Podcast appearances and mentions of Andres Serrano

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comPaul is a writer, an editor, and an old friend. He's a regular contributor to The New Yorker and a senior fellow in Georgetown's Berkley Center for Religion, Peace, and World Affairs. He's the author of The Life You Save May Be Your Own and Reinventing Bach, and his new book is The Last Supper: Art, Faith, Sex, and Controversy in the 1980s.For two clips of our convo — on Martin Scorsese's extraordinary religious films, and the strikingly resilient Catholicism of Andy Warhol — head to our YouTube page.Other topics: Paul raised in upstate NY as a child of Vatican II; his great-uncle was the bishop of Burlington who attended the 2nd Council; Thomas Merton and Flannery O'Connor as formative influences; working in publishing with McPhee and Wolfe; Cullen Murphy on the historical Christ; Jesus as tetchy; Czesław Miłosz; Leonard Cohen making it cool to be religious; the row over The Last Temptation of Christ and Scorsese's response with Silence; Bill Donahue the South Park caricature; Bono and U2; The Smiths; The Velvet Underground; Madonna and her Catholic upbringing; “Like A Prayer” and “Papa Don't Preach”; her campaign for condom use; when I accidentally met her at a party; Camille Paglia; Warhol the iconographer; his near-death experience that led to churchgoing; Robert Mapplethorpe; S&M culture in NYC; Andres Serrano's “Piss Christ”; Jesse Helms' crusade against the NEA; Sinead O'Connor's refusal to get an abortion; tearing up the JP II photo on SNL; the sex-abuse crisis; Cardinal O'Connor; the AIDS crisis; ACT-UP's antics at St. Patrick's Cathedral; the AIDS quilt as a cathedral; and Paul's gobsmacking omission of the Pet Shop Boys.Coming up: Edward Luce on the war with Iran, Walter Isaacson on Ben Franklin, Tara Zahra on the revolt against globalization after WWI, Thomas Mallon on the AIDS crisis, and Johann Hari turning the tables to interview me. (NS Lyons indefinitely postponed a pod appearance — and his own substack — because he just accepted an appointment at the State Department; and the Arthur Brooks pod is postponed because of calendar conflicts.) Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Nous sommes à la Royal Academy de Londres, en 1999. C'est lors d'une exposition intitulée « Apocalypse » qu'est présentée une œuvre de Maurizio Cattelan. Elle s'intitule « La Nona Ora ». Cattellan y met en scène, de façon très réaliste, le pape Jean-Paul II représenté grandeur nature, par une sculpture de cire, habillé de la traditionnelle soutane blanche, écrasé par une météorite et entouré d'éclats de verre dispersés sur un tapis rouge. La « Nona Ora », ou neuvième heure, fait référence à l'heure de la mort du Christ sur la croix, selon la théologie chrétienne. Pour l'artiste italien, il s'agit d'interroger le pouvoir de la religion sur la mort et le système de peur qu'elle instaure. L'année suivante, la directrice d'un musée de Varsovie, en Pologne, pays catholique, sera contrainte à la démission pour avoir présenté l'objet du scandale. Et que dire du « Piss Christ », du photographe américain Andres Serrano, nous dévoilant un crucifix immergé dans un verre rempli d'urine et de sang ? Jugée blasphématoire, l'œuvre subira des coups de marteau lors de son exposition à Avignon. L'auteur et différents directeurs et conservateurs d'institutions montrant la photographie seront, quant à eux, menacés de mort. Serrano défendra son travail comme étant une critique de “l'industrie milliardaire du Christ-des-bénéfices”. Il n'a pas fallu attendre le XXe siècle pour que des artistes militent, dénoncent, bataillent, accusent … Ainsi, dans les années 1830, le français Honoré Daumier caricature le roi Louis-Philippe. Celui-ci, une tête en forme de poire, dévore des hottes d'écus arrachés au peuple miséreux. Une représentation qui entraîna la condamnation de son auteur pour “excitation à la haine et au mépris du gouvernement du roi, et offense à la personne du Roi”. Et que dire du « Radeau de la Méduse" de Théodore Géricaul, des « Désastres de la Guerre" de Francisco Goya, de "La Liberté guidant le peuple" d'Eugène Delacroix et de tant d'autres bien plus lointains encore ? Suivons, aujourd'hui, quelques-uns de ces artistes qui se sont « engagés » … Avec les Lumières de notre historienne de l'art préférée : Anne Hustache. Sujets traités : Maurizio Cattelan, Jean-Paul II, Nona Ora, Piss Christ, Andres Serrano, œuvre, Théodore Géricaul,, artistes Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Nonfiction writer Paul Elie joins co-hosts Whitney Terrell and V.V. Ganeshananthan to discuss his new book The Last Supper: Art, Faith, Sex, and Controversy in the 1980s and Pope Leo XIV. Elie compares the new pope to John Paul II, whose conservative views shaped the 1980s. He explains how and why '80s artists like Andy Warhol, U2, and Bob Dylan produced art he considers “crypto-religious,” a term coined by poet Czesław Miłosz. He analyzes limbo and purgatory in the work of writers of the period, including Louise Erdrich and Toni Morrison, and recalls the culture wars, including iconic incidents like Sinéad O'Connor tearing up the pope's picture on Saturday Night Live, as well as the controversy over Andres Serrano's Piss Christ. He reads from The Last Supper. Selected Readings: Paul Elie The Last Supper: Art, Faith, Sex, and Controversy in the 1980s Reinventing Bach: The Search for Transcendence in Sound The Life You Save May Be Your Own: An American Pilgrimage The Down-to-Earth Pope: Pope Francis Has Died at Eighty-eight | The New Yorker  Others Madame Bovary Mystery and Manners: Occasional Prose  Love Medicine The Handmaid's Tale Striving Towards Being: The Letters of Thomas Merton and Czeslaw Milosz U2 - Gloria  “The Controversial Saturday Night Live Performance That Made Sinéad O'Connor an Icon,” Time Magazine, July 26, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

“Art is a form of prayer … a way to enter into relationship.”Artist and theologian Bruce Herman reflects on the sacred vocation of making, resisting consumerism, and the divine invitation to become co-creators. From Mark Rothko to Rainer Maria Rilke, to Andres Serrano's “Piss Christ” and T.S. Eliot's Four Quartets, he comments on the holy risk of artmaking and the sacred fire of creative origination.Together with Evan Rosa, Bruce Herman explores the divine vocation of art making as resistance to consumer culture and passive living. In this deeply poetic and wide-ranging conversation—and drawing from his book *Makers by Nature—*he invites us into a vision of art not as individual genius or commodity, but as service, dialogue, and co-creation rooted in love, not fear. They touch on ancient questions of human identity and desire, the creative implications of being made in the image of God, Buber's I and Thou, the scandal of the cross, Eliot's divine fire, Rothko's melancholy ecstasy, and how even making a loaf of bread can be a form of holy protest. A profound reflection on what it means to be human, and how we might change our lives—through beauty, vulnerability, and relational making.Episode Highlights“We are made by a Maker to be makers.”“ I think hope is being stolen from us Surreptitiously moment by moment hour by hour day by day.”“There is no them. There is only us.”“The work itself has a life of its own.”“Art that serves a community.”“You must change your life.” —Rilke, recited by Bruce Herman in reflection on the transformative power of art.“When we're not making something, we're not whole. We're not healthy.”“Making art is a form of prayer. It's a form of entering into relationship.”“Art is not for the artist—any more than it's for anyone else. The work stands apart. It has its own voice.”“We're not merely consumers—we're made by a Maker to be makers.”“The ultimate act of art is hospitality.”Topics and ThemesHuman beings are born to create and make meaningArt as theological dialogue and spiritual resistanceCreative practice as a form of love and worshipChristian art and culture in dialogue with contemporary issuesPassive consumption vs. active creationHow to engage with provocative art faithfullyThe role of beauty, mystery, and risk in the creative processArt that changes you spiritually, emotionally, and intellectuallyThe sacred vocation of the artist in a consumerist worldHow poetry and painting open up divine encounter, particularly in Rainer Maria Rilke's “Archaic Torso of Apollo”Four Quartets and spiritual longing in modern poetryHospitality, submission, and service as aesthetic posturesModern culture's sickness and art as medicineEncountering the cross through contemporary artistic imagination“Archaic Torso of Apollo”Rainer Maria Rilke 1875 –1926We cannot know his legendary head with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low, gleams in all its power. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared. Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast's fur: would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.About Bruce HermanBruce Herman is a painter, writer, educator, and speaker. His art has been shown in more than 150 exhibitions—nationally in many US cities, including New York, Boston, Washington, Chicago, Los Angeles, and Houston—and internationally in England, Japan, Hong Kong, Italy, Canada, and Israel. His artwork is featured in many public and private art collections including the Vatican Museum of Modern Religious Art in Rome; The Cincinnati Museum of Fine Arts print collection; The Grunewald Print Collection of the Hammer Museum, Los Angeles; DeCordova Museum in Boston; the Cape Ann Museum; and in many colleges and universities throughout the United States and Canada.Herman taught at Gordon College for nearly four decades, and is the founding chair of the Art Department there. He held the Lothlórien Distinguished Chair in Fine Arts for more than fifteen years, and continues to curate exhibitions and manage the College art collection there. Herman completed both BFA and MFA degrees at Boston University College of Fine Arts under American artists Philip Guston, James Weeks, David Aronson, Reed Kay, and Arthur Polonsky. He was named Boston University College of Fine Arts Distinguished Alumnus of the Year 2006.Herman's art may be found in dozens of journals, popular magazines, newspapers, and online art features. He and co-author Walter Hansen wrote the book Through Your Eyes, 2013, Grand Rapids, Wm. B. Eerdmans Publishing, a thirty-year retrospective of Herman's art as seen through the eyes of his most dedicated collector.To learn more, explore A Video Portrait of the Artist and My Process – An Essay by Bruce Herman.Books by Bruce Herman*Makers by Nature: Letters from a Master Painter on Faith, Hope, and Art* (2025) *Ordinary Saints (*2018) *Through Your Eyes: The Art of Bruce Herman (2013) *QU4RTETS with Makoto Fujimura, Bruce Herman, Christopher Theofanidis, Jeremy Begbie (2012) A Broken Beauty (2006)Show NotesBruce Herman on Human Identity as MakersWe are created in the image of God—the ultimate “I Am”—and thus made to create.“We are made by a Maker to be makers.”To deny our creative impulse is to risk a deep form of spiritual unhealth.Making is not just for the “artist”—everyone is born with the capacity to make.Theological Themes and Philosophical FrameworksInfluences include Martin Buber's “I and Thou,” René Girard's scapegoating theory, and the image of God in Genesis.“We don't really exist for ourselves. We exist in the space between us.”The divine invitation is relational, not autonomous.Desire, imitation, and submission form the core of our relational anthropology.Art as Resistance to Consumerism“We begin to enter into illness when we become mere consumers.”Art Versus PropagandaCulture is sickened by passive consumption, entertainment addiction, and aesthetic commodification.Making a loaf of bread, carving wood, or crafting a cocktail are acts of cultural resistance.Desire“Anything is resistance… Anything is a protest against passive consumption.”Art as Dialogue and Submission“Making art is a form of prayer. It's a form of entering into relationship.”Submission—though culturally maligned—is a necessary posture in love and art.Engaging with art requires openness to transformation.“If you want to really receive what a poem is communicating, you have to submit to it.”The Transformative Power of Encountering ArtQuoting Rilke's Archaic Torso of Apollo: “You must change your life.”True art sees the viewer and invites them to become something more.Herman's own transformative moment came unexpectedly in front of a Rothko painting.“The best part of my work is outside of my control.”Scandal, Offense, and the Cross in ArtAnalyzing Andres Serrano's Piss Christ as a sincere meditation on the commercialization of the cross.“Does the crucifixion still carry sacred weight—or has it been reduced to jewelry?”Art should provoke—but out of love, not self-aggrandizement or malice.“The cross is an offense. Paul says so. But it's the power of God for those being saved.”Beauty, Suffering, and Holy RiskEncounter with art can arise from personal or collective suffering.Bruce references Christian Wiman and Walker Percy as artists opened by pain.“Sometimes it takes catastrophe to open us up again.”Great art offers not escape, but transformation through vulnerability.The Fire and the Rose: T. S. Eliot's InfluenceFour Quartets shaped Herman's artistic and theological imagination.Eliot's poetry is contemplative, musical, liturgical, and steeped in paradox.“To be redeemed from fire by fire… when the fire and the rose are one.”The collaborative Quartets project with Makoto Fujimura and Chris Theofanidis honors Eliot's poetic vision.Living and Creating from Love, Not Fear“Make from love, not fear.”Fear-driven art (or politics) leads to manipulation and despair.Acts of love include cooking, serving, sharing, and creating for others.“The ultimate act of art is hospitality.”Media & Intellectual ReferencesMakers by Nature by Bruce HermanFour Quartets by T. S. EliotThe Archaic Torso of Apollo by Rainer Maria RilkeWassily Kandinsky, “On the Spiritual in Art”Amusing Ourselves to Death by Neil PostmanThings Hidden Since the Foundation of the World by René GirardThe Art of the Commonplace by Wendell BerryAndres Serrano's Piss ChristMakoto Fujimura's Art and Collaboration

Annemieke Bosman in gesprek met Mattie Boom. Samen met Hans Rooseboom stelde Boom de tentoonstelling American Photography samen voor het Rijksmuseum in Amsterdam. Amerika is met voorsprong het belangrijkste en invloedrijkste land in de fotografie. Sinds de uitvinding van de fotografie in 1839 is deze kunst doorgedrongen tot in de haarvaten van de Amerikaanse samenleving. In geen enkel land wordt het medium zo breed, zichtbaar en invloedrijk gedragen.  De tentoonstelling American Photography viert deze verbintenis in meer dan 280 beelden die het Amerikaanse leven tonen door de lens van fotografen als Robert Frank, Andres Serrano, Nan Goldin, Andy Warhol, Diane Arbus, Dawoud Bey, Carleton Watkins en Paul Strand. 

durée : 00:39:15 - Affaires culturelles - par : Arnaud Laporte - Le photographe américain fait escale à notre micro pour nous parler de sa pratique qui a tant de fois suscité des polémiques, allant jusqu'à des actes de vandalisme. - invités : Andrès Serrano

The world as we know it is against Jesus. Because of this, we might face hard questions, attacks, and more that challenge our faith. In today's episode, we answer the question: How Should Christians Respond to Bold Opposition? --The PursueGOD Truth podcast is the “easy button” for making disciples – whether you're looking for resources to lead a family devotional, a small group at church, or a one-on-one mentoring relationship. Join us for new episodes every Tuesday and Friday. Find resources to talk about these episodes at pursueGOD.org.Help others go "full circle" as a follower of Jesus through our 12-week Pursuit series.Click here to learn more about how to use these resources at home, with a small group, or in a one-on-one discipleship relationship.Got questions or want to leave a note? Email us at podcast@pursueGOD.org.Donate Now --How Should Christians Respond to Bold Opposition? Define bold opposition: enemies of God, the crossThreats against our values, the truth of the BibleOlympic ceremony's 'Last Supper' sketchThe segment… resembled the biblical scene of Jesus Christ and his apostles sharing a last meal before crucifixion and featured drag queens, a transgender model and a naked singerHugo Bardin, whose drag queen character Paloma took part in the tableau, was disappointed Paris 2024 had felt compelled to apologise. "An apology means recognising a mistake, recognising that you deliberately did something to harm, which was not the case," Bardin said. "What bothers people isn't that we're reproducing this painting," Bardin continued, "what bothers people is that queer people are reproducing it."Other examples in recent years:Andres Serrano's Piss Christ (1987): controversial photograph depicting a crucifix submerged in urineAuthors like Richard Dawkins [The God Delusion (2006)] and Christopher Hitchens [God Is Not Great (2007)] Comedians like George Carlin and Bill Maher Criticism of Christian stances on social issues (such as LGBTQ+ rights, abortion, and contraception) has often been accompanied by mockery, portraying Christians as outdated or intolerant.Philippians 3:18-19 (NLT) 18 For I have told you often before, and I say it again with tears in my eyes, that there are many whose conduct shows they are really enemies of the cross of Christ. 19 They are headed for destruction. Their god is their appetite, they brag about shameful things, and they think only about this life here on earth.Bold enemies of the cross. Getting bolder every year. This makes me mad. How should we respond to this?We are told to be tolerant, inclusive, kind - yet we are mocked for our belief in Biblical values and our desire to follow JesusMany Christians want to curse them: pray for their destruction, call down God's judgment like James and John did in Luke 9Summarize story: Luke 9:51-54 (NLT) 51 As the time drew near for him to ascend to heaven, Jesus resolutely set out for Jerusalem. 52 He sent messengers ahead to a Samaritan village to prepare for his arrival. 53 But the people of the village did not welcome Jesus because he was on his way to Jerusalem. 54 When James and John saw this, they said to Jesus, “Lord, should we call down fire from heaven to burn them up?” They thought this was God's MO(Pillar...

His images have been celebrated, vandalised and even discussed in Congress. Andres Serrano's art tackles religion, sex, death and above all, America: its idiosyncrasies and the questions of politics, religion, class and ethnicity, which divide its citizens. He discusses this body of work as the show "Portraits of America" opens at Paris's Musée Maillol, with an eye on the symbols that reveal so much about his fellow Americans. Serrano talks about photographing Donald Trump two decades ago and discusses how the former US president has continued to feature in his work. He also tells us why, when dealing with hot-button issues like race and religion, his work is so often misunderstood.

durée : 00:58:03 - Affaires culturelles - par : Arnaud Laporte - Alors que s'ouvre au Musée Maillol une exposition monographique qui lui est consacrée, le photographe américain Andres Serrano fait escale dans notre studio pour nous parler de sa pratique, qui a tant de fois suscité des polémiques, allant jusqu'à des actes de vandalisme. - invités : Andrès Serrano

In this week's Justice with John podcast, John announces the winner of the Justice Centre's annual George Jonas Freedom Award. Later, John talks about what led him to write a column on the rise in school absenteeism in Canada. We also discuss an op-ed in the Toronto Star supporting the Online Harms Act. The show ends with a bonus clip from 2008 in which we hear our 2024 George Jonas Freedom Award recipient address a controversial issue in defense of free speech.Justice Centre: George Jonas Freedom Award--The annual recognition of a Canadian advancing and preserving freedom.The National Post, Feb 29, 2024: The history of Section 13, the controversial hate speech law the Liberals just revivedRebel NewsCBC, Feb 16, 2016: Rachel Notley's NDP bans The Rebel from Alberta government news conferencesThe Hill Times, Nov 25, 2019: Rebel Media, banned by press gallery ‘for years,' vows to continue to cover parliamentary news ‘with or without' gallery approval, says LevantCBC, Jan 9, 2024: Rebel News personality arrested after an encounter with Chrystia FreelandLinda Slobodian in The Western Standard, Apr 2, 2024: Elections Canada couldn't get Chinese spies, but nailed the RebelNew York Times, Nov 3, 2004: Dutch Filmmaker, an Islam Critic, Is KilledThe Guardian, Sep 28, 2012: Andres Serrano's controversial Piss Christ goes on view in New YorkCBC, Mar 27, 2024: Kids missing more school since pandemic, CBC analysis findsOttawa Citizen, Jan 1, 2022: Ottawa teachers' unions call on Ottawa Public Health to keep schools closedSupriya Dwivedi in The Toronto Star, Mar 28, 2024: Have you heard the one about Justin Trudeau attacking your free speech online? Trust me: That's just rage farmingPeter Menzies on X, Mar 28, 2024: "the same people who approved the Online Harms Act decided it would be a cool idea have a staffer write an oped for The Star..."Ezra Levant human rights complaint videosTheme Music "Carpay Diem" by Dave StevensSupport the show

What you'll learn in this episode: Why artist jewelry is more than just miniature versions of larger work The history of artist jewelry, and how Esther is helping its story continue How Esther helps artists with their first forays into jewelry, and why making jewelry can be a fruitful challenge for fine artists Why an artist's first idea for a piece of jewelry is often not their best Why artist jewelry collectors must be brave About Esther de Beaucé Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects' jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther's passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. A graduate of Brown University, Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Transcript: For gallerist Esther de Beaucé, artist jewelry isn't completely art or completely contemporary jewelry. It's in a niche all its own—and that's what makes it fascinating. As founder and owner of Galerie MiniMasterpiece in Paris, she helps fine artists translate their art into jewelry, creating something entirely new rather than a smaller version of their typical work. She joined the Jewelry Journey Podcast to talk about how she challenges artists to think about their work differently; how interest in artist jewelry has evolved over the years; and why artist jewelry collectors are so open minded. Read the episode transcript here. Sharon: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. I don't remember how I found out about Esther de Beaucé's gallery in Paris. It is tucked back in the corner with other galleries. Welcome back. Do you have collectors, people who like a certain artist or piece they've found in your gallery, and then they come back and look for others, or you send them a postcard telling them, “We're having a show of that artist,” or something like that? Esther: Yes. I have shows at the gallery as well, maybe for a year. Most of the time they are solo shows. I like solo shows a lot because it's like for art, when when you have a solo show, you're surrounded by several pieces of work. You are emerging into their body of work. It's more interesting to me than having one piece by that artist and another piece by another artist. I like solo shows a lot, but solo shows are not easy to make because it means that obviously the artist had several ideas. It takes a lot of time to organize a solo show, but I try to make solo shows most of the time. I invite all my collectors to these shows. It's always difficult to know what's going to happen between a collector and a piece of jewelry, what connection is going to operate at that time. Sometimes collectors choose or fall for an object, and they don't know the artist who's behind it, but they really fall for an object. I really like that idea. Sometimes collectors are very close to an artist, and they have several pieces of that artist in their homes. When they realize that artist has also made a piece of jewelry, then of course they're going to be interested in it. Most of the jewels I have at the gallery, I hope they speak for themselves. You were asking me about collectors and jewelry. Sharon: You answered the question. But do have people who only collect, let's say, Pablo Picasso's jewelry or something that? Esther: Yeah, of course. Some women only wear silver or only wear gold or only wear rings or never wear any brooches. I try to remember all that so I can show them what they like. But I also enjoy presenting them with other things, too, because it's always interesting to make discoveries. And the collectors of artist jewelry are very open-minded people. It takes a lot of, I wouldn't say courage, but it takes a lot of personality to wear something that is different from common jewelry. You have to be strong because you're going to attract looks, and sometimes you have to speak about what you're wearing and answer people's reactions. Sometimes other people can be very narrow-minded, and you have to assume what you chose and what you wear on your body. So, this type of collector, they're very interesting to welcome. What I mean is that even though they have their taste, they are easy to counsel as well because they have that curiosity. They want to learn, and they want to see so much. So, they are very interesting people. Sharon: Do they go on to start liking the artist's other things, their paintings or drawings, after they started with the jewelry? Esther: Yes, of course. I have a lot of jewels at the gallery, but I also have a lot of books, and those books help me explain the artist's work at large. Often, when I can, I try to offer a book to accompany the jewel to give them more background on the artist. Yeah, definitely. Sharon: Do you make jewelry yourself? Did you ever make jewelry yourself? Esther: No. Never. Maybe as a kid playing with leaves and flowers, but that's it. Or pasta. Sharon: What did you study? When you were in the States, did you think about opening a gallery in France? Esther: No, I studied anthropology. I really wanted to work as an anthropologist, but it didn't happen. After that first art experience that ended in 2012, I wanted a new project working with artists. I had seen the year before, in 2011, a great artist jewelry show at the MAD in New York. That was actually my mother's collection of artist jewelry. I went to New York for her opening, and it was the first time that I saw her collection in the museum environment, and I was so impressed. I started thinking of a new project for myself, and this show in New York was really—how would you say— Sharon: Eye opening. Esther: That's it. Eye opening and a decision-making moment. And as I came back to Paris, I started really talking about it and organizing my professional life to make it possible. Sharon: That's interesting. When you said your mother was a collector, I thought, “Well, she must have started early, before anybody was wearing it or knew about it.” Today, more and more people know about it, but then she probably didn't have a lot of friends who were collecting the same thing. Esther: Yeah, for sure. That show was 12 years ago, but she started collecting artist jewelry 40 years ago. There are few women in the world who have done the same thing. There are few. It's a large and important collection. She focused on that in a professional way. Sharon: When you said that you thought it was a more active field in the 60s and 70s and then it sort of died down, why do you think that was? Esther: It's a matter of different elements. I think it was in 1969, there was a great show at the MOMA in New York on artist jewelry that's never happened since. You also had great artists, jewelry editors at that time in Italy. You had GianCarlo Montebello, who was a goldsmith and an editor, and he worked with fantastic artists like Fontana and the Pomodoro brothers. Montebello made fantastic pieces. In the south of France, you had François Hugo, who was a very important goldsmith as well. He's the one who made all the jewelry by Max Ernst and Man Ray and Picasso and Dorothea Tanning. Sometimes it's just a matter of a few people. They really made the artist jewelry world very active at the time, but then they stopped and did something else, so it went quiet again. Hopefully, it's getting more intense now, but you need people behind it. Once these people do something else, then it dies a little bit. And then you have a new generation of editors and it starts again. Sharon: By editor you also mean curator, right? It's a curator. Esther: Also, yeah. By editor I mean what I do personally, but what also has been done by Luisa Guinness or Elisabetta Cipriani or Marina Filippini, those active editors, meaning you invite artists to make jewelry pieces. This is what I called editor. This is what I do. Sharon: Do you only wear art jewelry that you have in your gallery or that an artist has made, or do you wear “normal” jewelry? Esther: It might sound weird to you, but I'm a low-key person. I'm a discreet person. When I'm at the gallery every day, I choose a piece of work and I wear it all day in the gallery with an immense pleasure. But when I go out, when I go to a dinner party or visit a show, I don't wear jewelry. It might sound funny, but I wouldn't want people to think I am always promoting what I do and my work. Imagine a regular art dealer. He wouldn't go to an art fair or to a to a dinner party carrying with him a painting or a sculpture. When I go out wearing a jewel from the gallery, I feel like I'm still working, and I don't like that idea. I don't want people to imagine that I'm always trying to sell jewelry. So, in dinner parties, I'm very often the only woman not wearing any piece of jewelry, which is very stupid. But yeah, this is me. Sharon: That's interesting. Has anybody ever stopped you on the street and said, “That's a really interesting necklace you have on”? Esther: Yeah, but not very often because when you see me on the street, I don't have it on me. Of course, on special occasions I do, but I mostly wear artist jewelry in the gallery, and it's a great pleasure to do so. I change every day and wear several of them because it's very important for people to see those jewels on the body. A piece of jewelry on the body is very different from a photo of a jewel. You really need to see how it goes on the neck or on the finger. It really makes it alive. So, to see me with artist jewelry, you have to come to the gallery. If you see me on the street, you would not really see any artist jewelry on me. I was telling you about collectors and how they are strong-minded, and I'm probably more shy. Sharon: Well, based on the collection in your gallery, I wouldn't call you shy. I'm curious, when you get dressed in the morning, do you walk to the gallery without anything on and then you put something on when you come to the gallery? Esther: Well, I have my clothes on, obviously, but I choose clothing that will fit the best with jewelry. I have funny pants and funny shoes, but I always have black or white tops. When you have too much information on a sweater or shirt, sometimes it draws away the attention from the jewel. So, this is something I pay attention to in the morning. This is why I have funny shoes but not funny outfits too much. Sharon: How do you describe what you do if somebody says, “Well, what do you do?” when you're at a party? Esther: I have a neighbor who's a great contemporary art gallerist, and he was introducing me to a friend of his a few days ago at an art fair. He said, “This is Esther, and she's doing the most rare job in the art world.” And I was like, “This is an interesting way of putting what I'm doing.” It's true that I am part of the art scene, yet it's such a tiny niche. This is how he saw and how he described my job. But I would say that what I do is invite those who never make jewelry because they are sculptors, and I ask these people, who are not jewelry specialists, to make a jewelry piece for the gallery. This is how I like to speak of my job. Otherwise, I say that I'm an artist jewelry editor, but then sometimes you have to give more explanations than just those three words. It doesn't explain well enough. So, to make it more clear, I usually say that I invite those who never make jewelry. Sharon: Do you consider yourself part of the art scene or jewelry? Are you part of the art world or the jewelry world? Esther: It's a tricky question. I'm part of the two, but the artists I work with are not part of the jewelry world. Obviously, they are a part of the art world, and through our collaboration, I bring them to the jewelry world. But I would say I'm maybe 80% from the art world and 20% from the jewelry world. I think artist jewelry is very interesting because it offers a new perspective on jewelry and contemporary jewelry. Because the artists I work with have nothing to do with jewelry, most of the time they're going to bring something new to the jewelry world, new ideas, new possibility. This is what makes it very interesting for the jewelry world. At the same time, I think the invitation I make to those artists is also both a challenge and recreation time. It has to be fun and it has to be, for them, a means to work with new material like silver and gold. It's a new experience for them. The invitation also has to feed them, in the way that it has to bring them something new and challenging. Otherwise, it's not interesting for them. I really try to value that new experience for them. Sharon: That's interesting what you're saying. Do you have to say some of that? Do you have to convince some of the artists that it will be interesting for them? Esther: When I invite them, I say all those things. I don't even wait for them to need me to convince them. I say it all at once, that my invitation is full of all these aspects. Of course, it's going to be difficult for them to find a good idea, yet I'm here to accompany them, and the goldsmiths that I chose and that I work with are extraordinary people. It's a great gift that I give to artists, to be able to work with these people, because they are fantastic goldsmiths and very interesting people to work with. Sharon: Do any of the artists ever call you and say, “Esther, I just don't have an idea. I don't know what to do. I've drawn 14 things, and I just don't like them.” What do you do then? Esther: Yeah, of course. It happens. Sometimes they need a little more time. I don't put any pressure on them. When they're ready, they're ready. Sometimes when they are very focused on an idea that I don't believe too much in, I make a prototype just so that I can show them the prototype and explain to them why I don't think it's strong enough. Sometimes they have to see it for real. This is sometimes something that I do. Okay, you really want to make this? I am going to show you what it looks like, and then we can continue our conversation. Sharon: Did you ever consider, before you started this or when you were thinking about what to do after the other gallery, did you think about selling a different kind of jewelry? Esther: No, I'm very busy with the jewels already. There are many contemporary jewelers that come to me, and sometimes I really fall for their work because there are many great contemporary jewelers. But I try to restrain myself. Sometimes I buy a piece for my own pleasure. But the gallery's story is something different, and I try to remain on that path because there is still a lot to do on it. I want to focus on that story for now. Sharon: So, you're saying if somebody comes in and shows you something that you don't think is on the path, let's say, you might buy it for yourself. You might like it. Esther: Of course, it has happened. Yeah, it has happened. But I have to tell you that I spend all my money on producing the artist jewels, because I produce myself. I pay the goldsmith who's going to work with the artist, so this is taking a lot of the gallery's budget. I don't have that much money left for buying other kinds of jewelry. But it has happened that I do. Sharon: Does the artist sign the piece? Do you both sign it, or do you sign it? Esther: No, no, no, I never sign. It's the artist's signature on it, of course. On certificates, I just add that it has been edited by Galerie MiniMasterpiece. Sharon: How did you come up with the name of the gallery, MiniMasterpiece? Esther: It was a conversation with my mother and my stepfather. We were looking for a name, and we wanted it to be linked to the art world more than the jewelry world. MiniMasterpiece is not a bad name. It is a reference to masterpieces, so to art. It has the mini, obviously, so it's a small work of art. But who knows? Maybe in the future I will find another name. But for now, it's this one. Sharon: It's a great name. I was just wondering how you came up with it. Mini seems very American, or very English and not very French. That's all. That's why I'm asking. Esther: Actually, masterpiece is obviously an English name, because we would say in French chef-d'œuvre. But mini is something that is used in French also. Sharon: Okay. So, the contemporary jewelry. I might do really interesting contemporary jewelry. I don't, but let's say I do, but I don't do pictures and drawings. Esther: Well, then you're not really what I'm interested in, because I like the idea that there is a movement from another body of work, and a movement from that body of work to jewelry. I like working with non-specialists. I think it makes projects very interesting. To me, this is the story I want to tell, those rare moments when a piece of jewelry is going to be possible for those artists. It's not their specialty. They're not doing this all the time. It remains rare. It's just from time to time. I like that idea. Sharon: Have they come to you and said, “I want to put gems in this piece,” or has an artist who's making the jewelry said, “I want to put gems”? Esther: No, very, very rarely because to them, gems are very linked to classic jewelry, to contemporary jewelry, and they don't want to use the same vocabulary. They are more into material and shapes and volumes than in gems. Sharon: Have you ever had the artists come in and describe their work? Do the artists come to the solo shows that you have and describe the work they do? Esther: Yeah, during the opening, of course all artists are present. Or if we make a special appointments, of course. Sharon: So, the artist says, “Yes, I want to make the jewelry for you.” What's the next step? Esther: The next step is them finding the good idea. Once they have ideas, we start the conversation and we discuss what's feasible, what's not feasible. We keep a few ideas, and then we go to the goldsmith and we discuss with them what's possible. Slowly it builds up. The first thing is the idea. Sharon: You come to the goldsmith or silversmith to say, “The artist is thinking about doing a loop. Can you do that?” Esther: No, we go to the goldsmith with a prototype or a maquette. The piece is there already. It's not in silver, it's not in gold, but it exists. Sharon: Do they ever look at you in surprise, the goldsmith? Esther: Yes, obviously, but after 12 years, less and less. They're like, “It's going to be very difficult, but it's going to work out.” They are less and less surprised. They know me now, and they know the artist. Sharon: A few last stray questions. Did you open in the courtyard where you are? Did you open the gallery where you are? Have you moved locations? Esther: No, I have been here the whole time. Sharon: And what would you say keeps your attention about jewelry, or artist jewelry, after doing it for so long? Esther: I think my motivation and my love is still very strong, and maybe stronger and stronger because the artists themselves have new ideas very often. So, the story continues, and I also invite new artists. I have all these parallel collaborations, so it's very enriching for me. Also, the relationship I have with collectors is very nice and very interesting because I am also building with them their collection. We're all growing up together, and this is what makes it very special. And maybe after 12 years, I'm also doing my job in a better way, with a better understanding of the project and a better understanding of what collectors are expecting. It's still a challenge and it's still a risky business, but I wouldn't do anything else. I wouldn't know what to do. I'm my own boss. I do what I want. I have to carry it all, but it's a great job. I'm very happy with what I do, and being surrounded by all these great artists is fabulous. Also getting that story more well-known and broadening the public for artist jewelry is a fantastic challenge. I love challenges. Sharon: If you love challenges, you picked a good field for a challenge. Esther, thank you so much for being with us today. Esther: You for inviting me, Sharon. Thank you very much. I enjoyed very much talking to you. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

In this episode of the podcast, I talk to and Gary Kornblau about the 30th anniversary edition of Dave Hickey's seminal 1993 book The Invisible Dragon: Four Essays on Beauty. Blake is currently a fellow with the Center for Advanced Study in Sofia, Bulgaria, as well as the author a great (which is to say, very flattering) review of my 2021 book on Hickey, and he was a stalwart participant in the Substack “book club” I organized on the new edition of Dragon. Gary is faculty at the ArtCenter College of Design. More pertinently, he was Dave's great editor, having plucked him out of obscurity to write for art Issues, the small LA-based journal that Gary founded and edited. He was the one who gave Dave just the right amount of rein to do his best work, and also the one who conceptualized and edited both Invisible Dragon and Dave's subsequent book Air Guitar. The episode covers a lot of ground, including the impact of the original version of the book, the reasons why Gary decided to put out a 30th anniversary edition, and Gary's decision to use the opportunity to try to “queer” Dave. It's a blast. I hope you listen. I also wanted to take the opportunity to run the below excerpt from my book on Dave. It covers the background to the writing and reception of Invisible Dragon, and is, IMO, a mighty fine piece of writing in its own right. Hope you enjoy.On June 12, 1989, the Corcoran Gallery of Art in Washington, DC, announced that it was cancelling Robert Mapplethorpe: The Perfect Moment, its scheduled exhibition of photographs by the celebrated American photographer, who had died of AIDS in March. The Corcoran's primary motive in cancelling was fear.Only a few months before, a long-simmering debate about the role of the federal government in funding the arts had boiled over in response to Piss Christ, a photograph of a small icon of Jesus on the cross floating in a vitrine of urine. Its creator, Andres Serrano, had received a small chunk of a larger grant from the National Endowment for the Arts (NEA), and the offending photograph had been included in a touring exhibition that was also funded by federal money. During that tour, the photograph caught the eye of the American Family Association, a conservative Chris­tian advocacy group dedicated to fighting what it saw as anti-Christian values in entertainment and the arts. They rang the alarm.Soon after, New York Senator Alfonse D'Amato called out Piss Christ from the floor of the Senate. He tore up a reproduction of the photo and denounced it as a “deplorable, despicable display of vulgarity.” North Carolina Senator Jesse Helms, who would soon lead the charge against Mapplethorpe, added: “I do not know Mr. Andres Serrano, and I hope I never meet him. Because he is not an artist, he is a jerk. . . . Let him be a jerk on his own time and with his own resources. Do not dishonor our Lord.” Patrick Trueman, president of the American Family Association, testified to Congress that governmental support of work like Piss Christ would make it less likely that prosecutors would pursue or win cases against child pornographers.The ensuing congressional battle, over funding for the NEA, became the first in a series of broader cultural and political battles that would come to be known, in retrospect, as the “culture wars” of the 1990s. These battles would range not just over sex and politics in the arts, but also over issues like gays in the military, federal funding for abor­tion, and control over history and social studies curricula in the public schools. It was “a war for the soul of America,” as Pat Buchanan framed it at the 1992 Republican Party convention, a contest over whether the nation would continue to secularize and liberalize or would return to a more conservative social equilibrium.The full contours of the conflict weren't immediately evident in the aftermath of the Serrano affair, but it was very clear, right away, that the Mapplethorpe exhibit was another grenade ready to go off. Its orga­nizers at the University of Pennsylvania had received NEA money, and the Corcoran Gallery, walking distance from the White House, was too visible an institution to slide by the notice of people like Helms and D'Amato. So the Corcoran begged off, hoping to shield themselves from the shrapnel and avoid giving conservatives another opportunity to question the value of federal funding for the arts.Instead, they got fragged by all sides. By fellow curators and museum administrators, who believed the Corcoran's appeasement would only encourage more aggression from haters of contemporary art. By civil lib­ertarians, who saw the Corcoran's actions as an example of how expres­sive speech was being chilled by the culture war rhetoric of the right. By a major donor, a friend of Mapplethorpe, who angrily withdrew a promised bequest to the museum of millions of dollars. And, of course, by the conservatives they had been hoping to appease, who accurately recognized the blasphemy in Mapplethorpe's federally funded portraits of sodomites doing naughty things to each other and themselves.Piss Christ had been useful to the conservative cultural cause as an example of how homosexual artists were taking taxpayer money to spit on the values that decent Americans held dear, but it wasn't ideal. How blasphemed could a good Christian really feel, after all, by an image of Jesus as reverential as what Serrano had in fact made? His Christ was bathed in glowing red-orange-yellow light, the image scored by dots and lines of tiny bubbles that come off almost like traces of exhumation, as if the whole thing has been recently, lovingly removed from the reliquary in which it's been preserved for thousands of years.“I think if the Vatican is smart,” Serrano later said, “someday they'll collect my work. I am not a heretic. I like to believe that rather than destroy icons, I make new ones.”Mapplethorpe's pictures, though, were something else entirely, a real cannon blast against the battlements of heterosexual normativity. Where Serrano was mostly using new means to say some very old things about the mystery of the incarnation and the corporeality of Christ, Mapplethorpe was using orthodox pictorial techniques to bring to light a world of pleasure, pain, male-male sex, bondage, power, trust, desire, control, violation, submission, love, and self-love that had been ban­ished to the dark alleyways, boudoirs, bathhouses, and rest stops of the West since the decline of Athens. And he was doing so masterfully, in the language of fine art, in the high houses of American culture.There was Lou, for instance, which could have been a photograph of a detail from an ancient bronze of Poseidon except that the detail in question is of Poseidon's muscled arm holding his cock firmly in one hand while the pinky finger of his other hand probes its hole. In Helmut and Brooks, a fist disappearing up an anus plays like an academic exercise in shape and shadow. And in the now iconic Self-Portrait, Mapplethorpe has the handle of a bullwhip up his own rectum, his balls dangling in shadow beneath, his legs sheathed in leather chaps, his eyes staring back over his shoulder at the camera with a gaze so full of intelligence and vitality that it almost steals the show from the bullwhip.In response to these kinds of beautiful provocations, the outrage, which had been largely performative vis-à-vis Serrano, became rather genuine, and the whole thing escalated. By July, a month after the exhibition at the Corcoran had been cancelled, Congress was debating whether to eliminate entirely the $171 million budget of the National Endowment for the Arts. By October, a compromise was reached. The NEA and its sister fund, the National Endowment for the Humanities, would get their usual rounds of funding, minus a symbolic $45,000 for the cost of the Serrano and Mapplethorpe grants. They would be pro­hibited, however, from using the monies to support work that was too gay, too creepy in depicting children, or just too kinky. Exceptions were made for art that violated these taboos but had “serious literary, artis­tic, political, or scientific value.” But the point had been made, and the enforcement mechanism, in any case, wasn't really the articulated rules. It was the threat of more hay-making from the right and, ultimately, the implied promise that if NEA-supported institutions kept sticking their noses (or fists) where they didn't belong then it wouldn't be too long before there wouldn't be any NEA left.A few months later, in April 1990, the Contemporary Arts Cen­ter in Cincinnati, Ohio, took up the Mapplethorpe baton by opening their own exhibition of The Perfect Moment. Hoping to head off trouble, they segregated the most scandalous of the photos in a side room, with appropriate signage to warn off the young and the delicate. They also filed a motion in county court asking that the photographs be preemp­tively designated as not obscene. But the motion was denied, and the separate room proved insufficient buffer. When the exhibit opened to the public, on April 7, its attendees included members of a grand jury that had been impaneled by Hamilton County prosecutors to indict the museum and its director for violating Ohio obscenity law. Of the more than 150 images in the exhibit, seven were selected out by the grand jury for being obscene. Five depicted men engaged in homoerotic and/ or sado-masochistic acts, and two were of naked children.The trial that followed was symbolically thick. Motions were filed that forced the judge to rule on fundamental questions about the mean­ing and political status of art. Art critics and curators were called in to witness, before the largely working-class members of the jury, to the artistic merit of Mapplethorpe's photography. The indictment read like an update of the Scopes trial, captioned by Larry Flynt, in which “the peace and dignity of the State of Ohio” was being ravaged by bands of cavorting homosexuals.The jury issued its verdict in October 1990, acquitting the museum and its director. It was a victory for the forces of high art and free expres­sion, but a complicated one. The exhibition could go on. And Map­plethorpe's photographs—indeed, the most outrageous of them—had been designated as art by the State of Ohio and by a group of decent, law-abiding, presumably-not-gay-sex-having American citizens. But the cost had been high. Museums and galleries everywhere had been warned, and not all of them would be as willing as the Contemporary Arts Center of Cincinnati to risk indictment and the threat of defunding for the sake of showing dangerous art.Perhaps most significantly, the National Endowment for the Arts, and its new director, announced a shift in funding priorities in order to take the institution out of the crossfire of the culture wars. Less and less of their money, it was decided, would go to individual artists and exhibitions, and more of it would go to support arts enrichment—to schools, outreach programs, arts camps, and educational campaigns. Mapplethorpe and Serrano were out. Sesame Street was in.For Dave Hickey, a critic and ex-gallery owner, it was, finally, all too much. Not the opportunism of the Hamilton County sheriff and his allies. Not the predictable huffing from the bow-tied brigades, who took to the pages of their tweedy magazines to bellyache, as always, about what a precipitous decline there had been in cultural standards since the 1960s ruined everything. Not even the rednecking of the senator from North Carolina was the problem for Hickey.Each of these parties was performing its assigned role in the passion play of American cultural politics. Narrow-minded prosecutors would always try to run dirty pictures out of town. New Criterion-ites would avert their eyes from new art. Senators from North Carolina would dem­agogue about queers from New York City. You could be angry at having to contend with these actors, but you couldn't genuinely feel betrayed. You knew where they stood from the get-go, and half the joy of art, and of the artistic life, lay in trying to figure out how to shock, outwit, or seduce them.The betrayal, for Hickey, came from his colleagues, from the crit­ics, curators, gallerists, professors, and arts administrators with whom he had been uneasily mixing since the late 1960s when he dropped out of his doctoral program in linguistics to open an art gallery in Austin, Texas. They had been handed a rare opportunity to represent for all that was queer and decadent and artsy-fartsy in American life, to make the case that this—beautiful pictures of men seeing what it felt like to shove things up their asses—wasn't the worst of America but the best of it. And they had whiffed.“The American art community, at the apogee of its power and privi­lege, chose to play the ravaged virgin,” wrote Hickey, “to fling itself pros­trate across the front pages of America and fairly dare the fascist heel to crush its outraged innocence. . . . [H]ardly anyone considered for a moment what an incredible rhetorical triumph the entire affair signi­fied. A single artist with a single group of images had somehow managed to overcome the aura of moral isolation, gentrification, and mystifica­tion that surrounds the practice of contemporary art in this nation and directly threaten those in actual power with the celebration of margin­ality. It was a fine moment, I thought . . . and, in this area, I think, you have to credit Senator Jesse Helms, who, in his antediluvian innocence, at least saw what was there, understood what Robert was proposing, and took it, correctly, as a direct challenge to everything he believed in.”The Corcoran had been bad enough, throwing in the towel before an opponent had even stepped into the ring. But far worse, for Hickey, were the ones who had shown up to fight but had misread the aesthet­ical-political map so badly that they had gone to the wrong arena. The fight, he believed, should have been over whether it was okay or not in our culture to make beautiful the behaviors that Mapplethorpe had made beautiful. The fight should have been over what Mapplethorpe had done with his art. Instead, the public got bromides about free expression and puritanical lectures about the civilizing function of arts in society. Worst of all, in Hickey's eyes, was how quickly the art experts ran away from the rawness of Mapplethorpe's work, characterizing him as though he were a philosopher of aesthetics, rather than an artist, as though he chose and framed his subjects for the sake of what they allowed him to say, propositionally, about the nature of light and beauty and other such things.“Mapplethorpe uses the medium of photography to translate flowers, stamens, stares, limbs, as well as erect sexual organs, into objet d'art,” wrote curator Janet Kardon in her catalogue essay for the exhibition. “Dramatic lighting and precise composition democratically pulverize their diversities and convert them into homogeneous statements.””When it came to it on the witness stand in Cincinnati, even the folks who had curated the exhibition, who surely knew that Mapplethorpe would bring the people in precisely because he was so titillating—Look at the dicks! Hey, even the flowers look like dicks!—couldn't allow them­selves even a flicker of a leer. So Hickey called them out.In a series of four essays written between 1989 and 1993, which were assembled into the sixty-four-page volume The Invisible Dragon, he launched a lacerating critique of American art critical and art historical practice. It was so unexpected, and so potent, that by the time he was done, his own intervention—a slim, impossibly cool, small-batch edi­tion from Art issues Press—would be as transformative in the art critical realm as Mapplethorpe's photographs had been in the photographic.The Invisible Dragon began with a story. It wasn't necessarily a true story, but it was a good one. So good, in fact, that it has conditioned and, in significant ways, distorted perceptions of Hickey ever since.“I was drifting, daydreaming really,” wrote Hickey, “through the wan­ing moments of a panel discussion on the subject of ‘What's Happening Now,' drawing cartoon daggers on a yellow pad and vaguely formulating strategies for avoiding punch and cookies, when I realized I was being addressed from the audience. A lanky graduate student had risen to his feet and was soliciting my opinion as to what ‘The Issue of the Nine­ties' would be. Snatched from my reverie, I said, ‘Beauty,' and then, more firmly, ‘The issue of the nineties will be beauty'—a total improvisatory goof—an off-the-wall, jump-start, free association that rose unbidden to my lips from God knows where. Or perhaps I was being ironic; wishing it so but not believing it likely? I don't know, but the total, uncompre­hending silence that greeted this modest proposal lent it immediate cre­dence for me.”Hickey, an experienced provocateur, had been expecting some kind of pushback. (Beauty?! That old thing? The issue of the '90s? You gotta be kidding me.) When he got none, he was intrigued. His fellow panelists hadn't jumped in to tussle. The moderator didn't seem ruffled. No one from the audience harangued him after he stepped down from the dais. Rather than setting off sparks, he had soft-shoed into a vacuum, which meant he had misjudged something, and in that misjudgment, he sensed, there lay potential. (“I was overcome by this strange Holme­sian elation. The game was afoot.”) He began interrogating friends and colleagues, students and faculty, critics and curators for their thoughts on beauty and its role in the production, assessment, and consump­tion of art. What he got back, again and again, was a simple and rather befuddling response: When asked about beauty, everyone talked about money. “Beauty” was the surface glitz that sold pictures in the bourgeois art market to people who lacked an appreciation for the deeper qualities of good art. It was a branding scheme of capitalism and the province of schmoozy art dealers, rich people, and high-end corporate lobby deco­rators. Artists themselves, and critics and scholars, were more properly concerned with other qualities: truth, meaning, discourse, language, ideology, form, justice. There were high-brow versions of this argument in journals like Art Forum and October, and there were less sophisticated versions, but the angle of incidence was the same.Hickey was stunned. Not by the content of such an argument— he knew his Marx and was familiar with left cultural criticism more broadly—but by the completeness of its triumph. He hadn't realized the extent, almost total, to which beauty had been vanquished from the sphere of discursive concern.“I had assumed,” he wrote, “that from the beginning of the sixteenth century until just last week artists had been persistently and effectively employing the rough vernacular of pleasure and beauty to interrogate our totalizing concepts ‘the good' and ‘the beautiful'; and now this was over? Evidently. At any rate, its critical vocabulary seemed to have evap­orated overnight, and I found myself muttering detective questions like: Who wins? Who loses?”The quest to reconstruct what had happened to beauty soon evolved for Hickey into a more fundamental effort to understand what even he meant by the term. What was he defending? What was he trying to res­cue or redeem? The critical vocabulary and community he had assumed were there, perhaps fighting a rearguard battle but still yet on the field, had winked out of existence without even a good-bye note. It was left to him, in the absence of anyone else, to reconstitute its concepts and arguments, restock its supply chain and armament.So he did, and he called it The Invisible Dragon. The issue, he wrote, is not beauty but the beautiful. The beautiful is the visual language through which art excites interest and pleasure and attention in an observer. It is a form of rhetoric, a quiver of rhetorical maneuvers. Artists enchant us through their beautiful assemblages of color, shape, effects, reference, and imagery, as a writer ensnares us with words and sentences and para­graphs, as a dancer enthralls us with legs and leaps, as a rock star cap­tures us with hips and lips and voice. The more mastery an artist has of the rhetoric of the beautiful, the more effectively he can rewire how our brains process and perceive visual sense data. It is an awesome power.Beauty, in this equation, is the sum of the charge that an artist, deploy­ing the language of the beautiful, can generate. It is a spark that begins in the intelligence and insight of the artist, is instantiated into material being by her command of the techniques of the beautiful, and is crystal­lized in the world by its capacity to elicit passion and loyalty and detes­tation in its beholders, to rally around itself constituencies and against itself enemies. Like all arks and arenas of human value, beauty is his­torically grounded but also historically contingent. In the Renaissance, where The Invisible Dragon begins its modern history of beauty, masters like Caravaggio were negotiating and reconstructing the relations among the Church, God, man, and society. They were deploying the tools of the beautiful to hook into and renovate primarily theological systems of meaning and human relation. In a liberal, pluralistic, commerce-driven democracy like America, the primary terrain on which beauty was medi­ated, and in some respects generated, was the art market.To dismiss beauty as just another lubricant of modern capitalism, then, was to miss the point in a succession of catastrophic ways. It was to mistake the last part of that equation, the creation and negotiation of value on and through the art market, for the entirety of it. It was to mistake the exchange of art for other currencies of value, which was a human activity that preceded and would persist after capitalism, for capitalism. It was to believe that the buying and selling of art in modern art markets was a problem at all, when, in fact, it was the only available solution in our given historical configuration of forces. And it was to radically underestimate the capacity of beauty to destabilize and reorder precisely the relations of politics, economy, and culture that its vulgar critics believed it was propping up.Beauty had consequences. Beautiful images could change the world. In America, risking money or status for the sake of what you found beautiful—by buying or selling that which you found beautiful or by arguing about which objects should be bought or sold on account of their beauty—was a way of risking yourself for the sake of the vision of the good life you would like to see realized.The good guys in Hickey's story were those who put themselves on the line for objects that deployed the beautiful in ways they found per­suasive and pleasure-inducing. They were the artists themselves, whose livelihoods depended on participation in the art market, who risked poverty, rejection, incomprehension, and obscurity if their work wasn't beautiful enough to attract buyers. They were the dealers, who risked their money and reputation for objects they wagered were beautiful enough to bring them more money and status. They were the buyers, who risked money and ridicule in the hopes of acquiring more status and pleasure. They were the critics, like Hickey, who risked their rep­utations and careers on behalf of the art that struck them as beautiful and on behalf of the artists whose idiosyncratic visions they found per­suasive or undeniable. And finally they were the fans, who desperately wanted to see that which they loved loved by others and to exist in com­munity with their fellow enthusiasts. The good guys were the ones who cared a lot, and specifically.The villains were the blob of curators, academics, review boards, arts organizations, governmental agencies, museum boards, and fund­ing institutions that had claimed for themselves almost total control of the assignment and negotiation of value to art, severing art's ties to the messy democratic marketplace, which was the proper incubator of artis­tic value in a free society. The blob cared a lot, too, but about the wrong things.“I characterize this cloud of bureaucracies generally,” wrote Hickey, “as the ‘therapeutic institution.'”In the great mystery of the disappeared beauty, the whodunnit that fueled The Invisible Dragon, it turned out that it was the therapeutic institution that dunnit. It had squirted so many trillions of gallons of obfuscating ink into the ocean over so many decades that beauty, and the delicate social ecosystems that fostered its coalescence, could barely aspirate. Why the therapeutic institution did this, for Hickey, was simple. Power. Control. Fear of freedom and pleasure and undisciplined feeling. It was the eternally recurring revenge of the dour old Patriarch who had been haunting our dreams since we came up from the desert with his schemas of logic, strength, autonomy, and abstraction, asserting control against the wiles and seductions of the feminine and her emanations of care, vulnerability, delicacy, dependence, joy, and decoration. It was the expression of God's anger in the Garden of Eden when Eve and Adam defied Him to bite from the juicy apple of knowledge and freedom.In one of the most extraordinary passages in the book, Hickey turned Michel Foucault, a favorite of the blob, back on the blob. It was Fou­cault, he wrote, who drew back the curtain on the hidden authoritarian impulse at work in so many of the modern institutions of social order, particularly those systems most committed to the tending of our souls. Such systems weren't content with establishing regimes of dominance and submission that were merely or primarily external. Appearances canbe too deceiving. Too much wildness can course beneath the facade of compliance. It was inner consent, cultivated therapeutically through the benevolent grooming of the institutions, that mattered. Thus the disciplined intensity with which the therapeutic institution had fought its multi-generational war to crowd out and delegitimize the market, where appearance was almost everything and where desire, which is too unpredictably correlated with virtue, was so operative.“For nearly 70 years, during the adolescence of modernity, profes­sors, curators, and academicians could only wring their hands and weep at the spectacle of an exploding culture in the sway of painters, dealers, critics, shopkeepers, second sons, Russian epicures, Spanish parvenus, and American expatriates. Jews abounded, as did homosexuals, bisex­uals, Bolsheviks, and women in sensible shoes. Vulgar people in manu­facture and trade who knew naught but romance and real estate bought sticky Impressionist landscapes and swooning pre-Raphaelite bimbos from guys with monocles who, in their spare time, were shipping the treasures of European civilization across the Atlantic to railroad barons. And most disturbingly for those who felt they ought to be in control— or that someone should be—‘beauties' proliferated, each finding an audience, each bearing its own little rhetorical load of psycho-political permission.”After getting knocked back on their heels so thoroughly, wrote Hickey, the bureaucrats began to get their act together around 1920. They have been expanding and entrenching their hegemony ever since, developing the ideologies, building the institutions, and corralling the funding to effectively counter, control, and homogenize all the unruly little beauties. There had been setbacks to their campaign along the way, most notably in the 1960s, but the trend line was clear.In this dialectic, Mapplethorpe proves an interesting and illustra­tive figure. He was so brilliant in making his world beautiful that the therapeutic institution had no choice but to gather him in, to celebrate him in order to neutralize him, to pulverize his diversities and convert them into homogeneous statements. But it turned out that he was too quicksilver a talent to be so easily caged, and the blob was overconfident in its capacity to domesticate him. It/they missed something with Map­plethorpe and made the mistake of exposing him to the senator from North Carolina and the prosecutor from Hamilton County, who saw through the scrim of institutional mediation. All the therapeutic testi­mony that followed, in the case of Cincinnati v. Contemporary Arts Center, wasn't really about defending Mapplethorpe or fending off conservative tyranny. It was about reasserting the blob's hegemony. In truth, Senator Helms and the therapeutic institution were destabilized by complemen­tary aspects of the same thing, which was pleasure and desire rendered beautiful and specific.“It was not that men were making it then,” wrote Hickey, “but that Robert was ‘making it beautiful.' More precisely, he was appropriating a Baroque vernacular of beauty that predated and, clearly, outperformed the puritanical canon of visual appeal espoused by the therapeutic institution.”Confronted by this beautiful provocation, the conservative and art establishments, whatever they thought they were doing, were, in fact, collaborating to put Mapplethorpe back in his place. The ostensible tri­umph of one side was the secret triumph for both. It was beauty that lost. The Invisible Dragon was a howl of frustration at this outcome. It was also a guerrilla whistle. Not so fast . . .Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

What you'll learn in this episode: Why artist jewelry is more than just miniature versions of larger work The history of artist jewelry, and how Esther is helping its story continue How Esther helps artists with their first forays into jewelry, and why making jewelry can be a fruitful challenge for fine artists Why an artist's first idea for a piece of jewelry is often not their best Why artist jewelry collectors must be brave About Esther de Beaucé Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects' jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther's passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. A graduate of Brown University, Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Transcript: For gallerist Esther de Beaucé, artist jewelry isn't completely art or completely contemporary jewelry. It's in a niche all its own—and that's what makes it fascinating. As founder and owner of Galerie MiniMasterpiece in Paris, she helps fine artists translate their art into jewelry, creating something entirely new rather than a smaller version of their typical work. She joined the Jewelry Journey Podcast to talk about how she challenges artists to think about their work differently; how interest in artist jewelry has evolved over the years; and why artist jewelry collectors are so open minded. Read the episode transcript here. Sharon: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. I don't remember how I found out about Esther de Beaucé's gallery in Paris. It is tucked back in the corner with other galleries. I don't know, unless you are looking for it, if you would find it easily. It was an intentional destination for me both times I've been there. It is very hard to find. I was determined that I was going to find it, and after a little bit of time I did find it. It is a very cozy and comfortable gallery, and Esther herself is easy to talk to. The gallery specializes in jewelry designed by artists. Some are French, some are Italian, and I'm sure there are others. The prices are very reasonable compared with other shops with jewelry by artists where you find a pretentious atmosphere. Esther speaks English flawlessly, having attended Brown College, and she has been on the podcast before, many moons ago. I'll let her tell you the rest of the story. Esther, welcome to the program. Esther: Hello, Sharon. Thank you for having me today. Sharon: I'm so glad to have you. So, why did you choose to sell jewelry by artists? Esther: I wanted to work with artists, contemporary artists, because before MiniMasterpiece, I had a first gallery also in Paris, working with young artists on paintings and sculptures and drawings. That gallery had to end, and my obsession was continuing working with artists because I really enjoyed that, that work, but I had to find another way. There are many art galleries in Paris, and I wanted to find a more special way to work with them. I knew of artist jewelry, and there aren't many places in the world and in Paris, either, for artist jewelry. So, this is how I started. Sorry, I think I said enough. Sharon: No, please, go ahead. Esther: So, at first, it was more for the pleasure of working with artists than that of making jewelry. After 12 years, I became very fond of jewelry, of course. I wouldn't say exactly the same thing, but back in time, 12 years ago, it was really my love for artists. Sharon: It was your love for artists. How was it changing from the drawings and the paintings and all of that to jewelry? Was it natural? Was it different? Esther: Yeah, it's a challenge for them, of course, when I invite them to think of their work at a different scale. They have to think of the body, which most of the time they never do because when you make a sculpture or a painting or a photograph, obviously it's not to be worn. But this time it was a big challenge for them and also for me, because 12 years ago I knew little about jewelry making itself. We both had to learn. It was a challenge for them, and it was also a challenge for me. But I knew that it was possible because it's a story that goes back in time for about a century now, with Picasso and Calder and Giacometti, all those great visual artists who made a few wearable art pieces on the side of their main activity. Sharon: Was it scary for you to start asking artists if they would do their jewelry, if they would make jewelry? Esther: I started asking those artists I knew personally because they were family friends, or I had worked with them in the past with that former gallery I had. So, I didn't take many risks the first year. Then I got more brave and I started to ask other artists. I only ask those artists where I like the work. I am a big fan of their monumental work. They are mostly sculptors. It's because I like their sculpture, but I think of inviting them to make a sculpture to wear. Sharon: Do they look at you funny, like, “What are you talking about?” Or, “I don't understand what you mean”? Esther: Most of them understand the idea. I've had several artists say no, but not that many. Sometimes they even thought about making a jewelry piece but never had the occasion to do so because they need to be surrounded by the good people. Very often they need to be accompanied by a goldsmith because they haven't mastered the work of gold or silver, so they need help on that matter. But once you invite them and tell them about that great story and how many artists have worked on that subject in the past, and that you can take them to the right goldsmiths that can help them understand their project, then it's much easier for them to accept. Sharon: And have they ever rejected you and just said, “Forget it. That's weird”? Esther: Yeah, of course they have. Sometimes it's because they don't get a good idea. Finding the right idea is not that easy. Sometimes they don't have time. Sometimes it's not a good time for them to spend some energy on that project. And of course, I understand that perfectly. In very, very, very few cases, sometimes they don't take jewelry very seriously. They have that image of jewelry being something not serious. But there are many artists I can invite, and those who don't want to play with me, it's no big deal. Sharon: Do you leave it to them to decide if it's a bracelet or a ring or a necklace or what they're going to make? Esther: Yes, of course. I open possibilities for them as wide as they want at the beginning. Then once they have ideas, we talk. Once it gets more precise, if they are going to make only one piece of jewelry, sometimes I advise them to think of a ring or a necklace because they are the most iconic type of jewels. If they have several ideas, then why not add a bracelet or earrings? But if they have to make only one, I usually recommend them to make a necklace. Also, because a necklace leaves more volume and space for them to express themselves. Sometimes it's very difficult for them to condense their work into a very tiny piece. A necklace is bigger. Sharon: What do you say to them if they say, “Esther, I'm a sculptor. I don't know how to make this small”? What do you say? Esther: I say that what I'm interested in is the DNA of their work. An idea has no size. Basically, it would be the same as making a very large sculpture. But when they are invited by a museum or a gallery, they are given a space to make. Sometimes they make a sculpture especially for that space, a museum or a gallery. I just tell them, “Well, this time you have to make a piece of a sculpture for the body.” It is just another way of thinking, and artists like to be challenged. It's a very big challenge for them, but they are very often excited by that challenge. Sharon: Are they doing other things? Are they making the jewelry for your gallery, and they're working on a sculpture or painting at the same time? It might be a different subject, but I'm wondering. Esther: Yes. I think they're on different topics at the same time. Also, when they have to think of making a wearable sculpture, sometimes it helps them to think of a new idea for a monumental work. This is something they have said to me on various occasions, that going from big to small and then back to big is also interesting for them. Sometimes it has an impact on how they think big afterwards. Sharon: You're located in the antique district in Paris, right? Esther: Yes. Not only antiques. It's called the Carré Rive Gauche. It's a very special geography because it's like a square with about six streets. It's very unique in the world because in that square you have about 120 galleries and antique shops of different specialties. You have contemporary art, you have antiques, you have Chinese art, African art, glass works, silver works. It's very unique to have such a strong—how would you say that—density of art shops. It's not like—you know the Marais? The Marais is another district that is very focused on contemporary design and contemporary art. Carré Rive Gauche and Saint-Germain-des-Prés reunites a wider range of art galleries, and I really like that mix. I feel very comfortable in that. It's a very enriching environment. Sharon: From the beginning did you know that was where you wanted to be? Esther: Yes, because it's the neighborhood where I grew up, and I'd never had a professional project in that area. And it's a lovely neighborhood. I love it. A lot of tourists as well still go to Saint-Germain-des-Prés. There aren't many places for rent, and sometimes they are very expensive. This is also why I'm in a courtyard, where you have to find your way through. But once you've been here for the first time, then it's easy to come back. There are many courtyards like this in Paris, and it's also the Parisian charm of finding the remote places. I like that idea. Sharon: It is very charming, and the Parisian charm is both in your gallery and the courtyard around it. Do you get people stumbling in? Tourists or French people who are just wandering around who find the gallery? Esther: Yes, of course. I have a sign on the street also. There are actually three different galleries in the courtyard, so we have a sign on the street with the name of the galleries. The large doors are open all day long, and there are many plants. I have random people coming very often, for sure. Sharon: When did you become attracted to jewelry? Esther: As a kid, because my mother is a great collector of artist jewelry, and I learned a lot from her. Since I was a kid, I've seen her wearing those weird pieces of jewelry that were artist jewelry only, no stones, no diamonds, only artist jewelry. That was very different from my friends' mothers, obviously. So, it was very natural to me, but I never imagined myself being a professional in that area because it was hers. But I found a way of making it mine because she's a collector and I'm an editor. I make new projects. Sometimes when she likes them, she gets them for her collection, but not always. So, I found a way of having my own role in artist jewelry different from hers. But I was really fed by her passion as a kid. Sharon: Did you think you were going to draw or paint professionally? What did you imagine yourself doing? Esther: No, I have no artistic talent myself. I really love working with artists and I'm the person next to them, but I have no desire to create myself. Even after 12 years of MiniMasterpiece, I have no desire to make jewelry myself. Artists come up with such great ideas all the time that I really don't have to think about this myself. But they need me for other things, so I'm happy to take care of all the rest. Sharon: When you say they need you for other things, I was thinking you are creative. You couldn't guide them, right? Esther: Yes, but I don't have the idea. I know how to make their ideas grow and make it possible, but it's really their work. The starting point is their work and their idea. I make it possible after that. Sharon: Who decides if it is going to be a limited edition and there are only a few? Who decides how many there are going to be? Esther: It's a tricky question. I discuss it with the artist, and we take into consideration the costs of their making, obviously. Sometimes it's a series of unique pieces. I've done that on several occasions. So, it's not really an edition; it's a series of 10 unique pieces, for example. Most of the time we make 10 or 12 different numbers of the same piece to stick to what is commonly made in sculptures. So, most of the jewels from the gallery run in an edition of 10 or 12 pieces. Sharon: You started to say that 30, though, is the limit to call it a limited edition, right? Esther: Yes, 30 is the maximum for us to call it an original piece of work. Most of the time after 30, it's not an original piece of work. I don't know how you would call it, but it would be just a regular edition. It's very rare that I go above 30. It has happened in the past, because sometimes museum shops call me for a special edition if they have a show of that artist running and they want to have a piece of jewelry in their shops. This is a very special project for me, and in that case, we make a larger edition. But this is very site specific. Sharon: How do you find the artists? Do you go to parties to look for them? Do you go to galleries? How do you find them? Esther: I go to art shows and exhibitions for the most time. When I find an artist whose work I like very much, then I try to find a way to contact him or her. But the first thing for me is to grasp and understand and like their work. After that, I try to find a possible way to get in contact with them. Sharon: Do they ever approach you first? Esther: Yes, it has happened, of course. There's a great Chinese sculptor in France called Wang Keping, with whom I've had the chance to work for the past four years. I met him at an art fair, and it was a great encounter because he's a fabulous man and a fantastic artist. It was a great, almost random encounter. Sharon: But he came to you. You looked at his work and liked his work, and he came to you? Esther: Yes. I was about to go to him, and then we met and he also wanted to discuss with me. So it was a random encounter, and it ended very well. Sharon: What is the overall state of artist jewelry—well, there are two questions—and art jewelry in France? Esther: What's the difference for you between artist jewelry and art jewelry? Sharon: That's an interesting question. I guess artist jewelry is by somebody who, it isn't their primary medium. They do painting and sculpture, and once in a while they do a pin or a ring or whatever. And the other is jewelers who do different jewelry. Esther: Yeah. It's their specialty. Making jewelry is their specialty. Sharon: Yes. Esther: So, you would call that art jewelry? Sharon: Yes. Esther: Okay. Sharon: I would call both art jewelry. But the artist jewelry— Esther: Yes. Well, I know of art jewelry, but not as well as artist jewelry, obviously, because only artist jewelry is my specialty. So, I wouldn't be able to speak of art jewelry as well. For artist jewelry, I think it's getting better because there are more editors working on the subject and inviting new artists, so it's more dynamic. It seems that in the 60s and in the 70s, the market for artist jewelry in France and in the world was more dynamic than in the 80s, in the 90s, in the early 2000s. For the past 15 years, maybe, it's getting more dynamic because new editors have started working on the subject. Museum shows have also taken place thanks to great collectors that are organizing shows on their collections. Books also have come out. So, slowly, I think it's getting more dynamic. But still, it's a story that needs to be explained more, and a lot of people don't know about it yet. So, it's also our mission to explain that story and to tell and to show. I think it's also the case for art jewelry. There aren't that many galleries and places in Paris that sell art jewels. I'm looking forward to the years to come because I believe it's going to get more and more dynamic. Sharon: Are the people who come, who assemble on your gallery, are they coming because they think, “Oh, it's jewelry. I want to look at diamonds and pearls,” and you have to explain what it is? Esther: Yes, all the time. All the time. Sometimes I talk for five, 10 minutes explaining the concept of the gallery, and they look at me and say, “Oh, so you are making the jewelry.” And I'm like, no, no, no, no, no, no. I'm not making the jewelry. I invite those who never make jewelry, and I ask them for a special project for the gallery. So, it takes a lot of energy explaining. Of course, some people know of that story, so it makes it easier for me. But I also like the challenge of getting that story more well-known and convincing women and men that this is also part of the jewelry world. It's not because the piece of jewelry doesn't have stones or diamonds that it's not worth it. Then we talk about value and what makes a jewel precious or not precious. So, it leads to interesting conversation. But it takes a lot of my time explaining that. Sharon: You said something I have to think about because I'm not sure I've thought about it, and that is that artist jewelry is part of the jewelry world. Esther: Of course. Sharon: Yeah. If you had asked me 10 minutes ago, I would have said yes, but I really would have had to think about it. Esther: It's contemporary jewelry, and contemporary jewelry has different compartments. I don't know how you would say that, but a small part of contemporary jewelry is that of artist jewelry, because it's being made today. So, for me, it's definitely part of it. Sharon: Do you ever have shows, meaning you take your gallery, the artist jewelry, and you cart it somewhere and show it?  Do you put it out for people to look at? Esther: You mean outside the gallery? Sharon: Yeah. Esther: Yes. Several times a year I try to be in fairs. I've never shown in a jewelry fair because I've always want to place the jewelry in a design or contemporary art background. So, I always try to show in design or art fairs, which is not always easy because there aren't that many art fairs, for example, that leave space for art jewelry. So, it's a tricky thing for me, to find a good place outside of the gallery to show that kind of jewelry. Although artist jewelry is part of art jewelry and contemporary jewelry at large, it's a bit different. I'm trying to connect it. I want the connection with the art and design world to be very strong, more than that of jewelry at large. I want to place it into an art environment as much as possible, so also for fairs. Sharon: What if you don't like the first drawing or the first couple of drawings of something that an artist shows you for a ring, let's say, or a bracelet? What do you do? Esther: If I don't like it, it's very often because it doesn't look like them. It's not connected well enough to their work, to what they are. Sometimes the first idea they have is an idea of a jewel, but it's more than just making a jewel. It's making their work into a jewel, you know? So, sometimes the first idea is not the right one, but it's not because it wouldn't make a nice jewel. It would. But you wouldn't recognize their work in that small piece. And it's very important for me that the link is very strong. But for me, a good artist jewel is not a reduction of a bigger project. This is not very interesting, to make very small exactly what you make in large. It has to be a new project, yet you have to recognize the artist's work. This is the biggest challenge in the making of an artist jewel. Sharon: I'm thinking, and I can't remember his name, that the Spanish sculptor who makes puzzles. He makes them large and he makes small, little pendants and things like that. He's Spanish. Esther: Maybe he's Franco-Argentinian, Pablo Reinoso? Sharon: No, that's not his name. But has Reinoso been part of your sculptures, your gallery? Esther: Yes, among many other ones. But, you know, I walked the path of artist jewelry for 12 years, and I've also evolved on that path. What I think today might be different than what I thought in the past, and it's the same for artists. I know their first idea is going to be nice, but maybe it's not going to be as interesting as the second idea or as the third idea. But I also have to respect their rhythm, that it's going to take a bit of time and that they have to grasp the idea of jewelry. Because this is so new to them, you also have to be patient. Sharon: Do you make the first or second drawing they have, even if you don't like it, and then you wait for them? Esther: No, I ask them to work hard for the first project as well, but I notice sometimes that the first project is very nice and interesting, yet the second one or the third one or the fourth one is even more interesting because it—how would I say that—it is more demanding. It is maybe less commercial. I have the feeling that the artist and myself have walked that path a bit more as it gets more interesting. It's also more demanding for the collector. It's really from the artist to the collector. I'm sure you're not the same collector today as you were 30 years ago. And maybe what you choose to wear today or what you assume to wear today is different from many moons ago. I think we all go through that path, and it's very interesting. It doesn't mean that what you make at first is not interesting, but you have to go through all these steps. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

La puntata di oggi: come gestire gli automatisrmi in post-produzione? Oggi vi propongo una riflessione sulle funzioni automatiche dei più importanti programmi di post-produzione... Talu funzioni automatiche, sono da evitare? Sono utili? Possono fungere da base di partenza per un apprendimento? Quali sono i rischi?Prosegue poi la rubrica Quei Bravi Fotografi, oggi vi parlo Andres Serrano, un fotografo che davvero ha fatto scalpore, trovate i riferimenti in coda.Aspetto le vostre domande e i vostri feedback. Buona luce a tutti!******************************************* I MIEI LINK: Cliccate qui per sostenere con un piccolo contributo volontario le spese del podcast: https://www.patreon.com/user?u=15429568 Email: andreageymet@gmail.com (da usare anche per un contributo con PayPal) Adobe Portfolio: https://andreageymet.myportfolio.compeopleofindia.myportfolio.comInstagram del podcast: https://www.instagram.com/passione_fotografia_podcast/ Le mie foto dei viaggi: https://instagram.com/andreageymet?igshid=MzRlODBiNWFlZA== I miei ritratti: https://www.instagram.com/andreageymet_ph/ Il gruppo Telegram: https://t.me/passionefotografiapodcast*******************************************IL SITO DOVE LEGGERE LE RECENSIONI DELL'ATTREZZATURA:https://www.juzaphoto.com*******************************************Il mio fornitore di fiducia: https://www.solodigitali.com*******************************************QUEI BRAVI FOTOGRAFIAndres Serranohttp://andresserrano.orghttps://it.wikipedia.org/wiki/Andres_Serrano

Register for the Catholic Identity Conference: https://catholicidentityconference.org/ “We're here, we're queer, we're coming for your children” – that is what the LGBT folks are shouting in the streets of America. But when a woman in Minnesota tried to defend the children, they called her the hater. Thirty years ago, Andres Serrano became infamous for photographing a crucifix in a jar of urine, but Pope Francis just invited him to the Vatican. The neo-Catholic useful idiots insist that Francis is just calling for “dialogue.”  What do you think? One week later, Pope Francis held unannounced meetings with Bill Clinton, John Kerry, and Alexander Soros in the Casa Santa Marta.  So now what are the Globalist elites up to? Meanwhile, Pope Francis appoints a theological weirdo as the Vatican's top “watchdog of orthodoxy”. Archbishop Víctor Manuel Fernández, author of “Heal Me With Your Mouth: The Art of Kissing,” is in the house. Our Bellarmine Moment has arrived. The Vatican has officially allied itself with global elites who are trying to take over the world and uncrown Christ the King. Cardinal Gerhard Müller is right – it is a hostile takeover of the Catholic Church, and we must resist! HOW TO SUPPORT RTV: Sign up for Michael Matt's Weekly E-Letter: https://remnantnewspaper.com/web/index.php/subscribe-today/free-remnant-updates Follow Michael Matt on Twitter: https://twitter.com/Michael_J_Matt Subscribe to The Remnant Newspaper, print and/or digital versions available: https://remnantnewspaper.com/web/index.php/subscribe-today Listen to Michael Matt's podcasts:SPOTIFY: https://open.spotify.com/show/1AdkCDFfR736CqcGw2Uvd0APPLE: https://podcasts.apple.com/us/podcast/the-michael-j-matt-show/id1563298989

Pope Francis publicly honored the blasphemous “artist” named Andres Serrano, who created the sacriligious image of a crucifix of Jesus immersed in human urine. Watch this new podcast episode by clicking here: If the audio player does not show up in your email or browser, please click here to listen. Dr. Taylor Marshall's newest book: Antichrist […] The post 999: Pope Francis Honors evil PISS CHRIST Artist at Vatican [Podcast] appeared first on Taylor Marshall.

Every reboot is better when you remove "The" from title, right? Joining me for Haunted Mansion episode is Andres Serrano! It was most haunted fun we'd had in a while. Give episode a listen! Show Notes: Just Two Lads Andres on Instagram Steven Shinder: Book | Facebook | Goodreads | Instagram | Letterboxd | Twitter | Website Yesshift: Anchor | Facebook | YouTube Email delayedreplaypodcast@gmail.com

De allra flesta svenskar skulle nog aldrig komma på tanken att bränna en koran. Många tycker säkert det är olämpligt. Men brännandet av koranen har blivit ett lackmustest, ett sätt att se om Sverige har kraft att sätta något bakom de fina orden om yttrandefrihet och sekulär lagstiftning.Provokatören Rasmus Paludan brände nyligen en koran utanför Turkiets ambassad, vilket fick turk- och arabvärlden att rasa. Muslimer runt om i världen, och yttrandefrihetsskeptiska krafter i Sverige, krävde att Sverige skulle införa blasfemilagar. Kanske är de nu halvt om halvt redan på plats?Den åttonde februari valde Polismyndigheten nämligen att avslå en ansökan om demonstrationstillstånd där det skulle brännas en koran. Man hänvisar till en dialog med Säkerhetspolisen, och talar om en “förändrad hotbild mot Sverige” och att en sådan – i sig helt laglig – sammankomst, “bedöms kunna orsaka allvarliga störningar av den nationella säkerheten”. Vad man än tycker om brännandet av böcker eller skändandet av religiösa symboler, så är Polismyndighetens beslut en stor skandal. Det handlar i det här läget inte om att “respektera religion” eller att skydda någons känslor, utan om att man viker sig för våld och hot orkestrerat av utlänningar och främmande makt. I Sverige har vi haft utställningar som “Piss Christ” av Andres Serrano där Jesus sänks ned i urin, och “Ecce Homo” av Elisabeth Olsson Wallin där han framställs som homosexuell. Båda dessa ledde till häftig kritik och sårade känslor inom kristenheten, och även ett antal mindre sabotage. Men aldrig var det tal från myndigheter och politiker om att stoppa dessa utställningar. Tvärtom ställdes Ecce Homo till och med ut i Sveriges riksdag. Något sådant skulle bara kunna motsvaras av att Muhammedkarikatyrer och brända koraner också visades upp i riksdagen, men det känns väl ganska långt borta.När Polismyndigheten nu ger vika för muslimers krav på särbehandling och ytterligare inskränkningar i svensk yttrandefrihet är det ett allvarligt steg mot pöbelvälde. Den signal som nu skickas till den muslimska världen är att om de bara använder tillräckligt med våld och hot så kommer Sverige göra som de önskar, en bokstavligen livsfarlig väg att vandra!Det fria Sverige har full förståelse för att människor blir ledsna när något de håller heligt behandlas på ett sätt som de tycker är fel. Men en stat kan inte ge vika för att en intressegrupp känner sig “kränkt” och hotar med våld, utan måste istället stå rakryggad och principfast för de idéer som staten säger sig vila på — i det här fallet yttrande-, mötes- och demonstrationsfriheten.En svensk stat måste alltid sätta svenskarna först, och aldrig anpassa sig till andra folks föreställningar, vare sig de bosatt sig inom vårt lands gränser eller bor kvar utanför dem. Det kan innebära att internationella relationer kärvar, och det kan tillfälligt öka hotbilden mot vårt land och vårt folk. Men alternativet är en principlös stat som låter sig hunsas av utlänningars nycker, och det är en dödsdans där vi aldrig är den som för.Det grundläggande problemet är det mångetniska, mångkulturella samhällsexperimentet som i sig kräver extremt hög tolerans grupper emellan, men vars inneboende dynamik på sikt gör toleransen omöjlig. Det är nämligen enkelt att tala om tolerans när du har en väldigt tydlig majoritet och en eller flera små minoriteter. Men när minoriteterna växer sig större kommer också kraven på anpassning efter deras världssyn och livsstil, vilket vi nu ser utspelas framför ögonen på oss genom de muslimer som kräver lagar anpassade efter Sharia.Sverige måste välja väg. Antingen anpassar vi oss efter islam och bereder oss på att gå ett liknande öde till mötes som Libanon och Kosovo. Eller så konstateras att Sverige är svenskarnas land, och då måste andra folk som lever inom våra gränser respektera vårt sätt att leva och respektera våra lagar, och aldrig någonsin kräva att vi anpassar oss efter dem.

Emma and Christy look at the ethics, politics, and practice of displaying human remains — from museum collections of mummies to photographs of dead bodies. We talk bog bodies, the rights of the dead, dry vs. ‘wet' specimens, Free Renty, consent, repatriation, museums' imperial histories, burdens of care, and how recent art — from Andres Serrano to Gala Porras-Kim — might exacerbate or enact solutions to these issues. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. PLEASE NOTE: we have elected not to include Serrano's photographs in this carousel because they contain content viewers may find especially upsetting. To view these images, click the image link beside his name below. OBJECTS DISCUSSED: Gala Porras-Kim, Sunrise for 5th-Dynasty Sarcophagus from Giza at the British Museum (2022) Photographs from the ‘Life Before Death' exhibition by Walter Schels at the Wellcome Collection (2008) Andres Serrano, The Morgue (select works) (1992) [GRAPHIC CONTENT WARNING] Louis Agassiz, Renty, An African Slave (1850) Head of Tollund Man, a bog body (from c. 375–210 BC) Gala Porras-Kim, Sights Beyond the Grave (2022) Gala Porras-Kim, A Terminal Escape from the Place that Binds Us (2021) Gala Porras-Kim, Mould Extraction (2022): view one and view two   CREDITS: ‘Drawing Blood' was made possible with funding from the Experimental Humanities Collaborative Network. Follow our Twitter @drawingblood_ Audio postproduction by Sias Merkling ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

For additional notes and resources check out Douglas' website.In this final lesson in the sub-series on Christ as understood through the course of the history of the church, we will focus on the period  from the Reformation onward. Listen to 500 Years of Alternative Christs (25 minutes).Christ as depicted in theology, practice, and artTheology -- often tends to follow practice (trends)ActionArtIconography -- from aniconic art to depictions of DeityIncreasingly powerful imagery -- from Shepherd to Greek god to warriorAnd in our modern period, Christ is even insulted in art. (See, e.g., Andres Serrano's 1987 Piss Christ.)This could easily be another podcast series!The ReformationA more biblically balanced view, yet (eventually)…Ritual and empty motions deemphasized.Faith and individual obedience stressed.Yet Christ is still a political figureLuther, Calvin, and othersRadical Reformation (Anabaptists) tend to be apolitical.The end result, especially in the absence of critical thinking about government and society, and the increase of individualism, is a more permissive ChristFrom Reformation & Modern Christs: Jesus Hijacked in the absence of scriptural controlsChe Jesus (Liberation Theology)Gay Jesus (LGBT agenda)Guru Jesus (Eastern religion)ET JesusChrist in EvangelicalismEvangelicals hold to 3 central teachings:Christ is the Son of GodThe Bible is the Word of GodWe are not born Christians, but must willingly be born again.Yet most evangelicals today go beyond what is written, in subscribing to the Sinner's Prayer.Revelation 3:20 becomes a proof-text on how to be saved, even though it isn't addressing outsiders, but insiders.Christ is shivering in the cold; please let him in! We are to ask him into our lives by means of a prayer.Most evangelicals and other Protestants teach a tame, non-judgmental Christ—one who is “nice."We worship a "nice" God (not too judgmental), and a "nice" Christ (one who won't be too radical or rock the boat).We need to find a "nice" church.We need to be "nice" people.Favorite verses in evangelicalism:John 3:16 -- but what about vv.5 and 21?Ephesians 2:8 -- but what about v.10?Romans 10:9 -- but what about v.13 (Acts 22:16), and 6:3?Revelation 3:20 -- but what about vv.15-19?Specific study: Revelation 3:14-22Divine (v.14)Demanding (vv.15-16)Challenges materialism (vv.17-18)Disciplining (v.19)Desires connection (v.20)Christus Victor but not in the medieval sense (v.21)One standard for all followers of Christ (v.22)ConclusionThe Jesus of the N.T. is the only true Christ.He has promised to live in us (John 14)—which has significant lifestyle implications.It's up to us to show the world the true Christ: through our lives and our teaching.Final 3 podcasts -- Christ Refracted in the World: Polytheists, Monotheists, Atheists

We discussed: white washed history, family heritage, legacy planning, reverse technologist, jealousy, being a portraitist, plastic cameras, the problems with Adobe subscription software, art movements are always groups of artists, portfolio reviews, the sense of play, the importance of the concept, collage, upgrading your scanned archives     https://www.gallerysink.com     People + Places mentioned: Samuel Morse - https://www.smithsonianmag.com/smart-news/inventor-telegraph-was-also-americas-first-photographer-180961683/ James L. Breese - https://gallerysink.com/marksink/Breese_Essay_Sink.html Evelyn Nesbit - https://historyofyesterday.com/a-model-an-architect-a-millionaire-and-a-murder-c15a6f2e33e0 Mariette Leslie Cotton - https://en.wikipedia.org/wiki/Mariette_Leslie_Cotton Sadakichi Hartmann - https://en.wikipedia.org/wiki/Sadakichi_Hartmann Tangerine - http://www.sundance.org/projects/tangerine Doug Starn and Mike Starn - http://www.dmstarn.com Ruth Thorne-Thomsen - https://en.wikipedia.org/wiki/Ruth_Thorne-Thomsen Lucas Samaras - https://www.pacegallery.com/artists/lucas-samaras/ Andres Serrano - http://andresserrano.org Richard Prince - http://www.richardprince.com Apple's Future Computer: The Knowledge Navigator - https://youtu.be/9bjve67p33E Robin Rice Gallery - https://robinricegallery.com Denver Collage Club - https://www.instagram.com/denvercollage Month of Photography Denver - https://denvermop.org Museum Contemporary Art Denver - https://mcadenver.org Annie Leibovitz - https://www.instagram.com/annieleibovitz Festival of Light - https://festivaloflight.net Critical Mass - https://www.photolucida.org Wayback Machine - https://archive.org/web/   His Czech friends whose names he could not remember: Michael Borek - https://michaelborek.com Radek Grosman - https://www.facebook.com/radek.grosman Pavel Matela - https://www.pavelmatela.com Bohemia farm studio - http://www.farmstudio.cz Pavel Banka - https://pavelbanka.com   Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no    

We discussed: white washed history, family heritage, legacy planning, reverse technologist, jealousy, being a portraitist, plastic cameras, the problems with Adobe subscription software, art movements are always groups of artists, portfolio reviews, the sense of play, the importance of the concept, collage, upgrading your scanned archives     https://www.gallerysink.com     People + Places mentioned: Samuel Morse - https://www.smithsonianmag.com/smart-news/inventor-telegraph-was-also-americas-first-photographer-180961683/ James L. Breese - https://gallerysink.com/marksink/Breese_Essay_Sink.html Evelyn Nesbit - https://historyofyesterday.com/a-model-an-architect-a-millionaire-and-a-murder-c15a6f2e33e0 Mariette Leslie Cotton - https://en.wikipedia.org/wiki/Mariette_Leslie_Cotton Sadakichi Hartmann - https://en.wikipedia.org/wiki/Sadakichi_Hartmann Tangerine - http://www.sundance.org/projects/tangerine Doug Starn and Mike Starn - http://www.dmstarn.com Ruth Thorne-Thomsen - https://en.wikipedia.org/wiki/Ruth_Thorne-Thomsen Lucas Samaras - https://www.pacegallery.com/artists/lucas-samaras/ Andres Serrano - http://andresserrano.org Richard Prince - http://www.richardprince.com Apple's Future Computer: The Knowledge Navigator - https://youtu.be/9bjve67p33E Robin Rice Gallery - https://robinricegallery.com Denver Collage Club - https://www.instagram.com/denvercollage Month of Photography Denver - https://denvermop.org Museum Contemporary Art Denver - https://mcadenver.org Annie Leibovitz - https://www.instagram.com/annieleibovitz Festival of Light - https://festivaloflight.net Critical Mass - https://www.photolucida.org Wayback Machine - https://archive.org/web/   His Czech friends whose names he could not remember: Michael Borek - https://michaelborek.com Radek Grosman - https://www.facebook.com/radek.grosman Pavel Matela - https://www.pavelmatela.com Bohemia farm studio - http://www.farmstudio.cz Pavel Banka - https://pavelbanka.com   Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no    

Kritiken mot Joe Rogans podd på Spotify kulminerade i veckan som gick med att artisterna Neil Young och Joni Mitchell drog tillbaka sin musik från tjänsten i protest. Vad betyder det för konsumenterna? De nominerade är...I dag tillkännagavs de fem nominerade titlarna till Sveriges Radios Lyrikpris 2022, landets äldsta pris i sitt slag. Jurymedlemmen och litteraturkritikern Ann Lingebrandt kommer till studion för att berätta mer om de nominerade verken, och hur juryarbetet gått till.Verket som värker: IntrusionI P1 Kulturs serie "Verket som värker" lyssnar vi på er lyssnare när ni berättar om de verk som gjort stort intryck på er. Den här gången handlar det om en bok som Johanna Westeson inte kan sluta umgås med. Inslaget sändes första gången våren 2017.Kritiksamtal om Andres Serranos "Infamous"Han har porträtterat allt från Ku Klux klan-medlemmar, till döda människor i ett bårhus, till seuxella handlingar som tänjer på gränserna. Nu är den amerikanske konstnären Andres Serrano aktuell med sin senaste utställning "Infamous" på Fotografiska i Stockholm, och den här gången handlar det om att syna USAs rasistiska historia. Kulturredaktionens Cecilia Blomberg har sett den.Dagens OBS-essäFå böcker har påverkat det västerländska tänkande så mycket som Bibeln. Det är ingenting man skrattar bort. Ändå finns den ju där, hela tiden. Humorn. I den här OBS-essän funderar författaren Maria Küchen på vem som skrattar åt vad i Bibeln. Producent för OBS: Morris Wikström.Programledare: Lisa Wall Producent: Felicia Frithiof

For 20 years, CulturalDC has been making space for art. That includes physical places like galleries, theaters and affordable housing for artists. But it also includes making space in the conversation for art. In this brand new episode of the Cultural DC podcast, we sit with three arts leaders to reflect on CulturalDC's latest film collaboration, Insurrection by Andres Serrano presented by a/political. Joining our podcast today are artist Andres Serrano and Art Curator Sylwia Serafinowicz, and CulturalDC Executive Director Kristi Maiselmann.Sylwia Serafinowicz is Chief Curator at a/political, public speaker and writer based in London. Serafinowicz sees exhibitions and public programmes as a platform to advocate for human rights and against discrimination, inequality and violence. Serafinowicz graduated with a PhD in History of Art from the Courtauld Institute of Art and an MA in History of Art from the University of Warsaw, Poland. Kristi Maiselman: Kristi Maiselman is the Executive Director and Curator of CulturalDC. Since her appointment in October 2018, Maiselman has facilitated projects like Ivanka Vacuuming by Jennifer Rubell, Mighty, Mighty by Devan Shimoyama, and THIS IS NOT A DRILL by Jefferson Pinder. In addition to her curatorial work, Maiselman oversees CulturalDC's artspace development work which creates partnerships between arts organizations and commercial real estate developers in order to ensure affordable artist housing, studio space, and public art opportunities. Andres Serrano was born in 1950 in New York City and later attended the Brooklyn Museum Art School from 1967 to 1969, where he studied painting and sculpture. Andres Serrano is an internationally acclaimed American artist whose work has been shown in major institutions in the United States and abroad. His photography work is featured in numerous museums and public collections.This program is presented in collaboration with a/political. a/political explores radical knowledge through the principle of Cultural Terror. Working with artists and agitators, the collective platforms voices that undermine the dominant narratives of our time. Based in London, a/political exists outside the commercial art world, functioning through interventions, commissions and a collection of contemporary art. Learn more at a(dash)political.org and @apolitcalorg on social media. 

For 20 years, CulturalDC has been making space for art. That includes physical places like galleries, theaters and affordable housing for artists. But it also includes making space in the conversation for art. In this brand new episode of the Cultural DC podcast, we sit with two influential artists to discuss their latest works and reflect on CulturalDC's latest film collaboration, Insurrection by Andres Serrano presented by a/political. Joining our podcast today are artist Andres Serrano and Art Curator Andy Grundberg to discuss Serrano's new book The Game : All Things Trump and Grundberg's latest work How Photography Became Contemporary Art. Andres Serrano was born in 1950 in New York City and later attended the Brooklyn Museum Art School from 1967 to 1969, where he studied painting and sculpture. Andres Serrano is an internationally acclaimed American artist whose work has been shown in major institutions in the United States and abroad. His photography work is featured in numerous museums and public collections.Andy Grundberg was the photography critic of the New York Times from 1981 to 1991. He later served as the director of the Ansel Adams Center for Photography in San Francisco and as chair of the photography department and dean of the Corcoran College of Art and Design. Grundberg is an authority in the photography industry and writes eloquently about photography's “boom years,” chronicling the medium's increasing role within the most important art movements of our time. This program is presented in collaboration with a/political. a/political explores radical knowledge through the principle of Cultural Terror. Working with artists and agitators, the collective platforms voices that undermine the dominant narratives of our time. Based in London, a/political exists outside the commercial art world, functioning through interventions, commissions and a collection of contemporary art. Learn more at a(dash)political.org and @apolitcalorg on social media.

Jessica Fuentes, William Sarradet, and Brandon Zech discuss artist Andres Serrano's new found footage film. "I feel like Serrano as an artist often presents things so that you can digest them…he often plays with imagery that provokes very strong reactions." See related readings here: https://glasstire.com/2022/01/16/art-dirt-discussing-insurrection-andres-serranos-new-film/ If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: https://glasstire.com/donate

Stijn is terug met misschien wel het controversieelste kunstwek tot nu toe, Piss Christ! Een foto van een crucifix in een bak met urine. Klinkt smerig, maar stiekem is het wel een fantastisch mooi werk.Geproduceerd door: Tonny MediaZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Episode 75 features New York-based artist Wardell Milan. He works in mixed media, combining elements of photography, drawing, painting, and collage. Milan's practice is conceptually grounded in photography, often using photographs as initial inspiration behind composition of drawings and collages. Referencing artists such as Robert Mapplethorpe, Diane Arbus, Andres Serrano, Alec Soth, and Eugene Richards, Milan appropriates, and in some cases re-appropriates the photographs, and thus the bodies depicted. Milan also uses images and objects to establish allegorical connections between history and contemporary events. Milan's ongoing series “Death, Wine, Revolt,” which combines photography, drawing, painting, collage, and sculpture to explore themes of over-indulgence, destruction, and revolution. While earlier series such as “Parisian Landscapes” looked inward, to personal questions of freedom and desire, Milan made the works on view in response to the turmoil of the global moment. Works by the artist may be found in the collections of The Art Institute of Chicago; Museum of Contemporary Photography, Chicago; Denver Art Museum; Brooklyn Museum, New York; Hessel Museum of Art, Bard College, New York; The Museum of Modern Art, New York; The Morgan Library & Museum, New York; The Studio Museum in Harlem, New York; Whitney Museum of American Art, New York; UBS Art Collection; Daniel & Florence Guerlain Contemporary Art Foundation, Paris; Hall Art Foundation; and San Francisco Museum of Modern Art. Milan lives and works in New York. Artist website ~ https://wardellmilan.com Bronx Museum - http://www.bronxmuseum.org/exhibitions/wardell-milan-amerika-god-bless-you-if-itand39s-good-to-you Culture Type - https://www.culturetype.com/2021/07/14/on-view-wardell-milan-amerika-god-bless-you-if-its-good-to-you-at-bronx-museum-of-the-arts-in-new-york/ Musee Magazine - https://museemagazine.com/features/2020/10/22/exhibition-review-wardell-milan-at-fraenkel-gallery The Brooklyn Rail - https://brooklynrail.org/2020/02/criticspage/Pentimenti Hyperallergic - https://hyperallergic.com/502980/a-disruptor-of-race-and-sex/ ArtForum - https://www.artforum.com/picks/wardell-milan-78442 Wikipedia - https://en.wikipedia.org/wiki/Wardell_Milan

A celebration of this little podcast having lasted a year. For this momentous occasion, I was joined again by past guests Andres Serrano and Dylan Green. We went through a few different topics throughout the episode, but the main course was a podcast episode we intercepted from yet another universe. The podcast is an improvised one called PodCast Aside. On it, versions of ourselves celebrated its one-year anniversary by "reviewing/recapping" Delayed Replay, which in their universe never got off the ground. I know. There are so many layers to this. Plus, toward the end, there is a voice message from the other me whom you may have heard on this show before. He watched Spiral: From the Book of Saw and shared his non-spoiler thoughts. Celebrate by listening to all this wonderful chaos! Show Notes: 3:23 - Check out the very first episode, where the topic was A Quiet Place Part II. 6:30 - Check out IPC's Fandom Empire Premiere. 9:40 - Check out the Jungle Cruise episode. 11:35 - Check out the FastX episode. 12:45 - Those who inhabit that other universe can watch F9 - Our Return to Theatres. 13:30 - Check out the F9 episode. 14:07 - Check out the Wonder Woman 1984 episode. 20:00 - Oscar Winning Moment improv game info. 20:42 - Here's that Blue's Clues image. 23:55 - PodCast Aside begins here. 24:50 - Check out Inevitable: A Classic Sci-Fi Podcast. 26:30 - Hello from the Magic Tavern episode "Five Years," which includes Hey I'm Eating Fast Food In My Car: The Podcast. 37:45 - You should also check out the Delayed Replay episode of Spiral: From the Book of Saw. 40:00 - Here's Quibi's recreation of The Princess Bride. 49:30 - How to Pronounce Leigh Whannel. (I was right.) 1:01:37 - Here's that conversation with Big Finish on Twitter. 1:06:30 - Newgrounds 1:08:30 - Check out the Space Jam 2 episode. 1:09:45 - It wasn't TYD's anniversary, but rather their episode on the Doctor Who 20th anniversary special titled 133: Napkin of Doom. 1:10:45 - Geoff Peterson Alive! Andres' Plugs: Just Two Lads | Instagram | Twitter | Venmo Dylan's Plugs: Decorative Vegetable | Twitter Email delayedreplaypodcast@gmail.com

Jacob Davis continues his class on art and the Gospel with a look at art in the post-Christian world. Included are surrealism, pop art, kitsch, and the notorious Andres Serrano. For Jacob's slides, click HERE.

Immersion (Piss Christ) is a 1987 photograph by Andres Serrano that helped Senator Jessie Helms realize his career-long dream of gutting the National Endowment for the Arts. It's a 60x40-inch Cibachrome print of a plastic Jesus figurine apparently submerged in the artist's own urine. It's a piece that is as controversial as it is misunderstood, and which highlights an important thing that many American adults forget: you have a right to free speech, not freedom from being offended. We also discuss exciting merchandising ideas! Finally, here's an article about the history of halitosis as a marketing tool and the controversial regulation which bans certain kinds of "extreme" porn in the UK. I promise it's all important, just listen to the episode.   Follow us on Instagram, Twitter, and sign up for the newsletter. ——— Meaning What is a product of it's no sam studios Created by Mason Hershenow Produced by Sean Ang and Christopher Scott McNeill Edited by Christopher Scott McNeill. Mix and additional editing by Mason Hershenow Our theme music is "January: Brief" by Mason Hershenow

Den 18 mars 2021 bjöd Studentafton in Lars Vilks till en afton om den konstnärliga frihetens gränser. Moderator var Dan Jönsson, författare, kulturjournalist och kritiker vid flera svenska tidningar samt medarbetare på Sveriges Radio.   Lars Vilks är känd för sitt skulpturala projekt Nimis i nordvästra Skåne och för Mohammed-karikatyrerna där profeten Mohammed tecknas som rondellhund. I podden pratar han bland annat om sin syn på konst som en mångtydig process där betraktarna är medskapare, om varför konst inte kan vara gränsöverskridande ständigt och om när frågan om konstens gränser förlorar sin poäng.    Aftonen finns att se i sin helhet på Youtube.   Tack till denna studentaftons sponsor – Broder Jakobs Stenugnsbageri.   Under aftonen visas några bilder och konstverk. Nedan anges vilka bilder som visas vid respektive tidsangivelse. Vid intresse kan bilderna finnas antingen via Google eller via YouTube-klippet av denna afton.  12.19: Fotografi av Lars Vilks vid litet Nimis 12.53: Fotografi av Nimis 43:44: Les Demoiselles d’Avignon av Pablo Picasso 44:39: Fountain av Marcel Duchamp 45:40: Bed av Robert Rauschenberg 45:46: Warhol's Brillo Boxes på Stable Gallery (fotografi av Fred W. McDarrah) 46:48: Statement of Intent av Lawrence Weiner 47:10: On May 9, 1969 Postcard (recto verso) 10,2 x 15,2 cm Private collection av Jan Dibbets (fotografi av Tom Haartsen) 47:59: Telegram från serien I Am Still Alive av On Kawara 48:29: Stillbild från videon Human Mask av Pierre Huyghe 50:15: Fotografi på konstnären Nina Canell 51:09: Brief Syllable (Skewed) av Nina Canell 51:24: Piss Christ av Andres Serrano

Authors Kelby Losack, Lucas Mangum, and J. David Osborne dissect the video for Rihanna's "Bitch Better Have My Money" and pivot to a discussion about edgy art in general. Bottom line: edgelords are cool, gratuity of sex and violence is subjective, bad taste is a bad take, and don't fuck with people who have money. Shoutouts to the film CHEAP THRILLS, the work of Takashi Miike, Piss Christ and the transgressive photography of Andres Serrano. What is the space for provacation in art, in particular why violent sexuality? Can even a Burger King commercial inspire a mass shooting? Plus, fearing your own darkness, Wall Street Bets, telling on yourself by cringing, the open dialogue of art vs the elitism of criticism, art as the ultimate safe space, the most extreme scene Lucas has ever written, the dystopian nature of cat videos, why discourse should be more like wrestling, kayfabe, hip hop personas, and summoning demons. VIDEO VERSION HERE.

One of our seniors, Caitlyn, presents a phenomenal brain-bending tour of Existentialism- where it originated, who the big contributing thinkers were, and how it permeates our culture today. Originally recorded on February 23, 2021. NOTE: The photograph I referenced that shows a crucifix submerged in a jar of the photographer's urine is actually from 1987. It was photographed by Andres Serrano and is often called "The Piss Christ."

Transgressions, moqueries, provocations, caricatures... L'image de Dieu est de loin celle qui a animé le plus de passions à travers les âges. Et lorsqu'un artiste blasphème le Très Haut, les réactions tombent souvent très bas. Le fait est que, le blasphème dans l'art met en équilibre deux concepts clés : la liberté d'expression, et le respect des croyances. Parfois, ces concepts se heurtent. Alors tel un équilibriste, le podcast entreprend de défendre les deux approches, à travers quelques œuvres célèbres de l'Histoire de l'Art. Tour d'horizon des appropriations artistiques du divin, des publicités, et des caricatures... Et boum! Featuring. Otto Dix ; les crucifixions dans l'art contemporain avec Bettina Reims, Pierre et Gilles, Andres Serrano et d'autres ; les publicités ; le "droit au blasphème" ; les plus vieilles caricatures du monde ; et, of course, les caricatures de Charlie Hebdo *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Suivez Art Talks sur Instagram @art.talks.podcast

Colin Peters presents ... Paco Ganga en entrevista. El cabecilla de grupos como GLAS, Lofelive y The Leadings, nos habla de su amplia trayectoria en la música y de su colaboración con Andres Serrano de RARO&MORINI llamada AFAIR. Colin Peters presents... an interview with Spanish producer Paco Ganga. The brains behind bands such as GLAS, Lofelive and The Leadings chats with Colin Peters about his remarkable career in the music industry, and about his project called AFAIR in collaboration with Andres Serrano (RARO & MORINI). 1) The Leadings - Different World 2) The Leadings - Still Words 3) Varry Brava - Ritual- Leadings remix 4) The Leadings - Friday 5) Lofelive - 2 Lovers 6) Delorentos - Secret The Leadings remix 7) Passion Pit - Carried Away Lofelive remix 8) Lofelive ft Fede Weiss - Miracle 9) Afair - Perfect Day 10) Afair - The Silver Skies 11) Glas - Hoy Todo Puede Suceder 12) Glas - Olvidar 13) Glas - ¿Qué Estamos Haciendo? 14) Glas feat Grises - No Quiero Estar Aquí 15) Glas - La Fuerza del Destino

Colin Peters presents ... Paco Ganga en entrevista. El cabecilla de grupos como GLAS, Lofelive y The Leadings, nos habla de su amplia trayectoria en la música y de su colaboración con Andres Serrano de RARO&MORINI llamada AFAIR. Colin Peters presents... an interview with Spanish producer Paco Ganga. The brains behind bands such as GLAS, Lofelive and The Leadings chats with Colin Peters about his remarkable career in the music industry, and about his project called AFAIR in collaboration with Andres Serrano (RARO & MORINI). 1) The Leadings - Different World 2) The Leadings - Still Words 3) Varry Brava - Ritual- Leadings remix 4) The Leadings - Friday 5) Lofelive - 2 Lovers 6) Delorentos - Secret The Leadings remix 7) Passion Pit - Carried Away Lofelive remix 8) Lofelive ft Fede Weiss - Miracle 9) Afair - Perfect Day 10) Afair - The Silver Skies 11) Glas - Hoy Todo Puede Suceder 12) Glas - Olvidar 13) Glas - ¿Qué Estamos Haciendo? 14) Glas feat Grises - No Quiero Estar Aquí 15) Glas - La Fuerza del Destino

Colin Peters presents ... Paco Ganga en entrevista. El cabecilla de grupos como GLAS, Lofelive y The Leadings, nos habla de su amplia trayectoria en la música y de su colaboración con Andres Serrano de RARO&MORINI llamada AFAIR. Colin Peters presents... an interview with Spanish producer Paco Ganga. The brains behind bands such as GLAS, Lofelive and The Leadings chats with Colin Peters about his remarkable career in the music industry, and about his project called AFAIR in collaboration with Andres Serrano (RARO & MORINI). 1) The Leadings - Different World 2) The Leadings - Still Words 3) Varry Brava - Ritual- Leadings remix 4) The Leadings - Friday 5) Lofelive - 2 Lovers 6) Delorentos - Secret The Leadings remix 7) Passion Pit - Carried Away Lofelive remix 8) Lofelive ft Fede Weiss - Miracle 9) Afair - Perfect Day 10) Afair - The Silver Skies 11) Glas - Hoy Todo Puede Suceder 12) Glas - Olvidar 13) Glas - ¿Qué Estamos Haciendo? 14) Glas feat Grises - No Quiero Estar Aquí 15) Glas - La Fuerza del Destino

Today's Topics: 1) Review: Relive the terrifying summer of ’85 with Netflix’s haunting ‘Night Stalker’ series https://www.latimes.com/entertainment-arts/tv/story/2021-01-13/netflix-night-stalker-richard-ramirez-review 2] eBay allows these sellers to use Andres Serrano’s sodden and blasphemous photo of the ‘Madonna & Child’ on the fronts and backs of auctioned T-shirts, …https://americaneedsfatima.org/forms/E21500.html?lang=en&goal=0_809ee6c081-166297ed93-34967315&mc_cid=166297ed93&mc_eid=30851a482a 3-4]Will everybody be saved?    

What is blasphemy? Thanks for asking!An act of blasphemy is an insult or offence committed towards a deity. Blasphemy is often a sensitive subject, and one which can lead to tragic consequences. So should insulting God or a religion be a crime or recognised as a basic right? The Abrahamic religions of Judaism, Christianity and Islam have long condemned blasphemy. In the Middle Ages, the notion was written into law in certain places. It was feared that insults to god would anger him into causing natural disasters and contagious diseases. Is blasphemy still illegal in this day and age?It is indeed in some places, such as Italy where blasphemy is clearly outlawed. gavel Meanwhile in Germany, Poland and Greece among other countries, there are laws against religious defamation which could apply to blasphemy. In Saudi Arabia or Iran, blasphemy is punishable by the death penalty. Other countries have actually gone the other way and scrapped previously existing blasphemy laws, like Denmark in 2017. That was the case in France too as far back as 1881, when a law on freedom of the press was introduced. Sometimes, the legal distinction can be subtle. While it may not be illegal to make general criticism of a religion, it is usually a criminal offence to insult somebody based on their faith.There has long been a tradition of drawing religious figures in satirical cartoons or works of art. Think about the Piss Christ painting created by Andres Serrano back in 1987, or more recently the French magazine Charlie Hebdo, which has frequently published cartoons depicting the Muslim prophet Mohammed.Such works make national or even international headlines, generating significant public debate. Amid the controversy, there is often a violent backlash from religious extremists.If national laws are clear on the subject, why is there still so much debate around blasphemy? In under 3 minutes, we answer your questions!To listen the last episodes, you can click here: What is mental health?What is antimicrobial resistance?What is K-Pop? See acast.com/privacy for privacy and opt-out information.

Erykah “E.T.” Townsend is a pop artist using pop-culture imagery to comment on consumerism, breaking down traditions, and life in general — her work picks up where Andres Serrano, Jean Michel Basquiat, and Andy Warhol left off. We talk about being Afropunk, Freak Stylee and exploring creative identity, and how to be “Boujie.” We explore the Dirty Bubble, the Plain White World, getting bullied (and revenge) at Arby's, Mr. Rogers, the challenge of parenting a young creative Black child, the everyday knee on the neck, and when this dude tried to Karen me. It's the cool life on #conversationforadults Resources: E.T.'s art: https://www.milkcrate.studio/ (milkcrate.studio) Instagram: https://www.instagram.com/milk__crate/ (@milk__crate) https://conversationforadults.com/episodes/38 (“38. Photographer Amber Ford: Ebony Eyes”) Let's Talk: Website: https://conversationforadults.com/ (conversationforadults.com) Instagram: https://www.instagram.com/conversationforadults/ (@conversationforadults) Facebook: https://www.facebook.com/conversationforadultswithjimiizrael/ (facebook.com/conversationforadultswithjimiizrael) Twitter: https://twitter.com/convoforadults (@convoforadults) Conversation for Adults is a production of http://crate.media (Crate Media)

At last, an episode about the ninth installment of the saga. No, not The Rise of Skywalker. Try again. No, we already did F9. Sorry to keep you in SAW-spense, but it's Spiral: From the Book of Saw. That installment of the SAW-ga where Osmosis Jones is Zeke Banks and Mace Windu is his dad Marcus Banks. Yes, we went on those tangents. I was joined by Andres Serrano, of course, seeing how we were still trapped in a room next to the one we tried escaping from in the Escape Room 2 episode. As we talked about Spiral on what is now the longest episode of Delayed Replay, we showed off what huge Saw fans we were and even talked about Saw fanfiction, The Office (again), and Community. Let the game begin! Show Notes: 1:02:15 - It was at Monsterpalooza in April 2018. 1:12:35 - Yes, this was inspired by How Star Wars Is It? Andres' Social Media: Instagram Just Two Lads Podcast: Anchor | Instagram | Spotify Delayed Replay plugs: Email your thoughts about these movies and our coverage to delayedreplaypodcast@gmail.com! Facebook | Instagram | Twitter | YouTube Apple Podcasts Google Play Spotify Steven Shinder plugs: Facebook | Instagram | Twitter | Website Standalones and Stepping Stones: Lemons Loom Like Rain Culture Slate: Facebook | Instagram | Twitch | Twitter | Vocal | Website | YouTube

In this episode we discuss Piss Christ by Andres Serrano. Who would have thought dunking Jesus in a jar of urine could be offensive? It turns out that behind the obvious first impression caused by this piece is a fascinating artist and body of work that involves a lot of other ... bodily fluids. Seriously, though, there's more here than meets the eye.www.andewsserrano.orghttps://sufferingfromartism.buzzsprout.com

So. Andres Serrano and I found ourselves trapped in an escape room. To get out, we had to talk about Escape Room 2. Is this a win for us? Listen and find out! We talk about what kinda worked, what really didn't work, and how we would feel if there were a third movie. (Spoiler: They don't get to Manhattan, so I guess they added padding here to save that location for a possible third movie.) Also, there are multiple movies titled Escape Room. So make sure you see the 2019 one if you're going to see the sequel. Show Notes: 36:00 - Triple Play's episode on the Fred trilogy here. Andres' Social Media: Instagram Just Two Lads Podcast: Anchor | Instagram | Spotify Delayed Replay plugs: Email your thoughts about these movies and our coverage to delayedreplaypodcast@gmail.com! Facebook | Instagram | Twitter | YouTube Apple Podcasts Google Play Spotify Steven Shinder plugs: Facebook | Instagram | Twitter | Website Standalones and Stepping Stones: Lemons Loom Like Rain Culture Slate: Facebook | Instagram | Twitch | Twitter | Vocal | Website | YouTube

What would YOU have titled the new Candyman movie? Was it confusing to you as well that, despite being in the same continuity, it has the same title as the first one? Andres Serrano is back to guest host on this one. He'd seen only the first one before this one (which mainly continues a thread from the first one). I've seen all three and I recap them for him before we dive into our thoughts on this newer one and what it had to say. And of course, we went on some fun tangents, including such topics as guilty pleasure movies and things from the ‘90s that should be brought back! Give this a listen! Show Notes: 4:15 - Going to Pieces: The Rise and Fall of the Slasher Film. That's what it was called. 6:05 - Candyman (1992) recap 9:08 - Candyman: Farewell to the Flesh recap 10:30 - Candyman: Day of the Dead recap 13:30 - Candyman (2020) discussion begins. 17:40 - Single-handedly? I should've pointed out how fitting that word is. 28:00 - The Lego Movie was the movie that was escaping me. 49:20 - Infinity War but there's a laugh track 49:40 - Shrek-It Ralph 50:15 - Fresh Guacamole (again) 50:45 - Kandyman article on the TARDIS Wiki. Also, here's an article called “Some Idiot Defends the Kandy Man.” 59:40 - Men in Black: International is in the same continuity as the original trilogy. But in my head, I thought it was a “reboot” in the sense that it MIB was reinvented with a new cast and such. 59:50 - For some reason, I neglected to mention that the first RoboCop film came out 1987 and that a new one called RoboCop Returns, which will also follow the trend of being a direct follow-up to the first film and ignoring the sequels. 1:00:15 - I also neglected to mention that the first Die Hard movie came out 1988. 1:02:55 - Obviously, there's the Serenity movie and the Firefly comics. 1:07:10 - The drink was called ‘What the Flock,' which was made with Blue Chair Bay Rum. Andres' Social Media: Instagram Just Two Lads Podcast: Anchor | Instagram | Spotify Delayed Replay plugs: Email your thoughts about these movies and our coverage to delayedreplaypodcast@gmail.com! Facebook | Instagram | Twitter | YouTube Apple Podcasts Google Play Spotify Steven Shinder plugs: Facebook | Instagram | Twitter | Website Standalones and Stepping Stones: Lemons Loom Like Rain Culture Slate: Facebook | Instagram | Twitch | Twitter | Vocal | Website | YouTube

In this episode, we discuss the long history of bathing, bathrooms, toilets, and bodily functions portrayed in Western Art. We touch on latrinalia, Immersion (Piss Christ) by the American artist and photographer Andres Serrano, and a rather unusual painting by 16th-century Venetian painter Lorenzo Lotto. We interview some of you about what kind of art you have in your bathroom and why, and we have a fascinating conversation with art historian Sarah Kleinman of Virginia Commonwealth University.

This episode has spoilers. Like, for real. But I've included time stamps in the show notes so that anyone afraid of spoilers can navigate around them. As my friend Andres Serrano suggested, we had a fun discussion about The Walking Dead #193, which would've been a perfect ending had it not been for the three issues that came after. We only spent a few minutes talking about those. They're that bad. We also learned about the new one-shot Negan Lives while recording this, so you'll also hear a segment of me talking about that! Time Stamps: 6:22-6:35 - Paraphrased Creed quote from The Office (US) series finale. 10:00 - Issue 193 spoilers begin . 11:45-14:10 - Side tangent on original Star Wars comic series by Marvel (without spoilers). 15:55-16:10 - Spoilers for Gears of War 3 33:10-34:45- Spoilers for Star Trek: Legacy of Spock. 41:20-42:00 - Spoilers for the end of New 52's Animal Man. 42:00-43:00 - Spoilers for the end of Red Dead Redemption (2010). 43:00-44:25 - Side tangents on poker and Fresh Guacamole short. 44:30-48:00 - Issues 194, 195, and 196. 48:20-50:20 - Story of the time I met Robert Kirkman. More details on the photos in this Facebook album. 50:20-52:35 - Our reactions to the Negan Lives news. 52:35-1:08:10- Negan Lives segment 1:08:10 onward - Final thoughts (without spoilers) and scores. Andres' Plugs: Instagram Delayed Replay plugs: Email your thoughts about these movies and our coverage to delayedreplaypodcast@gmail.com! Facebook | Instagram | Twitter | YouTube Apple Podcasts Google Play Spotify Steven Shinder plugs: Facebook | Instagram | Twitter | Website Standalones and Stepping Stones: Lemons Loom Like Rain

Alain Servais is a contemporary art collector based in Belgium. He started his collection in the 90’s with photographs by Nan Goldin or Andres Serrano. He is known for attending numerous art fairs and for defending independent art galleries. Now The Servais Family Collection features several hundred works from international artists working in a variety of mediums, including digital art, and with one notable distinction, there are no paintings. As an entrepreneur in banking and finance, Alain Servais is also an accurate observer of the art market and a very active commentator of the art world through articles and social networks. #AlainServais Alain Servais Twitter account : https://twitter.com/aservais1 Alain article : http://sfaq.us/2014/11/art-in-the-shadow-of-art-market-industrialization-moving-toward-a-sustainable-ecosystem/ #Art #AskAGO #ArtGoesON https://www.instagram.com/askartgoeson/

We've been silent long enough, but now we're talking movies! Welcome to Delayed Replay. I had my good friend Andres Serrano as a guest on this episode where we reviewed A Quiet Place Part II, released worldwide on March 18, 2020. How well does this sequel stack up against the phenomenal first film? Does the horror work with the comedic elements that were thrown in? Listen and hear our thoughts on it!

Benvenuto a nuestra ultima edición especial de Fantasy Deporte!  Tenemos el privilegio de conversar con nuestro amigo desde Milan, Italia, el Chef Andres Serrano!  Escucha su perspectiva sobre la cocina, sus recetas para el tiempo de cuarentena, y equipo favorito del futbol italiano.  Fantasy Deporte para toda tu información del mundo de fantasy deportes (y comida) latino.  #fantasydeporte #chef #comebien #quedateentucasa #chefchamorro #queen #ecuador #chefandresserrano #italia #italy #comeentucasa #latinfood #boomshakalaka

What you’ll learn in this episode: How Galerie MiniMasterpiece works with artists and designers to create and showcase small scale wearable art. The renowned artists and designers Esther has worked with and the pieces they have created. How the avant-garde jewelry scene in Paris has begun to grow in international profile. Why American women are seen as more free in their style choices compared to European women. About Esther de Beaucé: Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects’ jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther’s passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Additional resources: Website Instagram

Under the conservative Reagan administration, the 1980s was a constraining time for any artist who tried to push the envelope. Especially vilified during this era were photographers Andres Serrano and Robert Mapplethorpe. Join our hosts as they reveal governmental censorship and discuss the work that was considered an aberration on society.

This week we chat with artist, arts organizer, and lovely biracial unicorn Helen Atkins. You can find more information about her on her website or on instagram @helenjuliet_art and @platesagainstpatriarchy.In this episode we discuss matters of art and race. Our talented guest Helen Atkins opens up about how her mixed heritage impacts her artwork. We asked questions ranging from, _what are you?, is art on the “white list”?, to what artists of color should we be looking out for? _We also spend sometime hearing about the collaborative art project of Plates Against Patriarchy, an artistic and visual response to the 2016 election. Here Atkins shares her feelings of being a women of mixed race (and daughter to an immigrant) and how those feelings manifested into this unique project. We here at Biracial Unicorns encourage (those who are able) to check out their exhibit (see above for details). Thank you so much to Helen Atkins for her time and sharing her experiences with us, we had a blast! We end with sharing our Happy Place(s) with Helen! More information about Helen's artistic influences: Genevieve Gaignard and Andres Serrano can be found at their respective websites. Thanks to Josef Scott of Citizens of Tape City for our theme music and Dollipop Art for our podcast artwork - you can find her on instagram @dollipop.art.We want to hear from you! If you have a question you'd like us to answer or a topic you'd like us to cover on the show, drop us a line at biracialunicorns@gmail.com.Like us on facebook or follow us on instagram to join in on the discussion - we're @biracialunicorns. We're now on twitter as @biracialmagic so catch us there too.Please review us wherever you get your podcasts or even better - steal your friend's phone and subscribe so they have to listen. :DFind out more at https://biracialunicorns.pinecast.coThis podcast is powered by Pinecast.

Source La vie Edition du 22 janvier 2015 (n°3621) QU’EST-CE QUI EST SACRÉ ?Le christianisme, religion de la sortie du sacré ? Publié le 21/01/2015 à 11h00 - Mahaut Herrmann Quand Pierre a appris que la nouvelle pièce de Romeo Castellucci, Sur le concept du visage du fils de Dieu, mettait en scène des excréments devant un portrait du Christ, il a décidé d’aller manifester. Le jeune étudiant se justifie : « Le Christ est une figure importante dans ma vie et je considérais que ce spectacle, et d’autres, portaient atteinte à Jésus. » Face à la pièce Golgota Picnic, de Rodrigo Garcia, au tableau Piss Christ, d’Andres Serrano, aux actions des Femen, ou encore aux caricatures du pape et de la Trinité dans Charlie Hebdo, un cri du cœur semble fédérer les opposants : « On a touché au sacré ». Comme une évidence. La notion d’inviolabilité Oui mais… qu’est-ce qui, pour les catholiques, est fondamentalement sacré ? Marie, 37 ans, professeure de lettres, pense immédiatement à la citation de Jean Vanier : « Tout homme est une histoire sacrée. » Pour Laurence, célibataire consacrée, « ce qui “touche” au Christ est de fait sacré : la vie, les lieux et les objets du culte… » Certains étendent la notion aux questions d’éthique, voire de politique. Ainsi Marie, 22 ans, étudiante, explique que « Dieu, la Bible et la vie, et tout ce que ça implique concernant l’IVG, l’euthanasie et la dignité d’autrui » sont sacrés « d’un point de vue religieux ». D’autres défendent une vision plus restrictive. Jacques, journaliste et essayiste, en est certain : « Les seules choses réellement sacrées, ce sont le corps et le sang du Christ. » Une position que Christine approuve : « Il n’y a pas d’objet sacré en dehors des espèces eucharistiques », « les relations avec Dieu » l’étant aussi. Le magistère tranche-t-il le débat ? Pas vraiment. Le Catéchisme de l’Église catholique (CEC) ne donne pas de définition du sacré, sinon en creux : il en parle en traitant… du sacrilège et du blasphème. L’article 2010 affirme que « le sacrilège consiste à profaner ou à traiter indignement les sacrements et les autres actions liturgiques, ainsi que les personnes, les choses et les lieux consacrés à Dieu. Le sacrilège est un péché grave surtout quand il est commis contre l’Eucharistie puisque, dans ce sacrement, le Corps même du Christ nous est rendu présent substantiellement. » En même temps, le CEC reconnaît que les réalités sacrées sont nombreuses et établit une hiérarchie entre elles. De quoi laisser quelque latitude à la conscience. Mais s’il semble facile de citer ce qu’on tient pour sacré du côté catholique, il est plus compliqué d’expliciter pourquoi. « Le sacré, c’est ce pourquoi je suis prêt à mourir si on veut le détruire ou le profaner », ose Charles. Ce retraité « catho de gauche » se souvient du jour où le tabernacle de l’église paroissiale a été vandalisé. « Quand j’ai vu les hosties répandues partout, j’étais bouleversé. Un geste aussi volontairement blessant est un viol de conscience pour la communauté. » Il n’est d’ailleurs sans doute pas anodin que les tentatives de définir le sacré ont lieu le plus souvent après des provocations artistiques conçues pour susciter les réactions des croyants. Serait-ce que le sacré dépasse l’intelligible, pour atteindre le plus profond de l’instinct de l’homme religieux ? François Euvé, jésuite, rédacteur en chef de la revue Études, abonde en ce sens. « Le sacré, c’est ce qui est indisponible, inviolable, ce sur quoi on ne peut pas mettre la main, qu’on ne peut manipuler. Le lieu sacré est le lieu inaccessible. » Et cette inaccessibilité a un effet : « L’objet sacré est celui qu’on ne peut pas toucher, ou dans des circonstances particulières. Un personnage sacré est quelqu’un que l’on doit respecter absolument. Porter atteinte au sacré relève du blasphème », ajoute-t-il. Du blasphème à la désacralisation Nous voilà revenus à cette notion de blasphème, décidément centrale. À l’époque de Piss Christ et de Golgota Picnic, en 2011, certains catholiques avaient manifesté, comme Pierre. D’autres s’étaient retrouvés pour prier et méditer sur la passion du Christ, comme à Paris, à l’appel du cardinal André Vingt-Trois. Et il y avait eu tous ceux qui avaient adopté la ligne du curé de campagne de Bernanos : « Vous pourriez lui montrer le poing, lui cracher au visage, le fouetter de verges et finalement le clouer sur une croix, qu’importe ? Cela est déjà fait. » Le blasphème, atteinte suprême au nom de Dieu, à l’Église et au sacré ? Pas seulement. L’article 2148 du CEC ajoute qu’« il est encore blasphématoire de recourir au nom de Dieu pour couvrir des pratiques criminelles, réduire des peuples en servitude, torturer ou mettre à mort. L’abus du nom de Dieu pour commettre un crime provoque le rejet de la religion ». De quoi élargir encore l’idée du sacré, en l’étendant à l’être humain, créé à l’image de Dieu. Une vision qu’on retrouve dans le protestantisme. « Pour un protestant, il n’y a rien de sacré, sinon Dieu lui-même, et la vie qu’il a donnée à l’humain », explique Gilles Boucomont, de l’Église protestante unie de France, pasteur du temple du Marais (Paris IVe). Une position à laquelle souscrit Florent Varak, pasteur de l’Église évangélique protestante de Villeurbanne-Cusset (Rhône) : « Les conséquences de la mort et de la résurrection du Christ sont radicales sur la notion de sacré. Il n’y a pas de lieux sacrés, pas d’objets sacrés, pas d’hommes sacrés, si ce n’est l’ensemble des rachetés en qui l’Esprit vit. » Comme de nombreux fidèles, Laurence insiste aussi sur l’importance du lien entre ce qui est sacré et la personne du Christ. « Pour moi, de plus en plus, le sacré est d’abord une personne. Des choses sont sacrées en tant qu’elles touchent au Christ, qu’elles ont un rapport avec lui. Là, tout devient sacré, si je puis dire : la vie, le travail, etc. » Lucie, mère de famille et orthophoniste, a fait une expérience semblable : « Tout ce que nous avons sacralisé au cours de l’Histoire ne me semble être au service que de cela : nous permettre de comprendre et de croire que notre vie vient de Dieu et va vers Dieu. » De quoi se demander si, en fin de compte, le christianisme ne serait pas la religion de la désacralisation : plus de sources sacrées, de bois sacrés, de statues sacrées, mais une source unique de sacralité, le Christ. Les protestants en sont convaincus. Mais l’hypothèse passe mal chez certains catholiques. Vers une resacralisation du monde L’idée du christianisme comme sortie du sacré, sur le modèle de la fameuse thèse de Marcel Gauchet sur la« religion de la sortie de la religion », fait ainsi bondir l’abbé Guillaume de Tanoüarn, de l’Institut du Bon-Pasteur (traditionaliste) : « Le sacré, c’est d’abord ce qui nous permet une réappropriation du temps. On peut dire après Péguy : “Les événements, dit Dieu, c’est moi qui vous aime”. Faut-il penser que l’espace n’est pas touché par cette immense tentative de resacralisation du monde qu’est l’Incarnation, continuée en chaque homme ? » Malgré leurs divergences ecclésiologiques et liturgiques, François Euvé le rejoint partiellement. « Le christianisme est pour une part complice de cette désacralisation du monde, car la religion biblique insiste sur l’absolue transcendance de Dieu : rien de ce qui est dans ce monde ne peut représenter Dieu. Mais pour une part seulement, car l’Esprit de Dieu est partout présent. Si le christianisme accompagne la naissance de la civilisation moderne, il doit aussi en critiquer les dérives. »

I Sølvberget galleri presenteres et utvalg av utstillingen «HEN - Flytende kjønn». Kurator av utstillingen,Tone Lyngstad Nyaas, gir en innføring og presentasjon av kunstnere og deres verk. Her vil vi bl.a. bli bedre kjent med Andres Serrano, Nan Goldin, Narve Hovdenakk og Ming Wong med flere. Utstillingen vises på Sølvberget galleri fra 26. januar til 24. mars 2019.

Listen to Miss Art World and Lisa discuss the exciting openings of Frieze LA and six other art fairs going on this weekend in Los Angeles. Also up for discussion is artist Andres Serrano's newest auction purchase of a mini chocolate cake wedding favor from Donode Trump's wedding. Art news is also a hot topic of conversation and today's discussion is artist Jennifer Rubell's art performance piece "Ianka vacuums".

Discover Andres Serrano investigation from his "Morgue" series--I will focus on the image "Fatal Meningitis II" Visit the artist's website at andresserrano.org and I want to acknowledge Bomb magazine 1993 article and interview with Serrano. It provided me a great resource for this podcast episode. You can also see the image at Beyond the Paint Podcast on Instagram.

Discover Andres Serrano investigation from his "Morgue" series--I will focus on the image "Fatal Meningitis II" Visit the artist's website at andresserrano.org and I want to acknowledge Bomb magazine 1993 article and interview with Serrano. It provided me a great resource for this podcast episode. You can also see the image at Beyond the Paint Podcast on Instagram.

Andres Serrano is an American artist notorious for the controversial content of his photographic works. His best-known pieces are large format images of objects (frequently religious in nature) and studio portraiture, often featuring titles that unambiguously describe the process of creating the work. These processes have included submerging a crucifix in urine, taking photographs of recently deceased bodies just brought into a city morgue, and producing portraits of members of the Ku Klux Klan. Homelessness in the Ku Klux Klan. Homelessness in wealthy cities is such an extreme form of inequality that it is often easier to ignore it than show empathy. Andres Serrano's giant portraits from his ‘Residents of New York' and ‘Denizens of Brussels' series make it impossible to turn away from his homeless subjects. Listen to a conversation about his work at a time when Australia is dealing with its own homeless crisis. This event was recorded live in Paddington, Sydney.

On this episode, we take a left turn and talk about Christianity in pop culture. Deb, Craig and I list the movies, songs and other pop culture references that references God (the Piss Christ artwork of Andres Serrano; Madonna's Like a Prayer, the musicals Godspell and Jesus Christ Superstar) and how movies and music has viewed God though the years, from On The Waterfront and the epics like The Ten Commandments of the early '50s to modern movies like First Reformed. Tell us the movies, television shows and songs that reference Christianity and resonates with you.

Andres Serrano: Works 1983-93 opened at The New Museum of Contemporary Art in Soho in early 1995. It was a mid-career retrospective, and I went there to interview the controversial artist for the PBS station WNYC TV. His infamous “Piss Christ”, among other ecclesiastical subjects, was prominently featured, as well as images of Ku Klux […] The post Andres Serrano @ The New Museum of Contemporary Art appeared first on ThoughtCast®.

This podcast is a recording of a talk I gave at the Faith & Reason conference in Pretoria on 16 April 2016. In this I offer a few musings—via the philosophies of GK Chesterton and Slavoj Zizek, the artworks of Marcel Duchamp and Andres Serrano, and a poem by Andrew Hudgins—on art, frames, consumer culture, and the critique of ideology that we find offered by a cruciform Christian theology.

More at http://philosophytalk.org/shows/art-and-obscenity. What do Marcel Duchamp, Damien Hirst, and Andres Serrano have in common? They’ve all created modern works of art that have shocked and outraged the general public, causing many to question whether these works have any artistic value at all. But isn’t it the purpose of art to incite inquiry and question conventional moral wisdom? If so, then a strong public reaction would seem to prove the artistic merit of these works. So, is there a clear line to be drawn between genuine art and mere obscenity? Or has shock value simply replaced cultural value in the world of contemporary art? John and Ken curate their conversation with Stanford art historian Richard Meyer, author of "What Was Contemporary Art?"

Ett 33 centimeter högt krucifix i plast och trä placerat i konstnärens urin. Ljussatt så att Kristusbilden tycks bada i ett bärnstensgyllene skimmer. Utan titeln är bilden bara vacker. Vi backar bandet till 1980-talet. En tid då många konstnärer experimenterade med kroppsvätskor. Så också Andres Serrano. Blod, urin och sperma fick ny politisk innebörd i och med AIDS-epidemins spridning.Men som om det inte räckte tog Andres Serrano kroppsvätskorna in i en religiös bildvärld. Stoppade ned alltifrån reproduktioner av Leonardos Nattvarden till Madonnafigurer i Urin. Men inget verk blev så hatat och omdebatterat som just Piss Christ.Cecilia Blomberg om ett av den samtida konstens mest omdebatterade konstverk som inte minst retat upp den kristna högern i USA.

Marockanskt kulturcenter mot radikalisering av unga, det ryska kulturlivet under allt hårdare tryck och diskussionen om Andres Serranos krucifix i urin fortsätter att väcka starka känslor i USA.  I tredje programmet i serien besöker vi Moskva och Casablanca, talar med gruppen Teateretablissemanget om prekariatet och otryggheten på den moderna arbetsmarknaden samt med Andres Serrano om frihetens gränser i fotokonsten. I över 25 år har det stormat kring bilden "Piss Christ", den amerikanske konstnären Andres Serranos foto av ett krucifix nedsänkt i konstnärens eget urin. Efter terrordåden i Paris i januari i år drog debatten igång med ny förnyad kraft. "Om det är så känsligt med bilder av Muhammed, hur kan den där Serrano få hålla på med det han gör?" citerar Andres Serrano ur en tv-intervju med en företrädare för en katolsk lobbygrupp i USA efter terrordådet mot bl a "Charlie Hebdo" i Frankrike. Den distinktion Andres Serrano själv gör att han är troende katolik. "Den kristna bildvärlden är min" säger han. Andres Serrano tycker sig däremot inte ha rätt att göra bilder om en religion som inte är hans egen och han har också sagt att han drar en gräns vid barn. Debatten om frihetens villkor och pris har varit intensiv efter de dödliga attackerna i Paris i januari mot satirtidningen Charlie Hebdo och en judisk butik. Diskussionen tog ny fart efter terrordådet i Köpenhamn i februari när bland andra svenske konstnären Lars Vilks skulle framträda. Och i Ryssland strax därpå blev mordet på oppositionspolitikern Boris Nemtsov en signal om att insatserna för oliktänkande höjts ytterligare. Kulturreportaget ger sig i en serie på fem program ut i världen för att undersöka frågan "Var slutar friheten?". Följ med till Tunisien, Marocko, Ryssland, Frankrike, Turkiet, USA och Sverige för en diskussion om våra föreställningar om vad frihet är. Medverkande i det andra programmet: Anastasia Patlay, Andres Serrano, Nabil Ayouch, Roland Paulsen, Guy Standing, medlemmar ur gruppen Teateretablissemanget, m fl Reportrar: Cecilia Blomberg, Fanny Härgestam, Katarina Wikars och Fredrik Wadström.

Med två aktuella utställningar - Jeff Wall på Louisiana och Andres Serrano på Fotografiska - blir det fokus på foto i Kritiken som också diskuterar kulturtidskrifternas roll idag. Kritikens Karsten Thurfjell har träffat kanadensaren Jeff Wall på det danska konstmuseeet Louisiana, som just har öppnat en stor retrospektiv över den inflytelserika fotografen. Samtidigt visas fotografen Andres Serranos bilder på Fotografiska i Stockholm. Hans motiv rör sig ofta kring sex och religion, något som ofta har väckt starka reaktioner och protester. Samtal med kulturredaktionens Cecilia Blomberg, som också träffat konstnären. Och, vilken roll har kulturtidskrifterna i den offentliga debatten numera? Diskussion i studion med Mireya Echeverria Quezada, chefredaktör på Bang och förläggaren Björn Linnell, som var redaktör på Ord och bild på 80-talet. Programledare Gunnar Bolin Producent Maria Götselius

This week's guest is writer/producer Jessica Pilot. Jessica has written for The Observer, Vabity Fair, The Huffington Post, Movie Maker, SplitSider, Glamour, and many others. Pilot currently runs a 40-second online interview video series for NowThisNews called #RANTS. RANTS has featured everyone from Colin Quinn to Andres Serrano, Elizabeth Wurtzel, and Nina Khrushcheva in between.

* Buñuel, The Virgin Mary and some Gin is an extended minimalist existential mediation on the nature of class, revolution and the perfect martini with master filmmaker Luis Buñuel's magnificent musings the perfect recipe for this classic cocktail compared to the Annunciation of the Virgin Mary. *this episode contains a punchline playlist Ananda Lahari  clogs Heijastuva Ø Anksiolyytti Ø Arctic Hysteria  The Residents 013 +- 6.18   Christian Fennesz Carillon Michael Harrison Animus Redhooker Minor Key Simon tyszko Un Chien Andalou (French pronunciation: [œ̃ ʃjɛ̃ ɑ̃dalu], An Andalusian Dogfrom the 1929 film by Buñuel and Dali Piss Christ is a 1987 photograph by the American artist and photographer Andres Serrano   simon tyszko ' worry'Perhaps an underlying theme for this episdoe and one echoed by the text and 'punchline' as narrated by tyszko at the end    

Kosmo handlar om Jesusgestalten. Vem skulle han vara idag och hur får man gestalta honom? James Frey är kanske mest känd för ha suttit hos en kränkt Oprah Winfrey och förklarat varför han ”ljugit” i sin bok Tusen små bitar. TV-stjärnan Oprah Winfrey hade verkligen gillat  James Freys bok och hösten 2005 blev boken utvald till Oprah´s Book Club, vilket ledde till toppnoteringar för James Freys roman på New York Times bästsäljarlistor. Boken som marknadsfört som helt sann och självupplevd visade sig bitvis vara god fiktion. Frey hotades att stämmas, jagades av paparazzifotografer och kände sig tvingad att med sin familj lämna landet och leva i Europa under en period. Nu är han åter aktuell med romanen Sista testamentet, där han tagit på sig uppgiften att skildra en slutgiltig version av en Messias han själv skulle kunna tro på. En Jesusgestalt på New Yorks gator, utrustad med samma övermänskliga krafter som den Jesus vi känner från Nya Testamentet. Men Freys Jesus är drogliberal, bisexuell, med en uteliggares attribut och med ett kärleksbudskap som inte på något vis utesluter ett vilt, fritt sexliv. Marie Lundström har träffat James Frey på plats i New York, där han jobbar och bor. Patricia Lorenzoni är idéhistoriker vid Göteborgs universitet och aktuell med boken Mama Dolly - bilder av moderskap från jungfru Maria till Alien. Anneli Dufva tog tåget till Göteborg för att träffa henne och höra hennes tankar om moderskap, kön, helighet och om Jesus som gestalt. Hur förhåller man sig till bilderna av Jesus ur ett feministiskt perspektiv? 1989 var startskottet för en av vår tids mest långdragna konststrider. Konstnären Andres Serrano hade placerat ett litet plastkrucifix med Jesus i en behållare som han fyllt med sin egen urin. Fotografiet har kantats av konstpolitiska bråk och skandaler, inte minst i Serranos hemland USA där frågan nått ända in i senaten.  Så sent som förra året vandaliserades också fotografiet på en utställning i Avignon i södra Frankrike. Anders Serrano som själv är född katolik har sagt att han gjorde Piss Christ som en kommentar till hur religion så ofta missbrukas. Cecilia Blomberg berättar Piss Christs historia. Och så rapporterar Sveriges Radios kulturkorrespondent Gunnar Bolin från Zürich där Elfride Jelinek har haft världspremiär med sin tolkning av en av de stora klassikerna: Faust. Prodgramledare: Anneli Dufva Producent: Marie Liljedahl

Snittet handlar idag om fotografi, digitala naturupplevelser och om shopping som tar en allt större del i människors liv - inte bara när det är julhandel. Programledare är Mia Gerdin. 1) Fotografen Karolina Henke intervjuas i samband med sin utställning One of a kind på Abecita Konsthall i Borås, 14/11 2009 - 7/2 2010. Hon intervjuas av Mia Gerdin, musikillustrationer med Madonna och Gwen Stefani. 2) En konstnär som intresserat sig för köpcentrat som plats är Mattias Åkeson från Söderköping. Just nu kan man ta del av hans konstnärliga arbetsprocess i boken Northern Comfort med foton och kommenterande texter. Boken ingår i utställningen Labyrint på Botkyrka konsthall i Tumba utanför Stockholm. Anna Tullberg intervjuar honom i Botkyrka. 3) Vad blir effekten av att vi vänjer oss vid en bild- och ljudvärld som ständigt är "larger than life"? Karsten Thurfjell har träffat Sindre Magnusson, projektledare inom upplevelseindustrin i sydöstra Skåne, som tagit till nya hjälpmedel för att h - Det låter klyschigt men jag tycker verkligen att varje människa är unik, säger fotografen Karolina Henke som just nu har en stor utställning på Abecita Konsthall i Borås. För att riktigt bevisa sin tes visar hon upp bilden av ett skrattande tvillingpar, så lika men samtidigt så olika.  – Deras DNA är lika, men ändå tittar deras olika personligheter fram på bilden, säger Karolina som följdriktigt kallar sin utställning för One of a kind. För flera år sedan jobbade hon som assistent åt den kontroversielle fotografen Andres Serrano i New York, som använder urin och skit i sina bilder (hans senaste utställning i New York heter just Shit), och det hon tycker hon har lärt sig av honom är att begränsningarna finns inom en själv. Henke använder modeller som hon hittar på gatan – personer hon tycker ser speciella ut och som hon frågar om hon får fotografera. De dryga 80 bilderna på utställningen visar ett nära samarbete mellan fotograf och modell. Mia Gerdin har varit i Borås, sett utställningen och pratat med Karolina Henke.

Celebrated artist Andres Serrano became the centre of controversy in 1989 for Piss Christ, a graphic image that combined Catholic iconography and body fluids. The scandal that this work - alongside Mapplethorpe's homo erotic imagery - provoked, resulted i

P1 torsdag 9 oktober kl 14.03 samt 12/10 kl 18.15 K1 träffar kulturutredaren Eva Swartz och talar försörjningsfrågor, åker till New York och träffar konstnärer och poeter och frågar hur de överlever, läser en bok om CIA:s hemliga kulturpolitik under kalla kriget, och frågar sig hur fri konsten egentligen är när den är näringslivsfinansierad: får man till exempel ställa ut rökare i NK:s skyltfönster. Lars Hermansson gräver den i urgamla frågan om hur kulturen ska bekostas, av vem och varför.Medverkande: Ragna Berlin, Charles Bernstein, Mahmud Darwish, Kenny Goldsmith, Johan Jönsson, Marianne Lindberg de Geer, Jackson Pollock, Andres Serrano, Birgitta Stenberg, Eva Swartz och Anne Tardos.

A conversation about art school, the Milgram Experient and Andres Serrano photos as bible covers with graphic designer and novelist Chip Kidd, the man responsible for countless bestselling (and some not-quite-bestselling) book jackets. His new novel is The Learners: The Book After The Cheese Monkeys.