Podcasts about Art history

✦ Today, it is more important than ever to state, define, and be clear about who you are. To do that, you may have to be bold, upfront, and... frank. To that end, a dynamic group of 11 queer artists, known as Frank, will present a diverse, multifaceted, and self-defining art show entitled "Being Frank: it is because I am." The show is at Ansley Mall from September 14 through the 17, and City Lights Co-Host Jon Goode recently sat down with two of Frank's founding members, artists David Clifton-Strawn and artist Royce Soble. ✦ City Lights Collective members Jasmine Hentschel and EC Flamming, the creatives behind Atlanta's visual art print magazine, "GULCH", want you to get out and engage with the city's art scene. Each week, they spotlight five standout happenings, and today, they'll tell you about Living Walls's 15-year-anniversary "quinceañero" party, an exhibit at Marcia Wood that's sure to excite all you color theorists out there, and Cat Eye Creative's final show opening in their current South Downtown space. ✦ It's never too early to spark a lifelong love of the arts and theatrical performance. To that point, The Alliance Theater's Bernhardt Theater for the Very Young, in partnership with the Marcus Jewish Community Center of Atlanta, is presenting a stage adaptation of "The Birthday of the World," based on the children's book by New York Times Bestseller Dr. Rachel Naomi Remen. The show runs through October 26 and includes two special outdoor performances at the MJCCA's Zaban Park on Sunday, September 14. City Lights Collective Engineer Matt McWilliams recently spoke to creator and director Jonathan Shmidt Chapman about bringing "The Birthday of the World" to Atlanta's youngest theatergoers. ✦ For 20 years, the High Museum of Art has awarded the David Driskell Prize to field-defining contributors in African American Art and Art History. This year, the award goes to Alison Saar, sculptor, installation artist, printmaker, and art scholar, whose sculpture "Salon" welcomed visitors to the 2024 Paris Olympics. The Driskell Prize winner joined WABE arts reporter Summer Evans to share her extraordinary legacy as an artist and scholar. ✦ Our series, "In Their Own Words," tells firsthand stories from our artistic community. This is where they tell us who they are, what they do, what they love, and a few things you might not see coming. What things? Who knows, there's only one way to find out. Today, we highlight comedian Nate Allen.See omnystudio.com/listener for privacy information.

We're talking with Distinguished Professor of Art History at Cleveland State University about building a scholarly foundation for future historians of art through writing and then moving in a new direction with more popular writing. We talked about writing for Smithsonian Magazine; writing about artists who are still alive; how to surmount the challenges of getting your editor to include images in your book; and when cold-calling really pays off. Don't forget to rate and review our show and follow us on all social media platforms here: https://linktr.ee/writingitpodcast Contact us with questions, possible future topics/guests, or comments here: https://writingit.fireside.fm/contact

Katie and Steve speak with Swiss art lawyer Florian Schmidt-Gabain about Switzerland's (very) recent establishment of an “Independent Committee for Cultural Property with a Burdened Past” that will hear ownership disputes about Nazi-looted art as well cultural property acquired during the colonial era. They discuss why it has taken the Swiss so long to establish a process like this, the unique role of Switzerland during WWII, the challenges of the mostly voluntary and non-binding process, and the many questions that remain open as implementation unfolds.   Notes for this episode: https://artlawpodcast.com/2025/09/04/switzerland-starts-to-address-cultural-property-with-a-burdened-past/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast Katie and Steve discuss topics based on news and magazine articles and court filings and not based on original research unless specifically noted.

In this episode of Art Ed Radio, Tim Bogatz and Amanda Heyn tackle the real questions art teachers are asking—everything from how to protect your prep time, to saying “no” without guilt, to deciding which lessons deserve to be repeated year after year. Along the way, you'll hear strategies for handling challenging student behavior, creative approaches to gamifying the art room, and a lively discussion of Amanda and Tim's favorite artists. Resources and Links Check out the Art of Ed Community and join in the conversation! See the Art of Ed's FLEX Curriculum Check out all the ceramics resources in FLEX See John Hansen's gamification board on Art Teacher Cribs Watch 5 Minutes of Art History about Do Ho Suh Learn more about the Art Ed NOW Conference

Send us a textIn this episode, we explore the rise of the Este family and the transformation of Ferrara into a vibrant Renaissance court. From Niccolò III's political maneuvering to Leonello's humanist vision and groundbreaking artistic patronage, we trace how the Este shaped culture and power in northern Italy. We then turn to Borso d'Este's reign, examining his use of art and spectacle to project authority, including his enthroned bronze statue. Along the way, we uncover surprising details—like a controversial monument restoration—and set the stage for Ercole I's ambitious ducal legacy. Support/Watch/Follow: https://linktr.ee/italian_renaissance_podcastImages DiscussedPisanello, Portrait of Leonello d'Este, 1441-44 https://www.wga.hu/html_m/p/pisanell/1paintin/este.htmlPisanello, Medal of John VIII, 1438 https://www.wga.hu/html_m/p/pisanell/2medals/palaeol.htmlPisanello, Medal of Leonello d'Este, ca. 1444 https://www.wga.hu/html_m/p/pisanell/2medals/leonell1.htmlAntonio di Cristoforo, Niccolo Baroncelli, and Leon Battista Alberti, Equestrian Monument to Niccolo III,  1441 https://equestrianstatue.org/nicolo-lll/Niccolo Barroncelli, Monument to Borso d'Este, ca. 1452 https://commons.wikimedia.org/wiki/Category:Monument_to_Borso_d%27Este_(Ferrara)Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

Our guest this time is Kay Thompson. As Kay says in her bio, she is a minister, TV show host, author, Realtor® and business owner. If that isn't enough, she has raised a son and a daughter. Kay grew up, as she says, a military brat. She has lived in a number of places around the world. Like others we have had the pleasure to have as guests, her travels and living in various places and countries has made her curious and given her a broad perspective of life.   After high school she went to college. This life was a bit of a struggle for her, but the day came when she realized that college would be a positive thing for her. She will tell us the story.   After college she and her second husband, her first one died, moved to Atlanta where she has now resided for over 30 years. Kay always has had a strong faith. However, the time came when, as she explains, she actually heard God calling her to go into the ministry. And so, she did.   Kay tells us about how she also has undertaken other endeavors including writing, selling real estate and working as a successful Television host. It goes without saying that Kay Thompson performs daily a number of tasks and has several jobs she accomplishes. I hope you will be inspired by Kays's work. Should you wish to contact Kay, visit her website www.kaythompson.org.     About the Guest:   Kay Thompson is a minister, TV show host, author, Realtor® and business owner. She is the founder of Kay Thompson Ministries International, a kingdom resource for healing, hope and spiritual development. Kay is also the founder of Legacy Venture Group, a consulting and media firm which has helped countless businesses, organizations and individuals to strategically maximize potential. Kay holds a BA in Art History from Rutgers University in Camden, NJ, and an MA in Christian Ministry from Mercer University in Atlanta, GA. She is the former program director of WGUN 1010 in Atlanta and hosted the Kay Thompson TV Show, which aired on WATC-TV 57 in Atlanta. She currently hosts for the Atlanta Live broadcast on TV- 57. Kay is a member of the staff for the Studio Community Fellowship at Trillith Studios in Fayetteville, and is a host for their weekly service. She also serves as a member of the Board of Advisors for the A.D. King Foundation and works with several other non­ profit organizations in the Metro Atlanta area. Kay has lived in Georgia for over thirty years and is a resident of Stockbridge. She has two wonderful children: Anthony (Jasmine) and Chanel; and one grandchild, AJ. Kay enjoys reading, bowling and spending time with her family.   Ways to connect with Kay:   Facebook (Kay Thompson Ministries) https://www.facebook.com/kaythompsonministries Instagram (@kayrthompson) https://www.instagram.com/kayrthompson/     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:17 Hi, everyone. I would like to say greetings wherever you happen to be today, we have a wonderful guest today. This is a woman, I would say, of many, many talents. I've been looking forward to this for a while. Kay Thompson is a minister, a TV host. She's an author, she's a realtor, and she's a business owner. My gosh, all of those. I want to find out how she does all those. But anyway, Kay, I want to welcome you to unstoppable mindset. We're really glad that you're here.   Kay Thompson ** 01:54 Well, thank you so much for having me. I appreciate being here, and thank you for contacting me excited.   Michael Hingson ** 02:01 Well, how do you do all those things all at once?   Kay Thompson ** 02:05 Well, you know, definitely can't do them all at once. Oh, okay, well, so have to kind of parse them out each day. And as I get assignments, that's how it goes. And got to prioritize one over the other. You   Michael Hingson ** 02:22 know? Well, we will, we will get to all of those, I am sure, in the course of the next hour or so. But I'm really glad that you're here, and as yet, I've been looking forward to this for a while, and and I'm sure we're going to have a lot of fun. Why don't we start? Maybe you could go back and tell us kind of about the early K growing up. What about you? So people can get to know you?   Kay Thompson ** 02:44 Oh, yeah. So growing up with the daughter of a military father, military officer. As a matter of fact, he rose to the rank of Lieutenant Colonel. So that was interesting. So it was kind of a privileged military life in that sense that, you know, he just was always, he was a very important figure in his time. So that was interesting, walking on the base with him. And, you know, people would stop and salute him, you know, it was, it was, and I was just a little caught, you know, just running alongside him and just real proud, real proud   Michael Hingson ** 03:28 of my father. Did you have any Did you have any siblings?   Kay Thompson ** 03:31 I do? I have two brothers. Yeah, they both lived in Arizona. I was in the middle, so smashed right in the middle between two very muscular, very had a very demanding, commanding, excuse me, commanding presences. So in between the two brothers there, yeah, and then my mother, she was an English teacher, and very, you know, did excellent in her own right. She did a lot of drama, just a lot of teaching. She ended up in her 60s getting her doctorate degree, and, you know, just really excelled in education. And so she was the one that was really big on education. You know, go to school, go to school. Go to school. I don't want to go to school. Well, you need to go to school anyway. So I went to school anyway. That's how I can say my life was. Now, where did you grow up? All over,   Michael Hingson ** 04:32 okay, you did. I was going to ask if you did a lot of travel, since your dad was in the military.   Kay Thompson ** 04:38 Yeah, we certainly did. I was born in Tacoma, Washington. Oh, I don't remember any portion of it, because we were the only there, basically, so I could be born. I feel like, I know that's not the reason. But we went to Washington so I could be born, and then we lived there about a year, and then we moved to New York City. Then. We moved to. Now, by this my brother was already born, because all of us are three years apart. So my brother was born in Verdun, France, okay, and then they moved to, I can't remember where they were before that. I don't know if they went straight to from there to Washington State, and then we moved to New York, and then we went to Aberdeen, Maryland, and that's where my younger brother was born. And then from there, we went to Germany. We stayed there for about three years. From Germany, we went, I can't believe I remember all this. And from Germany, we went to Ohio. We stayed there for a couple of years. And actually we were there when they had that tornado. Was like in the 70s, there was a tornado Zenith Ohio. Well, we weren't far from zenith at the time. So we were there. Then we moved from there to Virginia, and it was there for three years, then to New Jersey, and then that's where my father retired. So we were all over the place.   Michael Hingson ** 06:10 You were, my gosh, well, did you, did you learn any of the foreign languages when you were in Germany and France, or, yeah,   Kay Thompson ** 06:23 in Germany, we could only, I only remember vaguely, you know, hello, thank you to know what it is now off beat is saying goodbye, Danka and bitter, thank you. You're welcome and good, yeah. But tight. But, no, no, we didn't do that at all   Michael Hingson ** 06:47 so, but you, you certainly did a lot and you had a lot of adventures. How do you think that all of that travel affected you as you grew older? What? What did it do that helped shape you?   Kay Thompson ** 07:03 Well, I know that, you know, of course, traveling. You know, you hear the story about kids all the time they travel, and because if they're if they're moving a lot, it's hard to create lasting, long term friendships, because you're just constantly moving. And you know, never mind moving to another city, but when you go to another state, even from another country. Now, I did happen to have a friendship with a young lady. Her name was Audrey, and I met her in Germany, and I was between the age of about three to five. I met her in Germany, and we stayed friends till I was in Virginia. So you're talking from Germany, wow, to Maryland, to Virginia. We were friends until Virginia, but then once I left Virginia and went to New Jersey, and I was there for my part of my middle school and then the rest of my high school, we fell out of touch. So that was one of the things I would say is difficult, you know, just having lifelong friends, yeah, that was, that was probably one of the more difficult things. But one thing on the other side is it made great being that person that was a world traveler. It was great when you're in school and they, you know, they ask you in your classroom, hey, you know, tell us something unique about you. Oh, well, I've been to Germany because my parents, when we were in Germany, they wasted no time traveling. They were always traveling. We were on the road all the time. I mean literally, and you know, they, they were just great world travelers. We went we went to Italy, we went to Spain, we went to France, we went to Switzerland. We went everywhere in Europe that they could get in that Volvo that they had. We had a nice little Volvo, and we would pitch out at, you know, campsites, you know, just any way they could to get where they needed to get, because they wanted to see these sites, and especially because my mother was an English teacher, she did a lot of plays, she directed a lot of plays, a lot of Shakespeare. And so a lot of these places were in these books, in this literature that she taught, and I'm sure that's probably one of the major reasons they did all this traveling, all these places that she had studied about, and, you know, taught about, she actually got to go see now, I must say, the only place I didn't go to that I wanted to go to that for some reason, she took my older brother. She didn't take any, noone else went, but my mother and my older brother. And I can't understand that trip to this day they those two went to. Greece. We didn't know. No one else in the family went to Greece. And I meant to ask, I'm going to, you know, when I finish this interview, I'm going to call my brother and ask him, What, what? What did you and mom go to Greece? You know, because nobody else got to go. But I would have loved to go there as well, but, but at the time, you know, new kid, it was okay. Mom and mom and Chuck are going away. Okay. But now that I think back and look back, maybe it was, I never, I never asked about that, but I'm going to ask, Did   Michael Hingson ** 10:34 it help you, though, develop a sense of adventure and and not create any kind of fear of of traveling around. Did it make you a more curious person? Because you got to go to so many places? Oh, I asked that in the on the basis of as you grew older and thought about it.   Kay Thompson ** 10:52 Oh, yeah, I'm a very curious person, curious person, and at times that can be a little nosy, right? And so, yeah, so that, to me, was, I think, one of the ways that built expanded my mind in terms of wanting to know about people and about things, because I've worked in public relations for many years, and so just being able to understand the perspective of other people from different cultures and different mindsets, being open to people from different cultures, different races, different religions, wanting to hear their point of view, interested in you know how they feel about things, because you can have a subject, or You can have something come up, and you have so many different perspectives from people. And you can see the very same thing, they can be shown the very same thing, but one person sees it from their lens, you know, from where you know, yeah, whether it's how they grew up or their external influences, and then someone could see the very same thing, and it interpret it totally different. Yeah. So   Michael Hingson ** 12:08 one of the one of the things that I've noticed in talking to a number of people who came from military families and and others as well, who did do a fair amount of travel to various countries and so on. They do tend to be more curious, and I think that's a very positive thing. They they have a broader outlook on so many things, and they tend to be more curious and want to learn more and wish that more people could have the same experiences that they had.   Kay Thompson ** 12:40 Yeah. I mean, not afraid to try new things too, for things that other people would would not like. I remember in Germany being very young, being fed octopus and snail. You know, these delicacies over there in Germany, I remember that at this my where my father was stationed, in Germany. The street, it was in like a court area. It felt like a court area, big apartments set up in a U shape, and then right across in a U shape in the in the middle of a field, like an open space, not a field, but an open space. And then right outside of that open space, we could jump out of that open space right into a busy street called Roma Strasse, and right on the other side of that busy street was Old Town, Germany, literally stepping there were no fences and no bars and no gates. We're stepping straight from our backyard into Germany, because the base was more Americanized. So you really felt Americanized on the base. But once you stepped into Germany, the houses were these. You know, cobble it was cobblestone streets. And I remember me and my brothers used to walk out of our backyard, that big open area, and go across the street into Germany and get the authentic gummy bears. That was our weekly trip. And these gummy bears, I'm telling you now, for gummy bear enthusiasts out there, the gummy bears in Germany looked nothing like these gummy bears that we see here. They were huge. They were the cutest little bears. I almost felt guilty eating them, but we just had a great time. I remember great memories from our exploits, our visits, the life was different. You know, toilet paper was harder. I just remember now that was years ago. I don't know what it's like now, but   Michael Hingson ** 14:49 yeah, but does the gummy bears taste better?   Kay Thompson ** 14:53 Well, now I can't remember, because then, when you're a kid, any candy, you know, if you say candy, I say, yeah. Much, you know. So when I was that young, I couldn't tell, but they probably did, you know. But then again, for those people that like because I don't drink, but the beer there is much darker, too. So some people don't like that. So better to them. You know, could be, you know, we don't like it to us. So   Michael Hingson ** 15:25 I've never been to China, but I've been to Japan twice, and there's a food in China called dim sum. Are you familiar with dim sum? Okay, I'll tell you dim sum in Japan is I and I think better. It's different and tastes better than dim sum in the United States. Now I have to go to China one of these days and try it. Yeah.   Kay Thompson ** 15:48 Well, if you ever go to the buffets, have you ever gone to the Yeah? Yeah. Okay, so if you notice the people that work there, they do not eat the food that the buffet. Yeah, they so one day I'm going to do this too. I'm like, hey, you know, can I have some of which   Michael Hingson ** 16:09 you guys eat? Yeah, yeah, yeah, well, yeah, but it is, it is interesting. It's fun to to investigate and explore. And I haven't traveled around the world much. I have as a speaker, had some opportunities to travel, but I think my curiosity came from being a blind person who was encouraged by my parents to explore, and the result was that I did a lot of exploring, just even in our house around our neighborhood. And of course, when the internet came along, and I still believe this is true, it is a treasure trove of just wonderful places to go visit. And yeah, I know there's the dark web and all that, but I ignore that. Besides that, probably the dark web is inaccessible, and maybe someday somebody will sue all the people who have sites on the dark web because they're not accessible. But nevertheless, the internet is just a treasure trove of interesting places to visit in so many ways. Yeah,   Kay Thompson ** 17:17 and then a virtual reality. So one of the places that I wanted to go to was, I've always wanted to go to Egypt. I haven't had an opportunity yet, and personally, right now, don't know how you know how good an idea that is right now. Yeah, but I went to a recent VR exploration of the pyramids in Egypt. And I'm telling you, if that was how it seemed, it's definitely was a way to help me to, you know, live it out, so to speak. Because there's, like, for instance, there's a place in Florida called the Holy Land, the Holy Land, you know, the whole just like a theme park. And they say it looks, you know, there are areas where it looks just like Israel, parts of Israel. So, you know, in that respect, I've been able to realize some portion of the dream. But yeah, I have been love to get there.   Michael Hingson ** 18:16 I have been to Israel, and I enjoy happy. I was in Israel two years ago. Oh, well, so what did you do after high school?   Kay Thompson ** 18:30 Oh, after high school, interesting. So remember when I was telling you about the school thing? So I was in and out of school. I went to I started college in New Jersey. Where did you I went to Rutgers University. Rutgers, yeah, well, first I started in New Brunswick. Then I came back because we lived closer to Camden. We lived we lived in New Jersey, closer to Philadelphia. Philadelphia was about 20 minutes away.   Michael Hingson ** 18:57 Mm, okay, I lived in, I lived in Westfield, New Jersey. So we were out route 22 from New York, about 15 miles. So we were in the north central part of the state, okay, South North part, or whatever, of the state.   Kay Thompson ** 19:11 Okay, okay, yeah. Well, yeah. First it was in New Brunswick. I was there. And then after I did that, I went for about a semester, and then I transferred over to Hampton University, because both my parents went to Hampton, so I said Hampton didn't stay there, and then I ended up coming back and going to Rutgers in Camden, and there I completed my degree. Took me eight years to complete it. What   Michael Hingson ** 19:42 did you get your degree in?   Kay Thompson ** 19:43 I got my degree in art history and sculpture. So, okay, yeah, and I love what I did. I you know, I had a museum work. Loved working in a museum, and could tell you about all the i. You know, the art, the sculpture, just loved it. But it took me a minute to get that then. And then, after that, I went to, I moved to Atlanta in 92 the end of 92 so after high school, you know, just a lot of challenges, just trying to figure out who I was and what did you do. You know, how I wished I would have, now, looking back on it, I wish I would have, maybe when I got out of high school, just taking some time off first. And because in my heart, I knew I, I knew I, I knew I didn't want to go to school, but I knew I needed to go. I knew there was something in me that said, you you need to go to school. But mentally, I don't think I was mentally prepared for it, for for the you know, because when you get out of high school, and you go into college, it's a unless you take AP courses in high school, you're not prepared for the amount of work you're going to get inundated with. And it was just overwhelming to me. It took all my time. I felt like I was that person. I had to keep reading things over and over again just to get it, I used to have to, not only did I take, you know, what friend of mine calls copious notes, but then I also had to put it over in index cards. And you know, it just took me a long time because my heart wasn't in it at the time. So I ended up meeting a gentleman, my first husband. We were married, we had a son, and then, but he passed away, I think, when my son was about three, and then that's when, okay, okay. Now, you know you now, now, now. I wanted to go. Now I wanted to finish. So it was   Michael Hingson ** 22:00 your it was your husband that passed away. Yes, yeah, okay, yeah, all right, so then you decided you really needed to to do school.   Kay Thompson ** 22:12 Yeah, I needed to complete it. So that's what pushed me to complete it, leaving   Michael Hingson ** 22:17 the major aside of sculpture and art and his art history and so on. If you were to summarize it, what did college teach you?   Kay Thompson ** 22:30 Oh, that's a great question. What did college teach me? Well, you know, it taught me that, you know, I think we just need to, well, you need to know how to focus. It's really was a disciplining moment in my life. I was an Army brat. You know this bottom line, I was an Army brat even though I felt like I didn't get a whole lot of things that I wanted. In reality, I had a, like a kind of a spoiled mentality. And when I got to college, I realized that this stuff is not going to be handed to me, you know, you're not going to be handed an a you know, I'm not going to do your studying for you, you know. And so helping me to kind of detach from things I had just depended on for so long. But in that transition, it became very lonely. College was very lonely. I mean, even when I left, because I got out of when I first went to Rutgers and cam in New Brunswick, right out of high school. I had, I was at the dorm, and I wasn't ready for a dorm. I wasn't ready for that life because, you know, I left almost before the semester was over and I had to go and make up the classes. And, you know, thankfully, they allowed me to make up some of my you know, majority well. As a matter of fact, they let me make them all up, but I still had to put in the work. And that was my thing, putting in the work, putting in the work and doing things that I didn't necessarily like. Because even though I liked art and I like sculpture and all that. There were other classes that I had to take, like humanities and algebra, you know, and history, you know, not not art history, but you know, American history, European history, and all these different other subjects, these other prerequisites or curriculum that you have to take. And I didn't always enjoy those and other I don't want to do that, but no, you actually have to do it. So I'm going to say that college really helped me learn about disciplining myself to do things that I don't necessarily like, but they are required of me,   Michael Hingson ** 24:58 and I. But I would tell you, if you asked me the same question, that would be my answer. It really taught me a lot about discipline. It taught me also to realize that I really did like inappropriately so adventure and exploration and being curious and so on. I also found that my best college courses were the ones, no matter what the subject was or whether I really enjoyed it or not, were the ones where I had good teachers who really could teach and who were concerned about students and interacting with students, rather than just giving you assignments, because they then wanted to go off and do their thing. But I liked good teachers, and I went to the University of California at Irvine, and had, very fortunately, a lot of good teachers who encouraged discipline and being able to function in unexpected ways and and they also pointed out how to recognize like if you're doing something right, like in physics, when my Masters is in physics, one of the First things that one of my professors said is, if you've got to get the right answer, but the right answer isn't just getting the right numbers, like if you are trying to compute acceleration, which we know is 16 feet per second squared, or 9.8 meters per second squared. That's not right. Anyway, 3232 feet per second, or 9.8 meters per second, it isn't enough to get the 32 feet or or the 9.8 meters. You've got to get meters per second squared. Because that never mind why it is, but that is, that is the physics term for acceleration, so it isn't enough to get the numbers, which is another way of saying that they taught me to really pay attention to the details. Yeah, which was cool. And I'm hearing from you sort of the same thing, which is great, but, but then you went to college, and you majored in what you did, and so did you work in the museum part of the time while you were in college?   Kay Thompson ** 27:31 Well, what happened is, I had an art history teacher who just took a, I guess, a liking to me, because I was very enthusiastic about what I did, because I love what I did. And I had a writing background, because I had a mother who was an English teacher. So all my life, I was constantly being edited. So I came in with pretty good grammar and pretty good way to I had a writing I had a talent for writing in a way that the academic were looking for, that art history kind of so I knew how to write that way, and she hired me to help her. She was a professor that did, you know, lectures, and she hired me, paid me out of her own salary, kind of like a work study. And so I worked for her about 20 hours a week, just filing slides and, you know, helping her with whatever she needed, because she was the chair of the department. So that was a great opportunity. I was able to work with her and and maybe feel good to know if somebody thought, you know enough of you know what I did to to hire me, and feel like I I could contribute, and that I was trusted to be able to handle some of these things. I mean, you know, and I don't know how difficult it is to file slides, but you know, when it teacher wants to do a lecture, and back then they were these little, small, little, you know, square slides. Square slides drop into the projector, right? And she's looking for, you know, the temple of Nike. You know, she wants to find it in order. You know, you pull that slide and you put it in your projector, right, carousel, right, yes, yes. So that's what I did, and it was great. I loved it. I learned college. I loved I loved the college atmosphere. I loved being in that vein, and I think I really found my niche when I was when I went to Rutgers in Camden.   Michael Hingson ** 29:48 Well, there's a history lesson sports fans, because now, of course, it's all PowerPoint. But back then, as Kay is describing it, when you wanted to project things you had. Slides. So they were pictures, they were films, and they were all these little squares, maybe two inches square, and you put them in a carousel, and you put them in the projector, and every time you push the button, it would go to the next slide, or you could go back the other way. So PowerPoint is only making it a little bit more electronic, but the same concept is still there. So there, there I dealt with slides. So after college, you, you did time at the university, at the museum, I gather,   Kay Thompson ** 30:31 okay. So what happened with the museum after I graduated from college, immediately I moved to New Jersey, yeah, you know, right? I'm gonna say probably about six months, six months to a year before college, is when my first husband died, and then after I graduated, um, I moved to New Jersey first. Where did you graduate from? Again, Rutgers University in Camden. Okay, so   Michael Hingson ** 30:59 that's New Jersey so you, but after college, you moved,   Kay Thompson ** 31:03 I moved to Georgia, Georgia that   Michael Hingson ** 31:06 that makes more sense. Okay, okay,   Kay Thompson ** 31:08 okay, sorry, yeah, so I moved to Georgia, and immediately, when we came to Georgia, you know my I came with a gentleman who I married shortly after, I moved to Georgia and we opened a art gallery. We were entrepreneurs. We came because, you know, there was, we felt like there was more opportunity in Georgia for small business owners, or would be potential small business owners, or people who wanted to realize their dream. And we know that in Georgia now, I don't know if you know this, but Georgia is a great place for entrepreneurs, so definitely better than where I was at the time. So we packed the U haul and just threw everything in there and came to Atlanta. Now my the gentleman who would be my husband. So I just say my husband now, then he, he had a sister here, so we visited first with her, and that's how we got to really see the scene, check out the scene, and then we came back and moved and found our own place and everything like that. So but when we came, I opened it, I had an art gallery for about a year or so, little bit longer and but that didn't work out. Didn't, you know, just, you know, some things you tried. Just yeah, just didn't work. But then my husband and now just FYI for you, this person, the second person, I married, the second man. He passed away too, but that was in 2008 but so he's my late husband too. So I have two, two husbands that passed away. One was the first one was much younger, and my second husband. We were married for 16 years. This is early on in our relationship. We he he opened a brass outlet, a just all kinds of beautiful black brass vases and animals and just anything brass you wanted. But also, after I shut down the museum I had or the gallery, it was an art gallery, I moved my pieces into his brass outlet, and there I was able to kind of display them and sell them. We had pieces that range from, you know, $25 to $500 so we I found a little space there that I could do my work. So it was a nice little coupling.   Michael Hingson ** 33:43 Yeah, I'm with you. Uh huh. So so you, you have obviously moved on from from doing a lot of that, because now you have other endeavors, as we mentioned at the beginning, being a minister, an entrepreneur, an author and so on. So how did you transition from just doing art to doing some of the things that you do today?   Kay Thompson ** 34:18 Okay, so what happened is when I came to and I guess this is the really, deeply more personal aspect of it all, when, when I came to Atlanta again, my my first husband had passed away. He committed suicide. Yeah, so when I came to Atlanta, my second husband and I were not yet married, and all I knew is that I wanted the relationship not to be the way the first one was, in a sense of. I I didn't want to go through that specific kind of trauma again and and not that the the two gentlemen were similar. They were very different people. My second husband was a very confident, very strong willed, you know, type of a person, but the trauma and my first husband, he had his own strength in, you know, but there's something that happens when you decide, you know, to end your life. Yeah, I wanted to make sure that I had some sort of support, divine support, because the going through something like that, and when I say something like that, not only am I talking about the suicide, but the fact that he was On we were on the phone together when this happened, so and then just dealing with everything that happened around it, you can imagine someone feeling a little bit insecure, unsure. So I really began to seek God for that relationship that I know would sustain me. I had grown up, you know, my parents grew up, they brought us to church. You know, I wouldn't say my parents were they weren't ministers, but they were active in whatever church they went to, and they made sure that we went to church every Sunday, even the Vacation Bible School. I can remember that in New Jersey, I remember, you know, them just being a very, very involved. My my parents. My mother was a singer, so she sang a lot in the choir, lot of solos. My father was a deacon. They both became elders, and elders, meaning they were just senior members of ministry. Because elder in the I'm in a non denominational ministry now, but elder is another way of saying a ordained male Minister their particular denomination, an elder was, you know, almost you might want to say like a trustee, so, but they were root, they they were they were integral to their church, And they were really foundational members. And so I just remember that impact on my life, and so I needed to make sure I had that grounding, and I knew I didn't have it because I was doing any and everything I wanted to do. You know, one of the reasons my my second husband, said, You know, he, I was the one for him, is because we had a drinking competition and I beat him, you know, we were taking shots, and I beat him. And so, you know that that was something that, you know, he said, Oh, you're, you know, girl, you're the one for me. And so that was our life, running, you know, we did a lot of. We entertained. We, you know, we did a lot of partying, as you say, a lot of having a great time. We were living our best life, right? So I knew I wasn't living a life that I could tell, Hey, God, see my life, Aren't you proud? It wasn't that life I was living. I wasn't, you know, doing biblical things. I wasn't living life, right? So I needed to make sure when I came to New Jersey, I mean, when I came to Atlanta from New Jersey with this gentleman that I had not yet married, I said, Lord, you know, help me make the right decision. And I'd say we could be moved to to Georgia in it's something like January, February. Okay, we got married about two months later, and then a month after that, I was pregnant with my daughter. So things being that, it happened very fast. But one thing about it is, of course, when you're pregnant, as a woman, you know, you can't do this. I couldn't do the things that I was doing before, right? The partying, smoking, the drinking, all of that, you know, for the sake of the child. You know, you just can't do it. So I went through a terrible withdrawal. Yeah, it was, it was pretty bad and and the only refuge I had was the church. So that's how I really got into the church. And once I got into the church, I had, I had been in the church before I had made a decision. Decision when I was about, I'm going to say about five, five or six years prior to that, I had given my life to the Lord. I had, you know, come into a relationship with the Lord, but life happened, and I got out of it. You know, I quickly kind of got out of it. And so for many years, I was just doing my own thing. So again, when, when, when we came to Georgia, I got pregnant, got married, going through with the withdrawals. I just, you know, I just went back into the church, uh, rekindled that relationship. Or, or the Bible says that he, he, he's with loving kindness. Has he drawn you? So he really drew me back based on my need. And so I came back to the church and got really, really involved in ministry. And as I got involved, I just kind of threw myself into it, because I could not do the previous things I did. And then even after I had my my second child, it's a daughter, so I have a son and a daughter, I had to live a life that was good for   Michael Hingson ** 41:05 them. And what did your husband think of all that?   Kay Thompson ** 41:09 Oh, yeah. Well, first he thought I had joined a cult. Okay, yeah, that's so that was his first impression. So he came to the church because he wanted to see who these cult members were that were drawing away his wife. And when he came, he got kind of hooked to the church, yeah? But our our faith was never at the same level. You know? He came because of me. I came because of of God, right? And I don't know if he ever really, I don't think he ever really got to that level that I did, where I was just gung ho. Everything was, you know, I was a Jesus girl. I was a holy roller, you know. And he did it for us. He did it for, you know, task sake, because he was a task oriented person. But he came, he came to be a very like my parents. He came to be very important part of the church. He was a deacon. He was faithful. He loved our leaders. He served with faith and integrity. But when it came to that, you know, deep seated personal relationship with God, where you know God, I just give you everything you know that that was mine. That was what I did. So we differed in that respect, yeah,   Michael Hingson ** 42:35 well, well, hopefully though, in in the long run, you said he's passed. I assume it was not a suicide.   Kay Thompson ** 42:45 No, no,   Michael Hingson ** 42:46 Ben that he is. He is moving on in that faith. So that's a hopeful   Kay Thompson ** 42:53 thing. Yeah, I believe he is. He had congestive heart failure and he passed away. And, yeah, I believe he he's now at rest, enjoying his rest. Yes, there   Michael Hingson ** 43:06 you go. So when did he pass in 2008 Okay, so that was 17 years ago. Okay, yep, well, so you were very involved in the church. And I suppose in some senses, it's probably a question that is reasonably obvious, but then I'll still ask, how did you get into the ministry from being very heavily involved in church, and when did that happen?   Kay Thompson ** 43:38 Okay, so one day our church. You know, the churches we have depending on, I guess, your faith or leaders do in the beginning of each year, we have a 21 day consecration, which we do in January, throughout the month of January. You know they might say, okay, 21 for 21 days. Read these scriptures, and we're going to fast from, you know, sweets, meats, or, you know, whatever the directive is. And so we was in a 21 day fast, and that was at my home one day. It was in the middle of the night, and I distinctly heard a call to preach. And that's really how the it all began. I mean, I knew, you know, the Bible says that, you know, even with Jeremiah and Jeremiah one, he says, Before the foundation, you know, before your mother and your father, you know, were together, I have already called you. I already ordained you. So I heard this call to preach, very distinct call, and at that point, I told my pastor, and from that point, I was kind of groomed, and as time went on, I was given more responsibility. Uh, you know, praying, or every now and then, preaching, doing Bible study. The next thing I know, I took my licensing exam, I was licensed, and then after that, I went through ordination, and I was ordained, and that's how it really began. And it was something I really took to heart, because I didn't want to disappoint God again. I didn't want to backslide again. Because, you know, I strongly believed in the faith, and I believe in the faith, and I believe in the power of Jesus, and I didn't want to be that person that Okay. Today I'm going to be faithful to the God and to His Word. But then, you know, then on the next day, you know, you're finding me, you know, yeah, in the liquor store, or, you know, this, doing this, or, you know, in the club. I didn't want to be that person. Yeah, I was, I was sincere, and I was very gung ho, and I wanted to live out this life. I wanted to see what the calling was going to be in my life. And I loved ministry. I loved the word, because I was already an art historian. So I loved history. And so the Bible is all you know, it's something history. It's history. Yeah, it's relevant. History to me, it's alive and active, sure. So it was perfect. It was a perfect pairing for me, and that that's really been my pursuit many these years.   Michael Hingson ** 46:37 So when did you become a minister?   Kay Thompson ** 46:41 Actually, when I, when I was telling you about that fast and when I heard the word preach, essentially when I heard that word preach between me and God, that was when I became a minister. Time wise. When was that time wise? Okay, that was probably 94 Okay. I Yeah, all right.   Michael Hingson ** 47:00 So you were, you were clearly a preacher during a lot of the time with your your second husband, and so on, and, and I am so glad that he at least did explore and and and learn so much. So that's a that's a cool thing. But you've also done some other things. You deal with real estate, you're a TV show host, you're an author and well, business owner, yeah, but I want to, I want to learn more about some of those. But what kind of challenges have you faced in the ministry?   Kay Thompson ** 47:42 Yeah. I would say some of the challenges are, you know, when you're in ministry, you have to preach or get yourself prepared for going before the people. It can be a very lonely lifestyle, yeah, yeah, even, even if you're married, even if you have children, it could still be a lonely and and demanding in its own right, because there is a mandate over your life to live and not according to what you see trending now. And, you know, when I, when I first got started in ministry there, the Internet was not the way it is now. No, no, definitely. Because, I mean, it was in 2000 that I got ordained. And I'm going to say the ministry had been, you know, it was just really starting to, I don't know you guess, she said, make waves. That's when all of the big evangelists were coming out, like, you know, the TD Jakes, the Paula white and the Benny Hinn and the Juanita Biden. That is around that time when those generation of preachers were really at the forefront, correct, low dollar and, you know, Bishop, Carlton, Pearson and Rod Parsley and all these, these names. That's when it really began to really pick up steam. And so that was the error that I started off in. And you wanted to be a person. You wanted to be relevant, but at the same token, you just trying to find that balance between family and ministry and and regular life. You know, can sometimes be really challenging, and I had to learn a lot about the order of things. You know, first it's God, then it's family, and then it's ministry. That's the order. But a lot of times we mix up God and ministry. So what we think is, you know, and. Aspect of things that we think that are God, that are actually ministry, and they supersede your family. That's where you know you can really run into some trouble. So that balance between those different aspects of my life, it was difficult, and then as a person who had a a more a prophetic, a revelatory call. On top of that, God is showing you things about people, about, you know, situations that you don't necessarily ask to know about, you know. And the Bible says, you know, with much knowledge can often come sorrow, you know. And that's when you begin to see God really unveiling and revealing things about people and about yourself. Because you have to be able to, you have to be able to look at yourself and not get too self righteous, right? If God is showing you these things. But in the same token, you don't want to, you know, you say, Okay, God, you're showing me this. What do you want me to do with this? And you know, somebody else might say, Okay, you need to go tell that person what God showed you. You know, I saw you doing this. You better stop, you know, doing this. And then, you know, so busy pointing the finger. Yeah, but you have to remember, you know, and it's, it may be cliches, but you've got three pointing back at you. And so there is, you know, you you've gotta be able to stay humble and yet still balance your family and still, you know, uh, not think yourself to be more than what you are, and yet realize that God has called you to do more in ministry than the average person. So yeah, it can be challenging, but I wouldn't change it for anything.   Michael Hingson ** 51:55 It can be a challenge, but at the same time, you clearly were called to do it, and you work at keeping perspective, and I think that's the important thing, which goes back to college, which helped you learn a lot of discipline, and you get to use that discipline in a different way, perhaps, than you right, you figured out in college. But discipline is discipline, yeah. Well, how did you then get into something like the media and start being a TV show host and those kinds of things?   Kay Thompson ** 52:26 Yeah, so I have a wonderful, wonderful pastor who really takes time to work with their their members and find out what your gifts are, what your talents are, and use them. And so I So, let's just say so I was an artist. Okay, bottom line, I was a sculptor, painter, award winning painter, by the way. Let me just tell you now, you know the first or second painting I did, I entered it into a contest at the college, and I won an award, so I had a gift for this design, but in my time we were transitioning to graphic design, graphic design became the big thing, and I never had if I had the aptitude to do computer science, which, bless his soul, my beautiful son is a computer scientist, right, you know, but that gene, this, that gene, skip right on over me. I was not the math person, and when you said physicist, I said, Hmm, that that, you know, that gene just, just totally went around me,   Michael Hingson ** 53:41 yeah, so you don't know anything about 32 feet per second squared anyway, no,   Kay Thompson ** 53:45 I'm about to say, I trust you, whatever you say, you know, and it's the funny thing is, my father was a mathematician, my older brother was a chemical engineer, and Me, you know that I struggle just to pass geometry. Okay, so no, I was the artsy person.   Michael Hingson ** 54:07 Um, that's fine, but I was, yeah. How'd that get you to the media?   Kay Thompson ** 54:12 Yeah, so I was going to say, so, the combination what happened is my pastor knew a pastor who was looking for a part time job, looking for someone to have a part time job, because he had a he had his own publishing company in his house. He at the time he was he published a book that we talked about church growth. And this was at the time when the Purpose Driven Life, The Purpose Driven Life was a purpose driven church came out. It was a huge success. And he the same thing happened with him here in Atlanta, but no publishing company wanted to take. Make his story, because that's the, you know, the whole the society was inundated with this purpose driven church, you know, it was already written about. It was already done. They didn't want his story. So he decided to create his own publishing company, and it was in the basement of his mansion, and he was looking for someone to be the secretary. So I came in that I was, it was a friend of a friend of friend. They hired me, and I started working for him as a as a secretary. And then they would bring these books over, and he would, you know, send them out to be edited, and then bring them back. And then I would have to mail it out to the to the printer and one of the books one day, and I saw it, and I noticed there were still typos in it. I said, Sir, there's still typos in your book. Oh, really, yeah. And he had already paid this person $1,000 so I went back through it, found all these typos, and that's how I got into publishing, publishing my own books and and everything like that. But then one day, my pastor said, Hey, Kay, why don't you do a radio show? I was like, okay, sure, right, because I had met so many people in ministry from doing their books. So I called the radio station, the local am station, and I said, Hey, how much does it cost to do a show, blah, blah, blah, blah. And I was sponsored by my pastor and some other people, and I started a 30 minute show every week. It was called personalities, profiles and perspectives, the three teams, and I would interview people, gospel artists, pastors, you know, just politicians, you know, just people. I would reach out to them. Next thing I know, I got hired by a station in another station in Atlanta. It was called wg, I don't know if you remember, well, you, you probably don't, because you're not from Atlanta, right? But it was W G, U N, 10:10am, in Atlanta, the biggest am station aside from WSB radio, which is WSB 750 the major news network, right? WGN, 1010. Was a huge station, and I got hired by them. I was a DJ. It was a gospel station, and I ended up being the program director, and did a lot of, you know, voiceovers. I did shows, I did production. That's how I got into radio. And I loved it. I loved radio. I loved anything to do with media. It was just I knew it. I got bit with the bug when they opened up that hot mic. That was it. I was in my element. So that's how I got into radio. And then you went to TV. And then I went to TV, yeah, went to TV. Well, what happened is, I was writing books, and there is a station here in Atlanta, W ATC TV 57 and they interview people all over, actually, all over the country. You can come from wherever we know, we've had big names, you know, all kinds of people and local people. And that's one thing about it, is that local people in ministry could go there. They could sing, if they were music artists, they could, you know, talk about their books, talk about their ministry. And so I went on and talked about my book, and next thing I know, I got called in to be a host, and so I've been hosting now for about five years. Wow. You know, on and off. You know, the the show has different hosts each, and I do a couple of times a month. Okay, I'll actually be on there shortly, again in a few days. So   Michael Hingson ** 58:57 tell us about your books. You've mentioned books several times. Did you publish your own books? Okay, so tell us about your books.   Kay Thompson ** 59:06 So yeah, the first four books, well, I've done I've had four books which were on prophecy. The the main title is prophecy in the 21st Century. And then I did four different volumes. The first one was the role of prophecy in the new millennium. And basically that one was written in, I'm going to say around 2012 somewhere about 2012 and it talks about the relevance of prophecy with regard to the millennial generation, and how this you can help steer direct and go alongside millennial mindset, millennial and many millennial aspects of this generation. And then the second book was also the set under the same volume, the same name. Prophecy in the 21st Century, the role of and the second the first one is the role of prophecy in the new millennium. The second one was prophetic healing. And prophetic healing talks about prophecy and healing in the Bible and how prophetic people who operate in the prophetic can help bring forth, healing, societal, healing, relational, healing, physical, healing, financial. And then the third one was about prophetic women. And these are women in the Bible that had a prophetic calling, not necessarily called a prophetess, but display those characteristics of women that operate in Revelation and that sort of gift. And then the fourth one was called the leadership mandate, and it talks about leader and how leaders navigate in the prophetic arena and the characteristics that people ought to have, and leaders in the Bible that also operated in that revelation or that. And then the last book I wrote was called the 30 names, or not the but 30 Names of God, because there are so many more names that God is known by. But I chose 30 names that really stood out to me as what God has called. You know Jehovah Gabor. You know the warrior one fights for us. You know Jehovah Jireh, of course, we know that's our provider. Mm, hmm, Jehovah Rapha, our healer. So I found 30 names that really stood out to me, and I spoke about those in that book. So those are the books that I have, and then I've got another book that will be coming out within the next year, and and it is about healing. So those are my books, and I've published those books. And not only do I, I didn't start off publishing my own books. I started off publishing for other people, right? Because the more I worked in that field, the more I found that I could do better financially if I did it myself. Yeah, so and I, and I, one thing about it is that as a result of being an artist, that the graphic design, computer graphics, came really easy to me, I'll bet. So, yeah, so someone could hand me a manuscript. I had the editing skills right for my mother. So I could edit your book. I could create the design. I could format it. I You. Hand me your manuscript, I hand you back your finished product. So for me, you know, the cheapest person that you know, I pay the least amount because so I can publish as many books as I could write, probably, you know, but that's how I really got started doing that, and then I began to do it for other people, other leaders, other pastors, friends, you know, just people that want that service. I provide that service. And so that's how that really got started.   Michael Hingson ** 1:03:12 Now we don't have a lot of time, but I just curious. You also do something in real estate.   Kay Thompson ** 1:03:19 I do, yeah, I I got my license in 2005 and maybe one year, maybe one year, and then I got out of it right away. Life happened, and then I came back in 2022, and began to did it full time. And so I love it. I love real estate. Right now I'm in residential, but I do some commercial, and the ultimate goal is to do mostly commercial and to have a space. The goal for commercial is to really help others entrepreneurs who are interested in having businesses offline, giving them an opportunity to have a space that is little to nothing, and that's one of the ways that I really want to give back, is to be able to offer that opportunity for people out there to help others to achieve that same goal. And so I believe in entrepreneur. I've been an entrepreneur for 17 years now. So, yeah, have a heart for that. So I want to see other people get through that challenge and be successful. So, and I know it takes money,   Michael Hingson ** 1:04:37 but in real estate helps.   Kay Thompson ** 1:04:39 It definitely helps. Yeah? Well, real estate is constantly going up, you know, even if the market is down and even if finances are down, real estate is something that is immovable,   Michael Hingson ** 1:04:52 so go back up.   Speaker 1 ** 1:04:54 Yeah, yeah, for sure, and   Michael Hingson ** 1:04:57 you clearly enjoy everything that you're. Doing, which is the important thing, yes, I have that is that is really cool, and I am so glad that we had a chance to talk about all this, needless to say, and I want to thank you for being on unstoppable mindset. Clearly, you have an unstoppable mindset, and you exhibited in so many ways. So I really want to thank you, but I also want to thank all of you for listening out there, wherever you happen to be, if you'd like to reach out to KK, how can people find you?   Kay Thompson ** 1:05:31 They can go to my website. It is my name, K Thompson, dot, O, R, G, all my books are there? Contact information, some of my podcasts. You can watch some of Atlanta live the videos of the shows. It's all on my website,   Michael Hingson ** 1:05:49 all right, and that's in in the notes and so on. So, k, a, y, T, H, O, M, P, S O, n.org, correct. So hope that you'll all go there and and check Kay out and and communicate with her. I'm sure that she would love, and I would love to know what you think and get your thoughts about today. So please feel free to email me at Michael, H, I m, I C, H, A, E, L, H i at accessibe, A, C, C, E, S, S, I B, e.com, wherever you're observing our podcast today, please give us a five star rating. We value very highly your reviews, and we, of course, love them most when you give us a five star review. So please do that. And Kay, for you and for everyone who is out there today, if you know anyone else who ought to be on unstoppable mindset, I would really appreciate it if you'd introduce us and we will bring them on the podcast, because we're always looking for people who have stories to tell about their lives and being unstoppable. So please don't hesitate to let us know. You can also go to our podcast page, which is Michael hingson, M, I, C, H, A, E, L, H, I N, G, s o n.com/podcast, so we'd love you to do that as well. But again, really appreciate all you being out there and listening to us and and I'm sure you you like, like, I have gotten some wonderful things out of talking with case. Okay, once again, I want to thank you for being here. This has been absolutely wonderful.   Kay Thompson ** 1:07:22 Well, thank you. I really enjoyed it. I appreciate you asking me to be here and just so glad to be able to share with you today your audience. Really appreciate it.   Michael Hingson ** 1:07:37 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

Thomas Schlesser is a French Art Historian whose new novel, Mona's Eyes is a brilliant way of exploring the great museums of Paris.  When Mona, his title character, is in danger of losing her sight, her grandfather, Henri, decides to show her one work of art a week for a year in the hopes that she can absorb all the beauty of the world before she goes blind. It is not just the touching story of a wonderful French girl and her grandfather visiting art, but also an amazing course in Art History.  From Botticelli to Basquiat, Thomas will tell you the history and stories behind some of the world's greatest.  Join us as we talk to him about these fifty two works, his unforgettable characters and why it took him ten years to write. Find books mentioned on The Book Case: https://www.goodmorningamerica.com/shop/story/book-case-podcast-reading-list-118433302 Books mentioned on this week's episode: Mona's Eyes by Thomas SchlesserLuminous Loves by Thomas Schlesser Learn more about your ad choices. Visit podcastchoices.com/adchoices

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, we are joined by Karen DeLoach, an artist, art teacher, art author, and creativity specialist. We delve into the importance of engaging both the right and left sides of the brain through creative activities to ignite joy. We discuss how creative pursuits can bring healing, reduce anxiety, and foster connection in our increasingly digital and detached society. Karen shares practical examples and encourages listeners to take small steps towards a more fulfilling and joyful life. The episode also highlights the impact of creative engagement on the soul and provides inspiration for finding and reactivating joy-inducing activities from one's past.00:00 Introduction and Special Guest00:26 The Importance of Joy and Creativity00:58 Karen's Background and Insights02:03 Balancing Left and Right Brain Activities02:50 The Role of Creativity in Reducing Anxiety05:32 Engaging in Simple Joyful Activities06:23 Connecting Through Shared Activities11:37 The Power of Volunteering and Community Engagement20:00 Overcoming Creative Inhibitions24:21 Final Thoughts and EncouragementAbout Our GuestKaren DeLoach is an award-winning artist/art teacher, author, minister, wife, mother, grandmother and speaker/coach. She has a BFA in painting/ drawing and an MA in Studio Art. She has written three art books: How to Draw, How to Paint and Art History & Appreciation, which are used in her college and online classes.

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices

Offering a fresh perspective on the influence of the American southwest—and particularly West Texas—on the New York art world of the 1950s, Three Women Artists: Expanding Abstract Expressionism in the American West (Texas A&M UP, 2022) aims to establish the significance of itinerant teaching and western travel as a strategic choice for women artists associated with traditional centers of artistic authority and population in the eastern United States. The book is focused on three artists: Elaine de Kooning, Jeanne Reynal, and Louise Nevelson. In their travels to and work in the High Plains, they were inspired to innovate their abstract styles and introduce new critical dialogues through their work. These women traveled west for the same reason artists often travel to new places: they found paid work, markets, patrons, and friends. This Middle American context offers us a “decentered” modernism—demanding that we look beyond our received truths about Abstract Expressionism. Authors Amy Von Lintel and Bonnie Roos demonstrate that these women's New York avant-garde, abstract styles were attractive to Panhandle-area ranchers, bankers, and aspiring art students. Perhaps as importantly, they show that these artists' aesthetics evolved in light of their regional experiences. Offering their work as a supplement and corrective to the frameworks of patriarchal, East Coast ethnocentrism, Von Lintel and Roos make the case for Texas as influential in the national art scene of the latter half of the twentieth century. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Tatyana is an art historian, educator, and content creator on YouTube, Instagram and TikTok. You can order her book.Previous dialogueConsider checking:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buymeacoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ko-fi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠Instagram⁠⁠

About this Episode Grief can strike when we least expect it, turning our world upside down and reshaping the very foundation of our relationships. When couples encounter loss—whether through miscarriage, infertility, or unexpected life changes—the path to healing can feel lonely, uncharted, and overwhelming. Even the closest partnerships can struggle to find the words, understanding, or comfort needed to move forward together. How do we navigate personal pain while remaining present for each other? Can couples truly heal side by side, even when their experiences of grief are so different? In this episode, listeners are invited into a heartfelt conversation exploring the realities of grief and healing within intimate relationships. Through personal storytelling and expert insight, the discussion dives deep into the complexity of navigating loss as a couple—highlighting the differences in individual grief experiences, the power of mutual support, and the importance of holding both sorrow and hope. Practical wisdom and lived experiences shed light on how couples can create space for each other's emotions, foster resilience, and slowly rebuild a sense of connection and possibility. Whether you have faced loss yourself or support someone who has, this episode offers guidance and reassurance that, together, healing is possible. Madeleine Garner is a New York-based writer. Her play, I Ragazzi, cowritten with her father, Broadway writer David Goldsmith, was published in 2023 by the Dramatists Play Service and is now available for licensing. She is the Head of Creative Services Operations, Americas at Sotheby's Auction House, and she received her B.A. in Art History and Italian Studies from Wheaton College in Massachusetts. She resides in Queens with her husband, daughter, and cat. Recently, published “Your Baby Will Find You: A Story About Grief, Loss, and Healing.” Check out the transcript of this episode on Dr. Jessica Higgin's website. Episode Highlights  05:17 Madeleine recounts the shock and heartbreak of her miscarriage, revealing the profound emotional and physical challenges she faced in its aftermath. 09:52 The clinical steps following miscarriage, unhelpful care, and the early stages of coming to terms with profound grief. 12:01 From shared struggles to connection—turning grief into creativity. 23:16 The value of surrendering to the unpredictable process of grief, healing, and hope. 29:16 Madeleine reflects on “Your Baby” as a symbol of destiny, fulfillment, or creativity for anyone navigating loss or uncertainty. 31:10 The balance between striving and surrendering. 36:10 Grieving as a couple: Different paces, shared support. 40:02 How returning to one another after rupture and repair builds a secure partnership and deepens intimacy after loss. 43:58 Resources and ways to connect with Madeleine. Mentioned Your Baby Will Find You: A Story About Grief, Loss, and Healing (*Amazon Affiliate link) (book) This is Me and Only Me (*Amazon Affiliate link) (book) The Missing Piece (*Amazon Affiliate link) (book) ERP 453: How To Navigate Grief In Long Term Relationship – An Interview With Christina Rasmussen Relationship Map To Happy, Lasting Love Connect with Madeleine Garner Websites: maddydaragarner.com Instagram: instagram.com/maddydaragarner Connect with Dr. Jessica Higgins Facebook: facebook.com/EmpoweredRelationship  Instagram: instagram.com/drjessicahiggins  Podcast: drjessicahiggins.com/podcasts/ Pinterest: pinterest.com/EmpowerRelation  LinkedIn: linkedin.com/in/drjessicahiggins  Twitter: @DrJessHiggins  Website: drjessicahiggins.com   Email: jessica@drjessicahiggins.com If you have a topic you would like it to be discussed, please contact us by clicking on the “Ask Dr. Jessica Higgins” button here.  Thank you so much for your interest in improving your relationship.  Also, I would so appreciate your honest rating and review. Please leave a review by clicking here.  Thank you!   *With Amazon Affiliate Links, I may earn a few cents from Amazon, if you purchase the book from this link.

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This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Fluent Fiction - Dutch: Two Souvenirs: Art Traditions at Amsterdam's Rijksmuseum Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-08-24-22-34-02-nl Story Transcript:Nl: Het was een zonnige zomerdag in Amsterdam.En: It was a sunny summer day in Amsterdam.Nl: De lucht was blauw en er hing een fijne sfeer boven de stad.En: The sky was blue and a pleasant atmosphere hung over the city.Nl: Bram, een enthousiaste kunstgeschiedenisstudent, wandelde door de warme straten.En: Bram, an enthusiastic art history student, strolled through the warm streets.Nl: Zijn bestemming: het imposante Rijksmuseum.En: His destination: the impressive Rijksmuseum.Nl: Vandaag zocht hij naar unieke souvenirs om zijn vrienden thuis te imponeren.En: Today, he was looking for unique souvenirs to impress his friends back home.Nl: Elske, zijn goede vriendin, vergezelde hem.En: Elske, his good friend, accompanied him.Nl: Ze kende veel van de Nederlandse cultuur en geschiedenis.En: She knew a lot about Dutch culture and history.Nl: Ze was van plan Bram te helpen, maar had ook haar eigen lijstje voor een kleine rondleiding.En: She planned to help Bram, but she also had her own list for a small tour.Nl: Zodra ze binnen waren, begroette de koele lucht en de geur van boeken hen.En: As soon as they were inside, the cool air and the smell of books greeted them.Nl: De souvenirwinkel zat vol kleurrijke voorwerpen en kunstwerken.En: The souvenir shop was full of colorful items and artworks.Nl: Een ideale plek om iets bijzonders te vinden.En: An ideal place to find something special.Nl: Terwijl Bram tussen de delftsblauwe tegels en kunstboeken liep, kwam hij Jeroen tegen.En: While Bram walked among the Delft blue tiles and art books, he met Jeroen.Nl: Jeroen was een lokale kunstenaar die hier parttime werkte.En: Jeroen was a local artist who worked part-time here.Nl: Hij gebruikte zijn uren in de winkel om zijn eigen werk aan te prijzen.En: He used his hours in the shop to promote his own work.Nl: "Hoi, kan ik je ergens mee helpen?"En: "Hi, can I help you with anything?"Nl: vroeg Jeroen vriendelijk, terwijl hij zijn kunstwerken aanwees.En: Jeroen asked kindly, pointing to his artworks.Nl: Bram was onder de indruk van een van Jeroen's prints.En: Bram was impressed by one of Jeroen's prints.Nl: Het was modern, anders, en had een persoonlijke touch.En: It was modern, different, and had a personal touch.Nl: Elske had ondertussen een prachtige, klassieke Delfts blauwe tegel in haar handen.En: Meanwhile, Elske had a beautiful, classic Delft blue tile in her hands.Nl: "Dit is authentiek en typisch Nederlands," zei ze.En: "This is authentic and typically Dutch," she said.Nl: Bram stond in tweestrijd.En: Bram was torn.Nl: Hij had maar een beperkt budget en kon niet beide kiezen.En: He had a limited budget and couldn't choose both.Nl: Hij waardeerde Elske's traditionele advies, maar was ook gefascineerd door Jeroen's moderne perspectief.En: He appreciated Elske's traditional advice, but was also fascinated by Jeroen's modern perspective.Nl: Bij de kassa stond Bram met zowel de tegel als de print in zijn handen.En: At the checkout, Bram stood with both the tile and the print in his hands.Nl: Het was een moeilijke keuze.En: It was a tough choice.Nl: Uiteindelijk besloot hij de print van Jeroen te kopen.En: Ultimately, he decided to buy Jeroen's print.Nl: Het was een persoonlijke verbinding die de doorslag gaf.En: It was a personal connection that tipped the scales.Nl: Elske keek even verrast, maar ze glimlachte toen Bram ook een klein traditioneel item kocht dat zij had aangeraden.En: Elske looked a bit surprised, but she smiled when Bram also purchased a small traditional item that she had recommended.Nl: Toen Bram de winkel uitliep, voelde hij zich tevreden.En: As Bram walked out of the shop, he felt satisfied.Nl: Hij had iets gevonden dat zowel innovatief als persoonlijk was, en tegelijkertijd eerde hij de rijke traditie van de Nederlandse kunst.En: He had found something that was both innovative and personal, while also honoring the rich tradition of Dutch art.Nl: Deze dag in het Rijksmuseum had hem geleerd om zowel het verleden als de toekomst te omarmen en te waarderen.En: This day at the Rijksmuseum had taught him to embrace and appreciate both the past and the future.Nl: En dat was precies wat hij mee naar huis wilde nemen.En: And that was exactly what he wanted to take home. Vocabulary Words:sunny: zonnigepleasant: fijnedestination: bestemmingimpressive: imposanteenthusiastic: enthousiasteaccompanied: vergezeldegreeted: begroettecool: koelesouvenir: souvenirunique: uniekebrowse: bladerencolorful: kleurvolartworks: kunstwerkenlocal: lokalepromote: aanprijzenprint: printpersonal: persoonlijkeauthentic: authentiektypically: typischtorn: tweestrijdlimited: beperktbudget: budgetappreciate: waarderenfascinated: gefasineerdperspective: perspectiefcheckout: kassachoice: keuzeconnection: verbindingscales: doorslagsatisfied: tevreden

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Art & Cocktails, Kat Popova sits down with art historian, author, and podcast host Jennifer Dasal to talk about her latest book, The Club: Where American Women Artists Found Refuge in Belle Époque Paris (Bloomsbury, 2025). Jennifer shares the little-known story of the American Girls' Club in Paris—a home-away-from-home for women artists during the late 19th century that became a vital hub for creativity, education, and connection. We dive into her passion for art history, her research process, and why community was just as important for artists in Belle Époque Paris as it is today.   We also discuss: How Jennifer uncovers forgotten stories in art history Why Paris was a critical destination for American women artists The parallels between the struggles of 19th-century women artists and today's ongoing inequities in the art world The importance of building supportive communities for artists at every stage   ✨ Learn more about Jennifer and her work at jenniferdasal.com ✨ Order Jennifer's new book The Club here: Bloomsbury ✨ Join the waitlist for the Art Queens Society, Kat's community for ambitious women artists: createmagazine.myflodesk.com/aqsociety

Fluent Fiction - French: Lavender Legends: A Hidden Artifact Adventure in Provence Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-08-20-22-34-01-fr Story Transcript:Fr: Sous le soleil éclatant de Provence, les champs de lavande s'étendaient à perte de vue.En: Under the bright sun of Provence, the fields of lavender stretched as far as the eye could see.Fr: Le parfum enivrant des fleurs violettes flottait dans l'air chaud de l'été.En: The intoxicating scent of the violet flowers floated in the warm summer air.Fr: C'était le 15 août, jour de l'Assomption, fête célébrée avec ferveur en France.En: It was the 15th of August, the day of the Assomption, a festival celebrated with fervor in France.Fr: Des touristes du monde entier étaient venus admirer le spectacle coloré et parfumé.En: Tourists from all over the world had come to admire the colorful and fragrant spectacle.Fr: Parmi eux, Étienne, un historien d'art, marchait lentement.En: Among them, Étienne, an art historian, walked slowly.Fr: Il était venu en Provence pour découvrir un artefact rare.En: He had come to Provence to discover a rare artifact.Fr: Cet objet, lié à une ancienne légende locale, avait disparu récemment.En: This object, linked to an ancient local legend, had recently disappeared.Fr: Étienne avait besoin d'aide.En: Étienne needed help.Fr: Heureusement, il rencontra Colette, une guide locale avec une connaissance profonde des lieux.En: Fortunately, he met Colette, a local guide with a deep knowledge of the area.Fr: "Colette, puis-je vous parler ?"En: "Colette, may I speak with you?"Fr: demanda-t-il.En: he asked.Fr: "Je cherche un artefact précieux.En: "I am looking for a precious artifact.Fr: J'ai entendu dire qu'il était caché ici."En: I have heard that it is hidden here."Fr: Colette sourit.En: Colette smiled.Fr: "Oui, je sais de quoi vous parlez.En: "Yes, I know what you're talking about.Fr: C'est une histoire fascinante.En: It's a fascinating story.Fr: Je suis prête à vous aider."En: I am ready to help you."Fr: Les champs de lavande étaient vastes, et les touristes étaient nombreux.En: The fields of lavender were vast, and the tourists were numerous.Fr: Étienne et Colette devaient analyser chaque indice avec soin.En: Étienne and Colette had to analyze each clue carefully.Fr: Ensemble, ils décidèrent de suivre les indices laissés par le voleur.En: Together, they decided to follow the clues left by the thief.Fr: Leurs pas résonnaient doucement sur le sol sec.En: Their steps echoed softly on the dry ground.Fr: Ils trouvèrent d'abord un morceau de tissu caché près d'un buisson.En: They first found a piece of fabric hidden near a bush.Fr: Puis, une pierre gravée avec un ancien symbole local.En: Then, a stone engraved with an ancient local symbol.Fr: Chaque découverte les rapprochait de l'objet perdu.En: Each discovery brought them closer to the lost object.Fr: La chaleur de l'après-midi commençait à peser, mais ils continuaient, déterminés.En: The heat of the afternoon began to weigh on them, but they continued, determined.Fr: Alors que le soleil commençait à se coucher, baignant le champ d'une lumière dorée, Colette remarqua quelque chose près d'un grand chêne.En: As the sun began to set, bathing the field in golden light, Colette noticed something near a large oak tree.Fr: Sous ses racines, un ancien coffre brillait faiblement.En: Under its roots, an ancient chest gleamed faintly.Fr: Avec une anticipation prudente, Étienne l'ouvrit.En: With cautious anticipation, Étienne opened it.Fr: L'artefact était là, intact et magnifique.En: The artifact was there, intact and magnificent.Fr: "Nous l'avons trouvé !"En: "We found it!"Fr: s'exclama Étienne, le visage rayonnant.En: exclaimed Étienne, his face radiant.Fr: Il réalisa alors la valeur de la connaissance de Colette et l'importance du travail en équipe.En: He realized then the value of Colette's knowledge and the importance of teamwork.Fr: Grâce à elle, il avait non seulement trouvé l'objet, mais avait aussi enrichi son expérience de l'histoire locale.En: Thanks to her, he had not only found the object, but had also enriched his experience of local history.Fr: L'histoire se termina sur une note joyeuse.En: The story ended on a joyful note.Fr: Étienne quitta la Provence avec une admiration renouvelée pour les trésors cachés et les gens qui gardent en vie leurs histoires.En: Étienne left Provence with a renewed admiration for the hidden treasures and the people who keep their stories alive.Fr: Pour le reste de sa vie, il se souvint de ce jour d'été en Provence, quand les champs de lavande avaient abrité un secret qui liait le passé au présent par des histoires humaines.En: For the rest of his life, he remembered that summer day in Provence, when the lavender fields harbored a secret that linked the past to the present through human stories. Vocabulary Words:the field: le champthe scent: le parfumintoxicating: enivrantto float: flotterthe festival: la fêtethe artifact: l'artefactancient: ancienthe clue: l'indiceto weigh: peserto engrave: graverthe bush: le buissonthe stone: la pierreto admire: admirerto disappear: disparaîtrethe legend: la légendeprecious: précieuxrare: rareknowledge: la connaissancevast: vastenumerous: nombreuxto analyze: analyserthe thief: le voleurthe ground: le solthe fabric: le tissuto glow: brillercautious: prudentto enrich: enrichirrenewed: renouveléthe treasure: le trésorthe chest: le coffre

Jeremy Drummond's work has been exhibited in museums, galleries, and festivals worldwide. His films/videos have received awards such as the National Film Board of Canada Award at the Images Festival (Toronto), Best Experimental Video at the Reeling: Chicago Lesbian & Gay International Film Festival, the People's Choice Award at the New Forms Festival (Vancouver), and the No Budget Award at the Cinematexas Festival of International Film & Video (Austin). He has received grants and fellowships from the Canada Council for the Arts, National Film Board of Canada, and Virginia Museum of Fine Arts. His work has been featured and/or reviewed in magazines, journals, and newspapers, including Art Papers, Cabinet, Canadian Architect, Frieze, NRC Handelsblad, Prefix Photo, SEAMUS, The Washington Post, and The Wire: Adventures in Sound & Music.Drummond's films and videos are distributed internationally by LIMA (Amsterdam), Videographe (Montreal), Video Pool Inc. (Winnipeg), Vtape (Toronto), and The Film-maker's Cooperative/The New American Cinema Group (NYC). His printed works are/have been available from Art Metropole (Toronto), Printed Matter Inc. (NYC), and the New Museum of Contemporary Art (NYC). In addition to his solo work, Drummond works extensively with artist David Poolman as Never Met A Stranger -- a collaborative platform for the production of art and experimental media, a publisher of vernacular arts and culture, and an ongoing archive of field recordings, interviews, and documentary resources that collectively explore relationships between perception and representation, industry and the environment, and landscape and culture throughout central Appalachia and the rural North American South.Drummond is the organizer and curator of the Frames of Reference annual program of artists' film and video. With support from the University of Richmond's Department of Art & Art History, University Museums, and School of Arts & Sciences, Frames of Reference showcases some of the most creative, challenging, thoughtful, and visionary artists working in film, video, and alternative media today. Programs feature artists and artworks that resist conventions and ideologies of mainstream media; explore creative, innovative approaches to narrative and experiments in time-based media; and embrace unique viewpoints, perspectives, or frames of reference.

James H. Marrow gave a public talk on “Iconographic Disjunction in the Ruskin Psalter/Hours: A Flemish Illuminated Manuscript of ca. 1470–80,” on 23 July 2025, as part of Rare Book School's 2025 Summer Lecture Series. You can watch the full recording of the lecture on YouTube at https://youtu.be/LxIPOQ6ehss?feature=shared.

The artist Agnes Denes saw it coming. Machines taking over. Technology converging with consciousness. History on a pendulum swinging perilously back and forth. In this intimate conversation recorded with host Charlotte Burns in Denes' downtown Manhattan loft apartment and studio space, they talk about her work. When Denes wrote about these things more than 50 years ago, it was prescient, unsettling, and brilliant. Now the artist is in her mid-90s and is still writing and making art every day. And she's still asking the questions that matter: What is humanity's purpose? What is love? How do we survive? Denes planted wheat in downtown Manhattan on landfill that would become Battery Park City. She made ecological art before climate change was front page news. Her work spans conceptual art, poetry, drawings, installations, sculptures, writings and more. Twenty thousand pieces, mostly never seen. Today? She hands out wheat seeds like promises. Plant hope. Harvest peace. Become part of the art. The questions never change, she says. Only their importance shifts. What if we listened? Follow us: @schwartzman.art Website: www.schwartzmanand.com/  

*This is the Free Content version of my interview with Dr. Mariano Villalba. To access the full interview, please consider becoming a paid Patreon member; alternatively, this episode is also available for a one-time purchase here on Patreon (under 'Shop' tab). www.patreon.com/RejectedReligion My guest this month is Dr. Mariano Villalba. Mariano is a postdoctoral fellow in Spirituality and the Arts, in collaboration with the Giorgio Cini Foundation in Venice, the History of Hermetic Philosophy and Related Currents at the University of Amsterdam, and the Warburg Institute at the University of London.Mariano specializes in esotericism in Colonial America, contemporary Latin America, and early modern Spain. He completed a joint PhD in religious studies at the University of Lausanne and the French l'École Pratique des Hautes Études- Paris Sciences & Letters University.Mariano serves as the editor in chief of Melancolia, an annual journal dedicated to the study of esotericism in Latin America. His methodology combines a global history perspective on Colonial America with a decolonial approach, intersecting themes of race, gender, and imperialism to analyze modern occultism in Latin America. His new research project will focus on “Occult Movements and Mexican Mural Art: What Role Did Occult Movements Play in Mexican Mural Art During the Interwar Period?”In this episode, Mariano and I explore his groundbreaking research into the overlooked women of the Mexican muralist movement. Building on his earlier work, Mariano dives into the rich, complex history of Mexican muralism—an artistic revolution born from post-revolutionary ideals and dominated by the towering figures of “Los Tres Grandes.”But beyond the celebrated murals of Rivera, Orozco, and Siqueiros lies a hidden narrative: the women artists whose contributions were marginalized or erased. Mariano introduces us to several of these remarkable figures, focusing in particular on María Izquierdo and Sofía Bassi. He shares insights into their lives, artistic themes, and the esoteric influences that shaped their work, while unpacking why their legacies remain in the shadows compared to contemporaries like Frida Kahlo and Leonora Carrington.This episode is a compelling journey into art history, gender politics, and the mystical dimensions of creativity. Dr. Villalba also discusses the goals of his current project and how listeners can engage with the research on his online platform.An editing correction: Just a note to correct a mistake made during the interview: In the discussion about Frieda Kahlo's parents (a German father and a Mexican mother), Mariano mistakenly states that (María) Izquierdo was the daughter instead of Kahlo. There was a slight mix-up here as Mariano was comparing Frieda Kahlo and María Izquierdo. So please be aware of this when listening.PROGRAM NOTESMariano Villalba | Center for the Study of World ReligionsOccult Mexican art | Explore the Occult in Mexican visual artAbout Gender & Visual Arts | Discover Women's Insight — Occult Mexican artAbout Esotericism & Muralism | Explore Mexican Art — Occult Mexican artMuralism and Mexican Identity: Rediscovering the Esoteric Visions of Post-Revolution Female Artists: Q&A with Mariano Villalba | Center for the Study of World ReligionsOccult Movements and Mexican Mural Art | Center for the Study of World ReligionsThe Visionary World of Sofía Bassi | Center for the Study of World ReligionsFundación | Sofia BassiEsotericism, Gender, and the Legacy of a Mexican Artist | Center for the Study of World ReligionsMariano Villalba - Harvard University Music and Editing: Daniel P. SheaEnd Production: Stephanie Shea

We explore the Arab community's evolution in Montreal, the intent behind Maktaba Bookshop as a space for Arab representation and cultural exchange, and the concept of decolonizing care. The founder of Maktaba in Montreal, Iraqi artist and author Sundus Abdul Hadi shares her immigration story, creative endeavors, and the significance of her community-focused bookstore. Sundus also delves into her books, "Take Care of Your Self: The Art and Cultures of Care and Liberation" and "Shams," and shares her personal experience as a mother in her artistic journey. The episode highlights the role of art and culture in nurturing and preserving Arab identity in the diaspora. 00:00 Introduction: Sundus' Background01:07 Living in Montreal03:53 The Arab Community in Montreal08:40 Maktaba: The Bookshop and Its Mission20:03 Decolonizing Care and Art27:20 The Concept of Vacation and Self-Care31:02 The Impact of Capitalism on Communities31:39 Complicity in Global Issues33:30 Challenges of Pro-Palestinian Speech34:12 Independent Bookshop Ownership36:47 The 10 Commandments for Independent Artists41:29 The Role of Motherhood in Art44:55 Creating Children's Books on Trauma48:57 Book Recommendations from Maktaba58:31 The Importance of Storytelling Sundus Abdul Hadi is an artist and writer of Iraqi origin, raised and educated in Tiohtià:ke/Montréal, where she earned a BFA in Studio Arts and Art History and a MA in Media Studies. Articulated through her artistic practice, writing and curation, Sundus' work is a sensitive reflection on trauma, struggle, and care. She is the author/illustrator of Shams, a children's book about trauma, transformation and healing. Her book titled “Take Care of Your Self: The Art and Cultures of Care and Liberation” is a non-fiction book about care, curation and community. She is the cofounder of We Are The Medium, an artist collective and culture point, and the founder of Maktaba Bookshop in Montreal. She has also exhibited her work and led workshops, is a two-time recipient of the CALQ Vivacite grant, and has won the Makers Muse award twice. Her work is part of the Barjeel Art Foundation collection.Explore Maktaba

This episode is really going to be the cat’s pajamas. Or is it pyjamas? Do cats even wear pajamas? Why would they? Why do we? Should any of us wear pajamas at all? And if we do don a pair, are they only for bed? Or should pajamas have their day in the sun? If our PJs are making a fashion statement just what exactly are they saying? We’re talking today about what we wear to bed, but who knows? Does not wearing pajamas to bed have health and other benefits once we settle in under the covers? GUESTS: Henry Alford: American humorist and journalist, author of books including I Dream of Joni: A Portrait of Joni Mitchell in 53 Snapshots Clare Sauro: Director of The Robert and Penny Fox Historic Costume Collection and Assistant Professor of Design & Art History at Drexel University W. Chris Winter: Sleep specialist, neurologist and author of The Sleep Solution: Why Your Sleep Is Broken and How to Fix It The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Produced by Debora Timms. Colin McEnroe, Betsy Kaplan, and Chion Wolf contributed to this show, which originally aired on April 8, 2019.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

This week Ariel welcomes Anna Brockway, co-founder and president of Chairish, the premier online marketplace for exceptional home furnishings, art, and jewelry. Since launching Chairish in 2013—alongside her co-founders, including her husband—Anna has transformed the way designers and tastemakers source one-of-a-kind pieces for the home.With a background in Art History from Columbia University and a successful career in fashion, culminating as VP of Worldwide Marketing at Levi Strauss & Co., Anna brings a unique creative and entrepreneurial vision to the design world. Under her leadership, Chairish has grown to offer over 1.2 million vintage, antique, and contemporary products, serving a global community of design professionals and aficionados.Join Ariel and Anna as they dive into the story behind Chairish's success, the evolution of online design shopping, and why this platform has been named the “#1 can't live without decorating app” by Architectural Digest.—Shop now at Chairish: https://www.chairish.com/And follow Anna on Instagram: https://www.instagram.com/annabrockway/

Fluent Fiction - Dutch: Mystery at the Museum: The Secret Behind Amsterdam's Pride Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-08-02-22-34-02-nl Story Transcript:Nl: Het was een bruisende zomerdag in Amsterdam.En: It was a lively summer day in Amsterdam.Nl: De vrolijke kleuren van de Pride Parade dansten door de stad.En: The cheerful colors of the Pride Parade danced through the city.Nl: Maar in het Rijksmuseum hing er een ander soort spanning in de lucht.En: But in the Rijksmuseum, there was a different kind of tension in the air.Nl: Sander, de plichtsgetrouwe kunsthistoricus, stond met een frons voor een lege plek op de muur.En: Sander, the conscientious art historian, stood with a frown before an empty spot on the wall.Nl: Waar Rembrandt's meesterwerk had moeten hangen, was nu slechts een kaal stuk zeemuur.En: Where Rembrandt's masterpiece should have hung, there was now only a bare piece of plaster wall.Nl: Marijke, zijn goede vriendin en gids in het museum, kwam snel naar hem toe.En: Marijke, his good friend and guide in the museum, quickly approached him.Nl: "Sander, wat is er gebeurd?"En: "Sander, what happened?"Nl: vroeg ze bezorgd.En: she asked worriedly.Nl: Sander zuchtte diep.En: Sander sighed deeply.Nl: "Het schilderij is weg.En: "The painting is gone.Nl: Geen alarmen, geen sporen."En: No alarms, no traces."Nl: "Dit kan de reputatie van het museum schaden," vervolgde hij, met een ongerust gezicht.En: "This could damage the museum's reputation," he continued, with a worried face.Nl: Hij wist dat hij de waarheid moest vinden voor het te laat was.En: He knew he had to find the truth before it was too late.Nl: Sander en Marijke begonnen hun onderzoek.En: Sander and Marijke began their investigation.Nl: Ze keken naar de beveiligingsbeelden en merkten een vaak voorkomende bezoeker op.En: They looked at the security footage and noticed a frequent visitor.Nl: Bram, een mysterieuze man met een voorliefde voor Nederlandse kunst, was er weer.En: Bram, a mysterious man with a fondness for Dutch art, was there again.Nl: Hij leek altijd net iets te geïnteresseerd.En: He always seemed just a little too interested.Nl: "Sander, misschien weet Bram iets," stelde Marijke voor.En: "Sander, maybe Bram knows something," Marijke suggested.Nl: "Ik ga hem een beetje in de gaten houden."En: "I'll keep an eye on him."Nl: Bram was moeilijk te peilen.En: Bram was hard to figure out.Nl: Hij hing rond, bestudeerde gedetailleerd de schilderijen maar liet nooit te veel los in gesprekken.En: He lingered around, studied the paintings in detail, but never revealed too much in conversations.Nl: Marijke maakte echter met haar enthousiaste verhalen soms gaten in zijn pantser.En: However, Marijke, with her enthusiastic stories, sometimes managed to break through his armor.Nl: Ze kwam erachter dat Bram een grote interesse had in restauratieprojecten.En: She discovered that Bram had a keen interest in restoration projects.Nl: Op de dag van de Pride Parade, toen de stad pulsde op muziek en leven, besloot Sander dat het tijd was om met Bram te praten.En: On the day of the Pride Parade, when the city pulsed with music and life, Sander decided it was time to talk to Bram.Nl: Samen met Marijke wachtte hij hem op in het museum, terwijl de klanken van de parade buiten weergalmden.En: Together with Marijke, he waited for him at the museum while the sounds of the parade echoed outside.Nl: "Waarom ben je hier zo vaak, Bram?En: "Why are you here so often, Bram?Nl: Wat weet je over de Rembrandt?"En: What do you know about the Rembrandt?"Nl: vroeg Sander rechtstreeks.En: Sander asked directly.Nl: Bram keek op, een glinstering in zijn ogen.En: Bram looked up, a sparkle in his eyes.Nl: "Jullie moeten weten," begon Bram langzaam, "dat de directie bezig is met een geheime restauratie.En: "You should know," Bram began slowly, "that the management is working on a secret restoration.Nl: Het schilderij is veilig weggezet om voor te bereiden op een speciale viering.En: The painting is safely put away to prepare for a special celebration.Nl: Onze meesters willen niet dat te veel mensen hiervan weten om het veilig te houden."En: Our masters don't want too many people to know to keep it safe."Nl: Sander keek Marijke aan, verbijsterd.En: Sander looked at Marijke, bewildered.Nl: "Waarom wisten wij hier niets van af?"En: "Why didn't we know anything about this?"Nl: Met een schouderophalen antwoordde Bram glimlachend, "Soms moet kunst in stilte worden voorbereid.En: With a shrug, Bram answered with a smile, "Sometimes art needs to be prepared in silence.Nl: Ik hielp alleen om te zorgen dat alles goed ging."En: I was just helping to make sure everything went well."Nl: De opluchting was bijna tastbaar.En: The relief was almost palpable.Nl: Het schilderij was niet gestolen.En: The painting hadn't been stolen.Nl: Marijke lachte vol lof naar Sander.En: Marijke laughed admiringly at Sander.Nl: "Je deed het, we hebben de waarheid!"En: "You did it, we found the truth!"Nl: In de nasleep van hun avontuur hadden Sander en Marijke meer begrip voor de draden achter de schermen.En: In the aftermath of their adventure, Sander and Marijke had a greater understanding of the threads behind the scenes.Nl: Sander begreep nu dat open communicatie zelfs de diepste mysteries kan verlichten.En: Sander now understood that open communication can illuminate even the deepest mysteries.Nl: Terwijl de vrolijke parade doorging, keerde de vrede terug naar het museum.En: As the joyful parade continued, peace returned to the museum.Nl: Het Rembrandt schilderij zou zijn terugkeer onder luid gejuich maken, net als de kleurrijke viering van de menselijkheid buiten.En: The Rembrandt painting would make its return amid loud cheers, just like the colorful celebration of humanity outside.Nl: En in het hart van Amsterdam bleef de kunst ongeschonden.En: And in the heart of Amsterdam, the art remained unscathed. Vocabulary Words:lively: bruisendecheerful: vrolijketension: spanningconscientious: plichtsgetrouwefrown: fronsplaster: zeemuurworriedly: bezorgdsigh: zuchttetraces: sporenreputation: reputatiesecurity footage: beveiligingsbeeldenmysterious: mysterieuzefondness: voorliefdelinger: hing rondarmor: pantserrestoration: restauratiepulsed: pulsdesparkle: glinsteringmanagement: directiecelebration: vieringbewildered: verbijsterdshrug: schouderophalenrelief: opluchtingpalpable: tastbaarilluminate: verlichtenjoyful: vrolijkeaftermath: nasleepunscathed: ongeschonden

Fifth generation Diné (Navajo) weavers Lynda Teller Pete and Barbara Teller Ornelas have been instrumental in rewriting the history and narrative surrounding Navajo weaving, a realm that for too long has been dominated by non-Navajo voices. This is exemplified by their two groundbreaking books Spider Woman's Children: Navajo Weavers Today and How to Weave a Navajo Rug and Other Lessons from Spider Woman, as well as their integral role in the creation of the exhibition Shaped by the Loom: Weaving Worlds in the American Southwest at the Bard Graduate Center, New York. Curator Hadley Jensen also joins us in this 2023 two-part episode from the Dressed archive. Want more Dressed: The History of Fashion?  Our website and classes Our Instagram Our bookshelf with over 150 of our favorite fashion history titles Dressed is a part of the AirWave Media network Learn more about your ad choices. Visit megaphone.fm/adchoices

What's the episode about? In this episode, hear Kaylee Alexander discuss the digital humanities, being a research data librarian, visual culture, cemeteries, French cemetery laws, cemetery sculpture, ethically sound data visualisation and survival bias Who is Kaylee?Dr. Kaylee P. Alexander is a Research Data Librarian at the University of Utah's J. Willard Marriott Library.  She holds a Ph.D. in Art History and Visual Culture from Duke University and specializes in nineteenth-century visual culture, monuments, and funerary material culture.  Her research is embedded in transdisciplinary practices at the intersection of visual studies, cultural economics, sociology, and data science.  You can find a list of her publications on her website. She is the author of A Data-Driven Analysis of Cemeteries and Social Reform in Paris, 1804–1924 (Routledge 2024). How do I cite the episode in my research and reading lists?To cite this episode, you can use the following citation: Alexander, K. (2025) Interview on The Death Studies Podcast hosted by Michael-Fox, B. and Visser, R. Published 1 August 2025. Available at: www.thedeathstudiespodcast.com, DOI: 10.6084/m9.figshare.29763560What next?Check out more episodes or find out more about the hosts! Gota question? Get in touch.

This week we travel into the Dressed archive to revisit a two-part episode on the sacred cultural practice and art form of Diné (Navajo) weaving with internationally acclaimed authors, educators, and fifth generation weavers Lynda Teller Pete and Barbara Teller Ornelas.  Want more Dressed: The History of Fashion?  Our website and classes Our Instagram Our bookshelf with over 150 of our favorite fashion history titles Dressed is a part of the AirWave Media network Learn more about your ad choices. Visit megaphone.fm/adchoices

In Serendipity (Reaktion) Carol Mavor uses Anne Frank's journal, discovered in the Secret Annex after the Second World War, Emily Dickinson's poems, scribbled on salvaged envelopes hidden in a drawer, Lolita, rescued from incineration by Nabokov's wife Véra and her own memory of eating a frozen hot chocolate in New York's Serendipity 3, a dessert café favoured by Andy Warhol, to muse upon the serendipitous afterlives of objects. Mavor, Professor of Art History and Visual Culture at the University of Manchester and prolific author of books and articles about art and culture, was in conversation about fragments, remnants and what remains with novelist, essayist and translator Lauren Elkin.

Giuseppe Castellano talks to author, illustrator, and character designer, Matthew Forsythe, about the many forms a picture book can take—from morality books to “fantastic binomials”; how to make sense of color; how to like your creative work; and more.To learn more about Matthew, visit comingupforair.net.As was discussed in this episode, here is an article about Gianni Rodari's concept of the “fantastic binomial”.Artists mentioned in this episode include: Mary Blair, Randolph Caldecott, Beatrix Potter, Wanda Gág, William Steig, Paul Klee, Lauren Tamaki, Jasmine Li, Jesse Jacobs, Richard Scarry, Don Freeman, John Steptoe, Rebecca Sugar, Adam Muto, Yuasa Masaaki, Emily Warren, and Jim Davis  If you find value in this podcast, you can support it by subscribing to our best-selling publication, Notes On Illustration, on Substack. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello.

Are you into your trivia? Calling all connoisseurs of cryptic to the ONLY quiz played live, all around Australia...Join the host of Weekend Nightlife Lisa Pellegrino for The History Quiz! 

Fluent Fiction - Italian: Lorenzo's Breakthrough: Art, Nerves, and a New Voice Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-07-27-22-34-01-it Story Transcript:It: Il sole splendeva alto nel cielo di Firenze quella mattina, illuminando la maestosa Piazza della Signoria.En: The sun shone high in the sky over Firenze that morning, illuminating the majestic Piazza della Signoria.It: Turisti e locali si mescolavano nella piazza, ammirando le statue e l'architettura storica che li circondavano.En: Tourists and locals mingled in the square, admiring the statues and historic architecture surrounding them.It: Era un giorno speciale per Lorenzo, Alessandra e Vittorio, che si preparavano a presentare i loro progetti di storia dell'arte.En: It was a special day for Lorenzo, Alessandra, and Vittorio, who were preparing to present their art history projects.It: Lorenzo passeggiava nervosamente tra le statue, con il cuore che batteva forte nel petto.En: Lorenzo walked nervously among the statues, his heart beating hard in his chest.It: Era determinato a colpire i suoi professori e i compagni con la sua presentazione, ma l'ombra lunga del successo di Alessandra era difficile da ignorare.En: He was determined to impress his professors and classmates with his presentation, but the long shadow of Alessandra's success was hard to ignore.It: Alessandra possedeva un carisma naturale e una sicurezza che facevano risaltare ogni suo discorso.En: Alessandra possessed a natural charisma and confidence that made every one of her speeches stand out.It: Lorenzo si sentiva spesso messo in secondo piano.En: Lorenzo often felt overshadowed.It: Vittorio, invece, osservava la scena con calma.En: Vittorio, on the other hand, observed the scene calmly.It: Era un amico leale di entrambi, ma aveva anche lui le sue insicurezze.En: He was a loyal friend to both, but he also had his insecurities.It: Nonostante il suo silenzio, era sempre pronto a sostenere Lorenzo e Alessandra.En: Despite his silence, he was always ready to support Lorenzo and Alessandra.It: Lorenzo decise di provare qualcosa di nuovo per la sua presentazione.En: Lorenzo decided to try something new for his presentation.It: Dopo giorni di riflessione, optò per una dimostrazione dal vivo di disegno, sperando che avrebbe attirato l'attenzione del pubblico.En: After days of reflection, he opted for a live drawing demonstration, hoping it would capture the audience's attention.It: Quando giunse il suo turno, salì sul piccolo palco allestito al centro della piazza.En: When his turn came, he stepped onto the small stage set up in the center of the square.It: "Buongiorno a tutti," iniziò Lorenzo, cercando di mascherare il nervosismo.En: "Good morning, everyone," began Lorenzo, trying to mask his nervousness.It: "Oggi vorrei mostrarvi una parte viva e dinamica della storia dell'arte attraverso uno schizzo dal vivo."En: "Today I would like to show you a living and dynamic part of art history through a live sketch."It: Mentre Lorenzo disegnava, la piazza sembrò fermarsi.En: As Lorenzo drew, the square seemed to come to a halt.It: Il rumore della folla si attenuò, e tutti gli occhi erano puntati su di lui.En: The noise of the crowd diminished, and all eyes were on him.It: Con ogni tratto di matita, Lorenzo raccontava storie di artisti del passato, collegandole ai dettagli del suo disegno.En: With each pencil stroke, Lorenzo told stories of artists from the past, connecting them to the details of his drawing.It: La magia del momento catturò l'attenzione del pubblico.En: The magic of the moment captured the audience's attention.It: Alessandra guardava Lorenzo affascinata, riconoscendo il talento del suo compagno.En: Alessandra watched Lorenzo fascinated, acknowledging the talent of her companion.It: Quando Lorenzo posò la matita, si levò un caloroso applauso.En: When Lorenzo placed down the pencil, a warm applause rose.It: I professori si avvicinarono per congratularsi, elogiando la sua originalità e profonda comprensione.En: The professors approached to congratulate him, praising his originality and deep understanding.It: Dopo la presentazione, Alessandra si avvicinò a Lorenzo.En: After the presentation, Alessandra approached Lorenzo.It: "È stata una presentazione incredibile," disse Alessandra con un sorriso sincero.En: "It was an incredible presentation," said Alessandra with a sincere smile.It: "Hai un talento straordinario."En: "You have an extraordinary talent."It: In quel momento, Lorenzo si sentì più leggero.En: In that moment, Lorenzo felt lighter.It: Aveva superato le sue paure e mostrato a tutti il suo valore.En: He had overcome his fears and shown everyone his worth.It: Capì che non aveva bisogno di eclissare Alessandra o chiunque altro.En: He realized he didn't need to overshadow Alessandra or anyone else.It: Aveva trovato la sua voce, forte e chiara.En: He had found his voice, strong and clear.It: Con una nuova fiducia, Lorenzo si unì agli amici per festeggiare nella piazza calda e vivace.En: With newfound confidence, Lorenzo joined his friends to celebrate in the warm and lively square.It: Si rese conto che il successo non era solo nel superare gli altri, ma nel superare se stesso.En: He realized that success was not only in surpassing others but in surpassing himself.It: Ora sapeva di poter affrontare qualsiasi sfida, con il sorriso di chi ha scoperto il proprio cammino.En: Now he knew he could face any challenge, with the smile of someone who has discovered their own path. Vocabulary Words:the sun: il solethe sky: il cielothe square: la piazzathe tourist: il turistathe statue: la statuathe architecture: l'architetturathe project: il progettothe heart: il cuorethe shadow: l'ombrathe charisma: il carismathe confidence: la sicurezzathe friend: l'amicothe insecurity: l'insicurezzathe silence: il silenziothe public: il pubblicothe stage: il palcothe morning: la mattinathe pencil: la matitathe applause: l'applausothe professor: il professorethe originality: l'originalitàthe understanding: la comprensionethe talent: il talentothe fear: la paurathe worth: il valorethe voice: la vocethe confidence: la fiduciathe challenge: la sfidathe path: il camminothe warmth: il calore

What transforms raw materials into meaningful art? How do artists develop their unique voice while standing on the shoulders of those who came before them? In this thought-provoking second part exploration of Jerry Saltz's "How to Be an Artist," we unpack the practical realities of the creative journey and the mindsets that sustain artistic growth.The conversation begins with the critical practice of capturing ideas—through sketchbooks, journals, voice memos—creating an ever-expanding archive of inspiration that artists can mine for future work. We share personal systems for documenting fleeting thoughts and how this practice often reveals what's truly happening in our minds. These captured moments become the seeds from which our most authentic work grows.We tackle the intimidating challenge of finding one's artistic voice, challenging the myth that great artists spring forth with fully-formed originality. All masters begin as students—imitating, copying, and gradually infusing their personal perspective into established forms. The studio becomes the sacred space for this transformation—a sanctuary where imitation evolves into innovation without judgment or shame. Whether your workspace resembles the pristine order of Agnes Martin or the chaotic energy of Francis Bacon, it should serve as your laboratory for experimentation.Perhaps most profound is the discussion of embedding thought and emotion into physical materials—creating work that communicates even when you're not present to explain it. This alchemical process requires deep listening to both your materials and your inner voice. Great art puts out more energy than went into its making, resonating with viewers on levels beyond literal understanding.We close with an essential reminder: there are no wasted days in the studio. Even apparent failures move your practice forward. The struggle itself is valuable—often taking you further than easy successes ever could. Learn to finish work and move forward rather than getting trapped in perfectionism. Your next piece will benefit from everything you've discovered in creating this one.Whether you're a seasoned artist or just beginning your creative journey, this episode offers practical wisdom and permission to embrace both the struggle and joy of making meaningful work that's distinctly yours.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Dafna Barhad is a pediatric occupational therapist with over 20 years of expertise specializing in sensory-informed approaches to child development . Throughout her career, she has practiced in developmental centers and ran her own private practice, supporting neurodivergent individuals and their families while collaborating closely with educational teams and healthcare professionals. She has extensive experience developing individualized interventions and family education programs . Currently pursuing her Occupational Therapy Doctorate (OTD) at Boston University, her doctoral research focuses on amplifying children's voices in their own care, reflecting her commitment to advancing evidence-based practice in pediatric occupational therapy. With a background in Art History, Dafna brings a unique interdisciplinary perspective to therapeutic intervention. Her work focuses on creating inclusive environments where all individuals can thrive.

Whitney creates functional fine art and conversation pieces drawn for your lifestyle. Whitney grew up on a lake in the Adirondack Mountains where the waterfront and wildlife provided an abundance of natural material. Whitney graduated Cum Laude with a major in Art History and a minor in Studio Art. She interned in the conservation studio at the Peggy Guggenheim Collection in Venice, Italy and in the Exhibitions department at the Smithsonian American Art Museum in Washington, D.C. She spent a year abroad in Italy traveling every weekend to explore a country rich in artistic history and technique.  Having traveled to 20+ countries, it was the American landscapes & wildlife that ultimately returned Whitney to her roots. Whitney's drawings have been selected several consecutive years for the Newport Art Museum's Juried Members Exhibition. Her artwork is detailed and cheerful, with a hint of humor. She draws inspiration from the historic, nautical, and coastal character of New England where she resides in Newport, RI. Shop at https://www.whitneywares.com/ 

Can we trace where Western Civilization went wrong to the 1400s when Filippo Brunelleschi, known for his brazen duomo designs in Florence, Italy, invented the linear perspective that dominated Art, Architecture, and city planning ever since? This almost-photographic perspective of the world around us translated to cities and their people being separated from nature, and the ecosystems that nourish us all, at least that signifies an auspicious moment in history. Some European painters in the early 20th Century, like Picasso and Matisse, challenged this linear perspective and were called Fauves or wild beasts. But do we need more wild beasts, rather than just bad-boy painters from Europe, to overcome these linear perspective machines and heal our relationship with the Earth? On this show recorded in 2014, Shana Nys Dambrot [http://sndx.net], art historian and culture writer from Los Angeles' vibrant art scene, guides us on a romp through these European art movements to trace how we got here and where we are headed. We delve into the question of how environmental and climate activism intertwine with artistic expression. Shana engages in a thought-provoking conversation about the role of art in shaping a better world, exploring the dreams and tangible enactments of new realities. Join us as we confront the big questions: Whose dream? Whose world? What does 'better' truly mean? This episode is not just an exploration of art, but a challenge to the status quo and an invitation to envision a future that includes everyone. For an extended interview and other benefits, become an EcoJustice Radio patron at https://www.patreon.com/ecojusticeradio Resources/Articles: https://www.laweekly.com/author/sndambrot/ https://artillerymag.com/byline/shana-nys-dambrot/ Related Interview: Designing Architecture and Landscapes with Nature's Ecological Wisdom - Carl Welty https://wilderutopia.com/ecojustice-radio/designing-architecture-and-landscapes-with-natures-ecological-wisdom/ Shana Nys Dambrot [http://sndx.net] is an art critic, curator, and author based in Downtown LA who has been Arts Editor for the L.A. Weekly, and a contributor to the Village Voice, Flaunt, Artillery, and other culture publications. She studied Art History at Vassar College, and is the recipient of the 2022 and 2024 Mozaik Future Art Writers Prize, the 2022 Rabkin Prize for Art Criticism, and the LA Press Club National Arts & Entertainment Journalism Critic of the Year award for 2022. Her surrealist novel Zen Psychosis (Griffith Moon) was published in 2020. Jack Eidt is an urban planner, environmental journalist, and climate organizer, as well as award-winning fiction writer. He is Co-Founder of SoCal 350 Climate Action and Executive Producer of EcoJustice Radio. He is also Founder and Publisher of WilderUtopia [https://wilderutopia.com], a website dedicated to the question of Earth sustainability, finding society-level solutions to environmental, community, economic, transportation and energy needs. Podcast Website: http://ecojusticeradio.org/ Podcast Blog: https://www.wilderutopia.com/category/ecojustice-radio/ Support the Podcast: Patreon https://www.patreon.com/ecojusticeradio PayPal https://www.paypal.com/donate/?hosted_button_id=LBGXTRM292TFC&source=url Executive Producer and Host: Jack Eidt Engineer and Original Music: Blake Quake Beats Episode 212

In this episode of Jo's Art History Podcast, Jo McLaughlin is joined by Michaela Clarence to discuss Ribbons and identity throughout art history.Whether you're an art enthusiast, a history buff, or just curious about the stories behind the masterpieces of the past, this episode is packed with fascinating discussions and fresh perspectives.Guest Details:Michaela ClarenceHost Details:Jo McLaughlin is the creator and host of Jo's Art History Podcast, an art historian, writer, and passionate storyteller dedicated to making art history accessible and engaging for all.Find Jo online:Website: www.josarthistory.comInstagram: @josarthistoryLinkedIn: Jo McLaughlinSupport the Podcast:If you enjoyed this episode, please consider leaving a review and rating on whatever platform you are listening on. Your support helps us reach more art lovers!Follow Jo's Art History Podcast for more episodes on iTunes, Spotify or wherever you listen to podcasts.Let's keep the conversation going! Share your thoughts on social media using #JoArtHistoryPod and tag us @josarthistory.If you would like to purchase a book from my Amazon wish list as a gift to say thank you and support a future episode, please do so here:https://www.amazon.co.uk/hz/wishlist/ls/FZ1XZKILJJCJ?ref_=wl_shareThanks for listening!

In this episode, I'm joined by three incredible women from the Prometheus Homeopathic Institute—Desirée Brazelton, Rebecca Beringer, and Meredith Salmi-Bydalek—as we explore what it truly takes to become a confident, connected, and thriving homeopath. We dive into the challenges new practitioners face, from charging for services to navigating isolation post-graduation, and how PHI's unique hybrid model and strong community focus help students stay in practice. Our guests share their deeply personal journeys into homeopathy, highlighting the diverse paths that lead people to this healing art. We also discuss the school's exciting new offerings, including an acute certification program and an upcoming retreat in Greece, all designed to support both new and seasoned homeopaths in their growth. This episode is a powerful reminder of the importance of mentorship, collaboration, and believing in your own worth as a practitioner. Episode Highlights: 03:06 - How We Found Homeopathy 06:51 - Why Prometheus Was Created 09:23 - Why Homeopaths Need Each Other 15:42 - Mentorship Beyond the Classroom 20:30 - Clinic Experience That Prepares 23:28 - Confidence Through Practice, Not Perfection 28:32 - Homeopathic Provings at PHI 31:46 - Engaging the Homeopathy Community 37:30 - PHI's Greece Study Trip 41:20 - Upcoming Programs and Events at PHI 47:14 - Growth Beyond the Curriculum 50:08 - Learning to Charge Your Worth About my Guests: Desirée Brazelton, CCH, is a Classical Homeopathic Practitioner based in South Minneapolis, MN, serving clients locally and around the world. As the Founder and CEO of Prometheus Homeopathic Institute, she is a passionate educator and visionary committed to guiding students through the transformative journey of becoming homeopaths. Her writing on homeopathy and conscious parenting has been featured in publications such as Homeopathy Today, and she has spoken at leading conferences including the Minnesota Homeopathic Association Conference and the Joint American Homeopathic Conference. Desirée lives with her husband, three daughters, and a lively crew of pets—including dogs, chickens, and a guinea pig—in a PassivHaus designed for sustainable living. Rebecca Beringer, CCH, is the Clinical Director of Prometheus Homeopathic Institute and a full-time Classical Homeopathic Practitioner based in Appleton, WI, serving clients both nationally and internationally since 2009. A graduate of the Northwestern Academy of Homeopathy, Rebecca also holds degrees in Anthropology and Religious Studies, bringing a rich interdisciplinary perspective to her work. Her diverse teaching background spans homeopathy, wellness, religion, fitness, and working with at-risk youth, alongside service on multiple educational boards. As a mentor, Rebecca is passionate about meeting students where they are and supporting their personal and professional growth throughout their homeopathic journey. Meredith Salmi-Bydalek, CCH, is a Certified Classical Homeopath based in Minneapolis, MN, with a deep commitment to individualized, natural healing. A graduate of the three-year professional program at Prometheus Homeopathic Institute, Meredith holds a Master's in Public Policy from the University of Minnesota–Twin Cities and a B.A. with Honors in Art History from the University of Wisconsin–Madison. Before transitioning to homeopathy in 2022, she worked in policy and research supporting individuals with intellectual and developmental disabilities. Meredith brings her strengths as a passionate community builder and advocate to her homeopathic practice, working with clients of all ages and backgrounds. Her own healing journey began with her children and evolved into a full family commitment—including their dog—to holistic care. She lives in the Minneapolis area with her husband, three children, and pup, and enjoys gardening, reading, and camping in her spare time. Find out more about Desirée Website: https://www.desireebrazelton.com/ Find out more about Rebecca Website: https://www.healingwayhomeopathy.com/ Find out more about Meredith Website: https://www.meredithsb.com/ If you would like to support the Homeopathy Hangout Podcast, please consider making a donation by visiting www.EugenieKruger.com and click the DONATE button at the top of the site. Every donation about $10 will receive a shout-out on a future episode. Join my Homeopathy Hangout Podcast Facebook community here: https://www.facebook.com/groups/HelloHomies Follow me on Instagram https://www.instagram.com/eugeniekrugerhomeopathy/ Here is the link to my free 30-minute Homeopathy@Home online course: https://www.youtube.com/watch?v=vqBUpxO4pZQ&t=438s Upon completion of the course - and if you live in Australia - you can join my Facebook group for free acute advice (you'll need to answer a couple of questions about the course upon request to join): www.facebook.com/groups/eughom                

Send us a textTo learn more about Silvia Wistuba and her work, please visit here and here.Cover Image: Wistuba's adaptation of work by artist Julie Wolfthorn for the cover of Jugend magazine (1898).Show Notes0:00 Silvia Wistuba on equality of artists1:15 Wistuba's background2:30 Gabriele Münter4:30 ‘Malweiber' meaning 6:00 timeframe of ‘Malweiber' labeling – 1871-19188:30 research process12:00 regional approach to research15:00 twelve female artists focused on in research16:30 finding that art is not gendered18:15 Charlotte Corinth21:30 Dora Hitz22:40 Maria Slavona24:25 Augusta von Zitzewitz25:20 Erma Bossi26:25 Elisabeth Epstein27:23 Maria Franck-Marc30:30 Gabriele Münter32:25 Elisabeth Erdmann-Macke34:25 Ida Gerhardi 36:30 Fifi Kreutzer37:55 Olga Openheimer40:30 range of resources 43:30 Blue Rider Group45:30 Gabriele Münter's donation to Lenbachhaus (Munich) 49:00 Museum Art of the Lost Generation 51:30 current relevance53:30 need for discourse on art's social context55:08 social justice for artists of the past55:20 defining justice as respect shown to all56:25 feedback58:10 challenging the sexist paradigm that art is gendered59:40 plans to convert thesis into book1:00:15 derogatory nature of term ‘Malweiber'1:01:45 cover image inspired by Julie Wolfthorn's image    Please share your comments and/or questions at stephanie@warfareofartandlaw.comMusic by Toulme.To hear more episodes, please visit Warfare of Art and Law podcast's website.To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Thanks so much for listening!© Stephanie Drawdy [2025]

Fluent Fiction - Hungarian: A Festive Meeting: Uncovering Hidden Treasures in Budapest Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hu/episode/2025-07-19-22-34-02-hu Story Transcript:Hu: A forró nyári nap ragyogott a Városliget felett, amikor Zsófia belépett a Vajdahunyad vára kapuján.En: The hot summer day shone over the Városliget as Zsófia stepped through the gates of Vajdahunyad vára.Hu: A kastély körül színes zászlók lobogtak a szélben, a levegő tele volt izgalommal és zenével.En: Colorful flags fluttered in the wind around the castle, with the air filled with excitement and music.Hu: A nyári kulturális fesztivál minden évben sok embert vonzott, és Zsófia alig várta, hogy elmerüljön a magyar építészet szépségeiben.En: The summer cultural festival attracted many people every year, and Zsófia couldn't wait to immerse herself in the beauty of Hungarian architecture.Hu: Zsófiát mindig lenyűgözte a kastély impozáns tornyai és ívei.En: Zsófia was always captivated by the castle's imposing towers and arches.Hu: Mint művészettörténet szakos hallgató, boldogan töltötte itt az idejét.En: As an art history student, she happily spent her time here.Hu: De mostanában kételkedett magában.En: But lately, she had been doubting herself.Hu: Vajon elég jó volt-e abban, amit szeretett?En: Was she good enough at what she loved?Hu: Barátja, István, mindig bátorította őt, de Zsófia saját bizonytalanságával küzdött.En: Her friend, István, always encouraged her, but Zsófia struggled with her own insecurities.Hu: Ahogy körbesétált, megakadt a szeme egy fiatal férfin, aki kamerával a kezében próbált egy tökéletes képet elkapni.En: As she strolled around, her eyes caught a young man with a camera, trying to capture the perfect shot.Hu: Ez volt Tamás, a helyi fotós.En: This was Tamás, the local photographer.Hu: Ő is keresett valamit — inspirációt, pontosabban.En: He was searching for something too — inspiration, to be precise.Hu: Budapest híres épületeit próbálta rögzíteni, de hiányzott belőlük az a szikra, ami különlegessé tenné a munkáját.En: He tried to capture the famous buildings of Budapest, but they lacked the spark that would make his work special.Hu: Tévedésből Tamás kattintott egy képet, ahogy Zsófia csodálattal nézte a kastély egy részletét.En: By mistake, Tamás clicked a photo as Zsófia admired a detail of the castle.Hu: Találkozott a tekintetük.En: Their eyes met.Hu: Zsófia megriadva lépett egyet hátra, de Tamás mosolygott.En: Zsófia took a startled step back, but Tamás smiled.Hu: "Ne haragudj, nem állt szándékomban," mondta barátságosan.En: "Sorry, I didn't mean to," he said amicably.Hu: Zsófia habozva, de bátor döntést hozott.En: Zsófia, hesitating, made a bold decision.Hu: "Tudod, szeretek beszélgetni az ilyen különleges helyekről," kezdte.En: "You know, I love talking about places like this," she began.Hu: "Van egy érdekes története ennek a kastélynak.En: "This castle has an interesting story."Hu: " Tamás érdeklődve figyelt fel.En: Tamás listened attentively.Hu: "Igazán?En: "Really?Hu: Mesélj róla.En: Tell me about it."Hu: "Ahogy Zsófia mesélni kezdett a kastély történetéről, az építészet titkairól, és a magyar kultúra jelentőségéről, Tamás figyelmesen hallgatta.En: As Zsófia began to talk about the castle's history, the secrets of its architecture, and the significance of Hungarian culture, Tamás listened intently.Hu: Látta Zsófia szemében a szenvedélyt, és tudta, hogy megtalálta, amit keresett.En: He saw the passion in Zsófia's eyes and knew he had found what he was looking for.Hu: Egy pillanat alatt kialakult köztük egy különleges kapcsolat.En: In an instant, a special connection developed between them.Hu: Este már együtt sétáltak a kastélyudvaron, és tervezgettek.En: By evening, they were walking together in the castle courtyard, making plans.Hu: "Mi lenne, ha együtt megörökítenénk Budapest kulturális szépségeit?En: "What if we capture the cultural beauties of Budapest together?"Hu: " ajánlotta Tamás.En: suggested Tamás.Hu: Zsófiának ez tetszett.En: Zsófia liked the idea.Hu: Nemcsak a tudását oszthatta meg, de végre valaki értékelte is azt.En: Not only could she share her knowledge, but finally, someone appreciated it.Hu: A fesztivál meghozta a változást, amire mindketten vágytak.En: The festival brought about the change they both longed for.Hu: Zsófia bátrabban és magabiztosabban mesélt, míg Tamás végre megkapta az inspirációt.En: Zsófia spoke more bravely and confidently, while Tamás finally found his inspiration.Hu: Új, közös projektjük Budapestet nem csak mások szemének, de saját maga számára is újra felfedezte.En: Their new joint project not only rediscovered Budapest for others but also for themselves.Hu: Egymás oldalán nyerték meg azt, amit kerestek: önbizalmat és művészi ihletet.En: By each other's side, they found what they were searching for: self-confidence and artistic inspiration.Hu: Így lett a váratlan találkozásból valami igazán különleges.En: Thus, a chance meeting turned into something truly special. Vocabulary Words:shone: ragyogottfluttered: lobogtakimmerse: elmerüljöncaptivated: lenyűgözteimposing: impozánsarches: íveidoubting: kételkedettinsecurities: bizonytalanságávalstrolled: körbesétáltspark: szikraclicked: kattintottstartled: megriadvaamicably: barátságosanhesitating: habozvaattentively: érdeklődvecaptured: megörökítenénkcourtyard: kastélyudvaronplans: tervezgetteksignificance: jelentőségérőlintently: figyelmesenpassion: szenvedélytconnection: kapcsolatproject: projektjükrediscovered: újra felfedezteself-confidence: önbizalmatartistic: művészispecial: különlegesunexpected: váratlandeveloped: kialakultcapture: rögzíteni

Fluent Fiction - Dutch: Lost Masterpiece in the Woods: An Unexpected Alliance Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-07-18-22-34-02-nl Story Transcript:Nl: In het hart van het Amsterdamse Bos, waar het zonlicht door de bladeren danste en de lucht gevuld was met de geur van dennennaalden, liepen Femke en Bram voorzichtig over het kronkelige pad.En: In the heart of the Amsterdamse Bos, where the sunlight danced through the leaves and the air was filled with the scent of pine needles, Femke and Bram walked cautiously along the winding path.Nl: Een gerucht had hen hierheen gelokt; een verloren kunstwerk, ergens in deze groene labyrint verborgen.En: A rumor had lured them here; a lost artwork, hidden somewhere in this green labyrinth.Nl: Femke, met haar rugzak vol boeken en notities, liep voorop.En: Femke, with her backpack full of books and notes, led the way.Nl: Ze was vastberaden.En: She was determined.Nl: Dit was haar kans om haar reputatie als kunsthistoricus te herstellen na de rampzalige tentoonstelling, die bijna haar carrière had gekost.En: This was her chance to restore her reputation as an art historian after the disastrous exhibition, which had nearly cost her career.Nl: Bram, met zijn notitieblok en camera, volgde op de voet.En: Bram, with his notebook and camera, followed closely.Nl: Voor hem was dit avontuur de mogelijkheid om een verhaal te vinden dat zijn naam in elke krant zou krijgen.En: For him, this adventure was an opportunity to find a story that would get his name in every newspaper.Nl: Ze stopten even bij een open plek in het bos.En: They paused for a moment at a clearing in the woods.Nl: "We moeten samenwerken," zei Femke, terwijl ze naar de kaart keek.En: "We must work together," said Femke, while looking at the map.Nl: "Anders vinden we nooit iets."En: "Otherwise, we'll never find anything."Nl: Bram knikte.En: Bram nodded.Nl: "Maar vergeet niet dat ik hier ook iets uit wil halen," zei hij snel.En: "But don't forget I want something out of this too," he quickly added.Nl: Er was een duidelijke spanning, ontstaan uit hun verschillende doelen en methodes.En: There was a clear tension, arising from their different goals and methods.Nl: Waar Femke methodisch was, ging Bram liever op zijn intuïtie af.En: While Femke was methodical, Bram preferred to follow his intuition.Nl: Het zoeken in het dichte bos viel niet mee.En: Searching in the dense forest was not easy.Nl: De paden liepen over in struikgewas, en het gerucht van het kunstwerk leek steeds minder geloofwaardig.En: The paths merged into undergrowth, and the rumor of the artwork seemed less and less credible.Nl: Toch, na uren van zoeken en discussie, gebeurde er iets onverwachts.En: Yet, after hours of searching and discussion, something unexpected happened.Nl: Bram stopte abrupt en wees naar wat leek op een oude opening in de grond, net zichtbaar onder een laag van bladeren en mos.En: Bram abruptly stopped and pointed to what appeared to be an old opening in the ground, barely visible beneath a layer of leaves and moss.Nl: "Dit moet het zijn!"En: "This must be it!"Nl: riep Bram opgewonden.En: shouted Bram excitedly.Nl: Samen trokken ze de zware houten deur open, die toegang gaf tot een ondergrondse kamer.En: Together, they pulled open the heavy wooden door, which granted access to an underground chamber.Nl: Vochtige muren omhuldigden een donkere ruimte.En: Damp walls embraced a dark space.Nl: Femke scheen met haar zaklamp rond en zag iets glinsteren.En: Femke shone her flashlight around and saw something glimmering.Nl: Tussen het stof en de spinnenwebben zagen ze het kunstwerk — een prachtig, maar beschadigd schilderij.En: Amidst the dust and cobwebs, they saw the artwork — a beautiful, yet damaged painting.Nl: Hoewel de ontdekking triomfantelijk was, was het ook teleurstellend.En: Although the discovery was triumphant, it was also disappointing.Nl: Het schilderij was niet in de staat waarin ze het hadden gehoopt te vinden.En: The painting was not in the condition they had hoped to find it.Nl: Maar in dat moment van gedeelde teleurstelling vonden Bram en Femke een nieuwe kracht.En: But in that moment of shared disappointment, Bram and Femke found a new strength.Nl: Ze besloten het verhaal van hun ontdekking samen te vertellen.En: They decided to tell the story of their discovery together.Nl: Terug in de stad begon Femke met het herstellen van het schilderij, terwijl Bram zijn artikel schreef.En: Back in the city, Femke began the restoration of the painting, while Bram wrote his article.Nl: Ze combineerden hun krachten en deelden hun avontuur met de wereld.En: They combined their strengths and shared their adventure with the world.Nl: Femke's reputatie werd gered, en haar samenwerking met Bram opende nieuwe deuren.En: Femke's reputation was saved, and her collaboration with Bram opened new doors.Nl: Bram's artikel, met foto's van hun ontdekking, werd geprezen in alle grote kranten.En: Bram's article, with photos of their discovery, was praised in all major newspapers.Nl: In het proces hadden ze iets belangrijks geleerd.En: In the process, they had learned something important.Nl: Femke had geleerd dat het vertrouwen op anderen geen zwakte was, maar een kracht.En: Femke learned that trusting others was not a weakness, but a strength.Nl: En Bram ontdekte dat samenwerken veel waardevoller was dan alleen naam maken.En: And Bram discovered that collaborating was much more valuable than just making a name for himself.Nl: Zo transformeerde een zoektocht in het dichte bos naar een verhaal over vertrouwen en samenwerking, dat hen beide in hun carrière en leven verrijkte.En: Thus, a search in the dense woods transformed into a story about trust and cooperation, which enriched them both in their careers and lives. Vocabulary Words:cautiously: voorzichtigrumor: geruchtlabyrinth: labyrintdetermined: vastberadennotebook: notitiebloktension: spanningmethodical: methodischintuition: intuïtiedense: dichteundergrowth: struikgewascredible: geloofwaardigabruptly: abrubtopening: openingbarely: netheavy: zwareunderground: ondergrondsedamp: vochtigeembraced: omhuldigdenglimmering: glinsterencobwebs: spinnenwebbendamaged: beschadigdtriumphant: triomfantelijkdisappointing: teleurstellenddiscover: ontdekkenrestore: herstellenreputation: reputatiecollaboration: samenwerkingcareer: carrièretrusting: vertrouwenenriched: verrijkte

What if the path to becoming an artist wasn't shrouded in mystery but illuminated by practical wisdom? In this deep dive into Jerry Saltz's transformative book "How to Be an Artist," we explore the Pulitzer Prize-winning critic's generous, accessible, and remarkably grounded advice for creative souls at any stage of their journey."Art is for everyone," Saltz declares, immediately dismantling the barriers that keep so many from pursuing their creative calling. Whether you're wondering if you can be an artist without formal education, while working full-time, or while wrestling with crippling self-doubt, his answer rings clear: "Of course you can." Through our conversation, we unpack how Saltz's decades of observing artists have yielded insights that speak directly to the heart of the creative struggle.The book's wisdom resonates powerfully throughout our discussion – from embracing the uncomfortable vulnerability of making art to recognizing that "the faster your work makes sense, the faster people will lose interest." We explore why certainty kills curiosity, how imagination forms the very essence of human existence, and why getting productively lost might be the most direct path to finding your voice. Saltz's practical advice – "cast your nets into the waters" of inspiration and "work, work, work" – offers a refreshing antidote to creative paralysis.Perhaps most encouraging is Saltz's insistence that it's never too late to begin. Through stories of artists who found success later in life (including Saltz himself who didn't become serious about his calling until age 40), we confront the myth that artistic accomplishment requires early specialization. Whether you're just starting out or seeking to deepen your existing practice, this episode offers a roadmap filled with practical wisdom, compassionate encouragement, and the liberating reminder that "nothing happens if you're not working, but anything can happen when you are."Buy "How to be an Artist" by Jerry SaltzSend us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Giuseppe Castellano talks to comics creator, writer, and educator, Ali Fitzgerald, about where art and art education intersect with social justice; what we can learn from the life and work of Käthe Kollwitz; how art can—especially in trying times—offer connection and solace; and more.To learn more about Ali, visit alifitzgerald.com.Artists mentioned in this episode include: Bill Watterson, Gary Larson, Emil Ferris, and Käthe Kollwitz If you find value in this podcast, you can support it by subscribing to our best-selling publication, Notes On Illustration, on Substack. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello.

Katie and Steve discuss the recent decision by the New York Supreme Court granting the Manhattan District Attorney request for a turnover order directing the Art Institute of Chicago to return a drawing by Egon Schiele, "Russan War Prisoner," that the museum acquired in 1966. Katie and Steve review the history of the ownership of the drawing by Fritz Grünbaum, a cabaret singer who was killed by the Nazis in 1941, and the legal proceedings involving his art collection leading up to this controversial decision.   Notes for this episode: https://artlawpodcast.com/2025/07/01/an-update-on-the-manhattan-das-turnover-proceeding-against-the-art-institute-of-chicago/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast Katie and Steve discuss topics based on news and magazine articles and court filings and not based on original research unless specifically noted.