The Great Migration: A Crane Conversation
This episode of Great Plains Anywhere is a virtual exploration of the exhibition: "The Great Migration: A Celebration of Sandhill Cranes in Nebraska." Great Plains Art Museum Curator/Director Ashley Wilkinson is joined by artist Jude Martindale and Spring Creek Prairie Audubon Center Sr. Education Manager Jason “the Birdnerd” St. Sauver to discuss the artistic inspiration and crane behaviors seen in Martindale's striking artwork currently on view at the Great Plains Art Museum.
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[00:00:00.160]Welcome to Great Plains Anywhere.
[00:00:02.040]I, Paul A. Olson lecture
[00:00:03.770]for the center for Great Plains Studies
[00:00:05.420]at the University of Nebraska.
[00:00:08.140]This episode of Great Plains Anywhere
[00:00:09.920]is a special live conversation about the great migration
[00:00:13.670]a celebration of Samuel Cranes in Nebraska
[00:00:16.540]an exhibition on display
[00:00:17.850]at the Great Plains Art Museum through June 19th 2021.
[00:00:22.440]On behalf of the center for Great Plains Studies
[00:00:24.600]I would like to begin by acknowledging
[00:00:26.750]that the University of Nebraska is a land grant institution
[00:00:30.450]with campuses and programs on the past,
[00:00:32.810]present and future homelands of the Pawnee
[00:00:35.400]Punka, Otto Missouria, Omaha, Lakota
[00:00:39.150]Dakota, Arapaho, Cheyenne, and caught peoples
[00:00:42.990]as well as the relocated Ho-Chunk Iowa
[00:00:45.690]and Sauk and Fox peoples.
[00:00:47.670]Please take a moment to consider the legacies
[00:00:49.880]of more than 150 years of displacement, violence,
[00:00:54.280]settlement and survival that bring us here today.
[00:00:57.720]This acknowledgement and the centering of indigenous peoples
[00:01:00.720]is a start as we move forward together
[00:01:03.230]for the next 150 years.
[00:01:06.250]Hi, to all of you who've joined us this afternoon
[00:01:09.360]for our crane conversation.
[00:01:11.440]My name is Ashley Wilkinson.
[00:01:14.050]I'm the director and curator of the Great Plains Art Museum
[00:01:17.410]at the Center for Great Plains Studies.
[00:01:19.260]We're on the University of Nebraska, Lincoln campus.
[00:01:22.910]We're very excited that so many of you are joining us today
[00:01:26.240]to talk about cranes
[00:01:27.520]and to talk about Jude Martindale's wonderful exhibition.
[00:01:30.920]The great migration here at the Great Plains Art Museum.
[00:01:34.850]I'll mention first that this program is
[00:01:37.220]part of the Paul A. Olson lecture series which
[00:01:41.940]for this academic year
[00:01:43.170]we're calling our Great Plains anywhere series
[00:01:46.010]because we've moved all online.
[00:01:48.170]So that means that this program is going to be recorded.
[00:01:51.400]And in a short period of time
[00:01:54.420]we'll have it up on our website.
[00:02:01.000]And if you follow our media channel
[00:02:02.850]it will be there as well.
[00:02:04.900]So that'll be there for those of you who
[00:02:07.410]might wanna watch this again later,
[00:02:08.960]or for anyone who couldn't make it today.
[00:02:12.310]Before we get started
[00:02:13.810]I'd like to thank Katie Nealon who's here
[00:02:16.340]our center assistant director.
[00:02:19.280]She is going to help us with tech
[00:02:20.780]and with any questions we might have.
[00:02:23.180]And our, I'll introduce our presenters in a minute,
[00:02:26.100]but I thought I would just kind of briefly
[00:02:28.750]let everyone know how this is going to work today.
[00:02:31.380]So we're going to do
[00:02:33.130]a very brief introduction to the exhibition,
[00:02:35.890]how it came about
[00:02:36.910]and how it came to the Great Plains Art Museum.
[00:02:39.910]And then we're going to take kind of a deeper dive into
[00:02:43.300]select works from the exhibition.
[00:02:45.440]Now we definitely couldn't address
[00:02:47.100]all of the works that are on view right now.
[00:02:49.820]So if you feel comfortable and you're able,
[00:02:52.430]you are welcome to come to the museum
[00:02:54.250]and we encourage you to come
[00:02:55.520]and see these artworks in person.
[00:02:58.110]We're open Tuesday to Saturday 10 to four,
[00:03:00.610]and admission is always free.
[00:03:03.090]And there's an additional feature too.
[00:03:05.960]We have a digital exhibition guide
[00:03:07.860]that's available on our website
[00:03:09.590]that is available for all to download.
[00:03:11.700]So that gives you a little more information
[00:03:14.070]on Jude's artwork and the exhibition.
[00:03:16.240]And one last thing,
[00:03:17.830]we will have time for questions at the end.
[00:03:20.390]So if you have a question,
[00:03:22.200]please feel free to put it in the Q&A or the chat
[00:03:25.210]and Katie will be monitoring all those and
[00:03:28.300]letting us all know
[00:03:29.340]what questions you might have at the end.
[00:03:32.120]So I think we can go ahead and get started.
[00:03:41.230]Okay, is it time for me to?
[00:03:46.060]Yeah so we'll move to the next slide, I think.
[00:03:48.310]And we'll kind of introduce,
[00:03:49.590]sorry guys, we'll introduce our panelists who are here today
[00:03:55.180]and Jude I think we'll start with you.
[00:03:57.160]You can kind of just tell us who you are and what you do.
[00:04:01.050]I think a lot of people might know you already.
For those of you.
[00:04:06.000]I'm Jude Martindale, the artists that
[00:04:08.560]created the images for this exhibit
[00:04:10.770]and I'm a full-time artist living here in Lincoln
[00:04:14.170]and I'm really happy to be here with you today.
[00:04:24.130]Cool, I am Jason,
[00:04:25.800]the bird nerd survey, I'm the senior education manager
[00:04:28.670]at Spring Creek Prairie Audubon Center.
[00:04:31.460]I'm a good friend of Jude and Steve's and a lover of crane.
[00:04:35.120]So I'm here just to enjoy,
[00:04:37.170]but also if there's questions about crane or crane migration
[00:04:41.300]I might add some information about that later.
[00:04:45.140]And I introduced myself before I'm Ashley Wilkinson
[00:04:47.770]and we're gonna get ready to start our conversation.
[00:04:51.230]So let's move on.
[00:04:54.900]So here we have a few installation images
[00:04:58.240]for those of you who couldn't be onsite at the museum
[00:05:01.410]to see the show,
[00:05:02.330]I should mention that it's up through
[00:05:03.780]June 19th of this year.
[00:05:06.460]We wanted to show these just so you can kind of
[00:05:08.660]see the artwork in context.
[00:05:11.530]For those of you who haven't been
[00:05:12.840]to the Great Plains Art Museum
[00:05:14.430]we're an arm of the Center for Great Plains Studies
[00:05:16.920]which is an interdisciplinary center
[00:05:19.380]which looks at the Great Plains of North America
[00:05:21.840]through a wide variety of disciplines.
[00:05:24.750]And we at the museum do that through art.
[00:05:27.390]So we have exhibitions that look at artists
[00:05:31.120]from the Great Plains
[00:05:32.430]or things that affect the Great Plains.
[00:05:34.240]So Jews exhibition on Sandhill cranes was certainly
[00:05:38.810]something that we were very interested in.
[00:05:41.430]And I think we'll just start here on this slide with Jude.
[00:05:45.790]Maybe you can tell us how you came up with this exhibition
[00:05:49.820]and why you paint the cranes
[00:05:52.780]and why you approach the Great Plains Art Museum
[00:05:55.400]for our show.
[00:05:58.370]Well, I was inspired by the first time
[00:06:01.410]I saw the cranes in the cornfields along the plat dancing
[00:06:06.502]the joy I felt and the amazing elegance was
[00:06:12.220]just so made such an impression on me.
[00:06:15.970]I fell in love with the cranes,
[00:06:17.180]so I photograph them and went to see them many times.
[00:06:22.960]And about five years ago,
[00:06:24.740]I started painting a series of these beautiful creatures
[00:06:30.210]and I thought, wow, you know I wanna share
[00:06:34.550]my love of the cranes hopefully
[00:06:36.710]so that others will fall in love with them.
[00:06:38.930]And once you help protect them
[00:06:41.347]and their habitat.
[00:06:44.400]So I did that and decided to,
[00:06:50.980]well I've gotta show these somewhere
[00:06:52.930]and I was looking at places
[00:06:56.160]and I thought of the Great Plains Art Museum.
[00:07:00.190]I thought, wow, this is an event that happens
[00:07:02.310]in the Great Plains I've been there.
[00:07:04.360]The museum is just so spacious
[00:07:06.410]and I had these large pieces and all of the exhibits
[00:07:11.140]that I had been to prior were so professionally done
[00:07:15.000]and just a beautiful place to be.
[00:07:18.370]And I thought, well, what a great place?
[00:07:20.137]And I'm gonna try to get my art there so people can view it.
[00:07:25.820]So, and that's how it came about.
[00:07:30.240]Yeah and I think I'll add to that too.
[00:07:32.120]What I like is that Jude mentioned the size of her work
[00:07:36.160]and that's why we have a picture of Jude there
[00:07:39.280]with two painting.
[00:07:40.660]So it really works well in our space.
[00:07:43.380]And I think it really gives lens a majesty to these cranes
[00:07:48.840]and what's, she works in a variety of sizes
[00:07:52.660]and a variety of media as we're going to see
[00:07:54.660]when we look at more of these artworks a little bit closer
[00:07:59.810]but for my perspective, that was definitely why
[00:08:03.490]I thought this would be a great exhibition for our museum.
[00:08:06.760]You know, we've certainly looked at cranes before
[00:08:09.150]through art, but with Jude's work
[00:08:11.850]she does that in so many different styles, techniques
[00:08:16.350]and with so many different materials
[00:08:18.000]that it really felt to me
[00:08:19.160]like there was something for everyone,
[00:08:21.220]a different perspective for everyone to see.
[00:08:25.260]And so she's been really great to work with.
[00:08:27.760]And we did a lot of the planning over the pandemic
[00:08:31.770]and I think it's turned out really nicely.
[00:08:34.520]And one thing I'll just end on
[00:08:36.410]before we get into our discussion of the work is that
[00:08:40.140]a number of our staff were commenting on how
[00:08:42.750]beautiful these works are
[00:08:44.140]and how the beauty of the crane is really something that
[00:08:46.670]we feel like people need right now
[00:08:49.850]as really a great show to have up during this time
[00:08:53.070]for people, it's very, very peaceful.
[00:08:56.010]I feel like, and something that's important
[00:08:58.610]for a lot of people to see.
[00:09:00.060]So thanks to Jude and to everyone who helped.
[00:09:03.350]And I think it's a good time to get started
[00:09:06.710]with our in depth look at some of these works.
[00:09:09.320]Jude has been kind enough to give us some
[00:09:12.540]behind the scenes photos.
[00:09:13.930]So she's gonna give us some background information
[00:09:16.730]on certain things.
[00:09:17.850]And then Jason and I will add our commentary
[00:09:21.790]then on some of the finished works.
[00:09:23.490]So go ahead.
[00:09:25.100]Okay, this is an image of me just sewing canvas.
[00:09:30.280]This is where I start
[00:09:31.950]usually put three or four layers of jesso,
[00:09:36.480]so that there's a nice base.
[00:09:40.910]So the acrylic pigments will stick to the
[00:09:45.860]the canvas very nicely.
[00:09:47.940]And it also adds to the white
[00:09:52.570]which is a lot of the background for a lot of my pieces.
[00:09:55.960]And it's just how I start.
[00:10:01.970]And Jude, do you think you could maybe briefly
[00:10:03.980]tell people what jesso is if they don't know?
[00:10:07.056]Yeah. jesso is it's a pigmented acrylic
[00:10:12.960]it's a acrylic base, a polymer that has a lot of,
[00:10:17.200]well you can do any color you want,
[00:10:20.300]but I buy it in white or black and then you can tint it.
[00:10:23.680]But it's pigments.
[00:10:25.020]It's the same pigments that are in,
[00:10:28.510]some of the acrylic paints but
[00:10:30.920]there's more polymer and it's just more adhesive power.
[00:10:49.550]We're having a technical issue.
[00:10:50.810]We'll move on, there we go.
[00:10:52.550]All right, this is me.
[00:10:54.890]I'm modeling for flying free.
[00:10:58.545]I had, I said, I need to do a painting with me
[00:11:05.830]and cranes flying together because I wanted to
[00:11:10.090]give the viewer an idea of what it might feel
[00:11:13.210]like to bond with nature and encourage them to do this.
[00:11:16.960]So this is me posing,
[00:11:27.730]Okay, and the one crane on the left
[00:11:33.890]is what I chose to put in the image
[00:11:37.740]because I thought it would fit nicely with my post.
[00:11:41.720]So it was all very calculated at this point, okay?
[00:11:47.870]Okay, now here is the final image where
[00:11:52.520]I super the crane and myself.
[00:11:55.550]So you can see I'm not in my leotard and I'm an dress.
[00:11:59.350]So I did a lot of re-thinking, re-designing and
[00:12:04.250]used acrylic paint because it dries quickly
[00:12:07.140]and it's easy to layer
[00:12:08.680]and you can get some transparency with it.
[00:12:12.230]I really enjoy working with acrylic.
[00:12:14.920]And my goal here, like I said, was
[00:12:18.180]I really wanted people to
[00:12:23.060]get the idea that they can
[00:12:25.290]bond with nature and re-connect and
[00:12:28.610]fall in love with these creatures.
[00:12:33.230]Yeah, this painting I think is really striking
[00:12:35.760]if we could go back yet
[00:12:37.260]because I think this is the only work in the show
[00:12:40.410]that has a person in it.
[00:12:43.570]And I think it's really important that it's you Jude.
[00:12:46.400]And I just love the composition
[00:12:48.810]of how the crane parallels the female figure.
[00:12:52.950]And it really, I think gives that sense of
[00:12:55.990]strengthening of a bond there.
[00:12:58.680]So yeah, this is also placed towards the end of the show.
[00:13:01.980]And I think is a really great work
[00:13:03.540]for a lot of visitors to end on.
[00:13:13.453]Yeah, this is the photograph that I used
[00:13:19.150]to paint the flock.
[00:13:21.730]And I chose this because I wanted to
[00:13:27.090]show that you were, that the cranes, when they migrate
[00:13:32.610]they're here in mass and the proximity they're closed
[00:13:38.080]and there's many, many of them.
[00:13:39.480]And so I thought this is perfect.
[00:13:42.480]I liked the way the, you could see interactions within,
[00:13:48.270]like family units and different behaviors happening.
[00:13:52.290]So I did this,
[00:13:55.831]I took out some of the cranes that are in there
[00:13:59.410]and put in one or two in different positions.
[00:14:04.300]So it did some re-designing.
[00:14:09.250]Okay, this is I just be on the floor sometimes
[00:14:12.890]because then I had to paint something this size.
[00:14:18.150]So it was what I had to do.
[00:14:20.950]And I used acrylic paint again
[00:14:25.720]because I liked the transparency effect
[00:14:28.110]that I can get in the layering and it dried quickly.
[00:14:31.190]I wanted to do a whole different color scheme.
[00:14:35.120]And so this is how I approached it.
[00:14:39.110]Here's the next slide.
[00:14:41.650]And now here, I'm setting up higher on a stool
[00:14:45.510]and you can see that
[00:14:49.770]I'm using my iPad there as reference
[00:14:53.850]it to see, to make sure
[00:14:55.990]I got the cranes just the way I wanted them.
[00:14:59.700]So it was a labor of love.
[00:15:06.010]And the final image.
[00:15:09.740]And I was happy with it.
[00:15:12.640]I did change color scheme several times throughout,
[00:15:16.230]but it said what I wanted to, how close they are,
[00:15:22.560]how many there are, showed some behaviors
[00:15:25.770]and some interesting things happening with this migration
[00:15:31.750]And how many cranes are in this painting Jude?
[00:15:38.060]Steve asked me that.
[00:15:39.066]And I said, well I haven't counted them
[00:15:42.400]and ended up with 117 cranes.
[00:15:47.350]That's how many.
[00:15:49.363]And I think what's so great about it is that they're all,
[00:15:52.320]especially the ones in the the foreground there,
[00:15:54.640]they feel so individual.
[00:15:56.300]And I think it does, you know, you do a great job of
[00:16:00.240]conveying that personality of the cranes.
[00:16:04.120]How long did it take you to paint this?
[00:16:08.765]I took three months
[00:16:12.100]but didn't work on every full day at a time.
[00:16:16.350]So I did keep track of the time.
[00:16:19.190]It was about 240 hours spanning three months.
[00:16:23.430]It is pretty intensive, pretty detailed.
[00:16:26.250]So I couldn't just do it all day long, but yeah.
[00:16:32.100]Now that's an impressive
[00:16:33.840]and it's really striking to see,
[00:16:37.100]you know, there's the blue with the pops of red
[00:16:40.600]I think is really kind of impressive on the wall.
[00:16:44.770]I did see, we just had a question.
[00:16:46.430]So I might just ask it,
[00:16:48.270]in the photo it sounds like someone saw some juvenile cranes
[00:16:52.630]and there don't seem to be any here in the painting.
[00:16:55.110]Is there a reason why you didn't include them?
[00:16:58.770]Yes, there is a reason why I didn't include them.
[00:17:03.140]And I was trying to make sure that crane
[00:17:09.250]each crane was seen
[00:17:11.300]putting the juvenile in there would,
[00:17:14.480]it just wasn't gonna work.
[00:17:17.720]So I didn't put them in.
[00:17:20.070]That happens sometimes I think.
[00:17:24.834]I do the science so they are in the art went out.
[00:17:28.320]I understand, yeah.
[00:17:32.310]Something I love about this photo too
[00:17:34.190]from the sort of, you know, crane side of everything is
[00:17:38.150]it really sort of emphasizes their social-ness
[00:17:43.260]there's such a social creature.
[00:17:45.490]They're always in groups and then
[00:17:48.270]how and when they come through Nebraska
[00:17:50.530]for those that have seen it.
[00:17:51.600]And for those that haven't,
[00:17:53.200]I mean this painting really like is evocative of that.
[00:17:56.690]They're always in a big group talking together
[00:17:59.690]dancing and socializing and they're so communicative and
[00:18:03.850]you just feel that in this painting
[00:18:06.410]which is really exciting.
[00:18:07.530]And it's part of what is I'm sure, you know
[00:18:10.800]Jude feels when she sees and wizard with the cranes
[00:18:13.960]which comes through in the painting.
[00:18:15.290]So when I first saw this one
[00:18:17.190]that was something that I felt right.
[00:18:19.020]It felt like being there again and seeing so many, right?
[00:18:22.830]I mean, there's over 100 in this painting
[00:18:25.520]and when you see them up close,
[00:18:27.620]as they come through Nebraska, it's both amazing, right?
[00:18:31.040]That migration of almost, you know,
[00:18:33.380]seven, 800,000 of them coming through on the plant river
[00:18:37.080]but also at the same time, you know, getting the,
[00:18:45.240]sorry, our phone ringing at the office.
[00:18:47.480]Lovely and it threw me off.
[00:18:49.200]But yeah, so that's all I would say.
[00:18:56.200]Well, maybe we can move on to the next work.
[00:19:00.190]Okay, this is the photo that I used for
[00:19:03.360]dancing to the Technicolor beat.
[00:19:06.090]I love the position of the bird.
[00:19:07.970]I just loved it.
[00:19:10.227]And so this is what I used.
[00:19:13.550]Next slide, okay.
[00:19:15.410]This is the work in progress.
[00:19:19.200]I call this creative clutter.
[00:19:22.160]I used a variety of materials to convey
[00:19:28.790]their wonderful different moves
[00:19:33.060]that they make when they dance.
[00:19:34.377]So I chose glitter paper and foil paper.
[00:19:39.030]I've just got some vinyl, I've got Silver leaf, let's see.
[00:19:48.050]And acrylic paint.
[00:19:50.510]So anyway, I thought I needed all at,
[00:19:53.046]and there is some holographic paper in there.
[00:19:55.830]So when you walk by from side to side
[00:19:58.100]you can see a reflection of red lines or green lines
[00:20:02.250]and go and it's almost like being at a disco dance.
[00:20:05.240]And that's really fun.
[00:20:08.718]It's really fun pieces that it was fun to do.
[00:20:15.240]So let's see the next one, the next slide.
[00:20:17.790]Okay, that's me putting the finishing touches on it.
[00:20:24.440]And this is the final piece.
[00:20:27.140]They there's such magnificent dancers
[00:20:31.190]and they're so outlandish sometimes and elegant others.
[00:20:35.900]And I thought that these colorful papers
[00:20:38.510]and reflective papers were what had to be to do this piece.
[00:20:47.530]This is definitely a favorite of mine.
[00:20:49.610]And I think of a lot of people who come in
[00:20:52.400]and as someone who works in a museum,
[00:20:54.390]I can always tell, so everyone wants to touch it.
[00:20:57.080]And Oh, I always have to make sure that they don't.
[00:20:59.450]Cause, you know, we don't let people touch the art
[00:21:01.900]but it's so tactical and all the different materials
[00:21:04.653]that you use.
[00:21:06.780]It comes through a little bit here in the screen,
[00:21:10.030]but not as well as seeing it in person.
[00:21:12.420]And so I think it's just really creative and so unique
[00:21:16.970]from, especially from all the other works in the show
[00:21:19.940]to have all these different materials there,
[00:21:22.040]to make up the crane.
[00:21:24.850]And it's really, it's great
[00:21:26.580]because I think it emphasizes
[00:21:28.820]the intricate detail of the birds
[00:21:32.280]and their feathers that you don't always see
[00:21:34.720]maybe in a photograph or
[00:21:37.470]in a painting that's a little bit more
[00:21:39.870]realistic or representational,
[00:21:41.640]but by using these different materials
[00:21:43.520]you really showcase that.
[00:21:45.390]So I think that's really great.
[00:21:52.010]Yeah, there's such an intimate knowledge of crane
[00:21:54.381]like anatomy in that picture especially like
[00:21:59.420]I looked closely when I saw it in the first Friday
[00:22:02.030]when I went to get to see it and
[00:22:04.580]just in the retreat, the very reptilian scaled legs, right?
[00:22:07.987]The use of a paper that was iridescent
[00:22:11.610]so that it shined a little, like a scale more
[00:22:14.120]than like a feather up on top, like was so genius.
[00:22:16.860]It's like, I looked at this like three times,
[00:22:20.100]I went around the room and came back to it
[00:22:21.730]to see new things.
[00:22:23.360]Cause there's also depth, right?
[00:22:24.760]Some of the papers thicker than others.
[00:22:28.290]And the exciting thing is is we got to use
[00:22:33.270]Jude and I and the Great Plains Art Museum
[00:22:35.350]are working on a program for a bunch of afterschool kids
[00:22:38.780]with the Lincoln community learning centers.
[00:22:41.290]And we have them seeing Jude's art
[00:22:43.860]and making some of their own, she made these great outlines
[00:22:47.280]of some of her paintings for the kids to use.
[00:22:49.720]And so we sent them glitter paper and construction paper
[00:22:53.090]to try to like emulate this cool technique, which is
[00:22:55.660]I can't wait to see what they did but
[00:22:57.820]seeing this in person is stunning.
[00:23:02.010]And Jude, did you have any sort of system for
[00:23:05.130]arranging the papers in this way or was it more intuitive?
[00:23:10.090]It was intuitive.
[00:23:11.630]I just started, I wanted to make,
[00:23:17.310]I wanted to make sure that you could see the feathers
[00:23:21.250]and you could see,
[00:23:22.420]the feeling that I wanted of the feathers and
[00:23:26.442]and I would draw and re-draw and cut and re-paste and
[00:23:30.260]what I do is take taken cutout where I thought
[00:23:33.523]this color shouldn't be.
[00:23:35.480]And then and I shouldn't be literature to be reflective and
[00:23:39.300]and I would just take them on.
[00:23:40.990]And it was a process, it took me a while over month.
[00:23:46.320]I didn't keep track of the hours at this point
[00:23:50.110]but it was an adventure.
[00:23:53.960]That's great to hear
[00:23:56.160]One final thing too,
[00:23:57.230]as a burden or that I loved about that is
[00:23:59.790]there's so many birds that are iridescent
[00:24:03.720]and crane isn't necessarily one.
[00:24:05.670]We think of that way, so like Ashley said,
[00:24:07.610]it's such a great way to re-look at a bird
[00:24:10.310]that you might know, right?
[00:24:11.740]If you're from Nebraska,
[00:24:13.170]we probably know cranes and have seen them.
[00:24:15.160]Sometimes you don't look again if you know something.
[00:24:17.990]So it's such a great way to like re-think a crane, so.
[00:24:25.090]All right, I think we can move on, there we go.
[00:24:27.910]Okay, this is crane of another color.
[00:24:32.160]Cranes can see ultra violet light and we can't,
[00:24:38.140]so well, what would a crane look like?
[00:24:41.320]What would it, a crane look like to another crane?
[00:24:44.000]If they can see it a little bit more than we can.
[00:24:47.610]And so I fantasized on this and to the colorful crane
[00:24:51.920]this piece is basically acrylic and I have hand-eye papers.
[00:25:00.680]And so as part acrylic and part collage
[00:25:05.050]and it was a fun piece to do.
[00:25:09.720]Yeah, kind of the neon fluorescent colors
[00:25:13.770]there are really kind of impactful in the gallery,
[00:25:17.130]it's towards the back.
[00:25:19.030]So it really strikes you when you come in
[00:25:20.850]and this is a slightly smaller piece
[00:25:23.180]than some of the other ones that we've been looking at
[00:25:26.750]but I think the color and the composition
[00:25:29.170]really make it feel almost as big as some of the other ones,
[00:25:32.950]I think cause it's so striking.
[00:25:35.160]And you use that hand-stained paper.
[00:25:38.190]Yeah can you explain
[00:25:40.290]are you're doing the hand staining yourself
[00:25:42.880]or how does that work too?
[00:25:44.330]Right, most of the time I use,
[00:25:46.640]well, most of the time I use just tissue paper
[00:25:49.140]and I take acrylic and the medium and mix it together and
[00:25:54.220]painted on I have all these different papers about space
[00:25:58.170]and I stay in a whole bunch of colors and then let them dry.
[00:26:01.100]And then on one side they're shiny other sides they're not.
[00:26:03.730]And so I can, and then I cut out the shapes that I want
[00:26:07.410]and sometimes I use card stock,
[00:26:09.000]but in this one I think it was a tissue paper.
[00:26:16.580]That sounds great.
[00:26:17.880]One cool thing for those who don't know about UV
[00:26:20.750]that Jude mentioned is most birds see in UV, right?
[00:26:24.416]And it's a newer thing in bird science that we've realized
[00:26:29.490]that so many of what we see
[00:26:31.340]in like especially like a male bird
[00:26:33.140]that might be showing off with colors or something,
[00:26:37.090]how the birds are seeing themselves seeing in UV.
[00:26:41.320]So the hope color and like
[00:26:43.960]how they're seeing each other for mating or territory
[00:26:46.900]is very different than what we actually think.
[00:26:49.770]And then the other is, is with that knowledge
[00:26:52.370]something that we've done at Rowe Sanctuary here
[00:26:54.690]with Audubon Nebraska to help the cranes
[00:26:57.560]is where using UV light
[00:26:59.360]along the huge power lines
[00:27:01.090]above the Platte river,
[00:27:04.070]shining on there so they can see those, right?
[00:27:06.310]If they accidentally get up in a storm
[00:27:08.270]or an Eagle flying over something, scares them
[00:27:11.050]that they don't hit those lines.
[00:27:12.420]They can see that UV light on there since they see an UV.
[00:27:16.200]And we don't see it, it's not as
[00:27:18.980]disturbing in the evening for other things.
[00:27:20.990]So it's a really cool use of that technology.
[00:27:26.300]Hmm, thanks Jason for sharing that,
[00:27:27.810]that's really great to know and to have that
[00:27:30.000]kind of connection here.
[00:27:31.540]And now I'll always think of that when I see this painting.
[00:27:37.360]Let's move on to our next one.
[00:27:41.370]Okay, will the crane survive?
[00:27:44.970]I did this pace to say what to basically
[00:27:51.600]say what I wanted to about how
[00:27:54.480]the habitat that the crane that it needs.
[00:28:01.840]The wetlands is basically cut down by
[00:28:08.260]agriculture and urban development
[00:28:10.480]and so I decided to do this conceptual case.
[00:28:15.655]It, the green is fabric and it represents and the patches
[00:28:23.600]represent the habitat,
[00:28:26.330]that's, it's no longer one big beautiful wetland
[00:28:31.590]and just patches of what they're used to.
[00:28:34.630]And the black is fabric as well.
[00:28:36.960]It represents the Platte river
[00:28:40.030]and how it's, that's narrowing, not as much.
[00:28:44.430]Some of the water is shared elsewhere
[00:28:47.470]and the gold is gold leaf.
[00:28:51.300]And it signifies hope for the crane.
[00:28:56.570]And the crane is a silver leaf.
[00:29:01.070]And when you walk from side to side
[00:29:04.100]viewing this piece that the crane
[00:29:05.910]will disappear and then re-appear,
[00:29:07.720]it's almost like she is surveying her surroundings
[00:29:12.010]to see what's happening and she will be here or not.
[00:29:19.370]It's definitely, yeah, the most,
[00:29:21.730]like you said conceptual or abstract piece in the show
[00:29:24.400]but I think it's a really great addition to have
[00:29:27.680]to get people to not just think about cranes as something
[00:29:32.250]beautiful to look at, but what can we do to help them,
[00:29:36.425]what's happening right now to their habitat
[00:29:40.430]and how can we make a contribution
[00:29:43.440]and what are we doing right now
[00:29:45.120]that might be impacting them?
[00:29:46.810]So I love how just that kind of the silver crane
[00:29:51.880]down in the corner
[00:29:54.590]is a very simple way of just representing the crane,
[00:29:58.750]the cranes as a whole here in this landscape.
[00:30:01.870]So yeah, this is definitely one of my
[00:30:04.340]favorite works in the show for the message and for
[00:30:07.270]the way it's presented.
[00:30:16.750]Okay, this is a photograph that I used for flock in flight
[00:30:23.520]after spending the night on the river
[00:30:26.270]the cranes and the sun comes up and now they can
[00:30:31.340]they go and they see, they go to feed in the cornfields.
[00:30:34.760]If it were marshland, it would be that.
[00:30:37.590]And so I wanted to have an image of one of them flying
[00:30:47.720]to feed for the day.
[00:30:49.580]And I thought this one was good
[00:30:51.140]because it had dimensionality.
[00:30:52.960]It had birds flying together in the forward
[00:30:58.060]and in the distance.
[00:30:59.530]And also they wanted to show how, when they're flying
[00:31:05.840]I would see different, I would silver, gold or copper,
[00:31:12.790]depending on how the light was reflecting with them.
[00:31:16.517]And so in the next slide, I'll show you again.
[00:31:20.860]Okay now this is taken from that photo,
[00:31:25.270]took me a while to figure out which birds to leave in
[00:31:29.770]and put and move here.
[00:31:31.207]And there, they're not all in the same place.
[00:31:33.720]So I did a lot of designing in this
[00:31:37.430]and you can see the gold leaf of the three, that's a family
[00:31:43.130]and then there's copper leaf and then silver.
[00:31:51.160]So, and the background is, it's a, I, yeah
[00:31:58.250]it's a great down.
[00:32:00.120]I took just so, and I graded down
[00:32:04.470]to just the right gray or this piece.
[00:32:07.868]What is this?
[00:32:10.237]And how, maybe you can tell some of our viewers how
[00:32:16.030]you apply the leaf
[00:32:17.610]how that kind of works in this process.
[00:32:20.660]Okay, to apply leave.
[00:32:23.468]You have an adhesive that you paint on
[00:32:28.030]and it dries from you let it dry for 30 minutes
[00:32:31.510]and then you apply the leaf and then you seal it.
[00:32:36.600]Silver leaf needs to be sealed.
[00:32:38.550]Gold leaf is if it's more than 14 karat doesn't seal
[00:32:42.570]this was, and I didn't need to seal the gold, but I did.
[00:32:47.290]And the copper also needed to be sealed, silver.
[00:32:52.850]So it's a process.
[00:32:54.830]And if you miss a spot,
[00:32:57.810]it'll let you know four months later, it'll tarnish.
[00:33:02.430]So you go back, do it again.
[00:33:05.030]Yeah, I was gonna ask if it's if it's hard to work with
[00:33:08.320]applying the, into the little pieces of leaf,
[00:33:11.560]especially in these large areas
[00:33:13.330]do you find that it's hard to do?
[00:33:15.870]Yeah, it's tricky, but you know,
[00:33:20.400]you get used to it you figure it out.
[00:33:23.200]Yeah. I love, this one is the largest of the
[00:33:26.170]metal leaf works that Jude has in the show.
[00:33:28.680]She has a number of smaller ones as well.
[00:33:32.010]But what I love with this one,
[00:33:33.280]especially if we might think about like
[00:33:35.830]one of the second work, we looked at the flock
[00:33:38.040]with all of the cranes together in a social group,
[00:33:42.200]here we have multiple cranes on the screen
[00:33:45.510]or on the on our painting in a very, very different way.
[00:33:49.480]Just the silhouettes flying in the sky
[00:33:51.970]I think is really, really striking.
[00:33:55.130]And then again, a great showcase of the medium
[00:33:57.790]you chose to use here.
[00:34:00.970]Yeah, and to add to that real quick Ashley,
[00:34:03.140]the, again, it's Jude's intimate knowledge of the cranes
[00:34:07.810]and their biology.
[00:34:08.960]Like, it was so exciting for me to see this one
[00:34:12.500]and like see that there's a family.
[00:34:14.800]Cause they always do that, right?
[00:34:16.440]They're almost always traveling
[00:34:18.240]with the young from the, you know, the past year
[00:34:20.960]until they're that teen.
[00:34:22.430]And they kick them out when they get back up to their
[00:34:24.710]breeding counts later on.
[00:34:27.640]So that's really, really cool to see as well.
[00:34:30.100]Like I just, it feels always like Jude's paintings
[00:34:34.340]just they feel like the cranes in real life too, right?
[00:34:38.660]Even if they're not in painted in a realistic necessary way,
[00:34:42.520]like you get that feeling like that
[00:34:45.150]she knows them so well.
[00:34:50.360]That's a great point Jason.
[00:34:53.150]Okay, this is the dance begins.
[00:34:55.690]This was my first photographs I took of the cranes.
[00:35:00.260]They were dancing in the corn fields
[00:35:01.720]and love the way they're looking
[00:35:04.190]at each other in the moment.
[00:35:05.910]And so into their dance.
[00:35:08.282]And I love the way the light was reflecting off them
[00:35:11.630]as they move the shadows and the highlights changed.
[00:35:15.150]And so when I painted this
[00:35:17.700]I decided I'm gonna use reflective paints.
[00:35:20.670]And I used Silver leaf and this piece, just on the legs
[00:35:25.560]you can see just a little bit
[00:35:26.850]and some on the tips of the wing.
[00:35:28.880]Then I chose to use some iridescent
[00:35:32.880]some acrylic paints, iridescent, silver, and some
[00:35:40.772]my Keisha's, no iridescent stainless steel paint
[00:35:45.180]is also in there.
[00:35:46.270]I use micaceous, iron oxide
[00:35:49.950]which is the darker pieces there.
[00:35:52.060]And I had some pearlescent white that I added in.
[00:35:57.352]And so I wanted to play with that.
[00:36:00.880]And when you see it in the museum
[00:36:04.510]and in person, it really is.
[00:36:07.190]It's fun because you can walk from side to side
[00:36:10.120]and see how the light changes and shimmers.
[00:36:12.890]And yeah, this was another intuitive painting
[00:36:15.663]that took me a while to figure out how to do.
[00:36:19.407]Can you kind of explain so micaceous iron oxide
[00:36:22.790]is that that's a type of of paint.
[00:36:25.830]Like, can you maybe explain that one a little bit?
[00:36:28.250]Right, it's acrylic base
[00:36:30.270]and they've used micaceous iron oxide.
[00:36:34.560]So that's micaceous that iron oxide
[00:36:37.970]that's put into that,
[00:36:39.740]into the stainless steel is also put into the other
[00:36:43.260]near it essence stainless steel, so yeah.
[00:36:46.260]Had you used the reflective paints before
[00:36:48.790]at all before making this work?
[00:36:51.430]Oh, gee, had I?
[00:36:55.430]Maybe a little bit just in some
[00:36:58.660]paintings that weren't birds that just
[00:37:00.960]not to any extent just here and there,
[00:37:05.480]just little bits and pieces of the painting but
[00:37:07.980]never for a whole piece.
[00:37:11.330]That was so different.
[00:37:12.980]Right it was different because they give different values
[00:37:16.850]from different parts of the room.
[00:37:18.400]Very frustrating, because you have the value
[00:37:20.640]that you're going for straight on
[00:37:22.140]and then you move to the side of the change so,
[00:37:24.900]this is a real puzzle.
[00:37:27.460]Are these paints that people use for other uses?
[00:37:31.080]Are they used primarily for art?
[00:37:32.660]Do you know Jude at all?
[00:37:34.719]Wow, I don't know if they use them for other purposes.
[00:37:38.720]I do know art that.
[00:37:42.395]No, it's very, a very unique media
[00:37:44.460]and that's something I was really,
[00:37:46.130]I had really seen a lot too
[00:37:47.410]before I'd seen your painting,
[00:37:49.230]so that's, that's really great.
[00:37:50.970]And this, smaller work, like you said
[00:37:53.840]because you use all of these different reflective paints
[00:37:56.210]it really gives it that eye catching.
[00:37:58.720]When you walk past it, you see that reflectiveness
[00:38:01.910]and it's really, really striking there.
[00:38:05.300]And I like hearing that,
[00:38:06.700]it's one of the first photographs you took of Koreans
[00:38:11.210]and then you translated it in such a special way.
[00:38:15.850]Yeah, and just to add, I know that Jude has several
[00:38:20.500]of cranes dancing and for those that might not know,
[00:38:24.260]or that do, like they dance a lot,
[00:38:27.770]about this time of year and continuing
[00:38:30.390]as they head towards their mating grounds
[00:38:33.130]but they have so many different behaviors
[00:38:35.210]which is great to learn about, I mean,
[00:38:37.160]they're one of the most communicative birds without sound.
[00:38:40.980]I mean, they use their gorgeous
[00:38:42.510]like long trachea to make that bugle noise
[00:38:45.170]but even without doing that,
[00:38:47.040]I mean they dance and jump and they throw things and
[00:38:50.210]bow and they've got a bustle that they puff up.
[00:38:52.640]Like, it's, there's this whole amazing language going on.
[00:38:56.490]And again, like Jude's ability to turn,
[00:39:00.210]you know, one painting into so much of that
[00:39:02.910]conversation going on is really, really cool.
[00:39:10.060]That's a really good point and important to
[00:39:12.740]point out about the dancing,
[00:39:14.550]cause that's really important part of this painting,
[00:39:16.670]I think for sure.
[00:39:17.670]So, let's go on to our next one.
[00:39:21.610]Okay, this is showing us.
[00:39:27.840]This is the photo that I used.
[00:39:30.450]You can see beautiful lighting
[00:39:33.000]dancing across the wings and I just fell in love with it.
[00:39:37.290]It's because open is talking
[00:39:40.860]or doing whatever and it's theater and the water.
[00:39:44.580]But I wanted to have a piece in the show that showed the
[00:39:50.540]the size and the expanse of the wing.
[00:39:54.070]And so I chose this.
[00:39:57.980]Let's go get yet.
[00:39:58.970]Okay, now this is what happened in progress here.
[00:40:02.330]They ae a lot,
[00:40:03.163]didn't have any feet and the feet were under the water.
[00:40:05.610]So I had to go elsewhere, other photographs to work on it.
[00:40:10.510]And so you can see the feet drawn in there
[00:40:13.580]and you can see also the feathers and how I've been.
[00:40:17.522]I work let's say acrylic
[00:40:20.963]and pencil on the canvas
[00:40:25.050]and I use acrylic paint once again.
[00:40:27.170]And now here's the final.
[00:40:29.899]I absolutely, I got what I wanted.
[00:40:34.700]I achieved it when I was after I got a little bit of the
[00:40:41.730]I got a little bit of the shadows
[00:40:43.570]that I wanted in the subtleness and the
[00:40:46.470]the beautiful color changes with the yellows and the grays.
[00:40:49.640]And it's almost like you're standing in front of this
[00:40:54.150]four foot tall, six foot wide
[00:40:57.720]and that's what they are.
[00:41:00.070]And they actually, it would be kind of amazing
[00:41:04.570]to stand in front of one of them if you're a crane.
[00:41:10.490]I love, I think
[00:41:11.930]the personality of the crane really shows through here.
[00:41:14.810]And I think it's a favorite of many people
[00:41:16.910]who come into the museum and the title showing off
[00:41:22.000]I think adds that little bit of fun there.
[00:41:26.283]The humor that the crane is really showing us
[00:41:29.110]how big they are and, you know just like you said,
[00:41:35.579]I think it's fun to think of these as a portrait of a crane
[00:41:40.400]especially in this more realistic rendition.
[00:41:42.760]So no, it's really, really great.
[00:41:46.570]We do have someone asking if you draw just free hand,
[00:41:49.350]did you, do you ever need to project an image
[00:41:51.930]onto the canvas?
[00:41:54.110]Okay, I draw freehand when I'm not doing birds
[00:42:00.630]that like this,
[00:42:02.160]when I wanna make sure the feathers in the anatomy is right.
[00:42:05.800]I project this onto the canvas,
[00:42:09.080]but otherwise I draw free hand that a lot of these
[00:42:14.850]and a lot of the photographs and you'll see in the next one
[00:42:18.170]they're so out of focus that,
[00:42:21.800]yeah, I do a lot of freehand drawing.
[00:42:25.490]And some of these images but this one was
[00:42:28.230]I had such a good image.
[00:42:29.740]I was able to use the projector.
[00:42:34.210]And then this one also took,
[00:42:36.572]Oh this was over several months and 180 hours.
[00:42:41.840]So it didn't take quite as long as the flog but
[00:42:45.380]it's easy to get lost within each feather.
[00:42:48.840]And so it was quite a process.
[00:42:52.690]I love that you pointed out too
[00:42:54.170]that he was standing in the water first
[00:42:56.290]and then you added the feet.
[00:42:57.950]It's such an important part of the crane
[00:42:59.920]that most people don't realize.
[00:43:02.030]That's literally why they're in the Platte river, right?
[00:43:04.820]They don't have a back toe
[00:43:06.740]like so many other birds that can perch in a tree.
[00:43:10.520]So they have to be on the ground.
[00:43:12.250]If they were out in a field, they could be, you know
[00:43:14.470]attacked by coyotes and other predators.
[00:43:16.730]So they stand in the river
[00:43:18.750]and that's why we see thousands of them
[00:43:20.810]come through Nebraska.
[00:43:22.280]It's a huge part of their anatomy and to like
[00:43:24.630]see him showing off his special feet right there.
[00:43:27.430]I just love it, it's so cool.
[00:43:32.371]All right. I think we've got one more
[00:43:34.160]that we're gonna highlight tonight today.
[00:43:37.140]Okay, this is the photo that I chose for synchronicity.
[00:43:43.940]And I chose this because I wanted
[00:43:46.750]to have a piece in the show that
[00:43:49.350]and to see that shows how these birds make for life.
[00:43:57.040]And they'd fly thousands of miles together on migration.
[00:44:00.970]And they're always in sync, they're with each other.
[00:44:06.070]And I thought, this was just, wow, this is great.
[00:44:09.460]It was a little out of focus.
[00:44:10.670]So I had to do quite a bit of free hand drawing
[00:44:14.461]and intuitive painting in this.
[00:44:20.670]Let's look at the next slide.
[00:44:23.400]Okay, now I thought, okay,
[00:44:26.210]I'm gonna, well I wanted to warm this up and think,
[00:44:29.740]Oh maybe I'll put a sky in this.
[00:44:31.630]And I was, you know, having fun with the sky
[00:44:35.380]and the war and all.
[00:44:37.660]And then I thought, Hmm, this isn't where I wanna be at.
[00:44:43.070]And so I whited it out with, I whited the background out
[00:44:48.040]but left the wonderful pink and then go to the next slide.
[00:44:55.630]And then this is what fell out.
[00:44:57.440]I thought I needed to get rid of the background.
[00:45:00.460]I was focusing on them,
[00:45:02.480]being in sync, their mates, their portraiture.
[00:45:05.520]I didn't wanna get lost in the sky
[00:45:08.950]and I didn't want them to get lost.
[00:45:12.470]Cause it is really a portrait of that they're pair bond.
[00:45:18.110]And I used acrylic and you can see how
[00:45:20.560]some of the red, just so coming through
[00:45:26.860]the wing patterns and kind of warming them up.
[00:45:31.690]And it a lot of play between not showing feather by feather
[00:45:40.760]leaving some out the push and pull to create this piece.
[00:45:50.632]So it was fine.
[00:45:53.000]Yeah, and it's I had,
[00:45:54.770]before we started working on this presentation
[00:45:57.150]I'd never seen the photo with the red background.
[00:46:00.440]And so now seeing that
[00:46:02.470]it adds another layer of interest to this painting,
[00:46:06.510]knowing what was there before.
[00:46:08.710]And I really do like the choice that you made do
[00:46:11.420]to kind of focus on the cranes and not have the background.
[00:46:15.530]So similar to the one we just looked at showing off it
[00:46:18.440]it makes it somewhat of a portrait of the cranes because
[00:46:22.030]they're the focus.
[00:46:23.470]But in this one, I think it's I find this one to be
[00:46:27.350]so I feel a sense of peace when I look at it
[00:46:30.040]and I feel that harmony and the companionship there of the
[00:46:34.450]the two cranes who are in sync.
[00:46:36.410]So yeah, I it's really, I think it's a great one
[00:46:40.720]for us to end on today but also just
[00:46:43.470]in general as kind of a good example of of your show
[00:46:48.180]and of the work as a whole.
[00:46:51.596]Thank you, and thank you for presenting it so well
[00:46:55.270]you did just a wonderful, okay.
[00:47:01.320]Well, I think we're getting close
[00:47:03.600]to the end of our time now.
[00:47:06.620]So we've had a lot of people putting questions in the chat
[00:47:11.850]and I'm not sure
[00:47:12.683]if we were always able to get to all of them so,
[00:47:17.480]I think that we could maybe have you
[00:47:21.000]if you'd like to put it in the chat again
[00:47:22.930]or if Katie you're able to kind of go through them
[00:47:25.310]and we can take some time here to answer those questions.
[00:47:34.350]It looks like they're all in the chat.
[00:47:38.340]Let's see, I think we just had one come through.
[00:47:41.550]Oh yeah, asking about the sound of cranes.
[00:47:45.390]So we actually do,
[00:47:47.150]we should have mentioned that at the beginning,
[00:47:48.929]there is a video that Jude's husband Steve
[00:47:53.840]put together for us.
[00:47:55.930]That's on a TV in the gallery.
[00:47:58.510]So we play that on a loop
[00:48:01.510]and it's so we get the picture and the sound of
[00:48:05.070]of the cranes in real life.
[00:48:07.850]So, yes, thanks for asking that
[00:48:09.290]cause I should've mentioned that too.
[00:48:10.690]So thanks to Steve for putting that video together.
[00:48:20.400]Jude, do you do other paintings of other birds and mammals?
[00:48:26.300]Well, yes, I painted,
[00:48:33.150]I just, my last painting I just did in December
[00:48:36.820]was of a Goldfinch in the Prairie with gay feathers.
[00:48:40.857]And it's on display at the store museum right now.
[00:48:44.120]Yeah, it was really fun.
[00:48:46.054]I loved the male gold Finch and in full color in the Summer,
[00:48:51.190]it was the gold and the black
[00:48:52.910]so I couldn't resist painting it.
[00:48:54.860]And I, mammals, well, I do, I painted my dog
[00:49:01.280]and my daughter, by my granddaughter that I, I, yeah.
[00:49:10.060]And Jude do you also do more abstract works as well?
[00:49:16.450]If you go to my website, you'll see as section on abstracts
[00:49:20.090]and figurative art and then flowers and other.
[00:49:24.890]But yeah, I do a lot of abstracts that
[00:49:28.430]I am being represented now
[00:49:30.360]at Anderson O'Brien and Omaha for my abstract art.
[00:49:33.969]So people can see them there.
[00:49:37.109]So yeah, they're in the process of moving
[00:49:39.360]so they haven't gotten me on the web yet, but it'll be soon.
[00:49:44.150]Jason, we have some questions for you in the chat.
[00:49:51.770]Where is it that the UV light is on the power lines?
[00:49:56.030]Yeah, right now it's a study that they're doing
[00:49:58.370]to see how good it is working.
[00:50:00.420]So it's only been going, I think, a year or two
[00:50:03.030]and it's right near the Rowe Sanctuary.
[00:50:05.070]So just South of Gibbon and a little East of Carney there
[00:50:09.390]on the stretches of the river that Rowe Sanctuary
[00:50:12.470]managed they are testing that in the hopes
[00:50:15.430]that maybe if it is really effective,
[00:50:17.330]that they can use it more other places.
[00:50:19.740]And I know that Sharon mentioned earlier that maybe
[00:50:22.540]it could be used on windmills, right?
[00:50:24.380]For wind turbines.
[00:50:25.950]And I think that's a great idea,
[00:50:27.340]I have a feeling they're probably already looking at it
[00:50:30.810]but I will mention that to our folks,
[00:50:32.990]but great question there.
[00:50:36.647]And it looks like we also have one
[00:50:39.160]about the sandbars on the Platte have limited space.
[00:50:42.880]So is there a lot of tough competition
[00:50:44.500]or aggression among the cranes for their territory?
[00:50:48.200]There can be a little less here
[00:50:50.700]because they're not quite to breeding territory yet.
[00:50:54.870]So the real territorial competition
[00:50:58.070]will take place up North where they're actually gonna nest.
[00:51:01.060]Cause that's when they really don't want another payer
[00:51:03.980]near them, but there will be still arguments, right?
[00:51:06.360]Someone's a little too close to some resources
[00:51:08.500]or their favorite resting place.
[00:51:10.270]There definitely can be some squabbles
[00:51:13.140]but that also is something, the bigger worry is disease.
[00:51:17.620]When anytime you have a large population of animals
[00:51:20.330]all in one place at one time,
[00:51:22.810]if disease or a horrible storm comes through, like
[00:51:25.660]that can be really, really troublesome
[00:51:27.810]on the whole population.
[00:51:29.850]So what Audubon and the crane trust in many groups
[00:51:32.900]are working on along the plant is
[00:51:35.740]is that clearing some of those sandbars off
[00:51:39.510]and it's not happening naturally
[00:51:40.970]as it would have in the past because
[00:51:42.780]more water used to come down the plant
[00:51:45.540]in the spring, rush over those.
[00:51:48.130]There also is a lot more trees along the edge
[00:51:50.600]and more vegetation growing up.
[00:51:52.470]So helping to keep that clear for cranes
[00:51:55.860]and help them to have more river to spread out
[00:51:58.300]on is something we're working on with,
[00:52:00.630]you know, that's a three-state partnership all with,
[00:52:03.290]you know, Colorado Wyoming
[00:52:04.870]through the whole length of the plant, but good question.
[00:52:09.910]Oh, that's great.
[00:52:10.780]And I think if we might have time for one more question
[00:52:13.410]I do see someone asking about,
[00:52:15.890]Jude, if you you've ever shown in David's City.
[00:52:18.930]And maybe it might be a good time to say
[00:52:20.330]if you have any upcoming shows
[00:52:22.390]or other things other than Anderson O'Brien
[00:52:27.100]I have never shown in David's City at Long Creek.
[00:52:30.814]I went there and talk with them
[00:52:33.870]and all but haven't had the opportunity.
[00:52:35.960]I do have show the, with the cranes at the Store Museum
[00:52:43.400]next year, February through April.
[00:52:48.360]And that will be similar to the show.
[00:52:52.030]It's a smaller space so not as large,
[00:52:54.300]but I just got a small show
[00:52:59.980]at the landing where my mother is,
[00:53:02.900]it's a retirement place
[00:53:04.510]and going to put some of my crane art there.
[00:53:08.930]And, and also the Willick Hathor foundation
[00:53:18.160]has asked me to have a show in 2023.
[00:53:21.880]So I have some things planned.
[00:53:26.193]So many more opportunities for people to see your art.
[00:53:30.803]And I think that's a good place for us to end today,
[00:53:35.360]thanks to everyone who joined us.
[00:53:37.270]And like we said, if you're able to come and see our show
[00:53:39.900]we'd love for you to be able to stop by the museum.
[00:53:44.660]And thanks again to Jude and Jason and Katie
[00:53:49.190]for helping with this presentation today.
[00:53:52.380]And it'll be up on our website
[00:53:54.070]as soon as we're able.
[00:53:55.280]So thanks all
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