Podcasts about maine college

Discover what the future holds for humankind and explore the intersection of human consciousness and the digital age.   - Challenges the boundaries of possibility pointing toward a new Renaissance - Delves into the creative mysteries of quantum paradox and depth psychology - Offers a positive vision for these challenging times   "Two things to say about Douglas Grunther's new book: (1) Read it, and (2) Read it soon.  In our current age of cynical defeatism, it offers a refreshing vision of how we may disentangle ourselves from the current consensus trance holding us back...Grunther plants seeds of hope in a format both readable and compelling." --Dana Sawyer, Professor Emeritus of Philosophy and Religion, Maine College of Art     "Doug Grunther is a radio bodhisattva." --Robert Thurman, Noted American Buddhist writer and first Westerner ordained by the Dalai Lama   Written by the renowned creator and host of the Woodstock Roundtable, Douglas Grunther's The Quantum & The Dream tackles some of the most daring and exhilarating questions of our time, taking readers on a thrilling odyssey through the captivating world of quantum theory, AI, and the creative depths of the unconscious mind. While many foresee a dark and dangerous future, Grunther offers an optimistic view of the consciousness shifts shaping our future.   The Quantum & The Dream celebrates the secret corridors of the mind, the rich tapestry of myth, and the evolving media landscape, urging readers to push past the boundaries of what we thought possible to harness the power of our imaginations. Readers can explore fascinating thought experiments inspired by visionaries like Einstein, Jung, Joseph Campbell, and McLuhan, along with cutting-edge insights from leading creative thinkers of our era. Filled with expansive ideas, The Quantum & The Dream offers a pathway toward the New Renaissance.     "In Doug Grunther's sweeping, deep, and delightful new book we are led on a journey through much of the 20th century's innovative and challenging new ideas.  From quantum theory and psychoanalysis, to the Internet, and an emerging holistic view of nature and consciousness, Grunther provides an integrative and positive understanding of our current direction and ultimate integration of seeming opposites." --Neal Goldsmith, Ph.D., psychotherapist, public speaker, and AI analyst  

Jake Benzinger (Wych Elm) and Tabitha Barnard join me to officially launch my series on publishers and authors where I explore the relationship that builds between publishers, editors, designers, and photographers and to hopefully provide some insight as to how photobooks are being made. Tabitha's book, Dead Trees Speak to Me, was Jake's first photo book that was not his own and Jake and Tabitha will share how they came to know each other and why Jake wanted to publish Tabitha's work. We will talk about the editing and sequencing of the book as well as some of the more traditional questions about how they both got to where they are. https://wychelm.press  |||    https://jakebenzinger.com   |||      https://www.tabithabarnard.com This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Tabitha Barnard was born in Freedom, New Hampshire in 1994. She is a photographer who grew up in rural Maine with three sisters. Growing up in a very Christian female-dominated family has had a huge influence on her work. Barnard works primarily in digital color photography exploring themes of femininity and religion. She received her Bachelor of Fine Art from Maine College of Art in the Spring of 2016 and a Master of Fine Art from Massachusetts College of Art in the Spring of 2021.  She has worked in both commercial studio settings, as a shooting assistant, and as the media technician for the photo department at the Maine College of Art. She currently works in Portland Maine, teaching at the Maine College of Art and the University of Southern Maine.  Jake Benzinger (he/him) is a photographer, book artist, and writer based in Rockland, Maine; he received his BFA in photography from Lesley University, College of Art and Design in Cambridge, MA. His work has been shown nationally and internationally in solo and group exhibitions at the Griffin Museum of Photography, Haute Photographie Rotterdam, Center for Fine Art Photography, Glasgow Gallery of Photography, 82Parris, Panopticon Gallery, RIT City Space Gallery, and more. He has been featured by numerous platforms including GUP Magazine, Lensculture, Float Magazine, Lenscratch, Transference Magazine, and Fraction Magazine. His publications are held in collections at the National Gallery of Art, School of Visual Arts, SMFA at Tufts, and Griffin Museum of Photography, and his monograph, Like Dust Settling in a Dim-Lit Room (Or Starless Forest), was shortlisted for the 2023 Lucie Photobook Prize.

In this episode of Money Tales, our guest is Avery Moore Kloss. Have you ever been in a place where you knew deep down something had to change, but fear kept holding you back? That's exactly where Avery found herself, watching her husband, an entrepreneur at heart, slowly lose his spark in the corporate grind post-pandemic. Avery candidly shares how she wrestled with the fear of losing financial stability, realizing that she was the one holding him back from his dreams. In this episode, we dive into the moment she finally said to her husband, 'Just quit the job. We'll figure it out.' Avery Moore Kloss is the founder and lead creator of Folktale Studio. As a journalist, educator, entrepreneur, podcast host and award-winning radio documentarian, Avery's passion is in helping others capture their stories through audio. With Folktale Studio, Avery is committed to helping up-and-coming digital storytellers create podcasts that connect their unique stories with the world. As the host of the podcast “Grown Up,” Avery dives deep into the unconventional career journeys of her guests, exploring how they've navigated the twists and turns of the working world. It's a show about finding your way—even if that way looks nothing like what you expected. When she's not crafting podcasts, Avery teaches Audio Storytelling at Wilfrid Laurier University, where she also serves as the Podcaster-in-Residence. In her classes and office hours, she empowers the next generation of digital storytellers to embrace creativity, curiosity, and authenticity in their work. Avery is a proud graduate of Carleton University's School of Journalism and Communications, holding a combined honours degree in Journalism and History. Her storytelling journey began as a casual Associate Producer at CBC Ottawa before taking her to Portland, Maine, to study radio documentary at The Salt Institute for Documentary Studies (now part of the Maine College of Art). It was there that Avery discovered the art of long-form audio storytelling, a love that continues to shape her career. Her dedication to storytelling excellence earned her the prestigious Edward R. Murrow Award in 2011 for “My Name is Meth,” an in-depth series exploring the growing crystal meth crisis in rural Ontario. Avery lives in Paris, Ontario, with her husband and daughter. When she's not behind the mic, you can find her enjoying the simple joys of small-town life, dreaming up her next big story, or sharing quiet moments with family.

Emma Ballou is a Maine-based artist whose work reflects her appreciation for the beauty of her natural surroundings. Raised in rural Buxton, Emma cultivated her artistic perspective through a family legacy of creativity and formative experiences at the Maine College of Art in Portland. After more than a decade away in Baltimore, Maryland, Washington, DC, and Long Island, New York—attending Goucher College and subsequently working as a historical museum curator—Emma returned to Maine to immerse herself in art and homesteading. Emma now creates her ethereal landscapes in a renovated barn studio, surrounded by the family goats and invigorated by the scents emanating from nearby Milkweed Coffee Roasters, a micro-batch endeavor shared with partner Jennilee Morris. Join our conversation with Portland Art Gallery artist Emma Ballou today on Radio Maine.

Vivian Beer is a renowned sculptor and furniture designer/maker originally from Bar Harbor, Maine. A graduate of the Maine College of Art in Portland and the Cranbrook Academy of Art in Bloomfield Hills, Michigan, Vivian has transformed the public art landscape with her large-scale installations, including her recent work in Portsmouth, New Hampshire, titled "Woven Together." This project creatively intertwines durable materials like metal and bronze to celebrate women and evoke empathy in the community. Vivian's work has been in many well-known institutions, including the Museum of Fine Arts in Boston and the Smithsonian in Washington, DC. Vivian's journey through the male-dominated art world and other personal experiences have shown her the importance of resilience in the face of adversity.  Join our conversation with Vivian Beer today on Radio Maine.

In this episode, Victoria discusses the importance of honoring our personal journeys without self-judgment and creating space for emotional processing and healing. She shares how reconnecting with creativity through daily drawing and the power of a consistent morning exercise routine can help overcome mental challenges and blocks. Victoria also highlights the transformative impact of taking time offline to reset and refocus. Join her as she offers strategies for finding balance, nurturing creativity, and moving through life's obstacles with greater ease and intention.To learn more about working with Victoria to transform your art career, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Dana Sawyer is Professor Emeritus of Philosophy and World Religions at the Maine College of Art & Design. The author of biographies of two prominent 20th Century thinkers, Aldous Huxley (2002) and Huston Smith (2017), his primary expertise is in Hinduism and Buddhism. For more than twenty years Dana's work has focused on comparative mysticism, theories of the “perennial philosophy,” and the value of psychedelic experience in the study of mysticism. His most recent books are an analysis of the Transcendental Meditation Movement for Cambridge University Press (2023), and The Perennial Philosophy Reloaded, published by Monkfish in July, 2024. Our conversation focused on that last book, whose subject, Perennialism, is vital for understanding spirituality in today's complex, pluralistic landscape.  www.danasawyer.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Gail Spaien lives in South Portland, Maine. She earned her B.F.A. from the University of Southern Maine and her M.F.A. from the San Francisco Art Institute. Spaien has received numerous fellowships including the Ucross Foundation; Varda Artist Residency Program; Millay Colony for the Arts; the Djerassi Foundation Resident Artists Program; and the Skowhegan School of Painting and Sculpture. Over four decades, Spaien's work has been exhibited nationwide and abroad, including Taymour Grahne Projects (London); Vardan Gallery (Los Angeles, CA); the DeCordova Sculpture Park and Museum (Lincoln, MA); Provincetown Art Association and Museum (Provincetown, MA); Crocker Art Museum (Sacramento, CA); the Portland Museum of Art (Portland, ME); Ogunquit Museum of American Art (Ogunquit, ME); and Colby College Museum of Art (Waterville, Maine). After thirty years as faculty at the Maine College of Art and Design she is now full-time in the studio. Turquoise Window, 2024, acrylic on linen, 48 x 45 inches Pearl with Boots and Pheasants, 2024, acrylic on linen, 34 x 36 inches The Season Called Locking, 2024, acrylic on linen, 48 x 48 inches

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In this episode, Victoria shares powerful affirmations focused on abundance, worthiness, and deservingness to help artists attract prosperity and opportunities into their careers. Tune in to boost your confidence and manifest the success you deserve in your creative journey.To learn more about working with Victoria to elevate your art career, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with hundreds of artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Victoria shares essential advice for presenting your work in the best possible light. This episode is especially helpful for emerging or early career artists who are seeking practical advice and valuable guidance. Topics include: designing your website, elevating your Instagram presence, writing a strong bio and statement, and engaging with your audience via email marketing.To join The Artist Glow Up Program visit visionaryartcollective.com/glowup-enrollSessions begin in June 2024!In the Artist Glow Up Program, Victoria covers the following topics: selling your work, approaching galleries and curators, finding the right opportunities for your art career, email marketing, using social media as a tool to promote your work, expanding your collector base, business management, and more! Transform your art career in this powerful 12-week group course.About Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Victoria opens up about her journey with anxiety and shares helpful strategies for working through overwhelm and fatigue. Topics include: reframing your thinking around anxiety, techniques for managing overwhelm, the power of listening to your body, practicing self-forgiveness, and prioritizing your needs.To learn more about working with Victoria, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Victoria shares key information about her signature 12-week course for artists, The Artist Glow Up Program, as well as her monthly community membership. Early enrollment is currently open for The Artist Glow Up Program! Get over 20% off by enrolling early. To register, visit visionaryartcollective.com/glowup-privateTo learn more about The Visionary Community, visit visionaryartcollective.com/visionary-community-waitlistAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Victoria shares a powerful reminder that showing up for your artistic practice is one of the highest forms of self-love. Topics include: the importance of valuing our creative ideas, navigating fear in the studio, and learning to work through those tough moments that every artist experiences.To learn more about working with Victoria, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Today I'm chatting with the very talented Nisa Smiley! We touch on so many good things like allowing trust and joy to be your guide in life and your art. I can certainly get caught up in the mind chatter telling me to be mindful that I need to make work that will pay the bills.  We also talk about the artistic and emotional value of our work to our customers. Although we don't spend a lot of time on this topic, I really think it's worth paying attention to. About Nisa... Growing up in northern New England, Nisa spent her early years in the beautiful woods and mountains, but her draw to the seaside has been present all along. At 18, she left her beloved mountains and moved to the coast. Decades later, she is still there, entranced by the inexhaustible abundance of inspiration from her natural surroundings. Nisa earned her BFA from the Maine College of Art in 2000, and then settled in Downeast Maine soon thereafter to start her family. In 2006 she founded NISA Jewelry, and since then her work has been shown in juried fine craft shows, galleries, private trunk shows, public shows, and published in multiple books and publications. She is also a seasoned teacher, and loves assisting others in their creative pursuits. She has taught countless private and public workshops, for both older children and adults, and is a certified Precious Metal Clay instructor, as well as a Master for the Craft Apprentice Program (Maine). These days, Nisa can often be found in her sunny studio in downtown Ellsworth, Maine (if it's summer, she can also be found at the beach, or at the J.McVeigh Jewelry gallery in Stonington, Maine), immersed in a plethora of organic found objects, gemstones, and precious metals. Her studio is not public, but visits by appointment are most welcome. Her latest work can be found in select galleries, as well as on her website and social media accounts (Instagram and Facebook). Website: nisajewelry.com Instagram: @nisajewelry Love the show? Please consider supporting the podcast by joining our Slowmade Community on Patreon. Thank you! You can find Christine on Instagram @christinemighion

In this uplifting and deeply personal episode Victoria shares her experience healing through heartache and the strategies that have helped her to feel good again. Topics include: experiencing the grief that comes when a relationship ends, the importance of prioritizing yourself, and making intentional decisions on a daily basis.To learn more about working with Victoria, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Keaven Willa Hartt was born in Bar Harbor, Maine, and grew up in the Northeast Kingdom, Vermont. She moved back to Maine in 2010 to attend the Maine College of Art, in Portland, where she obtained a Bachelor of Fine Arts in Woodworking and Furniture Design, with a self-directed thesis on Sustainability Through Upholstery. Keaven founded her upholstery business, Willa Hartt, in 2019. She joined the National Upholstery Association in 2021, and was nominated to the Board of Directors, where she served first as Secretary, before recently becoming the President. Keaven still lives in Portland with her husband and their two dogs. Keaven is on Instagram     Links and Resources; (Some of the links I provide, specifically to Amazon and a few others, require me to let you know that if you use those links and make a purchase, I will make some money.  I won't make a million dollars, but I might be able to get a cup of coffee, so thank you!)   Spruce Upholstery by Amanda Brown and Grace Bonney Upholstery: A Complete Course by David James    The planner I use is from Laurel Studios.   Keaven uses the Commit 30 planner.   The Sew Much More Podcast is sponsored by;   The Workroom Channel   Scarlet Thread Consulting   The WCAA   The Curtains and Soft Furnishings Resource Library   Merril Y Landis, LTD   Angel's Distributing, LLC   National Upholstery Association   Workroom Tech    

Creative Guts is pleased to share this episode of Off the Wall with Matt and Amy from the Rochester Museum of Fine Arts in Rochester, New Hampshire. Off The Wall is a semi-regular series where Matt and Amy chat with a wide variety of visual artists, digging into the nuts and bolts of their creative process to reveal more about the layers of meaning, emotion, and intent behind their work.This episode features artist Julie K. Gray, who is currently exhibiting a series of original works in the Bernier Room at the James W. Foley Memorial Community Center (Rochester, NH) until March 1, 2024. Visit www.rochestermfa.org to learn more about the RMFA and this exhibit.Julie K. Gray is an interdisciplinary artist based in Biddeford, Maine. Her primary mediums include sculpture, photography, and needlepoint. She obtained her BFA in Photography from the Rhode Island School of Design in 2005 and completed her MFA in Studio Art at the Maine College of Art in 2012. Gray has exhibited extensively in New England, as well as in various locations across the United States and Canada.Learn more about this amazing artist at www.juliekgray.com and follow her on instagram at www.instagram.com/juliekgray.  

In this insightful episode, Victoria encourages you to recognize the ways in which you are already showing up for yourself and your creative work. Topics include: honoring your strengths, introducing habits and systems that will support your goals, and celebrating your wins. This episode is designed for artists who are ready to elevate their personal, professional, and creative lives through daily mindful practices.To learn more about working with Victoria, visit visionaryartcollective.com/mentorshipAbout Victoria -Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Victoria shares thoughtful advice for stepping into the most aligned version of yourself in order to bring your dreams to fruition. Topics include: releasing old thought patterns, creating new habits and beliefs, healing the parts of ourselves that no longer serve us, and releasing self-judgment. This episode is designed for artists who are ready to elevate their personal, professional, and creative lives through daily mindful practices.To learn more about working with Victoria, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Learn about our new online community membership for emerging women & non-binary artists. As a member of The Visionary Community, you'll get – 2-3 live group sessions per monthSessions are 60-90 min in length & held via ZoomAccess to replays incase you miss a sessionSessions include:Guided Reflections with Victoria Gain clarity & strengthen your mindset through our powerful self-reflection sessions led by VictoriaArt Career Q&A's with VictoriaBring specific questions you have related to your art career & Victoria will provide you with support + guidanceGuest Speakers - Art World ProfessionalsMeet established professionals including curators, gallery directors & artpreneursBook discussions with VictoriaEngage in meaningful conversations centered on powerful works of art & literature to deepen your creative workTo join our community visit visionaryartcollective.com/visionary-community-enrollAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Victoria shares thoughtful advice for trusting yourself, declaring what's possible, and dreaming big while managing the goals and expectations you set for yourself.To learn more about working with Victoria, visit visionaryartcollective.com/visionary-community-enrollAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 300+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Victoria shares two questions that are essential for making your dreams a reality. Additionally, she provides thoughtful advice for building a successful creative business, along with journal prompts that are helpful when it comes to reflecting on your creative practice.To learn more about working with Victoria, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 200+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

After interviewing Deborah Hopkinson a few months ago she mentioned the incredible illustrator Kate Gardiner who worked on the book 'Small Places, Close to Home'. She told me how amazingly talented she is, and after checking out the art myself I wholeheartedly agreed and KNEW I had to get her on the podcast. I'm honored that Kate stopped by the show to tell us all about her experience working with Deborah, what drew her (pun intended!) to illustration, and what's next for her. Enjoy!   About Kate Gardiner Kate Gardiner is a New England based illustrator. Kate often finds herself inspired by quiet scenes of nature, finding beauty in moments of rest. She aims to capture the calm of these moments through her illustrations, often gaining inspiration through her mixed heritage, as a member of the Chaubunagungamaug band of Nipmuck Indians as well as the traditions of her Polish roots. She received her BFA in illustration at Maine College of Art & Design in 2020. Kate has several upcoming books, her debut picture book “Small Places, Close to Home”, by Deborah Hopkinson (HarperCollins/Balzer + Bray)  is scheduled for publication in Fall 2023. “Sometimes we Fall” by Randall de Seve (Penguin/Random House Studio), “A Family Tree” by Staci Droulliard (HarperCollins/Heartdrum) and is just beginning work on “Firefly Season” by Cynthia Leitich Smith (HarperCollins/Heartdrum). She is represented by Steven Malk of Writers House Literary Agency   Make sure to check out the Dtalkspodcast.com website! Thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload.   With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale)   Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com AND Thanks to Self Unbound for this episode of the podcast: Your quality of life: physically, emotionally, mentally, and spiritually, is a direct reflection of the level of abundant energy, ease, and connection your nervous system has to experience your life!    At Self Unbound, your nervous system takes center stage as we help unbind your limited healing potential through NetworkSpinal Care.    Access the first steps to your Unbound journey by following us on Facebook, Instagram, or at www.selfunbound.com   The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team!  https://blog.feedspot.com/detox_podcasts/

Jewelry designer Cat Bates began his life as an artist on Maine's Monhegan Island. His keen observational skills yielded inspiration for future creativity, as he found beauty in the discarded fishing ropes and marine hardware that would eventually become the basis of his work. Cat would go on to pursue formal education in jewelry design at the Maine College of Art in Portland, and evolve his skills through the bracelets, necklaces and other accessories he designs, creates and sells through his eponymous business, located in Biddeford, Maine. Employing techniques like lost wax and sand casting, Cat delivers both intricate details and rugged textures. Learn about Cat Bates' passion for and commitment to wearable art today on Radio Maine.

Artists, are you ready to see your dreams come to fruition in 2024? If so, we encourage you to cozy up with a journal and listen to the powerful journal prompts shared in this episode. For best results, take time to pause and thoughtfully write your response to each question as you listen. The questions in this episode were pulled from the latest edition of Art/Work by Heather Darcy Bhandari and Jonathan Melber.To learn more about working with Victoria in 2024, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 200+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

Join Victoria for a powerful solo episode centered on self-reflection and goal setting. As we begin to gear up for 2024, Victoria encourages artists to set manageable and sustainable goals for the new year while reflecting on what went well this year. As you reflect, be sure to think about what brings you the most joy in your life and art career, and how you might let go of what's no longer serving you.To learn more about working with Victoria, visit visionaryartcollective.com/mentorshipAbout Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 200+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

In today's solo episode Victoria shares valuable information about her educational programs for artists. There are 3 ways you can work with Victoria to elevate your art career! See details below.1. Victoria teaches The Emerging Artist Workshop a few times a year. In this 2.5 hour virtual workshop, she provides essential strategies for emerging artists who are ready to grow their art career. To register for the last workshop of 2023, click here.2. In The Artist Glow-Up Program, Victoria works with artists in a group setting over 12 weeks. Each week Victoria covers a different topic related to your art career, including: increasing visibility and sales, approaching curators and galleries, and finding the right opportunities for your art career. To learn more, email Victoria directly at info@visionaryartcollective.com3.  In Victoria's 1:1 Mentorship Program, she works with a select number of artists individually over the course of 3 months to provide customized support and guidance. In this transformative program, Victoria works closely with you to meet your long-term and short-term goals. To apply for 2024, click here and submit the application form.About Victoria:Victoria J. Fry is a New York City-based painter, educator, curator, and the founder of Visionary Art Collective,  New Visionary Magazine and Warnes Contemporary Gallery. Since launching VAC in 2020, Fry has worked with over 200+ artists to help them advance their art careers. As part of her mission to increase visibility for artists, she partners up with top curators and gallerists to facilitate virtual and in-person exhibitions. Additionally, Fry has been a guest speaker for the Women's Caucus of Art in Washington D.C, Superfine Art Fair in NYC, Photo Trouvée Magazine, The Art Queens Society, and Huron River Art Collective. She has curated exhibitions for Create! Magazine, Arts to Hearts Project, The Artful Collective, and recently served as a juror for Women's United Art Prize. She hosts the New Visionary Podcast. Fry obtained her BFA from the School of Visual Arts in 2012 and her MAT from Maine College of Art in 2014. Visit our website: visionaryartcollective.comFollow us on Instagram: @visionaryartcollective + @newvisionarymagJoin our newsletter: visionaryartcollective.com/newsletter

What you'll learn in this episode:   How Heidi helps jewelry artists take the next step in their career and create the life they want Why Heidi's business includes multiple components, including making, teaching and running a gallery How the Earrings Galore pop-up sale got started Why Heidi takes risks and breaks the traditional gallery rules when selecting artists How a bit of financial intelligence can help artists and gallery owners have long-lasting careers   About Heidi Lowe Heidi Lowe owns and operates her own gallery, Heidi Lowe Gallery, where she teaches, makes jewelry and shows her work and other artists. She received her BFA in Metals and Jewelry from Maine College of Art in Portland, Maine. A year later she went to graduate school at the State University of New York, New Paltz where she earned her MFA. Her next steps lead her to NYC where her gallery experience began as an assistant to the director at a prominent contemporary art gallery in Chelsea.    After her time in New York, Lowe moved back to Delaware 2006 and opened Heidi Lowe Gallery which exhibits contemporary art jewelry. The gallery also functions as a teaching and studio space. The jewelry that she creates draws on intuition, nature and the history of metalsmithing. Her work is shown within her gallery as well as in numerous exhibitions at other galleries in the United States. Lowe also taught jewelry design as an adjunct professor at Towson University for eight years and currently teaches workshops at colleges and craft centers around the country. She is also a certified business and life coach for creative entrepreneurs and students throughout the US and Canada. Photos available on TheJewelryJourney.com Additional Links: Website: www.heidilowejewelry.com Facebook: https://www.facebook.com/HeidiLoweGallery/ Instagram: @Heidilowe Photos available on TheJewelryJourney.com Transcript Heidi Lowe may be the owner of a jewelry gallery, but that doesn't mean she's your average gallerist. Known for her traveling pop-up sale Earrings Galore, Heidi is passionate about introducing collectors to art jewelry and pushing artists to the next level—and she's willing to take risks to do it. She joined the Jewelry Journey Podcast to talk about the inspiration behind Earrings Galore; how she balances managing Heidi Lowe Gallery with making her own jewelry; and what she looks for when choosing new artists. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    My guest today is Heidi Lowe, founder of Heidi Lowe Gallery. If you ever thought you needed a guide to show you the ropes, either for making a piece of jewelry or helping with your own jewelry business, you've come to the right place with Heidi Lowe and her gallery. Welcome back.    You're known for your rings and your wedding bands. Can you read a couple when they come in? Can you tell what they're looking for?   Heidi: We do it a few different ways. We have a wedding ring class where they can come and make their own wedding rings. That's just bands. It's called Lovely Rings by Hand. These are couples from all over. It's usually the East Coast, but sometimes they come from farther. It's just me and the couple, and they come into the studio and physically make their rings out of white gold, yellow gold, rose gold. Then they leave with their rings. That is such a special day. It's lovely. It's so much fun, and they're ecstatic when they leave.   We also do a lot of commissions. I'll meet with somebody, and it's like a poem. I think of it as poetry. I ask for three words about the meaning of the ring or the person they're making it for or the next chapter, whatever it is they're symbolizing. I ask for three words about that, and then I ask for three words about their style, the person who's either getting it or wearing it themselves. Are you more organic? Are you more straight-lined? Are you delicate? Do you like bold, whatever that is? Then I ask for three words about what they know about the piece, whether this is, “I want a ring, and I want it to have the three sapphires from my mom's favorite piece of jewelry,” or “I want it to be a piece that symbolizes the journey I went through getting cancer, and we're making it out of the scientific part of that.” Whatever it is, I'm trying to get to know them in an efficient manner that brings us closer together. I feel like that little poem brings me there right away. Usually, the first drawing is what we go with.   Sharon: Do they bring you a stone, or several stones, if they want a stone?   Heidi: It totally depends. If they have a stone and they know they want to use that, they can bring that. It could be a chip stone they saw their mom wear their whole life and they want to use it. It could be a fancy diamond their grandmother had, or it could be something they purchased. Or they come to us and say, “I know I want a blue stone, but I don't know exactly what I want. I want you to find it.” Then I go on a little hunt, which can take a week; it could take a month. It just depends, because we want to find the right thing. I have my resources and I go to them, and sometimes they go to their resources.    It's all about meeting the customer where they are and bringing meaning to the piece they're looking for, so every time they see this piece, they think, “Oh, my mom,” or “Oh, I have this new chapter of my life.” A lot of times they have raw material from some event or something that happened, and we get to transform that into something they're looking for.   Sharon: When did you know you wanted to have a gallery? How did you decide you wanted to be a jeweler?   Heidi: I knew I wanted to have a gallery when I was at SUNY New Paltz studying with Myra and Jamie Bennett. I noticed there were very few galleries and very few places to interact with art jewelry, and I have always been a businessperson. When I was 13, I had my own jewelry business. I made earrings. My mom had a kid's store. When we were there, I would go the bead store and make beads and then I'd grab her. She had screens which I stole from her house, and then I put ribbon around them and made them earrings. Then I would put the name, Cosmic Creations, and a little bio, and then I would sell them to stores in town. I thought, “This is winning in life. I am rich. I just sold 10 pairs of earrings.” That was the start of it.   Then in high school, I made my first ring because my art teacher in school, Mr. Gardowski, let me make jewelry. He had all the tools. In my senior year, after begging him for many years, he sent me in the back with a big piece of silverware and was like, “Go hammer that.” I was making a ring, like the same ring class I teach now, and he thought he could wear me out. He was like, “You go hammer,” and I was like, “I am not going to get sick of this.” I hammered for four days straight, and I made my first ring. I never left the art studio for the rest of the year. I probably made 50 rings that year.   Then, when I was going to Maine College of Art and I studied with Tim McCreight and Alan Perry, I knew where I was going. I didn't have any questions. I love printmaking, and I mix that with my jewelry sometimes. They were across from each other in the hall, and I was going to be in those two spaces if you wanted to find me. I feel so lucky to have found what I love to do so early, and to have it be so expansive that you can always learn more things to do with it. You are never bored in jewelry because there are so many things, so many techniques, so many ideas. It's just one of things that has kept me interested for many years now.   Sharon: Did you mix this with one or two business classes? Did you just know how to do that?   Heidi: I think I just had a desire to do it. With my other business when I was 13, I'd walk down the street and ask all the business owners if they wanted lunch. I would go get them lunch, and then I'd come back and they'd give me a dollar or 50 cents or whatever. I was like, “I didn't expect that, but that was amazing.” It's a problem, kind of, because you have to be careful. All of a sudden, you have four businesses. I just have four that exist under the same roof.   Sharon: Maine College of Art. I've seen ads in magazines, but is it known for its jewelry making?   Heidi: Oh, yeah. Tim McCreight pretty much wrote the textbook for jewelry making class. When you go, you don't know what you have until you realize what you have. I went to the first Seattle SNAG conference with Tim McCreight. I got there, and everybody was shaking his hand. I was like, “Why are people so interested? Doesn't everybody write their textbook?” You don't know what you don't know. I didn't realize he wrote the textbook for the entire country, so I went there and was like, “Oh, I guess he's a big deal.” He was a big deal to me, but I didn't know he was a big deal to everybody.    Sharon Portelance is there. She is an amazing teacher. They have great continuing ed, and they have great BFA and MFA programs. It's in such a beautiful part of the country. The building overlooks the harbor. It was a dream, and it was a perfect step for me to go from a small town to a small city. I applied to Boston, but that might not have been the best fit for me. Maine College of Art was a great step in the right direction. It felt good.   Sharon: I can't see you in Boston. That would be limiting. How do you decide what's going to be in your gallery when they're not your pieces? How do you decide? What do you look for?   Heidi: It's funny; before I moved the first time, when I was in Rehoboth, I was doing a lot more solo shows, one-person shows. We're getting ready to start our exhibition series, which I'm planning on opening for next June. I'm giving myself a little space. I'm going to have a show in September so I can welcome our local community. Then I'm going to have Earrings Galore in November, which will go to New York City Jewelry Week and then come to us. For the following spring, I'm going to start our exhibitions again.    I'm really interested in group shows right now. I'm interested in this conversation between work and how we can help people understand art jewelry through a bigger grouping. I feel like that's exciting. We'll probably have a solo show every year, but we're going to have a few group shows that are talking about a theme or a formal expression. Whatever it is, we're going to cultivate some group shows that are going to be more of a conversation and are going to get the people coming in to have a conversation. I'm excited about that, I'm excited about the display, and I'm excited about the new artists. We're starting that conversation now.   Sharon: It's a lot on your plate at one time.   Heidi: Yes, I gave myself a year. I'm like, “Oh, I'm going to wait until next year to start that.” I didn't cry and go crazy.   Sharon: You must have pictures come in over the transom a lot and have people saying, “Can I be in your gallery?” What do you look for? Have you ever chosen any of those, or do you only stick with people that you know, that you've taught, that you've seen their work?   Heidi: We are definitely always looking for new work. We want people. I would love the gallery to be more of a conversation and more of a forum for the artist. When people have ideas, I want them to bring me their ideas and say, “Hey, can I do this thing?” We're having Lyndsay Rice, who is an amazing curator. She is going to curate a show for next year. She'll bring her ideas and her expertise and her artist database in her head into the gallery. We like artists to bring in a group that makes sense to them because that's what they're interested in. It doesn't happen as much as I would like it to. I think people feel like there's this space between the gallery and the artist, but I am really into punching through that space and allowing the artist to have a little more say and be excited about something.    I would welcome people to come with ideas and their own work. We want it to be beneficial for everyone. Sometimes that's beneficial in that you get to show your work and it does its thing. Sometimes it's a successful show that sells a lot of work, but I don't make that the main focus of why we're showing work. That's not my main focus. If it's great work and it needs to be shown, then it needs to be shown. If it's sold, we're excited, but if it's shown and it got that artist to the next place, then that's a worthwhile endeavor.   Sharon: When you say it has to be shown, is it because you've seen something in the work or in the pictures that's different? What would that be?   Heidi: Yeah, it has energy that's something new. It has energy that's talking about something. They've got a way with what they're making. They are filled with something we haven't seen. If that's the case, then I want that work to be out there, and it deserves to be out there. So, yes, send me images. If you want to write a proposal for a show, and you've got five people you think should be in that show—sometimes we'll use a curator if it's actual curation. It's one of those things where we're open to a lot of things. We are in Delaware, so people have to come here to see the work, or they'll see it online. Sometimes things travel, but not everything travels.    Sharon: How did you make it through Covid? You said you had one gallery that you moved out of, but how did you make it through Covid with everything going on?   Heidi: Covid was an amazing experience for us. We were on a dead-end street. It was very much studio based. I had one employee at the time. She and I just decided we were going to be in this together, so we were going to work every day. I think we went from 10 to four, four or five days a week. We enjoyed our lives, but it was a very focused time where I got to do fewer things and really focus on a few things. We made a lot of work and sold a piece a day over Instagram. Almost every day during the lockdown, we sold one piece.    We had people calling us from all over the country like, “We want you to be there when we get back. We want to pay your rent.” I was like, “Are you kidding me? This is the kindest thing I've ever heard.” It was one of those very heartwarming moments in my world. I realized how important every single relationship I had over 15 years had been. All of those times where I had probably spent too much time talking to that customer paid off tenfold. That was probably the opposite of what a lot of people were feeling, but I felt very invigorated and was really happy with that movement and that process of, “Well, this is what I'm going to get out of this. I'm going to move through this in a way that feels right for me.”    Again, it's back to that little bit of financial conservativeness. I hadn't overextended myself, so I was not really stressed. I was not intensely financially upset about the three months I knew I wouldn't be able to open. Delaware did a good job being moderate about how they did things. When we could open, we were open, and we just followed some guidelines. In three months, things were back to almost normal for us. We were teaching classes.   Sharon: That's a pretty short time. That's good. Did you know when you graduated that you wanted to have a gallery and make all that stuff, or was that something you came to?   Heidi: I knew when I was at SUNY New Paltz that I wanted to have a gallery. I was in grad school, and I wanted to expand the public's interaction with art jewelry, which I feel is really important and probably one of the most contemporary forms of art out there today. I feel like art jewelers are so special and smart and thoughtful and detail oriented. They deserve to be highlighted, and I felt like there weren't enough places for them to do that. It was one of those things that was very important to me, to make one more space for that interaction.    Sharon: When you say art jewelry, do you mean gold and platinum or wood and whatever?   Heidi: All those things. I consider it art jewelry when anybody is bringing an idea to a piece of work and using the medium of jewelry to express it. I don't care if you're using gold and doing it in a thoughtful way or if you're using paper or silver or wood. Whatever that is, my main concern is that you're investigating something. Whether that be formal aspects of a circle—O.K., that's an interesting investigation—or the ring through history or how plastic bonds or how to mix patterns. I don't know. All of these things are interesting, but I want to know what your investigation is. As long as there's an investigation and the end result is something innovative and cool, I'm down.    Sharon: When people submit their work, do they have this philosophy behind them?   Heidi: For sure. They are definitely investigating an idea. 99% of the artists are so deep in an investigation, and most people don't even know it. That's how they get to where the piece is, but most people don't know how. Jewelers by nature are investigating. They're also anal retentive and detail oriented. They are going deep, the ones I'm friends with and the ones in my gallery. They're going deep into something. I am always in awe of how smart and thoughtful and amazing these jewelers are. They have gone beyond what people think.   Sharon: Wow! As you're talking, I'm thinking about all the reasons I'm not a jeweler, especially when you said detail oriented. Do you care what age they are, if they're 60?   Heidi: No. We have second-career artists. We have artists who started when they were really young. We have artists who are just out of school. We show a wide variety as long as it's engaging and there's thought behind it. Those are my two criteria. I don't even know who would enter into this world without those two things.   Sharon: What do you consider art jewelry? You're saying art jewelry is made by artists. If a piece is made by an artist, but it's not what I would consider art jewelry; it's just a one-off, let's say, is that art jewelry? Do you have a definition for art jewelry?   Heidi: I think there are varying degrees of art jewelry. There are artists making work, and some of them are investigating an idea or a medium. Then some are taking it to that next level, which is showing in museums and going to that next level of research and development and thought. There's a continuum, but they may come from there and end up here in their lifespan. When I think of Amy Tavern, she makes the most amazing production jewelry, but she also makes the most amazing art jewelry, and then she makes work that wouldn't be considered jewelry. There's this continuum.   I also choose the work out of what they're making. I don't want the things that are super-production-y and not as thoughtful and not as one of a kind. I would prefer to have more work that is—maybe it's in their production line, but it's one of a kind. I feel like there's a continuum and it's broad. I really want to usher people into art jewelry, so I might need to start them there to get them here, to get them through the bridge.   Sharon: Do you have this written somewhere? Do the people who submit know what they're doing, that they shouldn't present a ladder, that they should present the earring or the necklace?   Heidi: I think people know what we do. In this new space, I have Sarah Holden, who shows her art jewelry in the gallery, but now we have a space for the first time ever. That's this wall. This week—it just got to the gallery—she's going to put this collar she made that goes on the wall. It's actually totally a combo of art and jewelry. It's this life-size Elizabethan collar made of steel and pearls, and that's going to go on the wall. I was like, “Oh my gosh! Look at this piece!” but we never had space for that before. This is a new endeavor, and we'll see how that goes.    I'm limiting it in a way, but I'm not limiting it in another way. I think people understand when they send their work to us. Maybe they're trying something one year and that may not get in. They usually know, and then they go further and get it because they've expanded what they're doing into a more interesting realm. They were starting here, but I'm open to things that other galleries wouldn't be open to because I'm trying to usher people in.   Sharon: Can you give me an example of what you might be interested in that another gallery would pass on?   Heidi: I don't know exactly what that would be except for Earrings Galore. Earrings are kind of the evil stepchild of art jewelry. I just embrace earrings. I was like, “Here we go. Let's do this because this is something people can change every day.” People love earrings. They can be big. They can be small. They can be asymmetrical. They may pass on earrings, and I said, “Let's highlight the earrings.” That's a prime example of where we're not going to follow the rules of a gallery. We're going to expand our idea of what a gallery can be.    Also, those things are all different now than they used to be. There used to be hard rules about these things. Now we can play with what we're doing and figure out new ways of doing it and new ways of drawing in new collectors who may be interested in this whole new realm that they don't even know exists, because none of us knew this existed. I started with making rings. I thought that was where jewelry began and where jewelry ended. Now, thank God I was given the standards I was given by Maine College of Art and Oregon College of Art and Craft and SUNY New Paltz because they allowed me to expand my way of thinking. I really am thankful for that broadened expanse of what jewelry can be, but I also understand the public is not starting there. They are starting at a whole different place, and I want to meet them where they are and move them in.    Sharon: Is that what a collector is to you, that they are just starting out and then gathering stuff?   Heidi: I have one collector that comes from D.C. every summer and buys four or five pieces. She buys things from the Smithsonian and Jewelers' Werk in D.C. She's got a jewelry collection to die for. Then I have people who have more traditional work. Maybe they started with my work because they love me, but hopefully they get sick of me and then move on to other artists. I see myself as a thread that brings them along to the more controversial, bigger, more risky work, what we consider art jewelry.   Sharon: Is everything one of a kind in the gallery?   Heidi: 90% of it is. Some artists will make their work multiple times, but it's in a similar vein. But most of it is one of a kind.   Sharon: If it's one of a kind, is that with two extra made behind it so you can ship off the second in case the first one sells? Or is it that the first one sells and that's it?   Heidi: That's it. You've got to buy it while it's hot. We're always changing. People come back for things and they won't be there. This is the work we have, and we have an expanse. You can buy something here or you can buy something here. You can enter at any point. I think that's just who I am. I want to engage the public in different ways, so we're welcoming; we're not, “Well, this is a gallery and you're not going here.” We're like, “Come in. Let's talk about it and let's get excited.” People will laugh and cry and ask questions. They know they have somebody who will help them or just talk about it.   Sharon: Heidi, thank you very much. When will you open your outpost on the West Coast? That's what I want to know. We're a wasteland out here. Thank you very much for telling us about it. Are you near the Rhode Island mansions? You're in Delaware, but I don't know the geography at all.   Heidi: Delaware is close to a lot, like three hours from D.C. and New York and Baltimore. That's great because we have a huge hub that comes here for the summer. Boston and Rhode Island are like seven, eight hours; Maine is 10. We can go for a long way and get a lot of art in this short distance. In the space of California, we can get a lot in there. Jewelers' Werk is in D.C., and Ellen Riven has an amazing gallery. We can head up to things like the contemporary jewelry galleries in Boston. I try to always work jewelry into my vacations.   Sharon: Thank you very much. On my next vacation, I hope it encompasses your gallery. I want to see this big collar you have on the wall. It sounds really interesting. Thank you very much for being with us. I really appreciate it.   Heidi: Thank you so much for having me. I so appreciate it also. It's so much fun.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.    

  What you'll learn in this episode:   How Heidi helps jewelry artists take the next step in their career and create the life they want Why Heidi's business includes multiple components, including making, teaching and running a gallery How the Earrings Galore pop-up sale got started Why Heidi takes risks and breaks the traditional gallery rules when selecting artists How a bit of financial intelligence can help artists and gallery owners have long-lasting careers   About Heidi Lowe Heidi Lowe owns and operates her own gallery, Heidi Lowe Gallery, where she teaches, makes jewelry and shows her work and other artists. She received her BFA in Metals and Jewelry from Maine College of Art in Portland, Maine. A year later she went to graduate school at the State University of New York, New Paltz where she earned her MFA. Her next steps lead her to NYC where her gallery experience began as an assistant to the director at a prominent contemporary art gallery in Chelsea.    After her time in New York, Lowe moved back to Delaware 2006 and opened Heidi Lowe Gallery which exhibits contemporary art jewelry. The gallery also functions as a teaching and studio space. The jewelry that she creates draws on intuition, nature and the history of metalsmithing. Her work is shown within her gallery as well as in numerous exhibitions at other galleries in the United States. Lowe also taught jewelry design as an adjunct professor at Towson University for eight years and currently teaches workshops at colleges and craft centers around the country. She is also a certified business and life coach for creative entrepreneurs and students throughout the US and Canada. Photos available on TheJewelryJourney.com Additional Links: Website: www.heidilowejewelry.com Facebook: https://www.facebook.com/HeidiLoweGallery/ Instagram: @Heidilowe Transcript Heidi Lowe may be the owner of a jewelry gallery, but that doesn't mean she's your average gallerist. Known for her traveling pop-up sale Earrings Galore, Heidi is passionate about introducing collectors to art jewelry and pushing artists to the next level—and she's willing to take risks to do it. She joined the Jewelry Journey Podcast to talk about the inspiration behind Earrings Galore; how she balances managing Heidi Lowe Gallery with making her own jewelry; and what she looks for when choosing new artists. 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 today is Heidi Lowe, founder of Heidi Lowe Gallery. If you ever thought you needed a guide to show you the ropes, either for making a piece of jewelry or helping with your own jewelry business, you've come to the right place with Heidi Lowe and her gallery. She teaches classes in jewelry making, but she's also known for her earring pop-ups and her wedding bands, which she has gained a lot of notoriety for. People know her for her wedding bands and the jewelry by other designers that her gallery carries. She consults with designers on their jewelry businesses. She has learned through the school of hard knocks what works and what doesn't.    She recently moved her gallery from Rehoboth Beach, Delaware to Lewes, Delaware. Her gallery captures summer tourists and couples looking for that special wedding band. She's going to tell us about that today, including when it's the right time to open a new gallery and all the changes that entails. Heidi, welcome to the podcast.   Heidi: Thank you so much for having me.   Sharon: How did you decide to have a combination of selling your work and consulting? What made you decide to do that?   Heidi: I had always had interns and people I mentored. I realized I could get better at that, so I did iPEC coaching, which is the Institute for Professional Coaching Excellence. From there, I was able to gain knowledge about how to mentor people more efficiently and correctly, which led to me offering it as a service. I also have a class called Abundance for Creatives, which helps artists change their mindset from starving artist to abundance. They can see how much information they have and how equipped they are to run a business because they're problem solvers. They think outside the box and have a great skillset to do something like this, but they've been always told they can't engage that part of their brain.    Sharon: That's interesting. I like the word “abundance.” Is that something you learned in your coaching class?   Heidi: Abundance is what we all strive for. We want abundant lives, whether that's abundance in love or abundance in creativity or abundance in financial gain. We want to have the life we want, and everybody's looks different. Being able to help people identify what that is and then move through that, that is what I love about coaching and the Abundance for Creatives class.    Sharon: Do you find that you get the same the same feeling of abundance if you're helping somebody make jewelry?   Heidi: Yes. Also helping somebody understand their business or understand their skillset in business. I love to see an artist succeed, and like I said, success looks different for everyone. I want them to succeed in the way they want to succeed, whether that's making one piece a year that goes in a museum, whether that's making hundreds of pieces and traveling across the country, or whether that's being in galleries all around the world. Whatever that is for them, I want that to be where they're heading.   Sharon: Is that something you ask them at the outset?   Heidi: Yeah, we talk about that in the beginning, “What would you like your lifestyle to be, and what is your ideal for your life?” We really home in on that so it's not society's idea of a good life; it's your idea of a good life.   Sharon: From everybody I've talked to, I presume they don't normally teach this in jewelry making school. How did you learn the business aspect of jewelry making and having a gallery?   Heidi: My dad was a business owner, so a few things I gathered from him. Tim McCreight of Maine College of Art was very good at giving us the basics, like keep your receipts, have a different bank account, make sure you're paying attention. I really heard that and listened to that. Then a lot was from owning a gallery and going, “O.K., what is a business? How does this work? I need to make more than I spend.” The first year I didn't do that because I gave away too many things at a discounted price. I learned that year.    When I did iPEC, it was for myself. I didn't think I was going to be coaching after that. I was doing it as help for my own business. It was a way of understanding what I wanted, how to run a business, and how to come from your core values and let them shine in your business, which is why people like you. You don't need everyone to like you; you just need your people to like you.    Sharon: Do you think you have learned through the school of hard knocks in jewelry making?    Heidi: Yes. Of course, I've made lots of mistakes and I've learned from them, but I never consider them mistakes. I always consider it as, “Oh, that didn't work. O.K., let's move on.” I don't home in like, “Oh, I've got to wallow in this thing that didn't work.” I'm like, “Done and done. Got to get through it. Over to the next thing.” I've learned things that work and things that don't and things I needed to add.    A big thing was I have a lot of parts of my business, and that's not by accident. In order to make this whole world go, I had to have multiple parts. That's what I teach, and that is a form of advertising. My teaching lets people understand why jewelry costs money and what they can get from jewelry. Within 15 minutes of every class, they go, “I'll spend more on my jewelry now,” and I'm like, “Oh, great. I've won.” They're paying for the cost and understanding jewelry better. It's great for all the parts. They either decide, “I want to take more classes,” or they decide, “I never want to do this again, but I'll buy more jewelry.”   Sharon: I'm in the part that says, “I'll buy more jewelry,” as opposed to having to make it, which is great if you know how to do it. Why did you think it was necessary to have a new studio? What was wrong with the old one?   Heidi: Nothing was wrong with my old one. I just outgrew it. My old studio was a cottage from the 1950s that was 500 square feet. I would pretend it was much bigger, but it was 500 square feet, and that included the studio, the office, the bathroom and the gallery. I have no idea how we did the things we did there.    I had investigated rebuilding that place. We were taking steps to rebuild it, but as I was going to get permitting, I had a feeling it wasn't the right thing to do. I listened to those feelings, and then three months later, Covid hit. I had moved my space to a dead-end street in the middle of the highway, which I was planning on staying in for one year. All of a sudden, I was in the best spot ever for going through Covid. I didn't have to deal with the general public; they had to come to me at specific times. We could really limit things. It was great because that space was more studio than gallery. It was perfect for the time period.    I was there for three years. About two months before I left, I had that feeling like, “I'm done here. I'm ready for the next step. I don't know where that is.” Then this space became available in Lewes, which is walking distance to my house. It's almost like a dream. During the iPEC coaching, we envision a lot of things, like if we could have everything we want, what would that look like? I closed my eyes and did the exercise, and I was like, “Where will you be in a year?” I envisioned this brick building. It was near the water; I could walk to it and it was old. I was like, “This doesn't even exist in my town.” We have industrial buildings. We don't have those sorts of things. So, I was like, “Well, that's terrible because I'm going to have to move,” but I was like, “Whatever, the universe is doing its thing. I'll just let it do its thing.” The building I'm in is brick. It has things like archways. It's from 1868. It looks over the water. It's in walking distance. It couldn't be better. I have a studio downstairs and a gallery space upstairs. I'm one block from the main street. I'm like, “Oh my, gosh, I found it!”   It was in the works seven or eight years ago. I hadn't found it yet. Once I found it, I called the people. I have a lot of connections, so I'm very lucky. I knew it was becoming available, so I asked if I could have it and they said yes. Then I just waited to see what the universe was going to do, and they were like, “Yeah, it's yours. Do you want it?” and I said, “O.K., it can happen. It was ready for me, and I was ready for it.    Sharon: Wow, it sounds fabulous! The industrial look and being able to walk to work and overlooking the water. Who could say that?   Heidi: I feel like, “Pinch me. I can't even believe it.” It's such a great space for other people's work in the gallery, and it's a great space for my work. Then there's the fact that downstairs there's a little more space so we can do two things at one time, which was the problem at the last space. It facilitates all my needs. It was great.   Sharon: Having moved twice now, what would be the biggest piece of advice if a jewelry designer was saying, “I'm thinking about moving the gallery,” or “I've been working from my house and I'm going to open a gallery”? What would you say?   Heidi: Mine is very energy-based. I just let my radar find it and listened to my gut. I would say listen to your gut. Where is your space? Put out there exactly what you want and then let it find you. It will find you. Allow yourself to expand your thinking and allow things to be better than you expected, and make smart choices.    I've always lived within my means. I don't go too far outside out of what I can handle financially. I made a big splurge on the display cases this time, but it was still a splurge within my means. Even though it felt like, “Oh, my gosh, I'm getting these custom-made cabinets,” I said, “This is really special. They've got these drawers and my cabinetmaker made them beautifully.” I also was still working within my means, and that is huge. You don't want to put yourself in the stress that you're so extended that you can't focus on the good parts of your business, like meeting people and all of that. I think that shows. I think people feel that.   Sharon: They feel the stress.   Heidi: They feel the stress. In our space, we cultivate positive, really good, engaged energy because that's not a huge stress. Even though this is a much bigger space and it's a much bigger risk, it's still within the means of what I think I can realistically do, yet it's extending me in a different way.   Sharon: Was it a big challenge? Was it stressful to have new promotion done or to expand your promotion to let people know you moved?   Heidi: I live in a small town, so they all knew before I knew. They all knew. We put it out there. Social media is great for that, and people were very excited. I don't know how I'm so lucky. People come in and they're so happy for me. I feel very lucky. People come here from all the cities around us like New York and Baltimore and Philly and D.C. During the pandemic, they were calling and saying, “Can we pay your rent? We want to make sure you're there. It's important to us.” It's a miracle.   Sharon: Wow! How do they hear about you if they come from New York or big cities? I imagine they have a lot of choice already.   Heidi: Yeah, they have lots of choice, but it's hard to find that jewelry. If they're interested in the arts, our name comes up quickly. If they're coming to my shop, I'm telling them about other galleries, like Peninsula Gallery. It's not hard to find your people in this town, and when you do, they'll send you to other people right down the street. We're not working with such a large area, so we can really home in on the people.   Sharon: That's great, but it seems like somebody who comes from a big city already has so much choice by the time they get to you. I first knew you by your earring pop-ups. Tell us about the backstory to that. I kept smiling when I was reading it.   Heidi: Earrings Galore. It's funny you say they have lots of options, but a lot of my pop-up clients came to that show. A lot of New York City comes to Rehoboth because of that show. The real impetus was I couldn't decide what jewelry to bring with me to the SNAG conference because I didn't have enough time to make those decisions before I left.   Sharon: The SNAG conference being?   Heidi: It's the Society of North American Goldsmiths conference, which I go to nearly every year. You have to bring the jewelry. You can't show up there without jewelry. So, I brought a box with all my earrings because I was like, “Well, as long as I've got good earrings, I'll be fine.” I put that in my jewelry case with my clothes and zipped off to wherever I was going that year. When I got there, my friends came into the room and all of a sudden—and I know all the jewelers I carry, or most of them, and I know the earrings; I knew how much they were. It's just one of the weird things I can keep in my brain.    So, I was at the SNAG conference and I was like, “Oh yeah, those are this artist and they're $340. Those are made by Harriete Estel Berman and they're this much money, and those are this much money.” It was my jewelry, but I, being a business owner and O.K. with letting go of things, sold like 20 pieces of my jewelry out of my collection that I had bought from the gallery. I was like, “Oh, my gosh, I can't believe this. I guess this is an untapped marketplace, and I'm going to do something about this.” We want to buy other artists' work, and it really wasn't something the SNAG conference was doing. It wasn't part of their mission, and it wasn't what they were doing. So, I was like, “Well, next year I'm going to have a pop-up. This is so exciting.”    The following year, I transformed the hotel room in Seattle, I believe it was, into a gallery space. I put these heads on the wall, and it was all covert because you can't be doing this in a hotel, but I had it looking really great. I moved the bed and put things up, and it was thoughtful and respectful. I put little pins in there and had one earring on the head, and it was gangbusters. People were so excited. People were sharing a pair of earrings. People were buying a pair for their friends. They were buying high end, low end, all the in between. They were so excited to support one another. It was great. It was such a fun experience.   The following year, I didn't do it, but then the following year, I did do it. I didn't want it to be too much. I wanted to let it do its organic thing. This show happens at my gallery. It happens at whatever conference I'm going to that year that's jewelry oriented. Now it usually travels to another gallery during the year. It's become a really fun thing that people look forward to. It's almost like a starter show for jewelry enthusiasts and a way to collect one another's work for jewelry makers.   Sharon: Starter show is a good way to describe it because it is. You can go and pick a few things and know you haven't spent a fortune.   Heidi: Yeah, and you can start your collection there. Many people in the different arenas I work with, whether it's a local person here or somebody who knows about art jewelry or a docent from the Smithsonian who's on vacation, they are like, “Oh, this is so exciting.” They might buy this pair this year, but then next year, they buy this pair, and then the next year they buy this more adventurous pair. It allows people to get into collecting art jewelry.    That is how I see myself as a gallery owner. I want to be the bridge between spaces. I want to be the bridge between traditional jewelry and a more meaningful piece that then leads to a more artistic piece. I want to be the person who's showing the exhibition and gets them thinking about it, but also helps them find something they feel comfortable wearing that brings them where they're going. It's understanding that art jewelry is a whole thing, and it's working with the medium of jewelry as a form of expression.    I could do different things, but I love being the bridge between not knowing what art jewelry is and then having an art jewelry collection. Then I talk to them about, “Oh, you could give it to the Smithsonian. You have a collection. You have five pieces. You're working on a collection. This is what I think about your pieces, and this is where these could go.” Then they start bringing in their grandchildren, and then their grandchildren understand making and maybe they make a piece. It becomes a building upon a building, and it really is special.   Sharon: Did it expand into necklaces or anything else? It seems like a wonderful way to do it, a wonderful bridge like you're talking about.   Heidi: Yes. The earring show is its own thing and it's something people look forward to, but of course we carry 25 artists or more all year round, and they have their collections. They'll have two beautiful pairs of earrings, and then they'll have two stellar necklaces and a few pendants and some rings. We want to highlight their work, so whatever it is they're working on that fully shows the breadth of what they do is what we want to show. The earring show is just a way to get them to buy into what we're doing.   Sharon: How do you find the makers for the earrings and the other art jewelry aside from that? There are so many at your pop-ups. How do you find the makers?   Heidi: We have a call for entries that goes out. It used to be in January, but now it's in the August or September time period. We are planning for New York City Jewelry Week. We do a call for entries worldwide. We usually have about 200 applicants, and we pick between 40 and 60, depending on what our space can do that year. It is so hard to decide because they're so good.    That is a way I get to know artists. Then they may end up in the gallery from that show because we get to know are we good at working together, do we collaborate well, is the work working with my audience? Sometimes I don't care if it's working; I just want to bring the work so people can expand. Sometimes if it's going to be a longer-term thing, you want it to be beneficial on both sides.   Sharon: How many pieces do you usually get? You have 200 applicants, and you pick 40 to 60. Do they bring multiples of each?   Heidi: No, it's six pairs to begin with. Some artists, we've sold six pairs before they even hit the wall and I'm like, “Oh, my gosh!” which is awesome. It doesn't happen often, but when it does, it's amazing. We'll do an unwrapping on Instagram, and people will get excited and they're like, “Oh, I want those, and I want those.” I'm like, “I don't even have them in the inventory yet. Hold on.” But it's an excitement. They don't necessarily have production. It's all one of a kind, but they can send six more or they can send four more. If halfway through we've sold half of them, we'll send them an email and say, “Hey, can you provide us with a few more? They've been selling.”    Sharon: Do you find that they come from a particular area in the world? I presume that most of them come from the States, but do they come from France or Germany?   Heidi: Yeah, all over. We sometimes will get Metalwerx from Massachusetts. I think one year they made an effort to push their students and their employees and people they know, so we got like 25 applicants from Metalwerx in Massachusetts, which is so cool. Usually, it's somebody who has seen it a few times and they want to be part of it. It's a great show to highlight emerging artists and a great way to get your first yes. I love to be the first yes.    Sharon: It's a good point, the first yes.    Heidi: It's an honor to be someone's first yes on both sides. I have tons of artists who have been with me for a long time, but I was their first yes. A lot of galleries will say, “We only work with artists who have been in the field for five years.” Well, you've got to start somewhere. You're going to end up as a banker otherwise, and most of us don't want to end up as a banker. I really take that seriously. I will take a risk, which is not that much of a risk for either of us. We're just trying to show work that's cool and innovative and fun and thoughtful. It's a way to get to know new artists and a way to push people, to get them to know that their work is worth making. Sometimes people struggle with that if there aren't some yeses, because you need those.   Sharon: Do people come to you during the year and say, “How do I become part of this?”   Heidi: Yeah.   Sharon: Are there some that you consider art jewelry and some that you don't out of the earrings or jewelry that is submitted?   Heidi: Well, they're all made by artists. We want them all to be one of a kind, made by artists, and we want there to be a variety. There are some that appeal to someone who's a little more conservative in their dress, and there are some that are really out there in the way they're speaking about a current event, or they are asking a lot of the wearer. So, we like to have a wide grouping, and we really do think about the grouping. One year I felt like we had all oxidized black jewelry, and I was like, “How did we end up with this?” You want there to be a lovely variety for people to choose from and see.    We realized we overdid that variety one year when we decided to change our display a little bit. We used to put jewelry everywhere. Every head was a different pair, and then we made every row a different person. So, there are five pairs on display in each row. It gives people a little space in their heads to say, “Oh, this is this person's work. I understand it better because I've seen five pieces,” and “Oh, this is what I have to choose from.” Sometimes things take a long time. I think it took us seven years to get to that, but that's what it takes.   Sharon: We will have photos posted on the website. Please head to The JewelryJourney.com to check them out.

Today we are speaking with Dr. Laura Freid, the President of Maine College of Art and Design and a leader in arts advocacy. Applications to MECA&D's BFA program increased by 53% from 2016 to 2019, accompanied by a 24% increase in selectivity and a 7% increase in the diversity of the incoming class. The MFA program more than doubled from 17 to 38 students in the same timeframe.Previously, Dr. Fried served as CEO and Executive Director of Silkroad for more than a decade. She also served as executive producer of the internationally acclaimed feature documentary “The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble.”Prior to joining Silkroad, Dr. Freid was executive vice president for public affairs and university relations at Brown University. A magazine journalist and editor, she previously served as publisher of Harvard Magazine and executive director of the Ivy League Publishing group. Before working at Harvard, she was the publisher and editor of Bostonia magazine for ten years.Our interview today is sponsored by Maine Home+Design. Don't miss Laura's Design Theory article in the September 2023 issue of MH+D. More from Laura Freid:Website: https://www.meca.edu/about/office-of-the-president/about-laura-freid/Instagram: https://www.instagram.com/lfreid/?hl=enMore from us:Website: http://www.trentbell.comInstagram: http://instagram.com/trentbellphotography/Podcast: www.adppodcast.com 

The best place to generate electrical power is where it's used. We all know that solar PV adds value for both owners and society by improving resilience, reducing energy costs and decreasing carbon emissions and climate impact. Yet traditional design practices and compressed schedules make it challenging for project teams to include integrated solar on their designs. The solution is Architectural Solar and the Architectural Solar Association knows that the key moves are early engagement and integration of architectural, structural and cladding systems. The time is now to consider solar as being architecturally significant and to realize that it does not always have to be relegated to the roof. The days of the Mr Potato HeadTM approach, where panels are stuck onto a home or building after they're built, are over. Join us for forward-looking discussion with two industry experts in best practices for solar integration and design._____Stan PipkinSince 2007, Stan has co-managed and owned Lighthouse Solar in Austin, TX. He has been involved in the shaping of local and state policy to foster the growth of solar energy. In addition, Stan runs an architectural design practice, Pipkinc., focusing on residential, commercial and civic projects. He has found considerable overlap between integrated solar design and holistic architectural design services. In 2000 he co-founded a research and design collective, Spurse, which has engaged in community design projects, material research and process consulting for institutions and organizations ranging from the Guggenheim Museum to The Land Institute. Their work has included exhibitions, workshops, lectures, participatory community design projects, product development and architectural design. Lecture and workshop venues have included MIT, Rhode Island School of Design, Maine College of Art and the GuggenheimWhile managing and growing all aspects of Lighthouse Solar, Stan worked closely with a number of industry innovators, including Lumos Solar on the development of its architectural solar product suite. Stan holds a Master of Architecture from the University of Texas, his skill-set sits at the nexus of solar energy and architecture._____Christopher KlingaChris is a licensed, professional structural engineer, with 10-years of hands-on experience in the architectural solar industry. He has an extensive background in solar installation design and operations and architectural solar product development. In addition to his efforts with ASA, Chris operates his own solar product development firm SolMotiv Design, which consults directly with the full value chain of both PV and curtain wall industries. Chris is also a co-inventor on 3 solar technology patents and 3 pending patents. Chris holds a B.S. in Mechanical Engineering from the University of Colorado in Boulder._____TeamHosted by Kristof IrwinEdited by Nico MignardiProduced by M. Walker

The Witch Wave fairy podmother and sonic sensei, CC Paschal, has been on a spiritual - and material - journey to save their family's ancestral home *by the end of this month!* Please share CC's GoFundMe widely and do contribute if you are able to!CC Paschal (she/they) currently heads editorial content and development at the audio production house, Molten Heart. She also teaches audio documentary art, most recently at The Salt Institute for Documentary Studies at Maine College of Art & Design. Their book, "Audiocraft, The Art and Business of Making Podcasts that Mean Something" is out later this year from Routledge.Previously, CC was the series editor of NPR's critically acclaimed narrative series Louder Than a Riot, about the interconnected rise of mass incarceration and hip-hop culture; as well as Malcolm Gladwell's Broken Record, and the award-winning independent show about intimacy and power, The Heart. In 2017, CC was a lead producer on Gimlet Media's Peabody award-winning production Uncivil where she honed her genealogical research skills and first discovered her Melungeon / Free People of Color ancestry.On this bonus episode of The Witch Wave, CC discusses their magical mission to save their family's home, the importance of Black land stewardship in America, and the spiritual synchronicities that helped them heed this ancestral call.(Here's CC's GoFundMe page once again!)

New England native Liz Prescott loves to teach, and her passion for painting is apparent when she talks about process and technique. Liz earned a Bachelor of Fine Arts from the Maine College of Art in Portland, and a Master of Fine Arts from the Vermont College of Fine Arts in Montpelier. A lifelong learner, she names Rick Rubin's The Creative Act: A Way of Being as a recent source of inspiration. Liz loves being in nature, and incorporates beautiful settings into her teaching through her Monhegan Island workshops. Join our conversation with Portland Art Gallery artist Liz Prescott today on Radio Maine.  Every week, Dr. Lisa Belisle brings you an interview with a member of Maine's community, including artists, designers, and more. Subscribe to Radio Maine on YouTube so you never miss an episode. Liz Prescott is represented by the Portland Art Gallery of Maine. Click here to view her art.

Did you know that the Gulf of Maine is warming faster than 96% of all the world's oceans? Anna Dibble joins Nancy to talk about her environmental advocacy as an artist and what Gulf of Maine EcoArts is doing to shine a light on the impacts of climate change. Public relations plays a key role in helping spread the word about art exhibits, including the Gulf of Maine EcoArts' latest collaboration with Maine Maritime Museum, an exhibit called “SeaChange: Darkness & Light in the Gulf of Maine.” Listen to this episode to find out what role PR plays and learn more about the SeaChange exhibit.   2:47 – Anna explains how growing up around nature led her to her career and helped her realize how there is a disconnect between most people and the natural world.    4:38 – Anna talks about the inspiration behind the SeaChange exhibit at Maine Maritime Museum.   10:15 – Anna describes what she hopes will come out of the SeaChange exhibit.    14:26 – Anna shares how PR is important for all the different aspects of SeaChange, whether the exhibit is being covered from an environmental or artistic perspective.   17:10 – Anna explains how PR can help promote art exhibits.   18:55 – Anna talks about working with interns to create the SeaChange exhibit.   21:52 – Anna shares one of her favorite books and some environmental authors that have impacted her work.    Quote   "I've had to do a lot of publicity for myself and for the arts, it's extremely important because the arts in our culture are almost put in this separate category. It's too bad they're not more part of the culture the way they are in Europe and Canada and even Mexico. They are separated so publicity is extremely important, I think. Otherwise, word of mouth isn't enough. We need the press." – Anna Dibble, founding director of Gulf of Maine EcoArts  Links:   Listen to Amanda Pleau's episode of The PR Maven® Podcast.     Colin Woodard's Gulf of Maine series: https://www.pressherald.com/2020/09/07/mayday-gulf-maine-distress-six-part-series-from-colin-woodard/   Bigelow Lab: https://www.bigelow.org/   Maine Maritime Museum: https://www.mainemaritimemuseum.org/   Conservation Law Foundation: https://www.clf.org/   Commentary: Art Can Help Us Understand the Gulf of Maine's Warming Problem: https://www.pressherald.com/2023/02/06/commentary-art-can-help-us-understand-the-gulf-of-maines-warming-problem/   Intertidal: Maine Maritime Museum Exhibit Features Underwater Mountain Range: https://www.pressherald.com/2023/02/09/intertidal-maine-maritime-museum-exhibit-features-underwater-mountain-range/   Where Art and Science Intersect: https://news.colby.edu/story/where-art-and-science-intersect/   Maine College of Art & Design: https://www.meca.edu/   Saint Joseph's College of Maine: https://www.sjcme.edu/   Maryland Institute College of Art: https://www.mica.edu/   “Cloud Cuckoo Land” by Anthony Doerr: https://www.amazon.com/Cloud-Cuckoo-Land-Anthony-Doerr/dp/1982168439   Gretel Ehrlich: https://www.amazon.com/Books-Gretel-Ehrlich/s?rh=n%3A283155%2Cp_27%3AGretel+Ehrlich   Barry Lopez: https://www.amazon.com/Barry-Lopez-Books/s?k=Barry+Lopez&rh=n%3A283155   Paul Kingsnorth: https://www.paulkingsnorth.net/books     About the guest:      Anna Dibble is a visual artist, project designer and curator.  She has shown her work in galleries and museums in the northeastern United States since 1971.  Between 2018 and 2023, she founded and directed a project-based initiative, and produced two collaborative large-scale, year-long sculpture and environmental exhibitions.  In the past, she worked in the animation industry in Los Angeles, San Francisco and New York at Disney, Sesame Street and Electric Company, Marvel and Hanna Barbara.    Looking to connect:             Instagram: @anna.dibble   Website: www.gulfofmaineecoarts.org   Personal website: www.annadibble.com  

Support for this show is brought to you by our friends at Bloomerang. Bloomerang offers donor management and online fundraising software that helps small to medium nonprofits, like First Tee of Greater Akron, a nonprofit that empowers kids and teens through the game of golf. After just one year with Bloomerang they doubled their unique donors, improved donor stewardship, and raised more funds. To listen to the full interview with First Tee of Greater Akron visit bloomerang.com/nonprofit-nation .You only have five seconds to captivate your audience. Video can help you stand out against the myriad of peers and competing messages. And best of all, 57% of people who watch nonprofit videos go on to make a donation (Source: Google). So - how can small nonprofits use video to compel audiences to take action? How can video help build and cement emotional connections and increase donor engagement?  My guest today is Raffi DerSimonian. Raffi is a firm believer in the emotive power of visual storytelling, and has developed a range of strategies throughout his career to help organizations and institutions tell their unique story. He's worked with some incredible organizations, including HBS, Clark University, Trinity College, Lafayette, Muhlenberg, Tufts, Seven Hills Foundation, Worcester State University, Maine College of Art & Design and others.In this episode, we will explore the art of visual storytelling as it relates to creating emotional connections and driving measurable engagement.  Check out Raffi's free Nonprofit Video Resource Guide as you create and market your videos. Connect with Raffi:Website: http://www.eridesign.comWebsite: https://www.eridesignstudio.com/insights/Nonprofit Video Resource GuideAbout Julia Campbell, the host of the Nonprofit Nation podcast:Named as a top thought leader by Forbes and BizTech Magazine, Julia Campbell (she/hers) is an author, coach, and speaker on a mission to make the digital world a better place. She wrote her book, Storytelling in the Digital Age: A Guide for Nonprofits, as a roadmap for social change agents who want to build movements using engaging digital storytelling techniques. Her second book, How to Build and Mobilize a Social Media Community for Your Nonprofit, was published in 2020 as a call-to-arms for mission-driven organizations to use the power of social media to build movements. Julia's online courses, webinars, and keynote talks have helped hundreds of nonprofits make the shift to digital thinking and how to do effective marketing in the digital age. Connect with me on LinkedIn: https://www.linkedin.com/in/juliacampbell/

The average school day today looks different than in years past. K–12 educators face a myriad of challenges this year, including teacher and other staffing shortages, distance learning, the politicization of curricula, calls for book bans and the fallout from the COVID-19 pandemic. In the first episode of Season 7 of “The Maine Question,” we speak with Penny Bishop, dean of the University of Maine College of Education and Human Development; Jim Artesani, associate dean of graduate studies, research and outreach for the college; and Courtney Angelosante, coordinate of the Positive Behavior Supports & Interventions (PBIS) Initiative, to discuss the latest issues in the field of education, as well as opportunities for new and improved learning.

Reported by Inside Higher Ed, designed to double the number of engineering graduates coming out of the state and meet Maine's growing STEM workforce requirements, the Maine College of Engineering, Computing, and Information Science will consolidate the system's existing STEM programs under this one statewide institution.

By the time Sage Tucker Ketcham entered high school in Burlington, Vermont, she and her mother had moved over 20 times. Their travels took them throughout the U.S. and Europe, with memorable stays in England and Italy.  Sage's mother, herself an artist and musician, made sure that art played an important part in their experience. Sage went on to obtain a more formal art education from the Maine College of Art in Portland, before eventually returning to Vermont, where she now lives with her husband and son. Her paintings suggest an interesting blend of stasis and movement, likely informed by her own peripatetic past, weaving the transitional nuances of seasons and time of day with comforting depictions of home. Learn more about Portland Art Gallery artist Sage Tucker Ketcham on today's episode of Radio Maine.

Today, we're going to learn about Southern Maine Community College, which has launched an EV repair program giving technicians hands-on experience working with and repairing electric vehicles.   We talk to Ruth Morrison, director of the auto department at SMCC. She joins the show today to share how the program came about and why having something like it is so important for the health of the aftermarket.

Southern Maine Community College has launched an EV repair program, giving technicians hands-on experience working with and repairing electric vehicles. Ruth Morrison, director of the auto department at SMCC, joins the show today to talk about how the program came about and why have something like it is so important for the health of the aftermarket. Be sure to check out ADAPT Automotive on Facebook and Twitter, and visit adaptautomotive.com for latest on industry trends and tech. 

This week Sarah talks to guest Bernadette Esposito, a writer and plane crash archivist, who was on residency in Iceland at the time of the interview. They talk about Bern's long-running obsession with flying and planes that started years before her plane to Paris caught on fire mid-flight. They discuss aura reading, numerology and the challenges of mining your real life for your writing. Plus, a special shout out to artist Kirk Stoller who would have been 61 on November 25, 2021, the day this episode airs. About Bernadette Esposito Bernadette Esposito is an air disaster archivist, writer and yoga instructor. She is writing a book-length meditation on plane crashes. Her work has appeared in Best American Essays, have been nominated for Pushcart Prizes and have been long-listed in Best Horror Writing. Her essays have appeared in Conjunctions, The Iowa Review, The Normal School, Hotel Amerika, and others. She won The Iowa Review Award for nonfiction and has been awarded fellowships from the Yaddo Corporation, the Ucross Foundation, the Jack Kerouac House, the Santa Fe Art Institute, and others. She holds a certification in air disaster investigation from the National Transportation Safety Board Training Center and an S-212 from Colorado Fire Camp. She teaches writing at Maine College of Art in Portland Show Notes Follow Bernadette on her Instagram @Seat22f to learn about the plane crashes of history National Transportation Safety Board Training Center Fear of Flying Clinic Kirk Stoller and C2C Project Space: Bridging the Gap Between San Francisco and New York in SFAQ Online Club Kirk: an exhibition curated by Kirk at Romer Young Gallery in San Francisco Show Partners Acorns Investing - invest, earn and save with automated round-ups and scheduled deposits. Earn $5 when you sign up with this referral link Get 50% off Quickbooks Online or Quickbooks Self-Employed for the first six months using this referral link: https://quickbooks.grsm.io/sarahThibault Create and ship artist prints, custom-designed t-shirts, and more using Printful. About The Side Woo Host and Creaator: Sarah Thibault All editing done by Saraah Thibault on Garage Band Music by LewisP-Audio found on Audio Jungle The Side Woo is a podcast created through NINA ARNETTE, a media production company, metaphysical hub and retail store. To learn more about NINA ARNETTE go to ninaarnette.co. For questions, comments, press or sponsorships you can email nina@ninaarnette.co. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thesidewoopodcast/message Support this podcast: https://anchor.fm/thesidewoopodcast/support

Martha Burkert's successful career as a photography stylist taught her much about perspective, subtracting from a scene, and proper lighting--each of which has been important to her art.  Martha attended the Maine College of Art in Portland later in life, at the suggestion of several artist friends. One of her early influences was artist and author Alfred “Chip” Chadbourn, with whom she shares a connection to Yarmouth, Maine. She brings her knowledge of photography and art forward into her pieces, many of which incorporate elements that are reminiscent of home life, including ceramics and garden flowers. Martha currently divides her time between her Texas home and her family cottage on Cousins Island in Maine.  Watch, or listen, to this episode of Radio Maine to learn more about artist, Martha Burkert.

Artist Matt Chamberlain has always felt an urge to paint. Although he pursued his passion at the Maine College of Art (MECA) in Portland, he initially felt uncertain about how to make a living through his art. With this in mind, he picked up a “real” job as a prep cook at Portland's venerable farm-to-table restaurant, Fore Street.  The experience, a total immersion into foodservice, set Matt on another creative path as a chef, which eventually led to his owning  a Portland-based catering business. It wasn't until years later, when the stress of operating a food business reached a peak, that he returned to the art studio. To his surprise, there was much for him to say on the canvas, and a group of art collectors who were more than willing to hear it. Now, Matt makes his living creating art as one of the most recent additions to the Portland Art Gallery. Hear more about Matt's story on this episode of Radio Maine with Dr. Lisa Belisle.

Join host Piers Kaniuka and author scholar Dana Sawyer as they discuss the Perennial Philosophy. Recorded on August 11, 2021.Dana Sawyer is a Professor of Religion and Philosophy at the Maine College of Art, and for more than 20 years taught in the graduate program of the Bangor Theological Seminary. He is the author of two critically acclaimed spiritual biographies, of Aldous Huxley (2002) and Huston Smith (2014), and has written on a wide range of topics related to consciousness expansion, Tibetan Buddhism, Hindu mysticism, psychedelic experience, and alternative philosophies. Besides teaching at the academic level, Prof. Sawyer is a popular speaker on the lecture circuit, having taught workshops at the Esalen Institute, the Kripalu Institute, and other such centers of psychological, spiritual and philosophical inquiry. His work has appeared in Tricycle, the Buddhist Review, Parabola magazine, Yoga Journal and other such publications.You can learn more by visiting his website - https://www.dana-sawyer.comResistance Recovery (RR) is reimagining addiction, recovery, and community in the 21st century. Piers Kaniuka, MTS, MS has worked with thousands of addicts and alcoholics in his 25+ years in the field. Discover RR's new paradigm of addiction recovery by visiting http://resistancerecovery.com.Join the Resistance: https://www.facebook.com/groups/1236683136534727/ Visit the RR YouTube channel: https://www.youtube.com/c/RESISTANCERECOVERYSign-up for Long Threads and get Resistance Recovery news: https://mailchi.mp/ddc8023bec67/welcometoresistancerecoverySupport this podcast at — https://redcircle.com/resistance-recovery/donations

This episode, we had an inspiring and fun conversation with Maine jewelry designer Ebenezer Akakpo. We talked about his journey from dreaming to be an architect to becoming a jewelry designer, how he creates his new pieces, his inspiration, how he's helping people, and more!   ABOUT OUR GUEST: Ebenezer's portfolio spans various mediums and processes; when combined with the visual Language symbols or Adinkra symbols from his native Ghana, he presents a unique collection of ideas and creations. His jewelry-making passion led him to Florence, Italy, where he studied stone-setting and jewelry design and also discovered the world of computer-aided design and manufacturing. He moved to the US and studied Metalsmithing and Jewelry at the Maine College of Art, Portland, Maine, and Industrial design at Rochester Institute of Technology, in Rochester, NY. In 2017 he founded the Akakpo Design Group LLC in Maine, focusing on designing Jewelry, Apparel, and home accessories. Visit Ebenezer's website www.akakpo.com to see the symbols he uses in his designs and also place orders as well. Be sure to follow him on Facebook, Instagram, and YouTube as well as checking out his other brand, Maine Culture.   ABOUT KEEP IT LOCAL MAINE: We are a way for local businesses to promote themselves to thousands of people in and around their communities - letting them know what great services and products they offer right here in Maine! We currently publish four issues in areas around Southern Maine in addition to our podcast. To learn more about us, visit keepitlocalmaine.com or follow us on social media - Facebook, Twitter, Instagram, and YouTube.

Chloe White has always been a person who honors her truth. From the start, she has not shied away from reassessing her goals and making the necessary adjustments to reflect her priorities. Originally a fine arts student at Maine College of Art, she followed her love for graphic design to FIDM. She turned her internship at Create & Cultivate into a full-time position and traveled extensively, then shifted again and explored freelance life in Los Angeles. She's since returned to her home state of Vermont with her now-husband and has landed a graphic design position at Driven Studio, whose clients include local brands such as Ben & Jerry's, Cabot Cheese, and Seventh Generation. In this episode, Caitlin Benson chats with Chloe White about her changing dream and the importance of being self-aware as a young creative professional.

Podcast: Sean Carroll's Mindscape: Science, Society, Philosophy, Culture, Arts, and Ideas (LS 68 · TOP 0.05% what is this?)Episode: 156 | Catherine D'Ignazio on Data, Objectivity, and BiasPub date: 2021-07-19How can data be biased? Isn't it supposed to be an objective reflection of the real world? We all know that these are somewhat naive rhetorical questions, since data can easily inherit bias from the people who collect and analyze it, just as an algorithm can make biased suggestions if it's trained on biased datasets. A better question is, how do biases creep in, and what can we do about them? Catherine D'Ignazio is an MIT professor who has studied how biases creep into our data and algorithms, and even into the expression of values that purport to protect objective analysis. We discuss examples of these processes and how to use data to make things better.Support Mindscape on Patreon.Catherine D'Ignazio received a Master of Fine Arts from Maine College of Art and a Master of Science in Media Arts and Sciences from the MIT Media Lab. She is currently an assistant professor of Urban Science and Planning and Director of the Data+Feminism Lab at MIT. She is the co-author, with Lauren F. Klein, of the book Data Feminism.Web siteMIT web pageGoogle Scholar publicationsData + Feminism LabWikipediaTwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.The podcast and artwork embedded on this page are from Sean Carroll | Wondery, which is the property of its owner and not affiliated with or endorsed by Listen Notes, Inc.

Manufacturing — making products and adding value to raw materials — plays a crucial role in Maine's economic well-being, but the industry is changing. Pulp and paper production has declined over the years as several mills have shuttered. Emerging firms are smaller than they once were, and many now use high-tech, precision manufacturing. Despite its alterations, however, the manufacturing economy in Maine continues to expand and evolve. Companies eager to fuel or participate in industry growth face challenges in their efforts to create new products, implement cutting-edge technology and teach their existing workforce new skills. Fortunately, the Advanced Manufacturing Center, which is part of the University of Maine College of Engineering, is eager to help them. The center has assisted many manufacturers in Maine and beyond over the years with efforts to innovate and explore new areas in the industry. It also often acts as a research and development lab for companies that are unable to experiment on their own. In this episode of “The Maine Question,” we speak with AMC director John Belding about the role the center plays for Maine fims and the prospects for the state manufacturing industry.

This week we sat down with illustrator, designer, and educator, Dom Civiello. Currently based in Boston, MA, Dom has work featured in American Illustration, Communication Arts, The Society of Illustrators, 3x3 International, and Creative Quarterly. In addition to his many accolades, Dom also teaches Illustration courses at New England College and Maine College of Art. In this episode we take a look into his researched based image-making process, the importance of understanding design principles, and how he promotes experimentation and exploration in his classroom. You can look at Dom's work @dom.hq on instagram and on his website dom.studio. Dom's artist picks: Dallin Orr, Danny Schwartz, and Kirk Wallace