MEET TANYA KAISER  We’re excited to introduce you to the always interesting and insightful Tanya Kaiser. We hope you’ll enjoy our conversation with Tanya below.
Hi Tanya, thanks for joining us today. We’d love to hear the story of how you went from this being just an idea to making it into something real. Renaissance Box began as an idea that first emerged during my MFA, when I was teaching art at a university defined by science and engineering. My classrooms were filled with students who approached creativity through experimentation and analysis, and witnessing how naturally they combined technical thinking with artistic inquiry made a strong impression on me. Even after graduating, I kept returning to the question of what could happen if interdisciplinary collaboration wasn’t incidental, but intentionally created. For a long time, the idea lived in notebooks and conversations. I researched programs around the country and saw a clear gap: few spaces truly supported artists and STEM practitioners as equal creative partners. The concept had potential, but it needed a catalyst. That catalyst came when I was selected to pitch the idea at Accelerate 2024. Preparing for that moment required me to crystallize the vision—to articulate not only what Renaissance Box could be, but why it mattered and how it could function as a program under Kaiser Studios. Presenting it publicly shifted everything. The response validated the need for a space like this and gave me the momentum to move from imagining to building. Shortly after, Kaiser Studios received the Ingenuity Impact Award from Ingenuity Cleveland, which further propelled the idea forward. The recognition opened doors, strengthened community support, and created the foundation for a partnership with IngenuityLabs. Their environment aligned seamlessly with the residency’s mission, and together we began shaping the program’s structure, refining its goals, and preparing it for launch. From there, Renaissance Box developed quickly. I formalized the framework, built the operational infrastructure, and piloted early collaborative experiences to ensure the residency was responsive and meaningful. By the time the first cohort arrived, the program had transformed into a functioning interdisciplinary residency rooted in curiosity, dialogue, and shared exploration. Renaissance Box continues to grow, but its origins remain at the heart of it: an idea sparked in a cross-disciplinary classroom, accelerated by the opportunity to pitch at Accelerate 2024, and made real through the support and recognition of the Ingenuity Impact Award. Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers. Kaiser Studios grew out of my work as an interdisciplinary artist, educator, and curator. My background in installation and sculptural practice taught me how deeply creativity intersects with memory, identity, and the structures that shape our lives. During my MFA, I taught art at a university centered around science and engineering, and witnessing how naturally STEM students engaged with creative inquiry sparked the earliest ideas for what would eventually become Renaissance Box. Kaiser Studios began as a way to support artists through exhibitions, programming, and community engagement. Over time, it evolved into a nonprofit dedicated to fostering interdisciplinary collaboration. Our flagship program, Renaissance Box, brings together artists and STEM professionals to explore ideas collectively. We provide residents with a space to experiment, think across disciplines, and develop new work by bridging a gap in the creative ecosystem where these kinds of collaborations rarely have structured support. What sets us apart is our belief that art and science are not separate worlds, but parallel ways of questioning and understanding. Renaissance Box offers an environment where those methods can meet, challenge one another, and expand what’s possible. Our work helps artists gain access to new tools and perspectives while giving STEM partners a creative framework for exploration. For the community, we create points of connection through exhibitions, talks, and public programming. I’m proud of the impact we’ve made, including receiving the Ingenuity Impact Award from Ingenuity Cleveland, which recognized the importance of this interdisciplinary vision. More than anything, I want people to know that Kaiser Studios is built on curiosity, collaboration, and the belief that creativity thrives when we break out of silos. Our mission is to support artists, spark innovation, and create spaces where ideas can evolve into something meaningful and unexpected. Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light? One thing non-creatives often struggle to understand is how fluid and expansive a creative journey can be. Especially when it leads into interdisciplinary work like Renaissance Box. For many people, creativity is seen as something separate from science, engineering, or research, but my path has shown me that these boundaries are far more porous than they seem. Renaissance Box was born from recognizing that creativity isn’t limited to the arts; it’s also present in experimentation, problem-solving, and the curiosity that drives scientific inquiry. Non-creatives might also be surprised by how much structure and strategic thinking go into building a program like this. Renaissance Box isn’t just about inspiration—it’s about creating a system where collaboration can thrive, where artists and STEM professionals can trust the process enough to take risks and explore unknown territory. That requires planning, facilitation, adaptability, and a willingness to step into ambiguity and build something new from it. If there’s insight I can offer, it’s that creativity is not the opposite of logic or research; it’s a parallel language. What sets Renaissance Box apart is the belief that when those languages meet, something powerful happens. My journey reflects that intersection: art shaped how I see the world, and interdisciplinary collaboration expanded what I believed was possible. That blend is what fuels the program, and it’s what I hope others, creative or not, will recognize as a valuable way of thinking and working. What’s a lesson you had to unlearn and what’s the backstory? A lesson I had to unlearn while building Renaissance Box was the idea that disciplines need to stay in their own lanes. That artists should think like artists and scientists should think like scientists. This belief is subtle, but it’s deeply woven into how many of us are trained. In schools, in museums, in labs, we’re often taught that creativity and research belong to separate worlds, each with its own boundaries and expectations. The backstory goes back to my MFA years, when I was teaching art at a university shaped by science and engineering. Even though I was immersed in a creative program, the wider environment operated on a very different set of assumptions. I carried the quiet belief that I needed to protect my creative identity, keep it pure, keep it separate from fields that felt too structured or analytical. But in the classroom, I watched STEM students approach creative work with an openness and inventiveness that challenged that belief. Their curiosity wasn’t separate from their technical mindset. It enhanced it. That was the first crack in the idea that creative disciplines should remain neatly divided. When I began developing Renaissance Box, that old belief resurfaced as hesitation. Could artists and STEM professionals truly collaborate as equals? Would interdisciplinary work dilute creativity rather than strengthen it? I realized I had to unlearn the very thing I had been conditioned to protect. The notion that art needed to exist apart in order to stay authentic. Letting go of that belief changed everything. It opened the door for Renaissance Box to become what it is now: a residency built on the shared power of different ways of thinking. Unlearning that boundary allowed me to see collaboration not as a compromise, but as a catalyst. And now, watching residents discover new forms of creativity together confirms that the most meaningful innovation often happens in the space where old assumptions are finally released. Contact Info:
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 Announcing Winners of the 2025 Creative Impact Fund
Flexible funding and business development support will elevate artists’ creative practice and regional impact, with support from Cuyahoga Arts & Culture |In Press Release, Press |By Deidre McPherson Read the article on AssemblyCLE.org CLEVELAND, December 12, 2025 — Assembly for the Arts is excited to announce 29 artists have been awarded 2025 Creative Impact Fund grants. In its third year, the Creative Impact Fund (CIF) is one of the largest unrestricted grant funds available to Cuyahoga County artists. CIF supports the growth of an artist’s creative practice and advances their impact on the region. The award provides flexible, unrestricted funding; professional and business development opportunities; mentorship and networking; and membership in Assembly for the Arts. This year’s Creative Impact Fund honors 15 Early Career artists at $5,000 each (professionally practicing 5 years or less) and 14 Mid-Late Career artists at $10,000 each (professionally practicing for 6 years or more). Twenty-nine awards are being made in 2025, up from 17 in 2024. The selected artists represent dance, theatre, design, film, craft, music, visual arts, writing/literature, and interdisciplinary fields and are based across Cuyahoga County. Early Career ($5,000) awardees:
Awardees were selected through a semi-anonymous review process by a panel of 12 accomplished artistic practitioners from across the country, representing 12 states, 10 cities and 11 creative disciplines. Read about the selection panel. Learn about the 2025 Creative Impact Fund grantees. ### Assembly for the Arts Assembly for the Arts is a 501(c)(3) nonprofit that unifies Greater Cleveland’s creative sector by coordinating information, partnerships, and opportunities and advocating for strong public and private investment in arts and culture. It supports nonprofits, artists, and creative businesses through research, policy, and sector-wide services, working closely with Cuyahoga Arts & Culture and Assembly for Action (a 501(c)(4) advocacy affiliate). Learn more at www.assemblycle.org. MEDIA CONTACT: Malissa Bodmann [email protected]  By Anastasia Pantsios
Read full article on Cool Cleveland Late last year Tanya Kaiser sold her groundbreaking Tremont gallery, Kaiser Gallery and Cocktail Bar, to artist and Tremont Sam Skelton after she took a job at Heights Arts. But she’s continuing her work supporting the arts community through her nonprofit, Kaiser Studios. She already promised to continue some of the programs she established at the gallery, such as her spoken word and poetry open mics. In addition, she’s launching a new program called Renaissance Box, which provides an opportunity for collaborations between the arts and sciences, supported by Ingenuity Cleveland’s Ingenuity Impact Award. The first collaboration, taking place from January through March, will be between sculptor Jonah Jacobs and neurologist Dr. Connie Pieper, who is now working for her BFA at the Cleveland Institute of Art. Their project revolves around the monstrous amount of trash Americans generate and its cost to the environment on both ends of its cycle, springboarding off Jacobs’ long-time interest in upcycling discarded materials into art. Pieper contributes scientific insights into the costs and potential this waste stream offers. Jacobs and Pieper work together in a space at Ingenuity Labs at the Hamilton collaborative, tour various local cultural and scientific institutions and mentor high school interns who will participate in the final project the duo creates. Once the project is complete, they will host an exhibition and community engagement event. Learn more and follow the progress of the project at kaiserstudios.org or renaissancebox.org.  Meet Tanya Kaiser
Stories & Insights March 11, 2024 Read the Full Article on CanvasRebal We’re excited to introduce you to the always interesting and insightful Tanya Kaiser. We hope you’ll enjoy our conversation with Tanya below. Tanya, appreciate you joining us today. Can you open up about a risk you’ve taken – what it was like taking that risk, why you took the risk and how it turned out? I moved to Cleveland in November 2019 without any family or professional connections. I was excited to be in a new city, looking forward to exploring the place I would call home. A few short months later, the world shut down due to the global pandemic. I was sequestered in my home; my career in nonprofit event planning had ceased, and I had to cancel the conference I was planning the day before its scheduled date. However, I decided I couldn’t simply stay still. Dreams of owning my own art gallery resurfaced during this time. I was still very new to Cleveland and didn’t have a professional network. I started scouring the internet for people in the arts whom I could introduce myself to, utilizing what I had—Zoom. To my surprise and joy, I connected with wonderful people in the arts. With each connection made, I asked who else I should meet. This continued for some time, and my days were filled with Zoom meetings. As things slowly began opening up, I started the in-person search for a building. I was in Cleveland less than a year before I found what would become Kaiser Gallery. I worked behind the scenes, navigating a world of uncertainty as everyone was figuring out how to work remotely for the first time. The process of securing the necessary paperwork to open was tedious. While I waited, I painted the walls of the gallery. As a single mom, I brought my young child with me to what would be Kaiser Gallery, so she could sit in her virtual classroom as I worked on preparing the space. It was a labor of love, rejuvenating us and providing something positive to focus on. Kaiser Gallery’s first exhibit, SWITCH, took place in December 2020. The gallery had the honor of being mentioned in the New Art Examiner with our debut exhibit. However, COVID-19 was still a very real concern, so I waited. There was no timeline, and the uncertainty was scary. I had signed a lease and poured my blood, sweat, and tears into this, and all I could do was wait. The waiting paid off. I was able to open Kaiser Gallery to the public in June 2021, complete with a fully stocked cocktail bar. A contemporary art gallery with a cocktail bar was novel, fun, and a great risk. I look forward to taking new risks in the future. As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context? For those who are new to my story, my career is a tapestry woven with threads of passion for education, community, and the arts. My journey led me to the Assistant Director position at Summer on the Cuyahoga and the ownership of Kaiser Gallery. As a visual artist and curator, my distinct perspectives and experiences influence both my professional and artistic pursuits. I take pride in the multifaceted nature of my work, which spans from fostering educational initiatives to curating vibrant art experiences at Kaiser Gallery. My aim is to create spaces that inspire and resonate with diverse audiences. At Kaiser Gallery, we’ve fashioned a contemporary haven that not only showcases art but also invites everyone to engage, sip cocktails, and become part of a vibrant community. I invite you to explore the intersection of my roles and the unique offerings we bring to the worlds of nonprofits and art. Kaiser Gallery is more than just a gallery; it’s a vibrant hub where art converges with the community. Our philosophy centers on making art accessible to everyone, fostering inclusivity, and creating an environment where creative souls can rejuvenate. Whether you’re immersing yourself in our exhibitions, sipping cocktails at our lounge, or participating in our events, we’re here to make your experience memorable. Passionate about art and dedicated to our artists, we’ve crafted Kaiser Gallery as a space that transcends traditional gallery norms. We invite you to join us, explore the dynamic fusion of contemporary art and cocktails, and become part of our community. Together, let’s celebrate the transformative power of art in a welcoming and inclusive atmosphere. We can’t wait to share our love of the arts with you. As a visual artist specializing in ceramic sculpture, my artworks delve into decidedly female themes, challenging preconceived notions of beauty and addressing the cultural silencing of women’s suffering. Through my art, I aspire to spark conversations about women’s roles, health, and bodily autonomy. For those unfamiliar with my work, my journey as a visual artist revolves around exploring and confronting societal perceptions of femininity. My specialization in ceramic sculpture allows me to delve into female-centric themes, challenging preconceived notions of beauty, and addressing the silence surrounding women’s suffering. Having earned my MFA in Studio Art from Stony Brook University and being recognized as the Goldberger Fellow for excellence in art, I’ve had the privilege of exhibiting my work internationally in both 2D and 3D forms. I’m proud of the recognition received and the impact my art has had on initiating crucial discussions. How did you build your audience on social media? The best advice I can give about building a social media audience is consistency. Consistency extends beyond posting daily; it goes into your brand, your message, and the communities you represent. Building my audience on social media was a journey rooted in staying true to these core elements. I ensured that each post resonated with my brand identity, conveyed a clear message, and engaged with the diverse communities that matter to me. Over time, this consistent approach not only helped me grow my audience but also fostered a genuine connection with followers. So, my advice for those starting to build their social media presence is to be consistent in every aspect – from content creation to community engagement – and let authenticity be your guiding light. I shared the story of Kaiser Gallery. I teased images of our remodel while we worked tirelessly to open it. Kaiser Gallery’s call for artists also conveyed the kinds of messages we sought to represent. Then the programming began to roll out. One program, in particular, is very close to my heart. Every month, Kaiser Gallery hosts Spoken Word: Poetry Open Mic Nights. It’s an opportunity for spoken word artists to share their works and to extend our arts programming beyond the gallery walls. Over the past four years, we have grown an amazing community through our social media reach Is there mission driving your creative journey? I am fueled by my passion for art and community. Kaiser Gallery serves as the compass guiding my creative journey, rooted in the fundamental belief that art should be accessible to everyone. My commitment lies in crafting an inclusive environment, where individuals from diverse backgrounds can feel a sense of welcome and inspiration. Whether you are exploring our latest exhibition, savoring a drink in our cocktail lounge, or engaging in one of our many events, my aim is to transform Kaiser Gallery into a haven where you can rejuvenate your creative spirit. The narrative of Kaiser Gallery unfolds across various mediums, including the sharing of compelling images from our current exhibitions and providing insightful information about our artists through engaging events such as artist talks or demonstrations. As our programming evolves and expands, a particularly cherished initiative is our commitment to diverse programming. We strive to offer an array of experiences for everyone, transcending the conventional art community boundaries, with the ultimate goal of broadening the reach of the arts to a wider audience. Contact Info:
Kaiser Gallery owns all rights  Ingenuity Cleveland provided special Impact Awards, which they grant to budding entrepreneurs and creatives promoting social impact through creativity and the arts. Winners were Coggin, Jamison and Aguilar, Trayvon Porter, and Tanya Kaiser.
Read the full article on Cleveleads.org February 22, 2024 Mayor Bibb presents anniversary proclamation CLEVELAND – Laura Balliett’s idea to make science more accessible to students by using captivating cartoons won the 10th annual Accelerate: Citizens Make Change civic pitch competition Thursday night (February 22, 2024). Nearly 750 people were part of the event presented by the Cleveland Leadership Center in partnership with Citizens and more than 100 other corporate, foundation, and individual supporters. Cleveland Mayor Justin M. Bibb, Honorary Chair of the event, presented a 10th Anniversary proclamation at the event to recognize the impact it has had over the years. “Accelerate has been a catalyst for projects that have transformed lives in Cleveland,” the proclamation read. Accelerate 2024 brought to light 26 initiatives pitched by a diverse group of individuals from across northeast Ohio at the Huntington Convention Center of Cleveland. “Accelerate pitches remind us how individuals can create the best possible tomorrow for our community – and how each of us can be part of strengthening our community,” said event Co-Chair Jim Malz, President of Citizens, Ohio, which has been Accelerate’s Presenting Sponsor since 2016. “Through our commitment to foster strong communities, we are honored to be a part of this competition and know that we will feel the ripple effect of the lasting impact tonight’s initiatives will have for many years to come.” The audience voted Balliett’s pitch, “Cool School Comics” as the winner from among five finalists. She received $5,000 for the pitch in the Education category presented in partnership with Nordson. Balliett, a former Lakewood teacher, saw students shut down when presented with large blocks of text. She saw a huge difference when she turned lessons into comic-like graphics. “Comics have the ability to break down barriers and make learning accessible,” she said. Her creations are not just comics, she explained; they are one-page infographics backed by lessons plans and animated slide shows that use a comics format to convey lessons. Balliett had pitched in the first Accelerate competition, in 2015, with a similar idea. The other finalists, who each received $2,000, were:
Kidner received $3,500 for the Technovation win, as the competition marked its third year at Accelerate in partnership with the Cleveland Foundation. Kidner, Principal of the John Marshall School of Civic and Business Leadership in the Cleveland Metropolitan School District, was the overall winner of Accelerate 2021 with a pitch, “Read Like Me,” to improve literacy among young Black males and promote teaching as a career field for Black males. She has since launched that project and created a pipeline from CMSD to John Carroll University for students who participate and seek careers in education. In addition to the cash prizes, all five finalists will receive a spot in the 2024 NEO SEA Change cohort for social entrepreneurs and a one-year membership in ECDI, which offers support, resources, and connections. The four runner-up finalists received vouchers for a Flawless Planning Live Workshop. Ingenuity Cleveland provided special Impact Awards, which they grant to budding entrepreneurs and creatives promoting social impact through creativity and the arts. Winners were Coggin, Jamison and Aguilar, Trayvon Porter, and Tanya Kaiser. Teen involvement Lilly Moran and Gabby Ransom of Hathaway Brown School won a special Teen Accelerate competition with an initiative, “Growing Hope,” to provide gardening kits to children in foster care or long-term hospitalization to bring them the joy of nature. They see the kits as a way to give children who might feel hopeless something they can call their own. They received $1,000 and the support of a mentor to help launch the initiative. Carter Black, Grady Miller, Jack Shaffer, and Tess Bucher of North Canton Hoover High School were the Teen Accelerate runners up and received $500. Their pitch, “Mission Monarch,” is to help stem the population decline of Monarch butterflies. They want to make it easy for people to plant milkweed, a food source for the butterflies and where they lay eggs, and sell plush toys to raise awareness. Teen Accelerate: Students Make Change, offered in partnership with the Young Entrepreneur Institute, marked its second year as part of Accelerate and featured 10 pitches from students in grades 9-12 across Cuyahoga and neighboring counties. Runners up each received $250. The competition was supported by Burton D. Morgan Foundation. Teens also had a visible Accelerate presence at the Teen Entrepreneur Showcase and Pop-Up Shop also sponsored by Burton D. Morgan Foundation. It featured four businesses created by youth. In addition to selling their products, they shared their stories. The Teen Pop-Up Shop was developed after the winning Accelerate 2018 pitch to support the endeavors of young business people, and has been featured at Accelerate each year since then. 10 years of success A special 10th Anniversary Gallery, along with a Past Presenters Showcase, offered highlights of successful initiatives that Accelerate has launched over the past decade. The gallery, as well as creative elements that enlivened the Convention Center, were sponsored by Lubrizol and Thompson Hine LLP. CLC President & CEO Marianne Crosley said that most of the 273 initiatives pitched at Accelerate the past 10 years did not come to the competition with a business plan and timeline and were able to launch because of the connections and collaboration that Accelerate fosters. “We have had more than 5,000 people involved in the event over the years – individuals who are inspired by what they hear and want to help the presenters bring their ideas to reality,” she said. “Accelerate has touched literally tens of thousands of lives and made Cleveland stronger in so many ways.” To celebrate the anniversary, CLC engaged a prior Accelerate winner to create a video highlighting just some of the many successes over the decade. Digital storyteller Jing Lauengco, who won the Technovation category in 2021, interviewed several other past presenters – all the way back to 2015 – who shared how Accelerated helped launch their projects, and the lives those initiatives have touched. Cleveland Leadership Center launched Accelerate in 2015 as its signature annual event to support the Center and to promote social innovation. Presenters have represented a broad diversity of age, race, gender identity, and background. Among this year’s presenters, 58% are women, 61% are people of color, and 7% identify as LGBTQ+. Accelerate 2024 featured a digital program book, video screens with category updates, and additional technology to ensure a more effective and sustainable experience. Technology needs were sponsored by Adcom. The networking reception, during which guests could engage with current and past Accelerate presenters and make other connections, was sponsored by The NRP Group. Valet sponsors were KJK and PwC. In the months leading up to Accelerate, presenters received training in presentation skills from Andrea Peck of Andrea Peck Communications and Michael Barakiva, Artistic Director of the Cleveland Play House. Notre Dame College hosted presenters for a practice session, and ioby, a grassroots crowdfunding platform, provided its platform for presenters. ### Background and links to full descriptions of all pitches: www.cleveleads.org/Accelerate Media contact Michael E. Bennett, VP of External Affairs, C: (216) 408-3874, O: (216) 592-2426, [email protected] Tags: awards, Cleveland, collaboration, community change, educating for tomorrow, health & wellness, quality of life, social entrepreneurship, transformative arts & culture  Patsy Coffey Kline, video still By Lyz Bly, PhD Read the article on Canjournal.org At the center of the latest exhibition at Kaiser Gallery in Tremont is longing for a more fun, lighter, more innocent time, in this era of “post” COVID economic uncertainty and continued assaults on the bodies and rights people of color, females, and queers–particularly transgender citizens. Gallerist Tanya Kaiser writes in her curatorial statement: “[Nowstalgia] is everything and anything—combining retro-indulgent fantasy with today’s instant consumerism lifestyle, the…trend permits us to reimagine the past, creating a collage of nostalgic references.” The artists in Nowstalgia are from across the US and around the globe, but the most compelling work is by Cleveland artist Patsy Coffey Kline, who made two video works using artificial intelligence to create a range of images and effects based on one original self-portrait. Coffey Kline’s extensive background as multimedia artist and avant garde gallerist for more than 25 years, coupled with her graphic design sense and cutting edge-meets-DIY use of AI applications, social media image filters, and InDesign software, make for a full sensory experience, which includes a 1980s-inspired soundtrack. The artist thinks deeply about intellectual property and copyright infringement. “AI actually allows me to start with an image that I own and modify from there,” she explains. “As the artist, I can keep track of the original image, my modifications. The AI-generated layers all lead back to one photograph.” Coffey Kline’s work is reminiscent of nascent MTV music videos and the cable channel’s promotional graphics; she appropriates the jumpy animation, as well as the neon colors of her GenX youth, when the brightness and speed that lulled those coming of age at the time to the screen in much the same way Tiktok videos distract and delight those born in the 21st century.  Cale Ours, AI-manipulated Polaroid print Cale Ours’ trompe l’oeil Polaroids, originally taken in the mid-1990s and re-interpreted through AI, evoke the ethos of filmmaker Larry Clark’s iconic coming-of-age amid HIV-AIDS film, Kids, with banal backgrounds and close-up portraits, evoking today’s selfie image. Ours makes digitized prints of the 90s Polaroids, then prints one “as is,” dating those to “1996,” when they were first taken. They then release the scan of the original to AI, printing a new rendering of what was once a static, one-of-a-kind Polaroid print. The final work is a series of intricately cut prints with a Polaroid-shiny surface and the iconic white, thick-on-bottom border. The series is dated 1996: 2023, further tricking viewers’ interpretation of the final print-image. Ours and Coffey Kline’s pieces come closest to capturing what Kaiser was attempting to convey, with the Polaroid giving photographers instant gratification, the video montage of the former artist a post-modern post-mortem evoking the nascent years of “Video killing the radio star.”[1]  Ewuresi Archer, Alluring Souls from the Past, silkscreen print Ghanaian-American artist Ewuresi Archer references the Polaroid as well, as she creates pointillist portraits of people from her home in Ghana doing ordinary things like cooking and getting haircuts. The vibrancy of the four-layer CMYK silkscreen ink palate is bright and fluorescent, echoing the hybridity of her cultural identities, as the colors remind her of Ghana. Yet the format of the people in Alluring Souls from The Past, is modern, reflecting back to the rise of Polaroid technology and its roots in 1950s and 60s in the pop cultural-interchange between African and European nations, particularly as 17 African nations, including Ghana, became independent from European colonial rule between 1945 and 1975.[2] Like the people, places, foods, and routines of Ghana, which are out of her reach as a current resident of and student in the U.S., her title, Alluring Souls from The Past, also communicates that that part of her identity is often feels elusive.  Khrystyna Bodnaruk, oil paint on board Ukrainian artist Khrystyna Bodnaruk’s paintings are otherworldly, as they reference and replicate the filters and effects we use regularly through social media. The surfaces are slick, almost print-like, making for a deceiving first glance. Bodnaruk so meticulously renders portraits of human bodies and body parts that the work visually teeters between painting and print. The oil paint is so visually tactile, so skillfully applied to the surface that it feels not quite real. As we present ourselves virtually, we do so without flaws, flatly, as image; Bodnaruk paints so meticulously she is machine-like. As contemporary self-representation, they evoke Instagram-filtered portraits, yet they are executed using two of the most traditional mediums–oil paint and board.  Toby Griffiths, House of Scorpio, digital print collage Toby Griffiths’ digital print collage, House of Scorpio, is a playful panoply of traditional art tropes and symbols, art references and signifiers–the gold ornate frame, the classical nude, the contemporary white female nude, the French neoclassical fluffy cloud, and the “golden mean” of three-point perspective, in silver-shiny iridescence. Kaiser connects Griffiths’ print with the simplicity of Allison Walters’ archival pigment print, different people in the same pink suit, of 2017. The latter is a document from Walters’ conceptual photographs of dozens of human subjects wearing the same generic monosuit, which covers the entire body and head of the wearer. While the body shape of each person may change, the pink-white reference “colors” everyone’s body the same shade of pink-toes-white. The work communicates both the projection of whiteness as dominant, an identity that “colors” everyone, regardless of the model’s own race and/or amount of melanin present in their skin. Colonization of the bodies and psyches of human beings in the Now, while not nostalgic, is a central theme to the exhibition. The images, signs, colors, sounds, and surfaces of the exhibition serve as visual records of an end–one hopes, of the dominance of European elite patriarchy and imperialism, and Western symbology. Similar to ways in which Generation X poked ironical fun at the heteronormativity and middle-class banality of our Silent and Boomer Generation parents, the artists in “Nowstalgia” reference and mourn the last decades of the 20th century’s technological innovations: personal computers, video games, music videos, and MTV’s quick-cut, multimedia music videos and iconic station identifiers like the ubiquitous astronaut planting an MTV flag on the surface of the moon.  Donald Halpern Donald Halpern’s multicolored light work, made of reclaimed materials, mounted on the wall in vertical fashion, perhaps referencing Dan Flavin’s minimalist art works of the 1970s, cleverly punctuates the show. In a nod to irony and playfulness, the curator also plays with the “Nowstalgia” of her gallery as an event space with curated cocktails and Drag Bingo. Indeed, the neon martini glass that greets art lovers connects to Halpern’s work which is also functional, as he holds a strong belief that art should revive resources, not create a “need” for more newly manufactured resources and materials. The idea is that there’s already too many discarded materials in which one can make art from; the question is one we should all consider: “Do you really need that trip to Home Depot, Lowe’s, or the lumber store for that installation? Or can you spend your time and resources gathering what is already free and or cheaply and readily available?” As is the case with most successful art exhibitions, Nowstalgia is full of questions, propositions, and responses to life embodied and online in 2023.
[1]MTV debuted August 1, 1981. The first video played is the Bugles’, “Video Killed the Radio Star,” originally written and recorded in 1979. [2]Ghana became independent of British Imperial rule in 1957.  September 2022 by Malissa Bodmann
Read the press release on AssemblyCle.org 26 participants represent individual artists, nonprofits and creative businesses CLEVELAND, OHIO — Assembly for the Arts has named the first cohort of the Arts Leadership Residency in partnership with the Cleveland Leadership Center (CLC). The 26 participants reflect Assembly’s commitment to increase equity in the arts and culture sector. Of the 25 who responded, more than 70% identify as Black or African American, 68% are women, 12% are nonbinary, 16% live with a disability. The program provides management support, coaching, and tools to artists, cultural nonprofits, and small- to mid-sized creative businesses. Expanding on the model of traditional artist residencies, the Arts Leadership Residency offers a $1,000 stipend and dedicated learning sessions to address a self-defined business goal or objective. Participants will have access to entrepreneurial expertise, mentorship from the CLC alumni network, and expertise of the other artists and small creative businesses participating in the program. The Arts Leadership Residency begins September 2022 and runs through February 2023. The artists selected for the program are:
Assembly received support from the Entrepreneur In Residence Powered by Huntington and The George Gund Foundation for the development of this program. The George W. Codrington Charitable Foundation and the ArtsNEXT program of the Ohio Arts Council provided additional support to the Arts Leadership Residency ABOUT Assembly for the Arts is a 501(c)3 nonprofit organization with a focus on advocacy, cultural policy, racial equity initiatives, research, marketing that elevates the region, and services for nonprofits, artists, and creative businesses. It is governed by a volunteer board with a strong commitment to diversity and inclusion. Assembly by design operates in close partnership with Cuyahoga Arts & Culture, a government agency and Assembly for Action, a 501(c)4 political action nonprofit to serve the entire creative sector. Assembly is supported through major funding from: The Cleveland Foundation, The George Gund Foundation, The Char and Chuck Fowler Family Foundation, Cuyahoga Arts & Culture, Ohio Arts Council, Huntington, KeyBank, The George W. Codrington Charitable Foundation, Fred & Laura Beth Bidwell, and Barbara S. Robinson. www.assemblycle.org Cleveland Leadership Center (CLC) provides collaborative leadership training, civic education and connections to leaders of all ages, empowering them to identify and take action on issues that resonate with them and positioning them to become change agents in the community. www.cleveleads.org Entrepreneur in Residence powered by Huntington https://www.prnewswire.com/news-releases/huntington-bank-and-city-of-cleveland-announce-entrepreneurship-program-to-help-regions-small-businesses-grow-301468659.html  Art by April Bleakney By Anastasia Pantsios
Fri 6/24 @ 7PM Read the article on CoolCleveland.com Tremont’s two-year old Kaiser Gallery is quickly becoming a hot spot for all types of events in addition to art shows, maybe because it’s the rare gallery with its own cocktail bar. But owner Tanya Kaiser has shown a predilection for activism, with programs around environmental issues and now a Pro-Choice Party focused on women’s reproductive rights. The event will feature a couple of speakers from advocacy group Pro-Choice Ohio: senior organizer Hannah Servedio and office manager April Bleakney, who is also the owner of Cleveland’s Ape Made design and screen printing business. They’ll share what the landscape for women is likely to be like when the U.S. Supreme Court guts Roe v. Wade as expected and all the ways the heavily gerrymandered Ohio legislature, led by extremists such as Cincinnati’s Jean Schmidt (the one who said that being raped presents “opportunity” for a 13-year-old), is working to strip women of their freedom and their right to their own bodies. And they’ll talk about what you can do instead of just sit and seethe, although we’ll all be doing a lot of that too. After you’ve gotten worked up, you can wind down with a sketch & sip session with a live model afterward. Bring your own dry drawing supplies. Yes, the bar will be open; you’re probably going to need a drink or two. Suggested donation $15. pro-choice-ohio-party-the-art-of-activism  “Honey Trap” Credit: Kimit Menapace The Kaiser Gallery Salutes Bees With the Opening Reception of ‘Silent Fields’ Exhibition This Friday By Shawn Mishak April 7, 2022 Read the article on ClevelandScene.com Spring is upon us and as the crocuses, tulips and daffodils sprout and bloom, the Kaiser Gallery will pay homage to our bee population while asking the viewer to meditate on how human activity affects these crucial insects. Featuring the work of artists Melissa Harvey, Maggie Latham, Kimit Menapace, Georgio Sabino III, and David Straange, the opening reception for ‘Silent Fields’ will be held Friday, April 8, at 6 p.m. The exhibition will run through June 5. “The title ‘Silent Fields’ initially evokes a sense of peace and tranquility but with further consideration, true silence, especially in ‘nature’ is eerie, lonely, it’s a void,” said artist Kimit Menapace. “This impression reflects the intent of Roger Lovegrove’s book of the same name, detailing the war humanity has been waging on those bits of nature we have deemed undesirable and the long term impacts of this eradication. Bees, which are a central focus of this show, are somewhat unique in their role of being unwanted vermin and highly desirable pollinators and producers of honey.” A Philadelphia native, Menapace received her Bachelors of Fine Art in painting with an emphasis in glass and fiber studies from The Cleveland Institute of Art in May of 2016. Menapace is interested in humanity’s intersection with the environment and is fascinated by art history, and the evolution of symbolism, particularly with plants across time and culture. “Bees specifically are very prevalent in my work and they are depicted as beautiful and often fragile, when made from glass, organisms,” continued Menapace. “The delicate nature of glass insects communicates a sense of preciousness, the need to be careful and gentle, while also being beautiful and eye-catching, the mottled surface of the glass catching and reflecting light as the piece is viewed. I like to play with harmony and tension, through composition, mixing media and visual representations of humanity, flora, and fauna.” “If the bee disappeared off the surface of the globe, then man would have only four years of life left. No more bees, no more pollination, no more plants, no more animals, no more man.” -Albert Einstein Cleveland-based fiber artist and natural-dyer Maggie Latham makes dyes from local plants, which she sources from her garden and which pollinators need to survive. She employs various techniques, including sewing, printmaking, papermaking and dyeing with the goal that her work ends up 100% biodegradable. Latham hopes for her work to live its life cycle then eventually go back into the soil. In this exhibition, Latham displays a series of handmade paper sheets which are dyed with local pollinator plants like Black Locust, Yarrow and Coneflower. Each sheet has been painted with a 3/8” line of soymilk, the spatial measurement that bees live within a honey hive. This line appears as darker shade than the rest of the dyed paper. The paper is installed with 3/8” spacing between sheets. She says the colored lines in this series represent a reciprocal relationship between human and nature, and that the space between sheets represents the threat of its absence. “Bees are vital to modern food systems, but I think it is important to shift our perspective on pollinators from one of commodification to one of reciprocity, which is reflected within my process,” said Latham. “For this series I used dyes from local species after their blooms had passed and bees had already feed on their nectar and pollen. In understanding the plants that bees enjoy, I can grow more of these and help those in the wild to flourish by practicing responsible collection. These plants then benefit my work by providing me with natural pigments.” Latham is also an educator and has a BFA from the School of the Art Institute of Chicago and currently works in art education at The Cleveland Museum of Art. The Kaiser Gallery is an unassuming contemporary art gallery and cocktail lounge located right t in the heart of Tremont on Professor Ave. The gallery pairs artisan cocktails with visual art to offer a more immersive viewing experience. Serving cocktails allows them to waive submission fees, which they see as a possible barrier for underrepresented artists. Kaiser’s Owner, Director and Curator, Tanya says the gallery is currently working with the Ohio City Farm and their beekeeper to design a public program that will appear on their calendar towards the end of the exhibition in early June. A possible partnership with the Cleveland Seed Bank is a prospect as well. A more sustainable future seems to be important to the venue and one might have noticed raised beds with tomato plants among other vegetation growing in the spring and summer on their back patio. “I believe humans would be able to better face the reality of ecosystem collapse if we could work towards solutions that aligned with everyday life,” continued Latham. “I work with accessible, eco-friendly art practices to raise awareness about environmental damage and highlight more responsible alternatives; I hope audiences are able take away not just the dire situation for pollinators but are curious to learn more about natural materials and how to support local ecosystems. This article appears in Mar 23 – Apr 5, 2022. Kaiser Gallery, founded in 2020 by artist, curator, and director Tanya Kaiser, is highlighted in Darren Jones’s New Art Examiner article as a model for rethinking the role of regional galleries. Operating as a hybrid for-profit and non-profit space, the gallery prioritizes accessibility, equity, and critical discourse, removing financial barriers for artists while fostering international perspectives rooted in Cleveland’s cultural landscape. Through exhibitions such as Switch, Kaiser Gallery positions art as a catalyst for dialogue in response to contemporary social and political conditions.
By Darren Jones Read the article on New Art Examiner. Cleveland could trademark the metallic gray of its winter skies when the cloud deck merges with phreatic plumes from the fissures of growling steel mills. Such scenes exemplify what remains an extraordinary juncture of nature and human engineering in this city, despite the ravages of the rust belt’s decline. When December casts its pall over Cleveland’s indomitable skyline, and the Cuyahoga River’s hunkered bridges, the molten grind that built it all is palpable. That ingenuity is reflected across the the city’s art sector today, anchored by the world-beating Cleveland Museum of Art (founded in 1913) and the nearby Museum of Contemporary Art Cleveland, or moCa (opened in 1968) which recently presented a comprehensive and exquisitely curated exhibition of Margaret Kilgallen’s work titled ‘that’s where the beauty is’. Of other large venues, SPACES is a storied organization that balances support for local artists with national and international range. Its initiatives include residencies for artists and critics, public outreach, exhibitions at its expansive Hingetown headquarters, and financial assistance to local creative workers. The Emergency Relief Program in response to the impact of Covid, and the Urgent Art Fund supporting work addressing issues at the cultural vanguard, are of particular resonance and help SPACES to retain its edge as an engine of nimble innovation. Across the street is Transformer Station which was originally a substation of the Cleveland Railway Company. Its 2013 repurposing has that instantly recognizable mid-scale gallery architecture—sleek glass and concrete—that asserts Cleveland’s civic proficiency with the architectural language of contemporary art. During the presidential election last year, Transformer Station hosted ‘Nina Katchadourian: Monument to the Unelected’. The project featured a phalanx of political campaign signs set up outside the gallery—another grouping was placed at moCa. The advertisements carried the names of the previous fifty-eight failed presidential candidates from the leading parties, with plans to add 2020’s runner-up. So by now Donald Trump should be where he belongs on the loser’s roster. On a blustery day, the plastic banners swayed and rippled in the wind. Reading them was not unlike wandering through a cemetery making out the epitaphs on tombstones. This too was a graveyard—for hopes, longing, fears, successes and failures that we’ll never know. Even the signs for still-living politicians had a funereal tone, as if after such crippling defeat they have become the ghosts of spent ambition. The Sculpture Center supports Ohioan makers (and artists from further afield) with exhibition opportunities, and its yearly SculptureX (SX) symposium. Recently TSC exhibited two sculptors and papermakers in ‘Aimee Lee and Sarah Rose Lejeune: A consolation of things.’ Lejeune’s spectral, poignant rocking chairs lay buckled and skeletal on the floor of the subtly lit Main Gallery, while Lee’s work—including towering, illuminated, but delicate paper-brick structures—occupied the Euclid Gallery. Housed in the same complex—although a separate non-profit—is the remarkable Artists Archive of the Western Reserve which collects and cares for the work of Ohioan artists through research and exhibitions in its AAWR Gallery, and off-site venues. For all of this impressive enterprise there have also been some scheduling choices that seem counter to the great promise of these marvelous buildings. The timing and appropriateness of Martin Creed’s neon text, Work No. 3398 EVERYTHING IS GOING TO BE ALRIGHT (2020) commissioned by moCA, is an example on two counts. It’s been on view since July 2020 just after moCA canceled Shaun Leonardo’s exhibition ‘The Breath of Empty Space’, due to the concerns of local activists that pictures of Black and Latino males (including 12-year-old Tamir Rice, from Cleveland) killed by police brutality, fetishized and decontextualized their subjects and risked re-traumatizing Black audiences. It was a difficult but instructive moment. Responsible stewardship of such imagery is a vital component of public remembrance, private permission, and cultural estimation. If it isn’t handled sensitively by museums, working in care with invested constituents, they risk turning the murders of Black individuals into double killings—first bodily life is extinguished, followed by institutional annihilation of spirit and personhood. Martin Creed’s sentiment is an echo from the scriptures of the anchorite mystic Julian of Norwich, and her enduring 14th-century meme “all shall be well, and all shall be well, and all manner of things shall be well.” The United States is currently roiling over the searing open wounds of racist legacies particularly in majority African American cities such as Cleveland. On moCa’s website we read that “Creed’s sculpture is at once a hopeful, familiar, and reassuring phrase, and a gentle nod to the challenges lying ahead amid the current uncertainties.” This anaemic attempt to align the work of a rich, white, European male artist—for whom everything probably is going to be alright—with today’s profoundest structural disease exposes its irrelevance, and the museum’s misstep. The problems that are splintering America are far beyond the reach of “gentle nods” and “hopeful phrases.” Secondly, why spend funds on Creed at all when Cleveland has so much locally oriented activity to distinguish and assert its own appetites? His gas station art—when you’re running low, fill up and leave without having to think about it—doesn’t attempt to plumb Cleveland’s potential as a hub of creative innovation capable of attracting widespread attention or fomenting vigorous new ideas. It’s something that Fred Bidwell and the FRONT International: Cleveland Triennial for Contemporary Art that he established in 2018, proved is possible. Planning for the second iteration, postponed until 2022, is underway. With its very first edition it became one of the most impactful expositions in the country, and a powerful declarative statement of Cleveland’s intentions. Performing aesthetic CPR on Creed’s moribund art could give the false impression that Cleveland (or any city) is a kow-towing backwater for artistic flotsam and jetsam. Rather than wearing London’s 1990s Brit Art hand-me-downs, institutions ought to seize upon what is happening in the vicinity, and why it is happening. To this point, moCa’s upcoming exhibition ‘The Regional’ (organized in conjunction with the Contemporary Arts Center, Cincinnati) is a more symbiotic initiative. Deploying moCa’s resources to advocate for over two dozen artists based in the American Midwest is a fruitful move toward fulfilling the museum’s role as artistic midwife to homegrown talent. That the exhibition’s title sounds like an Amtrak service is a wonderful reclamation of a pejorative long-used to confer disdain on smaller cities and rural scenes. Similarly, ‘Laura Owens: Rerun’ is at Transformer Station under the auspices of the Cleveland Museum of Art. It will close today after a three month stay. Owens is one of the most prominent and underwhelming artists in America. Her work could be described as bilious confections of infantilized froth plastered with undead pop-cultural devices; bits of feral text scavenging around for some meaning, and smears of bright, diarrhetic ink that stagger about like drunk Rorschach tests. But, as Muriel Spark wrote, “if you like that sort of thing, then that is the sort of thing you like.” Owens is neither deserving nor undeserving of her renown—she’s just fortunate. But as her fame metastasizes, fueled by the critical superpowers that are heaped onto her efforts by compliant critics, the work itself is increasingly unable to bear the load of such sycophancy. Like most successful artists Owens isn’t at all essential to art history, but it’s too late to matter after so much investment. However, perpetuating that process of institutional branding and forgoing more relevant opportunities for the tenuous scrap that Laura Owens lived in Ohio thirty years ago—as both venues promote—isn’t going to cut it. If marquee artists are to be invited to town, whose practice would be synchronistic to the city and its predicaments and successes? How could Cleveland benefit from a visit, instead of being a notch on an artist’s resume after they’ve already checked-off the Whitney? If Cleveland’s commercial gallery sector is relatively thin, that only means opportunity to establish untried approaches. Kaiser Gallery’s first exhibition ‘Switch’ opened in December 2020, and featured artists who use technology to create mesmerizing effects with light. Here is Tanya Kaiser, owner, director and curator on the gallery’s founding principles: “It went beyond providing an accessible platform outside of New York because accessible galleries are vital in every city. The structure as a hybrid international gallery was solidified during the protests and political discourse of 2020. It became clear that art was needed as a catalyst to encourage those difficult conversations in a positive and supportive way. Kaiser Gallery is half for-profit and half non-profit. We do not charge submission fees, in order to reduce monetary restrictions on interested artists. We showcase a variety of voices on pertinent topics, and will publicize statistics of our exhibiting artists to ensure our accountability. Our exhibiting artists hail from around the world to help broaden the perspective and discourse that we offer.” Abattoir has a fine balance between local and national practitioners, and makes connectivity between artists a central feature of its programming. The gallery is inviting and relaxed, yet its aims are lean and dynamic. Lisa Kurzner and Rose Burlingham are the founders. Jason Murphy + Gwenn Thomas, Abattoir Gallery, 2020: Image courtesy of Abattoir Gallery“We decided to open the gallery to support great art in our region and to expand the relationships between Cleveland and the national art scene. Cleveland has great institutions, but a small and locally-focused gallery scene. We opened last June and began our program with two-person shows—artists who have a visual or conceptual connection—trying to create a dialogue between them. Hildur Jonsson, a notable artist here, was our opening show with Kaveri Raina—a younger artist from Columbus, now based in New York. In addition to highlighting emerging artists, we want to support the careers of great artists from the area and identify them for a new generation of collectors. Through our shows and additional programming, we hope to increase collecting activity in the region.” Intriguing concepts are to be found throughout Ohio. In Kent, Gazebo is (for now) an under-the-radar space run by Shawn Powell, artist and assistant professor at Kent State University; and Annie Wischmeyer, curatorial consultant at Curated Storefront and the 2022 Front International Triennial. It is a playful yet challenging space located on their bucolic property which could itself be the subject of a Michael Raedecker or Peter Doig painting. The project’s name is literal, so artists must find ways to adapt to the little summer house by the lake. It is the kind of refreshing, unpretentious venture that’s provocative for artists to consider, with the potential to cultivate critical investment. Wischmeyer and Powell describe the genesis of their space: “A few months prior to the pandemic, a friend who was visiting from New York suggested that we should turn our gazebo into a gallery. We laughed off the idea at the time. But several months into lockdown, we missed visiting galleries, the community, and conversations about work, and suddenly the idea didn’t sound so absurd. Our gazebo, situated in our backyard, was the perfect space to put on shows in a socially-distanced manner, and Gazebo Gallery was born. This project space has allowed us to share work we admire both regionally and nationally with our community and the university population, giving us the opportunity to continue conversations around art. Even with the pandemic slowing down and the prospect of returning to some sort of normalcy on the horizon, we have programming planned through next fall and we expect Gazebo to continue.” Building momentum in, and about, a city might encourage its artists, critics and curators to stay and devote their energies to the region. In turn that can ignite the kind of curiosity that draws focus away from Los Angeles or New York, helping to devolve equity and criticism across the national art grid. For it is only with pride and insistence on the validity of art made by and for resident art workers and audiences that latent potential can be fulfilled. Many vibrant art scenes across the country are burdened by a sense of inferiority that they don’t offer artists what New York does. But any concerns that Cleveland isn’t New York ought to be set aside. After all, we mustn’t hold that against the Big Apple. Cleveland, Ohio and the Midwest sit at the crossroads of our era’s most pressing circumstances. These include the consequences of industrial output manifested in contaminated aquifers, toxic landfills and the environmental racism that is so often synonymous; fair regeneration of urban landscapes, without rampaging gentrification compounding the hurt; the civic and bodily harm inflicted on communities of color caused by white supremacist hierarchies; and a political schism between the Buckeye State’s rural red and urban blue counties. What are the social and cultural tectonics widening that divide and how might they be bridged by cultural interventions? And within the art economy itself, decay-porn has become a cliche, but how do art and action contribute beyond the rotting prettiness of the Midwest’s crumbling built heritage towards practical discourse and progression? Furthermore, being Ohio-based provides an opportunity for viable and sustainable creative living that would be prohibitively expensive in the largest metropolitan centers. Art and artists are integral to the development of solutions here that could become national blueprints. And when one considers the concentration of cities, each with their unbreakable commonalities, distinctive characteristics, populations of art workers, and intellectual reservoirs, all within a relatively compact area—Pittsburgh, Cleveland, Akron, Toledo, Findley (home of The Neon Heater) Detroit, Dayton, Cincinnati, and on to Lexington, Louisville, Bloomington and Indianapolis—the possibilities for a new constellation of integrated productivity in the art firmament are limitless. The Midwest as a re-emergent global nexus of heavy manufacturing—the foremost in the United States—is a reasonable proposition. Perhaps it won’t be based on iron or steel this time, but on art—a far more durable material with which to build resilient architectures and glittering futures. Darren Jones is a Scottish-American art critic. He is the US Editor-at-Large for New Art Examiner, and a regular contributor to Artforum. He is a recipient of an Andy Warhol/Creative Capital Arts Writers Grant. Jones teaches Curatorial Studies at the Maryland Institute College of Art, Baltimore. He lives in Fire Island Pines and Key West. With thanks to RA Washington, Allison J. Evans, and Carlos Rigau for their perspectives. Volume 35 no 5 May/June 2021 |
Tanya KaiserArtist, Curator, & Educator Archives
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