Ann Arbor’s Makeshift Gallery is run by Dearborn native

Ann Arbor’s Makeshift Gallery is run by Dearborn native

There is art and there is commerce and often that relationship can make for strange bedfellows. But in reality, the two can ultimately work in harmony and thrive, with the right conditions and pairing of like-minded visionaries.

Enter long-time Ann Arbor-rite and born and bred Dearborn resident Cheryl Dawdy and her business partner and significant other Jim Moran.

Reconstructed landscapes are just some of the pieces on display at the gallery. (Eric Harabadian – For MediaNews Group)

Dawdy is a visual artist and singer-songwriter that, for the last 20 years or so, has specialized in what she calls “Reconstructed Landscapes”—taking paper, postcards, paints and blending various textures and recycled materials into something visually interesting and new. She is also a vocalist in the nationally-recognized and Ann Arbor-based musical trio The Chenille Sisters. Moran managed and was the founder and driving force behind Detroit’s Attic Theater, Pontiac’s Strand Theater, Ann Arbor’s Performance Network and active in many other Michigan-based theatrical ventures.

Both Dawdy and Moran bring their considerable artistic and administrative acumen to the art world and are all about bringing artists together on several different fronts. “When I started the Attic Theater in 1976 we always used the lobby for an artists’ gallery space,” explains Moran on the origin of their artistic pursuits. “And every time the Attic moved somewhere galleries sprouted up around it. So, I’ve always had connections with galleries. I particularly had an interest in pop-up galleries. I got the idea about 10-15 years ago when I saw what was going on in Grand Rapids, with their use of abandoned city spaces. So, we always had the idea to bring pop-up galleries to Ann Arbor.”

During the latter part of 2021 into 2022 the couple did just that, opening a gallery, first in what was the former Peaceable Kingdom gifts and curios shop and, eventually, moving to their current location at 407 E. Liberty in downtown Ann Arbor as Makeshift Gallery.

“The property owners Hillside Investments had a soft spot for us regarding rent,” says Moran. “We’ve never had a long-range plan. We have a monthly lease that they were very nice to give us because they like us here. The owners have been very gracious to us. We’ve had good months and bad months, but the building owners know we’re serving a definite purpose. They’ve told us the reason they’ve kept us here is because they’ve gotten a lot of compliments, and it makes them look good as supporters of the community and the arts.”

Cheryl Dawdy poses in the gallery. (Eric Harabadian - For MediaNews Group)
Cheryl Dawdy poses in the gallery. (Eric Harabadian – For MediaNews Group)

Patterned after the classic Parisian salons frequented by authors like Fitzgerald and Hemingway, artists like Picasso and Matisse and musicians like Django Reinhardt, Moran and Dawdy wanted to create a place where artists could gather, sell and display their wares, perform, give demonstrations of their artistic process and share ideas. With nearly 30 artists currently active in the gallery, they’ve attracted some of the cream of Michigan and national renown like Dick Siegel, Jack Kenny, Carlye Crisler and John Lloyd, to name a few.

“For a while on Thursdays from 4-6pm we’d have various artists doing demonstrations and talking about what they do,” says Dawdy. “Unfortunately, not much of the general public came in, but the other artists would come in and ask interesting questions about each other’s work. It showed a real appreciation for other art forms that may be different from theirs.”

The Makeshift Gallery has also sponsored Sunday music performances from 12-2pm where they serve coffee, tea, croissants and muffins and admission is free. Some of the musicians who have played here have been visual artists as well like Dawdy’s trio The Chenille Sisters, singer-songwriter Dick Siegel, author and playwright Jay Stielstra and Michael Smith.

The annual Ann Arbor Art Fair will be in full swing this Thursday July 20th through Saturday July 22nd. With their location strategically placed downtown on Liberty Street, Makeshift Gallery plans on being open each day for the duration of the Fair from 10 a.m. to 9 p.m.

The Makeshift Gallery in Ann Arbor is run by Dearborn native Cheryl Dawdy and her husband. (Eric Harabadian - For MediaNews Group)
The Makeshift Gallery in Ann Arbor is run by Dearborn native Cheryl Dawdy and her husband. (Eric Harabadian – For MediaNews Group)

The gallery features everything from large oil paintings and colored pencil drawings to cigar box guitars, photographs and original jewelry. One of the artists who features her unique jewelry at the gallery is Carolyn Tjon-Burnstein. Like a number of the artists with work on display, she is also a musician. She was active as a singer and vocal coach until the pandemic inspired her to pivot toward another creative avenue. “I had been dabbling in art and making jewelry since the early 2000s,” says Tjon-Burnstein. “I love looking for beach glass, stones, going to garage sales and finding stuff to use in my jewelry. When Covid hit I stopped teaching and performing and started making stuff. I’ve been doing jewelry just for fun, but now I’m thinking of selling things too.”

Dawdy, who has exhibited her artwork in national shows and recently had a piece from her “Reconstructed Landscapes” collection accepted by the National Association of Women Artists, handles the daily management of the gallery and deals one on one with artists that are featured there.

“Almost every artist represented here didn’t have an outlet to sell or display their work,” says Dawdy. “A few did, but they were doing an occasional art show or doing art in their basement or garage. In addition to everything else, we try to give budding artists that are looking for guidance a place to show their work. And that’s thrilling!”

The Makeshift Gallery in Ann Arbor is run by Dearborn native Cheryl Dawdy and her husband. (Eric Harabadian - For MediaNews Group)
The Makeshift Gallery in Ann Arbor is run by Dearborn native Cheryl Dawdy and her husband. (Eric Harabadian – For MediaNews Group)

For more information on Makeshift Gallery visit them on Facebook or just stop in Wednesday-Sunday Noon – 7 p.m.

Legendary War Photographer Marie-Laure de Decker Dies Aged 75

Legendary War Photographer Marie-Laure de Decker Dies Aged 75
A photo taken by Marie-Laure de Decker in Vietnam and a photo of De Decker.
One of De Decker’s photos from Vietnam left. Portrait of De Decker, right.

French war photographer Marie-Laure de Decker has passed away aged 75, her family has confirmed.

A female photographer in a male world, De Decker was nevertheless able to navigate a successful career as a photojournalist; capturing the Vietnam War, the apartheid in South Africa, and riots against General Pinochet in Chile.

Who Was Marie-Laure de Decker?

De Decker was born in the then-French colony Algeria in 1947. Her striking looks got her work as a model before meeting the photographer Domonique Merlin and becoming engrossed with the footage he captured for The Anderson Platoon.

After being inspired to learn how to develop film, she began capturing the portraits of noted French figures before deciding to cover the Vietnam War with very little experience. Working with Newsweek in Saigon, she made a name for herself.

Armed with an aging Leica camera, she wrote in a 1985 memoir that she was plagued with self-doubt.

“I said to myself: people are going to see that I’m not a real photographer,” she said.

However, De Decker acknowledged how good the old Leica was, and after Vietnam, she spent time in Chad, a Saharan African country — extensively covering the Wodaabe people.

She also covered the conflict in Yemen and South Africa — meeting and taking photos of Nelson Mandela. She also traveled to India and Chile.

France 24 notes that De Decker talked about the challenges of being a woman photographer.

“If you’re a woman, you’re never taken seriously,” she says. But also spoke of some silver linings: “There is an advantage to being a woman, as was the case in South Africa — they don’t kill you right away, they give you a chance.”

Later in her career, De Decker joined the Gamma photo agency which ended in a legal dispute over the rights to her photos.

The agency refused to cede copyright to the digital version of her photos. De Decker took them to court but lost.

De Decker went on to take photos of high-profile figures, something she did to fund her trips to conflict zones.

“When you take photos of the poor, no one’s interested. You have to take photos of the rich to sell (them),” she said.

De Decker died in Toulouse on July 15. She had two sons with lawyer Thierry Levy.


Image credits: Marie-Laure de Decker.

Why Are Tilt-Shift Lenses So Useful to Photographers?

Why Are Tilt-Shift Lenses So Useful to Photographers?

Tilt-shift lenses are some of the oddest options out there, and they can be a bit tricky to use, but they hold a very valuable place in the toolkits of many photographers. What makes them so useful? This helpful video tutorial introduces you to tilt-shift lenses and their applications. 

Coming to you from Keith Cooper, this great video discusses tilt-shift lenses and why they’re so valued by many photographers. The lack of autofocus, intimidating dials and knobs, and high cost can make many photographers shy away from tilt-shift lenses, but they are fantastically useful for solving some common problems. Tilt-shift lenses allow you to do things like control the depth of field independently of the aperture by angling the focal plane or to correct nonparallel lines. You probably know them best for architectural photography, and while they are indeed quite treasured in that genre, their usefulness goes far beyond that. Most professional tilt-shift options are also tack-sharp, making them a favorite alternative of landscape, product, and studio photographers. You will even catch the occasional portrait photographer using one with a telephoto focal length, both for its sharpness and creative effects. Lastly, because many have extra-large image circles, they can often be adapted to medium format cameras with full sensor coverage (albeit with more limited movements). Check out the video above for the full rundown from Cooper. 

Last Ditch Design Releases Its First Collection by Todd Hewitt

Last Ditch Design Releases Its First Collection by Todd Hewitt

“Each design is built for those not just interested in how things look, but how they work, wear, and feel every day that you live with it,” said Todd Hewitt, founder and designer, Last Ditch Design, of the brand’s debut collection. After years spent working behind the scenes in design, engineering, production, and operations for luxury brands such as Henrybuilt and Lawson-Fenning, Hewitt is proud to launch this collection. He’s designed, engineered, and fabricated each piece himself, thanks to a boatload of knowledge earned over more than 27 years in the furniture design and production industries.

Bringing together the trifecta of mid-century, Scandinavian, and contemporary design, the collection features tailor-made products that go above trends to stand the test of time through exquisite craftsmanship carried out at Last Ditch Design’s Los Angeles workshop. Functionality, clean lines, sculpted forms are seamlessly blended using traditional hand-craftsmanship.

The collection features beds, seating, storage options, tables, desks, and mirrors that incorporate mixed materials and textures, all with the flexibility to suit individual project needs. These warm designs have a simplistic, natural beauty that’s ideal for use in luxury commercial, hospitality, and residential design.

detail of light wood and dark green upholstered armchair

Hewitt is also conscious of the brand’s relationship with lumber and the forests that provide it, using only FSC certified wood that’s sourced responsibly and sustainably. Each product is made with the lowest minimum tolerances for waste, with an ongoing search for new ways to reduce further still and dispose of unavoidable waste responsibly.

Last Ditch Design has partnered with One Tree Planted to reduce the carbon footprint and plant more trees. When you place an order, 25 trees will be planted in your name and in the location of your choice.

dark wood and dark brown upholstered armchair and ottoman with light wood side table

angular light wood side table

two nesting light wood and grey marble coffee tables and light wood and dark green upholstered armchair

two nesting light wood and grey marble coffee tables

walnut console table and standing floor mirror

dark wood floor lamp with white drum shade

long light wood console table with low square black coffee table

long slatted wood bench

dark wood nightstand with drawer

walnut desk and office chair

detail of walnut desk and office chair

square white coffee table with long wood console and television

geometric light wood side table

long light wood bench with built-in chess board

two nesting wood and grey marble coffee tables

dark wood console table with grey marble top

light-skinned man posing with his arms cross while wearing a black button-down shirt

Todd Hewitt

To learn more about Last Ditch Design’s new collection, visit lastditchdesign.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

4 Performing-Arts Groups Innovate to Survive — and Thrive — in the Post-Covid Era

4 Performing-Arts Groups Innovate to Survive — and Thrive — in the Post-Covid Era

For one performing-arts group, the pandemic rebound depends on making a night at the movies a can’t-miss experience. For two others, the answer lies in partnerships to share space or book acts together. A fourth organization, meanwhile, is going for broke on digital productions.

Performing-arts organizations are facing arguably the toughest road to recovery after the pandemic. They suffered dearly — doors shuttered, revenue models broke, and a base of donors and patrons already declining and aging eroded even further. The Oregon Shakespeare Theater, one of the oldest and largest nonprofit regional companies, doesn’t have the money to finish its season. Long-standing theaters in Atlanta; Greensboro, N.C.; and San Diego are closing.

The industry’s being challenged as never before, say insiders. “As emergency government funds have ceased and ticket buyers are nowhere near pre-pandemic levels, many theaters are struggling to survive,” says Vicki Reiss, executive director of the Shubert Foundation, which awarded a record $37.6 million in general-operating support to 609 nonprofit performing-arts organizations in 2022.

What’s the answer? Here are new strategies that groups are trying.

Charcuterie Boards and Connection

The 47-year-old Myrna Loy Center is one of the most vibrant small performance venues in the West, luring even international acts to its fortress-like building, formerly a county jail, in Helena, Mont., population 33,000. It also runs a strong arts-education program. Its motto, in keeping with the repurposing of the jail: “Art transforms everything.”

The group, however, was born as a film society. (It’s named after the 1930s and ‘40s film star and Montana native who made her stage debut at 13 in Helena.) The organization hopes its two-screen cinema can help it escape the gravitational pull of the Covid crisis. During the pandemic, the center offered deeply discounted theater rentals and private showings for Covid “pods” — families or small groups who limited their interactions with others. It’s continuing to promote those events and enhance the movie-going experience.

The Myrna Loy now offers charcuterie plates and other snacks in addition to the “the best popcorn” in town. It’s also promoting happy hours at its pub as an after-work watering hole and a pre-show rendezvous point. Next up: a capital campaign to replace the 40-year-old seats with cushier ones.

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The center’s main rival is an 11-screen Cinemark megaplex — daunting competition in the battle to coax cinema lovers from the home comfort of Netflix and other streamers. The Myrna Loy, however, believes it can provide more fun and energy than a corporate behemoth. “We’re the David in the Goliath story,” says executive director Krys Holmes.

The organization is also looking to expand work outside its walls. With a National Endowment for the Arts “creative placemaking” grant and other funding, the group commissioned and installed 24 pieces of public art and two iconic murals to invigorate the bleak streetscape of its home in East Helena; created a 30-minute documentary about the area; and held street parties celebrating the neighborhood. One of the coolest projects, according to Holmes: Dumpster Art Day, when five artists turned dumpsters into artworks.

This outreach has deepened the Myrna Loy’s connection to its neighborhood and the city, she adds. Its donor base is up, defying a national slide in the number of donors giving to nonprofits.

Beating High Rents

A room in the bowels of a commercial building in New York’s Meatpacking District offers hope for the city’s battered independent theater community. At the end of a long, winding basement hallway, a bright yellow door opens to a 1,500-square-foot rehearsal studio equipped with sprung floors for dancers, sound equipment, and even a cozy kitchen. Cost to rent in the pricey neighborhood: $10 an hour or less.

The West Village Rehearsal Co-Op opened in January as a sanctuary from New York’s runaway real-estate costs, and it’s on its way to serving 1,500 or more artists by the year’s end. When the neighborhood’s community board decided to set aside space for the arts in a new development, four independent theater organizations considered vying for the opportunity, then opted for a joint venture.

Coming out of the pandemic, “the only way forward for all of us is to work in collaboration and partnership,” says Randi Berry, founder of IndieSpace, one of the four groups and a backbone nonprofit for independent theater in New York.

Each of the other three organizations — Rattlestick Playwrights Theater, HERE Arts Center, and New Ohio Theatre — use the studio for two months out of the year. IndieSpace books the space at other times. Collectively, they pay for upkeep, management, and the ridiculously low $1 annual cost of the 99-year lease.

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The always-tough New York real-estate market grew even worse for small theaters during the pandemic, says Berry, who previously worked in commercial real estate handling billions in deals. With their doors closed for more than a year, some groups lost their leases. Others had to find new venues when Covid-related restrictions required HVAC upgrades that landlords wouldn’t take on.

“A lot of our venues are in basements,” Berry says. “There is no outside air intake.”

The co-op rehearsal space, she adds, could be introduced across New York. “We really see this as a template. It’s the first step in something we need to see in every neighborhood.”

My Competition Is My Ally

As the worst of the pandemic lifted and Boston’s Theater District reopened, the Boch Center emerged in a strong position. It had applied $10 million in federal relief to clear its debt, and philanthropy had stepped up to pay for extensive renovations of its famed venues — the Wang and Shubert theaters. Audiences packed its first performances, which featured hard-to-get acts booked in part because of the center’s work to open a Folk Americana Roots Hall of Fame in 2019.

Photo of a darkened theater hall and lighted stage with performers at the Boch Center in Boston.

Corwin Wickersham

Boston’s Boch Center used Covid-relief funds to do major renovations of its theaters.

Boch CEO Joe Spaulding, a 50-year veteran of the music and performing-arts industries, knows this run of good fortune might expire without warning. To bolster Boch’s position, it has joined the Theater Alliance, a new collaboration of 39 theaters and performing-arts venues in 18 markets. Members include nonprofit peers such as the Tulsa Performing Arts Center and the Pittsburgh Cultural Trust but also for-profit giants like Radio City Music Hall and the Grand Old Opry. Some might consider this an unholy alliance, but Spaulding sees new revenue and savings potential through collaborative efforts for sales, marketing, sponsorships, and more.

“We’re going to book together. We’re going to buy together. We’re going to sell together. And we’re going to brand together,” he says.

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The Oak View Group, an investment and advisory company for the sports and live-entertainment industries, launched the Theater Alliance in January. Oak View runs a similar collaboration in which stadiums and arenas jointly book acts and buy everything from advertising to snacks. The new venture will also spearhead collective fundraising through memorabilia auctions and an annual gala.

The pandemic crisis spurred an earlier first-of-its-kind partnership. Independent performing-arts groups, festivals, and promoters — both for-profit and nonprofit — created the National Independent Venue Association to lobby and win from Congress $16 billion in relief aid. The group’s membership tops 1,000, numbers that Spaulding says provide the industry new strength.

“I’ve always said I believe in partnerships and collaboration,” he says. Earlier in his career, arts leaders often said they would rather drown than partner with others or merge. “And by the way, they’ve mostly gone under. I’ve been living the other way.”

Selling Art by the Pixel

In the first days of the pandemic, even as it hurried to close operations, plug a budget shortfall, and safeguard the health and finances of its staff and artists, the Dallas Black Dance Theater saw an opportunity. Some 20 years earlier, the organization had explored offering dance education and performances digitally, only to conclude that the future would have to wait for, among other things, the arrival of a faster and stronger internet than broadband provided.

When lockdowns pushed much of life in America online, the group dusted off those ambitions. By summer, it was selling tickets to a robust virtual season. Dancers took to iconic and unusual outside spaces for filming — the plaza in front of city hall, a lakeside dock, a high-rise rooftop.

By year’s end, the programming had netted $100,000 — enough to persuade the group to continue virtual work. “We didn’t even think about going back,” says executive director Zenetta Drew.

Today, Dallas Black Dance Theater offers conservatory-level dance classes online, a schedule of virtual performances, and an on-demand streaming platform. Perhaps best of all for its bottom line: It has contracts with four school districts, including the 150,000-student Dallas school system, to deliver virtual performances.

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Digital work now makes up a quarter of the group’s $3.8 million budget and is helping engage new audiences, including digital-first young people and older patrons who may shy away from close spaces in the post-pandemic era. Sixty percent of its virtual audiences come from outside Texas, including patrons from 34 countries and 38 states.

Arts leaders often say that streaming and virtual performances can’t be monetized and depress in-person audience numbers. But attendance is strong at Dallas Black Dance Theater, with visitors to Dallas showing up in bigger numbers than previously. When rural Texans have seen a virtual performance, they often come to a live performance when they visit the city. “That’s how come this weekend we were sold out, and 40 percent of the people who showed up had never ever seen us,” Drew says gleefully.

Grants to improve art programs in 72 rural Idaho schools

Grants to improve art programs in 72 rural Idaho schools

BOISE — The Idaho Commission on the Arts released its second annual round of grant winners in June for Gov. Brad Little’s Expanding Arts Access in Rural Public Schools program.

These rural arts grants will fund up to $15,000 for 72 rural schools to improve student arts programs (with only two schools to receive less than $9,000).

Teachers say that this funding is essential for the lifeblood of arts departments to take root in sparsely populated areas. They also celebrate the award’s specificity.

“It was a surprise to everybody,” Nezperce music teacher Joe Campbell told Ed News. “Here’s this pot of money, and it can only be used for arts, and it can only be used in rural schools, which is really kind of nice.”

Educators in schools with fewer than 20 enrolled students per square mile or school districts within counties of less than 25,000 residents can apply for up to $15,000 in state money (as defined by Idaho Code). Though the program comes from the governor’s office, Idaho’s State Department of Education supports rural arts grants as a gateway to student success.

“Rural communities should have an equal chance at enjoying both the potential educational, economic and community-building benefits that the arts can offer,” said the SDE’s Maggie Reynolds.

Award money pays for materials for educators to boost creative options and extend opportunities for students in sparsely populated areas. Injecting money into arts, according to award recipients, not only helps an artistic curriculum, but cultivates important soft, interdisciplinary practices like critical thinking in addition to hard, relevant professional skills.

“That’s a big plus of this program: it fits with what people are going to do in their lives,” Campbell said. “When you start looking at all these jobs that are out there for people who can produce music — doing sound and voiceover and all this stuff that you learn — all of a sudden, there’s a lot of career paths.”

Rocking out transferable skills in Nezperce

This is the second year that Campbell has received the rural arts grant for Nezperce’s required “modern band” course of study. Modern band is a focus on producing modern music as opposed to traditional band standards. Campbell indicated that this musical modernity was necessary to resuscitate a once celebrated musical tradition in the 180-student Nezperce Joint District.

Photo courtesy of Nezperce School District
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Nezperce music students perform in a coffee shop.

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Nezperce music students perform in a coffee shop.

“To have a successful band, just to cover all the parts, you really need 50 to 60 kids in a traditional band. We don’t have that many kids in our high school to begin with,” Campbell said.

Nezperce has a tradition stemming back to the 1950s when “hall of fame” music educators would flock to be a part of the reservation town’s music program, according to Campbell. When that momentum slowed, though, the road back was rocky.

“The kids weren’t buying into the program. We lost that tradition. If you lose the tradition, it’s really hard to get it back,” Campbell said.

While music was still a compulsory course for K-8 students, Campbell was “burning out” trying to propel the program forward. Instead of quitting, however, Campbell got creative.

Serendipity and research led him to the “Little Kids Rock” (now “Music Will”), a nonprofit organization that offered a student-driven curricular framework. Students play, perform, improvise and compose self-selected songs from modern rock, pop, Latin, rap, R & B, and other emerging styles.

Even though the program was only offered in large, metropolitan areas like Chicago, Dallas, Miami, and Los Angeles in the early 2010s, Campbell talked officials into piloting the program in tiny Nezperce.

The program has since flourished inside and outside of the classroom. Instead of trumpets and oboes, Nezperce students play the guitar, keyboard, and drums while a singer belts out tunes by Billy Eilish while shaking the tambourines.

Among the program’s previous grants was money to build a recording studio, which has allowed kids to break into the recording side of music. One graduated senior even recorded their own album while another incoming senior plans to do the same.

From Nezperce’s standing as the first Music Will modern band program in the Northwest, Caldwell has helped spread the program throughout Idaho and across the region. In American Falls, Bishop Kelly, Moscow, and West Ada, the Idaho Music Education Association has helped to match teachers to mentors like Campbell to give students the opportunity to rock.

A $14,536 rural arts grant will build upon this foundation and extend Nezperce’s arts reach.

The 2022 and 2023 awards help to upgrade the district’s 1960s-era performance stage. From sound system to lighting, this six-decade old setup needed revision. Not only will this new setup improve the technical quality of music productions, but it will aim to resurrect Nezperce’s moribund drama program.

While drama is not yet an option, a district math teacher has teamed up with Campbell to spearhead this effort to stretch the school’s stage offerings.

Diverse artistry in Garden Valley

In Garden Valley, a similar arts program has sprouted aspirations to grow further creative branches, fed now by its first $15,000 rural arts grant.

Like many small school teachers, Michelle Ogle’s efforts stretch to the corners of the 286-student district. The art teacher, cross country coach, extracurricular mentor, and soon-to-be vice principal ripples arts projects throughout the K-12 school. For Ogle, art is like that great teammate, the glue guy, that can be thrown into any lineup to hold things together.

“It’s the great bridge builder. It’s so interdisciplinary by nature that I could make connections with any single one of my peer teachers and support what they’re doing,” Ogle said.

Ogle, for example, worked closely with Garden Valley kindergarten and first grade teachers to incorporate early language building and early literacy over the last two years. She used online books for students to launch art projects that made connections with characters and context, plot and purpose.

Photo courtesy of Garden Valley Schools.
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Garden Valley elementary students work on watercolor paintings.

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Garden Valley elementary students work on watercolor paintings.

Ogle’s core arts classes already radiate across the creative spectrum with offshoots in extracurricular activities and in summer camps — landscape and plein air painting, fiber arts, and bookmaking, to name a few.

Garden Valley’s $15,000 rural arts award will go towards expanding students’ inventive expression. This includes damp boxes and other materials to broaden ceramics projects, a new printmaking station, leather and bead work, calligraphy instruments, and ceramics materials that help her students experiment in a variety of artistic pursuits that highlight traditional forms with roots in the region.

“My hope is that we can just keep building on the program and offering more because a lot of these kids’ worlds are fairly insulated because they live in such a small place,” Ogle said. “My goal is to broaden their world, to make it better by showing them what’s out there.”

Exposing kids to this variety, however, has a purpose beyond simple experimentation.

“When they get to high school, they’re managing their own gallery,” Ogle said. “They photograph their own artwork, they write artist statements, and those artist statements are where they’re making connections with how their own ideas are being used.”

Utilizing the online Artsonia gallery, this portfolio begins in elementary school, offering students a potential ten years of developing skills and speaking with an expressive tongue.

“Art is a universal language. It has a magical quality to it,” Garden Valley art teacher Michelle Ogle said. “So many of the skills that I teach, anybody can learn them. And it’s so fluid like you can adapt it so easily for anybody.”

For Ogle, this adaptation translates to an at once larger and smaller role in Garden Valley’s arts program.

Next year, another teacher will take over her elementary school arts classes, so she has time to teach while serving as vice principal. This is, in part, to move aside for another educator to found a graphic design CTE program, another arts-based subject that will aspire to boost student success after high school.

A thriving arts industry that reaches rural places

Even though its ends are creation, arts’ means develop interdisciplinary skills — abstract visualization, problem solving, collaboration, marketing, management, and more — can apply to a multitude of subjects and subsequent careers (per the University of Michigan). After COVID-related decreases, economic activity in arts and cultural activity amounted to $1.02 trillion in the United States, good for 4.5% of the country’s GDP in 2021 (according to the U.S. Bureau of Economic Analysis).

The source of this industry remains the schools that provides arts to students.

“Creating an arts industry in any area relies on art education, and this grant makes this important first step possible for our rural Idaho communities,” SDE said.

ESPN launches new Fantasy Football creative campaign

ESPN launches new Fantasy Football creative campaign

ESPN returns its Fantasy Football campaign ahead of the 2023 NFL season with new creative dedicated to the mantra, Only in Fantasy. Only on ESPN. The campaign – which runs July 17 to September 10 on ESPN platforms – features three new spots: Delivery, Commish, and Steve.

“ESPN Fantasy Football creates connections and builds communities. In this campaign, we remind fans to continue playing ESPN Fantasy Football because it is the ultimate equalizer between people, and can help get you out of awkward situations,” said Seth Ader, Vice President, Brand Marketing, ESPN. “We’re excited to launch the campaign and get our millions of players ready for the upcoming season.”

Delivery: Saying “you, too” to delivery drivers or movie theater ushers when being told to “enjoy the meal” or “enjoy the show” can create some pretty awkward moments. Quick, think! How do you recover from this awkward exchange? In this spot, the woman receiving her food order recovers from saying “you, too” to the delivery man with a simple gesture, “don’t forget to set your lineup tonight.” Awkward moment…gone!

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Commish: First impressions can be challenging, especially in front of a significant other’s father. Need a connection or way to break the ice? Look no further than Fantasy Football. In this spot, a 14-team league commissioner is the way into making that good first impression!

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Steve: Ever have a chatty ride-sharing driver? Struggling to relate, even when the driver and passenger are both named Steve, lineup decisions are the way to go. Steve (the passenger), consults Steve (the driver) in liking “Jefferson this week.” Finally both on the same page, it sounds like Jefferson will be the play for a PPR league.

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To sign-up for ESPN Fantasy Football, join here.

Credits
Client: ESPN
Tina Thornton – EVP, Creative Studio and Marketing
Seth Ader – VP, Brand Marketing
Alex Healy-Lucciola – Sr. Director, Brand Marketing
John Lobo – Associate Director, Brand Marketing
Jon Little – Associate Producer II
Lenny Washington – Coordinator, Brand Marketing 

Agency:
Sinan Dagli – Executive Creative Director
Robyn Tenenbaum – Creative Director
Lauren Byers  – Senior Art Director
Justin Cannon – Senior Copywriter
Cade Wallace – Senior Producer
Jake Bayham – Head of Strategy
Kyle Rodriguez – Account Director
Gustavo Feria – Account Supervisor

Production:
ArtClass – Production Company
Vincent Peone – Director
Aiden Samford-Ulrich – Director of Photography
Geno Imbriale -Managing Partner
Rebeca Niles – Managing Director / EP
Eric McCasline – Executive Producer
Sparkle Jones – Head of Production
Kat Garelli – Production Manager, ArtClass
Terry Gallagher – Line Producer
Abby Jones – Production Manager
MackCut – Editorial / Finish
Brendan Hogan – Lead Editor
Ellen Schoenfeld – Assistant Editor
Nick Quiles – Animator
Jim Hayhow – Flame Artist
Steve Picano – Color Artist
Gina Pagano – Executive Producer
Alex Pinkett – Producer
Th3rd Sound – Sound Design / Mix
Chip Sloan – Sound Designer / Mixer

In an Ecuadorian Cloud Forest, Two Mycologists Catalogue Hundreds of Fantastical Fungi

In an Ecuadorian Cloud Forest, Two Mycologists Catalogue Hundreds of Fantastical Fungi

Marasmius

Scientists believe that less than .04 percent (check out that decimal point!) of the world’s fungi has been documented, which adds up to only a little over 120,000 species out of a conservatively estimated 3.2 million worldwide. Mycologists Danny Newman and Roo Vandegrift have spent the last 12 years focusing on locations impacted by the climate crisis and increasing human interference, like Ecuador’s Reserva Los Cedros. Their stunning photographs (previously) capture the vibrant hues, delicate gills, and thin stems of a vast range of fungi in the mountainous cloud forest.

In 2018, the Ecuadorian government declared the Los Cedros reserve—one of the last unlogged watersheds on the western slope of the Andes—open for mining, putting countless flora and fauna at risk. “In a stunning legal upset, the mining concessions which threatened to turn Los Cedros into a toxic, barren wasteland were rescinded by the Ecuadorian supreme court, who specifically cited…our fungal diversity research in their ruling,” Newman says.

Spanning six expeditions, the duo recently published an in-depth survey of their findings, cataloguing a wealth of previously unknown species and providing what Newman calls “one of the most comprehensive contributions to Ecuadorian mycology in the country’s history.” Vandegrift is also the producer of a visually stunning upcoming documentary titled Marrow of the Mountainfilmed during an expedition in 2018 and 2019. 

Explore more images and descriptions on Mushroom Observer and both Newman and Vandegrift’s Instagrams.

 

A macro image of yellow slime mold.

Aurapex penicilliata

A macro image of a porous, white fungi.

Favolaschia

Two macro photos of the gills of a bright red-orange fungi.

Mycenaceae

A macro image of a black fungi with tiny yellow nodules.

Fibulostilbum phylaciicola

A macro image of a yellow mushroom.

Agaricales

A macro image of pink, slime-like fungi.

Ceriporia

A macro image of orange fungi with delicate yellow spikes.

Trichopeziza

A macro image of a tiny yellow fungi.

Physalacriaceae

A macro image of the underside of a tiny yellow fungi.

Physalacriaceae

A macro image of a tiny white fungi.

Longisetae

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 In an Ecuadorian Cloud Forest, Two Mycologists Catalogue Hundreds of Fantastical Fungi appeared first on Colossal.

Johanna Stickland on Intimacy, Photography and Inspiration

Johanna Stickland on Intimacy, Photography and Inspiration

What makes for a compelling image? For artist Johanna Stickland, the answer to that question varies. Some of her photographic work draws on portraiture to capture an elusive quality in the subjects, while other images turn the human body into something intriguing yet unfamiliar — what she refers to as “tender, intimate photos.” She’s also pushed at the form of what photography can do, adding paint to images to heighten certain qualities and pursue an elevated sense of emotion. 

Stickland’s interest in photography began at a young age, when she was on the opposite side of the camera. Her work has appeared in places like Juxapoz and Numero Magazine, as well as in the well-received 2018 group show The Female Lens: 9 Contemporary Female Photographers at London’s Huxley-Parlour Gallery. 

Her forthcoming show of photographs, PRISM, opens on July 20 at Brooklyn’s Thames Art Center. The show — and an accompanying book — serve as an overview of her work to date, zeroing in on the themes and motifs that Stickland finds most compelling. InsideHook chatted with Stickland about her art, her preferred materials and the making of PRISM

*This interview has been edited for length and context.

InsideHook: What initially drew you to photography as a medium? And as a photographer, what are your preferred themes?

Johanna Stickland: I started taking photos about 13 years ago. When I was 14, I was a fashion model; I was used to being the subject. I didn’t really enjoy modeling, but I enjoyed working with photographers and the special relationship between the subject and the photographer. I quit modeling and I just decided to turn the camera on myself and take self-portraits, take photos of my friends, my mom. It started very naturally; I always felt drawn to photography. 

The things that I focus on are women, intimate snapshots of life, body parts — tender, intimate photos.

In terms of the relationship between the photographer and the subject, how did being on one side of that inform your practice now, when you’re taking a photograph of somebody else and not yourself?

Because I had experience as a subject, I’m really sensitive to how other people feel — making sure they’re comfortable, making sure it’s enjoyable, and that the comfort is there, the trust is there. I think it’s really about trust, and it’s a sacred thing. When you’re photographing someone, you’re taking their soul in a way. So I don’t like photographing people that don’t like to be photographed; that’s why I could never do street photography. There’s an intimacy that I think is very sacred.

Johanna Stickland photograph

From Johanna Stickland’s PRISM.

Johanna Stickland

Johanna Stickland art

From Johanna Stickland’s PRISM.

Johanna Stickland

Is there a specific challenge as far as creating that level of intimacy or that level of privacy, when you’re working with someone who you haven’t worked with in that context before?

Yeah, that can be challenging. Usually people know my photos and they enjoy the style, the softness, the tenderness. My mom, for example, is an actress, so she loves having her photo taken.

In terms of that softness — do you have a specific way that you achieve a certain look or a certain feel? Is it more of just an emotional thing or is it more technical, working with certain lighting, certain equipment, certain spaces, that kind of thing?

I’ve never really had a set camera that I use or lights or anything. This whole time I’ve been taking photos has been, really, trial and error. And sometimes not having the right equipment or having an old camera or having a crack in the camera or picking up a piece of cloth and putting it over the lens or experimenting with expired film because it was cheaper. All those things just lead to a hazy or dreamlike quality.

I will say for myself, I found some high ASA black and white film that had expired years ago. And I had that moment of thinking, what is this going to look like if I go and take some photos and get it developed and see what it looks like?

And how did it work out? It’s cool, right?

It worked out pretty well, yeah. I was expecting that I might get something that looked absolutely bizarre, but when I got it back, it just looked like film.

Yeah, exactly. I just used some old black and white medium format, 10-years-expired film and it turned out pretty great. It’s a little bit hazy, but…

Do you tend to focus more on the analog side of things or do you keep a balance between analog and digital?

I love film, I love the mystery and not seeing the results right away, but I have experimented with digital and I think it’s great just to have everything immediately. It’s just a different process of working. So I like both. I’m not strictly a film snob, but I do enjoy it more — it’s just so expensive.

Color image from Johanna Stickland

From Johanna Stickland’s PRISM.

Johanna Stickland

Tell me about the new exhibit, PRISM. Is there one overarching theme, or is it more of a survey of your work?

It’s more of a survey of my work. As for the theme, I tried to tell a bit of a story — the outside and inside, landscapes, people, my mom, my friends, some self portraits and really just experimenting with light [and] developing processes.

That’s the common thread in my work. It’s just an experiment, it’s a journey. I’ve also been printing photos and then painting on top of them.

How long did it take you to go through the work that you’ve done to date and figure out what would and would not fit into this particular exhibit?

I’ve always been working on this. To some extent, for the last year or so, I’ve been putting together images for a book. So I had a general idea, but I’d say in the last month, it’s been crunch time to figure out how everything flows together. And the editing process is tricky. 

It’s the hardest thing, to go through tons of images. Some of them just don’t fit with this particular narrative. So I would say in the last month, I’ve really had to focus and just do it.

Was there anything that you were drawing inspiration from as far as using a space and using the work within the space to tell a narrative?

Well, I’m really inspired by home — family albums and things that seem like a snapshot but do tell a story. So it’s like a mix of landscapes, and then body parts and some portraits. I’m inspired by different photo books that do that. I like work that is like a kind of time capsule. So, one story is just editing and going through and seeing what fits.

Earlier, you talked about landscapes. Are there any in particular that you’ve been particularly drawn to or that you’ve gone back to again and again?

A few years ago I was exploring abandoned buildings. I went to upstate New York and found this old theater. That was really cool. Yeah, I just snuck in and….

I like abandoned places, but it’s hard to shoot them in a way that doesn’t look cheesy or whatever. But I like roadside imagery — like headlights of cars. That always seems to be like a theme, because it’s just very cinematic — it reminds me of Lost Highway, by David Lynch. I think it all has to do with light and just a mood.

Are there any other abandoned buildings that you’ve been drawn to as far as a subject over the years?

I lived in Portugal for the last 10 years, and there was a really cool structure that was by my house, where all of these owls lived. It was totally crumbling and abandoned. I don’t have any of those images in this show, but it was a structure that I always wanted to do a project with, but now it just exists in my memory.

Art by Johanna Stickland

From Johanna Stickland’s PRISM.

Johanna Stickland

Were all the works in this show taken in the U.S., or is there work from your time in Portugal in there as well?

There’s a lot of work from my time in Portugal, and from going to Canada to visit. Portugal was an interesting experience because I was quite isolated. I basically lived in a small town an hour away from Lisbon. So I had a lot of time to work on photos of the experiment — a lot of the self portraits, especially because there was no one else around to see.

Has the way that you’ve photographed yourself evolved over the time that you’ve been doing that?

Yeah, for sure. I would say that it’s gotten more mysterious. I don’t really like to show that it’s me. I don’t like to have my face in the photos. And I don’t know, maybe that’s evolved. Maybe it’s just more abstract or has more of a painterly quality that I’m looking for. I’m less focused on the figure and the form and more interested in just if I’m there — I’ll use myself to make an interesting shape or whatever, as opposed to showing my identity.

PRISM cover

The cover of PRISM.

Johanna Stickland

When did you start experimenting with taking a photograph and then adding paint to it? Was that something that you’ve been doing since the outset?

About seven years ago, I got a bit bored of taking photos and I’ve always loved painting, I’ve always loved art. I decided to try painting just in general. I started with oil painting, it was really hard. It takes forever to dry, it’s super toxic, but I loved it. I started experimenting with watercolor and India ink and gouache, and then working in a really quick way.

I had a big painting obsession for a while and I still paint, but I thought it would be cool to combine the two mediums. So then I started making prints and then painting on top of them, just adding another element.

Is it challenging to find the right combination of materials so that the prints themselves look good but also work well as a surface for the paint?

For sure. You need to find really thick good quality matte paper,  like photo paper. You have to have a very thin paint such as watercolor or gouache. You can control how opaque it is. You can add more water to the gouache and it becomes thinner and easier to work with. It’s trial and error.

When you’re working on printing a photograph, how does the sense of scale factor into that? Are you generally taking something that might be life-size and shrinking it, of keeping it life-size or making it much larger? 

I’ve never really worked in large sizes, mostly because I didn’t have enough room in my studio. And that’s still the case. It’s still quite difficult to work with large prints, even though I would love to. And so I look forward to someday having a huge studio to make huge work, because I think it does change everything. 

The fact that I’ve just used smaller prints, I think it works for when I’m adding when I paint on the photo, but I look forward to experimenting in the future when I have more resources and more space. It’s just hard to find space.

What do you hope people will take from going to see PRISM and experiencing it?

That’s a good question. I hope that they take whatever they want from it. I think art is up for interpretation, everyone has their own reaction to it and I think that’s beautiful. So if someone feels something at all, then that’s great. If they feel an emotional pull to the work, that’s my goal because I love art when it strikes you like that and there’s no explanation, but you just feel this connection. 

You talked a little earlier about being inspired by Lost Highway. Are there any other films or books or pieces of music that you’ve drawn inspiration from over the years that are relevant to the show — or in general?

I love Wong Kar-wai’s In the Mood for Love, I love Three Colors: Blue. The Double Life of Véronique is my favorite movie of all time.

With Kieslowski, you also have that really interesting use of color, which I feel like I don’t really see in other films from that era — but I also don’t see it now. When I go back and watch those, it’s just so, so striking.

It’s so beautiful. And like the color — the way the emotion and the color are linked, which is beautiful. I love it. It’s a great quality.