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3 episodes with arts fellowships
4 episodes with arts fellowships
2 episodes with arts fellowships
2 episodes with arts fellowships
2 episodes with arts fellowships
Maribeth Fischer is the founder and executive director of the Rehoboth Beach Writers Guild. She has received three Delaware Division of the Arts Fellowships and two Pushcart Prizes for her essays. Her two previous books, The Language of Good-bye and The Life You Longed For, have been sold in six foreign countries. She holds an MFA in creative writing from Virginia Commonwealth University. Her latest novel is A Season of Perfect Happiness.
Enjoy this stained glass panel discussion with top industry professionals and educators Judith Schaechter, Stephen Hartley, Megan McElfresh, and Amy Valuck. Topics addressed include: what is needed in stained glass education; how the massive number of Instagrammers making suncatchers and trinkets affect stained glass; how to promote stained glass in a gallery setting; and how to stay relevant as stained glass artists. The panelists: By single-handedly revolutionizing the craft of stained glass through her unique aesthetic and inventive approach to materials, Judith Schaechter championed her medium into the world of fine art. The content of her work – some of which gives voice to those who experience pain, grief, despair, and hopelessness – resonates with viewers, leaving a profound and lasting impression. Schaechter has lived and worked in Philadelphia since graduating in 1983 with a BFA from the Rhode Island School of Design Glass Program. She has exhibited her glass art widely, including in New York, Los Angeles and Philadelphia, The Hague and Vaxjo, Sweden. She is the recipient of many grants, including the Guggenheim Fellowship, two National Endowment for the Arts Fellowships in Crafts, The Louis Comfort Tiffany Award, The Joan Mitchell Award, two Pennsylvania Council on the Arts awards, The Pew Fellowship in the Arts and a Leeway Foundation grant. Her work is in the collection of the Metropolitan Museum in New York, the Victoria and Albert Museum in London, the Hermitage in Russia, the Philadelphia Museum of Art, The Corning Museum of Glass, The Renwick Gallery of the Smithsonian Institution and numerous other public and private collections. Schaechter's work was included in the 2002 Whitney Biennial, a collateral exhibition of the Venice Biennale in 2012, and she is a 2008 USA Artists Rockefeller Fellow. In 2013 the artist was inducted to the American Craft Council College of Fellows. The Glass Art Society presented Schaechter with a Lifetime Achievement award in 2023, and this year she will receive the Smithsonian Visionary Award. Schaechter has taught workshops at numerous venues, including the Pilchuck Glass School in Seattle, the Penland School of Crafts, Toyama Institute of Glass (Toyama, Japan), Australia National University in Canberra, Australia. She has taught courses at Rhode Island School of Design, the Pennsylvania Academy, and the New York Academy of Art. She is ranked as an Adjunct Professor at The University of the Arts and Tyler School of Art Glass Program, both in Philly . Born in Philadelphia, Stephen Hartley began his craft career working on a variety of historic buildings and monuments throughout the region. In 1999, he moved to South Carolina to attend Coastal Carolina University, where he earned his undergraduate degree in History. He then relocated to Savannah, Georgia, and continued to work in the traditional crafts and conservation fields while attending graduate school. After completing his MFA in Historic Preservation at the Savannah College of Art and Design, Hartley was employed as an instructor at various colleges within the Savannah area. He earned his PhD from the University of York in 2018 where his dissertation thesis studied the historical and modern frameworks of trades training in the US and the UK. Hartley eventually returned to the Philadelphia area and accepted the position of Head of Building Arts at Bryn Athyn College, where he formulated the first Bachelor's of Fine Arts (BFA) in traditional building within the United States. Hartley, currently an associate professor in Notre Dame's School of Architecture, wants his students to have a deeper appreciation for the work craftspeople do to fulfill an architect's vision—by learning the vocabulary of the trades, understanding their history, and, when possible, trying out the tools. Executive Director of the Stained Glass Association of America (SGAA), Megan McElfresh has dedicated her professional life to community service and the art and science of stained glass. With a background in fine arts and operations management, she joined the Association as a professional member in 2015 and became the Executive Director in the fall of 2017. Growing up in small stained glass studios, McElfresh continued to build on her technical skills in the medium by seeking mentorship opportunities throughout college. Some of the highlights of her glass studies were traveling to Pilchuck Glass School and time spent at the nationally recognized kiln forming resource center, Vitrum Studio. Prior to working with the SGAA, McElfresh worked in a variety of roles from operations management at a life sciences firm in Washington, D.C. to IT and web support for small non-profit art organizations. In 2011, McElfresh moved from Northern Virginia to Buffalo, New York, and founded her studio, McElf GlassWorks. With a passion for her professional career as well as her new community, she never turned down an opportunity to collaborate with neighborhood teens and local programs to provide enthusiastic and creative educational enrichment. In her personal work, McElfresh uses her artwork in the advocacy of issues she became passionate about during her time working at a forensics laboratory concerning subjects like domestic violence and rape, and DNA backlogs. Her studio work has been featured in the Stained Glass Quarterly, Design NY, The Buffalo News, and Buffalo Rising. Find out more about the SGAA's 2024 conference here: Conference 2024: Sand to Sash | The Stained Glass Association of America Amy Valuck is a stained glass artist and conservator based in Southeastern Pennsylvania, and the current president of the American Glass Guild. She began her apprenticeship in 1998 at The Art of Glass in Media, PA, and in 2014 went on to establish her own studio, Amy Valuck Glass Art, now located in West Chester, PA. Her studio's primary work is the restoration and conservation of historical windows from churches, universities, and private residences. As a conservator she specializes in complex lead work, plated windows, and replication painting. Valuck also maintains a personal art practice, producing autonomous stained glass panels for private commissions and public exhibition, including the AGG's American Glass Now annual exhibit. Her personal work is heavily influenced by the fabrication and painting techniques of historical windows but frequently includes experimental fused glass elements. Valuck is a graduate of the Rhode Island School of Design, who earned her BFA degree in jewelry and light metals. Her work in jewelry earned awards including the first annual Cartier Prize, and the MJSA (Manufacturing Jewelers and Silversmiths' Association) Award. She has served on the board of directors of the American Glass Guild since 2017 and has participated as a lecturer and instructor at several of the AGG's annual conferences. Registration is now open for the 2024 Grand Rapids conference, July 9 – 14. Find out more about the AGG's 2024 conference here: https://www.americanglassguild.org/events/agg-2024-conference-grand-rapids-mi For further exploration of panel discussion topics: The Campaign for Historic Trades Releases First-of-its-Kind Labor Study on the Status of Historic Trades in America – The Campaign for Historic Trades
In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Jim Goldberg discuss his new book, Coming and Going, published by MACK, which is a very personal story but also a book about storytelling itself. Jim talks about his lifelong interest in social justice and Sasha and Jim connect Jim's work to both Jazz and Punk music. Sasha also announces the first ever participants in the PhotoWork Foundation Fellowship. https://jimgoldberg.com/ https://www.mackbooks.us/collections/frontpage/products/coming-and-going-br-jim-goldberg Jim Goldberg's innovative and multidisciplinary approach to documentary makes him a landmark photographer and social practitioner of our times. His work often examines the lives of neglected, ignored, or otherwise outside-the-mainstream populations through long-term, in depth collaborations which investigate the nature of American myths about class, power, and happiness. A prolific and influential bookmaker, Goldberg's recent books include Ruby Every Fall, Nazraeli Press (2014); The Last Son, Super Labo (2016); Raised By Wolves Bootleg (2016), Candy, Yale University Press (2017), Darrell & Patricia, Pier 24 Photography (2018) and Gene (2018). Goldberg has exhibited widely, including shows at the Museum of Modern Art, New York; SFMOMA; the Museum of Fine Arts, Boston; the Corcoran Gallery of Art; the Los Angeles County Museum of Art; and the Yale University Art Gallery. His work is also regularly featured in group exhibitions around the world. Public collections including MoMA, SFMOMA, the Whitney Museum of American Art, the Getty, the National Gallery, LACMA, MFA Boston, The High Museum, Nelson-Atkins Museum of Art, Library of Congress, MFA Houston, National Museum of American Art, and the Art Institute of Chicago. Goldberg has received three National Endowment of the Arts Fellowships in Photography, a Guggenheim Fellowship, the Henri Cartier-Bresson Award, and the Deutsche Börse Photography Prize, among many other honors and grants. Goldberg is Professor Emeritus at the California College of the Arts. He is represented by Casemore Kirkeby Gallery in San Francisco. Goldberg joined Magnum Photos in 2002. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com
Bob Hicok's tenth collection, Water Look Away, was published by Copper Canyon Press this year. A two-time finalist for the National Book Critics Circle Award and recipient of the Bobbitt Prize from the Library of Congress, he's also been awarded a Guggenheim Fellowship, two National Endowment for the Arts Fellowships, and eight Pushcart Prizes, and his poems have been selected for inclusion in nine volumes of The Best American Poetry. He teaches at Virginia Tech. Find Bob's most recent book here: https://www.coppercanyonpress.org/books/water-look-away/ Review the Rattlecast on iTunes! https://podcasts.apple.com/us/podcast/rattle-poetry/id1477377214 As always, we'll also include the live Prompt Lines for responses to our weekly prompt. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a poem that addresses a pain from childhood, and use a refrain. Next Week's Prompt: Write a poem that begins with an idiomatic expression that you take literally or incorrectly, and see where it goes. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.
The queens talk bad words and get Sharon Stoned with Lynn Emanuel in part 2 of the interview.Support Breaking Form!Review the show on Apple Podcasts here.Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. Publisher's Weekly calls the book "visceral, tender, and compassionate." James's ROMANTIC COMEDY is available from Four Way Books. Writing in Lit Hub, Rebecca Morgan Frank says the poems have "a gift for telling stories . . . in acts of queer survival." Please consider buying your books, including Lynn Emanuel's new one, from Bluestockings Cooperative, a feminist and queer indie bookselling cooperative.Lynn Emanuel is the author of six books of poetry: Hotel Fiesta, The Dig, Then, Suddenly—, Noose and Hook, The Nerve of It: New and Selected Poems, and most recently Transcript of the Disappearance, Exact and Diminishing. She is Profosser Emerita of English at the University of Pittsburgh.Her work has been featured many times in the Pushcart Prize Anthology and Best American Poetry and is included in The Oxford Book of American Poetry. She has been a poetry editor for the Pushcart Prize Anthology, a member of the Literature Panel for the National Endowment for the Arts, and a judge for the National Book Awards.She has been the recipient of numerous awards including the Eric Matthieu King Award from The Academy of American Poets, two National Endowment for the Arts Fellowships, a fellowship from the Ranieri Foundation and the National Poetry Series.Read Lynn's poem “Homage to Sharon Stone." Sharon Stone is a Pisces (March 10), which is also Lynn's sign (Mar. 14).Deborah Bogen's essay “Emanuel's Elegies” can be found in Plume here. Check out Bogen's website here: https://www.deborahbogen.netSharon Olds's baseball poem is collected in This Sporting Life: Contemporary American Poems About Sports and Games, published by Milkweed in 1987.The Writer's Almanac asked Sharon Olds to give some advice to young poets, and she said: "Take your vitamins. Exercise. Just work to love yourself as much as you can — not more than the people around you but not so much less." More of the interview can be found here.Watch Lynn talk about some of her favorite/influential poets here.
The ladies pop a poetry pill with guest Lynn Emanuel in part one of the interview.Support Breaking Form!Review the show on Apple Podcasts here. Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. Publisher's Weekly calls the book "visceral, tender, and compassionate. James's ROMANTIC COMEDY is available from Four Way Books. Writing in Lit Hub, Rebecca Morgan Frank says the poems have "a gift for telling stories . . . in acts of queer survival." Please consider buying your books from Bluestockings Cooperative, a feminist and queer indie bookselling cooperative.Lynn Emanuel is the author of six books of poetry: Hotel Fiesta, The Dig, Then, Suddenly—, Noose and Hook, The Nerve of It: New and Selected Poems, and most recently Transcript of the Disappearance, Exact and Diminishing. She is Profosser Emerita of English at the University of Pittsburgh. Her work has been featured many times in the Pushcart Prize Anthology and Best American Poetry and is included in The Oxford Book of American Poetry. She has been a poetry editor for the Pushcart Prize Anthology, a member of the Literature Panel for the National Endowment for the Arts, and a judge for the National Book Awards. She has been, as well, the recipient of numerous awards including the Eric Matthieu King Award from The Academy of American Poets, two National Endowment for the Arts Fellowships, a fellowship from the Ranieri Foundation and the National Poetry Series. When Fernando Pessoa died in 1935, he left a huge body of work under his own name and under the name of other poets--men he not only invented but provided with separate and distinct personalities, personal histories and biographies, religious beliefs, political points of view, and aesthetic styles. There were three major heteronyms: Alberto Cairo, Alvaro de Campos, and Ricardo Reis. Pessoa explained: “Pseudonymous works are by the author in his own person, except in the name he signs; heteronymous works are by the author outside his own person. They proceed from a full-fledged individual created by him, like the lines spoken by a character in a drama he might write.” For more about Pessoa and his heteronyms, read this fabulous essay in Lit Hub or watch this 30-min BBC Radio 3 profile of the author here. Read this interview with Lynn conducted by Mathias Svalina in Blackbird.Watch Lynn Emanuel read with Lucia LoTempio and Lauren Russell for the Hudson Valley Writers' Center (90 min).
Emmet Gowin is a renowned photographer whose work has evolved from intimate portraits of his wife Edith Morris and extended Virginia family to aerial vistas of nuclear test sites, to scientific surveys of tropical ecosystems and their dependent biodiversity. Emmet also served on the faculty of Princeton University as a professor of photography in the Visual Arts Program from 1973 until his retirement in 2009, and is the recipient of a Guggenheim Fellowship (1974) and two National Endowment for the Arts Fellowships (1977, 1979). Full show notes at www.northstarunplugged.com
Marylee Hardenbergh has created over 50 outdoor site-specific dances at such sites as Sarajevo, the city of Acre on the Mediterranean, the Aerial High Lift Bridge in Duluth, the Housatonic and Anacostia Rivers, and a 7-site simultaneous performance the length of the Mississippi River. Her first outdoor site dance, Solstice Falls on Friday, was on the yellow mooring cells in the Mississippi River in downtown Minneapolis in 1985, where nine mooring cells each held one dancer, with the music played over the radio so that all dancers and audience members could hear the same beat at the exact same moment. The audience brought portable radios and became the sound system. Hardenbergh's performances on the Mississippi River became the springboard for the Global Water Dances, of which she was the Artistic Director for many years. She was also an Artist-in-Residence at the Center for Global Environmental Education at Hamline University in Minnesota. Currently, she is the Artistic Director of Global Site Performance and has received numerous fellowships for dance including a Fulbright Fellowship, a National Endowment for the Arts Fellowships, and various other awards and commissions. Website: GlobalSitePerformance.org
In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. 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 this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory
In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology
In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology
In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics
In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our ‘digital age' is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth: Beyond the Digital Age to a Post-Capitalist World (Verso, 2022) surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life. Dr. Jonathan Crary is the Meyer Schapiro Professor of Modern Art and Theory at Columbia University in the Art history and Archeology Department. He is a prolific art and culture critic and is the co-founder (and co-editor) of Zone Books. Professor Crary has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts Fellowships and has been a member of the Institute for Advanced Study in Princeton. In 2005, his teaching and mentoring were recognized with a Distinguished Columbia Faculty Award. Dr. Crary is also the author of Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Suspensions of Perception: Attention, Spectacle and Modern Culture (winner of the 2001 Lionel Trilling Book Award), and 24/7 (a finalist for the 2016 Terzani International Literary Prize). Cody Skahan (cskahan@ksu.edu) is an anthropologist by training, starting an MA program in Anthropology at the University of Iceland in August 2022 as a Leifur Eriksson Fellow. His work focuses on the intersections of queerness, environmentalisms, and tourism in Iceland. Cody has a blog here where he sometimes writes about Games User Research and will totally, 100% in the future post the podcast and other projects he is working on. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology
Charles North has published twelve books of poems, three books of critical prose, and collaborations with artists and other poets. With James Schuyler, he edited the poet/painter anthologies Broadway and Broadway 2. His New and Selected Poems What It Is Like (2011) headed NPR's Best Poetry Books of the Year, and he has received a Foundation for Contemporary Arts Grant, two National Endowment for the Arts Fellowships, four Fund for Poetry Awards, and a Poets Foundation Award. He lives with his wife, the painter Paula North, in New York City.
What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/ Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Interview with Jonathan Wahl 4/3/22 Sharon: Welcome to the Jewelry Journey Podcast. Today, my guest is Jonathan Wahl, Director of the Jewelry Center at the 92nd Street Y in New York. Jonathan was recently on the podcast, but we had to rush through the description of the many jewelry programs that are going on at the Y. So, I asked him back to tell us about the programs in more detail. Many of them are online and are recorded, so it doesn't matter where you are in the world. Jonathan, nice to see you again. Jonathan: Nice to see you, Sharon. Thanks for having me back. Sharon: You ran through it very quickly at the end because I didn't realize how much you had to say basically. So, tell us first about your interviews you have with sculptors and jewelers. Tell us about those. Are there any upcoming? Who are the next ones? Give us-- Jonathan: Sure, so the lecture series came out of the pandemic obviously. I think I've done about 25 or 30 lectures or interviews so far. The most recent series was a series of three talks about female sculptors who are jewelers or jewelers who are sculptors. As you could tell from our last conversation, I'm really interested in this line be-tween the fields of art, particularly between jewelry and sculpture or fine art and decorative art. So, I was really curious to talk to these three in particular New Yorkers who practice in both fields and it was Joe Platner who is a longtime jeweler in New York City, Michelle Okeldoner(?) whose work was primarily sculpture and also does jewelry and Anna Corey whose work also started in sculpture, but now is primarily a jeweler. So, it was really fascinating to talk to these women artists about how they practice and what inspires them in their practice. Sharon: And do you have series upcoming more in the spring or summer? Jonathan: Yup, I'm working on a series about enamel. Enameling seems to be having a re-surgence in our department and I think in jewelry in general, we're seeing a lot more enamel and a lot more color in metals. So, it will be with a contemporary artist, a historical collection and a contemporary fine jeweler. Sharon: It sounds very interesting and enamel, at least in the view I see now, is becoming much more popular. Jonathan: Yeah, yeah, I'm not exactly sure why. I'm really curious. I think maybe it's happy; it's colorful; it's as close to painting, I guess, as you can get in jewelry in a way. Sharon: It's such a skill if you do it right. It's an artistry. Jewelry is an art, but it's such an artistry within the art in a sense. Jonathan: Absolutely, you can, as we say, shake and bake and get color on metal pretty easily. So, you can get pretty direct results and get color on your metal pretty simply. Of course, to be an expert enamellist, to practice grisaille or cloisonne or brioche, you need to become master craftsman. So, there's a lot to dig into. Sharon: So, do we need to keep our eyes on the spring session, the summer session or when? Jonathan: It's going to be the summer session. I think it's going to take place in June. Sharon: O.K., I look forward to it. Jonathan: I'm not sure of the dates, but it's coming and you'll see it. Most of the talks so far are on our archives at 92Y.org in the jewelry center page. Sharon: Yeah, I know there are some that I'd really like to go look at that I missed. Jonathan: The previous three were with three Brazilian jewelers. Sharon: Now, you just had an interview with—I don't know how to say her last name—but she was talking about a Brazilian jeweler, Roberto Burle Marks. Jonathan: Uhum, correct. Sharon: But that was separate. Jonathan: It was part of the Brazilian series because Roberto Burle Marks was a Brazilian. Sharon: But it wasn't part of the Sculpture and Artist Series; it was a different series. Jonathan: Correct, right, they were three and three. Sharon: There's a lot going on. So, tell us about this jewelry residency. I was just looking at your Instagram and the ads for it. So, tell us about it. Jonathan: The Jewelry Residency Program, it would be its fifth year, but we took two years off because of the pandemic. The Jewelry Residence Program is something that I've always dreamed of doing and I'm so happy that it's back on. What it provides is a studio apartment here in our facility, 24-hour access to one of our studios and air-fare to and from New York City from anywhere in the world. Sharon: Are people applying now? When does it start? Jonathan: Yes, the applications are open until April 15. We extended the deadline. Sharon: Does it start in September-- Jonathan: Sorry, it's August 18-September 19, if I'm not mistaken. That's the residency program. Sharon: And you get applications from all over the world or what? Jonathan: We had applications from fifty countries in 2019. I would love to have applications from farther afield. Most of them come from western Europe. We're still trying to figure out how we reach populations in Asia or sub-Saharan Africa or Africa in gen-eral or even more in South America. It's been kind of hard to get to some of those areas. I'm working on a trip to Korea which you know about, so I sent it to all the artists that we're going to visit in Korea. So, I hope we get some applications from Korea and I also just was in contact with an artist who's a Ukrainian jeweler and she has started on Facebook to try and raise money and funds and help Ukrainian jewel-ers who've been displaced, so of course I've shared that residency with her and the opportunity. We would love to support a Ukrainian jeweler and have them here in New York City for a month, particularly if they're not in a studio, but I'm also looking forward to seeing how we can support a Ukrainian jeweler in general if they are here in New York City. Sharon: And so it doesn't matter, a male, female, anybody in between. Jonathan: It doesn't matter and it is open to Americans. It is an international jewelry resi-dency, but you are welcome to apply as an American. The reason for the residency is, as I mentioned, to expand New York City's access to jewelers who don't maybe normally get here and the type of work that isn't often shown in New York City, but it's also for an artist who might not normally be able to come to New York City to come to New York City, but it's also about why an artist needs to be in New York, what would New York City do for them and that could be for a whole host of reasons and there is a jury panel that I assemble every year that helps me decide who that next person should be. Sharon: Wow! That sounds pretty competitive, but it's sounds really worthwhile. Jonathan: Well, there's only one spot. Sharon, with funding, we could expand that. So again, if anyone wants to help support a residence. The residency program, I'm completely open to a conversation. Sharon: Well, I will suggest that people get in touch with you, O.K., or at least send the checks. O.K., so tell us about the travel program to Korea. Jonathan: I do a trip every other year to somewhere in the world and we have gone to Israel, Italy, Austria, the Czech Republic, India, Japan and this year hopefully to Korea. Sharon: Wow! That really sounds fabulous. Jonathan: Yeah, the trips are centered around historical collections and contemporary jewelers and if you're not familiar with the Korean jewelry scene, it's really vibrant and really robust. It has its roots in Europe and the United States as well as with Korean tradi-tion. So, I'm really excited to meet these artists who blend a lot of techniques and traditions and they're doing some really extraordinary work. Sharon: Well, the Korean artists who have exhibited at the international shows have really been creative and really amazing. Jonathan: Really strong work, yeah. Sharon: So, the last I talked to you, I just wanted to double check. Are you still thinking you'll be going October 6, whenever? Jonathan: Yeah, that's the tentative plan. The one thing. Korea has lifted quarantine restric-tions which is great, but groups are still restricted to six or fewer, so it's a bit of a problem for our group which is about fifteen people. So, I'm a little bit on edge about that. I'm waiting to see if that will change. Sharon: Wow! Six or fewer, that's pretty-- Jonathan: That would make going out to dinner a problem and just going to into groups and staggering them, it's like taking two trips frankly. Sharon: Yeah, no, it sounds like a lot of logistics. Jonathan: With that being said, I have a trip to the southwest in the wings for the end of October. If for some reason the gods are not with us to go to Korea, I'm putting together a trip to San Jose and Taos. Sharon: There's lots to see there. Jonathan: Uhum. Sharon: So, you also have a program for highschoolers to teach them about the jewelry industry. Tell us about that. Jonathan: Yeah, this is certainly a program that's been a dream of mine for a long time. It is a program that is offered to Title 1 art and design school in New York City and Title One schools tend to service underserve populations in general in New York City and most of those students wouldn't normally get access to a jewelry studio in high school. Most kids don't get access to a jewelry studio in high school in general. Particularly this population most likely wouldn't be taking a class at the 92nd Street Y as a fee-for-service program for obvious reasons. So, this is a program to get kids who would normally be in the studio into the studio and expose them to the tech-niques and materials and offer them a view into a possible career path, if that's something they would like to pursue. We're coordinating with New York City Jewel-ry Week who has organized wonderful guest speakers with these kids and with NYCJWM and the Department of Education, are able to offer paid internships this summer which is really exciting. It's the first year of this program, so we're still find-ing our footing and I know there are going to be some kids who decide to go into the next year and I think particularly the juniors and seniors will hopefully take advan-tage of some of these opportunities and perhaps go deeper into the field. Sharon: It sounds like a great opportunity, yeah. Jonathan: Even master soldering to a teenager, regardless of whether or not you go into the field as a career, it's a great skill to have. Sharon: I don't know that much about New York and the school system, but I would assume that there are not a lot of opportunities like this that are going on in New York. Jonathan: To my knowledge, there is not a functioning jewelry studio in any of the public high schools in New York City. Sharon: Now, that's really amazing to me. Would a shop class teach jewelry and metal-smithing? Jonathan: To my knowledge, there aren't any functioning jewelry programs classes in New York City public schools right now and we don't have trade schools for jewelry in America. There are art schools and we've talked about how that's always the best fit if you're going into the trade. Sharon: It sounds like a program that would really take off. So, what else should we know about—and what else is coming up? I know you have some great—you've had Tony Greenbaum teaching a class who teaches about modernist jewelry. Jonathan: Yup and Bella Neyman just finished a great series on costume jewelry that was really fascinating. Sharon: Uhuh, I do have to say it was great. I did listen to it. It was great because it was in Los Angeles and it was at seven in the morning which is usually not the time I'm up to watch class. So, I watched the recorded classes which was great to have. Jonathan: Yeah, and we're working on our fall programming, so I'm not exactly sure what the talks will be, but I'm sure there will be one. I'm working on another few initiatives—well, one initiative in particular that is not confirmed yet, but I would like to also create a younger designer's award or fund in which we would help support a new jeweler and help them with classes and to continue their education as well as men-torship through our faculty and through our connections. One of the huge leaps is to go from undergrad or grad in these very supportive environments and then to be let loose to fly free. Many people hone their skills while working for another artist doing benchwork, but I would like to help an artist or a young designer home their skills through our classes and through our faculty mentorship and our professional mentorship opportunities. So, I'm working on that. I would love to see it happen by the fall, but TBD. Sharon: O.K., well, you can keep us posted. I know you have so much going on, so thank you so much. I just envision you juggling so many balls. Jonathan: There's always a lot going on as well as continuing to support the programing that we do on an ongoing basis here. Every day, every week--there's a class going on right outside my office right now, one of three or four classes going on right now in the center. We do offer over fifty classes a week for jewelry alone, so that in itself is enough of a job-- Sharon: For hands-on jewelry. Jonathan: Hands-on jewelry, hands-on making. To my right, there's a wax covering class going on. To my left, there's a jewelry two class going on. Further down the road is a goldsmithing class and then—yeah, I can't remember what's in the fourth studio right now, but the most pressing thing is if you are interested or know someone who might apply for the Jewelry Residency Program, I'd strongly encourage them to do so. We've got some wonderful press from Town and Country Magazine last year and in the cut from New York Magazine, so there are some great opportunities. Sharon: It sounds like it and since the deadline is right around the corner, April 15, people need to get on it. Jonathan: But it's easy. It's a submittable application. You upload your images. You make the case for why you want to be in New York City and away you go. Sharon: I don't know. That still involves somebody sitting down and really putting their brainpower behind it. Jonathan: Get on it, people. Sharon: Jonathan, thank you so much for being here today. Jonathan: You're welcome. Sharon: And we'll keep everyone posted on what else is going on at the Y. Jonathan: Thank you, Sharon, it's always a pleasure. Hope to see you soon.
What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/ Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Jonathan Wahl, Director of the Jewelry Center of the 92nd Street Y in New York City. The program is the largest of its kind in the country. In addition to his life in jewelry, Jonathan is an award-winning artist whose work is in the permanent collections of prestigious museums. Welcome back. When do you have time to work on your jewelry? Jonathan: I'm here Monday through Wednesday in the studio here. Then I'm in my studio the rest of the time, so Thursday, Friday, Saturdays and Sundays. Sharon: Your home studio or a studio at the Y? Jonathan: No, it's not here. It's in Brooklyn. I wouldn't be able to work here. People would be finding me. No, I maintain a studio in Brooklyn. That's where I've done all my work basically for the past 25 years. Sharon: Tell us about your work. I was reading about you. You have a whole series of different things, drawings, collections. Jonathan: Lest I forget, I have had a jewelry line. In 2005—and I'll get to the larger bodies of work—when I moved to New York, my work was primarily sculpture. It was the tinware. It became the oversize tinware. I got a Tiffany fellowship which gave me a nice chunk of cash, and I made a series of work based on Frederic Remington, a series called Cowboys and Unicorns. I made a series of tasseled heads for this exhibition. It took about a year. There were many bodies of work, like Aztec Astronauts, which is inspired by Jared Diamond's book, “Guns, Germs, and Steel.” There's no jewelry in it at all, but it was interesting. I had a wonderful Foundation for the Arts fellowship for Cowboys and Unicorns. I had this Tiffany fellowship. I thought I was hot to trot. I was an artist, but because I've also been very self-directed in my work, I have made choices on my own, and I certainly hadn't thought of the larger picture, like, “Who am I marketing to?” At one point, I felt like maybe I should do something different. I saw these people putting jewelry lines together and I thought, “Well, let me try that. I'm going to throw together a jewelry line.” I did put together a jewelry line in 2004 and 2005, and it got a lot of press. Barneys called and Bergdorf called. It was exciting and, true to myself, I looked at this opportunity and thought, “What they're asking for sounds like I'm going to have to start a real business.” Between my role here as Director of the Jewelry Center and my studio practice, I wasn't sure I wanted to run a full-time jewelry business. What this position here affords me is the time and space to work in my studio on what I want to make. I thought that if I put together a jewelry line, that was a different kind of hustle, and a hustle that was going to take over. As a consequence, I declined Barneys and Bergdorf. I did sell my line at De Vera in New York, which is a much more boutique, gorgeous store that has since moved. Interestingly enough, launching the jewelry line brought me to drawing. People who knew me and knew my work as a sculptor, when I said I'd launched a jewelry line, to put it politely, they looked confused. I've said this in many interviews: a jeweler in the art world, people don't really get. An artist who makes jewelry is different than a jeweler who makes art, may I say. Sharon: That's interesting. Jonathan: I think that has changed. It has changed to some extent, but it's different. It's a one-way street. A potter and a sculptor, interesting, particularly with clay being very hot right now. A painter and a bartender makes sense; people get that. Anyway, I found this look of confusion quite perplexing. I started these large drawings, renderings of jet jewelry. I was working on a series of drawings about jewelry, about history, about my love for history, and I happened upon jet jewelry. I thought it was so out of the ordinary: monochromatic, at times really epoch-shifting in terms of what it was. So, I decided to start drawing these objects to take them out of the realm of jewelry and present them to the viewer as an object. Rendered large, they took on a completely different identity. It paralleled my experience of having this conversation with people saying I'm a jeweler and a sculptor. I thought, “If I present them with these drawings that are straight-up portraits of jewelry, maybe they'll think differently about what those edges are about or what those lines are, what those determinations are.” Sharon: That's interesting about people not getting a jeweler as a painter or an artist. That's what you said, right? Jonathan: I wish I could deny it. Again, this is 20 or 15 or 17 years ago; I can't remember. Things have changed a lot in the art world. I'll probably get in trouble for this; I don't know if any of the Whitney curators are going to hear this, but the Whitney, one of my favorite museums, had an exhibition of artists who employ craft, I think. It was all artists who made objects or used material that represented craft in some way. It was such an artist's use of craft, and done in a way that was pure aesthetics and abstraction, which was such a different experience with respect to the materials that I think a craftsperson has. I also find that curators are really only looking at artists who use craft techniques or craft materials from this artistic, old-school, may I say modernist perspective. I truly mean that because it was fascinating to see how a fine art museum presented craft in this way. To me, it reiterated how these fields are viewed, certainly from each corner of the art world. I found the show at the Whitney really underwhelming in terms of how they represented craft. Just because you use yarn doesn't mean it's craft. That's the takeaway. I think that represents this weird, one-way street or one-way mirror of how crafts and art are viewed together. Martin Puryear was not in that show. Sharon: Pardon? Jonathan: Martin Puryear, whose work definitely involves craftsmanship. He wasn't in that exhibition. There were people who I thought could have been in that exhibition to represent how craft is employed in the fine art world and would have made the statement better. Sharon: So, what is craft? It always seems to me the question that's has no answer. How do you know, when you're looking at something, whether it's craft or fine art or jewelry made with yarn? What's the difference? Not difference, but how do you separate it? Jonathan: I think it's many times subjective. To that point, the curators at the Whitney could have put whatever they wanted and called it craft, but I think when you see craft, you know it. I think you really do. I think their lines can be crossed. I think there's craft that's art, and I think there's art that's craft, but for myself, I know it when I see it. I think it also depends on how you employ the materials and for what end. I've been thinking about this recently. Craft was never really thought of as espousing an agenda other than its function. That was how it started, but now in some ways, the art world is looking at craft that explores itself beyond its function. It's making social commentary and is actually functioning in the way fine art would have explained itself, as material subjugated to the thought process of the artist. Craftsmen can be both, explaining or using functional materiality. They can also use a fine arts strategy, if they're making a commentary or going beyond the object's functionality into a realm that makes you think about the object differently. That is more of a fine arts strategy. So, it gets really sticky. Sharon: It's one of those questions. I'm thinking about craft in jewelry. I'm thinking about when you were in camp, the lanyards you would make, the necklaces you'd make with plastics. I guess you could call it a type of craft jewelry. Jonathan: For sure. I don't think craftsmen should be offended by lanyard jewelry. That's how you start. It's weaving; it's one of the most basic weaving skills. Voice that history. Those are old skills. That's how we built civilization. Believe in that. We wouldn't be here without those skills. Don't be afraid of that. I think my own jewelry journey, if you will, has been influenced by these experiences. I love jewelry. I love objects. I love technique. I love skill. I'm so in awe of people who can make, who can really fabricate something. It takes skill. It takes work. It takes focus. I love jewelry. I wear one ring and a watch. I change my ring up whenever I feel like that. They're mostly rings I've made, but they're a specific type of ring. Apart from my look in the 80s, I'm a relatively conservative-looking guy, so I wear jewelry that reflects the aesthetics of myself. It tends to be kind of traditional, so I have no problem with great jewelry that has a great stone, that's made well, that some would consider traditional. I'm O.K. with that. You know what? Wear whatever kind of jewelry makes you feel right. I love art jewelry and I think it's important in pushing the boundaries or the materiality of the field. I'm happy to see and support that. I love going to SCHMUCK. I'm always blown away when I see what's happening in the world of contemporary jewelry. I think contemporary or art jewelry, the field is also changing. I have to say everything's moving more towards the middle in a way, whether it's contemporary jewelry, studio jewelry or art jewelry. When I look at work today, it's all moving a little bit towards the middle, which is fascinating. But when it comes to jewelry, I don't have any problem with good jewelry, period. I love good jewelry. Sharon: Big stones are nice. Jonathan: I'm just saying good jewelry, however you classify jewelry, I like jewelry. Sharon: Why are things moving towards the middle? Why do you think that? Is that part of the ethos of the country, or that people don't want to be extreme? They don't want purple hair anymore? Jonathan: With all that being said, the generation that's coming up now wants to have purple hair, absolutely. I look at the trends that are going on right now, and I think of myself in art school in the high 80s with my hoop earrings and my dyed red hair and my capri pants and my corny shoes and my vests and yada, yada, yada. I look at this younger generation thinking, “Wow, it's coming back around again, interesting.” Maybe I talk out of two sides of my mouth, but I think in general, the bulk of those fields are moving a little bit closer together. I think there's an appreciation in the art jewelry world for techniques and processes that might not have been so accepted 10 or 20 years ago. I think there's an appreciation all around. I think I see contemporary jewelry making gestures that might have only happened in the art jewelry world 10 or 20 years ago. Sharon: You also talk about the rift between fine art and jewelry. Can you talk a little bit about that? Jonathan: I've got to say, I've met some great fine art collectors in New York and their jewelry has really stunk. I find it really funny when I see people who've got a great dress on and have a great art collection and mundane jewelry. It's the last thing that people think about sometimes. Although, the one person I'll say that always bucks the trend is Lindsay Pollock, who has great jewelry and has great art and knows great art. Sharon: Who? I'm sorry; I didn't hear. Jonathan: Lindsay Pollock, who used to be an editor at Art Forum. Now she also works for the Whitney Museum of Art, I think, as Director of Communications. I'm not sure, but she's a wonderful collector. Sharon: And she has great jewelry. Jonathan: Yes, and she knows the art world really well. Your question; please repeat it. Sharon: The rift between fine art and jewelry. Is there a rift? Jonathan: There's a difference. I think for so long people were trying to justify themselves, so people got defensive. Now people are starting to own what they do and who they are without the defense: “I'm not an artist, I'm a craftsperson” or “I'm a craftsperson, not an artist.” I think there's less apprehension about that now in terms of owning those fields. This is a conversation had by many people, but when modernism took its toll on craft, it stepped up its identity in many ways. I think since then, craftsmen and jewelers have been trying to figure out their way back to be on par with the rest of the arts. I think for a long time, because it wasn't modern art or contemporary art, there was a real apprehension about how we define artwork. I think about how jewelry was, for a long time, just photographed on a white background so it reads as an object, like you're presenting it like a little sculpture. For many years, that's how it was presented. I find that representative of how we explain the work we were making. When you saw it, you generally saw it sitting on nothing except white, in a void, outside of any wearability or reference to the person, which I get. But when you think about that, for me, it has resonance. I also think that's kind of who we are and what we do. I think that's changing to some extent, but the art world and the craft world have been trying to figure out the relationship for a while. Sharon: Do you make jewelry now? Jonathan: I do. I just made a ring for myself with a beautiful piece of lapis that I came across. It's very plain and modernist. I had an old necklace from my former landlord who passed away and left it to me. I melted down this necklace, I milled the jewelry, I rolled down the sheet and I made a half-round wire that I put through the mill again so it was more like a trapezoid and set it again. Man, I was a jeweler for a day. I love good jewelry, and I like to represent. Sharon: You like to represent? What do you mean? Jonathan: I like to represent the field with a good piece of jewelry. Sharon: Wow! You made the sheet metal and then you rolled your wire. The first time I saw somebody rolling wire, I thought, “You could buy wire. Why would anybody roll it?” Jonathan: One great thing is I didn't have to buy new gold. Another great thing is I'm recycling the gold. I recycle, recycle, recycle whenever possible. I worked it all the way down, but I do not have a jewelry line. I rarely make jewelry on commission. Most of my studio practice is focused in other ways, although as I've been drawing for the past 12 years, I recently picked up my tin shears again. I have actually been making more tinwork, which is also reflective of our current state of politics and our country again. It's been fascinating to work in metal again, so stay tuned. Sharon: How does it reflect where we are as a country or politically? Jonathan: I'm making tinware again, and I think a lot of what's in question right now in our country is what is traditional? Who are Americans? There's a lot of questioning about do you fit, do you belong, what are those parameters, how are you judged as an American or not as an American. The painted tin I'm making right now is so understood as a traditional object and a traditional way of making. Mixing and presenting that work within this very traditional material and history of making is, again, a metaphor for traditionality. The viewer automatically looks at this thing and things it's an original object. It's meant to look very traditional, although right now I'm working on a six-foot-by-four-foot painted stenciled decal tray, which, after a few minutes of looking at it, you will know is definitely not from the 19th century. But again, the techniques and the feeling and the look are traditional, I find that that's what we're questioning right now. We're questioning what is traditional. What are these traditions? The more I dig into these traditions, particularly in painted tinware—Japanware is what it was called. It was meant to imitate Japanese lacquerware. It had nothing to do with America. Another iteration is painted tinware that comes from a German and Scandinavian aesthetic, also not traditional American. So, these objects that you'd see in a folk museum and be like, “Yeah, Ohio, 1840, I got it,” these traditions and materials were not traditional until they became traditional. There's a lot of this material culture history that I find fascinating. It's very layered for me. I hope it's as interesting to the viewer. I have never really found the right format for many of my ideas or questions that fit into jewelry, and that's one of those cruxes. I've never found the right way for me to use jewelry or engage in jewelry with the same intents that I have in other materials or formats. Sharon: What do you mean exactly? It doesn't fit into a category? Jonathan: No, I can be really political with this tinware. I've never figured out how to get the same effect, with the same feeling, in jewelry. I find, for me, the wearing of jewelry is the great part of it, and I don't want my jewelry to say the same thing as my tinware. This is personal: I don't want my jewelry to work the same way as this giant tinware piece does, because I like this ring that fits on my finger. I love it, and I love when I get compliments on it. I think jewelry is special. It's great because we wear it. As a sidenote, it was fascinating that during the pandemic, jewelry took off. Sales of jewelry took off. All my friends in the field of luxury jewelry and studio jewelry, they had great years. Jewelry is the stuff you take with you. Jewelry is the stuff you wear. Jewelry is the intimate stuff, and I think it was fascinating to know that in this time of extreme stress and trouble, people were going to jewelers to buy these things they could hold and keep and literally run with it if they had to. There is this intimacy of jewelry that people sought out, and that's special. It doesn't exist in other places. Those are the kinds of things, the resonance, that I want to embrace and love about jewelry and that I will not run away from. One of the reasons why I started even playing around with images of jewelry, which led me to the drawings, is because I did this class at the Met called Into the Vaults. We went through all these different departments of the Met, jewelry and old jewelry. I came across the story of the Hannebery Pearls, which were pearls that were given to Catherine de Medici from her uncle, who was the Pope. This string of pearls went through the Hanoverians and then eventually into the British Crown Jewels. I thought, “Wow, if this string of pearls could talk, what we would know. What has it seen?” I was fooling around with this image of a gem, a ring that I had Photoshopped a historical scene from a movie on top of, so it almost looked like this gem was reflecting what it saw. I thought, “Wow, wouldn't it be amazing if there was a ring from ancient Greece that was passed down every generation until now, and that ring was held and worn by 200 generations?” I don't know how many generations that would be. That intimacy and history of an object doesn't exist in other places in the same way, where it's worn and carried with it. There's something about the intimacy of jewelry and the history that it can be embraced in a specific way that I really love. Sharon: It's something very different and novel. I don't know if it's been done already. Jonathan: I have an idea for a novel. I'll talk about it off-camera. We should talk about it. It's about that same kind of story, a will to survive. Sharon: All right. Jonathan, thank you so much for talking with us today. Jonathan: You're welcome. Sharon: I expect an invitation to the opening of the 92nd Street Y in Los Angeles. I can't wait. Jonathan: In the meantime, I hope you can come with us to Korea. As you know, I do trips around the world. South Korea is on the books, and there are a number of other wonderful things happening. The only residency for jewelry in New York City, called the JAIR, Jewelry Artist in Residence, that's happening this summer. Applications are open on our website. We had applications from 50 countries in 2019. It has been suspended since the pandemic. Another little sidenote: I'm excited about a program called Team Gems, which is a fully-funded program for high school kids in New York City, Title 1 high schools in New York City. It's a fully-funded program for kids to get experience in jewelry that they wouldn't normally have, and will maybe create a pathway for a career in jewelry outside the academic model. I hope I'm going to be able to tell you more about it, but it's the first year and it's very exciting. Also, keep your ears open for my new series of talks coming up. I think this topic is going to be about enamel, and then hopefully a series in June in honor of Pride Month. A lot's going on at the Jewelry Center. Sharon: Well, thank you for being here. We want to hear more about it in the future. Thank you so much, Jonathan. We greatly appreciate it. Jonathan: Thank you, it's such a pleasure. Be well. Sharon: You, too. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/ Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there. This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Jonathan Wahl, Director of the Jewelry Center at the 92nd Street Y in New York City. The program is the largest of its kind in the country. In addition to his life in jewelry, Jonathan is an award-winning artist whose work is in the permanent collections of prestigious museums. It has been exhibited nationally and internationally. We'll hear more about his jewelry journey today and how art fits into that. Jonathan, welcome to the program. Jonathan: Thank you, Sharon. It's a pleasure to be here. It's a pleasure to see you. Sharon: It's nice to see you. Hopefully next time, it'll be in person. Jonathan: I would love that. Sharon: Jonathan, tell us about your jewelry journey. How did you get to jewelry? Was that where you originally started out? Jonathan: Recently I've been doing a lot of interviews myself with artists around the world—virtually since the pandemic—as Director of the Jewelry Center, and one of the questions I always ask them is “How did you find your way to jewelry?” It's one of the questions I love to be asked because, at least for myself, it was interesting. I think all of us start out as artists, unless we're born into a jewelry family. Everyone learns how to draw. Everyone paints on their own. Maybe they have classes in high school. If you're lucky, you have a jewelry class in high school. I didn't, so like many people, I discovered jewelry in college at Tyler School of Art, which has one of the best jewelry programs in the country, but I didn't know jewelry existed until I went to art school. When I went to art school, I thought I was going to be a graphic designer. Being the son of a banker and coming from a prep school, I figured I was going to be an artist, but I had to make a living. I wasn't going to be a painter, so I was thinking I was going to be a graphic designer when I grew up. At the college, I discovered jewelry in my sophomore year. Stanley Lechtzin said to me—I'll never forget it—“After you graduate you could design, if you wanted, costume jewelry in New York City,” and I thought, “That sounds kind of exotic and fun in New York City.” That's how my jewelry journey really began, in an elective class as a sophomore at Tyler School of Art. Sharon: Where is Tyler? I'm not familiar with it. Jonathan: In Philadelphia. It's part of Temple University. Sharon: And Stanley Lechtzin, is he one of the professors there? I don't know that name. Jonathan: Stanley Lechtzin really put the program on the map. He's in collections internationally. He pioneered the use of electroforming in individual objects. Electroforming was a commercial process used throughout the country for many different industrial applications, but Stanley figured out how to finetune it for the individual artist. His work has recently had some new-found appreciation because of the aesthetics from the 60s and 70s that are also coming back into vogue. His pieces are extraordinary. Sharon: Before you came to the Y, did you design jewelry? Did you do art? Did you come home from your banking job and work on that stuff? Jonathan: My father was a banker. I was not a banker. The closest I got to banking was working at a casino in Atlantic City one summer. My family has a house in Ocean City, New Jersey, so I could get to Atlantic City. I had to count a bank of anywhere between $30,000 and $70,000 a night. That's the closest I got to being a banker. I quickly then moved to London. This was the summer of my senior year after Tyler. After I graduated from Tyler, I moved to London briefly and worked for a crafts gallery in northern London. Then I decided I wanted to go to graduate school. I came back for about a year to work towards applying to graduate school, which ultimately became SUNY New Paltz. I graduated Tyler in 1990, so most of my undergraduate years were in the 80s. If you're familiar with 80s jewelry, it was no holds barred. It was any kind of jewelry you wanted. My work—or at least my practice—quickly started to veer away from jewelry and towards objects and what I would call small sculpture. My choice to go SUNY New Paltz was specific because I didn't really want to make jewelry, but I was interested in the field and decorative arts, the material culture of jewelry and metalsmithing. That's what I pursued while I was in graduate school. I was recreating early American tinware about my experience as a gay American at that time. I wish there were visuals included, but that's what I was doing at SUNY New Paltz. Sharon: How did you find that material? Jonathan: The tinware was a metaphor for America, for traditionalism. The pieces were metaphors for the function or dysfunction of America. These objects were a little perverse, a little sublime and really honest about how frustrated I felt about being an American and growing up in Philadelphia during the bicentennial. I thought life, liberty and the pursuit of happiness was for everybody, but I found myself not really able to access the full extent of that saying, like many people in our country even today. But I'm happy to report that a piece from that era was just acquired by the Museum of Fine Arts in Boston. I'm thrilled that the older work is getting some interest. There's some interest from the New York Historical Society, which is not finalized yet, but it's interesting to see that work with new eyes 20-some years later. Sharon: Congratulations! Jonathan: When I was in Germany, my partner at the time was finishing his master's degree, and I was an artist in residence there at the Hochschule der Künste, which is now the Academy of Art, I think it's called. That was an interesting experience because Europeans in general, and Germans in particular, approach craft differently. They have a much longer and supportive tradition of craft of all kinds, so when they saw my tinware, it was a little confusing to them. I ended up in a program called small sculpture as an artist in residence because there was no jewelry program at this art university. It was interesting. It was curious. Sharon: Tell us how you came to jewelry. Jonathan: Jewelry eventually gets into my story. After leaving Berlin, I moved to New York. I knew I wanted to be a New York artist. That's the place I had to go. That's the place I had to find my destiny. I was walking around looking for positions in a gallery, which was what I thought I was supposed to do. I walked into one gallery and the director there said, “I don't have any gallery work for you, but I'm on the board of a not-for-profit gallery at the YWCA. That's the home of the Craft Students League. They are looking for a program associate, which pays a ridiculously low hourly wage but has health benefits.” I thought, “O.K., I can do that.” That's when I found myself in the not-for-profit arts administration position that was developed into what I do now, at least part time. I was the program coordinator for the Craft Students League, which is unfortunately gone now, but had a wonderful ceramics, jewelry, painting, and book arts department. I ultimately became director of the jewelry studio and metalsmithing studio there, and then I became the assistant director of the whole program before I moved to the 92nd Street Y to become the director of the Jewelry Center here. Sharon: Did they have an opening? How did you enter the 92nd Street Y? Jonathan: Yes, there was an opening. There was John Cogswell. The Jewelry Center has some wonderful previous directors. It was Thomas Gentile from the late 60s to mid-70s, who really put this program on the map. He was followed by John Cogswell until the early 90s. Then briefly Shana Kroiz took over. She was between Baltimore and New York, and when she left the department, there was a call for a new director. That's when I joined the program here. Sharon: Wow! I didn't know that Thomas Gentile was one of the—I don't know if you want to call it the founders, but one of the names that launched it. Jonathan: Yeah. The program began in 1930 in its earliest form as a class in metalworking and slowly evolved into a few more classes. It became part of the one of the largest WPA programs in the country here at the 92nd Street Y, but it kind of floated along until Thomas came—and Thomas, forgive me if I get this wrong—in the mid-60s, I think, maybe later. He came in and really started to formulate a program of study here. He was the one who really created the Jewelry Center as a center. Sharon: Was he emphasizing art jewelry or all jewelry? Jonathan: There was a great book put out by the Museum of Modern Art in the 50s about how to make modern jewelry. Now, I don't know if the MOMA realized that they put out a book on how to make jewelry, but my point is in New York, I think there was still this idea of the modernist aesthetic and the artist as jeweler or jeweler as artist. I would say that Thomas was focused more on artist-made jewelry, the handmade, the one-of-a-kind object. It was still not looking in any way towards traditional or commercial jewelry. Sharon: Jonathan, tell us what the 92nd Street Y is, because people may not know. Jonathan: The 92nd Street Y is a 140-year-old institution here on the Upper East Side of New York City. It is one of New York City's most important cultural anchors. It has many different facets. We have a renowned lecture series. The November before the pandemic, I remember we had back-to-back Ruth Bader Ginsburg and Lizzo. Wednesday night it was Ruth Bader Ginsburg, and Thursday night it was Lizzo. Last night we had Outlander here, and I think we had a full house of 900 people plus 2,000 people online. We also have a world-renowned dance center that has a long history with Martha Graham and Bill T. Jones. In many ways, modern dance coalesced at the 92nd Street Y. The Jewelry Center has had a presence here at the Y since 1930. We have a wonderful ceramic center. We also have one of the most prestigious nursery schools in New York City. You name it. The 92nd Street Y is a Jewish cultural center. It's part of the UJA Association, but it's kind of its own thing. It's a whole other story about what Ys are and the difference between YWCAs, YMCAs and YM-WHAs, which is what we are, but the 92nd Street Y is really a cultural center. Sharon: When are you opening your West Coast branch in Los Angeles? Because you have such an incredible number of speakers and programs. Jonathan: Many of them come from the West Coast. We had Andrew Garfield here the week before last to talk about his amazing performance for a Reel Pieces program with Annette Insdorf. I think that was a full house of 900 people for a performance from “Tick Tick Boom,” which was great. I don't know when we're coming to LA. We're just reemerging from the pandemic here in New York. Sharon: This is not related to jewelry, but do you think that without the pandemic, you would have gone online to such an extent? Would it have been possible for people around the world, including on the West Coast, to see what's going on? Jonathan: The pandemic was the catalyst to do something we'd always thought about, but yes, the pandemic definitely forced us to do it. On March 13, New York City shut down. That Monday, we flipped all of our classes, every single one of our classes in the Art Center, which is about 200 classes, to be virtual. That worked for some classes better than others, obviously for painting and drawing. It was fine for jewelry. It's tough if you don't have a studio. What we did through the summer is offer online classes. We still offer online classes to some extent, but my focus is on building back our in-person class schedule, which we're doing. We're over about half enrollment now from the pandemic and moving quickly towards three-quarters. Sharon: Did the people who enrolled in hands-on jewelry classes, did that just stop with the pandemic? Jonathan: Yes, it stopped from March 2020 until September 2020. In September, we actually opened back up for in-person classes. We wore masks. We were socially distanced. We were unvaccinated. I was taking the subway and it worked. It was slow at first, but I think this process is a part of many people's lives and this program is so meaningful for so many people. Being in New York, access to a studio is important, and very few people have studios at home. This is not only an important part emotionally of their lives, it's also literally, physically, an important part of making jewelry their practice. Sharon: Since you started as director of the program, I know you've been responsible for growing it tremendously. Was that one of your goals? Did you have that vision, or there was just so much opportunity? What happened? Jonathan: All of the above. There was a lot of opportunity. Unfortunately, the Crafts Students League closed shortly after I left. Parsons closed their department. There were a number of continuing education programs that left Manhattan, and this is before the country of Brooklyn was discovered, even though I lived there. There were no schools in Brooklyn, really. The 92nd Street Y became one of the few places to study when I came on. Also, to my point about studying jewelry in art school, you're studying to be an artist generally in art school; you're not really studying to be a jeweler in the way most people understand jewelers to be. Although certainly at Tyler, it was a great technical education and I learned a lot of hard skills, many people, including myself, were not adept at those hard skills. We're not taught at a trade school, and I found that most of the people who were looking for jewelry classes wanted to make more traditional jewelry than the classes we were offering. Most of our faculty came from art school. There were some amazing people, Bob Ebendorf and Lisa Grounick(?) to name just a few, but as the 90s wore on and the aesthetic changed, I found that people really wanted to learn how to work in gold, how to set a stone. The aesthetics of jewelry shifted. You probably know yourself that the art jewelry world shifted a little bit too. For myself, I wanted to learn more hard skills, and I basically started creating classes that reflected my interests in how to make better wax carvings, how to set a brilliant-cut stone. I can then make that into what I want: studio jewelry, art jewelry, whatever, but those hard skills were lacking. I've said this many times: I don't know that this program would exist in another city other than New York because there was so much talent here. There were people from the industry here. There were artists who were studio jewelers and art jewelers all at my fingertips. I think that was one of the ways it grew, not because I reduced the perspective of what was being made here, but because I enlarged the perspective of what was being made here or taught here. Sharon: How did you do that? Did you do that by identifying potential teachers and attracting them? What did you do? Jonathan: I was lucky to have some wonderful people in New York City at that time. We had a wonderful faculty to begin with, but we also were able to expand the faculty with incredible people who had recently resigned. Pamela Farland, who was a master goldsmith and was the goldsmith at the Metropolitan Museum of Art for many years, was on our stuff. Klaus Burgel, who was trained at the Academy of Munich, was here in New York and came to us as a faculty member. Tovaback Winnick(?), who was a master wax carver and worked for Kieselstein-Cord for many years, came on as well. Some people work here for a shorter period of my time. My good friend, Lola Brooks, was here and taught stone setting. There was some really stellar talent around that helped me build this program. Sharon: That's quite a lineup you're mentioning. Jonathan: And a really diverse lineup. Sharon: Diverse in what sense? Jonathan: Klaus' work is pure art jewelry: the iconic object, incredibly crafted, but what one would consider as art jewelry in its most essential sense. Lola Brooks, her work crosses the lines of both art and jewelry, and she's got a beautiful studio jewelry line. Then there are people like Pamela Farland, who made very classical, Greco-Roman, high-carat granulated stones, classical goldsmithing. Then there was Tovaback Winnick who teaches carving, which is how the majority of commercial jewelry is made. We had real range as well as your regular Jewelry 1, Jewelry 2, Jewelry 3 classes where we're teaching the basics of sawing, forming and soldering. Sharon: You answered my question in part, but if somebody says, “I'm tired of working as a banker; I want to be a jeweler,” can you come to the Y and do that? Can you go through Jewelry 1, Jewelry 2, Jewelry 3 and then graduate into granulation? I don't know if there's a direct line. Jonathan: Absolutely. We don't have a course of study. We don't have a certificate, but you can definitely come here and put your own skillset together. That's also what I found strong about the program, that it gave people access to put their skillsets together without going through art school or going through college. You're able to learn those hard skills in an environment where it's no frills. Sharon: Are they mostly younger people, older people, people of all ages? Jonathan: It's people of all ages. When I joked about the country of Brooklyn not being discovered yet, I lived in Williamsburg, Brooklyn for my whole New York life, so I'm speaking the truth. There really wasn't anything out there. If you were young and hip and cool when I lived in Brooklyn, you had to come here. So, for a long time, we had a much younger population that was cool, hip. Now, everybody has moved to the country called Brooklyn. That demographic has aged a little bit for us. We have three classes during the day. We have a morning class, an afternoon class, a late afternoon class and then an evening class. If you're a younger person, it's most likely that you have a job, so you're going to come at night for our classes. That's only one-quarter of the population that can take a class here, because there's only one slot of night classes. There could be four classes happening at the same time, but all from 7:00-9:30. So, in general our population skews old because those are the people who are generally available during the day. That being said, it's New York City. There are lots of different ways to make a living here. There are definitely people who are actors or bartenders or artists or what have you who do have time during the day and come here. It really depends on what class, but absolutely; we have all ages for sure. We also have kids' classes in the afternoon from 4:00-6:30.
Otago University have just announced their Arts Fellowships for 2022 and it's a hugely diverse collection of artists. To find out about what fellowships like this mean for artists, I'm joined by three of the Fellows, Musician, Sean Donnelly, writer Swapna Haddow and visual artist Sorawit Songtaya.
In the first half-hour, Host Tiokasin Ghosthorse talks with Myron Smart and Will Falk. They offer listeners an update on the latest activities at Thacker Pass in Nevada. Myron Smart is a descendant of the Fort McDermitt Paiute-Shoshone Tribe. He was raised in his traditional ways of life in our Native culture. Some of the things Myron loves include everything outdoors, animals and taking care of his horses. Will Falk is a biophilic writer, lawyer and the author of “How Dams Fall: Stories the Colorado River Told Me,” published by Homebound Publications. More about Will at willfalk.org. More about Thacker Pass: protectthackerpass.org. “LIKE” Protect Thacker Pass on Facebook.In the second segment, Tiokasin welcomes artist Hiroyuki Hamada. Hiroyuki, who was born in Tokyo, has exhibited throughout the United States and in Europe, and is represented by Bookstein Projects. He has been awarded various residencies, including those at the Provincetown Fine Arts Work Center, the Edward F. Albee Foundation /William Flanagan Memorial Creative Person’s Center, the Skowhegan School of Painting and Sculpture, and the MacDowell Colony. Hiroyuki’s work has been featured in various publications, including Stokstad and Cothren’s widely used art history text book “Art: A Brief History” (Pearseon). In 1998 he was the recipient of a Pollock-Krasner Foundation grant; he was a two time recipient of New York Foundation for the Arts Fellowships (2009 and 2017), and was awarded a Guggenheim Fellowship in 2018. Hiroyuki lives and works in East Hampton, New York. Tiokasin will discuss Hiroyuki’s recent essay, “The Mechanism of Invisible Hand, Invisible Cage, and Invisible Empire Over Humanity and Nature” (Dissident Voice, Feb. 9, 2021: https://bit.ly/399Ed3f). Find out more about Hiroyuki and his art at http://hiroyukihamada.com/Production Credits:Tiokasin Ghosthorse (Lakota), Host and Executive ProducerLiz Hill (Red Lake Ojibwe), ProducerTiokasin Ghosthorse, Studio Engineer and Audio Editor, WIOX 91.3 FM, Roxbury, NYMusic Selections:1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song)Artist: Moana and the Moa HuntersCD: Tahi (1993)Label: Southside Records (Australia and New Zealand)(00:00:44)2. Song Title: Sundancer 21Artist: Eagle & HawkCD: Liberty (2019)Label: Rising Sun Productions / Producer: Vince FontaineMusic Video: https://youtu.be/xOGMCch5GAg(00:35:25)3. Song Title: Rule the WorldArtist: Michael KiwanukaCD: Love and Hate (2016)Label: Polydor Records(00:56:12)
Alice Aycock has lived in New York City since 1968. She received a B.A. from Douglass College and an M.A. from Hunter College. She was represented by the John Weber Gallery in New York City from 1976 through 2001 and has exhibited in major museums and galleries nationally as well as in Europe and Japan. Currently she is represented by Marlborough Gallery, New York and Galerie Thomas Schulte, Berlin. She had her first solo exhibition of new sculptures with Marlborough in the fall of 2017. Her works can be found in numerous collections including the Museum of Modern Art, the Whitney Museum, the Brooklyn Museum, the LA County Museum, the National Gallery of Art, the Sheldon, Storm King Art Center, the Louis Vuitton Foundation, and the Sprengel Museum in Hannover, Germany. She exhibited at the Venice Biennale, Documenta VI and VIII and the Whitney Biennial. She has had three major retrospectives. The first was in Stuttgart in 1983 ,the second retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville, NY. In 2013, a retrospective of her drawings and small sculptures was exhibited at the Parrish Art Museum in Water Mill, New York coinciding with the Grey Art Gallery in New York City.From March 8th through July 20th 2014, a series of seven sculptures were installed on the Park Avenue Malls in New York City, entitled Park Avenue Paper Chase, in collaboration with Galerie Thomas Schulte, Berlin. Alice’s public sculptures can be found in many major cities in the U.S. Some of her public commissions include a roof top sculpture for the 107th Police Precinct House in Queens, NY, associated architects Perkins, Eastman (1992); and East River Roundabout (1995/2014) for the East River Park Pavilion at 60th Street in New York City. Star Sifter, a large architectural sculpture for the rotunda of the Terminal One at JFK International Airport was completed in 1998 and resited above the entrance to the security zone in 2013. Other public installations include a suspended work for the Philadelphia International Airport (2001).She has received numerous awards including four National Endowment for the Arts Fellowships. Aycock was a member of the New York City Design Commission from 2003 to 2012 and she has also been appointed to the GSA’s National Register of Peer Professionals. She received the Americans for the Arts Public Art Award in 2008 for Ghost Ballet for the East Bank Machineworks in Nashville, Tennessee. She was inducted into the National Academy, New York City, in 2013. Aycock has taught at numerous colleges and universities including Yale University (1988-92) and as the Director of Graduate Sculpture Studies (1991-92). She has been teaching at the School of Visual Arts in NY since 1991, and was a visiting artist Maryland Institute College of Art in Baltimore from 2010 to 2014. The International Sculpture Center presented her with a Lifetime Achievement Award in Contemporary Sculpture in 2018, and she received an Academy of the Arts Achievement Award in Visual Arts from Guild Hall in March 2019. Sound and Vision is supported by the New York Studio School, where drawing, painting and sculpture are studied in depth, debated energetically, and created with passion. The School’s full-time programs: a two-year MFA and a three-year Certificate prioritize experimental learning and perception. Beginning in Fall 2021, the Studio School welcomes artists from around the world to join its inaugural Virtual Certificate Program. Combining the studio-centric emphasis of the School’s teaching methods with an individual, real-time approach to online learning, this full-time program is designed for serious artists, and dedicated aspiring artists, who seek to cultivate the studio skills and methods that will prepare them for a lifetime of art-making. The priority application deadline is April 30th, 2021 - apply online today at nyss.org.
Joining Orna Ross in this month's #AskALLi Self-Publishing Poetry Salon is Jon Davis, Bookfox's Poetry Editor and author of five chapbooks and six full-length poetry collections. Jon received the Lavan Prize from the Academy of American Poets, a GE Younger Writers Award, the Off the Grid Poetry Prize, and two National Endowment for the Arts Fellowships. He also served as the City of Santa Fe’s fourth Poet Laureate from 2013-2015. Together, Orna and Jon discuss editing a poem, a chapbook and a full collection. They will also explore the different kinds of poetry editing: developmental line editing proofreading Tune in for discussions on a different theme each month with a focus on developing prosperity for poets through community building and self-publishing. Find more author advice, tips and tools at our Self-publishing Author Advice Center: https://selfpublishingadvice.org, with a huge archive of nearly 2,000 blog posts, and a handy search box to find key info on the topic you need. And, if you haven’t already, we invite you to join our organization and become a self-publishing ally. You can do that at http://allianceindependentauthors.org. About the Host Orna Ross Orna’s work for ALLi has seen her repeatedly named one of The Bookseller’s “Top 100 people in publishing.” She launched at the 2012 London Book Fair, after taking her rights back from Penguin in 2011 and republishing her books herself, with the titles and treatment she’d originally wanted. Orna writes award-winning poetry and fiction, runs a Patreon page for poets and poetry lovers as well as an active author website. She is on a mission to help eradicate creative poverty through digital publishing and enterprise. You can find her on Twitter and Instagram: @ornaross.
Winner of the 2019 National Book Award for fiction, Trust Exercise follows a star-crossed suburban teen romance in a 1980s performing arts high school. Susan Choi's novels are known for excavating the hidden corners of the human heart and acclaimed for their ''nuance, psychological acuity, and pitch-perfect writing'' (Los Angeles Times). Her books include the Asian American Literary Award–winning The Foreign Student; American Woman, a finalist for the 2004 Pulitzer Prize; A Person of Interest, a finalist for the 2009 PEN/Faulkner Award; and My Education, winner of the Lambda Literary Award for Bisexual Fiction. A creative writing teacher at Yale, Choi has earned Guggenheim and National Endowment for the Arts Fellowships. The author of nearly 30 books for young people and adults, Jacqueline Woodson has won three Newbery Honors, a Coretta Scott King Award and three Coretta Scott King Honors, and the 2014 National Book Award for Brown Girl Dreaming, a poetry collection about her upbringing in New York and South Carolina amidst the vestiges of Jim Crow. Her other books include After Tupac and D Foster, Feathers, and Another Brooklyn, which was a finalist for the National Book Award. Woodson's latest novel, ''a universal American tale of striving, failing, then trying again'' (Time), addresses a bevy of societal issues through the intergenerational saga of a family striving to escape the tug of history. (recorded 5/7/2020)
What would it feel like to offer an ex-employee their job back? Bob Hicok is the author of nine books of poetry, his most recent is Hold (Copper Canyon Press 2018.) His work has received three Pushcart Prize nominations and his book The Legend of Light received a Felix Pollak Prize and was chosen as an American Library Association’s Booklist, Notable Book of the Year. Elegy Owed was shortlisted as a National Book Critics Circle Award. He has received two National Endowment of the Arts Fellowships and a Guggenheim Fellowship. He is a Professor of Creative Writing at Virginia Tech.
Shari Mendelson is a sculptor who lives and works in Brooklyn and upstate New York. She looks to art history for inspiration for her work — especially ancient Greek, Roman, and Islamic glass and ceramic objects. With equal parts reverence and play, she reinterprets these ancient works using recycled plastic bottles. Conceptually her interest is in the dialogue between the rare, ancient works we value in museums and our contemporary throw-away plastic culture. Formally, her interest is in the exploration of structure, scale, color, opacity and translucency. Mendelson lives and works in Brooklyn and upstate New York. She has been the recipient of a John Simon Memorial Guggenheim Foundation Fellowship (2017), four New York Foundation for the Arts Fellowships (1987, 1997, 2011, 2017), and a Pollock Krasner Foundation Grant (1989). She has participated in residencies including Yaddo (2018, 1990), The MacDowell Colony (2018), the Bau Institute/Camargo Foundation in Cassis, France (2014), UrbanGlass (2014), Corning Museum of Glass (2015), and The Toledo Museum of Art GAPP residency (2017). She has had solo exhibitions at UrbanGlass, Pierogi, Black + Herron Space, and Todd Merrill Studio; NYC, and John Davis Gallery; Hudson, NY. She has participated in numerous two-person shows including a 2017 show at The John Molloy Gallery, NYC, and has been included in gallery and museum exhibitions including The Aldrich Museum, and The Brooklyn Museum. Her work is in the permanent collection of The RISD Museum, Providence, RI, The Museum of Fine Arts, Boston, MA, The Museum of Fine Arts, Houston, TX, The Museum of Old and New Art, Tasmania, Australia. Mendelson's work has been featured in publications including in The New York Times, Hyperallergic, Modern Magazine, Ceramics Now, Glass Quarterly, and NY Arts. Deer Askos, Repurposed plastic, hot glue, resin, acrylic polymer, paint, mica, 8x7x3, 2018, photo by Alan Wiener Glasslike installation at UrbanGlass Brooklyn 2018 photo by Nils d'Aulaire
Literary and visual artists living in Metro Detroit encouraged to apply by the January 17th deadline.
Leslie Wayne was born in 1953 in Landstül, Germany to American parents and grew up in Southern California. She studied painting at the College of Creative Studies, UC Santa Barbara for two years before moving to Paris for a year, followed by five years in Israel. In 1982 she moved to New York and received her BFA with Honors in Sculpture from Parsons School of Design. Her signature abstract paintings are known for their highly dimensional surfaces of oil paint with strong references to geology. She is the recipient of numerous awards, including a fellowship from the John Simon Guggenheim Memorial Foundation, a Joan Mitchell Foundation Grant, a Pollock-Krasner Foundation Grant, 2 New York Foundation for the Arts Fellowships in Painting, a New York State Council on the Arts Projects Residency Grant, a Yaddo Artists Fellowship, a Buhl Foundation Award for abstract photography and an Adolph and Esther Gottlieb Foundation Grant. She has exhibited widely throughout the United States and abroad and her work is in the public collections of the Birmingham Museum of Art, Birmingham, AL; la Coleccion Jumex, Mexico City; Collezione Maramotti, Reggio Emilia, Italy; the Corcoran Gallery of Art, Washington DC; le Fondation Cartier pour l’art contemporain, Paris; the Cooper Hewitt Design Museum Smithsonian Library, NYC; The Miami Museum of Contemporary Art, FL; the Portland Museum of Art, Portland, OR; the Davis Museum of Art, Wellesley, MA; and the Neuberger Museum of Art, Purchase, NY, among others. In 2017 the MTA Arts and Design program in New York City commissioned her to create a window for the Bay Parkway Station on the Culver (F) line in Brooklyn, NY. She is a member and serves on the Board of the National Academy of Design. Wayne is represented by Jack Shainman Gallery and lives and works in New York City.
Jonathan Wahl is an artist and jeweler whose art ranges from drawing and sculpture to jewelry and the decorative arts. His work is exhibited both nationally and internationally, and is part of the permanent collections of the Metropolitan Museum of Art, the Houston Museum of Fine Arts and the Museum of Arts and Design in New York City. He has been featured or reviewed in publications as diverse as The New York Times, Art in America, The New Yorker, Architectural Digest, Oprah Magazine, W Jewelry, Philadelphia Inquirer, Metalsmith Magazine, Harper’s Bazaar and Advocate, among others. Jonathan has been awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." In 2006, he was named one of the “Top 10 Jewelers to Watch” by W Jewelry. He has served as the Director of the Jewelry Center at the 92nd Street Y since 1999 and has guided the Center’s growth to become the largest program of its kind in the nation and the oldest open studio in NYC. What you’ll learn in this episode: Why Jonathan was originally planning on becoming a graphic designer and segued to become successful in jewelry. What inspires his work. How jewelry design and graphic design are connected. What is “bad” jewelry. Looking forward to New York Jewelry Week. Ways to contact Jonathan and learn more about his work: Website: www.jonathanwahl.com Website: www.92y.org/jewelry Upcoming group show at Katonah Museum “Outrageous Ornament” curated by Jane Adlin: www.katonahmuseum.org/exhibitions/upcoming New York Jewelry Week and 92Y’s programming in conjunction with it. Jewelry Talks: ‘Made in NYC’ with Stellene Volandes editor of Town and Country Magazine, Nov 12, 7 pm ‘Influencers’ with Marion Fasel author of the Aventurine Tuesday, Nov 13, 7 pm Newest work: www.jonathanwahl.com/inverted-water LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/
" In the end there's really no way to know how much my misshapen body shaped me except to know that it did. My feelings about this body are likewise difficult to sort out. Indeed I may never untangle these strands - vexed from blessed, bitter from sweet. " Patricia Horvath Patricia is the author of the book All the Difference (Etruscan Press), a memoir about her journey through scoliosis and spinal fusion surgery. Her stories and essays have been published widely in literary journals including Shenandoah, The Massachusetts Review, New Ohio Review, The Los Angeles Review, and Confrontation. She is the recipient of New York Foundation for the Arts Fellowships in both fiction and literary nonfiction and the Goldenberg Prize for Fiction at Bellevue Literary Review, and has held residency fellowships at Hedgebrook, The Millay Colony for the Arts, and The Blue Mountain Center. She teaches creative writing at Framingham State University in Massachusetts. Patricia's website is https://patricialhorvath.com
In this podcast S.P. Miskowski talks about I Wish I Was Like You, writing advice, her ideal weird fiction syllabus, and much more. About S. P. Miskowski S.P. Miskowski is a three-time Shirley Jackson Award nominee and is the recipient of two National Endowment for the Arts Fellowships and a Swarthout Award. Her M.F.A. is from … Continue reading
In this podcast S.P. Miskowski talks about Knock Knock, plays vs. short stories vs. novels, and the Shirley Jackson Award. About S. P. Miskowski S.P. Miskowski is a three-time Shirley Jackson Award nominee and is the recipient of two National Endowment for the Arts Fellowships and a Swarthout Award. Her M.F.A. is from the University … Continue reading
In this podcast S.P. Miskowski talks about her life lessons growing up, writing objectives, anxiety, and much more. About S. P. Miskowski S.P. Miskowski is a three-time Shirley Jackson Award nominee, and is the recipient of two National Endowment for the Arts Fellowships and a Swarthout Award. Her M.F.A. is from the University of Washington. … Continue reading
Max Winter is a graduate of UC Irvine's MFA program, and a recipient of two Rhode Island State Council on the Arts Fellowships in Fiction. He has been published in Day One and Diner Journal. He lives in Providence, Rhode Island, with his wife and son. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on The Art of the Matter, we'll hear how the band Bullet Points learned the truth of the expression "good things come to those who wait," get a preview of a tribute to John Coltrane, and delve into the craft of playwriting with Lou Harry. We'll also learn why the Arts Council of Indianapolis wants to give artists grants of $10,000.
By single-handedly revolutionizing the craft of stained glass through her unique aesthetic and inventive approach to materials, Judith Schaechter championed her medium into the world of fine art. The content of her work - which gives voice to those who experience pain, grief, despair, and hopelessness - resonates with viewers, leaving a profound and lasting impression. In 1983, Schaechter graduated with a BFA from the Rhode Island School of Design Glass Program and moved to Philadelphia, Pennsylvania, where she is now an adjunct professor at The University of the Arts. Her current work was on view in October 2016 at Claire Oliver galley in New York City, in an exhibition titled The Life Ecstatic. Schaechter’s exhibition history includes the 2002 Whitney Biennial and a collateral exhibition of the Venice Biennale in 2012. Her work can be found in the collections of the Metropolitan Museum in New York; the Victoria and Albert Museum in London; the Hermitage in Russia; the Philadelphia Museum of Art, Philadelphia, Pennsylvania; The Corning Museum of Glass, Corning, New York; and The Renwick Gallery of the Smithsonian Institution, Washington DC. Schaechter found success early and has sustained it throughout her career. In 2008 she was named a USA Artists Rockefeller Fellow and in 2013 was inducted to the American Craft Council College of Fellows. She is the recipient of many grants including the Guggenheim Fellowship, two National Endowment for the Arts Fellowships, and The Louis Comfort Tiffany Award, to name but a few.
"Even for my students that naturally have a lot of enthusiasm and interest in the natural landscape, we talk about the natural landscape in political terms because there's no part of the world, no matter where you go, that hasn't been impacted by both the presence of humans but also the political decisions and impact that human beings make." Wendel White is the Distinguished Professor of Art at Stockton University in his life-long state of New Jersey. He is the recipient of a Guggenheim Fellowship and multiple New Jersey State Council on the Arts Fellowships. He had just finished his takeover of @SmithsonianMagazine IG account for his series called #redsummer, former sites of race riots in the U.S. Kai and Michael spoke to Wendel about his current show at the Fordham University Lipani Gallery entitled Schools for the Colored and his other projects that deal with African American and African lives and experience. We also spent some time speaking about art education and the diversity of our classrooms. Links: Website: http://wendelwhite.com Instagram: https://www.instagram.com/wendel.white/ Twitter: https://twitter.com/cameraimages Facebook: https://www.facebook.com/wendelwhite Visit www.thephotoshow.org We are realphotoshow on Twitter/IG/FB Follow us on Twitter twitter.com/realphotoshow and on Instagram instagram.com/realphotoshow/ Like us on Facebook www.facebook.com/realphotoshow Music by @pataphysics-1 on Soundcloud
Please join us as Tiferet Talk Host Melissa Studdard speaks with fabulous poet and creative nonfiction writer Molly Peacock about a variety of topics, including her newly released book The Paper Garden: Mrs. Delany Begins Her Life's Work at 72. Former Poet-in-Residence at the American Poets' Corner and former President of the Poetry Society of America, Peacock is one of the creators of Poetry in Motion on subways and buses throughout North America. As well, for ten years Peacock conducted quarterly poetry circles on Wisconsin Public Radio. She is the author of numerous books in the genres of poetry, memoir, creative non-fiction, and craft, as well as a one-woman staged monologue in poems, which she performed in theatres throughout North America. She is also the editor of collections of both creative non-fiction and poetry. Among her awards are Danforth Foundation, Ingram Merrill Foundation, Woodrow Wilson Foundation, National Endowment for the Arts, and New York State Council on the Arts Fellowships. Currently Peacock is on the faculty of the Spalding University Low-Residency Master of Fine Arts program and serves as Series Editor of The Best Canadian Poetry in English, published each year by Tightrope Books in Toronto. In a starred review, Booklist says of The Paper Garden, "Peacock does with words what Delany did with scissors and paper, consummately constructing an indelible portrait of a late-blooming artist, an exalted inquiry into creativity, and a resounding celebration of the 'power of amazement'." Enjoy 12 more exceptional interviews from, "The Tiferet Talk Interviews" book, it can be purchased from Amazon here: http://tinyurl.com/bu8m2zs
Philip Zimmermann has been making artists’ books under the imprint Spaceheater Editions since 1979 and making books since 1974. He now teaches at the University of Arizona but taught for 24 years at Purchase College, State University of New York. His work may be found in The Joan Flasch Artist Book Archive at the School of the Art Institute of Chicago, the Special Collection at Yale University, The Fogg Museum at Harvard. The Museum of Modern Art, the Victoria & Albert Museum and shown and collected by many other institutions and libraries. He is the author of Options for Color Separation, High Tension, Nature Abhors and Shelter, among many other books. He has been the recipient of National Endowment for the Arts Individual Fellowship, two New York Foundation for the Arts Fellowships, a Lila Auchincloss Foundation Fellowship and a Mid-Atlantic Individual Artist Fellowship through the NEA.
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