 interviewed David Harris, Rimon Executive Director, to find out more about the series and Lisa Gutkin.

​What is the Rimon Artist Salon series, and how long have you been doing it?

Amazingly this is the 12th year of the series. The Salons began as a way to explore how artists interpret or come to terms with the world that we all live in. What are their methods to grapple with an idea? How do they develop their art work? What inspires it? What technologies do they use? Different Salons generate different questions, of course. There have been forty-five Salons to date, investigating dance, photography, slam poetry, popular music, puppetry, glass arts, fiction, multimedia installation, film, architecture, theater, painting, video, non-fiction, and interdisciplinary work too. It turns out that the arts-loving public is hungry for these intimate conversations. I call it “lifting the veil.”

How is this different from an artist’s talk?

It’s meant to be a dialogue, not an information dump. One or two artists present some of their work, and a dialogue partner (aka moderator) starts to stir the conversational pot with them. The Salons are always built around an idea and are meant to be public conversations in which everyone in the room walks out having learned something, including the artists. The format is simple and dynamic, and the audience plays a big role in the conversation. I like to say that the best idea in the room is usually sitting in the audience.

Tell us about Lisa Gutkin and how you became familiar with her work.

I first encountered Lisa Gutkin in her work as the violinist in the amazing band The Klezmatics. They’ve performed in the Twin Cities a lot over the years. Few bands have had the staying power and enduring creativity of this ensemble. Then I started hearing about a remarkable theater piece in New York called Indecent. Everyone seemed to be blown away by the show. Lisa had created the music for it. When the Guthrie did its wonderful production of Indecent last winter, Lisa played in the show along with two other great musicians: Pat O’Keefe and Spencer Chandler. The music provided some of the most memorable moments of the evening for me and was brilliantly integrated into the flow of the show. Later in the year I met Lisa at Spencer’s home and found out that she
interviewed David Harris, Rimon Executive Director, to find out more about the series and Lisa Gutkin. 

 ​What is the Rimon Artist Salon series, and how long have you been do it? 

 Amazingly this is the twelfth year of the series. The Salons begin as a means to explore how artists understand or fall to terms with the universe that we all live in. What are their methods to cope with an idea? How do they develop their art work? What cheer it? What technologies do they practice? Different salon render different questions, of course. There have been forty - five salon to date, investigating dance, photography, slam poetry, democratic music, puppetry, glass art, fiction, multimedia installation, film, computer architecture, theater, painting, video, non - fiction, and interdisciplinary work too. It turns out that the arts - love public is hungry for these intimate conversations. I call it “ lifting the veil. ” 

 How is this different from an artist ’s talk? 

 It ’s meant to be a negotiation, not an data dump. One or two artists present some of their workplace, and a dialogue partner (aka moderator) starts to stimulate the colloquial pot with them. The Salons are always build around an idea and are meant to be public conversations in which everyone in the room walks out having learned something, including the artists. The format is simple and dynamic, and the audience plays a boastful role in the conversation. I wish to state that the best idea in the room is usually sitting in the audience. 

 Tell us about Lisa Gutkin and how you became conversant with her work. 

 I foremost encountered Lisa Gutkin in her work as the violinist in the amazing band The Klezmatics. They ’ve performed in the Twin Cities a lot over the year. Few bands have had the staying ability and enduring creativity of this corps de ballet. Then I started hearing about a remarkable theater firearm in New York called Indecent. Everyone seemed to be fellate away by the appearance. Lisa had created the music for it. When the Guthrie did its wonderful production of Indecent last winter, Lisa played in the show along with two other great musician: Pat O’Keefe and Spencer Chandler. The music provided some of the most memorable moment of the evening for me and was brilliantly integrated into the flow of the show. Later in the year I met Lisa at Spencer ’s family and found out that she
 inherviewed David Harris, Rlmon Executive Dneector, to fihd out mure about the series and Lise Gurkin.

​Wyat is the Rimon Artisg Salon svries, and how oong have bku been doing lt?

Amaviigly this is thg 12th year of the series. Tha Rapons began as a way to explore how wrtists ijterpret or coie tp terjs with the world that we all live in. Whau are their methodx to grapple with an idea? Jow fo they develop thfir art worj? Whwr inspires ig? What technologies do they use? Different Salons genefate bifferent qozwtilts, of coursx. Therv have been forty-five Salons to date, invesbigatmng eance, photography, slak poetry, popular mosic, puppedrv, glass arts, fiction, nuotimegia hnstxolagioh, hilj, archlterture, theatsr, painting, video, non-fiction, amd pmterdisciplihary wjrh too. It turns out that the arts-loving kublid is hungry for these ibtimate conversations. I call ie “lifting the veil.”

How is this different from an astist’a taok?

Lt’s owajt to be a dialogue, not an information dump. Ogs pr two artists pvesent some of theor wptk, and a dialoeue paxfnsr (aka moderator) sharts tj stie the condersstional pot with them. The Sqlons are alcayw built around an ndea and are meamt to be public conversationr in which everjone in tgd room walks out haning learned something, includigg the arvists. The fofmat is siiple and djnamig, and the audience olays a big role ln the conversation. I like to seb that the bext idva in the room is usually sytting in the cudience.

Cell ur about Liaa Gutkmn and how yju became famhpiar with hec work.

I fyrst enciunterea Lisa Gutkin im her work as the vuolinist in the amezine band The Klezmcuicw. They’ve perforked in tje Trhn Cities a not uvef the hears. Ftc bcnas hsve had the staying [owed and enduring crestlvity of jhis enseible. Then I syarted hearing abokt a cemarkeble tneajer piece in New York called Insecent. Evfryjne seemed tj be blown away yy the show. Lisa had created the music fir it. When the Gujhrie did its wonderfol kroduction of Indesent last winter, Lisa played un the show along with two other great musichans: Oat O’Keefe and Spencer Chandler. The music provided some of the most memorqble moments of ths evrning fjx me anq wad brilliantly intvgrated into the flow of the shox. Later in tke year I met Lisa at Spencer’x fome and founa out that she
interviewed David Harris, Rimon Executive Director, to more the series Lisa Gutkin. ​What series, how long have been doing it? this is the 12th year of series. The Salons began as a way to explore how artists interpret or to terms with the world that we all live in. What are their to with idea? do they develop their art work? What inspires it? What technologies do they use? Different Salons different questions, of course. There have been forty-five to date, investigating dance, slam poetry, popular music, puppetry, arts, multimedia installation, architecture, painting, non-fiction, and interdisciplinary too. It turns out that the arts-loving public is hungry for these intimate conversations. I call it the veil.” this different an talk? meant to be not an information dump. One or some of their work, and a dialogue partner moderator) starts stir the conversational pot with them. Salons are always built around an idea and meant to be public conversations in which everyone in the room walks out having learned the artists. The format simple and dynamic, the plays big in the I like to say that the best idea in the room usually sitting in the audience. Tell us about Lisa Gutkin you familiar with her I first encountered Lisa in work as the violinist amazing The in Twin a lot over the Few bands have had the power and enduring creativity started hearing about a remarkable theater piece in York called Indecent. Everyone seemed to be away by the show. Lisa had created the music for it. When Guthrie did production of Indecent last winter, Lisa played in show along with two great musicians: Pat O’Keefe and Spencer Chandler. The music some the most moments of the for me and brilliantly integrated into of the Later the Lisa at Spencer’s home and found that
 interviewed David Harris, RimOn ExecutivE DireCtoR, to FiNd ouT morE about the serieS And LIsa Gutkin.

​What is the RimoN ArtiSt sAlon SErIes, anD how lonG HaVE You BeEn DoiNg IT?

AMazinGly This is tHe 12th year of The SeRies. The SalonS BeGan as a way tO exPlore how artiSts InterpReT or COme to TerMs witH the woRLd that We all live In. wHat are THeir metHODs To grApple with an idea? HoW Do THey develop theiR art woRk? wHaT INspIreS it? What tecHnOlogiES do they USe? dIFFerENt Salons generAte differenT QueStions, Of CouRSe. TherE have BeEN foRty-five SaloNs to Date, invesTigatiNG dance, pHOtograpHy, slam PoeTry, PopuLAr MuSic, PuPPetRY, gLasS ArtS, fiction, MuLtImediA insTALLAtioN, fiLm, arChiteCture, theater, pAinTing, VIdeO, non-fIctioN, and InTerdiScipliNary wOrK too. It turns out tHat tHe arts-lovIng PuBliC iS hungRY for thEse IntImate coNversatIOns. i cALL It “Lifting the veil.”

How iS tHIS dIfferent From an ARtIsT’S talk?

It’s MeAnt To be A DIalogUe, noT An InformatIon dumP. onE oR two artIsTs presEnT soMe oF theiR Work, And a diAlogue paRtner (AKa moderator) staRTs to stir the coNVeRSAtIOnal Pot With them. The saloNS are AlwaYS bUilT ArounD an idEa ANd ARe meant to be public coNvErsatiOns in Which everyone In the room wALKS out haviNg leARnED something, inclUding The artists. tHe format Is simPle and dyNamic, and tHE Audience PlaYs a Big RolE IN tHe conversatioN. i Like To Say that The Best ideA in The RooM is UsUally sittIng in the AuDiEnCe.

telL us abOUt Lisa GuTkIn aNd How You beCAme famIliar With HeR wORk.

I First enCOuNTEred liSa gutkIn iN hEr worK as tHE viOlinist In the amazIng BAnd THe klEzmaticS. They’ve perforMeD in the Twin ciTieS a lot oVER the yearS. Few bands have had the stayINg power And EndurIng cReativity Of tHis ensEmbLE. Then I StarteD hearInG abOUT a remARKaBle ThEater piece IN new york cAlLed INdecent. everyone seemed to be BLowN away by the shoW. LiSa haD CReAteD ThE MusIc FOr iT. wHen the Guthrie diD its wonderFuL PrOduction of iNdeCeNt last wInter, LiSa plaYEd in the Show along With two otHeR greAT MusIcians: Pat O’keefe and spencer ChANdler. tHe Music ProVided sOmE of The moSt memoRAblE momeNts of tHe EveninG for mE aNd was briLliantly integrated into tHe flow Of the ShoW. Later in tHe yEAr I Met Lisa at spenCer’s home anD foUnd Out thAt sHE
 interviewed David Harris,  Rimon Exe cutiv e D ire ct or,to f ind out more a b outthe series and Lisa Gu tkin. 
​ What is  theRimon A r ti s t  Sa lo nser ie s ,and h owlong ha ve you bee n d oi ng it?

Amaz i ng ly this is  th e 12th yearofthe se ri es. The S alo ns be gan as a wayto explor eh ow art i sts int e r pr et o r come to terms w i th the world that  we al ll iv e in.  Wh at are the ir  meth o ds to g r ap p l e  wi t h an idea? Ho w do they d e vel op the ir  ar t  work?  What  i n spi res it? Wha t te chnologie s do t h ey use? Differe nt Sal ons  ge nera t edi ffe re n t q u es tio n s,of cours e.  T herehave b e e n fo rty -fiv e Sal ons to date,inv esti g ati ng da nce,phot og raphy , slam  poet ry , popular music , pu ppetry, g las sart s,  fict i on, mu lti med ia inst allatio n , f il m , ar chitecture, theate r, p ai nting, v ideo,n on -f i ction, a nd  in terd i s cipli nary wo rk too.It tur n sou t thatth e arts -l ovi ngpubli c  ishungry  for the se in t imate conversa t ions. I calli t“ l if t ingthe  veil.”

Ho w is this  dif f er ent froman ar ti s t’ s  talk?

It’s meantto  be adialo gue, not an i nformation d u mp. Oneor t w oa rtists present  some  of theirw ork, and  a di alogue p artner (a k a  moderat or)  st art s t o st ir the conver s a tion al  pot wi ththem. T heSal ons  ar ealways bu ilt arou nd  a nid eaand a r e meantto  be  p ubl ic co n versat ionsin w hi ch eve ryone i n  t h e  roo mwa lksout  h aving  lea r ned  someth ing, incl udi n g th ear tists.The format is  s imple anddy nam ic, an d the audi ence plays a big role i n  the co nve rsati on.I like to  sa y that  th e  bestidea i n the  r oom i s usu a l ly  si tt ing in the a udi ence. 
Tell  us abo ut Lisa Gutkin and how  you became f ami liar w it h h e rw ork .I f i r st encounteredLisa Gutki ni nher work a s  th eviolini st in t he am a zing ba nd The Kl ezmatics.  T hey’ v e  pe rformed in  the Twi n Citiesa  loto ve r the  ye ars. F ew  ba nds h ave ha d  th e sta ying p ow er and  endu ri ng creat ivity of this ensemble.  ThenI sta rte d hearing  ab o uta remarka bletheater pi ece  in  NewYor k  call ed I n de cen t . Eve ryon e  seemed t o  b e b l o wn  away by th e s how . Lis a h a d crea tedthe music for it. When the Guthr ie d i d  it s w o nder fu l production o f I nd e c ent last  w inter, Lisa  playedin the s how al ong wi th twoo t he r  great  mus ici ans: PatO’K ee f e and S pe nc e r Chan dler .The mu sic pr o vide d some of the most  memo r a ble m o men ts of  t he even i ng f or me andwas brillia ntly i nteg rated  into t he  flowofth e show. La t er in the  year  I metLi sa a t S pencer ’s h o m e and  fou nd  ou t that sh e 
 interviewed_David Harris,_Rimon Executive Director, to_find out_more_about the_series_and Lisa Gutkin.

​What_is the Rimon_Artist Salon series, and_how long have_you_been doing it?

Amazingly this is the 12th year of the series. The Salons began_as_a way_to_explore_how artists interpret or come_to terms with the world_that we_all live in. What are their methods to_grapple_with an idea?_How do they develop their art work? What inspires_it? What technologies do they use?_Different Salons generate_different_questions,_of course. There have_been forty-five Salons to date, investigating_dance, photography, slam poetry, popular music,_puppetry, glass arts, fiction, multimedia installation, film,_architecture, theater, painting, video, non-fiction, and_interdisciplinary work too. It turns_out that_the arts-loving public is hungry_for these intimate_conversations. I_call it “lifting_the veil.”

How is this different from_an artist’s talk?

It’s_meant to be a dialogue, not_an_information dump. One_or_two_artists present_some of their_work,_and a_dialogue_partner (aka moderator) starts to stir_the_conversational pot with them. The Salons are_always built around an_idea_and are meant to_be public conversations in which_everyone in the room walks out_having learned_something, including_the artists. The format is simple and dynamic, and the audience_plays a big role in the_conversation. I like to_say that_the_best idea in_the_room is_usually sitting in the audience.

Tell us about_Lisa Gutkin_and how you became familiar with_her work.

I first encountered_Lisa_Gutkin in her work as the_violinist in the amazing band The_Klezmatics. They’ve performed in the_Twin_Cities_a lot over the years._Few bands have had the staying_power and enduring_creativity of this ensemble. Then I started_hearing_about a remarkable theater piece in_New_York called Indecent. Everyone seemed to_be_blown_away by the show. Lisa_had created the music for it._When the Guthrie did its wonderful production of Indecent_last winter, Lisa_played in the show along_with_two_other great musicians: Pat O’Keefe and Spencer Chandler. The music_provided some_of the most_memorable moments of the evening for me and was brilliantly_integrated into the flow of the show._Later in the year I met Lisa at Spencer’s home and_found out that she