Podcast appearances and mentions of allan sekula

Growing up in L.A. — Rock Photography and Photographing Michael Jackson — Feeling Split Between Commercial Work and Art — The Colonized Mind — Finding Balance Between Mind and Body — Make Rules Break RulesHosted by Lindsay Preston ZappasTodd Gray joins Lindsay for an hour long conversation surrounding his work and the influences that life experiences have had on his approach to thinking and making. Gray's meticulous photographs are framed and then stacked on top of each other, so certain areas are strategically concealed. Some of his works contain images of Michael Jackson among his other subjects of European gardens and scenes shot in Africa. As a teen, Gray started taking photos at rock concerts, and for a stint became a successful music photographer, working with The Rolling Stones, and doing album art for Jackson Five, Gladys Knight, and Stevie Wonder. He later became Michael Jackson's personal photographer, and amassed a huge archive of images. Alongside all this, Gray received his MFA from CalArts in 1989 where he studied under photographer Allan Sekula and focused primarily ideas of mental colonialism. These ideas first started around his well-known subject, Michael Jackson, until Gray realized that his own mind had been colonized by his western upbringing and education. Todd and I talk about the split between a western logical thinking, and a more African bodily and intuitive way of thinking—and how much of his practice is an effort to reconcile the two.Gray's exhibition, Euclidean Gris Gris, is on view at Pomona College Museum of Art through May 17, 2019. 

Our conversation with Jasper Bernes, recorded in May of last year, might be called a delayed Part II or even Part III as it features a previous guest extending the parameters of a previous conversation and begins with a consideration of the artist, activist, and social and political critic, photographer and filmmaker, Allan Sekula, who …

Heather & Vincent, November 2018 Heather Rasmussen was born in Santa Ana, CA in 1982 and lives in Los Angeles. She received a Master of Fine Arts from the California Institute of the Arts, Valencia, CA in 2007 and a Bachelor of Fine Arts from the University of California, Irvine, CA in 2004. She grew up dancing classical ballet spent summers at intensive programs around the country. While in high-school, she was part of the professional company, Ballet Unlimited, who participated in the Southwest Regional Dance America Festivals. While at UC Irvine, she discovered photography and left the dance world. She was encouraged to apply to CalArts, where she was then was mentored by the artist Allan Sekula. She currently works in the mediums of photography, video, sculpture and installation. Rasmussen’s work has been the subject of one-person exhibitions at the Weingart Gallery, Occidental College, Los Angeles, CA (2015); California Museum of Photography, Riverside, CA (2015); and Angels Gate Cultural Center, San Pedro, CA (2012) and a three-person exhibition at The Art Institute of Chicago, IL (2011). Solo gallery exhibitions include Pile/Plié at The Pit, Glendale, CA (2018) and Body Variations at ACME., Los Angeles, CA (2017). Her work has been featured in thematic exhibitions such as Solar Flare, Torrance Art Museum, Torrance (2018);  Touchpiece, Hannah Hoffman, Los Angeles, CA (2017); Input/Output, Sycamore Gallery, University of Cincinnati, Cincinnati, OH (2014); Trouble with the Index, California Museum of Photography, Riverside, CA (2014); The Heart is a Lonely Hunter, Fraenkel Gallery, San Francisco, CA; (2014); Horizon Variations, Camera Club New York, NY (2012); Curious Silence, Brand Library & Arts Center, Glendale, CA (2011); Exposure, The Art Institute of Chicago, (2011), 31 Women in Art Photography, Affirmation Arts Foundation, New York, NY (2010); and Salty Dog Bites the Hand, Angels Gate Cultural Center, San Pedro, CA (2008). As a dancer, woman, and new mother, Rasmussen’s work asks the question “How does this body move and rest within spaces among accumulated objects?” Her work can be thought of as still-lifes, but they are also documents of deterioration, movement and experimentation using her body alongside other objects. A vegetable echoes a limb, something cumbersome becomes sexual, something inanimate becomes invigorated. Sometimes just the act of moving a mirror so it reflects a fragment of a photograph on the opposite wall of the studio changes the content of an image. Recently Rasmussen photographed her changing body through the stages of pregnancy and post-birth, linking further the relationship of life and death with the life cycle of the large vegetables. She gains inspiration from the artists Hans Breder, René Magritte, Simone Forti, JoAnn Callis, Yves Tanguy and Andre Kertész. Notable awards include an Emergency Grant from the Foundation of Contemporary Art in 2014 and the Dean’s Reserve Fund award for the School of Art at CalArts in 2007. Press includes reviews in 2017 in the Los Angeles Times and Hyperallergic.com and ArtSlant, as well as The New Yorker in 2015. Rasmussen’s work can be found in the permanent collections of the Art Institute of Chicago, Chicago, IL and the Los Angeles County Museum of Art, Los Angeles, CA. Rasmussen has 4 videos currently on view at Ray’s + Stark bar monitors at LACMA through August 6, 2019, and will be showing an installation of works in Cindy Rehm’s show These Creatures, at the Wignall Museum of Contemporary Art in San Bernardino, opening September 9, 2019, reception for the artists on September 10 from 6 to 8pm. She is represented by The Pit, LA. Videos at Stark Bar - check the museum for an update. The book mentioned in the interview is by Sally Mann - Hold Still. Untitled (Butterfly legs on pillow)
, 2018
. Pigment print, 23 x 20 inches Photo Credit: Jeff McClane, Courtesy of The Pit, LA Untitled (Necklace leg) - Installation view at Th...

In this episode of the Libreria podcast we take a look at different aspects of creativity and the role of machines in human expression. Mathematician Marcus du Sautoy talks to Paddy Butler about his new book on the evolution of human creativity and machine learning. While Lara Monro speaks with the curator of a new exhibition at Marian Goodman Gallery, Marie Muracciole, on the legacy of the late photographer and theorist, Allan Sekula.

In his most famous essay, “Self-Reliance,” Ralph Waldo Emerson wrote perhaps his most famous sentences: “Life only avails, not the having lived. Power ceases in the instant of repose; it resides in the moment of transition from a past to a new state, in the shooting of the gulf, in the darting to an aim.” …

Helen Grace, adjunct professor, Department of Gender and Cultural Studies, The University of Sydney It is twenty five years since Allan Sekula first presented 'The Traffic in Photographs' at a national photography conference in Australia and the title of this symposium echoes something of the spirit of that foundational essay. If we understand ‘traffic’ as a more benign everyday term, concerned with general flows (of photographs), the proliferation of digital images in the last twenty five years involves a substantial transformation – if not mutation – of the image, which we can no longer simply call a ‘photograph’. More importantly, the activity of circulation has taken on the quality of a less benign ‘trafficking’ in images. In discussing these shifts in thinking around photography this paper draws on – in order to depart from – Sekula’s work on shipping containerization as a model for understanding the transportation of images between and within cultures. The circulation of images and vernacular photography in Hong Kong and Taiwan and the manufacturing of electronic devices in the Asia-Pacific in the post-war period will be considered, noting a discursive propensity that appears at this moment. Just as device manufacture shifts from Europe and North America to Asia in the post war period, allowing for an unprecedented avalanche of image production, the ‘history of photography’ emerges as an authorizing practice, promoting the interests of singular artistic images produced in European and North American cultural centres and historical images - by virtue of their rarity - entering trade circuits and circles of connoisseurs. The paper considers these paradoxes of the image today. Please note that the audio featuring the section from Mad Men has been edited out of this recording for copyright reasons.

Los Angeles-based artist Allan Sekula is a renowned photographer, theoretician, and critic. Using film, photography and text Sekula focuses on economic systems and the conditions of workers in the global maritime market. Allan Sekula was born in Erie, Pennsylvania in 1951. He studied at the University of California in San Diego from 1968 to 1972 with Herbert Marcuse, among others. He lives and works as an artist and photo theoretician in Los Angeles and teaches at the California Institute of the Arts. The talk is part of the exhibition The Voyage, or Three Years at Sea at the Charles H. Scott Gallery and it is presented in collaboration with Simon Fraser University and the Contemporary Art Society.