Podcasts about Art Practical

Clay Clark Testimonials | "Clay Clark Has Helped Us to Grow from 2 Locations to Now 6 Locations. Clay Has Done a Great Job Helping Us to Navigate Anything That Has to Do with Running the Business, Building the System, the Workflows, to Buy Property." - Charles Colaw (Learn More Charles Colaw and Colaw Fitness Today HERE: www.ColawFitness.com) See the Thousands of Success Stories and Millionaires That Clay Clark Has Coached to Success HERE: https://www.thrivetimeshow.com/testimonials/ Learn More About How Clay Has Taught Doctor Joe Lai And His Team Orthodontic Team How to Achieve Massive Success Today At: www.KLOrtho.com Learn How to Grow Your Business Full THROTTLE NOW!!! Learn How to Turn Your Ideas Into A REAL Successful Company + Learn How Clay Clark Coached Bob Healy Into the Success Of His www.GrillBlazer.com Products   Learn More About the Grill Blazer Product Today At: www.GrillBlazer.com Learn More About the Actual Client Success Stories Referenced In Today's Video Including: www.ShawHomes.com www.SteveCurrington.com www.TheGarageBA.com www.TipTopK9.com Learn More About How Clay Clark Has Helped Roy Coggeshall to TRIPLE the Size of His Businesses for Less Money That It Costs to Even Hire One Full-Time Minimum Wage Employee Today At: www.ThrivetimeShow.com To Learn More About Roy Coggeshall And His Real Businesses Today Visit: https://TheGarageBA.com/ https://RCAutospecialists.com/ Clay Clark Testimonials | "Clay Clark Has Helped Us to Grow from 2 Locations to Now 6 Locations. Clay Has Done a Great Job Helping Us to Navigate Anything That Has to Do with Running the Business, Building the System, the Workflows, to Buy Property." - Charles Colaw (Learn More Charles Colaw and Colaw Fitness Today HERE: www.ColawFitness.com) See the Thousands of Success Stories and Millionaires That Clay Clark Has Coached to Success HERE: https://www.thrivetimeshow.com/testimonials/ Learn More About Attending the Highest Rated and Most Reviewed Business Workshops On the Planet Hosted by Clay Clark In Tulsa, Oklahoma HERE: https://www.thrivetimeshow.com/business-conferences/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire See Thousands of Actual Client Success Stories from Real Clay Clark Clients Today HERE: https://www.thrivetimeshow.com/testimonials/  

Clay Clark Testimonials | "Clay Clark Has Helped Us to Grow from 2 Locations to Now 6 Locations. Clay Has Done a Great Job Helping Us to Navigate Anything That Has to Do with Running the Business, Building the System, the Workflows, to Buy Property." - Charles Colaw (Learn More Charles Colaw and Colaw Fitness Today HERE: www.ColawFitness.com) See the Thousands of Success Stories and Millionaires That Clay Clark Has Coached to Success HERE: https://www.thrivetimeshow.com/testimonials/ Learn More About Attending the Highest Rated and Most Reviewed Business Workshops On the Planet Hosted by Clay Clark In Tulsa, Oklahoma HERE: https://www.thrivetimeshow.com/business-conferences/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire See Thousands of Actual Client Success Stories from Real Clay Clark Clients Today HERE: https://www.thrivetimeshow.com/testimonials/ --

From the aviation industry into retirement, eclectic artist Ray Blanchette has always put creative quality and deep thoughtfulness into his work. “Everything I do, I do wholeheartedly,” he said. Everything he creates has a specific meaning to him. The La Vernia-area artist enjoyed applying his creative skills in a business environment, “but now I'm retired,” he said. “Now my full focus is on what I've always wanted it to be: my artwork.” Blanchette is the owner and creator of Raynaissance Studio, and he is careful to create art, not work. “I don't want it to become work,” he stated. “I...Article Link

Art pupil Mason Capel used his own blood as the medium for his painting for the matric art practical exam with the theme, 'Nature or Nurture'.

Art pupil Mason Capel used his own blood as the medium for his painting for the matric art practical exam with the theme, 'Nature or Nurture'.

manuel arturo abreu and Jaleesa Johnston explore and compare notes about digital performance and Blackness, amorphousness and commitments to the ephemeral, and how they each deal with “untrustworthy archives” in their bodies and memories. They share experiences in navigating colonized art spaces and the ways that oversimplified receptions of their work impact their approaches. Both work fluidly among various mediums and disciplines and they discuss the ways that collaboration, Portland, and alternative art spaces have influenced their work. This conversation is part of a collaboration between Centrum and New Archives, focused on supporting dialogue between artists across the Northwest. Curated by Satpreet Kahlon, editor for New Archives, the conversations will also be published in a condensed form at new-archives.org. New Archives is an online journal covering art exhibitions, events, conversations and projects along the Pacific side of BC, Washington and Oregon, west of the Cascades (roughly, from Vancouver BC to Eugene, OR). We are based in Seattle and come to publishing by way of being artists, curators, and community organizers. manuel arturo abreu (b. 1991, Santo Domingo) is a poet and artist from the Bronx. They studied linguistics (BA Reed College 2014). abreu works in text, ephemeral sculpture, and what is at hand in a process of magical thinking with attention to ritual aspects of aesthetics. They are the author of two books of poetry and one book of critical art writing, the Oregon Book Awards Sarah Winnemucca creative nonfiction finalist Incalculable Loss (2018). Their writing has appeared in Rhizome, Art in America, CURA, The New Inquiry, Art Practical, SFMoMA Open Space, AQNB, etc. abreu also composes club-feasible worship music as Tabor Dark, with nine releases to date. They also co-founded and co-run home school, a free pop-up art school in Portland in its fifth year of curriculum. Recent solo and duo shows: Portland State University, Portland; Yaby, Madrid; the Art Gym, Portland; Open Signal, Portland; Institute for New Connotative Action, Seattle. Recent

The venture capitalist and the man who is credited with having invented the phrase FOMO (fear of missing out) shares super moves for making practical decisions in a world now filled with overwhelming choice.

This week we talk about SFAI some more. We try to save Art Practical. Plus we come up with great pizza-related ideas.All the music in this episode is from the soundtrack to the video game, Monkey IslandSign the petition to save SFAI!Art PracticalPrescription for a healthy art scenePut your art reviews in here!

Jan Wurm is an artist, educator, and curator engaged in expanding the community forum for contemporary art dialogue. Terri Cohn is a writer, curator, art historian, and fine art consultant. She has contributed to numerous publications including Art Practical, Performa, Public Art Review, and Art in America. Her curatorial work has included exhibitions for museums and galleries in the Bay Area.

photo by Sam Gehrke. Ashley Stull Meyers is a writer, editor, and curator. She has curated exhibitions and public programming for a diverse set of arts institutions along the west coast, including those in San Francisco, CA, Oakland, CA, Seattle, WA, and Portland, OR. She has been in academic residency at the Bemis Center for Contemporary Art (Omaha, NE) and the Banff Centre (Banff, Alberta). She is currently Northwest Editor for Art Practical and has contributed writing to Bomb Magazine, Rhizome, Arts.Black and SFAQ/NYAQ. In 2017 Stull Meyers was named Director and Curator of The Art Gym and Belluschi Pavilion at Marylhurst University. Currently, she is co-curator of the 2019 Portland Biennial. She is based in Portland, Oregon.

Dorothy Santos is a writer, curator, researcher, academic, educator, artist, and, currently, a doctoral student at UC Santa Cruz. Her passions run from film to mysticism and "witchy things." She is also the host of Art Practical podcast, PRNT SCRN, focused on bridging the gaps between analog, new media, and digital art practices.In this episode, SOTA host, Andrew Herman introduces Dorothy and, together, they discuss her journey into the arts, her background in science and love for biology, and the wide variety of interests Dorothy explores through her art writing and creative projects. They also touch upon June's theme, "Queerness," as Andrew hands off the mic for the remainder of the month.Helpful links:Dial Up App: https://dialup.com/-About Dorothy Santos-Dorothy R. Santos is a Filipina American writer, curator, and researcher whose academic interests include digital art, computational media, and biotechnology. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She is currently a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz as a Eugene V. Cota-Robles fellow.Her work appears in art21, Art Practical, Rhizome, Hyperallergic, Ars Technica, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She serves as a co-curator for REFRESH, a politically-engaged art and curatorial collective, the program manager for the Processing Foundation, and host for the podcast PRNT SCRN produced by Art Practical.

In the final episode of season one, I speak with Mike Rothfeld, an artist living and working in Oakland and San Francisco. He received his MFA in Fine Art and MA in Visual and Critical Studies from California College of the Arts (CCA) and his BFA in Photography and Imaging from the Tisch School of the Arts at New York University (NYU). Rothfeld’s lo-fi, seemingly clumsy sculptures serve as set-pieces and props for the partial science-fiction and fantasy narratives he imagines while working in the studio. His sculptures display a dedication to play, campiness and the absurd along with an underlying sentiment of melancholy and doom. Concerned by an inability to imagine new and viable alternative futures, while still wanting to locate hope for a better tomorrow, Rothfeld makes work that references an era of visual media effects that required viewers to heavily suspend their disbelief to immerse themselves in an imagined reality. Rothfeld’s work has been displayed at The Contemporary Jewish Museum, the Yerba Buena Center for the Arts, Southern Exposure, the Wattis Institute for Contemporary Art, Alter Space Gallery, and San Francisco State University, San Francisco, CA; the Aldrich Contemporary Art Museum, Ridgefield, CT; Jan Larsen’s Xpo, Brooklyn, NY; the Beacon Artist Union, Beacon, NY; and the Institute of Contemporary Art, London, England; among other venues. His writing has appeared in Art Practical and show take-aways for Stairwell’s exhibitions. Additional Links: In the interview, Mike mentions working with artist, author, and curator Deb Willis while studying at NYU. She she later introduced him to the graduate programs at CCA. Between undergrad and grad school, Mike attended the Haystack Mountain School of Craft Residency. Finally, Mike and I discuss his participation in the Yerba Buena Center for the Arts’ ‘Bay Area Now 7’ exhibition, a project that was curated by Stairwell’s. You can learn more about Mike’s work on his website and follow him on Instagram. As always, podcast music is provided by Mr. Neat Beats.

On April 11, 2018, legendary artist, activist, and former Minister of Culture for the Black Panther Party for Self Defense Emory Douglas sat down with the California College of the Arts (CCA) Students of Color Coalition in a roundtable conversation. Douglas talked about his work in creating iconic images of Black liberation as a director, designer, and illustrator for the Panther newspaper, and heard from students …. This conversation was organized by Sita Bhaumik, Scholar in Residence at CCA's Center for Art + Public Life, as part of the Art + Survival program, supported by the CCA Center for Art and Public Life, the President's Diversity Steering Group, in collaboration with Diversity Studies, CCA Students of Color Coalition, and Art Practical

We close out the third season of the podcast with a conversation with Maya Stovall, a conceptual artist and anthropologist whose work deploys choreography, long term site research, experimental ethnography, and moving and still images to unpack the complexities of community survival, institutional disinvestment, and urban planning. Her layered approach comes through in the multimodal ways she speaks about her work, shifting between dense theory as almost poetic language, to a direct revelation of the pain and frustration in seeing how her family’s neighborhood has been rendered as a food desert with only liquor stores to serve them. Stovall is perhaps best known for her ongoing project, Liquor Store Theatre, an ongoing and long term exploration of her Detroit community. In video documentation of her artistic and anthropological dialogues with residents, we see her both performing in front of the city’s ubiquitous liquor stores and interviewing patrons and passersby, a juxtaposition of footage that manages to be revelatory while still withholding some things only for the people in the city who happen to be there to witness the live events. In her process, Stovall simultaneously interrogates ethnographic traditions and the expectations of artists in public practice. In our conversation, we talk about the roots of her practice, vulnerability, and resisting having her work being pinned down to any one reading of it. Stovall’s Under New Ownership, a solo exhibition jointly presented by Fort Mason Center for the Arts and the San Francisco Art Institute, is on view through May 5, 2019. She will be enacting Theorem, no.1 a public performance winding through the streets of San Francisco on May 3rd. Click here for more information. Maya Stovall is a conceptual artist and an anthropologist, and she has exhibited in the 2017 Whitney Biennial and the Studio Museum in Harlem’s 2017–18 F-Series. Her book, Liquor Store Theatre, arrives from Duke University Press in spring 2020. Her second book on the imprint, Writing Through Walls, co-authored with her brother Josef Cadwell, is forthcoming. She has published peer-reviewed academic articles on her anthropological field research and her contemporary art practices in Transforming Anthropology and Journal of the Anthropology of North America, as well as in publications including Detroit Research Journal and The American Anthropological Association’s (AAA) Anthropology News. She lives and works in Detroit where she grew up, as well as in Los Angeles County, where she is an assistant professor at California State Polytechnic University (Cal Poly), Pomona. ________ Subscribe to Art Practical on iTunes to catch (un)making as soon as it publishes, or look for it here every other Wednesday! #APaudio Check us out on Instagram: @un_making

In an age where we are inundated by a seemingly endless scroll of images and living within an economy that demands an inordinate amount of our attention, it feels necessary to ask what is the value of doing nothing? It is much more evident now than ever before that social media platforms are another tool for advertisers and corporations to learn our desires through likes and clicks encouraging us to stay glued to our screens and monitors. In 2017, Bay Area-based artist Jenny Odell gave a talk at the annual EYEO festival titled “How to do Nothing,” which resulted in a book of the same name. I have been following Odell’s artistic practice and writing since she was in graduate student pursuing her MFA at the San Francisco Art Institute. With a background in literature and having taught Internet Art at Stanford University for several years, her wealth of knowledge related to networked culture to free things advertised on Instagram that aren’t actually free, she has an uncanny ability to craft a stories emblematic of our digital age. In this episode, The Value of Doing Nothing, I spoke with Odell about exercises in attention, space for refusal, bonding over our experience of an Ellsworth Kelly painting at the SF MOMA, and much more. The irony of Odell’s call to action, being that of doing nothing, leads us to the multitude of ways that stepping back from time to time enables and affords us the opportunity to learn how to observe the world around us, actively listen, and fastidiously mind the details we might normally overlook. -- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio.

In this episode, I talk with Honolulu-based artist, activist, and cultural organizer Rebecca Maria Goldschmidt. Rebecca’s winding path to her current practice reflects the complex layers of intercultural analysis and research she brings to her engagements with people and materials: growing up in Chicago’s Jewish community, her study of languages and photography, creative entrepreneurship, working as an educator facilitating Las Fotos Project with youth in Tijuana, and seeking out Hawaiʻi’s Filipino community to take part in Ilokano language and cultural reclamation within the diaspora. In one of her most recent projects, Nabanglo a lamisaan, she created a tasting table of sukang ilocos, sugar cane vinegar, to enable conversations about labor history, cultural practice, and imperialism. The project emerged from a collaborative exploration with botanists at the University of Hawaiʻi--where she attempted to make her own vinegar from local sugar cane--as well as research into anti-colonial resistance in the Philippines, such as the Basi Revolt. Over the course of our conversation, we talk about the trajectory of her practice and how she approaches Ilocano cultural recovery work while on the 'āina, Native Hawaiian lands. Rebecca Maria Goldschmidt is an artist, activist, feminist, and diasporic person engaging in place-based art-making and learning. Her current work reflects on studies and reclamation of the Ilokano language and her attempts to reconstruct connections with the land and cosmology of her ancestors which has been lost through displacement, colonization, and miseducation. Utilizing photographs, natural materials, handwritten words, as well as found images, she combines disparate information from various sites, sources, and time periods to explore how relationships to land/daga/'āina manifest in diasporic communities. Crossing into the realm of social practice, she often works in collaboration to facilitate the exchange of knowledge intergenerationally and interculturally. She is currently pursuing her Master of Fine Arts in the Department of Art and Art History at the University of Hawai’i at Manoa in Honolulu. ________ Subscribe to Art Practical on iTunes to catch (un)making as soon as it publishes, or look for it here every other Wednesday! #APaudio Check us out on Instagram: @un_making

Virtual reality is not a new phenomenon. From dioramas to panoramas, the allure of being enveloped in a place or tableau outside of one’s reality has mass appeal considering the popularity of virtual reality technologies such as the Oculus Rift and the HTC Vive. Through 360 filmmaking and photography, the creation of space within the virtual realm has become commonplace. From journalism to entertainment purposes, while virtual worlds enable a new way of seeing fantastical worlds, artists and designers must consider format and aesthetics. In the second part of a two-part series, Not Your Average Playtest, I look at how artist Veronica Graham translates her drawings and paintings into digital architectures within the virtual world. She also touches upon how she must reconcile physical and digital perception to create immersive experiences. Veronica Graham is an Oakland based visual artist primarily working in print and digital mediums. Inspired by today’s rapidly changing environment, she sees her art practice as a form of world building. Each work is the creation of place or artifact, calling attention to how fiction is weaved into our reality. In 2012 she founded Most Ancient, a design studio focused on small press and digital production. Her books have been collected by SFMoMA, MoMA, The New York Public Library, The Library of Congress, Stanford University, Yale University, and other public and private collections. Graham has received grants from Kala Art Institute and Women’s Studio Workshop. She is now designing virtual worlds and her first VR project called “The Muybridge Mausoleum” was completed in 2017 for the HTC Vive and Oculus Rift platforms. In addition to her own practice, Graham is an active member on SFMoMA’s Games Advisory Board and an arts educator who has taught at San Francisco Art Institute, Southern Exposure, and Creativity Explored. -- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio.

(un)making | Ep. 38: Leland Miyano by Art Practical

I collect treasures. To some people, I collect junk. But one object I own that has never lost its luster is the View-Master. Even as an adult, the sensation of looking at reels ranging from visuals showing vintage Disney cartoons to 1960s New York cityscapes, the View-Master has served up a type of visual immersive space since the late 1930s. From dioramas to panoramas, the allure of being enveloped in a place or tableau outside of one’s reality has mass appeal considering the popularity of virtual reality technologies such as the Oculus Rift and the HTC Vive. Through 360 filmmaking and photography, the creation of space within the virtual realm has become commonplace. From journalism to entertainment purposes, while virtual worlds enable a new way of seeing fantastical worlds, artists and designers must consider format and aesthetics. In the first part of a two-part series, Not Your Average Playtest, I scratch the surface of the history of virtuality from analog to digital formats and examine how contemporary artists are using virtual reality as a medium. -- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio.

In this episode, Tre Borden speaks with artist, Leila Weefur, whose discussion of black identity is at the center of her work and who is helping to build collectives and spaces in the Bay Area. Together, Tre and Leila ruminate on the complexities of black identity, how it is defined, for whom and by whom. This episode also dives into the double edged sword that is Black History month, and discusses Leila’s upcoming solo-show, Between Beauty & Horror, opening Friday, February 15, 2019 at Aggregate Space Gallery in Oakland.**Things to Note**~22-27:30 - When discussing institutional representation and minoritarian artists, Leila Weefur quotes Gelare Khoshgozaran Referenced Spaces & Literature:Wolfman BooksBetti Ono GallerySpirithaus GalleryThe Blacker the Berry by Wallace Thurman-About Leila Weefur-Leila Weefur (She/They/He) is an artist, writer, and curator who lives and works in Oakland, CA. She received her MFA from Mills College. Weefur tackles the complexities of phenomenological Blackness through video, installation, printmaking, and lecture-performances. Using materials and visual gestures to access the tactile memory, she explores the abject, the sensual and the nuances found in the social interactions and language with which our bodies have to negotiate space.She is a recipient of the Hung Liu award, the Murphy & Cadogan award, and the Walter & Elise Haas Creative Work Fund. Weefur has worked with local and national institutions including SFMOMA, Southern Exposure, The Wattis, and Minnesota Street Project in San Francisco, Berkeley Art Museum and Pacific Film Archive, and Smack Mellon in Brooklyn, New York. Weefur is the Audio/Video, Editor In Chief at Art Practical and a member of The Black Aesthetic.Learn more about Leila Weefur by visiting www.leilaweefur.comor Follow her @SpikeLeila

In this episode, I talk with Los Angeles artist Carolina Caycedo. Caycedo’s multilayered projects weave together archival, site, and community research, long term support of grassroots social movements, drawings, performance, documentary video, educational engagements, and the work of many collaborators. Through this array of tactics, she investigates the impact of extractive economies and hyper development on communities, local systems of knowledge, and the environment. While the art objects generated through her practice are not necessarily the endpoint of her work, they have a presence and depth that unfolds across a variety of contexts. For instance, her Serpent River Book--an expansive accordion fold artist book that explores the stories of communities in Colombia, Brazil, and Mexico grappling with the impact of privatization and industrialization of their rivers--is as much at home as a museum installation piece, pedagogical tool for village organizers, or performance prompt for a company of dancers. In our conversation we talk about the embodied knowledge of what she calls “geochoreographies,” navigating--and sometimes haunting--institutions, and working with ethical rigor. Carolina Caycedo has developed publicly engaged projects in Bogota, Quezon City, Toronto, Madrid, Sao Paulo, Lisbon, San Juan, New York, San Francisco, Paris, Mexico DF, Tijuana, and London. Her work has been exhibited worldwide with solo shows at Vienna Secession, Intermediae-Matadero Madrid, Agnes B Gallery Paris, Alianza Francesa Bogotá, Hordaland Kunstsenter Bergen, 18th Street Arts Center in Santa Monica, and DAAD Gallery in Berlin. She has participated in international biennials including Sao Paulo (2016), Berlin (2014), Paris Triennial (2013), New Museum (2011), Havana (2009), Whitney (2006), Venice (2003) and Istanbul (2001). In 2012, Caycedo was a DAAD Artist-in-Berlin resident. She has received funding from Creative Capital, California Community Foundation, Los Angeles Department of Cultural Affairs, Harpo Foundation, Art Matters, Colombian Culture Ministry, Arts Council UK, and Prince Claus Fund. Artist’s site: http://Carolinacaycedo.com Exhibition at the Huntington: https://www.huntington.org/rituals-of-labor Palm Springs Art Museum project: https://www.psmuseum.org/events/pop-up/carolina-caycedo Subscribe to Art Practical on iTunes to catch (un)making as soon as it publishes, or look for it here every other Wednesday! #APaudio Check us out on Instagram at @un_making

Thursday, Nov 8, 2018, Art Practical hosted an evening of conversation between Constance Hockaday and Laurel Braitman, who will be speaking about how their respective practices are influenced by each other’s work and processes. This conversation was recorded live at the Curatorial Research Bureau. Between You & Me is a series of dialogic exchanges between artists and their collaborators and peers to materialize the countless conversations, musings, and debates that are often invisible yet play a significant role in the generative space of artmaking. This program is organized as part of an editorial column published online by Art Practical with support from the Kenneth Rainin Foundation, a private family foundation dedicated to enhancing quality of life by championing and sustaining the arts, promoting early childhood literacy, and supporting research to cure chronic disease. Constance Hockaday’s work is about creating portals that get people closer to the water and nature, and closer to that feeling of belonging in a place (preferably the place where they live). Hockaday has most often looked to water as a place for hosting social sculptures and immersive experiences. She believes the shoreline is a place where many human and non-human interests collide. Laurel Braitman is a New York Times bestselling author, historian and anthropologist of science. She is currently a Writer-in-Residence at the Medicine & the Muse Program at the Stanford University School of Medicine where she's busy helping physicians tell better stories--for themselves and their patients. Her writing has appeared in The New York Times, The Guardian, The Wall Street Journal, Wired and other publications. Her last book, Animal Madness (Simon & Schuster 2015) was a NYT bestseller and has been translated into seven languages. She holds a PhD in Science, Technology and Society from MIT, is a Senior TED Fellow and a Contributing Writer for Pop Up Magazine, a live magazine the New York Times has called a “Sensation.” Her work and collaborations with musicians and artists have been featured on the BBC, NPR, Good Morning America and Al Jazeera. She's taught popular interdisciplinary courses at Stanford School of Medicine, Harvard, MIT, Smith College and elsewhere and is passionate about working with musicians, physicians, scientists, and artists. -- Subscribe to Art Practical on iTunes to catch more episodes! Check us out on Instagram at @artpracticalsf. #APaudio

Tuesday, October 2, 2018, Art Practical hosted an evening of conversation between Ana Teresa Fernández and Julio César Morales, who spoke about how their respective practices are influenced by each other’s work and processes. This conversation was recorded live at the San Francisco Art Institute. Between You & Me is a series of dialogic exchanges between artists and their collaborators and peers to materialize the countless conversations, musings, and debates that are often invisible yet play a significant role in the generative space of artmaking. This program is organized as part of an editorial column published online by Art Practical with support from the Kenneth Rainin Foundation, a private family foundation dedicated to enhancing quality of life by championing and sustaining the arts, promoting early childhood literacy, and supporting research to cure chronic disease. Ana Teresa Fernández, born in 1981 in Tampico, Mexico, lives and works in San Francisco. Her work explores the politics of intersectionality through time-based actions and social gestures, translated into masterful oil paintings, installations and videos. Within her work, performance becomes a tool for investigation as strong feminist undercurrents flow together with post-colonial rhetoric. Through her work, the artist illuminates the psychological and physical barriers that define gender, race, and class in Western society and the global south. Fernández has exhibited at the Denver Art Museum, Denver, CO, the Nevada Museum of Art, Reno, NV, Arizona State University Art Museum, Phoenix, AZ, the Grunwald Gallery at Indiana University, Bloomington, IN, Humboldt State University, Eureka, CA; the Tijuana Biennial, Tijuana, Mexico; Snite Museum at Notre Dame University, Notre Dame, IN; Yerba Buena Center for the Arts, San Francisco, CA and The Oakland Art Museum, Oakland, CA. Her work has been collected by institutions such the Denver Art Museum, the Nevada Museum of Art, and Kadist Art Foundation. Julio César Morales By deploying a range of media and visual strategies, Julio César Morales investigates issues of migration, underground economies, and labor on the personal and global scales. Morales’ practice employs multifarious mediums specific to each project or body of work. He has painted watercolor illustrations that diagram human trafficking methods, employed the DJ turntable, produced video and time-based pieces, reenacted a famous meal, all to elucidate social interactions and political perspectives. -- Subscribe to Art Practical on iTunes to catch more episodes! Check us out on Instagram at @artpracticalsf. #APaudio

As a little girl, I once dreamed of becoming a research scientist. It never happened, but I did spend a considerable amount of time in the biotechnology and pharmaceutical industry learning the intricacies of clinical research. While I never became the doctor my mother wished me to be, the desire to understand science, where we come from, and the internal workings of our various systems never cease to amaze me. In this episode, @_emotionalbaggage liked your post, I explore the artistic practice of artist Ani Liu and how she re-imagines portraiture and explores the translation between virtual to physical. In Liu’s most recent work, Real Virtual Feelings (2018), she examines how the digital realm affects our cognition and body chemistry. In essence, Liu shows the direct relationship of what happens inside our bodies directly affects our behaviors, intentions, and expectations. Yet Lui’s work is a part of a larger body of work of artists working at the intersections of art, science, and technology. The SubRosa collective has engaged in speculative and imaginative practices of how biomaterial can be used as artistic mediums for quite some time. -- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio.

It’s sad but true: all good things must come to an end. In their final episode of what are you looking at?, hosts Jay and Elena reflect on all the highs this past year has brought, revisit their all-time favorite segments, and interview their ultimate art crush Tschabalala Self. Subscribe to Art Practical on iTunes to catch our podcasts as soon as they publish! Check us out on instagram at @artpracticalsf. #APaudio

On this episode of the podcast, I talk with Oakland-based artist Katie Dorame. Dorame primarily works in painting and drawing to weave together elements from classic and camp Hollywood movies, genre fiction, and archival research to create narratives that explore colonialism and Native American pop-culture representations, leavened with moments of humor. Her work complicates this season’s theme of “movement,” challenging us to remember that movement is defined by the places moved through or into; that the power to enter in to a space is not the same as being welcomed in; and that the narratives that shape our knowledge of those journeys are a potential site to reclaim agency. In one of her signature series, Alien Apostles, Franciscan priests are depicted as invading outer space entities, terrorizing California’s Native peoples and facing staunch resistance. In Pirates & Sea Ghouls, she populates scenes from swashbuckling pirate cinema with Native American actors including Irene Bedard, Wes Studi, and Tantoo Cardinal, reimagining those oceanic Western fictions as a site for indigenous centered adventure. In our conversation we discuss the sources of her work; the compression of past, present, and future; and how painting suits her need for a reclusive practice. Katie Dorame is a visual artist, primarily working in painting, born in Los Angeles, currently living and working in Oakland. Dorame’s work has been exhibited at Shulamit Nazarian in Los Angeles, Southern Exposure, Galería de la Raza, Incline Gallery, and the Thacher Gallery in San Francisco as well as the Handwerker Gallery at Ithaca College in New York. She received her MFA from the California College of the Arts and her BA from the University of California, Santa Cruz. She is an Indigenous artist of mixed descent, and member of the Gabrielino/Tongva tribe of California. --- Subscribe to Art Practical on iTunes to catch (un)making as soon as it publishes, or look for it here every other Wednesday! Check us out on Instagram at @un_making. #APaudio

One of the most memorable 2018 Super Bowl television commercials speculated on the loss of Alexa’s voice. At first, the viewer watches a woman at home, commanding the Amazon artificial-intelligence device to provide information. But the woman is surprised when the automaton belts out a cough and goes silent. Back at Amazon headquarters, the Alexa team reassures CEO Jeff Bezos of the backup plan, which entails the use of celebrities such as Gordon Ramsey and Cardi B to fill in for Alexa. Consumers requesting Alexa’s assistance are met with a slew of comical responses. The commercial aims to show the inadequacy and unpredictably of the human as a machine. In this episode, “Not So Artificial Intelligence,” I examine the ways in which assistive technology has become a new terrain for artists like Trisha Baga, Stephanie Dinkins, and Cara deFabio. Each artist has incorporated the use of assistive technology to explore human emotional labor as well as the slippery nature of language. For instance, in deFabio’s performance, Virtual Girlfriend (2017), the artist conducted extensive research on the crowdsourced labor of providing digital companionship to strangers around the world. Baga, meanwhile, examines what might happen when we develop an intimate relationship with a virtual assistant, in her work Mollusca & The Pelvic Floor (2018). The essay titled Telegraphy’s Corporeal Fictions, by the scholar Katherine Stubb, is a point of departure for the episode. Stubb’s work centered on phone operators, who were often women, as the providers of both connectivity and emotional support to the listener. --- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio

In this episode, Elena and Jay reflect on the decades-long careers of Black artists, often overlooked or undervalued, and consider what their re-emergence in the contemporary art conversation says about our current moment and what it means for the future. And in the most cyclical of fashions, they provide tips for surviving your Saturn return but choose artwork that they’d willingly die for. -- Subscribe to Art Practical on iTunes to catch what are you looking at? as soon as it publishes! Check us out on Instagram at @wayla_pod. #APaudio

In this episode of the podcast, I talk with artist, curator, and cultural organizer Nancy Hom. For decades, Nancy has served as an anchor and mentor in the Asian American artistic community, creating platforms to support artists, bring together people, and advance social justice work. From her early artistic and activist work in New York as a co-founder of the Asian American Media Collective and as part of Asian Women United, to her work with San Francisco’s Kearny Street Workshop, Nancy has dedicated her life to building institutional resources for the Asian American community and movements. We talk about her recent installations that take the form of collectively shaped, ephemeral mandala sculptures and the ways that practice reflects the worldview and spirituality that she built through decades of work in Asian American arts movements. Nancy Hom is an artist, writer, and cultural organizer. Based in San Francisco, she has served as an Executive Director for Kearny Street Workshop and was co-founder of the Asian American Media Collective in New York City. Nancy received her BFA in Illustration and Visual Communication from Pratt Institute. She is an internationally exhibited artist and has worked with many Bay Area community arts groups, including Galeria de la Raza and Japan Art and Media Workshop. Her archive and papers are collected in the California Ethnic and Multicultural Archives at the University of California, Santa Barbara. -- Subscribe to Art Practical on iTunes to catch (un)making as soon as it publishes, or look for it here every other Wednesday! #APaudio. Check us out on Instagram at @un_making.

With the popularity of autonomous sensory meridian response (ASMR) videos on YouTube and social-media platforms, sound has become an integral part of understanding and exploring embodiment. Yet the fascination with sound has a long history beyond the digital realm. The San Francisco Museum of Modern Art new-media curator, Rudolf Frieling, aptly described The 40 Part Motet by the artist Janet Cardiff as “sound as sculpture.” In a similar vein, this episode seeks to explore the history and convergence of analog and digital technologies in the production of experimental sound. The show’s topic is also inspired by Jonathan Sterne’s research and scholarship on the MP3 format, which reveals not only the evolution of the MP3 but also how this sonic commodity produced a science of sound connected to telephony and music and drew distinctions between public and private sound. In this episode, sound as a medium for creative practice and inquiry is examined through a conversation with the artist and scholar, Anna Friz. -- Subscribe to Art Practical on iTunes to catch PRNT SCRN as soon as it publishes! Check us out on Instagram (@prnt_scrn_ap) and Twitter (@PRNTSCRN1). #APaudio.

On this episode, Jay and Elena visit Bay Area Now 8, the YBCA triennial exhibition, and talk about faves and feelings. From work that complicates the relationship between past and present to work that’s just plain complicated. The hosts look at the fine line between art crushes and art conundrums. Let’s just say there are a lot of feelings in this episode, a lot to unpack, and a lot of talk about...crime? -- Subscribe to Art Practical on iTunes to catch what are you looking at? as soon as it publishes! Check us out on instagram at @wayla_pod. #APaudio

In this (un)making episode, we talk with Ho Chi Minh City-based artist, curator, and cultural organizer Dinh Q. Lê. Lê is probably best known for his photo weavings that interlace Western representations of the American war in Vietnam, from Hollywood films to photojournalists’ documentation. His use of a traditional mat weaving technique, taught to him by his aunt, breaks apart and reassesses those fragmentary depictions through a Vietnamese lens. Along with those iconic pieces, Lê has explored issues of migration, trauma, collective memory, and global conflict through videos and photographs. We spoke briefly about one of the pieces, The Colony, which mixes drone footage of guano mining on the Chincha islands, video of Chinese vessels harassing Vietnamese boats in the South China Sea, and standoffs between the US and Chinese planes in international airspace to explore the human and ecological impact of global capital against the backdrop of the continuing neo-imperial struggles for territory and control. Our discussion of his current solo exhibition at the San Jose Museum of Art, True Journey is Return, serves as a jumping off point for a conversation about the forced departure of Vietnamese refugees in the wake of the American War in Vietnam and the return of many in the community to the home of their births, including Lê himself. We talk about how these journeys have impacted his work and expanded his worldview, the visual strategies he uses to contend with images, and the rebuilding of collective cultural memories. -- Subscribe to Art Practical on iTunes to catch (un)making as soon as it publishes, or look for it here every other Wednesday! Check us out on Instagram at @un_making. #APaudio

Jay and Elena are back and getting down to business. In this episode, our hosts catch us up on how they spent the summer: seeing shows (or not) and watching ridiculous amounts of television. And since the art world and the academic world operate on roughly the same calendar, Elena and Jay unpack the meaning of “back-to-school” by thinking about the benefit and necessity of alternative schooling models, like LeBron James’ I Promise school, Joseph Cullier and Shani Peters’ The Black School, and the Pilipinx American Library (PAL) at the Asian Art Museum. -- Subscribe to Art Practical on iTunes to catch what are you looking at? as soon as it publishes! Check us out on Instagram at @wayla_pod. #APaudio

We kick off (un)making’s third season with an investigation into the theme of “movement,” with a conversation with artist and educator, Jesus Barraza. Through his many collaborations and community projects, particularly with his partner Melanie Cervantes and their work together under the banner Dignidad Rebelde, Jesus has helped to produce many of the political graphics and prints that continue to shape the visual identity for movements that are radical, feminist, and centered on people of color, in the San Francisco Bay Area and globally. Jesus roots this practice in struggles for social justice and in generations of creative knowledge, stories, and production. As he notes in the course of the interview, this work draws on a long and complex history of print, mural, and socially engaged practices within Indigenous and Xicanx communities—a constantly growing tradition that he now passes along to his students. We talk about Indigenous spiritualities, the community workshop as a cultural practice, and the ways Dignidad Rebelde’s political analysis has been shaped by Xicanisma and the Zapatistas. -- Subscribe to Art Practical on iTunes to catch (un)making as soon as it publishes, or look for it here every other Wednesday! Check us out on Instagram at @un_making. #APaudio

Paul Wackers was born in New Haven, Connecticut in 1978. He graduated with his BFA from Corcoran College of Art and Design in Washington, DC with a degree in Fine Arts, and earned his MFA in Paintings from the San Francisco Art Institute. Wackers has exhibited nationally and internationally in Belgium, Denmark, Canada, Peru, San Francisco, CA, Los Angeles, CA, and New York, NY. He completed a large-scale public mural for The James Hotel (New York, NY) and has been featured in Paper Magazine, Hyperallergic, Juxtapoz, New American Painting, and Art Practical. He was a visiting artist lecturer at Brooklyn College, and has participated in residencies at Byrdcliffe Guild (Woodstock, NY) and the Nordic Artist’s Centre Dale (Sunnfjord, Norway). In 2009 he won the Tournesol Award from the Headlands Center for the Arts (Sausalito, CA), and was a SECA award finalist. His work is held in numerous private and public collections, including the Chevron Corporation (San Ramon, CA), Fidelity Investments (Boston, MA), Wellington Management (Boston, MA), New York Presbyterian Hospital (New York, NY), University of Texas Southwest Medical Center (Dallas, TX), and the West Collection (Oaks, PA). Brian went to his studio for a chat. This episode is sponsored by Golden Paints, Topo Designs and Charter Coffeehouse.

In this episode, writers and members The Black Aesthetic, Jamal Batts and Malika Ra Imhotep, sit down with LA-born filmmaker summer fucking mason, to discuss their immersive installation and short essay film Gemini. summer discloses how this work is deeply tied to familial rupture, the discovery of themselves and their brothers within the structures of black masculinity, and understanding their queerness. Notes from the Field: MoAD’s Emerging Artists and Critic Series, in partnership with Art Practical, is a podcast dedicated to MoAD’s Emerging Artist Program. This series of interviews gives the exhibiting artists an opportunity to discuss their featured exhibition at MoAD and how their art practice is in dialogue with contemporary art as it considers themes of the African Diaspora.

Notes From MoAD: Episode 4 with Tamara Porras, Emily Kuhlmann, & Soleil Summer by Art Practical

episode 31: Erick Arguello (Calle 24), Rachel Lastimosa (SOMA Pilipinas), & Tommy Wong (Oakland Chinatown) We’ve got a supersized discussion this episode as we talk with three Bay Area cultural organizers who are helping to build resilient local neighborhoods that are grounded in communities of color: Erick Arguello from Calle 24 Latino Cultural District, Rachel Lastimosa of SOMA Pilipinas - the Filipino Cultural Heritage District, and Tommy Wong of the Oakland Chinatown Improvement Initiative. This panel, Keeping Our Space: Organizing Cultural Districts in the Bay Area, was recorded live at the Bayanihan Community Center in the heart of SOMA Pilipinas in early April as the final event in Art Practical’s Process + Practice + Progress series. In the course of our conversation, we talk about the history and context for the organizing happening in each neighborhood—what this means legislatively and culturally; the stakes of this work; and how communities are evolving and what it means to hold space to welcome in other people.

Decolonial Strategies with Anuradha Vikram, Michelle Dizon, and Việt Lê was the first of three talks in Art Practical’s new programming series called Process Practice Progress, which is funded, in part, by the California Arts Council, a state agency. The series strives to create generative dialogue to reshape art institutions through actionable solutions and sustainable practices.

what are you looking at: Summer Break by Art Practical

This week Art Practical and Bad at Sports combined to produce audio that astounds! Listen as our hosts taken on wild ideas like “twitter” and “Christopher Knight’s paternalism." Laugh along with them as they celebrate and demonize their brothers and sisters at #superscript15.   Thanks again to the Walker and MNArtists.org for making our dreams a reality. Critics roll out. We be unpacking this shit left and right! And hell yes, I'll check that privilage.

This week: Brian and Patricia head up to wine country to imbibe—if you will—one of the most unique public collections of art in California. Sited on over 200 extraordinary acres of vineyard, gardens, and natural landscape in the Carneros region of the Napa Valley, di Rosa originated as the shared vision of Rene and Veronica di Rosa, prolific collectors whose personal passion for art and adventuresome spirits fueled their support of art and artists. Their home and the famed vineyards around Winery Lake became the focal point not only for their life and a noted gathering place for artists, but the development of the art collection that is now housed in three buildings, both contemporary and historic, as well as on the surrounding landscape. Considered the most significant holding of Bay Area art in the world, di Rosa houses approximately 2,000 works of art by more than 800 artists. Our friends at Art Practical are the lucky recipients of a year-long writing residency at di Rosa, and Patricia shares some of the insights she’s gleaned in her weekly forays. In this episode’s conversation, she and Brian meander through the residence and main gallery with Amy Owen, Curator, and Meagan Doud, Curatorial Assistant, reflecting on the collection, its history, and the bucolic landscape surrounding them. The serenity of the setting was only disrupted by the potential for lingering aftershocks following the 6.1 earthquake that hit the area early Sunday morning, August 24. di Rosa was the closest cultural center to the epicenter in downtown Napa, and while the buildings were unscathed, about 10% of the work on view (3% of the collection) sustained some damage. Generous efforts are underway to support the repair and restoration of the collection; you can learn more here about how you can help out! Images: 1. di Rosa's Gatehouse Gallery overlooking Winery Lake. Photo: Erhard Pfeiffer. 2. di Rosa's Sculpture Meadow. Photo: Steven Rothfeld. 3. di Rosa's Courtyard. Photo: Steven Rothfeld.

This week: This week, our resident feminist commentator Patricia Maloney sits down with one of her heroes, the Los Angeles–based artist Andrea Bowers to talk about her solo exhibition, Andrea Bowers: #sweetjane, on view through April 13, 2014 at the Pitzer College Art Galleries and Pomona College Museum of Art in Southern California. #sweetjane explores the Steubenville, Ohio, rape case and the social media–driven activism that brought the young men responsible to trial in two distinct ways. At Pitzer is a 70-foot long drawing of the text messages sent between the teenagers in the 48 hours following the assault on the young woman who is known in the media and throughout the trial as Jane Doe. At Pomona is a video installation comprised of appropriated media footage and billboard-size photographs of disguised Anonymous protestors at the trial. Taken together, the installations create an incredibly damning document, not only of the events and of the young men, who were depicted sympathetically by the media, but also of the significant tolerance in this country around sexual assault.Bowers’ activities in creating this work reflect the fluidity between art and activism that is a hallmark of her practice, as well as her belief that art can bear witness to the individual gestures and commitments that collectively enact significant social change.       An abridged text version of this conversation will be published by our friends at Art Practical  on March 27, 2014.       Andrea Bowers received her MFA at the California Institute of the Arts in 1992. Solo exhibitions include: Secession, Vienna, Austria; REDCAT, Los Angeles, CA; and the Santa Monica Museum of Art, Santa Monica, CA. Her work has been included in exhibitions at the Whitney Museum of American Art, New York, NY; Bard College, Annandale-on-Hudson, NY; Sammlung Goetz, Seedamm Kulturzentrum, Switzerland; Kunsthalle Basel, Switzerland; Museum of Contemporary Art, Los Angeles, CA; New Museum of Contemporary Art, New York, NY; Frankfurter Kunstverein, Frankfurt, Germany; Stedelijk Museum voor Actuele Kunst; Armand Hammer Museum, Los Angeles, CA; Kunstmuseum Bonn, Bonn, Germany; Walker Art Center, Minneapolis, MN; Museum of Contemporary Art, Chicago, IL.   http://www.pomona.edu/museum/exhibitions/2014/ps48-andrea-bowers/index.aspx http://www.artpractical.com    

This week: A BAS bureau twofer! First Patricia talks to Mika Tajima. This week, Patricia Maloney chats with artist Mika Tajima at the San Francisco Museum of Modern Art just before the opening of the exhibition Stage Presence, where her collaborative film, performance, and sculptural project, Today is Not a Dress Rehearsal, is currently on view through October 8, 2012 . Mika Tajima, was born in Los Angeles, and lives and works in Brooklyn. She earned a BA from Bryn Mawr College in 1997, an MFA from Columbia University in 2003, and attended The Fabric Workshop and Museum Apprentice Training Program in 2003. Her work has been included in the exhibitions The Pedestrians, South London Gallery, London (2011); Transaction Abstraite, New Galerie, Paris (2011); The Double, Bass Museum, Miami (2010); Knight’s Move, Sculpture Center, Long Island City (2010); Today is Not a Dress Rehearsal, San Francisco Museum of Modern Art (2009); The Extras, X Initiative, New York (2009); Learn to Communicate Like a Fucking Normal Person, Art Production Fund, New York (2009); Deal or No Deal, Kevin Bruk Gallery, Miami (2008); 2008 Whitney Biennial, Whitney Museum of American Art, New York (2008); Mika Tajima: Broken Plaid/Holding Your Breath (taking the long way), RISD Museum, Providence (2008); The Double, The Kitchen, New York (2008); Sympathy for the Devil, Museum of Contemporary Art, Chicago (2007); Music Is a Better Noise, PS.1 Contemporary Art Center, Long Island City (2006); Grass Grows Forever in Every Possible Direction, Walker Art Center, Minneapolis (2005); Echoplex, Swiss Institute Contemporary Art, New York (2005); and Uncertain States of America, Astrup Fearnley Museum, Oslo, Norway (2005). She is part of the music-based performance group New Humans. The following is part of the ongoing collaboration between Bad at Sports and Art Practical. You can read an abridged version of the interview here. Next: New India correspondant Tanya Gill goes to the India Art Fair! Tanya Gill, a Chicago artist living in New Delhi, wanders through the India Art Fair of 2012. Over the course of four days she spoke to Gallery owners and artists, and found a surprising number of Chicago connects. Recorded here are her conversations with Kiran Chandra, Renuka Sawhney of The Guild, artist Vibha Galhotra, artist Ram Rahman from The SAHMAT Collective, Laura Williams of Art 18/21, artists Joan Livingston and Katarina Weslien from the School of the Art Institute of Chicago, Ritika Baheti of the Autonomous Public Laboratory Project, and four living works of art by Preeti Chandrakant.

oin us for an evening with Holland Cotter-a 2009 recipient of the Pulitzer Prize and the chief art critic of the New York Times-as he speaks with Vishakha Desai, President and CEO of Asia Society, and Jay Xu, Director of the Asian Art Museum, about his enthusiasm for and experience in developing critical writing about Asian contemporary art. In the 1990s, Cotter introduced readers to a broad range of Asian contemporary art as the first wave of new art from China was building and breaking; he also brought awareness of contemporary art from India to the attention of a Western audience. He continues to write widely on non-Western art and culture. Against the backdrop of the Asian Art Museum's major exhibition of contemporary art, Phantoms of Asia, the conversation represents the potential to stimulate and catalyze critical dialogue on Asian contemporary art in the Bay Area. It will also acknowledge Ellen Tani as the recipient of the inaugural Asian Contemporary Arts Consortium (ACAC) Writing Fellowship. The fellowship, which aims to promote and encourage critical thinking and writing on contemporary Asian art practices, provides the fellow with a forum on the online arts journal Art Practical to produce research and writing while creating a unique opportunity for emerging writers. Hosted by Asian Contemporary Arts Consortium-SF and Art Practical in collaboration with the Asian Art Museum

Join us for an evening with Holland Cotter-a 2009 recipient of the Pulitzer Prize and the chief art critic of the New York Times-as he speaks with Vishakha Desai, President and CEO of Asia Society, and Jay Xu, Director of the Asian Art Museum, about his enthusiasm for and experience in developing critical writing about Asian contemporary art. In the 1990s, Cotter introduced readers to a broad range of Asian contemporary art as the first wave of new art from China was building and breaking; he also brought awareness of contemporary art from India to the attention of a Western audience. He continues to write widely on non-Western art and culture. Against the backdrop of the Asian Art Museum's major exhibition of contemporary art, Phantoms of Asia, the conversation represents the potential to stimulate and catalyze critical dialogue on Asian contemporary art in the Bay Area. It will also acknowledge Ellen Tani as the recipient of the inaugural Asian Contemporary Arts Consortium (ACAC) Writing Fellowship. The fellowship, which aims to promote and encourage critical thinking and writing on contemporary Asian art practices, provides the fellow with a forum on the online arts journal Art Practical to produce research and writing while creating a unique opportunity for emerging writers. Hosted by Asian Contemporary Arts Consortium-SF and Art Practical in collaboration with the Asian Art Museum

This week: And now for something completely different! This week’s episode comes to us from our friends at Art Practical, whose current issue delves into the rich history of sound art in the San Francisco Bay Area. The included essays and interviews constitute a fraction of the rich and varied world of experimental sound. Here, Art Practical’s contributing editors Catherine McChrystal and Kara Q. Smith offer an all-audio version of that issue with samples of work by the artists profiled in that issue, including: Maryann Amacher, Joshua Churchill, Paul DeMarinas, Chris Duncan, Jacqueline Gordon, Aaron Harbor, Shane Myrbeck, Pauline Oliveros, Ethan Rose, and the San Francisco Tape Music Center. The Bay Area’s technological reign has established San Francisco as a destination for sound artists and experimental composers seeking to advance their practices through the genesis of new mediums. They explore sound’s capacity to conflate sensory experience; from the earliest days of sound art, artists and experimental musicians discovered in the genre a medium that is inclusive, participatory, disruptive, and that could embody their political goals. This episode explores how sounds are both aural and physical, producing reverberations that register in our ears and bodies and that locate or disorient us in space. You can check out the articles included in Art Practical’s Sound Issue here.

This week: Living legend, innovator, visionary, Carolee Schneemann. Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, “Looking at Men, Then and Now” [LINK: http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition, Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently published Millennium Film Journal #54: "Focus on Carolee Schneemann." Art Practical’s Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work. Carolee Schneemann [LINK: http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including in Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK: http://www.henryart.org/exhibitions] An abridged transcript of this interview appears in Art Practical's "Year in Conversation" issue, which you can see here:  http://www.artpractical.com

This week: Duncan, Brian, and Abigail Satinsky in conversation with James Voorhies at the Open Engagement conference, which took place from May 13 to 15, 2011 at Portland State University. Open Engagement is an initiative of PSU’s Art and Social Practice MFA program that encourages discussion on various perspectives in social practice. In this conversation, Voorhies, who was a featured presenter at this year’s conference, talks about the origin, evolution, and activities of the Bureau for Open Culture, which he founded.   The Bureau for Open Culture is a curatorial and pedagogic institution for the contemporary arts. It works intentionally to re-imagine the art exhibition as a discursive form of education that creates a kind of new public sphere or new institution. Exhibitions take shape as installations, screenings, informal talks, and performances; they occur in parking lots, storefronts, libraries, industrial sites, country roads, gardens, and galleries. In doing so, the Bureau generates platforms for learning and knowledge production that make ideas accessible, relevant, and inviting for diverse audiences. This model encourages overlaps of art, science, ecology, the built environment, philosophy, and design. Form, content and site are underlining points of critical inquiry for Bureau for Open Culture.   This  interview is part of the ongoing collaboration between Bad at Sports and Art Practical. You can read an abridged transcript of the conversation here: http://www.artpractical.com/feature/interview_with_james_voorhies/  

This week, Brian, Patricia, and Art Practical contributor Mary Anne Kluth sit down with artist Elaine Buckholtz and gallery president Richard Lang at Electric Works in San Francisco where Buckholz’s solo show, Light Making Motion: Works on Paper and in Light, was recently on view. In her review, Kluth notes that Buckholtz, whose primary medium is light, “is a generous guide, making instructive objects that allow her audience to come to discoveries” about the “experience of vision as a phenomena unfolding in time… focus[ing] attention on shifting, fleeting, elusive sensations.” In this conversation they talk about that generosity, the installations on view, working with Meredith Monk, and the pleasures of going off the cliff, Wile. E. Coyote–style. Buckholz received her MFA at Stanford University and has shown at the Swiss Technorama Museum, Winterthur, Switzerland; Pierogi Leipzig, Germany; the Wexner Center For The Arts, Columbus, OH; the Sun Valley Center for the Arts, Idaho; the Claremont Museum, Claremont, CA; Stanford University, Palo Alto; California College of The Arts, Fusion Art Space, the Luggage Store, and Yerba Buena Center for the Arts, San Francisco. You can read Kluth’s full review on Art Practical here: http:// www.artpractical.com/review/light_making_motion_works_on_paper_and_in_light/

This week: San Francisco checks in with a discussion with Aaron GM and Ginger Wolfe-Suarez In this episode Art Practical contributors Zachary Royer Scholz, Elyse Mallouk, and Patricia Maloney speak with artists Aaron GM  and Ginger Wolfe-Suarez. This was one of several conversations held over the weekend of the fair as part of “In and Out of Context: Artists Define the Space between San Francisco and Los Angeles,” a program that invited artists to consider the two cities as a continuously evolving constellation of dialogues, shared interests, and overlapping approaches. An abridged transcript of the conversation can be read on Art Practical. Aaron GM lives and works in Los Angeles. He studied at both San Francisco Art Institute and UCLA. Recently he exhibited a solo presentation at the NADA Art fair in Miami Beach (2010). Other Recent solo exhibitions include capezio (2010) at ltd los angeles, Timeshares (2009) at Parker Jones Gallery in Los Angeles, and sales calls(2008) at Blanket Gallery in Vancouver. Aaron has shown in group exhibitions both nationally and internationally. Ginger Wolfe-Suarez is an emerging conceptual artist, writer, and theorist. Her work often takes the form of large-scale sculpture, exploring the psychology of built space. Both an exploration into the experiential phenomena of body-object relationships, and a questioning of the material nature of sculpture interweave concepts of memory and process. Wolfe-Suarez teaches studio critique and art theory, and is currently Visiting Faculty in the graduate program at San Francisco Art Institute. Her writings on art criticism have been published internationally, and her artwork has been recently exhibited at Silverman Gallery, ltd Los Angeles, KUNSTRAUM AM SCHAUPLATZ in Vienna, Artist Curated Projects in Los Angeles, Mills Art Museum, Yerba Buena Center for the Arts, and High Desert Test Sites, among others. She studied at Goldsmiths College in London and later received her BFA from The School of the Art Institute of Chicago, and her MFA from the University of California at Berkeley. Wolfe-Suarez lives and works in Richmond, CA, where she raises her three-year-old son.

This week: As part of the Art Los Angeles Contemporary art fair, which took place January 27-30 at the Barker Hanger of the Santa Monica Airport, the crew from Art Practical produced “In and Out of Context: Artists Define the Space between San Francisco and Los Angeles,” a series of conversation that imagined the two cities as “a continuously evolving constellation of dialogues, shared interests, and overlapping approaches. In this episode Patricia Maloney andArt Practical editor Victoria Gannonchatwith San Francisco-based artistLuke Butler, again in the parking lot of the Santa Monica Airport, as part of their ongoing quest to find a quiet spot away from the bustle of the fair. Butler reflects on his longstanding admiration for Captain Kirk while Patricia and Victoria wonder if he’ll suddenly start speaking in Klingon. Later, Patricia and AP editor Tess Thackara speak with artist Sarah Cain about her years living and working in the Bay Area before relocating to Los Angeles, her working process, and the oases she finds in LA. Luke Butler received his MFA from California College of the Arts in 2008. Heworks in paintings and collage; much of his imagery comes from pop culture, most often from television and movies of his childhood includingStarsky and Hutch and Star Trek, along with other iconic images, such as that of former U.S. presidents. Butler’s work was included in the 2010 California Biennial at the Orange County Museum, Newport Beach, CA. He is represented by Silverman Gallery in San Francisco, CA. Sarah Cain received her BFA from the San Francisco Art Institute in 2001 and her MFA from the University of California Berkeley in 2006; she attended Skowhegan in 2006. Her work has been exhibited at the San Francisco Museum of Modern Art; the Santa Barbara Contemporary Arts Forum; the Orange County Museum of Art, Newport Beach, CA; KN Gallery, Chicago; and the Seiler + Mosseri-Marlio Gallery, Zurich. Cain received a Pollock-Krasner Foundation Grant in 2007 and a SECA Art Award in 2006. She is represented by Anthony Meier Fine Arts, San Francisco and Honor Fraser Gallery, Los Angeles.

This week: Patricia tailgates with Lisa Anne Auerbach and Michael Parker! As part of the Art Los Angeles Contemporary art fair, which took place January 27-30 at the Barker Hanger of the Santa Monica Airport, the crew from Art Practical produced “In and Out of Context: Artists Define the Space between San Francisco and Los Angeles,” a series of conversation that imagined the two cities as “a continuously evolving constellation of dialogues, shared interests, and overlapping approaches.” In this episode Patricia Maloney, Catherine Wagley, and artist Elyse Mallouk tailgate with LA-based artists Lisa Anne Auerbach and Michael Parker from the back of Auerbach’s aqua blue Mini Cooper, parked behind the airport hanger. As prop planes rumble by on their way to takeoff, Auerbach and Parker discuss topics ranging from torn porn and being one’s own bumper sticker to the Shakers and how artists can make change in the work. Lisa Anne Auerbach’s  practice is interdisciplinary and takes the form of photography, publications and, more often than not, knitting. Combining humor with a biting critique of the complacency and routine of modern life, her work inserts itself into the visual and social fabric of the communities that she engages. She received her BA from the Rochester Institute of Technology and her MFA from Art Center College of Design. She is represented by Gavlak, West Palm Beach, Florida.   Michael Parker  work makes use of the concept of Temporary Autonomous Zones to produce microtopias, experiments that are situated between idealist notions of community and pragmatic methods for narrating the actions of individuals and groups. He received his BA from Pomona College and his MFA from the University of Southern California. His work was recently featured in in “Landfill, Part 2.” in Art Practical.

This week: Patricia Maloney sits down with queer feminist artist and writer Emily Roysdon, as well as Phyllis Wattis MATRIX Curator Elizabeth Thomas. The conversation took place on December 10, 2010, as Roysdon was in the final stages of preparing for her exhibition at the University of California, Berkeley Art Museum's Emily Roysdon: If I Don't Move Can You Hear Me?/MATRIX 235, on view through March 6, 2011. Topics range from nostalgic delusions in Berkeley to hallucinations of the apocalypse on New York’s West Side. Along they way, they cover regulation, claiming space, collaboration, ecstatic resistance, and opening up language to find meaning. http://www.bampfa.berkeley.edu/exhibition/235   This interview is part of the ongoing collaboration between Bad At Sports and Art Practical. LINK: http://artpractical.com Emily Roysdon is an artist and writer living and working in New York and Stockholm. She completed the Whitney Museum Independent Study Program in 2001 and an MFA at UCLA in 2006. She employs wide-ranging methods in developing her projects, including performance, photography, installation, text, and video, among others. Roysdon’s concept of "ecstatic resistance," which reflects on the impossible and imaginary in politics, was featured in simultaneous exhibitions of Grand Arts in Kansas City, and X Initiative in New York. Recenlty, her work has been included in the 2010 Whitney Biennial, Greater NY at PS1, Manifesta 8, and the Bucharest Biennial 4.  Roysdon is editor and co-founder of the queer feminist journal and artist collective, LTTR.   

This week: Bad at Sports presents an interview from our media partner Art Practical. Kim Anno is interviewed by Bruno Fazzolari as a part of his ongoing series of interviews with artists regarding abstraction. Kim Anno is an Associate Professor of Painting at CCA who makes videos, photos and paintings with an undercurrent of environmental activism.Bon Appetit!

As part of the ongoing collaboration between Bad At Sports and Art Practical, as well as the summer series exploring social practice, this week Brian Andrews and Patricia Maloney sit down with Natasha Wheat as she prepares for her upcoming exhibition and temporary restaurant “Self Contained,” which opens at the Museum of Contemporary Art, Chicago on July 13.     Currently based in San Francisco, Wheat is an American artist whose work attempts to understand and interrupt the way that human beings exist together. She is interested in the social hierarchy of space, utopian attempts, and the tension between exclusivity and inclusion. Wheat founded Project Grow (http://www.growinginalldirections.org/), a Portland Oregon based Art Studio and Urban Farming Project that includes people with mental diversity. Her recent work examines agriculture in relationship to human culture, distribution, and control. She received her BFA from the School of the Art Institute of Chicago in 2008.   Wheat has exhibited collaboratively and individually at The UC Berkeley Art Museum; The Pete and Susan Barrett Gallery, Santa Monica; Rogaland Kunstsenter, Stavanger, Norway; G2, Mess Hall, and the Museum of Contemporary Art, Chicago.   Check out the text version of this interview, starting July 1, in Issue 18 of Art Practical. http://www.artpractical.com 

This week Brian sits down with Eleanor Hanson and Oliver Wise, the Oakland-based founders of The Present Group, who describe the project as “like a mutual fund that produces art instead of profits.”; A quarterly art subscription project, The Present Group enables a community of subscribers to create a new avenue of support for contemporary artists. They produce thought-provoking work in a variety of media, and each of the four annual limited editioned art works is paired with an essay contextualizing the edition.   Their goal is to engage art enthusiasts who never thought of themselves as art collectors and to introduce them to the experience and pleasures of owning contemporary art. This is the next installment of the collaboration between Art Practical and Bad At Sports.   An abridged transcript of this interview appears in AP Issue 13.   http://www.artpractical.com   Image: David Horvitz. Hermosa Beach, CA, Issue 9, Winter 2009; viewmaster reel, viewer, and Somerset cotton rag paper card. Courtesy of The Present Group.   A note from BAS: Libsyn, our hosting company, sucks like space. We are looking for suggestions on other hosting services so we can get far away from these jerks. 

This week: Patricia sits down with artist Mads Lynnerup during his recent sojourn in San Francisco.  They talk about spotting Cyndi Lauper at the New Museum, precocious nerdy kids at the Guggenheim, navigating the ever-growing professionalization of the art world, everyday routines, and the merits of being a prankster. Mad Lynnerup was born in Copenhagen, Denmark and lives and works in Copenhagen and New York. He completed his MFA from Columbia University in 2007 and received a BFA from San Francisco Art Institute in 2001. He has shown his work at the San Francisco Museum of Modern Art; The Mori Art Museum, Tokyo; P.S. 1 and Socrates Sculpture Park, both New York; and Zacheta National Gallery of Art, Warsaw. Lynnerup works across such diverse media as video, sculpture, drawing, and printmaking. Many of the themes in his work have roots in his constant interest in the everyday and his surroundings. This is the third collaboration between Art Practical and Bad At Sports. Image: Routines (Sønder Boulevard), 2008 (video still); installation, video and poster series. Courtesy of the Artist and Baer Ridgeway Exhibitions, San Francisco. Links: www.artpractical.com http://www.artpractical.com/feature/interview_with_mads_lynnerup/ http://www.madslynnerup.com/    

This week: Brian and Patricia sat down with Oakland-based artist Michelle Blade on February 20 in her storefront studio, which is also the location of Sight School, http://sightschool.wordpress.com/, the alternative space she created in 2009 to encourage dialogue around the connections between art and life. It was the day following the opening for her solo exhibition, “Blow As Deep As You Want to Blow,” on view at Triple Base gallery http://basebasebase.com in San Francisco through March 21. Their conversation tackled a range of topics, from the economic realities that perennially plague artists in the Bay Area to the pleasures of walking across a painting. This is the second collaboration between Art Practical http://www.artpractical.com/ and Bad At Sports. Image: Music from the Mountaintops, 2010 (still). Courtesy of the Artist.

This week Bad At Sports debuts its collaborative partnership with the online journal Art Practical. Scott Oliver, who has previously been on the show with the Collective Foundation, sits down with J. Morgan Puett. They discuss Mildred's Lane, a collaborative project with Mark Dion, the revolutionary politics of garments, and reclaiming the term migrant worker. An abridged transcript of the conversation can be found at Art Practical . Hooshing and the Nexus of Clothing: A Conversation with J. Morgan Puett By Scott Oliver  I met J. Morgan Puett during her Bridge Residency at the Headlands Center for the Arts this past fall. I knew little of her or her work, but was immediately struck by her warmth and charm, and by the language she used to talk about her practice. She refers to it as “a practice of being” in which “an ethics of comportment” defines any engagement she might have—with students, collaborators, participants, fellow artists-in-residence. But also with her son’s teacher or her car mechanic. Terms like “hoosh,” “workstyles (a play on lifestyles),” “algorithm,” “emergent,” “entangled,” and “complexity” pepper Puett’s speech, effectively communicating her expansive approach to art. She doesn’t often mention “social practice,” perhaps because her work has been socially engaged all along. But the term is also insufficient, so is “installation art” (a form her work often resembles). Puett’s work is difficult to summarize. It is sprawling, layered, immersive and open-ended. It is as intellectually rich as it is sensually pleasurable. It is narrative, process-based and participatory. In short, it is meant to be experienced, yet none-the-less fascinating to discuss. Scott Oliver is a sculptor and project-based artist living and working in Oakland, California. He has written catalogue essays for Southern Exposure, The Present Group, and independent curator Joseph del Pesco. Oliver co-founded Shotgun Review, an on-line source for reviews of Bay Area visual art exhibitions, with del Pesco in 2005 where he was a regular contributor until 2008. He is currently working on an audio walking tour of Oakland’s Lake Merritt.