Podcasts about oregon arts commission

The bipartisan Arts and Culture Caucus in the Oregon legislatures has a slate of bills it’s pushing for this session. One proposal would merge two major arts funding organizations: The Oregon Arts Commission and the Oregon Cultural Trust.  Another bill would help owners of historic buildings by lowering their assessed tax, while others would allocate funds for grants to artists, art programs and organizations along with money for museums, festivals and arts districts. Democratic Representative Rob Nosse co-chairs the caucus, created in 2023. He joins us to share the progress the caucus has made since it began and what he sees as the biggest challenges and opportunities for the arts in Oregon in the current political moment.

Send us a textIn her book, There Was an Old Woman: Reflections on These Strange, Surprising, Shining Years, Andrea Carlisle describes what it means to her to live a long life. She examines why her experience as an older woman is so different from what she expected it to be and realizes that her expectations came not from older women themselves but primarily from a culture that misled her from an early age right into the present day. Through children's stories, art, literature, and common stereotypes that pop up in everyday conversations, we are told what an old woman is and needs. In her view, we can only challenge misperceptions through speaking up, telling our own stories, and supporting one another in facing what these years actually are: the hard truths as well as the perspective and often profound complexity that come with growing older.In this episode, you will discover:Why Carlisle is not afraid of the word "old" and is willing to apply it to herself while also recognizing that others may not feel the same way and have their reasons.The fact that we're all lumped together because of one shared physical reality is as wrong when it pertains to the old as it is with any other group that shares a single physical characteristic.Why a lot of the misunderstanding, not to mention fear, we have about older women is because for centuries, men told their stories, painted their pictures, and constructed fantasies about them that are just as dangerous and damaging as the ones they built around nubile, ever available younger women. Who are we really? Just as proved to be the case in every other era of our lives, living in old age is an individual experience. The opportunity we have now, as opposed to other times in history, is to create more honesty about these years by pushing ourselves to own and share our unique reality with others.About Andrea Carlisle:Andrea Carlisle is the author of There Was an Old Woman: Reflections on These Strange, Surprising, Shining Years. Her work has been published in literary journals, newspapers, magazines, anthologies, and by independent presses. Go Ask Alice . . . When She's 94, her popular blog about her mother, brought attention to aging and caregiving before they became subjects of national interest. She has received fellowships from the Oregon Institute of Literary Arts and the Oregon Arts Commission. In March 2024, Electric Lit published her most recent essay, 7 Novels about Women Over 60 Who Defy Societal Expectations.Get in touch with Andrea Carlisle:Buy Andrea's book:  https://revolutionizeretirement.com/carlisle Visit Andrea's website: https://andreacarlisle.com/ Read Andreas's 7 Novels About Women Article: https://electricliterature.com/7-novels-about-women-over-60-who-defy-societal-expectations/ Read Andrea's 50-Year Portland Friendship Article: https://www.pdxmonthly.com/news-and-city-life/2024/03/friendship-aging-portland-orWhat to do next: Click to grab our free guide, 10 Key Issues to Consider as You Explore Your Retirement Transition Please leave a review at Apple Podcasts. Join our Revolutionize Your Retirement group on Facebook.

Americans for the Arts, a nonprofit that advocates for arts and arts education in the U.S., released data on how the arts sector affects Oregon. The study showed that Oregon’s nonprofit arts industry generated more than $800 million in economic activity in 2022. Randy Cohen is the vice president of research for the organization. He has toured across  the country discussing findings from the study. He’s currently visiting Eastern Oregon to talk about how the arts sector affects economies in Pendleton, Joseph, Ontario and other communities. Roberta Lavadour is the executive director for the Pendleton Center for the Arts and serves on the Oregon Arts Commission. They join us with details of the study and how the arts industry affects communities like Pendleton.

What happens when a group of Phish fans with a common purpose get together and start a non-profit? The Mockingbird Foundation! Taraleigh and Dr. Leah talk with Liora Sponko and Drew Hitz, board members of the Mockingbird Foundation, about the incredible impact the organization has had on music education for children over the past 25 years. Liora shares her experience as a new member and Drew as a seasoned member for over a decade. Listeners learn about specific tour grants that go to each city Phish tours in to give back to the community as well as special projects in store. For the “Did you Know,” Leah shares the positive impact of early music education and Taraleigh gives detailed instructions in how to donate now for the “Daily Jam.”The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1997 to generate charitable proceeds from the Phish community and beyond. Since they're entirely volunteer, administrative costs are less than 5% of revenues! So far, they've distributed over $1.9M to support music education for children – 534 grants in all 50 states! For more information about The Mockingbird Foundation, visit www.mbird.org. Liora Sponko leads interactive workshops and speaking engagements to help entrepreneurs, changemakers and creative professionals build an empowering mindset and harness energy to manifest their desires. She is a certified life coach and spiritual coach and has worked in the personal development industry for over 10 years. Liora also serves as the Senior Program Manager for the Oregon Arts Commission and Oregon Cultural Trust, the state agencies that help individuals and communities thrive through arts and culture. Liora is proud to be The Mockingbird Foundation's newest member of their Board of Directors as it combines her passion for music, philanthropy, Phish and service. In her free time, she enjoys everything outdoors and rockin out to live music as much as possible.Andrew Hitz is an internationally renowned soloist, clinician and speaker having appeared in over 40 states and 30 countries including Japan, Brazil, Russia and Singapore. He is probably best known for his time as the tuba player and co-owner of Boston Brass. Andrew has also appeared with the National Symphony Orchestra, Baltimore Symphony Orchestra, Utah Symphony Orchestra, U.S. Army Blues, Alarm Will Sound and the Marine Band of Mexico. This podcast is available on Apple Podcasts, Spotify, or wherever you get your podcasts. Please leave us a rating or review on iTunes and join our Facebook group to dive deeper into the conversation of live music and health and wellness.Groove Therapy is brought to you by Osiris Media. To discover more podcasts that connect you more deeply to the music you love, check out osirispod.com. See acast.com/privacy for privacy and opt-out information.

Plastic is everywhere, and it lasts forever. But humans have a hard time grasping “forever”— the scope is far greater than our comprehension. That's precisely the problem that Allison Cobb explored in her new book, Plastic: An Autobiography. Cobb aimed to give shape to behemoths like climate change, nuclear technologies, and racism, using plastic waste as the thread that connects them all. She insisted that the current design of manufacturing and retail, which relies on a cycle of consuming and discarding, obstructs our view of the humans who actually create objects. It's a design that's intentional; because if consumers truly knew how things were made and who was making them, could we continue living the way that we do on this planet? Allison Cobb is the author of four books: Plastic: an Autobiography, Green-Wood, After We All Died, and Born2. Her work has appeared in Best American Poetry, Denver Quarterly, Colorado Review, and many other journals. She was a finalist for the Oregon Book Award and National Poetry Series; has been a resident artist at Djerassi and Playa; and received fellowships from the Oregon Arts Commission, the Regional Arts and Culture Council, and the New York Foundation for the Arts. Allison works for the Environmental Defense Fund and lives in Portland, Oregon. Clayton Aldern is a writer and data scientist interested in science and society. His writing has been published by The Atlantic, The Economist, Scientific American, Logic, and Grist, among others. Based in the Pacific Northwest, he is currently working on a book about the effects of climate change and environmental degradation on neurochemistry, behavior, decision-making, and mental and emotional health. Buy the Book: Plastic: An Autobiography (Paperback) from Elliott Bay Books Presented by Town Hall Seattle and Grist.

Episode 7 of Finding Community honors Native American Heritage Month and the indigenous people of Washington County, Oregon. In this episode, Glenn speaks with Stephanie Littlebird Fogel and David Harrelson, both members of the Confederated Tribes of Grand Ronde. Stephanie is an artist, author, curator, and creative who grew up in Washington County and is a descendant of the Kalapuyan. David is the Cultural Resources Manager for the Confederated Tribes of Grand Ronde, was appointed by Governor Brown to the Oregon Arts Commission, and sits on the State Advisory Committee for Historic Preservation. Glenn spoke with them about telling contemporary indigenous stories, Stephanie's work with Five Oaks Museum on the exhibit This IS Kalapuyan Land, and the broader topics of place and community.Transcripts available here: https://bit.ly/Ep7_TranscriptsLearn more about VAN and our initiatives:https://www.visionactionnetwork.orghttps://www.facebook.com/VisionActionNetwork/https://www.instagram.com/visionactionnetwork/This episode was produced by Glenn Montgomery for Vision Action Network. Our audio editor and music producer was Mandana Khoshnevisan. Music by Choro da Alegria.

EP025 w/ Anthony Hudson aka Carla Rossi (they/them) where the incredibly accomplished performance artist and writer shares their experiences in using humor and discomfort to reach their audience, understanding their identity, and comedic edging?IN THIS EPISODE:• Loving Peter Pan• Redface in Media• Creating a character people love to love and love to hate • Using humor and timing to talk about hard topics• Growing into boundaries• Being on the treadmill of other's definition of success• Who is actually Native American?Click here to see the full show notes pageAbout Anthony Hudson: Anthony Hudson (Confederated Tribes of Grand Ronde) is a multidisciplinary artist, writer, filmmaker, and performer sometimes better known as Portland, Oregon's premier drag clown Carla Rossi. Together they host and program Queer Horror, the only LGBTQ+ horror film and performance series in the country, at Portland's historic Hollywood Theatre. Anthony has received project support and fellowships from the Native Arts and Cultures Foundation, First Peoples Fund, National Performance Network, Western Arts Alliance, Oregon Arts Commission, Oregon Community Foundation, USArtists International, Ucross Foundation, Caldera Arts Center, and more; Anthony's performances have been featured at the New York Theatre Workshop, La Mama (NY), Portland and Seattle Art Museums, Portland Center Stage, PICA's TBA Festival, and have toured internationally. Anthony also co-hosts the weekly queer feminist horror podcast Gaylords of Darkness with writer Stacie Ponder. Find out more at TheCarlaRossi.comHighly recommend their MUST READ article________________________________________ Love the show? You can join our Bold Bitch Mafia for free access to bonuses, updates, and more. Remember to  RATE & REVIEW. Instagram @theboldbitchpodcast #OneBoldBitch More About The Show: In the BOLD BITCH Podcast we dive deep into taboo topics. Each week award-winning creative powerhouse and compulsively curious host Gia Goodrich talks to badass visionaries and brazen game-changers with bold visions and strong opinions. Diving below the surface of subjects we're socialized not to talk about, we learn, lift the veil, and shift perspectives on the lightning rod issues impacting us every day. It might ruffle a few feathers, but it takes honesty to inspire change and remind us that the boldest version of ourselves is exactly what the world needs.

Kaylin McFarren has received more than fifty national literary awards, in addition to a prestigious RWA Golden Heart Award nomination for Flaherty’s Crossing—a book she and her oldest daughter, New York Times/USA Today best-selling author Kristina McMorris, co-wrote in 2008. Prior to embarking on her writing journey and developing her popular Threads psychological thriller series, she poured her passion for creativity into her work as the director of a fine art gallery in the Pearl District in Portland, Oregon; she also served as a governor-appointed member of the Oregon Arts Commission and currently oversees interior design projects for the Yoshida Group of Companies. Her self-published books are written in multiple genres and include award-winning romantic thrillers, mysteries, a time-travel adventure, and now, a paranormal fantasy. She hopes that her stories are entertaining and that they linger in the minds of readers long after her final twists are revealed. In addition to writing, when she’s not traveling between homes in San Diego and Portland or spoiling her two pups and three grandsons, she enjoys giving back to her community through participation and support of various charitable, medical, and educational organizations, and encourages others to do the same. To learn more about Kaylin McFarren and her work, visit her website.  Topics of Conversation Stepping outside her normal genre – writing about the supernatural world Why she pushes her characters to their limits Bringing relevant social issues into the mix – women’s rights A woman as the ruler of hell? Writing and publishing a book during a pandemic SOUL SEEKER Crighton Daemonium arrives in the peaceful town of Lochton, Illinois, searching for wicked souls to add to his count. Benjamin Poe, a devoted husband, father and firefighter, finds himself in a battle of wills against this evil, manipulating demon, while protecting his only son. Ultimately, Poe is tricked into committing murder and Crighton is rewarded with the soul he was sent to retrieve. Following Poe’s execution, Crighton continues his dark malevolent duties, until he's kidnapped by members of The Sovereign Sector. This group of scientists, notorious for experimenting on supernatural creatures, forces Crighton into a soulmate relationship with the very angel he was sent to capture for the King of Hell, Lucifer. With secrets revealed, darkness rules and loyalties shift. The demonic soul-seeker soon becomes the target of Lucifer's revenge, and his journey to redemption and freedom—or eternal enslavement—begins. CONNECT WITH KAYLIN MCFARREN! Website: http://www.kaylinmcfarren.com/ Facebook: https://www.facebook.com/AuthorKaylinMcFarren Twitter: https://twitter.com/4kaylin Instagram: https://www.instagram.com/4kaylinmcfarren/ WATCH THE BOOK VIDEO READ THE READER VIEWS BOOK REVIEW

Robin Stiehm's professional dance career spans 4 decades, beginning as a ballet dancer at the Minnesota Dance Theatre. She was a soloist at MDT, performing in ballets such as Concerto Barocco, Les Sylphides and La Bayadere and became a prime interpreter of choreographer Loyce Houlton's contemporary ballet.In 1989 Robin transitioned to modern dance and worked with New Dance Ensemble, also in Minneapolis, MN. There she was privileged to work with many choreographers, including Bill T. Jones, David Dorfman, Bebe Miller, Ralph Lemon and a host of others.Robin began choreographing in 1990 and in 1994 formed her own group, Dancing People Company, based in Minneapolis. During her Minneapolis years, Robin’s work received support from the McKnight and Jerome Foundations, and the Minnesota State Arts Board. In 2000, she received a prestigious Bush Artist Fellowship.In 2003 she relocated the company to Ashland, Oregon. In the 13 years DPC was in Oregon, Robin developed strong professional dancers and maintained a salaried company with whom she created many pieces. She also developed an innovative high school program that introduced modern dance to many hundreds of students in rural Southern Oregon, and created an annual community-based Winter Solstice program. Both of these endeavors created strong connections between the professional company dancers and the community it served. DPC’s work in Oregon was supported by the Oregon Community Foundation, the Oregon Arts Commission, the Carpenter Foundation, the City of Ashland, and many others.During the 20 years of her directorship at DPC Robin choreographed over 50 works and brought the company on tour to Poland, Russia, Belarus, and Japan as well as traveling in the USA. Robin has been a guest teacher and choreographer at international festivals and at colleges, including the University of Minnesota as a Cowles Chair Guest Artist; University of Oregon; St. Olaf College; Mankato State University; Pacific University; and Escuela Profesional de Danza de Mazatlan. She has choreographed pieces for Zenon Dance Company, Ballet Pacifica, Ballet Arts Minnesota, ARENA DANCES, and Traduza Dance Company, in addition to the many pieces she created for her own company.

Kaylin McFarren has received more than 40 national literary awards, in addition to a prestigious Golden Heart Award nomination for Flaherty’s Crossing – a book she and her oldest daughter, Kristina McMorris, co-authored in 2008. Prior to embarking on her writing journey and developing the popular Threads action/adventure romance series, she poured her passion for creativity into her work as the director of a fine art gallery in the Pearl District in Portland, Oregon; she also served as a governor-appointed member of the Oregon Arts Commission. When she’s not traveling or spoiling her pups and three grandsons, she enjoys giving back to her community through participation and support of various charitable and educational organizations in the Pacific Northwest, and is currently the president of the Soulful Giving Foundation – a non-profit focused on cancer research, care and treatment at hospitals throughout Oregon. For more information about Kaylin McFarren and her work, visit her website at www.kaylinmcfarren.com. Topics of conversation: Writing Across Different Genres Soulful Giving Foundation Annual Family Photo Upcoming Projects Her Unique Writing Process

"How are you doing during quarantine? It’s the question we are all asking each other over seemingly endless Zoom calls. In this episode we gather a few artist friends to talk about what life is like on their side of the screen, how their studio practice has changed (if at all), and the shifting thoughts around local arts organizations.In a matter of weeks, Zoom has gone from being a corporate tool for virtual conference rooms to a verb describing our main way of connecting, getting work done, and even managing university and elementary school classrooms. We are all having a range of experiences with this platform - from gratitude to empty dread, sometimes in the space of the same call. Part of our conversation reflects on the nature of communicating, teaching, and staying connected over this now-ubiquitous platform.Art practices have shifted and our guests share the ways quarantine has affected the way they are making work - from hardly noticing the change to moving out of a graduate studio and working on the living room floor. Many artists already work in solitary spaces, but it’s the mechanisms (the institutions and community organizations) that provide those spaces that are having the most impact on where and how artists practices are affected.Lastly, we talk about the meaning of organizations and community in the lives of artists. What do they mean, how are we reflecting on them now that we are separated from the physical. Our group just launched a space in the fall, and had to close it right after our first exhibition and artist member gathering. Does not having a space mean the organization itself ceases to be important? Can artists keep helping locally? This week our guests are artists Dana Buzzee, Michael Boonstra, and Jill Baker.Dana Buzzee’s art creates offerings of resistance and pleasure as methods for revisioning deviance through an autobiographical exploration of queer-femme identity. Buzzee’s artistic outputs function as rituals, transforming spaces for empowered moments of dominance and submission, active and informed consent culture, and a profound understanding of power and control. Buzzee’s work has been exhibited extensively within Calgary, as well as throughout Canada. Their art has also been included in several international exhibitions in Finland, Germany, Iceland, and the USA. Currently, Buzzee is studying towards an MFA at The University of Oregon. Michael Boonstra's creative practice shifts between drawing, photography, installation, and sculpture. He is a founding member of Gray Space, a group of Oregon artists based in the Corvallis, Eugene and Roseburg areas who came together in 2016 to develop site-based projects that foster connections between artists, places, histories, and communities. Recent awards include a Career Opportunity Grant from the Oregon Arts Commission, project funding from the Ford Family Foundation, and Ford Family Foundation sponsored residencies at Playa and the Djerassi Resident Artist Program. Boonstra received his BFA from the University of Michigan and his MFA from the University of Oregon and currently teaches at Oregon State University.  Jill Baker is a visual artist and educator based in Corvallis, Oregon whose work employs drawing, performance, and video to document interactions with landscape and the natural world. These interactions and performances, often raw and improvised on site, rely on chance and natural elements for mark making and image. Recent works explore soundscape, gesture, and intimate relationships with earth and environment. She has shown her work in galleries, museums, and screening venues across the US.Technical note: This podcast session was recording using Zoom, and we experience some microphone issues, which affects the sound quality. Rest assured it’s not you, it’s us. If you enjoy this podcast you can help support what we do by joining us at Patreon.com/bofopodcast.

Michael Dupille: Creating an Art Form An early pioneer of the fusing movement in the Northwest, Michael Dupille is accustomed to developing the processes and products necessary to achieve his aesthetic goals in glass. As the creator and early master of Fritography, the artist’s work can be found in numerous public and private collections including those of the Washington and Oregon State Arts Commissions, The Everett Cultural Commission, The Seattle Times, The Pierce County Arts Commission, Amazon.com, and the Seattle Mariners.  He says: “At first, I was the only person doing frit work. Now there are many people teaching the techniques. Working with frit and fusing in general gives you freedom of expression. Learning how the colors work, how they fire, and what you can do with the different sizes of frit provides a conduit for your imagination.” Some of the most unique developments in Dupille’s work have been the result of experimentation or aesthetic accident. He has the mindset of a perpetual student, always looking for ways to make his art more interesting and extraordinary. This led to the birth in 2003 of Tranchant du Verre, Dupille’s exclusive process requiring a mix of his specially formulated CMC gum called Vitrigel with System 96 powdered glass. He is also the developer of Castalot Glass Mold material. Innovation and creation have always gone hand in hand for Dupille, as seen in everything from his large-scale glass feathers to his frit paintings of baseball games to his recent 4-foot custom glass hockey sticks.  Dupille’s journey in glass began in the mid-1970s. Upon graduation from Central Washington University in Ellensburg, the young artist moved to the Seattle/ Tacoma area where he attended Clover Park Vocational Technical Institute, studying offset printing and lithography. Meeting fellow fusers Richard La Londe and Ruth Brockmann at a street fair, Dupille was eventually invited to their studio and introduced to one of the founders of Bullseye Glass Co., Boyce Lundstrom. Dupille’s training in design and illustration came in handy for the early print advertising, book layouts and T-shirts he produced for Bullseye and Lundstrom’s glass school, Camp Colton. While working on Lundstrom’s Fusing books two and three, Dupille started teaching glass classes at the school.  As an innovator of new techniques and products, Dupille has been in demand as a teacher for the last three decades, instructing all over the United States and Mexico. Two workshops will be offered in 2020, one at Anything in Stained Glass, in Frederick, Maryland, this September, and in October in the UK at Glassification. Dupille is also working on a couple of new e- books and will release a series of production casting molds later this year. One of Dupille’s favorite experiences is opening up a glass magazine or book and seeing a former student’s work. In the early 1990s, Brockmann won a competition sponsored by the Oregon Arts Commission to create a pair of murals for the lobby of the Portland State Office Building. Created in collaboration with her partner Hal Bond, Dupille was also enlisted to collaborate on the two murals, which covered a total of 320 square feet and included fused glass, kiln cast glass, and colored cement.  Since those early days, public and private commissions have comprised a large portion of Dupille’s work in glass. Some of his largest and most challenging artwork touches the lives of hundreds of teachers and students in the Public School environment every day. His most recent, Manito Glow was installed in 2017 at Hutton Elementary School in Spokane, Washington, a Percent for Arts project offered through the Washington State Arts Commission. Although the process of creating art for schools is not significantly different from producing other large-scale work, Dupille’s goal is always to inspire his audience. “Glass has such unique and beautiful properties, and the students, parents, and faculty are drawn to it for that as well as the process used to make the work.”   

Tannaz Farsi’s practice straddles sculpture, installation and image making allowing her to work within a serial structure to create interdependencies in meaning. She uses organic materials such as flowers and plants, creates spatial compositions from light, air, words and continually engages with the history and specificity of objects to critically address broader socio-political systems through both an analytical and poetic framework. Farsi’s research draws from historic cultural objects, feminist histories, and theories of displacement evidenced by long standing colonialist and authoritarian interventions into daily life to complicate the network of relations around conception of memory, history, identity and geography. Farsi’s work has been exhibited at venues including SFAC Galleries, San Francisco; Portland Institute of Contemporary Art, Portland; Disjecta Art Center, Portland; Linfield Gallery McMinnville, ; Pitzer College Art Galleries, Claremont; Tacoma Art Museum, Tacoma; the Urban Institute of Contemporary Art, Grand Rapids; Delaware Center for the Contemporary Arts, Wilmington; and The Sculpture Center, Cleveland. She has been granted residencies at Bemis Center for Contemporary Art, Ucross Foundation, the MacDowell Colony, Studios at Mass MOCA, Santa Fe Art Institute and the Rauschenberg Foundation. Her work has been supported through grants and awards from the Oregon Arts Commission, National Endowment for the Arts, University of Oregon and the Ford Family Foundation. She received a Hallie Ford Fellowship in 2014 and was named the twenty-eighth Bonnie Bronson Fellow in 2019. Born in Iran, Farsi lives and works in Eugene, OR where she is on the faculty at the University of Oregon. The Names [state III], 2019, powder coated steel Tyrrany stops life., 2109, Iranian rug, silica grit, aluminum, archival ink jet print, polyester film, dried tulip petals

Tonight’s guest is Brian Haimbach, writer, actor, and head of the theater program at Lane Community College. Brian and I talked a little about acting, a little about directing, a little about the theater program at LCC, a little about travel and a bit about his one man show “How to be a Sissy” that he was able to perform at Edinburgh Festival Fringe thanks to a grant from Oregon Arts Commission. There was also some mention of beards and how handsome Brian’s husband is. Music for all episodes by Jon Griffin. Subscribe and save! Disclaimer; you won’t really save, it’s already free yo. My own YouTube channel: https://www.youtube.com/channel/UCugOLERePPuD4nwtZO-Zwnw?view_as=subscriber My Instagram: joelyshmoley FaceBook: https://www.facebook.com/wereyoustilltalking/ Twitter: @JoelAAlbrecht

Join us at SCRIPT as we interview our first artist Katherine Spinella. Her work often finds the beauty of objects discarded. Both physical and digital, we will discuss the methods she utilizes in her art practice when mining for content. We will also discuss how artist's practices have shifted with the endless potential of search sources such as Google.  Katherine Spinella is an artist living and working in Portland, Oregon. Her studio practice explores the fallacy of human dominance and mastery over the natural world, while transporting the refuse of commerce into fractures, elevated, and philosophically personified artifacts. As a habitual collector of discarded physical and digital commodities, she uses printmaking, sculpture, and digital images as a means of archiving and deconstructing commonplace objects and materials in search of their embedded ideological meaning. Spinella has recently exhibited in Portland, OR at Littman + White Gallery, Carnation Contemporary, and One Grand Gallery and in Los Angeles, CA at Outback Arthouse. Additionally, she has exhibited at Musée de Charmey in Charmey, Switzerland and Disjecta Contemporary Art Center and Portland Art Museum in Portland, OR. Her work has recently been published in the Endless Editions 2018 Biennial Catalog Project in NYC and Peripheral Vision Journal No. 7 based in Dallas, TX. She has received grant support from the Ford Family Foundation and Oregon Arts Commission and attended residencies at Vermont Studio Center, Kala Art Institute, and Women's Studio Workshop. Spinella is an MFA graduate from the University of Oregon 2013 cohort. She is currently a faculty member at Portland State University, Oregon State University, Linn-Benton Community College and MFA Mentor at Oregon College of Art and Craft.

Max McKee is the founder of the Western International Band Clinic (WIBC) and the American Band College (ABC). In this episode, the longtime educator tells the story of how and why he founded WIBC and explains how the curriculum he developed at Southern Oregon University eventually became the American Band College. Topics: Max’s musical background and his early experience at the Gunnison music camp that set his course and has served as the inspiration for much of what he does. The story of the Western International Band Clinic (WIBC) including the story of the it’s founding, it’s format, and what a director should expect if they go. How Max’s belief in experiential learning for his music education students at the Southern Oregon University  led to the American Band College. The American Band College program. Links: Western International Band Clinic (WIBC) Bandworld Bandworld Top 100 American Band College Download Center Overtone Series Videos Grainger: Irish Tune from County Derry Biography: Editor of Bandworld Magazine and co-founder of Western International Band Clinic, he is Professor Emeritus of Music at Southern Oregon Univ. where he served as Director of Bands from 1967 to 1994. He is now Executive Director of The American Band College masters degree program in which over 200 candidates from over 47 states and 8 foreign countries are enrolled. Max also continues as a WIBC Board member, has served on the Oregon Arts Commission and in 2014 was elected Chairman of the Board of the John Philip Sousa Foundation. He received the NBA Citation of Excellence and is a two-time recipient of the Sousa Foundation’s Sudler Certificate of Merit. In 1999 he was inducted into the Northwest Bandmasters Assoc. and received the Sousa Foundation’s highest award, The Medal of Honor. He is an elected member of the prestigious American Bandmasters Association, hosted its 1988 national convention in Ashland and served on its Board of Directors from 2000-2002. Max was also presented the Midwest Band and Orchestra Clinic's Music Industry Award, the WBDI World of Music Award and the A.A. Harding Award by the ASBDA.

This week on 'State of Wonder,' the writer behind 'Angels in America' and the movies 'Lincoln' and 'Munich' on writing for today, the head of Portland Center Stage on the hit musical 'Fun Home' and more.Tony Kushner Finds the Humanity in the Epic - 1:05Playwright Tony Kushner is a fearless explorer of spaces where the personal meets the political. His two-part masterpiece, "Angels in America: A Gay Fantasia on National Themes," kicked down the door to a discussion of the AIDS epidemic, and his screenwriting work on films like "Lincoln" and "Munich" manage to find the most internal, human stories in mammoth historical events. Kushner is headed to Oregon to deliver the keynote speech at the Oregon Arts Summit on Oct. 6, and we got him on the phone to talk about what he's working on now, including a play about President Trump (maybe) and a new take on "West Side Story" with his regular collaborator, Steven Spielberg.Painter Arvie Smith Wins the Governor's Art Award for Lifetime Achievement - 8:53To celebrate the Oregon Arts Summit and the 50th anniversary of the Oregon Arts Commission, Governor Kate Brown has resurrected the Governor’s Art Awards after a 10-year hiatus. The big winners of the Lifetime Achievement Awards are Portland painter Arvie Smith and the Kalapuya and Coos storyteller Esther Stutzman. Crow's Shadow Institute of the Arts, Portland Opera and The James F. and Marion L. Miller Foundation are also taking home awards. We sat down with Smith last year before his solo show at the Portland Art Museum to discuss his vivid, explosive paintings rich with political overtones, humor, and heartbreak.opbmusic Session in the Woods with Folk Singer Joan Shelley - 16:07This year, folk singer Joan Shelley released her fifth solo album with some big-name help. Wilco’s Jeff Tweedy produced and recorded the album in his Chicago studio. With those massive resources at her fingertips, Shelley could have gone big with a fuller sound and plenty of bells and whistles; instead, she doubled down on a minimalist sound that has made her stand out in an increasingly grandiose music industry. Recently, Shelley and guitarist Nathan Salsburg performed two songs for OPB on a hiking trail in Portland’s Marquam Nature Park. You can find videos at opbmusic. Chris Coleman on Directing the Tony-Winning Musical 'Fun Home' and Portland Center Stage's Upcoming Season - 24:15Portland Center State, the city’s biggest theater company, opened its 30th season this month with a most unlikely musical: the Tony-award-winning, coming-of-age story “Fun Home,” based on the graphic novel by cartoonist Alison Bechdel. It's the story of Bechdel's own coming out in contrast to the closeted, repressed life her father lived, and the title refers to a nickname she and her siblings had for the family house, which also happened to be the town's funeral home. You will never laugh so hard at kids making up a musical commercial about embalming. We talk with artistic director Chris Coleman about the production, which is the first by a local theater on the West Coast, as well as the rest of the season.

A New Collaboration for The Decemberists: Offa RexThe Decemberists may have finally met their match. The band has been collaborating with British singer Olivia Chaney to reinterpret tradition Scottish, Irish and English songs under the name Offa Rex — a reference to an Anglo-Saxon king. The resulting album, “The Queen of Hearts," comes out July 14 and is produced by local whiz Tucker Martine, and you can see Off Rex perform live July 23 at the Aladdin Theater.Kinetic Sculpture Racers Pedal On at Revamped DaVinci Days in Corvallis - 11:37This weekend, Corvallis celebrates the return Da Vinci Days: the festival where art and science mix. It started 29 years ago in the spirit of Leonardo DaVinci — a man as much about math as Mona Lisa. Da Vinci Days includes a full-three day schedule this year filled with live music, lectures, poetry readings, and a competition that may best embody the ingenuity and play at the festival’s heart: the Grand Kinetic Challenge, a race over land and water in handmade vehicles. Gallery 114’s Exhibition, “Human Being,” Centers Work by Incarcerated Artists - 22:04“Human Being,” the art show on view at Gallery 114 in NW Portland, features paintings and drawings and mixed media works by men who are serving life sentences in prison. David Slader, a former attorney who has devoted his retirement years to painting, invited three guest artists, Jerome Sloan, David Drenth, and B. Pat, to show artwork created in their Oregon prison cells alongside his own work.Boone Howard, PNW Rocker and Sound Engineer, Releases Solo Debut - 27:44An accomplished musician and former front man of Portland rock band The We Shared Milk, Boone Howard is also a sought-after live sound engineer. Now’s your chance to check out both his music and sound engineering chops on his solo debut record, “The Other Side of Town.” You can find videos of Howard's opbmusic performance here.Bend Arts Center Opens in a Changing Central Oregon Arts Landscape - 33:20Atelier 6000, a studio dedicated to printmaking and book arts, re-opened this month with a new name signifying a much broader mission: the Bend Art Center. The Center will offer expanded class offerings and a broader range of art exhibitions, but the name change is also a signpost for the restless conversation in Central Oregon art circles about who speaks for art, and what needs to be said. We check in with the folks at the new Bend Arts Center, plus local artists and art advocacy leaders, about possibilities and limitations for art in the region. U.S. Poet Laureate Tracy K. Smith - 40:01In June, Tracy K. Smith was named 22nd Poet Laureate of the United States. This is just the latest add to an impressive string of titles: in 2012, Smith won a Pulitzer for her poetry collection Life on Mars, she runs the creative writing program at Princeton University, and, this year, published a new memoir. Arts Funding at the Capitol - 45:23 The legislative session just wrapped up, and we kept up on bills and funding packages so you don’t have to. One success for arts advocates: six million dollars in lottery bond money for Main Street Preservation grants. We check in with folks at the Liberty Theater in LaGrande, which will benefit from the bill. Plus, more on legislation that mandates a consideration of regional differences when state arts grants are awarded, and a look at the Oregon Arts Commission, which is facing a 16 percent budget cut.

Reflecting on a Nuclear Legacy When your family is from Hiroshima, you have strong feelings about the nuclear age, war, and its legacy.Who better to talk about the fallout of our nuclear past than artists? And better, artists who come from cities that were affected and involved. Visual artist Yukiyo Kawano takes her grandmother’s kimono and sews replicas of the bombs that were dropped on her city. She has made Little Boy and Fat Man sewn with her own hair. In a new creation, she has partnered with performance artist Meshi Chavez and poet Allison Cobb to create “A Moment in Time.” How is art an act of activism? Host Amy Pearl, Hatch Innovation Guests Yukiyo Kawano, Visual Artist Yukiyo Kawano, a third generation hibakusha (nuclear bomb survivor) grew up decades after the bombing of Hiroshima. Her work is personal, reflecting lasting attitudes towards the bombings of Hiroshima and Nagasaki. Kawano’s main focus is her/our forgetfulness, her/our dialectics of memory, issues around cultural politics, and historical politics. For the latest project, she used pieces of translucent kimono fabric and sewed together with strands of her hair (the artist’s DNA as a third generation hibaku-sha), for the possibility of looking inward, suggesting another/personal view to our official receptacle of memory. During the school show in Vermont, Kawano performed in front of the object in desperation about the urgency of expressing fears about the devastation of our human bodies. The historical conjuncture, with the Tohoku earthquake and tsunami in Japan and the legacy of the nuclear era opened up a space for the performativity of her/our questioning of history, memory, witnessing, and disaster in the present moment. Kawano is currently living in Portland, Oregon. email address: yuki@yukiyokawano.com Allison Cobb, Poet Allison Cobb is the author of Born2 (Chax Press); Green-Wood (Factory School); Plastic: an autobiography (Essay Press); and After we all died forthcoming in September 2016 from Ahsahta Press, which was a finalist for the National Poetry Series. Cobb’s work combines historical and scientific research, essay, and poetry to address issues of landscape, politics, and ecology. She was a 2015 finalist for the National Poetry Series; a 2015 Djerassi Resident Artist; a 2014 Playa Resident Artist; received a 2011 Individual Artist Fellowship award from the Oregon Arts Commission; and was a 2009 New York Foundation for the Arts Fellow. She works for the Environmental Defense Fund. She lives in Portland, Oregon, where she co-curates The Switch reading, art, and performance series. Meshi Chavez, Performance Artist Meshi Chavez lives and creates work in Portland Oregon. Meshi’s most recent productions include Being Moved,“...or be dragged.” and  We Two Boys. His work has premiered in both New Mexico and Oregon. In this episode you’ll hear How artists and art represent the impacts of science, war, and powerlessness What is Bhuto dance, and how it is a perfect medium for expression and collaboration How a speech by President Obama inspired a poem of sound and words to be shared How art activates a space for contemplation, catharsis, and healing, which is more important (sometimes) than acting Why art is key to helping make invisible things felt and experienced, and why this is so important   Links to Resources Mentioned Hatch Innovation Hatch Oregon  

A few minutes with the executive director of the Oregon Arts Commission.

This is the QA Brian Rogers took part in last Monday, as part of the Oregon Arts Commission's hiring process. He talks about his background and experience, and fields some questions about advocacy and how he'd approach the challenges facing the arts commission.

Brian Rogers was named to lead the Oregon Arts Commission and the Oregon Cultural Trust08:12 – Sean Healy's "Extroverts" contemporary art opening exploring awkwardness and cigarette butts14:21 - In remembrance of Science Fiction Author Jay Lake who passed away this week

Commissioners meet to get an update on the executive hiring process, and other matters.

Keep your eye on this one. After several years out of state, Alyssa Macy came back to Oregon this fall to work for The Native Arts & Cultures Foundation. This week, she was appointed to the Oregon Arts Commission. Great perspectives on art and what kind of resources get the biggest bang in indigenous communities.

An outgoing Oregon Arts Commission member shares thoughts on the departure of the Commission's Executive Director, Chris D'Arcy, who was asked to leave.