Art World News

Adweek Creative 100: 2023

Adweek Creative 100: 2023

Lost, but now found: Getting lost in the woods in New Zealand while working as a forestry consultant made Loebner reevaluate his career, indirectly leading him to marketing. He went back to school and took positions at Young and Rubicam and Edelman before addressing inclusion and accessibility at digital marketing agency Designsensory. “I saw that trade publications for advertising and marketing weren’t speaking to the disability community in a way that went beyond, ‘Hey, here’s a tentpole ad in the Super Bowl that features someone with a disability,’” he told Raconteur last year.

Committing to change: Wunderman Thompson hired Loebner last year. He lauded the agency’s work with Unilever in creating a Degree deodorant that was easier to apply and handle by people with vision loss and upper torso disabilities. “If what is being concepted, developed and built isn’t inclusive, diverse, equitable, accessible and sustainable, then whatever is launched into the world won’t reach as many people, may be inauthentic, unattainable, and won’t have the staying power to translate into success,” Loebner said at the time.

Starting at home: Earlier this year, Wunderman Thompson said it will use Level Access’ software to develop inclusive websites and mobile apps for its clients. “This new partnership will further us on our mission to build a better future for our people, our planet and our communities,” Loebner said. — Jason Notte

Read more about all of the agency leaders who are paving the way forward.

User Generated Content to Connect an International Audience

User Generated Content to Connect an International Audience

Image: Emilia Ramos / Supplied by International Center of Photography

MuseumNext delves into the world of user generated content with Anna Selle and Kim Cabrera from the International Center of Photography (ICP) in New York. They explain how making art a participatory event can drive engagement, grow audiences and create rich content.

Starting in the summer of 2022, the International Center of Photography’s digital marketing team successfully launched and implemented three user-generated content campaigns to great effect. Through #ICPShareTheStreet, #HauntedICP, #ICPFaceToFace and most recently, #LoveAtICP, Instagram was utilised to showcase a range of contributions from photographers around the world.

Anna Selle, Senior Manager of Marketing and Communications at ICP, says, “We have a very broad and diverse audience of people on our social media channels – many of whom will likely never visit us in the Lower East Side. As part of our drive to engage those people we wanted to run campaigns that emphasised our role as a ‘center’ of photography and a place where photographers of all ages and levels of expertise are catered to.

“Social media is an obvious place to connect people from across different cultures and geographies, so the idea for our user generated campaign was to create something that tapped into our network.”

ICP already had some experience with this type of initiative. Having launched a campaign called “ICP From Anywhere” during the height of the pandemic to connect with audiences trapped at home, Anna and Digital Marketing Coordinator, Kim Cabrera, were confident that the project could have genuine impact.

Kim says, “I think we wanted to provide a dedicated space that could showcase work that might not be traditional exhibition material. There’s only a small percentage of photography that we can feature on-site at ICP. But we have a much greater ability to shine a light on other works online.”

Taking an iterative approach to user generated campaigns

As the owner of digital strategy, Anna first brought the idea for a user generated content campaign to the ICP team during its summer blockbuster exhibition: William Klein: YES. Anna says,

“I think this served as a solid pilot for the strategy. We leveraged an on-site exhibition that gained a lot of attention – in this case Willian Klein’s street photography – to get our social audience to share their own images.”

Kim adds, “It’s important to use a physical exhibition as a hook because it helps to spark interest and gather ideas. But it also serves to help us promote the exhibition and drive footfall among more local audiences. That’s where #ICPShareTheStreet came from.”

Image: Amy Touchette / Supplied by International Center of Photography

From this first experiment, the team have grown and developed the user generated content initiative, making it a recurring fixture in the institution’s social media calendar. Over time, additions such as competitions have been built into the strategy in order to maximise engagement, while the timings for campaigns have been refined to optimise promotional support for the on-site exhibition.

However, Anna notes, “To be honest we found that incentives such as winning tickets to the museum or being sent ICP swag weren’t the main drivers of engagement. They helped, of course, but it seems to us that the idea of users’ work being shared and amplified is more important.

“At this point in time, the core of the campaigns is really resharing content from ICP’s Instagram account, which has nearly 400,000 followers right now.”

Analysing the results

Speaking of social statistics, it’s been clear that these user generated content campaigns have a marked effect on the ICP’s social metrics. The team have seen the Instagram rate of audience growth increase 300% year-over-year since the start of the user-generated campaigns.

Campaigns also served to convert a healthy percentage of the online, social audience into exhibition visitors. Kim says, “The street photography campaign in particular was hugely impactful and saw our audience and engagement metrics shoot up.

“But just as important as the individual metrics is the insight it gives us. It helps us to establish what we should be focusing on in the future. Social media is so flexible and the data we get from campaigns is so immediate that we have the freedom to try new ideas. Not everything will work out but we can have the confidence to experiment a little bit because it’s easy to test and pivot all the time – even with a small marketing team.”

Anna adds, “It’s important to note that the user generated content isn’t a one-time thing. If we’ve shared content and built a campaign, we essentially have an archive of really impactful and interesting material that can be revisited in the future. Even though photos may not be part of our own collection, the nature of Instagram and other social media platforms enables us to share and support content from image makers more than once.”

Image: Bego Amaré / Supplied by International Center of Photography

In order to maximise reach and engagement, Anna says, that strategic boosting of posts was also important – particularly early in each campaign when the marketing team was trying to build interest.

“Using social media advertising is certainly a quick and cost-effective way to get the word out. We didn’t have a large budget for advertising, so this has been a great tool for us.”

Asked finally, for their advice to other museums looking to launch their own user-generated campaigns, Anna says, “The in-built tools of social media platforms like Instagram really make it easy to both drive interest in our exhibitions and also monitor that success. So, as part of our user generated campaigns, we’ve included links through to the exhibition pages on our website, which enables us to see how many link clicks and ticket sales are generated.

“These metrics are obviously just as relevant as audience size and engagement figures. In fact, they were imperative for our senior managers and our executive director to see.”

Kim adds, “I would add that it’s important to understand how you want to use social media when starting out with this kind of campaign. It’s crucial to consider how you want to promote awareness, be inclusive and work towards the institution’s broader goals. Social media is fun, it’s a little bit more casual, it’s a way to be nimbler but it’s also an institutional platform. We still always want to be aware of who or what we are amplifying when we engage with user-generated content.”

Find out more about how museums are utilising the latest strategies, technologies and tools to enhance the work they are doing for their audiences and communities with MuseumNext’s virtual conference series. More information here.

An old school building, damaged by hurricanes, again home for Lake Charles artists and nonprofits

An old school building, damaged by hurricanes, again home for Lake Charles artists and nonprofits

Hurricanes Laura and Delta caused immense damage to buildings across southwest Louisiana in 2020, including many of the region’s cultural institutions. Now, many of them have found a new home inside a historic school building in downtown Lake Charles, which finally reopened Monday after years of repairs following the storms.

“Central School was a thriving hub for arts and cultural activities, an incubator for aspiring artists, musicians and performing artists,” Lake Charles Mayor Nic Hunter said at a ribbon cutting for the historic schoolhouse turned cultural center. With tenants moving back in, it is taking that role again, providing a space for artists, nonprofits and cultural organizations to work and mingle.

“It’s really exciting to all be in one space and bounce ideas off of each other,” said Kari Casey, director of outreach and programming for the Children’s Museum of Southwest Louisiana. The museum saw its space in downtown Lake Charles destroyed by Laura and is currently waiting for its new building to be constructed.

“Everybody is doing the best we can to bring Lake Charles back, especially when it comes to the arts and humanities,” Casey said. The reopening of Central School, which has long served as a cultural hub for the city, is one step in that direction.

“These walls are filled with arts and culture,” Casey said. “You come and you’re inspired to carry on the tradition.”







CS Casey

Kari Casey, director of outreach and programming, in the temporary office of the Children’s Museum of Southwest Louisiana at Central School in Lake Charles.




Another organization with a long history in the city has also found its temporary home at Central School. The Lake Charles Little Theater, founded in 1926, had been bouncing around town for nearly three years after losing its home, located only a few blocks away, to Laura.

“We’ve done shows all across town in all kinds of different sized venues,” said Brett Downer, director of the theater’s board. “We’ve been in borrowed spaces, temporary spaces. That’s the beauty of Central School. Now that it’s back, we have a permanent home.”

Eventually, he said, the theater is planning to have its own building once again, but with its old location a complete loss, rebuilding will take years. Until then, the theater will be utilizing its space in the historic school building for rehearsals, auditions, office space and, once it’s repaired, shows in the schoolhouse’s auditorium.

Newer organizations, too, have found their place in the bright and airy 1912 building.

Saige Mestayer, marketing and campaign director for Smoke & Barrel, a nonprofit that puts on its namesake whiskey and barbecue festival every winter, along with a growing number of other events, said that having an office to work out of has been game changing.

“I love this, having a space and being able to connect with so many people,” Mestayer said. The “vintage feel” of the building adds to the charm, she pointed out. Mestayer joined the nonprofit in April and said that, since moving into the space after roughly two months of working from home, “the productivity is through the roof.”







CS Mestayer

Saige Mestayer, marketing and campaign director for Smoke & Barrel, in her new office at Central School in Lake Charles.




Currently, she’s planning a new early childhood education program the nonprofit is hoping to create under the umbrella of the United Way of Southwest Louisiana.

Restoring the historic building was no easy task, Hunter pointed out. “Repairing any structure post-disaster is not easy, but repairing a historic structure, like Central School, requires extra care,” the mayor said. All in all, the restoration cost the city $4.8 million, a cost the city is hoping to be reimbursed for by FEMA, and took nearly three years to complete.

But, Hunter noted, the restoration of historic buildings like Central School and the nearby historic city hall — now used primarily for art exhibits and events — is worth it.

“These were buildings with significant historic value,” Hunter said. The Community Foundation of Southwest Louisiana has created a special fund dedicated to the preservation of both buildings, Hunter announced at Monday’s ribbon cutting.







CS SIGNS

Signs listing tenant of Central School in Lake Charles before Hurricane Laura.




Historic preservation has, at times, taken a backseat to economic redevelopment in Lake Charles, said historian Adley Cormier, with many historic buildings only visible in historic photographs today. The Majestic Hotel, which hosted U.S. presidents during their visits to Lake Charles, and the Arcade Theater, where Houdini performed in his day, are just two prominent structures that were lost nearby and are still missed by residents today.

And while repeated hurricanes have not made the task of preservation any easier, Hunter pointed out that the repairing of Central School marked a success.

“It’s just a wonderful thing that we have a community and a city that has embraced these historic structures and that we don’t repeat some of the mistakes of the past,” Hunter said.

Southern Arkansas University Dean’s List Spring 2023

Southern Arkansas University Dean’s List Spring 2023

Special to The Banner-News

Southern Arkansas University has announced that 551 students earned a 3.5 GPA or higher for the spring 2023 semester and have been named to its Dean’s List.

Janie Barham is a senior Game, Animation, and Simulation Design major from Emerson, AR.

Anna Dooly is a sophomore Elementary Education (STEM) major from Emerson, AR.

Malli Dooly is a senior Psychology major with a minor in Animal Science from Emerson, AR.

Austin Evans is a senior Marketing (Media Option) major from Emerson, AR.

Karli Rabb is a junior Agriculture (Pre-Veterinary) major from Emerson, AR.

Blake Sanders is a junior Middle School Education major from Emerson, AR.

Cage Arnold is a sophomore Computer Science (Cyber Security and Privacy Option) major from Magnolia, AR.

Jameson Baker is a sophomore Exercise Science (Strength and Conditioning) major from Magnolia, AR.

Tylaa Beraud is a sophomore Chemistry (Forensic Science) major from Magnolia, AR.

Natalie Boyd is a junior Elementary Education (STEM) major from Magnolia, AR.

Azaria Broomfield is a senior Public Health major from Magnolia, AR.

Ja’Nicia Brown is a senior Social Work major from Magnolia, AR.

Jaden Bush is a sophomore Psychology major from Magnolia, AR.

Lauren Chambliss is a senior Pre-Health Professional Biochemistry major from Magnolia, AR.

Rodrick Coffman is a junior Computer Science major from Magnolia, AR.

Allison Coppersmith is a junior Management major with a minor in Finance from Magnolia, AR.

Shannon Coppersmith is a sophomore Studio Art major from Magnolia, AR.

Zoie Dixon is a junior Pre-Nursing major from Magnolia, AR.

Kenneth Ellis is a junior University Studies major from Magnolia, AR.

Nohelia Garcia De Los Santos is a senior Psychology major with a minor in Social Work from Magnolia, AR.

Noah Garland is a senior Computer Science major from Magnolia, AR.

Gabrielle Gee is a junior Pre-Nursing major from Magnolia, AR.

Dale Gray is a sophomore K-12 Physical Education and Health major from Magnolia, AR.

Maggie Gunnels is a senior Mass Media major from Magnolia, AR.

Jefferson Hagaman is a junior Elementary Education (STEM) major from Magnolia, AR.

Riley Hall is a sophomore Psychology major from Magnolia, AR.

Kelsey Hayes is a senior Biology major from Magnolia, AR.

Zachary Heathman is a junior Sport Management (Coaching Option) major with a minor in Finance from Magnolia, AR.

Jackson Heflin is a senior Music Education (Instrumental) major from Magnolia, AR.

Sa’riya Hildreth is a freshman Pre-Nursing major from Magnolia, AR.

Khang Ho is a senior Pre-Health Professional Biochemistry major from Magnolia, AR.

Soraya Iverson is a junior Pre-Art Therapy major from Magnolia, AR.

Korylynn Jennings is a junior Mass Media major from Magnolia, AR.

Brandon Johnson is a senior Information Systems major from Magnolia, AR.

Abbie Jolly is a senior Public Health major from Magnolia, AR.

David Lindsey is a senior Industrial Technology major from Magnolia, AR.

Maria Lopez is a sophomore Studio Art major from Magnolia, AR.

Shadiamond Love is a senior Public Health major from Magnolia, AR.

Rory Lowther is a sophomore Marketing (Media Option) major from Magnolia, AR.

Mukunda Mashburn is a junior Plant Science major from Magnolia, AR.

Caitlyn McCormack is a senior Wildlife and Conservation Biology major with a minor in General Business from Magnolia, AR.

Hunter McLaughlin is a senior Middle School Education major from Magnolia, AR.

Olivia Munn is a sophomore Elementary Education (STEM) major from Magnolia, AR.

Anwar Nahshal is a freshman Computer Science major from Magnolia, AR.

Riley Payne is a junior Pre-Health Biology major from Magnolia, AR.

Ruth Rivera is a sophomore Pre-Professional Exercise Science major from Magnolia, AR.

Reaves Rogers is a senior Animal Science major from Magnolia, AR.

Clemente Saenz is a junior Nursing major from Magnolia, AR.

Jason Schulz is a senior K-12 Physical Education and Health major from Magnolia, AR.

Sydney Scruggs is a senior Elementary Education (STEM) major from Magnolia, AR.

Jamar Sloan is a sophomore Mass Media major from Magnolia, AR.

Jonathan Stevens is a junior Information Systems major from Magnolia, AR.

Parker Tinnell is a senior University Studies major from Magnolia, AR.

Brayden Voss is a senior History major from Magnolia, AR.

Emma Walker is a senior Pre-Nursing major from Magnolia, AR.

Sara Westfall is a sophomore Pre-Nursing major from Magnolia, AR.

Carlin Whaley is a senior Mass Media major from Magnolia, AR.

Zachary Lout is a sophomore Pre-Professional Exercise Science major from McNeil, AR.

Gabriel Reyna Garcia is a sophomore Engineering major from McNeil, AR.

Jordan Sigala is a senior Engineering major from McNeil, AR.

Katherine Collier is a junior Pre-Nursing major from Stamps, AR.

Reagan Doster is a junior Computer Science major from Stamps, AR.

Brittany Hatter is a senior Interactive Media and Marketing major from Stamps, AR.

Shauna Mason is a senior Psychology major with a minor in Criminal Justice from Stamps, AR.

Logan Pierson is a senior Music Education (Instrumental) major from Stamps, AR.

Gillian Cauldwell is a senior University Studies major from Stephens, AR.

Clistie Ferrell is a senior Political Science major with a minor in Social Work from Stephens, AR.

Luke Impson is a sophomore Marketing (Media Option) major with a minor in Communications Design from Stephens, AR.

Magen West is a senior Graphic Design major with a minor in Digital Photography and Film from Stephens, AR.

Jordan Hall is a junior Middle School Education (STEM) major from Taylor, AR.

Shaylee Hoyle is a junior Engineering major from Taylor, AR.

Tanner Hoyle is a junior Engineering major from Taylor, AR.

Lenzie Langley is a senior Middle School Education major from Taylor, AR.

Kaylee Morehead is a senior Pre-Nursing major from Taylor, AR.

Taryn Franks is a senior Public Health major from Waldo, AR.

Jasmine Fuller is a sophomore Criminal Justice major from Waldo, AR.

Aaliyah Grant is a senior Information Systems major from Waldo, AR.

Jalisa Harris is a sophomore Pre-Nursing major from Waldo, AR.

Micheal Jones is a junior Graphic Design major from Waldo, AR.

Kimberly Saunders is a senior Middle School Education major from Waldo, AR.

Raediesha Tucker is a senior Musical Theatre major with a minor in Psychology from Waldo, AR.

Brendan Ybarra is a senior Psychology major with a minor in Criminal Justice from Waldo, AR.

Abigail Young is a senior Pre-Health Biology major with a minor in Music from Waldo, AR.

A total of 551 students were honored on this semester’s Dean’s List.

Southern Arkansas University provides students the complete college experience in a caring environment of service, innovation, and community. With more than 100 degrees in four distinct colleges and the School of Graduate Studies, SAU initiates new degree programs to fit the needs of career and professional trends of today.

To learn more about SAU, visit www.saumag.edu.

Art facilitator took recognition of Indigenous culture to new level

Art facilitator took recognition of Indigenous culture to new level
By Jeremy Eccles

ROBERT (BOB) EDWARDS: 1930-2023

A self-effacing but always well-suited man, Bob Edwards was one of the most important art facilitators in Australia in the 20th Century.

Early in his career, he saved the burgeoning Aboriginal art movement in Papunya from going under, then moved on to help bring three major museums into being, and finally, he made the connections that allowed Australia’s state art galleries to import blockbuster exhibitions from around the world.

Bob Edwards during his time as director of the Melbourne Museum in the 1980s.

Bob Edwards during his time as director of the Melbourne Museum in the 1980s.

Indeed, one of the museum boards he chaired, the National Museum in Canberra, held a full day’s celebration of his career in 2011.

This was unimaginable in 1930, when Edwards was born into an orchardist family in Marion, South Australia, working the vines, stone fruit, almonds and vegetables. After school, he went to the Edwards & Chaffey winery to make vermouth. But his grandmother was a member of the Field Naturalists Society, encouraging both scientific method and research.

Bob published his first paper with the Royal Geographic Society aged 24 on the history of the local church at Marion. From there he turned his attention to Aboriginal campsites along the Sturt River, then to archaeological sites further afield.

Bob Edwards on a field trip in Land Rover in central Australia.

Bob Edwards on a field trip in Land Rover in central Australia.

This allowed him to move into studies of Aboriginal material culture at the South Australian Museum. In 1965 Edwards succeeded the illustrious Norman Tindale as curator of anthropology. That same year he spent six months in Arnhemland, producing a popular book on bark art.

By 1969, he was setting out on a ten-week journey through Central Australia from the Tanami and into the APY (Aṉangu Pitjantjatjara Yankunytjatjara) Lands;11,000 kilometres recording rock engraving and art sites that have barely been visited since. Some 32,000 photos he took are in the SA Museum collection.

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Not only was he pushing back the dates for the Aboriginal occupation of Australia, he was discovering a living culture outside the museum, and establishing a keeping place in that museum accessible to its elders.

Insights that he briefly took to the Australian Institute of Aboriginal Studies before becoming the inaugural Director of the Aboriginal Arts Board of the Australia Council in 1975. Edwards was working with an all-Indigenous board, chaired by great artists, first Dick Roughsey and then Wandjuk Marika, often meeting on Country. Marika was once asked how he knew he could work with Bob: “Oh, we know, we look into the eyes. We can tell. He is the chosen one to do what we want him to do”.

Bob Edwards at a meeting of the Aboriginal Arts Board, circa late 70s.

Bob Edwards at a meeting of the Aboriginal Arts Board, circa late 70s.

For this was the time when First Nations first discovered their voice, as Gough Whitlam had proclaimed in 1973: “The decision to place control for the arts in the hands of Aboriginals is intended to stimulate indigenous Australian arts and lead to the preservation of many art forms almost lost since the settlement of Australia by Europeans.”

But it took their non-Indigenous director to work out what to do with the piles of boards and canvases flowing out of Papunya. As no domestic gallery would accept them as art, the only answer seemed to be international exhibitions. By the early 1980s the board had initiated twenty exhibitions in 40 countries in Africa, Asia, Europe, North and South America and the Pacific Islands. In retrospect, Edwards claimed that the breadth and application of the program was perhaps “one of the most subtle and brilliant marketing exercises” in the history of Australian art.

For the works weren’t seen as ethnography. Paintings by Billy Stockman Tjapaltjarri in New Mexico were described by the New York Times as “complex pointillist abstractions that would look right at home in New York’s Museum of Modern Art.” Edwards had chosen them for their aesthetic appeal. And it was estimated that more than 10 million people visited those exhibitions staged around the world.

Significantly, a 1972 board by Johnny Warangkula Tjupurrula sold recently for $1.146 million in New York. But history can also be cruel. At this year’s 50th anniversary celebrations for the Aboriginal Arts Board, the Australia Council’s list of Board Directors began only in 1984.

Critics thought some Aboriginal artwork championed by Edwards could be displayed at the Museum of Modern Art in New York.

Critics thought some Aboriginal artwork championed by Edwards could be displayed at the Museum of Modern Art in New York.Credit: Alamy

By that time Edwards had moved on to become the Founding Director of Museum Victoria at which he announced the following transformation: “The dry and dusty institutions of the past to which reluctant school children were dutifully marched have given away to dynamic centres of learning and experience which offer fresh insight into the nature of human society, the delicate balance of ecology, the lives and habitats of insects, birds, mammals and fishes, the wonders of scientific and technological achievement, etc.”

Job done. Edwards then turned to Art Exhibitions Australia (formerly the International Cultural Corporation of Australia) where he overcame a natural reluctance to send precious artworks all the way to Australia. As Neil MacGregor recalled, “It was the fact that none of us knew the Australian institutions and Bob decided that the only way to bring the pictures was to bring the directors. So one by one we were transported and brought to Australia and beguiled and overwhelmed. The result of the loans and the exhibitions has been remarkable”.

The Entombed Warriors from Xian was an early triumph, thanks to Art Gallery of NSW director Edmund Capon’s Chinese connections. But Bob may have sealed the deal by enthusiastically tucking into a dish of fried scorpions at an official banquet. Subsequently Picasso (three times), Rembrandt, Gold of the Pharaohs, Taonga Maori and The Age of Sultan Süleyman the Magnificent were loaned with less culinary challenge – though a bottle of Grange is said to have tipped the balance on a Van Gogh self-portrait. There were 31 exhibitions altogether in the Bob Edwards years at AEA.

All funded from a one-off grant of $1m from the federal government, with instructions never to come back. It also gave AEA exclusive use of its federal indemnity scheme. On AEA’s 25th anniversary it returned $1m to the national and State galleries that had collaborated on shows. Not unrelated, Edwards had chaired the boards at both the National Museum and the new National Portrait Gallery.

Bob Edwards at the launch of the Gold of the Pharaohs exhibition at the Melbourne Museum.

Bob Edwards at the launch of the Gold of the Pharaohs exhibition at the Melbourne Museum.

Bob Edwards’s support through a long and meticulous life was Cath, his wife who pre-deceased him in 2016. She often spent her weekends typing up reports and correspondence for Bob. They had four sons, Andrew, Martin, David and Greg.

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Father’s Day Arts and Crafts Events in Downtown Salisbury

Father’s Day Arts and Crafts Events in Downtown Salisbury

Family Wellness Event In Downtown

The city of Salisbury will be having several arts and crafts events in the Downtown plaza for father’s day.

Vanessa Junkin is the Marketing and outreach Manager for the Salisbury Arts and Cultural Department.
She tells us that this is a new event and will have several local businesses providing fun and creative workshops and activities for fathers.

Some of the businesses include “Our Family Rocks Shadow Box at Breathe Interiors for creative art pieces made out natural objects, along with board and brush who will host a make and take workshop to create your own fathers day themed family signs, and so much more.

“We are excited to bring all these businesses together to celebrate father’s day in a fun and unique way and there are lots of fun opportunities and different things families will be able to do.”

You can find more information on the father’s day event by going to http://downtownsby.com/.

 

Art history student secures prestigious Princeton University Art Museum internship

Art history student secures prestigious Princeton University Art Museum internship

Monday, June 12, 2023

Media Contact:
Elizabeth Gosney | CAS Marketing and Communications Manager | 405-744-7497 | egosney@okstate.edu

Soph Coe, an Oklahoma State University art history major, is the first to represent
OSU as a Princeton University Museum of Art intern this summer. 

Coe will participate in group discussions, activities and independent projects during
their eight-week assignment at the university.

Soph Coe
Soph Coe

“I am going to be working for Allie Wolf, manager of Wholesale and Retail Operations
at the museum, to do a project for the museum store,” said Coe, who explained that
their main project will be researching the Princeton Museum’s art collections and
finding a regional artist to create a collection that represents the art found in
the museum. 

“I feel extremely blessed to have received this opportunity and look forward to all
that I will learn while I am here,” Coe said. 

Dr. Christina Cruz Gonzalez, an art history professor in the Department of Art, Graphic Design and Art History, outlined how prestigious and coveted Coe’s program is. 

“Because of its collegiate location and link to the Ivy League institution, it is
a program that integrates both practical, curatorial components and rigorous academic
training,” Gonzalez said. “This is the kind of program that is a real game-changer
for every student contemplating a museum or curatorial career, but especially for
first-generation students and those belonging to groups that are unrepresented in
the museum profession and in the discipline or art history in general.”

With this being the first time OSU has had a graduate or undergraduate student accepted
into the program, Gonzalez emphasized the art department’s excitement surrounding
Coe’s achievement. 

“It is a real coup for us to have Soph there for eight weeks,” Gonzalez said. “We
are thrilled for them and can’t wait to hear about their experience when they return.”

Story By:
Jessica Floss, CAS graduate assistant | jfloss@okstate.edu

Night Market, Third Thursday on slate for Thursday

Night Market, Third Thursday on slate for Thursday

Looking for an evening of good music, tasty food and a little shopping, then check out downtown Meridian on Thursday with Night Market taking place at the Mississippi Arts + Entertainment Center and Third Thursday being held in Dumont Plaza.

Night Market will run from 5-8 p.m. in the courtyard of the Mississippi Arts + Entertainment Center, more commonly known as The MAX, which is located on Front Street. The market will bring together vendors from Earth’s Bounty farmer’s market and local artists, along with some spirited entertainment from local musician Daniel Houze.

Meanwhile, Third Thursday will kick off at 5:30 p.m. at Dumont Plaza, located at the corner of 22nd Avenue and Fifth Street, and will run until 8:30 p.m. Entertainment will feature Nathan and Chesni Arnett, a Kentucky couple who competed on Season 16 of the reality TV show, “The Voice.”

Both events offer free admission to attendees.

“It is going to be a lot of fun. We will have a lot of people who will go back and forth between the two events,” said Debbie Martin, president of the Meridian Council of the Arts, which organizes the Third Thursday events.

Night Market, which started nearly five years ago, usually draws 400 to 500 people, said Craig Wilkes, administrative assistant for the City of Meridian’s community development department.

The market is a collaborative effort between the city, The MAX and local farmers and artists, said Wilkes, who plays an integral role in organizing the first-of-the-month Earth’s Bounty markets at Singing Brakeman Park.

“This is kind of a marriage between local farmers and local artists,” he said, adding that attendance continues to grow each year.

“I always thought it was a great idea to have a night farmers market,” he said.

Night Market will feature many of Earth’s Bounty regular vendors who will offer an assortment of goods, including fresh produce, quail eggs, baked goods, sweet desserts and treats, pottery, bath soaps and lotions, baked goods, canned goods and hand-crafted jewelry.

Gabby Ortiz, marketing coordinator for The MAX, said a unique feature to this week’s market will be a painting demonstration by Byron Vaughns, a Meridian resident and Emmy award-winning producer, animator and director. Vaughns is known for his work as a storyboard artist and a director for a number of cartoons, including “Animaniacs” and “He-Man and the Masters of the Universe” among others.

Meridian Health Clinic, a sponsor of Earth’s Bounty, will have its mobile clinic at the event and will offer free health screenings, including blood pressure checks.

Providing entertainment for the event will be local entertainer Daniel Houze, who will bring his blend of country and gospel music to the courtyard.

“He is one of Meridian’s favorites,” Ortiz said. “He has a good following locally.”

Don’t worry about missing dinner. Mayberry Eatery, a popular dining vendor from Shuqualak, will be on site with a menu of rib tips, burgers, potato salad, fries and baked beans.

Mayberry Eatery will also be at The MAX earlier in the day Thursday for the monthly Brown Bag Lunch from 11:30 a.m. until 1 p.m. Shelby Anderson will bring his older, outlaw country sounds to the free, come-and-go event, Ortiz said.

Third Thursday, a family friendly event, began a few years ago and is expected to draw a crowd to Dumont Plaza. Martin said. The Arnetts, who are known for their bluegrass and country sound, will perform three 45-minute sets throughout the night. The couple competed on “The Voice” in 2019 but failed to make it to the semifinals.

“Third Thursday is a nice way to meet friends and to sit back and relax after work,” said Sharon Pratt, past president of the Meridian Council for the Arts.

Local artist Cary Haycock, who teaches art at Northeast Lauderdale High School, also will be on hand for Third Thursday and will conduct a painting demonstration. Food trucks, beer stands and snow cones also will be available.

Partners on the trail: Crossroads Carnegie Art Center announces partnership with Oregon Trail Interpretive Center

Partners on the trail: Crossroads Carnegie Art Center announces partnership with Oregon Trail Interpretive Center
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Art and history will come together in 2024 thanks to a partnership between the National Historic Oregon Trail Interpretive Center and Crossroads Carnegie Art Center.

Crossroads, said executive director Ginger Savage, will operate the center’s gift shop, manage all marketing, and assist with programming when it reopens in May 2024. NHOTIC has been closed since November 2020, initially due to the pandemic, and then, starting in 2022, for a major renovation to make the building more energy efficient.

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Bronze Project dedication highlights Cheyenne’s commitment to public art

Bronze Project dedication highlights Cheyenne’s commitment to public art

CHEYENNE — Saturday’s Capitol Avenue Bronze Project civic dedication was the culmination of more than a decade of planning by Cheyenne gallery owner Harvey Deselms.

“Harvey is one of the most committed people, especially with this project, to just making it happen,” said Jolynn Paulsen, a content creator and social media manager for Arts Cheyenne. “This has been a personal project for Harvey, so it’s just really nice to see the community all come together after this.”