Katy Henriksen

KUAF host of "Of Note", Arts Director and contributor of "Ozarks at Large"

Katy Henriksen is a Fayetteville native who grew up in a musical household. She began violin lessons at age six and later added voice, viola and piano to her musical studies. She was briefly a music major at the University of Arkansas before switching over to print journalism (B.A. '00, M.A. '03) and she's been covering arts and culture ever since, both here in Northwest Arkansas and in New York City, where she lived from 2004 to 2008. 

She's covered arts and culture for the Brooklyn Rail, New Pages, Oxford American, Paste, the Poetry Project Newsletter, Publishers Weekly, Venus Zine, Wondering Sound and others. You may have seen her documentary Rare Edition, about the Dickson Street Bookshop, on AETN. Her favorite violin concerto is Mendelssohn's Concerto in E minor. In addition to joining KUAF as the classical music and arts producer, she's the music editor for The Rumpus, an online cultural magazine based in San Francisco.

Ways to Connect

The next week of episodes for Of Note with Katy Henriksen includes new music, a tribute to an American icon of classical music and more. Katy drops by to give us a preview.

As part of Of Note's Symphony Sunday edition, Ohio-based composer Jack Gallagher allowed a rare glimpse into the deeper processes behind writing a major symphony, specifically his Symphony No.2 'Ascendant,' a tremendous work that stretches over an hour in length.

Kazem Abdullah began playing classical music at 10, but his real passion was always how the pieces of an orchestra can contribute to a whole. Now at 38, he has been following his passion for conducting for nearly ten years.

"The variety of the repertoire that one can study and perform is vast and great as a conductor," says Abdullah. "You have close contacts in a wide variety of art forms."

Next week's Of Note with Katy Herniksen will include, of course, music from the Malcolm Hayward Music Library, but there will also be words and music from the musicians themsleves.

Kat Wilson

Kevin Arnold's latest exhibition at Fenix Gallery, "Wishful Misgivings," exemplifies all the ambivalence of its title, a retreat into sickly-sweet nostalgia spurred on by a chaotic and disordered world.

Arnold specializes in large canvases that explode in colorful stimuli--but the composition is far from haphazard. Indeed, the approach works within "Wishful Misgivings" to represent the fragmented, overloaded experience that is 2018 in the United States. 

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