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Right in our backyard?

9/30/2017

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John W. Bateman

Have you ever wondered what a residency program is? According to the Alliance of Artist Communities, there are more than 500 active residency programs in the United States alone. For more than a century, residencies have been an integral part of artist communities in the U.S., particularly as organizations like The MacDowell Colony and Yaddo Corporation helped lead the way and foster environments that, between just the 2 of them, has fueled Pulitzer Prizes, MacArthur Fellowships, a Nobel Prize, and a vast array of works, honors, and awards. Although those are two of the oldest programs in the country, they are far from the only ones.

Residencies can be quite extensive and significant, like the seven-month Fellowships at the Fine Arts Work Center in Provincetown, Massachusetts. Others can be short-term opportunities like two-week opportunities at the Vermont Studio Center, or the Yale Writers’ Conference every June. No residency is alike: some involve workshops and community service requirements, while others simply require artist focus and output. Some are funded, others aren’t. These different experiences offer a tremendous opportunity for emerging and established artists of all genre and media to build their craft and share it with the community.


Did you know there’s one down the road, right in our backyard at the Noxubee Wildlife Refuge?

The Artist-in-Residence at the Sam D. Hamilton Noxubee National Wildlife Refuge, created in 2013, was the first of its kind in the state. Artists who’ve participated in this 2-4 week program at the Refuge have included locals, as well as others from California, New York… even The Netherlands. Part of the draw for artists is the opportunity to learn about the wildlife and culture of Northeast Mississippi.

The benefit isn’t limited to the artist’s own curiosity. Lori Neuenfeldt, Gallery Director at Mississippi State University, seen the program shape the artist’s style and subject matter, such as
Caetlynn Booth, who continues to reference the cypress swamps in her paintings. Lori also relayed another benefit from exposure that the Noxubee Residency provides: “I’ve had artists comment on how much they love being here and how surprised they are. Some even mention how different Mississippi is from their preconceived ideas.” The impact extends beyond the artist’s individual experience, whether by their sharing of diverse stories and
culture that make up Mississippi’s gothic fabric, or carrying their experience back to their own communities.

In other words, the Noxubee Residency helps influence both art and the outside perception of life in Mississippi.


The Noxubee Refuge also benefits. Steve Reagan, Project Leader at the Noxubee Wildlife Refuge, describes how the Artist-in-Residence provides an alternative perspective on wildlife, the refuge, and the refuge system. Although staff approach their work from a scientific view, the artists approach the Refuge with an entirely different perspective and communicate that with the public in a very different way than trained scientists. He is amazed that, “although the artists connect the dots much differently, we end up at the same destination in regards to the importance and heart of the Refuge, its wildlife, and habitats.” With the help of artists, Steve notes “we can continue to show the public why wild spaces are an important part of our American heritage.”

“But how does the community benefit?”

It’s an important question, so I’m glad you asked! Residency programs create local access. It’s not simply about outside exposure or helping artists. For patrons and community members, particularly those unable to travel widely for the sake of art, the Noxubee Residency creates opportunities for the public to meet new artists, experience different works, and see perspectives they might not ever gain. For instance, the Noxubee Residency requires 2 public presentations by each resident artist.

Much of the programming for the Noxubee Program takes place on location at the Refuge. However, this October, SAAC, MSU, and Friends of the Noxubee Refuge are bringing the summer 2017 Artist-in-Residence to downtown Starkville.

Witness the influence of the Refuge and the residency on the arts community here. For free. On October 20, in the basement at 929 Coffee House in downtown Starkville at 6 p.m., Artist-in-Residence
Gillian J. Furniss will share about her work and experience at the Refuge. Her short presentation will be followed by a brief Q&A. Did I mention that the event is FREE?


Bring questions. Be curious.

Interested in the Artist-in-Residence program? Take a look here. Applications are accepted year round.
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Self-taught and Stellar

9/15/2017

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John W. Bateman

I’d heard of Divian, before I met her, through a mutual high school friend. When I first met this astounding, creative, wearing a black wide-brimmed hat and large sunglasses at Nine-twenty Nine, I knew we had to talk about her work. You may know her father, Dr. Douglas Conner, who was the first African-American physician in Oktibbeha County and, at one time, the only medical provider for the black community. Divian is a tremendous talent in her own right. Here’s a bit of our recent conversation about her art, the creative process, and life in Starkville.

How did you get into photography?
Well, I was a blogger. And that turned into scrapbooking - digital scrapbooking with Photoshop. I needed better photos of my children, so I took them. I didn’t want traditional photos, either. Eventually, I shifted to photography.

So you’re self-taught? [Nods.] I started with a little point and shoot. Even now I use a mid-level camera. A lot of people ask me how I get my pictures so clear. People assume you need to spend two, three, or four thousand on a camera. If you know how to work it, you don’t need an expensive camera.

I may quote you on that. What artists do you look to for inspiration?
We’re all so different, and we each bring something to the table. I like looking at work that’s not even like mine. Amanda Diaz, she’s awesome. Creative Soul Photography, they’re a husband and wife team and the nicest people.
​
Oh wow! Their work is wild. I love this.
[www.creativesoulphoto.com] Their work is a LOT of fun and down to earth. They focus on children of color to give them a highlight, and so you’ll see a lot of natural hair in their photography.

Who else do you look to for inspiration?
Carole McReynolds Davis. I want to be her. She made her own hats. I remember when she was in a wreck and she painted a band-aid on her car. She is one of those fun people who was like “POW - I’m gonna be me!” And, Paula Mabry-- --our high school drama teacher-- --people who aren’t afraid to be themselves. People like Bill Poe, who surround themselves with art and whose lives tell a story.

Sounds like you’re already there. Are there particular stories you like to tell? In my stuff, I like to tell stories around peace and serenity. On my Instagram, I have a lot of images of people with eyes closed, heads up. I try to simplify and remove elements. I like the simple glamour of the photos in the 1920’s and 30’s.

When you look at other work, what do you take away from it? Not to give up. I see that people started in the same place and grew. It gives me something to look forward to. No matter what, when I pick up a camera, I have a chance to learn. Don’t compare yourself to others, just continue to grow. Here in Starkville, it’s harder to do editorial work with children. People don’t quite understand it, and I usually have to travel to do that work. I have done a lot of work with Alexandria Olivia in Chicago, and I have a set launching in two weeks. I’m really excited because I had creative control of the shoot. I got to pick the clothing, accessories, really direct the shoot.

When you say that “editorial with children” is harder here, what does that mean?
Most people don’t understand what editorial means. It’s different from commercial photography. Commercial sells stuff. Editorial tells a story: it sells a lifestyle. For example, I get a lot of questions like “Why aren’t your children smiling in the photos?” Smiles can be fake. We put one on for the camera. I want people to see children through [the children’s] eyes. Editorial can be simple or complex, but it’s telling a story in some way. In fact, a lot of brides now want more editorial photos, even though they don’t realize that’s what they are asking. They’ll show me photos they like and it’s definitely editorial work.

Picture
Some of Divian's work.
You told me when we first met that you are putting together a fine arts exhibit. What is that going to be? There are two things I want to do: one is an exhibit of children. The other is a “Faces of Starkville.” Show real people. The nitty gritty.

I’d love to see a Faces of Starkville exhibit. What do you think the arts community needs?
More shows and exhibits. I want to see more art of all types. Music. Everything. Work different from mine. I encourage my kids to try new things, whether food or activities. Step outside the box. Have fun - we have murder mystery dinner parties and you have to come in costume. I want my children to be more accepting of diversity, so I start with food. I figure if they start by being open to new foods, then they’ll be open to people who are different from them.

Do you have any advice for a young artist who is starting out? You define you. Don’t allow someone else to define you. Their likes and dislikes are not yours. Do what makes you happy. I think people want to change who they are, because they think that’s gonna make them successful. Really, success is about being true and consistent to who you are.

If you’d like to see more of Divian’s work, you can find her on Instagram, or online here or even here… (meanwhile, I’ll be working on an invitation to these murder mystery dinners).
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  • Home
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