mountain arts + culture e-zine
Published by Breckenridge Creative Arts | ISSUE NO. 14, Spring/Summer 2019
/krē’āt/
contents
: to make or produce : to cause to exist
features
: to bring into being
A SENSORY FEAST
04
THE STORYTELLERS BEHIND THE LENS
16
ART, NATURE + ‘GREEN PATRIOTISM’
36
/krē’āt/ is an online magazine published triannually by Breckenridge Creative Arts. Each issue profiles creative individuals or businesses, cultural organizations, events, and objects of art in a thoughtfully curated visual journey that aims to highlight and promote the greater creative community of Breckenridge.
Creative Director Robb Woulfe, Breckenridge Creative Arts
Editor + Content Writer Erica M. Davis
Art Director Kate Hudnut, GatherHouse Inc.
Designer
departments Foreword
02
Objectified CATTAILS
14
Around town SPANGLED
28
Conversations A TIME FOR CHANGE
32
Portrait ANNE MURPHY, OPEN SPACE + TRAILS
44
Scene DANCING ON ROCK + AIR
46
Sourced
50
Angela Knightley
Contributing Photographers Liam Doran, Joe Kusumoto
Additional Photo Credits WAVE festival images: Russick Smith photo by Joe Kusumoto; ‘CLOUD’ photos by Doug Wong and Caitlin r.c. Brown; ‘Loop’ photo by Steven Csorba; ‘Les Voyageurs’ and ‘Les Oiseaux’ photos courtesy of the artist; ‘Iceberg’ photos by Martine Doyon; and ‘Light Matters’ photo courtesy of the artists. ‘4 Local Photographers’ images by Liam Doran, Jenise Jensen, Joe Kusumoto, and Carl Scofield. ‘Spangled,’ Breckenridge Backstage Theatre, and Tree-o photos by Joe Kusumoto. Ecoventions images: ‘Green Patriot Posters’ photo courtesy of the artists; ‘Contrappunto’ photo by Uli Westphal, courtesy of MING Studios; ‘Golden Shelter’ photo courtesy of the artist. BANDALOOP photos by Basil Tsimoyianis. Anne Murphy and ‘Cattails’ photos by Liam Doran.
Cover + Back Cover Artwork Joe Kusumoto Special thanks to the Town of Breckenridge for its generous support.
@breckcreate // breckcreate.org
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FOREWORD /krē’āt/ SPRING/SUMMER 2019 Our spring/summer issue of /krē’āt/ challenges us to hear sonic landscapes—whether water dripping from a melting iceberg at BCA’s spring festival, WAVE: Light + Water + Sound, or the rushing and gurgling of the Blue River, transported indoors as part of a series on climate change and ecology to grace the Breckenridge International Festival of Arts this summer. In these and our upcoming Street Arts festival, we recognize the benefits of shared public celebration, and trace the growth of the Breckenridge arts scene through the iconic imagery of four local photographers. Change is a constant in today’s art world—and through that lens we look ahead to what’s in store for the Backstage Theatre, under new leadership as of fall 2018.
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FEATURED EVENT Wave: Light + Water + Sound
The 4th annual WAVE festival illuminates Breckenridge May 31 to June 2 with a feast of interactive light and sound works for the eyes, ears, hands, and minds.
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A sensory feast WAVE festival presents oscillating marvels of sound, light, water + community interaction
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I
f a tree falls in the forest and we are there to hear it, does it a make a different sound? What altered vibration filters through the listening ear? Or does a whole new resonance hum when humans are present?
‘Iceberg’ by ATOMIC3 + APPAREIL Architecture For the artists who created “Iceberg”—a large-scale, interactive, sonic sculpture that will make its Colorado premiere at the 4th annual WAVE: Light + Water + Sound festival in Breckenridge May 31 to June 2, 2019—there is new music to explore in the intersection between humans and nature. “An iceberg, in nature, makes sound because the water and wind that goes in the cracks resonates like a pipe organ,” said Canadian artist Félix Dagenais of ATOMIC3, which created the work in partnership with APPAREIL Architecture in collaboration with Jean-Sébastien Côté and Philippe Jean as part of a competition run by Quartier des Spectacles for Montréal en Lumière, Montreal’s festival of lights. The year before, the artists had entered a work designed to create reflections off snow, only to see it rain at the December festival. So the next year they decided to bring winter, in the form of an iceberg, to downtown Montreal. “Icebergs are a barometer of climate change,” said Dagenais, recalling the white Christmases of his youth. “We wanted to create a comment about this reality—about why it’s hard to have snow in December in Montreal.” Constructed of aluminum arches with sensors that react when visitors interact with it, “Iceberg” creates a spectacle of light and sound that changes as guests pass through from start to finish, intended to evoke an iceberg’s journey from the cold, isolated north to warmer, more populated lands to the south.
“At first, you hear natural sounds, cold sounds
art festival, Nuit Blanche Calgary. Since then,
like ice and wind,” Dagenais said. But as
the work has been exhibited around the world,
temperatures warm and the iceberg begins to
soon to include its Colorado premiere at WAVE.
melt, the sonic landscape transforms into water
“We like to think of ‘CLOUD’ as a puppet. When
drops and pipe organ musical notes. “There’s
enough people participate, you get a really
kind of a propagation effect. At the beginning
interesting social spectacle that occurs under
it’s blue and cold. If there are people inside it,
the artwork.”
it becomes red, and reaches a lighting climax,” he said. “We’ve been inspired by nature. When
The sculpture is hewn from more than 6,000
an iceberg melts, it becomes unstable and flips
incandescent light bulbs to resemble a storm
on one side and creates a huge water splash.
cloud, with pull-chains hanging down like sheets
That is how we created that climax effect.”
of rain. Illuminated at night, it draws passersby to it like a beacon. “There’s something physiological
“We play with the concept that human activity
about how we process light at night, especially
transforms the iceberg,” he explained. “We use
electric light,” Brown said. “We want to move
the human activity in our piece, and make it more
toward it.” After that, guests find themselves
musical and more human from that point.”
compelled to tug on the pull-chains to see what will happen.
Although the work calls attention to climate change, it is intended to be welcoming and
“There’s this wonderful moment when people
interactive first and foremost. “For us the
are underneath, and they pull the chain and
playfulness of that kind of installation art
look up and their eyeballs get very glittery and
is important because they are made for
they have this moment of ‘Oh! That’s how it
everyone—from 4 years old to 78 years old,”
works,’” said Brown, describing the “reveal”
Dagenais said. “After that it needs to be built
moment when the audience realizes the
on a stronger statement. People play, come
incandescent lightbulbs do not light up—instead,
back and read [about the sculpture], and then
they serve as a diffusion layer for LED lights,
go explore it some more. People who want to
which illuminate the piece with a cool glow.
dig deep can enjoy it more.” Many of the incandescent bulbs are in fact ‘CLOUD’ by Caitlind r.c. Brown + Wayne Garrett
repurposed, burned-out bulbs—and Summit
The resonance of light waves is at play in
County residents are invited to donate theirs
“CLOUD,” an interactive work by Calgary-
too, to repair the inevitable breakage that
based artists Caitlind r.c. Brown and Wayne
happens in shipping.
Garrett—and the combined effect depends on spontaneous human cooperation.
Reflections on recycling may be inescapable, but they are incidental to the piece. “We
“We wanted to make a work where the
wouldn’t brand ourselves as environmental or
audience becomes performers,” said Brown,
recycling artists,” Garrett said, although they
describing how they were originally invited to
often work with urban byproducts. What started
create a performance piece for the late-night
as a cheap way to source materials turned into
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a “sort of morbid curiosity in the scale of things
illustrate,” explained Julie Boniche, the agency’s
we use, the extent to which an object exists,”
creative director. “A floating, animated light will
he said. “It’s interesting to see all these together;
appear on this surface,” depicting natural
it helps you think about your footprint.”
wonders from the “silver lines of clouds” and Northern lights to water caustics—the envelope
“CLOUD” itself was less about commenting
of light rays reflected or refracted by water. A
on the environment, and more about the
“sonic atmosphere” accompanies the installation.
universality of the symbol. “We were fascinated by the fact that weather exists everywhere,
“We chose to work above the beautiful river
regardless of boundaries or borders,” said Brown.
of the site, which brings a flowing feeling to
It takes on “a familiar shape to someone even
our floating light,” Boniche said, because “we
if they don’t share a language, so it’s a way of
thought that the theme should be linked to the
communicating with people.”
essential roots of the place. The river will be reflecting and spreading the light all around
“If a group of people work independently, pulling
the area, which amplifies greatly the immersion
things randomly, not much happens—things
and creates a strong link between water and
turn on and off and generally cancel each other
light. There is so much wonder to discover in
out, creating a gentle flicker, a steady glow,”
the darkness of the night,” she said.
Garrett said. “If people try to self-organize and coordinate, you can see the effects of the
Partnerships + Pieces
group on the exterior of the artwork. I think
Numerous other spectacles of light, sound,
there’s a connection to be made about the
nature, and human interaction are slated to
power of people when they work together.”
grace the 2019 WAVE festival, among them the luminous wire sculptures, “Les Voyageurs”
“We are pretty curious to see how the environment
(The Voyagers) and “Les Oiseaux” (The Birds),
of Breckenridge will affect how people see the
by French artist Cédric Le Borgne. Integrated
piece,” said Brown. “For us it’s quite delightful
seamlessly into natural and man-made public
to see ‘CLOUD’ settle into different cities.
spaces, these delicate, wire-mesh figures also
Sometimes we think of ‘CLOUD’ as a barometer
make their U.S. premiere at WAVE, animating
for the personality in different places.”
a corridor from the Breckenridge Arts District to Blue River Plaza in downtown Breckenridge.
‘Light Flows’ by ACT Lighting Design Above the Blue River, the Brussels-based
Local artist Scott Young, of Denver, will
agency ACT Lighting Design makes its U.S.
illuminate the Arts District with gas-lit, neon
premiere with “Light Flows,” a site-specific
sculptures inside and out—including “Tension,”
work intended to “immerse the public in a
an all-new work upstairs in Gallery@OMH that
poetic tale” told through light, shadow, sound,
uses hand-worked neon to create a glowing,
and riverine reflections.
immersive
environment;
and
“Intermittent
Positive Reinforcement,” the first-time showing “We use a very light, almost invisible, suspended
of a 400-pound smiley face in which guests
surface as the canvas of the story we want to
use Instagram to change its expression. Young
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will also offer a neon-bending workshop and
Arts District, where there will also be an expanded
artist talk.
slate of free workshops and family activities.
Guests are invited to bring animated movies to
Popular favorites including the LightCycles
life in a musical art installation, “Loop,” by the
community bike ride, and a cello performance
Montreal-based
Ekumen—
by Russick Smith on an island in the Blue River,
Jonathan
return again in 2019. In addition, the National
Villeneuve, and Ottoblix, in collaboration with
Repertory Orchestra presents “Floating Brass,”
Générique Design, Jérôme Roy, and Thomas
a series of mobile pop-up performances that
Ouellet Fredericks—by climbing inside giant
drift around the festival, animating the sonic
wheels
landscape.
designed
by
and
art
collective
Olivier
using
Girouard,
handcar-style,
human-
powered levers to operate them. Once the wheels are spinning, they play fairytale-based,
“WAVE transforms the Breckenridge nightscape
musical movies that vary in tempo, light
into a hub for community interaction through
frequency, and image speed depending on
artistic explorations of light, water, and sound—
how fast guests move the lever. The concept is
all spectacles of nature that travel in wave
based on the 19th century zoetrope, a pre-film
form,” said Robb Woulfe, CEO of Breckenridge
optical toy in which a sequence of subjects in
Creative Arts. “With support from our partners
progressive stages of action become animations
and funders—including the Town of Breckenridge
when set in motion.
and the National Endowment for the Arts— WAVE gets better every year. We hope you will
Afterwards, visitors can enjoy a more relaxing
join us in 2019 as we infuse the night with a rich
screening of water, light, and ecology-based
banquet of light and sound works, a sensory
films by the Breckenridge Film Festival at the
feast for the eyes, ears, hands, and minds.”
ACT Lighting Design // actld.com APPAREIL Architecture // appareilarchitecture.com/en ATOMIC3 // atomic3.ca Caitlind r.c. Brown + Wayne Garrett // incandescentcloud.com Cédric Le Borgne // cedricleborgne.com Ekumen // ekumen.com WAVE: Light + Water + Sound // breckcreate.org/wave
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/objectified/
Cattails Cattails are nature’s regenerators. They colonize disturbed wetlands, extracting pollutants and helping ecosystems return to a state of health. In another sense, sculptor Doyle Svenby gives new life to discarded industrial materials, which he salvages from scrapyards and repurposes into works of art. Svenby donated this found-steel sculpture of cattails to grace the Breckenridge Arts District, the campus of renovated historic buildings in downtown Breckenridge that opened in 2014 and is now home to artists in residence, studios and workspaces, classes and workshops, community gatherings, and a public gallery. Breckenridge public art collection // breckcreate.org/explore/public-art Doyle Svenby // instagram.com/dsvenbydesign
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FEATURED CREATIVES 4 LOCAL PHOTOGRAPHERS
Carl Scofield, Liam Doran, Joe Kusumoto, and Jenise Jensen speak on image-making in the high country, offering a window into the world of our visual storytellers.
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The storytellers behind the lens
Four local photographers weigh in on the profession, the craft + the high countr
ry
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M
ountain country is a beacon for outdoor adventurers—for skiers and snowboarders, bikers and hikers, fly fishermen and fisherwomen. Set against a backdrop of brilliant blue sky, emerald forest, and craggy peaks, it lures dreamers and lovers of creative expression too.
Most would-be travelers learn of Breckenridge from its storytellers—the writers and imagemakers whose work, shared broadly and widely, capture the imaginations of so many. Chief among them are four local photographers whose work has immortalized the high country for decades. Carl Scofield Carl Scofield has been telling the Breckenridge story from behind the camera lens for nearly 40 years. Like so many longtime locals, he moved to the mountains to ski, waiting tables to support his habit before transitioning to full-time photographer around 1984-85. Back then, in addition to assignment and editorial work for magazines, the bulk of his work was in stock photography— mountain scenics and lifestyle shots leased for use in print brochures. He got his first real break after shooting some ski events—among them the Freestyle World Cup, back when “freestyle” meant moguls, ski ballet, and aerials—which turned into a long-term gig doing promotional work for the ski area. “I’ve made my living as an assignment photographer,” explained Scofield, who has done “a little bit of everything” from “food to fashion to aerial shots from helicopters to ski action sports and editorial work for magazines.” These days he shoots a lot of high-end architecture, events, and pretty much anything else that is sent his way. He has one client that manufactures chairlifts who hires him to travel around to photograph new chairlifts. “I’ve had to continually reinvent it over the years,” he said, to keep pace with changes like the transition from film to digital, and the decline of stock photography as an income source. “I’ve managed to stay in business by being very fair and honest. I’m very proud I’m still working with the same clients I started working with 30 years ago.” One of his latest ventures is a foray into fine art and décor in the form of colorful, abstract “digital mosaics,” created with layers of original photographs and brush effects, and printed on metal with flush-mount frames. “I’m starting to get a little traction with those,” he said, describing a series of commissions he created to fit the size, décor, and needs of a prominent resort property at the behest of a longtime client. “I pride myself on what I can produce for clients,” he said. “After years of being a commercial assignment photographer, I’m very comfortable with meeting clients’ needs.” In recent years, Scofield has indulged his inner artist more and more, finding himself drawn to compose images about “time and entropy and ‘wabi-sabi’—the perfect imperfectness of being.” In one series, he captures “peeling and decaying paint,” he explained, “that in the end to me looks like a really interesting abstract painting—just a product of time and weather and age. It reminds us of our impermanence, and also the beauty of decline and decay.”
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Only recently has he begun showing his more
an assignment he admitted was out of his
challenging images, starting with his first show of
wheelhouse as an outdoor sports photographer.
abstract work in 2014, prompted by Breckenridge
“To shoot something out of your comfort zone
Creative Arts (BCA), at the renovated Gallery@
makes you better,” he said. “It has helped me
BRK in Breckenridge Theater. “That opened the
grow as a photographer.”
door for me. It was very reaffirming and gave me the confidence to continue to pursue some
Often, he is to be found somewhere around
of the art that I’m doing now and getting
the globe shooting professional skiers, most
recognized for,” he said.
recently in Chile, Switzerland, and Canada. “I usually work with 1-3 athletes,” he explained.
Scofield has also appreciated the opportunity
“We go out and set up shots. Sometimes we
to shoot for BCA—an organization he watched
find a beautiful area we like and we farm it. I
from the early vantage point of resident artist
get skier one, move a little, get skier two, reset,
at the new Breckenridge Arts District. “His
and skier one comes in again, and skier two
vision has been so much bigger than any of
comes in again—that way we maximize the
us might have imagined,” he said of its CEO,
number of shots we can get in perfectly fresh
Robb Woulfe. “He’s done so much more than
snow. You’ll never see another track in any of
just getting the campus moving—the scale and
my photography; it’s always 100% fresh.”
scope and variety of art that he’s brought to the community has been tremendous.”
An avid skier who grew up in Denver and hit the mountains on weekends and holidays with
For Scofield, telling the story of Breckenridge
his family, Doran moved to Summit County
as a creative community for BCA involves
in 1996-97 and started shooting in 2001-02,
“creative license to do things very differently,”
transitioning to full-time photographer around
whether he’s working “with colors and motion
2008. Since then he has built a resume of
and reflections” or telling a narrative story. “I’m
high profile clients, among them “Powder,”
encouraged to do it as creatively as I can,” he
“Outside,” and “Patagonia.”
said. “That’s a very refreshing perspective to try to bring to an assignment.”
“I am a storyteller,” he said. “That’s probably the main reason I get hired for most of my jobs.
“I am blessed and grateful and thankful to have
I’m good at telling the full, well-rounded story,
been able to live in this tremendous community,
not just the extreme stuff but all of the travel
and create such an awesome, fascinating
aspects—the food, the après ski, the portraits
lifestyle working with my camera,” he added.
and landscapes. That’s what I do best—tell the
“It’s been a dream come true.”
entire story of a trip or an adventure we do.” While
the
core
of
his
business
is
ski
Liam Doran
photography, he also shoots mountain biking,
As staff photographer for BCA’s /krē’āt/
fishing, kayaking, backpacking, landscapes,
magazine, Liam Doran has also appreciated the
and wildlife. His favorite subjects are “basically
opportunity to shoot the creative community—
anything I can do in Breckenridge,” he said.
“I’m most happy when I’m shooting outside.”
outdoor photographers make the images we make, and how we survive, business-wise,” he
“I’m an active participant in all the sports that
said. He likes to joke that he got into outdoor
I shoot,” he added. “It’s very different than
photography “out of pure fear of having a desk job.”
football, baseball, and hockey. Whereas those guys shoot from the sidelines, I am actively
In Breckenridge, Doran likes to walk into town
doing all the things the athletes are doing, with
from Warriors Mark with his kids to take part in
a 40-pound pack.”
BCA festivals and activities at the Breckenridge Arts District. “I’ve been here 22 years. When
As a Sigma pro photographer, Doran also travels
I moved here there was no Arts District, no
around the country giving presentations on
creative scene. It has come a long way. I’m
outdoor photography, sharing “what we do, how
really excited about where it is.”
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Joe Kusumoto
worked. Later, Kusumoto worked for his school
If there’s one story Joe Kusumoto likes to tell,
paper. He came to Summit County in 1997, and
it’s that of adaptive sports. He worked with the
taught photography classes for Colorado
Breckenridge Outdoor Education Center for
Mountain College in the early 2000’s before
years, and traveled to shoot every Paralympic
opening his business in 2004. For the most
Games since Athens in 2004. “I love getting
part, he has stopped shooting film, and primarily
that story out there—about these elite athletes
uses a digital camera. “I say that with a little bit
and what they are able to do,” he said.
of sadness because I miss it,” he admitted.
Locally, he enjoys capturing the “other” side
He really values the local community of
of Summit—not just the ski town story, but
photographers. “I think building relationships
“the other things that are happening in our
with each other, helping each other out, and
community,” from the good works of The
helping folks who are interested in working in
Summit Foundation to the “diverse mix of
photography … is an important thing,” he said.
artists and performances” BCA brings. “It
“There’s enough for all of us to do that we can
means a lot to me to have that diversity,”
support each other and really have a thriving
Kusumoto said, naming the Aztec dancers at
community of colleagues.”
BCA’s Día de los Muertos celebration. “Getting the chance to be involved in that, and shooting
Jenise Jensen
that, is one of the things I value greatly.”
One of those up-and-comers is Jenise Jensen, who is quick to credit Kusumoto and other
Kusumoto makes a living by tackling a wide
photographers in the county for their help,
range of subjects—including public events,
whether in the form of advice or selling her
weddings, local sports, portraits, and architecture.
their used gear.
“Up here in Summit County it works out to do a bunch of different things,” he said. “I enjoy
Jensen began to pursue her interest in
that. It keeps things interesting.”
photography in earnest a few years ago. “Summit County has some amazing things to
He went to school for architecture, so he
experience,” she said. “I kind of fell in love with
enjoys shooting it, and “looking at spaces.” The
the fox families in Breckenridge—all the baby
same interest underlies his fascination with
foxes in the springtime. It really motivated me
events like Trail Mix, a series of art and musical
to learn more about photography so I could
installations on local trails presented as part of
capture some of these amazing images.”
the Breckenridge International Festival of Arts. “I’ve always been drawn to the interaction of
Although she initially dabbled in blogging, she
the built environment with nature—our human
discovered she preferred to tell stories through
interaction with nature,” he said.
photographs. “There are so many great stories here—whether the amazing mountains and
Kusumoto grew up with photography. His dad
skiing or wildlife or great concerts in Summit
had a darkroom in their house, and a camera
County where you can have an intimate
club at the Veterans Affairs hospital where he
experience with musicians that you don’t get in
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big cities,” she said. “I think we are very lucky.”
“I still don’t enjoy going onstage,” she said. “Especially at Red Rocks, I’m hiding behind the
Jensen started out volunteering her services
speakers trying to stay out of the way. There’s
taking pictures for BCA, driving to the Front
a reason I’m behind the camera.”
Range for advanced photography classes, and interning with a local band—anything to
Still, she makes a point to encourage other
build her skill and experience. Working with
female photographers. “Especially in media
the band broadened her horizons, she said,
or concert photography, there are very few
the challenge inspiring an interest in stage
females. It’s a very intimidating environment,”
and concert photography, and the attention
she said. “If you are shooting for newspapers
to lighting quality dynamics and specialized
or magazines, you get the first three songs
equipment required to capture it.
from what’s called the pit in front of the stage. The photographers I talk with are always like,
She got her first real break photographing the
‘How did you get stage access, how did you do
music industry with the Grammy-winning band
that?’ I tell them to keep working on it. It’s just
Ozomatli, when they came to Breckenridge as
like anything else you do—you have to keep
part of BCA programming. She’d first heard
practicing, stick with it, and you can get there.
them in Breckenridge in 2006. “They blew me
I was in their shoes, only shooting from the pit,”
away, so I researched them,” she said. “Besides
she reflected. “It’s not like I’m photographing
being Grammy winners, they were cultural
Lady Gaga at the Pepsi Center—but I’d like to,
ambassadors for the U.S. State Department. I
so I’m still working and I’m still learning.”
liked their music, but I also like their social activism. I have a lot of respect for Ozomatli.”
In her BCA work, Jensen enjoys trying to
After Breckenridge, the band invited Jensen to
capture images that “show something in a
shoot them at Red Rocks Amphitheatre—and
different light, from a different perspective,”
her career has blossomed since. “They gave
whether that means deciding to shoot from
me a chance,” she said.
ground level or eye level. She also enjoys capturing people’s facial expressions—“those
Now she regularly finds herself at Red Rocks
moments when they are enjoying the art.”
and other large Front Range venues with an allaccess pass, having been hired by bands,
“It all goes back to storytelling,” she said. “That’s
management companies, publicists, or venues.
what I like.”
Carl Scofield // carlscofield.com Liam Doran // liamdoranphotography.com Joe Kusumoto // kusumotophoto.com Jenise Jensen // jenisejensen.com
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/around town/
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Street Arts: Spangled July 4 Street Arts festival returns with glitter, sequins + a tunnel of love
T
he Breckenridge Arts District transforms
because I rebelled against all of that for so
into a glittery, sequined hotbed for
long—to finally see that coming to life in my
Independence Day fun this July 4 with
studio of all places, it really kind of cracks me up.”
the return of the Street Arts festival, interpreted this year to include not only the much-loved
Minyard traces her glittery, sequined aesthetic
chalk art contest, but also old-timey American
to Louisiana, where she grew up surrounded
fun like bingo, a sack race, a tug-of-war, a pie-
by Mardi Gras—that annual excuse for spirited
eating contest, denim bedazzling, a beer garden,
celebration and wild self-expression, and all
and a dog fashion show.
the colors, sequins, and beads that come with it. “There’s something about Southern women
“This year’s festival will be just as goofy as last
and ‘blingy,’ sparkly things that kind of comes
year,” said Nicole Dial-Kay, director of exhibitions
hand-in-hand,” she said.
and special projects for Breckenridge Creative Arts (BCA), which puts on the event. “People
Parade floats are popular in Louisiana, and
want to stop in and have fun. They want to see
Minyard has worked on a few of them, including
people cover their faces with pies—and we
prom floats. “I feel like it’s really bringing in what
look forward to delivering that.”
I’m used to back home, into my new place where I live,” she said. “I’m really excited about it.”
The centerpiece of this year’s festival is a “Tunnel of Love” parade float by Katie Minyard, replete
At the day’s end, BCA will host a Blue Ribbon
with a giant swan and marquee-style heart, done
Ceremony at the Arts District, where winners
up in glittery red sequins and holographic gold.
of the dog fashion show, pie-eating contest, and other games will be recognized.
“I have this obsession with love hotels, swan float rides—stuff that’s very cheesy and quote-
“A tunnel of love is just so American,” said Robb
on-quote romantic,” said Minyard, who is currently
Woulfe, BCA’s CEO. “It evokes summer fun and
pursuing a Master’s Degree in studio processes
carnival rides—the very things you’d expect
at the University of Colorado Boulder. “I’ve been
at a fun-filled Fourth of July party. Our Street
surrounded by that my whole life,” she said,
Arts festival embraces all that is nostalgic and
explaining how her great grandmother, a Polish
folksy and fun, offering a contemporary twist
Jew who emigrated to the U.S. during World War
on patriotism, public celebration, and what
II, would collect tchotchkes with a “super feminine
it means to be American. We look forward
motif to them.” Her grandmother cultivated a
to Katie’s fantastic float, and to celebrating
similar aesthetic, as did her mother after that.
Independence Day with all the glittery red,
“My whole house, as a child, was covered in pink
white, and blue fanfare we can muster at the
roses and butterflies,” Minyard said. “It’s so funny
Breckenridge Arts District this July 4.”
Street Arts: Spangled // breckcreate.org/festivals/street-arts-festival Katie Minyard // katieminyardart.com
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/conversations/
A time for change Backstage Theatre’s new leadership speak on the current season + future plans
Can you tell us about some of the upcoming
play—there’s some unifying concept that fits
productions?
them together. This season was inspired by us
Debbie: Coming up in June we have ‘Taming
bringing new leadership to the theater, and the
of the Shrew.’ We are excited to present Shakespeare. Many people aren’t familiar with Shakespeare, so by bringing it to our theater we are expanding the minds of our community. It’s also great for kids to have the opportunity to see Shakespeare. Each season we want a combination of things from comedy to drama, musicals, artistic pieces, and classical productions. The people who come to the theater month after month need variety.
idea of change—how it’s hard, but sometimes it’s necessary and it makes us better. All of our plays this season have a character dealing with this idea of change and what they think is right. They either take the plunge and they make a change, or they fight against it and they lose everything. Debbie: Nathan and I really wanted to focus on the growth of the theater from an artistic perspective, as well as the number of people
Nathan: We will have a daytime children’s
we reach—whether audience members, people
production called ‘Totally Red’ in July and
we reach through marketing, or community
August, running at same time on the same set
members who are sponsoring us. We wanted
as ‘Into the Woods.’ ‘Into the Woods’ is a
to reach more people and grow our artistic
Sondheim musical about multiple fairy tale
community. Our graphic artist, Collin Perrier,
characters—Cinderella and her prince, Little
designed our posters to have a theme, but also
Red Riding Hood and the wolf, Jack and the
designed the cover of our program to depict
giant from ‘Jack and the Beanstalk,’ the baker
an awakening where the Backstage is rising up
and his wife, the witch, Rapunzel and Rapunzel’s’
and coming into a new place of growth. We do
prince—who end up in the woods at the same
an insert for each show but the program stays
time and their stories get changed as a result
the same. From the way the lobby looks to the
of each other. ‘Into the Woods’ is definitely for
theme of the show and our marketing, we want
adults, and ‘Totally Red’ is like a kids’ version of
everything to tie together. We want it to feel
it, a comedic piece for children. When I was
like everyone is entering the play with us; they
thinking about artistic programming, I wanted
are joining in more than just watching.
something that could play in same space on same set. I thought ‘Totally Red’ was a nice spin off. After that is ‘Little Shop of Horrors,’ our show featuring performers from the community, which runs August 23 to September 1.
Nathan: We are also expanding our kids’ programming. There’s a new full-time position as associate director that’s going to help us add more. We are looking to add an extra STEP production that’s a play, in addition to our
What is your vision for the Backstage Theatre?
musical, and add a couple more weeks to our kids’ summer camps. We are planning those
Nathan: One of the super important things to
now, for all ages. I taught high school theater
me when I came on board was that every season
for 8 years, and I wrote the theater curriculum
has a unifying concept to it—from the designs
for three different school districts. I know how
to the way we market it to the whole role of the
valuable theater is for kids.
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How has the reception been so far?
to produce. We already have our 2019-20
Debbie: It’s been positive. Our January/
season planned—the season, the sets, who’s
February production, ‘Almost Maine,’ was an artistic piece. I would say that it’s a little bit outside of what the Backstage has done in the past; they’ve done more popular titles. During what typically is a slow time and maybe 700800 people come to see a show, we had over 1,300 people. We were really excited to see the community embrace an artistic piece.
performing, who’s directing, and the marketing scheme. We already planned it, got the rights, and presented it to the board. It’s nice to be ahead of the game. Can you tell us anything about the 2019-20 season? Nathan: All of the stories we are going to tell next season have characters that become obsessed
Nathan: ‘Almost Maine’ has some uncomfortable
with where they want to go—and in doing that,
moments. We marketed it as a Valentine’s Day
they lose track of time and miss where they are
show; there are some great moments of love
now. I was inspired because for me personally, this
and some bad moments of love. Seeing people
is the first time since grad school I’m somewhere
in the audience experience some moments
I’m going to stay. I’ve been in such a hurry to
that may have happened to them—it can hit
get somewhere, I’m afraid I’ve missed out on
home. But I think that is what art is supposed
something. As Thornton Wilder said, only poets
to do. Art is supposed to affect you, to make
truly know what it’s like to live in the moment.
you feel, and it could be good or bad. Aristotle said theater should educate or entertain. I think good theater does both.
Debbie: The new season will start a month earlier this year, in October 2019, and we will announce the complete 46th season at our
I imagine you’ve been pretty busy, having just come on board in fall?
annual fundraising bash on July 11th. The annual Backstage Bash this year will be a compilation of numbers from all of the shows we performed
Debbie: My first 90 days were a whirlwind. We
in our 45th season. It has been a fantastic
are focused on professionalism, and for me,
anniversary season and we look forward to
that means doing the organizational work on
celebrating the growth of the theater with all
the business side that leads to the opportunity
of our donors and sponsors. It’s going to be a
for Nathan to produce the season he wants
fun night!
The Backstage Theatre in Breckenridge launched its 45th season in November of 2018 with new leadership and a vision for change. Here, Executive Director Debbie Trevino and Artistic Director Nathan Autrey weigh in on current efforts and future directions for the theater company. Breckenridge Backstage Theatre // backstagetheatre.org
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FEATURED PROJECT ECOVENTIONS
The Breckenridge International Festival of Arts returns August 8-19, its whimsical outdoor programming bolstered by a new series on climate change and green activism.
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Art, nature + ‘green patriotism’
BCA presents series on climate change and humanity
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T
he Breckenridge International Festival
create posters around local environment goals.
of Arts (BIFA) returns for its 5th year
Launched by artists Susannah Sayler and
August 9-18, 2019 with a series of artworks
Edward Morris in 2008 as part of The Canary
and performances that entreat guests to frolic
Project—an arts collaborative they created to
in our wild lands, reveling in arts, culture, and
deepen public understanding of ecological
music in the very setting that makes Breckenridge
issues—the idea for “Green Patriot Posters”
so popular with outdoor enthusiasts.
came to them when they toured an exhibition of World War II posters showing down the hall
Juxtaposed with so much lighthearted play,
from their own exhibition of climate change
this year’s BIFA festival also promises a series
photographs. “It was really shocking—the
of ecological artworks and experiences, made
degree to which the posters talk about what
possible with funding from the National
we are doing now,” said Morris, citing a series
Endowment for the Arts’ Our Town program,
of “save fuel” posters as an example. “We
to inspire a range of thought-provoking
realized posters could do something our
responses—from
reflecting
photos of climate change could not do.”
interaction
the
with
on
how
environment
our
affects
humankind, to environmental activism as an
The first iteration of “Green Patriot Posters”
expression of patriotism.
featured a series of bus ads by renowned designer and educator Michael Bierut “that kind of valorized
‘Green Patriot Posters 2.0’ by Sayler/Morris
riding the bus,” Morris explained. From there it
Green activism is community-based in “Green
grew to a website where designers could submit
Patriot Posters 2.0,” a project that invites students,
posters, to an exhibit, a book, and billboards. “It’s
artists, designers, and community members to
not just about design as an isolated exercise,
but how to get designs into the world,” he said.
self-identity.” But the artists felt that “acts of
Both Sayler and Morris are faculty members in
sustainability could be patriotic,” she said. “We
the art department at Syracuse University,
want this notion to be shared and not separating
where they teach students to see art as more
people. That’s why we adopted the term ‘patriot.’”
than self-expression, but as a way to address social issues, and as a form of communication.
In Breckenridge, “Green Patriot Posters 2.0” will take the form of artist-led workshops for
To prepare for the Breckenridge launch of
participating students, an exhibition of project
“Green Patriot Posters 2.0,” the artists met with
posters within the visual media of Town public
Summit County leaders who are working on
spaces and businesses, and a pop-up exhibition
sustainability initiatives, such as the Town of
of posters created since the project’s 2008 start.
Breckenridge’s effort to achieve 100% renewable energy for municipal facilities by 2025, and
‘Contrappunto,’ ‘Golden Shelter,’
efforts to address the bark beetle epidemic.
+ ‘Blue River’ by Guiseppe Licari
These local goals will serve as a menu of ideas
Whereas “Green Patriot Posters” works within
around which posters will be created. “The
the language of mass media, the Sicilian artist
posters become like an advertisement for things
Giuseppe Licari, who is based in the Netherlands,
that are already happening, to communicate a
will impress the urgency of climate change and
sense of pride in these activities,” Morris said.
human impact upon viewers in a series of large-scale installation artworks—two indoors
“We think of our job, as artists, as to create
at Gallery@OMH and a third along the
public sentiment,” he explained. “By taking
Moonstone Trail in Breckenridge.
action—even a simple action like recycling— you are creating public sentiment, public will
“I’ve been fascinated by the relationship between
that can create political will, and that’s what we
fire and society,” said Licari, whose work,
need [to combat climate change].” The project
“Contrappunto,” consists of a gently smoking
is a good fit with the National Endowment for
forest of black, burned trees set against the white
the Arts’ Our Town funding program, which
backdrop of gallery walls. His concept dates to
seeks initiatives that unite arts organizations
2007, when he presented a single burned tree
with municipalities to impact community goals.
to comment on the Sicilian forest fires, followed by a 2016 residency at Ming Studios in Boise,
The artists’ idea to invoke patriotism was inspired
Idaho, where he created “an installation made
by the American spirit of rallying around a common
in multiple trees that addresses the issue more to
cause embodied in the World War II posters—
a global level,” he said. In the U.S., he is interested
particularly the iconic “We Can Do It!” poster of
in the juxtaposition between forest management
Rosie the Riveter. “There seems to be this political
practices and environmental impact—in this
divide where the notion of patriotism is reserved
case the practice of suppressing fires, and how
for more conservative politics,” explained Sayler.
that creates fuel for the huge forest fires we
“Certainly on the left, the notion of patriotism
are seeing today.
is challenging. The left typically does not like to think about patriotism in terms of their own
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“Fire has the duality of being good for the
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forest because it brings life, but also horrible
landscape was so filled with this sign, especially
because it destroys everything,” he said. “In
the dredge rocks.” He did some research, and
that sense, we have ‘Contrappunto.’” By
discovered that in order for the town to reclaim
rendering these “dead trees, miserable trees”
the once-buried Blue River from underneath
indoors, they “become more domestic” and
mountains of dredge rock, a layer of thick plastic
serve as “a metaphor to talk about people,” he
was added to keep the water aboveground.
said. “I think they become somehow a mirror.” “The water flowing is creating a sound that Licari pursues that concept further in “Golden
was created, that was manmade,” he said. “The
Shelter,” an outdoor installation for which he
idea of the plastic membrane holding the water
will wrap a community of small trees—which
made me think, ‘How will water sound when it
are growing in spaces created by land managers following
sustainable
forest
management
guidelines—in space blankets, which have come to symbolize emergency care. “The idea of wrapping the trees shows this duality of taking care of the forest—making sure it is protected, but also suffocating it,” he said. At the same time, “when the trees are wrapped in blankets, they look like people. The trees become again like humans. The same care we take for trees is reflected in the care we have for people.” “The problems climate change is bringing is not for nature but for the people,” he said. “Nature will continue to evolve and exist as it has for millions of years. We are within nature. In the end, that’s why I like to compare nature to humanity. In society, if you see what we have been doing to nature, you can see what we are capable of,
hits the plastic?’ We will try to find it along these 9 miles in August, and extract these artificial sounds.” The recordings will be used to create a multichannel soundscape that will “create the presence of the Blue River without it being visible” and serve, together with the landscape of dredge rock, as a space for contemplation—not only about the mining activities that made the river disappear in the first place, but about “the Blue River as it is now.” ‘Rocks’ by Gretchen Marie Schaefer Presented together as part of the “Blue River” installation will be a study of natural objects and the meanings we imbue in them by Denver artist Gretchen Marie Schaefer. Much of her work involves displays of objects
what we have been doing to humanity.”
ranging from bone, shell, and wood to synthetic
His third installation, “Blue River,” will consist of
shape, color, texture, and other formal elements.
many tons of dredge rock transported to the
“Often they are placed in a line, almost creating
upstairs space at Gallery@OMH, accompanied
a visual horizon directly on the wall,” said
by a soundscape created with Italian sound
Schaefer, who directs the Rocky Mountain
artist Nicola Di Croce. The idea came to Licari
College of Art and Design’s Visiting Artist,
during a visit to Breckenridge last August. “I
Scholar, and Designer program. “They almost
am very much fascinated with mining activities,”
become beats in a score of music or words in a
he said. “Even though I knew Breckenridge was
sentence in the way they relate to each other
created by the Gold Rush, I didn’t know the
but altogether create a larger whole.”
materials like string and paint, organized by
Shaefer reuses objects again and again,
where they are floating—[it’s about] looking at
showing
different
this differently. How can we change the physical
configurations. “Anytime you move objects
properties of a thing that seems unchangeable?
closer to each other, or further, or change the
If I can make rocks float, maybe I can break
orientation, it changes the work; it changes the
down the patriarchy. We can change things in
meaning,” she said. “I really value the energy in
our landscape,” she concluded. “Maybe it’s all
an object; they have a lot of things to say. It’s
about changing how we view them.”
them
in
a
variety
of
fun to see how putting these objects next to each other—there becomes this beautiful, poetic conversation.”
BIFA 2019 “Like many of the works we have presented at
Rocks have become a focal point for her recently, and she has created several bodies of work studying them, including a series of papier-mâché rocks she plans to exhibit in Breckenridge. “Rocks are simultaneously as unique as fingerprints, and as ubiquitous as sand,” she said. “No rock is the same as any other. They make up our entire earth. When they are removed from their context—which is a very common thing to do; you pick up a stone or collect a rock—it becomes sort of abstracted. It now becomes this really interesting
the Breckenridge International Festival of Arts in the past, our ecological series can be appreciated on a purely aesthetic level, because it will transform the landscape with the kinds of aweinspiring spectacles our 10-day summer festival is known for,” said Robb Woulfe, the festival’s creator. “However, for those who wish to dig deeper, these works will also provide a jumpingoff point for contemplations—and ecological action—concerning our role in nature.” Other feats and wonders to grace the 2019 BIFA
precious object.”
festival include “vertical dance” performances
Schaefer is also fascinated by the way rocks
dancers who use rock-climbing technology; a
are at once “stable and solid and strong” as
reinstallation of the newly imagined “Isak
they are constantly and invisibly changing.
Heartstone” troll sculpture in a new location;
“Lately I’ve been thinking how that’s an
Riverwalk Center concerts including DeVotchKa
interesting
power—political,
(ticketed) and Paul D. Miller a.k.a. DJ Spooky
social, patriarchal—it feels insurmountable,
(free); and a slate of outdoor performances for
always,” she said. “By making rocks out of light
Trail Mix, including the return of the Chirp!
material like paper, delicately balanced on a
sound art installation, and Tree-o, featuring
glass rod, or positioning them in a drawing
musicians high in the trees.
metaphor
by BANDALOOP, a company of world-renowned
for
Green Patriot Posters // greenpatriotposters.org Sayler/Morris // sayler-morris.com // canary-project.org Guiseppe Licari // giuseppelicari.com Gretchen Marie Schaefer // gretchenmarieschaefer.com Breckenridge International Festival of Arts // breckcreate.org/bifa
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/portrait/
Anne Murphy
Open Space and Trails Manager, Town of Breckenridge Background Home: Wellington neighborhood, Breckenridge Family: Dog, Lucy Education: Alma College, Bachelor of Arts in biology and Bachelor of Music in piano performance; Cleveland State, graduate certificate in GIS; Duke, certificate in nonprofit management; CU Denver, Master’s in executive public administration, May 2018 Why Breckenridge? The mountains were calling! Art Medium: Piano, photography, and silversmithing Latest project: Watermelon tourmaline ring set in sterling silver Favorite creative space: Anywhere above tree line where the distance is limitless Source of inspiration: The land is my inspiration and lifeblood Creativity is: Like air for breathing, a necessary component of my wellbeing
Insights Personal hero: My dad, who taught me to rise, shine, and greet each day as a gift Favorite book: “The Power of One” by Bryce Courtenay Favorite restaurant: Ember Song in your head right now: Nina Simone’s “Sinnerman” Unique home or office decor: Houseplants and orchids that fill every available space Favorite movie: “The Secret Life of Walter Mitty” Favorite causes: Nonprofit land conservation Favorite way to spend free time: Hiking with my dog, Lucy, and a camera
Confessions What keeps you up at night? Reading a good book Pet peeve: Lack of accountability First job: Jewelry design and fabrication for a Native American gallery First choice for a new career: Photographer What do you do to recharge your batteries? Go hiking with Lucy or play piano Guilty pleasure: Coconut chai latte
Originally from Petoskey, Michigan, Anne Murphy, 42, began playing piano at age 5 and has worked in land conservation for more than 20 years.
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/scene/
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Dancing on rock + air BANDALOOP brings ‘vertical dance’ to Breckenridge International Festival of Arts
T
o play in natural spaces, buffeted by the
Endowment for the Arts and the U.S. Embassy.
elements—it is this passion that unites so many high country adventurers, and
“BANDALOOP is rooted in climbing culture,” said
underpins the Breckenridge International Festival
Thomas Cavanagh, executive director, explaining
of Arts (BIFA), upcoming August 8-19, 2019.
how the company employs redundancy to spread the load on the ropes that support each dancer.
Making its debut performance at BIFA this year
That same ethos of protecting one another
is BANDALOOP, an Oakland, California-based
extends to their Leave No Trace policy in natural
dance company that epitomizes what it means to
environments—from the fragile ecosystem of
dance in the wild, inspired by natural phenomena.
Yosemite where they shot their film, “Shift,” in
Founded by Amelia Rudolph, the group is
2015, to “honoring all activities that respect nature
among a small number to pioneer the concept
and integrate the human relationship to place that
of “vertical dance,” performed on walls as if the
wilderness and urban landscapes provide,” he
stage were shifted sideways.
said. “We want to be conscious of and connected to all audiences, both intended and incidental.”
Rudolph had been dancing for 20 years before she took on rock climbing in California’s Sierra
In Breckenridge, BANDALOOP will perform their
Nevada in 1989. “I was intrigued by how dance
indoor repertoire at the Riverwalk Center, “dancing
and climbing shared many skills, and my dance
in ways that use the air and walls as well as the
made me a better climber,” she said. “As I clung
ground as our ‘stage,’” Rudolph said. This will be
to a knife edge ridge of granite at high altitude,
accompanied by live music and film selections from
I wondered ‘What would it feel like to dance
their outdoor work. The performances, on August
here?’ I wanted to explore putting dance in the
16 and 17, will be free and open to the public.
mountains and using climbing technology to expand what dance could be.” BANDALOOP
“Music plays a key role in the sentiment and energy
was born of this intersection.
of every dance and film we make,” said Rudolph, who hopes to work with Zachary Carrettin,
Today the company reaches millions, traveling
artistic director of the Boulder Bach Festival,
around the world to perform on rock walls,
on the project. “We love to work with composers
suspended in air in indoor spaces, even on the
to realize the arc of the energetic narrative of
walls of historical heritage sites. In March,
the dances we are making. From the interaction
BANDALOOP performed in Malaysia at the 8th
of the composer/musician and the dance,
World Summit on Art and Culture for the
unexpected and unplanned moments emerge
International Federation of Arts Councils and
that are not available in the same way when we
Culture Agencies, commissioned by the National
are using music that is already composed.”
While in Colorado, BANDALOOP also plans to
for the sloping edge of that plateau, or the cliff
shoot a new film—a project for which Cavanagh
on a rock face,” Cavanagh explained.
has already scouted local rock walls and submitted permit requests to local land management
“There is a subtle something, unnamable, that we
agencies—with selections to be screened at
humans go to the mountains for,” Rudolph said.
the company’s Riverwalk Center performances.
“It is the way we feel humbled and alone and the way we feel connected to the power that nature
“Dancing on cliffs is a feeling like no other,” said
holds and the cycles of decay and renewal it
Rudolph. “Often you are literally hundreds,
expresses. …I also appreciate the tension between
sometimes several thousands of feet up, a
the discomfort and challenge of the mountains,
place where usually only the peregrines, lizards,
and the fluidity and grace of dance. You have to
and swallows inhabit—though of course so too
be really hearty to be a BANDALOOP dancer in
do serious rock climbers and vertical dancers.
the mountains—not in the name of conquering a
The feeling is exhilarating, vast, and extremely
peak, but in the name of realizing art and beauty.”
focusing,” she said. “You are also managing the sense of exposure, wind, temperature, uneven
“It is a great honor to be invited to perform for
landings on natural rock, often the effects of
BIFA in the summer of 2019, not just to realize
altitude, and many other things that are not
work at Riverwalk Center for an awaiting and
usually in the realm of dancer experience.”
eager audience, but also to take our dance to altitude and celebrate the impressive Rocky
This natural variability leads BANDALOOP to
Mountains at a grand scale with both cliff and
describe their work as “site-reactive,” meaning
alpine meadow,” Cavanaugh said. “BIFA is
the dancers must adapt their choreography
inviting us to share what we do best, dance on
based on the environments they encounter.
mountains and bring that to the people in an
“You can prepare the choreography and music
arc of public art not seen before in this enclave
at home, but there’s no way you can prepare
of progressive eco-experience.”
BANDALOOP // bandaloop.org // facebook.com/projectbandaloop ‘Shift’ // youtube.com/watch?v=X3g8SAouyIU Breckenridge International Festival of Arts // breckcreate.org/bifa
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/sourced/ A guide to creative businesses and organizations in and around Breckenridge Cultural Organizations Breckenridge Backstage Theatre 121 S. Ridge St. backstagetheatre.org Breckenridge Creative Arts 150 W. Adams Ave. breckcreate.org Breckenridge Film Festival 103 S. Harris St. breckfilmfest.com Breckenridge Heritage Alliance 309 N. Main St. breckheritage.com Breckenridge Music 201 S. Ridge Street breckmusic.org Breckenridge Tourism Office 111 Ski Hill Rd. gobreck.com National Repertory Orchestra 111 S. Main St. nromusic.com
Branding + Design The Brandon Agency 160 E Adams Ave. thebrandonagency.com GatherHouse Inc. 110 Second Ave., Frisco gatherhouse.com KL Creative Design 304 Illinois Gulch Rd. klcreativedesign.com McGraphix Creative & Consulting 201 N Ridge St. mcgraphixcreative.com Nikki LaRochelle Design nikkilarochelle.com
Squeeze Designz squeeze-designz.com Straughn Design 552 97 Circle straughndesign.com Summit Creations 102 Continental Ct. summitcreations.com
Galleries Arts Alive 500 S. Main St. summitarts.org Blue River Fine Art Gallery 411 S. Main St. blueriverfineartgallery.com Breckenridge Gallery 124 S. Main St. breckenridge-gallery.com Colorado Scenics 421 S. Main St. coloradoscenics.com
Museums + Historic Sites Alice G. Milne House and Memorial Park 102 N. Harris St. breckheritage.com Barney Ford House Museum 111 E. Washington Ave. breckheritage.com Breckenridge Sawmill Museum Boreas Pass Rd. breckheritage.com William H. Briggle House 104 N. Harris St. breckheritage.com Country Boy Mine 542 French Gulch Rd. countryboymine.com Edwin Carter Museum 111 N. Ridge St. breckheritage.com
Gallery@BRK 121 S. Ridge St.
High Line Railroad Park 189 Boreas Pass Rd. breckheritage.com
Gallery@OMH Old Masonic Hall 136 S. Main St.
Lomax Gulch 301 Ski Hill Rd. breckheritage.com
Gallery@SBL 103 S. Harris St.
Mountain Top Children’s Museum 605 S. Park Ave. mtntopmuseum.org
Gary Soles Gallery 300 S. Main St. breckenridgephotoshop.com JK Studio 100 S. Main St., 2nd floor jkstudiollc.com Raitman Art Galleries 100 N. Main St. 421 S. Main St. artonawhim.com
Prospector Park 112 N. Main St. townofbreckenridge.com Red White and Blue Fire Museum 308 N. Main St. breckheritage.com Summit Ski Exhibit 308-B S. Main St. breckheritage.com
Boutiques + Specialty
Architecture
Breckenridge Photographics 500 S. Main St. breckphoto.com
Allen Guerra Architecture 1915 Airport Rd. allen-guerra.com
The Glass Art Company 411 S. Main St. #16 theglassartcompany.com
Arapahoe Architects 322-C N. Main St. arapahoearchitects.com
Global Candle Gallery 326 S. Main St. globalcandlegallery.com
bhh Partners 160 E. Adams Ave. bhhpartners.com
Magical Scraps 310 S. Main St. magicalscraps.com
Equinox Architecture, LLC 520 S. Main St. equinoxarchitecture.com
Marigolds Farmhouse Funk + Junk 215 S. Main St. marigoldsfarmhousefunkandjunk.com
J.L. Sutterley Architect 500 S. Ridge St. jlsutterlyarchitect.com
Ole Man Berkins 326 S. Main St. olemanberkins.com Portiera Designs 326 S. Main St. portieradesigns.com Ready Paint Fire 323 N. Main St. readypaintfireco.com Ruby Jane 232 S. Main St. valleygirlboutique.com Wandering Daisy 326 S. Main St. Young Colors 226 S. Main St., Unit 1 youngcolors.com
Matthew Stais Architects 108 N. Ridge St. staisarchitects.com Michael F. Gallagher Architect michaelgallagher.com Neely Architecture 1705 Airport Rd. neelyarchitecture.com
Healing Arts Alpine Spa and Salon 500 S. Main St., 3rd floor alpinespaandsalon.com Ambika Healing 435 N. Park Ave. ambika.massagetherapy.com Blue Sage Spa 224 S. Main St. bluesagespa.com
Meta Yoga Studios 118 S. Ridge St. metayogastudios.com
Breweries + Craft Beverages Après Handcrafted Libations 130 S. Main St. apreslibations.com Breckenridge Brewery 600 S. Main St. breckbrewpub.com Breckenridge Distillery 1925 Airport Rd. breckenridgedistillery.com Broken Compass Brewing 68 Continental Ct. brokencompassbrewing.com
Cafes + Coffee Houses Amazing Grace 213 Lincoln Ave. amazinggracebreck.com Cabin Coffee Company 222 S. Main St. cabincoffeecompany.com Clint’s Bakery & Coffee House 131 S. Main St. clintsbakery.com Cuppa Joe 118 S. Ridge St. Mug Shot Café 435 N. Park Ave. Starbucks 225 S. Main St. starbucks.com
Breckenridge Bliss Massage Therapy 325 S. Main St. breckenridgeblissmassage.com
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BRECKENRIDGE CREATIVE ARTS
SPRING/SUMMER 19
51
Part of the Breckenridge International Festival of Arts, Tree-o is a performance art installation featuring three musicians— cellist Russick Smith, violinist Karen Lauffer, and mandolinist Kevin Larkin—in a series of free concerts held in the forest, high among the pine boughs.