Podcasts about creative district

Live from The Travelers Championship: Cromwell Creative DistrictDavid Sizemore shares the importance of supporting local businesses!

BFF Omaha, formerly known as Benson First Friday, is a nonprofit arts organization whose mission is to build community through art engagement. BFF started in June 2012, and was named the first official Creative District in Nebraska in 2022. On today's show, Michael Griffin is in conversation with Annie Butler, production manager and the advocacy chair, and Petfest founder Zach Schmieder about the annual showcase of local and national musical acts within the Benson community. Petfest 2023 is on August 19 at the Petshop Gallery in Benson. --- Support this podcast: https://podcasters.spotify.com/pod/show/riversidechats/support

This week (12/16 & 12/18) on ART ON THE AIR we feature an award-winning actress, TV writer, Tracy Dawson, whose first book, “Let Me Be Frank,” explores women who masquerade as men to do things they were not allowed to do. Next the president and interim executive director of Miller Arts and Creative District, Kathy Long updates us on the happenings there. Our spotlight is on Meg DeMakas' new book, “Maggie's Not So Big Move.” Tune in on Sunday at 7pm on Lakeshore Public Radio 89.1FM for our hour long conversation with our special guests or listen at lakeshorepublicradio.org/programs/art-air, and can also be heard Fridays at 11am and Mondays at 5pm on WVLP 103.1FM or listen on the web at WVLP.org . Listen to past ART ON THE AIR shows at lakeshorepublicradio.org/programs/art-air or brech.com/aota. Please have your friends send show feedback to Lakeshore at: radiofeedback@lakeshorepublicmedia.org Send your questions about our show to AOTA@brech.com LIKE us on Facebook.com/artonthairwvlp to keep up to date about art issues in the Region. New and encore episodes also heard as podcasts on: anchor, NPR ONE, Spotify Tune IN, Amazon Music, Apple and Google Podcasts, plus many other podcast platforms. Larry A Brechner & Ester Golden hosts of ART ON THE AIR. https://www.lakeshorepublicradio.org/show/art-on-the-air/2022-11-22/art-on-the-air-december-18-2022

What you'll learn in this episode: Why the Thai art jewelry market has been slow to grow but is poised for an explosion How Thailand's tradition of decoration and fine jewelry influences what customers are looking for Why Atty wants the artists she showcases at ATTA Gallery to express themselves through their work, without regard for trends Why Atty often calls her pieces “wearable art” rather than art jewelry How Atty's background in science helped her become a successful business owner About Atty Tantivit Atty Tantivit is a jewelry designer/maker, a gallerist and a creative entrepreneur based in Bangkok, Thailand. In 2010 Atty founded ATTA Gallery, the first and only gallery that specializes in contemporary art jewelry, aka wearable art, in Bangkok, Thailand. Since the opening of the gallery, Atty has played many roles in the field of contemporary art jewelry, both locally and internationally—a gallery director, a curator, an educator, an artist, a writer, a mentor, a collector and an advocate. She has been given an honorable award for being an inspiration and an influencer in the field of jewelry design by a Thai governmental agency and has been invited to share her experience at international symposiums. Atty had been nominated to be one of the ten most influential creative drivers in Bangkok for the Creative Cities Project 2013, showcased at Kaohsiung Design Festival in Taiwan. She has been an active member of the steering committee for the Creative District movement in Bangrak/Klongsan area of Bangkok. Atty is passionate about forging sustainable creative and art development in Thailand. Additional resources: Atta Website Atta Instagram Photos: Atty with her art and jewelry collection exhibited at the gallery in How She Collects Exhibition of necklaces Front of current gallery with our new logo Front window looking at current material based art exhibition by local artist New Gallery Space 1 Transcript: Atty Tantavit forged a new path for art jewelry when she opened ATTA Gallery, Bangkok's first and only art jewelry gallery, in 2010. Educating Thai customers on the history, value, and potential of art jewelry has been challenging at times, but Atty is determined to bring attention to this field and support the artists she works with. She joined the Jewelry Journey Podcast to talk about the differences between contemporary jewelry in Thailand, Europe and North America; when she knew it was time to leave her science career for a career in jewelry; and why her customers tend to connect with the term “wearable art” instead of “art jewelry.” Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, our guest is Atty Tantivit, founder and owner of ATTA Gallery. The gallery, which was founded in 2010, is Bangkok's only art jewelry gallery. It's one of the few in southeast Asia. In addition, Atty has an extensive background as a maker herself. Today, we'll hear about Atty's own jewelry journey, both as a maker and a gallerist, and we'll learn about her expansion plans. Atty, welcome to the program. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Atty Tantivit, founder and owner of ATTA Gallery. The gallery was founded in 2010 and is Bangkok's only art jewelry gallery. If you haven't heard part one, please go to TheJewelryJourney.com. Welcome back. Tell us about your expansion plans. Do you want to open an art gallery to go with this? Atty: Last year was kind of tricky—well, not last year, towards the end of 2019. Sharon: It's so confusing, right? Atty: Right. I'd been on vacation for a long time. At the end of 2019, we moved to a new space. It's a much larger space. We had big plans for what we were doing. We were going to have two art galleries in one space, because I was also running a small gallery for small art pieces. But Covid hit, and my plan had to be rethought. What I also found is that my artists and our clients were confused at the fact that I had two galleries in one place. So, now I have decided to merge the two galleries. We'll go under the name ATTA Gallery because it's more established. We will not be focusing just on contemporary jewelry, but we will expand to cover other types of contemporary jewelry as well. Our main focus will still be on material-based art. Craft, arts and jewelry will still be the silver thread running through art curatorial plans. One thing I found was that positioning contemporary jewelry and promoting contemporary jewelry has its own identity unit. The market was very small. It's such a niche market that I could not reach the wider audience, but now I'm hoping to be creating dialogues between contemporary jewelry arts and surrounding arts, like photos and paintings, to lift the profile of contemporary jewelry up to the same level as other types of art, because it is art. Sharon: Definitely, yes. There's a question I ask; there's no right or wrong answer, but I'm curious what you see as the difference between art jewelry and contemporary jewelry. Contemporary jewelry can often be fine, as far as I'm concerned. Atty: I think that's a tricky one. I remember giving a talk at Zimmerhof back in 2016 and I talked about this, what we call what we are doing. It's confusing, because when you do a Google search and type in contemporary jewelry— Sharon: Oh my gosh, yes! Atty: When you type in art jewelry, a bunch of stuff comes up. Some overlap, some are totally different, and I don't even how to call it. Sometimes I call it wearable art. That seems to be more easily understood by the local audience, because if they think “jewelry” when they come to the gallery, they won't see what they were looking for. In Thailand, when they think about jewelry, they think about gemstones. That's how I thought of it. So, if they come in and think, “Where are the gems?” we don't have that, but if they come in and I say, “These are pieces of art that can be worn,” or “They're wearable art pieces,” they would say, “Ah, O.K.” They're more accepting with that wording. So, I don't know. I know that in Europe they call one thing, autonomous jewelry, contemporary jewelry. Sharon: Yeah, there's no hard line. Atty: Also, it's a problem in that when people search for the kind of jewelry they're looking for, they don't know what to call it. We are available, the suppliers are there, the demand is there, but supplies and demands are not matched because we can't find each other. It's like we live in parallel worlds in a way. That is something that's tricky in finding a new audience. I think the problem with the field—a lot of people talk about it—is that finding a new audience for the field is very hard, right? I think we are relying on 20 to 30 old-school collectors. The field cannot be sustainable that way. We have to find a new audience. Sharon: Do you still make? Do you still paint? Were you a painter when you did art? I think of painting as an art. Atty: I haven't really made anything in quite some time because I had to move my studio out of the old space, so now I don't have a studio. Without a studio it's hard to create jewelry pieces, but I do create things with my hands quite often, like stitching, embroidery and little things like that. My passion is still in seeing the creative process, and, to me, the gallery is my creative project. You have to build it up. You have to see how it grows. It's a big jewelry project in a way. Sharon: I'm really impressed and amazed. You have taken such a big step of launching a gallery. Did you have to think about it a long time? Do you come from a family of entrepreneurs? How did that work? Atty: My family's been very supportive. Sharon: Oh, that's great. Atty: When I decided to switch from science to jewelry, they didn't object to it; they supported it. When I came back and wanted to open a gallery, they were supportive as well. This is my passion project. I have to tell you the truth: it hasn't been a profitable business until now. We were on the rise. I have to tell you, Louisa Smith told me that if you want to open a gallery, you have to stick around for least seven, eight years to see the return. You can't get out before that, and I think that's very important. If I looked at the numbers in the first few years and if making money was my only goal, I would have closed a long time ago. Sharon: If making money was your only goal, you probably wouldn't have opened. I don't meet many gallerists who don't love it. Atty: If people ask, “Are you planning on having the gallery for a long time?” I can't tell, because right now, I still have passion in it. It intrigues me. I'm so interested in it, and that's why I'm doing it. But one day if that's gone, if something else catches my attention, I might as well close. I never know, but at this moment I think I'm still interested in it. There's still interesting work that I want to show to the world, and I'm hoping I'll be around for another 10 years at least. Sharon: It seems like you have a lot of energy and passion left, a reservoir that's going to last you a long time. Did you name the gallery after you? Why did you pick ATTA Gallery? Atty: It's the first two letters from my first name and my last name combined. AT for Atty, then TA. When I put the two together, it turned out to be ATTA. I like the fact that it's reflective in a way, A-T-T-A, and just by chance there is a meaning in Thai—well, actually in Bali, which is an old Indian language. Atta means “self” or “ego,” and to me, that is something I liked. When I work with the artist, I want the artist to express who they are through their work, without worrying about trends and whether I'll be able to sell it. “That sells better, so I want to shift my style into that style.” I don't want to work with artists like that. I want the artists who are true to themselves and can express themselves to the world and, at the same time, for the audience, for the customers. I want them to come in and look at the pieces, open the drawers and find their own selves through the pieces without saying, “Oh, I saw that actress wearing this piece. Do you have it?” No, because most of the pieces we work with are unique pieces. You find something that is uniquely yours in a way. I've told people that when you come into the gallery, I'm not going to hard sell you, because you have to find your own soulmates. When you open the drawers, today you might not see anything you like. Three months later, you come back in. You might find something you like. Even though you might have seen it three months before, your experiences have changed, and you've created stories and meanings and connections with different things at different times. With wearable art pieces or art in general, you can sell to a certain degree, but the audience needs to connect to the pieces. Sharon: The name and the fact that it means self in Bali is really interesting, because when you wear an art piece, art jewelry is about channeling yourself through it, in a sense. Atty: We had a slogan, something we put up at the gallery, “Express your thought through contemporary art jewelry.” That's how we want our clients to feel when they choose a piece of wearable art for themselves. Sharon: Were you online during the last two years? Is that how you've sold the most? Atty: We have been trying to stay active both onsite and online. We can't go to fairs. We weren't able to go to fairs and sell abroad because Thailand has been under self-lockdown in a way. People were still going out, coming to see exhibitions, but we had no tourists, and that was hard for us. Now, it's better. We had tourists coming in and some bought pieces, so that was great, but we tried to sell online in a way. We promoted things online, art pieces through Instagram, but we don't have an online shop per se just yet. We're considering that for the future. Sharon: It must be a real challenge for everybody to sell their jewelry online, but to sell art jewelry online seems like a real challenge. Atty: It is, because these pieces need to be tried on most of the time. Unless you've tried it on elsewhere already and you haven't made your decision—that's a different story. Plus, the price points. Anything above $1,500 U.S. would be harder for people to decide without seeing the actual piece first. With art jewelry, there are some places where you send the piece over, and they have seven days to look at the piece and return it. It's not that easy because of the tax and import duties and everything going back and forth. There are costs accruing. It's not working that way. Sharon: Hopefully the world will open up more soon. I know we're facing different variants, but hopefully we'll get over the worst of this and can travel again. Atty: Even onsite selling is hard because people are afraid to touch things, to try things on. We can't really clean fragile wooden or paper pieces with alcohol sprays, so I've been a bit wary with them touching or trying things on. Sharon: The artists that are local or who came initially, do you see a difference in the kind of work the Thai artists are showing you, compared to art jewelry and other work you see in the States or in Europe? Is there a different ethos? Atty: Most of them would be more on the decorative side. Sharon: I'm sorry; decorative stemming from the fact that they grew up around all these gems and fine jewelry? Atty: The perception that jewelry is for decoration. It's something to put on top of other things. It's not something that is strong by itself. That's the main difference I saw. I also see a lot of people working towards the fashion trends, like big pieces; not very wearable, but eye-catching, that's for sure. Sharon: Yeah, I do see a lot of it. When you're talking about strong conceptual art jewelry, there are pieces you look at and go, “Oh, my gosh, O.K. It might be interesting in the picture, but I don't know if I could ever wear it.” Tell us more about the art gallery. How do you say the name in English? Atty: It was called ATTA because the other gallery I opened in 2019 was called ATTA ‘N' ATTA, but everything is going to be called ATTA Gallery now, so there's no more confusion. Sharon: So, it's going to be one gallery. Atty: Just one, and it's going to be named ATTA. We modified our logo to signify the change. The message is about redirecting and refocusing the gallery. Sharon: Did you already have artists in mind? Were there artists you had in the back room you thought you were going to show when you first opened? How did that work? Atty: I started with my jewelry artists first. Last year, we had to postpone several exhibitions because of Covid. So, I started with them, looking at the kind of work they would be presenting. Then I looked for a local artist or other types of artists whose works would complement and have dialogues with their works. The upcoming exhibition supposedly opening next week—we're still keeping our fingers crossed if we can open because we have artists from Denmark, Art Jewelry Copenhagen— Sharon: Oh, wow! Atty: Yeah. They were supposed to be opening an exhibition on the 15th  but right now, I'm not sure if they can come to Thailand for this project. Sharon: Covid's everywhere, yeah. Atty: It's done by nine Danish artists, and it talks about collaboration, having strong collaborative efforts as part of their Danish culture. From looking through the groups of work, it includes different materials, different techniques. It's very interesting. After I confirmed their exhibitions, I had to look for a local artist to have exhibitions side by side. I found a local artist who I have been following for a while. He's a painter. He creates objects out of normal, everyday objects, but then he creates something different with his abstract paintings and the objects. So, in a way, he is collaborating with local craftsmen in changing what they created into something else. The two ideas match, so I thought it would be a good opportunity to put the two exhibitions on at the same time, to create the same conversation with different results. That's what I'm hoping to be doing for the rest of the curatorial programs. Sharon: I hope you get to open because it sounds very interesting. These artists who are doing things other than jewelry, do they find you? Are they sending you photos, or are you just looking around? Atty: At the moment, I'm looking around and I'm reaching out to people I'm interested in. I haven't really announced the change in direction publicly yet, so once I do that, we'll do calls for artists or calls for portfolios for the artists to work with. But at the moment, I'm trying to look for artists I'm interested in first, for the first year, anyway. In that sense, if I already know the artist, it's easier to work with. Sharon: Yeah, I'm sure those pave the way. What do people say when you're at a dinner party and they ask what you do, and you tell them? What's the reaction when you say you have an art jewelry gallery, that you have this kind of gallery? Atty: At first, when I say I have a gallery, they say, “Ah, so you sell paintings.” That's the normal expectation. When people think about art, they still think about two-dimensional art pieces: paintings, drawings, to a lesser extent photos. Sculpture is something that is becoming more popular, but it's still not a big thing that people consider bringing into their houses because it's hard to display. Contemporary jewelry or wearable art pieces are like small sculptures, so they're harder for people to get and bring into the house. When I tell them I sell contemporary jewelry, I have to show them images from Instagram, because they have no idea what it's about. Sharon: Are they thinking typical fine jewelry? When I think of jewelry in Thailand—I've never been—I think of rows and rows of gold chains. Atty: I think the word “gallery” prompts them to think more about art rather than jewelry, so when I say “art gallery,” they think art first. When I say, “Yeah, but I don't work with paintings. I work with jewelry,” they say, “Huh? How?” I pull out my phone and say, “O.K., let me show you.” I might be wearing a piece. I would point to my brooch: “This is something I sell at the gallery.” Sharon: Do you find when you wear pieces, the ones you like or the ones that stand out, that people approach you? Are they saying, “Oh yes, fabulous”? Atty: Yes, they approach me, but most of the time they say, “It looks good on you, but I don't think I can pull it off.” Sharon: And what's your response to that? Atty: You never know until you try it on. You have to try it on. One experience I found very refreshing was when I wore a necklace by David Bielander. It's a sausage; it's a frankfurter. I wore it to a jazz bar late at night. I went in and saw waitresses whispering. After a while, one approached me and said, “I'm sorry, but you're not allowed to bring food in from outside.” She was joking, and that was brilliant. Sharon: I think it would take guts to wear a piece like that. I can see wearing one of his pieces, the ear of corn piece, something like that. Do you see a connection between your science background and jewelry? What's the connection or influence you see? Atty: I decided to study environmental science because—this sounds silly—I wanted to save the world. As you know, at that point in time, 1994, greenhouse gas and climate change was grabbing our attention. I thought, “O.K., if I go into environmental science, I can help save the world.” When I went on to study living science, I wanted to save the trees. I see that, with what I'm doing now, I'm saving this kind of art practice. I'm saving the artist. It's not the subject matter that is the same, but my feeling of doing something that is not just for me, but for other people. It's like I'm supporting the artist; I'm supporting the field; I'm bringing attention to the field. I think that's relatable in that sense. It's not about the subject of science. Sharon: Did you like science? Did you feel like you were going against yourself, or did you like science? Atty: It varied. I liked to watch it, the processing. I still think that with my business, if I didn't have the science background or the math background, I don't think I'd be able to run it. Running a business is not like creating art because you need more logic. You need to be able to prioritize things and understand the management side of it. It's more science-based in a way. It's not purely emotional. Sharon: Right, it's more disciplined in a sense. Atty: Having the skills to use Excel is really helpful also, because having a gallery, there's a lot about recordkeeping. It's not just about selecting good works and selling or showing good work. There's a lot of recordkeeping. There's a lot of back-office stuff that I think my skills in math and science help with. Sharon: Did you know there would be that? People look at what's on the walls and say, “Oh, this would be so much fun,” but it's a business. Did you know about that or think about that before? Atty: We're trying to find better ways of keeping records and communicating with artists. Every day is a new day in the learning process. What we did 10 years ago with the software—software has developed, and we have to move forward with that and many things. We can't just stay still. There is much that I like about this field, and that's one thing. People will say, “Why don't you sell paintings?” It's not challenging. Other people are selling paintings already. I want to do something that is challenging because it's more rewarding to me. Sharon: It goes along with wanting to save the world. It's carving out your own passion and area, not just following in somebody's footsteps. You didn't go into science because you thought, “Oh, I love that snail, that marine snail, that sea snail.” Atty: I didn't go into science for science's sake in that sense, yeah. Sharon: Yeah, I was just wondering. If I was going to be a CPA, that's not me. This is very interesting. Once again, I give you a lot of credit for opening a gallery and opening it in a challenging area. Having family support is so important, but it's challenging in terms of the environment, in terms of having to educate other people when it's such a new idea to them. I give you a lot of credit for doing that. Thank you so much for being with us today and telling us about it. I do hope I get to Thailand for a lot of reasons. I heard it's a great place, but I'd love to visit Bangkok and see your gallery. Thank you so much for being with us today. Atty: Thank you so much. I really had a good time. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey. 

What you'll learn in this episode: Why the Thai art jewelry market has been slow to grow but is poised for an explosion How Thailand's tradition of decoration and fine jewelry influences what customers are looking for Why Atty wants the artists she showcases at ATTA Gallery to express themselves through their work, without regard for trends  Why Atty often calls her pieces “wearable art” rather than art jewelry  How Atty's background in science helped her become a successful business owner About Atty Tantivit Atty Tantivit is a jewelry designer/maker, a gallerist and a creative entrepreneur based in Bangkok, Thailand. In 2010 Atty founded ATTA Gallery, the first and only gallery that specializes in contemporary art jewelry, aka wearable art, in Bangkok, Thailand. Since the opening of the gallery, Atty has played many roles in the field of contemporary art jewelry, both locally and internationally—a gallery director, a curator, an educator, an artist, a writer, a mentor, a collector and an advocate. She has been given an honorable award for being an inspiration and an influencer in the field of jewelry design by a Thai governmental agency and has been invited to share her experience at international symposiums. Atty had been nominated to be one of the ten most influential creative drivers in Bangkok for the Creative Cities Project 2013, showcased at Kaohsiung Design Festival in Taiwan. She has been an active member of the steering committee for the Creative District movement in Bangrak/Klongsan area of Bangkok. Atty is passionate about forging sustainable creative and art development in Thailand. Additional resources: Atta Website Atta Instagram Transcript: Atty Tantavit forged a new path for art jewelry when she opened ATTA Gallery, Bangkok's first and only art jewelry gallery, in 2010. Educating Thai customers on the history, value, and potential of art jewelry has been challenging at times, but Atty is determined to bring attention to this field and support the artists she works with. She joined the Jewelry Journey Podcast to talk about the differences between contemporary jewelry in Thailand, Europe and North America; when she knew it was time to leave her science career for a career in jewelry; and why her customers tend to connect with the term “wearable art” instead of “art jewelry.” Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.  Today, our guest is Atty Tantivit, founder and owner of ATTA Gallery. The gallery, which was founded in 2010, is Bangkok's only art jewelry gallery. It's one of the few in southeast Asia. In addition, Atty has an extensive background as a maker herself. Today, we'll hear about Atty's own jewelry journey, both as a maker and a gallerist, and we'll learn about her expansion plans. Atty, welcome to the program. Atty: It's my pleasure to be here. Sharon: So glad to have you. Tell us about your jewelry journey. Did you play with it when you were young, or did you come from an artistic family? Atty: I grew up being the only girl in the family, and I loved jewelry growing up. I collected trinkets, like little plastic earrings here and there. When I travel, I collect bracelets made of little gemstones. I was always fascinated by jewelry growing up. I think that was instilled in me when I was young by my mom because I was the only girl in the family. She was telling me how to love jewelry, teaching me how to do it.  I remember for one my classes we had to make works out of paper, and my mom taught me how to make paper beads out of magazine paper. That was my first experience making so-called jewelry, and I loved it. I also loved art, but in Thailand, even if you excel in the arts, if you can do science—back in the day, teachers and parents encouraged their kids to stay in science, so as I was approaching my high school and college years, I decided to pursue a career in science over art. Sharon: After you graduated, did you work in science for a while? Atty: Yes, I studied environmental science in the U.S. and I went onto receive my master's in marine resource management in Miami. I worked in the field for a few years before deciding to switch gears and change fields. Sharon: What happened? How did the change happen? Atty: It happened slowly, really, because even though I was in the science field, I kept my interest in arts alive by taking classes. I was still collecting jewelry in college. My college town was in the middle of nowhere, in Lewisburg, Pennsylvania, and on the drive from Lewisburg to the nearest airport, there's a Native American outpost. I would stop there every so often to find myself Native American necklaces. Those were my passion back then. When I went down to Miami, I found a small gallery shop there and bought what I called my first contemporary jewelry art piece. That's how I got interested in jewelry. In college, I also took an evening class called “How to Make a Ring,” I believe. I made a ring, and it was a very inspirational experience because I had a plan in my head; I had a vision of the ring I wanted to make, and I was able to make it. To see an idea come into reality with my own head, that was amazing. Sharon: Did you come to the States to study science? Atty: Yes. Sharon: But eventually you went to the Gemological Institute of America, GIA. Atty: Right. After I received my master's and started working in Miami, I found a workshop to learn how to make jewelry more in depth during the week. I started taking that and soon after, I found that was what kept me going during the week. Rather than going to work, I would say, “O.K., when am I going to this workshop? What am I going to make next?” I started making beaded jewelry, and I sold it at a small shop in Miami. In a way, it was like art was knocking on my door again after a long time of being in hibernation.  I was in the process of applying for a Ph.D. program. I needed to take some more tests and rethink my thesis, and during that time, I ran into a problem with my visa. I was on the wrong kind of visa, so, in order to apply for my Ph.D. programs, I would need to come back to Thailand for a year and then go back to study again. I was like, “I don't know. If I come back home for a year and do nothing related to science, I don't know if my fire will still be on. It might be extinguished by then.” I thought to myself, “Maybe the universe is telling me it's time to look at other things.” So, I took the big step of leaving my career in science and started to do something with jewelry. Coming from Thailand, growing up, the only kind of jewelry I knew was fine jewelry with gems. That's why I decided to go to GIA, because if you want to work with jewelry, you have to know about gems. So, that's how I got started. Sharon: Before you went to GIA and started doing your jewelry, did you find that you had a desire to know about gems at all?  Atty: I didn't collect gems, but little stones and specimens when I was growing up. In college, I actually loved geology. Sharon: Which campus did you go to for GIA?  Atty: Carlsbad. Sharon: It's a beautiful college. Carlsbad is a beautiful campus. Atty: Yes, I loved it. Sharon: Yeah, it's gorgeous. There are not that many people involved in the world of art jewelry who know much about gemology. They may work with stones, but they aren't gemologists; they're not GGs, graduate gemologists—is that the diploma?  Atty: Yes. Sharon: How does that influence what you do or how you evaluate things? Atty: I don't see my gemology experience interfering or hindering me from looking at contemporary jewelry—let's put it that way—because I think you can't really compare the two. They are both good and they have their own values. They're complementary in some cases, and I think that's how I approach the field. Sharon: No, not that it would have a negative influence—I guess I rarely meet anybody who is involved in art jewelry who knows gems the way you do, so I was wondering how it impacted how you look at things. If it's a piece of art jewelry, even if it's made of paper, if there's any—perhaps the crystalized shape of the paper—I don't know. Atty: Right, a few artists work with the shape of diamonds, different cuts and things, and that's very interesting to see. You capture the intrinsic value of the gems in terms of the form rather than the gems themselves. That was interesting. At the beginning, here in Thailand, when I opened the gallery, we had works by a local artist who made wood into the forms of diamond rings. We had a local come in and say, “Where is the actual diamond? A diamond isn't in this ring; it's just wood cut into the shape of a diamond.”   Sharon: That's interesting, especially in a culture where you're surrounded by a lot of gems and fine jewelry, because it seems like that might strike you hard as opposed to somebody who sees more of that. When did you come back to Bangkok? Right after you finished your gemology diploma?   Atty: I finished the GG in 2003. After that, I wanted to learn about jewelry making. Because I was having problems getting a visa in the U.S., I decided to go elsewhere. I went to Italy and joined a small workshop run by an Italian and a New Zealand guy. I did that for six months and learned a little about design there as well. After that, I went back to the U.S. to the Revere Academy of Jewelry Arts and studied with Ellen Revere for their intensive program. That was really helpful. After that, I came back to Thailand towards the end of 2005 and started setting up my own studio.    Sharon: Did you have the idea in your head that you wanted to have a gallery?   Atty: When I was in Miami, I told you I found a small gallery that sells various things, including contemporary jewelry. I thought to myself, “It would be perfect if I could have a store like this, selling work from all over the world.” That was in the back of my mind, but at that point in time I enjoyed making, so I thought I would make. I wasn't thinking about opening a business, but when I came back to Thailand, I found out that practicing as an artist-designer without having a storefront or a knowledgeable person to tell the clients about what it entails, why a piece of wooden jewelry is more expensive than a piece of silver jewelry—if you don't have anything like that, it's not going to work. That's why I decided it would be a good opportunity for me to open a gallery: to help myself and help others who are struggling with the same problem.   Sharon: That's such a huge step, to open your own shop. Did you have a problem finding other people whose work you could show?   Atty: Yeah, at the beginning when I decided to open the gallery, I went back to Italy for the second time and studied at Alchimia for two months—   Sharon: Alchimia the school?   Atty: The contemporary jewelry school. I wanted to understand more about conceptual jewelry and what contemporary jewelry in Europe is all about. I spent most of my time in the U.S., but not in Europe, so I wanted to know more about it. During that time, I visited Schmuck and other galleries in the Netherlands—   Sharon: Schmuck being the art jewelry fair.    Atty: Right.   Sharon: There will be a lot more on that, but yes, O.K.   Atty: I started to connect with artists there. I also visited Louisa Smith Gallery towards the end of their business. I told Louisa I was inspired to have a gallery in Thailand, and she was very helpful guiding me. She said, “O.K., if you want to do this, this is a good artist to work with.” She was helping me start, so that was very helpful.   Sharon: I'm not familiar with her. She had a gallery, and she was closing. Where was she located?   Atty: It's in Amsterdam.   Sharon: O.K., to have somebody you can turn to and get advice.    Atty: Just by chance, I went in as a young student and bought my first piece there by Bedanya Kessler.   Sharon: Bedanya Kessler the art jeweler, yeah.   Atty: She started sharing her passion with me. I was very inspired to see people who have been in the field for a long time and still have the passion to do what they do.   Sharon: When you approached people she pointed out, did they say, “Who are you? Where are you?”   Atty: Let's look back a little bit. When I first started, I approached local artists for support as well. The decision to open the gallery came after I met two people who were instrumental in having the gallery open. One is an artist called Ruby Benzarin. I met her at Alchimia. She was a TA. She's from Thailand, but she was working at Alchimia after she graduated. We met there, and she moved back to Thailand just about the same I started thinking about opening up a gallery.    Another person is an artist who was teaching in the U.S. in San Diego and just returned to Thailand at about the same time. His name is Towissa Manserrat.    Sharon: I won't try to pronounce that name.    Atty: We met up. Towisa was teaching in a university, and Ruby was thinking about opening a school for contemporary jewelry art more for hobbyists and non-official students. The three of us got together and I was like, “O.K., let's do this. I'll promote contemporary jewelry art to the general public. Towissa would work in the formal education areas, and Ruby would work on the informal education side.” So, the three of us would try to lift up the profile of contemporary jewelry arts in Thailand. That was why we opened the gallery.   At the beginning, I got support from local artists. At that point in time, it was rather new. People didn't really know what contemporary jewelry is all about, so I worked with about 11 Thai artists to begin with and some young artists in Europe I met through fairs and what not. Surprisingly, some big-name artists also approached me to have exhibitions at the gallery.    Sharon: Wow!   Atty: Yeah, I was surprised.   Sharon: They probably saw this as an opportunity to be in an area of the world where nothing had been happening.   Atty: Right. For me, it was intriguing to be approached by artists. I thought galleries would have to be doing all the work of approaching artists, but reality is the other way around.   Sharon: Wow! Do you still have those partners you started with?   Atty: I still represent Ruby as an artist at the gallery. She still has her jewelry school. Towissa quit his job in the university. He has shifted his focus to performance arts now, so I haven't been working with him for two years now.   Sharon: I'm curious, because you mentioned conceptual jewelry in Europe versus the U.S. In your eyes, from your perception, what was the difference? I'd be curious to hear.   Atty: Nowadays they're getting closer together. When I first started, it was quite different. In Europe, they're more into new materials, non-precious materials. In the U.S., I think it's still more craft-based with metal. That's the one thing I noticed. The wearability is a bit different also. In the U.S., more wearable pieces would be better. In Europe, there are very large, avant-garde pieces that attract more attention.   Sharon: That's interesting. In reading about your philosophy and your gallery, you mentioned you look for strong, conceptual work. What does that mean to you?   Atty: In Thailand, we have a strong tradition of decoration and ornamenting. That is something we see quite a bit here in Thailand, so I want to step away from that. I'm hoping to work with artists who have created their pieces based on their ideas and concepts rather than on visual cues or decorative ideas. That's why I said more conceptual.   Sharon: Do you mean more conceptual as in you haven't seen it before, or it's not derivative?   Atty: It's not like I haven't seen it before, but it's more that the integration of the ideas and the execution of the pieces go together well. The idea could be very fluffy, out in the air, very conceptual in that sense, but if the artist can capture that idea and translate it into their pieces well, I think that is what catches my attention rather than seeing something visually pleasing, but there are no strong ideas behind it. I'm more interested in the two sides, the concept and the craftsmanship, rather than just the craftsmanship alone.   Sharon: You opened the gallery in 2010. Have you seen an increase in awareness and educational interest in art jewelry in Thailand over the years?   Atty: Definitely, yeah. It's not a big jump. So many people are more aware of it, but that doesn't mean it translates into sales.   Sharon: Yes, that's a problem. A lot of your stuff is on Etsy, but it doesn't mean they'll buy it. How about art jewelry in general? You mentioned that you saw growth in the market. I was surprised, because I've heard a lot of art jewelers say “It's flat,” or “It's going nowhere.” So, I was interested in that.   Atty: I think in the markets where the field has been developed and established for 30, 40 years, they might have seen that trend going on, but in Thailand, it's a very new market. We've been open for 11 years, 12 years, something like that, so it's still considered fresh in our audience's mind. I think that's one reason why artists are more interested in going away from the centers, going to South America, going to other parts of the world, to Asia, because the market is still untapped in a way.   Sharon: Yeah, there's a lot of potential everywhere, but I suppose there's a lot in areas where it's just been introduced in the last decade or so.   This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.

This week (12/17 & 12/19) on ART ON THE AIR we feature the owner of who has spent her career dressing and designing for rock n roll's elite. Next we interview the new executive director for Miller Beach Arts and Creative District, Jenifer Okamura. Our spotlight on South Shore Symphony with maestro Troy Webdell about their Holiday Pops Concert on December 17th . Tune in on Friday at 11am for our hour long conversation with our special guests or listen on the web at WVLP.org Listen to past ART ON THE AIR shows at brech.com/aota. Rebroadcast on WVLP - Monday at 5pm and Sunday (12/19) on 7pm on Lakeshore Public Radio 89.1FM or lakeshorepublicradio.org/programs/art-air Please have your friends send show feedback to Lakeshore at: radiofeedback@lakeshorepublicmedia.org Send your questions about our show to AOTA@brech.com LIKE us on Facebook.com/artonthairwvlp to keep up to date about art issues in the Region. New and encore episodes also heard as podcasts on: anchor, NPR ONE, Spotify Tune IN, Amazon Music, Apple and Google Podcasts, plus many other podcast platforms. Larry A Brechner & Ester Golden hosts of ART ON THE AIR. https://www.lakeshorepublicradio.org/post/art-air-december-19-2021

Today: A conversation with Lake County Elections and Voter Registration executive director Michelle Fajman, about a company working with county officials that -- by the 2022 elections -- could have an electronic system in place that tracks election equipment, sets up payroll and training for poll workers, and creates maps of polling locations. We have another conversation from the Welcome Project at Valparaiso University, and Miller Beach Arts & Creative District executive director Meg Roman talks about the community's May 22nd “Art Still Lives” fundraiser.

Lucille Lucas grew up in New York City, with parents that were deeply immersed in the art world.  That meant that she was able to meet artists like Salvador Dali and others, and Lucille began practicing her own art at a young age as well.  But a trip across the country proved to her that NYC wasn't her place- the smaller and slower life in the rural West was more her speed.   She learned how to ski and backcountry ski when few people were doing it, and also lived in a teepee above Aspen, CO for a winter. Another adventure started at the farmhouse she was living at in Northern California- "Come with us to Morocco, and let us buy a VW bus in your name", they said.  Give this one a listen to find out where that story ends up.  She also worked at the famous "bathhouse" in Crested Butte, which was a popular spot in the 70's. She is the owner of the Lucille Lucas gallery, specializing in prints- many of which were made by her father.  We finish the conversation discussing art in general, as well as the art scene here in the Creative District of Crested Butte.  This was one of my favorite interviews so far, so I hope you'll enjoy it as much as I did. Crested Butte Real Estate Minute: This episode is being released in November of 2020, and the real estate market continues to be incredibly busy (normally this is a slower time of year). Therefore, it remains a great time for sellers, and for buyers, they should be ready to "pull the trigger" if they see something that they like. Contact me, Frank Konsella, at my website. for more information. Learn More: Lucille Lucas Gallery

Greg interviews David Robinson, co-founder of the Creative District Foundation, which promotes the mighty Chao Phraya River community for tourism and cultural purposes through the excellent website Bangkok River, which provides resources, history, and insight into the communities that line it. But before all this happened, David - a former resident of Sydney and London - felt the neighborhoods around the river in Bangkok were under-utilized and under-developed. (Greg and Ed wholeheartedly agree.) He decided that Bangkok needed an organization that united all the varied groups that had an interest in promoting these areas and BAM - Bangkok River Partners was formed.  Greg and David discuss the unique neighborhoods along the river, noting how the communities often vary by common profession or craft, while David also points to their great ethnic diversity. Both guys riff on the controlled craziness of Bangkok culture and the extent to which neighborhoods along the river exemplify this fact.  Last, David details the concept of the ‘Creative District’ a stretch of neighborhoods particularly packed with religious and artistic sites that has become a tourist attraction in Bangkok. There are great things planned for Bangkok, and the Chao Phraya River will play a central role far into the future.  Don’t forget that Patrons get the ad-free version of the show as well as swag and other perks. And we’ll keep our Facebook, Twitter, and LINE accounts active so you can send us comments, questions, or whatever you want to share.

Greg and Ed return to their ‘Neighborhood Focus’ series with a review of the Chinatown-Talad Noi area of Bangkok, a neighborhood is near and dear to the boys’ hearts, as Greg used to live there, and back in the day he introduced Ed to the area’s many charms.  Greg begins with a mini-history of Chinatown and its many historic streets, most of which you can still walk on today. Ed summarizes Chinatown as ‘chaos with street food.’ Its popularity is extremely high with both Thais and foreigners but even during current COVID times with its dearth of farangs, the neighborhood is still crowded.  Speaking of food, Greg recommends Nai Lek Ouan, the ultimate noodle shop on Yaowarat Soi 11, while Ed throws his two cents in with Chijuya, a vegetarian sushi place off of Song Wat Road.  Despite not having many great opportunities for long-stay living, there are many small hostels and a few nice hotels, like the Grand China Hotel and the gorgeous Shanghai Mansion. Next, the guys herald the ‘Creative District’ along the river in Talad Noi, an area mentioned in last week’s show. A neighborhood of old apartments and working-class shops with a vaguely Chinese-slash-‘Blade Runner’ feel, it is the ultimate place for a casual walk through intriguing back sois, especially if you like to take pictures. The boys even chanced upon a very hip club on the river called Baan Rim Nam, a perfect place to hang for food and drink along the river, and the site of our next meetup - whenever that is. Don’t forget that Patrons get the ad-free version of the show as well as swag and other perks. And we’ll keep our Facebook, Twitter, and LINE accounts active so you can send us comments, questions, or whatever you want to share.

Episode 5, with artist and designer Kangie. In this very relaxed episode we dive into Kangie's upbringings moving from Peru to America, how she initiated her career in Art, Design and Curation. The different brands, cultural influences and artist she has work with, and her ideas for her new brand Second 2 None.

Dave Earling has worn the mantles of many different roles. Student. Musician. Husband. Father. Grandfather. Teacher. Business owner. City council member. Volunteer. And perhaps most recently and visibly, Mayor of Edmonds. Earling speaks in this episode of the Check It Out! podcast as he brings that role as city executive to close. “I jokingly say that I have a checkered past,” Earling says. “But, if you are truly interested in what you are doing, you’ll be successful and that’s how I’ve worked.” Earling’s service as mayor ends Dec. 31, 2019, but his eight years at the helm is hardly the extent of his involvement and support for Edmonds. Earling is well-known for his unabashed boosterism phrase, “It is always sunny and 82 in Edmonds.” The actual weather at the moment never matters to Earling’s outlook. As a 23-year-old sporting a freshly minted graduate music degree from Washington State University, Earling says his first job at Shoreline Community College in some ways set the tone for what was to follow. “I taught at Shoreline for 11 years,” Earling says. “I was interested in preparing people for performance. As a conductor, you put out a sheet of music, rehearse and then have a performance. “It’s exhilarating to see people go through the process, to share the pleasure of the performance and realize that accomplishment.” Earling says that when he arrived at Shoreline, there were 32 performance students and by the time he left, there were more than 200. “Always leave it better than you arrived,” Earling says of one of his guiding principles. That experience of bringing disparate individuals together for a commonly identified goal became Earlring’s go-to approach as he moved into business and politics. An intense schedule promoted Earling to take a break from teaching and he went to work at Edmonds Realty. “I worked there for a number of years until I had an opportunity to buy the company,” he says. “We watched it grow, watched the success of the various agents we hired.” During that time, Earling became involved with the Edmonds Chamber of Commerce and eventually serving as president and growing the organization. A desire to become more involved led to a successful run for city council. “I was on (the council) for 12 years through a variety of leadership styles,” Earling says. “When you are in an elected position, you don’t choose friends, they just show up and you have to make it work.” From his time as mayor, Earling cites many accomplishments, but says he is particularly proud of the city’s designation by the state of Washington as a “Creative District,” the first in the state. “We have a great base of things in Edmonds around the arts and we are focused on trying to expand that,” he says. While Earling says he’s not exactly sure what lies ahead for himself beyond a bit of relaxing, he does feel good about where the city is headed. “This will sound corny,” Earling says. “Edmonds is a rare gem. How many cities can you drive to and have a small-town experience? Edmonds is a daytime destination, just 14 miles from downtown Seattle. My philosophy is you go where you find success and we need to continue to build on what we have.” Episode length: 1:05:53 Episode links WSU School of Music  Shoreline Community College Music Department Edmonds Realty Edmonds Chamber of Commerce City of Edmonds Edmonds Creative District Growth Management Hearing Board  

I am so excited to bring this episode to you! For a year and a half, I have been working along with my cofounder Abby Phillips of Memphis Fashion Design Network, on Arrow at Overton which is a one-roof creative district in the heart of Memphis. This has truly been a labor of love that started with seeing a need in our community. In this episode, Abby and I discuss the catalyst for starting this project and our vision for the space and community. We cannot wait to bring this project to life! You can find out more about it at arrowcreative.org.   LinksArrow at Overton 017 - Abby Phillips of Memphis Fashion Design Network on Creating Memphis Fashion Week, Building a Collaborative Design Studio, & Education Courses for Designers Rising Tide Society Memphis   To get 50% off your first year with Honeybook, go to positivelycreative.net/honeybook!   About The Positively Creative Podcast: The Positively Creative Podcast was created by Dorothy Collier, artist of Dorothy Art, for creative entrepreneurs. When Dorothy started having a positive outlook on every aspect of her life, including her art career, the creativity and opportunities started overflowing! Join her as she chats with other small business owners, discussing the ins and outs of how to run a creative business and how they make it in their respective fields. To learn more about The Positively Creative Podcast, visit our website or head over to our Patreon page! You can also find Dorothy on Instagram at @positivelycreativepodcast and @dorothyart!

In this Extract from Episode 3 of the Nine Rails Arts Podcast, Ogden City Business Development Project Coordinator, Sara Meess, joined us for a behind-the-scenes look into the making of a Creative District. Recorded live from the heart of the Jefferson Avenue Historic District during the 125th Anniversary Celebration of the Eccles Art Center.   Don't miss an episode of The Banyan Collective's Nine Rails Arts Podcast, as they explore what it means to be an Adventurous Creative in 2018! Hear the stories of Ogden's new Nine Rails Creative District, including those of the district's epicenter and future home to artisans, designers & creatives, the Monarch building.

This Extract from Episode 3 features Sara Meess, a Project Coordinator with Ogden’s Business Development Department, who provides a behind the scenes history of how a Creative District is born. Leading the interview is Todd Oberndorfer Host of the Nine Rails Arts Podcast, artist, and Outreach Manager & Advisor for the Weber State Department of Visual Art & Design. Please enjoy this Extract, do share with a friend, & help us out, leave us a 5 Star rating & Review on iTunes, or if you’re a YouTube fan, please hit that subscribe button as to never miss any future Banyan Collective podcasts.

In Episode 3, we we chat with Ogden City Business Development Project Coordinator, Sara Meess for a behind-the-scenes look into the making of a Creative District. We also party on the porch with The Proper Way!

In Episode 3, we podcast from the heart of the Jefferson Avenue Historic District during the 125th Anniversary Celebration of the Eccles Art Center. Ogden City Business Development Project Coordinator, Sara Meess, joins us for a behind-the-scenes look into the making of a Creative District. We also party on the porch with Shane Osguthorpe and Scott Rogers of the Nine Rails Arts Podcast house band, The Proper Way, and discuss the satisfying art of balancing a day job with one's artistic pursuits.

Where Arts and Culture summits the airwaves, this is the Nine Rails Arts Podcast.  Hosts R. Brandon Long and Todd Oberndorfer, of The Banyan Collective - Arts & Adventure Podcasting Since 2010 - This episode includes an interview with Lorie Buckley, Arts Coordinator for Ogden, Utah, our home, and the home of an eclectic untamed history. We also crashed the debrief meeting for Painted Streets, the pilot project for the Nine Rails Creative District. Tune into all things new within the Creative District by subscribing to the Ogden First Email Newsletter. And finally, get acquainted with the Monarch Building, the arts nonprofit Ogden First, and we'll properly introduce our Nine Rails Arts Podcast House Band, The Proper Way.  All of this on the first episode of the Nine Rails Arts Podcast where we explore creative placemaking from the Nine Rails Creative District.

Where Arts and Culture summits the airwaves, this is the Nine Rails Arts Podcast.  Hosts R. Brandon Long and Todd Oberndorfer, of The Banyan Collective - Arts & Adventure Podcasting Since 2010 - This episode includes an interview with Lorie Buckley, Arts Coordinator for Ogden, Utah, our home, and the home of an eclectic untamed history. We also crashed the debrief meeting for Painted Streets, the pilot project for the Nine Rails Creative District. Tune into all things new within the Creative District by subscribing to the Ogden First Email Newsletter. And finally, get acquainted with the Monarch Building, the arts nonprofit Ogden First, and we’ll properly introduce our Nine Rails Arts Podcast House Band, The Proper Way.  All of this on the first episode of the Nine Rails Arts Podcast where we explore creative placemaking from the Nine Rails Creative District.

Welcome back to Business of Film, episode 30. This week we are joined by the GM of Creative District, Micki Krimmel. Creative District is a social network designed for filmmakers to collaborate on projects, find partners, and build a professional network. The site is elegantly designed allowing you to showcase your project and get the ... The post BoF #30 – Creative District, A Social Network for Filmmakers with GM, Micki Krimmel appeared first on Craft Truck.

Micki Krimmel of the Creative District joins Lon and Tim to talk about her new startup that helps filmmakers and crew find each other and collaborate! The new site is offering grants to help creators get a project started or finished! That plus the week's news.