With a theme of renewed hope, officials with the Women's and Children's Alliance gathered at a special presentation Oct. 4 to receive a stained-glass butterfly to replace one stolen from the "Taking Flight" sculpture outside of the organization's headquarters.
The previous stained-glass butterfly, valued at $2,500, first disappeared from the WCA's downtown Boise building in March 2012. It was returned after a few weeks but, two months later, the butterfly was stolen again.
The new butterfly was granted to WCA by Kuna artist Valerie Pierce and presented at the Oct. 4 breakfast to honor survivors and first responders of domestic violence.
“Anytime we have adversity in our life, we have a chance for metamorphosis—that is what the butterfly symbolizes—especially the monarch,” said Pierce, who re-created the original "Taking Flight" butterfly. “It has this amazing journey. It is long-lived and it is a survivor. And that is what these women are. They are survivors.”
For Cindy Mendoza, a survivor of domestic violence, the WCA gave her the hope and the tools to get out of an abusive marriage.
“After a first few times with the counselors, I began to change inside. I began to feel better. And then I realized what that was—it was hope. It was starting to creep inside me,” said Mendoza.
The Oct. 4 event also highlighted the power of individuals to report and stop domestic violence.
“It is so interconnected. If someone is involved in a physically violent and abusive situation, many times first responders are the ones that are going to be there—witnessing or helping to patch them up,” said WCA Executive Director Bea Black. “One individual can make a difference.”
First responders to domestic violence can be anyone—the victim, the victim’s family and friends, law enforcement, emergency room doctors or nurses.
“One person can stop domestic violence,” said Shawn Rayne, deputy director of Ada County Paramedics. “And when things go right, it gives you hope and faith that we really can make a difference. It doesn’t happen every time, but the more and more we do, and the more and more we are aware—we can make a difference.”
If you attended Modern Art 2012 at the Modern Hotel, it would have been pretty hard to miss the wall cover made out of knitted and crocheted videotape.
Adrian Kershaw, a Boise artist, created the wall cover specifically for the event. The 30-foot by 6½-foot piece was created with 100 percent recycled VHS tape. The project took three weeks and more than a dozen volunteers to create.
Today’s Hollywood Reporter chronicles a unique legal battle between a film producer and director that recently played out before the Idaho Supreme Court. The case revealed a classic power struggle between financing and artistic vision. David Richards, producer of The Hayfield, about an 1867 battle between Montana settlers and a Native American tribe, sued the film's director, Randy Starkey, for what was called "utilateral" posession of the movie.
In happier days, Richards and Starkey formed Minor Miracle Productions, an Idaho company, to support their project. As producer, Richards put forth the funding while Starkey helmed the production. Their agreement was that all of the film's proceeds would be equally divided. But following production, disagreements prompted Richards to file suit against Starkey for breach of contract, accusing the director of plotting to sell interests in the film to outsiders without Richards' consent. The film wrapped in 2006, but has yet to be seen in a public premiere.
Idaho's high court ruled in Richards' favor and ordered Starkey to pay more than $1 million and surrender the copyright to the film.
The Hollywood Reporter drew ties of the ruling to a popular HBO series:
“Anybody who watched Entourage might remember the episode where fictional director Billy Walsh wants to protect his film from meddlesome producers at all costs and decides run off with the film stock.”
You can read the full court decision here.
Think of George Washington crossing the Delaware River on Christmas night, and chances are you think of the many artists' interpretations of the historic event. One in particular, the well-known 1851 painting by Emanuel Leutze, depicted Washington standing up in a rowboat, but historians say it's time to set the story, and the image, straight.
Tomorrow, a new painting will debut at the New York Historical Society museum in Manhattan, which shows Washington aboard a flat-bottomed ferry big enough to carry cannons and horses. The new painting shows Washington holding onto a cannon, bracing himself against a fierce snowstorm.
The artist, Mort Kunstler, said he researched historical and even weather records to help him craft the new portrayal. Kunstler said documents indicated a storm had swept in that night in 1776, brininging freezing rain, hail and snow.
History confirms that Washington and his troops crossed the Delaware from Pennsylvania to New Jersey and mounted a surprise attack at the Battle of Trenton on Dec. 26, 1776.
On Monday, Jan. 16, the new painting by Kunstler will be the subject of much comparison to Luetze's painting. That's the day the Leutze artwork will go back on public display at the Metropolitan Museum of Art, also in Manhattan.
Nothing sells tickets quite like a good controversy. The Huffington Post picked up a story today from north Idaho, where a mini brouhaha has surfaced over a local production of the Pulitzer Prize-winner Rent.
"Though its subject matter seems a trifle old hat now, the Broadway musical 'Rent' is causing controversy once again-this time in Idaho," wrote the Huffington Post.
It turns out that there have been dozens of letters complaining about a production at Coeur d'Alene's Lake City Playhouse, scheduled to open Friday, Jan. 13, 2012.
"It's not just because there are gays and lesbians involved," Arcadia Nicklay of Hayden told a television crew from Spokane. "It's because they are fornicating gays and lesbians."
The production's director Troy Nickerson told the Spokesman Review, "If you don't want to see it, please don't come."
The Boise Weekly van got more street this week. Our resident drawer, Adam Rosenlund, who also designed the citydesk logo that now graces the top of this blog, went and painted the truck.