A man who became trapped inside a notable piece of Edmonton public art made of large silver spheres was arrested soon after firefighters helped him escape the structure.
Man who became trapped inside Edmonton public art charged with mischief
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5 Essential Things to Have in Place for Your New Photography Business
Before you start your photography business, there are a few essential things you need to have in place. Utilize this as a checklist to tell yourself that you’re ready to launch.
#1. Website, Portfolio, and Email Address
Think of this trio as the alternative to a storefront. For a brick-and-mortar business, you need a location for your customers to go and a way for them to purchase your goods or services. There’s an expectation with most modern businesses that you’re going to have a website to share with potential clients and a way for them to contact you through that website.
Additionally, as a photographer, you should have some sort of portfolio. Your portfolio doesn’t have to be perfect when you’re starting out but the quality of your portfolio may reflect the quality of work that you’re able to book. Similarly, the type of work you show might impact the type of work you attract.
Don’t get hung up on having the perfect portfolio or website as you’ll refind them repeatedly over time anyway. However, you can always plan some portfolio-building photoshoots so that you have work to showcase. If all your work is portraiture and you’re building a real estate business, for example, you’ll want to create some sample images to showcase at least enough to get that first gig.
#2. Insurance, Business License, and Permits
This second trio consists of the official things you’ll need to put in place to be legit. Some small-time friends/clients might not care if you’re a licensed and insured photographer but when you’re ready to start your business you’ll need to take care of business. The other thing that might apply is permits, specifically if you’re shooting at locations that require a permit to conduct business.
A quick internet search for your state will provide you with the simple steps to getting a business license. Luckily photography permits are becoming easier to understand, track down, and acquire for various locations. Your local regulations will indicate if you need a license for your city, county, or state and how often you have to renew. When it comes to insurance, there’s equipment coverage and liability.
As you grow you might consider becoming an LLC to limit your liability, but that comes with its own limitations and may not be a factor if you’re just starting out. As we move into the next section on finances it will help you determine where you stand. If you’re a freelancer there will be different considerations than if you’re building a business and plan to hire other photographers.
#3. Contract, Licensing Agreement, Pricing
Next up you’ll want to have a contract, licensing agreement, and price sheet in place. Your pricing might depend on your market, experience, and budget which we’ll talk about more in the next section. Your contract and licensing agreement are what will protect you on the legal front.
The best thing to do is to get advice from a lawyer and ideally one who specializes in the photography industry. There are also templates and best practices that you can use as a starting point. Your contract might evolve as your business grows and you learn what is important to communicate clearly with your clients.
Image licensing is a whole other topic that you’ll want to understand as it pertains to your specific specialty. Your pricing is another thing that will change over time but it’s important to have a starting point for when potential clients reach out. Start by researching the market value for your work and what your competitors are charging but then also take a look at your budget.
#4. Budget, Business Bank Account
The next step, as I mentioned above, is to think about money. You need to create a budget and open a bank account. It’ll be important to have a separate bank account and keep your business expenses separate from your personal not only for tax reasons but to ensure you’re running a profitable business.
When creating your budget you’ll want to determine the cost of running your business including how much you want or need to make. This is yet another thing that might change and it’s important to revisit your budget quarterly or monthly. You may decide you need to spend more on marketing or you might have unexpected expenses come up.
Having a budget is crucial to knowing where you stand and what you need to do next. You can use your budget to determine your pricing or the quantity of work you need to book. Eventually, you’ll get even more advanced and track your marketing costs to make sure you’re getting a return on your investment.
#5. Marketing Plan
Speaking of ROI (return on investment) let’s talk about marketing. Marketing is all about finding clients. Your marketing plan will vary depending on your photography specialty but some elements are the same.
You need to determine who your target market is, how to reach them, and how to get them to hire you. Sometimes it’s a long game of cultivating clients while other times you just need to be there when someone is actively looking. Usually there’s a bit of both, actively generating new leads and continuing to cultivate the ones you have.
There are numerous marketing techniques and photographers that swear by particular ones. You probably won’t have the time or budget to do them all so start with the ones that seem the most effective in your target market. Track everything and evaluate the effectiveness of your plan.
Kicking Off Your Photography Business
Once you’ve checked these 5 essentials off of your to-do list, it’s time to kick off your photography business. Some people start before they’re ready and it makes it harder for them to gain traction. Other people are more inclined to wait until everything is perfect and they never actually get started.
One of the best ways to learn is to get started. Get your essentials in place and then get to work. Track your progress, evaluate what’s working, and adapt as needed. Starting a business can feel risky but if you do it thoughtfully failure is just a learning experience.
About the author: Brenda Bergreen is a Colorado wedding photographer, videographer, yoga teacher, and writer who works alongside her husband at Bergreen Photography. With their mission and mantra “love. adventurously.” they are dedicated to telling adventurous stories in beautiful places.
Image credits: Header illustration line drawings from 123RF
Spruce Pine artist’s sculpture ‘Staurolite’ installed at WCU’s Apodaca Sciences Building
The sculpture pad in front of the Apodaca Sciences Building at Western North Carolina University has been filled.
‘First of its kind’: Indigenous fashion week coming to Salt Lake City
Artist and designer Jessica Wiarda saw a gap as she observed different fashion weeks taking place in Utah.
“There was no Indigenous-specific fashion week this year. I was seeing all these other cultures represented, but Indigenous wasn’t there,” said Wiarda, who is Hopi/Tewa.
The realization came as Wiarda began wrapping up a yearlong artist in residency program through nonprofit Utah Diné Bikéyah and the Leonardo Museum. Instead of a farewell event celebrating just her residency, Wiarda decided to gather other Indigenous artists and models for Utah’s first Indigenous Fashion Week.
This year’s fashion week will consist of one night featuring work from artists representing half a dozen tribes — including Hopi, Navajo (Diné), Ute, Northern Ute, Apache and Anishinaabe Ojibwe — as well as a section featuring powwow regalia. But Wiarda hopes the show will be the start of an annual tradition.
“It just is going to get bigger and better,” she said, adding that the event is entirely Indigenous-led and -run.
“There are no stereotypes here; it’s just us as ourselves — and that’s why it’s a really important event,” she said. “It’s open to everybody and it’s a rare look into something that I feel like a lot of people are afraid to ask questions about because it’s such a marginalized community. We’re still here and we’re reclaiming our culture through fashion.”
Michael Haswood, a Diné artist who is helping organize the show, said although the event will very much be a modern fashion show, many of the pieces will incorporate traditional designs.
Participants practice their walking as they rehearse for an Indigenous fashion show at the Leonardo Museum in Salt Lake City on Sunday.
Scott G Winterton, Deseret News
“Every Native American is raised to be proud of your ancestors and what they’ve done and this is the reason why we’re having a fashion show because we want to show the old art and the old designs,” he said.
Haswood added that although fashion week happens on the Navajo Reservation, there’s nothing similar in Salt Lake City.
“We want to bring that energy, that power and that art up here,” he said. “I think Salt Lake City needs something like this, to have the Native Americans voice who they are now. We’re still here; the Native Americans are still here. We’re still thriving, we’re teachers, astronauts, baseball players, designers and artists.
“That’s one thing I want to say is that we’re here, we’re proud and we’re still thriving in the community.”
Michelle Brown, an Indigenous designer who will be modeling during the show, agreed that the event will be impactful for Salt Lake City.
Rhianna Russell and Michelle Brown practice their walking as they rehearse for an upcoming Indigenous fashion show at the Leonardo Museum in Salt Lake City on Sunday.
Scott G Winterton, Deseret News
“I think it’s a really important event for Salt Lake City to have because we are so attuned to looking at European designers or New York designers, but there’s not a lot of Indigenous representation here in Utah where you have so many talented designers from several tribes putting out their work,” she said. “There’s so many designers across Europe and the U.S. that borrow Indigenous designs when they weren’t really permitted to do so. So I think it’s really important to see firsthand what First Peoples are producing and the stories that they’re still telling.”
Brown encouraged those attending the show year-round support for the artists, a number of whom will be selling their work before and after the show.
The fashion show will take place on Saturday, April 15, from 6 to 8 p.m., at the Leonardo. Tickets are $5, and the profits will go towards paying the models and staff and to the Hopi Education Endowment Fund.
10 Books Every Photographer Should Read Now
As a photographer, focusing on improving your craft is one of the most important things to do. Money can buy the latest equipment, but it can’t buy you knowledge of how to use that equipment.
For me, photography is not only about capturing moments but also about conveying a message through those images. A deep understanding of the artistic and philosophical aspects of photography is a must if you want to create images with intent. One way that has helped me deepen my understanding of photography was reading books about it. Here are the top 10 books that I would recommend every photographer read:
This is the most widely recommended book to read for photographers. Published in 1977, this book is a collection of essays that explore the role of photography in modern society. Susan Sontag, being a partner of Annie Leibovitz, had a deep personal involvement with photography. It is likely that the essays that she wrote about photography were inspired by the stories of Leibovitz. In the book, you will find essays on the ethics of taking photographs, the relationship between photography and reality, as well as the power of images to shape popular opinion.
Cartier-Bresson is one of the most celebrated photographers in the world and indeed one of the pioneers of modern photography. In his book, he details the ability to capture a moment where the whole photograph comes together in a perfect storm.
In my own work, I often encourage the subject to move as much as possible and then capture the moment as it’s happening in real life. In this way, I adopt the methods of Cartier-Bresson. He was indeed the master of capturing the perfect moment, and that became a cornerstone of his style. This book is a testament to his skill as a photographer and provides valuable insights into his creative process.
Every time someone asks me where did I learn light, my answer is always the same. This is the book for learning light. Forget everything you knew before reading it. This resource will teach you to light without thinking about setups. It will give you the required knowledge for dealing with almost any lighting scenario and problem. Shooting fashion, I work a lot with mixed surfaces, so being able to find the perfect light that would both show the clothes and the model in the best angle possible is a priority. Light: Science and Magic taught me all the lighting skills I have now, and I am yet to find a better resource to learn lighting.
Being able to select the perfect photograph from a series of images is a vital skill every photographer must have. One of the most significant parts of the photographic process in itself is the selection process. What you pick to be the final image is essentially what your taste is. Magnum is one of the most prestigious photo agencies in the world, and in this book, they offer a fascinating glimpse into the creative process of some of the world’s most renowned photographers such as Robert Capa and Martin Parr.
In his book Camera Lucida, Roland Barthes explores the philosophy behind photography. It is a discussion on how to create meaning with images, which is as significant as being able to light a photograph. Understanding subtexts, implications, and the impact your images can have is a great skill to have which will allow you to take images with intent. Barthes also discusses the emotional impact of images and what makes an image powerful.
Being one of the greatest photographers in the world, Annie Leibovitz offers insight into her creative process in this book. She takes the reader behind the scenes and discusses a wide range of subjects and shooting scenarios. From the emotional impact of photography to the technical aspects of her work, Leibovitz covers it all in her book. In fact, this was one of the first books I bought, and it has helped me a lot to become a better image-maker.
If you are a beginner photographer who needs help with the foundations of photography, this book is perfect for you. It’s a technical guide that covers the basics of exposure, including aperture, shutter speed, and ISO. It provides a clear and concise explanation of each concept, which leaves the reader clear on how to expose images. I strongly encourage every beginner to have this book and save time by reading it instead of searching on YouTube.
Widely regarded as the father of photography, Ansel Adams explains the workings of his equipment and gives a very technical perspective on his work. While some of the concepts may be outdated for the modern photographer, it is still a valuable read for anyone who wants to shoot on film. Another group I would recommend this book to is black and white photographers.
In this book, Geoff Dyer examines the development of photography through a series of essays about iconic photographs and the photographers behind them. To me, this is a book that offers invaluable analysis and provides the reader with tools that enable them to create images rather than take them. It is a fantastic insight into the creative process and development of photography as an art form.
In this book, Steve Simon shares his views on how to improve your photography. I tend to agree with his opinion on what makes a great photographer. It is not only technical skill but also the ability to convey an aesthetic and see the beauty in things. The wonderful thing that I found in this book is the way it is structured: 10 separate steps that will help you develop your aesthetic and find your own authentic creative voice.
Closing Thoughts
I tried to make this list a mix of both technical and non-technical books to give everyone something they like. The list is by no means complete, and I would love to hear your opinion in the comments below. Feel free to share some of your favorites with us!
Vast Landscapes Escape the Edges of Tiny Frames in Barry Hazard’s Miniature Paintings
“Winter Cabin” (2021), acrylic and wood on panel with frame, 3 x 3.5 x 1 inches. All images © Barry Hazard, shared with permission
Sunlit mountains rise from lush valleys and foam caps the crests of waves in the expansive landscapes of Barry Hazard, painted at a scale that could fit snugly in the palm of your hand. Using wood panel as a base, Hazard builds up sculptural vistas in thick acrylic paint, detailing wildflowers, sandy beaches, and snow-capped peaks. Ranging from a couple of inches to about half a foot, his diorama-like Minis overflow from their tiny frames.
Hazard began working on a small scale during the pandemic when he was invited to participate in a show at Shelter in Place Gallery, a 1:12-scale gallery that operated in 2020 and showcased its exhibitions online when lockdowns made visiting physical exhibitions impossible. He relishes making the Minis because of the sense of immediacy evoked by the medium in such a small surface area. “A single brushstroke may capture an entire sky, and an idea or impulse might be completed in minutes or hours—not days,” he says.
Beginning with a frame sourced from a dollhouse supplier, he builds up the surface using acrylic gesso and modeling paste before adding vivid color. Rendered with loose precision, features in the Minis like paths, hills, and figures are clearly defined yet anonymous. Containing sprawling scenes in a tiny space provokes a type of reflection and contemplation that requires moving in close, rather than standing back to take in a grand view. “The scale is the antithesis to something grand or monumental,” he says, inviting viewers to approach “with less caution than a large painting and perhaps a greater sense of intimacy and playfulness.”
Hazard also applies similar techniques to larger paintings. He will have work presented by Good Naked Gallery at Barely Fair in Chicago this April and Future Fair in New York City in May. Find more work on his website and Instagram.
“Lovers Quarrel” (2020), acrylic on wood with frame, 2.5 x 2.5 x 1 inches
“Cove” (2021), acrylic on wood with frame, 2 x 2.5 inches
“Twilight Car” (2023), acrylic on wood with frame, 2.5 x 3 x 1 inches
“Gathering” (2020), acrylic, wood, and plastic on panels, 4 x 4 x 6 inches
Left: “Mini Canyon” (2020), acrylic on wood, 2.5 x 3 inches. Right: “Cemetery Tree” (2022), acrylic on wood with frame, 3 x 3 x 1 inches
“Spring Cabin at Winter” (2022), acrylic on wood with frame, 3 x 3 x 1 inches
“Rocky Shore” (2020), acrylic on wood with frame, 1.5 x 2 inches
Left: “Wildflowers (Poppies)” (2022), acrylic on wood with frame, 3 x 3.5 x 1 inches. Right: “Elevated Valley” (2023), acrylic on wood with frame, 3 x 2.5 x 1 inches
“Coyote” (2020), acrylic on wood with frame, 2.5 x 2.5 inches
“Beach Daze” (2021), acrylic and wood on panel, 4 x 4 x 7 inches
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 Vast Landscapes Escape the Edges of Tiny Frames in Barry Hazard’s Miniature Paintings appeared first on Colossal.
Take 5: NFTs by Jeres, Charley Harper Tiles, DIY Treehouses + More
I admit, I’m still slowly dipping my toe into the Metaverse, mostly because it’s a lot of new lingo to understand. But that hasn’t kept me from admiring and loving various NFTs (non-fungible tokens) and NFT artists I’ve come across – Jeres, being one of them. Every collection is different, yet equally as visually appealing. I find myself endlessly scrolling through each iteration of every collection more times than I’d like to admit on missions to find my favorites. I’ve realized that task is impossible so I just enjoy them all. They’re abstract, colorful, unique, and geometric, and most definitely, mesmerizing.
I’ve always loved Charley Harper’s work, especially the way he brought animals to life in his own stylized way. I’ve seen his work on various types of products, like prints, puzzles, and textiles, but I’ve never seen it on tile before until I saw Motawi Tileworks’ collection. The Michigan-based brand specializes in Art Nouveau, Arts and Crafts, and Mid-Century Modern designs, making Harper’s work a natural fit. They just added three new mini 3×3″ tiles to their already expansive collection and I fell in love with them! The Mouse, Grosbeak, and Chipmunk join a number of other mini tiles featuring Harper’s animals, each one more adorable than the next. You can hang the tiles on the wall or install them as you would any other tile. Either way, it’s a great way to continue Harper’s legacy long after his 2007 death.
Left: The Lucent Side Table Right: The California Table
I’ve always been a huge fan of Elyse Graham’s work, so I was excited to see she’s launched new resin tables. Elyse continues to push the boundaries of what resin can do and each time it’s truly exciting. It’s one thing to make a resin table, but it’s another thing to create colorful, abstract resin panels to then turn into sculptural tables. Watching as light softly passes through the more transparent areas is truly something to see. While they obviously provide function as tables, they’re beautiful sculptures that can transform any space.
They’re like a combination of a puzzle and a LEGO set, and I think they look pretty fun. It comes with everything you need to make a cool mini modern treehouse that you can sit on a shelf or at the base of a plant (acrylic stake included). It even has LED lights to make your treehouse light up which looks particularly cool when it’s in a plant. Overall, it’s pretty small at just 3.7″ x 4″ x 6.1″, hence the tiny in the name, and should take you about 2-3 hours to build. Sounds good for a rainy, low-key day. Plus, there are other models to choose from!
If you’re at all into art or illustration, or ever seen an “I Heart New York” t-shirt or bag, you’re probably familiar with the work of Milton Glaser. Still one of the most celebrated graphic designers of all time, Glaser, while most known for the above-mentioned ode to NYC, his catalog of work goes far deeper. He’s designed fonts, co-founded New York magazine, illustrated countless posters and album covers, and even created the trippy promotional ads for the final season of Mad Men. I’ve always been fascinated by his life and iconic work so getting to learn more about it in this gorgeous book featuring his work during the 1960s and 1970s is a yes from me.
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Why upgrading your photography gear isn’t always the answer
Once in a while, photographers get the itch to upgrade their photography gear. Sometimes it’s just a new lens, a new body or a new accessory; others, it can be a complete overhaul. But when is it really time to do an upgrade?
In the video above, UK-based street and travel photographer Roman Fox reminds us that upgrading is not always the answer when we’re no longer happy with our photography, or even our current gear. Sometimes, all we need is a change in our current mindset, or a closer look into how our creative taste or skill level have changed.
Likewise, we don’t always need the top of the line photography gear with all the bells and whistles. Just because some pro photographer or influencer uses it doesn’t mean you have to. In fact, majority of today’s photographers don’t need a super high-end camera or lens. The pros are using these as their workhorses for a reason!
Of course, there are also instances when an upgrade is necessary, so Fox also covered those in his video. A good example is when your current gear causes some serious limitations to the photography that you want to do.
Additional reading: When is the right time to update your photography gear?
So, do you agree with the points Fox mentioned? What do you consider to be valid reasons to upgrade your photography gear? Share your thoughts with us in the comments below, or in our group discussion if you’re already part of the Photofocus Community
Met Museum Commissions Bring Contemporary Art Front and Center
With a new wing years away, the Met will highlight cutting-edge art with Nairy Baghramian on its facade and Jacolby Satterwhite in the Great Hall.
For a contemporary artist, the facade of the Metropolitan Museum of Art and the walls of its Great Hall are prime real estate for showing work, given the Met’s importance and the huge number of visitors it gets (more than 3.4 million in 2022).
Today the museum is announcing new commissions that will take over both spaces in the fall.
The Berlin-based sculptor Nairy Baghramian will make four sculptures for the facade niches along Fifth Avenue as part of her installation “Scratching the Back,” on view from Sept. 7 to May 19. From Oct. 2 to Nov. 23, the Great Hall will be filled with works by the Brooklyn-based multimedia artist Jacolby Satterwhite.
Max Hollein, the museum’s director, said that the two new commissions — along with the previously announced roof garden project by Lauren Halsey that opens April 18 — reflect the Met’s priorities.
“It’s about creating opportunities for artists in spaces that are very public, present and accessible,” said Hollein, adding that it was part of making contemporary art “front and center in an institution that is bold but also playful.”
Though the spaces are highly visible, they are not necessarily easy for an artist to fill. “They are powerful spaces, but challenging,” Hollein said. “It’s not another white box.”
Hollein — who this summer will also become the museum’s chief executive — pointed out that the commissions were but one part of the Met’s effort to center contemporary art.
“We’re building a whole new wing for it,” Hollein said of the $500 million expansion for Modern and contemporary work being designed by the Mexican architect Frida Escobedo. It is slated for completion in 2029.
Baghramian, who was born in Iran, will present abstract, polychrome sculptures, in the niches, that “seem to have washed up like flotsam and jetsam,” the museum said. It will mark her first public art installation in New York City and the fourth in the series of Met facade commissions.
Baghramian won the 2022 Nasher Prize, given by the Nasher Sculpture Center in Dallas, and recently had a show there, “Modèle vivant.”
Hollein is a longtime fan of her work. Her 2021-22 show at Vienna’s Secession exhibition space made a particular impression on him. “I was blown away,” he said. “It was one of the most powerful installations by a sculptor I had seen in a long time.”
The outdoor niches are currently occupied by a show of Hew Locke’s sculptures, “Gilt,” which is up through May 30.
The Great Hall has not had an official commission since the 2019 debut of two large paintings by the Canadian artist Kent Monkman. “It’s not on a schedule,” Hollein said. “We only do the Great Hall when we feel it’s right.”
Satterwhite is a South Carolina native who was featured in the Biennial at the Whitney Museum of American Art in 2014, and more recently did a commission for the overhaul of David Geffen Hall at Lincoln Center that debuted in October, a video called “An Eclectic Dance to the Music of Time.”
He will make an elaborate work incorporating video, sound and performative interventions. Some of the animation in the piece will depict objects from the Met’s collection that have been 3-D scanned.
“It will create an immersive narrative that will take you in different directions,” Hollein said.
One of the donors who is contributing to the Satterwhite installation in the Great Hall is Sarah Arison, a museum patron and president of the Arison Arts Foundation.
“It’s a grand, institutional space,” said Arison, who is also a trustee of the Museum of Modern Art and the Aspen Art Museum. “I love that the Met is going to showcase someone young and dynamic there.”
‘First of its kind’: Indigenous fashion week coming to Salt Lake City
Estimated read time: 3-4
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SALT LAKE CITY — Artist and designer Jessica Wiarda saw a gap as she observed different fashion weeks taking place in Utah.
“There was no Indigenous-specific fashion week this year. I was seeing all these other cultures represented, but Indigenous wasn’t there,” said Wiarda, who is Hopi/Tewa.
The realization came as Wiarda began wrapping up a yearlong artist in residency program through nonprofit Utah Diné Bikéyah and the Leonardo Museum. Instead of a farewell event celebrating just her residency, Wiarda decided to gather other Indigenous artists and models for Utah’s first Indigenous Fashion Week.
This year’s fashion week will consist of one night featuring work from artists representing half a dozen tribes — including Hopi, Navajo (Diné), Ute, Northern Ute, Apache and Anishinaabe Ojibwe — as well as a section featuring powwow regalia. But Wiarda hopes the show will be the start of an annual tradition.
“It just is going to get bigger and better,” she said, adding that the event is entirely Indigenous-led and -run.
“There are no stereotypes here; it’s just us as ourselves — and that’s why it’s a really important event,” she said. “It’s open to everybody and it’s a rare look into something that I feel like a lot of people are afraid to ask questions about because it’s such a marginalized community. We’re still here and we’re reclaiming our culture through fashion.”
Michael Haswood, a Diné artist who is helping organize the show, said although the event will very much be a modern fashion show, many of the pieces will incorporate traditional designs.
“Every Native American is raised to be proud of your ancestors and what they’ve done and this is the reason why we’re having a fashion show because we want to show the old art and the old designs,” he said.
Haswood added that although fashion week happens on the Navajo Reservation, there’s nothing similar in Salt Lake City.
“We want to bring that energy, that power and that art up here,” he said. “I think Salt Lake City needs something like this, to have the Native Americans voice who they are now. We’re still here; the Native Americans are still here. We’re still thriving, we’re teachers, astronauts, baseball players, designers and artists.
“That’s one thing I want to say is that we’re here, we’re proud and we’re still thriving in the community.”
Michelle Brown, an Indigenous designer who will be modeling during the show, agreed that the event will be impactful for Salt Lake City.
“I think it’s a really important event for Salt Lake City to have because we are so attuned to looking at European designers or New York designers, but there’s not a lot of Indigenous representation here in Utah where you have so many talented designers from several tribes putting out their work,” she said. “There’s so many designers across Europe and the U.S. that borrow Indigenous designs when they weren’t really permitted to do so. So I think it’s really important to see firsthand what First Peoples are producing and the stories that they’re still telling.”
Brown encouraged those attending the show year-round support for the artists, a number of whom will be selling their work before and after the show.
The fashion show will take place on Saturday, April 15, from 6 to 8 p.m., at the Leonardo. Tickets are $5, and the profits will go towards paying the models and staff and to the Hopi Education Endowment Fund.
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