Podcasts about resident artist

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this Episode, Emily features artist Laurel Roth Hope. Laurel discusses her journey from a conservation worker to a full-time artist, emphasizing her use of recycled materials in her sculptures. She shares her creative process, influences, and collaborations with her husband, artist Andy Diaz Hope. The episode highlights her current residency at Recology, San Francisco, where she creates art from landfill materials. Laurel's work often reflects themes of ecological impact and human interaction with the natural world. About Artist Laurel Roth Hope:Laurel Roth Hope lives and works in Northern California. Prior to becoming a full-time, self-taught artist she worked as a park ranger and in natural resource conservation. These professional experiences influenced her current work, which centers on the human manipulation of and intervention into the natural world and the choices we must make everyday between our individual desires and the well being of the world at large. Hope was a 2025 SF Recology AIR Artist in Residence, a 2020 Space Program SF Resident Artist, a 2017 Smithsonian Artist Research Fellow, and a 2016 Resident Artist with the Kohler Arts and Industry program in Wisconsin. In 2013 she and her sometime collaborator, Andy Diaz Hope, completed a year-long Fellowship at the de Young Museum of San Francisco examining the history of human cooperation through architecture. Her work is included in the permanent collections of the Smithsonian, the Museum of Art and Design in New York, the Mint Museum, Crystal Bridges Museum of American Art, 21C Museum, the Zabludowics Collection, the Progressive Collection, and the Ripley's Museum of Hollywood, among others. She is represented by Catharine Clark Gallery of San Francisco.Visit Laurel's Website:  LoLoRo.comFollow Laurel on Instagram, CLICK HERE. Learn about the Recology exhibit, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

LFC's Resident Artist is This Week's Guest On The LFC Podcast as we Look Back and Watch Jolene Hexx vs. Bella Ink form LFC 33: Rev It Up. Tommy Bell IG: www.instagram.com/tommybellart/?ig…d=YmMyMTA2M2Y%3DTommy Bell Twitter: x.com/tommybellartTommy Bell Youtube Channel: www.youtube.com/@tommybellart884Tommy Bell Spotify: open.spotify.com/show/6bVZHE3ZcoZf3SmRfPBCkxLFC Website: www.lfcfights.com/LFC Tiktok: www.tiktok.com/@lfcfights?_t=8WqB8BLr7Ln&_r=1LFC Youtube: www.youtube.com/c/LingerieFightingChampionshipsLFC Twitter:x.com/lfc_fightsLFC FB: www.facebook.com/LingerieFightingOfficialLFC IG: www.instagram.com/fights_lfc/?hl=en

LFC's Resident Artist is This Week's Guest On The LFC Podcast as we Look Back and Watch Jolene Hexx vs. Bella Ink form LFC 26; Booty Camp.Tommy Bell Youtube Channel: www.youtube.com/channel/UCstgT9UUJs9hkhj9Ntidh7gTommy Bell Art Sketchy And Funny Spotify: open.spotify.com/show/6bVZHE3ZcoZf3SmRfPBCkxTommy Bell Twitter: x.com/tommybellartTommy Bell IG: www.instagram.com/tommybellart/?ig…d=YmMyMTA2M2Y%3DLFC Website: www.lfcfights.com/LFC Tiktok: www.tiktok.com/@lfcfights?_t=8WqB8BLr7Ln&_r=1LFC Youtube: www.youtube.com/c/LingerieFightingChampionshipsLFC Twitter:x.com/lfc_fightsLFC FB: www.facebook.com/LingerieFightingOfficialLFC IG: www.instagram.com/fights_lfc/?hl=en

Marcelle Reinecke in the studio, 2024 Marcelle Reinecke (b. 1989, New Orleans, LA) received an MFA from The Pennsylvania Academy of the Fine Arts (PAFA), Philadelphia, PA and a BFA from Marywood University, Scranton, PA. Reinecke also completed studies at the Studio Arts College International, Florence, Italy and was a Resident Artist at the Royal Drawing School, Dumfries House Trust, Cumnock, Scotland, U.K. Recent exhibitions include Monya Rowe Gallery, NY; Steven Harvey Fine Art Projects, NY; Margot Samel, NY; and Ruffed Grouse Gallery, Narrowsburg, NY. Reinecke lives and works in Philadelphia, PA, and is represented by Monya Rowe Gallery, NY. MARCELLE REINECKE,  Offset Hook, 2024 acrylic and flashe on panel,  30 by 24 inches Courtesy of Monya Rowe Gallery, NY MARCELLE REINECKE,  Meet In The Kitchen, 2024 acrylic and flashe on panel, 36 by 48 inches Courtesy of Monya Rowe Gallery, NY MARCELLE REINECKE,  In The Pines, 2024 acrylic and flashe on panel 24 by 30 inches Courtesy of Monya Rowe Gallery, NY

This week, our Resistance in Residence artist is Leigh Rondon-Davis (they/them), a performer, dramaturg, director, and producer; in addition to their creative work, Leigh is on staff as part of the shared leadership team of the Crowded Fire Theater in San Francisco, as the Leader of Artistic Curation & Marketing, where they are also a Resident Artist. Additionally, they are an Artistic Company Member at Shotgun Players, Casting Director with the Casting Collective, and Producing Director with The Forum Collective. Leigh has had the immense pleasure of working at dozens of local companies, including A.C.T., Aurora Theatre, Berkeley Rep, Curran, Magic Theatre and others. For more on their work, check out https://www.crowdedfire.org/leigh-rondon-davis/   The post Resistance in Residence artist Leigh Rondon-Davis appeared first on KPFA.

Art can show us the pain and trauma and suffering of the world, and often it does. But art can also go the other direction. It can reveal the beauty, harmony, and unity of the world.The canvasses in Salma Arastu's series of paintings, We Are All One, are full of soft colors, continuous lines, immersive habitats that flow into one another, and—sometimes—two-dimensional representations of humans and animals occupying the same space, echoing cave paintings.Salma found the continuous line in her study of Islamic calligraphy when she was living in the Middle East. She was born into the Sindhi and Hindu traditions in Rajasthan, India, and then embraced Islam after marrying a Muslim.It was this continuous line that became a central element of her approach to painting and a central technique she uses to express the ecological views she finds in the Quran.She seeks to transcend difference through her art and find oneness and interconnectedness in a world that continually ravages ecological systems around the planet.Since the 1970s, Salma has been exhibiting her work nationally and internationally and writing about art. She currently lives in San Francisco, where I had the pleasure of visiting her in her studio and seeing so many of her wonderful paintings.This episode is part of the Chrysalis Artists series. You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Salma ArastuAn Internationally exhibited artist, Salma was born into the Sindhi and Hindu traditions in Rajasthan, India. She later embraced Islam and moved to USA in 1986. Her work creates harmony by expressing the universality of humanity through paintings, sculpture, calligraphy and poetry. She was inspired by the imagery, sculpture and writings of her Indian heritage and Islamic spirituality. She was born with a left hand without fingers. Because of her all-encompassing God, she was able to transcend the barriers often set-forth in the traditions of religion, culture, and the cultural perceptions of handicaps.After graduating in Fine Arts from Maharaja Sayajirao University in Baroda, India, she lived and worked in Iran and Kuwait, where she was exposed to a wealth of Islamic arts and Arabic calligraphy. Calligraphy, miniatures, and the folk art of Islam and the Hindu tradition continue to influence her work today. She has been invited to Germany twice, as a Resident Artist at Schwabisch Gmun in 2000 and by the Westphalia Wilhelm University in Münster to publish her paper “Art Informed by Spirituality” in God Loves Beauty: Post Modern Views on Religion and Art. Further she was invited to Morocco for a one- month Artist Residency Program in March of 2018 through Green Olives art Gallery. She has presented work at Stanford University, Commonwealth of San Francisco, Seattle University, Graduate Theological Union at Berkeley, and Museum of Contemporary Religious Art, St. Louis Missouri.She has displayed at 45 solo shows nationally and internationally and has won many distinctions: the East Bay Community's Fund for Artists in 2012, and 2014, and 2020, The City of Berkeley's Individual Artist Grant Award in 2014, 2015, and 2016. She has public art pieces on display in Bethlehem, Pennsylvania and San Diego, California and has written and published five books on her art and poetry. Her most recent book deals with ecological consciousness from Quranic verses “Our Earth: Embracing All Communities.”Selected WorksA more comprehensive collection of work is available here.Recommended Readings & MediaSalma Arastu Sharing process of her art.TranscriptIntroJohn FiegeArt can show us the pain and trauma and suffering of the world. And often it does. But art can also go the other direction. It can reveal the beauty, harmony and unity of the world.The canvases in Salma Arastu's series of paintings, We Are All One, are full of soft colors, continuous lines, immersive habitats that flow into one another, and—sometimes—two-dimensional representations of humans and animals occupying the same space, echoing cave paintings.Salma found the continuous line in her study of Islamic calligraphy when she was living in the Middle East. She was born into the Sindhi and Hindu traditions and Rajasthan, India, and then embraced Islam after marrying a Muslim.It was this continuous line that became a central element of her approach to painting and a central technique she uses to express the ecological views she finds in the Quran. She seeks to transcend difference through her art, and find oneness and interconnectedness in a world that continually ravages ecological systems around the planet.I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Artists series.Since the 1970s, Salma has been exhibiting her work nationally and internationally, and writing about art. She currently lives in San Francisco, where I had the pleasure of visiting her in her studio last summer and seeing so many of her wonderful paintings. At ChrysalisPodcast.org, you can see some of my photos from that trip and images of her paintings, including those from her We Are All One series.Here is Salma Arastu.---ConversationJohn FiegeCould you start by just telling me a little bit about your project, We Are All One?Salma ArastuYes, I believe in oneness. And these are kind of my oneness projects, you know, like, I want to bring the whole humanity together. And in my work, initially, they were abstract figures, you know, that they are coming together in groups, you know, celebrating together, sharing together, chanting together. So this has been my theme always. And from that, you know, gradually, as I was looking around the nature, I live on the bay in this area. And so nature has been great friend, I would say, you know, I keep watching the plants, the water, the clouds every morning. So this has been part of my daily schedule that I look at the nature and absorb it and go to my studio. And so somehow the nature, the the birds, the animals, and the plants, they all got into my work, and I realized we are all one, we are all breathing, we are all connected. So I think gradually I started doing work, which showed all living beings in my work, and I call it We Are All One.John FiegeGreat. And And can you talk also about Our Earth, and as part of this project, and what did you do there?Salma ArastuAs a daily practice, I do read Quran, my book of faith. And, you know, suddenly I started noticing the verses, which talk to me about the planet about, you know, like Earth and the communities. So let me tell you the first verse, which really, really was holding me for some time, you know, before I started the project, and that verse was so related to my thinking, we are all one. So that particular verse, it says, “There's not an animal in the earth, nor a flying creature flying on two wings, but they are communities like you.” So then I went to the description of that verse and amazing results I found because different scholars have given the beautiful description of this verse. And understanding this verse was like a divine invitation to follow the concerns of these all ecologists in our time. So I went deeper into it. And then especially one scholar, Dr. Fred Denny, who said, “The verse presents a paradigm of interconnectedness. Communities necessarily interact with one another. And we are enjoined by the Quran to view the animal world, not merely as parallel to us and organized into communities but signals interconnectedness between their existence and well being and our own, as no community on Earth exist in isolation of the others, and what affects one community ultimately affects other communities.” So this was amazing revelation to me. And then I started you know, noticing these verses which talked about the plants, the mountains, the ships, the see the fish, you know, the ant, bees. It was a beautiful revelation for me, and I started noticing them down and I found 90 verses like that, almost, which is my limited knowledge, you know. Then I started to shorten the list because I really wanted to do this project. I said I want to bring this positive from Quran to the mainstream in the world, so they understand the positive side of Quran.John FiegeOh, that's great. Yeah and it seems like with that project in particular, it's almost a theological process of, it's almost like through art you have been studying the Quran. Is that accurate?Salma ArastuYeah, I would say through, yeah, through my art, I was reading Quran, in the sense—or from Quran I was doing art. In Quran, the God has ordained us to look at the nature to study the nature, because—I read something here. “Quran describes nature, presents signs of God, as divine is manifest in nature, and guides to study nature as reference to the wisdom of Quran.” So in fact, as I understand, Quran is a textbook, and the nature is a workbook. Believe me, and that's how I worked on it.John FiegeOh wow. That's great. Yeah and and my understanding of Islamic law is kind of these basic elements of nature, like land, water, fire, forest, light, are all living things, not just humans and animals as living things.Salma ArastuYes, yes.John FiegeYou have a really interesting relationship to the Quran and to Islam, and to religion in general, really, your parents were Hindus who fled Pakistan during partition, and settled in Rajasthan in India, is that, is that all right?Salma ArastuYeah. Yeah, that's right. Yeah.John FiegeBut but then you ended up marrying a Muslim man, and living in Iran and Kuwait, and eventually the United States. You've also talked about the importance of your mother, who is a devout Hindu, in your developing spirituality. Can you talk about a bit about this spiritual journey and how it's infused in your art and how it's led you to engage deeply with ecological subjects?Salma ArastuYeah, sure. I think I do give credit to my mother and my bringing up, because though she was, you know, I mean, they were refugees from Pakistan, when I was born in India. So in the sense, though, my father has started the practice, he was a doctor, he was a physician, but he had lost everything like, you know, in Pakistan, and he was very depressed, but my mother was very, very positive thinker. So she always said, things will be fine. I remember, as a child, you know, my father used to be so upset and angry at times and more in the night, you know, say, I have lost everything, they have not given me back anything, so but she would always calm him down. So that's how I'd always seen it. And the other thing she kept telling us, We are all same. And because in Ajmer where I was born, the Rajasthan, the city in Rajasthan, it has the both pilgrimage you know, Hindu and Muslim. So like, she has seen all that. And she always told us, No, we are all one. We are all one actually came from her thought, you know, that we are all connected, we are not different. So I carried that thought all through my life. And when I met my husband, I tried to restrict myself, I tried to hold myself back. But somehow, somehow things happen. So I said, this is the this is the God's will, you know, that I marry this man. So my mother, though she was very disturbed, but she blessed me. And she said, your destiny is with you. But my blessings are with you.John FiegeWow.Salma ArastuSo this is all I needed. So I got married. And I'm grateful because we have been married for 47 years now. And it has been a blissful journey. Yes, my husband is very supportive of my art. And the family, also, my children also. So somehow, it's a beautiful journey. And I'm very grateful for that.John FiegeSo when you were living in the Middle East, you began studying Islamic calligraphy. And you discovered the continuous line as you as you call it, you've called it your guiding line and the light that leads you, and I love how this technique of the calligraphic line complements so strongly the themes of unity and connection in your work. Could you talk about calligraphy a bit, what it means to you, how it's influenced both your art and your ecological thinking?Salma ArastuYeah, so what happened when I did my masters from India, I was doing abstract work, but nature only, you know, it was movements of nature I was doing. I didn't know anything about Islam. I didn't know anything about Quran, I didn't know anything about calligraphy. So when I went to Middle East, I love this calligraphic the continuous line, you know, I used to copy it. And there was one quote from one Islamic scholar who said that the calligraphy starts from the field of action, it starts on right, you know. So it starts from the field of action, and lands in the field of heart. So, it was so beautiful, and I think it stayed with me. And then I started learning Arabic slowly, because, you know, I was curious, what do they say? So then I started making the sense of those words, and I was amazed at this line, how it's making the meaning also. But before I went deeper into the meanings of Quran, this line became my language. And when I came to USA, I continued with those abstract figures and you know, my lines, but then 2001, when this 9/11 happened, after that, I got a jolt, you know, like, it was something, people started asking me because I was known as a Muslim artist, you know, so they would ask me, Is Islam like that? Do you believe in that? So I said, No, my God is same. My God hasn't changed. So he is not Muslim. He is not Hindu. He is not Christian. So he is not like that. It cannot be like that. So there's some, something wrong gone somewhere. So I started learning Quran.John FiegeWhere were you? Where were you living during that? When 911 happened?Salma ArastuI was in Pennsylvania. I was in Pennsylvania.John FiegeOkay, so did you see a lot of that? Like, anti-Islamic backlash?Salma ArastuYeah, exactly. Islamophobia. Yeah, because suddenly it happened. And I watched it, and it hurt me also, like, I was in tears, watching the falling of Twin Towers, because I used to visit that place. So I'm just saying it affected me a lot. But then I started learning about Quran. And seriously, it gave me such positive thinking like, such positive verses I have found, you know, which talk about hope and unity and connection and earth. And then now I say that my work is about oneness, connecting humanity, soil and soul. So that is my tagline nowadays, you know?John FiegeAwesome.Salma ArastuI'm trying to connect humanity, soil and soul. Yes.John FiegeThat's great. And, you know, one thing I was thinking about is representational and figurative art are generally discouraged in Islamic art. And I think in your early work, it was all abstract. But in, in some of your paintings personally, more recently, you represent plants and animals, and even people, although the people seem to always be faceless in some way, you know, the heads are generally represented with just circles. But I was just wondering how you see your work within the tradition of Islamic art and the precepts that come with that?Salma ArastuYeah, so frankly speaking, I was, I knew about it, people say that, like I did faceless figures without realizing that Islam, it's not allowed. But then I talked to some scholars, and I was told, it's only the sculpture form, because, you know, in Islam, the worship of icons is private. Okay? So it's not that you cannot draw. What he what I was made to understand that if you make a sculpture, and then you make it a human-like, so that is not allowed, like, because you cannot create a human. If you see my work, it's very folk style. That there, I'm not doing exact three dimensional, you know, figures. And even if you go back to books, the miniature paintings, and which talk about the story of Islamic periods, and all that, they are also two dimensional, you know, they're, nothing is three dimensional. So what I'm trying to say that it is allowed in the story form, in fact, in my book, there's a last page, which a scholar wrote for me, in favor of my work, saying that Islam is allowed. “Prophet Muhammad was known to praise diverse forms of beauty and to have said Allah is beautiful and he loves beauty. All of these meanings and more find the holistic expression in the Quran and Sunnah, and are subtly unveiled, explored and expressed in Salma Arastu's paintings, and the English translation of the verses presented with them. Through her work cell mitosis encouraging the viewer to contemplate important meanings of unity, justice and balance as well as the impact of human actions the need for oneness and universal care for creation, all of which are indeed among the higher objectives of this Islam.” So that's how I did it. I don't know, I was inspired. I was, rather I would say I was guided to do it like that, and I did it. But so far, I haven't heard any, any criticism on that.John FiegeWell, that's great. And you've also described your process as very physical: scratching, sanding, layering materials like paper, rope, modeling paste, paper mache, or copper plate, embroidering with pen and ink. How does the physicality of your technique relate to your work, which is very much about both the physical biological world, but also spiritual existence?Salma ArastuI like textures. You know, I don't know, I like the penetrating textures. And some are right from beginning, I used to use paper first, you know, and then I used to, like, glue the paper on the surface and create, you know, textures and then paint gesso on it. And then I work sometimes, I'm a lot of sanding, because I like to show the layers beneath, you know. I don't know, I'm so physically involved with the work,I mean, that I can't describe, you know, I don't know, it's a new, it's a new experience each day, you know. The new painting that I'm doing, I'm using rust as my paint, I create this rust with a vinegar and aluminum and you know, make them rust, you know, make it rust color, and I paint with that also. So, and I'm using rope in my recent work. So yeah, I love textures. And I like pen and ink, I mean, I don't know it's the calming me down. You know, when I do the large works, the different works with a lot of physical work and like a lot of textures, then pen and ink is something which calms me down, it brings me back to myself. And it's like a meditation. So all my paintings have some work in pen and ink. It's like embroidery, I call it you know, it's like putting my you know, final touches on my work.John FiegeThat's great. Well, I'd like to for a minute look at a specific painting, and one of my favorites is called Earth and Skies. And so on one level, when you look at it, it's a traditional landscape painting in the sense that, you know, the bottom half of the canvas is green for the land, the top half is blue for the sky. But when you look closer at it, you realize that the sky is also the ocean and teeming with marine life. There are animal figures, both terrestrial and marine animals. And they, and as with all your work, it's drawn in two dimensions. And in some ways, it's reminiscent of cave paintings, I've found. And the entire canvas has this two dimensional flatness, with no sense of depth at all. And interestingly, there are some human figures in the landscape. It's not this idealized wilderness landscape devoid of humans. But the humans blend into the background and are represented in a similar size and style as the other animals. I also love your color palette, it's all these soft colors that that dissolve into one another. And of course, your your fluid lines are everywhere in the piece. Can you talk a bit about the techniques and concepts behind Earth and Skies? And like how do you create these colors that flow and dissolve into one another and, and, you know, you just your process for for conceiving and and creating this.Salma ArastuSure. So as I told you, I work with very thin acrylics. And my I don't make sketches of my paintings, I go directly on the canvas, and I feel guided you know, like, whatever comes is coming from within me, from within me, from my soul through my hand on the canvas. That's how it is. I don't know what is going to come on the canvas. So that particular theme, the earth and the skies, comes from a verse from Quran which talked about the balance. It said that God has created this establish this balance of earth and water in the skies, and don't disturb that. So, so that was the main concept in my mind when I started working. And somehow these soft colors, they, you know, I started with very thin paint very, very thin pane, and I started drawing animals, fishes, because I'm showing the connection. So for me, the birds, the fishes, the animals that are all part of this balance, you know, even the human figures. Here I want to mention one thing somebody told me recently and I love that concept. The man thinks he's the great and he's the protector, you know, taking care of this earth. While he's not needed to take care of earth, God is taking care of everything. Human being is just part of this whole system. You know, the whole web of life. It's the ego of the human, you know? So the word I was told that even the caveman knew that human figures don't, don't mean anything, like they are just part of it, because he always, the caveman also drew the figures as the sticks, and did the beautiful drawings of animals.John FiegeRight, right.Salma ArastuSo I really like that concept. I said, that's beautiful. Yeah. So this one, it just developed, as I told you, like, it just happened, you know, like, one layer over another, and another and softly I was going with very light colors, because I, it had to come through that, you know, and then I do a lo ton sanding. So in that painting, I've done a lot of sanding to give it an antique feeling in the bottom part with the figures. And it's a slow process if you ask me. But but it happens very spontaneously.John FiegeThat's an amazing combination. Slow, but spontaneous.Salma ArastuYes. Because whatever comes out, it comes out. And then I wait, I look at it. And then I go to it again, again throw some color on it, and then come back.John FiegeWell, that seems to go back to this idea of the process of art as meditation or contemplation or study. It's like the, the processes.Salma ArastuYeah, it's a dialogue. You know, it's a constant dialogue between the work and artist.John FiegeThat's awesome. There's a, there's another painting, I really love, The Waves and the Birds. So I love this painting, I just, I just visually love it in the colors. But also, the birds are flying in a flock through, you know, seemingly through the ocean. But it it creates this sense of the parallelism between a flock of birds and a school of fish, because they kind of look like a school of fish swimming through the ocean. Can you talk a bit about that piece? And, and where that came from?Salma ArastuYeah, yes, you know, I walk on the bay, as I told you. So I often see this, you know, swarms of birds, you know, flying in, in fall, you know, they come, the migrant birds, and they sit there, and they are just moving around, you know, it's like a constant flow. The waves and the birds, you know, I don't know, it just remained in my mind. So one day, it came like this on a canvas. So because there's no end, the waves are till the top, you know, because I see the whole bay area, you know, and then I see this burst just going over it. So this painting, it happened again, you know as I told you, they, they just happen for me, I don't plan them. So when I was going to do the birds, you know, I took my pen and ink because I didn't know how to show the birds. You know, I didn't want to mix them with my paint also. So I just did those with pen and ink if you see, so it was a very, I don't know, it just happened. I mean, that's why I always say I'm guided. I don't know why I'm doing it, how they come. But it really came together really well. And I'm so pleased with the composition. I know even I like it.John FiegeYeah, the composition, the composition is amazing.Salma ArastuYeah, thank you.John FiegeOften you, I know you write poetry. And, and some of your paintings have been accompanied by poems, both your own poetry I think and I think you sometimes pull text from the Quran and other places. Can you talk about that relationship between poetry and your painting work?Salma ArastuYeah, you know when I'm walking in the morning at the bay, you know, a lot of thoughts come in my mind. I feel so full of inspiration, you know, when I come back, I want to do this today, I want to do this day. So I record my words, and I record my whatever thoughts are coming and come back in my studio. So sometimes first I write the poem, which is which came in the morning, you know, in my mind, and then go to the painting, then start the painting. I don't really sketch but the words you know, sometimes the words helped me to portray what I want to do that, like my thoughts, you know, so they're connected. I know many times poetry happens first, the painting happens, you know, not for every painting, some. And sometimes the painting happens and when I look at it, it gives me the dialogue of in the form of a poem, you know, so, so they're interrelated in my work, and sometimes I'm directly influenced by Rumi's poetry also, because it's very universal. My work is not necessarily Islamic or Hindu or Christian, or American or Indian. I think my work is universal. I'm painting for everyone. And I, this is what I want to be. You know? So that's how I connect myself with Rumi.John FiegeYeah. Well, he is such an interesting figure, as you say, who is admired by so many different groups that see themselves in such strong opposition to one another in the modern world. And we really live in this age of identity and difference, and across the political spectrum it's really in vogue right now to emphasize and amplify difference and division in culture, race, religion, gender, age. But you're really going in the opposite direction, searching for universality, unity, love, and in some ways, those are ideals from the past. But at the same time, it feels like in the cyclical world that we live in, that they—Salma ArastuWe need that.John FiegeYeah, that's maybe what the future is, as well.Salma ArastuExactly. That's what I'm hoping for, yes.John FiegeHow do we, how do we counteract this toxic political and cultural division that we have in the modern age and, and the ecological calamity that comes with it? And how do you how do you think about these issues of identity and difference and universality and unity?Salma ArastuYeah, let me tell you, you know, it pains me, I cry, when I see these things around me, I mean, like this, this is torture, being a such person. And then watching these separations, you know, watching these distances, watching this, more and more split between, you know, nations and communities and races. Like, sometimes, you know, I see other artists doing this pain, oh, painting this, pictures of pain, but I can't do that, you know? I'm so full that I can't describe the pain. I think if I also do the pain, what I'm here for? I want to give hope, I want to give that love, I want to give that, that that feeling of you know, compassion. I have done few paintings, which depict the moment of the pain sometimes, but then it makes me cry. I said no, I cannot do this for long. I have to give the hope. I cannot do the same like everybody else is doing. What is my existence then? So think I, I don't know, I feel I'm here to give some message of love.John FiegeRight? Yeah. And you've talked in about your work in terms of, you know, this bringing together of Eastern and Western traditions. You know, you're using a lot of Western techniques in your work, but then you're bringing in a lot of these philosophies and approaches to the world that that are much more associated with the East.Salma ArastuYes. Yeah, that's a beauty. You know, I love this western world because I've learned so much, you know. I mean, I have been influenced by art from West, I have loved these techniques, the new new techniques I learn every day. I mean, there's so much to learn, I can't keep up with everything. But I say my what I want to say. So, and just naturally, I'm not emphasizing, I'm not forcing myself to do it, as I told you, I just do what comes from within me and just from through my hand on the canvas, so I just continue like that, you know, because I have surrendered myself to the Creator.John FiegeRight. Well, I think when you look at the paintings, you can see this spiritual process, which I find really amazing.Salma ArastuThank you.John FiegeAnd the, you know, the deep contemplation just infuses your work, which is, which is really beautiful.Salma ArastuThanks. Thank you, I really appreciate, yeah.John FiegeSo your, some of your new work that's that I think is coming out of the same project is these paintings around mycelial networks, which are the, you know, the white fungal threads that create these vast underground fungal networks that scientists have recently discovered to be really critically important to communication and nutrient flow and, and ecological connections between lots of species of plants and animals. And, and, and one of my favorite paintings, you know, you described earlier how you're working with rust, but it's got this rust background and these bright white mycelial networks. Yeah, and I love it. And it's just so just the colors and the textures, even on a computer screen are so striking. Can you tell me about the origins of this mycelial work and what mycelia have taught you about ecological connection and regeneration?Salma ArastuYeah, so you know what happened when I finished my project Our Earth in 2021, and then I, you know, I can't stop myself. So I started looking for the solutions now. I know these are the problems, these are the happening things. But now how do I find a solution? So I started reading science. I never did before. But you know, I saw this Fantastic Fungi. Have you seen that movie?John FiegeOh, I haven't seen the movie. But I've read–Salma ArastuOh, yeah. So what happened, when I saw those mushrooms and when I learned about the how they're beneficial, so mycelia seem to be giving the better future you know. That if only we concentrate and look at it and learn from it and support these organizations who are doing research on it. They're trying to make plastic like things from mycelia, I want to make people aware of it. You know, being an artist, I can creatively create those images which will attract people and they'll ask me what it is. So and especially it again, line, I have been so involved with these lines, you know, I'm so enjoying them, the roots and entangled life and then I'm reading some books also which are inspiring me. Entangled Life is a beautiful book, which talks about this mycelium, you know, how it changed my perspective, changed my thinking that we can be saved, the humanity can be saved.John FiegeYeah, I love how art and science are coming together so much right now in the culture. And we're starting to break down these really hard divisions that that I feel like existed for many decades.Salma ArastuExactly, yeah. Yeah.John FiegeBut if you I mean, look at the you know, Leonardo da Vinci, you know, he was doing art and science. I mean, there was no division back then.Salma ArastuAnd then we created division, you know, slowly, yeah. The colonization of the world, you know, that created these things, I think.John FiegeAnd, you know, through this artistic journey you've been on, what do you feel like you've learned about what our relationship to the rest of nature needs to be and how to get there?Salma ArastuYeah, since I would say, 12 years, 15 years, I've been walking around this bay, and it's only two miles radius. But believe me, in this short walk only, I have found every morning, something new, something new light, something new bird, some sometimes new plant and sometimes the entangled forms on the ground, the roots, the, you know, lichens them, you know, like, imagine, I can't, you can't imagine the images that I've collected over this years. It's thousands of images. And so this is what my joy, and I think if only people can connect with nature, they will find the joy also, it's biophilia, you know, it's that you know, it's something people will find joy once you connect with nature. We are born to be like that, you know, outside, we are not born to be inside the apartments and the rooms and the television screens. We are we are we are supposed to be outside, you know, and mingle with the nature. So that will give you the blessings you, that will make you realize the blessings you have around you.John FiegeYeah, well, that's a beautiful place to end. Salma, thank you so much for for joining me today. It's been really, really great conversation.Salma ArastuThank you so much, really. I appreciate you understanding my work, and that's what I want. I want to share my work and I want people to understand that.---OutroJohn FiegeThank you so much to Salma Arastu. Go to our website that ChrysalisPodcast.org, where you can see images of her paintings, the photographs from my visit to her studio, and our book and media recommendations.This episode was researched by Lydia Montgomery and edited by Brodie Mutschler and Sofia Chang. Music is by Daniel Rodriguez Vivas. Mixing is by Juan Garcia.If you enjoyed my conversation with Salma, please rate and review us on your favorite podcast platform. Contact me anytime at chrysalispodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

DELINA BROOKS is a hyphenate whose work marries story with music and champions troubled women who save themselves. Nominated for three ISADORA DUNCAN AWARDS, Delina won in 2016 for Outstanding Ensemble Performance in “An Open Love Letter to Black Fathers” which she wrote, produced, directed, scored, choreographed, and starred in. Delina is a DISNEY WRITERS PROGRAM FINALIST (2023) and a RESIDENT ARTIST at THE KENNEDY CENTER (2023). She has choreographed/danced for CHANCE THE RAPPER on SATURDAY NIGHT LIVE!, KANYE WEST at COACHELLA and many more, and was Movement Director for "Casa de Spirits", a play written and directed by ROGER GUENVEUR SMITH. Her work has been commissioned/presented by YERBA BUENA CENTER FOR THE ARTS, NATIONAL PERFORMANCE NETWORK, COUNTERPULSE THEATER and many more. Landing in Los Angeles from Oakland in 2018, she's moonlighted as Showrunner's Assistant and Director's Assistant for shows on ABC, NBC, FOX, FREEFORM, HULU and HBO.  www.delinadream.com https://www.linkedin.com/in/delinabrooks Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Phil Rickaby talks with the outstanding Deborah Drakeford and unpacking the Canadian premiere of Joanna Murray-Smith's "Rockabye." From the first costume fitting that sets the stage for character metamorphosis to the electric anticipation of performing an original rock anthem, this episode is a tribute to the craft. The camaraderie within the Actors Repertory Company, nurtured by director Rob Kempson is palpable as Deborah recounts the collective effort in breathing life into "Rockabye." This is a toast to the ensemble's magic and her own evolution as resident artist and co-artistic producer with ARC. The conversation also turns to the resilience of actors amid the pandemic, sharing her own tussle with COVID-19 that brought unexpected twists to a production in Sudbury. The episode wraps with a heartwarming glimpse into the enduring marriage Deborah and her husband Oliver Dennis, as they juggle the scales of professional ambition with the weight of family life. Their story is a masterclass in harmony, a dance of mutual support and understanding that keeps the show going, long after the applause fades. Bio Deborah Drakeford is a proud member of ARC, having been a Resident Artist for the past 18 years. Deb assumed the role of Co-Artistic Producer of ARC in July 2020. She has performed in many ARC shows, including A Kind of Alaska, The City, Bea, Moment, Pomona, Human Animals, Oil, Gloria, Martyr and upcoming, Rockabye. Deb has been lucky enough to work across Canada from BC to PEI. Other fun credits include Redbone Coonhound (Tarragon Theatre), Doubt (BNE Productions), Shirley Valentine (Thousand Islands Playhouse and Capitol Theatre), The Penelopiad and The Importance of Being Earnest (Grand Theatre), Portia's Julius Caesar (Shakespeare in the Ruff), Innocence Lost, Great Expectations, Waiting for the Parade and A Christmas Carol (among others) (Soulpepper), Hedda Noir (Theatre Northwest) Rabbit Hole, Same Time Last Year and The Curious Incident of the Dog in the Nighttime (Sudbury Theatre Centre). Deb has been Dora nominated 11 times (individual and ensemble). She has also done tv, film, and voice, most recently appearing in HBO's Station Eleven and recording the audiobook The Stone Diaries by Carol Shields. Deb holds a BEd and teaches for YPT, Soulpepper and for the TDSB. She makes her home in Toronto with her lovely husband, actor Oliver Dennis, and their two amazing kids, Charlotte and Philip. arcstage.com Instagram: @arcstage

Donna Green, photo by Joe Kramm Donna Green wrestles with coils of stoneware, manipulating and prodding to create anthropomorphic gestural shapes that burst and stretch into space. Her physical experimentation challenges the properties of the clay, resulting in works that seem to be in a constant state of growth and transfiguration; heroically scaled urns undulate and drip with layer upon layer of glaze. Green draws inspiration from the ancient Jomon ceramics of Japan and Chinese Han Dynasty storage jars, as well as Gonshi, the naturally occurring scholars' rocks, and Baroque garden grottos. Donna Green was born in Sydney, Australia, and earned a Bachelor of Arts in Industrial Design in 1984 from Sydney College of the Arts in New South Wales. In 1985, Green moved to New York and joined Industrial Design Magazine as one of its editors. She began working in clay in 1988, studying at Greenwich House Pottery and the New School in New York, and in 1997 at the National Art School, Sydney. Green has participated in numerous workshops including “Fire Up,” 1995 with Janet Mansfield in Gulgong, New South Wales, working on-site with Danish artists Nina Hole and Jorgen Hansen, and “The Vessel as Metaphor” in 2018 with Tony Marsh at Anderson Ranch Arts Center, Snowmass, CO. In 2019, she was a Resident Artist at California State University Long Beach. Later that year, she undertook an Artist Fellowship at Greenwich House Pottery. Green has exhibited at Hostler Burrows, New York, NY and Los Angeles, CA; McClain Gallery, Houston, TX; Greenwich House Pottery, New York, NY; Utopia Art Sydney, Australia; SIZED Studio, Los Angeles, CA; and the Leiber Collection, East Hampton, NY. Her work is in the permanent collection of the Museum of Applied Arts and Sciences, Sydney, Australia. Green lives and works in New York. Donna Green installation, photo by Joe Kramm Donna Green installation, photo by Joe Kramm Donna Green installation, photo by Joe Kramm

The raw materials of Philippa Pham Hughes' art are human bodies and minds. Since 2007, when she hosted her first gathering of strangers, Philippa has worked as a social sculptor and cultural strategist. What this means is that, through methods drawn from the arts and the humanities, she curates what she calls creative activations. These are carefully planned spaces and events to which groups of complete strangers from different walks of life meet face to face and break bread, often quite literally. In these activations, with Philippa's guidance, participants can touch the third rails of polite discussion, whether they be politics or religion, because the intent is always to keep everyone safe and increasingly aware of and committed to open communication and the makings of a better world. In a time when the bully pulpit of social media makes it easy to dehumanize the perceived enemy, Philippa's work centers our shared humanity.Philippa is currently Resident Artist at the University of Michigan Museum of Art and is Visiting Fellow at the SNF Agora Institute at Johns Hopkins. She has worked with several institutions in her current hometown of Washington, DC and in a variety of settings all over the country, in activations both large and intimate.Here she describes how she refined the work of others to create her own practice of social sculpting and explains how she maintains her optimism and vigor when it seems like all Americans want to do is scream past one another from vast distance. https://www.philippahughes.com/https://umma.umich.edu/https://snfagora.jhu.edu/

Marcus Clarke, Resident Artist at Vesper, enters into a conversation with Weylin Lee exploring how art articulates and forms us along our spiritual journey, and encourages us to see our various callings as part of exercising our God given creativity. [Genesis 1:1-5, 26-27, 31] Reflection How are we invited to practice creativity and co-create with Creator? How might our practice of making invite healing and restoration? How might we explore our own expression of creating and making? Resources Website: Studio Delmar.  The artistic practice of Marcus Clarke  https://www.delmar.work/

James Vasquez joins Stephanie and Angela to talk about directing, the landscape of regional theater, and how a dog person can also love Caturday.  James is a director, Resident Artist of The Old Globe Theatre and San Diego native.  You can find out more about James on his website and insta. Original Music by: Yah Supreme (Yahya Jeffries-El)

Tori and Mabelle talk with James Vásquez, Resident Artist of The Old Globe Theatre, about trading in his baseball glove for tap shoes at 12 years old. He talks about how his father deeply influenced his love of both the arts and baseball, and he shares his full circle moments from childhood to director at The Old Globe. He reveals why he loves being told “no,” why the tech process is his favorite part of directing, and his belief that artists should also be activists.

Join us this week as we chat with the incredibly talented Charleston-based photorealistic painter, Hayden Wilson. Discover the inspiring journey of how Hayden went from a pet portrait artist on Etsy to the 2023 resident artist at the prestigious Gallery at Sweetgrass in Wild Dunes Resort on Isle of Palm, South Carolina.In this captivating conversation, we explore Hayden's beginnings as a pet portrait artist, her experience with Etsy, and her transition to oil painting. Hayden also shares valuable insights on how she overcame the challenges of painting representationally to create breathtaking works of art. Be prepared to be motivated and encouraged to pursue your own artistic dreams as you listen to Hayden's incredible story.Don't miss this awe-inspiring episode as we discuss Hayden's unique approach to art, her tips for succeeding on Etsy and Instagram, and how she navigates the challenges and opportunities that come with being a professional artist. By the end of this episode, you'll feel invigorated and ready to chase your own artistic aspirations with newfound determination and passion.Learn more about Hayden through her website and Instagram. Learn more about our sponsor SmartLabels through their site and purchase them here.Learn more about our sponsor. Glow and the Healthy Hormone Club here. 25 Minutes of Unfinished Business, hosted by Alex BrayshawThe reason I've created Unfinished Business is because I'm passionate about business...Listen on: Apple Podcasts Spotify The Company ShowThe Company Show is a podcast about running a podcast for your business or company....Listen on: Apple Podcasts SpotifySupport the show

Saturday Mornings Host Glenn van Zutphen and award-winning author Neil Humphreys talk with professional artist Eric Israel - chosen to be the Resident Artist at Tiong Bahru Bakery and makes customers smile with his free portraits of them and his winning smile and attitude.See omnystudio.com/listener for privacy information.

Welcome to our Mother's Day Celebration! Rev. Sonia Russell speaks to the origin's of Mother's Day and describes how the spirituality of Motherhood transcends any limitation of gender. Our musical inspiration is none than our Minister of Music Emerita and Resident Artist, Branice McKenzie. [https://www.branicemckenzie.com/] * YOUTUBE: Click the SUBSCRIBE button and ring the Notifications Bell so that you're automatically notified about new videos and live streams on our channel: https://www.youtube.com/c/HeartandSoulCenterofLight. * FACEBOOK: Spread the good news about Heart and Soul by hitting that LIKE button! VISIT OUR ONLINE STORE to stay in style with all the latest Heart and Soul wearable merch: http://heartsoulcenter.org/onlinestore PLEASE SUPPORT US FINANCIALLY IF YOU CAN We hope you will financially support Heart and Soul Center of Light's ongoing mission of being a loving and compassionate, world-class teaching and empowerment ministry. You can graciously give to Heart and Soul today by clicking the link below. We thank you in advance for your generosity and your support! https://www.heartsoulcenter.org/ways-to-give-your-tax-deductible-donation/

How can PhD programs prepare graduate students for future paths beyond academia? This episode explores: The positive effect on students when they are prepared to graduate with multiple career options. Why most jobs for graduating students will be located outside of academia. How students can build support networks outside of their own program. The importance of graduate student internships. Taking a broader view of what constitutes a “dissertation,” a “project,” and a career. Our guest is: Dr. Alyssa Stalsberg Canelli, who is the Assistant Dean of Academic Affairs at the Graduate School of Arts and Sciences at Brandeis. Our co-guest is: Anna Valcour (she/her) is currently a Ph. D. student in Musicology at Brandeis University while simultaneously earning her M.A. in Women's, Gender, and Sexuality Studies. She holds a M.M. in Voice from the University of North Texas, a B.M. in Vocal Performance, and a B.A. in History from Lawrence University. Her research interests include witchcraft and demonology in Lieder, cultic groups and music, vocal pedagogy, representation in opera and its staging, and voice-based analysis. She is currently the Project Lead for the Connected PhD and is also interning with the African and African American Studies for the creation of their newsletter and alumni collective. Last year, she researched insular plainchant as an assistant under Dr. Karen Desmond. In addition to her scholarly pursuits, Anna is a professional opera singer. She has been a Resident Artist for the Dallas Opera, Toledo Opera, Cedar Rapids Opera, Opera MODO, Ann Arbor Opera, and Main Street Opera. Our host is: Dr. Christina Gessler, a historian of women and gender. Listeners to this episode may also be interested in: Being Well in Academia: Ways to Feel Stronger, Safer and More Connected, by Petra Boynton The Field Guide to Grad School, by Jessica McCrory Calarco Degrees of Difference: Reflections of Women of Color on Graduate School, by Kimberly McKee and Denise Delgado, eds. Your PhD Survival Guide: Planning, Writing, and Succeeding in Your Final Year, by Katherine Firth. Liam Connell, and Peta Freestone Putting the Humanities PhD to Work: Thriving in and beyond the Classroom, by Katina Rogers Imagine PhD, created by the Graduate Career Consortium The Field Guide to Grad School podcast This podcast on protecting your wellbeing in graduate school This podcast on finding good alt-ac jobs The podcast on dealing with rejection so you can grow your career Welcome to the Academic Life! On the Academic Life channel we are inspired and informed by today's knowledge-producers, working inside and outside the academy. Missed any of our episodes? You'll find more than 100 of the Academic Life podcast episodes archived and freely available to you on the New Books Network website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How can PhD programs prepare graduate students for future paths beyond academia? This episode explores: The positive effect on students when they are prepared to graduate with multiple career options. Why most jobs for graduating students will be located outside of academia. How students can build support networks outside of their own program. The importance of graduate student internships. Taking a broader view of what constitutes a “dissertation,” a “project,” and a career. Our guest is: Dr. Alyssa Stalsberg Canelli, who is the Assistant Dean of Academic Affairs at the Graduate School of Arts and Sciences at Brandeis. Our co-guest is: Anna Valcour (she/her) is currently a Ph. D. student in Musicology at Brandeis University while simultaneously earning her M.A. in Women's, Gender, and Sexuality Studies. She holds a M.M. in Voice from the University of North Texas, a B.M. in Vocal Performance, and a B.A. in History from Lawrence University. Her research interests include witchcraft and demonology in Lieder, cultic groups and music, vocal pedagogy, representation in opera and its staging, and voice-based analysis. She is currently the Project Lead for the Connected PhD and is also interning with the African and African American Studies for the creation of their newsletter and alumni collective. Last year, she researched insular plainchant as an assistant under Dr. Karen Desmond. In addition to her scholarly pursuits, Anna is a professional opera singer. She has been a Resident Artist for the Dallas Opera, Toledo Opera, Cedar Rapids Opera, Opera MODO, Ann Arbor Opera, and Main Street Opera. Our host is: Dr. Christina Gessler, a historian of women and gender. Listeners to this episode may also be interested in: Being Well in Academia: Ways to Feel Stronger, Safer and More Connected, by Petra Boynton The Field Guide to Grad School, by Jessica McCrory Calarco Degrees of Difference: Reflections of Women of Color on Graduate School, by Kimberly McKee and Denise Delgado, eds. Your PhD Survival Guide: Planning, Writing, and Succeeding in Your Final Year, by Katherine Firth. Liam Connell, and Peta Freestone Putting the Humanities PhD to Work: Thriving in and beyond the Classroom, by Katina Rogers Imagine PhD, created by the Graduate Career Consortium The Field Guide to Grad School podcast This podcast on protecting your wellbeing in graduate school This podcast on finding good alt-ac jobs The podcast on dealing with rejection so you can grow your career Welcome to the Academic Life! On the Academic Life channel we are inspired and informed by today's knowledge-producers, working inside and outside the academy. Missed any of our episodes? You'll find more than 100 of the Academic Life podcast episodes archived and freely available to you on the New Books Network website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

How can PhD programs prepare graduate students for future paths beyond academia? This episode explores: The positive effect on students when they are prepared to graduate with multiple career options. Why most jobs for graduating students will be located outside of academia. How students can build support networks outside of their own program. The importance of graduate student internships. Taking a broader view of what constitutes a “dissertation,” a “project,” and a career. Our guest is: Dr. Alyssa Stalsberg Canelli, who is the Assistant Dean of Academic Affairs at the Graduate School of Arts and Sciences at Brandeis. Our co-guest is: Anna Valcour (she/her) is currently a Ph. D. student in Musicology at Brandeis University while simultaneously earning her M.A. in Women's, Gender, and Sexuality Studies. She holds a M.M. in Voice from the University of North Texas, a B.M. in Vocal Performance, and a B.A. in History from Lawrence University. Her research interests include witchcraft and demonology in Lieder, cultic groups and music, vocal pedagogy, representation in opera and its staging, and voice-based analysis. She is currently the Project Lead for the Connected PhD and is also interning with the African and African American Studies for the creation of their newsletter and alumni collective. Last year, she researched insular plainchant as an assistant under Dr. Karen Desmond. In addition to her scholarly pursuits, Anna is a professional opera singer. She has been a Resident Artist for the Dallas Opera, Toledo Opera, Cedar Rapids Opera, Opera MODO, Ann Arbor Opera, and Main Street Opera. Our host is: Dr. Christina Gessler, a historian of women and gender. Listeners to this episode may also be interested in: Being Well in Academia: Ways to Feel Stronger, Safer and More Connected, by Petra Boynton The Field Guide to Grad School, by Jessica McCrory Calarco Degrees of Difference: Reflections of Women of Color on Graduate School, by Kimberly McKee and Denise Delgado, eds. Your PhD Survival Guide: Planning, Writing, and Succeeding in Your Final Year, by Katherine Firth. Liam Connell, and Peta Freestone Putting the Humanities PhD to Work: Thriving in and beyond the Classroom, by Katina Rogers Imagine PhD, created by the Graduate Career Consortium The Field Guide to Grad School podcast This podcast on protecting your wellbeing in graduate school This podcast on finding good alt-ac jobs The podcast on dealing with rejection so you can grow your career Welcome to the Academic Life! On the Academic Life channel we are inspired and informed by today's knowledge-producers, working inside and outside the academy. Missed any of our episodes? You'll find more than 100 of the Academic Life podcast episodes archived and freely available to you on the New Books Network website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

How can PhD programs prepare graduate students for future paths beyond academia? This episode explores: The positive effect on students when they are prepared to graduate with multiple career options. Why most jobs for graduating students will be located outside of academia. How students can build support networks outside of their own program. The importance of graduate student internships. Taking a broader view of what constitutes a “dissertation,” a “project,” and a career. Our guest is: Dr. Alyssa Stalsberg Canelli, who is the Assistant Dean of Academic Affairs at the Graduate School of Arts and Sciences at Brandeis. Our co-guest is: Anna Valcour (she/her) is currently a Ph. D. student in Musicology at Brandeis University while simultaneously earning her M.A. in Women's, Gender, and Sexuality Studies. She holds a M.M. in Voice from the University of North Texas, a B.M. in Vocal Performance, and a B.A. in History from Lawrence University. Her research interests include witchcraft and demonology in Lieder, cultic groups and music, vocal pedagogy, representation in opera and its staging, and voice-based analysis. She is currently the Project Lead for the Connected PhD and is also interning with the African and African American Studies for the creation of their newsletter and alumni collective. Last year, she researched insular plainchant as an assistant under Dr. Karen Desmond. In addition to her scholarly pursuits, Anna is a professional opera singer. She has been a Resident Artist for the Dallas Opera, Toledo Opera, Cedar Rapids Opera, Opera MODO, Ann Arbor Opera, and Main Street Opera. Our host is: Dr. Christina Gessler, a historian of women and gender. Listeners to this episode may also be interested in: Being Well in Academia: Ways to Feel Stronger, Safer and More Connected, by Petra Boynton The Field Guide to Grad School, by Jessica McCrory Calarco Degrees of Difference: Reflections of Women of Color on Graduate School, by Kimberly McKee and Denise Delgado, eds. Your PhD Survival Guide: Planning, Writing, and Succeeding in Your Final Year, by Katherine Firth. Liam Connell, and Peta Freestone Putting the Humanities PhD to Work: Thriving in and beyond the Classroom, by Katina Rogers Imagine PhD, created by the Graduate Career Consortium The Field Guide to Grad School podcast This podcast on protecting your wellbeing in graduate school This podcast on finding good alt-ac jobs The podcast on dealing with rejection so you can grow your career Welcome to the Academic Life! On the Academic Life channel we are inspired and informed by today's knowledge-producers, working inside and outside the academy. Missed any of our episodes? You'll find more than 100 of the Academic Life podcast episodes archived and freely available to you on the New Books Network website. Learn more about your ad choices. Visit megaphone.fm/adchoices

Would you rather perform in front of thousands of people or a handful of strangers?  Does performing in a small crowd bring out the shy introvert version of you? Surprisingly, many of us are shy and it manifests in different ways. Singer/Actor, Alana Bridgewater, will join us in this week's episode to reminds us that it's okay to constantly search for ways to overcome shyness and solve your challenges as an artist. You can have an arsenal of different things that can help you cope with the demands of the life of an artist. Give yourself permission to figure things out and enjoy the journey towards finding the best solution for you. SHARE THIS EPISODE >>> www.thisischelseajohnson.com/230 In this episode: How singing in front the church congregation sparked Alana's love for singing. The impact of having a strong mentor in her commitment towards fostering the next generation of artists. The importance of having grounding practices incorporated into your routine in mitigating the negative impact of unattended pressures and shyness.  An artist is someone who is trying to keep the culture of creativity and art present. A little about Alana: Alana Bridgewater is an actor and singer in Toronto. Best known for her role as Killer Queen in the hit musical We Will Rock You, Alana made her debut at the Signature Center in NYC with the prestigious Soulpepper Theatre Company. Her recent credits include the title role in Ma Rainey's Black Bottom, Novelette in Da Kink In My Hair at Arts Club Vancouver, Eartha in the animated series Mysticons (Nickelodeon) and the voice of Mr. King Dice in the hit video game CupHead. Working with youth, Alana was Choral Director for Daniels Corporation's production of The Journey. Alana, with her team, won Gold at The New York Radio Awards for the documentary Journey To Jazz and Human Rights which she narrated. Alana was appointed Resident Artist for Necessary Angel Theatre Company for the 20/21 Season Musically, Alana sang backup on tour with Johnny Reid, Digging Roots and Corey Hart. She also contributed vocals on Digging Roots latest album Zhawenim which has been nominated for a 2023 Juno Award. Follow Alana! Instagram: @alanabridgewatermusic Twitter: @alanabeemusic

On today's bonus episode, Friday edition, we chat with John Marc Kohl! John Marc is a worship leader, songwriter, and musician dedicated to glorifying God through creativity. From being on staff at a few churches; to supporting other artists and ministries, John Marc has always loved to lead others to connect with Jesus through worship. As a result of releasing music in different genres, he also realizes the need for worship music to be as creative and as beautiful as Jesus is. John Marc is a Resident Artist for The Worship Initiative, and is excited to be a part of a collective that's writing and creating to glorify God. John Marc's latest release, 'Still' is available now! johnmarckohl.com @johnmarckohl christianmusicguys.com @christianmusicguys --- Support this podcast: https://anchor.fm/christianmusicguys/support

If you're enjoying the content, please like, subscribe, and comment! Please consider supporting the show! https://anchor.fm/worldxppodcast/support Peter's YouTube: https://www.youtube.com/c/PeterBarber Peter Barber is a professional opera singer, music producer, and bass vocalist, currently training as a Resident Artist at The Academy of Vocal Arts in Philadelphia. Over the last five years, he has performed over twenty operatic roles, and competed in numerous international vocal competitions. In January of 2020, Peter made his professional operatic debut with Pacific Opera Project in Los Angeles, while completing his master's degree in Vocal Arts and Performance from the University of Southern California. This summer, he will be joining the Santa Fe Opera as an Apprentice Singer, one of the top summer programs in the world for up-and-coming opera singers. Outside of the opera world, Peter is a music producer, and accomplished bass vocalist. Since the start of the pandemic, he has grown his YouTube following from under 100 subscribers to over 44,000 by making musical covers, as well as in-depth “reaction and analysis” videos, breaking down performances in terms of vocal techniques, arrangements, artistic choices, and overall presentation. Peter also started a group of four bass singers called The Bass Gang, who are in the process of making their second album, May the Bass Be With You, Vol. 2, which will be released throughout the month of May on YouTube and all streaming services. ______________________ Follow us! @worldxppodcast Instagram - https://bit.ly/3eoBwyr @worldxppodcast Twitter - https://bit.ly/2Oa7Bzm Spotify - http://spoti.fi/3sZAUTG Apple Podcasts - http://apple.co/30uGTny Google Podcasts - http://bit.ly/3v8CF2U Anchor - http://bit.ly/3qGeaH7 YouTube - http://bit.ly/3rxDvUL #acapella #basssinger #opera #bass #bassacapella #bassgang #geoffcastellucci #avikaplan #vocalart #vocalperformance #youtube #audio #audioengineer #wxpp #podcast #podcastersofinstagram #podcastlife #podcastshow #longformpodcast #longformpodcast #podcasts #podcaster #newpodcast #podcastshow #podcasting #newshow #worldxppodcast --- Support this podcast: https://anchor.fm/worldxppodcast/support

Emma returns as she goes in depth about her emotional and creative process behind her most recent work: Brain Rinse.  She is a multidisciplinary artist and is the Resident Artist at Vintage Faith Church in Culver City, CA. Support the show

Declan Greene is the Artistic Director of Griffin Theatre Company and works as a playwright, dramaturg and director. He was previously Resident Artist at Malthouse Theatre. As a playwright, his work includes Eight Gigabytes of Hardcore Pornography, The Homosexuals, or ‘Faggots', Melancholia, Moth, and Pompeii L.A. Declan co-founded queer experimental theatre company Sisters Grimm with Ash Flanders in 2006, and has directed and co-created all their productions to date, including: for Griffin Independent and Theatre Works: Summertime in the Garden of Eden; for Malthouse Theatre and Sydney Theatre Company: Calpurnia Descending; for Melbourne Theatre Company: Lilith: The Jungle Girl; and for Sydney Theatre Company: Little Mercy. As a director, his credits include: for Griffin: Dogged, Green Park, Whitefella Yella Tree; for Malthouse Theatre: Wake in Fright; for Malthouse Theatre and Sydney Theatre Company: Blackie Blackie Brown; for Sydney Theatre Company: Hamlet: Prince of Skidmark; for ZLMD Shakespeare Company: Conviction. Declan has won awards including the Malcolm Robertson Prize, the Max Afford Playwright's Award, an AWGIE for Theatre for Young Audiences and the Green Room Award for Best Original Writing. Declan has just launched the 2023 season for the Griffin Theatre Company. He joined STAGES to elaborate on the season and to reflect on his unique role as an Artistic Director and as one of our most exciting and inventive theatre-makers. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

This week we meet Jason Pereira, Resident Artist at Pacific Island Ethnic Art Museum in Long Beach CA, where we discuss the spiritual and healing aspects of art.  We also touch base on a communal healing story circle 'Toe Fo'i' - The Return.What are you waiting for? Please consider becoming a Patreon supporter of the show. You'll have access to many perks, as well as, guaranteeing the future of these conversations. Even $1/month goes a long way as this show is 100% listener supported. https://www.patreon.com/derrickengoyFollow:Instagram - Breathe PodcastFacebook Group PageInstagram - Derrick EngoyInstagram - Christian MendozaInstagram - Kevin HortonMusic:Composed and Produced by Derrick EngoyAdditional Music Provided by FLAK UnitedIntroduction by Kevin Horton Merch:Official GearSupport the show (http://www.patreon.com/derrickengoy)Support the show (http://www.patreon.com/derrickengoy)Support the show

Rickia is a fitness enthusiast and dance entrepreneur in the Pittsburgh area. She works with all ages in a number of capacities and has been named a Legacy Arts Project artist, a premiere advocate at the Be Healthy and Smart Initiative community, a previous Resident Artist at the KST Theater, and a Lead Teaching Artist for K-Theatre Dance Complex. She teaches dance to children and college students at Dance Junction & the Propel Schools and CCAC, respectively. Rickia has mentored youth through self advocacy, self love and self esteem workshops as well as advocated for women with group fitness and nutrition education programs. Check out Rickia's Services: Rickia Davenport | Facebook IG: @rickia_lynn Email: jamout1216@gmail.com K- Theatre Dance Complex | Facebook Be Healthy and Smart Initiative | Facebook Dance Junction | Facebook Propel Schools | Facebook The Legacy Arts Project | Facebook

When it comes to craft, failure doesn't mean you're doing it wrong. Neither does imperfection. They both happen to the best of us on a regular basis, says Anela DeLaveaga. Anela is a Reno-based woodworker, Resident Artist at The Generator, and founder of the Design Build Collective, a Nevada group that wants to carve out a bigger niche for female and nonbinary woodworkers. Host: Noah Glick

Ron OJ Parson is a multiple award-winning director and Resident Artist at the 2022 Tony-winning regional theater Court Theatre in Chicago, where his production of Arsenic and Old Lace opens this Saturday night. Ron's extraordinary range includes over 30 productions of August Wilson's plays, musicals, classics, and world premieres, and he discusses how he approaches each script, regardless of genre; how the best direction is collaboration; bonding with Brian Dennehy and formative mentoring from Marion McClinton and Stephen McKinley Henderson; the art of not doing all that much to the play while you're doing the harder work of just doing the play; how he's one of the folks responsible for it being a golden age of August Wilson in Chicago (and elsewhere); and how believes in the fundamental importance of laughter, not just as entertainment but as catharsis. Can you say #RonaissanceMan? (Length 18:33) (Photo of Ron OJ Parson by Joe Mazza.) The post Ron OJ Parson appeared first on Reduced Shakespeare Company.

Matt Wuorinen, Resident Artist with Epic Events, shares his passion for creating and how The Family Friendly Community Art Experience is opening worlds to exploring art at any age.  The Community Art Experience is an event centered around families and kids coming together to create their own art with the guidance of local artists and businesses. This event features live performances, hands-on art activities, music, and concessions. And, at the end of the night you get to take your artwork home! This years event will feature booths ran by 10 local businesses and organizations as well as live graffiti painting by local artist Not_Hideuhs! Head out to The Lights in West Fargo on Wednesday, August 17th from 6pm - 8pm. Free and open to the public!See omnystudio.com/listener for privacy information.

Mr. Arthur Kwon Lee, Resident Artist at the McLean Project for the Arts, discusses the role of moral relativism and ideological subversion by artists and galleries in the contemporary mass media culture. This event took place at The Institute of World Politics on August 10, 2022. About the Speaker: Arthur Kwon Lee is a Korean American painter whose gestural mark making harmonizes expressive color palettes with world mythologies. His work has won awards from George Washington University, the Korean Artists Association, the Corcoran Gallery of Art and most recently the inaugural title of ‘Artist of the Year' by the Eileen Kaminsky Family Foundation. Lee draws inspiration from a broad range of sources including Jungian psychoanalysis, local religious traditions, and his lifelong commitment to martial arts. Prior to developing a love for painting, Lee was a Division One athlete who placed in the US Tae Kwon Do Nationals for three consecutive years. Lee has carried this martial intensity into his artwork where it translated into large-scale works and a diversity of dynamic brushstrokes. The resulting compositions attest to an artist who uses his entire body to paint symbolically evocative works that contain oblique references to archetypal myths from around the world. Luminous colors, gestural expressionism, and philosophical acumen bring a refreshing sentiment to art that draws our sometimes compartmentalized and fractured times into a synthetic, representative whole. IWP Admissions: https://www.iwp.edu/admissions/ Support IWP: https://interland3.donorperfect.net/weblink/WebLink.aspx?name=E231090&id=18

Musician Davy Flowers is a guest on Dawn and Steve in the Morning! Born and raised in Houston Texas, Davy is a worship leader and songwriter who carries a passion to see people from all walks of life encounter Christ for themselves in authentic and transforming ways. She is currently a Resident Artist and Songwriter at the Worship Initiative and is a Worship Leader at Watermark Community Church. See omnystudio.com/listener for privacy information.

BARBARA FASANO TRIO July 30, 2022 Gordon Hall, Music Mountain Featuring Eric Comstock, piano/voice With Boots Maleson, Bass “In the Still of the Night” Award-winning pop/jazz vocalist Barbara Fasano returns to Music Mountain with her signature mashup of pop and jazz standards that unite the generations. A Resident Artist at New York's legendary Birdland Jazz Club, she's been praised as “exhilarating … a lyrically sensitive interpreter” by The New York Times. Her latest CD BUSY BEING FREE was called “intelligent, lush and sexy” by Huffington Post. Drawing from eclectic influences – Sinatra and Peggy Lee to singer/songwriters like Joni Mitchell to Cole Porter classics -- Barbara is a spellbinding storyteller in song, reinventing the music and placing it squarely in our time. Her performances have taken her from Carnegie Hall and Lincoln Center to London's Pizza Express, and nightclubs and music festivals across the country. Joining Barbara is her frequent collaborator, acclaimed pianist/singer Eric Comstock. Together these married musical partners make the American Songbook come alive, and audiences feel they've been to a terrific party where the songs and the stories are equally great. Rounding out the trio is eminent bassist Boots Maleson. Join Barbara's trio at Gordon Hall for a soulful, swinging summer soirée!     

Annette Peterson, resident artist for the Cossack Art Exhibition, talks to Millsy at Midday host Steve Mills live from Roeburne.See omnystudio.com/listener for privacy information.

This episode of Salmonfest Radio is all about expression, female empowerment, and artistry. Revel in Carsie Blanton's tunes from her show at Salmonfest 2021- tunes and lyrics that have no greater creative direction than her own. Carsie pulls performances together from seven different albums and gives us an interview backstage steeped in spirited activism.    Amber Webb, Bunnell Street Art Center's Resident Artist last May uplifts Yup'ik stories, contemporary issues and ancestral knowledge through her art. With her ink on wood drawings she shares idigenous joy and perseverance. As an artist, caregiver, and mother, Amber is among a movement of female indigenous leaders committed to supporting the well-being of their culture, a culture intimately tied to the well-being of salmon.     These women live the life and values they are seeking for the future. They both name hard truths and feel their weight, still inspiring courage and hope as they move forward. Don't miss this episode. To connect with us, email: SalmonfestRadio@inletkeeper.org

In this special episode, Mike "@nongaap" Puangmalai, Resident Artist at WCM Investment Management, joins Phil and Elliot to share the origin story behind his insights into corporate governance, which led to the "Dark Arts" series and an investment process built around analyzing corporate governance. Mike shares some of the secrets he learned from rigorous proxy analysis, his thoughts on the maturation cycle of recently public companies, and the one most valuable trick investors can deploy today to decipher whether a management team is truly aligned with investors. Enjoy the conversation!   The primary purpose of this podcast is to educate and inform. The views, information, or opinions expressed by hosts or guests are their own. Neither this show, nor any of its content should be construed as investment advice or as a recommendation to buy or sell any particular security. Security specific information shared on this podcast should not be relied upon as a basis for your own investment decisions -- be sure to do your own research. The podcast hosts and participants may have a position in the securities mentioned, personally, through sub accounts and/or through separate funds and may change their holdings at any time.   About the Co-Hosts: Elliot Turner is a co-founder and Managing Partner, CIO at RGA Investment Advisors, LLC. RGA Investment Advisors runs a long-term, low turnover, growth at a reasonable price investment strategy seeking out global opportunities. Elliot focuses on discovering and analyzing long-term, high quality investment opportunities and strategic portfolio management. Prior to joining RGA, Elliot managed portfolios at at AustinWeston Asset Management LLC, Chimera Securities and T3 Capital. Elliot holds the Chartered Financial Analyst (CFA) designation as well as a Juris Doctor from Brooklyn Law School.. He also holds a Bachelor of Arts degree from Emory University where he double majored in Political Science and Philosophy. Philip Ordway is Managing Principal and Portfolio Manager of Anabatic Fund, L.P. Previously, Philip was a partner at Chicago Fundamental Investment Partners (CFIP). At CFIP, which he joined in 2007, Philip was responsible for investments across the capital structure in various industries. Prior to joining CFIP, Philip was an analyst in structured corporate finance with Citigroup Global Markets, Inc. from 2002 to 2005. Philip earned his B.S. in Education & Social Policy and Economics from Northwestern University in 2002 and his M.B.A. from the Kellogg School of Management at Northwestern University in 2007, where he now serves as an Adjunct Professor in the Finance Department.

A sermon by Jamie Howison from Good Friday, April 15, 2022 . This liturgy was accompanied by music led by our Resident Artist, Mark Holmes 'a Court, and a piece of his music entitled Forgive Them: An Emphatic Cry is included at the end of the podcast. This recording was very much live-off-the-floor, picked up by a single microphone, but we thought it well worth sharing. Subscribe to the show wherever you listen to audio and recommend this episode to your friends. We invite you to rate us or write a review of what we are doing on Apple Podcasts. Reviews help others join the conversation.* * *This podcast is created at saint benedict's table, a congregation of the Anglican Church of Canada in Winnipeg, where we've been making great audio since 2006. Listen to other recent episodes on our website and see our entire catalogue of some 600 shows on our hosting page.Our MissionTo provide rich and stimulating audio resources to the wider church and engage topics and issues relevant to the concerns and questions of the larger culture in which we live.

If you're enjoying the content please subscribe, like, and comment! Peter's YouTube: https://www.youtube.com/c/PeterBarber Peter Barber is a professional opera singer, music producer, and bass vocalist, currently training as a Resident Artist at The Academy of Vocal Arts in Philadelphia. Over the last five years, he has performed over twenty operatic roles, and competed in numerous international vocal competitions. In January of 2020, Peter made his professional operatic debut with Pacific Opera Project in Los Angeles, while completing his master's degree in Vocal Arts and Performance from the University of Southern California. This summer, he will be joining the Santa Fe Opera as an Apprentice Singer, one of the top summer programs in the world for up-and-coming opera singers. Outside of the opera world, Peter is a music producer, and accomplished bass vocalist. Since the start of the pandemic, he has grown his YouTube following from under 100 subscribers to over 44,000 by making musical covers, as well as in-depth “reaction and analysis” videos, breaking down performances in terms of vocal techniques, arrangements, artistic choices, and overall presentation. Peter also started a group of four bass singers called The Bass Gang, who are in the process of making their second album, May the Bass Be With You, Vol. 2, which will be released throughout the month of May on YouTube and all streaming services. Peter's career is currently a direct split between these two radically different worlds of operatic performance and online content creation, and he hopes to continue pursuing these passions to higher and higher levels in the years to come. @worldxppodcast Instagram - https://bit.ly/3eoBwyr @worldxppodcast Twitter - https://bit.ly/2Oa7Bzm Spotify - http://spoti.fi/3sZAUTG Apple Podcasts - http://apple.co/30uGTny Google Podcasts - http://bit.ly/3v8CF2U Anchor - http://bit.ly/3qGeaH7 YouTube - http://bit.ly/3rxD #acapella #basssinger #opera #bass #bassacapella #bassgang #geoffcastellucci #avikaplan #vocalart #vocalperformance #worldxppodcast #wxpp #podcast #podcastersofinstagram #podcastlife --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/worldxppodcast/support

The Tony Award-Winning SAN FRANCISCO MIME TROUPE Debuts a NEW Activist Adaptation of the Dickens Classic as a Radio Play A RED CAROL  An Activist Adaptation of the Dickens Classic Written and Directed by Michael Gene Sullivan Begins streaming FREE on Fri. Nov. 26, 2021 - Jan. 9, 2022 (donations accepted) For the first time the SF Mime Troupe presents a Holiday Audio offering with a worker's take on the Dicken's classic in A Red Carol. With its particular blend of activism, comedy, music, and passion the SFMT's labor-oriented adaptation of Dickens "A Christmas Carol” reclaims this revolutionary classic as a story not of the redemption of one bad man, but as the never-ending story of all of us making the world a more progressive place. In A Red Carol, Ebenezer Scrooge is a corporate banker, busy foreclosing on the hapless masses. Bob Cratchit and his beleaguered family live in a chilly tent in an anonymous homeless encampment. The ghost of Christmas future sports a flowing black robe of taped-together trash bags and plastic sheeting. Tiny Tim dies. At least that's how the SF Mime Troupe's resident playwright, Michael Gene Sullivan, has reimagined A Red Carol for the troubled 21st century. A Christmas Carol” has become “the closest thing to a modern myth that we have. It wasn't much of a stretch to place Charles Dickens' Victorian classic into today's Covid-19 world. And that, as Sullivan would be the first to tell you, is exactly the point. Dickens' novella was written in the heart of the “Hungry '40s,” a time of labor unrest, unemployment and starvation across 19th-century Europe. The gap between rich and poor was wide - and getting ever wider. With the limited release of A Red Carol, the San Francisco Mime Troupe hopes it will become an annual alternative holiday tradition for the workers of the world. For more information visit www.sfmt.org or call 415-285-1717.  CRITICS SAY “The play, in its skewering of America's social ills—racism, corporate greed, the plight of the working class—is so funny, and so well acted by the Troupe, including longtime ensemble members Velina Brown, Keiko Shimosato-Carreiro and Brian Rivera , that it comes to life even without visuals and minus the appreciative laughter of a sun-soaked audience. The second half of “The Mystery of the Missing Worker” airs Aug. 29.” SF Examiner - July 6, 2020 ​“As a spoof of serials past, it's solid, quick-witted, and sets the bar high for subsequent episodes, which will satirize other radio-drama templates—namely adventure, horror, and science fiction." KQED - July 8, 2020 _____________________________________________________ MICHAEL GENE SULLIVAN Actor, Director, Teacher, and Resident Playwright Michael Gene Sullivan has performed in, written, and/or directed over thirty SFMT productions. As an actor Sullivan has also appeared in productions at the American Conservatory Theater, Californian Shakespeare Theatre, Theatreworks, San Francisco Playhouse, Denver Center Theater Company, The Aurora Theatre, The Magic Theatre, The Marin Theatre Company, Lorraine Hansberry Theater, San Francisco Shakespeare Festival, Berkeley Repertory Theater, and San Jose Repertory Theater. Michael has been a principal actor in Mime Troupe plays since 1988, performing in Freedomland, Ripple Effect, For The Greater Good, 2012: The Musical, Posibilidad, Too Big To Fail, Making a Killing, GodFellas, Doing Good, Showdown at Crawford Gulch, Mister Smith Goes to Obscuristan, Eating it, Damaged Care, Soul Suckers form Outer Space, Revenger Rat, Escape to Cyberia, Offshore, Social Work, I Ain't You uncle, Back to Normal, Rats, Seeing Double, and Ripped Van Winkle. His directing credits at SFMT include Schooled, For The Greater Good, Red State, Veronique of the Mounties, 1600 Transylvania Avenue, Killing Time, and Coast City Confidential, Michael has also directed for the San Francisco Shakespeare Festival, African American Shakespeare Company, Mystic Bison Theater, and Circus Finelli. Michael is a Resident Playwright for the Playwrights' Foundation, a 2017 Resident Artist at the Djerassi Arts Center, from 2009 - 2016 he was a blogger for The Huffington Post, and Michael has been SFMT's Resident Playwright since 2000. 

Artists can do many things with their work to combat injustice: begin or contribute to larger conversations affecting people; bring light to an issue not being addressed by society; conceptualize a solution to a problem in a new way; etc. But some issues are so vast and large that even addressing it presents its own series of issues. One could enter a conversation with generations of artists having already laid the groundwork, requiring research and participation before engagement. A good question for artists to ask themselves is: am I the right person to bring this issue up? We will have two guests discuss the work it takes to address political and/or social issues in their practice and what considerations artists should do before entering new conversations with their work. Shayna Schlosberg is the Director of Operations + Strategy at Women of Color in the Arts. Before joining WOCA, Shayna was the managing director of The Catastrophic Theatre, a highly acclaimed experimental theatre companyvin Houston, TX. From 2017-2021, she led the organization's administrative and producing operations. Prior to her work at The Catastrophic Theatre, Shayna was the Associate General Manager at the Alley Theatre, where she played an integral part in expanding the theatre's international programming, with a focus on Latin American theatre. Ms. Schlosberg has a BFA in Drama from New York University's Tisch School of the Arts and an MM in International Arts Management from Southern Methodist University and HEC Montreal. She has served on grant panels for organizations including the National Endowment for the Arts (2018) and Houston Arts Alliance (2017)(2019). She is a graduate of the National Association of Latino Arts and Culture's Advocacy Leadership Institute, Women of Color in the Arts' Leadership Through Mentorship program, and a 2020 New Leaders Council Fellow. She is a member of Arts Accountability Houston and sits on the Advisory Committee for the Houston BIPOC Arts Network Fund. Ms. Schlosberg served in the Peace Corps in Armenia from 2010-2012.Deborah D.E.E.P. Mouton is an internationally-known writer, educator, activist, performer, and the first Black Poet Laureate of Houston, Texas. Formerly ranked the #2 Best Female Performance Poet in the World (PSI), Her recent poetry collection, Newsworthy, garnered her a Pushcart nomination, was named a finalist for the 2019 Writer's League of Texas Book Award, and received honorable mention for the Summerlee Book Prize. Its German translation, under the title "Berichtenswert," was released in Summer 2021 by Elif Verlag.  The opera, Marian's Song, for which she wrote the libretto, debuted in 2020 to roaring reviews. Honored by Houston Business Journal as a part of their 2021 40 Under 40 class, D.E.E.P. has been a finalist for Texas State Poet Laureate, a Kennedy Center Citizen fellowship, and the prestigious Breadloaf Retreat. Her work has been highlighted and studied in Canada, England, New Zealand, and Germany. She performed as a part of the Kennedy Center's Arts Across America event. Named a Houston Artist Commissioning Project award winner by the Society for the Performing Arts Houston,. her second book, Black Chameleon, is set to release in 2023 by Henry Holt & Co. A storybook opera, entitled "Lula, the Mighty Griot", which reinterprets one of the stories from Black Chameleon is set to debut in Fall 2021 with the Houston Grand Opera. Currently, she is a Resident Artist at the American Lyric Theater and Rice University. She lives and creates in Houston, TX. For more information visit www.LiveLifedeep.comMusic: "Ike is Gone" by Nick GaitanSupport the show (https://fresharts.org/about-fresh-arts/friends-of-fresh-arts/)

Welcome back to Season 2 of the Lehigh Valley Arts Podcast! In this episode, we talk with visual artist, Anthony Smith! Anthony is an extremely talented multimedia artist and an experienced teaching artist. He is currently a Resident Artist at the Banana Factory Arts Center and a drawing instructor at Northampton Community College. To learn more about Anthony and his work, follow along on Instagram @asmithjrnyc. You can also see his work in person in shows around the Lehigh Valley at the Payne Gallery, Banana Factory Art Center- Crayola Gallery, and Lehigh University Art Galleries.  His website is http://www.anthonysmithjr.com/.Our opportunity of the week is Michael Lebson's upcoming solo show at ARTHAUS opening on November 3rd with a reception on November 18th. For additional information, including the address of the show and start time of the reception, go to https://figbethlehem.com/2021/09/michael-lebson-similar-but-different/. You can find Michael on Instagram at @michaellebson. The Lehigh Valley Arts Podcast is a Steel Pixel Studios original series. To find out more about @steelpixelstudios, check out their Instagram or go to www.steelpixelstudios.com.

Please tune in to hear about Aaron Myers. From his site Aaron2.meEntertainer. Artist. Veteran. Entrepreneur. Believer.These are just a few of the titles claimed by DC-based jazz artist Aaron Myers, whose life story is anything but typical. Originally from Goodlow, Texas, Myers found his passion for performing at an early age while playing music in the church, eventually choosing the piano as his instrument of choice. His soulful baritone voice, second-to-none stage presence and captivating personality make him one of the most exciting up-and-coming acts in jazz!As a young man, Aaron joined the United States Army where he served for 2 years before enrolling at Navarro College where he majored in business and theater. While at Navarro, Aaron ran for Mayor of Corsicana, the town where the school was located. Despite losing a closely contested election, Myers decided then and there that politics and advocacy would continue to play a major role in his life.After college, Aaron packed up and headed out west to Los Angeles where he got his first taste of life as a professional entertainer. While in California, he was the featured talent at the Fashion TV's 10 year Anniversary Party, made his rounds as a studio musician and served as a Music Supervisor for the film “A Song and a Prayer.” Within ministry, he was the Assistant to the Youth Pastor at West Angeles Church of God in Christ while also serving as the musician for the Youth Department - never straying too far from his gospel roots.After a life-altering accident that almost claimed his right hand, Aaron decided he needed a change. So, he joined the Obama Campaign for Change in 2008 as a Field Organizer in the battleground states of Texas and Florida, finding his love for community organizing and engagement, and slowly working his way back into playing shape. After the campaign was over, he moved to Washington D.C. where fostered his gift for advocacy and began establishing himself as a musician-to-know in the vibrant jazz scene of Chocolate City.Upon Aaron's arrival in our Nation's Capital, he immediately began activating spaces for live performances around the city, ultimately serving as Resident Artist at the Black Fox Lounge for 5 years while producing over 150 shows before becoming the current Resident Artist at the storied Mr. Henry's Restaurant in Capitol Hill. He remained committed to his role as an activist as well, becoming the National Director for the now defunct Global Family Program headed by the late Linda Grover, staying active with the DC Young Democrats and by forming the DC Jazz Lobby in 2016 which focuses on music and arts policy initiatives at the federal and local levels.Mr. Myers is a stout advocate for Mental Health and LGBTQI Rights. As part of his advocacy, he chairs the Board of Directors for the Capitol Hill Jazz Foundation as well as serves as Board Secretary of Crittenton Services of Greater Washington. He sits as a member of the board of directors for CTE Vision Foundation and Covenant Full Potential Development Center. During the ongoing COVID-19 Pandemic, he has led the DMV Music Stakeholders cohort as they share resources, offer relief, and advocate for community needs to help strengthen and preserve Washington's music ecosystem.Please visit his site and tune in for more about Aaron Myers!

In this, La Tamalada: The 2020 Wrap-up Episode, the Sin Cuenta team mixes up a different "masa" for your enjoyment. A roundtable style format seemed best to get a broad, cross-age perspective about 2020. It was such a strange, divisive and often depressing year, but 2020 also happened to bring so many people together in new and unconventional ways. We hope this special episode lifts our #sincuentalisteners' collective spirits as we move into 2021. Sin Cuenta is joined by three special guests at different points along their respective life journeys. Roxana "Roxy" Perez, a 17-year old high school senior from Long Beach, California; Aaron Silva, a 27 years old, who just graduated with a BA in Studio Arts from Cal State Long Beach and is Sin Cuenta's very own Resident Artist; and Dr. Ruben Diaz, Assistant Superintendent of Parlier School District, who also recently successfully completed his doctoral studies. They each share about the people and activities that brought them joy, strength, and hope during this extraordinary and unprecedented year. Roxy is a bright young woman, proud to be of Mexican descent and a role model to her 13 year old brother. She is an encouraging symbol of abundant enthusiasm for learning and pushing forward in what should be her most cherished last year in high school. Her future looks utterly promising! Aaron brings out the unique challenges of "Zoom University" as an up and coming artist whose craft depends on authentic, hands-on experience within a creative space and having to settle instead for the much less personal and highly aseptic virtual college environment. He has nurtured joyous distractions during this difficult time and through him we see how Art and Music help lead the way out of this global crisis. Ruben's voice rings with wisdom, emphasizing the critical importance of courageous leadership and mentoring of our youth. He reminds leaders to speak up for the often "voiceless" communities of color. His love for and the need to reconnect with family brings the hope we need to hold us over until we can gather with our loved ones again. Laura and Sal join in on this insightful conversation, generating some heartfelt expressions and playful banter, that feels like a typical cross-generational holiday kitchen table chat. Hagan de cuenta que somos cualquier familia platicando a gusto durante una tamalada multigeneracional. Relax and enjoy this special episode to wrap up 2020 in true Sin Cuenta style; with admiration and optimism for the good things to come in 2021! Happy New Year y Feliz Año Nuevo a todos!

From Crops to Counselling: Building Bridges For Brighter Futures (Part 2 of 2) In this second part of a two-part episode, Mr. Jack Wright bears his corazon and details how his counseling success began with respect for students and their families.  Jack tells of his students, many who are educators, professionals, elected and appointed public servants as well as highly recognized individuals.  Jack explains the vision that established the Franklin Educational Foundation's and what he sees for its future. As a leader and mentor, Jack built bridges with his colleagues at LAUSD and at the Western Association of College Admission Counselors, to influence opportunities and support students with promise. Regardless of race, ethnicity, class, or immigrant status, Mr. Wright helped open doors for students who otherwise would not have had the chance. He reminds us of the importance of the values like hard work, honesty, fortitude and working for what you deserve, while having compassion for the less fortunate. Years later his former students have expressed their appreciation for his guidance in the form of heartfelt thank you letters and significant financial support for the Franklin Educational Foundation.  After hearing this episode, Jack might as well be known as “Mr. Wright: High School Counselor of the Universe.” Be sure to listen to Part 1, where we meet Jack as a young Kansas farm boy and learn of his difficult journey, losing his parents at a young age, having a counselor who encouraged him onto college and deciding to teach and counsel in Los Angeles. It was then, in 1960, that this aspiring teacher and counselor was forged by the social equity issues of the day to develop his passion for counseling and to serve a diverse student population with respect. Sin Cuenta has commissioned a Loteria inspired card depicting Mr. Wright, supporting the iconic Franklin High School bridge, titled “El Bridge Builder.” Resident Artist, Aaron Silva delivers an image that evokes Mr Wright's days of building bridges in Kansas and memorializes his work to support former, current and future Franklin Panthers. We hope you enjoy this episode. Esperamos que este sea de su agrado.

Michele Broadnax “La Cultivator”  As an avid gardener, Michele Broadnax loves getting her hands in soil; it provides for much needed “self-care.” But she also cultivates funds, human resources and dedicated professional leaders in her more than 25 years experience in public relations and program development initiatives. This work has earned Michele the position of Chief Executive Officer for Los Angeles Educational Partnership (LAEP). She is now only one of a handful of black female non-profit CEOs in California. Michele comes from a long line of educators, creatives, and social activists. By the age 15, Michele, the niece of a Black Panther and cousin of a west coast engagement coordinator for the Reverend Dr. Martin Luther King, Jr. and Malcolm X, was blessed at a Thanksgiving dinner by her grandmother for having a voice that would surely speak out for social justice.  Michele shares a thoughtful and candid discussion about black female identity with our #sincuentalisteners. She explains how it informs both big and small decisions and interactions in her world. Michele's successful fundraising efforts are based not just on data and research, but also on a deeply steeped recognition that the cause must be greater than any one person or organization. Her direct approach and intentional steps to grow people and organizations fosters and improves their development and ultimately supports communities of color in need.  Michele's daughter, Aneesah, joins in to share her admiration and love for her mother and her work. Michele's passion influenced Aneesah's own trajectory in contemporary art and womanist theology studies. This mother-daughter combo will help us reflect and get through this unprecedented social and viral “muck,” through creativity and activism.  Sin Cuenta has commissioned a loteria inspired card titled, “La Cultivator” to honor Michele Broadnax for her life's work and way of being. Follow us on Instagram @sincuenta_podcast to view this image created by rising artist, Aaron Silva.  Sin Cuenta thanks Javier Solis, Technical Producer and Editor, Aaron Silva, Resident Artist, and all of our family and friends who support us on this journey. Be sure to rate us and write a review. We would love to hear from you and share some of your posts on future podcasts.  Esperamos que Sin Cuenta sea de su agrado. We hope you enjoy Sin Cuenta.

Utah Opera resident artist Brandon Bell joins Jeff Counts and Carol Anderson to discuss people of color in prominent opera roles and a topic that he'd like to see made into an opera.

In this episode, we speak with native Bay Area actor, singer, educator, a Resident Artist at San Francisco Shakespeare Festival, and a company member at Ubuntu Theater Project-- REGINA MORONES! A talented actor and great collaborator to playwrights, Regina shares with us her audition experience into the MFA Acting program and her life after. To learn more about Regina and her work visit: www.reginamorones.com --------------------------------------------------------------------------------------------------- Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it on our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

Jackson Chapel Baptist Church's worshipper About This Episode Diana Bagnoli Today we'll talk more about the eyes on Main Street Festival which takes place every year in Wilson North Carolina. Our friend photojournalist Keith Dannemiller introduced me to this festival not long ago when he shared a project that he started as the artist in […]

Ep. 26 – Abigail Rethwisch, Soprano, talks about her unexpected opportunity to perform the title role in Utah Opera's acclaimed production of Lucia di Lammermoor.

Kevin Legendre reviews Baz Luhrmann's first TV project, The Get Down, a high-octane slice of life chronicling the birth of hip hop in 1970's New York. Kirsty speaks to writer Krys Lee whose debut novel, How I Became A North Korean, is set in one of the most complex and threatening environments in the world - the border between China and the 'hermit nation'. Rodgers and Hammerstein's musical Allegro was their third collaboration for the stage following Oklahoma! and Carousel. It opened on Broadway in 1947. With a new production in London, director Thom Southerland and critic Matt Wolf discuss its revival 70 years on. Front Row meets equine painter Elizabeth Armstrong, the artist in residence at Royal Windsor Racecourse. Presenter: Kirsty Lang Producer: Jack Soper.