Podcast appearances and mentions of joyce scott

It was a two part Voice today.  In part one, host Craig Larsen talked with Jeff Moore with the Challis Idaho Youth Birddog Association,  He was talking about the free youth shotgun clinic and pheasant hunt.  In part two, Craig talks with Joyce Scott, Paul Fisher, Steve Drippon and Keats Conley from the Whitewater Theraputic Recreation Riding Association.   They talk about the T-Mobile grant of $50,000.

Host Will Rasmussen talks with Ronnie DeBoard with the Teen Center.   Then Nick and Rachel Alvarado from Rise & Shine along with Joyce Scott from Whitewater Theraputic talk about Coffee for a cause.  

Host Will Rasmussen talks with Joyce Scott and Susan Dudasik from Whitewater, along with Michael Dean O'Brien, A Viet Nam Vet about programs at Whitewater.  

It's a two-part "Voice" today.   In Part One, Host Will Rasmussen talks with Joyce Scott from White Water Theraputic Riding and Recreation along the Susan Dudasik, PATH certified instructor.  They are talking about an upcoming event later this month.   In Part Two. Karin Drnjevic joins Will talking this week which is Fire Prevention Week.

What you'll learn in this episode:   How Arnoldsche collaborates with authors to create an effective design for each book What young artists should know before trying to publish a book How Dirk keeps tabs on trends and new developments in jewelry and decorative arts How Arnoldsche selects the right markets and languages for its books Why the art book market has changed dramatically over the last 10 years, and how Arnoldsche has adapted   About Dirk Allgaier: Since April 2015, Dirk Allgaier has headed Arnoldsche Art Publishers, an internationally active publisher of art books that offers a unique list of titles in the fields of fine art, applied art and design. With great expertise, sheer hard work and a passion for his profession, he and his team ensure that books from Arnoldsche become what they are: high-quality, individually designed publications and book objects that transport the broad range of creative endeavor in all its diversity across the globe.   Additional Resources: Arnoldsche Art Publishing's Website Arnoldsche Art Publisher's Instgram Arnoldsche Art Publisher's X/Twitter   Photos Available on TheJewelryJourney.com   Transcript:    No other publishing house in the world has published as many books on jewelry, ceramics and other applied arts as Arnoldsche Art Publishing. Led by Dirk Allgaier, Arnoldsche is the go-to source for anyone who wants to learn more about the decorative and applied arts, the people who create them, and the museums that exhibit them. Dirk joined the Jewelry Journey Podcast to talk about how he selects the 10 to 15 books Arnoldsche publishes each year; how he works with artists to create a beautiful and informative book; and why a language barrier doesn't always prevent someone from reading an art book. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    My guest is Dirk Allgaier of Arnoldsche Publishing. They're art publishers, and if you have any kind of design library—and that includes jewelry, ceramics, monographs on artists, furniture and more—you no doubt have books that have been published by Arnoldsche. As I was browsing the books online, I kept seeing so many books I have that I didn't know were published by Arnoldsche. For the most part, they are in English and German, and the books are beautifully printed. Dirk will tell us how his path took him to where he is today. Dirk, welcome to the program.   Dirk: Thank you very much, Sharon. Very glad to be here.   Sharon: I'm so glad to have you here. Dirk was just telling me that he has lived in Stuttgart for 30 years, 25 years, a long time. Can you tell us what a publisher does?   Dirk: That's a very good question, Sharon. There's really a lot to it. I tried to explain to you some things, to tell you about some things. Mainly it is my job to see that we put together an attractive book program every six months, every half-year. This is in the field of applied arts, which is our main series of books. It's jewelry, ceramics, textiles, wood and glass, but also the areas of visual design, of the visual arts and design.    I receive many book proposals. I have to check them. I have to calculate them, but I've also got to be active by myself from my side, and I have to talk to artists. I have to meet museum curators. For example, I go to museums, to exhibition openings. I go to Schmuck in Munich, so I'm really traveling a lot. I visit all these places. You also have to be in the field where our publishing areas are, in the field of jewelry, of ceramics. I have to be there; I have to be active.    In parallel, we have to put out used books. We have 10, 15 books always in parallel production, and we have to approach miniatures. The production is supervised by the project managers, but I'm integrated into the processes of each book because I have to know the exact starters of every book project. I must be approachable by the artist, by the museum curator, by the director if any problem arises or if important decisions have to be made.    So, one part is traveling; the other part is production. I'm also responsible for sales and marketing. We have a colleague who does this, but I also have to look at how things can be optimized, how we can sell the books in the best way internationally. Unfortunately, a lot of administrative tasks have to be done. They are also very extensive. Finally, I write some articles for newspapers, for magazines. I give talks. I hold speeches for exhibition openings. I attend meetings, or I'm speaking for podcasts like now. This is also a very interesting and exciting part of my role as a publisher. All in all, there's a lot of work, enough work to work for at least seven days a week.   Sharon: Are you saying that right this minute, there are 10 to 15 books that are being worked on?   Dirk: Yes, that's it. About 10 to 15 books are always in production parallel, in the different steps of production. Either we are actually starting the editing, or we are preparing the design, or we are doing translations, or we are doing the color separations. Today, the Schmuckmuseum of Pforzheim curator was here. We're doing a new book about jewelry and metalwork, and we checked the colors. We checked the color proofs today. We discussed the cover. There are always a lot of book productions in parallel here at Arnoldsche.    Sharon: This is something that is just occurring to me. Do they have input? If they don't like the color, can they say to you they don't like the color?   Dirk: That's very important. I try to show everything to my partner, to the museum or to the artist. I show them the design concept of the book so we are not only designing the book. Before we start with the real design, we make some tests on pages, and we send the pages to the artist or to the museum. We say, “Oh, look, the book could look like these pages. Here is a type that's the kind of like the images. The captions are like that. We have some special colors.” Then the museum can say, “Oh, I like it. Please continue,” or “Oh no, I want to have a different kind.” This is very important for me in the production, to work as closely as possible together with the museum or the author.   Sharon: Can the museum come and say, “I had something totally different in mind”? Can whoever is working on the book say they had something else in mind?   Dirk: Yes, they can say it. Usually, we get a briefing and the museum tells me, “Oh, I want a very modern book,” or “Very conservative,” or “I have some crazy ideas.” But it must fit to the topics; that's very important. We publish books about 18th century arts and crafts, about porcelain from the 18th and 19th centuries. Here's a design that has to be quite conventional, or conservative is a better word. But if we work with a very unusual, contemporary designer, we can be much more provocative and contemporary in the design.   Sharon: How did you come to publishing art and applied design books? Do you have a background in it?   Dirk: Yes, I'll tell you shortly the story of the company. Arnoldsche, our publishing house, was founded in 1985. This is now almost 40 years ago. The founder of the publishing house—he passed away five years ago—his name was Dieter Zühlsdorff. He had previously, back in the 1970s, lived here in Stuttgart. He had a gallery for fine arts, for paintings, but his real passion was not the fine arts; it was ceramics. In the late 70s, early 80s, he closed the gallery and wrote an encyclopedia of ceramic marks. He traveled throughout Europe. There was no email, no websites. Maybe a fax machine was the most modern technical thing. He traveled for five years and wrote the “Ceramic Marks Encyclopedia” on the Art Nouveau and Art Deco period from 1880 to 1930.   When the manuscript was finished, he went in search of a publisher. He didn't plan to found a publishing house, but no publisher wanted to publish his “Ceramic Marks Encyclopedia,” so he was not sure what to do. He sold a painting from his collection to a large bank in Germany. He used this money to print his “Ceramic Marks Encyclopedia,” and that was the beginning of Arnoldsche Art Publishers. That encyclopedia became a best seller in a total of four editions.   The name Arnoldsche comes from his wife at the time. She's living. Her name is Gabriela Arnold; Arnold is her last name. Arnoldsche is still a little bit complicated for English speakers. Here, Arnoldsche sounds much better in German than Zühlsdorff, which was the last name of the founder. That's a Pomeranian name, very complicated. I think the English people would not be able to pronounce that name. So, we decided on Arnoldsche, and in German, we say Verlaganstadt. Verlaganstadt means publishing house. That sounds a little bit old-fashioned, but I like that old-fashioned name. In English we say Arnoldsche Art Publishers.   Dieter Zühlsdorff, he acted very wisely when he founded the company because he realized there were many publishers in the area of fine arts or architecture, but there was no publishing house that explicitly dealt with the applied arts, with jewelry, ceramics, glass and furniture. So, we can say internationally, Arnoldsche is the only publishing house in the world that focuses on jewelry, ceramics, glass and textile, and we realized a lot of publications in that field.    Sharon: Did you have a background in it?   Dirk: I'm a trained archaeologist. I'm not an art historian. I studied archaeology. I made my degree. I like it very much, but artistry has fascinated me from a very young age. When I was a child, I went with my parents to see museums, to meet artists. My parents had a collection of paintings.    When I completed my studies, I did a separate training course to become a publishing house clerk. This training course lasted one year. It included a three-month internship in a publishing house, and you had to take care of this internship by yourself. I had no idea where to apply. I was in Stuttgart, and I had a friend who was a bookseller. She gave me a recommendation. She told me, “Apply to a small art publishing house here in Stuttgart. They make the most beautiful books, and they are just around the corner from the place where you have the training.” She was speaking about Arnoldsche.   So, I went there about 30 years ago, in 1993, and I got the job for a three-month internship at Arnoldsche. It started for three months, and now I'm working for 30 years at Arnoldsche. I'm very grateful to my friend for her recommendation. We still meet regularly even though she now lives in northern Germany. I'm very thankful to her for recommending me. “Go to Arnoldsche, ring the bell and apply for a job.” I did that 30 years ago.   Sharon: Wow! Like you said, you must be approached all the time by people who have ideas and say, “Why don't you do a book on this?” or “I have all this material on that.” How do you decide which books to do?   Dirk: That's always a difficult decision because we receive a lot of proposals for book productions. For one thing—and I think that's very important—the book has to fit in our program. For example, a book about the photography of the Alps or about Renaissance art would not fit well in our program. For us, it's very important to find new topics; in other words, topics that have not been published before. It makes no sense for us to publish a 50s book about Picasso or about Matisse; that's not our interest.   There has to be a market for a book. It has to be saleable. We have to publish books about artists who have worked for many decades in their fields. Also, younger artists come to me. They're in their late 30s or their 40s, and they ask for a book. I often say, “Wait another 10 years. You need a bigger work of art, a mature work, and then you can come back to me and we can think about a book.”    Very important art books on the theme of jewelry are the books about the great masters of jewelry. These are really important publications. Just to name a few, for example, Otto Künzli, the Swiss artist, Bernhard Schobinger, Manfred Bischoff. Last year, we published a book about Joyce Scott, the American artist, and the Israeli artist Deganit Stern Schocken, Therese Hilbert. Here, a large body of work over many decades can be wonderfully presented in a beautiful book form. That's really exciting.    There are publications on collections of contemporary jewelry. This is also very important. These are mainly museum collections. For example, we have published about the jewelry collection of Eva and Peter Herion in Munich, which you can see when you go down to the basement. It's a major publication about the collection of the jewelry museum in Pforzheim, the Schmuckmuseum. We did it in 1998 with the legendary former director, Fritz Falk. There's the GRASSI Museum in Leipzig, a very important museum in East Germany. There's a very traditional collection and there's a collection of jewelry. They started to collect in the 1920s. We did a book about the jewelry collection of Sylvia Seal and of Art and Design in New York also. These collections are very exciting for us. I do not want to forget to mention the legendary publication by Helen Drutt, “Ornament as Art.” It's about her collection, which is now in the Museum of Fine Arts in Houston. People call that book the “orange book” or the “Bible of jewelry books.” I think you know that book.    What's also very important for us are theory books about jewelry. We have a book on the jewelry of Marjan Unger from the Netherlands. She did the book “Jewelry in Context.” These books are very important for students, for example. They are quite affordable in price. They're 15 Euros, so students buy these theory books.   If you come to Arnoldsche, there's finally one topic that is very important because it's the most elementary, because every book can't be one: special books. We are publishing in a niche; it's a real niche, and the quantity of books, the editions, are not so high. Every book needs special financial support, so we ask for financial support from foundations. The potential sales is low compared to the very high cost of distribution. You do not usually recoup the high production cost. So, museums, collectors, foundations themselves make books financially possible in the first place through a corresponding purchased quantity. That is how a book can be realized through financial support; by purchasing books in advance. A special part will be paid by Arnoldsche and for the other part, we look for sponsors or our foundations to financially support it. These are the different things to consider for Arnoldsche book publishing.    Sharon: When you are out and about—let's say you're traveling—do you find exhibits that you didn't know about or things you can approach people about?   Dirk: Yes, I go to exhibition openings. Of course, I go to Schmuck in Munich, a big Schmuck event. I go to Munich, to exhibition openings. I go to Norway, to Switzerland, and I always meet the artists. I also meet authors and they tell me, “Oh, I'm working on a project. I'm working with this artist or with that museum. They are looking for a publisher. Would you mind if I make a contact?”    For me, it's very important to visit these places, to go to openings, to meet curators because we are like a big family. Everybody knows something and people speak with each other. They say, “Here's a project. There is a book. It's planned to be an exhibition. They are looking for a publisher. They are planning a book for next year,” and I say, “O.K., please, if you can make a connection and the person can contact me.” Then we are discussing the possibility of collaboration for the book project.    Sharon: Do they come with photographs or do you say, “I want to photograph this”?   Dirk: For me, it's important to have an exposé, a short summary of the book. What is in the book, what is the sense of the book, whom do I want to reach with the book, who is the audience? And to send me some photographs, some preliminary information to get an idea of how the book will be, what the topic of the book is. That's enough for me, and then we continue our discussion.   Sharon: Do you or your production assistants decide the cover of the book and what it will look like? Who decides?   Dirk: We have freelance designers. We work together, but often artists or jewelers or ceramic artists who are planning a monograph about their work, they bring their own graphic designers with them. That's often fine with me because the collaboration between artist and designer is very intensive, and artists and designers should work together personally as often as possible. Often at Arnoldsche, we are responsible for the design, but always in collaboration with the artist.   We have a graphic designer. We've worked together with her for almost 13 years. She designs many of our books and many artists know her. They come to us. They say, “We're planning a book, but we want to have this designer. We trust this designer.” There are artists who give us the whole material. They give us the photographs and the text, then they make a book and she makes a design. We show it before printing and they say, “Oh, make this little change. Oh, make that little change. Go to the press.” There are other artists who look very carefully, who ask for changes, but every one is absolutely fine for us.    We love to work together with her. She designed the book on Helen Drutt for “Ornament as Art,” the orange book, but she also designed important jewelry monographs; for example, the book on Sam Kramer, a jewelry designer. She did the book about Giampaolo Babetto, about Fritz Maierhofer from Austria, about Georg Dobler or Claus Bury, two famous German designers.    Usually, we say if a graphic designer designs the inside pages of a book, they also have to design the cover. The inside pages and cover have to be in accordance with each other. It should fit to each other. That's very important, to have one designer for the whole book. A designer is also like an artist in a way. You cannot ask an artist to make this part and another artist makes this part. The whole book has to be in the hands of one designer.    Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Host Will Rasmussen talks with Joyce Scott and Shannon Williams from Whitewater Therapeutic about the background of Whitewater and the upcoming spaghetti feed.  

The focus of this week's podcast is about feedback to writers and more! Mandy Robek and Cathy Mere join the conversation. Each week Choice Literacy shares the Big Fresh newsletter with a round-up of features around a key topic in literacy education. Click here for ALL links discussed. Free for All When it comes to conferring notes, form needs to follow function. Dana Murphy quit looking for the perfect template, and started focusing on what kinds of notes are most helpful. (This article was first published in 2018.) Ruth Shagoury and Andie Cunningham share tips for mastering the art of listening in conferences with English language learners.(This article was first published in 2012.) Share a "shelfie"! The Choice Literacy Book Club is reading Unbound: The Life + Art of Judith Scott by Joyce Scott with Brie Spangler and Melissa Sweet. Let us know you are reading it with us this month by tagging your photo with #choiceliteracybookclub. Listen in on the podcast as Cathy Mere and Mandy Robek discuss this week's theme. Matt Renwick is offering a free e-book in anticipation of the release of his new book, Leading Like a C.O.A.C.H. You can get the free e-book and subscribe to Matt's newsletter. NOW AVAILABLE! Don't miss Better Student Feedback: Giving, Receiving, and Using Student Feedback with Ruth Ayres. This course is free to Literacy Leader members and available to purchase. Become a Choice Literacy member! We are pleased to announce updates with our group memberships. Literacy Team memberships offer a discounted rate, as well as the ease of managing your team through a group dashboard. Click here to check out all of our membership options.

The focus of this week's podcast is about feedback to writers and more! Ruth Ayres and Cathy Mere join the conversation. Each week Choice Literacy shares the Big Fresh newsletter with a round-up of features around a key topic in literacy education. Click here for ALL links discussed. Free for All Carly Ullmer assesses how she can give consistent and meaningful feedback to every one of her many middle school students at least once a week. (This article was first published in 2017.) Ruth Ayres finds there can be a difference between questions in writing conferences that inspire an enthusiastic response, and those that foster more reflection and independence. Download a question list to use during your writing conferences. (This article was first published in 2017.) Mandy Robek shares a book talk about Unbound: The Life + Art of Judith Scott by Joyce Scott with Brie Spangler and Melissa Sweet. Don't miss this new picture book! Join the Choice Literacy Book Club and read it with us this month. Listen in on the podcast as Ruth Ayres and Cathy Mere discuss this week's theme. Matt Renwick is offering a free e-book in anticipation of the release of his new book, Leading Like a C.O.A.C.H. You can get the free e-book and subscribe to Matt's newsletter. Don't miss The Limits of Levels: Expanding Boundaries of How We Assess Young Readers with Cathy Mere. This course is free to Literacy Leader members and available to purchase. Become a Choice Literacy member! We are pleased to announce updates with our group memberships. Literacy Team memberships offer a discounted rate, as well as the ease of managing your team through a group dashboard. Click here to check out all of our membership options.

The focus of this week's podcast is about persuasive writing and more! Ruth Ayres and Brian Sepe join the conversation. Each week Choice Literacy shares the Big Fresh newsletter with a round-up of features around a key topic in literacy education. Click here for ALL links discussed. Free for All Join the Choice Literacy Book Club! This month we are reading Unbound: The Life + Art of Judith Scott by Joyce Scott with Brie Spangler and Melissa Sweet. Sign up now so you are in the know about #ChoiceLiteracyBookClub. Matt Renwick is offering a free e-book in anticipation of the release of his new book, Leading Like a C.O.A.C.H. You can get the free e-book and subscribe to Matt's newsletter. Chris Sperry and Cyndy Scheibe share how to teach your students to be "truth seekers" with this curriculum-driven, inquiry-based media analysis activity. Ruth Ayres suggests four notebook pages to help students balance facts and emotions when writing persuasively. (This article was first published in 2021.) Mandy Robek is a little nervous about setting her students loose to organize informational texts, but she couldn't be more pleased by what they learn in the process. (This article was first published in 2020.) Don't miss The Limits of Levels: Expanding Boundaries of How We Assess Young Readers with Cathy Mere. This course is free to Literacy Leader members and available to purchase. Become a Choice Literacy member! We are pleased to announce updates with our group memberships. Literacy Team memberships offer a discounted rate, as well as the ease of managing your team through a group dashboard. Click here to check out all of our membership options.

Petula Caesar is a multi-talented all around artistic being. She is a writer, performer, creator, producer, recording artist and arts administrator. She got her start writing erotica when she was published in New York Times bestselling author Zane's erotica anthology “Caramel Flava” and has published two volumes of erotic ficton and an audiobook of erotic fiction. Petula has written for various publications like Baltimore's former alternative weekly City Paper, The Afro-American Newspapers, and Baltimore Magazine. Petula is also a storyteller and performance poet who has been featured at signature Baltimore events like Artscape, Stoop Storytelling, The Baltimore Book Festival, and Charm City Kitty Club. She has performed erotic poetry and suggestive storytelling with her band in tow for audiences up and down the East Coast and has performed with The Punany Poets from HBO's "Real Sex" series. After spending much time onstage in front of audiences of all kinds, Petula grew to love backstage just as much, and moved into theatrical production, event production and artist booking. She has curated, directed and produced events at most major venues in Baltimore, including The Creative Alliance, The Motor House, Arena Players, The Arch Social Club, The Reginald Lewis Museum and Metro Gallery and has worked with numerous Baltimore performers like The 5th L, Eze Jackson, Lea Gilmore, Jonathan Gilmore, Navasha Daya, and Joyce Scott. She created Caesar Productions LLC to present and elevate various aspects of African American culture, especially performance and literary arts through events ranging from live performance to workshops. Petula released her memoir entitled “She's Such A Bright Girl: An American Story” in June 2018, where she recounts an upbringing full of conflict and tension centered around colorism. The book won an Honorable Mention at the North Street Books Prize for creative non-fiction, and throughout 2018 and 2019 Petula could often be found appearing at branches of the Enoch Pratt Library and at other community events talking about her book and other themes related to race. Petula became director of Community Engagement for the Baltimore Rock Opera Society (BROS) in 2019. In her role of finding ways for BROS to become more reflective of Baltimore's demographic (majority African American), she assisted with creating programming with that audience in mind by using Black creatives both onstage and behind the scenes to execute that programming. This included serving as producer of a series of virtual concerts in 2020 called Rock Opera 101 (during the height of COVID no less). And while 2021 finds us still facing COVID, Petula continues to create, serving as Executive Producer and Co-Creative director of a theatrical presentation called “Funktopia - An Intergalactic Tribute To Funk and Hip Hop” that will feature music from Outkast, Kendrick Lamar, George Clinton, Funkadelic, and similarly funky artists.***If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

S6 E46: In this episode, meet educator, RN, and poet Joyce Scott, DACA Dreamer and teacher Areli Morales, and author and illustrator Vanessa Brantley-Newton. Listen in as each of these authors describe the inspiration behind their children's books and why it's important to share stories to inspire and engage all children. Unbound: The Life and Art of Judith Scott by Joyce Scott, Brie Spangler and Melissa Sweet: https://www.penguinrandomhouseaudio.com/book/588891/unbound-the-life-and-art-of-judith-scott/ Areli Is a Dreamer by Areli Morales: https://www.penguinrandomhouseaudio.com/book/605958/areli-is-a-dreamer/ Becoming Vanessa by Vanessa Brantley-Newton: https://www.penguinrandomhouseaudio.com/book/574524/becoming-vanessa/

Artist, sculptor, weaver, print maker, quilter, performance artist, lecturer, educator, MacArthur Fellowship recipient, Joyce Scott is all of the above! Well known for her work in jewelry, glass, and beadwork, she has been called the "Queen of Beadwork." Joyce is renowned for her social commentary on issues such as racism, classism, sexism, violence and cultural stereotypes. Her work has been featured in solo and group exhibitions all over. Join us for a no-holds barred, fascinating conversation with this 'force of nature.'

Episode 23: Interview with Indie Author, Joyce Scott   Interview: Indie Author Joyce Scott Joyce’s Amazon Profile Page Institute of Children’s Literature: https://www.instituteforwriters.com/free-aptitude-test/about/institute-of-childrens-literature/ Music "Never Surrender" by Chasing Noise, off their album, Everything http://chasingnoise.wixsite.com/chasingnoise  

Joyce Scott with White Water Therapeutic Riding discusses their upcoming yard sale. It will run from Friday night through Monday. White Water Therapeutic Riding is still operating, simply with smaller numbers to keep people safe. Visit www.whitewatertherapeutic.com for more information or if you are interested in volunteering or riding.   Shannon Earl & Jenny Tracy with the Steele Memorial Medical Center discuss car seat safety. SMMC encourages members of the community to bring their car seats to SMMC to check the safety of them. Additionally, they have some car seats available for community members in need.  The SMMC Brake for Breakfast event will be held October at 7 a.m. in support of breast cancer awareness. Free breakfasts and a free gift will be given out to those who stop by while supplies last. Lemhi County has 24 active cases of COVID-19 as of 9/29. Now, the county is now considered moderate risk. 

Hi, My name is Cecey and welcome to my podcast. I will be talking about Ntozake Shange’s For colored girls choreopem in relation to Joyce Scott, Faith Ringgold and a few themes from the course thus far. In Shange’s For Colored Girls only, there is a scene in which a black woman is coerced into marrying a man named Beau Willie who is verbally and physically abusive. He asks her to marry him and when she refuses, he ends up murdering her children by dropping them from a window of what seems to be a tall high rise apartment. Joyce Scott, an artist who makes art out of beads has a piece called “The sneak.” This piece is of a woman’s head detached from her and on her neck, bodies of men that are not her husband. This piece portrays a domestic violent situation in which a man kills his wife because he thinks she was sneaking around with other men. Both artists produce work that brings awareness to domestic violence by black men. They control their art and in doing so control what side of black women they want to show. In these specific pieces of art, they showcase the situations black women go through with their partners who you’d think would have their back but sometimes it turns out that black women suffer within their own communities and not just outside of their race which is why intersectionality is important. Intersectionality allows us to understand the struggles of black women in both aspects of gender and race. As you may recall from the group presentation, we talked about how Shange’s For Colored Girls choreopoem was not accepted as theatre because it was not made in the same style as other theatre material. This is ironic because the choreopoem is about giving voice to black women and their struggles. Faith Rinngold is another artist who made paintings inspired by the struggles and achievements she and other black women specifically black activists and leaders in her work experienced. She drew from various arts but one important thing she made use of was political texts inspired by Chinese art. She used political texts to confront issues that she and other black women went through one of them being lack of inclusion of political arts by black women at a political documenta in Europe As you can conclude, both artists use their platforms and works to give a voice to black women and both went through similar situations with lack of recognition of their works. As I briefly mentioned earlier, Shange’s For Colored Girls addresses issues of both racism and sexism in her work. From the scene where a woman is getting harassed in Harlem by black men to the scene where a black woman is sitting in an abortion chair uncomfortably with a white doctor, the theme of intersectionality is addressed throughout this choreopoem. The crooked room theme is also prevalent as Shange uses this choreopoem to highlight how black women are trying to find their upright. One of those uprights in the choreopoem is how the women are happy after making friends and companionship with other black women through similar experiences. Another is the women finding happiness within themselves. Note that she does not make an upright revolve around a man. The last theme I want to point out is the complexities of black women. By creating this choreopoem how she does, she allows for the audience to see the different types of black women and their struggles. She shows the women as lovers, mothers, friends and workers. She shows them happy, sad, angry, heartbroken and healing.

Today, it’s Midday on the Arts.We begin with a conversation about the profound influence of one artist on another. The acclaimed, MacArthur Award-winning artist Joyce Scott is featured in a new exhibition at the Baltimore Museum of Art that juxtaposes her work with the work of her late mother, Elizabeth Talford Scott, who was also an artist. They lived and worked together in Baltimore for more than 60 years.The exhibition is called HITCHING THEIR DREAMS TO UNTAMED STARS. It opened at the BMA yesterday, and continues through December 1st.

Joyce Scott freed her twin sister from an institution, and unlocked her own life as well. Written by Rachele Kanigel. Read by Zoe Meunier.

Joyce Scott is a sculptor, quilter, and performance artist. She’s best known for her figurative beadwork, which often addresses issues of racism and sexism in our culture. While she has art degrees from Maryland Institute College of Art and the Instituto Allende, she also learned about making art from her mother, the quilter Elizabeth Scott. Her most recent exhibit Joyce J. Scott: Harriet Tubman and Other Truths at Grounds for Sculpture in Hamilton Township, NJ, combines beadwork, glass made in Murano, Italy, found objects and other materials.   Make/Time shares conversations about craft, inspiration, and the creative process. Listen to leading makers and thinkers talk about where they came from, what they're making, and where they're going next. Make/Time is hosted by Stuart Kestenbaum and is a project of craftschools.us. Major funding is provided by the Windgate Charitable Foundation.

The 12th — and final — episode of our first season, "Glow in the Park," presents a history of Druid Hill Park, the third oldest public urban park in the country. Hear from Kalman "Buzzy" Hettleman and Mitzi Swan, local tennis players who made strides to desegregate the park's tennis courts; renowned artist Joyce Scott, who designed a monument to Pool No. 2, the long-closed "colored pool" at the park; and various Druid Hill community residents at the park's weekly Farmer's Market.

Joyce has an amazing, important story to tell about an artist, Joyce’s twin sister Judy, who had so much against her--undiagnosed deafness, Down’s Syndrome in a time when differences were institutionalized, and years away from her family--only to find her artistic “voice” when in their middle age Joyce gained guardianship of Judy and brought her to California and to Creative Growth.

This fall, Joyce Scott, a venerated visual and performing artist based in Baltimore, Maryland, is participating in Prospect.2, New Orleans, a biennial of international contemporary art. Joyce considers the state of art in her home town and talks about her Prospect.2 projects. Performing at Cafe Istanbul on Saturday, October 22, she will tell the story of Miss V, a worldly incarnation of Saint Veronica, who is frustrated by the chasm between men and women in the 21st century. Sound Editor: Ira Kip  Photos courtesy Goya Contemporary  Music: Joyce Scott

Joyce and Bill marry and serve with the mission school in India. Bill has a vision from God to get Bibles into every home in India, but illiteracy is widespread and the nation is closed to the gospel. After nine years with the mission school, they leave to work at the mission hospital. In time India opens more to the gospel and they begin a school of evangelism, sending local men out to villages. Joyce writes a literacy manual and they teach people to read using the Bible as content. Hundreds of thousands learn to read. Many stories of God's work over the years. Joyce dies but Bill still goes back to India.

Joyce and Bill Scott meet in London, where she tells her life story, salvation and call to India while they ride the bus to the shipping office. They become acquainted as they sail to India together with 77 other missionaries. Bill has several humorous mishaps. They share the train ride to Secunderabad, their mission field, for language training. Two weeks after their arrival Bill proposes marriage, and the first part ends with Joyce waffling, unable to decide and not wanting to be married.