Katie Anania | Episode 6

Hixson-Lied College of Fine and Performing Arts Author

07/20/2021 Added

4 Plays

Description

Katie Anania is an Assistant Professor of art history. She specializes in modern and contemporary art of the Americas, with a focus on environmental art history, feminism, and queer theory. She discusses her current book project, "Out of Paper: Drawing, Environment, and the Body in 1960s America" and how art history integrates with scientific research.

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[00:00:01.296]Welcome to ArtsCast Nebraska,
[00:00:03.634]a podcast about the creative activities
[00:00:05.834]and research of the faculty and alumni
[00:00:08.060]of the Hixson-Lied College
[00:00:09.341]of Fine and Performing Arts
[00:00:10.713]at the University of Nebraska-Lincoln.
[00:00:12.843]I'm Chris Marks, Associate Dean
[00:00:15.306]of the college,
[00:00:16.274]and it's my privilege to
[00:00:17.589]share with you these conversations
[00:00:18.854]about the fascinating work
[00:00:20.263]that our faculty and alumni do
[00:00:21.921]in the fine and performing arts.
[00:00:23.795]In this episode, I speak with Katie Anania,
[00:00:28.673]an Assistant Professor in art history.
[00:00:31.309]She discusses her research on drawing
[00:00:34.101]as an art medium as well as how
[00:00:36.265]the arts and art history in particular
[00:00:38.710]can be an integral part
[00:00:40.482]of scientific research.
[00:00:42.446]She describes her research as
[00:00:44.406]"environmental art history".
[00:00:47.182]I wanted to know how this differs
[00:00:49.076]from more traditional art history
[00:00:50.898]so I began by asking her
[00:00:52.633]for more information.
[00:00:54.087][Guest] Environmental art history, um,
[00:00:58.215]kind of looks at the object as
[00:01:00.412]having come from a lot of different places,
[00:01:03.082]as related to lots of different
[00:01:06.494]kinds of supply chains, you know,
[00:01:08.266]for instance, um, it, you would look at
[00:01:11.528]a sculpture as, that's made of wood
[00:01:15.164]as something that's sourced from
[00:01:16.782]certain kinds of wood.
[00:01:18.618]And this has of course become
[00:01:20.818]a popular subject to think about
[00:01:22.757]in this age where, um, there's
[00:01:24.986]a lot of anxiety and apprehension
[00:01:26.747]about the environment at large,
[00:01:29.748]as a broader concept.
[00:01:31.178]But my work actually investigates
[00:01:33.615]um, this moment in the 20th century
[00:01:36.444]where the environment became codified
[00:01:39.192]as something that we should preserve,
[00:01:42.059]something that was in trouble.
[00:01:43.853]So, in terms of its historical scope, um,
[00:01:47.281]that's where I sort of begin
[00:01:48.640]is in the moment after World War II
[00:01:50.737]where you have two things happening:
[00:01:52.404]this enormous surging consumer society
[00:01:55.527]and artists making all kinds of gestures
[00:01:58.657]to try and undermine those mandates
[00:02:02.335]to consume, by using materials
[00:02:04.456]that could be thrown away,
[00:02:05.988]by making artworks that could be
[00:02:08.458]set up and then very quickly
[00:02:09.894]taken down again, sometimes
[00:02:11.664]even thrown away afterwards
[00:02:13.423]with no trace remaining.
[00:02:15.286]Or even works that, um, exist
[00:02:17.257]just as documentation.
[00:02:19.380]And so, I'm very interested in
[00:02:23.039]the way that an artwork kind of
[00:02:26.818]stands as a representation
[00:02:31.320]of all of these different
[00:02:32.999]kinds of materials coming together,
[00:02:35.036]and also the way that we
[00:02:37.198]eventually become conscious of that
[00:02:40.149]in our knowledge systems
[00:02:41.963]and thinking systems.
[00:02:43.437][Host] Katie's current book project, entitled
[00:02:48.054]Out of Paper: Drawing, Environment
[00:02:50.714]and the Body in 1960s America,
[00:02:53.268]grows from this interest in the environment
[00:02:56.095]and the process of making art.
[00:02:58.054]I asked her to tell me more
[00:02:59.461]about this project.
[00:03:01.027][Guest] My current book is about
[00:03:03.611]this new surge of interests
[00:03:05.756]that artists took in the 60s
[00:03:07.321]in drawing and works on paper.
[00:03:09.915]And so in that book,
[00:03:11.900]I do a lot of more nuanced research
[00:03:14.965]about, um, why paper became
[00:03:18.617]so interesting at this moment when
[00:03:20.636]you have the burgeoning
[00:03:21.826]environmentalist movement
[00:03:23.361]It started just as a really simple
[00:03:26.118]curiosity that I had about
[00:03:29.230]art of the 60s, which is that
[00:03:30.751]a lot of it, um, especially in the
[00:03:33.168]later 60s made drawings central
[00:03:36.857]to its display strategies –
[00:03:39.413]artists basically began in this period
[00:03:41.637]um, exhibiting drawings as
[00:03:43.987]finished works instead of as
[00:03:46.376]a sort of piece of an ongoing work
[00:03:48.895]that is then fully finished
[00:03:50.614]and exhibited in a museum or gallery.
[00:03:52.940]So, I really wanted to know why
[00:03:55.722]and you know, it turns out that
[00:03:58.554]the appeal, especially in the 1960s
[00:04:01.694]which is such a turbulent decade
[00:04:03.630]you know, drawing was interesting
[00:04:05.256]because paper was so close to
[00:04:09.325]everything, was part of all of the
[00:04:11.181]cycles of life that they saw in the city.
[00:04:13.475]So, you would walk outside and see
[00:04:15.540]piles of trash in your neighborhood.
[00:04:18.143]You might make work next to a, um,
[00:04:21.009]a pulp factory that you know,
[00:04:23.910]shredded rags and plant pulp
[00:04:26.157]into and made it into the first
[00:04:28.185]formulations of paper.
[00:04:30.106]So, um, a lot of the, this
[00:04:32.593]new interest was about
[00:04:34.602]investigating all of the different
[00:04:37.271]supply chains and material streams
[00:04:39.686]instead of just looking at something
[00:04:42.217]as a product, coming to you
[00:04:44.073]ready made.
[00:04:46.729][Host] One of Katie's recent articles, called
[00:04:49.680]"Walk With Me", is about the artist
[00:04:51.992]William Anastasi.
[00:04:53.951]As a musician, I was fasinated with
[00:04:56.287]the fact that Anastasi was good friends
[00:04:58.317]with John Cage, who was a very
[00:05:00.368]influental avant garde composer.
[00:05:02.871]I asked her about Anastasi,
[00:05:04.883]his work, and his friendship with Cage.
[00:05:07.917][Guest] His friendship with John Cage
[00:05:10.263]developed around their habit of going to
[00:05:12.759]um, see each other every day
[00:05:14.450]to play chess.
[00:05:15.771]And so, in the afternoons, um
[00:05:18.008]Anastasi would take the train
[00:05:20.073]uptown to 176th St., um, in
[00:05:23.044]to Cage's apartment, to have chess,
[00:05:27.009]to have a game of chess
[00:05:29.329]and so he also began
[00:05:31.968]taking paper with him, um,
[00:05:34.279]and Anastasi on the train would
[00:05:36.143]balance a sheet of paper
[00:05:37.607]on a drawing board on his lap
[00:05:39.309]close his eyes - he'd
[00:05:41.203]eventually do this assisted with
[00:05:42.836]firing-range headphones, so
[00:05:44.362]he couldn't even hear, and
[00:05:46.276]hold a pencil to a sheet of paper,
[00:05:49.477]and with as little interference
[00:05:51.703]from his own body and mind
[00:05:53.106]as possible, would allow
[00:05:54.208]the movements of the train
[00:05:55.545]to make the drawing.
[00:05:57.036]And so, yeah, there are a lot
[00:05:58.909]of investigations about the
[00:06:00.483]limits of, especially, what
[00:06:04.469]constituted actually the artist,
[00:06:06.996]and what kinds of things the
[00:06:08.794]artist should be doing to make
[00:06:10.725]this thing that we call art.
[00:06:12.593]And so, the um removal of
[00:06:15.039]all these decisions and the
[00:06:17.632]giving over of the decisions
[00:06:19.349]to the train and the contours
[00:06:21.347]of one's body responding
[00:06:22.668]to the environment, um,
[00:06:24.765]really was very Cage-ian.
[00:06:27.314][Host] Yes, it's just like Cage,
[00:06:28.972]the environment becomes the music
[00:06:30.779]and the artist is more of a, uh, conduit
[00:06:34.511]for that in a way. Interesting.
[00:06:36.471]So the train is the artist
[00:06:37.682]in this case.
[00:06:38.924][Guest] It's definitely a collaborator
[00:06:41.009]and Anastasi used that word quite a lot
[00:06:43.599]um, this, I wrote that essay for um,
[00:06:46.966]a collection of articles on
[00:06:49.189]amateurism, so you know, the whole
[00:06:51.947]article is about, um,
[00:06:54.160]this kind of moment in the
[00:06:56.158]United States where,
[00:06:57.650]anyone could and should
[00:06:59.932]have the freedom to become
[00:07:01.424]an artist and to make something,
[00:07:03.063]and any space that you
[00:07:05.906]were lucky enough to turn toward
[00:07:07.937]and notice could provide
[00:07:10.025]all of the things that you needed
[00:07:11.605]to make work, it was such a
[00:07:12.849]it was a really exciting kind of time.
[00:07:15.584][Host] And what became of those
[00:07:17.801]drawings? Were they exhibited,
[00:07:19.635]or did people take them
[00:07:21.435]seriously? What was the
[00:07:22.831]reception of them?
[00:07:24.700][Guest] So this is one of the things
[00:07:27.123]that my book investigates as well,
[00:07:29.395]is okay, who is, who's becoming
[00:07:32.973]interested in these drawings,
[00:07:34.339]exactly what channels are they
[00:07:36.158]circulating through, are they
[00:07:37.816]showing always in galleries,
[00:07:39.381]who's buying them? And
[00:07:41.267]it turns out that, um,
[00:07:42.841]these drawings were so
[00:07:44.821]unique and new and provisional
[00:07:47.204]and conceptual that they
[00:07:48.369]attracted a lot of initial attention
[00:07:50.061]from gallerists as, you know, these
[00:07:52.253]new gestures often do.
[00:07:55.726]And then I think, seeing
[00:07:57.266]something that's made on paper,
[00:07:59.158]that almost anyone can do,
[00:08:01.309]that is somehow more honest
[00:08:05.353]and true to someone's,
[00:08:07.577]a direct representation of
[00:08:08.954]someone's practice, becomes
[00:08:10.735]more appealing in this moment
[00:08:12.627]where people kind of stop
[00:08:13.882]trusting top-down authoritative statements.
[00:08:17.573]And, I should mention too, actually,
[00:08:20.902]as you know, since this book is sort of a, um,
[00:08:24.210]uses a feminist framework to look
[00:08:26.202]at drawings, that the women who
[00:08:29.447]made mounds and masses of drawings
[00:08:32.118]and plans were not treated in the
[00:08:34.485]same way as visionaries as the
[00:08:37.056]male artists with gallery
[00:08:38.557]representation were.
[00:08:40.605]Um, there were, Carolee Schneemann,
[00:08:42.493]who's in my book, was often
[00:08:44.224]criticized for her, for the denseness
[00:08:47.207]of her product, for the
[00:08:48.363]oversharing, for the mess
[00:08:50.254]that she brought to her works
[00:08:52.432]and exhibition ideas.
[00:08:53.996]So, um, there's definitely a,
[00:08:57.350]an uneven reception of
[00:09:00.237]work by men, there's this myth
[00:09:02.354]that when men produce a lot of
[00:09:04.735]ideas, it's in evidence of density
[00:09:07.216]of thought, versus when women
[00:09:09.980]do it, it's oversharing.
[00:09:11.799]And it's not subtle at all,
[00:09:13.891]and you can, you can see it in
[00:09:15.322]the criticisms and, um, artists
[00:09:17.123]recall this with great clarity
[00:09:19.431]in the interviews I've done with them.
[00:09:21.785]Um, you know, Schneemann always
[00:09:23.619]said, no one was ever interested
[00:09:25.600]in my drawings, I just kept them
[00:09:27.160]at home, I kept them in drawers,
[00:09:28.943]I have, she had an enormous archive
[00:09:31.869]at the end of her career that was
[00:09:33.394]eventually sent to the Getty
[00:09:35.036]Research Center in Los Angeles,
[00:09:36.981]and it's mostly because they
[00:09:38.958]didn't have the same kind of
[00:09:40.311]institutional circulation that an
[00:09:43.552]artist like Rauschenberg would have
[00:09:46.287]gotten, I mean if you walk over
[00:09:48.022]to the Sheldon Museum of Art,
[00:09:49.682]we have beautiful prints
[00:09:51.806]and works on paper by
[00:09:53.362]Robert Rauschenberg, who was a
[00:09:55.335]1960s artist in the same milieu.
[00:09:57.599]So, it's, I think it simply has to do
[00:10:00.932]with, that we have a different
[00:10:04.179]history of thinking about
[00:10:06.845]thoughts and ideas and
[00:10:10.332]their density between one
[00:10:14.314]gender and another.
[00:10:15.727][Host] Well, one of your other
[00:10:17.125]recent articles, "Quick Studies",
[00:10:19.167]uh, talks about a drawing manual,
[00:10:22.589]if I'm not mistaken,
[00:10:23.643]so talk to me a little bit about that
[00:10:25.586]and what you see in that.
[00:10:27.903][Guest] So, this was a delightful project,
[00:10:30.655]and this was a situation where
[00:10:32.473]as a historian you often find that you
[00:10:35.027]go to your research centers,
[00:10:38.344]museums, archives, looking for a
[00:10:40.434]certain thing, and then you're
[00:10:41.597]completely surprised because
[00:10:42.922]something else pops up.
[00:10:44.275]So I went to the Archives of American Art
[00:10:47.538]at the Smithsonian, um, in Washington, DC.
[00:10:50.131]The drawing manual that I went
[00:10:52.022]to investigate was called
[00:10:53.427]"The Natural Way to Draw"
[00:10:55.000]by Kimon Nicolaïdes
[00:10:56.808]and it was written by
[00:10:59.270]a professor at the Art Students League
[00:11:01.579]in New York City, um,
[00:11:03.191]and it was based on his
[00:11:04.421]experiences in the classroom,
[00:11:06.014]and, uh, the focus of the book
[00:11:08.525]was that artists should,
[00:11:10.344]instead of, um, concentrating on
[00:11:12.614]their vision so much,
[00:11:15.605]uh, that they should try to feel
[00:11:18.253]the thing in front of them
[00:11:19.966]as they drew it,
[00:11:21.152]and he had all kinds of
[00:11:22.498]inventive exercises that he designed.
[00:11:24.710]He, uh, asked artists to draw
[00:11:26.664]facing away from the figure model
[00:11:29.359]while they were in class,
[00:11:30.699]and just listen to it.
[00:11:32.305]He was the person who
[00:11:33.518]pioneered the, um, 30-second
[00:11:36.386]exercise drawing, these gesture
[00:11:38.229]drawings as they're called
[00:11:39.555]where you just like look at
[00:11:41.420]uh, a person moving
[00:11:43.220]and you try to mimic
[00:11:44.040]their gestures very quickly.
[00:11:44.669]So of course this was a very
[00:11:46.716]modern, intuitive, um, and very
[00:11:50.938]and messy, and mistake-laden,
[00:11:53.488]um, method, and so I was
[00:11:56.344]this was really interesting –
[00:11:59.695]all of my 1960s artists
[00:12:01.949]had cited this book
[00:12:03.678]so I was really, ah, interested.
[00:12:06.147]And then, um, I went into
[00:12:07.880]the archives, and the archive
[00:12:11.770]had come from the editor
[00:12:14.323]of this book, she had saved
[00:12:16.695]all of this, um, all of this professor's
[00:12:19.298]materials, because he had
[00:12:22.181]died pretty young and she
[00:12:24.078]had helped him edit this
[00:12:25.536]book towards the end
[00:12:26.896]of his life and she had gotten
[00:12:28.292]it posthumously published.
[00:12:30.103]And this student of his was
[00:12:32.537]dedicated, she took all of
[00:12:33.895]his classes, and she was also
[00:12:35.161]a lesbian. Um, and this
[00:12:37.165]was in 1930s New York City
[00:12:39.334]and so, I, this became
[00:12:41.499]really interesting because I
[00:12:42.772]noticed that in her letters
[00:12:44.796]she and her partner
[00:12:46.356]vacationed with this teacher, uh,
[00:12:49.695]in New Hampshire, they did, ah,
[00:12:51.152]he designed drawing exercises
[00:12:52.765]for them, um, the partner appears
[00:12:55.542]in these drawings and they're
[00:12:57.356]photographed together – so
[00:12:59.195]this became a project about
[00:13:02.399]queering archival research
[00:13:05.873]and the ways that sometimes
[00:13:09.496]queer histories are exactly
[00:13:12.089]like this, they're only found
[00:13:13.892]when you start searching through
[00:13:15.610]all of these things, they're
[00:13:17.151]rarely mentioned explicitly,
[00:13:19.008]because of course this was
[00:13:20.399]prior to the Stonewall riots,
[00:13:22.854]which really consolidated
[00:13:24.432]queer identity in the United States
[00:13:26.674]quite a bit, and so, um,
[00:13:28.924]it turns out that you know,
[00:13:31.712]some of these drawing exercises
[00:13:33.648]are the thing that allowed this
[00:13:36.300]student, Mamie Harmon was her name,
[00:13:39.326]to I mean, essentially, fold
[00:13:42.390]her partner into her life
[00:13:44.651]by just drawing all these
[00:13:45.925]casual pictures of her
[00:13:47.480]So I mean, I've been interested in
[00:13:50.139]lesbian drawing for a long time,
[00:13:52.142]um, there are lots of histories of
[00:13:54.501]ah, people's partners modeling
[00:13:57.524]for them, and then it you know
[00:13:59.643]so then the resulting drawings,
[00:14:01.822]we have to read them in a little
[00:14:03.156]bit of a different way, so
[00:14:04.922]um, this was a project about
[00:14:08.033]surprises, really.
[00:14:10.959][Host] Yeah! You've just, uh, become
[00:14:13.743]part of a grant from the
[00:14:16.531]National Science Foundation
[00:14:18.719]on ecological stoichiometry.
[00:14:21.435]So tell me, what on earth
[00:14:24.210]is an art historian doing
[00:14:26.066]as part of a, an NSF-funded
[00:14:29.383]ecological grant.
[00:14:31.181][Guest] In investigating all of these
[00:14:33.691]material media histories,
[00:14:36.361]um, especially in the 60s and 70s
[00:14:38.910]where artists often, um, are very
[00:14:42.921]critical of the way that
[00:14:44.844]certain kinds of information
[00:14:46.742]is articulated, and disseminated, uh,
[00:14:50.229]I've become very interested in
[00:14:52.230]the ideas, in the idea in general
[00:14:55.182]of visualizing crises, how artists
[00:14:58.670]do it, and then how the
[00:15:02.350]documents that we imagine as
[00:15:04.003]scientific also do it, through
[00:15:06.025]graphs, charts, and so on.
[00:15:08.403]It turns out that these were
[00:15:10.015]the very tools that artists
[00:15:11.782]in the 60s and 70s really liked to use
[00:15:14.339]to kind of push back
[00:15:16.624]against the myth that
[00:15:19.103]um, communicating an idea
[00:15:22.355]only happens one way.
[00:15:24.142]I am just extremely interested
[00:15:26.062]in critical approaches to
[00:15:27.759]information, and how it looks,
[00:15:29.973]and how it makes people feel,
[00:15:31.753]and how it's used in certain
[00:15:33.132]moments to make people
[00:15:34.366]feel. So, um, I, I was invited,
[00:15:38.752]um, by Jessica Corman,
[00:15:41.322]who is a water scientist
[00:15:43.159]here at UNL,
[00:15:45.138]to collaborate with her
[00:15:48.595]on a project that she knew
[00:15:50.912]was going to involve
[00:15:51.969]other scientists, who worked
[00:15:54.060]with different types of data, and
[00:15:56.415]visualized it in a totally different way.
[00:15:58.844]Um, and I, and Jessica Corman's idea
[00:16:02.577]was to organize a large database
[00:16:05.385]of facts and figures that
[00:16:08.485]documented the changes,
[00:16:10.247]the chemical changes in water
[00:16:11.979]composition over time.
[00:16:13.994]And where this gets
[00:16:15.949]really difficult is that
[00:16:17.274]if you have lots of scientists
[00:16:18.754]using lots of different types of
[00:16:20.180]data, it's hard to standardize
[00:16:21.928]in what would be a really useful
[00:16:24.026]giant database of information
[00:16:25.975]for inland lakes and streams
[00:16:28.387]all over the United States.
[00:16:30.180]So, um, I was invited to
[00:16:32.421]help mediate and moderate
[00:16:34.515]conversations between scientists
[00:16:36.734]about how they use information,
[00:16:38.591]how they visualize it, uh, and also
[00:16:40.918]organize, um, workshops
[00:16:43.777]with, between artists and scientists
[00:16:46.668]so that the artists help
[00:16:48.190]the scientists to generate ideas
[00:16:50.104]on how to merge their data.
[00:16:51.901]What excites me is that
[00:16:53.254]actually there are modern
[00:16:54.680]and contemporary artists
[00:16:55.984]who've been also using data
[00:16:58.396]creatively in different ways
[00:17:00.154]for over 100 years
[00:17:02.408]and so the history of, um
[00:17:04.829]data visualization is much longer
[00:17:07.173]than we tend to think it is,
[00:17:09.211]and artists have contributed to it
[00:17:11.982]so fruitfully.
[00:17:13.459][Host] How do you hope
[00:17:14.956]best to influence this
[00:17:16.586]and what's the outcome
[00:17:17.961]that you hope to have
[00:17:18.904]as part of your role in this?
[00:17:21.505][Guest] I think I would like
[00:17:23.508]not just to insert artists
[00:17:28.932]and art history as something
[00:17:30.735]that will help scientists get
[00:17:33.410]the job done, you know, because
[00:17:35.596]artists tend to be really
[00:17:37.460]creative at visualization
[00:17:39.213]and so, this could be a question
[00:17:41.233]of just strict problem solving
[00:17:43.119]but I'd like to complicate it, I think,
[00:17:45.038]because my own history with
[00:17:46.693]artists' use of data and materials
[00:17:51.497]is that they tend to do it
[00:17:53.058]very critically, and so I think
[00:17:55.145]there's an opportunity to open
[00:17:56.940]these windows into critical approaches
[00:17:59.313]to science, um, examining the things
[00:18:02.636]that data accidentally overemphasizes
[00:18:06.171]the gaps and holes in
[00:18:09.402]scientific research and
[00:18:11.028]how to be more frank
[00:18:13.376]and productive about those things
[00:18:15.870]I mean I think as someone who looks
[00:18:19.320]at especially queer feminist histories
[00:18:22.473]um, and the histories of people
[00:18:24.138]who are excluded from
[00:18:25.870]typical, you know, um, mainstream
[00:18:30.375]scientific discourses and
[00:18:32.583]often have their own ways of
[00:18:34.266]talking and conceptualizing
[00:18:35.502]about facts, I'd like to
[00:18:37.712]insert, you know, the idead that
[00:18:40.169]some of these things are
[00:18:41.496]a lot more complex and
[00:18:42.957]more situated, um,
[00:18:44.875]and could be, could be visualized
[00:18:47.298]in a way that is frank about that
[00:18:49.836]fact, that's honest about it.
[00:18:51.917]I think people tend to think about
[00:18:54.082]artists as gloss or decoration
[00:18:57.850]um, or you know, the kind of
[00:19:01.572]an artist or a musician might be
[00:19:03.578]the kind of thinker that makes
[00:19:05.167]something pretty for the public.
[00:19:07.109]I think that asking scientists
[00:19:10.636]to adapt to the language
[00:19:12.834]and the thinking styles of
[00:19:14.315]makers is often a really
[00:19:17.228]important way to
[00:19:18.817]kind of undermine what
[00:19:21.215]we think we know, and
[00:19:22.871]affirm, too, that, um, artists'
[00:19:27.444]ideas are constituitive, you know,
[00:19:29.677]they're not just additive, they're not
[00:19:31.727]hey, let's make a picture of
[00:19:35.035]how phosphorus runoff from
[00:19:37.635]fertilizer is becoming a real
[00:19:39.136]problem in lakes and rivers.
[00:19:40.855]That actually, the way that we
[00:19:43.048]visualize and express something,
[00:19:45.588]and use language and pictures
[00:19:47.236]to do it, is really everything.
[00:19:49.298]So um, I hope that it actually
[00:19:51.298]makes art, design, questions of like
[00:19:55.627]art and design history, too,
[00:19:57.945]really central to knowledge formation,
[00:20:01.267]especially in the sciences.
[00:20:03.372][Host] For more information about
[00:20:06.219]Katie Anania's research,
[00:20:07.949]check out our show notes for links.
[00:20:10.210]And keep your eyes open
[00:20:11.837]for how artists and makers
[00:20:13.676]everywhere can change
[00:20:15.065]scientific research and discovery.
[00:20:18.907]You've been listening to ArtsCast Nebraska,
[00:20:22.362]a podcast production of
[00:20:24.032]the Hixson-Lied College
[00:20:25.220]of Fine and Performing Arts
[00:20:26.494]at the University of Nebraska-Lincoln.
[00:20:28.875]This episode was recorded and edited
[00:20:31.079]by me, Chris Marks, with technical
[00:20:33.189]assistance from Jeff O'Brien at the
[00:20:35.264]Johnny Carson Center for
[00:20:36.462]Emerging Media Arts.
[00:20:37.884]Special thanks to Kathe Andersen
[00:20:40.220]and Ella Durham.
[00:20:41.819]For more information about the college
[00:20:43.803]please visit arts.unl.edu.
[00:20:47.223]Thank you for listening, and
[00:20:48.641]remember to support the arts.

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Katie Anania | Episode 6

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