Podcasts about Andrew Wyeth

En la lección de hoy, nuestro artesano, Pablo Ortiz de Zárate, nos trae la obra del pintor estadounidense Andrew Wyeth. En especial su cuadro más famoso y controversial 'El mundo de Cristina', una de las obras más reconocidas del arte estadounidense y que es un homenaje a la resistencia, a seguir luchando a pesar de la adversidad. 

Hoy Bob Pop ayuda a los oyentes con sus problemas, lo más comentado: lo que supone tener 50 años. En la dupla el tema del día son los balones pinchados. Nuestro artesano nos trae la obra del pintor estadounidense Andrew Wyeth y su famoso pero controversial cuadro 'El mundo de Cristina'. En mitos 2.0 ''déjalo que ya lo hago yo'' o lo que viene a ser la incapacidad de delegar. Un lunes muy completo para dar la bienvenida a la primera semana de febrero. 

In this episode, we read and discuss a poem that takes its inspiration from a painting by Andrew Wyeth. The poem provides a meditation on what we perceive and interpret when we look at a painting, and at one another.

Programa conducido por Darío Lavia y Chucho Fernández. Ilustraciones: Gustaaf Wappers, Adolph Von Menzel, Thomas Moran, Giovanni Tuccari, Jan Frans Van Bloemen, Frederick Charles Winby, Andrew Wyeth. Acto I: "El estudiante de Praga" de Carlos Clarens por Darío Lavia 0:02:18 Acto II: "Conclusión'" de Jean Baudrillard por Darío Lavia 0:07:49 La risa, remedio infalible por Chucho Fernández y Gimena García 0:18:47 Acto III: "La noche de diciembre" de Alfred de Musset por Chucho Fernández 0:23:18 Fuentes de los textos: "Horror Movies: An Illustrated Survey" de Carlos Clarens, (Secker & Warburg Ltd., 1968) "La nuit de décembre" de Alfred de Musset, de "Les Nuits" (1852) Imdb https://www.imdb.com/title/tt35462913/ Web de Cineficción ⁠http://www.cinefania.com/cineficcion⁠/ Fan Page de Cineficción ⁠https://www.facebook.com/revista.cineficcion/

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

What if chasing your dreams and confronting your fears are two sides of the same coin? Join us on a journey through the intricate dance of art and fear. We unveil the tightrope artists walk between ambition and dread, sharing personal stories and insights on how external expectations and internal critics can often hijack our creative instincts. With a nod to Agnes Martin's studio rituals and Andrew Wyeth's secretive Helga series, we discuss how action and routine can triumph over fear, creating a safe space for authentic artistic expression.The creative process is often a battlefield between personal vision and external validation. We explore this tension and offer a roadmap for minimizing distractions in our tech-driven world. By examining Helen Frankenthaler's patience-first approach to art and the pitfalls of chasing trends, we illuminate the importance of following one's heart amidst the noise. Whether through the lens of cinema's slow storytelling or the raw truth in self-directed growth, the conversation highlights the significance of focusing on the art itself rather than fleeting social media approval.As we navigate the emotional highs and lows of the artistic journey, we celebrate the vital role of community and collaboration. Drawing inspiration from historical art movements and the camaraderie among fellow creators, we emphasize the power of artist friendships. Listen as we share how genuine relationships can inspire creativity and foster healthy competition. Our discussion also touches on the strategic use of social media, encouraging artists to journal their progression with intention, and reminding us that the joy of creation and problem-solving lies at the heart of every artist's path.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Take two really superb crossword constructors and put them together, and what do you get? A crossword like this one, chock full of heart, artistry, and attention to detail, clearly written by two cruciverbalists at the top of their games.Deets inside, as well as some fine listener feedback on the proper pronunciation of POMPANO Beach, so do have a listen!Show note imagery: Christina's World, by Andrew Wyeth, hanging at MOMAWe love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

In episode 408 of the Hardcore Self Help Podcast, I'm joined by grief educator and author Christina Rasmussen. We delve deep into the concept of invisible loss, a unique form of grief that stems from unacknowledged experiences. Christina opens up about her personal grief journey, introduces the Life Reentry Process, and shares insights from her book, 'Invisible Loss.' We also explore how early childhood experiences shape adult decision-making, the transformative power of authenticity, and Christina's venture into using art for healing. Christina discusses her creation of a digital library of invisible losses and reflects on the significance of Andrew Wyeth's painting 'Christina's World.' Join us for actionable tips and profound reflections on navigating and reclaiming life after hidden struggles. Links: Books - https://www.amazon.com/stores/Christina-Rasmussen/author/B0057K44UU https://lifereentry.com/ https://www.invisiblelosses.com/ https://springshow.academyart.edu/schools/fine-art/students/christina-rasmussen/  Chapters: 00:00 Introduction to Invisible Loss  00:45 Meet Christina Rasmussen 01:17 Christina's Personal Journey with Grief 03:30 Early Life and Education 08:13 Navigating Life After Loss 11:08 The Birth of Life Reentry Process 32:12 Invisible Loss Defined 43:39 Starting the Program and Writing Invisible Loss 44:01 Challenges of Writing About Invisible Loss 44:24 The Concept of Invisible Loss 46:48 Men and Invisible Loss 47:59 The Importance of Self-Expression 49:01 The Role of Therapy and Support Groups 52:38 Time Dilation and Seeking Help 53:32 Ambitious Work and Personal Transformation 56:33 Balancing Art and Professional Life 01:03:00 The Journey of Writing and Sharing Vulnerable Moments 01:13:34 The Impact of Panic Attacks and Authenticity 01:19:46 Conclusion and Final Thoughts

Questions? Comments? Text Us!Can noticing the divine in everyday life transform reality?This journey enriches the understanding of the divine in everyday life. Dr. Abigail L. Rosenthal, author of the upcoming book "Confessions of a Young Philosopher," returns to discuss the philosophical and theological implications and polytheism with Jerry from "God: An Autobiography, As Told To A Philosopher."The coexistence of monotheism and polytheism today, the divine in Andrew Wyeth's art, and the metaphor of fire embodying both creation and destruction are explored. Through nature, art, or music, these experiences resonate deeply, enriching daily lives outside rigid theological structures.Abigail and Jerry discuss the God of Israel and how God accepts all flaws, just as biblical figures like David were flawed yet significant. The human condition, marked by imperfections, makes life's journey meaningful and challenging.Embrace contradictions, live in concert with God, and attend to life's rhythms and the spirit within with honesty and sincerity.Dr. Abigail L. Rosenthal is the author of A Good Look at Evil, and Dear Abbie: The Non-Advice Column.Relevant Episodes:[Dramatic Adaptation] God Explains Polytheism In A Way I Understand[The Life Wisdom Project] Situational Attention with Special Guest: Dr. Ray SilvermanOther Series:Life Wisdom Project- How to live a wiser, happier, and more meaningful life with special guests.From God To Jerry To You- A series calling for the attention of spiritual seekers everywhere, featuring breakthroughs, pathways, and illuminations.Two Philosophers Wrestle With God- Sit in on a dialogue between philosophers about God and the questions we all have.What's On Our Mind- Connect the dots with Jerry and Scott over the most recent series of episodes.What's On Your Mind- What are readers and listeners saying? What is God saying?Resources:READ: "Putting Me First Rather than Last."THE LIFE WISDOM PROJECT PLAYLISTHashtags: #lifewisdomproject #godanautobiography #experiencegod #polytheism #yogaandmeditationShare your story or experience with God! Share Your Story | Site | Facebook | Instagram | Twitter | YouTube |

Questions? Comments? Text Us!Join Jerry as he converses with God to explore how the divine manifests in polytheistic beliefs. Welcome to God: An Autobiography, The Podcast. This week Dr. Jerry L. Martin and Scott Langdon revisit the dramatic adaptation of " God Explains Polytheism in a Way I Understand," exploring polytheism and its reflection of an ever-evolving divine presence.God reveals that polytheistic beliefs reflect the diverse ways He presents Himself across cultures and times, emphasizing a single spiritual reality uniting these manifestations.Discover how Jerry's experience with Andrew Wyeth's paintings inspired his understanding of civilizations' perception of God in natural phenomena. From experiencing the divine in art and nature to understanding its significance in different cultures, Jerry wrestles with complex theological insights, learning that polytheistic elements capture genuine responses to divine manifestations.Join us for this enlightening conversation, and prepare for next week's discussion with Abigail Rosenthal and Jerry in the Life Wisdom Project. Tune in for an insightful journey through theology, philosophy, and personal revelation- bridging ancient wisdom with contemporary reflections.Relevant Episodes:[Dramatic Adaptation] God Explains Polytheism In A Way I UnderstandOther Series:The podcast began with the Dramatic Adaptation of the book and now has several series:The Life Wisdom Project- How to live a wiser, happier, and more meaningful life with special guests.From God To Jerry To You- a brand-new series calling for the attention of spiritual seekers everywhere, featuring breakthroughs, pathways, and illuminations.Two Philosophers Wrestle With God- sit in on a dialogue between philosophers about God and the questions we all have. What's On Our Mind- Connect the dots with Jerry and Scott over the most recent series episodes. What's On Your Mind- What are readers and listeners saying? What is God sayingResources:READ "Putting Me first Rather than Last"DRAMATIC ADAPTATION PLAYLISTLIFE WISDOM PROJECT PLAYLISTHashtags: #godanautobiography #experiencegodWould you like to be featured on the show or have questions about spirituality or divine communication? Share your story or experience with God! Share Your Story | Site | Facebook | Instagram | Twitter | YouTube |

Y'all.  We have been dragging ourselves through this last month so hard Andrew Wyeth is gonna paint us in a picture.  To make up for our absence, this week we are packing heat. Put the kids to bed and settle in for  ride.  NCAA rivalry?  Science fiction conventions?  Cynthia the Celebrity Mannequin?Curiosity killed the cat. Satisfaction brought her back. 

Writers can learn a lot about structuring a narrative from visual storytellers, and that's what Barbara explores in this episode of Writing for Immortality. She visited the Schoelkopf Gallery this spring to see "Enter Andrew Wyeth," a rare look at 25 works from 1939 to 1994 that examine the emotional resonance of Wyeth's work during his marriage to his wife, Betsy.  Wyeth's paintings are in permanent collections in most major American museums, including the Museum of Modern Art, the Smithsonian American Art Museum, and the Whitney Museum of American Art. The exhibition also provides unprecedented access to Andrew Wyeth's unframed drawings and watercolors. To make an appointment, please contact Alana Ricca at alana@schoelkopfgallery.com or Andrew Schoelkopf at andrew@schoelkopfgallery.com or call (212) 879-8815. Not in the market for a Wyeth original? Head over to Instagram to see art from the show. https://www.instagram.com/writing4immortality Additionally, Barbara has an update about Jane Goodrich, founder of Picsello and early guest of the pod, as well as news about future guest Kent Saunders! Jane launched her podcast, "Focus on Business," for photographers looking to grow their businesses. Listen here: https://open.spotify.com/show/0Cxe8X3TcgVowD6NgUoMfX Kent Sanders hosts "The Profitable Writer" podcast and invited Barbara to chat about ghostwriting--you can hear their conversation here: https://www.theprofitablewriter.com/blog/the-entrepreneurial-journey-of-a-full-time-writer-ghostwriter-barbara-richter and watch this space for Kent's interview! Want to write your life story? Head over to DIYBook and get started! https://www.diybook.us/

In 1986, Andrew Wyeth was the most famous painter in America. He was a household name, on the cover of magazines and tapped to paint presidents. And then he revealed a secret cache of 240 pieces of artwork, many provocative, all featuring the same nude female model. This collection, called The Helga Pictures, had been completed over 15 years and hidden from his wife, until they were revealed and wound up on the covers of both Time Magazine and Newsweek. The implication of these paintings were clear: Wyeth must have been having an affair, but then the story got complicated. Was it a genuine sex scandal? A hoax? Or something else entirely?  Some of the voices you'll hear in this episode include Doug McGill, former New York Times reporter; Neil Harris, author of Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience; Cathy Booth Thomas, former Time Magazine correspondent; Gwendolyn Dubois Shaw, art historian and curator; Jeannie McDowell, former Time Magazine correspondent; Chris Lione, former art director at Art and Antiques; Joyce Stoner, Wyeth scholar; Peter Ralston, Wyeth photographer and friend; and Jim Duff, former director of the Brandywine River Museum. This episode was written by Willa Paskin and produced by Willa Paskin and Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. We had research assistance from Cleo Levin. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. A very special thank you to Paula Scaire. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1986, Andrew Wyeth was the most famous painter in America. He was a household name, on the cover of magazines and tapped to paint presidents. And then he revealed a secret cache of 240 pieces of artwork, many provocative, all featuring the same nude female model. This collection, called The Helga Pictures, had been completed over 15 years and hidden from his wife, until they were revealed and wound up on the covers of both Time Magazine and Newsweek. The implication of these paintings were clear: Wyeth must have been having an affair, but then the story got complicated. Was it a genuine sex scandal? A hoax? Or something else entirely?  Some of the voices you'll hear in this episode include Doug McGill, former New York Times reporter; Neil Harris, author of Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience; Cathy Booth Thomas, former Time Magazine correspondent; Gwendolyn Dubois Shaw, art historian and curator; Jeannie McDowell, former Time Magazine correspondent; Chris Lione, former art director at Art and Antiques; Joyce Stoner, Wyeth scholar; Peter Ralston, Wyeth photographer and friend; and Jim Duff, former director of the Brandywine River Museum. This episode was written by Willa Paskin and produced by Willa Paskin and Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. We had research assistance from Cleo Levin. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. A very special thank you to Paula Scaire. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1986, Andrew Wyeth was the most famous painter in America. He was a household name, on the cover of magazines and tapped to paint presidents. And then he revealed a secret cache of 240 pieces of artwork, many provocative, all featuring the same nude female model. This collection, called The Helga Pictures, had been completed over 15 years and hidden from his wife, until they were revealed and wound up on the covers of both Time Magazine and Newsweek. The implication of these paintings were clear: Wyeth must have been having an affair, but then the story got complicated. Was it a genuine sex scandal? A hoax? Or something else entirely?  Some of the voices you'll hear in this episode include Doug McGill, former New York Times reporter; Neil Harris, author of Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience; Cathy Booth Thomas, former Time Magazine correspondent; Gwendolyn Dubois Shaw, art historian and curator; Jeannie McDowell, former Time Magazine correspondent; Chris Lione, former art director at Art and Antiques; Joyce Stoner, Wyeth scholar; Peter Ralston, Wyeth photographer and friend; and Jim Duff, former director of the Brandywine River Museum. This episode was written by Willa Paskin and produced by Willa Paskin and Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. We had research assistance from Cleo Levin. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. A very special thank you to Paula Scaire. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1986, Andrew Wyeth was the most famous painter in America. He was a household name, on the cover of magazines and tapped to paint presidents. And then he revealed a secret cache of 240 pieces of artwork, many provocative, all featuring the same nude female model. This collection, called The Helga Pictures, had been completed over 15 years and hidden from his wife, until they were revealed and wound up on the covers of both Time Magazine and Newsweek. The implication of these paintings were clear: Wyeth must have been having an affair, but then the story got complicated. Was it a genuine sex scandal? A hoax? Or something else entirely?  Some of the voices you'll hear in this episode include Doug McGill, former New York Times reporter; Neil Harris, author of Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience; Cathy Booth Thomas, former Time Magazine correspondent; Gwendolyn Dubois Shaw, art historian and curator; Jeannie McDowell, former Time Magazine correspondent; Chris Lione, former art director at Art and Antiques; Joyce Stoner, Wyeth scholar; Peter Ralston, Wyeth photographer and friend; and Jim Duff, former director of the Brandywine River Museum. This episode was written by Willa Paskin and produced by Willa Paskin and Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. We had research assistance from Cleo Levin. Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. A very special thank you to Paula Scaire. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate's website. Your support is also crucial to our work. Go to Slate.com/decoderplus to join Slate Plus today.  Learn more about your ad choices. Visit megaphone.fm/adchoices

A new exhibition, “Every Leaf & Twig: Andrew Wyeth's Botanical Imagination,” is officially open to the public at the Brandywine Museum of Art.The exhibit centers on Andrew Wyeth's unique interest in plant life and most of the 40 watercolors and drawings on view have never been exhibited before.In this edition of Arts Playlist, Delaware Public Media's Karl Lengel is joined by William Coleman – the Brandywine's Wyeth Foundation Curator and Director of the Andrew and Betsy Wyeth Study Center – to learn more about “Every Leaf & Twig.”

On this episode I have the pleasure of speaking with Hiroki Morinoue, an artist who resides and creates on the Big Island in Hawai'i. Together, we delve into his personal journey with mokuhanga, reflecting on his experiences at MI Lab, exploring his unique color palette, and gaining insights into his meticulous process in crafting mokuhanga prints. Additionally, we uncover Hiroki's life in Hawai'i, his ventures, and his relationships with prominent galleries such as Studio 7 Fine Arts, print studio's like Shark's Ink, and the arts center at Anderson Ranch. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Hiroki Morinoue - Pure Water (2001) 18.5"x38.5" High Tide (2012) 22"x30" Earth Cycle (2007) 37.5"x37" MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.    Keiko Hara - is an artist and Professor of Art Emerita at Whitman College in Walla Walla, Washington. She is a painter, and printmaker in various relief mediums, such as mokuhanga.    Verse R - black and white (2017)  13"x11"   Jaqueline Gribbin - is a printmaker who focuses on mokuhanga and intaglio printing techniques. She lives and works in Humpty Doo, New Territory, Australia.    Kisaragi (2012) 18.9" x 25"   pochoir - is a stencilling technique used in printmaking and decorative arts. The term "pochoir" is French for "stencil." In this method, a design is created by cutting or punching holes in a sheet of paper or other material, and then paint or ink is applied through the openings onto a surface below. Pochoir allows for precise and intricate patterns, making it particularly popular in the creation of fine art prints, illustrations, and decorative designs. It has been historically employed in various art movements, including Art Nouveau and Art Deco. More info, here.   Helen Frankenthaler (1928–2011) was a prominent American abstract expressionist painter known for her role in the Color Field painting movement. Her innovative technique involved staining unprimed canvas with thinned oil paint, creating a distinctive luminous effect. "Mountains and Sea" (1952) is a notable example of her influential work. Frankenthaler's contributions have left a lasting impact on postwar American art. Frankenthaler began to make woodcut prints in 1973 and was influenced by Utagawa Hiroshige (1797–1858).  More info about her prints can be found at  the Frankenthaler Foundation, here.      Tale of Genji V (1998) 42"x47"   Donkey Mill Art Center - is a community art center located in Holualoa, Hawaii. It serves as a hub for various artistic activities, workshops, and events, fostering creative expression and engagement with the arts. The center often offers classes and programs in a variety of artistic disciplines, including painting, ceramics, printmaking, and more. More info, here.    Mauna Kea - is the highest peak in the Hawaiian Islands, located on the Big Island. A dormant volcano, it stands at 13,796 feet (4,205 meters) above sea level. The mountain holds cultural significance for Native Hawaiians and is home to unique ecosystems.    Mauna Loa - is an active shield volcano on the Big Island of Hawaii, standing at 13,678 feet (4,169 meters) above sea level. It is the Earth's most massive subaerial volcano, known for frequent non-explosive eruptions and its broad, gently sloping shape. The volcano holds scientific and cultural significance and is closely monitored due to its potential impact on nearby communities. Deepwater Horizon Oil Spill  - occurred in 2010 in the Gulf of Mexico. It was one of the largest environmental disasters in history. The spill resulted from the explosion of the Deepwater Horizon offshore drilling rig, releasing millions of barrels of oil into the Gulf. The incident had severe ecological and economic consequences, impacting marine life, coastal ecosystems, and local economies along the Gulf Coast. Thai mulberry paper - also known as "saa paper" or "kozo paper," is a traditional handmade paper originating from Thailand. It is crafted from the bark of the mulberry tree, specifically the Broussonetia papyrifera tree.  Shark's Ink - established in 1976 as Shark's Lithography Ltd, the studio has partnered with over 160 distinguished artists from the United States and Europe. These artists, known for their strong personal visions, engage in ongoing collaborations, often returning for multiple projects. The resulting prints, marked by inventive techniques, encompass a wide range of artistic approaches. The studio employs various processes, including lithography, monotype, metal leaf, chine collé, embossing, collage, and innovative methods for woodblocks and relief prints, including three-dimensional lithographs. More info, here.  nori - is a type of paste made from starch. It is used when making mokuhanga. You can make nori from any type of material made from starch. For instance, paste can be made with tapioca,  rice, corn, even potato. You can purchase nori pretty much anywhere but making it is more environmentally friendly. Laura Boswell has a great recipe, here.  embossing - refers to a technique where the paper is pressed into the carved woodblocks, creating a raised or textured effect on the printed surface. This technique adds a three-dimensional quality to the print by making certain areas of the paper slightly elevated. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Window (2011) 15"x12" gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints.  Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.    Winter in Aizu (1969) 18"x23.5" Richard Notkin - is an American ceramic artist known for his pottery and distinctive style that often incorporates political and social commentary.  Notkin has gained recognition for his work in the field of ceramics, particularly his teapots. Meltdown of Reason: Helena MT. (1987) stoneware and porcelain. 10.5"x5.5"x4.5" Mayumi Oda - is a Buddhist teacher and artist based in Hawai'i. Her artwork has gained international recognition, having traveled worldwide. In addition to her artistic pursuits, Mayumi is an environmental activist and resides and works at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. Explore more about Mayumi Oda's work, here. Hands of Compassion  (1986) screen print 37"x25" Andrew Wyeth (1917-2009) - was a renowned American realist painter, known for his detailed and emotive depictions of the rural American landscape. Born in Pennsylvania, he spent much of his life capturing the subtleties of nature, particularly in the Brandywine Valley and coastal Maine.  Christina's World (1948) 32 1/4 x 47 3/4"   © Popular Wheat Productions opening and closing musical credit - The September Of My Years (1965) from the album The September Of My Years released on Reprise Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                        

Seth Fite is a classical painter born in England, who grew up in the United States. From the new world, he is inspired by American Golden Age illustrators, Andrew and N. C. Wyeth, and the Cincinnati master Frank Duveneck. From the old world, he has studied masters such as Rembrandt and Velasquez. In 2019 he was a student of Odd Nerdrum. Fite has been told to "find his own voice" and "do something new", as well as other clichés, but he sees little use of this. He strives to strike the vulnerable spot of humankind, the same spot found by masters before him.

For more than 70 years, the Kuerner Farm in Chadds Ford served as a major source of inspiration to Andrew Wyeth. But his lasting impact on the Farm was his mentorship of Karl J. Kuerner III, who continues his work there as both a painter and an art teacher.The Brandywine Conservancy and Museum of Art is set to honor the Farm and Kuerner's artistic endeavors with the exhibition “Karl J. Kuerner: The Continuity of Creativity.”For this edition of Arts Playlist, Delaware Public Media's Karl Lengel is joined by Brandywine Museum of Art senior curator Amanda Burdan to learn more about Kuerner and the exhibit.

Andrew Wyeth's Christina's World is one of the most iconic paintings in the history of American art. It was Christina's World that turned Andrew Wyeth into a household name and claimed him one of the best American realist painters. But who was Christina? And what kind of world did she live in? Listen to ArtMuse's episode on Anna Christina Olson and the world she lived out her noble life in; the small coastal town of Cushing, Maine. As a young child, Christina showed signs of an undiagnosed degenerative disease that slowly took away her mobility. While this presented unimaginable challenges, Christina never let her disability stop her from living a robust life nor compromise her unparalleled dignity and strength. Christina's story deserves to be honored in its entirety, beyond Wyeth and the painting that turned her into an icon. Christina was a remarkable woman in her own right, who showed extraordinary resilience in the face of continued challenges. ArtMuse is produced by Kula Production Company. Please FOLLOW and RATE ArtMuse on Spotify and SUBSCRIBE and REVIEW our show on Apple Podcasts. Instagram/ Website/BuyMeACoffee

Victoria Wyeth, grandchild of Andrew Wyeth, great-granddaughter of N.C. Wyeth, and the niece of Jamie Wyeth, is giving a lecture on her family's famous artwork and the Biggs Museum of American Art's exhibit “The Wyeths: Three Generations.”For this edition of Arts Playlist, Delaware Public Media's Karl Lengel spoke with Victoria Wyeth about her unique perspective of her family's work and her talk at the Schwartz Center for the Arts.

Andrew Wyeth's 1948 painting “Christina's World” shows the reality of life for his longtime friend, a woman with a disability, on her farm in coastal Maine.

Jan-Ove Tuv sits down with Jannik Hösel and William Heimdal to discuss how symbols should be treated in a narrative painting

Li:Welcome Jon Kaufman and El Sawyer to Future Memory. Jon:Thank you for having us.El:Thank you, cool name. Li:So what's your origin story? How did Jon and El become Ming Media? Jon:It's an interesting story and there's not really one particular magical spark, but it definitely was an organic process from my perspective, right? El his own journey and perspective with it, but I never really considered filmmaking as a career at all when I was younger, I never wanted to be like a Hollywood person, never wanted to direct or anything like that, but I was always interested in storytelling and especially advocacy and just trying to combat the narratives that I knew were false. I didn't know how to do that. And then it wasn't until I went to Temple and took a class, which was, I forget the name of, it's something around community media, which was a film class. I wasn't a film major at all, didn't study a film at Temple, but this class took me to the Village of Arts and Humanities in North Philly where El was teaching video production to neighborhood youth.And that was my first real exposure to filmmaking was this model that was completely outside of the traditional structure of what we consider to be like mass media and filmmaking in Hollywood storytelling, and just kind of fell in love with it. The idea that it was probably 2007 and cameras were just starting to get a little more accessible. Editing software was just starting to get a little bit more accessible to people. And so it was really this moment where I felt like, "Oh wow, this is something I could do." And I saw the power of it with what El was doing with kids in the neighborhood and just to be able to tell their own stories. Then I graduated Temple, El hired me to take over his position, actually The Village as the video instructor there and started teaching there, and I taught there for many, many years.And then we started doing our different projects together. At the time, I was just hustling music videos and whatever I could do to pay the bills with video. And I think our work really kind of solidified around 2010 or so when we started working with the Department of Justice in the US Attorney's office here in Philly to make Pull of Gravity. And that's what really kind of solidified our work and sort of joined us as a partnership and took our work to the next level. And we started Ming shortly after that. But that's a short version of it, and El has a different story for sure of how he got to The Village. Li:Right? There's always two sides to first encounter.El:There's three sides actually. Yeah, that's a good rendition. I think from that perspective, from my perspective, as you would see in "Pull of Gravity", I was introduced to film while I was in prison, and I had never wanted to be a filmmaker either. I was stabbed while I was in prison, and I didn't think I was going to go home. And there was an internal video crew inside the institution, and my plan was to kind of work my way onto the video crew in an event I didn't go home to basically make videos to send home to my son at the time.Not to be dramatic about it, but just like- Li:Like the archive of, yeah. El:... or a suicide note. I mean, it could be a lot of different things that way in event that I wasn't going to be there, it was something I would leave to him and I would sneak it out of the prison. And I did. I did about 10 videos. In that process, I was on the video crew just to get access to the cameras, and I had a chance meeting with Glenn Holsten, who was a Philadelphia filmmaker that came into the institution. And at no point, like I said, I was only on the video crew for that access to the cameras. And then he was accompanying Lily Yeh, who's the founder of the Village of Arts and Humanities into the institution, and he was documenting her work. She started a program at Graterford Prison, and in that he was allowed to come document her and her work there, but he wasn't allowed to bring camera crew or equipment.So they asked the camera crew internally, did anybody want to assist with him and nobody wanted to, and I volunteered to do that and it changed my life. So that was my sort of coming into film and even knowing that that was even an alternative that way. And in the process of doing that, I felt like there's this interesting quote, John Hendrick Clark, this author, and he said this quote, he says, "It's your duty to fashion your lived experience as a tool for liberation." And I feel like that's ... My elders used to say [inaudible 00:04:21] used to say that all the time to me. And I felt like in a lot of ways when I came home, that was my thought is how can I use my lived experience and who I am and my skillset to actually give other people the opportunity that I didn't have?So coming home, doing film with Glenn was really just like interning and trying to figure it out, navigate like that. And I had a job at the Village, and Lily Yeh gave me the opportunity to basically provide training and support to youth there at the organization and folks in the community teaching them what I knew about film. And I was kind of learning it as I go. And I did, so for a number of years and then in comes Jon, and this partnership I had with Temple and the professor at the time, Jon's professor, to bring that class. They had to learn along with the class that I was teaching at the Village. And it was love at first sight. I love him like a little brother or like a brother, honestly. And that's been our relationship ever since.Li:Well, that's a perfect segue to this next question about your relationship as working collaborators. What's your collaborative style like and would you say you've developed any kind of shorthand or secret language to get more effective with your process?El:Yes, and yes in every way, but I'll let Jon jump in on that. What you got, Jon?Jon:Yeah, there's a lot to that honestly, because I think neither one of us is really trained in any sort of traditional way. El, like he said, his first exposure was in Graterford, in prison using equipment that was probably way outdated and with very limited sort of technical training. But obviously Glenn was super helpful to him. And then for myself, I didn't study film in any traditional way. At the time I probably couldn't have named one director in the world besides Spielberg or whatever. I didn't know anything about that film world. I think just the fact that we don't come from the traditional filmmaking world has always been our thing where we're humans first. We just engage with people as humans and want to always take that approach where it's not about extracting a story or like, "Oh, how can we make the most exciting or dramatic stuff?"It's more about connecting with folks on a really human level and less about telling their stories, but really giving them a platform to tell their own stories and assisting people telling their own stories. We sort of see ourselves as a vehicle and as a tool for folks to leverage their own storytelling. So our process is super collaborative and sometimes to our detriment, it can be hard. It's not linear. None of this stuff is linear. And I think traditional production is like, oh, you write a script, you shoot it, you edit it. But we work with real people with real stories and a lot of our stuff, most of it is around trauma and very traumatic stuff and very heavy stuff and dealing with equity and violence and poverty and racism and it's really, really heavy stuff. So it's really important for us to connect with people on a really natural level first before doing any filming.We come from different backgrounds. I grew up in Germantown in the 90s, but I didn't grow up in poverty, but I experienced a lot of violence in my neighborhood and violence in the home and all kinds of stuff. And in college I tried to look at that experience through lens of urban studies and sociology, and I was like, "This is bullshit, putting people into categories, just labeling people." I was like, "This is bullshit." The academic approach to looking at what I was trying to understand about my experience growing up was not working for me. And then I think the sort of community filmmaking was just a way of like, "Oh wow, this is it. This is a way for real people to tell their own stories with some assistance from their own perspective," I think. So it was really just powerful to realize the power and the gap that community storytelling and community media could fill, not just in my own understanding of the world, but I feel just missing from the conversations that are happening in the newspapers and in mainstream media, so yeah.Li:Exactly. And are there additional folks that are working with you? Do you have an expanded team?Jon:We used to have a larger team. Covid kind of had us downsize a bit, but our main producer is Gabe Wiener. He's an amazing producer, filmmaker. He's been in Philly for about 15 years now, so he's our primary producer. But we work with a lot of folks all over Philadelphia and around the country and around the world too. But yeah, mostly we staff up as needed for different projects, but we could run down a huge list of names that are Philadelphia folks. But no, it's a collaborative effort, right? We work with so many different people and we're super grateful. It's not a solo sport. There's so many people. We've been talking about our film Music Vets, which we'll get to later, but when the credits roll in one of our films, there's like a hundred names or something of people. So yeah, that's the short answer.El:And to the point of just like you're saying secret language or how we operate together, a lot of it's nonverbal, like I say when I say Jon and I are like brothers, that's not an exaggeration at all. A lot of times it's so nonverbal. And then to bridge that to our team, a lot of our team either learned from us or learned with us, and I always look at it as like a Philly style. I don't know why. I associate it as a Philadelphia style. Philadelphia style has been for us as a sort of Guerilla style. We do it all. If somebody calls us to do, "Yep, we can do it," whatever, and we'll figure it out. And we're super resourceful and nothing is beyond us in the sense of we're not too good for a thing. If I'm a director, if we're directors, we go to a scene, I'll be cleaning up the block.It's like nothing's beyond you to do. But with that said, with respect to the team that we're working with, again, like Jon said, we staff up accordingly because sometimes we document in sometimes very compromising or very complex environments. So we're super conscious of the human there in their environment and everything. And our crew has to make sense and comprehend in which the environment we're going to be filming in. And we take that very serious and we're really honored when people give us interviews and just basically allow us into their world and we really caretake that. And again, like Jon said earlier too, our detriment a lot of times because we're just uber sensitive, because we uber understand how media can be hurtful and has been weaponized, and we control that in that way on behalf of the people that we work with.Jon:And our crews are really small. Like I was saying, we're filming super sensitive situations a lot of the times. We'll be in a city that we've never been to in the Deep South on a block that has an active situation going on. And we've been granted access to film there in the middle of the night and it's very active. And it's just El and myself, and we're trusting our host and they're trusting us and it is what it is, but we can't come in there with lights and boom mics and big crew. And sometimes we have to bring in a crew from New York and it's like they show up with a truck and lights and 15 dudes, and it's like, that's not our approach at all. We just can't operate like that at all.Li:You have to shape-shift to your environment and the communities you're in.Jon:Yeah, and I think we kind of start from that shape, right? Our shape is the sort of that community aspect and we scale up when we have to. But I think our style and what makes our work, you know, gives us so much of that access and that power is that we try to do it with as little as possible and just meet people where they are and not try to be invasive at all. And that can be in a lot of ways through the questions we ask or don't ask, but also how we come into someone's home or how we come into someone's neighborhood.El:And represent those things too. Very conscious that we're not going to ask certain questions. And again, our team and our staff has to understand that as well. And we can't have folks on our team just randomly, you know what I mean? So we do a lot of pre-prep and a lot of pre-production and around even information, around the topics that we're working on. If it's foreign to us, we source folks that know or we engage that particular community. We recognize that we're not of that community in a lot of times, so we respect that and we operate accordingly and empower from there and staff from there and everything like that. Again, that's why it's difficult to just say, "Oh, we're a production company. We just kind of write the script and just go do it." It's not the case at all. Our process is as important as the product that we create.Li:Now you mentioned "Pull of Gravity" as your breakout project and probably the first film where you got to flex your muscles as a team working together. Now in hindsight, almost a decade later, how has "Pull of Gravity" impacted MING's trajectory in the industry and where you are today as a team?Jon:That's a great question.El:I mean, it impacted us like crazy, and I can speak just personally. "Pull of Gravity" was never meant to be, ultimately what it was or have, even the reach that it had, that was never even on the forefront of that thought. It was originally seated in a thought I had years ago when I was in prison, when I first was introduced to film is I knew that once I started to be introduced to that world and started to think now, "Wow, I may go home and then how am I going to be successful going home?" I seen from the position I had being in prison that I seen people that were smarter than me, older than me. I went to prison at 17.I had just did two years in juvenile prior to that, hadn't graduated high school, never had a job. I had no source of foundation to come home and actually activate and become anything that I was imagining at the time. So I was conscious of that. So I was scared that if I go home, what do I have in my access that shows me where I'm coming home to so I can then tool up or position myself at least mentally to actually be effective and come home in an appropriate way? So that's what "Pull of Gravity" was sort of rooted in, is in that. How do we show people inside institution, how do we show lawmakers and whatever this world, there was a gap in the communications right across the board. That's how we seen it. So documenting "Pull of gravity" originally was meant to be what it was, but also it caught on fire that way. It really-Li:It did. I mean, as a witness, someone who got to see you all working on the film when you were in production and some of the folks that you interviewed and then to see it. I remember you had a screening, where was it? It was like-Jon:Constitution Center.Li:The Constitution Center.Jon:Yeah, I think that was our very first screening. Yeah.Li:Yeah. Oh my gosh. It was powerful because there were some special people in the room, powerful people I think it was on everyone's minds that, "Oh wow, this film is making an impact, and this is just the beginning." We could tell the film was going to go places and that you were going with it.El:Yeah, there was buses of folks that got turned away that there was just not a capacity for it. So that was important, and then in that, that was shock to us. And then it just spoke to the need of the disconnection that existed, and it taught us a lot. I mean, that exposure of traveling around to areas that I just would never, and Jon either I'm speaking for Jon, but we would've never thought that that was going to take off like that, and that need existed there, but it did, and it still does. And like you say, 10 years later, I don't know another film that's come out that matches in that genuine state that it was created in at all.Jon:Yeah, and the conversation around reentries and returning citizens, and it's huge now. There's so many programs, there's so many ways in the organizations. 10, 12 years ago, it was not the same situation. So at the time it was the film was made under a mandate from Eric Holder, the Attorney General at the time, and it was to ask local US attorney's offices to start thinking of different ways to do community engagement, but specifically talking about reentry, and that's the power of film. There's a way for people to come together in a room that would normally never have a conversation, never be in the same room at the same time. And the film provided a way that people are going to come see a film for entertainment, for education, for an experience. And that's just the power of what it can do is it can bring, you know, we had federal prosecutors in the room, we had former incarcerated people, we had community members. Mayor Nutter requested tickets [inaudible 00:16:29] was like, "I have to be there." It was a huge thing.Li:It was a huge thing.Jon:Yeah. And at the time there was very little resources in this space, especially resources created by someone who had been in prison that told the experience from an authentic way. And we toured the film around the country for probably three or four years. And like I was saying earlier, we thought we would have a little bit of interest in, oh, New York, la, Chicago. We found ourselves in Pensacola, Florida, Minnesota, Western Pennsylvania, Upstate New York, all over the country. California screening in federal probation in Northern California, we're like, "Wow, we had no idea," because there was such a lack of resources and education and knowledge in this space at that time. Li:Here's a clip from the trailer of “Pull of Gravity”. [ clip plays ] Jon:At the time we were comparing our film to reentry programs in prison, and the contrast is just absurd. The stuff they were making that was meant to prepare people to come home was probably still in use. It's literally a joke. And maybe El could speak to more to it, but once we found out about what was actually being used in prison at the time to prepare people to come home, we're like, "Oh, wow, this is not going to work."Li:This is not going to work.Jon:This is not going to work. And this film is not just a supplement, but almost an antidote to those terrible programs. And the film is used as a training program, not just for correctional officers, for social workers, for probation, parole officers, it's also used for people in prison all over the country as a tool to prepare them to come home. So it's really manifested in the vision that El had for it at the very beginning to help people prepare themselves because it's real out there.Li:Well, yeah, and as an educator too, one of the things that I recognized from the film when I saw it was how much I learned not just about reentry, but about this big word recidivism, which I didn't know much about. And understanding that it's not just about preparing folks for reentry into their community, but also preparing them to make sure they don't return to prison.Jon:I think also it's about preparing society to better accept people and know what to do, right? Because I think that was the biggest thing. It's like everybody is like, "How do we prepare people to return home? How do we help people succeed?" It's about the individual and their success or their failure or their path. But one of our goals was just educating society about back to trauma, the trauma, the lack of resources, and just how hard it is. So it's about helping people return, but also helping society better prepare itself and prepare all of us to better understand these experiences. Li:And even more intimately the families. Because one of the things I remembered so clearly is that even the families of these individuals had to make adjustments, had to have a deeper understanding of what these individuals were going through and how to be ready to accept them and make sure that they had the tools for themselves to deal because it wasn't an easy road for anyone. El:That's a really good point, and I would add to that too is like you were saying about the education of the recidivism rate in which people go back to prison. I think one is that what struck me the most and which is probably still at the cornerstone of why I need to exist, is the fact of, it was like an introduction to people, to real conditions in which people live in, the environment. We look at it as three what we call subjects, in this case, myself as one or folks that we documented in the film that were sort of main subjects in the film. And the fourth was the community, the built environment. And that built environment is as toxic and quartered off from grander society as one could imagine. And again, even the most well-meaning folks just have no earthly idea how toxic it can be when you're quartered off.And these [inaudible 00:22:00], and again, this is literally happening in a vacuum, but the decisions that are being made or even the thought around gun violence and all these different things, they're not made with the comprehension of cause and effect. They're not made with respect to understanding the true conditions in which people are under. So I can go on and on, but I'm just saying it's like that was the main sort of meat of it, was looking and how do we inform people? One thing is about the programs, other is like where's people coming back home to and those conditions and how do you expect them to actually survive and/or thrive based off of this information?Li:So what's your lifeline? Where do you find hope and what keeps you doing this work?Jon:Context. One of the things we've learned a lot in the past two years with “Pull of Gravity” and a lot of our other work, our work has always been around trauma in a lot of ways, but we didn't have the language and the vocabulary and the full understanding to have a full understanding of all that, right? In the past few years, we've learned this word vicarious trauma, and we've both experienced firsthand traumas in different ways, but then our work has been this collective experience of receiving so many other people's stories of trauma. And that takes a toll in itself, and especially hear stories of the first responders, therapists, all kinds of people have that do this work that is sort of parallel. It's a lot to take in these stories over years and years and years and years. All that to say, I would never take it back.It's an honor and a privilege to do this work. We've sat with people in just the most trying situations in some of the hardest moments and the hardest situations. And it's an honor and a privilege to be trusted to do this work and to tell these stories and tell stories with people. I think like a lifeline, I think it's just the resilience of folks. And we've talked a lot about this word resilience, and it's a lot of times it's framed as this magical thing and it's like this positive thing, but resilience is a response to survival. Resilience is a response to horrible conditions. Resilience is a necessity. So yeah, resilience is great, but it's not really by choice. It's because you're placed into a situation, you have to adapt to it. So I think a lot of our work now, especially with Music Vets, is moving this direction of just breaking down these labels like that. And you can talk to the Bruce Perry analogy, but I'll pass it over to El for a minute and then we'll come back to maybe Music Vets, if that works.El:That's interesting. I think, yeah, definitely agree with Jon. I think it has been traumatic, and I always talk about how it's actually in a lot of ways as for me, has been a sort of, it kind of kept me out of my own internalizing my own traumas too, or dealing with my own personal stuff until just recently. So yeah, so I feel like for a lot of times we looked at it as, and we see it as a sort of calling in a lot of ways and artistry that way, and just being with people and feeling like we're being a service. And I think that's whatever, but lifeline personally is my family, my babies. And I think that's huge. And that is a grounding, very regulating element in my life.So like it or not, they're present and you can't get away from that. So it's like at the end of the day, and there's this doctor, Sandy Bloom, says trauma is the inability to be in the present. And I think as much as my mind wanders and I get into a zone, my daughter's looking at me and just putting this sticker on my forehead and just like I'm like, "That happened." So it really is grounding at a time and I feel like it's being with, so being with my family and getting healthy I think is the sort of lifeline that I find myself in now. And I think Covid had its own effects and the work on top of that, but I feel like that's my personal sort of lifeline that way.Jon:Yeah. For me, it's similar. My daughter especially is just my life and just being with her and just seeing her grow and seeing her learn about the world and having her challenge me and push me and check me all the time is just, it's the most beautiful thing in the world and it's extremely grounding. And I think aside from that, we're going to talk about Music Vets eventually, but music has been a huge lifeline for me. Music and nature and somatic work, working with my body and just getting trauma out through physical stuff has been a huge lifeline for me.Li:And here's a clip from “Music Vets”. [ clip plays ] Li:I want to talk about Music Vets. Can you share a little bit about that project and any connections that you might have seen or felt that you made with this community of survivors that might have connected to say, the communities in Pull of Gravity or other projects that you've done?Jon:It's really interesting. We were approached by the board chair of a music school in Westchester, New York, the Music Conservatory of Westchester, who had heard of "Pull of Gravity", maybe I think had seen it. And he immediately saw the connection of people returning home from prison and people returning home from war. And they had a music therapy program and he was like, "Wow." Rodd Berro is his name, amazing, amazing guy, executive producer of our film Music Vets. And he said, "Wow, could we make a film that follows veterans coming back to society like Pull of Gravity through the lens of music and music therapy as their treatment?" Obviously different because in Pull of gravity, it wasn't really about treatment or recovery in that way or healing, it was more about stating the problem and getting a really interesting deep firsthand exposure to the environment and the human stories.But with Music Vets, it was really interesting because we had this sort of solutions based avenue as well, this solutions based lens, which is, here's an issue, but here's how people are using music to deal with this issue and to heal. So the parallels were really interesting. For me, I was immediately drawn to the music aspect. I think El was more drawn to the veterans aspect, but together it's been a magical experience to just dive into the world of neither one of us are veterans, and that's very different from Pull of Gravity, obviously, because that was about El's own personal experience. Neither one of us are vets, so we just take a few steps back and humble ourselves and really do a lot of listening, a lot of learning, a lot of unlearning and reading and just spending time with people. We spent about a year, maybe a year and a half just meeting with people and getting to know them before we did any kind of filming, a lot of research before we started filming that project. And we started in 2017, and it's 2023, and it's just starting to have light. It's a hell of a process.Li:Quite a process, right?Jon:Yeah.Li:You have to have stamina to be a filmmaker, right?El:I mean, yeah, stamina and a lot of other things I think. And then especially something like that. And again, we always emphasize the point of just in these days, anyone with a camera is a filmmaker apparently. And that's cool and empowering for people to tell their story and all about that. At the same time, just understanding media and understanding unbridled approaches is really hurtful, could be hurtful and damaging to individuals. And again, our approach, and again, up until the point of doing Music Vets, we've done a lot of work. We do work all over the world all the time, and we've made mistakes and we learn from mistakes. And again, we do our best to learn and grow and be iterative in our process. So that's why we took that time during that. I mean, just for common sense, we don't know much about that topic as much at the time, so we just took that time to actually learn and grow.And this is part of our process overall. And a lot of people may not necessarily do that. And I think even with that, just to be respectful to where someone is and the sort of knee-jerk reaction in creating content is the sensational whatever kind of approach. And our work is the opposite of that. And not necessarily intentionally anti-sensational, maybe it is, but just telling the human story is again, understanding media and understanding that how hurtful it could be. This is a permanent record. When people are documented, their kids are going to see this, forever. So you get somebody to talk about certain things that's really super personal, maybe that's not necessarily something that you want to live forever. And we try to encourage against or try to use our human approach to actually make sure people are aware of what we're doing and the impact. So not just from us, in the future, if somebody comes up and films them, like, understand the power of that too.Jon:You see all these films and media and stories around veterans and PTSD, and it's usually there's this sort of style where it's like hyper-masculine, in your face showing explosions or people with injuries on camera. And we really try to take a different approach. And really, one thing about Pull of Gravity, we never asked or focused on in the film what led people to go to prison in the first place, because that was like the knee-jerk reaction. And with Music Vets, we never asked people, how did you get injured or how did you get PTSD or whatever. But things came out in the film in the process, but that was never the intention of creating this linear story of this happened and then this happened and this happened.Because it's not like that. Healing is not linear. Healing is very non-linear in a lot of different ways. And it was just very important for us to not take that sort of knee-jerk approach, if you look at a lot of veterans films or issues around military, there's a style to it, and it's like the combat footage and things like that. And we had chose to use animations in the film instead of really showing any sort of footage like that. And it was a very intentional process. And then the music in the film too is also follows a very sort of soothing pathway, right? Li:I saw a clip. It does come across that way, very much so, yeah.Jon:Cool, cool, and so it was important for us to take the music that was played in the film by the veterans, and our composer Jesse Koolhaas from Amsterdam took the music and was able to integrate a score that basically blended their music with natural music that he was creating, so it flows, right? And it's intentionally not really any in your face, shocking stuff. There's some serious moments for sure. But we didn't want to have the film sort of lean into that direction of that sort of dramatic, overly dramatized sort of military culture kind of vibe at all.Li:No, you're right. There is kind of a standard way of dealing with that material. And it's great to see that you have found a way, again, bringing it back to that, just trying to have a human connection with the folks and the stories that you're telling. So with the work that MING does, how do you decide you want to tell a particular story? What kind of things have to be in place for you to pursue a project?Jon:That's an ever evolving thing?. I think there's a project we've done years ago that we wouldn't do now for sure because our standards have changed and our experiences have led us to not want to do certain sort of work that we've done a lot of work with philanthropy and foundations, and there's certain types of that work that we would not do anymore just because of the ethics involved and the power dynamic.Li:That's growth, right?Jon:It is, it is.Li:Learning and growth.Jon:Yeah, yeah, and it's not easy. It's like people think filmmaking can be lucrative and the way we do it, it's not always the case, right? It's very, very hard. It's like a six-year project, right? Music Vets. So we've turned down a lot of projects in the past few years that would've been maybe financially lucrative, but it didn't fit with our morals. There was a project last summer involving a big network that approached us about doing a project around juveniles in the system in Philly. And we turned it down because we've seen their work, it's a large network that everybody knows. I'm not going to state the name. And we knew that it was going to be sensational no matter what we did if we're handing off footage to a large network and it's about juveniles, we don't trust that relationship. So we turned that down.And there's a lot of other examples like that where we just feel, you know, we've learned the hard way. And years ago, we would probably do things that we wouldn't do now, but we've definitely grown. It makes it hard sometimes. It's hard to sustain in this sort of pocket of filmmaking. We don't really do a lot of commercial stuff. There's not really any big checks for commercials at all, which are kind of quick and shorter term projects.El:We do stuff for work in the sense of just, there's stuff that was just like, all right, it's a paycheck and it's a way to sort of pay some bills, but it's still ethical. And from our perspective, it's not hurtful. And if we're involved, we're just going to insist that certain things are done that way either way and push that boundary. And we feel like we can be a sort of [inaudible 00:35:12] that way. But I think even outside of that, despite the project and the contract kind of basis is it's standing the gap for the subjects and who would be documented or the people that in the subject matter and generally speaking.So it's really negotiating and making sure that we have creative decision a lot of times and making sure that we have that sort of, so a lot of times it's less about just doing the work. A lot of times we've at a place where people bring us in as a partner on a project. So as opposed to just being a sort of point and shoot kind of situation. [inaudible 00:35:46] I think if we can look at this as this, as a partnership. That way, it gives us enough leeway to push back and say, "We're not going to," you know what I mean? We're going to have some curatorial sort of control that way.Jon:And is it going to help? Is it push the needle? Is it going to help individuals? Is it going to benefit people in some way? Especially people that have maybe not had the opportunity to tell their story in this way. So, with Music Vets, I think one of the biggest successes for us is that the three main subjects of the film all love the film and embrace it.Li:That's important.Jon:And their families, that's the most important right thing for us because they've given us their stories, not just given their service to us in this country, but given their stories, which is, that's priceless. So I think that most importantly is do our subjects see a benefit for themselves or for a cause that they believe in? That's most important to us.El:And building that relationship and maintaining those relationships even at all costs too, right? Sometimes there's a huge success in that too. I think those relationships are really important to us and our clients are important too. A lot of times we're really, to me, it speaks a lot of a partnership with a client that sees our value of what we bring and even our being standing firm on the side of the topic and the subjects or subject matter that they're willing to work with us and understand that we may have a position that be a better vantage point or a different vantage point than what they have too, to have the better outcome and can support or amplify, help amplify the voices of the subject.Li:And what was it about Monument Lab projects that appealed to you? What were the ideas and the intentions that aligned between MING and Monument Lab that made that collaboration possible?Jon:Yeah, great question. I think that's like El was just saying. I think when the values are there and they're aligned, we've been following their work for a number of years and paying attention and we loved what we saw and the opportunity came up to start working with them, I believe maybe end of 2020 on a small project with the state of New Jersey. And it was just very clear from the beginning that our values are aligned. We all know we're living a big lie in this country. A lot of big lies. There's a lot of myths and a lot of histories that have just been created and set in stone. And we know that those aren't true. There's so many different sides to this story of this country and the histories here that are just forgotten and intentionally not recorded in history. So I think a lot of our work is already naturally aligned with flipping this script and trying to tell real truths and alternative histories that are actually the real histories.So I guess it was 2020, we started working daily. We had a small project and it involved three groups of artists in New Jersey that were retelling stories of the American Revolution through the lens of people of color. And there were three artists of color that did these short projects. And we made three short films with them. And right away, Monument Lab was just super receptive to our approach, and we were able to step outside the box. We were able to have creative freedom and it was just really impactful. And this felt like a natural connection, but when the values are aligned, it's very, very clear.And then we've been doing some great work since on the Regeneration project and now Beyond Granite in the National Mall in Washington DC. So, I think it's just about knowing that the accepted mainstream history that we're all living and being told is not true, or there's a lot of forgotten or intentionally left out stories and that's why we're here. That's why we've been doing what we're doing, and it's great to just be aligned like that. Yeah, their work is incredible. It's amazing to see where it's come from and where it's at now and where it's going. Li:If you could document any project or tell any story, what would it be? And think a little bit outside the box, maybe a departure from some of the projects that you've done in the past. This could be absolutely anything. Jon:It's a hard question. I think for years I've been wanting to do something that doesn't involve something traumatic, right? Something that's just happy and fun- Li:I can imagine that might be where you're leaning. Jon:No, but I don't see that happening anytime soon, honestly. Just that I would love to be able to, you know, I think art and music and healing, healing through art and music and creative arts therapies. "Music Vets" opened up all these avenues for us of just getting to be on military bases and see veterans using music and getting to go to places where people were making masks and painting and all these different creative therapies and dance therapy and different sorts of alternative therapies. And it's just opened up all these doors of there's a million ways to heal. And in Western medicine, we really only look at a few as being legitimate.But the truth is, society and all around the world, we've been using these ancient traditions to heal forever, right? And it's only in the past a hundred or 200 years we've been like, "Oh, take this pill or talk to this therapist or do this," and this is how you get better through this Western medicine framework. So I think personally, I'm really interested in looking at just different models of healing that are outside of the traditional Western medicine framework, but especially through music and dance and sound, I think. So really, really interested in doing more stories in that.Li:In the arts.Jon:Yeah. Li:How about you, El?El:Yeah, I don't know about a specific project. I think it's more about different processes. I think again, just the process of filmmaking sometimes can be really patriarchal and just very boiled down almost too much for my liking. And I feel like I really love telling a whole story or hearing a whole story as opposed to making a one-minute clip out of a one-hour conversation. And it's like the many people that we've documented over the years that's just not here anymore. I mean, just in "Pull of Gravity" alone, I think there's shame on me for not knowing, but I think there's 11 people I think maybe that we've documented in "Pull of Gravity" alone that's not here anymore, all to my knowledge by gun violence. And those were very personal relationships and very, very, very personal. So, seeing a short clip of something to me is just like, "Ugh."I think figuring out a way to document or work on something that is more well-rounded. I think there's a power and actually story arc narrative of filmmaking, but actually encompassing more sort of experimental aspects of installations or something that actually helps tell a bigger story and engulf someone in a reality for a time to give justice to the story. But specifically, there was this interesting story I seen recently, Glenn Holsten, who came in and taught me film in prison. He worked on this film called "Wyeth" about Andrew Wyeth, the painter, and I live now in the Westchester area and out that way.And I went to the museum finally the other day as a Brandywine River Museum. Very fascinating. And long story short, in the exhibition, they have this one thing about this artist who is also local named Horace Pippin. And it just blew me away to hear the story about Horace Pippin in the sense that Horace Pippin was just really quick not to bastardize his story or edit his story, but was in the self-taught artist, was in the army, was injured in the army, lost use of his right arm, which he was right armed.Li:I didn't know that.El:And he painted. How did he paint with his right arm? He learned painting as a therapy and he used his left arm to move his right arm to paint all the paintings that he painted.Li:Wow. Jon:Never knew that.Li:Me neither.El:I didn't know that either and he lived not far from where I live. And I'm just blown away by stories like that. And again, we're talking about resilience, but you're also talking about experiences and we're talking about in the 30s or 40s we're talking about folks that did it on that level, given all of the odds against them in that context of time and all of the dynamics that was happening then. So, I think that's a very fascinating story. Stories like that, that basically emphasize people's, again, resilience, but adding social sort of context to give another perspective of the environment in which they actually had to evolve and in a way they used art to do that. I think there's something fascinating in that for me.Li:That is a fascinating story. And like I said, I work in the arts, I didn't know that about Horace Pippin, so thank you for educating me on that bit there. So, what's next for MING Media?El:Evolution. No, it is always evolving. I think post Covid, a lot of things changed for everybody, and they gave us a lot of reasons to change and evolve, and that's where we are now. Even to work with Monument Lab, I think a lot of that is rooted in some of the evolution too, looking at, and it gives us the opportunity to spend time with stories from everybody, from indigenous experiences on a lot of levels, to being omnipresent with things that we've been bombarded with every day without knowing. So, all of our work basically evolves us in a way that would just, it gives us a moment to sort of pause and then decide and determine where we can apply that. So we have a number of cool projects on the horizon for clients coming to us now and stuff. So we're just growing and evolving. That's how I would say it. What'd you say, Jon?Jon:Yeah, and just seeing how it's all so connected too. The more and more we grow and the work with Monument Lab has been just so beautiful and an amazing experience. Just for talking about some overlap, so I had the opportunity to travel to South Dakota in October for a Monument Lab project with Re:Gen and got to work with an amazing group there, the Rapid City Indian Boarding School project with Amy Sazue and her team. And I was welcomed with open arms as an outsider, and they told me right away, "We don't really trust people with cameras too much." And by the time I left, we were family and getting hugs and hanging out with people's families and kids and-Li:Oh, that's beautiful.Jon:... It was beautiful. And just, it's such an honor and a privilege to be in that position, and it's humbling. It's really humbling. But one beautiful experience there, I went to the Black Hills pow wow when I was there, and the first 30 minutes of the entire pow wow, 30 minutes straight, maybe even an hour, the opening ceremony was honoring Native American veterans with music and dance. And then the connections just, wow, between "Music Vets" and Monument Lab and the work we've been doing and the amount, oh man, just the amount of connections.Li:So many connections.Jon:The statistics around Native American folks and indigenous folks in terms of incarceration. The numbers are out of control and they're high representation, the armed forces too. So, there's a lot of interesting connections and it's all starting to connect for us, all this different work. And there's an amazing story there, another one real quick is around this elder I met, Faith Spotted Eagle. She's incredible. She was one of the leaders of the Standing Rock protest in the Dakota Access Pipeline, and she was the first and only indigenous person to receive an electoral vote for president. And it's a whole story to look up. She's incredible.She works with veterans at the VA in South Dakota and uses traditional ceremony music to work with native vets within the VA.Li:Incredible.Jon:And so just the overlap here of just the work we're doing is just, it's monumental.Li:It's monumental.Jon:And it's beautiful. And again, it's an honor and a privilege and just so we're excited to see how these connections keep growing and the work keeps evolving between our personal experiences and our work history and where the future has taken us.Li:Well, it has definitely been an honor and a privilege to sit here with you all. I just want to thank you for the awareness that you're bringing to all of these issues. It's super important, and I can't wait to see what comes next for MING Media. Thank you, Jon Kaufman and El Sawyer. It's been a pleasure. Jon:Thank you. El:Thank you, Li.

GGACP marks the 30th anniversary of Steven Spielberg, Michael Crichton and David Koepp's "Jurassic Park" (released June 11, 1993) with this ENCORE presentation of an interview with the creator of the original "JP" logo/art, award-winning designer and pop culture historian Chip Kidd. In this episode, Chip joins Gilbert and Frank for a lively (and educational!) conversation about classic movie posters, Jewish comic book creators, the convoluted history of Captain Marvel and the 80th anniversary of the Caped Crusader. Also, King Kong goes to Japan, Andrew Wyeth inspires Charles Schulz, Gilbert plays a Superman villain andSaul Bass directs the "Psycho" shower scene. PLUS: Tobor the 8th Man! Batman vs. Godzilla! In praise of Alex Ross! The Hulk shreds his pants! And the strange death of Jack Cole! Learn more about your ad choices. Visit megaphone.fm/adchoices

Season 3 Episode 15 - Andrew Wyeth's Home Places "You can be in a place for years and years and not see something, and then when it dawns, all sorts of nuggets of richness start popping all over the place. You've gotten below the obvious." —Andrew Wyeth Today's new episode of Bringing It All Back Home is all about revisiting the life, work, & obsessions of Andrew Wyeth — exploring what it meant to finally visit his home town of Chadd's Ford, as well as the historic Kuerner Farm. What does it mean to be deeply rooted in place? Can we discover the magic lurking in everyday realism? And did it really take me 10 years to finally drive out to Chadd's Ford and see the landscape for myself? Tune in, turn on, and check out the poetry & vision that was the work of Andrew Wyeth. Michael Palin documentary on Wyeth:  https://youtu.be/D5PrpI9y8W0 Explored on this episode: Andrew Wyeth, Michael Palin, N.C. Wyeth, Jamie Wyeth, Helga Testorf, Chadd's Ford Township, Brandywine Museum Of Art. Andrew Wyeth HOME PLACES exhibition February 4-July 13, 2023, --- Send in a voice message: https://podcasters.spotify.com/pod/show/charles-kershenblatt8/message

Priscilla Paton writes mysteries set in the greater Minneapolis/St. Paul area. Priscilla grew up on a dairy farm in Maine. She received a B.A. from Bowdoin College, a Ph.D. in English Literature from Boston College, was a college professor and taught in Kansas, Texas, Florida, Ohio, and Minnesota. She has previously published a children's book, Howard and the Sitter Surprise, and a book on Robert Frost and Andrew Wyeth, Abandoned New England. She married into the Midwest and lives with her husband in Northfield, Minnesota. When not writing, she participates in community advocacy and literacy programs, takes photos of birds, and contemplates (fictional) murder. Make sure to check out this author on Instagram @priscillapaton You can listen to the podcast on Apple Podcast, Spotify, Google Podcast, or visit my website www.drkatherinehayes.com

Welcome to the Instant Trivia podcast episode 759, where we ask the best trivia on the Internet. Round 1. Category: Fictional Seniors 1: Bob Cratchit's boss. Ebenezer Scrooge. 2: This "Christmas Carol" curmudgeon is "secret, and self-contained, and solitary as an oyster". (Ebenezer) Scrooge. 3: The devoted housekeeper Nelly Dean narrates much of the story of this Bronte title house. Wuthering Heights. 4: In this novel Hugh Conway finds out that the High Lama is about 250 years old. Lost Horizon. 5: This amateur sleuth who likes to knit lives in the small English village of St. Mary Mead. Miss Jane Marple. Round 2. Category: Female Firsts 1: She founded the Opera Company of Boston in 1957 and in 1976 became the first woman to conduct at the Met. Sarah Caldwell. 2: In 1678, Elena Cornaro, fluent in 7 languages, became the first woman to receive this advanced degree. doctorate (of philosophy). 3: Daisy Gordon, the niece of Juliette Gordon Low, became the first member of this organization when she joined in 1912. the Girl Scouts. 4: This author and wife of Time magazine's founder was the USA's first female ambassador to Italy. Clare Boothe Luce. 5: This UPI correspondent was the first woman to head the White House bureau of a major news service. Helen Thomas. Round 3. Category: Marine Biology 1: Around 1905 it was discovered that the American eel spawns in this "sea" in the north Atlantic. the Sargasso Sea. 2: A species of this 10-armed animal is the largest invertebrate, reaching a length of over 50 feet. squid. 3: The animals that form atolls. coral. 4: When bivalves get scared, they pull these shut until the danger has passed. their shells. 5: You might be "As happy as" this mollusk that has a heart but no brain. a clam. Round 4. Category: Pennsylvanians 1: "Little Women" was based on her own "poor but happy" family of mom, dad, 3 sisters and herself. Louisa May Alcott. 2: In 1869 Philadelphia's John Wanamaker founded one of the 1st of these in the U.S.. the department store. 3: An educator and writer of 19th century "Readers", he began teaching at age 13. (William) McGuffey. 4: His water colors are set almost entirely in the Brandywine Valley and Chadds Ford, Pennsylvania. (Andrew) Wyeth. 5: Surnames of the philanthropists who founded 2 Pittsburgh institutes which merged into 1 univ. in 1967. Carnegie (and) Mellon. Round 5. Category: World Holidays And Observances 1: Argentina honors this dance on Dec. 11, the birthday of 2 of its important figures, Carlos Gardel and Julio de Caro. the tango. 2: Tahiti celebrates this on July 14; it's that French connection. Bastille Day. 3: "The Folklore of World Holidays" gives instructions on how to make a turnip lantern for this observance. Halloween. 4: At each of the 12 strokes of midnight starting a new year, a Spaniard will traditionally eat one of these. grape. 5: Monaco's national day is November 19, the date in 1949 of his formal accession to the throne. Prince Rainier. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Ever wonder about the identity of the woman posing for the Mona Lisa, or think about the life of the “farmers” depicted in American Gothic? Discover the true identities and stories of the real people behind 12 famous paintings. Artists like Leonardo da Vinci, Andrew Wyeth, and Grant Wood receive much acclaim, but what about the models that inspired these masterpieces? Were they artists, secret lovers, or perhaps even disguised self-portraits? #painting #arthistory #models #MonaLisa #AmericanGothic #LeonardodaVinci #AndrewWyeth #GrantWood #famouspaintings #artmodels Learn more about your ad choices. Visit podcastchoices.com/adchoices

Here we are at 2023! Happy New Year and thank you to everyone who helped make 2022 a wonderful year for Art Ladders. Thanks to guests, our podcast producer Taylor Cramer of Cold Shower Media and our listeners! We appreciate you! In this episode we reveal our resolutions for 2023 and discuss our top painting picks that have influenced us on our creative journeys. Armin choose Le Gros by Franz Kline, Winter 1946 by Andrew Wyeth, and The Garden of Earthly Delights by Hieronymus Bosch. Valerie choose Rouen Cathedral Series by Claude Monet, Paris Street-Rainy Day by Gustave Caillebotte, and Veil Series by Robert Rauschenberg. Post to images on Facebook. Link to our online classes.

In this episode, we continue on with our weekly recaps of the hit FX original series Atlanta. We discuss how peaceful Paperboi looks on his safe farm and we debate on if this was a good closing for Paperboi's story arch. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, LaTonya Starks (@Lkstarks) and Mari Forth (@MariTalks2Much) recap Season 4 Episode 9 of Atlanta. The post Atlanta Season 4 Episode 9 Recap, ‘Andrew Wyeth. Alfred's World' appeared first on PostShowRecaps.com.

This week, LaTonya Starks (@Lkstarks) and Mari Forth (@MariTalks2Much) recap Season 4 Episode 9 of Atlanta. The post Atlanta Season 4 Episode 9 Recap, ‘Andrew Wyeth. Alfred's World' appeared first on PostShowRecaps.com.

Atlanta final season Episode 9 review. 9. Andrew Wyeth. Alfred's World. - An observation on how people are always making Paper Boi go through something. ---- References: 30-50 Feral Hogs Tweet: https://twitter.com/WillieMcNabb/status/1158045307562856448?s=20&t=8q_kwTchrtjfp64fuBpOHg Andrew Wyeth's Christina's World: https://www.moma.org/explore/inside_out/2012/11/21/a-closer-look-at-christinas-world/ ---- The Crew: LadiiGi: https://linktr.ee/LadiiGi ---- Web: https://www.verbalvibemode.com LinkTree: https://linktr.ee/verbalvibemode ---- Executive Music Producer - Brown Tiger: https://bio.link/browntiger --- Send in a voice message: https://anchor.fm/verbalvibemode/message

An oil and watercolor painter, art workshop instructor, architectural illustrator,  life time ardent reader, and writer of the occasion when painting is not sufficient to express his feeling and thoughts...JJ's childhood was spent in China during the Great Proletarian Cultural Revolution (1966-1976).  During that era of madness, drawing, writing and reading poetry kept him safe and sane, and shielded him from the chaotic world outside.  Drawing and painting have become inseparable parts of JJ's life.  They came to him naturally (and early) and have helped shape his view of the world and himself to a large degree.JJ was trained as an architect and architectural historian with professional degrees from both the US and China.  He practiced architecture as well as taught architectural design and history.. As a fine artist, JJ draws his inspiration from both his eastern and western cultural roots, as well as his inquisitive mind and inner poetry.  He excels in drawing, watercolor and oil painting, while exploring subjects such as: still life, landscape/cityscape, portrait and figure, Chinese calligraphy and brush painting. His work has been widely exhibited, and collected and has won numerous awards.  It has been featured in publications such as Watercolor Artist Magazine, SPLASH 21, The Art of Watercolour magazine, and Southwest Art Magazine.   (source: www.jjjiang.com)You can JJ's work on his website and follow him on Facebook & Instagram. To see his work in person please visit the Village Art Circle in lovely downtown Cary, NC.    Website:  www.jjjiang.com    Facebook: @jj.jiang.35   Instagram: @jj.jiang.artJJ's artist & resource recommendations:   Andrew Wyeth  - andrewwyeth.com   JJ's Blog Post - "Girl in a Red Scarf" Support the show

There are many ways that art is mysterious both in the making and the meaning. Val and Armin discuss the categories in this episode that include symbolism, titles, history, content, elements and personality. Here are some show notes of topics discussed in this podcast. Andrew Wyeth's art Edward Hopper's art Claude Monet Cathedral Series Robert Rauschenberg erases a De Kooning drawing Frances Bacon Studio The Shock of the New: The Hundred-Year History of Modern Art The Shetland TV series Link to Robert Schefman's website Crooked Tree-Traverse City Small Worlds exhibit Muskegon Museum of Art Contemporary Michigan Exhibit Fake or Fortune TV show Show sponsor: Golden Apple Studio and Art Residency

A powerful painter with a very personal perspective, Annie Leist takes us into the mind, the oils, and the brushes. We talk about her eyes, which deliver visual information differently than the typical pair, and her advocacy for accessibility and equity. Hot and cool times at the canvas. New work with photos at the Mall of America. The artist and advocate at large; please meet Annie Leist. Clips in this episode: https://www.moma.org/magazine/articles/643 (Annie Leist on Andrew Wyeth's 'Christina's World' (MOMA/UNIQLO Artspeaks, 2021)) https://music.apple.com/us/album/paint/1295894171?i=1295894180 (Paint (James O'Brien, A Bothersome Injuries Forty, Vol. 1, 2017)) Thief and Painter (James O'Brien: Unreleased, 2002) Paint (James O'Brien: Unreleased, 2001)

For years, we have been fans of, and followed the muralist, painter, photography, illustrator and filmmaker Pat Perry. What started as a fascination with his On the Road style journal drawings, documented a bohemian life on the go around North America has now turned to an international view of building communities through art in places far and wide, including where this episode was recorded, in Ferizaj, Kosovo for Mural Fest Kosovo. The Detroit-based artist is one of America's leading muralists, but when you dig deeper, his paintings are like contemporary Andrew Wyeth scenes of rural life and tender moments that often go overlooked. In this episode of Radio Juxtapoz, Doug Gillen speaks with Pat Perry as he completed his mural in Ferizaj and we hear about how the artist tried to embed himself where he paints, the bringing together of all his creative passions and taking of the life jacket of his career and jumping into the deep end of art. Pat was a participating artist for the On/Offline edition of Mural Fest Kosovo. The Radio Juxtapoz podcast is hosted by FIFTH WALL TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 095 was recorded in September 2022 in Ferizaj, Kosovo. Follow us on @radiojuxtapoz

A blockbuster exhibition, ‘Impressionism to Modernism: The Keithley Collection,' goes on view starting Sunday, Sept. 11, at the Cleveland Museum of Art. Clevelanders Joseph and Nancy Keithley talked with The Landscape about their passion for collecting art and why they chose to make the largest gift to CMA in more than 60 years — 100-plus works ranging from paintings by Pablo Picasso, Henri Matisse and Andrew Wyeth to woodcuts by Chinese master Xu Bing.

"Pay attention to your life and what your experience tells you from one moment to the next. What are you learning in it? How are you connecting with reality, with people around you, with whatever elements of the divine are being present to you? Just pay attention."   Consider the language of God's communications through various traditions and experiences and how best to articulate experiences with God or spiritual experiences within these confines. Learn to experience the Atman, the Self behind the Self, and God as ever-present throughout daily life- in the texture of Andrew Wyeth's paintings, Patti LuPone's legendary career as a Broadway star, and Einstein's world-changing genius.God: An Autobiography, As Told To A Philosopher is a revelation reported by Dr. Jerry L. Martin and offers a unique narrative account of God's experiences throughout history and beyond time. What's On Our Minds- features Dr. Martin and show Host and Creative Director Scott Langdon, who share a dynamic conversation recapping the latest episodes of each series:Two Philosophers Wrestle With God- On The Nature of Human Beings- A review of the Atman and nature of human beings from the dynamic dialogues between Dr. Jerry L. Martin, author of the true story, God: An Autobiography, As Told To A Philosopher, and founding chairman of the Theology Without Walls, and Dr. Richard Oxenberg, professor of ethics and theology, and author of On the Meaning of Human Being: Heidegger and the Bible in Dialogue. What's On Your Mind- Reactions and responses from readers and listeners about their personal spiritual experiences with God. We revisit Jenny's profound spiritual wisdom and ability to pay attention when God calls.  Read- God: An Autobiography, As Told To A Philosopher.Listen- Dramatic Adaptation of God: An Autobiography, As Told To A Philosopher____Related Episodes: [Special Episode] 82. Self Behind the Self; [Series: Two Philosophers Wrestle With God] 83. The Nature of Human Beings (1); 84. The Nature of Human Beings (2); [Series: Reader and Listener Responses] 85. What's On Your Mind (7)Related Content: [Video] If God Spoke Today What Would He Say?|God: An Autobiography | Facebook | Instagram | Twitter | YouTube | 

Andrew Wyeth (1917-2009) is considered one of American's greatest modern artists. His works combine a regionalist simplicity with a surrealist view of the inner world. But without the people and places that inspired him and allowed him to channel his emotions onto the canvas, we might never have seen that inner world at all. Let's take a walk through the life of Andrew Wyeth, encountering the several muses that played an integral part in his creative process, as we endeavor to answer, “What is a muse?” Today's artwork: Andrew Wyeth, Christina's World (1948). Tempera on Panel. Museum of Modern Art, New York. New episodes every other week. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast Twitter: @ArtHistoricPod TikTok: @artofhistorypod // @matta_of_fact --- Support this podcast: https://anchor.fm/amanda-matta/support

Christina Olson was the real-life woman who inspired artist Andrew Wyeth's painting “Christina's World.” It's considered a master work of American art that inspires a lot of feelings in people, myself included. In the novel “A Piece of the World,” author Christina Baker Kline tells a fictionalized version of the real-life relationship between artist and subject. It's an emotional and complex relationship and a totally compelling book. Joining me today is April Bielefeldt, is a Landscape Photographer and one half of the Travel Collective, where she creates videos, showcases boutique guides and tours and shares her knowledge of how to travel like she does. She has a deep love for the USA, particularly the Maine coast, where today's book is set, and she creates personal itineraries as well as leads small tours. I loved talking with an artist about the connections between visual and literary art, and how sometimes one can change our opinions about the other.   Follow the Best Book Ever Podcast on Instagram or on the Best Book Ever Website   This episode is sponsored by Lover's Moon by Mark Leslie and Julie Strauss   Do you have a book you want to tell me about? Go HERE to apply to be a guest on the Best Book Ever Podcast.   Host: Julie Strauss Website/Instagram     Guest: April Bielefeldt Podcast/Website/Facebook/Instagram/You Tube   Discussed in this episode: A Piece of the World by Christina Baker Kline Christina's World by Andrew Wyeth Orphan Train by Christina Baker Kline The Way Life Should Be by Christina Baker Kline Olson House at Farnsworth Art Museum The Inn at Lake Devine by Elinor Lipman The Bridges of Madison County by Robert James Waller   (Note: Some of the above links are affiliate links, meaning I get a few bucks off your purchase at no extra expense to you. The charity links are NOT affiliates, but they are organizations I trust and personally donate money to. Anytime you shop for books, you can use my affiliate link on Bookshop, which also supports Indie Bookstores around the country. If you're shopping for everything else – clothes, office supplies, gluten-free pasta, couches – you can use my affiliate link for Amazon. Thank you for helping to keep the Best Book Ever Podcast in business!)

Christina Olson was the real-life woman who inspired artist Andrew Wyeth's painting “Christina's World.” It's considered a master work of American art that inspires a lot of feelings in people, myself included. In the novel “A Piece of the World,” author Christina Baker Kline tells a fictionalized version of the real-life relationship between artist and subject. It's an emotional and complex relationship and a totally compelling book. Joining me today is April Bielefeldt, is a Landscape Photographer and one half of the Travel Collective, where she creates videos, showcases boutique guides and tours and shares her knowledge of how to travel like she does. She has a deep love for the USA, particularly the Maine coast, where today's book is set, and she creates personal itineraries as well as leads small tours. I loved talking with an artist about the connections between visual and literary art, and how sometimes one can change our opinions about the other.   Follow the Best Book Ever Podcast on Instagram or on the Best Book Ever Website   This episode is sponsored by Lover's Moon by Mark Leslie and Julie Strauss   Do you have a book you want to tell me about? Go HERE to apply to be a guest on the Best Book Ever Podcast.   Host: Julie Strauss Website/Instagram     Guest: April Bielefeldt Podcast/Website/Facebook/Instagram/You Tube   Discussed in this episode: A Piece of the World by Christina Baker Kline Christina's World by Andrew Wyeth Orphan Train by Christina Baker Kline The Way Life Should Be by Christina Baker Kline Olson House at Farnsworth Art Museum The Inn at Lake Devine by Elinor Lipman The Bridges of Madison County by Robert James Waller   (Note: Some of the above links are affiliate links, meaning I get a few bucks off your purchase at no extra expense to you. The charity links are NOT affiliates, but they are organizations I trust and personally donate money to. Anytime you shop for books, you can use my affiliate link on Bookshop, which also supports Indie Bookstores around the country. If you're shopping for everything else – clothes, office supplies, gluten-free pasta, couches – you can use my affiliate link for Amazon. Thank you for helping to keep the Best Book Ever Podcast in business!)

https://www.marioarobinson.com Mario Andres Robinson was born in Altus, Oklahoma, where he resided with his family before relocating to New Jersey at the age of twelve. Robinson studied at the prestigious Pratt Institute in Brooklyn, New York. In 2014, Robinson was chosen to be a Brand Ambassador for Winsor and Newton art materials. He is the author of "Lessons in Realistic Watercolor," a comprehensive guide of the artist's watercolor techniques (Monacelli Press).    The work of Mario Andres Robinson fits squarely within the tradition of American painting. Robinson's finished works bear a close affinity to the masters of the realist tradition, Andrew Wyeth and Thomas Eakins. Containing few references to modern life, Robinson's work has a timeless and universal quality, and exhibits a distinct turn-of-the-century stylistic aesthetic. The images he chooses, which refer to a bygone era where solitude and reflection were abundant, also provoke frequent allusions to the paintings of Winslow Homer and Edward Hopper. Mario Andres Robinson is an Exhibiting Artist Member (EAM) of The National Arts Club, an Artist Member of The Salmagundi Club and a Signature Member of The Pastel Society of America. His work has been featured several times in The Artist's Magazine, The Pastel Journal, Watercolor Magic, American Art Collector, Fine Art Connoisseur and on the cover of American Artist magazine. In the February, 2006 issue of The Artist's Magazine, Mario was selected as one of the top 20 realist artists under the age of 40.

https://www.marioarobinson.com Mario Andres Robinson was born in Altus, Oklahoma, where he resided with his family before relocating to New Jersey at the age of twelve. Robinson studied at the prestigious Pratt Institute in Brooklyn, New York. In 2014, Robinson was chosen to be a Brand Ambassador for Winsor and Newton art materials. He is the author of "Lessons in Realistic Watercolor," a comprehensive guide of the artist's watercolor techniques (Monacelli Press).    The work of Mario Andres Robinson fits squarely within the tradition of American painting. Robinson's finished works bear a close affinity to the masters of the realist tradition, Andrew Wyeth and Thomas Eakins. Containing few references to modern life, Robinson's work has a timeless and universal quality, and exhibits a distinct turn-of-the-century stylistic aesthetic. The images he chooses, which refer to a bygone era where solitude and reflection were abundant, also provoke frequent allusions to the paintings of Winslow Homer and Edward Hopper. Mario Andres Robinson is an Exhibiting Artist Member (EAM) of The National Arts Club, an Artist Member of The Salmagundi Club and a Signature Member of The Pastel Society of America. His work has been featured several times in The Artist's Magazine, The Pastel Journal, Watercolor Magic, American Art Collector, Fine Art Connoisseur and on the cover of American Artist magazine. In the February, 2006 issue of The Artist's Magazine, Mario was selected as one of the top 20 realist artists under the age of 40.

Growing up in the land of the Razorbacks, it is perhaps not surprising that James Bonner is a former football player and sports enthusiast. More intriguing is the longstanding attraction that this Little Rock, Arkansas native has felt toward Maine art and artists.  This first manifested as an attraction to the work of the Wyeth family.  Drawn to Andrew Wyeth in particular, James began a decades-long love affair with Maine, traveling frequently to the state's Mid-coast region to immerse himself in the environment that has inspired countless creative spirits. James has become known for his attention to detail, using a painstaking multi-layered process to create simplified yet evocative Maine scenes. We explore the inexplicable allure of our beloved Pine Tree State with James Bonner on today's episode of Radio Maine.

Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke's Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists' representations of their studio spaces; the rhetoric of US artists' clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O'Keeffe's clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O'Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O'Keeffe: Living Modern. Her O'Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association's Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn's Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman's Building at the 1893 Chicago World's Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood's American Gothic.

Today I'm honored to be speaking with Victoria Browning Wyeth. Victoria is the only granddaughter of artist Andrew Wyeth. Her great-grandfather, N. C. Wyeth, was a celebrated illustrator, and her uncle, Jamie Wyeth, continues to expand the family's artistic legacy. After graduating from Bates College in Maine, Victoria studied the history of psychiatry at Harvard and then earned her masters degree in psychology from Wesleyan University in Connecticut. Victoria has lectured at Wyeth exhibits from Paris to Tokyo, and frequently leads gallery talks at the Brandywine River Museum (Chadds Ford, PA) and the Farnsworth Art Museum (Rockland, ME). In Covid times, she's reaching new audiences online. Victoria has curated art shows and exhibited her own photography. A book of her photographs and accompanying essays, "My Andy," was published by the Greenville Museum of Art in 2017. In this interview, Victoria shares many stories and insights, including this advice from N.C. Wyeth: “Paint what you know. Paint what's in your heart. Paint with emotion. Paint with intensity.” Visit Victoria's website: victoriawyeth.com Follow Victoria on Instagram: instagram.com/victoriabrowningwyeth Watch Victoria's tribute to Betsy Wyeth mentioned in the episode: brandywine.org/museum/betsy-james-wyeth Watch Victoria's last interview with Andrew Wyeth: youtu.be/Teoei9XGrrg View works by Andrew Wyeth: andrewwyeth.com/gallery Victoria Wyeth photo credit: Jim Graham This ad-free podcast is supported by Sam's Torode's books, including “Living from the Soul: The 7 Spiritual Principles of Ralph Waldo Emerson,” available at http://www.samtorode.com.

Note: This was originally published both at my website and at Tweetspeak Poetry back in 2013. I signed up for an American Literature class. The instructor didn't ask about my brother, and I understood what I read, like The Mill on the Floss and Their Eyes Were Watching God. I formed opinions—my very own—and wrote response papers that earned A's and positive remarks from the professor. My journalism course, however, turned me off. Plus, I couldn't shake that memory of standing at the doorway to fetch the photo of the boy who had been shot. I didn't want that life, so I abandoned journalism and switched to social work. The professor discouraged students from becoming social workers unless they were absolutely sure. I wasn't sure. So I switched majors again when I took a folklore class, because I loved the idea of capturing stories. But someone pointed out the limited career opportunities available to folklore majors, so I started to look for an alternative. English Major Then I took another English Literature class. Maybe I was reading Kafka's Metamorphosis or Joyce's The Dubliners, but I realized I loved literature when I understood the language. Stories, words, ideas, themes. That's what I wanted to dive into with my remaining time in college. I don't know what I'll do with it, I thought, but this is who I am: an English major. Toward the close of a semester, I walked with my boyfriend toward the campus bookstore, wondering aloud about my future. “What do you really want to be?” he asked. I blurted out, “A writer.” “A writer? That's fantastic! How about communications?” “No, it's too much like journalism and I hated journalism. I want to write creative things for magazines or books. I would love that.” “Take a creative writing class.” “Creative writing?” “Sure! You'd write fiction and poetry.” “But I don't write poetry.” I remembered the sonnets in Dr. Weber's Shakespeare class. “I don't understand poetry.” “It's okay. If you take creative writing classes, you'll learn to write.” Creative Writing So I signed up for Introduction to Creative Writing. I read Writing Down the Bones and learned about free-writing. I filled notebooks with countless words, pen on paper without lifting it for ten minutes, hoping to turn up memories and ideas to work with. We started with fiction and I wrote a story entitled “Fences” that no one liked—not even me. Then we read and discussed poems, mostly contemporary. Some rhymed, but most didn't. I understood some of them, but not all. Nobody seemed to mind, though I began to second-guess my right to be in the room with other students who grasped the meaning quickly and sounded intellectual. We began to write our own poems. “Write what you know, ” the instructor advised. “Write from your own memories. Write about your childhood.” So I wrote about dropping hay onto the heads of the cows as they leaned into the manger to eat. I wrote about my brother and his friends warning me that the devil lived in the window well. I wrote about sitting alone in the wooden pew watching the adults take communion at the Methodist church. I wrote about dancing in the barn loft as the afternoon sun streaked through the lone window facing west. And I wrote about my grandmother's calico cat. None of my poems rhymed. Poetry Every semester I signed up for another creative writing class. For one assignment, I wrote a poem inspired by a piece of art. I chose an Andrew Wyeth print my boyfriend's mom gave me of a little boy sitting in a field. I invented a scene where the boy had run away, and the week I read it aloud, the instructor, who wore long peasant skirts and Birkenstocks, highlighted the last lines, reading them again, slowly. On my way across campus that afternoon, I pulled it out and read the last lines again to myself. A few weeks later, I read aloud a poem I'd written about potatoes, and that same instructor leaned against the desk and listened.