Podcasts about american art museum

Oops!...He did it again! Neben Politik, Wirtschaft und Wissenschaft zwingt er auch die Kultur in seine Dienste: US-Präsident Donald Trump hat sich an die Spitze des Kennedy Centers gesetzt. Es ist ein bedeutendes Zentrum der darstellenden Künste in Washington und das einzige seiner Art, das die Regierung der USA finanziell mitträgt, also öffentlich fördert. Trump inszeniert sich auch dort als eine Art Alleinherrscher und sagt Diversität in der Kunst den Kampf an. Diese sei "unamerikanisch und unangebracht." Auch das American Art Museum sowie die 21 Nationalmuseen der Smithsonian Institution sollten seiner Meinung nach künftig die Bevölkerung "stolz" machen und nicht etwa die Geschichte kritisch hinterfragen wie in der antirassistischen Ausstellung The Shape of Power. Woke war wohl gestern, gestern scheint heute zu sein in den USA unter Trump. Wie sehen das amerikanische Kulturschaffende im Norden? Zu Gast in dieser Ausgabe von Nachtclub ÜberPop sind die US-amerikanische Jugendtheater-Regisseurin Julia Hart und der  US-amerikanische Indie-Gitarrist Rick McPhail (Mint Mind, Hawel/McPhail).

This episode marks the second time featuring artist and friend Raven Chacon on Broken Boxes. The first time I interviewed Raven was in 2017, when I visited with him at the Institute of American Indian Arts where he was participating in a symposium on Indigenous performance titled, Decolonial Gestures. This time around, we met up with Raven at his home in Albuquerque, NM where recurring host and artist Cannupa Hanska Luger chatted with Raven for this episode. The conversation reflects on the arc of Ravens practice over the past decade, along with the various projects they have been able to work on together, including Sweet Land (2020), an award-winning, multi-perspectival and site-specific opera staged at the State Historical Park in downtown Los Angeles, for which Raven was composer and Cannupa co-director and costume designer. Raven and Cannupa also reflect on their time together traveling up to Oceti Sakowin camp in support of the water protectors during the resistance of the Dakota Access Pipeline. Raven provides context to his composition Storm Pattern, which was a response to being onsite at Standing Rock, and the artists speak to the long term impact of an Indigenous solidarity gathering of that magnitude. Raven speaks about being named the first Native American composer to win the Pulitzer Prize or Voiceless Mass, and shares the composition's intention and performance trajectory. To end the conversation, Raven shares insight around staying grounded while navigating the pressures of success, travel and touring as a practicing artist, and reminds us to find ways to slow down and do what matters to you first, creatively, wherever possible. Raven Chacon is a Pulitzer Prize-winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009 to 2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the two-mile-long land art installation Repellent Fence. A recording artist whose work has spanned twenty-two years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from the Los Angeles Times, the New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022) and the Pew Fellow-in-Residence (2022). His solo artworks are in the collectIons of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the Albuquerque Museum, University of New Mexico Art Museum, and various private collections. Music Featured: Sweet Land, Scene 1: Introduction (feat. Du Yun & Raven Chacon) · Jehnean Washington · Carmina Escobar · Micaela Tobin · Du Yun · Raven Chacon · Lewis Pesacov. Released on 2021-09-24 by The Industry Productions

Amanda Michelle Gomez from WAMU tells Mike and Julia about her reporting on liquor licenses and allegations of discrimination against Black businesses. Plus, we're discussing a big renovation at the Smithsonian's American Art Museum and Metro's scheme to rename bus lines — with your help.  Learn more about these stories through some great local reporting: Read Amanda's investigation into ANC liquor licenses at DCist. There are so many cool new modern art exhibits at the Smithsonian, check ‘em all out.  And weigh in on new bus names before the September 28 deadline.  Want some more DC news? Then make sure to sign up for our morning newsletter Hey DC. Interested in advertising with City Cast? Find more info HERE And we'd love to feature you on the show! Share your DC-related thoughts, hopes, and frustrations with us in a voicemail by calling 202-642-2654. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cuban-born photo-based artist, María Martínez-Cañas, first came to the US at the tender age of three months with her parents, and four years later, in 1964, they relocated to Puerto Rico. Maria recalls her earliest fascination for photography as an eight year old when she started working with a Polaroid Swinger camera that her parents gave her. Her mother also gave her an old Twin-Lens Rolleiflex that she brought out of Cuba, which Maria still has today. It wasn't long before she asked her parents for a darkroom in the house, and thus began her passion for the process of creating images and processing film. Maria has been called a precocious photographer with an insatiable appetite to explore the art of photography and it wasn't long before her talent became apparent when she had her first exhibition in 1977 at the age of seventeen. Between 1978 and 1982 she attended the Philadelphia College of Art, where she studied with the likes of Joan Redmond, Ron Walker, Eileen Berger, and Arno Rafael Minkkinen. In 1985, Maria received a Fulbright Hays Grant, which enabled her to travel to Spain to study and where she culled archival sources, such as historical maps and documents, which inspired her to create negatives based on Cuban maps. She returned to the United States in 1986 where she settled in Miami. Two important series from the 1990s—Totems and Quince Sellos Cubanos (Fifteen Cuban Stamps)—epitomize her interest in a photomontage aesthetic and use of imagery drawn from her Caribbean childhood. Maria is the recipient of numerous awards and grants, including a Pollock-Krasner Foundation Photography Fellowship (2016), a National Endowment for the Arts grant (1988) and a Civitella Ranieri Foundation fellowship (2014) in Umbertide, Italy. Her photographs are in many private and public collections, including the Los Angeles County Museum of Art; American Art Museum, Smithsonian Institution; the Philadelphia Museum of Art, Philadelphia; and the Museum of Modern Art and International Center of Photography in New York. She is currently working on a project that involves the work of early 20th century German photographer August Sander. When she is not in her studio, Maria enjoys deep sea diving for which she is a certified diver, and watching her favorite basketball team, the Miami Heat. She says: “I think that visually, when you look at a work of art, be it sculpture, be it painting, be it photograph, whatever it is, you as a person, you're bringing yourself, who you are, what we call the baggage, you bring your iconography, you bring your identity, you bring your experiences as a person … with your eyes you're looking at an art work but with your head and with your heart; two very different things, the brain and the heart, but when they are communicating with each other, it's a very interesting dialogue. You don't have to know about art, you just have to relate to it.”Maria's Favorite Female Artists:Eva HesseKiki SmithBarbara BlondeauBarbara CraneLouise BourgeoisDoris Salcedo GegoAmelia PelaézZilia SánchezJess T DuganMaria's Playlist:Si*SéFederico AubeleMazzy StarNatasha St-PierSilvio RodriguezColdplaySimply RedSarah McLachlanLisseEeGal CostaMaria BethaniaNorah JonesOmara PortuondoShawn ColvinFrancis Cabrel MandalayLuz CasalCesaria Evora BebeEdnita Nazariohttps://mariamartinez-canas.com/Instagram: @mphotogramHost: Chris Stafford@theaartpodcastEmail: hollowellstudios@gmail.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4769409/advertisement

Cuban-born photo-based artist, María Martínez-Cañas, first came to the US at the tender age of three months with her parents, and four years later, in 1964, they relocated to Puerto Rico. Maria recalls her earliest fascination for photography as an eight year old when she started working with a Polaroid Swinger camera that her parents gave her. Her mother also gave her an old Twin-Lens Rolleiflex that she brought out of Cuba, which Maria still has today. It wasn't long before she asked her parents for a darkroom in the house, and thus began her passion for the process of creating images and processing film. Maria has been called a precocious photographer with an insatiable appetite to explore the art of photography and it wasn't long before her talent became apparent when she had her first exhibition in 1977 at the age of seventeen. Between 1978 and 1982 she attended the Philadelphia College of Art, where she studied with the likes of Joan Redmond, Ron Walker, Eileen Berger, and Arno Rafael Minkkinen. In 1985, Maria received a Fulbright Hays Grant, which enabled her to travel to Spain to study and where she culled archival sources, such as historical maps and documents, which inspired her to create negatives based on Cuban maps. She returned to the United States in 1986 where she settled in Miami. Two important series from the 1990s—Totems and Quince Sellos Cubanos (Fifteen Cuban Stamps)—epitomize her interest in a photomontage aesthetic and use of imagery drawn from her Caribbean childhood. Maria is the recipient of numerous awards and grants, including a Pollock-Krasner Foundation Photography Fellowship (2016), a National Endowment for the Arts grant (1988) and a Civitella Ranieri Foundation fellowship (2014) in Umbertide, Italy. Her photographs are in many private and public collections, including the Los Angeles County Museum of Art; American Art Museum, Smithsonian Institution; the Philadelphia Museum of Art, Philadelphia; and the Museum of Modern Art and International Center of Photography in New York. She is currently working on a project that involves the work of early 20th century German photographer August Sander. When she is not in her studio, Maria enjoys deep sea diving for which she is a certified diver, and watching her favorite basketball team, the Miami Heat. She says: “I think that visually, when you look at a work of art, be it sculpture, be it painting, be it photograph, whatever it is, you as a person, you're bringing yourself, who you are, what we call the baggage, you bring your iconography, you bring your identity, you bring your experiences as a person … with your eyes you're looking at an art work but with your head and with your heart; two very different things, the brain and the heart, but when they are communicating with each other, it's a very interesting dialogue. You don't have to know about art, you just have to relate to it.” Maria's Favorite Female Artists: Eva HesseKiki Smith Barbara Blondeau Barbara Crane Louise Bourgeois Doris Salcedo GegoAmelia Pelaéz Zilia Sánchez Jess T Dugan Maria's Playlist: Si*SéFederico AubeleMazzy StarNatasha St-PierSilvio RodriguezColdplaySimply RedSarah McLachlanLisseEeGal CostaMaria BethaniaNorah JonesOmara PortuondoShawn ColvinFrancis Cabrel MandalayLuz CasalCesaria Evora BebeEdnita Nazario https://mariamartinez-canas.com/ Instagram: @mphotogram Host: Chris StaffordProduced by Hollowell Studios@theaartpodcastEmail: hollowellstudios@gmail.com

Company from Baton Rouge have come and gone but in between Blind Hog and Acorn had a grand time.  Much fun was had by all, including a day trip to Crystal Bridges Museum of American Art, as well as their sister facility, The Momentary.Goat kids have been weaned, with the exception of Little Helper's 6 week old doeling.  Little Helper is in with the mob of kids, will act as a "trainer" for us, teaching the rest to come when we call.  The farmer s are working on dismantling the chicken tractor/mobile coop to transform it into a mobile goat feeder.0.80" of rain for the month, and it was 100F when we left to go to the Post Office.  Ground is powdery dry.  Boots throw up "poofs" of dust when you walk.Cotton Patch geese are very happy, about adult size already. And look WHOOOOOO was watching when Blind Hog and Acorn went to the Post Office!

Elaine A. King was born in Oak, Park, Illinois and grew up in the Chicago area.  She was a Professor, at Carnegie Mellon University teaching the History of Art/Theory/Museum Studies.  King received an interdisciplinary Ph.D. from Northwestern University in 1986 from the School of Speech (Theory and Culture) and History of Art. Dr. King holds a joint Masters Degree in Art History and Public Policy, from Northern Illinois University and her B.A. was awarded from Northern Illinois University in Art History and American History [Pre-Law]. In 2002 she received a Certificate of Fine Arts and Decorative Arts Appraisal New York University.  In May 2011 she was invited to become a member of the National Press Club in Washington, DC. She is a freelance critic who frequently writes for Sculpture, ARTES, Grapheion and the Washington Post. Dr. King served as the Executive Director and Curator of the Carnegie Mellon Art Gallery [1985-1991, and was the Executive Director and Chief Curator of the Contemporary Arts Center in Cincinnati, [1993-1995] following the Robert Mapplethorpe debacle. Throughout her career as a curator she organized over forty-five art exhibitions, including a wide range of one-person exhibitions and catalogues for artists, Barry Le Va, Martin Puryear, Tishan Hsu, Gordan Matta-Clark, Elizabeth Murray, Mel Bochner, Nancy Spero, Robert Wilson, David Humphrey, and Martha Rosler. In addition, she has curated a wide range of group exhibitions including Light Into Art: Photography to Virtual Reality, New Generations, New York, Chicago, The Figure As Fiction, Abstraction Today, Drawing in the Eighties, and Art In the Age of Information. In February 2007 she was the guest curator for the Maria Mater O'Neill mid-career survey exhibition for the Museo of Art Puerto Rico, San Juan that opened in February 2007 and compiled a catalogue titled Artist Interrupted, 1986-2006.  In the fall of 2009 she was a guest curator at the Mattress Factory, in Pittsburgh for the exhibition titled Likeness: Transformation of Portrayal After Warhol's Legacy. King has been the guest curator several times for the Hungarian Graphic Arts Biennial in Gyór between 1993-2005. The International Studies Art Program American University's selected her to be the distinguished Art Historian/Critic in-residence to teach in Corciano, Italy, in the fall 2006.  Additionally Elaine King and Kim Levin were asked to nominate artists for the Venice Biennale. She has been awarded numerous grants from diverse agencies including: United States Office of Information –Curatorial Grant for the American Section of the Master of Graphic Arts Biennial, Györ Hungary [shipping] Pennsylvania Arts Council Grant, Art Criticism Fellowship, The Trust for Mutual Understanding, Rockefeller Foundation, (research in Slovakia) The National Endowment for the Arts (In 1989,1988,1985, 1983) Museum s/catalogues, Hillman Foundation, Warhol Foundation, Richard K. Mellon Foundation Grant, French International Fund from Artists' Action, for the Michel Gerard exhibit, American Association of Museums, Award of Merit for the Tishan Hsu catalogue Award of Distinction, American Association of Museums for the Mel Bochner catalogue. She was awarded an IREX grant to do research in Prague on changes in contemporary art after the fall of the wall. King was part of a panel discussion on Censorship and the Culture Wars at the Ann Arbor Film Festival and a reviewer for Bullfrog Films. In September 2006, Allworth Press published the anthology titled Ethics and the Visual Arts that she and Gail Levin co-edited. Elaine King. In 2001 she was awarded a Senior Research Fellowship by the Smithsonian Institution's American Art Museum to research contemporary portraiture.  Also King was awarded a Short-term Research Fellow in 2003 from the Smithsonian Institution National Portrait Gallery as well as a Short-term Fellowship at the Smithsonian Archives of American Art.

Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009-2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the 2-mile long land art installation Repellent Fence.   A recording artist over the span of 22 years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from The LA Times, The New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America.   Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, and in 2022 will serve as the Pew Fellow-in-Residence.   His solo artworks are in the collections of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the University of New Mexico Art Museum, a various private collections. Website: www.spiderwebsinthesky.com IG: Ravenchcn Twitter:@Raven_chacon

When Chiura Obata painted “Moonlight Over Topaz, Utah,” he was a prisoner at the camp: one of 120,000 Japanese Americans to be incarcerated during World War II. The painting shows a dreamy moonlit desert, with just a few dark lines to hint at the barbed wire fences and guard towers that held him and his family captive. As a painter, Obata turned again and again to nature as his greatest teacher, and his greatest subject. Today, his work can be found in art collections and museums around the world, including the Smithsonian's American Art Museum. This time on Sidedoor, we learn from Chiura Obata about the power of art in tumultuous times. Speakers: Rihoko Ueno: Processing archivist at the Smithsonian's Archives of American Art Noriko Sanefuji: Museum specialist in the Division of Cultural and Community Life at the Smithsonian's National Museum of American History @apacurator @amhistorymuseum ShiPu Wang: Coats Endowed Chair in the Arts and Professor of Art History at The University of California Merced. Curator of the traveling exhibition, “Chiura Obata: An American Modern.” @curatingobata Kimi Hill: Chiura Obata's granddaughter and author of the book, “Topaz Moon.”

What you'll learn in this episode: Why every introverted artist should have a partner or patron to help them promote their work How Kent developed a line of reproduced pieces while maintaining his artistic passion and integrity Why young jewelers must have experience doing handwork and not just designing with CAD Why it's important that jewelers make time to play, even if it won't generate income How Kent has maintained his enthusiasm for the craft for decades About Kent Raible  Master goldsmith and jewelry designer Kent Raible first started working metal in 1973 in a high school jewelry class, and has since become one of the leading studio goldsmiths in the country. Largely self-taught, Kent sought out talented teachers over the years to learn different aspects of jewelry making, and also went abroad in the 1980s for two years of study in Germany. He always worked in his own studio, never apprenticed under a master, and over time developed a unique style of fabrication using eighteen karat gold, fabulous colored gemstones, and the ancient technique of granulation. His work has won many national and international awards, and has been featured in two important national exhibitions. The major neckpiece named Floating City is part of the permanent collection of the Renwick Gallery of the Smithsonian's American Art Museum, and his object called Pregnant Chalice was included in The Art of Gold, a survey of the work of eighty contemporary American studio goldsmiths that toured the country throughout 2005. Since the 1980s, Kent has also been teaching his craft through workshops at various institutions such as the Penland school of Arts and Crafts in South Carolina and the Revere Academy in San Francisco, California. Kent currently resides in Washington state with his wife and partner, Lynn. Additional Links: Website 1stDibs Instagram Facebook Photos: Captured Universe AJDC Theme project Tension Cosmic Clam Ring 2004 AJDC Theme project Hidden Treasure Floating City 1991 Permanent Collection American Art Museum, Smithsonian Floating City Closeup Crystal Sky City 2020 AJDC Theme project Secret Garden Floating City 2002 From the Deep Side view showing clasp From the Deep 2015 Saul Bell Award 1st place winner Transcript: Kent Raible is living proof of the adage that it takes 10,000 hours to master a skill. He's spent nearly all his life honing his talents as an award-winning goldsmith, favoring ancient techniques and creating jewelry that inspires him rather than jewelry that's trendy. He joined the Jewelry Journey Podcast to talk about how he learned his skills, why his wife and business partner Lynn was crucial for the development of his business, and why he encourages young jewelers to keep practicing their craft even when pieces don't turn out as expected. Read the episode transcript below. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is award-winning goldsmith Kent Raible. Kent has been a goldsmith for 50 years. In addition to compiling a roster of awards, he occupies several unique niches. He's a master in the ancient art of granulation and is known throughout the industry for the classes he holds both in person and online. We'll hear more about his jewelry journey today. Kent, welcome to the program. Kent: Well, thank you, Sharon. I am very happy to be here. Sharon: So glad to have you. Tell us about your jewelry journey. Were you creative as a child? Is this something that everybody expected of you, what you're doing today? Kent: Well, it was all kind of serendipitous events that brought me through this journey, but I was raised in a family of artists. Both my parents were painters. My father made his living from teaching art at the junior college level in Marin County, California, which is where I grew up. My mother was also a painter. They met in art school at the California College of Arts and Crafts, at the time, in Oakland, California. They were both Bohemian types, and they were very open-minded and were always supportive of anything creative that I might want do as I was growing up, and the same with my one sister. She went on to become a very successful doctor. Both the kids went on separate paths, but they were very supportive in whatever we chose to do. From an early age, I was very aware that I had abilities that other people didn't have, musically and artistically, and my parents were always open to me becoming a musician or an artist. There was never any question that that was a possibility, because I grew up in a situation where there were successful artists all around me. My dad taught for many years, and some of his students went on to become very successful artists. I got to meet them and see their workshops. Some of them were painters; some of them were sculptors. My dad had a very broad base of experience in crafts and in art. He actually dabbled in jewelry and gave me his first set of jewelry tools, which was a ring mandrel and a soft frame, which I still use today, and some of the basic tools he got while he was doing his class at the College of Arts and Crafts in the 50s or maybe even in the 40s. I took my first jewelry class in high school at the behest of my girlfriend. She said, “Kent, take a class with me.” I said, “Oh, I don't know. Jewelry wearing, you know.” My first jewelry teacher was a former student of my father. He was teaching the high school jewelry class and we hit it off. I was a sophomore; I was 15 when I took my first class. By my senior year, I was taking two periods of jewelry a day as my electives, one before lunch and one after lunch, and I worked through lunch. I was getting three hours a day. I was a lab assistant, so I was in the back room there, and I could do pretty much whatever I wanted. I was having a blast.  Then I went on to the college at Marin, which is where my dad was an art professor. He had just hired a young guy named Glenn Miller. He just passed recently. This was 50 years ago, so this is all ancient history, but Glenn Miller—he wasn't a jeweler himself; he was more of a sculptor. But he was very much involved in getting things right, craftsmanship, design and integration of clasps and things that went into design rather than just as an add-on. These were concepts he was hammering into me early on, and that's how I started. I had many interests as a young person. I wanted to be a rock star. I've been playing guitar longer than I've been making jewelry. I'm pretty good at that, but I didn't devote my life to that as much as I have to making jewelry. At some point in my early twenties, I made the big decision to make that my livelihood. I was maybe 19 or 20 and I decided to go for it, so I started doing craft shows. It was hard to put my work out there; that was really the hardest thing. Making it and designing and having fun making things was easy, but when it came to stepping out into the world, because I was very shy, that was the hard part for me. I struggled with that for a number of years. I won my first national award at the age of 22 with the National Sterling Silversmith's Guild of America Annual Competition for College-Level Silver Design. I made a sculptural piece; I actually have it here, but since this isn't usual, I'm not going to pull it out. Sharon: We'll post a picture if you'd like.  Kent: You can post pictures. It was a silver waterpipe. I was taking hollow ware and bringing it into the 20th century, basically making a silver bong. That won me a national award. At that point, at 21, 22, I thought, “Well, I could actually do this.” I was getting a lot of support from my family and from my teachers. Then I got my first teaching job at the College of Marin, teaching in adult ed. I didn't have a college degree, but I could teach in adult education. I started teaching at the age of about 23, 24, teaching casting and basic jewelry techniques. I hadn't really gotten into granulation at that point, but I was very adept at fabrication, soldering and casting, so that's what I taught my students. That gave me a foothold into the realm of teaching, which I have done my whole career. Not in a big way; I'm teaching more now than I probably ever have, but that's how I got started in the teaching realm. There are a couple of major things that happened in my life that made the biggest differences to my career. The first was in 1982; I went to Germany. My girlfriend broke up with me and I was devastated, so I sold all my possessions to raise money. I took my bicycle and started riding from Frankfurt, Germany. The first place I went, of course, was Idar-Oberstein, which is a good, long, one-day ride from Frankfurt. I went there and looked at all the gem museums; I visited stonecutters and things like that. From there, I rode through the Black Forest down to Pforzheim and went to the Schmuckmuseum, the jewelry museum in Pforzheim. I puttered around for about four or five months, but serendipitously, right before I left from America with my bike, I met a couple of goldsmiths who were visiting from Germany. They said, “Why, don't you come see us when you're here if you're in our area?” When it started to rain and I'd ridden through seven or eight countries, I was in France and the weather just turned bad; it was October. So, I called them and they picked me up. They had a little Volkswagen Bug, and I stuck my bike on the top and they drove me to their place in Stuttgart. They were very kind to me. They let me stay with them for six weeks. In the process of that period, they invited me to come check out the school where they had studied, which is in a little town called Schwäbisch Gmünd of about 60,000 people. Sharon: Would you repeat that? Kent: Yeah, Schwäbisch Gmünd. It's about 50 kilometers east of Stuttgart, a beautiful location in the hills. The hochschule there, which is basically a state-run trade school, had been teaching jewelry there for 250 years or something. They were in the process of phasing out the jewelry program, but they introduced me to the head instructor who could speak English because I had very little German. He introduced me to the goldsmithing teacher who didn't speak any English, and he invited me to stay as a guest. So, it was a free year of education. I had only to buy health insurance. That was it, $30 or month or something. That was my only cost. I didn't have a lot of money at the time, and that is where I learned my granulation technique.  I buckled down. I had six weeks before the semester started, so I learned as much German as I could. I bought a big, thick dictionary and learned every word pertaining to jewelry; I learned how to put sentences together as best as I could, so I could communicate with the goldsmithing teacher. They showed me a list of things I could study, and on the list was granulation. He basically took me through a series of exercises in silver and then we moved into gold. I had some gold that he taught me how to alloy. I started using a rolling mill. I'd do all these basic things that I had never done before in fabrication. The wizard was handing me the key; I just took off from there. I loved the technique he taught me so much that I pretty much designed my whole career around this one technique. It involves—well, I'll go into more detail about that.  I want to go over the one thing that made the most important difference for me in my career, and that is when I met my wife, Lynn. She was a jewelry buyer—this was in 1985, 86. It was a couple of years after I had returned from Germany. I was making beautiful jewelry. I had reached a level of mastery after 20 years. This was about at the 20-year mark. I was in my early to mid-thirties, and I had reached a level of mastery by then and I had my own look; I had a feeling. I was very excited about the complexity of the things I could make. I'd really gotten good at stone setting and other skills, not just granulation. I was still having trouble getting myself out there and presenting my work, but one day, I walked into this store in Big Sur, California, and there was a new jewelry buyer there. I'd gone there before, but the old jewelry buyer did not bite. But Lynn was there, and she bought my work, and not only did she buy it, she was selling it like there was no tomorrow. That's not why I became attracted to her—I mean, it might have had something to do with it—but over the year, we became friends. Then we were both in a situation where we weren't in relationships and I asked her out. That was 32 years ago, and we decided to create a partnership. We both came into the relationship with similar levels of assets and liabilities and those types of stuff, so we came in and said, “Let's share everything and do this as a team, 100%.” And dang, it worked out! We've been doing this for 30 years. Lynn had a natural sense of marketing. She used to run clothing stores; she was into fashion. As a jewelry buyer at the Phoenix Shop in Big Sur, she knew how to deal with galleries, what they were looking for and how we could present ourselves to them in a way that made them more likely to buy. That was hugely important for me as a shy person. I had my heart and soul invested in my work, and I needed somebody who could be removed a little bit from that and help me do what I needed to do to make it work, as far as being able to make a good living from it.  We started doing tradeshows, which I would have never considered doing. I saw my work as art rather than a manufactured item. We did Las Vegas; we did a lot of the biggest shows. The Design Center in Las Vegas was just happening in the 90s, and that's when we started doing shows like this. That enabled us to get our work out to a much wider audience. We were showing in galleries all over the country, and it helped us develop a clientele, some of whom are still buying to this day. That was the other major thing that made the difference for me: having a partner I could totally trust. That's probably the main thing that's helped me actually have a successful career. That aside, of course I have always loved making jewelry. Now I can let you ask me questions. Sharon: So, you and Lynn established Golden Sphere Studios?  Kent: That was more the teaching arm of the online classes. Golden Sphere Studios is the evolution of Kent Raible Jewelry. We sell our work online. We also sell our work through 1stDibs and of course privately.  We don't show a lot in galleries anymore, but we're thinking of doing that again, although I am semiretired now. I'm not producing like I used to. Right now, I'm making pretty much just what I want to make. I'm not designing so much for the marketplace as much as I am for myself.  What Lynn got me to consider more was doing repeated items so I could make things without the labor and time involved. With a one-of-a-kind piece, the time involved is largely in the building of the piece, not even in the granulation. But the time involved in creating a one-of-a-kind piece can be cut down dramatically if you mold a piece, cast duplicates of it and then granulate them, and that's what we did. We came up with a line we could sell at a much lower price point and then presented that to the galleries. Also along with that, we had one or two really nice, one-of-a-kind pieces they could sell to their higher-end clientele. Sharon: Are your one-of-a-kind pieces mostly custom for people who know you already? Do they come to you and say— Kent: I do commissions once in a while, but mostly I prefer to make what my heart's telling me to make. I'll get ideas and go, “Oh, got to make that one.” They all come out of the blue. I never know what's coming next, and now I've got such a wide repertoire of techniques and ideas. Things combine in different ways now that I would have never guessed 10 or 20 years ago. Now I've gotten into stonecutting, which is a whole other ball of wax. Cutting my own stones; that's a lot of fun. Sharon: Is that something where you said, “O.K., I've mastered this aspect, so I'm going to move onto stonecutting”? Kent: That's part of it. This is a field where you can spend three or four lifetimes and there's still more to learn. I like working the old-fashioned way; I'm not really into the new technologies that are coming out. I'm not into CAD. I'm not into laser welding and all that stuff. I'm still the old-fashioned, dinosaur jeweler that does things the very old-fashioned way. What I do is 3,000 years old. You don't get much more old-fashioned than that. I'm doing things that have been done for thousands of years, but I'm trying to do them in a new way. The fun part of cutting stones is working consecutively—I shouldn't say consecutively, but working simultaneously in both metal and stone. I can alter things as I'm working. I wasn't able to do that with gems before or with shapes or forms of stones. I'm only doing very simple cab forms at this point, but I can fine tune a form I probably couldn't buy, or if I need to change it as I'm working, I can do that.  Right now, for our 30th anniversary and her 60th birthday, I'm making her a pair of earrings. I cut some rose quartz bullet tongue shapes, but they're so precise and they're very well matched. On top of them, I'm putting this incredible apricot precious topaz. The combination of the light, translucent pink background with the topaz over the top, it makes the topaz pop out. Then, the translucent background—it's very feminine and lovely. It's her colors, so I can't wait to see them on her. They're about halfway done now, but the cutting of the stone required that I carve out a notch in the back so the culet of the topaz could fit into the stone so that it's compact. It brings it in together. There are things like that I can do now with stonecutting that I would have had to order from a lapidarist, which I have done in the past, but this way I can cut as I'm going. You don't know exactly how deep you need to cut or what the exact shape is going to be. Now, I can do that to a limited degree with stones as I'm working in gold or platinum, whatever I'm working in. That's a big design. It opens up a whole new possibility for me. That's pretty exciting, that I can get that excited about something 50 years into my career. Sharon: I can understand that, because we're in a time where you can't stop learning or you can be left behind, whether it's learning how to use a computer or whatever. But how do you feel that passion for decades? How do you keep it going? Kent: That is a very good question, and I really don't know. There's a part of me that just has to do this. Not so much now; like I said, I'm semiretired. I have other things I'm doing. I'm got a huge vegetable garden, and that takes up a lot of time. I love growing plants. I like doing things that take time. But I also have the most beautiful workshop in the world right now. I love going out there and hanging out, and I have this whole lapidary setup in the back. I have it set up so it's a beautiful space, so that keeps me interested. The other that keeps me going is my students. I like sharing what I know. Watching other people progress is also inspiring to me. When I see what I can make and I go, “Wow, I made that,” that's part of what keeps me going. Sometimes I have a vision in my head that's like, “Wow, I could probably make that.” I'm always trying to challenge myself a little bit as I go, not a lot. It's an evolutionary process, making jewelry. Every time you make a piece you learn something, and then you take what you learn and then you make something else and you add something, like, “This is what I learned. This is what I don't want to do next time. This is what I want to try next time.” Slowly, over the decades, you become adept at a lot of different things. The excitement comes when I'm able to combine things I've never done before or put things together in a way that's unique or new. I recently did a major piece for the American Jewelry Design Counsel. Are you familiar with the AJDC? Sharon: Oh, yes. Kent: Every year we do a theme project. We did one last year that is to be displayed in conjunction with the opening of the new Gem and Mineral Museum in Tucson. It isn't open to the public yet, but it will be opening in—I'm not sure if they have an opening date, but by the next Tucson show I'm pretty sure it will be open. Anyway, I did a floating city. The first floating city I did was in 1991 or 1992, which is now in the Smithsonian at the Renwick Gallery. I've done different versions of this theme over the years. This time, I put it together in a whole different way than I've ever put it together before. I'm not 100% satisfied with how it came out, but I am very excited with the possibilities of what I've learned from putting things together in that way. It's a very complex fabrication, so it was a learning process. I also cut a lot of the stones that are in the piece. It's successful in some ways, and in other ways, I go, “Well, I'm going to do it different next time.” That's how I work. I try different things. Sometimes they're successful; sometimes they're not as successful as what I see in my head, but that's part of the creative process. You have to be willing to try things and have it not be—I'm rarely 100% satisfied with anything I make. Sharon: Would those be some words of wisdom to younger jewelers? Kent: Oh, definitely. You have to give yourself room to play. You have to be willing to fail, and you have to be willing to have a meltdown every once in a while. But the main thing you need to do is always make time. I know money is always an issue if you're trying to make a living from it, but even so, you have to have time to do things that may not make you any money. You have to make things for the sheer joy of doing them and for the exploration involved. That's my number one piece of advice to anybody doing anything creative; you have to have time to play and enjoy the process. Jewelry making is a thousand different processes that you can combine in infinite ways. R&D time is really important for the artistic expression. If you want to do something that's unique, it's imperative. Sharon: You joined forces with Lynn, so did you assign her the external part?  Kent: No, we collaborated. She is the one that got me to move away from one-of-a-kind to move into the marketplace. We had a child together, so we needed to support a family. It was a monetary decision. There was a little bit of a push and pull between my artistic side the wanting to make money side. There was a realty involved. I didn't want to compromise my artistic sensibilities and I did my best to do that. What I came up with, what we call line pieces, the reproduced or the limited-edition series pieces, they're all really beautiful. I'm still adding to that collection every once in a while, but it was a decision on my part that we needed to make money, so let's move into this different type of production. In this way, I could actually hire help, too. I could have eight pieces cast and have people work on the castings rather than fabricate from scratch, which is very difficult to train. Sharon: Yeah, especially if you're trying to— Kent: Although I have trained people that have done very well for me. Sharon: I know so many artistic people face challenges showing their work and selling their work. How would you advise getting past that? Kent: Well, if it's something that's not innate for you, you need to find help. That's what I did. I really had to push myself because, as a very shy person, it was very uncomfortable for me to go out into the public eye. What I did after I got back from Germany and found myself in tears because I wasn't able to get out and sell my work, I started taking personal growth workshops. I took all kinds of different stuff where I had to get into my discomfort zone and put myself out there and be uncomfortable. If I hadn't done that, I probably wouldn't have been able to see what I needed in a partner. It's really hard to make it as an artist on your own. You have to have somebody supporting you, whether it's a gallery owner or a patron, whatever. You need people that believe in you, and you need to believe in yourself first. Your work has to be good, but you need to have help getting you to the marketplace, I think. That is very important if it's not something innate. For some artists it is innate, marketing, and I think it's more the exception rather than the rule. Sharon: From what I've heard you say, yes. I give you a lot of credit. You have a lot of personal work.   Kent: Oh yeah, when you have a dream and it's a big one—the work in itself is very small things, but if you look at my work up close, they're huge. Visually, in scope, they're really big. It's like I try to cram as much hugeness into the smallest space possible. My vision is a lot larger than the actual pieces. That's kind of an interesting part of what I do. Sharon: Yes, your work is so complex and intricate that it takes a big scope, even though it's so small. Kent: As I'm making them, I'm working very close up, but in my mind these things are huge. That's how I can get into so much detail, because I see it as a much bigger thing than it actually is. Sharon: What would your advice be? You've won so many awards, like the American Jewelry Design Counsel. I presume they come to you and say, “We're here. Can you do something for us?” What is your advice? Do you think that's something emerging jewelers should consider, entering contests? Kent: Oh, of course. I started doing that in my early twenties; I started entering or doing shows and I started winning awards. It gave me a lot of self-confidence. If you don't win, it's O.K. You need to see what's winning and ask yourself why. You have to be honest with yourself: “Is my work up to this level, and what do I need to do to get there?” It's mostly about putting in the hours. I put in my first 10,000 hours probably by the time I was in my early twenties because I was so into it. I never had a job—well, that's not true; I worked at a recycling center on weekends and at minimum wage for a number of years, but in those days, you could work minimum wage and pay your rent and buy food. Then my father allowed me to have a workshop in his garage. That's how I started. I didn't own a car. I rode my bike everywhere. I would ride to work and I would just make, make, make, make, make. I would take classes.  I went to the College at Marin for three or four years so I could use their shop, but I also took evening classes with an artist in the East Bay whose work I saw at the Palace of the Legion of Honor. His name was William Clark. He's a sculptor and a jeweler, but what he was able to do with metal so inspired me. I heard he was giving an evening class once for a week for six months. I hopped on that, and I learned things there I never would have learned anywhere else. I don't know. I kind of got off my train of thought there. Time for another question. Sharon: You have a very inspiring story. I'm sure you've inspired, besides teaching, legions of people in the field. What other pieces of advice would you have for people who are on the cusp of saying, “How do I become you?” Kent: Well, you know what I did: I just started learning different techniques. I'd focus on one at a time until I achieved a certain level of mastery. The first thing I learned was casting because you can do so much with casting. Nowadays of course you have CAD, but I highly recommend for people getting into jewelry now not to devote themselves too much to CAD. You need to have actual experience doing handwork, because that's the basis of solid jewelry knowledge and design knowledge. You can't just design on CAD. You can do some beautiful things, but you're not going to have the overarching experience of having handwork behind your belt. I see a lot of CAD stuff being done, but unfortunately it all looks the same. You need to have a broad variety of techniques under your belt.  What I did was study casting. I went into forging, raising, tube forming. I started doing repoussé, learning how the plasticity of metal can be used to create interesting forms, relatively quickly if you're good at it. There's something about working spontaneously in metal that is so different than anything you can do on the computer. It's great to have that broad understanding of what the metals can do, not just with casting, but with forging, forming, learning how to make your own stock; I mean, making your own sheet in wire, tubing. I do a whole class that's just based on tubing online. It's very successful. People love it. If you want to learn how to fabricate or do things that have moving parts or even for stone setting, being able to make a tube is a huge thing. It has unlimited applications in design. I would say there are so many incredible techniques out there. I've only touched the surface myself, but pick the ones that make your heart sing and focus on them. Bring your own flavor, your own heart into it so it's unique.  That's how I did it. I started doing granulation when my father showed me a picture of John Paul Miller's work. If you're not familiar with John Paul Miller, he was one of the first American granulators in the 20th century. He started doing beautiful granulated enamel pieces in the 50s and 60s. It was his work, among others, but mostly his work, that inspired me to learn granulation. His technique is very different than mine, but I made the technique my own just by doing it, playing with it and learning how to fabricate without solder so I could granulate really intricate, fabricated forms. Sharon: It's a very inspiring story. I really appreciate your being here today, Kent. Thank you so much. Kent: Oh yeah, my pleasure. We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Among the first to open their doors to the public: the American Art Museum and the National Portrait Gallery.

William Warmus and Tim Tate: Founders of 21st Century Glass – Conversations and Images/ Glass Secessionism Facebook Group Glass Secessionism does not mark the death of Studio Glass. It makes it stronger…In many ways, Glass Secessionism is putting glass back on the path it should have followed. It encourages those areas of glass that had progressed over time and builds heavily upon them. It reveres those artists who advance the medium, taking chances with new directions. In other words, we are not destroying the past, we are constructing a future. An exchange on a tour bus between artist and art historian inspired the formation of 21st Century Glass – Conversations and Images/ Glass Secessionism. This Facebook group, founded and moderated by Tim Tate and William Warmus, underscores and celebrates glass sculptural art in the 21st century and illustrates the differences and strengths compared to late 20th-century, technique-driven glass.  Warmus is a Fellow and former curator at The Corning Museum of Glass (CMoG). The son of a glassblower at Corning Incorporated, he studied with art critic Harold Rosenberg and philosopher Paul Ricoeur while at the University of Chicago. As curator of modern glass at CMoG in 1978, Warmus curated three landmark exhibitions: New Glass, which was also shown at The Metropolitan Museum of Art and at the Louvre; Tiffany’s Tiffany, which focused on the masterpieces Tiffany had in his home and studios; and the first major exhibition in North America of Emile Gallé’s work. He is the founding editor of New Glass Review and has served as editor of Glass Quarterly Magazine, faculty member and visiting artist at the Pilchuck School of Glass, executive secretary of the Glass Art Society, and board member at UrbanGlass. The recipient of the Art Alliance for Contemporary Glass award for outstanding contributions to contemporary glass, Warmus lives near Ithaca, New York. A Washington, D.C. native, Tate has been working with sculpture now for 30 years. Co-founder of the Washington Glass School, his artwork is part of the permanent collections of a number of museums, including the Smithsonian’s American Art Museum and the Mint Museum. He participated in 2019’s Glasstress show with Ai Wei Wei and Vic Muniz during the Venice Biennale. Tate has received numerous awards and honors including the 2010 Virginia Groot Foundation award for sculpture; a Fulbright Award from Sunderland University, England, in 2012; second place in the 2017 London Contemporary Art Prize; and the 2018 James Renwick Alliance Distinguished Artist Award. His involvement at Penland School of Craft includes teaching, serving as featured artist for the 2018 annual auction, and acting as the Development Chair for the Penland Board of Trustees from 2014 to 2018.  Modeled after Alfred Stieglitz and the redefinition of photography by Photo Secessionists, Glass Secessionism is similar in that both mediums were born of science and industry, and both had similar paths of evolution as a result. Photography and glass art emerged from the lab or factory with inherent technical barriers, and genius was required to make something from the materials. Thus, early pioneers had a vested interest in keeping secrets and making adaptation by other artists difficult. “We respect good technique, and understand its importance in creating great art from glass. However, we believe that great art should be driven primarily by artistic vision, and technique should facilitate the vision. For too long, technique has driven the majority of Studio Glass. As Secessionists we do not seek to isolate ourselves from other artists working in glass, but to enhance the field as a whole,” says Warmus. Another motivation for Glass Secessionism, fine art galleries were not showing enough 21 century glass, and glass galleries were not showing emerging glass sculptors. Tate and Warmus believe, “Only by seceding would we succeed.” A primary drive of their Facebook group is to attract and support younger artists working with glass. In this conversation, Tate and Warmus discuss their Facebook group, how Studio Glass will move forward in the 21stcentury, and how glass artists and galleries can survive the effects of the current Covid 19 global pandemic.  

Tim Tate: Alternate Paths In 1989, Tim Tate received an HIV-positive diagnosis and was told he had one year to live. The terrible news inspired him to follow a dream he’d had since the age of 9 when he visited the Corning Museum of Glass. Driven to use the time he had left to become a glass artist, Tate travelled to Penland School of Crafts in North Carolina for the first in an intensive succession of classes. Penland and the artwork made during this time saved his life. A Washington, D.C. native, Tate has been working with sculpture now for 30 years. Co-Founder of the Washington Glass School, his artwork is part of the permanent collections of a number of museums, including the Smithsonian’s American Art Museum and the Mint Museum. He participated in 2019’s Glasstress show with Ai Wei Wei and Vic Muniz during the Venice Biennale. Tate has received numerous awards and honors including the 2010 Virginia Groot Foundation award for sculpture; a Fulbright Award from Sunderland University, England, in 2012; second place in the 2017 London Contemporary Art Prize; and the 2018 James Renwick Alliance Distinguished Artist Award.  Along with William Warmus, Tate is the founder and moderator of the Facebook group 21st Century Glass – Images and Discussions. His involvement at Penland includes teaching, serving as featured artist for the 2018 annual auction, and acting as the Development Chair for the Penland Board of Trustees from 2014 to 2018.  In 2001, Tate helped establish the Washington Glass School to focus on sculptural glass made by kiln-casting and mixed media rather than traditional studio glassblowing techniques. Modeled after Penland and the Crucible in Oakland, the school has offered instruction to more than 4,000 students while providing a permanent studio in which Tate makes his work.  After 10 years of making bowls, between 1999 and 2005 Tate made 30 large blown glass hearts, an exercise which required him to work with a glassblowing team and revealed his preference to work solo. His Reliquary works created between 2004 and 2014 drew attention from journalists, galleries and critics, putting Tate on the map of the art world at large.  Never fully fitting into any one definition of Studio Glass, steampunk or video artist, Tate blends traditional craft with new media technology, the framework in which he fits his artistic narrative. Through moving images and endless mirrors his contemporary work possesses the aesthetic of Victorian techno-fetishism, which emerged from fascination with Jules Verne as a boy. Artwork and video, he believes, will be society’s relics of the future.  He says, “I like to reference many possible histories and will do so with video or mirrors to show our common artistic ancestry and illustrate alternate paths. Perhaps centuries from now my work will have the same presence as abandoned archaic machines from the Turn of the last Century, as people marvel over what could have possibly been its intent.”  

The struggle for representation within the art museum is the focus of a timely and important new book by Susan Cahan, Associate Dean for the Arts at Yale College. Mounting Frustration: The Art Museum in the Age of Black Power (Duke University Press, 2016) charts a pivotal moment for the American Art Museum and reflects on the progress, or lack thereof, for African American Art’s place within the US museum system. Focusing on 4 key institutions and range of exhibitions beginning in the late 1960s, the book offers a rich and detailed reading of the institutional context, the aesthetic practices, and the historical lineages that explain both the period and the current museum settlement. The book is replete with illustrations and is accessible, readable and interesting, representing an important and urgent intervention to how we understand the role of the museum today. Dave O’Brien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Learn more about your ad choices. Visit megaphone.fm/adchoices

The struggle for representation within the art museum is the focus of a timely and important new book by Susan Cahan, Associate Dean for the Arts at Yale College. Mounting Frustration: The Art Museum in the Age of Black Power (Duke University Press, 2016) charts a pivotal moment for the American Art Museum and reflects on the progress, or lack thereof, for African American Art's place within the US museum system. Focusing on 4 key institutions and range of exhibitions beginning in the late 1960s, the book offers a rich and detailed reading of the institutional context, the aesthetic practices, and the historical lineages that explain both the period and the current museum settlement. The book is replete with illustrations and is accessible, readable and interesting, representing an important and urgent intervention to how we understand the role of the museum today. Dave O'Brien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. 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

The struggle for representation within the art museum is the focus of a timely and important new book by Susan Cahan, Associate Dean for the Arts at Yale College. Mounting Frustration: The Art Museum in the Age of Black Power (Duke University Press, 2016) charts a pivotal moment for the American Art Museum and reflects on the progress, or lack thereof, for African American Art’s place within the US museum system. Focusing on 4 key institutions and range of exhibitions beginning in the late 1960s, the book offers a rich and detailed reading of the institutional context, the aesthetic practices, and the historical lineages that explain both the period and the current museum settlement. The book is replete with illustrations and is accessible, readable and interesting, representing an important and urgent intervention to how we understand the role of the museum today. Dave O’Brien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Learn more about your ad choices. Visit megaphone.fm/adchoices

The struggle for representation within the art museum is the focus of a timely and important new book by Susan Cahan, Associate Dean for the Arts at Yale College. Mounting Frustration: The Art Museum in the Age of Black Power (Duke University Press, 2016) charts a pivotal moment for the American Art Museum and reflects on the progress, or lack thereof, for African American Art’s place within the US museum system. Focusing on 4 key institutions and range of exhibitions beginning in the late 1960s, the book offers a rich and detailed reading of the institutional context, the aesthetic practices, and the historical lineages that explain both the period and the current museum settlement. The book is replete with illustrations and is accessible, readable and interesting, representing an important and urgent intervention to how we understand the role of the museum today. Dave O’Brien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Learn more about your ad choices. Visit megaphone.fm/adchoices

The struggle for representation within the art museum is the focus of a timely and important new book by Susan Cahan, Associate Dean for the Arts at Yale College. Mounting Frustration: The Art Museum in the Age of Black Power (Duke University Press, 2016) charts a pivotal moment for the American Art Museum and reflects on the progress, or lack thereof, for African American Art’s place within the US museum system. Focusing on 4 key institutions and range of exhibitions beginning in the late 1960s, the book offers a rich and detailed reading of the institutional context, the aesthetic practices, and the historical lineages that explain both the period and the current museum settlement. The book is replete with illustrations and is accessible, readable and interesting, representing an important and urgent intervention to how we understand the role of the museum today. Dave O’Brien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Learn more about your ad choices. Visit megaphone.fm/adchoices

The struggle for representation within the art museum is the focus of a timely and important new book by Susan Cahan, Associate Dean for the Arts at Yale College. Mounting Frustration: The Art Museum in the Age of Black Power (Duke University Press, 2016) charts a pivotal moment for the American Art Museum and reflects on the progress, or lack thereof, for African American Art’s place within the US museum system. Focusing on 4 key institutions and range of exhibitions beginning in the late 1960s, the book offers a rich and detailed reading of the institutional context, the aesthetic practices, and the historical lineages that explain both the period and the current museum settlement. The book is replete with illustrations and is accessible, readable and interesting, representing an important and urgent intervention to how we understand the role of the museum today. Dave O’Brien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Learn more about your ad choices. Visit megaphone.fm/adchoices

Henryk Gorecki's 3rd Symphony, often referred to as the Symphony of Sorrow, is one of the most popular pieces of classical music ever composed and with good reason. Sonically dense, and often brutally minimalist in construction. In other words a perfect fit for saxophonist Colin Stetson's frequently off-kilter sensibilities.WIth little help from friends like Sarah Neufeld (Arcade Fire) and Greg Fox (Liturgy), Stetson has crafted a work that is as reverent of the original as it is audacious. Colin Stetson's Sorrow is music for grown ups that challenges, moves, and satisfies in the way few pieces canJoin us along with our friends Chad Clark (Beauty Pill) and Louis Weeks as we dive deep into this stirring modern classic from one of the most versatile and innovative artists working today. Show NotesLearn more about Gorecki's Symphony No. 3 [Wikipedia]Learn about all things Louis WeeksOfficial Site | Facebook | Twitter | Instagram | Soundcloud | Bandcamp | SpotifyLearn about all things Chad Clark and Beauty PillOfficial Site | Facebook | Twitter | SpotifyBeauty Pill plays Luce Unplugged at the American Art Museum in Washington, DC on 5/20 [Event Info]Story/Stereo featuring readings from Bill Beverly's Dodgers, and music by Soccer Team lands at Busboy's and Poets Takoma on 5/22. [Event Info]Check out the trailer for Sorrow below Sorrow - A Reimagining of Gorecki's 3rd SymphonyColin StetsonOfficial Site | Facebook | Twitter | Instagram | Bandcamp | Spotify Upcoming Tour Dates See acast.com/privacy for privacy and opt-out information.

The Public Works of Art Project gave artists an opportunity to create art during the Great Depression. Co-Curator of the American Art Museum, Anne Wagner, discusses the federal government and its program to support artists, the artists' lives working on the federal pay roll, and select paintings from the exhibition 1934: A New Deal for Artists.

A conversation between Artist Jean Shin and Curator Joanna Marsh at the American Art Museum on the occasion of the 2009 exhibition Jean Shin: Common Threads.

David Beck's Mvsevm was commissioned by the American Art Museum in 2006 to commemorate the reopening of the museum after its renovation.

Guest Curator Merry Foresta selected 113 photographs from the American Art Museum’s permanent collection to uncover recurring motifs of American life. She discusses the American experience through the images in the exhibition.

Aleks Krotoski explores what computer gaming offers as a cultural medium. In part one she visists The Art of Video Games exhibition at the Smithsonian's American Art Museum in Washington.

Scott recently paid a visit to our fine nation's capital. Besides having tea with the Obama family, he visited a the cornucopia of stellar Smithsonian museums, including the American Art Museum that currently houses the first ever "Art of Video Games" exhibit. The collection highlights a treasure trove of material, albeit still a small segment of the industry as a whole. Scott and I discussed their game choices in detail in an earlier podcast, but now one of us has some familiarity with the look and feel of the exhibit. Join us on this week's podcast as we talk about modern art, cross-generational sharing, and the pleasure of being a tour guide. As always, we encourage you to leave your thoughts on the exhibit and the future of games in museums in the comments section below. To listen to the podcast: - Subscribe to the EXP Podcast via iTunes here. Additionally, here is the stand-alone feed. - Listen to the podcast in your browser by left-clicking here. Or, right-click and select "save as link" to download the show in MP3 format. - Subscribe to this podcast and EXP's written content with the RSS link on the right. Show notes: - Run time: 40 min 04 sec - "The Art of Video Games," an exhibition at the Smithsonian American Art Museum - Music provided by Brad Sucks

Last week, the Smithsonian American Art Museum announced the games that will be included in its upcoming exhibit The Art of Video Games.  After the curators selected 240 nominees, people voted for which games would be included in the exhibit.  The list is full of influential games, so we thought it would be fun to go through the selections and discuss some of the highlights.  You can follow along with us by downloading the PDF document listing the winners and runners up from the American Art Museum's website.  It's a big list, but not nearly big enough to fit everyone's most beloved games, so feel free to share your choices in the comments!Some discussion starters:- Which of your favorites made the list?  What were some notable omissions?- What patterns do see across across the time periods and the various formats?- While visual art is relatively easy to convey visually, it is can be more difficult to convey design philosophies.  How are games best presented in a public format?To listen to the podcast:- Subscribe to the EXP Podcast via iTunes here. Additionally, here is the stand-alone feed.- Listen to the podcast in your browser by left-clicking here. Or, right-click and select "save as link" to download the show in MP3 format.- Subscribe to this podcast and EXP's written content with the RSS link on the right.Show notes:- Run time: 48 min 20 sec- "The Art of Video Games," an exhibition at the Smithsonian American Art Museum- Music provided by Brad Sucks

In conjunction with the exhibition "Alexis Rockman: A Fable for Tomorrow", the American Art Museum presents a lecture series that places the science of climate change within a cultural context. The series invites leading environmental scientists to discuss the problems our planet faces, while experts in cultural fields consider how art can heighten awareness of these issues. Cristian Samper, Director, National Museum of Natural History presents the fifth lecture: "Creative Connections: Art and Science at the National Museum Natural History".

In conjunction with the exhibition Alexis Rockman: A Fable for Tomorrow, the American Art Museum presents a lecture series that places the science of climate change within a cultural context. The series invites leading environmental scientists to discuss the problems our planet faces, while experts in cultural fields consider how art can heighten awareness of these issues. Rhonda Roland Shearer, Director/Co-Founder, Art-Science Research Laboratory, presents the final lecture: "Hijacked! Alexis Rockman's Paintbrushes and the Art & Science of Nature's Laws".

TCT Talk: MOULagain- one year later. The hacker hoods and the related story iRiven was recently released for iPhone. Myst in the Smithsonian Institution's American Art Museum's “The Art of Video Games” exhibit. All about Revelation: What worked, what didn't . . . “Kuusisto” – Musical piece by Maurus Mowog Thought

In conjunction with the exhibition "Alexis Rockman: A Fable for Tomorrow", the American Art Museum presents a lecture series that places the science of climate change within a cultural context. The series invites leading environmental scientists to discuss the problems our planet faces, while experts in cultural fields consider how art can heighten awareness of these issues. Steve Monfort, Director, Smithsonian Conservation Biology Institute, presents the fourth lecture in this series.

In conjunction with the exhibition "Alexis Rockman: A Fable for Tomorrow", the American Art Museum presents a lecture series that places the science of climate change within a cultural context. The series invites leading environmental scientists to discuss the problems our planet faces, while experts in cultural fields consider how art can heighten awareness of these issues. Tom Lovejoy, biodiversity chair at The H. John Heinz III Center for Science, Economics, and the Environment, presents the third lecture in this series.

In conjunction with the exhibition "Alexis Rockman: A Fable for Tomorrow", the American Art Museum presents a lecture series that places the science of climate change within a cultural context. The series invites leading environmental scientists to discuss the problems our planet faces, while experts in cultural fields consider how art can heighten awareness of these issues. J. D. Talasek, Director of Cultural Programs at the National Academy of Sciences, presents the second lecture in this series.

In conjunction with the exhibition "Alexis Rockman: A Fable for Tomorrow", the American Art Museum presents a lecture series that places the science of climate change within a cultural context. The series invites leading environmental scientists to discuss the problems our planet faces, while experts in cultural fields consider how art can heighten awareness of these issues. Contemporary artist Alexis Rockman launches the series with a talk about his artistic influences and the impact humans have on our planet.

Listen to American Art's first podcast, "American Art's Opening Episode," to get an introduction to the museum.