Podcasts about Artforum

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, Emily features an interview with curator Ciara Ennis, director of the De Saisset Museum at Santa Clara University. Ciara discusses her evolution from painter to curator, her efforts to challenge traditional museum practices, and her initiatives aimed at fostering inclusivity and dialogue within the art community. Key programs highlighted include the Flat Files of Curiosity Initiative and the Project Room for South Bay artists. She shares insights into her curatorial philosophy, influenced by her studies and experiences, including her impactful first exhibition in London and admiration for artist Joseph Beuys. The episode underscores Ciara's commitment to making museums more accessible and dynamic spaces for diverse audiences.About Curator Ciara Ennis:As Director Professor of Practice in the Department of Art and Art History, Dr. Ennis is responsible for developing the vision, artistic direction, and strategic leadership for the museum including exhibitions, programming, permanent collection, academic integration, and public profile. Ennis oversees museum operations, staffing, finances, and fundraising, and serves as the primary liaison between the museum and Santa Clara University.Prior to directing the de Saisset Museum, Ennis served as Director and Curator of Pitzer College Art Galleries, transforming it into a significant center for contemporary art and discourse through intellectually provocative initiatives focused on diverse communities of artists exploring issues that define our times. A Museum Studies scholar, Ennis' research explores the appropriation of Wunderkammer strategies as a means for rethinking contemporary curatorial practice. Ennis has been a panelist and guest speaker for the College Arts Association, American Studies Association, the International Sculpture Conference, the Association of Academic Museums and Galleries, the California Community Foundation, the Rijksakademie Amsterdam, and the Victoria and Albert Museum. Ennis is a member of Prospect Art's Advisory Board and X-TRA Contemporary Art Quarterly's Advisory Council. She has an MA (RCA) in Contemporary Curatorial Practice from the Royal College of Art, and a PhD in Cultural Studies/Museum Studies from Claremont Graduate University.For more on the exhibit, Maya Gurantz: The Plague Archives CLICK HERE. Follow Ciara on Instagram:  @CiaraEnnis5--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

In The Promise of Beauty (Duke UP, 2024), Mimi Thi Nguyen explores the relationship between the concept of beauty and narratives of crisis and catastrophe. Nguyen conceptualizes beauty, which, she observes, we turn to in emergencies and times of destruction, as a tool to identify and bridge the discrepancy between the world as it is and what it ought to be. Drawing widely from aesthetic and critical theories, Nguyen outlines how beauty—or its lack—points to the conditions that must exist for it to flourish. She notes that an absence of beauty becomes both a political observation and a call to action to transform the conditions of the situation so as to replicate, preserve, or repair beauty. The promise of beauty can then engender a critique of social arrangements and political structures that would set the foundations for its possibility and presence. In this way, Nguyen highlights the role of beauty in inspiring action toward a more just world. Mimi Thi Nguyen is Professor of Gender and Women's Studies at the University of Illinois, Urbana-Champaign. Her first book, called The Gift of Freedom: War, Debt, and Other Refugee Passages, focuses on the promise of “giving” freedom concurrent and contingent with waging war (Duke University Press, 2012; Outstanding Book Award in Cultural Studies from the Association of Asian American Studies, 2014). She is also co-editor with Fiona I.B. Ngo and Mariam Lam of a special issue of positions: asia critique on Southeast Asian American Studies (20:3, Winter 2012), and co-editor with Thuy Linh Nguyen Tu of Alien Encounters: Pop Culture in Asian America (Duke University Press, 2007). Her papers have been solicited for the Feminist Theory Archive at Brown University. Her second book is called The Promise of Beauty, and she is part of an editorial collective with Patty Ahn, Michelle Cho, Vernadette Vicuna Gonzalez, Rani Neutill, and Yutian Wong for Bangtan Remixed: A Critical BTS Reader; both books are being published with Duke University Press in 2024. She has also published in Signs, Camera Obscura, The Funambulist, Women & Performance, positions, Radical History Review, and ArtForum. Najwa Mayer is an interdisciplinary cultural scholar of race, gender, sexuality, and Islam in/and the United States, working at the intersections of politics, aesthetics, and critical theory. She is currently a Society of Fellows Postdoctoral Scholar at Boston University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Promise of Beauty (Duke UP, 2024), Mimi Thi Nguyen explores the relationship between the concept of beauty and narratives of crisis and catastrophe. Nguyen conceptualizes beauty, which, she observes, we turn to in emergencies and times of destruction, as a tool to identify and bridge the discrepancy between the world as it is and what it ought to be. Drawing widely from aesthetic and critical theories, Nguyen outlines how beauty—or its lack—points to the conditions that must exist for it to flourish. She notes that an absence of beauty becomes both a political observation and a call to action to transform the conditions of the situation so as to replicate, preserve, or repair beauty. The promise of beauty can then engender a critique of social arrangements and political structures that would set the foundations for its possibility and presence. In this way, Nguyen highlights the role of beauty in inspiring action toward a more just world. Mimi Thi Nguyen is Professor of Gender and Women's Studies at the University of Illinois, Urbana-Champaign. Her first book, called The Gift of Freedom: War, Debt, and Other Refugee Passages, focuses on the promise of “giving” freedom concurrent and contingent with waging war (Duke University Press, 2012; Outstanding Book Award in Cultural Studies from the Association of Asian American Studies, 2014). She is also co-editor with Fiona I.B. Ngo and Mariam Lam of a special issue of positions: asia critique on Southeast Asian American Studies (20:3, Winter 2012), and co-editor with Thuy Linh Nguyen Tu of Alien Encounters: Pop Culture in Asian America (Duke University Press, 2007). Her papers have been solicited for the Feminist Theory Archive at Brown University. Her second book is called The Promise of Beauty, and she is part of an editorial collective with Patty Ahn, Michelle Cho, Vernadette Vicuna Gonzalez, Rani Neutill, and Yutian Wong for Bangtan Remixed: A Critical BTS Reader; both books are being published with Duke University Press in 2024. She has also published in Signs, Camera Obscura, The Funambulist, Women & Performance, positions, Radical History Review, and ArtForum. Najwa Mayer is an interdisciplinary cultural scholar of race, gender, sexuality, and Islam in/and the United States, working at the intersections of politics, aesthetics, and critical theory. She is currently a Society of Fellows Postdoctoral Scholar at Boston University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode Emily interviews artist and singer Mary Graham about her journey from drawing as a child, to painting in high school and eventually moving to the Bay Area to study at the California College of the Arts. Mary discusses her recent residencies in Maine and Colorado, and exhibitions at the Berkeley Art Center and Jonathan Carver Moore Gallery. She delves into her impactful 'brown paper bag' series, which explores themes of colorism inspired by her father's stories and broader research. Mary also reflects on influential works by artists like David Hammonds and Betty Saar, and shares her inspiration drawn from the streets of San Francisco. The episode highlights Mary's creative process, community experiences, and the significant role of the emerging artists program at the Museum of the African Diaspora in her career.About Artist Mary Graham :Mary W.D. Graham an interdisciplinary artist working in painting, sculpture, and vocal performance. Utilizing art-making methods rooted in traditional techniques, she studies the notion of “the ancestors” as a conceptual medium through which historical, interpersonal, and introspective insight might be gained.Her conceptual development originates from the veneration of her own lineage, an off-shoot of the African American spiritual tradition of ancestor worship. The work expands to encompass themes of generational love, collective human origin, our relationship to history, and our relationship to the future (the unknown). Working primarily in figuration and portraiture, she utilizes a level of precision in her representation. Her compositions are minimal; the subtlety of the substrate, or the intentional application of color intend for focus to be drawn to the subject. The subtlety of this approach is meant to provide a contemplative environment in which significance might be derived. These aesthetic philosophies of simplicity, stillness, and precision are applied to her performance work as well, which is rooted in her training as a classical vocalist. Here, the human voice is utilized as a kind of clarion. The haunting melodies are structured to slowly fill space and time, drawing viewers in so that they might share in what manifests from the collective experience of song.Mary was born in 2000 and grew up in Philadelphia, Pennsylvania amongst a family of artists. She attended California College of the Arts where she received her BFA in Individualized Studies in 2022. Her travels for arts and cultural exchange have taken her around the globe to Mexico, Japan, Kenya, South Africa, Peru, Morocco, Indonesia, and India.Graham has been exhibiting, collaborating and performing nationally since 2006. She was a commissioned artist for projects at Burning Man from 2019 through 2023, performed at the Institute of Contemporary Art + San Francisco in 2022, and in 2024, opened her first solo exhibition at Museum of the African Diaspora as part of their Emerging Artist's Program. Graham's work has been covered by CBS News, 48hills and the MoAD Journal. She has been awarded residencies with Black [Space] Residency in San Francisco, California; Haystack Mountain School of Craft in Deer Isle, Maine; and Anderson Ranch in Snowmass, Colorado.Visit Mary's Website:  MaryDGraham.comFollow  on Instagram:  @Mary.Graham.ArtTo learn more about the Beatiful Scars Exhibit at Jonathan Carver Moore CLICK HERE.For more on Archives Yet To Come at the Berkeley Art Center, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week on 'Art is Awesome,' host Emily Wilson chats with Stephanie Robison, a sculptor living in Oakland and the chair of City College of San Francisco's Art Department. The episode delves into Stephanie's background, from growing up in Oregon and being encouraged by a high school counselor to attend college, to falling in love with sculpture, particularly stone. Stephanie discusses her creative process, the resistance she enjoys from materials like marble, and how her grandmother inspired her love for making things. She also shares her experiences with exhibitions and her thoughts on teaching. About Artist Stephanie Robison:Originally from Oregon, Stephanie currently resides in California teaching sculpture and serving as Art Department Chair at the City College of San Francisco. Robison holds a Bachelor of Fine Arts from Marylhurst University and a Master of Fine Arts in Sculpture from the University of Oregon. Her work has been exhibited at Marrow Gallery, Marin Museum of Contemporary Art and Orange County Center for Contemporary Art in California, Robischon Gallery in Denver, Colorado, Houston Center for Contemporary Craft, Joseph A Cain Memorial Art Gallery and Greater Denton Arts Council in Texas, Yeiser Art Center in Kentucky, Site:Brooklyn Gallery in New York, Foster/White Gallery, Whatcom Museum and Tacoma Art Museum in Washington, and Peter Robertson Gallery in Alberta Canada.Stephanie is represented by Marrow Gallery in San Francisco, California and Foster/White Gallery in Seattle, Washington. Her work can also be found at Robischon Gallery in Denver, Colorado.The sculptures of Stephanie Robison plays with multiple oppositional relationships. Working with industrial fabrics and wood, she creates large-scale installations that examine relationships between culture, nature and the built environment. Her latest series of work combines traditional stone carving and the process of needle felting wool. By merging incongruous materials such as wool and marble, she works to synthesize and fuse: organic and geometric, natural and architectural, handmade and the uniform industrial. Focusing on materiality and color with this new work, Robison creates charming, often humorous or awkward forms referencing aspects of the body, relationships and the environment. Visit Stephanie's Website:  StephanieRobison.comFollow Stephanie on Instagram:  @SquishyStoneFor more about Stephanie's Exhibit, "Incantations for the Average Person" CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Ep.236 Ebony L. Haynes is a writer and curator from Toronto, Canada. She is presently based in New York where she is senior director at David Zwirner and leads the gallery's 52 Walker space in Tribeca. Haynes sits on the boards of Artists Space (New York) and the New Art Dealers Alliance. She also runs Black Art Sessions, an online “school” that offers free professional practice classes to Black students worldwide. Photo: Ebony L. Haynes, 2020 Photo by Elliott Jerome Brown Jr. Courtesy David Zwirner 52 Walker https://www.52walker.com/info David Zwirner https://www.davidzwirner.com/news/2021/52-walker-street-announcement Wallpaper https://www.wallpaper.com/art/david-zwirner-52-walker-new-york-ebony-l-haynes ArtReview https://artreview.com/artist/ebony-l-haynes/?year=2021 Topical Cream https://topicalcream.org/editors-in-residence/ebonylhaynes-is-topicacream-editor-in-residence-2024/ New York Times https://www.nytimes.com/2020/09/27/arts/design/zwirner-haynes-black-gallery.html ICI https://curatorsintl.org/about/collaborators/22961-ebony-haynes Culture Type https://www.culturetype.com/tag/ebony-l-haynes/ Cool Hunting https://coolhunting.com/culture/all-black-staff-to-run-david-zwirners-new-gallery/ Cultured Magazine https://www.culturedmag.com/article/2023/09/06/downtown-art-dealer-ebony-l-haynes-has-a-tip-for-tourists-who-want-to-look-like-new-yorkers ArtNews https://www.artnews.com/art-news/news/ebony-l-haynes-nada-section-1234611558/ C& https://contemporaryand.com/magazines/ebony-l-haynes-creates-new-gallery-with-all-black-staff-in-nyc/ Document Journal https://www.documentjournal.com/tag/ebony-l-haynes/ Elephant Magazine https://elephant.art/how-ebony-l-haynes-curated-raymond-saunders-evolution-through-post-no-bills/ ArtForum https://www.artforum.com/news/ebony-l-haynes-to-create-black-run-nyc-gallery-with-support-from-david-zwirner-248569/ PIN-UP Magazine https://www.pinupmagazine.org/articles/ebony-l-haynes-interview Curbed NY Magazine https://www.curbed.com/2022/09/21-questions-writer-and-curator-52-walker-director-ebony-haynes.html W Magazine https://www.wmagazine.com/culture/52-walker-ebony-haynes-david-zwirner-interview Whitewall Art https://whitewall.art/art/ebony-l-haynes-opens-52-walker-this-october/ HURS https://hurs-official.com/home/hur-conversations/ebony-haynes Office Magazine https://officemagazine.net/ebony-l-haynes

Episode 464 / Esteban JeffersonEsteban Jefferson was born in New York City in 1989. He received his BA and MFA from Columbia University. He's had solo shows at 303 Gallery, Tanya Leighton in Berlin and Goldsmiths in London. He's had group shows at Hangar Y in Paris, Uncle Brother in Hancock, NY, Herald St in London, the ICA in Miama and more. His work has been featured in Art Monthly, The New York Times, ArtReview, The Brooklyn Rail, Frieze, Art In America, the New Yorker, Artforum and more. 

Mike Pepi is a critic and technologist who writes about art, culture, and technology. He is the author of the new book, Against Platforms: Surviving Digital Utopia, which is both a work of technology criticism and an analysis of how we talk about Silicon Valley. His other writing has appeared in Frieze, e-flux, Artforum, and The Brooklyn Rail. In this conversation, Jarrett and Mike talk about the role of criticism, the differences between platforms and institutions, and why Silicon Valley needs the art world more than the other way around. Links from this episode can be found at scratchingthesurface.fm/266-mike-pepi. 
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Nachrichten, Tagesthema, Magazin - 35 Jahre Artforum - ein Phänomen. Faschingstreiben in Bratislava.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily features Daisy Nam, the director and chief curator at the Wattis Institute of Contemporary Arts. Daisy discusses her journey from growing up in Los Angeles to her roles at prestigious institutions like NYU, Columbia, Harvard, and Marfa Ballroom. She shares insights on the significance of art spaces in cities, her love for art books, and memorable exhibitions, particularly the current 'Steady' sculpture show involving artists Esther Partegas and Michelle Lopez. Daisy highlights the unique aspects and challenges of working in the contemporary art world, emphasizing the importance of maintaining art spaces and building partnerships within the art community. Daisy also shares her personal experiences and perspectives on art and nature in Northern California.About Curator Daisy Nam:Daisy Nam is the director and curator of CCA Wattis Institute of Contemporary Art in San Francisco, which opens their new galleries on the expanded campus in Fall of 2024. Previously, she was at Ballroom Marfa, a contemporary art space dedicated to supporting artists through residencies, commissions, and exhibitions, first as the curator in 2020 and then the director and curator in 2022. From 2015–19, she was the assistant director at the Carpenter Center for the Visual Arts, Harvard University, managing the administration  and organizing programs, exhibitions, and publications. From 2008–2015, she produced seven seasons of talks, screenings, performances, and workshops as the assistant director of public programs at the School of the Arts, Columbia University.Curatorial residencies and fellowships include: Marcia Tucker Senior Research Fellow at the New Museum, New York (2020); Bellas Artes, Bataan, Philippines (2020); Surf Point in York, Maine (2019); Gwangju Biennale Foundation, Korea (2018). She holds a master's degree in Curatorial and Critical Studies from Columbia University and a bachelor's degree in Art History and Cinema Studies from New York University. She has taught at RISD, and lectured at Lesley University, Northeastern, SMFA/Tufts, SVA as a visiting critic. She co-edited a publication, Best! Letters from Asian Americans in the arts withPaper Monument in 2021.CLICK HERE to learn more about Daisy. CLICK HERE to connect to The Wattis InstituteCLICK HERE to get more info about the Wattis exhibition 'STEADY' --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

A few moments after birth we begin to use our lungs for the first time. From then on, we must continue breathing for as long as we are alive. And although this mostly happens unconsciously, in a society plagued by anxiety, climate change, environmental racism, and illness, there are more and more instances that “teach us about the privilege that is breathing.” Why do we so easily forget the air that we breathe in common? What does it mean to breathe when the environment that sustains life now threatens it? And how can life continue to flourish under conditions that are increasingly toxic?  To approach these questions, Jamieson Webster draws on psychoanalytic theory and reflects on her own experiences as an asthmatic teenager, a deep-sea diver, a palliative psychologist during COVID, a psychoanalyst attentive to the somatic, and a new mother. The result is a compassionate and timely exploration of air and breathing as a way to undo the pervasive myth of the individual by considering our dependence on invisible systems, on one another, and the way we have violently neglected this important aspect of life. Jamieson Webster is a psychoanalyst in private practice in New York City and faculty at The New School for Social Research. She is the author, most recently, of On Breathing (Peninusula Press, UK; Catapult, US), as well as, Conversion Disorder: Listening to the Body in Psychoanalysis (Columbia, 2018) and, with Simon Critchley, Stay, Illusion! The Hamlet Doctrine (Vintage Random House, 2013). She has written regularly for Artforum, The New York Times, The New York Review of Books, as well as, many psychoanalytic publications. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor in the Somatic Psychology program at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

A few moments after birth we begin to use our lungs for the first time. From then on, we must continue breathing for as long as we are alive. And although this mostly happens unconsciously, in a society plagued by anxiety, climate change, environmental racism, and illness, there are more and more instances that “teach us about the privilege that is breathing.” Why do we so easily forget the air that we breathe in common? What does it mean to breathe when the environment that sustains life now threatens it? And how can life continue to flourish under conditions that are increasingly toxic?  To approach these questions, Jamieson Webster draws on psychoanalytic theory and reflects on her own experiences as an asthmatic teenager, a deep-sea diver, a palliative psychologist during COVID, a psychoanalyst attentive to the somatic, and a new mother. The result is a compassionate and timely exploration of air and breathing as a way to undo the pervasive myth of the individual by considering our dependence on invisible systems, on one another, and the way we have violently neglected this important aspect of life. Jamieson Webster is a psychoanalyst in private practice in New York City and faculty at The New School for Social Research. She is the author, most recently, of On Breathing (Peninusula Press, UK; Catapult, US), as well as, Conversion Disorder: Listening to the Body in Psychoanalysis (Columbia, 2018) and, with Simon Critchley, Stay, Illusion! The Hamlet Doctrine (Vintage Random House, 2013). She has written regularly for Artforum, The New York Times, The New York Review of Books, as well as, many psychoanalytic publications. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor in the Somatic Psychology program at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A few moments after birth we begin to use our lungs for the first time. From then on, we must continue breathing for as long as we are alive. And although this mostly happens unconsciously, in a society plagued by anxiety, climate change, environmental racism, and illness, there are more and more instances that “teach us about the privilege that is breathing.” Why do we so easily forget the air that we breathe in common? What does it mean to breathe when the environment that sustains life now threatens it? And how can life continue to flourish under conditions that are increasingly toxic?  To approach these questions, Jamieson Webster draws on psychoanalytic theory and reflects on her own experiences as an asthmatic teenager, a deep-sea diver, a palliative psychologist during COVID, a psychoanalyst attentive to the somatic, and a new mother. The result is a compassionate and timely exploration of air and breathing as a way to undo the pervasive myth of the individual by considering our dependence on invisible systems, on one another, and the way we have violently neglected this important aspect of life. Jamieson Webster is a psychoanalyst in private practice in New York City and faculty at The New School for Social Research. She is the author, most recently, of On Breathing (Peninusula Press, UK; Catapult, US), as well as, Conversion Disorder: Listening to the Body in Psychoanalysis (Columbia, 2018) and, with Simon Critchley, Stay, Illusion! The Hamlet Doctrine (Vintage Random House, 2013). She has written regularly for Artforum, The New York Times, The New York Review of Books, as well as, many psychoanalytic publications. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor in the Somatic Psychology program at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

A few moments after birth we begin to use our lungs for the first time. From then on, we must continue breathing for as long as we are alive. And although this mostly happens unconsciously, in a society plagued by anxiety, climate change, environmental racism, and illness, there are more and more instances that “teach us about the privilege that is breathing.” Why do we so easily forget the air that we breathe in common? What does it mean to breathe when the environment that sustains life now threatens it? And how can life continue to flourish under conditions that are increasingly toxic?  To approach these questions, Jamieson Webster draws on psychoanalytic theory and reflects on her own experiences as an asthmatic teenager, a deep-sea diver, a palliative psychologist during COVID, a psychoanalyst attentive to the somatic, and a new mother. The result is a compassionate and timely exploration of air and breathing as a way to undo the pervasive myth of the individual by considering our dependence on invisible systems, on one another, and the way we have violently neglected this important aspect of life. Jamieson Webster is a psychoanalyst in private practice in New York City and faculty at The New School for Social Research. She is the author, most recently, of On Breathing (Peninusula Press, UK; Catapult, US), as well as, Conversion Disorder: Listening to the Body in Psychoanalysis (Columbia, 2018) and, with Simon Critchley, Stay, Illusion! The Hamlet Doctrine (Vintage Random House, 2013). She has written regularly for Artforum, The New York Times, The New York Review of Books, as well as, many psychoanalytic publications. Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor in the Somatic Psychology program at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Ranu Mukherjee, a painter, textile, and film installation artist, who was recently appointed as Dean of the Film and Video School at CalArts in Los Angeles. Ranu discusses her background, her collaborative work with choreographers, and her latest project designing a curtain for the San Francisco Ballet's 'Cool Britannia'. She shares insights into her inspirations, including forests and their literary forms, and her early experiences that led her to become an artist. The episode concludes with Emily's regular segment, 'Three Questions', discussing influential works and inspiring places.About Artist Ranu Mukherjee:Ranu Mukherjee's work has been the subject of solo exhibitions at the 18th Street Arts Center, Los Angeles (2022-2023) de Young Museum, San Francisco (2018-2019); the Pennsylvania College of Art and Design (2017);  the Asian Art Museum, San Francisco (2016); the Tarble Art Center, Charleston, IL (2016) and the San Jose Museum of Art, CA (2012), among others. Her most recent immersive video installations have been was presented in Natasha, Singapore Biennale 2022-2023, the 2019 Karachi Biennale (2019) and Los Angeles County Museum of Art (2016) as well as in numerous international group exhibitions. Mukherjee has been awarded a 2023 Artadia Award,a Pollock Krasner Grant (2020); a Lucas Visual Arts Fellowship at Montalvo Arts Center, Saratoga, CA (2019-2024); an 18th Street Arts Center Residency, Los Angeles (2022); Facebook Artist in Residence (2020);  de Young Museum Artist Studio Program (2017); the Space 118 Residency, Mumbai (2014); and a Kala Fellowship Award and Residency, Berkeley (2009). Her work is in the permanent collection of the Asian Art Museum, San Francisco; de Young Museum, San Francisco; the Escallete Collection at Chapman University; the JP Morgan Chase Collection, New York; the Kadist Foundation, San Francisco and Paris; the Oakland Museum of California; the San Jose Museum of Art; and the San Francisco International Airport, among others. In 2021 Gallery Wendi Norris released Shadowtime, a major monograph on Mukherjee's work over the past decade featuring a conversation with author and climate activist Amitav Ghosh, and an essay by Jodi Throckmorton, curator of Mukherjee's first solo museum exhibition at the San Jose Museum of Art. Mukherjee co-created Orphan Drift, a London-based cyber-feminist collective and avatar making combined media works since 1994. They have participated in numerous exhibitions and screenings internationally including in London, Oslo, Berlin, Oberhausen, Glasgow, Istanbul, Vancouver, Santiago, Capetown, and the Bay Area.Mukherjee received her B.F.A. in Painting, from the Massachusetts College of Art, Boston, MA in 1988, and her MFA in Painting at the Royal College of Art, London, UK in 1993.  She serves on the Board of Trustees at the San Jose Museum of Art, and the Board of Directors at Bridge Live Arts. She is a Professor and Chair of Film at California College of the Arts, San Francisco. Visit Ranu's Website:  RanuMukherjee.comFollow  on Instagram:  @RanuMukherjeeFor more on 'Cool Britannia' at the San Francisco Ballet - CLICK HERE.For more on Ranu's book, 'Shadowtime' - CLICK HERE--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

On this episode I'm joined by Taylor Renee Aldridge. Taylor Renee Aldridge is a writer and curator based in Detroit, Michigan. In 2014, with writer Jessica Lynne, she co-founded ARTS.BLACK, an online journal of art criticism from Black perspectives. In Fall 2024, she assumed the role of Executive Director at the Modern Ancient Brown Foundation. In the episode we discuss her return to her native Detroit, the importance of ancestral practice, why there's a lack of art criticism today, and what she's excited about for the future. Taylor has edited and contributed to numerous exhibition catalogs, including Enunciated Life (CAAM, 2021) and Mario Moore | Enshrined: Presence + Preservation (Charles H. Wright Museum, 2021).  Her writing has appeared in Artforum, The Art Newspaper, Art21, ARTNews, CanadianArt, Contemporary&, Detroit Metro Times and SFMOMA's Open Space. She has organized exhibitions with the California African American Museum (CAAM), Detroit Institute of Arts, and Cranbrook Art Museum, including the critically acclaimed Simone Leigh (2024, CAAM & LACMA). Taylor is the recipient of the 2016 Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short Form Writing and the 2019 Rabkin Foundation Award for Art Journalism. She holds an MLA from Harvard University with a concentration in Museum Studies and a BA from Howard University with a concentration in Art History.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with painter Kirstine Rainer Hansen, as they discusses her transition from design and illustration to becoming a self-taught artist specializing in 'Disrupted Realism.' Born in Denmark, Kirstine has lived across various countries, ultimately settling in Carmel, California. Her path to art was unconventional; due to financial and societal pressures, she initially studied design but shifted to painting after struggling to find work during a recession. Kirstine's work, influenced by artists like Rembrandt, Francis Bacon, and Lucian Freud, is currently on display at the Jack Fisher Gallery at the Minnesota Street Project in San Francisco. She talks about how moving to San Francisco shaped her artistic style, transitioning from classical realism to a more fragmented, collage-based approach. Kirstine also dives into "Three Questions" talking about her artistic identity, influential works, and inspiring locations in the Bay Area.About Artist Kirstine Reiner Hansen:Kirstine Reiner Hansen is an artist based on the Central Coast of California, US. Born in Odense, Denmark, she received a BA in Design and Illustration at Kolding School of Design. Her work has been exhibited in numerous galleries, most recently she had 2-person exhibition at Jack Fischer Gallery, San Francisco. In 2012 she received the Lillian Orlowsky and William Freed Foundation Grant and was twice a semi-finalist for the Outwin Boochever Portrait Competition. She has been featured in Juxtapoz Magazine, BloPop Magazine and the Asian Curator as well as in the book ‘Distrupted Realism' by John Seed, 2019. Her work is featured in the movie ‘Meaning of a Ritual' by Berlin director Natalie MacMahon, 2023.Visit Kirstine's Website:  ReinerHansen.comFollow  on Instagram:  @ReinerHansenArtFor more about her current exhibit "Atmospheric Disruptions" at the Jack Fischer Gallery, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Is it a bird, is it a plane? No, it's another anti tech book. In Against Platforms: Surviving Digital Utopia, digital activist Mike Pepi argues that major tech companies like Meta, Amazon, Tesla, and OpenAI are all driven by "platform logic" - a business model focused on creating intermediary layers that mediate human activities while collecting data and maintaining control. While different tech leaders may have different political views, Pepi contends they are all ultimately "prisoners of the platform" driven by growth imperatives. Pepi distinguishes his critique from other tech criticism by arguing that even proposed solutions often fall into the "digital utopian" trap - the belief that better technology can fix technology's problems. Instead, he advocates for strengthening traditional institutions rather than trying to replace them with platforms. He cites journalism as an example where platforms have weakened traditional institutions rather than improved them. While not exactly anti-technology, Pepi believes that unchecked platform capitalism is problematic. He suggests that technology should be developed within institutional frameworks rather than allowing platforms to operate with minimal constraints. Convinced? If not, it's probably because you, like everyone else, is a prisoner of platform capitalism. Mike Pepi writes about art, culture, and technology. MHiswork has appeared in frieze, e-flux, Flash Art, Art in America, DIS Magazine, The Straddler, The New Inquiry, Artforum, The Art Newspaper, this is tomorrow, 艺术界 LEAP, the Apollo Magazine Blog, Spike Art, The Brooklyn Rail, Rhizome, and The New Criterion. He organized Cloud-Based Institutional Critique (CBIC), a reading group focused on emerging digital technologies and their relationship to cultural institutions. In 2015 he guest edited the Data Issue of DIS Magazine with Marvin Jordan. In 2018, I guest-edited a special issue of Heavy Machinery at SFMoMA's Open Space. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Matthew Leifheit, Photo by Shala Miller Matthew Leifheit is an American photographer, magazine editor, and professor based in Brooklyn, New York. A graduate of Rhode Island School of Design and the Yale School of Art, Leifheit is Editor-in-Chief of MATTE Magazine, the journal of emerging photography he has published since 2010. Leifheit's photographs have appeared in publications such as The New York Times, The New Yorker, Aperture, TIME, and Artforum, and have been exhibited internationally. His work has been supported by residencies at the Corporation of Yaddo and The Watermill Center, receiving grants from the New York State Cultural Council and the Fund for Lesbian and Gay Studies at Yale, where he was awarded the Richard Benson Prize in 2017. He is currently full-time faculty at Massachusetts College of Art and Design in Boston. Gay Archive was presented at Union College Crowell and West Galleries and at Massachusetts College of Art and Design's Brant Gallery in the fall of 2024. "Matthew Leifheit: Gay Chorus" will be on view at REVERB Gallery in Tampa, Florida through February 14th. Selections from Leifheit's Gay Archive work will also be included in the Griffin Museum of Photography's upcoming exhibition "Nuclear Family," on view January 17th—March 30th 2025. Installation View of Matthew Leifheit: Queer Archive at Massachusetts College of Art and Design's Brant Gallery, November 2025 John Pfleiderer Body Hair Collection* (undated, collected prior to Pfleiderer's death in 1982) GLBT Historical Society, San Francisco, 2023 40x30” dye sublimation print with footnote. Harvey Milk Underwear, GLBT Historical Society, San Francisco, 2023 40x30” dye sublimation print on aluminum Pedro Zamora Gift Image, 2024 22.75'' x 32.75'' offset lithography on newsprint, edition of 1000 copies.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode  Emily chats with multimedia artist Tricia Rainwater. Tricia delves into her artistic journey, focusing on self-portrait photography and installations. Her work, seen in exhibitions like 'Allegedly the Worst is Behind Us' at San Jose's Institute for Contemporary Art, addresses themes of political innateness, erasure, and the importance of creating personal archives. She also shares her experiences from childhood photography to her impactful pieces that highlight missing Indigenous women and girls. Their conversation touches on the emotional power and societal responsibilities of art.About Artist Tricia Rainwater:Tricia Rainwater (she/her) is a mixed Choctaw Indigiqueer multimedia artist based on Ramaytush Ohlone land. Tricia's work ranges from self portraiture to large sculptural installations. Her work has been featured nationally and internationally through group shows and artist features. In her work, Tricia, focuses on creating pathways to a resilient and hopeful future by centering the process of grieving and healing. She is a recent recipient of the SF Artists Grant through the SF Arts Commission.Visit Tricia's  Website:  TriciaRainwater.comFollow Tricia  on Instagram:  @TriciaRainwaterArtLearn more about the exhibit, 'Allegedly The Worst Is Behind Us', currently at the ICA San Jose - CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

The Author Events Series presents Carrie Rickey | A Complicated Passion, The Life and Work of Agnès Varda  REGISTER In conversation with Gary Kramer Born in Los Angeles, Carrie Rickey is an award-winning film critic, art critic, and film historian. She was the film critic at the Philadelphia Inquirer for twenty-five years and has also written for Artforum, Art in America, Film Comment, the New York Times, the Village Voice, and Politico. She has taught at the School of the Art Institute of Chicago and the University of Pennsylvania. She lives in Philadelphia. A Complicated Passion, The Life and Work of Agnès Varda is the first major biography of the storied French filmmaker, who was hailed by Martin Scorsese as ''one of the Gods of cinema.'' Over the course of her sixty-five-year career, the longest of any female filmmaker, Agnès Varda (1928 – 2019) wrote and directed some of the most acclaimed films of her era, from her tour de force Cléo from 5 to 7 (1962), a classic of modernist cinema, to the beloved documentary The Gleaners and I (2000) four decades later. She helped to define the French New Wave, inspired an entire generation of filmmakers, and was recognized with major awards at the Cannes, Berlin, and Venice Film Festivals, as well as an honorary Oscar at the Academy Awards. In this lively biography, former Philadelphia Inquirer film critic Carrie Rickey explores the ''complicated passions'' that informed Varda's charmed life and indelible work. Rickey traces Varda's three remarkable careers - as still photographer, as filmmaker, and as installation artist. She explains how Varda was a pioneer in blurring the lines between documentary and fiction, using the latest digital technology and carving a path for women in the movie industry. She demonstrates how Varda was years ahead of her time in addressing sexism, abortion, labor exploitation, immigrant rights, and race relations with candor and incisiveness. She makes clear Varda's impact on contemporary figures like Ava DuVernay, Greta Gerwig, Barry Jenkins, the Safdie brothers, and Martin Scorsese, who called her one of the Gods of cinema. And she delves into Varda's incredibly rich social life with figures such as Harrison Ford, Jean-Luc Godard, Jim Morrison, Susan Sontag, and Andy Warhol, and her nearly forty-year marriage to the celebrated director Jacques Demy. A Complicated Passion is the vibrant biography that Varda, regarded by many as the greatest female filmmaker of all time, has long deserved. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night The views expressed by the authors and moderators are strictly their own and do not represent the opinions of the Free Library of Philadelphia or its employees. (recorded 9/16/2024)

Originally published by The Stinging Fly Press in Ireland on 2015, Claire-Louise Bennett's POND found a wider audience with its UK publisher, the then nascent Fitzcarraldo Editions—the paradigm-shifting house that is currently celebrating its 10th birthday. POND is an extraordinarily erudite book, which wears that erudition extraordinarily lightly. It could be understood as being in dialogue with writers such as Huysmans, Virginia Woolf, Sylvia Plath, John Berger, as well as with any number of contemporary authors who feel determined that their books should be about something. But POND is also funny, earthy, dirty, silly, profound and confounding. In short, it is unlike anything else, the kind of book that defies the “if you liked this, you'll like that” algorithm. Just the kind of book we love at S&Co.Buy Pond: https://www.shakespeareandcompany.com/books/pond*Claire-Louise Bennett grew up in Wiltshire and studied literature and drama at the University of Roehampton, before moving to Ireland where she worked in and studied theatre for several years. In 2013 she was awarded the inaugural White Review Short Story Prize and went on to complete her debut book, Pond, which was shortlisted for the Dylan Thomas Prize in 2016. Checkout 19 was published by Jonathan Cape in 2021 and was part of the New York Times 10 Best Books of 2022 Selection.Claire-Louise's fiction and essays have appeared in a number of publications including The White Review, The Stinging Fly, gorse, Harper's Magazine, Vogue Italia, Music & Literature, and The New York Times magazine. She also writes about art and is a frequent contributor to frieze. In addition she has written for Tate etc., and Artforum, and a number of international exhibition catalogues. In 2016 she was writer-in-residence at Temple Bar Gallery & Studio. In 2020, Milan based art publisher Juxta Press published Fish Out Of Water, an essay Claire-Louise wrote in response to a self-portrait painting by Dorothea Tanning. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this week's Episode, Emily features artist Carrie Ann Plank. Originally inclined towards a medical career, Carrie Ann found her true calling in printmaking. Her work, which combines science and art, is showcased in multiple renowned collections, including the Fine Arts Museums of San Francisco and the Library of Congress. Her latest exhibition, 'Cacophony' at Jonathan Carver Moore, visualizes sound through layered prints. Carrie Ann discusses her process, inspiration from scientific data, and collaboration with scientists. About Artist Carrie Ann Plank:Carrie Ann Plank is a San Francisco based artist working in installation, printmaking, and painting. Focusing on layers of sophisticated geometry, Plank examines the space of intersecting patterns to describe new structures. The work utilizes mathematical equations to create multiple overlapping impressions that reveal additional distinct pattern formations. The resulting forms are space in between, the intercession, of concrete data.Carrie Ann's work is included in multiple collections including the Fine Art Archives of the Library of Congress, Fine Art Museums of San Francisco, Achenbach Foundation for Graphic Arts, the Guanlan Print Art Museum in China, Museum Meermanno in The Hague, Netherlands and Museo Nacional de Bellas Artes, Havana, Cuba. Residencies include Black Church Print in Dublin Ireland, KALA in Berkeley, CA, Konstnärernas Kollektiva Grafikverkstad in Malmö, Sweden, Local Language, Oakland, CA, Taller Experimental de Gráfica de La Habana in Havana, Cuba, the Íslensk Grafík in Reykjavik, Iceland, Edition/Basel in Basel, Switzerland, Mullowney Printing in San Francisco, CA, Haystack Mountain School of Craft in Deer Isle, ME, and Bullseye Glass in Emeryville, CA. Additionally, Plank has had a 20 year teaching career before devoting herself solely to her artist practice in 2018. Plank is active in the Bay Area arts community serving on boards and committees such as Root Division, California Society of Printmakers, and Art for AIDS. She is also a 2024 SECA nominee.Visit Carrie Ann's  Website:  CarrieAnnPlank.comFollow Carrie Ann on Instagram:  @CarrieAnnPlankLearn more about Carrie Ann's exhibit "Cacophony" at Jonathan Carver Moore - CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, we are replaying a conversation from December 2023, as our final drop of the year. It features Emily chatting with artist Rupi C. Tut, whose work focuses on capturing the stories of women like herself and her family. Rupy shares her journey from moving to the U.S. from India, studying pre-med at UCLA, to deciding to pursue art and successfully exhibiting her work in renowned museums, such as the De Young Open and the Institute of Contemporary Art in San Francisco. Rupy discusses her dedication to portraying everyday heroism, belonging, and cultural identity through her art, emphasizing the importance of representation and the significant influence of her background in her creative process. The episode also highlights her training in Pahati painting and her latest show, 'Out of Place,' reflecting on the broader impact of her work on diverse audiences.Rupy is a recent 2024 SECA Art Award recipient, and her work is currently being featured at the SFMOMA with other SECA Award winners. Art is Awesome will return on January 1st with brand new Episodes, featuring artists Carrie Ann Plank and Tricia Rainwater.About Artist Rupy C. Tut:Rupy C. Tut is a painter dissecting historical and contemporary displacement narratives around identity, belonging, and gender. As a descendant of refugees and a first generation immigrant, Rupy's family narrative of movement, loss, and resilience is foundational to her creative inquiries. Tut's artistic practice expands, innovates, and reframes the traditions of Indian miniature painting. She mixes her own pigments and turns to hemp paper and linen to contend and make visible one's place in the world. ​Rupy C. Tut lives and works in Oakland, California. Her work has been presented through exhibitions and talks at the de Young Museum, San Francisco; Asian Art Museum, San Francisco; London City Hall; Stanford University; The Peel Art Gallery and Museum Archives, Toronto; a solo exhibition Rupy C. Tut: A Recipe for Brown Skin at the Triton Museum of Art, Santa Clara; and a solo exhibition Rupy C. Tut: Search and Rescue at Jessica Silverman, San Francisco. Rupy C. Tut is represented by Jessica Silverman.Visit Rupy's Website: RupyCTut.comFollow Rupy on Social Media: @RupyCTutFor more on Rupy's SECA Art Award Exhibit at SFMOMA, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Ep.226 Edra Soto (b. 1971) is a Puerto Rican-born artist, educator, and co-director of outdoor project space The Franklin. Soto instigates meaningful, relevant, and often difficult conversations surrounding socioeconomic and cultural oppression, erasure of history, and loss of cultural knowledge. Soto has presented recent solo exhibitions at Comfort Station, Chicago, IL (2024); Hyde Park Art Center, Chicago, IL (2023); Institute of Contemporary Art, San Diego, CA (2023); Museum of Contemporary Art, Chicago, IL (2018); Headlands Center for the Arts, Sausalito, CA (2017); The Arts Club of Chicago, IL (2017). Her work has been featured in notable recent group exhibitions including Widening the Lens: Photography, Ecology, and the Contemporary Landscape, Carnegie Museum of Art, Pittsburgh, PA (2024); Entre Horizontes, Museum of Contemporary Art Chicago, IL (2023); no existe un mundo poshuracán, Whitney Museum of American Art, New York, NY (2022); and Estamos Bien, La Trienal 20/21, El Museo del Barrio, New York, NY (2021). She has been awarded the Joan Mitchell Foundation Painters & Sculptors Grant; Bemis Center's Ree Kaneko Award; the US LatinX Art Forum Fellowship; and MacArthur Foundation International Connections Fund. Soto has received numerous public commissions, for Noor Riyadh, Saudi Arabia (2024); Now & There, Central Wharf Park, Boston, MA (2023); the Chicago Architecture Biennial, IL (2023); and Millenium Park in Chicago, IL (2019). Her work is in the collection of institutions including the Whitney Museum of American Art, New York; Pérez Art Museum Miami and Museum of Contemporary Art of Chicago. Photo Courtesy of Public Art Fund ~ Liz Ligon Artist https://edrasoto.com/home.html Public Art Fund https://www.publicartfund.org/exhibitions/view/edra-soto-graft/ MSU Broad Art Museum https://broadmuseum.msu.edu/events/artist-talk-edra-soto/ por la señal | by a signal at Morgan Lehman Gallery https://www.morganlehmangallery.com/exhibitions/edra-soto4 Lazos Terrenales at ICA at MECA&D Maine https://meca.edu/ica/lazos-terrenales-earthly-bonds/ La Casa de Todos at Comfort Station https://comfortstationlogansquare.org/calendar/2024/6/1/la-casa-de-todos John Michael Kohler Arts Center https://www.jmkac.org/artist/soto-edra/ Carnegie Museum of Art https://carnegieart.org/art/hillman-photography-initiative/cycle-4-widening-the-lens/ US Latinx Art Forum https://uslaf.org/member/edra-soto/ Noor Riyadh https://riyadhart.sa/en/artists/edra-soto/?_program=noor-riyadh CAB5 https://chicagoarchitecturebiennial.org/people/edra-soto/ Ree Kaneko Award https://www.e-flux.com/announcements/511285/edra-soto-winner-of-2022-ree-kaneko-award/#:~:text=Established%20in%202019%20at%205%2C000,support%20of%20its%20alumni%20community. The Art Newsletter https://www.theartnewspaper.com/2024/09/05/edra-soto-this-kind-of-architecture-lives-in-the-background TimeOut https://www.timeout.com/newyork/news/this-new-outdoor-sculpture-in-central-park-honors-the-puerto-rican-community-090624 Hyperallergic https://hyperallergic.com/946566/new-three-year-arts-series-will-center-nyc-latine-community-clemente/ El Nuevo Dia https://www.elnuevodia.com/entretenimiento/cultura/notas/el-arte-de-una-boricua-transforma-el-central-park-de-nueva-york-con-su-obra-de-rejas/ Newcity Art https://art.newcity.com/2024/08/26/central-park-state-of-mind-edra-soto-puts-the-home-in-public-art/ Chicago Reader https://chicagoreader.com/arts-culture/art-feature/everybodys-home-edra-soto/ Forbes https://www.forbes.com/sites/shelbyknick/2023/12/14/the-brilliance-of-noor-riyadh-a-city-wide-canvas-comes-to-life-again/?sh=400c0e4a6a23 New York Times https://www.nytimes.com/2023/11/28/arts/design/chicago-architecture-biennial.html Chicago Tribune https://www.chicagotribune.com/2023/11/14/3arts-awards-50k-unrestricted-grants-to-local-teaching-artists-with-next-level-awards/ Artforum https://www.artforum.com/events/susan-snodgrass-edra-soto-513802/

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode Emily features Lorraine Woodruff-Long, a textile artist from San Francisco who turned to quilting after losing her job during the pandemic. Lorraine's work, rich in cultural heritage and social commentary, gained recognition when her piece was featured in the deYoung Open. She discusses her inspiration, including the iconic 'Quilts of Gee's Bend,' her use of text in quilts, and her focus on issues like gun violence and climate change. Lorraine's journey to becoming a quilter and her passion for teaching are also highlighted.  Lorraine also shares her thoughts on being an artist, influential works, and her favorite creative spot in San Francisco.About Artist Lorraine Woodruff-Long:Lorraine Woodruff-Long is a self-taught San Francisco quilter with a primary focus on color, improvisation, and recycled/repurposed fabrics. Raised in Houston, and educated at University of Texas/Austin, Lorraine served in Peace Corps Kenya and afterwards moved to California as a “bucket list” dream to temporarily experience living in a progressive urban city.  She fell in love with San Francisco and never left.  After a career in marketing and advertising, Lorraine later worked in the nonprofit sector while raising two city kids with her architect husband before spring boarding into a fiber art practice prompted by the pandemic.Lorraine's work has been juried into art exhibitions at the de Young Museum/San Francisco, the California Heritage Museum/Santa Monica, the Sanchez Art Center/Pacifica, Muzeo Museum & Cultural Center/Anaheim, TAG Gallery/Los Angeles the Drawing Room/San Francisco, and the San Francisco Women Artists Network Gallery.  She has received numerous awards for her quilts at local, national and international quilt shows. Quilt exhibitions include the International Quilt Festival/Houston, QuiltCon, the Pacific International Quilt Festival, Visions in Cloth, and Quilt San Francisco among others. Lorraine is a member of the Modern Quilt Guild, San Francisco Quilt Guild, Studio Art Quilt Associates (SAQA), East Bay Heritage Quilters, ArtSpanSF, Northern California Women's Caucus for Art, and a volunteer with the Social Justice Sewing Academy Remembrance Project. Her work is included in the 2021 book, “Stitching Stolen Lives: The Social Justice Sewing Academy Remembrance Project.”She currently teaches quilting at City College of San Francisco Extension and SCRAP-SF and teaches quilting workshops online and to guilds around the country.Visit Lorraine's  Website:  QuiltingInTheFog.comFollow Lorraine on Instagram:  @QuiltingInTheFogAnd for more on Lorraine's Exhibit at St Joseph's Arts Society, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

My guest today is photographer JF Bouchard. JF and I talk about his book, The New Cubans (powerHouse Books) and how he became aware of and how he approached photographing a lesser known subculture in Cuba that consists of younger Cubans who are non-conformist and more gender diverse. JF describes his goal towards collaborating in a way in which he is both working for himself but also, in a way, working for the people in his photographs by providing them with social media content during the rist of social media in Cuba. We also talk about how the people he was working with were also migrating away from Cuba during a large migrant crisis. https://www.jfbouchard.com - https://www.instagram.com/jfbouchard1/ - https://powerhousebooks.com/books/the-new-cubans/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Jean-François Bouchard has worked in lens-based visual art since 2003. He travels the world and seeks out people whose interests and lifestyles are out of the ordinary. He celebrates difference by focusing on marginalized, misunderstood, and often ostracized groups of people. Working at the intersection of documentary work and subjective cinematic conceptual storytelling, he aims to immerse viewers into the lives of his collaborators while sharing his own emotional journeys into these worlds. His practice blends photography, video installations, and occasionally found objects. His work has been exhibited in galleries, museums, and festivals in Canada, the United States, and France. His projects have been shown at Arsenal Contemporary Art in New York, Montreal, and Toronto. His works are featured in a book published by The Magenta Foundation. Artnet selected the In Guns We Trust exhibition as a “Must-see show in NYC,” while ArtForum selected his Exile from Babylon exhibition as an “Editor's Pick” in early 2023.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Troy Lamarr Chew II, a talented painter with an ongoing exhibition at San Francisco's Altman Siegel gallery. Troy pursued his passion for art, eventually studying at the California College of the Arts and receiving a prestigious residency at the Headlands Center for the Arts. His recent work explores invisibility,  inspired by his time as an Uber driver. His work can be seen in notable museums and galleries. Troy  discusses his artistic journey, influences, and unique approach to language and representation in his art.About Artist Troy Lamarr Chew II :Troy Lamarr Chew II explores the legacy of the African Diaspora and its reverberations throughout American culture. His work looks methodically at systems of coded communication and how this is translated and mistranslated both within the Diaspora and the mainstream.Chew's rich artistic visual language draws inspiration largely from Black culture and its history. A highly skilled realist, inspired by European painting techniques, Chew uses these art historical traditions to reframe their exclusion of Blackness. In his Out the Mud series, hand dyed and sewn cloths from West Africa are replicated in a trompe l'oeil fashion, their patterns “torn” away to reveal portrayals of contemporary Black culture and resistance. In another series, Slanguage, the artist paints Flemish style vanitas picturing everyday objects, coded in hip-hop lexicon. His Three Crowns series explores the social history of cosmetic dentistry and the use of grills in hip-hop culture. The artist's lush and luminous oil paintings embody the energy of this infinitely re-mixed yet deeply rooted genre.In 2020, Chew was awarded the prestigious Tournesol Residency at Headlands Center for the Arts after becoming a Graduate Fellow from California College of the Arts, San Francisco in 2018. Solo exhibitions include The Roof is on Fire, Altman Siegel, San Francisco, CA (2022), Yadadamean, CULT Aimee Friberg Exhibitions, San Francisco, CA (2020); Fuck the King's Horses and all the King's Men, Parker Gallery, Los Angeles, CA (2020); WWJZD, Cushion Works, San Francisco, CA (2019) and Stunt 101, Guerrero Gallery, San Francisco, CA (2019). Recent group exhibitions include Walk Against the Wind, Micki Meng and Parker Gallery, New York, NY (2023); The Culture: Hip Hop and Contemporary Art in the 21st Century, The Baltimore Museum of Art, Baltimore, MD (2023); Imperfect Paradise, Barbati Gallery, Venice, Italy (2023); Continuum, presented by the Kinsey African American Art & History Collection and Residency Art Gallery at Sofi Stadium, Inglewood, CA (2022-2023); I Yield My Time. Fuck You!, Altman Siegel, San Francisco (2020); California Winter, organized in collaboration with Hannah Hoffman at Kristina Kite Gallery, Los Angeles, CA (2019), Vanguard Revisited, San Francisco Art Institute, San Francisco, CA (2019), Graduation, Good Mother Gallery, Oakland, CA (2019) and Black Now(here), Museum of the African Diaspora, San Francisco, CA (2018). His work is included in the collections of the Kadist Foundation and the San Francisco Museum of Modern Art.See more of Troy's work at the Altman Siegel Gallery HERE.  Follow Troy on Instagram:  @troylamarrchewthesecondTroy at the Parker Gallery CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Note: I revisited a chat with the soothsayer A.M. Homes from 2022. Bestselling, award-winning author A.M. Homes, spoke to me about getting sued by J.D. Salinger, the irony of winning the Women's Prize for Fiction, and her latest "The Unfolding." A.M. Homes is a TV producer, art critic, and the author of 13 books, including the bestselling memoir The Mistress's Daughter. Her last novel, May We Be Forgiven, was the winner of the 2013 Women's Prize for Fiction. Her latest novel is The Unfolding, described as a "... darkly comedic alternative history that takes us into the heart of a fractured family living in a divided country." New York Times bestselling author Salman Rushdie called the book, “A terrific black comedy, written almost entirely in pitch-perfect dialogue, that feels terrifyingly close to the unfunny truth.” A.M. Homes was a Co-Executive Producer and Writer on David E. Kelly and Stephen King's, Mr. Mercedes, and a writer/producer of the Showtime series The L Word. Her work has been translated into 22 languages and appears frequently in Art Forum, Harpers, Granta, McSweeney's, The New Yorker, The New York Times, and Zoetrope. She is a Contributing Editor to Vanity Fair, Bomb and Blind Spot, and she has taught in the Creative Writing Program at Princeton. Stay calm and write on ... [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file A.M. Homes and I discussed: Her early struggles with dyslexia Why awards and votes of confidence are so important for writers How she helped hire Dennis Lehane to write for Mr. Mercedes  Her strange obsession with George Washington and her claim to Capitol Hill How to write your way out of a jam And a lot more! Show Notes: amhomesbooks.com The Unfolding: A Novel by A.M. Homes (Amazon) A.M. Homes on Facebook A.M. Homes on Twitter Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily features a conversation with writer and art historian Bridget Quinn. Bridget discusses her latest book 'Portrait of a Woman,' which delves into the life of Adelaide Le Béliard, a pioneering 18th-century artist. She shares her journey of discovering Adelaide's work, her challenges in a male-dominated Royal Academy, and her rivalry with Marie Antoinette's painter, Elisabeth Vigée Le Brun. The episode also includes an exploration of how art and letters were used to reconstruct Adelaide's story and a touching discussion of how Bridget's own experiences shaped her writing. This episode highlights essential themes of art, feminism, rivalry, and the force of Adelaide's will against significant odds.About Author Bridget Quinn:Bridget Quinn is author of the books She Votes: How U.S. Women Won Suffrage, and What Happened Next, an Amazon Editors' pick for Best History books 2020, and the award-winning Broad Strokes: 15 Women Who Made Art and Made History (in That Order), an Amazon pick for Best Art & Photography Books 2017 and a 2018 Amelia Bloomer List selection of recommended feminist literature from the American Library Association. Translated into four languages, in 2018 Broad Strokes was a national finalist for best art book of the year in Ukraine. NPR's Susan Stamberg calls it “a terrific essay collection” with “spunky attitudinal, SMART writing,” marking the second time “attitudinal” has been used about her work (first: Kirkus 1996). Her current book is Portrait of a Woman: Art, Rivalry & Revolution in the Life of Adélaïde Labille-Guiard, more than thirty years in the making.Raised on the high plains of Montana with six brothers, two sisters, a devout and sporty mother and a WWII Marine-turned-lawyer father, in a home surrounded by cows and nuclear missile silos, she's lived since in Norway, New York, Oregon and California. She's taught art history, history and writing for more than two decades; worked in museums and for galleries and private collections; worked at climbing gyms on both coasts, and was a researcher for the first several ESPN X Games, covering rock climbing, ice climbing, BMX freestyle and downhill mountain biking.A graduate of New York University's Institute of Fine Arts and a regular contributor to online arts magazine Hyperallergic, she's a nationally sought-after speaker on women and art. She is a contributing editor to On the Seawall, and the former co-host of The GrottoPod: Writers on Writing. An avid sports fan and Iron(wo)man triathlete, her Narrative magazine essay “At Swim, Two Girls” was included in The Best American Sports Writing 2013. She lives in the San Francisco Bay Area with her family, dogs, and hella bikes.Visit Bridget's  Website:  BridgetQuinnAuthor.comFollow  on Instagram:  @BQuinnterestLearn more about and purchase Portrait of a Woman - CLICK HERE--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, Emily features photographer Chloe Sherman, who shares her journey from Portland to San Francisco and her role in capturing the queer community of the 90s. Chloe's work, which portrays a time when the city's rents were affordable and its social spots thriving, has been exhibited internationally and highlighted in a well-received book. The episode also details how Chloe's daughter's social media efforts during the pandemic brought greater visibility to her art. The conversation delves into Chloe's inspirations, daily routines, and creative influences, with a mention of her show 'Renegades' at the Leica store in San Francisco. About Artist Chloe Sherman:Chloe Sherman (b. 1969, New York) is a San Francisco-based fine art photographer known for her vibrant portraits of queer life in San Francisco during the 1990s. As a vehement visual chronicler, Sherman captures an intimacy and vibrancy that brings a unique subculture to life, even decades later. Sherman received her degree in fine art photography from the San Francisco Art Institute in 1999, during which time she began documenting a generation of young self-identified Queers. The community became family, and she reveled in their collective creativity, support, pride, and their strident defiance of cultural norms. This was the catalyst for an entire body of work that would go on to be recognized and shown internationally. Sherman's photographs, all shot on 35mm film, offer a window into an era of defiance, freedom, resilience, and tenderness, shedding light on the energy of San Francisco at a time when it was brimming with possibility. Her images are a throughline, anchoring viewers to a moment in Queer history and immortalizing moments of gender experimentation and joy.Her work has been exhibited internationally, including at F³ Freiraum für Fotografie (Berlin), Schlomer Haus Gallery (San Francisco), Kunsthalle Nürnberg (Nuremberg), Leica San Francisco, and The Diego Rivera Gallery (San Francisco). She has been published extensively in Nothing But the Girl (ed. Susie Bright and Jill Posner; 1996), RESEARCH: Angry Women in Rock (Juno Books; 1996), Out In America (Viking Press; 1994), Rolling Stone Magazine, Interview Magazine, Deneuve, the Advocate, and the New Yorker. Sherman's work is a part of the permanent collections at The National Gallery of Art, SF MOMA, and those of private collectors. In 2023, Hatje Cantz Verlag published a monograph of her work, Renegades: San Francisco – 1990s. Visit  Chloe's Website:  ChloeShermanStudio.comFollow Chloe on Instagram:  @ChloeDShermanLearn more about her Renegades exhibit at Leica Store San Francisco, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com 

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with painter Amrita Singhal, known for her vibrant oil paintings and the Rama Prayer mural in Berkeley. Amrita discusses her background, growing up in a culturally rich city in India, and how her former career as a tax lawyer enriched her artistic practice. After leaving law due to health issues, Amrita pursued painting, finding her voice in oil paints. Her work often explores themes of spirituality, with influences from Giotto and Matisse, and she creates immersive virtual reality experiences based on spiritual practices. Amrita also shares her inspirations and favorite places in the Bay Area. About Artist Amrita Singal:Amrita Singhal is based in Berkeley, California. She had the good fortune to study drawing and art history with the brilliant and reclusive painter Louise Smith who was a contemporary of the Bay Area Abstract Expressionists (Diebenkorn, Park, Bischoff et al.) and a one time student of Hans Hoffman, Erle Loran and Margaret Peterson O'Hagan. Two of Amrita's paintings are in the permanent collection of the UC Berkeley Art Museum (BAM). She has painted a Berkeley Public Works Art mural for Meyer Sound and regularly exhibits her work in solo and juried group shows. Amrita is currently producing one of her painting series in virtual reality and as an immersive exhibit.Visit Amrita's  Website:  AmritaSinghal.comFollow  on Instagram:  @AmritaSinghalStudioCLICK HERE to check out the Rama Mural in Berkeley. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald, interviewed Paul Rainey. He serves as Executive Vice President of Operations and Finance for Penske Media Corporation (PMC). In this role, he works across PMC's portfolio of award-winning brands, including Rolling Stone, Billboard, Variety, The Hollywood Reporter, Vibe, Robb Report, SHE Media, Dick Clark Productions, Luminate, Sportico, and SXSW. Rainey oversees all operations and financial decision-making affecting the various operating companies that report to him. He provides strategic financial input companywide, including developing and implementing operational and financial procedures to improve and maintain the economic health of PMC and its leading media brands. He also guides acquisitions and investments.  Paul also serves on several boards.  He is the Audit Committee Chair of Redaptive, Inc. board of directors and a SXSW director.  An accomplished senior executive with 25 years of financial leadership experience across multiple verticals with extensive international experience in billion-dollar operations spanning five continents.   Rainey holds a Master of Science in Accountancy and a BBA in Finance and Computer Applications from the University of Notre Dame.   *Company DescriptionPenske Media Corporation (PMC) is a leading global media and information services company whose award-winning content attracts a passionate monthly audience of more than 350 million. Since 2004, PMC has been a pioneer in digital media and live events, reaching viewers on all screens across its ever-growing constellation of iconic brands, which includes Variety, Rolling Stone, The Hollywood Reporter, Billboard, Dick Clark Productions, WWD, SHE Media, Robb Report, Deadline, Sportico, BGR, ARTnews, Fairchild Media, Vibe, IndieWire, Artforum, Gold Derby and Luminate, the premier data and analytics company. PMC's journalists and content creators deliver daily the most comprehensive news and information in their industries and areas of coverage, unequaled in ambition, depth, and courage. In addition, PMC owns several of the most iconic and vital cultural events such as the Golden Globes, Country Music Awards (ACMs), Billboard Music Awards (BBMAs), New Year's Rockin Eve, SXSW, American Music Awards (AMAs), LA3C, Life is Beautiful, Latin Music Week, and ATX Television Festival. Penske Media is headquartered in New York and Los Angeles with additional offices in 14 countries worldwide, for more information, please visit www.PMC.com I have worked for some of the largest companies in the world (General Electric for 15+ years across 5 continents) and have been a board advisor to startups with a few employees that have gone on to obtain Fortune 100 companies as clients.  I have seen many paths and time horizons to financial stability and can share what I have observed in a few areas specifically in a time where people are struggling with remote work to return to offices turning the "work/life" balance and or priorities upside down. While they are also trying build wealth to gain financial security while they pursue professional careers: Talking Points1) Work life balance - How to navigate in today's environment2) Wealth building - What is reasonable time horizon (overnight?), How to think about generating passive income, keys to investing #BEST #STRAW #SHMSSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald, interviewed Paul Rainey. He serves as Executive Vice President of Operations and Finance for Penske Media Corporation (PMC). In this role, he works across PMC's portfolio of award-winning brands, including Rolling Stone, Billboard, Variety, The Hollywood Reporter, Vibe, Robb Report, SHE Media, Dick Clark Productions, Luminate, Sportico, and SXSW. Rainey oversees all operations and financial decision-making affecting the various operating companies that report to him. He provides strategic financial input companywide, including developing and implementing operational and financial procedures to improve and maintain the economic health of PMC and its leading media brands. He also guides acquisitions and investments.  Paul also serves on several boards.  He is the Audit Committee Chair of Redaptive, Inc. board of directors and a SXSW director.  An accomplished senior executive with 25 years of financial leadership experience across multiple verticals with extensive international experience in billion-dollar operations spanning five continents.   Rainey holds a Master of Science in Accountancy and a BBA in Finance and Computer Applications from the University of Notre Dame.   *Company DescriptionPenske Media Corporation (PMC) is a leading global media and information services company whose award-winning content attracts a passionate monthly audience of more than 350 million. Since 2004, PMC has been a pioneer in digital media and live events, reaching viewers on all screens across its ever-growing constellation of iconic brands, which includes Variety, Rolling Stone, The Hollywood Reporter, Billboard, Dick Clark Productions, WWD, SHE Media, Robb Report, Deadline, Sportico, BGR, ARTnews, Fairchild Media, Vibe, IndieWire, Artforum, Gold Derby and Luminate, the premier data and analytics company. PMC's journalists and content creators deliver daily the most comprehensive news and information in their industries and areas of coverage, unequaled in ambition, depth, and courage. In addition, PMC owns several of the most iconic and vital cultural events such as the Golden Globes, Country Music Awards (ACMs), Billboard Music Awards (BBMAs), New Year's Rockin Eve, SXSW, American Music Awards (AMAs), LA3C, Life is Beautiful, Latin Music Week, and ATX Television Festival. Penske Media is headquartered in New York and Los Angeles with additional offices in 14 countries worldwide, for more information, please visit www.PMC.com I have worked for some of the largest companies in the world (General Electric for 15+ years across 5 continents) and have been a board advisor to startups with a few employees that have gone on to obtain Fortune 100 companies as clients.  I have seen many paths and time horizons to financial stability and can share what I have observed in a few areas specifically in a time where people are struggling with remote work to return to offices turning the "work/life" balance and or priorities upside down. While they are also trying build wealth to gain financial security while they pursue professional careers: Talking Points1) Work life balance - How to navigate in today's environment2) Wealth building - What is reasonable time horizon (overnight?), How to think about generating passive income, keys to investing #BEST #STRAW #SHMSSee omnystudio.com/listener for privacy information.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald, interviewed Paul Rainey. He serves as Executive Vice President of Operations and Finance for Penske Media Corporation (PMC). In this role, he works across PMC's portfolio of award-winning brands, including Rolling Stone, Billboard, Variety, The Hollywood Reporter, Vibe, Robb Report, SHE Media, Dick Clark Productions, Luminate, Sportico, and SXSW. Rainey oversees all operations and financial decision-making affecting the various operating companies that report to him. He provides strategic financial input companywide, including developing and implementing operational and financial procedures to improve and maintain the economic health of PMC and its leading media brands. He also guides acquisitions and investments.  Paul also serves on several boards.  He is the Audit Committee Chair of Redaptive, Inc. board of directors and a SXSW director.  An accomplished senior executive with 25 years of financial leadership experience across multiple verticals with extensive international experience in billion-dollar operations spanning five continents.   Rainey holds a Master of Science in Accountancy and a BBA in Finance and Computer Applications from the University of Notre Dame.   *Company DescriptionPenske Media Corporation (PMC) is a leading global media and information services company whose award-winning content attracts a passionate monthly audience of more than 350 million. Since 2004, PMC has been a pioneer in digital media and live events, reaching viewers on all screens across its ever-growing constellation of iconic brands, which includes Variety, Rolling Stone, The Hollywood Reporter, Billboard, Dick Clark Productions, WWD, SHE Media, Robb Report, Deadline, Sportico, BGR, ARTnews, Fairchild Media, Vibe, IndieWire, Artforum, Gold Derby and Luminate, the premier data and analytics company. PMC's journalists and content creators deliver daily the most comprehensive news and information in their industries and areas of coverage, unequaled in ambition, depth, and courage. In addition, PMC owns several of the most iconic and vital cultural events such as the Golden Globes, Country Music Awards (ACMs), Billboard Music Awards (BBMAs), New Year's Rockin Eve, SXSW, American Music Awards (AMAs), LA3C, Life is Beautiful, Latin Music Week, and ATX Television Festival. Penske Media is headquartered in New York and Los Angeles with additional offices in 14 countries worldwide, for more information, please visit www.PMC.com I have worked for some of the largest companies in the world (General Electric for 15+ years across 5 continents) and have been a board advisor to startups with a few employees that have gone on to obtain Fortune 100 companies as clients.  I have seen many paths and time horizons to financial stability and can share what I have observed in a few areas specifically in a time where people are struggling with remote work to return to offices turning the "work/life" balance and or priorities upside down. While they are also trying build wealth to gain financial security while they pursue professional careers: Talking Points1) Work life balance - How to navigate in today's environment2) Wealth building - What is reasonable time horizon (overnight?), How to think about generating passive income, keys to investing #BEST #STRAW #SHMSSee omnystudio.com/listener for privacy information.

Books: Glimcher, Mildred, ed. Adventures in Art: 40 Years at Pace. Milan: Leonardo International, 2001. http://nevelson.org/adventures-in-art Goldwater, Robert. What is Modern Art? The Museum of Modern Art, New York, 1969. http://nevelson.org/what-is-modern-art Goodrich, Lloyd and John I.H. Baur. American Art of Our Century. New York: Frederick A. Praeger Publishing; Whitney Museum of American Art, 1961. http://nevelson.org/american-art-of-our-century Grosenick, Uta, ed. Women Artists: In the 20th and 21st Century. Cologne: Taschen, 2003, pp. 141, 142; 2005, pp. 232-237. http://nevelson.org/women-artists-20th-21st-century Guerrero, Pedro E. Pedro E. Guerrero: A Photographer's Journey. Princeton Architectural Press, New York, 2007. http://nevelson.org/photographers-journey Hammacher, A.M. The Evolution of Modern Sculpture. New York: Harry N. Abrams, Inc. http://nevelson.org/evolution-of-modern-sculpture Hammacher, A.M. Modern Sculpture: Tradition and Innovation. New York: Harry N. Abrams Inc., 1988. http://nevelson.org/modern-sculpture-tradition-innovation Hedlund, Ann Lane. Gloria F. Ross & Modern Tapestry. New Haven, CT: Yale University Press, 2010. http://nevelson.org/gloria-ross-modern-tapestry Hyman, Paula E. and Deborah Dash Moore, ed. Jewish Women in America: An Historical Encyclopedia, Volume II, M-Z. New York and London: Routledge, 1997. http://nevelson.org/jewish-women-in-america Janis, Harriet and Blesh, Rudi. Collage: Personalities, Concepts, Techniques. Philadelphia, Pennsylvania: Chilton Co., 1962. http://nevelson.org/collage-personalities-concepts-techniques Kramer, Hilton. Revenge of the Philistines: Art and Culture 1972 – 1984. Free Press, 1985. http://nevelson.org/revenge-of-the-philistines Lipman, Jean. Nevelson's World. Hudson Hills Press, NY, 1983. http://nevelson.org/nevelsons-world Lippincott, Jonathan D. Large Scale: Fabricating Sculpture in the 1960s and 1970s. Princeton Architectural Press, New York, NY, 2010. http://nevelson.org/large-scale-fabricating-sculpture Lisle, Laurie. Louise Nevelson: A Passionate Life. New York: Summit Books, 1990. http://nevelson.org/a-passionate-life MacKown, Diana. Dawns + Dusks. New York: Charles Scribner's Sons, 1976. http://nevelson.org/dawns-and-dusks Marshall, Richard. 50 New York Artists. Chronicle Books, 1986. http://nevelson.org/50-new-york-artists Matsumoto, Michiko. Portraits: Women Artists. Tokyo: Kawade Shobo Shinsha, 1995. http://nevelson.org/portraits-women-artists Miller, Dorothy C., ed. Sixteen Americans. New York: The Museum of Modern Art, 1959. http://nevelson.org/sixteen-americans Nevelson, Louise and Edith Sitwell. Nevelson: Façade—Twelve Original Serigraphs in Homage to Edith Sitwell. New York: The Pace Gallery and Harry N. Abrams, Inc., 1966. http://nevelson.org/facade Nevelson: Recent Wood Sculpture. New York: The Pace Gallery, 1969. http://nevelson.org/recent-wood-sculpture Bryan-Wilson, Julia. Louise Nevelson's Sculpture: Drag, Color, Join, Face. Yale University Press, 2023. https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Wilson, Laurie. Louise Nevelson: Light and Shadow. Thames & Hudson, 2016. http://thamesandhudson.com/books/louise-nevelson-light-and-shadow Articles and Essays: "Louise Nevelson Sculptures, Bio, Ideas." TheArtStory. https://www.theartstory.org/artist/nevelson-louise/ "A New Louise Nevelson Biography Picks Apart the Artist's Contradictions." Hyperallergic. https://hyperallergic.com/ "Louise Nevelson: Inventing Herself as a Modern Artist." MoMA. https://www.moma.org/magazine/articles/187 "Sculpture in the Expanded Field: Louise Nevelson." Art Journal. https://www.artjournal.com/sculpture-expanded-field-louise-nevelson/ "Louise Nevelson's Monumental Work." Smithsonian American Art Museum. https://americanart.si.edu/exhibitions/nevelson "Louise Nevelson's Public Art." Art in America. https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ "Louise Nevelson: Dark Light." The Guardian. https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture "The Essential Louise Nevelson." Sculpture Magazine. https://sculpturemagazine.art/the-essential-louise-nevelson/ "Louise Nevelson's Legacy." ArtForum. https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Wson: The Woman in Black." Tate. https://www.tate.org.uk/art/artists/louise-nevelson-1691Episode Notes Websties Louise Nevelson Foundation https://www.louisenevelsonfoundation.org Nevelson.org http://nevelson.org TheArtStory: Louise Nevelson https://www.theartstory.org/artist/nevelson-louise/ MoMA: Louise Nevelson https://www.moma.org/artists/4248 Smithsonian American Art Museum https://americanart.si.edu/artist/louise-nevelson-3541 Tate: Louise Nevelson https://www.tate.org.uk/art/artists/louise-nevelson-1691 Guggenheim: Louise Nevelson https://www.guggenheim.org/artwork/artist/louise-nevelson Whitney Museum of American Art https://whitney.org/artists/939 The Pace Gallery: Louise Nevelson https://www.pacegallery.com/artists/louise-nevelson/ The Guardian: Louise Nevelson https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture ArtForum: Louise Nevelson's Legacy https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Sculpture Magazine: The Essential Louise Nevelson https://sculpturemagazine.art/the-essential-louise-nevelson/ Hyperallergic: A New Louise Nevelson Biography https://hyperallergic.com/ Yale University Press: Louise Nevelson's Sculpture https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Art in America: Louise Nevelson's Public Art https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ The Great Women Artists Podcast https://podcasts.apple.com/us/podcast/the-great-women-artists/id1436644141 The Sculptor's Funeral: Louise Nevelson https://thesculptorsfuneral.com/podcast-episodes/louise-nevelson ArtUK: Louise Nevelson https://www.artuk.org/discover/stories/art-matters-podcast-louise-nevelson ArtNet: Louise Nevelson https://www.artnet.com/artists/louise-nevelson/ National Museum of Women in the Arts https://nmwa.org/art/artists/louise-nevelson/ 4o Find out more at https://three-minute-modernist.pinecast.co

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Sculptor & Fiberworks Center founder Gyöngy Laky...Ging shares her incredible journey from being a refugee from Hungary to becoming a pivotal figure in textile arts. She talks about her initial inspiration, work at Fiberworks Center, and a teaching stint at UC Davis. Ging also discusses how her experiences and background influenced her unique approach to textiles, incorporating natural materials and cultural anthropology insights. The episode concludes with Ging reflecting on her artistic milestones and the significant impact of the Bay Area's creative environment.About Artist Gyöngy Laky:Gyöngy Laky's sculptural forms are exhibited in museums and galleries throughout the United States.  Internationally, her work has been included in exhibitions in Canada, Denmark, Sweden, England, Holland, Spain, Germany, Hungary, Poland, Lithuania, Switzerland, France, Belgium, Italy, Columbia, Philippines, Japan and China. Laky has participated in the US Federal Art in Embassies Program in Bangkok, Thailand; NATO, Brussels, Belgium; and Poland. In addition to one-person exhibitions in the U.S., she has had solo exhibitions in England, Denmark, Hungary and Spain. She is also known for her outdoor site-specific installations which have occurred in the US, Canada, England, France, Austria, Bulgaria and Italy.A past recipient of a National Endowment for the Arts grant, Award of Distinction, 11th International Triennial of Tapestry, Central Museum of Textiles, Lodz, Poland; and Award for Artistic Excellence, Women in the Arts, The Women's Foundation, San Francisco, CA, Laky was also one of the first textile artists to be commissioned by the Federal Art-in-Architecture Program.   Her work is in many permanent collections including the San Francisco MOMA, The Smithsonian's Renwick Museum of American Art, the Philadelphia Museum of Art, the Oakland Museum, the Contemporary Museum in Honolulu and others (see “Collections”). In 2002-03, she was one of a team of three to develop a comprehensive Arts Master Plan for the new state-of-the-art, US Federal Food and Drug Administration campus being built in Maryland. In 2003, a book, “Portfolio Series: Gyöngy Laky,” was published by Telos Arts Publishing, UK, and the Bancroft Library at UC, Berkeley, released her oral history. Her personal papers are in the Smithsonian Institution‘s Archives of American Art, Washington, DC. Laky's art has appeared in numerous books, magazines and catalogs in the US and abroad. April 2008, the New York Times Magazine commissioned her to create titles for its environmental issue (the titles received an award from the Type Directors Club).Laky was born in Budapest, Hungary, in 1944 and emigrated to the United States as a small child.  She graduated from Carmel High School and completed undergraduate and graduate studies at the University of California, Berkeley (1967-1971). Postgraduate work followed with the UC Professional Studies Program in India.  Upon her return, she founded the internationally recognized Fiberworks, Center for the Textile Arts, in  Berkeley, with accredited undergraduate and graduate programs.  As of 2005, Laky is Professor Emeritus of UC, Davis, (chair, Dept of Art mid-1990s). She joined the faculty at UCD in 1978 and soon after initiated establishing the independent Department of Environmental Design. In the early 1990's she developed a graduate program.Visit Gyöngy's Website:  GyongyLaky.comFollow  on Instagram:  @Gyongy.LakyFor more about Fiberworks Center for Textile Arts, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

What an absolute pleasure it was to host Dr. Anna Bigelow and Ambika Sahay on Chaitime today! Click the link to enjoy our conversation about SALA 2024, a vibrant celebration of culture and creativity!

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Ep.213 SARAH LEWIS is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster), and the forthcoming book Vision & Justice (One World/Random House). Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over 3 million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Portrait Credit: Stu Rosner Sarah Lewis https://sarahelizabethlewis.com/ Vision and Justice https://visionandjustice.org/ The Unseen Truth The Unseen Truth — Harvard University Press New York Times Welcoming Underexposed Black Photographers Into the Canon - The New York Times (nytimes.com) The Harvard Crimson Curating a Counter Narrative: Sarah E. Lewis on Art, Vision & Justice | Arts | The Harvard Crimson (thecrimson.com) Hyperallergic Portrait Photography Through the Lens of Fredrick Douglass (hyperallergic.com) Boston Globe Frederick Douglass recognized the power of being photographed (bostonglobe.com) The Rise https://www.simonandschuster.com/books/The-Rise/Sarah-Lewis/9781451629248 Justice and Vision https://visionandjustice.org/the-unseen-truth Harvard University https://haa.fas.harvard.edu/people/sarah-lewis Democratic Knowledge Project https://www.democraticknowledgeproject.org/sarah-lewis/

RU310: EMMALEA RUSSO ON COSMIC RIGOR, PSYCHOANALYSIS, CREATIVITY & ASTROLOGY http://www.renderingunconscious.org/lacan/ru310-emmalea-russo-on-cosmic-rigor-psychoanalysis-creativity-astrology/ Rendering Unconscious episode 310. Emmalea Russo is a writer and astrologer. Her poetry and writings on film and visual art have appeared in many venues including Artforum, BOMB, Granta, Compact, and Los Angeles Review of Books. https://emmalearusso.com She is here to talk about her new novel Vivienne (2024): https://amzn.to/3ZxUutI A book of her poetry MAGENTA is available on her website: https://emmalearusso.com/magenta Follow her at Instagram: https://www.instagram.com/emmalea.russo/ Substack: https://emmalea.substack.com Check out her upcoming courses, as well as past courses on demand: https://emmalearusso.com/editing-teaching-copy Cosmic Rigor: Art, Poetry, and Astrology with Writer and Astrologer Emmalea Russo, Beginning October 1: https://www.morbidanatomy.org/classes/cosmic-rigor-on-art-and-astrology-with-artist-and-poet-emmeala?rq=emmalea%20russo SUPERNATURAL KNOWLEDGE: A SIMONE WEIL WEEKEND WORKSHOP December 28–29, 2024: https://emmalearusso.com/upcomingclasses PSYCHO-COSMOS monthly in 2025, beginning January 26: https://emmalearusso.com/psychocosmos Check out previous episodes: RU257: EMMALEA RUSSO & MARY WILD ON JIM MORRISON, CINEMA, POETRY, PSYCHOANALYSIS, PHILOSOPHY & CULTURE RU242: EMMALEA RUSSO ON THE ALCHEMY OF THE WORD RU received the 2023 Gradiva Award for Digital Media from the National Association for the Advancement of Psychoanalysis. https://naap.org/2023-gradiva-award-winners/ Support RU POD at: Substack: https://vanessa23carl.substack.com Make a Donation: https://www.paypal.com/donate/?business=PV3EVEFT95HGU&no_recurring=0¤cy_code=USD Or by joining Carl & I at Patreon where we post EXCLUSIVE CONTENT weekly https://www.patreon.com/vanessa23carl THANK YOU for your support! Rendering Unconscious Podcast is hosted by Dr. Vanessa Sinclair, a psychoanalyst based in Sweden, who works with people internationally: http://www.drvanessasinclair.net Rendering Unconscious is also a book series! The first two volumes are now available: Rendering Unconscious: Psychoanalytic Perspectives vols. 1 & 2 (Trapart Books, 2024). https://amzn.to/3TvHCAS Dr. Sinclair contributed a piece on “Freud and the Occult” to The Fenris Wolf 12 (Trapart Books, 2024) edited by Carl Abrahamsson. https://amzn.to/3XuryAb Follow Dr. Vanessa Sinclair on social media: Instagram: https://www.instagram.com/rawsin_/ TikTok: https://www.tiktok.com/@renderingunconscious Visit the main website: http://www.renderingunconscious.org Many thanks to Carl Abrahamsson, who created the intro and outro music for RU POD. https://www.carlabrahamsson.com https://www.bygge.trapart.net https://highbrowlowlife.bandcamp.com Follow him at: Twitter: https://twitter.com/CaAbrahamsson Instagram: https://www.instagram.com/carl.abrahamsson/ TikTok: https://www.tiktok.com/@carlabrahamsson YouTube: https://www.youtube.com/@carlabrahamsson23 Substack: https://thefenriswolf.substack.com/subscribe The song at the end of the episode is “Female Godstar” from the album Ready For Business by Vanessa Sinclair and Pete Murphy. Available at Pete Murphy's Bandcamp Page. https://petemurphy.bandcamp.com/ Image: classes available

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.

This conversation between Shana Moulton and e-flux Film curator Lukas Brašiškis was recorded live at e-flux following a screening on Thursday, April 4, 2024. Weaving feminist undertones with surrealist imagery and sound, Shana Moulton's work explores the nuances of the contemporary psyche. Her Whispering Pines series, in particular, delves into the intricacies of self-help culture, the quest for spiritual meaning, and the often comedic absurdity of personal wellness rituals. In her performances, videos, and installations, Moulton, through the experiences of her alter ego, Cynthia, writes a narrative that is both personal and universally resonant, probing the boundaries between the mundane and the mystical in the time of global digital capitalism. The screening featured a selection of Shana Moulton's works: Whispering Pines Zero (2002, 6 minutes, a collaboration with Jacob Ciocci), Whispering Pines 1 (2002, 2 minutes), Whispering Pines 2 (2003, 4 minutes), Whispering Pines 5 (2005, 6 minutes), Repetitive Stress Injuries (2008, 12 minutes), The Galactic Pot Healer (2010, 8 minutes), Every Angle is an Angel (2016, 6 minutes), and the film-opera Whispering Pines 10 (2018, 35 minutes, a collaboration with Nick Hallett).  Moulton has had solo exhibitions at international institutions including Palais De Tokyo in Paris, Yerba Buena Center for the Arts in San Francisco, Kunsthaus Glarus in Switzerland, the Museum of Fine Arts in St. Petersburg, and the Museum of Modern Art in New York. Her work has been featured in Artforum, the New York Times, Art in America, Flash Art, BOMB, and Frieze, among others. Her work has been featured on Art21 and her single-channel videos are distributed by Electronic Arts Intermix. An edited version of this conversation was published on e-flux Film Notes. Film Notes, launched in June, features conversations with artists and filmmakers, scripts, and experimental writing on the moving image.

Ep.212 Erika Ranee received her MFA in painting from the University of California, Berkeley. She is the recipient of a New York Foundation for the Arts (NYFA) Fellowship in Painting/1996 and 2021; an AIM Fellowship from the Bronx Museum and was granted artist residence at the Skowhegan School of Painting and Sculpture and a recipient of “Anonymous Was A Woman” grant in December 2023. She was awarded a studio grant from the Marie Walsh Sharpe Foundation in 2011. Her work has been featured throughout the New York/NYC region in group exhibitions at the Southampton Arts Center, at BRIC/Project Room and at Klaus von Nichtssagend Gallery. In 2019 she exhibited in her first international show at Wild Palms in Dusseldorf, Germany. An encore international group show took place in Paris at the Brigitte Mulholland Galerie, summer 2024. Other selected group shows include The Landing Gallery in Los Angeles, CA, Hollis Taggart Gallery in Southport, CT; the Milton Resnick & Pat Passlof Foundation, NYC and recently at Venus Over Manhattan, NYC. In summer 2024 her work was featured in a solo venture at the Moss Arts Center in Blacksburg, VA. She has been selected by guest co-curator, artist Jeffrey Gibson to participate in the upcoming 200th anniversary exhibition at the Brooklyn Museum, October /2024. Her work has been reviewed in the New York Times and Artforum. She is represented by Klaus von Nichtssagend Gallery and works in New York. Photo credit: Zachary Keeting Artist https://erikaranee.com/ Duck Creek Arts https://www.duckcreekarts.org/2024-erika-ranee | https://www.duckcreekarts.org/2024-group-show-ranee Anonymous Was A Woman https://www.anonymouswasawoman.org/2023 Cultured Magazine https://culturedmag.com/article/2024/07/22/hamptons-art-shows-exhibitions-guide-summer East Hampton Star https://www.easthamptonstar.com/arts/2024725/erika-ranee-shows-feelings-duck-creek 27East https://www.27east.com/events/all-the-things-curated-by-erika-ranee/ Venus Over Manhattan https://www.venusovermanhattan.com/exhibitions/celestial-songs Art Spiel https://artspiel.org/erika-ranee-feelings-at-duck-creek/ The Roanoker https://theroanoker.com/events/erika-ranee-how-are-things-on-my-end/ Klaus von Nichtssagend Gallery https://klausgallery.com/artist/erika-ranee/ Art Rabbit https://www.artrabbit.com/events/erika-ranee-all-natural Coursicle| NYU https://www.coursicle.com/nyu/professors/Erika+Ranee/

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Ceramic Sculptor Wanxin Zhang...Wanxin discusses his journey from studying art in China, his move to America, and the influence of prominent Bay Area artists on his work. He shares how artists like Robert Arneson and Viola Frey helped shift his perception of ceramics from craft to fine art. Wanxin's sculptures, which blend historical references with contemporary culture, are showcased in several prestigious museums and galleries. He recounts his early inspiration from his mother and the pivotal moment he decided to move to the U.S. Wanxin also talks about how changing his medium from metal to clay allowed him to express his identity and cultural heritage more profoundly.About Artist Wanxin Zhang:Wanxin Zhang was born and educated in China. He graduated from the prestigious LuXun Academy of Fine Art in Sculpture in 1985. In 1992, after Zhang established his art career as a sculptor in China, he relocated to San Francisco with his family and received his Master in Fine Arts from the Academy of Art University. Zhang had been on the faculty of the Academy of Art University, Department of Art Practice at University of California, Berkeley and California College of The Art in Oakland, and the San Francisco Art Institute. Zhang's sculptures represent a marriage between historical references and a contemporary cultural context; they carry messages of social and political commentary. His work is deeply influenced by the Bay Area figurative movement and artists such at Peter Voulkos and Stephen De Staebler. As a studio sculptor and educator, Zhang was the first place recipient of the Virginia A. Groot Foundation Grant in 2006 and the Joan Mitchell Grant in 2004. His sculptures have been shown in San Francisco,  Santa Fe, Miami, Seattle, Palm Desert and New York City. In 2007, his pieces were part of the 22nd UBE Sculpture Biennial in Japan; in 2008, his sculpture was selected by the Taipei Ceramics Biennial in Taiwan; and in 2013, he was part of the Da Tong's 2nd International Sculpture Biennial in China. Zhang had his first solo art museum show at the University of Wyoming Art Museum in 2006, with solo museum exhibitions following at the Arizona State University Art Museum, Boise Art Museum in Idaho, Fresno Art Museum in California, The Alden B. Dow Museum of Science & Art in Michigan, Bellevue Arts Museum in Washington, and Holter Museum of Art in Montana. His works have been selected to be included in Confrontational Ceramics by Judith Schwartz, and can be found in major art magazines such as "Art News," "Art in America," "Sculpture," and "American Ceramics." Zhang has many public collections, and his private collectors are located both nationally and internationally. In 2012, the San Francisco Chronicle picked Zhang's exhibition at the Richmond Art Center to be one of the Top 10 Exhibitions in the San Francisco Bay Area.Visit Wanxin's Website:  WanxinZhang.comFollow Wanxin on Instagram:  @WxZhang25For more about M is for Water at the di Rosa Center for Contemporary Art in Napa, CLICK HERE. For more about the Spirit House exhibition at Stanford University, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, we're taking an end of Summer break and revisitng a 2022 interview with Oakland painter Esteban Samayoa. Esteban shares his artistic journey starting from childhood, his growth in Oakland, and his diverse body of work. The discussion covers exhibitions featuring outdoor charcoal drawings, vibrant color paintings reflecting his Mexican and Guatemalan heritage, and installations exploring his recent conversion to Islam. Esteban emphasizes breaking barriers for artists of color, portraying community life, and highlighting the beauty of family and friends in his art. Emily also mentions the upcoming episodes and exhibitions featuring various artists.About Artist Esteban Samayoa:Esteban Raheem Abdul Raheem Samayoa grew up in Sacramento and started drawing when he was three years old. His only formal art class was at Sacramento City College, where a teacher showed him how to use charcoal, which became his favorite medium. A few years ago, to push himself, Esteban moved to Oakland. One gallery offered him a show, then another, and now he has a solo show at Pt 2 gallery, Ain't No Dogs in Heaven. Visit Esteban's Work and Pt.2 Gallery by CLICKING HERE. Follow Esteban on Instagram: @wulffvnkyFollow Pt.2 Gallery on Instagram: @pt.2gallery--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

“While some might argue that collaboration with fascists, TERFs, and racist edgelords does not constitute endorsement of violent and anti-liberation views, we disagree. There can be no innocent collaboration with such people.” That was the official statement from Hiding Press, the small, independent poetry press that was set to publish writer Emmalea Russo's fourth book of poetry. But when word got out that she had been “collaborating” with the wrong people, they canceled the book.  By collaborations, they meant writing for certain journals and appearing as a guest on certain podcasts. By alt-right or fascist-adjacent they were talking about magazines like Compact, a publication that, according to its mission statement, “seeks a new political center devoted to the common good.” In this conversation, Emmalea talks about the “chain of contamination” that causes panic and public disassociation with anyone even remotely associated with someone designated as “bad.” She also discusses her forthcoming novel, Vivienne, which is about a septuagenarian artist who's canceled online over rumor and innuendo. GUEST BIO Emmalea Russo is a writer and astrologer. Her books of poetry are G, Wave Archive, Confetti, and Magenta. Recent work has appeared in Artforum, BOMB, Spike Art Magazine, and Los Angeles Review of Books. Her first novel, Vivienne, is forthcoming in September. Read her piece in Compact Magazine, Purity Policing Is Poison To Poetry. Want to hear the whole conversation? Upgrade your subscription here. HOUSEKEEPING ✈️ 2024 Unspeakeasy Retreats — See where we'll be in 2024! https://bit.ly/3Qnk92n