Episodes
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It’s no secret that arts non-profits across the country are struggling to survive, but few closures have hit their communities as hard as the recent shuttering of Big Medium in Austin, TX. For more than 20 years, Big Medium was one of the most influential visual-arts organizations in the city. It produced the beloved and sprawling Austin Studio Tour, presented exhibitions that championed historically marginalized artists and served as an essential convener for the city’s creative community. At the heart of its work for many years was curator and, more recently, artistic director Coka Treviño, whose passion for equity and for platforming emerging artists helped shape the organization’s inclusive mission.
In this conversation, Coka, who continues her own curatorial work via her company The Projecto, reflects on her tenure at Big Medium and the complex web of challenges that led to its sudden closure. From shifts in city grantmaking priorities to the skyrocketing cost of living that made staffing nearly impossible, the interview offers a candid window into just how difficult it has become for arts organizations—even in culturally rich, economically booming cities like Austin—to maintain operations.
https://www.theprojecto.org/
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Ryan J. Haddad is an actor and playwright whose work across theater and television consistently challenges outdated narratives around disability, queerness and identity. He made a striking Off-Broadway playwriting debut with “Dark Disabled Stories” at The Public Theater, which enjoyed a sold-out, extended run and earned him the Obie Award for Best New American Play. His autobiographical solo show “Hi, Are You Single?” has become a defining part of his artistic voice, touring nationally and earning critical acclaim. Ryan’s television credits include memorable appearances on Hulu’s “A Murder at the End of the World” and Netflix’s “The Politician.”
In addition to performing, Haddad is a dedicated writer and access advocate. His essays have appeared in The New York Times and Out Magazine, and he is a contributor to the anthology “Disability Intimacy,” curated by Alice Wong. His creative work and activism have earned him a Drama Desk Award, a Paula Vogel Playwriting Award from Vineyard Theatre and a Disability Futures Fellowship. He is also a proud alum of the Public Theater’s Emerging Writers Group.
In this interview, conducted just a few days before he premiered his latest solo piece, “Hold Me in the Water,” at Playwrights Horizons in New York City, Ryan reflects on the pivotal experiences that shaped his journey as an artist, from performing fairy tales in his childhood living room to commanding major stages and screens. He speaks candidly about navigating the entertainment industry as a gay man with cerebral palsy, building a career on his own terms and advocating for authentic representation and accessibility in the arts.
https://www.ryanjhaddad.com/
https://www.playwrightshorizons.org/about/production-history/2020s/2425-season/hold-me-in-the-water
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Episodes manquant?
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Carlos López Estrada definitely paid his dues – shooting scores of music videos and short pieces for a pittance while living at his mother’s for years after film school – before he had the chance to direct his first full-length feature film, “Blindspotting.” That well-reviewed film landed him his first studio feature when Disney hired him to co-direct the animated film “Raya and the Last Dragon.”
He is nonetheless the first to point out that a number of elements, including a film-school education and supportive parents, made his path to success easier than what awaited most of his cohort of up-and-coming filmmakers. He therefore focused on a new kind of creative endeavor: Antigravity Academy.
Founded by Carlos in 2023, Antigravity is a hybrid business. It offers a range of educational initiatives designed to provide young, aspiring filmmakers — particularly those from underrepresented backgrounds — with the tools, mentorship and opportunities to develop their voices and tell their own stories. It also has a producing arm devoted to developing and bringing to life projects that would otherwise have difficulty finding funding. Antigravity’s first produced film, “Dìdi,” a glowingly reviewed coming-of-age story by Sean Wang, proved that Carlos’ mentoring and producing instincts are spot-on. “Dìdi” recently won two awards at the 2025 Film Independent Spirit Awards: Best First Feature and Best First Screenplay.
In this interview, Carlos describes how his experiences in Hollywood shaped Antigravity Academy’s mission and programs and explains why empowering new voices is not only helping to bring surprising stories to the screen but also making him a better artist.
https://antigravityacademy.co/
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Trained as a fiber and textile artist, Maria Amalia Wood has in recent years been working with paper, manipulating and dyeing wet wood pulp to build richly layered pieces. As important to Maria’s creativity as her raw materials, however, is the community of Latina immigrants like herself that she has fostered through a series of creative workshops in her hometown of Madison, WI. Her latest communal and artistic enterprise is Unidas por Hilos (United by Threads), a monthly gathering of diverse Latina immigrants who embroider their stories, often learning new stitches along the way, in fellowship with one another.
In this interview, Maria shares how her current work is a natural extension of the comfort and energy she found among skilled seamstresses in her native Honduras. She extols the power of embroidery as both a meditative practice and a form of storytelling and reminds us that no matter the activity, homemade food remains the one ingredient guaranteed to bring people together.
https://www.mariaamalia.com/
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For the last two decades, architect and educator JP Reuer has been exploring how artists can become vital, integrated members of their communities rather than isolated figures working on the fringes of society. That ethos now fuels his most ambitious project to date: Small School, a Raleigh-based arts organization that reimagines advanced arts education as more accessible, collaborative and deeply embedded in local culture.
Through Small School, JP has rejected the traditional MFA model in favor of a nimbler, community-driven approach. The organization brings renowned visiting artists to the Triangle area to engage with local artists through workshops, public events and one-on-one studio visits, an exchange that empowers both emerging and established artists while fostering a richer creative ecosystem.
In this episode, JP traces his journey from academia to founding Small School, sharing what he’s learned about the evolving role of artists in society. He discusses the power of bringing artists out of ivory towers and into the heart of their communities and why rethinking arts education is essential to supporting a more inclusive and dynamic creative landscape.
https://smallschool.org/
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In November of 2024, Counterpublic, a St. Louis-based arts and civics organization, and the Osage Nation made a historic announcement. After three years of negotiations, the entirety of historic Sugarloaf Mound, the oldest human-made structure within the City of St. Louis, was being rematriated to the Osage Nation, whose ancestors built this and other mounds in the region.
Counterpublic was not only a crucial negotiator in the process. In 2023, the organization, which every three years produces a three-month-long city-wide arts festival commissioned new work to be displayed at a site near Sugarloaf Mound in order for the city to engage with the site’s cultural and historic significance. One of the artists Counterpublic commissioned was noted Oklahoma-based clay and textile artist Anita Fields, who is herself Osage.
“Art Restart” reached out to James McAnally, Counterpublic’s Executive and Artistic Director, and Anita Fields to learn more about why and how an arts organization as well as a range of artists were crucial to this successful Land Back effort. After all, what’s a more striking example of arts and artists shaking up the status quo in their communities than this historic example of an arts-centered process of rematriation?
In this interview, James and Anita share how art played a pivotal role in the historic rematriation of Sugarloaf Mound, from fostering trust and dialogue to reimagining the site’s future. They reflect on the power of creative practice in Land Back efforts and offer insights for those looking to merge artistic vision with meaningful action.
https://www.anitafieldsart.com/
https://www.counterpublic.org/team/james-mcanally
https://www.osageculture.com/culture/historic-preservation-office
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What happens when best friends in different disciplines decide to formalize their creative relationship and then invite a third artist into their artmaking experiment? A vibrant, equitable and joyful collective by the name of Art 25: Art in the 25th Century is born.
Art 25’s core artists are poet Lehua M. Taitano, visual artist Lisa Jarrett and multi-disciplinary artist Jocelyn Kapumealani Ng. Separately, Lehua, who is CHamoru; Lisa, who is Black; and Jocelyn, who has Hawaiian, Chinese, Japanese and Portuguese roots had been exploring similar themes of identity and diaspora in their artistic practice. Fusing their talents and perspectives, however, allowed them access to an even deeper well of experience and imagination from which to draw inspiration.
Since Art 25’s founding, the collective’s work has been seen at several institutions, including the Smithsonian Asian Pacific American Center and the Yerba Buena Center for the Arts in San Francisco, and in February of 2025 it will be exhibited at the Pacific Island Ethnic Art Museum in Long Beach, CA.
In this interview, Lehua, Lisa and Jocelyn describe how they joined their creative forces and explain the core anti-capitalistic values of Art 25 that not only place it firmly outside the artistic mainstream but continue to bring them joy.
https://www.lehuamtaitano.com/art-25
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Johnny Gandelsman is not only one of the world’s finest violinists, as comfortable playing contemporary works as he is interpreting pieces from the Western classical canon. He is also an inveterate musical innovator. A long-time member of Silkroad Ensemble and a co-founder of string quartet Brooklyn Rider, which celebrated its 20th anniversary this past year, Johnny has long championed the dissolution of genre boundaries to celebrate music’s unique power to bridge cultural divides. Over the years he has collaborated with and played the works of musicians from the Middle East to Appalachia, along the way stretching his own skills to adapt his instrument to a host of musical traditions.
Johnny has also been a driving force in the commissioning of new works for the concert stage, founding his own label, In a Circle Records, to produce and release new compositions. In the doldrums of the COVID lockdown, when musicians saw a year’s worth of scheduled work vanish, he hatched a plan. He set out to find dozens of arts institutions and music presenters to partner with him to commission 22 composers from all over the country to create new works for the solo violin.
Four years later, the project has now resulted in an album titled “This Is America: an Anthology 2020-2021,” a three-CD set with a 40-page booklet produced by In a Circle Records. Pitchfork raves, “This Is America stirs feelings about our country that are almost hard to recognize: pride, hope, and the simple relief of consensus reality.” Since the album’s release, Johnny himself has been playing sections of the album all over the country in marathon performances at many of the institutions who partnered with him on the project.
In this interview, Johnny describes how he shifted from being a young talent focused on a traditional soloist’s career to becoming an adventurer, challenging classical music’s conventions to prove that experimentation and community are as essential to music as technique.
https://johnnygandelsman.bandcamp.com/album/this-is-america-an-anthology-2020-2021-icr023
https://www.inacircle-records.com/
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The year 2020 was looking to be a banner year for musical and life partners Sarah and Austin McCombie, aka Chatham Rabbits. They had just made the biggest financial investment in their band, namely the purchase of a tour van, and were looking forward to months of being on the road and performing to promote their second album when the pandemic hit and their bookings vanished.
What they did next, though, exemplifies their resourcefulness, generosity and innovative spirit. They installed solar panels on top of the van to power a sound system, hitched a flatbed trailer to their new vehicle and played free concerts in scores of neighborhoods around North Carolina. In the middle of lockdown, when the prospect of hearing live music seemed years away, you could email Chatham Rabbits a request, and chances are they’d show up on your street and give you and your neighbors a joyful, free concert.
Happily, their professional life has resumed at full tilt. They recently completed their third album, titled “Be Real with Me,” which is scheduled for release on Valentine’s Day in 2025, and they will spend February and March performing in venues all over the country.
In this interview, Austin and Sarah describe how a commitment to community and authenticity has allowed them to keep taking risks and navigate a music industry that has yet to catch up to the needs of up-and-coming artists and their fans.
https://www.chathamrabbits.com/
https://www.pbsnc.org/watch/on-the-road/
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To describe Alice Sheppard and Laurel Lawson as dancers is to name only a small sliver of their creative portfolio. To be sure, they are proficient, trained dancers and have created and performed several works for Kinetic Light, the disability arts ensemble that Alice founded in 2016 and continues to lead. In Kinetic Light’s first piece, titled “Descent,” Alice and Laurel danced in their wheelchairs on a raked stage with a large ramp — stage design by Laurel — and since then have proved to be increasingly adventurous in exploring their relationship to gravity. In recent pieces, they have boldly moved into the vertical axis, sometimes flying into the air — in or out of a wheelchair — thanks to ingenious mechanisms, likewise created by Laurel.
Because accessibility is central to Kinetic Light’s artistry rather than a supplemental consideration, Alice and Laurel have also become accessibility and technological innovators. Kinetic Light is a disability arts company created by disabled artists for audiences with disabilities, and as such every performance is created from the ground up for everyone to fully enjoy. For instance, the company’s lighting designer, Michael Maag, who uses a wheelchair, lights mobility devices with the same care he lights a human body and also pays attention to the needs of neurodiverse audiences; some seats are equipped with haptic devices to allow an audience member to feel the vibration of the score; and Laurel has developed Audimance, a multi-track audio-description app that gives blind and visually impaired guests control over how to experience and enjoy the performance.
In this interview, Alice and Laurel describe the path that led them to Kinetic Light and explain why artists and institutions, rather than viewing accessibility as a requirement or need, would be wise to embrace it as an aesthetic principle.
[post-interview edit: Laurel started working in tech in 1996, not 2016 as she accidentally states in the interview.]
https://kineticlight.org/
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For fiber artist Aaron McIntosh, quilting is an act of defiant documentation. Growing up in an Appalachian family with a generations-deep tradition of quilting, he learned the craft as a boy and went on to develop his own ethos and mission, studying first at the Appalachian Center for Craft in Tennessee and then earning his MFA at Virginia Commonwealth University in Richmond.
In recent years, Aaron has placed his own personal history and metaphorical body into fabric sculptures that blend his familial and cultural background with his identity as a queer Appalachian artist. His work has been exhibited in a variety of institutions, from the Houston Museum of Fine Arts and the Toledo Museum of Art to Hangaram Art Museum in Seoul. In 2015, he started the “Invasive Queer Kudzu” project, a community storytelling, archiving and art-making project focusing on queer communities, past and present, in America’s Southeast.
In this interview, Aaron, who is currently an associate professor at Concordia University in Montreal, describes why and how he claimed the South’s most notorious weed as his artistic inspiration and clears up any misconceptions about the fiber arts ever having taken a back seat to other fine arts throughout human history.
https://aaronmcintosh.com/home.html
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Christopher Tin is an award-winning and genre-bending classical composer whose work has been featured in a variety of settings and media, from august concert halls to the world of video games.
His orchestral piece “Baba Yetu,” which Christopher originally composed for the game “Civilization IV,” was the first ever musical work written for a video game to win a Grammy Award. It has since become a staple in choral and orchestral venues. He received his second Grammy for his debut album, “Calling All Dawns,” a multilingual song cycle.
Christopher has been as adventurous in his producing as he has been in his composing. He turned to Kickstarter to help him create his subsequent two albums, “To Shiver the Sky” and “The Lost Birds,” both of which explored ecological themes. Through his crowdfunding, he not only raised all the funds necessary to pull off both expensive projects but also deepened his relationship with his many ardent fans while making new ones, bringing them along on intimate tours through his entire creative and production process. “The Lost Birds,” which features the acclaimed British vocal ensemble VOCES8, was nominated for a 2023 Grammy and has been performed all over the world.
This past spring at the Kennedy Center, the Washington National Opera premiered Puccini’s unfinished masterpiece “Turandot” with a new ending composed by Christopher and written by Susan Soo He Stanton. The production and its new ending was a hit with critics and audiences alike.
In this interview, Christopher reveals how after decades of experimentation and success he’s finally stopped worrying whether his work was too popular to please the classical-music establishment, and he explains how he’s cultivated a legion of fans who encourage him to take ever bigger risks.
https://christophertin.com/
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Matthew Fluharty is the founder and executive director of Art of the Rural, an organization that works to support and promote the work of artists and culture bearers across the country and that also aims to bridge cultural divides across urban and rural areas.
Initially created as a blog in 2010, Art of the Rural has since then developed several long-term projects in collaboration with artists and community leaders, particularly in the upper Midwest (Art of the Rural is based in Winona, MN) and in Kentucky Appalachia. Projects have included “High Visibility: On Location in Rural American and Indian Country,” a collaboration with the Plains Art Museum in Fargo, ND, the first major museum exhibition highlighting contemporary art practice across these geographies; and two cultural-exchange programs – the Kentucky Rural-Urban Exchange and the Minnesota Rural-Urban Exchange – that have afforded scores of artists a chance to immerse themselves meaningfully in settings once unfamiliar to them.
In this interview, Matthew offers an eye-opening look at the connections between rural and urban communities, challenging the idea of a “divide” and showing how collaboration and cultural exchange are reshaping how we think about art, place, and belonging. He also details the kind of shift in perspective institutions and funders must embrace to ensure that the many artists in rural America and Indian Country continue serving their communities.
https://www.artoftherural.org/
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Theater artists Annalisa Dias and Tara Moses are the co-directors of Groundwater Arts, an organization they founded in 2018 — along with Anna Lathrop and Ronee Penoi — to braid together goals that at first might seem disparate: decolonizing the arts-and-culture field and striving for a climate-just future.
Guided and inspired all along by an advisory council as well as a youth council, Groundwater Arts has created countless opportunities — whether through creative projects, consulting or virtual and in-person gatherings — for cultural institutions to learn how they can start dismantling structural inequities that for generations have exacerbated the climate crisis and have primarily harmed communities of color. Groundwater Arts adheres to the principles listed in “Green New Theater,” a document the co-founders wrote to guide American theaters in responding to the climate crisis.
In this interview, Annalisa and Dias describe the diligence and integrity with which they created and continue to run Groundwater Arts, offering a blueprint for artists and institutions looking to align their practices with justice, sustainability and true collaboration.
https://www.groundwaterarts.com/
https://www.groundwaterarts.com/green-new-theatre.html
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Calling Robert Gipe an author or novelist is a bit like calling Neil deGrasse Tyson a YouTuber. Yes, Robert wrote a widely praised self-illustrated trilogy of novels — “Trampoline,” “Weedeater” and “Pop” — that follows the travails of a young woman growing up in rural Appalachia. He completed that authorly feat, however, after decades working as an educator, community builder and theater-maker in and around Harlan, KY, where he continues to reside.
Originally from Kingsport, TN, Robert moved to Southeastern Kentucky in the late ’90s after receiving his master’s in American studies at the University of Massachusetts. Initially he worked in marketing and fundraising for the legendary community media organization Appalshop in Whitesburg, KY and then became a professor and program coordinator of the Appalachian Center at Southeast Kentucky Community & Technical College in Cumberland. Soon thereafter he created Higher Ground, a community theater organization that since 2002 has created and produced plays with and for the community on local topics ranging from opioid addiction to environmental degradation.
In this candid interview, Robert describes the challenges of encouraging community-wide fellowship in a politically divisive era and celebrates the role of art and artists in creating safe spaces for people of all stripes to celebrate their authentic selves.
https://www.robertgipe.com/
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You might be forgiven for guessing SHHH! Ensemble to be a collection of musically minded librarians, but you’d be way off the mark. Because SHHH! Ensemble makes noise. A lot of it. On a variety of instruments. And people are loving it. Which might be especially surprising given that SHHH! mostly plays contemporary classical works, a genre that can be intimidating to many audiences. So how do they do it?
SHHH! comprises Ottawa-based life partners Edana Higham, a pianist, and Zac Pulak, a percussionist, making them possibly the world’s only professional piano/percussion duo. Since launching their ensemble in 2016, Edana and Zac have made waves in Canada’s classical-music scene, playing in venues and festivals from coast to coast and garnering raves from critics and audiences alike. They have collaborated with renowned contemporary classical composers, including John Beckwith, Monica Pearce and past Art Restart guest Frank Horvat.
Here they explain how they decided to join musical forces and how they’ve developed the “avant-accessible” style that at each performance invites an audience to take a meticulously curated and delightful musical journey with them.
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On January 26 of 2024, San Francisco Ballet premiered a commissioned work by Canadian American choreographer Aszure Barton. It was titled “Mere Mortals” and explored the science and ramifications of AI through the ancient myth of Pandora. With a brand-new score by world-renowned British electronica composer Sam Shepherd, aka Floating Points, and video and sound design by Barcelona-based Hamill Industries, “Mere Mortals” was a big gamble for new artistic director Tamara Rojo as she closed out her first season with the Ballet.
It paid off. Not only was “Mere Mortals” a hit with critics, with the San Francisco Chronicle calling it “a passionate success,” but it also proved to be a box-office bonanza, so much so that San Francisco Ballet brought the production back to the stage just three months later for several encore performances. Perhaps more importantly, many in the audience were first-time ballet-goers, many of whom saw the piece more than once.
In this arts climate when so many dance companies are struggling to get even their regular audiences back in the door, what was it about “Mere Mortals” that made it such a hit? In this interview, Aszure opens a window into her choreographic practice and how it may have contributed to an event equally invigorating to her dancers and her audience.
Aszure is the artistic director of Aszure Barton & Artists, which she founded very early in her career as a creative outlet for the collaborative and anti-hierarchical instincts she’d had to repress in her dance education. Two decades later, Aszure Barton & Artists, which includes a core staff of creative collaborators, has created work all over the world with a wide array of artists and institutions, including Mikhai Baryshnikov, Nederlans Dans Theater and Alvin Ailey American Dance Theater. Aszure is currently the choreographer in residence at Hubbard Street Dance Chicago and is also developing a new piece in partnership with trumpeter and composer Ambrose Akinmusire.
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In 2016, while earning his doctorate in music at the University of Southern California, Alexander Lloyd Blake founded the choral group Tonality. His initial aim was to create a choral ensemble that would represent and celebrate the full diversity of Los Angeles’ population. That done, Tonality started to focus each concert on social-justice issues, from global warming to gun violence, always providing audiences with an array of resources to encourage activism and change.
Tonality’s repertoire is as varied as its membership, ranging from Gregorian chant to contemporary pieces in a variety of styles and genres, but Alex’s commitment to harnessing the power of choral music to foment social change has remained central. In just eight years, Tonality has garnered nationwide attention. In 2020 Tonality received the Chorus America/ASCAP Award for Adventurous Programming, and in 2022 Alex and Tonality’s work were featured on “The Kelly Clarkson Show.” They’ve released two albums, and just this past spring, Tonality won its first Grammy for performing on composer Carla Patullo’s album “So She Howls.”
The ensemble has collaborated with a number of world-renowned composers, including Reena Esmail and Michael Giacchino, and has performed with such artists as Pete Townsend, Lara Downes and Björk. They have also sung for TV and film soundtracks, including “Space Jam: a New Legacy.”
Here Alex explains what led him to found Tonality and details the intricacies of leading a choral ensemble that has to remain increasingly nimble and focused.
https://www.ourtonality.org/
https://alexanderlblake.com/
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Costume designer Kristen P Ahern has been thinking about sustainability since childhood, when her parents, her mother in particular, instilled in her a passion for environmental responsibility. As an adult, she has centered that passion in her art, in 2018 founding Conscious Costume, an information-and-resources clearinghouse with a clear vision: “Every costume created in harmony with people and planet.”
Although Kristen now lives in Pittsburgh, PA, she still has deep roots in Chicago, where she designed for several theaters and also managed a few costume shops in the area. Chicago is also where Conscious Costume’s costumes-rental facility continues to operate, giving area designers and theaters greater access to reusable materials and costumes. It is also in Chicago that Kristen, during the COVID-19 pandemic lockdown, created Artist Resource Mobilization (ARM), an organization that matched out-of-work designers and costume-shop artists with mask-production opportunities. In the pandemic’s most dire year and a half, Artist Resource Mobilization was able to provide garment artists with $35,000.
In this interview, Kristen explains what responsible costume design and production entails and offers a primer in how designers and costume shops can take small-to-large steps to ensure they protect the well-being of their onstage and behind-the-scenes artists as well as the environment.
https://www.kristenp.com/
https://www.consciouscostume.com/
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Of all the tasks to undertake in the current arts climate, leading a brand-new multimillion-dollar performing-arts center through its opening and first season must be one of the most daunting. Yet, Bill Rauch, the inaugural artistic director of the Perelman Arts Center (usually referred to as PAC NYC) in Lower Manhattan managed to launch with a bang through an astonishing array of music, dance, theater and opera performances. He also capped the first season with a personal triumph, co-directing with Zhailon Levingston an inventive reimagining of the musical “Cats” set in New York’s drag ballroom scene. The production, titled “Cats: The Jellicle Ball,” garnered enthusiastic reviews and was immediately extended.
Although Bill has decades of experience as an artistic director and producer, his previous posts were markedly different from the current. Right out of college, he founded Cornerstone Theater Company, a firmly community-centered company that was initially nomadic, creating theater with and for small and often rural towns before it put down roots in Los Angeles in 1992. Cornerstone continued to make homegrown community-partnered theater in Los Angeles as well as in satellite projects around the country.
Then in 2007 Bill became the artistic director of Oregon Shakespeare Festival, which is a bit of a unicorn in the American theater ecosystem as one of the very few theaters in the U.S. with a full-time acting company. It is also one of a handful of destination theaters in North America, with patrons traveling from all over the country to rural Southern Oregon to enjoy a theatrical vacation. At OSF, while still centering Shakespeare’s works, Bill diversified the theater’s offerings and bolstered its new-play development program.
“Art Restart” was eager to speak with Bill to learn how he has adapted his heavily community-centered vision to the demands of leading New York’s newest cultural landmark, which opened during a particularly perilous time for so many of the city’s performing-arts institutions. Here he describes why and how PAC can thrive in today’s New York as a singularly welcoming hub for the countless communities throughout New York City and its environs.
https://pacnyc.org/
https://pacnyc.org/bio/bill-rauch/
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