Past Exhibitions

The Exhibits Program at Tohono Chul presents visual stories linking the nature, culture and arts of the Southwest. Focusing on the work of regional artists, we display vibrant works of art in a diverse array of thematic group exhibits. The charming adobe Exhibit House, built as a private home in 1937, is an ideal environment for visitors to view Southwestern artworks. Explore our past exhibitions below.


Queen of the Night

June – July, 2007 – 2019

She is called the Queen of the Night, La Reina de La Noche or the Night Blooming Cereus and every summer, for one night only, whatever she may be called, Peniocereus greggii becomes the Belle of the Ball, the superstar of the Sonoran Desert. The Cinderella-like cactus looks like a dead stick for most of the year but transforms herself in the early summer months, blooming alongside many plants in the area and then closes forever by morning’s light.

Tohono Chul possesses 350 Peniocereus greggii, the largest private collection in the world. Many of these curious cacti were found growing in the park with others being donated over the years, some being saved from the bulldozer’s blade. The number of flowers blooming in one night has been as many as 174 on 69 plants. As beautiful and enchanting as the blooms of the Night Blooming Cereus are, what happens in the dry desert dirt and in the nighttime sky is as fascinating as the wondrous white blooms. Maintaining and sustaining the plant below ground is a turnip-like tuberous root and up in the sky, the tireless pollination of the Hawk Moth. The whole cycle is a marvelous story of courage, endurance, perseverance.

28 years ago, in June of 1992, Tohono Chul held its inaugural Bloom Night. Docent, Betty Carras provided a vivid recollection of the night: “Watching carefully, we could actually see the opening spurts of the blossoms. Slowly, but inexorably, the bud became a flower. Ghostly white, it gradually opened its funnel-shaped blossom—becoming more aromatic as it increased in size. By the time its slender white petals were almost fully opened and the flower nearly five inches across, it was extremely fragrant. The velvet-like embrace of warm night air, the magic of a sweet-scented evening and the distant chorus of singing coyotes made it truly a night to remember.”  It was a casual affair outside the shop with a little over 20 people bearing witness. One plant produced six flowers while another plant produced one. From that evening a Tucson tradition was born. Since that first string of phone calls by a dedicated few, word has spread and now with each Bloom Night, over a thousand visitors experience something absolutely mysterious and incredibly magical.

Learn more about the Queen of the Night, Click Here

For more information about the artists in this exhibition, please click below:

Artist Biographies

Annie Antone was born in Tucson, Arizona in 1955 and is a Native American Tohono O’odham basket weaver. She learned how to weave baskets from her mother, Irene Antone. Annie began at the age of 19 and sold her first basket for $10. She gave the money to her mother. Currently she lives on the Gila Bend Reservation. Antone only uses plant materials harvested from her homeland, the Sonoran Desert. These include yucca, devil’s claw, and bear grass. Her techniques in making coiled baskets are traditional, but her designs are completely unique. She specializes in highly graphic, pictorial imagery with realistic images of panthers and semi-tractor trailers. Annie was the first basket maker to sign her work; she weaves a tiny “AA” into the base of her baskets. The “AA” can be seen woven in yucca at the base of the Queen of the Night basket. The Antone family are famous for their work. This piece was made for the Park’s show, QUEEN OF THE NIGHT: NIGHT BLOOMING CEREUS.


Tom Baumgartner is interested in an ancient and futuristic aesthetic that frames the unknowable history of a place and its unknowable future. He likes mystery. He likes mysterious symbols. He likes the futuristic feel of ancient glyphs and the ancient aspects of our modern symbol making. In the digital age of computer interface, symbols embedded in natural scenes hint at an underlying structure, invisible forces, and human influence.

Tom has painted in oil and drawn with ink for 30 years with a BFA from the School of the Art Institute of Chicago. He have lived in Tucson for 20 years and been actively involved with local arts organizations as well as founder of Wee Gallery. A life-long nature lover, his art has a focus on the desert landscape, automatic writing, and aesthetics of science. He is currently the Creative Director for AlphaGraphics in Tucson.

To learn more about Tom Baumgarner and his work, Click Here
Check out Tom’s work available in the gift shop, Click Here


James Burton began using a film camera when he was eight and doing his own darkroom work as a child. Later, in college in Tempe, Arizona, he fell deeply in love with the American Southwest. His career as a geologist and archaeologist took him across four continents, but Arizona remained, by far, his favorite place on the planet. When he retired in 2015, he returned to Arizona and found time to use a camera again, together with a computer. This has given him the ability to create digital images that express how he experiences the Arizona desert.

To learn more about James Burton and his work, Click Here


Ron Cornett has been a resident of Tucson for the last 45 years. He has always had a love of art. Ron trained under photo-realist artist Larry Gerber for three years. He then worked in illustration and graphic design for several years until he went back to school to pursue another career in radiology. Ron also had a foray into the world of comic books and self-published four comic books and had a booth at the San Diego Comic convention for a couple of years. He started painting fine art in the last nine years.


Su Egen has been a textile artist and weaver for the past forty-six years. Sixteen years ago, she added an embroidery room to her studio where she creates embroidered studies for her tapestries and other original designs to sew out on her embroidery machine. Directions are sent from her via her computer after the design has first been drawn out, then digitized for the machine, instructing the machine regarding which stitch to use, what color, in what order etc. The process is fascinating and enables her imagination to run wild. The thread colors do not come up on the computer accurately so she has to envision what they will look like and after years of working, this procedure out she is able to get the results she seeks. This has opened up a new world of possibilities.


Susan T. Fisher is the former Coordinator for the Botanical Art and Illustration Program at the Denver Botanic Gardens. She is also the former Director of the Art Institute at the Arizona-Sonora Desert Museum where she created the Nature Illustration Certificate Program. Susan is a past president and former member of the Board of Directors of the American Society of Botanical Artists and Honorary Director of the Rocky Mountain Society of Botanical Illustrators. Her artwork appears in numerous books, florilegia, private collections, and national exhibits including the Hunt Institute for Botanical Documentation.

To learn more about Susan Fisher and her work, Click Here


Lyn Hart has been drawing and painting as long as she can remember. Her interest in textiles and fibers began in her early twenties in Florida where she taught herself to make quilts. Later, in her early thirties, during a summer break from nursing school, she studied Southeastern reed basketry with a local basket maker.

After relocating to Tucson, Arizona in 1997, Lyn worked for a number of years as a labor & delivery and obstetrical research nurse, all the while taking every opportunity to explore and become increasingly enamored with the desert lands of the Southwest. In 2005, she left nursing to focus on her dream of becoming a fiber artist. After taking a natural dyeing workshop taught by a tapestry weaver, she decided to pursue the medium of handwoven tapestry.

In 2006, Lyn began exhibiting her tapestries; in early summer 2007, her home studio was constructed. In 2018, a growing desire to create non-objective series led her to delve into mixed media collage, a genre that shares many of the tactile qualities of working with fiber, but allows for faster exploration and implementation of ideas and inspirations.

Lyn’s work in tapestry has garnered a number of awards, including three National Park artist residencies at Grand Canyon North Rim, Glen Canyon National Recreation Area (Lee’s Ferry), and Zion, earning her the distinction of being the first tapestry weaver to participate in the National Park system’s artist-in-residence program. Her tapestries and mixed media collages, which have also begun to receive rewards, have been exhibited in both local and national venues. Lyn’s passion for and exploration of the Sonoran Desert began when she arrived in Tucson and was enhanced during a several year stint as a volunteer naturalist at Sabino Canyon Recreation Area followed by a yearlong arts fellowship at the University of Arizona’s Desert Laboratory on Tumamoc Hill in 2018, and continues today through her wanderings in the Southwest.

To learn more about Lyn Hart and her work, Click Here


Vivian Hutchins is an artist who works mainly in Prismacolor Pencil and oil. Her interest is in what is necessary for us to view something as real. She believes there are patterns in nature and the environment around us that cause us to perceive something as real. The balance between photographic realism and appreciating and focus on order in chaos is always interesting to her.

To learn more about Vivian Hutchins and her work, Click Here


Wendy L. Islas served twenty-six years as a probation officer/supervisor, with close to twenty of those years in Pima County. Following her retirement, she rediscovered her love of Arizona, nature and the outdoors. She enjoys hiking, exploring, road trips, camping, and photographing Arizona’s nature and landscapes. She also volunteers her time helping to keep nature wild at organized clean-up events as well as on her own.

Wendy’s photography was included in the Tumacacori National Historic Park’s 2018, ART IN THE PARK exhibit. Wendy also has several photographs in the 2019 Discover Southern Arizona Magazine. Her photography is included as the February 24, 2018, “Photo of the Day” on the Arizona Highways Magazine website and she frequently participates in the Arizona Highway Magazine’s weekly Facebook photography themes. Wendy has also collaborated with the Nogales-Santa Cruz County Chamber of Commerce. As a self-taught photographer, she gleans knowledge from various sources including fellow photographers, research, workshops, and hours of practice.

To learn more about Wendy Islas and her work, Click Here


Patricia Katchur is very intrigued by the use of repetitious patterning and abstraction in the metamorphosing of a subject matter and/or a design. Much of this inspiration is derived from the recurrent life/death/life cycle of the natural world. With each abstractive layer is a transmutation of an evolutionary process of creativity. She engages in compelling and intoxicating explorations of thought and articulation on a journey in unknown terrain.

Growing up in Pittsburgh – against the backdrop of smoky, steel mills of a dying, industrial era – was a visual feast. In contrast, the picturesque landscape of tree forests and rolling fields combined with the moody atmospheric environment accentuated the natural world in a way that still lights a fire in her heart. A strange beauty co-existed in both these natural and unnatural worlds. Such memories from youth still linger in her mind. Patricia received a BFA in Fine Art Photography from Rochester Institute of Technology in upstate New York. Spending her junior year abroad based out of Salzburg, Austria, she studied art history and traveled across the continent, exploring, seeking and discovering.

Tucson has twice been her home. She spent her first six years in Tucson straight out of college. Initially, the Sonoran Desert was uninvitingly harsh and abrasive. But, the desert is bewitching, and once one understands its conflicting beauty, it never lets go. New York City was her growing up period. Arriving insecure, she quickly realized her strengths and abilities. Things worked in her favor; she was in the right place, at the right time. Sixty-Eight Degrees was a custom, high end, black and white photo lab that she co-owned and managed. Their clients were the top fashion photographers, advertising directors, magazine editorial departments and artists. It was the 90s, and life was good. After many years, photography shifted from analog to digital, and she began different pursuits. Together, with Eric Taubman, they started Center for Alternative and Historic Processes (currently known as Center for Alternative Processes/ capworkshops.org). But, the desert beckoned, cajoling her back.


Erinn Kennedy is a Tucson artist who went to college in Oregon. She has been exhibiting her work throughout Oregon since 1991 and at Tohono Chul in various exhibitions since 2016. Her paintings are in the Microsoft Corporate Collection in Washington and the Portland Art Museum Collection. She often starts a painting with a loose idea about the subject. Erinn use sketches and notes made from direct observation for reference, as well as from memory and her emotional reactions to a place or an object. Her aim is to arrive at a finished piece that is balanced, loose and joyful.

To learn more about Erinn Kennedy and her work, Click Here


Laura LePere took to art early. Classes beginning in grade school led to a regional Scholastic Art Award in her senior year of high school. In college, her artwork was published on the cover of the anthropology department journal and in a professor’s book. Studying archaeology and geology took her outdoors a great deal and gave her a deep appreciation of the natural world in and of itself and as the context of human life. She loves to travel and, after college, spent nearly 10 years living overseas where she was immersed in other cultures. Always fond of animals, in recent years she has become a birder—developing a deeper awareness of birds’ variety, behaviors, and habitats.

With varied experiences, it is no surprise that Laura has worked with many creative media. Her professional background includes 8 years drawing maps by hand and 16 years as a website designer. Creativity for fun has included many types of textile arts as well as jewelry design and mosaics. In 2008, she was introduced to polymer clay and it became a favorite medium. More recently, she has studied traditional 2-D art media while pursuing a Certification in Nature Art, which she received in early 2019, from the Arizona-Sonora Desert Museum Art Institute. Her most recent work combines polymer clay with other media on board, creating low-relief wall pieces.

Laura is a member of the Southern Arizona Arts Guild, the Tucson Polymer Clay Guild, and the International Polymer Clay Association. Her work has been exhibited in juried and invitational shows at diverse venues across southern Arizona and as far afield as Florida. In addition, she has had two solo shows in the Tucson area. She is most honored to have a piece in the Permanent Collection of the Arizona-Sonora Desert Museum.

To learn more about Laura LaPere and her work, Click Here


Joan McGann current works in botanical illustration have an emphasis on plants native to the Sonoran Desert, several being protected and endangered species. The forms and textures of cacti and succulents continue to be the most fascinating plant specimens for her drawings. Joan works with graphite pencil, colored pencil, pen and ink, and watercolor.

To learn more about Joan McGann and her work, Click Here


Farraday Newsome grew up in the Redwood Forest of California. She is the daughter of Barbara Newsome, a businesswoman and master gardener, and George Newsome, a painter, potter and dinnerware designer who earned his degree in ceramics at Alfred State University, studying under Daniel Rhodes. Farraday studied biology as an undergraduate earing a BA from the University of California at Santa Cruz in 1976 and later earned her graduate degree in Art, Ceramics Emphasis, from San Francisco State University in 1987. She currently lives in the Sonoran Desert of Arizona with fellow potter and husband Jeff Reich. Together they run Indigo Street Pottery in Mesa, Arizona. Both also teach pottery at the Mesa Arts Center.

Farraday’s subject matter is drawn primarily from nature and the emotional allusions and metaphors found in nature. Her color work celebrates the light and exuberance of day, while her black-and-white work delves into the shadowy, more emotionally complex realm of night and darkness. Farraday Newsome’s work can be seen at Plinth in Denver and ARC Arizona Contemporary Art in Cottonwood, Arizona, and in the online gallery Artful Home, Wisconsin. Her work is included in many collections, including the Smithsonian American Art Museum, Long Beach Museum of Art, Racine Art Museum’s Wustum Museum in Racine, Wisconsin, Prague Museum of Decorative Arts in the Czech Republic, Ohio Crafts Museum, Rhode Island School of Design Art Museum, and the Arizona State University Art Museum. Her work has been featured in many books and magazines.

To learn more about Farraday Newsome and Jeff Reich and their work, Click Here


Marty Plevel grew up in Michigan and have always had an interest and participated in the arts. Her career training was in elementary education with a Bachelor’s degree from Michigan State University and Mrs. the following day. Later, two children and then a Masters from the University of Arizona completed in 1985. Her married life travels have included Michigan, Ohio, California and Arizona, where she has called Tucson home for four decades.

Marty was a pre-school teacher, public school teacher and a docent at the Arizona-Sonora Desert Museum before beginning her formal art training after retiring in 1999. Her first formal instruction came from Tucson artists Nancy Bautzmann and Deanna Thibault, as well as drawing and painting classes at Pima Community College. She has studied with Andy Rush and Paul Mohr at The Drawing Studio, Harry Green at Toscana School and Gallery as well as with nationally known artists Ted Nudall, Frank Webb, Tom Lynch, Carl Purcell, Joseph Fettingis, Sterling Edwards and others in workshops sponsored by the Southern Arizona Watercolor Guild. She is a former board member of SAWG and enjoys teaching watercolor in the River of Words program at a Tucson elementary school.

To learn more about Marty Plevel and her work, Click Here


Jeff Reich was born in Livonia, Michigan, a suburb of Detroit. His father was an engineer with an eye for detail and his mother was a homemaker who loved to paint and garden. Jeff grew up with interests in architecture and basketball. Early in his college career at the University of Michigan, Jeff moved to Arizona to transfer to the University of Arizona in Tucson. He settled on a major in Arts Education. After taking a ceramics course there, he knew that was his deepest studio art interest. Jeff spent many hours in that studio, befriending his ceramics professor Maurice Grossman, now a retired Professor Emeritus. Maurice is a friend to this day.

When Jeff graduated, he started a home pottery studio and began teaching pottery part-time in Tucson. When he learned of a full-time job opening for lead pottery instructor in Mesa at the Mesa Arts Center, he applied. Rudy Turk, former director of the Arizona State University Art Museum, was part of the hiring panel. Jeff was offered the job, and has been the director of the Mesa Arts Center Ceramics program ever since.

Jeff is an exhibiting studio artist as well. He maintains a home studio, Indigo Street Pottery, with his studio potter wife, Farraday Newsome. Reich’s work is included in numerous public art collections, including the Northern Arizona University Art Museum, the Ceramics Research Center of the Arizona State University Art Museum, the City of Phoenix Contemporary Arizona Ceramics Collection, the City of Mesa Contemporary Art Collection, the Kamm Teapot Foundation, and the Northern Clay Center of Minnesota. Jeff Reich’s work has been featured in Lark Books’ 500 Tile and 500 Cups. He has also has been featured in numerous magazines, including Ceramics: Art and Perception, Ceramics Monthly, and Clay Times.

To learn more about Farraday Newsome and Jeff Reich and their work, Click Here


Todd Ros’ paintings can be described as reductive geometric abstracts. Whether working with a wide ranging color palette or creating variations on a single color, his works of oil on canvas are often rigorously investigated studies on a specific theme. Past series include Film Stills, Fighter Aircrafts and Birds of Arizona. Recently moving from a hardedge approach to a looser and more layered structure, he continues his commitment to abstraction, distilling the desert world that surrounds him into vertical bands of color.

To learn more about Todd Ros and his work, Click Here


Karen Wright has been so fortunate to be able to pursue my passion and do something she truly loves. She approaches her photography with an inquisitive eye and a sense of fun. She likes to start with a simple setting that allows the individual’s unique personality to shine, or highlights the special interactions between family & friends. Whether capturing the wonder of childhood, the special bonds of families, or promoting a business image or special event, she invites you to share in her vision of creating unforgettable images that show those fleeting moments we want to remember always.

To learn more about Karen wright and her work, Click Here

To view our virtual Queen of the Night exhibition, please click below:

View Exhibition

cereus expectations
Lyn Hart

woven with synthetic and naturally dyed wool

“This tapestry was based on a digital photo I took of our Night Blooming Cereus which was purchased at Tohono Chul. Although the photo was very nice, I used my graphic art software to posterize it for the effect I was seeking. I was thinking of the excitement and electricity surrounding the festival every year as everyone holds their breath in anticipation of the bloom. I was also imagining how the moths who visit the blooms might see or sense their luminosity. An interesting note– the light khaki green wool in the stamen and pollen head area was dyed with blooms from a sunflower plant we purchased at Tohono Chul several years ago!”

From the Tohono Chul exhibition
Queen of the Night: Night Blooming Cereus, 2007
Queen of the Night, 2017

To learn more about Lyn Hart and her work, Click Here

Queen of the Night…alias Night-Blooming Cereus
Richard Zelens

oil on canvas

From the Tohono Chul exhibition
Queen of the Night: Night Blooming Cereus, 2007

To learn more about Richard Zelens and his work, Click Here

Queen of the Night
Annie Antone

white and green yucca with dark and light devil’s claw
Gift of Peggy and Michael Hazard
ACNO 2007.6.1

The Night Blooming Cereus, also known as Peniocereus greggii and Queen of the Night, resembles a bunch of dead sticks most of the year. Its finger-thin, woody branches grow from a large turnip-like tuberous root. However, during one summer night it transforms with a burst of magnificent white aromatic blossoms.

The Night Blooming Cereus is part of Tohono O’odham legend. It is said that an old woman named Mother White Top journeyed from her home to her daughter’s village because her daughter’s spirit came to warn Mother White Top there was trouble. When she found her daughter, she found her ill and holding a newborn boy. Her daughter begged Mother White Top to take the child home with her because her husband’s people wanted the boy to become a warrior. Mother White Top called upon the spirit I’itoi for help. He sent animals to help her evade the husband’s people as they hunted for the child. Mother White Top sent the child back to her village in the care of I’itoi and she changed herself into withered brown sticks with only white hair to identify her. I’itoi promised for her sacrifice that once a year she would be the most beautiful thing in the desert.

From the TOHONO CHUL exhibition
Miniature Native American Basketry
Weaving: Native Baskets and Blankets
Collection Piece of the Month May 2008
Queen of the Night: Night Blooming Cereus, 2007
Queen of the Night 2017, 2018, 2019

Tom Baumgartner
Cereus Lunix

offset print giclee

“Flowering plants have symbiotic relationships with pollinators, but I was thinking about the cereus and its relationship with night. The timing of cycles, quiet glowing shadows and moon light being the first light to illuminate the tissue paper thin petals. Overlaid in the background is a dotted diagram of moon craters.”

From the Tohono Chul exhibition
Queen of the Night, 2017, 2018, 2019

To learn more about Tom Baumgarner and his work, Click Here
Check out Tom’s work available in the gift shop, Click Here

Ron Cornett
Queen of the Night

acrylic on canvas

“I am inspired by the complexity and beauty of the Sonoran Desert, its flora, fauna, denizens and cultures. This piece is from a study in color and line work series. I wanted to take my line work skill from the comic book world and superimpose that against the beautiful colors of the desert at night.”

From the TOHONO CHUL exhibition
Queen of the Night, 2017

Su Egen
One Night Bloom

Embroidery

“I have always been fascinated by the Night Blooming Cereus, which comes to life when most are asleep. I love to walk late at night and discover these magnificent, pungent, sweet smelling blooms that display such incredible beauty and magic. I check the status of the plants as I walk during the day and can usually tell what night they will begin to bloom. I began designing this embroidery in the summer and sewed it out in December of 2015 inspired by In Full Bloom. I used four shades of white, for a total of twenty colors. The piece contains 74,472 stitches. The quiet and secretive nature of this flower and the rarity of when it blooms keeps it ever exciting to see, a natural wonder of the desert.”

From the TOHONO CHUL exhibition
Queen of the Night, 2017

Victoria von Elbe
Night Bloom

woodcut with watercolor

Victoria moved to Tucson from Chicago in 2005. Planting the Sonoran Desert’s iconic specimens around her home was an immediate goal upon moving to Arizona. Their shapes provide endless inspiration for her prints and remind her that she do not live in the desert, she live with the desert. Victoria’s woodblock prints are all printed by hand on the finest Japanese papers in very small editions.

From the TOHONO CHUL exhibition
Queen of the Night, 2017

Farraday Newsome and Jeff Reich
Queen of the Night

glazed terra cotta

“This bowl is glazed in the colors of moonlight. A desert hawkmoth, its head buried in the pollen-laden, beautiful white flower of a Queen of the Night cactus, gathers nectar as it concurrently pollinates the flower. This occurs amidst intertwining cactus branches and egg clusters. The drifting watch alludes to biological time, the playing card to chance and random odds, while the eggs, flower and pollination refer directly to fertility and regeneration.”

From the TOHONO CHUL exhibition
Queen of the Night, 2017

To learn more about Farraday Newsome and Jeff Reich and their work, Click Here

Laura LePere
Twilight Princesses

ink on vellum film and paper

“Like all transitional states, twilight is a time of preparing for what will come. It is often associated with the end of things and thought of as rather sad. But, all endings are also beginnings. In the case of the marvelous Queen of the Night, the buds are full of delightful anticipation. For a moment, let us focus on these Princesses in their own right. Perhaps they bring to mind the domes of Saint Petersburg or white chocolate kisses?”

From the TOHONO CHUL exhibition
Queen of the Night, 2017

To learn more about Laura LaPere and her work, Click Here

Laura LePere
Pair of Queens

scratchboard

“Can there be any more dramatic expression of the hidden beauty of night—and the fleeting nature of all beauty—than these flowers we love so dearly? If our desert resided in Japan, there would be a compendium of haiku; if it were a region of Middle-Earth, surely Galadriel would have composed a song.”

From the TOHONO CHUL exhibition
Queen of the Night, 2017

To learn more about Laura LaPere and her work, Click Here

Kathleen Schroeder
Queen of the Night

beads and wire with ceramic pot and sand
gift of Frances Mueller in Memory of Ann Walker Schroeder
2001.1.1

“This sculpture represents a blooming Peniocereus greggii cactus. The piece consists of a green stem with a single side branch bearing a fully-opened white blossom. Dark green beads surround the stem, studded with small circular motifs to represent the ribs of the cactus. Lighter green and iridescent beads create petioles, and white beads define the petals, with the outer petals containing single length stripes of pale pink beads. Stamens are translucent white beads tipped with pale yellow-green beads. The cactus is set in sand, planted in a white ceramic pot with a crackle glaze.”

From the TOHONO CHUL exhibition
Queen of the Night, 2017, 2018, 2019

René Verdugo
Night Blooming Harrisia No. 44

photographic print on canvas

“My primary interest is in abstraction where the visual and internal are synthesized and expressed through movement of forms and intensity of color. Pure and luminous colors dominate. The illusive and transient states of feelings, sensations, and emotions are the fundamental subjects of my photographs.”

From the TOHONO CHUL exhibition
Queen of the Night, 2017

To learn more about René Verdugo, Click Here

Karen Wright
Aglow

archival pigment print

“Witnessing the opening of the elusive Night Blooming Cereus, The Queen of the Night, is a wonderful experience. The transformation from an unassuming twig to a beautiful blossom over just a few hours is amazing.”

From the TOHONO CHUL exhibition
Queen of the Night, 2017

To learn more about Karen wright and her work, Click Here

Karen Wright
Suspended

archival pigment print

Karen Wright
The Transformation

inkjet print on metal

Vivian Hutchins
Cereus

Prismacolor pencil on rag paper (print 1/100)

“I have been a desert runner and walker for over twenty years and have been following these plants in the eastside desert, drawing and painting them and watching for when they are ready to bloom. They have been a passion of mine for many years.”

From the TOHONO CHUL exhibition
Queen of the Night, 2018

To learn more about Vivian Hutchins and her work, Click Here

Vivian Hutchins
Cereus 2

Prismacolor pencil on rag paper

Vivian Hutchins
Cereus 4

Prismacolor pencil on rag paper

Vivian Hutchins
Two Cereus

Oil on Canvas

Marty Plevel
Queens of the Night

watercolor on paper

“My experience with Peniocereus greggii, Night Blooming Cereus cactus, has been to visit Tohono Chul Park on Bloom Night. I have taken many photographs, some with relative success, with the idea to use the images for reference for a watercolor painting. What I discovered a few years ago is that the park is open the following morning when there is light and many of the blooms are still exquisite. Some in full bloom and some on the way to extinction. My watercolor is based on those early morning photographs.
I have learned that the blooming marches to its own drummer that the plants stall and seem to wait for each other so that pollen from another plant will be available to make seeds! They are not predictable. I will continue to come and see the Queens on whatever night they decide to bloom, and come back in the morning to see them again…”

From the TOHONO CHUL exhibition
Queen of the Night, 2018
Queen of the Night, 2019

To learn more about Marty Plevel and her work, visit http://www.changebydesignarizona.com/

Karen Wright
Natural Habitat

archival inkjet photographic print

From the TOHONO CHUL exhibition
Queen of the Night, 2018

To learn more about Karen wright and her work, Click Here

Samuel Angevine
Rage Against the Dying of the Night

archival pigment print

From the TOHONO CHUL exhibition
Queen of the Night, 2019

James Burton
Dead Stick

dye-infused aluminum print

“These are part of a sequence of photos of the Peniocereus greggii, Queen of the Night, which I discovered in Sabino Canyon. It took several years, but I finally caught it in bloom. Growing wild, the cactus spends most of its life almost invisible, looking like a dead stick, typically hidden among the branches of desert shrubs such as mesquite and creosote. At the beginning of summer, the stick produces flower buds that develop over a few weeks.

Then, for one single night during the year, for about 12 hours, about one tenth of one percent of its annual life cycle, the plant throws out a beauty, both visual and olfactory, that strongly attracts hawk moths and photographers. All the buds in the same area, by means not really known, get the message when the party will be and, not capable of self-pollination, try to bloom on the same night. They then quickly devolve back into obscurity until they fruit.”

From the TOHONO CHUL exhibition
Queen of the Night, 2019

To learn more about James Burton and his work, Click Here

James Burton
Sunrise

dye-infused aluminum print

James Burton
Red Fruit

dye-infused aluminum print

Susan Fisher
Queen for a Night

digital drawing on metal

Queen for a Night was made using the ProCreate app and then printed onto metal. I started out painting the blooms using pastels on paper. After several iterations, I switched to a digital drawing format that provided the freedom to alter elements as the work evolved. This image is a fantasy celebration of these intriguing desert plants.”

From the TOHONO CHUL exhibition
Queen of the Night, 2019

To learn more about Susan Fisher and her work, Click Here

Wendy Islas
Magic

archival pigment print

Magic was photographed at Tohono Chul during Bloom Night, 2017. The Peniocereus greggi, also known as the Night Blooming Cereus or Queen of the Night, is a wondrous species that graces us with her beauty just one night a year. The magic surrounding this bloom is wondrous. These plants magically communicate to one another to orchestrate a simultaneous bloom that invites the hawk moth to pollinate. Truly, a spectacular and magical moment in nature and one that is just as spectacular to witness and capture. The allure of the Night Blooming Cereus is strong and it just may call you back for more, as it does me.”

From the TOHONO CHUL exhibition
Pollen Path
Queen of the Night, 2019

To learn more about Wendy Islas and her work, Click Here

Joan McGann
Queen of the Night and the Sphinx Moth

colored pencil and varnish on wood

“I received a blank wooden matryoshka from a friend travelling in Russia and thought that the forms leant themselves to the shape of many cactus species. I have completed several groups of these nesting dolls since then. Colored pencil adheres well to the surface of the linden wood and I finish them with UV archival varnish. While the Peniocereus greggii species is not barrel shaped, I used that form to create the bloom and fruit. I have also included the Sphinx moth because it is an important pollinator for this night blooming cereus.”

From the TOHONO CHUL exhibition
Queen of the Night, 2019

To learn more about Joan McGann and her work, Click Here

Marty Plevel
Kingdom of Queens

watercolor on cradle board

“My experience with Peniocereus greggii, Night Blooming Cereus cactus, has been to visit Tohono Chul Park on Bloom Night. I have taken many photographs, some with relative success, with the idea to use the images for reference for a watercolor painting. What I discovered a few years ago is that the park is open the following morning when there is light and many of the blooms are still exquisite. Some in full bloom and some on the way to extinction. My watercolor is based on those early morning photographs.
I have learned that the blooming marches to its own drummer that the plants stall and seem to wait for each other so that pollen from another plant will be available to make seeds! They are not predictable. I will continue to come and see the Queens on whatever night they decide to bloom, and come back in the morning to see them again…”

From the TOHONO CHUL exhibition
Queen of the Night, 2019

To learn more about Marty Plevel and her work, Click Here

Marty Plevel
The Queen

watercolor on cradle board

Karen Wright
Desert Surprise

archival pigment print

“Blooming just one night, the Peniocereus greggii can be a pleasant surprise in the desert. Backlit by the setting sun, this bloom was one of 23 on a mature plant.

As a native of Tucson, I explore the beauty of the desert around her. The colorful sunsets, a splash of Milky Way across clear night skies, electric thunderstorms and delicate flowers all capture my attention. But, my true obsession is the intoxicating bloom of the Peniocereus greggii, or Queen of the Night. First introduced to the plant during Tohono Chul’s Bloom Night, I have diligently photographed at this event for many years and eventually acquired my own cereus. With the use of a single light, the intricate details of the flowers are revealed in my photography.

To share my love of this unique plant, I recently published a book titled Queen of the Night: A Rare Beauty. It features close-up images of the elusive flowers paired with information on the life cycle of the plant spanning from identification of the new bud through stages of blooming. It is available at several bookstores throughout Tucson, including at Tohono Chul.”

From the TOHONO CHUL exhibition
Queen of the Night, 2019

To learn more about Karen wright and her work, Click Here

Still Life with Night Blooming Cereus
Erinn Kennedy

acrylic and pencil on panel

“I paint the objects and places that I love and are a part my everyday life. I find inspiration in the Sonoran Desert landscape in and around Tucson, Arizona where I live. I am very interested in its natural beauty, historic manmade structures, and stories left behind. I am equally interested in the atmosphere that surrounds these places and the moods they evoke.

When I see a still life arrangement or an outdoor scene that captures my attention I will make several sketches of it from observation, emphasizing spatial relationships, passages and colors that I find interesting or unexpected. When starting a painting I put these sketches away and work from memory and attempt to capture the beauty and essence of these engaging places and things.”

From the TOHONO CHUL exhibition
Desert Duet

To learn more about Erinn Kennedy and her work, Click Here

Cereus Cactus Flower
Todd Ros

Oil on canvas

Todd Ros’ paintings can be described as reductive geometric abstractions. Whether working with a wide ranging color palette or creating variations on a single color. His works of oil on canvas are often rigorously investigated studies on a specific theme. Past series include Film Stills, Fighter Aircraft and Birds of Arizona. Recently moving from a hardedge approach to a looser and more layered structure, he continues his commitment to abstraction, distilling the desert world that surrounds him into vertical bands of color.

From the TOHONO CHUL exhibition
Desert Duet

To learn more about Todd Ros and his work, Click Here


Main Gallery

Rancho Linda Vista

November 15, 2019 – February 5, 2020

In 1967, a group of artists decided to create a community in the desert in which to live and create. They settled n the perfect space in the foothills of the Catalina’s near the town or Oracle, renovating an old cattle/guest ranch to meet their needs. Since then, Rancho Linda Vista has been a haven for artists, designers, writers and thinkers. This exhibition will explore the influence and history of this intriguing community and its impact on the arts in Arizona.

To view the exhibition, please click below:

View Exhibition

For the biographies of the artists in the exhibition, please click here

For label information about the art in the exhibition, please click here


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