“Belen in Black & White” Historic Photography Exhibit – Valencia County News-Bulletin

“Belen in Black & White” Historic Photography Exhibit – Valencia County News-Bulletin

BELEN — If a picture is really worth a 1,000 words, then Ronnie Torres’ vast collection of black and white photos of Belen is a novel worth reading.

Torres will have more than 300 photos on exhibit in his show, “Belen in Black and White” from 3-8 p.m., Saturday, July 29; and from 1-4 p.m., Sunday, July 30, at Studio 508 on Becker Avenue in Belen.

Torres, a former president of the Valencia County Historical Society, has been collecting black and white photos of the Hub City for more than 25 years, back when he was mayor of Belen.

Clara Garcia | News-Bulletin photo
Ronnie Torres, former Belen mayor and city councilor and local business owner, is displaying hundreds of old photos of Belen he’s acquired over the years.

“I love old pictures and the history of Belen,” Torres said. “I like to see what once was.”

Torres, who co-owns Hair Innovations in Belen, said he’s found that the Hub City continues to change, saying he’s been able to see through the photos the different uses of buildings throughout different decades.

“People will remember one thing, and other people will remember something else,” he said. “That’s what’s really cool because (the buildings) were memories for different reasons for different people.”

Torres said after going through his collection for the show, he’s inspired to create a different sort of map — a layered version of Belen — to show the difference of Belen through the decades.

While he always enjoyed his own family photos from days gone by, it wasn’t until Torres’ customers would talk to him about their own that he started collecting.

“Clair Ellermeyer and others had a lot of neat, old pictures,” Torres said. “I just started collecting. They would bring them in to me, and I’d make a copy and give them back.”

Torres said while others were more than willing to share their pictures and history with him, others would kindly refuse.

“I just hope people would reconsider because if when they’re gone and their kids throw the pictures away, I’m afraid they’ll lose the history,” he said. “If they share it with someone, and they document it, then the history will live on.

“It’s best to let other people see it,” Torres said. “What good is history if you don’t share it?”

Torres said some people might think their old photos might not be “worthy” of sharing, but he says everyone’s history is worth a walk down memory lane.

“Just because a family didn’t have a business or something like that, their photos of their family holding a matanza, being in a parade, at school — it’s all our history, our heritage of this community,” he said.

Little by little, Torres’ collection grew when people would bring him their photos. In all, he said, he probably has about 500 black and white photos — some of which are duplicates and others that aren’t very clear.

Torres’ photo collection, he says, is very diverse, including some personal photos, such as special events like numerous weddings, First Holy Communions and more.

He said nowadays, he’ll ask someone to take a picture of an old photo with their phones, and he’ll print it out.

“It’s not the same just having photos on your phone,” he said. “These old photos are so clear, and it’s so nice to be able to just handle them and look at all the details.”

Courtesy of Ronnie Torres collection
Many of the photos Ronnie Torres has collected over the years include different people and places in Belen, including the old train depot.

As you look at this huge collection of photos, the history of the Hub City is clear as well as coincidental. The memories of what once was collides with what is here today, Torres said.

One of his favorite photos is the large black and white picture of what must be hundreds of local children packed into the Oñate Theater on Dalies Avenue. Another is a photo of an old bakery, Jenny’s, on Becker Avenue where the owner had the bakery on the first floor and they lived on the second floor.

At the show, Torres has set out sticky notes and pens for people to share their memories of a particular photo on display. The former mayor says while he knows a lot about the history of Belen, he doesn’t know everything.

“I just hope people will share their memories with me and the community,” he said. “I really want people to fill in the blanks of Belen.

“I want people to jog their memories, and to remember all the things they did back then,” Torres said. “I want them to be inspired to go home and dig out their old photos and share their history with their own kids and grandkids.”

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Clara Garcia is the editor and publisher of the Valencia County News-Bulletin.
She is a native of the city of Belen, beginning her journalism career at the News-Bulletin in 1998 as the crime and courts reporter. During her time at the paper, Clara has won numerous awards for her writing, photography and typography and design both from the National Newspaper Association and the New Mexico Press Association.

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A Guide to Art Exhibitions in New York and Massachusetts

A Guide to Art Exhibitions in New York and Massachusetts
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The weekend arts scene, offering a history of Indigenous performance and a roller coaster stashed inside a museum, has breadth and depth that is worth a trip.

New Yorkers desiring cooler summers and fresher air have been racing upstate and to the Berkshires for generations. The buildup of smaller artist communities near the Hudson River and beyond have created a rich tapestry of cultural offerings for visitors to enjoy.

From intelligent museum exhibitions to adventurous gallery shows, there is plenty to explore, according to the longtime residents and vacationers from the art world who helped build this list of recommendations.

Pippa Garner: $ELL YOUR $ELF,” through Oct. 29.

Pippa Garner, “Untitled,” 2022-2023.via Pippa Garner and STARS Gallery, Los Angeles

Pippa Garner, 81, who trained as a car designer, has been a transgressive presence on the periphery of the art world since the ’70s, creating sculptures that eroticized mass-produced objects.

Now the artist, who lives and works in Long Beach, Calif., is on the verge of a renaissance with exhibitions across the United States and the publication of a monograph this fall to examine her unique synthesis of car culture, consumerism and queer humor. The Art Omi exhibition, “$ELL YOUR $ELF,” surveys more than 50 years of the artist’s work, including a new custom car designed with an unprintable name, graphic tees with suggestive slogans and what the curators playfully refer to as “truck nuts.”

The artist A.K. Burns, who resides in the Hudson Valley, described the exhibition as a “must-see” for anyone interested in the octogenarian’s work.

“Mining slogany T-shirts, comics, art history and the joys of being a radical elder, Pippa is a critical observer with brilliant comedic timing,” Burns said, “addressing what is truly obscene — capitalist, sexual and cultural norms.”

Indian Theater: Native Performance, Art, and Self-Determination Since 1969,” through Nov. 26.

An installation view of “Indian Theater: Native Performance, Art, and Self-Determination since 1969” at Center for Curatorial Studies, Hessel Museum of Art, Bard College.via Center for Curatorial Studies, Hessel Museum of Art, Bard College; Photo by Olympia Shannon

The curator Candice Hopkins has united more than 100 works from Indigenous artists throughout the United States and Canada to explain the historical role that performance has played in Indigenous culture. She argues that performance has often served as a political tool for building solidarity and fostering empathy, protesting injustice and critiquing power. The survey at Bard’s Hessel Museum of Art brings viewers through the feminist movement of the 1970s to other contemporary practices with commissions from artists like Nicholas Galanin and Jeffrey Gibson. The artist Rebecca Belmore blankets the museum’s facade with symbols that question America’s history of colonialism and territorial claims.

“It is a groundbreaking overview of Native American contemporary practice,” said the gallerist Alexander Gray, who visited the exhibition earlier in its run. “Truly not to be missed.”

EJ Hill: Break Run Helix,” through January 2024.

Audiences are encouraged to hop inside the single-rider cart and whiz through the curvy 260-foot track.via MASS MoCA; Photo by Kaelan Burkett

This summer, the centerpiece within the Massachusetts Museum of Contemporary Art, known as Mass MoCA, is not a painting or a giant metal sculpture, but a pink roller coaster designed by the artist EJ Hill. The installation has been on view since the fall, inviting audiences to hop inside the single-rider cart and whiz through a curvy 260-foot track. Merging delight with terror, the roller coaster is a metaphor; the artist wanted participants to experience the same lows and highs that he experiences as a queer Black man in the U.S.

“I feel like I understand bodily threat in a very real way,” Hill told The Times in a recent interview. “Every day when I leave my place the threat to my bodily existence is palpable.”

The artist is known for performances that have tested his endurance and emotions, including a 2018 installation for an exhibition at the Hammer Museum in Los Angeles where he stood silent for three days on a podium overlooking turf and a fabricated racetrack — a sendup of the hypervisibility and stress that some people of color feel in elite institutions.

Beyond the exhibition, Mass MoCA has a few other shows worth exploring, including works by Carrie Schneider and Daniel Giordano.

The photographer Elle Pérez also has an exhibition called “Intimacies” at the museum, which presents an overview of the artist’s attempts to capture the vulnerability and longing between friends, lovers and strangers. Pérez has become popular within the art world, having displayed a suite of 16 photos at bus shelters across New York City for a Public Art Fund exhibition in 2019.

Women Reframe American Landscape,” through Oct. 29.

Ebony G. Patterson, “…the wailing…ushers us home…and there is a bellying on the land…,” 2021, mixed media on jacquard woven photo tapestry and custom vinyl wallpaper.via Thomas Cole National Historic Site; Photo by Peter Aaron/OTTO

Despite a successful career in the 1800s and early 1900s, the artist Susie Barstow never received the kind of historical glow-up that benefited male painters associated with the Hudson River School. But she had a formidable eye when it came to landscapes, illuminating the haze upon the Kaaterskill Creek and through the valleys.

The exhibition at the Thomas Cole site pulls double-duty, restoring Barstow’s reputation as a pre-eminent American landscape painter while putting her in conversation with contemporary artists who also incorporate nature into their work. The roster of artists shown alongside the 19th-century painter is formidable, including critically praised artists like Ebony G. Patterson, Teresita Fernández and Wendy Red Star.

Ann Hamilton: as after is before,” through Aug. 20.

Ann Hamilton’s “Side-by-Side” coats, 2018-2023.via Ann Hamilton Studio; Photo by Kathryn Clark

Weaving together words like they were art supplies, the artist Ann Hamilton has built a career somewhere between poetry, painting and sculpture. Her large-scale installations and performance collaborations are rapturous, as was her 2012 Park Avenue Armory project, “the event of a thread,” and her 2018 public artwork in the World Trade Center subway station, “CHORUS.”

The poet emerita of the art world, who lives in Ohio, returns to New York, turning the ‘T’ Space gallery into what curators describe as an “alphabetic footprint” where Hamilton uses the surrounding environment to inform the conditions of the work — made with wool coats, sheep fleece, inscribed stones, recorded sound and other materials.

Vittorio Calabrese, the director of Magazzino Italian Art, a cultural center in Philipstown, N.Y., recommended the exhibition.

“I cannot wait to go back,” Calabrese said, adding that the space includes a relaxing nature reserve, architectural archive and research library.

Other Recommendations:

  • A ceramics exhibition at the Russel Wright Design Center in Garrison, N.Y.

  • A survey of the artist Michael Snow at The School in Kinderhook, N.Y.

  • A show of the artist Edvard Munch at The Clark Art Institute in Williamstown, Mass.

  • By-appointment tours of the Ellsworth Kelly Foundation in Spencertown, N.Y.

  • Collages by the artist Laleh Khorramian at SEPTEMBER in Kinderhook, N.Y.

COMING UP: We’re showing off your photos from National Pet Photography Day

COMING UP: We’re showing off your photos from National Pet Photography Day

ROANOKE, Va. – Happy Thursday! Grab your morning coffee and check out the Morning Sprint to find out what’s trending.

The digital-only series is filled with laughter, smiles and stories you won’t want to miss. You can catch it Monday through Friday at 8 a.m.

Don’t be shy! Be sure to join the conversation as we chat about the news of the day.

[Get your tickets now for the Roaring 20s Party presented by Brandon Oaks ✨]

Here are some of the stories we will discuss:

  • Some of Nascar’s biggest names head to Pulaski County
  • How one hospital is using dance classes to help those living with Parkinson’s Disease
  • Central, Southwest Virginia set to see some of the hottest temperatures so far this season

Here’s where you can watch us:

The Sprint can be watched on our website, YouTube account and wherever you stream WSLS 10 weekdays at 8 a.m.

You can also watch it on our 10 News app. Click here to download if you’re an IOS user and here to download if you have an Android.

Be sure to leave a comment. We’d love to hear from you!

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Hill wins best of show at art gallery

Hill wins best of show at art gallery
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Lori Hill of Boone captured the best of show award Friday at the opening of the 44th annual Northwest Artists’ Exhibition at the Wilkes Art Gallery in North Wilkesboro.

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A deep collection of Native American abstract art at St. Louis Art Museum

A deep collection of Native American abstract art at St. Louis Art Museum

Many 20th century Native American artists engaged with contemporary art movements of the day while drawing on a deep tradition of abstract art made in Indigenous communities.

Artists began congregating at the Institute for American Indian Artists in Santa Fe, New Mexico, after its 1962 founding. Teachers encouraged students to experiment, including finding ways to meld longstanding Native American art practices with increasingly influential movements like abstract expressionism.

Dozens of artists working in many disciplines are represented in “Action/Abstraction Redefined: Modern Native Art, 1940s-1970s,” St. Louis Art Museum’s first exhibition of work by modern and contemporary Native American artists. It runs through Sept. 3.

The core of the exhibition originated at the IAIA’s Museum of Contemporary Native Arts and has toured various museums in recent years. Curators at St. Louis Art Museum expanded the show, nearly doubling the number of items with additional loans and selections from the museum collection.

St. Louis Public Radio’s Jeremy D. Goodwin spoke to Alex Marr, the museum’s assistant curator for Native American Art, about the exhibition — and how artists in the show responded to 20th century art movements while forging their own, unique voices.

Jeremy D. Goodwin: Early in the exhibition we see a selection of textile works by Lloyd Kiva New and his students and apprentices, from the AIAI and his commercial workshop that preceded it. Why is New so important to the growth of contemporary Native American artists in the mid-20th century and onward?

Alex Marr: What Kiva New did that was so important was develop an approach to teaching that he described as using cultural difference as the basis for creative expression. So at his atelier, which was very collaborative and included a number of native apprentices and artists specializing in things like silverwork that would be integrated into his clothing, there was an emphasis on studying past forms of native art — and not simply replicating the designs, but using the aesthetic systems as the basis for artistic innovation.

St. Louis Art Museum

Textile works by Lloyd Kiva New and his collaborators fill one gallery.

And that approach really sparked an outpouring of innovation across multiple contexts, in Scottsdale and then of course at IAIA in Santa Fe, and opened the door to what we’re now seeing thrive, which is the contemporary Native American fine arts movement.

Goodwin: How does “Action/Abstraction Redefined” show an artistic conversation going on, among artists of different cultures?

Marr: As these artists were engaging with mainstream art discourses and styles, they were bringing a history of Indigenous abstraction to the discourses and styles. We sometimes think of abstract art as being a 20th century phenomenon. Most Native artists will tell you that there’s a very long history of abstraction in Native North American art.

Goodwin: One of those artists is Neil Parsons, a Blackfoot artist from Montana who was an early teacher at AIAI. In the exhibition audio guide, there’s a clip of him talking about how his environment while growing up affected his perspective as an artist.

“I’ve always been horizontally inspired. And I think that horizontal inspiration comes from being brought up on the Plains,” Parsons said. “The Plains are horizontal. There always has been abstraction in Plains Indian art.”

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Marr: There are two paintings by Parsons in a series where he’s creating what would have been called at the time Color Field paintings. He has large blocks of undifferentiated tone abutting each other, and he sets those fields of color apart with small fields of gestural brushstrokes.

These gestural brushstrokes create a sense of depth to what is otherwise a very flat painting, and a sense of monumentality across the canvas that Parsons clearly would have seen in the architecture of Sante Fe, which is pueblo forms.

“Untitled (Pueblo Forms)” is a 1965 piece by Neil Parsons.

St. Louis Art Museum

“Untitled (Pueblo Forms)” is a 1965 piece by Neil Parsons.

That type of place-based understanding of abstraction came into dialogue with other notions of abstraction from all across Native North America at IAIA.

Goodwin: A prominent artist in the exhibition who is not affiliated with the AIAI is the Cherokee painter Kay WalkingStick, who has three pieces in the show. In the audio guide she talks about her mindset while making art in the 1970s.

“I was searching for meaning in 1975,” WalkingStick said, “searching for a way to address my thoughts and feelings about being an Indian, and about being a woman in a male-dominated art world. I was also looking for a way to paint that was uniquely mine yet still alluding to the contemporary art scene. I was trying to bring everything together.”

Marr: The piece she’s talking about in the audio clip is “Personal Icon,” which features an ink-stained canvas with a gridded encaustic — or pigmented wax — layer on top of it. So she’s beginning to explore a tension between the organic, on the one hand — through the ink-stained canvas, which is very visceral and beautiful in a natural way — and the encaustic. That was a very loaded material in New York, where WalkingStick was active in the 1970s, because of its relationship to revolutionary figures like Jasper Johns and Robert Rauschenberg.

She was taking all these sources and thinking about her own identity in a new way as well.

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Goodwin: One thing this exhibition reminds us is that there’s no such thing as one-way cultural influence. It’s always moving in multiple directions at once. For one thing, Jackson Pollock was heavily influenced by Navajo sand painting.

St. Louis Art Museum

Mike Medicine Horse Zillioux’s 1974 piece, “The Day Jackson Pollock Became a Christian”

Marr: Absolutely, and for those who don’t know, sand painting is a ceremonial practice, and it is created by dropping bits of sand onto the ground. And so there are artists in the exhibition, especially in the audio guide, who speak about Pollock and his debt to Dine sand painting.

More broadly though, western — as in European and American — abstract modernism owes quite a bit to indigenous art from around the world. And that’s something that the artists in this exhibition acknowledge.

Goodwin: I love that there’s a moment in the exhibition when an artist, Mike Medicine Horse Zillioux, responds to Pollock with a piece called “The Day Jackson Pollock Became a Christian.” At first glance, it looks like Zillioux used a drip technique, but he explains in the audio guide that he painted it carefully by hand and included small “shadow people” in the image — plus a Bible made from buckskin that he says he included “for Native Americans.”

Marr: They were using art of the past as the basis for expanding what was possible.

Photographer’s Case Gives Wedding Web Designer Ruling Quick Test

Photographer’s Case Gives Wedding Web Designer Ruling Quick Test

Sixth Circuit judges Friday will consider the reach of a new US Supreme Court ruling when they hear Louisville’s appeal of an injunction barring enforcement of its public accommodations law against a Christian photographer who doesn’t want to provide services for same-sex weddings.

In 303 Creative LLC v. Elenis, a 6-3 majority on June 30 ruled in favor of a Christian website designer, holding that the US Constitution requires allowances from public accommodations laws for businesses that engage in expressive activities.

Chelsey Nelson Photography LLC, which won its injunction in August 2022, could see that win upheld because of the justices’ ruling in 303 Creative.

A decision by the US Court of Appeals for the Sixth Circuit on Louisville’s appeal could be based on a straight application of 303 Creative’s holding that the business’s owner, Lorie Smith, can decline to provide wedding-related services for LGBTQ couples under the First Amendment, attorneys familiar with the case told Bloomberg Law.

Or it could signal that federal courts will struggle to apply 303 Creative’s holding, which some say was driven by unique circumstances, when determining whether other types of public businesses that provide services that include an element of expressive speech or conduct are protected by the First Amendment.

The 303 Creative decision “is not dispositive of this appeal,” Louisville said in a supplemental brief filed at the Sixth Circuit’s request after 303 Creative was decided. The outcome on Smith’s free speech claims turned on stipulated facts and there are numerous contested facts in Chelsey Nelson’s case, the county said.

Chelsey Nelson’s attorney, Jonathan A. Scruggs, told Bloomberg Law that her lawsuit lines up with 303 Creative and “in some ways” presents a clearer case for applying the First Amendment, despite the absence of stipulated facts. Scruggs is with the Alliance Defending Freedom, which also represented Smith in 303 Creative.

Louisville is appealing a summary judgment ruling, so there are “about 900 pages of undisputed facts” before the Sixth Circuit, Scruggs said. The county also conceded that it will enforce its public accommodation ordinance against Chelsey Nelson, he said.

Stipulation’s Significance Debated

Among the stipulated facts in 303 Creative was an agreement that wedding websites Smith said she planned to create will be customized, expressive, and convey her religious belief that marriage is strictly between one man and one woman.

That unique stipulation, which isn’t mirrored in Chelsey Nelson’s case, was key to the majority opinion in 303 Creative, employment litigator Frank B. Shuster said.

From there, the majority’s “constitutional conclusions flowed pretty-easily downhill” and led it to conclude that Smith’s websites are “pure speech” shielded by the First Amendment, Shuster said. The stipulation on expression sealed the fate for Colorado, despite its law barring anti-LGBTQ bias by businesses that offer services or products to the public, he said.

But University of Texas law professor Elizabeth W. Sepper sees the 303 Creative stipulation as a bit of a red herring. Courts can find facts for themselves, she said.

“In some ways, this dispute is so similar to 303,” Sepper said. “You have a wedding vendor” engaged in a type of activity that people might think of as artistic, but doing so through a commercial business.

Louisville’s law is also similar to the one at issue in 303 Creative, the professor said. And Chelsey Nelson, like Smith, doesn’t have much of a track record of providing the type of wedding-related services that she claims will involve expressive content, she said.

From Explicit to Implicit

The two cases, however, may be different in other ways, Sepper said. So a Sixth Circuit ruling for Chelsey Nelson would still expand 303 Creative’s holding, she said.

Chelsey Nelson wants to discriminate both at the moment of engagement and the moment of marriage, Sepper said. That would be one extension of 303 Creative’s holding, she said.

Another would be that 303 Creative focused on written expression while Chelsey Nelson’s case also involves images, Sepper said. A third would be that Colorado had a pattern of enforcing its law in contexts similar to Smith’s. There doesn’t seem to be that past enforcement history in Chelsey Nelson’s case, Sepper said.

The move in Chelsey Nelson’s lawsuit “is to expand from the explicit expression of a message to implicit expression,” Sepper said.

Significant Litigation Predicted

Shuster, litigator Iván Resendiz Gutierrez, and the ACLU—which is backing Louisville as an amicus—all see the potential for a swell of post-303 Creative litigation.

Lower courts are going to grapple with various issues when deciding whether speech or conduct by a business open to the public is expressive and protected by the First Amendment, they said. These will include whose speech it is, the business’s or the customer’s.

There “can be a real overlap” between speech and commercial services, Shuster said. It could be a while before the issue makes its way back to the Supreme Court for a definitive ruling on the contours of the distinctions between protected expression and speech, and unprotected products and services, he said.

It seems like 303 Creative opened the door to “pure speech” arguments in other contexts, Gutierrez said. The dissent in 303 Creative correctly anticipates that there will be significant litigation on these unresolved issues, he said.

Justice Sonia Sotomayor’s dissent uses the example of professional photographers, including those who shoot portraits, take school photos, prepare corporate headshots, and provide passport services.

That portion of the dissent highlights the difficulty of determining when a business engages in pure speech, Gutierrez said. People disagree widely on “what is art.” Some photographers may have a stronger basis for claiming expressive rights than others, he said.

“I don’t think the Supreme Court wants to be in the business of deciding each” public accommodation case based on the specific facts, the ACLU’s Louise Melling said. But the justices invited that approach with their ruling in 303 Creative, which is the first time the court has ever recognized a right to discriminate in the provision of public accommodations, she said.

The ruling was “completely and utterly gutting” to the LGBTQ community and creates “stigmatic harm,” Melling said. Sotomayor “does a gorgeous job of laying that out,” she said.

Nelson’s Team Confident

Scruggs said he’s “very confident that the Sixth Circuit will apply 303 Creative” and rule for Chelsey Nelson.

Chelsey Nelson is also cross-appealing on issues she lost at the district-court level, including whether she can collect compensatory damages.

303 Creative doesn’t resolve those questions, but Chelsey Nelson should still prevail on them on appeal, Chelsey Nelson said in a supplemental brief.

It’s “highly likely” that Louisville will lose its appeal, Sepper said. There also isn’t much chance that the county will seek Supreme Court review if it loses, she said.

The county’s best arguments are that Chelsey Nelson doesn’t seem to be publicly engaged in wedding photography anymore and doesn’t face a credible threat of enforcement, Sepper said.

Real Consequences, Limited Reach

“Every hole you punch in the public accommodation fabric has real consequences for people,” Melling said. A Sixth Circuit ruling against Louisville “would be a further hole in that fabric” when it comes to protections against LGBTQ bias, she said.

But the types of businesses offering services or products to the public that can realistically contend they engage in protected expression or speech are limited, Shuster and Melling said.

The 303 Creative ruling has no application to widget- or hamburger-makers, Shuster said.

Many businesses that oppose LGBTQ rights will nevertheless seek to expand the ruling’s reach, Melling said. The important thing is to fight against that expansion going forward, she said.

The 303 Creative decision “is a great thing,” Scruggs said. Governments shouldn’t be forcing a person to say things that the person doesn’t believe in, he said.

The ruling “works both ways,” Scruggs said. It protects LGBTQ photographers just like it protects Chelsey Nelson, he said.

The county attorney’s office declined Bloomberg Law’s request for comment. Kaplan Johnson Abate & Bird LLP also represents Louisville.

Additional amici in the case include the Kentucky Commission on Human Rights, Americans United for Separation of Church and State and others, Kentucky and 20 other states, and the owners of an Oregon bakery, Sweet Cakes by Melissa.

The case is Chelsey Nelson Photography LLC v. Louisville-Jefferson Cty., Ky., Metro Gov’t, 6th Cir., No. 22-05884, oral argument 7/28/23.

In wake of Jason Aldean controversy, Adeem the Artist’s new song has a message: ‘You are loved’

In wake of Jason Aldean controversy, Adeem the Artist’s new song has a message: ‘You are loved’

Since parodying Jason Aldean’s controversial “Try That In A Small Town,” Knoxville native Adeem the Artist has experienced firsthand “two sides of a coin” as the lyrics go.

“Two sides of a coin implies there ain’t no better side,” they sing on “Heritage of Arrogance,” a fan-favorite track from their 2022 album “White Trash Revelry” still garnering critical acclaim. “It says racism and justice are equally justified.”

On one hand, Adeem the Artist’s social media has been flooded with hate toward the singer-songwriter and their identity, which includes using they/them pronouns. On the other hand, fans have stood alongside the queer country artist, just as a full band will support them during a hometown show this weekend.

But before Adeem the Artist − whose real name is Adeem Bingham − takes the Barley’s Taproom & Pizzeria stage July 28, you can hear their new single “I C U” on major streaming platforms.

Adeem the Artist single ‘I C U’ now streaming

The song itself explores two sides of a coin − or, rather, two sides of country music (truth be told, there are many more).

Aldean’s song tells the story of “good ol’ boys” taking matters in their own hands in response to actions that include cussing out cops or stomping on the American flag − both expressions of free speech, Bingham noted, and certainly not acts that should be punishable by violence.

Before Aldean’s song came out, Adeem’s “I C U” was telling a different kind of story − one of identity, acceptance and reminding those who are struggling that “you’re not alone.” It’s Bingham’s first studio release since their critically acclaimed album “White Trash Revelry” came out late last year.

“Now I’m alonе with thoughts of you, and there’s not a lot I can do. But I can sing a song for you if it makes you feel bеtter,” Bingham sings. “Like a magic spell in melody, or all the kids like you and me, who don’t know what they’re supposed to be: You are loved. You are treasured.”

In a January conversation on “The Scruffy Stuff” podcast, Bingham spoke with Knox News about the importance of accepting others’ identities.

“My actualization is totally unimpeded by people’s thoughts about my gender,” they told Knox News. “But these kids who, like me, don’t have language for their own identity … are going to hear that stuff. And it’s the kind of stuff that − you can lose your relationships with your kids. And that’s it. That’s what we got. That’s our legacy.”

Since the release of “I C U,” Bingham has shared a music video for a fresh version of “Fervent For The Hunger.” The track originally appeared on their 2021 album “Cast Iron Pansexual.”

Rolling Stone: ‘Country Music Has Never Been More Gay’

Last month, before the Aldean parody, Rolling Stone featured Bingham in an article titled, “Country Music Has Never Been More Gay.” The story details some of the historical hostility spewed toward LGBTQ artists in Nashville’s scene.

“When I ruminated on coming out and then came out, especially when I changed my pronouns, I remember thinking, ‘There’s no way I’m going to get any press whatsoever now. I think I just tanked my career,’” Bingham told Rolling Stone. “And then I experienced this wealth of support, perhaps at the risk of some tokenization, that catapulted me forward.” 

Bingham’s trailblazing efforts recently earned them a spot on the Grand Ole Opry stage amidst all the acclaim. They also have been invited to open for the likes of Jason Isbell, Josh Ritter, American Aquarium and the Mountain Goats.

Want to see Adeem the Artist in Knoxville this weekend?

This fall, Adeem the Artist will embark on their headlining “White Trash Revelry” tour.

But first, they will perform a hometown show at Barley’s Taproom & Pizzeria in the Old City on July 28. The concert, sponsored by WUTK, will feature fellow queer singer-songwriter Jessye DeSilva as the opener.

The show starts at 9 p.m., and tickets are available for $15 in advance. The price increases to $20 the day of the show.

In March, Bingham performed two hometown solo sets during Big Ears Festival. The Barley’s show, however, will feature a full band: Adeem & the Means, they told Knox News.

Ryan Wilusz is a downtown growth and development reporter. Phone 865-317-5138. Email ryan.wilusz@knoxnews.com. Instagram @knoxscruff. 

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