Podcasts about Art Institute

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!

Cinema can be furtive and intensely beautiful—and it can leave a viewer craving more. Cinemal is Tessa Laird's passionate inquiry into the desire to write about animals and to write about art, juxtaposing the two and burrowing into the ways that films mimic the majesty, mystery, and movements of animals. Here, Laird is joined in conversation with Giovanni Aloi and Caroline Picard, editors of the Art after Nature series with University of Minnesota Press.Tessa Laird is an artist, writer, and senior lecturer at the Victorian College of the Arts, University of Melbourne. Her books include a fictocritical exploration of color, A Rainbow Reader, and a cultural history of bats, Bat, in Reaktion Books' celebrated Animal series.Giovanni Aloi teaches art history, theory, and criticism at the School of the Art Institute of Chicago. He is author or editor of many books on the nonhuman and art.Caroline Picard is a writer, cartoonist, curator, and founder of the Green Lantern Press.EPISODE REFERENCES:The Animal That Therefore I Am / Jacques DerridaDonna HarawayArthur and Corinne CantrillMichael TaussigMonocultures of the Mind / Vandana ShivaWhat Animals Teach Us about Politics / Brian MassumiLen Lye, New Zealand modernist artistSergei EisensteinElectric Animal / Akira LippitBaptiste MarizotUndrowned / Alexis Pauline GumbsSriwhana SpongPraise for the book:“Original, erudite, and playful all in one, Cinemal is not only a joy to read but estranges the very idea of cinema, and therefore of life, in ways wondrous and wise.”—Michael Taussig, Columbia University“A sparkling, engaging book, a virtuosic and thrilling interleaving of experimental cinema, philosophies of the more-than-human, and stories of animal encounters. Celebrating the variety and inventiveness of cinematic experimentation, Tessa Laird calls for us to remake our human senses in order to align better with the needs of the planet.”—Laura U. Marks, author of The Fold: From Your Body to the CosmosArt after Nature is a series edited by Giovanni Aloi and Caroline Picard that explores epistemological questions that emerge from the expanding, environmental consciousness of the humanities.Cinemal: The Becoming-Animal of Experimental Film by Tessa Laird is available from University of Minnesota Press.

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...

A haunted woman stalked by a serial killer confronts the horrors of fairy tales and the nightmares of real life in a breathtaking novel of psychological suspense by a Bram Stoker Award–winning author.About the Author Cynthia Pelayo is the Bram Stoker Award–winningauthor of Forgotten Sisters, Children of Chicago, and The Shoemaker's Magician. In addition to writing genre-blending novels that incorporate fairy-tale, mystery, detective,crime, and horror elements, Pelayo has written numerous short stories, including the collection Lotería, andthe poetry collection Crime Scene.The recipient of the 2021 International Latino Book Award, she holds a master of fine arts in writing from the School of the Art Institute of Chicago. She lives in Chicago with her family. For more information, visitwww.cinapelayo.com

Episode 535 - Lynn Greenberg and Jonathan Greenberg - Robby the Dyslexic Taxi and the Airport Adventure, what makes you different is what makes you greatRobby the taxi has dyslexia, but he doesn't let that stand in the way of doing a great job driving riders all around the city. Even though he can't read the street signs, he has a wonderful memory and knows the streets by heart. One day, a regular customer asks him to go somewhere he's never been… the airport! But Robby has solved problems like this before, and he finds his way to the airport using his unique outlook and creative skills.This delightful tale was co-written by Lynn Greenberg and her son Jonathan, who also illustrated the book. Jonathan was born with dyslexia, and with the help of Lynn, learned to overcome his learning differences through creativity and art. By sharing Robby the Dyslexic Taxi with your little one, you'll start them on their journey to learning how to solve their problems as well, whether they have dyslexia, ADHD, autism, or just need a boost in the direction of finding creative solutions for interesting, unexpected, and difficult problems.Jonathan GreenbergAuthor and IllustratorJonathan Greenberg was diagnosed with dyslexia as a young child.  While he always knew that he learned differently than others, he did not let it personify who he was.  Like most kids, Jonathan had a bookshelf full of books, however since he couldn't read them at first, he became captivated with the artwork and illustrations of every one of them.  Jonathan worked hard and overcame his disability, however, his love for art developed into his own passion. Jonathan is currently a graduate student at The School of the Art Institute of Chicago so teaming up with his mother, an advocate for neurodiverse children, to co-author and illustrate a children's book was a natural evolution.Jonathan looks forward to continuing to create and illustrate stories with neurodiverse characters while also expanding his own artistic endeavors through other mediums. To learn more about Jonathan and his work, visit Creationaire Arts.Lynn GreenbergAuthorLynn Greenberg has focused her life on being a champion for children. As a trained Attorney, Lynn spent her time in the legal world practicing family law, providing pro bono work for kids, and advocating on their behalf. When her youngest son Jonathan was diagnosed with Dyslexia, becoming his advocate, as well as others, came easy. Understanding how to gather facts and create strategic plans, Lynn developed a road map to success for her son and has since become an active supporter of all neurodivergent children. Writing a children's book with Jonathan was simply the natural progression for Lynn. Robby the Dyslexic Taxi and the Airport Adventure was born out of Lynn's desire for neurodivergent children to be able to see themselves in characters in a storyline. Lynn plans to continue creating stories relatable for all children.https://creativecabcompany.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

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.

Dr. Sterling Elliott, clinical pharmacist at Northwestern Medicine and assistant professor of orthopedics at Feinberg School of Medicine, joins Lisa Dent to discuss drug shortages, the president of the Art Institute of Chicago being under investigation, and more. Then, as always, Dr. Elliott answers questions from listeners.

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!!

A Chicago painter with an endless amount of surprises that unfold inside her landscapes of the Rococo and fantastical. Her work represents a continuation of the Chicago Imagists of the 60's with an interest in combining eccentric figuration with abstraction. “Bramson incorporates the passionate complexity of eastern mythology, the sexual innuendos of soap operas, and sometimes the happy endings of cartoons” said critic Miranda McClintic She has shown her work prolifically in prestigious galleries and Museums internationally and her work is included in over 100 major collections including the Museum of Contemporary Art in Chicago ,The national museum of American Art in Washington DC and many more. She also was a professor of art at the University of Illinois at Chicago and then a visiting artist at the School of the Art Institute of Chicago …. totaling over 40 years of being a teaching Artist.

Restaurants reporter Ally Marotti and host Amy Guth break down Crain's latest list of Chicago's new private dining spaces.Plus: Baxter spinout plants HQ in Deerfield, moving into former Caterpillar office; Mondelez has a lot of work to do if it wants to hit 2025 recycling goal; Sterling Bay seeking buyer for Loop office building as loan deadline looms; and in a legal fight over disputed artwork, judge rules against Art Institute.

In this Rewind episode, we're bringing you the audio from our recent Casual Conversations With Comic Creators livestream where Nigel talked with watercolourist and comic artist Tony Moy.The international artist gave us some great insight into his creative journey, from teaching and working in the tech industry to working with Marvel Snap, travelling for some of the biggest conventions in the US and his passion project The 442nd — a watercolour comic about the Japanese American 442nd Battalion.Originally streamed on Twitch, this conversation delves into Tony's unique artistic style, his experience teaching at the School of the Art Institute in Chicago, and what he's learnt about taking the leap to go for his dreams. Tune in for insights into the craft of making comics and bringing historical stories to life through art.You can catch Casual Conversations With Comic Creators live on Twitch each month: https://www.twitch.tv/mayamada

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.

In this episode of the CAA Conversations, Amanda Douberley, Clarissa J. Ceglio, and Alison Paul discuss the William Benton Museum of Art at the University of Connecticut, which brings student perspectives into its galleries and fosters belonging through innovative curricular partnerships. Three recent projects undertaken by classes in UConn's School of Fine Arts produced student-centered interpretive materials for the Benton's exhibitions. Each interactive project connected the museum with the campus community in a different way and cultivated a sense of belonging for both students enrolled in partner courses and student visitors to the Benton. Clarissa J. Ceglio, PhD, is Associate Professor of Digital Humanities, Associate Director of Research, for Greenhouse Studios, and Associate Director of Collaborative Research for UConn's Humanities Institute. Her research focuses on the ways in which museums, past and present, engage diverse communities in issues relevant to individual and civic thriving. She looks, too, at the affective and rhetorical uses of material, visual, and digital artifacts in constructing national and social imaginaries. Through her teaching and research, Ceglio also collaborates with museums, libraries, and communities on interdisciplinary public-facing and grant-funded projects that engage diverse audiences in topics of contemporary concern. Amanda Douberley is Curator & Academic Liaison at the William Benton Museum of Art, University of Connecticut, Storrs. She is responsible for connecting Benton's collections and exhibitions with teaching in departments across the university. She has curated numerous exhibitions at the museum, often in collaboration with faculty and other campus partners. Douberley holds a Ph.D. from the University of Texas at Austin with a focus on 20th-century American sculpture and public art. Before coming to UConn in 2018, she taught in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. Alison Paul is an Associate Professor of Art and Area Coordinator for the Illustration/Animation concentration in the Department of Art and Art History at the University of Connecticut. Paul creates illustrations and stop-motion animations using cut paper collage. Her work is fundamentally about storytelling to a variety of audiences. Paul's animations have been shown in film festivals internationally, and her children's books have received starred reviews from Publishers Weekly and Kirkus Reviews. She has curated exhibitions at the William Benton Museum of Art in Storrs and the Roots Reading Room in Providence, RI. Professor Paul has taught at UConn since 2011.

Alan Bray was born in Waterville, Maine, and grew up in Monson, a small slate-quarrying town set in the northern reaches of the Appalachians. Bray attended the Art Institute of Boston before graduating from the University of Southern Maine; he received his MFA in painting from the Villa Schifanoia in Florence, Italy. It was during this formative time in Florence that he was exposed to casein tempera on panel. Bray's work has been the subject of no less than 25 solo exhibitions and is included in the public collections of the Portland Museum of Art, ME; DeCordova Museum and Sculpture Park, MA; the Farnsworth Museum of Art, ME; Arnot Art Museum, Elmira, NY; Zillman Art Museum, ME; Leigh Yawkey Woodson Art Museum, WI; Lyman Allyn Museum of Arts, New London, CT;  Maine Savings Bank Collection, Memphis Cancer Center, Kohlberg, Kravis, Roberts, Menlo Park, CA; among others. The artist lives and works in Sangerville, Maine. As both a naturalist and a painter, Bray is drawn to what often goes unnoticed. “I paint what is right around me,” he says. “Occasionally it's a big subject, but more often it's a bird's nest or a farm pond.” Like the subtle geometry of his compositions, Bray's preference for modest, unassuming subjects—backwater meanders over mountaintop vistas—is deliberate and quietly profound. He has become an expert observer of bogs and shorelines, rock slides and fallow fields, daybreaks and dusks, the shifting edges of seasons. In the overlooked landscapes of his native Maine, Bray uncovers a deep sense of spirituality that gives his work its quiet power—transformative in its presence, not merely descriptive. Bray paints in casein, a milk-based tempera that has virtually no drying time. Necessarily, his paintings are technically complex because they consist of thousands of tiny brush strokes, built up in layers, out of which the images – the vision – advance from the foundation of a mirror-smooth, absolute void of white ground. It is a method of painting that follows directly from his method of exploring his subjects. Alan Bray, Neighbors, 2025 Casein on panel, 11 x 14 in. Alan Bray A Whisper Breaks the Silence, 2024 Casein on panel, 15 x 20 in. Alan Bray Refuge, 2024 Casein on panel, 16 x 20 in

Who are you, how are you supposed to live, and what about happiness? Answers to age-old questions are offered in classic myths about heroes, gods, and monsters, and at the ballgame. In The Ancient Wisdom of Baseball (Greenleaf, 2025), author Christian Sheppard interweaves Homer's epics with glorious stories from the green fields of America's pastime, celebrating Achilles' courage and Odysseus' cunning along with the virtues of Hall of Fame players such as Jackie Robinson and Babe Ruth and of great teams such as the 2004 Red Sox and the 2016 Cubs. Along the way, Sheppard humorously recollects trying to raise his baby daughter true to the teachings of ancient myth and his beloved game. The result is an endearing, insightful, and inspiring guide to cultivating virtue and becoming the hero of your own life's odyssey. Christian Sheppard holds a PhD in Religion and Literature from the University of Chicago where he taught the “Great Books” for over a decade. He is presently a professor of liberal arts at the School of the Art Institute of Chicago. Caleb Zakarin is editor at the New Books Network. 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

Who are you, how are you supposed to live, and what about happiness? Answers to age-old questions are offered in classic myths about heroes, gods, and monsters, and at the ballgame. In The Ancient Wisdom of Baseball (Greenleaf, 2025), author Christian Sheppard interweaves Homer's epics with glorious stories from the green fields of America's pastime, celebrating Achilles' courage and Odysseus' cunning along with the virtues of Hall of Fame players such as Jackie Robinson and Babe Ruth and of great teams such as the 2004 Red Sox and the 2016 Cubs. Along the way, Sheppard humorously recollects trying to raise his baby daughter true to the teachings of ancient myth and his beloved game. The result is an endearing, insightful, and inspiring guide to cultivating virtue and becoming the hero of your own life's odyssey. Christian Sheppard holds a PhD in Religion and Literature from the University of Chicago where he taught the “Great Books” for over a decade. He is presently a professor of liberal arts at the School of the Art Institute of Chicago. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Who are you, how are you supposed to live, and what about happiness? Answers to age-old questions are offered in classic myths about heroes, gods, and monsters, and at the ballgame. In The Ancient Wisdom of Baseball (Greenleaf, 2025), author Christian Sheppard interweaves Homer's epics with glorious stories from the green fields of America's pastime, celebrating Achilles' courage and Odysseus' cunning along with the virtues of Hall of Fame players such as Jackie Robinson and Babe Ruth and of great teams such as the 2004 Red Sox and the 2016 Cubs. Along the way, Sheppard humorously recollects trying to raise his baby daughter true to the teachings of ancient myth and his beloved game. The result is an endearing, insightful, and inspiring guide to cultivating virtue and becoming the hero of your own life's odyssey. Christian Sheppard holds a PhD in Religion and Literature from the University of Chicago where he taught the “Great Books” for over a decade. He is presently a professor of liberal arts at the School of the Art Institute of Chicago. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

Who are you, how are you supposed to live, and what about happiness? Answers to age-old questions are offered in classic myths about heroes, gods, and monsters, and at the ballgame. In The Ancient Wisdom of Baseball (Greenleaf, 2025), author Christian Sheppard interweaves Homer's epics with glorious stories from the green fields of America's pastime, celebrating Achilles' courage and Odysseus' cunning along with the virtues of Hall of Fame players such as Jackie Robinson and Babe Ruth and of great teams such as the 2004 Red Sox and the 2016 Cubs. Along the way, Sheppard humorously recollects trying to raise his baby daughter true to the teachings of ancient myth and his beloved game. The result is an endearing, insightful, and inspiring guide to cultivating virtue and becoming the hero of your own life's odyssey. Christian Sheppard holds a PhD in Religion and Literature from the University of Chicago where he taught the “Great Books” for over a decade. He is presently a professor of liberal arts at the School of the Art Institute of Chicago. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

Who are you, how are you supposed to live, and what about happiness? Answers to age-old questions are offered in classic myths about heroes, gods, and monsters, and at the ballgame. In The Ancient Wisdom of Baseball (Greenleaf, 2025), author Christian Sheppard interweaves Homer's epics with glorious stories from the green fields of America's pastime, celebrating Achilles' courage and Odysseus' cunning along with the virtues of Hall of Fame players such as Jackie Robinson and Babe Ruth and of great teams such as the 2004 Red Sox and the 2016 Cubs. Along the way, Sheppard humorously recollects trying to raise his baby daughter true to the teachings of ancient myth and his beloved game. The result is an endearing, insightful, and inspiring guide to cultivating virtue and becoming the hero of your own life's odyssey. Christian Sheppard holds a PhD in Religion and Literature from the University of Chicago where he taught the “Great Books” for over a decade. He is presently a professor of liberal arts at the School of the Art Institute of Chicago. Caleb Zakarin is editor at the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Today's episode is a really special one. I am joined by Mercedes G Quintanilla, a designer who completed every single lesson inside my course, The Interior Designer's Guide to Construction Management.  I actually offered an incentive for the first time for members inside the course, who completed it in its entirety, and Mercedes dove in headfirst. She not only went through the whole curriculum from start to finish, but she's now going back through it, to catch all of the, what she calls, nuggets. And here's why that's so powerful: it's easy to cherry-pick content to solve an immediate problem on your plate, and sometimes that is exactly what you need. But when it comes to construction management, understanding how a project unfolds, phase by phase, and your role in each phase, that's what's going to help you avoid the headaches before they hit. The flow does matter. The foundation matters. And Mercedes does get that.  Mercedes G Quintanilla is an accomplished Designer originally from El Salvador, who has cultivated a rich career blending interior design and architecture. She holds a bachelor's degree in interior design from The Art Institute of Fort Lauderdale and a master's degree in architecture from Boston Architectural College.  In 2013, after navigating the challenges of the economic downturn, she ventured into real estate investment, got her license, and founded Atlanta Investing Properties LLC, specializing in flipping residential properties that required significant transformation. This hands-on experience in project management has equipped her with invaluable skills for overseeing complex design projects and renovations, as well as managing intricate real estate transaction paperwork. After a rewarding journey in real estate, Mercedes returned to her true passion—design—in 2016, while continuing to manage real estate renovations on the side. As her real estate, remodeling, and design work deepened, particularly in residential and workspace design, Atlanta Investing Properties LLC naturally evolved into a design studio. Today, she blends her expertise with her design skills to craft unique spaces that nourish the soul and elevate well-being   Even with her background as a trained architect, her experience she recognized that there were gaps in how she approached her projects, in particular residential projects.  In today's episode, you'll hear about the areas of my course, The Interior Designers Guide to Construction Management, that surprised her, ones that challenged her, and ones that gave her the structure that she needed to take her business to the next level. You can find out more about Mercedes and follow her on Instagram here: https://mercedesquintanilla.com  https://www.instagram.com/_mercedes.quintanilla   Join the waitlist for my course here: https://www.reneedevignierdesign.com/construction-management-interior-designers  Find the full shownotes at: https://devignierdesign.com/what-you-still-need    

Riley Holloway Riley Holloway studied Graphic Design at The Art Institute of Dallas, during which time he completed a Portrait Workshop at The Florence Academy of Art in Italy. Following his studies, Holloway was awarded a 3-month artist residency at The Fairmont Hotel in Dallas, which culminated in his first solo exhibition in the hotel's gallery. The artist is a Hunting Prize finalist. Holloway has exhibited internationally, with recent notable solo exhibitions including those at backs/ash in Paris, Erin Cluley Gallery in Dallas, Bloom Galerie in Geneva, Bode Projects at the Investec Cape Town Art Fair, The African American Museum of Dallas, and First Amendment Gallery in San Francisco. Love Galore at Massey Klein Gallery is the artist's first solo exhibition in New York City. In 2023, Holloway's Records on Repeat was one of twelve works selected for acquisition by The Dallas Museum of Art (DMA) through the Dallas Art Fair Foundation. The artist's work is held in other prominent collections including The University of Oregon, Stanford University, The Dean Collection, and The Fairmont Dallas. The artist lives and works in Dallas, TX. Riley Holloway, Love Galore, 2024 Oil and oil pastel on canvas 48 x 48 x 1.25 inches Riley Holloway, Flowers for You, 2024 Oil and oil pastel on canvas 27.5 x 41.5 x 1.25 inches Riley Holloway Love on Display, I, II, III, 2024 Oil and oil pastel on canvas 10 x 20 x 1.5 each

Erica Schreiner is an experimental video and performance artist based in New York City. She shoots on VHS while performing before the camera. Erica creates allegorical, ethereal video art that combines feminine and anarchistic themes, ritual, and sensuality. Manipulating existing objects or building sets to perform in and film, Erica creates surreal, intimate worlds on VHS video, employing her clearly defined style.Erica received a Bachelor degree in Graphic Design from The Art Institute of Portland. Once in New York, she attended the School of Visual Arts Lens and Screen Art's Residency Program with a full scholarship, and went on to study performance art under the direction of Marina Abramović at MoMA PS1.Erica Schreiner has completed more than 100 performative video art pieces, including two feature films and several music videos. In 2021, Erica received a New York City Artist Corps Grant for her second feature film, The Special People.Erica's work has been exhibited internationally in galleries and film festivals, including The Museum of Modern Art, MoMA PS1, The Bill Hodges Gallery in NYC, Nick Knight's SHOWstudio, Hugh Lane Gallery in Dublin, The Portland Gay and Lesbian Film Festival, and Performance Space New York.Erica is a member of the New York Film-makers' Cooperative (est. 1961) and is on the curatorial committee at Millennium Film Workshop (est. 1967).The Skye Project documentary: https://donate.uniondocs.org/campaigns/skye-4ever/The MoMA curation I've been working on with MM Serra: https://www.moma.org/calendar/film/5807

What's it like to Photograph the Streets for half a century?

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.

Despite the first quarter often being the slowest time for Chicago's dining scene, Crain's reporter Ally Marotti talks with host Amy Guth about seven Chicago restaurants that have opened since January.Plus: Market value down billions for Chicago's largest public companies after Trump administration tariff announcement; workers say unsanitary practices persist at Abbott formula factory whose shutdown led to mass shortages; Foxtrot's rebirth has the backing of a Pritzker; and The Art Institute returned a sculpture to Nepal but obscured its connection to a wealthy donor.

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.

258. Pursuing Creative Endeavors While Mothering with Liz Bell Young   Matthew 13:52 "Therefore every scribe who has become a disciple of the kingdom of heaven is like the head of a household, who brings out of his treasure things that are new and fresh and things that are old and familiar."   **Transcription Below**   Questions and Topics We Cover: Will you tell us about your journey to becoming the creator of Haven magazine, which was distributed by Anthropologie and also how you were selected to be a contributor to the Magnolia Journal? What have you learned about wisely overlapping mothering and pursuing dreams? How does writing and sharing stories help us to take good care of one another?   Liz Bell Young is a writer, experience designer and collaborator in the Midwest. Her work appears in Magnolia Journal on the shelves, Artifact Uprising and Darling on the sites, Procter & Gamble in the studios, and Woman Camp in the woods.   A grad of The School of the Art Institute of Chicago + University of Cincinnati, LBY takes a multidisciplinary approach to her work and home. Favorite pairings: words on index cards, words next to rolling film, words covering real paper inside real books. She also adores rocks, oyster shells, the smell of hay and gasoline, old Austrian boots, coffee in small cups. But above all: her life with Ryan and their children.   Thank You to Our Sponsor: Midwest Food Bank   Other Episodes on The Savvy Sauce Related to Hospitality, Mothering, and Pursuing Creative Endeavors: 1 Finding Your Purpose as a Mom with Courtney DeFeo 9 Self-Care in Motherhood with Karen Stubbs 13 Managing Family, Career, and Health with Leslie Neslage 15 The Supernatural Power Present While Gathering at the Table with Devi Titus 43 Joys and Challenges of Motherhood with Podcaster and Author, April Hoss 46 Encouragement and Inspiration for your Motherhood Journey with Anjuli Paschall 57 Implementing Bite-Size Habits That Will Change Your Life with Author, Blogger, Podcaster, and Speaker, Kat Lee 67 Thriving at Work, Home, and Life with Author, Blogger, Podcaster, and Business Owner, Crystal Paine 75 Responding to God's Stirring with Elizabeth Pehrson, Founder of The Exchange 168 Experiencing Joy, Connection, and Nourishment at the Table with Abby Turner 178 Fresh Take on Hospitality with Jaime Farrell 202 Simple Ways to Connect with Our Kids And Enjoy Breaks with Beth Rosenbleeth (Days with Grey) 223 Journey and Learnings as Former Second Lady of the United States with Karen Pence   Connect with The Savvy Sauce on Facebook or Instagram or Our Website     Please help us out by sharing this episode with a friend, leaving a 5-star rating and review on Apple Podcasts, and subscribing to this podcast!   Gospel Scripture: (all NIV)   Romans 3:23 “for all have sinned and fall short of the glory of God,”   Romans 3:24 “and are justified freely by his grace through the redemption that came by Christ Jesus.”   Romans 3:25 (a) “God presented him as a sacrifice of atonement, through faith in his blood.”    Hebrews 9:22 (b) “without the shedding of blood there is no forgiveness.”    Romans 5:8 “But God demonstrates his own love for us in this: While we were still sinners, Christ died for us.”   Romans 5:11 “Not only is this so, but we also rejoice in God through our Lord Jesus Christ, through whom we have now received reconciliation.”   John 3:16 “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.”   Romans 10:9 “That if you confess with your mouth, “Jesus is Lord,” and believe in your heart that God raised him from the dead, you will be saved.”   Luke 15:10 says “In the same way, I tell you, there is rejoicing in the presence of the angels of God over one sinner who repents.”   Romans 8:1 “Therefore, there is now no condemnation for those who are in Christ Jesus”   Ephesians 1:13–14 “And you also were included in Christ when you heard the word of truth, the gospel of your salvation. Having believed, you were marked in him with a seal, the promised Holy Spirit, who is a deposit guaranteeing our inheritance until the redemption of those who are God's possession- to the praise of his glory.”   Ephesians 1:15–23 “For this reason, ever since I heard about your faith in the Lord Jesus and your love for all the saints, I have not stopped giving thanks for you, remembering you in my prayers. I keep asking that the God of our Lord Jesus Christ, the glorious Father, may give you the spirit of wisdom and revelation, so that you may know him better. I pray also that the eyes of your heart may be enlightened in order that you may know the hope to which he has called you, the riches of his glorious inheritance in the saints, and his incomparably great power for us who believe. That power is like the working of his mighty strength, which he exerted in Christ when he raised him from the dead and seated him at his right hand in the heavenly realms, far above all rule and authority, power and dominion, and every title that can be given, not only in the present age but also in the one to come. And God placed all things under his feet and appointed him to be head over everything for the church, which is his body, the fullness of him who fills everything in every way.”   Ephesians 2:8–10 “For it is by grace you have been saved, through faith – and this not from yourselves, it is the gift of God – not by works, so that no one can boast. For we are God‘s workmanship, created in Christ Jesus to do good works, which God prepared in advance for us to do.“   Ephesians 2:13 “But now in Christ Jesus you who once were far away have been brought near through the blood of Christ.“   Philippians 1:6 “being confident of this, that he who began a good work in you will carry it on to completion until the day of Christ Jesus.”   **Transcription**   Music: (0:00 – 0:09)   Laura Dugger: (0:10 - 1:24) Welcome to The Savvy Sauce, where we have practical chats for intentional living. I'm your host, Laura Duggar, and I'm so glad you're here.    Thank you to an anonymous donor to Midwest Food Bank who paid the sponsorship fee in hopes of spreading awareness.   Learn more about this amazing nonprofit organization at MidwestFoodBank.org.    Liz Bell Young is my kind guest for today. She is an artist and an extremely gifted writer, and I just love the title of her book, Let There Be Havens: An Invitation to Gentle Hospitality.   So, she's going to share stories and offer practical tips for fostering creativity. She's going to talk about attuning to the Holy Spirit in our lives so that we can take good care of one another. And she also offers out-of-the-box ideas for genuine hospitality that creates a haven to offer others.   Here's our chat. Welcome to The Savvy Sauce, Liz.   Liz Bell Young: (1:25 - 1:28) Thank you, Laura. It is really good to be here with you.   Laura Dugger: (1:29 - 1:48) Well, I would love to just begin here because early on in your book, there was a line that grabbed me when you wrote, “I was raised to show love for others through action, not just in theory.” So, will you start there and elaborate and share more about that?   Liz Bell Young: (1:49 - 3:56) Sure, sure. I have this little part in the book. It's titled; My Dad Gave It Away.   And so, I'll just tell that little story because I think it's pretty representative of how things ended up playing out. But I got home from school one day and my dollhouse was not at home anymore. It was gone.   And I just stood in front of it and, you know, I was so sad. Where's my dollhouse? One of my dad's co-workers had had a horrible house fire.   And so, during the day, my dad had picked a few things from the house that he thought would bless this family, who also had a little girl. And I, as soon as I understood what had happened, you know, I felt I was very okay with that. I was, I grieved my dollhouse, but I thought, you know, when you, when you have something to give to someone who has just lost, you know, they lost really everything that it is, it's so important to do.   And so, my, my dad and my mom were very, very love and action people. You know, probably even more than we talked about it. It was just a lot of, you know, somebody has low air in their tires and my dad's filling it up.   Somebody needs counsel and they take the time to give it. My mom had a friend who was blind. And so, we would spend time like organizing her, her clothing closets and her dishes just so that she could get through.   She was an attorney, but just help her like get through her day a little bit more easy. So, they were very aware of people's needs. And we learned that sometimes like that was at cost to us, you know, giving away something that we actually still could have used or taking the time to go and, you know, paint someone's house when really we wished that we could have gone to the amusement park, you know, things like that.   That, that was their love and action, you know it really affected all of us, I think in a big way. I have three sisters.   Laura Dugger: (3:56 - 4:40) So, I love that because it's the same setup for our family. We have four daughters. And so that was your book.   But I think that example that you gave just reminds me of scripture. I was reminded of recently from 1 John 3:18, that just says, “Dear children, let us not love with words or speech, but with actions and in truth.” So, it's apparent that you were raised in really good soil with parents who lived and shared this way of life, and they shared the good news of Jesus with you.   But when and how did you make your faith your own and choose to personally follow Christ?   Liz Bell Young: (4:41 - 6:02) Oh, so if I had to pinpoint a time, I would say it was like a summer camp. I think I was 11 or 12. You know, that often happens, I think, like when you're removed from your environment.   I was just at night standing next to a lake with a counselor and I just, I'd already, I already knew God. I had always sort of felt His voice and presence and whispers. And I also felt familiar with, you know, the enemy's voice.   And I was very aware, you know, I think when you're a really sensitive child sometimes, which I was, you can kind of feel the weight of the spiritual realm. And so, you know, it was a very gradual, I think, thing turning fully to the Lord. But that I do remember that moment at camp where I just was like, I want this always, I want the fullness of this.   And I want to just completely, I just felt so completely in love with Jesus. And I was just like, very, like, lean forward, eager, you know, for that. So, but of course, you know, it's, it's a, it's a process.   There was, there were highs and valleys and all over the place along the way, but that's kind of where it took off.   Laura Dugger: (6:03 - 6:34) That is really helpful. Even thinking of sensitive children, maybe that resonates with some of us as parents, you've kind of put language around what we may be experiencing. But then just going back further into your story, you're a graduate of the School of the Art Institute of Chicago.   And I'd love to hear some more about the lessons you learned there. So, what are just a couple of stories that stand out from that season of life that ended up shaping you?   Liz Bell Young: (6:35 - 8:51) Oh, I, it was a really formative time. I actually just, I did my undergrad in social work. And so this was actually graduate school, because I'd always wanted to be a writer or an artist of some sort.   And so finally, after, you know, I took some time off in between undergrad and graduate school, got back and went to the Art Institute. And one of the, the huge moments for me, it's funny for other people, it would have been like just a nothing moment. But we were, I was in a drawing class, we were doing large format charcoal.   And I'm working on a portrait, and I was working like really tediously on the nose. And my professor came up behind me and said, it's a really pretty nose. Is that what you see?   And I looked at it, and I realized I'm drawing from what I've been told a nose should look like from what I've seen from it's, she's like, I think as a writer, because, you know, I was just taking art classes, but primarily there's writers, she's like, I think as a writer, you understand that, like, you don't want to fall into cliche, but what you're doing here is, is a cliche. And so, what you haven't done is you haven't put any of the reality in it, there were no twists and turns, no shadow, barely any. And it looked pretty and commercial.   But it was not, I had not learned like the transparency of an artist yet. I'm starting to learn it with writing, but I had not learned it with a visual. And I often think about that, because, you know, as a creative, or even as a as a mother, as you know, whatever you do, I think it's very easy to just fall into the routine of what you think is the most acceptable, or what you think it's supposed to be like, or look like.   And getting, getting to that, like honest transparency, whether as a creative, or, you know, whatever you're doing, I think is so freeing, but it really took someone to point out where I was like, where I was not free.   Laura Dugger: (8:52 - 9:21) Wow, that's so helpful. Art just unlocks all kinds of things within us. So that's a really helpful example.   And this next question, I guess, kind of comes from two angles. So first, was creativity encouraged in the home you grew up in? And then also now, as a mother, how have you cultivated an atmosphere in your home, where all of the family members are free to create?   Liz Bell Young: (9:24 - 11:22) Yes, we, and I don't want to paint an idyllic childhood, because we certainly had hard points in all of this. But my mom was an art teacher, and my dad is a very, like, inventive engineer type person. So, and yet, they're very organized and orderly people.   So it was sort of this funny contrast of like, free spirit mixed with like, responsibility, you know. And so, we were allowed to sit on the counter and make up a cake recipe while my mom was making dinner, big art pieces on the driveway, we could make spontaneous choices to put up a fort under the kitchen table. So, there was a lot of like, creative flexibility in the house.   And then at the end of the day, we had to clean up like it wasn't, it wasn't like a without regulation or without responsibility to take care of the things that you own. And so I think that's what I've tried to, you know, give to our children is just like, this spirit of invent things, try things, mix things together. We did homeschool for a little bit, turns out I wasn't a great homeschool teacher.   It was very difficult for me. I thought it would be fun, but I just wanted to, you know, do art and play all day. So, I kind of missed the other stuff.   But you know, but during that time, like, you know, getting to make maps on the driveway and put rocks and sticks in places, like all of that was like, really taken from my childhood and like, you know, what I wanted to give to give our kids and still recognize like those, those boundaries of like, you know, then when we're working or, you know, I'm working in the house, like I need you to be quiet. So again, and like, not like the free for all, but still a lot of free.   Laura Dugger: (11:23 - 12:06) Well, and it makes me think of one of your quotes on page 104. I just thought this was really helpful because everybody were made in the creator's image. So, there is some creativity in each of us, but you said in the design process, it does wonders to make a physical mood board.   I realized maybe I was struggling because I had only made word lists and digital mock-ups. What I actually needed was to make the process physical. So then when I read that, my question for you, Liz, is how can we actually make that creative process physical and help our children to do the same?   Liz Bell Young: (12:08 - 14:27) Yeah. Well, I, I, I really do love physicality. I think I, I got to the point where I was working so much that I just kind of got stuck on this screen a little bit too often.   So the, what I was talking about in the book is when we were did like designing and building a house that we're now in. And I was really, you know, it was just so much it was, yeah, it was pretty bound to screens and spreadsheets and lists, like trying to like get it all organized. And I just felt like I couldn't it wasn't cohesive.   I couldn't feel it. I had to experience it. And so that's just when I, you know, began to make it physical.   And I think it's important, like you know, a lot of just, if you just think about the design world or interior design, a lot of people will do this. It's like, you know, you put your piece of tile next to the piece of carpet next to the, which I think is wonderful. But then what I recognize is if it's, if it stops there, it's, that's actually not representative of what it's going to be like.   And so, what we need to have is like the parts of our lives that that is getting added to. And so, putting in like, I mean, I just started adding in the stuff that's like always around our house. Lots of paper, of course, because I just love paper, kids homework, you know, little clay pots, the things that we that we bring to it.   So, it didn't feel like a sterile environment. So that, that was that whole like physicality and live into something. And it was literally just out, you know, on a table.   Unfortunately, it was our kitchen table. And I kept it out for way too long. So, we had to eat around it.   But yeah, I think that that's really helpful, especially for children, too. I don't, this isn't quite the parallel, but I was thinking like, you know, a lot like when you have teenagers, like I have a son who plays basketball, we, we have the best conversations when we're playing basketball together. And so just like being physical, like while we're in conversation versus just this, like, I'm trying to talk to you about this, you know, that's been really helpful for us parenting teens.   Laura Dugger: (14:28 - 16:26) Let's take a quick break to hear a message from our sponsor. Midwest Food Bank exists to provide industry leading food relief to those in need while feeding them spiritually. They are a food charity with a desire to demonstrate God's love by providing help to those in need.   Unlike other parts of the world where there's not enough food, in America, the resources actually do exist. That's why food pantries and food banks like Midwest Food Bank are so important. The goods that they deliver to their agency partners help to supplement the food supply for families and individuals across our country, aiding those whose resources are beyond stretched.   Midwest Food Bank supports people globally through their locations in Haiti and East Africa, which are some of the areas hardest hit by hunger arising from poverty. This ministry reaches millions of people every year. And thanks to the Lord's provision, 99% of every donation goes directly toward providing food to people in need.   The remaining 1% of income is used for fundraising, cost of leadership, oversight, and other administrative expenses. Donations, volunteers, and prayers are always appreciated for Midwest Food Bank. To learn more, visit midwestfoodbank.org or listen to episode 83 of The Savvy Sauce, where the founder, David Kieser, shares miracles of God that he's witnessed through this nonprofit organization. I hope you check them out today.    Even back to just a small thing that also came into mind. I loved how you said physically you would bring nature into your home for designing.   And if you didn't have access to a flower, you would grab something green in the backyard. And it just had never occurred to me that I could do that and just grab some leaves or a branch. And you even have pictures of that beautiful example in your book.   Liz Bell Young: (16:27 - 16:39) Oh, yes. I love cutting branches off trees and bringing them inside, mostly because I forget to plant flowers. And so, like, I don't, you know, I could buy them, but I love branches inside.   Laura Dugger: (16:40 - 17:03) Such a creative idea. But you've gone on to have some pretty remarkable experiences in your career. So, will you tell us about your journey to becoming the creator of Haven Magazine, which was distributed by Anthropologie, and then also how you were selected to be a contributor to the Magnolia Journal?   Liz Bell Young: (17:05 - 20:59) Oh, sure. At some point, either I read it or somebody taught me this, I can't remember, about, like, making something that you want to make before you're asked to make it. And so, as a young writer, you know, I didn't have a portfolio.   I didn't have anything impressive. I'm trying to just, like, get into something with a pub, just something published, you know, that's not just, you know, me stapling a book together. And it was, you know, it was very difficult.   I mean, trying to get into travel or food writing, you know, anything, and it's just, like, rejection, rejection. And so, I just decided then, well, I have to make it. I have to figure out a way to create it myself.   And I had talented friends who were also trying to, you know, get published or get their photography out or art, whatever it was. And so, just getting that group of people together with this vision for what I wanted Haven Magazine to be, and then just doing the work ahead of time. Nobody asked for it.   Nobody wanted it. And found somebody who believed in the vision for it, who would, like, donate paper at cost. You know, so, like, we found some things to make it, like, a lighter financial lift, for sure.   And that was the beginning. So, that, and then I forget. My husband uses a word for this that I, it's not like, I don't know, grit or gumption.   I, like, I love challenge. I love trying to get something that feels nearly impossible, and any side door, just trying, trying, trying. And so, that's how, like, getting into anthropology did take a long time.   I can't even think about, maybe two years, a year and a half. And when I finally got the first one that I made through the door, and I had somebody looking at it who, you know, had clout, had the ability to make decisions, their feedback to me was, you're on to something really beautiful here, but I think that you're actually not following, like, I think you're trying, it was, again, like, the nose in art school. I was making something that I thought, okay, this is what people want right now, except it was a little bit more about, kind of, wanderlust, and travel, and that sort of thing.   And the woman on the phone was like, I think your heart is actually really about home. And so, are you afraid to take it there? And she said, you need to also just get better.   Like, I needed to, as a publication, like, I had to tighten things that, like, it wasn't, it wasn't on par with something that they would sell. And so, I did those two things. I was like, okay, well, then we have to do it again.   This one was at higher cost, you know, didn't get the donated paper this time. And my husband and I were just like, let's just do it. It feels like it's a good direction.   And so, the second one is the one that Anthropology distributed. And I'm very thankful that they pushed me as hard as they did, because a lot of times, you're just experimenting and trying something, and you have to go through these refining processes. You have to be humble enough to be like, okay, I recognize, you're right, that's not good enough for your shelf.   And it wasn't even like she challenged me, it wasn't where it was like trying to go, you know, or she didn't say this, but maybe it's that probably wasn't going in the direction that my heart and where God was pushing me wanted it to go. So, being willing to, you know, change direction a little bit with it and, and work hard to get after it. So, that was that part.   Yeah.   Laura Dugger: (21:00 - 21:24) Yes. And before you share about Magnolia Journal, just to comment on that, I think as believers, that probably deeply resonates with all of us that we all are so eagerly anticipating coming home, like with a capital H to having, and so even displaying that in your magazine. I love that she pushed you as well, but then yes, continue with the rest of the journey.   Liz Bell Young: (21:26 - 23:49) Okay. So, then I worked at a church for about 11 years, and that was a huge process of just getting, just getting more, just getting better as a writer. You know, I had done a school, but I needed practice and, and worked with a lot of designers.   So, I was getting this kind of multidisciplinary background built up. So, helping with set design, helping with video, so kind of, you know, the fullness of storytelling. But of course, primarily, I still, writing was my number one love.   And then I, after 11 years working for this church, I just, I was finished. I knew I was finished and I had been freelancing a lot on the side. So, I've always loved to be kind of in different places, not just all, you know, kind of in one spot.   And just decided to go for it and just go full freelance. And I was really nervous, very, very nervous because I, I loved, I really amazing creatives that I was working at, really great spiritual leaders. And so, to walk away from that and just think like, am I just going to be by myself?   Like trying to, you know, meld into other teams, whoever, whoever my clients are. So, it was like, I was nervous, but I also felt like it was the right time to do it. And then very soon after that, an editor from Magnolia reached out.   They just happened to be looking for someone to write a story about camping. And I had been a big part of creating a camping experience for the church I was working for. And like, because I had been in anthropology where some of the people from Magnolia now worked.   So, there, you know, again, it was just like relationship stuff that put my work in front of a person who didn't know me. And then, you know, they had a topic that they thought, well, who do we have who knows about, you know, writing about the outdoors and camping? Oh, I heard that there's this woman in Ohio, right?   So, that's, they, and then they just asked me to write a story. And I wrote that one and then just kept writing. So, it's been years now.   Laura Dugger: (23:50 - 25:00) I love that. So, fun to hear the backstory. But in the midst of building your career, you and your husband, Ryan, also have raised three children.   And again, I just want to quote you. So, on page 56, you write, “I knew I could not be a singularly focused person. I have no desire to be a solitary novelist. I want to be right in the middle of all my people, heart full and available, hands designing books, but also packing lunches. So, on some days I worked and some mornings I wrote. Then on other days, Ryan and I would drive our kids to a farm and pick blueberries and eat cider doughnuts.”   And I just love that. It was so relatable, especially to fellow moms who maybe are also squeezing in their own side career or creative endeavor while also raising children. And so, my question from your story is this, what have you learned about wisely overlapping, mothering, and pursuing dreams?   Liz Bell Young: (25:02 - 28:40) I don't, well, oh my goodness. This, it was true trial and error, and I still am making errors. But I think that, you know, it's hard.   It's definitely hard because there's a lot of just internal struggle in that, right? Like, I have this artist passion and heart. And so, I want to be, to, you know, work in that space.   And I don't want my kids to feel like I'm choosing that over them. And I know that it's also very good for them to be a part of that, to see it come to fruition. I think I learned a little bit by taking it too far, maybe a lot bit by taking it too far.   And I don't know how to necessarily avoid that. I think, I didn't know what too far was for me. I was getting sort of more and more sleep deprived without quite recognizing that I was starting to, like, sacrifice my health.   I was starting to, you know, get kind of that dizzy vertigo stuff that can happen with stress, but you don't know it's stress. Or I didn't. I just thought, okay, I'm tired.   I need a break. But it was hard. It was hard to stop.   I just wanted to fit everything in. So, I think I took it too far and then I recognized, okay, this is what too far feels like. And so, now, I have to be way better to protect my health, my, our marriage, just to make, you know, just, like, we wanted time for that.   I was, like, you know, books aren't more important than Ryan. And so, I used to do things, like, whenever the client wanted a meeting, I would just take it. Now, what I've learned is, like, I will not overpack things.   I will make sure that it works for our schedule. And just putting, that was a big one for me. Because I'd be, like, super sweaty trying to take a Zoom call while I'm at a park with three, you know, like, it doesn't work.   Or it didn't work for me. And so, I had to learn, like, don't, like, I would set myself up for failure a little bit. And so, just reining that in and kind of having better boundaries about that.   Still getting the sleep I needed. But I create best in the morning. And so, saying, like, okay, for this season, I will get up really early in the because I want this a lot.   And then I want to be able to have breakfast with my kids. And so, I just, you know, made that adjustment. So, yeah.   I guess that's the trial and error piece. But I do think if you, like, I also have friends who have not, who have put it all aside. And so, then that's very hard.   I think sometimes, especially when their kids are all in school or, you know, like, they're empty nesters or whatever. And then, like, you haven't had, you haven't had the chance to be, like, practicing in that and exploring that. And so, then there's this sort of loss and grief felt.   So, I think it's good even if it's just, like, dabbling in it. If that's a part of who you are, and creativity, or it doesn't just have to be creativity, of course. Whatever it is, if you can at least maybe just dabble, I think it's really good.   Laura Dugger: (28:41 - 29:05) I think that's helpful. That's a message of freedom that gives us permission. And that it's not selfish to do that.   It can actually be really wise stewardship. I'm curious, too, what have your children said? Have they given any feedback or appreciation even of seeing you pursue your dreams and be all in with the family?   Liz Bell Young: (29:06 - 29:55) Oh, that's a good question. I didn't used to really bring them into what I was doing and why I was doing it. I don't know why I didn't earlier.   I have since, like, now they're also, like, older and can comprehend more of it now. I've since kind of just brought them more into, this is what I'm doing, and this is why I care about writing this story. This is why this book matters to me, or why I'm helping someone else with their project.   And that has been better. I would include them, like, sometimes they would help me make stuff, or sell stuff, or deliver things. So, they were a part of that piece of it, but not, like, the sort of the heart and mind piece of it.   Laura Dugger: (29:56 - 30:03) That's helpful. So, you brought them in where possible. I wonder if any of them will, even in some ways, follow in your footsteps.   Liz Bell Young: (30:05 - 30:29) Yeah, we'll see. We'll see. I don't know.   I think it's, well, it's just fun to watch them. I know you, you know, with your girls, you probably feel the same way. And trying not to, like, over shape them, but just, like, create the space for them to try the things that they, you know, that they feel the direction that it's toward.   Laura Dugger: (30:29 - 32:27) Yes. When was the first time you listened to an episode of The Savvy Sauce? How did you hear about our podcast?   Did a friend share it with you? Will you be willing to be that friend now and text five other friends or post on your socials anything about The Savvy Sauce that you love? If you share your favorite episodes, that is how we continue to expand our reach and get the good news of Jesus Christ in more ears across the world.   So, we need your help. Another way to help us grow is to leave a five-star review on Apple Podcasts. Each of these suggestions will cost you less than a minute, but it will be a great benefit to us.   Thank you so much for being willing to be generous with your time and share. We appreciate you. Well, I just want to draw one other point, too, that you talk about in your book.   When you talk about a woman with a pen, and that deeply resonated with me. And I see the power of a person with a pen because the written word is clearly such a gift, obviously, with God preserving the Bible for us. But in the Bible, the person with a pen can be described as a scribe.   And it makes me think of this scripture from Matthew 13:52, where Jesus says, “Therefore, every scribe who has become a disciple of the kingdom of heaven is like the head of the household who brings out of his treasure things that are new and fresh and things that are old and familiar.” So, that's where my mind goes when I read your beautiful words, Liz. But I want to hear your unique take on this.   So, how does writing and sharing stories help us to even take good care of one another?   Liz Bell Young: (32:29 - 35:10) I love that scripture that you just read, too. I think that when you decide to write that way, because I even talk about it in my journey as a writer, I wasn't always doing that. I could feel, I sort of had this melancholic spirit at times, especially in my 20s.   And I felt like I was actually pushing into places that I didn't want to be. And so, I thought, why am I bringing a reader there? Or writing in a way that I think stories can also be so sort of self-focused or insulated into that they're actually not offering generous space for the reader.   So, I think about that a lot. I think about how stories can take care of people. I mean, they're just like little portals or doorways into connection, whether it's because somebody relates to a thing that happened.   Like sometimes I think it can be that specific, but sometimes it's just, that's exactly how I felt. And I didn't know how to articulate it. I have this story that felt so big to me, but really small.   I didn't even know if I should put it in the book, but it was just about breaking a carton of eggs when I was babysitting and the shame that the parents walked in and saw the eggs all over the floor. And it was just horrible for me. Really small thing that happened that could seem really trivial to one person.   But then what it really was just about was shame and then grace for yourself and believing that you, you know, what, believing in your worth. And so that's where the story ends. It's real short.   It's like a page. Well, all my stories are short, I think. But I shared that story for some reason has been the one that most people have come back and said, I needed that story.   They didn't break a carton of eggs, but they knew that, that sense, that depth of shame. And so that's where I think stories can take care of people and then taking it to a place of hope and forgiveness and leaving enough white space, even metaphorically, for someone to enter into that story is something that I think about for taking care of someone.   Laura Dugger: (35:11 - 36:02) That's so good. And it makes me think at our church on Wednesday nights, I'm in the room with second through fifth grade girls and our theme verse two verses from Psalm 78 verses four and seven, just talking about sharing stories with the next generation and ultimately about God's power and his righteous deeds. But I think that is such a way to take care of the next generation.   Stories are powerful. We see that in Jesus. And I was so blessed by all of your stories.   So again, your book is entitled, Let There Be Havens: An Invitation to Gentle Hospitality. So, let's kind of shift gears. And will you explain and define what a haven is and just hear a little bit more about hospitality and creating havens?   Liz Bell Young: (36:03 - 38:13) Oh, sure. It kind of took me a minute to figure this out because I had a sense of what I wanted and thought that a haven and taking care of people was. And the way I describe it in the book is that it's people who shelter us, places that hold us and experiences that lift us up.   So, when I think about hospitality and taking care of people and just being like a little cove for someone, maybe it's so temporary because it's just, you know, passing on the street and it's something that you can do, or maybe it's something more permanent, you know, like the relationship you have with your children. And I think of it as like gentle and grounding. So, it's not over the top or forced or rigid, or it's not putting myself in the spotlight.   I think a lot of times hospitality and the pressures that come with it are because we've been sort of accumulating this message that it's a performance. And so, I think that gentle hospitality or havens is when you're just creating spaces for people, whether it's physical or emotional, and they feel easy in that space. They feel safe.   They feel like the grounding part is just, you know, it's a step outside the wild waters or the chaos of other things that are happening. It gives a chance to catch your breath, feel cheered for, loved by someone. And so that's what I see a haven as.   And the picture that I have in my mind, which I took a picture out in California that I put in the book, and it's just this rocky coast, but it just has that swoop of a cove, and the waters are quieter there. And I mean, you know, 10 feet away, it's not quiet, but just right there, there's a pause. It's a safe, easy place.   And so that's what I think of for haven.   Laura Dugger: (38:15 - 38:21) And what are a few practical ways that you've created havens in your own life?   Liz Bell Young: (38:26 - 40:53) I've always, well, I did want to open a little hotel when I was little. So, I always loved thinking about like overnight spaces for people. So, we really, that's, that is a very, that's sort of the obvious, I think, kind of in my mind of like, what is like creating a literal space?   We've had to do it on couches and in a van, like we haven't always had a guest room. Right now we do. But just like being resourceful and trying to think of like, what's a way to make someone feel like really taken care of in this space?   Like bring a lamp and a coffee maker, even if it's on a couch, give them a stack of books that you think that they would love and that sort of thing. So that's, that would be a haven in my mind. I think, and I learned this in social work actually, but where you like when you're with someone, okay, this is a little bit more of sort of being an emotional, but physical presence haven is like, I try not to top someone else's emotions.   So, like if they're really upset or they're grieving, instead of just like meeting them or even like going above it, like just to be more like just with them and hang out like a little bit under that. Like, again, it's not, it's not about you. It's about the company, you know, that you keep with someone.   So just being next to someone, holding onto their arm when they're grieving. I, and I've had great examples of this, but like you can tell someone awkward or alone and you just go and you just go next to them. You don't draw attention to it.   You just become present. Holding the doors for people. This is a big thing for my parents.   Like, oh, we always must hold doors for people. And the part that I, that then someone, another mentor taught me was just to like delight in people's presence. So, when somebody does come in, whether you know them or not, whether it's a child or your husband, but you've already seen him 10 minutes ago, but like still like beaming on, on them because you love that they're there and that they're with you and that they're here, you know, on earth.   And so, I think, you know, beaming is a big one for me, for taking care and showing hospitality. Yeah.   Laura Dugger: (40:54 - 41:08) That's so good. I love that word. And what are some other tips for ways that all of us can take care of the people in our lives and help them to feel known and cherished and treasured?   Liz Bell Young: (41:08 - 42:51) Oh, well, I'm sure if I was in your Sunday school class, if I was a second through fifth grade, I would feel exactly this because I think like, um, again, like you're just giving, you're giving those girls like your heart and attention for that 45 minutes or hour. And you know, you're getting, um, you're getting like eye to eye with them. And like you said, sharing stories and just like being concerned with them as children, as people.   And so that I think it's, I don't want to like make it more than it is. I think, I think that's been part of the problem with like the sort of the pressure of like, how can I be like the best caretaker or like the, like a really great hostess. And I think like the very first thing is just the position of your heart and just connecting to someone and they're telling a story and you listen to it instead of just trying to trump their story with your own, you know, or, um, giving someone something that, you know, that they would love, you know, that, that simple.   Um, and so it's just, I guess that's just paying attention, Laura, right? Like just paying attention to people and what would even just give them a moment of reprieve or a moment of joy, a moment of inclusion and trying to like follow, um, I mean, the Holy spirit will nudge the heck out of you, you know, so you can like listening to the Holy spirit and then like listening to people. And I think that that, um, it really brings you into that space of, of genuine and gentle hospitality.   Laura Dugger: (42:52 - 44:11) Well, in genuine and gentle, those are some great words to describe even how I experience you as a writer. And I'll just share one more of my favorite practical tips that you listed for ways to take care of people, I guess, because I've been a recipient of this and it instantly made me think of my own dear mom, who I adore. And she has just rocked mothering since the baby phase.   And even as we're adults now, I don't know how she does it, but she just loves so well and every season. And so, I thought of her when you said on page 28, a way to show how to take care of others. You write help a friend or sibling with a couple things on their to-do list.   Jump starts are huge gifts. And I just thought, wow, practically like thinking of being a young mother and having my mom come along and give a jump start. Those times, you know, still impact us today.   And what a great example. So, your book is full of ideas like this. And so, if anybody wants to pick up their own copy or continue learning ways that they can also create havens, where would you direct all of us to go after this conversation, Liz?   Liz Bell Young: (44:11 - 44:58) Oh, well, thanks for asking. I think the book is the best place, partly because I'm pretty quiet on social media. And I just can't find my rhythm there.   But maybe just because I love books so much, but I really try to give everything that I could think of to these specific pages. And so, I mean, you can buy it on Amazon, Target, Barnes & Noble, you know, all the book places. Magnolia will be selling it, I think, or it might be for sale there right now.   And yeah, that's it. And I have a website, lizbellyoung.com. So, if you want to visit me there too.   Laura Dugger: (44:58 - 45:23) Wonderful. Yes, we can add that link in the show notes. But that is wonderful.   And congrats. That's so exciting being sold all those places. You may be familiar that we're called The Savvy Sauce because savvy is synonymous with practical knowledge or insight.   And so, as my final question for you today, Liz, what is your Savvy Sauce?   Liz Bell Young: (45:26 - 46:20) I think it's calm. I was thinking about how I have learned even because I love to solve problems and try to figure things out. And if I can even do that with a calm spirit, even if I have to work fast and hard, but if I can have that calmness or Megan Fate has a book, Relaxed, which I haven't even read yet, but I'm excited to because I think it's this similar note where, you know, I think it's the way that Jesus like literally lived was just in this relaxed and calm state.   And so that's I've always loved calm and very drawn to it, people who are calm. And I think it's what I try to embody myself.   Laura Dugger: (46:21 - 46:54) I've gotten to be the recipient of that calm and relaxed posture from you today, but you're also so thoughtful of others and gentle and talented. And I'm leaving this chat so encouraged with the way that you've stepped into your unique design by our creator. And I just pray it inspires all of us to delight ourselves in the Lord and allow him to give us the desires of our hearts.   So, thank you very much, Liz, for being my guest today.   Liz Bell Young: (46:55 - 47:02) Thank you, Laura. It was great to be with you. It really was.   I'm so glad I got to talk to you. Likewise.   Laura Dugger: (47:03 – 50:46) One more thing before you go. Have you heard the term gospel before?   It simply means good news. And I want to share the best news with you. But it starts with the bad news.   Every single one of us were born sinners, but Christ desires to rescue us from our sin, which is something we cannot do for ourselves. This means there is absolutely no chance we can make it to heaven on our own. So, for you and for me, it means we deserve death and we can never pay back the sacrifice we owe to be saved.   We need a savior. But God loved us so much, he made a way for his only son to willingly die in our place as the perfect substitute. This gives us hope of life forever in right relationship with him.   That is good news. Jesus lived the perfect life we could never live and died in our place for our sin. This was God's plan to make a way to reconcile with us so that God can look at us and see Jesus.   We can be covered and justified through the work Jesus finished if we choose to receive what He has done for us. Romans 10:9 says, “That if you confess with your mouth Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved.” So, would you pray with me now?   Heavenly Father, thank you for sending Jesus to take our place. I pray someone today right now is touched and chooses to turn their life over to you. Will you clearly guide them and help them take their next step in faith to declare you as Lord of their life?   We trust you to work and change lives now for eternity. In Jesus' name we pray. Amen.   If you prayed that prayer, you are declaring him for me, so me for him. You get the opportunity to live your life for him. And at this podcast, we're called The Savvy Sauce for a reason.   We want to give you practical tools to implement the knowledge you have learned. So, you ready to get started? First, tell someone.   Say it out loud. Get a Bible. The first day I made this decision, my parents took me to Barnes & Noble and let me choose my own Bible.   I selected the Quest NIV Bible and I love it. You can start by reading the book of John. Also, get connected locally, which just means tell someone who's a part of a church in your community that you made a decision to follow Christ.   I'm assuming they will be thrilled to talk with you about further steps, such as going to church and getting connected to other believers to encourage you. We want to celebrate with you too, so feel free to leave a comment for us here if you did make a decision to follow Christ. We also have show notes included where you can read scripture that describes this process.   And finally, be encouraged. Luke 15:10 says, “In the same way I tell you, there is rejoicing in the presence of the angels of God over one sinner who repents.” The heavens are praising with you for your decision today.   And if you've already received this good news, I pray you have someone to share it with. You are loved and I look forward to meeting you here next time.

Phil Lashley is a sought-after framework designer specializing in visual storytelling, with over 15 years of experience creating custom visuals and animations to simplify complex concepts.   His work has been featured by major brands like The Drew Barrymore Show, Adobe, Microsoft, and HarperCollins Christian Publishing.   His passion led him to study Visual Effects and Motion Graphics at the Art Institute, though he initially struggled to grasp how commercials were produced.   Phil's approach is like a visual translator—he helps clients clarify their message and uses visuals to make it unforgettable.   Phil emphasizes the value of childlike imagination in staying creative. He believes that as adults, many people lose touch with their innocent creativity because of societal limitations.   In his work, Phil keeps his team small and virtual but ensures constant communication and support for those who work with him.   Phil also believes creative expression can be the shortcut to making ideas unforgettable and achieving impactful results.   Website: Phil Lashley TheFrameMethod LinkedIn: Phil Lashley   Check out our CEO Hack Buzz Newsletter–our premium newsletter with hacks and nuggets to level up your organization. Sign up HERE.  I AM CEO Handbook Volume 3 is HERE and it's FREE. Get your copy here: http://cbnation.co/iamceo3. Get the 100+ things that you can learn from 1600 business podcasts we recorded. Hear Gresh's story, learn the 16 business pillars from the podcast, find out about CBNation Architects and why you might be one and so much more. Did we mention it was FREE? Download it today!

self-described loner, Joel Philip Myers developed his skills in relative isolation from the Studio Glass movement. With works inspired by a vast array of topics ranging from his deep love of the Danish countryside to Dr. Zharkov, the artist avoided elaborate sculpture in favor of substantial vessels that are simple yet powerful. States Myers: “In 1964, on the occasion of an exhibition titled Designed for Production: The Craftsman's Approach, I wrote in an essay in Craft Horizons magazine: ‘My approach to glass, as it is to clay, is to allow the material an expression of its own. Press the material to the utmost, and it will suggest ideas and creative avenues to the responsive artist.' The statement was sincere and enthusiastic, but decidedly naïf. I never thought when I wrote it that it would be the one statement of mine that would continue to be repeatedly quoted, throughout my 46- year-long career, as my defining philosophy. I have no defining philosophy. I am a visual artist, not a philosopher. Thoughts and ideas and opinions do not constitute a philosophy, and my thoughts and ideas and opinions have evolved and matured and changed in the time that has passed since 1964.” He continues: “As an artist I like to think of myself as a visitor in a maze, trying to find a solution to a dizzying puzzle. As in a maze, I have, through blunders and exploration, arrived at solutions, and embraced the manifold possibilities that the material offers: plasticity, transparency, opacity, translucency. I am sensitive to the wonders of the visual world and inspired by the forms and colors of the natural world. My training as a designer has enabled me to understand and exploit organization and structure, adding a rational perspective to my intuitive, emotional self.” Myers earned his degree in advertising design from Parsons School of Design in 1954. He studied in Copenhagen, Denmark, before earning a B.F.A. and M.F.A. in ceramics from the New York State College of Ceramics at Alfred University in the early 1960s. In 1963, he was hired as design director at Blenko Glass Company in Milton, West Virginia. Captivated by the drama of this thriving glass factory, he learned glassblowing through observation and practice.  In 1970, Myers established the nascent glass department at Illinois State University in Normal, Illinois, where he served as Distinguished Professor of Art for 30 years until he retired from teaching in 1997. He is an Honorary Lifetime Member, 2012 Lifetime Achievement Award Winner and past President of the Glass Art Society, a Fellow of the American Crafts Council, and the recipient of a National Endowment for the Arts Fellowship. His work is represented in prominent museum collections around the world, including The Corning Museum of Glass, Corning, NY; The Art Institute of Chicago, Chicago, IL; the National Museum of American History, Smithsonian Institution, Washington, DC; the Smithsonian American Art Museum, Washington, D.C; The Museum of Decorative Arts, Prague; Hokkaido Museum of Modern Art, Japan; Musee des Arts Decoratifs, Palais du Louvre, Paris, France; and Musee de Design et d'Arts Appliques Contemporains, Lausanne, Switzerland, amongst others. Of his sculpture, Myers states: “My work is concerned with drawing, painting, playing with color and imagery on glass. I work with simple forms and concentrate on the surface enrichment. I prefer the spherical, three-dimensional surface to a flat one, because as I paint and draw on the glass, the glass form receives the drawing, adapts to its shape, distorts and expands it as it clothes and envelops itself in my drawing. I feel a communication with the material, and a reciprocation from my subconscious, as I continually search for new insights into my unknown self.” Enjoy this enlightening conversation with Myers, who at 91 has a near photographic memory of the events and developments that spurred the Studio Glass movement forward in its early days, as well as the ideas and processes of his personal work in glass – some of the most successful and collected of its day.  

About Mia WeinerResponding to the historical textile, Mia Weiner creates intimate declarations that explore identity, gender, and the psychology of human relationships. She hand-weaves each tapestry in her Los Angeles studio.Mia received her MFA from the School of the Art Institute of Chicago (2020) and her BFA in Fiber from the Maryland Institute College of Art in 2013. She was awarded the V&A Parasol Prize by the Victoria & Albert Museum and Parasol Foundation in 2024. Her work has been exhibited internationally including in New York, London, Los Angeles, Miami, Chicago, and Rome. Weiner is a Yaddo Fellow and her work is in the permanent collection of the Kunstmuseum Den Haag, Netherlands.

FH is a 66-year-old woman who comes in for an urgent visit because she has been feeling woozy for two days. She is very anxious, almost distraught, because she thinks these symptoms are the same as the ones that her sister had before she died of a hemorrhagic stroke.Sensible Medicine is a reader-supported publication. If you appreciate our work, consider becoming a free or paid subscriber.A few years ago, a team building exercise was proposed at a meeting I was attending. To say I hate team building exercises is a gross understatement. I usually run for the door when these are suggested. On this day, I was too slow. For the exercise, I sat back-to-back with a partner who looked at a picture projected onto a screen. I could not see the picture. He described the image, and I had to draw what he described. After 5 minutes, I shared my drawing, and we discussed what worked and what didn't.Recently, I was at the Art Institute of Chicago, one of my favorite places on Earth, preparing to help lead a group of medical students around the museum. Our guide described a similar exercise while looking at a painting of a woman in mourning. Because my mind was on medicine, it struck me how similar this exercise is to what I do in clinic.All diagnostic inquiries start with a patient experiencing a symptom. The symptom is a kind of platonic truth. What can make the search for an accurate diagnosis difficult is that a doctor seldom really has access to this truth. The doctor does not see or feel the symptom. Instead, the patient is asked to translate a sensation into language. Sometimes, the patient's linguistic abilities are inadequate for describing the symptoms. Sometimes, our language itself is not up to the task.Often there are issues working against the patient accurately describing his or her symptoms. The patient is anxious, in pain, exaggerating or minimizing symptoms, being rushed, or distracted.No one can say if a patient is poorly describing his or her symptoms; that would be like telling someone that their description of red is incorrect.FH describes her symptoms as wooziness. The doctor seeing her, Dr. S, not having a differential diagnosis for wooziness, asks her, “What do you mean woozy. FH says, “I feel floaty, foggy, out of it, off kilter.” FH is already getting a little exasperated. She is worried she might be having a fatal stroke.To make a diagnosis, a doctor must characterize the concern, translating the patient's words into a symptom with an established differential diagnosis and an associated diagnostic approach. This is where many diagnostic errors occur. This might happen if the doctor is not listening. But it also might happen if the doctor mischaracterizes what the patient is feeling because of how the patient reports the symptom. When that happens, the doctor begins evaluating a symptom that is not actually present.The approach to the dizzy patient should begin with the doctor asking, “What do you mean dizzy?” and then just sitting quietly while the patient describes the dizziness. This question is supposed to force the patient to characterize the dizziness as vertigo, orthostasis, disequilibrium, or non-specific dizziness. When Dr. S asked, “What do you mean by woozy?” she had decided that woozy meant dizzy and proceeded as if FH had complained of dizziness.The clinical interchange has just started and already the patient has translated her symptom into language and Dr. S has translated that into a medically useful symptom.After hearing wooziness described as “floaty, foggy, out of it, off kilter,” Dr. S. had had it with open ended questions. “When you feel woozy, does it feel like the room is spinning? Or does it feel like you are going to faint, you know like when your vision grays out? Or do you feel off balance, kind of drunk.”FH answered, “Yes.”At this point, we have a patient who is terribly worried about her condition and a doctor who is likely reconsidering her decision to come to work today.In my experience, this juncture is not uncommon. A patient is having symptoms that need to be addressed. The way these symptoms are being presented linguistically is not leading the doctor to a familiar, workable symptom. Dr. S has tried to shoehorn woozy into the diagnostic rubric for dizzy and, not surprisingly, has gotten nowhere.OK, tell me exactly what you were doing when you first got woozy?” asks Dr. S.“I had just woken up. I rolled from my left side to my right to grab my phone to check the time and then I just about lost it. I mean really lost it. I was woozy AND nauseated.”Dr. S. got really lucky. Although her interpretation of woozy as dizzy failed in her first two questions, she stuck with it with one more question. She hit on a suggestive answer, something that sounds like benign, paroxysmal, positional vertigo, BPPV. She performs the Dix Hallpike Maneuver and FH screams out. She has the most striking rotatory nystagmus Dr. S has ever seen.“Are you feeling the wooziness?”“Yes, this is exactly the sensation.”At this point, the symptom has become a visible, objective sign.What to take from all this? We always need to remember that reported symptoms are translations, one step removed from what is bringing a patient in. Unless you are lucky enough to be a dermatologist, when you can actually look at the problem, seeds for medical errors are sown as soon as a patient describes, translates, his or her symptom. The less specific the symptom, the more likely it is that the doctor will proceed down the wrong path. Acute onset pain at the base of the great toe might be reported as aching, burning, or searing, but you're likely to end up thinking about gout.Fatigue, on the other hand, might be describing tired, or weak, or sleepy, or short of breath. The differential diagnoses for those four translations probably includes every known diagnosis. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sensible-med.com/subscribe

It seems absurd that more than a year ahead of the next Venice Biennale, one of the major pavilions in the Giardini might be empty for next year's event. But that is the dilemma facing Creative Australia, which is responsible for that country's Biennale presentation. Last month, it announced the team comprising the Lebanese-born Sydney-based artist Khaled Sabsabi and the curator Michael Dagostino as its selection for the 2026 event—and then, within days, rescinded the invitation. An almighty row has engulfed the Australian art world to the extent that the pavilion has been thrown into doubt. So what happened? The Art Newspaper's Australian correspondent, Elizabeth Fortescue, tells Ben Luke about the debacle. A controversial auction of AI art concluded this week on Christie's website. It prompted an open letter signed by thousands of artists and creative people asking Christie's to cancel the sale and accusing the auction house of incentivising the “mass theft of human artists' work”. We talk to Louis Jebb, The Art Newspaper's managing editor, who oversees our technology coverage, about the sale and the latest developments in art and AI. And this episode's Work of the Week is Tired (1946), a terracotta sculpture made by the American-Mexican artist Elizabeth Catlett. It is part of the touring exhibition Elizabeth Catlett: A Black Revolutionary Artist, which arrived this week at the National Gallery of Art in Washington, after premiering at the Brooklyn Museum in New York last year. We discuss the sculpture with Catherine Morris, a senior curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, who co-curated the exhibition, and Lynn Matheny, the National Gallery of Art's deputy head of interpretation and curator of special projects.Elizabeth Catlett: A Black Revolutionary Artist, National Gallery of Art, 9 March-6 July; Art Institute of Chicago, 30 August-4 January 2026.Subscription offer: enjoy 3 issues of The Art Newspaper for just £3/$3/€3—subscribe before 21 March to start your subscription with the April bumper issue including our Visitor Figures 2024 report and an EXPO Chicago special. Subscribe here. https://www.theartnewspaper.com/subscriptions-3FOR3?utm_source=podcast&promocode=3FOR3 Hosted on Acast. See acast.com/privacy for more information.

Preservation Chicago has released its 2025 list of endangered buildings. Reset learns about the importance of these buildings from Jonathan Solomon, a partner in the Chicago firm Preservation Futures and associate professor at the School of the Art Institute and Adam Natenshon, director of operations and communications at Preservation Chicago. For a full archive of Reset interviews, head over to wbez.org/reset.

Episode No. 694 features artists Tacita Dean and Ilana Harris-Babou. The Menil Collection, Houston is presenting "Tacita Dean: Blind Folly," the first major museum survey of Dean's work in the United States. The exhibition examines a range of Dean's production, with a special emphasis on her drawing practice. "Blind Folly" includes new works informed by Dean's time in Houston, including her residency at (and in!) the Menil's Cy Twombly Gallery. It is on view through April 19. The Menil, MACK, and Dean have produced several books related to the Menil exhibition: Why Cy, an artist's book of images Dean produced during her residency in the Twombly Gallery. Within it is a small booklet of notes and drawings that Dean conceived during the same residency. Tacita Dean: Blind Folly, a book by exhibition curator Michelle White that addresses Dean's practice and oeuvre in a strikingly legible, almost narrative way. Why Cy is available from Amazon for about $95; White's Blind Folly is available from Amazon for about $28 - or just $10 on Kindle. Dean is one of Britain's most celebrated artists. She has been the subject of solo exhibitions at museums such as the Bourse de Commerce, Pinault Collection, Paris, the J. Paul Getty Museum, Los Angeles, and the Kunstmuseum Basel. In 2011 Dean's work FILM was shown in the Tate Modern's Turbine Hall. Harris-Babou's 2018 Reparation Hardware is included within "Project a Black Planet: The Art and Culture of Panafrica" at the Art Institute of Chicago. The exhibition, which was curated by Antawan I. Byrd, Elvira Dyangani Ose, Adom Getachew, and Matthew S. Witkovsky, survey's Pan-Africanism's cultural manifestations across 350 objects made over the last 100 or so years. It is on view through March 30. Reparation Hardware, which was made for DIS.ART, is streamed below. Harris-Babou has been included in group shows at the Wellcome Collection, London, Apex Art, New York, and at The Aldrich Contemporary Art Museum, Ridgefield, Conn. Her work is in the collections of museums such as the Whitney Museum of American Art, New York.

John Stossel- 6 Segments. John Stossel- One Year, Big Results! How Javier Milei Freed Markets, and Reduced Inflation The ESG Collapse: Al Gore, Intel, BlackRock, and the Failed Promise of “Sustainable” Investing Why Students Are Miserable: The Coddling of the American Mind The White Pill: Big Government Can Be Defeated (Just Ask the Soviet Union) Why Government Can't Build Broadband or Charging Stations… Or Anything! America's Stone Age Ports: How Unions Block Progress   One Year, Big Results! How Javier Milei Freed Markets, and Reduced Inflation One year ago, libertarian Javier Milei was elected president of Argentina. How has it worked out Amazingly well! In his first year, Milei has already cut government spending by 30%, eliminated entire ministries, fired thousands of government workers, slashed subsidies, and deregulated the economy. Today, inflation is down, the federal budget is in surplus, and the country's housing shortage crisis is over. “When Milei came into power,” says Ian Vasquez of the Cato Institute, “There was 40% poverty rate. There was an annual inflation of over 200%. Now inflation is down. The economy started to recover... Milei is showing that his libertarian policies are working." Years of big government had left Argentina in crisis. Pundits and the media claimed Milei couldn't fix any of that. They were wrong. Milei's success shows that freedom works! Maybe our politicians will learn from him. Watch this video at- https://youtu.be/tbOKfN-PeMI?si=ca1dMeZjujoE_eaV John Stossel 1.03M subscribers 104,202 views Jan 28, 2025 ? ————————— To get our new weekly video from Stossel TV, sign up here: https://www.johnstossel.com/#subscribe —————————   The ESG Collapse: Al Gore, Intel, BlackRock, and the Failed Promise of “Sustainable” Investing https://youtu.be/ZfKVCcV-WcQ?si=EzfHeJeVp76-Nsac For years, investment firms pressured companies to hire people of certain races and genders, and pushed “sustainability.” That has hurt returnsInvestments that claim to be “sustainable” have been underperforming. It's because companies that embrace “ESG” woke investing end up prioritizing politics over innovation. Intel, once a leader in the tech world, wasted millions on ESG goals. Now, it lags behind its competitors. Its stock is down more than 70%. “You have a company that's absolutely failing!” Says Matt Cole, CEO of Strive investment managing. Even BlackRock, which led the “ESG” push, now backs away from ESG investments. “What you're seeing today,” says Cole, “is ESG funds shuttering at record speed.” Our new video explains why John Stossel 1.03M subscribers 559,189 views Jan 21, 2025 . ————————— To get our new weekly video from Stossel TV, sign up here: https://www.johnstossel.com/#subscribe —————————   Why Students Are Miserable: The Coddling of the American Mind https://youtu.be/MtuKanQI5bQ?si=G5lq-gbvFq70C67L John Stossel 1.03M subscribers 432,262 views Jan 7, 2025 Many colleges no longer teach critical thinking. They teach censorship. And victimhood. These ideas make students depressed and anxious. ———— To get our new weekly video from Stossel TV, sign up here: https://www.johnstossel.com/#subscribe ———— The new documentary, “The Coddling of the American Mind,” ( thecoddlingmovie.com ) tells stories of students who fell for the indoctrination. Before college, Kimi Katiti was full of confidence. But at the Art Institute of California, she learned she was a victim. “I was introduced to microaggressions,” she explains. “This set of thought processes was really unhealthy and was making me miserable.” Lucy Kross at Stanford was taught that Ben Shapiro's ideas "put black, brown, trans, queer, and Muslim students at risk." She found that embracing woke language made her more popular. “When I started to use the vocabulary of like, marginalized, intersectional, hegemonic…People just kind of smiled a little bit more.” Over time, she, and others, concluded that such ideas hurt her. Our new video looks at their experience navigating campus indoctrination, and how they escaped it.   The White Pill: Big Government Can Be Defeated (Just Ask the Soviet Union) https://youtu.be/ELftaF5ANKg?si=dj0aJM_GW53ex3Zn John Stossel 1.03M subscribers 141,337 views Dec 17, 2024 People have been “black pilled” to think the world is doomed. Michael Malice says there's hope. In his book, “The White Pill,” he argues that tyrannical regimes, like the Soviet Union, can be toppled. ———— To get our new weekly video from Stossel TV, sign up here: https://www.johnstossel.com/#subscribe ———— Today, media and universities distort history, and push socialism. It used to be worse. The New York Times once covered up Stalin's famine, even as millions starved. Why? Malice says it's because NYT star reporter Walter Duranty liked communism's utopian promises, and status he got from his exclusive Stalin interviews. Malice says the fall of the Soviet Union should give us hope that America can resist the universities and media's brainwashing – or any tyranny that someone is “black pilled” about. Our video above explains Malice's “white pill” and why you might want to take it.   Why Government Can't Build Broadband or Charging Stations… Or Anything! The government promised to expand broadband, build hundreds of thousands of EV chargers, and to bring back semiconductor jobs. They delivered delays, waste, and failure. Why? Because they spend your money, not their own. After three years and $65 billion spent to expand broadband, not a single person has yet been connected. Also, two years into Biden's $7.5 billion EV charging stations initiative, which was supposed to build 500,000 stations, only seven have been built. The CHIPS Act promised to bring semiconductor jobs back to America. But the money got tied up in DEI quotas, climate pledges, and union mandates. When bureaucrats spend other people's money, they have little incentive to spend it carefully. Our new video explains why government should leave building things to the private sector. Watch this video at- https://youtu.be/i9ZzN3OTPHk?si=GsfkLcedkWLXzZ0Y John Stossel 1.03M subscribers 335,140 views Dec 10, 2024 ———— To get our new weekly video from Stossel TV, sign up here: https://www.johnstossel.com/#subscribe ————   America's Stone Age Ports: How Unions Block Progress At some ports, remarkable machines now move shipments with no humans in sight. That innovation upsets unions. International Longshoreman's Association president Harold Daggett says they'll soon strike if automation isn't completely banned. "If I don't get that, I'm not coming back to the table!” Daggett shouts. He has been clear about the harm that will impose on Americans. "Guy sell cars can't sell cars because the cars aren't coming in off the ships… constructions workers get laid off because the materials aren't coming in." The union boss wants to protect his union's jobs, but there's a cluelessness to his demands. Banning automation will also hurt his members. "They'll save some jobs today," economist Liya Palagashvili explains, “but they'll destroy a lot more jobs in the future." That's because shippers have choices. They'll just send goods to the more efficient, automated ports. That's just one of the things unions get wrong about automation. Our new video explores how automation will make the future safer and richer, if only unions get out of the way. Watch this video at- https://youtu.be/Z1pnLPcnyLc?si=Qc0LkeoL7W0EhnzA John Stossel 1.03M subscribers 382,897 views Dec 3, 2024 ———— To get our new weekly video from Stossel TV, sign up here: https://www.johnstossel.com/#subscribe ————   --------------------------------------------------------------------  Check out our ACU Patreon page: https://www.patreon.com/ACUPodcast   HELP ACU SPREAD THE WORD!  Please go to Apple Podcasts and give ACU a 5 star rating. Apple canceled us and now we are clawing our way back to the top. Don't let the Leftist win. Do it now! Thanks. 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We are designed to strategically impact the abortion industry through the following initiatives:… -------------------------------------------------------- Help CSI Stamp Out Slavery In Sudan Join us in our effort to free over 350 slaves. Listeners to the Eric Metaxas Show will remember our annual effort to free Christians who have been enslaved for simply acknowledging Jesus Christ as their Savior. As we celebrate the birth of Christ this Christmas, join us in giving new life to brothers and sisters in Sudan who have enslaved as a result of their faith. https://csi-usa.org/metaxas   https://csi-usa.org/slavery/   Typical Aid for the Enslaved A ration of sorghum, a local nutrient-rich staple food A dairy goat A “Sack of Hope,” a survival kit containing essential items such as tarp for shelter, a cooking pan, a water canister, a mosquito net, a blanket, a handheld sickle, and fishing hooks. Release celebrations include prayer and gathering for a meal, and medical care for those in need. 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We strive to reflect God's unconditional love. It's a sacrificial love that embraces all people regardless of race or religion. We believe that we can show His love by serving the “least of these” on this earth as Christ challenged us to do in Matthew 25. We pray that by God's grace, and with your support, we can continue to bring relief to the suffering and hope to the hopeless.   Report on Food For the Poor by Charity Navigator https://www.charitynavigator.org/ein/592174510   -------------------------------------------------------- Disclaimer from ACU. We try to bring to our students and alumni the World's best Conservative thinkers. All views expressed belong solely to the author and not necessarily to ACU. In all issues and relations, we hope to follow the admonitions of Jesus Christ. While striving to expose, warn and contend with evil, we extend the love of God to all of his children. -----------------------------------------------------------------------------------------