A sculpture dedication held on Tuesday, May 30 unveiled the new “Olympians and Paralympians Among Us” sculpture. Olympic medalists Apolo Ohno and Amber English in attendance.
Photo Feature: Olympic and Paralympic sculpture dedication
New director at Bonita Springs’ Centers for the Arts is creating magic behind the scenes
On May 15th, Alyona Ushe took the reins as the Executive Director of the Centers for the Arts in Bonita Springs. Her prior experience uniquely qualifies her to help the Centers better achieve its mission of enriching lives through artistic expression, education and arts appreciation.
Going forward, the Centers will place greater emphasis on musical programming. This plays directly into Ushe’s forte. After running the New Orleans Opera Association for a number of years, Ushe founded the critically-acclaimed Arts Garage in Delray Beach. During her tenure, the Arts Garage presented more than 500 performances by both regional and international recording artists.
“The idea was that I was going to open a warehouse that we were going to transform into an art gallery, but the journey turned a little bit and I started Arts Garage, which was a mini-cultural center,” Ushe said. “It was very intimate and we did a lot of various programming from music, jazz, blues, country, to a theater company, gallery exhibitions, various intense educational programs.”
Ushe’s selection was not coincidental. A survey that CFABS conducted a year ago revealed that members wanted more musical performances. At its Bonita Beach Road campus, CFABS has two venues that are especially well-suited to musical performances, the 400-seat Hinman Auditorium and the smaller Moe Auditorium and Film Center. Ushe is particularly enamored of the Moe’s more intimate feel.
“That’s something that jazz and blues really offer themselves up to. So you can see the sweat coming down the musicians’ faces and you can feel that you’re part of the music,” said Ushe.
Besides jazz and blues, the Centers plans to offer everything from country and bluegrass to classic rock and cabaret.
“We’re going to have an eclectic series. And we’re going to be offering for the first time in a while, I believe, a subscription series to engage our audience,” she said. “But I would love to hear from our patrons. I want to know what they would like to see on stage.”
Ushe is also planning some outdoor performances, not only in Riverside Park but on the outdoor stage at the Visual Arts Center.
“We’ve been talking about doing some of the performances here and test the waters a little bit or maybe do something a little more eclectic and crazy. I’m all for crazy, so I love to experiment and take creative risks and I think this spark will give us an opportunity to start, and then we can grow into something bigger.”
Ushe also plans to build upon the success of the Centers’ every-other-Monday-night film series by screening more independent films and documentaries. This will create opportunities for local filmmakers, but it’s local visual artists who will benefit most under Ushe’s direction.
“I strongly believe that the only way we can build a cultural community is by supporting our local artists.”
Support will not only come in the form of monthly on-site exhibitions, but special shows at off-site venues and even the opportunity for local artists to create their own webpage on the Centers’ website.
For Ushe, collaborations without borders are critically important.
“I don’t believe in cultural competitions, so to me the more partnerships we have with other organizations, artists, businesses, universities, schools, you name it, it’s all about working together to achieve one goal — putting more arts and culture into our community.”
This collaborative philosophy begins at home, so she’s tasked her team with coming up with as many creative ideas as possible. But she wants to hear from the public as well.
“I’d love to hear what people feel that we’re missing, what challenges we’re facing, what the solutions are, and how we can come up with some creative things that haven’t been done before …. I don’t know yet what’s out there, and everyday something new is going to pop up, and I want to know what that new thing is and then we can connect dots together because by connecting those dots, we can create something magnificent.”
Big dreams and great ideas need financial backing. Ticket and art sales alone are just not enough. So Ushe makes this plea:
“I call to your viewers not only to support us, but to support the arts in general because together again we can make things that are beyond our imagination.”
The return on investment is huge because the arts transform lives.
“If there is a problem, arts can solve it in one way or another. When it comes to building imagination, when it comes to building relationships, when it comes to dealing with depression, when it comes to dealing with PTSD, arts can solve just about anything. Going to listen to music helps your mood. When you see a beautiful piece of artwork on the walls, it can transform your observation of the world, and it’s fun. [laughing] Arts are fun, and without arts, it’s just survival. With arts, we’re living.”
MORE INFORMATION:
- Alyona began her career by founding Classika-Synetic Theater in the Washington DC Metro area. “Right after college, my mother, who was an established actress in the former Soviet Union, decided that she wanted to start a theater company based in the Russian theatrical tradition and she looked at her only offspring and said, ‘Hey, honey, why don’t you help me out.’ So I thought I was humoring my mother, but the joke was on me [laughing] because many decades later, I’m still doing this.”
- As President and CEO of South Florida’s Creative City Collaborative, Ushe grew the organizational budget to over $4 million.
- More recently, Ushe won a highly competitive bid in Pompano Beach to revitalize, program, and operate a 3,000-seat dormant amphitheater and to open a new $20 million Cultural Center.
- “I strongly believe that all of my previous positions kind of prepared me for this one, with the two centers and the [Bonita Springs International Art] festival,” comments Ushe. “All the activities that we are doing here are so rich in programming, and are so important to the community that my previous experience hopefully will enable me to build on its success.”
- Founded in 1959, the Centers for the Arts Bonita Springs (CFABS) is committed to enriching the lives of the community by providing opportunities for artistic expression, education, and appreciation. CFABS has two campus locations dedicated to the visual or performing arts, the 10-acre four-building Visual Arts Center at 26100 Old 41 Road and the four-acre two-building Performing Arts Center, 10150 Bonita Beach Road.
- Ushe suspects that marketing the Centers’ expanded programming will be more challenging than the programming itself. “I think our biggest challenge is that we do so much, and when it comes to our marketing department, how do we make sure that we reach the right audiences for all of the things that we’re doing,” Ushe observes. “I’m really hoping that the word of mouth is going to continue to spread as it has been, but that the people who are most passionate about a particular musical genre will bring their friends, and have their friends bring their friends because we do need help from the community to let everyone else know how much is being offered this year.”
- Ushe is a pragmatist. “I think it’s important to understand what works and what doesn’t,” Alyona remarks. “Ideas are easy, but for us creative people, it’s the implementation that takes a little more time.”
- Although she’s only been on the job for two weeks, Alyona thinks the Centers’ prospects and opportunities are infinite. “But I also want to be really smart about it and develop programs that are appropriate for this particular community but also develop programs that will appeal to the world outside so we can bring more folks to us. So that’s the juggling game that we’re playing and we have enough talent, we have more than enough talent on staff here to make sure we will surprise everybody who’s been here before, and make sure that they want to come back, over and over again.”
- Echoing Woody Allen (who once said “80% of success is showing up”), Alyona points out that “most of the partnerships in my previous life have come unexpectedly, mostly by me showing up to different things.”
- Ushe has experienced first hand how the arts can drive economic development. “Arlington, Virginia, where I started my career was a sleepy, forgotten neighborhood in Washington D.C. and then the Cultural Affairs of Arlington County came in and said enough is enough, and they created an incubation program where they helped local performing arts organizations get free space. And that transformed the county completely. All of a sudden, theater and dance companies were coming to Arlington County. All of a sudden, the galleries started to pop up. All of a sudden, there was a need for festivals. And all of a sudden, Arlington County’s tagline became ‘Arlington County, where arts come out to play.’ And that was because the county realized the significance and economic development contribution the arts made to the community and you cannot recognize the county that I was in then and what it is today.
To read more stories about the arts in Southwest Florida visit Tom Hall’s website: SWFL Art in the News.
Spotlight on the Arts for WGCU is funded in part by Naomi Bloom, Jay & Toshiko Tompkins, and Julie & Phil Wade.
A Photographer’s Journey Capturing the Beautiful Violence of the Ocean
British professional photographer Mark Dobson of Wild Seascapes is well-known for his spectacular seascape and water photography. His work enchants viewers by showcasing water’s staggering power and beauty, especially violent ocean waves. PetaPixel spoke with Dobson to learn more about his brilliant work.
A Focus on Mood over Moment
While many landscape — or seascape — photographers focus on the entirety of a scene and try to capture brilliant, sweeping vistas, Dobson’s focus is recognizing the “mood” of a scene and starting from there.
“My main approach is to capture the mood rather than the overall scene. This is achieved by studying the waves and watching where the drama takes place. When arriving at a location, the camera will stay in the bag for thirty minutes or so. I’ll watch the light and how it interacts with the waves,” Dobson tells PetaPixel.
When surveying the ocean, it seems like there can easily be too much to consider. There’s a lot there. Dobson looks for areas where waves are colliding, as “this can create incredible shapes,” he explains.
“One other thing I’ll be looking out for is seabirds. They can add so much to an image. Patience is needed here waiting for the birds and the wave to work together in unison. Composition is still required to achieve an impacting photo,” Dobson adds.
Scouting and Focal Length
Having grown up along the British coast, Dobson is intimately familiar with coastal regions’ ever-changing tidal conditions and rapidly shifting weather. It’s not a matter of him throwing his gear in a bag and heading to the seaside; he plans around tidal conditions and keeps a close eye on the swells.
“Depending on the direction of the swell, tide times, and light. I’ll decide on a location the day before. Different beaches or coves can work best on different tides. I have areas that work for waves on low, mid, or high tide. This opens up a great choice for sunrise or sunset shooting. I’ll always spend a while studying the waves when arriving at the location. Before settling on a position to shoot from,” he explains.
He also adds that researching ocean charts is extremely helpful.
“Researching charts is a massive help; predicting when the conditions will be optimum for shooting waves. Looking at the larger picture, I’ll check the swell charts in the North Atlantic during winter. Storms often start to materialize around Greenland and Northern Canada before making their way across the Atlantic, and intensifying before they reach our shores in the UK and Northern Europe. During the summer and early Autumn, I’ll keep a close eye on hurricane season, tracking any potential swell that may head our way,” Dobson says.
As for focal length, Dobson’s go-to choice for shooting waves is around 400mm — much longer a lens selection than most other genres of landscape photography.
Shooting Speeds
For a long time, Dobson says he used his camera’s continuous high shooting mode, to ensure that he captured the perfect moment. However, with experience, he has shifted away from that and mostly uses continuous low.
“Memory cards can fill up quickly when shooting in high burst modes,” Dobson remarks.
As for shutter speed, it depends on the mood he’s trying to capture. In cases when Dobson wants to capture every droplet of water, he starts at 1/1000 second shutter speeds.
“Depending on lighting conditions, the ISO sometimes has to be increased to achieve this speed. In constantly changing light, you’ll need to keep a close eye on your exposure and adjust as necessary,” Dobson explains.
Sometimes there’s just not enough light to capture high-speed action.
“I’ll make the conditions work in my favor. I’ll shoot long-exposure shots of the waves. I’ve found this to be a creative advantage. You’ll always return home with images regardless of what the weather throws at you.”
Composition and Color are Critical to Mood and Impact
Dobson previously explained that he constantly scours the seas for areas where waves collide and light breaks through the water. These areas of light are vital to his compositions.
“I’ll concentrate on getting the right balance of darks and lights within the frame, honing the viewer into the most important part of the image. Our eyes are attracted to light, and this is where I’ll compose the most important part of the image,” Dobson says.
When translating the ocean’s mood into a photograph, color is essential. Dobson is especially adept at capturing the critical colors of the ocean.
Dobson explains his color workflow: “I used to shoot in auto white balance until about four years ago. I changed to primarily shooting using K (Kelvin mode). This has proved to be much more effective. While white balance modes can be changed in post-processing. I’ve found the Kelvin setting to give reliable results. If I decide to make any color changes within Adobe Photoshop, the selective color adjustment will be my go-to process.”
Dobson’s Return to the Coast Sparked a New Career
“I grew up on the South Coast opposite the Isle of Wight. We lived close to the sea, and I’d spend weekends with friends riding our bikes on the seafront. I later moved to London and spent a great deal of time living the city life. It wasn’t until 2017 that my wife and I moved to Cornwall and began a new chapter. That’s when my professional career as a photographer began. I was originally a postman for fifteen years,” Dobson says.
Serenity Has Its Appeal, Too
While Dobson is perhaps best known for his images of violent, crashing, turbulent waters, he also has images of traditional landscape scenes and even more abstract photos of still waters.
“While shooting clam waters may not carry the thrill and excitement of a storm. It does offer the opportunity to slow things down. I like this approach. Watching the ever-changing patterns on the ocean’s surface looking for pockets of light,” says Dobson.
While he often uses a telephoto lens when photographing wild seas, his approach is quite different when shooting calm waters.
“The technique is to get as level with the ocean surface as possible without getting the camera wet. Patterns are particularly important here for an impacting image. Both slow and fast shutters will work here, try both and see which results stand out the most,” Dobson explains.
More from Mark Dobson
A lot goes into capturing beautiful seascape photography, including location scouting, understanding the weather, and of course, all the artistic and technical aspects of making photos. Mark Dobson offers numerous workshops through his website, including storm chasing in Cornwall, England, and workshops in beautiful European locations including France, Iceland, and Portugal.
More of Mark Dobson’s brilliant seascape photography is available on his website and Instagram.
Image credits: All images © Mark Dobson / Wild Seascapes
Scotland-Ukraine Art Residencies Announced
Published: 01 Jun 2023
Veronika Skliarova, image courtesy of the British Council.
A new residency programme for Ukrainian arts professionals has been announced, delivered in partnership between British Council Scotland, Creative Scotland and the Ukrainian Institute.
Taking place over the next seven months, the pilot project will see six leaders and decision makers from the Ukrainian arts sector visit and stay at arts organisations across Scotland. A bespoke programme will be created for each participant, offering them time away from turmoil and a chance to reflect and think to the future for their own artistic practices, their organisations, and the wider art sector in Ukraine.
The residencies will be based in creative organisations across the country, leading in arts, literature, sculpture, and music. The organisations hosting participants for the project are: Cove Park, Moniack Mhor, Hospitalfield, North Lands Creative, and Edinburgh Sculpture Workshop.
Each residency has been designed to provide valuable time and thinking-space allowing participants to develop their work, take advantage of facilities, workshops, events, and to link-up with Scottish-based creatives to build lasting connections across the creative sector in the UK.
Coming from a range of artistic disciplines, participants are leaders in the arts sector in Ukraine having worked in fields including festival creation, visual arts, design, literature, and music.
The project has been born of out of a Creative Scotland and British Council partnership and as a key legacy project for the UK/Ukraine Season of Culture’s Future Reimaged programme.
The UK/Ukraine Season of Culture was launched by the British Council and the Ukrainian Institute in 2022 to mark 30 years of UK/Ukraine diplomatic relations. Through a year-long programme of activity, the season has served as a platform for cultural exchange, artistic expression, and cooperation, bringing together a community of artists from Ukraine and the UK.
Veronika Skliarova, a cultural manager, theatre producer and art curator, will be the first participant to travel to Scotland for a residency in July, she speaks to us about her experience over the last year and what she hopes for her time at Cove Park, an international artists residency centre on Scotland’s west coast.
She said: “Art and the creative process has played an incredibly important role in Ukraine, especially after 24 Feb 2022, for therapy, trauma response, and helping give artists and communities a voice. Over the last year I have worked on projects including helping evacuate Ukrainian art and developing Anthology24, a set of theatre texts that will help provide a space for witness and expression.
“I hope to find quiet and safe space at Cove Park. My focus for the moment is to study the issue of the “migration” of contemporary Ukrainian art life, which now seems like a divided archipelago, spread around the world. In Scotland, I hope to meet new people, new artists, and to find out more about the inner motivation of people in becoming creators”.
Introducing the residency programme, Anastasiia Manuliak Head of Visual Arts, Ukrainian Institute says: “A key goal of the UK/Ukraine season of culture has been to enhance cultural exchange between UK and Ukraine and It is wonderful to see that the season has sparked this idea for future collaboration in Scotland. I’m delighted we could offer this opportunity and space for leaders in the Ukrainian arts sector and I’ve no doubt the Scotland residencies project will be a great legacy for the Future Reimaged project.”
Speaking about how the residency project was developed, Norah Campbell, Head of Arts at British Council Scotland adds: “Over the last 18 months, we’ve heard about the experiences of our counterparts and colleagues in Ukraine and we’ve responded in the best way we know how, by utilising our networks and building connections to support Ukrainian creatives. These residencies will offer a much-needed space for calm and reflection and will be an extremely important and fruitful time for all those taking part.”
Alexia Holt, Director of Cove Park will welcome the first residency participant in July: “We look forward to welcoming the Ukrainian producer, curator, and cultural manager Veronica Skliarova to Cove Park in July as part of the UK-Ukraine season Future Reimagined. This residency perfectly expresses our core determination to support and work with those most in need of the space we offer, to build and sustain cross cultural connections, and to imagine a peaceful, fairer and more socially just world.”
Find out more about the residencies.
Background
The British Council is the UK’s international organisation for cultural relations and educational opportunities. We support peace and prosperity by building connections, understanding and trust between people in the UK and countries worldwide. We do this through our work in arts and culture, education and the English language. We work with people in over 200 countries and territories and are on the ground in more than 100 countries. In 2021-22 we reached 650 million people.
Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland distributing funding provided by the Scottish Government and The National Lottery. Further information at creativescotland.com. Follow us on Twitter, Facebook and Instagram. Learn more about the value of art and creativity in Scotland and join in at www.ourcreativevoice.scot
The UK/Ukraine Season of Culture (www.ukuaseason.org) is a collaboration between The British Council and the Ukrainian Institute, the UK/Ukraine Season is being presented in the UK, online and across some satellite locations until June 2023, featuring artist residencies, talks, film, music, literature, drama and dance. The Season, which has been planned since 2019 to mark 30 years of diplomatic relations between the UK and Ukraine, aims to strengthen and build cultural connections between both countries, while providing new platforms and opportunities for Ukrainian artists to connect with the UK. With the ongoing war in Ukraine, the Season’s theme is ‘Future Reimagined’, focusing on the changed needs and priorities of the Ukrainian sector, giving a voice to Ukrainian creatives, both in the UK and online.
The Ukrainian Institute (www.ui.org.ua) is a public institution affiliated with the Ministry of Foreign Affairs of Ukraine. Its mission is to strengthen Ukraine’s international standing through the means of cultural diplomacy. The Institute facilitates international connections between people and institutions and creates opportunities for Ukraine to interact and cooperate with the world.
Media contacts
Rosalind Gould, British Council: +44 (7770 934953 E: rosalind.gould@britishcouncil.org
‘We are still here’: Indigenous History Month meets Pride in our new June logo
Every month, we feature a new take on the CBC Arts logo created by a Canadian artist. Check out our previous logos!
“I believe through art we can keep our culture alive,” says Chelysa “Chief” Owens-Cyr, the artist who created the gem you see before you — a design to mark National Indigenous History Month as well as Pride.
For Owens-Cyr, who has ties to Indigenous communities on both sides of the U.S.-Canada border (Fort Peck Indian Reservation and Pasqua First Nation Reservation), art is a way to treasure and uplift her culture’s “visual teachings, stories and so much more.” And it’s also her profession. A self-taught artist, she currently works full-time as a freelancer, and she’s been commissioned to create paintings, custom beadwork, professional logos and book illustrations.
“Art is where my heart and voice is,” she tells CBC Arts. She’d describe much of her work as ledger art, a traditional style she’s been practicing since childhood, and her logo design is an example of the form. Drawn digitally, it incorporates the rainbow flag for Pride.
Owens-Cyr told us more about her practice when we reached out to her via email. Read on.
Name: Chelysa “Chief” Owens-Cyr
Age: 24
Homebase: Wolf Point, Mont. (Fort Peck Indian Reservation) and Fort Qu’Appelle, Sask. (Pasqua First Nation Reservation)
Let’s talk about your design! What are we looking at?
We are looking at a ledger art-style logo. The buffalo represents the interconnectedness that the Native people had with nature — a symbol of strength and unity. The floral in the middle is a Dakota floral in geometric form. This style was used to reference the plants, flowers and traditional medicines that were used by our ancestors. Key elements in Dakota floral designs include stacked leaves and symmetrical shapes. The crosses represent the sacred four directions: north, west, east and west.
The tipis resemble the homes that my ancestors lived in, and the tipi geometrics on the top and bottom resemble Dakota/Lakota beadwork designs that are still used by many today. Overall, the design pays homage to my Dakota and Lakota roots. We are still here. Mitakuye Oyasin, all my relations.
What inspired the concept?
The concept is inspired by this beautiful way of life. It’s inspired by nature, traditional teachings, my community, family. Indigenous people deserve more representation in this modern world.
Am I right to think that a lot of your work is ledger art? What are some of the hallmarks of the style?
Ledger art is a style that is unique to the Plains Indians. It originates from the late 19th and early 20th century.
Pictorials that were painted on cave walls and animal hides were a form of history. Once traders and explorers came to the Great Plains they gave the natives a new medium to use, ledger books. Therefore, the style ledger art has been passed down for generations as an original art style and a form of history that is significant to my tribes (Minneconjou Lakota, Dakota, Nakoda).
Some of the hallmarks of the style would be the 2D style of the art (horses, animals and people that almost look “stick-like” or cartoonish) as well as the use of vintage ledger paper to create the drawing.
What drew you to work in that style?
What drew me to work in this style was growing up surrounded by my culture: hearing stories and just immersing myself in this way of life. I have a lot of artists in my family, and some are ledger artists too. I remember being a little girl and going to a local museum and in the museum was a Dakota style winter count buffalo hide with a battle scene. Looking at that style of art — how it was drawn, and the story that went along with it — I just knew I’d be able to carry that style on one day.
As I got older, I also found the artist Paul Goble. His books and illustrations in the ledger art style are still the most inspiring thing to me today.
What’s new in your world? What are you working on these days?
I am currently working on children’s book illustrations for Lakota Language Consortium and a few other language groups. I’m also working on a mural for a local business as well as a few collaborations with some companies and a few beadwork commissions. I wholeheartedly enjoy what I do.
What’s the project you’re most proud of?
The project I am the most proud of is my collaboration with Pendleton back in 2021. My blanket is called “Unity” and if you search online I bet there’s still a few available for purchase. The story that goes along with the design is my favourite. I hope to do more collaborations like that in the future.
What’s your favourite place to see art?
My favourite place to see art is any museum on a reservation, to see the different styles of artwork and beadwork, etc. My other favourite place would have to be the National Museum of the American Indian in Washington D.C. It’s a must-visit every time I’m in the city.
Who’s the last artist you discovered online?
The latest artist I discovered online is Aly McKnight. She is a watercolour artist representing the Shoshone-Bannock Tribes. Her art is truly beautiful.
What work of art do you wish you owned?
That’s a hard question — there’s so many pieces and artists to choose from. But I’d have to say a winter count buffalo robe, specifically one from the 1800s.
Where can we see more from you?
You can see more of my art on my socials: Facebook and Instagram (@chief_leese, @chiefn_designs).
This conversation has been edited and condensed.
Prince William Soil and Water Conservation District taps Oregon company to make sculpture
The Prince William Soil and Water Conservation District received its water quality sculpture from reUPit.com, a company in Oregon.
50 Years of Photography with Mark Kelley
People come to Alaska for a variety of reasons. Award-winning photographer Mark Kelley came with the hopes of meeting a whale, and almost 50 years later, he’s still here. On this episode of Outdoor Explorer host Martha Rosenstein and Kelley talk about the challenges of photographing wildlife in Alaska, turning his passion into a career and what it’s like to return to a special spot year after year to observe and photograph bears.
HOST: Martha Rosenstein
GUEST: Mark Kelly
LINKS:
Mark Kelly Photography
Facebook
Instagram
BROADCAST: Thursday, June 1st, 2023. 10:00 am – 11:00 a.m. AKT
REPEAT BROADCAST: Thursday, June 1st, 2023. 8:00 – 9:00 p.m. AKT
Frank Ocean Is Dropping A New Photography Book
The world is frothing for a new Frank Ocean album. Judging by the mess that was Ocean’s long-awaited Coachella headlining set, it doesn’t seem like it’s happening anytime soon — and in fact, it appears that Ocean has been exploring his other creative talents, which he’s sharing in a new photography book. It might not be an album, but in his benevolence, Ocean is releasing Mutations, a collection of his photographs, which is now available from Homer.
It’s been two years since Ocean launched his luxury brand Homer — which proved to be a refreshing departure from sexless celebrity brands by selling things like a jeweled cock ring. We’ve only gotten a sneak peek at Mutations, but it appears to be more tonally and less obviously sexual.
Like most things when it comes to Ocean, the details are obfuscated by hype, which is part of the fun of it all. What we do know is Mutations is a 48-page booklet on tissue-weight paper, featuring a retrospective of Ocean’s artwork from October 19 through December 22, 2022. It’s not clear exactly what the book entails, but judging from the web preview it appears we can expect grainy product shots of Homer’s germ-like pendants in slime-green and cerulean; photos of the singer in his bowl cut wig, as well chilling images of Ocean wearing a lime-green plastic mask that looks like what he carried at the 2021 Met Gala.
A new Homer campaign and collection is also coming, per a press release, but as expected, details were scarce. However, there do appear to be new silver pendants featuring figures poised with forks and knives, ready to chow down, as well as new campaign photos displaying a pendant with the words “BEEF.” (No Netflix collab detected.)
Mutations is available to purchase in store at Homer, 74 Bowery, NYC or online at www.homer.com for $75.
Here’s What’s Going on in Indian Country, June 01—10
- Details
- By Native News Online Staff
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June 01, 2023
This week and next in Indian Country, there is an abundance of festivals, art markets and powwows.
The Indigenous Futurisms Festival invites you to explore the past, present and future through Indigenous perspectives. As well, the Monacan Indian Nation is hosting its 30th annual powwow in Monroe, Virginia. Finally, Northern Arapaho filmmaker Ernest M Whiteman III presets a three-part magic act designed to import the ideology of Native American self-representation in media.
Here is Native News Online’s weekly round-up of arts, culture and entertainment offerings around Indian Country.
Never miss Indian Country’s biggest stories and breaking news. Sign up to get our reporting sent straight to your inbox every weekday morning.
Indigenous Futurisms Festival Northwest
Saturday, June 9 – Sunday, June 10, 2023
Tacoma, WA
Indigenous Futurism is a movement of art, literature, comics, games, and other forms of media that express Indigenous perspectives of Indigeneity’s past, present, and future.
This festival seeks to explore, expand, and celebrate the regionality of Indigenous Futurisms. Specifically, how each tribe, nation, and community can foster and promote dynamic understandings and representations.
Over the weekend, there will be many performances, artists, activists, elders, and youth, all seeking to engage in conversations and explorations of Indigenous Futurisms. This event is free and open to the public. Day one starts at 10 am.
Indigenous Dance Exposition: A Cultural Experience
Friday, June 2, 6 pm – 8 pm
Scottsdale, AZ
This is a free cultural event that features various Indigenous dancers. Different dancers will perform about every 30 minutes and explain the meaning, origin, and backstories of their dance category.
Viewers will get a unique opportunity to watch contest-winning dancers demonstrate their life’s work through their footwork, intricate beading, and regalia. There will also be over 200 Native small businesses present for attendees to shop around.
The event is hosted at the Native Art Market, the first and only Indigenous-owned gallery in Old Town Scottsdale.
New West Craft Indigenous Market
Saturday, June 10, 2 pm
New Westminster, BC
Partnering with Shop First Nations, New West Craft is hosting an Indigenous Market to celebrate Indigenous makers, artists, and small-business owners. Featuring over 35 vendors, attendees will get the opportunity to shop for local artists. There will also be a Indigenous Food and the Expressions of Reclamation Series featuring Indigenous performances like storytelling, dance, music, and art.
New West Craft is a handmade market hosted by the Arts Council of New Westminster. They are also partnering with Buffalo Heart Medicine Healing Society, a local educational consultant group.
Indigenous People Festival
Saturday, June 10, 10 am – 4 pm
Seattle, WA
Hosted by the Seattle Indian Health Board and the Seattle Center, this is a free event that happens annually to celebrate Indigenous arts, culture, and cuisine.
Featured will be Native vendors, various cultural performances and expressions, and dance, all in celebration of Native pride.
Monacan Indian Nation Powwow
Saturday, June 3 – Sunday, June 4
Monroe, VA
The 30th Annual Powwow hosted by the Monacan Indian Nation is happening this weekend. Gates open at 10 am on Saturday. There is a general admission fee for adults and seniors. Attendees can dance, listen to the drumming, eat Native foods, and buy Native crafts.
A Brief History of the Reintroduction of the Native Americans into Illinois – LIVE at Stupey Cabin
Saturday, June 3
Highland Park, IL
In this presentation, Chief White Winnebago will introduce participants to the culture and history of the HoChunk nation. He will examine the history of his tribal territory and settlements, how his family was relocated into Starved Rock, tribal names and culture, his regalia, and artifacts.
Gerald Savage—HoChunk Ska Ga in his native language—is a member of the HoChunk nation. He grew up with his grandparents, who raised him in the tribal ways. His grandfather was Chief Walks With the Wind, and HoChunk Ska Ga is Chief White Winnebago.
No One Ever Sees Indians: Native Americans in Media
Tuesday, June 06
Chicago, IL
Ernest Whiteman III’s presentation is structured as a three-part magic act designed to import the ideology of Native American self-representation and first-voice in media. He looks at how media representations have influenced our interactions with Indigenous peoples and informed audiences’ perceptions of Native peoples and issues. The acts are separated by personal anecdotes that reflect the lived experience versus the authorship of expertise of Native representation.
Ernest M Whiteman III is a Northern Arapaho filmmaker, artist, writer, and media educator.
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A Grove of Petal-Like Sculptures by Snøhetta Shade the New Grounds of Blanton Art Museum
All images © Snøhetta and Blanton Museum of Art, shared with permission. Photo by Sloan Breeden Photography
The home of Ellsworth Kelly’s iconic modernist chapel titled “Austin,” the Blanton Museum of Art has expanded its outdoor art environment with a sculptural installation by Snøhetta. The architecture and design firm (previously) began the project in 2018 with the ambitious task of reinterpreting an area of 200,000 square feet, containing two large buildings that are part of The University of Texas at Austin’s campus. Its downtown location provided an incredible opportunity to revitalize the space for public gatherings, civic events, and art installations, linking the university campus and city center and creating an architectural dialogue between interior and exterior.
A copse of Snøhetta’s “Petals” rise from the Blanton’s Moody Patio, which forms a gateway connecting Congress Avenue to the pedestrian spine of the university campus. The sculptures create an elegant arch, providing shade and dappling the pavement and surrounding buildings with specks of light that filter through perforated patterns. On not-so-sunny days, rain that falls into the petals is funneled into an underground collection system. The firm sought a design that “unifies the museum campus with the city’s prominent avenue through a choreography of planting, geometry, and art.”
The museum hosts an outdoor party in the courtyard patio every second Saturday of the month. Find more on Snøhetta’s website.
Photo by Tim Ogunlowo
Photo by Sloan Breeden Photography
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Grove of Petal-Like Sculptures by Snøhetta Shade the New Grounds of Blanton Art Museum appeared first on Colossal.
