March echo

Echo Eats 

We give you plenty to feast on, from delicious 

dishes to organizations combating food insecurity 

LGBTQ NEWS, VIEWS AND ENTERTAINMENT | Vol. 32, #6 | Issue 738 | March 2021 | COMPLIMENTARY

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PUBLISHER’S LETTER 

Whew! We made it 

through 2020, and 

here we are at the 

beginning of 2021. A new year, 

a new sense of optimism and 

opportunity, and a new direction. 

2020 had many challenges, but 

it also presented opportunities 

for those that were ready. We 

acquired three new LGBTQ+ 

media assets Echo Magazine, 

Phoenix Out & About Magazine, 

Nashville, CAMP Magazine, 

Kansas City, and launched 

OUTvoices, Chicago. We 

developed and launched two 

new industry associations, The 

Aequalitas Content Creators 

Association and the Gay Travel 

Business Network, and we are 

far from being done. 

We currently have three 

LGBTQ+ media properties in 

the acquisition pipeline for 2021, 

and there are more in various 

stages of negotiation and we are 

on track to launch the first-ever 

24/7 LGBTQ+ internet-based 

Talk Radio Station aptly named 

OUTvoices Radio in March. 

We will also be rolling out our 

OUTvoices TV YouTube Channel 

in May featuring original content 

such as the Gaycation Travel 

Show w/Ravi Roth and the 

Gay Gourmet cooking show 

with chefs Art Smith and Joe 

Morales, and much more. 

2021 will also see BIG changes 

coming to all of our individual 

brands. As we continue to unify 

our voices and our media assets, 

one of the biggest changes will 

be the name changes. Beginning 

on May 1, Echo Magazine will 

become OUTvoices Phoenix, Out 

& About Nashville will become 

OUTvoices Nashville, and 

CAMP Magazine will become 

OUTvoices Kansas City. 

Our strategy has been and 

is a simple one. To create a 

network of local LGBTQ+ media 

that maintains a relationship 

with the communities they serve 

as we increase our national 

OUTvoice. Each local media 

and members of OUTvoices will 

add their voice to our growing 

national OUTvoices network. 

OUTvoices “bureaus” will be able 

to share content with each other 

allowing access to a much larger 

audience. A new OUTvoices.us 

website (Going live May 1) will 

reflect an LGBTQ+ website that 

offers content from the whole 

spectrum of our community, 

not just from the gay male 

perspective. The .us extension 

for the website makes a bold and 

clear statement that OUTvoices 

is about US, ALL of US. 

New initiatives on the 

OUTvoices Network will include 

content that speaks to our 

Transgender, Lesbian, and 

Queer audiences and much 

more. 

As we continue our policy 

of supporting LGBTQ+ media 

we will offer ALL LGBTQ+ 

websites that are part of the 

OUTvoices Network access 

to OUTvoices Radio and all of 

the programming contained 

therein for 24/7 LGBTQ+ talk 

radio, and they will also be able 

to broadcast all of our original 

OUTvoices video content on 

their digital platforms, all at no 

cost. 

“A rising tide lifts all 

boats.” As small to medium 

sized websites continue to be 

overlooked by major brands 

and agencies, we are creating 

DJ Doran, President/CEO, Aequalitas Media 

a FREE network where others 

can join with us to change an 

industry squeak to a roar. We 

can add all of our small reaches 

and audiences to a single 

point, OUTvoices.us to get a 

piece of the digital advertising 

pie. Whereas, many blue-chip 

advertisers would not normally 

consider advertising on our 

individual websites, they will not 

be able to ignore the combined 

audience and voice of our 

membership. 

While others may beat the 

drum of impending doom and 

gloom for LGBTQ+ media, I 

see opportunities to unify and 

become stronger, to evolve and 

grow, to reinvent ourselves and 

become indispensable. 

I see the opportunity to not 

only survive, but thrive in an 

evolving media landscape. 

It may be true that parts 

of our media like print are 

struggling, but I don’t believe it’s 

on its death bed, not by a long 

shot. The market is telling us 

what it wants and needs, and we 

need to listen and pay attention. 

Print publishing is here to stay, 

period, but it’s relationship to 

advertisers is changing. 

Whereas print used to be 

the lead entrée for advertisers 

and digital offerings were 

the "added value," that is now 

changed. Digital content has 

become the lead platform for 

many advertisers and print has 

become the "added value." 

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in the transition from print to 

digital in 2020 and will continue 

to do so in the future. 2021 will 

still have its challenges, but it 

will also have an abundance 

of opportunity. These latest 

changes reflect our dedication 

and commitment to the 

survivability of legacy and 

non-legacy publications and 

will continue to preach the 

importance of a vibrant, healthy 

and locally focused LGBTQ+ 

media. 

Change can be scary, I 

know, but change can also be 

reinvigorating and exciting. The 

name of the publication may 

change but our history will not, 

our relationship to our audience 

will not and our dedication 

and commitment to journalistic 

excellence will not. 

I am looking ahead to a 

brighter future as we focus 

forward and continue to 

re-invent ourselves to better 

reflect the needs and wants 

of our evolving sophisticated 

audience. 

I hope you will stay with us 

and share the journey toward an 

exciting future as we continue to 

transition into a unified, stronger 

new brand, OUTvoices. 

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ECHOMAG.COM | MARCH 2021 

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Matthew Moody and Ruben Gonzales 

Issue 738 | Vol. 32, #6 | March 2021 

NEWS 

5 Publisher’s Letter 

8 Editor’s Note 

COMMUNITY 

14 Without Reservations 

20 Not That You Asked 

ON THE COVER 

Handmade pretzels from The Salted 

10 

Intense ‘Industry’ 

opening 

Matthew Moody and Ruben 

Gonzales took a big chance 

opening Industry during the 

pandemic. Jason Keil talks 

to them about how things 

are going in this central 

Phoenix spot. 

16 

Kitchen basics from a 

professional chef 

Joe Morales is the pro chef 

behind Joe Eats World, a 

site where he shares recipes, 

tips, and culinary information. 

Here, he examines the many 

options of cutting boards 

available to help you maximize 

your kitchen skills. 

Knot AZ 

www.facebook.com/thesaltedknotaz 

Photo by Maria Vassett 

Echo Eats 

We give you plenty to feast on, from delicious 

dishes to organizations combating food insecurity 

LGBTQ NEWS, VIEWS AND ENTERTAINMENT | Vol. 32, #6 | Issue 738 | March 2021 | COMPLIMENTARY 

18 

Mutual aid efforts strengthen relationships in communities 

Jonmaesha Beltran examines food insecurity in the community and the people 

and organizations striving to provide help. 

Leon Polk Smith: Hiding in Plain Sight; courtesy of the Heard Museum 

WEB EXCLUSIVES 

Visit echomag.com for more 

food-related articles, including a 

restaurant feature by Niki D’Andrea 

and an update on farmers’ markets 

around the Valley. You’ll also find 

the launch of a new, monthly column 

titled Just A Stage, which focuses 

on local theater, by longtime Echo 

contributor Buddy Early. 

22 

Leon Polk Smith: Hiding in Plain Sight at Heard Museum 

Painter and sculptor Leon Polk Smith’s current exhibition features more than 

40 of his most celebrated works. Jenna Duncan discusses the artwork, talks to 

curators, and delves into the artist’s history. 


7

EDITOR’S NOTE 

By Amy Young 

Welcome to our March issue, Echo 

Eats. Our annual food issue 

comes during a time when food 

insecurity dominates the lives of many, 

around the globe, due to the COVID-19 

pandemic. It’s not merely a result of the 

pandemic, of course, as in this country, 

particularly, there is a wealth inequality 

that makes the daily need to eat a struggle. 

COVID, however, has intensified the 

situation. 

Many individuals, groups, and 

organizations are finding ways to help 

people in need. Mutualaidphoenix.com 

and a group moderated by Equality 

Arizona that you can find at facebook. 

com/ groups/632742627272730/ are two 

destinations that come to mind if you’re in 

need or if you have time, money, or items 

to donate. The saying, ‘Together, we are 

stronger,’ is further cemented as truth 

by groups like this. Reporter Jonmaesha 

Beltran, in her article on page 18, talks to 

and about people involved in mutual aid 

groups around the Valley. 

Owning a restaurant is a challenging 

business adventure in the best of times. 

Opening one during a pandemic, well, I don’t 

think I need to point out how hard that could 

be. Matthew Moody and Ruben Gonzales 

opened Industry PHX since COVID hit. They 

talk to Jason Keil about how it’s going. We 

appreciate them taking the time. 

Did you know there was a speakeasy 

above Citizen Public House in Old Town 

Scottsdale? In this intimate space, you 

can find Benjamin’s Upstairs, where Chef 

Benjamin Graham serves up his signature 

dishes. Head to page 14 for all of the 

delicious details. 

We’ve also got a new food-focused 

column debuting this issue: Joe Eats World. 

Joe Morales loves food. He’s a trained 

chef and culinary instructor who is also 

passionate about traveling, so when he’s 

on adventures, he’s partaking in the food 

culture of wherever he lands. Each month, 

he’ll be sharing new information, from tips 

on kitchen equipment, as you’ll see in this 

issue, to mouthwatering recipes. 

What you don’t see in print, you’ll find 

online. Please visit echomag.com as new 

content is added daily. Additional Echo Eats 

articles include a feature on a local dining 

spot by Niki D’Andrea and a roundup of 

area farmers’ markets by Tim Rawles. 

As you’re checking out this latest issue, 

you’ll also see a letter from our publisher, 

DJ Doran. He explains all of the changes 

in the works for Echo and the other 

publications under the Aequalitas Media 

umbrella. There’s so much in store as the 

Aequalitas team works to broaden its 

LGBTQ media network. 

Amy Young is the editor-in-chief 

of Echo Magazine. A longtime 

journalist, her work has appeared 

numerous publications, regional 

to international. Please contact 

her at editor@echomag.com. 

LGBTQ NEWS, VIEWS 

AND ENTERTAINMENT 

PUBLISHER: Aequalitas Media 

EDITORIAL 

EDITOR-IN-CHIEF: Amy Young 

CONTRIBUTORS: 

Jonmaesha Beltran 

Kimberly Blaker 

Grace Bolyard 

Stefan Contreras 

Niki D'Andrea 

Jenna Duncan 

Buddy Early 

Michelle Talsma Everson 

Endia Fontanez 

Jason Keil 

Jason Kron 

Jeff Kronenfeld 

Megan Lane 

ART DEPARTMENT 

PHOTOGRAPHY: nightfuse.com. 

ADVERTISING 

ADVERTISING SALES: 

Kris Radtke 

602-266-0550x704 or kris@echomag.com 

National Advertising Sales: Aequalitas Media at 

312-600-8823 or sales@aequalitasmedia.com 

ECHO READERSHIP: 50,000 

SUBSCRIPTIONS: $29/year 

Echo Magazine LLC 

Laura Latzko 

Sydney Lee 

Logan Lowrey-Rasmussen 

Anika Nayak 

David-Elijah Nahmod 

Timothy Rawles 

Tom Reardon 

Terri Schlichenmeyer 

Carly Schorman 

Anika Nayak 

Sojas Wagle 

Velvet Wahl 

MAILING ADDRESS: P.O. Box 16630 

Phoenix, AZ 85011-6630 

PHONE: 602-266-0550 

EMAIL: manager@echomag.com 

Copyright © 2016 • ISSN #1045-2346 

MEMBER: 

Echo Magazine is published by Echo Magazine LLC, Inc. Echo 

is a registered trademark of Echo Magazine LLC, Inc. All rights 

reserved. Written permission must be obtained in advance for 

partial or complete reproduction of any advertising material 

contained therein. Opinions expressed therein are not necessarily 

those of the publisher or staff. Echo Magazine LLC, Inc. does 

not assume responsibility for claims by its advertisers or advice 

columnists. Publication of a name, photograph of an individual 

or organization in articles, advertisements or listings is not to be 

construed as an indication of the sexual orientation, unless such 

orientation is specifically stated. Manuscripts or other materials 

submitted remain the property of Echo Magazine LLC, Inc. 


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language skills will not be a barrier to admission and participation in the career and technical education programs of the District. 


9

Intense ‘Industry’ opening 

The restaurant has struggled since opening 

during the pandemic 

By Jason Keil; photos courtesy of Industry PHX 

It’s tough getting any Valley 

restaurant off the ground. 

But Ruben Gonzalez, the 

owner of Eleventh Monkey, 

and Matthew Moody really had 

their work cut out for them 

when they opened Industry 

PHX, located where The Louie 

once stood at 607 West Osborn 

Road, late last year. Even before 

the pandemic forced businesses 

to readjust, the duo, who were 

the minds behind The Hustle 

10 MARCH 2021 | ECHOMAG.COM 

dance parties at Kobalt, dealt 

with investors pulling out and 

headaches from neighbors. 

What’s kept them going 

through all of the stress is their 

desire to give the community 

something they knew it needed: 

a safe space for everyone. 

They shared some of their 

stories with Echo Magazine in 

February. This interview has 

been edited for length and 

clarity. 

Echo Magazine: I’m sure 

this has been an intense 

experience. Is there a 

particular moment that stands 

out? 

Matthew Moody: You can start 

with the obvious: we are in an 

unprecedented time in the 

history of the world. We were 

under the belief that we would 

be able to open and function 

as a whole entity. Then you 

learn you can only open at half 

capacity, and you have to do 

this and that, so you’re already 

dealing with a lower income 

rate, and bills are coming in. 

And people understandably 

don’t want to come out, but you 

need them to so you can stay 

open. And we’ve never opened 

a restaurant before, so there’s 

a lot we had to learn in a short 

amount of time. 

Ruben Gonzales: We also got 

put into litigation by our old 

partner. We can only say so 

much [about it], but it put us 

in a position that almost any 

money that Matt and I did have 

leftover as a cushion was gone. 

We had to go to something 

else, and that added a ton of 

stress. We were going to start 

in the negative, but we figured 

it out and got on our feet. But 

there’s always something you 

don’t know. Water lines break, 

pipes don’t work, and toilets 

don’t flush. 

Matthew Moody: I tried to 

route a cable through a ceiling, 

and I drilled into a water pipe. 

I had a full mental shutdown. I 

didn’t know what to do. 

Ruben Gonzales: It was like 

a waterfall, but now we know 

where all the water valves are. 

Are you able to hold events 

right now? 

Matthew Moody: A couple of 

weeks ago, I got four phone 

calls back to back from a city 

inspector saying that we can’t 

have events. I told them we’re 

not, but it took a while into 

the fourth phone call for him 

to understand that watching 

RuPaul’s Drag Race is like 

watching the Super Bowl. He 

said, “I need to call back. How 

big is your stage?” “It’s exactly 

zero inches. We don’t have a 

stage,” I replied. He asks, “Are 

people going to be dancing 

with masks on?” He didn’t 

know that it was a television 

show. And he finally grasped it, 

but the word “event” causes a 

problem. 

Since the day we opened, I 

don’t think there hasn’t been a 

public office that hasn’t been 

called on us. When we started, 

we got a “Stop Work” sign on 

our window. And that’s not a 

joke. And it’s because I started 

posting pictures of our progress 

as we go, so the community felt 

part of what we were doing. All 

that did was allow somebody 

to make up stuff that was 

happening in the photo that 

wasn’t real and send it to the 

inspector’s office. 

Ruben Gonzales: The city 

manager came in with a stack of 

photos. He saw what we were 

doing, and he was so annoyed 

that he had to come in. 

It amazes me that people have 

the time to call and complain. 

Matthew Moody: It’s so we 

wouldn’t exist or be competition 

to their favorite place. One of 

the things we’ve said from the 

beginning is that we didn’t want 

to compete with anyone. We 

thought there were missing 

pieces in our community. There 

FEATURE

were people who didn’t feel 

safe in certain spaces. We’re 

shouting, “This is for you!” We 

are all about radical inclusion. 

Once we fully get to open, we 

won’t be doing anything near 

what other bars do. 

Ruben Gonzales: I’ve 

experienced this with Eleventh 

Monkey. People tend to get 

into this thing when a new 

business opens where they 

need to be greedy and can’t 

allow someone to go to another 

place. There’s enough business 

for everyone everywhere. 

Instead of being greedy, why 

don’t we work together to 

see what each other is doing 

to coincide with each other? 

Share the wealth. 

PPP Loans weren’t available 

for anyone who opened after 

February 15. Are there other 

options you’re looking into? 

Ruben Gonzales: Every bank 

is getting it differently, and I’m 

taking on that role and seeing 

what we can do. We’re allowed 

to apply for the second round. 

Matthew Moody: We’ve had 

zero dollars of help. 

Ruben Gonzales: People told 

us we could still apply during 

the first round. Technically we 

couldn’t. We had no money 

flowing. There was no number 

they could derive from because 

we didn’t have any employees. 

Now there is, so we’ll see what 

comes of it. 

Matthew Moody: We’re trying 

to do all these things that the 

money is here for, but they 

mean everyone but us. 

Have you used social media to 

help drum up business? 

Matthew Moody: We’ve paid 

for ads and are working with 

alcohol distributors. 

Ruben Gonzales: And anytime 

we have a viewing party, we’ve 

had local organizations come 

out and give out condoms, 

lubes, lip balm, and at-home 

HIV testing kits, which is very 

important right now. These are 

things that we’re able to do 

because we have the space now. 

The community needs it. 

Matthew Moody: Both Ruben 

and I are crazy different guys 

who happen to like a lot of the 

same stuff, but we both said 

coming in that this wasn’t going 

to be a rush for bucks for us. 

It’s about our community and 

having a creative space for 

creative queer and non-queer 

people to come out. 

We have a giant neon sign 

that says, “You are safe here.” 

It’s the focal point of the space, 

and it’s the whole point. The 

only rule is don’t be an asshole. 

We want people to talk to each 

other. 

Ruben Gonzales: The city has a 

hold on our permit because of 

COVID. We’re at a point where 

if we can’t navigate through the 

pandemic as safely as possible, 

then nobody will be open. We 

both take COVID as seriously 

as possible. Eleventh Monkey 

is partially a mask show, which I 

never thought I’d be doing. 

We want people to feel 

comfortable walking in the doors 

knowing that we’ve taken the 

best precautions we can take 

to survive. It’s still nice to see 

someone. There are things as 

human beings that we all need. 

We get flack from some people 

for being open, but they’re not 

paying our bills. We have to do 

this. We employ people, and we 

need to keep their livelihood 

going, too. 

Learn more about Industry PHX 

at industryphx.com. 

Jason Keil is a freelance journalist based in Phoenix and is 

the co-host of the podcast What the Fork: Exploring The 

Good Place. His work has appeared in Phoenix New Times, 

AZCentral, and Phoenix Magazine, and he tweets about pop 

culture @jasonekeil. 

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FEATURE 


11

WITHOUT RESERVATIONS 

Shucking and clucking at 

Benjamin’s Upstairs 

By Jeff Kronenfeld 

Hidden in the speakeasy above 

Citizen Public House in Old Town 

Scottsdale is Benjamin’s Upstairs, a 

new restaurant and bar offering sanctuary 

to the hungry and amorous alike. While not 

actually a secret, ascending its stairs makes 

you feel like a VIP nonetheless, and we 

haven’t even gotten to the fried chicken, 

oysters, or natural wine. Chef Benjamin 

Graham succeeds in serving up a unique 

dining experience that is both romantic 

and filling. 

Opened in August of last year, the space 

has just six tables and is only open three 

nights a week, which is why reservations 

are essential. I booked five days in advance, 

and most of the coming Saturday’s time 

slots were already spoken for, though not 

all. I considered this a good sign while also 

wondering how crowded the swanky sky 

parlor would be. Old Town was certainly 

bustling when we arrived shortly before 

the appointed time. As we approached the 

entrance, the beauty from the thousands 

of golden bulbs strung from trees and 

awnings was balanced by the loud yelling 

from a pack of passing carousers. 

This and all other thoughts of the 

outside world were quickly forgotten 

once we entered CPH. A host escorted us 

around the bar, through a narrow hall, and 

up a dark flight of stairs. Emerging from 

the shadowy underworld into the gleaming 

light of the chandelier and flickering glow 

of the candles was disorienting in a good 

way. There were no clocks or windows. 

Chef Benjamin Graham; courtesy of In Good Spirits 

Oysters and fried chicken; courtesy of In Good Spirits 

Instead, the walls were covered in old 

recipes framed like works of art. The 

room’s black and white color scheme was 

occasionally interspersed with an intricate 

geometric pattern. Here the food, drinks, 

and, of course, your company are the 

evening’s center of attention, with the 

other elements serving as complements 

rather than distractions. 

My concerns that the elevated eatery 

might be too small or densely packed were 

quickly allayed. A little like a Tardis from 

“Dr. Who,” the space seems larger than you 

would guess from the outside. In fact, the 

distance between tables is greater than 

in most full-size restaurants I’ve visited of 

late. Ensconced in our romantic nook and 

far from the two couples who were there 

before us, we felt comfortable turning our 

attention to ordering when our very helpful 

waiter Scotty arrived. 

The food and drink menu is small but 

varied. Wanting to take our time after 

hustling all week, we opted to start with 

refreshments. Cocktails, beer, and more 

familiar varieties of wine are all available, 

but the selection of natural wines are 

the real stars. Listed under the heading 

pétillant naturel, which literally translates 

into natural sparkling, these bubbly drinks 

are made by adding wild or ancestral 

varieties of yeast at the time of bottling. As 

the fruity fluid ferments, CO2 is produced 

as a natural byproduct, giving these wines 

an effervescent quality without recourse to 

some cringy industrial process. Sometimes 


DINING OUT

Yellowfin tuna sashimi; photo by Jeff Kronenfeld 

also called the Méthode Ancestrale, this 

winemaking technique is the definition of 

an oldie but a goodie. 

My dining companion ordered the 

Morphos, a merlot rosé from Maine. 

Described on the menu as wild and tart, 

we found it tickled the tongue with a 

refreshing but mild dry sweetness. Readily 

confessing my ignorance on matters of the 

vine, I asked Scotty for a recommendation. 

He suggested the Vegas Altas, a Macabeo 

and cabernet rosé from Spain. It, too, was 

lighter and more refreshing than what 

I usually drink, leading me to conclude 

the natural wine craze is not just some 

gimmicky fad. 

As we savored our pleasantly 

intoxicating aperitifs, I again turned to 

Scotty for advice. Like the space itself, the 

menu is compact. With only eight dishes, 

picking what to order might seem simple. I 

knew we were going to try the Benjamin’s 

fried chicken, which comes with mashed 

potatoes and collard greens. I also planned 

on ordering at least a half-dozen oysters, 

but I was torn when it came to selecting 

our third dish. The shrimp cocktail and 

cornbread waffle both looked inviting, 

but so did the vegetable Crudo and beef 

tartare. 

Scotty pointed me to the Yellowfin tuna 

sashimi, which I ordered as an appetizer. 

When it arrived soon thereafter, I knew 

our waiter had again nailed it. Thin slices 

of almost neon pink fish rested beneath a 

lean-to of crispy leeks, cubes of cucumber, 

crushed peanuts, and a few fresh greens. 

Beside it was an arty smear of jalapeno 

ginger aioli sprinkled with what I believe 

were toasted sesame seeds. The crispy 

leek straws added a satisfying crunch and 

complex flavor to the tender, cool fish. We 

quickly scraped the plate clean as omega-3 

fatty acids flooded my brain, or maybe it 

was just wine. Whatever the case, I liked it. 

It was not long before our next oceanic 

delight arrived. The half-dozen raw 

oysters were served 

on a plate packed 

with ice, three sauces, 

a lemon slice, and 

two small forks. The 

oysters were large 

and filled with juices, 

as well as the fleshy 

mollusk bodies. After 

a generous spritz of 

citrus, I decided to use 

one sauce per oyster 

since we split the six 

evenly. I enjoyed both 

the classic mignonette 

and the hot sauce, but 

the vinaigrette was my 

personal favorite. I felt like I could have 

eaten about 100 more of these delightful 

bivalves but was glad I exercised restraint 

when our bird at last arrived. 

Before I even saw the fried fowl, 

the dish was already winning on the 

presentation. It came neatly packed in a 

white metal bucket. Lifting the lid was a 

little like opening presents on Christmas 

morning, or so this Jewish journalist 

imagined. Inside were two large pieces 

of reddish-gold fried chicken, two white 

containers filled with collard greens and 

mashed potatoes, respectively, plus a little 

side of bourbon honey. 

I started with a few bites of the sides. 

The potatoes were good, your classic 

milk butter clouds, but the greens were 

exceptional. Soft, tangy, spicy, and 

savory, they were the best collard greens 

I’ve ever had the pleasure of inhaling. I 

thought I tasted the smokey fat flavor 

of bacon but later learned from Graham 

it was actually smoked pork shank. 

Regardless, the greens were so good I 

devoured them all before even trying the 

chicken. 

When I did finally get to the bird, it 

didn’t disappoint. The breading was crispy, 

warm, and loaded with savory flavors. A 

24-hour bath in pickle brine kept the meat 

inside moist. Aromatic steam wafted from 

the juicy flesh as I slowly pulled it apart. 

It was so good I completely spaced the 

bourbon honey until I was nearly finished. 

Once I finished it, I could understand 

why the owners of In Good Spirits — the 

company behind Benjamin’s Upstairs, 

CPH, and the Gladly — were so eager to 

build a menu around this delectable dish. 

While both the atmosphere and food 

served at the speakeasy are fancy, 

Graham himself is refreshingly down to 

earth. The Minnesota native attended 

culinary school and got his start cooking 

for a professional hockey team in his 

home state. In 2008, the then 21-year-old 

got fed up with the Midwest winters and 

migrated to the Valley. 

Graham soon found work for Gio Osso, 

who we interviewed about Pizzería Virtù 

in October. Not just a boss, Osso was also 

a mentor. Through him, Graham met the 

owners of In Good Spirits, who brought 

him on when they opened CPH roughly 

a decade ago. He worked his way up the 

kitchen’s hierarchy over the years, though 

he never forgot his first culinary teachers. 

“I actually got into cooking because 

of my mom and my grandma,” Graham 

explained. “I would always cook with my 

grandma when I would go visit her, and 

then obviously I cooked with my mom all 

the time.” 

Graham’s mom initially freaked out when 

he moved to Arizona without a job lined 

up, something he enjoys teasing her about 

today. It’s those early lessons in the kitchen 

that helped him climb up the culinary 

ladder to the very lofty perch he inhabits 

today, not that he lets it get to his head. 

Case in point, Graham originally wanted to 

name this restaurant within a restaurant, 

the Shuck and Cluck. While we prefer the 

name Benjamin’s Upstairs, whatever it’s 

called, Graham has us crowing for more. 

Jeff Kronenfeld is an independent journalist 

based out of Phoenix, Arizona. His writing has 

been featured in Java Magazine, the Arts Beacon, 

PHXSUX, and the Phoenix Jewish News, where he 

received the Simon Rockower Award 

for excellence in news reporting 

from the American Jewish Press 

Association. Links to his previously 

published work are available at 

www.jeffkronenfeld.com. 

DINING OUT 


15

JOE EATS WORLD 

By Shopify Partners/Burst 

Kitchen basics from a professional chef 

By Joe Morales 

I 

wasn’t sure how I wanted to 

introduce myself, considering 

this is a new monthly column. I 

planned to jump in feet first and 

give you some amazing recipes, 

but at the same time figured it 

might be best to start with the 

basics. 

By basics, I mean what tools 

to use, what tricks are out there, 

what you really need to be a 

good, or better, cook. 

It’s always important to use 

the right tool for the job. So, 

what are you cutting on? The 

first discussion is going to be 

about cutting boards. I know, 

it doesn’t seem that would be 

a likely place to start but trust 

me, this is going to be just as 

important as what knives you 

use (next article). 

Cutting boards come in 

several different materials: 

stone, glass, wood, and plastic. 

Stone Cutting Boards 

Stone cutting boards are 

beautiful, heavy, and expensive. 

I only use these for charcuterie 

boards or large serving platters. 

You can find stone boards in 

a variety of forms: marble, 

granite, and slate. 

Why, you ask? Because stone 

boards are hard surfaces. It 

will take one time of chopping 

vegetables before you will need 

to sharpen your knife because 

the stone dulled your blade. 

Sure, they’re easy to clean 

and sanitize, but they are hard 

on knife blades, requiring more 

frequent sharpening. 

Glass Cutting Boards 

Glass cutting boards are much 

more cost-effective than stone 

but are also hard on your 

knives. They are tempered, 

lightweight, durable, and you 

can place them in dishwashers 

(usually). 

You will still have the same 

issues with dull knives and the 

ease of cleaning and sanitizing. 

Wood Cutting Boards 

Wood cutting boards are made 

from bamboo, walnut, cherry, 

maple, or a combination of 

walnut, cherry, and maple. You 

have to work a bit harder at 

keeping them clean, but they 

definitely provide less wear and 

tear on your knives. Wooden 

boards are prone to knife cuts 

and dents but are forgiving. 

Unlike marble or glass cutting 

boards, you cannot place 

wood cutting boards in the 

dishwasher. It should go without 

saying that you cannot put them 

in the oven to dry, either. Trust 

me; it’s been done, with no 

positive results. 

The easiest way to clean the 

cutting board is to use soap 

and water. To rid the board of 

smells and stains, use a lemon 

cut in half with some kosher salt 

and rub it on the surface of the 

wood, then rinse. After washing, 

towel-dry the excess water and 

set the board standing up or on 

an angle to dry thoroughly. 

Every once in a while, it is 

necessary to oil the board, so it 

isn’t stripped of its natural oils 

and prolongs its life. Make sure 

you use food-grade mineral oil 

or creams. 

It’s more work, but it will 

save you money on knife 

replacement in the long run. 

Plastic Cutting Boards 

You can find plastic cutting 

boards in just about every 

restaurant kitchen around the 

world. Why? Because they are 

easy to use, clean, and store. 

All they have to do is run them 

through the industrial sprayer 

and dishwasher, where they get 

cleaned and sanitized in one 

shot. 

Cutting boards made of 

plastic are prone to knife 

cuts just like wood but last 

quite a bit longer. They come 

in several different types of 

plastic, too. You can purchase 

the thin, foldable “boards,” or 

you can go with a inch to inch 

thick plastic. You would think 

that all plastic is created equal, 

but it isn’t. There are harder 

plastic boards, and there are 

softer plastic ones. It’s all 

about your preference, but I 


By Bonnie Kittle/Unsplash 

tend to lean toward the softer 

plastic ones. 

The best part, you can rinse 

them off and toss them in the 

dishwasher and run them with 

the rest of your dishes. 

My Recommendation 

As a professional chef, I use and 

recommend wooden and plastic 

cutting boards. I have both at 

home, and they get equal use ... 

well, almost. I tend to favor the 

wood cutting board — just my 

personal preference. 

I don’t ever use stone or glass 

(for cutting); I strictly use wood 

and plastic. I usually catch my 

husband using just the granite 

counter, and I always ask if he 

is using a cutting board. Also, 

don’t use your countertop as a 

cutting board. This is why I don’t 

allow him to use my good chef 

JOE EATS WORLD 

knives, which we’ll cover next 

time. 

I don’t recommend using 

the thin folding plastic boards. 

While they seem convenient, 

over time, they warp and never 

lay flat. They are also flimsy and 

can get holes in them or stab 

marks. Trust me, that happens 

too. 

You can find cutting boards 

in all shapes and sizes. Pick the 

one that fits your needs. 

Professional tip: To keep 

your cutting board from sliding 

around while using it, wet some 

paper towels or a tea towel, 

wring out the excess water, 

place it on the counter and put 

your cutting board on top of 

it. This will keep your cutting 

board in place and stop the 

extra sliding around, which 

leads to injury. 

Joe Morales is a passionate traveler, trained chef, and culinary instructor. When 

he isn’t off exploring the world, you can find him at home with his husband DJ and 

dog Oliver. Joe spends a lot of time in the kitchen working on his latest recipes. 

You can read more about Joe’s easy to follow recipes and 

how to’s by visiting his website, Joe Eats World (joeeatsworld. 

com). You can also follow him on instagram at JoeEatsWorld1 

and also on Facebook at JoeEatsWorld. 

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17

Mutual aid efforts strengthen 

relationships in communities 

By Jonmaesha Beltran 

Every Sunday, NourishPHX, 

a group of volunteers, 

meet in Phoenix to 

assemble and deliver food 

boxes to queer families in need 

of food, household supplies, 

hygiene products, and diapers, 

emphasizing that the service is 

solidarity, not charity. 

Since the beginning of the 

coronavirus pandemic, mutual 

aid projects, like NourishPHX, 

appeared in almost every city 

throughout the United States. 

Volunteers utilized Google Docs, 

Facebook, Instagram, Slack, and 

other social media platforms to 

create networks that picked up 

where the government lacked. 

Last year, a host of Arizonans 

created mutual aid networks to 

sew masks, deliver groceries and 

medication, collect household 

supplies, and more for 

vulnerable communities. Many 

mutual aid organizers focused 

their efforts on combatting food 

insecurity. 

Almost one in three 

households in Arizona 


experienced food insecurity 

since COVID-19, which is a 

28 percent increase from the 

year before the pandemic, 

when the food insecurity rate 

was 25 percent, according to 

the National Food Access and 

COVID Research Team. 

Before the pandemic, 

the Williams Institute, which 

conducts research on sexual 

orientation and gender identity 

law and public policy, found that 

one in four LGBT individuals 

experience food insecurity. Boss 

is the name of one of the people 

we spoke with who, like others, 

created networks that center 

queer communities. 

“I was looking for a way to 

keep us connected and make 

sure we were in communion 

in a safe way, and we continue 

to affirm that we got us and 

that our family doesn’t die just 

because the spaces that we 

usually gather do,” Boss, 28, said. 

In March, Boss, who uses ‘they’ 

pronouns, began networking 

through Instagram with friends 

in the drag community that they 

usually would see at the bar 

every week, asking if anyone 

needed food or had a surplus 

of food to donate. Boss started 

collecting food donations in their 

studio apartment and making 

deliveries to the homes of those 

who needed it. 

Boss, 28, lead organizer with NourishPHX. Photo courtesy of Boss 

“It was really heartening every 

day to wake up and be reminded 

of why that food was there — it’s 

because I was connected with 

the community.” 

Soon later, the network 

grew to more volunteers and 

implemented two donation 

sites at Whyld Ass and Xanadu. 

NourishPHX also stopped taking 

in dairy and meat products, 

requesting that people donate 

plant-based non-perishables. 

The network doesn’t accept 

plastic bags and tries to work 

outside of institutions like 

Amazon and Walmart. 

The network serves 10 to 15 

families throughout the Valley, 

from healthcare workers, 

independent business owners, 

bakers and chefs, and out-ofwork 

drag queens. It also has 

six volunteers who assemble 

the food boxes and three 

people who deliver to houses in 

Phoenix, Mesa, and Tempe. 

Before each Sunday, a 

volunteer picks up homemade 

sourdough on Fridays, made 

by a friend of Boss in Tempe. 

Another volunteer picks up 70 

pounds of produce on Saturday 

that NourishPHX purchases for 

$12 from Borderlands Produce 

Rescue. The volunteers also 

create prepared foods for the 

families, and volunteers are 

encouraged to also receive the 

food as a way to eliminate the 

idea of charity work. 

Each family’s food box 

includes a grain, protein, 

veggies, fruit, and fluid. “We 

might do some Gatorades, some 

veggie broths, some pasta, and 

sauce, with a bunch of fruit and 

FEATURE 

Boxes prepared by volunteers of NourishPHX. Photo courtesy of Boss

vegetables on top,” Boss said, 

adding that they are currently 

looking to include zines that 

highlight how the community can 

stay united. 

Mutual aid networks have a 

long, rich history and can be 

traced back to early fraternal 

organizations. But it wasn’t until 

1902 when Peter Kropotkin, a 

Russian anarchist, popularized 

the term “mutual aid” in his essay 

collection “Mutual Aid: A Factor 

of Evolution.” Kropotkin used 

examples of animals and humans 

to argue that cooperation was 

the most important factor of 

evolution. 

For communities of color, 

mutual aid networks have always 

been formed out of necessity and 

as a response to discrimination. 

During the 1700s, free Black 

Americans founded societies that 

aimed to provide aid to freed 

slaves. In the late 19th-century, 

Mexican Americans founded 

Sociedades Mutualistas that 

aimed to provide economic 

protection, education, and 

community services to members 

who emigrated from Mexico and 

native Texans. 

When Chinese immigrants in 

San Francisco were denied health 

care by mainstream hospitals in 

the 1800s, they built Tung Wah 

Dispensary, a hospital that served 

primarily Chinese residents. 

When it was destroyed in the 

earthquake of 1906, 15 community 

organizations formed the Chinese 

Hospital Association to reinvent 

it as the San Francisco Chinese 

Hospital. 

During the height of the HIV 

epidemic in the 1980s, many 

queer activists organized mutual 

aid networks. One network was 

the AIDS Coalition to Unleash 

Power, which advocated for HIV 

research, treatment, and policy 

change. After Hurricane Katrina 

in 2005, New Orleans activists 

formed the Common Ground 

Clinic, which started as a first aid 

station. 

Through these mutual aid 

projects, many have learned 

that it’s okay to ask for help and 

that people don’t have to go 

through things independently. 

NourishPHX educates people who 

donate and volunteer about the 

practice of mutual aid and how it 

works as a service rather than a 

favor. 

“For all the volunteers who 

come to us, we let them know 

that while a one-time volunteer 

is appreciated,” Boss said. “The 

long-term commitment and 

working these practices in your 

everyday life is what really causes 

transformation from the inside 

out.” 

Randall Denton, co-owner of 

Xanadu, said he appreciates the 

mutual aid efforts residents are 

making in Phoenix and that it 

reminds him of his experiences of 

being in a punk rock band. 

“Sleeping on people’s couches, 

trusting that when you go to a 

city that there will be a place for 

you to sleep and people who will 

take care of you. I feel like a lot of 

this comes out of that, where you 

try to pay it forward, and you pull 

resources, distribute them evenly,” 

he said. 

Paulann Egelhoff, a 

photographer, started delivering 

food created each Sunday for 

NourishPHX in the fall. She 

delivers food to two families, 

which she already knew from 

other queer spaces. 

“It’s interesting to be in a 

position where there’s a mutual 

aid group that’s not only feeding 

our community but feeding the 

queer families that we know,” 

Egelhoff, 33, said. 

Egelhoff said since her 

involvement in the mutual aid 

network, her relationship with 

the people she delivers to has 

become stronger. 

“I feel better knowing that I can 

help meet their needs in some 

way with some group,” she said. 

Some have questioned the 

longevity of many of the mutual 

aid projects that arose during the 

pandemic. Still, many organizers 

are figuring out ways to combat 

food insecurity after the 

pandemic. 

“I’m hoping that Nourish 

continues to be something that 

queer Phoenix know is always 

there them,” Boss said. 

Jonmaesha Beltran is a California native living in Phoenix, Arizona, where 

she studies journalism at the Walter Cronkite School of Journalism and 

Mass Communication. She’s passionate about amplifying the voices of 

marginalized communities. Her dream is to become a staff writer at a 

national magazine. 

FEATURE 


19

NOT THAT YOU ASKED 

Why I Love Nancy Pelosi and AOC 

By Buddy Early 

Some time ago, I ignited a firestorm 

on social media when I said I would 

most appreciate a viable presidential 

candidate under 50. Holy smokes, did 

I get roasted for being ageist! How 

could I possibly just write off an entire 

generation of hard-working, experienced 

Americans when it comes to our nation’s 

highest office? I was even called part 

of “the entitlement generation” by one 

particularly triggered individual. 

Now, while I stand by my belief that a 

fresh, energetic change-maker would’ve 

best served our country’s needs during 

this messed up time, I’ll also accept 

that dismissing a large portion of our 

population in that way was a bit harsh. 

Maybe it’s because I will, in fact, turn 50 

this year, and I certainly don’t want to 

be overlooked in favor of some young 

whippersnapper who wears skinny 

jeans and Converse and understands 

Bitcoin – and that goes for any upcoming 

presidential race or a game of dodgeball. 

But back to my point: I was wrong. 

Ironically, most of the folks who tried 

to cancel me for my ageist views are 

the same folks on the progressive left 

who wanted to run Nancy Pelosi out 

of her House leadership because she 

is out of touch with young folks. (This 

is called a segue.) Pelosi will turn 80 

this month, and in her more than three 

decades as a member of the U.S. House 

of Representatives has been elected four 

times to the position of Speaker. Prior 

to taking on that role she was tapped as 


Minority Whip and then Minority Leader 

by her Democratic colleagues. 

Essentially, Nancy Pelosi has earned 

and has long had the respect and 

appreciation of her peers. Those who 

have worked with her in Congress, 

people inside the beltway, and pretty 

much everyone who has followed national 

politics for the last few decades know her 

as a leader, a tough negotiator, and an 

effective policymaker. Even opponents 

on the other side of the aisle who hate 

everything Pelosi stands for would not 

argue she hasn’t been good at her job. 

We can and should expect Republicans 

– particularly the current brand that has 

no integrity or morals, and relies on lies 

and conspiracy theories to inform its 

actions – to balk at the things Pelosi tries 

to accomplish. What we shouldn’t have to 

deal with is members of the Democratic 

Party disrespecting her accomplishments 

and experience. Even more dispiriting, 

I’ve noticed, is the manner in which many 

members of the LGBT community have 

decided Pelosi is ready for the trash heap. 

It’s not just disrespectful; it’s ignorant. 

Nancy Pelosi has been there for us, 

time and time again. During her first 

speech on the House floor in 1987, she 

made it clear that fighting AIDS would 

be a top priority. And she has stayed true 

to that promise: challenging President 

Reagan to step up in the fight; securing 

AIDS funding first for her home district 

then subsequently through the Ryan 

White CARES Act and even across 

the globe; and she was instrumental in 

bringing the AIDS Memorial Quilt to 

Washington and increasing awareness 

when most Americans were still clueless. 

On the political front, Pelosi was 

among the first members of Congress 

to support same-sex marriage, joining 

an underwhelming minority in 1996 to 

vote against the Defense of Marriage 

Act. She’s supported our community on 

every issue facing the country. She lent 

her name to and was present at major 

LGBT events, including the 1987 March on 

Washington for Lesbian & Gay Rights. 

Despite any missteps or occasions 

where Pelosi had to be educated about 

an issue, and despite any time she had to 

compromise to get shit done, I will always 

love Nancy Pelosi. 

If I’m being perfectly honest, I might 

be more closely aligned politically with 

Alexandria Ocasio-Cortez than I am with 

Nancy Pelosi. I’m somewhere in the middle 

right now but becoming more progressive 

with each passing year. AOC’s role as an 

ally to the LGBT community is unmatched. 

She is uncompromising, unflinching, and 

you can be damned sure she will never sell 

us out. Beyond her support for gay and 

lesbian equality, she has been vocal about 

the rights of Trans Americans more than 

anyone else ever in Congress. 

I am thrilled that AOC and other 

young progressives like her are making 

waves in Washington. While I may not 

be on board (yet) with every aspect of 

her agenda, nothing she is proposing 

would bring harm to America. She has a 

vision of an American utopia that doesn’t 

deserve to be disrespected by older, more 

conservative members of her own party. 

And I like that she scares the shit out 

of the likes of Ted Cruz, Lindsay Graham, 

and Josh Hawley. 

Even in scenarios where her approach 

may not be incredibly wise, or she may shoot 

herself in the foot with her own actions, I will 

always love Alexandria Ocasio-Cortez. 

Nancy Pelosi and AOC are two sides of 

the same coin. They will have battles, for 

sure, and some may even argue they will 

ultimately “fight for the soul of the party.” 

But they support us and will go to the mat 

for us; the last thing they need is for us 

to pit them against one another. We need 

both of them. 

Buddy Early grew up in Tempe 

and has been involved in various 

communities across the Valley since. 

He is a former managing editor of 

both Echo Magazine and Compete 

Magazine. 

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21

Leon Polk Smith —Hiding in Plain Sight 

Leon Polk Smith: Hiding in Plain Sight at 

Heard Museum 

By Jenna Duncan. Photos courtesy of Heard Museum 

The mood of the midcentury 

built many memorable 

masters in art and 

architecture — many of whom 

were reacting to American and 

European recent history and 

events. Family life and education 

often shaped an artist’s 

experience, but an even more 

intrinsic, influential force came 

from the environment. 

Such is the case of painter 

and sculptor Leon Polk Smith, 

who may have emerged from 

obscurity in New York City, but 

was captivated by the American 

Southwest from the time of his 

youth in Oklahoma Territory, 

throughout his later life, work 

and travels. “Leon Polk Smith: 

Hiding in Plain Sight” at Heard 

Museum features more than 40 

of the artist’s most celebrated 

works. 

LPS grew up on a farm near 

Pocasset, Oklahoma, living with 

his mother, father, and nine 

brothers and sisters. He was 

born in Oklahoma, a year before 

the territory received statehood. 

He grew up near Chickasha, the 

nations of the Chickasaw, and 

Chocktaw, his neighbors. Smith 

claimed the Southwest as his 

home, describing its influence 

on his art and his spirit. 

“I believe his creative self was 

already shaped by this exposure 

to the Tribal communities,” Baker 

says. “The dances, the social 

gatherings — all of which he 

participated in,” Baker says the 

evidence is shown in his free use 

of color, which reflects palettes 

of historic beadwork and ribbon 

work. 

Baker describes the 

development of Oklahoma 

state as a time of creativity, 

lawlessness, and invention. 

“From that space, that place, 

came all sorts of innovations 

and creative individuals.” For 

example, Richard Adams, 

Delaware Indian poet, writer, 

and activist; Lewis W. Ballard, 

composer and former music 

director of Institute of American 

Indian Arts; and Lynn Riggs, who 

wrote the play “Green Grow the 

Lilacs,” Baker says. 

As a young man, Smith’s 

mother and father faced the 

foreclosure of their land and 

family farm, and he was sent to 

work to try to save it. Different 

accounts find him traveling the 

country, working as a laborer 

with Roosevelt’s Civilian 

Conservation Corps, and as 

a railroad laborer, where he 

landed a brief stint in Arizona. 

The wildly colorful desert 

sunsets may certainly have 

played into Smith’s adopted 

color palette, as did the 

decorative trends of the time. 

In one of his most memorable 

paintings, “Stonewall,” (1956), 

two red-orange orbs gently 

graze one another. But these 

shapes are more than just 

decorative — they suggest 

human energy, momentum — two 

planets about to form an eclipse 

or two lovers about to share a 

kiss. 

“To me, it’s very much a part 

of the pow wow,” Baker says of 

Smith’s vibrant color palette and 

what informs it. “A riot of color, 

in movement.” 

Though some of LPS’s early 

work was figurative, and he 

did experiment somewhat with 

Surrealism, LPS never truly 

“[Leon Polk Smith] spent 

the first 40 years of his life in 

Oklahoma. It has a warm place 

in my heart and everywhere in 

his painting,” says Joe Baker, 

co-curator of the exhibit 

and executive director at 

the Mashantucket Pequot 

Museum. “I give all the credit to 

Oklahoma,” Baker quotes Smith 

as saying near the end of his life. 

Leon Polk Smith —Hiding in Plain Sight 

While he was interested in the 

artist for many years prior, Baker 

says co-curating this exhibit gave 

him the chance to delve into 

Leon Polk Smith’s early years. 


FEATURE

veered from Hard-Edge painting, 

Baker says. Geometry and 

vibrant color play big roles in 

Smith’s work. Many attribute Piet 

Mondrian as one of his primary 

influences, and he was friends 

with many other working artists 

of the time, including Martha 

Graham and Carmen Herrera. 

Baker has a special connection 

to Heard Museum and Leon Polk 

Smith. For one, Baker was at 

Heard Museum for 12 years, first 

in education and then serving 

as Lloyd Kiva New Curator of 

Fine Art. And another significant 

connection, Baker is also from 

Oklahoma and a member of the 

Delaware tribe. “I know the town 

he was born in,” Baker explains. “I 

know how that part of Oklahoma 

feels — the difficult history of 

the founding of the state of 

Oklahoma. It became a very 

personal experience for me.” 

The difficult history, as Baker 

explains, covers Oklahoma’s 

timeline from the 1800s into the 

early 20 th century. “It’s important 

to realize there were over 60 

Native American communities 

that were forced into what I 

refer to as a holding area,” Baker 

says. “They were misplaced by 

expansion until something could 

be decided about what to do 

about the ‘Indian problem.’” 

It was a time in the nation’s 

history when communities of 

diverse Native people, owning 

different customs and different 

languages, were forcibly pushed 

together into the “no man’s lands.” 

“What I do know that resulted 

from that action was really 

something quite beautiful,” 

Baker says. “Tribal people 

came together; there was a 

lot of sharing and exchange. 

They contributed formatively 

to the formation of the state of 

Oklahoma.” 

Smith was also coming of 

age in this era, embedded in 

a turbulent time. Baker says 

he wasn’t able to find any 

documentation that the Smith 

family had a tribal affiliation, but 

it has been said they were of 

Cherokee heritage. LPS didn’t 

speak much during his life about 

his Native American background, 

but his lifelong partner, Robert 

(Bob) Mead Jamieson, in 

interviews with the Leon Polk 

Foundation, did state that both 

of LPS’s parents had Cherokee 

ancestors. 

FEATURE 

Smith and Jamieson met in 

a bar called Goody’s in New 

York City in the early 1950s, 

Baker says. Baker tried to track 

down the place but could not 

find a record of it. He did find 

records, though. The Smith 

maintained studios around 

Union Square and Greenwich 

from the mid-century to his 

later life. 

But before he got to New 

York, he enrolled in some 

classes at a college in Aida, 

Oklahoma. Initially, LPS had 

planned to become a teacher. 

“Somehow, during his time on 

campus, he walked by an open 

studio in the department of art 

and was just fascinated with 

painting class,” Baker says. “He 

looks in the door and somehow 

this moment of recognition 

that this was his calling.” LPS 

convinced the professor to 

let him sit in, and this initiated 

his formal investigation of the 

medium. 

Throughout his active art life, 

LPS evolved his style to include 

more curves. He also began 

to experiment with alternative 

shapes for his canvases, 

embracing the “tondo,” or round 

disk shape. 

“All of that was inspired 

by baseballs,” Baker says. 

His interpretation is that the 

seams on the ball held for 

LPS a connection to space 

and the endless horizons, 

inspiring his group of paintings, 

“Constellations.” 

Baker says last year, he 

visited the foundation and LPS’ 

home studio in Long Island 

before it was sold. 

“What we found in a box was 

his notebooks, which had never 

been seen before by anyone 

at the foundation. It was really 

exciting because there are 

really meticulous records of 

the painting — where they were 

exhibited, where they traveled. 

Along with pencil sketches. 

References to colors. All of 

this provided insight into the 

mind of the artist; you could 

see his literal side. He was also 

very fastidious with his recordkeeping 

and note-taking.” 

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The Heard has on view some 

never-before-exhibited pages 

of the notebook. Also on view 

is a painting very atypical of 

LPSs work, “Black Black,” Baker 

says, which was produced 

during his time in Santa Fe on a 

fellowship. 

Leon Polk Smith died in 1996 

at age 90. He was active in 

painting for more than 70 years. 

“Hiding in Plain Sight” is on view 

at Heard Museum through May 

31. For more information, visit 

heard.org. 

Jenna Duncan is writer, community college instructor and artist based in Phoenix, 

Arizona. She leads the training program for journalism at Glendale Community 

College. Her video art and documentaries have screened in Phoenix, NYC, 

and Berlin. Jenna holds a bachelor’s degree in journalism from University 

of Arizona, an MFA in Creative Writing from Goddard College in 

Vermont, and a Masters in Media Studies from The New School. 

Jenna is a freelance reporter and editor for a few local magazines and 

co-hosts a biweekly pop culture podcast with fellow Phoenix writer, 

Jared Duran, called HootNReview. 

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Leon Polk Smith —Hiding in Plain Sight

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