http://www.lisarigby.art/beachcombingii daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727112503-PD45YDH6KY20W83S3EW5/Beachcombing+II+Detail.jpg Beachcombing II https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727112503-PD45YDH6KY20W83S3EW5/Beachcombing+II+Detail.jpg Beachcombing II https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727115042-1PZAC1X1KX3QNZPJUL1B/Beachcombing+II.JPG Beachcombing II http://www.lisarigby.art/email-marketingbuti daily 0.75 2015-07-21 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492152487-RTG114PHT57DY0KI2POP/Bari+Koral+E+Blast.jpg Email Marketing: Buti Yoga https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492152487-RTG114PHT57DY0KI2POP/Bari+Koral+E+Blast.jpg Email Marketing: Buti Yoga https://static1.squarespace.com/static/553ec06be4b04c9148d5dc76/55ae610ee4b0fae1c08005e6/55ae62f8e4b03f36018ebe58/1437491965541/ Email Marketing: Buti Yoga http://www.lisarigby.art/bcbsaudio daily 0.75 2015-05-13 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430354478493-9NC15ZAL7QNIP2ISV3YB/Screen+Shot+2015-04-19+at+11.48.25+AM.png Exhibition Audio Tour Scripts: BCBS Copy used for audio tour narration: About the Curators’ and Educators’ Cell Phone Tour Beyond the Compass, Beyond the Square offers a cell phone tour. This tour gives interpretive and behind-the-scenes insight into the works in the exhibit. To participate, look for the phone symbol next to the work of art, and dial the number listed. The cell-phone tour is provided free of charge. However, the charges specified in your contract with your cell-phone provider still apply. The quality of cell-phone reception in Mount Vernon Place will depend upon your carrier. Introduction to the tour, Narrated by George Ciscle Welcome to the cell phone tour for Beyond the Compass, Beyond the Square. Curators and educators from the Maryland Institute College of Art’s Exhibition Development Seminar created this guide to tell you about the concepts at play in the exhibit. This is the first time in ten years that the Exhibition Development Seminar has curated a project using student artists, and also the first time an art exhibit has been in the squares of Mount Vernon Place, setting a precedent for placing artwork at this national historic landmark. We worked closely with the Walters Art Museum in developing this exhibit, and encourage you to visit their show, Maps: Finding Our Place in the World. The exhibit at the Walters focuses on more traditional mapping in history, while Beyond the Compass explores contemporary approaches to mapping. For more information on this exhibit, listen to the rest of the cell phone tours—you’ll find the numbers listed on the labels for the works throughout Mount Vernon Place. Please grab a catalog, and explore our website, http://www.mica.edu/beyond. Enjoy the show. Daniel Allende (pronounced Al- eee- en- day), Mapping History, Narrated by Will Noel Historian Daniel Allende (pronounced ali-end-ay) also known as the artist Dan Allende (pronounced aa-yen-day), plays with the idea of persona. Around the squares of Mount Vernon Place, you may have seen some of the nine cement and faux bronze plaques that tell various histories. If you think some of the information on them is inaccurate, you’re right! Artist Dan was fascinated by the way each generation reinterprets history, resulting in constantly evolving depictions of the past. He researched the history of Mount Vernon Place, and switched personas to be historian Daniel Allende (ali-end-ay). As Daniel he recounted real, alternative, and false histories playing on people’s perceptions of what did and could have happened. History maps the past, and Dan’s reinterpretations re-map the whens and the hows for the public. As you read the information on his plaques, you can also participate in a special cell phone tour. When you do this, consider your own ability to separate fact from fiction. Rachel Faller The Knitted Bridge, Narrated by Kerr Houston Rachel was inspired by the idea of linking together communities by the history of knitting. In the construction of this rope bridge, she wanted to represent in literal form the idea of bridging communities. Rachel recognized a lack of things for children to do in the parks of Mount Vernon Place, and used the rope bridge to activate the space for children. The bridge functions as playground equipment, and issues of safety were a major consideration during the design and construction phases of this piece. She reached out to local Baltimore neighborhoods with a series of knitting workshops, where she worked alongside participants to knit the rope used in this literal bridge. Her aim was to bridge together the communities that made the bridge with Mount Vernon, the community in which the bridge is installed. At the workshops she taught others to knit, passing along a skill that she feels is too often limited along gender and class lines. Hemp rope was used in the making of the rope bridge for its strength and durability. In fact, even George Washington said, “Make the most of the Indian hemp seed.” And grew hemp himself on his Mount Vernon farm in Virginia. Emma Fowler, Right, Left, or Straight, Narrated by Will Noel Emma, an avid bike rider, often goes on bike trips without destinations. She and her friends play a game as they bike through the streets of Baltimore. With each stop-sign or stoplight one of them chooses their next direction at random: go right, left, or straight. The game allows them to discover and explore the city by getting lost on purpose. The game’s goal is not the destination but rather the experience of the journey itself. Emma’s piece, also called Right, Left, or Straight are several hand held, 3 dimensional alternative maps that participants can take with them as a keepsake. These spherical maps suggest directions of travel that do not adhere to the familiar and often confining grid of the city, encouraging us to follow an imaginary route that can be applied to any landscape. To make these 3D ceramic maps, Emma had to create over 100 every week. She used a process called slip-casting, which is a technique for the mass-production of ceramics, especially for shapes not easily made on a wheel. A liquid clay body slip is poured into plaster molds and allowed to form a layer, the cast, no the inside cavity of the mold, resulting in a delicate hollow form. Lee B. Freeman, Framing Mount Vernon Place, Narrated by Ben Luzatto Lee, inspired by public installation artist Christo, literally highlights in gold the perimeter of all four squares of Mount Vernon Place. To do this, Lee wraps then entire park in gold chain-link fence. This piece was designed to have two stages. At the beginning of March, the fence defines a boundary and is locked to keep the public out. This, he hopes, will force a space previously taken for granted, to be re-activated and transformed into a framed art space. Access is gradually given back to the public as the gates of the fences open in Mid-march. Then the fences themselves are ceremoniously taken down revealing the squares re-transformed into an outdoor art gallery, reminding us of what it has been since the 19th century. Um-Gi Lee, Exploring Mount Vernon Place, Narrated by Ledelle Moe-Marshalls Um-Gi Lee took inspiration from Japanese souvenir subway stamp cards, international passports, and the historic architecture of Mount Vernon Place. The take-away stamp collection aspect of her installation of miniatures asks the viewer to complete a map she has started. Reorienting the scale of the architecture of Mt. Vernon Place makes the monumental accessible, allowing the viewer to notice details that often go overlooked. From Seoul, Korea, Um-Gi has a unique interpretation of Western architecture, and on communicating ideas and concepts. Language and the barrier it can create has been a difficult part of her process. Um-Gi’s attention to detail invites the viewer to treat the architecture with the same degree of attention. Perhaps you never noticed the complexity of the gothic spire on the west side of Mount Vernon Methodist Church. Um-Gi makes it possible for the viewer to investigate such details through her re-appropriation of size and scale. Rebecca Nagle, New Outfits, Narrated by Kerr Houston Rebecca says she is attempting to remap the geo-political landscape of the park, but also of practice of monumentalizing historic figures itself. She held a series of community workshops where she educated groups about the histories of General Lafayette, John Eager Howard, George Peabody, Severn Teackle Wallis, and Roger B. Taney. In the workshops, Rebecca worked with community members to decorate cloaks that would then drape the statues of these men. Through this, Rebecca gives the community members a voice in Mount Vernon Place, and the power to relate to and access these previously esoteric historical figures. And it also monumentalizes their work as citizens of Baltimore. The cloaks rotate on a two-week schedule to ensure that no damage to the bronze statues is caused by condensation or abrasions from the fabric. Rebecca worked closely with prestigious conservators from two of Baltimore’s most respected museums. Rebecca Nagle, Block Party Bench Project: Mount Vernon Bench, Narrated by Regina Deluise This bench is one of five benches decorated in the Block Party Bench Project. Rebecca facilitated workshops to decorate these benches, and most of these workshops are at the The Boundary Block Party held for the communities of MICA, Bolton Hill, Upton, Sandtown and Madison Park on April 19th. The other benches will be installed permanently in public parks in West Baltimore, and are decorated with cards also made at the Block Party. The purpose of the cards is to represent interactions between the people who participated at the Block Party. MacKenzie Peck, The Park, Narrated by Ben Luzatto MacKenzie was enthralled by the way no two people ever experience anything in exactly the same way. She uses video as her medium in this piece to allow every viewer to review a singular occurrence of walking through the squares of Mount Vernon Place, and to recognize that experience as shared. Digital media is the new terrain of contemporary mapping. In comparison to the mapping techniques of the last century involving trained map makers and cartographers, the utility of technologies such as GPS and GoogleMaps makes mapping into a more publicly accessible practice. Mackenzie’s video works as a close-up detail of this contemporary trend. She brings the viewer to the intimacy of street level to reflect on their own route, mirrored as an aesthetic experience. When you go on a walk, what do you notice? Are you on autopilot? Do you find yourself tuning out your surroundings? Do you always take the same paths to the same places? Do you explore, get lost, or find your own way? Dana Solano and Michael Ries, Resonance, Narrated by Regina Deluise Dana and Mike believe people have a specific emotional and physiological relationship to the place they are in. Their piece asks participants to reflect on how they feel about Mount Vernon, where they are, and where they live. Dana and Mike use Chaldni patterns to explore sound as a medium for mapping emotional and psychological responses to place. Chladni patterns are changeable sand patterns that occur when sound causes sand on top of a speaker to change in correspondence to the frequency. Through an additional cell phone component you can participate by calling and responding to questions on an off-site computer server. This server has a program which changes the sound frequency allowing you to see the sand pattern change before your eyes, in real time. Resonance allows you to see in the physical vibrations of sound a map of emotions that are usually invisible. Jonathan Taube, Baltimore Sweep Action Parade and A Monument to Collective Effort, Narrated by Ledelle Moe-Marshalls Jonathan organized the Baltimore Sweep Action Parade to bring communities from four cardinal direction of the city of Baltimore into its central neighborhood, Mount Vernon. Baltimore Sweep Action Parade’s main event is March 29th when Baltimore communities, marching bands and other parade performers, follow a planned parade route working together to beautify the streets and sidewalks of the city. The Monument to Collective Effort in the South square of Mount Vernon Place holds the waste collected during the parade; the waste and the brooms are displayed together in this monument representing a relic of the journey and the efforts of the participants, and their realized vision. https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430354478493-9NC15ZAL7QNIP2ISV3YB/Screen+Shot+2015-04-19+at+11.48.25+AM.png Exhibition Audio Tour Scripts: BCBS Copy used for audio tour narration: About the Curators’ and Educators’ Cell Phone Tour Beyond the Compass, Beyond the Square offers a cell phone tour. This tour gives interpretive and behind-the-scenes insight into the works in the exhibit. To participate, look for the phone symbol next to the work of art, and dial the number listed. The cell-phone tour is provided free of charge. However, the charges specified in your contract with your cell-phone provider still apply. The quality of cell-phone reception in Mount Vernon Place will depend upon your carrier. Introduction to the tour, Narrated by George Ciscle Welcome to the cell phone tour for Beyond the Compass, Beyond the Square. Curators and educators from the Maryland Institute College of Art’s Exhibition Development Seminar created this guide to tell you about the concepts at play in the exhibit. This is the first time in ten years that the Exhibition Development Seminar has curated a project using student artists, and also the first time an art exhibit has been in the squares of Mount Vernon Place, setting a precedent for placing artwork at this national historic landmark. We worked closely with the Walters Art Museum in developing this exhibit, and encourage you to visit their show, Maps: Finding Our Place in the World. The exhibit at the Walters focuses on more traditional mapping in history, while Beyond the Compass explores contemporary approaches to mapping. For more information on this exhibit, listen to the rest of the cell phone tours—you’ll find the numbers listed on the labels for the works throughout Mount Vernon Place. Please grab a catalog, and explore our website, http://www.mica.edu/beyond. Enjoy the show. Daniel Allende (pronounced Al- eee- en- day), Mapping History, Narrated by Will Noel Historian Daniel Allende (pronounced ali-end-ay) also known as the artist Dan Allende (pronounced aa-yen-day), plays with the idea of persona. Around the squares of Mount Vernon Place, you may have seen some of the nine cement and faux bronze plaques that tell various histories. If you think some of the information on them is inaccurate, you’re right! Artist Dan was fascinated by the way each generation reinterprets history, resulting in constantly evolving depictions of the past. He researched the history of Mount Vernon Place, and switched personas to be historian Daniel Allende (ali-end-ay). As Daniel he recounted real, alternative, and false histories playing on people’s perceptions of what did and could have happened. History maps the past, and Dan’s reinterpretations re-map the whens and the hows for the public. As you read the information on his plaques, you can also participate in a special cell phone tour. When you do this, consider your own ability to separate fact from fiction. Rachel Faller The Knitted Bridge, Narrated by Kerr Houston Rachel was inspired by the idea of linking together communities by the history of knitting. In the construction of this rope bridge, she wanted to represent in literal form the idea of bridging communities. Rachel recognized a lack of things for children to do in the parks of Mount Vernon Place, and used the rope bridge to activate the space for children. The bridge functions as playground equipment, and issues of safety were a major consideration during the design and construction phases of this piece. She reached out to local Baltimore neighborhoods with a series of knitting workshops, where she worked alongside participants to knit the rope used in this literal bridge. Her aim was to bridge together the communities that made the bridge with Mount Vernon, the community in which the bridge is installed. At the workshops she taught others to knit, passing along a skill that she feels is too often limited along gender and class lines. Hemp rope was used in the making of the rope bridge for its strength and durability. In fact, even George Washington said, “Make the most of the Indian hemp seed.” And grew hemp himself on his Mount Vernon farm in Virginia. Emma Fowler, Right, Left, or Straight, Narrated by Will Noel Emma, an avid bike rider, often goes on bike trips without destinations. She and her friends play a game as they bike through the streets of Baltimore. With each stop-sign or stoplight one of them chooses their next direction at random: go right, left, or straight. The game allows them to discover and explore the city by getting lost on purpose. The game’s goal is not the destination but rather the experience of the journey itself. Emma’s piece, also called Right, Left, or Straight are several hand held, 3 dimensional alternative maps that participants can take with them as a keepsake. These spherical maps suggest directions of travel that do not adhere to the familiar and often confining grid of the city, encouraging us to follow an imaginary route that can be applied to any landscape. To make these 3D ceramic maps, Emma had to create over 100 every week. She used a process called slip-casting, which is a technique for the mass-production of ceramics, especially for shapes not easily made on a wheel. A liquid clay body slip is poured into plaster molds and allowed to form a layer, the cast, no the inside cavity of the mold, resulting in a delicate hollow form. Lee B. Freeman, Framing Mount Vernon Place, Narrated by Ben Luzatto Lee, inspired by public installation artist Christo, literally highlights in gold the perimeter of all four squares of Mount Vernon Place. To do this, Lee wraps then entire park in gold chain-link fence. This piece was designed to have two stages. At the beginning of March, the fence defines a boundary and is locked to keep the public out. This, he hopes, will force a space previously taken for granted, to be re-activated and transformed into a framed art space. Access is gradually given back to the public as the gates of the fences open in Mid-march. Then the fences themselves are ceremoniously taken down revealing the squares re-transformed into an outdoor art gallery, reminding us of what it has been since the 19th century. Um-Gi Lee, Exploring Mount Vernon Place, Narrated by Ledelle Moe-Marshalls Um-Gi Lee took inspiration from Japanese souvenir subway stamp cards, international passports, and the historic architecture of Mount Vernon Place. The take-away stamp collection aspect of her installation of miniatures asks the viewer to complete a map she has started. Reorienting the scale of the architecture of Mt. Vernon Place makes the monumental accessible, allowing the viewer to notice details that often go overlooked. From Seoul, Korea, Um-Gi has a unique interpretation of Western architecture, and on communicating ideas and concepts. Language and the barrier it can create has been a difficult part of her process. Um-Gi’s attention to detail invites the viewer to treat the architecture with the same degree of attention. Perhaps you never noticed the complexity of the gothic spire on the west side of Mount Vernon Methodist Church. Um-Gi makes it possible for the viewer to investigate such details through her re-appropriation of size and scale. Rebecca Nagle, New Outfits, Narrated by Kerr Houston Rebecca says she is attempting to remap the geo-political landscape of the park, but also of practice of monumentalizing historic figures itself. She held a series of community workshops where she educated groups about the histories of General Lafayette, John Eager Howard, George Peabody, Severn Teackle Wallis, and Roger B. Taney. In the workshops, Rebecca worked with community members to decorate cloaks that would then drape the statues of these men. Through this, Rebecca gives the community members a voice in Mount Vernon Place, and the power to relate to and access these previously esoteric historical figures. And it also monumentalizes their work as citizens of Baltimore. The cloaks rotate on a two-week schedule to ensure that no damage to the bronze statues is caused by condensation or abrasions from the fabric. Rebecca worked closely with prestigious conservators from two of Baltimore’s most respected museums. Rebecca Nagle, Block Party Bench Project: Mount Vernon Bench, Narrated by Regina Deluise This bench is one of five benches decorated in the Block Party Bench Project. Rebecca facilitated workshops to decorate these benches, and most of these workshops are at the The Boundary Block Party held for the communities of MICA, Bolton Hill, Upton, Sandtown and Madison Park on April 19th. The other benches will be installed permanently in public parks in West Baltimore, and are decorated with cards also made at the Block Party. The purpose of the cards is to represent interactions between the people who participated at the Block Party. MacKenzie Peck, The Park, Narrated by Ben Luzatto MacKenzie was enthralled by the way no two people ever experience anything in exactly the same way. She uses video as her medium in this piece to allow every viewer to review a singular occurrence of walking through the squares of Mount Vernon Place, and to recognize that experience as shared. Digital media is the new terrain of contemporary mapping. In comparison to the mapping techniques of the last century involving trained map makers and cartographers, the utility of technologies such as GPS and GoogleMaps makes mapping into a more publicly accessible practice. Mackenzie’s video works as a close-up detail of this contemporary trend. She brings the viewer to the intimacy of street level to reflect on their own route, mirrored as an aesthetic experience. When you go on a walk, what do you notice? Are you on autopilot? Do you find yourself tuning out your surroundings? Do you always take the same paths to the same places? Do you explore, get lost, or find your own way? Dana Solano and Michael Ries, Resonance, Narrated by Regina Deluise Dana and Mike believe people have a specific emotional and physiological relationship to the place they are in. Their piece asks participants to reflect on how they feel about Mount Vernon, where they are, and where they live. Dana and Mike use Chaldni patterns to explore sound as a medium for mapping emotional and psychological responses to place. Chladni patterns are changeable sand patterns that occur when sound causes sand on top of a speaker to change in correspondence to the frequency. Through an additional cell phone component you can participate by calling and responding to questions on an off-site computer server. This server has a program which changes the sound frequency allowing you to see the sand pattern change before your eyes, in real time. Resonance allows you to see in the physical vibrations of sound a map of emotions that are usually invisible. Jonathan Taube, Baltimore Sweep Action Parade and A Monument to Collective Effort, Narrated by Ledelle Moe-Marshalls Jonathan organized the Baltimore Sweep Action Parade to bring communities from four cardinal direction of the city of Baltimore into its central neighborhood, Mount Vernon. Baltimore Sweep Action Parade’s main event is March 29th when Baltimore communities, marching bands and other parade performers, follow a planned parade route working together to beautify the streets and sidewalks of the city. The Monument to Collective Effort in the South square of Mount Vernon Place holds the waste collected during the parade; the waste and the brooms are displayed together in this monument representing a relic of the journey and the efforts of the participants, and their realized vision. http://www.lisarigby.art/ebook-copy-editing daily 0.75 2015-09-08 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1440708918806-3VQ9YXJBH9K5MRLMOU3N/Screen+Shot+2015-08-27+at+4.54.55+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1440708918806-3VQ9YXJBH9K5MRLMOU3N/Screen+Shot+2015-08-27+at+4.54.55+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1440708747483-PMN9JG2Y88ZTX5SBYY29/Screen+Shot+2015-08-27+at+4.48.53+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1441736799491-E5TAOCP53GQ266I4RR2M/Screen+Shot+2015-09-08+at+2.22.05+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1440708748267-OQ4R0PG65GODAZ9BFBH6/Screen+Shot+2015-08-27+at+4.49.23+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1441736800454-QGSF7W8NTC92CWU2DYVH/Screen+Shot+2015-09-08+at+2.23.21+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1441736834445-9IVHDMA8DOHL84BPNUPP/Screen+Shot+2015-09-08+at+2.27.01+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1441736798038-D406PFB2G65FH4BNI6DL/Screen+Shot+2015-09-08+at+2.24.53+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1441736797113-ETWBCUE1UGJZJ7ZLOKDM/Screen+Shot+2015-09-08+at+2.25.35+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1441736798020-AJUY3Y4BOP99U04G5EP4/Screen+Shot+2015-09-08+at+2.26.16+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1440708920844-97NNAZLVUK1Z3ZYEHWCG/Screen+Shot+2015-08-27+at+4.53.21+PM.png Ebook Copy Editing https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1440708921388-P6HIQ8TOD2SZWP6S87PX/Screen+Shot+2015-08-27+at+4.53.46+PM.png Ebook Copy Editing http://www.lisarigby.art/email-marketing-bari-koral daily 0.75 2015-07-21 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492284530-1MDIQ0IDH9SLGE2BMXM2/Bari+Koral+E+Blast.jpg Email Marketing: Bari Koral https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492284530-1MDIQ0IDH9SLGE2BMXM2/Bari+Koral+E+Blast.jpg Email Marketing: Bari Koral http://www.lisarigby.art/pilatesretreat daily 0.75 2016-01-09 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430353462468-GMZ5S2W1KLXBSB84LFI1/yoga_685.jpg Sales Content: Pilates Retreat Travel to Mediterranean splendor for an incredible opportunity to take your body and life to the next level! Create the body of your dreams through the complementary disciplines of yoga and pilates, experiencing the magic of retreat. Surround yourself with people who have the same positive focus, soak up healthy air and savor organic, unforgettable meals. On the island of Salina, you’ll be immersed in sun, sea and natural wonders; volcanoes, lush gardens and vineyards, ancient ruins, and endless views. This distraction-free and breathtaking environment sets the stage for the personalized and intimate attention you’ll receive from your teacher, Kristin McGee. Kristin’s no-nonsense, matter-of-fact approach will reveal what you can achieve in just one week. Lay the groundwork for a strong connection between your body and mind–one of the best things that you can do for yourself. Look good, feel well, breathe well. Kristin will combine her expertise in yoga, pilates and strength training as she leads you through 2 classes each day. Each guest will also have a private session with Kristin during their stay. Pilates students new to yoga will be introduced to a fun practice that will connect you with your breathing, allowing you to get the most out of each killer workout, while maintaining good form. Sunrise morning classes will boost your metabolism and your mood, work your core and get you in top shape. At sunset, you’ll wind down with another intense yet more restorative stretch and core workout. Unwind, de-stress and uncover your best self off the coast of Italy at one of Europe’s most sought-after island getaways. https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430353462468-GMZ5S2W1KLXBSB84LFI1/yoga_685.jpg Sales Content: Pilates Retreat Travel to Mediterranean splendor for an incredible opportunity to take your body and life to the next level! Create the body of your dreams through the complementary disciplines of yoga and pilates, experiencing the magic of retreat. Surround yourself with people who have the same positive focus, soak up healthy air and savor organic, unforgettable meals. On the island of Salina, you’ll be immersed in sun, sea and natural wonders; volcanoes, lush gardens and vineyards, ancient ruins, and endless views. This distraction-free and breathtaking environment sets the stage for the personalized and intimate attention you’ll receive from your teacher, Kristin McGee. Kristin’s no-nonsense, matter-of-fact approach will reveal what you can achieve in just one week. Lay the groundwork for a strong connection between your body and mind–one of the best things that you can do for yourself. Look good, feel well, breathe well. Kristin will combine her expertise in yoga, pilates and strength training as she leads you through 2 classes each day. Each guest will also have a private session with Kristin during their stay. Pilates students new to yoga will be introduced to a fun practice that will connect you with your breathing, allowing you to get the most out of each killer workout, while maintaining good form. Sunrise morning classes will boost your metabolism and your mood, work your core and get you in top shape. At sunset, you’ll wind down with another intense yet more restorative stretch and core workout. Unwind, de-stress and uncover your best self off the coast of Italy at one of Europe’s most sought-after island getaways. http://www.lisarigby.art/50thave daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727013196-FSGU1Z3LET8ULKEBSMPK/Detail.jpg 50th Ave https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437495684494-7QTOYPREFE1SKD25261D/Nikki2.jpg 50th Ave https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464726689568-OB5YQS33FFRN78633RSG/Detail.jpg 50th Ave https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464726691423-A41WBFUA8MK1WOIHFWWL/50th+Ave.JPG 50th Ave http://www.lisarigby.art/emeraldvalley daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464730836859-1YB65DEWRIEKLDMRHO1L/Emerald+Valley+Detail.jpg Emerald Valley https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727948933-XBZV8CNNDO9YZ70GYVF4/Emerald+Valley+Detail.jpg Emerald Valley https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727950550-S90T5O52CVMWQCFL2UME/Emerald+Valley.JPG Emerald Valley http://www.lisarigby.art/website-copy-yoga-is-my-gym daily 0.75 2016-01-09 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437502386323-WZ0A4HRZ54ELNUNBLVS1/Screen+Shot+2015-07-21+at+2.12.01+PM.png Website Copy: Yoga Is My Gym Mission/Tagline Yoga Is My Gym: a yoga movement for real people with real results. About Yoga Is My Gym Yoga Is My Gym is a one-stop shop for authentic & athletic adults who value their health, a great workout, mental & physical flexibility, and most importantly, who keep it real. Our customers proudly wear YIMG’s bright, funky, high-quality yoga apparel and innovative accessories because they walk the talk. More than a catchphrase or a logo, Yoga Is My Gym is a way of life. Yoga is My Gym: The prize is in the process. The Yoga Is My Gym Story In 2006, former NFL Linebacker Brian “BJ” Jones began a journey that transformed his life and led to the inception of Yoga Is My Gym. Jones was raised in West Texas by his grandmother, who provided the tough love that kept him motivated and determined to succeed. The first in his family to go to college, he became a star football player for the Longhorns at University of Texas-Austin. BJ’s success continued during his five years in the NFL, where he played for the Indianapolis Colts (1991) and the New Orleans Saints (1995-98). A life lived in the fast lane fell apart after retiring from the NFL; Jones sought direction, exhausted his wealth and ended up broke. The mantra of a mentor pulled him through, remembering the words of his high school coach Jerry Lee: tough times don’t last; tough people do. BJ’s grit allowed him to pick up the pieces of his life, going back to school and reinventing his life in broadcasting. Today Jones is a CBS Sports Network Analyst and co-host of national sports talk radio show “Gio and Jones,” and these days, he stays humble, grounded and strong with yoga. BJ’s love affair with yoga started in 2006 when longtime friend Blake Hall introduced him to power yoga at an Austin studio. BJ was a lifelong athlete but never even considered stepping foot onto a yoga mat, assuming the practice wasn’t for anyone serious about physical fitness. Nonetheless BJ dove headfirst into foreign territory. He walked out totally hooked—invigorated by the challenges and “sore as heck.” Yoga allowed total transformation. It quieted his mind. He achieved more core strength than ever, discovered new muscles and felt like himself again, in the best ways possible. And BJ wasn't the only one taking notice of his newly slim and toned physique. Friends were astonished, asking what he was doing at the gym to stay in shape. BJ’s response? “Yoga is my gym!” The phrase stuck. BJ founded Yoga Is My Gym in 2007, selling his tees out of a box after classes. Grassroots sales evolved over the years, as Jones launched an online store and trademarked Yoga Is My Gym in 2014. https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437502386323-WZ0A4HRZ54ELNUNBLVS1/Screen+Shot+2015-07-21+at+2.12.01+PM.png Website Copy: Yoga Is My Gym Mission/Tagline Yoga Is My Gym: a yoga movement for real people with real results. About Yoga Is My Gym Yoga Is My Gym is a one-stop shop for authentic & athletic adults who value their health, a great workout, mental & physical flexibility, and most importantly, who keep it real. Our customers proudly wear YIMG’s bright, funky, high-quality yoga apparel and innovative accessories because they walk the talk. More than a catchphrase or a logo, Yoga Is My Gym is a way of life. Yoga is My Gym: The prize is in the process. The Yoga Is My Gym Story In 2006, former NFL Linebacker Brian “BJ” Jones began a journey that transformed his life and led to the inception of Yoga Is My Gym. Jones was raised in West Texas by his grandmother, who provided the tough love that kept him motivated and determined to succeed. The first in his family to go to college, he became a star football player for the Longhorns at University of Texas-Austin. BJ’s success continued during his five years in the NFL, where he played for the Indianapolis Colts (1991) and the New Orleans Saints (1995-98). A life lived in the fast lane fell apart after retiring from the NFL; Jones sought direction, exhausted his wealth and ended up broke. The mantra of a mentor pulled him through, remembering the words of his high school coach Jerry Lee: tough times don’t last; tough people do. BJ’s grit allowed him to pick up the pieces of his life, going back to school and reinventing his life in broadcasting. Today Jones is a CBS Sports Network Analyst and co-host of national sports talk radio show “Gio and Jones,” and these days, he stays humble, grounded and strong with yoga. BJ’s love affair with yoga started in 2006 when longtime friend Blake Hall introduced him to power yoga at an Austin studio. BJ was a lifelong athlete but never even considered stepping foot onto a yoga mat, assuming the practice wasn’t for anyone serious about physical fitness. Nonetheless BJ dove headfirst into foreign territory. He walked out totally hooked—invigorated by the challenges and “sore as heck.” Yoga allowed total transformation. It quieted his mind. He achieved more core strength than ever, discovered new muscles and felt like himself again, in the best ways possible. And BJ wasn't the only one taking notice of his newly slim and toned physique. Friends were astonished, asking what he was doing at the gym to stay in shape. BJ’s response? “Yoga is my gym!” The phrase stuck. BJ founded Yoga Is My Gym in 2007, selling his tees out of a box after classes. Grassroots sales evolved over the years, as Jones launched an online store and trademarked Yoga Is My Gym in 2014. http://www.lisarigby.art/contemplating daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727395845-S2K2661JHGVVE2W8USDR/Contemplating+Detail.jpg Contemplating https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727314494-FWKB8ZQHR54S8GFY9HLV/Contemplating+Detail.jpg Contemplating https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727325647-UMJHEN69VOXRH4UGXZIQ/Contemplating.JPG Contemplating http://www.lisarigby.art/moore-college daily 0.75 2015-05-13 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430354343929-BP011CQFSPIMWC14MBK9/Screen+Shot+2015-04-19+at+2.21.31+PM.png Brochure Copy & Design: Moore College View the full PDF here: Brochure for MOORE https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430354343929-BP011CQFSPIMWC14MBK9/Screen+Shot+2015-04-19+at+2.21.31+PM.png Brochure Copy & Design: Moore College View the full PDF here: Brochure for MOORE http://www.lisarigby.art/email-marketing-yama-talent daily 0.75 2015-07-21 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492415526-IDVK8JGSIQBW3B1CT46Z/YAMA+1.jpg Email Marketing: YAMA Talent https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492415526-IDVK8JGSIQBW3B1CT46Z/YAMA+1.jpg Email Marketing: YAMA Talent https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492420400-38NFIKGQ0Z9C8RN62W3Z/YAMA+Digital+Yoga+Network.jpg Email Marketing: YAMA Talent https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492422127-PECKLSQAFEKILAKOCMTB/YAMA+DYN+2.jpg Email Marketing: YAMA Talent https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1437492426222-D9G6309PGPNF30H9K0P5/YAMA+Live+Free+and+Use+Gifts+2014.jpg Email Marketing: YAMA Talent http://www.lisarigby.art/afd daily 0.75 2015-05-13 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430355428264-1LZ0C5YQNKK3E969ALHI/AFD.jpg Museum Catalog Copy Creation & Editing: At Freedom's Door https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430355428264-1LZ0C5YQNKK3E969ALHI/AFD.jpg Museum Catalog Copy Creation & Editing: At Freedom's Door https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1430355483877-7WQ8Q99LQJ7PW82WKJFY/AFD.jpg Museum Catalog Copy Creation & Editing: At Freedom's Door EXAMPLE FROM WALL TEXT ACCOMPANYING HISTORICAL ARTIFACT: Title: Perry Hall Slave Quarter Maker: Francis Guy Materials: Oil on canvas Date: 1805 Loan Institution: MdHS 1986-33 Size: 21.8125 x 29.875 in. This landscape at Perry Hall shows plantation with black and white men and boys gathering and stacking hay in the foreground. Considered one of the most important English artists to come to the New World, Francis Guy (1760-1820) arrived in America in 1795. Guy continued his trade as a dyer once in Baltimore. After the dye house he established in Baltimore burned down he shifted his career to landscape painting. He established a dye house in Baltimore but unfortunately it burned. Guy then shifted careers. His specialty was in painting country estates, furniture, and Maryland marine and naval battle scenes from the War of 1812. Francis Guy also worked as an inventor and a writer of religious essays and poetry. EXAMPLE FROM WALL TEXT ACCOMPANYING CONTEMPORARY ARTWORK: William Christenberry Work from The Klan Room “Some people have told me this subject is not the proper concern of an artist or art. On the contrary I hold the position that there are times when an artist much examine and reveal such strange and secret brutality.” CATALOG CONTENT: Words from Project Director and Co-Curator George Ciscle At Freedom’s Door: Challenging Slavery in Maryland is a collaboration between the Reginald F. Lewis Museum of Maryland African American History and Culture (RFLM), the Maryland Historical Society (MdHS), and Maryland Institute College of Art (MICA). This collaborative endeavor was essential to achieve the exhibition’s vision of depicting meaningful connections between art and real life experiences. At Freedom’s Door: Challenging Slavery in Maryland has been developed and produced by students from Maryland Institute College of Art and Morgan State University (MSU) enrolled in MICA’s Exhibition Development Seminar, in collaboration and with support and oversight from the professional staff of both museums and MICA. The exhibition’s primary objective is to challenge the public’s perception of slavery and freedom by teaching visitors about resistance to slavery, whether it occurred through formal organization or individual effort. At Freedom’s Door: Challenging Slavery in Maryland attempts to answer a question crucial to the understanding of our state’s past, present, and future: How did Marylanders—both enslaved and free—respond to, challenge, and ultimately defeat slavery as a legal institution? Historical art and artifacts as well as contemporary art are used throughout the exhibition to investigate Maryland’s complex and often contradictory relationship to slavery. The exhibition asks us to consider what it meant to be “free” in the early United States and what it means to be “free” in the world today. The production of At Freedom’s Door: Challenging Slavery in Maryland was conceived as an educational experience that provides a new model for museums developing an exhibition. The creative talent and efforts of 36 MICA and MSU undergraduate, graduate, and continuing studies students from my Exhibition Development Seminar formed the basis of this collaboration. Drawing on a decade of research conducted by MdHS, students used T. Stephen Whitman’s forthcoming book, At Freedom’s Door: Challenging Slavery in the Chesapeake, as the foundation for their subsequent primary and secondary research. For the past two years they examined the curatorial process while working in nine teams on every phase of the exhibition’s conceptualization, organization and implementation under the mentorship of professionals from the community. Intensive weekly seminars were combined with practical (DELETED “work”) experiences at RFLM, MdHS, MICA, community sites, and the two resident and seven commissioned artists. They began with weekly readings, contemporary artist and art research, and writing assignments to develop the object list, exhibition script, interpretive texts, publications, graphic and exhibit designs, educational activities, Web site, exhibition programs, and a state-wide community outreach initiative to schools and nonprofits. Proposals received rigorous feedback and criticism from peers, mentors, and personnel from the three institutions. The students repeatedly confronted the question: How did their ideas contribute to connecting the exhibition’s goals to the larger community? At Freedom’s Door: Challenging Slavery in Maryland gave the involved institutions an opportunity to enhance their public service goals while enabling MICA to expand its twofold mission of educating professional artists and serving as a community cultural resource. Everyone contributed enormous time and energy into this multifaceted project. I express my sincere thanks to MICA’s administration for its invaluable assistance and encouragement and to the two museum collaborators whose staffs worked with students to utilize our combined resources. Finally, I am indebted to the extraordinary students from MICA and MSU for the invaluable part they played by working together as a unified team to formulate and produce At Freedom’s Door: Challenging Slavery in Maryland. This project created new approaches, concepts, presentations, and methods of teaching art, which helped the students build their careers as artists, educators, and museum professionals in the future. George Ciscle Curator-in-Residence, Maryland Institute College of Art How to experience At Freedom’s Door: Challenging Slavery in Maryland: At Freedom’s Door: Challenging Slavery in Maryland is presented at two museums. While chronologically the story begins at one museum and continues at the other, there is a constant dialogue. One exhibit can be seen without the other, but visiting both museums can give the viewer deeper insight to the questions the exhibition raises: where have we been, where are we now, and where are we going? The Maryland Historical Society (MdHS) presents the history of slavery’s beginnings in Maryland, from the Middle Passage to the relationships between the enslaved and the slaveholder. MdHS also tells the stories of Marylanders’ resistance to slavery. The Reginald F. Lewis Museum of Maryland African American History and Culture (RFLM) offers perspective on African American life in early 19th century Baltimore. With their efforts toward freedom in their own day — through work, faith, and organization — antebellum black Baltimoreans created traditions for subsequent generations. The difficult decades following slavery’s end would test the strength of those traditions. Slavery in Maryland, Essay by Kym Rice Charles Ball’s first memory was of his mother holding him in her arms. Walking along a road in southern Maryland, she begged her master not to sell her only remaining child. As she sobbed, the two were separated and his mother was beaten back with a rawhide whip. He never saw her again. Many years later, Ball recalled how “the horrors of that day sank deeply into my heart… The terrors of that scene return with painful vividness upon my memory.” Sold many times, Charles Ball regularly drank “the cup of sorry to the very dregs.” He encountered awful working and living conditions, endured repeated beatings by his owners, and faced permanent separations from his own wife and children. Ball’s story poignantly reminds us of just how fragile a situation the enslaved African Americans occupied in Maryland. Among the first English colonies to make African slavery hereditary and legal in 1664, Maryland remained firmly committed to slavery through law, economics, and social custom for another 200 years. Before 1710 nearly all Maryland slaves were African-born. Men, women, and children who survived the terrible “Middle Passage” arrived in the colony either directly or via the Caribbean. Because men outnumbered women at first, a native-born population did not appear for several generations. Until later in the 1700s, Maryland Africans lived mostly in small groups, which made life more difficult at first but may have helped ensure the persistence of some African cultural traditions. Whether living on a large plantation or a small farm, life for enslaved Marylanders remained physically demanding as well as tedious. As Dennis Simms, a former Prince George’s County slave, remembered, “It was a pretty hard and cruel life.” Even so, enslaved men and women managed to carry out personal relationships, establish families, create community and worship their god, but these activities often occurred in the slave quarter out of sight of their white owners. From sunrise to sunset, they raised cash crops like tobacco and later, wheat; tended livestock and vegetable gardens; fished; worked as boatmen; maintained and repaired property; and performed menial tasks such as cooking, cleaning, sewing, and washing. Through ingenious methods like refusing to work or running away many resisted their bondage. Bondmen learned trades like blacksmithing and became highly skilled artisans, sometimes so competent that their owners leased them to work for other whites, allowing them to live off the premises and keep a small portion of their wages. Just as ex-slave Frederick Douglass discovered, early 19th-century Baltimore’s growing commercial industry offered economic opportunities to enslaved Marylanders that included contact with free blacks, while also according them some precious measures of autonomy provided by urban life. By the outbreak of the Civil War, Maryland occupied, in the words of historian Barbara Fields, a precarious “middle ground” between slavery and freedom. It remained loyal to the Union and in 1864, by narrow margin, adopted a constitution that abolished slavery yet supplied thousands of troops to the Confederacy. Baltimore’s free black community openly raised money to benefit black Federal soldiers, many of them former Maryland slaves, and welcomed contraband slaves as refugees. Escaping from Maryland to serve in the Union Army, John Boston wrote his wife Elizabeth, who remained enslaved there, “I can Adress you thank god as a free man.” He continued, no doubt speaking for countless others, “But as the lord led the Children of Isrel to the lands of Canon so he led me to a land Whare freedom Will rain in spite Of earth and hell. Dear you must make your Self content. I am free from al the Slavers Lash.” Kym S. Rice Assistant Director, Museum Studies Program The George Washington University Resistance to Slavery, Essay by Kym Rice Whites organized the first formal opposition to slavery in Maryland. Soon after the American Revolution, ordinary citizens throughout the Atlantic World began to register their opposition to the slave trade. Among the first to contest slavery on moral grounds, Quakers urged their members to give up slaveholding. The constitution of Baltimore’s Abolition Society, established in 1789, pledged that “the human race, however varied in colour or Intellects, are all justly entitled to liberty.” Perhaps influenced by America’s new independence or “bound by conscience,” Upper South slaveholders began to manumit (free) their slaves in large numbers. A Maryland slaveholder noted plainly in a court document, “Black people are as much entitled to natural liberty as whites.” Although individuals continued to free slaves outright or allow self-purchase, slaveholders, with increasing regularity, created timetables for freedom that allowed them to benefit from an enslaved person’s labor for years to come. Not surprisingly, antislavery arguments did little to prevent slavery’s entrenchment in Maryland. As the free black population grew, some whites championed the colonization movement (founded 1817), which advocated the removal and resettlement of free African Americans in Africa, as a moral and economic solution to the problem. In fact, Maryland eventually furnished the largest number of American emigrants to Liberia. Many African Americans saw colonization as deportation and vehemently opposed it. A Baltimore group protested that this is “the land in which we were born [and] our only true and appropriate home.” Some, like the educator Daniel Coker who left for Liberia in 1820, grew pessimistic about life in a profoundly racist society. Formal antislavery sentiment in Maryland coalesced in the early 1830s. Working with black churches, Elisha Tyson founded the Protection Society to thwart the growing practice of kidnapping free African Americans and selling them into slavery. John Needles reportedly hid antislavery literature in the furniture his factory shipped south. In 1825 Benjamin Lundy briefly located his antislavery newsletter, The Genius of Universal Emancipation, in Baltimore, publishing William Watkins as the “Colored Baltimorean.” Watkins influenced young William Lloyd Garrison, then working for Lundy, against colonization. Garrison left Baltimore in 1830 after his jailing for libeling a slave trader. Throughout the period, enslaved Marylanders, in the words of historian Stephen Whitman, “sustained a constant movement towards freedom.” They opposed their bondage by purchasing their liberty, by suing for freedom in court, and by rebelling against those who called themselves their masters. Free people of color held on to their hard-won status, resisting kidnappers who sought to re-enslave them, assisting fugitive slaves, and coping with growing legal restrictions. Many free and enslaved individuals strove to practice freedom in their daily lives by devoting their meager resources to liberating family members and friends, by founding churches and schools, and by working to acquire businesses and property. Traveling on foot, along water routes or in disguise, enslaved men and, in smaller numbers, women sought their freedom across the Mason-Dixon Line. Maryland stood literally “at freedom’s door” and, by one estimate, supplied the largest number of successful runaways. African Americans, together with whites, operated the antebellum “Underground Railroad,” an informal nationwide movement that aided runaways. Although romanticized today, these undertakings involved great risks and required courage and ingenuity for success. When a slaveholder refused to sell her free father his wife, despite a prior agreement, Caroline Hammond’s family escaped from Anne Arundel County. The family traveled under a forged pass to Baltimore where a white family “who were ardent supporters of the Underground Railroad” sheltered them. “Fearful of being apprehended,” with a bounty on their heads, the family made their escape to freedom in Pennsylvania concealed in a wagon transporting goods. Kym S. Rice Assistant Director, Museum Studies Program The George Washington University Creating Avenues to Freedom: African Americans in Early 19th-Century Baltimore, Essay by David Terry “I HAD THE STRONGEST DESIRE to see Baltimore,” Frederick Douglass (1817 – 1895) confessed in his first autobiography, published in 1845. Even as a young child on the remote Eastern Shore, like most other Maryland blacks, Douglass (né Bailey) knew of the haven on the Patapsco. When faced with opportunities to go there, not even the thought of separation from the only home and community he had known seemed to discourage the young boy. He left the Eastern Shore, at his slave owner’s behest, though “without a regret,” eagerly bound for Baltimore, “with the highest hopes of future happiness.” The size of the African American population set Baltimore apart from any place else in the nation, North or South. The determination of the city’s blacks to strive for economic, cultural, and educational opportunities beyond what the larger society intended for them also proved key. And, citizens’ willingness to be participants in varied and multi-faceted efforts toward resisting slavery was a hallmark of the city’s antebellum life. Thus in spite of its slaveholding status, its function as a stronghold for some of the most brutal and virulent practitioners of slavery and racism in the nation, and the frequent heart-wrenching scenes of the domestic slave trade, African Americans constructed in Baltimore an environment of freedom unavailable anywhere else. This environment of freedom owed much to the extensive family and community networks among black people. The impact of this environment could sometimes be spectacular, frequently providing the genesis of genius. On his family’s farm, just beyond the western limits of Baltimore, the scientist Benjamin Banneker (1731-1806) not only produced scholarly studies, but also intellectually engaged the holders of racist notions, capably defending his people’s dignity. Less spectacular, but more important perhaps than the personal accomplishments of those such as Banneker, was the impact freedom for some could have on the possibilities of freedom for others. Indeed, runaways relied upon kin and friends. The fugitives tell us this themselves through the filters of 19th- century narratives, some of which even predate the Underground Railroad. Furthermore, when the abolitionists and their movement did connect with points south of the Mason-Dixon Line, Baltimoreans were prominently involved. Legal freedom came to all African Americans in Maryland as it did to the rest of the slave-holding South – as a result of the U. S. Civil War. Yet, the challenge slavery had posed to black people did not disappear with its death following the victory of the ratification of a new state constitution in 1864. Rather, the rights of legitimacy, equality, and self-definition remained as battles still to be won or lost in future days; battles some argue rage on to this day. What black Baltimoreans must have known, however, was that the cultural survivals they carried forward with them out of the age of slavery represented an effective foundation upon which they could mount opposition to any challenges freedom might bring. David Taft Terry, Ph.D. Executive Director Reginald F. Lewis Museum of Maryland African American History and Culture Beyond the Door: Remembering Slavery in Maryland, Essay by David Terry “I AM OPPOSED TO THE NIGGERS VOTING,” Mississippi politician James K. Vardaman quipped during the early 1900s, at the dawn of the age of racial circumscription. In his mind, all blacks were unacceptable as full citizens – from the educated and cultured, to the “coconut-headed, chocolate-colored typical little coon… who blacks my shoes every morning.” This section of At Freedom’s Door signals a move beyond the chronological framework of slavery and seeks to reflect the history of America’s memory of slavery and the uses to which that memory has been applied. The memory is cast here as both personal recollection and publicly debated characterization of the past. The two centuries of racism, which underpinned legal slavery, did not disappear in the aftermath of the Civil War. Rather, a struggle emerged to identify and then harvest slavery’s legacy and historical import in America. In the end, by the time of Vardaman’s remarks, a new second-class status – yet another caste – had been affixed upon African Americans as a group. Seeking neither truth nor reconciliation across the color line, in the wake of the Civil War, white America agreed that whatever direction their society would take, it would be of, by, and for white people. Defeating this effort was the challenge slavery’s death left unmet. Perhaps more than any other agent in these developments, art and visual imagery warped the nation’s memory of African American history. In cahoots with politics, custom, and economic practice, all manner of artistic expression generated for and by “mainstream” audiences served to push African Americans back again toward slavery. These interpretations of black America suggested that freedom had been a mistake and that granting equality to the freed people would only compound the error. So, as tools of white power, a deluge of fictitious “typical little coon” images (to borrow Vardaman’s phrase) depicted black citizens as less-than-human, undeserving of equality. In art and advertisement, blacks were reduced to what they had been – servants, helpers, and comforters of whites in every way. Iconic in this way were the multitude of “mammies,” which proliferated throughout the period. A more disturbing psychology, however, is suggested by bootjacks cast around 1880 in the form of a lasciviously postured black woman, upon whose bellies white men were literally invited to clean the crud from their shoes. Representing a continuation of the antebellum degradation of free blacks, the unfortunate visual aesthetic of the late 19th century worked to establish the perception that an innate racial inferiority, not race discrimination, lay at the root of black wretchedness. Yet, as the promulgation of racism through artistic depiction mounted, it served only to feed the inner resolve and communal resilience of African Americans. Blacks rose to their own self-defense, demanding respect and claiming for themselves a just role within the national life. Hand-in-hand with other forms of intellectual production (like historiography, which sought to reclaim a more factual African American past), African American art responded to the aesthetic assault almost as it began. The traditional responses often brought frank confrontations from artists, and have continued through modern day. Others have taken a different, tack, seeking to appropriate and re-contextualize the most troubling images and icons, in hopes that turning them against their original intent might offer important statements on the persistent inequities in modern life. Betye Saar, Michael Ray Charles, and Kara Walker have produced commanding works in this genre. Everyday folk too had something to say, albeit more subtly, more personally. In this important way, the preservation of family histories in Bibles, oral traditions, and the like, did much to countermand the deleterious impact of the racism around them. David Taft Terry, Ph.D. Executive Director Reginald F. Lewis Museum of Maryland African American History and Culture Resident Artists Biographies Joan M.E. Gaither is a native of Baltimore and currently the undergraduate coordinator for art education at MICA. She was involved in helping to integrate local schools and businesses during the Civil Rights Movement. Gaither received a bachelor’s degree from Morgan State University and both a master’s degree in education and a doctorate from the University of Wisconsin-Milwaukee. She has exhibited at MICA, most recently in fall 2006, as well as at the Maryland Art Educators Association Annual Exhibition (1990–1997) and Milwaukee Art Educators Annual Exhibition (1993–1995). Gaither has received many honors and awards including the National Art Education Association’s Maryland Art Educator of the Year award (2005), Howie Award–Outstanding Educator (1992), the Boston Museum School’s Excellence in Teaching Award (1991), and the Rhode Island School of Design Excellence in Teaching Award (1984). She was Maryland’s runner-up for the Thanks to Teachers Excellence Award (1990). According to Gaither, “I juxtapose issues of slavery and racism with the warmth and comfort that quilts provide. I highlight the consequences of laws, codes, beliefs, and values for those who continue to be marginalized. These quilts are layered, embedded, and embellished with images, text, objects, and symbolic cloth to make emotional connections with issues of identity and freedom of body, mind, and spirit. The Baltimore Album-style quilt focuses on particular people, places, objects, and events that challenge the complexities of the institution of slavery. The How Much Longer quilt represents the lingering pain of racism and the vestiges of slavery.” Arvie Smith was born in 1938 and spent his childhood in rural Texas and in the Watts and South Central neighborhoods of Los Angeles. As an artist and educator, his work examines various aspects of the African-American experience, including slavery, racism, commerce, and entertainment. Smith has participated in more than 30 solo and group exhibitions and has served as an instructor/lecturer at MICA; Pacific Northwest College of Art; University of Oregon; Creative Arts Council of Manucha, Oregon; Oregon College of Arts and Crafts; and Studio Art Center International. He received a bachelor of fine arts (BFA) degree from Pacific Northwest College of Art and a master of fine arts (MFA) degree from the Hoffberger School of Painting at MICA. During a sojourn in Italy, Smith studied at Il Bisonte and SACI in Florence. He has traveled extensively throughout West Africa and researched the slave castles of the Gold Coast. According to Smith, “I transform the history of African Americans into lyrical two-dimensional paintings. My paintings commonly depict psychological images revealing deep sympathy for the dispossessed and marginalized members of society in an unrelenting search for beauty, meaning, and equality. This work reflects powerful injustices and the will to resist and survive. Memories of growing up in the South add to my awareness of the legacy that slavery has left with all Americans today. The intention is to critique the memory of atrocities and oppression so this will never be forgotten nor duplicated. I create this work because I must.” Commissioned Artists: William Christenberry is an acclaimed multimedia artist living in Washington, D.C., best known for his works depicting his hometown of Hale County, Alabama. In At Freedom’s Door: Challenging Slavery, Christenberry exhibits The Klan Room (1962), an installation of his Ku Klux Klan-related paintings, drawings, photographs, and found objects. Commenting on the disconcerting nature of this work, he said, “I hold the position that there are times when an artist must examine and reveal such strange and secret brutality.” Linda Day Clark is a Baltimore native and community advocate working for change as an artist, educator, and scholar. She uses the camera to relate, touch, and inform. In her work, she reaches for the uniqueness in ordinary people to illuminate and preserve the power of the whispers of her ancestors. Her work in At Freedom’s Door: Challenging Slavery in Maryland honors the slave ancestors in a more direct manner. Ms. Day Clark’s piece has allowed her finally to put the African slave first. Maren Hassinger comments on the natural and manufactured world through sculpture in more than 100 exhibitions. Using wire rope as sculpture and fiber has become her signature. For work produced for At Freedom’s Door: Challenging Slavery in Maryland, she relies on the definition of slave to speak as her statement: slave, n.1 (and a.) a. One who is the property of, and entirely subject to, another person, whether by capture, purchase, or birth; a servant completely divested of freedom and personal rights. b. Used as a term of contempt. (Oxford English Dictionary, 1989) Sam Christian Holmes was born on the east end of Long Island, New York, and currently resides in Baltimore. He received both bachelor of fine arts (BFA) and master of fine arts (MFA) degrees from MICA. In working with metal, Holmes attempts to access his cultural and personal history on several levels. He said, “It’s more the issues of recycling of materials (tin used in earlier works) or the utilitarian nature of the gate form (in later works) that suggest boundaries of symbolic communities and storytellers of folklore and personal memory.” Whitfield Lovell is a native of the Bronx and a graduate of the Cooper Union for the Advancement of Science & Art. His primary aim is to pay tribute to the unsung heroes of American heritage. Working from studio portraits of African Americans, Lovell uses found objects collected at flea markets and antique shops to enhance and to evoke the legacies of those who have helped build American history. His passion for this work began when he was child, fascinated by the stories told to him by his grandparents. Michael Platt is a Washington D.C. artist is known for printmaking, charcoal drawings, installations, and computer-generated images. His subjects are survivors and the marginalized, for whom he feels that respect and passion are paramount. For this project Platt based images on his combined experiences at slave dungeons in Ghana and at the Historical Hampton Plantation’s slave quarters. The work represents a survivor of the Middle Passage, who carries the marks of the past and bears memories and marks of a new life in Maryland. Joyce J. Scott is a sculptor, jeweler, printmaker, installation artist, performance artist, and educator. She draws from a wide-range of influences, from African and Native American experience to comic books, television, American pop culture, and the contemporary urban scene on the streets of her Baltimore neighborhood. For more than three decades Scott has created objects that offer distinctive commentary on social issues such as racism, sexism, violence, stereotypes, and other forms of social injustice. Curatorial Statement At Freedom’s Door: Challenging Slavery in Maryland investigates identity as a composite of past and present through historical artifacts and contemporary artworks representative of both periods. We hope these interactions of past and present will initiate a dialogue to shape our future. Maryland is chosen for its geographical location as the southernmost northern state and northernmost southern state, enabling us to examine our shared experience today highlighting moral corruption and correctness in our history. This project aims to bring together the state’s communities and to reflect and initiate a conversation about the history of slavery and what ‘freedom’ means today. To help facilitate the journey, the exhibition concentrates on four underlying themes, two at each institution. The primary themes explored at the MdHS are Slavery in Maryland and Resistance to Slavery. The primary themes addressed at the RFLM are Creating Avenues to Freedom: African Americans in Early 19th Century Baltimore and Beyond the Door: Remembering Slavery in Maryland. We hope that conversations within each institution can carry on beyond the doors and out into the community at large. We intend visitors to be inspired by witnessing the story unfold at both institutions. The themes addressed by both institutions are distinct and detailed. However, we stress the importance of the conversation between the themes to understand the entirety of the exhibition. At Freedom’s Door: Challenging Slavery in Maryland considers how history has physically and metaphorically branded contemporary understandings of slavery. Unique and varying viewpoints of resident artists, commissioned artists and existing artworks inspired by identity and freedom acknowledge the historic roots and contemporary manifestations of the legacy of slavery. Contemporary art works respond to the exhibition’s historical artifacts in an effort to portray the present response to the restrictions that slavery demanded. They also address the ever-changing meaning of slavery and freedom as handed down to us from previous generations. The juxtaposition of historic artifact with contemporary art serves to examine, challenge, analyze, contrast, and, most important, to question where we come from, where we are today, and where we are headed. By examining our past, we shed new light on the present. The underlying objective of the exhibition’s programmatic effort is to encourage the viewer to examine the context from a multitude of perspectives. At Freedom’s Door: Challenging Slavery in Maryland represents a true meeting of the minds: a complex collaboration that initiates a conversation that we hope acknowledges the struggles and victories of many groups and individuals, both past and present. Through these conversations wounds can heal and empowerment may begin. “We are united by our cumulative history. Through understanding our past and its consequences we will be able to develop a unified, compassionate, and holistic community.” Credits and Acknowledgements Curators: George Ciscle (MICA), Kym Rice (MdHS), David Taft Terry (RFLM) Project Coordinators: George Ciscle (MICA), Nancy Davis (MdHS), Jeannine Disviscour (MdHS), Margaret Hutto (RFLM) Art Education: Aidah Rasheed, Whitney Frasier, Sarah Hanson, Anna Ishii Mentor: Michelle McCallum (Community College of Baltimore County) Resources: Joan Gaither (MICA), Erin Kimes (MdHS), Michael Roman (RFLM), Terry Taylor (RFLM), Jennifer Yaremczak (MdHS) Contemporary Curatorial: Jennifer Copeland, Natalia Panfile, Piero Spadaro, Zeynep Oz Mentor: George Ciscle (MICA) Exhibition Design: Nick Chow, Yve Colby, Richard Daniels, Tyler dePerrot, Sarena Ebelacker, Rebecca Nagle Mentor: Glenn Shrum (Flux Studio) Resources: Heather Ersts and Charles Mack (Charles Mack Design, Inc.), Margaret Hutto (RFLM), Gerald Ross (MICA) Graphic Design: Alex Matzner, Sylvia Suh , Leroy Taylor Mentor: Curt Kotula (Fastspot) Resources: Kim Carlin (MICA), Christy Wolfe (MICA) Historical Curatorial: Charlotte Albertson, Myrtis Bedolla, Katie Dobbins, Jennifer Lee, Sally Massad Mentors: David Terry (RFLM), Kym Rice (MdHS) Resources: Nancy Davis (MdHS), Hagay Hagochen, Stan Squirewell, T. Stephen Whitman (Mount St. Mary’s University), Jeannine Disviscour (MdHS) Media: Tyler dePerrot, Madiz Gomez, Kimberly Holland, Ekua Holmes, Jamal Thorne Mentor: Sam Christian Holmes (Morgan State University) Resources: Andrew Shenkar, Rebecca Yenawine (Kids on the Hill) Public Programs: Amber Carroll, Melani Douglass, Elena Rosemond Mentor: Emily Blumenthal (Walters Art Museum) Resources: Erin Kimes (MdHS), Nicole Shivers (RFLM) Website Design: Dan Hoerr, Yen Shu Liao, Sandy Triolo Mentor: Chris Styles (Fastspot) Writing: Joanna Barnum, Angel Nelson, Claudette Rhone, Lisa Rigby Mentor: Leslie King-Hammond (MICA) Resources: Cheryl Knauer (MICA), Heather Marchese (MICA) ACKNOWLEDGEMENTS: At Freedom’s Door: Challenging Slavery in Maryland has been developed and produced by students from Maryland Institute College of Art and Morgan State University enrolled in MICA’s Exhibition Development Seminar, in collaboration and with support and oversight from the professional staff of the Reginald F. Lewis Museum of Maryland African American History and Culture, the Maryland Historical Society, and Maryland Institute College of Art. Support for this project has been made possible through the generosity of The William G. Baker, Jr. Memorial Fund of the Baltimore Community Foundation; The Jacob and Hilda Blaustein Foundation; The Lois & Irving Blum Foundation; M & T Bank; The Macht Philanthropic Fund of the Associated: Jewish Charities of Baltimore; The Maryland Humanities Council; The National Endowment for the Humanities; R. Gant Powell Jr.; T. Rowe Price Associates Foundation, Inc.; The Alvin and Fanny Blaustein Thalheimer Foundation; Verizon. Publication of Challenging Slavery on the Chesapeake: Black and White Resistance to Human Bondage, 1775-1865 by T. Stephen Whitman was made possible through the generous support of the William L. & Victorine Q. Adams Foundation. We are also indebted to the Friends of the Exhibition Development Seminar for helping to make the exhibition’s educational programs and brochure possible. Additional support was provided by our community partners Kids on the Hill, Morgan State University, and St. Mark United Methodist Church. A special thanks goes to all the staff from the three institutions for their support of this project. We would like to acknowledge MICA’s Communications, Development and Exhibitions Departments for their invaluable role in the process of producing AFD for their support to the Exhibition Development Seminar. ARTISTS: Artists-in-Residence: Joan Gaither (MdHS) Arvie Smith (RFLM) Commissioned Artists: William Christenberry Linda Day Clark Maren Hassinger Sam Christian Holmes Whitfield Lovell Michael Platt Joyce Scott Existing Works by: Benny Andrews Romare Bearden Elizabeth Catlett Willie Cole Leo and Diane Dillon Edmund Duffy Shirley Hunt Jacob Lawrence David Levinthal Valerie Maynard Jerry Pinkney Danny Simmons Hank Willis Thomas LENDERS: ACA Gallery Albin O. Kuhn Library Baltimore Museum of Art Derrick Beard Romare Bearden Foundation Belair Mansion Carroll Park Foundation Conner Contemporary Chipstone Foundation DC Moore Gallery David C. Driskell Historic Annapolis Hampton National Historic Site Howard University James E. Lewis Museum, Morgan State University Johns Hopkins University Eisenhower Library Nancy Lane Library of Congress Madison County Historical Society Maryland Archives Maryland Historical Society National Archives National Maritime Museum, London New Bedford Whaling Museum Penobscot Maritime Museum Sandy Spring Museum Swarthmore College Friends Historical Library Walters Art Museum West Chester Historical Society Winterthur Museum http://www.lisarigby.art/the-pink daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464723662121-LWD5TWN6N5BWFL8L9EON/The+Pink+Detail.jpg The Pink https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464723627106-WWK0EG0HVF4B6Z9EO8JP/The+Pink+Detail.jpg The Pink https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464723603469-9QBDJW9W39NWNKIFM9PV/The+Pink.JPG The Pink http://www.lisarigby.art/beachcombingi daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727150950-W69TA0PD8IVB0M5OT29V/Beachcombing+I+Detail.jpg Beachcombing I https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464726771666-V6MIUWKP08A79ARMGQG2/Beachcombing+I+Detail.jpg Beachcombing I https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464726777109-LEQH5ZIK756WZRR6J3QA/Beachcombing+I.JPG Beachcombing I http://www.lisarigby.art/blog daily 0.75 2020-07-07 http://www.lisarigby.art/blog/2020/7/7/sheltered-in-place-day-unknown monthly 0.5 2020-07-08 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1594225052289-9OIAOYS9GDVTXT00AWB5/IMG_20200707_120408528.jpg Blog - 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Judging and Being Judged http://www.lisarigby.art/blog/2019/9/21/just monthly 0.5 2019-09-21 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1569086269739-O8POAK6SHF1VDFNYXXX7/DSC_0245.JPG Blog - "Just" http://www.lisarigby.art/blog/2019/9/7/remembering-yolo-when-scheduling-babysitters-and-using-paint monthly 0.5 2019-09-21 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1569086517596-M83F3LFRP7G39R8OMAH0/DSC_0236.JPG Blog - Remembering YOLO When Scheduling Babysitters and Using Paint http://www.lisarigby.art/blog/2019/9/8/bringing-a-newborn-to-the-studio monthly 0.5 2019-09-08 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1567978221010-CA6YRY89HZCFSGUEQ8IF/DSC_0234.JPG Blog - Bringing a Newborn to the Studio Here I am without my baby at the art studio. Weekends! http://www.lisarigby.art/blog/2019/9/4/launching-my-great-experiment monthly 0.5 2019-09-21 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1569086386139-V9EC8YLQM9E981HR8ZDK/DSC_0268.JPG Blog - Launching My Great Experiment http://www.lisarigby.art/article-6-healthy-living-techniques daily 0.75 2016-01-09 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447797394259-6JQC3NPABH8QV6MKCEMK/Screen+Shot+2015-11-17+at+4.52.45+PM.png Article: 6 Healthy Living Techniques 6 Healthy Living Techniques for Even the Busiest People Our society thrives on busyness. A collective obsession with the time and stress of every task we undertake has become the ongoing cultural norm. Between working one (or maybe two or three) jobs, commuting, paying bills, running errands and social obligations, where could we possibly squeeze in time to eat well, workout and take care of ourselves? Even kids today are busy—with each waking half-hour filled by classes and extracurricular activities. In a world where there’s always something to be doing, we neglect the very thing that allows us to do those things – ourselves. Our active and demanding schedules catch up to us sooner or later, and if you don’t decide to make your wellbeing a priority, health complications can bring your steamroller agenda to a screeching halt. Responsibilities, resources and circumstances may never be equal, but we all have the same 7 days each week, 24 hours apiece and at the end of the day, we must make time for what we truly want. The great news is that leading a healthy life does not have to be time consuming. Following these 6 tips below requires little time, but can make a significant impact on your overall wellbeing. 1. Keep drinking water in plain sight. We all know water is good for us. But when your mind is occupied, hydration is easily forgotten. The standby recommendation to consume 8 glasses a day is merely an approximate guideline, so how can you be sure if you’re drinking enough? The color of your urine is a good gauge—light yellow usually indicates proper hydration. Need an easy way to keep on track? Leave a large jug of water out on your counter so it’s regularly within view. If plain water is just not enticing enough, try my favorite and simple trick of squeezing a few lemons into the pitcher! 2. Portion snacks ahead of time. Two simple words that make all the difference: be prepared. “Moments of weakness” are not what typically drives us to ditch a healthy eating regimen; it’s moments when we are ill prepared. Plan and pack your snacks (ones that are both healthy and you will want to eat) in advance. A grab-and-go lifestyle and a nourishing one are not mutually exclusive. 3. Make breakfast the night before. I know I’m not the first one to tell you this: breakfast is the most important meal of the day. Busy mornings? Overnight oats are a lifesaver—perfect for those who have busy mornings or simply love to hit the snooze button. Sophie’s Favorite Overnight Oats Ingredients: · 1/3 cup oats · ¼ cup pumpkin puree · 1/2 cup almond milk · 2 tablespoons cinnamon · 1 tablespoon chia seeds · 2 tablespoons maple syrup Directions: Mix all ingredients together. Store in airtight container (like a mason jar) and refrigerate overnight. Chia seeds have a gelatinous quality that will create a porridge consistency by morning. No need to heat; overnight oats are delicious cold! 4. Schedule (literally) your workouts. If you had a dentist or doctor’s appointment on your calendar, you’d make sure to show up, right? Start thinking about your workouts the same way. To help stay dedicated, try scheduling each workout session on your phone’s calendar. Remember, you must make time for what you want. This doesn’t have to takeover your whole life—by committing to a workout even 2 or 3 times a week, you will see and feel a difference. 5. Try HIIT routines. Daily two-hour sessions at the gym are not necessary to reach your goals when it comes to getting fit. High-intensity interval training (aka HIIT) can boost your endurance and strength, overhauling your physical fitness in mere minutes each day. HIIT exercises utilize the weight of your own body to build strength, allowing you to do your workouts from home with little to no equipment. HIIT routines only require an investment of your time, and a minimal one at that! 6. Get electronics out of your bedroom. Your electronics may be to blame for disrupting healthy sleep cycles. Weight gain, irritability, digestive upset and poor focus are only a handful of the negative effects associated with too little sleep. Try shutting your electronics off at least 30 minutes before bed and charge phones, tablets and other devices in a separate room. This simple change requires little effort, though it can have huge impact—allowing time for mental stress to subside, combatting potential insomnia and in turn, giving you prime energy for the days ahead.   Healthy living can fit into a life ruled by busyness, and it is within everyone’s power to take the simple steps toward living a healthier, happier life! https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447797394259-6JQC3NPABH8QV6MKCEMK/Screen+Shot+2015-11-17+at+4.52.45+PM.png Article: 6 Healthy Living Techniques 6 Healthy Living Techniques for Even the Busiest People Our society thrives on busyness. A collective obsession with the time and stress of every task we undertake has become the ongoing cultural norm. Between working one (or maybe two or three) jobs, commuting, paying bills, running errands and social obligations, where could we possibly squeeze in time to eat well, workout and take care of ourselves? Even kids today are busy—with each waking half-hour filled by classes and extracurricular activities. In a world where there’s always something to be doing, we neglect the very thing that allows us to do those things – ourselves. Our active and demanding schedules catch up to us sooner or later, and if you don’t decide to make your wellbeing a priority, health complications can bring your steamroller agenda to a screeching halt. Responsibilities, resources and circumstances may never be equal, but we all have the same 7 days each week, 24 hours apiece and at the end of the day, we must make time for what we truly want. The great news is that leading a healthy life does not have to be time consuming. Following these 6 tips below requires little time, but can make a significant impact on your overall wellbeing. 1. Keep drinking water in plain sight. We all know water is good for us. But when your mind is occupied, hydration is easily forgotten. The standby recommendation to consume 8 glasses a day is merely an approximate guideline, so how can you be sure if you’re drinking enough? The color of your urine is a good gauge—light yellow usually indicates proper hydration. Need an easy way to keep on track? Leave a large jug of water out on your counter so it’s regularly within view. If plain water is just not enticing enough, try my favorite and simple trick of squeezing a few lemons into the pitcher! 2. Portion snacks ahead of time. Two simple words that make all the difference: be prepared. “Moments of weakness” are not what typically drives us to ditch a healthy eating regimen; it’s moments when we are ill prepared. Plan and pack your snacks (ones that are both healthy and you will want to eat) in advance. A grab-and-go lifestyle and a nourishing one are not mutually exclusive. 3. Make breakfast the night before. I know I’m not the first one to tell you this: breakfast is the most important meal of the day. Busy mornings? Overnight oats are a lifesaver—perfect for those who have busy mornings or simply love to hit the snooze button. Sophie’s Favorite Overnight Oats Ingredients: · 1/3 cup oats · ¼ cup pumpkin puree · 1/2 cup almond milk · 2 tablespoons cinnamon · 1 tablespoon chia seeds · 2 tablespoons maple syrup Directions: Mix all ingredients together. Store in airtight container (like a mason jar) and refrigerate overnight. Chia seeds have a gelatinous quality that will create a porridge consistency by morning. No need to heat; overnight oats are delicious cold! 4. Schedule (literally) your workouts. If you had a dentist or doctor’s appointment on your calendar, you’d make sure to show up, right? Start thinking about your workouts the same way. To help stay dedicated, try scheduling each workout session on your phone’s calendar. Remember, you must make time for what you want. This doesn’t have to takeover your whole life—by committing to a workout even 2 or 3 times a week, you will see and feel a difference. 5. Try HIIT routines. Daily two-hour sessions at the gym are not necessary to reach your goals when it comes to getting fit. High-intensity interval training (aka HIIT) can boost your endurance and strength, overhauling your physical fitness in mere minutes each day. HIIT exercises utilize the weight of your own body to build strength, allowing you to do your workouts from home with little to no equipment. HIIT routines only require an investment of your time, and a minimal one at that! 6. Get electronics out of your bedroom. Your electronics may be to blame for disrupting healthy sleep cycles. Weight gain, irritability, digestive upset and poor focus are only a handful of the negative effects associated with too little sleep. Try shutting your electronics off at least 30 minutes before bed and charge phones, tablets and other devices in a separate room. This simple change requires little effort, though it can have huge impact—allowing time for mental stress to subside, combatting potential insomnia and in turn, giving you prime energy for the days ahead.   Healthy living can fit into a life ruled by busyness, and it is within everyone’s power to take the simple steps toward living a healthier, happier life! http://www.lisarigby.art/way-of-gray daily 0.75 2016-01-19 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1453239281967-VRJOKCX2CR12V7GPZ9V7/Screen+Shot+2016-01-19+at+1.33.29+PM.png Website Copy: Way of Gray https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1453239281967-VRJOKCX2CR12V7GPZ9V7/Screen+Shot+2016-01-19+at+1.33.29+PM.png Website Copy: Way of Gray https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1453239275188-5JPTDSNWQ13NDXFN3Q2J/Screen+Shot+2016-01-19+at+1.33.40+PM.png Website Copy: Way of Gray http://www.lisarigby.art/article-4-steps-to-falling-in-love-with-yourself daily 0.75 2016-01-09 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447797376892-LLN0HJ8MB9ZEBZDME39M/Screen+Shot+2015-11-17+at+4.53.02+PM.png Article: 4 Steps to Falling In Love With Yourself 4 Steps to Falling in Love with Yourself My psychologist recently posed the question: “For you, what is self-love?” I’ve devoted every day of the last few years to building a business and a brand that revolves around the tagline “love yourself,” so I was surprised to find myself without an answer. On Facebook, Instagram and Twitter, I make daily posts about loving yourself and embracing your flaws. It is often said, “we teach what we need to learn.” For me, there has never been a truer statement. Though I have come a long way, as of late I have noticed old thought patterns and habits popping up that prompt me to question how much I have truly loved myself. At the end of our 90-minute session, we concluded: loving yourself is about acceptance. Loving someone means accepting them, whether or not you believe that someone needs a little work. Same principle applies if the person in question is you. Follow the steps below to start showing yourself the love you deserve. 1. Take time for you. Our society thrives on being busy. Between working full-time, driving the kids to school, ballet, soccer and clarinet, cleaning, buying groceries, eating dinner and all the rest, where could we possibly squeeze self-love into the agenda? In a world where there’s always something to be doing, we neglect the very thing that allows us to do those things – ourselves. By allowing and yes—scheduling—your “me time,” you show your body and mind the love they deserve. What you do in that time is up to you—be it a long soak in the bath, treating yourself to a massage, or simply watching your favorite TV show, those moments are important exercises for a soul walking along the path to self-love. 2. Observe, rather than judge. As children we were taught that judging others is wrong. But what about judging ourselves? As my therapy session progressed, I realized I was using unkind words to describe myself. I thought of my constant attempts to “one up” my partner and my reaction was self-loathing, calling myself a piece of shit. Why couldn’t I stop myself from jumping from point A to Z? Wasn’t there something in the middle, like acknowledging the fault, and trying to work on it? While we can all confess to behaviors and habits that are less than becoming, those things are still a part of us. Self-love asks us to observe and acknowledge our thoughts and actions, rather than judge them. If you’re seeking an improvement, remember that acceptance may yield solutions long before judgement. 3. Take care of your body. Among other amazing things, your body fights off illness, keeps you breathing and secretes the right hormones at the right time. Your body wants the best for you. Show your body some love in return! Working out and eating well allows your body to obtain what it wants most: a happy and healthy life. Exercising and eating nutrient rich foods is key to giving your body the love it deserves. 4. Become your own best friend. Would you ever tell your friend they look terrible, fat or disgusting? I don’t think so. Talk to yourself the way you would talk to a friend, and I promise, you’ll drastically improve the quality of your life! The words we use matter. Choose them wisely and you’ll reap unparalleled rewards of self-love and self-respect. Self-love is not a destination. Expect a journey instead, littered with imperfect moments. Be prepared to invest continual effort and attention. By following the prescription above, we say YES to love—at the end of the day, isn’t that what life is all about? https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447797376892-LLN0HJ8MB9ZEBZDME39M/Screen+Shot+2015-11-17+at+4.53.02+PM.png Article: 4 Steps to Falling In Love With Yourself 4 Steps to Falling in Love with Yourself My psychologist recently posed the question: “For you, what is self-love?” I’ve devoted every day of the last few years to building a business and a brand that revolves around the tagline “love yourself,” so I was surprised to find myself without an answer. On Facebook, Instagram and Twitter, I make daily posts about loving yourself and embracing your flaws. It is often said, “we teach what we need to learn.” For me, there has never been a truer statement. Though I have come a long way, as of late I have noticed old thought patterns and habits popping up that prompt me to question how much I have truly loved myself. At the end of our 90-minute session, we concluded: loving yourself is about acceptance. Loving someone means accepting them, whether or not you believe that someone needs a little work. Same principle applies if the person in question is you. Follow the steps below to start showing yourself the love you deserve. 1. Take time for you. Our society thrives on being busy. Between working full-time, driving the kids to school, ballet, soccer and clarinet, cleaning, buying groceries, eating dinner and all the rest, where could we possibly squeeze self-love into the agenda? In a world where there’s always something to be doing, we neglect the very thing that allows us to do those things – ourselves. By allowing and yes—scheduling—your “me time,” you show your body and mind the love they deserve. What you do in that time is up to you—be it a long soak in the bath, treating yourself to a massage, or simply watching your favorite TV show, those moments are important exercises for a soul walking along the path to self-love. 2. Observe, rather than judge. As children we were taught that judging others is wrong. But what about judging ourselves? As my therapy session progressed, I realized I was using unkind words to describe myself. I thought of my constant attempts to “one up” my partner and my reaction was self-loathing, calling myself a piece of shit. Why couldn’t I stop myself from jumping from point A to Z? Wasn’t there something in the middle, like acknowledging the fault, and trying to work on it? While we can all confess to behaviors and habits that are less than becoming, those things are still a part of us. Self-love asks us to observe and acknowledge our thoughts and actions, rather than judge them. If you’re seeking an improvement, remember that acceptance may yield solutions long before judgement. 3. Take care of your body. Among other amazing things, your body fights off illness, keeps you breathing and secretes the right hormones at the right time. Your body wants the best for you. Show your body some love in return! Working out and eating well allows your body to obtain what it wants most: a happy and healthy life. Exercising and eating nutrient rich foods is key to giving your body the love it deserves. 4. Become your own best friend. Would you ever tell your friend they look terrible, fat or disgusting? I don’t think so. Talk to yourself the way you would talk to a friend, and I promise, you’ll drastically improve the quality of your life! The words we use matter. Choose them wisely and you’ll reap unparalleled rewards of self-love and self-respect. Self-love is not a destination. Expect a journey instead, littered with imperfect moments. Be prepared to invest continual effort and attention. By following the prescription above, we say YES to love—at the end of the day, isn’t that what life is all about? http://www.lisarigby.art/bigsur daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727273020-PR184AT21XQ1BYAZY98W/Big+Sur+Detail.jpg Big Sur https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727207226-S8U7HVY0EJWL5SR5U9TB/Big+Sur+Detail.jpg Big Sur https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464727214330-MRCK8LRKRZLGZV0YIRQE/Big+Sur.JPG Big Sur http://www.lisarigby.art/aspirationalyoga daily 0.75 2016-01-09 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447796921167-LDRZX7EDAQA9M3Y2XEDM/Screen+Shot+2015-11-17+at+4.48.29+PM.png Website and VOD: Aspirational Yoga https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447796921167-LDRZX7EDAQA9M3Y2XEDM/Screen+Shot+2015-11-17+at+4.48.29+PM.png Website and VOD: Aspirational Yoga https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447796922216-28YJQBSIZWXYWS61ZDAM/Screen+Shot+2015-11-17+at+4.48.14+PM.png Website and VOD: Aspirational Yoga https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447796922144-AZN64A2D36Y1U5F8TDG5/Screen+Shot+2015-11-17+at+4.47.55+PM.png Website and VOD: Aspirational Yoga https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1447796925317-0RFPDI3X8OOQ74PZ5R9M/Screen+Shot+2015-11-17+at+4.47.31+PM.png Website and VOD: Aspirational Yoga http://www.lisarigby.art/copy-and-branding-nanga-yoga daily 0.75 2016-01-09 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1452302575706-530TWJSMF6GQB3WV6R49/12022334_1660345180846192_7298912608961631898_o.jpg Copy and Branding: Nanga Yoga Copy can also be found on the Nanga Yoga website here. About Nanga Yoga   What is Nanga Yoga? Nanga literally means “naked.” Nanga is here to support your yoga, so you can practice with the confidence you need to simply be you. We started out wanting to fix a problem—no more slipping on your mat or fixing your towel—and created mats and towels with keen design and durable, high-quality materials. They are simple enough to enhance your practice without losing sight of the reasons you fell in love with yoga. Stop slipping and adjusting your yoga gear and start enjoying a pure connection with the flow, and the present moment. Made Pure Reliable and uncomplicated, products like our SnapMat enhance your practice, preserving the purity of your experience while cutting down on distractions. Made Simple Simplicity reigns supreme. Nanga Yoga is committed to making durable yoga gear of the highest quality you’ll find anywhere. Made with Purpose Yoga is for everyone. Nanga’s yoga accessories are made for real people—all shapes, sizes and ages, with real world bodies, strengths, and experiences. Just like our products, our business model is designed with purpose. We source local manufacturing whenever possible, and donate 5% of profits to charitable community outreach organizations. Learn more about how Nanga Yoga gives back below. Made to Last We value sustainability and are dedicated to creating products worth investing in. Nanga Yoga is proud to offer yoga mats and accessories that are made for the long haul, not the landfill. Our mats should last you a lifetime.   Giving Back Nanga Yoga is more than great yoga gear. We believe in conducting compassionate business. We source local raw materials and labor whenever possible. Our assembly tooling and parts are manufactured in Fort Worth, TX. We donate 5% of profits to charitable community outreach organizations. Some incredible programs we are supporting: Wounded Warrior Project A Florida-based non-profit based that offers nationwide aid to honor and empower wounded service members. Vipassana An independent global organization that offers non-religious meditation courses and information at zero cost and recognizes all people can benefit from meditation.   How can YOU get involved? Anyone can be a part of Nanga Yoga’s greater mission to help others. Every purchase makes a difference (we donate 5% of all profits to our 501(c)(3) partners). Every shared Facebook message, Instagram post or honest product review helps spread the mission that powers the gear you love. Want to partner with us? Send your thoughts and ideas to nanga@nangayoga.com. We still read each and every email.   Then & Now The first batch of SnapMats was made in our co-founder’s house! Living space was transformed into workshop and warehouse until the kinks were worked out. A machine shop that specializes in the making of airplane parts was called in to custom manufacture the tools needed to attach our snaps. Different versions were tried, scrapped and refined until the durable, high quality SnapMat we sell today came to be. At our core, we are here to share yoga by making innovative products that enhance the practice. The SnapMat was only the beginning. Where are we headed? Nanga creates tools for your yoga practice that are at once useful, individualized and lovely. Our designs started simple. We’re adding on now, partnering with local artists whose unique designs will beautify the things we make for you. As we grow, we pledge to make every detail a conscious decision. We are committed to maintaining high quality and performance as we engage with local manufacturing, warehousing and fulfillment, and community outreach programs.     The Creators of Nanga Yoga Benton “I love helping people see the connections between their health and overall quality of life.” Tenacious, business-minded and spiritual, Benton Peret is an explorer at heart. Benton’s love for innovation distinguished his career as a marketing consultant, working inside some of the world’s largest tech, financial and retail companies. And it has been his lifelong exposure to yoga and meditation that grounded and enhanced his life along the way. Benton co-founded Nanga to make products he would want to use. Harnessing his spirit of discovery, creative business expertise, and excitement for design and technological advances, he created a company on a mission. Nanga exists to help people—through both its products and business practices. Mark “My personal mission is to serve others. I want people to achieve their health and wellness goals, and have fun while doing it.” Devoted cyclist and sales expert Mark Taylor found yoga over ten years ago. Ultra-endurance events have long defined Mark’s love of hitting the road with two wheels, and he was in need of a method for cross training to balance the impact of intense road and mountain biking. Mark tried yoga and quickly realized a regular practice was essential to keep his body feeling good and avoiding injury. Away from the saddle and the mat, Mark’s entrepreneurial ambitions had planted a seed: he was drawn to build a company that treats everyone along the chain of creation and distribution—customers, suppliers, employees and contractors—as important stakeholders. Ever the problem-solver, Mark was confounded by the yoga towel that refused to stay put in practice. Knowing there had to be a better way, he partnered with Benton to figure out what it was. The result was the SnapMat. https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1452302575706-530TWJSMF6GQB3WV6R49/12022334_1660345180846192_7298912608961631898_o.jpg Copy and Branding: Nanga Yoga Copy can also be found on the Nanga Yoga website here. About Nanga Yoga   What is Nanga Yoga? Nanga literally means “naked.” Nanga is here to support your yoga, so you can practice with the confidence you need to simply be you. We started out wanting to fix a problem—no more slipping on your mat or fixing your towel—and created mats and towels with keen design and durable, high-quality materials. They are simple enough to enhance your practice without losing sight of the reasons you fell in love with yoga. Stop slipping and adjusting your yoga gear and start enjoying a pure connection with the flow, and the present moment. Made Pure Reliable and uncomplicated, products like our SnapMat enhance your practice, preserving the purity of your experience while cutting down on distractions. Made Simple Simplicity reigns supreme. Nanga Yoga is committed to making durable yoga gear of the highest quality you’ll find anywhere. Made with Purpose Yoga is for everyone. Nanga’s yoga accessories are made for real people—all shapes, sizes and ages, with real world bodies, strengths, and experiences. Just like our products, our business model is designed with purpose. We source local manufacturing whenever possible, and donate 5% of profits to charitable community outreach organizations. Learn more about how Nanga Yoga gives back below. Made to Last We value sustainability and are dedicated to creating products worth investing in. Nanga Yoga is proud to offer yoga mats and accessories that are made for the long haul, not the landfill. Our mats should last you a lifetime.   Giving Back Nanga Yoga is more than great yoga gear. We believe in conducting compassionate business. We source local raw materials and labor whenever possible. Our assembly tooling and parts are manufactured in Fort Worth, TX. We donate 5% of profits to charitable community outreach organizations. Some incredible programs we are supporting: Wounded Warrior Project A Florida-based non-profit based that offers nationwide aid to honor and empower wounded service members. Vipassana An independent global organization that offers non-religious meditation courses and information at zero cost and recognizes all people can benefit from meditation.   How can YOU get involved? Anyone can be a part of Nanga Yoga’s greater mission to help others. Every purchase makes a difference (we donate 5% of all profits to our 501(c)(3) partners). Every shared Facebook message, Instagram post or honest product review helps spread the mission that powers the gear you love. Want to partner with us? Send your thoughts and ideas to nanga@nangayoga.com. We still read each and every email.   Then & Now The first batch of SnapMats was made in our co-founder’s house! Living space was transformed into workshop and warehouse until the kinks were worked out. A machine shop that specializes in the making of airplane parts was called in to custom manufacture the tools needed to attach our snaps. Different versions were tried, scrapped and refined until the durable, high quality SnapMat we sell today came to be. At our core, we are here to share yoga by making innovative products that enhance the practice. The SnapMat was only the beginning. Where are we headed? Nanga creates tools for your yoga practice that are at once useful, individualized and lovely. Our designs started simple. We’re adding on now, partnering with local artists whose unique designs will beautify the things we make for you. As we grow, we pledge to make every detail a conscious decision. We are committed to maintaining high quality and performance as we engage with local manufacturing, warehousing and fulfillment, and community outreach programs.     The Creators of Nanga Yoga Benton “I love helping people see the connections between their health and overall quality of life.” Tenacious, business-minded and spiritual, Benton Peret is an explorer at heart. Benton’s love for innovation distinguished his career as a marketing consultant, working inside some of the world’s largest tech, financial and retail companies. And it has been his lifelong exposure to yoga and meditation that grounded and enhanced his life along the way. Benton co-founded Nanga to make products he would want to use. Harnessing his spirit of discovery, creative business expertise, and excitement for design and technological advances, he created a company on a mission. Nanga exists to help people—through both its products and business practices. Mark “My personal mission is to serve others. I want people to achieve their health and wellness goals, and have fun while doing it.” Devoted cyclist and sales expert Mark Taylor found yoga over ten years ago. Ultra-endurance events have long defined Mark’s love of hitting the road with two wheels, and he was in need of a method for cross training to balance the impact of intense road and mountain biking. Mark tried yoga and quickly realized a regular practice was essential to keep his body feeling good and avoiding injury. Away from the saddle and the mat, Mark’s entrepreneurial ambitions had planted a seed: he was drawn to build a company that treats everyone along the chain of creation and distribution—customers, suppliers, employees and contractors—as important stakeholders. Ever the problem-solver, Mark was confounded by the yoga towel that refused to stay put in practice. Knowing there had to be a better way, he partnered with Benton to figure out what it was. The result was the SnapMat. http://www.lisarigby.art/lone-chair daily 0.75 2016-05-31 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464728866363-O5T1VMNQLBE4JHMMCFH8/Lone+Chair+Detail.jpg Lone Chair https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464728818164-W7XHU5LZABIOEK065E1W/Lone+Chair+Detail.jpg Lone Chair https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1464728824229-78QJZDJPE8NRYGG8GCSA/Lone+Chair.JPG Lone Chair http://www.lisarigby.art/melissa daily 0.75 2016-06-13 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1465850128227-SZROQVGQDIMX0JD64035/Melissa_detail.jpg Melissa https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1465850128227-SZROQVGQDIMX0JD64035/Melissa_detail.jpg Melissa https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1465850125219-GJQ8I8TF0KCCKTSF876L/Melissa.jpg Melissa http://www.lisarigby.art/grandparents daily 0.75 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Bay Bosk https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1622238224824-EYHL0AG6YHZGQ2PNN7ZW/Bay+Bosk+Detil.jpeg Paintings - Bay Bosk https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1622238222955-WRGRV834OBYF9PT8DSEN/Bay+Bosk+Detail+2.jpeg Paintings - Bay Bosk http://www.lisarigby.art/paintings/russian-ridge-2 monthly 0.5 2022-12-14 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1622240193858-KWPMUVJH0G907NNY9Q03/Russian+Ridge+2+20+x+24.jpeg Paintings - Russian Ridge 2 http://www.lisarigby.art/paintings/russian-ridge-1 monthly 0.5 2023-01-13 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1622240118736-DD5WTT6KUY15BKEAGEOA/Russian+Ridge+1+20+x+24.jpeg Paintings - Russian Ridge 1 http://www.lisarigby.art/paintings/dontfall-jjkfr-9pdzz-ghawk-jcgk5-pgcrg-gphb5-7p32t-jzmcz-dcy32-zektt-7bzrw-mrnee-r66pn monthly 0.5 2023-09-15 https://images.squarespace-cdn.com/content/v1/553ec06be4b04c9148d5dc76/1680900828559-4FNYMS6UCM410CGOHEGK/PXL_20230404_001251204.jpg Paintings - 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