Podcast appearances and mentions of art lacma

Judith Fox is an award-winning fine art photographer, poet, public speaker, and business leader. The temporary service she founded in Richmond, Virginia in 1978 was purchased by a NYSE firm in 1996. During her business career, Fox served on many for-profit and non-profit boards, was a public speaker and consultant. After selling her company, Judith devoted herself full-time to photography and writing. Fox's award-winning photographs are in the permanent collections of the Los Angeles County Museum of Art (LACMA), the Virginia Museum of Fine Arts (VMFA), the Museum of Photographic Arts (MoPA), the Southeast Museum of Photography (SMP), the Harry Ransom Center, the Haggerty Museum of Art, and the Harn Museum; her work is in private and corporate collections throughout the world. Fox's photographs have been exhibited in solo and group shows in the United States and Europe. After her book I Still Do: Loving and Living with Alzheimer's was released, Fox became a global advocate for Alzheimer's awareness and education. She's been a speaker and consultant on Alzheimer's and family caregiving for corporations, non-profit associations and universities. I Still Do was named “one of the best photography books of 2009” by Photo-Eye Magazine. Judith Fox lives and works in Southern California and is currently working on a collection of poetry. Find more information at: https://www.judithfox.com/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a poem about the happiest place on earth. Next Week's Prompt: Write a poem about a time that you carried more than you ever thought possible, and include a reference to temperature. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

Episode 460 / Greg Ito Greg Ito (b. 1987, Los Angeles, CA) earned his BFA from San Francisco Art Institute. His work has been exhibited widely in solo and group exhibitions including at Institute of Contemporary Art, San Diego, CA; Long Beach Museum of Art, Long Beach, CA; Maki Gallery, Tokyo, Japan; Anat Ebgi, Los Angeles, CA; SPURS Gallery, Beijing, China; Lyles and King, New York, NY; Jeffrey Deitch, New York; NY and Yerba Buena Center for the Arts (YBCA), San Francisco, CA. Ito's work is included in the permanent collections of public institutions including the Hammer Museum, Los Angeles, CA; Crocker Art Museum, Sacramento, CA; Institute of Contemporary Art Miami (ICA Miami); K11 Art Foundation, Hong Kong; and the Los Angeles County Museum of Art (LACMA). Greg lives and works in Los Angeles, CA. his current show  MOTION PICTURES is at the Long Beach Museum of Art.

Jennifer Coates is back with me this week to cohost Part 4 of our series about researching our way to feeling better as artists. This time we go all the way back to 1306 to the Mongol empire and then zoom forward to the 1970's in the USSR and with a few more stops in between. We studied hard (and maybe got C minuses) but we ended up feeling inspired and hope you will too. The artists we spoke about:Zheng Sixiao of Southern China's Song Dynasty, "Ink Orchid" 1306, during Mongol Empire (Yuan Dynasty) under Kublai Kasimir Malevich of Russia/USSR, "Black Square" 1915, "Girls in a Field" 1928-30, "Female Worker" 1933, Russian icon paintingsThe Bulldozer Exhibition, 15 September 1974 and Oskar Rabin "Lamp and Shawl" 1974 & Lidya Masterkova "Untitled" 1974 of the Leonozovo Group, Photographs by Mikhail Abrosimov/ The Calvert JournalRead more: https://www.theguardian.com/world/2014/sep/17/bulldozer-underground-exhibition-revolutionised-russian-art https://www.edelman.com/insights/bulldozer-exhibition-my-eyewitness-account-russian-repression-6-amClaude Cahun of Jersey (Channel Islands/France), Partner/Collaborator, Marcel Moore, "I am in training, don't kiss me" 1927, "What do you want from me?" 1929, "Self Portrait" 1939The Nahua People of the Aztec Empire and the Florentine Codex: https://florentinecodex.getty.edu/ - facilitated by Franciscan Monk, Bernardino de Sahagún, Deep dive into the Codex with Dr. Diana Magaloni Kerpel, Deputy Director, Program Director, and Dr. Virginia Fields Curator of the Art of the Ancient Americas at the LA County Museum of Art (LACMA): https://www.youtube.com/watch?v=zUfg_WQwvMgGee's Bend Quilters of Alabama and their organization Souls Grown Deep: https://www.soulsgrowndeep.org/Other artists mentioned:Elisabeth Condon, Piet Mondrian**Disclaimer: As we are not historians by trade, some factual errors may have slipped through. Apologies if so **Jennifer Coates online: ⁠⁠web⁠⁠ and ⁠⁠IG⁠⁠Amy Talluto online: ⁠⁠web⁠⁠ and ⁠⁠IG⁠⁠Thank you, Jennifer! Thank you, Listeners!All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: ⁠⁠⁠⁠⁠peptalksforartists.com⁠⁠⁠⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amy's website: ⁠⁠⁠⁠⁠amytalluto.com⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Two exhibitions have just opened that look at art and tech: in London, Tate Modern's Electric Dreams: Art and Technology Before the Internet celebrates the pioneers of kinetic, programmed and digital art, and offers a kind of origin story of contemporary immersive installation. Ben Luke speaks to Val Ravaglia, the co-curator of the show, amid the blinking lights and bleeping sound. In California, meanwhile, Digital Witness at the Los Angeles County Museum of Art (Lacma) looks at how new software and hardware shaped the worlds of design, photography, and film between the 1980s and now. We speak to the exhibition's curators, Britt Salvesen, the department head and curator of prints and drawings at Lacma, and Staci Steinberger, the curator of decorative arts and design at the museum. And this episode's Work of the Week is the Harmonia Macrocosmica (1661) by Andreas Cellarius, a celestial atlas made in the Netherlands. Rebecca Feakes, the librarian at the Blickling Estate, a 17-century mansion in Norfolk, UK, run by the National Trust, tells our associate digital editor, Alexander Morrison, about the book.Electric Dreams: Art and Technology Before the Internet, Tate Modern, London, until 1 June 2025.Digital Witness: Revolutions in Design, Photography, and Film, Los Angeles County Museum of Art, until 13 July.The Harmonia Macrocosmica is the centrepiece of Journey Through the Stars, Blickling Estate, UK, until 5 January. Hosted on Acast. See acast.com/privacy for more information.

In this episode of PhotoWork with Sasha Wolf, Sasha engages in an honest and deeply personal conversation with photographer Christian Patterson. They delve into the creation of "Redheaded Peckerwood" (MACK) and his latest book, "Gong Co." (TBW Books & Éditions Images Vevey). Christian offers a thorough description of his intricate process and motivations for these long-term projects, providing nearly step-by-step insights. He also reflects on his years working with William Eggleston and the nuanced ways in which that experience did, and did not,  influence his artistic direction. http://www.christianpatterson.com  |||   https://www.instagram.com/christian.patterson/ CHRISTIAN PATTERSON was born in Fond du Lac, Wisconsin and lives in New York, New York. His visually layered work has been described as novelistic, subjective documentary of the historical past, and often deals with themes of the archive, authorship, memory, place and time. Photographs are the heart of his multidisciplinary work, which includes drawings, paintings, objects, video and sound. Patterson is the author of four books, including Sound Affects (2008), Redheaded Peckerwood (2011, Recontres d'Arles Author Book Award), Bottom of the Lake (2015,Shortlist, Aperture-Paris Photo Book of the Year), and the forthcoming Gong Co. (2024). He is a Guggenheim Fellow (2013), winner of the Grand Prix Images Vevey (2015), a New York Public Library Picture Collection Artist Fellow (2022) and James Castle House Resident (2023). His work is in the collections of the National Gallery of Art, Los Angeles County Museum of Art (LACMA), J. Paul Getty Museum, Milwaukee Art Museum, Nelson-Atkins Museum of Art and Ogden Museum of Southern Art, and his books are in many institutional artist book collections. He has lectured, mentored and taught widely. He is represented by Rose Gallery, Santa Monica, USA and Robert Morat Galerie, Berlin, Germany. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Las Vegas is the largest city in America without an art museum. But in just a few years, that will change. Heather Harmon is the Executive Director of the soon-to-come Las Vegas Museum of Art, coming to Symphony Park in 2028. She joins co-host Sarah Lohman to discuss why the museum is actually happening this time, the partnership with the Los Angeles County Museum of Art (LACMA), and what having this cultural space will mean for our community.  Learn more about the sponsors of this October 28th episode: BetterHelp - get 10% off at betterhelp.com/CITYCAST Want to get in touch? Follow us @CityCastVegas on Instagram, or email us at lasvegas@citycast.fm. You can also call or text us at 702-514-0719. For more Las Vegas news, make sure to sign up for our morning newsletter, Hey Las Vegas. Looking to advertise on City Cast Las Vegas? Check out our options for podcast and newsletter ads at citycast.fm/advertise. Learn more about your ad choices. Visit megaphone.fm/adchoices

Like many of us, India “fell” into lighting. Except India's interest is in the history of Los Angeles street lighting, from the “moon towers” of the 1880's, to the Golden Age of street lighting in the 40's and 50's to the skyrocketing of street lighting over crime concerns in the 60's. Some of these classic light poles are still in use, but alas, with copper wire theft and some of these cast iron poles being literally ripped out of the ground and taken for scrap metal, we may be losing the beauty of the past. Come on, leave the street lights alone! India Mandelkern was born in Los Angeles, California, received her B.A. from Middlebury College in Middlebury, Vermont, and received her Ph.D. in History from the University of California, Berkeley. After all this school, she made her way back to Los Angeles, where she has worked as a curator, consultant, and critic, writing on art, culture, design, and cities for a variety of publications, both local and national. From 2016-2018 she served as a fellow at the Los Angeles County Museum of Art (LACMA), where she got interested in public art and worked as the speechwriter for the CEO. During her tenure there, she created a 'field guide' to the 16 different 1920s and 1930s streetlight designs included in Chris Burden's famous streetlight sculpture located at LACMA's south entrance, Urban Light. The guide became an overnight hit at the museum, which led her down a rabbit hole, so to speak, and resulted in her latest book, Electric Moons: A Social History of Street Lighting in Los Angeles, published in late 2023 by Hat & Beard Press. In the book, she uses the streetlight as a "flashlight" to reexamine the history of LA, looking at how lighting shaped conversations about civic identity, transportation, policing, and the definition of public space, to name a few. She currently works at the Los Angeles County Metropolitan Transportation Authority (LACMTA) –– a fortuitously "streetlight-adjacent" gig –– where she oversees the agency's blog and writes about Metro construction projects and policies. 

Ep 175~ The paintings of Calida Rawles (b. 1976, Wilmington, DE; lives and works in Los Angeles, CA) merge hyper-realism with poetic abstraction. Situating her subjects in dynamic spaces, her recent work employs water as a vital, organic, multifaceted material, and historically charged space. Ranging from buoyant and ebullient to submerged and mysterious, Black bodies float in exquisitely rendered submarine landscapes of bubbles, ripples, refracted light and expanses of blue. For Rawles, water signifies both physical and spiritual healing as well as historical trauma and racial exclusion. She uses this complicated duality as a means to envision a new space for Black healing, and to reimagine her subjects beyond racialized tropes. Enhancing the seductive nature of water, the work tempers heavier subjects with aquatic serenity and geographic and temporal ambiguities, inviting multiple readings. Embedded in her titles and topographical notations in the compositions, Rawles' canvases represent an expansive vision of strength and tranquility during today's turbulent times, while insisting on the triumph of humanity. Rawles received a B.A. from Spelman College, Atlanta, GA (1998) and an M.A. from New York University, New York, NY (2000). Solo exhibitions of her work have been organized at Lehmann Maupin, New York, NY (2021); Various Small Fires, Los Angeles, CA (2020); and Standard Vision, Los Angeles, CA (2020). Her work has been featured in numerous group exhibitions including Generation*. Jugend trotz(t) Krise, Kunsthalle Bremen, Bremen, Germany (2023); Rose in the Concrete, San Francisco Museum of Modern Art, San Francisco, CA (2023); 12th Berlin Biennale for Contemporary Art, Berlin, Germany (2022); Black American Portraits, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2021), Spelman College Museum of Fine Art, Atlanta, GA (2023); A Shared Body, FSU Museum of Fine Arts, Tallahassee, FL (2021); View From Here, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2020); Art Finds a Way, Norton Museum of Art, West Palm Beach, FL (2020); Visions in Light, Windows on the Wallis, Beverly Hills, CA (2020); Presence, Fullerton College Art Gallery, Fullerton, CA (2019); With Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA (2017); Sanctuary City: With Liberty and Justice for Some, San Francisco Arts Commission, San Francisco, CA (2017); LACMA Inglewood + Film Lab, Inglewood, CA (2014); and Living off Experience, Rush Arts Gallery, New York, NY (2002). Rawles created the cover art for Ta-Nehisi Coates's debut novel, “The Water Dancer,” and her work is in numerous public and private collections, including Dallas Museum of Art, Dallas, TX; Los Angeles County Museum of Art (LACMA), Los Angeles, CA; Pérez Art Museum Miami, Miami, FL; Spelman College Museum of Fine Art, Atlanta, GA; and Studio Museum in Harlem, New York, NY. Photo credit: Marten Elder Artist https://www.lehmannmaupin.com/artists/calida-rawles/featured-works Lehmann Maupin https://www.lehmannmaupin.com/exhibitions/calida-rawles2 Various Small Fires https://www.vsf.la/exhibitions/35-calida-rawles-a-dream-for-my-lilith/overview/ Cultured Magazine https://www.culturedmag.com/article/2023/02/08/calida-rawles-painter-spelman-college-black-portraiture-exhibition Gagosian https://gagosian.com/quarterly/contributors/calida-rawles/ NYTimes https://www.nytimes.com/2021/04/09/t-magazine/calida-rawles-portrait.html The Cut https://www.thecut.com/2020/03/the-artist-whose-paintings-have-captivated-ta-nehisi-coates.html The Art Newspaper https://www.theartnewspaper.com/2022/02/19/calida-rawless-mural-makes-waves-at-new-inglewood-stadium This is Colossal https://www.thisiscolossal.com/2023/11/calida-rawles-a-certain-oblivion/ ARTnews https://www.artnews.com/art-news/artists/calida-rawles-water-paintings-lehmann-maupin-1234584059/

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. Today, Emily chats with Patrick Martinez, a mixed media visual artist from Los Angeles.About Artist Patrick Martinez:Patrick Martinez maintains a diverse practice that includes mixed media landscape paintings, neon sign pieces, cake paintings, and his Pee Chee series of appropriative works. The landscape paintings are abstractions composed of Los Angeles surface content; e.g. distressed stucco, spray paint, window security bars, vinyl signage, ceramic tile, neon sign elements, and other recognizable materials. These works serve to evoke place and socio-economic position, and further unearth sites of personal, civic and cultural loss.Patrick's neon sign works are fabricated to mirror street level commercial signage, but are remixed to present words and phrases drawn from literary and oratorical sources. His acrylic on panel Cake paintings memorialize leaders, activists, and thinkers, and the Pee Chee series documents the threats posed to black and brown youth by law enforcement.Patrick Martinez (b. 1980, Pasadena, CA) earned his BFA with honors from Art Center College of Design in 2005. His work has been exhibited domestically and internationally in Los Angeles, Mexico City, San Francisco, Minneapolis, Miami, New York, Seoul, and the Netherlands, and at venues including the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, the Brooklyn Museum, Crystal Bridges Museum of American Art, the Studio Museum in Harlem, the Smithsonian National Portrait Gallery, the Smithsonian NMAAHC, the Tucson Museum of Art, the Buffalo AKG Museum, the Columbus Museum of Art, the Vincent Price Art Museum, the Museum of Latin American Art, the Crocker Art Museum, the Rollins Art Museum, the California African American Museum, the Nerman Museum of Contemporary Art, and El Museo del Barrio, among others.Patrick's work resides in the permanent collections the Whitney Museum of American Art, the Broad Museum, Crystal Bridges Museum of American Art, the Museum of Contemporary Art Los Angeles (MOCA), the Rubell Museum, the Smithsonian National Museum of American History, the California African American Museum, the Autry Museum of the American West, the Benton Museum of Art at Pomona College, the Nerman Museum of Contemporary Art, the Smithsonian National Museum of African American History and Culture, the Los Angeles County Museum of Art (LACMA), the Tucson Museum of Art, the Pizzuti Collection of the Columbus Museum of Art, the University of North Dakota Permanent Collection, the JPMorgan Chase Art Collection, the Crocker Art Museum, the Escalette Permanent Collection of Art at Chapman University, the Manetti-Shrem Museum of Art at UC Davis, the Rollins Museum of Art, and the Museum of Latin American Art, among others.Patrick was awarded a 2020 Rauschenberg Residency on Captiva Island, FL. In the fall of 2021 Patrick was the subject of a solo museum exhibition at the Tucson Museum of Art entitled Look What You Created. In 2022, Patrick was awarded a residency at the Atlantic Center for the Arts. This year, Patrick's suite of ten neon pieces purchased by the Whitney Museum of American Art is on yearlong exhibition installed in the Kenneth C. Griffin Hall in the entrance of the Museum. In September 2023, Patrick opened a solo exhibition at the ICA San Francisco titled Ghost Land and in November of 2023 Patrick will exhibit in Desire, Knowledge, and Hope (with Smog) at The Broad Museum in Los Angeles, CA. Patrick will be the subject of an expansive solo exhibition at the Dallas Contemporary opening in April 2024. Patrick lives and works in Los Angeles, CA and is represented by Charlie James Gallery, Los Angeles.CLICK HERE to see more of Patrick's work. Follow Patrick on Social Media: @Patrick_Martinez_StudioFor more info on his Ghost Land Exhibit, 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

From bingo to the Bellagio, Elaine Wynn's life hasn't followed what one might term a “conventional” path.  She and her now-ex-husband Steve Wynn were introduced by their fathers when both were very young. They started their lives together running Steve's father's bingo business; a series of opportunities took them to Las Vegas, where they built some of the most famous resorts in that city. Elaine was inducted into the Gaming Hall of Fame in 1999. Despite a very successful life, Elaine never lost focus on equity for those less fortunate. She's particularly interested in the lives of children, helping children affected by poverty gain access to support through the organization Communities in Schools (CIS). CIS recognizes that children can't succeed in school if they aren't safe, nurtured, well-fed, and empowered — ideals that so mirrored Elaine's own that she founded CIS Nevada.   Elaine has served in many governmental and organizational positions, always with the aim of finding ways to help people thrive. She's been incredibly generous with her time, intelligence, and money, and her beliefs about morality and ethics are reflected in her service to others. We hope you'll listen to the brilliant Elaine Wynn as she and Charlie muse on the urgency of climate change, leadership, community service vs individualism, philanthropy and power, access to resources, the necessity of art, and so much more.  You can find out more about Elaine Wynn on her profile page on the Communities in Schools website. Organizations mentioned: Communities in Schools: www.communitiesinschools.org  LA County Museum of Art (LACMA): lacma.org

Analia Saban talks to Ben Luke about her influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped her life and work. Saban, who was born in 1980 in Buenos Aires and now lives in Los Angeles, examines, unpacks and plays with the medium of painting. She explores its materiality, its iconography and its history, reflecting on the origin and hue of colour pigments and the properties of media, the weave of canvas, the nature of brushwork, the conventions of depiction, and more. Her approach is consistent with the strategies of conceptual art yet it is abundantly physical and visual. She discusses her decision to move her studies from film to art after an epiphanic visit to New York museums; her profound friendship with her tutor at the University of California, Los Angeles, John Baldessari, and how it affects the presence of humour in her work; the perfect balance in the music of Keith Jarrett; and how Julia Kristeva's writings on abjection prompted some of the darker thoughts in her work. Plus, she gives insight into her life in the studio, and answers our usual questions, including the ultimate: what is art for?Analia Saban: Synthetic Self, Sprüth Magers, Los Angeles, and Tanya Bonakdar Gallery, Los Angeles, 15 September-28 October; Group exhibitions: Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art (Lacma), 17 September–21 January 2024; Eternal Medium: Seeing the World in Stone, Lacma, until 11 February 2024; Chosen Memories: Contemporary Latin American Art from the Patricia Phelps de Cisneros Gift and Beyond, The Museum of Modern Art, New York, until 9 September. Hosted on Acast. See acast.com/privacy for more information.

Luis C. Garza began his artistic career as a photojournalist recording the tumultuous social events of the 1960s and 1970s for La Raza magazine—the journalistic voice of the Chicano movement in Los Angeles. During that time, he was a film and theater arts student at UCLA whose images captured the attention of television executives, leading to his new career as a producer-director for the Emmy-award series Reflecciones/Reflections, and over 50 documentary projects and primetime shows for Los Angeles affiliates of ABC and NBC, including a one-hour special for the exhibition Treasures of Mexico from the Mexican National Museums, which was broadcast live from the Los Angeles County Museum of Art (LACMA) in 1978.

Today I am joined by Chynna Monforte (she/they) is a queer, first-generation Mexican-Guatemalan artist and designer born in Alaska, and raised in occupied Tongva land Los Angeles.  As founder of Monforte Studio, Chynna, brings years of experience in the arts and custom website builds since 2017. Prior to founding Monforte Studio, Chynna worked in the arts education sector with museums such as Los Angeles County Museum of Art (LACMA) and The Getty, and non-profits like Self Help Graphics and ArtworxLA. Today, Chynna is a revolutionary in the design space. Working with badass entrepreneurs across multiple categories, Chynna helps bring dreams and legacies to life through their design. Their relentless commitment to change is what fuels Monforte Studio's mission. And their gentle, empathetic nature is what makes collaborating with Monforte Studio an experience unlike any other. Tune in to learn more about Chynna's journey! Follow Monforte Studios: Instagram: https://www.instagram.com/monfortestudio/ Website: https://monforte.studio/ Follow Werk Mija: Instagram: https://www.instagram.com/werkmija/  TikTok: @werkmija Facebook: https://www.facebook.com/werkmija Website: https://www.werkmija.com Buy Me Cafecito (CLICK HERE): Allow me to continue creating content for our comunidad. Your contribution will allow The Werk Mija Podcast to invest in equipment for production and allow us to hire support to help

Allison Berg, Founder and Executive Director of the A&L Berg Foundation, is a lawyer turned arts and culture writer, philanthropist, museum trustee, art collector,  producer  and more. Her work is informed by the desire to ensure everyone has access to equity in career pathways along with inclusive platforms for their narratives. Allison is LALA Magazine's former executive editor and has contributed to Design LA, Hamptons, Gotham, Cultured and C magazines. She was a Producer of “The Art of Making It” documentary and is a Trustee with the Boards of the Los Angeles County Museum of Art (LACMA,) American Friends of the Israel Museum (AFIM), The Mistake Room (TMR) and The Los Angeles Football Club Foundation. She and Zuckerman discuss getting to know art over time, being present, securing equity for under represented populations, why she serves as a museum trustee, making art accessible, connecting art and athletes, and how art creates understanding!

Hulda Guzman in the studio, 2023 Hulda Guzmán (b. 1984, Santo Domingo, Dominican Republic) depicts her tropical surroundings as she explores perspective and reality. Situated between Impressionistic landscape, psychological autobiography, Mexican muralism, Caribbean folk traditions, endearing comedy, and magical realism, Guzmán's work engenders an emphatic compassion for the united forces of the living, celebrated through the act of painting. Guzmán received a BA from Altos de Chavón School of Design in the Dominican Republic and went on to study photography and mural painting at the National School of Visual Arts, Mexico. Her work is included in the permanent collections of the Baltimore Museum of Art, MD; Dallas Museum of Art, TX; Denver Art Museum, CO; He Art Museum (HEM), Guangdong, CN; Institute of Contemporary Art, Miami, FL; Los Angeles County Museum of Art (LACMA), CA; Museu de Arte de São Paulo (MASP), São Paulo, Brazil; Pérez Art Museum Miami, FL; and San Francisco Museum of Modern Art (SFMOMA), CA, among others. Guzmán has been featured in the Dominican Republic's pavilion at the 58th International Art Exhibition at the Venice Biennale. Guzmán has shown with Stephen Friedman Gallery, London, UK; Alexander Berggruen, NY; Anat Ebgi, Los Angeles, CA; Dio Horia Gallery, Mykonos; Arte BA, Buenos Aires; Galería Machete, Mexico City; Gallery Ariane Paffrath Dusseldorf; and at institutions such as the Denver Art Museum, CO; Museo de Arte Moderno, Santo Domingo; the Pérez Art Museum Miami, FL; Museo de Arte de São Paulo, Brazil; Museo de Arte y Diseño Contemporáneo, Costa Rica; and Art Museum of the Americas, Washington, DC. The artist lives and works in Santo Domingo, Dominican Republic. Hulda Guzmán, Hojas de fuego, 2023, acrylic gouache on linen, triptych overall: 48 1/8 x 88 1/2 in. (122.2 x 224.8 cm.), each: 48 1/8 x 29 1/2 in. (122.2 x 74.9 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni Hulda Guzmán, Pets. Are they real?, 2023, acrylic gouache on linen, 48 x 29 5/8 in. (121.9 x 75.2 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni Hulda Guzmán, Eddy y Bo 1, 2023, acrylic gouache on linen, 60 x 37 in. (152.4 x 94 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni

Alexandra Grant is a Los Angeles-based artist who through an exploration of the use of text and language in various media—painting, drawing, sculpture, film, and photography—probes ideas of translation, identity, dis/location, and social responsibility. Grant frequently collaborates with other artists, writers, and philosophers, often going so far as to have specific texts written as the impetus to her intricate paintings and sculptures. She has collaborated with author Michael Joyce, actor Keanu Reeves, artist Channing Hansen, and the philosopher Hélène Cixous, amongst others. Alexandra has exhibited widely at galleries including Lowell Ryan Projects, Los Angeles; Honor Fraser Gallery, Los Angeles; Night Gallery, Los Angeles; Galerie Lelong, New York City; Galerie Gradiva, Paris; and Harris Lieberman Gallery, New York City; and at institutions such as Museum of Contemporary Art (MOCA), Los Angeles, CA; The Broad Museum at Michigan State University, East Lansing, MI; The Contemporary Museum, Baltimore, MD; and Los Angeles County Museum of Art (LACMA), Los Angeles, CA. Her work has been written about in the Los Angeles Times, White Hot Magazine, Frieze, Art in America, and Artforum amongst others. Awards include the COLA Individual Artist Fellowship and The Pollock-Krasner Foundation Grant. Her works are included in museum collections such as the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles, CA; the Orange County Museum of Art, Costa Mesa, CA; and the Blanton Museum of Art, Austin, TX. She is the creator of the grantLOVE project, which has raised funds for arts-based non-profits including; Heart of Los Angeles (HOLA), Project Angel Food, Art of Elysium, 18th Street Arts Center, and LAXART. In 2017, Grant cofounded X Artists' Books, a publishing house for artist-centered books. Publications have included collaborations with Diane di Prima, George Herms, Eve Wood, Etel Adnan and Lynn Marie Kirby among others, and are available online and in bookstores throughout Los Angeles, New York, and Paris. Sound & Vision is sponsored by Golden Artist Colors, Fulcrum Coffee and the New York Studio School. Why I Make Art: Contemporary Artists' Stories About Life & Work: From the Sound & Vision Podcast by Brian Alfred by Atelier Éditions Available here: https://atelier-editions.com/products/why-i-make-art

Tristan Duke is transdisciplinary artist known for synthesizing methodologies from disparate fields to create startling inventions, sublime aesthetic experiences, and new modes of inquiry. He is the inventor of the hologram vinyl record ¬and has created original hologram artwork for albums and soundtrack releases ranging from Jack White and Guns ‘n Roses to Star Wars. He is Co-founder of the Optics Division a collective devoted to recontextualizing photography as a land-based medium and social practice. He has lectured widely, including at the MIT Media Lab, Getty Museum, the de Young Museum, the Exploratorium, and others. His work has been exhibited internationally including: The 59th Venice Biennale Collateral Exhibition; Los Angeles County Museum of Art (LACMA); The Exploratorium, DePaul Art Museum, The George Eastman Museum; Massachusetts Museum of Contemporary Art (MASS MoCA); Museum of Contemporary Art Detroit (MoCAD); Les Rencontres d'Arles; and the Smithsonian Hirshhorn Museum. You can find Tristan on Instagram @duke_tristan. Website: https://www.tristanduke.com Instagram: https://www.instagram.com/duke_tristan/ For show notes and transcript visit: https://kk.org/cooltools/tristan-duke-transdisciplinary-artist-part-2/ If you're enjoying the Cool Tools podcast, check out our paperback book Four Favorite Tools: Fantastic tools by 150 notable creators, available in both Color or B&W on Amazon: https://geni.us/fourfavoritetools  

Tristan Duke is transdisciplinary artist known for synthesizing methodologies from disparate fields to create startling inventions, sublime aesthetic experiences, and new modes of inquiry. He is the inventor of the hologram vinyl record ¬and has created original hologram artwork for albums and soundtrack releases ranging from Jack White and Guns ‘n Roses to Star Wars. He is Co-founder of the Optics Division a collective devoted to recontextualizing photography as a land-based medium and social practice. He has lectured widely, including at the MIT Media Lab, Getty Museum, the de Young Museum, the Exploratorium, and others. His work has been exhibited internationally including: The 59th Venice Biennale Collateral Exhibition; Los Angeles County Museum of Art (LACMA); The Exploratorium, DePaul Art Museum, The George Eastman Museum; Massachusetts Museum of Contemporary Art (MASS MoCA); Museum of Contemporary Art Detroit (MoCAD); Les Rencontres d'Arles; and the Smithsonian Hirshhorn Museum. You can find Tristan on Instagram @duke_tristan.   Website: https://www.tristanduke.com   For show notes and transcript visit: https://kk.org/cooltools/tristan-duketransdisciplinary-artist-part-1/   If you're enjoying the Cool Tools podcast, check out our paperback book Four Favorite Tools: Fantastic tools by 150 notable creators, available in both Color or B&W on Amazon: https://geni.us/fourfavoritetools

Ep.137 features Hayv Kahraman. She was born in Baghdad, Iraq in 1981 and lives and works in Los Angeles. Recent solo exhibitions include Gut Feelings, The Mosaic Rooms, London (2022); Touch of Otherness, SCAD Museum of Art, Savannah (2022); Not Quite Human: Second Iteration, Pilar Corrias, London (2020); Shangri La Museum of Islamic Art, Culture, and Design, Honolulu, HI (2019); De La Warr Pavilion, Sussex, UK (2019); Pomona College Museum of Art, Claremont, California (2018); and Contemporary Art Museum St, Louis, St. Louis, Missouri (2017). Recent group exhibitions include Reflections: Contemporary Art of the Middle East and North Africa, British Museum, London (2021); Blurred Bodies, San Jose Museum of Art, San Jose (2021); New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum, Berkeley (2021); Henry Art Gallery, Seattle (2019); ICA Boston (2019); and MASS MoCA, North Adams, (2019). Kahraman's work is in several important international collections including the British Museum, London, UK; Museum of Contemporary Art, San Diego, California, US; Los Angeles County Museum of Art (LACMA), California, US; Birmingham Museum of Art, Alabama, US; The Rubell Family Collection, Florida, US; The Barjeel Art Foundation Sharjah, UAE; MATHAF: Arab Museum of Modern Art Doha, Qatar; Pizzuti Collection of Columbus Museum of Art, Ohio, US; North Carolina Museum of Art, Raleigh, US; Pérez Art Museum Miami, Miami, US. Photo ~ Courtesy the artist and Pilar Corrias, London Artist https://hayvkahraman.com/ Book https://www.rizzoliusa.com/book/9780847862627/ Pilar Corrias Gallery https://www.pilarcorrias.com/artists/hayv-kahraman/2/ Jack Shainman https://jackshainman.com/artists/hayv_kahraman Vielmetter https://vielmetter.com/artists/hayv-kahraman The Third Line https://thethirdline.com/ ICASF https://www.icasf.org/exhibitions/7-hayv-kahraman Hyperallergic https://hyperallergic.com/tag/hayv-kahraman/ Financial Times https://www.ft.com/content/ba61f731-e007-4c6c-922f-bc93dd4ad4c8 Perez Art Museum Miami https://www.pamm.org/en/artwork/2020.093/ Rubell Museum https://rubellmuseum.org/nml-hayv-kahraman Art Forum https://www.artforum.com/print/reviews/201909/hayv-kahraman-81120 SCAD https://www.scadmoa.org/exhibitions/the-touch-of-otherness NPR https://www.npr.org/2019/11/27/770452266/iraqi-american-artist-hayv-kahraman-is-building-an-army-of-fierce-women Art Review https://artreview.com/hayv-kahraman-gut-feelings-review/ The Guardian https://www.theguardian.com/artanddesign/2022/feb/21/hayv-kahraman-i-was-brainwashed-into-thinking-anything-euro-american-centric-is-the-ideal Wikipedia https://en.wikipedia.org/wiki/Hayv_Kahraman jdeed Magazine http://jdeedmagazine.com/hayv-kahraman-exhibits-gut-feelings-at-the-mosaic-rooms/ Mosiac Rooms https://mosaicrooms.org/event/hayv-kahraman/

Nuestra Palabra Presents: Preview of “Images & Words: Media's Influence on the Struggle for Civil Rights” Tony Diaz discusses with the Rothko Chapel team about the MLK tribute on Jan 15th and their work supporting this effort. Kelly Johnson (she/they) is an arts and culture organizer, curator, and writer. She is the Director of Public Programs at the Rothko Chapel, a sacred art space dedicated to community engagement through contemplation and action at the intersections of art, spirituality, and social justice. Kelly has organized programming at the Chapel for 6 years, including concerts and performances, lectures, conversations, meditations, and conferences, covering issues such as racial equity, climate justice, civil rights, and more. They earned an MFA in Curatorial Practice from Maryland Institute College of Art in Baltimore, MD, and a BA in Art History from Southwestern University in Georgetown, TX. Kelly is a board member of Houston's Center for the Healing of Racism and completed a New Leaders Council (NLC) Houston Fellowship in 2022. Devin Allen, Baltimore native is a self-taught artist who gained national attention when his photograph of the Baltimore Uprising was published on the cover of Time magazine in May 2015, making him only the third amateur photographer to have his work featured in the publication. Following the untimely deaths of George Floyd, Tony McDade, and Breonna Taylor, his photograph from a Black Trans Lives Matter protest was published on the cover of Time magazine in June 2020. In 2017, he was named the first fellow of the Gordon Parks Foundation Fellowship and was nominated for an NAACP Image Award as a debut author for his book, A Beautiful Ghetto (Haymarket Books, September 2017). In 2020, he was named an ambassador for Leica Camera AG—an international, premium manufacturer of cameras and sports optics. His photographs have been published in New York Magazine, The New York Times, The Washington Post, and Aperture; and are also in the permanent collections of the National Museum of African American History & Culture in Washington, D.C., the Reginald F. Lewis Museum, the Studio Museum in Harlem, and The Jule Collins Smith Museum of Fine Art. He is the founder of Through Their Eyes, a youth photography educational program, and recipient of an award from The Maryland Commission on African American History and Culture for dynamic leadership in the Arts and Activism. His new book, No Justice, No Peace: From the Civil Rights Movement to Black Lives Matter, was released in October under the Legacy Lit imprint of Hachette Book Group. Lisa Volpe, Associate Curator of Photography, Museum of Fine Arts, Houston Lisa Volpe is the Associate Curator, Photography at the Museum of Fine Arts, Houston. Before arriving in Houston, she was the Curator of the Wichita Art Museum where she oversaw all areas of the museum's collection. Additionally, she held various curatorial roles at the Santa Barbara Museum of Art (SBMA), and fellowships at the Los Angeles County Museum of Art (LACMA) and the Cleveland Museum of Art. Writer and activist Tony Diaz, El Librotraficante, hosts Latino Politics and News and the Nuestra Palabra Radio Show on 90.1 FM, KPFT, Houston's Community Station. He is also a political analyst on “What's Your Point?” on Fox 26 Houston. He is the author of the forthcoming book: The Tip of the Pyramid: Cultivating Community Cultural Capital. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Instrumental Music Produced courtesy of Bayden Records Website | baydenrecords.beatstars.com

“Now I'm making something that I didn't imagine. It's not going like I imagined, but it's going. And then when you finish the Object Thing book, then it has the power to take you on a journey that you never would have dreamt had you kept the idea in your interior museum. And then that shifts your imagination. You have more, more artwork that's collected in the Interior Museum and but, and then as you grow older, as a maker, You see that distinction, right? The distinction between the beautiful interior museum and the museum in reality of things that you've actually made and done and the stories attached to the making and doing that have changed your life.” I am joined today by my dear friend, Alexandra Grant. Alexandra is a fascinating person and talented visual artist whose work examines language and written texts through painting, drawing, sculpture, video, and other media and has been exhibited at institutions across the country: at Los Angeles County Museum of Art (LACMA), the Museum of Contemporary Art, Los Angeles (MOCA), the Pasadena Museum of California Art, among others. In 2008, she created the grantLOVE Project, which has raised awareness and funds for various arts nonprofits through the gift and sale of her iconic LOVE artwork. In 2017, she and her life partner, Keanu Reeves, co-founded X Artists' Books, an artist-centric publishing house, helping artists and readers alike explore the creation of artwork and ideas outside the traditional model of book publishing. If that wasn't enough, Alexandra is currently leading the first NFT project of the Hollywood Sign for the Hollywood Chamber of Commerce and is an Advisor to the Future Verse Foundation. She joins me today to meditate on art and love—as we celebrate the release of her book Love: A Visual History of the grantLOVE Project. A comprehensive history of the foundation she started fifteen years ago, the book is a visual collection of paintings, prints, sculptures, textiles, jewelry, and architecture gathered by Grant and her collaborators to explore the timeless question, what is love? Our conversation is a peek into our regular walk and talks—a beloved routine through which we have been able to explore, reflect, and build an incredibly meaningful friendship. Today we discuss what it means to be looked at and perceived by the public, especially as the partner of one of the most famous actors of our generation; the inevitable disappointment that results from taking the beautiful ideas in our heads and attempting to turn them into something physical; and owning our native talents in the pursuit of a creative live, whether or not we fit into the conventions of being an artist. You have to create opportunities between the cracks, she tells us. Okay, let's get to our conversation. EPISODE HIGHLIGHTS: Being in the messy middle… Owning your native talents… Conversing with the past self… Creating opportunities between the cracks… MORE FROM ALEXANDRA GRANT: Love: A Visual History of the grantLOVE Project Explore X Artists' Books Check out her website and the grantLOVE Project Follow Alexandra on Instagram To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Carol talks with Naima Keith, Vice President of Education and Public Programs at the Los Angeles Museum of Art (LACMA), about how to introduce children to the wonderful world of art and art museums. Naima shares practical tips for parents on how to encourage their kids to appreciate art from an early age and how to get the most out of a museum experience, even if all the little ones want to do is run around and touch the artwork!  In this lively conversation Naima and Carol also dive into the realities of balancing work demands with parenting, and how to combat the pressure to “do it all.” Follow us at @GroundControlParenting and on www.groundcontrolparenting.com See omnystudio.com/listener for privacy information.

Korea24 – 2022.11.08 (Tuesday) News Briefing: The National Police Agency's special investigation team on the Itaewon crowd crush disaster raided 55 government offices on Tuesday, including the office of the Police Commissioner General Yoon Hee-keun. (Eunice Kim) In-Depth News Analysis: North Korea has rapidly escalated its provocations in recent weeks, launching dozens of missiles of various types. Meanwhile, speculation remains that the regime may be gearing up for its long-anticipated seventh nuclear test. We speak to Markus Schiller, a leading expert on North Korean missiles and the founder of Munich-based consulting company ST Analytics, to assess the current state of North Korea’s missile and nuclear capabilities. Korea Trending with Diane Yoo: 1. Former President Moon Jae-in is set to give up a pair of dogs gifted by North Korean leader Kim Jong-un, and their puppy, citing a lack of support from the Yoon administration. (문 전 대통령 풍산개 반납 vs 파양 논란) 2. The theme park, Everland, has won the Award of Garden Excellence by the World Federation of Rose Societies for its rose garden. (에버랜드, 국내 최초 세계장미회가 꼽은 ‘최고 장미원’에 선정) 3. The moon is set to turn a coppery shade of red Tuesday night, due to a total lunar eclipse phenomena dubbed “blood moon.” (200년 안에 없을 ‘특급 우주쇼’…오늘 밤 ‘붉은 달’을 주목하라!) Touch Base In Seoul: Veteran rugby coach Charles Louw took charge of the South Korean national men's rugby team in early 2021 and he has been dubbed the "Rugby Hiddink" for the transformative impact he has had. He joins us via video call to tell us more about how he decided to come to Korea and what he hopes to achieve for South Korean rugby. Morning Edition Preview with Walter Lee: - Tomorrow’s Korea Herald features a report by Yim Hyun-su on the issues that foreign travelers are having with the Korea Electronic Travel Authorization (K-ETA) system. - In tomorrow’s Korea Times, Kwak Yeon-soo writes on Korean director Park Chan-wook being honored by the Los Angeles County Museum of Art (LACMA).

Pilar Tompkins Rivas will join the Lucas Museum on July 13 from the Vincent Price Art Museum (VPAM) at East Los Angeles College, where she has served as director and chief curator since 2016. As chief curator and deputy director of curatorial and collections at the Lucas Museum, Tompkins Rivas will provide leadership, strategic direction, and managerial oversight for curatorial, exhibitions, acquisitions, collections management, conservation, archives, and publications. At VPAM she spearheaded partnerships between the museum and the Smithsonian, the Los Angeles County Museum of Art (LACMA), and the Huntington Library, Art Collection and Botanical Gardens, and launched diversity pipeline programs including a museum studies certificate program. Prior to her tenure at VPAM, she served as the coordinator of curatorial initiatives at LACMA, co-directing the institution's UCLA/LACMA Art History Practicum Initiative and the Andrew W. Mellon Undergraduate Curatorial Fellowship Program in addition to co-curating exhibitions in partnership with the Getty's Pacific Standard Time: LA/LA initiative. Tompkins Rivas has also served as the curator and director of artist-in-residence programs at the 18th Street Arts Center, the arts project coordinator at the UCLA Chicano Studies Research Center, and the curator of the Claremont Museum of Art. She is completing a Ph.D. in cultural studies and holds an M.A. in cultural studies from Claremont Graduate University, in addition to a B.A. in Latin American studies and a B.F.A. in studio art from the University of Texas at Austin.

Franklin Sirmans, the Director of the Pérez Art Museum Miami (PAMM) advocates that art can significantly contribute to personal and societal wellness. Located on Miami's beautiful Biscayne Bay, PAMM's mission is to promote artistic expression and the exchange of ideas advancing public knowledge and appreciation of art, architecture, design, reflecting the diverse community of its pivotal geographic location at the crossroads of the Americas. Through a Miami lens, the museum aspires to be the very best at presenting art from Latin America and the Caribbean, modern and contemporary, inclusive of the African diaspora. Franklin started his career writing for hip-hop oriented magazines before his early life experiences led him to the art world as a career. Since joining PAMM in 2015, Franklin has overseen the acquisition of more than a thousand works of art and pursued his vision of PAMM as “the people’s museum.” Prior to his appointment, he was the department head and curator of contemporary art at Los Angeles County Museum of Art (LACMA) from 2010 until 2015. Join Franklin and host, Brad Johnson, for an intriguing and expansive conversation around the curation, ambassadorial and fundraising role of a museum director as well as the uniqueness created by PAMM's location in Miami. Hear Franklin's view of Jean-Michel Basquiat's works posthumous rise in popularity and value as well as other exhibits that broaden our views and experiences. Throughout the conversation, he articulates how art plays a wellness role in our lives including personal development, community building and inclusion in a global conversation. Join us at the corner table for a fascinating journey into the art world! * * * Please follow @CornerTableTalk For more information on host Brad Johnson or to join our mailing list, please visit: https://postandbeamhospitality.com/ For questions or comments, please e.mail: brad@postandbeamhospitality.comSee omnystudio.com/listener for privacy information.

Today we asked Naima J. Keith, VP of Education and Public Programs at LACMA: How can art educate? And have you ever wondered: How do museums fit into our cultural ecosystem? What purpose do they serve for community members? What purpose should they serve? And what is at stake? Who works in each department of a museum? What is each role's set of responsibilities? What kinds of strategies do curators & museum educators employ to facilitate education through art? How do these approaches differ? Get bona fide answers and advice from Naima on Episode 2 of Declassified. About Naima: Naima currently works as the Vice President of Education and Public Programs at the Los Angeles County Museum of Art (LACMA). Before LACMA, Naima worked as Deputy Director and Chief Curator at the California African American Museum in LA and received the David C. Driskell Prize in 2017 for her contributions to the field of African American Art History. Naima also worked for several years as a curator at the Studio Museum in Harlem and the Hammer Museum in Los Angeles. Naima has written extensively for publications like Art Forum, Art News and worked as co-artistic director for this year's installment of the Prospect New Orleans triennal. She received her Bachelor's degree from Spelman College and her Masters from UCLA, both in Art History. Find her on IG: @naimajoy Definitions and more resources on www.declassified-pod.com/episodes/keith & IG @declassified.pod. See you next week!

What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Berman Arts Agency Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program.   Sharon: When you say editorial—you talked about editorial versus advertorial—what do you mean?   Lisa: Years ago, we had magazines like W and Vogue and Vanity Fair, and the word advertorial did not exist. You had true editorial, where you were a new designer, you were creating something different, you had a new statement necklace, and they wanted to feature it. By the way, the vernacular “statement jewelry” wasn't in vogue 25 years ago. We talked about it. Now you see something on the cover and people talk about. From a marketing and selling point, it's a statement piece. That's something we were using in studio jewelry decades ago.    Let's see, we were talking about editorial, working with creative directors of publications. You have a timeline that's three months in advance because you didn't have digital. You had film; you had slides; you had all these timelines that were completely different. Then publications changed. They had to find a way to stay afloat, to stay in business, and like any other business they said, “Look, if you buy an ad, we'll promote you in an editorial article.” That's why you have some galleries now charging artists to physically have their work on the walls, which is something we didn't do, of course.   Sharon: That's interesting. Then you have people like me who walk into a gallery—I didn't know a lot—but depending on the gallery, they might pay to have their work on the wall. Having come from public relations, I immediately look at something to see whether they paid for that article or if it was chosen. I think it's important to point out—people might say, “Well, it sounds dated to be talking about all this print stuff,” but that goes immediately online. All the print is immediately online. There may be some things that never make print that are online, but it's important because whatever you see in print is going to be online.    Lisa: Well, I'll tell you why it's important and relevant. It actually goes back to catalogues and museums. I will get to museums in a second. As much as we want to save the planet and save paper and all of that, museums still demand catalogues for their major exhibitions. That's an important part of collecting. An important part of an artist's career is to have that physical catalogue, that tangible item that can be placed on a bookshelf, or talked about, or brought to a dinner party or a lecture series or whatever it may be. That's really important. An editorial and a printed editorial are the same. Obviously, there are more online publications and it's literally just flipping through the images.    For example, we just filmed a music video with Linda Hikel. We used a number of pieces from Sculpture to Wear in the music video. People loved it. They will use it for promotion, but she called me and said, “We want to capitalize on the fact that you brought such extraordinary work to the video. We want to capture those for editorial.” Then she called me and said, “We actually want to take it a step further. We're thinking about a book,” so these are the conversations. Printed materials are not a thing of the past, thankfully; they're an important element of documentation. That's why I tell artists, when I'm on an artist's tour or in their studio or we're having a conversation, “Please, if you're not a good note taker or you're not good about keeping files, literally keep a box on your desk, and anything—a summary or a note or something in regard to that project—keep it in there. This is so important for telling the story for an exhibition in a museum or just a gallery or online show.”   Sharon: Lisa, you mentioned that makers, jewelers, artists don't understand the role of a gallery. They think, “What am I paying you for?” in a sense. Tell us what your response to that is.   Lisa: I no longer have a physical, permanent location, but I do curate exhibitions. I will collaborate with fine art galleries or other locations to host exhibitions within their space. Even if a show is online, you still get the attachment of being in an exhibition that is part of Sculpture to Wear history and legacy. You have the exposure that I bring to that particular artist, whether it be through my website, through the newsletters I send out, through Art Jewelry Forum, through Indelible, which is my new column for older jewels. That's under the umbrella of Artistar Jewels.   Sharon: Artistar Jewels?   Lisa: Artistar Jewels; I'll tell you about that. Also, there's the collector base. A lot of artists think they pick up the phone and it just happens. Well, it does in some instances. It happens because I've cultivated a relationship for five to eight to 10 years. Yes, I can ask for a favor. Yes, I can propose an idea and I will be taken seriously because there's a track record of credibility. That's important for artists to understand. I think a lot of them coming from major schools do understand that. That is something that's part of their curriculum.    Sharon: You mentioned the importance of keeping all your sketches and notes and everything like that because it helps the gallerist tell a story.   Lisa: Right. In my garage, I literally have over two decades of artists' submissions. I know it sounds crazy. I have artists' submissions that were done on slides and then zip drives. I don't even know how I will convert those images, but I was so afraid of throwing away some of the most magnificent images I've ever seen and shown. Then each one of my exhibitions is in chronological order in a binder with the title and if there's any traveling accompanying that exhibition. I think I learned that from my days in the fashion industry, because you had to document, document, document. That has served me well, because if you don't document it, it never happened. So, you've got the documentation of the visuals and the notes and the advertising, and those are really important. Of course, now artists are saving all of that online, but hopefully there's still something tactile to incorporate.   Sharon: It's so important for credibility, whether it's online or not. Ideally, it's legitimizing it. I know for me, when I'm considering a piece of jewelry, if I know the artist has been in this museum or that museum or it's in the writeup, that makes a difference to me. It weighs more in favor of purchasing something, that credibility.   Lisa: Yes, and that's a whole round robin of a conversation. For example, the pieces I placed in LACMA on behalf Lynn Altman—unfortunately, Lynn is deceased. She was one of my favorite and dearest people on the planet. The three pieces that LACMA acquired were actually owned by me first, so it tells me I have a good eye, and it will also tell a collector I have a good eye. I know the process; I know what museums might be interested in. Mostly whatever I thought was interesting or fascinating, that's what I would collect, but it does matter. It plays a role in credibility in the conversation, if I'm going to be working with a client for consulting, either with a one-on-one client, with an artist or with a company or museum. By the way, one of the misnomers with museums and donations is that people think, “Oh, I have these amazing pieces and I want to donate them.” That's a very long process.   Sharon: From what I've heard, it's a challenge.   Lisa: It's a challenge because good museums will only accept pieces they can properly store. Of course, everyone wants them to be on display 100 percent of the time, but you can't do it. That's a conversation as well. You've got museums looking to acquire pieces, but they need funding for it. There's a whole program with their donors and collectors; “How do we buy this?” Then there are pieces they want that are being donated to them, but maybe they're going under renovation. Whatever the story may be, they want to make sure they're going to acquire them and be able to sort them, so that during their downtime another museum doesn't take them. It's really testing out there.   Sharon: When I've heard of collectors who have donated their collections, it sounds like it's been a long process. It's been something that took years before they even decided to do it. They were being wooed, or they would ask the museum, “What should I buy? What would you like to see in the collection?” that sort of thing. It doesn't sound like you just drive up and unload your station wagon.   Lisa: Oh, no.   Sharon: Do people have station wagons anymore?   Lisa: I don't know. They're called SUVs.   Sharon: Yes, SUVs.   Lisa: At least at a reputable location, that is definitely not the case. I think it's a very exciting time because you have people creating these secondary market pieces, people auctioning them, collecting them, and then you have some of the most dynamic makers. What's interesting to me is also the variations of ages from very young, 19 to 20, and then you have some jewelers I've met that were famous. They were architects or sculptors, and they wanted to change direction.    I've also talked to some of them in regards to ageism. They can't apply for certain grants because they're too old for one at 66. There are a lot of new conversations, like how we've had to learn to communicate with this new technology in Zoom. Life throws us curve balls and we go with it, and there are different trends, too. Brooches were so important probably 20 years ago and they still are, but you had it peak with the “Brooching it Diplomatically” book and Madeline Albright. For many years, large-scale collars were important. You have the Susan Lewin book that just came out and the exhibition book about rings. It's exciting. This field is constantly growing, constantly renewing itself, and I'm always inspired by it.    Sharon: I think we had a conversation once where you told me that brooches helped people segue to art jewelry. People could understand those and wear an avant garde brooch before they would wear something in their hair or an earring or something like that.   Lisa: Yes. People won't believe this, but fashion also played a role in that. For example, 25, 30 years ago, you had women entering the workforce—I know I'm going to get backlash on this—but they were wearing these blazers. So, they can't wear a large collar, plus they're downplaying it. They still want to make a nonverbal statement, and the easiest thing is to put a large-scale piece on a lapel. The ideal wall to place a brooch was on a blazer. For example, I'm wearing a Miyake shirt today. You can't put anything heavy through that. These blazers and large-scale shoulders, that was a perfect wall space to wear these pieces. For makers, these are the easiest way for them to literally make sculpture to wear. It was in a format that made sense to them, a smaller-scale sculpture that was on the left shoulder most often, but there are no rules now. Literally everything goes.    I happen to personally enjoy large-scale collars, just because I like to be hands free and my hands are always moving when I'm talking. I don't wear a lot of rings. When I had much shorter hair, I wore giant earrings. Now I don't, but it's all about personal preference. It was also interesting with the gallery. Someone would see a necklace or a piece in a feature editorial in the Los Angeles Times or W or whatever it may be, and they would call and say, “That's the piece I want.” Then, ultimately, they would come to the gallery and try it on, and they thought, “You know what? This just doesn't sit right on me. I want to look at something else,” or we would specifically have the artist there to meet with them and talk with them.   Sharon: You've talked about the fact that relationships are so important. I know what you mean. It's not just a matter of calling up Sally Smith who you've never talked to before and doesn't know you from Adam, versus calling somebody you've worked with or who knows you always bring her great pieces or something interesting. I want people to understand what you do and why they should call you, because you have your fingers in so many different areas.   Lisa: You know what's interesting about your statement, Sharon, is that I do. I am that person who will call anyone. I have the zero-fear factor.   Sharon: That's great.   Lisa: Completely, because the fact is the worst they can say is no. I'm on a phone call and I present the idea. I think it makes sense, otherwise I wouldn't call them or present them with the idea or exhibition or whatever it may be. I literally will pick up the phone, or I have a crazy idea and I will create a way to connect the dots. Most people think, “Oh my gosh! I would have never thought about that.” Often it's thinking about who's in that particular trade industry, how can we possibly get sponsorships, what's a different avenue. Let's think out of the box. We always hear that: let's think out of the box. I like to be creative, and I like communication. I literally will pick up the phone, and I always like to have a conversation.    So many people hide behind this little mouse on their computer or Facebook or Instagram or private messages. I say if we're going to work together or any of this, I have to have a conversation. Let's go on WhatsApp. If you're in a different time zone, a different county—it doesn't matter if they're speaking Latvian and they're mumbling through a translator, you just get their essence. That's really important, especially now with the lack of human interaction. I'm always an advocate for having a conversation because you never know where it's going to lead, that next step, that next unturned stone. You learn so much more when you have the conversation with the person.   Sharon: I always envy you people who have zero fear factor. I don't fall in that category, so I think it's great. Why should people call you today? To curate an exhibition?   Lisa: Thank you. I do a number of things. Obviously, first and foremost, I do represent certain artists' careers on an ongoing basis, whether it's curating exhibitions for their particular body of work. I can also host a show where we would sell work, because that's the fuel that makes the engine go: selling artists' work, curating exhibitions, connecting them to editorial, getting them placement for exposure. I would say 50 percent of what I do is a PR agency. That is the bulk of most of my day. It's writing articles, sending out newsletters, Instagram, Facebook posts, calling institutions or perhaps sponsors who are creating an exhibition, and creating those business alignments to further these ideas. Whenever I'm on Zoom conferences, I'm taking notes. Editorial, promotional, selling—it's like an ad agency as well.   Sharon: And when you say artists, that's bench jewelers, retailers, makers and fine artists.   Lisa: Yes, now I have branched out with the Berman Art Agency. That umbrella encompasses the very few select sculptors and photographers I've worked with throughout the years. For example, Bonnie Schiffman, she's a very well-known, iconic photographer in 16 museums worldwide. She came to me to make a commission piece in a gallery with Claudia Endler. That was an heirloom piece, and she wears it every day. Now we have this relationship where I'm working with her photographs. We've done shows throughout LA. I picked up the phone and created a museum exhibition for her back east. Some of these artists have had a rich career, and then they either hit a lull or they're on hiatus. How do I resurrect this? It's looking at those types of people. Like Marc Cohen—   Sharon: We just had Marc Cohen on the podcast with his box jewelry, which is so unique.   Lisa: I've known Marc for almost 35 years. I'm working with him on his 40 years of archives to make sense of them and understand how to present wearable art box sculptures, which are little, unique maquettes of a stage, like a Broadway stage. He incorporates iconic photography, and each of those tells a story. I'll be wearing one, and from across the room, someone will point at me and say, “That's the box man.” He's done a lot of much larger installations at the Museum of Jerusalem and some other work. So, presenting that work, how do we package that? How do we package it for a museum exhibition, for a gallery exhibition? Of course, we want to do a book.   Then I was working with Teri Brudnak. She was Karen McCreary's partner for Star Trek. We met 35 years ago in a plastics technology class. She and Karen were making work for Star Trek: The Next Generation, the television show. We were the only three women in this class, and people were making fun of us until they would see their pieces on television within the two-week period. They stopped the teasing and said, “O.K., this is something.” For example, the Skirball Museum has a Star Trek exhibition. How do we incorporate the legacy of what Terry and Karen created with their jewelry? It's always about peeking around the curve and finding a placement that makes sense. It is in alignment in an authentic way with their artist's voice and what they've created; not necessarily a stretch, but completely in alignment with their work and their creativity.   Sharon: Lisa, thank you so much. I learned so much today about how an artist has to sell their work. I know that's where so many get caught. Thank you so much for being here today.   Lisa: I appreciate the opportunity to tell your audience about this. It's very important. Thank you, Sharon.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Lisa Berman Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program. Lisa: Thank you, Sharon. I'm so delighted to be back here again. Sharon: It's great to have you. For those who don't know your background, can you give us a brief overview of your background? Lisa: Of course. I grew up in the fashion industry and had a career in fashion design. I had an accessory business for many, many years, and then I acquired the name of Sculpture to Wear Gallery in 1998. Of course, that was originally launched in 1973 in New York City in the Park Plaza Hotel. I launched my first exhibition at Bergamot Station Art Center, which I'll tell you about in a second, on January 16, 1999. I'm proud to be the second owner of Sculpture to Wear Gallery. Now, location is important. Location, location, location, you've heard a million times in real estate. Bergamot Station Art Center is in Santa Monica, California, Southern California, and it was formerly the home to 25 thriving contemporary galleries and the Santa Monica Museum of Art. It was, I believe, a five-acre complex. Now the Red Line runs through it. Sharon: The Red Line being the Metro. Lisa: Yes, the metro. Anyway, that's where I started my journey. I actually met my former husband, Robert Berman, there as well. It was the heyday. It was like Soho. It was the happening place on the West Side; it was a lot of fun. Every Thursday, Friday and Saturday night for 10 years, there were gallery openings. There was constant influx of artists and jewelers and collectors and educators and writers, so it was definitely the place to be. Sharon: What was groundbreaking about—first, it was groundbreaking that Sculpture to Wear was on the West Coast, but what was groundbreaking about the original Sculpture to Wear? Lisa: The owner, Joan Sonnabend, was basically located in Boston, but she had a tiny, little, postage-stamp gallery. Robert Lee Morris told me it was only about 400 square feet. The delineation was that she only showed work by signed artists. For example, you had Alexander Calder making jewelry, and he actually made his jewelry. There were pieces by Picasso; those were in addition to the series and those were made by other craftsmen. Of course, you have people like Robert Lee Morris, whose entire career was launched at the original Sculpture to Wear. The idea was that she was selling one-of-a-kind, sculptural jewelry made by fine artists, not by jewelry artists. That was the idea. Sharon: From what I've heard, nobody else was doing that then. This was unusual. Lisa: It was extremely unusual. The only person that was doing something similar was in Philadelphia. That's our beloved Helen Drutt, who is about to turn 91. She was also very monumental and important in bringing studio jewelry and wearable art to the United States, but she worked with jewelers and makers, mostly in Europe. Sharon: How did you know the Sculpture to Wear license was available? How did you find out about that? Lisa: I was introduced to the idea through Cindy Forbes, who's now Cindy Brown. She ultimately ended up being my gallery manager. We had a conversation, one thing led to another, and that was kind of it. It was available, so I capitalized on that and the domain and the name. When I acquired the name, I felt it was very important that every decision I made was legacy-driven, because it was a very important part of history. This is not something I just launched; they had an important history and legacy on the East Coast. That's why for my business card, I purposely selected the title of “visionary proprietor,” because it kept me on point and on target. At first, I got a little flak from it, but as I explained, that kept me on point to do my best. That was it. Sharon: Flak because people said, “Oh my gosh—”  Lisa: A lot of gumption that I would profess to be this visionary proprietor. Now, everyone on social media is a visionary and all the museum collectors' groups are visionaries. I don't know; I guess I was ahead of the curve. Sharon: You are a visionary. Lisa: This was 23 years ago. There you go.  Sharon: So, you opened at Bergamot Station and then you moved the gallery to Montana Avenue in Santa Monica? Well, they're both in Santa Monica. Lisa: I was in Bergamot Station from 1999 until 2003. In Bergamot Station, I had two separate little locations. In 2003, I moved to a much larger location. That was on Montana Avenue at the cross street of 11th Street. I moved there knowing I was a destination, that I had built a brand with Sculpture to Wear and with the artists through a number of different ideologies and media and exposure. We'll get into that in a second, but I knew I was a destination. I was not going to rely on walk-in traffic on Montana Avenue, like so many of the other stores did. That was really important, that I had built up that mailing list, the collector base. People would be traveling, or friends would be coming in from out of town and our collectors would pick them up at the airport and say, “We have to take you to Sculpture to Wear first.” It was those kinds of relationships we had built there. Sharon: Did people stumble on your gallery in Bergamot Station? How did they find you? Lisa: Bergamot had 25 galleries, so at any given day at any given moment, you had tons of people walking around. It's completely different than it is today; of course during the pandemic, but completely different. There was no problem reaching collectors, and I was the complete anomaly. You have this sculptural jewelry, and it was an education to a new audience. A lot of these people weren't necessarily open to the idea of jewelry not having diamonds or gold. People that had an educated eye in regard to design, like architects, were some of our first clients because they understood the design. It literally was a small-scale sculpture.  I think my passion for that and some of the artists were also incorporated into that conversation. I made a request of any artists that were local to the gallery that they do three things: they had to work in the gallery, they had to come and help set up an exhibition that wasn't theirs, and they had to attend an opening that wasn't theirs. I wanted them to understand the role of a gallery and what we did. At first it was, “Well, why I would give you 50 percent of the retail price?” This was a demonstration for them to learn why. There wasn't any artist who partook in those three requests that came to me and said, “No, this isn't right.” They all were shocked at what we did on a daily basis. Robert Lee Morris, I told him about that, and he was shocked. He said, “You did that?”  Sharon: You mentioned Robert Lee Morris. A lot of people will know who he is, especially New Yorkers or fashionistas, but tell us who he is and why he's important. Lisa: Robert Lee Morris is an icon. He's been designing jewelry for over 50 years. He's the only designer to earn the Coty Award for his jewelry design an unprecedented three times. He was the designer who made the big, bold, gold jewelry in conjunction with Donna Karan's black cashmere new work uniform in the late 80s, early 90s. Digressing to understand why he's important in my world, our world of art jewelry, is that he was one of the most important and prolific designers at the original Sculpture to Wear in New York.  He was self-taught. He was literally found at a tiny, little show in an offbeat path. He was immersed in this incredible work from Alexander Calder, Salvador Dalí, Louise Nevelson—amazing artists who already had these incredible careers, and as it turns out, people loved Robert's work. He outsold all the other artists combined at Sculpture to Wear. Then he launched his own gallery. After Sculpture to Wear closed, he launched Artwear. That launched a number of careers from a lot of famous artists, jewelers, studio jewelers, some of whom are still with us and some are not. That's his legacy; first at Sculpture to Wear, then Artwear. He has these amazing archives, and we'll talk about how editorial and prior images play a role in the secondary market. That might be a good place to talk about that. Sharon: O.K., please. Lisa: What's a phenomenon for me is that when I started and someone would ask if I sold jewelry, I knew the context. They would immediately think of CZ or— Sharon: Engagement rings. Lisa: Engagement rings. I said, “No, that's not at all what I do,” and I would always be wearing a piece. I was always wearing largescale pieces of jewelry. At that time when I first opened my gallery, I had very short hair; I think it was two inches long. People may not have remembered my name, but they would point at me from across the room and say, “Oh, that's the jewelry lady. That's the Sculpture to Wear lady,” and that was just fine.  This type of work, like photography 80 or 60 years ago, was not accepted in the realm of a fine art museum. Now you see photography auctioned at over $1 million, and some of the most incredible collections in the world are simply photography. Art jewelry is now collected in some specific fine art institutions, and that is for a number of reasons. First of all, it's because of exposure from editorial and media, and also because of the stewardship of specific collectors and designers like Helen Drutt, who bequeathed her collection to the Houston Fine Art Museum. I think it was almost a decade ago, and there's an incredible book. It's on my bookshelf. I can see it from here; it's very orange and large. She wanted her collection to be viewed at a fine arts museum versus a craft museum, and that started that conversation.  Lois Boardman on the West Coast donated her collection to LACMA, LA County Museum of Art, I believe five years ago. Also, for example, the Renwick Gallery at the Smithsonian has been collecting this work for a lot longer. For example, Jen Mandel and I were there for her induction into the Smithsonian. That was incredible. We were standing right next to a piece made by Alexander Calder, and that's where her vitrine was placed. It's really about this conversation, and I think it's a conversation of education.  As for the secondary market, we were just attending the Bonhams preview for the Crawford Collection. That's an unprecedented phenomenon, to have a collection of that level, of that stature, being auctioned by Bonhams without diamonds, without gold. There are a few elements and pieces to that, but you're looking at Art Smith pieces, modernists, studio jewelers. This is a very exciting and fertile time to be involved in studio and art jewelry. This is what I've been doing for the last 22, 25 years. We're at a very exciting place and there are a number of forums, especially with Covid and Zoom, with Art Jewelry Forum having open conversations about this, introducing collectors to artists and, of course, your podcast. There are a lot of variations and factors for the secondary market. Sharon: Lisa, because your jewelry and art jewelry in general is still avant garde—although it's coming into its own—do you think collectors or people like you are going to say, “O.K., what's next? What's on the horizon now? That's become old hat.” It hasn't, but do you think people are going to move on? Lisa: Sharon, I hope not. Within the genre of studio jewelry and wearable art, it has progressed and become so sophisticated. There are so many different makers out there, especially with the internet connecting us. When I first started in 1999, we didn't really have the internet; we barely had email, and now that's how everyone communicates. I think that people's creativity, the way people wear pieces and where they wear them—the reality is that we're not going anyplace right now during the pandemic, and I'm looking at different generations and how to include that next generation in collecting. For example, some of my first clients were in their 60s and 70s when they started collecting, and some are no longer with us. So, how do we engage their family members? You're our most recent convert to art jewelry. My gallery was so close to your house, yet you would have had no interest in what we did. I think it's a journey. Can you say someone's going to have a different trend? No.  I also think technology has played an important role not only in studio jewelry and the exposure, but also the techniques. People are using laser cutting, 3D printing. Technology has also been accepted into fine arts institutions and it has blurred the lines of the conversation of craft and fine art. Even five years ago, there was a delineation that was very distinct. There are still institutions that are not interested in immersion, but I think technology has been a friend, not a foe, to studio jewelers and the paths they can cross. Sharon: I do have to tell a story. Lisa and I were laughing because I lived close to where her gallery used to be. I lived not so far in the Valley, 10 miles away. I was never in your gallery, but I remember seeing an ad one day and thinking, “Who is going to wear this stuff?”  Lisa: And now the Jewelry Journey Podcast. Sharon: It was way out. When you say that people who were older started collecting it, that's the sort of people who don't automatically say, “Wow, that's so new and so cool.” Lisa: My collectors—and I'm sure a number of the gallerists across the United States who have been around for decades would say the same—our clientele, they're not interested in trends. If they open a Vogue, they might see a dress they like, but they're not going to buy it because it's on trend or in fashion. All my clientele, they're well-traveled; they're well-heeled; they're generally educated. They're willing to be avant garde. They don't want to wear the same thing everyone else is wearing, so it's a little bit different. The whole conversation now is that there are younger generations. I just met an incredible student at USC at the Bonhams preview. She's running this entire magazine department in her off time while she's full-time at USC. That's to reach a new collector base and new makers, but that's exciting. That's what makes it viable. Sharon: Yes, it keeps on going. Lisa: Right. That was one of the things I wanted to talk about in regards to when I first started in 1999: it was not only the relationships we built with the artists and the collectors, but we also had our version of social media, which was just printed publications. We didn't have social media, so building relationships with well-known stylists, who were either Emmy award winners or high-profile people that worked with celebrities, that was really important. We got to the point where they would literally call me up with the theme, tell me what it was, and I would already pull the pieces and have a box ready for them. We had a shorthand. That was, again, a relationship that would have to be cultivated. It was very exciting, and that's part of building the legacy of why this work is important. For example, Robert Lee Morris is pulling out his archives. Part of the excitement of these presentations is showing some of the editorial, these great magazine covers and shows that these pieces were included in. I have two decades of binders of images. So, that's very exciting, to show the relevance 20 years ago to now.

Tere Arcq is arguably the world's leading expert on the life and work of artist Remedios Varo, as well as a specialist in women surrealist artists overall. She was Chief Curator of the Museum of Modern Art in Mexico and director of an International Art Investment Fund. As an independent curator, she has creates and produces exhibitions in Mexico and abroad including including The Adventures of Women Surrealists in Mexico and the United States, an international project presented at the Los Angeles County Museum of Art (LACMA), The National Museum of Fine Arts in Quebec, and The Modern Art Museum in Mexico. She has also contributed to countless exhibitions, most recently as a contributing curator of the astounding Surrealism Beyond Borders show that is up now at the Metropolitan Museum of Art through January 20th, 2022. Tere edited and wrote for the monograph The Five Keys to the Secret World of Remedios Varo, and has contributed to many publications on Remedios Varo, Leonora Carrington, and other surrealist artists. With Susan L. Aberth, she wrote the book, The Tarot of Leonora Carrington. Tere has also collaborated in the production of documentaries and short films on artists, and she has also designed and organized specialized art tours for collectors. She is a frequent lecturer at museums, institutions, and universities worldwide. Tere has Masters Degree in Museum Studies and Art Management.On this episode, Tere discusses Remedios Varo's bewitching art, her magical friendship with Leonora Carrington, and her lifelong pursuit of occult knowledge.Pam also discusses why she claims Varo as a spiritual ancestor, and answers a listener question about finding a witchcraft routine.Our sponsors for this episode are Kate's Magik, VERAMEAT, Mithras Candle, BetterHelp, and The Path 365

LACMA's 10th Annual Art+Film Gala Honors Amy Sherald, Kehinde Wiley, and Steven Spielberg and Raises $5 Million More than 650 Notable Guests Attended the Event, Co-chaired by Eva Chow and Leonardo DiCaprio Presented by Gucci (Los Angeles, November 7, 2021)—The Los Angeles County Museum of Art (LACMA) hosted its 10th annual Art+Film Gala on November ...

This episode is also available as a blog post: https://thecitylife.org/2021/10/01/the-brooklyn-museum-and-los-angeles-county-museum-of-art-lacma-partner-to-acquire-200-photographic-works-by-european-women-artists-from-the-private-collection-of-sir-mark-fehrs-haukohl/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

"Marc Hernandez of Compass Beverly Hills is one of the most empathetic, innovative, conscientious, and connected agents in the real estate industry today. Ranked among the top 5% of real estate agents in the U.S., Hernandez's impressive roster of clients includes accountants, actors, attorneys, digital media executives, directors, producers, showrunners, tech professionals, TV writers, and the like. He has been featured on the homepage of the California Association of Realtor's website, included in various luxury and business publications, and seen on Bravo TV's “Million Dollar Listing Los Angeles.” A graduate of USC's Marshall School of Business with a bachelor's degree in Business Administration & Finance, Hernandez brings a variety of business experiences to his real estate practice, from managing luxury retail space at South Coast Plaza, to servicing entertainment clients at UTA, and to leading a national digital media sales team for Fox Networks Group, American Idol, and Hulu. An aficionado of art, architecture, music, and film, Hernandez values L.A.s vibrant social, cultural, and historical diversity. He serves on the boards of The Gentle Barn and WriteGirl. Additionally, he supports The Los Angeles Conservancy, Los Angeles County Museum of Art (LACMA), and The Museum of Contemporary Art (MOCA)." In this episode, we talk about the 5 Steps to Winning Multiple Offer Situations: 1. Create massive rapport with the listing agent 2. Complete your application 3. Get to know the other agent, find mutual contacts and connections 4. Put your terms where your mouth is 5. Keep in touch and be eager and many more... Let's connect + be friends: Marc Hernandez https://www.instagram.com/themarchernandez/ https://linktr.ee/themarchernandez David Caldwell https://www.instagram.com/davidccaldwell/ https://linktr.ee/davidccaldwell David Caldwell is a licensed Real Estate Broker in the State of Oregon with eXp Realty LLC and a business coach with Tom Ferry International. eXp is a global online brokerage that's powered by top agents and cutting-edge technology. Whether you're a real estate agent or have a team, or you're thinking about a career in real estate, eXp Realty offers every agent the unique opportunity to become a shareholder in their own company and celebrate the company's financial success. Join more than 40,000 agents worldwide who are growing their business, income, and skills with eXp. Want to learn more about eXp Realty? Schedule a call here with David Caldwell or Amy Rhew. https://calendly.com/amyrhew/explore-exp-conversation-with-david-or-amy

Episode 61 features Franklin Sirmans. He has been the director of the Pérez Art Museum Miami (PAMM) since fall 2015. Since coming to PAMM, he has overseen the acquisition of more than a thousand works of art by donation or purchase. At PAMM, Sirmans has pursued his vision of PAMM as “the people’s museum,” representing a Miami lens, by strengthening existing affiliate groups such as the PAMM Fund for African American Art and creating the International Women’s Committee and the Latin American and Latinx Art Fund. Sirmans has organized Toba Khedoori (2017) and he was cocurator of The World’s Game: Futbol and Contemporary Art (2018). Prior to his appointment he was the department head and curator of contemporary art at Los Angeles County Museum of Art (LACMA) from 2010 until 2015. At LACMA Sirmans organized Toba Khedoori; Noah Purifoy: Junk Dada; Variations: Conversations in and around Abstract Painting; Fútbol: The Beautiful Game; and Ends and Exits: Contemporary Art from the Collections of LACMA and The Broad Art Foundation. From 2006 to 2010 he was curator of modern and contemporary art at The Menil Collection in Houston where he organized several exhibitions including NeoHooDoo: Art for a Forgotten Faith; Maurizio Cattelan: Is Their Life Before Death?; and Vija Celmins: Television and Disaster, 1964–1966. From 2005 to 2006 Sirmans was a curatorial advisory committee member at MoMA/PS1. He was the artistic director of Prospect.3 New Orleans from 2012 until 2014. He was awarded the 2007 David C. Driskell Prize, administered by the High Museum of Art, Atlanta. Photo credit: 2013 Museum Associates LACMA Perez Art Museum Miami https://www.pamm.org/blog/2015/09/franklin-sirmans-named-director-p%C3%A9rez-art-museum-miami https://www.pamm.org/ Wikipedia https://en.wikipedia.org/wiki/Franklin_Sirmans The Warhol https://www.warhol.org/jessica-beck-and-franklin-sirmans-in-conversation-about-jean-michel-basquiat/ Brooklyn Rail https://brooklynrail.org/2017/06/art/Franklin-Sirmans-with-Laila-Pedro Linkedin https://www.linkedin.com/in/franklin-sirmans-b116041ab/detail/recent-activity/ Basquiat and the Bayou https://www.amazon.com/Basquiat-Bayou-Franklin-Sirmans/dp/3791354043

American photographer Christian Patterson was born in Wisconsin and lives in New York City. His conceptually grounded, narratively driven, visually layered work has been described as novelistic, subjective documentary of the historical past, and often deals with themes of the archive, authorship, memory, place and time. It includes photographs, drawings, paintings, objects, video and sound.Christian moved from Brooklyn, New York to Memphis, Tennessee in 2002 to seek out his photographic hero William Eggleston. They became friends and Christian ended up working for him at the William Eggleston Trust, under the stewardship of William’s son, Winston.In 2005, Christian completed his first project, Sound Affects, a collection of photographs that explore Memphis utilizing light and color as visual analogues to sound and music. In 2008, Sound Affects was published as a book by Edition Kaune, Sudendorf (Cologne). Christian’s second monograph the critically-acclaimed Redheaded Peckerwood was published by MACK in 2011 and was almost universally lauded as one of the best books of the year by numerous noted international photography critics. It was nominated for the 2012 Kraszna-Krausz Book Award and won the prestigious 2012 Recontres d’Arles Author Book Award. The book featured in The Photobook: A History, Volume 3, co-edited by Gerry Badger and Martin Parr. Christian’s third book, Bottom of the Lake was published in 2015. He is a Guggenheim Fellow (2013) and winner of the Grand Prix Images Vevey (2015). His work is in the collections of the National Gallery of Art, Los Angeles County Museum of Art (LACMA) and J. Paul Getty Museum among others. Christian has lectured, mentored and taught widely and is represented by Robert Morat Galerie, Berlin. On episode 152, Christian discusses, among other things:His current project, Gong Co. and how it came about.Discovering William Eggleston during his early years in New York.Going down to Memphis to meet him and ending up working with him.Addressing some of the myths and misconception around Eggleston.Reheaded Peckerwood - Badlands as an influence.Going to Nebraska where the original events occurred.The influence and success of the book.Referenced:William EgglestonTerence MalickStephen ShoreDavid Bowie Website | Instagram “You’re expressing yourself and you’re taking part in the larger conversation that’s happening in your field. I wanted to take part in the conversation and I wanted to feel like I was influencing, shaping or expanding that conversation in a way.”

David Bohnett founded GeoCities in the 1990s, well before the internet attained its current ubiquity.  GeoCities became publicly traded on NASDAQ and was acquired by Yahoo! Inc. in 1999. In a 2007 article, the Wall Street Journal described it as a Facebook prototype and noted, “Back then, entries were known as home pages, not profiles. But the basic, expressive elements of today’s Facebook and competitor MySpace … were all right there.” David found himself wealthy with the ability to do whatever he wanted for the rest of his life. He became a philanthropist and social activist. In addition to serving as Chair of the David Bohnett Foundation, he is the Chairman of the Executive Committee on the Board of the Wallis Annenberg Center for the Performing Arts, Vice Chairman of the Board of the Los Angeles Philharmonic Association and Trustee of the Brookings Institution, John F. Kennedy Center for the Performing Arts, Los Angeles County Museum of Art (LACMA) and the University of Southern California (USC). Since 1999, the David Bohnett Foundation has focused on several funding areas: The Fund for Los Angeles, supporting a broad spectrum of arts, educational and civic programs including the Los Angeles Philharmonic, LACMA and CicLAvia; LGBTQ-related causes; graduate school leadership programs at the University of Michigan, UCLA, NYU and Harvard; voting rights and registration initiatives; supporting research and public policies to reduce the toll of firearm violence; and animal research and rights. Grants totaling over $115 million to date have supported the work of a wide range of organizations including the Brady Center to Prevent Gun Violence, The Wildlife Alliance, the ACLU Foundation, Equality California, and the David Bohnett Gay & Lesbian Leadership Fellows program at Harvard University’s Kennedy School of Government. The David Bohnett CyberCenters are another major undertaking — currently at over 60 LGBTQ centers nationwide, they offer business, educational, research, and recreational opportunities to the local gay and lesbian community via access to the Internet.   David Bohnett Foundation.  http://www.bohnettfoundation.org/   Something Ventured  https://somethingventured.us/ 

Indoor museums are still closed — while malls, tattoo shops, hair and nail salons have been open since Gov. Gavin Newsom lifted parts of the state’s stay-at-home order last month. There’s now an odd scenario: The gift shop is open at the Los Angeles County Museum of Art (LACMA), but the museum itself is not. KCRW talks about the pandemic’s impact on museums with the executive directors of the Museum of African American Art in Baldwin Hills and the Wende Museum in Culver City, plus a New York Times culture reporter.

Liat Yossifor is a painter who received her BFA from the San Francisco Art Institute in 1996, and her Master of Fine Arts from the University of California, Irvine in 2002. She was an Artist-in-residence at: the Rauschenberg residency in Florida, and at the Frankfurter Kunstverein in Germany. She has had solo exhibitions at The Contemporary Art Museum St. Louis; Pomona College Museum of Art; The Armory Center for the Arts; Galerie Anita Beckers, Frankfurt; Patron Gallery, Chicago; Miles McEnery Gallery, New York, and Fox Jensen Gallery, Sydney, Australia. Liat is in public collections such as The Margulies Collection, Miami, FL; Los Angeles County Museum of Art (LACMA); and The Hammer Museum, Los Angeles, CA, among others.  I caught up with Liat over the net for a talk about avoiding technology, starting painting figuratively and moving into abstraction, materiality, studio life and much more. NYC Crit Club is now accepting applications for Spring 2021 semester. Now in its fourth year, NYC Crit Club is offering 9 new courses this Spring via zoom with 8 new faculty and 30 guest speakers and critics from around the country.  Spring 2021 features a newly designed visiting critic program which offers weekly artist talks and critique from established contemporary artists as well as two weeks of professional feedback and dialogues with gallerists and dealers. Including MRS. Gallery, Monika King Contemporary, Pace Gallery and more. Applications open Dec. 31st  and close January 20th. Classes often fill before the deadline for accepted artists. Early applications are encouraged.. NYC Crit club is a radical alternative offering critique, community and connection for artists post BFA and post MFA. They are proud to offer BIPOC Scholarships and work study rates for artists in financial need. NYC Crit club is run by Hilary Doyle & Catherine Haggarty 

Martin Kamer not only collects historical ladies' dresses, historical men's dresses are also part of his collection. They make up about a quarter of the collection. Luxurious men's dresses from the 18th century have always been in demand, men's dresses from the 19th century less so. This has changed dramatically in recent years. Times have changed. Today, record prices are also being paid for historic men's fashion from the 19th century. Kamer tells of the extremely successful exhibition «Reigning Men: Fashion in Menswear, 1715-2015» at the Los Angeles County Museum of Art (LACMA) in 2016. Go behind-the-scenes and see how the exhibition at LACMA was being prepared: https://vimeo.com/162776397

Martin Kamer sammelt nicht nur historische Damenkleider, auch historische Herrenkleider sind Teil seiner Sammlung. Sie machen etwa einen Viertel der Sammlung Kamer-Ruf aus. Luxuriöse Herrenkleider aus dem 18. Jahrhundert waren schon immer gefragt, Herrenkleider aus dem 19. Jahrhundert weniger. Dies hat sich in den letzten Jahren besonders auch in Museen dramatisch verändert. Die Zeiten haben sich geändert. Heute werden auch für historische Männermode aus dem 19. Jahrhundert Rekordpreise gezahlt. Kamer erzählt von der überaus erfolgreichen Ausstellung "Reigning Men: Fashion in Menswear, 1715-2015" im Los Angeles County Museum of Art (LACMA) im Jahr 2016.

In dieser Folge berichtet Martin Kamer über ein goldbesticktes, schwarzes Hofkleid aus Satin, das einst Maria II. da Glória*, der Königin Portugals gehört hat. Ihr Mann wollte die Macht ergreifen. Das führte zum Portugiesischen Bürgerkrieg. Königin Victoria entsandte den britischen Flottengeneral Sir Georg Sartorius zur Unterstützung nach Portugal. Als Dank schenkte Maria II. da Glória der Königin des Vereinigten Königreiches besagtes Hofkleid. Das Kleid befindet sich heute im Los Angeles County Museum of Art (LACMA). * vollständiger Name: Maria da Glória Joana Carlota Leopoldina da Cruz Francisca Xavier de Paula Isidora Micaela Gabriela Rafaela Gonzaga

In this episode, Martin Kamer reports on a gold-embroidered, black satin court gown that once belonged to Maria II da Glória*, Queen of Portugal. Her husband wanted to seize power. This led to the Portuguese Civil War. Queen Victoria sent the British Naval General Sir George Sartorius to Portugal for support. In gratitude, Maria II da Glória gave the Queen of the United Kingdom the court dress as a gift. The dress is now in the Los Angeles County Museum of Art (LACMA). * Full name: Maria da Glória Joana Carlota Leopoldina da Cruz Francisca Xavier de Paula Isidora Micaela Gabriela Rafaela Gonzaga

Jane Szabo is a Los Angeles based fine art photographer, with an MFA from Art Center College of
Design in Pasadena, CA. Her work investigates issues of self and identity. Using self-portraiture and
still life as a vehicle to share stories from her life, her work merges her love for fabrication and
materials, with conceptual photography. Szabo brings many facets of visual art into her photographic
projects, incorporating sculptural, performance and installation elements into her work. Her imagery is often infused with humor and wonder, ingredients that draw the viewer in, inviting them to linger and to have a dialogue with the work, and themselves. Her background in the film industry, creating prop and miniatures for theme parks, and overseeing set construction for film and television, undoubtedly informs her creative process. Szabo’s photography has been exhibited widely, including solo shows at the Museum of Art & History in Lancaster, CA, Orange County Center for Contemporary Art, the Yuma Fine Art Center in Arizona, and the Los Angeles Center for Digital Art. Her work has been included in exhibitions at Oceanside Museum of Art, the Griffin Museum of Photography, Houston Center of Photography, Tilt Gallery, Davis Orton Gallery, The Colorado Center for Photographic Arts, San Diego Art Institute, Los Angeles Center for Photography, Gallery 825 in Los Angeles, the Kaohsiung International Photographer Exhibition in Taiwan, and Foto Fever in Paris, France. Her photographs have been featured in many publications and blogs including: The Huffington Post,
Lenscratch, Mono Chroma Magazine, Silvershotz, Bokeh Bokeh, L’Oeil de la Photographie, F-Stop
Magazine, Foto Relevance, Fraction, Your Daily Photo, A Photo Editor, Don’t Take Pictures, Art &
Cake, Diversions LA, ArtsMeme, and others. Jane Szabo’s work is in the permanent collection of the Los Angeles Museum of Art (LACMA), the
Lancaster Museum of Art & History (MOAH), and in private collections throughout the US and Europe. Upcoming Shows include: “All Women Are Dangerous,” Building Bridges Art Exchange, Santa Monica, CA, opens December 14   https://www.buildingbridgesartexchange.org/ "Somewhere Else", solo show: Foto Relevance Gallery,  Houston, TX - opens January 24    https://fotorelevance.com/ Houston Center of Photography, Houston, TX, auction preview exhibit opens January 17 Houston Center of Photography, Houston, TX, print auction / gala, February 13.   https://hcponline.org/print-auction/ Photo LA, Susan Spiritus Gallery, Santa Monica, CA, January 30-Feb 2. https://www.photola.com/ All images courtesy of the artist 00:00 - Introduction 00:39 - Jane Szaba 02:30 - Hana Vu - Actress 05:59 - Switch to Photography 11:08 - dis.place.ment 16:31 - Reconstructing Self 23:59 - Family Matters 30:06 - Current Work 35:42 - The Static - Dead Soft 39:46 - Outro 40:07 - Finish

Lisa Berman* is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. *No relation to host Sharon Berman What you’ll learn in this episode: How Lisa introduced wearable art into major fashion magazines and helped it gain traction with the public. The history of Sculpture to Wear and how Lisa came to own the gallery. Why architects were some of the first people to buy art jewelry. The influence of Helen Drutt on art jewelry in the United States. The challenges that galleries are facing with new consumers. The process for collectors to donate or sell their collections to museums. The mission and current projects for Sculpture to Wear and Berman Arts Agency. Additional resources: Berman Arts Agency Facebook Sculpture To Wear Gallery Facebook Sculpture To Wear Gallery Instagram

One of the biggest challenges facing media artists today is the concept of preservation. Any work of art needs to be restored, touched up and preserved to last over time. But with rapidly evolving technology, it's become hugely necessary to regularly maintain and put systems in place to keep tech-art alive and functioning as it should. In this episode, we speak with Morgan Kessler, Media Collections Manager at the Los Angeles County Museum of Art (LACMA) who oversees the preservation of the museum’s collection of Time-Based art. Artworks Discussed in this Episode:Mungo Thomson, Composition for Marimba, 2016Nam June Paik, Video Flag Z, 1986 -About Morgan Kessler-Morgan Kessler has been working with museums and artists as an Audio Visual Specialist since 2008. She joined LACMA in 2012 as a Time-Based Media Technician in the Gallery Media department. In her current role as Media Collections Manager, she is charged with the care of the museum’s collection of Time-Based artworks.You can tweet Morgan @IamtheMogie

On this episode of the Japan Station podcast we're digging deep into the world of Japanese Buddhist statues and iconography. Michael VanHartingsveldt is an expert on Buddhist art and iconography. In 2016, Michael obtained a Master's degree in East Asian Art Business through a joint program offered by the Sotheby's Institute of Art and Claremont Graduate University. He then went on to work as a Collections Management Technician at the Los Angeles Country Museum of Art (LACMA). At LACMA Michael worked in the East Asian Art Collection and handled everything from ukiyo-e woodblock prints to Buddhist statues. Michael has also curated art exhibits and given lectures at the Japan Foundation in Los Angeles. In the fall semester of 2019, Michael entered into a PhD program at the University of Kansas. There he will further his research on Japanese Buddhist art and statues. In this episode we discuss: How backpacking around Japan led to an interest in the art and history of Buddhism (and Shinto) in Japan A few tipes for visiting Fushimi Inari Taisha (an important shrine in Kyoto dedicated to the fox god, Inari) Nara's famous Tōdai-ji temple Who the Niō (Two Benevolent Kings) at the entrance of Tōdai-ji are The hierarchy of celestial beings in Buddhism Who Fudō Myōō is What Shugendō is The statues of Zaō Gongen that are at Kinpusen-ji temple on Mt. Yoshino in Nara Prefecture Sanjūsangen-dō in Kyoto and its many statues The bodhisatva Kannon The origins of Amida Nyorai The origins of the Nami-kiri Fudō Who Takuma Kamine is And much more!

Welcome to the third episode of the Unravel 2019 Costume Society of America Series. Joy talks to Laura Beltran-Rubio a Ph.D. student in American Studies at the College of William and Mary. Laura discusses the dress in the paintings of Vicente Albán in colonial Ecuador and so much more. Image: Vicente Albán, Indian woman in special attire (India en traje de gala), 1783. Los Angeles County Museum of Art (LACMA. Photo © Museum Associates/ LACMA Conservation, by Yosi A. R-Pozeilov Find Laura here: https://laurabelru.com Empire of Fashion: http://fashionempire.laurabelru.com/s/en/page/home To learn more about the CSA: costumesocietyamerica.com/national-sym…proceedings/ Find us here: Website: www.unravelpodcast.comPatreon: www.patreon.com/unravelpodcast PayPal: www.paypal.me/unravelpodcast Instagram: @unravelpodcast Twitter:@unravelpodcast Facebook: www.facebook.com/unravelpodcast/ Pinterest: Unravel: A Fashion Podcast www.pinterest.com/afashionpodcast/ Stitcher: www.stitcher.com/podcast/unravel-podcastWaller Gallery Website www.wallergallery.com/ Waller Gallery Instagram: @wallergallery Jasmine's Nicaragua Instagram: @recuerdosdenicaragua

Before a hushed audience at the Los Angeles County Museum of Art (LACMA), our show host Gerald Everett Jones discloses secrets behind The Baptism by 19th century painter Julius Leblanc Stewart. Gerald Everett Jones is author of Bonfire of the Vanderbilts, which tells the secrets behind this painting. The painting, which LACMA now owns, shows a christening in a plush private parlor, attended by 21 people. The portraits are so realistic, the individuals should be recognizable. For more than a century, the rumor in the art world has been this is a Vanderbilt family event. However, the heirs and the curators of their estates all deny any association with the painting. Gerald's original research discloses why a bitter feud between Cornelius Vanderbilt II and banker J. P. Morgan is at the heart of the matter. He fictionalized this sensational story in Bonfire of the Vanderbilts. Want to break into print? Get help publishing your book at GetPublishedRadio.com.

Michael Vanhartingsveldt (featured in episode 47 & 92) is a contributing columnist at Buddhistdoor Global. He works at the Los Angeles County Museum of Art (LACMA). He did his masters in East Asian Art Business at Sotheby's Institute of Art, and he also works as a lecturer for the Japan Foundation. Link to episode #37 from "The Way Of Improvement Leads Home" podcast episode mentioned in the introduction can be found here: https://cms.megaphone.fm/channel/the-way-of-improvement-leads-home?selected=ADL9037171567

Before a hushed audience at the Los Angeles County Museum of Art (LACMA), our show host Gerald Everett Jones discloses secrets behind The Baptism by 19th century painter Julius Leblanc Stewart. Gerald Everett Jones is author of Bonfire of the Vanderbilts, which tells the secrets behind this painting. The painting, which LACMA now owns, shows a christening in a plush private parlor, attended by 21 people. The portraits are so realistic, the individuals should be recognizable. For more than a century, the rumor in the art world has been this is a Vanderbilt family event. However, the heirs and the curators of their estates all deny any association with the painting. Gerald's original research discloses why a bitter feud between Cornelius Vanderbilt II and banker J. P. Morgan is at the heart of the matter. He fictionalized this sensational story in Bonfire of the Vanderbilts. Want to break into print? Get help publishing your book at GetPublishedRadio.com.  

465 Huntington Ave, Boston, MA 02115 Hours The MFA is open 7 days a week. Monday–Tuesday 10 am–5 pm Wednesday–Friday 10 am–10 pm Saturday–Sunday 10 am–5 pm Admission Members Free Adults $25 Seniors (65+) $23 Children 6 and under Free Youths 7–17* Free / $10* Students (18+)** $23** *Youths 7–17 admitted free weekends, weekdays after 3 pm, and Boston public school holidays; otherwise admission for youths is $10. **Participants in the University Membership program receive free admission. NH and ME resident students also receive free admission. Included in the price of admission: All-day access to galleries and special exhibitions One free repeat visit within 10 days (applies to full-price Adult, Senior, and Student tickets only) Free Gallery Activities and Tours Massachusetts residents who present Electronic Benefits Transfer (EBT) cards at a ticket desk may receive up to four $3 tickets good for adult, senior, or student admission. Youths aged 17 and under are always free. EBT Card to Culture is a collaboration between the Mass Cultural Council and the Executive Office of Health and Human Services’ Department of Transitional Assistance. See the full list of participants. Junior Artists Every Saturday, 10:30 am–12:30 pm New program starting September 9! Enjoy a weekly free drop-in creative morning for families with children ages 5 to 8. Look closely at art, make art, and have fun! Free with Museum admission. Frida Kahlo and Arte Popular February 27, 2019 – June 16, 2019 Saundra B. and William H. Lane Galleries (Gallery 332) and Saundra B. and William H. Lane Galleries (Gallery 334) The influence of Mexican folk art on Kahlo’s work and life Like many artists in Mexico City’s vibrant intellectual circles, Frida Kahlo (1907–1954) avidly collected traditional Mexican folk art—arte popular—as a celebration of Mexican national culture. She drew inspiration from these objects, seizing on their political significance after the Mexican Revolution and incorporating their visual and material qualities into her now iconic paintings. Following the recent acquisition of Dos Mujeres (Salvadora y Herminia) (1928), this is the MFA’s first exhibition on Frida Kahlo. It tightly focuses on Kahlo’s lasting engagements with arte popular, exploring how her passion for objects such as decorated ceramics, embroidered textiles, children’s toys, and devotional retablo paintings shaped her own artistic practice. A selection of Kahlo’s paintings—including important loans from the Museum of Modern Art (MoMA), the Los Angeles County Museum of Art (LACMA), and the Harry Ransom Center at the University of Texas at Austin—is brought together with representative examples of arte popular. Bringing fresh attention to Kahlo as an ambitious, ever-evolving painter, this exhibition also opens broader discussions about the influences of anonymous folk artists on famed modern painters.

. Museum directors from USA, Austria and Britain look at the challenges of displaying their collections for new audiences. Anne McElvoy's guests include Michael Govan, Director of the Los Angeles County Museum of Art LACMA, Sabine Haag, Director, Kunsthistorisches Museum, Vienna and Hartwig Fischer, Director of the British Museum. Recorded with an audience at the Royal Institution in London as one of the events for the 2018 Frieze London Art Fair. Find our playlist of discussions about the Visual Arts https://www.bbc.co.uk/programmes/p026wnjl Producer: Torquil MacLeod.

From 1967 to 1971, the Los Angeles County Museum of Art (LACMA) ran a revolutionary program which facilitated the partnering of emerging artists with tech and science companies of the time. Among the roster of artists who participated in the first iteration of LACMA's Art + Tech program are Andy Warhol, Claes Oldenburg, and James Turrell. Today, LACMA's Art + Tech Lab (est. in 2013) continues this spirit of cross-disciplinary collaboration, funding artist-led projects that wouldn't be achievable without the financial and advisory support offered through the Lab. In this episode, we speak with Joel Ferree, Art + Technology Lab Program Director, about the history of the Lab, the various projects and partnerships that have are offered, and LACMA's commitment to providing the time, space and resources to make possible these creative projects.-About LACMA's Art + Tech Lab-Inspired by the spirit of LACMA's original Art and Technology program (1967-1971), which paired artists with technology companies in Southern California, the Art + Technology Lab at LACMA supports artist experiments with emerging technology. Through our sponsors, the Lab provides grants, in-kind support, and facilities at the museum to develop new artist projects. To date, 20 artists from around the world, including Ghana, Ireland, Korea, Mexico, the United Kingdom, the United States, and Switzerland, have received awards through the Art + Technology Lab.Learn more about the Art + Tech Lab hereCover art by Graydon Speace

This week we bring you a special episode from Hong Kong, where we staged our first ever live In Other Words event on 29 March, a panel discussion on "The Future of The Museum”. Our guests included Michael Govan, director, Los Angeles County Museum of Art (LACMA); Doryun Chong, deputy director and chief curator, M+ in Hong Kong; and Allan Schwartzman. The panel was introduced by Kevin Ching, CEO of Sotheby's Asia and moderated by Charlotte Burns.  Joining us remotely was Budi Tek, the founder of the Yuz Museum and Foundation, Shanghai, who broke the news of an unprecedented collaboration between Yuz and LACMA. This opened a discussion about the increasing willingness of museum directors and private patrons to collaborate and share. Our panelists also spoke about where innovation is taking place geographically; about cultural norms and how they manifest differently region to region; and about new technologies, such as augmented reality, and how they might impact museums and exhibition making. These are, of course, just a few of the topics covered. Tune in for the rest.  Transcript: http://www.artagencypartners.com/transcript-the-future-of-the-museum-2/ “In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

This week we bring you a special episode from Hong Kong, where we staged our first ever live In Other Words event on 29 March, a panel discussion on "The Future of The Museum”. Our guests included Michael Govan, director, Los Angeles County Museum of Art (LACMA); Doryun Chong, deputy director and chief curator, M+ in Hong Kong; and Allan Schwartzman. The panel was introduced by Kevin Ching, CEO of Sotheby’s Asia and moderated by Charlotte Burns.  Joining us remotely was Budi Tek, the founder of the Yuz Museum and Foundation, Shanghai, who broke the news of an unprecedented collaboration between Yuz and LACMA. This opened a discussion about the increasing willingness of museum directors and private patrons to collaborate and share. Our panelists also spoke about where innovation is taking place geographically; about cultural norms and how they manifest differently region to region; and about new technologies, such as augmented reality, and how they might impact museums and exhibition making. These are, of course, just a few of the topics covered. Tune in for the rest.  Transcript: http://www.artagencypartners.com/transcript-the-future-of-the-museum-2/ “In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

On a theatrically profound edition of After Hours AM/America’s Most Haunted Radio — astonishing paranormal talk with hosts Joel Sturgis and Eric Olsen — we talk with Jim Shedden, curator of the Guillermo del Toro: At Home with Monsters exhibit at the Art Gallery of Ontario. Jim joins us at Top of hour2; Hour 1 Joel and Eric review the week’s startling paranormal news from the America’s Most Haunted Twitter feed. Guillermo del Toro: At Home with Monsters Guillermo del Toro: At Home with Monsters brings together elements from del Toro’s films, objects from his vast personal collections, and objects from the permanent collections of the three institutions that collaborated on the exhibit: Art Gallery of Ontario (AGO), the Los Angeles County Museum of Art (LACMA), and the Minneapolis Institute of Art (MIA). The diverse range of media featured in this exhibition—including sculpture, paintings, prints, photography, costumes, ancient artifacts, books, maquettes and film—totals approximately 500 objects and reflects the broad and alluring scope of del Toro’s inspirations. Guillermo del Toro: At Home with Monsters debuted at the AGO on Sept. 30, 2017 and runs to Jan. 7, 2018. Guillermo del Toro (b. 1964) is one of the most inventive filmmakers of his generation. Beginning with Cronos (1993) and continuing through The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013), Crimson Peak (2015), and the forthcoming The Shape of Water, among many other film, television, and book projects, del Toro has contributed to the reinvention of horror, fantasy and science fiction. Working with a team of craftsmen, artists, and actors—and referencing a wide range of cinematic, pop-culture, and art- historical sources—del Toro recreates the lucid dreams he experienced as a child in Guadalajara, Mexico. He now works globally out of a cherished home base he calls “Bleak House” in the suburbs of Los Angeles. “To find beauty in the profane. To elevate the banal. To

Linn Skåber trenger neppe en lang introduksjon. Med sin innsats på scenen og på tv (Nytt på nytt, Hjerte til hjerte m.m.) har hun fått oss til å rødme og le så vi rister. Til høstens første Film med ord tar Skåber med seg Cathrine Borkenhagen, Rolf Kristian Larsen og Heidi Toini, som skal lese ­et for dem – og publikum – hemmelig filmmanus. Skuespillerne får én time til å forberede seg før de slippes ut på scenen for å improvisere. Her får vi presentert et kjent stykke filmhistorie på en helt egen måte. Regissør er Kjetil Indregard, som blant annet har jobbet med tv-seriene Kongsvik ungdomsskole og Helt perfekt. I tillegg kommer regissøren som laget filmen skuespillerne skal lese. Og vi kan røpe at dette er en av Norges aller mest betydningsfulle regissører! Velkommen til en helaften med improvisasjon og filmhistorie. Film med ord er inspirert av suksessen «Live Reading» ved Los Angeles County Museum of Art (LACMA), hvor et begeistret publikum har fått oppleve klassikere som Reservoir Dogs, The Apartment, The Big Lebowsky og pilotepisoden til tv-serien Breaking Bad. Foto: Pål Høyum See acast.com/privacy for privacy and opt-out information.

1-54 Forum New York 15 - 16 May 2015 Cultural Specific Curating in Institutions Representing MoMA, Newark Museum and LACMA respectively are discussants Thomas J. Lax (Associate Curator in the Department of Media and Performance Art at The Museum of Modern Art (MoMA), New York); Christa Clarke (Senior Curator, Arts of Global Africa at Newark Museum); and Franklin Sirmans (Terri and Michael Smooke Curator and Depart­ment Head, Contemporary Art at the Los Angeles County Museum of Art (LACMA)). Moderated by Steven Nelson (Professor of African and African American Art History at University of California, Los Angeles (UCLA)). www.1-54.com

Kevin graduated from a prestigious art school and is an accomplished artist. Nick doesn't know what to do or think when he looks at a painting. Together, they take a field trip to the Los Angeles County Museum of Art (LACMA) to help understand the sometimes confusing and seemingly pretentious world of art. Joining them in this episode is their always funny friend and comedian Mike Black (@mikeblackattack).

The "Los Four" exhibition—considered the first Chicano art exhibition in a Los Angeles museum—opened at the Art Gallery at University of California, Irvine in 1973 and then traveled to the L.A. County Museum of Art (LACMA) in 1974. In this interview, founding member of the Los Four art collective, Gilbert "Magu" Luján, described the show's unexpected success.

Cathy Byrd talks on the phone with Franklin Sirmans, curator of contemporary art at Los Angeles County Museum of Art (LACMA). Their conversation considers the essential role of public art at LACMA, covers the latest news on Michael Heizer's Levitated Mass installation and previews upcoming LACMA exhibitions to feature the Broad Collection (2012) and the work of Noah Purifoy (2014). Recently appointed Artistic Director for Prospect.3 New Orleans, Franklin also shares some of this thoughts about the 2014 exhibition. Sound Editor: Leo Madriz Photos: Courtesy of LACMA, except where noted. Episode Sound: Excerpt of audio recorded while moving Michael Heizer's 340-ton rock from Riverside to Los Angeles, CA. Courtesy of LACMA

Al Satterwhite started working as a still photographer in Florida while in high school, covering major news stories . After a year as the Governor of Florida's personal photographer, he started a career as a freelance magazine photographer . Over the next 10 years he worked on assignment for almost every major magazine. In 1980 he moved to New York City to form a production company . The next 15 years he did a wide range of national and international advertising , becoming known for his saturated color images and keen sense of design and composition. From action and aerial work, to miniatures in the studio, to major production campaigns in worldwide locations. Satterwhite has won many national and international awards. He is considered an authority on color and design, and has (4) published books of his work on this subject. He was a paid consultant to Kodak for digital imaging for a number of years. He has lectured at Boston University, Brooks Institute of Photography, the Los Angeles/ Miami/Minneapolis/New England/New York Chapters of the ASMP, NYU/Tisch School of the Arts, PhotoExpos in Los Angeles & New York. He has given workshops at Dawson College , ICP , Kauai Photographic , the Maine Workshops, the Missouri Workshops, Palm Beach Photographic Workshops, Santa Fe Workshops & his own studio in New York City. Satterwhite's work has been in other author's books, Man & His Words: Claude Kirk, The Perfect Portfolio , Getting To The Top , The Business of Commercial Photography , The Photographer's Guide to Marketing & Self-Promotion . His current book is "Titans: Muhammad Ali & Arnold Schwarzenegger". His photographic prints are in the permanent collections of the National Portrait Gallery, the Houston Fine Art Museum, the Santa Barbara Museum of Art, the Los Angeles County Museum of Art (LACMA), the George Eastman House and numerous private collections. He was honored by Nikon and made a “Legend” in 2005.