Podcasts about Adrian Piper

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices

Critiques of conspiracy thinking abound—but what if our world needs a conspiracy, of people willing to confront institutional corruption? Joseph Dumit explains why large corporations knowingly engage in antihuman activities; he also draws from Adrian Piper's insights into bullying institutions, the impact of bystanding, and the importance of blowing the whistle when we notice harm being inflicted. Joseph Masco and Lisa Wedeen, eds., Conspiracy/Theory Duke University Press, 2024   The post Corruption and Complicity appeared first on KPFA.

We start our journey into intimacy by considering our interactions with strangers. The unexpected crossing of paths between people who have no knowledge of each other can be emotionally impactful, whether these moments leave us unsettled, or uplifted by a sense of hope and connection. What forms of proximity arise between strangers in public spaces? How and why do artists make work which invites new encounters between themselves and audience members? What possibilities and risks emerge when they do?  Featuring a conversation with Adrian Piper, an interview with Scottee, a performance by Cecilia Vicuña from the Serpentine archive, and Serpentine curator Tamsin Hong in conversation with Gaylene Gould. Subscribe to Serpentine Podcast now to be the first to hear new Intimacies episodes. You can connect with the series on socials @serpentineuk, and find more information and full descriptive transcripts at www.serpentinegalleries.org/art-and-ideas/serpentine-podcast-intimacies/.   CREDITS Hosted by Gaylene Gould Produced by Katie Callin (Reduced Listening) Production support by Nada Smiljanic (Reduced Listening) Executive production by Anishka Sharma (Reduced Listening) Curated by Hanna Girma and Fiona Glen Mix engineering by Jesse Lawson (Reduced Listening) Theme music by Hinako Omori Visual identity by the unloved Voice acting on Adrian Piper's contribution by Jeannette Robinson   ABOUT INTIMACIES Serpentine Podcast: Intimacies explores the complexities of closeness, and asks how we can expand and evolve our intimacy with others, ourselves, and the world around us. Join our host, Gaylene Gould, as she gathers perspectives from artists, designers, writers, thinkers, and more on how we can rekindle trust, and open ourselves up to new possibilities for connection. Confronting the slippery topics of fear, vulnerability, sex, love, and loneliness in art and life, the Intimacies series delves into the feelings and experiences which we don't always voice – from our relationships with family or strangers, to the things we fear most and our deepest desires, to our surroundings and our innermost selves. Each episode combines interviews, original audio works, conversations, and pieces from the Serpentine archive. This series itself is personal, emotional, reflective, and an exploration of vulnerability in many ways. 

This new series of Serpentine Podcast explores the complexities of closeness. Released weekly from 22 August 2023, Serpentine Podcast: Intimacies asks how we can expand and evolve our intimacy with others, ourselves and the world around us.  Join our host, Gaylene Gould, as she gathers perspectives from artists, designers, writers, thinkers, and more on how we can rekindle trust, and open ourselves up to new possibilities for connection.  Confronting the slippery topics of fear, vulnerability, sex, love, and loneliness in art and life, the Intimacies series delves into the feelings and experiences which we don't always voice – from our relationships with family or strangers, to the things we fear most and our deepest desires, to our surroundings and our innermost selves. Each episode combines interviews, original audio works, conversations, and pieces from the Serpentine archive. This series itself is personal, emotional, reflective, and an exploration of vulnerability in many ways.  Subscribe now to be the first to hear new episodes. You can find out more at www.serpentinegalleries.org/whats-on/serpentine-podcast/ and on socials @serpentineuk   TRANSCRIPT [curious, warm, ambient tones] Ident: Serpentine Podcast: Intimacies (echoes). Gaylene Gould: What does intimacy mean to you? [slow, thoughtful ambient music continues under voices] Tiona Nekkia McClodden: I think of intimacy generally as the things that I know about myself that other people don't know. Adrian Piper [voice actor with effects]: A meeting of minds. Tomás Saraceno: Sometimes it's so precious that you're afraid to share it and you want to keep it as your last resource because you're afraid to be too vulnerable. It's important to share that, let's not be afraid. Gaylene Gould: How can we expand and evolve our intimacy with ourselves, others, and the world around us? [birdsong alongside music] Olivia Laing: Intimacy requires risking something of your own ugliness, your own sort of less flattering angles. You can't get intimate when you are trying to present an armour. Gaylene Gould: I'm Gaylene Gould, an artist, and explorer of ideas. I host Serpentine Podcast, and in our new series we are exploring the complexities of closeness. Last series, we were reimagining the world, and it's now time to look within ourselves, and our relationships with those around us. Getting up close, personal and raw.  Scottee: If I spot something in somebody that I feel is close to me, I feel like I understand you, or we might understand each other. I think you start to find parallels between people that maybe are slightly abstract from your own, but you can see a gauze through the world in a similar way. Gaylene Gould: I feel my sense of intimacy has been disrupted in recent times. So, I want to challenge myself to connect with more courage and ask braver questions. That's what this series represents. We'll be interrogating intimacy in unexpected ways. From our relationships with family or strangers, the things we fear most and our deepest desires, to the way our surroundings influence our intimacy, and of course, intimacy with our innermost selves. Hetain Patel: It was kind of a mind-blowing experience, you know? It was very emotional, probably for all of us, for me and my family. I don't think it's an understatement to say it changed our relationship and things changed from there. [sounds of a surrounding park] Lina Ghotmeh: There's this moment of peacefulness, actually, where you're really in a timeless kind of bubble or environment. And there's a lot of wonder and, and intimacy, actually, because you feel how belonging we are to nature, to Earth, in a way… [running water] Pixy Liao: We are creating a world just for the two of us. A place we can always go back to that is safe and warm. A cult with only two members… [music returns to curious, ambient tones] Gaylene Gould: Each episode we'll be untangling webs of intimacies through interviews with artists, writers and thinkers. We'll be featuring new sound work, as well as diving into Serpentine's huge archive of past programmes.  You can find Serpentine Podcast, Intimacies, on any podcast platform weekly, starting on Tuesday 22nd of August. Subscribe to Serpentine Podcast now to be the first to hear new episodes.   CREDITS Hosted by Gaylene Gould Produced by Katie Callin (Reduced Listening) Production support by Nada Smiljanic (Reduced Listening) Executive production by Anishka Sharma (Reduced Listening) Curated by Hanna Girma and Fiona Glen Mix engineering by Jesse Lawson (Reduced Listening) Theme music by Hinako Omori Visual identity by the unloved

In this first episode of a new series of A brush with…, Ben Luke talks to Larry Achiampong about his influences—from writers to film-makers, musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Achiampong was born in London in 1984 to parents from Ghana, and he explores his personal and communal heritage through media including film, sculpture, installation, sound and performance. He uses diverse visual languages, drawn from popular culture like gaming, comics and Hollywood movies, as well as video art and conceptualism, to explore the legacies of colonisation and entrenched inequalities in contemporary society relating to class, gender and race. He veers from documentary to speculative fiction, often within the same piece. Achiampong discusses the profound early influence of Adrian Piper's art and the films of Spike Lee, the poetry of Claudia Rankine, how he draws on video games and comics as well as art, and his rejection of the term Afrofuturism. Plus, he gives insight into his life in the studio, and reflects on our usual questions, including the ultimate: what is art for?Larry Achiampong: Wayfinder, BALTIC, Gateshead, UK, until 29 October 2023; Larry Achiampong and David Blandy: Genetic Automata, Wellcome Collection, London, until 11 February 2024. Hosted on Acast. See acast.com/privacy for more information.

Eine aktuelle Ausstellung in der Pinakothek der Moderne in München heißt "Das Krankenhaus. Wie Architektur heilen hilft". In der Tat ist es inzwischen wissenschaftlich bewiesen, dass Patientinnen und Patienten in einer hellen, freundlichen Umgebung mit Ausblicken in die Natur, in Einzelzimmern, die nicht nach Medizin riechen, schneller und nachhaltiger gesundwerden. Das Gesundheitssystem könnte auch in Deutschland viel Geld sparen, wenn man beim Bau von Krankenhäusern gleich einige dieser grundlegenden Erkenntnisse berücksichtigen würde. Eine Recherche von Astrid Mayerle. Mit der guten, alten Videokunst haben die Arbeiten des Multi-Mediakünstlers Julian Rosefeldt nur noch wenig gemeinsam: Welterfolge wie "Manifesto" oder "Euphoria" bieten höchste Filmkunst in jeweils zwei Stunden Länge. Sie funktionieren als Museumsinstallation, aber auch im Kino. Seit über zehn Jahren bildet Rosefeldt den Nachwuchs an der Kunstakademie München aus. Ein Gespräch mit Stefan Mekiska. Der Kunstverein München wurde vor genau 200 Jahren gegründet. Im 19. Jahrhundert wollten die bayerischen Monarchen mit ihm die damals moderne Kunst fördern. Leider blieb diese Nähe zu den Mächtigen auch im Nationalsozialismus erhalten. In einer Archivausstellung zum Jubiläum werden diese schwierigen Zeiten jetzt aufgearbeitet. Nach dem Zweiten Weltkrieg haben im Kunstverein München die internationalen Karrieren von unter anderem Dan Graham, Andrea Fraser, Adrian Piper oder Mark Leckey ihren Ausgang genommen. Eine Zwischenbilanz von Tilman Urbach.

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

THIS WEEK on the GWA Podcast, we interview the acclaimed novelist, essayist and author of 18 books, SIRI HUSTVEDT! From memoir to poetry, non-fiction to fiction, Hustvedt's writing has touched on the topics of psychoanalysis, philosophy, neuroscience, literature, and art. Long-listed for the Booker Prize and winner of the Los Angeles Times Book Prize for Fiction, Hustvedt's The Blazing World is a provocative novel about an artist, Harriet Burden, who after years of being ignored attempts to reveal the misogyny in art by asking three male friends to exhibit her work under their name. It is of course a triumph, and other bestsellers include What I Loved and The Summer Without Men. Born in Northfield, Minnesota to a Norwegian mother and an American father, and based in NYC since 1978, it wasn't until 1995 that Hustvedt began writing about art. Since then, her art writing oeuvre has expanded enormously with numerous books and essays published to acclaim – which often focus on the fate of female artists in history, the biases of history making, and discuss the likes of Louise Bourgeois, Alice Neel, Adrian Piper, Lee Krasner, Betye Saar, Joan Mitchell, Dora Maar, among others – which I can't wait to get into later on in this episode… Hustvedt's writing is both eye-opening and groundbreaking. She has questioned how we measure greatness, if art has a gender, the effect of art and literature existing in our memory and the future of fiction. She has looked at the masculine traits of the mind and the female traits of emotion, the domestic vs the intellectual, and analysed how historians have not just told the narrative of art, but the narrative of the world. She has asked why absence is so prevalent and explored how women have reconfigured the body after years of what she calls ‘fictive' spaces… I love her writing and it's allowed me to unlock elements (and see things differently) in books, art, and more that exist in my memory. Favourite books include A Woman Looking at Men Looking At Women: Essays on Art, Sex and the Mind and, more recently, Mothers, Fathers and Others – which is part memoir, part psychological study. So I couldn't be more delighted to have her on the podcast today. Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ THIS EPISODE IS GENEROUSLY SUPPORTED BY OCULA: https://ocula.com/

“Sometimes a kiss can make you feel free.” This beautiful line by Prof GerShun Avilez (University of Maryland) was one of the many, many reasons I wanted to learn more about his book Black Queer Freedom. In addition to the freeing potential of queer kisses, GerShun talks about how literature can help us better understand the ways in which Black queer bodies are harmed every day. He also explains what memoirs of gender-nonconforming and trans people of colour can teach us about how history is written and how movement through institutions like hospitals or prisons is affected by race and sexuality. Along with brilliant reflections on spaces of injury and spaces of pleasure, GerShun shares examples of artworks and books from his past and present research and generally dazzles me with all his clever insights on Black queer spaces and history. A must listen!https://www.facebook.com/gershun.avilez https://english.umd.edu/directory/gershun-avilez @queerlitpodcast on Instagram and TwitterTexts, concepts and people mentioned:GerShun Avilez' Black Queer Freedom (UP Illinois, 2020)GerShun Avilez' Radical Aesthetics & Modern Black Nationalism (UP Illinois, 2016)Pat ParkerToni Morrison's BelovedAdrian Piper's Vanilla Nightmares AfropressimismSocial deathOrlando Patterson“Africana/Black Studies Colloquium: Book Launch: GerShun Avilez, BLACK QUEER FREEDOM”https://www.youtube.com/watch?v=BZU4ABWpE0Q “Left of Black with GerShun Avilez”https://www.youtube.com/watch?v=24XOQWLR264 Queer Geographies Postgraduate Reading Group (Twitter: @QueerGeogPGRG)Makeda Silvera's “Baby”Civil Rights Act of 1964Jackie KayJanet MockSaeed Jones' How We Fight for Our LivesLaVelle Ridley “Black Trans Narratives”https://www.spreaker.com/user/14328383/queer-lit-lavelle Robert Jones Jr's The ProphetsHomo Sapiens PodcastBlack Lives Matterhttps://blacklivesmatter.com/ Questions you should be able to respond to after listening:1.How can literature help us understand more about racism and antiqueer violence?2.GerShun mentions Adrian Piper working with a newspaper as the basis for her artwork. Can you think of other examples of everyday objects that show how “our cultural imaginary […] is rooted in ideas about race and sexuality in ways that are so ordinary that we don't even fully see them anymore”?3.What are spaces of injury and why are they an important category in GerShun's research?4.We speak about the “fleeting nature of privacy” in the lives of racial minorities, queer and gender-nonconforming people. Can you think of a book, series or film that reflects on that? 5.In which ways, does GerShun suggest, can studying Black queer memoirs and life writing help us understand the true nature of history – and its omissions?6.What is the role of pleasure in GerShun's work, or in your own experience of queer space?

On episode 243 of The Quarantine Tapes, Paul Holdengräber is joined by musician and composer Jason Moran. This episode comes as part of a partnership with OXY ARTS. Jason and Paul discuss collaboration, improvisation, and what it means to play the room in this thoughtful and illuminating conversation.Jason talks about the importance of being in action as an artist and recounts his experiences as both a teacher and a student. He tells Paul about his collaborations with his wife, the incredible singer Alicia Hall Moran, and one of their recent projects, Two Wings. Paul and Jason talk about therapy, ancestors, and why Jason doesn't worry too much about trying to find balance as an artist.“Follow the Light”: https://www.youtube.com/watch?v=A_Zmzy7_QuA“Two Wings”: https://www.youtube.com/watch?v=R9F2WDyvTd0Since his formidable emergence on the music scene in the late 90s, jazz pianist Jason Moran has proven more than his brilliance as a performer. The Blue Note Records recording artist has established himself as a risk-taker and innovator of new directions for jazz as a whole. In almost every category that matters – improvisation, composition, group concept, repertoire, technique and experimentation – Moran, and his group The Bandwagon – with bassist Tarus Mateen and drummer Nasheet Waits – have challenged the status quo, and earned the reputation as “the future of jazz.”His ongoing visionary collaborations in the art world have brought him additional fans and respect. Moran's music is in the collections of both the MOMA and Whitney Museum of American Art. He scored a ballet for renowned Alonzo King's LINES Ballet, as well as scoring video works for contemporary American artists Glenn Ligon and Kara Walker. Moran also has worked with pivotal visual/performance artists Joan Jonas and Adrian Piper. Moran currently teaches at the New England Conservatory. He lives in New York City with his wife, mezzo soprano Alicia Hall Moran, and their twin toddlers.You can find Jason Moran's website at http://jasonmoran.com.Paul Holdengräber is an interviewer and curator of public curiosity. He is the Founder and Director of Onassis LA (OLA), a center for dialogue. Previously he was the Founder and Director of LIVE from the NYPL, a cultural series at the New York Public Library, where he hosted over 600 events, holding conversations with everyone from Patti Smith to Zadie Smith, Ricky Jay to Jay-Z, Errol Morris to Jan Morris, Wes Anderson to Helen Mirren, Christopher Hitchens to Mike Tyson. He is the host of "A Phone Call From Paul," a podcast for The Literary Hub. 

We made it! This is the coda podcast for Fred Moten's "In the Break." Not a whole lot of discussion about the actual coda (which is about Adrian Piper) but a lot of thoughts about the book in general. In two weeks we will be back with a new book (a fiction book!) "Noor" by Nnedi Okorafor. If you want to read something I recently had published (or listen to it) below is a link to a piece of creative nonfiction that I wrote: www.ilanotreview.com/ephemeral/the-donut-odyssey/ www.youtube.com/watch?v=QcGMPzwWVtg&t=2s Keep reading!

Season 2, Episode 2, PART 1: “I'm Bulletproof, and I Don't Give a F_ck": Queer Women of Color Scholar, Dr. Karma Chávez Talks, Mentorship, Tokenism, and Intersectionally Queering Our Workspaces. When I first saw her publication list and the lengths to which she went to tell marginalized people's stories globally, I realized that Dr. Karma Chávez is a force to be reckoned with! I was so pleased when she said YES to The Intersection: Diverse Folx Converse. I knew it would be such an important resource for other QWoC and PoC in academia as well as the workplace. With QWoC swagger, Karma spoke the first part of her podcast title “I'm Bulletproof, and I Don't Give a F_ck" when I asked her, "How are you writing about these topics?" Karma is a leading voice and liberatory voice in migration studies focusing many times on the story that hasn't been told of Black migrants, queer migrants, and trans migrants. The podcast will be delivered this month as a PART 1, and a PART 2. Always released 1st and 3rd Friday of each month: PART 1 premieres Friday, November 5, 2021 at 4PM PST and includes the following topics covered: --Tokenism & Adrian Piper's "Cornered" (1988) --QWoC Swagger & Desire of Speech PART 2 premieres Friday November 11, 2021 at 4PM PST and includes the following topics covered: --Alienating Logics–The Border of Aids: Race, Quarantine, and Resistance --QWoC and PoC Mentorship Podcast episode summaries: PART 1: We begin this story from a personal angle to talk about identity and what it was like for both of us to navigate academic and professional work spaces as lighter-skinned queer women of color. We talk about tokenism and the institutions of anti-Black white supremacy, and the particular form of racism we have endured and the ones we have been spared from. We also feature Adrian Piper's art installation "Cornered" (1988) that addresses miscegenation and racism beyond otherness. And brings white viewers into accountability of the possibility of their own Blackness. We end this episode talking about our own desire of speech as bi-racial and mixed-race queer women of color, and discuss QWoC swagger a bit. Part 2: In the second installment of this podcast, Karma and I discuss QWoC and PoC mentorship and her new book just released earlier this year: The Border of Aids: Race, Quarantine, and Resistance. In this podcast, we discuss some of what we have been through as lighter-skinned QWoC and what others like us, and different from us have experienced. We also talk about migration in the US and how more marginalized migrants, such as Black, queer, and trans migrants have been unfairly treated in the US. Her most recent book, The Border of Aids: Race, Quarantine, and Resistance (published by University of Washington Press) tells the story of how disease becomes an opportunity for the nation state or the tells the story of how disease becomes an opportunity for the nation state or US violation of human rights. Such as using prisons or concentration camps or internment camps or hospitals or deportation or bans that we're seeing right now with Haitians and COVID-19 bans. Dr. Karma Chávez is University of Texas-Austin, Department Chair and Associate Professor of Department of Mexican American & Latino Studies.

Episode 74 features Ashley James, Ph.D., Associate Curator, Contemporary Art at the Solomon R. Guggenheim Museum. She is the curator of Off the Record (2021) and co-curator of The Hugo Boss Prize: Deana Lawson, Centropy (2021). Prior to joining the Guggenheim, James served as Assistant Curator of Contemporary Art at the Brooklyn Museum, where she was the curator for the museum's presentation of Soul of a Nation: Art in the Age of Black Power (2018–19), organized Eric N. Mack: Lemme walk across the room (2019), and co-curated John Edmonds: A Sidelong Glance (2020-21). James also served as a Mellon Curatorial Fellow in Drawing and Prints at the Museum of Modern Art, where her work focused on the groundbreaking retrospectives of Adrian Piper (2018) and Charles White (2018–19), and has held positions at the Studio Museum in Harlem and at the Yale University Art Gallery, where she co-organized the exhibition Odd Volumes: Book Art from the Allan Chasanoff Collection (2015). James holds a BA from Columbia University and a Ph.D. from Yale University in English literature and African American studies, with a certificate in Women's, Gender, and Sexuality studies. Guggenheim https://www.guggenheim.org/staff/ashley-james Yale https://afamstudies.yale.edu/news/ashley-james-named-guggenheim-curator-makes-history Yale https://gsas.yale.edu/news/guggenheim-curator-ashley-james-sees-certain-kind-possibility-new-role NY Times https://www.nytimes.com/2019/11/15/arts/design/guggenheim-black-curator.html Forbes https://www.forbes.com/sites/dominiquefluker/2019/11/30/meet-guggenheims-first-black-curator-ashley-james/ NBC News https://www.nbcnews.com/news/nbcblk/guggenheim-curator-ashley-james-sees-certain-kind-possibility-new-role-rcna1260 Essence https://www.essence.com/culture/ashley-james-want-us-to-look-off-the-record/ W Magazine https://www.wmagazine.com/culture/guggenheim-curator-ashley-james-culture-diet-interview Marie Claire https://www.marieclaire.com/fashion/a34691447/ashley-james-guggenheim-museum/ Artnews https://www.artnews.com/art-news/news/ashley-james-curator-guggenheim-museum-13581/ Brooklyn Museum – Soul of a Nation https://www.brooklynmuseum.org/exhibitions/soul_of_a_nation

This episode, we are thrilled to be joined by the visionary Elizabeth Dee, Co-Founder and CEO of the Independent Art Fair. Conceived and initiated in 2009, the Independent has rapidly become one of the most important and influential art fairs globally and will be hosted at New York's Battery Maritime Building in just a few weeks, from September 9th to September 12th. You can find more about the fair here. In addition to her role as Founder of the Independent, Elizabeth is a seasoned art world professional. Elizabeth opened her namesake gallery in New York's SoHo district in 1997 and proceeded to launch her first public space in 2002 in Chelsea, working with world-class artists including Adrian Piper, Ryan McNamara, and John Giorno. Last July, Elizabeth also became Director of the recently established John Giorno Foundation, an organization dedicated to grant-making and preserving the legendary artist's work. In some exciting news, the foundation will actually be facilitating a posthumous exhibition of the artist's work in London at Almine Rech Gallery this October (so lots to look forward to). Some artists discussed in this episode: William S. Burroughs Adrian Piper Ryan McNamara John Giorno Édouard Manet Sherrie Levine Richard Tuttle Richard Artschwager Robert Gober Jeff Koons Les Rogers Hans Haacke Derek Jarman Sally J. Han Chase Hall Bosco Sodi Jordan Wolfson Robert Barber Cory Arcangel Jodi Lynda Benglis Michael Goldberg For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz.  Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts.  In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.

Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz.  Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts.  In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.

Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz.  Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts.  In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.    

Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran.Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran.Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.

What happens to the aura when the work of art is not an object, but an event? This episode considers examines the place of performance art in the neo-vanguards and how it reorganizes the relationship between artist and viewer. We look at the work of Carolee Schneemann, Laurie Anderson, and Adrian Piper, asking where the work of art is when it comes to performance. This episode is presented by Daphne Knouse, Ciara Moore, and Hannah-Rose Albinus.

Oriana speaks with the artist Harold Offeh whose practice engages with identity politics via an ambivalent and humorous self-casting within the pop-cultural material he admires (and in some cases, finds problematic).  He pre-empts his own type-casting by pointedly living within certain racialised stereotypes including the Mammy, an Afro-Brazilian manual labourer and a toilet attendant. The discussion touches upon a range of topics such as cultural appropriation; national identity and belonging; decolonising the curriculum; and the undervaluing of the formal qualities of feminist and anti-racist art. Dr Oriana Fox is a London-based, New York-born artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show .Harold Offeh is an artist working in a range of media including performance, video, photography, learning and social arts practice. Offeh is interested in the space created by the inhabiting or embodying of histories. He employs humour as a means to confront the viewer with historical narratives and contemporary culture. He has exhibited widely in the UK and internationally including Tate Britain and Tate Modern, South London Gallery, Turf Projects, London, Kettle's Yard, Cambridge, Wysing Art Centre, Studio Museum Harlem, New York, MAC VAL, France. He lives in Cambridge and works in London and Leeds, UK where he is currently a Reader in Fine Art at Leeds Beckett University.Additional Artists Mentioned: Hattie McDaniel, Adrian Piper, Marlon Riggs, Sondra Perry, David Hammons, VALIE EXPORT, Mierle Laderman UkelesCredits:Hosted, edited and produced by Oriana FoxPost-production mixing by Stacey HarveyThemesong written and performed by Paulette HumanbeingSpecial thanks to Katie Beeson, Janak Patel, Sven Olivier Van Damme and the Foxes and Hayeses.

We're talking New York, we're talking visual art, we're talking Tumblr culture, and then we're talking New York some more. Our guest this week is writer, artist, eater and yoga-doer, Isis Davis-Marks! Isis talks us through seeking pleasure and bringing Black frivolity to art, and she also asks that you stop using words if you don't know what they mean. So stop! Find out why Beyoncé must be a hard sister to have, if p*pular is a dirty word, and whether we're in the spaceship from Wall-E, Squidward's time machine void, or just a Zoom breakout room. Follow Isis! https://www.isisdavismarks.com/ https://www.instagram.com/isisdavismarks/ https://twitter.com/IsisDavisMarks https://linktr.ee/isisdavismarks My Calling (Card) #1, Adrian Piper: https://artgallery.yale.edu/collections/objects/218575 Adrian Piper: A Synthesis of Institutions, 1965-2016: https://www.moma.org/calendar/exhibitions/3924 Funk Lessons, Adrian Piper (1983): http://www.adrianpiper.com/vs/video_fl.shtml Follow us on Instagram: @welovethatpodcast! https://www.instagram.com/welovethatpodcast/ Send us stuff at welovethatpodcast@gmail.com!

Tavia Nyong’o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong’o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong’o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Tavia Nyong'o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong'o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong'o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Tavia Nyong’o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong’o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong’o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Tavia Nyong’o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong’o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong’o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tavia Nyong’o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong’o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong’o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tavia Nyong’o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong’o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong’o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tavia Nyong’o's Afro-Fabulations: The Queer Drama of Black Life (NYU Press, 2018), examines a broad range of artists and disciplines, from Adrian Piper to Kara Walker to the meaning of the auroch's in the film Beasts of the Southern Wild. Throughout the book, Nyong’o draws the reader's attention to the ways Black and queer artists construct alternative worlds in a context of brutality and discrimination. Negotiating between the twin poles of Afro-futurism and Afro-pessimism, Nyong’o summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices

The artist and activist Sonia Boyce, who is representing Britain at the 2022 Venice Biennale, discusses issues of race, power and humour in the work of the Berlin-based, radical philosopher and artist Adrian Piper.

Guests Alee Peoples and Cara Levine talk about Secret narratives, Ambient grief, how Fear is a Liar, Adrian Piper, Not arriving, Residencies, the Luxury of isolation, Art as time management, Finding the balance, how to Protect your eyes while you're blinding yourself, Echo Park Film Center, Elephant Art Space and sooo much more! Alee Peoples is an artist and filmmaker living in Los Angeles. She is inspired by pedestrian histories, pop song lyrics and is invested in the hand-made. Alee has a film screening on February 22nd for the New Works Salon at Echo Park Film Center here in LA Cara Levine is an artist living in Los Angeles. She works in sculpture, video and socially engaged practices. She has work in the group show Message to Space in the inaugural opening of SUPERCOLLIDER a new science inspired exhibition platform at the Beacon Building. … and also, she and Alee have a two person show coming up in April at elephant art space here in the Cypress Park neighborhood of Los Angeles Our interstitial music as always is Ocfif by Lewis Keller. And we go out with the latest from friend of the show Nick Flessa - a single that came out last month under the name Dayton Swim Club (inspired by a cult early internet video of the same name). The project stems from Nick Flessa Band but is more collaborative, featuring Mario Luna on guitar, Jessica Perelman on Drums, Kirsten Bladh (of Leggy) on bass, and Dominique Matelson on backing vocals and keys. … and the name of the song is Rage All Night

Hey everyone. On this episode, I have a special interview with Tara Fay. I think Tara’s instagram profile describes her best as an independent curator, performance artist, and streetwear enthusiast. Tara is also on the board of directors at Bunker Projects, an art and residency space in Pittsburgh. I first met Tara through Jose Diaz, who I also interviewed. Throughout my time in Pittsburgh, Tara has been always supportive of my work and I was happy to talk with Tara about her perspective of the art scene. Around the time of the interview, Tara moderated a public discussion with Dan Leer, the curator of photography at the Carnegie Museum of Art. Tara specifically wanted to talk about a controversy that happened with Deana Lawson, a photographer. Deana’s photographs at the Carnegie alienated a number of viewers and brought up difficult questions about who the museum’s perceived audience is. It began with a black woman filming a video of Deana’s work in the museum and expressing her thoughts, which spilled over onto Facebook. I’ve alluded to this incident in a few other episodes, but I go more in depth with Tara here. I wished I did a better job introducing it in the interview, but I’ve attached a Vice article about Deana Lawson at the Carnegie in the show notes. So we discuss that at length, along with a range of other topics, from the Adrian Piper show at the MoMA, performing for a white audience, different types of privilege, and Beyoncé. Also, the audio got slightly messed up towards the end of the interview, so I apologize for that. In any case, I hope you enjoy this. Photo credit: Sarah Huny Young Links Mentioned: Tara's Instagram My recent interview with Jose Adrian Piper's MoMA Show Adrian Piper Research Archive Foundation Berlin Morris Day Adrian Piper's Food for the Spirit Marina Abramovic's Memoir More information about Alisha's billboard project Link to my interview with Alisha Wormsley More information about Deana Lawson A bit more information about the Deana Lawson issue at the Carnegie Museum of Art Conversations With People Who Hate Me Follow Seeing Color: Seeing Color Website Subscribe on Apple Podcasts Facebook Twitter Instagram

Amrita Hepi is a first nations choreographer and dancer from Bundjulung (Aus) and Ngapuhi (NZ) territories. Amrita trained at the National Aboriginal Islander Skills Development Association (NAISDA) dance college and Alvin Ailey American Dance School, New York.As an artist she pushes the barriers of intersectionality and makes work that garners multiple access points through allegories. Her practice at present is interested in probing ideas of authenticity, the perpetuation of culture, tradition, and a ‘decolonial imagination’ - questioning where this now resides.Her reach expands beyond the stage and includes public spaces, night clubs and various other forms and mediums including film, installation, text, sculpture and lecture. Her social media reach is also extensive, using those spaces to profile important conversations and her dance practice.Amrita has worked with Victoria Chiu, Marrugeku, Melanie Lane & Amos Gerbrahnt, Bhenji Ra and Force Majeure. In 2018 she was the recipient of the People's Choice Award for the Keir Choreographic award and was named one of Forbes Asia's 30 under 30. Amrita has also worked in various commercial capacities, having been commissioned by ASOS global to create and choreograph film works and has be featured globally in Vogue USA, TeenVogue USA, Instyle, Harpers Bazar and PAPER US.Amrita can now be seen at Sydney Festival , in Cement Fondu's second annual pairing of an esteemed International artist with an Australian early career artist. This exhibition presents a new video installation by Amrita, with a selection of video works by Adrian Piper.Amrita Hepi’s video installation The Pace (2018) proposes skipping as a new choreographic tool to draw upon the powerful connections between the skilful command of the body and rope with other social and cultural practices, particularly the First Nations art of weaving. You can find out more here.In this interview we discuss Amrita’s practice and where dancing originated, we discuss the role of dance in society and how to have difficult conversations, alongside a range of other topics.Summary of Amrita’s busy 2019 schedule:JAN -Sydney Festival, The Ropes: Amrita Hepi X Adrian Piper (at Cement Fondu) January 11 to February 24Arts Centre Melbourne, presenting A Call to DanceFEB/MARCH -The National 2019, new work The Tender - A performance installation commissioned by AGNSWWomadelaide - presenting Power Moves for Perilous timesDance Massive - Le Dernier Appel with MarrgekuCastlemaine Festival – presenting Deep Soulful SweatsMAYP.I.C.A (Perth Institute of Contemporary Art), presenting A Call to DanceJUNEThe National 2019 new work, The Tender, a performance installation commissioned by AGNSW (Performance 3)Theater Formen Festival Braushweig Germany, presenting A Call to DanceOrigins Festival London Southbank Centre, presenting A Call to DanceAUGUSTTour of Le Denier Appel with Marrugeku:- Tanz Im August - Berlin Germany- Theatre Challoit Festival - Paris France- TanzZurich Festival - Zurich Switzerland- Grec Festival de Barcelona - Barcelona SpainOCTNelson Arts Festival New Zealand + Tauranga Arts Festival, presenting A Call to DanceYou can find Amrita on Instagram, Twitter and Facebook.This is the last episode of season 8. The next season will present the voices of First Nations Australian dance arts in a partnership with BlakDance. This season will focus on the important First Nations Dialogues that occurred in New York in early January.

1:52 Why Thomas doesn’t use the term mixed race 10:21 Perception that being brown/black is synonymous with oppression 15:08 Whiteness 16:12 Skin colour inheritance 20:35 The importance of representation; links between race and class 27:44 Hip hop as performative blackness 33:40 “Acting white” 34:48 Mixed race identity as an opportunity 37:15 The yearning for belonging 40:05 Adrian Piper 42:15 Ancestral guilt and ‘worshipping the wound’ 50:47 The rejection of optimism 53:07 What prompted Thomas to write Self-Portrait in Black and White 56:18 Thomas reads an extract from the book 1:03:57 Richard Spencer, the European far right, & the identity politics arms race 1:09:44 Culture & multiculturalism 1:11:55 White guilt 1:15:21 Transcending the mental habits of race Thomas Chatterton Williams' memoir "Losing My Cool" is available here: https://www.amazon.com/Thomas-Chatterton-Williams/e/B0035FEJHC%3Fref=dbs_a_mng_rwt_scns_share Thomas Chatterton Williams, Self-Portrait in Black and White: Unlearning Race (2019): https://www.amazon.com/Self-Portrait-Black-White-Unlearning-Race/dp/0393608867 You can read an extract from his upcoming book, "Self Portrait in Black and White" here: https://www.vqronline.org/essays-articles/2015/01/black-and-blue-and-blond For more of Thomas's writings, see: https://www.nytimes.com/2018/06/27/magazine/adrian-pipers-self-imposed-exile-from-america-and-from-race-itself.html https://www.newyorker.com/magazine/2017/12/04/the-french-origins-of-you-will-not-replace-us and https://www.nytimes.com/2017/10/06/opinion/ta-nehisi-coates-whiteness-power.html?_r=0 …. Follow Thomas on Twitter at @thomaschattwill. Additional References For more on Adrian Piper: http://www.adrianpiper.com/ Steven Pinker, Enlightenment Now: The Case for Reason, Science, Humanism, and Progress (2018) John H. McWhorter, “Antiracism: Our Flawed New Religion” (2015) https://www.thedailybeast.com/antiracism-our-flawed-new-religion The preface to Iona’s piece on mixed race themes: https://www.youtube.com/watch?v=XdUunlGWqrw&t=17s

Hey everyone and welcome back. For this episode, I meet up with Kilolo Luckett, an art historian, writer, cultural producer, and curator. She also works as the arts commissioner for the city of Pittsburgh and is the curator for the August Wilson Center. With over twenty years of experience in the arts, culture and community and economic development fields, she is committed to making art and culture more accessible. This past summer, I sat down with Kilolo to chat. Just before the recording, we were both caught in a sudden heavy rainstorm, but everything turned out okay as we discussed Adrian Piper, the pronunciation of non-white names, and the white lens. Kilolo’s most recent show, Familiar Boundaries. Infinite Possibilities., just opened at the August Wilson Center and runs through until March 24th, 2019. The exhibition is beautiful, so please go and check out the show. I had so much fun talking with Kilolo and I hope you enjoy it as much as I did. Links Mentioned: Instagram Adrian Piper’s MoMA Show The Pittsburgh Left By Any Means Contemporary Art Symposium Naomi Chambers: Communal Future Abstract Minded Show Familiar Boundaries. Infinite Possibilities. Stephen Foster Memorial in Pittsburgh Transfomazium’s Art Lending Collection Henry Taylor Naomi Sims Anna May Wong Beverly Johnson Follow Seeing Color: Seeing Color Website Subscribe on Apple Podcasts Facebook Twitter Instagram

In the April 2018 edition of Suite (212), returning host Juliet Jacques talks to artist, musician and filmmaker Larry Achiampong and dancer/performer Alexandrina Hemsley (of Project O) about race, racism and the arts. (Cover image: 'Self-Portrait Exaggerating My Negroid Features' by Adrian Piper, 1981) WORKS REFERENCED: LARRY ACHIAMPONG & DAVID BLANDY: Biters - http://www.larryachiampong.co.uk/list-of-artworks/biters LARRY ACHIAMPONG & DAVID BLANDY: Finding Fanon, parts I-III - https://vimeo.com/138951543 LARRY ACHIAMPONG: Relic Traveller - http://larryachiampong.co.uk/list-of-artworks/voyage-of-the-relic-traveller ALEXANDRINA HEMSLEY: Feminist Shakedown - http://feministshakedown.tumblr.com/ ALEXANDRINA HEMSLEY & SEKE CHIMUTENGWENDE: Black Holes - www.blackholes.co.uk JAY BERNARD: Surge - Side A - https://www.theguardian.com/books/2018/apr/05/speaking-out-jay-bernard-surge-side-a-poet BLACK AUDIO FILM COLLECTIVE: Handsworth Songs, Part I (1986) - http://unrealisedfutures.tumblr.com/post/134049237625/black-audio-film-collective-handsworth-songs RENI EDDO-LODGE, Why I'm No Longer Talking to White People abour Race [2014 blog post] - http://renieddolodge.co.uk/why-im-no-longer-talking-to-white-people-about-race/ STUART HALL & MAGGIE STEED: It Ain't Half Racist Mum - http://unrealisedfutures.tumblr.com/post/133964781230/stuart-hall-it-aint-half-racist-mum-1979 CLARISSA PINKOLA ESTÉS: Women Who Run with the Wolves - https://medium.com/@kami_leon/13-reasons-why-you-should-read-women-who-run-with-the-wolves-instead-36435ea32b4 ADRIAN PIPER: 'Self-Portrait Exaggerating My Negroid Features' - http://adrianpiperarted.blogspot.co.uk/2009/11/self-portrait-exaggerating-my-negroid.html NIKESH SHUKLA (ed.): The Good Immigrant - https://unbound.com/books/the-good-immigrant/ Sutapa Biswas: https://en.wikipedia.org/wiki/Sutapa_Biswas Sonia Boyce: https://www.royalacademy.org.uk/art-artists/name/sonia-boyce-ra Octavia Butler: https://www.theguardian.com/news/2006/mar/16/guardianobituaries.bookscomment Lubaina Himid: http://www.tate.org.uk/art/artists/lubaina-himid-2356/turner-prize-2017-biography Sabrina Mahfouz: http://www.sabrinamahfouz.com/ Pauline Mayers: https://paulinemayers.wordpress.com/ Wangechi Mutu: http://www.ubu.com/film/mutu.html Network 11 (Junior Boakye-Yiadom, Beverly Bennett and others): https://ntwrk11.wordpress.com Kamile Ofoeme: https://vimeo.com/user35307978 Selina Thompson: http://selinathompson.co.uk/ Akeim Toussaint Buck: http://www.toussainttomove.com/ Priyamvada Gopal's response to the Daily Mail - https://medium.com/@zen.catgirl/my-heartfelt-thanks-to-the-hundreds-of-people-who-have-sent-their-solidarity-and-support-via-email-5f9739ec5dba Ash Sarkar on the BBC and Enoch Powell - https://www.independent.co.uk/voices/bbc-enoch-powell-rivers-of-blood-racism-brexit-wrong-to-run-it-a8302766.html Kit de Waal interview (Guardian) - https://www.theguardian.com/books/2018/mar/24/kit-de-waal-interview-the-trick-to-time Tate, 'The Other Story' exhibition (1989) - http://www.tate.org.uk/research/publications/tate-papers/no-12/the-other-story-and-the-past-imperfect Tate Modern, 'Soul of a Nation' exhibition (2017) - https://www.theguardian.com/artanddesign/2017/jul/16/soul-of-a-nation-art-in-the-age-of-black-power-tate-modern-review

This week: The second installment of our pirate radio sessions, recorded live from NADA 2011! We are joined by local heroes The Museum of Contemporary Art, Chicago curators Michael Darling and Naomi Beckwith. Naomi Beckwith is a curator at the Museum of Contemporary Art, Chicago. Beckwith joined the curatorial staff in May 2011. A native Chicagoan, Beckwith grew up in Hyde Park and attended Lincoln Park High School, going on to receive a BA in history from Northwestern University in Evanston, Illinois. She completed an MA with Distinction from the Courtauld Institute of Art in London, presenting her master's thesis on Adrian Piper and Carrie Mae Weems. Afterward, she was a Helena Rubenstein Critical Studies Fellow at the Whitney Museum Independent Study Program in New York. Beckwith was a fall 2008 grantee of the Andy Warhol Foundation for the Visual Arts and was named the 2011 Leader to Watch by ArtTable. She serves on the boards of the Laundromat Project (New York) and Res Artis (Amsterdam). Prior to joining the MCA staff, Beckwith was associate curator at The Studio Museum in Harlem. Preceding her tenure at the Studio Museum, Beckwith was the Whitney Lauder Curatorial Fellow at the Institute of Contemporary Art, Philadelphia, where she worked on numerous exhibitions including Locally Localized Gravity (2007), an exhibition and program of events presented by more than 100 artists whose practices are social, participatory, and communal. Beckwith has also been the BAMart project coordinator at the Brooklyn Academy of Music and a guest blogger for Art21. She has curated and co-curated exhibitions at New York alternative spaces Recess Activities, Cuchifritos, and Artists Space. Beckwith curated the exhibition 30 Seconds off an Inch, which was presented by the Studio Museum in Harlem November 12, 2009 – March 14, 2010.  Exhibiting artworks by 42 artists of color or those inspired by black culture from more than 10 countries, the show asked viewers to think about ways in which social meaning is embedded formally within artworks.   Michael Darling (born 1968) is the James W. Alsdorf Chief Curator at the Museum of Contemporary Art, Chicago (MCA). Darling joined the MCA staff in July 2010. Darling received his BA in art history from Stanford University, and he received his MA and PhD in art and architectural history from the University of California, Santa Barbara. Darling has worked as an independent writer and curator, contributing essays on art, architecture, and design to publications including Frieze, Art Issues, Flash Art, and LA Weekly. Darling frequently serves as a panelist, lecturer, and guest curator on contemporary art and architecture. Prior to joining the MCA, Darling was the Jon and Mary Shirley Curator of Modern and Contemporary Art at the Seattle Art Museum (SAM), where he was awarded SAM's Patterson Sims Fellowship for 2009-10. In 2008, Darling began the program SAM Next, a series of contemporary art exhibitions presenting emerging or underappreciated artists from around the globe. Artist Enrico David, who exhibited as part of SAM Next, has since been nominated for the Turner Prize. Darling curated the SAM exhibitions Target Practice: Painting Under Attack 1949-78 (June 25 – September 7, 2009), and Kurt (May 13 – September 16, 2010). Target Practice showcased the attacks painting underwent in the years following World War II. Kurt explored Kurt Cobain’s influence on contemporary artists. Darling was associate curator at the Museum of Contemporary Art, Los Angeles, before joining SAM. He co-curated The Architecture of R.M. Schindler (2001), which won the International Association of Art Critics “Best Architecture or Design Exhibition” award. The exhibition also won merit awards for interior architecture from the Southern California American Institute of Architects and the California Council of the American Institute of Architects.

A keynote lecture dissecting the activity of criticism and considering several different models

Jason Crane interviews pianist Jason Moran at the 2007 Rochester International Jazz Festival. Moran came to play with two bands -- his own Bandwagon and Don Byron's Ivey Divey trio. Moran's most recent CD is Artist In Residence (Blue Note, 2006), an album composed mostly of Moran's commissioned works. Moran talks about philosopher Adrian Piper, pianist Jaki Byard, and his new commission to create a multimedia piece inspired by Thelonious Monk's 1959 Town Hall concert. Find out more at JasonMoran.com.