Podcasts about Alice Neel

We speak with Lauren Arrington about her forthcoming book on women artists in the Federal Arts Project. The Great Depression rendered 140,000 women and girls across the United States homeless. In 1935, Franklin Delano Roosevelt founded the Works Progress Administration (WPA) that employed 8.5 million people over the course of eight years. Soon, the WPA instituted a landmark ruling forbidding sexual discrimination. As a result, between thirty and forty percent of newly hired artists on federal projects were women. This equity of opportunity enabled women to rise to positions of leadership and have access to resources that had a lasting effect on national institutions and on the history of art. In her book, Arrington challenges the popular memory of WPA art as a story of straight white men. Instead, she argues that the works of art that many women created under the Federal Arts Project made visible Black, immigrant, and women's lives in a way that challenged segregationist, xenophobic, and sexist structures intrinsic in the nation's institutions. During our conversation, Arrington explores the extraordinary achievements and tribulations of New Deal women artists and administrators. Among them include Alice Neel, Gwendolyn Bennett, Augusta Savage, Georgette Seabrooke, Lenore Thomas, and Pablita Velarde. Along the way, we track how these women and the Federal Art Project more broadly came under fire from local and national government officials who attempted to censor or suppress their radical work, to fire them from their jobs or force their resignations from projects, and to investigate them for “un-American” activity. We contemplate the challenges of writing histories of lost and often deliberately destroyed archives. And we consider the lessons of women's participation in the Federal Arts Project for the future politics of public arts provisioning.Lauren Arrington is Chair and Professor of English at University of South Florida. Visit our Patreon page here: https://www.patreon.com/MoLsuperstructureMusic by Nahneen Kula: www.nahneenkula.com

I am so excited to say that my guest, the esteemed art historian, Andrew Hottle, will be discussing SYLVIA SLEIGH! Currently the Professor of Art History at Rowan University in Glassboro, New Jersey, Hottle has dedicated his research and writing to focussing on women artists, with specialization in feminist art of the 1970s. He is the author of a definitive monograph on the American realist painter Shirley Gorelick, and his detailed book about The Sister Chapel reignited interest in a historic collaboration by thirteen women artists. But he is also a world expert on one of those artists featured in this chapel: Sylvia Sleigh, who was born in Wales and died in 2010, having been based in New York City for most of her life, and known for her unique realist painting style immortalising those in her community and the culturally significant. Identifiably recognisable by their meticulously rendered details, body hair and tan lines, Sleigh's paintings were always created from her acutely feminist viewpoint. Painting seductively effeminate male nudes in poses that evoke Titian's Venus of Urbino, or Ingres's Turkish Bath, the Welsh-born artist – famed for her contribution to the Women's Liberation Movement, as a prominent member of AIR Gallery – said of her work: “I liked to portray both man and woman as intelligent and thoughtful people with dignity and humanism that emphasised joy.” Although in my opinion far too overlooked for far too long, Sleigh is having somewhat of a renaissance. Earlier this year, Ortuzar Projects in NYC staged a solo exhibition of her work to acclaim – her first in 15 years, and this spring, she is showing alongside her contemporaries Alice Neel and Marcia Marcus, at Levy Gorvy Danyan in New York, that runs until 21 June: https://www.levygorvydayan.com/exhibitions/the-human-situation-marcia-marcus-alice-neel-sylvia-sleigh And it is very much thanks to Hottle, who is currently in the process of compiling her catalogue raisonne, as well as writing a book about the founder artist-members of SOHO 20, a historically significant feminist cooperative gallery, of which Sleigh was one, established in 1973, that she is finally coming back into the spotlight. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

In this powerful conversation, I sit down with Emily McElwreath—art advisor, independent curator, educator, and host of The Art Career Podcast. With nearly two decades of experience, Emily has worked with some of the most influential figures in the art world, from Andy Warhol to Alice Neel. She shares how artists can reclaim their power, normalize ambition, and take control of their careers. We also explore what collectors are looking for today, how to navigate the art market, and the evolving role of art advisors. Emily offers practical networking strategies for artists and industry leaders, insights on working with high-profile guests, and details on her recent Art21 collaboration. Plus, she introduces her must-have resource for emerging artists, Navigating the Art World: A Practical Guide for Artists. Whether you're an artist looking to elevate your career or a collector seeking guidance, this episode is filled with expert insights and actionable strategies to help you thrive.   Key Takeaways:   Artists must reclaim their power—they are at the center of the art ecosystem. Ambition is not a dirty word—owning your career is essential for success. Networking isn't about chasing opportunities—it's about building authentic relationships. Art collectors should buy what they love but also stay informed about the market. The art world is unregulated, making it crucial to work with trusted advisors. Artists should not rely solely on galleries—direct sales and relationships matter. Emily's free artist guide, Navigating the Art World, is a must-have resource for emerging artists.   Sound Bites:

They call it Spanish Harlem or sometimes just El Barrio. But for over a century, East Harlem has been a melting pot of many ethnic groups, including Puerto Rican, Dominican, Cuban, and Mexican immigrants, as well as Italian, Jewish, and African American communities. Though gentrification is rapidly changing the face of this section of upper Manhattan, it is still full of sites that attest to its rich cultural heritage. Now East Harlem native Christopher Bell takes you on a tour of his beloved neighborhood. He takes you on three separate walking tours, each visiting a different part of East Harlem and each full of stories about its theaters, museums, art spaces, schools, community centers, churches, mosques, and synagogues. You'll also learn about the famous people who lived in El Barrio, such as actress Cecily Tyson, opera singer Marian Anderson, portrait artist Alice Neel, incomparable poet Julia De Burgos, and King of Latin Music Tito Puente. Lavishly illustrated with over fifty photos, Walking East Harlem: A Neighborhood Experience (Rutgers University Press, 2024) points out not only the many architectural and cultural landmarks in the neighborhood but also the historical buildings that have since been demolished. Whether you are a tourist or a resident, this guide will give you a new appreciation for El Barrio's exciting history, cultural diversity, and continued artistic vibrancy. 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

They call it Spanish Harlem or sometimes just El Barrio. But for over a century, East Harlem has been a melting pot of many ethnic groups, including Puerto Rican, Dominican, Cuban, and Mexican immigrants, as well as Italian, Jewish, and African American communities. Though gentrification is rapidly changing the face of this section of upper Manhattan, it is still full of sites that attest to its rich cultural heritage. Now East Harlem native Christopher Bell takes you on a tour of his beloved neighborhood. He takes you on three separate walking tours, each visiting a different part of East Harlem and each full of stories about its theaters, museums, art spaces, schools, community centers, churches, mosques, and synagogues. You'll also learn about the famous people who lived in El Barrio, such as actress Cecily Tyson, opera singer Marian Anderson, portrait artist Alice Neel, incomparable poet Julia De Burgos, and King of Latin Music Tito Puente. Lavishly illustrated with over fifty photos, Walking East Harlem: A Neighborhood Experience (Rutgers University Press, 2024) points out not only the many architectural and cultural landmarks in the neighborhood but also the historical buildings that have since been demolished. Whether you are a tourist or a resident, this guide will give you a new appreciation for El Barrio's exciting history, cultural diversity, and continued artistic vibrancy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

They call it Spanish Harlem or sometimes just El Barrio. But for over a century, East Harlem has been a melting pot of many ethnic groups, including Puerto Rican, Dominican, Cuban, and Mexican immigrants, as well as Italian, Jewish, and African American communities. Though gentrification is rapidly changing the face of this section of upper Manhattan, it is still full of sites that attest to its rich cultural heritage. Now East Harlem native Christopher Bell takes you on a tour of his beloved neighborhood. He takes you on three separate walking tours, each visiting a different part of East Harlem and each full of stories about its theaters, museums, art spaces, schools, community centers, churches, mosques, and synagogues. You'll also learn about the famous people who lived in El Barrio, such as actress Cecily Tyson, opera singer Marian Anderson, portrait artist Alice Neel, incomparable poet Julia De Burgos, and King of Latin Music Tito Puente. Lavishly illustrated with over fifty photos, Walking East Harlem: A Neighborhood Experience (Rutgers University Press, 2024) points out not only the many architectural and cultural landmarks in the neighborhood but also the historical buildings that have since been demolished. Whether you are a tourist or a resident, this guide will give you a new appreciation for El Barrio's exciting history, cultural diversity, and continued artistic vibrancy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

They call it Spanish Harlem or sometimes just El Barrio. But for over a century, East Harlem has been a melting pot of many ethnic groups, including Puerto Rican, Dominican, Cuban, and Mexican immigrants, as well as Italian, Jewish, and African American communities. Though gentrification is rapidly changing the face of this section of upper Manhattan, it is still full of sites that attest to its rich cultural heritage. Now East Harlem native Christopher Bell takes you on a tour of his beloved neighborhood. He takes you on three separate walking tours, each visiting a different part of East Harlem and each full of stories about its theaters, museums, art spaces, schools, community centers, churches, mosques, and synagogues. You'll also learn about the famous people who lived in El Barrio, such as actress Cecily Tyson, opera singer Marian Anderson, portrait artist Alice Neel, incomparable poet Julia De Burgos, and King of Latin Music Tito Puente. Lavishly illustrated with over fifty photos, Walking East Harlem: A Neighborhood Experience (Rutgers University Press, 2024) points out not only the many architectural and cultural landmarks in the neighborhood but also the historical buildings that have since been demolished. Whether you are a tourist or a resident, this guide will give you a new appreciation for El Barrio's exciting history, cultural diversity, and continued artistic vibrancy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

They call it Spanish Harlem or sometimes just El Barrio. But for over a century, East Harlem has been a melting pot of many ethnic groups, including Puerto Rican, Dominican, Cuban, and Mexican immigrants, as well as Italian, Jewish, and African American communities. Though gentrification is rapidly changing the face of this section of upper Manhattan, it is still full of sites that attest to its rich cultural heritage. Now East Harlem native Christopher Bell takes you on a tour of his beloved neighborhood. He takes you on three separate walking tours, each visiting a different part of East Harlem and each full of stories about its theaters, museums, art spaces, schools, community centers, churches, mosques, and synagogues. You'll also learn about the famous people who lived in El Barrio, such as actress Cecily Tyson, opera singer Marian Anderson, portrait artist Alice Neel, incomparable poet Julia De Burgos, and King of Latin Music Tito Puente. Lavishly illustrated with over fifty photos, Walking East Harlem: A Neighborhood Experience (Rutgers University Press, 2024) points out not only the many architectural and cultural landmarks in the neighborhood but also the historical buildings that have since been demolished. Whether you are a tourist or a resident, this guide will give you a new appreciation for El Barrio's exciting history, cultural diversity, and continued artistic vibrancy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

They call it Spanish Harlem or sometimes just El Barrio. But for over a century, East Harlem has been a melting pot of many ethnic groups, including Puerto Rican, Dominican, Cuban, and Mexican immigrants, as well as Italian, Jewish, and African American communities. Though gentrification is rapidly changing the face of this section of upper Manhattan, it is still full of sites that attest to its rich cultural heritage. Now East Harlem native Christopher Bell takes you on a tour of his beloved neighborhood. He takes you on three separate walking tours, each visiting a different part of East Harlem and each full of stories about its theaters, museums, art spaces, schools, community centers, churches, mosques, and synagogues. You'll also learn about the famous people who lived in El Barrio, such as actress Cecily Tyson, opera singer Marian Anderson, portrait artist Alice Neel, incomparable poet Julia De Burgos, and King of Latin Music Tito Puente. Lavishly illustrated with over fifty photos, Walking East Harlem: A Neighborhood Experience (Rutgers University Press, 2024) points out not only the many architectural and cultural landmarks in the neighborhood but also the historical buildings that have since been demolished. Whether you are a tourist or a resident, this guide will give you a new appreciation for El Barrio's exciting history, cultural diversity, and continued artistic vibrancy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

They call it Spanish Harlem or sometimes just El Barrio. But for over a century, East Harlem has been a melting pot of many ethnic groups, including Puerto Rican, Dominican, Cuban, and Mexican immigrants, as well as Italian, Jewish, and African American communities. Though gentrification is rapidly changing the face of this section of upper Manhattan, it is still full of sites that attest to its rich cultural heritage. Now East Harlem native Christopher Bell takes you on a tour of his beloved neighborhood. He takes you on three separate walking tours, each visiting a different part of East Harlem and each full of stories about its theaters, museums, art spaces, schools, community centers, churches, mosques, and synagogues. You'll also learn about the famous people who lived in El Barrio, such as actress Cecily Tyson, opera singer Marian Anderson, portrait artist Alice Neel, incomparable poet Julia De Burgos, and King of Latin Music Tito Puente. Lavishly illustrated with over fifty photos, Walking East Harlem: A Neighborhood Experience (Rutgers University Press, 2024) points out not only the many architectural and cultural landmarks in the neighborhood but also the historical buildings that have since been demolished. Whether you are a tourist or a resident, this guide will give you a new appreciation for El Barrio's exciting history, cultural diversity, and continued artistic vibrancy. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

The LA Dodgers are World Series champs! The Boys in Blue rallied from a five-run fifth inning deficit Wednesday night to beat the New York Yankees. Donald Trump says he’ll deport millions of undocumented immigrants if he’s elected for a second term. Immigration lawyers across the country are ready to fight.  Alice Neel’s paintings of the queer community and their allies are on display at the David Zwirner gallery. She captured people’s true essence and never followed the herd.   Critics review the latest film releases: “Here,” “A Real Pain,” “Blitz,” and “Emilia Perez.”

What makes American art "American"? Let's discuss. On this episode we welcome back Philbrook curator, Susan Green to chat about the new exhibition, "American Artists, American Stories from the Pennsylvania Academy of the Fine Arts, 1776-1976." It's a sweeping, varied exhibition offering more than 100 masterworks -- by Mary Cassatt, Barkley L. Hendricks, Edward Hopper, Thomas Moran, Alice Neel, Georgia O'Keeffe, Andrew Wyeth, and many others. It runs through December 29, 2024.

Kiki Smith says she didn't really start making drawings of people until she was 40. Once she had aged a little, she looked in the mirror and saw lines— something “to hang onto” as an artist. At 70, she says it's the hags and witches who attract her most. In this episode, Kim speaks with Kiki about portraying older women's bodies, and how aging has influenced her work. Kiki's female subjects sometimes evoke biblical figures or characters from fairy tales, and they're often connected to nature— to wolves and birds and stars. “Society is always trying to shrink people's sense of self or possibilities,” she says. “How they experience the world is much larger.” This episode was inspired by a self-portrait of Alice Neel, who painted herself at her easel when she was 80 years old, naked. See the portraits we discussed: Alice Neel self-portrait Cradling Dead Cat (1999-2000), by Kiki Smith Poisoned Witch (2012), by Kiki Smith Free Fall, by Kiki Smith

This episode is all about a fascinating British TV art reality show that I once gleefully watched completely pirated, through the kindness of Cherzo, a modern day Robin Reddit-Hood. You can check out the show: "Portrait Artist of the Year" on Amazon, if you are so intrigued! Artists mentioned: Alice Neel, Frederick Hayes, and Tai Shan Schierenberg (Judge for the show). Thank you, Listeners! Thank you, Pep Talks Patrons! All music by Soundstripe ---------------------------- Peps has a Patreon! ⁠⁠⁠⁠⁠⁠https://www.patreon.com/PepTalksforArtists⁠⁠⁠⁠⁠⁠! Join the Peps fam on Patreon and become a part of the Pep Talks Peerage today. Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠@talluts⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠ Donations always appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

I couldn't be more excited to say that my guest on the GWA Podcast is one of the most renowned writers, curators, critics, and cultural commentators in the world right now… Hilton Als! A Pulitzer prize winner, a recipient of a Guggenheim Fellowship, and the theatre critic at the New Yorker, where he has been writing since 1994, Als is also the author of numerous books – from White Girls (a collection of 13 literary essays, exploring race, gender, interpersonal relationships) to more recently, My Pinup, an intimate study on his friendship with Prince. He is a teaching professor at Berkeley, and has held previous posts at Columbia, Yale, and more. Als has been one of my favourite writers, and curators, on art since I can remember. He writes in a manner that is intimate, with emotion and rigour, infusing it with stories from his upbringing in Crown Heights in Brooklyn to ones with more complex family dynamics. And there is a humanity at the centre of it: whether it's his ability to make us see artists as people – with their struggles, desires, needs and complexities – or his belief that we can all be artists too. Often tracing the city of New York through images and words, he unearths stories that were often cast out from mainstream institutions but feel so pertinent for the world today. From Alice Neel to Diane Arbus, whose work and subject he treats with such empathy, not only can he transport us to the exact street where Arbus took that picture, or to Neel's 108th street apartment, but writes so acutely on the mediums they used. On photography vs painting he has said: The former takes life as it comes, in an instant, but can be described as a series of selective moments. Painting, on the other hand, has time on its side, the better to know, delve, and express what it's like for two people to sit in a room, observing one another while talking or not talking about the world. And it is the latter that I still remember experiencing, being a gallery assistant in my early 20s at Victoria Miro, at the time of one of his many brilliant curated exhibitions – Alice Neel, Uptown – when I saw the whole world walk in, recognise themselves and feel seen and celebrated – which, I think, is the best outcome an exhibition can have… In this episode we discuss the power of language and the importance of sharing it; Hilton's introductions to art; his early days as a photo-editor that informed him as a curator; and his takes on Diane Arbus and Alice Neel. HILTON'S WRITING + CURATING: https://www.penguin.co.uk/books/308056/white-girls-by-als-hilton/9780141987293 https://hammer.ucla.edu/exhibitions/2022/joan-didion-what-she-means https://www.davidzwirner.com/exhibitions/2019/god-made-my-face-collective-portrait-james-baldwin https://www.newyorker.com/magazine/2021/04/26/alice-neels-portraits-of-difference https://www.davidzwirner.com/exhibitions/2017/alice-neel-uptown-curated-hilton-als https://www.davidzwirnerbooks.com/product/alice-neel-uptown -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Right now, Montclair Art Museum has a huge show featuring some of the most well-known women in the artworld such as Barbara Kruger, Carrie Mae Weems, Alice Neel, Betty Parsons and Jaune Quick-to-See Smith. It's called Taking Space: Contemporary Women Artists and the Politics of Scale. Gail Stavitsky, the museum's chief curator, joins us to talk about the exhibition on display through Jan. 7.  

Hoy hablamos sobre la mejor retratista pictórica de todo el siglo XX. Una artista olvidada durante décadas que fue recuperada en los años 70 gracias a los movimientos feministas de la mano de autoras como Linda Nochlin. Hablaremos también sobre qué significa el retrato en nuestro contexto e historia, comentaremos su trágica biografía y profundizaremos en su obra y técnica para que comprendas en su totalidad a esta magnífica pintora. Si quieres degustar su obra, te invito a visitar el vídeo de mi canal Malasombra.

When the $270 million dollar Gerald Fineberg collection was announced, Christie's Sara Friedlander remarked that the Boston real estate developer, “bought art like a curator.” Citing his ability to go deep into key movements like the artists of Black Mountain College, the Ninth Street Women, Gutai, Pop, Minimalism, Arte Povera and the Pictures Generation, Friedlander also points out that Fineberg had important works by Gerhard Richter, Christopher Wool, Alice Neel, Man Ray, Beauford Delaney and Barkley Hendricks. We sat down this week to talk through as much of the art on offer as we could possibly discuss in 30 minutes. Highlights from the Fineberg collection are on view at Christie's until May 13th when the entire collection will be on display at the auction house's Rockefeller Center headquarters. The highlights are hung in an engaging “salon” style—that means the works are sitting edge-to-edge—but the final exhibition will offer a different perspective. Auction season in New York is a rare opportunity to see art. The auction houses are open to the public. So avail yourself of this privilege starting May 6th.

This week, Michelle De Swarte is hungover. So be gentle.Laura Smyth tells us about the content creators making her howl as well as her obsession with the ramen restaurant Bone Daddies. Michelle De Swarte wonders whether bingeing an entire season of Love Is Blind in just two sittings is a problem and shares her dazzling review of the new Alice Neel exhibition at The Barbican.Producer: Sasha Bobak Exec Producer: Pete Strauss Production Co-Ordinator: Katie Baum Editor: Calum Sample A BBC Studios Production for Radio 4

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/

“Le corps de l'autre”à la Galerie MENNOUR, 5 rue du Pont de Lodi, Parisdu 24 mars au 3 juin 2023Interview de Christian Alandete, directeur scientifique – Galerie MENNOUR et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 28 avril 2023, durée 13'36,© FranceFineArt.https://francefineart.com/2023/04/29/3434_le-corps-de-l-autre_galerie-mennour/Communiqué de presseCommissaire de l'exposition Christian AlandeteAvec Laure Albin Guillot, Louise Bourgeois, Camille Claudel, Carole Douillard & Babette Mangolte, Leonor Fini, Camille Henrot, Annette Messager, Alice Neel, Orlan, Judit Reigl, Germaine RichierAvant que les corps féminins n'occupent la majorité des cimaises des musées, le nu masculin prédominait dans l'histoire de l'art jusqu'au XVIIe siècle. Héroïque, athlétique, le corps des hommes incarnait une vision idéalisée d'une histoire écrite par des hommes pour affirmer leur supériorité morale et physique.Entre le XVIIe et le XIXe siècle, le nu d'après modèle devient un élément déterminant de la formation académique des artistes. Il est même un exercice imposé pour participer à certains salons et y montrer et vendre son travail, excluant de fait les femmes dont l'accès aux ateliers où posent ces modèles est interdit. Ce n'est qu'à partir de la seconde moitié du XXe siècle que des ateliers privés d'abord exclusivement féminins puis mixtes, proposent à leurs étudiantes l'étude du nu : les académies Julian (à partir de 1876), Colarossi (de 1870) ou de la Grande Chaumière (de 1904). Elles offrent une alternative aux Écoles des Beaux-Arts publiques qui restent fermées aux femmes jusqu'en 1900 et les cours de nu sans restriction jusqu'en 1923. L'exercice du nu devient alors un enjeu tant politique qu'économique. Pour que les femmes puissent concourir aux grands prix — notamment au Prix de Rome — à égalité avec leurs homologues masculins, il leur faut présenter un nu. Mais respecter la bienséance impliquait que les modèles gardent leurs caleçons quand ils posaient pour les femmes ce qui disqualifiait celles-ci d'office. L'affaire sera portée jusqu'à la Chambre des députés et les modèles finiront par tomber leurs caleçons devant ces dames.Pour pallier cet interdit certaines artistes s'étaient enrôlées dans l'atelier des « grands maîtres » et bénéficiaient de leur statut de praticienne pour avoir sous les yeux des modèles leur permettant de travailler à leurs propres créations. Ainsi Camille Claudel peut réaliser dans l'atelier d'Auguste Rodin L'Homme penché alors qu'elle travaille pour lui à La Porte de l'Enfer. Sa représentation d'un homme recroquevillé sur lui-même évoque une certaine fragilité jusque-là écartée des représentations masculines que Rodin reprendra sous une forme d'introspection dans son Penseur, et plus tard, Alice Neel pour représenter son compagnon toxicomane. Des années plus tard, Germaine Richier se mesurera à son tour à Rodin en faisant poser pour son Ogre un Libero Nardone vieillissant, jadis jeune homme fougueux, modèle du célèbre Baiser. À partir du XXe siècle, le corps masculin représenté par les artistes femmes devient l'enjeu d'une remise en question des représentations, des stéréotypes, et un élément de la lutte des sexes. Leonor Fini affirme sa domination féminine en se représentant assise sur le corps d'un homme nu endormi et se plait à jouer de l'ambiguïté des genres en dépeignant ses amants dans un style maniériste, rappelant combien les codes de la masculinité étaient différents à d'autres époques. [...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dans ce nouvel épisode, j'ai le plaisir d'accueillir Camille Taillefer, perchwoman, qui partage avec nous son parcours pour devenir une professionnelle du son dans l'industrie cinématographique. Elle discute des défis qu'elle a dû surmonter en tant que femme dans un métier traditionnellement masculin et de la persévérance nécessaire pour réussir dans ce domaine. Vous découvrirez quelles sont les compétences techniques (et de ninja) qu'il faut développer pour travailler dans le son, les spécificités du métier qui font vibrer Camille, et ses conseils pour celleux qui voudraient devenir perchman ou perchwoman !Et on termine évidemment avec ma section préférée, le portrait filmois, où se mêlent joyeusement animation, nouvelle vague et comédies franchouillardes. Et des films de Noël

What would you do if you lost it all - your creative work, your tools and supplies, your archive...where would you start, to replace it? Would you? This was the knotty question asked by a listener to the podcast! Welcome to our podcast for all stitchers, embroiderers, textile artists and creative souls, where we have friendly informal conversations about what it actually means to be an artist working in textiles. Isobel and Gina are both practicing artists and tutors specialising in machine embroidery, but we're still figuring it all out! We chat about combining the creative process with running a business and hope that you will find inspiration and support for your own creative journeys. NB: While we approached this question from a purely hypothetical viewpoint, with the luxury of being able to treat it somewhat lightheartedly, we are aware that for many artists elsewhere, most recently in New Zealand, this has sadly become their reality. Our hearts go out to them, and what they must be going through. Even after our discussion, we cannot imagine or comprehend what this must really be like. We didn't intend in any way to minimise or trivialise what is for many, a devastating, life-changing occurence. As artists we are part of an international family and we feel each other's losses and pains very deeply. If our discussion has taught us anything, it's that creative people are creative people, independent of the resources they have, and nearly always able to find a way through - even if the journey is hard. Mentioned in this episode: Alice Neel at the Barbican https://www.barbican.org.uk/AliceNeel Seed Talks https://www.seedtalks.co.uk/ Gina's Portrait project https://mailchi.mp/ed786f8f3dcf/i-cant-do-it-without-you You can find us at: Gina Ferrari https://www.ginaferrari-art.co.uk/ Izzy Moore https://isobelmoore.co.uk/ The music is Dear Autumn by Ikson and you can find it at https://soundcloud.com/ikson --- Send in a voice message: https://anchor.fm/izzyandginainstitches/message

We meet artist Aubrey Levinthal from her studio in Philadelphia!!!Softly-rendered portraits by Aubrey Levinthal explore contemporary psychology. In the works, figures go about familiar daily routines - eating, sleeping and daydreaming. The artist is inspired by a range of modernist painters, from portraitist Alice Neel to collagist Romare Bearden and modernist David Hockney. Her intentionally muted palette of predominantly grey tones is created by layering light washes of oil paint onto panels, and then scraping them down with a blade. This technique renders the skin of her characters as almost translucent - either emerging from, or dissolving into, their surfaces.Much of Levinthal's recent work relates to the COVID-19 pandemic. The loneliness and claustrophobia of social isolation is told through melancholic facial expressions and slumped postures. Recurring motifs, such as browning bananas and unfinished meals, allude to the passing of time, while irregularities in proportion and perspective engage the ways in which a home becomes strange when you spend all your time within it. These details embody the crux of Levinthal's practice - how we inhabit spaces, and how they inhabit us.Levinthal's paintings focus on her own daily interiority and the quotidian, mostly situated in the home. More recently, Levinthal reflects on ones' relationship to the outside world and moves the psychology away from the isolated self to a more unknown drifting space. The paintings are infused with more daylight, colour has become brighter, and the figures are larger. Shared environments, such as neighborhood coffee shops, yoga studios, hospitals, hotels and pools are fraught with nuanced tension and personal connection. Levinthal heightens the psychological space between observing and knowing. The paintings explore a sense of insecurity, self-reflection and curiosity in collective spaces. In Bagel Line (2022), a group of friends situated outside a bagel shop huddle closely together in winter coats. Their expressions range from anxious to annoyed to eager highlighting ones' own duality. The artist projects an interior life onto these strangers: a barista, a person standing in line, a blue-haired teenager at a take-out counter, or a shopper in a clothing store. Within the paintings, objects take on abstract shapes and act as barriers. In Crab Shack (2022), two brown paper bags give the impression of a wall in front of a pensive young woman. Levinthal draws inspiration from the Renassiance period to Modernists such as, Mary Fedden (1915-2012), Milton Avery (1885-1965) and Fairfield Porter (1907-1975). Levinthal's tenderly observed paintings illuminate the strangeness of daily interiority and introspection. In Yoga Mat (2022), the viewer is confronted with a lone woman in a yoga pose. The figure also doubles as an ancient sculpture, most evident in the shapes used and the manner in which the feet are depicted, as if resembling stone. This painting was directly inspired by the Egyptian sculpture titled Statue of Sitepehu (1479-1458 BCE), which is part of the permanent collection at the Penn Museum, Philadelphia. The artist lives and works in Philadelphia, PA and is represented by Monya Rowe Gallery, NY.Follow @AubreyLevinthal on Instagram and their official website https://aubreylevinthal.com/ Follow their gallery: @Monya_Rowe_GalleryAubrey's new work is included in group show 'Close' at GRIMM Gallery curated by Talk Art co-host Russell Tovey from 4th March - 6th April, 2023 2 Bourdon Street, London (UK). Hosted on Acast. See acast.com/privacy for more information.

This week: Turkey and Syria. As the countries reel from the devastation of the 6 February earthquake, how can communities and agencies protect damaged heritage? We talk to Aparna Tandon from Iccrom, the International Centre for the Study of the Preservation and Restoration of Cultural Property about culture's significance in the humanitarian response to the crisis. As Alice Neel: Hot off the Griddle arrives at the Barbican Art Gallery in London, we take a tour of the show's key moments with its curator, Eleanor Nairne. And this episode's Work of the Week is a Germantown “eye-dazzler” blanket, made between 1895 and 1905 by a Diné weaver from the Navajo Nation. It's part of a new show at the Bard Graduate Center in New York, Shaped by the Loom: Weaving Worlds in the American Southwest. Hadley Jensen, the curator of the exhibition, tells us more.Disasters Emergency Committee's Turkey-Syria Earthquake: dec.org.uk; a PDF of Aparna Tandon's handbook First Aid To Cultural Heritage In Times Of Crisis is available for free at iccrom.org.Alice Neel: Hot off the Griddle, Barbican Art Gallery, London, until 21 May. The book accompanying the exhibition is published by Prestel, priced £24.99 or $29.95.Shaped by the Loom: Weaving Worlds in the American Southwest, Bard Graduate Center, New York, until 9 July. An online exhibition featuring an interactive catalogue has approximately 250 items from the American Museum of Natural History's collection of Navajo textiles will be available later this month at bgc.bard.edu. Hosted on Acast. See acast.com/privacy for more information.

On today's Front Row, Samira Ahmed talks to stand-up comedian Al Murray about putting the puppets of the political satire TV show Spitting Image on stage for the first time, in a new production, Spitting Image - Idiots Assemble, at the Birmingham Repertory Theatre. And she discusses the Oscar and Bafta-nominated animation Marcel The Shell With Shoes On, and a new exhibition of work by the American visual artist, Alice Neel, which opens at the Barbican in London today, with arts critics Hanna Flint and Louisa Buck. Producer: Kirsty McQuire

In Episode 24 of A Culture of Possibility, François Matarasso and Arlene Goldbard talk about Arlene's forthcoming book. In The Camp of Angels of Freedom: What Does It Mean to Be Educated? comes at its subject from three angles: paintings, including portraits of of eleven individuals whose work helped Arlene understand and become herself; a short memoir about each person, from James Baldwin to Paulo Freire to Alice Neel to Jane Jacobs; and essays that look at the harm that's been done by privileging credentialed expertise and devaluing lived knowledge. Tune in for the book's backstory including family drama, fifties cultural alienation, outrage at the conversion of social goods to profit centers, a visit to a psychic, a pandemic silver lining, plus Arlene reading excerpts about Nina Simone, museum trustees' elitism, and Isaiah Berlin!

avec Mélina de Courcy

avec Mélina de Courcy

We meet emerging artist Nash Glynn, from her studio in New York's Seaport! Nash Glynn (b.1992) is a transdisciplinary American artist currently working in NYC. Working across painting, photography, and video, Glynn is best known for her groundbreaking nude self-portraits of her experience and life as a transgender woman, an underrepresented figure in the Western art canon until recently. Glynn was born and raised in Miami, Florida and learned to paint while working at her father's set design shop. Speaking about their work, the artist says, ‘I use paint as I use my body, and as such the possibilities for spontaneity of form and change become inexhaustible. By crafting affective figures I seek to create empathy. The work serves as an affirmation, a reminder that representation has no outside, meaning we choose the reference, add and remove as we please, manipulate each stroke with unique gesture and tone. A process of painting, also known as self-determination.'Nash Glynn (b.1992) received her BFA in 2014 from the School of the Museum of Fine Arts, and in 2017 her MFA from Columbia University. She has had solo shows at Participant Inc. in 2019, OCD Chinatown in 2020, and an upcoming exhibition at Vielmetter Los Angeles in Fall 2021. Her work has been in publications such as Artforum, Candy Transversal Magazine, and New American Paintings. Glynn was the recipient of the Leslie-Lohman Museum Artist Fellowship in 2017."Interiors, with its plural title, belies the singularity of Glynn's point of view. Lately, she sticks to painting what she sees from the swivel stool she's positioned between window and easel, things like: apples in a bowl, closed door, knife. Herself in a mirror, or her mind's eye. Mostly windows. Yet this self-imposed agreement comes with a proviso to also see with her eyes closed, so as to produce landscapes that look mental. Glynn's intuitive aversion to the rules of the physical world finds its clearest expression in her palette, which has the firmness of a signature. Alice Neel's cobalt, Paul Gauguin's vermillion, Lucian Freud's mauve are all her colours now. Mixing: as little as possible. Earth tones: no. When she concedes the need for green in a landscape, the shade she uses is not actually grass but jade, à la Ferdinand Hodler; the resulting swath of field looks undulant and cold enough to pass for ocean. Then of course there is white. Rauschenberg's white, or Ryman's. The white of a well-rested eye, of the sand under the sun, of nothing said. Glynn has, over the past several years, developed a style of both still life and portraiture in which objects and/or subjects are exquisitely rendered and then set out on a ground that is white except for traces of shadow, so that the knife or flower or girl appears surfaced from memory." Excerpt from Catalogue Essay by Sarah Nicole Prickett from show Interiors.Follow Nash on Instagram: @NashGlynnVisit Nash's official website: http://www.nashglynn.com/View images at Vielmetter, LA: https://vielmetter.com/exhibitions/nash-glynn and @Vielmetter Hosted on Acast. See acast.com/privacy for more information.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Alice Neel. 

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Alice Neel. 

“Alice Neel“Un regard engagéau Centre Pompidou, Parisdu 5 octobre 2022 au 16 janvier 2023Interview de Angela Lampe, conservatrice au service de la collection moderne, Musée national d'art moderne et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 3 octobre 2022, durée 16'56.© FranceFineArt.https://francefineart.com/2022/10/05/3314_alice-neel_centre-pompidou/Communiqué de presseCommissariat :Angela Lampe, conservatrice au service de la collection moderne, Musée national d'art moderneCet automne, le Centre Pompidou consacre une exposition à Alice Neel (1900-1984), figure majeure de l'art Nord-américain. Née avec le siècle, cette peintre extraordinaire, longtemps ignorée de son vivant, est louée aujourd'hui pour la grande acuité avec laquelle elle a portraituré les différentes strates de la société américaine. Son oeuvre immense a même été comparé à la Comédie humaine de Balzac. Six ans après la rétrospective organisée par la Fondation Van Gogh à Arles, l'exposition « Alice Neel, un regard engagé » présente l'artiste sous un angle qui met en lumière son engagement politique et social, en lien avec son adhésion au parti communiste et à la cause des femmes.Cette exposition s'inscrit dans le cadre de la démarche engagée par le Centre Pompidou pour approfondir l'étude et la connaissance du travail et de l'oeuvre des femmes artistes, et accroître la part de leurs oeuvres dans la collection.Tout au long de sa vie, Alice Neel ne cesse de peindre les marginaux de la société américaine, ceux et celles qui sont écartés en raison de leur origine, la couleur de leur peau, leur excentricité, leur orientation sexuelle ou encore la radicalité de leur engagement politique. Même si, grâce à une notoriété grandissante à partir des années 1960, Alice Neel élargit le spectre de ses modèles aux milieux plus favorisés, elle reste toujours fidèle à ses convictions. Quelques semaines avant sa mort, la peintre déclare : « En politique comme dans la vie, j'ai toujours aimé les perdants, les outsiders. Cette odeur de succès, je ne l'aimais pas. »Alice Neel a beaucoup peint les femmes : des nus féminins, très éloignés du canon traditionnel façonné par le regard masculin, ainsi que des femmes enceintes dans leur plus simple appareil, sans aucun sentimentalisme. Elle a même été jusqu'à portraiturer une victime de violences conjugales. Pour cela elle est devenue une icône du féminisme militant. Anticipant les débats actuels, elle expliquait en 1971 : « J'ai toujours pensé que les femmes devaient s'indigner et cesser d'accepter les insultes gratuites que les hommes leur infligent. »[...]PublicationsUn catalogue Alice Neel – Un regard engagé sous la direction d'Angela Lampe aux éditions du Centre Pompidou, est disponible, version française parue en 2020.Selon la formule de la collection, essais et témoignages, l'éditeur ER Publishing est paraître un Transatlantique – Alice Neel – parution 2 septembre 2022. http://www.erpublishing.net Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Zimmermann, Martinawww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

durée : 00:58:35 - Toute une vie - "En politique comme dans la vie, j'ai toujours aimé les perdants, les outsiders. Il y a une odeur de succès que je n'aime pas...", Alice Neel, artiste peintre

Since we last spoke the UK has faced massive change with the death of the queen, which has had an effect on many of us in one way or another. This has made us think about how we cope with change, whether they be nationwide events such as the death of a monarch, a worldwide pandemic or events and changes in our own lives. Welcome to our podcast for all stitchers, embroiderers, textile artists and creative souls, where we have friendly informal conversations about what it actually means to be an artist working in textiles. Isobel and Gina are both practicing artists and tutors specialising in machine embroidery, but we're still figuring it all out! We chat about combining the creative process with running a business and hope that you will find inspiration and support for your own creative journeys. Mentioned in this episode: Alice Neel https://en.wikipedia.org/wiki/Alice_Neel Alice Neel: The Art of not Sitting Pretty by Phoebe Hoban https://www.goodreads.com/en/book/show/8590744-alice-neel The Second brain - an explanation - https://www.buildingasecondbrain.com/ And further reading https://www.elizabethfilips.com/ Notion https://www.notion.so/ Evernote https://evernote.com/ Rise App https://www.risescience.com/ Funky Faces in Stitch https://ginaferrari.podia.com/funky-faces-in-stitch You can find us at: Gina Ferrari https://www.ginaferrari-art.co.uk/ Izzy Moore https://isobelmoore.co.uk/ The music is Dear Autumn by Ikson and you can find it at https://soundcloud.com/ikson --- Send in a voice message: https://anchor.fm/izzyandginainstitches/message

How do you go about your day? Where do work, art, rest, family, and other elements come into play? We do some relaxing breathwork, consider social media and its role in one's daily schedule, and get a glimpse of the work lives of artists Alma Thomas, Alice Neel, and Lorraine Hansberry. We conclude with a brief self-reflection exercise. Also, Sara sits on a bag of frozen cauliflower puree. Thanks to all the supporters at Patreon.com/SaraBenincasa.

Author & biographer Julie Phillips joins the show to celebrate her amazing new book, The Baby on the Fire Escape: Creativity, Motherhood, and the Mind-Baby Problem (WW Norton). We get into the tensions of being a mother & having a life in the arts, the definitions of motherhood and how women's roles changed in the 20th century (and what's different (and not) in the 21st century), how she chose the mother/artists she focused on in the book, like Alice Neel, Ursula K. Le Guin, and Angela Carter, the challenges of writing about African-American subjects like Audre Lorde and Alice Walker, what it means to consider motherhood as interrupted consciousness, and more. Follow Julie on Twitter and Instagram • More info at our site • Support The Virtual Memories Show via Patreon or Paypal

A discussion with Andrea Karnes, Chief Curator at the Modern Art Museum of Fort Worth. The museum will be debuting a new group exhibit later this month titled “Women Painting Women”. The show brings together more than forty female painters, including giants like Alice Neel and Faith Ringgold, mid-career artists like Jenny Saville and Amy Sherald, as well as up-and-coming female artists we should be taking note of. The portraits all fall into roughly four categories: The Body, Nature Personified, Color as Portrait, and Selfhood but all are paintings of women by women.

Rita und Hubert (1954). Wenn Du das hörst, hast Du wahrscheinlich allerlei Assoziationen im Bereich des Gelsenkirchener Barock. Damit liegst Du genauso daneben wie ich, als ich das so betitelte Bild von Alice Neel zum ersten Mal sah. Alice Neel (1900 - 1984), eine US-amerikanische Malerin mit bewegter Geschichte, sah sich als „Seelensammlerin“. Mit ihrer Malerei kehrte sie das Innere der porträtierten Menschen nach außen. Auch bei Rita und Hubert ist ihr das aus meiner Sicht hervorragend gelungen. Hubert Satterfield war Schriftsteller, der aber - so wie hier im Bild - aufgrund seiner Hautfarbe nicht deutlich aus dem Schatten heraustreten konnte. Er blieb weitgehend unbekannt. Meinen Katalog zur Alice Neel-Ausstellung 2017/2018 in Hamburg habe ich wahllos irgendwo aufgeschlagen und so bin ich bei Rita und Hubert gelandet. Vielleicht nicht ohne Grund, denn Ausgrenzung und Diskriminierung sind noch immer ein ungelöstes Thema.

Noah's guest host is celebrated author Phoebe Hoban who interviews artist Richard Pasquarelli about his solo exhibition, As It Should Be, at BravinLee Programs, NYC running from April 14th through May 14th, 2022. Richard Pasquarelli's paintings make visible the relationships between physical reality and the mind. Through analysis of his own compulsions for perfection and order, and research into mental health, the physical sciences, and philosophy, Pasquarelli seeks a better understanding of the relationship between mind and matter and its observable presence in the world around us. Phoebe Hoban is a world famous writer and critic, author of numerous books and article on artists such as Alice Neel and Jean-Michel Basquiat. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

Miquel del Pozo nos presenta en La Ventana a la artista Alice Neel, Elvira Lindo entrevista a Arantxu Zabalescoa sobre su libro 'Gente que cuenta', Nieves Concostrina nos trae la historia de la ejecución del cura Merino e Isaías Lafuente nos cuenta Lo que queda del día

She was a feminist painter before it was a thing. The self-proclaimed collector of souls refused to call her paintings portraits, but rather paintings of people. In this episode, Jennifer Brickey talks about the tragically beautiful being that is Alice Neel.Support the show

Alice Neel (1900-1984) was one of the most important portrait artists of the 20th century. Her honest, depictions of family, friends, artists and intellectuals, and particularly female nudes continue to make her an extraordinarily influential artist today.History classes can get a bad wrap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Sundus Hassan, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, and Ale Tejeda. Special thanks to Shira Atkins.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitterTo take the Womanica listener survey, please visit: https://wondermedianetwork.com/survey 

Why does this extraterrestrial on a talk show say the aliens want to “help us,” and why are they so interested in our water? Seems fishy… Adam and Tish speak with artist, writer, and Locust Arts & Letters Collective member Laura Fair-Schulz about her work, and how labor, identity, gender, abstraction, dysphoria, and liberation all inform it. At the end of part one, Tish reads a poem from the Stink Ape Resurrection Primer about ghosts going on strike. Also discussed in this episode: Laura Fair-Schulz, “Candyman 2021: Art Reveals Horror,” Imagojournal.com (October 25, 2021), Laura Fair-Schulz, “Writing Marxism Out of Art History,” RedWedgeMagazine.com (May 1, 2019), Mark Fisher on Magical Voluntarism, the ArtNet series on NFTs and the art world, “Inside the NFT Rush,” by Ben Davis, part 1, part 2, part 3, part 4 (November - December 2021), Frida Kahlo's house being dismantled for NFTs, Henry Giroux, “Jim Crow Politics Have Descended on Education,” Truthout (October 27, 2021), and more. Artists and writers discussed include Alice Neel, Mark Fisher, Diego Rivera, Frida Kahlo, James Baldwin, Richard Hamilton, and more. Works by Laura discussed in this episode can be viewed at the Locust website. Locust Radio is hosted by Tish Turl and Adam Turl, and produced by Alexander Billet and Drew Franzblau. Music by Omnia Sol.

Is art really meant to be an “asset class”? Will the digital revolution finally democratize a market that just keeps getting more elitist? And what will happen to the last painting Alice Neel ever made? (Part 3 of “The Hidden Side of the Art Market.”)

Show Notes (More Show Notes available at ourfaithinwriting.com (https://www.ourfaithinwriting.com/writing-and-faith/our-faith-in-writing-podcast)) Our Faith in Writing explores the intersection of writing and faith through conversations about the writing process, the reading life, contemplative practices, and more. Host Charlotte Donlon is a writer and a spiritual director for writers, and she believes writing and reading help us belong to ourselves, others, God, and the world. Subscribe to Our Faith in Writing wherever you listen to podcasts, and don't forget to rate and review the show letting us know how these conversations are helping you feel less alone in your writing life and your reading life.Our Faith in Writing is a podcast that explores the intersection of writing and faith through conversations about the writing process, the reading life, contemplative practices, and more. In this episode of Our Faith in Writing, Charlotte Donlon talks to Catherine Ricketts about mothering and making art and how each of those things affect the other. An essay Ricketts wrote for the Ploughshares website is one jumping off point for their conversation. That piece is "The Maternal Vision of Leslie Jamison and Marilynne Robinson." They also discuss the artwork of Alice Neel and Becky Suss, why mother artists inspire Cat's writing, and more. More Links from this Episode: About Becky Suss Suss has work in New Grit: Art & Philly Now, on view at the Philadelphia Museum of Art through August 22 About Alice Neel Alice Neel: People Come First, on view at the Met through August 1 Cat's website, where you can subscribe to newsletter Cat Ricketts on Twitter Cat Rickets on Instagram Catherine Ricketts is an essayist and songwriter based in Philadelphia. Her literary nonfiction about the arts, grief and joy, and spirituality appears on the Ploughshares blog, in Image Journal, The Millions, Paste, and NPR-affiliate The Key, and is forthcoming in The Christian Century. Concurrent with her own writing, she has maintained a vibrant career in the arts and is passionate about nurturing the work of other artists, whether by writing about them, commissioning new work, or producing performances. She is currently at work on two books of nonfiction, one about grief and beauty, the other about motherhood and artistic practice. Find her on Instagram at @bycatherinericketts, where she hosts the semiweekly "IG Live Lullaby," or on the web at www.catherinedanaricketts.com. Charlotte Donlon is a writer, a spiritual director for writers, and the founder and host of the Our Faith in Writing podcast and website (https://www.ourfaithinwriting.com/). Charlotte's writing and work are rooted in noticing how art helps us belong to ourselves, others, God, and the world. Her writing has appeared in The Washington Post, The Curator, The Christian Century, Christianity Today, Catapult, The Millions, Mockingbird, and elsewhere. Her first book is The Great Belonging: How Loneliness Leads Us to Each Other (https://charlottedonlon.com/the-great-belonging-book). You can subscribe to her newsletter (https://charlottedonlon.substack.com/) and connect with her onTwitter (https://twitter.com/charlottedonlon) and Instagram (https://www.instagram.com/charlottedonlon/).

It's like Matt and Alison always say: "It's real hard to be free when you are bought and sold in the marketplace." Hear a discussion of Warren Beatty's Best Picture-winning "Reds," get recommendations on great New Hollywood-era films available now on demand/streaming and more. Queue Shots: Movies From the New Hollywood Era Dog Day Afternoon The Panic in Needle Park 3 Women Butch Cassidy and the Sundance Kid One From the Heart Paper Moon Listeners' Choice Review Reds Behind the 8-Ball: 3 New Releases Matt: Moon Jackie Brown Immortals Alison: American Animal Nothing Sacred Urbanized 2 Expiring Titles (Expiration Date): Matt: Uncle Boonmee Who Can Recall His Past Lives (7/12) Alice Neel (7/12) Alison: 2010: The Year We Make Contact (7/16) Caramel (7/17) 1 Random Film From Our Queue Matt: Run For Cover Alison: Together Learn more about your ad choices. Visit megaphone.fm/adchoices