Podcasts about ballroom marfa

We are back with a new episode of the Ecosystem Member podcast! Thank you for tuning in.Our guests for this episode are Heather Ackroyd and Dan Harvey, who make up the incredible artist duo Ackroyd & Harvey. I first came across their work at the Dear Earth exhibition at the Hayward Gallery in London (which also featured past guest Jenny Kendler) and as we discuss in the episode, re-engaged with their work through their Beuys' Acorns project, which just had a major planting that we talk about at the Sainsbury Centre in Norwich. If this is the first time you are hearing about Ackroyd & Harvey, they are an internationally acclaimed artist duo that create work at the intersection of art, activism, architecture, biology, ecology and history. Their work often involves natural materials such grass and light - through a process called photographic photosynthesis - or the bones of a juvenile Minke Whale. Over their multi-decade collaboration with each other, nature, activists, scientists and other artists, their work has been shown at the Tate Modern and Royal Academy in London, The Central Academy of Fine Arts in Beijing, and Ballroom Marfa in Texas among dozens of other prestigious locations. In 2019, they also co-founded Culture Declares Emergency in response to the climate and ecological emergency.The reason I titled this episode ‘Natural Collaboration' is evident in the podcast. Over the years, Ackroyd & Harvey have created their own little ecosystem that evolves over time and brings into their circle not just nature and the more-than-human world, but other artists, scientists and activists of all stripes. It is a great example of the compelling conversations that can be had when we collaborate with others, especially as we face the climate crisis.In this episode, we dig into their various collaborations and spend a lot of time on their photographic photosynthesis process, which happened almost by chance as you'll hear about in the episode. We also talk about their connection to place and the challenge of working with living materials, including the more-than-human animals and creatures that find their way to the pieces. Our conversation comes to a close around the Beuys' Acorns project, which has extended Joseph Beuys' original 7,000 Oaks project over many more decades, helping it stay a point of discussion for new generations.If you haven't subscribed to our newsletter and Substack, please visit ecosystemmember.com. On the homepage, you'll find a link to pages about all of our episodes, including this one, so you can see some of the work we discuss and find links to the rest. In addition to alerts about the latest podcast episodes, I'll occasionally send out a post profiling an artist I really enjoy or an exhibition I get the chance to attend, along with a rare opinion piece about what's going on in the worlds of art and nature. That is all at ecosystemmember.com. Without further delay, here is the latest episode of the Ecosystem Member podcast with the artist duo Ackroyd & Harvey. LinksGrass House by Ackroyd & Harvey Ackroyd & Harvey Website Ackroyd & Harvey Prints and Drawings for Sale "Reclaiming the Commons Through Art" from Atmos featuring Ackroyd & HarveyPhoto Credit for Podcast Cover Art: Manuel Vason

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

Episode No. 664 features curator Sarah Kelly Oehler and artist Rebecca Manson. With Annelise K. Madsen, Oehler is the co-curator of "Georgia O'Keeffe: “My New Yorks." The exhibition spotlights O'Keeffe's paintings of New York City, surrounding them with pictures she made of Lake George and the Southwest. It's at the Art Institute of Chicago through September 22, when it will travel to the High Museum of Art in Atlanta. The exhibition catalogue was published by the AIC. Amazon and Bookshop offer it for $40-46. The Modern Art Museum of Fort Worth is showing "Rebecca Manson: Barbecue," an immersive installation made from ceramic. Manson's work has been shown in group shows at institutions such as Ballroom Marfa in Texas, and the Center for Craft, Asheville, NC, and at Tribeca Park in New York. "Manson" was curated by Clare Milliken and will be on view through August 25. Instagram: Sarah Kelly Oehler, Rebecca Manson, Tyler Green.

Ep.186 Loie Hollowell was born in 1983 and raised in Woodland, California. She currently lives and works in New York City. She received a BFA at University of California Santa Barbara in 2005 and an MFA inpainting from Virginia Commonwealth University in 2012. Her work has been exhibited at museums and galleries worldwide including Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis; Pace Gallery; Long Museum West Bund, Shanghai; Feuer/Mesler, New York; White Cube Gallery, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art, Los Angeles; The Flag Art Foundation, New York; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Victoria Miro, London; and Ballroom Marfa, Texas. Her work is in public collections including the Albertina Museum, Vienna; Centre Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; ICA, Miami; Long Museum, Shanghai; Los Angeles County Museum of Art, Los Angeles; M+Museum, Hong Kong; Stedjelijk Museum, Amsterdam; and Zentrum Paul Klee, Switzerland.  Her work has been exhibited at museums and galleries worldwide including Pace Gallery, The Aldrich Contemporary Art Museum, Ridgefield, CT; Jessica Silverman, San Francisco, CA.  Photo by Melissa Goodwin Artist https://www.loiehollowell.com/ Pace Gallery https://www.pacegallery.com/online-exhibitions/loie-hollowell/ The Aldrich Contemporary Art Museum  https://thealdrich.org/exhibitions/loie-hollowell-a-survey Jessica Silverman https://jessicasilvermangallery.com/online-shows/loie-hollowell-in-transition/- Urist, Jac. Loie Hollowell Abstracts the Female Body, W Magazine / January 18, 2024- Dafoe, Taylor. Loie Hollowell's New Move From Abstraction to Realism Is Not a One-Way Journey, Artnet / January 19, 2024 Thornton, Sarah. Loie Hollowell on Frottage, Fantasy and Feminist Erotica, Interview Magazine / January 23, 2024 Greenberger, Alex. 33 Must-See Exhibitions to Visit This Winter, ARTnews / December 3, 2023 Knupp, Kristen. Loie Hollowell: The Third Stage, Art Vista / September 4, 2023 Woodcock, Victoria. The Cosmic Heirs of Hilma af Klint, Financial Times / May 26, 2023 Lesser, Casey. Loie Hollowell on Abstraction, Making the Grotesque Beautiful, and Her Latest Work, Artsy / March 14, 2023 Gómez-Upegui, Salomé. The New Generation of Transcendental Painters, Artsy / February 28, 2023 Belcove, Julie. How a New Generation of Women Painters Is Creating Dreamy Kaleidoscopic Works, Robb Report / February 26, 2023 Compton, Nick. Generative art: the creatives powering the AI art boom  Wallpaper* / December 12, 2022 Binlot, Ann. At the Aldrich, Revisiting a Groundbreaking Show forFeminist Art, New YorkMagazine's The Cut / June 7, 2022 Yerebakan, Osman Can. Loie Hollowell on Painting, Pain, and her Second Birth,  Artforum / May 26, 2021 Wilco, Hutch. Loie Hollowell's Shanghai Recalibration, Ocula / May 26, 2021 New York Up Close. Loie Hollowell's Transcendent Bodies, Video by Art21 / April 14, 2021 Giles, Oliver. Artist Loie Hollowell On How Motherhood Inspired Her Paintings, Tatler Asia /April 11, 2021 Donoghue, Katy. Art Mamas: Loie Hollowell on ‘Going Soft', Whitewall / July 17, 2020 The A-List: The Best Culture To Catch From Home This Week, Vanity Fair / July 5, 2020 Urist, Jacoba. Artists Share the Most Inspiring Books They're Reading Right Now, Galerie Magazine/ March 30, 2020

Episode No. 627 features artists Erica Mahinay and Teresa Baker. Mahinay and Baker (Mandan/Hidatsa) are both included in "Made in L.A. 2023: Acts of Living," the sixth iteration of the Hammer Museum's biennial. The exhibition, which is on view through December 31, was curated by Diana Nawi and Pablo José Ramírez, with Ashton Cooper. This is the second of two MAN Podcast episodes that will feature artists from the program. The first featured artists Melissa Cody and Roksana Pirouzmand. Mahinay is a painter and sculptor whose work references and updates modernism in address of the body. She has had solo exhibitions at galleries in New York, Los Angeles, and Rome. Baker's mixed-media works combine artificial and natural materials to make abstracted landscapes that explore space and movement. She has been featured in solo exhibitions at the Scottsdale (Ariz.) Museum of Contemporary Art and the Museum of Southeast Texas, Beaumont, and in group exhibitions at Ballroom Marfa, the Nerman Museum of Contemporary Art, Overland Park, Kan., and Marin MOCA, Novato, Calif.  Instagram: Erica Mahinay, Teresa Baker, Tyler Green.

Recorded live, next to a pool and at one of the best cribs in the hamptons nate and benjamin debreif the Ballroom Marfa dinner, artworld news (and gossip) and so much more. You won't want to miss this rare summer edition of Nota Bene. The ONLY art podcast. --- Support this podcast: https://podcasters.spotify.com/pod/show/benjamin-godsill/support

image credit: Star Montana rafa esparza (b. 1981, Los Angeles; lives and works in Los Angeles) received a BA from University of California, Los Angeles in 2011. Solo exhibitions have been held at Artists Space, New York (2023); Commonwealth and Council, Los Angeles (2021); MASS MoCA, North Adams (2019); ArtPace, San Antonio (2018); and Ballroom Marfa (2017). Selected group exhibitions have been held at Commonwealth and Council, Mexico City (2022); Museum of Contemporary Art Tucson (2022); Moody Center for the Arts, Rice University, Houston (2020); San Diego Art Institute (2019); Whitney Museum of American Art, New York (2017); and Hammer Museum, Los Angeles (2016). esparza is a recipient of a Pérez Prize (2022), Latinx Artist Fellowship (2021), Lucas Artist Fellowship (2020), Louis Comfort Tiffany Foundation Award (2017), Art Matters Foundation Grant (2014), and California Community Foundation Fellowship for Visual Artists (2014). He has participated in residencies at Artpace San Antonio (2018) and Wanlass Artist in Residence, OXY ARTS, Los Angeles (2016). esparza's work is in the collections of Los Angeles County Museum of Art; Dallas Museum of Art; San Jose Museum of Art; Minneapolis Institute of Art; Museum of Contemporary Art, Los Angeles; Kadist Art Foundation; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; and Vincent Price Art Museum, Los Angeles. 110 Northbound, photo by Yomahra Gonzalez Camino Exhibition, photo by: Yomahra Gonzalez Hermila, photo by Yomahra Gonzalez

Villareal was born in Albuquerque, New Mexico and grew up in El Paso, Texas and Juarez, Chihuahua. He attended Portsmouth Abbey School in Portsmouth, Rhode Island and received his BA in sculpture from Yale University in 1990 and his master's degree in Interactive Telecommunications from New York University in 1994. After graduating from NYU, Villareal moved to San Francisco to work for three years at Paul Allen's private research lab, Interval Research, in Palo Alto. Since 2004, Villareal has served on the board of Ballroom Marfa in Marfa, Texas, a dynamic, contemporary cultural arts space. In 2011, Villareal joined the board of the Burning Man Project. He currently lives in downtown Manhattan with his wife Yvonne Force Villareal and their two children.

Episode No. 534 features artist Eamon Ore-Giron and curator Caitlin Haskell. The Anderson Collection at Stanford University is presenting "Eamon Ore-Giron: Non Plus Ultra" through February 20. The exhibition features paintings Ore-Giron has made while on a Stanford residency, installed with works from the Anderson's collection. It was curated by Ore-Giron and Jason Linetzky. Next month, The Museum of Contemporary Art Denver opens a survey of Ore-Giron's 20-year career titled "Eamon Ore-Giron: Competing with Lightning / Rivalizando con el relámpago." The exhibition, which was curated by Miranda Lash, will be on view from February 16 to May 22. Ore-Giron's work joins histories, geographies and abstraction as a means by which to explore the layered past and present of the Americas. He's been featured in solo shows and two-person shows at LAXART and the 18th Street Arts Center in Los Angeles, the Pennsylvania Academy of the Fine Arts, and in group shows at SFMOMA, the Hammer Museum, Ballroom Marfa, and more. Haskell discusses "Ray Johnson c/o," which spotlight's Johnson's work from almost exclusively within the AIC's recently acquired William S. Wilson Collection of Ray Johnson—the original archives of the international mail art network known as the New York Correspondence School (NYCS). It is on view through March 21. Haskell co-curated the show with Jordan Carter; the remarkable catalogue was designed by Irma Boom. It is available from Indiebound and Amazon from about $60.

Cooking In Marfa: Welcome We’ve Been Expecting YouBy Virginia Lebermann and Rocky Barnette Intro : Welcome to the number one cookbook podcast, Cookery by the Book with Suzy Chase. She's just a home cook in New York City sitting at her dining room table, talking to cookbook authors. Hi I'm Virginia Lebermann and I'm Chef Rocky Barnette of The Capri and we've come up with a book called Cooking In Marfa: Welcome We've Been Expecting You.Suzy Chase: Dusty ranch land surrounding a tiny rural town near the Mexican border and an internationally renowned art mecca far off the beaten path is Marfa, Texas, 200 miles South of El Paso "with its ethereal high desert landscape, cavernous blue skies and views for 50 miles" as the artist Donald Judd once put it. Hotelier, philanthropists, and Ballroom Marfa co-founder, arts pioneer, Virginia Lebermann along with your partner, chef Rocky Barnette have written this wonderful tribute to your restaurant, The Capri but before I go on, let's talk about how Marfa put a shelter in place, right when COVID began and how has that affected you, and the restaurant and your life?Virginia & Rocky: We shut the restaurant March 17. Yeah. Officially started the talks on the 13th and we have not reopened. When we initially shut due to mandates, we had a big staff meeting or a series of staff meetings really and just came together and talked to everyone about how they wanted to handle it. Yeah, it was kind of a democratic process because we were concerned first of all, about their health and then second about West Texas in general and then third, we wanted them to be a part of the decision making process. And the general consensus was that we would ride this thing out as long as we needed to and just keep everyone safe. So that's how we handled it. So nine months later, they're on their second shelter in place. The nearest hospital is 26 or seven miles away in Alpine, Texas and that hospital has two ICU beds and two ventilators and the Midland hospital and the El Paso hospital have stopped taking transfers so it's been very, very touchy for that small town.Suzy Chase: The Capri was originally intended to be a cultural arts project housed in one of the three Adobe and steel army airfield hangers, which you bought in 2007, along with The Thunderbird motel across the street. Can you tell us a little bit about that?Virginia & Rocky: My dear friend, Fairfax Dorn and I had started Ballroom Marfa. We opened our doors in 2003 and we were bringing in artists from all over the world and commissioning new work and bringing people in to see that work. It became difficult to house people. And so I became a partner in The Thunderbird Capri Project and then ultimately bought everyone out. And we ran the Thunderbird hotel with the intention, really of focusing on housing artists for the Chinati Foundation, for Judd, for the Lannan Foundation for all the foundation projects that were bringing really serious people into town so that's how the motel happened and The Capri was actually a sister motel and we renovated it in such a way that it became more of an event space and we would have our first program there ever with ballroom was we had Sonic Youth come and play for a Chinati weekend. It was wild.Suzy Chase: Back in the day when things were wild. I love to hear your vision to connect the food to the region, to the culture and the design of the restaurant.Rocky Barnette: I think at the beginning, I guess with the food to the region is Virginia's mother has a ranch, seven miles West of town and going out there, there are still spots along the ranch where you can see where fires were built and there was a series of caves where you can still find arrow points and tools for grinding, cooking and cutting and so some of those have been carbon dated to be 10,000 years old. I'm like, okay, people were here 10,000 years ago. The landscape was a little different weather patterns are a little different, but what were they eating prior to dairy queen or, orSuzy Chase: Shoney's?Rocky Barnette: Um, so that started this line of questioning. And then Virginia inspired me greatly about this because she would say, well I used to live in Terlingua and down there and we would make prickly pear wine and we would make some bread out of mesquite bean flour and I'm like, what is all this stuff you're talking about? And so it just kind of opened up my mind to start trying to rediscover or reinvigorate a sort of way to eat in the desert without flying in seafood.Suzy Chase: Most cookbooks that are affiliated with restaurants don't mention the design aspect at all and that's one of the lovely things about this book is you describe it in great detail. How do you create spatial fluidity in a perfectly rectangular box? That's the question of the day?Virginia & Rocky: You section a little bit of it off because it's a large box. When we called Sean Daley, who is a very dear and very old friend to ask him to participate in the project. I had a little narrative that I had woven in my own head to share with him about where we wanted to go with the space and it was about the old mercantile stores on the border and in Southeast Texas, where I up were really the center of social activity for these ranchers and farmers. I think in the book, I say, you could buy a can of Folgers coffee and maybe a broom if things are flush and some twine to tie some things together, but really it was all about sitting on the front porch and talking about your neighbors and talking about the weather and that's sort of the feeling that we wanted there, a historical reference with some modern edges to the texture, to the materials.Suzy Chase: In the book you wrote. "There's a magic that bar stools can make when they're all lined up perfectly and make a sculptural statement."Virginia & Rocky: That is my Virgo coming out. I love to walk in to the restaurant and these beautiful turquoise leather bar stools in a line, make my heart swoon. If they're not lined up she starts twitching and screaming about centipedes. A part of the design too was that Sean Daly pulled a lot of colors from the landscape, like he pulled colors from not the foliage in the spring when it was bright and vibrant but the foliage in the winter when it was a little dull and so that would be some colors of the curtains and then they were brightened up by the barstools themselves. And so it's a really good contrast.Suzy Chase: Where exactly did you two grow up?Virginia & Rocky: I grew up on my family's ranch in Southeast, Texas on the Gulf coast, went to school in Austin, which is certainly the bastion of progressive thought in the state of Texas. So that's where I am proper Texans. I'm seventh generation. And I, well, I was born in Asheville. I was part of a military family. So I also lived in Fort Huachuca Arizona for four years, and then Fort Bragg, North Carolina, and then back to Hendersonville area and then went to culinary school, Asheville. So Virginia, you went to Nepal when you were 19. Did your family think you were crazy or were they all for it?Virginia Lebermann: They thought I had absolutely lost my mind. That was pre cell phones. So I would send a postcard home that would take three or four weeks to get there. They thought I was absolutely mad, but I went through a program with Brown University and it was a life changing experience on every level for me, as you might expect.Suzy Chase: Then in your twenties, you spent time in Africa and then you traveled around Europe and did all the things, but you say your travels in Mexico have always had the most profound reverberations for you. Can you talk a little bit about that?Virginia Lebermann: You know, I think that the antiquity that exists in Mexico is so much more vibrant to me personally than even the antiquities of Greece or Rome and it is on the same landmass that I grew up on. You know, you can sit on the back porch at the ranch and you're looking down into Mexico and that connection to the land, but then the real mystery for me of the Mayans and the Aztecs and what they were eating before the Spaniards came has just always been really exciting to me and I think it has to do with proximity a lot of it, you know.Suzy Chase: And you wrote in the book "out here you can drive for hours and often never see a vehicle, I find that thrilling" you wrote and I imagine it was the same way in Mexico.Virginia Lebermann: Oh yeah. And Nepal and Africa, there's definitely a thread. There's something that I love about that feeling that you're the first, albeit an illusion let's be clear, but that you're the first to be there sort of.Suzy Chase: Rocky, I want to hear all about Evelyn Juanita Barnette.Rocky Barnette: That was my great-grandmother. So I'm from Appalachia. Everybody starts procreating very young there apparently. So my mother had just turned 16 when she had me and so she was working a lot and still trying to go to school and so I was essentially raised by my great-grandmother for the first three years of my life and then from the time I was seven til she died when I was 20. And so she was an old Southern lady. She had 13 siblings, grew up in the great depression through every single war and she and my great-grandfather, the front of the two-story house was right on the highway and they turned it into a produce stand because it had a giant garden in the back, and that was their business. He was a mechanic across the street at a truck line, and then he, and she would both run the produce stand on a daily basis. So it was like a mini farmers market.Suzy Chase: Was she a good cook?Rocky Barnette: Yeah. Pretty good.Suzy Chase: Do you think that's where you got your culinary skills from your innate culinary skills?Rocky Barnette: Yeah, sort of like inspiration because my mother is going to be ashamed said this, but she's not the best cook in the world but I was inspired by my great-grandmother and what I started doing... She started getting sick when I was a teenager because she was old. So I started trying to recreate things that she would make before I went to culinary school.Suzy Chase: Before culinary school, your mom finagled a job for you at Shoney's when you were 13. Right. And Shoney's is so much better than Denny's.Rocky Barnette: Yeah. It's funny that that Shoney's that I've worked at then got bought out by Denny's and I was like, I don't want to work there anymore.Suzy Chase: So you made money to buy Nintendos and sneakers, and then you moved on to Chico Tacos and Henderson, North Carolina, where you were hired by the German owner, Kurt Markel, who sort of took you under his wing and suggested books for you to read. Then you made your way down to Mexico with a friend of the family's name, Ray who owned a fruit packing business, apple orchards, and a trucking line. Fast forward to your first culinary epiphany in Mexico. Can you tell us about that?Rocky Barnette: I think my only understanding of Mexican food at that time was like TexMex sort of things and even though I worked in what I thought was a Mexican restaurant for three years, but I was high up in the mountains, like the Sierra Occidental Mexico and we were eating beans every day and they were firing fresh tortillas at every meal and you would have a salsa or onions or something with it but when I was at home growing up with my grandmother your traditional Appalachian meal is pinto beans, cornbread, and chopped up vidalia onion and you wound up eating that a lot because it's inexpensive. So I felt right at home. I was like, well, I must be Mexican.Suzy Chase: So, this cracked me up. So you get back to North Carolina three months later and your mom is freaking out.Rocky Barnette: Oh yeah. So this was also the time when there weren't cell phones, no nothing there's no police, running water, postal service, phones, like you'd have to drive an hour down the mountain to use a payphone.Suzy Chase: Did she think you just died or something?Rocky Barnette: Yeah. She she was beside herself. She was like trying to call the national guard and they're like, yeah, we, sorry, can't help you.Suzy Chase: Oh, your poor mom.Rocky Barnette: She thought I was going for a week and I thought I was going for a week or two and then it turned out to be about three months.Suzy Chase: We just talked about how you started your culinary career at Shoney's. So did it blow your mind when you got the internship at the famed Inn at little Washington in Virginia?Rocky Barnette: It was so new and so refreshing and so foreign and so exotic to me that I was just so happy to be there, that I was willing to do anything that they told me to do like go wash the dog, wash somebody's car, go do this, polish this, work 16 hours a day. Yes, yes, yes. And I don't mean any of that as a bad thing. I was so excited to be there and I found it so thrilling, no matter how hard the work was or how long the hours were, because I'd never smelled things like that and never seen things like that. I mean I never tasted French butter before. My grandmother loved produce and she loved food and she was a great cook, but we didn't use fresh herbs in anything. I'd never tasted fresh herbs and I was 20 years old. And so I learned what they call the traditional brigade system it's like the chef is the chef and then everybody trickles down from there. And I was happy to have just been able to start anywhere. And I started as a dishwasher.Suzy Chase: Then you wind up catering shows at The Capri, really thinking about something that you could do for the community you wrote in the book, you had no courage or capital only compunction. How did the idea come about?Rocky Barnette: Well, I'd spoken to Virginia like a few years before, cause I was doing catering events for Ballroom Marfa or I'd like deliver some soup to her house. I had a job at the time, but it was boring to me so she started talking about how she originally intended to have a kitchen at The Capri and we talked about it and I looked at some plans and then we started dating and then she had a captain who could exact your plans. And she intended to do that. That's what I say. Yeah.Suzy Chase: Yeah. In the book Virginia wrote "eventually it all came together we had a classically trained chef on the loose in the culinary challenged town of Marfa we had a town with a lack of great restaurants and incredible adobe structure sitting empty without its next story, we had a match made in heaven" Virginia. Can you tell us about that?Virginia Lebermann: The Capri had been used for some music shows and things like that with Chinati Foundation and Judd and Ballroom, and then people had rented it here and there for events, but it's such a gorgeous building and sits on such a beautiful piece of property in the middle of town. I just felt like ballroom needed its extension and it needed to be a culinary extension, sort of a laboratory to think about where we live. And Rocky seemed like the perfect person, the force to do that with me.Suzy Chase: Like you two have complimentary super powers that when they come together, it makes for something crazy amazing.Virginia Lebermann: And that's very generous of you to say.Virginia Lebermann: Virginia, the subtitle of this book is Welcome We've Been Expecting You. And that phrase is sprinkled all throughout the book. What does that phrase mean?Virginia Lebermann: So that happened when I did call Sean Daley, our friend and designer of The Capri to tell him this crazy story of mercantiles along the border and what we wanted it all to feel like I spoke for, you know, seven or eight minutes. And without missing a beat, Sean Daley had just responded from dead silence to welcome we've been expecting you. And I said, yeah, you get it. And he's like done I'm on board. I want to be a part of it. So it's on the matchbooks that we have at The Capri. We kind of use it. It's the spirit, the essence of what we're trying to accomplish and what we're trying to have the space feel like that you walk in and you take that sigh of relief because you know, somebody is there who is interested in taking care of you.Suzy Chase: And I heard your drinks come fast, you don't have to wait long for a drink.Virginia Lebermann: You don't, we impress that on the boys for sure and the ladies.Suzy Chase: Virginia Food & Wine said you're at the heart of the more recent design and hospitality movement in Marfa. Do you think design and hospitality as a concept will change post COVID or do you think it's going to go all back to normal the way it used to be?Virginia & Rocky: I think that is such an incredibly profound and wonderful question and it's so hard to answer. I think it's what everyone in the restaurant business and the design world are. Everyone's talking about that right now. What has become superfluous? What is still sort of mandatory for the essence of our human spirit in terms of design and culinary endeavors. I have a handful of chef friends from restaurants throughout the United States at this point, and there's one thing that there's this epiphany that they've had where it's like, you know what? I kind of liked this model of people pre-ordering and then we go put it out on the sidewalk and they just like drive by and pick it up without stopping like logistically it's easier to control in a certain sort of way doing delivery where it's like the reinvention of the takeout window but at the same time, what you worry about is when you grow up in restaurants and you love going to restaurants, there's the possibility that, well, you're absolutely going to lose a bunch of restaurants that used to love to go to. And there's a possibility that if it changes too much, you won't be able to go to a restaurant in the way that you did before. And it's not a natural chain of evolution. I don't think it's good for restaurants like Daniel Boulud's restaurant at restaurant, Daniel in New York like I think those things have a purpose in life and Jean-Georges and La Bernadin but these places with these tablecloths, these things like 11 Madison Park has its place, but also every single dive bar and every ethnic restaurant in Queens, like everything has its place in the grand scope. But if it all becomes about the bottom line and how to control inventory and staff hours and all of that, then you've lost the community aspect and the human aspect. Can you imagine all of the ideas? The only design will be what kind of box you get your food? Right? I mean, all the ideas that have happened from the community of restaurants, the poetry that's been written, the paintings on the walls, restaurants and design, and all of these things are such a steadfast place. Spilling sauce on a velvet chair.Suzy Chase: I know I miss going to this bar here in the West Village and listening to the jukebox, sitting at the bar, talking to some rando who probably has an amazing story and listening to some Lynrd Skynryd.Rocky Barnette: Where are you going Blue Smoke?Suzy Chase: No it's called WXOU on Hudson.Virginia Lebermann: Fantastic. Well, I miss that too.Suzy Chase: There's that scene in the movie giant where Elizabeth Taylor is welcomed to town with a huge party of barbecued meat. What principles of West Texas hospitality do you to embrace?Virginia Lebermann: The largesse of it all. Though certainly the excess is a trademark style of any Texan who entertains. We talk about that in the book where you walk in and if, if you are a known quantity and loved by Rocky, he comes out of the plating room and has the entire restaurant clap for you.Suzy Chase: I love that.Virginia & Rocky: It's really fabulous and it is embarrassing and very warm and funny at the same time. That's really an appropriately posed question cause you say welcome to town. The last thing you want to do as a guest is to arrive somewhere and feel like, what are you doing here? So you want people to say here put this down your gullet, sit down.Suzy Chase: I saw the Donald Judd exhibit at MoMA last week and I got to thinking, did Donald Judd influence Marfa or did Marfa influence Donald Judd?Virginia Lebermann: I'm not a Judd scholar. So I'm always a little bit anxious about speaking to a few, simply about what I think happened with Judd but you know, he was influenced by the landscape. It was there where he had the space to create these enormous bodies of work and have them installed in a way that had a relationship with a forever landscape. And conversely, he put Marfa on the map very slowly. You know, when I first started going to Marfa as an adult who was sort of aware of the art world, the people who were there to see Chinati and the Judd installations they were from Germany, they were from all over Europe we never saw a Texan, hardly ever, and a flash of New Yorkers. It's been a very slow process. I mean, if you, if you're touched by the art world at all, you know who Donald Judd is. And so that in turn affects the tourist base in Marfa and the tourist economy there,Suzy Chase: The construction and design of this book is a work of art. Speaking of art can you tell us a little bit about the look and feel of the bookVirginia & Rocky: I happen to be holding in my hand right now. We were introduced through a friend, Jess Hundley who was sort of an external advisor and editor on the book. She's from Los Angeles and has worked on many, many, many books. And she introduced us to a designer called Brian Roettinger, who also based in LA and is actually quite famous for his album covers and wins Grammy's for those and we loved Brian's work. Then we asked Phaidon if they would break with protocol a bit and use a designer that we introduced them to and they very patiently and kindly said yes and so Brian came out to Marfa. I understand is quite different from many books where usually the designer is far away and perhaps doesn't ever see the space or the restaurant or the town or the region. And so Brian got to come out and this is where I think he created a journal. It's a travel journal, the quality of the paper Douglas's photography, which we haven't even touched on yet it's just amazing. The incredible food styling by Rocky Barnette but Douglas the photographer who is also a dear friend. It was a wonderful project because we were also close, but Douglas has a house in Marfa and he has become quite a famous photographer in his own right but did this project very much out of love for all of us and for Marfa and we worked on this photography for a year, we would work on it every time he came in to town just to come home from being on the road. So I think it has that feeling of, oh, it's very personal. Yea Doug is one of the most incredibly effective and professional people I've ever worked with.Suzy Chase: So Rocky, I'm dying to hear about your famous guac.Rocky Barnette: What do you want to know about it?Suzy Chase: Well, why is it so famous?Rocky Barnette: I don't know. I guess people really like it. I think, I guess it tastes good. I grew up mostly in Asheville, North Carolina, and there are a lot of vegetarian restaurants and they're really good and there's a lot of good produce around there. When I first started going to school, we were going to vegetarian restaurants or Mexican restaurants and I've learned about what foie gras was seared foie gras I was like why couldn't I do that with an avocado? And so then I was like, well, I'm here in Texas 20 years later might as well grill these avocados. And the strangest thing is that my Italian sous chef at the Inn at Little Washington, his name is Raphael De La Huerta is the one that taught me to make guacamole. I never knew how to make guacamole, but he taught me things like sneak a little cumin in and use some really fine extra virgin olive oil. And we'll maybe I'll add some extra lime juice and finally grill the avocados like my vegan foie gras dream and then it turned into guacamole and everybody wants to eat it all the time. And it's painful to have to produce. And in Texas, if you don't have guacamole and a steak, you're just in big trouble.Suzy Chase: I made your recipe for Watermelon Radishes with Habanero Vinegar, Aged Balsamic and Lime on page 100. Can you describe this recipe?Rocky Barnette: We started the restaurant in November and we started serving food in January. We're in the middle of the desert and the only thing that I could get that was like resembling a vegetable was watermelon radishes and we had habanero's and we had pickled watermelon rind that I've made before and balsamic. So it was like, well, I'm gonna try to recreate a carpaccio. It pretty simple in my mind, but it just turned out to taste pretty good. The locals got sick of it after about six months to a year. By June, still the only vegetable we can get is without mail ordering something was a watermelon radish, but it was just kind of a sort of take on watermelon on watermelon on watermelon in terms of a carpaccio and just trying to bring out as much flavor as possible.Suzy Chase: Now for my segment called last night's dinner, where I, you, what you had last night for dinner.Virginia & Rocky: So glad that I can tell the truth. I made Crab Fried Rice, my new thing that I like to do with Nantucket Bay Scallops. Now that we're not in the desert anymore for this moment. And Nantucket Bay scallops are in season right now. And so I use sushi grade rice, and then I just try and chop up every kind of vegetable that I can find and then folding in the crab meat. And then I like to cook bay scallops with just fresh parsley, butter and fresh squeezed lemon or pink lemons, which we had recently and I don't mean to be a show off, but, um, and I call the crab fried rice, the mashed potatoes and the Nantucket Bay scallops become the gravy and so you put one on top of the other and it's just really light and refreshing cooked in coconut oil and a lot of ginger and garlic and onions and everything kind of comes together if I do it right, and don't drink too much while I'm cooking. Suzy, I eat a lot of Rocky's food and that Crab Fried Rice, I can't believe it. We were at a friend's house last night and he was making it for Gordon and Gordon stood up after his first bite and marched into the kitchen was like, this is legendary. What is this? It's pretty special.Suzy Chase: So where can we find you on the web and social media?Virginia & Rocky: So we're @CapriMarfa on Instagram. And we do not have a website at all. We still use a quill pen. haha We're pretty simple,The Capri remains a secret.Suzy Chase: Well now I'm officially obsessed with Marfa. I cannot thank you enough for coming on Cookery by the Book podcast.Virginia & Rocky: We are honored. You are so sweet to have us. Thank you so much. And we are indeed honored.Outro: Subscribe over on CookerybytheBook.com and thanks for listening to the number one cookbook podcast, Cookery by the Book.

How To Spread A Smile… SCAD alumnus Roberto Carlos Lange takes artistic experimentation and exploration to new heights through his music, films, installations, and visual art. Under his musical moniker, Helado Negro, Lange has become a Latinx icon, advocate, and role model. His bold expression and spirited positivity are undeniable features of his much-loved work. As a proud member of the SCAD Class of 2003, Lange continues mentoring current students and instills a work ethic that can accomplish anything. His work featured on NPR’s Tiny Desk Concert series. He was named a United States Fellow in Music and received a grant from the Foundation for Contemporary Arts. For today’s interview, Lange zoomed Paula Wallace from his current studio at Ballroom Marfa in West Texas. Before a virtual audience, the two examined Lange’s road to success, compositional techniques, and collaborative nature. Lange also fields questions from current SCAD students in a Q&A moderated by sound design sophomore, Angel Chiclana.

Roger White is a painter, writer, and editor based in Vermont. His work is represented by Rachel Uffner Gallery in New York, Grice Bench in Los Angeles, and LABOR in Mexico City. His paintings have been featured in exhibitions at the American Academy of Arts and Letters, New York, NY; The Suburban, Oak Park, IL, the Weatherspoon Art Museum, Greensboro, NC; and Ballroom Marfa, Marfa, TX; among many others. He is the co-founder of the contemporary art journal and publishing imprint Paper Monument and is also the author of The Contemporaries, published by Bloomsbury in 2015. He received an MFA from Columbia University in 2000. Sound & Vision is sponsored by Golden Artist Colors.

SOTA host Gabe Barcia-Colombo, visited the Big Easy this week to experience LUNA FÊTE, New Orleans' public festival of light, art, and technology. Produced by the New Orleans Arts Council, LUNA FÊTE first emerged in 2014 as a celebration of New Orleans creative industries. Now in it's sixth iteration, Gabe had the opportunity to speak with Lindsay Glatz, New Orleans Arts Council Creative Director and Curator of LUNA FÊTE, as well as two participating artists, Camille Grosse, and Courtney Egan. -About LUNA FÊTE-LUNA Fête is a visionary initiative created by the Arts Council New Orleans to demonstrate the power of art to transform communities. This free and open to the public festival of light, art, and technology celebrates New Orleans creative industries and provides a memorable experience for diverse event attendees. Since its 2014 inception, LUNA Fête has presented some of the top light and projection-based artists in the world, while simultaneously providing training to local artists to advance their capabilities to create large-scale and interactive art animated with light. More than 200 New Orleans artists and 60 youth have advanced their technical and artistic skills through this unique educational opportunity.-About Lindsay Glatz-Lindsay joined the Arts Council in 2009 after serving as a Senior Communications Strategist for Deveney Communication where she managed communications efforts for the collective New Orleans Tourism Industry following Hurricane Katrina. With a commitment to social innovation, she has served as a Propeller consultant assisting in the launch of Birthmark Doula Collective and Where Y’Art. Lindsay holds degrees in Journalism & Mass Communications and Leadership Studies.Learn more at https://www.artsneworleans.org/about/staff/-About Camille Grosse-Camille Gross is a french visual designer born in 1984. Art passionate since her childhood, she studied at l’ESAT in Paris, where she graduated in section scenography in 2008. The same year, she worked with a french artist video with whom she collaborate for 4 years on international light projects.Freelance since 2012, she collaborates regulary with the french agency Cosmo Av on various projectsLearn more at http://camillegross.com/-About Courtney Egan-Courtney Egan’s projection-based sculptural installations mix botanical themes with shards of technology. In 2010 she presented a solo show, “Field Recordings,” at Heriard-Cimino Gallery in New Orleans. Recent group shows include “Louisiana Contemporary” at the Ogden Museum of Art, “Uniquely Louisiana” at the Louisiana State University Museum of Art, “NOLA Now II” at the Contemporary Arts Center in New Orleans, “The World According to New Orleans” at Ballroom Marfa, and “Frontier Preachers,” at The Soap Factory in Minneapolis. Her work has been featured in the New Orleans Times-Picayune, OxfordAmerican.com, PelicanBomb.com, Artforum.com, and in The Gambit. Courtney has also screened short films at many festivals, including the New Orleans Film Festival, Ann Arbor Film Festival, New York Underground Film Festival, MadCat Women’s International Film Festival, Kasseler Dokumentarfilm & VideoFest, and the Black Maria Film Festival. Courtney was an artist-in-residence at the Santa Fe Art Institute and at Louisiana Artworks in New Orleans. She is a founding member of the New Orleans-based visual arts collective Antenna.Courtney holds an M.F.A. from Maryland Institute College of Art. She taught art and media in elementary, secondary, and college classrooms since 1991. Courtney is currently a Media Arts faculty member at the New Orleans Center for Creative Arts (NOCCA). Learn more at http://www.courtneyegan.net/project-type/video-sculpture-installation/

Today, we take you back to the month of April, in the year 2012. That’s when we set out on a road trip from Austin, Texas. We’re aiming to find out how remote wide open spaces of the American Southwest inform and inspire art and design, curating and filmmaking.   Lubbock, Texas, birthplace of musician songwriter Buddy Holly, is our first stop. In a warehouse at the edge of town, we meet architecture professor Chris Taylor. He introduces us to students from Texas Tech University who took his course in Land Arts of the American West. The course involves a 6,000-mile road trip that culminates each time in an exhibition such as the one on view during our visit. We drive on to Roswell, New Mexico, home to the Unidentified Flying Object (UFO) Museum, to spend the night in one of the ranch-style houses that accommodate the Roswell Artists in Residence Program, known as RAIR. Established in 1967 by artist and art collector Don Anderson, the program is off the beaten path for residencies, offering visual artists the unique opportunity to spend an entire year concentrating on their work. The voices you’ll hear are five of the current residents at the time of our visit:  Sarah Bostwick, Jon-Paul Villegas, Brian Villegas, Brian Kluge, and Sioban McBride. A three hour drive from El Paso, Texas, Marfa has become a destination for art tourism. Home of the ghostly Marfa Lights (unexplained lights sometimes seen along the horizon in the night sky), the tiny town sits in the high desert, between the Davis Mountains and Big Bend National Park. Renowned minimalist artist Donald Judd came here in the 1970s to escape New York City’s commercial art scene. With the help of the DIA Foundation, he acquired a former Army base. Before Judd died in 1994, he transformed the 400-acre expanse into a faceted art experience. The Chinati Foundation is a contemporary art museum designed to connect art to the surrounding landscape. Year round, visitors can explore Judd's signature boxes and installations by Dan Flavin, Rebecca Horn, Ilya Kabakov and more. We spend a few days to track down some of the artists, curators, designers and producers expanding on Judd’s singular vision.   Professional filmmakers Jennifer Lane and David Hollander moved to Marfa from Los Angeles. CineMarfa, the film festival they founded there, will celebrate its tenth year in 2020. We visit their home for a conversation about the genesis of CineMarfa and plans for the second annual event.   Ballroom Marfa is a key site of cultural production in this remote art mecca. Arts pioneers Fairfax Dorn and Virginia Leh-bermann founded the contemporary cultural arts space in 2003. Ballroom’s gallery is a converted dancehall that dates to 1927. We sit down with Ballroom’s creative team to learn more.   In 2019, we reach out to curator Laura Copelin to find out what happened next. Ballroom Marfa continues commissioning site specific artworks and installations—responding to the environmental, social and political ecology of the landscape that extends to the border of Mexico. One recent example is Haroon Mirza’s massive Stone Circle in the grasslands east of town. This is Ballroom’s most ambitious public commission since Elmgreen & Dragset’s Prada Marfa was completed in 2005. The stone circle will remain in the landscape for the next several years.   Leaving the high desert, we drive northeast through the Texas hill country, passing endless fields of bluebonnets. In East Austin, we meet designer architect Jack Sanders in his studio. Sanders talks about how the legendary architect Sam Mockbee influenced the evolution of his own life’s work.   Sound Editing and Special Audio Credits:   Destination American Southwest Sound Editor: Anamnesis Audio   Land Arts of the American West Sound Editor: Leo Madriz | Special Audio: 45 rpm record found by Land Art 2011 participants   Program Director: Chris Taylor Students: Alexander Bingham, Luis Bustamante III, Will Cotton, Winston Holloway, Richard Klaja, Celeste Martinez, Zachary Mitchell, Carl Spartz, Rachael Wilson, Bethany Wood. Program Assistant: Adrian Larriva   Roswell Artists in Residence Sound Editor: Leo Madriz | RAiR acoustics: Sarah Bostwick   CineMarfa Sound Editor: Jay Agoglia | Sound Track: Harmony Korine, TRASH HUMPERS, 2009   Ballroom Marfa Sound Editor: Leo Madriz | Special Audio: Brian LeBarton, The Wind, 2010. New Year’s Film/Score Series. January 2, 2010. The Crowley Theater, Marfa   Jack Sanders Sound Editor: Leo Madriz | Music: Ross Cashiola, “Trains in the Grass” Related Episodes: Fresh Talk: Joan Jonas, Fresh VUE: Austin, Land Arts of the American West, Roswell Artists in Residence, CineMarfa 2012, Ballroom Marfa Imagines a Drive-In, Jack Sanders on Slow Architecture   Related Links: Roswell Artist-in-Residence Program, Sarah Bostwick, Jon-Paul Villegas, Brian Kluge, Corwin Levi, Sioban McBride, Chinati Foundation, CineMarfa, Jack Sanders, Sam Mockbee/Rural Studio   Tags: architecture, Austin,, Design Build Adventure, El Cosmico, Jack Sanders, Marfa, Rural Studio, Sam Mockbee, Texas, New Mexico, art podcast, Fairfax Dorn, Virginia Lebermann, Roswell, artists in residence, Chinati Foundation, Texas Tech University, Donald Judd  

13e émission de la 41e session... Cette semaine, vieux jazz modal, free, musique expérimentale et doublé Jean Derome! En musique: Khaliq Al-Rouf & Salaam sur l'album Elephant Trot Dance  (Nilva, 1979); Horace Tapscott & The Pan-Afrikan Peoples Arkestra sur l'album Live At I.U.C.C. (Nimbus West, 1979, rééd. Soul Jazz, 2019); Fire Into Music sur l'album Fire Into Music  (Ballroom Marfa, 2006); Garrett List sur l'album Your Own Self  (Opus One, 1972, rééd. Black Sweat, 2018); Jean Derome sur l'album Sudoku Pour Pygmés  (Ambiances Magnétiques, 2019); Jean Derome sur l'album Somebody Special  (Ambiances Magnétiques, 2019)...

13e émission de la 41e session... Cette semaine, vieux jazz modal, free, musique expérimentale et doublé Jean Derome! En musique: Khaliq Al-Rouf & Salaam sur l'album Elephant Trot Dance  (Nilva, 1979); Horace Tapscott & The Pan-Afrikan Peoples Arkestra sur l'album Live At I.U.C.C. (Nimbus West, 1979, rééd. Soul Jazz, 2019); Fire Into Music sur l'album Fire Into Music  (Ballroom Marfa, 2006); Garrett List sur l'album Your Own Self  (Opus One, 1972, rééd. Black Sweat, 2018); Jean Derome sur l'album Sudoku Pour Pygmés  (Ambiances Magnétiques, 2019); Jean Derome sur l'album Somebody Special  (Ambiances Magnétiques, 2019)...

This week we took Texas Energy Lab on the road for a special episode recorded in Marfa, Texas, where an ambitious new art installation called "stone circle" was just unveiled. Guest host Sherren Harter talks to Haroon Mirza, the artist; Laura Copelin and Peyton Gardner of Ballroom Marfa, which commissioned the work; and Alex Seyer of Freedom Solar, which donated a solar and battery system that powers the sculpture.

My guest is Timothy Morton. Timothy’s work spans the fields of ecology, Romantic literature, and ontology, and he is considered one of the world’s most influential living philosophers. In his book Ecology without Nature he calls for us to cease considering nature and humanity as separate entities, and instead foster a kind of ecological awareness, a sense of the interdependence of all things. I met with Timothy in Marfa, Texas on the occasion of Hyperobjects the new show at Ballroom Marfa, which he co-curated with Executive Director Laura Copelin. Organized around his concept of the same name, Hyperobjects explores entities so large and complex that we lose our ability to understand our individual relationship to them; things such as global warming, plastic, and nuclear waste that have grown to such a scale as to defy comprehension. Morton argues that in order to understand such things, we have to shift the way we understand our relationship to the world. To this end, artworks in the show, including work by Tara Donovan, Postcommodity, and Emilija Skarnulyte, seek to de-center human perception and our idea of what constitutes an object.I’d like to thank Timothy Morton, Laura Copelin and the entire team at Ballroom Marfa with special thanks to Peyton Gardner and Gabriela Carballo. You can see my portrait of Timothy at Ballroom with Tara Donovan’s work Untitled (Plastic Cups) on Instagram @william.jess.laird as well as at williamjesslaird.com/imageculture

Loie Hollowell was born in 1983 in Woodland, California. She earned a BA from the University of California, Santa Barbara, and an MFA from Virginia Commonwealth University. Originating in autobiography, her paintings explore themes of sexuality, often through abstractions of the human body with an emphasis on female forms. Using strong colors, varied textures, surface build-up and geometric symmetry, her works evoke bodily landscapes that allude to specific body parts in the form of symbols such as Mandorlas and Ogees. Hollowell has had solo exhibitions with Pace gallery in Palo Alto, CA, and is about to open a solo exhibition in March at Pace Hong Kong. She has also had solo exhibitions at Feuer/Mesler gallery in Manhattan and at 106 Green gallery in Brooklyn. She's been in group exhibitions at Anton Kern in NYC, White Cube and Massimo De Carlo in London, Kohn gallery and The Landing in LA, and at Ballroom Marfa in Texas. Brian met up with Loie in her Brooklyn studio and they had an engaging talk about growing up the child of a painter and teacher, the meaning and symbolism of her paintings, the environment, drawing versus painting, all the while joined by her two active cats who tried their best to join in the podcast.

Last year Sonosphere visited Marfa, Texas for the Marfa Myths music festival created by Mexican Summer and Ballroom Marfa. Now in its fourth year, Marfa Myths has grown to a three day fest with hundreds of individuals from around the country in attendance. This year's festival is upon us, so let's travel back in time to Marfa Myths 2016 during a two-day wind storm, where I talk with sound artist Maria Chavez about her performance informed by the wind and chards of vinyl; where harpist Mary Lattimore shares insight into last year's album, At the Dam, informed by road trips out west. Head over this year, March 9-12 to Marfa Myths 2017 and you won't regret it. Tickets at mexicansummer.com

A continued conversation between Gryphon Rue on the experience of abstract things and everyday life. Gryphon Rue's installations are focused around sensory perception and sound. They speak briefly about Alexander Calder, an American Sculptor who invented the 'mobile', a type of moving sculpture. Gryphon Rue reinvents these into interactive sound mobiles in his present exhibition which will open to public on March 10th.  Read more about the exhibition below: https://ballroommarfa.org/archive/event/strange-attractor  

Gryphon Rue, curator for the exhibition Strange Attractor, speaks with Roger Malina about some of the artworks that will be featured in Ballroom Marfa. One work, by Phillipa Horan, uses mycelium (of which mushrooms are the fruiting body) grown to fit a sculptural mold. Gryphon also talks about Haroon Mirza’s monumental Stone Circle sound work calling Mirza a “composer of objects.” Roger inquires about the Edgar Varese compositions proposed for the exhibition. Read more about the exhibition below: https://ballroommarfa.org/archive/event/strange-attractor/

On a Spring 2012 road trip in the American Southwest, Cathy Byrd meets members of Ballroom Marfa’s creative team. Director Fairfax Dorn, project manager Melissa McDonnell, and architect Michael Meredith talk about why Ballroom came to West Texas and what they envision for Marfa's near future Drive-In theater. Sound Editor: Leo Madriz Photography credits as noted Episode Sound: Brian LeBarton, The Wind, 2010. New Year’s Film/Score Series. January 2, 2010. The Crowley Theater, Marfa.