 7 PM
TICKETS ON SALE NOW! S TA R T I N G AT J U S T $ 2 9
MAY - OCT 2018 PLAYING IN THE INDOOR HAFEN THEATER
MILLION DOLLAR QUARTET THE MUSICAL
JUL 6 - AUG 11
NOV 29 - DEC 22
BOULDER CITY, NEVADA SPRING JAMBOREE A FUN-FILLED, FAMILY-FRIENDLY FESTIVAL Held the first weekend in May since 1977, Spring Jamboree is considered by many to be Boulder City’s first major public festival, kicking off the rest of the fun-filled, family-friendly events that follow throughout the year. Our outdoor festival is held throughout four beautiful public parks located in the historic downtown district of Boulder City, those being Bicentennial Park, Wilbur Square, North and South Escalante Parks. As the major fundraising event for the Boulder City Chamber of Commerce, Spring Jamboree planted its roots as a simple sidewalk sale in front of several member businesses in the historic district. Many wonder if those original volunteers that produced that first event, could have ever imagined the amazing festival it would become. Come and enjoy a classic hot-rod car show featuring cars from all over the west, rows and rows of arts and crafts produced by skilled artisans, scrumptious snacks and drinks from food concessioners representing every ethnic origin, center-stage performers that will entertain you for two full days, a rock, gem and mineral show that will showcase earthen treasures, and activities for the kids that will get their hearts pumping and energy levels to their peak. The mission of the Boulder City Chamber is to promote business and increase visitation to Boulder City. Exciting events, such as Spring Jamboree, accomplish so much more than this goal by building a strong, vibrant economy for our quaint and charming city. We invite you to fall in love with Boulder City and return often to learn more about why we call it “A World Away For A Day”. Being a community without gaming and home of the state’s number one tourist attraction, Hoover Dam, Boulder City is ideally located between the entertainment and excitement of Las Vegas and Henderson, and the recreation paradise of the Lake Mead Recreation Area.
Dining & Entertainment Establishments
THE ORANGE PEEL BUBBLE TEA & SMOOTHIES Awarded three consecutive years in a row as “Best of State” in smoothies, The Orange Peel provides customers access to healthy drinks on the go. High protein smoothies made with almond and coconut, vegetable and fruit juices, fresh fruit smoothies with healthy boosts and wheatgrass shots are just some of the frequently requested items at the shop. The “Avocado + Almond + Vanilla” bubble tea is a must try. Stop by and let us make you something that quenches your thirst! Our fresh squeezed juices will be certain to boost your energy level for the day and help you find better health. Visit our store and find out why Conde Nast Traveler magazine listed us in their top ten choices for juice bars in the country. Peel In, Peel Out, Enjoy!
42 S River Rd #13 | ST. GEORGE, UTAH 435-628-2232 | theorangepeel.biz
GEORGE’S CORNER RESTAURANT
George’s, located in Historic Downtown St. George, serves breakfast, lunch, and dinner 7 days a week, from 7am to midnight. Our Gastro Pub environment celebrates St. George’s history with a photo gallery of local shots from the 1900s. Lunch and dinner menus feature pub-style food from burgers, sandwiches and salads to steak frites. Everything is made from scratch including buttermilk fried chicken and BBQ baby back ribs. The strawberry rhubarb pie is a must! Our breakfast menu is the best in town, featuring our own local, farm-fresh eggs from our 44 chickens living on our two-acre garden ranch. Fresh-squeezed orange juice and grapefruit juice, gluten free pancakes, and omelets are served with complimentary buttermilk biscuits. When visiting southern Utah, stop by George’s!
2 W St. George Blvd | ST. GEORGE, UTAH 435-216-7311 | georgescornerrestaurant.com
“ TWISTED NOODLE CAFE - HEALTHY EATS VEGETARIAN - GLUTEN-FREE OPTIONS
Twisted Noodle is all about fast service in a casual dining setting – with great pricing to match. Our menu is always evolving, infusing fresh ideas from our kitchen. It’s like a culinary festival under one roof. Come taste what the locals are talking about at Twisted Noodle. (Beer and wine available.) 20 N Main St | ST. GEORGE, UTAH 435-628-9889 | twistednoodlecafe.com
GREGORY’S MESQUITE GRILL EUREKA HOTEL & CASINO Trip Advisor’s #1 rated restaurant in Mesquite celebrates a taste of Mesquite with exquisite cuisine fired on a Mesquite wood grill. The menu features classical steak house favorites, along with recently added treats like Italian specialties. With two dining rooms, one, more reserved, and the other with a relaxed clubhouse feel, Gregory’s Mesquite Grill is perfect for a nice dinner or a romantic special occasion. 275 Mesa Blvd | MESQUITE, NEVADA 702-346-4646 | eurekamesquite.com
eek w a s y OPEN DAILY 7 4pm - 9pm da pen #ExperienceTheSouthwest
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Eating healthy never tasted so good! Twisted Noodle is the place in southern Utah that has something for everyone. Focusing on healthy concepts (but also providing some delicious, splurge-worthy items), our menu is built to accommodate adults and children with a wide variety of flavors that speak to vegan, vegetarian, gluten free, low calorie, and low carb diners alike.
Quench your desire to taste the flavors of southwest living by indulging in the region’s best establishments for dining and entertainment.
SEGO RESTAURANT Sego Restaurant serves diners a selection of regional new American cuisine focusing on what makes this country unique and eclectic. From coast to coast, the USA has some of the finest world cuisine. At Sego they honor that melting pot through our social plates dining concept in one of the United States most stunning locations. Ideally situated on the southern border of Utah and Arizona, Sego is located within the city of Kanab; a world famous basecamp for adventure seekers and nature lovers just 3 hours from Las Vegas, NV and 1 hour from Saint George, UT. Located among the Vermilion Cliffs National Monument, Bryce Canyon National Park, the Grand Canyon (North Rim), Zion National Park and Lake Powell. 190 North 300 West | KANAB, UTAH 435-644-5680 | segokanab.com
CANYON BREEZE RESTAURANT RED MOUNTAIN RESORT Enjoy the casual southwest elegance of Red Mountain’s Canyon Breeze Restaurant, which offers spectacular views, outdoor patio seating, and an indoor double-sided fireplace. The restaurant also has an open demonstration kitchen as well as a separate dining room for private events. We offer a plentiful buffet at breakfast and lunch to accommodate our guests’ busy activity schedules. Dinner offers an abundant soup and salad bar that compliments our entree and dessert menu that changes nightly. A specialty drink, wine and beer menu is available. 1275 E Red Mountain Circle | IVINS, UTAH 877-246-4453 | redmountainresort.com
PAINTED PONY RESTAURANT A culinary island in southern Utah, the Painted Pony brings a touch of class, and intriguing flavors to St. George. Tucked away in Ancestor Square it’s exceptionally clean and cozy, with contemporary art, fresh flowers, and in the evening, a top notch romantic atmosphere with subdued lighting and patio dining. If your surroundings don’t clue you in, your first glance at the menu will. Painted Pony is not your standard fare. Contemporary American cuisine evidently doesn’t mean just another good steakhouse. The Painted Pony has perfected the fine art of using fresh ingredients and delicate flavoring. An exceptional wine list, generous portions, attentive service, and reasonable prices will convince you to return to “the Pony” anytime you’re in St. George. 2 W St. George Blvd #22 | ST. GEORGE, UTAH 435-634-1700 | painted-pony.com
IG WINERY & TASTING ROOM IG Winery & Tasting Room brings fine wine to southern Utah with signature blends and single varietals that are handcrafted to create rich, smooth and delicious wines that offer options for everyone from the crisp white wine lover to the hearty red wine connoisseur. We make world class wines sourced from some of the finest vineyards in California, Oregon, and Washington, including Napa, Sonoma, Sierra Foothills, and the Willamette and Rogue Valleys, just to name a few. Located on Center Street in downtown Cedar City, we neighbor fine restaurants, festivals, and art galleries. Join us either in our tasting room or on the patio to enjoy our premier facility and fine wines. IG Winery & Tasting Room is available for private parties and tastings. Hours vary by season. Call or visit the website for current hours of operation. 59 W Center St. | CEDAR CITY, UTAH 435-TOP-WINE | igwinery.com MAGAZINE
Dining & Entertainment Establishments
ZION CANYON BREW PUB Located at the entrance of Zion National Park, featuring the locally handcrafted ales of Zion Canyon Brewing Company, with exclusive seasonal drafts such as our Apricot Ale and North Rim Trail Hefeweizen. Upscale pub menu includes gourmet burgers, sandwiches, steaks, and salads, plus a kid’s menu for the little ones. Amazing views of Zion National Park from our large outdoor patio on the Virgin River. LIVE music every weekend! 95 Zion Park Blvd | SPRINGDALE, UTAH 435-772-0336 | brewpubspringdale.com
THE BIT AND SPUR The Bit and Spur Restaurant and Saloon is beautifully situated at the entrance to Zion National Park, offering a large selection of microbrews, contemporary southwest fare, and live music. Come enjoy an evening of free billiards and local conversation in Springdale’s original watering hole, open since 1981. Take in the spectacular views of Zion’s towering cliffs from the private back patio. The Bit and Spur is also available for parties and private events. Open 7 days a week. (full liquor licensee) 1212 Zion Park Boulevard | SPRINGDALE, UTAH 435-772-3498 | bitandspur.com
www.padrecanyonfoods.com Catering, Events, Culinary & Chef Services Fresh, Local & Seasonal Menus in Washington County, Utah 435.632.7457 email@example.com
THE ARTS ISSUE 2018
KANABâ€™S ANNUAL BALLOONS AND TUNES ROUNDUP The 4th annual Balloons and Tunes Roundup added to the fun and entertainment to be had in Kanab, Utah. Nearly 50 hot air balloon pilots took flight against the background of the beautiful vermillion cliffs against a clear blue sky. Twelve bands competed for the Battle of the Bands title as visitors enjoyed the tunes on the main stage all day and street vendors selling food, art, and one-of-a-kind crafts throughout the weekend. The evenings made way for a mesmerizing balloon glow and a wishing lantern launch. 1. Blaire Snell, Jan Hedengren, Janette Thompson, Ed Woodin, Anilee Bundy, Gregg McArthur, Jessica Mitchell, Charise Gardner, Alicia Runolfson, Tierra Davis 2. Charise Gardner, Blaire Snell
KAYENTA ART VILLAGE GALLERY WALK & ARTISAN STREET MARKET Presidentâ€™s Day Weekend patrons enjoyed art, food, and music at the Kayenta Art Village Gallery Walk & Artisan Street Market. As a smaller, more intimate festival, visitors were able to mingle with the artisans as they showcased their fine art, home decor, jewelry, and design. 1. Judy Balen
CHINA LIGHTS ARRIVES IN LAS VEGAS China Lights Las Vegas was held at Craig Ranch Regional Park in North Las Vegas for six weeks in January and February. The Lantern Festival brought hundreds of larger-than-life, fully-illuminated, lanterns, as well as Chinese cultural performances and special handicrafts. For nearly 2,000 years, the Chinese New Year has been celebrated with lanterns and this family-friendly festival, and this was its first ever stop in Las Vegas. There was also a Chinese New Year Celebration special activities in the festival. The team of artisans hail from Zigong, Sichuan, Chinaâ€™s cultural capital for the ancient art of lantern-making.
THE ARTS ISSUE 2018
L’DEANE TRUEBLOOD’S LEGACY GARDEN RIBBON CUTTING Dixie State University’s President Richard B. Williams, Dean Jeffery Jarvis, and Professor Glen Blakley welcomed guests for the official ribbon cutting of the Kathryn Lloyd Richards Sculpture Garden’s newest installation, the L’Deane Trueblood Legacy Garden that was donated to DSU. The Legacy Garden was designed by David Trueblood, L’Deane’s son and Landscape Architect. The Garden has beautifully come to life among meandering walkways, a tranquil reflection pool and waterfall, lovely vegetation, and stunning sculptures. It is truly a place for students and community to enjoy peaceful contemplation and conversation. L’Deane, a nationally renowned and respected artist, has been involved in promoting art, supporting other artists and serving various art boards and art organizations, all the while inspiring art lovers for over 40 years. The Kathryn Lloyd Richards Sculpture Garden is located outside of the Eccles Fine Arts Center just north of the Sears Art Museum Gallery on the DSU campus. Photos by Linda Lowe.
1. DSU’s President Richard B. Williams, Dean Jeffery Jarvis, L’Deane Trueblood, and Professor Glen Blakley 2. David Trueblood, L’Deane Trueblood, and Thad Trueblood 3. Beauty and the Beach 4. L’Deane Trueblood and Sears Art Museum Gallery Curator, Kathy Cieslewicz
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‘IGNITE YOUR INFLUENCE’ WOMEN’S CONFERENCE
The Women’s Influence Center of Southern Utah held its 2nd Annual Celebration Dinner & Ignite Your Influence Women’s Conference sponsored by Wilson Electronics. The weekend event kicked off with an awards dinner at the St. George Courtyard by Marriott honoring Washington County Commissioners who were given the Champions Award for their support; Amber Murray was presented the Woman to Watch Award, and Terri Kane received the Woman of the Year Award.
Rocky Vista Medical School in Ivins, Utah hosted the Conference in the school’s new instructional facilities. Over one hundred women and men attended the Conference which opened with keynote speaker, Mary Crafts-Homer, followed by four breakout sessions and plenty of time for making connections.
1. Rebecca Farnham 2. Mary Crafts-Homer delivering the Ignite Keynote Address – “Electrify Your Influence” 3. Rocky Vista Medical School in Ivins, Utah 4. The Entrepreneurship Panel: Shirlayne Quayle, Elise West, Darci Hansen, Deb Mitchell 5. Tara Freiberg 6. Women’s Influence Center Organizing Committee: Deena Beth, Pam Palermo, Shirlayne Quayle, Cindy Clemens, Kelli Lust 7. Katie Meeks 8. Sherry Harward, Aaishah Vohra, Emily Jensen, Clare Rudman, Julia Winje, Haley Shumway, Carol Fordham, Judy Caldwell
THE ARTS ISSUE 2018
SUU HOSTS CHINESE NEW YEAR CELEBRATION Southern Utah University International Affairs and the Hanban/Confucius Institute held a Chinese New Year Celebration in Cedar City with Chinese & Asian Food Tasting, a live performance of acrobatics and a magic show, Kung Fu Drum, and Chinese Folk Song & Dance. SUU has been offering Chinese classes for the past few years to local American students. Beyond SUU, interest in the Chinese language and culture has been growing steadily in recent years across the region. SUU is strategically located and poised to establish a Confucius Institute to provide Chinese language training and various cultural activities on campus, in the community, and in area schools.
rienc eThe South west.
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CALENDAR ST. GEORGE UTAH
CEDAR CITY UTAH
WASHINGTON SANTA CLARA UTAH UTAH
BLACK MOUNTAIN ART SHOW Mohave Community College 9 am - 7 pm CELEBRITY CONCERT SERIES BALLET WEST Cox Performing Arts Center 7:30 pm BLACK MOUNTAIN ART SHOW Mohave Community College 9 am - 7 pm LIVE MUSIC The Town and Country Bank 12 pm POETRY IN THE PARK Zion Park Lodge 9 am SOUP N’ BOWL FUNDRAISER Pioneer Center for the Arts 11 am - 1 pm INT’L FLY FISHING FILM FESTIVAL The Electric Theater 5:15 pm GEORGEFEST FIRST FRIDAY Green Gate Village 6 pm
TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm LIVE MUSIC Zion Canyon Brew Pub 6-9 pm SOUTHWEST SYMPHONY ORCHESTRA SALUTE TO YOUTH Cox Performing Arts Center 7:30 pm ALEX BOYE Burns Arena 7:30 pm
DIXIE POETS St. George’s Senior Citizen Center 2-4 pm THE DIFIORE CENTER COMMUNITY DRUM CIRCLE The DiFiore Center 6 pm
LIETO VOICES COMMUNITY CHOIR SPRING CONCERT Sun River Ballroom 7 pm US. HERE. NOW. THE NEW WORLD DRAMA SERIES Center for the Arts at Kayenta 7-8:30 pm
LIVE MUSIC The Town and Country Bank 12 pm
SPRINT HERO ENDURO RACING Iron Mine Race Park 6 am - 10 pm TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm SMART SATURDAY St. George Art Museum 10 am ROCK, ROLL AND STROLL Bicentennial Park 10 am - 1 pm BEST DAM WINE WALK Grace Christian Academy 4-8 pm LIVE MUSIC Zion Canyon Brew Pub 6-9 pm
WASHINGTON KANE IRON COUNTY UTAH COUNTY UTAH COUNTY UTAH
SPRINT HERO ENDURO RACING Iron Mine Race Park 6:30 am - 10 pm
CELEBRITY CONCERT SERIES GLENN MILLER ORCHESTRA Cox Performing Arts Center 7:30 pm
TRI-STATE ATV JAMBOREE Washington Co. Regional Park VOYAGER SERIES: CROWS AND RAVENS LECTURE W/ RON SMITH Center for the Arts at Kayenta 7 pm
TRI-STATE ATV JAMBOREE Washington Co. Regional Park BOOK CLUB St. George Art Museum 4 pm ART CONVERSATION St. George Art Museum 7 pm
LIVE MUSIC The Town and Country Bank 12 pm TRI-STATE ATV JAMBOREE Washington Co. Regional Park SHREK - THE MUSICAL Henderson Pavilion 7 pm CEDAR CITY JUNIOR BALLET: THE SECRET GARDEN Heritage Center Theater 7:30 pm PAT BENATAR & NEIL GIRALDO Tuacahn Ampitheatre 7:45 pm
TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm TRI-STATE ATV JAMBOREE Washington Co. Regional Park LIVE MUSIC Zion Canyon Brew Pub 6-9 pm SPRING EQUINOX OBSERVATION Parowan Gap Petroglyphs 6 pm CEDAR CITY CHILDREN’S MUSICAL THEATRE: PETER PAN CMT Rehearsal Building 7 pm SHREK - THE MUSICAL Henderson Pavilion 7 pm CEDAR CITY JUNIOR BALLET: THE SECRET GARDEN Heritage Center Theater 7:30 pm ST PATRICK’S DAY PARTY Mike’s Tavern 9 pm - 1 am
CEDAR CITY CHILDREN’S MUSICAL THEATRE: PETER PAN CMT Rehearsal Building 7 pm
MOHAVE VALLEY ARIZONA
THE ARTS ISSUE 2018
Dates and times subject to change. Please verify with organization prior to attendance.
DIXIE POETS St. George’s Senior Citizen Center 2-4 pm PAINT NITE IG Winery 6-9 pm SUU ATHLETICS DINNER & SILENT AUCTION Southern Utah University 7 pm DRIVING MISS DAISY Center for the Arts at Kayenta 7:30 pm MINI INDY Dixie Center DANCING WITH THE STARS America First Event Center 7 pm DRIVING MISS DAISY Center for the Arts at Kayenta 7:30 pm
MINI INDY Dixie Center DRIVING MISS DAISY Center for the Arts at Kayenta 7:30 pm
AMERICA ON STAGE Dixie Center 2-10 pm LIVE MUSIC The Town and Country Bank 12 pm MINI INDY Dixie Center THE ADVENTURES OF TOM SAWYER Randall L. Jones Theatre 7 pm SHREK - THE MUSICAL Henderson Pavilion 7 pm SOUTHERN UTAH HERITAGE CHOIR Cox Performing Arts Center 7:30 pm DRIVING MISS DAISY Center for the Arts at Kayenta 7:30 pm ZEPPELIN USA Tuacahn Amphitheatre 7:45 pm MUSIC WITH PATRICK MCEWEN George’s Corner Pub 8-11 pm
AMERICA ON STAGE Dixie Center 7 am - 10 pm TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm THE BOULDER CITY “BIG CLEAN” Bravo Field 9 am - 1 pm MOHAVE VALLEY CONTRACTORS ASSOCIATION HOME & GARDEN EXPO Riverview Mall 9 am - 3 pm 8TH ANNUAL PINK TEA Heritage Center Theater 2 pm THE ADVENTURES OF TOM SAWYER Randall L. Jones Theatre 2 pm ST. GEORGE PUPPET FESTIVAL The DiFiore Center 10 am - 3 pm RED ROCK RAMPAGE Green Valley Raceway LIVE MUSIC Zion Canyon Brew Pub 6-9 pm SHREK - THE MUSICAL Henderson Pavilion 7 pm JASON BONHAM & VOLTARE VERZOSA Center for the Arts at Kayenta 7:30 pm CHRIS STAPLETON Laughlin Event Center 8 pm
MOHAVE VALLEY CONTRACTORS ASSOCIATION HOME & GARDEN EXPO Riverview Mall 10 am - 2 pm MASTER SINGERS EASTER CONCERT Heritage Center Theater 7 pm DRIVING MISS DAISY Center for the Arts at Kayenta 7:30 pm
DOCUTAH: LAST MEN IN ALEPPO Eclipse Theater 7 pm
NEW VISIONS ART SHOW Ancestor Square 10 am - 8:30 pm
LITERARY SYMPOSIUM Hunter Conference Center 8 am - 6 pm NEW VISIONS ART SHOW Ancestor Square 8 am - 4 pm ST. GEORGE ARTS FESTIVAL Town Square 10 am - 6 pm LIVE MUSIC The Town and Country Bank 12 pm JACK SEIBOLD: METAL ETC. ETC. Art Works Gallery 5-8 pm VOCAL POINT Heritage Center Theater 7 pm DOCUTAH: MY FATHER’S HIGHWAY DXATC 7 pm SOUTHWEST SYMPHONY ORCHESTRA ROB GARDNER’S LAMB OF GOD Cox Performing Arts Center 7:30 pm
LITERARY SYMPOSIUM Hunter Conference Center 8 am - 6 pm EASTER EGG HUNT Cedar City Main Street Park 8:45-10 am TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm ST. GEORGE ARTS FESTIVAL Town Square 10 am - 6 pm BOULDER CITY BEERFEST Wilbur Square Park 1-7 pm LIVE MUSIC Zion Canyon Brew Pub 6-9 pm FULL MOON SNOWSHOE WALK Cedar Breaks Nat’l Mon. 6:30-8:30 pm BACH BIRTHDAY CELEBRATION Center for the Arts at Kayenta 7:30 pm
CALENDAR ST. GEORGE UTAH
CEDAR CITY UTAH
WASHINGTON SANTA CLARA UTAH UTAH
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum DRUM CIRCLE The DiFiore Center 6 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum DIXIE POETS St. George’s Senior Citizen Center 2-4 pm PAINT NITE IG Winery 6-9 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum PROFESSIONAL BULL RIDERS (PBR) Tuacahn Amphitheatre 8 pm
LIVE MUSIC The Town and Country Bank 12 pm BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum GEORGEFEST FIRST FRIDAY Green Gate Village 6 pm PROFESSIONAL BULL RIDERS (PBR) Tuacahn Amphitheatre 8 pm
TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum SPRING CARNIVAL Brian Head Resort 10 am - 4 pm LIVE MUSIC Zion Canyon Brew Pub 6-9 pm LUKE BRYAN Laughlin Event Center 8 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
WASHINGTON KANE IRON COUNTY UTAH COUNTY UTAH COUNTY UTAH
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum OSU: GLORIOUS GALAXIES CONCERT Heritage Center Theater 7:30 pm
LIVE MUSIC The Town and Country Bank 12 pm BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm HENDERSON BLUESFEST Henderson Pavilion 3.30-9:30 pm BEST DAM WINE WALK Grace Christian Academy 4-8 pm LIVE MUSIC Zion Canyon Brew Pub 6-9 pm KRISTIN CHENOWETH Tuacahn Amphitheatre 8 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum IN JUBILO CONCERT Presbyterian Church 7 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum DIXIE POETS St. George’s Senior Citizen Center 2-4 pm
MOHAVE VALLEY ARIZONA
THE ARTS ISSUE 2018
Dates and times subject to change. Please verify with organization prior to attendance.
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum BOOK CLUB St. George Art Museum 4 pm ART CONVERSATION St. George Art Museum 7 pm DWIGHT YOAKAM Tuacahn Amphitheatre 8 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum ZION ULTRA RACES Virgin, Utah LIVE MUSIC The Town and Country Bank 12 pm CELEBRATE BACH Center for the Arts at Kayenta 7:30 pm
TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum ZION ULTRA RACES Virgin, Utah SPRING FINE ARTFEST BiCentennial Park 10 am - 5 pm LIVE MUSIC Zion Canyon Brew Pub 6-9 pm STORYTELLING THEME ‘ART MATTERS’ Center for the Arts at Kayenta 7:30 pm BRIAN WILSON Tuacahn Amphitheatre 8 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum SPRING FINE ARTFEST BiCentennial Park 10 am - 4 pm RED ROCK CACTUS HUGGER Green Valley Raceway BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum DOCUTAH: PANCHO BARNES & THE HAPPY BOTTOM RIDING CLUB DXATC 7 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum LIVE MUSIC The Town and Country Bank 12 pm YIDAN GUO Art Works Gallery 5-8 pm SUU BALLROOM DANCE Randall L. Jones Theatre 6:30-9:30 pm DOCUTAH: PANCHO BARNES & THE HAPPY BOTTOM RIDING CLUB DXATC 7 pm A SALUTE TO THE EAGLES Henderson Pavilion 7:30 pm THE MASTERS: BEETHOVEN & BRAHMS Cox Performing Arts Center 7:30 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum TUACAHN SATURDAY MARKET Tuacahn Amphitheatre 9 am - 1 pm DOWNTOWN YEAR ROUND FARMERS MARKET 50 W. Center 9 am - 12 pm STREET PAINTING FESTIVAL Kayenta Art Village 10 am - 6 pm LIVE MUSIC Zion Canyon Brew Pub 6-9 pm SUU BALLROOM DANCE Randall L. Jones Theatre 6:30-9:30 pm DAVID ARCHULETA Tuacahn Amphitheatre 8 pm
BLOCK PRINTS BY EVERETT RUESS Frontier Homestead State Park Museum STREET PAINTING FESTIVAL Kayenta Art Village 10 am - 5 pm
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Published on Mar 14, 2018