FOLLY with Elizabeth Colton
Chair, International Museum of Women
July 2007 issue

When my daughter Ashley was about four years old (early 90s), I wanted to take her to a place where she could experience her heritage as a female. I wanted her to be
surrounded by images of women who are making contributions and changes. I did not want Ashley and her generation growing up like every other generation of young
women thinking that women before them had never done anything important. Later I have come to understand that it is equally important for my son – and all our sons
– to also learn the value of women. When I looked around for a place to take her, I found none - there was no place that recognized global women’s history both in the
past, nor paid attention to the history we are creating today.     

YouTube Video Link of IMOW Exhibit

FOLLY with Steve Stockdale
Executive Director, Institute of General Semantics
June 2007 issue

First, I’d say that there is little if any benefit to be gained by just ‘knowing’ something about general semantics. The benefits come from maintaining an awareness of
the principles and attitudes that are derived from GS and applying them as they are needed. You can sort of compare general semantics to yoga in that respect...
knowing about yoga is okay, but to benefit from yoga you have to ‘do’ yoga. The same is true with general semantics. While there may be some satisfaction in learning
and understanding the methods and principles, the real test is in the ‘doing.’ Some of the typical problems that may be eliminated or at least diminished through GS
would be things like not treating an inference or opinion as if it were a fact; not jumping to inappropriate conclusions; avoiding gross generalizations and stereotypes;
enjoying the individuality and uniqueness of every person and situation; delaying your reactions and not making knee-jerk, emotional reactions; and recognizing that
while words have certain accepted definitions, the ‘meanings’ or significance of those words varies with the individual speaker, listener, and context.

FOLLY with Kavita Ramdas
CEO, Global Fund for Women
May 2007 issue

Being their daughter shaped me a lot and informed my understanding and appreciation of working inside & outside the system. My father’s role within the military and
his access to influence gave me a view of what it means to work within the system. And my mother exhibited such courage with her refusal to accept the status quo.
She was always willing to take on the system from the outside and to challenge it and to hold it accountable. They taught me that it’s always important to understand
that people's contributions to social change can be made from different places, based on their skills and vantage point. As a result, I am someone who appreciates
both those who take to the streets and protest to make change and those who work within organizations and systems whether those are corporations or government
entities. The key issue for me is seeking to maintain one's integrity in the process. There do come points at which it is no longer possible to work from within a system
because it is so compromised. What matters then is having the courage to step away.   

FOLLY with Rene DeGuzman
Director of Visual Arts, Yerba Buena Center for the Arts
April 2007 issue

My greatest challenge is to educate the public on the value of contemporary art. As you know, art is not being taught in the public schools and there is zero coverage of
it in the mainstream press. It then falls on curators and other professionals to work against the tide of neglect to demonstrate the importance of the public finding ways
to express themselves to others. I mean if there were no contemporary art being made, appreciated and supported then what would generations and generations after
us have as representative objects and forms to understand our times.  (Rene is now  senior curator of art at Oakland Museum of California)  

FOLLY with Leonard Shlain
Writer, Surgeon
March 2007 issue

The reason I felt qualified to write
Art and Physics is that I believe a surgeon must be artist and scientist. I am dismayed by compartmentalization in fields. We have
become so specialized that we don’t and can’t appreciate the interdependence and influence of varied fields. It is one of my goals to bring together disciplines.

Culturally, as with the hemispheres of the brain, there are two very distinct sets of related attributes and characteristics. East is right. West is left. I see a coming
together of right and left brain, east and west cultures - a global "mellowing out" of dominant and non-dominant brain activity and culture. When the New England
Journal of Medicine publishes an article on meditation, which it did 15 years ago you can believe that we are headed toward that shift.  

*Sadly, Leonard has passed away.  He will be missed.

FOLLY with Mark Kozelek                
February 2007 issue

My dad wrote me a letter recently that said I had a lot of 'gumption' -- a funny word, but he’s right. He was referring to some setbacks I had. One recently that would send
most musicians back to their day jobs permanently. To be in this business for 10 years plus, it takes a lot more than writing nice songs, having an interesting voice
and hopping on a plane. Making good music that people take an interest in is essential to it all, getting those pats on the back; but there are ups and downs,
unpleasantness and discouragement. Labels come and go, band members, management problems, you get stiffed, and your personal life suffers if you let people
pull the strings for you.
Mark Kozelek
Leonard Shlain
Rene DeGuzman
Kavita Ramdas
Steve Stockdale
Elizabeth Colton
FOLLY with Harlan Mandel
Deputy Managing Director, Media Development Loan Fund (MDLF)
June 2008 issue

How can social venture funds like MDLF access the private capital markets? We see that as a very important question that we need to figure out because it
represents a much larger potential resource for the sector than traditional philanthropy. There are a number of other social venture intermediaries out there - like
our partners at responsAbility and the Calvert Foundation and also Good Capital - trying to figure this out as well.  

Most of our clients are not in a position to be accessing private capital markets directly, but we think that through MDLF we can get them that access. The security
that was issued by Vontobel was called Voncert responsAbility Media Development, which is listed on the Zurich stock exchange. Voncert responsAbility Media
Development was a new idea for how social ventures can approach the capital market.  For us, it was an important milestone in a number of ways. Just
successfully going through the due diligence process that an institution like Vontobel would require was a milestone for us and in a sense gave us a very
different kind of seal of approval. Also, the experience gave us a better understanding of what it means to try to access that marketplace and how very different it is
from traditional fundraising.  responsAbility is a great outfit, and they did an excellent job taking us through that process. We’re now looking for new ways to do
something similar again.  
Harlan Mandel
Photo (c) 2008 MDLF
FOLLY with Dr. Mario Livio
Astrophysicist and Author
January 2009 issue

The question of whether mathematics is an invention or a discovery has been debated since the time of Plato and continues to be debated today. I argue in the book
that the question has been ill-posed, since the question seems to imply that the answer has to be one or the other, but that it cannot be both. In fact, mathematics is
partly an invention and partly a discovery.  Mathematicians invent the CONCEPTS (such as a right triangle), and then they discover the RELATIONS among these
different concepts (such as various theorems).  
Dr. Mario Livio.  Photograph
courtesy of John Coyle, Jr., 2009
FOLLY with Lowry Burgess
Space Artist, Educator
August 2009 issue

The poetry and the piece are about where darkness and light are one eternal presence, a profound sense of connection, the fusion of opposites, a
deep inward and outward truth or inspiration linked.  

I chose to do the space art for political reasons. I think it is a positive work, coming out of a time (my work started in the 1960s) when socially and
politically, things were desperate. I don’t know if you know I studied Southeast Asian anthropology. I knew the culture and history of Vietnam. The
question of what we were doing in Vietnam was very problematic for me. I wondered what my role was and what I was doing on Earth. I didn't know
where I was in the world or in society. This prompted my movement into space and art and space.
Cubic Lunar
courtesy of
Janet Burgess
Bassam Mansour with Ghani Alani
April 2010 issue

“My teacher was called Hachem Mohamed, better known as Baghdadi. He was a pupil of one of the greatest masters of calligraphy, whose lineage goes
right back to the Abbasid tradition, twelve centuries ago. I was thirteen when I first met him. For three years I submerged myself in the study of writing. Once I
had finished the first phase of study, the second seemed easier. Forming one letter leads to making two, and these two letters go on to make a word, and
then a sentence.”

But this Master of calligraphy was not happy just teaching him how to form the letters with his pen; he also encouraged him to see the link between man
and letter. “Calligraphy has something to do with the soul,” he feels. The calligrapher’s pen is an extension of his arm, of his whole being. “My master never
told me how to trace my letters. Instead, he drew my attention to the link between the body and the letter. ‘Our hands,’ he said, ‘are different, and their size
affects the letters, so the letter is a reflection of the man.’”  
Ghani Alani
FOLLY with Donald Hess
Swiss Art Collector
May 2010 issue

I did not become a collector until I finished “decorating” the walls of my house about three years after I had started buying art. I also
realised that the most difficult part in buying art is to differentiate between a pleasing piece of art and a piece of art that deeply touches
you. I learned not to purchase a piece of art right away but to sleep for several nights prior to purchasing an artwork. I realized that art
that really touched me would wake me up in the middle of the night and I would clearly see the piece of art in front of my eyes.

Curiosity about special artists and their work drew me into collecting.   
Donald Hess
FOLLY with Saleh Barakat
Contemporary Arab Art Expert
November 2010 issue

In some aspects, such as the rising influence of star curators and international collectors on driving artists within certain perspectives, I would say Arab
and Western art are similarly sensitive. On some other aspects, such as the formal approaches, Arabs would be more inclined towards the psychological
import, content and narratives, than the materials and how they are used.  Artists coming from countries like Lebanon or Egypt, with 150 years of modern
art history, have definitely a greater legacy and impact as descendants of five generations of artists who preceded them and paved their way as major
shakers and movers of their local societies. But no matter how art as a creative expression is recent in any country, it will always catch up when properly
nurtured to become a necessity.
Saleh Barakat
Stephen Croke with Marcus Shelby, Musician and Composer
Soul of the Movement: Meditations on Martin Luther King, Jr.
January 2011 issue

The challenge is always creating thoughtful and musical backgrounds around the soloist that don’t get in the way of their ideas. I really love the
combination of sections with full orchestration and sections with improvisation in blues based music. Even in the sections that have “solos” or
improvisation, the goal is to connect these individual statements to the overall architecture of the piece. That’s why I consider very carefully all the voices
that are in the orchestra and how to organize them in a way that fulfills that goal. I believe this is the genius that Louis Armstrong, Duke Ellington,
Fletcher Henderson, and Count Basie left as a blue print for future generations to build upon (not copy) and that is the balance between written music
and improvised music and how the combination forms an elaborate and dynamic conversation.  
Marcus Shelby, photo credit Peter
Varshavsky 2011 courtesy Marcus Shelby
FOLLY with Lucinda Barnes
Chief Curator and Director of Programs and Collections BAM/PFA
June 2011 issue

As part of our exhibition planning, we evaluate each project in terms of what approaches would be most relevant and educational. Our goal in providing
clear and concise information is to enrich the understanding, appreciation, and experience of the works of art and the ideas which ground the
exhibition and/or film series. We also want the materials to encourage and stimulate the viewer’s own discovery and learning. As you may know, all of
our Film Notes are archived on the BAM/PFA website (, as are our written materials for the exhibitions, and media
documentation of public programs ( This is a broad, deep, and very rich archive which extends the
visitor experience far beyond the presentation dates of an exhibition or film series.  
Lucinda Barnes, BAM/PFI
Photo credit Peter Cavagnaro
FOLLY with Kenneth Baker
Art Critic/Writer
July 2011 issue

My aims in writing vary with the details of the task and the subject. Sometimes I think a point needs to be made. Often I see things in a work, a body of work
or an exhibition that I really want to share — minus that convivial impulse, my writing (I can't speak for anyone else's) doesn't come alive. Often I see work
that I like and feel craves a sort of completion or fulfillment through charged description. But fundamentally, I think someone with a platform such as mine
has a social duty to set an example in clean language of how a point of view forms and expresses itself, and just to show how words can be used aptly. (I
don't say "correctly," though I partly mean that, because, as poets continually show us, correctness and aptness do not always come to the same thing.) In
our non-physical being, we are made of language, and we continually reshape parts of ourselves through it. So it matters very much what modes of
expression we assimilate, and how we become aware of that. I borrow one of my critical mottos from a line in an Anne Stevenson poem: "The way you say
the world is what you get."

Part of the tacit instruction that goes on in art writing at its best — which I modestly think I achieve now and then — is showing people ways of valuing their
experience, of which they may be unaware or aware only unconsciously, or to which they may even be resistant, owing to some sort of repressive training
implicit in the culture at large. But nobody can make people focus if they’re not inclined to by temperament or curiosity, and focus is the crux, especially in a
culture distracting itself to death (make that “from death”).
Kenneth Baker, Art Critic/Writer
Photo credit Olivia Wareham
FOLLY with Grace C. Stanislaus
Executive Director, MoAD
April 2012 issue

We present exhibition and non-exhibition related public programs for audiences of all ages, which includes lectures, gallery talks, interactive demonstrations/workshops,
film screenings, book readings and signings, performances of music and dance that feature subject, themes and forms of cultural expression based on African, African
American and African Diaspora art, history and culture.  We offer enriching education programs that includes guided tours for school children and the general public;
educator’s workshops, and a MoAD Youth Media Program (MYMP) that offers training and a rich mentoring environment that supports youth in grades 10 through 12 in the
development of their multimedia, leadership and communication skills.  Our public and education programs are presented in our Education Center and our public
presentation space called the Salon.
Grace C. Stanislaus, MoAD