Kian Kline-Chilton

Pronouns: Kiki/they/he (“My friends call me Mama Kiki”)

Age: 27

Birthplace: La Mesa

Instagram: @kian.k.c.

Q: Tell us what it’s like living in America today as an LGBTQ+ artist and how it is impacting your life and your work.

A: In so many ways, this is the most important time to let my queerness be the most beautiful and important thing to me. It is so crucial that I never, at any moment, am ashamed at what makes me so unique. It is a gift to be queer and an even greater joy to be a queer artist. Despite the efforts to erase us, I know that the community is triumphant. I’m really grateful to be in a moment of transition and growth. My life is radiantly evolving every day and that is never lost on me. In a lot of ways, I have never felt more beautiful than I do now. But I know that can’t be every day. And so I let my art and my creativity be the joy and inspiration. There’s a tenacity to being a queer artist. We know that we have the power to create empathy and transform past the norm. America has asked us to shrink, and we have gotten louder and prouder. We are defiant. I am empowered by all my queer family and allies. I am resilient.

Kian Kline-Chilton at The Clark Cabaret & Bar at Diversionary Theatre, where he was recently appointed to the position of associate producer.

(K.C. Alfred/The San Diego Union-Tribune)

Q: Tell us more about yourself and/or your work.

A: The easiest way to remember how to say it is you have a KEY and you turn your car ON. I digress. I’m an early-career director residing in Southern California. I’m the newly appointed Artistic Producer artistic producer of Diversionary Theatre. It’s the third-oldest LGBTQ+ theater in the country. To say I’m honored would be an understatement frankly. There’s no real way to describe the jubilation of being in a space of dedicated and fabulous queer folxCQ. It really is one of the best team’s teams I have ever had the privilege of being on. The recently renovated space sits in the heart of University Heights, an incredible San Diego neighborhood. We produce some of the nation’s best and newest queer work ranging from Tennessee Williams to our recent hit Go-Go’s musical “Head Over Heels.” We have nine broad-reaching arts education programs that change lives and inspire queer youth to be the brightest stars they can be. And we have our gorgeous Clark Cabaret that hosts a multitude of events from karaoke, live music and “Drag Race” watch parties. I have the honor of facilitating the art that will get done here, introduce introducing San Diego to some of the best queer talent, and create creating accessibility to the arts in numerous communities. It’s a wonderful place.

Since 2021, I’ve been so fortunate to be a freelance director and develop some of the most exciting world premieres around San Diego. The focus of the work I have been a part of has been primarily assisting and associate directing in women-led rooms on pieces that explore the bridges between culture and identity. It’s been an honor to be a part of the great shift of how we tell queer and women stories and, most important for me, stories that allow young artists like myself to be seen in the work that’s being produced.

Kian Kline-Chilton at The Clark Cabaret & Bar at Diversionary Theatre, where he was recently appointed to the position of associate producer.

(K.C. Alfred/The San Diego Union-Tribune)

It’s really important for me that the theater I make is accessible to everyone, so I work hard with community engagement departments and marketing to ensure that those who want to see the show can have access to seats or affordable tickets. I find partnerships that allow the theaters themselves to be introduced to new faces audiences.

Overall, I pride myself on being a community-based artist who strives to embrace the intersection between art and activism. I am an artist because I love to embrace and celebrate what makes us unique, especially the queer community. For me, theater is a sanctuary where we come to be a part of something. I believe that the best kind of art engages you emotionally, mentally and inspires you. I have a deep passion for pushing the boundaries of what theater can be.

I think it’s what we desperately need right now. If we can, we should always try to give our audiences transformative experiences. I love to make audiences active participants of the art they’re consuming. Whether it’s dance or even hand clapping, I love to think of the shows I do feeling like a great concert.

ST. JOSEPH, Mich. (WNDU) – Hundreds of artists and art enthusiasts are in St. Joseph, Mich., this weekend for the 61st annual Krasl Art Fair on the Bluff.

The fair features nearly half a mile of art, with over 170 artists from 24 states setting up booths and showcasing their unique art.

There are ten categories, from painting and photography to glass blowing and sculpting, and one artist from each category will take home artist of the year.

Officials with the Krasl Art Center say the $5 admission fee goes to support year-round access to the arts in southwest Michigan.

“This event actually predates the Krasl Art Center,” said Matthew Bizoe, marketing manager at the Krasl Art Center. “Back in the 1960s, a couple of local artists wanted to put on a clothesline art fair, and that has now transformed into one of the top art fairs in the nation, especially for artist sales. Artists love coming here because our community shows up to buy their artwork to bring home with them.”

The fair also has around 300 volunteers to help run the event, including 30 people who work year-round.

This year’s featured artist is Alann Jordan, who combines nature with a futuristic component.

If you missed the fair Saturday, you can still catch it Sunday. Gates open at 10 a.m. and close at 5 p.m.

Copyright 2023 WNDU. All rights reserved.

One thing the 2023 Denver mayoral election was not was a referendum on the arts. Of all the contentious issues that came up during the campaign ranging from encampments to armed officers in schools, support for the arts came up, well … never. Denver is lucky that way. Outgoing Mayor Michael Hancock will be remembered as a champion of the arts, and incoming Mayor Mike Johnston made it perfectly plain in his platform that’s not going to change.

“To encourage the growth of our arts scene, we need to make deliberate and purposeful decisions to make Denver one of the art centers of America,” Johnston said.

Johnston inherits a city with a vibrant creative industry that supports nearly 100,000 jobs, mostly concentrated in the music, theater, dance and visual-arts space. But Johnston would be the first to point out that while creative jobs in Denver have jumped nearly 29% over the past decade, the average price of rent in the metro area nearly doubled. And that’s discouraging artists from moving into – or staying in – the city. 

To combat that, Johnston’s platform included a promise to create a physical campus to house a permanent Artists-in-Residence program. Up to 10 artists would receive a two-year fellowship that includes housing, stipends, materials and studio space with the charge, Johnston said, “to create beautiful art that inspires the city.”

It’s an ambitious, $10 million program Johnston thinks can be paid for from philanthropic sources or as an in-kind land contribution from community leaders.

The fellowship idea would essentially be an expansion of the groundbreaking artist residency program at the RedLine Contemporary Arts Center partly funded by the city. This one would expand the kinds of eligible artists to include more disciplines.

Each artist’s fellowship would culminate in a public showing of some kind. For a visual artist, that might mean the unveiling of a large-scale mural. For a playwright, that might mean the mounting of a world-premiere production. For a filmmaker, that might mean resources and a debut screening. Along the way, all selected artists would be expected to engage with students at local public schools to help communicate the importance of the arts from an early age.

“The City of Denver will serve as these artists’ gallery; making the city a more vibrant, colorful locale,” Johnston said.

If it happens, this fellowship program would fall under the direction of Denver Arts & Venues, which acts both as a marketing agency to promote the economic vitality of the arts, while also managing big-time city-owned venues including Red Rocks, the Denver Coliseum, the Colorado Convention Center, the Denver Performing Arts Complex, the McNichols Civic Center Building, the Studio Loft above the Ellie Caulkins Opera House and, once it is refurbished and reopened in 2026, the May Bonfils Stanton Theater and Library on the former Loretto Heights College campus. Arts & Venues also oversees the city’s public-art program, runs selected events like the Five Points Jazz Festival, and updates and implements the city’s overall cultural strategy plan.

It is, by most any account, one of the most accomplished and well-run departments in Denver city government. So why are those responsible for making Denver such a friendly arts city over these past 12 years nervous?

Because, as part of Johnston’s announced commitment to transparency, equity and transformation, he’s appointed a massive transition committee called “Vibrant Denver” that is tasked with reconsidering not only the direction every major city department should go, but the people currently running them.

In all, Johnston has appointed a whopping 28 different transition committees overseeing all of the city’s existing departments and agencies. Which means, a lot of livelihoods are at stake.

All of which puts Denver Arts & Venues Executive Director Ginger White Brunetti in the awkward but potentially constructive position of having to reapply for a job she was promoted into back in 2018, after joining the department in 2005. And at a time when there has been no significant call for a major change from the policies of the outgoing mayor – at least when it comes to the arts. 

Nevertheless, an entire committee has been formed, in part to vet the field of candidates to be the next Arts & Venues Executive Director. White Brunetti is keeping understandably quiet about the whole process, except to say that she has applied. Anyone is free to do so through Monday. With a published salary range of $125,000-$213,000, the opening is sure to attract a quality field of national candidates. And to be clear: No one is picking on Arts & Venues here. In all, 35 big-time city jobs are up for grabs, from Chief Operating Officer to City Attorney to Neighborhood Outreach Liaison.    

The overall transition committee is being led by some seriously heavy hitters, including former Mayor Federico Peña, former Denver Post editor Gregory Moore, state Sen. Julie Gonzales and state Rep. Leslie Herod.

The Arts & Venues committee is being co-chaired by Nora Abrams, Director of the  Museum of Contemporary Art Denver, and Stephen Brackett, co-founder of Youth on Record, member of the band Flobots and former Music Ambassador for the State of Colorado. Public input will be welcomed at a committee meeting from 5:30-7 p.m. Friday, July 14, at the McNichols Building in Civic Center Park.

Arts & Venues has compiled an impressive list of accomplishments over the past 12 years, including opening the McNichols Building as an affordable cultural hub. Also:

• Voter approval of the $30 million restoration of Loretto Heights, which will make it the first real cultural center for southwest Denver when it opens in 2025.

• During the pandemic shutdown, Arts & Venues transformed into a major relief agency, distributing $3.2 million in city, state and federal funding to support the devastated artist community.

• Red Rocks attracted an estimated 1.54 million to ticketed events in 2022, an increase of 31.8 percent from 2021.

Given all that, the re-upping of White Brunetti as Executive Director might seem to be nothing more than an obvious and unnecessary formality on the new mayor’s part. But Jordan Fuja, Johnston’s communication manager and the spokesperson for Vibrant Denver, said the transition committees are doing much more than just sourcing names. “All of the committees are giving a list of attributes of a leader that they think would be good for their positions,” Fuja said. “They are also talking about policy priorities and giving the mayor-elect some potential policy priorities that he should consider, and what he should be focused on when it comes to the arts.”

Abrams made it clear that her work is not in any way a specific referendum on White Brunetti and her staff, but rather an opportunity to partner with the department as a whole to clarify primary objectives as the new term begins.

“Across the board, and for every transition committee, there is an expectation for us to talk about what the department’s priorities should be,” Abrams said. That might take the form of a list of goals for the first 100 days, she said – ”things that can help kick things off on a really exciting and collaborative note.”

At the end of this exhaustive process, White Brunetti might or might not still be leading the department. But Abrams believes the committee’s input will be invaluable to her if she is.

“I think of this as a re-set,” Abrams said. “It’s a good table-setter for the incoming administration – if things are going well, then to continue what’s going well. And if some things need to be re-evaluated, then to re-evaluate what needs to be changed.”

This all might seem a little squishy, given the necessarily positive and symbiotic relationships Arts & Venues appropriately develops with Denver cultural institutions of all sizes, including Abrams’. But the MCA Denver director is thrilled just to be included.

“I was honored to be invited to do this, especially with Stephen Brackett, who is a brilliant musician, educator and just all-around amazing human being,” Abrams said. “And to do it for the Mayor-elect, whose platform I really believe in. This is a great opportunity for me to galvanize a group of arts-and-culture representatives to help to set the priorities and the values that will drive both this department and this aspect of the mayor’s agenda over the next few years.”

It’s widely known that many renowned artists had day jobs before they hit it big: Jeff Koons was a Wall Street commodities broker, Mark Rothko was a schoolteacher, Barbara Kruger was a graphic designer, and Cindy Sherman was a receptionist at New York arts venue Artists Space. 

But it’s not just a historical phenomenon. Some artists find second passions that actually turn into businesses, and even fairly successful artists today sometimes have a non-art second job to make ends meet (to say nothing of the legions of artists who teach in art schools). 

That may be increasingly the case, given high inflation and a possible economic downturn. A recent survey by Bankrate found that nearly two in five Americans have a side hustle, and that among them, one in three say they need the money to pay the bills. It’s a worldwide phenomenon, too: a recent global survey of 10,000 workers by marketing data and analytics company Kantar shows that 30% of the workforce has a second job due to economic concerns. 

As it happens, artists’ other occupations, both historical and current, are the subject of the show “Day Jobs” at the Blanton Museum of Art, in Austin, Texas. The show “proves that even some of the world’s most successful artists have relied on other jobs to make ends meet—and that those day jobs can sometimes prove key to their central practice, rather than distractions from their primary calling,” wrote Artnet News’ Sarah Cascone.

And art serves as its own kind of side hustle, in a way: famous figures like Jim Carrey to Miley Cyrus, Bob Dylan to Seth Rogen have tried their hands as artists, making work ranging from political cartoons to assemblage sculpture, painting to pottery. 

Here are 6 artists who ply a whole other job from what they do in the studio.

Katherine Bernhardt: Berber Rug Merchant

Courtesy Katherine Bernhardt.

Katherine Bernhardt isn’t just a painter who depicts pop-culture subjects like the Pink Panther, Bart Simpson, and Pokémon trading cards—sometimes shattering auction estimates while she’s at it. Several years back, she also went into business with her sister and her husband under the name Flying Magic Carpets of the Berber Kingdom of Morocco, after first visiting the northern African country more than a decade ago. 

“[The rugs] are an inspiration,” she tells Artnet News. “The use of symbols in the rugs relate to my work, and the color combos are amazing, and the fact that they are all made by women is awesome.”

The side hustle has even, at times, penetrated the main stage: Bernhardt has shown the rugs alongside her paintings.

Christopher Chiappa: Designer/Installer

Christopher Chiappa’s work in an assortment of mediums has been on exhibit at venues like the Savannah College of Art and Design’s SCAD Museum, in Georgia, and the Massachusetts Museum of Contemporary Art, in North Adams. It has garnered him coverage in the pages of the New York Times and Artforum. (For the record, I bought one of the life-size sculptures of fried eggs that got him a mention in the Times.)

Chiappa is also a design-centered contractor, running the New York shop Full Wolf.

A Full Wolf installation in progress. Courtesy Chris Chiappa.

After starting out working in Jeff Koons’ studio, Chiappa did some contracting work on the side, building storage space for painter Donald Baechler, and then met entrepreneur Murray Moss and ended up building the Moss stores. “None of this would have been possible without him,” say Moss and Franklin Getchell in their book Please Do Not Touch. These days, Full Wolf helps furniture and design company Herman Miller realize its showrooms and is the East Coast installer for Vitsœ shelving. 

“It’s an artist-centric model,” Chiappa tells Artnet News. Artists including Joseph Buckley, Benny Merris, and Luis Salas Porras have been on the payroll. “You’re supposed to be able to have the flexibility to do a residency at Skowhegan or prepare for a show.”

Cary Leibowitz (aka Candyass): Auction House Executive

Cary Leibowitz. Photo courtesy of Phillips.

Cary Leibowitz’s incredible sense of humor comes across in exhibition titles like “I need to grow up and be taken seriously said the clown at the urinal,” “Prequel Nyquil,” and “Phyllis Diller If You Do, Phyllis Diller If You Don’t.” He has shown his equally witty paintings, installations, and sculpture around the world, from the Guggenheim Museum in New York to the Art Institute of Chicago to the Badischer Kunstverein in Karlsruhe, Germany.

Things (presumably) get a bit more serious when he suits up and heads to his day job as worldwide co-head of editions at Phillips auction house, where he has worked since 2008.

“When I’d run into people they’d say, ‘Oh, are you still making art?’” he told Artnet News in 2018. “It was a little embarrassing. But the more comfortable I got with my day job, I got more confident with my art making. Because I have this respectable, well-paid career, I don’t need my art-making to support me. It gives me the freedom keep making art the way that I want to make it.”

Nicole Mazza: Tango Dancer

Nicole Mazza, El Beso, 2023. Courtesy the artist.

Nicole Mazza’s fabric artworks can be seductive or sinister, and that’s just judging by the two currently featured on her home page: one shows an orgy at a swimming pool, the other a woman clad only in red pumps who is about to plunge a big pair of scissors into the back of another woman. Mazza, a graduate of the School of the Art Institute of Chicago, has earned attention at publications like Vice.

Mazza started dancing tango at 18 years old, and in 2014, when she visited Buenos Aires, where the dance originated, she fell in love. She is a professional dancer to this day. 

“As a dancer, specifically tango, an improvised partner dance, there is much at play in regards to what we want to express as dancers, what we can express due to limits of our bodies and what we actually get across to students and viewers when we’re doing a show,” Mazza told Artnet News. “Tango is another form of art that is similar to the visual arts because the ‘product’ is subjective. Some people like what you do and some don’t. You have to have a thick skin and trust in your art—in your dance.”

Virginia L. Montgomery: Graphic Facilitator

Virginia L. Montgomery, 2022, O Luna (video) and Eggstone (sculpture), on view at the Contemporary Austin.

One of the artists featured in the Blanton show “Day Jobs,” Virginia L. Montgomery works in mediums including video, performance, sound design, and sculpture, and creates works that bring together mysticism, science, and her experience as a neurodivergent person. Since earning an MFA at Yale, she has shown her work globally at venues including Tate Modern in London, the Blaffer Art Museum in Houston, the Museum Folkwang in Essen, Germany, and the Kunsthal Charlottenborg in Denmark.

When she’s not making artwork, she’s a graphic facilitator, which she describes as a unique profession in which she maps the development of ideas at events like TED Talks and conferences. Her clients include IBM, Google, Pfizer, and Teen Vogue. 

Virginia L. Montgomery at work as a Graphic Facilitator at the Future of Design Conference in New York City in 2017.

“In both my careers, I create connections between ideas via symbols,” she tells Artnet News. “I’m an artist who thinks in symbols. In my fine art, I choreograph symbols, gestures, textures, and sounds to facilitate healing dreamworlds full of moons, moths, and lush colors.”

But there is one big difference between the two professions, she points out: “In contrast to the shorthand legibility of the illustrations I use as a Graphic Facilitator, my artwork invokes surreal, multifaceted associations.”

Ragen Moss: Lawyer

Installation view, “Ragen Moss: What Is a Deprivation?,” Bridget Donahue, New York. Images courtesy the artist and Bridget Donahue, New York. Photographer: Dario Lasagni.

Also featured in the Blanton show, Los Angeles-based sculptor Ragen Moss was a breakout star of the 2019 Whitney Biennial, with cocoon-like sculptures in which, according to the curators, “the artist explores the ideas of space-making and meaning by placing one independent, fully-formed sculpture inside another.” A recent show at New York’s Bridget Donahue, “What Is a Deprivation?” continued some of the same formal concerns while also including lit torches, literally heating up the gallery. 

“Being an artist and a lawyer has just made sense to me, and I experience them linked rather than compartmentalized,” Moss told Contemporary Art Review Los Angeles in 2019. “I’m also into both of them, at the level of genuine interest. It’s rarely occurred to me internally that being both is odd although externally I’m aware that having an MFA and a JD is not the most obvious and it does make for a complex weekly rhythm—I have taken conference calls while mixing cement, which is not ideal.”

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Above: SOAR interns LaMia Morrow and Jackson Gastelo talk shoe design at the group’s visit to the Birdies store. Top: Kaitlin Lewis takes notes.

Kaitlin Lewis

School: View Park HS; headed to UC Santa Barbara in the fall

Angel City FC Community Impact Partner: ICEF Public Schools

Shadowing: Angel City FC Marketing Department

Headed to UC Santa Barbara in the fall

What do you like learning about?

I like learning about almost anything that intrigues me. Academically, I enjoy biology, chemistry, and humanities/culture. Outside of the classroom, I am currently teaching myself ASL and I like learning new hobbies like crocheting.

What are your short- and long-term goals?

After high school I will be attending UCSB majoring in pre-biology. I plan to get my undergraduate degree there and then attend Stanford University for Medical School to achieve my career goal of becoming a pediatric dermatologist.

Maya Montes-Rodriguez

Angel City FC Community Impact Partner: Play Equity Fund

Shadowing: Angel City FC Partnership Sales 

Headed to UCLA in the fall 

What do you like learning about?

I enjoy learning about my culture (Chicano and Mexican culture) and about the history of people of color in the US. I also enjoy learning about human-related science and philosophy.

What are your short- and long-term goals?

I currently plan on attending UCLA and majoring in Human Biology and Society. I hope to take internship, volunteer, and study abroad opportunities so that I can maximize my education and learn about the different career possibilities. At this point in time, I’m looking to pursue a career in the medical field as a physician’s assistant or in sports medicine. I’m also curious about work as a medical examiner and managing my own business.

I would also enjoy running a small business outside of my main career. I make jewelry, bake, and crochet, and I also might be interested in starting a small business to support aerial arts for youth of color.

Regardless of my career, I will stay an active athlete. I will continue to practice aerial gymnastics, and hope that I can continue with Crossfit, judo, and archery. I also want to be able to continue performing.

LaMia Morrow

Angel City FC Community Impact Partner: Football For Her

Shadowing: Angel City FC Partnership Sales Department 

What are your short- and long-term goals?

My short-term goals post-high school would be to be in college studying to become either a physical therapist or an athletic trainer, and to be playing college soccer. Long-term would be to get signed by a professional women’s soccer club. If soccer doesn’t work out, my long-term goal would be working for a professional sport organization like the NBA, NWBA, MLB, NFL, or even the NWSL as a physical therapist.

Why did you apply for the SOAR Internship?

I applied for the SOAR Internship to gain experience in the business aspect behind the sport of soccer—basically to learn what makes a soccer club run successfully.

Annaly Sanchez

Angel City FC Community Impact Partner: Football For Her

Shadowing: Angel City FC Public Relations Department

Who is a mentor in your life?

My soccer trainer, Stephanie, is a mentor in my life. I look up to her because she likes to help younger athletes accomplish and work toward their goals. She played soccer throughout her life and loves the sport so much that she continues to have it in her life.

What are your short- and long-term goals?

Short term, I would like to attend a four-year college. As of right now, my possible majors are kinesiology and sports communications/marketing. Kinesiology is a major I am interested in because I have taken sports medicine classes at school and I would like to be either an athletic trainer or physical therapist. Sports communications and marketing is interesting to me as well because I have experience in managing social media accounts for several different activities at my school. I really enjoy sharing my work with my community and hope to bring others together through the posts.

Long term, I would like to be an athletic trainer or work in the sports field somehow. I love sports and know I always want them in my life. I would also like to volunteer and help younger athletes. When my schedule allows, I help coach my trainer’s youth soccer team and it is something I really enjoy doing.

Four Mahoning Valley organizations will receive more than $500,000 combined from the Ohio Arts Economic Relief Grant Program.

The state announced $20,441,085 in grants to 104 arts-based organizations in 33 counties from the second round of the program. So far, more than $43 million has been awarded to 243 organizations through the program funded as part of the American Rescue Plan Act.

The Butler Institute of American Art in Youngstown was awarded the bulk of the funding locally, receiving $319,331. Executive Director Louis A. Zona said the money will be used to address accessibility issues, including ramp repairs, changes to help the visually impaired and restroom upgrades.

“Becky Davis, our grant writer, did a wonderful job of telling our story and what a role the Butler plays in the community,” Zona said. “I was impressed by the fact that the state government would support the arts in that matter. It says a lot about Ohio.”

Youngstown-based JAC Management Group LLC will receive $65,646 for operating Packard Music Hall in Warren. JAC Vice President Ken Bigley said the money would be used for employee recruitment and training.

“Staffing has been an issue everywhere post-COVID,” Bigley said. “We’re always striving to provide better service and better trained employees, and this will help. And inflation has increased operating costs with all businesses.”

The Youngstown Symphony Society Inc. will receive $106,460, and Opera Western Reserve in Youngstown will receive $12,035.

The Henry H. Stambaugh Auditorium Association oversees the orchestra as part of its management agreement for DeYor Performing Arts Center.

In a written statement, Stambaugh’s Marketing and Advertising Manager Kelly McKee-Foos said, “We are incredibly grateful to have been awarded this grant. A majority of it will be used towards the 2023-24 season, and a portion will be used towards the upkeep and maintenance of the DeYor Performing Arts Center.”

In the news release announcing the grants, Gov. Mike DeWine said: “Ohio artists and arts organizations make our state an attractive place to live, work, and raise a family. Ohio is the heart of it all — and by supporting the arts, we continue to ensure artistic excellence.”

Awards were calculated based on organizations’ loss in revenue from 2019 to 2020 and 2021 and their 2022 operating budget.

agray@tribtoday.com