Event Dates: June 4-5, June 11-12, 2016

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1 PRESS RELEASE Event Dates: June 4-5, June 11-12, 2016 (Saturday and Sunday) 10am 5pm Behind the Scenes snapshots 2016: Artists at Art at the Source wear many hats. Running this extensive show, where 137 artists and studios are presented to the public, requires a great deal of background preparation and planning, beginning months before the event. In addition to their many artistic talents, the artists themselves occupy key leadership positions in the planning, management and production. The leadership roles are deftly filled, and the skills are passed on to newer members, creating a unique culture of professionalism, mentorship, and self-governance. Artists resultant engagement with the show extends out to the public, and is keenly felt and seen while visiting the studios. If you ve ever wondered how it all gets done, below are a few interviews with some of the artists who make it happen. Valerie Adams, Chairperson, Catalog Production Committee Introduction to the artist, and a brief statement about her artwork: Valerie Adams is a fused glass artist and instructor, a native Californian who's been creating for her entire life. She designs and creates one-of-a-kind glass artwork, lighting, functional and decorative tableware, smile-inducing garden art, and dazzling jewelry. She is passionate about the art form, and loves sharing her passion through teaching and mentoring others. What does your committee work involve? The catalog is the first tangible preview of the scope of the program, so the goal is to provide a provocative glimpse into each studio's offerings. The publication accompanies patrons as they explore the region, so it's essential that the info is correct, thorough, and concise.

2 Catalog production begins soon after artist applications are submitted. The info supplied by the artists must be organized and proofread, and information from previous years catalogs is corrected and updated. One of the first steps is determining who the new artists are, who's moved locations from the previous year, who's hosting other artists, and exactly where a studio is located, so the map can be drafted. Next, the submitted photographs are organized and reviewed by Jeremy Joan Hewes, who makes sure everything is properly formatted, and these are then curated into a small group to be considered for inclusion on the cover. Several potential cover designs are created, with the top choices printed in color, and presented to the Steering Committee for review. Once all the information is ready, it is input into the catalog layout by the graphic designer, Robert Marcus. This completed copy is returned to the committee for an additional round of fine tuned adjustments; before the artists are asked to proofread their information. While there's a large shift to proofreading content online, the majority of artists still prefer to see the proof sheets in person (checking the color of their photos is often their biggest priority). Valerie s team oversees this process, answering questions and aiding the artists in checking each catalog section for accuracy. After all edits are completed, it goes back to the graphic designer, who makes the final layout, after which the catalog is sent to a local printer to be produced. What is your background in this field? Valerie started her graphic design career in Santa Rosa in Full Spectrum Design was based on Fourth Street for many years, until she moved it into her home office in the mid 90s. The full-service design agency specialized in logo design and marketing materials, and provided photography, writing, illustration, and print services to her clients What are the benefits of doing it? For many of the artists, having a full color printed catalog of their work and contact information is an incredible marketing tool, and well beyond an individual's marketing budget. For customers, it's a yearlong reminder not only of the actual event, but of all the potential art that continues to be available to them. Worst glitch (or other amusing anecdote) Valerie has been fortunate in having a professional, experienced team to work with, so everything has been smooth sailing!

3 Behind the Scenes snapshots 2016: Artists at Art at the Source wear many hats. Running this extensive show, where 137 artists and studios are presented to the public, requires a great deal of background preparation and planning, beginning months before the event. In addition to their many artistic talents, the artists themselves occupy key leadership positions in the planning, management and production. The leadership roles are deftly filled, and the skills are passed on to newer members, creating a unique culture of professionalism, mentorship, and self-governance. Artists resultant engagement with the show extends out to the public, and is keenly felt and seen while visiting the studios. If you ve ever wondered how it all gets done, below are a few interviews with some of the artists who make it happen. Sally Baker, Chairperson, Preview Exhibit & Installation Committee Introduction to the artist, and a brief statement about her artwork: Sally s watercolors remind us that our visual world is complex and abundant. She combines a variety of elements in each of her paintings, with rich, colorful form and texture- the hardness of porcelain, the softness of fabric, the transparency of water, the luscious colors of fruit, the organic quality of wood. She melds these into compositions that could stand alone as abstract forms. Her hope is to engage the viewer to stop and observe the beauty in both the ordinary and the sublime. What does your committee work involve? Sally and her committee hang the 137 artworks for the Art At The Source preview show, which opens to the public on the evening of May 19th, and runs through June 5th, at Sebastopol Center for the Arts. Each of the participating artists is required to submit an artwork to the show. Hanging the work requires making sense of 137 disparate pieces, and somehow putting them together to create a cohesive exhibit. To accomplish this, Sally and her fourteen committee members lay out the works, and spend

4 an hour walking among them, just looking, attempting to make visual connections between them by color, shape, subject matter, or another criteria. In solving this puzzle, the goal is to consider the individual piece, honoring each artist by displaying their work to realize its highest potential, while at the same time creating a balanced exhibit, where one thing leads to the next, so the viewer can move from one part of the exhibit to another seamlessly. Once the grouping decisions are made, the artwork is hung. The committee usually completes the work in one long day, beginning at 8 in the morning, and not leaving until it is finished. What is your background in this field? Sally spent 20 years teaching ceramics at Healdsburg High School, during which time she received a grant from the State Department of Education to turn her ceramics instruction room into a fine art gallery. The gallery showcased both students and professionals artwork. As part of this endeavor, Sally enrolled in a museum class at Sonoma State University, where she learned principals of curation and exhibition. Additionally, many of her skills are experience driven, having completed over 20 years of hanging the preview shows for both Art At The Source, and Art Trails. Sally finds many parallels between creating a painting, which brings her much joy, and hanging the preview show, which can be scary at first, but is so rewarding in its completion. The blank walls of the gallery, her canvas, must be filled with the materials at hand, in this case, the 137 artworks. Like Sally s paintings each element must stand alone, but must contribute to, interact with, and harmonize with every element in the composition. It is the same process and the same desired outcome one hopes for in hanging the show, though with the greater goal. The decisions for displaying the art must work not only for her, but also for the participants, and the viewing public. The chief rewards are seeing the artists and the viewers reactions when they recognize the care and attention paid to each individual artwork, and take pleasure in the entire show.

5 Behind the Scenes snapshots 2016: Artists at Art at the Source wear many hats. Running this extensive show, where 137 artists and studios are presented to the public, requires a great deal of background preparation and planning, beginning months before the event. In addition to their many artistic talents, the artists themselves occupy key leadership positions in the planning, management and production. The leadership roles are deftly filled, and the skills are passed on to newer members, creating a unique culture of professionalism, mentorship, and self-governance. Artists resultant engagement with the show extends out to the public, and is keenly felt and seen while visiting the studios. If you ve ever wondered how it all gets done, below are a few interviews with some of the artists who make it happen. Rene Dayan-Whitehead, Chairperson, Catalog Distribution Committee Introduction to the artist, and a brief statement about the artwork she does. Rene makes stone dance. Her sculptures combine a fascination with both geology, and the physical movement of fabric and dance. These seemingly incongruous elements result in sweeping forms that are colorful, textural and organic. They are dreamy and kinetic, yet grounded in solid rock. Rene describes her own work with an invitation: Let s dance! What does your committee work involve? Once the Art at the Source catalogs are produced they are sent to the Sebastopol Center for the Arts offices. 25,000 are produced, and 12,000 are distributed through the 31-member catalog distribution committee, which Rene heads up. In order to organize all the moving parts, Rene maintains a database that keeps track of where all the catalogs need to go and who is responsible, sorted into routes that are geographically contiguous, and which is accessible to all the committee members. Volunteers sort the catalogs into piles for each leg of the distribution network, then each of the 31 members picks up their allotment, and delivers them to their assigned route.

6 They are dropped off at hotels, wineries, bookstores, art stores, galleries, libraries, coffee shops and other places where people congregate. Deliveries occur in timely batches, with the first scheduled around the first Friday of May, before the show, and the next occurring toward the beginning of the two-weekend show, in late May. They are delivered continuously throughout the event, as key locations run out of stock. What is your background in this field? Rene has an MBA, and was formerly VP of a company that designed and manufactured home goods, for sale to private label companies. Her career culminated in managing the sale of the entire company. Her management and organization skills from the corporate world, along with innate abilities to think in 3-D, has given her an edge in managing 31 individuals, and in systematizing complex and disparate information so it can be understood, tracked and shared. What are the benefits of doing it? Being an integral part of this committee allows Rene to engage more fully with the community of artists, administrators and patrons, and to get to know them better. She views her committee as a great, fun group to work with, and loves giving something back to Art at the Source. Worst glitch (or other amusing anecdote) Rene doesn t sweat the small stuff, so glitches haven t had a big impact. She views everything as resolvable, and has often found herself to be a voice of reason, amidst chaos. Interviews by Molly Lipsher, participating artist.

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