Latest / Pop of Culture / S03 E01 - We Get Our Glass in Gear

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S03 E01 - We Get Our Glass in Gear · Pop of Culture

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(bright upbeat music)
0:16
[Kara DuQuette] This week on "Pop of Culture",
0:17
we get into glass.
0:19
[Jessica Calderwood] That material was also a way to create
0:22
an homage that would last,
0:23
because glass and metal is gonna last longer than we will.
0:26
[Kara DuQuette] We shine a light on two different angles
0:29
of the see-through substance.
0:31
[Michelle Kinsey Also this hour, a family of bears!
0:34
Or did we mishear that?
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And we'll ask our favorite question,
0:38
what are you working on?
0:39
[Olivia Willard] And I think it's such a misconception
0:41
that nothing is happening in Anderson,
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because I assure you there is a lot.
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[Kara DuQuette] That's coming up.
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1:14
[Michelle Kinsey] From IPR, this is "Pop of Culture".
1:17
I'm Michelle Kinsey.
1:18
[Kara DuQuette] I'm Kara DuQuette. Welcome to season three.
1:21
[Michelle Kinsey] Yay!
1:23
The "Pop" team is so excited
1:25
to bring you more arts and culture coverage
1:26
from where we live.
1:28
And we're going to start today with two stories on glass.
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[Kara DuQuette] There's a new documentary about the
1:34
community around Ball jar collecting.
1:36
And, yes, it's a thing,
1:38
and there's an annual convention right here in Muncie.
1:41
[Michele Kinsey] Joining us to talk about all things Ball
1:45
jars in the "Pop of Culture" studio is Chris Fluke,
1:48
he's the senior lecturer of media at Ball State.
1:51
Chris, thank you for coming into the studios.
1:53
[Chris Flook] Yeah, thanks for having me.
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[Michelle Kinsey] So a big documentary is going to premiere
1:59
in January. Tell us a little bit about the idea behind it,
2:02
how it came to be.
2:05
Ball jars, in case you didn't know,
2:06
if you're listening and you didn't know that Ball jars
2:09
are very, very important in this part of the world.
2:11
[Chris Flook] Very important, that's right.
2:12
[Michelle Kinsey] Yeah. (laughing)
2:13
So I guess we'll start there,
2:15
with the importance of Ball jars.
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[Chris Flook] So it all begins in 1886, no. Just joking.
2:18
(person laughing)
2:20
A man and a couple by the name of Mary and Jeff Harper.
2:24
Jeff has passed, but Jeff was the great-grandson
2:29
of Frank Ball,
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who was one of the five Ball brothers
2:32
that founded the Ball Corporation,
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or what became Ball Corporation.
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And, you know, they made Ball jars
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for many, many, many years inside Muncie.
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So Jeff, because of his family connection,
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collected probably the best Ball jar collection ever.
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And you might think that this is like,
2:49
you know, okay, Ball jars, but like,
2:50
this is like tens of thousands of dollars.
2:53
Like this is a very elegant collection, rare finds,
2:57
demanded by lots of collectors all over the world.
3:00
Well, the Harpers, after Jeff passed,
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both Jeff and Mary were from Muncie, and when Jeff passed,
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Mary donated that collection to Ball State University.
3:11
So we have that collection.
3:12
It's not on display yet, but it's gonna come at some point.
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But Muncie is also the location
3:18
of the annual Midwest Antique Fruit Jar and Bottle Club.
3:22
(Chris laughs) [Michelle Kinsey] Wow.
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[Chris Flook] It's a regional organization.
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[Michelle Kinsey] It makes sense.
3:26
[Chris Flook] Makes total sense.
3:27
[Michelle Kinsey] ... that they would come here
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[Chris Flook] But they have an annual conference every
3:30
January. And so last year,
3:31
this announcement was made at that conference.
3:35
Jeff and Mary were very much involved
3:37
with the conference when Jeff was around.
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Jeff Harper is a legend amongst the conference goers
3:42
because he had this really great collection.
3:45
And so what we did,
3:48
through my role in the department of media,
3:49
partnered with the Virginia Ball Center
3:52
over at the honors college
3:53
and we made a documentary sort of of that collection
3:57
and then of the club, their annual conference,
4:01
and then just sort of an exploration of the importance
4:06
of collecting things, the importance of Ball jars.
4:11
The documentary then ties all that into, like,
4:13
Muncie's history. [Michelle Kinsey] Wow.
4:15
How many Ball jars are we talking about in this collection?
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[Chris Flook] Thousands. Like thousands of Ball jars.
4:21
These rare one-off things. I mean, think about it.
4:22
The company had been producing jars from the early 1880s.
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And, you know, Ball Corp doesn't make jars today,
4:30
but that brand is still licensed to, like, others.
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And so you can still get Ball jars,
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but like, you know, you think of maybe a classic,
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you know, there's like one or two types of
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small mouth, large mouth.
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But I'd learned all this over the past year,
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there's just all kinds of variation it is,
4:45
and especially the rare stuff
4:47
that is really sought after by collectors.
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[Michelle Kinsey] Wow.
4:49
I'm assuming this would be your first
4:52
Ball jar conference that you attended in January.
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[Chris Flook] It was, yes.
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[Michelle Kinsey] Tell me what that was like when you walked
4:58
in and you started documenting this.
5:00
[Chris Flook] So I don't collect anything and so, like,
5:03
it's not that I passed it off,
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but, like, I don't collect anything,
5:05
so I don't really have an, you know,
5:06
it's like one person's collection is, in my mind,
5:10
the equivalent to another.
5:11
So, you know, "Ball jars. Okay, that's fine."
5:14
I underestimated the elegance of some of these jars
5:18
and then the cost of some of these jars.
5:20
I mean, these people are trading jars
5:22
that are $60,000, $10,000,
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[Michelle Kinsey] What?
5:25
[Chris Flook] $8,000. Yes. And there's a demand for it.
5:28
The conference is really cool.
5:30
It'll happen this year on Saturday, January 17th.
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It's open to the public at the convention center.
5:36
People who trade this stuff set out a little booth
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and can come around and see it.
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But what's really cool is the days leading up to that,
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a lot of the heavy hitters within the club,
5:47
they go into the hotel downtown
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and they have this thing called room swap.
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And they open up their rooms,
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they put all their best and, like, private collection,
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and then people just, usually with beers and good cheer,
6:00
will go to each other's rooms and then make trades-
6:02
[Michelle Kinsey] Wait a minute, Their actual hotel rooms?
6:03
[Chris Flook] Yeah.
6:04
[Michelle Kinsey] Just open the door to their hotel rooms.
6:06
[Chris Flook] Yes. Yeah.
6:07
[Michelle Kinsey] They have a little display of their best
6:08
Ball jars and they're inviting people in to make some deals.
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[Chris Flook] To make some deals, room swap,
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and it's like a lot of the ringleaders.
6:17
So it's like people that make...
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[Michelle Kinsey] We're talking about high-end jars.
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[Chris Flook] We're talking about very high-end stuff.
6:21
[Michelle Kinsey] Yeah.
6:22
[Chris Flook] But it is delightful. It is.
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People are kind and they're joking.
6:27
They know each other. Politics doesn't enter into it.
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I mean, like, you know,
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everything else is very divisive right now in our culture.
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It's refreshing to be part of something
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or to witness something,
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or I know they all have probably their political opinions
6:41
and religious opinions and all that,
6:43
but like the focus is just on having a fun time
6:46
trading Ball jars and selling Ball jars.
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[Michelle Kinsey] I'm curious about the reasons why people
6:53
collect and trade and come to a conference like this.
6:57
Did you get some stories from people
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about where this began for them,
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why they collect Ball jars?
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[Chris Flook] Sometimes I think it's like maybe
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idiosyncratic like you kinda like something or maybe,
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a lot of people talked about having Ball
7:09
a lot in their families growing up,
7:11
you know, canning and like that kinda thing.
7:12
[Michelle Kinsey] Yes. Yeah. Nostalgia. Yeah.
7:14
[Chris Flook] Nostalgia for it. Right.
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But I got the sense,
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and you'll see this if you watch the documentary,
7:19
that the people are just there
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to hang out with their friends.
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You know, you could swap Ball jars with Mountain Dew cans
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or pencils or, you know, anything anybody else collects.
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And it's more of like just the medium
7:33
for them all to get together and have a good time.
7:35
It's about the community of it. Yeah.
7:37
And they, like, some of 'em don't really see each other
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other than that one time a year.
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But then it's like they've done it every year
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for, like, 20 years or 30 years.
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So they have this long connection in history.
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And then with the advent of, you know, the past 20 years
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with the growth of, like, social media and all that,
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they can do a lot of trading
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and communication throughout the year from, you know,
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they're coming from all over.
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A lot of 'em do come from the Midwest,
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but there's people that come from California and Maine.
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So they can have these discussions about what they're into
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and what they're trading in July
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and then sort of gear up for the conference every January.
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[Michelle Kinsey] Wow. So that's a big part of the
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documentary, right? As you said.
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Can you talk a little bit about some of the things
8:17
that you learned
8:18
that you're not gonna be able to get outta your head
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now that you know about Ball jars?
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[Chris Flook] Well, like, I didn't realize
8:24
just the manufacturing process.
8:26
And all these folks,
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they know, like, weird nuanced stuff from the 1930s.
8:32
Like what certain molds and models and like,
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I didn't realize that Ball jars, when they,
8:38
at least the old mechanism
8:39
was the molds were all carved backwards.
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And so, like, there was a couple molds
8:44
within the Harper collection that we were able to see.
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And that makes sense.
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You pour in glass,
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you're drawing on this mold that's backwards
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and has to fill and all that.
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So there's like tons of errors, misspellings,
8:54
like common stuff that you would expect someone in the,
8:56
you know, 1890s or 1920s or whatever,
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they make a small error and they don't realize till, like,
9:01
a couple hundred or a couple thousand jars have been made
9:04
and they gotta redo the mold.
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And so, like, that stuff that the corporation probably hated
9:09
has now become the most valued (laughs) imperfections,
9:14
which is just common with glass making,
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particularly in the early years.
9:17
I learned about, like, light.
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It's actually very, at least it was,
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I don't think it is anymore.
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It was very hard to make clear glass.
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And so they had to add all these chemicals
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and so some of the chemicals would fade in sunlight.
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So the clear ones change color over time.
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And it's just like all kinds of little quirky things
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that the collectors have come to really value
9:41
that might have just been passed off as being junk
9:44
or mistakes when the jars were actually made.
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[Michelle Kinsey] Interesting.
9:47
I know you don't collect,
9:48
but do you now have a Ball jar at home?
9:49
[Chris Flook] Well, I do a lot of canning, so I like...
9:51
[Michelle Kinsey] Oh, so you do actually use them. Yeah.
9:54
Were there people at the conference
9:55
and people that you talked to that still can with Ball jars?
9:58
[Chris Flook] Some people, like, I would ask about canning
10:00
and they're like, "We don't can." (laughs)
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It's like, oh, okay.
10:04
But then some people are like, very much do can.
10:07
A lot of people though, I would say almost everybody,
10:11
had some kind of story about canning,
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that even if they didn't necessarily do it themselves,
10:17
that they had a grandmother or a parent
10:18
or something like that growing up,
10:20
that that was part of their life.
10:22
[Michelle Kinsey] Let's talk about the premier. Give us the details of that.
10:24
[Chris Flook] Premier is on Friday, January 16th,
10:27
the day before the big conference.
10:30
The conference will be at the convention center
10:33
here in Muncie.
10:34
And then the debut for the screening will be at Cornerstone.
10:38
[Michelle Kinsey] Do people need to get tickets in advance?
10:40
[Chris Flook] Nope.
10:41
[Michelle Kinsey] So you just show up?
10:42
[Chris Flook] So I mean, we're hoping for a big crowd,
10:43
but the theater can hold a lot.
10:46
It's at 6:00 PM, try to come early.
10:48
There'll be a small reception afterwards.
10:50
And then we strongly encourage people, if you can't make it,
10:56
to try to go Saturday to the actual conference.
10:59
You can walk through,
11:00
you can see all these really cool things
11:02
that people will collect.
11:04
And then the documentary will eventually be on
11:05
Ball State PBS sometime in spring.
11:08
[Michelle Kinsey] Wonderful.
11:08
Thank you so much, Chris,
11:09
for coming into the "Pop of Culture" studios
11:11
to tell us about all things Ball jars
11:13
and the big documentary coming out in just a few days.
11:17
[Chris Flook] Yeah. Thank you so much.
11:18
(upbeat music)
11:19
[Michelle Kinsey] Chris Flook is a senior lecturer of media
11:22
at Ball State University. (whimsy music)
11:32
(whimsy music continues)
11:39
[Kara DuQuettte] We're rolling from glass Ball jars to
11:40
little glass beads.
11:44
[Michelle Kinsey] Metal and glass artist Jessica Calderwood
11:47
is in the "Pop of Culture" studios
11:49
to talk about a new exhibit
11:51
at Minnetrista Museum and Gardens called "Threads of Home."
11:56
Jessica, welcome to the "Pop" studios.
11:58
[Jessica Calderwood] Thank you so much for having me.
11:59
[Michelle Kinsey] Well, this is a very interesting exhibit.
12:03
I personally, I don't think I've seen or heard
12:05
of anything quite like this before, Jessica.
12:08
So let's start at the beginning.
12:10
If you were to give someone kind of a nutshell
12:13
of what is "Threads of Home,"
12:15
what would your answer be?
12:18
[Jessica Calderwood] So this project actually has its roots
12:21
in 2020 during the COVID pandemic.
12:24
So if you remember when we were all in lockdown
12:28
and looking for things to do to use up our time,
12:32
I was kind of contending
12:35
with whatever art supplies I happened to have at the moment
12:37
that didn't require shipping.
12:39
And I had all these beads
12:41
and like glass seed beads, those tiny little things,
12:44
and metal and enamel, which is like a powdered glass,
12:48
which is my medium of choice.
12:50
And I started actually thinking,
12:52
"Well, what could I do
12:53
that could suck up the most amount of time?"
12:56
And so I started recreating patterns
12:58
that I found in my home using the seed beads,
13:01
kind of like a little point or a little dot,
13:04
and just tweezing these really elaborate patterns.
13:08
And I found that the most interesting patterns
13:10
were from textiles.
13:11
So I was looking at my carpet. [Michelle Kinsey] Interesting.
13:15
[Jessica Calderwood] My family blanket, the chair that my
13:15
cat loves to scratch,
13:20
(both laugh)
13:21
and sure enough, it did suck up a lot of time.
13:24
But as the world opened up,
13:27
I started thinking about how I could,
13:30
like, kind of move outwards with this process
13:33
that I got really enamored with.
13:34
So I really loved the labor of it and I loved the color.
13:40
And I didn't mention this, but I actually melt the beads.
13:42
So they kind of change in these interesting ways,
13:46
they look distressed.
13:47
And so I was at a friend's house
13:49
and I was looking at their collection
13:51
of carpets they had just brought back
13:53
from their home country of Yemen actually.
13:57
And I found that I was really,
13:59
I was just as interested in the patterns,
14:01
but also their stories.
14:03
[Michelle Kinsey] And I love that.
14:04
And I think therein lies the uniqueness
14:07
of this particular exhibit, Jessica,
14:10
is the stories that are told about whether it's a,
14:14
you know, it's an item of clothing that means so much
14:18
and has been passed down, or it's handmade,
14:22
or curtains crafted from something else.
14:25
And then you take that pattern and recreate it,
14:30
you know, in glass on metal, correct?
14:32
[Jessica Calderwood] Exactly. Exactly.
14:34
[Michelle Kinsey] But the stories that you tell alongside
14:37
that you had each of the individuals that you spoke to
14:41
kind of tell the story,
14:42
the meaning behind that particular textile.
14:46
[Jessica Calderwood] Exactly.
14:47
So it birthed this project
14:52
titled "Threads of Home"
14:53
that was really focusing on people
14:55
who are first generation immigrants to Delaware County.
14:58
And I thought the textiles were important
15:01
because it's an item that you can travel with.
15:04
[Michelle Kinsey] Yes. [Jessica Calderwood] Right?
15:05
[Michelle Kinsey] Absolutely.
15:06
[Jessica Calderwood] You know, it's lightweight,
15:07
you can fold it, you can put it in a suitcase.
15:10
And it was an item that I found that a lot of people
15:14
had decided to bring with them as sort of a,
15:17
you know, like a memory of their home, their original home.
15:20
So it was 24 participants
15:24
and this happened over the course
15:26
of about two and a half years.
15:28
And it was a huge process.
15:30
And it was something that I didn't actually have a really,
15:34
like, strong vision of it.
15:35
It is sort of unfolded, you know, as we were going.
15:39
But I would reach out to a person
15:41
and I would ask them to come to my studio first
15:43
and to learn about my work and the process
15:47
and why this was important to me.
15:50
And so for me, I thought that recreating that
15:52
with that material was also just a way
15:55
to create an homage that would last,
15:57
because glass and metal is gonna last longer than we will.
15:59
[Michelle Kinsey] Absolutely. Absolutely.
16:01
Especially the textiles themselves.
16:03
[Jessica Calderwood] Right, the textiles will degrade,
16:05
they'll break down, they'll fade.
16:07
And so they would come to my studio and, you know,
16:09
not everybody was really,
16:11
you know, always on board with the project
16:12
for all sorts of different reasons,
16:14
but most people were, you know?
16:15
And really interested.
16:16
And so then they would go back to their home
16:19
and pick something that was meaningful for them.
16:22
And then they would loan that textile to me.
16:25
I would, like, document it.
16:27
I would work on my part with the glass beads and the metal,
16:31
and then we would do a photographic documentation
16:36
of that person in their preferred space
16:40
with the textile.
16:42
You know, they could choose.
16:43
So sometimes it was their home, but sometimes it was a park.
16:45
Right, but the parameters were really,
16:48
you know, like somewhere in Delaware County, right,
16:50
to kinda talk about the past and the present.
16:53
You know, where people were coming from
16:55
and where they are now and what does that look like.
16:57
So that's really like the arc of the project.
17:01
And so the exhibition that you see at Minnetrista,
17:05
which is up until March 1st,
17:08
it shows a large wall installation of all the,
17:11
you know, beaded enamel works kind of showing sort of like,
17:14
almost like a patchwork quilt of objects.
17:18
And then each person has like a panel
17:21
that has their photograph
17:23
and then their information and some,
17:26
you know, narrative about why this piece
17:28
was meaningful for them and, yeah.
17:30
So the hope is that, you know,
17:32
that it's also educational for the people that come
17:35
to the exhibit as well as honoring the participants.
17:38
[Michelle Kinsey] Absolutely.
17:39
You had some help telling the visual story
17:42
of the storytellers in the exhibit.
17:47
Who took the photos that are displayed in the exhibit?
17:51
[Jessica Calderwood] So I had a bunch of amazing
17:53
collaborators for this project,
17:54
and Mark Sawrie, who is a good friend of mine
17:57
and also a recently retired faculty member
18:00
from the School of Art at Ball State University.
18:04
And he was essentially along for the entire ride.
18:05
[Michelle Kinsey] Wow.
18:10
[Jessica Calderwood] And so when we would set up a photo
18:13
shoot you know, I would be his assistant and I would,
18:16
hold all the reflectors and help carry the gear.
18:20
But his ability to kind of see space
18:25
and context, composition,
18:28
and sometimes humor in the photographs was just,
18:31
it really just was the, you know,
18:34
the icing on the cake, the cherry on top.
18:36
[Michelle Kinsey] Awesome.
18:37
And can you describe for me
18:40
the finished kind of the textile
18:44
art piece that you created?
18:47
It's round and I guess,
18:48
like, at first glance I would describe it
18:50
almost like as a button.
18:51
[Jessica Calderwood] Yeah.
18:52
[Michelle Kinsey] Like a large button.
18:52
[Jessica Calderwood] Yeah, some people have called them
18:54
little pillows or little tuffets.
18:55
[Michelle Kinsey] Yes.
18:57
[Jessica Calderwood] So they're these round domed forms.
19:02
And so I actually made these
19:04
at a local metal forming company
19:06
called Muncie Metal Spinning.
19:08
And so we started working together
19:11
also like right after the COVID pandemic
19:14
sort of opened up the world again.
19:17
And so they're meant to kind of look like,
19:19
yeah, little pillows that are meant to be kind of like
19:23
welcoming and comfortable.
19:25
And glass is usually thought of as like really shiny, right?
19:29
And reflective.
19:30
And so we do some things like these,
19:32
you know, acid washes to make the surfaces really matte.
19:36
So they look really like,
19:38
the whole idea was for it to look like a trick of the eye.
19:41
That it would look like textile.
19:42
[Michelle Kinsey] Really more like cloth. Yes, absolutely.
19:44
[Jessica Caldwell] Yeah.
19:45
[Michelle Kinsey] Hundred percent.
19:45
So when you talk about these threads from home,
19:48
these textiles that they brought with them to Muncie,
19:52
what are the different types of homes?
19:55
What are we talking about?
19:56
Where are your participants coming from?
19:59
[Jessica Calderwood] From all over the map.
20:01
And obviously this is not meant to be like
20:04
an accurate representation of everybody
20:07
who has relocated to our county.
20:10
It's more of a sampling that's meant to be symbolic.
20:12
But let's see.
20:13
So we have participants, I already mentioned Yemen,
20:17
we have Palestine, we have France.
20:22
England, China, Malaysia, Canada.
20:27
It's 24 of Bosnia as well.
20:30
Right, so the list goes on and on,
20:32
but my goal was to get as a diverse range,
20:35
you know, of participants as possible, right?
20:38
Yeah.
20:39
[Michelle Kinsey] What was the textile
20:42
that maybe surprised you the most
20:46
when they brought it to you,
20:48
that you thought, "This is interesting,"
20:50
and then the story behind it?
20:53
[Jessica Calderwood] I would say...that's a great question.
20:56
There are so many beautiful textiles,
20:59
but I think that a lot of the pieces
21:02
that were the most powerful for me
21:04
were surprisingly maybe not the ones that were
21:07
as colorful or dynamic visually,
21:10
but really did tell a powerful story.
21:12
So one of the participants named Ramzia
21:16
is originally from Bosnia.
21:18
And so she immigrated to the US
21:22
and not in a direct line,
21:23
but ended up landing in Muncie eventually.
21:25
But her object was a very small crocheted pin,
21:30
a little white flower with a green center.
21:33
And it's a pin that
21:37
is widely available in her hometown of Srebrenica
21:41
that really talks about the genocide
21:43
that happened during Bosnian war.
21:46
And she lost all of the men in her family,
21:49
her father, her uncles, right, everybody was lost.
21:52
And so this pin was a really powerful reminder
21:55
that she wears every year during Ramadan
21:59
to really commemorate that event.
22:01
So I learned so much through this project, right?
22:05
And a lot of it, you know, tells stories of people
22:08
who are coming to the US for all sorts of reasons, right?
22:11
Sometimes it's to escape war, it's for economic opportunity,
22:15
it's to be in touch with family.
22:17
And this exhibition really kind of tells that entire story.
22:22
[Michelle Kinsey] How did that feel as an artist
22:24
to take all of these stories,
22:27
which sound incredibly personal and powerful,
22:31
take those in and then interpret them in glass and metal?
22:37
[Jessica Calderwood] I felt very honored to do this project.
22:41
You know, I'm not somebody who has immigrated to the US,
22:47
but I felt like I wanted to really be a communicator
22:51
and a connector to be able to communicate these stories.
22:54
And so I just felt really humbled by the experience.
22:59
I loved the community aspect of this project.
23:02
And the amount of trust that people put in me
23:06
for this, I was really, really humbled by.
23:10
[Michelle Kinsey] Yeah.
23:11
What do you hope visitors to the exhibit
23:14
get out of the experience?
23:18
[Jessica Calderwood] So many things I hope,
23:21
but I hope that they are able to appreciate
23:25
the art for what it is,
23:28
the objects and sort of an education about,
23:31
you know, different ways of making.
23:34
I hope that they learn a little bit more about
23:38
our global community, right?
23:41
And I do think that right now,
23:44
you know, there's a lot of rhetoric that's going around
23:47
in terms of how people are thinking about our population,
23:51
you know, our immigrant population.
23:53
And so there's sort of like a national amnesia
23:56
about our collective history,
23:59
that we are a nation of immigrants.
24:00
And so I hope that through this exhibit, I think,
24:04
I hope that community members from all walks of life
24:07
come away with an understanding of our shared humanity.
24:11
[Michelle Kinsey] And I'm assuming when you started this
24:14
project you didn't realize the impact it would have
24:21
in the current climate that we are in, right?
24:24
[Jessica Calderwood] No. Like I said, I started this so many
24:30
years ago I just wanted to get into people's, you know,
24:35
like, stories. Right? And have a connection.
24:37
And it took on a much more powerful meaning
24:43
as the years have progressed sadly.
24:46
So it is very relevant to,
24:48
you know, what our national moment.
24:50
[Michelle Kinsey] Absolutely.
24:51
Well, thank you for telling these stories through your art.
24:54
Jessica, thanks for coming into
24:56
the "Pop of Culture" studios.
24:58
Really appreciate it.
24:59
[Michelle Kinsey] Thank you so much.
25:00
I really appreciate the opportunity to share.
25:02
(upbeat music)
25:06
[Michelle Kinsey] "Threads of Home" is open
25:07
at Minnetrista Museum and Gardens through March 1st.
25:10
(upbeat music continues)
25:20
[Michelle Kinsey] You're listening to "Pop of Culture".
25:23
I'm Michelle Kinsey.
25:23
[Kara DuQuette] I'm Kara DuQuette.
25:25
[Jen Blackmer] And I'm Jen Blackmer.
25:27
And today we have another entry in our series
25:32
called Beautiful Things.
25:33
This is our ongoing collaboration with River Teeth Journal.
25:38
Today we're very pleased to welcome author Diane Gottlieb.
25:43
Hello, Diane.
25:44
[Diane Gottlieb] Hi. Thanks for having me.
25:47
[Jen Blackmer] Of course. And we're so excited to have you
25:51
here with us. And Diane is going to share her beautiful
25:54
thing entitled "Mondegreen."
25:58
[Diane Gottlieb] Great. Thank you. "Mondegreen."
26:02
"I found a lost memory today.
26:05
Discovered it inside a writing prompt.
26:09
'Recall something you've misheard.'
26:12
The title of the 1971
26:15
Sly and the Family Stone song is,
26:18
'It's a Family Affair,'
26:20
but I swore it was 'A Family of Bears.'
26:25
How wonderful it felt to belt out a song about bears
26:29
and more bears, a family of bears,
26:33
I imagine clumsy cubs gorging on berries,
26:36
their proud papa watching
26:38
as he scratched his back against a nearby tree.
26:42
And the mama, a lovely furry, solid mass
26:47
of strength, safety, devotion.
26:50
Oh, that glorious mama who lived to protect her young.
26:55
I was young in 1971. Clumsy.
27:00
I gorged on chocolate and more chocolate,
27:04
maybe berries too.
27:07
Somehow I hoped, though I didn't know it,
27:10
that my soft full rolls of flesh would save me.
27:15
Somehow I knew, though I didn't know it,
27:19
that my own mama, who took to bed midday,
27:23
hibernating beneath worn woolen blankets, my dear mama,
27:29
who wore sunglasses indoors to hide swollen eyes,
27:34
disappear her tears, would disappoint me deeply,
27:39
leave me to the wolves.
27:42
A family of bears.
27:44
It's funny how the mind tells the ears what to hear,
27:49
how the heart tells the voice what to sing."
27:53
[Jen Blackmer] Thank you, Diane, for sharing that with us.
27:56
"Mondegreen," it's such a lovely title for this.
28:01
For our listeners who don't know,
28:03
mondegreen actually refers to a misheard lyric.
28:07
It's a term for that.
28:10
And that is of course the basis of this piece.
28:14
What inspired the piece for you?
28:18
[Diane Gottlieb] So I was in a writing group,
28:19
and the facilitator
28:23
would give us prompts and the prompt that day was
28:28
write about something you misheard.
28:31
And this immediately came to mind, this memory.
28:34
[Jen Blackmer] Right. Yeah.
28:35
The song is really, I mean,
28:37
it's catchy and it's boppy and I love,
28:42
after I read the piece, I said this morning,
28:45
I listened to the song in the car and it was very prevalent.
28:49
Like once you know you're listening
28:51
for a family of bears, that's what you hear.
28:54
(both laugh)
28:57
[Diane Gottlieb] I love that.
28:57
[Jen Blackmer] And you say that at the end,
29:00
and I think that's such a
29:02
beautifully profound thought to end on, right?
29:06
"It's funny how the mind tells the ears what to hear
29:10
and how the heart tells the voice what to sing."
29:15
Could you dive into that maybe a little bit more?
29:18
What is that for you?
29:21
[Diane Gottlieb] So I don't know, that just came to me,
29:24
but when I was young,
29:27
I was very, very lonely
29:29
and singing just was one of the things that saved me.
29:35
I later studied opera.
29:36
I used to sing opera,
29:37
but as a kid I would just belt out whatever.
29:42
And, yeah, this song, I don't know,
29:45
it was one of the ones that brought me joy,
29:49
brought joy to a really, really round, chubby,
29:53
bear-like little girl.
29:56
So those two lines just kinda happened.
30:02
[Jen Blackmer] It's lovely though, this idea that
30:06
the mind can determine how you
30:10
hear a piece of art
30:12
or a moment of connection
30:16
between two people, right?
30:18
And how your mind...
30:19
[Diane Gottlieb] I think it's what I needed to hear, you
30:22
know? I needed to hear about bears
30:24
and then I imagined the mama bear and...
30:29
[Jen Blackmer] Of course.
30:30
[Diane Gottlieb] Yeah, it brought me comfort.
30:32
[Jen Blackmer] And as you get into some of the more
30:33
difficult moments,
30:36
I think this idea of the song,
30:38
maybe celebrating the family of bears
30:41
is where we come back to.
30:44
I also love the heart telling the voice what to sing,
30:48
that there's such an emotional sense
30:52
of our need to connect,
30:55
and in this case, I think through song.
30:57
So, Diane, tell me a little bit about
30:59
the second part of the piece.
31:01
We talked about the family of bears
31:03
sort of being a safe space,
31:06
and then it seems as we move through the story
31:09
that this was a bit of a painful time for your mother.
31:13
Yeah?
31:14
[Diane Gottlieb] Yeah, so my mom
31:19
did not have a family of bears either.
31:23
Yeah, she actually grew up from eight years old
31:28
in an orphanage and
31:32
she had so much pain in her life,
31:34
and so she was not
31:39
able to necessarily give us
31:43
all that we needed.
31:45
But she's such a model to me
31:50
of the beauty of imperfection
31:54
and a model of growth,
31:55
because she never stopped growing.
31:58
She died at 88 years old in a car accident.
32:02
I think she woulda gone on... [Jen Blackmer] Oh, my.
32:04
[Diane Gottlieb] I think she woulda gone on forever.
32:08
And, you know, she was, like, on the internet,
32:13
she was doing, like before Zoom, she was doing Skypes.
32:17
And she just learned and learned
32:19
and grew and grew with every year.
32:23
And so she is really my hero.
32:27
[Jen Blackmer] That's wonderful to hear that actually,
32:30
and what you've done I think so well, Diane,
32:32
is you've captured the tension between that pain,
32:37
or perhaps this painful moment for your mother
32:39
kind of wrapped into this idea of the family, right?
32:44
And tell me a little bit about "leave me to the wolves."
32:48
What's behind that moment?
32:50
[Diane Gottlieb] Oh, that is, like, so my mom was really
32:53
unavailable, so we were just on our own.
32:56
And there are a lot of wolves out there.
32:59
[Jen Blackmer] There really are, aren't there?
33:00
[Diane Gottlieb] Yeah, yeah.
33:01
Baby bears need some protection,
33:04
even though they can be big and scary and on their own.
33:08
But, yeah, that wasn't there for us.
33:11
Yeah. I have two sisters.
33:12
That wasn't, I'll speak for myself,
33:14
that wasn't there for me, the safety and the protection.
33:17
So that's what the "leave me to the wolves" was about.
33:20
[Jen Blacmker] But then it seems that your mother did,
33:23
as you say, you know, grow and learn as time went on.
33:29
[Diane Gottlieb] She did, probably not soon enough
33:32
to protect me from the wolves.
33:33
But, you know, I learned and grew,
33:36
and then as adults, we became very, very close.
33:40
And it was a beautiful thing.
33:44
[Jen Blackmer] Yeah. Oh, I love that.
33:46
Great way to bring that back around.
33:47
(both laughing) [Diane Gottlieb] Yeah.
33:50
[Jen Blackmer] Diane Gottlieb is the editor
33:53
of "Manna Songs: Stories of Jewish Culture and Heritage,"
33:58
"Grieving Hope,"
34:00
and "Awakenings: Stories of Body and Consciousness."
34:04
She is special projects editor for ELJ Publications
34:09
and is prose and creative nonfiction editor
34:12
of Emerge Literary Journal.
34:14
[Diane Gottlieb] Well, I just wanna say thank you so much
34:15
for having me.
34:17
It's been a great pleasure
34:19
and I just wanna give a shout out
34:21
to Jill Christman over at Beautiful Things
34:25
and all the folks at River Teeth.
34:27
[Jen Blackmer] Absolutely.
34:27
[Diane Gottlieb] Thank you. Thank you to all.
34:29
[Jen Blackmer] We love our partnership in collaboration with
34:30
them.
34:32
And speaking of, this story comes from IPR's collaboration
34:37
with River Teeth's Beautiful Things,
34:39
a weekly magazine of micro essays.
34:42
More at riverteethjournal.com. I'm Jen Blackmer.
34:46
(bright music)
34:55
(bright music continues)
35:05
[Kara DuQuette] This is the last part of our show
35:06
and every week we like to end
35:08
by asking an East Central Indiana artist,
35:11
what are you working on?
35:13
[Michelle Kinsey] Maya Doss spoke to one artist busy with
35:16
commissions just before the holidays.
35:18
[Maya Doss] Today on the show I have writer, illustrator,
35:21
and artist Olivia Willard from Anderson.
35:23
Olivia, what are you working on?
35:25
[Olivia Willard] I am working on holiday commissions.
35:27
I do watercolor portraits of homes and dogs and cats
35:31
and I'm deep in that. [Maya Doss] That is so sweet.
35:35
What do you like about painting pet portraits for holidays?
35:37
[Olivia Willard] Oh, my gosh.
35:38
I'm obsessed with when people tell me the pet's name
35:41
and their personality and, you know,
35:44
like there was a cat that I did
35:47
that was really into potato chips and playing with Q-tips,
35:51
and so I had to have those, like, all around on the ground.
35:55
[Maya Doss] So cute.
35:56
[Olivia Willard] Yeah, and so things like that,
35:57
where the people really are sharing,
35:58
like, their animal's personality,
36:00
I love to sort of, like, channel it while I'm working on it.
36:03
[Maya Doss] That's so sweet. I love your watercolor work.
36:06
In fact, I'm really interested in this book
36:09
that you wrote, illustrated, and published yourself,
36:11
a children's book of watercolor.
36:13
Yes? [Olivia Willard] Yes.
36:14
[Maya Doss] So will you tell us
36:16
for the people who are curious about the process,
36:18
what was it like?
36:19
Like the experience producing a book.
36:21
[Olivia Willard] Yeah, it was a lot of
36:23
sort of stumbling my way through the process.
36:27
So mainly I'm a painter
36:29
and so I started with the illustrations.
36:33
I was really interested in doing something more imaginative
36:37
and creating little worlds
36:39
and I just sort of collaborated with my kids.
36:41
My 10-year-old daughter was a really big help.
36:44
[Maya Doss] That's so sweet.
36:45
[Olivia Willard] Yeah, she's the best.
36:47
And, yeah, we just sort of,
36:49
the story just kind of came out
36:50
of forming the illustrations.
36:52
[Maya Doss] That's really cool.
36:53
And you said that it's of a historic site in Anderson?
36:56
[Olivia Willard] Yeah, so in Anderson,
36:58
our big historic area is on historic West Eighth Street.
37:02
And, yeah, so it's all of these gorgeous
37:04
like gas boom houses that are there
37:07
and there's a really cute historical park
37:10
and so it's set walking up that street.
37:12
[Maya Doss] I'm curious, with that being the idea behind the
37:16
book, who are the characters?
37:17
What's the theme of the story?
37:19
[Olivia Willard] Yeah, so the main character is Fable,
37:22
which is a small child.
37:24
They're really cool and creative
37:26
and the other characters are everyone
37:29
that they meet along the way.
37:30
So there's a snail community,
37:34
it's a mother-led community and it's really amazing.
37:38
And then there's a community of little people
37:41
that live up in the trees that collect acorn caps.
37:43
There are ones that live along mushrooms,
37:46
they forage for mushrooms.
37:48
And all of the plants and mushrooms
37:50
and animals are all Indiana native.
37:52
So that was really important to me.
37:54
[Maya Doss] Yeah, that's really awesome.
37:55
I think it's so cute that you were making it very magical
37:58
and imaginative. [Olivia Willard] Thank you.
38:00
[Maya Doss] No problem.
38:02
When it comes to your illustration style for your book,
38:04
you said you started with the watercolors.
38:07
Will you talk us through what the visuals are
38:09
for those pieces?
38:10
[Olivia Willard] Yes, I would love to.
38:13
So I always start doing pencil drawings to sketch it out,
38:17
sort of finding the shapes and finding the lines.
38:19
So my illustrations,
38:20
you can really find a lot of those lost and found lines.
38:24
And then I translate that to my painting.
38:27
So I have a lot of vivid colors.
38:29
There's a section where Fable is meeting a little girl
38:33
that is in the acorn community
38:36
and you can see inside the tree.
38:38
And so the light is coming from within the tree.
38:41
I really love wet on wet wash,
38:43
just sort of getting to watch the paint dry
38:45
and those really organic shapes
38:48
that are found in that I really enjoy.
38:50
[Maya Doss] Yes, as a fellow watercolor artist,
38:52
it almost looks like little rivers or something, you know?
38:54
[Olivia Willard] Totally, totally.
38:56
[Maya Doss] I would love to know what made you choose
38:59
to design the layout for the pieces the way you had,
39:01
knowing maybe they would soon become a storybook.
39:05
[Olivia Willard] Yeah, that was something
39:06
that was a lot of trial and error.
39:09
I started out with all of these individual paintings
39:12
and then was wanting to really sort of
39:14
piece them together almost like a storyboard,
39:16
but using those pieces.
39:19
And some of them I did find
39:22
that they were not super ideal to have in the book.
39:25
[Maya Doss] I see. [Olivia Willard] Yeah.
39:27
[Maya Doss] So what was like that trial and error process?
39:29
Like what made a cut, I guess?
39:32
[Olivia Willard] For sure. Yeah.
39:33
I mean, there were certain things where I took the painting,
39:37
like the image, all the way to the end of the page.
39:40
And when I didn't leave, like, room for a bleed area,
39:45
I found that I was having to crop too much of my image out,
39:48
that I wasn't happy, or there were just,
39:51
yeah, it was weird stuff with the margins.
39:52
And so from that, I learned for my next book
39:55
that I really need to leave a lot of wash for a bleed area.
39:59
[Maya] Yeah, that makes me think of "Caillou," funny enough.
40:02
[Olivia Willard] Yeah, no.
40:03
[Maya Doss] There's like the floating watercolor space.
40:05
[Olivia Willard] Listen, I thought about "Caillou."
40:07
(both laugh)
40:10
[Maya Doss] Now that you've made a book to share with your
40:12
student as a art teacher in Anderson,
40:15
what is something you're looking forward to teaching them
40:17
or maybe a class you've taught before?
40:19
[Olivia Willard] I always love doing watercolor with kids.
40:22
I find that it's one of the most forgiving forms of paint
40:25
because you really are able to just give yourself to it.
40:29
So it really allows curiosity and play.
40:32
So that's what I really enjoy.
40:34
I also do a lot of nature inspired art
40:37
through my nonprofit that I have.
40:39
My nonprofit, Bloom Madison County,
40:41
my best friend Anna and I started three years ago,
40:44
and we have a lot of really cool programming.
40:47
I'm really obsessed with our education program.
40:50
We have a great partnership
40:51
with Community Hospital in Anderson,
40:53
and I teach mindfulness art classes.
40:56
Farm to School is a huge program initiative
41:00
that we're starting at my children's elementary school.
41:02
[Maya Doss] Oh, that's awesome.
41:03
[Olivia Willard] Yeah, we have 19 beds in.
41:05
We got a grant for 100 fruit trees
41:07
and we're putting in a barn and a greenhouse.
41:09
[Maya Doss] Olivia, wow.
41:10
[Olivia Willard] Yeah, it's amazing.
41:12
[Maya Doss] That's so special.
41:13
[Olivia Willard] Yeah, we do a lot.
41:15
[Maya Doss] You said something about Bloom
41:17
was a part of the farmers market too.
41:18
[Olivia Willard] Yeah, we do the Anderson Farmers Market.
41:21
So I run all of that behind the scenes.
41:24
Let's see, we also do farm to table cooking classes.
41:27
Those are really fun.
41:28
We harvest right from the farm and then come inside
41:31
and use those ingredients.
41:32
[Maya Doss] I love how much you've worked
41:35
and put in effort into your community
41:37
in making it a better place, not only just for, like, kids,
41:40
but it sounds like it's, like,
41:41
reaching even farther than that, you know?
41:43
It's influencing the whole community.
41:45
That's really inspiring.
41:47
[Olivia Willard] Thank you. Thank you.
41:48
[Maya Doss] Of course.
41:49
[Olivia Willard] Speaking of other people in the community
41:51
beyond kids, we have an amazing group of seniors
41:53
that have a growing club. [Maya Doss] Cute.
41:56
[Olivia Willard] It's like 15 amazing women that are all
42:01
I mean, they're like 65 and up
42:02
and they're working in the gardens
42:04
and they're like, just gabbing.
42:05
And we're working on a group art display right now,
42:08
so that's really cool.
42:09
[Maya Doss] Oh, tell me more about this group art display.
42:11
[Olivia Willard] We wanted to do some sort of a community
42:14
mural, but with this group it was just not really gonna
42:18
work, the labor piece of it.
42:19
[Maya Doss] Right, you have to find a creative solution.
42:21
[Olivia Willard] Right, so we have three wooden panels
42:24
that we're working on a collaborative piece together.
42:27
So we've been putting together images
42:30
from the children's gardening club
42:31
and the adult gardening club
42:33
and talking about generational farmers and it's really neat.
42:37
[Maya Doss] Wow, so when you're, like,
42:40
gathering all of this inspiration from Anderson,
42:42
what do you hope people realize about this
42:45
maybe lesser known city that you've grown to love
42:49
and invest so much of your time and effort into?
42:52
[Olivia Willard] That Anderson is actually really cool.
42:54
There's a lot of people
42:55
that are doing a lot of really exciting things,
42:58
and I think it's such a misconception
43:00
that nothing is happening in Anderson,
43:02
because I assure you there is a lot.
43:04
[Maya Doss] That is something people say about smaller areas
43:07
in the Midwest,
43:08
is, "Oh, there's nothing to do except look at corn."
43:10
[Olivia Willard] Right? [Maya Doss] Not true.
43:11
[Olivia Willard] I know. Like, "Were you at First Friday?"
43:13
(both laugh)
43:14
[Olivia Willard] Did you even come to my farmers market?
43:16
[Maya Doss] Right? I know.
43:17
People still will be like, "Anderson has a farmers market?"
43:20
And I'm like, "Oh, my God." (Maya laughs)
43:22
[Maya Doss] If people wanted to see your book for themselves
43:24
or wanted to find you, where could they look?
43:26
[Olivia Willard] Yeah, you can check out my website.
43:28
It's oliviawillard.com.
43:30
Or you can find me on Instagram, @oliviaisstillpainting.
43:35
[Maya Doss] Thank you for coming on the show today, Olivia.
43:37
Trekking through the ice and snow. Right?
43:39
[Olivia Willard] Right. Thank you for having me, Maya.
43:41
(upbeat music)
43:47
[Kara DuQuette] It's that time, Michelle.
43:48
[Michelle Kinsey] Woo-hoo!
43:49
[Kara DuQuette] All right, we're gonna find out what's going
43:51
on. The Charles W. Brown Planetarium at Ball State
43:54
will present a new show, "The Great Solar System Adventure,"
43:58
Friday and Saturday, January 9th and 10th.
44:01
This character-led adventure takes you through the dangers
44:04
and wonders of our solar system and beyond.
44:06
Fasten your seat belts and see if you have the courage
44:09
to make it home in one piece.
44:11
Showtimes are 5 and 6:30 PM Friday and 6:30 PM Saturday.
44:15
[Michelle Kinsey] Ooh, that sounds like fun.
44:16
[Kara DuQuette] Yeah.
44:17
[Michelle Kinsey] "Checkpoint, Interactive Artworks, and
44:18
Experimental Play," an exhibition by John C. Gonzalez,
44:22
is on display now at the Ned and Gloria Griner Art Gallery
44:26
at Ball State.
44:27
Gonzalez is an interdisciplinary artist
44:29
whose practice spans installation, sculpture, painting,
44:33
performance, writing, music, game design,
44:36
and socially engaged projects.
44:39
[Kara DuQuette] Wow.
44:40
[Michelle Kinsey] His work often blurs the lines between
44:41
artist, viewer, and participant.
44:44
This exhibition will include several interactive
44:47
and game adjacent artworks in the galleries,
44:49
including images, performance,
44:51
and site specific works that will welcome viewer engagement
44:54
and provide space for the unexpected connections
44:58
and exchanges of its visitors.
45:00
I love this idea.
45:02
Gallery hours are Tuesday through Friday,
45:04
10:00 AM to 4:00 PM
45:05
[Kara DuQuette] Oh, yeah, I'm going to that.
45:06
[Michelle Kinsey] Oh, yeah.
45:07
[Kara DuQuette] That's amazing.
45:08
A tea and talk at Minnetrista Museum and Gardens
45:11
is set for January 14th at 3:00 PM.
45:14
Enjoy tea and light refreshments
45:16
while hearing from local glass artist Jennifer Halvorson,
45:20
whose work explores family, heritage, memory,
45:23
and the ways values are passed
45:25
from one generation to the next.
45:27
Jennifer will share insights into her recent body of work,
45:30
including pieces featured in her upcoming solo exhibition
45:34
in Lafayette,
45:35
and discuss how glass can hold both personal narrative
45:38
and emotional resonance.
45:39
Register at minnetrista.net.
45:43
[Michelle Kinsey] Very cool. Winston Churchill is back.
45:43
Well, sort of.
45:46
(person laughing) [Kara DuQuette] Do tell.
45:50
[Michelle Kinsey] Pruis Hall will host Randy Otto as Winston
45:51
Churchill at 7:30 PM, January 15th.
45:56
The one man show,
45:57
a stirring, inspirational, theatrical keynote,
45:59
brings Winston Churchill's keen incisive message of hope
46:03
to the 21st century.
46:05
Get this, the audience will have the opportunity
46:07
to interact directly with Prime Minister Churchill
46:11
during "Ask Winston," a fun lively Q and A.
46:16
[Kara DuQuette] Okay. So what would you ask Winston?
46:18
[Michelle Kinsey] That's right. Winston, what are your
46:19
thoughts on AI?
46:22
(both laughing)
46:24
[Kara DuQuette] Emmy award-winning comedian Vicki Lawrence
46:27
was part of the legendary cast of the "Carol Burnett Show"
46:30
where she created Thelma Harper,
46:32
better known as Mama.
46:33
With new material and a modern twist,
46:36
expect the unexpected from Vicki and Mama.
46:39
Andersonparamount.org has the details.
46:43
[Michelle Kinsey] Send your shows and other arts and culture
46:43
happenings to us at indianapublicradio.org/contact,
46:49
then click "Pop of Culture."
46:51
(upbeat music)
46:56
[Luke Jones] Support for "Pop of Culture" comes from
46:58
Stallings Wealth Management, the Innovation Connector,
47:04
And from you.
47:06
With state and federal money eliminated,
47:09
you are the difference in keeping local programming
47:12
on the air at IPR.
47:15
Become a member today at indianapublicradio.org
47:19
[Kara DuQuette] And that's our show.
47:21
Our general manager is Phil Hoffman.
47:23
[Michelle Kinsey] This week was produced by Luke Jones,
47:25
who knows all good things come in threes.
47:28
And our audio fellow is Maya Doss.
47:31
Our show was hosted by me, Kara DuQuette.
47:33
[Michelle Kinsey] And me, Michelle Kinsey.
47:35
"Pop of Culture" is a production from IPR on the campus
47:38
of Ball State University. (upbeat music)
47:50
(beep)
47:51
[Kara DuQuette] It's okay. (laughs)
47:52
No, this is making me better.
47:55
(clears throat) This week on "Pop of Culture," sorry.
47:59
I scared myself.
47:59
[Michelle Kinsey] That was good though.
48:01
(people laughing)
48:03
[Michelle Kinsey] I was right there with you.
48:04
I was like, "What's gonna happen?"
48:06
Tell me more, Kara. (person laughs)