From rural southern Oregon, Ka'ila Farrell-Smith fights for and paints with Native land.

04/15/24 • 25 min

For painter Ka’ila Farrell-Smith, the land on which she lives and works is the raw material for her art, both metaphorically and literally.

In November 2016, ten days spent at Standing Rock, ND protesting the Dakota Access Pipeline and meeting and working alongside fellow Native artists changed her life. Ka’ila, who is Klamath Modoc, learned about the Jordan Cove Energy Projects, a liquid natural gas LNG pipeline that was threatening her ancestral homeland in southern Oregon, and in 2018, she moved to Modoc Point, where she jump-started a new chapter in her activism and artistry journey, scoring a couple of big wins in the first year. She created her “Land Back” series of paintings, in which she started incorporating pigments and minerals from the land around her, and she was successful in blocking the Jordan Cove Energy Project.

Now, in 2024, represented by the Russo Gallery in Portland, OR, she’s had her work exhibited in museums all over the country, including at the National Gallery in Washington, D.C. One of her pieces is also in the Portland Art Museum’s permanent collection. On the activist front, she is suing the State of Oregon for illegal surveillance and is also combating lithium mining in Native regions of Southern Oregon and Nevada.

In this interview, Ka’ila explains why she left the artistic hub of Portland to live in rural southern Oregon and describes how her activism and artistry have evolved hand in hand.

https://www.kailafarrellsmith.com/

For painter Ka’ila Farrell-Smith, the land on which she lives and works is the raw material for her art, both metaphorically and literally.

In this interview, Ka’ila explains why she left the artistic hub of Portland to live in rural southern Oregon and describes how her activism and artistry have evolved hand in hand.

https://www.kailafarrellsmith.com/

Previous Episode

For Rising Appalachia, time off is the newest tool in their slow-music toolbox.

In February of 2024, after a year of touring the country, the musical group Rising Appalachia, an ensemble that marries American folk music with a wide array of world influences, made an announcement that might have been surprising only to those who don’t know them well. Sisters Leah Song and Chloe Smith, who created Rising Appalachia over 15 years ago, had decided to take a sabbatical year, though they would honor the concerts already on the books in 2024.

Longtime Rising Appalachia fans have been supportive because they know this is a band that has never taken shortcuts in how they manage their artistry and their lives. Since early on in their careers, Leah and Chloe have been advocates for and practitioners of the slow music movement, an ethos of touring and music-making that places sustainability, local engagement and creative control at the heart of their business. The current sabbatical is the latest tool in their slow music toolbox.

Yet though last year’s tour was hugely successful and they’ve just released an album titled “Folk and Anchor,” Chloe and Leah’s decision was undeniably gutsy and far from conventional in the music industry. In this interview, the sisters, speaking from their homes in the North Carolina mountains, discuss why this was the right time for a yearlong break, how they prepared for it and the ways in which they and their bandmates keep the slow music ethos at the heart of their artistic practice.

https://www.risingappalachia.com/tour

https://www.risingappalachia.com/

Next Episode

Griff Braun makes ballet dancers union-strong.

A major theme that reappears in episode after episode of Art Restart is the fact that audiences/consumers, institutions/businesses and sometimes even artists themselves often fail to recognize that art is labor, not a pastime or an unconventional way to earn a living. A recent labor action by America’s premier ballet company served as a fresh reminder.

On February 6 of this year, by an overwhelming majority, the dancers and stage managers of American Ballet Theatre voted to authorize a strike. Among their demands were an increase in wages that had been frozen since the Great Recession of 2008 as well as an adjustment to their working hours.

Represented by their union, AGMA (American Guild of Musical Artists), after approximately three weeks of negotiations, the ABT company members and management were able to reach an agreement and avert a strike. The terms of the new agreement include cost-of-living increases of between 9 and 19% (varying by rank) across three years, their workday being shifted a half-hour earlier and reduced by one half-hour on Saturdays and new parental-leave benefits and a commitment to keep pregnant dancers on contract until the time of the dancer’s choosing.

In this interview, Art Restart speaks with Griff Braun, AGMA’s national organizing director, who was himself once an ABT company member. He speaks about the nuts and bolts of how and why dancers unionize and describes the challenges and opportunities of organizing as an artist in 2024 America.

https://www.musicalartists.org/griff-braun-national-organizing-director-professional-bio/