Podcasts about fabric workshop

On this episode of Art For Change, we examine a new interactive installation at the Fabric Workshop and Museum by Bearded Ladies Cabaret founder John Jarboe. The exhibition puts on full display "earnest, absurd queer selfhood."

Influenced by her upbringing in Japan and her current home in New York City, Shino Takedaʼs ceramics embody her sensory experience of sight, touch, taste, sound, and smell. Most of her works are hand-built using the coil method, and incorporate several different types of clay, making each piece one of a kind. Takeda uses her own memories, reflections, and appreciation for her life as inspiration for her works, celebrating the perfect imperfections inherent in handmade objects, and the unexpected alchemy when she works with wood-fired kilns. Takeda is renowned in the design world and her work has recently crossed over into the art world: her 2019 debut solo exhibition Diary was presented at JDJ The Ice House, Garrison and included her ceramics , textiles, and a furniture collaboration. Presentations with JDJ at the art fair NADA Miami in 2019 led to an artist residency at the Fabric Workshop and Museum, Philadelphia, PA, and developed into her mixed media installation for the group exhibition Hard Cover at the museum in 2021.

More than 1 in 3 women and 1 in 4 men in the U.S. have experienced rape, physical violence, or stalking by an intimate partner in their lifetime. Women Against Abuse aims to help domestic violence victims of all genders by providing shelters, counseling, legal services, and safety planning. Executive Director Joanna Otero-Cruz joins us along with board member Jamie Colleen Miller, who shares her own story of escaping an abusive relationship with help from Women Against Abuse. If you are facing domestic violence and need help, call their hotline at 1-866-723-3014 or visit their website for more resources. And on Shara in the City, we kick off Pride Month at The Rose Garden exhibit by local artist John Jarboe at The Fabric Workshop and Museum - an immersive exploration of her gender journey. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week on the show artist Risa Puno joins us to talk about some of their latest work, including the upcoming Group Hug at the Fabric Workshop and Museum in Philadelphia and Unresolved Rage Game, developed with theatre artist Ran Xia which was recently at Worlds in Play at ASU's MIX Center in Mesa Arizona.We go deep into the motivation behind both pieces and how Puno explores emotions through game mechanics. Content Advisory: there's some frank talk about the wave of hate directed at Asian Americans and Pacific Islanders that the pandemic unleashed and that includes some strong language including the identification of slurs that were directed at Puno themself. Telling you that upfront so that you're not caught off guard.SHOW NOTESRisa PunoGroup HugUnresolved Rage Game at Worlds in PlayLos Angeles Immersive Invitational Sunday Showcase Backer Exclusive Pre-Sale Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Hi Everyone! My guest today is Jerushia Graham, printmaker and book artist. Here is more about Jerushia: Jerushia Graham is an Atlanta-based artist who exhibits both nationally and internationally. She earned an MFA in Book Arts/Printmaking from the University of the Arts in Philadelphia, and has taught for the Atlanta Printmakers Studio, Art Institute of Atlanta-Decatur, The Jacqueline Casey Hudgens Center for the Arts, Kennesaw State, University of West Georgia, Spelman Museum, and various Arts Centers in the Atlanta area. Additional resources from Jerushia: Also, Steph Rue was the instructor that Anna will be taking classes with at Penland. She is also a member of the Book/Print Artist/Scholar of Color Collective. She will be teaching paper bojagi using hanji. https://penland.org/workshops/summer-session-1/ Jerushia's Website Jerushia's Instagram Charleston Gallery with Jerushia's Work Below you will find the links to the resources mentioned in the interview: https://paper.gatech.edu/https://www.paperbookintensive.org/https://www.northamericanhandpapermakers.org/https://www.handpapermaking.org/https://www.colophonbookarts.com/https://hookpotterypaper.com/https://www.collegebookart.org/https://movablebooksociety.org/ Other great resources worth mentioning: Helen Hiebert - https://helenhiebertstudio.com/ May Babcock - https://www.paperslurry.com/Book Arts Programs:https://nbss.edu/https://www.uarts.edu/academics/graduate/book-arts-printmaking-mfahttps://slis.ua.edu/mfa-in-book-arts/https://uicb.uiowa.edu/programsArts and Craft Schools that offer papermaking and/or book arts classes:https://penland.org/https://www.arrowmont.org/https://www.ox-bow.org/https://www.folkschool.org/**Some but not all Center for the Book locations teach book arts workshops - https://www.loc.gov/programs/center-for-the-book/about-this-program/** Names Mentioned in the interview: Miriam & Jerry Graham, my parents Virginia Howell, Robert C. Williams Museum of Papermaking DirectorAnna Doll, RCW Museum of Papermaking Education CuratorNasreen Khan, RCW Museum of Papermaking Postdoctoral FellowRobert Putnam, Former Jonesboro High Art TeacherLonnie Graham & Christina Roberts - Mentors from the Fabric Workshop and MuseumGlen Kaufman - Former Fiber Arts Professor (deceased) Richard Johnson - UGA Professor Emeritus of Art, 1st Papermaking/Book Arts Professor  Thank you for listening!

The new book Shifting Time: African American Artists 2020-2021 collects the art, poems, essays, and statements of over 70 African American artists as a glimpse into their lives during the pandemic years. Co-editors Berrisford Boothe and Klare Scarborough join the podcast to discuss this passion project that includes some of the Studio Noize fam like Tokie Taylor, Imo Imeh, Alfred Conteh, Delita Martin, and more. They talk about how it all came together from the Shuga and Wata online talks to the artwork and essays. They also discuss the need for community, whether online or in person, how events change artists, and the need for art during tough times. Listen, subscribe, and share!Episode 173 topics include:Shifting Time: African American Artists 2020-2021artists working during COVIDhow artwork changed over timenetworking during the pandemicvirtual communitiesShuga & Wata sessionscreating the book Shifting Timelessons from the COVID yearsthe trend of Black figuration Berrisford Boothe was born in Kingston, Jamaica and is now a U.S. citizen. Boothe has served on the Pennsylvania Council of the Arts. He is currently a Professor of Fine Art at Lehigh University. Berrisford Boothe is the Principal Curator of the Petrucci Family Foundation Collection. He was one of 100 artists nationwide featured in Robert Wuthnow's book ‘Creative Spirituality: The Way of the Artist.' Berrisford's digital print collages, ‘Virtual Lithographs' were part of the exhibition African-American printmakers: The Legacy Continues at The Aljira Center for Contemporary Arts in Newark, NJ. He was in the 2008 seminal exhibition: In Search of the Missing Masters: The Lewis Tanner Moore Collection of African American Art at The Woodmere Art Museum in Philadelphia, PA. His work has been featured in exhibitions at The Allentown Art Museum, The Fabric Workshop and Museum, Philadelphia, PA, The African American Museum, Philadelphia, PA, The William Benton Museum of Art, The New Arts Program, Kutztown, PA and The State Museum of PA.See more: Order Shifting Time from Amazon + Berrisford Booth IG @verbena2160 Presented by: Black Art In AmericaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Episode No. 601 of The Modern Art Notes Podcast features artists Jonathan Lyndon Chase and Sheldon Scott. Jonathan Lyndon Chase is included in "The Culture: Hip Hop and Contemporary Art in the 21st Century" at the Baltimore Museum of Art. The exhibition, on view through July 16, presents art, fashion and high-end consumer goods in consideration of the influence hip hop has had on contemporary society. It was curated by Asma Naeem, Gamynne Guillotte, Hannah Klemm, and Andréa Purnell. A catalogue was published by the BMA, the Saint Louis Art Museum and Gregory R. Miller & Co. Amazon and Bookshop offer it for about $55. Chase's paintings, video, sound, and sculpture depicts queer Black love and community. Their work has been the subject of solo exhibitions at the Fabric Workshop and Museum, Philadelphia; they have been included in recent group shows at the ICA Miami, the Los Angeles County Museum of Art, the Columbus Museum of Art, the RISD Museum of Art, the Philadelphia Museum of Art, and soon at the Whitney Museum of American Art (opening June 28). Scott is included in "Spirit in the Land" at the Nasher Museum of Art at Duke University. The exhibition considers today's ecological concerns and demonstrates how our identities and natural environments are intertwined. The show particularly focuses on the relationship between the mainland United States and the Caribbean. Curated by Trevor Schoonmaker, it is on view through July 9. The exhibition is accompanied by a catalogue which is available only at the Nasher. Scott is presenting a performance titled "Portrait, numba 1 MAN (day clean ta sun down)" at the Ogden Museum of Southern Art, New Orleans on May 13. Scott's work builds upon his upbringing in Gullah/Geechee culture and his background in storytelling to examine the Black male form. His work has been exhibited at the Driskell Center at the University of Maryland, the National Portrait Gallery, Smithsonian Institution, and more.

Episode No. 589 is a holiday clips episode featuring artist Rose B. Simpson. Rose B. Simpson is included in two ongoing presentations in New England: her Counterculture is installed at Field Farm, a Trustees property in Williamstown, Mass.; and in "Ceramics in the Expanded Field," at MASS MoCA through April 10. Counterculture was organized by Jamilee Lacy and will be on view through April 30, 2023. "Ceramics," which is up until April 10, was curated by Susan Cross. Elsewhere, the Fabric Workshop and Museum in Philadelphia is featuring "Rose B. Simpson: Dream House" through May 7, and Simpson is included with in "Thick as Mud" at the Henry Art Gallery at the University of Washington. The exhibition examines how eight artists use mud as material or subject. Curated by Nina Bozicnik, it's on view through May 7. Across ceramic sculpture, performance, installation, and more, Simpson's work addresses ideas as far ranging as resistance, apocalypse, spirituality, and automobile design. Museums such as the University of New Mexico Art Museum (Simpson lives in Santa Clara Pueblo), Nevada Museum of Art, the Savannah College of Art and Design's SCAD Museum of Art, and the Pomona College Museum of Art have all presented solo exhibitions of her work, and Simpson has been in group shows at the Henry Art Gallery, the Pennsylvania Academy of Fine Arts, the Cleveland Museum of Art, the Denver Museum of Art, and plenty more. The program was taped on the occasion of these shows and the ICA Boston exhibition "Rose B. Simpson: Legacies."  From the program: Video from Simpson's 2013 Denver Art Museum performance. For images, see Episode No. 567. Air date: February 16, 2023.

Portrait by Gabriella Marks Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO. Alongside her current exhibition at Denny Dimin Gallery, she is currently exhibiting within a group exhibition Plein Air at MOCA Tucson and has an upcoming solo exhibition Toward the Sky's Back Door at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs in 2023. She has also recently had an acquisition placed at Colby College Museum of Art. In addition, her upcoming Albuquerque Museum show: Nicola López and Paula Wilson: Becoming Land opens October 8th, 2022 and is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith. Wilson's has held other recent solo exhibitions at Locust Projects, Miami, FL (2020-2021), 516 ARTS Contemporary Museum, Albuquerque, NM (2019), Smack Mellon, Brooklyn, NY (2018), and Denny Dimin Gallery, New York, NY (2018). She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Tufts University Art Galleries (2021), Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Weatherspoon Art Museum, Greensboro, NC (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few.  Wilson's artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop. Microhouse, 2022 Mixed Media. Courtesy of Paula Wilson and Denny Dimin Gallery Earth Angel, 2022 Acrylic and oil on muslin and canvas (relief, silkscreen, monotype, and lithography print), wooden and beaded jewelry made in collaboration with Mike Lagg. Courtesy of Paula Wilson and Denny Dimin Gallery Up My Sleeve, 2021 Acrylic on muslin and canvas (woodblock, relief, monotype, silkscreen, collagraph, and digital print) Courtesy of Paula Wilson and Denny Dimin Gallery

Episode No. 567 features artist Rose B. Simpson and author Brent Martin. The Institute for Contemporary Art, Boston is showing "Rose B. Simpson: Legacies," an exhibition of 14 sculptures Simpson has made over the last eight years. It was curated by Jeffrey De Blois and is on view through January 29, 2023. Rose B. Simpson is included in two other New England presentations: her Counterculture is installed at Field Farm, a Trustees property in Williamstown, Mass.; and in "Ceramics in the Expanded Field," at MASS MoCA. Counterculture was organized by Jamilee Lacy and will be on view through April 30, 2023. "Ceramics," which is up until early March 2023, was curated by Susan Cross. This fall The Fabric Workshop and Museum in Philadelphia will feature "Rose B. Simpson: Dream House." The exhibition opens October 7. Across ceramic sculpture, performance, installation, and more, Simpson's work addresses ideas as far ranging as resistance, apocalypse, spirituality, and automobile design. Museums such as the University of New Mexico Art Museum (Simpson lives in Santa Clara Pueblo), Nevada Museum of Art, the Savannah College of Art and Design's SCAD Museum of Art, and the Pomona College Museum of Art have all presented solo exhibitions of her work, and Simpson has been in group shows at the Henry Art Gallery, the Pennsylvania Academy of Fine Arts, the Cleveland Museum of Art, the Denver Museum of Art, and plenty more. Martin discusses his new book "George Masa's Wild Vision," which was recently published by Hub City Press. Masa was an Asheville, North Carolina-based photographer who had a significant impact on the establishment of Great Smoky Mountains National Park and on determining the Southern route of the Appalachian Trail, the two crown jewels of the eastern United States' natural infrastructure. Amazon and Indiebound offer the book for around $25.

Jayson Musson has a unique status in the art world: he has the persona and perspective of an outsider, but he's also something of an artist's artist. Originally from the Bronx, Musson got his creative start in Philadelphia in the 2000s, creating cerebral, satirical street art; penning a column for the Philadelphia Weekly called "Black Like Me"; and performing in the cult hip-hop group Plastic Little, which put out songs like "I'm Not a Thug," "Rap O'Clock," and "Miller Time." Musson again popped up unexpectedly onto the radar in 2010 with "Art Thoughtz," a DIY YouTube series that immediately became a treasured reference in art school and art media. It starred Musson in the persona of "Hennessy Youngman," fusing the styles of art theory lecture and Def Comedy Jam, monologuing about everything from concepts of beauty to Damien Hirst's tendency to make faces in press pics. It was fresh enough to surprise, and knowing enough to be a hit. Musson has worked in a variety of styles in the last decade, from painting to sculpture to children's books to mix tapes. He's back this month with a very different spin on art education at Philadelphia's Fabric Workshop and Museum. Titled "His History of Art," the new show has a characteristically offbeat premise. It takes the form of a combination of sitcom and PBS edutainment, with Musson starring as Jay, explaining the value of art history to Ollie, a rabbit played by a puppet. And there are lots of other surreal detours along the way. Ben Davis, Artnet News's national art critic and a Jayson Musson fan, recently had a chance to talk to the artist about his unusual career and the idea behind his new riff on art history.

Jayson Musson has a unique status in the art world: he has the persona and perspective of an outsider, but he's also something of an artist's artist. Originally from the Bronx, Musson got his creative start in Philadelphia in the 2000s, creating cerebral, satirical street art; penning a column for the Philadelphia Weekly called "Black Like Me"; and performing in the cult hip-hop group Plastic Little, which put out songs like "I'm Not a Thug," "Rap O'Clock," and "Miller Time." Musson again popped up unexpectedly onto the radar in 2010 with "Art Thoughtz," a DIY YouTube series that immediately became a treasured reference in art school and art media. It starred Musson in the persona of "Hennessy Youngman," fusing the styles of art theory lecture and Def Comedy Jam, monologuing about everything from concepts of beauty to Damien Hirst's tendency to make faces in press pics. It was fresh enough to surprise, and knowing enough to be a hit. Musson has worked in a variety of styles in the last decade, from painting to sculpture to children's books to mix tapes. He's back this month with a very different spin on art education at Philadelphia's Fabric Workshop and Museum. Titled "His History of Art," the new show has a characteristically offbeat premise. It takes the form of a combination of sitcom and PBS edutainment, with Musson starring as Jay, explaining the value of art history to Ollie, a rabbit played by a puppet. And there are lots of other surreal detours along the way. Ben Davis, Artnet News's national art critic and a Jayson Musson fan, recently had a chance to talk to the artist about his unusual career and the idea behind his new riff on art history.

Ep.115 features Beverly Semmes. She is a sculptor whose work incorporates painting, drawing, film, photography, and performance. These complementary elements adhere in surprising ways, probing the paradoxes and complexities of the female body and its representation. Current exhibitions include inclusion in a group show at Canada gallery curated by Kahlil Robert Irving titled SUMMER Nights, which opened on July 8th, 2022. Semmes recently participated in an exhibition titled Process on view at the Alexander McQueen flagship location on Old Bond Street in London. For this presentation 12 visual artists from around the world were invited to respond to the upcoming Alexander McQueen collection. In May 2022 Semmes created Pool in collaboration with Jennifer Minniti and Emily Mast at JOAN exhibition space in Los Angeles. Pool was on view through mid June 2022. Semmes' paintings and sculptures were also recently on view in Witch Hunt at the Hammer Museum in Los Angeles; a Hammer Museum billboard announcing the Witch Hunt exhibition continues to loom over the historic corner of Hollywood and Sunset Boulevards. The artist has had dozens of solo exhibitions at institutions such as MoMA PS1, ICA Philadelphia, Sculpture Center, the MCA Chicago, the Wexner Center for the Arts, Artist's Space, the Fabric Workshop and Museum, the Irish Museum of Modern Art, the Frances Tang Teaching Museum and Art Gallery at Skidmore College, and the Hirshhorn Museum and Sculpture Garden. A solo exhibition of paintings titled Pot Peek was on view at Susan Inglett Gallery in New York through mid March 2022. Semmes received her M.F.A. in Sculpture from the Yale School of Art (1987). She also studied at the New York Studio School, the Boston Museum School, and at the Skowhegan School of Painting and Sculpture where she now serves on the Governors Board. Semmes is represented by Susan Inglett Gallery in New York and Shoshana Wayne Gallery in Los Angeles. She was born in Washington, D.C. Photo Credit: Ross Collab Artist Beverly Semmes (beverlysemmesstudio.com) Brooklyn Rail Beverly Semmes: POT PEEK – The Brooklyn Rail Alexander McQueen https://www.alexandermcqueen.com/en-us/beverly-semmes Youtube https://www.youtube.com/watch?v=YfUcQHRCsZY&ab_channel=Rain https://www.youtube.com/watch?v=wkbnuQfp2Cc&ab_channel=AlexanderMcQueen The Guardian https://www.theguardian.com/fashion/gallery/2022/jun/09/process-alexander-mcqueen-fashion-and-the-art-it-inspired-in-pictures Joan Los Angeles https://joanlosangeles.org/carwash-collective-and-emily-mast-pool/ Susan Inglett Gallery https://www.inglettgallery.com/artists/190-beverly-semmes/overview/ Hammer Museum https://hammer.ucla.edu/exhibitions/2021/witch-hunt Wikipedia Beverly Semmes - Wikipedia Artnet Beverly Semmes | Artnet

Episode No. 520 features artists Mary Reid Kelley and Patrick Kelley, and historian Paul Farber. New Kelleys are featured in two ongoing museum exhibitions. The Isabella Stewart Gardner Museum in Boston is presenting the Kelleys' The Rape of Europa, a commission that engages the ISGM's 1559-1562 Titian, Rape of Europa (which is on view in "Titian: Women, Myth and Power"). The Rape of Europa will be on view through January 2, 2022. Pieranna Cavalchini oversaw the project for the ISGM. Nathaniel Silver, who curated the ISGM's presentation of "Titian: Women, Myth and Power" was the first guest on Episode No. 514. The Fabric Workshop and Museum in Philadelphia is showing "Mary Reid Kelley and Patrick Kelley: Blood Moon," which features two new Kelley film works and an immersive installation. The project was curated by Alec Unkovic and remains on view through February 20, 2022. On the second segment, Monument Lab director Paul M. Farber discusses Monument Lab's National Monument Audit, which he co-directed with Laurie Allen and Sue Mobley. In addition to the project website, Monument Lab offers a free PDF of the audit.

Stephen Petronio is a choreographer, dancer, and the artistic director of the Stephen Petronio Company. Stephen has created over 35 works for his company and has been commissioned by some of the world's most prestigious modern and ballet companies, including William Forsythe's Ballet Frankfurt (1987), Deutsche Opera Berlin (1992), Lyon Opera Ballet (1994), Maggio Danza Florence (1996), Sydney Dance Company (2003, full evening), Norrdans (2006), the Washington Ballet (2007), The Scottish Ballet (2007), and two works for National Dance Company Wales (2010 and 2013). Over his career, Petronio has collaborated with a wide range of artists in many disciplines. Collaborators include some of the most talented and provocative artists in the world: composers Valgeir Sigurðsson, Nico Muhly, Rufus Wainwright, Lou Reed, Laurie Anderson, and Peter Gordon; visual artists Robert Longo, Cindy Sherman, Anish Kapoor, Donald Baechler, and Janine Antoni; fashion designers Narciso Rodriguez, John Bartlett, Benjamin Cho, and Leigh Bowery.Stephen Petronio's  training originated with leading figures of the Judson era, performed Man Walking Down the Side of a Building in 2010 for Trisha Brown Company at the Whitney Museum, and performed his 2012 rendition of Steve Paxton's Intravenous Lecture (1970) in New York, Portland, and at the TEDMED-2012 conference at the Kennedy Center Opera House in Washington, DC. Petronio received the distinction of being named the first Artist-in-Residence at The Joyce Theater from 2012 to 2014. He has been entangled with visual artist Janine Antoni in a number of discipline-blurring projects, including the video installation Honey Baby (2013), created in collaboration with composer Tom Laurie and filmmaker Kirsten Johnson, and most recently Ally, in collaboration with Anna Halprin and Adrian Heathfield, which premiered at The Fabric Workshop and Museum in Philadelphia in summer of 2016. Petronio and Antoni were the 2017 McCormack Artists in Residence at Skidmore college, where they showed their series of installations, Entangle. Most recently, he was commissioned by The Juilliard School to set a work, #PrayerForNow, on their fourth year students for the New Dances Edition 2019. Petronio's memoir, Confessions of a Motion Addict, is available at Amazon.com.  Movement Without Borders Festival - October 2, 2021 - Ernesto Breton performing Rudy Perez's Coverage Revisited. Fall For Dance - October 15 & 16, 2021 - New York City Center - SPC performing American Landscapes (2019). Petronio Punk Picks and Other Delights - November 18-21 - La MaMa - SPC revives a series of solos and duets from Stephen's formative days coming up in the East Village and invites Bloodlines(future) artist Johnnie Cruise Mercer to the stage. Alex Waters:Alex Waters is a media producer and editor for the Short Fuse Podcast, a music producer, and Berklee College of Music student. He has written and produced music for podcasts such as The Faith and Chai Podcast and Con Confianza. He produces his own music, as well as writing and recording for dependent artists such as The Living. Alex lives in Brooklyn with his wife and two cats and enjoys creating and writing music. You can reach him with inquiries by emailing alexwatersmusic12@gmail.com.

As of this morning, massive fires are drawing closer and closer to South Lake Tahoe. So while we have been talking about the crisis of affordable housing, we are also dealing with a crisis of megafires. And our guest today, Scott Ehlert, is here to make clear how these two crises are related, and what solutions are available to mitigate both.We discuss the sordid history of development, regulations, and building codes; how community planning can be used as a roadblock to meaningful action; how car culture can make affordable housing impossible; why we need to change forest management practices to mitigate megafires; and more.TOPICS & TIMES:Scott's work & the mission of Fabric Workshop (4:15)Scott's background in development & manufacturing (8:23)How community planning can become an excuse for inaction (14:10)Developing to actually solve affordable housing (27:27)What's the #1 thing to be done? (29:12)The sordid history of development, regulations, & building codes (39:38)Car culture: build parking spaces *or* build affordable housing (55:27)Megafires & changing forest management practices (1:09:18)Reasons to be Hopeful — if we act now (1:17:59)RELATED LINKSMountain Town Economics, Pt 2: Housing, Community, & Core Values Mountain Town Economics, Pt 1: Affordable Housing, Short-Term Rentals, & More Scott's company: Fabric WorkshopWhy Housing Policy is Climate PolicyBuild Garages or Build Affordable HousingThe Fight to Solve America's Affordability CrisisWhat is Cross Laminated Timber?Become a Blister Member See acast.com/privacy for privacy and opt-out information.

Cameron Gainer (b. 1973) is a visual artist making work in a diverse range of media. He is the Publisher and Executive Editor of The Third Rail a nonprofit publication devoted to a discussion of modern and contemporary art, politics, philosophy, and culture. Gainer is also the Artistic Director of co. (company projects) an itinerant artist run project space that presents exhibitions, performance, artists’ books, and screenings. ​He has had solo museum exhibitions at The New Temporary Contemporary at the Fabric Workshop and Museum in Philadelphia, and the Museum of Contemporary Art at the University of South Florida in Tampa. Group exhibitions include “Spectators, Rendered and Regulated” at Koenig and Clinton. Gallery New York, New York; “Midnight Party” at the Walker Art Center, Minneapolis; “The Paranoia of Time” at Carter & Citizen Gallery, Los Angeles; “Portal” at McClain Gallery, Houston. Awards and fellowships include a Smithsonian Artist Research Fellowship, Pollock-Krasner grant, James L. McKnight Fellowship, and a Jerome Foundation grant for research.

BE SURE TO SEE THE SHOWNOTES AND LISTEN TO THIS EPISODE HERE Eve Picker: [00:00:14] Hi there, thanks for joining me on Rethink Real Estate. I'm on a mission to make real estate work for everyone. Real estate can help to solve climate change, can house people affordably, can create beautiful streetscapes, unify neighborhoods and enliven cities. So I'm on a journey to find the most creative thinkers and doers out there. I'm not the only one who wants to rethink real estate. You can learn more about me at EvePicker.com or you can find me at SmallChange.co, a real estate crowdfunding platform with impact real estate investment opportunities open for investment right now. And if you want to support this podcast, join me at Patreon.com/rethinkrealestate, where there are special opportunities for my friends and followers.   Eve: [00:01:18] Today I'm talking with Scott Ehlert, co-founder of Fabric Workshop, a company focused on low carbon, mass timber building technologies for California's livable future. Scott is designing a proprietary hollow core mass timber plate column and wall system that uses 50 percent less wood fiber and will cost ten to 35 percent less overall than for a CLT structure. His system will also provide installation benefits like integrated MEP, acoustic and fire performance. And as if that is not enough, Scott is also designing a robotic fabrication facility to anchor a new wood product innovation campus in California to help in the state's wildfire efforts. Scott's background is an unlikely one for an entrepreneur in mass timber. He spent years in the production and logistics management of concerts, private and corporate events, and national experiential marketing campaigns before pivoting to system design strategies that leveraged research, data and design to meet high level business objectives. While consulting for some of the largest companies in the real estate and construction space, Scott recognized a massive need for desirable middle-income housing that wasn't being met by the market. So, he left his agency and started on the journey of what would become Fabric Workshop. This is a story of sheer stick-to-it-ness.   Eve: [00:03:04] If you'd like to join me in my quest to rethink real estate, there are two simple things you can do. Share this podcast or go to Patreon.com/rethinkrealestate to learn about special opportunities for my friends and followers and subscribe if you can.   Eve: [00:03:33] Hello Scott, I'm so pleased to have you on my show.   Scott Ehlert: [00:03:37] Thank you. Yeah, good to be here.   Eve: [00:03:39] So you've had a fascinating and pretty astounding career, from concert and event management to design and strategic consulting, to property technology. So, I wanted to start with what you're doing right now. What are you doing right now?   Scott: [00:03:57] Yeah, great question. Yeah. So we are, I've created a company called Fabric Workshop and we are pioneering a new next generation mass timber manufacturer. We manufacture in California and a fabrication, a digital and robotic fabrication facility to bring those next generation Messmer panels to life.   Eve: [00:04:20] So what does the next generation mass timber panel mean?   Scott: [00:04:26] Yeah, so, you know, we kind of started our journey looking at the cost of housing. And, you know, as you mentioned, I worked as a design strategy consultant for many years and I kind of had run my course in that in that career and was looking for something new and something for, you know, a bit more impactful. And really started looking at housing, which was the most kinda pressing thing in my life as I was starting a family and seeing how so many of my friends and peers in California were leaving the state because of the cost of housing or were in a constant state of financial and mental pressure due to housing. And I also consulted with quite a few really large companies, just by chance in my design consulting days, worked with some of the largest companies in the housing and real estate space in the United States and just saw this, you know, kind of looming existential crisis around housing affordability. And, you know, when the housing affordability comes up, we love to kind of cut out the perennial teachers and firefighters, as you know, our benchmarks for who can afford housing. But what we were seeing was that housing was really kind of impacting bankers and doctors. We were you were talking to doctors who were having to have roommates in the Bay Area because they couldn't afford the housing.   Eve: [00:05:54] Wow.   Scott: [00:05:54] And so there was this kind of big, big question of like, how do we make housing? How do we create housing in California that's affordable to middle income folks we traditionally call the middle-class. And so that started us down a really long journey and looking at just a year long process of just listening and asking questions and sitting in the back of rooms and talking with as many folks in the in the industry as possible. And it became really clear that how we build and the type of projects we build were really kind of fundamental to, this seems kind of obvious, the kind of fundamental to the cost of housing. And so, you know, we really started to look at how we can build things differently and what with the technologies available out there to help them offset these costs.   Eve: [00:06:53] So let's back up a bit. Like for some people listening, they may not know what mass timber is, which is kind of all the rage in the architecture building industry, but perhaps not something that most people know about.   Scott: [00:07:06] Yes, so mass timber is kind of the catchall phrase for what is a range of engineered wood products similar to glulam beams. The most prominent is cross-laminated timber or CLT. And that's, the that's the type that you'll see turning up most often. And what CLT is, is just that, it's cross-thatched, and kind of cross-threaded dimensional lumber, 2x6s and 2x4s, laid out in a giant press with glue. And then that press puts extreme pressure on those panels and that glue and turns it into essentially a giant butcher block. It turns it into a more or less a solid piece of wood. And those panels can be 12 feet tall and 12 inches wide and 40 feet long or larger, in some cases.   Eve: [00:08:00] Smaller, non-structural pieces of wood, glued together and engineered in such a way that they become much larger structural elements.   Scott: [00:08:09] Yes. And then they take on some really incredible structural properties. So, you know, they are stronger and lighter than steel. Stronger and lighter than concrete. You know, it's an incredible product. It has been widely adopted in Europe and into East Asia and Japan. And it's just starting to kind of trickle up in the United States. And as you said, it's kind of all the rage right now. Everybody's talking about CLT and there's a lot of hopes and prayers being put on CLT as the, you know, the silver bullet that's going to save us from our cost of housing.   Eve: [00:08:46] So it's cheaper than steel and other structural elements. Is that what you're saying?   Scott: [00:08:52] Um, no, that's kind of the problem, that's the that's the challenge with it, is that while it does have these incredible attributes, you know, speed of construction is one of them. You know, these are essentially printed building panels. You know, you can get an entire wall or, you know, five, half a dozen panels to make an entire floor plate of a large building. And so you're seeing buildings, you know, eight story buildings go up in two weeks. Right. It's all crammed in. It's all kind of flat packed like, an IKEA footer. Pre-cut, pre-manufactured, there's no saws on site, no hammers. You know, nobody's doing anything manual on site. They're just essentially cramming these giant plates into place and a small crew catching the plates and then screwing them into place with some really advanced metal connectors to hold this together.   Eve: [00:09:51] But the materials themselves are expensive...   Scott: [00:09:54] Right.   Eve: [00:09:55] But you're saving, you're saving time on the site. You're saving uncertainties like weather. Because they are factory built.   Scott: [00:10:03] Yes, exactly.   Eve: [00:10:05]  Insurance you're saving.   Scott: [00:10:09] Yeah. Insurance is still kind of a question mark. It's still very new in the US. So, the insurance has not quite caught up yet, but it is completely a completely safe product that has to go through a very rigorous testing process called PRG 320. And that is the fire certification process. And it's also been the new international building codes updates around mass timber and CLT. So they're able to build much larger buildings now. So, you know, 18 plus stories, large warehouse facilities, distribution centers, you know, these very large type two, type four type structures can now be built with mass timber.   Eve: [00:10:47] So, in balance then, if you can save all of these site costs, will it provide a less expensive solution? And especially for, you know, what you're focused on, which is what I understand, the missing middle housing, those smaller infill lots that maybe are not as efficient as a huge 800-unit building, but certainly helped to kind of just stitch cities together, right?   Scott: [00:11:17] Yeah, exactly. So, when we were looking at CLT, we want to have all of the benefits of CLT, but without the biggest drawback and the biggest drawback of CLT, or there's a couple of other variants like DLT, which is dowel laminated timber, which is they use wooden dowels to connect the boards together, or NLT, which is nail laminated timber, which is just that the boards are stuck together with nails. The biggest drawback with them is, with those technologies, is they just use a lot of wood. There's just no way around it. It's a giant butcher block and so, you know, and it uses dimensional lumber, the same lumber that stick frame builders use and modular builders use. You know, when you go to Home Depot and buy, you know, Doug fir for your deck, that's the same stuff that goes into CLT. And so, you know, it's a commodity product and they're using a lot of commodity product. It's susceptible to high prices and that there's just no way around that. And so, you know, I don't know how anybody that started a CLT project a year ago is going to make those projects pencil today. What, the cost of dimensional lumber up to, what, two hundred percent or something like that over year over year. Right?   Eve: [00:12:34] Why is it up so high?   Scott: [00:12:36] Yeah, so...   Eve: [00:12:37] I'm sorry. I'm completely new to this so I'm learning.   Scott: [00:12:40] Absolutely. Yeah. Yeah. No, this is you know, we are we are incredibly focused on the forestry and supply side. You know, we are kind of a hybrid between a housing prefab re-manufacturer and a forestry company, in particular the wildfire side, so I can definitely share more on that. And so, yes, you know, the implications on the lumber costs are, have a big, big impact. And lumber prices were already going up, right, there was just limited supply. There's limited companies involved in the forestry space. And everybody's going out to the same suppliers, like, you know, in the US. Dimensional lumber on the West Coast comes primarily from British Columbia, Washington and Oregon. And Idaho and Montana to a lesser extent. But those are the three kind of major producing markets and everybody's buying it. Right. And even if you're on the East Coast, a lot of people want that, like the aesthetic and material qualities of West Coast feedstock. And it's primarily Doug fir. That's what everybody wants. And so there's just high demand, it's just a supply and demand, and then Covid came and just threw a giant wrench into all of that. The mills shut down, the logging shut down, and everybody thought the housing and construction industry would collapse with Covid. But just the opposite happened. There was a huge remodel boom, a huge push for new homes in the suburbs. People were trying to get more space. And so the macron effects of that are that an industry that was already under high demand pressures is now under extreme demand pressures. And then they took their capacity offline for a period of time with Covid. And now they're just trying to play catch up. And the industry in 2019 is already at record highs. And now we are just, it's just through the roof, you know, OSB board, plywood of all that down the stack is all impacted by this. And so, when prices are just really high so CLT or DLT, NLT that's just going to be less price competitive now than they were before.   Eve: [00:15:00] Interesting. So let's go back to what you're trying to solve and what your solution looks like. And then we can talk about how the last year has impacted that.   Scott: [00:15:11] Yeah, absolutely. Yeah. So, you know, that use of material is kind of fundamental to our approach. And, you know, we were really pursuing a CLT based product initially. But when we, when that reality of the the material cost, the fiber cost, just was the 100 pound gorilla in the room, there's no way around it. It's going to just do more research. Kind of went back to the table and some to look at those more mature markets in Europe and Japan and started to see this kind of, as I was saying, the next generation of mass timber products coming out where they've already kind of gone through that and recognize that, you know, a CFT panel is not necessarily the ideal product for a lot of building types, particularly smaller and faster buildings. And so what they're using now is what are kind of known as cassette systems. They, these are a panelized approach, just like CLT, but they're taking the fiber out. And so, what they're doing is, they'll be more or less there's like two kind of sandwich layers, a top and a bottom and then a structure on the inside of those two sandwich pieces that give it the structural integrity. So you get a box-like panel with a hollow core and that removes a substantial amount you know 50, 60 percent of the fiber, from those panels, driving the cost down while still maintaining the structural integrity of a full kind of solid wood panel.   Eve: [00:16:47] Like a hollow core door, but not as flimsy?   Scott: [00:16:53] Exactly. A hollow core door that you could build an eight-story building out of.   Eve: [00:16:58] Yeah, yeah.   Scott: [00:16:58] There's a membrane, a structure on the inside of that hollow core that gives it its strength. Ingenuity at play here. Companies are now taking advantage of that cavity to include things that would normally be exposed in a CLT building. So, CLT with the solid wood in place, all of your MEP systems, your electrical, your plumbing, your lighting, all of that can't run in the middle of the plate. It's solid wood. Right. And so it has to be hung underneath or run in interior walls or both in most cases. But with these hollow core cassette systems, you can actually run those MEP systems inside the cavity of the floor plate. So, it gives it a much cleaner and tight aesthetic.   Eve: [00:17:46] Yeah, yeah.   Scott: [00:17:48] And then you can also add additional elements to those cavities. So you can add acoustic materials, you can add insulating materials to increase the R value. You can add seismic and fire safety materials in there. And so you can actually get a much thinner for floor plate overall than CLT, where you have to then just have any piece stuff hanging beneath it. With CLT, a lot of that insulating and acoustic and dampening performance has to be laid on top. And it's generally a really thick concrete layer that's poured on top of the wood panel. So, a lot of people with CLT they think that you get to see all the wood, but in most cases you don't. Actually, on the floor plate it's kind of covered in five inches of concrete and gypsum and all that stuff. So, the cassette systems are a really genius kind of approach to a lot of those challenges with CLT.   Eve: [00:18:44] And it means less time on site, by the sounds of it.   Scott: [00:18:48] It does, yes. But the flip side of all of this is that it does add complexity and you do have to be in much deeper coordination with your trades very early in the process to coordinate where all of those runs are going through those plates so that the connection points on site are all, you know, when you when you're doing a small prefabricated, a lot of it's going to be automated. And so, the tolerances are down to the millimeter. So things have to be tight. There's no change orders, I guess. So there's no saws, there's no handsaws or circular saws on site to fix problems. Everything has to be really, really tight. So that really, kind of, front loads the design and the engineering process. And all of the trades have to be at the table very early. And so, it's a very different process than a standard site build construction. You know, that's the trade-off. Is that the process that has to adapt to the material.   Eve: [00:19:47] Just listening to you speak of it sounds to me like you might be enjoying that process.   Scott: [00:19:53] Yes, very much so. Yes. As somebody that that worked in design and system design and customer experience design, you know, all of that thinking is really, you know, and you can see the outcomes, right?   Eve: [00:20:07] Yes.   Scott: [00:20:08] You know, you can go and tour these sites in in Europe and parts of Australia, where they're being, you know the sophisticated approaches, is happening in Japan and particularly Central Europe, where this market is very mature. I mean, you're seeing build costs in major urban markets, you know, down to 140-150 dollars a square foot.   Eve: [00:20:29] Oh, that's extraordinary.   Scott: [00:20:31] Whereas in San Francisco, you're at, what, 750-850 a square foot for a poor-quality building.   Eve: [00:20:39] Yeah.   Scott: [00:20:39] That's what we're kind of chasing. Right. Like that's the that's the end goal is to build out the system that can drive towards those better pricing outcomes and make housing more affordable.   Eve: [00:20:50] Where are you in your process right now? You've been at this for how long?   Scott: [00:20:56] We're now officially into year three, so it's a long and winding road. As I mentioned, with our company, with Fabric Workshop, there's this really big wildfire and forestry component to it. So, we are focused very much on the California market. We're based in California. We by no means will turn clients away, that's in a neighboring state. But the challenge in California is so enormous that we feel like that so many other housing starts to take on like a national approach. And we feel that we just need to be very specific to California and the codes and the and the challenges and the crisis that that's at hand here and that it's a big enough opportunity that it can justify that. The new housing element numbers are coming in across the state. And, you know, we're going to need two million units of housing in the next, within the next 10 years. You know, it's just a staggering number of housing. And so that that volume actually presents a really powerful opportunity to impact another, maybe bigger crisis at hand in the state of California. And that's the wildfire situation here. And so, I don't know, I'm sure you've seen that on the news.   Eve: [00:22:21] Oh, yeah. I mean, I'm Australian, I don't know if you realize from my accent, so I've lived with it.   Scott: [00:22:27] Yes, that's right. Right. So, yeah, in California, you know, five of California's six largest fires in modern history were all, all happened last year. And they were all burning at the same time. Right. When four million acres of forest burned across the state last year, which was double the previous record, which was just in the previous couple of years. You know, it's just really staggering, right? There was nearly ten thousand separate fires across California last year. And the fire season is growing, right? Climate change, drought is driving more extreme fire seasons. And so, we're now seeing fire season in 2020 is 75 days longer than it was 20 years ago, just 20 years ago. And that's two months longer, two and a half months longer. And so there's this overarching kind of pressing need to fix that. And one of the best things that we can do is to get this excess unnatural growth out of our forests and turn it into wood products. So our forests in California are completely overgrown, grossly overgrown, naturally overgrown. We have, for the last hundred years, we've taken a policy of complete fire suppression.   Eve: [00:23:52] That's really interesting. Yeah, because fire is an actual regeneration of forests and that's what was brought up on me.   Scott: [00:24:02] Exactly.   Scott: [00:24:02] They happen for a reason. So, you have to just control them.   Scott: [00:24:07] Yes. Yes. And so we actually have to go back to a natural fire cycle where we're not stopping fires. We're actually letting fires happen. But in order for that to take place without being so destructive, like they are now, is we have to get all of that overgrowth that was the result of stopping fires in the forests.   Eve: [00:24:26] That's really interesting, though.   Scott: [00:24:28] Yeah.   Eve: [00:24:29] But my question is, is why were they stopped? I've always thought that the push of, you know, the spread of cities into forests. I mean, I've seen it in Australia, you know, as housing popped up in amongst the forests. Of course, you want to stop fires there. And that also exacerbated the problem because, you know, you have this push and pull between people who want to live in those places and the natural the natural forest. It's a mess.   Scott: [00:24:58] Yeah, right it is. Yeah. That's a huge, huge driver to it that that growth is called the WUI. It's the WUI and that's the wilderness urban interface. And that that growth, particularly since the 90s, has just been exponential as we've continued to sprawl ever farther outward in California. We've pushed our towns and cities, the perimeter, more and more into that WUI. And so that's been a big, big driver as well as the, you know, the agricultural, livestock and forestry industries in the 20th century. They didn't want fires. And you combine that with just a...   Eve: [00:25:44] Yeah   Scott: [00:25:44] Very. What's the term? I mean, what's the word? How do you describe it?   Eve: [00:25:48] It's a manmade problem.   Scott: [00:25:51] Yeah, yeah. And just a desire to control nature, you know, is man's desire , the man emphasis there to control nature and dictate, basically saying fires are evil and treating them as a as an enemy that needed to be defeated.   Eve: [00:26:07] When I was young in Sydney, Australia. I mean, I remember bush fires. Like Sydney's a huge….   Scott: [00:26:12] Bush fires. Yeah.   Eve: [00:26:12] I remember in the middle of the city, seeing just red and grey sky all around me. But there wasn't the pain and misery of today because not, there was not nearly as much suburban housing - it pushed into the wilderness.   Scott: [00:26:31] Yeah. Yep. Yep. And that's the same here. That's just an overarching problem that needs to be solved. And there's really no easy solution to it. The state now has about 33 million acres of forest, which is bigger than Oregon, and 13 million of them are considered very high risk. These are drought affected, beetle infected, because of lots of dead trees, and they have just this extreme level of overgrowth and that overgrowth are small and medium diameter trees. Those are the trees that normally would have been cleaned out by natural wildfires. And because there was no natural wildfires, they just exploded. And what they do, the small and medium diameter trees, they're much more susceptible to fire, but they're also tall enough to carry the fire into the canopies of the healthy, strong trees. And that's where we get these infernos that then get the wind picks up in the canopy and carries it from tree to tree. And it just creates these, this tinder box. So, we have to get those small and medium diameter trees out of the forest. And right now, they have no value. They're used for livestock, mulch, woodchips in your yard. And that's not a valuable enough product to justify the cost of thinning, mechanical thinning. And mechanical thinning is a laborious, hard job. You have to, you know, carry chainsaws and particularly if we want to take a much more ecological approach to forestry thinning and not clear cut and carve up all of these fire roads that cause horrible erosion. The state's trying to avoid the forestry problems of the past. So, it's all done, a lot of that has to be done by hand, much more mechanical.   Eve: [00:28:20] 32 million acres, manually cleared.   Scott: [00:28:24] It's staggering.   Eve: [00:28:25] It's really staggering. How long does it take?   Scott: [00:28:28] Yeah, the goal of the California Forest Management Task Force, which is kind of the broad extra agency group that's trying to address this challenge, their goal is a million acres per year by 2025. And right now - in 2019, we had 114 thousand acres - so we're off by a factor of ten.   Eve: [00:28:47] Wow. That's like one hundred years we're looking at and more.   Scott: [00:28:52] That's right. And what's going to be left in California in 100 years of we're burning four million acres a year. And it's not just, this is not an abstract any more. Our water, for all of those cities comes from these forests and with these forest fires that you can grossly impact our water supply. The carbon impact of this. Right, 2020, there was 112 million metric tons of carbon were released by the 2020 wildfires. Which is 30 percent more than all the power plants that generated power that year. So, the health and that's how you get into the asthma and respiratory issues of all that wildfire smoke. I mean, the implications of our society are bleak. And so, we have to figure out ways to get those small and medium diameter trees out of the forests. And that's why we really kind of looked at, you know, not only these cassette systems, but getting away from dimensional lumber and really kind of focusing on veneer-based products. So, there's another sub product of mass timber known as laminated veneer lumber or mass plywood panels, mass plywood. MPP is a brand from an Oregon company called Freres Brothers. And what they do is instead of cutting the log into 2x4s and having a bunch of scraps left over, is they put the log on a peeler and they peel the log and turn it into a big, long sheet. And then they glue those sheets together versus gluing 2x4s together. And that's something that you can do, that's, a that's a vehicle for these small and medium diameter trees, whereas 2x4 dimensional lumber is not really feasible. And so they can peel logs, you know, down to six to eight inches and turn them into veneers. And so that's what we're really focused on, is these veneer-based structural products. Both floor plates, floor and ceiling plates and wall plates as well. That's where we see our role in the forestry and the wildfire piece is creating market side demand for these small and medium diameter trees and putting them into really advanced, these really advanced cassette-based plate systems.   Eve: [00:31:14] Interesting. So I'm going to back up one more time. I sense a two-parter is coming on here. This is fascinating because...   Scott: [00:31:24] Yeah.   Eve: [00:31:24] I heard somewhere in amongst all the impact finance center information that there is a company out focusing on small diameter timber products. I can't remember the name of the company, in California.   Scott: [00:31:38] So, we pitched at that event. So you might have, is that our pitch that you're referring to?   Eve: [00:31:44] No, I think there's another company I talked to so, we can come back to that.   Scott: [00:31:50] Yeah, yeah.   Eve: [00:31:51] But I've heard of people focusing on specifically that product and now it's all falling into place for me. Personally, I didn't know all of this. It's really fascinating. But the importance of using that small diameter timber is becoming pretty clear.   Scott: [00:32:07] Uh huh. The great thing is that it could actually go into a very valuable product for the construction industry, the building industry. Incredibly green product, right? Very, very high embedded carbon in the veneer-based products, much lower travel times if we're sourcing our wood from our local forest and putting it into buildings in Los Angeles and Sacramento and San Jose. Think of all the truckloads from British Columbia and northern British Columbia that we're saving, right. And all that diesel fuel that gets burned. So, this really big upstream and downstream and benefits to sourcing this wood from California.   Eve: [00:32:51] Sounds like a whole new industry can emerge.   Scott: [00:32:54] That's the goal, right. And that's what the state is trying to incentivize is a re-ignition. I hate to use fire related terminology when talking about this stuff, but like, we kind of rekindling, that's another one, restarting a forestry industry in California, which is really kind of on its last breath. Like, in the last 45 years, 70 percent of wood processing facilities in California closed. So, there's really no eco system to actually process this. There's no LBL manufacturers in California. There's no plywood manufacturers in California. There's very few mills left in California. There's very few loggers left in California. And so we're kind of having to start from scratch. And what the state is working on is incentivizing and creating these wood products, wood innovation campuses, across the state to bring this industry back. And to bring it back with a much greater kind of technological focus and an environmental and ecological focus. And so that things are done right. And so we're at very early days of that. You know, we are not going to try to get into the manufacturing side of the LBL panels. It's a very capital heavy side and there's a reason why most of the companies that get into that, you know, they have three or four family generations that have been in the logging industry or they've been around for 150 years. You know, there are companies that just know how to do that and to manage those supply chains and to manage that production. And so we're focused on it being a remanufacture of those products. And so, if we can help, you know, kind of show that there's demand for this for this LBL and MPP type panels in California, hopefully we can then lure a manufacturer to the state, with our some of our demand, and get them active in the state and thinning our forests.   Eve: [00:34:58] So, Scott, you've bitten off a huge project, like where are you? You said you're in the third year.   Scott: [00:35:04] Yes.   Eve: [00:35:06] I mean, where are you in the process of building a company?   Scott: [00:35:09] Yeah, yep. So, it is a very meaty challenge and myself and everybody that's on our team is up for that challenge. That's why we're all here. We all understand the enormity of it and the, and the urgency of it. And that's what motivates us every day. And the fact is, there's not a lot of other companies doing this is yes, it's an opportunity, but it's also drives us to lead and to show that it can be done. And so, you know, we have to take advantage of the resources that we have. This is all bootstrapped at this point and self-funded, as you said, this is a big, meaty challenge. So, it's really hard for investors to kind of wrap their head around it or see an exit to liquidity event in the near term. So fundraising has been a challenge, but that's really not a deterrent to us in the slightest bit. And so, we have to focus on what we can sell for.   Eve: [00:36:08] Well, you have to eat. It's going to be a little bit of a deterrent, right?   Scott: [00:36:13] Well, you know, the spouses of entrepreneurs do a lot of the heavy lifting. Right? And so, I have a really, my wife is an incredible partner and she's also an entrepreneur, though a much more successful one. And she's able to carry us through this kind of start-up period. But what's great is that our story and our kind of mission is bringing a lot of really amazing people to the table. We are working with a company, for example, called Hacker Architects up in Portland, and they are an incredibly experienced, one of the most experienced architecture firms in North America working with mass timber. And they are becoming friends. Right. Like they they've really been a key supporter of our mission. And it really kind of backed us up and provided a lot of design assist and are really helping the design of our building system, because we have to think of this as a holistic building where we can put these different wood materials throughout the building. And so that's just one example. We've got a whole network, whole ecosystem of companies that all share our same values and recognize the enormity of the problems that we're solving. And so, we've built this great network of aligned allies that are helping us drive this forward. So, like I said, we're a small kind of bootstrap team, but we've got some really great friends. And, you know, we are in the R&D phase and getting closer to a first prototypes. We originally had our first building construction project penciled as supposed to break ground this year, as a single-family home in the Tahoe region. Unfortunately, that project kind of fell through, just wasn't the right application. And so, we decided to kind of shift focus. But ideally, we'd like to get a project off the ground here sometime this year with our investor pool that we do have and get a proof of concept project on paper this year and breaking ground next year. So that's really what we're what we're driving for at this point.   Eve: [00:38:22] What is good proof of concept look like at this point?   Scott: [00:38:25] Yes. So, we're looking at a small multi-family project and that's the market that we're going after is a unique market in the industry. Most of the construction industry and the prefab industry is really kind of set up to focus on how we build in the United States today, which is sprawl or tall. Right? Like it's single-family homes on the peripheral cities, or it's a big giant two hundred unit podium structures or towers in the urban core. And Fabric, we see the opportunity, especially considering the sheer scale of the housing need and how fast that housing needs to be produced and brought to market. We really see the opportunity in that missing middle upper missing middle range, small to medium lot, three to eight story buildings. So that's really our key focus and really kind of unique, a bit more unique in the marketplace. And so we want to, we want to get a proof of concept project of at least four units. It doesn't have to be huge. It just needs to show how the systems kind of work together and kind of bring that to life in an infill type application.   Eve: [00:39:42] I'm excited to see it.   Scott: [00:39:44] Yeah.   Eve: [00:39:44] Are you going to act as your own developer or are you looking for a developer who will use your system?   Scott: [00:39:51] Yeah, it's kind of like yes and...   Eve: [00:39:55] Yes, I know.   Scott: [00:39:56] If we yes, either, you know, we are talking to more and more developers. We are finding that network of of young kind of independent developers, baby developers, I've heard that kind of term kind of thrown around, you know, the folks that are producing like the 20-unit buildings and the odd 16-plex. Right. Like those small buildings. And we're building that network. And hopefully we can bring a developer partner to the table sooner rather than later. But we're also kind of setting ourselves up for self-developing our first project. And that's what we were going to do on that single family home. We were going to develop that through our, through one of our investors, but we kind of shifted and would like to ideally bring on a development partner that knows that process better than we do. You know, we're not developers.   Eve: [00:40:47] And so you might stretch yourself very thin during trying to do both.   Scott: [00:40:52] Yes, exactly. And we have to kind of kind of focus on what our value add is. And the development side is not it today, who knows down the road where this goes. But as of now, ideally, we have a partner that can, that can really kind of drive this through that to the development process.   Eve: [00:41:11] So you've talked about these materials looking very sleek. What does that first project going to look like?   Scott: [00:41:18] Yeah, I wish I could show you some of the renderings, the absolutely beautiful renderings that Hacker put together for us. One of the advantages of focusing on this smaller type three, type five building typology is that the fire code and the fire ratings aren't as strict with the CLT. So we can leave a lot more of that with the mass timber, we can leave a lot more of that exposed. So, you'll see a lot of exposed natural wood elements. So wooden ceilings, heavy timber beams, well it will have the aesthetic about heavy timber beams, but it's actually LDM. A lot of the columns in the beams will be exposed and even wall panels can be of exposed wood to them. So, a very natural and a minimal, what's the term a soft minimal kind of aesthetics to them and and very high precision tolerances on that minimalism, right, like that's kind of what separates good minimalism from bad minimalism is the execution and the precision of it. And because everything is cut in a factory, the aesthetic is just really tight and really clean. And so we're really looking forward to bringing that to life.   Eve: [00:42:37] Do you have the renderings on the website you'd like to share?   Scott: [00:42:40] Yeah, on our website we have a few renderings on there. So you can kind of get a sense out of the real aesthetic and that that would be our proof of concept project. Each developer will have that choice that they want to drywall over those exposed wood elements they can. But our preference would be to leave them exposed. And there's a lot of really interesting data back to that benefits of mass timber. There's a lot of really interesting data around the biophilia benefits of mass timber, where people get that sense of serenity and calm. Like being in a forest.   Eve: [00:43:16] Yes.   Scott: [00:43:17] In a mass timber house, they are really cool buildings. I don't know if you've had a chance to spend time in one. But they do have a a dampness to them, not not wet, damp, but just materially damp. And so sound travels differently. And you do get the sense that you're in the forest. It's really, it's a really cool experience.   Eve: [00:43:37] So I'm going to go back.  You're in Truckee. Right. And I'm wondering...   Scott: [00:43:41] That's correct. Yes.   Eve: [00:43:42] Why are you in Truckee?   Scott: [00:43:44] I asked myself that question sometimes, too. I love Truckee, but I'm definitely a city kid. So, Truckee is more or less a one road town. And so, I do feel a little stir crazy here sometimes, but it is a great place. And I have two young kids, four and six years old, and just this is a big playground for them. So, we ended up in Truckee a long time, a decade and a half in San Francisco, three years down in Los Angeles, and then had to get out of L.A. and Truckee was supposed to be a one year stopover on the way back to the bay. But, shocker, the cost of housing was so high in the bay that we couldn't afford anything there so we could afford something in Truckee, Truckee at the time. So we were able to…   Eve: [00:44:34] You're living the Californian dream.   Scott: [00:44:36] Yeah. More or less trying to.   Eve: [00:44:40] Okay. So tell me, I'm going to move to shift gears a little bit and just ask you, are there any other current trends out there or innovations in real estate development or construction that you believe are really important for our future?   Scott: [00:44:54] Yeah, and so a couple, yeah, so one thing that we are bringing in house we have, this is a capability that we are, as we speak, kind of building out a facility is the fabrication side of construction and particularly automated and robotic fabrication. That is the piece that's going to have prefab construction kind of realize the benefits that it kind of promised the world when it came out a few decades ago. You know, from pricing to quality control, robotic fabrication is going to be a huge piece of this. And we are actively building that capacity out in California, will be a leader in that space here in the state. And particularly as more and more construction will go towards wood-based construction to offset the carbon and environmental impacts of concrete and steel. You know, we firmly believe that wood construction is the future of construction. And so, to make that a reality, you have to have a much more advanced fabrication capabilities like you see across Switzerland and Austria and Germany and Sweden, for example.   Eve: [00:46:10] Right. Right.   Scott: [00:46:11] And so that's going to be a big piece. Right. And then, you know, I do believe fundamentally that we are seeing the cracks in the dam when it comes to planning and zoning in particular. I think that the sea change and our laws and regulations on what gets built and where is going to happen very quickly, much faster than I think a lot of people give it credit for. You know, we are slowly starting to see the end of single family only zoning. When I first really started thinking about creating the housing company in 2014, most of them really talk about like, oh, yeah, houses are expensive in nice parts of the city. But that was kind of the attitude. And now fast forward seven years and it's a topic in our presidential campaigns. It's just becoming a fundamental issue in this country. And I think that the 20th century experiment of highly segregated neighborhoods, housing over here, business over there, commerce over here. Single family based, car based, an entirely car-based society, car exclusive society. I really fundamentally believe that that is coming to an end in California and that those changes are going to happen. It's going to build and then is going to happen really rapidly.   Eve: [00:47:36] Wow. I have one final question for you, and that is, what is your big, hairy, audacious goal?   Scott: [00:47:43] Yeah, I and I would say, you know, not as ambitious to say we want to build a new city out of wood, but definitely, you know, a neighborhood out of wood. That's kind of our big goal is to build a five 600-unit community, all sustainably sourced, locally sourced, sustainably sourced timber neighborhood. And we're seeing those neighborhoods pop up in Europe and Japan and they are incredibly inspiring. They are walkable, human scaled, car free, no carbon passive house technology. And I would love to just get my hands on a decrepit shopping mall in central Sacramento and convert that into the neighborhood. A vibrant, diverse, mixed income neighborhood in in Sacramento, for example. And that's our big, big goal that we're driving towards.   Eve: [00:48:41] Oh, I'm really excited for you. It sounds amazing. And I hope sometime in the future we'll get to host one of your projects on Small Change.   Scott: [00:48:51] Would absolutely love that. Yes.   Eve: [00:48:53] Thank you so much, Scott.   Scott: [00:48:55] Yes, thank you, Eve. Really appreciate the time. And I'm honored to be on your podcast and be part of this group. So thank you.   Eve: [00:49:11] That was Scott Ehlert of Fabric Workshop. Scott pivoted his life and career in a way that most people do not dare. He is making all bets on an industry that doesn't quite exist yet and technology that he needs to design. While other housing developers try to crack the construction affordability code using the same old building systems, Scott has spent years planning how to become a housing developer using a brand new building system, one that he has designed and one that he will manufacture. We'll be hearing more about Scott. I'm sure.   Eve: [00:49:58] You can find out more about this episode on the show notes page at EvePicker.com, or you can find other episodes you might have missed, or you can show your support at Patreon.com/rethinkrealestate, where you can learn about special opportunities for my friends and followers. A special thanks to David Allardice for his excellent editing of this podcast and original music. And thanks to you for spending your time with me today. We'll talk again soon. But for now, this is Eve Picker signing off to go make some change.

A special collaboration with the Fabric Workshop and Museum inspired by Jonathan Lyndon Chase's "Big Wash" exhibition opening in January 2021. Featuring poetry by JONATHAN LYNDON CHASE & JAMAL RASHAD. Spun by VINCE ANTHONY.

This episode, we welcome the legendary artist Ursula von Rydinsvard. Known for her highly personal and often monumental sculptures in cedar and bronze, Ursula has been working in Brooklyn, New York for the past 30 years. She has had numerous exhibitions around the world, including solo shows at the beautiful Yorkshire Sculpture Park in England, the 2015 Venice Biennale, and the amazing Fabric Workshop and Museum in Philadelphia. Her work is also in the permanent collections of museums including the Metropolitan Museum and MoMA in New York, the Boston Museum of Fine Arts, San Francisco MoMA, and the Walker Art Center in Minneapolis, just to name a few. And, to add to her massive list of accomplishments, Ursula was also inducted into the American Academy of Arts and Letters in 2008. For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

Lonnie Graham, is an artist, photographer and cultural activist whose work addresses the integral role of the artist in society and seeks to re-establish artists as creative problem solvers. Lonnie Graham is a Pew Fellow and Professor at Pennsylvania State University. Professor Graham is formerly Acting Associate Director of the Fabric Workshop and Museum in Philadelphia Pennsylvania. Graham also served as Director of Photography at Manchester Craftsmen’s Guild in Pittsburgh, Pennsylvania, an urban arts organization dedicated to arts and education for at risk youth. There, Graham developed innovative pilot projects merging Arts and Academics, which were ultimately cited by, then, First Lady Hillary Clinton as a National Model for Arts Education. Professor Graham also served as instructor of special projects and oral historian for the Original Barnes Foundation in Merion Pennsylvania. in 1986 Prof. Graham authored a project entitled, "A Conversation with the World" which has been commissioned in various iterations in a number of countries around the world.https://conversationwiththeworldcalgary.org/https://sova.psu.edu/profile/lonniegrahamhttps://www.lightwork.org/archive/lonnie-graham/https://www.datzpress.kr/publications/aconverstationwiththeworldEpisode thumbnail image: by Erin Hall

Christina Vassallo, curator and arts administrator, just named Executive Director of Fabric Workshop and Museum in Philadelphia. Christina is also an avid cyclist with Type 1 diabetes. For the past six years she’s been the ED of Spaces Gallery in Cleveland, Ohio. This Fast Track consists of excerpts about her diabetes, bike commuting, and bike touring. Hear Her Sports is long-form interviews with female athletes & women in sports breaking boundaries, speaking up and living with power & confidence.

This is a recording of the panel conversation from Textile Society of America’s New Professionals Convening: Envisioning Textiles Futures, held on July 27, 2019 at the Fabric Workshop and Museum in Philadelphia. Panelists include Joy Davis, Regan de Loggans, Lynnette Miranda and Karen Hampton. The panel was moderated and organized by Caroline Hayes Charuk. Program Description: At the Fabric Workshop and Museum in Philadelphia, TSA presented a panel discussion devoted to envisioning a field that approaches cultural production with justice and equity, and to examine the ways that structures within museums, universities, and informal spaces can support or hinder movement towards a vibrant future in line with these goals. Panelists: Karen Hampton has shown her woven and stitched narrative artwork nationally since 1994 and has been teaching college since 2008. Her specialties are surface design, embroidery, weaving and courses that address Art and the African Diaspora. Karen is currently an Assistant Professor of Fiber at MassArt, and a board member of the Textile Society of America. Pronouns: she/her Regan de Loggans (Mississippi Choctaw/ Ki’Che’ Maya) is an art historian, curator, and educator based in Brooklyn on Lenape land. Their work relates to decolonizing, indigenizing, and queering institutions and curatorial practices. They are also one of the founders of the Indigenous Womxn’s Collective: NYC. Pronouns: they/themme Lynnette Miranda’s ongoing research focuses on the social and cultural impact of contemporary art and media, critically examining social practice, contemporary craft, performance, new media and video work. She is passionate about centering artists and practitioners of color, not only through representation, but through building support systems and redistributing resources. Lynnette is currently the Program Manager at United States Artists in Chicago. She has worked at leading arts institutions including Creative Time, ART21, and the Art Institute of Chicago. Pronouns: she/her Joy Davis is an independent scholar of fashion and cultural studies. She has B.A.s in History and Media Theory from University of Maryland Baltimore County (UMBC). She is a pending Masters candidate at FIT’s Fashion Studies program. In 2016 she joined Unravel Podcast as a host and producer. In 2018 she launched her own contemporary gallery in Baltimore, MD that has a majority focus on artists of color. She writes about subject matter that is underdeveloped in academia and with the public. Her work transcends many fields of study which includes: fashion, history, art, media, and performance among people of color through history. Her current research focuses on fashion and race analysis in Spanish colonial paintings. www.wallergallery.com www.unravelpodcast.com Moderator: Caroline Hayes Charuk approaches sculpture, printmaking and video from a background in textiles, ceramics, and hobbyist craft materials. She is a former member of CTRL+SHFT Collective in Oakland, CA, a studio and exhibition space focused on supporting women, nonbinary and trans-spectrum artists. She has taught workshops at the Berkeley Arts Museum, the De Young Museum, Richmond Art Center, and numerous other community arts organizations. She is currently the General Manager of the Textile Society of America. Pronouns: she/her

The Confederate Truce Flag is a little known piece of Americana. It was flown as a white flag of surrender and delivered to the Appomattox Court House, Virginia in April 1865. A piece of it is owned by Smithsonian. It is not as iconic as the Confederate Battle Flag. Artist Sonya Clark wants to change that through her new exhibition Monumental Cloth, The Flag We Should Know at Philadelphia’s Fabric Workshop and Museum.

Addoley Dzegede is a Ghanaian-American interdisciplinary artist. Her work has been exhibited throughout the US, Europe, and Africa, and she has been an artist-in-residence at Thread: a project of the Josef and Anni Albers Foundation in Senegal, The University of Kansas, the Arteles Creative Center in Finland, Foundation Obras in Portugal, and Nes Artist Residency in Iceland, as well as a post-graduate apprentice at the Fabric Workshop and Museum in Philadelphia. She received a BFA from Maryland Institute College of Art, and was awarded a Chancellor’s Graduate Fellowship at Washington University in St Louis, where she completed an MFA degree in Visual Art. Recent group exhibitions and screenings include Overview is a Place at SPRING/BREAK Art Show: Stranger Comes to Town in New York; Another Country at 50/50 in Kansas City; The Labs @ Chale Wote at the W.E.B. Du Bois Memorial Centre for Pan-African Culture in Accra; In Deep Ecology at Tenerife Espacio de las Artes in Spain; Ecology without Borders .01 at [.BOX] Videoart Project Space in Milan; Color Key at the Contemporary Art Museum, St Louis; and Surface Forms at The Fabric Workshop & Museum in Philadelphia. Recent awards include the 2018 Great Rivers Biennial award; a MICA alumni award; a St. Louis Regional Arts Commission Artist Support Grant; and a Creative Stimulus Award from Critical Mass for the Visual Arts. She is half of the collaborative duo, LAB:D, (which is a member of the artist collective, Monaco),with Lyndon Barrois Jr. Her solo exhibition, Ballast, was recently on view at the Contemporary Art Museum in St. Louis. For context, we did this interview with Addoley located in the Netherlands; she is there temporarily as her partner, Lyndon, is completing a residency there. They will return to the US in 2019.

This week we are so excited to have the multi-faceted Tim Eads on the show. Tim Eads has worked as a graphic designer, art instructor, master printer, and artist for over 20 years. He was a Master Printer and Project Manager at The Fabric Workshop and Museum in Philadelphia from 2009-2015 and he’s called Philly home ever since. He currently works with talented artisans in his low-waste, sustainable workshop to bring his vibrant designs to life. I delved into his latest project of creating abstract wall art that he creates with tufting guns. It was an amazing conversation about how you can continue to evolve as an artist.

The Fabric Workshop and Museum, founded in 1977 by arts visionary Marion “Kippy” Boulton Stroud, is celebrating its 40th birthday with a major retrospective exhibit. Process and Practice: 40 Years of Experimentation hilights archived ephemera from the institution's famed artist-in-residence program that has been preserved for decades in “artist boxes.” Artblog's Imani Roach spoke with Susan Lubowsky Talbott, the Museum's Executive Director, about exhibiting “failures,” engaging the public, and her legacy. What was the most surprising thing she discovered in those artist boxes? Listen to find out. Imani interviewed Susan at the Fabric Workshop and Museum on January 9th, 2018; the podcast is 30 minutes long.

The Fabric Workshop and Museum, founded in 1977 by arts visionary Marion “Kippy” Boulton Stroud, is celebrating its 40th birthday with a major retrospective exhibit. Process and Practice: 40 Years of Experimentation hilights archived ephemera from the institution’s famed artist-in-residence program that has been preserved for decades in “artist boxes.” Artblog’s Imani Roach spoke with Susan Lubowsky Talbott, the Museum’s Executive Director, about exhibiting “failures,” engaging the public, and her legacy. What was the most surprising thing she discovered in those artist boxes? Listen to find out. Imani interviewed Susan at the Fabric Workshop and Museum on January 9th, 2018; the podcast is 30 minutes long.

This interview is with Claire Howard, the Assistant Curator of Modern and Contemporary Art at the Blanton Museum of Art here in Austin. The museum is currently hosting a traveling photography exhibit called The Open Road: Photography and the American Road Trip. Claire speaks about the content and images that make up the exhibit and shares what goes on behind the scenes to plan for and integrate an exhibition into a new space. She also had the chance to add elements to the original line up that enhance the conversation and relate to our location and it’s history for the benefit of a local audience. Don’t miss this great exhibition which will be on view from November 25th, 2017 until January 7th, 2018. It was organized by the Aperture Foundation in New York and curated by David Campany and Denise Wolf, supported in part by an award from the National Endowment for the Arts. Photographs by Robert Frank, Inge Morath, Ed Ruscha, Garry Winogrand, Lee Friedlander, William Eggleston, Joel Meyerowitz, Stephen Shore, Victor Burgin, Bernard Plossu, Shinya Fujiwara, Eli Reed, Joel Sternfeld, Todd Hido, Alec Soth, Ryan McGinley, Justine Kurland, Taiyo Onorato and Nico Krebs. Blanton Museum of Art The University of Texas at Austin 200 E. Martin Luther King Jr. Blvd. Austin, TX 78712 PHONE: 512-471-5482 EMAIL: info@blantonmuseum.org Some of the subjects we discuss: The Blanton Claire’s previous work history Austin gallery spaces Prep for The Open Road Origins of the exhibition Hanging the show Photographing america Joel Sternfeld Lee Friedlander Alex Soth Inge Morath Justine Kurland Photography today Robert Frank Claire’s additions Eli Reed Road trip inspiration Walt Whitman quote Claire's Bio Claire Howard is the Assistant Curator of Modern and Contemporary Art at the Blanton Museum of Art. She was the 2016-2017 Vivian L. Smith Foundation Fellow at the Menil Collection in Houston, and from 2010 to 2013, she was a Graduate Research Assistant at the Blanton, where she worked on exhibitions including Through the Eyes of Texas: Masterworks from Alumni Collections, and curated the collection exhibition Cubism Beyond Borders (both 2013). Claire previously worked at the Philadelphia Museum of Art, where, as a Research Assistant for Modern and Contemporary Art, she helped organize special exhibitions including Marcel Duchamp: Étant donnés and Arshile Gorky: A Retrospective (both 2009). Claire has also worked and interned at the Fabric Workshop and Museum (Philadelphia), Cooper-Hewitt, Smithsonian Design Museum (New York), and Wellesley College’s Davis Museum and Cultural Center (Wellesley, MA). She is a PhD Candidate in Art History at The University of Texas at Austin, and is writing her dissertation on the Surrealist movement and its cultural context from 1950-1969. Claire earned an MA in Art History from The University of Texas at Austin and a BA in Art History and English from Wellesley College. She is a native of Philadelphia.

This week: A BAS bureau twofer! First Patricia talks to Mika Tajima. This week, Patricia Maloney chats with artist Mika Tajima at the San Francisco Museum of Modern Art just before the opening of the exhibition Stage Presence, where her collaborative film, performance, and sculptural project, Today is Not a Dress Rehearsal, is currently on view through October 8, 2012 . Mika Tajima, was born in Los Angeles, and lives and works in Brooklyn. She earned a BA from Bryn Mawr College in 1997, an MFA from Columbia University in 2003, and attended The Fabric Workshop and Museum Apprentice Training Program in 2003. Her work has been included in the exhibitions The Pedestrians, South London Gallery, London (2011); Transaction Abstraite, New Galerie, Paris (2011); The Double, Bass Museum, Miami (2010); Knight’s Move, Sculpture Center, Long Island City (2010); Today is Not a Dress Rehearsal, San Francisco Museum of Modern Art (2009); The Extras, X Initiative, New York (2009); Learn to Communicate Like a Fucking Normal Person, Art Production Fund, New York (2009); Deal or No Deal, Kevin Bruk Gallery, Miami (2008); 2008 Whitney Biennial, Whitney Museum of American Art, New York (2008); Mika Tajima: Broken Plaid/Holding Your Breath (taking the long way), RISD Museum, Providence (2008); The Double, The Kitchen, New York (2008); Sympathy for the Devil, Museum of Contemporary Art, Chicago (2007); Music Is a Better Noise, PS.1 Contemporary Art Center, Long Island City (2006); Grass Grows Forever in Every Possible Direction, Walker Art Center, Minneapolis (2005); Echoplex, Swiss Institute Contemporary Art, New York (2005); and Uncertain States of America, Astrup Fearnley Museum, Oslo, Norway (2005). She is part of the music-based performance group New Humans. The following is part of the ongoing collaboration between Bad at Sports and Art Practical. You can read an abridged version of the interview here. Next: New India correspondant Tanya Gill goes to the India Art Fair! Tanya Gill, a Chicago artist living in New Delhi, wanders through the India Art Fair of 2012. Over the course of four days she spoke to Gallery owners and artists, and found a surprising number of Chicago connects. Recorded here are her conversations with Kiran Chandra, Renuka Sawhney of The Guild, artist Vibha Galhotra, artist Ram Rahman from The SAHMAT Collective, Laura Williams of Art 18/21, artists Joan Livingston and Katarina Weslien from the School of the Art Institute of Chicago, Ritika Baheti of the Autonomous Public Laboratory Project, and four living works of art by Preeti Chandrakant.