Oregon Art Beat; #1007; Pendleton Center for the Arts

Well, my big thing now is I'm telling everybody, give 10 bucks to Planned Parenthood in Sarah Palin's name and they'll send her a thank you card. And you put the address for the thank you card for the McCain campaign. So just tell me in what sentence, what remiss is? In the East Oregonian Gallery, we show a book, okay, sorry. In the East Oregonian Gallery, we show a mix of local emerging artists, establish artists from outside the area, traveling exhibits, and then we have a great community exhibit every year. We invite anybody to bring a work of art. We hang it also on style, have about 150 artists who participate. That was absolutely perfect except two times you snuck a peek if you came, you're not around. But the tone was just too much perfect. I'll do it again. Okay. And I would say maybe some little bit shorter, they have to meet everything about this. Yeah. Yeah. Okay. So tell me where we are right now. The East Oregonian Gallery is a great place to view exhibits we show emerging local artists, prominent artists from outside the

area, and a selection of really great traveling exhibits. And she never looked at the camera. That was tight. You shortened it in a way. That was tight. Yeah. Okay. Hold on there. Somebody coming. We can do it fast. We can do it fast. And the trick for you is for you to not worry about it. Yeah. I won't. So I'm looking at you. Okay. Okay. All right. Okay. And I'm starting out by saying. Okay. All right. What are you standing for? The 1915 Carnegie Library Building was renovated in 2008 by the Arts Council of Pendleton and now houses the Pendleton Center for the Arts. We have people come in from all over the place that's read that online and come in and want their kids to see. Yeah.

So there was a woman in town who was a private detective and playboy did a spread of her and they did it. So to speak. And one of the pictures of her in a trench coat is on the steps of the library. Yeah. Exactly. Okay. Here. We'll get rid of this one and then I'll go. Yep. One. Two more. Stop it already. It's mainstream. That's right. Okay. So tell me where are we? The 1915 Carnegie Library Building was renovated in 2008 by the Arts Council of Pendleton and now houses the Pendleton Center for the Arts. Okay. Let's try it again. There was no wind that last time. Now there's lots of wind. This 1915 Carnegie Library Building was renovated in 1998 by the Arts Council of Pendleton and now houses the Pendleton Center for the Arts. Okay. Do that again.

Very good. Wait. One more. Are you? Yeah. His wife was on our photography postcard. She was walking by. Okay. This is a 1915 Carnegie Library Building that was renovated in 1998 by the Arts Council of Pendleton and after a $2 million facelift, it now houses the Pendleton Center for the Arts. Is that too much? Far and away the best. Perfect. That was fun. Of course it is. Okay. That's right. The playboy should. Okay. The 1915 Carnegie Library Building was renovated in 1998 by the Arts Council of Pendleton and had a $2 million facelift and now houses that. That was bad. Sorry. Sorry. Yeah. This is a 1915 Carnegie Library Building that was renovated in 1998 by the Arts Council of Pendleton and after a $2 million facelift, it now

houses the Pendleton Center for the Arts. Very nice. Let's keep it. Yeah. Yeah. It's fun. The Dutch Book Binding Foundation needs to transcribe it. Okay. Can you see it? It's bad. Roberto Lavador. Okay. Roberto Lavador. R -O -B -E -R -T -A -L -A -V -A -D -O -U -R. And I am the Executive Director at the Pendleton Center for the Arts. And so tell me a little bit about the Pendleton Center for the Arts. The Center is a multi -venue facility. We do a little bit less like announce for you. Oh yeah. What do you guys do here? Oh, okay. I don't want it to be too... Okay. Yeah, yeah, yeah, yeah. Yeah. So should I say the Pendleton Center for the Arts or not? Okay. Because they are going to know. Yeah. Okay. What kind of classes do you guys offer here? What happens inside here? You know, this is a very busy place. And we have exhibits, a fine craft gallery.

We have a wide range of educational classes. Everything from homeschoolers to teenagers to adults that come here to take classes. And what kind of classes do you have? Oh my gosh. In the teen program, Elizabeth Schiller, our Education Coordinator, did just an amazing job putting together a really fun roster. Guitar, filmmaking, jewelry design, ballroom dancing, along with ceramics and painting and photography and some of the more traditional things. And what kind of impact do you think is the Portland having a center... A center for arts like this in panels and what kind of impact do you think this has on the artistic community? I think it has a huge impact. Because over the years, we've been operating for almost 10 years now. And people know that if they want information about the arts, what's going on, that they can come here and kind of get connected. And we have really tried to encourage regional and local artists to take their work to the next level. And we've, that was bad. Yeah, that was great. Okay. But we've really encouraged regional and local artists to explore what they're doing. And we help with marketing

and helping find other exhibit venues. And in terms of just a social gathering place, the art center is really kind of the hub, one of the hubs of the community. And tell me about helping artists sell that stuff, because he is also a gift store? Yeah, we're really proud to partner with Lamb Foundation, who funds a professional artist resource center. And we provide a place for people to photograph their work. We help them write marketing materials. We help them write grants. We help them find other markets for the things that they make. And what about exhibit spaces, because we just have some cool exhibit spaces? We do. We have two exhibit spaces. We have an 1800 square foot east Oregonian gallery, where we show rotating shows. One of the most fun is our community show we have every year, our open regional, where we invite anybody from the community to come in, bring a piece of artwork. We get about 150 people that bring work in. And we hang it also on style, give away a bunch of money. And it's really a fun show to see. We have a community gallery downstairs, so anybody in the community can come in. And let me know that they have a little finished body of work, and we'll give them a little exhibit. What's it like

for you to be leading an organization like this? Well, I mean, we have a really strong team of leaders here at the art center. We have a wonderful development director, a wonderful education coordinator. I have a great assistant. And so we really have about five core staff people that do an enormous amount of work. I guess what I meant was as an artist. Oh. What's it like to be helping an organization like this such a presence and kind of? Well, one of the things that I feel like I bring to it is an artist's perspective. And I think that we are unique in really having our finger in the pulse of what's helpful for the artist, finding out what professionally, but ask me that one more time. Okay. What's it like as an artist to be part of leading an organization like this? Well, I feel like I can be an advocate for the artists. You know, sometimes in the arts community things get geared towards the visitors and the collectors, kind of sometimes on the backs of the artists. You know, we get asked to donate things a lot and that type of thing. And we really are focused on helping people

develop their artistic skills and their professional art skills. And what about the cost of classes for kids? We provide a program... Oh. We run a program called Art Rocks Teens where kids 13 to 18 come... Okay. Hold on, take a breath. Yeah, I'm starting to get. Hold on. Okay. Do you want to step up some? There's a water bottle. No, I'm good. Okay. Okay. We run a great program called Art Rocks Teens where kids 13 to 18 come to classes totally free. All the kids. All the kids. How do you get through that? You know, we have really great foundation support. We have wonderful local support individuals and businesses that think it's a really great idea to have something for kids to do after school. And why is that important? You know... I mean, the kids... The kids being exposed to art in a community like Pendleton. Is there art in the schools? Is there art in the schools? You know, there's just like any place. There's less and less art in the schools. And, you know, just from a life skills perspective, you know... You know, ideas are really the currency of the new economy, you know.

And the more we can prepare people to be thinking like an artist thinks thinking creatively and thinking of new possibilities, I think the better citizens are going to be. Anything else you want to say about it? Blah, blah, blah. Let's see. Let me think. Oh, oh. Ask me about the community rentals. Oh, right. And what are the other ways that the community gets access to the space? Yeah, we make the rental of the facility very affordable. And it's really wonderful that the building has been part of important events in people's lives. We do a lot of weddings here, a lot of retirement parties and things like that. And so the building really is part of community life. Is it important that it used to be a Carnegie library? You know, I think it is. I think that, you know, Andrew's Carnegie mission about making... about access, about, you know, to die wealthy was to die disgraced. You know, the whole thing of making people feel comfortable and...

Sorry, I totally lost my train with that. Is there a connection between this kind of bin and Carnegie library now being a community art center? Well, when this was... this building has always been very beloved by the community. And it was a gathering place as a library. And now we're really proud that it's a gathering place as an art center. Oh, do you do what that was? What? That was the closer. That was the... That was the... That was the... That was the...

That was the... That was the... That was... That

was the... That was... That was...

That was... That was... I can hide mine behind you? Here we go.

Yeah, we can just buy a drink for it. That's good. Yeah, don't look at us. I think that went fine.

Which class are you here for? Well, I love the pink bag. Thanks. Okay, we're all over here. Actually, that was pretty cool. Wow.

Okay, so what do you do? I do this and make sure that it's on the right place. Okay. Yeah. Okay.

So you make a round thing, huh? I have to put it in the ball

first. That just stays on there. Brilliant. Oh, I give you two. Okay. Okay. Let's push out over the sides.

Okay. Okay. Okay. Bring it around to the L shape you did this the left.

You guys want to show me? Okay. Wait on your left leg. Step backwards with your right leg. Step forward with your left leg. Okay, put your weight on your left. Bring your left leg forward with your left leg. And then bring your left even. Wait, change again. And you just keep repeating that in the basic thoughts about formation. And then later I'll teach you turns and stuff. Great. Sorry. You guys got that? You get used to this. Great. Want to try again? Okay, one more time. Alright, let's do three in a row without stopping. I'll still tell you what to do. Right leg back,

L shape with your left. Wait, change. Oh, I'll let go for even a raise. I have no room. How's it going? How's it going? No rhythm. Is it great? Great. You don't have no rhythm. Yeah. Thanks for the good. I think we can do a box. And it's really much easier if you keep your toes on the ground. If you come to sliding motion later. Right now is steps. If you want to push. And now, now

do you want to try again? Yeah. I'm going to watch individual groups now. Do you still want me to tell you all the steps? Yes, please. All right. Everybody, wait on your left. Step back with your right. El with your left. Bring them even. Weight change. Forward with your left. L -shape. Weight change. Back with your right. And then L -shape. Weight change. Forward with your left. L -shape. Bring it even. Weight change. Is everybody on the first step again? Yeah. Sure. Maybe. He is. You are. All right. I think that's everybody's one. Flood. Step back with your right. El, shape with your left. Bring the right even. With the weight change. Step forward with your left. L -shape with your right. Bring your left even. Weight change. Back with your right again.

L -shape with your left. Bring your right even. With the weight change. Step forward with your left. L -shape again. And weight change. So the box card does. Just go in the series and just slow. Quick, quick, slow. Quick, quick. Because it's in four or four times. All right. So you two have got an analysis about you guys. What? You ready? Okay. Wait on your left. Step back with your right. Bring the L -shape. Right even with the weight change. Step forward with your left. L -shape. Weight change. Back with your right. L -shape with your left. Right leg even with the weight change. Step forward with your left again. Around in the L -shape with your right. And weight change. All right. You guys are doing great. You got it. All right. Let's see. Quick left.

Step back with your right. L -shape with your left. Weight change. Forward with your left. Around with your right. Bring it even with the weight change. Back with your right. L -shape with your left. Bring it even with the weight change. Step forward with your left. Around with your right. And weight change. Awesome. I think you all haven't. Here we go. What's your favorite one? Yes, like I said. One of the lower sides, where you can put your hip joints. What about lower body joints? How many mm? Oh, you get all sorts. There you go. That's a D. Okay. You already did that one.

I think you pretty much got them all except a D minor. First one like this. Oh yeah. Wow, no, that's close. That's close. You kind of mix two chords together there. You mix the C and a G together. Okay, let me see. Let me show you with it. The G goes like this, okay, you see that? Okay, you remember that now? And then the C is like this. Okay, see if you can try those, those are the other two I gave you. So the G, okay, that's the C, it was like that. Well, that would be that would be half a G and half a C. Your G went like this, okay, you see that? And you strum all six. You see that? So try that one first. There you go, perfect. And strum all six, there you go. And then you're C,

you just end up, you got to kind of change it around with those two go there and then this one ends up there for your C, like there. There you go. There you go. And then the only other one you didn't get is a D minor. Do you remember that one? You got that, you got that D minor D before. You don't? I'll try that one. Close, you're one string too low. There you go. But that's the, well, that's the, there you go. And then that's the, there you go. That's perfect. Yep. And actually, technically, just do the bottom four. We're not here. Did you get it one? Yes. All right, we're going to come out and swing some six. Right, right. And that's a D minor and that's all the chords I gave you guys. Okay, cool. So you got all those fairly well memorizing errors to your three you didn't get it. Hey, what about you, Michael, come over here. Oh, crazy woman over there.

Can I see how well do you remember any of these chords you've worked on last week? No, not at all. All right, do you have the sheet I gave you guys? Or did you say you lost it? No. Oh, you do have it? Okay. Yeah, no. You didn't get a chance, all right? Oh, you just, did you play your guitar though, did you? Or no? No, all right. Larry, do you have an extra amp cable? No, I don't. Is yours going out? It's going in and out. It's decisive. No, I don't, because I didn't bring my amp with fire. Okay. I might have one. If you want, you can play my guitar though. Okay, try not to hit the table with your guitar either. I feel like. Let's put this down here. So try this chord for me first. I know you're missing that high string. All right, good deal. Okay, now try that.

Look carefully at it now. Don't, don't, don't assume you know what it is. You're missing one note in that chord. See right here? You got these two notes, but you're missing this one. Do you see that? Do you see that Michael? Oh, yeah. You got these two, but you're missing this one. So what you got to do is change your fingers up. You need to put this one here and bring these two like that. And then now you can get that chord. There you go. Make sure you get your finger back. There you go. And strum them all. And that's a A minor. Not quite good listening. Is that in tune? Let me check that. Can I check and see if that string is in tune? I think it's out of tune. Sounds like it's in tune. You're a ranger.

What's this? You thought I could do that? Yeah. What's this? What's this? What's this? What's this? Oh, not this. What did you bring here before? I can still teach you some very exciting things. Tell you what you're going to do with this. Um, try one more. It depends. It depends. But now that that string is out of tune, it's out of tune. It's out of tune. It's out of tune. There you go. There you go. Okay, remember how this is very good. Let's take a note at a time and tune this one. But you still have the same width all the way

from the top to the bottom. When you want to move it in or when you want to move it out, you need to, the inside finger, if it's above the outside finger, it's going to bring it out. If it's above, if the outside finger is above the middle, the inside finger, and you bring it, it's going to bring it in. So, let's say I want to make a bowl, and I want to flip the pot out, and you're going to flip my out inside finger a little bit taller, or above the outside finger, and I'm just going to pull that shape. If I wanted it the other way, then I would switch fingers to the top one would be on top, and I'm not going to flip it out, and then when you're all done and ready to clean it, that's where the bamboo knife comes in, because you're going to have a lot of clay at the bottom that you're probably not going to want to use. So, all I'm doing is I'm coming in with a beveled edge, and taking the pot down to where

there's not as much there. So, when I'm done, I don't have so much to clean that. Then, the reason you throw on the bat, instead of the wheel, is so that you can take one off and put another one on without ruining your pot. No, that's perfect. Just go ahead and set it on there. And if you have trouble centering, I'm going to put my hand on the back ears and help you get it in the center. Okay, so go ahead and try it first. Keep your hands nice and wet. So, like that. Which one's you throwing? Which one's you're going to center with? Yeah, this one. Okay. That, right? Okay, the other one should come over just a little bit over the top, so that you're holding. You don't want it to get into a tall comb. You want to keep it down flat, kind of like a... Do you know the snowballs? Yeah, it is. Okay, you want it to look like one of

those snowballs, the half? No, no, no. Okay, okay. And then the top. And some water in the hands. You have to keep it really nice and wet. There you go. I don't know if that looks like one of those snowballs. Well, can you put your left hand over the top like this? And kind of push down on it as you're centering? There you go. Good? It's good. Just you want to flatten it out. You put your hands in here, because if you get wet on them, they'll start right. All that stuff will put friction, and it'll pull it off center. But you've got a good start. So, it looks like that. Anything missing? So, I mean, drafts, like we can make like the head. Come out, and then like the feet, like the body can be that, and you can have a tail. And then it's feet for the feet of the roll. Are you favorite animal? No, no, no, no, no, no. Well, this thing I need for my mom. So, it scares me.

I'm trying to think. I'm confused. Okay. Or you can just do like a, that's a little roast. You can just do like a, like an ecosystem. Like the trees and different birds and bugs. Whatever you want to do, or it doesn't even have to be animals. Like the sun and the moon. Yeah, I can do that. Okay, so like you can make like stars. You should have like a star like this. I am horrible at stars, but like like that. And then, um. Okay.

Take that. Open it out. And the tree will get down right in the end. Don't forget to support it. Um. Sorry. It's okay. And then like put it on there. Okay. And then just kind of, you can do whatever you want. Like you can make like the man on the moon. Whatever you want to do. And just make sure you work it in there so it doesn't pop off. Yeah. You know what I'm saying? And then you can make like little craters on the star. Like that, you know. Okay. So you can just see you know do whatever you want. Okay. There's no limits to creativity. Okay. So. Wait. Wait. Wait. Wait. Slow. Wait. Here on. Wait. Wait. Okay, wait. Slow. No more.

Wait. Slow. Here on. Quick. Damn it. Quick. Slow. Quick, slow. Quick. Oh no. Quick. Slow. Quick, slow. Quick. Slow. Quick. Slow. Quick. That's a piercing technique of the ball. Quick. Slow. Quick. Slow. Quick. Quick, quick, slow, quick, slow, quick, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick, slow, quick,

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slow slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow, slow