Podcasts about art papers

Jungian Psychoanalysts Laura Tuley and John White discuss Jungian Analysis in a World on Fire: At the Nexus of Individual and Collective Trauma, a volume of essays, all authored by practicing Jungian psychoanalysts, of which they were the editors. It examines and illuminates ways of working with individual analytic and therapeutic clients in the context of powerful and current collective forces, in the United States and beyond. Our Spring Fundraising Drive is live! Support this podcast by making a donation today. The first $7,000 in donations will be matched! Laura Camille Tuley, PhD (USA) is a Jungian Psychoanalyst in private practice in Madison, Wisconsin. She is the co-editor of Jungian Analysis in a World on Fire: At the Nexus of Individual and Collective Trauma (Routledge, 2024) and has contributed to Psychological Perspectives, Exploring Depth Psychology and the Female Self: Feminist Themes from Somewhere, Mothering in the Third Wave, Art Papers, Hypatia, the New Orleans Review and the APA Newsletter on Feminism and Philosophy. Tuley is a faculty member of the New Orleans Jung Seminar of the IRSJA and the co-editor of the “Clinical Commentaries” and “Film and Culture” features of the Journal of Analytical Psychology. John R. White, PhD's training was in philosophy and he was a philosophy professor for twenty years. As he moved into midlife, he began training as a psychotherapist. He has a Masters in mental health counseling from Franciscan University of Steubenville. He is also a psychoanalyst in the tradition of Carl Jung. He is a member of the Interregional Society of Jungian Analysts (IRSJA) and an associate member of the National Association for the Advancement of Psychoanalysis (NAAP). He practices psychotherapy according to psychodynamic, classical Jungian and archetypal approaches and more broadly in all approaches associated with “depth psychology”. Learn more at johnrwhitepgh.org. Edited by Laura Camille Tuley and John R. White: Patricia Martin, MFA, is the host of Jung in the World. A noted cultural analyst, she applies Jungian theory to her work as a researcher and writer. Author of three books, her work has been featured in the New York Times, Harvard Business Review, Huffington Post, and USA Today. She holds an MFA in writing and literature from Bennington College and an MA in cultural studies at the University College, Dublin (honors). In 2018, she completed the Jungian Studies Program at the C. G. Jung Institute Chicago where she is a professional affiliate. A scholar in residence at the Chicago Public Library, for the last decade she's been studying the digital culture and its impact on the individuation process. Patricia travels the world giving talks and workshops based on her findings, and has a private consulting practice in Chicago. Be informed of new programs and content by joining our mailing list! Support this free podcast by making a donation, becoming a member of the Institute, or making a purchase in our online store! Your support enables us to provide free and low-cost educational resources to all. This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. You may share it, but please do not change it, sell it, or transcribe it.Executive Producer: Ben LawHosts: Patricia Martin, Judith Cooper, Daniel Ross, Adina Davidson, and Raisa Cabrera2024-2025 Season Intern: Kavya KrishnamurthyMusic: Peter Demuth

In this episode, Kimberly and return guest Sophie Strand celebrate publishing week for Sophie's extraordinary new book The Body is a Doorway: A Memoir: A Journey Beyond Healing, Hope, and the Human. They discuss where Sophie currently finds herself in a post-diagnosis reality and what writing the book taught her about the mysteries of illness. She emphasizes the complex power of doctor relationships and medical information on body through the nocebo effect. Kimberly and Sophie talk through what it looks like to support someone dealing with illness day to day. Sophie shares her personal and social experiences with chronic illness, as well as the contemporary cultural pressures to intertwine identity with labels. She also highlights the role of community, creativity and bad story on diagnoses and treatments. This open-hearted conversation touches on the broader implications of health, identity, and the need for a more open and relational approach to healing and self-understanding.   Bio Sophie Strand is a poet and writer with a focus on the intersection of spirituality, storytelling, and ecology. Her poems and essays have appeared in numerous projects and publications, including Spirituality & Health, Atmos, Braided Way, and Art PAPERS. She is the author of The Flowering Wand and The Madonna Secret, and the creator of the popular Substack “Make Me Good Soil.” She lives in the Hudson Valley of New York.   What They Share The impact of a long-awaited diagnosis The No-Cebo Effect What we pay attention to we pray towards The Mystery of Illness Bad Story in Myth and Psychotherapeutic fields Self-Diagnosis How to tell a different stories about chronic illness Performing Sickness to have invisible illness be more visible How to check in with friends having a hard time/facing health challenges End of the addiction line Chronic Sickness as it relates to sobriety Eco-cidal culture wants to turn everything into product Somatic Protest Body can't work The miracle of GoFund Me alongside an unaffordable health care system History of oral culture Orality and Literature by anthropologist Walter Ong What is an individual? Monotheism of Psychology The impulse to classify is about control and fear Prayer is another energy that might have a better idea of what I need Vending Machine Prayer Finding book endings that aren't fantasies How to separate negative from worse How to operate with one spoon   Links IG @cosmogyny Substack https://sophiestrand.substack.com/ Sophie's New Book: https://www.hachettebookgroup.com/titles/sophie-strand/the-body-is-a-doorway-a-memoir/9780762487417/?lens=running-press The Body is A Doorway Amazon Review page: https://www.amazon.com/review/create-review/?ie=UTF8&channel=glance-detail&asin=0762487410 Money and The Nervous System Sign-Up: https://kimberlyannjohnson.com/money-the-nervous-system/

In month's Q&A we have questions concerning kingship & the gods, turtles (!!), and the Book of the Dead. Kara also answers some frequently asked questions about her new online course on ancient Egyptian cosmogony and cosmology.Ancient Egyptian Cosmogony and Cosmology: Secrets of the Primordial WatersAn eight-part lecture series by Dr. Kara CooneySHOW NOTESKingship & Religion* Overview of the King's role in state religion* Dunand, Françoise and Christiane Zivie-Coche. 2004. Gods and men in Egypt: 3000 BCE to 395 CE. Translated by David Lorton. Ithaca, NY; London: Cornell University Press.* Baines, Lesko, and Silverman. 1991. Religion in Ancient Egypt. Gods, Myth, and Personal Practice. Cornell University Press. * Maat vs. Isfet* Third Intermediate Period & the High Priests of Amun * Herihor* Piankhy* Royal Ka- Bell, Lanny 1985. Luxor temple and the cult of the royal Ka. Journal of Near Eastern Studies 44 (4), 251-294.* Abydos King List Book of the Dead and Ideological Textual Knowledge* Gloss* Book of the Dead, Chapter 17 Turtles vs. Tortoise in Ancient Egypt * Fischer 1968. Ancient Egyptian Representations of Turtles. The Metropolitan Museum of Art Papers 13. New York* El-Kady. 2011. The Religious Concept of the Dual Character of the Turtle in Graeco-roman Egypt* Ritner, Robert K. 2000. The "Breathing-permit of Hôr": thirty-four years later. Dialogue: a journal of Mormon thought 33 (4), 97-119Retainer Sacrifice* Review our episode with Dr. Rose Campbell- Part I & II* Animal Sacrifice/Butcher sceneRecycling for Death: Coffin Reuse in Ancient Egypt and the Theban Royal CachesIf you are a paid subscriber on Substack or Patreon and would like a signed bookplate, you can reply to this post or email us at karacooney@gmail.com. Get full access to Ancient/Now at ancientnow.substack.com/subscribe

This week on The Curatorial Blonde we have Allison Glenn. Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials, and major new commissions by a wide range of contemporary artists. She is a Visiting Curator in the Department of Film Studies at the University of Tulsa, organizing the Sovereign Futures convening, and Artistic Director of The Shepherd, a three-and-a-half-acre arts campus part of the newly christened Little Village cultural district in Detroit.  Previous roles include Co-Curator of Counterpublic Triennial 2023; Senior Curator at New York's Public Art Fund, where she proposed and developed Fred Eversley: Parabolic Light (2023) and Edra Soto Graft (2024) for Doris C. Freedman Plaza; Guest Curator at the Speed Art Museum, and Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art. In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges 120-acre campus through a series of new commissions, touring group exhibitions, and long-term loans. She also realized site-specific architectural interventions, such as Joanna Keane Lopez, A dance of us (un baile de nosotros), (2020), as part of State of the Art 2020 at The Momentary. She acted as the Curatorial Associate + Publications Manager for Prospect New Orleans' international art triennial Prospect.4: The Lotus in Spite of the Swamp. A Curatorial Fellowship with the City of Chicago's Department of Cultural Affairs and Special Events, culminated with In the beginning, sometimes I left messages in the street (2016), a citywide billboard and performance exhibition. As Program Manager at University of Chicago's Arts Incubator, she worked with a team led by Theaster Gates to develop the emergent space, where she curated exhibitions and commissioned performances such as Amun: The Unseen Legends (2014), a new performance from Terry Adkin's Lone Wolf Recital Corps, that included Kamau Patton. Glenn has been a visiting critic, lecturer, and guest speaker at a number of universities, including The University of Tulsa, University of Pennsylvania, School of the Art Institute of Chicago, Louisiana State University, and Pacific Northwest College of Art. Her writing has been featured in catalogues published by The Los Angeles County Museum of Art, The Neubauer Collegium, Counterpublic Triennial, Prospect New Orleans Triennial, Princeton Architectural Press, Crystal Bridges Museum of American Art, Scottsdale Museum of Contemporary Art, Kemper Museum, Studio Museum in Harlem, and she has contributed to Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, ART21 Magazine, Pelican Bomb, Ruckus Journal, and Newcity, amongst others. She has curated notable public commissions, group exhibitions, and site specific artist projects by many artists, including Mendi + Keith Obadike, Matthew Angelo Harrison, Maya Stovall, Rashid Johnson, Basel Abbas + Ruanne Abou-Rahme, Lonnie Holley, Ronny Quevedo, Edra Soto, Terry Adkins, Kamau Patton,Shinique Smith, Torkwase Dyson, George Sanchez-Calderon, Hank Willis Thomas, Odili Donald Odita, Martine Syms, Derrick Adams, Lisa Alvarado, Sarah Braman, Spencer Finch, Jessica Stockholder, Joanna Keane-Lopez, Genevieve Gaignard and others. Her 2021 exhibition Promise, Witness, Remembrance was name one of the Best Art Exhibitions of 2021 by The New York Times. Glenn is a member of Madison Square Park Conservancy's Public Art Consortium Collaboration Committee and sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece, New Orleans, LA and The Bronx, New York. She received dual Master's degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit.

Episode 127I spoke with Christopher Thi Nguyen about:* How we lose control of our values* The tradeoffs of legibility, aggregation, and simplification* Gamification and its risksEnjoy—and let me know what you think!C. Thi Nguyen as of July 2020 is Associate Professor of Philosophy at the University of Utah. His research focuses on how social structures and technology can shape our rationality and our agency. He has published on trust, expertise, group agency, community art, cultural appropriation, aesthetic value, echo chambers, moral outrage porn, and games. He received his PhD from UCLA. Once, he was a food writer for the Los Angeles Times.I spend a lot of time on this podcast—if you like my work, you can support me on Patreon :)Reach me at editor@thegradient.pub for feedback, ideas, guest suggestions. Subscribe to The Gradient Podcast:  Apple Podcasts  | Spotify | Pocket Casts | RSSFollow The Gradient on TwitterOutline:* (00:00) Intro* (01:10) The ubiquity of James C. Scott* (06:03) Legibility and measurement* (12:50) Value capture, classes and measurement* (17:30) Political value choice in ML* (23:30) Why value collapse happens* (33:00) Blackburn, “Hume and Thick Connexions” — projectivism and legibility* (36:20) Heuristics and decision-making* (40:08) Institutional classification systems* (46:55) Back to Hume* (48:27) Epistemic arms races, stepping outside our conceptual architectures* (56:40) The “what to do” question* (1:04:00) Gamification, aesthetic engagement* (1:14:51) Echo chambers and defining utility* (1:22:10) Progress, AGI millenarianism* (disclaimer: I don't know what's going to happen with the world, either.)* (1:26:04) Parting visions* (1:30:02) OutroLinks:* Chrisopher's Twitter and homepage* Games: Agency as Art* Papers referenced* Transparency is Surveillance* Games and the art of agency* Autonomy and Aesthetic Engagement* Art as a Shelter from Science* Value Capture* Hostile Epistemology* Hume and Thick Connexions (Simon Blackburn) Get full access to The Gradient at thegradientpub.substack.com/subscribe

Lain York is a native of Nashville whose work continues to reference images from our collective sense of history. York's work has been exhibited locally/nationally/internationally in contemporary galleries, public art programs, academic spaces, artist-run initiatives, and museums. In 2015 he had a solo exhibition, “Selections From the National Gallery”, at the Frist Museum of Art. His  can be found in the permanent collections of EMI Los Angeles, the Savannah College of Art, The Tennessee State Museum, the Metropolitan Nashville Arts Commission, FirstBank Tennessee, and the Music City Center. His work has been published in New American Paintings, New York Arts Magazine, and Art Papers. Lain York is currently on the board of Fugitive Projects and is gallery director of Zeitgeist Gallery in Nashville. He has served a preparator for the Arts In the Airport program, the Metropolitan Arts Commission, the Summer Lights Festival, The Greater Nashville Arts Foundation, and the untitled artist group. He currently coordinates exhibitions for artists with disabilities at the Kennedy Center on Vanderbilt Campus. www.lainyork.comhttps://open.spotify.com/artist/0QS8J05mBtajx0z3ZHg0d2Host - Trey MitchellIG - treymitchellphotographyIG - feeding_the_senses_unsensoredFB - facebook.com/profile.php?id=100074368084848Sponsorship Information  -  ftsunashville@gmail.comTheme Song - The Wanshttps://www.thewansmusic.com/https://www.facebook.com/thewansmusic/https://www.instagram.com/thewans/?hl=en

Our breath is the new syllabus. Our survival is the new curriculum. But where is our classroom? This critical geography we must carve out to practice the dis-order that our new world calls for. Black feminist pedagogies have always been critical to my practice. It wasn't enough to inhale black feminist research — I had to lick it — I had to play with it — I had to stir it — I had to serve it — I had to perform it — I had to breathe it. This was the desire that seeded Seeda School. Inspired by a character that could breathe when I couldn't seem to catch mine. Resources: Register for the Worldbuilding Workshop Series Download the ⁠Creative Offer Questionnaire to Oneself⁠ Subscribe to ⁠Seeda School Substack⁠ for weekly podcast and essay releases straight into your inbox Follow Ayana on Instagram: ⁠@ayzaco⁠ Follow Seeda School on Instagram: ⁠@seedaschool⁠ 3 Body Problem Scene (Youtube) Alexis Pauline Gumbs, “The God of Every Day” published by Topical Cream on December 22nd, 2021 Cover Art: Beverly Buchanan, “Three Familiar (A Memorial Piece with Scars), 1989 [courtesy of the Chrysler Museum of Art, gift of David Henry Jacobs, Jr.] Source: “Beverly Buchanan, Life on the Line” published by Art Papers. Image Description: Three, small, shacks collaged with wood, paint, nails, metal and fire — leaning, grieving, singing, dancing.

Ep.192 Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials and major new commissions by a wide range of contemporary artists. She is a Visiting Curator in the Department of Film Studies at the University of Tulsa, organizing the Sovereign Futures convening, and Artistic Director of The Shepherd, a three-and-a-half-acre arts campus part of the newly christened Little Village cultural district in Detroit. Previous roles include Co-Curator of Counterpublic Triennial 2023, Guest Curator at the Speed Art Museum, and Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art. In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges' 120-acre campus through a series of new commissions, touring group exhibitions, and long term loans. She has also acted as the Curatorial Associate + Publications Manager for Prospect New Orleans' international art triennial Prospect.4: The Lotus in Spite of the Swamp. Her writing has been featured in catalogues published by The Los Angeles County Museum of Art, Counterpublic Triennial, Prospect New Orleans triennial, Princeton Architectural Press, Crystal Bridges Museum of American Art, Scottsdale Museum of Contemporary Art, Kemper Museum, Studio Museum in Harlem, and she has contributed to Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, and ART21 Magazine, amongst others. Glenn sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece, New Orleans, LA and The Bronx, New York. She received dual Master's degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit. Photograph by Grace Roselli Allison Glenn https://www.allisonglenn.com/ Artnet https://news.artnet.com/art-world/valuations-allison-glenn-2395989 NYTimes https://www.nytimes.com/2023/05/09/arts/design/counterpublic-st-louis-public-art.html ARTnews https://www.artnews.com/art-news/artists/qa-david-adjaye-on-his-first-permanent-sculpture-1234670283/ e-flux https://www.e-flux.com/criticism/537239/counterpublic-2023 NPR https://www.stlpr.org/arts/2023-03-07/massive-public-art-exhibition-will-highlight-historical-injustices-in-st-louis The Architects Newsletter https://www.archpaper.com/2022/04/david-adjayes-first-permanent-public-artwork-among-art-and-architectural-commissions-for-2023-counterpublic-triennial-in-st-louis/ Artnet https://news.artnet.com/art-world/counterpublic-2023-2106157 ARTnews https://www.artnews.com/list/art-news/artists/shaping-art-2022-deciders-1234612406/naomi-beckwith/ NYTimes https://www.nytimes.com/2021/12/07/arts/design/best-art-2021.html Observer https://observer.com/power-series/2021-arts-power-50/ Artforum https://www.artforum.com/features/huey-copeland-and-allison-glenn-on-promise-witness-remembrance-249992/ SAIC https://www.saic.edu/news/alum-allison-glenn-and-the-power-of-listening NYTimes https://www.nytimes.com/2021/03/11/arts/design/speed-museum-breonna-taylor-curator.html Art Newspaper https://www.theartnewspaper.com/2021/02/25/speed-art-museum-will-reflect-on-the-death-of-breonna-taylor-in-an-exhibition Surface https://www.surfacemag.com/articles/breonna-taylor-exhibition-speed-art-museum-other-news/#taylor Culture Type https://www.culturetype.com/2021/02/22/the-week-in-black-art-february-22-28-2021-cameron-shaw-named-executive-director-of-california-african-american-museum-aperture-names-seven-new-trustees/ Artnet https://news.artnet.com/art-world/louisville-speed-art-museum-breonna-taylor-1945823 Observer https://observer.com/2021/02/breonna-taylor-speed-art-museum-louisville/ 88.9 WEKU https://www.weku.org/post/new-speed-exhibition-honor-life-legacy-breonna-taylor#stream/0

ABOUT THE EPISODE In this episode of SIGGRAPH Spotlight, SIGGRAPH 2024 Art Papers Chair August Black welcomes distinguished artists and researchers Anna Friz, Gabriela Munguía, and Tom Sherman to discuss the art, media, and science overlap. Through the lens of this year's Art Papers program theme, “Ambient Like the Weather,” the guests give insight into their current projects, commentary on Marshall McLuhan's idea of acoustic space, and thoughts on emerging media formats and spaces. Want to join in on this conversation? Join us at SIGGRAPH 2024 in Denver, 28 July–1 August, to be wowed by the latest in art and media. || MUSIC Podcast theme, "SIGGRAPH," composed by Julius Dobos. || LINKS *Episode* https://nicelittlestatic.com/ | https://www.gabrielamunguia.com/ | https://artmetropole.com/search?q=Tom+Sherman | https://marshallmcluhanspeaks.com/lectures-panels/living-in-an-acoustic-world | https://s2024.siggraph.org/program/art-papers/ *Social Media* http://blog.siggraph.org/ | https://www.facebook.com/SIGGRAPHConferences | https://twitter.com/siggraph | https://www.youtube.com/user/ACMSIGGRAPH | https://www.instagram.com/acmsiggraph/ | https://www.linkedin.com/company/acm-siggraph/ *Conference Website* https://s2024.siggraph.org/

Barbara Campbell Thomas is a North Carolina based painter who has exhibited in museums and galleries across the United States, including the Weatherspoon Art Museum (NC), the Virginia Museum of Contemporary Art, The Painting Center (NY), the Atlanta Center for Contemporary Art, the Southeastern Center for Contemporary Art (NC), the North Carolina Museum of Art, Ortega Y Gasset Projects (NY), Maake Projects (PA), Wavelength Space (TN) and Hidell Brooks Gallery (NC).  Currently, her work is in a two-person exhibition at the Columbus College of Art and Design's Beeler Gallery, and in March she will have a two-person show at James May Gallery in Milwaukee.   Her work has been written about in Two Coats of Paint, Art Papers, The Coastal Post and BURNAWAY.   Barbara Campbell Thomas attended Skowhegan, the Virginia Center for the Creative Arts, the Elizabeth Murray Artist Residency and Hambidge Center for Creative Arts.  She is a Professor of Art and the Director of the School of Art at the University of North Carolina Greensboro.   

Today on Mushroom Hour we join in communion with the overflowing font of mythos, play and animated everything Sophie Strand. Sophie is a poet and writer with a focus on the history of religion and the intersection of spirituality, storytelling and ecology. Her poems and essays have appeared in numerous projects and publications, including the Dark Mountain Project, poetry.org and the magazines Unearthed, Braided Way, Art PAPERS and Entropy. Their newest book “The Flowering Wand – Rewilding the Sacred Masculine” is a potent retelling of classical European myths and masculine characters like Dionysus, Merlin, Jesus that encourages men to put down the iron sword and pick up a myceliated, vegetal thyrsus.    TOPICS COVERED:   Staying Alive by Exploring Ecology   Mediterranean Religions & Arthurian Myths    Myths as Vessels of Environmental Information   Replanting Myths - Reroot, Rewild, Retell    Polyphonic Iconography   Partnership Cultures and Dominator Cultures   Medusa & Mothers Turned into Monsters    Symbiosis & Synchronism    The Rebellion of Dionysus   Gender as a Morphic Field & a Mycelial Web    The King Becomes the Kingdom   Expanding Masculinity   Jesus the Magical, Nature-Loving Rabbi   Returning to the Compost Heap    EPISODE RESOURCES:    "The Flowering Wand": https://www.simonandschuster.com/books/The-Flowering-Wand/Sophie-Strand/9781644115961   "The Madonna Secret": https://www.simonandschuster.com/books/The-Madonna-Secret/Sophie-Strand/9781591434672   Sophie Strand Substack: https://sophiestrand.substack.com/   Sophie Strand IG: https://www.instagram.com/cosmogyny/   "Bitch": https://www.hachettebookgroup.com/titles/lucy-cooke/bitch/9781541674905/?lens=basic-books   Microanimism: https://www.microanimism.com/   Chlorophyllum molybdites: https://en.wikipedia.org/wiki/Chlorophyllum_molybdites   "Enlivenment": https://mitpress.mit.edu/9780262536660/   "An Immense World": https://www.penguinrandomhouse.com/books/616914/an-immense-world-by-ed-yong/

MADONNA SECRET: Sophie Strand Mary Magdalene's confessions reveal a sensual world of love and betrayal, magic and mystery, hidden within the Gospels ----Beginning with Miriam's childhood as a member of a wealthy Jewish family living outside of Bethany, we see her struggles as a young woman with spiritual curiosity and intellectual aspirations that drive her to combat the violence of Empire and the sexism of her own culture. Propelled by mystic visions, Miriam is finally drawn into the wilds of Galilee, where her destiny collides with a mischievous rabbi who will change her and the world forever. Trapped in a mythic story unfolding in events around them, the lovers strive not to repeat a tragedy older than the pyramids. --- In The Madonna Secret, Sophie Strand resurrects a richly textured world where complex characters reveal the lived reality of scripture and open familiar sayings to radical new meanings and possibilities. Sophie Strand is a poet and writer with a focus on the intersection of spirituality, storytelling, and ecology. Her poems and essays have appeared in numerous projects and publications, including Spirituality & Health, Atmos, Braided Way, and Art PAPERS. The author of The Flowering Wand, she lives in the Hudson Valley of New York. www.sophiestrand.com Learn more about Simran here: www.iamsimran.com www.1111mag.com/

Sophie Strand is a poet and writer with a focus on the intersection of spirituality, storytelling, and ecology. If you love Mary Magdalene and fondly remember Anita Diamant's The Red Tent, you are in for a real treat! Sophie's new book, The Madonna Secret, is a passionate retelling of the story of Mary Magdalene and Jesus, rewilding the Gospels with the forgotten voices of defiant and oppressed women, the nature-based storytelling of oral communities, and the embodied eroticism of a lovable rabbi with appetites and desires, doubts and shame, and a playful sense of humor. Plus, his awesome mom – aka The Virgin Mary – is a raucous and wonderful surprise, giving big time Baubo of Greek myth vibes, (who in my mind could be played wonderfully by Shohreh Aghdashloo of The Expanse fame). In this conversation, we talk about what it's like to write about miracles while living with an incurable disease, (Sophie lives with Ehlers-Danlos Syndrome, a connective tissue disorder - something that many members of the Numinous Network are all too familiar). We also discuss animism, magic, patriarchy, and the realness she brings to the landscape and the characters of her novel. Sophie's poems and essays have appeared in numerous projects and publications, including Spirituality & Health, Atmos, Braided Way and Art PAPERS. The author of The Flowering Wand, she lives in the Hudson Valley of New York.   Purchase The Madonna Secret anywhere (and please do leave a review!)   Follow Sophie: SophieStrand.com Her Substack Instagram Facebook   References in this episode: older Dev Patel Louis Garrel  Golshifteh Farhani (Oh now that I see who she is, I LOVED her in that dystopian show, Invasion) young Javier Bardem article about Bruce Chilton Bruce Chilton wikipedia Honi the Circle Drawer Hanina ben Dosa Contemporaries of Jesus who were miracle workers   Learn more about the Numinous Network Sign up for my newsletter and join us for Free Week, Sept 17-23, 2023  

Welcome back to a monster week at Bad at Sports. (We took an unscheduled vacation in August [cringe emoji]. This week we drop three shows the first of which is episode 851 from Kansas City with Kevin Demery. A great conversation about art, life, and the intersection of race and justice.   This conversation is amongst several you will hear in the next few weeks are brought to you through the support of Charlotte Street Foundation in Kansas City, where they are doing a remarkable job of bedrock-ing the Kansas City art world and its artists.   You should also know that you can expect us back on the radio on Wednesday with an episode from Expo Chicago. Excitingly, EXPO just sold to Freize and what that portends for our local International Art Fair, we will do our best to find out.   And, this Friday we will drop a third show with Andrew Mcilvaine who is currently doing an exhibition with our friend and now your's Kevin Demery.   Our friend Duncan. (He works here.) Is also hoping that we will let you know about an opportunity he and a West Coast artist and theorist, Ted Hiebert (former guest of the show) are hosting at the College Art Association conference in February 2024. They are hosting a panel on post-rational visuality and all that that could mean. How do we re situate human-ness now (post-ai, hyper bureaucratized, justly, and constantly observed and ordered), and what can those parts of being human which don't feel rational or computable mean to us? How do we foreground them? What kinds of art allow us to get enough intellectual space that we can reflect on these conditions? If you've got ideas about a human future through art, they've got the panel for you.   Kevin Demery - http://www.kevindemery.com/ Charlotte St. Foundation - https://charlottestreet.org/ Andrew Mcilvaine - https://www.andrewmcilvaine.com/ CAA Panel “Post-Rational Visuality” With Duncan and Ted Hiebert (it is a bit of a scroll) - https://caa.confex.com/caa/2024/webprogrampreliminary/meeting.html Sarah Higgins and Art Papers - https://www.artpapers.org/people/sarah-higgins-2/  

This week, on The Conscious Consultant Hour, Sam is pleased to welcome Author and Speaker, Sophie Strand.Sophie is a writer based in the Hudson Valley who focuses on the intersection of spirituality, storytelling, and ecology. But it would probably be more authentic to call her a neo-troubadour animist with a propensity to spin yarns that inevitably turn into love stories.She is the author of The Flowering Wand: Rewilding the Sacred Masculine. Her eco-feminist historical fiction reimagining of the gospels, The Madonna Secret was just recently published in 2023. Her poems and essays have appeared in numerous projects and publications, including The Dark Mountain Project and poetry.org and the magazines Unearthed, Braided Way, Art PAPERS, and Entropy.  Tune in and join the conversation as Sam and Sophie discuss  how to connect to nature to inspire us in everyday life. Please comment on our YouTube channel, Facebook Page, LinkedIn Page, and even our Twitter feed. Join in and ask your questions live! https://amzn.to/3QKdvVy   https://amzn.to/45yYD0y   https://sophiestrand.com/  Tune in for this enlightening conversation at TalkRadio.nycSupport this podcast at — https://redcircle.com/the-conscious-consultant-hour8505/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Two recent appearances of Sophie Strand at SAND. One was her Community Conversation with Zaya and Maurizio Benazzo the second a story she read called “Healing: A Ghost Story” with Bayo Akomolafe. Sophie's course The Body is a Doorway at SAND Sophie Strand is a writer based in the Hudson Valley who focuses on the intersection of spirituality, storytelling, and ecology. But it would probably be more authentic to call her a neo-troubadour animist with a propensity to spin yarns that inevitably turn into love stories. Give her a salamander and a stone and she'll write you a love story. Sophie was raised by house cats, puff balls, possums, raccoons, and an opinionated, crippled goose. In every neighborhood she's ever lived in she has been known as “the walker”. She believes strongly that all thinking happens interstitially – between beings, ideas, differences, mythical gradients. Her first book of essays The Flowering Wand: Lunar Kings, Lichenized Lovers, Transpecies Magicians, and Rhizomatic Harpists Heal the Masculine is available now from Inner Traditions. Her eco-feminist historical fiction reimagining of the gospels The Madonna Secret will also be published by Inner Traditions. Her books of poetry include Love Song to a Blue God (Oread Press) and Those Other Flowers to Come (Dancing Girl Press) and The Approach (The Swan). Her poems and essays have been published by Art PAPERS, The Dark Mountain Project, Poetry.org, Unearthed, Braided Way, Creatrix, Your Impossible Voice, The Doris, Persephone's Daughters, and Entropy. She has recently finished a work of historical fiction, The Madonna Secret, that offers an eco-feminist revision of the gospels. She is currently researching her next epic, a mythopoetic exploration of ecology and queerness in the medieval legend of Tristan and Isolde. Follow her on Facebook or on Instagram @cosmogyny. sophiestrand.com Topics: 0:00 – Introduction 4:30 – We Must Risk New Shapes 14:24 – Disability and Sickness 26:50 – Collective Story Telling and Trance 39:16 – A Rescue Promise 44:20 – Healing: A Ghost Story

In this episode, Kimberly and Sophie explore the nuances of being public entrepreneurs and authors. They wonder aloud together about the various roles of knowledge, expertise, and experience and discuss issues such as psychedelics for women, the complexities of social media, the need for eldership, disability and sickness as an altered state, as well as healing practices outside of a hyper-fixated and individualistic framework. The common threads connecting their questions center around identities as facilitators and writers, the need for connection to community and lineages, and managing the challenges of social media and identity politics in a hyper-individualistic culture. Ultimately, they land on the beauty that comes from maturation, wisdom, and growth over time that cannot be done by a quick-fix nor in isolation.   Bio Sophie Strand is a writer based in the Hudson Valley who focuses on the intersection of spirituality, storytelling, and ecology. Her first book of essays “The Flowering Wand: Lunar Kings, Lichenized Lovers, Transpecies Magicians, and Rhizomatic Harpists Heal the Masculine” was published last year in 2022 from Inner Traditions. Her books of poetry include “Love Song to a Blue God,” “Those Other Flowers to Come” and “The Approach.” Her poems and essays have been published by Art PAPERS, The Dark Mountain Project, Poetry.org, Unearthed, Braided Way, Creatrix, Your Impossible Voice, The Doris, Persephone's Daughters, and Entropy. She has recently finished a work of historical fiction, “The Madonna Secret,” that offers an eco-feminist revision of the gospels, and will be released this summer.  She is currently researching her next epic, a mythopoetic exploration of ecology and queerness in the medieval legend of Tristan and Isolde. What She Shares: –Cultural band-aids for deeper wounds –Public and private identities –Demonizing and idolizing figures –Impact of social media and identity politics –Elderhood, wisdom, and changing perspectives   What You'll Hear: –Problematizing psychedelics  –Gendered experiences with psychedelics –Harder for women to recover after psychedelics –Cultural band-aids on wounds –Sophie addresses disabled writer label –Publishing editorial choices and confinement –Public identities and social media –Collective energy demonizing or idolizing figures –Navigating social media pressures and intuition as entrepreneurs –Is the medicine of these times insignificance? –Story of Joan of Arc –No saviors, no heroes –Creating money and wanting to be insignificant –Tensions between community, authority, and parasocial diffusion –Bodily impact of social media –Problematizing gatekeeping of knowledge and lived experiences –Risk-averseness and obsession with safety  –Safety as limited capacity to survive –Hyperfixation and hyper-individualism of healing –Impact of identity politics on youth –Maturity, wisdom, and changing perspectives –Discerning between privacy, secrecy, and transparency –Using discretion when writing memoir –Difference between rot and fermentation   Resources Website: https://sophiestrand.com/ IG: @cosmogyny  

Jessica Bell Brown is the Curator and Department Head for Contemporary Art at the Baltimore Museum of Art. Her recent exhibition projects include How Do We Know The World?, Thaddeus Mosley: Forest, Stephanie Syjuco: Vanishing Point (Overlay), and A Movement In Every Direction: Legacies of the Great Migration co-organized with the Mississippi Museum of Art. Prior to the BMA she was the Consulting Curator at Gracie Mansion Conservancy in New York, where she curated She Persists: A Century of Women Artists in New York, 1919-2019 with First Lady Chirlane McCray. Previously, she held roles at the Museum of Modern Art, New York, the Brooklyn Academy of Music, and Creative Time. Her writing has been featured in several artist monographs and catalogues, including Janiva Ellis, Thaddeus Mosley, Baldwin Lee, Lubaina Himid, Matthew Angelo Harrison, as well as Flash Art, Artforum, Art Papers, Hyperallergic, and The Brooklyn Rail.Photo by Christopher MyersAbout A Movement in Every Direction: Legacies of the Great MigrationThe Great Migration (1915–1970) saw more than six million African Americans leave the South for destinations across the United States. This incredible dispersal of people across the country transformed nearly every aspect of Black life and culture. A Movement in Every Direction: Legacies of the Great Migration explores the ways in which its impact reverberates today through newly commissioned works across media by 12 acclaimed Black artists, including Akea Brionne, Mark Bradford,  Zoë Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems.The exhibition is co-curated by Jessica Bell Brown, Curator and Department Head of Contemporary Art at the BMA and Ryan N. Dennis, Chief Curator and Artistic Director of the Center for Art & Public Exchange (CAPE) at the Mississippi Museum of Art.The exhibition is co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art.This exhibition is supported by a grant from the Ford Foundation.Mentioned in this episode:A Movement in Every Direction: Legacies of the Great MigrationTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Amy Pleasant received a BFA from the School of the Art Institute of Chicago (1994) and an MFA from the Tyler School of Art, Temple University (1999).

Amy was awarded a John Simon Guggenheim Memorial Foundation Fellowship in 2018, the South Arts Prize for the State of Alabama (2018), Joan Mitchell Foundation Painters and Sculptors Award (2015), Mary Hambidge Distinguished Artist Award (2015), Cultural Alliance of Birmingham Individual Artist Fellowship (2008), and Alabama State Council on the Arts Individual Artist Fellowship (2019/2003). She has held solo exhibitions at Hunter Museum of American Art (Chattanooga, TN), Brackett Creek Editions (NYC), Geary Contemporary (NYC/Millerton, NY), Laney Contemporary (Savannah, GA), Institute 193 (Lexington, KY), Jeff Bailey Gallery (Hudson/NYC), whitespace gallery (Atlanta, GA), Augusta University (Columbus, GA), Indianapolis Museum of Contemporary Art (IN), Birmingham Museum of Art (AL), Atlanta Contemporary (GA), Auburn University's School of Liberal Arts (AL), Rhodes College (Memphis, TN), Candyland (Stockholm, Sweden), and the University of Alabama at Birmingham (AL) among others. Her group exhibitions include Brackett Creek Editions (Bozeman, MT), Zuckerman Museum of Art (Kennesaw, GA), Knoxville Museum of Art (Knoxville, TN), Hesse Flatow (NYC), SEPTEMBER (Hudson, NY), Mindy Solomon Gallery (Miami, FL), Tif Sigfrids (Athens, GA), Hemphill Fine Arts (Washington, D.C.), Adams and Ollman (Portland, OR), Montgomery Museum of Fine Arts (AL), Cuevas Tilleard Projects (NYC), The Dodd Galleries (Athens, GA), Weatherspoon Museum of Art (NC), Hunter Museum of American Art (Chattanooga, TN), Columbus Museum of Art (GA), National Museum of Women in the Arts (D.C.), The Mobile Museum of Art (AL), and the U.S. Embassy, Prague, Czech Republic. Her work has been reviewed in publications such as World Sculpture News, Sculpture, The Brooklyn Rail, Art in America, Artforum, Art Papers, Bad at Sports and BURNAWAY.

Her first monograph, The Messenger's Mouth Was Heavy, was released in 2019, co-published by Institute 193 and Frank. Amy also co-founded the curatorial initiative The Fuel And Lumber Company with artist Pete Schulte in 2013.

Sophie Strand: writer and academic cross-contaminator: on the ways we can improvise in academia and beyond. Sophie Strand is a writer based in the Hudson Valley who focuses on the intersection of spirituality, storytelling, and ecology. But it would probably be more authentic to call her a neo-troubadour animist with a propensity to spin yarns that inevitably turn into love stories. Her first book of essays The Flowering Wand: Lunar Kings, Lichenized Lovers, Transpecies Magicians, and Rhizomatic Harpists Heal the Masculine is forthcoming in 2022 from Inner Traditions. Her eco-feminist historical fiction reimagining of the gospels The Madonna Secret will also be published by Inner Traditions. Her books of poetry include Love Song to a Blue God (Oread Press) and Those Other Flowers to Come (Dancing Girl Press) and The Approach (The Swan). Her poems and essays have been published by Art PAPERS, The Dark Mountain Project, Poetry.org, Unearthed, Braided Way, Creatrix, Your Impossible Voice, The Doris, Persephone's Daughters, and Entropy. She has recently finished a work of historical fiction, The Madonna Secret, that offers an eco-feminist revision of the gospels.  She is currently researching her next epic, a mythopoetic exploration of ecology and queerness in the medieval legend of Tristan and Isolde. Today we speak about the importance of listening to one's body and its unexpected ways to bring out intellectual results and eventually new academic fruits. For Sophie, storytelling was a way out of trauma and around pain and then became her academic method allowing to border-cross paradigms and fuse ideas. We ask how to create safety in these subversive spaces? And how to confront the reactions of disapproval and discontent? Sophie leads us through her story of following that sensory vein and shares the ways that could work for others as eager to improvise. Listen to the episode to reflect on our intellectual editing processes together.   (TW: this conversation touches on trauma and mental health).   Mentioned in Podcast: https://en.wikipedia.org/wiki/Anne_Rice (Anne Rice) https://www.bayoakomolafe.net/about (Bayo Akomolafe) https://en.wikipedia.org/wiki/Purity_and_Danger (Purity and Danger: An Analysis of Concepts of Pollution and Taboo) by Mary Douglas https://en.wikipedia.org/wiki/Andreas_Weber_(writer) (Andreas Weber) https://orphanwisdom.com/die-wise/ (Die Wise – A Manifesto for Sanity and Soul) by Stephen Jenkinson Social media: https://sophiestrand.com/ (Sophie) https://sophiestrand.com/ (Strand)

Makshya Tolbert is a poet, cook, and potter who just found her way back to Virginia. Her recent poems and essays have been published in Interim, Narrative Magazine, Emergence Magazine, Tupelo Quarterly, Art Papers, The Night Heron Barks, For the Culture, Earth in Color, Odd Apples, and with poetry forthcoming in RHINO. Makshya is currently based in Charlottesville, Virginia, where she is a second-year MFA student walking the grounds of the University of Virginia. Makshya serves on the Charlottesville Tree Commission and is a 2022-23 Lead to Life Curatorial Fellow. In her free time, she is elsewhere— what Eddie S. Glaude, Jr. calls 'that physical or metaphorical place that affords the space to breathe.' Copyright © 2022 by Makshya Tolbert, originally published on Queer Poem-a-Day, 2022 at the Deerfield Public Library. Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is directed by poet and teacher Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this second year of our series is the first movement, Schéhérazade, from Masques, Op. 34, by Karol Szymanowski, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission. Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.

Making art is risky, especially when we honor our cycles of creativity. In this episode we sit down with writer Sophie Strand as she shares her experiences with risk, navigating the pressure to create, listening to guidance from our web of non-humxn kin and  how our relationships to land shape creative journey. Mentioned in this episode: Psychic Tour of Brooklyn Botanical Garden with Eliza Swann June 22Early Bird List for Creative Liberation Tarot ReadingsSophie's new book, The Flowering Wand: Rewilding the Sacred MasculineAbout the GuestSophie Strand is a writer based in the Hudson Valley who focuses on the intersection of spirituality, storytelling, and ecology. But it would probably be more authentic to call her a neo-troubadour animist with a propensity to spin yarns that inevitably turn into love stories. Give her a salamander and a stone and she'll write you a love story. Sophie was raised by house cats, puff balls, possums, raccoons, and an opinionated, crippled goose. In every neighborhood she's ever lived in she has been known as “the walker”. She believes strongly that all thinking happens interstitially – between beings, ideas, differences, mythical gradients.Her first book of essays The Flowering Wand: Lunar Kings, Lichenized Lovers, Transpecies Magicians, and Rhizomatic Harpists Heal the Masculine is forthcoming in 2022 from Inner Traditions. Her eco-feminist historical fiction reimagining of the gospels The Madonna Secret will also be published by Inner Traditions. Her books of poetry include Love Song to a Blue God (Oread Press) and Those Other Flowers to Come (Dancing Girl Press) and The Approach (The Swan). Her poems and essays have been published by Art PAPERS, The Dark Mountain Project, Poetry.org, Unearthed, Braided Way, Creatrix, Your Impossible Voice, The Doris, Persephone's Daughters, and Entropy. She has recently finished a work of historical fiction, The Madonna Secret, that offers an eco-feminist revision of the gospels.  She is currently researching her next epic, a mythopoetic exploration of ecology and queerness in the medieval legend of Tristan and Isolde.Follow her on Facebook or on Instagram @cosmogyny.About the HostZaneta (they/them) is a queer, multi Brooklyn-based sound ritualist, listening educator, nature recordist, creativity activist, tarot reader, and podcast host. At the core of their work is a deep desire to remember how to live in interconnectedness.  Whether that is through meditation and connecting with the self, or in community rituals to connect to the land, Zaneta weaves sound and ritual to create experiences that transform the way participants hear and connect to the world.  In the spirit of an interconnected world, Zaneta focuses on supporting folx to make their art and express themselves fully, knowing that interconnection and interdependence are rooted in our individual wholeness and that our authentic creative expression is at the heart of that wholeness.  It's towards this collective vision that Zaneta offers channeled tarot readings for creative liberation, and offers readings to support artists in navigating their careers and projects. To learn more about Zaneta's work, visit www.soundartmagic.comOr follow them on IG @soundartmagic About the PodcastArt Witch is where creativity, magic, and healing align for personal and collective liberation.  Hosted by Brooklyn-based sound ritualist, arts educator, and tarot reader Zaneta, Art Witch aims to provide resources for the creative journey. In this podcast you'll hear from a variety of artists, witches, healers, and experts sharing their wisdom and stories, all with the intention of helping folx make art and share their unique magic with the world.Art Witch has a Patreon community where members meet regularly for group meditations, full moon rituals, and community conversations on art and magic. In addition, we have a full library of meditations and videos for the creative mystical journey. To support this podcast and become a member, visit www.patreon.com/soundartmagic@artwitchpodcast

Gabrielle Selz is the author of Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. She is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press.Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. In 1969, Thalia selected the original tenants for Westbeth, the largest artists housing project in the country, and the family then moved to live alongside artists like Diane Arbus and Merce Cunningham. Introduced to Sam Francis as a child, her interest in his life, career and what motivated his extraordinary contributions, expanded while she was researching and writing Unstill Life.Selz has contributed to The New Yorker, The New York Times, More Magazine, The Rumpus and the L.A. Times. Her fiction has appeared in Fiction Magazine and her art criticism in Art Papers, Hyperallergic and Newsday and the Huffington Post. She is a past recipient of the New York Foundation for the Arts Fellowship in Nonfiction and is a Moth Story Slam Winner. · gabrielleselz.com · www.creativeprocess.info

Untitled Collage 2 John J. O'Connor was born in Westfield, MA and received an MFA in painting and an MS in Art History and Criticism from Pratt Institute in 2000. He attended The MacDowell Colony, the Skowhegan School of Painting and Sculpture, was a recipient of New York Foundation for the Arts Grants in Painting and Drawing, the Pollock-Krasner Foundation grant, and the Marie Walsh Sharpe Foundation Studio residency. John has been in numerous exhibitions abroad, including The Lab (Ireland), Martin Asbaek Gallery (Denmark), Neue Berliner Raume (Germany), Rodolphe Janssen Gallery (Brussels), the Louhu District Art Museum (Shenzhen, China), TW Fine Art (Australia); and in the US at Andrea Rosen Gallery, Pierogi Gallery, Arkansas Arts Center, Weatherspoon Museum, Ronald Feldman Gallery, Marlborough Gallery, White Columns, the Museum of Contemporary Art in Baltimore, the Queens Museum, and the Tang Museum. His exhibitions have been reviewed in Bomb Magazine, The New York Times, Artforum, the Village Voice, Art Papers, the Brooklyn Rail, and Art in America. John presented his work in discussion with Fred Tomaselli at The New Museum, and his work is included in the collections of the Museum of Modern Art, Whitney Museum of American Art, Weatherspoon Museum, Hood Museum, Southern Methodist University, and the New Museum of Contemporary Art. A catalogue spanning 10 years of John's work was published by Pierogi Gallery with essays by Robert Storr, John Yau, and Rick Moody. He teaches at Sarah Lawrence College. The upcoming shows mentioned in the interview will be at False Flag Gallery and Pierogi Gallery. O'Connor also has a 2-person show upcoming at Pazo Fine Art. The books referenced in the interview were Daniil Kharms, "Today I Wrote Nothing" and Antonio Damasio, "Feeling and Knowing." "I Shot," 82.25 x 70.25 inches, colored pencil and graphite on paper, 2020 "Charlie (Butterfly, day 3)," 86 X 70 inches, colored pencil and graphite on paper, 2018

This is a conversation with author, poet and brilliant ‘compost heap of ideas', Sophie Strand. Sophie is kind, generous of spirit and invitational. Our time together was an unhurried meander, getting a sense of each other before we approached the big topics that we planned to speak about. We arrived at things she has recently been writing about, namely challenging our conceptions of both healing and trauma, acknowledging incompleteness as an intrinsic and beautiful part of life, and the generativity that constraints offer us. We also briefly speak of the craving for rooted relationships, the impacts of pandemic times, the holobiont that makes us a 'we', the profound medicine of walking (for those who are physically able) intentionally and regularly around the places you live to build intimacy with the land and all the beings therein that you are in curious kinship with. Oh, and radical uncertainty.  Enjoy Sophie's amazingness.  Below you will find links to her social media and places you can preorder her up and coming book - The Flowering Wand - Rewilding the Sacred Masculine. Sophie's Bio (from her website): Sophie Strand is a writer based in the Hudson Valley who focuses on the intersection of spirituality, storytelling, and ecology. But it would probably be more authentic to call her a neo-troubadour animist with a propensity to spin yarns that inevitably turn into love stories. Give her a salamander and a stone and she'll write you a love story. Sophie was raised by house cats, puff balls, possums, raccoons, and an opinionated, crippled goose. In every neighborhood she's ever lived in she has been known as “the walker”. She believes strongly that all thinking happens interstitially – between beings, ideas, differences, mythical gradients.Her first book of essays The Flowering Wand: Rewilding the Sacred Masculine is forthcoming in 2022 from Inner Traditions. Her eco-feminist historical fiction reimagining of the gospels The Madonna Secret will also be published by Inner Traditions. Her books of poetry include Love Song to a Blue God (Oread Press) and Those Other Flowers to Come (Dancing Girl Press) and The Approach (The Swan). Her poems and essays have been published by Art PAPERS, The Dark Mountain Project, Poetry.org, Unearthed, Braided Way, Creatrix, Your Impossible Voice, The Doris, Persephone's Daughters, and Entropy. She has recently finished a work of historical fiction, The Madonna Secret, that offers an eco-feminist revision of the gospels.  She is currently researching her next epic, a mythopoetic exploration of ecology and queerness in the medieval legend of Tristan and Isolde.Follow her on Facebook or on Instagram @cosmogyny.PREORDER her book The Flowering Wand: Rewilding the Sacred Masculine Via Barnes & Noble, Amazon, Inner Traditions publishing, Bookshop.org, and other book sellers. Podcast Music:Podcast intro created by Amber SamayaCompleting song is intuitive song inspired by Sophie's essay "Your body is a doorway"You can hear more of my music on Spotify under Amber Samaya Support the show (https://www.patreon.com/ambersamaya)

Studio Noize bringing in the big guns to discuss the wide world of Black art. In episode 133 we talk to the curator, writer, and cultural historian TK Smith about his work creating and explaining the context in which Black art is produced. We get into his curatorial practice which includes shows at the Zuckerman Museum of Art in Kennesaw, GA, and the Woodmere Art Museum in Philadelphia. Tk has written for Art In America, the Monument Lab Bulletin, and Art Papers. He tells us how he reviews shows and what were some of his favorite shows he's seen recently including the Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse previously on view at the Virginia Museum of Fine Art. Its an in-depth conversation with one of the bright young thinkers in contemporary Black art. Listen, subscribe, and share!Episode 133 topics include:Curating and institutionsthe importance of networkingcurating showsLooming Chaos by Zipporah Camille Thompsonthe Dirty South: Contemporary Art, Material Culture, and the Sonic Impulsewriting exhibition reviewsexploring the meaning of monumentsSmith's curatorial projects include Roland Ayers: Calligraphy of Dreams at the Woodmere Museum of Art in Philadelphia, PA. (2021), the 2021 Atlanta Biennial exhibition Virtual Remains at the Atlanta Contemporary in Atlanta, GA. (2021), and Zipporah Camille Thompson: Looming Chaos at the Zuckerman Museum of Art in Kennesaw, GA. (2020).His writing has been published in Art in America, the Monument Lab Bulletin, and ART PAPERS, where he is a contributing editor. In 2021 he was invited to be the inaugural writer-in-residence at the Vashon Artist Residency and, most recently, he was a 2022 recipient of an Andy Warhol Writers Grant.Smith is a doctoral student in the History of American Civilization program at the University of Delaware, where he researches art, material culture, and the built environment. He received his Master of Arts in American Studies and his Bachelor of Arts in English and African American Studies, with a certificate in Creative Writing from Saint Louis University.See More: www.tksmith106.com + TK Smith IG @tksmith106Follow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Needless to say, this year has been both odd and extraordinary. Odd? --- Well, Pick your poison. Extraordinary? --- Because we spent the year having amazing conversations with dozens of creative change agents who are kicking ass making a real difference in the upside-down world we live in. These conversations have helped us at the Center for the Study of Art & Community manage the lurking shadows and have sparked some new ideas and even optimism. We're excited to be starting our second season on February 2, but in the meantime we thought it might be nice to revisit some of our most popular past episodes. Next up is Normando Ismay, The Loving Trickster. After our initial airing of this episode, we received dozens of emails thanking us for pulling back the curtain on what one listener described as "the wonderfully vibrant and wacky alternative Bizzoso Universe. A place we all need to visit over and over in these grey and uncertain times." So, we invite you to sit back, have a listen, and hitch a ride on Normando's Bizzoso Universe. Normando Ismay – A Loving TricksterIn this episode, Normando Ismay introduces us to ephemeral places like Chilecito and the Mattress Factory. Cafes Beirut. Bizzoso and Success, and an extraordinary cast of characters. that includes Papa Bizzoso, the one-time child, preacher Contralabias, the smuggler, the Last Inca, Pedro Borjehas. And Danimite the drug dealer who succomes in the legendary Atlanta crack attack. BIONormando Ismay was born in the city of All the Saints of the New Rioja in northwest Argentina. As a young adult, he came to the United States, settling in Atlanta to pursue a career as a visual artist. Since then, he has worked in a variety of media including metal, painting, sculpture and installation art. He built a barn-like structure in his backyard and began the operation of the Little Beirut Art Space, a gallery/performance venue for visual art exhibits, poetry readings, storytelling, film, music and dance. At this time, he also began an integration of visual and performing art, combining Andean flutes, drums and stories of magical realism into large- and small-scale performances and performance installations. Normando creates work in Spanish, English and in a bilingual blending. Some of his works include “The Last Inca”, about Pedro de Bohorquez who passes as an Inca and controls northwest Argentina; “Contralabias”, about a North American smuggler, the invention of lipstick and the birth of Argentina.   Normando's large-scale performance installations accommodate other performing artists and combine paintings, signage, sculptures, video projections, masks, seating, lighting and a stage. Café Bizzoso, Café Cultural de Chamblee, The Condor's Next Hotel, Bannaland, The Mattress Factory Lounge and Dumpsite, to name a few.  Normando's work has been presented throughout Atlanta and the southeast, as well as in New York, Argentina and Europe. The New York Times, High Performance, the Atlanta Constitution, Art Papers, Mundo Hispanico, and other publications have written about his work. He has received grants from the City of Atlanta Bureau of Cultural Affairs, Fulton County Arts Council, Georgia Council for the Arts, and the National Endowment for the Arts. In 1991 he received the Paul Robeson award in Cultural Democracy. Threshold Questions and Delicious QuotesWhat is Cafe Bezzoso? Well, https://www.normando.biz/slideshow (Cafe Bizzoso), it was a traveling performance space, an art installation specific to the site where I was creating it. Bizzoso came out of a proposal that I made to the Arts Festival of Atlanta. They had invited me to perform in this huge stage. … And it's like me and my solo storytelling act and my public is like twenty feet away from me like no intimacy possible because of that. So, I made him a proposal to build a small performance venue for storyteller's poets. and like that, and they liked the

I sat down with Leah DeVun to discuss her book, The Shape of Sex: Nonbinary Gender from Genesis to the Renaissance. We talk about how widespread thinking and writing about non-binary individuals was during the first centuries of the CE and again in the C12th-14th, and the way non-binary bodies actually shaped the way a host of categories and boundaries (not just gender) were demarcated. We talk in detail about the shift in the C12th/13th and the way non-binary sex shaped the project of establishing a non-human other, justifying violence towards Jews and Muslims, and determining who could live in a Christian territory. We also talk about the figures of "Adam androgyne" and the "Jesus hermaphrodite", and how they function as "anchors of eschatological time." Finally, Leah discusses how this study can inform our present, not only by showing that the consideration of non-binary, trans*, and intersex bodies are not novel to our period, but how this consideration cuts through claims of 'natural and immutable' in our own day. Buy the book.Leah DeVun is Associate Professor of History and Vice Chair for Undergraduate Education at Rutgers University. Leah DeVun focuses on the history of gender, sexuality, science, and medicine in pre-modern Europe, as well as on contemporary queer and transgender studies. DeVun's new book, The Shape of Sex: Nonbinary Gender from Genesis to the Renaissance, is forthcoming from Columbia University Press (in spring 2021). DeVun is also the author of Prophecy, Alchemy, and the End of Time, winner of the 2013 John Nicholas Brown Prize, and co-editor (with Zeb Tortorici) of Trans*historicities, a special issue of TSQ: Transgender Studies Quarterly (2018) devoted to transgender history before the advent of current categories and terminologies of gender. DeVun has also written articles for GLQ, WSQ, Osiris, Journal of the History of Ideas, postmedieval, and Radical History Review, among other publications. DeVun is the recipient of fellowships and grants from the National Science Foundation, Huntington Library, David Geffen School of Medicine at UCLA, American Philosophical Society, and Stanford Humanities Center. DeVun is also a multi-media artist and curator whose work explores queer, feminist, and gender nonconforming history. DeVun's artwork has been featured in Artforum, People, Huffington Post, Slate, Art Papers, Hyperallergic, and Modern Painters, and at venues including the ONE Archives Gallery and Museum at the University of Southern California, Houston Center for Photography, Blanton Museum, Leslie-Lohman Museum, and Tang Teaching Museum at Skidmore College. DeVun has curated exhibitions and programs at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, NYU's Fales Library and Special Collections, and other venues. Find More episodes: www.loverinserepeat.com/podcast Follow the show on Twitter: @RinseRepeatPod // Follow me: @liammiller87 Love Rinse Repeat is supported by Uniting Mission and Education, part of the Uniting Church in Australia Synod of NSW/ACT

Normando Ismay – A Loving Trickster Normando Ismay was born in the city of All the Saints of the New Rioja in northwest Argentina. As a young adult, he came to the United States, settling in Atlanta to pursue a career as a visual artist. Since then, he has worked in a variety of media including metal, painting, sculpture and installation art. He built a barn-like structure in his backyard and began the operation of the Little Beirut Art Space, a gallery/performance venue for visual art exhibits, poetry readings, storytelling, film, music and dance. At this time, he also began an integration of visual and performing art, combining Andean flutes, drums and stories of magical realism into large- and small-scale performances and performance installations. Normando creates work in Spanish, English and in a bilingual blending. Some of his works include “The Last Inca”, about Pedro de Bohorquez who passes as an Inca and controls northwest Argentina; “Contralabias”, about a North American smuggler, the invention of lipstick and the birth of Argentina.   Normando's large-scale performance installations accommodate other performing artists and combine paintings, signage, sculptures, video projections, masks, seating, lighting and a stage. Café Bizzoso, Café Cultural de Chamblee, The Condor's Next Hotel, Bannaland, The Mattress Factory Lounge and Dumpsite, to name a few.  Normando's work has been presented throughout Atlanta and the southeast, as well as in New York, Argentina and Europe. The New York Times, High Performance, the Atlanta Constitution, Art Papers, Mundo Hispanico, and other publications have written about his work. He has received grants from the City of Atlanta Bureau of Cultural Affairs, Fulton County Arts Council, Georgia Council for the Arts, and the National Endowment for the Arts. In 1991 he received the Paul Robeson award in Cultural Democracy. Threshold Questions and Delicious Quotes What is Cafe Bezzoso? Well, https://www.normando.biz/slideshow (Cafe Bizzoso), it was a traveling performance space, an art installation specific to the site where I was creating it. Bizzoso came out of a proposal that I made to the Arts Festival of Atlanta. They had invited me to perform in this huge stage. … And it's like me and my solo storytelling act and my public is like twenty feet away from me like no intimacy possible because of that. So, I made him a proposal to build a small performance venue for storyteller's poets. and like that, and they liked the ideaWas the Crack Attack an art exhibition? And then two or three nights after that, Steve Seaberg hanging with me, and he was like uh, "We have to do something." You know, and we started making art about it. And we started filling up the lot and between my house and the crack house with art. And we kept working empty lot, and we'd turn it into a, do an art show. We called it the https://creativeloafing.com/content-179895-mondo-bizzoso (Crack Attack Show).Who was the Last Inca? Oh it's, it's, an amazing story straight out of history. And The Last Inca is the story of a Spanish soldier who ends up in Peru and he gets in trouble with the Viceroy and they banish him and to, send to a fort https://en.wikipedia.org/wiki/Copiap%C3%B3 (Copiapo) in Chile, that they know, is about to fall to the indigenous people from there. And this young man goes there, and he builds a cannon out of wood. That was only good for like a couple of explosions. And then the Canon fell apart, but it wasn't enough to signal to the https://www.interpatagonia.com/mapuche/index_i.html (Araucanos) that the Spaniards now had a cannon and they decided to leave. (And that just the beginning)Transcript BC: [00:00:00] Hello, Normando are you there? Normando ismay, could be described as having a transcendent spirit. Hello Normando,. Let's see. I think you're there somewhere. Oops. Not there. A painter. A poet. A pirate. A conjurer of stories.... Support this podcast

In this week's episode, art historian Robert Wiesenberger joins hosts Catherine Nichols and Isaac Butler to discuss artist Jenny Holzer's "Truisms" from 1978, "Truisms" is a group of declarative sentences Holzer first put up anonymously on posters all over New York City: "Labor is a life-destroying activity.," "Lack of charisma can be fatal," "Private property created crime." The work originated in a period when Holzer was frustrated with painting and turned to language as a more direct means of expression. "Language is a good way to convey meaning," as Holzer put it. Robert Wiesenberger is the associate curator of Contemporary Projects at the Clark Art Institute and co-author of Muriel Cooper (MIT Press 2017). He has also contributed catalog essays for the Harvard Art Museums and the Walker Art Center, and is a contributing editor to Art Papers magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices

After a lot of laughs and a few boners, all 4 elemental stones have been carefully nested onto their pedestals, and now we’re emitting lasers onto Leeloo to bring about that wacky 5th element, the Art and Labor podcast! We chat with Maxwell Paparella on his new (enormous) work in Art Papers, a dossier on … Continue reading "Episode 117 – The Museum Union Wave Dossier w/ Maxwell Paparella"

After a lot of laughs and a few boners, all 4 elemental stones have been carefully nested onto their pedestals, and now we’re emitting lasers onto Leeloo to bring about that wacky 5th element, the Art and Labor podcast! We chat with Maxwell Paparella on his new (enormous) work in Art Papers, a dossier on … Continue reading "Episode 117 – The Museum Union Wave Dossier"

EP 109: BmoreArt ft Cara Ober Founding Editor and Publisher contributors: Comedian Ivan Martin, Lawyer Natasha Axelrod, CEO of VBS Tax & Accounting Trevor White   Cara Ober is an artist, arts writer, curator, and the founding editor and publisher at BmoreArt, Baltimore's art and culture magazine. She writes regularly about artist, museum, and material culture, with emphasis on context and subtext in the art world. In 2019, she was awarded a Rabkin Art Writers Grant and was commissioned by the Warhol Foundation to write "Artspeak and Audience" for Common Field's Field Perspectives Series. In addition to her regular writing and editing for BmoreArt, Ober has published articles in Vulture: New York Magazine, Hyperallergic, Burnaway, Art Papers, ARTnews, and The Baltimore Sun. Cara has taught classes and lectured at MICA, Johns Hopkins, American University, UMBC, and Goucher College. She holds an MFA in painting from MICA and a degree in fine arts from American University BmoreArt is an independent Baltimore-based publication, focusing on the diverse and inspiring artists and creative makers in the region. In May 2020 after Covid-19 related funding gaps, BmoreArt launched a new subscription service for their beautiful bi-annual print journals. Experience the art and culture of your place and time in a safe and socially distant way and support the publication that makes it all possible:  https://bmoreart.com/shop-categories/subscriptions   About BmoreArt:    BmoreArt is an independent, Baltimore-based magazine that reflects the art and culture of our city and the surrounding region, including Maryland, Washington, DC, and Northern Virginia. We provide creative and critical coverage of the cultural landscape and work with a diverse team of local writers, editors, and artists. Our thematic print journal is released twice a year in fall and spring, and our online site is updated daily. To encourage participation and inclusion in the region, BmoreArt publishes a weekly event “Picks” post every Tuesday, a curated list of the best upcoming exhibits and events. The site also includes a calendar of cultural events, a gallery and resource guide, a weekly e-newsletter, and opportunities to participate, share, and comment. In addition to our online and print publications, we engage through social media and events, including magazine launch parties in Baltimore’s most iconic locations and speaker series for artists, collectors, and arts professionals.   

Judith Page was born in Lexington, Kentucky, and studied art at the University of Kentucky and Transylvania University. Early influences were her father, an amateur historian, photographer, and raconteur, who instilled in her a love and respect for history and the creative process, and writers such as Flannery O’Connor and Carson McCullers who provided her with many potent visual images. Other early influences include the Roman historian Tacitus and the politician Cassius Clay. Page says that her "art emerges from a Gothic sensibility, a place where horror and beauty exist in close proximity, where innocence encounters depravity, where the spirit is consumed and revived from moment to moment.” Page lived and worked in Florida until relocating to New York City in 1992, and currently lives in the Williamsburg section of Brooklyn. She received individual artist grants from the Gottlieb Foundation, the Pollock-Krasner Foundation and the State of FL. Exhibitions include Pop Surrealism and The Photograph as Canvas, The Aldrich Contemporary Art Museum and Disarming Beauty: The Venus de Milo in 20th Century Art, Dali Museum, and solo exhibitions at Luise Ross Gallery, New York, NY; Wake Forest University, Winston-Salem, NC; Massry Center for the Arts, Albany, NY; Lesley Heller Gallery, New York, NY and Stetson University, DeLand, FL. Known for her inventive use of materials and stimulating social commentary, Page’s numerous exhibitions and installation projects were written about in Art Papers, Sculpture, The New York Times, Art on Paper, and Art in America. Page’s art is represented in numerous public collections including Vanderbilt University; FSU Museum of Fine Arts, Tallahassee; University of KY Art Museum; Mint Museum of Art; University of TN; University of Iowa Museum of Art; and Orlando Museum of Art, FL. She was on the General Fine Arts faculty of MICA from 2004-2011 and on the faculty of the MFA Fine Arts program at SVA from 2010-2016. Her website is www.judithpage.com. Fruits of War (Brooklyn), 2021, archival pigment print on rag paper Spider’s Kiss (Manhattan), 2021, archival pigment print on rag paper

Episode SummaryArt has long been considered a commodity but, thanks in large part to a technologically connected world, accessibility and availability have helped turn creative genius into “cultural capital.” Chad Elias combines an art history lecture with a business seminar to provide a comprehensive lesson on the ways art adds value beyond its beauty. Syd reconnects with his former teacher to discuss Andy Warhol, Banksy, and the business of art, in this episode of The Sydcast. Syd Finkelstein Syd Finkelstein is the Steven Roth Professor of Management at the Tuck School of Business at Dartmouth College. He holds a Master's degree from the London School of Economics and a Ph.D. from Columbia University. Professor Finkelstein has published 25 books and 90 articles, including the bestsellers Why Smart Executives Fail and Superbosses: How Exceptional Leaders Master the Flow of Talent, which LinkedIn Chairman Reid Hoffman calls the “leadership guide for the Networked Age.” He is also a Fellow of the Academy of Management, a consultant and speaker to leading companies around the world, and a top 25 on the Global Thinkers 50 list of top management gurus. Professor Finkelstein's research and consulting work often relies on in-depth and personal interviews with hundreds of people, an experience that led him to create and host his own podcast, The Sydcast, to uncover and share the stories of all sorts of fascinating people in business, sports, entertainment, politics, academia, and everyday life. Chad EliasChad Elias is an Assistant Professor of Art History at Dartmouth College and Tate Modern Research Fellow. His first book, Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon, was published by Duke University Press in 2018. Reviews of Posthumous Images have appeared in Arab Studies Quarterly, Art Journal, Art Papers, the Journal of Arabic Literature, Object, and Third Text. In collaboration with the Hood Museum, Chad organized a multidisciplinary symposium, “Futures Uncertain: A Symposium on Contemporary Art in the Anthropocene,” which explored questions relating to resource extraction, carbon imaginaries, species extinction and evocations of the deep past and worlds-to-come in contemporary art. Another research project analyzed how contemporary artists critically engage with artificial intelligence (AI), machine vision, virtual reality, and 3D printing as rapidly evolving forms that are marked by indeterminacies. The project argues that these technologies serve to unsettle identity formations that span ontological boundaries (i.e. between human and non-human actants) and established hierarchies that are encoded across racial and gender lines. Insights from this episode:Details on what contemporary art is, how it got started, and the impact that term has had on art history. Benefits to an artist of outsourcing their work and why art has become a business-class asset.Difficulties associated with pricing art, how new technology is impacting value, and where there is room for improvement.How the process of buying art is changing and is making art more accessible to greater audiences.Parallels between the art and business world and the success that happens when they intersect. How artists like Andy Warhol and Banksy capitalize on their art and how that has impacted the image of the value of art. Quotes from the show:“During the postmodern period, and in the aftermath, art became increasingly detached from the notion of manual or technical skill.” — Chad Elias [23:35]“It's no accident that contemporary artists also start to think of their work as something that is no longer just tied to materialized forms of production but actually to the production of ideas.” — Chad Elias [25:31]On finding the parallels between art and business: “It involves dispensing with the mythology of the romantic artist who is somehow detached from commercial and economic interest and just makes work for the love of art.” — Chad Elias [26:31]“It's difficult to determine the pricing systems that operate in contemporary art, partly because of the opacity of the system.” — Chad Elias [29:23]“You can draw a connection between the critical or symbolic value that is attached to a particular artist's practice over time and the economic value that is assigned to their work.” — Chad Elias [31:05]“The art world, and the art market in particular, is a quite curious economy.” — Chad Elias [34:06]“[Andy Warhol] was considered, I don't know if it's right to say he was a great artist, but he certainly was a very successful, but also highly influential artist.” — Syd Finkelstein [40:19]On Banksy: “The anonymity of the artist is part of the mystique and draw.” — Chad Elias [43:45]On making money: “When someone does or has an image of doing really good things for society, but makes a lot of money doing it, there's a negative reaction to that person.” — Syd Finkelstein [48:10]“Even the idea of authenticity, of sincerity, in contemporary art is held with a large degree of suspicion.” — Chad Elias [59:27]Stay Connected: Syd FinkelsteinWebsite: http://thesydcast.comLinkedIn: Sydney FinkelsteinTwitter: @sydfinkelsteinFacebook: The SydcastInstagram: The SydcastChad EliasEmail: Chad.Elias@Dartmouth.eduSubscribe to our podcast + download each episode on Stitcher, iTunes, and Spotify. This episode was produced and managed by Podcast Laundry (www.podcastlaundry.com)

Understanding the Socio-psychological Roots of Contemporary Right-wing Populism Samir Gandesha One of the key problems of contemporary politics is the presence and growing power of right-wing populist movements throughout the Western world from the US "Tea Party," to Britain's UKIP to Pegida in Germany and Golden Dawn in Greece. This paper poses the following question: To what extent is it possible to draw upon the social-psychological concept of the "authoritarian personality" in the work of Erich Fromm and Theodor W. Adorno et. al. to understand the distinctive populist personality structure of contemporary neo-liberal capitalism? Samir Gandesha is an Associate Professor in the Department of the Humanities and the Director of the Institute for the Humanities at Simon Fraser University, Vancouver. He specializes in modern European thought and culture, with a particular emphasis on the 19th and 20th centuries. His work has appeared in Political Theory, New German Critique, Kant Studien, Philosophy and Social Criticism, Topia, the European Legacy, the European Journal of Social Theory, Art Papers, the Cambridge Companion to Adorno and Herbert Marcuse: A Critical Reader as well as in several other edited books. He is co-editor with Lars Rensmann of "Arendt and Adorno: Political and Philosophical Investigations" (Stanford, 2012). His book (coedited with Johan Hartle) "Reification and Spectacle: On the Timeliness of Western Marxism" (University of Amsterdam Press) is forthcoming later this year and he has also recently completed (also with Johan Hartle) "Poetry of the Future: Marx and the Aesthetic." He has recently lectured at the Centre for the Study of Marxist Social Theory at the University of Nanjing, the Taipei Biennale and at the School for Language, Literature and Cultural Studies at Jawaharlal Nehru University in New Delhi.

Gabrielle Selz is the author of Unstill Life: A Daughter's Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. She is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press. Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. In 1969, Thalia selected the original tenants for Westbeth, the largest artists housing project in the country, and the family then moved to live alongside artists like Diane Arbus and Merce Cunningham. Introduced to Sam Francis as a child, her interest in his life, career and what motivated his extraordinary contributions, expanded while she was researching and writing Unstill Life. Selz has contributed to The New Yorker, The New York Times, More Magazine, The Rumpus and the L.A. Times. Her fiction has appeared in Fiction Magazine and her art criticism in Art Papers, Hyperallergic and Newsday and the Huffington Post. She is a past recipient of the New York Foundation for the Arts Fellowship in Nonfiction and is a Moth Story Slam Winner. gabrielleselz.com · www.creativeprocess.info

Jillian Mayer is an artist and filmmaker living in Miami, Florida. Through videos, sculptures, online experiences, photography, performances, and installations, she explores how technology affects our lives, bodies, and identities. Mayer investigates the points of tension between our online and physicals worlds and makes work that attempts to inhabit the increasingly porous boundary between the two. ​Solo exhibitions include Tufts University, Boston, MA (2018); Postmasters Gallery, New York, NY (2018); Pérez Art Museum, Miami, FL (2016); LAXART, Los Angeles, CA (2016); Utah Museum of Fine Art, Salt Lake City, UT (2014); and David Castillo Gallery, Miami, FL (2011 & 2016). She has exhibited and performed at  MoMA PS1 (2017); MoMA (2013); the Museum of Contemporary Art, North Miami, FL (2013); the Bass Museum of Art, North Miami, FL (2012); the Guggenheim Museum (2010); and the Musée d'Art Contemporain de Montréal, Québec as a part of the Montréal Biennial (2014). Mayer’s work has been featured in Artforum, Art Papers, Art in America, ArtNews, The Huffington Post, and The New York Times. Mayer is a recipient of the Creative Capital Fellowship, South Florida Cultural Consortium Visual/Media Artists Fellowship, Cintas Foundation Fellowship for Cuban Artists, and was named one of the “25 New Faces of Independent Film” by Filmmaker Magazine. Mayer's films have screened at festivals including Sundance, SXSW, Rottenberg, and the New York Film Festival. She is a fellow of the Sundance Institute's New Frontiers Lab and New Narratives on Climate Change Lab. She is the co-director of Borscht Corp, a non-profit film and art collaborative in Miami, Florida. Mayer is represented by David Castillo Gallery, in Miami, FL. Slumpie 9 - Knee Hole, 60" x 40" x 55" Slumpie 7 - Arm Hole, 75" x 46" x 38"  

Today’s guest is not to be missed. Cathy Byrd from Fresh Art International reinvented herself as an artistic nomad after she got laid off in her mid-50’s while in debt. She paid off all her debt a few months after unemployment, including short selling her house and despite being unemployed for 2.5 years, she emerged from unemployment with $22,000 in savings and a new career. We talked about the relationship between art and debt, what emerging artists need to do become financially successful, Cathy’s own story of debt and recovery, and some of the unbelievable relationships between wealthy institutions and exploitations of artists. We also discuss the relative employability of art history degrees. About Cathy Byrd & Fresh Art International   Reaching thousands of followers each week, the Fresh Art International podcast and radio show spotlight diversity in the world of art, design and film through conversations about creativity since 2011. Fresh Art International’s artistic director Cathy Byrd is a globally engaged independent curator and arts journalist with more than 20 years of experience in the field. Her writing appears in the Miami Rail, Art Papers, Art in America and Sculpture magazine. With more than 200 episodes to-date, Byrd’s Fresh Art International podcast documents creative practices at the center and fringe of art scenes across six continents and the Caribbean Archipelago. Listen anywhere you go for podcasts. Random bullets from the episode you might want to hear The relationship between working artists and debt Cathy went to art school 20 years after her first degree The need for artistic mentors in building financial viable art careers The pervasive “starving artist” narrative despite that art collection has always been a symbol of wealth The value of creative production at all levels – making money and not The value of “art history” degrees (and the historical relationship between rich women and art history degrees) Union organizing of adjunct professors in the arts  If we need art as humans, how do we make sure that artists keep making art Patreon as a new model for artists to monetize the following they already have Finding time to make art when you’re also looking for money to make art Cathy’s role now working with artists on the edge of emerging and seasoned to help create a career Links from the episode Fresh Art International’s excellent “Art of Capitalism” episode Occupy Museums: An art exhibit profiling artist debt and the links between the museum and their lenders Fresh Art International podcast Other Episodes You Might Find Relevant Making a Living as A Performing Artist without Getting Famous ft John Vergin: John’s never had a “real job” in his life, but he’s always made a living with music and art Budgeting on a Variable Income:  A comic artist wants to know some tips for budgeting despite her variable income and setting her patreon goals Money and Business as a Freelancer without Learn more about your ad choices. Visit megaphone.fm/adchoices

To celebrate the “generations” of SIGGRAPH and the 50th anniversary of the Leonardo journal, Danielle Siembieda (Managing Director, Leonardo/ISAST) sat down with an expert panel to discuss Leonardo’s history with the SIGGRAPH conference, its upcoming 50th anniversary and where the future of art — and the conference — is headed. Panelists include: Ernest Edmonds (Professor of Computational Art, De Montfort University; Founding Director, Creativity and Cognition Studios, University of Technology, Sydney), Jacquelyn Martino, Ph.D. (STSM, IBM Research AI), Andrés Burbano (Associate Professor – Design Department, Universidad de los Andes; Art Gallery chair, SIGGRAPH 2018), Roger Malina (Distinguished Professor of Art and Technology, and Professor of Physics, University of Texas at Dallas; Executive Editor, Leonardo Publications, MIT Press), and Angus Forbes (Assistant Professor – Computational Media Department, University of California, Santa Cruz; Art Papers chair, SIGGRAPH 2018). MUSIC Podcast theme, "SIGGRAPH," composed by Julius Dobos. LINKS *Episode* https://www.leonardo.info/ http://www.ernestedmonds.com/www/index.htm https://creativecoding.soe.ucsc.edu/ http://www.utdallas.edu/atec/malina/ http://www.burbane.net/ https://twitter.com/jamartino *Social Media* http://blog.siggraph.org/ https://www.facebook.com/SIGGRAPHConferences https://twitter.com/siggraph https://www.instagram.com/acmsiggraph/ "siggraph" on Snapchat *Conference Website* http://s2018.siggraph.org/

Mitchell performs her piece, One Shot, shooting a single arrow through sheets of paper where it stays, suspended. Mitchell's piece, Limousine. Acrylic latex on wood panel and black neoprene. 72 X 180 in. ZNP welcomes multi-media artist and all around warm spirit, Kirstin Mitchell, to talk about her most recent exhibit, Midnight at the Oasis (at Hathaway Gallery until July 11) and her re-entry into the art world using her given name, having performed as Kiki Blood for years. She describes the Kiki Blood years as a necessary time for exploring aggression and the return to herself as permission for softness. Staying busy a must for excitable types- and working on immense pieces keeps the whole body involved. We talk meditating on color and the need for sharing food and laughs with friends at dinner parties. Please enjoy this vibrant episode!Official Bio:Kirstin Mitchell is a multi-media artist living in Atlanta, GA.In 2017, Mitchell has shown at University of Georgia and been selected as a highlight in Art in America for an experimental studio exhibition during her Eyedrum Studio Fellowship. She performed a solo show at the Atlanta Contemporary in March 2016, and has performed with the support of the Franklin Furnace Fund and the Brooklyn International Performance Art Festival. She has shown in galleries and art centers in Atlanta, New Orleans, Manhattan, Brooklyn, and internationally in Austria and Italy. Mitchell's work has also been reviewed in Art Papers and Flash Art magazines. Find out more and keep informed on what's next at www.kirstinmitchell.com

The IMA presents a talk titled 'Fiction and the Future Anterior' by Berlin-based artist and writer Patricia Reed. Reed’s artworks have been featured in exhibitions at the Witte de With, Rotterdam; Haus der Kulturen der Welt, Berlin; Kunsthaus Langenthal, Langenthal; Württembergische Kunstverein, Stuttgart; Audain Gallery, Vancouver; and 0047, Oslo, among others. As a writer, Reed has contributed to several books and periodicals, including #ACCELERATE: The Accelerationist Reader; The Psychopathologies of Cognitive Capitalism Vol. II; Mould Magazine; Who Told You So?!; Intangible Economies; Cognitive Architecture: From Biopolitics to Noopolitics; Critical Spatial Practice; C Magazine; Fillip, Art Papers, Shifter, and Framework. Lectures have included those at The Future Summit – Montréal Biennale; Tate Britain, London; University of Westminster; Dampfzentrale, Bern; Artists Space, New York; MIT, Massachusetts; abc, Berlin; Archive Kabinett, Berlin; and The Winter School Middle East, Kuwait. Reed plays host to the Inclinations lecture series at Or Gallery in Berlin. She teaches and is a board member for The New Centre for Research & Practice, and is part of the Laboria Cuboniks working group.

This week: Artist and videographer Jillian Mayer! Born in 1984 in Miami, the artist and filmmaker Jillian Mayer lives in South Florida. Her work has been shown at the Utah Museum of Fine Arts, Salt Lake City (2014); Orlando Museum of Art, Orlando, FL (2014); Locust Projects, Miami (2013); Museum of Modern Art, New York (2013); Bass Museum of Art, Miami (2012); and World Class Boxing, Miami (2012). Her video Scenic Jogging was one of the 25 selections for the Guggenheim’s YouTube Play: A Biennial of Creative Video and was exhibited at the Solomon R. Guggenheim Museum, New York; Peggy Guggenheim Collection, Venice, Italy; Guggenheim Museum, Bilbao, Spain; and Deutsche Guggenheim, Berlin (2010). Her videos have also been shown at the Rotterdam Film Festival (2014); Sundance Film Festival (2012, 2013); SXSW, Austin, TX (2012, 2013); and New York Film Festival (2013). A recipient of the Sundance Institute New Frontier Story Lab Fellowship (2013); the Zentrum Paul Klee Fellowship, Berne, Switzerland (2013); the Cintas Foundation Fellowship, New York (2012); and the NEA Southern Constellation Fellowship at Elsewhere Museum, Greensboro, NC, Mayer was included in the “25 New Faces of Independent Film” by Filmmaker Magazine (2012). She was recently featured on the cover of ART PAPERS. Mayer is represented by David Castillo Gallery, Miami.

This week: Live from Miami (many months ago) Duncan, Patricia, and Brian talk to Syvlie Fortin. From the press release when she joined: The Biennale de Montréal is pleased to announce the appointment of Sylvie Fortin as Executive and Artistic Director of La Biennale de Montréal – BNL MTL, beginning Tuesday, September 3, 2013.  Sylvie Fortin will be responsible for the vision, strategic development and positioning of La Biennale de Montréal and will oversee its future editions, beginning with BNL MTL 2014. Fortin brings proven leadership, rigorous artistic vision and a unique combination of management experience, international connections, and media and publishing expertise to the Biennale de Montréal. She will move to Montréal from Kingston, where she has been Curator of Contemporary Art at the Agnes Etherington Art Centre at Queen’s University since last January. As Editor-in-Chief (2004–2007) and Executive Director/Editor (2007–2012) of ART PAPERS, she led the organization from a regional publication to a global thought leader. She was also Curator of the 5th Manif d’art in Quebec City (2010), Curator of Contemporary Art at the Ottawa Art Gallery (Ottawa, 1996–2001), Program Coordinator at LA CHAMBRE BLANCHE (Quebec City, 1991–1994) and a long-term collaborator with OBORO (Montreal, 1994–2001). Her critical essays and reviews have been published in numerous catalogues, anthologies and periodicals. Last April, La Biennale de Montréal and the Musée d’art contemporain de Montréal (MACM) announced a strategic partnership to co-produce future editions of BNL MTL. This innovative alliance between the Biennale de Montréal and MACM, Canada’s foremost institution dedicated solely to contemporary art, signals a heightened level of civic commitment to BNL MTL. It also casts its future editions in a new light, providing a solid foundation for BNL MTL’s continued growth, increased relevance and far-reaching collaborations with arts organizations in Montréal and beyond.  La Biennale de Montréal was founded in 1998. Its mission is to contribute to contemporary art discourse, to provide a platform for the exploration of innovative curatorial practices, to catalyze art production and to increase public awareness of contemporary art. It has thus far presented seven editions of its signature event, BNL MTL, which brings ambitious new projects by local, Canadian and international artists to Montréal residents and visitors. Photo: P.Litherland.

This week: From OxBow, Duncan along with with Abigail Satinsky and Elizabeth Chodos sit down for a chat with Hese McGraw, Vice President for Exhibitions and Public Programs at San Francisco Art Institute. Here is an outdated bio from his website: Hesse McGraw is a curator, writer and artist working as curator at the Bemis Center for Contemporary Arts in Omaha, Nebraska. He was the founding director and curator of Paragraph, a contemporary art gallery operating under the non-profit Urban Culture Project in downtown Kansas City, Missouri. He is the former assistant director of Max Protetch gallery in New York, City and former senior editor of Review, a Kansas City-based visual culture magazine. He has served as a lecturer in the Interdisciplinary department of the Kansas City Art Institute and frequently serves as a guest lecturer, critic and juror for fine art and architecture schools and organizations throughout the US. Alongside producing two dozens exhibits and projects over three years at Paragraph, he has curated exhibitions for FLEX Self Storage (Topeka, Kansas), The New Genres Festival (Tulsa), The Stray Show (Chicago), Guild and Greyshkul (NYC), -scopeMiami, RARE (NYC), Rocket gallery (London) and White Flag Projects (St. Louis). He regularly contributes to publications including Art Papers, Dots & Quotes, Empty magazine, The Kansas City Star, RES, Review, Tank, Ten by Ten. He has written exhibition essays for artists including Ryoji Ikeda, Tobias Wong, Steve Mumford, Eric von Robertson and many others. His artwork incorporates photography, video, sound and text into site-specific installations and published works. The work experientially engages cultural information systems to amplify loaded micro-histories with the intent to create new networks of meaning. The work aims to construct democratic viewing scenarios that offer viewers a bit of personal space within the context of the general world. His work has been shown in venues internationally and in a solo exhibition at RARE, NYC.

Ryan Pierce’s vivid, large-scale paintings depict our world after the end of human industry. He draws on influences from ecological theory, literature, and folk art to create scenes that portray the resilience of the natural world. His work has been recognized by the Joan Mitchell and San Francisco Foundations, Art in America and Art Papers. Pierce is co-founder of Signal Fire, a group that facilitates wilderness residencies and retreats for artists of all disciplines. “Ghost Dance Delayed,” by Ryan Pierce. 2012, Flashe, ink, and enamel on canvas over panel, 72 x 96 inches. Image via RyanPierce.net Download

Catch-up episode on listener questions: we cover ISO, panoramas, Fine Art papers, printing books on-demand, kit lenses, Lightroom and bird photography.

THIS WEEK: Books + Food = The 7th Annual Edible Book Show at Columbia College. Kathryn Born makes her podcast debut with an interview with Marlene Russum Scott about the festival, and book arts in the city. - Michelle Grabner picks up the critical torch in her "Art Papers" article. - Reviews a plenty: Some are kinda awesome, and some kinda are not. - Richard takes on the "Dad" character in Leave it to Beaver, and Duncan giggles his way to stardom. - All are wrapped up in a cheery band melody that Richard promises a dollar to the first person to e-mail us the exact reason of why it is so funny! NAMES DROPPED: Juventus 2006Charles LaBelleChris UphuesJosh MannisMariano ChavezJean-Pierre RoyMichael Thomas, Butcher Shop DogmaticMichael ReaNova Art FairAlison RuttanMichelle Grabner/Art PapersBill DrendelChicago Hand BookbindersChicago Public Library Special CollectionColumbia College Book & Paper CenterEdible BooksJulie ChenJoan Flasch Artists' Books CollectionMarlene Russum ScottMelissa Jay CraigNewberry LibraryNorthwestern UniversityPenland School of CraftsSherryl KeyesDan AnhornJoycelyn merchantOscar WildeMayuko KonoNathaniel SmythLauren AndersonAristotle GeorgiadesPete FowlerJim Woodring