Bountiful City is hosting an art walk on August 4, 2023 at 6 p.m. The event will feature sculptures displayed on Bountiful Main Street.
Bountiful art walk to feature new sculptures
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SWAIA Santa Fe Indian Market: The World’s Greatest Art Fair
What makes a great art fair?
Size.
How about more than 1,000 artists spread over several city blocks?
Quality, of course.
Each of those 1,000-plus contemporary artists are juried into the event, leaders in their fields.
Diversity.
Artworks in this fair are broken out into 10 distinct categories ranging from jewelry to pottery, sculpture, textiles, and two-dimensional art including painting, drawing, graphics and photography.
Invited artists represent over 200 sovereign nations.
Community.
This art fair feels more like a reunion than an exercise in snobbery. Hundreds of the artists and thousands of the visitors have been attending for decades. Artists use the event to catch up on a year’s worth of news. Friendships are formed with collectors.
Here, artists greet visitors in person and chat.
No one’s going to Art Basel Miami Beach, meeting Hank Willis Thomas, and spending 10 minutes talking him up about his work.
Santa Fe, NM, USA – August 20, 2016: Billy Betoney Sr, a Navajo-Dine jeweler, smiling in his booth … [+]
getty
Value.
Collectors buy direct from artists at this fair. No gallery markup, no middleman, no shenanigans on price with some customers being given sweetheart deals unavailable to all, or other customers forbidden from buying certain artworks because they don’t fit a profile. 99% of what’s for sale here can be purchased for less than $5,000.
And entry is free. Guests just walk up and start looking at art.
The cheapest tickets at The Armory Show, New York’s art fair, run $35.
Artist booths occupy space surrounded local restaurants. No $15 wine glasses or $21 sandwich hustles at this art fair. If you want a refreshment–Frito Pie perhaps–just bop into one of the many adjacent eateries.
SANTA FE, NM – AUGUST 19, 2017: Native American clay pottery by Acoma Pueblo potter Franklin Peters … [+]
Getty Images
Extras.
Over the two days of this art fair, hours of live musical performances, dancing, and a haute couture fashion show are combined with numerous smaller satellite fairs, museum and gallery exhibitions, and artist meet-and-greets creating a 48-hour wonderland of the arts no person could ever experience entirely even if they were able to divide themselves in thirds and spread out.
Model Quannah Chasinghorse wears a dress from Lauren Good Day at the SWAIA Indian Market 2022 … [+]
© Tira Howard Photography for SWAIA
Location.
Sunny Santa Fe in stunning northern New Mexico hosts this art fair with the main event occurring outdoors. Watch the weather and wear sunscreen.
Described is the Southwestern Association for Indian Arts annual Santa Fe Indian Market. This year’s 101st edition takes place August 19th and 20th, free and open to the public, with paid advance preview opportunities on the 18th.
“Market,” as it’s referred to in shorthand, is more than the largest cultural event in the U.S. Southwest. It’s more than the largest Indigenous art market in the world. For the reasons listed, it is the world’s greatest art fair, an experience every art lover should partake in at least once.
Home to roughly 300 art galleries, including those along famed Canyon Road, and a dozen world class art museums, including the Georgia O’Keeffe Museum, Santa Fe is a major arts destination year round. It is the epicenter of the Native American art world. During Indian Market, it becomes the epicenter of the art world.
Nothing else remotely approaches its scale, caliber or legacy.
Mennonite Church USA commissions sculpture from Goshen College graduate
A local artist is bringing her talent to a church in Elkhart.The Mennonite Church commissioned a recent graduate of Goshen College to create a sculpture, which
From philanthropy to photography
Photographer Eleanor Preger may be self-taught, but her images are breathtaking. She’s lauded for her skill with capturing the inner spirit of her subjects and the vast beauty of the Burning Man Playa. Her latest exhibition, Art on Fire, is now on view at Sierra Arts.
Your Burning Man photography exhibition will be held at Sierra Arts Gallery from Aug. 1-Sept. 7, with a reception on Friday, Aug. 4. How and why did this come about?
I was introduced to Burning Man in 2011. The Nevada Museum of Art wanted to hold an exhibit with the LED artist Leo Villareal, but Director David Walker could not get any support. So he asked my husband and I for sponsorship. He said he’d take me and my friend to Burning Man. I asked him, “Why would I want to go to Burning Man?” And he said, “You like to take pictures, don’t you?” I was an amateur photographer then. So I went to Burning Man for one day from 7 am to midnight and got hooked. I started taking workshops for landscape and portrait photography. The following year I brought my camera and became a Burning Man advocate.
Burning Man later contacted you saying they really liked some of your photos, and could you send them copies. So that’s when you became part of their volunteer Media Mecca Documentary Team?
The Documentary Team is a group of volunteer photographers and videographers that
document the life in Black Rock City. There are now about 80,000 ‘Burners’ (attendees) every
year. We try to capture the radical inclusion and the diversity of the Burner camps. We also try to photograph the Burning Man staff and the city infrastructure, along with the art and pop-up experiences.
The Playa can be a rough environment to photograph. How do you document that?
There are the not-so-glamourous realities of life in Burning Man — dust storms, dusted
people, wind damage, damaged camps. So there’s good and bad. We just try to bring the whole culture to the public.
You spend 10 days shooting on the Playa. It must be challenging, physically and mentally.
You know what, I was a really shy person until I had a camera in front of me. For some
reason the camera made me open up and approach people. Burning Man opened me up to a new way of life. It flipped a switch in me. When I went there I realized I could just take in the
moment and appreciatate it. My husband felt the same way. But being a photographer can be lonely at times. I’m the one who’s always behind. I let the crowd go ahead. Then take my
pictures, and try to catch up with everybody.
You’ve now garnered a wide and impressive range of photography work. Can you give some examples?
No Spectators: The Art of Burning Man exhibit at the Renwick Gallery of the Smithsonian
American Art Museum is one example. It was held from 2018-2019. They used my “Truth is
Beauty” photo to promote it all over the world. Also, my photo of the Monaco Art Car was
auctioned off at Sotheby’s.
You’ve helped curate a number of shows at the Sierra Arts Gallery.
It started with a solo Burning Man show I helped curate in 2019. After this I was included in
the August Burning Man shows with other photographers in 2021 and 2022. I now help curate the Burning Man show Sierra Arts Gallery has in August with gallery curator Maria Partridge. My husband and I are supporters of the Sierra Arts Gallery, as they truly support artists and the art community in so many ways.
You’ve invited photographers Scott London and Marc Sheff to participate in your upcoming Sierra Arts Gallery exhibition.
Curator Maria Partridge invited Marc Scheff to exhibit his interesting black and white
Burning Man portraits. And I love Scott London’s work. He’s become my mentor and teacher.
He and co-author Jennifer Raiser will be doing a talk and book signing at the artist reception.
Scott is also a member of the Burning Man Documentary Team along with me.
Could you share some of the photography techniques you use?
I often use long exposure on a tripod. For instance, a sunrise with elogated clouds using an
exposure of 30 seconds. I’ve also been doing infrared photography. It looks black and white, but sometimes there’s blue and pink hues in it. I also try to take the same picture of a night scene and a day scene, and then combine them. There are beautiful sunrises and sunsets at Burning Man.
I read that you like to use props.
I like umbrellas, and use lighted props, ribbons, and smoke. I also do fast exposures of people jumping and dancing or twirling with their hair in midair. It’s how you get those kinds of shots.
When speaking about your photography, I learned that you’re most proud of the moments you’ve captured the “spirit of a friend.”
Many people have shared with me that I capture their inner spirit. I make sure to get
permission from everyone I photograph. Sometimes I’ll help them fix their hair or straighten
their shirt. Something like that. So they feel relaxed with me, and it comes through.
Do you have a particular type of person you like to photograph?
There are people I do repeat shoots with every year. And I try to shoot people of all ages. And
actually most of my pictures, as you’ll see, aren’t young people, and aren’t Instagram poses.
You live part-time in Nevada at Incline Village in Lake Tahoe, and part-time in Sausalito,
Marin County, California. You seem very active. How do you balance it all?
I love my house in Sausalito and have family down there. I have five grandkids. But, Tahoe is
our home. It’s a small community of about 8,000 people. A lot of retired young people that were in high-tech. And a lot of non-profit activities. Yes, we are busy, but I think that’s what keeps us young.
Art on Fire: An Exhibition of Photography by Scott London and Eleanor Preger, along with Marc Scheff’s black and white Burning Man portraits, are on on view at Sierra Arts Gallery in downtown Reno through Sept. 7 with a reception on Aug. 4 from 5-8 pm and a talk and book signing with Scott London and Jennifer Raiser at 6:30 pm.
Photos courtesy Eleanor Preger
2023 International Photography Competition Open
2023 International Photography Competition Open
All The Ohio State University students, staff, faculty, visiting scholars and alumni are invited to submit photos to the 2023 International Photography Competition. All photographs must be the original work of the entrant, of high quality and taken outside of the United States. Photographers are invited to submit one photo in each category: People, Places and Arts & Culture. Submissions are accepted until October 6, 2023 at 12:59 p.m. EST. Review the 2023 International Photography Competition Rules and submit your best international photos.
Judges will select 40 photos based on artistic expression, creativity, originality, photo commentary and the quality of the image to be on display at our photo exhibition in the Ohio Union. The judges will also choose a first, second and third place entry for each category, which will be announced at the 2023 Photography Exhibition opening reception. Photos selected for the exhibition will be eligible to win the People’s Choice Award determined through an online vote via Facebook and Instagram.
For questions, please contact Victor van Buchem, van-buchem.1@osu.edu.
AMFA unveils fall season of programming, events and performances
Artist talks and workshops from Chakaia Booker, Justin Sanz, Raven Halfmoon, Wangechi Mutu and Firelei Báez are just the start of what to expect at the AMFA this fall.
Inspiration in lineage: Cherokee art exhibit bridges generations, cultures
On any given trip to the Museum of the Cherokee Indian, visitors can explore the corridors and see a beautiful collection of pottery, baskets, woodcarvings, masks and other types of artifacts.
However, many objects are not for the public because they are sacred, sensitive or only meant for the Eastern Band of the Cherokee Indian and Cherokee Nation communities.
The MCI directors and staff are actively removing these objects and respectfully relocating them to their proper places. In those pieces’ former places now stand a thought-provoking assortment of contemporary art from members of the EBCI and Cherokee Nation communities known as “Disruption”
“Disruption” is more than just an exhibit. It’s a way for the museum and the artist to show works that engage visitors — both community and visitors alike — and invite them to think deeper about present-day Cherokee culture and how it relates to their traditions, history and stories.
With the placement of these contemporary works, the flow of the exhibit’s timeline is “disrupted,” thus compelling the viewer to stop, look, read and question why that particular piece was chosen for that specific display or area.
A recent “Disruption” artist panel made up of five local EBCI community artists — Rhiannon Skye Tafoya (EBCI, Santa Clara Pueblo), Atsei Cooper (EBCI), Jakeli Swimmer (EBCI), Tyra Maney (EBCI, Dine) and Lori Reed (EBCI) — was held.
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The artists discussed a wide array of topics, ranging from their personal stories and inspirations to their thoughts and feelings on the importance of positive representation in Indigenous art and the treatment and care of the community’s sacred spaces and artifacts.
The discussion began as each artist introduced themselves, giving their backstory and discussing their chosen medium. As each artist spoke of themselves and their work, it was clear that they cherish deep seeded memories of time spent with parents, grandparents and elders — listening to their stories, making art and learning passed-down traditions.
“I find inspiration in my lineage,” Tafoya said. “I feel like when I come home is when I make the most important art.”
Maney, an artist who works with the museum, resolutely conveyed to the audience that she not only finds inspiration from objects she works with every day but from women within her community and other native communities, leading her to depict the intense femininity of indigenous women.
“Even still today, when you see the representation of native women it’s through MMIW (Missing and Murdered Indigenous Women),” Maney said. “It’s through a lot of trauma and tragedy we are a matrilineal society, and our women are strong. They are leaders and we can depict them in those ways, that there is more to them then all this intergenerational trauma.”
Inspiration can come from so much, but the overall message from these artists was that of the extreme importance of their communities, families and ancestral land. A point brought up by more than one artist during the discussion was that of evolution, that native art doesn’t need to be kept in the bubble of the past only to be done in a specific traditional way.
Cultures evolve, grow and mature with the ever-changing waves of social discord. The inevitably of growth and evolution are achievable without losing any meaning and substance. And, in the case of “Disruption,” these traditional roots are embedded within each artist’s practice.
Ceramic art by Lori Reed
Evolution doesn’t mean the end. It means growth, having places and people from these communities help guide that advancement. This will only encourage others to see the importance of creating work that continues to represent and uplifts what it means to be a Cherokee person living in the present world.
When asked what each artist would like the viewers to take away, more so community members rather than tourists, Swimmer communicated that he hoped that the museum does not revert to catering mainly to tourists and that it — along with the community — will continue to uplift the local artist and help facilitate these changes.
“What I’m advocating is that we are going somewhere else, let’s think what that title (‘Disruption’) means. You have to disrupt the status quo, that was the whole premise of my cartoon page was disrupting, changing and bringing out that we’re not one-sided,” Swimmer said. “We aren’t just one opinion and not just one person speaks on behalf of us — it’s up to us to disrupt the narrative and get a little uncomfortable at times.”
“When people and community members come through ‘Disruption,’ I want them to be curious. I want them to feel comfortable asking questions. I want community members to feel comfortable enough to take up space,” Cooper added. “We wouldn’t have all this without the struggle of our grandparents and parents. I want disruption to have that space to show that we don’t have to struggle to sell ourselves and our talents. We can uplift each other because we do see so much of that talent within us as a people.”
To disrupt is to grow, to outgrow the box in which we feel most comfortable. That does not come at the cost of tradition and lessons from the past. Sometimes we need to feel uncomfortable. We need to have that pause — the disruption in our lives, to allow something to evolve into something more.
The 32 artists represented in “Disruption” are taking on this role in various ways to contribute to moving forward, in a meaningful and impactful way that only adds and elevates other community members — now and in the future.
Want to learn more?
If you would like to tune into the “Disruption” panel, you can do so by visiting the Eastern Band of the Cherokee Indian website at ebci.com and clicking on the archived live streams.
To see a full list of the artists showing during the “Disruption” show at the Museum of the Cherokee Indian, you can visit the exhibits page at mci.org. The “Disruption” showcase will be running until September 2023.
Practicing Landscape Photography Locally Is Essential for Your Growth
Grand trips for landscape photography are exciting and can make it look like you’re really living the landscape photographer life. But practicing your landscape photography locally shouldn’t be underestimated if you want to improve your technical and compositional skills.
I like to travel as much as the next landscape photographer. I enjoy my trips cross country to photograph places outside my usual locations. Even regional trips that are just a handful of hours away are welcomed.
But if I only practiced my landscape photography on trips rather than locally, my photography skills would take much longer to mature. There are many advantages to practicing your landscape photography locally — no matter where you are!
Regular experience being outside taking pictures is one of the surest ways to improve your technical skills with the camera. You can also practice refining your creative eye when it comes to interesting compositions. Practicing locally allows you to do so more frequently and be more prepared for when you travel for your hobby.
Here are five reasons I think practicing locally positively benefits the landscape photographer.
Practice Technical Camera Skills
There is only one way to improve your technical skills with the camera. You can read book after book and watch video after video, but at some point, you need to put those lessons into practice. The best way to do that is to go outside and practice.
Practicing locally gives you many more opportunities to practice foundational photography skills — adjusting shutter speed, aperture, and ISO — and more advanced skills like exposure bracketing, focus stacking, and more. These don’t need to be portfolio-worthy images, but it does need to be time outside with the camera and deliberately practicing with it.
Once you have the basics of getting a good exposure and adjusting the settings to get that exposure, then you can practice doing exposure bracketing and getting a feel for how many stops of light difference you want to capture or learning how to focus stack so you aren’t missing an in-focus frame for blending later.
Practice until all of this is second nature. Learning these close to home allows you to experiment more and be more confident when you do travel to a far-off destination for your landscape photography.
An additional byproduct is you become more familiar with your camera. Whether that be button locations or little quirks of your camera — you can learn these locally to be better prepared for future travel.
Practice Creative Photography Skills
Similar to learning the technicals of photography, practicing locally affords more opportunities to practice the creative side of photography — primarily composition.
This is an area I constantly strive to improve in. I make mistakes all the time — take an image, looks good on the back of the camera but get home and I’ve made some error or not left enough room on one edge of the frame or have things protruding into the frame from the edges.
By practicing composition repeatedly locally, I can more quickly get those repetitions in and learn what works in an image and what doesn’t. Learning this close to home lets me apply it when I travel and hopefully capture more pleasing photos than if I only practice my landscape photography when I travel outside my local area.
Busy Schedule
Traveling for landscape photography can be challenging to fit into the schedule. At the very least, a long weekend takes me away from responsibilities at home, so these trips often need to be coordinated. Longer trips do the same but also tap into vacation time banks and even more family activities to schedule around.
If I were only to practice my landscape photography when I traveled, my growth as a photographer would be quite limited. But practicing locally lets me get out much more often. I can head out early in the morning, get the nice soft light of sunrise, and still be home for the rest of the day. Similar to the evening, when I head out after dinner and spend some time outdoors practicing.
If I only need to spend ten to fifteen minutes to get to a spot, I don’t feel back about only having an hour or two to be out. I can still get a lot done in that time.
Reduce the Expense
Traveling can be expensive; gas, flights, and a place to stay, it all adds up! To keep costs in check, one may only be able to make one big trip a year and maybe a weekend trip or two. Photographing near home is inexpensive. You don’t need a place to stay, you can often walk, bicycle, or take a short drive and start practicing.
Photography can be an expensive hobby, practicing your landscape photography locally can help offset some of that expense while still allowing you to enjoy the hobby.
Learn an Area
And finally, practicing your landscape photography locally lets you learn and experience an area over time. On big trips, I hope the weather conditions line up for incredible sunrises, sunsets, or nice light for the scene. If it doesn’t happen, then it doesn’t happen.
When practicing landscape photography locally, I can revisit an area and be more patient with capturing just the right conditions. I can start to notice smaller details that I might have overlooked before. I have more opportunities to refine my compositions for the perfect image if I continue to revisit an area.
I think practicing landscape photography locally is critical. How about you, do you visit your local areas to practice your technical camera skills and compositions? Let me know in the comments below!
Embark on a Chromatic Game of Pool With Nuevepies Monocolor Billiards
Gone are the days of the smoke-tinged green and wood billiard tables found in bars or in a friend’s basement. Nuevepies, a young and innovative company based in Barcelona, is redefining the world of billiards with their Monocolor billiards collection. Imagine a 9-foot pool table where every element, from the cloth to the pockets and legs, exudes a singular and refined hue, creating an awe-inspiring design that will elevate any space.
The monochrome trend continues to pop up in the interior design world, and Nuevepies has joined in with their contemporary modern pool tables. The Monocolor billiard table boasts a satin lacquered finish and Gorina cloth, resulting in a captivating design accentuated by the colorful balls. Each custom table is available in six colors – Pastel Pink, Fresh Green, Electric Blue, Black is Black, White Ibiza, and Silver Gray – and can be built to play either pool or carom billiards.
A drawer holds all the accessories one needs to play, including 4 two-piece cues, a set of Super Aramith Pro balls, a rack, and a box for chalk and cloth brush.
Nuevepies’ background is rooted in craftsmanship, combining the experience of manufacturer “Billares Córdoba” and creative direction of BD Barcelona. Fueled by their combined passion for contemporary design, Nuevepies has mastered the art of producing exclusive, high-end billiard tables that offer infinite possibilities for customization. The options for colors and finishes are endless, allowing you to find the perfect table that complements your style and interior decor.
Monocolor’s integrated electronics system powers LED lighting, game reset, and automatic shut-off.
To learn more about Monocolor billiards tables, visit nuevepies.com.
A New Seven-Foot-Tall Sculpture of a Young Queen Elizabeth II With Her Corgis Becomes the First Monument to the Late Monarch in England
The U.K.’s first official memorial to the late Queen Elizabeth II is in the works, and will be installed outside a public library.
