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KMA reopens its doors to the public with immersive Digital Art Exhibition

KMA reopens its doors to the public with immersive Digital Art Exhibition

The Knoxville Museum of Art proudly presents Eco Tone: Courtney Egan Featuring Collaborations with Natori Green, on view June 16-August 27, 2023, with an opening reception will take place on Friday, June 16, from 5:30-7:30 pm. The artists will be in attendance. This free event is open to the public with a cash bar. In addition to the exhibition opening that evening, the museum will host its monthly Alive After Five concert series beginning at 6:30 pm. Alive After Five Coordinator Brian Clay will be performing a tribute concert to the music of Maze featuring Frankie Beverly. Tickets are $20 for KMA members and $25 for non-members.

Courtney Egan is a New Orleans-based digital media artist, photographer, and naturalist who blends botanical art with sculpture and digital technologies. Eco Tone is a show of Egan’s botanically-themed, projected artworks, including new pieces in collaboration with artist Natori Green. The ethereal projections–converging on walls, floors, and sculptural elements and occasionally interactive–are inspired by the growing frequency of human exposure to nature via computers or television. Egan explains the fundamental irony of the experience, stating, “We get closer and farther away from the natural world simultaneously when we experience it through a technological lens.” Native Plant Rescue Squad (NPRS) also collaborated with the artists to select botanical elements for the latest artworks to highlight the rich diversity of the native flora in East Tennessee.

With new show at Pamela Walsh Gallery in Palo Alto, painter Anna Sidana leads viewers on a journey into ‘Tall Cotton’

With new show at Pamela Walsh Gallery in Palo Alto, painter Anna Sidana leads viewers on a journey into ‘Tall Cotton’

The blank canvas is a daunting challenge for most artists: where to begin, and what to paint? For Anna Sidana, whose work is currently on display at the Pamela Walsh Gallery, the answer came by looking back at her childhood. Memories of time spent at her family’s farm in Rajasthan, India, inspired her large-scale botanical oil paintings that are lush evocations of what she calls “an oasis in the desert.” The exhibition, titled “Tall Cotton,” is on view through July 8.

This is Sidana’s first solo exhibition and reflects her circuitous route to becoming a full-time artist. Born and raised in New Delhi, she earned a bachelor’s degree from the British Computer Society and embarked upon a career in technology that would take her to Europe and eventually to California. The next 30 years would find her working for some of the biggest names in the tech world (including Netscape and Paypal) before pausing to take a step back when her two children left for college.

“It was time to think about all that has happened and what I was doing,” Sidana said. After taking a painting class in San Francisco, and then another, she found herself asking, “What if this could be my next chapter?”

It would be a huge pivot for Sidana, as she moved from Palo Alto to San Francisco and enrolled at the San Francisco Art Institute. Although she loved her studies, she realized that, after years in marketing, “I didn’t even speak the same language — it was a huge learning curve.” She persevered because, “School was amazing; I just wanted to be the best artist I could be.”

She graduated with a master’s degree in Fine Arts in 2020, just in time for pandemic lockdowns. The bright side was that there was plenty of time to focus on her work. Realizing that she felt a sense of “disconnection” from her roots in India (most of her family lives here, and she has only returned to India for brief visits) she began to remember the happiest times of her childhood: playing freely with cousins among the mango and pomegranate trees and cotton plants on the family farm.

Sidana has depicted this tropical flora with bold, bright colors and sinewy lines that conjure energy and movement. They are not landscapes; Sidana said that she avoids a horizon line, but the works are too big and powerful to be considered still life. Lush, ripe pomegranates appear ready to burst open while fluffy, white cotton buds portend their future bounty. Standing before the canvases it is impossible not to feel a sense of immersion into this abundant environment. Everything is growing, heavily laden with fruit and deliciously fertile. But there is a backstory to all this beauty that Sidana also wants the viewer to know and understand.

Cotton has a checkered history here in the United States as the crop most closely associated with slavery and as one of the underlying economic factors of the Civil War. As the gallery press release notes, “Anna’s paintings depict cotton not only as a beautiful flower, but also as a crop with a deep history tainted by colonialism and human oppression.” The title of the show, “Tall Cotton,” refers to a phrase from the antebellum South that describes “bountiful crops, soaring prices and thriving prosperity,” according to the press release.

Sidana also was aware that in India, the cash crop had its own problematic history as a resource that was exploited by British colonialism over several centuries. So how does she bridge the dichotomy between the bleak history and the beauty she remembers from her childhood?

“I think that it is messy,” she stated, adding, “I want to create an enchanting world, a fantastical place. I want to draw people into the storyline and to be aware of the underbelly, the role cotton has played in the persecution of humanity.”

How important is it to her that people are aware of the underlying message? “It is quite important,” she stressed, “Art is one of the few bastions where you can speak the truth. I want them to understand the story — they don’t have to like it.”

“Great paintings reveal their secrets slowly. They do not need to hit you over the head with bold statements. They pull you in with sensual brushstrokes and sophisticated, jewel-toned palettes,” said Pamela Walsh. “It is so satisfying when an artist has depth to their work that goes beyond making a nice painting. These pictures are her heart songs and I am proud to share art in my gallery that has gravitas.”

Sidana’s oil-on-canvas paintings transport the viewer through the seasons and life cycles of the plants as though you are in their midst. Branches, leaves and blossoms create a dense jungle of forms that seem impassable and yet the valuable fruit is there for the taking. Some of the plants are rendered with great precision and accuracy, as in “Cotton for the Gods” but there is also a choice to allow free-flowing drips to remain on the canvas. In “Falling Apart, Silently,” for example, the blood-red tendrils of paint add to the feeling of the slow decline of the fully open flower and allude, perhaps, to the temporal nature of all living things. Sidana explained, “The drips are a final step; they are not mistakes, they are just part of the flow.”

After a career in technology where, as she said, “You are in your own lane running as fast as you can, all the time,” Sidana seems happy and energized about her new direction. She has had several pieces of her work accepted in prestigious competitions like the De Young Open and the London Art Biennale. In addition, she has been selected to attend numerous artist residency programs where, she said with a smile, “You don’t have to worry about a thing, all you have to do is your work.”

How would she like visitors to regard the paintings in this show? “I would like people to enjoy and engage with the art and ask, a step deeper, ‘Why would someone paint like this?’ Perhaps they might walk away with an ‘aha’ moment,” Sidana said.

“Tall Cotton” is on view through July 8 at Pamela Walsh Gallery, located at 540 Ramona St., Palo Alto. /pamelawalshgallery.com.

Getting creative

Getting creative
NEW ULM — Youths in grades K-7 were able to explore through art at the Summer Creativity Camp Tuesday through Thursday. The camp is in its eighth year of operation and runs through New Ulm Community Education. It allows younger kids to explore their artistic creativity through several different mediums. The students were split up, […]

Josh Gallagher pens two songs for country artists, releases new single

Josh Gallagher pens two songs for country artists, releases new single

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JOHNSTOWN, Pa. – Cresson native and country artist Josh Gallagher can add songwriter to his musical resume.

The “The Voice” finalist had songs he co-wrote for country artists – “Product Of” for Lewis Brice, featuring Lee Brice, and “The Farmer” for Adam Warner – recently released, and they’re available on digital music platforms.

“It’s a really good feeling,” the Nashville resident said. “I really do get a lot of enjoyment seeing other artists sing the songs that I’ve had a part in creating.”

He said Lewis Brice’s single is the title track of his forthcoming album.

“He took it in to his producer and put it in front of his brother (Lee Brice), and his brother fell in love with it and asked if he could jump on it and sing it with him as a feature,” Gallagher said. “That’s my first big artist cut with Lee Brice, so that’s pretty cool.”

Lee Brice is set to perform Aug. 18 at 1st Summit Arena @ Cambria County War Memorial in downtown Johnstown.

Gallagher said “The Farmer” was written at a writers’ retreat with Warner and a few of their friends.

“If you’re there with the artist they can guide you on what they need, so that’s what Adam did, and he said he wanted a farmer song because that’s what his family does,” he said.

Gallagher said “Product Of” was penned during a writing day with Lewis Brice and other songwriters.

“We came in, and Lewis told us what he needed and what he was looking for, and being that he’s an artist we were able to write to him a little bit more,” he said. “ ‘Product Of’ came up, and Lewis fell in love with it.”

Gallagher said when he first heard “Product Of,” he teared up.

“I got emotional about it,” he said. “I’ve been in Nashville almost 10 years, and this town beats you up, it builds you up a bit and then tears you down, and it really tests you to see if you have the fortitude to move forward and keep doing this. Finally hearing a major artist’s cut of a song that I wrote and hear their voices on it is incredible. Hopefully, as this continues, it’ll be another launching pad for me and my career.”

Gallagher said he’s gravitating more toward the songwriting side of the music business.

“I think it’s safe to say I love the songwriting side more than the artistry side,” he said. “I still want to do the artist side and I’m going to release music through the rest of the year, but I think my focus has shifted to the songwriting side because I love seeing other people sing songs that I write, and it gives you a little bit more credibility as a songwriter.”

Gallagher recently released his single “Human,” which is the second single leading up to his debut album.

“It’s a song about not dwelling on what has happened in the past. It’s about forgiveness and knowing that people aren’t perfect and that’s OK,” he said.

Gallagher said he’s planning on releasing three more singles prior to the release of his first full-length album toward the end of the year.

“Every song that’s going to be on the record is done,” he said. “I’ve put out EPs between one and seven songs, and they’ve done great, but I haven’t yet in my career put out a full-length record.

“That’s a goal I want to cross off the list.”

In addition, Gallagher will be back in the area Aug. 5 when he headlines the Hoo Dang event at Carrolltown Park.

“It’ll be an acoustic trio with a drummer and bass player,” he said. “I’m excited for it because we haven’t played back home in a long time. The hometown support is awesome, and they’re the ones who got me the whole way through ‘The Voice’ and into the finale. They’re the people who have supported me the most.” 

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KFS program promotes Indigenous artwork while educating Youth about business

KFS program promotes Indigenous artwork while educating Youth about business
Paige Janvier, who is Denesuline and from Bigstone Cree First Nation, holds up a mug featuring a design by local Ojibwe artist Sarah Jones that Janvier had printed onto it at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron HemensPaige Janvier, who is Denesuline and from Bigstone Cree First Nation, holds up a mug featuring a design by local Ojibwe artist Sarah Jones that Janvier had printed onto it at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens
Paige Janvier, who is Denesuline and from Bigstone Cree Nation, holds up a mug featuring a design by local Ojibwe artist Sarah Jones that Janvier had printed onto it at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens

Nearly two years after its launch, an art program at the Ki-Low-Na Friendship Society (KFS) is guiding urban Indigenous Youth to expand their skills in both creativity and business.

The social enterprise called Original Born Art (OBA) was created to promote local Indigenous artists and teach Youth about the ins-and-outs of entrepreneurship — which has included mentorship, educational workshops and hands-on work experience.

The Youth in the program create merchandise such as t-shirts, posters and mugs utilizing the artists’ designs — then those items are sold online and in-person at KFS. Through the process, the Youth gain skills in areas such as product development and design. 

Paige Janvier, who is Denesuline and from Bigstone Cree Nation, is a Youth co-ordinator at KFS and is one of 10 part-time staffers and contractors working at OBA this summer. Through the social enterprise, she’s helped produce mugs, sold items at vendor markets, honed her time management skills and more.

Paige Janvier prepares to apply Ojibwe artist Sarah Jones’s Pride design to various mugs at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron HemensPaige Janvier prepares to apply Ojibwe artist Sarah Jones’s Pride design to various mugs at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens
Paige Janvier prepares to apply Ojibwe artist Sarah Jones’s Pride design to various mugs at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens

“It’s almost like being your own boss in a way, that creativeness that you can have,” said Janvier.

“Coming here, you have space to do what you want. I can print out whatever I want, I can come in and help whenever I want — really being your own boss and having that creative responsibility.”

An aspiring graphic designer, Janvier said that OBA has given her the opportunity to experiment with digital creative designing apps, and she is in the process of sketching her own design.

“It opened up a whole lot of possibilities that I wouldn’t have had beforehand,” she said of her time at KFS.

Janvier recently helped print and apply a design created by local Ojibwe artist Sarah Jones to dozens of mugs, as OBA rolls out their Pride month merchandise. For their clothing, stickers and other products created for commemorative events such as Red Shirt Day and Orange Shirt Day, OBA uses the designs of local Indigenous artists, including Jones.

Paige Janvier holds up a mug with Sarah Jones’s Pride design at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron HemensPaige Janvier holds up a mug with Sarah Jones’s Pride design at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens
Paige Janvier holds up a mug with Sarah Jones’s Pride design at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens

Kody Woodmass, the former strategic planning coordinator at KFS, said that the social enterprise is always looking to promote the work of Indigenous Youth and other local artists.

Woodmass, who is Red River Métis, was one of the main architects behind the development of OBA.

“The opportunities for where this project can grow are anywhere,” said Woodmass. “It depends on what the Youth want.”

Not only are the artists paid for their work, but the funds raised through product and merchandise sales are redistributed back to KFS, specifically their Cecemala (Youth) Services Department. Funds raised help support Youth workshops, cultural events and land-based programming.

“We wanted to create a way that people can go back out into the land that people used to. We would do gathering, traditional knowledge sharing where we would show people what are some different foraging opportunities, or what are these native plants in Kelowna. We were doing things like tool-making, hikes,” said Woodmass.

“It’s all about getting back to the land and understanding the beauty behind it.”

A number of local businesses have supported OBA over the years by selling or showcasing their products, including Fireweeds Boutique, Okanagan Heritage Museum, Okanagan College and more. 

Woodmass said that the overwhelming community support is a reflection of people taking their first steps towards truth and reconciliation.

Merchandise created by Original Born Art for commemorative events such as Red Shirt Day, Pink Shirt Day and Orange Shirt Day are displayed at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron HemensMerchandise created by Original Born Art for commemorative events such as Red Shirt Day, Pink Shirt Day and Orange Shirt Day are displayed at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens
Merchandise created by Original Born Art for commemorative events such as Red Shirt Day, Pink Shirt Day and Orange Shirt Day are displayed at the Ki-Low-Na Friendship Society in syilx homelands on May 22. Photo by Aaron Hemens

“They’re coming in, asking how to support and how they can be part of the solution,” he said. 

“I think that’s what it’s all about, is coming together, walking together and learning together.”

‘We were both shocked that the photo was ever taken’: the collectors who assembled a trove of early vernacular photos of men in love

‘We were both shocked that the photo was ever taken’: the collectors who assembled a trove of early vernacular photos of men in love

On an ordinary Sunday 20 years ago, Hugh Nini and Neal Treadwell went to a local antique mall they’d been to many times before. While browsing, Treadwell spotted a box filled with old photographs and, as he flipped through, he found a snapshot of two men in a romantic embrace, dated 1927. “At the time we were both shocked that the photo was ever taken,” says Nini, a former ballet academy director, “much less survived 73 years to end up in our hands, in Dallas, Texas.” The couple thought they’d never find another antique photo of men in love.

And then they did, almost a year later. “When we found the first, we had no expectation there would ever be a second,” Nini says. They have since found photographs of male couples in formats dating to the beginning of the medium—daguerreotypes, glass negatives, cabinet cards, tintypes and photo booth snapshots—at flea markets, estate sales and online marketplaces, all taken during an era when same-sex marriage was illegal. It was only when they had amassed around 300 photographs that Nini and Treadwell realised it was a collection. It now numbers more than 4,000 vernacular photos dating from between the 1850s and 1950s, sourced from 36 different countries.

Loving: They Love Each Other, Musée d’art et d’Histoire Geneve (MAH). Courtesy of Hugh Nini and Neal Treadwell.

The exhibition Loving: They Love Each Other(until 24 September) at the Musée d’art et d’histoire (MAH) in Geneva, Switzerland, publicly debuts a selection of 400 images from their trove. Inspired by the book about their collection published in 2020 (Loving: A Photographic History of Men in Love 1850-1950, Five Continents Editions), the exhibition contains almost every photograph from the book plus 80 that Nini and Treadwell collected after its release.

“In these pictures it’s fantastic the number of different stories it could activate,” says MAH director Marc-Olivier Wahler of Loving as a whole, and also a 1951 photograph of two soldiers sitting on a bench. “You wonder, they’re in the army and are they really together? Then suddenly you see the entangled feet. And all these possible stories—what happened to them, what happened to this photograph? Where was it found? It’s endless.”

Loving: They Love Each Other, Musée d’art et d’Histoire Geneve (MAH). Courtesy of Hugh Nini and Neal Treadwell.

Loving also includes newly commissioned artwork by Swiss photographer Walter Pfeiffer, known for his playfully erotic portraits of male models. Pfeiffer chose snapshots from Nini and Treadwell’s collection and then colorised and enlarged them, layering a contemporary filter on the vintage images. Two rare black-and-white videos by conceptual artist Urs Lüthi will also be screened together with the exhibition.

In contrast to these two established Swiss artists, most of the photographers and sitters in the photographs are anonymous. An outlier is an early 20th century portrait that may be of Bloomsbury circle artist Duncan Grant and poet Rupert Brooke. Otherwise, the men in the photographs are unnamed.

Loving: They Love Each Other, Musée d’art et d’Histoire Geneve (MAH). Courtesy of Hugh Nini and Neal Treadwell.

Apart from some photo booth snapshots (generated by a machine) and an early selfie of a couple in a mirror, the authors of the images are also unknown. With many of the photographs in the collection taken at a time before at-home cameras were readily available, the understanding is that couples used photographers who they felt comfortable approaching to help produce visual testimony of their loving relationships. Few 19th-century photographers are known to have taken portraits of same-sex couples, with New York-based Alice Austen being one of them. This collection proves there were many uncredited others.

As private collectors, Nini and Treadwell had the freedom to preserve something outside of the institutional mainstream and inspire new research. “We felt [it] was our obligation to keep these photographs. To keep them safe,” says Treadwell, who works in the cosmetics industry. “Our goal is to continue to have museum exhibitions wherever we can that will propel us into telling this story and sharing the history that love is love. Love has been around forever.”

Loving: They Love Each Other, Musée d’art et d’Histoire Geneve (MAH). Courtesy of Hugh Nini and Neal Treadwell.

Chimp cuddles and clever coyotes: the 10th BigPicture Natural World photography competition

Chimp cuddles and clever coyotes: the 10th BigPicture Natural World photography competition
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Many forests in Jasper National Park in Alberta, Canada, benefit from naturally occurring, low-intensity wildfires. Without fire, trees grow unnaturally dense, and dead logs accumulate on the forest floor. This timber can collide with hotter, drier conditions and cause explosively large wildfires. Now forest managers are trying to reverse a century of misguided management by igniting controlled burns. The landscape may look different, but as this haunting image of a burned spruce forest shows, they can be equally captivating.