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Marta Churchwell: Sculpture garden to grow even bigger

Marta Churchwell: Sculpture garden to grow even bigger

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With its design as a reflective, nature-filled space, it seems only fitting that Mercy Park is filled with art, specifically the Rotary Clubs of Joplin Sculpture Garden.

The sculpture garden that is part of the park at 26th Street and McClelland Boulevard is a conception of Rotary Club of Joplin and Joplin Daybreak Rotary Club, and their vision just keeps growing. Since 2019, sculptures have been added annually with the total sitting at 19 today.

Next month, it will grow by six more sculptures.

The new pieces, bronze like all the park’s sculptures, are coming from the collection of the late Harry M. Cornell, who has left a large footprint in the local arts community. Cornell, the former president and CEO of Leggett & Platt Inc. at Carthage and a major art collector, was the lead donor in construction of the Harry M. Cornell Arts & Entertainment Complex at Seventh Street and Joplin Avenue.

His legacy will also include these six new sculptures in addition to those he had donated prior to his death a year ago.

Cornell had a penchant for Western art, so it’s not surprising that four of these new sculptures will be in Native American designs.

Two of them were created by Navajo artist and sculptor Ed Natiya. Based out of Albuquerque, New Mexico, he is becoming one of America’s leading Native American artists.

One of Natiya’s life-size sculptures is an interpretation of two young lovers on their wedding day, the bride holding a vase symbolizing their uniting as one. His other sculpture is a depiction of a Native American eagle dancer, which honors the connection between man, animal and earth.

A third sculpture in a Native American style is by the late Joe Beeler, a Joplin native who became a nationally acclaimed Western artist and sculptor. His piece is the image of a flute player sitting on a rock.

The fourth sculpture of Native American design features the image of a woman sitting on a rock. One of the two other sculptures is the image of a child feeding a rabbit and another is the likeness of two children with a flower container.

The Joplin Senior Center, which is adjacent to park, has volunteered to plant flowers in the sculpture’s container, said Barbara Hicklin, a member of Daybreak Rotary Club.

At this time, the Rotary clubs are working on acquiring bases for the sculptures, which will be followed by the pouring of concrete foundations for them. Sid Davis, a local Rotarian and contractor, will install the pieces sometime next month, Hicklin said.

Meanwhile, the Rotary clubs will host a work day at the sculpture garden from 9 to 11 a.m. Saturday, May 6. The public’s help in clearing weeds, planting flowers, and laying mulch at the sculptures would be accepted.

Hicklin noted that people who are unable to assist during the cleanup may help through cash donations toward the costs of insurance and maintenance of the sculptures. While the city parks department maintains Mercy Park as city property, the sculptures are owned by a nonprofit named Rotary Clubs of Joplin Sculpture Garden, which is responsible for their maintenance and insurance, Hicklin said. Donations may be made at https://rotarysculpturegarden.org/donate.

The sculpture garden has become a popular attraction to Mercy Park, particularly for walkers. It was designed as a passive park with no play space because it is located on what the community considers sacred ground. It’s the site of Mercy Health Systems’ former St. John’s Regional Medical Center, which was destroyed in the 2011 tornado. Several people lost their lives there.

The park was selected for the sculpture garden because of its natural, contemplative setting with water features surrounded by a network of paved walkways that cut through the landscaping and a small meadow.

The idea of a local sculpture garden has its roots in the Benson Sculpture Garden at Loveland, Colorado. Local Rotarian Bob Headlee has family near Loveland and during visits there, he took trips to the Benson garden, which features more than 180 sculptures.

At Headlee’s urging, Hicklin and her husband, Jim, visited the Loveland garden, and upon their return they began brainstorming with Headlee about developing a local sculpture garden.

After the idea was pitched to the Rotary clubs and it was met with approval, a sculpture garden board was formed, and it began working with the city to develop the garden.

Dedicated in 2019, the garden began with nine contemporary and traditional sculptures. Three sculptures were added in 2020 and again in 2021, and four were added in 2022. Created by eight artists from across the country, the pieces were purchased and donated to the garden by local arts patrons, local Rotary clubs, and a Greeley, Colorado, anesthesiologist.

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“Udderly” Amazing Butter Cow Sculpture Coming to the Reno Rodeo

“Udderly” Amazing Butter Cow Sculpture Coming to the Reno Rodeo
RENO, Nev. – The “Wildest, Richest Rodeo in the West” is churning up something extra special – the state’s first butter cow sculpture, carved by renowned artist Sarah Pratt, will be on display in the Double R Marketplace at the Reno Rodeo from June 15–24, 2023. The history of butter cows traces back over a century — the first buttery bovine made an appearance in 1903 at the Ohio State Fair. In 1911, J.K. Daniels sculpted the Iowa State Fair’s first butter cow and was succeeded by a select roster of famed sculptors, including Norma “Duffy” Lyon, also known as the “Butter Cow Lady.” Duffy crafted the illustrious butter cow at the Iowa State Fair for 46 years until her retirement in 2006 when she passed the reins to her long-time apprentice, Sarah Pratt. A Des Moines native, Pratt deftly chisels pure-cream Iowa butter into uncanny sculptures, including replicas of Superman, wild bison, the Apollo 11 mission, and of course, the beloved butter cow. Pratt is bringing her moo-ving artistry to the Silver State for the 2023 Reno Rodeo where she will sculpt a butter cow to be admired by thousands of visitors. Her creamy creation pays homage to farmers… Continue Reading

Guide and facts of 40th Gathering of Nations

Guide and facts of 40th Gathering of Nations
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Tens of thousands of people representing hundreds of tribes are expected to celebrate the fortieth Gathering of Nations. The three-day event kicks off Thursday evening for the first time since the COVID-19 pandemic began.The Miss Indian World pageant will take place Thursday evening, featuring 27 contestants. The more than two dozen women competing come from Canada and across the United States.The next Miss Indian World will spend the next year traveling globally to promote cultural awareness and diversity, along with the Gathering of Nation’s Pow Pow. The Thursday competition will see the winner crowned on Saturday at the Gathering of Nations pow-wow.The annual pow-wow, takes place at Tingley Coliseum in Expo New Mexico, is known to be the largest in the nation and Canada.More than 3,000 singers and dancers are expected to compete across several competitions. There will be more than 800 Native artists and traders displaying art and making some available for purchase.The four-decade celebration will see the return of its stage 49; a music stage that will play music on Friday and Saturday. The stage is setting the day theme for both pow-wow gatherings.The parking lot and ticket gates open each day at 9 a.m. Here’s how you can see the Gathering of Nations for yourself and others.Ticket informationEveryone over 2 years old must have a ticket to attend eventsMiss Indian World pageant tickets will be available to purchase at gate 8 of Expo New Mexico from 10 a.m. to 3 p.m. ThursdayTickets for the traditional presentations show for Miss Indian World will be on sale from 5 to 8 p.m. Thursday at the Albuquerque Convention CenterSaturday and Sunday event tickets can be purchased from 9 a.m. to 10 p.m. at gate 8 of Expo New MexicoPow-wow tickets will only be available for box office purchase Friday and SaturdayEvent scheduleThursday: The Miss Indian World presentations will begin at 7 p.m. inside the Kiva Auditorium at the Albuquerque Convention CenterFriday and Saturday: Pre-pow-wow presentations will start at 10 a.m. and end 15 minutes before the noon start time for the Gathering of Nations pow-wow at Tingley ColiseumStage 49 will provide an all-day theme for the two pow-wow days; Friday will be ‘Rocking the Blues’ and Saturday’s theme is ‘Funky Reggae’The pow-wows will conclude with a singing and dancing competition Parking For Thursday parking at the Albuquerque Convention Center, primary parking will be at the convention center garage located at Martin Luther King Boulevard and Broadway.Other parking spots Thursday will be available at the civic plaza garage on Marquette and 3rd Street. Parking at Expo New Mexico for the two days of pow-wow gatherings will be at gates 7 and 8 with handicap parking available.Parking fees will be charged for all three-day event locations.

Tens of thousands of people representing hundreds of tribes are expected to celebrate the fortieth Gathering of Nations. The three-day event kicks off Thursday evening for the first time since the COVID-19 pandemic began.

The Miss Indian World pageant will take place Thursday evening, featuring 27 contestants. The more than two dozen women competing come from Canada and across the United States.

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The next Miss Indian World will spend the next year traveling globally to promote cultural awareness and diversity, along with the Gathering of Nation’s Pow Pow. The Thursday competition will see the winner crowned on Saturday at the Gathering of Nations pow-wow.

The annual pow-wow, takes place at Tingley Coliseum in Expo New Mexico, is known to be the largest in the nation and Canada.

More than 3,000 singers and dancers are expected to compete across several competitions. There will be more than 800 Native artists and traders displaying art and making some available for purchase.

The four-decade celebration will see the return of its stage 49; a music stage that will play music on Friday and Saturday. The stage is setting the day theme for both pow-wow gatherings.

The parking lot and ticket gates open each day at 9 a.m. Here’s how you can see the Gathering of Nations for yourself and others.

Ticket information

  • Everyone over 2 years old must have a ticket to attend events
  • Miss Indian World pageant tickets will be available to purchase at gate 8 of Expo New Mexico from 10 a.m. to 3 p.m. Thursday
  • Tickets for the traditional presentations show for Miss Indian World will be on sale from 5 to 8 p.m. Thursday at the Albuquerque Convention Center
  • Saturday and Sunday event tickets can be purchased from 9 a.m. to 10 p.m. at gate 8 of Expo New Mexico
  • Pow-wow tickets will only be available for box office purchase Friday and Saturday

Event schedule

  • Thursday: The Miss Indian World presentations will begin at 7 p.m. inside the Kiva Auditorium at the Albuquerque Convention Center
  • Friday and Saturday: Pre-pow-wow presentations will start at 10 a.m. and end 15 minutes before the noon start time for the Gathering of Nations pow-wow at Tingley Coliseum
  • Stage 49 will provide an all-day theme for the two pow-wow days; Friday will be ‘Rocking the Blues’ and Saturday’s theme is ‘Funky Reggae’
  • The pow-wows will conclude with a singing and dancing competition

Parking

  • For Thursday parking at the Albuquerque Convention Center, primary parking will be at the convention center garage located at Martin Luther King Boulevard and Broadway.
  • Other parking spots Thursday will be available at the civic plaza garage on Marquette and 3rd Street.
  • Parking at Expo New Mexico for the two days of pow-wow gatherings will be at gates 7 and 8 with handicap parking available.
  • Parking fees will be charged for all three-day event locations.

Photographer Allen Morris Plays with Light

Photographer Allen Morris Plays with Light

Meet the 2023 Hal Prize photography judge

Allen Morris. Photo by Skott Chandler.

We are only days away from the opening of the 2023 Hal Prize, and this year, we’ve been working with our partners – Write On, Door County and Peninsula School of Art – to create what we hope will be one of the best contest years yet.

Each month leading up to the contest’s close, we’ll introduce you to our four judges: Toya Wolfe, fiction; Edward McPherson, nonfiction; Sean Hill, poetry; and Allen Morris, photography, who is the featured judge this week. 

Morris is a photographic artist and an assistant professor at Black Hills State University in South Dakota. His bodies of work examine the relationship between humans and their environments, with a particular interest in the impact they have on the creation and evolution of human identity on social, personal and political levels.

What follows is an excerpt from a recent Door County Pulse podcast episode with Morris that has been condensed and edited for clarity. Listen to the full episode below.

Grace Johnson (GJ): Your style is described as “alternative processes,” which is different from what we have usually had in the photography category. Can you explain that style?

Allen Morris (AM): I have been a certified photo nerd for a very long time. One of the things that I think is really amazing about being a photographer is that, no matter what approach we take to the medium – whether we’re shooting editorial photos or more fine-art work – we’re kind of wizards, and we get to manipulate things with chemistry and light. 

In contemporary-art circles, it’s become this sort of space in photography where you don’t necessarily have to make printed images anymore. You can expand to light-based manipulation onto sculptures or drawings or paintings. That’s kind of in my wheelhouse these days.

GJ: Has there been anything that you’ve discovered along the way that has really stuck with you – something that you have wanted to try to get into?

AM: I think, for me, the world of photography is so wide open, and I get super excited about any aspect of it. I’m so happy to do any workshop or any class about any facet. But I think what really excites me is when students start to see and experience the photograph outside of the frame – whether that’s the printed frame or the viewfinder frame – and start to really think about not necessarily what a photograph is, or has been, but what it can be.

GJ: Do you have any advice for people entering the Hal Prize competition in the photography category?

AM: I think any opportunity that we have as self-described artists, or certified and pedigreed artists, to get our work in front of a jury or our peers – and fresh eyes – is absolutely worth its weight in gold. There’s something really amazing that happens in that process, when you put your work out into the world. 

Give it a try, and in the best-case scenario, you might win a prize. Worst-case scenario, you’ve got the experience of submitting work and working within those guidelines that are so common for galleries and competitions and those sorts of venues. I think it’s always worth a shot.

The 2023 Hal Prize competition opens May 1. Submissions are accepted in fiction, nonfiction, poetry and photography. Learn more about the contest and how to submit at thehalprize.com.

Namibia: Tips for a Photography Road Trip Across Southern Africa |

Namibia: Tips for a Photography Road Trip Across Southern Africa |

Preparation is key when it comes to planning a trip to Namibia — a true land of extremes that can only be fairly described using hyperbole. As beautiful as Namibia is, to get the most out of your trip, you need to be prepared and well organized. Here are my tips for bringing back the best wildlife and landscape photographs from a trip across Southern Africa. 

Drive, Don’t Fly

Most flights into Namibia land in Windhoek, the capital. There are a handful of direct flights from Europe, or you can fly through Johannesburg. By choosing to fly through Johannesburg, you can rent a car in South Africa and drive to Namibia. It’s a long journey — a minimum of two full days — but you’ll get the chance to see the wonders of southern Namibia, which is an area that doesn’t make many itineraries.

Namibia is an experience enhanced by self-drive. If you fly from one place to the next, you’ll miss the spirit and scope of the land. Namibia is one of the most sparsely populated countries in the world, and the distances are vast. To make the most of your time, a detailed itinerary is vital to determining how long you’re going to spend on the road.

If you’re staying in any of the off-the-beaten-track lodges along the Hoanib Valley or Skeleton Coast, a 4×4 is critical. You will have to navigate riverbeds, salt roads, and sand roads, some very deep. Visiting the shipwrecks on the Skeleton Coast requires driving on deserted beaches. There, you’ll need a vehicle with high clearance and robust tires. Even if you’re not heading into remote areas, a 4×4 is encouraged; the storms we drove through in Etosha, the country’s prime national park, would have pushed a sedan or saloon car to its very limits.

Nobody wants to get stuck in the muck. You can’t really get out for a push in places like this.

If you’re going to Sossusvlei, particularly Dead Vlei, for sunrise, you’ll need to drive yourself or hire a guide. The tour buses don’t leave the main car park until after sunrise. The trail beyond the main car park to get to Dead Vlei is best described as a sandbox, not a road, so make sure you’re comfortable driving a 4×4 and understand how to drive in sand. If you deflate your tires a little, you’ll get better grip, and it’s less likely you’ll dig yourself down to the axles. Once you’ve deflated your tires for the sand, make sure you have a pump to inflate your tires again for when you’re heading back out on the tarmac.

Finally, don’t rely on picking up a map in Namibia or on accessing the internet while you’re on the road. The country is not as well signposted as you might think, and cellular service is spotty at best. A lot of the shipwrecks along the Skeleton Coast are very difficult to find. Even online maps won’t point you to particular wrecks. So, bring a map that you’ve marked up or take screenshots of online maps showing verified satellite views of the ships you’re looking for.

Camera Equipment

Lenses

Like much of Southern Africa, Namibia’s wildlife viewing is based around waterholes. In Etosha, many waterholes are positioned far from the trail, and since you can’t drive off the track, at least a 300mm lens is critical to capture wildlife portraits. If you have the budget, consider bringing an extender as well. I took a Canon 300mm or 400mm f/2.8L alongside a 1.4x III extender. Combining this with the megapixel count of the new Canon mirrorless well let you crop in tight for portraits of distant animals, such as this tired cheetah.

If you are bringing a 300mm or longer lens, don’t try to handhold your shots. Brace yourself on something solid — a bean bag will help you to balance large lenses on your vehicle’s window or door frame.

Rain Covers

Be sure to bring rain covers to protect your cameras from the rain and from the sand.

Those fine particles aren’t friends to the electronics in your equipment. Rain covers will also help if you end up in a storm, which is likely during the rainy season. See my reviews of rain covers, here and here.

Intervalometer

One of Africa’s largest reserves, the NamibRand Nature Reserve, lies in a designated dark sky preserve. Conditions here demand a tripod and intervalometer to get steady and dynamic time-lapse shots. Newer cameras, again, have built-in intervalometers, which make packing much easier.

Drones

Read up on the rules if you’re going to bring a drone. All drones must be registered with the Namibian Civil Aviation Authority and certain hotspots, such as Dead Vlei, have very restrictive rules. I’d love to have had a bird’s-eye view of the dunes and dead camel thorn trees, but you need to enjoy these places without breaking the rules. This shot was taken over the Salt Works in Walvis Bay, with permission of the landowner. 

Sound

Consider bringing a sound recorder if you have room in your bag. The sounds of the massive seal colony and crashing waves at Cape Cross or the singing dunes at Sossusvlei are things you’re going to want to remember. If you’re shooting video, it’s certainly worth getting some properly recorded audio to overlay your images. Namibia is notoriously windy, so splurge on a DeadCat windshield; this will make all the difference by deadening the sound of the blow.

Camera Settings

Wildlife is always much quicker than it appears. Even slow-plodding elephants cover much more ground than you’d expect, never mind a quick-walking cheetah.

Double check your shutter speed; you should be shooting moving animals at fast speeds, around 1/1,600th of a second. Anything slower is going to drastically reduce your keeper rate. Likewise, consider stopping down. I realize that soft bokeh is all the rage, but at a shallow depth of field like f/2.8, a cat’s eyes will drift in and out of focus as they breathe. Consider stopping down to ensure tack focus. If you’re able, get closer to eye level through a window instead of a pop-up roof. This will help the background blur out even if your aperture is stopped down a little. 

Planning and Itineraries

I know that we all try to cram as much in as possible, but consider spending more than one day at each location, as this will give you time to scout out your best shots. For example, I’d suggest getting two permits for Kolmanskop, the ghost town that is now being taken over by the dunes. Wandering around at sunrise or sunset will be difficult if you haven’t scouted in daylight and so don’t know where you’re going.

Likewise, if you have the opportunity, try to visit these incredible locations at different times of the day. Sossusvlei, for instance, deserves a visit in the early morning and the late afternoon. The turn of a few hours makes it feel like a totally different place.

What Images to Look For

Namibia is home to many uniquely adapted desert animals, such as desert adapted elephant, lion, and giraffe.

Try to capture the animals in their environment to differentiate your images from those taken in other spots on the continent.

As noted, and unlike east Africa, Namibia’s wildlife viewing is centered around waterholes. If you don’t immediately see something, resist the urge to drive from hole to hole, be patient. From my perspective, this is one of the most important skills related to wildlife photography. The animals need to drink, and eventually, they will come to the holes for water. Driving in circles means you’ll spend time on the trails when you could be setting up in wait for the animals, and you could miss your opportunity. If you can, talk to a local expert about which holes are seeing the most action during your visit. It’s also not a bad idea to consider hiring a wildlife guide or spotter to make sure you’re at the right locations.

While driving, consider stopping to take images of signs and roadside attractions. These b-roll images will help to tell the story of your trip as much as a prized lion or elephant shot.

Editing Midday Sun

When you get to the editing stage, try out a black and white edit to accentuate textures. It’s always great to shoot in the hours around sunrise and sunset, but you’re still likely to be out midday. Sure, the landscape and wildlife are colourful, but you might be surprised at what the sun’s strong contrast can illuminate in black and white.

A Few Notes on Namibia’s Fragility

Namibia’s most stark and beautiful places are fragile, so consider your impact.

  • Stay on the roads or approved tracks to avoid destroying lichen that could be thousands of years old.
  • The trees at Dead Vlei aren’t props. Don’t touch or lean on them; IG is full of fools doing this. At 600+ years old, they will break.  
  • Don’t graffiti or leave marks in the ghost towns: these places aren’t playgrounds. Respect the environment as it is, without shoveling or throwing sand about to get “the shot.” Leave these fragile places as you found them. 
  • Finally, be mindful of where you stop to get out. Even the desert has lions and other dangerous wildlife.

All images provided by let us go photo.

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Photographer’s decade-long, 600,000 mile journey shows indigenous life in new book

NPR’s Melissa Block talks with Matika Wilbur about her new book Project 562: Changing the Way We See Native America.



MELISSA BLOCK, HOST:

Say hello to Matika Wilbur.

MATIKA WILBUR: Oh, hello. Thank you so much. I’m so happy to be here.

BLOCK: She’s a photographer based in Seattle.

WILBUR: I’m from the Swinomish and Tulalip Tribes here in Washington State. My Indian name is Tsa-Tsiq. It means she who teaches.

BLOCK: It’s a fitting name. About 10 years ago, Wilbur set out to photograph members of all of the then 562 federally recognized Native American tribes in the U.S. So with Kickstarter backing, she spent the next decade traveling 600,000 miles on her quest. Here are just a few voices of those she met along the way.

(SOUNDBITE OF MONTAGE)

AUTUMN HARRY: (Non-English language spoken). My name is Autumn Harry. I’m a member of the Pyramid Lake Paiute Tribe here in northern Nevada. And I am Paiute and Navajo.

ETHAN PETTICREW: Hello, my name is Ethan, and my Unangax name is Qanglaagix. And I am Unangax from Alaska.

ADRIENNE KEENE: (Non-English language spoken). Hi, everyone. This is Adrienne Keene. I am a citizen of the Cherokee Nation, and I come from California.

BLOCK: Matika Wilbur’s portraits of Native elders and kids, rappers, professors, artists and activists, and her interviews with them are now published in a huge book titled “Project 562: Changing The Way We See Native America.” Wilbur calls her project narrative correction work aimed at countering insipid and toxic stereotypes of Native Americans.

WILBUR: When I was talking to folks, I was aiming to understand – what are some of the true stories about your people that you want people to know? And also, you know, we talked about the effects of colonization and assimilation, termination, relocation, the experience of boarding schools, and then, of course, the best parts – how we’ve healed from that and what our people are doing to move forward and to develop healthy and strong and thriving indigenous nations in their own community.

BLOCK: Matika Wilbur’s photographs are stunning. We see two world champion hoop dancers, their bright regalia popping against a threatening sky, a woman peering out impishly through her fingers, inked with traditional Inupiaq tattoos and a comedy troupe, the 1491s, standing in profile in a line. We see just their dark silhouettes.

WILBUR: The 1491s are these five really, like, hilarious and brilliant men – Bobby Wilson, Ryan RedCorn, Sterlin Harjo, Migs (ph) – Migizi Pensoneau – and Dallas Goldtooth. You know, in the image, Bobby is picking his nose, and Sterlin is strangling Migs, and Ryan is tickling Sterlin, and Dallas wasn’t there that day (laughter). But, you know, I even love that, like, Bobby’s braid is sticking straight up at the end. And the 1491s happened when the internet first happened. And honestly, for me, watching the 1491s put out content was so meaningful for me because there was not a lot of Native humor that was accessible to us. Our humor is so prevalent in our communities, you know? It’s like joy goes hand in hand with justice. So if you come to one of our doings, there will be laughter and loud laughter.

BLOCK: Yeah. I’m thinking about generational divides. And one of the things that an elder, Ralph Burns, said to you – he’s been very active, I understand, trying to preserve Paiute culture. He said, sometimes I feel I should give up because kids seem not to really care, which has got to be such a daunting prospect for people of his generation.

WILBUR: Yeah. Ralph Burns is a member of the Pyramid Lake Paiute Tribe, where I photographed him in front of a rock formation known as Stone Mother in the photo, an incredibly important figure. The dine people call her White Shell Woman. People from several different tribes throughout the territory, they make these pilgrimage to that place to honor the Stone Mother or White Shell Woman. And so for me, I felt really, really deeply honored to get to spend time with Ralph. And it did make me very sad to hear him talk about the difficulty of passing on his cultural traditions to young people and to his community. And I think it’s a common thread throughout many different communities, not just Native people, you know, like, elders saying – these young people, you know (laughter)?

BLOCK: Yeah, kids these days. Yeah, yeah.

WILBUR: Kids these days, you know? And I certainly can remember my grandma saying that about me, you know? So – and actually, you know what? When I look back on it – because Ralph has gone on now to the spirit world. And so I feel a little sad right now in this moment talking about him. And I hope that he was able to find somebody that would listen, and I wish that I would have been a better listener when my grandma was still alive.

BLOCK: Well, your book, the project, is dedicated to your young daughter, Alma Bee, and there’s an image of her on the dedication page. She looks to be really young. She may be 1 in this photo. Can you describe the photo, what she’s wearing, where she is?

WILBUR: Before the book begins, there’s the dedication page, and it says – for Alma Bee, may your children hear and breathe the words of our indigenous ancestors, and may we all be so lucky to know an indigenous future. And Alma is standing in a place that’s very significant to us on our traditional homelands here in Tulalip, but it’s overlooking and pointing towards Skagit Bay with Swinomish in the background. And so, you know, I’m Swinomish and Tulalip. Alma is Swinomish and Tulalip, and so I wanted to take the photo somewhere where we represented both of our communities. She’s wearing a traditional cedar headband that my Auntie Judy made for her. She has on a ribbon skirt. She’s wearing dentalium. She has on a little kokum, a little grandma scarf. But yeah, she’s just so precious in that little photo.

BLOCK: And when you talk to her – I mean, she is very young, but when you talk to her about this project and what your hopes are for her, what do you think she takes from that?

WILBUR: Well, she’s 3 at the moment. But, you know, when I talk about an indigenous future, I’m talking about imagining a new world, a modern world that celebrates and uplifts our indigenous intelligence. And what would it mean for our children to know our languages and to incorporate that into their everyday lives? What would it look like for my baby, for Alma Bee, if she was able to be raised with a pedagogy that our cultural traditions, our belief systems, our value systems are incorporated into each of the lesson plans? You know, how profound would that be? And hopefully, you know, Alma will not have to carry the same shame, you know, that my grandmother had to carry for being a Native woman. Hopefully, she’ll never see signs that say – no Indians or dogs allowed. Hopefully, she won’t feel that – those feelings that my grandmother felt, that my mother felt and that even I felt. You know, like, what if she doesn’t know that? What if she’s free of that? And I have to believe that it’s possible for her.

BLOCK: I’ve been talking with Matika Wilbur. Her book of photographs and interviews is “Project 562: Changing The Way We See Native America.” Matika, thank you so much.

WILBUR: Oh, yeah. Thank you so much for having me, (non-English language spoken). Thank you, relatives, for letting me share with you today.

(SOUNDBITE OF MUSIC)

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Here’s What Happens When You Post for Two Weeks Straight on Major

Here’s What Happens When You Post for Two Weeks Straight on Major

Social media is a necessary evil for a lot of photographers, as it is the place where many potential clients will see your work and first contact you. However, with so many platforms and the need for continued, consistent posting, you might wonder where your time and efforts are best spent. This great video features a filmmaker discussing the results from a two-week experiment of posting to TikTok, Instagram Reels, and YouTube Shorts. 

Coming to you from YCImaging, this interesting video discusses an experiment in which he posted to TikTok, Instagram Reels, and YouTube Shorts for two weeks and measured his growth on each platform. While some photographers can go entire careers without engaging with social media, it is a necessary business tool for many others. Even though I rarely post, I still get many of my inquiries through accounts, as people often use platforms like Instagram as their starting point in seeking out video and imagery. As such, it is worth having at least a presence on one or two platforms, though you do not need to be the obsessive who spends multiple hours a day making and posting content. A carefully planned and regular content strategy is often most effective, as many platforms reward consistency with increased reach. Check out the video above for the full rundown.

Behind the Artist: Covering 75’s Celeste Byers

Behind the Artist: Covering 75’s Celeste Byers
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Each month in 2023, we’re asking a local artist to recreate one of our iconic covers from the past 75 years. For April, we tapped Golden Hill–based muralist and illustrator Celeste Byers to reimagine a 1949 cover. You can see her recreation here and learn more about her in the Q&A below:

Tell us how you found your distinct art style and how you honed your skills.

I came up with the style for my Mating Games comic (the style in which I re-created the San Diego Magazine cover) in 2017 after traveling for a mural gig and having a fling with this guy who ended up having a girlfriend. I wanted to make art about the experience but didn’t want anyone to know it was me, so Mating Games was born. I imagined my encounter with him playing out step-by-step in this simplified style of drawing that was completely different from the detailed organic work I usually made.

It’s meant to be funny and lighthearted ,and eventually I just let people know I was the one who made it. My murals and other illustration styles are more time-consuming and are more of a result of how I naturally draw and paint than any conscious decision to create a style. I like that I have all these different styles to express different aspects of myself.

What artists do you admire or look up to?

Within the past year I’ve really been admiring Sasha Gordon. She’s half-white and half-Asian, like me, but is only 24 years old and painting these amazing self-portraits about her identity. I’d highly recommend looking up her work and seeing it in person if you have a chance. I saw her Mood Ring painting last year at Jeffrey Deitch gallery in Los Angeles and it blew my mind how powerful it felt and how well it was executed. I kept coming back to it. The painting is 60 fett by 72 feet of her giant face with this rainbow opal texture that is really, indescribably incredible.

How do you think your art reflects the southern California lifestyle?

Living in San Diego has given me the opportunity to paint outside year round. In other parts of the country and world, there is mural season—but here in San Diego, unless it’s raining, it’s pretty much always mural season. I tend to reflect my surroundings in my art so when I’m here I end up painting San Diego’s local people and native wildlife, and even when I’m not here I’ve been so saturated in beachside living that it’s given me this preference for vibrant, sunny-day colors and I end up making work that’s within this very southern California palette that feels like my natural habitat.

What are some of the brands you have enjoyed working with the most and why?

The brands I’ve enjoyed working with most are the ones that were a part of my life to begin with, like Pacifico Beer (which, to this day, is one of my dad’s favorites and was therefore always in our house growing up), Sephora and REI (because I’d been going to both since high school), WarnerBros, NBA on TNT, LG, Amazon, American Express, and NBC … They are household names. Plus, Lyft, Facebook, and Airbnb because I use them all to this day, and the New York Times because it’s a great publication.

Beyond working with brands, I enjoy feeling like my art has had a greater impact on society, which happens when I work with organizations like Amplifier Foundation, [for whom I’ve made] a variety of artworks concerning social justice and environmental justice issues, most notably my We Are American poster that depicts a culturally diverse array of activists from our country’s history marching in unity under the American flag. Working with Amplifier gave me a platform to actively engage in our country’s contemporary history and to create a compelling image that was shared by hundreds, if not thousands, of people on social media—including actor Julia Louis-Dreyfus, pop-star Camila Cabello, and the supermodel Iman—in the days leading up to the 2020 election.

Other notable organizations are PangeaSeed and their SeaWalls: Murals for Oceans project (which enabled me to paint murals in four countries to raise awareness about ocean conservation issues with some of the world’s best street artists), SODO Track and Forest for the Trees mural festivals in the Pacific Northwest, and Proyecto Panorama in Cancun, Mexico, where I painted a four-story high Native Mayan great-grandmother with Aaron Glasson on the apartment building where three generations of her family lived. It was also fulfilling to paint my three-story California Immigrants mural on Oxnard City Hall because at the unveiling I could tell that my work really meant something to the community I painted it for.

What do you have on the horizon?

I’m traveling to the Big Island of Hawaii next month to do an artist residency with Temple Children, where I’ll be collaborating with artists Emily Devers (Australia) and Kristie Fujiyama Kosmides (Hawaii) to paint a mural for Keakaha One Youth Development program, [which] helps Native Hawaiian … youth ages 8 through 18 in the Hilo community. After that I’ll be painting a mural for an apartment building in Hollywood, Los Angeles, and will be coming back to San Diego this summer to paint two new murals at the RaDD IQHD campus downtown. I’ll be painting an exterior mural for the new Starbucks in Oceanside in September. Within my personal painting practice, I’m working on a series of paintings about identity issues from an Asian-American female perspective, with hopes to expand my artistic practice from illustration and murals into gallery and museum spaces.

Where do you like to go to get away and relax? 

Sometimes I don’t have to go far to relax. Just laying in the sun and limiting my time on social media can do wonders for making me feel like there’s more time in the world. I love hiking and spending time outside or anywhere with a big window or a view so I can at least admire the outside. The last relaxing vacation I went on was Tahoe last summer where I hung out at the lake, floated down the river, and biked through the lakeside forest paths. So perfect.