Author Archives: krysm1

The Western Folklife Center: an Exhibition Destination

All through the year, the Western Folklife Center is an exhibition destination in Elko, Nevada. From the Wiegand Gallery and its inspiring space featuring interactive exhibitions and multimedia presentations to educate and entertain and throughout the building at 501 Railroad Street until you reach the lower level, exhibits can be seen on almost every wall.

Horses in the American West, a Nevada Museum of Art-Western Folklife Center collaborative exhibition in the Wiegand Gallery. “Safe and Sound” by Harry Jackson (1982) bronze, collection of Bill Searle. Photo by Charlie Ekburg, 2017 National Cowboy Poetry Gathering.

The Western Folklife Center Wiegand Gallery, designed by Prescott Muir Architects of Salt Lake City, Utah, often combines a major exhibition with a showcase of the handcrafted work of master artisans throughout the West as represented in the Western Folklife Center’s permanent Collection of Contemporary Gear – read more about the Collection and its genesis in Back at the Ranch, an online exhibition. And during the National Cowboy Poetry Gathering, there are special demonstrations in addition to the current exhibition!

Ryan Carpenter leatherworking demonstration. Photo by Jessica Brandi Lifland, 2017 National Cowboy Poetry Gathering.

Also in the Gallery is found the Story Corps booth where you can record a conversation with a friend or beloved family member, and the Black Box Theater showing a 16-minute adaptation from our award-winning video production, Why The Cowboy Sings, exploring the inspiration behind the music and poetry accompanying ranch life.

Photo by Steve Green.

The Pioneer Saloon’s Fireplace Nook is an ideal spot for small exhibitions and has featured such artists as Walter Piehl Jr., Tom Russell, Cal Bracken, Carlos César Díaz Castro, Sean Sexton, Glenn Ohrlin, Bill Lowman and Beth Carpel, among others.

Sean Sexton exhibition in Fireplace Nook.

And, of course, the wall of National Cowboy Poetry Gathering posters on the Pioneer Saloon wall opposite the historic 40-foot 1890 Brunswick back bar (constructed of mahogany and cherry wood inlaid with mother-of-pearl), exhibits the wide array of avenues of poetry and storytelling from horse and herding cultures throughout the United States and the world that the Gathering has explored through our 33 years!

Photo by Steve Green.

Our lower level features L.L. Griffin’s Something That a Cowboy Knows, a photographic essay of silver gelatin prints, donated by L.L. Griffin to the Western Folklife Center after the exhibition’s opening at  the Arvada Center and the Colorado Historical Society, and subsequent tour through the West.

Duley Canterburry and Kenn Lee

Alejandro Solis, Sr.

 

 

 

 

 

Expanding our exhibition tour outside, the Western Folklife Center was pleased to work with photographers Deon and Trish Reynolds to present “WestStops,” a walk-by exhibition with photo murals on Western Folklife Center exterior walls (and others in downtown Elko) as a part of our creative placemaking efforts. Intended as a temporary exhibition, the process to attach the murals is based on an organic paste base. See them now in the 5th Street alley between the Western Folklife Center and the Stray Dog Saloon.

 

And, although only available for a short time each year, there are the special National Cowboy Poetry Gathering “galleries” of Elko County grade school mixed media art and high school photography that always showcase a wide range of creative expression in student art, on exhibit from January through April.

Panoramic photograph of Elko grade school students’ art exhibition in the G Three Bar Theater, 2017 National Cowboy Poetry Gathering

Panoramic photograph of Elko High School student photography in the Western Folklife Center elevator lobby, 2017 National Cowboy Poetry Gathering.

Coming in mid-June 2017, the Wiegand Gallery will host two amazing exhibits:

Dennis Parks: Land, Language and Clay, featuring the work of internationally-known ceramist Dennis Parks and son Ben Parks, both based in Tuscarora, Nevada. The exhibition is organized by the Nevada Museum of Art. Visitors will see pieces from the Parks’ private collections and items drawn from the Dennis Parks Archive Collection housed by the Center for Art + Environment at the Nevada Museum of Art.

Way Out West: Images of the American Ranch, Photographs From the Farm Security Administration, 1936-1943, a rich and personal record of ranch life of the period. Photographs in this exhibition are selections from a book of the same name by former Western Folklife Center Executive Director Charlie Seemann.

In closing, we invite you to enjoy our online exhibitions, Back at the Ranch, An Artful Life; and Between Grass and Sky.

 

 

 

 

 

 

 

 

Leadership Changes at the Western Folklife Center

Big changes are afoot at the Western Folklife Center! David Roche, current Executive Director, has announced his retirement, effective June 30. As a key part of a planned leadership transition, Western Folklife Center Board Trustee Kristin Windbigler will take over as Executive Director July 1.

We wish David all the best in his “retirement,” as he anticipates transitioning to a consulting role in the arts and culture industry. We greatly appreciate his leadership in moving the Western Folklife Center forward in the community by engaging local support for the Folklife Center, in helping to re-establish the Nevada Task Force (a group of local volunteers who are assisting the work of the organization year-round); engaging with City and County leaders to invigorate cultural activity in the downtown corridor redevelopment zone; and attracting new supporters to local projects through an award from ArtPlace America, a national funding project supporting art placemaking. Western Folklife Center was the first recipient of the award in Nevada.

During his tenure, David also supported many critical projects that showcased Western arts and culture, including the award-winning Deep West Video program, which partners with students from the Owyhee School on the Duck Valley Indian Reservation to make short films and translate them into the Shoshoni language, and Moving Rural Verse, poetry films highlighting topics of water in the West. He also helped to expand National Cowboy Poetry Gathering programs to encompass the genre of storytelling in the West, and built partnerships with national storytelling organizations like StoryCorps and The Moth.

David says, “It’s been a special honor for me to have had the opportunity to lead the Western Folklife Center over the last three years.  The importance of the National Cowboy Poetry Gathering on so many social and economic levels for Elko and the American West calls out for more and more broad support in order for this unique festival to continue as a beacon of humanist expression. The Western Folklife Center has taught me so much about what it means to be inclusive of all folks who call the West home.”

Kristin Windbigler has been associated with the Western Folklife Center and our National Cowboy Poetry Gathering for almost 20 years, as one of the filmmakers in our DeepWest Videos program (making 7 films since 2005 and mentoring other filmmakers) and as a four-year member of the Western Folklife Center Board of Trustees, including her appointment as vice chair in 2016.

“I fell in love with the Gathering that first year I attended because I saw my own culture—the life I grew up in—recognized, examined, celebrated and lauded,” says Kristin. “The Western Folklife Center and the National Cowboy Poetry Gathering explore and give voice to the traditional and dynamic cultures of the American West, and I couldn’t be more thrilled and humbled by this opportunity to grow the organization and reach new audiences.”

For the last nine years, Kristin has served as director of the Translators Program, which works with 27,000 volunteers in 155 countries to translate TED talks into 114 languages. Kristin developed, then launched, the volunteer program that gives global access to TED’s multi-lingual content. TED is a nonprofit organization devoted to spreading ideas, usually in the form of short, powerful talks.

In the early days of the Internet, she was the executive producer of Wired Magazine’s “Webmonkey,” a learning site for web developers that was used by millions. She has also worked as a journalist and editor, and graduated with a bachelor’s degree in Journalism from California State University, Chico, where she was managing editor of the Chico State newspaper, The Orion. She is from Blocksburg, California, in rural Humboldt County, where her family was involved in ranching and logging.

At the Western Folklife Center, Kristin hopes to nurture the deep connections everyone makes at the Gathering as well as foster new ones by using technology to bring the organization’s far-flung community together year round. In line with the Folklife Center’s mission “to use story and cultural expression to connect the American West to the world,” Kristin will emphasize knowledge and skill-sharing within the Center’s community of artists and supporters to create new ways to participate while ensuring valued traditions of cultural expression are passed from one generation to the next.

“On behalf of the Board of Trustees I would like to thank David for his leadership over the past three years,” stated Board Chairman Paul Caudill. “And with Kristin’s love for the mission of the Western Folklife Center, and her deep background in the cultural arts and media, we are excited about our future.”

 

Learning to Jitterbug in Elko

by Krys Munzing

I grabbed a camera and stopped by Let’s Dance! at the Western Folklife Center on April 27 to check out the night’s Jitterbug lesson: a very relaxed and really complete class with returning students and newbies interested in learning the dance. Instructors for the night were Ali Helmig and Stefan Goehring, and they had it down to easy, show-n-tell steps that the dancers followed, including individual tips as the lesson progressed.

This fun community event has been produced by the Western Folklife Center since May of 2013, twice monthly February through October (once monthly during November, December and January). Let’s Dance! is run by a volunteer group of dance enthusiasts – from bartending to dj’ing to teaching, these Elko folks do it all to bring together dance lovers of all ages from all walks of life. The event is held in the Western Folklife Center’s G Three Bar Theater: the beautiful hardwood floor is ideal! On this night, the music was dj’d by Rob Hegemann and Robin Wignall worked the Pioneer Bar when anyone was thirsty.

For singles, the best part of Let’s Dance! is that you don’t have to have a partner with you, there’s usually a good mix of gals vs. guys – – and on this night, I noticed that Ali and Stefan even asked for a switch of partners a couple of times so everyone could get used to the slightly different styles throughout the room: it’s helpful at dance nights to be able to do the steps with whoever asks, right? One of my friends says it’s a perfect date night with her husband, too.

Another really great aspect of the lesson planning done by Elko Let’s Dance! is that they take into consideration what’s happening around Elko. For instance, the California Trail Center west of town is  having its annual Trail Days event the first weekend of June, which includes a dance night, out under the stars, so Let’s Dance! is featuring Contra Dance on May 25. The National Basque Festival is coming up in Elko on July 4th, so both June lessons will be in Basque dancing. And leading up to the Silver State Stampede…well, I’m sure rodeo swing or another topical lesson is in the plan.

It’s a great opportunity to get out, meet people, exercise a bit, and have fun without spending a lot of money ($5 for the lesson and you’re good for the rest of the evening) on music, dancing and socializing. In fact, once the lesson was done, I noticed quite a few dancers taking a break right there on the dance floor to visit awhile.

Elko Let’s Dance has a facebook page that is full of info – check it out here and get more information by email at wfcdance@gmail.com or visit http://www.westernfolklife.org, where we post the upcoming lesson on our event calendar.

Poster image by Jessica Brandi Lifland

Dreaming of Our Future

By Kristin Windbigler, Vice Chairman,
Western Folklife Center Board of Trustees

KristinWindbigler-WFCblog

Several trustees and staff members got together last year in Salt Lake City, Utah, to talk about our dreams for the Western Folklife Center. We asked ourselves what could this organization be in five years? How about 10? Who do we want to reach and what are our goals? In my role as vice chairman of the Board of Trustees, I gave a short talk at the annual Stakeholders’ Breakfast at the recent National Cowboy Poetry Gathering to share our progress and plans for the future. We were thrilled by the enthusiastic feedback we received, and thought it would be a good idea to make this information available to the whole community. That’s because we hope you will want to get involved!

It can be difficult to get where you want to go if you don’t have some kind of map, so we wrote a new strategic plan that will help us set priorities and focus our collective energy to ensure we are working toward the same goals. It includes fresh vision and mission statements that were polished until they became so crisp and clear that anyone could learn them, even the most memory-challenged among us. If you weren’t sure what to say in the past when someone asked you what the Western Folklife Center does, try these on for size:

Vision Statement: Explore and give voice to traditional and dynamic cultures of the American West

Mission Statement: To use story and cultural expression to connect the American West to the world

Don’t worry. If I see you on the street, I won’t ask you to recite them, but there is nothing like a little clarity and focus to get everyone headed in the same direction. I would like to note, though, that when we say “the world” in the mission statement, we mean that we value both the connections the Western Folklife Center fosters among individuals within the West as well as between the West and the rest of the country and, of course, the world. Not many of us will forget the memories of incredible experiences made possible at the Gathering because of the cultural exchange program, and we hope there will be more of those to come in the future.

wfc_ecosystem_edited.001

 

What We Do

The strategic plan also spells out what the Western Folklife Center does. Most folks who attend the National Cowboy Poetry Gathering know it’s our signature event, so that, of course, is highlighted, but the Folklife Center has a long history of producing rich and robust programming throughout the rest of the year. In order to make sure we were all in agreement about what it is that we do, we focused our scope to these four points:

  • The Western Folklife Center provides a platform for rural and urban communities to communicate and exchange new ideas and avenues of expression.
  • We produced the first Cowboy Poetry Gathering in 1985. Our National Cowboy Poetry Gathering continues to celebrate and promote the artistry and ingenuity of life in the American West. It remains our signature event, with programming changing to reflect contemporary realities and issues of the American West.
  • Throughout the year, our fieldwork, research, exhibits, website and archives preserve, document and share the heritage of the West.
  • Our media and educational programs entertain and engage, deepening the understanding of the vitality and challenges of Western communities.

Priorities for the Immediate Future

Using these guidelines, we set priorities for the immediate future. Remember that part above where I said we hope you’ll want to get involved? Well, the first thing we want to do is invigorate and grow our community by creating more opportunities for anyone to volunteer or contribute. We have a wonderful, passionate community who feels a deep connection to the Gathering and our organization. It’s not uncommon to hear from folks who have just attended their first Gathering that they were surprised by how inclusive it is. We want to extend that feeling year-round.

We’ve already partnered with other organizations in Reno and Yountville, Calif., to produce shows we’re calling the National Cowboy Poetry Gathering on the Road. We want to expand this concept and are exploring possibilities for shows in Texas, Montana and other sites around the West. These events create opportunities for us to showcase our community of talented artists as well as reach new audiences who may not be aware of the scope of our work or the rich diversity of voices we represent.

Another way to expand our reach is by leveraging social media even more to highlight both new and existing fieldwork. There is some amazing stuff in our archives that most of the world has never seen and many of you may have forgotten. Some of that could be repackaged for an online audience, but we’re also hoping to both bolster our preservation efforts and make the entire archive more accessible by partnering with a program or facility that values its contents as much as we do.

We also want to experiment with new content and programming that can be distributed online. The Moving Rural Verse poem-films that were unveiled at this year’s Gathering and our recent collaboration with StoryCorps are great examples of content with the potential to reach people who have never heard of the Western Folklife Center. We might also examine how we can use live video streaming most effectively or consider a podcast. Nothing is off the table. I, for one, am particularly interested in educational formats that can encourage the kind of skill-sharing that will continue to nurture the traditional forms of Western cultural expression on which the Western Folklife Center was founded. We must cultivate as well as preserve the wealth of knowledge within our community for the future.

And finally, in order to better understand what you want from the Western Folklife Center, we plan to field a survey soon to learn more about how we can better serve you. We want to hear your ideas, we hope you will volunteer to help, and we want to make sure that everyone is recognized and appreciated for his or her contributions. You are part of our family and we want to make sure you feel included. If you would like to chat, feel free to reach out by contacting the Western Folklife Center office or find me on social media. I would love to hear from you!

Meet Wyoming Poet Maria Lisa Eastman

By Darcy Minter

Every year, we look forward to welcoming new poets to the National Cowboy Poetry Gathering, and this year is no exception. One of those poets is Maria Lisa Eastman, who ranches with her husband Skip in Hyattville, Wyoming, on the west side of the Big Horn Mountains. Maria and Skip have a wonderful tradition in their home. When they have dinner guests, they scatter poetry books around the table and ask people to browse through them and read a poem if they are inspired. Skip encouraged Maria to read her own poetry to their guests. And, she says, he has been “bugging” her to apply to perform at the National Cowboy Poetry Gathering for a long time. She says she finally did it to shut him up. And she couldn’t believe it when she was accepted!

skip-i

Maria says she started writing poetry as a young girl needing to express her pre-adolescent angst. And she has been writing poetry for more than 40 years. Her poems are often about horses which are her passion. She started taking riding lessons when she was five years old and has ridden ever since. Whether riding in the rainy countryside outside of London, England, scrimmaging polo ponies in Santa Fe, or working cows and riding fences on ranches in New Mexico and Wyoming, she’s always made sure horses were near. While riding colts out and collecting native grasses in New Mexico, she earned a master’s degree in range and watershed management. Currently, she operates Rainhorse, a nonprofit organization offering equine-assisted activities and therapies, and she trains in dressage on her 18-hand gelding Brego, a horse she rescued six years ago. Many of the horses that Maria works with in her equine program are rescued.

FullSizeRender[4].jpgMaria is new to Elko and new to performing her poetry. Fresh off her recent readings at a local book store and book club, Elko will be her third time in front of an audience. Her poetry has always been personal, written for herself. Now she is ready and looking forward to sharing it with us!

You can see Maria perform several times throughout the Gathering. Check out our full schedule of events here.

Awakening
By Maria Lisa Eastman

When I wake in the morning
I can’t wait to see my dear friends –
The animals who live around me.

The dogs wag and grin, they
Groan in delight as they greet the early day.
Horses stretch and nicker across a sleeping pasture
They prick their ears as one
When oats splash against a wooden pail.
Barn cats unfurl their downy limbs and blink –surely they are smiling-
In the slow building heat of the sun.
Baby calves, black against the quicksilver grass
Buck and hump, butting their quiet mothers
Who graze together with studious pleasure.

Do we need a reason to be glad of the day?
Look at all those around us- for them it is enough
That the sky brightened
And enough that the sun warms
For these wise ones, enough to live one more simple day.

teaching

The Making of the Poem-Film “Homesteaders, Poor and Dry”

By Chris Simon, Filmmaker

The Western Folklife Center has been working on a series of four poem-films that powerfully communicate contemporary rural issues, ideas and insight—particularly the subject of water in the West. Titled Moving Rural Verse, these films are produced in collaboration with respected Western poets and experienced video artists, and will premiere at the upcoming National Cowboy Poetry Gathering, January 30-February 4, in Elko. Filmmaker Chris Simon worked with poet Linda Hussa and Reno filmmaker Jerry Dugan to produce a film of Linda’s poem “Homesteaders, Poor and Dry.”

John Hussa, Rylee Dickson and Linda Hussa.

John Hussa, Rylee Dickson and Linda Hussa

When Meg Glaser, Artistic Director at the Western Folklife Center, told me about her new project, Moving Rural Verse—four poems on water in the West made into films—I was intrigued. When she asked, “Would you like to do a poem by Linda Hussa?” I was thrilled.

Then Meg said, “It’s ‘Homesteaders, Poor and Dry’.”

“Isn’t that about drought?” I probe, gazing out my window at the pouring rain. “That’s right!” Meg says brightly.

“And don’t they have to kill a cow and drop a little girl down a well so that the baby won’t die?”

“Can’t you get creative? And no blood.” She hangs up fast.

“Homesteaders, Poor and Dry” is an incredibly powerful poem about the hard emotional impact of drought on a family. It is told from the perspective of the young daughter. It would not be an easy film to make.

I wrote out a scenario for how I’d like to interpret Linda’s poem. Getting from what was on paper to film… well, that was a problem. I’m a documentary filmmaker. I usually film what is there, not create it. Dropping a camera down a well to show a little girl’s point of view is not in my skill set. I decided to collaborate with Reno filmmaker Jerry Dugan who made Buck Ramsey’s poem “Anthem” into a film for the Nevada Museum of Art. As a commercial and extreme sports filmmaker, Jerry could bring the technical skills needed plus additional creative perspective. We arrange to film at the Hussa Ranch at the northeastern tip of California. Linda and her husband John start combing the country looking for a hand-dug well. Their milk cow, Blossom, is offered a starring role. Fortunately, it has stopped raining.

Linda Hussa and Jerry Dugan

Linda Hussa and Jerry Dugan

Jerry and I rendezvous in Reno. I generally work with only a sound recordist (if I’m lucky); Jerry brings a crew of six. That’s seven including me. What can they all do?

The next day it becomes clear. Everyone has a job and everyone is busy. Jerry is on camera assisted by Ryan. Mike does stop-action camera. Trent and Keaton are in charge of MoVi. They will rig the camera down the well. Canyon operates the jib, a complicated apparatus that will give us overhead shots. In truth, everyone does whatever is needed.

Rylee and the rig.

The jib, in position at the well

 A sleepy Rylee Dickson, nine years old, arrives with her mother to play the girl. They had to get up at 4:00 am to make the three-hour drive from Reno. We dress her up in overalls and braid her hair. Keaton is drafted to play the dad and he gets overalls, too. With some dirt smudges they can pass for 1930s ranchers. Blossom is brought into the barn. She looks pretty healthy for a cow that is drought-stricken, but you can’t have everything. Blossom does not like the look of the knife in Dad’s hand. She really doesn’t like the camera being poked in her face. She rolls her eyes and pulls back. This translates well onto film. She goes back to her stall with an extra ration of hay.

The actors: Keaton and Rylee.

The actors: Keaton and Rylee

After shooting all morning at the ranch, we set out for the hand-dug well John Hussa found. It’s half way between the Hussa Ranch and Gerlach, Nevada, out on the sagebrush plains. It is perfect. We pull off the covering boards and when the guys drop a bucket down it comes back with dead scorpions floating in the water. We all take an extra step back.

Lowering the camera into the well.

Lowering the camera into the well

Rylee going down the well is accomplished through the magic of cinema and the technical expertise of Jerry and crew. Then it’s time for her big scene—the one that will make or break the film. Rylee nails it and as Linda, Jerry and I watch the screen, tears come to my eyes. This is even better than I had imagined.

You can see for yourself when “Homesteaders, Poor & Dry” premieres at the upcoming National Cowboy Poetry Gathering as one of the Moving Rural Verse Series.

And, don’t worry, no cows nor children were harmed in the making of this motion picture.

It's a wrap: the end.

It’s a wrap: the end.

See “Homesteaders, Poor & Dry” and three more Moving Rural Verse poem-films on:

Thursday, February 2, 12:15–1:30pm Ruby Mountain Ballroom #1, Elko Conference Center
Friday, February 3, 11:00am–12:15pm, G Three Bar Theater, Western Folklife Center

Moving Rural Verse was produced with major support from the National Endowment for the Arts, ArtPlace America, the Community Foundation of Utah and from Western Folklife Center stakeholders.

The View from the Western Folklife Center’s Wiegand Gallery

By Meg Glaser

Meg Glaser, by Kevin Martini-FullerThose familiar with the Western Folklife Center know that our small staff wear many hats, donning whatever is needed on any given day. As Artistic Director, one of my “hats” is exhibitions curator, envisioning our beautiful Wiegand Gallery as a multi-sensory entry into the American West and our organizational mission.

Some of my favorite exhibitions are those that bring together diverse types of arts—folk art intermingled with contemporary paintings, photography, historical imagery, and increasingly, audio-visual installations. As an organization we embrace the blurriness of cultural lines and the opportunity to draw on a deep pool of creativity in order to represent our culturally complex region out in the world. One of the first exhibitions we produced along these lines remains one of my favorites: Trappings of the Great Basin paired William Matthews’ exquisite watercolor documentation of the Great Basin and its people with the elaborate handcrafted horse gear favored in this region.

William Matthews painting, photo by Jessica Brandi Lifland

William Matthews, painting, photo by Jessica Brandi Lifland

As he visited and re-visited remote Western ranches and cowboy gatherings to seek visual inspiration, Matthews witnessed the renaissance of gear-making paralleling that of poetry and music. In 1992, with William Matthews’ encouragement, leadership and support, the Western Folklife Center established its Contemporary Gear Fund and Collection to reflect the craftsmanship of some of the West’s most respected artisans.

We extend our gratitude to Willie and the many individuals who have contributed funding and gear to this growing and highly regarded collection.

Exhbition installation, photo by Meg Glaser

In the Wiegand Gallery, September 17, 2016 through May, 2017: Horses of the American West and From the Western Folklife Center Collection.

Visitors can study this unique collection, along with two William Matthews’ paintings, as part of a larger exhibition—Horses of the American West—featured in the Wiegand Gallery through May 2017. The curators for the Nevada Museum of Art’s Horses of the American West drew inspiration from the classic poem “Equus Caballus,” written by our friend and Texas poet Joel Nelson. Filmmaker Paul Moon made an eloquent poem-film of “Equus Caballus” that shares the gallery with a selection of historical and contemporary paintings, photographs and sculptural works drawn from the permanent collection of the Nevada Museum of Art, along with a few special items from private collections. All those interested in the horse and horse gear will not want to miss this exhibition. Time your visit to coincide with the National Cowboy Poetry Gathering to enjoy gallery tours by art and gear historians Kathleen and Griff Durham, as well as other related talks and demonstrations.

The Crew - John Ditz, Griff Durham, Beth Carpel, Brian Eyler and Chris Martin - photo by Meg Glaser

The installation crew – John Dits, Griff Durham, Beth Carpel, Brian Eyler and Chris Martin – photo by Meg Glaser

In September, we had the pleasure of working side-by-side with Nevada Museum of Art staff members Brian Eyler and Chris Martin as they installed Horses of the American West at the same time our crew were bringing saddles, headstalls and ropes from our collection into the Wiegand Gallery for the current exhibition. The week of being immersed in artwork; working with our generous, skilled and knowledgeable volunteers Beth Carpel, Griff Durham, John Dits and Karen Martin; and working with Nevada Museum of Art staff on site and back in Reno, once again reminded me of how fortunate I am to be wearing this hat.