House of Cach jewelry made with real cicadas. Photo by Ian Travis Barnard

The inventive Providence, Rhode Island, accessories company House of Cach makes wearable art from cicadas, starfish, and bullet casings, among other items. Their smaller pieces include some that border on traditional, such as black leather cuffs and crystal drop earrings. But the larger works—such as a large gold chest plate made of cicadas—are quite polarizing. “People either say it’s really beautiful, or that it’s the most disgusting thing they’ve ever seen,” says company cofounder Alexa Cach, quite happy with either response. “We want people to feel something when they look at our pieces.”

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House of Cach makes wearable art from cicadas, starfish, and bullet casings in their Providence, Rhode Island workshop. Many of the pieces shown can be found on their website; some are one of a kind.

All photos by Ian Travis Barnard. The models are Dylan Handy and Alena Renay. Christina Cook did makeup and styling, Rachael Lee Pine did hair. Production design was provided by Yarrow Thorne and Kelly Knapp; art direction by Izzy Berdan.

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In November 2014, Vatic Kuumba was part of a group of protesters who spilled onto the highway I-95 in Providence, Rhode Island. Kuumba, a rap and poetry slam artist, was taking a stand against the Michael Brown Ferguson court decision and was subsequently arrested along with four others. An African American growing up in Florida, Kuumba has always been keenly aware of prejudice, and had moved to Providence four years ago to lessen its sting. That singular incident on the highway galvanized the activist, and he has since worked closely with the community in many ways to highlight issues regarding race and culture.

Along with a few other artists, Kuumba will again bring his work to the stage. He is scheduled to be part of PVDFest, Providence’s signature art festival to be held June 1-4. The third edition of PVDFest is expected to bring artists from around the world in an open block party style of dance, music, and other artistic performances.

At poetry slams and other events in Providence, Kuumba shakes the audience out of their comfort zone by challenging their assumptions about race. Race, he argues, is a social construct, and he encapsulates his views through poems that challenge people’s world views. Kuumba doesn’t worry too much that the audience for his performances comprise people who might already be responsive to his message. “I don’t necessarily take a lot of my time to try to change a person who has a hateful heart,” he says. “However, if they come to one of my performances and they can sit through it, I think it is so thought-provoking that you can’t just get up out of it and then go about your day. You have to think about it.”

Kuumba wants people to challenge ideas about race, and is willing to meet his audiences halfway. At area schools and community centers, Kuumba has hosted Ice Cream Social Justice parties where free-flowing conversation starts with a nudge from the artist and is further fueled by ice cream. At one such event, Kuumba asked the audience to list the slurs they knew, and he threw all the words together in a giant word search to get members to ask and discuss uncomfortable questions.

For PVDFest, Kuumba will collaborate with a few other artists to deliver pieces for a theater festival called Renaissance. Resistance. Rendezvous. One of these, Me and the Multiverse, tells the story of Kuumba’s move to Providence, the adopted home he so loves. Another piece, If I Die, I’m a Legend, will incorporate the Black Lives Matter principles into the story, with dance and visual art complementing the performance.

Vatic Kuumba, If I Die I am a Legend, photo courtesy Vatic Kuumba

Kuumba is grateful to be a part of the city’s vibrant art scene. “Being in Providence and being around this activist community, has been really helpful for me,” he says, “it has been rewarding to really see myself through different people’s eyes.”

Vatic Kuumba–Poet
Providence, Rhode Island
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Top image Heurisko, photo courtesy of Vatic Kuumba

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Looking deeper is mandatory with the artwork of Toby Sisson. Her painting, prints, and drawings span abstraction’s capacity for metaphor. Black, white, and gray collide in patches, loops, and other elusive forms. Crafted variably on wood and paper with ink, oil, graphite, beeswax, and charcoal, these raw, pure images exude ineffable depth. Her signature could be a dagger, teardrop, or wound—“I look at it as a stand-in for all kinds of things,” Sisson says. The mark recurs in her work like “automatic writing.”

It’s no accident that Sisson’s visual art seems as if it were written rather than wrought. She anchored both her 2015 solo exhibition, . . . and other poems, and her artist statement with insights from lauded writer and social critic James Baldwin: “The artistic image is not intended to represent the thing itself, but, rather, the reality of the force the thing contains.”

Toby Sisson, grow inward like a root I, 2017, encaustic monotype on paper mounted on wood, 12 x 9 in.. Photo courtesy of the artist

In their achromatic poetic grace, Sisson’s images reflect a spectrum of psychological and social forces. Her use of black and white speaks by turns to her biracial heritage, to America’s ongoing racial inequity, and to more elemental ideas of melding and pulling apart, opposition, and coalescence. She’s particularly invested in agency, and the interplay between a given material’s natural inclinations and her own will. “You can exert a lot of control…you can master these materials,” Sisson says, “but at the same time there’s a lot of opportunities for them to exert their own personalities.”

Right now Sisson is on sabbatical from Clark University in Worcester, Massachusetts, and is immersed in her Providence, Rhode Island, studio with a series of collages. She says the chaos in the world is permeating her current project, and she considers her work “an opportunity to explore these existential questions that we’re perhaps all asking.” But she sees this uncertain moment as a catalyst for something greater.

Toby Sisson, Totems # 1-4 (installation view), 2015, encaustic and graphite on wood, 30 x 30 in. each. Photo courtesy of the artist

She recently saw Raoul Peck’s documentary I Am Not Your Negro at Providence’s Cable Car Cinema, and reflected on its sampled interview footage in which Baldwin asserts, “I can’t be a pessimist because I’m alive.”

“I’m still taking cues from Baldwin,” Sisson says. “I’m just using different tools. He used language. But I think that painting is a language as well. . . So I’m optimistic. I don’t see this as a challenge in the negative sense. I see these questions as a challenge in the very best sense of the word.”

Toby Sisson – Artist
Providence, Rhode Island
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Top photo The Darkest Hour, Chant, Cadence (installation view), 2014, Encaustic and graphite on wood, Dimensions: 24” x 12” each | Photo courtesy the artist

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This August, Strange Attractor has a new pageant planned that includes gathering 100 singers on Easton’s Beach in Newport for a choral performance. Their audience? The sea itself. The occasion? A rather remarkable solar eclipse. The pageant begins as the moon begins its creep between the Earth and the sun, and the performance continues for the duration of the eclipse, about two hours.

Those of us in New England will only see a partial eclipse on August 21, but it’s the first total eclipse since 1918 that will stretch across the entire United States. The sun’s rays will be totally blocked from central Oregon to South Carolina. If it’s not too cloudy, the whole sky will be sunset-colored, even in the Northeast.

Pageant rehearsals have just begun, and most details are still being ironed out, but Strange Attractor organizers Rebecca Noon and Jed Hancock-Brainerd have some guidelines for what the event will be. “The only criteria for performers is that people have feelings about the ocean,” Hancock-Brainerd says, “since the audience is the ocean.” Adds Noon, “We only want things that the ocean wants. No confetti, no plastic, and no stepping on the dune grass.”

Hancock-Brainerd originally conceived the sea pageant, explaining that 100 participants seemed like a good number for the event. “It’s more reasonable than a thousand,” he says.

Noon and Hancock-Brainerd are half of Strange Attractor, a company that’s split between Rhode Island, Philadelphia and Juneau. The four Americans met in graduate school in London, and each member uses the Strange Attractor moniker for projects that involve one or more of the other members.

“Usually Jed dreams up an idea that’s totally crazy,” explains Noon, who handles directing and producing duties, “and I say, ‘No, I’m not going to do that.’ And then some time goes by and we start to develop it.” This is the fourth show in seven years that the two have conceived in this way.

The pair are currently wrapping up a year-long residency at the Providence Athenaeum, where they researched the complicated historical relationship between Rhode Islanders and the ocean. They’ve also been learning more about the ocean itself and about remarkable eclipses.

Strange Attractor’s most recent piece, Sans Everything, was performed in Providence and Boston before showing this February at Philadelphia’s FringeArts. Conceived by Aram Aghazarian–Strange Attractor’s Philly member–and directed by Noon, the show imagines a post-human future where artificial intelligence units are compelled by outside forces to perform Shakespeare as they travel through space.

Roblin Davis, Aram Aghazarian, Rebecca Noon and Jed Hancock-Brainerd, A Terrific Fire, photo by Shea’la Finch

That’s actually one of the group’s more traditional offerings. Their Rhode Island events have included a gothic Christmas pageant staged in the middle of July at the home that Hancock-Brainerd and Noon share. Another performance required audience members to wear sweatpants and sing on the street. Entitled Before We Begin, that show included a lengthy introduction after which the duo put paper bags over their heads, allowing uncomfortable audience members to leave without being seen.

The sea pageant is a one-time event, but a reprisal may be possible: it’s only seven years before the next total solar eclipse.

Rebecca Noon and Jed Hancock-Brainerd–founders, Strange Attractor
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Top Image: Before We Begin: Jed Hancock-Brainerd and Rebecca Noon, photo by Stray Creatives

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It’s been three years since composer James Falzone created the Providence Research Ensemble, but he still has trouble categorizing the group. They’re not classical, he says, because they don’t really play classical music. Experimental doesn’t quite sound right, either, although some of their performances certainly sound that way.

“I write systems-based music,” he says, before jovially launching into specifics about structure, mathematics, and how his compositions are adaptable depending on which players are in the room. “There’s actually something called Systems Music, but that’s really a British thing and we’re not that, either.” He settles on New Music, a term generally applied to the border-pushing fringes of contemporary classical composition.

As the name suggests, Providence Research Ensemble is largely a lab for Falzone to figure out his own work. “What’s wonderful about the group,” he says, “is that it’s friends of mine coming together in an informal, convivial way to perform music that might not otherwise be performed.” He loves the performance side of music, which isn’t the case for many composers.

“It’s so easy to sound overblown,” Falzone says, laughing. “There’s nothing I hate more than the image of the composer that comes from romantic music. I like some of the music, but that tortured genius image…”

In 2016, Falzone was awarded one of the RISD Museum’s inaugural fellowships, a paid honor that allowed him to research museum collections and also perform regularly in its grand European painting gallery. (One memorably odd performance featured cello, trombone, two basses, and Falzone on an electroacoustic instrument called the Cembaphon.)

Hardly tortured, Falzone has reason to be happy. He’s just been accepted into a graduate program. He hasn’t formally accepted yet, but it seems likely that a move might be coming soon. But while Falzone may leave Providence, he’ll remain involved in music around town. The grad program is close enough that he’ll still perform with both Providence Research Ensemble and Ordinary Affects, the Boston-based quartet in which he currently plays vibraphone and keyboards.

Soft-spoken and careful with his speech, Falzone becomes quite animated over any number of suspects, from pentatonic scales to the British art of change ringing, the collective ringing of church bells in a mathematical sequence.

Falzone has already composed eight pieces based around the tenets of change ringing, and his notebooks are full of braided grids of bell ringing patterns. (Here’s one for trivia night: about four hundred years ago, English bell ringers would tug on weighted ropes to practice their craft. The silent—or dumb—bell ringing allowed them to keep in shape for when it was time to climb the tower and ring the actual church bells. And that’s why dumbbells are called dumbbells.)

Infrequent Seams is an experimental music label—that’s their term—that will release the first album from Providence Research Ensemble this June. The album features eight players performing a number of Falzone’s compositions from the past three years. A short tour of the Northeast will follow this summer.

James Falzone – Founder, Providence Research Ensemble
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Top photo James Falzone, Providence Research Ensemble | Photo by Peter Gumaskas

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Erminio Pinque just spent an action-packed weekend at Big Apple Comic Con when we talked, but the Big Nazo founder sounds more energized than deflated as he explains what his creatures were up to in New York. The surreal performance group was hired as the wedding band for Comic Con co-founder Mike Carbonaro and model Nina Martinez (who opted to get hitched in a Wonder Woman costume). The creatures also worked as the party band for the convention’s cosplay area, where enthusiastic attendees partied down while dressed as their favorite comic book and video game characters. They somehow even made it to New Jersey to perform at a theater.

It’s been 30 years since Erminio Pinque founded the Providence-based troupe Big Nazo. “Creatures is a useful term,” Pinque says when asked to describe the characters, which range from dapper insects to schoolmarm-attired sea monsters to a bespectacled mad scientist with three eyes. “We use puppets and masks and parade techniques, but we’re not a parade group or a puppet ensemble. The word creature is weird enough to encompass it all.”

Big Nazo began informally with “sloppy street performances,” but officially debuted in Providence City Hall as part of the city’s 1987 New Year’s Eve celebration. Three decades later, the loosely knit collective can be seen at events and festivals throughout Rhode Island, as well as internationally.

It’s hard to miss the looming, loony creatures when you’re in downtown Providence. A staple at outdoor events in the city, the instantly recognizable creatures also lived in the windows of a corner storefront right next door to City Hall.

Constructed from lightweight plastic, foam, and fabric, the flexible creature costumes can be crushed down for easy travel. Once unpacked, they pop right back into shape. “When we go on the road, we wrap and roll them in hockey bags,” Pinque says, noting that the wear and tear actually improves their overall quality. “When they’re new, they’re shiny and rubbery. They look like toys. As they age, the texture actually starts to look more like skin.”

Big Nazo

Big Nazo’s schedule is predictably unpredictable. After Comic Con, their engagement list included appearances at the Providence Athenaeum for an H.P. Lovecraft event, then a St. Patrick’s Day parade the following day. April will find them in sci-fi mode for the Space Jam party at Fête Music Hall, followed by the trip to Brazil for an electronic music festival.

“Commissioned work is instrumental to our design process,” Pinque says, “because it allows us to solve problems that we would have never tackled. Right now, we’re making giant stilting creatures for an electronic music festival in Sao Paulo. We’ve never made stilts before!”

A few years ago, the original storefront the group inhabited was sold to a major Boston developer, so Big Nazo only moved around the corner. They recently moved again. The new space on Westminster Street is a little smaller, but has really high ceiling—a helpful luxury since some of the creatures are huge. Pinque keeps the doors open when working, and visitors are always encouraged to drop in.

Big Nazo – Erminio Pinque, founder
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Photos by Thomas Alan Photography

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If you think live professional music only occurs in official music halls and venues, Sofar Sounds has a message for you. A worldwide organization, Sofar Sounds is dedicated to subverting the norms of booking, attending, and curating live music performances.

Want to host a musical soiree in your living room? That could happen. On a rooftop? Absolutely. With networks of volunteers and artists programming shows in Providence, Worcester, Boston, and New Haven (just to name a few), Sofar Sounds is quickly establishing itself as the go-to resource for New England artists looking for a paid gig in an unusual space, as well as a place for music lovers ready to experience live music in a different space.

Here’s how it works.

A band or individual artist applies to perform at a Sofar Sounds show. Sofar volunteers choose three acts from the pool of applicants, and secure a space for the performance that isn’t a conventional venue. Once the show is booked, Sofar Sounds’ members near the show’s location get a notification stating the date of the show and the neighborhood where the show is located. Typically hundreds of people sign up, so only a subset of people get an invite to the show. Once invited, show-goers learn where the performance will be and what bands are booked.

Mark Schafer, an ambassador at Sofar Sounds in Boston, says his team works hard to program the right kind of shows and select a diverse group of performers. “We’re very careful to make sure that we curate shows based on quality and diversity,” he says. “We want to make sure we represent all the voices in the music community.”

A recent show in Boston, for instance, featured a pop singer, a stripped down punk band, and a folk duo in the same night. “We intentionally do that kind of thing when we can,” says Schafer. “The hope is you’ll love everything, but if you see something you don’t like, all you have to do is wait a little bit for the next act, which is going to be something totally different.”

The band Aria Lanelle, Sofar Sounds, Myles Tan photography

Sofar’s subversion of music industry norms doesn’t stop there. The group almost exclusively works with local musicians and selects spaces that are not conventional venues for live music performance, essentially any space that isn’t a bar or venue.

Using unconventional performances spaces keeps Sofar Sounds bookings hyperlocal. “We’re able to tap into the local music scene much easier than a traditional venue can,” says Rachel McCandlish, another Sofar Sounds volunteer. “It’s great to be able to help those smaller bands and guarantee them an audience.”

“We pretty intentionally go for people who are either completely unknown and haven’t even put out a record yet, or artists that are on their way up,” says Schafer.

In addition to exposure to a guaranteed number of dedicated music lovers, bands who play a Sofar Sounds show get compensated for their time and performance. Artists either get paid, receive some form of hospitality, and/or are featured in a professionally shot and edited video of the live performance.

As the organization grows and adds new networks across New England, Sofar Sounds wants to become the platform for up-and-coming performers in their networked cities and bands as they pass through New England towns. “We want to make it so everyone who comes through Boston on their way up plays a Sofar show, because it’s consistently the best show featuring emerging artists,” says Schafer.

“We don’t want to get bigger and bigger bands,” adds Schafer. “We want to make sure we get the best bands and intentionally continue to get artists that many of the people in the audience have not heard before.”

Mark Schafer and Rachel McCandlish, Sofar Sounds
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Images courtesy of Myles Tan Photography

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Ben Giguere discovered—and fell in love with—the art of glassblowing all in one day in 1997. He had taken a temporary position at Simon Pearce, the eponymous glass-blowing factory started by the legendary Pearce near the falls of the Ottauquechee River in Quechee, Vermont. “The first day I was there, I knew this is what I wanted to do with my life,” Giguere says. “Immediately it clicked, and there was no doubt in my mind that I wanted to learn everything I could. The factory is this gorgeous 300-year-old space with artists from all over the world making beautiful art. I got to work with master makers from the Czech Republic, from Ireland, Sweden, England. I didn’t know anything about glassblowing, but eventually I was given an amazing opportunity to train with them and it changed my life.”

After 11 years of intensive training, Giguere moved to Providence, Rhode Island, to continue to learn glassblowing techniques. He sought his education through masters in the field. In 2008, this led him to Steven Weinberg, a famed student of Dale Chihuly, one of the most well-known glassblowers in the world. Through Weinberg, Giguere learned casting and molding techniques that became the framework for his own stylization as a glassblower. In 2011, Giguere helped found Gather Glass, a project that brings together the fruits of his 15 years of understudy with a foundation for teaching others.

“Gather is the actual process of putting the blow pipe in the furnace and you are spinning glass onto the pipes. That is gathering,” says Giguere. “But it is also the act of bringing people together. So it is just a perfect fit. When we decided on that name, we knew that it was exactly what we were trying to accomplish—to bring together our community through art and food and farming.”

Gather Glass is a multifaceted project that is still evolving. Currently, it is a community space for learning the art of glassblowing, as well as an art studio. In the works is a cafe next door, as well as a farm in the near future. Giguere wants to create a sustainable community of farm-to-table food served on beautiful glassware made in the studio. He hopes to bring in a group of makers—potters, farmers, and artists—to complete the Gather Glass community.

Along with teaching people the fundamentals of glassblowing, Gather is also invested in community work. “It is our goal to be in the community, to see how we can invest ourselves back,” Giguere says. “If we don’t have that, we have nothing.”

Gather Glass is gearing up for summertime festivals that include Water Fire (to be announced) and PVD Fest (June 1-4). At the festivals, the company brings its mobile furnace to offer glassblowing demonstrations in downtown Providence. In the meantime, Gather Glass has live demos and art displays open to the public every third Thursday.

Along with teaching people the fundamentals of glassblowing, Gather is also invested in community work. “It is our goal to be in the community, to see how we can invest ourselves back,” Giguere says. “If we don’t have that, we have nothing.”

Gather Glass is gearing up for summertime festivals that include Water Fire (to be announced) and PVD Fest (June 1-4). At the festivals, the company brings its mobile furnace to offer glassblowing demonstrations in downtown Providence. In the meantime, Gather Glass has live demos and art displays open to the public every third Thursday.

Gather Glass – community space for learning glassblowing and an art studio
Providence, Rhode Island
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In a former lifetime in which the person inhabiting the Oval Office had an actual vision based on facts, the arts were recognized as an integral measure of our society. President John F. Kennedy, for instance, said this about the arts: “We must never forget that art is not a form of propaganda. It is a form of truth.”

Truth, of course, has taken a hit since 45 took office. That whole “alternative facts” bit. But numbers, or so the saying goes, don’t lie. So with that in mind, we took a quick look at the potential math implications of 45’s federal budget.

First the overview:

• Number of programs and agencies due for elimination: 62
• Number of programs within the Environmental Protection Agency alone: 50

Other programs due for funding cuts—or outright elimination—focus on everything from literacy to low-income home energy improvements to investigating chemical accidents. The enormous breadth and scope of impact on those least able to manage without these programs is breathtaking.

But since we’re an arts and culture magazine, we’re going to focus our hyperventilation on the potential impact of these devastating cuts to art and culture in New England. The proposed budget calls for eliminating all funding for the National Endowment for the Arts ($152 million) and the National Endowment for the Humanities ($155 million).

What NEA funding means to New England:

For fiscal year 2017, New England states received $2.591 million in NEA grants overall, according to the NEA website. Here’s who got what:

• Connecticut: 15 organizations, $310,000
• Massachusetts: 62 organizations, $1,672,000
• Maine: 11 organizations, $242,000
• New Hampshire: 6 organizations, $120,000
• Rhode Island: 9 organizations, $152,500
• Vermont: 4 organizations, $95,000

But the math adds up even less when you look beyond straight grants. Ann Wicks, communications manager for the New England Foundation on the Arts (NEFA)—one of six regional arts organizations funded by the NEA and private donations—explains. Arts organizations can potentially receive NEA dollars in three ways:

• an outright allocation of a grant the organization applies for itself
• an allocation from NEFA through NEA dollars provided to NEFA
• from NEA dollars given to state arts organizations, such as the Massachusetts Cultural Council

Wicks says about 15 percent of NEFA’s annual budget comes from NEA dollars. Beyond grants, NEFA uses those dollars to support artists in other, less direct ways, Wicks says. The Creative Ground Directory, for instance, is a free resource that lists artists and other creators around New England so that it’s easier to find appropriate collaborators for projects. In FY2016, NEFA made a total of 462 grants equaling $3.4 million. New England states received $829,947 of those NEFA grants.

In other words, the loss of funding to New England arts and humanities organizations could be even larger. “NEA support is very important to New England and the creative sector,” she says.

It’s a point that is echoed nationally. The National Assembly of State Arts Agencies (NASAA), a national nonprofit that assists state arts agencies, offers this math about how NEA dollars improve the economy at large:

• The arts return $22.3 billion in tax revenue to federal, state, county, and municipal governments.
• Rural areas, low-income communities, and schools would feel the effects of this funding loss disproportionately from reductions. State arts agencies (using state and federal funds) award more than 25% of their grants to rural areas, 54% to low-income communities, and 45% to arts education projects.
• Every NEA dollar leverages more than $9 in matching funds, meaning that the impact of the NEA loss is just the beginning of the potential financial loss for arts organizations.

Cutting the NEA and NEH seem especially confusing given this math offered by NASAA: The NEA receives 0.004% of the total Federal budget, which is less than ½ of one hundredth of a percent.

That math also doesn’t add up when you consider the numbers presented by The Guardian. The British paper reports the following expenses incurred by taxpayers less than 50 days into 45’s residency:

• $56.6 million (or a cool $500,000 a day) to protect Trump Tower. That was through March 1. Assuming that Mrs. 45 stays until June for Mini-45 to finish school, that dollar amount could add another $46 million, bringing the total to $102 million.
• $3+million estimated cost for EACH weekend jaunt to golf work at his Mar-a-Lago Resort (a place where he doubled entry fees from $100,000 to $200,000 the day after he was elected).
• $97,380 for hotels for Secret Service to protect Eric Trump (that would be his son on those business interests 45 still hasn’t divested himself of) while he visited a condominium development in Uruguay. This is just one trip.

And finally this statistic: 45’s proposed military spending increase in his federal budget? $54 billion.

Something definitely doesn’t add up.

Does this irritate you as much as it does us? Here are a few links if you want to #TakeAction. See you on the streets.

Pen.org
artsactionfund.org
Change.org
The Official White House Petition to Save Arts Funding
Contact Your Representative
Arts Advocacy Day – Washington, DC
#SaveTheNEA

Top image courtesy Royal Talens

The post #TakeAction: Doing the NEA Defunding Math appeared first on Take Magazine.