Podcasts about Heard Museum

This podcast is a little different because it's actually an artist panel that I recorded at Scottsdale Ferrari Art Week, a show that I was a part of back in March 2025. It was such an important presentation that I thought it needed to be captured and preserved. It's all about contemporary Indigenous art and where it stands today.The moderator of this panel is David Roche, Executive Director of the Heard Museum, and it features three incredible Native American artists. You have multimedia artist Tony Abeyta (Diné), weaver Melissa Cody (Diné), and finally,  Phoenix based muralist Thomas "Breeze" Marcus (O'odham/ Ponca).I have talked to Abeyta and Breeze on previous podcasts so you can listen to those episodes if you would like to go deeper into their backgrounds and I hope to have Melissa and David on someday as well. So I hope you like it. I think it's a really important group and something that I'm beyond happy we were able to record and now publish for everybody that loves Indigenous art.

Keeping our Community Safe You hear the sirens, you see the men/women in uniform, but do you know what it takes to really be a member of Scottsdale Fire & Police? I've done a training day with them and let me tell you, it's not for the faint of heart. And while amazing men/women are taking care of us, their training facility was barely taking care of them. A double wide trailer track with a junkyard on the side. Not the best when you think of what they do to save us. Which is why I'm so excited to talk about the new training facility that was dedicated earlier this year. Scottsdale Fire, David Folio, is excited to share all the upgrades the newest class gets to experience.     Calendar of Events   Persian New YearA celebration of culture, fashion, music , food and more. Hosted at the Scottsdale Civic Center, you can get your tickets online.   67th Annual Indian Fair & Market Located at the Heard Museum in Scottsdale. Prepare yourself for a spectacle of creativity, blending traditional heritage with modern innovation. Spring Training GamesWe're in full swing with spring training. The city is bustling with people and baseball fans from around the nation. So batter up, get ready and let's go!

Keeping our Community Safe You hear the sirens, you see the men/women in uniform, but do you know what it takes to really be a member of Scottsdale Fire & Police? I've done a training day with them and let me tell you, it's not for the faint of heart. And while amazing men/women are taking care of us, their training facility was barely taking care of them. A double wide trailer track with a junkyard on the side. Not the best when you think of what they do to save us. Which is why I'm so excited to talk about the new training facility that was dedicated earlier this year. Scottsdale Fire, David Folio, is excited to share all the upgrades the newest class gets to experience.     Calendar of Events   Persian New YearA celebration of culture, fashion, music , food and more. Hosted at the Scottsdale Civic Center, you can get your tickets online.   67th Annual Indian Fair & Market Located at the Heard Museum in Scottsdale. Prepare yourself for a spectacle of creativity, blending traditional heritage with modern innovation. Spring Training GamesWe're in full swing with spring training. The city is bustling with people and baseball fans from around the nation. So batter up, get ready and let's go!

[Native American Art] Join us as we visit the recently remodeled and renovated Heard Museum Shop in Phoenix. We talk to shop director Kelly Gould and John Bulla, the museum's deputy director and COO. They talk about the wonderful world of museum gift shops, how they can support the core mission of a museum and the unique differences of the Heard Shop to most museum gift stores. This episode also serves as a preview of the 2025 Heard Museum Guild Indian Fair & Market, which will take place March 1-2, 2025, on the grounds of the museum. Native American Art magazine is the official magazine of the annual event and will be on hand giving out magazines and selling the Heard Indian Fair & Market T-shirt. Be sure to stop into our booth near the main entrance. Learn more about the market at heard.org.

Danielle Casey, President & CEO of the Albuquerque Regional Economic Alliance, joins Dennis and discusses finding your path in economic development. How do you find the right fit? How do you know when to move to the next position? Is working your way up in one organization preferable, or is there value in working for multiple organizations? Is there a tipping point when it makes more sense to stay with an organization? Are there red flags when looking at joining an organization? Are there some dos and don'ts people should be aware of when interviewing? Ms. Casey brings extensive and diverse experience in leadership, public administration, marketing, business development and retention, and strategic planning as the leader of AREA, a nonprofit organization working to create a prosperous and diverse economy for the four-county Albuquerque metro region. She joined the organization in October of 2020. Previously, she served as the Executive Vice President for the Greater Sacramento Economic Council and oversaw the organization's business development, marketing and communications, investor engagement, research, and strategic initiatives critical to advancing economic growth in Greater Sacramento. She oversaw the comprehensive launch and execution of a best-in-class national site selection consultant strategy and established first-ever memorandums of understanding with seven local commercial real estate brokerage offices, receiving a Gold Award from the International Economic Development Council in 2020 for a joint publication she spearheaded with CBRE. She established critical internal efficiencies with revisions to all organizational practices from database management to budget development and oversight. Even in the wake of COVID-19, the organization succeeded in meeting all its annual metrics and job creation goals and launching a regional business retention and expansion outreach program. From 2013 – 2018, Danielle served the well-known City of Scottsdale, Arizona as its Economic Development Director. Under her leadership, the department received six awards of excellence from the International Economic Development Council, status as an Accredited Economic Development Organization, the 2015 ‘Large Community Economic Development Organization of the Year' award from the Arizona Association for Economic Development, and unanimous Council approval of a Five-Year Economic Development Strategic Plan – the first for the community in more than 15 years. During her tenure, the department was directly involved in projects accounting for more than $24 million in 5-year direct revenue impact to the city, $7 billion in 5-year total economic impact, 4,428 or more new jobs in the first 12 months of business operation alone and $160 million in new capital investment. Ms. Casey served in various executive roles at the City of Maricopa, Ariz. since 2005, lastly as the Assistant City Manager. Departments under her oversight included economic development, community and development services, capital improvement, public works and City-wide marketing and communications activities. She managed several noteworthy tasks in the establishment of the City's economic development office, such as the creation of an Industrial Development Authority, the City's first Redevelopment District and Area Plan, the establishment of a local economic development 501 (c) 3 (the Maricopa Economic Development Alliance), City-wide branding and Economic Development Strategic Plan. Prior to her time in Maricopa, she attained significant experience in the non-profit sector working in fundraising, marketing, and event and membership management at the Heard Museum of Native Cultures and Art in Phoenix, Arizona and at Save The Bay in Providence, Rhode Island. Ms. Casey received her bachelor's degree from Arizona State University and Master of Administration from Northern Arizona University. She is both a Certified Economic Developer (CEcD) as well as a certified Economic Development Finance Professional (EDFP). She is a member of the International Economic Development Council and serves on its Board of Directors Governance Committee. She also serves as an instructor at the Oklahoma University Economic Development Institute and serves on its Board of Directors and as a Mentor. Danielle is a proud Past President of the Arizona Association for Economic Development, a statewide professional association with more than 480 public and private members, and an active board member with New Mexico IDEA. In May 2010, Ms. Casey was the honored recipient of the ‘Economic Developer of the Year – Small Community' award from the Arizona Association for Economic Development and in January 2017 she was recognized as a national top ‘40 under 40 Rising Star' in economic development by Development Counsellors International. In addition, she is co-founder of the Arizona Chapter of Women Leading Government which in its sixth year draws more than 400 participants. An Air Force brat, Ms. Casey has had the great privilege of living in Texas, Ohio, Alabama, Louisiana, Utah, Rhode Island, Arizona and California throughout her life and is thrilled to now call Albuquerque home, along with her trusty English bulldog Sophie, heeler/cattle dog mix Persie, and her amazing and supportive husband Steve.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode  Emily chats with multimedia artist Tricia Rainwater. Tricia delves into her artistic journey, focusing on self-portrait photography and installations. Her work, seen in exhibitions like 'Allegedly the Worst is Behind Us' at San Jose's Institute for Contemporary Art, addresses themes of political innateness, erasure, and the importance of creating personal archives. She also shares her experiences from childhood photography to her impactful pieces that highlight missing Indigenous women and girls. Their conversation touches on the emotional power and societal responsibilities of art.About Artist Tricia Rainwater:Tricia Rainwater (she/her) is a mixed Choctaw Indigiqueer multimedia artist based on Ramaytush Ohlone land. Tricia's work ranges from self portraiture to large sculptural installations. Her work has been featured nationally and internationally through group shows and artist features. In her work, Tricia, focuses on creating pathways to a resilient and hopeful future by centering the process of grieving and healing. She is a recent recipient of the SF Artists Grant through the SF Arts Commission.Visit Tricia's  Website:  TriciaRainwater.comFollow Tricia  on Instagram:  @TriciaRainwaterArtLearn more about the exhibit, 'Allegedly The Worst Is Behind Us', currently at the ICA San Jose - CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Host Shayla Ouellette Stonechild interviews Lauren Good Day, a multi-award-winning Indigenous artist and fashion designer. They discuss the significance of matriarchy in Indigenous cultures, Lauren's journey into fashion, and the essence of her brand, which honours cultural heritage through art and design. Lauren shares her creative process, the challenges she faces as an Indigenous entrepreneur, and offers advice to young Indigenous creatives. Together, they highlight the importance of cultural appreciation and the future of Indigenous fashion. Lauren Good Day “Good Day Woman” is an Multi- award winning Arikara, Hidatsa, Blackfeet and Plains Cree artist & sought after fashion designer. She is an enrolled member of the Three Affiliated Tribes (Mandan, Hidatsa, Arikara Nation) of the Ft. Berthold Reservation in North Dakota, USA and also a registered Treaty Indian with the Sweet Grass Cree First Nation in Saskatchewan, Canada. She has shown her artwork at the world's most prestigious Native American juried art shows such as the Santa Fe Indian Market in Santa Fe NM, Heard Guild Museum Market in Phoenix AZ, Autry American Indian Arts Marketplace Los Angeles CA, Eiteljorg Museum Indian Market Indianapolis IN, Cherokee Indian Market in Tulsa OK, Red Earth Fine Arts Festival in Oklahoma City OK and the Northern Plains Indian Art Show in Sioux Falls SD. Her Awards include many First Places in Tribal Arts, Traditional Arts, Cultural Arts, Diverse Arts, Beadwork, Drawings, Textiles and the prestigious Best of Tribal Arts award. Lauren's artwork has been part of numerous solo and group exhibitions at galleries and museums across the Country. Being a sought after artist and designer her work is in numerous public and private collections throughout the United States, Canada and the World, including the The National Museum of American Indian Washington DC and New York City, The Heard Museum, Phoenix AZ, Buffalo Bill Center of the West, Plains Indian Museum Cody Wyoming, and Red Cloud Heritage Center Pine Ridge SD. You can find her work and mentions in publications such as Vogue, InStyle Magazine, New York Times, Fashion Magazine, Cowboys & Indians Magazine, Cosmopolitan and numerous national and international publications. Find out more about Lauren Good Day: https://laurengoodday.com/pages/about-the-artist  https://www.instagram.com/laurengoodday/ Thanks for checking out this episode of the Matriarch Movement podcast! Leave comments and a thumbs up for us on YouTube, or leave a five star review on your favourite podcast app! Find Shayla Oulette Stonechild on Instagram: https://www.instagram.com/shayla0h/ Find more about Matriarch Movement: https://matriarchmovement.ca/ Watch this episode on YouTube: https://www.youtube.com/@matriarch.movement This episode is produced by Sarah Burke and the Women in Media Network. Special thanks to the Indigenous Screen Office for supporting this podcast! Hiy Hiy! Chapters: (00:00) Introduction to Indigenous Art and Culture (01:55) Understanding Matriarchy in Indigenous Cultures (05:00) The Journey into Fashion and Art (09:14) The Essence of the Lauren Goodday Brand (16:05) Creative Process and Cultural Significance (19:59) Challenges of Being an Indigenous Entrepreneur (28:10) Advice for Young Indigenous Entrepreneurs (30:59) Cultural Appreciation and Future of Indigenous Fashion Learn more about your ad choices. Visit megaphone.fm/adchoices

For this special episode, we take you into the tents and booths of the Heard Museum Guild Indian Fair & Market that was held March 2 and 3 in Phoenix at the Heard Museum. Michael Clawson speaks to five top artists: Best of Show winner Hollis Chitto, fashion designer and weaver Naiomi Glasses, pueblo carver Kevin Sekakuku, fur artist Christy Ruby and jeweler JJ Otero. Native American Art magazine was the official magazine of the Heard Market. To learn more, visit nativeamericanartmagazine.com. And be sure to learn more about the Heard Museum at heard.org.

This is a replay of an episode from September 2022. In recognition of National Day of Remembrance for U.S. Indian Boarding Schools on September 30, we are discussing the history of American Indian boarding schools and the continued legacy of this part of our history. Hosts Daniela and Donnie welcome Marcus Monenerkit from the Heard Museum to the podcast to speak about the history of American Indian boarding schools and the Away From Home: American Indian Boarding School Stories exhibit at the Heard Museum.  Monenerkit shares about what students and families experienced, including a bit of his own family's experiences and about the American Indian boarding schools now present on Steele Indian School Park in central Phoenix. He speaks to the trauma and challenges students and their families faced and how that continues to affect American Indian individuals and families today. He also details some of the policy and mindsets that led to the creation of American Indian boarding schools, how they changed over time, and what current-day American Indian boarding schools are like today. Here are a few resources connected to today's discussion: Away From Home: American Indian Boarding School Stories exhibit at the Heard Museum Video about the history of American Indian Boarding Schools from the Heard Museum Statement by U.S. Department of the Interior Secretary Deb Haaland on the Truth and Healing Commission on Indian Boarding School Policies Act Learn more about the Arizona K12 Center at azk12.org.

I think the reason I do these podcasts is for guests like the one I just had on, which is Roy Talahaftewa. I have to say, he is such a genuine, wonderful person, artist, and someone that I think everyone should get to know if they don't already.For one thing, just on the silversmith part, he's won best of show at the Indian Market events the Heard Museum, and the Museum of Northern Arizona, but also at the Santa Fe Indian Market. I could be wrong but don't think anybody has accomplished that before. The one at the Museum of Northern Arizona was this year, so 2023. We just talk about a lot of things. About his life, about where he's been and gone, the process of becoming an artist and what that requires, whether you're a Hopi silversmith or, you know, someone dealing in contemporary art or Western art.Roy is clearly a dedicated artist and also just a genuinely kind person. So I had a great time. I hope you enjoyed it as much as I did. Roy Talahaftewa on episode 258 of Art Dealer Diaries Podcast.

Roxanne Swentzell was born in 1962 in Taos New Mexico. She is a member of the Native American Tribe, Santa Clara Pueblo. Growing up within an artist family allowed Roxanne to naturally take up her mother's clay and start sculpting at a very early age. Due to a speech impediment as a child, Swentzell found that she could sculpt what she was feeling in clay and communicate in this manner. She continued speaking through clay even after she learned to talk in words. In high school, Swentzell was allowed to go to the Institute of American Indian Arts for classes and had her first one person show at age 17. She went on to the Portland Museum Art School. In 2003, Roxanne opened The Roxanne Swentzell Tower Gallery in Pojoaque New Mexico. In 2015, Roxanne Swentzell was given an Honorary Doctorate Degree from the Institute of American Indian Arts. Swentzell has shown throughout the world and has permanent pieces in the National Museum of the American Indian Smithsonian D.C., British Art Museum, Museum of Wellington, NZ, The Heard Museum in AZ, Denver Art Museum, and the Santa fe Convention Center. She has won many awards at the Santa Fe Indian Market and Heard Museum Art Guild, along with being given the New Mexico Governor's Award for excellence in the Arts, and becoming a Native Treasure. Roxanne continues to create artwork and run a non-profit, Flowering Tree Permaculture Institute, working to inspire and nurture communities based on indigenous ways of knowing. " With my work, I want to communicate with others through our common human language, emotions. Making art that means something matters to me because every action effects everything else." Links:   www.roxanneswentzell.net       Artist Shoutout:   Rose B. Simpson   Diego Romero   Lonnie Vigil    I Like Your Work Links: Radiate and Repeat Exhibition  Join The Works Membership! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram    

Born in Oklahoma, Anita Fields is a contemporary Native American multi-disciplinary artist of Osage heritage. She is known for her works which combine clay and textile with Osage knowledge systems. Fields explores the intricacies of cultural influences at the intersections of balance and chaos found within our existence, explaining that “The power of transformation is realized by creating various forms of clothing, coverings, landscapes, and figures. The works become indicators of how we understand our surroundings and visualize our place within the world.” In this way, the early Osage concepts of duality, such as earth and sky, male and female, are represented throughout her work. Her sculptures have been featured in many solo and group exhibitions, including the 2020-2021 Weaving History Into Art; The Enduring Legacy of Shan Goshorn, Gilcrease Museum, Form and Relation: Contemporary Native Ceramics, Hood Museum, Dartmouth College, the 2018-2020 Hearts of Our People, Minneapolis Institute of Art, and the 2018 Art for A New Understanding: Native Voices, 1950's to Now at Crystal Bridges Museum of American Art. Her work was also included Who Stole the Teepee? at the National Museum of the American Indian, Smithsonian, New York, and the 1997 Legacy of Generations: Pottery by American Indian Women at the National Museum of Women in the Arts, Washington DC., Crystal Bridges Museum of American Art, Arkansas. Her work can be found in several collections, such as the Museum of the American Indian, Smithsonian, the Museum of Art and Design, New York City, the Minneapolis Institute of Art, Dartmouth College, New Hampshire, and the Heard Museum, Arizona. Fields was a 2017-2019 fellow with the Kaiser Foundation Tulsa Artist Fellowship program and is currently a 2020-2023 Tulsa Artist Fellowship Integrated Arts Grant awardee. Fields was the invited artist for the 2021 Eiteljorg Museum of Contemporary Art Fellowship. Fields was recently named a 2021 National Endowment of the Arts Heritage Fellow and a 2021 Anonymous Was A Woman award. In 2022 she received a Francis J Greenburger award. Website: https://www.anitafieldsart.com/about

"I came up with the idea of ‘Eating the Landscape' because I was thinking about our Indigenous ancestral foodways. It's not just about food. It's not just about nutrition. ‘Eating the Landscape' is about this large, interconnected matrix of our relationship to place." In this episode, Enrique Salmón, Ph.D. guides us to see Indigenous foodways as parts of an interconnected matrix of our relationship to place. Introducing the concept of “kincentric ecology,” Enrique problematizes one-size-fits-all approaches to caring for the land. He also elaborates on why many Native peoples are opposed to memory banking as a way to preserve Indigenous knowledge. Having completed his dissertation on how the bioregion of his Rarámuri people of the Sierra Madres of Chihuahua, Mexico influences their language and thought, Enrique invites us to understand the layered meanings behind the phrase “Eating the Landscape”—looking at food not just as sources of nourishment but as avenues of growing one's kinship. Ultimately, as opposed to the doom and gloom perspectives prevalent in mainstream environmentalism in regards to the role of humankind, Enrique leaves us with a calling of recognizing humans as a keystone species—where creation is not only a matter of what came before but an act of relational responsibility. About the guest: Enrique Salmón is the author of Iwígara: The Kinship of Plants and People and Eating The Landscape, a book focused on small-scale Native farmers of the Greater Southwest and their role in maintaining biocultural diversity. With a PhD. in anthropology from Arizona State University, he has been a Scholar in Residence at the Heard Museum and on the Board of Directors of the Society of Ethnobiology. Enrique has published several articles and chapters on Indigenous ethnobotany, agriculture, nutrition, and traditional ecological knowledge, and he teaches American Indian Studies in the Department of Ethnic Studies at Cal State University East Bay. also serving as their Tribal Liaison. The musical offering featured in this episode is Flute Dance by Enrique Salmón. The episode-inspired artwork is by Cherie Kwok. Green Dreamer is a community-supported podcast. Join our Patreon and contribute a gift of any amount today to help keep our platform alive: greendreamer.com/support

Joining us on the show today are two guests: David Roche, director and CEO of the Heard Museum, and Diana Pardue, chief curator at the Heard Museum. We will be talking about the popular Phoenix art destination, including ongoing and upcoming exhibitions, as well as the upcoming Heard Museum Guild Indian Fair & Market on March 4 and 5. More than 600 Native American artists will be at this year's market. Native American Art magazine is the OFFICIAL magazine of the Heard Market and we will be on-site offering magazines, the official market T-shirt and recording podcasts with the artists. Don't miss this year's event!

There is a sensitivity warning on this episode for non-graphic mention of trauma and violence against a minority group.Discussion with Andrew Gustafson from the Johnson County Museum about their current special exhibit: Away From Home: American Indian Boarding School Stories. This is a national traveling exhibit arranged by NEH and the Heard Museum. It will be at JCM from Feb 1- March 18, 2023Support this podcast at — https://redcircle.com/homegrownkc/exclusive-content

In this episode of Broken Boxes we talk about the life and current projects of Cherokee/Muscogee artist and composer Elisa Harkins. From her experience of being an adopted child to surviving a near fatal bike accident, Elisa shares both foundational and vulnerable life experiences which gave her strength as an artist. Elisa also reflects on grad school, noting artists who inspired her through insight and mentorship. We speak on how she has used language as a tool in her practice and as a way to access belonging and participation in community. She walks us through Radio III, a collaborative performance project which recently toured Europe. In closing, Elisa reminds us that as we strive to do things in a good way as creatives, we should also not be afraid to take a chance on bold ideas that push our comfort levels. Elisa Harkins is a Native American (Cherokee/Muscogee) artist and composer based in Tulsa, Oklahoma. Her work is concerned with translation, language preservation, and Indigenous musicology. Harkins uses the Cherokee and Mvskoke languages, electronic music, sculpture, and the body as her tools. She is the first person to use the Cherokee language in a pop song. Harkins received a BA from Columbia College, Chicago, and an MFA from CalArts. She has since continued her education at the Skowhegan School of Painting and Sculpture. She has exhibited her work at Crystal Bridges, documenta 14, The Hammer Museum, The Heard Museum, and MoMA. In 2020, She created an online Indigenous concert series called 6 Moons and published a CD of Muscogee (Creek)/Seminole Hymns. She is also the DJ of Mvhayv Radio, an Indigenous radio show on 99.1FM in Indianapolis, IN, and streaming from OK#1 in Tulsa, OK. Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ is a dance performance that features music and choreography by Harkins. With support from PICA and Western Front, songs from the performance have been collected into a limited edition double LP, which can be found on Harkins' Bandcamp. Harkins resides on the Muscogee (Creek) Reservation and is an enrolled member of the Muscogee (Creek) Nation. Song Featured: Deadly by Elisa Harkins

I had Barbara Teller Ornelas on the podcast today.  I've known Barbara for a very long time. She's a Diné weaver who's won Best of Show at Indian Market in Santa Fe twice which, as far as I know, has never happened with any other weaver. Barbara is an amazing individual, an artist that is completely dedicated to her art form. She does Two Great Hills tapestry weavings, typically 80 inches and greater. Her heritage is that of Edgewater Clan and The Waters Flow Together clan.We sat down and spoke about her journey, how she learned to weave, and the things that have gone on in her life. Things like boarding school, which was really problematic for a lot of Native American people.  We also talk about COVID and how devastating it was for her family.This is a terrific podcast especially if you want to learn about one of the greatest living weavers (Seriously, she's the Michael Jordan of Navajo weaving). Barbara is amazing and I had a great time. Barbara Teller Ornelas on Episode 209 of Art Dealer Diaries Podcast.

What you'll learn in this episode: Why Native American jewelry has struck a chord with Australian shoppers Why jewelry is so important to Native American cultures, and the history of jewelry making in the Southwest Which characteristics to look for in distinct varieties of turquoise How to make the most of a trip to Indian Market Which Native American jewelry artists are ones to watch About Jennifer Cullen Jennifer Cullen is the owner of Four Winds Gallery, a jewelry gallery in Double Bay, Australia that focuses on jewelry of the American Southwest. Established in 1981, Four Winds boasts a collector's standard of traditional and contemporary North American Indian jewelry, pottery, sculptures, graphics and textiles. The gallery is the culmination of a long-term interest and passion for Jennifer.  Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Facebook Transcript: The suburbs of Sydney, Australia might be the last place you'd expect to find a Native American jewelry gallery, but that's exactly what makes Jennifer Cullen's Four Winds Gallery so special. After a lifelong love affair with the jewelry of the American Southwest, Jennifer opened her gallery in Double Bay, a Sydney suburb known for its high-end shopping. She joined the Jewelry Journey Podcast to talk about the history behind Native American silversmithing; how she educated Australian collectors about Southwestern jewelry; and why turquoise is the most personal gemstone. 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, my guest is Jennifer Cullen of Four Winds Gallery, an unusual jewelry gallery located in Double Bay, Australia. Jennifer is talking with us from Australia today. I say this is an unusual gallery because it focuses on Native American jewelry and jewelry of the Southwest. When I look at the jewelry, I immediately think of Santa Fe, New Mexico. I love the jewelry. Santa Fe happens to be one of my favorite places. I saw these pieces on Instagram and I was blown away because I thought, “How can this be in Australia?” She has this gallery in Australia with these beautiful Native American pieces. I'm looking forward to hearing Jennifer's jewelry journey today. Jennifer, welcome to the program.   Jennifer: Good morning from Double Bay, Sidney, Australia. I'm sure it's a good evening over there. It's so fun to talk with you.   Sharon: It's great to talk with you. You were just telling me about your jewelry journey, and I want to hear more about it.    Jennifer: Turquoise is my birthstone. This is how this whole thing started for me, back when I was teenager, born in December, being a Sagittarian. Australia doesn't really create turquoise as a birthstone here. We have little pockets of it, but it's waste. It's never looked at in the jewelry format. America is the land of fabulous turquoise. When I finished high school, my father happened to be CEO for Westinghouse, an American company. So, the family headed to the East Coast, as you would say. Westinghouse headquarters at the time was in Pittsburgh, Pennsylvania. When I went to the States, I put my university degree on hold here in Sidney and followed my parents. I wanted to buy some turquoise jewelry, and the first stop as a family traveling from Australia to America for the first time was Disneyland in California. We went to the gift shop in Frontierland, and I bought a great, big, funny turquoise, which I loved. My mother found it very curious, because my other jewelry was fine jewelry or gold jewelry that they had given me as they had gotten older. I loved it.    We made it to Pittsburgh, Pennsylvania, which is where my dad worked. I did classical ballet and psychology part-time at the local Pitt University to fill my time. One afternoon after university, I went to the bathroom and took my ring off to wash my hands. When I walked out, I forgot to put the ring back on. I went back in, and it was gone. I was devastated. My parents said, “Don't worry. There's a nice gallery in Pittsburgh. They have American Indian jewelry. Go check it out.” So, I went and found Four Winds Gallery in Pittsburgh, Pennsylvania and fell in love with the culture. The jewelry, the textiles, the pottery, everything American Indian and Southwestern that was in the gallery, I loved. I bought a new ring on layaway, as you call it. I spent a lot of time there talking about the jewelry with a guy named John Krena who runs and owns the place. He opened it in 1974. He taught me a lot about it and helped me understand it.    After two years, we moved back to Sidney. I didn't want to finish my university degree; I wanted to stay involved in and surrounded by the beauty of the artwork that comes from the Southwest done by American artists, who are quite gifted. I was interested in old jewelry and new, as well as paintings and artifacts and pottery and textiles to a degree, but the focus has always been the body adornment, the wearable art.   In 1981, I set up a tiny store in Double Bay in Sidney. People would come and say, “Oh, hi sweetie, what's all this blue stuff? Do you make it?” “Well, no. I wish I was so clever, but it's turquoise. It comes from the Southwest of the USA. It's made by multiple American Indian artists.” That's where it started. 41 years later, in 2022, I've changed stores a couple of times. I bought this store 3½ years ago. We're at it again, but it's been a journey, a hobby, a passion, a lifestyle and an income. It's something that I've enjoyed all my life.    The gallery has four exhibitions a year. I try to fly out artists for two of those exhibitions to meet my clients, because people like to meet the people who make the things and understand where it comes from. They are always contemporary artists. A big part of the gallery as well is the historical worth of vintage and antique jewelry. When I went on buying trips, which were every August and February up until Covid, I would come back and have a “return from a buying trip” exhibition. That would be a general exhibition in August of all the treasures I found on that adventure of three or four weeks in Santa Fe, Gallup, Scottsdale, Zuni, the Pueblos and various shows and things I've been exposed to. So, that's a general show.   During the year, I'd have a specific show for one of the great artists I represent, like Mike Bird-Romero. McKee Platero was out here one time. Cody Sanderson has been out many times. These are all Southwestern artists. Denise Wallace of the Wallace family, I've adored and represented her work for many, many years now. I also represented her husband before he suddenly passed away some time ago, and her daughter, Dawn, and son, David. They're Alaskan. Their work is fossilized marine ivory with scrimshaw set in beautiful silver and gold housings. The Southwestern jewelry is turquoise and coral and lapis and cream clamshells and all the various materials that hail from that kind of jewelry more predominantly.   Sharon: All of your jewelry is beautiful and instantly recognizable, but the Denise Wallace is so different than the other stuff.   Jennifer: Oh, absolutely.   Sharon: You just look at go, “Wow.”   Jennifer: And it reflects the Alaskan culture. She and her husband, Samuel, were obviously inspired a lot by her Alaskan heritage and where she comes from. The materials they work with are entirely made of silver and turquoise and whatnot, but in the museums over there, they'll start with masks and carvings that were done in the 1800s and early 1900s, and some earlier if you can find them in the different regions up there. She will study those and get inspired to turn the walrus mask, for instance, into a beautiful, big brooch.    I have a whole collection of her jewelry all in creams as well. It's a beautiful, soft coloring. It's all creams and yellows and a brownish caramel color, which is nice to wear with clothes because we really have a long summer in Australia. It's warm here from about the end of October through April, so you tend to wear paler clothing and lighter clothing, and I like to wear more jewelry at work. So, her work is really lovely to combine since you're able to put it on all the time during the hot summer months. It's very nice. I like all the very early works of the Pueblo artists called heishi. It's cream, and it goes beautifully with that as well.    But yeah, Denise's work represents the Alaskan culture and what goes on up there. Whereas in Southwestern culture, there are hundreds and hundreds of great jewelers who are doing beautiful silversmithing and lapidary. It's a very unique art form. Her son, David, I think he's one to watch. Dawn is already established as a great jeweler, and she's been working with him off and on for a long time. David is kind of quiet, and he doesn't like to get out in the public, but he's a great carver. I'm excited to watch him and see where he goes.   Sharon: When I go to Santa Fe, I love the Native American jewelry, but I have to temper myself because it's very easy to come back with all the Southwestern jewelry and artwork and go—   Jennifer: It's not relevant when you've gotten home and you're not going to put it in your home. Is that what you mean?   Sharon: I'll wear it. Here and there, I'll definitely wear it, but it's like, “Why did I buy 25 pieces? I'm not going to wear that all the time.”   Jennifer: That's interesting. I dress as a city woman. I don't wear satin and lace. Maybe I do occasionally, but I wear fine wool things in winter, cashmere, black. I dress as a city woman, which I always have done; I'm from Sydney, for goodness sake. In Double Bay, it's like the heart of cosmopolitan. It's like being in New York or Chicago or any city environment. That is where I grew up. So, this is the way I am, but for some reason, I just love wearing interesting sculptural jewelry that is not traditional gold and diamonds, fine chains and little bits and pieces and pearls. I think that's very pretty, but it doesn't make a difference when you put it on. It's pretty and you can wear it with anything, which I guess is a good thing. You can wear it with any kind of clothing.    This jewelry is a piece of wearable sculpture to me. It has impact. It has size. It has color. It has form. It has metal. It just makes me feel right when I wear it, and I wear it all the time. Even when I go to Pilates or I'm walking my dog, or when I'm down at the beach house, I wear a little pair of turquoise earrings. I always take a selection of blue turquoise pieces, maybe some green turquoise pieces to add to my orange oyster shell collection or my red coral collection. I always take plain silver. It's like a little black dress because it will go with anything. To me, it's worth putting on every day. It's to improve the way I feel and the way I look. As I get older, I like to wear even more pieces because I'm comfortable to do it. As I've grown up, the jewelry has become better, more significant, higher-end, and I don't worry anymore about, “Oh, what are people going to think if I wear this?” I just love it and I wear it.   I have a big following now nationally in Australia since the internet came to be and I got my website and all that business happened. When was that? In the early 2000s or something. You worry. You think, “Oh my gosh, now everyone can see what I'm doing. There's a whole load of beautiful galleries in America. Maybe business will change because everyone can look globally at everything.” But it actually just reinforces that if you do something well and focus on the best, and if you're knowledgeable about it and you have great quality pieces that are beautiful and aesthetically pleasing, it holds its own. My business has gone from strength to strength since then. We're open six days a week, 10:00 to 5:00. I'm in here three or four days a week. I'm in the States usually all of August. It used to be two weeks in February, but after Covid, we'll see whether that's still happening. That was more on the West Coast, in the San Francisco region. Sometimes if I had enough time, I would go down to the Heard Museum afterwards in March.   Sharon: The Heard Museum?   Jennifer: Yeah, the Heard Museum. I'd see the show there with all the current artists. It's expensive being away from the gallery, with international airfares, hotel accommodations, car rentals. I'll take my manager with me, Leslie, who's been with me for 20 years. He's very supportive and helps me keep going when you're in the rental car driving and saying, “Well, I think I should go check these out.” I wouldn't want to do it by myself. I've taken all of my daughters. They've been with me a few times. I have three daughters. They've all been with me. My sister's been with me. My mother's been with me. My father's been with me. Some girlfriends have been with me. My ex-husband has been with me a few times, but that didn't work too well. I never drive by myself. I like to travel with someone.   The whole overseas adventure is a very expensive one, to go there and spend a number of weeks and then come back again, but I have to go. I love to go. I like driving around over there, doing the reservations and getting out of the plane at Albuquerque, getting the rental car, driving into Gallop, going on the reservation, going out to Zuni, meeting different artists then ending up back in Santa Fe. I like going to all the old shows, meeting all the people that also love to collect and handle and look for this material, going to Indian markets, seeing more of the artists I've been representing for years who are all gathered together in the plaza for two days. It makes it easier for me to visit everyone.    It's been a great lifestyle. I've thoroughly enjoyed it, and it is an oddity. Dealing in North American Indian art on the other side of the world, it's a very established business. I've built incredible relationships. I had hoped one of my daughters might step into it and continue the Four Winds, not that I have any intention of retiring any time soon. My middle daughter points out to me repeatedly, “What? Working for my mom?” I'm like, “Well, it would be nice to keep the operation going forever.”   Sharon: Looking at the map, Double Bay isn't too far from Bondi Beach, is it?    Jennifer: Oh no, it's probably 10 minutes by car. Bondi Beach is on the coast on the ocean, and Double Bay is on Sidney Harbor. It's kind of an elegant, harbor side, upmarket, expensive little shopping area that's also probably five to 10 minutes from the city. The city is on the harbor. Double Bay is also farther away on the harbor going towards the coast. Then there's a little finger of land that runs up and down, and then on the other side of the little finger of land is Bondi Beach. So, it's very close to Bondi Beach.    People who come from other states and internationally stay in Double Bay in one of the hotels, or they stay in the city. We're very close to the city. They'll get a taxi or an Uber, or you can get a train or a bus; public transport here is really good. So, you're smack bang between the ocean coast and the city. I'm about halfway between. It's a very, very pretty harborside shopping area. I'm trying to think—you know Carmel—   Sharon: Yes, Carmel.   Jennifer: —in California, that feeling that you're not on a cliff; you're down on sea level.   Sharon: Are you near Sidney? When you say the city, is that Sidney?   Jennifer: It's Sidney. Double Bay is one of those smaller suburbs of Sidney. Sidney's a very big town. I think we have about six million people in Sidney. Double Bay is a five- or 10-minute cab ride from downtown Sidney. You can still call Double Bay Sidney, but it's a suburb of Double Tree close to Sidney. Most of my clients actually come from New South Wales, which is the state that Sidney is in. We have more clients from Australia now, New Zealand, South Africa, Paris, England, America, scattered all over the place. It's fun. A lot of people from France and England and New Zealand and different places come to Sidney in January, which is the peak of our summer, to get out of the winter or to visit family or friends they have in Australia. Or they come to see Australia. They visit and travel around.   Sharon: Do Australians wander into your shop and say, “Oh my God, what is this?” What's the reaction?   Jennifer: Yes, exactly. Back in the early days in the 80s, they would wander in. I was 21 years old back then, and the counter belt is at least $2,500. People would say, “Where do you sell these blue things? Do you make it?” I'd say, “I wish I was so clever. It's turquoise. It's made by artists from the Southwest of the USA,” and the talking and educating would go on. We're starting from there. A lot of them would come in and go, “What is all this stuff, really?”    Then I would get the odd person who was a big collector who would find me. He'd go, “I can't believe you're doing this in Sidney, Australia. I'm from London, and I'm collecting the Southwest,” or “They've got a gallery where I buy things in London.” You would get some people that knew about it who were already collectors. Then they would talk to other people and say, “Go to that store, the Four Winds Gallery down in Sidney. She has really good material. She's quite authentic.” It was word of mouth for a long time, doing my shows, plugging away, talking, working six days a week, having no staff. It's the energy of a 21-year-old woman building a following for it.    Now, 41 years later, I am in Double Bay. I've been around. I've expanded the gallery. I've owned a store, and I've been here as a very established business for a long time. Everyone in this region knows me. Anybody who knows anything about turquoise will be out in a restaurant in the city, and if somebody has something turquoise on, they'll say, “Oh, did you get that at Four Winds?” It's either, “Yeah,” or, “No, I went on a holiday to Santa Fe.” It's a commonly used reference point now. You still get the odd person walking in now, but it was more in the first 10 years of having the business that people would walk in who'd never been in before or never heard of it and say, “What's going on here? What is this all about?”    American Indian jewelry has become more internationally and globally known with the internet, with social media, with all the things that are going on in America, the mining rights and water rights, going to reservations, the interviews that come on NBC or the radio stations or TV stations in America. I do interviews and stories on what's happening on the tribal reservations and the injustices that are happening. It brings it more to the spotlight, and then it melds into the artwork and what's going on. So, the beautiful Southwestern American Indian artwork is not as unheard of now as it was in the 80s in Sidney, Australia, when no one on earth knew what any of it was. It's been a progress of education.   Sharon: That's interesting. I remember ages ago buying one turquoise ring. Everybody had to have one turquoise ring, and that was it.   Jennifer: Also, when you look at the 70s and the hippie phase and the bikers and flower power, there was all that association with turquoise, bear claws and feathers, which was fun, but that was kind of insane. A lot of people didn't identify with that, right or wrong. It was like, “We're going to get into the hippie jewelry.” But I think having all of that and recognizing it as fine art, the labeling doesn't matter, actually. Yes, it is Southwest and yes, it is Native American Indian. It is fabulous both historically and recently made. But it is a fine art form if you look at how it's made, how the silver is executed, how the lapidary is done, the history they've inherited for generations about how to work with metal or cut stone or drill shells. As a tribal jewelry form, it's the most sophisticated tribal jewelry form in the world, bar none to any other tribal group. It's just amazing as an art form.    I like to think that you don't have to resonate with Southwestern, cowgirl, cowboy, denim, hats and whatnot to love and embrace this art form. It's just a beautiful, wearable art form irrespective. That's always been my belief. This is not a gallery where I come to work every day in jeans and boots and a hat. It's just my thing. It is if you're from the country or you've bought a cattle property, but we're city people and city folk.    We have paintings and kachina carvings and some pottery. These are beautiful pieces, quite classic in somebody's home. It's white walls and timber floors. It's plain and very modern how people decorate today, but with this beautiful piece of artwork. They might have one or two great pots as feature pieces, but they don't become pottery collectors per se, as I see people in the Southwest do, where there are ledges and ledges built to house dozens and dozens of pots by a particular tribe because they're a collector. People don't do that here because our architecture and our lifestyle are very different. They have polished floorboards. They'll have a lovely, seasoned marble kitchen bench top, and everything's kind of washed and gray and black and modern and minimal, all of that. Then they'll have the odd piece as a beautiful art piece in their home, but they'll also have something from Japan, and they might have an early Australian aboriginal piece, rather than having the whole placed decked down in Southwestern artifacts or paintings.   With jewelry, you find that people can be general jewelry enthusiasts who collect great jewelry from all over the world, but you tend to find that people like the turquoise, the blues and the greys and the strong, big, sculptural silver. You think it's a really big piece of jewelry, but try and recreate that same belt, for instance, in 18-karat gold set with huge diamonds. It would be millions. It would be unapproachable for a lot of people. So, it's also the materials that are special. They're collectable. It's one-off. It's unique, but at this point, it's still not treated the same. For instance, this is a huge piece of turquoise in a ring by McKee Platero. That's large. If you try to replicate that size stone in a ruby or an emerald or a diamond, one, it would be very hard to find. Two, it would be extortionate because it's so big. But I can secure a natural piece of high-grade turquoise that's large and beautiful. It's not artificial and it's not a copy or a reproduction. It's the real deal, and that gives me a lot of joy, wearing a unique piece of sculpture.

In recognition of National Day of Remembrance for U.S. Indian Boarding Schools on September 30, we are discussing the history of American Indian boarding schools and the continued legacy of this part of our history. Hosts Daniela and Donnie welcome Marcus Monenerkit from the Heard Museum to the podcast to speak about the history of American Indian boarding schools and the Away From Home: American Indian Boarding School Stories exhibit at the Heard Museum.  Monenerkit shares about what students and families experienced, including a bit of his own family's experiences and about the American Indian boarding schools now present on Steele Indian School Park in central Phoenix. He speaks to the trauma and challenges students and their families faced and how that continues to affect American Indian individuals and families today. He also details some of the policy and mindsets that led to the creation of American Indian boarding schools, how they changed over time, and what current-day American Indian boarding schools are like today. Here are a few resources connected to today's discussion: Away From Home: American Indian Boarding School Stories exhibit at the Heard Museum Video about the history of American Indian Boarding Schools from the Heard Museum Statement by U.S. Department of the Interior Secretary Deb Haaland on the Truth and Healing Commission on Indian Boarding School Policies Act Learn more about the Arizona K12 Center at azk12.org.

Episode No. 562 of The Modern Art Notes Podcast features curators Sarah Chasse and Karen Kramer, and artist Jason Garcia (Okuu Pin). Chasse and Kramer are the co-curators of a new installation of the Peabody Essex Museum's Native American and American collections titled "On This Ground: Being and Belonging in America." The installation joins two separate institutional collections in a way that joins art to 10,000 years of North American history. "On This Ground" often suggests and reveals how art influenced and extended ideas core to the continental story. The installation is on view indefinitely. Garcia's work -- specifically artworks from his Tewa Tales of Suspense! series -- is included in the PEM's collection and in "On This Ground." Garcia's work often examines and interprets American and Pueblo history in ways that revise old, whites-centering narratives. His work is in the collection of museums such as the Heard Museum in Phoenix, and the Smithsonian's National Museum of the American Indian.

This week University of Minnesota professor Brenda Child shares more of those boarding schools' history and explains what it would take for a full reckoning with their legacy. Feven Gerezgiher reports-[LOON SOUNDER]This is Minnesota Native News. I'm Marie Rock.The U.S. Department of Interior recently released a report surveying the impact of the federalindian boarding school system over 150 years.This week...University of Minnesota professor Brenda Child shares more of those boardingschools' history…and explains what it would take for a full reckoning with their legacy.Feven Gerezgiher reports.[MUSIC]In May of 2022, Assistant Secretary of the Interior (for Indian Affairs) Bryan Newland reportedfindings that confirmed the U.S. targeted American Indian, Alaskan Native, and Native Hawaiianchildren with the federal boarding school system.To learn more, we turn to a noted historian for their perspective.My name is Brenda Child. I am Red Lake Ojibwe, and I'm a professor of American Studies andAmerican Indian Studies at the University of Minnesota.The report looked at federally supported boarding schools over a wide time frame, from 1819 to1969. Child said within that time frame were several different eras of boarding school policy withdifferent motivations.I always looked at that 50 year period, up into from Carlisle to FDR, as being the half centurywhen the boarding school policy dominated in the United States. But it was also the same erathat the allotment policy dominated policymaking in the US. So you have to look at these twosystems as going hand in hand with one another.Child said the Carlisle School in Pennsylvania - which was the first government-run boardingschool and a template for others to come - was formed during the Indian Wars, and prisoners ofwar were among its first students.The idea had kind of taken hold among policy makers - I mean, this is the underlying objectiveof boarding schools - is that Native people aren't going to really need a homeland anymore,right? They're going to enter the mainstream. They're going to become citizens of the UnitedStates. They're going to speak English. My grandmother was trained as a domestic servant andso they're going to have great jobs like that. And they're not going to need to live as tribal peoplein their tribal communities. And so the idea was to kind of separate Native children from theirfamilies.Child said that changed in the 1930s, during the Great Depression. For her book BoardingSchool Season, she examined first-hand narratives from children, parents, and school officials.While many American Indian students began attending public schools under the Rooseveltadministration, Child remarked that families insisted some boarding school remain… as a formof poverty relief.I would say the number one reason Indian children ended up in boarding school was death of amother. And so you see that sometimes the networks on reservations or in our communitieswere kind of collapsing in this era of high rates of tuberculosis and other disease, poverty,dispossession, that a child might go to an auntie or go to several homes within the family beforethey were sent to a government boarding school. And in the 1930s, people were making somepretty desperate decisions for the survival of their children.At the same time, (Child said) many children died from diseases at the boarding schools. Thereport gave initial counts of 53 different schools with marked and unmarked burial sites.Thinking towards accountability and what people can do to address this history, Child saidreconciliation must come in real estate.….It's a very concrete way of recognizing the real damage that was done to Indian people at thetime. You know, there's nothing we can do to kind of go back in time. There's nothing we can doabout, you know, I'm not looking myself for apologies, that doesn't go far enough. For me, I thinkwe need to talk to tribes about what they have lost in the boarding school era that could still bereturned to them.For more information on boarding school history, Child recommends the “Away from Home”exhibit at the Heard Museum in Arizona, as well as reading American Indian memoirs, likeCharles Eastman's biography From The Deep Woods to Civilization.For Minnesota Native News, I'm Feven Gerezgiher.(Marie recorded funder credits)[LOON SOUNDER]

Native Lights: Where Indigenous Voices Shine – Weekly Radio ShowNative Lights is a weekly, half-hour radio program hosted by Mille Lacs Band of Ojibwe members and siblings, Leah Lemm and Cole Premo. Native Lights is a space for people in Native communities around Mni Sota Mkoce -- a.k.a. Minnesota -- to tell their stories about finding their gifts and sharing them with the community.Native Lights – Historian Brenda J. Child Responds to the Federal Indian Boarding School System ReportOn today's show, we talk with Brenda J. Child Ph.D. (Red Lake Nation) about the U.S. Department of Interior's recently released investigative report on the Federal Indian boarding school system. Brenda J. Child Ph.D. is the Northrop Professor of American Studies and American Indian Studies at the University of Minnesota and was recently awarded a 2022 Guggenheim Fellowship by the John Simon Guggenheim Memorial Foundation. The Department of Interior's 100+ page report is a first step in the U.S. government accounting for and acknowledging the harm done to Indigenous people over many decades. From 1819 to 1969, the United States funded 408 boarding schools for American Indian, Native Hawaiian, and Alaskan Native students. These schools were a means to culturally assimilate Indigenous people and to dispossess them of lands across what are now 37 states.Brenda J. Child is the author of many award-winning books including Boarding School Seasons: American Indian Families, 1900-1940; Holding Our World Together: Ojibwe Women and the Survival of Community; and My Grandfather's Knocking Sticks: Ojibwe Family Life and Labor on the Reservation, which won the American Indian Book Award and Best Book in Midwestern History. Her bestselling book for children is Bowwow Powwow.Find the report here: https://www.doi.gov/pressreleases/department-interior-releases-investigative-report-outlines-next-steps-federal-indianAdditional resources suggested by Brenda J. Child: Museum Exhibit: Away from Home - American Indian Boarding School Stories exhibit at the Heard Museum in Phoenix Arizonahttps://heard.org/boardingschool/Journal article: The Boarding School as Metaphor, written by Brenda J. Child https://www.jstor.org/stable/10.5749/jamerindieduc.57.1.0037Dr. Charles F. Eastman (Santee Dakota) autobiographies include Indian Boyhood, Soul of an Indian, and From the Deep Woods to Civilization.  Eastman was born near Redwood Falls, Minnesota in 1858. Native Lights: Where Indigenous Voices Shine is produced by Minnesota Native News and Ampers, Diverse Radio for Minnesota's Communities with support from the Minnesota Arts and Cultural Heritage fund. Online at https://minnesotanativenews.org/

I had Mike Fox on the podcast today and we spoke for almost 3 hours. I knew that was going to be the case when I started because he's a very unique individual with a rich background in the arts. He's had a lot of different jobs throughout his life, and when I say jobs I mean they were all museum or nonprofits type jobs.Mike has done great work for the likes of the Heard Museum, Museum of Northern Arizona, the Muhammad Ali Museum (an institution that he helped start in Louisville, Kentucky), and Western Spirit: Scottsdale's Museum of the West. The last one is a fantastic museum and it's where I met Mike. I encourage people to go to it as I really believe in it and personally, I support it. Mike brought that museum to the forefront of the Western art museum scene and did a great deal to develop the museum in its infancy. Mike doesn't like to take credit for a lot of these things, but he is the impetus. It is an undeniable fact that he was a major player for many an institution, in Arizona especially. Not to mention he's met unique and interesting people along the way, like Sandra Day O'Connor and Muhammad Ali.I think you'll find this podcast very fascinating, especially if you've been to any of the museums that Mike was involved in forming/leading - or if you just enjoy museums in general. I know I did. So much so that, again we spoke for a long, long time. So it's a two-parter. This is  Mike Fox part one on Art Dealer Diaries Podcast Episode 188.

I had Mike Fox on the podcast today and we spoke for almost 3 hours. I knew that was going to be the case when I started because he's a very unique individual with a rich background in the arts. He's had a lot of different jobs throughout his life, and when I say jobs I mean they were all museum or nonprofits type jobs.Mike has done great work for the likes of the Heard Museum, Museum of Northern Arizona, the Muhammad Ali Museum (an institution that he helped start in Louisville, Kentucky), and Western Spirit: Scottsdale's Museum of the West. The last one is a fantastic museum and it's where I met Mike. I encourage people to go to it as I really believe in it and personally, I support it. Mike brought that museum to the forefront of the Western art museum scene and did a great deal to develop the museum in its infancy. Mike doesn't like to take credit for a lot of these things, but he is the impetus. It is an undeniable fact that he was a major player in for many an institution, in Arizona especially. Not to mention he's met unique and interesting people along the way, like Sandra Day O'Connor and Muhammad Ali.I think you'll find this podcast very fascinating, especially if you've been to any of the museums that Mike was involved in forming/leading - or if you just enjoy museums in general. I know I did. So much so that, again we spoke for a long, long time. So it's a two-parter. This is  Mike Fox part one on Art Dealer Diaries Podcast Episode 188.

For today's episode we give you interviews with four top artists showing at the Heard Museum Guild Indian Fair & Market in Phoenix. We were recording right from the booths at one of the most prominent Native American art markets in the country. Artists featured in this episode include glass artist Angela Babby, artist Carlin Bear Don't Walk, Davida Lister and Sheridan MacKnight.   This episode is sponsored by Native American Art magazine, the official magazine of the Heard Museum Guild Indian Fair & Market.

For today's episode we give you interviews with three top artists showing at the Heard Museum Guild Indian Fair & Market in Phoenix. We were recording right from the booths at one of the most prominent Native American art markets in the country. Artists featured in this episode include jeweler Shane Hendren, photographer Cara Romero and painter Everton Tsosie. This episode is sponsored by Native American Art magazine, the official magazine of the Heard Museum Guild Indian Fair & Market.

Episode No. 540 features curator Judith W. Mann and artist Nicholas Galanin. Mann is the curator of "Paintings on Stone: Science and the Sacred, 1530-1800," which is on view at the Saint Louis Art Museum through May 15. (Mann was assisted by Andrea Miller.) The exhibition, which includes more than 70 works by 58 artists, is the first examination of the pan-European practice of painting on stones such as lapis lazuli, slate and marble. The exhibition is accompanied by a terrific catalogue. Indiebound and Amazon offer it for about $50. On April 7-8 SLAM will be presenting a virtual symposium that explores painting on stone and the role that stone played in the meaning of individual artworks. The symposium is free but requires Zoom registration. Nicholas Galanin's work is on view in "The Scene Changes: Sculpture from the Sheldon's Collection" at the Sheldon Museum of Art at the University of Nebraska, Lincoln. The Sheldon acquired Galanin's 2012 The American Dream is Alie and Well in 2020. Galanin's work has been the subject of solo shows at Davidson College, the BYU Museum of Art, the Montclair Art Museum, the Missoula Art Museum, the Anchorage Museum and more. In 2018 The Heard Museum in Phoenix presented a survey of Galanin's career. Later this year the Weatherspoon Art Museum at the University of North Carolina Greensboro and the Crystal Bridges Museum of American Art in Bentonville, Ark. will present exhibitions of Galanin's work. Galanin is a Tlingit and Unangax̂ artist whose work examines contemporary Indigenous identity, culture and representation and interrogates the routine misappropriation of Native culture, colonialism and collective amnesia.

Explore the origins of the Native American tradition of hoop dancing. What are the facts and what is legend? Stick around to meet Dennis Bowen Sr., long time emcee of the World Championship Hoop Dance Contest hosted annually by the Heard Museum.

[00:00 - 05:12]  Eric: Hello, welcome to Brand Front Lines with your hosts, Marissa and Eric Labrecque, me. Thank you so much for listening. If you're enjoying the podcast, by the way, please subscribe and rate and share it with any marketing nerds, you know. Marissa: And check us out on Instagram @brandfrontlines where we are continuing the conversation with some practical exercises and tools, so you can apply all of this to your own brand or your clients' brands. Eric: So, this is our first season, and in this season, we're diving into one new foundational element of a brand. And every episode, what it is, why it's important, and how to build it. Last episode was our first look at what we call the brand wheel, which is our model for a successful brand, a successful brand story. Marissa: So now we are in the wheel, the very center of the wheel, which is held by the core naturally, we're also getting into brand drivers today. These are really important themes to get right. They're pretty straightforward, but I see marketers describe them differently all the time. Today, I googled them, brand drivers to see what came up. And the very first thing that I saw was personality attributes. That's what we would call them. Eric: Like what? What were some of the things that you were finding? Marissa: It was a description on a marketing consultants' website, like a little blog post she done on brand drivers. And for her they were, you know, she had a list of personality traits like  affable, fun, authentic-just personality traits. Eric: Yeah, you know, so real quick thumbnail here. If you're using an adjective, it's probably a personality attribute. And if using a noun, you're probably talking about a driver or a theme. Think about a story, you know, a writer doesn't sit down and say, I'm going to write a story about the theme funny, you might write a story about the theme growing up. And it might be a funny story, you might inject a lot of humor into it. So just keep those two things in mind as you move forward in your brand work. Marissa: Yeah, so we'll get more into it. But you know, we'll define them as we define them. And I want to reiterate, we talked about this in an earlier episode. But I think a lot of marketing programs and a lot of courses you can take online, start the brand, later than we do the brand work, they start at the stuff that customers can see, might start with a tagline or an elevator pitch, or even a mission and vision statement, which is very foundational. But you know, these are all things that might end up on your website or in your email communications. But there is some work that's a little deeper that might never see the light of day as far as customers go, but it informs everything that comes after. And it's so important. So, that's really what today is about. It's about that that stuff that is the foundation, it's underneath the building. And it's the platform on which everything else is built. Eric: Yeah, you really put that well, I mean, just remember, as a brand marketer, you're a storyteller, a little different in many ways, but you share a lot with novelists and playwrights and screenwriters, and cowboys sitting around a campfire. And yeah, and all those people, even the cowboy has done some pre work to understand where the story is going to go and how it's going to hang together. And that's what we're saying, you know, we're about is doing that pre work. Before we dive into our exploration of brand core and brand drivers. What we've been up to today? Marissa: Well, this is the first episode that we're recording after the quarantine. So, I'm working on, client works looking a little different these days, like I mostly am working with the same clients, a couple of projects got kind of put-on hold but doing different things like brands, most of the brands that I'm working with have shifted a little bit. So, a lot more focus on online sales, communications, pipelines, building email lists, all that kind of fun stuff. All of a sudden, got way more important than long term strategy. It was like alright, let's shift let's make sure we're still talking to everybody. They know where we're at. We're getting in front of them. And so it's been fun. I've learned a lot and I think deepened my relationships with my clients, we're like, in the trenches together on the brand front lines. [05:12 - 10:24]  Eric: You know, I've been working with two clients today who called with sudden needs, they wanted to craft their response to current events. First, you know, a couple months ago, it was the COVID-19 crisis. And now it's their response to the real social conversation around Black Lives Matter. I don't want to get too anchored in the moment for the sake of people listening in the future. But basically, both of these events are singular. And yet, the clients, the companies, the brands need to consider how should they relate to them with respect to their brands? What's the right response? What's the right course of action? What fits within the story that they have? How can they be legitimate? Should they even make statements. So, relating the immediate and the near term to the long-term story is something that they're wrestling with, and we're working to help them with. Marissa: Yeah, I've written statements recently for clients that they're almost are like PR work in a way. But because they matter so much, they really have to have integrity. And so it's just another moment when you really know your brand. And it really is authentic to you, then it's so much easier to speak to something that's important to you with authority and not be performative or cliche. Eric: Right. And I think it's not only about speaking, that's part of it. But also, what conversations do you want to enter into and listen, you know, there's a lot to talk about right now. And there are a lot of conversations enter into, maybe it's still good to focus. So I think the brand is not only an expressive tool, but a tool to think about who you're going to interact with and who you might need to be listening to that maybe you haven't been listening to before. Marissa: Yeah, reset your aperture. So, brand core. Eric: So, what is a brand core? Marissa: Yeah, let's define our brand core. Eric: It's the thing that doesn't really change, that lives at the heart of your brand. It's the kind of essential truth of the brand, it's the business that you're in is another really basic way of putting it. Marissa: Your genre. Eric: Yeah, I mean, if we were talking about movies, it would be the genre of the movie. So what kind of movie is this? Is it a rom-com, is it an adventure, is it sci-fi? And that helps to set our expectations for what to come? That's one of the uses of the brand core. Marissa: For what's to come? Eric: Yeah, what's the rest of the story going to be, you know, put me in the frame of mind to start thinking about you in a certain way. So that's one useful thing about a core. Something else that's really useful about it is it it's always good to know what you are and what you aren't, you know, if you're starting a rom-com, and you start doing things that are a little sci-fi(ish), could be a little bit of an awkward fit. So it helps people internally and also, your audience, your customers start to get expectations and go with you on a journey in that sense to, you know, certain kind of clarity, a certain kind of focus. Marissa: I'm very interested in science fiction rom-com. Eric: Yeah, well, there are some weird blends out there. It's just, it's really tough to do, you know, it's tough to pull off. And I think even if we were to go find a really good sci-fi rom-com, we'd probably figure out at some point, it's a little more rom-com or it's a little more sci=fi, one thing's usually going to take the lead. The other thing is that it helps you to understand who you're in the market with and competing against. Yeah, so that's pretty useful too. An example of a brand core from a B2B client of ours, actually, we'll talk about an example of a brand core from a category. So cybersecurity brands, okay, there are a lot of them out there. And let's talk about one little part of that cybersecurity space. We have a company called Prisma. That is about cloud security solutions. So cybersecurity in the cloud. A competitor of theirs - Threat stack is about cloud security as well. They define themselves a little differently, cloud security insights, but basically the same core, and so on through Shift Left, which is about application security, automation, and sis day, which is about container security, and insights and Data Dog, which is about Cloud Monitoring. They're all about this cloud security idea. Each have a little different nuance, but mainly we're understanding that they're kind of grouped together. And it's really important to think about the core as not just thing that sets you apart. But the thing that you share with others so they can start to place you. In a traditional marketplace. The people who are offering one set of services are all kind of together like you going down an alley and all the goldsmiths are there, all the rug, merchants are down another area and helps people to know where to go to find you. And then from there, they can make a decision about who to choose. [10:24 - 15:15]  Eric: So like, coke, soda beverage, like what do you call the core and that? Marissa: Well, I haven't researched this, you're asking me off the top my head. And I think coke would say its core is an emotional attitude called enjoyment, I, most people top of mind are going to think about coke as a set of experiences around a sweet carbonated beverage. So, I would say that, that's its core. And other things like it would be other sweet carbonated beverages, soft drinks. Again, with all due respect to the coke folks, and how they define it, which is probably really useful for them hugely successful brand, it's tempting to get a little tricky with a core, right, like, mostly, we think of it as soft drinks, that's where most of their revenue is coming from. And when they have another idea for another thing to market. When coke does like a water brand, then they give it another name. And they tell another story about it. So, that's kind of an example that I think helps to illustrate just how basic arriving at the basic the core should be. Sometimes it's really hard for companies to arrive at what that what that is, it seems super simple. And sometimes it is. And sometimes everybody's very clear about it from the get go. You know, we make guitars, we make cars, whatever. But there are all these new technologies that create new marketing opportunities and new markets to go into. And that can be tempting to kind of try to redefine your core fuzzed it up a little bit because of these ancillary opportunities. And that's a risky thing to do, can be done, but it's risky. Marissa: Right. Or to over identify with an aspirational competitor, like you want to be someday like this giant, you know, lifestyle brand. And so you're thinking in that, you know, in that pool, but it's like, you sell tiles. So let's start there. Eric: Right, exactly. And I think you when you mentioned lifestyle brand, that's a real temptation is for brands that really are fundamentally about being in a certain category, to sometimes aspire to be lifestyle brands. And it can lead to some really interesting marketing experiments and experiences. But I'm not sure if it really moves the needle. An example that I think of recently of this is Taco Bell, that launched a hotel. All right, so a Taco Bell hotel with a Taco Bell experience brought to life. Well, Lord knows what that is, it might be a really cool experience. But it doesn't really change the fact that Taco Bell is a Mexican fast-food brand. Let's not mince words about it. And we normally think about it relative to other fast-food brands or other Mexican fast-food brands. When we're making a decision. We're not thinking about it so much in terms of where am I going to lay my head on the pillow tonight, just not, sorry. So there's some really, you know, legitimate efforts to shift your core it can be really hard to do. One that we were involved in years ago was with Starbucks, you know, Starbucks, most people think of it as a coffee house. Starbucks would like you to think about them as something more than that, they call the third place, and place where you go to hang anytime a day and night. Right. You know, and I mean, coffee houses have always been good for that. But, you know, part of that for Starbucks was, and this is a lot of research and looking at the competition in the marketplace and trends went into this. But basically, the need to kind of move beyond the breakfast segment, the coffee segment in the morning and offer food throughout the day. And it was really challenging for Starbucks to make that shift. I believe that they've succeeded to some degree in doing that. But it wasn't easy. It took a number of tries and a lot of marketing dollars to, you know, expand the idea, and I'm not sure it's fully there on our minds yet, but it was a very concerted effort and, you know, executed with great care. Marissa: It's also good to know your core because as you're saying, that's a moment when if you're going to shift that, that's not just adding another menu item on your website. It's a serious discussion and a major shift in your identity. Eric: For sure. And the biggest thing that we think about is how is that warping people's brains you know, they're going to think about you in a different way. And maybe there's a natural glide path for them to think now you're a little bit more than what we thought about before. But it can be a real disconnect, you know, in our town, there's that business on the outskirts of town, that's... [15:15 - 20:17]Marissa: Dairy supplies and pool. Eric: You got pool it. My brain does work. Yeah. So like, I keep thinking of like a swimming pool full of dairy supplies. And it's just not a good picture, you know, like, and maybe there's some synergies there that makes sense. But it just seems kind of like a bad odd fit, that hurts my brain, right. So, there's a real temptation to do this, I think on the part of software companies, because it's so easy to go from one aspect of code into another. And we have brands that represent all kinds of things now, like Amazon, and Google and Microsoft are into all kinds of businesses. And I don't know if I could define the core for any of them. I'm sure they've got it somewhere. But, you know, Google was used to be about information and search, I think we all kind of feel it's about more than that. Mainly there, I guess I think about them relative to each other. They're all kind of jockeying for this kind of total information, delivery, benefit positioning, bears looking at. But anyway, there's a temptation if you're not one of them, too. But you're in software, we've noticed this too, you know, get a little squishy about what that core is, because it's so easy to make your software do something more or discover that it has a new use or application that you didn't think about. The market likes it in a certain way, that was a little surprising. Marissa: Right. A pivot. Eric: Yeah, one that you weren't necessarily even expecting, but it's, you know, it's a serendipitous thing that landed on your lap. And now we got to figure out, okay, how do we shifting like, so you know, I have a choice, I can shift my core, you know, off what I was doing pivot my brand at the very, very, you know, central place. Or I can say; You know what, I'm going to stay focused. And this is cool. And I'm going to launch another brand, I'm going to tell another story to a different audience that really wants this. It's not the audience I've been dealing with. Marissa: So, what are some examples of some brain cores that you've developed or worked on? Eric: Well, let's talk about the Smithsonian National Museum of the American Indian, be a good, good place to talk about a lot of things today. We've been working with them on their brand for the past couple years now. And it's starting to come to life in some exciting ways. So it's a cultural institution. And our work, we needed to look at other cultural institutions that dealt with American Indians in some way. So, you have the Smithsonian overall, right? And this is part of it. So we need to understand what what's the core of the Smithsonian. And it's about discovering and sharing knowledge. That's really what it's all about, at its core. What about the museum's next-door neighbor, the National Museum of African American History and Culture? Well, that's about the African American experience. So, we're kind of triangulating in that way too. Then, you know, we have the National Portrait Gallery, which is about American portraiture. And that's also a brand that we worked on. Now we're getting into the next couple of examples are brand cores that are really closer to the specific core, whatever that might prove to be right for the National Museum, the American Indian, so the Museum of Northern Arizona, is about the culture and nature of the Colorado Plateau. And the Heard Museum is about American Indian art. So little different. Again, broadly, these are all cultural institutions, there are some things that start to suggest some differences at a really high level, maybe. But this isn't positioning yet. We're still really trying to understand the category understand who's in it. And sure, some of the nuances that make them different that we'll explore. But broadly, that's an example of some cores that relate to some work that we did. Marissa: What category you're in, not where you are in the category? Eric: Right. Usually, when you're doing core work, you might have one word in there. That's descriptive. That starts to set you apart a little bit, but that's not really the exercise. Again, it's not about differentiating, it's about figuring out who and what you need to differentiate against. Marissa: So, what do you do if your business doesn't have a category? Eric: Meaning like you're creating a new category? Marissa: Yeah, like that. Eric: Well, that's a really interesting question. A lot of people are asking that right now, category creation is kind of a thing in the brown world, especially in tech companies. There's a book actually, that gets into this that's pretty interesting and will definitely trigger some thinking called play bigger. So you might check that out. Basically, the authors of that book would say, I'm going to paraphrase here a little bit, you know, if you aren't able to create a new category, why are you even going into business? So they would say; Listen, category design is what you should be doing. [20:17 - 24:34]Marissa: It's very Silicon Valley. Eric: Yeah, you know, and I mean, it's very thought provoking, they would say that, you know, positioning is kind of passe, you know, that's not what you should be doing, you should be looking to create a new category, I think it probably applies better in the tech space than in some others. I'm guessing I'm going to stay old school and still think that positioning is important. For one thing, if you create a new category, that's awesome for you. But if it's a good category, others will be in it. And at some point, you're probably going to need to position relative to them. So it's kicking the can down the road a little bit, although, certainly looking at that, if you think you have a new category is good. So we've gotten involved in category creation exercises a little bit. It's been truly valuable, I think, for some companies that we've worked with, but in other cases, I felt like, you know, this verges on category creation wash, like just being able to come up with a cool new label for something is one thing, but really saying and confirming that you are categorically different than other people is, is a whole other ball of wax. And you got to make sure that you're not into you know, marketing, spin innovation, when you do stuff like that. The final arbiter of whether or not you're creating a new category is the marketplace. The intermediary arbiter, who you really want to convince that you're in a new category would be a firm like Gartner. You know, that's really looking at what's going on in categories and can see from a really sound solid business perspective, if indeed, you're in a new category. The other thing that's important to mention just in passing about category creation, is that while there's a huge benefit in being disruptive, and that way, you're going to be hanging out there, right. So, educating people as to what the category is, and what it's all about, and getting them to kind of buy into it is kind of a Storytelling Challenge, you're going to have your work cut out for you, maybe very worthwhile work to do, but just know that, you know, in addition to the things you would normally want to convey, you're going to have to talk about the category and get people excited about that as well. Marissa: Right. It's almost like another brand to promote. But you're also like, you still have to define why that category is different than categories that came before it, right? Or where it's leaping off from? Eric: Well, to some extent you do. I mean, I'll give an example from my deep past long, long, long ago, worked with the first company to offer a laser hair removal. No one else was doing that. And so there's this new category, laser hair removal, an evolution of disruptive you know, hyperspace from hair removal, right. Categorically different experience, different level of results, all that stuff. Marissa: Taking our current understanding of it, it sounds a little terrible. Eric: Well, you know, it was a little weird, but it you know, it's a category that exists. And for a long time, the company that went into that had first mover advantage, no one else had that technology. And it was very disruptive. And they really own the marketplace. And it was fairly sizable. There was some product development issues that needed to be worked out. But before long... Well, you know, it was arguably not quite ready for primetime when they launched it, but it got there. Point is that in time, there were their laser hair removal, brands competing with it, and the brand we were working on, rested on our laurels a little bit too long and lost its you know, pole position, even though it created a category, right. So when you create a new category, you gain this huge advantage by being the first and hopefully you can really seize on that with brilliant engagement and a really awesome product that performs as promised, but really, you are creating a draft for other people to follow you. And they will. So you better be ready for that too. Marissa: Nestled around the core and the brand. We'll move out one more level to brand drivers. [24:34 - 30:25]Eric: So, brand drivers are Yeah, they're themes. If you're thinking about this from a storytelling standpoint, and actually I have to confess that we're probably going to use the word themes and our communications to our clients and our brand work moving forward more than drivers. But drivers a good place to start because again, that's probably the most commonly used term for this part of the brand toolkit. So, themes I mean themes are important. I ideas that a story explores. So in a brand world, they're important ideas that the brand explores important. They generally come from strengths that the brand has things that the brand wants to engage you around experiences, the brand wants to create, like a good story, there's usually one that bleeds. But there are others that add richness and support that lead theme. When we're developing a brand story, we always start with lemon zest, or zesty lemon as a theme. And if it doesn't work, then we move on. So we're looking for a couple, we don't want to have too many, because then the story gets too crazy and too complicated, not focused and not interested. Marissa: So, is this like a Netflix search, you've got you've looked under mysteries, and then your little gritty, political thriller. Eric: No, those are talking about the, the tonality of it. The personality of it. Themes are just their ideas. Like, if you think about a, you know, a big novel, the theme might be coming of age, the theme might be triumphing against all odds, these are big themes, or you could say triumph, or the theme of reconciliation, these are big ideas. So an example the Smithsonian National Museum of the American Indian - NMI, three themes that we develop for that platform, inclusion, impact, and understanding. So many of the messages, so many of the things that were important to share that are important to share, really hinged around those three ideas. And we lock on those, then we can actually develop the narrative, using those themes, develop the messaging, and explore them, again, through content and experiences that might be created from that, you know, brand foundation. So, those three themes, inclusion, impact, and understanding which one do you think was the turned out to be the most important one? Marissa: Impact. Eric: Right, you are. Excellent. Yeah. So the positioning that we landed on is the National Museum of the American Indian that is global, in scope, relevance, and impact. So there are other museums out there, other museums that focus on different aspects of the Native American or the American Indian experience, but they're not global in their impact. So impact was kind of the lead theme. But the other things inclusion, very important to talk about a lot to say about and understanding as well, you know, creating a deeper understanding among all peoples of Native American experiences, contributions, lives, culture, really important, right. But in terms of driving the brand forward, that impact turned out to be the lead one. We need them all, though. Marissa: Yeah. So this seems like something that could get very aspirational and not necessarily, like rooted in the reality of the brand pretty easily. Like, is it important to be something that's evidenced by what's come before? Or can it be, like a vision statement that's a hope of what the brand will achieve? Eric: That's a great question that applies to so many aspects of the brand platform. There's always an aspirational element in the sense that you're always moving forward in time, you're always sharing the story with your audience, your audience is always sharing it back and sharing it amongst others. There has to be enough there to make that theme worth talking about, might be sort of like a Wikipedia article where it's kind of a stub. So there's enough proof, there's enough to talk about that you're credible. But over time, once you've identified the theme, you're going to enrich it, you're going to add experiences, and proof points, and develop, you know, your brand, to make those themes even stronger. And that's kind of an interesting point in itself, which is once you have these things which relate to the business, they can actually reflect back on the business and help you see where to focus, kind of a useful aspect of things. Marissa: Are you embodying these themes? Are you keeping your promise? Eric: Right. You know, because again, a good a well-crafted story, a well-crafted brand will explore its themes in a fresh and engaging way. Marissa: So, other thing that's like, you know, as we said at the top, it's not something you're going to write about on your website necessarily, but it's always fodder for content you can always go back. Okay, these are what these are the things I want to be talking about how can I incorporate this into what's going on right now for the brand or in the world? And like we were saying, brands trying to meet a moment with integrity, like, you can go to your themes, your drivers and say like; How can I approach this in a way that fits with how I talk about things? And what's important? [30:25 – 32:33]Eric: Totally. Is this part of my story, really? Or how is this a part of my story? How do I frame this? Those are kinds of things that seems help you to do. And like you mentioned, I think at the top of our conversation, these are labels that your audience doesn't necessarily know. What we use them for is really to organize the value propositions that come out of the brand, the value propositions, the things that make the brand valuable, interesting, relevant, that people want to choose you for, and we organize them by the themes. It's not necessarily a one-to-one correspondence, there might be multiple value propositions that organize under each theme. But it's a great way to keep that organized. And so our messaging decks are usually organized by theme at some level. Marissa: And you begin to see how these, this early work is really a foundation for everything that comes after. So that's core and drivers. Very important foundational. You can hit us up on Instagram if you want to ask questions about your brand or engages in that conversation, disagree with us, whatever you want to do. Thank you for listening. If you're finding this useful, please rate and review us on iTunes or wherever you listen to podcasts and share with all your marketing junkies and solopreneur friends. We really appreciate your support. And check out brandfrontlines.com to see the brand we'll and some exercises to help you spark your own successful brand building. Next week, we're moving out to the next ring of the brand. We'll put the first of the three P's, positioning. Eric: Awesome. Marissa: Well, that's wildly important. You don't want to miss that discussion. Eric: And in the meantime, if you have a good suggestion for a sci-fi rom-com for us, please let us know. Marissa: See you next time on the brand front lines. Eric: Bye. 

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

"Indigenous Femme Queer Photographer Kali Spitzer ignites the spirit of our current unbound human experience with all the complex histories we exist in, passed down through the trauma inflicted/received by our ancestors. Kali's photographs are intimate and unapologetic and make room for growth and forgiveness while creating a space where we may share the vulnerable and broken parts of our stories which are often overlooked, or not easy to digest for ourselves or society." —Except from catalog introduction for Kali Spitzer's exhibition, "An Exploration of Resilience and Resistance”, written by Ginger Dunnill, Creator and Producer of Broken Boxes Podcast, published by Grunt Gallery, Vancouver, BC, 2019. Kali Spitzer is a photographer living on the Traditional Unceded Lands of the Tsleil-Waututh, Skxwú7mesh and Musqueam peoples. The work of Kali embraces the stories of contemporary BIPOC, Queer and trans bodies, creating representation that is self determined. Kali's collaborative process is informed by the desire to rewrite the visual histories of indigenous bodies beyond a colonial lens. Kali is Kaska Dena from Daylu (Lower Post, british columbia) on her father's. Kali's father is a survivor of residential schools and canadian genocide. On her Mother's side and Jewish from Transylvania, Romania on her mother's side. Kali studied photography at the Institute of American Indian Arts, and the Santa Fe Community College. Under the mentorship of Will Wilson, Kali explored alternative processes of photography. She has worked with film in 35 mm, 120 and large format, as well as wet plate collodion process using an 8x10 camera. Her work includes portraits, figure studies and photographs of her people, ceremonies, and culture. At the age of 20, Kali moved back north to spend time with her Elders, and to learn how to hunt, fish, trap, tan moose and caribou hides, and bead. Throughout Kali's career she has documented traditional practices with a sense of urgency, highlighting their vital cultural significance.Kali's work has been featured in exhibitions at galleries and museums internationally including, the National Geographic's Women: a Century of Change at the National Geographic Museum (2020), and Larger than Memory: Contemporary Art From Indigenous North America at the Heard Museum (2020). In 2017 Kali received a Reveal Indigenous Art Award from Hnatyshyn Foundation.Kali would like to extend her gratitude to all who have collaborated with her, she recognizes the trust and vulnerability required to be photographed in such intimate ways.Website: https://kalispitzer.photoshelter.comThis episode first aired June 07, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

"Indigenous Femme Queer Photographer Kali Spitzer ignites the spirit of our current unbound human experience with all the complex histories we exist in, passed down through the trauma inflicted/received by our ancestors. Kali's photographs are intimate and unapologetic and make room for growth and forgiveness while creating a space where we may share the vulnerable and broken parts of our stories which are often overlooked, or not easy to digest for ourselves or society." —Except from catalog introduction for Kali Spitzer's exhibition, "An Exploration of Resilience and Resistance”, written by Ginger Dunnill, Creator and Producer of Broken Boxes Podcast, published by Grunt Gallery, Vancouver, BC, 2019. Kali Spitzer is a photographer living on the Traditional Unceded Lands of the Tsleil-Waututh, Skxwú7mesh and Musqueam peoples. The work of Kali embraces the stories of contemporary BIPOC, Queer and trans bodies, creating representation that is self determined. Kali's collaborative process is informed by the desire to rewrite the visual histories of indigenous bodies beyond a colonial lens. Kali is Kaska Dena from Daylu (Lower Post, british columbia) on her father's. Kali's father is a survivor of residential schools and canadian genocide. On her Mother's side and Jewish from Transylvania, Romania on her mother's side. Kali studied photography at the Institute of American Indian Arts, and the Santa Fe Community College. Under the mentorship of Will Wilson, Kali explored alternative processes of photography. She has worked with film in 35 mm, 120 and large format, as well as wet plate collodion process using an 8x10 camera. Her work includes portraits, figure studies and photographs of her people, ceremonies, and culture. At the age of 20, Kali moved back north to spend time with her Elders, and to learn how to hunt, fish, trap, tan moose and caribou hides, and bead. Throughout Kali's career she has documented traditional practices with a sense of urgency, highlighting their vital cultural significance.Kali's work has been featured in exhibitions at galleries and museums internationally including, the National Geographic's Women: a Century of Change at the National Geographic Museum (2020), and Larger than Memory: Contemporary Art From Indigenous North America at the Heard Museum (2020). In 2017 Kali received a Reveal Indigenous Art Award from Hnatyshyn Foundation.Kali would like to extend her gratitude to all who have collaborated with her, she recognizes the trust and vulnerability required to be photographed in such intimate ways.Website: https://kalispitzer.photoshelter.comThis episode first aired June 07, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Francesca Saldan, Curator at the Everhart Museum in Scranton, speaking about the exhibition, "Away From Home: American Indian Boarding School Stories" part of the NEH on the Road initiative, originating at the Heard Museum in Phoenix. The show will run from June 17 through August 16, 2021, in the Maslow Galleries at the Museum, 1901 Mulberry Street at Nay Aug Park in Scranton. https://everhart-museum.org/ 570-346-7186 Temporary hours: Saturdays from 10:00 am to 5:00 pm Sundays from noon to 5:00 pm.

We’re chatting with Heard Museum executive director David Roche at the 63rd annual Heard Museum Guild Indian Fair & Market in Phoenix, Arizona.  

Dr. Tricia Loscher and I did a podcast back in December, I've been fortunate enough to be a co-curator with Tricia on the major Maynard Dixon exhibit "Maynard Dixon's American West" and she wrote the foreword for my Dixon book. That Maynard Dixon exhibit is hanging at the Scottsdale Museum of the West and will run through August 2021. If you haven't visited the Scottsdale Museum of the West, just know it's a great museum and has a wonderful collection of artistic and anthropological material. It was really interesting to hear about Dr. Loscher's love of museums and her desire to be a curator at age 7. She was also involved in art and could've gone that direction if the circumstances were slightly different, but culture and curation were what she was ultimately called to study. You don't get the opportunity to find somebody who is so honed in on their profession very often so this podcast if you're interested in curation and want to know what the museum world is all about, gives us a nice insight into the inner-workings of one of the best Western museums in the country. Dr. Loscher clearly loves what she does and she was a joy to work with as a co-curator on the Dixon exhibit and to have as a guest on this edition of Art Dealer Diaries.

This week the girls talk about visions boards and how they can work for you, as well as their latest adventure to the Heard Museum. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

What you’ll learn in this episode: How Charles Loloma changed contemporary Native American jewelry more than any other jeweler Why Native American jewelry transformed dramatically in the mid-19th century Which contemporary Native American jewelers you should be watching How the Heard Museum got its start, and how it showcases Native American arts in the Southwest and beyond About Diana Pardue: Diana Pardue is Curator of Collections at the Heard Museum, a Phoenix-based museum dedicated to the advancement of American Indian art. She is the author of several books, including “Shared Images: The Innovative Jewelry of Yazzie Johnson and Gail Bird” and “Contemporary Southwestern Jewelry.” Native American jewelry has a long history in the Southwest, but few people truly appreciate the significance of this art form. The Heard Museum, a Phoenix-based museum dedicated to advancing Native American jewelry and arts, has been trying to change that since 1929. Diana Pardue, chief curator at the Heard Museum, joined the Jewelry Journey Podcast to talk about how Native American jewelry has changed over the years, the innovative techniques that Native American jewelers have used, and which indigenous jewelers you should be paying attention to today. Read the episode transcript here: Transcript Additional Resources: Heard Museum Website Heard Museum Instagram Heard Museum Facebook Photos: Front of The Heard Museum in Phoenix, Arizona. Native American Ring:  Native American Butterfly Pins: Book: "Native American Bolo Ties" Link to Book Book: "Contemporary Southern Jewelry" Link to Book Book: "Shared Images"

Jackye and Katee talk about a recent video released by Oreos that is truly inclusive AF. Links Mentioned in episode: Link to the Oreo Campaign: https://youtu.be/EpfLklSG2dQ "A loving world, starts with a loving home. ❤️

Jeff sits down with artist Anita Fields to hear her perspective about the intersection of indigenous art, culture, and language. She also reflects about the significance of Speak: Speak While You Can, the recently closed exhibit at Living Arts.To learn more about Anita and her art, visit https://www.anitafieldsart.comBorn in Oklahoma, artist Anita Fields creates works of clay and textile that reflect the worldview of her Native Osage culture. Her practice explores the complexities of cultural influences and the intersections of balance and chaos found within our lives. The early Osage notions of duality, such as earth and sky, male and female, are represented in her work. Heavily textured layers and distorted writing are elements found in both her clay and textile works. These reference the complex layers and distortion of truths found in the written history of indigenous cultures. Fields creates narratives that asks viewers to consider other ways of seeing and being in an effort to understand our shared existence.The power of transformation and transformative actions are realized by creating various forms of clothing, coverings, and figurative forms. The works become indicators of how we understand our surroundings and visualize our place within the world.Landscapes, environment, and the influences of nature are themes found throughout the work of Anita Fields. They reflect time, place, and how the earth holds the memory of cultures who once called a specific terrain home. Fields is currently a 2017-2020 fellow with the Kaiser Foundation Tulsa Artist Fellowship. Fields' work has been featured in American Craft, Ms Magazine, American Style, and First American Art. Her work can be found in several collections, such as the Minneapolis Institute of Art, Museum of Art and Design, New York City, Museum of Contemporary Native Arts, Santa Fe, New Mexico, Crystal Bridges Museum of American Art, Bentonville, Arkansas, Heard Museum, Phoenix, Arizona, and the National Museum of American Indian, Smithsonian, Washington, DC.

Jeff sits down with artist Anita Fields to hear her perspective about the intersection of indigenous art, culture, and language.She also reflects about the significance of Speak: Speak While You Can, the recently closed exhibit at Living Arts.To learn more about Anita and her art, visithttps://www.anitafieldsart.comBorn in Oklahoma, artist Anita Fields creates works of clay and textile that reflect the worldview of her Native Osage culture. Her practice explores the complexities of cultural influences and the intersections of balance and chaos found within our lives. The early Osage notions of duality, such as earth and sky, male and female, are represented in her work. Heavily textured layers and distorted writing are elements found in both her clay and textile works. These reference the complex layers and distortion of truths found in the written history of indigenous cultures. Fields creates narratives that asks viewers to consider other ways of seeing and being in an effort to understand our shared existence.The power of transformation and transformative actions are realized by creating various forms of clothing, coverings, and figurative forms. The works become indicators of how we understand our surroundings and visualize our place within the world.Landscapes, environment, and the influences of nature are themes found throughout the work of Anita Fields. They reflect time, place, and how the earth holds the memory of cultures who once called a specific terrain home. Fields is currently a 2017-2020 fellow with the Kaiser Foundation Tulsa Artist Fellowship. Fields’ work has been featured in American Craft, Ms Magazine, American Style, and First American Art. Her work can be found in several collections, such as the Minneapolis Institute of Art, Museum of Art and Design, New York City, Museum of Contemporary Native Arts, Santa Fe, New Mexico, Crystal Bridges Museum of American Art, Bentonville, Arkansas, Heard Museum, Phoenix, Arizona, and the National Museum of American Indian, Smithsonian, Washington, DC.

Listen as Madison Blanton and Mike Homco with One Step Beyond talk about serving adults with intellectual disabilities and share stories about what it means to live every day with a disability and what is possible with proper support and services. https://osbi.org/ (One Step Beyond) was founded in 2003 by former teacher Mimi Rogers with 16 participants in a small Phoenix neighborhood location. Today, One Step Beyond is the largest campus-based day training program for adults (18+) who have intellectual disabilities, serving more than 600 members each year at four locations in the Phoenix Metro area: Glendale, Peoria, Scottsdale, and Surprise as well as two Bay Area locations in San Mateo and San Carlos, California. Mimi Rogers served as CEO of One Step Beyond until August 2020. Upon her retirement, the Board named Mimi's daughter Madison Blanton CEO.  https://www.linkedin.com/in/madison-rogers-blanton-765b7595/ (Madison Blanton) is CEO of One Step Beyond, Inc., a private, non-profit organization that provides comprehensive programming and services for adults who have intellectual disabilities. She was appointed CEO in August 2020. Prior to her appointment, Blanton was an executive director instrumental in expanding One Step Beyond programming to San Mateo and San Carlos, Calif. She also served as director of development and communications, and director of programs.  Prior to joining OSBI, Blanton held positions with Special Olympics Arizona and the Heard Museum. She also served as a Board Member of the Northwest Valley YMCA in both 2014 and 2015 as well as a Member of the Association of Fundraising Professionals Blanton graduated from Arizona State University with a Bachelor of Science degree with a focus on nonprofit leadership and management. https://osbi.org/team/mike-homco/ (Mike Homco) was One Step Beyond's first employee and remains with the organization to this day, currently serving as Executive Director Arizona. Mike oversees and leads the development and ongoing management and daily operations of all One Step Beyond Arizona programs and services. His responsibilities include supervision, mentoring, setting standards for professional conduct and quality assurance, developing policies and procedures, and ensuring adherence to the annual budget and strategic plan. He is responsible for leading efforts to address needs, interests, aptitudes, and ISP Goals and Objectives of all members participating in all AZ Programs and Services. This includes curriculum development and delivery, development of community partners, ongoing and effective communication with parents/guardians and all program stakeholders, as well as all other means to advance program goals achievement, responsiveness to participants, and continuous improvement.   Mike holds a Bachelor of Interdisciplinary Studies: Speech-Language Sciences and Technology with a minor in Public Administration and is also licensed by the Arizona Department of Health Services as a Speech and Language Pathology Assistant. Mike has made it his career to work with adults and children with intellectual disability and is continuing his education to pursue his Master of Science in Clinical Speech-Language Pathology. Mike is a member of the American Speech-Language-Hearing Association (ASHA) and partners with Westside Speech & Language Services to provide speech services. Connect with One Step Beyond on https://www.linkedin.com/company/one-step-beyond-inc/ (LinkedIn), https://www.facebook.com/OneStepBeyondInc (Facebook), https://twitter.com/OneStepAZCA (Twitter), and https://www.instagram.com/onestepbeyondinc/ (Instagram). The Valley Business Radio show, hosted by https://www.linkedin.com/in/adrianmcintyre/ (Dr. Adrian McIntyre), is recorded and produced in the studio of https://phx.fm/ (PHX.fm), the leading independent B2B online radio station and podcast studio in Phoenix, Arizona.

I had the award-winning Santa Clara potter Susan Folwell on the podcast today. She followed up a podcast that I recorded with her husband, Davison Keonig, the director of the Couse-Sharp Historic Site in Taos, NM. I loved this interview because I got to hear Susan's backstory in great and entertaining detail. Susan's mom, the famous contemporary potter Jody Folwell an important figure pueblo pottery. Jody Folwell was the ceramist who popularized asymmetrical pottery and inserting social commentary onto her pottery in the 20th century. Susan is one of the great pueblo potters in her own right plotting her trajectory of having a famous mother potter and the fact she really didn't want to go into pottery at all (she really wanted to do photography) and how all of that led up to what she's working on now. We discussed her recent and future exhibitions and how she's continued to be a figurehead in the pueblo potter community through all of the turmoil in 2020. This is a wonderful podcast and Susan was very delightful to speak with. Sit back and relax, and enjoy this episode of the Art Dealer Diaries Podcast with Susan Folwell.Big thank you to Charles King Galleries for supplying images of Susan's recent artwork

I had Jared Chavez on the podcast a silversmith I carry and a person that I really respect as an artist. His father San Felipe silversmith Richard Chavez who I started buying his work 20 years ago whose work graces numerous museum collections. Father and son have done collaborative work but their styles are different and very unique. Jared experienced an interesting upbringing in that he's a San Felipe kid that ends up going to Georgetown for his undergraduate BFA, later working in San Francisco learning new jewelry techniques. Jared has brought all of this together, his education, work experience, heritage, to form his own unique aesthetic. We talk about his art and about how he got where he is today, and of course about his famous father that recently had a major retrospective at the Heard Museum. This podcast is for anyone that likes Native American jewelry or likes to see how a person can succeed and become a well-known jewelry artist. I don't think Jared would think of himself as famous, but in my eyes, he fits the description of success at a high level. He's part of a new generation of New Mexico artists and I'm excited to see what's in store for Jared's bright future.

Guests include:Carlyle Begay, former Republican Arizona State Senator who will talk about the First Public Hearing of the Alyce Spotted Bear and Walter Soboleff Commission on Native ChildrenJan Christensen from the Heard Museum talks to us about the upcoming American Indian Student Art ShowElizabeth Rule from the AT&T Center for Indigenous Politics and Policy in Washington D.C.Alyssa Dixon of Alyssa's Kosin, a wonderful Indigenous Chef from Gila RiverSupport the show (https://www.nativehealthphoenix.org/donate/)

Emily McDonnell recently graduated Arizona State University with a master's degree in public administration. Emily actively pursues opportunities to merge her Navajo and Jewish identities and enjoys facilitating and participating in discussions related to Judaism and race. She is a 2017 Humanity in Action fellow and co-facilitated an intercultural dialogue between Jews and Native Americans on the topics of historical trauma and collective resistance for her action project. Until the COVID-19 pandemic, Emily was an intern at the Heard Museum.Emily's April 2020 essay “My Community's Uphill Battle Against COVID-19” was published by Humanity in Action. In the podcast, Emily discusses wisdom she received growing up in  Navajo Nation, as well as the influence of her current spiritual mentors Rabbi Yonatan Halevy and Sarah Elisheva (pseudonym). To respect the privacy of her community, Emily chose to not publicly name anyone on the reservation. For questions and comments, email Rabbi Ed Bernstein at myteacherpodcast@gmail.com. Follow the My Teacher Podcast on social media: Twitter: @PodcastTeachFacebookInstagram

Sharing Real Love Real Stories wins for the year.  Giving my shoutout to: Podcasts guests, to my listeners, storytellers, the attendees who came to live events, Heard Museum for collaborating with RLRS and for my team for supporting me.  Also sharing the Top 10 episodes for 2019 that have been listened to the most.  

Western Spirit: Scottsdale’s Museum of the West (SMoW) is celebrated for honoring the people, places and events of the American West, spanning 19 states, including those bordering Mexico and Canada. With such a rich history and culture to explore, the museum hosts an ever-evolving rotation of exhibits for visitors to choose from. Tricia Loscher, Ph.D., is SMoW’s assistant museum director, where she is in charge of collections, exhibitions and research. Tricia is no stranger to the West, having grown up all over Arizona. Her fascination with the region, including her interest in native art, led her to eventually spend 12 years at the iconic Heard Museum as a curator and program director.  In this episode, Susan and Tricia discuss how SMoW has evolved since its grand opening a few short years ago, why it places a high priority on storytelling and how the museum’s robust docent program enriches the visiting experience for everyone. Tricia highlights what guests can look forward to in 2020 and what advice she has for western art lovers curating their own collections at home.

This week, Travel Today with Peter Greenberg comes from The Phoenician in Scottsdale, Arizona. Peter talks with the Mayor of Scottsdale, W.J. “Jim” Lane. And Christina Barruea reports on the exploding Scottsdale food scene (with some real surprises). We’ll explore the latest from Museum of the West, the Heard Museum, and one of Peter’s favorites…The Hall of Flame Museum of Firefighting. And a fascinating chat with Jennifer Caraway, Founder and Executive Director of The Joy Bus. It’s a compelling story of an amazing non-profit organization that’s feeding thousands of people in need every week — and how you can help next time you travel. There’s all this and more as Travel Today with Peter Greenberg comes from The Phoenician in Scottsdale, Arizona.

This week, Travel Today with Peter Greenberg comes from The Phoenician in Scottsdale, Arizona. Peter talks with the Mayor of Scottsdale, W.J. “Jim” Lane. And Christina Barruea reports on the exploding Scottsdale food scene (with some real surprises). We’ll explore the latest from Museum of the West, the Heard Museum, and one of Peter’s favorites…The Hall of Flame Museum of Firefighting. And a fascinating chat with Jennifer Caraway, Founder and Executive Director of The Joy Bus. It’s a compelling story of an amazing non-profit organization that’s feeding thousands of people in need every week — and how you can help next time you travel. There’s all this and more as Travel Today with Peter Greenberg comes from The Phoenician in Scottsdale, Arizona.

Jeff Bursey a creative force discusses his interests in art and all things associated with discovering of his world. Jeff discusses how he deals with synesthesia and the effects of having a multisensor stimulus firing in his everyday world. Jeffs in his twenties goes on a wanderlust to meet artists, writer, and musicians. Jeff tells of being working as an artist assistance for Fritz Sholder and how he makes stands for art.

Bill Hougart whose books on Native American Silversmith's and Mexican jewelry hallmarks are the gold standard for the industry. If you want to understand how Native American signatures on their jewelry started and the different types and dates of when these hallmarks began, this is a must listen to podcast.

In the late 1800s and early 1900s, the federal government systematically took Native American children from their homes and shipped them to boarding schools across the U.S. to assimilate them into western society. Arizona is home to one of those boarding schools. How did it change from 1891 to 1990, to become more academic and even a point of pride for Native American students? And what was it like to be a student through the ages? Listen to this episode of Valley 101, a podcast from The Arizona Republic and azcentral.com, to find out. Special thanks to The Heard Museum, for allowing Valley 101 to record in its exhibit and the audio of musician Russel Moore to be included in this episode. This story was reported by Shondiin Silversmith and produced by Taylor Seely. Follow Shondiin on Twitter: @DiinSilversmith Follow Taylor on Twitter: @taylorseely95 Follow Valley 101 on Twitter: @valley101pod Submit your questions to Valley 101 at Valley101.azcentral.com. 

This week, Rosaura (https://www.instagram.com/palabras_bookstore/) and I (https://twitter.com/imogenarate) discuss our respective poems, "Rosaura Magaña" and "Confinement," the significance of a name and our American identities. If #RosauraMagaña rings a bell, that's because she and #PalabrasBookstore (https://www.facebook.com/Palabrasbookstore/) were recently featured in KJZZ's "Phoenix's Palabras Bilingual Bookstore Celebrates People Of Color"(http://kjzz.org/content/895476/phoenixs-palabras-bilingual-bookstore-celebrates-people-color). Come see us at the Heard Museum's Books | Beats | Bites event on May 11th (10a-4p): https://heard.org/event/second-saturdays-books-beats-bites/! Take a listen to also find out #poetryevents taking place in the valley during the week of April 29th. Picture of Rosaura Magaña (https://twitter.com/palabras_books) by Charissa Lucille (https://www.instagram.com/wastedinkzinedistro/) Aside from Palabras's Instagram, Facebook and Twitter (see links above), you can also follow #Rosaura on Palabras's website (https://www.palabrasbookstore.com/). Here's an article on Alexandre Dumas père and one about Jewish identity in Friends: https://www.theroot.com/was-the-author-of-the-three-musketeers-a-black-man-1790875951 http://jewcy.com/jewish-arts-and-culture/network-jews-ross-geller-monicas-nerdy-paleontologist-brother-on-friends #poetrypodcast #PoetsandMuses #ImogenArate #RosauraMagana #Chawa #RosadeOro #RoseofGold #Zapatitoblanco #Confinement #AmericanIdentities #MexicanAmerican #AsianAmerican #CrazyRichAsians #Whatsinaname #RosieODonnell #RosiePerez #TokenMinority #SexandtheCity #SarahJessicaParker #HBO #Friends #NBC #JenniferAniston #Greek #Univision #JohnLeguizamo #Representation #costumedramas #AlexandreDumas #TheThreeMusketeers #LesTroisMousquetaires #DjangoUnchained #TheBlackCount #TomReiss #ThomasAlexandreDumas #FirstFridays #HOSHGallery #JeffSlim #CrateCreepers #VinylCollective #curandera #healer #SanaSana #booklady #herblady #writer #HeardMuseum #SecondSaturday #BooksBeatsBites

Award-winning Marlowe Katoney discusses his life and how he learned to weave Navajo rugs from his grandmother who worked in a traditional Ganado style to his own contemporary interpretation unique to the media. Marlowe's life was changed by the artwork of Charles Loloma. Marlowe vision for his art and his passion for weaving make for a must viewed episode of the Art Dealer Diaries.

Buffalo Barry, Hopi Kachina expert, and Mental health expert discusses the kachina culture of the Hopi including how to determine a genuine Kachina doll's age, through paint, style, and costumes as well as how to spot knock off fraudulent kachina dolls. Understand what characteristics makeup early Hopi dolls and the best contemporary carvers working today. Learn what characteristics are found in historic Hopi dolls and better understand the characteristics of some of the early carvers like Wilson Tawaquaptewa and Jimmy K. This episode is sponsored by Medicine Man Gallery and The Charles Bloom Murder Mystery Series. Facebook Instagram iTunes

Shonto Begay shares his experiences of being a Native American growing up on the Navajo Nation and the art he has produced over the last thirty years. From Santa Fe, to Tucson to Berkely, Shonto has had a distinguished career with multiple one-man museum shows. His artwork is in the permanent collection of the Heard Museum, Tucson Museum of Art, and Museum of Northern Arizona to mention just a few. This episode is sponsored by Medicine Man Gallery and The Charles Bloom Murder Mystery Series.

“If I am going to bet on anybody, I’m going to bet on myself.”-Jaclyn Roessel Jaclyn Roessel returned to the show to discuss some big changes in her life. For the last decade or so, Jaclyn did amazing things at the Heard Museum, which she described as her dream job. So I was amazed to see a headline that she was leaving the museum. It was time to grow up, or rather time to Grownup Navajo. Jaclyn Roessel shared with me (and You!) how she arrived at the decision to leave her dream job, and what she plans to do with Grownup Navajo. Her transition isn’t just about leaving her work to pursue her own projects, she also moved from Phoenix to New Mexico. Most people would be slow to make one of those decisions, the fact that Jessica dove into both changes at once is a bold step. It also shows that it is possible.If you feel like you are on the verge of doing something different, take a listen and draw upon the inspiration that Jaclyn shares throughout the episode! Jaclyn Roessel shares a bit about what we can expect from Grownup Navajo in the coming year. She spoke about the various collaborations she has planned, and some broad strokes about other projects she plans to undertake. We discussed a variety of topics, including how “esperar” in Spanish means both “hope” and “to wait” and what that means for taking action. If you’ve listened to previous episodes featuring Jaclyn, you’ll know that she is about ACTION.  We also discussed FOMO (Fear of Missing Out) and what that means in Indian Country, being on “the front lines,” refilling your metaphorical cup, and how each person can play a role no matter where they are in their life. This is just the tip of the iceberg of our conversation. And that’s why I always enjoy these conversations with Jaclyn. She brings a perspective, energy and commitment to Indian Country that is refreshing. It’s also a rare combination, in my opinion. Have a listen, and be inspired.

Jaclyn Roessel, Navajo, is many things. She is the Public Programs and Education Director at the Heard Museum. She is is one half of Schmooze: Lady Connected. She writes for the fashion site Presence 4.0. She curates her own website Grown Up Navajo. She’s even a previous guest on NextGen Native. One thing Jaclyn isn't? Busy. That doesn't mean Jaclyn doesn't have a full schedule or a lot going on. Quite the contrary. What it does mean, for her, is that she is mindful of what the word means and that people often use it as a crutch. Jaclyn has been on a minor campaign to remove that word from the lexicon of those around her. I appreciate it. I had the same revelation a few years ago. I try not to use it to describe my own experience but sometimes out of habit or social conformity I'll drop the word or at least go along with another person’s use of it in conversation, nodding in exasperated agreement. Tell me about it. I often use it when reaching out to guests for the show, acknowledging the value of someone’s time (I know you're busy…). That's how I found out about Jaclyn’s viewpoint on the word. After she said something along the lines of “I'm not busy, I try not to use the word” I had to reply by saying, effectively, “me neither! well,except for just then. It that was different.” That's when we decide we should have another episode outlining our thoughts on busy-ness and other musings. To get the full context, let you think we are insufferable zealots, have a listen. Hopefully our conversation inspires you to think differently, and more mindfully, about the language you use to describe your life. We dove into several other subject such as our fear of organizing events where no one shows up, our inspiration behind our passion projects, creating one’s own happiness, Jaclyn’s morning routine, and much more. Check it out.

Jaclyn Roessel “You need to savor, truly savor the life that you built for yourself...it’s the worst thing to have a beautiful life and not be able to appreciate it.” Jaclyn Roessel is Navajo. She grew up on the Navajo Nation and attended Arizona State University. She is the Education and Public Programs Director for the Heard Museum. She also writes the blog Grown Up Navajo, hosts a podcast called Schmooze: Lady Connected and Presence 4.0. As you can tell, Jaclyn is very busy. But she does it all because she has a passion for creativity and for creating and supporting positivity in Indian Country. Jaclyn’s energy is infectious and her story is not one to miss. In this episode we discuss: Jaclyn’s support as a child from parents and grandparents that fostered her creativity. How that support helped Jaclyn become a doer. How Jaclyn’s decision to attend ASU positioned her to work for the Heard Museum. Managing the temptation to ask “what if?” on past decisions or events. Taking care of yourself, especially if you want to take care of others. Growing personally so you can continue to provide for others as their needs grow and change. How an unpaid internship at the Heard Museum evolved into full time work. How/why we both read “self-help” type books. Float tanks Meditation/mindfulness Why Jaclyn embraces her nickname “Glamhippy” How Jaclyn became a museum curator by responding to a call for ideas, which eventually became Confluence: Inter-generational Collaborations Jaclyn’s preference for the term “challenges” instead of “problems” when discussing different issues in Indian Country. The inspiration for Grown Up Navajo. Jaclyn’s challenge to other NextGen Natives: 1) write a love letter to someone, anyone 2) think about ways we can be content creators. For all the details, listen to the episode. You can also listen on: iTunes Stitcher

Doreen Bennett Ngati Tuwharetoa, Ngati Raukawa, Te Arawa and Te Wainuiarua. My life’s work is reflected my belief to restore traditional values, beliefs and practices as the basis for our Maori families to forward in today’s world. Mashu White Feather of the Chickamauga, Ani Gaduwa Tsalagi (Cherokee) and also Osage.  Our guest tonight - Melanie Tallmadge Sainz Melanie Tallmadge Sainz (Ho-Chunk Nation of Wisconsin) is a visual and performing artist, cultural arts presenter, and social justice advocate. She currently holds the title of Founding Director of Little Eagle Arts Foundation, an incubator for new and emerging Native artists that promotes the arts, creativity, and community. Melanie’s professional experiences include Education Specialist at The Heard Museum, Education Assistant at the Arizona Community for the Arts, Art Department Chair at Phoenix Country Day School, and professional teaching artist for Free Arts for Abused Children of Arizona. Melanie is married to jazz bassist Felix Sainz, Jr. and mother to their two adult children, Amado and Felisia Sainz. Melanie held the title of Miss Indian America XXVI in 1980, and she earned her BFA and post-graduated coursework in Art Education from Arizona State University, and a Minority Business certificate degree from the University of Wisconsin-Madison. Her art has received awards at the University of Wisconsin, The Heard Museum, William King Regional Arts Center, Southern Highland Craft Guild, American Indian Contemporary Arts Gallery, and The Eiteljorg Museum. Her work is dedicated to the human virtues of physical, mental, spiritual and emotional balance and encourages others live in harmony with all living things.