New Wave Women: Emerging Artists

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Isabella Huffington, “Settling”, Collage on museum board, 32 x 40″, 2014

ISABELLA HUFFINGTON

While Isabella Huffington is visibly influenced by Yayoi Kusama, Jim Hodges, and the Pointillists, her inspirations reach deep into art history. She is enchanted by Indian tapestries, aboriginal art, and illuminated manuscripts. Witnessing the pouring of mandalas revealed a certain ideal of meditative concentration which she mirrors in creating her work.

A shy child, she was drawn to art as a way to retreat into her own world. One of her favored subjects, birds in flight, harkens back to this emotional origin. She is fascinated by the way flocks come together and break apart.

She fears we treat art as a luxury, and so it rarely reaches those who most need it. “There is a place in the world,” she says, “just for beauty.”

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Cynthia Daignault, Phu Bai is All Right , 2013, Oil on linen,  Six parts: 12 x 24 inches each, Overall: 72 x 24 inches [Detail], Copyright Cynthia Daignault, Courtesy of the Artist.

CYNTHIA DAIGNAULT

Cynthia Daignault is interested in presence, memory, and vision. She often paints the natural world, or, more simply, light. Her influences include Beckett, Rothko and Morandi, whose essentialism, in its specificity, she admires.

After sitting before Monet’s “Water Lilies” at L’Orangerie for hours, studying each stroke of paint, every individual color, she came back up into the Jardin des Tuileries, and felt the world had changed.

Whitman’s poem, “Crossing Brooklyn Ferry”, moved her deeply. He imagines every person who will stand in his place and see what he sees, seeking companionship in solitude. “No matter how many hours I spend by myself in the studio,” she says, “I just don’t want to be in this alone.”

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Josephine Halvorson, “Organ”, oil on linen, 18 x 23″, 2009 

JOSEPHINE HALVORSON

Attuned to the life of objects, Josephine Halvorson says they call out to her to be painted. She will finish a painting in a single sitting, but may spend years looking for a subject. Her practice centers on awareness, listening for what the object, once found, will reveal. “These are very active objects in the world,” she says.

She paints old tools, weathered buildings, outdated machines, always attentive to how they work, why they are needed, and what role they play in the world. She is interested in history, time and mechanics, all of which can be found sunk into the sorts of things that filled her parents’ Cape Cod blacksmith shop, where she spent countless hours as a child.

A self-proclaimed regional New England artist, she likens plein air painting to Thoreau’s idea of farming as interpretive labor. Influenced by Roman frescoes and Chinese ink paintings, she is also taken with Manet’s still lifes of flowers, made in his last months, when he could only work a few hours each day, seated, focused on what was directly before him.

Her work has been compared to trompe l’oeil, which she likes because it refuses allegory. The objects themselves are enough.

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Janet Mock On The Power Of Embracing Her Transgender Identity

Less than five years ago, Janet Mock was like any other career woman in New York City, happily devoted to her job as a staff editor for People.com. She later went on to pen a bestselling book and guest host HuffPost Live, and now hosts her own pop culture show on MSNBC. But in 2011, Mock opened up about her personal life and became a news story herself.

In a piece for Marie Claire, the accomplished writer and journalist shared her story of growing up as a trans girl. It was an empowering moment, with Mock detailing her clear sense of her female identity at a young age and discussing her journey to gender confirmation surgery at age 18. She received a lot of support for coming out as trans, but, as Mock tells Oprah in an interview from “Super Soul Sunday,” she had originally kept her story private for fear of being “othered.” Even now, Mock believes that this “othering” still follows her.

“I don’t know if I’ve transcended it yet,” she says in the above video. “I still think that for most people, the most interesting thing about me is my transness.”

Even so, Mock tells Oprah that she fully embraces who she is.

“I think there’s a lot of power in saying that I will proudly and unapologetically embrace that part of my identity… the one part of my identity that I was taught growing up to be silent and shamed about,” she says.

“I will stand here in that complicated mist of existing as… a trans person, as a trans woman,” she continues. “I think that there is power in that, but there is still an ‘othering’ attached to any kind of labels that I think that kind of qualifies personhood or human.”

Mock’s full interview with Oprah airs this on “Super Soul Sunday” this Sunday, May 2, at 11 a.m. ET. You can also stream the program live at that time on Oprah.com/supersoulsunday or Facebook.com/supersoulsunday.

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A Plea for an Unbalanced Season (If It Means More World Premieres)

I was startled when I read an article written by the music critic of the Dallas Morning News, Scott Cantrell, criticizing both Dallas Opera and Fort Worth Opera Festival for an “unbalanced” season with too many world premieres and not enough standard/existing repertoire.

What’s wrong with wanting a balanced, varied season with works from several eras and styles? Well, nothing in principle, and that is the way many opera companies plan their seasons. And certainly, there will always be audience members, board members, and donors who want to hear their favorite classic titles as many times as possible.

But opera is not just a form of entertainment, it is also a form of art. And as such, opera impresarios have a responsibility to not only please the masses, but also to challenge them, and give them opportunities to make new discoveries. Planning an opera season is a deliriously daunting task because there are so many variables to balance. I have interviewed many an Artistic Director about season planning, and know that choosing what operas a company will present each season is akin to spinning plates on broomsticks while running in place on top of a beach ball. Each company has a complicated algorithm on which they make their choices including what can sell tickets, what will please donors, what will garner press, and what will attract new audiences for their particular market. While some companies are forced to stay within their parameter of presenting mostly popular works, sprinkled with a few riskier choices, other companies have found secure enough footing to push the boundaries of what audiences will “accept” by presenting new works more frequently.

Companies that have gained financial security, community support, and are lead by courageous impresarios actually have a responsibility to push past the normal “we’ll slip one unusual work in here occasionally and as long as we give them a Butterfly and a Barber they won’t complain too much” trench. Now, this particular critic wasn’t stating that the company should only present standard repertoire — he listed some gems from the operatic canon that are underperformed but deserve more attention.

However, the fact remains that traditional opera companies must still think about the importance of their bottom line, audience development, and the future of their company. And what has proven to attract the youngest, most diverse crowd is modern operas that appeal to audiences directly both theatrically and musically. While it would be wonderful if every opera company presented works from each era from baroque to modern, including rarely performed operas by Tchaikovsky and Britten, we’re living in a treacherous time of diminishing cultural attention spans, and competing with Netflix for audiences. Each opera company has to balance their desire to present great art with their responsibility to find their audience. People are no longer exposed to opera as a cultural norm by seeing Beverly Sills on Johnny Carson. The audience that is of the age that would start to appreciate classical music hasn’t been exposed to it the way the previous generation was, and is no longer a guaranteed group upon which opera and classical music can rely. So opera companies have to look at all the ways in which they can adapt, change, and stay viable and interesting to people of all ages. Dramatically compelling new musical works in the viewer’s own language seem to be the key attracting a more diverse crowd. If you look at the audiences at the Prototype Festival in New York City or The Industry in Los Angeles, you see a LOT of younger people. And hopefully these new pieces can act as a “gateway drug,” and the spectacle and musical experience of seeing a modern opera will entice those younger viewers to see La Boheme or even The Makropolus Case or Peter Grimes, which absolutely deserve to be more frequently presented and experienced.

And let’s consider for a moment the composers and pieces chosen for this season. Dallas opera, which is just beginning to expand their championing of new works, has chosen two composers whose previous operas have been the two of the most reproduced new works of this century; Jake Heggie (Dead Man Walking), and Mark Adamo (Little Women). While it may seem odd to present two premieres in one season, I don’t see how anyone could argue with presenting Dallas audiences with the opportunity to be the very first to hear brand new works by these composers who have already created such popular masterpieces. Not to mention the Heggie opera, Great Scott, will feature opera mega-star Joyce DiDonato, and the Adamo opera, Becoming Santa Claus, a family friendly holiday opera, has the potential to become an operatic Nutcracker. How could Dallas possibly pass up on either of these opportunities? And Fort Worth Opera Festival, also presenting two world premieres, has chosen the highly anticipated opera about the life of JFK, the subject matter of which alone has the potential to garner an enormous amount of press, and has already generated a great deal of buzz because of the prior successes of the composer librettist team David Little and Royce Vavrek.

One other important thing to consider when thinking about presenting world premieres as opposed to other neglected masterpieces is that presenting the music of living composers keeps the art form alive and viable, and keeps artists creating art. Handel wrote 49 operas. This will be Jake Heggie’s 6th full-scale opera and Mark Adamo’s 4th. And trust me, I’ve worked with both of these men — it’s not because they are slackers. It’s because the immediate need for new operas ain’t what it used to be. But I believe that the tide is starting to turn and companies are starting to discover that presenting new works by composers isn’t just a worthy thing to do because it’s good for the art form as a whole. They are tapping into a younger, enthusiastic audience who is interested in experiencing music and drama through the voices of today’s artists and composers. And that is very fortuitous for an art form that has been struggling with its identity and watching companies fold right and left as their audiences die out. Remember when San Diego opera almost decided to shut its doors because they felt they just couldn’t attract a new audience with their big budget mostly standard repertoire seasons?

Now it’s time for me to admit something to you: I am not an unbiased party in all of this. I am singing Queen Sophine in Mark Adamo’s Becoming Santa Claus in Dallas in December, and I know and love Jake Heggie as well because I have sung in several productions of Dead Man Walking. I also have made no secret of the fact that I admire what Darren Keith Woods has done in Fort Worth and think his willingness to take risks with new repertoire has made a huge impact on the uptick of new operas being presented by regional opera companies. However, the real reason I felt compelled to write this article is my position as an arts advocate and opera pusher — I think everyone in the arts community, critics included, has the responsibility to support arts organizations willing to take risks by presenting living art, or we could all be out of a job before too long. And if I weren’t super passionate about this subject, do you really think I would write an article arguing with a reviewer who I know for a fact will have the opportunity to review my singing for a major newspaper in a few months?

Actually, forget everything I just said. Let’s just stick to Carmen and also, my high notes were crystaline and my low notes were effortless, right? RIGHT??

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Why Every Business Should Also Get Into the Business of Good

As a founder of a global brand for over 25 years, Michael Stars (I founded it in 1986 year with my husband, Michael), it would be easy for me to only focus on opportunities that made me money or elevated my company’s profile. But instead, I’ve chosen a dual career: one as a business leader, and one as a leader in philanthropy.

Many people ask me how I am able to balance both, and I want to make it clear that it is not only possible to do both, but that each enriches the other. There is so much I have learned in business from my philanthropic work, particularly with women and women’s empowerment initiatives. Being a board member to various organizations has not only expanded my network of effective leaders, but it has allowed me to take a closer look at branding and marketing. Both of which are vital to non-profit organizations and businesses.

After traveling the world, I founded my first business at the age of 25 in 1977. Subsequently, I created Lerner Et Cie, a marketing and sales showroom in 1983. My husband and I co-founded Michael Stars, where I am now President and oversee the Michael Stars Foundation to carry out our true passion of giving. The Michael Stars Foundation is now ten years old and has embraced organizations like Women Thrive Worldwide, Joyful Heart Foundation, Children Mending Heart, and a host of organizations that focus on women’s empowerment and global education.

Together, my husband and I have dedicated our success to building better opportunities for others.

So many businesses can benefit from creating charitable pieces to what they do. Not to mention, so many business leaders will find that their careers are improved by giving back. Here are a few things to make your business more attuned to benevolence, and what being philanthropic as a business leader can do for you.

Partner with other organizations.

This is the key to philanthropic success — the whole is greater than the sum of the parts. When we have partnered with other philanthropies, we share audiences, share successes and end up being more fruitful with our campaigns.

Make philanthropy a quintessential part of company culture.

Philanthropy allows your employees to think outside of their circumstances and give back. Even more — it allows your team to bond in a way that is invaluable. The Michael Stars team works together, but we also count some of our best successes to have come from outside of the company’s walls.

Philanthropy makes you a better leader. For me, philanthropy allows me to create a better work environment. It involves something far greater than myself.

Leaders bring change.

More than monetary contributions, I have always felt that it is important to really become involved and participate also. In that way, I continue to apply both managerial and leadership strategies as a board member of Women Thrive Worldwide, ACLU Foundation of Southern California, Prosperity Catalyst and Children Mending Hearts. The leadership experience at both Lerner et Cie and Michael Stars, has become an integral part in my dual career as both a philanthropist and business woman.

Changing the world begins with you. If you are a leader in your company, guess how many people look to you for guidance. This is how we shape the future, leading by example.

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How Colleges Are Screwing Students Like Me Over

The average university student in 1979 only had to work 182 hours per year (a part-time summer job) to pay for tuition. In 2013, the average student had to work 991 hours (a full-time job) for half the year to pay for tuition, according to Michigan State University Research Assistant Randy Olson.

It’s insane to think that nowadays we have to pay around $100,000 worth of tuition for something that isn’t even guaranteed to help us in the future.

We go from making $9 an hour and barely being able to save it all to having to owe around 10 times our yearly income. That number alone is frightening.

College shouldn’t cost that much. There is no justifiable reason as to why we have to pay that much money. None.

Yeah, some people can pay that. The 1 percent of people that basically just go to college and let mom and dad handle the rest don’t have to worry about that.

But, newsflash colleges of the USA:

NOT EVERY STUDENT YOU ACCEPT IS RICH.

And it’s the middle class like me who get screwed. We’re expected to just suck it up and pay it off. I mean we get 10 years, anyway.

People like that are the reason our economy sucks. I’m sorry; I can’t just be okay with going into debt. Yeah, I’ll do it if I have to, but regardless; I’m not going to like it.

It’s especially not okay because we really aren’t guaranteed jobs out of college. Regardless of what they tell you, there isn’t any proof.

If I had to give anyone advice, it would be this.

Before you decide on a college, meet with a financial aid counselor. It might be a little expensive, but it’s worth every penny. I met with one before deciding where to go, and I’m very happy I did. If it weren’t for him, I would have graduated college with up to $55,000 to $60,000 in debt.

New parents: Start a college savings fund for your kids the moment you find out you’re pregnant. If my parents hadn’t started a fund for my sister and I, we’d be screwed. I don’t even think we’d have the option to go to college if they hadn’t.

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Higher Ed + Service Year = Community and Economic Development

This column by Mandi McReynolds of Drake University is part of a series of three columns written by individuals from the winning teams of the recent Higher Education + Service Year Innovation Challenge hosted at the Aspen Institute. The Franklin Project at the Aspen Institute along with the National Conference on Citizenship and the Corporation for National and Community Service announced Wednesday that the winners of the Service Year + Higher Education Innovation Challenge were Drake University, Miami Dade College, and the University of Massachusetts Dartmouth. Prizes were awarded in three categories: private university, public university, and community college with each winner receiving $30,000. The winners for each of the categories were Drake, UMass Dartmouth, and Miami Dade respectively. Miami Dade received an additional $10,000 for receiving the audience choice award, which was voted on by those attending the event at the Aspen Institute. The prizes were awarded to these institutions for outstanding and innovative plans to create new university-based service year positions connected to academic credit. The prizes were made possible thanks to the generous support of the Lumina Foundation. The purpose of the challenge was to generate innovative new ideas that integrated the service into the higher education experience. You can read more about the Challenge at: www.sychallenge.org. This column was written by Mandi McReynolds on behalf of the Drake University team.

Higher Ed + Service Year = Community and Economic Development

I have spent the last 8 years of my career investing in leadership, community, and economic development for institutions of higher education in the state of Iowa. Through my vocational experiences, I have learned that institutions of higher education play a unique role in shaping social and economic development in our communities. They are responsible for educating tomorrow’s workforces and cultivating engaged global citizens. Typically, we see evidence of this through service-learning courses, community volunteer hours, research, and workforce pipelines of students, faculty, staff, and alumni. However, institutions of higher education have a responsibility beyond our traditional concept of education to a larger civic purpose. Universities are sustaining pillars for economic and community. Over the last five years, urban institutions have been asked to examine more closely their role. In 2007, CEOs for Cities argued that anchor institutions such as universities have a “special importance to the re-making of a city and its future.” As institutions consider their mutually important dual roles in society, I would argue that the inclusion of service year opportunities linked with curriculum can be a transformative innovation to lead high education back to its civic purpose and roots.

At Drake University, we have taken an extensive look at our economic and community impact. In January 2008, Drake commissioned the Strategic Economics Group to analyze the economic impact that the university has on the businesses and residents of Iowa. This analysis included information on Drake University’s 2007 operations expenditures, the impact of student expenditures on businesses in the central Iowa area, and the economic impact on the state of the university’s educational, athletic and cultural programs. Drake University impacted the economy of Iowa by operations and purchases, through its payrolls and programs, through the local spending of its students and through the visitors it attracted to the central Iowa campus. As a result, the net impact that Drake University had on the Iowa economy in 2007 was:

• consumer spending of more than $267 million

• total personal income of more than $100 million

• Iowa jobs of more than 3,200, 45% of which were in the high-paying professional services sector

• hospitality visitors to the area of about 200,000, purchasing an estimated 49,000 hotel room stays and spending over $14.5 million
For community impact measurement and growth, university officials like myself conducted over 90 different community listening tours from 2011-2013 with strategic partners. We discussed perceptions of Drake, ideas for partnership development, opportunities for growth based on the findings of the listening tours. The 2013-2017 strategic plan called for a Drake University-wide audit of faculty, staff, and student community engagement and community partnership focus groups. The comprehensive audit was conducted in fall 2013 after endorsement from all major governing groups at Drake University. The following are a few major findings:
– Drake communicates and works with over 70 community agencies, schools, and partners each year. One of the longest lasting partnership was with the city of Des Moines for almost 94 years.
– 100% of community partners reported benefiting from their partnership with Drake University
– 70% of Drake Faculty and Staff reported volunteering regularly, serving on boards, and contributing to professional associations. Their average contribution was 1-5 hours a week.
– 80% of our students report engaging in community service or service-learning during their time at Drake.
– Since 2011, Drake has received over $74,000.00 in external grant funding to support service-learning programs and over $29,250,000.00 in external grant funding to support major community outreach initiatives and scholarship.
– Through community focus groups and brainstorming sessions 5 focus areas for mutually beneficial goals emerged: housing, transportation, health and safety, business cultivation, and arts and culture.
As we examined our economic and community impact, we began to explore what experiences could be designed to link these two distinct roles of the university. The concept of the service year emerged as an ideal pilot to begin cultivating our work. The Drake University Engaged Citizen Corps is an intentionally designed curriculum and service year experience for entering first year students. Members will complete a 9 month 32 hour per week service placement with the integration of 24 undergraduate college credits. Undergraduate courses include First Year Seminar, Writing Communication, Information Literacy, Engaged Citizenship, Internship, and Exploratory Credits. Members will work towards increasing economic and community development in the Greater Des Moines Region. Members will be placed at an agency working in one of five focus areas for economic and community development: housing, transportation, health and safety, business cultivation, and arts and culture. They will serve as a key member of a working group charged with advancing economic and community development within one of the focus areas. Members will live together in one of the Drake University’s residence halls. Members will receive a $8500 living allowance stipend in addition to other university benefits.

As I reflect on my past 8 years in higher education, I have never been more excited to see an institution work with a community. We have a social responsibility. The service year concept can lay a new pathway for us to begin to think intentionally, respond collaboratively, and act responsibly to make an impact in our community.

Mandi McReynolds is an award winning author, educator, and practitioner-scholar. She has spent her career building community engagement and leadership programs at three different institutions in Iowa. She received her B.A. from Cedarville University in Organizational Communication and her M.S. from Iowa State University with an emphasis in Higher Education, Speech Communication, and Women’s Studies. In 2010-2011, she was honored to be named the Iowa Campus Compact Engaged Staff Award Winner, the 2012 Iowa Student Personnel Association Outstanding Service Award, the 2012 Social Justice in Action Award from the Upper Midwest Regions Association of College and University Housing Officers. In 2015, McReynolds was named to the Des Moines Business Records Forty under 40. She is the co-editor and co-author of Diving Deep in Community Engagement: A Model for Professional Development published by Iowa Campus Compact. Mandi is the Director of Community Engagement and Service-Learning at Drake University and owner of Mandi McReynolds Consulting. In her free time, Mandi enjoys traveling with her husband Adam, swimming with her daughter Ava, and training for triathlons.

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These photos of four F-35s refueling in the air are so amazing

Pumping gas never looked so good. Here’s an awesome photo from Lockheed Martin showing four F-35s sipping fuel from a KC-130j tanker plane. It captures the entire view, from below and to the side to up front and up close. Seeing fighter jets refuel in the air will probably never get old to me, especially when it looks like this.

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The Giant Robots That Serve the World's Largest Library Archives

The largest libraries do more than just store books and newspapers on their shelves. When a library collection contains millions of documents, it needs complex and highly sophisticated logistical systems in order to serve its readers’ requests. It needs library robots.

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Call of Duty: Black Ops 3 has the most terrifying vision of the future

If real life imitates art, we’re doomed. This teaser video for the upcoming Call of Duty: Black Ops 3 video game paints a very plausible vision of the future, so much so that watching it totally feels like channel surfing while fast forwarding through time. We’re going to build awesome stuff, which is great, and then ruin ourselves with said awesome stuff, which is not so great.

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Morphing Wings Will Turn Planes into Fuel-Saving Shape-Shifters

Flying’s great—you can be whisked across time zones in a matter of hours—but it’s not so great for your wallet, or the atmosphere. But NASA’s new wing design that adjusts its flaps mid-flight could be the fix.

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