Podcasts about Art history

Coming up on this episode of Flirtations, Fernie is back on the show for our summer solstice dating horoscope! With a brand new season comes new energy for dating, romance, flirting, and cosmic possibility. Joining us today is Flirtations' in-house astrologer, fortune teller, and magic mystic, Fernie, here to read the stars and pull back the planetary curtain on what this season has in store for our love lives. What does the Queen of Swords want us to know? What is Jupiter up to and what opportunities might some celestial happenings present? Mars has also got something to say and we're kicking off cancer season! Lot's to get to, including the two big themes the stars and planets have for us, and how we can fill our own cups a little bit more. You don't need to be an astrology expert—just bring an open heart and an open mind, and we'll take care of the rest. So get ready to flirt with fortune, boldness, beauty, and maybe a little bit of magic. Let's do this, Flirties, and meet Fernie. Don't forget to subscribe, rate, and review Flirtations on your favorite podcast platform, and share this episode to spread BFE - big flirt energy, all over the world! Enjoying the show and want to support my work? Buy the Flirt Coach a coffee! About our guest:  Fernie Salinas (he/they) is a queer Latinx fortune telling witch from the Rio Grande Valley in Texas.  They are the owner and founder of Golden Mirror Fortunes, and they hope to be Your Favorite Fortune Teller! They grew up always knowing that magic was around us, as their great-grandfather and his son, their grand-uncle, were both curanderos (folk healers) in Rio Grande City, and it's been such a delight to have Golden Mirror Fortunes carry on the legacy of healing and mysticism they instilled in him. He's also an educator — he went to Rice University, studied English and Art History, got their teacher's certification, joined TFA, and have been a teacher and principal at various schools in the RGV.  He is currently an education consultant as well as running Golden Mirror Fortunes, their small fortune telling business.  He uses tarot and magic to help people heal and find their paths, all in service of improving their fortunes.  His deepest desire is to provide you with the light that you need to make your life a little more magical and glittery. Follow them on Instagram and let them be your favorite fortune teller! About your host:  Benjamin is a flirt and dating coach sharing his love of flirting and BFE - big flirt energy - with the world! A lifelong introvert and socially anxious member of society, Benjamin now helps singles and daters alike flirt with more confidence, clarity, and fun! As the flirt is all about connection, Benjamin helps the flirt community (the Flirties!) date from a place that allows the value of connection in all forms - platonic, romantic, and with the self - to take center stage. Ultimately, this practice of connection helps flirters and daters alike create stronger relationships, transcend limiting beliefs, and develop an unwavering love for the self. His work has been featured in Fortune, NBC News, The Huffington Post, and Yoga Journal. You can connect with Benjamin on Instagram, TikTok, stream the Flirtations Flirtcast everywhere you listen to podcasts (like right here!), and find out more about working together 1:1 here.

As if you haven't had enough history lately, we're here with just a little bit more...but this time it's ART HISTORY. We're taking a look at one of the Netherland's most influential artists and painter of so many weird little guys, Hieronymus Bosch! Find out more at http://getafternoonified.com

Giuseppe Castellano talks to Terry Brown, former director of The Society of Illustrators, about his time at the Society; what's behind the Society's disparity between men and women award-winners; how life is made up of many different but connected chapters; and more.Learn more about The Society of Illustrators by visiting societyillustrators.org.Artists mentioned in this episode include: Bob Peak, Norman Rockwell, Charles Dana Gibson, Steve Brodner, Anita Kunz, Yuko Shimizu, Bernie Fuchs, Al Hirschfeld, Robert Weaver, Murray Tinkelman, Joe Ciardiello, Mark English, Roger Kastel, Diane Dillon, Violet Oakley, Jessie Willcox Smith, Elizabeth Shippen Green, Florence Scovel Shinn, May Wilson Preston, E. Simms Campbell, Reynold Ruffins, and Rube Goldberg 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.

In this episode, host Victoria Barlow is joined by guest Susannah Lyon-Whaley to discuss the royal links with early 17th century gardening practices and the A Queen's Book of Flowers exhibition running until the end of June in York. Listen in to be transported into the charming landscape of queen Henrietta Maria's England and the exotic plants that were being cultivated there.For more information on the exhibition visit the webpage: https://susannahlyon-whale.wixsite.com/queensbookofflowersGuest Bio:Susannah Lyon-Whaley is a Marie Sklodowska-Curie Actions Postdoctoral Fellow (UKRI-guaranteed) at the University of York. She completed a PhD in Art History at the University of Auckland. She has published on Stuart queens and is the editor of Floral Culture and the Tudor and Stuart Court (Amsterdam University Press). Her new project is titled ‘Observing, Consuming, Engaging, Appropriating Nature (OCEAN): Queens Consorts and Ecologies of Knowledge in Seventeenth-Century Britain.' As part of this project she is working on an exhibition for the Festival of Ideas, which is the subject of this episode's talk.@susannah-lw.bsky.social

Leonardo Drew invites us into the physical, philosophical, and sometimes painful world of material transformation. Unlike artists who work with found objects carrying built-in histories, Drew deliberately purchases new materials that he must personally weather and transform. "I need to become the weather," he explains, describing a process where he subjects materials to rigorous physical manipulation that often results in literal bloodshed.This physical commitment reflects Drew's deeper philosophy about creation. He describes himself as "the crack addict of art," chasing the highs of creative breakthrough through persistent experimentation and a willingness to fail. His practice demands patience—it took seven years from his initial decision to create what would become his signature style before producing what he considered his first successful piece (which he numbered "8," acknowledging the previous attempts).Drew conceptualizes artists as antennas receiving creative energy from the universe. He purposefully travels to "cradles of civilization" like China and Machu Picchu, absorbing experiences that later emerge organically in his work. "You don't have to say I'm making work about this specifically," he notes, "because that would cage and imprison the whole idea." This philosophy requires "getting out of the way" of one's own creative process—removing ego and preconceptions to allow authentic creation to happen.By refusing to title his monumental works beyond simple numbering, Drew extends his transformation-based practice to the viewing experience itself. Each piece continues to transform through viewers' unique interpretations, creating an endless cycle of meaning-making that transcends the artist's original intent. As Drew profoundly states, "As I'm moving closer and closer to answering questions, at the same time I'm moving further away from the answers."Want to experience this transformative approach in your own creative practice? Keep your channels open by constantly introducing new ideas and techniques. When feeling stuck, switch things up dramatically—if you're a painter, try sculpture; if you work abstractly, attempt representation. The discomfort of new approaches often leads to the most significant breakthroughs.Leonardo Drew in "Investigation" - Season 7 - "Art in the Twenty-First Century" | Art21https://www.youtube.com/watch?v=ymMGgOCoK8k&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqR&index=5An Interview with Leonardo Drew | Wadsworth Antheneumhttps://www.youtube.com/watch?v=-75fm_UzhYg&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqR&index=4Woodcuts: Leonardo Drew | useum of Arts and Design (MAD)https://www.youtube.com/watch?v=4N3S2nvDcvU&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqR&index=3Artist Talk: Leonardo Drew | Amon Carter Museum of American Art Fort Worthhttps://www.youtube.com/watch?v=LtsqaHfEYxc&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqRCarrie Scott, SEEN Podcast | Leonardo DrewSend us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

在台灣當代藝術發展的歷程中，「悍圖社」是一群無法被忽視的存在。他們既是創作上的實驗者，也是藝術市場中堅持理念的實踐者。從1998年首次聯展起，歷經數十年，他們仍以創作為生命的核心，共同走過藝術與現實的磨合，展現台灣少見的長期藝術團體韌性。本集邀請悍圖社現任社長郭維國與藍騎士藝術空間負責人Elsa，一同分享悍圖社即將在藍騎士展出的《浴火雁行》背後的故事。展覽將於2024年6月7日至8月31日在台北登場，10月更將移師倫敦Mayfair，成為台灣藝術國際輸出的亮點。節目中，來賓細數悍圖社的歷史與藝術家個別的創作歷程——包括以普普風格與社會批判著稱的楊茂林、從表現主義走入影像與政治觀察的吳天章等人。他們的作品橫跨雕塑、繪畫、攝影與複合媒材，不僅技法多元，更透出對社會與自我深層關懷。此次展覽是藍騎士藝術空間與悍圖社的首次合作，也象徵著藝術世代間的交會。Elsa表示，最初只是被悍圖社作品的能量吸引，未料深入藝術家工作室後，更驚訝於他們數十年如一日的創作熱情與紀律，這才讓「浴火雁行」這個展覽名稱浮現心中——猶如一群不滅的雁鳥，以火焰般的生命力持續飛行。這是一場穿越時間與媒材的集體創作，也是對台灣美術史一次充滿情感與厚度的書寫。如果你對藝術、對創作、對堅持有共鳴，那麼這一集與這場展覽，絕對值得你走進、細細品味。

Send us a textMichele Landel is an American artist living and working in Sèvres, France. She holds degrees in Fine Arts and Art History, and her work has been exhibited across Europe, the UK, and the United States. Her practice has been featured in The Collage Ideas Book (Ilex Press, 2018) and the forthcoming Fil Découpé (Pyramyd Editions, 2025).Landel was awarded the Surface Design Association's 2018 Innovative Technique Award and was a finalist for the Prix Carré-Sur-Seine in both 2019 and 2020. She is currently represented by Galerie Amélie du Chalard (Paris & NYC), Ségolène Brossette Galerie (Paris), Le Salon Vert (Geneva), Donna Seager Fine Arts & Artists' Books (Mill Valley), and Muriel Guépin Gallery (NYC)https://michelelandel.com/https://www.instagram.com/michelelandel/Support the show

Giuseppe Castellano talks to Sam Viviano, award-winning cartoonist, and former art director of MAD Magazine, about his membership in MAD's usual gang of idiots; what the careers of Norman Mingo and Jack Davis can teach today's illustrators; why creatives, even the worrywarts, should keep on keeping on; and more.Sam can be found on Instagram.Artists mentioned in this episode include: Steve Brodner, Herbert Lawrence Block, Mort Drucker, Paul Coker, Jack Davis, George Woodbridge, Al Jaffee, Dave Berg, Brad Holland, Guy Billout, Nicholas Blechman, Peter de Sève, Anita Kunz, Barry Blitt, Jack Unruh, Sergio Aragonés, and Don Martin 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.

Episode Notes Notes go here Barnes, Lucinda (1993). "A Proclamation of Moment: Adolph Gottlieb, Mark Rottko and Barnett Newman and the letter to The New York Times". Allen Memorial Art Museum Bulletin. XLVII (1). Tomkins, Calvin (9 June 1975). "A Keeper of the Treasure". The New Yorker. pp. 52–54. ^ Robson, Deirdre (2000). Francis Frascina (ed.). Pollock and After: The Critical Debate. Routledge. p. 290. ISBN 9780415228671. Retrieved 9 January 2013. Collins, Bradford R. (June 1991). "Life Magazine and the Abstract Expressionists: 1948-51. A Historiographic Study of a Late Bohemian Enterprise". The Art Bulletin. LXXIII (2). College Art Association: 283–308. doi:10.2307/3045794. JSTOR 3045794. Hale, Robert Beverly (February 1951). "A Report on American Painting Today: 1950". The Metropolitan Museum of Art Bulletin. New series. 9 (6). New York: The Metropolitan Museum of Art: 162–172. doi:10.2307/3257446. JSTOR 3257446. ^Hale, Robert Beverly (1957). "The American Moderns" (PDF). The Metropolitan Museum of Art Bulletin. 16 (1). New York: The Metropolitan Museum of Art: 18–28. doi:10.2307/3257721. JSTOR 3257721. Retrieved 26 November 2012. ^ "Whitney Drops Proposal for Combining its Collections with the Metropolitan's" (PDF). The New York Times. 1 October 1948. Retrieved 26 November 2012. Staff writer (7 December 1948). "Art Museum adds a Modern Section" (PDF). The New York Times. Retrieved 26 November 2012. Knox, Sanka (1 January 1950). "Competition for American Artists Planned by Metropolitan Museum" (PDF). The New York Times. Retrieved 26 November 2012. ^ Louchheim, Aline (25 March 1951). "Sam A. Lewinsohn and His Legacy to Art". The New York Times. Retrieved 1 December 2012. ^ "Subject of the Artist | art school". Encyclopedia Britannica. Retrieved 7 June 2020. ^ Chilvers, Ian; Glaves-Smith, John (2009). Subjects of the Artist School. Oxford University Press. ISBN 978-0-19-923966-5. Retrieved 7 June 2020. {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: |website= ignored (help) ^ "Subjects of the Artist school catalog". Archives of American Art. Smithsonian Institution. Retrieved 7 June 2020. ^ Rosenberg, Bonnie. "An Inside Look at the Abstract Expressionists". NewYorkArtWorld. Retrieved 7 June 2020. Steven, Mark; Swan, Annalyn (2005). de Kooning: American Master. New York: Alfred A. Knopf. ISBN 9781400041756. ^ Alloway, Lawrence; MacNaughton, Mary (1995). Adolph Gottlieb: A Retrospective. Hudson Hills. ISBN 9781555951252. Retrieved 27 November 2012. Naifeh, Steven; White Smith, Gregory (1989). Jackson Pollock: An American Saga. New York: Clarkson N. Potter, Inc. / Publishers. ISBN 0-517-56084-4. "18 Painters Boycott Metropolitan; Charge 'Hostility to Advanced Art'" (PDF). The New York Times. 22 May 1950. Retrieved 25 November 2012. ^ Newman, Barnett (1992). John Philip O'Neill (ed.). Barnett Newman: Selected Writings and Interviews. University of California Press. ISBN 9780520078178. Retrieved 1 December 2012. ^ "The Irascible Eighteen". The New York Herald Tribune. 23 May 1950. ^ Rubenfeld, Florence (1997). Clement Greenberg: a life. New York: Scribner. pp. 144. ISBN 9780684191102. Boxer, Sarah (23 December 2010). "The Last Irascible". The New York Review of Books. Retrieved 28 November 2012. ^ Kees, Weldon (June 2003). Robert E. Knoll (ed.). Weldon Kees and the Mid-Century Generation: Letters, 1935-1955. Lincoln, Nebraska: University of Nebraska Press. ISBN 9780803278080. Retrieved 28 November 2012. ^ "The Revolt of the Pelicans". Time. 5 June 1950. Archived from the original on January 31, 2011. Retrieved 27 November 2012. ^ Taylor, Francis Henry (December 1948). "The Almanac". The Atlantic Monthly. Retrieved 27 November 2012. ^ "75 Painters Deny Museum is Hostile" (PDF). The New York Times. 4 July 1950. Retrieved 27 November 2012. "IRASCIBLE GROUP OF ADVANCED ARTISTS LED FIGHT AGAINST SHOW". Life. 15 January 1951. pp. 34–38. Retrieved 27 November 2012. Breslin, James (2012). Mark Rothko: A Biography. Chicago: University of Chicago Press. ISBN 9780226074061. ^ Boxer, Sarah. "The Last Irascible | Sarah Boxer". ISSN 0028-7504. Retrieved 2023-09-12. ^ Levin, Gail (2011). Lee Krasner: A Biography. New York: HarperCollins. ISBN 9780061845253. ^ "Jackson Pollock: Is he the greatest living painter in the United States?". Life. Vol. 27, no. 6. Time Inc. 8 August 1949. pp. 42–45. ISSN 0024-3019. Retrieved 29 November 2012. ^ Bourdon, D. (November 1985). "Sitting Pretty". Vogue (CLXXV): 116. Sandler, Irving (2003). "2". In Daniel A. Siedell (ed.). Weldon Kees and the Arts at Midcentury. University of Nebraska Press. pp. 39–50. ISBN 9780803242951. Retrieved 29 November 2012. ^ Friedman, Bernard Harper (September 1978). "The Irascibles: A Split Second in Art History". Arts Magazine. Vol. 53, no. 1. pp. 96–102. ^ Sandler, Irving (1970). The Triumph of American Painting: a History of Abstract Expressionism. New York: Praeger Publishers. OL 17754003M. ^ Gibson, Ann Eden (1997). Abstract Expressionism: Other Politics. New Haven, CT: Yale University Press. p. 29. ISBN 0300063393. OL 1006293M. This podcast is powered by Pinecast.

Get More LVWITHLOVE Content at LVwithLOVE.com The SouthSide Film Festival is proud to present Rooted — a new documentary tracing 50 years of creative life in Bethlehem, Pennsylvania. In this episode, George Wacker sits down with three of the artists featured in the film: Bill George of Touchstone Theatre, Doug Roysdon of Mock Turtle Marionette Theatre, and Dave Fry of Godfrey Daniels. Together, they reflect on what it means to create and collaborate in a post-industrial city shaped by both hardship and hope. We talk about the early days of the Lehigh Valley arts scene, the personal and cultural challenges that defined their work, and how a community of artists helped transform Bethlehem from a steel town into a space for bold, grassroots creativity. Rooted Screening: Sunday, June 15, 2025 at 2:00 PM Location: Baker Hall at Zoellner Arts Center Tickets: Get them here Listen to the podcast: www.lehighvalleywithlovemedia.com/podcast/rooted Southside Film Festival Dates: June 10–14, 2025 (with a showing of Rooted on the 15th!) Locations: Cathedral Church of the Nativity, Touchstone Theatre, PBS39, and more Info & Tickets: ssff.org Watch Episode Thank you to our Partners! L.L. Bean Outdoor Discovery Programs WDIY Lehigh Valley Health Network Wind Creek Event Center Michael Bernadyn of RE/MAX Real Estate Molly’s Irish Grille & Sports Pub Banko Beverage Company

Fluent Fiction - Dutch: Bridging Friendship: A Day at the Rijksmuseum's Rembrandt Exhibit Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-06-08-22-34-02-nl Story Transcript:Nl: Zomerzon scheen helder in Amsterdam.En: The summer sun shone brightly in Amsterdam.Nl: Sven, Johan en Elsa stapten de statige zalen van het Rijksmuseum binnen.En: Sven, Johan, and Elsa stepped into the grand halls of the Rijksmuseum.Nl: Het was druk.En: It was busy.Nl: Mensen liepen nieuwsgierig rond, ogen gericht op de majestueuze kunstwerken.En: People wandered around curiously, eyes fixed on the majestic artworks.Nl: "Wow," zei Johan, terwijl hij naar de hoge plafonds keek.En: "Wow," said Johan, as he looked up at the high ceilings.Nl: "Het is hier groot."En: "It's big here."Nl: Hij haalde zijn camera tevoorschijn.En: He took out his camera.Nl: Elsa keek rond, een beetje onverschillig, maar wel benieuwd naar wat ze zou zien.En: Elsa looked around, a bit indifferent, but curious about what she would see.Nl: Voor Sven was het museum een droom.En: For Sven, the museum was a dream.Nl: Als kunstgeschiedenisstudent was hij dol op Rembrandt.En: As an art history student, he loved Rembrandt.Nl: Hij wilde zijn passie delen.En: He wanted to share his passion.Nl: "Kom," riep hij opgewonden.En: "Come," he called excitedly.Nl: "De nieuwe Rembrandt-tentoonstelling is die kant op."En: "The new Rembrandt exhibition is that way."Nl: Ze liepen naar de grote zaal met de beroemde Nachtwacht.En: They walked to the large hall with the famous Night Watch.Nl: De hal was groots en vulde zich met het zachte geroezemoes van bewonderaars.En: The hall was grand and filled with the soft murmur of admirers.Nl: Sven straalde van enthousiasme, maar Johan en Elsa leken afgeleid.En: Sven beamed with excitement, but Johan and Elsa seemed distracted.Nl: Johan stopte om een selfie te maken, terwijl Elsa een glimp van het café opving.En: Johan stopped to take a selfie, while Elsa caught a glimpse of the café.Nl: "Rembrandt gebruikte licht en schaduw op een magische manier," begon Sven, proberend hun aandacht te winnen.En: "Rembrandt used light and shadow in a magical way," Sven began, trying to capture their attention.Nl: Maar Johan richtte zijn camera op de schilderijen en Elsa keek naar de wachrij bij het café.En: But Johan aimed his camera at the paintings, and Elsa looked at the line at the café.Nl: Gefrustreerd nam Sven een beslissing.En: Frustrated, Sven made a decision.Nl: Hij ging voor de Nachtwacht staan, zijn ogen glanzend van passie.En: He stood in front of the Night Watch, his eyes sparkling with passion.Nl: Hij vertelde over de verborgen details, de avonturen erachter, de emoties gevangen in verf.En: He spoke about the hidden details, the adventures behind them, the emotions captured in paint.Nl: Zijn stem werd warm, zijn ogen groot van bewondering.En: His voice grew warm, his eyes wide in admiration.Nl: Langzaam maar zeker trok hij hun aandacht.En: Slowly but surely, he drew their attention.Nl: Johan stopte met klikken en Elsa zocht de blikken van mensen langs het doek.En: Johan stopped clicking, and Elsa followed the glances of people along the canvas.Nl: Ze luisterden, geboeid door de verhalen die Sven vertelde.En: They listened, captivated by the stories Sven told.Nl: Bij de Nachtwacht, midden tussen de drukte, voelden ze een moment van gedeelde verwondering.En: By the Night Watch, amidst the hustle and bustle, they felt a moment of shared wonder.Nl: Johan lachte, Elsa stelde vragen.En: Johan laughed, and Elsa asked questions.Nl: Ze zagen Rembrandt's werk met nieuwe ogen.En: They saw Rembrandt's work with new eyes.Nl: De tentoonstelling werd hun gezamenlijke avontuur.En: The exhibition became their shared adventure.Nl: Glimlachend liepen ze verder, elk schilderij nieuw bekeken en besproken.En: Smiling, they moved on, each painting newly seen and discussed.Nl: Sven zag Johan en Elsa eindelijk genieten.En: Sven saw Johan and Elsa finally enjoying themselves.Nl: Hun interesse was gewekt, hun appreciatie gegroeid.En: Their interest was sparked, their appreciation grew.Nl: Ze verlieten het museum met een gevoel van verbondenheid.En: They left the museum with a feeling of connection.Nl: Buiten, in de warme zomerzon, voelde Sven trots.En: Outside, in the warm summer sun, Sven felt proud.Nl: Hij had geleerd geduldig te zijn.En: He had learned to be patient.Nl: Zijn passie was een brug geworden tussen hem en zijn vrienden.En: His passion had become a bridge between him and his friends.Nl: En zo eindigde hun dag.En: And so their day ended.Nl: Drie vrienden verrijkt door kunst, met verhalen om nog lang over na te praten.En: Three friends enriched by art, with stories to talk about for a long time. Vocabulary Words:majestic: majestueuzegrand: statigewandered: liepencuriously: nieuwsgierigindifferent: onverschilligexcitedly: opgewondenexhibition: tentoonstellingmurmur: geroezemoesbeamed: straaldefrustrated: gefrustreerdsparkling: glanzendcaptured: gevangenadmiration: bewonderingcaptivated: geboeidhustle: druktewonder: verwonderingenrichment: verrijkingenthusiasm: enthousiasmeshared: gedeeldglance: glimpnewly: nieuwcanvas: doeksparked: gewektbridge: brugpatience: geduldattention: aandachtrembrandt: rembrandtartworks: kunstwerkenstories: verhalenwarm: warm

Giuseppe Castellano talks to Genevieve Bormes, Deputy Covers Editor for The New Yorker, about how she oversees the magazine's covers; what real and scary questions artists ask themselves; what lesson all creatives need to learn and relearn; and more.Genevieve's email address at The New Yorker is genevieve_bormes(at)newyorker.com.Artists mentioned in this episode include: Bob Staake, Peter de Sève, John Cuneo, Arthur Getz, Diana Ejaita, and Rea Irvin 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.

In 2008 Nathan Dunne was night swimming in Hampstead Heath in the middle of winter when a psychological catastrophe struck him. He felt his sense of self split in two, and an unbearable pain overtook him. He couldn't work out what had happened to him, and neither could the doctors.CW: This discussion contains sensitive mental health details and mentions suicide.Nathan was driven to attempt suicide, and endured years of misdiagnoses from doctors and medications that didn't work.Nathan didn't have the words to describe the confusion, pain and splitting of self he was experiencing.For years, water was the symbol of his undoing.When Nathan returned home to Australia and his parents' care, his mum gave him a copy of his grandfather's war memoirs.Here, Nathan found a link that showed him the healing qualities and the beauty that were possible in water.Eventually, Nathan found a doctor who could explain his symptoms and finally give them a name — depersonalisation.Further informationIf you need help, you can phone Lifeline on 13 11 14.When Nothing Feels Real is published by Murdoch Books.Read more about dissociative disorders and depersonalisation on the NHS website.Read about dissociative disorders and depersonalisation specifically in relation to young people on the Orygen website.Find out more about the Conversations Live National Tour on the ABC website.Conversations' Executive Producer is Nicola Harrison. This episode was produced by Alice Moldovan.

Kathryn is Bertelsen Professor of Art History and Religion at the Graduate Theological Union and Jesuit School of Theology of Santa Clara University. She has published extensively on the theory of pilgrimage, especially as it relates to art experience. Her recent project, "Imaging Pilgrimage: Art as Embodied Experience" was the recipient of the American Academy of Religion and the Arts Book Award and the Borsch-Rast Book Prize. She is the founding director of the Berkeley Art and Interreligious Pilgrimage Project, and remains an advisor to the British Pilgrimage Trust.​In this conversation, I spoke with Kathryn about the multifaceted nature of pilgrimage and its relationship to art, spirituality, and community. We explored how images, objects, and environments enhance the pilgrimage experience, from historical traditions to contemporary practices. We also discussed the transformative power of art and the ways it can foster imagination, communitas, and deeper spiritual engagement.

Fluent Fiction - Hungarian: Unveiling Secrets: Mystery at Budapest's Science Museum Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hu/episode/2025-06-01-22-34-02-hu Story Transcript:Hu: A tavaszi zápor épp elvonulóban volt Budapest felett, ahogy a Szentháromság ünnepének vidám színeivel borított városban megnyílt a Tudományos Múzeum új kiállítása.En: The spring shower was just passing over Budapest, as the Science Museum's new exhibition opened in the city adorned with the cheerful colors of the Holy Trinity celebration.Hu: A csodálatos épület, amely ötvözte a klasszikus és modern stílust, élettel telt meg.En: The magnificent building, which blended classical and modern styles, was filled with life.Hu: Janos, a múzeum kíváncsi kurátora, izgatottan várt a bejáratnál.En: Janos, the museum's curious curator, waited excitedly at the entrance.Hu: Az ő szíve napok óta izgult az új kiállítás miatt, melynek fő látványossága egy ritka, ókori műtárgy volt.En: His heart had been excited for days about the new exhibition, whose main attraction was a rare ancient artifact.Hu: E műtárgy jelentősége éppen olyan nagy volt, mint amennyire sejtelmes.En: This artifact's significance was as great as it was mysterious.Hu: - Üdv, Janos!En: "Hello, Janos!"Hu: - kiáltotta Bela, kollégája, aki mindig versengésre készült, de egy jó rejtélyre is.En: shouted Bela, his colleague, who was always ready for competition, but also intrigued by a good mystery.Hu: - Hallottad, hogy valami érdekesről fecsegnek a látogatók?En: "Did you hear that the visitors are gossiping about something interesting?"Hu: Janos bólintott.En: Janos nodded.Hu: Az emberek izgatottsága nem csökkent a hír hallatán, hogy a ritka műtárgy titokzatos módon eltűnt.En: The excitement of the people didn't diminish upon hearing the news that the rare artifact had mysteriously disappeared.Hu: Janosnak bizonyítania kellett.En: Janos had to prove himself.Hu: Szerette volna megmutatni, hogy méltó a múzeum tiszteletére, és minden erejével azon volt, hogy bebizonyítsa, nem csupán egy egyszerű segédkurátor.En: He wanted to show that he was worthy of the museum's respect and was determined to prove that he was not just an ordinary assistant curator.Hu: A kiállítótermekben egy fiatal nő, Katalin, szorgalmasan figyelte a történéseket.En: In the exhibition rooms, a young woman, Katalin, diligently observed the happenings.Hu: Amatőr detektívként soha nem hagyta figyelmen kívül az izgalmas kihívásokat.En: As an amateur detective, she never ignored exciting challenges.Hu: Bár nem volt hivatalos képzettsége, elszántsága és éles elméje figyelemre méltó volt.En: Although she had no formal training, her determination and sharp mind were remarkable.Hu: Az idő szorításában Janos úgy döntött, hogy elfogadja Katalin segítségét.En: Under time pressure, Janos decided to accept Katalin's help.Hu: Ez új volt számára, de szüksége volt minden segítségre.En: This was new for him, but he needed all the help he could get.Hu: Bela, bár hajlamos volt a dolgokat túlzó módon kezelni, szintén a csapat részévé vált.En: Bela, although prone to handling things in an exaggerated manner, also became part of the team.Hu: Ahogy a nap perzselő sugarai behatoltak a szobákba, és egyre több látogató érkezett, a trió számtalan nyomot követett.En: As the sun's scorching rays penetrated the rooms, and more and more visitors arrived, the trio followed numerous clues.Hu: Egyik éjjel, amikor a múzeum elhagyatott és csendes volt, úgy döntöttek, hogy visszatérnek.En: One night, when the museum was deserted and silent, they decided to return.Hu: Katalin figyelmét egy régi falpanel ragadta meg, amely elütött a környezetétől.En: Katalin was drawn to an old wall panel that stood out from its surroundings.Hu: Janos gyanakodva lépett közelebb, és véletlenül elmozdította a panelt.En: Suspiciously, Janos stepped closer and accidentally shifted the panel.Hu: A panel mögött egy titkos átjáró tárult fel, amely mélyen a múzeum belsejébe vezetett.En: Behind the panel, a secret passageway was revealed, leading deep into the museum's interior.Hu: Az átjáró a bátor felfedezőket egy rejtekhelyre vezette, ahol megdöbbentően ott volt az eltűnt műtárgy!En: The passageway led the brave explorers to a hidden place where, astonishingly, the missing artifact was!Hu: - Ez elképesztő!En: "This is amazing!"Hu: - kiáltotta Bela, visszhangzónak tűnő hangon.En: shouted Bela, his voice seeming to echo.Hu: Katalin mosolygott, Janos pedig megkönnyebbült.En: Katalin smiled, and Janos felt relieved.Hu: Az elképesztő felfedezés tudatában Janos és csapata a múzeum igazgatósága elé álltak.En: Aware of the incredible discovery, Janos and his team stood before the museum board.Hu: A történet elmesélésével, a rejtély megoldásának részleteivel és a visszaszerzett műtárgy bemutatásával Janos megkapta a megérdemelt elismerést.En: By narrating the story, detailing the mystery's solution, and presenting the recovered artifact, Janos received the deserved recognition.Hu: Az igazgatóság meghajolt a három bátor nyomozó előtt, Janos pedig újra magára talált.En: The board bowed to the three brave investigators, and Janos found himself again.Hu: Megértette, hogy az igazi sikeres munkához csapatmunka kell, és hálát adott Katalin éleslátásáért és Bela lelkesedéséért.En: He understood that true successful work requires teamwork and was grateful for Katalin's insight and Bela's enthusiasm.Hu: Most már nemcsak egy ügyes kurátor, hanem egy olyan vezető is volt, aki tudta, hogyan hozza ki a legjobbat másokból is.En: Now he was not only a skilled curator but also a leader who knew how to bring out the best in others.Hu: Ahogy az ünnepi hétvége zárult, a napfény aranylóan tündökölt a múzeum fölött.En: As the festive weekend came to a close, the sunlight shone golden over the museum.Hu: A tavasz teljességében az emberek csodálkozva nézték a múzeum új hősét, Janost, aki most már nemcsak egy résztvevő volt, hanem a történelem részese is.En: In the fullness of spring, people gazed in wonder at the museum's new hero, Janos, who was now not just a participant but a part of history. Vocabulary Words:shower: záporexhibition: kiállításadorned: borítottmagnificent: csodálatoscurator: kurátorartifact: műtárgymysterious: sejtelmesgossiping: fecsegnekdiminish: csökkentdeserted: elhagyatottpassageway: átjáróastonishingly: megdöbbentőeninvestigators: nyomozórecognition: elismeréstsuccessful: sikeresenthusiasm: lelkesedésparticipant: résztvevőpenalized: büntetettteamwork: csapatmunkaremarkable: figyelemre méltóscorching: perzselőenthused: lelkesdetermined: elszántinterior: belsejébesolution: megoldáschallenges: kihívásinsight: éleslátásdeserved: megérdemelttrespassing: behajózottmaturity: érettség

Fluent Fiction - Danish: The Art of Discovery: A Shared Journey to Recognition Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2025-06-01-22-34-02-da Story Transcript:Da: Solen skinnede klart på Arken Museum of Modern Art.En: The sun shone brightly on the Arken Museum of Modern Art.Da: Det var en varm sommerdag, og Søren og Freja gik gennem de lyse sale.En: It was a warm summer day, and Søren and Freja walked through the bright halls.Da: Søren, en ivrig kunsthistoriker, kunne ikke skjule sin spænding.En: Søren, an eager art historian, could not hide his excitement.Da: Freja, med drømmen om at blive en anerkendt kunstner, gik stille ved siden af ham, optaget af farverne og formerne omkring hende.En: Freja, with the dream of becoming a recognized artist, walked quietly beside him, captivated by the colors and shapes around her.Da: Museet var fyldt med innovative og abstrakte værker.En: The museum was filled with innovative and abstract works.Da: Søren stoppede ved et maleri.En: Søren stopped at a painting.Da: Noget ved det fangede hans opmærksomhed.En: Something about it caught his attention.Da: Freja, der bemærkede hans stilhed, kiggede også.En: Freja, noticing his silence, looked too.Da: "Hvad ser du?" spurgte hun nysgerrigt.En: "What do you see?" she asked curiously.Da: "Det er et mesterværk," svarede Søren.En: "It's a masterpiece," replied Søren.Da: "Det kunne være en uopdaget perle."En: "It could be an undiscovered gem."Da: Freja så fascineret på det.En: Freja gazed at it, fascinated.Da: Hendes kreative sind begyndte straks at væve en historie.En: Her creative mind immediately began to weave a story.Da: "Vi skal fortælle verden," sagde hun.En: "We must tell the world," she said.Da: Men nu begyndte de to venner at tænke over konsekvenserne.En: But now the two friends began to consider the consequences.Da: Søren ønskede at verificere maleriet med sin professor.En: Søren wanted to verify the painting with his professor.Da: Denne opdagelse kunne fremme hans akademiske karriere.En: This discovery could advance his academic career.Da: Freja derimod tænkte på sin journalistven, der kunne offentliggøre deres fund.En: Freja, on the other hand, thought about her journalist friend who could publish their finding.Da: Begge ønskede anerkendelse, men af forskellige årsager.En: Both wanted recognition, but for different reasons.Da: Mens de stod der, opstod der en spænding.En: As they stood there, tension arose.Da: "Vi skal tage en beslutning," sagde Søren bestemt.En: "We need to make a decision," said Søren decisively.Da: "Hvis vi holder det hemmeligt for længe, kan vi miste retten til opdagelsen."En: "If we keep it secret too long, we might lose the right to the discovery."Da: Freja tænkte over hans ord.En: Freja considered his words.Da: "Men hvad nu hvis vi fokuserer på historien først?En: "But what if we focus on the story first?Da: Mit kunstværk kunne fange folks opmærksomhed."En: My artwork could capture people's attention."Da: De diskuterede højlydt foran maleriet. Deres stemmer steg i en følelsesladet dialog.En: They argued loudly in front of the painting, their voices rising in an emotional dialogue.Da: De indså, at deres forskellige mål skabte en barriere mellem dem.En: They realized that their different goals created a barrier between them.Da: Men dybt inde vidste de begge, at de skulle træffe en beslutning sammen.En: But deep inside, they both knew they had to make a decision together.Da: Til sidst sagde Søren stille: "Vi burde arbejde sammen.En: Finally, Søren said quietly, "We should work together.Da: Din kunst og min viden. En samarbejdet historie."En: Your art and my knowledge. A collaborative story."Da: Freja nikkede langsomt.En: Freja nodded slowly.Da: "Ja, lad os gøre det.En: "Yes, let's do that.Da: Vi rapporterer først efter vi har skabt noget sammen."En: We report only after we've created something together."Da: De gik hånd i hånd mod udgangen, uden at vide hvilke døre denne opdagelse kunne åbne for dem begge.En: They walked hand in hand towards the exit, not knowing which doors this discovery could open for them both.Da: De havde lært, at succes ikke kun kommer fra individuel præstation, men også fra at arbejde sammen.En: They had learned that success does not come only from individual achievement but also from working together.Da: Pludselig føltes museet ikke kun som en bygning fuld af kunst – men et sted, hvor deres fælles rejse startede.En: Suddenly, the museum didn't feel like just a building full of art anymore – but a place where their shared journey began.Da: Og således, i solen udenfor museet, planlagde de deres næste skridt sammen, fyldt med håb og inspiration.En: And so, in the sunlight outside the museum, they planned their next steps together, filled with hope and inspiration. Vocabulary Words:shone: skinnedebrightly: klarteager: ivrighistorian: kunsthistorikerexcitement: spændingcaptivated: optagetinnovative: innovativecuriously: nysgerrigtmasterpiece: mesterværkundiscovered: uopdagetgem: perlefascinated: fascineretweave: væveverify: verificereconsequences: konsekvenseradvance: fremmeacademic: akademiskerecognition: anerkendelsetension: spændingdecisively: bestemtemotional: følelsesladetdialogue: dialogbarrier: barrierecreative: kreativecollaborative: samarbejdetachievement: præstationjourney: rejseinspiration: inspirationcapture: fangepublish: offentliggøre

What happens when history, art, and community transformation converge on six brick walls in Ticonderoga, NY? In this episode of ADK Talks, we sit down with Nicole Justice Green, Executive Director of the Essex County Land Bank, to explore the story behind Walls Between Waters—a bold new mural project and public event that's turning once-vacant buildings into landmarks.Nicole shares the inspiration behind the project, how world-renowned artists and community voices came together to tell Ticonderoga's story through paint, and what this kind of creative revitalization means for the future of Essex County towns. Is it public art? Is it place-making? Is it a love letter to a region steeped in natural beauty and layered history? Yes, yes, and yes.Whether you're a mural lover, a curious traveler, or someone passionate about breathing new life into old spaces, this episode has something for you.What You'll Hear About:What Walls Between Waters is and why it mattersThe story behind the nameHow the community came together and shaped the initiativeThe Essex County Land Bank's role in creative revitalizationWhy transformation through art isn't just possible—it's powerfulA look ahead at what's next for art and engagement in the AdirondacksTune in and be inspired by how a wall can become a window into a community's soul.Mural ArtistsJustin Suarez, Aerosol Kingdom Tim Parsley Emily Ding Arcy Arlin Graff Key Detail Also mentioned in this podcast:Walls Between WatersEssex County Land BankRubblebucketAlex Hal, Public Art ConsultantNorth Country Rural Development CorporationThe Original Star Trek Series Store MuseumFort TiconderogaTiconderoga ArtsDepot Theatre in WestportEssex County ArtsThe MillSylvanoJay Covered BridgeADK Talks is brought to you by ADK Taste. We provide insight on the best places to stay, shop, eat and things to do in the 6-million-acre Adirondack Park in upstate New York. Visit our website, ADKtaste.com, and sign up for our weekly newsletter.Do you have questions or comments? We'd love to hear from you! Email us at info@adktaste.com.

Commercial art is more than just mass-produced publicity; it constructs social and political ideologies that impact the public's everyday life. In The Fine Art of Persuasion: Corporate Advertising Design, Nation, and Empire in Modern Japan (Duke University Press, 2025), Gennifer Weisenfeld examines the evolution of Japanese advertising graphic design from the early 1900s through the 1964 Tokyo Olympics, a pivotal design event that rebranded Japan on the world stage. Through richly illustrated case studies, Weisenfeld tells the story of how modern corporations and consumer capitalism transformed Japan's visual culture and artistic production across the pre- and postwar periods, revealing how commercial art helped constitute the ideological formations of nation- and empire-building. Weisenfeld also demonstrates, how under the militarist regime of imperial Japan, national politics were effectively commodified and marketed through the same mechanisms of mass culture that were used to promote consumer goods. Using a multilayered analysis of the rhetorical intentions of design projects and the context of their production, implementation, and consumption, Weisenfeld offers an interdisciplinary framework that illuminates the importance of Japanese advertising design within twentieth-century global visual culture. Gennifer Weisenfeld is Walter H. Annenberg Distinguished Professor of Art and Art History at Duke University. Dr. Jingyi Li is an assistant professor of Japanese Studies at Occidental College, Los Angeles. She is a cultural historian of nineteenth-century Japan. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices

How did Iowa become the home to one of the largest publicly held Haitian art collections in the world?

Commercial art is more than just mass-produced publicity; it constructs social and political ideologies that impact the public's everyday life. In The Fine Art of Persuasion: Corporate Advertising Design, Nation, and Empire in Modern Japan (Duke University Press, 2025), Gennifer Weisenfeld examines the evolution of Japanese advertising graphic design from the early 1900s through the 1964 Tokyo Olympics, a pivotal design event that rebranded Japan on the world stage. Through richly illustrated case studies, Weisenfeld tells the story of how modern corporations and consumer capitalism transformed Japan's visual culture and artistic production across the pre- and postwar periods, revealing how commercial art helped constitute the ideological formations of nation- and empire-building. Weisenfeld also demonstrates, how under the militarist regime of imperial Japan, national politics were effectively commodified and marketed through the same mechanisms of mass culture that were used to promote consumer goods. Using a multilayered analysis of the rhetorical intentions of design projects and the context of their production, implementation, and consumption, Weisenfeld offers an interdisciplinary framework that illuminates the importance of Japanese advertising design within twentieth-century global visual culture. Gennifer Weisenfeld is Walter H. Annenberg Distinguished Professor of Art and Art History at Duke University. Dr. Jingyi Li is an assistant professor of Japanese Studies at Occidental College, Los Angeles. She is a cultural historian of nineteenth-century Japan. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Commercial art is more than just mass-produced publicity; it constructs social and political ideologies that impact the public's everyday life. In The Fine Art of Persuasion: Corporate Advertising Design, Nation, and Empire in Modern Japan (Duke University Press, 2025), Gennifer Weisenfeld examines the evolution of Japanese advertising graphic design from the early 1900s through the 1964 Tokyo Olympics, a pivotal design event that rebranded Japan on the world stage. Through richly illustrated case studies, Weisenfeld tells the story of how modern corporations and consumer capitalism transformed Japan's visual culture and artistic production across the pre- and postwar periods, revealing how commercial art helped constitute the ideological formations of nation- and empire-building. Weisenfeld also demonstrates, how under the militarist regime of imperial Japan, national politics were effectively commodified and marketed through the same mechanisms of mass culture that were used to promote consumer goods. Using a multilayered analysis of the rhetorical intentions of design projects and the context of their production, implementation, and consumption, Weisenfeld offers an interdisciplinary framework that illuminates the importance of Japanese advertising design within twentieth-century global visual culture. Gennifer Weisenfeld is Walter H. Annenberg Distinguished Professor of Art and Art History at Duke University. Dr. Jingyi Li is an assistant professor of Japanese Studies at Occidental College, Los Angeles. She is a cultural historian of nineteenth-century Japan. She researches about early modern Japan, literati, and commercial publishing. 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

Commercial art is more than just mass-produced publicity; it constructs social and political ideologies that impact the public's everyday life. In The Fine Art of Persuasion: Corporate Advertising Design, Nation, and Empire in Modern Japan (Duke University Press, 2025), Gennifer Weisenfeld examines the evolution of Japanese advertising graphic design from the early 1900s through the 1964 Tokyo Olympics, a pivotal design event that rebranded Japan on the world stage. Through richly illustrated case studies, Weisenfeld tells the story of how modern corporations and consumer capitalism transformed Japan's visual culture and artistic production across the pre- and postwar periods, revealing how commercial art helped constitute the ideological formations of nation- and empire-building. Weisenfeld also demonstrates, how under the militarist regime of imperial Japan, national politics were effectively commodified and marketed through the same mechanisms of mass culture that were used to promote consumer goods. Using a multilayered analysis of the rhetorical intentions of design projects and the context of their production, implementation, and consumption, Weisenfeld offers an interdisciplinary framework that illuminates the importance of Japanese advertising design within twentieth-century global visual culture. Gennifer Weisenfeld is Walter H. Annenberg Distinguished Professor of Art and Art History at Duke University. Dr. Jingyi Li is an assistant professor of Japanese Studies at Occidental College, Los Angeles. She is a cultural historian of nineteenth-century Japan. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

Commercial art is more than just mass-produced publicity; it constructs social and political ideologies that impact the public's everyday life. In The Fine Art of Persuasion: Corporate Advertising Design, Nation, and Empire in Modern Japan (Duke University Press, 2025), Gennifer Weisenfeld examines the evolution of Japanese advertising graphic design from the early 1900s through the 1964 Tokyo Olympics, a pivotal design event that rebranded Japan on the world stage. Through richly illustrated case studies, Weisenfeld tells the story of how modern corporations and consumer capitalism transformed Japan's visual culture and artistic production across the pre- and postwar periods, revealing how commercial art helped constitute the ideological formations of nation- and empire-building. Weisenfeld also demonstrates, how under the militarist regime of imperial Japan, national politics were effectively commodified and marketed through the same mechanisms of mass culture that were used to promote consumer goods. Using a multilayered analysis of the rhetorical intentions of design projects and the context of their production, implementation, and consumption, Weisenfeld offers an interdisciplinary framework that illuminates the importance of Japanese advertising design within twentieth-century global visual culture. Gennifer Weisenfeld is Walter H. Annenberg Distinguished Professor of Art and Art History at Duke University. Dr. Jingyi Li is an assistant professor of Japanese Studies at Occidental College, Los Angeles. She is a cultural historian of nineteenth-century Japan. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Commercial art is more than just mass-produced publicity; it constructs social and political ideologies that impact the public's everyday life. In The Fine Art of Persuasion: Corporate Advertising Design, Nation, and Empire in Modern Japan (Duke University Press, 2025), Gennifer Weisenfeld examines the evolution of Japanese advertising graphic design from the early 1900s through the 1964 Tokyo Olympics, a pivotal design event that rebranded Japan on the world stage. Through richly illustrated case studies, Weisenfeld tells the story of how modern corporations and consumer capitalism transformed Japan's visual culture and artistic production across the pre- and postwar periods, revealing how commercial art helped constitute the ideological formations of nation- and empire-building. Weisenfeld also demonstrates, how under the militarist regime of imperial Japan, national politics were effectively commodified and marketed through the same mechanisms of mass culture that were used to promote consumer goods. Using a multilayered analysis of the rhetorical intentions of design projects and the context of their production, implementation, and consumption, Weisenfeld offers an interdisciplinary framework that illuminates the importance of Japanese advertising design within twentieth-century global visual culture. Gennifer Weisenfeld is Walter H. Annenberg Distinguished Professor of Art and Art History at Duke University. Dr. Jingyi Li is an assistant professor of Japanese Studies at Occidental College, Los Angeles. She is a cultural historian of nineteenth-century Japan. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Giuseppe Castellano talks to author and long-time New Yorker cartoonist, Michael Maslin, about the reasons why Michael chronicles the history of cartooning; what differentiates a cartoonist and an illustrator; what “being there” means for cartoonists… and illustrators; and more.To learn more about Michael and Inkspill, visit michaelmaslin.com.Artists mentioned in this episode include: Liza Donnelly, Roz Chast, Roxie Munroe, Jack Ziegler, Laurent de Brunhoff, Peter Arno, Helen Hokinson, Charles Addams, James Thurber, Barbara Shermund, Robert Crumb, Sam Gross, David Sipress, Whitney Darrow Jr., John Cuneo, Syd Hoff, Ludwig Bemelmans, William Steig, James Stevenson, Edward Frascino, Barney Tobey, Saul Steinberg, Ed Koren, Ilonka Karasz, Alan Dunn, Mary Petty, Mischa Richter, Ed Sorel, Frank Modell, Rea Irvin, Christoph Niemann, Pearl Mann 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.

Send us a textThe Court of Lorenzo the Magnificent Part 5: Antonio and Piero Pollaiuolo Among the many artists who earned the attention of the Magnificent, the Pollaiuolo brothers left behind an artistic legacy closely tied with Medicean propaganda. This episode explores the role of the Pallaiuolo brothers in the development of Florentine Renaissance art, specifically through the works they completed for the Medici Palace: The Labors of Hercules. Later reappropriated, this episode also dives into how Hercules is used as a Florentine political symbol and is adaptable as both a pro-Medici and an anti-Medici symbol, similar to function of the biblical heroes David and Judith. Works DiscussedAntonio Pallaiuolo, Hercules and the Hydra, ca. 1475 https://www.uffizi.it/opere/pollaiolo-ercole-idraAntonio Pallaiuolo, Hercules and Antaeus, ca. 1475 https://www.uffizi.it/opere/pollaiolo-ercole-anteoAntonio Pallaiuolo, Hercules and Antaeus, ca. 1475, bronze Antonio https://www.wga.hu/html_m/p/pollaiol/antonio/sculptur/hercul2.htmlSupport/Watch/Follow: https://linktr.ee/italian_renaissance_podcastGet additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. 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

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

ON EPISODE 65 of the Joey Show comedian Joey Avery has an important message. DON'T JUDGE OTHER PEOPLE'S RELATIONSHIPS. Which we then do for the next hour. From Onnit Founder Aubrey Marcus and his ayahuasca fueled throuple, to an update in the Bill Belichick saga, to Diddy's affinity for nipple cum. Plus Biden's cancer fallout, Trump's Golden Dome, Ben and Jerry's man gets kicked out of congress and the real reason Art History is a better major than Finance.    SEE JOEY LIVE: www.joeyavery.com/live

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Fluent Fiction - French: Under Renoir's Canvas: A Serendipitous Encounter of Souls Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-05-16-22-34-01-fr Story Transcript:Fr: Les rayons du soleil printanier caressaient doucement les grandes verrières du Musée d'Orsay.En: The rays of the spring sun gently caressed the large windows of the Musée d'Orsay.Fr: Ce jour-là, le musée brillait de mille feux, une douce lumière réchauffait les galeries où trônent les chefs-d'œuvre de l'impressionnisme.En: That day, the museum sparkled brilliantly, a soft light warming the galleries where the masterpieces of Impressionism reign.Fr: Les visiteurs déambulaient lentement, absorbés par la beauté des tableaux exposés.En: Visitors strolled slowly, absorbed by the beauty of the displayed paintings.Fr: Julien était là, plongé dans l'admiration d'une toile de Renoir.En: Julien was there, immersed in admiration for a painting by Renoir.Fr: Ses études en histoire de l'art l'avaient souvent conduit ici, mais chaque visite semblait ouvrir de nouvelles fenêtres dans son esprit.En: His studies in art history had often led him here, but each visit seemed to open new windows in his mind.Fr: Il aimait par-dessus tout l'atmosphère sereine et le murmure apaisant des visiteurs.En: Above all, he loved the serene atmosphere and the soothing murmur of the visitors.Fr: Pourtant, malgré sa passion pour l'art, Julien avait toujours éprouvé une certaine appréhension à engager la conversation avec d'autres amoureux de l'art.En: Yet, despite his passion for art, Julien had always felt a certain apprehension about engaging in conversation with other art lovers.Fr: Non loin de là, Élise, une jeune graphiste au regard curieux, s'était arrêtée devant le même tableau.En: Not far away, Élise, a young graphic designer with a curious gaze, had stopped in front of the same painting.Fr: En quête d'inspiration pour son prochain projet, elle avait décidé de profiter de ses quelques jours à Paris pour explorer ses musées.En: In search of inspiration for her next project, she had decided to take advantage of her few days in Paris to explore its museums.Fr: Son regard s'attardait sur les couleurs vives et les mouvements élégants des personnages sur la toile.En: Her gaze lingered on the vivid colors and elegant movements of the characters on the canvas.Fr: La vivacité de l'œuvre l'enthousiasmait et elle esquissa un sourire.En: The liveliness of the work delighted her, and she sketched a smile.Fr: Julien remarqua ce sourire sincère.En: Julien noticed this sincere smile.Fr: Il sentit un élan le pousser, un désir de partager ses pensées sur ce tableau qu'ils admiraient tous deux.En: He felt a surge pushing him, a desire to share his thoughts on this painting they both admired.Fr: Hésitant, il prit une profonde inspiration et s'approcha d'elle.En: Hesitantly, he took a deep breath and approached her.Fr: « Bonjour, excusez-moi… Vous aimez Renoir, n'est-ce pas ? » demanda-t-il timidement.En: "Hello, excuse me… You like Renoir, don't you?" he asked timidly.Fr: Élise se tourna vers lui, surprise, mais aussi ravie de cette ouverture.En: Élise turned to him, surprised but also delighted by this overture.Fr: « Oui, j'adore ses jeux de lumière et ses couleurs. C'est une véritable danse », répondit-elle, ses yeux pétillants.En: "Yes, I love his play of light and colors. It's a real dance," she replied, her eyes sparkling.Fr: Julien acquiesça, encouragé par sa réponse positive.En: Julien nodded, encouraged by her positive response.Fr: « Je suis d'accord. C'est comme si les personnages allaient sortir du tableau pour se joindre à nous », ajouta-t-il avec un petit rire.En: "I agree. It's as if the characters were about to step out of the painting to join us," he added with a small laugh.Fr: Ainsi débutèrent leurs échanges, devant cette œuvre qui avait éveillé leur curiosité.En: Thus began their exchanges in front of this work that had sparked their curiosity.Fr: Au fil de leur conversation, ils se découvrirent une passion commune pour l'art et un désir de comprendre les émotions transmises à travers les peintures.En: Over the course of their conversation, they discovered a shared passion for art and a desire to understand the emotions conveyed through paintings.Fr: Élise parla de son projet de design graphique et partagea ses idées, consciente que ses interprétations pouvaient paraître simples à ce brillant historien de l'art.En: Élise talked about her graphic design project and shared her ideas, aware that her interpretations might seem simple to this brilliant art historian.Fr: Pourtant, Julien était fasciné par sa façon créative de voir le monde.En: Yet, Julien was fascinated by her creative way of seeing the world.Fr: Son enthousiasme était contagieux, et il se sentait soudainement plus confiant pour exprimer ses propres idées.En: Her enthusiasm was contagious, and he suddenly felt more confident in expressing his own ideas.Fr: Ils passèrent l'après-midi à déambuler d'une galerie à l'autre, captivés par les tableaux, mais aussi par leur conversation qui ne semblait jamais tarir.En: They spent the afternoon wandering from one gallery to the next, captivated by the paintings, but also by their conversation that seemed to never run dry.Fr: Quand vint l'heure de partir, Julien se lança : « J'aimerais beaucoup revoir une exposition avec vous. Accepteriez-vous de m'accompagner une autre fois ? »En: When it was time to leave, Julien ventured: "I would love to see another exhibition with you. Would you accept to accompany me another time?"Fr: Élise hocha la tête avec enthousiasme.En: Élise nodded enthusiastically.Fr: Elle notait déjà son numéro sur un petit papier.En: She was already noting her number on a small piece of paper.Fr: « Ce serait avec plaisir, Julien. J'ai hâte de découvrir d'autres œuvres avec vous. »En: "It would be a pleasure, Julien. I look forward to discovering more works with you."Fr: En ce jour de printemps, quelque chose avait changé.En: On this spring day, something had changed.Fr: Julien se sentait moins hésitant, son envie de communiquer ravivée par cette rencontre inattendue.En: Julien felt less hesitant, his desire to communicate revived by this unexpected encounter.Fr: De son côté, Élise repartit confiante et inspirée, heureuse d'avoir trouvé un ami qui partageait son amour de l'art.En: As for Élise, she left feeling confident and inspired, happy to have found a friend who shared her love for art.Fr: À travers les fenêtres du musée, le ciel parisien s'étirait doucement, accompagnant la promesse d'une nouvelle amitié, peut-être même plus, qui continuerait de fleurir sous les couleurs éclatantes du printemps.En: Through the windows of the museum, the Parisian sky stretched gently, accompanying the promise of a new friendship, perhaps even more, that would continue to blossom under the bright colors of spring. Vocabulary Words:the rays: les rayonsto caress: caresserthe windows: les verrièresthe masterpiece: le chef-d'œuvreto reign: trônerto stroll: déambulerthe gallery: la galerieto absorb: absorberto immerse: plongerthe painting: la toilethe apprehension: l'appréhensionto engage: engagerthe visitor: le visiteurthe murmur: le murmurethe gaze: le regardto linger: s'attarderthe character: le personnagethe liveliness: la vivacitéto delight: enthousiasmerthe smile: le sourireto nod: acquiescerthe conversation: l'échangeto convey: transmettrethe emotion: l'émotionto wander: se déambulerto captivate: captiverto venture: se lancerto stretch: s'étirerthe promise: la promesseto blossom: fleurir

Fluent Fiction - Dutch: From Shadows to Spotlight: The Unexpected Masterpiece Reveal Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-05-15-22-34-02-nl Story Transcript:Nl: Het is lente in Amsterdam.En: It is spring in Amsterdam.Nl: De zon straalt vrolijk door de grote ramen van het Rijksmuseum.En: The sun shines cheerfully through the large windows of the Rijksmuseum.Nl: In de imposante hal bewegen mensen rustig langs de kunstwerken.En: In the imposing hall, people move calmly past the artworks.Nl: De geur van pasgeopende bloemen mengt zich met de geur van oude boeken en verf.En: The scent of newly opened flowers mingles with the smell of old books and paint.Nl: Thijs staat in een lichte hoek van de restauratiewerkplaats.En: Thijs stands in a bright corner of the restoration workshop.Nl: Voor hem ligt een beschadigd doek uit de zeventiende eeuw.En: In front of him lies a damaged canvas from the seventeenth century.Nl: Zijn handen bewegen voorzichtig over het oppervlak.En: His hands move carefully over the surface.Nl: "Dit moet perfect worden," zegt Thijs tegen zichzelf.En: "This must be perfect," Thijs says to himself.Nl: Hij weet dat zijn toekomst afhangt van zijn succes bij deze klus.En: He knows that his future depends on his success with this job.Nl: Femke, zijn collega, loopt langs zijn werkbank.En: Femke, his colleague, walks past his workbench.Nl: "Hoe gaat het, Thijs?"En: "How's it going, Thijs?"Nl: vraagt ze, terwijl ze een kritische blik werpt op de vooruitgang.En: she asks, casting a critical eye over the progress.Nl: Haar stem klinkt vriendelijk, maar Thijs voelt altijd een onderstroom van rivaliteit bij haar.En: Her voice sounds friendly, but Thijs always feels an undercurrent of rivalry with her.Nl: "Goed," mompelt Thijs.En: "Good," mumbles Thijs.Nl: Hij kan bijna voelen dat Femke zijn werk probeert te controleren voor haar eigen gewin.En: He can almost feel that Femke is trying to check his work for her own benefit.Nl: Ondertussen, aan de andere kant van de zaal, staat Bram.En: Meanwhile, on the other side of the room stands Bram.Nl: De sceptische museumcurator leunt tegen de marmeren balustrade.En: The skeptical museum curator leans against the marble balustrade.Nl: Bram heeft twijfels over de authenticiteit van het schilderij dat Thijs herstelt.En: Bram has doubts about the authenticity of the painting that Thijs is restoring.Nl: Hij denkt dat het een kopie is die de moeite niet waard is.En: He thinks it's a copy that's not worth the effort.Nl: Maar Thijs is overtuigd van zijn waarde.En: But Thijs is convinced of its value.Nl: "Deze restauratie kan mijn carrière maken," denkt Thijs.En: "This restoration can make my career," Thijs thinks.Nl: Hij voelt de druk om zichzelf te bewijzen.En: He feels the pressure to prove himself.Nl: Maar hij weet dat Femke van plan is de eer op te strijken voor zijn harde werk.En: But he knows that Femke plans to take credit for his hard work.Nl: En dan is er Bram, die vermoedelijk zijn twijfels zal uiten zodra de gelegenheid zich voordoet.En: And then there's Bram, who will likely voice his doubts as soon as the opportunity arises.Nl: Na dagen van hard werken en onderzoek, ontdekt Thijs een verborgen signatuur in de onderste laag van de verf.En: After days of hard work and research, Thijs discovers a hidden signature in the lower layer of the paint.Nl: Het is het bewijs dat het schilderij door een beroemde meester is gemaakt en niet zomaar een replica is.En: It is proof that the painting was made by a famous master and is not just a replica.Nl: Dit moet hij aan Bram laten zien.En: He must show this to Bram.Nl: Op de geplande presentatie voor het museumbestuur begint Thijs: "Dames en heren, ik heb iets bijzonders ontdekt."En: At the scheduled presentation for the museum board, Thijs begins: "Ladies and gentlemen, I have discovered something special."Nl: Hij onthult de signatuur aan iedereen.En: He reveals the signature to everyone.Nl: De zaal vult zich met een golf van ingehouden adem.En: The room fills with a wave of held breaths.Nl: Bram kijkt verrast.En: Bram looks surprised.Nl: "Dit verandert alles," zegt hij.En: "This changes everything," he says.Nl: "Het is echt.En: "It's real.Nl: En uitstekend gerestaureerd.En: And excellently restored.Nl: Goed werk, Thijs."En: Good job, Thijs."Nl: Femke voelt zich beschaamd om haar eerdere plan om de eer te stelen.En: Femke feels ashamed of her earlier plan to steal the credit.Nl: Ze realiseert zich dat eerlijkheid en samenwerking meer waard zijn dan kortstondige roem.En: She realizes that honesty and collaboration are worth more than fleeting fame.Nl: Met de bevestiging van zijn succes, krijgt Thijs een welverdiende promotie.En: With the confirmation of his success, Thijs receives a well-deserved promotion.Nl: Hij staat in de zonovergoten hal en glimlacht.En: He stands in the sun-drenched hall and smiles.Nl: Hij voelt zich sterker en meer zelfverzekerd dan ooit tevoren.En: He feels stronger and more confident than ever before.Nl: Hij weet nu dat het belangrijk is om voor zichzelf op te komen en tegelijkertijd trouw te blijven aan zijn werk en principes.En: He now knows it is important to stand up for himself while remaining true to his work and principles.Nl: Terwijl de lente verder ontluikt buiten het museum, heeft Thijs zijn moment van verwondering en voldoening gevonden, omringd door de grootse kunst van het verleden en zijn toekomst die er nog uitzichtrijker uitziet.En: As spring unfolds further outside the museum, Thijs has found his moment of wonder and fulfillment, surrounded by the magnificent art of the past and a future that looks even brighter. Vocabulary Words:cheerfully: vrolijkimposing: imposantemingle: mengrestoration: restauratieworkshop: werkplaatsdamaged: beschadigdcanvas: doeksurface: oppervlakrivalry: rivaliteitskeptical: sceptischecurator: curatorbalustrade: balustradeauthenticity: authenticiteitreplica: replicapressure: drukprove: bewijzenopportunity: gelegenheidhidden: verborgensignature: signatuurpresentation: presentatiereveals: onthultashamed: beschaamdfleeting: kortstondigepromotion: promotiesun-drenched: zonovergotenconfident: zelfverzekerdfulfillment: voldoeningmagnificent: grootsewonder: verwonderingunfolds: ontluikt

David is an art history professor. For the last year, he has been researching an early 20th-century American impressionist named Agnes Millen Richmond. He's started buying her paintings… and they're expensive. Susan says they have too many already! She says her husband is obsessed! Who's right? Who's wrong?We are on TikTok and YouTube! Follow us on both @judgejohnhodgmanpod! Follow us on Instagram @judgejohnhodgman!Thanks to reddit user u/OldTechNewSpecs for naming this week's case! To suggest a title for a future episode, keep an eye on the Maximum Fun subreddit at reddit.com/r/maximumfun! Judge John Hodgman is member-supported! Join at $5 a month at maximumfun.org/join!

Giuseppe Castellano talks to Caldecott Medal-winning illustrator and author, Brian Selznick, about Brian's approach to illustration; what's wrong about the “tap into your inner child” advice for writers; why you should only compare yourself to yourself; and more.To learn more about Brian, visit brianselznick.com.Artists mentioned in this episode include: Chris Van Allsburg, David Macaulay, Fred Marcelino, Robert Innocenti, Nancy Burkhert, Maurice Sendack, Eric Beddows, Gustave Dore, Remy Charlip, and Edward Gorey 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.

The last thing anybody wants to do is sit for a meaningless test. Entrance exams like the SAT & ACT should be able to inform both test takers and target institutions about the likelihood of success at the next level. So do they? Amy and Mike invited educator David Blobaum to explore the predictive validity of test scores in college admissions. What are five things you will learn in this episode? Research says that SAT/ACT scores are better predictors of success at Ivy-plus colleges than are high school grades–why? Have any other colleges beyond the Ivy-plus colleges made similar statements? Why have colleges not gone back to requiring test scores then if they're so predictive? Do test-optional colleges value SAT/ACT scores? Are test-blind colleges blind to all tests? MEET OUR GUEST David Blobaum graduated from the University of Chicago with honors both from the college and in his major. In college, he took seriously the University of Chicago's aim of a “Renaissance” or well-rounded education and took courses in 17 different disciplines, ranging from Statistics and Economics to Philosophy and Art History. Since then, he has devoted himself to helping students reach their potential on the SAT and ACT and, more broadly, to help them succeed through education.  To that end, in 2013, he founded Summit Prep with a former UChicago classmate. They now have two tutoring centers in New Jersey, and their team of SAT/ACT experts privately tutors over 500 students per year. David is a consultant to schools on SAT/ACT best practices, personally trains each Summit Prep tutor one-on-one, and tutors a select few students himself. David not only teaches students the necessary subject matter but also motivates them to continually strive towards their potential. David first appeared on the podcast in episode 79 to discuss Why The SAT And ACT Are Awesome, in episode 582 to discuss The Need For Testing Sites In California, and in episode 421 for a Sponsor Spotlight. Find David at https://summitprep.com/. LINKS Common Data Set AP Exam Scores Are Important For College Admissions  The Rumors Are... True. Testing is Coming Back. SAT And ACT Scores Are More Predictive Than Grades? RELATED EPISODES HOW GRADING POLICIES INFLUENCE GRADE INFLATION WHO LOSES WHEN WE ABOLISH ENTRANCE EXAMS? WHY TESTS MATTER: STUDENT PERSPECTIVES WHY UC WAS WRONG TO STOP USING THE SAT ABOUT THIS PODCAST Tests and the Rest is THE college admissions industry podcast. Explore all of our episodes on the show page. ABOUT YOUR HOSTS Mike Bergin is the president of Chariot Learning and founder of TestBright. Amy Seeley is the president of Seeley Test Pros and LEAP. If you're interested in working with Mike and/or Amy for test preparation, training, or consulting, feel free to get in touch through our contact page.  

A richly illustrated account of how premodern botanical illustrations document evolving knowledge about plants and the ways they were studied in the past. Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean (U Chicago Press, 2024) traces the history of botanical illustration in the Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to practices now recognized as central to modern botanical illustration. The author draws on centuries of remarkable and varied documentation from across Europe and the Mediterranean. Lavishly illustrated, Botanical Icons marshals ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Mediterranean. The author reveals that many of the critical practices characteristic of modern botanical illustrations began in premodern manuscript culture. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, the expansion of collections and documentation, and the narrowing of the range of accepted forms of illustration than on the invention of critical and observational practices exclusive to modernity. Griebeler's emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and science. New Books in Late Antiquity is Presented by Ancient Jew Review. Andrew Griebeler is assistant professor in the depart of Art, Art History and Visual Studies at Duke University. With students and other faculty at Duke, he is also helping to document the legacy of the Duke Herbarium on Instagram (@bluedevil.herbarium) before its closure by the university. Michael Motia teaches in Classics and Religious Studies at UMass Boston. 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

A richly illustrated account of how premodern botanical illustrations document evolving knowledge about plants and the ways they were studied in the past. Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean (U Chicago Press, 2024) traces the history of botanical illustration in the Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to practices now recognized as central to modern botanical illustration. The author draws on centuries of remarkable and varied documentation from across Europe and the Mediterranean. Lavishly illustrated, Botanical Icons marshals ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Mediterranean. The author reveals that many of the critical practices characteristic of modern botanical illustrations began in premodern manuscript culture. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, the expansion of collections and documentation, and the narrowing of the range of accepted forms of illustration than on the invention of critical and observational practices exclusive to modernity. Griebeler's emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and science. New Books in Late Antiquity is Presented by Ancient Jew Review. Andrew Griebeler is assistant professor in the depart of Art, Art History and Visual Studies at Duke University. With students and other faculty at Duke, he is also helping to document the legacy of the Duke Herbarium on Instagram (@bluedevil.herbarium) before its closure by the university. Michael Motia teaches in Classics and Religious Studies at UMass Boston. Learn more about your ad choices. Visit megaphone.fm/adchoices

A richly illustrated account of how premodern botanical illustrations document evolving knowledge about plants and the ways they were studied in the past. Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean (U Chicago Press, 2024) traces the history of botanical illustration in the Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to practices now recognized as central to modern botanical illustration. The author draws on centuries of remarkable and varied documentation from across Europe and the Mediterranean. Lavishly illustrated, Botanical Icons marshals ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Mediterranean. The author reveals that many of the critical practices characteristic of modern botanical illustrations began in premodern manuscript culture. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, the expansion of collections and documentation, and the narrowing of the range of accepted forms of illustration than on the invention of critical and observational practices exclusive to modernity. Griebeler's emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and science. New Books in Late Antiquity is Presented by Ancient Jew Review. Andrew Griebeler is assistant professor in the depart of Art, Art History and Visual Studies at Duke University. With students and other faculty at Duke, he is also helping to document the legacy of the Duke Herbarium on Instagram (@bluedevil.herbarium) before its closure by the university. Michael Motia teaches in Classics and Religious Studies at UMass Boston. Learn more about your ad choices. Visit megaphone.fm/adchoices

A 70-year-old person with cystic fibrosis. It's a phrase that wasn't just uncommon a few decades ago—it was virtually unheard of.When Luanne McKinnon was diagnosed in 1969 at just 13 years old, doctors told her parents she might live to be 19 years old. Today, Luanne stands on the edge of her 70th birthday—a milestone that not only redefines possibility but embodies resilience, creativity, and purpose.Born in Dallas, Texas in 1955, Luanne was diagnosed at a time when cystic fibrosis was still barely understood. No vests. No targeted medications. No community. And yet, she carved out a life of profound impact. “I stand as a witness to the possible.” says Luanne McKinnonAfter earning a Master of Fine Art in Painting and a PhD in Art History, she launched a celebrated career in the visual arts—owning an art dealership in New York City, directing major university museums, publishing works, and curating over 35 exhibitions. She even became a Fellow at the prestigious Getty Research Institute.And while that would be more than enough for most of us, Luanne continued to pour herself into advocacy—serving as Co-chair for Stanford's Patient and Family Advisory Committee, raising awareness for CF patients before and after transplant. In 2011, she underwent a successful double-lung transplant at Stanford, and fourteen years later, she is still very much living proof.This episode is not about her equally remarkable husband—EMMY award-winning filmmaker Daniel Reeve—though we'll mention him later. This is about Luanne—her life, her art, her truth, and her refusal to let a diagnosis define the limits of her possibility. She says, “I stand as a witness to the possible.”And after listening to this conversation, I think you'll believe in the possible, too.Welcome, to a very special episode of the Living with cystic fibrosis podcast and our incredible guest, Luanne McKinnon. Please like, subscribe, and comment on our podcasts!Please consider making a donation: https://thebonnellfoundation.org/donate/The Bonnell Foundation website:https://thebonnellfoundation.orgEmail us at: thebonnellfoundation@gmail.com Watch our podcasts on YouTube: https://www.youtube.com/@laurabonnell1136/featuredThanks to our sponsors:Vertex: https://www.vrtx.comViatris: https://www.viatris.com/en

A richly illustrated account of how premodern botanical illustrations document evolving knowledge about plants and the ways they were studied in the past. Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean (U Chicago Press, 2024) traces the history of botanical illustration in the Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to practices now recognized as central to modern botanical illustration. The author draws on centuries of remarkable and varied documentation from across Europe and the Mediterranean. Lavishly illustrated, Botanical Icons marshals ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Mediterranean. The author reveals that many of the critical practices characteristic of modern botanical illustrations began in premodern manuscript culture. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, the expansion of collections and documentation, and the narrowing of the range of accepted forms of illustration than on the invention of critical and observational practices exclusive to modernity. Griebeler's emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and science. New Books in Late Antiquity is Presented by Ancient Jew Review. Andrew Griebeler is assistant professor in the depart of Art, Art History and Visual Studies at Duke University. With students and other faculty at Duke, he is also helping to document the legacy of the Duke Herbarium on Instagram (@bluedevil.herbarium) before its closure by the university. Michael Motia teaches in Classics and Religious Studies at UMass Boston. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A richly illustrated account of how premodern botanical illustrations document evolving knowledge about plants and the ways they were studied in the past. Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean (U Chicago Press, 2024) traces the history of botanical illustration in the Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to practices now recognized as central to modern botanical illustration. The author draws on centuries of remarkable and varied documentation from across Europe and the Mediterranean. Lavishly illustrated, Botanical Icons marshals ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Mediterranean. The author reveals that many of the critical practices characteristic of modern botanical illustrations began in premodern manuscript culture. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, the expansion of collections and documentation, and the narrowing of the range of accepted forms of illustration than on the invention of critical and observational practices exclusive to modernity. Griebeler's emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and science. New Books in Late Antiquity is Presented by Ancient Jew Review. Andrew Griebeler is assistant professor in the depart of Art, Art History and Visual Studies at Duke University. With students and other faculty at Duke, he is also helping to document the legacy of the Duke Herbarium on Instagram (@bluedevil.herbarium) before its closure by the university. Michael Motia teaches in Classics and Religious Studies at UMass Boston. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

A richly illustrated account of how premodern botanical illustrations document evolving knowledge about plants and the ways they were studied in the past. Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean (U Chicago Press, 2024) traces the history of botanical illustration in the Mediterranean from antiquity to the early modern period. By examining Greek, Latin, and Arabic botanical inquiry in this early era, Andrew Griebeler shows how diverse and sophisticated modes of plant depiction emerged and ultimately gave rise to practices now recognized as central to modern botanical illustration. The author draws on centuries of remarkable and varied documentation from across Europe and the Mediterranean. Lavishly illustrated, Botanical Icons marshals ample evidence for a dynamic and critical tradition of botanical inquiry and nature observation in the late antique and medieval Mediterranean. The author reveals that many of the critical practices characteristic of modern botanical illustrations began in premodern manuscript culture. Consequently, he demonstrates that the distinctions between pre- and early modern botanical illustration center more on the advent of print, the expansion of collections and documentation, and the narrowing of the range of accepted forms of illustration than on the invention of critical and observational practices exclusive to modernity. Griebeler's emphasis on continuity, intercultural collaboration, and the gradual transformation of Mediterranean traditions of critical botanical illustration persuasively counters previously prevalent narratives of rupture and Western European exceptionalism in the histories of art and science. New Books in Late Antiquity is Presented by Ancient Jew Review. Andrew Griebeler is assistant professor in the depart of Art, Art History and Visual Studies at Duke University. With students and other faculty at Duke, he is also helping to document the legacy of the Duke Herbarium on Instagram (@bluedevil.herbarium) before its closure by the university. Michael Motia teaches in Classics and Religious Studies at UMass Boston. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fluent Fiction - French: Unveiling the Louvre Mystery: The Art Historian's Quest Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-05-12-22-34-02-fr Story Transcript:Fr: Un doux parfum de printemps flottait dans l'air parisien.En: A sweet scent of spring floated through the parisien air.Fr: Élise se promenait parmi les galeries du Louvre.En: Élise was strolling among the galleries of the Louvre.Fr: Le musée était animé, les touristes et les amateurs d'art admiraient les chefs-d'œuvre.En: The museum was lively, with tourists and art lovers admiring the masterpieces.Fr: Mais Élise avait un objectif en tête.En: But Élise had a specific goal in mind.Fr: Un tableau précieux avait disparu, et il lui revenait de résoudre ce mystère.En: A precious painting had disappeared, and it was up to her to solve this mystery.Fr: Élise, historienne de l'art talentueuse, avait toujours été fascinée par les mystères.En: Élise, a talented art historian, had always been fascinated by mysteries.Fr: Elle admirait en secret Luc, le gardien de nuit du musée, un homme calme et observateur.En: She secretly admired Luc, the museum's night watchman, a calm and observant man.Fr: Ensemble, ils formaient une équipe improbable mais complémentaire.En: Together, they formed an unlikely but complementary team.Fr: Le personnel du musée était réticent à coopérer.En: The museum staff was reluctant to cooperate.Fr: Élise devait agir discrètement.En: Élise had to act discreetly.Fr: Elle avait sa théorie.En: She had her theory.Fr: Elle pensait que le tableau volé faisait partie d'un plan complexe.En: She believed that the stolen painting was part of a complex plan.Fr: Pour prouver cela, elle devait enquêter en secret.En: To prove this, she had to investigate in secret.Fr: Alors qu'elle se faufilait dans les zones interdites, choses qu'elle n'aurait jamais osées faire avant.En: As she sneaked into prohibited areas, things she would have never dared to do before.Fr: Luc, complice volontaire, l'aidait à rassembler des indices.En: Luc, a willing accomplice, helped her gather clues.Fr: Leur investigation a révélé des mouvements étranges dans les archives du musée.En: Their investigation revealed strange movements in the museum's archives.Fr: Élise était convaincue de l'implication d'un membre du conseil du musée.En: Élise was convinced of the involvement of a museum board member.Fr: Un soir, lors d'une visite privée exclusive, Élise et Luc ont eu l'occasion de confronter le suspect.En: One evening, during an exclusive private visit, Élise and Luc had the opportunity to confront the suspect.Fr: C'était le moment de vérité.En: It was the moment of truth.Fr: Élise, confiante, a révélé ses découvertes devant le public étonné.En: Élise, confident, revealed her findings before the astonished audience.Fr: Le membre du conseil a essayé de se défendre, mais les preuves étaient accablantes.En: The board member tried to defend themselves, but the evidence was overwhelming.Fr: Grâce à l'insistance d'Élise, le tableau volé a été retrouvé, caché dans un coffre secret.En: Thanks to Élise's persistence, the stolen painting was found, hidden in a secret vault.Fr: L'histoire d'un vol d'art détourné est devenue une révélation passionnante.En: The story of a diverted art theft turned into an exciting revelation.Fr: Élise a gagné la reconnaissance des experts du musée.En: Élise earned the recognition of the museum's experts.Fr: Luc, impressionné par le courage et la perspicacité d'Élise, ne pouvait que l'admirer davantage.En: Luc, impressed by Élise's courage and insight, could only admire her more.Fr: Cette aventure avait rapproché les deux partenaires dans cette enquête discrète.En: This adventure had brought the two partners closer in this discreet investigation.Fr: Ainsi, Élise a non seulement trouvé le tableau, mais a aussi découvert sa force intérieure.En: Thus, Élise not only found the painting, but also discovered her inner strength.Fr: Son lien avec Luc s'est renforcé.En: Her bond with Luc was strengthened.Fr: Les rayons doux du printemps parisien éclairaient leur succès tandis qu'ils se tenaient sur la terrasse du musée, contemplant la Seine en contrebas.En: The gentle rays of the parisien spring illuminated their success as they stood on the museum terrace, gazing at the Seine below.Fr: Une nouvelle page de leur vie était sur le point de s'écrire.En: A new chapter in their lives was about to unfold. Vocabulary Words:the air: l'airthe galleries: les galeriesthe masterpiece: le chef-d'œuvrethe mystery: le mystèrethe historian: l'historiennethe watchman: le gardienthe board member: le membre du conseilthe staff: le personnelthe theory: la théoriethe movement: le mouvementthe archives: les archivesthe opportunity: l'occasionthe suspect: le suspectthe evidence: les preuvesthe vault: le coffrethe insight: la perspicacitéthe strength: la forcethe rays: les rayonsthe deck/terrace: la terrassethe bond: le lienthe spring: le printempsthe success: le succèsdiscreet: discret/discrèteto stroll: se promenerto be fascinated: être fascinéto admire: admirerto sneak: se faufilerto gather: rassemblerto reveal: révélerto defend: se défendre

Me in German. Dr Great Art auf Deutsch. Es war spannend und ich habe Spass gehabt. In the Podcast "Dorf_Sex" by Dr Stephanie Meyer and Nicole Blattmann. Ich als Gast. "Zwischen Lust und Leinwand – Ein Ausflug in Kunstgeschichte und Erotik In der ersten Folge unserer speziellen Kunst-, Schauspiel- und Fotografie-Reihe haben wir einen ganz besonderen Gast: Mark Staff Brandl, aka Dr Great Art, Kunsthistoriker und Experte! Gemeinsam tauchen wir ein in die Welt der Kunst und Erotik, diskutieren spannende Themen, von politisch bis feministisch – und bringen ordentlich Power ins Gespräch. Seid dabei, wenn wir die Verbindungen zwischen Kunst und Lust entblättern und dabei die Grenzen von Darstellung, Sexualität und Gesellschaft hinterfragen. Hört rein, wenn Kunst und Erotik eine spannende Symbiose eingehen. Sehe auch Stephanies und Nicoles viele, gute Podcast Episodes, alle auf Deutsch: https://podcasts.apple.com/us/podcast/dorf-sex/id1782695532 "

The heat is on, but our mini heatwave will crash into chillier weather starting tomorrow. We vibe check a hot new bakery burning up TikTok. The joy and surprise of discovering your local doctor's office was once an artists' haven, and more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.com Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!Support the show: https://laist.com

Giuseppe Castellano talks to The Bancroft Brothers about how they approach character design; which lesser-known animation greats deserve more love; what it means to animate from the heart; and more.Listen to The Bancroft Brothers Animation Podcast at bancroftbros.libsyn.com, or wherever you listen to podcasts.Artists mentioned in this episode include: Alex Hirsch, Peter de Sève, Carter Goodrich, Glen Keane, Gustaf Tenggren, Retta Scott, Floyd Norman, Hayao Miyazaki, Jin Kim, Bill Peet, Gene Deitch, Randy Haycock, Mark Henn, Eric Goldberg, and Stephen Silver 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.

From Jan 2024. Dive into the provocative world of artistic "theft" as Ty and Nathan explore how creative innovation truly emerges from our influences. This conversation challenges the myth of pure originality, arguing instead that the greatest artists throughout history have been masterful collectors and transformers of ideas.Beginning with Japanese fashion designer Yohji Yamamoto's transformative quote—"Start copying what you love... at the end of the copy you will find yourself"—the duo examines how creative development flourishes through strategic borrowing. From Quentin Tarantino's open acknowledgment of film references to David Bowie's musical influences, the most distinctive voices often emerge from those who've absorbed the most diverse inspirations.They unpack wisdom from creative legends including Jim Jarmusch, Paul Schrader, and Jean-Luc Godard, who all emphasize that true originality lies not in where you take ideas from, but where you take them to. Art movements throughout history—from Impressionism to Abstract Expressionism—evolved through artists stealing ideas from each other while working side by side, proving that innovation rarely emerges in isolation.What distinguishes mere imitation from transformative theft? When does copying become finding your voice? The conversation offers practical advice for artists at every stage: diversify your influences, document what moves you and why, maintain an "omnivorous" approach to inspiration, and create systems to capture ideas when they strike. Ultimately, the episode makes a compelling case that the most authentic artistic expression comes not from avoiding influence, but from embracing it wholeheartedly.Follow us on Instagram @ty_nathan_clark and @nathanturborg to continue exploring how creative influences shape artistic development.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

In this episode of The Birth Lounge podcast, HeHe dives into what's happening in women's health and healthcare access, focusing on the postpartum landscape and recent budget cuts impacting Medicaid. Special guest Natalie Davis, founder of United States of Care, joins to discuss pivotal healthcare legislation, Medicaid's role in maternal and infant health, and the importance of universal access to quality healthcare. The discussion also touches on the power of virtual care and current legislative threats to preventive health services. We hope this episode will equip and inspire you to engage in local healthcare advocacy. 01:34 Current State of Women's Health in the US 02:23 Introducing Natalie Davis 05:51 Challenges in Postpartum Care 10:04 Impact of Budget Cuts on Medicaid 16:16 Supreme Court Case on Preventive Services 22:38 Advocacy for Better Healthcare 27:44 Universal Healthcare Debate 28:38 Debating Healthcare Access and Affordability 31:05 The 100 Weeks Project: Supporting Postpartum Women 32:57 Personalized and Comprehensive Postpartum Care 34:53 Navigating the Postpartum System 40:38 Resources for NICU Families and Mental Health Support 42:07 Legislation Impacting Women's Health 43:30 The Rise of Virtual Care 50:53 Getting Involved in Local Legislation 53:33 Final Thoughts and Encouragement   Guest Bio: For nearly two decades, Natalie Davis has worked shaping and implementing American health care policies to improve the lives of all people. In 2018, she and fellow national health care leaders, such as Andy Slavitt, launched United States of Care to ensure that everyone in the country has access to quality, affordable health care through a community-driven policy change. She is relentless in her person-centered approach to building health care solutions and has a history of building partnerships that work to create positive change in our country's health care system. From 2010-2016, Natalie served at the Centers for Medicare and Medicaid Services implementing the Affordable Care Act, with the final two years as Senior Advisor to former CMS Administrator, Andy Slavitt. A social entrepreneur, Natalie also helped found Town Hall Ventures which focuses on bringing the best of innovation and care delivery to diverse communities. Natalie also served as the Director of Strategic Engagement at the Bipartisan Policy Center. Natalie holds an M.A. in Philosophy from George Washington University and is an alumna of Salisbury University schools of Sociology and Art History. Natalie lives in Washington, DC with her amazing husband and four children. INSTAGRAM: Connect with HeHe on IG  Connect with HeHe on YouTube   Connect with United States of Care on IG    BIRTH EDUCATION: Join The Birth Lounge here for judgment-free childbirth education that prepares you for an informed birth and how to confidently navigate hospital policy to have a trauma-free labor experience!   Download The Birth Lounge App for birth & postpartum prep delivered straight to your phone!   LINKS MENTIONED: State of Postpartum Care (State Maps) Journey Map Preventive Services Resource Hub https://www.marchofdimes.org/our-work/nicu-family-support   https://postpartum.net/

Welcome back! This week the ladies explore "The Personal Librarian" by Marie Benedict and Victoria Christopher Murray—a stunning historical fiction novel based on the real life of Belle da Costa Greene, a Black woman who passed as white to rise through the ranks of elite society in the early 1900s. Handpicked by J.P. Morgan himself, Belle becomes the personal librarian to one of the most powerful men in the world and curates a collection that would define literary prestige. But, behind her poise and power, lies a daily negotiation of identity and survival. The hosts explore Belle's dual existence, the cost of racial passing, and the brilliance she brought to a world that would've rejected her if they'd known her truth. Join them as they unpack the legacy of a woman who had to erase herself to leave her mark. Cheers!*Please be advised this episode is intended for adult audiences and contains adult language and content. We are expressing opinions on the show for entertainment purposes only.Dedication: To our patrons as always!! We love you and thank you!Moni: To ladies of the CockTales Podcast, specifically KiKi for inspiring this weeks book topic. https://www.youtube.com/channel/CockTalesKat: To Arthentic Arts and the wonderful mural project. https://www.instagram.com/p/DI3swsJx52R/?igsh=cGZkbjk3c3kxdXhiArt Effect About the life and work Belle da Costa Greene aka Belle Marion Greener https://www.themorgan.org/exhibitions/belle-da-costa-greene Belle da Costa Greene (Belle Marion Greener) https://en.wikipedia.org/wiki/Belle_da_Costa_Greenehttps://blogs.loc.gov/headlinesandheroes/2022/02/belle-de-costa-greene/About the authors:Victoria Christopher Murrayhttps://www.goodreads.com/author/show/56575.Victoria_Christopher_MurrayMarie Benedicthttps://www.goodreads.com/author/show/14815127.Marie_Benedict*Stranger than Fiction:

Kyle Wood returns to the show today to talk with Tim about some of their favorite lesser-known artists in art history, and share ideas on why we need to move beyond the traditional art historical canon. Ranging from Abstract Expressionism to Surrealism, Impressionism to Cubism, they pass right by the Picassos and Pollocks and talk about Janet Sobel, Remedios Varo, Charuvi Agrawal, and so many more artists that can expand your students' views on art history. They finish the show by discussing how a more representative set of artists in your curriculum can lead to understanding, engagement, and empowerment for your students. Resources and Links Join the Art of Ed Community Listen to Who Arted? and Fun Facts Daily from Kyle Art Ed Radio Ep. 009: No More Dead White Guys! 6 Contemporary Artists Storytelling, Art History, and Student Engagement