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Now on View: ‘Grounded in Clay: The Spirit of Pueblo Pottery’ at the Vilcek Foundation

Harry Johal

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Now on View: ‘Grounded in Clay: The Spirit of Pueblo Pottery’ at the Vilcek Foundation


Developed in partnership with the School for Advanced Research and the Metropolitan Museum of Art, the exhibition features more than 100 historic and contemporary works of Native American pottery.

The Vilcek Foundation is pleased to present Grounded in Clay: The Spirit of Pueblo Pottery, with dual presentations at the foundation’s Manhattan headquarters and at the Metropolitan Museum of Art from July 2023 through June 2024. Developed in partnership with the School for Advanced Research (SAR), the exhibition includes more than 100 historical and contemporary works of Native American pottery originating in the Pueblo communities of what is now the southwestern United States. 

The exhibition at the Vilcek Foundation opens July 13, 2023, and is on view through June 2, 2024, by appointment. Tours will be conducted by the foundation’s Native American Art Fellow, Povi Romero (Pojoaque, Cochiti, Santa Clara, and Ohkay Owingeh).

The works included in Grounded in Clay: The Spirit of Pueblo Pottery were selected by members of the Pueblo Pottery Collective from the Vilcek Collection and from the collections of the School for Advanced Research and the Indian Arts Research Center in Santa Fe, New Mexico. The collective, established specifically for the purpose of this exhibition, comprises more than 60 curators of diverse ages, backgrounds, and professions from more than 20 Native American communities, as well as non-Native museum professionals. 

Curators wrote about the works they selected for the exhibition and its accompanying catalog. Grounded in Clay is enriched by their voices and the diversity of personal, historical, and cultural insights they bring to exhibition visitors’ understanding of these works. The curators’ essays range from recollections on the practices of gathering clay and preparing pigments to poetry and essays reflecting on the works and their meanings. Several curators wrote about the living traditions of pottery-making and today’s artists and makers whose work links the present and future of pottery-making to the rich and important history of pottery-making in Pueblo communities.

Felicia Garcia (Chumash) of the Santa Ynez Chumash Museum and Cultural Center and of Native American Art Magazine, writes, “Exhibitions like this are really pushing the needle forward within the field and changing the way that Native art is presented within these spaces. Through this diverse collective of Native voices, we can see what is possible within these institutions when it comes to representing Native communities in a more honest, positive, and accurate way.” 

As Grounded in Clay: The Spirit of Pueblo Pottery opens in New York, the Vilcek Foundation launches a digital experience, Pueblo Pottery: Stories in Clay, online. The foundation worked with Pentagram to develop the experience, which serves to highlight and expand on the curatorial insights that make Grounded in Clay so unique, and to bring these insights to a wider audience. Users can navigate three-dimensional views of selected works of pottery that were captured using photogrammetry with the support of foundation partners at Cortina Productions and Forum One. 

Learn more about the exhibition: Grounded in Clay: The Spirit of Pueblo Pottery

Schedule a tour: https://vilcek.co/gic-tour

The Vilcek Foundation

The Vilcek Foundation raises awareness of immigrant contributions in the United States and fosters appreciation for the arts and sciences. The foundation was established in 2000 by Jan and Marica Vilcek, immigrants from the former Czechoslovakia. The mission of the foundation was inspired by the couple’s respective careers in biomedical science and art history. Since 2000, the foundation has awarded over $7 million in prizes to foreign-born individuals and has supported organizations with over $6 million in grants.

The Vilcek Foundation is a private operating foundation, a federally tax-exempt nonprofit organization under IRS Section 501(c)(3). To learn more, please visit vilcek.org

Source: The Vilcek Foundation

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Song 1’s New EP “What The ….” Leans Into Five Tracks of Deliberate Disorder

H Johal

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Song 1’s New EP “What The ….” Leans Into Five Tracks of Deliberate Disorder

Balle Balle Radio™ Entertainment Desk

London indie-punk band Song 1 have released a new five-track EP called What The…., following a year of lineup changes and what the band describes as a shift toward sharper, more off-kilter songwriting.

According to the announcement, the record lands following months of roster adjustments that solidified the five-member configuration, and the record is framed as the sound of that lineup settling into place. The band describes the title not as a literal question but as a kind of shrug, an expression of the loose, sideways attitude that runs through the tracklist.

The EP opens with “Feeling Sideways,” which the band positions as the reset point for this new phase, constructed from restless grooves and crooked rhythms, per the band’s description. The focus single, “Crooked,” follows, built around jagged guitar work, live drums and a melodic bassline, with the line “I move crooked but I land just right” serving as the track’s stated thesis.

“Morning Sun” is described as a tonal shift toward something wider and brighter, using imagery like a “paper weight sky” to move from heavier material toward something more lifted. “Not Lost” continues that throughline lyrically, with the band pointing to the line “I’m not lost, I’m just aligned / With the beat that hides between your time” as a statement of purpose. The EP closes with “My Shadow’s Got Its Own Mind,” which the announcement calls a late-night, low-lit close to the record, framing the band’s embrace of unpredictability as a deliberate stance rather than a lack of direction.

Taken together, the band and its team describe What The …. as the clearest statement yet of Song 1’s identity: an alternative indie-punk work anchored in big hooks, live-wire guitars and knowing self-awareness about not fitting a mold.

Studio CarryOnHarry will be watching whether “Crooked” gives the band a genuine breakout moment beyond the EP cycle, since focus singles built around a clear lyrical hook are often where a band either finds a wider audience or doesn’t.

No compass or straight lines required, as the band themselves put it, just an audience willing to turn it up.

Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.

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Canadian Blues Veteran Wailin’ Walker Sets New Album ‘Bluesmen’ for September 2026

H Johal

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Canadian Blues Veteran Wailin’ Walker Sets New Album ‘Bluesmen’ for September 2026

Balle Balle Radio™ Entertainment Desk

Blues artist Wailin’ Walker has scheduled the September 9, 2026 debut of his album Bluesmen via Jitterbug Records, according to the announcement.

The release comes almost exactly a year after Walker’s last album, Blues Lightnin’, which the announcement states reached the No. 1 spot on Canada’s blues charts within days of its September 2025 release. That back-to-back turnaround is notable for an artist whose catalog has otherwise been built over decades: Walker began his recording career in 1978 alongside The Houserockers and subsequently produced six independent blues records, according to the announcement.

Walker’s earlier records have had international reach. The Devil Made Me Play It, put out under the Amsterdam label Double Trouble Records, topped blues charts in the Netherlands, Spain and Australia, per the announcement. No Regrets and All Fired Up later topped blues charts in the United States and Canada. The announcement also credits Walker as a songwriter for Long John Baldry and Powder Blues, and lists a run as house band at Vancouver’s Commodore Ballroom for 78 shows, along with a stretch touring with the Jerry Doucette Band from 2006 to 2018. Walker’s music has ranked No. 2 on the Roots Music Report in 2014-2015 and No. 1 in 2024-2025, the announcement states.

Walker has said he was personally mentored by Buddy Guy, Pee Wee Crayton and Otis Rush, and has shared stages with Johnny Winter, George Thorogood and Stevie Ray Vaughan, according to the announcement. Such associations situate Walker within a dwindling cohort of contemporary blues performers who have worked directly with blues music pioneers.

No further details on Bluesmen — including tracklist, personnel or recording location — were included in the announcement.

Studio CarryOnHarry Perspective

At Studio CarryOnHarry, we see Walker’s mentorship lineage as perhaps his most significant legacy. In an era when direct connections to blues music’s foundational architects are disappearing, Walker represents a living conduit between generations—trained by Buddy Guy, Pee Wee Crayton, and Otis Rush, figures who shaped the electric blues sound itself. This isn’t merely biographical trivia; it’s cultural preservation. Each album Walker releases carries forward the accumulated knowledge and artistic sensibility of musicians who might otherwise fade into history as names in liner notes. With Bluesmen arriving in 2026, Walker has an opportunity to explicitly honor and transmit what those legends taught him, ensuring their influence doesn’t dilute through abstraction but remains tangible in contemporary recordings. For blues listeners and historians alike, Walker’s work functions as a bridge—proof that the tradition remains vital and evolving, not archived.

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