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Kara Roschi

@kroschi

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I'm a local culture advocate and public practice artist in Phoenix, Arizona. Founder at @tuningforkprojects, hub for arts & culture related services.

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Between being an educator and getting myself educated, I’ve completely lost track of how many ‘first days of school’ I’ve had.

I owe /this/ particular first day to so many folks who’ve let me into their own work and research, collaborated with me and challenged me (sometimes lovingly, sometimes not), and who’ve shown up for me even—or especially—when I’ve lost direction or confidence, or both. The list is very, very long.

Today, I’d simply like to express my gratitude to a few colleagues who were instrumental to the reality of this present moment: Dr. Johanna Taylor; Erika Lynne Hanson, Gregory Sale, and Rebecca Blume Rothman; Forrest Solis and melissa button. Thank you for your belief, support, and everything you’ve done to get me to this new starting line.

Here’s to the next phase of my public art career—in part, as an ASU *Design, Environment, and the Arts, PhD* student! taken in The Design School at ASU by @kroschi

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2 months ago

Last weekend offered something of a time machine back to earlier Roosevelt Row days: the video event at @graciestaxbar felt solidly and excitingly DIY; the artists and curators, free-ranging; the art, homegrown and experimental; the venue, the “it” bar that goes shoulder-to-shoulder at some point most weekend nights.

Motion - an exhibition of video works - was @curatedbyamo and featured art by:

@josevillalobosart
@nomellamo
@ifeelloveandifeelpain
@freebac
@philipgabriels
@ch1obotomy
@c75525
@babeimpala
@raullaborinn
@tasnimk.hadija
@villamilyvillamil

The crowd was a churning mix of new and old scenesters, students and townies, nined up in late-night styles—and associated demeanors—that ranged from grunge to glam. The diversity was united by one common factor: attention. This muggy night of weird, wild, flashing expression glowing across taut cloth was scratching an itch that solo-sized content on glassy screens just can’t accomplish.

Oy ya, I’ll say it again, the kids are alright.

Glad to’ve gotten out after 9p on a Sunday with @findcontext + @tuningforkprojects. ✌️ taken in Gracie's Tax Bar by @kroschi

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a year ago

A lovely afternoon experiencing @rbrothman’s activation of @cybelelyle’s installation, Floating Seeds Make Deep Forms, at @_smoca.

The whole space was based on reality—a roadtrip, a desert, regional architecture, and (today) native critters—all sucked through an art lens that deconstructed each into its constituent forms, palettes, behaviors, and relationships. These source materials were then reconfigured in-gallery in such a way as to honor the aesthetic trappings of mediums like collage, photography, and theater.

The loose and subtle “rules” of today’s crowd-integrated performance made observations of the space’s cohabitants particularly interesting: the solo-performing, bobble-headed, faux-animals were installation-dotting, poetic counterpoints to the uber-social, collective chittering of the attending flock.

Realizing that my own first visit to Lyle’s installation was nearly a year ago was also fairly sobering…! I have a whole trove of art photos that I’ve been waylaid in sharing. Looking forward to “being back”. taken in Scottsdale Museum of Contemporary Art (SMoCA) by @kroschi

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a year ago

No wonder we’re feeling so…unmoored. These fellas were our anchors, our grounding wires, our stakes, our rocks. I’ve been thinking a lot about this type of energy this last month since we’ve lost them, in such quick succession; theirs was a nature that feels both innate and settled into, as simple as it is complex, perhaps a burden and a joy. by @kroschi

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a year ago

We didn’t expect the house to be so quiet after you were gone, Lewie Bear.

Every time I shut a door in the house, I expect to hear the approaching clacks of your nails on the wood floor, the gentle thump of your sit-n’-lean on the backside letting me know I need to open up and let you in. There’s no heavy panting or snoring, none of the absolutely incessant licking or chewing. No big, deep, chuffing sighs. No one cares when the mailman comes or if breakfast is on time. There’ll be no howling to help the local fire trucks go faster.

Lew Roschi, the-very-best-most-handsomest-boy, was relieved of all his acoustic duties on Friday following a June lymphoma diagnosis. The house has a new and utterly heartbreaking silence.

Rest in Peace, my sensitive cowpoke. My Lewis, Llewelyn, Lewciano, Lewcifer, Lewchador. Cerberus, Bubby, Hey Bud, Chewy Lewis n’ the ‘goo. Budget Burger, Budget, Budge, Lumber Liquidator, Gubernatorial Candidate, Goob. Who’s So Handsome You’re So Handsome, (Po)Tato, Frijole Negro, my Good/Best/Sweet Boy. You were so loved.

#Lew🐃 by @kroschi

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a year ago

Raymond Ellsworth Petri Jr., age 88, lovingly known as “Pete” to friends and family, passed away peacefully at home in Lake City, Pennsylvania on July 8, 2025, surrounded by loved ones.

Born in Fairview in 1937, Pete was a lifelong resident of Fairview and Lake City. After attending Fairview High School, he served his country in the United States Navy until the age of 21. On June 11, 1960, he married the love of his life, Sally Lou West, and together they built a home and raised a family on a modest lot that flourished with the fruit trees, berry bushes, and grapevines they planted in their early years.

Pete worked at Ervite Corporation and retired in 1996 at the age of 60. Many evenings after work and later in retirement, he enjoyed the simple pleasures of life: fishing at his favorite spots—Struchen Flats and the Gravel Pits—and woodworking in his garage, crafting and restoring furniture for neighbors and family.

He was preceded in death by his parents, Elizabeth (Betty) Exley and Raymond E. Petri Sr.; three sisters, Clara Moore, Nancy Schaffer, and Becky Perkowski; his brothers, John Petri, and twin boys at birth.

He is survived by his wife of 65 years, Sally, and their three daughters: Penny Petri Roschi Williams of Lake City, PA; Brenda Petri Chiapazzi (husband, Chip) of Harborcreek, PA; and Laura Petri Rogers (husband, Mark) of Vilonia, AR. He was also a proud grandfather to Kara Roschi (partner, Chris) of Phoenix, AZ; Stephen Roschi (partner, Crystal) of Walnut Hill, FL; Kristen Rogers Moore (husband, Luke) of Ward, AR; and Sarah Yagercik (husband, Michael) of PA.

Pete also leaves behind many nieces, nephews, and great-grandchildren, including Penelope Roschi, John Justice, Cayden Moore, Ella Miller, Anastasia Yagercik, and Alexandra Yagercik.

He will be remembered for his quiet strength, good humor, and the care he took in everything he did—from the way he tended his garden to the love he showed his family. taken in Fairview, Pennsylvania by @kroschi

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a year ago

@deanterasaki x @modified_arts
february 2025 taken in Modified Arts by @kroschi

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a year ago

@deanterasaki x @modified_arts
february 2025 taken in Modified Arts by @kroschi

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a year ago

In America, there’s unfortunately always this question of, “When are They coming for Us?” A question that features pronouns of a terrible mutability.

While Terasaki’s (now closed) exhibition at Modified Arts focused on the shameful history of U.S. Japanese Internment, he asked Us to consider what happens when it’s our turn. What are the harbingers of a brisk, loud rap at the door?

What will you take?

Read Lynn Trimble’s Studio Visit with Dean Terasaki for Southwest Contemporary: https://southwestcontemporary.com/dean-terasaki/

@artmusingsaz
@silvers_dk
@swcontemporary taken in Modified Arts by @kroschi

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a year ago

@josevillalobosart x @asuartmuseum by @kroschi

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a year ago

@josevillalobosart x @asuartmuseum — performance June 11, 6 p.m.

#PrideMonth #Queer #QueerCowboys #ASU by @kroschi

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a year ago

In the last few years, ASU Art Museum often seems to be balancing ‘vibes’ and substance, the plight of many cultural orgs in this current era. And, honestly, I am here for it, the exploration of what it means to bring sensorial context into play. While some shows benefit from the reverential and austere staging that museums and galleries afford, others are made whole by elements of the contexts from which they arose. It’s up to artists, curators, and directorial leadership to parse the line between invitation and gimmick, between dialogue and performance. It’s up to audiences to suss authenticity and depth of thought versus sparkly showmanship. Does the work “stand on its own”? Does it need to? Who’s asking and why? taken in ASU Art Museum by @kroschi

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a year ago