Podcasts about Art Institute

What is that sound in the distance....? Is that a horn, calling young warriors forth to compete for the glory and honor of their schools or themselves? Or, is that the siren song of a trickster that is planning to kidnap some brats and force them to fight to the death? Well, Arcade is blowing the trumpet, so you decide. Thanks to Julie Power for cameoing in this one book so we could talk about this interesting and cool series. A fun idea that takes off from some of the prior books we have read. But what exactly is in these pages? Stuff...and lies. Ok, there is also chaos. Tons of insane chaos with kids doing stupid and crazy stuff, or just lying....or they are disappearing. We are not sure what is inside the pages, but it is cool. because cool stuff happens when you read comic books. For example, a plethora of heroes flying down to beat down Arcade....that is cool. To be fair, a gaggle of geese waddling over to poop on Arcade's lawn would be cool, and I despise Canadian Geese. I guess that anything that causes discomfort to this freak is pretty cool. While Molly could be seen as not fitting into most recognized social settings, the fact that she strolls to her own accordion means that she defines her own cool. That she is passionate about her friends and family, that she makes the effort to upturn the cumquat cart, makes her awesomely cool. While Ferris Buellers Day Off is massively cool, and going to museums is extremely cool, and combining the two in order to pay homage is super-duper cool, that does not make jerk superheroes that cool. But, The Art Institute of Chicago is very cool. It is not cool to grope any breasts. And finally, it is very cool to worry about the kids that you promised to teach and protect. While we like to give Hank Pym a lot of gruff, he does care, and he makes a big attempt to find out what is happening. And that is very cool.   To check out the pictures we chose, go to: https://jeffandrickpresent.wordpress.com/2025/08/22/avengers-arena-13-the-devils-greatest-trick/   We also have some merchandise over at Redbubble. We have a couple of nifty shirts for sale. https://www.redbubble.com/people/jeffrickpresent/?asc=u   You can also subscribe and listen to us on YouTube!  Our show supports the Hero Initiative, Helping Comic Creators in Need.  http://www.heroinitiative.org/ Eighties Action by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3703-eighties-action License: http://creativecommons.org/licenses/by/4.0/ Battlefield 6 Streaming Music Vol. 20 [Helicopters & Jets]

In this Rich Reflections session, Rich checks in from Chicago's Lurie Garden on the final weekend of summer. Amid Lake Michigan air and city sounds, he explores what it means to shift seasons—mentally, emotionally, and creatively. From three espresso shots and finishing three new books for Blue Byron Books, to the importance of fundamentals, curiosity, and giving yourself the green light—this is a thoughtful, calming, and empowering reflection on how to live with clarity and momentum. He also shares practical habits (like how he organizes notebooks), talks about investments under $200 that yield the highest value (shoutout to the Art Institute), and reminds us: with clarity, you move fast. Come breathe, reflect, and refocus with us—your future self will thank you. Subscribe to the email newsletter for inspiration, self-development, & updates: https://richhebron.com/ Questions from this session: 1. What're we grateful for? 2. What's an organizational system we have? 3. What's something we've learned from a friend that we appreciate? 4. What advice would we give our younger self? 5. What's one big thing we could do to accelerate our goals? 6. What's our mindset right now? 7. What's energizing us recently? 8. What do we feel empowered for? 9. What will we give our self permission to do? 10. What investment under $200 this year has given us the most value? 11. What're we curious about recently? 12. What're we energized for next week?

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Lily Lloyd Burkhalter speaks to managing editor Emily Everett about her essay “Raffia Memory,” which appears in The Common's spring issue. Lily talks about traveling to the Cameroon Grassfields to research the rituals and production of ndop, a traditional dyed cloth with an important role in both spiritual life and, increasingly, economic life as well. She also discusses the book-length project she's working on, which explores loss, grief, fabric, sewing, and weaving. Lily Lloyd Burkhalter is a writer living in Lille, France. She is a Pulitzer Center Reporting Fellow and holds degrees from the University of Virginia and the School of the Art Institute of Chicago. Her work can be found in Ploughshares, Gulf Coast, The Missouri Review, Denver Quarterly, and elsewhere. She is represented by Audrey Crooks at Trident Media Group. She learned to sew in Cameroon and learned to weave in Chicago. ­­Read Lily's essay “Raffia Memory” in The Common here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine here, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford was the Reese's Book Club pick for April 2025. Her work has appeared in The New York Times Modern Love column, the Kenyon Review, Electric Literature, Tin House, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. 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

Lily Lloyd Burkhalter speaks to managing editor Emily Everett about her essay “Raffia Memory,” which appears in The Common's spring issue. Lily talks about traveling to the Cameroon Grassfields to research the rituals and production of ndop, a traditional dyed cloth with an important role in both spiritual life and, increasingly, economic life as well. She also discusses the book-length project she's working on, which explores loss, grief, fabric, sewing, and weaving. Lily Lloyd Burkhalter is a writer living in Lille, France. She is a Pulitzer Center Reporting Fellow and holds degrees from the University of Virginia and the School of the Art Institute of Chicago. Her work can be found in Ploughshares, Gulf Coast, The Missouri Review, Denver Quarterly, and elsewhere. She is represented by Audrey Crooks at Trident Media Group. She learned to sew in Cameroon and learned to weave in Chicago. ­­Read Lily's essay “Raffia Memory” in The Common here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine here, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford was the Reese's Book Club pick for April 2025. Her work has appeared in The New York Times Modern Love column, the Kenyon Review, Electric Literature, Tin House, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Lily Lloyd Burkhalter speaks to managing editor Emily Everett about her essay “Raffia Memory,” which appears in The Common's spring issue. Lily talks about traveling to the Cameroon Grassfields to research the rituals and production of ndop, a traditional dyed cloth with an important role in both spiritual life and, increasingly, economic life as well. She also discusses the book-length project she's working on, which explores loss, grief, fabric, sewing, and weaving. Lily Lloyd Burkhalter is a writer living in Lille, France. She is a Pulitzer Center Reporting Fellow and holds degrees from the University of Virginia and the School of the Art Institute of Chicago. Her work can be found in Ploughshares, Gulf Coast, The Missouri Review, Denver Quarterly, and elsewhere. She is represented by Audrey Crooks at Trident Media Group. She learned to sew in Cameroon and learned to weave in Chicago. ­­Read Lily's essay “Raffia Memory” in The Common here. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine here, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford was the Reese's Book Club pick for April 2025. Her work has appeared in The New York Times Modern Love column, the Kenyon Review, Electric Literature, Tin House, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode of the Talkhouse Podcast we've got the leader of a killer Chicago band and the co-director of one of the biggest movie franchises in history in a fantastic conversation: It's Alicia Gaines of Ganser and Lilly Wachowski, best known for The Matrix. The Matrix you surely know, but Ganser perhaps you don't. They're a Chicago band that's been around for the last decade or so, but really seemed to snap into focus about five years ago with a startling stew of post-punk and art-rock sounds that snarl like some of my favorite elder statesbands—Gang of Four, Siouxsie—but updated. Their third and latest album, Animal Hospital, was produced by Angus Andrew of Liars, which makes sense. Oh, and they're fierce live: I saw them last year opening for Mclusky and was blown away. Check out  “Stripe” from Animal Hospital right here. Lilly Wachowski cut a winding path through Hollywood; along with her sister Lana, she made the 1996 thriller Bound—it comes up in this conversation—but took the film world by surprise with 1999's The Matrix and of course its sequels. The Wachowskis, as they're known professionally, took their films to weirder places after that rather than trying to go mainstream, with the unfairly maligned Speed Racer—an anti-capitalist blockbuster—and Cloud Atlas, a strange, moving epic. Both Wachowskis also came out as trans in the years after The Matrix, and Lilly, as you'll hear, has a serious interest in getting that aspect of her life onto the silver screen. In this deep and friendly chat, Lily and Alicia talk about their shared experience at Chicago's School of the Art Institute—aka SAIC—as well as Animal Hospital, using original music versus well-known pop songs in movies, finding yourself through art, a painting of a suicidal duck, and Lilly's next project, which is “wall to wall trans people and trans rage.” I hope she can get it made. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Alicia Gaines and Lilly Wachowski for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff in our podcast network. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. 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

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Yatika Starr Fields, 2025. Portrait © Tom Fields 2025 Born in 1980 in Tulsa, Yatika Starr Fields is a member of the Cherokee, Creek and Osage tribes, as well as a member of the Bear Clan. Yatika Fields studied landscape painting at the University of Oklahoma's Sienna, Italy summer program before enrolling at the Art Institute of Boston from 2001 to 2004. While living on the East Coast, the artist developed a keen interest in street art. His dynamic, vibrant graffiti works quickly attracted attention, generating public and private mural commissions across the country from Portland to Oklahoma City, Phoenix, Santa Fe, and Bentonville. In 2018, he completed Astonishment of Perception, a monumental site-specific mural in downtown Bentonville, as part of Crystal Bridges Museum's Art for a New Understanding (2018–2019). Spanning the side of Cripps Law Firm's two-story building, the work depicts lady justice peeking from behind her blindfold, highlighting the dissonance between America's ideals and its judicial system in practice. Like many of Fields's works, the mural blends abstract and stylistic elements, figuration, and allegorical narrative, all in a dynamic, saturated Pop-palette. After joining the water protectors at the Dakota Access Pipeline in 2016, Fields began to give the Indigenous history of hope and struggle a greater focus in his work. In the 2017 series Tent Metaphor Standing Rock, the artist recovered tents after the infamous February 22, 2017 police raid on the protesters, sewing the recovered material into shapes resembling coffins, sleeping bags, or kites. Fields first worked with tents—a mainstay of middle-class camping holidays— after witnessing Seattle's brightly colored homeless encampments. His interest only increased after noticing the structure's role in modern protest movements. The artist recombines the vivid material into traditional Indigenous patterns, anti-pipeline slogans like “Stop the Black Snake,” and into dynamic, compelling abstract compositions. In its totality, the series blurs the boundaries between political polemic and abstraction, between distress, resistance, and hope. The painting, America Realized (2017), also memorializes the experience at Standing Rock. The composition is explosive: Torrents of ice and fire swirl through prayer ties and collapsing tents, recounting the freezing weather, police force, and fires that the activists braved at Oceti Sakowin, the central camp in Cannon Ball, North Dakota. A surveillance drone flies across the top of the expansive canvas packed with razor wire, floodlights, and debris. The scale of the 6- by-6-foot composition allows for Fields to replicate the embodied, fluid performance of mural and street art. As in graffiti works, Fields blurs the line between abstraction and representation, creating stylistic compositions out of recognizable elements, and setting them against dynamic, swirling fields of color and twisting forms. Fields has participated in over 43 solo and group exhibitions at venues across the United States and Europe, including: the Southern Plains Indian Museum, (2008, Anadarko, Oklahoma); Chiaroscuro Contemporary (2008, 2009, 2010, 2011, 2012, 2013, 2014, Santa Fe); BlueRain Gallery (2015, 2016, 2018, Santa Fe); Peabody Essex Museum, (2015–2016, Salem, MA); Rainmaker Gallery (2017, Bristol, UK); the Grand Palais (2018, Paris); the Philbrook Museum (2018, Tulsa); the Crystal Bridges Museum of American Art (Bentonville, 2019); and the Gilcrease Museum, (2019, Tulsa). Fields's paintings are featured in the collections of many museums across the country, including: the Heard Museum (Phoenix); the Hood Museum (Dartmouth College); Oklahoma State Museum of Art; the Peabody Essex Museum; and the Sam Noble Museum (University of Oklahoma). Yatika Starr Fields, Tahlequah, 2025 Polyester, nylon, aluminum rod and tyvek 67 x 50 inches 170.2 x 127 cm Yatika Starr Fields, Impermanence, 2025 Polyester,

Tom Burtonwood: Art, Philosophy, Community and Pragstraction

HT2346 - Tiny Print, Giant Mat In one of my visits to the Art Institute of Chicago, I saw a display of photography that consisted of 35mm contact prints matted and framed to 16x20". These tiny prints were impressive and memorable precisely because they so successfully invited close inspection. The convention is to surround the image with white border, but how much is the right amount? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

What if your multidimensionality is your greatest creative power?In this intimate conversation, Sarah Faith Gottesdiener connects with artist, educator, and designer Silas Munro about what it means to live and create as a whole, multidimensional person. From honoring grief to challenging design norms, Silas shares how integrating identity, spirituality, and activism has transformed his work and life.You'll hear:Why embracing all your parts—artist, mystic, educator, activist—is a radical actWhat poetic research is and how it can guide your creative processHow Silas turns surfing into a spiritual practice and grief into creative fuelThe power of community and co-creation within Moon Studio spacesHow Clear Channels helped Silas merge purpose with visibilityThis is a deeply moving episode about multidimensionality, poetic research, and the magic that unfolds when we stop trying to fit into boxes and start showing up as our full selvesMore on Silas Munro:Silas Munro is a designer, artist, writer, researcher, curator, surfer and descendant of the Banyole people of Eastern Uganda. He is the founder of the design studio Polymode based in Los Angeles and Raleigh that works with clients across cultural spheres. Commissions and collaborations include: The New York Times Magazine, MIT Press, Nike, Airbnb, the Brooklyn Museum, Storefront for Art and Architecture, the Art Institute of Chicago, Dia Art Foundation, and the Cooper Hewitt Smithsonian Design Museum.https://www.polymode.studio/https://bipocdesignhistory.com/Join Our Community: Join the Moon Studio Patreon: https://www.patreon.com/themoonstudioBuy the 2025 Many Moons Lunar Planner: https://moon-studio.co/collections/all-products-excluding-route/products/many-moons-2025Subscribe to our newsletter: https://moon-studio.co/pages/newsletterFind Sarah on Instagram: https://www.instagram.com/gottesss/Upcoming Events: September 6, 2025 + September 7, 2025: Clear Channels Online Workshop - https://moon-studio.co/products/clear-channels-fall-2025?variant=50100396327207

From time to time over the nearly 50 years since the establishment of the Atlanta Soto Zen Center, a significant number of its members and its affiliates in the Silent Thunder Order have complained of burning out in terms of their participation in the Zen community. Some have faded into obscurity and were never heard from again. Others have come back after years. The record for the longest hiatus is about three decades. This cohort would amount to a small percentage of the total attendance, or course, but it has been noted that more people come and go than stay. Matsuoka-roshi used to say, of some disciple that was no longer showing up, "Come-and-go type" or, "Wishy-washy type." I assume that these lost souls continue to practice in some form or other, hopefully maintaining their practice of meditation at least. And they probably retain an interest in reading about Zen and Buddhism. And I think it fair to say that if they had stayed, instead of moving on, we would have no place for most of them to sit. This is why I refer to the Zen sangha — and it is probably true of all communities — that it is like a cloud, constantly evaporating and recondensing, with new molecules of water, over time. People have real lives, other demands on their time and energy, and they always have. Master Dogen pointed out that the famous places in China were not typically comprised of large groups, but a small core of a half-dozen monks or so, with others coming and going from time to time. A cursory reading of the history of the formal transmission in Soto Zen makes this clear. Many of these encounters were short-term. So I don't worry too much about the many former members who are no longer in attendance. I do reach out from time to time if someone has suddenly disappeared who was diligently engaging on a frequent basis for some time, out of curiosity if nothing else. But I have enough to worry about, dealing with those who are presently practicing, as well as the constant flow of newcomers knocking at our doors. Most newcomers report that their first exposure to Zen is through reading — or, nowadays, listening — to a well-known teacher online, such as Thich Nhat Hahn, or Ram Dass. I had the pleasure of meeting Ram Dass in person in the 1960s, when I was teaching at the School of the Art Institute and the University of Illinois at Chicago Circle campus. Some friends of mine who knew him told me he was travelling through the area, so I asked them to connect us, and invited him to speak to one of my classes at the U of I. I still have the 1/4-inch reel-to-reel audiotape somewhere of his talk, which was his classic trip to India, giving LSD to the guru tale. I plan to have it digitized so that those who are interested can listen to it. Not to be too much of a name-dropper — near to greatness, and all that — but he came to our apartment for dinner that evening and cooked chipatis and beans for us. My friends told me later that he had told them he thought I was one of the most spiritual people he had ever met. That may have been because my apartment was full of student work, models of geometric structure studies they had done in one of my design classes.Another factoid of interest, and one of those coincidences that we say are not in Zen — he was driving a Chrysler Airstream at that time, and several years earlier, before I had graduated from the Institute of Design, my best friend at that time and I attended a talk by Claes Oldenburg, the famous Swedish-American sculptor, at the University of Chicago, at which presentation, amongst other things, we saw his life-size soft sculpture of — you guessed it — a Chrysler Airstream. But I digress. I have never heard of anyone burning out from too much study of the dharma, or too much sitting in meditation, although some naturally grow tired of too much group discussion, especially when it slides down the slippery slope of intellectualism and erudition, as has been seen many times in the history of Zen. Ch'an Master Huineng famously made a public show of burning scrolls of sutras to make this point. Dogen held that both things can be true at the same time — that the written record also contains the dharma, even though subject to the limitations of language. No, usually, problems with burnout arise in the context of serving the Zen community. Community, or sangha, is the third leg of the stool of Buddhism, joining that of dharma, the study of the teachings of Buddhism and Zen; and most centrally, buddha, the practice of zazen, or the meditation of Buddha. This is what Zen claims to transmit. Where the rubber hits the road in terms of burnout is usually in an individual's efforts to serve the sangha in ways that demand what seems to them to be a lot of time, effort, and energy, with all the opportunity costs associated with any form of contributions of one's precious time to any cause. The third rail for most or all not-for-profit enterprises such as ASZC seems to consist in serving on the board of directors. What I refer to as the "substitution effect" begins to set in — one finds oneself sitting less and less over time, the limited bandwidth available for Zen being consumed more and more by the ever-evolving demands of raising money and paying the bills; upkeep, repair and maintenance of the facility; producing and publishing online communications, newsletters, bulletins and podcasts; and, finally, the sheer pressure of administrating a robust schedule of programs of dharma study and meditation, serving a shape-shifting and ever-growing community of practitioners. As one who has been immersed in this process for going on 50 years -— ASZC was incorporated in 1977 — I am very familiar with this syndrome of overcommitting, on a personal level. But I think it may be that we are getting it backward if and when we do burn out in service to the sangha. It is easy to lose track of the central focus of Zen. The three legs of the stool are not equal in importance or effectiveness in supporting our personal practice. Buddha practice, Zen meditation, or zazen, is definitely first and foremost. Dharma, or study of the teachings, comes second and is subordinate to zazen. Without zazen there is little hope of ever comprehending buddha-dharma. Sangha, community participation and service, is a distant third, and is not really necessary, or conducive to personal practice, absent meditation and study. When we get this backward is when we tend to burn out. If I had not been continuing my meditation practice over the 60 years I have been engaged in all three dimensions, from the mid-1960s at the Zen Buddhist Temple of Chicago, through the years of establishing ASZC in Atlanta, I would have burnt out long ago. Attending most of the public sessions of meditation and witnessing the evolution of the Zen lives of hundreds of individuals have reinvigorated my zeal for Zen again and again, especially during the difficult times we have endured. The evidence of my senses has convinced me ever more undoubtedly of the value and effectiveness of Zen as the Upaya, or skillful means, for our times, as Matsuoka-roshi believed. If you have found yourself experiencing burnout, please consider whether or not you see yourself in this picture. If you do your best to attend a reasonable number of our scheduled meditation programs including daily, weekly, monthly and annual opportunities, such as day sits (zazenkai), longer retreats (sesshin), classes and workshops, you will rediscover the renewable resource that is genuine Zen practice. If you have gotten entangled in the ASZC or STO administration or other demanding roles of service to the sangha, please understand that your efforts are very much appreciated, but that you may be inadvertently developing the substitution effect syndrome, which ultimately does not bode well either for your practice, or the wellbeing of the community. If you relinquish your position and function, no worries, someone else will step up. I have witnessed this again and again. There is no way to plan for, or to design around, human nature, so please do not blame the corporate entity that is the Zen community for your unhappiness. If instead you renew and reinvigorate your practice of meditation, both at home and at the Zen center, you may begin to see that the burden you are or were carrying on behalf of your fellow travelers on the Zen raft was not so onerous, after all. And that somehow, willy-nilly, what you may have seen as your vital function within the Zen community will be taken up by others. If you do not claim your place on the cushion, you may miss the point of practice altogether. Which would be a "cry and shame" as Albert the Alligator would say. And I know that dates me. Look up "Pogo the Possum" by Walt Kelly. Let me propose in closing that you apply a tried-and-true time management approach to your Zen practice. There are only 24 hours in a day, as we say, so unless we chuck it all and go join a monastery, or become a hermit, only a small fraction of those hours can be devoted specifically to our practice, as we conceive it. So let's say you create the visual of a classic clock face representing your 24-hour day. After filling in all the many other things you do to get you through the night, such as sleeping, and through the demands of your day, such as paying the rent, take a look at how much time is left over. For the sake of argument, let's say you can free up an hour a day, or maybe two. In that time, maybe an hour in the morning, and an hour in the evening, maybe more of a weekend, you commit 50% to Buddha Practice: time on the cushion; 30% to Dharma Study: reading up on the literature and joining online dialogs; that leaves 20% for Sangha Service: helping out at the center, or attending admin meetings. The very exercise of visualizing — and tracking — your time may reveal that you are not actually spending as much as you think you are, or at least allow you to cut it down to a bearable amount. The main thing it may help you do is to put the emphasis where is should be: on meditation. If you are attending zazen regularly you are already doing the most you can do to support your community. Your presence encourages them in their practice more directly and to a greater degree than financial and in-kind contributions. Although those are very important. If you join the dharma dialogs online or in person on Sunday mornings and occasionally make a contribution to the conversation, that is also a service to the sangha. It indicates your sincere interest in clarifying the Great Matter, which is the main and central purpose of the pursuit of Zen. If you do both the above and still have time to devote to supporting the programs and physical plant of the Zen center, more power to you. But please be careful not to let the tail wag the Zen dog. There is a story from the history in China, if memory serves, that illustrates this principle clearly. A monk complained that during meditation, the rain was leaking in on him through the thatched roof. The Master's response? "Move down." Why spend a great deal of time and effort patching a roof, maintaining a building, if it prevents you from sitting in zazen? The building, the corporate entity, and all other dimensions of the Zen community and its physical manifestation in the world are subject to the three marks of dukkha. They are impermanent in the long run, imperfect in their current variation, and inherently insubstantial in comparison to the effects of zazen on your consciousness. To quote the venerable Ch'an Master Sekito Kisen, from the closing line of his short but dense poem, Sandokai—Harmony of Difference and Equality: I respectfully urge you who study the mysterydo not pass your days and nights in vain

Episode 224Join us for a game-changing interview with Grammy-nominated artist James Artissen, formerly known as James Worthy, as he unpacks his incredible transformation. From the inspiration behind his rebranding and the excitement of Grammy recognition to the vision fueling his own label, Humble Sound Records, James holds nothing back. He takes us behind the curtain of his deal with Universal Music Group, revealing key moments and insights into his debut album's creation, and drops a mind-blowing piece of business advice that will change the way you think. Tune in for an inspiring conversation about reinvention, resilience, and the pursuit of musical dreams.GuestGuestGrammy Nominated Singer, Songwriter, Record Producer, and Audio Engineer James Artissen also formerly known as James Worthy has long considered the name to be central to his life, and identity. It represents the dedication, and the passion towards his craft. Coming from New York, the musician attributes his hometown as a major influence on his style, and sound. Born James Allen Worthy on March 28, 1992 in Queens, New York, James began pursuing music at the age of 16. During that time period James had the opportunity to meet the late great Michael Jackson at Webster Hall in New York City which inspired James to fully pursue a career in the music business. After moving to Atlanta, GA the singer, songwriter, and producers first musical experience was at his high school recording studio through a music mentoring program sponsored by Dallas Austin. His initial foray into music consisted of learning the art of songwriting which later turned into music production shortly after. Artissen was also highly influenced by artists such as: A Tribe Called Quest, Whodini, Kanye West, Miguel, The Weeknd, and Pharrell Williams. While studying those artists he began to teach himself how to sing in 2009. To further his education he attended The Art Institute of Atlanta where he received a bachelor's degree in audio production. This helped him begin working, and placing his work with mainstream acts, and songwriters. In 2017, James transitioned from music production to artistry, and began recording himself. He joined a duo group named Kings X2, and released their debut single "Wine For Me" in september of 2017. The single peaked at #10 on the US Billboard Hot Single Sales Chart for 5 weeks. Later in 2018 the group disbanded, and James released his debut solo single "Move" which features the rap group Whodini. Following up to 2019 James released his anticipated EP "Blu Leisure" which became critically acclaimed upon its release. The project included guest appearances from: Tony Terry, Sonna Rele, Kalenna Harper, and Whodini. After its great success he released his sophomore EP "Kaleidoscopes", and in 2023 he joined forces with rapper Big Gipp of the rap group Goodie Mob to release their collaborative EP "Gipp N Worthy". The lead single "TOTW" peaked at #91 on the US Billboard R&B Digital Sales Chart also charting at the #1 position on the Amazon Best Sellers Chart. Within all of James's work he has been nominated for several Grammy Awards by working with names such as: Meek Mill, Justin Bieber, Robin S., 112, Raphael Saadiq, and so many others to name. In 2024 James launched his own label imprint Humble Sound Record in conjunction with Sony Orchard. The label houses artists such as: B Angie B, Robin S., Tynisha Keli, Sophia Habib, Shaynah, and Truth Hurts.https://www.jamesartissen.comHostOlyasha Novozhylova @notbasicblonde_NotBasicBlonde Podcast @nbbpodcast

In Khimaira's premiere episode, Nancy joins V to talk about names, birds, friendship, and the quiet ways we learn from each other. It's a conversation about staying open — to language, to love, and to the surprising knowledge that comes from other people when we allow ourselves to be vulnerable. This episode is an offering, a shared moment of reflection on how we learn from those we love and what it means to listen with when seated in care.This episode features original sound art by Yīxiāo, titled Bird Seeds, as well as field recordings of birds captured by Nancy and V --------------------Yīxiāo Yao is a Chinese interdisciplinary artist/researcher. They utilize texts, sound, images, paint, clay, letters, common substances, and their own body in work. Using real, constructed, mediated materials in and out of archives they are able to compose, curate intra-actional exchanges, and invite the participation of active viewership, readership and thinkership. They have curated/participated/published work in Ohklahomo, Mayfield, Open Art Studio, SITE Gallery, The LGBTQ+ Intergenerational Dialogue Project, Friends Gallery, and No Nation Art Lab. Yīxiāo received a Bachelor of Fine Arts degree with honours from the School of the Art Institute of Chicago, Department of Visual Critical Studies. They received their Master of Arts degree from Rice University, Department of Religion. They are currently based in Chicago. --------------------Support Nancy --> https://yaoyixiao.comSupport V --> https://saturnvox.comSupport the Show --> https://ko-fi.com/saturnvox156

Cheryl Pope is an interdisciplinary visual artist who questions and responds to issues of identity as it relates to the individual and the community, specifically regarding race, gender, class, history, power, and place. Her practice emerges from the act and politics of listening, and recently introduces a novel material to explore the artist's memories. Referencing the familiar repertoire of the French Post-Impressionist, Intimist, and Imagist paintings, Pope recreates deeply personal recollections that cinematically compose the silent complexities of beautiful and tragic oscillations between love and loss in our everyday lives. Images of couples are drawn from memory, referencing the artist's own relationships and moments of disconnect, anxiety, and desire, while beach scenes depicting a mother and child accentuate a tender stillness of caregiving. In these scenes, the figures exist in a nest of choreography–a rotating stage of mystery, tragedy, and poetry of day-to-day living with feelings of presence and absence woven throughout.     Pope (b.1980, Chicago, IL) received her MA in Design (2010) and BFA (2003) from the School of the Art Institute, Chicago, IL, where she is an Adjunct Professor.  Pope has had recent solo exhibitions at moniquemeloche, Chicago, IL (2022, 2019); The Ulrich Museum of Art, Wichita, KS (2022); Rockford Art Museum, Rockford, IL (2019); Galleria Bianconi, Milan, Italy (2019); Andres Guerrero Gallery, San Francisco, CA (2018); and Fort Gansevoort, New York, NY (2017). Notable group presentations include Eli and Edythe Broad Art Museum, East Lansing, MI (2023); The FLAG Art Foundation, New York, NY (2023 2021); Everson Museum, Syracuse, NY (2023); Kalamazoo Institute of Arts, Kalamazoo, MI (2022); Weinberg/Newton Gallery, Chicago, IL (2022); Skin in the Gamecurated by Zoe Lukov, Chicago, IL (2022); Fountainhead, Miami, FL (2021); Santa Barbara Museum of Art, Santa Barbara, CA (2021); Virginia MOCA, Virgina Beach, VA (2021); and the Museum of Contemporary Art, Chicago, IL (2020). Pope's work will be included in the upcoming group exhibition Get in the Game: Sport and Contemporary Culture at SFMoMA in 2024. Pope's work is in the collections of Museum of Contemporary Art Jacksonville, FL; the Museum of Contemporary Art, Chicago, IL; UBS Art Collection, New York, NY; Joan Flasche Artists Book Collection, Chicago, IL; Seattle Art Museum, WA; Honolulu Museum of Art, HI; Museum of Contemporary Art, San Diego, CA; Poetry Foundation, Chicago, IL; DePaul University Art Museum, Chicago, IL; Virginia Museum of Fine Arts, Richmond, VA; Baltimore Museum of Art, Baltimore, MD; United States Embassy, Santo Domingo, Dominican Republic; The Jackson West Memorial Hospital, Miami, FL; and The Ulrich Museum of Art, Wichita, KS. She has been the recipient of several awards and fellowships, including the Public Artist Award, Franklin Works, Minneapolis, MN (2017); Selected Artist, Year of Public Art, Chicago Cultural Center, IL (2017); Mellon Fellowship, Kenyon College, Gambier, OH (2016); and 3Arts Award, Chicago, IL (2015). Pope lives and works in Chicago, IL and Miami, FL. Artist https://www.cherylpope.net/ monique meloche https://www.moniquemeloche.com/artists/35-cheryl-pope/works/ Hyperallergic https://www.moniquemeloche.com/press/492-talking-a-big-game-the-art-of-sports/ | https://www.moniquemeloche.com/press/280-artists-on-basketball-and-its-discontents/ Art Daily https://www.moniquemeloche.com/press/451-the-baltimore-museum-of-art-announces-approximately-75/ Observer https://www.moniquemeloche.com/press/437-early-sales-and-excitement-at-art-basel-miami/ The Guardian https://www.moniquemeloche.com/press/430-strike-fast-dance-lightly-largest-ever-boxing-exhibition/ BOMB https://www.moniquemeloche.com/press/420-cheryl-pope-by-carolina-wheat/ Chicago https://www.moniquemeloche.com/press/406-fall-fashion-artists-in-their-natural-habitats/ Reader https://www.moniquemeloche.com/press/418-chicago-is-a-protest-town/

In this episode of PhotoWork with Sasha Wolf, photographer and educator Sage Sohier joins Sasha to discuss a lifetime of extraordinary work, including her recently published books Passing Time and Americans Seen (Nazraeli Press), featuring photographs made primarily in the 1980s. They also delve into Witness to Beauty (Kehrer Verlag), an intimate and moving portrait of Sohier's mother alongside her two daughters—a project that embraces aging and the passage of time. Throughout the conversation, Sage shares her enthusiasm and thoughtful insights on staying open to new ideas and equipment, as well as the value of revisiting older work with fresh eyes. https://sagesohier.com https://www.instagram.com/sagesohier/ Sage Sohier (b. 1954, Washington, D.C.) grew up in Virginia and received her BA from Harvard University in 1975. She is a Boston-based photographer who has published eight monographs, including “Americans Seen,” (Nazraeli Press 2017 and 2024), “Passing Time,” (2023), and “Witness to Beauty” (Kehrer 2017). She is the recipient of Guggenheim and National Endowment for the Arts fellowships. Sohier's work has been included in group shows at the Museum of Modern Art, NY, the International Center of Photography, the Art Institute of Chicago, and in solo shows at Joseph Bellows Gallery, Robert Klein Gallery, Foley Gallery, Blue Sky Gallery, and The Museum of Contemporary Photography in Chicago. Her work is in numerous collections including the Museum of Modern Art, NY, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, and the Nelson-Atkins Museum of Art. She has taught photography at Harvard University and Wellesley College, and has done commissioned work for the George Gund Foundation in Cleveland, the Robert Rauschenberg Residency program in Captiva, FL, as well as editorial work for numerous publications

Jovencio de la Paz (b. 1986) was born in Singapore, and currently lives and works in Eugene, OR. They received their BFA from the School of the Art Institute of Chicago, IL, in 2008, followed by an MFA from Cranbrook Academy of Art, Bloomfield Hills, MI, in 2012. De la Paz has been included in group shows at Museum of Contemporary Art Denver, CO; EFA Project Space, New York, NY; Museum of Craft and Folk Art, Los Angeles, CA; Jordan Schnitzer Museum of Art, Eugene, OR; Cranbrook Art Museum, Bloomfield Hills, MI; The Franklin, Chicago, IL; Uri Gallery, Seoul, Korea; among others. In 2022, Jovencio de la Paz was named a United States Artist Fellow for their significant contribution to the field of craft. The title of the exhibition, el lugar de los milagros / the place of miracles is a quotation from didactic signage at the necropolis of Mitla. Located in San Pablo Villa de Mitla, Oaxaca, Mexico, this archaeological site is ritually significant to the history of textiles. The walls of the pre-Colombian settlement depict traditional weave structures from the region, considered to be sacred pathways for the souls of the dead to traverse between the seen and unseen worlds. De la Paz likens the site to a massive computational device transmitting sacred data via circuitry of carved stone, aiding the spirit in its negotiation between worlds. Re-coding the mathematical pattern language of Mitla into digital weave structures, de la Paz confronts their own colonial displacement as an immigrant and cultural descendent of Spanish colonialism.

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

Lisa Yuskavage creates works that affirm the singularity of the medium of painting while challenging conventional understandings of genres and viewership. At once exhibitionist and introspective, her rich cast of characters and their varied attributes are layered within compositions built of both representational and abstract elements, in which color is the primary vehicle of meaning. Yuskavage's work has been the subject of numerous solo exhibitions, including Lisa Yuskavage: Wilderness, which was on view at the Aspen Art Museum in 2020 and the Baltimore Museum of Art in 2021. In 2015, The Rose Art Museum, Brandeis University, Waltham, Massachusetts, presented Lisa Yuskavage: The Brood, a major survey spanning twenty-five years of the artist's work. The show traveled to the Contemporary Art Museum St. Louis in 2016. Lisa Yuskavage: Drawings just opened at The Morgan Library & Museum and is on view through January 4, 2026.Museum collections which hold works by the artist include the Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, DC; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York, among others. She and Zuckerman discuss changing the world, vulnerability, why make art, using pushback as an opportunity, pushing against resistance, getting rid of self-doubt, and how Art makes you feel less alone!

What can JD Vance's arguments with Pope Francis teach us about selfishness, altruism, and the morality of the modern world?Join the team at the IAI for four articles about egoism, self-sacrifice, and everything in between, analysing a range of subjects, including: Friedrich Nietzsche and his rivalry with former maestro Arthur Schopenhauer; the 10 Commandments and their relationship to jealousy; why God might be "stupid, indifferent, and evil"; and of course the aforementioned showdown between JD and the Pope.These articles were written by Slavoj Žižek, Steven D. Hales, Kristján Kristjánsson, and Guy Elgat.Slavoj Žižek is a Hegelian philosopher, a Lacanian psychoanalyst, and a Communist. He is the author of 'Christian Atheism: How to Be a Real Materialist'. Steven D. Hales is Professor of Philosophy at Bloomsburg University of Pennsylvania, and author of 'The Myth of Luck: Philosophy, Fate and Fortune'. Kristján Kristjánsson is Professor of Character Education and Virtue Ethics at the University of Birmingham. His work spans topics in moral philosophy, moral psychology, and moral education. He is also the editor of the Journal of Moral Education. Guy Elgat is a lecturer at the School of the Art Institute of Chicago. He is the author of 'Nietzsche's Psychology of Ressentiment' and 'Being Guilty: Freedom, Responsibility, and Conscience in German Philosophy from Kant to Heidegger'.And don't hesitate to email us at podcast@iai.tv with your thoughts or questions on the episode!To witness such debates live buy tickets for our upcoming festival: https://howthelightgetsin.org/festivals/And visit our website for many more articles, videos, and podcasts like this one: https://iai.tv/You can find everything we referenced here: https://linktr.ee/philosophyforourtimesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Using over 17,500 letters of handmade murrine tiles, Mathieu Grodet composed La Déclaration des Droits de l'Homme et du Citoyen, which translated means the Declaration of Human Rights, which was written in 1789. Recreated in mosaic style, dark red was used to represent blood, with the ivory-colored background symbolizing the ivory tower that freedom must be taken from. Intense attention to detail combined with a contemporary message defines Grodet's multi-disciplinary works in glass.  A French-born artist living and working in Canada, Grodet also creates thin and elegant glass objects in classic Venetian style, engraved using a Dremel tool with imagery that addresses modern-day ideas and issues. Says Grodet, “Several themes are recurrent: the memory, the inventories, but also the lie (propaganda) or the secret.” His work reflects a deep interrogation of the world and its violence.  Later, Grodet learned to paint on various glass shapes using enamel, and through these techniques was able to make his illustrations more fanciful and full of color. Though it provided an alternative way to express on glass, the enameling process can be time-consuming and technically difficult. Firing can be stressful, and mistakes are unfixable. In one instance, Grodet invested three months of work on one piece, which he had to abandon after issues with the firing. He hasn't worked with enamel since, but toys with the idea of revisiting these processes that afford so much artistic space.  In parallel with glassblowing, Grodet learned flameworking and quickly discovered it was far easier to put together a small flameworking studio than a hot shop. At a Loren Stump workshop presented at the Corning Museum of Glass, Grodet learned the ancient technique of murrine. When the pandemic hit, he finally had some time off from teaching to focus on flameworked murrine and now spends most of his studio time on the techniques. Says Grodet: “Glassblowing will always have a special place in my heart. Your entire body is needed to work the hot shop, and I love the physicality of engaging with fire and water – it is playing with terrestrial forces – something bigger than us. However, now I am enjoying the art of murrine and its technical and strategic aspects. It is like building a house; you need to carefully plan every step over weeks. It also involves other diverse techniques, such as cold working, marquetry and mosaic. I am in uncharted territory on the murrine planet.”  Grodet was born in Orleans, France, where he first studied art and drawing at the Visual Art Institute of Orleans. In 1999, he discovered the medium of glass and began his career in this ancient art by training at several studios across France and Europe. He began learning flameworking at CERFAV (the European Centre for Research and Training in Glass Art). After many travels, he dropped his suitcases in Canada, where he now applies the various different techniques acquired over the years to his artistic practice. With all his work, Grodet explores themes of contradiction, power, duality and the absurdity of life.  Represented by Sandra Ainsley Gallery, Toronto, Ontario, and Galerie Elena Lee in Montreal, Quebec, Grodet's art has been shown at SOFA Chicago, Galerie Espace Verre, and is held in several museum collections, including The Corning Museum of Glass and the Art Institute of Chicago. He has taught and demonstrated around the world. From September 25 to November 9, 2025, Grodet's work will be on view at Musée du Verre, site du Bois du Cazier, Charleroi, Belgium. The artist recently taught a murrine class at Salem Community College, June 16 through 20 followed by a medieval glassblowing class at the Coring Museum of Glass, June 23 through July 4. He will teach at the Glass Furnace in Istanbul, August 4 through 14, and his final teaching gig of 2025, a murrine class, takes place in Kansas City from November 8 through 12 at the studio of Sara Sally LaGrand.     

Julie Curtiss was born in 1982 in Paris, France and lives and works in Brooklyn, New York. She studied at the École Nationale Supérieure des Beaux-arts, Paris, during which time she undertook two exchange programmes; one at the Hochschule für Bildende Künste, Dresden and the other at the School of the Art Institute of Chicago. Curtiss graduated in 2006 with a BA and MFA. Recent solo exhibitions include White Cube Hong Kong (2023); Anton Kern Gallery, New York (2022; 2020; 2019); White Cube Mason's Yard, London (2021); Various Small Fires, Los Angeles (2018); and 106 Green, Brooklyn, New York (2017). Group exhibitions include Fondation Carmignac, Porquerolles, France (2024); Dallas Museum of Art, TX (2023); MCA Chicago, IL (2023); Yuz Museum, Shanghai (2023); FLAG Art Foundation, New York (2023); Leeum Museum of Art, Seoul (2022); Biennale des Arts de Nice, France (2022); The Shed, New York (2021); Nassau County Museum of Art, Roslyn, New York (2019); Perrotin, Seoul (2019); Clearing, New York (2019); White Cube Bermondsey, London (2017). She has been the recipient of a number of fellowships and awards, including Youkobo Art Space Returnee Residency Program, Tokyo (2019); Fellow of the Sharpe-Walentas Studio Program, New York (2018); Saltonstall Arts Colony Residency, New York (2017); Contemporary Art Center at Woodside Residency Program, New York (2013); VAN LIER Fellowship, New York (2012); Louis Vuitton Moët Hennessy's Young Artists Award (2004); and Erasmus European Exchange Program Grant, Hochschule für Bildende Künste, Dresden (2003).Curtiss' work is represented in a number of museum collections, among which are Bronx Museum, New York; Columbus Museum of Art, Ohio; High Museum, Atlanta; Los Angeles County Museum of Art; Maki Collection, Japan; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis; and Yuz Museum, Shanghai.

Leeches don't get a lot of love. They're slimy, wriggly, and, well, they suck—blood that is. But there's a lot to learn about the lowly leech. Led by a troupe of Smithsonian experts, we'll discover how these toothy hangers-on wormed their way into medical practices, performance art, and EVERY human cavity. Yes, even that one. It's a journey of discovery from the swamp to the stage and deep into the vaults of the Smithsonian. And it just may leave you with a little more appreciation (dare we say, love?) for the bloodsuckers.Guests: Anna J. Phillips, research zoologist and curator of Clitellata and parasitic worms at the Smithsonian's National Museum of Natural HistoryRachel Anderson, project specialist at the Smithsonian's National Museum of American HistoryJosh T. Franco, national collector at the Smithsonian Archives of American Art, former Smithsonian Artist Research Fellowship selection committee memberRoberto Sifuentes, performance artist and arts instructor at the School of the Art Institute of Chicago, former fellow with the Smithsonian Artist Research FellowshipAram Han Sifuentes, leech wrangler, social practice fiber artist, writer, curator, and adjunct professor at the School of the Art Institute of Chicago  

Erica Stern joins Let's Talk Memoir for a conversation about self-interrogation and taking risks to tell the story we need to, exploring the liminality of a lived experience through the speculative, hybrid memoir and leaning into history and research to illuminate and deepen understanding, the unexpected complications she experienced in childbirth, the historical misogyny in U.S. medical system, the male takeover of birth, how trauma can stunt empathy, trusting the work will go where it needs to go, giving our projects time and space to grow, when publishers and editors are not quite sure what to make of your book, exercising control over the uncontrollable, the long road to publishing, capturing the timelessness of an experience, and her new book Frontier: A Memoir and a Ghost Story.    Also in this episode:  -discovering material through writing -meditations on the history of childbirth -when an editor encourages you to make your book even more like itself   Books mentioned in this episode:   -The Suicide Index by Joan Wickersham -An Encyclopedia of Bending Time by Kristen Keane -My Autobiography of Carson McCullers by Jenn Shaplans -A Life's Work: On Becoming a Mother by Rachel Cusk   Erica Stern's work has been published in The Iowa Review, Mississippi Review, Denver Quarterly, and elsewhere. She has been awarded fellowships and residencies from the Vermont Studio Center, the Martha's Vineyard Institute for Creative Writing, and the Virginia Center for Creative Arts. Erica received her undergraduate degree in English from Yale and her MFA from The School of the Art Institute of Chicago. A native of New Orleans, she now lives with her family in Evanston, Illinois.   Connect with Erica: Website: erica-stern.com Instagram: @ericasternwriter Substack: @ericastern Bluesky: @ericarstern.bsky.social Get the book: https://bookshop.org/p/books/frontier-a-memoir-and-a-ghost-story/876292ffe52fe93f?ean=9798985008937&next=t&next=t https://www.barnesandnoble.com/w/frontier-erica-stern/1146916883?ean=9798985008937 https://www.barrelhousemag.com/books/frontier-erica-stern   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Joe Cunniff, DePaul University instructor and tour guide extraordinaire, led us on a virtual tour of Chicago and its world class art museum. Then former NTSB inspector and aviation safety consultant Jeff Guzzetti gave some straight talk about what passengers need to research, and do, before and during a flight.

Elizabeth Ravn (b.1994, Brooklyn, NY) received a Bachelors in Fine Arts from the School of the Art Institute of Chicago, Chicago, IL in 2016. She lives and works in Berlin. Recent solo and group exhibitions include David Peter Francis, New York (2025); die raum, Berlin (2024); Deborah Schamoni, Munich (2023); SOX, Berlin (2023); KINDL Centre for Contemporary Art, Berlin (2022); ChertLüdde Bungalow, Berlin (2022); Kinderhook & Caracas, Berlin (2021); Kjøpmannsgata Ung Kunst, Trondheim, (2021); and Pina, Vienna (2019). Elizabeth Ravn, Bild, 2024, oil on canvas, 39 3/8 x 31 1/2 inches (100 x 80 cm). Courtesy of the artist and David Peter Francis, NY. Elizabeth Ravn, Cubbyhole, 2025, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY. Elizabeth Ravn, November, 2024, oil on canvas, 43 1/4 x 35 3/8 inches (110 x 90 cm). Courtesy of the artist and David Peter Francis, NY Elizabeth Ravn, Telephone, 2024, oil on canvas, 27 1/2 x 19 3/4 inches (70 x 50 cm). Courtesy of the artist and David Peter Francis, NY.

Episode No. 710 features curator Timothy Anglin Burgard and artist Tony Lewis. Burgard is the curator of "Wayne Thiebaud: Art Comes from Art" at the Legion of Honor in San Francisco. The exhibition details how Thiebaud drew ideas from and reimagined European and US artworks both old and new. It is on view through August 17. A superb catalogue was published by the Fine Arts Museums of San Francisco in association with University of California Press. Amazon and Bookshop offer it for $54-60. Lewis is featured in "What drawing can be: four responses" at the Menil Collection's Menil Drawing Institute, Houston. The exhibition, which also offers work by Jillian Conrad, Teresita Fernández, and Constantin Luser, presents ways in which the four artists stretch the boundaries of drawing and offer new ideas of what it can be. It's on view through August 10. The gallery guide is available here. Lewis' work examines the relationship between semiotics and language as a means to confront subjects such as race, power, communication, and labor. His solo exhibition credits include the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, and the Rose Art Museum, Brandeis University. His work is in the collection of museums such as the Art Institute of Chicago, the Museum of Contemporary Art, Chicago, the Studio Museum in Harlem, and the Museum of Modern Art, New York. Instagram: Tony Lewis, Tyler Green.

For the 37th episode of “Reading the Art World,” host Megan Fox Kelly speaks with Ian Wardropper, author and former director of The Frick Collection, about his illuminating new book “The Fricks Collect: An American Family and the Evolution of Taste in the Gilded Age,” published by The Frick Collection in association with Rizzoli Electa.Wardropper shares the fascinating story of Henry Clay Frick's evolution from a rough Pittsburgh businessman to one of America's most discerning collectors. Through careful research into the Frick archives, Wardropper shows how Frick spent his first twenty years collecting contemporary American art — learning to develop his eye and work with dealers — before making the leap to Old Master paintings at the highest level of the market.Our conversation reveals Frick's distinctive approach to collecting: his relentless focus on quality over quantity, his willingness to edit and refine his holdings, and his vision for creating harmonious environments where great paintings lived alongside exceptional decorative arts. Wardropper also brings to light the crucial role of Helen Clay Frick, whose strong opinions and different tastes shaped the collection's growth after her father's death, including her establishment of the world-renowned Frick Art Research Library.This episode provides essential insights for collectors, museum professionals, and anyone interested in how great collections are built and sustained across generations. Wardropper's deep understanding of both the Frick family's story and the institution's transformation offers a compelling look at American collecting at its finest.ABOUT THE AUTHOR Ian Wardropper served as the Anna-Maria and Stephen Kellen Director of The Frick Collection for 14 years, leading the institution through its most transformative period, including the first comprehensive renovation in nearly 90 years and the innovative Frick Madison project. Previously, he held curatorial positions at the Metropolitan Museum of Art as Chairman of European Sculpture and Decorative Arts and at the Art Institute of Chicago for twenty years. A specialist in European decorative arts and sculpture, Wardropper oversaw ambitious exhibitions, a major capital campaign that raised $242 million, and pioneering digital initiatives including the acclaimed "Cocktails with a Curator" series. He holds a Ph.D. in art history from NYU and was named a Chevalier de l'Ordre des Arts et Lettres by the French Minister of Culture.PURCHASE THE BOOK https://shop.frick.org/the-fricks-collect-an-american-family-and-the-evolution-of-taste-the-gilded-age-softcoverSUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

New York-based artist Ethan Cook engages with materialism and minimalism through his two primary media, woven canvas and handmade paper. Cook's paintings are composed of colored fabric panels that have been hand woven on a four-harness loom, stitched together, and stretched on bars. Foregoing the notion that in order to paint one must apply pigment to canvas in some way – be it by brush, by knife, or by hand – Cook instead uses a loom to weave large swaths of colored fabric that make up his surfaces. For Cook, the performance of artmaking is at once meditative and intensely rhythmic. The grandness of the loom, with its thousands of moving processes and parts, generates a symphony of action that is both quick and unpredictable, developing a variety of idiosyncrasies like a pulled thread or skipped knot, producing a variety of textures that reveal that the works are indeed, handmade. Cook has had solo exhibitions at Nino Mier Gallery, Los Angeles, Brussels, Marfa and New York; Megan Mulrooney Gallery, Los Angeles; Half Gallery, New York; Andersen's Contemporary, Copenhagen; Galerie Philipp Zollinger, Zurich; T293, Rome; Loyal Gallery, Stockholm; Anat Ebgi, Los Angeles; Noire Chapel, Torino; Bill Brady, Miami; Sunday-S Gallery, Copenhagen; American Contemporary, New York; Galerie Jeanroch Dard, Paris; Rod Barton, London; Patrick de Brock Gallery, Knokke; and Gana Art Hannam, Seoul.  Public collections include The Art Institute of Chicago, Museum Voorlinden, Jordan Schnitzer Museum of Art, Fondation CAB, and Juan Carlos Maldonado Art Collection. His work has been covered in the Los Angeles Times, the New York Times, the Brooklyn Rail, Interview Magazine, Architectural Digest, among other publications. Ethan Cook, Battement, 2025 Signed and dated on verso Hand-woven cotton 45 x 55 in (framed) Ethan Cook, Sauter, 2025, Signed and dated on verso, Hand-woven cotton, 66 x 77 in (framed) Ethan Cook, Beam Bathing Broken Circle, 2025 Steel 80 x 48 x 12 in 203.2 x 121.9 x 30.5 cm

On today's MJ Morning Show: Woman had Whattaburger with a little extra on it Morons in the news Student graduated and went straight to his BK job... Someone set up a gofundme page Illegal border crossings... in Maine Patient had dream about their therapist... Airline attendant naked and dancing Naked on a flight... doesn't lose his job as director of Art Institute of Chicago MJ's text of instructions to Michelle ZooTampa allows you to paint with orangutans The gold digger test MJ's IG MJ is dropping off hazardous waste on Saturday Tinder now including height Denis Phillips from ABC Action News on the 2025 Atlantic Hurricane Season Florida woman in Miami Dade hit and killed a pedestrian... just a homeless... Another celebrity romance scam Aldi sued over packaging of knockoff products Flight to Tampa diverted for an emergency landing Flights from Newark Liberty Airport, cheapest right now... Florida Aquarium visits the MJ Morning Show with a sloth! People are cooking at home the most since covid

In this episode of Platemark, I talk with Ellen Heck about her artistic journey and work. We talk about the intricacies of printmaking techniques, Ellen's various portrait series, and the conceptual ideas behind her work. Ellen shares her journey from studying philosophy at Brown, to printmaking at the School of the Art Institute of Chicago, and finally working at the Kala Art Institute in Berkeley. They also explore topics like the influence of Mary Cassatt, the use of color wheels in organizing compositions, and Ellen's fascination with topology in her artwork. Our insightful conversation about the roles within the art ecosystem concludes with the philosophical underpinnings of Ellen's creative process. Starting with this episode, the images are moving to a blog post (it's a long story). Link to the images is below. Show me the images!

Half of C-suite executives say tariff and artificial inteligence anxieties are driving major business decisions. Crain's reporter John Pletz discusses with host Amy Guth.Plus: Ulta tops estimates as beauty demand bucks consumer pullback, GTCR slams FTC in court as it fights to save $627 million deal, Skittles removes controversial additive targeted by RFK Jr. and Art Institute president returns following in-flight misconduct probe.

Hear Me: Stories to Challenge OUD Stigma - Series Summary: In this series, we amplify the voices of individuals who have navigated the healthcare system while facing stigma related to opioid use, race, identity, pregnancy, and trauma. Through raw, personal narratives like Joey's and Kshe's (KAY-she), you are invited to listen deeply — not only to the stories , but also to the systemic challenges and human truths they reveal. These short, powerful episodes are a call to action: to reflect, to empathize, and to change. Because compassionate care begins when we choose to hear.   Episode: Joey's Story: Running from Stigma Featuring:  Joey McCleod Valery Shuman, ATR-BC, LCPC, Co-Founder, Sana Healing Collective, and Senior Lecturer, Art Therapy and Counseling program, School of the Art Institute of Chicago Summary:  What happens when fear of judgment keeps someone from seeking lifesaving care? Joey's story reveals how stigma at the intersection of race, sexuality, and substance use can create invisible barriers that healthcare clinicians have the power to break. As you listen to Joey's story, we encourage you to: Reflect on Bias: Consider how stigma—both personal and systemic—may shape Joey's experiences in healthcare and affect his willingness to seek care. Recognize the Power of Small Interactions: The way you communicate—your tone, body language, and choice of words—can either build trust or reinforce fear and avoidance. Commit to Change: Identify one action you can take to create a more welcoming, nonjudgmental environment for patients facing similar barriers. Joey's story is just one example of how stigma can create barriers to care. As a healthcare clinician, you have the power to change that. Take a moment to reflect—what's one small shift you can make in your language, your approach, or your clinical environment to ensure patients like Joey feel safe, heard, and respected? Reducing stigma starts with awareness, but real change happens through action. We encourage you to commit to one tangible change today that will help foster trust and compassion in your practice. Resources:  Drawing on Black and Queer Communities' Harm Reduction Histories to Improve Overdose Prevention Strategies: https://journalofethics.ama-assn.org/article/drawing-black-and-queer-communities-harm-reduction-histories-improve-overdose-prevention-strategies/2024-07 “I'm a Health Nut!” Street Drug Users' Accounts of Self-Care Strategies: https://journals.sagepub.com/doi/10.1177/002204260503500311 CO*RE Pain Management Education Consortium: https://core-rems.org/CAFP's Substance Use Disorder Resources: familydocs.org/sud Details:  This podcast series was developed by Interstate Postgraduate Medical Association (IPMA) and the California Academy of Family Physicians (CAFP) through the Collaborative for REMS Education (CO*RE) partnership. This activity is supported by an independent educational grant from the Opioid Analgesics REMS Program Companies (RPC). For more information about the Opioid Analgesics REMS, visit https://opioidanalgesicrems.com/RpcUI/products.u. The views and opinions expressed in this program are those of the speakers and do not necessarily reflect the views or positions of any entities they represent, IPMA, or the California Academy of Family Physicians. Copyright CAFP 2025   The Family Docs Podcast is hosted by Rob Assibey, MD, FAAFP. The Family Docs podcast is developed, produced, and recorded by the California Academy of Family Physicians. The views and opinions expressed in this program are those of the speakers and do not necessarily reflect the views or positions of any entities they represent or the California Academy of Family Physicians. More information at www.familydocs.org/podcast. Visit the California Academy of Family Physicians online at www.familydocs.org. Follow us on social media: Twitter - https://twitter.com/cafp_familydocs  Instagram - https://www.instagram.com/cafp_familydocs  Facebook - https://www.facebook.com/familydocs

Episode 476 / Zak PrekopZak Prekop (b. 1979, Chicago) is a Hudson Valley-based painter known for his intricate, nonrepresentational works. He holds an MFA from The School of the Art Institute of Chicago and a BFA from Carnegie Mellon University. Prekop has had solo exhibitions at Maxwell Graham Gallery, New York; Galería Marta Cervera, Madrid; Shane Campbell Gallery, Chicago; and Hagiwara Projects, Tokyo. His work is held in collections at the Walker Art Center, the Columbus Museum of Art, the Museum of Modern Art and the Carnegie Museum of Art. Notable group exhibitions include File Under Freedom at Bergen Kunsthall; Painter, Painter at the Walker Art Center and Greater New York at PS1. Prekop's first museum exhibition opens at the Aldrich Contemporary Art Museum in Ridgefield, CT in June.

Live from the tailgate lounge at Chicago Architectural Biennial 6's booth at Expo Chicago, Duncan and Ryan welcome Joey Orr, the newly appointed Deputy Director and Chief Curator of the MCA Chicago. In this densely brilliant and surprisingly hilarious conversation, Orr discusses what it means to steer a contemporary art institution in an era of deep social complexity, political polarization, and shifting museum ethics. We cover everything from the social life of objects to the lore of performance documentation, and even pitch a game show based on the varied memories of Chris Burden's early MCA performance. Orr reflects on social practice, audience authorship, and why curators are public servants—not VIPs. We get deep into what it means to be a meat sack in space, how to radicalize museum engagement, and why reenactments may just be the key to future institutional magic. This is art talk that grinds, gropes, and glows in the dark. No hot dogs, just conceptual fireworks.   Joey Orr – Deputy Director and Chief Curator at MCA Chicago IG: @joeyorr13 Bio: https://joeyorr.com/about/ Chris Burden – Performance artist Wiki: Chris Burden John Cage – Composer and performance artist Wiki: John Cage Resource: John Cage Trust Dick Higgins – Intermedia artist and Fluxus co-founder Wiki: Dick Higgins Alison Knowles – Fluxus artist IG: @alisonknowlesartist Wiki: Alison Knowles Mary Jane Jacob – Curator of public art and socially engaged practice Wiki: Mary Jane Jacob Bio: SAIC Faculty Page Pablo Helguera – Artist and educator working in socially engaged art IG: @pablo_helguera Website: pablohelguera.net Book: Education for Socially Engaged Art Diana Taylor – Performance theorist; author of The Archive and the Repertoire Profile: NYU Performance Studies Book Info: Duke University Press Naomi Beckwith – Curator, formerly at MCA and Guggenheim IG: @naomibx Article: Guggenheim Chief Curator Announcement MCA Chicago (Museum of Contemporary Art) Website: mcachicago.org IG: @mcachicago School of the Art Institute of Chicago (SAIC) Website: saic.edu IG: @saic_news High Museum of Art (Atlanta) Website: high.org IG: @highmuseumofart The Louvre Website: louvre.fr IG: @museelouvre Queens Museum Website: queensmuseum.org IG: @queensmuseum Fluxus – Movement reference MoMA: Fluxus Overview - https://www.moma.org/collection/terms/fluxus#:~:text=Founded%20by%20George%20Maciunas%20and,to%20integrate%20art%20and%20life.    

Here is the new podcast episode with Casey Spooner, our first live podcast at Fotografiska in Berlin! Casey, a multifaceted artist renowned for his innovative blend of music, performance, and visual arts shares his personal, emotional story and very non - linear healing story. Spooner was born in Athens, Georgia and attended the University of Georgia and the School of the Art Institute of Chicago. He has contributed to performances with the Doorika collective and joined the experimental Wooster Group ensemble in 2007. He released solo work starting in 2010, including the album "Adult Contemporary." Spooner opened for Scissor Sisters in 2011 and released a single "I Love My Problems" in 2020. Spooner co-founded the musical duo Fischerspooner with Warren Fischer in 1998. The group released several albums and was known for their performance art and immersive enterprises. Spooner primarily wrote songs and performed vocals. In our conversation Casey takes us through his plant medicine journey and his way to search for new healing modalities. @Caseysponner Hosted on Acast. See acast.com/privacy for more information.

Episode 56 is here with Steph Hallett @shallett2.0 . We dive into Steph's journey from studying motion design at the Art Institute in Miami to creating content for the Miami Heat, and how a standout video cover letter landed her a role at Dash! She also talks about Dash Bash and shares her tips for first-time attendees, and reflects on where the industry is headed; from interactive design to the rising influence of AI.

Fawn Penn is a ceramic artist working in Chicago. In 2020, Fawn co-founded The Digs Chicago, a non-profit community ceramics studio home to 100 artists. In 2024, Fawn founded Old Friends, a contemporary art gallery. Fawn graduated from the School of the Art Institute of Chicago with a BFA (2020). https://ThePottersCast.com/1132

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily Wilson interviews painter Emilio Villalba about his personal and professional journey in the art world. Emilio discusses his decision to become a full-time artist, his creative process, and the inspirations behind his latest show, 'Paintings from Home,' at Dolby Chadwick in San Francisco. Emilio, who also teaches Canada College, also shares the challenges and rewards of his artistic practice, his background as an animator, and insights into his creative influences, notably the Bay Area figurative artists. About Artist Emilio Villalba:Born in Southern California in 1984 to Mexican immigrants, Emilio Villalba felt his artistic drive early on. Emilio initially studied animation and received his BFA in 2006 from the Art Institute of California and quickly began work in that field in his early 20's until moving to San Francisco and transitioned to the medium of painting. In San Francisco he received his MFA in Painting in 2012 from the Academy of Art University. Villalba's work reflects his studies in both abstract and figurative painting. At the core of Emilio's painting's there is pure portraiture, but great focus on the disharmony of the self and perception. Pressures from society and the toll it takes on the emotional state of the subject when confronted with benevolence. Raw emotions and the fragility of the soul. Villalba overlaps and repeats human features with a kaleidoscope effect. “Don't Worry” is the 2018 painting of his that I decided to feature. It pulls you in with a sadness at its core and doesn't want to let you go. It reminds me of the face we may give to the world, that all is ok, but the eyes tell a different story. I urge you follow the links below and discover his somber and seductive work.Visit Emilio's Website:  EmilioVillalbaArt.comFollow  on Instagram:  @Emilio_VillalbaFor more on Emilio's work at The Dolby Chadwick Gallery, CLICK HERE.--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Ep 74: Navigating Grief through Sculpture: Bobbi Meier's Story“Grief doesn't have to be gray. It can be neon, it can be soft, it can be joyful.”- Bobbi MeierSummary of the episodeIn this episode of noseyAF, we explore navigating grief through sculpture with Chicago-based artist Bobbi Meier. Bobbi's journey as an artist is intimately shaped by personal loss and the emotional complexities of caregiving, grief, and the COVID-19 pandemic. Through her tactile, vibrant sculptures—which she calls “squishy, colorful towers”—Bobbi channels emotion, joy, and memory. These works, part of a series titled Sentinels for Innocence, reflect how grief and play can coexist in powerful ways.We discuss how Bobbi's sculptural practice creates space for healing, community, and catharsis, and how her art invites both personal introspection and public dialogue. From the transformation of grief into vibrant form to the role of humor in tragedy, this conversation reveals the power of creative expression to shape identity and connect us to one another.Topics discussed:How personal loss and caregiving shaped Bobbi Meier's artThe role of play and innocence in sculptureArt as a response to grief and social-political upheavalBalancing humor and tragedy in creative practiceProfessionalism, hobby culture, and rediscovering joy in artmakingChapters:• 00:07 - Kicking Off Season Six• 06:20 - Exploring the Impact of the Pandemic on Artistic Expression• 18:21 - The Emotional Journey of Art: From Creation to Reflection• 22:42 - Art and Memory: Conversations on Impactful Pieces• 30:00 - The Power of Art and Personal Loss• 39:31 - Defining Professionalism in Art• 44:10 - The Art of Hobbies: Discovering New Passions• 48:23 - Reflections on Fear and ArtAbout Bobbi:Bobbi Meier is a Chicago-based multimedia artist whose provocative, fiber-based sculptures confront the tension between what's seen and what's suppressed. Blurring the lines between public and private, her abstract forms tap into themes of repressed sexuality, proper manners, and emotional excess. With an MFA and MAAE from the School of the Art Institute of Chicago, Bobbi's work has been featured nationally and was recognized with a prestigious Kohler Arts/Industry residency in 2019.Resources mentioned in this episodeA Tale of Today: Materialities at Driehaus MuseumJohnMichael Kohler Arts CenterEpiphany Center for the ArtsConnect with Bobbi MeierInstagram: @bobbimeierartWebsite: bobbimeierart.comConnect & Stay UpdatedVisit my website (Art, Projects & More)Follow on Instagram (@stephaniegraham)Join my Studio NewsletterListen to more episodesSupport & FeedbackShare noseyAF with...

Getting sued for playing basketball, the dark side of 'Blippy', why the president of the Art Institute got naked, and more! Chicago’s best morning radio show now has a podcast! Don’t forget to rate, review, and subscribe wherever you listen to podcasts and remember that the conversation always lives on the Q101 Facebook page. Brian & Kenzie are live every morning from 6a-10a on Q101. Subscribe to our channel HERE: https://www.youtube.com/@Q101 Like Q101 on Facebook HERE: https://www.facebook.com/q101chicago Follow Q101 on Twitter HERE: https://twitter.com/Q101Chicago Follow Q101 on Instagram HERE: https://www.instagram.com/q101chicago/?hl=en Follow Q101 on TikTok HERE: https://www.tiktok.com/@q101chicago?lang=enSee omnystudio.com/listener for privacy information.

The local impact from the Trump administration's tariffs is at $1 billion, and that's just counting five local companies so far. Crain's reporter John Pletz discusses with host Amy Guth.Plus: ADM sees profits at low end of guidance on trade uncertainty; first, United said it wouldn't fly to Newark anymore, then the reason why became clear; Golf Mill shopping center put up for sale amid plans for $440 million overhaul; and Art Institute president takes leave amid in-flight misconduct probe.

DISCLAIMER: We graciously welcome guests and organizations who may have shared opposing viewpoints on a variety of topics, so as to not perpetuate an echo chamber environment. We recognize we will not align on every topic with every guest we invite. Bruchim does not endorse other stances and philosophies we have shared in various episodes of our podcast. We encourage respectful discourse, and we are grateful for the opportunity to have interviewed Eli.In part two of our Circumcision series, we are joined by a Jewish man! Rarely do we ever have a man on our podcast, but because this is a practice performed on men— and often times, Jewish men— we needed to hear Eli's takes directly from the source.Eli Ungar-Sargon is the Founding Executive Board member of the non-profit, Bruchim, and host of the Bruchim podcast. Eli grew up in an Orthodox Jewish family in Brookline, MA. At the age of 13, he and his family moved to Israel, where he later decided not to serve in the Israel Defense Forces. Instead, he chose to study medicine in the UK. Three years into his medical degree, Eliyahu shifted his focus to filmmaking. After earning two degrees from the School of the Art Institute of Chicago, he completed his first feature-length documentary, Cut: Slicing Through the Myths of Circumcision.Bruchim's mission is to advocate for non-circumcising Jews in Jewish life, and to educate about the rich diversity of Jewish perspectives on circumcision and its alternatives.We discuss:What was the pivotal moment that shaped Eli's opinion about circumcision?Can you still be considered Jewish if you are not circumcised?What's the alternative to a bris?How do Eli's personal views about circumcision compare to Bruchim's views as an organization?Is there a positive trend of Jewish families globally opting out of circumcision?How to be critical of circumcision without entering antisemitic territory?What are common antisemitic tropes about circumcision?How do you have tough conversations with other members of the tribe about circumcision?Check out Bruchim's resources hereListen to the Bruchim podcast hereWatch Eli's documentary hereUniversity Lecture on Circumcision led by Ryan McCallister, PhDSupport the showJOIN OUR NEW, PRIVATE COMMUNITY! DONATE (Thank you!!

Mail art began in the 1960s with Ray Johnson, who used the postal system to send collages, drawings, and notes as a form of artistic exchange. In Chicago, his ideas sparked a lively community of mail art clubs, turning the city into a central space for this accessible and unconventional art form. Reset learns about the history of mail art from Sofia Canale-Parola, multi-media artist and Ray Johnson Project Cataloger for the Art Institute; Derek Erdman, founder of Friend Club (Mail Art Correspondence Club); and Marissa Yelnick, member of the Friend Club. For a full archive of Reset interviews, head over to wbez.org/reset.

This week on Lone Lobos, Xolo Maridueña and Jacob Bertrand dive into sports, TV shows, hot takes, and dinosaurs. Jacob shares his experience watching Lionel Messi play at the LAFC vs. Inter Miami game. The duo discuss their recent streaming favorites: Netflix's "I Think You Should Leave with Tim Robinson" and Apple TV+'s "The Studio." Jacob offers his perspective on mixed-review films, prompted by the release of "Death of a Unicorn." Xolo explores his newfound fascination with dinosaurs. Our Supercast subscribers get exclusive access to a bonus mini-vlog featuring Xolo's visit to the Art Institute of Chicago. Free Discord Access:https://discord.gg/KnDhbnBMCjJoin Supercast Today for the full episode:https://lonelobos.supercast.com/Follow Lone Lobos on Instagram: https://www.instagram.com/lonelobosFollow Jacob Bertrand on Instagram: https://www.instagram.com/thejacobbertrandFollow Xolo Maridueña on Instagram: https://www.instagram.com/xolo_mariduenaFollow Jordan on Instagram: https://www.instagram.com/jmkm808Follow Monica on Instagram:https://www.instagram.com/officialmonicat_http://www.heyxolo.com/Jacobs Channel: @ThreeFloating

The Art Institute's Frida Kahlo's Month in Paris: A Friendship with Mary Reynolds explores a pivotal moment in Kahlo's career. Reset sits down with Caitlin Haskell, Gary C. and Frances Comer senior curator of Modern and Contemporary Art, one of the curators behind the exhibition to learn more about the two artists' friendship and their connection to the surrealist art movement. This exhibition will be open now until Sunday, July 13, 2025. Tickets are an additional $5 in addison to a general admission. For a full archive of Reset interviews, head over to wbez.org/reset.

In this episode of PhotoWork, host Sasha Wolf has a deeply moving conversation with renowned photographer Jamel Shabazz. They talk about his lifelong love for photography and how he uses it to make a social impact. Jamel opens up about how his life experiences have shaped his approach to art and hard work. The episode also covers his book, “A Time Before Crack,” and its importance to his community at the time. It's a heartfelt conversation that goes beyond just photography. Tune in to hear the insights and stories from a photographer passionate about making a difference. https://www.jamelshabazzphotographer.com ||| https://www.instagram.com/jamelshabazz/ Jamel Shabazz is best known for his iconic photographs of New York City during the 1980s. A documentary, fashion, and street photographer, he has authored 12 monographs and contributed to over three dozen other photography related books. His photographs have been exhibited worldwide and his work is housed within the permanent collections of The Whitney Museum, The Studio Museum in Harlem, The Smithsonian's National Museum of African American History and Culture, The Fashion Institute of Technology, The Art Institute of Chicago and the Getty Museum. Over the years, Shabazz has instructed young students at the Studio Museum in Harlem's “Expanding the Walls” project, The Schomburg Center for Research in Black Culture “Teen Curator's” program, and the Bronx Museum's “Teen Council.” He is also the 2018 recipient of the Gordon Parks award for excellence in the arts and humanitarianism and the 2022 awardee of the Gordon Parks Foundation/Steidl book prize. Jamel is also a member of the photo collective Kamoinge, and a board member of En Foco, another photo collective. His goal as an artist is to contribute to the preservation of world history and culture.