Che Apalache is a\ nfour-man string band based in Buenos Aires with members from Argentina\,\ nMexico and the United States. Their style is called Latingrass\, a mix of \nSouth American music and Bluegrass. Their repertoire ranges from vivid\n Latin rhythms to a cappella mountain gospel songs sung in four part\nharmo ny. Combining instrumental prowess with tight vocal harmonies\, they\nhave created an authentic blend of genres to reflect the nature of their\nlive s. Evoking images from Appalachia to the Andes\, their debut album\,\n\"La tingrass\,\" is a testament to a powerful cultural and musical\nexchange.< /p>
Outreach with Che Apalache is supported by the Idaho\nCommission on the Arts\, WESTAF (the Western States Arts Federation)\, and\nthe Nationa l Endowment for the Arts.
The Professional Artist Residencies are supported by\n Joyce B. Friedman in memory of Norman Friedman\, Robin Leavitt and Terry\n Friedlander\, Lloyd Construction\, Inc.\, Jane Rosen and Scot t\nMiley—Scott Miley Roofing\, Kay Tenney and Bozo Cardozo\, Bex Wilkins on and\nthe Marshall Frankel Foundation\, and in part by public funding fo r the arts\nthrough the National Endowment for the Arts\, WESTAF\, the Ida ho Commission\non the Arts and the Idaho Legislature.
C he Apalache is a\nfour-man string band based in Buenos Aires with members from Argentina\,\nMexico and the United States. Their style is called Lati ngrass\, a mix of\nSouth American music and Bluegrass. Their repertoire ra nges from vivid\nLatin rhythms to a cappella mountain gospel songs sung in four part\nharmony. Combining instrumental prowess with tight vocal harmo nies\, they\nhave created an authentic blend of genres to reflect the natu re of their\nlives. Evoking images from Appalachia to the Andes\, their de but album\,\n\"Latingrass\,\" is a testament to a powerful cultural and mu sical\nexchange.
Outreach with Che Apalache is supported by the Ida ho\nCommission on the Arts\, WESTAF (the Western States Arts Federation)\, and\nthe National Endowment for the Arts.
The Professional Artist Residencies a re supported by\nJoyce B. Friedman in memory of Norman Friedman\, Robin Le avitt and Terry\nFriedlander\, Lloyd Construction\, Inc.\, Ja ne Rosen and Scott\nMiley—Scott Miley Roofing\, Kay Tenney and Bozo Card ozo\, Bex Wilkinson and\nthe Marshall Frankel Foundation\, and in part by public funding for the arts\nthrough the National Endowment for the Arts\, WESTAF\, the Idaho Commission\non the Arts and the Idaho Legislature.
Stepping out of\nt he Frame: Museum-Based Art Therapy Program furthers the Sun Valley Center\ nfor the Art’s mission to enrich the community by creating a program\nde dicated to facilitating therapeutic experiences for those encountering\nco gnitive and sensori-motor changes connected with aging. Each week\npartici pants will explore the Center’s Big Idea Project\, Marketplaces:\nFrom O pen Air to Online through therapeutic art experiences both within and\nout side of the museum. The experiences will expose participants to and\nengag e them with visual artworks and visual arts directives that are\nspecifica lly designed to promote individual\, social\, and educational goals\nfor t ransformation.
S tepping out of\nthe Frame: Museum-Based Art Therapy Program furthers the S un Valley Center\nfor the Art’s mission to enrich the community by creat ing a program\ndedicated to facilitating therapeutic experiences for those encountering\ncognitive and sensori-motor changes connected with aging. E ach week\nparticipants will explore the Center’s Big Idea Project\, Mark etplaces:\nFrom Open Air to Online through therapeutic art experiences bot h within and\noutside of the museum. The experiences will expose participa nts to and\nengage them with visual artworks and visual arts directives th at are\nspecifically designed to promote individual\, social\, and educati onal goals\nfor transformation.
Use this\nopportun ity to brush up on your figure drawing skills in a relaxed\nenvironment. A ll skill levels are welcome. The Oct 30th includes assistance\nby Bob Dix on various figure drawing techniques.
U se this\nopportunity to brush up on your figure drawing skills in a relaxe d\nenvironment. All skill levels are welcome. The Oct 30th includes assist ance\nby Bob Dix on various figure drawing techniques.
Part of the BIG\nI
DEA Marketplaces: From Open Air to Online
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uest of John and Molly Chester as they trade city living for 200 acres of\
nbarren farmland and a dream to harvest in harmony with nature.
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ged\nperseverance and embracing the opportunity provided by nature'\;s
\nconflicts\, the Chester’s unlock and uncover a biodiverse design for\n
living that exists far beyond their farm\, its seasons\, and our wildest\n
imagination.
\n<\;/div>\;<\;div>\;<\;br>\;<\;/div>\;&
lt\;div>\;Featuring\nbreathtaking cinematography\, captivating animals\,
and an urgent message to\nheed Mother Nature’s call The Biggest Little
Farm provides us all a vital\nblueprint for better living and a healthier
planet.
\n<\;/div>\;<\;div>\;<\;br>\;<\;/div>\;
P
art of the BIG\nIDEA Marketplaces: From Open Air to Online
<\;div&
gt\;
\n<\;/div>\;<\;div>\;The Biggest Little Farm chronicles
the eight-year\nquest of John and Molly Chester as they trade city living
for 200 acres of\nbarren farmland and a dream to harvest in harmony with n
ature.
\n<\;/div>\;<\;div>\;<\;br>\;<\;/div>\;<\;di
v>\;Through dogged\nperseverance and embracing the opportunity provided
by nature'\;s\nconflicts\, the Chester’s unlock and uncover a biodiv
erse design for\nliving that exists far beyond their farm\, its seasons\,
and our wildest\nimagination.
\n<\;/div>\;<\;div>\;<\;br>
\;<\;/div>\;<\;div>\;Featuring\nbreathtaking cinematography\, capt
ivating animals\, and an urgent message to\nheed Mother Nature’s call Th
e Biggest Little Farm provides us all a vital\nblueprint for better living
and a healthier planet.
\n<\;/div>\;<\;div>\;<\;br>\;<
\;/div>\;
Enjoy a glass of\n wine as you tour the exhibition with the museum's curators. Behind the \nSagebrush Curtain includes work by seven 20th-century artists who w ere\nactive in Montana and Idaho: Gennie DeWeese\, Edith Freeman\, Isabell e\nJohnson\, Sara Joyce\, Helen McAuslan\, Frances Senska and Jessie Wilbe r.\nWorking in a wide range of materials and styles\, these artists were u nified\nin their desire to marry the landscapes and subject matter of the American\nWest with ideas and techniques that reflected their engagement w ith\ninternational modernism.
Exhibition on view Nov 15\, 2019–Jan 10\, 2020.
E njoy a glass of\nwine as you tour the exhibition with the museum's curator s. Behind the\nSagebrush Curtain includes work by seven 20th-cent ury artists who were\nactive in Montana and Idaho: Gennie DeWeese\, Edith Freeman\, Isabelle\nJohnson\, Sara Joyce\, Helen McAuslan\, Frances Senska and Jessie Wilber.\nWorking in a wide range of materials and styles\, the se artists were unified\nin their desire to marry the landscapes and subje ct matter of the American\nWest with ideas and techniques that reflected t heir engagement with\ninternational modernism.
Exhibition on view Nov 15\, 2019–Jan 10\, 2020.
Behind the\nSa gebrush Curtain includes prints\, drawings\, paintings and ceramics\ nby seven artists who were active in Montana and Idaho in the second half of\nthe 20th century: Gennie DeWeese\, Edith\n Freeman\, Isabelle Johnson\, Sara\nJoy ce\, Helen McAuslan\, Frances\nSenska< /strong> and Jessie Wilber. Working in a range of\nmate rials and styles\, these artists were unified in their desire to marry\nth e landscapes and subject matter of the American West with ideas and\ntechn iques that reflected their engagement with international modernism.\nMany of these women also served as teachers and mentors throughout their\ncaree rs\, influencing the work of younger artists in the Intermountain West\nfo r decades.
The exhibition takes its title from a recent interview\n with Donna Forbes\, longtime Executive Director of the Yellowstone Art\nMu seum and a personal friend of the artist Isabelle Johnson. In the\nintervi ew\, which can be found on the website for Tippet Rise Art Center in\nMont ana\, Ms. Forbes discusses Montana’s art scene in the 1950s and 1960s.\n She describes her colleagues as feeling cut off from the major centers of\ nthe art world and remembers a friend commenting that in Montana\, artists \nwere stuck “behind the sagebrush curtain.”
But as the exhibit ion\nillustrates\, artists in the West\, despite their relative isolation\ , were\nactively working with modernist ideas. For some of the women in th e\nexhibition\, artistic training in the East provided an introduction to the\nvisual language of modernism. Bringing that training west\, these art ists\ntranslated that language into something uniquely of this place. The\ nexhibition focuses on women artists whose work has been less widely\nexhi bited than that of their male counterparts—women who were\, in\nessence\ , working behind a second curtain.
< em>Behind the\nSagebrush Curtain includes prints\, drawings\, painti ngs and ceramics\nby seven artists who were active in Montana and Idaho in the second half of\nthe 20th century: Gennie DeWeese\, Edith\nFreeman\, Isabelle Johnson\, Sara\nJoyce\, Helen McAuslan\, Frances\nSenska and Jessie Wilber. Working in a range of\nmaterials and styles\, these artists were unified in their de sire to marry\nthe landscapes and subject matter of the American West with ideas and\ntechniques that reflected their engagement with international modernism.\nMany of these women also served as teachers and mentors throug hout their\ncareers\, influencing the work of younger artists in the Inter mountain West\nfor decades.
The exhibition takes its title from a r ecent interview\nwith Donna Forbes\, longtime Executive Director of the Ye llowstone Art\nMuseum and a personal friend of the artist Isabelle Johnson . In the\ninterview\, which can be found on the website for Tippet Rise Ar t Center in\nMontana\, Ms. Forbes discusses Montana’s art scene in the 1 950s and 1960s.\nShe describes her colleagues as feeling cut off from the major centers of\nthe art world and remembers a friend commenting that in Montana\, artists\nwere stuck “behind the sagebrush curtain.”
B ut as the exhibition\nillustrates\, artists in the West\, despite their re lative isolation\, were\nactively working with modernist ideas. For some o f the women in the\nexhibition\, artistic training in the East provided an introduction to the\nvisual language of modernism. Bringing that training west\, these artists\ntranslated that language into something uniquely of this place. The\nexhibition focuses on women artists whose work has been less widely\nexhibited than that of their male counterparts—women who we re\, in\nessence\, working behind a second curtain.