Podcasts about Racine Art Museum

A portrait project that tells the stories of people's connection to hoop earrings is opening at the Racine Art Museum at the end of the month.

Housed in a 19th-century cheese factory, Audrey Handler's studio was founded in 1970 and is one of the oldest continually operating glassblowing facilities in the country. Through demonstrations she gave there and workshops she taught on the road at places such as Penland School of Craft and Haystack Mountain School of Crafts, she helped spread the idea that glass could be used as a medium for personal artistic expression.  A pioneer of the Studio Glass Movement, Handler started working in glass in 1965 as one of Harvey Littleton's first female glass students. He and his students experimented and learned together, renting old glassblowing films from the Corning Museum of Glass and trying to emulate the techniques. “It was so exciting,” Handler recalls. “Every day was something new.”   As a glassblower, Handler creates fruit forms, glass platters, and vases but also sculptural environments that comment on universal experiences, usually domestic in nature. These sculptures reflect small worlds and landscape portraits with life-sized objects and tiny sterling silver or gold people that evoke a surrealistic time and place. In well-known series the artist calls Monuments in a Park, Pear in a Chair and Wedding Pair, glass, wood and precious metal combine to tell a story. These works are made in collaboration with her husband, John Martner, who fabricates the tiny wooden chairs and love seats.   Wrote James Auer, Art Critic, The Milwaukee Journal: “By combining pieces of hand-blown fruit, in particular apples and pears, with tiny, hand-cast silver figures, (Audrey Handler) creates bizarre, Lilliputian landscapes that evoke universal human emotions and experiences. …this universality – combined with a neat sense of humor – is Handler's principal strength. It permits her to invest her work with a cutting satirical edge, to the point where her miniaturized depictions of conventional household scenes and cliched gender role models become winning little exercises in small-town surrealism.” Handler was a board member of the Glass Art Society, an international organization she helped create in 1971. She holds a BFA from Boston University School of Fine and Applied Arts and a MS and MFA from the University of Wisconsin, Department of Art. Her work was represented in the New Glass 1979 and New Glass Now 2019 exhibitions and published in the Corning Museum's survey of cutting edge-glass art, New Glass Review, in issues 5, 16 and 43. In 2014, Handler was awarded the Wisconsin Visual Arts Lifetime Achievement Award, joining fellow honorees Frank Lloyd Wright and Georgia O'Keeffe. The artist currently serves on the Glass Advisory Board of the Bergstrom Mahler Museum of Glass in Neenah, Wisconsin. Handler's sculptures can be found in collections and museums worldwide. During 2023 and 2024, her work was exhibited at the Racine Art Museum, Racine, Wisconsin, in two separate group shows: Women in Glass and Wisconsin Artists: 1960 – 1990: A Survey. Her work is on view now at the Chrysler Museum of Art, Norfolk, Virginia, in 60 Years of Studio Glass, 2022 to present, and at the Chazen Museum of Art, Madison, Wisconsin, in Recent Acquisitions, 2021 to 2023, and an ongoing exhibit of her work from 1965 to present. Her latest endeavor involves creating new mixed media sculpture and painting with low-fire glass paints on tiles and glass, creating landscapes of the prairie seen from her studio window, areas around Wisconsin and visions of landscapes from her many travels. These glass paintings are an extension of her work with blown glass – an endeavor which spans more than 50 years – as well as a return to her roots as an oil painter.    

Take a stroll through the grocery aisles with us as we talk about some culinary updates featuring (metaphorical) sausage races and (literal) marshmallow innovations.The Milwaukee Brewers Famous Racing Sausages show us that we never know how any race will end.So many marshmallow innovations popping off these days, including but not limited to Stackers, Lucky Charms-shaped jet-puffed marshmallows, Just Magical Marshmallows, Jet-Puffed Bits, Hello Kitty marshmallows, and, in a rare case of timeliness on our part, Lucky Charms™ Limited Edition St. Patrick's Day Just Magical Marshmallows. We also can't help but mention the MMX Marshmallow Crossbow we included in last year's gift guide. Peeps have also been up to some things. Our concerns include Dr. Pepper flavors, dog ropes, "Hanging with my Peeps" merch, and Pepsi's Peep-flavored soda. For enthusiasts, check out Racine Art Museum's Annual International Peeps Art Exhibition, and we have to admit we're kind of charmed by Peepshi. Fruit innovation! We're talking pineberries (great in a Marcella Hazan recipe for macerated strawberries with balsamic vinegar!), sumo oranges, raspberry oranges, cotton candy grapes,and pink lemons. According to the NYT, chocolate chip ice cream is falling out of favor—very upsetting to us.What do you think we should name the fruit marketing revolution? Share your ideas with us at 833-632-5463, podcast@athingortwohq.com, @athingortwohq, or our Geneva. YAY.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Wesley Fleming brings the fantastic realism of the microcosmos to life in glass. An ambassador for smaller denizens of the earth, his passion for nature sparks awe and curiosity in others. Growing up in the countryside, his favorite pastime was exploring beneath logs and rocks in the woods or reading science fiction and comic books. Hence the natural world and his own imagination became his muse. Says Fleming: “I hope to rekindle awe and curiosity for nature with my fantastic realism. I've focused more than two decades honing my flameworking skills and trying to capture the essence of actual species with intricate detail of tiny stamen or antennae. Today, I conjure plants, animals and mystical beings by merging the fantastical with the real through choice of color palette and referencing familiar archetypes. Regardless of the end result, I love the alchemical potential of sculpting glass – a brittle and cold substance transformed by fire into a pliable and molten material.” In 2001, Fleming began working with glass, learning via apprenticeship under the tutelage of Italian maestros Vittorio Costantini and Lucio Bubacco in Venice, Italy. He subsequently gained valuable experience working for Josh Simpson and the MIT Glass Lab. His work has been included in numerous publications, exhibited around the United States and included in the permanent collections of the Corning Museum of Glass, Kobe Lampwork Museum, Tacoma Museum of Glass and Racine Art Museum. Recently, Fleming was commissioned by Wes Anderson to make glass flowers, which were animated by a studio in London for his 2023 movie Asteroid City. Along with his wife, Rebecca, the artist demonstrated his techniques at Denizli Glass Bienali in Denizli, Turkey, where she played her composed pieces on the cello while Fleming worked at the torch. In March 2020, his first solo museum exhibit was scheduled to open at Brattleboro Museum and Art Center in Brattleboro, Vermont. Sadly, opening day the museum was cancelled due to the Covid pandemic. Says Fleming: “Insects have been my main focus for many years, but recently I have been very inspired by the Blaschka Glass Flowers at Harvard and have been working on developing my plants and flowers. This was what was so exciting for me about the Brattleboro exhibit – that I was given trust and free rein to make my new passion and to focus on local wildflowers, which I see on the regular hikes I do around my home.” In 2024, Fleming will co-teach “Bugs, Figures, Plants, & Beyond” with Emilio Santini at Penland School of Crafts, April 28 – May 3. He will also co-teach “Collaborative Soft Glass Sculpture” with Michael Mangiafico at Touchstone Center for Crafts, August 5 -9 .

As a collaborative team, Dean Bensen and Demetra Theofanous create narrative pate de verre wall sculptures utilizing nature as a vehicle to communicate environmental challenges and metaphors for the human experience. Their work connects the viewer with the natural world and instills an appreciation for its interconnectedness to humanity and its inherent fragility.    Says Bensen and Theofanous: “Our decaying leaf installations reflect on our impermanence and vulnerability. What we do has impact – often unforeseen and unmeasured. A pile of leaves hit by a gust of wind is a metaphor for this uncertainty in our future. It expresses that pivotal moment of change, when things we took for granted are suddenly gone. Existing peacefully with others and protecting our natural resources is a tenuous balance, highlighting our interdependence on others and the earth.” Bensen and Theofanous work both independently and as a collaborative team. Their work has been exhibited nationally and internationally and is represented in numerous private and public collections. Recent exhibitions include participating 2018 at the Ming Shangde Glass Museum in China, where they received an award from the Chinese government. Another large-scale leaf installation was on view 2022-‘23 in an exhibition at the Wadsworth Atheneum Museum in Hartford, Connecticut, curated by Brandy Culp. Attending The College of Idaho, Bensen graduated with a BA in art in 1990. His fascination in glass started a hunger for what he had been missing since his youth, an immersion into the exploration and development of his creative side. Upon receiving his degree, he moved to Ketchum/Sun Valley, Idaho, where he continued working in glass at a local studio. In 1997, the artist returned to California to pursue glassblowing as a full-time career. Immersing himself in the Bay Area glass scene, Bensen began working for many local artists and teaching at places such as San Jose State University, Palo Alto High School, Corning Glass School, Bay Area Glass Institute (BAGI), and Public Glass.  In 2002, Bensen developed a body of work that would become the foundation for his ideas based on the existence of the old growth redwood forest. Using both clear glass and color, he focused initially on environmental concerns. As his concepts evolved, Bensen's work grew further, investigating the life cycles in nature, their significance, and the interplay between the earth and various species. Each slice of murrine served to highlight one of nature's footprints, marking the passage of time and a glimpse of history, the rings of life in a felled tree. Bensen has taught extensively, received a scholarship to attend Pilchuck glass school, and his first solo show, Nature's Footprints, received a full-page review in the San Francisco Chronicle. His work has been widely exhibited, including at the Imagine Museum, San Francisco Airport Museum, San Luis Obispo Museum of Art, the Oakland Airport Museum, and the Ming Shangde Glass Museum in China. He has also worked on a team creating several projects for renowned artist Dale Chihuly, including an enormous chandelier in Dubai.  Theofanous was immersed in the arts from a very young age, but this thirst for expression was temporarily diverted when she received her business degree from the Haas School of Business at UC Berkeley. She graduated and spent time working in San Francisco only to realize there was something missing in her work, and she needed to find a way to return to her creative roots. In 2004, Theofanous entered the medium of glass through flameworking and developed a method for weaving with glass that provides a continuing basis for narratives and investigation in her work. She also utilizes the ancient technique of pate de verre, which offers a detailed and painterly approach to casting that is well suited to creating hyper-realistic sculpture inspired by the natural world. Some of her sculptures now combine this cast glass technique with flameworked sculpture.  Theofanous has been internationally recognized for her woven glass nest and flora sculptures, and is included in numerous private collections, as well as in the permanent collection of the Racine Art Museum. Notable awards include: a Juror's Choice Award from renowned collector Dorothy Saxe, a merit award from Paul Stankard, a NICHE Award, a Juror's Choice Award at the San Luis Obispo Museum of Art, the Leigh Weimers Emerging Artist Grant, two juror awards from Carol Sauvion, Executive Producer of Craft in America, and an Award of Excellence juried by the Detroit Institute of the Arts in Habatat Gallery's 50th International Exhibiton . She has exhibited internationally, including at the Triennial of the Silicate Arts in Hungary, San Francisco Museum of Craft + Design, National Liberty Museum, Alexandria Museum of Art, and twice in the Crocker Art Museum's prestigious Crocker-Kingsley Biennial. As an educator she has taught at top institutions such as Pratt Fine Arts Center and Pittsburgh Glass Center. She serves as Board President of the Glass Alliance of Northern California, was as a Board Member of the Glass Art Society, and is the President of the Art Alliance for Contemporary Glass. Theofanous and Bensen met in 2004, and their friendship soon evolved into a partnership, both in and outside of the studio. In 2017, during an artist residency at the Marin Museum of Contemporary Art, they began to merge their sculptural works culminating with an exhibition of woven glass wall tapestries titled Intertwined. Their collaborative work is now represented by some of the country's finest galleries, has been exhibited at numerous museums, and is in the permanent collection of the Imagine Museum and the Jordan Schnitzer Family Foundation. Says Theofanous: “Technique merges with narratives in our work, to express metaphorical bridges between nature and human beings. Inspired by the storytelling tradition of woven tapestry and basketry, I see myself as weaving with glass to connect the viewer with the story of the natural world. Through the delicate leaves in each piece, I seek to depict the cycle of life: growth, discovery, change and renewal. I use the fluidity and fragility of glass to express the beauty and vulnerability inherent in the human experience.”  Theofanous and Bensen will have a solo exhibition at Trifecta Gallery in Lexington, Kentucky, in fall of 2023.  

The Cabin is presented by the Wisconsin Counties Association and this week we're featuring Racine County; https://bit.ly/3nZOask The Cabin is also presented by WCA's Group Health Trust; serving local governments and school districts, the WCA Group Health Trust partners closely with members to fulfill their employee health benefit obligations in a fiscally responsible manner. Learn more here; https://bit.ly/3JMizCX Campfire Conversation: Cari Greving from Real Racine joins Eric and Ana and discuss the cities, towns, notable landmarks, historic sites, and unique features across the “262” area. The inventions, industrial heritage and redevelopments of Kenosha and Racine began the discussion. Topics ranged from Frank Lloyd Wright's architectural marvels in Racine, including Wingspread, to museums and lighthouses along the Lake Michigan shores. Ana got the update on the Peeps Competition at the Racine Art Museum. We moved inland to discuss unique places to visit including the Mars Cheese Castle and the Bong Recreation Area. The conversation continued to cover Burlington – in part for chocolate and their famous “Liar's Club” - and the nearby towns of Waterford and Rochester. From there, we worked clockwise into Walworth County with the draw of Lake Geneva and the incredible beauty and bevy of things to do and see around Geneva Lake, the ski hills at Alpine Valley and Grand Geneva, Elkhorn and the productive farms, orchards, and breweries nearby. The East Troy Railroad, which runs on the original interurban line that extended into Milwaukee, still runs to Mukwonago in Waukesha County and it's a great experience for kids and grown-ups alike. We then proceeded to cover Waukesha County, which combines dynamic cities and suburbs with the natural appeal of Kettle Moraine and numerous glacial lakes. Waukesha itself is vibrant and is getting increasingly known as “Guitar Town” since Les Paul, inventor of the electric guitar and multi-track recording, hailed from Waukesha. You can enjoy everything from history at Old World Wisconsin in Eagle to professional baseball with the Lake Country Dock Hounds in Oconomowoc. The 262 also covers areas north into Washington County, including Hartford with its automotive history, museums, and architecture; West Bend with its appliance manufacturing history and popular downtown; and Holy Hill, a national shrine that draws people from around the world. Finally, we head east into Ozaukee County, from Mequon up through Port Washington and Cedarburg. The shoreline of Lake Michigan north of Milwaukee's 414 area is quite different from south of Milwaukee, and we discuss how – and why. The accessible parklands along Lake Michigan in Ozaukee County include Lion's Den Gorge County Park and Harrington Beach State Park. Port Washington itself is a charming town with a New England feel, famous for fishing and its marine, lighthouses, and more. All these areas offer great history, museums, breweries, wineries, and unique spots to enjoy. We list and cover many of them by topic towards the end of the conversation, spreading the love all around “the 262.” Inside SponsorsBest Western: https://bit.ly/3zCCK3fMarshfield Clinic; All of Us Research Program; https://bit.ly/3Wj6pYj

Comprised of hundreds of objects fabricated using multiple glass processes, Between Seeing and Knowing is a large-scale, site-specific installation by artists Anna Boothe and Nancy Cohen. The installation is on view now through February 5, 2023 at Bergstrom-Mahler Museum of Glass, Neenah, Wisconsin. Created as part of a collaborative residency that took place at the Studio of the Corning Museum of Glass (CMoG) in 2012, the artwork has been previously exhibited at Accola Griefen Gallery, New York, the Philadelphia Art Alliance, and Philadelphia's International Airport. At its core, Between Seeing and Knowing is the result of both artists' long-standing interest in and in-depth study of Tibetan Buddhist thangka paintings and the integration of their otherwise very separate studio practices. Thangkas are ordered cosmological paintings, often scrolls, created for the purpose of meditation and composed of numerous visual elements. This installation reinterprets the symbolism in the paintings to create new work that reflects the organizational structure and palette of the paintings, as well as the sense of expansiveness and lack of hard resolution characteristic of Buddhist ideology.  Boothe and Cohen state: “Overall, through this collaboration, its subject matter, and our chosen methodology, we seek to understand, both visually and viscerally, another cultural perspective or expression unlike our own, through our dissection and re-assemblage of elements unique to that culture. Just as collaboration brings forth the opportunity for a deep exchange of ideas and the development of sympathetic approaches to doing what one does, pragmatically and metaphorically, this is our attempt at bridging gaps between cultural approaches to explain the unexplainable.” With degrees in sculpture from Rhode Island School of Design and glass from Tyler School of Art/Temple University, Boothe has worked with glass since 1980. Included in the permanent collections of CMoG, Racine Art Museum and Tacoma Museum of Art, her cast glass work has been exhibited widely, including recently at the Albuquerque Art Museum, Fuller Craft Museum, Kemerer Museum of Decorative Arts and the Hotel Nani Mocenigo Palace in Venice, as well as at several villas in Italy's Veneto Region. Boothe taught in Tyler's glass program for 16 years, helped develop and chaired Salem Community College's glass art program and has exhibited and/or lectured internationally in Australia, Belgium, Israel, Italy, Japan, Switzerland, Taiwan and Turkey, as well as at numerous US universities and glass-focused schools. She served on the Board and as President of the Glass Art Society from 1998-2006 and is a former Director of Glass at Philadelphia's National Liberty Museum.     With an MFA in Sculpture from Columbia University and a BFA in Ceramics from Rochester Institute of Technology, Cohen has been working with glass (among other materials) since 1990. Her work examines resiliency in relation to the environment and the human body. Cohen's work has been widely exhibited throughout the United States and is represented in collections such as The Montclair Museum, The Weatherspoon Art Gallery, and The Zimmerli Museum. She has completed large-scale, site-specific projects for The Staten Island Botanical Garden, The Noyes Museum of Art, The Katonah Museum, Howard University, and others. Recent solo exhibitions include Walking a Line at Kathryn Markel Fine Arts in Chelsea, New York, and Nancy Cohen: Atlas of Impermanence at the Visual Arts Center in Summit, New Jersey. Group exhibitions include All We Can Save: Climate Conversations at the Nurture Nature Center in Easton, Pennsylvania, and ReVision and Respond at The Newark Museum. Cohen is a 2022 recipient of a Mid-Atlantic Fellowship from the New Jersey State Council on the Arts. She currently teaches drawing and sculpture at Queens College. In a review of Boothe and Cohen's collaborative project, Elizabeth Crawford of N.Y Arts Magazine, wrote: : “Intuitively proximate to Buddhist philosophy, the piece is about the inter-relatedness of things. Each glass part appears sentient and in direct communication with the others. In a Thangka painting, none of the forms are meant to be isolated but work together to invite the viewer to take the painting in at once, as a whole. Similarly, all of the pieces in Boothe and Cohen's installation contribute to a sense of continuous breath or movement which is enhanced by light reflecting through the glass.” For this innovative work the artists used an astounding range of glass processes including kiln-casting, slumping, fusing, blowing, hot-sculpting and sand-casting.  

An artist's best resource is another artist. And to really know what a real artist's life looks like on a daily basis, you have to study and talk to those artists. You can read their biographies, watch their videos, and listen to them on podcasts, including this one. In this episode of The Art Biz, I talk with Geoffrey Gorman about what it's like to be a working artist, an identity he came to later in life and has sustained for nearly two decades. Geoffrey and I discuss his background as a furniture maker, gallery dealer, and artist consultant and how each role has contributed to his life as an artist. He also reveals how he approaches his work, where he finds inspiration, his take on how the art world is changing, and his advice to artists in the rapidly-evolving market. Highlights “You can make something from anything.” The evolution of Geoffrey's process. (2:35) Journeying back into the arts after a 30-year break. (8:45) Geoffrey's timeline from furniture maker to gallery dealer, artist coach to full-time artist. (11:08) What does being an artist look like in Geoffrey's material-driven world? (16:02) Carving a whale and honoring the passing of time. (23:21) Tactics for increasing your credibility as an artist. (28:02) Evolving with the demands of a constantly changing art world. (31:16) Navigating your relationships with dealers. (36:02) Feedback worth soliciting as an artist. (38:55) The importance of connections as a small business owner. (43:00) How can artists utilize social media to find collectors and curators? (48:00) A look at where Geoffrey is putting his efforts next. (50:22)   Mentioned Geoffrey Gorman Geoffrey on Instagram Lewallen Galleries Allan Houser Estate Valley of the Temples in Agrigento, Sicily, Italy   The Art Biz Connection Optimize Your Online Marketing   Resources Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership   Quotes “I realized I had to create this world that I was producing.” — Geoffrey Gorman “You are the number one expert about your work in the world.” — Geoffrey Gorman “A lot of old benchmarks are now gone for artists.” — Geoffrey Gorman “There are so many opportunities for us as artists out there.” — Geoffrey Gorman “Your best resource is another artist.” — Geoffrey Gorman   Guest Bio Geoffrey Gorman was born in Paris, France, but eventually moved to and grew up on an old horse farm in the countryside near Baltimore, Maryland. The dilapidated architecture and abandoned quarries of his childhood influence and inspire the found material sculptures the artist creates today. Gorman has worked as a contemporary furniture designer, gallery dealer, curator, and art consultant before becoming a full-time professional artist. He has exhibited nationally and internationally, including in China and South Korea. Gorman's work is in public and private collections, including the Racine Art Museum and the University of Colorado.

Today in 1948 that a guy in Portland, Oregon, dedicated Mill Ends Park, two square feet of green space in the middle of a parkway. It's still the world's smallest park today. Plus: it's Peeps season again, and the Racine Art Museum in Wisconsin wants your submissions for the 14th Annual International Peeps Art Exhibition. Mill Ends Park (Portland.gov) Call for Artists: RAM 13th Annual International Peeps Art Exhibition Even a small contribution makes a big difference on our show. Join us on Patreon for just $1 a month! --- Send in a voice message: https://anchor.fm/coolweirdawesome/message Support this podcast: https://anchor.fm/coolweirdawesome/support

Lois Schklar's work has been shown in exhibitions throughout Canada and the United States. Her sculptures are in the Racine Art Museum, the Bronfman Collection, Claridge Investments, Idea Exchange Art Gallery and The Key Corporation. Lois has received grants from the Toronto Arts Council, Canada Council and Ontario Arts Council. Most recently, she received Ontario Arts Council Exhibition Grants for I am Here, a 2021 exhibition at Red Head Gallery and Prototypes (Loop 2019), an exploration of sound, narrative, light and audience participation. The latter exhibition was made possible through the generous support of Canada Council's Explore and Create Grant (2018).Schklar's art practice consists of an ongoing series of drawing installations utilizing found and bought urban objects as “mark making” tools. She manipulates these diverse and often disparate materials, aware of the aesthetic relationship they have with one another and by implication, the physical and psychological space they occupy. Each drawing installation builds on the ideas of preceding installations and are site specific. Lois is a member of The Red Head Gallery (Toronto).On today's episode Lois talks about her creative process, installation work and how her Scottish residency inspired her workInterested in learning more about Lois's work? Check out her website at www.loisschklar@me.comFind Lois on Instagram at https://www.instagram.com/loisschklar/ Find me on instagram at https://www.instagram.com/artconversationswithlisajayne/ or at my website at www.lisajayneirvine.com

Jan Hopkins is a master at creating sculptural vessels and figurative sculptures from unusual natural materials such as citrus, melon and pomegranate peels, lotus pods, fish skin, leaves, and seed pods. Each piece is a marriage of deep sensitivity and reverence to materials with a heavy emphasis on concept and innovation. Jan studied basketry with indigenous and contemporary artists, learning the art of meticulous construction, the basics of how to gather and prepare materials, and understanding new concepts in design beyond traditional construction. In the early 90s, challenged with the depletion and unavailability of many of the natural basketry materials, she began experimenting and innovating new ways of processing organic materials that she successfully uses in her work today. Her initial aspiration was to preserve the beauty of the materials she began to by constructing vessel forms. Jan's work evolved to more figurative work with narratives sewn into each intricately designed piece. Jan and her husband Chris have also embarked on a deeply personal collaborative project about a part of her family's history, The Japanese American incarceration during WWII. Piece by piece, Jan is puzzling together family stories that are both heartbreaking and inspiring. Jan states, “This project has changed the essence of my work and has challenged me to innovate new ways of construction and storytelling.” Their two-person show was exhibited at the Schack Art Center, Everett, WA in 2018. A future exhibit is scheduled to open at Bainbridge Island Museum of Art on Bainbridge Island in 2022, The timing of this exhibit marks the 80th Remembrance anniversary of the first Japanese Americans taken away from their homes on Bainbridge Island and sent to Manzanar Concentration Camp. An award-winning artist, Jan has exhibited across the United States and featured 8 years at SOFA International Expos, held annually in New York, Chicago, and Santa Fe. Her work is included in museum permanent collections across the country including the Fuller Craft Museum in Brockton, MA, Museum of Art and Design in New York, Museum of Fine Arts, Boston, and Racine Art Museum in Racine, WI. Show Notes: Jan's experience being a part of a family of artists Jan's journey towards artistry Great ideas finding us Results-oriented thinking, taking you away from the process Intuition and spirituality The elements and materials that guide Jan's art practice Jan's focus on narrative artwork The inspiration behind Jan's exhibit “American's Interned” The power of cultural art www.artistdecoded.com www.janhopkinsart.blogspot.com www.instagram.com/janhopkinsart

Keke Cribbs: Frozen Moments in the Emotional Adventure of Life Through her art, KeKe Cribbs searches for a peaceful place. Growing up, this self-taught artist moved 24 times in 24 years, and she now prefers to travel in her mind, telling stories of far-away places and exotic characters in a mosaic glass technique she has adapted to her unique style. From her studio on Whidbey Island off the coast of Seattle come boats, Moon Queens, and collage with painted glass, inspiring wonder and delight in all who view them. Her latest works will be on view August 6 – 29, 2021 at the Bainbridge Arts and Crafts Gallery, Bainbridge, Washington.  Like her work, Cribbs’ life has a fairytale-quality with dark undertones. At age 15, she was one of five children transplanted to Ireland for her mother’s graduate studies in Yeats. For the next decade she traveled from place to place in Europe before returning to the United States as a single mother and a stranger to native customs. While working in a Native American art gallery in Santa Fe, New Mexico, Cribbs discovered the work of the Mimbres Indians and had a show of her adapted renditions of those drawings at Dewey Kofron Gallery in 1980. She was subsequently commissioned to reproduce the images by etching them onto the glass fronts of a suite of cabinets.  In 1997, in a dramatic departure from sandblasting, Cribbs began firing enamels onto glass in a kiln. She drew on the glass with a quill pen and used sgraffito to further enhance the drawing before firing. Working the entire piece on the reverse side of the glass left the colors brilliant and wet in appearance. The sheets of painted glass were then cut into tiny tiles and reassembled on a three-dimensional surface. Early forms included canteens, baskets, high-heel shoes or more commonly, boats.  Says Cribbs: “All of these forms represent journeys – the canteen and basket forms are containers which one would carry on a journey to hold water, the very essence of life. The narratives depicted on these forms represent the choices we make in this life; small vignettes into fictional lives that may remind one of a Keke Cribbs: Frozen Moments in the Emotional Adventure of Life Through her art, KeKe Cribbs searches for a peaceful place. Growing up, this self-taught artist moved 24 times in 24 years, and she now prefers to travel in her mind, telling stories of far-away places and exotic characters in a mosaic glass technique she has adapted to her unique style. From her studio on Whidbey Island off the coast of Seattle come boats, Moon Queens, and collage with painted glass, inspiring wonder and delight in all who view them. Her latest works will be on view August 6 – 29, 2021 at the Bainbridge Arts and Crafts Gallery, Bainbridge, Washington.  Like her work, Cribbs’ life has a fairytale-quality with dark undertones. At age 15, she was one of five children transplanted to Ireland for her mother’s graduate studies in Yeats. For the next decade she traveled from place to place in Europe before returning to the United States as a single mother and a stranger to native customs. While working in a Native American art gallery in Santa Fe, New Mexico, Cribbs discovered the work of the Mimbres Indians and had a show of her adapted renditions of those drawings at Dewey Kofron Gallery in 1980. She was subsequently commissioned to reproduce the images by etching them onto the glass fronts of a suite of cabinets.  In 1997, in a dramatic departure from sandblasting, Cribbs began firing enamels onto glass in a kiln. She drew on the glass with a quill pen and used sgraffito to further enhance the drawing before firing. Working the entire piece on the reverse side of the glass left the colors brilliant and wet in appearance. The sheets of painted glass were then cut into tiny tiles and reassembled on a three-dimensional surface. Early forms included canteens, baskets, high-heel shoes or more commonly, boats.  Says Cribbs: “All of these forms represent journeys – the canteen and basket forms are containers which one would carry on a journey to hold water, the very essence of life. The narratives depicted on these forms represent the choices we make in this life; small vignettes into fictional lives that may remind one of a surreal dream or experience, a palpitation of the heart, a frozen moment in the emotional adventure of life.” Eventually, Cribbs found herself seeking more information and attended workshops at Pilchuck Glass School with Dan Dailey, Bertil Vallien, Ginny Ruffner, Klaus Moje, Clifford Rainey, and Jiří Harcuba. She studied ceramics with Yih-Wen Kuo, Keisuke Mizuno, and Sergei Isupov at Penland School of Craft and attended many classes at Pratt Fine Art Center in Seattle studying metal techniques. She moved to Whidbey Island in the Puget Sound to be closer to the heart of the glass community. In time, she found herself teaching at both Pilchuck and Penland as well as starting a glass program at the Swain School of Design in New Bedford, MA, which then became Southeastern Massachusetts University (SMU), now UMass at Dartmouth. Anyone who learns something has to be curious enough to retain the information, no matter where it comes from. In Cribbs’ case, her life experiences and fascination with process led to the development of a unique approach to making art work, one in which the mystery surrounding objects from the past creates its own narrative in the mind of the onlooker. Working in many materials including glass and ceramics, she seeks to create an interactive form of storytelling, sculpturally producing shapes with narrative surfaces, bringing the whole work into a multifaceted exploration of the subconscious world of dreams and symbols.  With a career spanning over 51 years, Cribbs has work in many museum collections both nationally and internationally, including the L.A. County Museum, CA; Corning Glass Museum, Corning, NY; Henry Ford Art Museum, Dearborn, MI; Mobile Art  Museum, Mobile, AL; Racine Art Museum, Racine, WI; and Hokkaido Museum of  Modern Art, Sapporo, Japan. Each year from 2012-2015 Cribbs was nominated for the Twinning Humber Lifetime Achievement Award. In 2010, she was awarded Artist in Residence at the Museum of Glass, Tacoma, WA; Artist in Residence, Toledo Art Museum; and was a presenter at the Glass Art Society Conference, Seattle, WA. About her new work, Cribbs states: “I’m really happy with the new work I am producing for the show in August at BAC on Bainbridge Island. Technically I have moved to paintings with painted glass inclusions. Perhaps it is partially the isolation during the time of COVID that has pushed me to isolate each little jewel of glass so it can be appreciated individually as its own micro painting, loved for being itself …. but the departure from creating a full skin of mosaic glass on a form, be it sculptural or flat, has other aspects of elevating these small shards of what was simply float glass and mirror bits, to a placement of honor.  “In a society that tends to look down on poverty and to isolate those who have less, I am always reminded of the song line diamonds on the soles of her shoes by Paul Simon … and then there is Lucy in the Sky with Diamonds by the Beatles …. coal to diamonds to dust to stars where all the good souls go to sing together; these contribute to the access point where I have landed with this new work, and I am in bliss heaven.”  On May 27, 2021, join Artist Trust Board Member Lee Campbell and artist Kéké Cribbs for a virtual house party in support of Artist Trust. This virtual event won’t be your typical Zoom call, but will instead provide an exclusive tour of Cribbs’ Whidbey Island studio, insight to her artistic process, and a glimpse of her recent work. Come prepared to laugh, think outside the box, and hear more about one of Washington State’s talented artists.  https://artisttrust.cheerfulgiving.com/e/an-evening-with-lee-campbell-and-keke-cribbs surreal dream or experience, a palpitation of the heart, a frozen moment in the emotional adventure of life.” Eventually, Cribbs found herself seeking more information and attended workshops at Pilchuck Glass School with Dan Dailey, Bertil Vallien, Ginny Ruffner, Klaus Moje, Clifford Rainey, and Jiří Harcuba. She studied ceramics with Yih-Wen Kuo, Keisuke Mizuno, and Sergei Isupov at Penland School of Craft and attended many classes at Pratt Fine Art Center in Seattle studying metal techniques. She moved to Whidbey Island in the Puget Sound to be closer to the heart of the glass community. In time, she found herself teaching at both Pilchuck and Penland as well as starting a glass program at the Swain School of Design in New Bedford, MA, which then became Southeastern Massachusetts University (SMU), now UMass at Dartmouth. Anyone who learns something has to be curious enough to retain the information, no matter where it comes from. In Cribbs’ case, her life experiences and fascination with process led to the development of a unique approach to making art work, one in which the mystery surrounding objects from the past creates its own narrative in the mind of the onlooker. Working in many materials including glass and ceramics, she seeks to create an interactive form of storytelling, sculpturally producing shapes with narrative surfaces, bringing the whole work into a multifaceted exploration of the subconscious world of dreams and symbols.  With a career spanning over 51 years, Cribbs has work in many museum collections both nationally and internationally, including the L.A. County Museum, CA; Corning Glass Museum, Corning, NY; Henry Ford Art Museum, Dearborn, MI; Mobile Art  Museum, Mobile, AL; Racine Art Museum, Racine, WI; and Hokkaido Museum of  Modern Art, Sapporo, Japan. Each year from 2012-2015 Cribbs was nominated for the Twinning Humber Lifetime Achievement Award. In 2010, she was awarded Artist in Residence at the Museum of Glass, Tacoma, WA; Artist in Residence, Toledo Art Museum; and was a presenter at the Glass Art Society Conference, Seattle, WA. About her new work, Cribbs states: “I’m really happy with the new work I am producing for the show in August at BAC on Bainbridge Island. Technically I have moved to paintings with painted glass inclusions. Perhaps it is partially the isolation during the time of COVID that has pushed me to isolate each little jewel of glass so it can be appreciated individually as its own micro painting, loved for being itself …. but the departure from creating a full skin of mosaic glass on a form, be it sculptural or flat, has other aspects of elevating these small shards of what was simply float glass and mirror bits, to a placement of honor.  “In a society that tends to look down on poverty and to isolate those who have less, I am always reminded of the song line diamonds on the soles of her shoes by Paul Simon … and then there is Lucy in the Sky with Diamonds by the Beatles …. coal to diamonds to dust to stars where all the good souls go to sing together; these contribute to the access point where I have landed with this new work, and I am in bliss heaven.”  On May 27, 2021, join Artist Trust Board Member Lee Campbell and artist Kéké Cribbs for a virtual house party in support of Artist Trust. This virtual event won’t be your typical Zoom call, but will instead provide an exclusive tour of Cribbs’ Whidbey Island studio, insight to her artistic process, and a glimpse of her recent work. Come prepared to laugh, think outside the box, and hear more about one of Washington State’s talented artists.  https://artisttrust.cheerfulgiving.com/e/an-evening-with-lee-campbell-and-keke-cribbs  

Here are 3 Cool Stories for you!  LBF has your vaccine To Do List! Brian knows where you can see a Peep show, marshmallow Peeps! check out the Racine Art Museum. https://www.ramart.org/exhibit/12th-annual-peeps/ Bob has a diet tip, just give him 5 days! All this and more on the ROR Morning Show with Bob Bronson, LBF, and Brian Podcast. Find more great podcasts at bPodStudios…The Place To Be For Podcast Discovery  See omnystudio.com/listener for privacy information.

Melissa Stern is an artist and journalist living in NYC. Melissa has worked in sculpture, photography and drawing for over twenty years, exhibiting throughout the U.S., as well as Europe and Asia. She has made a multi-media installation exhibition, The Talking Cure, that has been traveling to museums around the States. since 2012. Her work is featured in a number of prominent corporate and museum collections including News Corporation, JP Morgan, The Arkansas Art Center, the American Museum of Ceramic Art, Racine Art Museum, and the Weisman Art Museum in Minneapolis. With a background in anthropology, Melissa’s work reflects both non-Western and outsider-art influences. Her drawings, collages, and figurative sculptures are richly drawn and deeply layered, with quirky, often dark humor. “I work like a handyman cobbling together drawings and sculptures from elements found, borrowed, and imagined. I use a wide range of materials from encaustic to clay, pastel to steel. The drawings and sculptures, often made in tandem, resonate with one another, the ideas in one reinforcing the themes of the other. All of my pieces share a thematic thread. Childlike and goofy my figures live in a dream world, cower in relationships or stand tall in the face of adversity. They are at once dark and funny, expressive of the absurd world around them.” Stern serves as a contributing writer for Hyperallergic, the Brooklyn-based digital arts publication, working at the intersection of the arts, culture, and politics. She has covered major exhibitions on assignment throughout the world. She served earlier as the principle art critic for The New York Press. She is a past Board Director of The Children’s Museum of the Arts in NYC, Watershed Center in Maine and contributing curator of the Human Rights Film Festival from 2008-2015. https://www.melissa-stern.com @melissa.stern Tip N' Tell @tipntell tipntellpodcast@gmail.com Host & Cover Art: Cydney Williams @cydneywilliamsstudio Sound & Music: Ian Eckstein @ian_eckstein Listen on Breaker, Google Podcasts, Pocket Casts, Radiopublic, Spotify, Copy RSS, Anchor, Apple Podcasts, Youtube, & IGTV Recorded in Livingston, New Jersey on 2020 Tip N' Tell™ Cydney Williams Studio LLC www.cydneywilliams.com

What you’ll learn in this episode: Why Emiko started using Lego in her jewelry Tips for working with a trademarked medium Why Emiko’s latest work combines jewelry, mindfulness and restorative yoga Why jewelry creates connections and understanding between people About Emiko Oye San Francisco artist Emiko Oye creates bold and colorful jewelry with repurposed LEGO® - from ready-to-wear, to one-of-a-kind conceptual work inspired by haute couture, art history, David Bowie, and Nonviolent Communication and community. She began her jewelry business, emiko-o, in 1997, dealing in retail, wholesale and private commissions. Collaborations with LEGO® System in Denmark have led to their endorsement of her as an “Influencer” for young female makers. Utilizing LEGO®, recycled and semi-precious materials, her jewelry universally tugs on the nostalgic heartstrings, and artfully interweaves memories into conversation-sparking adornment. In working with recycled media, Emiko discovered similarities in both LEGO® and jewelry: hands-on-story-telling capabilities, increased value with vintage, dedicated collectors, generational status as family heirloom. A BFA University Scholar from Syracuse University, her work has been shown in over 100 exhibitions throughout the United States and internationally; including solo shows at the San Francisco Museum of Craft and Design and Ombré Gallery, and in the permanent collections of the Los Angeles County Museum of Art Lois Boardman Collection and Racine Art Museum. She is often invited to speak on the business of craft and her own work for arts institutions and organizations, such as the Dowse Museum of Art (New Zealand), Bard Graduate Center (NY), Society of North American Goldsmiths, New York City Jewelry Week, Miami Art Museum and Miami University (OH), The Exploratorium (CA), California College of the Arts, and Oakland Museum of California. TRANSCRIPT Additional Resources: Website Instagram Facebook Linktr Photos: Eye 2: To Matter From the 2 Be Seen series Convertible neckpiece/brooch, 2019 Repurposed, recycled and chromed LEGO®, Argentium silver, recycled steel back, steel pin, coated steel cable neck cord Photo credit: artist Eye 6: Empathy From the 2 Be Seen series Convertible neckpiece/brooch, 2019 Repurposed, recycled and chromed LEGO®, Argentium silver, recycled steel back, steel pin, coated steel cable neck cord Photo credit: artist Cartier Blanc From My First Royal Jewels     neckpiece, 2008, 2018 Recycled and repurposed LEGO®, rubber cord, sterling silver Photo credit: artist La Reine de Pèlerin From Les Voyageurs de Temps (The Time Travelers) Convertible neckpiece,  2013 Repurposed & recycled LEGO®, Argentium silver, coated copper wire, coated steel cable Photo credit: Marc Olivier LeBlanc Portrait From the Musée series neckpiece, 2012 Repurposed LEGO® and recycled laminate, steel wire, sterling silver Photo credit: artist Maharajah’s 6th  neckpiece, 2008 Recycled and repurposed LEGO®, rubber cord, sterling silver Collection of Los Angeles County Museum of Art Photo credit: artist

" Rae Stern’s practice employs digital tools in the manipulation of multiple media including ceramics, photography, paper, and textiles. After a decade in the high-tech industry, her work is concerned with the social and cultural effects of technology. Between 2009 and 2018, Stern collaborated with Aya Margulis under the name Doda Design and created several bodies of work. Recent residencies include the Penland School of Crafts, Anderson Ranch, and Belger Crane Yard Studios. Stern has received grants from Asylum Arts, the Schusterman Foundation, and Belger Arts. Currently based in New York City, NY, Stern’s work has been exhibited internationally at the Eretz Israel Museum, (Tel Aviv, Israel), Belger Arts, (Kansas City, MO), Harvard University, (Cambridge, MA), and Medalta Museum, (Alberta, Canada). Her work is included in the collection of Eretz Israel Museum, The Racine Art Museum, (Racine, WI), International Museum of  Dinnerware Design (Ann Arbor, MI), as well as numerous private collections in Israel and the USA. Stern completed her undergraduate degree in psychology and communications at Tel Aviv University followed by a master’s degree in design from the Bezalel Academy of Art and Design, Jerusalem. All images courtesy of the artist   00:00 - Podcast Introduction 00:37 - Episode Introduction 01:25 - Interview with Rae Stern (part 1) 25:31 - Mic Break 26:04 - Interview with Rae Stern (part 2) 41:38 - Comfort Edge - Helena Deland 41:44 - Outro 42:07 - Comfort Edge (cont’d) - Helena Deland 45:21 - Finish "

Christina Bothwell: Transforming Symbols into Spirits of Creation Exploring themes of birth, death, animal-human relationships and parallel worlds suggests that Christina Bothwell is a magical realist. Her work conjures scenes from fables or children’s stories in which something impossible is happening quite naturally and spontaneously.  Bothwell says: “Since I was very young, I have been fascinated with the concept of the Soul… the idea that the physical body represents only a small part of our beingness. I am always interested in trying to express that we are more than just our bodies, and my ongoing spiritual interests and pursuits have run parallel to the narrative in my pieces.” Bothwell studied painting at the Pennsylvania Academy of Fine Arts in Philadelphia before teaching herself how to work with ceramics and cast glass. The artist lived and worked in Manhattan until 1994 when she and husband, artist Robert Bender, relocated to rural Pennsylvania – along with their three young children, eight pets, plus a snake named Lucy. Nature, the main source of inspiration for her work, helps Bothwell maintain an awareness of the interconnectedness that exists among all of life. By the late 1990s, Bothwell was having some success making doll-like figures out of clay, found objects and cloth. But a perceived “disturbing quality” sometimes made the work a tough sell. A 1999 glassmaking workshop at the Corning Museum of Glass provided the breakthrough she needed. Realizing glass could do all the same things as clay but with an added element of delicacy and lightness, Bothwell has been combining the two materials ever since – a pairing that has become her aesthetic signature. Since those early days, Bothwell has won numerous scholarships and grants including a Pollock-Krasner Foundation Grant and a Virginia A. Groot Foundation award for excellence in sculpture. Additional awards and honors include the 2018 Artist of the Future Award for Most Compassionate Artist, Imagine Museum, Saint Petersburg, FL; The Haven Foundation grant, Brewer, ME; and the Craft Emergency Relief Foundation grant, Montpelier, VT, to offset damages and loss of artwork caused by a devastating studio fire Bothwell and Bender suffered in August 2018. Bothwell’s work is held in permanent public collections such as the Corning Museum of Glass, Corning, NY; Racine Art Museum, Racine, WI; Shanghai Museum of Glass Art, Shanghai, China; Mobile Museum of Art, Mobile, AL; Palm Springs Museum, Palm Springs, CA and the Alexander Tutsek – Stiftung foundation, Munich, Germany. She is represented by Heller Gallery, NY; Habatat Gallery, Royal Oak, MI; and Austin Art Projects, Palm Desert, CA. With an exhibition at Heller Gallery scheduled in February 2021, Bothwell contemplates new work. “My subject matter includes babies, animals, and children as they embody the essence of vulnerability that is the underlying theme in my work. Currently I am exploring metamorphosis as a topic, and have been incorporating figures within figures in my pieces. Within each glass figure there is a smaller figure seen through the surface of the glass. I think of these pieces as souls, each being pregnant with their own potential, giving birth to new, improved versions of themselves.” In this special AMA (Ask Me Anything) episode of Talking Out Your Glass podcast, patron and co-producer Anthony Cowan participates in interviewing one of his favorite glass artists, Bothwell, as a reward for his support of the podcast via Patreon. If you’re interested in supporting the continued documentation of glass and glass artists while earning extra episodes and other rewards, visit  www.patreon.com/TalkingOutYourGlass  

Fabien Cousteau is looking to build PROTEUS, a 4,000 square foot underwater research station that has research facilities, a multimedia production studio and an underwater greenhouse. A much more productive use of underwater space than Dr. No and SPECTRE had. Plus: the Racine Art Museum has brought back the annual Peeps Art Exhibition, and this year's submissions are extremely sweet. Fabien Cousteau Is Building PROTEUS, an Underwater 'International Space Station' (HowStuffWorks) RAM 11th Annual International PEEPS Art Exhibition (Racine Art Museum) Whether you're on the surface or under the sea, join us as a Cool Weird Awesome backer on Patreon --- Send in a voice message: https://anchor.fm/coolweirdawesome/message

Emily Cobb is a jewelry designer and maker utilizing digital technology and traditional fabrication techniques to make her work. She received her Master of Fine Arts in Metals/Jewelry/CAD-CAM from Tyler School of Art in Philadelphia. In addition to a solo exhibition at the Philadelphia Art Alliance, she has exhibited at museums such as the Delaware Center for the Contemporary Arts, the Racine Art Museum, and the Bellevue Arts Museum. Her work has been featured on the cover of Metalsmith Magazine and in publications such as Digital Handmade: Craftsmanship in the New Industrial Revolution. Emily is a founding member of JV Collective, a collaborative jewelry group, based in South Philadelphia. In 2017, she accepted a full-time assistant professor position in Jewelry and Small Metals at Humboldt State University in California.www.emily-cobb.comInstagram: @_emily_cobbPerceived Value is an Official Partner of NYC Jewelry Week!à Nov. 12th – 18th 2018www.nycjewelryweek.com@nycjewelryweekDon't forget to Rate AND Review us on iTunes!SUPPORT PERCEIVED VALUE!www.patreon.com/perceivedvaluewww.perceivedvaluepodcast.com/how-to-support-donate/Instagram + Facebook: @perceivedvalueFind your Host:sarahrachelbrown.comInstagram: @sarahrachelbrownThe music you hear on Perceived Value is by the Seattle group Song Sparrow Research.All You Need to Know off of their album Sympathetic Buzz.Find them on Spotify!

While their sculptural forms and assemblages evoke the sensuous curves of the feminine, Jenny Pohlman and Sabrina Knowles provide a narrative that embraces our common humanity. Drawing on inspiration from day-to-day life, travel, or studies of ancient and contemporary cultures, Pohlman and Knowles have blazed a trail for women working in hot glass through their successful and cutting edge artwork.   “From our earliest collaborative efforts we have explored the feminine fluidity, curvature, strength, and plasticity inherent in glass. The innate three-dimensionality of molten glass assists with our design visions, and we often see new forms emerging from the forms we are working on in the hot shop. These glimpses into the next possibility fuel our enthusiasm and the direction of our designs.”   The Pohlman Knowles collaboration spans two decades. As seekers, they have undertaken multiple international two-month journeys to developing nations absorbing religious beliefs, political histories, current affairs, architecture, social structure, and people’s personal stories. After lengthy incubation Pohlman and Knowles morph their experiences into sculptural stories to share what they have learned about healing, self-empowerment, and the power of the human spirit.   Pohlman and Knowles have been honored with numerous awards including Pratt Fine Arts Center’s Service in the Arts Award in 2011 and Service in Education Award in 2000. The artists received a Saxe Fellowship award from the Bay Area Glass Institute, San Jose, in 2009; a 2015 residency at Pilchuck Glass School, and residencies at Museum of Glass, Tacoma, 2014, 2007, and 2003; as well as Wheaton Arts and Cultural Center in 2004 and 1999. Their work can be found in the collections of the Museum of American Glass, the Museum of Glass, the National Liberty Museum, the Racine Art Museum, and Tacoma Art Museum, among many others.   On view now through November 4, 2017, at Schack Art Center in Everett, Washington, is the Pohlman Knowles exhibition Lodestar. Defined as a principle, interest, or person that serves as an inspiration or guide, Lodestar features an installation of signature compositions and works from the artists’ latest series integrating photographic images in blown glass. This process was inspired by the strength, grace, and beauty of the Himba women, who the artists briefly met in Northern Namibia. “We believe in the Magnitude of the Multitude and what it represents, that collectively we can effect change and create something more beautiful together than separately. We wish to show a feeling of reverence and solidarity together as is expressed in our Multiple Homage series and power through Luna, our Wheel of Liberation. Prayer beads are used in many cultures throughout the world. They can be used as a meditation and remind us that we can hope for something better.” On view at Bellevue Arts Museum, Bellevue, Washington, Making our Mark:  Art by Pratt Teaching Artists runs from November 9 – April 23, 2018. Pohlman and Knowles will be represented by Duane Reed Gallery at SOFA Chicago, November 2 through 5; and in 2018, opening in July, the Bainbridge Island Museum of Art, Washington, will present Journey: 25 Years of Collaboration- A Mid-Career Survey of Works by Sabrina Knowles & Jenny Pohlman.    

This week: The Amanda Browder show rolls in to town! Amanda talks to Michael Velliquette and Oliver Warden Michael Velliquette has a show up at DCKT Contemporary! MICHAEL VELLIQUETTE (b. 1971) is a mixed media artist known for his densely detailed and dimensionally complex paper sculptures, installations, and drawings.He has recently had solo shows at DCKT Contemporary, New York, NY; Disjecta, Portland, OR; Morgan Lehman Gallery, New York, NY; and Rhodes College, Memphis, TN. His museum exhibitions include Slash: Paper Under the Knife at the Museum of Art and Design, New York; Art on Paper at the Weatherspoon Art Museum; and Psychedelic at the San Antonio Museum of Art.His work is in the collections of the Museum of Wisconsin Art; the Racine Art Museum; the Progressive Corporation; Western Bridge, Seattle; The John Michael Kohler Art Center; The Linda Pace Foundation; The State of Wisconsin; Boston Children’s Hospital and the San Antonio Museum of Art. A catalog chronicling his work from the past 10 years titled "Michael Velliquette: Lairs of the Unconscious" was released in 2011 through Devibooks Publishers.  Michael Velliquette is a Faculty Associate in the Art Department at the University of Wisconsin-Madison and organizes the independently run project space Lovey Town.   Then a conversation with Oliver Warden about his project Globall! What is GLOBALL? GLOBALL is a new take on a social network created as a work of art by artist Oliver Warden. "Basically, I want to pass seven wooden balls, one for each letter in GLOBALL, hand to hand, person to person, around the world. On each of these wooden balls will be the instructions of what to do with it in multiple languages (three different ones for each ball) and in pictograms. When you receive a GLOBALL: 1. Take a picture of yourself with it and send the picture, your first name, your location and the time to our website www.wheresgloball.com. 2. Once on the website you can fill out a profile. There you can share your experience, connect with other GLOBALLers and follow your ball on its journey. 3. You’ll then be asked to pass the GLOBALL to a VERY GOOD FRIEND and explain the instructions. Hopefully as each ball travels, everyone will think about words such as 'share' and 'friend' and 'follow'. With a little luck, each GLOBALL will go on a voyage of friendship and connectivity around the world." Oliver  

Photo by Marissa Boone ‘14. MFA AC+D Lecture: Mary Smull The MFA in Applied Craft and Design welcomes Mary Smull as part of the 2013-2014 Graduate Visiting Artist Lecture Series. MARY SMULL is an artist, writer, and curator living in Philadelphia, PA. She merges object and action in a practice centered around textile processes to expose the diversity of attitudes toward labor and the complex relationships surrounding art and craft, amateur and professional, producers and consumers. Recently, Smull’s work has been exhibited at the University of Pennsylvania, Philadelphia International Airport, Philadelphia Museum of Art, Temple Contemporary, Bridgette Mayer Gallery, Philadelphia, PA, and at the Houston Center for Contemporary Craft, Public Fiction Gallery in Los Angeles, CA, Cranbrook Museum of Art in Bloomfield Hills, Michigan. In 2013 and 2014, Smull will be featured in exhibitions at the Racine Art Museum in Racine, WI, and the Craft Alliance, in St. Louis, MO. Smull holds a BFA from the University of the Arts, Philadelphia, PA and an MFA from Cranbrook Academy of Art, Bloomfield Hills, MI, and currently teaches in the Fiber Department at the Maryland Institute College of Art in Baltimore, MD. Download

Today I talk with Mr. Bruce Pepich, Executive Director and Curator of Collections at the Racine Art Museum. Listen to his exciting news and hear all about the boundary breaking exhibition of polymer art that opens this month.

Jane Hutterly's lecture was presented on April 12, 2007. Jane M. Hutterly is Executive Vice President of Worldwide Corporate & Environmental Affairs for S. C. Johnson & Son, Inc. in Racine, Wisconsin. In this capacity, Ms. Hutterly leads the consumer products business in environmental and sustainability actions, public and governmental policy, public affairs, community relations and philanthropy on a global and local level. She also serves as President of Johnson Keland Management, Inc. (The Family Office), in Racine. The Family Office provides corporate governance, financial and advisory services to the individual members of the Samuel C. Johnson and Karen Johnson Boyd families and serves as the focal point for all family business activities, servicing family needs either in-house or through specialized outside counsel. Ms. Hutterly joined SC Johnson as a marketing manager in 1979 from Frito-Lay, Inc. She held a variety of brand management positions in the company’s insect control and personal care businesses before being named Corporate Acquisitions Director in 1987. She served as Vice President of Franchise Sales & Marketing for Molly Maids, Inc. in 1989. She became Vice President – Environment & Safety in 1992. In 1998, she was appointed to the position of Senior Vice President – Worldwide Corporate Affairs, and in 2005 was appointed Executive Vice President of Worldwide Corporate & Environmental Affairs. She was appointed President of Johnson Keland Management, Inc. in 1999. Ms. Hutterly serves on the Boards of Directors of Johnson Financial Group, Inc. and the Soap and Detergent Association. She has also served as Chairman of the Board of the Consumer Specialty Products Association; on the Board of Directors of the Canadian Manufacturers of Chemical Specialties Association; on the Board of Trustees for the Alliance for Consumer Education; as Liaison to the U.S. President’s Council on Sustainable Development; as Liaison Delegate to the World Business Council for Sustainable Development; on the Board of Directors of The Keystone Center; as Vice Chair of the National Wildlife Federation’s Corporate Conservation Council; and as a member of The Nature Conservancy’s International Leadership Council. She is a member of Cornell University’s Johnson School Advisory Council, and has also served as a member of the President’s Council of Cornell Women. Locally, she serves on the Racine Art Museum’s Board of Directors and Executive Committee. She has also served on the Boards of Directors of the Downtown Racine Corporation, All Saints Healthcare System, and YWCA of Racine, and as Chair of the 2005 Racine County United Way Campaign. Ms. Hutterly is a native of Washington D.C. She holds a B.S. degree in Business from Centenary College of Louisiana and an MBA from Cornell University. She and her husband, Louie, who has two children, have resided in Racine for the past 28 years.