Dana Fritz | Episode 4

Hixson-Lied College of Fine and Performing Arts Author

06/01/2021 Added

13 Plays

Description

Dana Fritz is a Hixson-Lied Professor of Art in the School of Art, Art History & Design. Her work often focuses on how the natural world collides with artificially created environments. Her latest project is a book of photographs taken at the Nebraska National Forest.

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[00:00:00.000]Welcome to ArtsCast Nebraska
[00:00:03.530]a podcast about the creative
[00:00:05.189]activities and research of the
[00:00:06.825]faculty and alumni
[00:00:08.098]of the Hixson-Lied College
[00:00:09.440]of Fine and Performing Arts
[00:00:10.652]at the University of Nebraska-Lincoln.
[00:00:12.891]I'm Chris Marks
[00:00:14.400]Associate Dean of the College
[00:00:15.972]and it's my privilege to
[00:00:17.416]share with you
[00:00:18.232]these conversations
[00:00:19.185]about the fascinating work
[00:00:20.276]that our faculty and alumni do
[00:00:22.001]in the fine and performing arts.
[00:00:23.472]In this episode,
[00:00:26.139]I speak with Dana Fritz,
[00:00:27.717]Professor of Photography in the
[00:00:29.335]School of Art, Art History & Design
[00:00:31.264]She discusses the fact that
[00:00:33.271]her work often focuses on
[00:00:34.978]how the natural world collides
[00:00:36.546]with artificially created environments
[00:00:38.737]but first, I asked her about
[00:00:41.018]her early life and art study.
[00:00:42.930][Guest] I grew up in
[00:00:45.201]Prairie Village, Kansas.
[00:00:46.777]which is a suburb of Kansas City,
[00:00:48.991]and art was not a major
[00:00:52.508]factor in my life
[00:00:55.044]my parents are not artists
[00:00:56.788]and we occasionally would
[00:01:00.853]go to the Nelson Atkins Museum of Art
[00:01:03.435]but only if there was a
[00:01:05.200]some kind of big show that
[00:01:07.352]sort of made it into the
[00:01:08.847]you know, onto the news or
[00:01:10.344]something. So, I think
[00:01:13.803]I certainly enjoyed art classes
[00:01:16.516]as a kid, and I must have
[00:01:19.711]had some kind of aptitude
[00:01:21.085]or obvious interest in that
[00:01:22.757]and so by the time I was in high school
[00:01:25.399]I was taking Saturday classes at
[00:01:28.059]Kansas City Art Institute
[00:01:29.410]but I do remember that my mom
[00:01:31.521]always had cameras around because she was
[00:01:33.611]she documented our lives
[00:01:35.846]very completely
[00:01:37.309]so there was obviously the
[00:01:39.163]first day of school pictures every
[00:01:40.656]year, but also every birthday,
[00:01:42.376]every holiday, every, I mean there
[00:01:44.797]she chronicled us through photography
[00:01:47.402]in a way that I actually
[00:01:49.263]became totally annoyed with
[00:01:51.037]as a child, but now it results in
[00:01:53.828]I don't know, an entire bookshelf
[00:01:56.439]full of albums.
[00:01:57.891][Host] But at some point, then,
[00:02:00.297]you must have picked up
[00:02:01.189]one of those cameras and
[00:02:02.017]started taking pictures yourself -
[00:02:03.921][Guest] Oh sure, I had a photography class
[00:02:04.941]in junior high. So, yeah,
[00:02:07.148]that was amazing that I went
[00:02:09.081]to a class that actually had, or a school
[00:02:11.302]that had a darkroom
[00:02:12.588]I'm sure that I found an interest
[00:02:15.698]and I still do, in this idea of
[00:02:18.653]documenting or preserving something
[00:02:24.546]you know, an event or a view
[00:02:26.819]even though that's no kind of
[00:02:28.914]objective idea, it's subjective,
[00:02:33.415]but that kind of documenting or
[00:02:35.536]preserving, I also was really interested
[00:02:37.887]in composing, so framing a picture
[00:02:41.529]and, deciding what to include
[00:02:44.532]and what not to include
[00:02:46.882]I always responded to light,
[00:02:48.335]so all these things are very
[00:02:49.372]typical of photography.
[00:02:51.283][Host] I asked Dana how she ended up at Nebraska.
[00:02:55.186]and she described how she
[00:02:57.069]looked at many job opportunities
[00:02:58.581]as she was graduating from school.
[00:03:00.886][Guest] The most interesting job description
[00:03:03.753]was the one at Nebraska.
[00:03:05.839]And it was for a program
[00:03:07.139]called Visual Literacy.
[00:03:08.563]And it wasn't like any of the other
[00:03:10.650]job descriptions and so
[00:03:12.948]I felt like it was a good match for me
[00:03:16.402]it was also the most interesting
[00:03:18.107]one out there
[00:03:19.837]I certainly applied for
[00:03:21.195]plenty and it happened to be the one
[00:03:23.288]that I was offered, so
[00:03:24.939][Host] So you, you started out teaching
[00:03:28.137]foundations here, you've obviously
[00:03:30.653]moved into a more depth in
[00:03:35.445]photography teaching here
[00:03:36.944]and away from teaching foundations,
[00:03:38.445]what's been one of your
[00:03:40.346]favorite things to teach
[00:03:41.529]while you've been here at Nebraska?
[00:03:43.462][Guest] Well, teaching in Visual Literacy was
[00:03:45.878]probably equally fun and hard work.
[00:03:50.777]And for many years, I taught
[00:03:53.798]perceptual drawing, and that was
[00:03:55.382]not something I ever imagined
[00:03:58.737]I would be teaching
[00:04:00.163]and nobody would have believed that
[00:04:01.689]but somehow it ended up
[00:04:03.013]that I would be the one to
[00:04:04.137]teach the perceptual drawing unit
[00:04:05.367]or at least a lot of sections of it
[00:04:06.995]And I actually loved teaching that
[00:04:10.154]because you can see students
[00:04:11.546]learn so quickly
[00:04:12.983][Host] So what is, what is perceptual
[00:04:15.514]drawing, to those of us outside of
[00:04:17.522]the arts foundation world?
[00:04:19.674][Guest] Sure. Drawing from observation.
[00:04:21.759]So not drawing from imagination
[00:04:23.039]but from observation. So
[00:04:24.431]it's kind of more measurable
[00:04:25.774]and a little more straightforward.
[00:04:29.170]And a lot of people
[00:04:32.381]have trepidation about drawing,
[00:04:34.903]they think maybe they can't do it.
[00:04:36.434]Or they're just never going to be
[00:04:38.168]able to do it, and of course
[00:04:39.333]I had students from
[00:04:40.290]a lot of different majors in there
[00:04:42.137]with a lot of anxiety about drawing
[00:04:43.979]and I just said, look, anyone
[00:04:46.385]can learn to draw passively,
[00:04:48.207]and I've only got 8 weeks here
[00:04:50.029]with you, we had these short classes,
[00:04:51.742]and I would teach them the basics,
[00:04:56.248]and our classes were so intense
[00:04:58.601]they were three times a week,
[00:04:59.881]and you could see the students learning.
[00:05:01.993]And they could see themselves learning.
[00:05:03.868]Just that quickly.
[00:05:06.286]So that was satisfying
[00:05:08.623]Tons of work, really satisfying
[00:05:10.147]as teaching, but I have to say,
[00:05:12.267]taking over the photography area
[00:05:15.303]has been even more satisfying
[00:05:17.439]and rewarding, because it's actually
[00:05:19.207]what I practice.
[00:05:20.661][Host] Are there particular
[00:05:22.123]skills or concepts that
[00:05:24.041]you hope that your students
[00:05:25.102]will gain from working with you?
[00:05:26.670][Guest] Oh, yes, of course, so many.
[00:05:29.979]I'm really interested actually
[00:05:32.097]in the concepts a little more
[00:05:33.678]than the skills, although when I
[00:05:35.413]teach the darkroom class,
[00:05:36.538]students would not believe that
[00:05:37.627]because it is a skill-based class.
[00:05:39.245]And there's a lot of technical stuff
[00:05:42.348]that they need to learn in order
[00:05:43.880]to do things that are safe
[00:05:45.678]and will last. But
[00:05:49.507]I'm really interested in ideas.
[00:05:51.234]I'm absolutely in this for the ideas
[00:05:53.320]and I think the images enable us
[00:05:56.706]to think about the ideas
[00:05:58.020]and talk about the ideas, so
[00:05:59.713]I mean just ideas as artists
[00:06:00.844]I want to teach students to be curious,
[00:06:03.638]I hope they're already curious,
[00:06:04.813]but I hope I cultivate that
[00:06:06.546]and to do research and
[00:06:09.313]to think critically
[00:06:10.559]Those are all extremely important things.
[00:06:13.201][Host] So do you find that the
[00:06:16.014]concepts come out of the photographs
[00:06:20.833]that people take, or do people
[00:06:22.685]take photographs to get
[00:06:24.425]towards a particular concept
[00:06:26.277]Is there a –
[00:06:27.105][Guest] I think it can be both, certainly.
[00:06:28.752]I mean, some people have an idea
[00:06:30.326]I want to pursue this.
[00:06:31.735]Or like in my case
[00:06:33.081]I have questions about all kinds of things
[00:06:37.197]in the world, and those lead me
[00:06:40.280]to investigate those ideas
[00:06:43.588]through photography.
[00:06:44.852]That's how I work.
[00:06:46.084]And some of my students
[00:06:47.177]work that way
[00:06:47.982]and some of them don't
[00:06:48.754]and some of them work more
[00:06:49.578]intuitively. So they make
[00:06:52.707]work intuitively, and then
[00:06:55.437]they look at it and see
[00:06:57.227]what questions come up, and
[00:06:58.622]that takes them somewhere.
[00:07:00.140][Host] Well, you said you have
[00:07:03.091]questions you like to ask, so
[00:07:05.728]that's a great segue in to
[00:07:07.299]talking a little bit about
[00:07:08.269]your work, and I know that
[00:07:09.251]in some of your statements
[00:07:10.469]you've talked about
[00:07:11.227]sort of tension between natural
[00:07:13.731]and artificial and the tension
[00:07:15.112]between real and ideal, which
[00:07:16.807]seems to come up in a lot
[00:07:18.637]of your projects, so what
[00:07:20.715]are some of those
[00:07:21.961]questions that you're seeking
[00:07:23.689]answers to through your art?
[00:07:25.081][Guest] Yeah, I'm very interested
[00:07:26.802]in these questions of natural
[00:07:29.930]and artificial and real and ideal
[00:07:32.197]and not just the question, like,
[00:07:34.620]"What is real?" or "What is ideal?"
[00:07:36.425]but more like "How did we
[00:07:39.362]come up with
[00:07:42.364]our ideal?", like where
[00:07:45.834]did that come from?
[00:07:46.806]How did we shape the ideal?
[00:07:48.771]And then how do we know
[00:07:50.863]what's real, also, a little bit.
[00:07:53.459]But mainly kind of like,
[00:07:55.832]they're very cultural questions.
[00:07:57.592]Like, how do we, what is nature?
[00:08:01.632]How do we know it when
[00:08:03.289]we see it?
[00:08:04.262]How should we behave
[00:08:07.421]in relation to the natural world?
[00:08:11.033]How should we understand
[00:08:13.648]our own behavior, possibly
[00:08:16.255]change it, but more importantly
[00:08:18.379]how should we, how can we
[00:08:20.465]understand it better? Like where
[00:08:22.266]did all these ideas come from?
[00:08:23.547]Where did these laws come from?
[00:08:25.601]Where did these ideals come from,
[00:08:28.358]these concepts?
[00:08:29.865][Host] So you said "Where did these
[00:08:31.372]laws come from?"
[00:08:32.954]I'll just use that as maybe an
[00:08:35.108]Can you give an example of
[00:08:37.164]a law that you've explored
[00:08:39.527]in some of your artwork?
[00:08:41.622][Guest] Um, well, sort of, like
[00:08:44.302]I'm thinking about environmental law.
[00:08:46.062]And I'm thinking about things like
[00:08:47.609]the Wilderness Act or the
[00:08:50.149]Endangered Species Act.
[00:08:51.622]Or like, where did the idea of
[00:08:53.350]wilderness come from?
[00:08:54.822]It's actually extremely complex
[00:08:57.070]and it has to do with like
[00:08:58.468]American history and even before
[00:09:03.116]that, and so this, even the word
[00:09:06.441]"wilderness", you know, that's a word
[00:09:07.854]that we really dissect in
[00:09:09.926]my environment landscape photography
[00:09:11.456]seminar.
[00:09:13.227][Host] Dana's photography has been
[00:09:15.923]heavily influenced by her
[00:09:17.255]many visits to Japan,
[00:09:18.766]where she has often led students on
[00:09:20.715]study trips. I asked her
[00:09:22.565]how this came about.
[00:09:24.438]So when did you first visit Japan?
[00:09:27.882][Guest] Twenty years ago.
[00:09:30.463]As a Rotary Foundation group study
[00:09:34.401]exchange member. So, I applied
[00:09:38.607]and was accepted to be there
[00:09:41.089]in the spring for about
[00:09:45.427]a month, maybe five weeks,
[00:09:47.398]and I was a basically a
[00:09:52.080]cultural ambassador from Nebraska
[00:09:53.504]and we went around to different
[00:09:55.176]Rotary Clubs and did our little show
[00:09:58.755]where we carried a slide projector
[00:10:01.819]and actually did slides of Nebraska
[00:10:05.032]and I talked about the University,
[00:10:06.939]that was my job. And I did it in
[00:10:10.134]some pretty terrible Japanese.
[00:10:12.170][Host] Did you learn Japanese
[00:10:13.252]in order to go on this trip, then?
[00:10:14.727][Guest] Ah, that's sort of impossible,
[00:10:16.528]but I did study Japanese.
[00:10:17.962][Host] OK. [Guest] Yeah.
[00:10:18.855]Certainly, I had a tutor, but
[00:10:20.472]I had a real appetite for
[00:10:21.912]studying it and I, although
[00:10:24.264]I've never studied it formally
[00:10:26.440]I have learned a lot of Japanese
[00:10:28.831]words and expressions and
[00:10:31.007]other things that make travel there
[00:10:33.539]extremely interesting and I think
[00:10:37.210]better, because I can communicate some.
[00:10:39.293][Host] And you've been back
[00:10:40.186]several times since, including
[00:10:41.834]leading some student study abroad
[00:10:44.448]trips there as well, so
[00:10:46.580]how do you think that your
[00:10:49.968]interaction with that culture
[00:10:51.491]has changed your, or
[00:10:53.409]influenced the photography that you've done?
[00:10:56.390][Guest] How has it influenced my photography?
[00:10:58.374]I think, um, quite a lot especially
[00:11:01.738]for one series that I did called
[00:11:04.459]Views Removed, where I was
[00:11:06.280]really interested again in this
[00:11:08.075]creating these imagined landscapes
[00:11:11.679]these ideal space that were
[00:11:14.173]definitely inspired from Chinese
[00:11:16.928]and Japanese ink paintings
[00:11:18.686]and other Japanese art.
[00:11:20.550]But I think it's also
[00:11:24.995]spending time in Japan
[00:11:26.842]and studying Japenese
[00:11:27.948]culture and language to the
[00:11:29.856]extent that I have as sort
[00:11:31.570]of like, part of my work, but not
[00:11:33.845]my main work, you know, like
[00:11:35.328]I'm not a, I don't have
[00:11:37.328]language fluency, I can barely
[00:11:38.999]read, I mean I basically can't
[00:11:41.715]read Japanese.
[00:11:43.044]But it has really changed the
[00:11:47.032]like I said, my life, to give me
[00:11:49.945]some perspective that I don't think
[00:11:54.308]I could have had, had I
[00:11:56.144]never been there.
[00:11:57.953][Host] So I find the Views Removed,
[00:12:00.783]that you've said was based
[00:12:02.696]on Japanese ink painting,
[00:12:03.986]I find that particularly interesting.
[00:12:06.168][Guest] Yeah, so I guess I can explain
[00:12:08.709]that Views Removed is a series of
[00:12:10.544]gelatin silver prints, so I started
[00:12:12.995]with film and I made these in the
[00:12:15.547]darkroom, and each one of them
[00:12:18.361]each final photograph is actually
[00:12:23.255]a combination of more than one
[00:12:25.289]negative and it, the resulting print
[00:12:29.231]is something that has never
[00:12:31.028]been seen, could not be seen,
[00:12:33.419]it's an impossible view.
[00:12:35.006]It's an invented view.
[00:12:36.928]And I thought that that was
[00:12:40.313]not so different from the idea of
[00:12:43.307]creating a garden from, you know,
[00:12:46.696]an empty lot, or from a field
[00:12:51.336]that's cleared and replanted.
[00:12:55.231][Host] So it seems like the
[00:12:56.999]nature in your artwork
[00:13:00.539]and the artwork itself is
[00:13:03.191]capturing things from other
[00:13:05.057]disciplines as well, you kind of
[00:13:06.898]merge with science and ecology
[00:13:08.891]and culture and you mentioned
[00:13:10.745]law and policy. Talk about that
[00:13:13.334]a little bit, like what's the importance
[00:13:15.012]of art blending with, or
[00:13:17.481]commenting on some of
[00:13:18.873]those other disciplines?
[00:13:20.240][Guest] Well, I think, most art
[00:13:22.643]is not separate from other
[00:13:24.403]disciplines anyway, you don't
[00:13:25.873]have to ask too many questions
[00:13:27.617]to realize that you're suddenly
[00:13:29.071]in another discipline, right?
[00:13:30.712]So while artists are working
[00:13:33.887]I would say, you know,
[00:13:35.551]squarely within their discipline
[00:13:36.818]of art, most of us probably
[00:13:39.711]read or research or listen to
[00:13:43.330]or do something that influences
[00:13:46.576]our work that's not considered art.
[00:13:49.335]So, yeah, I'm really interested in
[00:13:53.738]environmental history, actually,
[00:13:55.480]so those are kind of two things
[00:13:56.629]two disciplines coming together to
[00:13:58.195]a new discipline, environmental history.
[00:14:00.309]And again, it just, it helps me
[00:14:07.183]answer and then formulate new
[00:14:09.703]questions about like, why is it
[00:14:11.735]like this? How did it get this way?
[00:14:14.511][Host] And what do you hope
[00:14:17.035]that viewers of your artwork
[00:14:19.185]will take away from that?
[00:14:21.023]Are they, should they be asking
[00:14:22.625]those same questions, or trying
[00:14:25.923]to change things? What do you
[00:14:27.837]want people to get from it?
[00:14:29.551][Guest] Well that's a good question
[00:14:30.639]I think, I don't mean for my art to be
[00:14:35.017]necessarily instructive. I hope it
[00:14:39.327]I hope it generates questions
[00:14:43.093]and then people do something
[00:14:45.735]with those questions, but I
[00:14:47.289]don't have a particular goal
[00:14:49.579]in mind, um. Yeah, so for example
[00:14:52.817]in the current project, I mean the
[00:14:55.184]Nebraska National Forest at Halsey
[00:14:57.318]was planted by hand, so that's
[00:14:59.658]kind of amazing all by itself,
[00:15:01.231]to think about in the early 20th
[00:15:03.543]century, like what kind of technology
[00:15:05.278]did they have to do that, well it
[00:15:06.667]was pretty basic. It was a lot of work,
[00:15:09.097]like, make no mistake.
[00:15:10.394]But even, I mean, I go back
[00:15:12.230]farther than that, to ask like
[00:15:13.871]why would you plant a forest
[00:15:18.446]by hand out there in the Sandhills?
[00:15:21.274]And so those things are really
[00:15:22.883]interesting to me, and I think that
[00:15:24.375]they can help us understand where
[00:15:27.340]we are now, um, I mean, just
[00:15:30.596]as an interesting aside to that, you know
[00:15:33.838]all those trees were planted because
[00:15:35.784]they wanted to change the climate.
[00:15:37.689]They were not thinking about
[00:15:39.028]carbon sequestration, they were
[00:15:40.651]thinking about, it's too dry here
[00:15:43.072]and too windy, so they wanted to
[00:15:44.745]locally change the climate, and
[00:15:48.258]now we think about tree planting
[00:15:49.771]as a major way to do
[00:15:54.221]carbon sequestration, which
[00:15:55.650]will mitigate climate change,
[00:15:57.154]and so I'm thinking about, like the
[00:15:58.983]history of that place. It sort of has
[00:16:02.129]like encompasses a lot of different
[00:16:05.330]thinking about climate change
[00:16:07.871]and about what is an ideal landscape?
[00:16:11.532]Like, why why is a landscape without
[00:16:15.113]trees considered unproductive
[00:16:16.749]or disorderly? Those things
[00:16:19.418]really interest me and I hope
[00:16:20.742]that we can bring those questions
[00:16:23.027]to the 21st century and ask ourselves
[00:16:25.190]again, like, why is a
[00:16:27.090]like, what is the inherent value
[00:16:31.522]of any kind of ecosystem?
[00:16:35.238][Host] The photos that I've seen
[00:16:39.384]from that that you've put on
[00:16:40.980]your website, um, even if you
[00:16:42.848]didn't know anything about where
[00:16:45.310]they were taken and why they
[00:16:46.546]were taken, they're very, um,
[00:16:48.827]to me, they come across as
[00:16:51.190]very sensuous, some of these
[00:16:52.575]landscapes and the rolling hills
[00:16:54.143]and some of the water, and
[00:16:55.107]just that kind of aesthetic
[00:16:57.070]reaction is really wonderful, too,
[00:16:59.506]is, um –
[00:17:00.641][Guest] Yeah, well, I think as an artist
[00:17:02.021]I want to make things that I feel are
[00:17:03.960]good compositions and respond to light
[00:17:06.855]and all of that is sort of like a
[00:17:08.980]minimum standard, but then I want to
[00:17:11.446]use those tools, those visual tools,
[00:17:13.641]that visual language, to get to
[00:17:16.034]an idea. And so I was really interested
[00:17:19.090]out there in the different scales of
[00:17:24.230]the waves, so if you look at the bottom
[00:17:26.801]the riverbed of the Dismal River
[00:17:29.141]there are these waves, like that's
[00:17:31.833]basically all sand out there
[00:17:33.666]and the water creates these
[00:17:37.134]really beautiful wave patterns
[00:17:38.262]but if you go and stand on top of
[00:17:40.562]the fire tower and you look out
[00:17:42.788]at the Sandhills beyond the forest
[00:17:46.682]you see that they have the same
[00:17:48.619]wave pattern. They're just bigger.
[00:17:51.104]They're also sand being moved
[00:17:52.857]this time not by water but by
[00:17:54.446]wind, and that was fascinating
[00:17:57.929]to me, I mean, visually it
[00:17:59.332]had a big impact but it's also
[00:18:00.882]interesting as an idea, so there
[00:18:04.204]are waves out there and there
[00:18:05.813]are waves in my pictures, and there
[00:18:08.456]are rows, which I think sort of
[00:18:12.121]speak to the idea of a mechanical
[00:18:14.228]kind of like planting, cultivation
[00:18:17.991]as opposed to just naturally
[00:18:20.405]occurring plants. So the waves and
[00:18:23.645]the rows are really important visual
[00:18:25.942]language aspects of the work, I think.
[00:18:29.517][Host] And then you also in terms
[00:18:31.785]of scale, you say you have these rows
[00:18:33.851]of trees but you're also
[00:18:35.176]focusing in on details of trees
[00:18:37.797]as well in some of, some of
[00:18:39.637]the photos, right?
[00:18:40.691][Guest] Yeah, well I'm interested in
[00:18:44.343]the forces that shaped that landscape,
[00:18:45.491]so one of them is wind,
[00:18:47.926]so we see the effects of wind
[00:18:51.283]and waves and things like that
[00:18:52.863]another is the water, and so I
[00:18:56.927]wanted to show the rivers
[00:18:58.457]and also underneath it is the
[00:18:59.988]Ogallala Aquifer, and all those
[00:19:01.922]rivers are spring beds, so it's this
[00:19:04.814]what seems like a, an unlimited
[00:19:07.446]source of water, we know now it's
[00:19:08.873]limited and it's diminishing, but it
[00:19:10.644]is a large source of fresh water
[00:19:12.832]that made the forest even
[00:19:14.465]possible there. So that place
[00:19:16.364]is also full of windmills.
[00:19:18.239]But, um, yeah, and then there are some
[00:19:21.793]other forces that shaped the forest
[00:19:24.505]including fire, which was suppressed
[00:19:26.750]for decades but is a normal part of
[00:19:29.203]that shaping that landscape
[00:19:30.504]so there's a lot of areas where you can
[00:19:32.806]see burn, and some of those burns were
[00:19:35.901]prescribed burns, and others were wild
[00:19:38.839]fires, so yeah, there's details, and
[00:19:42.841]then there's vistas, there's a lot of
[00:19:44.547]different points of view.
[00:19:46.991][Host] If you would like to see photos
[00:19:50.556]from Dana Fritz's latest project
[00:19:52.585]centered around the hand-planted
[00:19:54.193]forest in Halsey, Nebraska, along with
[00:19:56.574]other projects she discussed in this
[00:19:59.375]episode, visit her website at
[00:20:01.016]danafritz.com.
[00:20:04.098]You've been listening to
[00:20:05.454]ArtsCast Nebraska, a podcast production
[00:20:08.401]of the Hixson-Lied College of
[00:20:10.222]Fine and Performing Arts at the
[00:20:11.727]University of Nebraska-Lincoln.
[00:20:13.618]This episode was recorded and edited
[00:20:16.030]by me, Chris Marks, with technical
[00:20:18.201]assistance from Jeff O'Brien at the
[00:20:20.024]Johnny Carson Center for
[00:20:21.459]Emerging Media Arts.
[00:20:23.405]Special thanks to Kathe Andersen
[00:20:25.177]and Ella Durham. For more
[00:20:27.279]information about the college ,
[00:20:28.795]please visit arts.unl.edu.
[00:20:32.564]Thank you for listening, and
[00:20:33.623]remember to support the arts.

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Dana Fritz | Episode 4

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