ASU Art Museum
Bead Museum
Center for Creative Photography
Heard Museum
Mesa Arts Center
MOCA - Tucson
Phoenix Art Museum
Phoenix Airport Museum
SMoCA
Shemer Art Center
Tucson Museum of Art
Univ.of AZ Art Museum
West Valley Art Museum

Phoenix Airport Museum 3400 Sky Harbor Blvd. Terminal 3, Level 3 West Phoenix, Arizona 85034-4403 tel. (602) 683-3647 Web: phoenix.gov/skyharborairport   In the heart of Phoenix is one of the largest airport museums in the nation. The Phoenix Airport Museum is spread out in six buildings at three airports. It has a collection of more than 500 works of art and gallery spaces for exhibitions. The museum serves the public at Phoenix Sky Harbor International Airport and at its two auxiliary airports in Deer Valley and Goodyear. Most art and museum displays are in terminals rather than concourses so that visitors may enjoy them without going through airport security. Some displays are outdoors. All are free and most are accessible 24 hours per day. Light • Air • Land: Pastel Drawings by Ellen Wagener Security checkpoint area, Terminal 2 Through April 4, 2010 Landscape artist Ellen Wagener has been working in pastels formore than 20 years. In her drawing, she focuses on the atmosphere, clouds and land which drive her interest in portraying fleeting moments in nature. Close up, Wagener conveys details with scribbles and twisted lines that from a distance create the appearance that could be mistaken for a photograph. “People often ask to watch me draw, which can be similar to watching a cake bake. Slow, messy layers of scribbling . . . then massaging the idea while massaging raw pigment and paper into one another. After days of chaos and discord, even I am shocked when the image comes together. It does it so beautifully with pastels.” If Wagener’s process is like baking a cake, her technique is the icing on top. She renders and responds to the natural world close to her with a romantic realism that gives the viewer a feeling of wonder. A-Buncha-Book-Artists Terminal 3, Level 2, 4 Cases Through March 21, 2010 Creating one-of-a-kind and small-edition artists’ books ,A-Buncha-Book-Artists explore the boundaries of what a book can be. They may use traditional printmaking and bookbinding techniques as well as unconventional processes to create sculptural artworks that may no longer look like books at all. Artists’ books may include prose or poetry, lettering as pattern or texture, drawings or paintings, photography or collage. They employ a wide range of forms, including fold-outs, accordions or loose items contained in a box as well as bound printed sheets. Altered bookforms give new life to old books, periodicals and found objects. Artists’ books are a marriage of form and craftsmanship, that supports a well developed content that is thought provoking and full of surprises. A-Buncha-Book-Artists is an Arizona State University student-run organization of undergraduate and graduate students, faculty, alumni and guest artists and writers who make, exhibit and promote artist-made books to show the potential of the book as an art form. Artists: Kjellgren Alkire, Chandler; Donna Atwood, Phoenix; Sarah Benson, Tempe; Peter Bugg, Tempe; Diana A. Calderon, Phoenix; Andrea Calo, Phoenix; Nick DeFord, Tempe; Sarah Guck, Tempe; Cindy Iverson, Phoenix; Jeryl Jones, Scottsdale; Whitney Korstange, Tempe; William LeGoullon, Scottsdale; Dan Mayer, Tempe; Rebecca McAneny, Phoenix; Melissa McGurgan, Tempe; Matt McLaughlin, Tempe; Jacob Meders, Tempe; Ryan Peter Miller, Phoenix; Gabriela Muñoz, Phoenix; Pamela O’Connell, Phoenix; Ellie Richards, Tempe; John Risseeuw, Tempe; Michelle Segal, Tempe; Charlotte Weber, Gilbert View a video featuring two artists' books on display. Horse Drawn Drawings and Sculpture by Alysa Bennett Terminal 3, Level 2, north cases (2) Through Jan. 24, 2010 Alysa Bennett’s use of gestural drawing focuses on the intrinsic nature of the horse rather than the specific physical characteristics. The lines create volume, direction, shape, value and movement from which the viewer gains a sense of the subject’s expressive force. “I was raised around horses on a Western ranch (southern Arizona), and I still return there regularly. These trips have given me the opportunity of seeing horses in large groups, at rest and play. It is that interaction that intrigues me and drives this work. “The charcoal drawings came about as a response to the straw sculpture. Using the loose line to slowly create the form seems much the same process as gathering the straw and urging a horse to materialize from that shapelessness. “I am intrigued by the notion that straw, a once living substance that has sustained these animals, is now giving shape to them.” Crafting Culture The Albert Long Collection Terminal 3, Level 2, South Case Through Jan. 24, 2010 The Albert Long Collection Terminal 4, Level 2, East/West Cases (2) Through Feb. 15, 2010 Southwest Native Americans have traditionally crafted objects and artworks connected to their daily lives. Whether a woven basket or sand painting, a carved katsina or bronze sculpture, the objects give concrete form to their stories, beliefs and practices. The art provides a window into Native American culture. The art on view was collected by Albert Long, part Navajo (Diné), a jewelry craftsman and art dealer who purchased the objects directly from Navajo and Hopi artists living in Arizona and New Mexico. Because Long is a World War II veteran, he donated much of his collection to the Arizona Department of Veterans’ Services in order to share his heritage with others. The Spirit of the Saguaro: Photographs by Holly Metz Level 3, Center Court, South Wall Through March 7, 2010 “The Spirit of the Saguaro project is a celebration of the amazing beauty and uniqueness of this ancient desert being. It is an expression of the gratitude for the teachings the Saguaro (Hashan) has to offer if I become still, give myself over, and see with whole body and mind. . . . Buddhist and O’othham teachings influence my life, this body of work, and the image titles. . . . “Each photograph is taken in the Gila River Indian Community(south of Phoenix) within a few miles of our home. I am grateful and humbled to discover that I need go no further to experience endless wonder, constant change, and profound beauty. I stand silently with the Hashanin the blazing sun, and the dark of night, as white clouds sweep by, and bird, bat and bee visit. I listen to them creak in the breeze, the sound of wind in their spines like water. I touch and smell their rain soaked skin, and feel the life force vibrations inside them. Raising our two small boys teaches me to release control over where, when and in what light I will photograph. It is a continual lesson in embracing opportunity by being available for life in the moment, at any moment. . . .” Core Memory: A Visual Survey of Vintage Computers Photography by Mark Richard Terminal 4, Level 3, Gallery, East and West End Cases (4) Through Nov. 20, 2009 Inspired by the beauty of computer technology, photojournalist Mark Richards has created images ranging from the famous, room-size ENIAC (Electronic Numerical Integrator and Computer) invented during World War II, to the control panel from the first mini-computer. “One (photograph) is of a piece of the navigation system that went to the moon. When you look at it very large and reduce the components you’re looking at down, it looks very much like weaving.” Richards realizes different people will take away different things from the exhibit, but he hopes everyone appreciates the artistry in the technology. Quiet Beauty in American Cities Photography by William Fuller Terminal 4, Level 3, east/west cases (4) Through Nov. 20, 2009 William W. Fuller lives in a remote area in central Arizona, surrounded by wild country, miles from the nearest town. Where he lives is a contrast to the cities he photographs, yet the solitude and spaces in wilderness have a common bond with the quiet beauty and vast expanses in the city. Fuller photographs high and wide with his large-format view camera, avoiding streets at the bottom of concrete canyons. He’s far enough away that the windows on buildings are distant patterns, not portals into the human activity inside. He strips places down to their bare essentials, turning cities into near abstractions. He turns their plainness into pattern, their simple geometries into engaging compositions. The Cowboy West Photography by Jay Dusard Through Dec. 1, 2009 Terminal 4, Level 3, gallery “That cowpunchers have allowed me into their world, has been the greatblessing of my life. They have welcomed me in to make their portraits, but more miraculously, they have indulged this pilgrim’s desire and efforts to participate in what they do. I was riding horses and following cows before I got serious about photography, so working horseback with the men and women on the outfits most likely gave me some credibility.” Jay Dusard has been photographing the vast expanses of the American West for forty years. Although raised in Illinois, he discovered the unique calling of the western landscape at an early age. Dusard is not only a deeply respected steward of this terrain, but represents its rugged ideals. Each image is a personal homage to what Dusard holds most dear. Dusard lives in Douglas, Ariz., where, when not working, he punches cows and plays the jazz coronet.   Museum Hours Open 24 hours daily Charge: Free admission