Sandra Williams | Episode 1

Hixson-Lied College of Fine and Performing Arts Author

02/24/2021 Added

51 Plays

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Sandra Williams is an Associate Professor of Art. In this episode, she discusses how her art focuses on the natural world, especially animals, and how humans have impacted the environment. She also talks about her passion for community art and her class on street art.

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[00:00:04.222][Host] Welcome to ArtsCast Nebraska
[00:00:06.859]a podcast about the creative activities
[00:00:09.082]and research of the faculty and alumni
[00:00:11.260]of the Hixson-Lied College of Fine and Performing Arts
[00:00:14.078]at the University of Nebraska-Lincoln.
[00:00:16.396]I'm Chris Marks, Associate Dean of the College,
[00:00:19.156]and it's my privilege to share with you
[00:00:21.189]these conversations about the fascinating
[00:00:23.044]work that our faculty and alumni do
[00:00:25.010]in the fine and performing arts.
[00:00:27.521]In this episode,
[00:00:30.322]I speak to Sandra Williams
[00:00:31.512]Associate Professor in the School of Art, Art History & Design
[00:00:35.605]Sandra's art often focuses on the natural world
[00:00:38.556]especially animals
[00:00:40.005]and how humans have impacted the planet.
[00:00:42.273]You'll also hear about her passion for community art.
[00:00:45.700]But I begin by asking her
[00:00:47.709]where she's from and what her earliest experiences were with art.
[00:00:52.000][Guest] I'm from Cleveland, Ohio.
[00:00:54.934]originally, and we were on the west side of Clevleand,
[00:01:00.128]and later we moved, you know, out to the suburbs,
[00:01:02.557]but I think that both my mother and father
[00:01:06.435]were very creative people, although
[00:01:08.187]they would not have recognized that within themselves.
[00:01:11.494]You know, like, my father was
[00:01:13.308]really good at restoring old cars
[00:01:17.585]and so, like, my first car was actually
[00:01:21.251]a 1966 Buick Skylark convertible
[00:01:23.695]and he had found it
[00:01:25.985]you know, he was a policeman
[00:01:27.697]we came from a modest background
[00:01:29.454]and he had found it for like $300
[00:01:32.563]and I remember
[00:01:33.349]spending that summer wet-sanding it down with him, like
[00:01:36.523]"Oh, my God, why do I have to do this?"
[00:01:38.370]and then he ended up giving it to me
[00:01:40.037]for my birthday
[00:01:41.196]And then it was like "Oh, all that work paid off"
[00:01:44.006]but that type of craftsmanship
[00:01:45.995]and that attention to detail
[00:01:47.744]and picking out the new interior
[00:01:49.868]like, all of that really
[00:01:51.823]they're things that when I reflect
[00:01:53.784]on my own practice
[00:01:54.944]that's the labor of making art
[00:01:59.407]is very much in that there was a creative
[00:02:02.309]aspect to restoring that car
[00:02:03.810][Host] You went to the Cleveland Institute of Art
[00:02:06.028][Guest] I did [Host] If you grew up in Cleveland, was that
[00:02:08.074]like the natural thing to do, or did you, um..?
[00:02:11.265][Guest] It was, it was definitely
[00:02:14.225]you know, it was a private school
[00:02:15.899]and in the late '80s, early '90s, that
[00:02:19.283]was certainly an investment for my parents
[00:02:21.268]especially my mother, who was an immigrant
[00:02:23.213]to be, like, "I'm going to go study art!"
[00:02:27.189]and so, it's next to a very
[00:02:30.903]old and amazing museum
[00:02:33.465]that has a copy of Rodin's "The Thinker"
[00:02:36.246]outside of, you know, the front of it
[00:02:40.093]and so, you know, it was a really great institution
[00:02:43.721]I think I got a really great foundation there
[00:02:46.304]because although I got my master's degree in ceramics
[00:02:49.672]the foundation gives you such a solid
[00:02:53.182]place to work from
[00:02:54.828]but you really can
[00:02:55.451]go off and, you know,
[00:02:58.760]at one point in my career I was mainly doing painting
[00:03:02.440]at one point, um,
[00:03:04.215]you know, and now I do the paper cutting
[00:03:06.822]and they're related
[00:03:08.245]but I think it was that sort of
[00:03:09.789]resourcefulness that I was taught during
[00:03:12.404]the 2-year foundation that
[00:03:13.715]really, ah, facilitated
[00:03:17.108]my ability to sort of change tracks
[00:03:19.622]and switch. [Host] Do you remember
[00:03:22.367]a particular piece of art
[00:03:25.862]or maybe an exhibition
[00:03:27.217]that was impactful to you
[00:03:29.996]when you were younger
[00:03:31.234]that maybe opened your eyes to
[00:03:32.354]what art can be?
[00:03:34.028][Guest] Well, I think in some ways
[00:03:36.632]I was lucky because
[00:03:37.966]again, we didn't have a ton of money, but
[00:03:40.875]my parents were very good at finding
[00:03:42.632]things that were free to do
[00:03:44.411]in the city, and
[00:03:45.689]the museums, all of the museums,
[00:03:48.795]Natural History Museum, the Art Museum,
[00:03:50.370]at that time, and I think they still are
[00:03:52.248]were free.
[00:03:53.572]So we did spend a lot of time in the art museum
[00:03:56.233]and also the Natural History Museum,
[00:03:59.061]because those were the places
[00:04:00.827]where they could just let me run
[00:04:02.551]and I would be totally enthralled with
[00:04:04.867]whatever I was seeing
[00:04:05.825]animals or art
[00:04:06.867]and in the Cleveland Museum of ARt
[00:04:11.710]there's an ashcan painter
[00:04:13.800]and he did "Stag at Sharkey's"
[00:04:18.523]and it's this, uh, it's a painting
[00:04:24.419]of these two boxers
[00:04:25.937]made during the 1930s
[00:04:28.076]and the boxers are just
[00:04:29.931]doing, you know, they're engaged in
[00:04:32.576]this act of athleticism
[00:04:34.862]but really you're looking at the crowd
[00:04:37.419]around them, so, you know, there's action
[00:04:40.743]within the two boxers
[00:04:42.022]but the people are behav- their facial expressions
[00:04:44.843]they just look like animals
[00:04:46.532]And then the other one, there was
[00:04:49.113]an Henri Rousseau painting
[00:04:50.947]called "Surprise"
[00:04:52.097]and it was like this
[00:04:53.247]tiger that had jumped on a buffalo and
[00:04:55.997]was eating it
[00:04:56.903]and his style is, you know he was one of the
[00:04:58.781]fauves, and so it's a very naive
[00:05:01.453]style, he was self-taught
[00:05:03.536]and I think that was, like, the color
[00:05:05.963]you know, the imagination of course
[00:05:09.809]the animal imagery has always
[00:05:11.212]captivated me since I was little
[00:05:12.675]and so those two paintings are
[00:05:15.949]sort of indelibly printed
[00:05:17.648]on me as two pieces that I really love.
[00:05:22.645][Host] So you mentioned that you
[00:05:24.686]would go to the Natural History Museum
[00:05:26.630]and to the art museum
[00:05:27.963]and that a couple of your favorite paintings
[00:05:30.441]in the art museum had
[00:05:31.847]a sort of animal relationships
[00:05:34.614]so let's talk about that, because it's
[00:05:36.238]it seems like a major theme in your art
[00:05:39.519]is animals, and
[00:05:41.436]nature, so tell me a little about how that came about.
[00:05:45.091][Guest] Well, you know, it's kind of interesting
[00:05:48.694]because I think in the past, and a lot of
[00:05:51.970]you know, my education in art school
[00:05:55.430]a lot of my painting instructors were
[00:05:57.563]like old AbEx guys, Abstract Expressionist guys
[00:06:00.716]and Julian Stanczak, who I adored,
[00:06:04.282]you know, he was like the found of Op Art basically
[00:06:07.186]but I remember being in a critique with him
[00:06:09.367]and [him] saying "you have so much talent and you
[00:06:11.657]waste your time making these cartoons"
[00:06:13.684]Anything that was sort of figurative
[00:06:16.563]or representational was kind of considered
[00:06:18.295]a cartoon, but
[00:06:19.401]that was, you know, I would say
[00:06:21.733]in the '80s, '90s still kind of a theme where
[00:06:24.199]animals were seen as sort of too sentimental
[00:06:27.032]or you were a wildlife artist
[00:06:29.282]and so it took time for me to
[00:06:32.353]sort of gain traction
[00:06:33.987]and get over that stigma that I
[00:06:38.349]had been kind of taught about
[00:06:39.637]using representation animals
[00:06:41.321]in art, and, you know, sort of
[00:06:44.190]return to it because it's a body of
[00:06:45.806]knowledge that I know a lot about
[00:06:47.503]just because, you know, I read about it
[00:06:50.534]and you know I decided
[00:06:53.275]to, you know, start really
[00:06:55.399]telling stories about
[00:06:57.454]how animals have related to our life
[00:07:03.339]because folk tales have always
[00:07:06.050]been a way of
[00:07:07.196]you know, teaching communities
[00:07:10.037]and you know, using animals as a
[00:07:12.844]totemic aspect of storytelling
[00:07:17.691]but also there can be
[00:07:18.931]actual information that at the
[00:07:21.118]time that the tale originated
[00:07:22.646]perhaps they didn't understand
[00:07:24.870]completely how it worked
[00:07:26.641]but they had an intuitive feeling
[00:07:29.150]for how animals fit into the greater picture
[00:07:32.814]and I always use bats as
[00:07:35.172]an example of that
[00:07:38.336]so, you know, one of the purposes of bats
[00:07:40.215]is, you know, they're for seed dispersal,
[00:07:43.301]they eat fruit,
[00:07:44.423]and they spread, you know, seeds wherever they go
[00:07:46.935]and sometimes, I think it's interesting
[00:07:49.239]that I read these accounts
[00:07:50.836]of plants trying to grow in caves
[00:07:54.239]you know, without light
[00:07:57.134]that's so strange
[00:07:58.674]but they would come out, like, kind of thin
[00:08:01.016]and white, so in one way, it's like
[00:08:04.837]life tries to happen wherever it
[00:08:06.452]but, you know, the other thing
[00:08:09.758]is, there's a magic realism
[00:08:11.240]to that, you know, things growing where
[00:08:13.365]you think that they couldn't.
[00:08:14.903]And so it's this sort of fascination
[00:08:18.672]with the animal themselves
[00:08:20.549]with stories that are told about that animal
[00:08:23.035]and, um, then, you know
[00:08:26.697]I've always loved animals
[00:08:29.646]and so it's not enough to just read
[00:08:31.563]them. Like, being there in
[00:08:33.358]the Amazon, or even like being in
[00:08:35.607]Key West with the manatees,
[00:08:37.446]you learn so much more
[00:08:39.386]from that experience with
[00:08:41.198]existing in the same space with them
[00:08:43.061]than I ever will reading about it.
[00:08:46.328][Host] And that manifests in the artwork you make?
[00:08:49.096][Guest] It does
[00:08:51.091]you know, sometimes, I use specific
[00:08:52.479]I think the ones that are,
[00:08:54.006]the pieces that are the strongest
[00:08:56.139]are the ones that are rooted in folk tales.
[00:08:59.020][Host] And were folk tales part of
[00:09:00.586]your childhood? Your mom came
[00:09:02.401]from South America, did -
[00:09:03.580][Guest] We had different ones than
[00:09:06.423]the ones that are here
[00:09:08.169]like the ukuku, which is a large series
[00:09:10.757]that I did, is the bear prince, and
[00:09:13.756]you know, it's based on Andean bears
[00:09:17.956]yes, but it's kind of interesting because
[00:09:19.939]in Western folk tales
[00:09:21.344]usually someone is cursed to be an animal
[00:09:25.476]and they're transformed through love
[00:09:27.684]you know, into being human again
[00:09:30.391]but in this case
[00:09:32.213]he starts off as a human being
[00:09:34.387]and tricks this girl into going into the jungle
[00:09:36.531]with him and then he turns into an animal
[00:09:38.427]so it's sort of the reverse.
[00:09:40.282]And I remember, you know,
[00:09:42.022]once talking about that at an opening
[00:09:44.037]and someone saying "I've known a few people like that"
[00:09:46.607][Host] So I think animals are
[00:09:49.548]a pretty important part of your current project
[00:09:53.051]right, the Anthropocene Blues, is -
[00:09:55.659][Guest] Yeah, Anthropocene Blues.
[00:09:57.803][Host] So tell me a little bit about that.
[00:10:00.399][Guest] You know, it's, it's kind of a grim story.
[00:10:03.177]But our fates are really linked.
[00:10:06.902]But you know, like human
[00:10:09.461]fate and animal fate and
[00:10:11.631]so as we watch
[00:10:12.658]species disappear from
[00:10:15.261]the face of the earth
[00:10:17.016]It seems like people are like "Oh,
[00:10:18.643]that's a shame" and really it should
[00:10:21.525]be, that's the canary in the coalmine
[00:10:22.972]pay attention, you know
[00:10:25.254]care more.
[00:10:26.835]We can't have this divide between
[00:10:30.100]the two of us, we're, you know, all part of the same system
[00:10:32.721]And it's, so there's the paper cutting work
[00:10:35.774]and there is also the
[00:10:38.158]community art dimension of my work
[00:10:40.992]I think that, you know, using
[00:10:44.232]animals to engage members of the community
[00:10:47.143]particularly young people, particularly
[00:10:49.092]children, is really important,
[00:10:51.439]because most kids do love animals.
[00:10:53.510]You know, and so that's where I had kind of
[00:10:57.390]come up with the "Stay Wild" project
[00:11:00.013]and we have
[00:11:02.250]students at Park Middle School
[00:11:04.829]and we've been talking to the Malone Center
[00:11:08.029]a little bit about
[00:11:09.748]having them do these spray-chalk sort of
[00:11:12.858]street art stencils
[00:11:14.748]and then they go through that and they
[00:11:16.844]learn about the animal and
[00:11:18.202]they express themselves
[00:11:19.720]and then they can go off and
[00:11:22.141]you know, write poetry,
[00:11:24.204]or they process this information
[00:11:27.192]in a more creative way.
[00:11:29.239][Host] And what do you hope the community members
[00:11:32.579]you talk about children, but I think it's maybe
[00:11:34.631]you're not aiming entirely at children,
[00:11:36.383]What do you hope they will gain from that experience?
[00:11:39.566][Guest] I know that they get really excited.
[00:11:42.168]I know that it's a joyful experience.
[00:11:45.246]I know that they start making art on their own.
[00:11:49.215]And, you know, I know that they start
[00:11:52.359]in a creative way
[00:11:54.216]expressing their own
[00:11:56.435]thoughts, maybe fears,
[00:12:00.300]about conservation, about
[00:12:02.595]animals. Art in itself is sort of like
[00:12:05.261]the philosophy of making
[00:12:06.828]right? You're figuring things out by
[00:12:08.880]making things, and so I'm
[00:12:10.814]engaging them in, you know, doing
[00:12:13.493]something that way. So,
[00:12:15.959]you know, when we're talking about
[00:12:17.286]do you want people to learn
[00:12:19.400]do you think you can change people by doing this
[00:12:21.435]I do think that I can.
[00:12:23.311]You know, that aspect
[00:12:26.388]I'm kind of still figuring out because
[00:12:28.282]then the public that you're working with
[00:12:30.391]becomes the art, right?
[00:12:31.587]Not so much the stencils.
[00:12:33.524]That's the least important part,
[00:12:35.762]the audience becomes the most important part.
[00:12:38.826]You know, I like engaging
[00:12:40.444]the broader public
[00:12:42.254]in making things
[00:12:45.207]rather than, you know, for example
[00:12:46.933]me giving a Zoom talk
[00:12:48.391]about my work at an exhibition.
[00:12:50.366]To me it was much more powerful
[00:12:52.583]to put the tools in other people's hands
[00:12:54.874]and to think about
[00:12:55.969]this, you know - so the Anthropocene is a
[00:12:59.449]time when humankind
[00:13:01.110]has indelibly made its print
[00:13:04.531]on nature, and there's no going back from this.
[00:13:08.101][Host] So when you make art,
[00:13:09.906]around this topic,
[00:13:11.263]is it an expression of your
[00:13:15.140]feeling about it, or are you
[00:13:16.444]hoping to bring awareness or
[00:13:18.587]create change through
[00:13:19.886]some of the artwork that you're creating?
[00:13:22.343][Guest] Well, I think that I do bring awareness
[00:13:27.232]through some of the work that I'm creating
[00:13:30.574]because, um, you know, I'll bring up species
[00:13:36.591]that people aren't really thinking about
[00:13:39.424]like, you know, bats are not a charismatic species.
[00:13:43.058]If I was making work about penguins, like
[00:13:45.008]that's more charismatic, or
[00:13:46.503]something like that.
[00:13:47.723]Or the axolotl, which is another
[00:13:51.327]sort of totemic image
[00:13:53.852]in a lot of my work
[00:13:55.171]They're so common in scientific labs, that
[00:13:59.281]or as pets, and this is a condition
[00:14:01.940]of the Anthropocene, there are more
[00:14:03.768]in captivity than there are in the wild
[00:14:05.649]because their habitat has been so polluted.
[00:14:07.906][Host] Do you, do you think that art
[00:14:09.737]can help bring about change in that?
[00:14:11.814][Guest] I think community art can
[00:14:14.058]more effectively than
[00:14:16.116]my pieces that I have in galleries.
[00:14:18.878]Actually, I know, because
[00:14:20.710]I've done some exhibitions in Nebraska
[00:14:23.171]because I have former students who are
[00:14:25.236]now directors of little
[00:14:26.775]art centers
[00:14:28.538]and they'll tell me these stories
[00:14:30.696]how they're reading, and it's so
[00:14:33.513]American to expect a happy ending
[00:14:35.490]and none of my pieces have happy endings.
[00:14:37.615]And the whole family will be reading
[00:14:40.160]the story and they get to the end
[00:14:41.406]and she said we hear this "Ohhhh!"
[00:14:43.500]because it doesn't end in a nice way.
[00:14:46.986][Host] And when you say "reading the story"
[00:14:48.906]I think it's maybe important for people
[00:14:50.854]who haven't seen your pieces -
[00:14:52.925]you have text in your pieces, right?
[00:14:55.527]So is that the story that they're reading?
[00:14:57.395][Guest] Yeah, I literally cut out the story
[00:15:01.266]so they're almost like big story book pages
[00:15:05.107]they're just framed and on the wall
[00:15:07.095]instead of in a book.
[00:15:08.418]Because it's really important
[00:15:12.359]particularly when I'm looking at
[00:15:14.995]stories that people are not that familiar with
[00:15:19.241]and it's a peculiar, you know, aspect
[00:15:22.716]of my work, to be sure, because
[00:15:24.187]that's one of the things that they tell you
[00:15:25.475]you know, "No one wants to read a piece"
[00:15:27.825]but, I'm like, well
[00:15:30.937]I'm going to do it anyway.
[00:15:33.078][Host] And when did you decide that
[00:15:34.667]paper cutting was the right medium
[00:15:36.874]for that, and how
[00:15:38.595]did you come about developing that technique?
[00:15:41.250][Guest] Well, you know that's sort of
[00:15:43.098]a long story. I had been doing
[00:15:47.175]oil paintings using some resin
[00:15:50.315]and I wanted to go to the Amazon
[00:15:54.689]and I'd gotten this artist residency
[00:15:56.676]that was really deep in the Peruvian Amazon
[00:16:00.649]where Brazil and Bolivia and Peru
[00:16:04.024]all touch.
[00:16:05.251]So when I was packing
[00:16:07.188]it said "Everything
[00:16:08.623]that you bring you have to take out with you."
[00:16:11.171]You cannot leave anything here.
[00:16:12.846]And you were barred from, there was like
[00:16:15.832]no way I could bring turpentine
[00:16:17.396]there was no way I could bring anything like that.
[00:16:19.561]And so I thought, well,
[00:16:23.158]I'll do some watercolors and then
[00:16:25.454]Paper cutting has always been
[00:16:28.052]like this weird little thing that I've done
[00:16:30.476]so, you know, in terms of community art I've been
[00:16:34.476]part of Día de los Muertos
[00:16:36.371]for over a decade now
[00:16:37.806]we used to make these giant papel picados
[00:16:39.932]which is cut paper
[00:16:41.081]that would cover those windows at the Sheldon
[00:16:43.484]and I thought, you know,
[00:16:45.505]I'll do this, and then
[00:16:47.752]you know, as I was there
[00:16:50.315]and you see all of the monkeys
[00:16:53.418]and the toucans
[00:16:55.374]and all these animals that are really
[00:16:56.958]threatened, many of them
[00:16:58.480]are on, you know, the
[00:17:00.213]threatened species list.
[00:17:03.445]And you think, it is so
[00:17:05.289]irresponsible of me to
[00:17:06.805]you know, of all the things, be making art
[00:17:09.174]with something that's toxic
[00:17:10.404]to the world.
[00:17:11.472]You can't profess to care about animals and
[00:17:14.072]care about nature
[00:17:15.181]and still use these materials.
[00:17:17.258]And so, you know, paper has a really low footprint.
[00:17:25.071][Host] Just before the pandemic, Sandra took a sabbatical
[00:17:30.348]and spent part of the time in Mexico,
[00:17:32.301]where she collected information
[00:17:34.095]and images to use in her class on
[00:17:35.832]street art. I asked her about this
[00:17:38.305]relatively new class, which she's beginning
[00:17:40.548]to teach online.
[00:17:42.303][Guest] Street art has really been a passion of mine
[00:17:44.896]for a really long time
[00:17:46.255]and I don't really think it's considered a
[00:17:49.276]movement, within, um
[00:17:52.581]you know, traditional art history
[00:17:55.211]but a lot of times when
[00:17:56.933]you're studying art history, it's
[00:17:58.200]pretty colonial, right?
[00:17:59.914]and no one talks about that
[00:18:02.191]and I sometimes, you know, of course
[00:18:05.381]street art is excluded in some ways
[00:18:07.757]because it's illegal, but also
[00:18:10.483]look at the communities who are generating that
[00:18:13.089]and they tend to be
[00:18:14.652]you know, like one of the great hubs of graffiti
[00:18:17.515]of course was the Bronx, during the
[00:18:18.627]1970's, um, and you know
[00:18:22.454]then the work that emerges in East Los Angeles
[00:18:25.907]kind of simultaneously
[00:18:28.213]and they tend to be African American
[00:18:30.365]and Latinx communities, who
[00:18:32.222]are doing this.
[00:18:33.614]But for me,
[00:18:37.483]yes, it's about that history, but it's
[00:18:40.490]also a class that's really about creative
[00:18:43.135]place making and emphasizing
[00:18:45.578]the importance of revitalization of
[00:18:47.445]communities rather than gentrifying them.
[00:18:50.605]And so it's a very broad topic.
[00:18:55.603]But you know it also hits
[00:18:58.855]a lot of the buttons that
[00:19:02.676]I think students like to hear about
[00:19:05.181]and be challenged to express themselves
[00:19:08.028]one of which is parrhesia
[00:19:09.903]or fearless speech.
[00:19:11.480]You know, saying what you want, cynicism
[00:19:13.295]you know, saying things that maybe you
[00:19:15.702]shouldn't but you consider to be true.
[00:19:18.463]Joyful science, doing it in
[00:19:20.753]a humorous way, and then, you know
[00:19:23.439]kind of putting detournement
[00:19:25.097]in, like, the context, like when
[00:19:27.782]you have a protest a lot of times that is
[00:19:30.343]also detournement, you know, occupy movements
[00:19:33.691]are about, like, that taking of public space
[00:19:35.701]which is supposed to be ours
[00:19:37.180]but we also really look at
[00:19:39.234]what public space means
[00:19:42.377]how we manoeuver it
[00:19:43.878]like, based on gender,
[00:19:45.912]so like men exist in the public sphere
[00:19:48.383]in a very different way than women do
[00:19:50.287]and so, I think that
[00:19:52.876]students really appreciate that
[00:19:55.664][Host] What are you working on now, and what
[00:19:57.954]are you excited about doing next?
[00:20:00.319][Guest] Oh, I'm taking a little break from
[00:20:04.045]the super heavy work
[00:20:06.182]and the work that I'm making for my show
[00:20:08.762]in Key West, the show in Key West
[00:20:10.602]is called "Eat a Peach".
[00:20:12.178]And it's a show that's about love.
[00:20:16.260]And finding love,
[00:20:17.618]and so it's all of these different
[00:20:19.624]couples and they're paper cuts of
[00:20:22.079]their stories. I want to do something
[00:20:25.065]nice, something sweet.
[00:20:28.238]I can't, you know, and I think it's part of
[00:20:30.543]it is the pandemic, and
[00:20:31.817]I don't want to make work about
[00:20:34.870]the extinction of animals
[00:20:36.414]for, let's say, 6 months or so.
[00:20:40.910]So I'm going to do this show
[00:20:43.620]that's about love and
[00:20:44.666]then I'll go back to that.
[00:20:47.651][Host] For more information about Sandra Williams,
[00:20:50.402]and to see some of the work she discussed,
[00:20:52.655]visit her website at sandrawilliams-art.com.
[00:20:58.331]You've been listening to ArtsCast Nebraska
[00:21:02.644]a podcast of the Hixson-Lied College of
[00:21:04.778]Fine and Performing Arts at the University
[00:21:06.722]of Nebraska - Lincoln.
[00:21:08.594]This episode was recorded and
[00:21:10.352]edited by me, Chris Marks,
[00:21:12.561]with technical assistance from
[00:21:14.051]Jeff O'Brien at the Johnny Carson Center
[00:21:16.136]for Emerging Media Arts.
[00:21:17.693]Special thanks to Kathe Andersen
[00:21:20.160]For more information about the college,
[00:21:22.389]please visit arts.unl.edu.
[00:21:26.131]Thank you for listening, and
[00:21:27.805]remember to support the arts.

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Sandra Williams | Episode 1

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