Podcast appearances and mentions of anne ellegood

This episode is an exploration of deafness away from a loss of hearing to a hearing faculty and a practice of attuning to the harmonic sounds of everyday life that travel in between shortcomings of contemporary urban soundscapes. Joining us on the show is Alison O'Daniel. Alison is an Assistant Professor of Film at California College of the Arts in San Francisco, a visual artist and a filmmaker working around sound, moving image, sculpture, installation and performance. She has screened and exhibited in countless galleries and museums both domestically and internationally. These include Hammer Museum, Los Angeles; Garage Museum of Contemporary Art, Moscow; Centre Pompidou, Paris, France; Centro Centro Madrid, Spain; Renaissance Society, Chicago; Art in General, New York; Centre d'art Contemporain Passerelle, Brest, France; Tallinn Art Hall, Estonia; Bemis Center for Contemporary Arts, Omaha; Shulamit Nazarian, Los Angeles; and Samuel Freeman Gallery, Los Angeles. The Tuba Thieves, an ongoing film project, explores how high school students listen and hear when one of the main instruments in their marching band is missing in response to a rash of tuba thefts that occurred between 2011 and 2013 from high schools across Southern California. Alison shares with us a riveting story about how the making of the Tuba Thieves led to the discovery of a barn-like concert hall in the green, hilly mountains of the Hudson Valley area where a pianist once sat in front of the piano for 4 minutes and 33 seconds without pressing any key. Watch the teaser for the Tuba Thieves and an excerpt of the 4' 33" scene. Make sure to follow Alison's instagram handle to stay up to date on her future works. Read about her past works as well such as the installation at a former chapel of a German monastery which in the form of a colorful carpet captures the feeling of hard to hear and the transcript of an interview about Tuba Thieves that Alison conducted with Anne Ellegood .

Maja Ruznic, a prolific and active artist, is primarily a painter, a storyteller who conjures form and narrative from ground up mineral, smeared oil, and stained canvas. Born in Bosnia and Hercegovina in 1983, Ruznic immigrated to the United States with her family in 1995, settling on the West Coast where she eventually went on to study at the University of California, Berkeley, later receiving an MFA from the California College of Arts. Ruznic’s often-quoted biography – a refugee who escaped the Bosnian War – is only the beginning of her journey. Ruznic’s vivid paintings speak for themselves, depicting figures that seem to emerge from the caverns of human history, from within their own supports, and somehow from within the viewer’s own recollections. These paintings breach something intrinsically human and Ruznic guides us deftly with dark humor and complex representations, not dissimilar to Werner Herzog’s wry, but poignant 3-D documentary depicting the oldest painted images in the world. Ruznic has exhibited internationally and her work has been written about extensively, most notably in ArtMaze Magazine, Juxtapoz, San Francisco Bay Guardian, Studio Visit Magazine, and twice in New American Paintings, including the cover as selected by curator Anne Ellegood.  In 2018, Ruznic was a recipient of the Hopper Prize and in 2019, Ruznic’s painting “Azmira’s Daughters” was acquired by the Dallas Museum of Art. Ruznic is represented by Conduit, Hales and Karma. LINKS: Karma Gallery in NY https://karmakarma.org/ Hales Gallery in NY https://www.halesgallery.com/ London Gallery https://conduitgallery.com/ https://www.ontheedgeofreason.com/ Teacher- Rajkamal Kahlon https://www.rajkamalkahlon.com/  @yaqup_oxbjr @jiakobsteen Keiko Narahashi nsta: @keiko_nara_hashi https://joshuahagler.com/ Cathy Wilkes https://www.xavierhufkens.com/artists/cathy-wilkes

Maja Ruznic, a prolific and active artist, is primarily a painter, a storyteller who conjures form and narrative from ground up mineral, smeared oil, and stained canvas. Born in Bosnia and Hercegovina in 1983, Ruznic immigrated to the United States with her family in 1995, settling on the West Coast where she eventually went on to study at the University of California, Berkeley, later receiving an MFA from the California College of Arts. Ruznic’s often-quoted biography – a refugee who escaped the Bosnian War – is only the beginning of her journey. Ruznic’s vivid paintings speak for themselves, depicting figures that seem to emerge from the caverns of human history, from within their own supports, and somehow from within the viewer’s own recollections. These paintings breach something intrinsically human and Ruznic guides us deftly with dark humor and complex representations, not dissimilar to Werner Herzog’s wry, but poignant 3-D documentary depicting the oldest painted images in the world. Ruznic has exhibited internationally and her work has been written about extensively, most notably in ArtMaze Magazine, Juxtapoz, San Francisco Bay Guardian, Studio Visit Magazine, and twice in New American Paintings, including the cover as selected by curator Anne Ellegood. In 2018, Ruznic was a recipient of the Hopper Prize and in 2019, Ruznic’s painting “Azmira’s Daughters” was acquired by the Dallas Museum of Art. In 2020, she has upcoming solo shows with Conduit Gallery in Dallas, TX and Hales Gallery in London. Topics Discussed In This Episode: Practicing “Is-ness” Maja moving to Roswell, NM Intaking artwork at a subconscious level Recognizing and healing from pain and trauma Maja growing up in Bosnia in various refuge camps www.artistdecoded.com

It’s April’s last show before heading off to Michigan … sigh. There WILL be more State of Wonder faves in the weeks to come, but right now we’re delivering some final thoughts on what it means to leave the place you love, and ways for thinking about the work ahead.

Looking Back on Made in L.A. 2018— What does it mean for an artist to be political? — How are artists responding to our time?—How do young artists connect with curators?Writer's Room: Lindsay is joined by the three Carla writers who reviewed Made in L.A. 2018 for Carla issue #13: Jennifer Remenchik, Aaron Horst, and Claire de Dobay Rifelj. Hear about the hits (and misses) from three of our very own critics. They also discuss how politics were interpreted across the exhibition, and how nuance can play a role in political work. You can read each of their Made in L.A. 2018 reviews here: Precarious Healing, Jennifer RemenchikUnfinished Finish Fetish, Claire de Dobay RifeljLoose Aesthetics and Agreeable Politicking, Aaron HorstL.A. at Large:Lindsay speaks with the curators of Made in LA 2018, Erin Christovale and Anne Ellegood. They discuss the process of choosing artists for the show, what it means for an artist to be political, and the responsibility the curators felt in making the exhibition a reflection of our surreal historic era.Dear Carla:The Hammer curators stay on to weigh in on this listener submitted question: How does an artist ask a curator for a studio visit? There are unwritten rules for example about not asking gallerists unsolicited for studio visits..so how does an artist crack into the curatorial view.You can submit your question on Instagram (DM us) or write to us at podcast@contemporaryartreview.la.  

Since the 2016 election, artists, curators and arts organizations alike have responded to this presidency with work that seeks to understand (and possibly upend) our current political systems. See: Counter-Inaugural. What are the stakes of such engagement? What role can art play within politics? On May 30, 2017, Anne Ellegood and Erin Christovale, curators of Made in L.A. 2018, and What, How & for Whom, curators of the 2009 Istanbul Biennial, joined us to discuss Curating Within a Heightened Political Moment. This conversation was part of WHW's Clockshop residency. Learn more here: https://clockshop.org/project/whw/

Jacob Proctor, an advisor to the Frame & Focus sections for young galleries at Frieze New York, collector Marty Eisenberg, curator Anne Ellegood and advisor Rob Teeters discuss their experience of navigating and collecting works from young talents.

Join us for an extended conversation with four of the artists from "The Uncertainty of Objects and Ideas": Mark Handforth, Rachel Harrison, Charles Long, and Franz West. Moderated by exhibition curator Anne Ellegood.