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6 episodes with albright knox art gallery
4 episodes with albright knox art gallery
3 episodes with albright knox art gallery
2 episodes with albright knox art gallery
3 episodes with albright knox art gallery
Episode No. 689 is a holiday clips episode featuring artist B. Ingrid Olson. Olson's work is included in "Descending the Staircase" at the Museum of Contemporary Art Chicago. The exhibition considers novel artistic approaches to representing the human body. The exhibition is curated by Jadine Collingwood, Associate Curator, and Jack Schneider, Assistant Curator and is on view through July 6. This episode was recorded in 2022 on the occasion of the Carpenter Center for the Visual Arts at Harvard University's presentation of two concurrent B. Ingrid Olson exhibitions, “History Mother,” and “Little Sister.” Each exhibition was on a separate floor of CCVA's building. Olson's exhibitions feature site-specific presentations that engage with doubling and mirroring, gendered forms, the interplay between photography and sculpture, and between the body and the built environment. The exhibitions were curated by Dan Byers. The week this show originally aired, the Secession in Vienna had just closed an exhibition of Olson's work titled “Elastic X.” In addition, Olson's work has previously been featured in solo presentations at the Albright-Knox Art Gallery in Buffalo, NY and at The Renaissance Society at the University of Chicago. For images please see Episode No. 566. Instagram: B. Ingrid Olson, Tyler Green.
Episode No. 686 is a holiday clips episode featuring artist Sylvia Plimack Mangold. An untitled 1966 Plimack Mangold painting is on view in the current permanent collection installation at the National Gallery of Art, Washington. The NGA has one of the finest institutional collections of Plimack Mangold's work: eight paintings and at least a dozen works on paper. New York's Craig Starr Gallery is showing "Sylvia Plimack Mangold: Tapes, Fields, and Trees, 1975-84" through January 25, 2025. Plimack Mangold's paintings, seemingly rooted in realism but often undermining it, play with perspective, flatness, engage the centuries-long tradition of painters making paintings about painting. In 1994 the Albright-Knox Art Gallery, Buffalo organized a retrospective of her paintings; two years earlier the University of Michigan Museum of Art organized a works on paper survey. For images, see 2018's Episode No. 349.
Episode 449 / Fred Tomaselli (born 1956, Santa Monica, CA) Fred has been the subject of solo exhibitions at institutions including the Joslyn Art Museum, Omaha, NE (2019); Oceanside Museum of Art, Oceanside, CA (2018); Toledo Museum of Art, Toledo, OH (2016); Modern Art Museum of Fort Worth (2014) and the University of Michigan Museum of Art (2014); a survey exhibition at Aspen Art Museum (2009) that toured to Tang Museum in Saratoga, NY and the Brooklyn Museum, Brooklyn NY (2010); The Fruitmarket Gallery, Edinburgh (2004) toured to four venues in Europe and the US; Albright-Knox Gallery of Art (2003); Site Santa Fe (2001); Palm Beach ICA (2001), and Whitney Museum of American Art (1999). His works have been included in international biennial exhibitions including Sydney (2010); Prospect 1 (2008); Site Santa Fe (2004); Whitney (2004) and others. Tomaselli's work can be found in the public collections of institutions such as the Museum of Modern Art; Whitney Museum of American Art; Metropolitan Museum of Art; Brooklyn Museum; Albright Knox Art Gallery; Hirshhorn Museum and Sculpture Garden; San Diego Museum of Contemporary Art; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the Orange County Museum of Art, Santa Ana, CA; and many others.
Episode No. 665 features curator Cathleen Chaffee and critic Elisabeth Kirsch. Chaffee is the curator of "Marisol: A Retrospective," which is at the Buffalo AKG Art Museum (formerly the Albright-Knox Art Gallery) through January 6, 2025. The exhibition presents work Marisol, sometimes remembered as 'the forgotten star of pop art,' made between the 1950s and the early 2000s. It builds on an extraordinary collection of works that Marisol left to the Buffalo AKG Museum upon her death. The museum and DelMonico Books have published a superb catalogue. Amazon and Bookshop offer it for $40-70. Chaffee curated the exhibition with the assistance of Julia Vázquez. Kirsch is the author of "Handmade Papers, 1980-2005," an essay in the catalogue for "Virginia Jaramillo: Principle of Equivalence," a retrospective now at the Museum of Contemporary Art Chicago. The catalogue was edited, and the exhibition curated, by Erin Dziedzic. At the MCA, where "Jaramillo" is on view through January 5, 2025, its presentation was organized by René Morales and Iris Colburn. The exhibition's middle gallery presents an extensive mini-survey of Jaramillo's paper-constructed works. Amazon and Bookshop offer the catalogue for about $50. Instagram: Cathleen Chaffee, Tyler Green.
Welcome back to ARTMATTERS: The Podcast for Artists!My guest today is Catherine Howe. Catherine is a New York-based artist who has exhibited throughout the United States and Europe for over thirty years, including exhibitions at the Corcoran Gallery of Art in Washington, DC, MoMA PS 1 in New York, and the Albright-Knox Art Gallery in Buffalo. Her work has been reviewed by Art in America, Artforum, Art Critical, The New York Times, The New Yorker, and the Los Angeles Times. On today's episode, Catherine and I discuss color, mise en place, gallery requests, speed, snark, pressure, an ecstatic practice, tuning out chatter, a crisis of confidence, resilience and change, enjoying contradiction, trust, gratitude and the three types of studio visits from hell. Special Note:For all my listeners in the LA area, Catherine Howe's upcoming exhibition Wallflower, opens May 18 at Von Lintel Gallery in Los Angeles and runs through July 6. I highly recommend checking this one out! Opening reception for wallflower is Saturday, May 18 from 4-7 Now on to the show….You can now support this podcast directly by clicking here for my PATREON! Or with a one-time donation via PayPal! If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest: Catherine Howe www.catherinehoweartist.cominsta: @catherineahowe
Episode No. 641 is a President's Day weekend clips show featuring artist Stanley Whitney. The Buffalo AKG Art Museum (née the Albright-Knox Art Gallery) is presenting "Stanley Whitney: How High the Moon," a retrospective of Whitney's fifty-year career. The exhibition features the square-format, semi-gridded abstract canvases Whitney has been making since 2002, as well as works preceding them as far back as the 1970s. The exhibition was curated by Cathleen Chaffee and will be on view through May 26. From Buffalo, the exhibition will travel to the Walker Art Center, Minneapolis, and the Institute of Contemporary Art / Boston. A catalogue was published by DelMonico Books and the museum. Amazon and Bookshop offer it for $70-75. This program was taped on the occasion of an exhibition of Whitney's then-recent work at the Modern Art Museum of Fort Worth in 2017. For images, see Episode No. 272.
Episode No. 625A remembers artist Robert Irwin. Nota bene: Episode No. 625B, which will post here on the evening of Friday, October 27, will feature artists Tammy Nguyen and Jammie Holmes. Irwin, a painter and anti-sculptor who substantially invented the Light and Space movement (and responses to it as a teacher), died on October 25, 2023. He was 95. This program remembers Irwin with two curators who worked with him, and by re-playing Irwin's two appearances on The Modern Art Notes Podcast. Michael Auping retired from the chief curatorship of The Modern Art Museum of Fort Worth in 2017 after curatorial stints at the University Art Museum, University of California, Berkeley, the Ringling Museum of Art, Sarasota, Fla., and the Albright-Knox Art Gallery, Buffalo, NY. He organized "Robert Irwin / Matrix 15" for what is now the Berkeley Art Museum & Pacific Film Archive in 1978. Evelyn Hankins is head curator at the Smithsonian's Hirshhorn Museum and Sculpture Garden, Washington DC. She organized "Robert Irwin: All the Rules Will Change," a survey of Irwin's transition from painting to installation, in 2016. The two Irwin interview segments on the program are from 2012's Episode No. 26; and 2016's Episode No. 231.
Carren Strock — equally at home with a pen and paper, a paintbrush and canvas, needle and thread, or hammer and nails — is an all-around Renaissance woman. She is the author of the ground-breaking book on a previously undiscussed topic,Married Women Who Love Women, now in its third edition. She is also the author of A Writer's Journey: What to Know Before, During, and After Writing a Book, In the Shadow of the Wonder Wheel (a mystery novel set in Coney Island, New York), Tangled Ribbons (a lesbian paranormal romance) , Grandpa and Me and the Park in the City. (a rhyming picture book for children), Potatoes With Appeal; 105 Mouth-Watering Recipes, (a cookbook dedicated to her love for the potato), and her latest book, Secret Survivors, (a gripping middle grade chapter book). Her artwork has been honored in both regional and international art shows and has been exhibited at the Albright Knox Art Gallery. Her photographs have appeared in architectural magazines and her articles have appeared in numerous publications in the United States and abroad. For years, as her children were growing up, Ms. Strock exhibited her arts and crafts throughout New England taking awards for her paintings, quilting, and woodwork. When asked if there was anything she couldn't do, her family would tease, “find the kitchen.” The family often picniced on the floor because the kitchen and dining room tables were covered with projects. The middle child of three, Carren was raised in Brooklyn, New York, by parents who encouraged creativity. When she was eight, she told her father that her doll needed a bed. He took her to a hobby shop and bought her a coping saw, balsa wood, and paint and she designed and built a cradle. During hot summer days, her mother would set up a card table in the street and she and her siblings would pass the time painting or cutting paper and making collages. After having lived in Milford, Connecticut, and then in East Amherst, New York, she returned to her roots in Brooklyn. She is a member of the the Authors Guild, the Publishing Triangle, Out Professionals, the American Society of Journalists, the International Women's Writing Guild, and the Women's National Book Association for which she was a workshop director for more than twenty years. She has taught writing classes as well as classes in photo composition in New York City and at IWWG sponsored workshops at Skidmore, Brown, and Yale Universities. She is now available for speaking engagements. Ms. Strock is the mother of two and the grandmother of two who, she says, make her heart sing. The Storytellers hosted by Grace Sammon focuses on individuals who choose to leave their mark on the world through the art of story. Each episode engages guests and listeners in the story behind the story of authors, artists, reporters, and others who leave a legacy of storytelling. Applying her years of experience as an educator, entrepreneur, author, and storyteller herself, Grace brings to listeners an intimate one-on-one experience with her guests. Visit Grace at her website www.gracesammon.net. Contact Grace about being a guest on the show, email her at grace@gracesammon.net Follow Grace: On Facebook https://www.facebook.com/GraceSammonWrites/ On Instagram https://www.instagram.com/GraceSammonWrites/ On Twitter https://www.twitter.com/GSammonWrites On LinkedIn: https://www.linkedin.com/in/grace-sammon-84389153/ #TheStorytellers #Storyteller #Storytellers # Storytelling #AuhtorInterview #LetsTalkBooks #LeaveYourMark #AuthorLife #StorytellerLife #ArtofStory #AuthorTalkNetwork #BookishRoadTrip #AuthorTalkNetwork #AuthorsOnTheAirGlobalRadioNetwork #author #marriedwomenwholovewomen #loveislove #womenwholovewomen The Storytellers is a copyrighted work © of Grace Sammon and Authors on The Air Global Radio Network.
Carren Strock — equally at home with a pen and paper, a paintbrush and canvas, needle and thread, or hammer and nails — is an all-around Renaissance woman. She is the author of the ground-breaking book on a previously undiscussed topic,Married Women Who Love Women, now in its third edition. She is also the author of A Writer's Journey: What to Know Before, During, and After Writing a Book, In the Shadow of the Wonder Wheel (a mystery novel set in Coney Island, New York), Tangled Ribbons (a lesbian paranormal romance) , Grandpa and Me and the Park in the City. (a rhyming picture book for children), Potatoes With Appeal; 105 Mouth-Watering Recipes, (a cookbook dedicated to her love for the potato), and her latest book, Secret Survivors, (a gripping middle grade chapter book). Her artwork has been honored in both regional and international art shows and has been exhibited at the Albright Knox Art Gallery. Her photographs have appeared in architectural magazines and her articles have appeared in numerous publications in the United States and abroad. For years, as her children were growing up, Ms. Strock exhibited her arts and crafts throughout New England taking awards for her paintings, quilting, and woodwork. When asked if there was anything she couldn't do, her family would tease, “find the kitchen.” The family often picniced on the floor because the kitchen and dining room tables were covered with projects. The middle child of three, Carren was raised in Brooklyn, New York, by parents who encouraged creativity. When she was eight, she told her father that her doll needed a bed. He took her to a hobby shop and bought her a coping saw, balsa wood, and paint and she designed and built a cradle. During hot summer days, her mother would set up a card table in the street and she and her siblings would pass the time painting or cutting paper and making collages. After having lived in Milford, Connecticut, and then in East Amherst, New York, she returned to her roots in Brooklyn. She is a member of the the Authors Guild, the Publishing Triangle, Out Professionals, the American Society of Journalists, the International Women's Writing Guild, and the Women's National Book Association for which she was a workshop director for more than twenty years. She has taught writing classes as well as classes in photo composition in New York City and at IWWG sponsored workshops at Skidmore, Brown, and Yale Universities. She is now available for speaking engagements. Ms. Strock is the mother of two and the grandmother of two who, she says, make her heart sing. The Storytellers hosted by Grace Sammon focuses on individuals who choose to leave their mark on the world through the art of story. Each episode engages guests and listeners in the story behind the story of authors, artists, reporters, and others who leave a legacy of storytelling. Applying her years of experience as an educator, entrepreneur, author, and storyteller herself, Grace brings to listeners an intimate one-on-one experience with her guests. Visit Grace at her website www.gracesammon.net. Contact Grace about being a guest on the show, email her at grace@gracesammon.net Follow Grace: On Facebook https://www.facebook.com/GraceSammonWrites/ On Instagram https://www.instagram.com/GraceSammonWrites/ On Twitter https://www.twitter.com/GSammonWrites On LinkedIn: https://www.linkedin.com/in/grace-sammon-84389153/ #TheStorytellers #Storyteller #Storytellers # Storytelling #AuhtorInterview #LetsTalkBooks #LeaveYourMark #AuthorLife #StorytellerLife #ArtofStory #AuthorTalkNetwork #BookishRoadTrip #AuthorTalkNetwork #AuthorsOnTheAirGlobalRadioNetwork #author #marriedwomenwholovewomen #loveislove #womenwholovewomen The Storytellers is a copyrighted work © of Grace Sammon and Authors on The Air Global Radio Network.
Born in Manchester, England, Jane South worked in experimental theater before moving to the United States in 1989. She has a BFA in Theater from Central St. Martins, London, UK, and an MFA in Painting & Sculpture from UNC Greensboro. Solo exhibitions include Shifting Structures: Survey (2019), Mills Gallery, Central College, Pella, IA; Raked (2014), Spencer Brownstone Gallery, NY; Floor/Ceiling (2013), Aldrich Contemporary Art Museum, CT; Box (2011), Knoxville Museum of Art, TN and Shifting Structures: Stacks (2010), the New York Public Library, NY. Selected group exhibitions include the Invitational Exhibition of Visual Arts at the American Academy of Arts & Letters, NY, SLASH: Paper Under the Knife, Museum of Arts & Design (MAD), NY; Burgeoning Geometries: Constructed Abstractions, Whitney Museum of American Art, Altria; The Drawing Center, NY; Williams College Museum of Art, Williamstown, MA; Albright-Knox Art Gallery, Buffalo, NY, Pennsylvania Academy of Fine Arts, Philadelphia, PA and the Baltimore Museum of Art, MD. Southʼs work has been reviewed in The New York Times, the LA Times, Artforum, Art in America, Sculpture Magazine, New York Magazine, Frieze, ArtNews, NY Arts Magazine, and The New Yorker. She is a contributor to the book “The Artist as Cultural Producer: Living and Sustaining a Creative Life” (editor: Sharon Louden). Grants and residencies include the Guggenheim Fellowship (2021); Brown/RISD Mellon Foundation Fellowship (2015); Joan Mitchell Foundation Painters and Sculptors Grant (2009); Dora Maar House, Menérbes, France (2010); Camargo Foundation, Cassis, France (2010); Pollock-Krasner Foundation (2001 & 2008); New York Foundation for the Arts (2007); Rockefeller Foundation Bellagio Center, Italy (2008); MacDowell Colony, NH (2002 & 2004); Yaddo, NY (2001 & 2002). In 2018 South was elected to the National Academy of Design. Jane South is currently Chair of Fine Arts at Pratt Institute.
In this episode of PhotoWork with Sasha Wolf, Sasha and artist, Meghann Riepenhoff discuss her book Ice, published by Radius Books. Meghann talks about how she makes work collaboratively with the environment and how she uses moments of failure as a signal that she is moving in a new direction. http://meghannriepenhoff.com https://www.radiusbooks.org/all-books/p/meghann-riepenhoff-ice Meghann Riepenhoff's work has been exhibited and is held in the collections at the High Museum of Art, the Museum of Fine Arts (Houston), the Museum of Contemporary Photography (Chicago), and the Worcester Art Museum. Additional collections include the Albright-Knox Art Gallery and the San Francisco Museum of Modern Art, which holds Riepenhoff's 12'x18' unique cyanotype. Additional exhibitions include Yossi Milo Gallery, Jackson Fine Art, Galerie du Monde, Euqinom Projects, the Aperture Foundation, San Francisco Camerawork, the Denver Art Museum, the New York Public Library, and the Museum of Fine Arts (Boston). Her work has been featured in ArtForum, Aperture PhotoBook Review, The New York Times, Time Magazine Lightbox, Wall Street Journal, The Guardian, Oprah Magazine, Harper's Magazine, Wired Magazine, and Photograph Magazine. Her first monograph Littoral Drift + Ecotone was co-published by Radius Books and Yossi Milo Gallery.
Episode No. 566 of The Modern Art Notes Podcast features artist B. Ingrid Olson and curator Idurre Alonso. The Carpenter Center for the Visual Arts at Harvard University is presenting two concurrent B. Ingrid Olson exhibitions, "History Mother," and "Little Sister" through December 23. Each exhibition is on a separate floor of CCVA's building. Olson's exhibitions feature site-specific presentations that engage with doubling and mirroring, gendered forms, the interplay between photography and sculpture, and between the body and the built environment. The exhibitions were curated by Dan Byers. A catalogue will be available. This week, the Secession in Vienna closed an exhibition of Olson's work titled "Elastic X." In addition, Olson's work has previously been featured in solo presentations at the Albright-Knox Art Gallery in Buffalo, NY and at The Renaissance Society at the University of Chicago. Alonso discusses her new exhibition "Reinventing the Américas: Construct. Erase. Repeat" at the Getty Research Institute in Los Angeles. The exhibition considers the ways in which artists have helped construct ideas about the Western Hemisphere, particularly in the decades after the arrival of Europeans. It is on view through January 8, 2023. Instagram: B. Ingrid Olson, Idurre Alonso, Tyler Green.
Erica Baum lives and works in New York. She is well known for her varied photographic series capturing text and image in found printed material, from paperback books to library indexes and sewing patterns. She received her MFA from Yale University in 1994 and her BA in Anthropology from Barnard in 1984. Her work is held in the collections of the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; SFMoMA, San Francisco; Sparkassen Stiftung Collection, Kunstpalast, Dusseldorf; MAMCO, Geneva; Albright‐Knox Art Gallery, Buffalo, New York; Centre National des Arts Plastiques, Paris; FRAC Ile de France, Paris; and Yale University Art Gallery, New Haven. Erica Baum Bow, 2022 (Patterns), Archival pigment print, 15 × 13.9 in. (38.10 × 35.31 cm), Edition of 6 plus II AP Erica Baum Pant Pant Skirt, 2022 (Patterns), Archival pigment print, 15 × 14.23 in. (38.10 × 36.14 cm), Edition of 6 plus II AP
Ep 58 The Orchestra of Family Business Listen in as we talk with father and son duo Robert & Trevor Stevenson* of Eastman Machine Company about the evolution of their business, the hard decisions they've had to make regarding family members over the years and the intriguing connection they have to a very famous person in history! OUR GUESTS Robert L Stevenson* Robert L. Stevenson is CEO of Eastman Machine Company and the fourth generation of his family head the business. Eastman Machine Company is the world's oldest manufacturer of fabric cutting machinery and has been located in Buffalo, New York since 1888. The company sells worldwide and currently has customers in over 150 countries. Eastman manufactures a range of fabric cutting and material handling machinery and sells into diverse markets that include aerospace, apparel, automotive, energy products, furniture, industrial textiles, marine, and recreational products. Mr. Stevenson is a 1969 graduate of St. Paul's School and in 1973 he received a B.A. from Yale University. Mr. Stevenson is also a 1975 graduate of the Harvard Business School certificate program. Upon graduation from Yale, he joined Eastman Machine Company as a full time employee. During his tenure at Eastman, he has filled a variety of roles such as: Service Manager, VP of Manufacturing, Corporate Treasurer, and was named President in 1983. In addition to his career at Eastman, Mr. Stevenson has served his community in a number of different capacities. He has served as Chairman of the World Trade Center of Buffalo, and also Chairman of the Child and Family Services Foundation, (the oldest and largest the Board of Directors of social service organization in Buffalo). He also serves on the boards of the United Way of Buffalo, InSyte Consulting and the New York Federal Reserve Advisory Board. He sits on the board of Medaille College where he had been chair from 1999-2006; and he has served as trustee of the Albright Knox Art Gallery, the Buffalo Red Cross, and the Elmwood Franklin School. Mr. Stevenson is married and resides in Buffalo with his wife; they have six grown children and 11 grandchildren. LinkedIn Profile Trevor Stevenson* R. Trevor Stevenson is President of Eastman Machine Company, a family-owned and operated business since 1888. Born in Buffalo and raised in Columbus, Georgia, Mr. Stevenson is a 1998 B.A. graduate of the University of Vermont and 2011 M.B.A. graduate from the University of Buffalo. Upon graduation and prior to joining the Eastman team, he worked in Europe for an internet company as well as a manufacturing firm in Colorado. He currently works closely with all departments at Eastman and is major influencer on product design, sales, and tech service. In addition to his career at Eastman, Mr. Stevenson previously served on the board of directors for United Way, Child and Family Services in Buffalo, NY and the World Trade Center Buffalo Niagara. Mr. Stevenson is married with twins (11), a daughter (20) and two dogs. He enjoys spending time with his family, skiing, hiking, traveling, and playing golf. LinkedIn Profile ----- *not affiliated with Lincoln Financial Advisors Corp. Michael Palumbos is a registered representative of Lincoln Financial Advisors Corp. Securities and investment advisory services offered through Lincoln Financial Advisors Corp., a broker/dealer (member SIPC) and registered investment advisor. Insurance offered through Lincoln affiliates and other fine companies. Family Wealth & Legacy, LLC is not an affiliate of Lincoln Financial Advisors Corp. Lincoln Financial Advisors Corp. and its representatives do not provide legal or tax advice. You may want to consult a legal or tax advisor regarding any legal or tax information as it relates to your personal circumstances. CRN-4761089-052522
Photo Courtesy Perrotin and the artist. Gabriel de la Mora, born in 1968 in Mexico City where he currently lives and works, is best known for constructing visual works from found, discarded, and obsolete objects. In an obsessive process of collecting and fragmenting materials - eggshells, shoe soles, speaker screens, feathers - the Mexican artist creates seemingly minimal and often monochrome-looking surfaces that belie great technical complexity, conceptual rigor, and embedded information. De la Mora has exhibited at the Drawing Center, New York, and the Museo Amparo, Puebla, Mexico. His work is part of collections including the Albright-Knox Art Gallery, Buffalo, New York; El Museo del Barrio, New York; Colección Jumex, Mexico City; the Museum of Contemporary Art, Los Angeles; the Museum of Fine Arts, Houston; and Pérez Art Museum Miami. Gabriel de la Mora 720 I - M.D, 2021 Mosaico de alas de mariposa Morpho didius sobre cartulina de museo / Morpho didius butterfly wings mosaic on museum cardboard. Framed Dimensions: 35 x 35 x 6 cm 13.78 x 13.78 x 2.36 inches. Image Dimensions: 30 x 30 x 2 cm 11.81 x 11.81 x .79 inches. Signed backwards and dated backwards firmada al reverso y fechada al reverso *The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities. Photo Courtesy Perrotin and the artist. Gabriel de la Mora 1,240 - H. L., 2021, Mosaico de alas de mariposa Hebomoia leucippe sobre cartulina de museo / Hebomoia leucippe butterfly wings mosaic on museum cardboard. Framed Dimensions: 35 x 35 x 6 cm 13.78 x 13.78 x 2.36 inches. Image Dimensions: 30 x 30 x 2 cm 11.81 x 11.81 x .79 inches. *The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities. Photos Courtesy Perrotin and the artist.
Kawita has achieved significant recognition since graduating from RMIT University in 2011. In 2015 she was a Finalist in the Jaguar Asia Pacific Tech Art Prize and curated the prestigious Thailand Eye exhibition at Saatchi Gallery, London. In 2017, her work was curated in the 'Islands in the Stream' exhibition in Venice, Italy, alongside the 57th Venice Biennale. In 2018, She showed her works as part of the Bangkok Art Biennale. In 2019, she held her largest museum show at Albright Knox Art Gallery in New York.
For this episode I spoke to Dr. Tina Rivers Ryan (@TinaRiversRyan), Assistant Curator at the Albright-Knox Art Gallery in Buffalo, New York, art historian, critic, and educator. She's been involved in digital art on the internet well before NFTs were ever a thing but has written some interesting critiques about it all. During the interview we talk about the history of artists using computers and other digital technologies, the interplanetary war in the art world over NFTs, and some of the realities around the NFT art space. Sources MentionedDr. Ryans piece on the interplanetary war on NFTs in Art ReviewToken Gesture by Dr. RyanMy interview with Rhea MyersIf you liked the podcast be sure to give it a review on your preferred podcast platform. If you find content like this important consider donating to my Patreon starting at just $3 per month. It takes quite a lot of my time and resources so any amount helps. Follow me on Twitter (@TBSocialist) and join the r/CryptoLeftists subreddit and Discord to join the discussion.Support the show (https://www.patreon.com/theblockchainsocialist)
"Raising the BAAR" in Art, Culture, and Society - Diversity Edit
" I showed up, I engaged and started a conversation. When you have opportunities you want to be prepared." Louis Cameron "During the exhibition, I take a pivot to reflect on the violence that has recently taken place towards Black people in the United States." Louis Cameron "Being out of context brings clarity to who I am." Louis Cameron "The business piece of art is about who you know." Louis Cameron During this full episode, Louis Cameron and Jewell Sparks (BAAR Art Journey / UNITED17 Ventures / Startup42 Media) discuss the artist's journey. Louis Cameron is a contemporary American artist who was born in Columbus, Ohio. Cameron has at least 10 solo shows and 28 group shows throughout his career. Cameron's latest solo show titled "Louis Cameron" is currently (February 18, 2022) on view at Galerie Michael Janssen. One of his most notable shows "Bearable Lightness…Likeness" took place at MoMA PS1 in New York. This exhibition featured the work of seven emerging artists and focused on the lightness of materials and the tradition of abstraction. Cameron has participated in the Artist-in-Residence program at The Studio Museum in Harlem and been a Fellow in Painting with the New York Foundation for the Arts. His work is in the collections of the Albright-Knox Art Gallery, Buffalo; the International Center of Photography, New York; JPMorgan Chase Art Collection, New York; the Saint Louis Art Museum, and The Studio Museum in Harlem, New York. Cameron has taught at Princeton University, Yale University, and Brooklyn College amongst other institutions. Cameron will help select artists for BAAR's upcoming art journey for 6 American artists taking place this fall in Berlin, Germany. The journey is slated to impact the lives of 30 artists over a 5 year time period and will take place in Berlin, Panama, Anguilla, Venice and Basel. Cover Art: Louis Cameron, BRLN 31 (detail), 2021, paper on canvas, collage, 40 x 30 cm
"Raising the BAAR" in Art, Culture, and Society - Diversity Edit
Louis Cameron's exhibition opened February 18, 2022 at Galerie Michael Janssen. During this soundbite he discusses his artwork titled, “Last Words: George Floyd,” with Jewell Sparks, and mentions that the incident most likely caused many of us to think about what we would say if we were in the same situation. Cameron has participated in the Artist-in-Residence program at The Studio Museum in Harlem and been a Fellow in Painting with the New York Foundation for the Arts. His work is in the collections of the Albright-Knox Art Gallery, Buffalo; the International Center of Photography, New York; JPMorgan Chase Art Collection, New York; the Saint Louis Art Museum, and The Studio Museum in Harlem, New York. Cameron has taught at Princeton University, Yale University, and Brooklyn College amongst other institutions. Cameron will help select artists for BAAR's upcoming art journey for 6 American artists taking place this fall in Berlin, Germany. Cover Art: Louis Cameron, BRLN 31 (detail), 2021, paper on canvas, collage, 40 x 30 cm
"Raising the BAAR" in Art, Culture, and Society - Diversity Edit
This soundbite features Louis Cameron describing his first solo exhibition in Germany. Tune in next week for the full episode. During the full episode, Jewell Sparks and Louis Cameron discuss their journeys as expats in Germany, and Louis reflects on the impact that George Floyd had on him as a Black American man, and his art on the outside looking in while living in Berlin, Germany during the incident. Louis Cameron was born in Columbus, Ohio, raised in Los Angeles, and currently lives in Berlin. His exhibition "Louis Cameron" takes place at Galerie Michael Janssen February 19 —16 April 16, 2022. In addition to his upcoming exhibition at Galerie Michael Janssen, Berlin Cameron has had solo exhibitions and projects at the Contemporary Art Museum St. Louis; The Kitchen, New York; The Armory Show, New York; and the Saint Louis Art Museum. He has also participated in group exhibitions in the United States and abroad at the Albright-Knox Art Gallery, Buffalo; the Contemporary Art Museum Houston; MoMA PS1, New York; The Studio Museum in Harlem, New York; Baltic Centre for Contemporary Art, Gateshead, United Kingdom; Paris Photo, France; and the Dakar Biennial, Senegal. Cameron has participated in the Artist-in-Residence program at The Studio Museum in Harlem and been a Fellow in Painting with the New York Foundation for the Arts. His work is in the collections of the Albright-Knox Art Gallery, Buffalo; the International Center of Photography, New York; JPMorgan Chase Art Collection, New York; the Saint Louis Art Museum, and The Studio Museum in Harlem, New York. Cameron has taught at Princeton University, Yale University, and Brooklyn College amongst other institutions. Cover Art: Louis Cameron, BRLN 31 (detail), 2021, paper on canvas, collage, 40 x 30 cm
Based in New York, Victoria Sambunaris structures her life around a photographic journey traversing the American landscape for several months per year. Equipped with a 5x7 inch field camera, film, a video camera and research material, she crosses the country alone tenting on top of her car. Her large-scale project-based photographs document the continuing transformation of the American landscape with specific attention given to expanding political, technological and industrial interventions. Sambunaris received her MFA from Yale University in 1999. Her work has been widely exhibited in museums and galleries throughout the United States and abroad. She is the recipient of numerous awards including the 2021 John Simon Guggenheim Memorial Foundation Fellowship, the Julius Shulman Excellence in Photography Award, the Aaron Siskind Foundation Individual Photographer's Fellowship and the Anonymous Was a Woman Award. In 2011 a twelve-year survey of her work was exhibited at the Albright-Knox Art Gallery in Buffalo, NY and travelled throughout the US. Her work is held in numerous collections including the Museum of Modern Art, the Whitney Museum of American Art, the Albright-Knox Art Gallery, the Lannan Foundation, the San Francisco Museum of Modern Art and the National Gallery of Art. In 2019, Sambunaris was commissioned by the Dia Art Foundation to photograph Robert Smithson's Spiral Jetty for the 50th anniversary and Sun Tunnels by Nancy Holt. Radius Books Published her first monograph Taxonomy of a Landscape. She is represented by Yancey Richardson Gallery in NY.
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Episode 85 features Pat Phillips. He was born in Lakenheath, England in 1987. His work was featured in the 2019 Whitney Biennial at the Whitney Museum of American Art in New York. Solo exhibitions include ROOTS (Antenna Gallery, New Orleans), Told You Not to Bring That Ball (Masur Museum of Art, Monroe), SubSuperior (Catinca Tabacaru Gallery, New York) and Summer Madness (M+B, Los Angeles). In 2017, he received a Joan Mitchell Painters & Sculptors Grant. Phillips has also participated in residencies at the Vermont Studio Center and Skowhegan School of Painting & Sculpture. His work can be found in the collections of the Whitney Museum of American Art, New York, NY; Albright-Knox Art Gallery, Buffalo, NY; Block Museum of Art, Evanston, IL; and New Orleans Museum of Art, New Orleans, LA, among others. Phillips' paintings combine personal and historical imagery into surreal juxtapositions, drawing on his experience living in America to meditate on complex questions of race, class, labor and a militarized culture. Phillips, who grew up primarily in a small town in Louisiana, found his way to art through painting and photographing boxcars. He embraces this entry point, creating paintings that discuss the Americana subculture, as well as the current social and political threads running through American culture. His works often contain references to confederate flags, fences, and guns—all objects that suggest the violent underpinnings of this country and its institutions. Phillips currently has a solo exhibition titled 'Consumer Reports' at the Jeffrey Deitch Gallery, Wooster Street in NYC, November 13th - January 8th, 2022. Headshot Photo credit Nicholas Calcott Artist ~ http://www.patphillipsart.com/paintings-2021 Jeffrey Deitch ~ https://deitch.com/new-york/exhibitions/pat-phillips-consumer-reports M+B ~ https://www.mbart.com/exhibitions/194/ Juxtapoz ~ https://www.juxtapoz.com/news/painting/pat-phillips-intricate-layered-works-on-paper-m-b-gallery-los-angeles/ Joan Mitchell Foundation ~ https://www.joanmitchellfoundation.org/pat-phillips Art of Choice ~ https://www.artofchoice.co/pat-phillips-calls-on-his-own-history-to-spotlight-systemic-inequities/ Hyperallergic ~ https://hyperallergic.com/488557/subsuperior-pat-phillips-catinca-tabacaru-gallery/
Alec and Nick discuss the role of narcissism in the history and production of experimental music. The episode gives a close account of the paradigm introduced by art historian Branden Joseph in “Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage” with special attention to how problems of authorship, the archive's role in framing genealogy, critiques of institutionalized culture, and the “dark triad” (narcissism, psychopathy, and machiavellianism) all play out in “minor histories” of music. La Monte Young, Tony Conrad, 4Chan, Bandcamp Friday, Charlemagne Palestine, Sigmund Freud and more are all discussed. Opening theme music by Xander Seren. Closing music: unreleased recording of Tony Conrad & Charlemagne Palestine, presented by ISSUE Project Room at First Unitarian Congregational Society on March 3rd, 2015 Cover image: Tony Conrad performing Sunbow (1977) at the 3rd S.E.M. Spring Festival, Albright-Knox Art Gallery, Buffalo, June 4 and/or 5, 1977. Performance with bowed mirror, sunlight, projector control mechanisms, and slides. Photograph by Kevin Noble.
Russell and Robert meet Amy Cappellazzo, current Chairman of the Fine Art division of Sotheby’s. Cappellazzo has just announced she will be leaving the company in July 2021. We discuss her admiration for Georgia O'Keefe, Joni Mitchell, performance artist John Kelly, the HBO documentary she featured in The Price of Everything and her passion for the Studio Museum Harlem and the Albright-Knox Art Gallery in her childhood hometown of Buffalo, NY.Prior to accepting he position, Cappellazzo founded Art Agency, Partners with Allan Schwartzman. The firm filled a significant need in the art market for a client-oriented combination of industry knowledge, financial sophistication, and discretion. The company’s attention to detail and emphasis on client care catalyzed a paradigm shift in the market that did not go unnoticed; in January of 2016 Sotheby’s acquired Art Agency, Partners in a groundbreaking deal. Cappellazzo previously served as a market leader in the field of contemporary art at Christie’s, where she rose to the post of Chairman of Post-War & Contemporary Development over thirteen years. During her tenure Cappellazzo directed groundbreaking initiatives that led to record results, with upward of $650 million realized in a single sale.Previously, Cappellazzo was an art advisor, curator, and key figure in the establishment of Art Basel in Miami Beach. Cappellazzo received her B.A. in Fine Arts/Art History from New York University, where she was a Presidential Trustee Scholar. She holds a master’s degree in Urban Design from the School of Architecture at Pratt Institute, where she focused on the role of public art in shaping cities. Follow Amy on Instagram: @ACappellazzo.For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.
每日英語跟讀 Ep.K040: From Buffalo to San Antonio and Beyond, Museums Woo Members When financier Jeffrey Gundlach showered $42.5 million on the Albright-Knox Art Gallery in Buffalo, New York, it radically altered the museum's long-term agenda. 金融家傑佛瑞．岡拉克致贈大禮4,250萬美元給紐約州水牛城奧爾布賴特─諾克斯美術館時，它徹底改變了博物館的長期行事計畫。 The gift was predicated on the challenge that the museum raise $50 million more in just three months, with the money going to a major new building as well as an operating fund that would help guarantee its upkeep. 這份大禮建立在一項挑戰上，美術館必須在短短3個月內，籌措到額外的5000萬美元資金，這筆資金將投入一棟重要的新建築以及確保它能正常營運的基金。 Such transformative gifts are unusual for any museum, but they are rarer in cities where wealth is not as high as in cosmopolitan behemoths such as New York, Houston or Los Angeles. Smaller cities generally lack the influx of newcomers who are willing to make a splash with a big gift in their adopted city, and their museums depend on luring repeat visitors. 這種改造性的禮物對任何博物館來說都不尋常，對財力不及紐約、休士頓或洛杉磯這些世界級大都會的一些城市更是難得一見。一般而言，較小城市較難見到樂於捐贈引人注目大禮給他們定居城市的新居民潮，它們的博物館因此只能仰賴吸引回頭客。 Sometimes, to do that, museums are forfeiting admission fees. As Julian Zugazagoitia, director of the Nelson-Atkins Museum of Art in Kansas City, Missouri, puts it: “If a museum is free, you can come and go. You can come often and do one gallery at a time. A museum can be like a restaurant, you can taste one thing at a time.” 有時為達此目的，博物館會放棄收取門票。正如密蘇里州堪薩斯市納爾遜─艾金斯美術館館長朱利安．祖加扎吉蒂亞所說：「倘若美術館免費，你就會來來回回。你可以經常來參觀，一次欣賞一個館。美術館也可像餐館一樣，一次只來品嘗一道美味。」 Indeed, of the 242 museums that are members of the Association of Art Museum Directors, fully one-third are free, said the association's director, Christine Anagnos. 「美術館館長協會」會長克莉絲汀．亞納格諾斯說，事實上，協會的242家美術館成員中，整整有三分之一不收門票。 That trend puts particular pressure on institutions to exploit their existing resources and to bond with other local arts organizations in original programs for the public. Whether these programs take place in the museum or outside, the strategy is to lure more visitors who may well become members. 這種趨勢對這些機構形成特殊的壓力，必須更加善用既有的資源以及和其他在地藝術組織結合，提供原創性展覽供民眾觀賞。這些展覽無論是否是在美術館內舉行，策略都是為了吸引更多可能成為會員的參觀者。 And museums are doing just that. Erik Neil, who took over as director of the Chrysler Museum of Art in Norfolk, Virginia, three years ago, said that 75 percent of the museum's visitors come from within 50 miles. 一些美術館正在這樣做。三年前接手成為維吉尼亞州諾福克市克萊斯勒美術館館長的艾瑞克．尼爾說，他的美術館75％的參觀者來自50英里內。 Neil has worked to involve African-Americans as well as personnel at the nearby Navy base and lesbian, gay, transgender and bisexual groups. Among the efforts: an exhibit of “Women and the Civil Rights Movement” and “Thomas Hart Benton and the Navy.” 尼爾努力讓非裔美國人，附近海軍基地人員，以及男女同性戀、跨性別、雙性戀者都參與其中。他的作為包括舉辦「婦女與民權運動展」，以及「湯馬斯．哈特．班頓與海軍展」。 To make the Chrysler Museum more welcoming, Neil has done away with museum guards. Instead, he relies on paid employees to act as hosts to visitors. For example, he said, “If visitors have questions, the employees can get in touch with a curator for the answer.” 為讓克萊斯勒美術館更受歡迎，尼爾撤掉了美術館的警衛，改而仰賴支薪僱員扮演接待來賓的主人。他舉例說道：「如果參觀者有疑問，這些僱員可以聯繫策展人以提供解答。」 Directors are also breaking through museum walls to extend the art experience into the streets and on to museum lawns with cocktail evenings for young members or even art events that go beyond the museum doors. 館長們同時突破美術館的厚牆，將藝術經驗延伸到街頭和美術館的草坪上，不僅為年輕會員舉辦雞尾酒夜，還有踏出美術館大門的一些藝術活動。 Source article: https://paper.udn.com/udnpaper/POH0067/320440/web/ 每日英語跟讀Podcast，就在http://www.15mins.today/daily-shadowing 每週Vocab精選詞彙Podcast，就在https://www.15mins.today/vocab 每週In-TENSE文法練習Podcast，就在https://www.15mins.today/in-tense 用email訂閱就可以收到通勤學英語節目更新通知。
For those diagnosed with Alzheimer’s or dementia, having access to social activities is crucial. COVID-19 has presented a few challenges for the WNY Alzheimer’s Association, but it hasn’t stopped them from finding socially safe ways to gather an at risk population on a weekly basis. This includes art related Zoom activities with local partners like the Albright-Knox Art Gallery.
Art historian Cherise Smith’s new book, MICHAEL RAY CHARLES: A Retrospective, is an in-depth examination of the art of its namesake, a Black artist whose provocative paintings recast images of racism in consumer culture. Michael Ray Charles had his first solo exhibition at a major museum in 1997 at the Albright-Knox Art Gallery in Buffalo, New York. Cherise Smith is Chair of African & African Diaspora Studies Department and Professor of African & African Diaspora Studies and Art History at the University of Texas at Austin.
Art historian Cherise Smith's new book, MICHAEL RAY CHARLES: A Retrospective, is an in-depth examination of the art of its namesake, a Black artist whose provocative paintings recast images of racism in consumer culture. Michael Ray Charles had his first solo exhibition at a major museum in 1997 at the Albright-Knox Art Gallery in Buffalo, New York.Cherise Smith is Chair of African & African Diaspora Studies Department and Professor of African & African Diaspora Studies and Art History at the University of Texas at Austin.
Your host, Peter Hunt, welcomes Cathleen Chaffee to the show.Cathleen is the Chief Curator at the Albright-Knox Art Gallery in Buffalo, NY.Together, Peter leads the discussion on the impact of the ongoing pandemic and its impact on real estate.
João Onofre nasceu em Lisboa, 1976, onde vive e trabalha. Estudou na Faculdade de Belas Artes de Lisboa, tendo concluído o Master of Fine Arts no Goldsmiths, University of London no Reino Unido em 1999 e o Doutoramento em Arte Contemporânea no Colégio das Artes da Universidade de Coimbra em 2018.Entre as suas exposições individuais destacam-se: I-20, Nova Iorque (2001); P.S.1. / MoMA Contemporary Art Center, Nova Iorque (2002); Nothing Will Go Wrong, MNAC, Lisboa, e CGAC, Santiago de Compostela, Espanha (2003); Project Space Kunsthalle Wien-Karlsplatz. Viena (2003). João Onofre, Magazin 4, Bregenz, (2004); Galeria Toni Tàpies, Barcelona (2005); Cristina Guerra Contemporary Art, Lisboa (2007); Fundació Joan Miró, Barcelona e Palais de Tokyo, Paris ambas em 2011; Marlborough Contemporary, Londres (2014); Kunstpavillion, Munique, Alemanha (2015); Appleton Square, Lisboa (2016); MAAT, Lisboa , (2017); Once in a Lifetime [Repeat], Culturgest, Lisboa (2019).O seu trabalho está incluído em diversas colecções públicas e privadas, entre as quais: MCA- Museum of Contemporary Art, Chicago; Albright-Knox Art Gallery, Buffalo; Centre Georges Pompidou – MNAM/CCI, Paris; The Weltkunst Foundation, Zurique; La Caixa, Barcelona; MACS – Museu de Serralves, Porto; – Fundação Calouste Gulbenkian, Lisboa; GAM – Galeria D'Arte Moderna e Contenporanea, Turim; Fundación/Coleccion Jumex, Cidade do México ; Norton Museum of Art, Palm Beach, Florida; Mildred Lane Kemper Art Museum, St. Louis, Missouri; Fondazione Sandretto Re Rebaudengo, Turim; Centre National des Arts Plastiques- Ministère Culture, Paris.É representado pela galeria Cristina Guerra Contemporary Art em Lisboa.Episódio gravado dia 18 de junho 2020.Linkshttp://www.joaoonofre.com/https://expresso.pt/cultura/2019-02-24-Joao-Onofre-Os-artistas-sempre-se-utilizaram-uns-aos-outroshttps://www.youtube.com/watch?v=aeyC2O6n6cIhttps://www.publico.pt/2019/02/15/culturaipsilon/noticia/joao-onofre-artista-cria-imagens-onde-accao-acontece-1861622https://gulbenkian.pt/museu/works_cam/instrumental-version-145240/http://www.appleton.pt/Mecenas Appleton: HCI / Colecção Maria e Armando CabralCom o apoio da Câmara Municipal de Lisboa - Fundo de Emergência Nacional - Cultura
Amanda Browder's "Land of Hidden Gems" on display on the HFA building at UNLV In Las Vegas, Nev. on April 5, 2019. Born in Missoula, MT in 1976, Amanda Browder received an MFA/MA from the University of Wisconsin at Madison and taught at the School of the Art Institute of Chicago. She currently lives and works in Brooklyn, New York producing large-scale fabric installations for building exteriors and other public sites. She works primarily with the community, and sources all of her material from donations. She has shown nationally, and internationally including at the New Museum, Ideas City Festival, SPRING/BREAK Art Fair, FAB Fest in New York City; The Dumbo Arts Festival, Brooklyn; University of Alabama at Birmingham AAHD, Birmingham, AL; Nuit Blanche Public Art Festival/LEITMOTIF in Toronto; Mobinale, Prague; Allegra LaViola Gallery, NYC; Nakaochiai Gallery, Tokyo; White Columns, NYC; No Longer Empty, Brooklyn. She has been published in books such as Unexpected Art: Chronicle Books and Strange Material; Arsenal Pulp Press. This year she will create a large-scale work as part of Art Prize: Project 1 and was named a Transformation Fellow at UNLV. In 2016, she received her first National Endowment for the Arts grant and worked with the Albright Knox Art Gallery to drape three buildings in Buffalo, NY. Photos and reviews have appeared in New York Times to Fibers Magazine and she is a founder of the art podcast, badatsports.com. Book mentioned during the interview were The Art of Gathering: How we Meet and Why it Matters by Priya Parker and Janesville: An American Story - Book by Amy Goldstein. Spectral Locus: Clifton Hall and a Public Sewing Day at Starlight Studios in Buffalo, NY, 2016 - Albright Knox Art Gallery + AK Public Art; photo by Tom Loonan Spectral Locus: Richmond and Ferry Church and 920 Broadway in Buffalo, NY, 2016 - Albright Knox Art Gallery + AK Public Art; photo by Tom Loonan
Polly Apfelbaum is an artist living and working in NYC. In 2018, Polly had solo exhibitions at the Belvedere 21 in Vienna, Austria and Ikon Gallery in Birmingham, UK, which travels to the Kemper Museum of Contemporary Art, Kansas City, MO, in 2019. She has exhibited widely since the 1980s, including one-person exhibitions at the National Museum of Women in the Arts, Washington, DC, the Otis College of Art and Design, Los Angeles, CA at Bepart in Waregem, Belgium, the Worcester Art Museum in Worcester, MA, the lumber room in Portland, OR and at the Mumbai Art Room, Mumbai, India. A major mid-career survey of her work opened in 2003 at the Institute for Contemporary Art in Philadelphia, PA, and traveled to the Kemper Museum of Contemporary Art, Kansas City, MO, and Contemporary Arts Center, Cincinnati, OH, both in 2004. Her work has been featured in numerous group exhibitions including Pattern and Decoration, Ornament as Promise, Ludwig Forum for Internationale Kunst in Aachen, Germany , An Irruption of the Rainbow at the Los Angeles County Museum of Art, Wall to Wall at MOCA Cleveland in Cleveland, OH, Pretty Raw: After and Around Helen Frankenthaler at the Rose Art Museum, , Three Graces at the Everson Museum of Art in Syracuse, NY, Pathmakers: Women in Art, Craft and Design, Midcentury and Today at the Museum of Art and Design in New York , AMERICANA: Formalizing Craft at the Perez Art Museum in Miami, FL, Regarding Warhol: Sixty Artists, Fifty Years at the Metropolitan Museum of Art in New York, amongst many, many others. Polly’s work is in numerous permanent collections including the Albright-Knox Art Gallery, Buffalo, NY; Blanton Museum of Art, Austin, TX; Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art; Everson Museum of Art, Syracuse, NY; Los Angeles County Museum of Art; Museum of Contemporary Art Chicago; The Museum of Modern of Art, New York; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Pérez Art Museum Miami; Philadelphia Museum of Art; Princeton University Art Museum, Princeton, NJ; Tang Teaching Museum, Saratoga Springs, NY; and Whitney Museum of American Art, New York. She was the recipient of a Pollock-Krasner Foundation Grant in 1987, a Guggenheim Fellowship in 1993, an Artist's Fellowship from the New York Foundation for the Arts in 1995, an Anonymous Was a Woman Award in 1998, a Richard Diebenkorn Fellowship in 1999, a Joan Mitchell Fellowship in 1999, an Academy Award from the American Academy of Arts and Letters in 2002, and the Rome Prize in 2012. Brian stopped by Polly’s loft in lower Manhattan where she’s lived and worked for the last 40 years for a talk about early influence, the Pennsylvania Dutch, Philadelphia funk, craft, design, endless drive and so much more.
In this episode, Talking Practice host Grace La interviews Shohei Shigematsu, partner at Office of Metropolitan Architects (OMA) and head of the New York office. Tracing his career from the suburbs of Japan to OMA’s Rotterdam headquarters in 1998, and his later transition to partner at the firm’s New York office in 2006, Shigematsu discusses the evolving ethos of practice at OMA, and what it means specifically to lead OMA New York. With OMA currently maintaining multiple international branches, Shigematsu outlines the independent architectural and social agenda for OMA New York. He also addresses questions of collaboration within the firm, his dream projects, opinions on AMO (OMA’s research division), architectural “turbulence,” and OMA progenies such as Bjarke Ingels (BIG Architects). Shigematsu provides an inside glimpse into the management structure of this influential architecture practice and considers what happens next for OMA, the New York office, and architectural thinking in the profession. For more of his thoughts on practice, watch the roundtable discussion, "Emergence of a Modern Practice," from the 2017 symposium "Rethinking Pei." Shohei Shigematsu is a partner at the Office of Metropolitan Architects since 2008, and the head of OMA’s New York branch, leading several projects across North America including Milstein Hall, in Cornell, Ithaca, the Faena Forum in Miami Beach, the Quebec National Beaux Arts Museum in Canada, and the Costume Institute Exhibitions at the Metropolitan Museum of Art. His current projects include, among others, the Albright Knox Art Gallery in Buffalo, New York, a Facebook campus masterplan in Menlo Park, and a new addition to the New Museum in New York City. About the Show Developed by Harvard Graduate School of Design, Talking Practice is the first podcast series to feature in-depth interviews with leading designers on the ways in which architects, landscape architects, designers, and planners articulate design imagination through practice. Hosted by Grace La, Professor of Architecture and Chair of Practice Platform, these dynamic conversations provide a rare glimpse into the work, experiences, and attitudes of design practitioners from around the world. Comprehensive, thought-provoking, and timely, Talking Practice tells the story of what designers do, why, and how they do it—exploring the key issues at stake in practice today. About the Host Grace La is Professor of Architecture, Chair of the Practice Platform, and former Director of the Master of Architecture Programs at Harvard University Graduate School of Design. She is also Principal of LA DALLMAN Architects, internationally recognized for the integration of architecture, engineering and landscape. Cofounded with James Dallman, LA DALLMAN is engaged in catalytic projects of diverse scale and type. The practice is noted for works that expand the architect's agency in the civic recalibration of infrastructure, public space and challenging sites. Show Credits Talking Practice is produced by Ronee Saroff and edited by Maggie Janik. Our Research Assistant is Julia Roberts. Practice Platform Support is provided by Jihyun Ro. The show is recorded at Harvard University's Media Production Center by Multimedia Engineer Jeffrey Valade. Contact For all inquiries, please email practicepodcast@gsd.harvard.edu.
Buffalo artist Julia Bottoms is fighting to represent the experiences of women of color in the art world. In episode twenty-one, she discusses some of her latest projects including Albright Knox Art Gallery’s “The Freedom Wall” and running her own business at Buffalo Brush Paint and Sip.
Richard Phillips was born in 1962 in Marblehead, Massachusetts. He received his B.F.A. in 1984 from Massachusetts College of Art in Boston, and his M.F.A. in 1986 from Yale University. His recent solo museum exhibitions include Kunsthalle Zürich in Switzerland , Kunstverein Hamburg in Germany, “Paintings and Drawings,” at Le Consortium in Dijon, “Lindsay Lohan,” at the Institute of Modern Art in Brisbane and “Negation of the Universe,” at the Dallas Contemporary in Texas . His work in public collections include the Museum of Modern Art, New York, the Whitney Museum of American Art, the Albright-Knox Art Gallery in Buffalo, the San Francisco Museum of Modern Art, the Denver Art Museum, the Modern Art Museum of Fort Worth in Texas, the Museum of Contemporary Art in North Miami, the Tate Modern in London and the Van Abbemuseum in the Netherlands. His films ‘Lindsay Lohan’ and ‘Sasha Grey’ premiered at the 54th Venice Bienale in 2011 and at the Institute of Modern Art in Brisbane in 2012. First Point premiered at Art Unlimited at Art Basel, Switzerland in June 2012. Brian met up with Richard at his Red Hook studio in Brooklyn and they spoke about his early days in the Village making sculptural paintings, surfing and racing, the impact of music, Blinky and Motherwell and lots more.
Byron Kim is a painter based in Brooklyn who received a BA from Yale University in 1983 and attended Skowhegan School of Painting and Sculpture in 1986. He is a Senior Critic at Yale University. He has received numerous awards including the Alpert Award, and the Joan Mitchell Foundation Grant. He has participated in many international exhibitions including the 7th and 3rd Gwangju Biennale in Korea in 2000 and 2008. In addition to the National Gallery of Art’s collection, his work is in the permanent collection of the Albright-Knox Art Gallery in Buffalo, the Art Institute of Chicago, the Berkeley Art Museum, the Blanton Museum of Art in Austin, TX, the Hirshhorn Museum, the M+ Museum in Hong Kong; the Museum of Contemporary Art in La Jolla, the Museum of Contemporary Art in San Diego, the Pérez Art Museum in Miami, the Walker Art Center in Minneapolis, and the Whitney Museum of American Art. Byron and I met up at his current show titled Mud Root Ochre Leaf Star at James Cohen Gallery on the Lower East Side and spoke about so many things from his early days as a student to art’s relationship to the universe. He’s one of my favorite people and it was a real pleasure to have this conversation with him at the site of his powerful show.
Recorded at the KUT/NPR studio in Austin, Texas, this Fresh Talk episode features Louis Grachos, new director of Austin Museum of Art-Arthouse (currently known as AMOA-Arthouse). Louis has been an arts leader on the move. His career has taken him across the country—to New York, San Diego, Toronto, Miami, Santa Fe and Buffalo. Before moving to Austin, he directed the Albright-Knox Art Gallery in Buffalo for a decade. Cathy Byrd speaks with Louis about how he landed in Austin and what he hopes to do there. Sound Editor: Eric Schwartz
Albright-Knox Art Gallery, Buffalo, NY
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