Winners of the Ariel Bybee Endowment Prize, Gonzalo and Susana Silva speak about their new exhibition, Instrumentos de silencio (Instruments of Silence). The 15-piece show at Sargent's Daughters gallery in New York (and later traveling to the Graduate Theological Union in Berkeley, California) plays with ideas of musical instruments and history, but also the ways that invading Europeans subjugated and tandemized Andean populations with outside culture, including music.

Music: "Please Only Tell Me Good News” by Stephen Anderson; used with permission.

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His paintings are in nearly every Latter-day Saint meetinghouse and in many temples in the world. The beloved artist Walter Rane discusses in this podcast his life as a painter, insights he has discovered about himself through the freedom of creating, and why he loves painting now more than ever.

Music: "Please Only Tell Me Good News” by Stephen Anderson; used with permission.

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It’s like a true crime podcast, but it’s about art. An heirloom masterpiece is created, mutilated, inherited, then lost--one of the most important objects in a rich culture’s history. Over a century later, a frantic search ensues, not unlike a manhunt, with a deadline fast approaching and a forthcoming, major exhibition hanging in the balance. Can it be recovered in time?

Scholars Heather Belnap, Ashlee Whitaker Evans, and Brontë Hebdon detail the extraordinary tale of a pre-Civil War album quilt cut in half, lost, and then found. The work itself is one of the most significant objects in all of LDS culture.

Music: "Please Only Tell Me Good News” by Stephen Anderson; used with permission.

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Taiwanese Australian filmmaker Daniel Yen Tu tells about a new book project and screenplay, '93 Castrol which is the fast-paced story of siblings, a stolen race car, and a search for redemption from self-described low-lifery. The discussion of this limited edition artists book contains something even bigger--an emerging artist discovering identity, voice, and a newfound sense of authenticity.

Music: "Please Only Tell Me Good News” by Stephen Anderson; used with permission.

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Lisa Hess moved to New York at the age of 16 and a year later was asked to join the company of the New York City Ballet. That began an adventure with some of the great choreographers and dancers of the century, in a golden age of dance in America. Hess worked with the legendary George Balanchine in his final decade of life, frequently with Jerome Robbins, and others. In this extended oral history episode, Lisa Hess Jones captures a vivid era--a girl from Amarillo, Texas who finds herself with superstars Nureyev, Baryshnikov, Farrell, and a host of luminaries as she charts her course as a female, LDS artist, before embarking on a second career as a teacher, choreographer, and mother of two boys.

Music: "Please Only Tell Me Good News” by Stephen Anderson; used with permission.

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After an emerging-artist blitz of 26 New York exhibitions in just 7 years, the award-winning visual artist Valerie Atkisson de Moura hit a wall. Adrift and depressed in a new home, she received a medical diagnosis of an incurable disease and discovered that her mother had the same disease but had kept it secret from the family. Then, in a horrible year, her mother died, Valerie was hit by a car and suffered head trauma that changed the way she lives and works. Throughout everything, the artist's focus of creating art based on family history sustains her and propels her forward.

Music: "Please Only Tell Me Good News” by Stephen Anderson; used with permission.

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Potter Ben Behunin has created a body of work that includes message-driven ceramics exhibited in museums and galleries. He is also an author, and the subject of this interview is his field guide, “How to Seduce a Sasquatch,” which includes tips to jumpstart creativity and related theories.

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Dancer, choreographer, and teacher Kate Monson describes her work at Brigham Young University, where approximately 5,000 students each semester take dance classes. She describes the dance-friendly LDS culture, how all of us are dancers, and how, as a dancer's career progresses, it is impacted by ageism. Finally, Monson draws connections between her spirituality and physical movement.

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