Podcasts about baltimore museum

Curator, writer, and executive director Jessica Bell Brown returns to reflect on her evolving leadership at the Institute for Contemporary Art at Virginia Commonwealth University. In this conversation, we talk about openness as a strategy, the role of listening in shaping institutions, and what it means to make space for experimentation in times of uncertainty.Jessica shares how porosity, risk, and care shape her curatorial and executive approach—from expanding access beyond traditional art forms to launching chef residencies and community media programs at the ICA. We discuss the influence of her time at MoMA and the Baltimore Museum of Art, the power of contemporary art to respond to crisis, and why joy and curiosity remain central to her vision.Topics Covered:What leadership looks like through the lens of listeningExpanding access to arts beyond galleries and into kitchens and podcastsNavigating risk and limitation in an age of shrinking arts fundingThe evolving responsibility of cultural institutionsThe importance of reflection, care, and creative openness

Primarily a flameworker, Kari Russell-Pool approaches her work in a painterly fashion. She is interested in the transformation of an object into an heirloom. Made from hand-pulled glass rods, her Safety Mom Series, for example, was inspired by post-September 11 ideas of keeping a family safe. That series, in incongruously cheerful colors, is dominated by images of guns and keys, and the delicate glasswork is patterned to look like traditional needlework, which kept women's hands busy in the 18th and 19th centuries. For her Trophy Series, Russell-Pool flameworked a strikingly delicate and extremely fragile set of trophies, inspired by an NPR interview with a trophy maker, who stated that frequently people commission trophies for themselves.  In complex and decorative glass aviaries, Russell-Pool often showcases her husband and collaborative partner Marc Petrovic's glass birds, a combination that is at once technically superlative and aesthetically enchanting. Her most recent collaborative series with Petrovic – Our Distilled Life Series – examines the individual amidst the complexity of societal and global challenges and distillates them into a series of vignettes within bottles.  Russell-Pool states: “I communicate using objects as metaphors. From quilts and teapots, to sailors' valentines and cages, I am interested in the stories objects tell and how we elevate them into heirlooms. Filled with personal content and commentary about society, the hard work of relationships, and my experience as a mom, my work tells many stories. The work is autobiographical, and although objects are my vehicle, I think of them as self portraits as each series reflects the timely concerns of my life.” Russell-Pool graduated from the Cleveland Institute of Art in 1990. She has taught and exhibited all over the world, and her work has been published in Glass Magazine and American Craft Magazine. Her public collections include the American Glass Museum, the Baltimore Museum of Art, the Cincinnati Art Museum, the Corning Museum of Glass, the Niijima Museum of Glass (Tokyo), the Racine Art Museum, the Seattle Art Museum, the Smithsonian Museum of American Art (DC), the Tacoma Museum of Glass, the Tucson Museum of Art, and the Peabody Essex Museum. Russell-Pool was awarded the Ohio Arts Council Individual Excellence Award in 2017 and 2019. Pulling her own glass rods or canes using soft glass or traditional blowing glass, Russell-Pool can more easily incorporate blown work by Petrovic into her pieces. They gather clear glass from their melting furnace and color it by rolling the hot clear glass through powdered colored glass, and then encasing the color in another thin layer of clear. These gathers of glass are pulled into 40′ lengths while still hot, and then cut down into 1.5′ lengths. Coloring her glass this way allows Russell-Pool to both mix colors and control their densities. She uses these colored glass canes in a torch flame to sculpt petals, leaves, and small components, which she further colors using more glass powders. Having some color in the base canes allows the artist to work much as a watercolorist would, using washes to achieve subtle or dramatic color changes. Each piece begins with a design drawn out on a piece of ¼-inch clear plate glass. Russell-Pool then bends all her glass canes exactly to that pattern using a torch with a warm flame. “By layering the color and manipulating the density, our hope is the flow between the blown and flameworked glass appears effortless. In glass there is often a right way to do things. I am more a proponent of the cowboy way. The cowboy way invites invention and serves the master of the final result rather than proper technique. I am proud to be called a craftsman, because craftsmanship underlies all I do, even if I am occasionally caught being an artist.” Russell-Pool and Petrovic have collaborative work on view now as part of the Jonathan Adler Show at the Museum of Art and Design in New York City featuring Adler's ceramic work and pieces curated from the permanent collection. The show will run through April 2026. Rusell-Pool's work is also being exhibited in On Fire Part II: Surveying Women in Glass in the Late-Twentieth Century now through January 24, 2026 at Racine Art Museum, Racine, WI. An expanded version of the 2022 show offers a deeper dive into this vital period in contemporary craft by outlining the concerns of artists who explore the sculptural, visual, metaphorical, and creative potential of glass. Seen through the eyes of women, it reflects developments with the medium as an art material two and three decades after Studio Glass concepts were being implemented into university programs and contemporary practices.  

Cianne Fragione (b. 1952) is a multidisciplinary artist. With roots in the San Francisco Bay Area Beat and Funk art milieus, she has developed her own process-oriented artistic vocabulary over the past four decades that crosses boundaries between abstract painting and sculpture, and between object and image. A striking combination of oil paint, mixed-media materials, found objects, and textiles characterizes her signature style. Each piece, whether two- or three-dimensional, is built slowly over lengthy periods, becoming a dense synthesis of influences and personal perspectives, including mid-century gestural abstraction and the physical fluency of her early training as a professional dancer. While a sense of space and movement dominates her two-dimensional works, her assemblage pieces tend to be denser and more corporeal. Her most recent works respond to two collections of poems by Italian poet and writer Eugenio Montale: Mediterraneo and Ossi di Seppia.   Fragione has exhibited extensively in solo and group exhibitions nationally and internationally, including at St. Mary's College Museum of Art, Moraga, CA; Georgetown College, KY; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D'Arte Contemporaneo Italiano, Catanzaro, Italy; Harmony Hall Regional Center, Washington, MD; University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Geneva, Sofia, Bulgaria, and Vilnius, Lithuania; Indianapolis Art Center, IN; and San Francisco Museum of Modern Art Gallery, CA.   Her works are held in numerous public collections, including the Baltimore Museum of Art MD; DC Commission Art Bank Collection; Art in Embassies Permanent Collection, U.S. State Department, Guadalajara, Mexico; St. Mary's College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; Comune di Monasterace, Calabria, IT; among other museum and private collections.   Motetti: Flowers Grow/ Salty Breath, 2024, oil-based paint, pigment, walnut and black ink, graphite, oil pencils,on paper, 42.5 x 35 in (107.95 x 88.9 cm), Image by Martin Seck Bundles: Seacoasts / Among Fragrances / Winds / Decoy, 2024, oil-based paint, pigment, string, lace, fishing lures, and bone on canvas panel, 8 x 5 x 2 in (20.3 x 12.7 x 5.1 cm), Image by Martin Seck The Clouds Travel like White Handkerchiefs of Goodbye, 2020 oil-based pigment, collage, graphite, on mylar 54 x 65 in (137.16 x 165.1 cm) Image by Martin Seck  

On this episode I'm joined by Cassi Namoda as we discuss her newly commissioned work presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as, what does it mean to carry a home, a history, a language, a legacy, and a lineage.Born in Maputo, Mozambique, Cassi Namoda is known for her strong color palette and narrative approach to painting. Her hybrid narratives are at once wondrous and poignant, every day and fantastical, archival and current. Cassi's work transfigures the cultural mythologies and historical narratives of life in post-colonial Africa, particularly those of the artist's familial home of Mozambique. The idiosyncratic subjects who appear and reappear in her paintings also convey this hybridity: they emerge from African indigenous religions just as much as they spring from Western mythologies. Cassi's work is held in the collections of the Pérez Art Museum Miami, Miami; Baltimore Museum of Art, Baltimore; MACAAL, Marrakesh; and The Studio Museum; New York. In the episode, discusses her evolving body of work, including paintings that originated at the Joseph and Annie Albers residency in Connecticut that connect to her current paintings on view for the Sharjah Biennial 16. In the works, she explores themes of climate change and matriarchal societies, while emphasizing the holistic interconnectedness of her art and life. She also reflects on the importance of preserving ancestral knowledge and matriarchal wisdom, the role of women in society, and how her experiences as a mother influence her artistic practice. The conversation underscores the interconnected nature of life and art, advocating for self-attunement and holistic living.-------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco

On this episode of The Truth In This Art, I welcome back artist, Terry Thompson. Terry is a self-taught American artist, born in Chicago, Illinois, and currently working in Baltimore, Maryland. We discuss his artistic evolution, his balancing of his art with his DJ work, and the importance of experimentation in his creative process. Terry shares how his experiences from Chicago to Baltimore and his travels have influenced his vibrant artwork, which is inspired by dance culture, dreamscapes, and experimental vistas. He also highlights his approach to managing his time between creating visual art and DJing, and his philosophy on embracing mistakes as part of the artistic journey.If you're interested in an artist's evolution, the intersection of art and music, or the value of experimentation, this episode is a must-listen. Tune in to hear Terry's insights and artistic journey.Don't miss "A Deep House of Soulful Vision: The Paintings of Terry Thompson" at the Baltimore Museum of Art on April 10th! Hear Terry Thompson in conversation with Franklin Sirmans, director of the Perez Art Museum. Listen to his previous episode here. Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis. Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcast The Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

For more than three decades, trailblazing artist and activist Joyce J. Scott has elevated the creative potential of beadwork as a relevant contemporary art form. Scott uses off-loom, hand-threaded glass beads to create striking figurative sculptures, wall hangings, and jewelry informed by her African American ancestry, the craft traditions of her family (including her mother, renowned quilter Elizabeth T. Scott), and traditional Native American techniques, such as the peyote stitch. Each object that Scott creates is a unique, vibrant, and challenging work of art developed with imagination, wit, and sly humor. Born to sharecroppers in North Carolina who were descendants of enslaved people, Scott's family migrated to Baltimore, Maryland, where the artist was born and raised. Scott hales from a long line of makers with extraordinary craftsmanship adept at pottery, knitting, metalwork, basketry, storytelling, and quilting. It was from her family that the young artist cultivated the astonishing skills and expertise for which she is now renowned, and where she learned to upcycle all materials, repositioning craft as a forceful stage for social commentary and activism. In the 1990s, Scott began working with glass artisans to create blown, pressed, and cast glass that she incorporated into her beaded sculptures. This not only allowed her to increase the scale of her work, but also satisfied her desire to collaborate. In 1992, she was invited to the Pilchuck Glass School, Stanwood, Washington. Continuing her interest in glass, Scott has worked with local Baltimore glassblowers as well as with flameworking pioneer Paul Stankard and other celebrated glass fabricators. In 2012, Goya Contemporary Gallery arranged to have Scott work at Adriano Berengo's celebrated glass studio on the island of Murano in Italy, creating works that were part of the exhibition Glasstress through the Venice Biennale. Scott has worn many hats during her illustrious career: quilter, performance artist, printmaker, sculptor, singer, teacher, textile artist, recording artist, painter, writer, installation artist, and bead artist. Her wide-ranging body of work has crossed styles and mediums, from the most intricate beaded form to large-scale outdoor installation. Whether social or political, the artist's subject matter reflects her narrative of what it means to be Black in America.  Scott continues to live and work in Baltimore, Maryland. She received a BFA from the Maryland Institute College of Art and an MFA from Instituto Allende in San Miguel de Allende, Mexico. Selected solo museum exhibitions include The Baltimore Museum of Art (2024); Seattle Art Museum (2024 – 2025); and Grounds for Sculpture (2018), Trenton, NJ. She is the recipient of myriad commissions, grants, awards, residencies, and prestigious honors including from the National Endowment for the Arts, Louis Comfort Tiffany Foundation, Anonymous Was a Woman, American Craft Council, National Living Treasure Award, Lifetime Achievement Award from the Women's Caucus for the Arts, Mary Sawyers Imboden Baker Award, MacArthur Foundation Fellowship (2016), Smithsonian Visionary Artist Award, National Academy of Design Induction, and Moore College Visionary Woman Award, among others. In March of 2024, Scott opened a major 50-year traveling Museum retrospective titled Joyce J. Scott: Walk a Mile in My Dreams co-organized by the Baltimore Museum of Art and Seattle Art Museum. Also in 2024, Scott opened Bearing Witness: A History of Prints by Joyce J Scott at Goya Contemporary Gallery. Her latest exhibition, Joyce J. Scott: Messages, opened at The Chrysler Museum of Art on February 6, 2025 and will run through August 17, 2025 at the Glass Projects Space. This exhibition is organized by Mobilia Gallery, Cambridge, MA. Says Carolyn Swan Needell, the Chrysler Museum's Barry Curator of Glass: “We are thrilled to host this focused traveling exhibition here in Norfolk at the very moment when Scott's brilliant career is being recognized more widely, through a retrospective of her work that is co-organized by the Baltimore Museum of Art and the Seattle Museum of Art.”  In Messages, 34 remarkable beaded works of art spanning the artist's career express contemporary issues and concepts. Included in the show is Scott's recent beaded neckpiece, War, What is it Good For, Absolutely Nothin', Say it Again (2022). A technical feat in peyote stitch, infused with color and texture, this multilayered and intricate beadwork comments on violence in America. Embedding cultural critique within the pleasurable experience of viewing a pristinely crafted object, Scott's work mines history to better understand the present moment. The visual richness of Scott's objects starkly contrasts with the weight of the subject matter that they explore. She says: “I am very interested in raising issues…I skirt the borders between comedy, pathos, delight, and horror. I believe in messing with stereotypes, prodding the viewer to reassess, inciting people to look and then carry something home – even if it's subliminal – that might make a change in them.”   

Agnieszka Sosnowska | Bryan Schutmaat | FÖR Bryan Schutmaat and Agnieszka Sosnowska join me today to talk about the process of publishing Agnieszka's monograph, FÖR (Trespasser). Agnieszka shares her journey from Poland to Boston to Iceland, and how she considers herself a teacher and a provider before thinking of herself as a photographer. Bryan and Agnieszka detail their time together looking at the work, along with Trespasser's co-founder Matthew Genitempo, and the book was later designed by Trespasser's designer, Cody Haltom. We also have a wide ranging conversation about the legacy implications of publishing your work, the differences in editing color photography, and the importance of being a smaller imprint. https://www.sosphotographs.com ||| https://www.bryanschutmaat.co ||| https://trespasser.co/shop/for This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Agnieszka Sosnowska was born in Warsaw, Poland and was raised in Boston, Massachusetts. She earned a BFA from Massachusetts College of Art and a MFA from Boston University. She is currently an elementary school teacher. She lives on farm in East Iceland. Sosnowska has been the recipient of a number of grants, including a Fulbright Scholars Fellowship to Poland and an American Scandinavian Fellowship to Iceland. She was awarded the Hjálmar R. Bárðarson Photography Grant awarded by the National Museum of Iceland. Her series was awarded the Director's Choice by the Center awards in 2017 and she has been in the Top 50 of Critical Mass on 3 occasions. Her work has been exhibited in the National Museum of Iceland and The Reykjavik Museum of Photography. Sosnowska's monograph, FÖR (Trespasser) was published in 2024. Bryan Schutmaat is a photographer based in Austin, Texas whose work has been widely exhibited and published. He has won numerous awards, including a John Simon Guggenheim Memorial Fellowship, the Aperture Portfolio Prize, and an Aaron Siskind Fellowship. Bryan's prints are held in many collections, such as Baltimore Museum of Art, Museum of Fine Arts, Boston, Pier 24 Photography, Rijksmuseum, and San Francisco Museum of Modern Art. He co-founded the imprint, Trespasser.

In this episode of PhotoWork with Sasha Wolf, Sasha reunites with her very first guest on PhotoWork, the photographer and publisher, Bryan Schutmaat. Bryan and Sasha talk about his new book, Sons of the Living (Trespasser) and Bryan's love of being on the road and exploring the American Landscape. Sasha and Bryan also discuss how the idea of collaboration in portraiture may be misrepresented and how a book doesn't mean a body of work comes to an end. https://www.bryanschutmaat.co https://trespasser.co/shop/sons-of-the-living Bryan Schutmaat is a photographer based in Austin, Texas whose work has been widely exhibited and published. He has won numerous awards, including a John Simon Guggenheim Memorial Fellowship, the Aperture Portfolio Prize, and an Aaron Siskind Fellowship. Bryan's prints are held in many collections, such as Baltimore Museum of Art, Museum of Fine Arts, Boston, Pier 24 Photography, Rijksmuseum, and San Francisco Museum of Modern Art. He co-founded the imprint, Trespasser.

Episode No. 691 features artists Kota Ezawa and Amy Pleasant.  The Fort Mason Center for Arts & Culture is presenting "Kota Ezawa: Here and There - Now and Then," an investigation into the creation of memory in the Bay Area and nationally, through March 9. The exhibition, organized in collaboration with the San Francisco Museum of Modern Art, features Ezawa and Julian Brave NoiseCat's Alcatraz Is an Idea (2024), and Merzbau 1, 2, 3 (2021), and Ursonate (2022), which were among 11 Ezawas recently acquired by SFMOMA. "Ezawa" was curated by Frank Smigiel. Fort Mason will publish a catalogue on the closing weekend. SFMOMA is showing Ezawa's National Anthem (2018) in "Count Me In"  through April 27. Ezawa's work has been featured in solo exhibitions at many museums, including the Baltimore Museum of Art, the Chrysler Museum of Art, Norfolk, VA; the Buffalo AKG Art Museum; the Vancouver Art Gallery, Canada; and the Saint Louis Art Museum. His work is in the collection most major US art museums, and in museums in seven other countries.  Pleasant is included in "Synchronicities: Intersecting Figuration with Abstraction" at the Bemis Center for Contemporary Arts, Omaha. The exhibition examines some of the ways in which nine artists have recently navigated the space between abstraction and figuration. "Synchronicities" was curated by Rachel Adams, and is on view through May 4. Pleasant's work is also on view at The Carnegie, Covington, KY in "Southern Democratic" through February 15, and in "Vivid: A Fresh Take" at the Hunter Museum of American Art, Chattanooga, TN through June 1.  Pleasant has been included in exhibitions at the Knoxville Museum of Art, the Montgomery (Ala.) Museum of Fine Arts, the Weatherspoon Museum of Art, University of North Carolina, Greensboro, and more.  Instagram: Amy Pleasant, Tyler Green.

In this episode, I sit down with LaToya Ruby Frazier, a visionary artist whose work intersects social justice, cultural change, and the American experience. Recognized as one of Time 100's most influential people of 2024, LaToya shares insights into her groundbreaking practice, which blends photography, video, performance, and installation to amplify voices often excluded from dominant narratives.We explore the inspiration and meticulous process behind her latest installation, More Than Conquerors, currently on view at the Baltimore Museum of Art. LaToya discusses the vital role of community health workers during the COVID-19 pandemic, the systemic injustices they face, and the significance of honoring these unsung heroes through art.From her reflections on growing up in a steel town to her commitment to bridging the working class and creative sectors, LaToya offers a powerful perspective on the intersection of art and activism. Whether you're interested in socially engaged art, health equity, or the power of storytelling, this episode delivers an inspiring and thought-provoking conversation. Tune in to hear LaToya's vision for transformative, community-centered art. Photo Credit: Sean Eaton ★ Support this podcast ★

Venerable columnist Dan Rodricks returns for a now-annual Maryland Crab Cake Tour stop at Gertrude's at The Baltimore Museum of Art, the same setting where his amazing play "Baltimore, You Have No Idea" will come back to life this week for one more run before he writes another production with a 1966 baseball and Charm City theme he's keeping mostly a secret. The post Venerable columnist Dan Rodricks returns to discuss “Baltimore, You Have No Idea” doing one more run at The BMA for the holidays first appeared on Baltimore Positive WNST.

It's the What Ya' Got Cookin'? Thanksgiving edition, a beloved tradition here on Midday, going all the way back to 2016. Tom talks with John Shields, owner of Gertrude's at the Baltimore Museum of Art and Damian Mosely of Blacksauce Kitchen. The two chefs talk with Tom and the Midday callers about cooking tips and food faux pas for folks preparing tomorrow's big meal. We also get a special check-in from Tom's mom, Rosemary Hall.   Jo-Jo's Curried Crab Dip (Gertrude's Recipe) Ingredients (8 servings): 1/2 cup of Dried currants 1 lb of Cream cheese 2 tbsp of Madras Curry Powder 2 tbsp of Mayonnaise 1/3 cup of Coconut Milk 1/3 cup of Minced green onions or chives 1/3 cup of finely diced Red bell pepper 1 lb of Lump or Claw Crab meat 1 pack of Melba rounds, Water crackers or Ginger snaps.   Directions: Preheat oven to 350 degrees Fahrenheit. In a small bowl place the currants and just enough water to cover. Let stand for 15 minutes. Drain, but reserve 2 tablespoons of liquid, and put the currants aside.  In a large bowl combine the cream cheese, curry powder, mayonnaise, coconut milk, green onion, and red bell pepper. Beat until smooth and somewhat creamy. Mix in the crabmeat, currants, and 2 tablespoons of the reserved currant liquid.  Transfer the mixture to a greased casserole dish and bake for 25 to 30 minutes. Serve hot or warm with Melba rounds, Water crackers, or Ginger snaps.   Chocolate Bourbon Pecan Pie (Gertrude's Recipe) Ingredients (1-9 Inch Pie): 1 Pie Crust 3 Eggs 1/2 cup of Sugar 1/2 cup of Brown sugar 1 cup of Karo syrup 2 tsp of Vanilla extract 1/2 cup of Melted butter 2 tsp of Flour 2 oz of Unsweetened chocolate, melted 1 1/2 oz of Semi-sweetened chocolate, melted 1/4 cup of Locally distilled bourbon 1 1/2 cup of Pecan pieces (per pie)   Directions: Preheat oven to 350 degrees Fahrenheit. Cream eggs and sugar together. Stir in the Karo syrup, vanilla, butter, and flour, Mix well. Add chocolate and bourbon. Spread pecan pieces around the bottom of each pie crust. Pour in filling and gently mix into the nuts. Bake for about 45 minutes to 1 hour, or until puffy and set. Cool and serve.   Rosemary Hall's Fresh Cranberry Relish Tom's Mom makes this delicious cranberry concoction, which Tom and his Mom first learned from James Porterfield, a friend in Ithaca, NY. Ingredients: 1lb Cranberries 1/2 cup of White granulated sugar (Tom uses 1/4 of a cup) 1/2 cup of Firmly packed brown sugar (Tom uses 1/4 of a cup) 1 cup of water   Directions: Grab a pot and bring the cranberries and sugar to a boil and cook for 10 minutes. When cool, mix in: 2 tbsp of Horseradish 2 tbsp of Dijon mustard Serve over Cream cheese as an Appetizer, or eat it as a side with Turkey, Chicken, or Pork.   Sweet Potato Biscuits (Blacksauce Recipe) Ingredients: 4.75 lbs of All-purpose flour 7 tbsp of Baking powder 4 tbsp of Sugar 2 tsp of Salt 1.75 lb of Cold butter, cut into parts 1 lb of a Peeled Sweet potato 64 oz of Buttermilk 2 oz of Heavy cream 2 tbsp of Turbinado sugar   Directions: Preheat convection oven to 400°F. (if you're using a conventional oven, then 425°F). Line two half-size sheet pans with parchment paper. Measure dry ingredients (flour, baking powder, sugar, and salt) into a stainless steel bowl. Using a knife and sanitized cutting board, cut the butter into 1-ounce cubes. In small batches, pulse the flour mixture and butter in the bowl of a food processor until the mixture resembles a coarse cornmeal. Return mixture to stainless steel bowl. Add roasted sweet potato to the food processor; pulse in the buttermilk. Make a well in the center of the flour & butter mixture; using a stainless steel spoon, fold in sweet potato buttermilk mixture just until the dough comes together. Turn out the biscuit dough onto dry, lightly floured work table; bring together and knead twice. Flatten the mound of dough, with hands or rolling pin, to two inches in height. Cut biscuits using 2” biscuit cutter, and place next to each other on sheet pan. Bake for 9 minutes in full size electric convection oven Remove biscuits from the oven and, working quickly, brush the tops with heavy cream and sprinkle with turbinado sugar. Return to the oven and bake for 9 more minutes in full size electric convection oven. Remove pans from oven and place onto bun rack to cool.   Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

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

Ep.222 José Parlá (b.1973) creates paintings and multidisciplinary works based on his interest in hybrid forms of abstraction. He draws inspiration from various mediums including music, calligraphy, dance, and the decay of urban architecture and advertisements. His works poetically challenge ideas about language, politics, identity, and how we define places and spaces. Parlá's relationship with mark-making is physical and textural, incorporating the body's gestures into a painterly stream of consciousness composed of areas of addition, erasure, and layering that challenge the status quo of visual culture. Parlá was born to Cuban parents in Miami, Florida, and lives and works out of Brooklyn, New York. He studied painting at Savannah College of Art & Design (SCAD) in Savannah, Georgia; the New World School of the Arts, Miami, Florida; and Miami Dade College, Miami, Florida. Solo exhibitions of Parlá's work have been organized at institutions such as The Bronx Museum, New York (2022); Gana Art Center, Seoul (2022); Istanbul'74, Istanbul (2019); Hong Kong Contemporary Art (HOCA) Foundation, Hong Kong (2019); Neuberger Museum of Art, New York (2018); SCAD Museum of Art, Savannah (2017); Brooklyn Academy of Music (BAM), New York (2017); Goss-Michael Foundation, Dallas (2016); High Museum of Art, Atlanta (2015); amongst others. Public arts projects include permanent large-scale commissions including Far Rockaway Writer's Library, a collaboration between Snøhetta and Parlá, New York (2023); University of Texas, Austin (2018); ONE World Trade Center, New York (2015); A collaboration with Snøhetta, Hunt Library at North Carolina State University, Raleigh (2013); Barclays Center, New York (2012); Brooklyn Academy of Music (BAM), New York (2012); Concord City Place, Toronto (2010). Select group exhibitions and biennials include The Culture: Hip Hop & Contemporary Art in the 21st Century, Baltimore Museum of Art, Baltimore (2023); Brooklyn Abstraction, Four Artists, Four Walls, Brooklyn Museum, New York (2022); Reflections, Gana Art, Seoul (2019); Glasstress, Fondazione Berengo Art Space, Venice (2019); Beyond the Streets, New York (2019); Yasiin bey: Negus, Brooklyn Museum, New York (2019); Victors for Art, University of Michigan Museum of Art, Ann Arbor (2017); Post No Bills: Public Walls as Studio and Source, Neuberger Museum of Art, New York (2016); Seeing, Saying, Images and Words, Van Every/Smith Galleries, Davidson College, North Carolina (2016); Wrinkles of the City: Havana Cuba: JR & José Parlá, the Havana Biennial, Havana (2012); amongst others. Parlá's work is in several public collections including the Brooklyn Museum, New York; The British Museum, London; Buffalo AKG Art Museum, New York; El Espacio, Miami; POLA Museum of Art, Japan; Pérez Art Museum Miami, Florida; The Gordon Parks Foundation, Pleasantville, NY; The Neuberger Museum of Art, New York; and The National Museum of Fine Arts, Havana. Parlá serves on the board of National YoungArts Foundation. Parlá has received numerous awards, including the Scholastic Art & Writing Awards, Alumni Achivement Award (2024) Gordon Parks Foundation Fellowship (2023), the Hirshhorn Museum Artist x Artist honoree (Hank Willis Thomas x José Parlá) (2023), National Young Arts Foundation Award (2022), Americans for the Arts National Art Award (2022), Americans for the Arts Public Art Network (2019), Miami Dade College Alumni Hall of Fame Award inductee (2016), Brooklyn Arts Council honoree (2014), Institute of Contemporary Arts(ICA) London – Grand Prize (2013), Heartland Film Festival - Best Documentary Short and Best U.S. Premiere for Wrinkles of the City, Havana (2013) Scholastic Art Award. Photographer James Chororos

Ep.221 Shinique Smith. Known for her monumental fabric sculptures and abstract paintings of calligraphy and collage, Smith's personal histories and belongings intertwine with thoughts of the vast nature of ‘things' that we consume, cherish, gift, and discard and how these objects resonate on intimate and social scales. Over the last twenty years, Smith has gleaned visual poetry from textiles and explored concepts of ritual using breath, bunding and mark-making as tools toward abstraction. Her layered works range from palm-sized bundled microcosms to monolithic bales to massive chaotic paintings that contain vibrant and carefully collected mementos from her life. Smith's practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender, and place to suggest the possibility of new worlds. Born in Baltimore, MD, currently residing in Los Angeles, California, Smith has received awards and prizes from Joan Mitchell, the Tiffany Foundation, Anonymous Was a Woman and the American Academy of Arts and Letters among others. Her work has gained attention through her participation in celebrated biennials and group exhibitions including the 13th Bienal de Cuenca and 8th Busan Biennale; Frequency at the Studio Museum in Harlem, 30 Americans organized by the Rubell Family Collection, UnMonumental at the New Museum and Hauser + Wirth LA's Revolution in the Making. Smith's work has also been exhibited and collected by other prestigious institutions such as the Baltimore Museum of Art; Brooklyn Museum of Art; California African American Museum, Denver Art Museum, the Frist, Indianapolis Museum of Art at Newfields, Los Angeles County Museum of Art, Minneapolis Art Institute, MOMA PS1, Museum of Fine Arts, Boston, Musée d'art contemporain de Montréal, Nerman Museum of Contemporary Art, SCAD, the Ringling Museum of Art, the Whitney and the Guggenheim. Photo credit: Courtesy of the artist Artist https://www.shiniquesmith.com/ moniquemeloche https://www.moniquemeloche.com/artists/207-shinique-smith/biography/ https://www.moniquemeloche.com/exhibitions/218-collage-culture/press_release_text/ The Phillips Collection https://www.phillipscollection.org/event/2024-07-06-multiplicity The Ringling Museum https://www.ringling.org/event/shinique-smith-parade/ SRQ https://www.srqmagazine.com/srq-daily/2023-12-01/23073_The-Ringling-Presents-Shinique-Smith-Parade Hyperallergic https://hyperallergic.com/552240/meet-las-art-community-sharing-inspiration-with-people-of-color-has-always-been-a-priority-for-shinique-smith/ Centure for Maine Contemporary Art https://cmcanow.org/event/shinique-smith-continuous-poem/ Newfields https://discovernewfields.org/Shinique-Smith-Torque Guggenheim https://www.guggenheim.org/exhibition/by-way-of-material-and-motion-in-the-guggenheim-collection Kemper Museum of Contemporary Art https://www.kemperart.org/program/artist-talk-shinique-smith Products | For Freedoms https://checkout.forfreedoms.com/products/by-the-light-2024 ICASF https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions See Great Art https://www.seegreatart.art/shinique-smith-artworks-displayed-with-european-masterpieces-at-ringling-museum/ Visit Indy https://www.visitindy.com/event/shinique-smith-torque/158358/ Guild Hall https://www.guildhall.org/events/ring-the-alarm-a-conversation-with-shinique-smith-renee-cox/ AWARE https://awarewomenartists.com/en/artiste/shinique-smith/ Flora Animalia https://floraanimalia.com/blogs/news/shinique-smith?srsltid=AfmBOorqjJTBqroKRSW96gcOjCXK374pQUKNseNnhQ1A0rZNtRrOdoaj

Episode No. 679 features artist Hugh Hayden.  The Nasher Sculpture Center in Dallas is presenting "Hugh Hayden: Homecoming," an exhibition of new works informed by Hayden's upbringing in Dallas. The show includes sculptures that explore themes such as nostalgia, childhood, education, and religion. The exhibition was curated by Leigh Arnold and will be on view through January 5, 2025.  The Rose Art Museum at Brandeis University is presenting "Hugh Hayden: Home Work," a survey of the last decade of Hayden's work. The show includes a site-responsive installation conceived for the Rose. "Home Work" was curated by Gannit Ankori and Sarah Montross, and will be on view through June 1, 2025. Among the museums that have presented solo shows of Hayden's work are the deCordova Sculpture Park and Museum, Lincoln, Mass.; the Blaffer Art Museum, University of Houston; the Institute of Contemporary Art Miami, and White Columns, New York. His work is in the collection of museums such as the Metropolitan Museum of Art, New York, the Studio Museum in Harlem, the Whitney Museum of American Art, New York, and the Baltimore Museum of Art.  Instagram: Hugh Hayden, Tyler Green. 

Ep.219 Vian Sora (b. 1976, Baghdad, Iraq) has lived and worked in Louisville, Kentucky since 2009. She received a BS from Al Mansour University in Baghdad, Iraq in 2000 and studied printmaking at the Istanbul Museum of Graphic Art (IMOGA) in Istanbul, Turkey in 2007. Sora's work has been presented in solo and group exhibitions nationally and internationally including the Baltimore Art Museum, Baltimore, MD; Santa Barbara Museum of Art, Santa Barbara, CA; Speed Art Museum, Louisville, KY; Contemporary Arts Center (CAC), Cincinnati, OH; Sharjah Biennale, Sharjah, UAE; IMOGA, Istanbul, Turkey; as well as the KMAC Triennial, Louisville, KY; Grinnell Museum of Art, Grinnell, IA; among others. Commencing in 2025, Sora will have a travelling solo museum show at the Santa Barbara Museum of Art, and the Speed Art Museum. Sora's work is included in the collections of the Baltimore Museum of Art, Baltimore, MD; Museum of Contemporary Art, San Diego, CA; KMAC Museum, Louisville, KY; Santa Barbara Museum of Art, Santa Barbara, CA; Speed Art Museum, Louisville, KY; Grinnell College Museum of Art, Grinnell, IA; Ministry of Culture Contemporary Collection, Baghdad, Iraq; the Pizzuti Collection, Columbus, OH; Fidelity Art Collection, Boston, MA; and the Shah Garg Foundation Collection, New York, NY; as well as numerous private collections. Photo Credit: Chad Crews Artist https://www.viansora.com/ David Nolan Gallery https://www.davidnolangallery.com/artists/vian-sora Architectural Digest Middle East https://www.admiddleeast.com/story/vian-sora-the-iraqi-american-painter-explores-the-realities-of-displacement-and-being-a-refugee Observer https://observer.com/2024/05/interview-artist-vian-sora-independent-new-york/ Vogue Arabia https://en.vogue.me/culture/iraqi-american-painter-vian-sora-debut-new-york/ The Guardian https://www.theguardian.com/artanddesign/2023/oct/23/vian-sora-exhibition-iraq-invasion Artnet https://news.artnet.com/art-world/vian-sora-david-nolan-2395358 Arab News https://www.arabnews.com/node/2352756/lifestyle Arab News https://www.arabnews.com/node/2239906/lifestyle Cultbytes https://cultbytes.com/vian-soras-vibrant-paintings-shine-in-the-darkest-of-times/ UnderMain Magazine https://undermain.art/visual-arts/in-search-of-bodies-lost-surveying-the-internal-landscapes-of-vian-sora/ Hyperallergic https://hyperallergic.com/721172/joy-and-terror-coexist-in-vian-soras-unsettling-paintings/

Think what life was like in the Deep South, a few years after the Civil War, for those who had been enslaved. Poverty was the norm —maybe there was no work, maybe backbreaking work not much different than before the war, now at a desperately low wage. But what were the opportunities for the newly freed? What were the hopes? Full Circle Dance Company helps us imagine that moment in history and its implications today in a new work that will premiere Sunday, Nov. 3, at the Baltimore Museum of Art, with the theme “From the Source of Our Power.” This particular work, choreographed by Hope B. Byers, is titled: “1868: Liberation and the Everlashing.” We ask Byers about the process of researching and creating this dance. Do you have a question or comment about a show or a story idea to pitch? Contact On the Record at: Senior Supervising Producer, Maureen Harvie she/her/hers mharvie@wypr.org 410-235-1903 Senior Producer, Melissa Gerr she/her/hers mgerr@wypr.org 410-235-1157 Producer Sam Bermas-Dawes he/him/his sbdawes@wypr.org 410-235-1472

In this episode of South Baltimore Now, hosts Nate Carper and Kevin Lynch welcome Russ Causey, founder of the Hoodstock concert and member of the band Roses and Rust, along with Lauren Bussard from Unified Community Connections. They delve into the rich history and significance of Hoodstock, celebrating its 21st anniversary at a new venue — the Baltimore Museum of Industry. The discussion highlights Hoodstock's pivotal role in fundraising for individuals with disabilities, the community's enthusiastic involvement, the lineup of performing bands, and the generous support from various sponsors that make this charity event a success. Tune in for an inspiring conversation about the power of music to make a difference! Get Tickets and Details Here: https://unified.org/hoodstock/     Special Offer: I have 25 tickets available for $45 each! First come, first served. Avoid the fees by contacting Nate Carper at carpercreative@outlook.com Follow Hoodstock on social media: Facebook: https://www.facebook.com/hoodstock Instagram: https://www.instagram.com/hoodstockbmore/

A new exhibition of Indigenous art at the Baltimore Museum of Art (BMA) is called Preoccupied: Indigenizing the Museum.  Dare Turner and Leilia Grothe are the curators of the huge show. Turner is a member of the Yurok Tribe and Curator of Indigenous Art at the Brooklyn Museum. Grothe is the Associate Curator of Contemporary Art at the BMA. They joined Tom Hall to discuss the importance of including native and indigenous perspectives in contemporary art. (Artwork by Luiseño/Puyukitchum, Ipai, and Mexican American)Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

I visited Mark Alice Durant at his home in Maryland to talk about his book, Summer of the White Fox, and After, published by Saint Lucy Books. We talk about how Mark came to photography and why he started his own publishing imprint. Summer of the White Fox, and After is a memoir and a monograph, with a touch of history and philosophy weaved into the essay. It is a recounting of grief and loss that enveloped Mark and his family through distinct events and all during the pandemic. It is also a story about experiencing love and care in ways that were, perhaps, unforseeable before all of the tragedies struck Mark's family. https://www.saintlucybooks.com/shop/p/summer-of-the-white-fox-and-after | https://www.instagram.com/saint_lucy_books/ This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Mark Alice Durant is a photographer whose photographs, installations, and performances have been presented internationally including the Los Angeles County Museum of Art, the Museum of Contemporary Art in Chicago and Artist's Space in New York. In 1991, he co-founded the performance duo ‘men of the world' that for 10 years performed on the streets of Chicago, Toronto, Seattle, New York, Houston, San Francisco, and other cities. He has written extensively on the nexus of photography, performance and cultural phenomena with essays appearing in such journals as Art in America, Art on Paper, ArtUS, Art Journal, Afterimage, Dear Dave, Exposure, New Art Examiner, and PLUK. Durant is the editor of the online journal Saint Lucy which is devoted to writing about photography, contemporary art and the lovely people of Baltimore. He has contributed to numerous catalogs, monographs and anthologies including The Passionate Camera: Photography and Bodies of Desire, The Gothic, Jimmie Durham and Marco Breuer: Early Recordings. He is author of McDermott and McGough: A History of Photography, Robert Heinecken: A Material History and co-author of Vik Muniz: Seeing is Believing and Dressed for Thrills: 100 Years of Halloween Costume and Masquerade. In 2005, Durant co-curated and co-authored Blur of the Otherworldly: Contemporary Art, Technology and the Paranormal. Durant was co-curator of Some Assembly Required: Collage Culture in Post-War America in 2002 and in 2008, he curated Notes on Monumentality at the Baltimore Museum of Art. He has served on the faculties of the School of the Art Institute of Chicago, UCLA, the University of New Mexico, Syracuse University, and the Milton Avery Graduate School for the Arts at Bard College. He has received grants and fellowships from the National Endowment for the Arts, the Fleishhacker Foundation, the Center for Creative Photography, the Illinois Arts Council, and the MacDowell Colony. Professor Durant received his B.F.A. from Massachusetts College of Art and M.F.A. from the San Francisco Art Institute. Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Welcome back to ARTMATTERS: The Podcast for Artists. On today's episode I get a whirlwind tour of the techniques, recipes and studio practices, of the spectacular Cianne Fragione. This conversation will be a two-parter, and will be concluded next episode. Today, in part one, we discuss making your own paints, why lead white is such a fantastic color, chaos vs organization, Cianne's warm-up books, adhesives, “the shake test”, prepping surfaces, rhythm, paper, and the joy of destruction. Cianne also speaks extensively on the making of her massive 24-part painting entitled Heaven and Earth are Dressed in Their Summer Wear, completed in 2012.Cianne Fragione was born in 1952 and currently lives and works in Washington D.C. She has developed her process-oriented work over five decades, crossing boundaries between abstract painting and sculpture, object, and image. She has exhibited extensively in solo and group exhibitions at national and international venues and has been the recipient of many awards, fellowships, and residencies, including the Milton and Sally Avery Arts Fellowship and The Legacy Project sponsored by the Joan Mitchell Foundation to name just a few. Enjoy the episode!P.S. Cianne and I discuss multiple artworks in her studio which were included in the studio visit photo collection and can be found as a free post on my Patreon page. So feel free to click here and you can look while you listen:)About Cianne Fragione:Cianne Fragione b. 1952 (Hartford, CT)  Cianne Fragione, a Washington D.C., D.C.-based artist, has developed process-oriented work for five decades, crossing boundaries between abstract painting and sculpture, object, and image. She has exhibited extensively in solo and group exhibitions at national and international venues including, Isole: A Voyage Among My Dreams (2024-25) St. Mary's College Museum of Art, Moraga, CA; traveling exhibitions, Pocket Full of Promise: Cecelia Coker Bell Gallery, Coker College, Hartsville, SC, and Anne Wright Wilson Gallery, Georgetown College, KY; Wiregrass Museum Biennial 24, Dothan, AL.; Arts-In-Embassies, Geneva, Switzerland; Anya and Andrew Shiva Gallery, New York, NY; American University Museum, Washington, D.C.; Regis College Fine art Center, Weston, MA; John D. Calandra Italian American Institute of Queens College, CUNY, New York, NY; Associazione di Museo D'Arte Contemporaneo Italiano, Catanzaro, Italy;  a ten-year retrospective at Harmony Hall Regional Center, Washington, MD;  the University of Scranton Art Museum, Scranton, PA; The Textile Museum, Washington, D.C.; Art in Embassies, Sofia, Bulgaria, and Vilnius, Lithuania; Elizabeth Foundation, New York, NY; Indianapolis Art Center, IN; San Francisco Museum of Modern Art Gallery, CA; and Gallery Neptune & Brown, Washington, D.C. Her works are held in public collections, recent acquisitions; the Baltimore Museum of Art MD; and DC Commission Art Bank Collection (also in 2017), Art-In-Embassies Permanent Collection, Guadalajara, Mexico, US State Department; as well as St. Mary's College Museum of Art, CA; Italian American Museum, D.C; Department of Special Collections, Cecil H. Green Library, Stanford University, CA; and Comune di Monasterace, Calabria, IT; among others and private collections. Fragione has been the recipient of awards, fellowships, and residencies, Art Omi receiving the Milton and Sally Avery Arts Fellowship; The Legacy Project (Saving the Legacy) sponsored by Joan Mitchell Foundation; Studio dei Nipoti artist residency, Monasterace, Italy; Soaring Gardens, Laceyville, PA; Spoleto Study Aboard in Spoleto, Italy; and an Artist-in-Institution grants, project of the California Arts Council. Sacramento CA. She was nominated for the Joan Mitchell

Midday's What Ya Got Cookin'? segment returns. What dishes or recipes have you been obsessed with this summer? We are joined by a pair of heralded local chefs who have recipes that take advantage of Maryland's summer seafood and vegetable offerings. Gwyn Novak is a professional chef and cooking instructor who owns and operates "No Thyme to Cook," a cooking school on Solomons Island in southern Maryland. John Shields is the owner of Gertrude's at the Baltimore Museum of Art and author of several cookbooks. Both chefs shared a few of their favorite recipes with us: Grilled Peach Crostini with Whipped Ricotta - Serves 8 Ingredients: · 1 C. whole milk ricotta· Kosher salt· Freshly cracked black pepper· 4 peaches, pitted and quartered· Extra virgin olive oil· 1 loaf sourdough, thickly sliced· ¼ C. toasted pecans, chopped· 1 Tbsp. fresh lemon thyme (or fresh thyme leaves with ½ tsp. lemon zest)· 2 Tbsp. hot honey· Edible flowers for garnish Directions:To whip the ricotta: Place the ricotta in a blender or food processor with a pinch of salt and pepper. Blend until smooth and light. Season to taste. Brush the peaches with olive oil. Grill until they begin to give off juice and have grill marks. Remove from the grill and set aside. You can now slice these in half. Lightly brush the sourdough with olive oil. Grill lightly until you see grill marks. Remove from the grill. To assemble: Spread whipped ricotta onto the sourdough slices.Top with sliced peaches, toasted pecans, lemon thyme.Drizzle with hot honey.   Corn, Crab and Red Pepper Salad Ingredients:3 tbsp extra-virgin olive oil1 tbsp sherry vinegar1 large garlic clove, peeled, and mashedJuice of 1 lime½ pound fresh or pasteurized backfin crabmeat, picked over for shells1 small red onion, peeled and finely minced1 medium red bell pepper, cored, seeded, cut in fine dice4 cups fresh Silver Queen (or other sweetcorn) corn kernels3 tbsp fresh cilantro leaves¼ tsp Old Bay or seafood seasoningSalt and freshly ground black pepper Directions:Combine oil, vinegar, garlic, lime juice, and whisk thoroughly. Place crab, red onion, red pepper, corn, and cilantro together in a bowl and toss gently, taking care not to break up the lumps of crab. Pour the lime dressing over top and gently toss again. Season with Old Bay, salt, and pepper to taste. Cover and chill for at least one hour before serving.   Chesapeake Chargrilled Oysters - Serves 8 Ingredients:· 36 oysters, freshly shucked (on the half shell)· 1 stick salted butter· 7 cloves fresh garlic, minced· 1 tsp. crushed red pepper· 1 Tbsp. thyme· 1 Tbsp. oregano· 2 oz white wine· 8 oz. Romano or Parmesan cheese, grated· 1 Tbsp. fresh lemon juice· Fresh parsley for garnish Directions:In a saucepan, melt the butter and bring to a simmer. Add the garlic, red pepper, thyme, oregano & wine. Simmer for 2 minutes. Roasting/Grilling Oysters Pre-heat oven or grill to 350°. Once at 350°, place freshly shucked oyster on the half shell on the center of the oven/grill. Once the water around the oyster begins to bubble and the oyster begins to rise, ladle 1 tablespoon of the butter garlic sauce on top of each oyster. Top with a dusting of cheese and allow the cheese to melt. Finish with a squirt of fresh lemon juice & a garnish of fresh parsley.   Single-Fried Oysters with Horseradish and Tartar Sauce Ingredients:1 pint shucked oysters1 cup fine yellow cornmeal1 cup all-purpose flour1 tbsp salt 1 tbsp Old Bay seasoning1 tsp black pepper Vegetable oil, for fryingSalt and freshly ground black pepper, to taste Directions:Drain the oysters, reserving the liquor, if desired (see Note). Combine the cornmeal and flour, salt, Old Bay, and pepper. Dust the oysters in the flour/cornmeal mixture, one at a time. Set aside the oysters for several minutes to dry. Pour oil into a frying pan to a depth of 1/2 inch. Heat the oil and sauté the oysters for about 5 minutes, or until golden brown. Do not overcrowd the skillet. Add more oil as needed. Remove the oysters with a slotted utensil to paper towels and drain well. Season with salt and pepper. Note: Oyster liquor may be added to dishes for heightened flavorEmail us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

Episode No. 662 features artists Sarah Sze and Zoë Charlton. The Nasher Sculpture Center in Dallas is showing "Sarah Sze," a presentation of new works that explore how memory marks time and space, and how art negotiates image and object. The exxhibition is on view through August 18. Sze represented the United States at the 2013 Venice Biennale. Other -ennials at which her work has been featured include the Whitney (2000), Carnegie (1999), Berlin (1998), Guangzhou (2015), Liverpool (2008), and Lyon (2009). She has made public artworks for sites such as LaGuardia Airport in New York, and Storm King Art Center. Charlton is included in "A Movement in Every Direction: Legacies of the Great Migration" at the Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley. The exhibition presents impressions of the Great Migration as considered by a dozen contemporary artists. The exhibition, which was co-curated by Ryan N. Dennis and Jessica Bell Brown, was organized for Berkeley by Anthony Graham with Matthew Villar Miranda. It's on view through September 22. Charlton's work often addresses culturally loaded landscapes and histories. It has been included in exhibitions at museums such as the Studio Museum in Harlem and Crystal Bridges Museum of American Art, Bentonville, Ark. Her work is in the collection of museums such as The Phillips Collection, Washington, DC, the Birmingham (Ala.) Museum of Art, and the Baltimore Museum of Art. Instagram: Zoe Charlton, Tyler Green.

In s3e60 of Platemark, podcast host Ann Shafer speaks with Ron Rumford, director of Dolan/Maxwell, a private gallery in Philadelphia. Dolan/Maxwell deals in 20th century art, with a particular specialty in the prints of Stanley William Hayter and the associated artists of Atelier 17, as well as Black artists of the same era, such as Bob Blackburn, Norma Morgan, Elizabeth Catlett, Ed Clark and more. While they could have spent the entire time talking about Hayter (they'll get to that in the History of Prints series), Ron wanted to highlight an exhibition focused on Dox Thrash, which is on view at the African American Museum of Philadelphia through August 4, 2024.   They talk about Thrash and his invention of the carborundum mezzotint, Bob Blackburn's Printmaking Workshop and its relationship to Atelier 17 and Hayter, the monumental importance of the WPA printmaking division, and Ballinglen, an artist residency and gallery founded by Peter Maxwell and Margo Dolan in Ballycastle, a tiny farming town in County Mayo, Ireland.   Dox Thrash (American, 1893–1965). Sunday Morning, c. 1939. Etching. Sheet: 12 5/8 x 10 5/8 in.; plate: 8 7/8 x 7 7/8 in. Metropolitan Museum of Art, New York. L-R: Krishna Reddy, Stanley William Hayter, Robert Blackburn, and friend, 1980s, at Reddy's studio. Hayter at the press with lithography press behind him, Atelier 17 in New York. Photo of Pennerton West with fellow artists including Augusta Savage and Norman Lewis. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Georgia Cotton Crop, c. 1944–45. Carborundum mezzotint. Plate: 8 7/16 x 9 7/8 in.; sheet: 11 ¼ x 11 3/4. in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Ebony Joe, c. 1939. Lithograph. Sheet: 10 5/8 x 8 7/8 in. Saint Louis Art Museum, St. Louis. Dox Thrash (American, 1893–1965). Octoroon (Study for a Lithograph), c. 1939. Brush and ink wash over graphite. Sheet: 16 7/8 x 12 ¼ in. Philadelphia Museum of Art, Philadelphia. Dox Thrash (American, 1893–1965). Octoroon, c. 1939. Lithograph. Sheet: 22 13/16 x 11 9/16 in. Collection of John Warren, Philadelphia. Dox Thrash (American, 1893–1965). Charlot, c. 1938–39. Carborundum mezzotint. Plate: 8 15/16 x 6 15/16 in. Dolan/Maxwell, Philadelphia. Michael Gallagher (American, 1895–1965). Lackawanna Valley, 1938. Carborundum mezzotint. Plate: 7 3/8 x 12 11/16 in.; sheet: 9 3/8 x 14 in. Philadelphia Museum of Art, Philadelphia.   Hugh Mesibov (American, 1916–2016). Homeless, 1938. Carborundum mezzotint. Plate: 5 3/8 x 10 3/8 in. Pennsylvania Academy of Fine Arts, Philadelphia. Dox Thrash (American, 1893–1965). One Horse Farmer, c. 1944–48. Carborundum mezzotint. 9 x 6 in. National Museum of American History, Smithsonian Institution, Washington, D.C. John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence, 1845. Watercolor and pen and black ink, heightened with whie gouache, over graphite. Sheet: 13 7/16 x 19 3/8 in. National Gallery of Art, Washington, D.C. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio). Sheet: 495 x 647 mm. (19 1/2 x 25 1/2 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), and green (screen, relief). Sheet: 460 x 660 mm. (18 1/8 x 26 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving and softground etching; printed in black (intaglio), orange (screen, relief), and purple (screen, relief). Sheet: 510 x 666 mm. (20 1/16 x 26 1/4 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.       Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland. USEFUL LINKS Imprint: Dox Thrash, Black Life, and American Culture. African American Museum in Philadelphia, March 23–August 4, 2024. https://www.aampmuseum.org/current-exhibitions.html John Ittmann. Dox Thrash: An African American Master Printmaker Rediscovered. Philadelphia: Philadelphia Museum of Art, 2001.  https://archive.org/details/doxthrashafrican00ittm Dox Thrash House, Philadelphia: https://doxthrashhouse.wordpress.com/ Ballinglen Arts Foundation: https://www.ballinglenartsfoundation.org/fellowship/ Dolan/Maxwell's IG: @dolan.maxwell Ron's IG account: @ron.rumford Ron's artist website: www.ronrumford.com  

On this episode I'm joined by LaToya M. Hobbs. LaToya M. Hobbs is an artist, wife, and mother of two from Little Rock, AR, who is currently living and working in Baltimore, MD. She received her B.A. in Painting from the University of Arkansas at Little Rock and M.F.A. in Printmaking from Purdue University. Her work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. Her exhibition record includes numerous national and international venues, including the National Art Gallery of Namibia, Windhoek, Namibia; SCAD Museum of Art; Albright Knox Museum, and Sophia Wanamaker Galleries in San Jose, Costa Rica, among others. Her work is housed in private and public collections such as the Harvard Art Museum, Petrucci Family Foundation Collection of African American Art, the National Art Gallery of Namibia, the Getty Research Institute, and the Baltimore Museum of Art. Other accomplishments include the 2020 Janet and Walter Sondheim Artscape Prize, a nomination for the 2022 Queen Sonja Print Award and a 2022 IFPDA Artis Grant. Hobbs is also a Professor at the Maryland Institute College of Art and a founding member of Black Women of Print, a collective whose vision is to make visible the narratives and works of Black women printmakers, past, present and future. 

On this episode, The American Art Collective get a special look into the Baltimore Museum of Art's exhibition: Art/Work Women Print Makers of the WPA. We talk with Virginia Anderson, BMA's Curator of American Art and Department Head of American Painting & Sculpture and Decorative Arts, as well as the curator of Art/Work Women Printmakers of the WPA. Virigina tells us about the inspiration for the show and describes some of her favorite pieces. We talks about the important legacy these female artists leave and the importance of continuing to celebrate their work.

Baltimore has seen a surge in union organizing, with local wins for workers at high-profile companies like Apple and Starbucks. The Baltimore Museum of Industry is marking this moment in time with its latest exhibit, titled: “Collective Action: Labor Activism in 21st Century Baltimore.” We speak with BMI Curator of Collections and Exhibitions Rachel Donaldson, and Courtney Jenkins, president of the Metropolitan Baltimore Council of the AFL-CIO. Do you have a question or comment about a show or a story idea to pitch? Contact On the Record at: Senior Supervising Producer, Maureen Harvie she/her/hers mharvie@wypr.org 410-235-1903 Senior Producer, Melissa Gerr she/her/hers mgerr@wypr.org 410-235-1157 Producer Sam Bermas-Dawes he/him/his sbdawes@wypr.org 410-235-1472

Ep.201 features Lindsay Adams (b. 1990, Washington, D.C.) , an Artist working across traditional mediums. Embracing her intersectional identity, Lindsay's work serves as both a reflection and extension of self, challenging narratives of both race and representation, reflecting on personal and collective histories and memories, while simultaneously mining through the complexity of the black experience. Lindsay's current body of work is a visual and conceptual investigation of the balance between certainty and imagination, examining themes of place, liberation, memory, and psychological space. She reflects on personal and collective histories and memories, while simultaneously mining through the complexity of the black experience. Adams' abstracted florals serve as an index for marking and reclaiming her black ancestral connection to land, embracing both personal and shared narratives while reflecting on the importance of the sites that have accumulated histories of social, cultural, and political life. Drawing connections to place and space, she responds to each mark intuitively while making both formal and narrative considerations. She renders layers of texture and color, alternating between abstracted and defined forms, composing multiple paintings within one. Employing her educational foundation as a social scientist, with a background in foreign relations, sociology, and cultural anthropology, she systematically engages in her work with precise critical analysis and a perceptive understanding of the complex fabric of social dynamics. Lindsay received her B.A. in International Studies: World Politics and Diplomacy and Latin and Iberian Studies from The University of Richmond. Lindsay has been the recipient of the New Artist Society Merit Award at the School of the Art Institute of Chicago where she is currently pursuing an MFA in Painting and Drawing, and she has had solo presentations at Eaton DC, Washington and Riverhill Art Residency, Upstate Art Weekend. Her works were recently exhibited at Baltimore Museum of Art; James Cohan Gallery, New York, NY; Alpha Arts Alliance, Brooklyn; Gavlak Gallery, Los Angeles; Allouche Gallery, New York. Her work is in the collection of the Baltimore Museum of Art and Northwestern Law School. Photo credit: Lana Jackson Artist https://www.lindsay-adams.com/ “Lindsay Adams's Intimate Paintings Explore Place, Self, and Memory” https://www.nga.gov/stories/lindsay-adams-intimate-paintings.html Baltimore Museum of Art https://collection.artbma.org/people/32189/lindsay-adams James Cohan https://www.jamescohan.com/exhibitions/arcadia-and-elsewhere Washington Post https://www.washingtonpost.com/dc-md-va/2022/05/30/lindsay-adams-dream-day/ University of Richmond https://urnow.richmond.edu/features/article/-/21779/an-artist-and-an-advocate.html?utm_source=www&utm_medium=referral&utm_campaign=features-story LinkedIn https://www.linkedin.com/in/lindsaybadams/ Gavlak https://www.gavlakgallery.com/artists/lindsay-adams National Gallery of Art https://www.nga.gov/stories/lindsay-adams-intimate-paintings.html DCist https://dcist.com/story/22/04/29/lindsay-adams-debuts-first-solo-exhibit-dc/ Green Family Art Foundation https://www.greenfamilyartfoundation.org/exhibitions/22-in-the-know-show/ Visionary Projects https://visionaryprojects.org/interviews/lindsay-adams Loeffler Randall https://loefflerrandall.com/blogs/lr-stories/inthestudiowithlindsayadams Soho House https://www.sohohouse.com/en-us/house-notes/issue-006/art-and-design/lindsay-adams Marie Claire Magazine https://www.marieclaire.com/fashion/a36805666/lindsay-adams-artwork/ Refinery29 https://www.refinery29.com/en-us/2020/07/9923617/black-disabled-artist-cerebral-palsy-lindsay-adams-interview

Kidney donor Michele Love tells Nestor her story of giving life and invites you to Sante for the National Kidney Foundation on May 8th at The Baltimore Museum of Industry. The post Kidney donor Michele Love tells Nestor her story of giving life and invites you to Sante for NKF first appeared on Baltimore Positive WNST.

Today's episode features world famous visual artist Zoë Buckman (b. 1985 Hackney, East London): a multi-disciplinary artist working in sculpture, installation, and photography, exploring themes of Feminism, mortality, and equality. We talk about her origins and the line she tows between soft and hard both as an artist and advocate. Zoë is an intersectional feminist and we talk about what that means as a Jewish woman in 2024. More about Zoë: Notable solo shows have included BLOODWORK at Pippy Houldsworth Gallery London, Nomi at Pippy Houldsworth Gallery, London, No Bleach Thick Enough, at Pippy Houldsworth Gallery, London, Heavy Rag at Fort Gansevoort Gallery New York, Let Her Rave at Gavlak Gallery Los Angeles, Imprison Her Soft Hand at Project for Empty Space, Newark; Every Curve at PAPILLION ART, Los Angeles; and Present Life at Garis & Hahn Gallery, New York. Group shows include those at SF Moma, The Broad Museum, The Museum of Art & Design, NYC, The Parish Art Museum, The Baltimore Museum of Art, MOCA Virginia, The Camden Arts Centre, London, The Studio Museum in Harlem, The Children's Museum of the Arts, The Shirley Fitterman Center NY, MASSIMODECARLO Gallery Hong Kong, Mother Gallery, Beacon NY, Paul Kasmin Gallery NY, Goodman Gallery South Africa, Jack Shainman Gallery NY, Monique Meloche Chicago, NYU Florence Italy, Grunwald Art Gallery, Indiana University, and the Democratic National Convention, Philadelphia, the National Center for Civil and Human Rights, Atlanta, GA and The National Museum of African-American History & Culture, Washington, DC Buckman studied at the International Center of Photography (ICP), was awarded an Art Matters Grant in 2017, The Art Change Maker Award 2019 at The New Jersey Visual Arts Center, and The Art and Social Impact Award 2020 at Baxter St NYC, and completed a residency at Mana Contemporary in 2017. Public works include MENDED: a Times Square Midnight Momenta, a mural, We Hold These Truths To Be Self-Evident, in collaboration with Natalie Frank at the Ford Foundation Gallery of New York & Live Arts in NYC, and various billboard projects with For Freedoms. In February 2018 Buckman unveiled her first Public Sculpture presented by Art Production Fund on Sunset Blv, Los Angeles, a large scale outdoor version of her neon sculpture Champ, which has been up for several years. Buckman's work is included in the permanent collections of The National Portrait Gallery, London, The Institute of Contemporary Art, Miami, The Baltimore Museum of Art, The Rose Art Museum, Brandeis University, The Lowe Art Museum, University of Miami, The Chrysler Museum Virginia, and The Studio Museum in Harlem. More @zoebuckman on Instagram and at ZoeBuckman.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In s3e53 of Platemark, hosts Ann Shafer and Tru Ludwig conclude their conversation with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol's dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result). Carol Wax (American, born 1953). Singer II, 1985. Mezzotint. 14 ½ x 7 3/4 in. Courtesy of the artist. This was a brittle copper – two of several state proofs illustrating process of solving technical problem and the finished state. This process led directly to historical research that resulted in my writing The Mezzotint: History and Technique. John Martin (British, 1789–1854). Belshazzar's Feast, 1826. Mezzotint. Plate: 23 ½ x 32 in. Metropolitan Museum of Art, New York. Martin's large plate was printed with up to eight different inks to enhance the tonal range and compensate for the peculiarities of mezzotints engraved on steel. Richard Earlom (British, 1743–1822), after Frans Snyder (Flemish, 1579–1657). A Game Market, 1783. Mezzotint and etching. Plate: 16 ½ x 22 ¾ in. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Etching (early state before mezzotint). Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Yale Center for British Art, New Haven. [Right] Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Mezzotint and etching. Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Baltimore Museum of Art, Baltimore. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. [DETAIL] J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. Thomas Goff Lupton (British, 1791–1873), after Thomas Girtin (British, 1775–1802). Chelsea Reach, Looking toward Battersea, from the series Gems of Art, 1825. Mezzotint and engraving. Sheet: 260 x 341 mm. (10 1/4 x 13 7/16 in.); plate: 168 x 252 mm. (6 5/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore. Carol Wax (American, born 1953). The Old Clothesline, 1983. Mezzotint. 11 x 11 in. Courtesy of the artist. Carol Wax (American, born 1953). Fanfare, 1983. Mezzotint. 16 x 11 in. Courtesy of the artist. This was the first image I did with a mechanical subject and the first time I subtracted so much of the background. Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result). Carol Wax (American, born 1953). Under Wraps, 2008. Mezzotint. 16 x 20 in. Courtesy of the artist. One of many images of animate/inanimate objects. This series turns the table and uses fabric to objectify a living subject. This project is also an example of how different grounds can be used creatively: the plate was ground with an 85-gauge rocker, but the dog parts were scraped down and reground with a 120-gauge roulette to differentiate textures between fabric and fur. The whiskers were engraved with a burin. Carol's wall of inspiration. [Left] Carol Wax (American, born 1953). Remington Noiseless, 1986. Mezzotint. 20 x 16 in. Courtesy of the artist. Remington Noiseless illustrates stylized shadows before working for Philip Pearlstein. [Right] Carol Wax (American, born 1953). Remington Return, 1993. Mezzotint. 18 ½ x 24 1/2 in. Courtesy of the artist. Reflects Pearlstein's influence as well as more sophisticated technique and confidence acquired while writing the book. Carol Wax (American, born 1953). Glad Tidings, 1993. Two relief intaglio holiday cards. Each: 3 x 2 9/10 in. Courtesy of the artist. Carol Wax (American, born 1953). Missing Peace, 2001. Relief intaglio. 5 x 1 1/2 in. Courtesy of the artist. Carol Wax (American, born 1953). Fortune's Fool, 2020. Gouache. 8 ¼ x 9 1/4 inches. Courtesy of the artist. This clown puppet represents Trump, seen here being devoured for lunch by the Chinese, and while he thinks he's sticking it to their butt (the pencil sharpener from Chinatown), he's only sharpening their strategies. Carol Wax (American, born 1953). Butterfly Effect, 2018. Gouache. 22 x 14 in. Courtesy of the artist. The pulley is a commentary on our convoluted election system that is subject to all kinds of whims. Carol Wax (American, born 1953). Rigged, 2018. Gouache. 20 x 24 in. Courtesy of the artist. This image is about how the system is rigged. Carol Wax (American, born 1953). Underhanded, 2020. Gouache. 21 x 14 in. Courtesy of the artist. This image is about a few things (manipulation, power, etc.), but think “George Floyd.” The political undertones of my paintings have found their way into recent mezzotints. Frederick Mershimer (American, born 1958). Various states of The Great Divide/42nd Street, 1994–97. Mezzotint. Mershimer is a master at making corrections/changes–the likes of which have not been seen since the 17th century. Here is a prime example where he seamlessly changed the focus of a print by removing and moving figures and reissued the plate with a [deservedly] different title.   USEFUL LINKS Carol's website https://www.carolwax.com/ Jennifer Melby's link https://www.jennifermelby.com/ Conrad Graeber's link https://conradgraeber.com/  

This evening, 21 March '24 6 - 8pm GMT: Artist Talk - Tiona Nekkia McClodden at White Cube Bermondsey, London. Tiona will discuss the impetus of her solo exhibition ‘A MERCY | DUMMY', which spans two discrete bodies of works produced alongside each other. McClodden will explore the impulse to present two bodies of works together for the first time in her career through a choreographed sharing of her collection of archival research, music, video, and texts. Reserve a spot here. MERCY | DUMMY runs until 24 March.Tiona Nekkia McClodden (b.1981, Blytheville, Arkansas) spent her formative years throughout the American South. Trained as a filmmaker, McClodden worked largely within the punk and club scene in Atlanta before moving to Philadelphia in 2006 and expanding her practice to include painting, sculpture, photography and installation.Recent solo exhibitions include Baltimore Museum of Art, Maryland (2023); Kunsthalle Basel, Switzerland (2023); The Shed, New York (2022); 52 Walker, New York (2022); The Triple Deities, Philadelphia, Pennsylvania (2021); and Company Gallery, New York (2019). Selected group exhibitions include Solomon R. Guggenheim, New York (2023–24); El Museo del Barrio in New York (2022–23), touring to Phoenix Art Museum, Arizona (2023) and Museum of Contemporary Art, North Miami, Florida (2023–24); ICA Los Angeles, California (2022); Prospect 5, New Orleans, Louisiana (2021–22); Philadelphia Museum of Art, Pennsylvania (2021); New Museum, New York (2021); Haus der Kulturen der Welt, Berlin (2019); and the Whitney Biennial, New York (2019). Other presentations of her work have been on view at MOCA, Los Angeles, California (2017); MCA Chicago, Illinois (2017); and MoMA PS1, New York (2016). In recent years, McClodden has won prestigious grants and fellowships, including the Warhol Foundation Arts Writers Grant (2022), Princeton Arts Fellowship (2021–23); the Bucksbaum Award, Whitney Museum of American Art (2019); Guggenheim Fellowship in Fine Arts (2019); the Louis Comfort Tiffany Award (2017); and the Pew Fellowship (2016), while running Conceptual Fade, a project gallery and library she founded in 2020 that hosts micro-exhibitions and publications centred on Black art and conceptual practice.Work by McClodden is in the permanent collections of the Baltimore Museum of Art, Maryland; MoMA, New York; Philadelphia Museum of Art, Pennsylvania; and Rennie Museum, Canada.Read Shade Art Review Shade Art Review Series 10 | 20% discount codeShade Podcast InstagramShade Podcast is Executive produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonEditing and mixing by Tess DavidsonEditorial support from Anne Kimunguyi Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Episode No. 645 features curator María Elena Ortiz and artist Kenny Rivero. Ortiz is the curator of "Surrealism and Us: Caribbean and African Diasporic Artists since 1940" at the Modern Art Museum of Fort Worth. The exhibition investigates the history of surrealism in the Caribbean and posits that Caribbean intellectuals were key to the development of surrealism in other sites, such as Europe. The exhibition also examines the relationship between Caribbean surrealism and the Afrosurreal in the United States. The exhibition is at MAMFW through July 28. An excellent exhibition catalogue was published by DelMonico Books. Amazon and Bookshop offer it for about $50. Rivero is among the artists whose work is included in "Surrealism and Us." Rivero's work deconstructs histories and explores the construction of identity through paintings, collage, drawings, and sculpture. His work is in the collections of museums such as the Crystal Bridges Museum of American Art, Bentonville, Ark., the Baltimore Museum of Art, the Studio Museum in Harlem, El Museo del Barrio, New York, and the Whitney Museum of American Art, New York. Instagram: María Elena Ortiz, Kenny Rivero, Tyler Green.

Baltimore has become what many consider to be ground zero in the emerging “solidarity economy” and the formation of worker-owned, cooperatively run businesses. There's something important going on here, and there's a lot that we can all learn from our fellow workers who are in the cooperative space—people who are living, breathing proof that there's another way to run a business, that there's another way to run our economy, and that there are other ways we can treat work and workers. At a recent event hosted by the Baltimore Museum of Industry titled "Work Matters: Building a Worker-Owned Co-op," Max moderated a panel including workers and representatives from Common Ground Bakery Café, Taharka Bros Ice Cream, A Few Cool Hardware Stores, and the Baltimore Roundtable for Economic Democracy (BRED). He talked to them about how they came to work at these different co-ops, how their businesses transitioned to more cooperative models, and they dig into the nitty gritty of what working at a co-op looks like, what it takes for workers to democratically run a business, and the real challenges, limitations, and rewards that come with this kind of work. Panelists include: Vince Green (Taharka Bros Ice Cream); David Evans (A Few Cool Hardware Stores); Craig Smith (A Few Cool Hardware Stores); Sierra Allen (Common Ground Bakery Café); Christa Daring (BRED).Additional links/info below…Baltimore Museum of Industry website, Facebook page, and InstagramJaisal Noor, The Real News Network, "Worker Co-ops vs. COVID"Jaisal Noor, The Real News Network, "Taharka Bros: Ice Cream with a Side of Worker Ownership"Working People, "Your Job Doesn't Have to Suck (w/ Jaisal Noor)"Lisa Elaine Held, The Washington Post, "Amid Food-Industry Upheaval, Baltimore Businesses Are Handing Workers the Keys"Rebekah Kirkman, The Real News Network, "After Beloved Baltimore Coffee Shop Abruptly Closed, Workers Reopen as Co-op"Permanent links below...Leave us a voicemail and we might play it on the show!Labor Radio / Podcast Network website, Facebook page, and Twitter pageIn These Times website, Facebook page, and Twitter pageThe Real News Network website, YouTubechannel, podcast feeds, Facebook page, and Twitter pageFeatured Music...Jules Taylor, "Working People" Theme SongJules Taylor, "Working People Live Show" Theme SongJules Taylor, "John L. Handcox I Live On Remix"Follow Jules Taylor on Twitter and FacebookHelp us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer:Donate: https://therealnews.com/donate-podSign up for our newsletter: https://therealnews.com/newsletter-podLike us on Facebook: https://facebook.com/therealnewsFollow us on Twitter: https://twitter.com/therealnews

Baltimore has become what many consider to be ground zero in the emerging “solidarity economy” and the formation of  worker-owned, cooperatively run businesses. There's something important going on here, and there's a lot that we can all learn from our fellow workers who are in the cooperative space—people who are living, breathing proof that there's another way to run a business, that there's another way to run our economy, and that there are other ways we can treat work and workers. At a recent event hosted by the Baltimore Museum of Industry titled "Work Matters: Building a Worker-Owned Co-op," Max moderated a panel including workers and representatives from Common Ground Bakery Café, Taharka Bros Ice Cream, A Few Cool Hardware Stores, and the Baltimore Roundtable for Economic Democracy (BRED). He talked to them about how they came to work at these different co-ops, how their businesses transitioned to more cooperative models, and they dig into the nitty gritty of what working at a co-op looks like, what it takes for workers to democratically run a business, and the real challenges, limitations, and rewards that come with this kind of work. Panelists include: Vince Green (Taharka Bros Ice Cream); David Evans (A Few Cool Hardware Stores); Craig Smith (A Few Cool Hardware Stores); Sierra Allen (Common Ground Bakery Café); Christa Daring (BRED).  Additional links/info below… Baltimore Museum of Industry website, Facebook page, and Instagram  Jaisal Noor, The Real News Network, "Worker Co-ops vs. COVID"  Jaisal Noor, The Real News Network, "Taharka Bros: Ice Cream with a Side of Worker Ownership" Working People, "Your Job Doesn't Have to Suck (w/ Jaisal Noor)" Lisa Elaine Held, The Washington Post, "Amid Food-Industry Upheaval, Baltimore Businesses Are Handing Workers the Keys" Rebekah Kirkman, The Real News Network, "After Beloved Baltimore Coffee Shop Abruptly Closed, Workers Reopen as Co-op" Permanent links below... Working People Patreon page Leave us a voicemail and we might play it on the show! Labor Radio / Podcast Network website, Facebook page, and Twitter page In These Times website, Facebook page, and Twitter page The Real News Network website, YouTube channel, podcast feeds, Facebook page, and Twitter page Featured Music... Jules Taylor, "Working People" Theme Song Jules Taylor, "Working People Live Show" Theme Song Jules Taylor, "John L. Handcox I Live On Remix"  Follow Jules Taylor on Twitter and Facebook

Ep.185 features Tariku Shiferaw, a New York based artist who explores mark-making through painting and installation art, addressing issues around space-making within art and societal structures. Select museum exhibitions include The Culture: Hip Hop and Contemporary Art in the 21st Century at Baltimore Museum of Art (2023); You'd Think By Now at Smack Mellon (2022); Men of Change, organized by The Smithsonian Institution, and held at the California African American Museum (CAAM), (2021); Unbound at the Zuckerman Museum of Art (ZMA), (2020); What's Love Got to Do with It? at The Drawing Center (2019); A Poet*hical Wager at the Museum of Contemporary Art Cleveland (2017-2018); and the 2017 Whitney Biennial at the Whitney Museum of American Art, New York. Shiferaw has participated in the Independent Study Program at the Whitney Museum of American Art (2018-2019), in Open Sessions at The Drawing Center (2018-2020) and has been an artist-in-residence at the LES Studio Program in New York City, at the World Trade Center through Silver Art Projects, and at ARCAthens in Greece. Photo credit Christopher Garcia Valle Artist https://www.tarikushiferaw.com/ The Brooklyn Rail (2023) Art in Conversation: Tariku Shiferaw with Charles M. Schultz Artsy (2022) With Spectacular Installations and Abstractions, Artists Redress... NY Times (2022) These Artists' Hunt for Studio Space Ended at The World Trade... The Washington Post (2022) In The Galleries: Connecting Modern Abstraction... LA Times (2022) The Take: The Faces of Frieze... Artsy (2021) The Artsy Vanguard 2021: Tariku Shiferaw Brooklyn Rail (2021) It's a love thang, it's a joy thang Artnet (2021) ‘Joy Can Be an Act of Resistance': Rising-Star Artist Tariku Shiferaw on… Cultured Mag (2021) Five Contemporary Black Artists You Should Know' Art Papers (2020) Tariku Shiferaw Brooklyn Rail (2020) Abstraction in the Black Diaspora Hyperallergic (2020) Black Artists Claim Their Birthright of Abstraction Wallpaper (2020) Five African Artists Demonstrating Creative Resilience in Challenging Times Financial Times (2020) Could the Art World's Experiment with Online Fairs Force A Healthy Rethink? Hyperallergic (2020) What Does It Mean To Exhibit “Black Excellence”? Barron's Penta Magazine (2020) "Contemporary Artists on Art and Society"

To Helen Molesworth, curating is much more than carefully selecting and positioning noteworthy artworks and objects alongside one another within a space; it's also about telling stories through them and about them, and in turn, communicating particular, often potent messages. Her probing writing takes a similar approach to her curatorial work, as can be seen in her new book, Open Questions: Thirty Years of Writing About Art (Phaidon), which culls together 24 of her essays written across three decades. For nearly 20 of those years, Molesworth served in various curatorial roles at museums and arts institutions including the Baltimore Museum of Art, the Institute of Contemporary Art Boston, and most recently, as the chief curator at the Museum of Contemporary Art in Los Angeles (MOCA). In the five years since her departure from MOCA, Molesworth has built a thriving practice as an independent curator, writer, and podcaster, notably as the host of the six-part podcast Death of an Artist, which was named a best podcast of 2022 by both The Economist and The Atlantic.On this episode of Time Sensitive, Molesworth discusses her lifelong engagement with the work of Marcel Duchamp; the transformative power of a great conversation; and the personal and professional freedom she has found in recent years as a roving, independent voice in the art world.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes:[00:25] Helen Molesworth[03:50] Open Questions: Thirty Years of Writing About Art[04:02] Marcel Duchamp[04:09] “At Home with Marcel Duchamp: The Readymade and Domesticity”[11:33] “The Creative Act”[12:09] Marcel Duchamp's “Fountain”[17:22] Frank Stella[17:28] John Baldessari[21:56] Paul Lafargue[22:32] Doris Salcedo[29:50] Josiah McElheny[35:23] Al Hirschfeld[36:41] State University of New York at Albany[36:43] Whitney Museum Independent Study Program[36:48] Cornell University[42:33] “One Day at a Time”[46:57] Kerry James Marshall[47:00] “This Will Have Been: Art, Love & Politics in the 1980s”[47:02] “Leap Before You Look: Black Mountain College 1933-1957”[47:41] Death of an Artist[47:46] Dialogues: The David Zwirner Podcast[47:48] Recording Artists[54:53] Museum of Contemporary Art, Los Angeles[54:51] Carl Andre[59:45] WBLS: The Quiet Storm

Helen Molesworth is a writer, critic, and curator. Her new book, Open Questions: Thirty Years of Writing About Art, collects her writing on art and artists from exhibition catalogs and art publications. From 2014 to 2018, she was the chief curator at The Museum of Contemporary Art in Los Angeles and previously served as curator at ICA Boston, the Baltimore Museum of Art, and the Harvard University Art Museums. In 2022, she hosted the six-part podcast Death of an Artist. In this conversation, Jarrett and Helen talk about blending theory and feeling in criticism, making exhibitions like essays, and the questions that still animate her work. Links from this episode can be found at scratchingthesurface.fm/242-helen-molesworth. 
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Today's guests help us to review some of the best photobooks of 2023, including some that are actually affordable!  Join Kyle Myles founder of Baltimore Photo Space and Lori McBee book buyer for the Baltimore Museum of Art.  Listen in for an extensive list of the best photography books of 2023 from 2 outstanding retailers.  … Continue reading "Episode 86: Best Photobooks of 2023 (Gift Guide)" The post Episode 86: Best Photobooks of 2023 (Gift Guide) first appeared on A Photojournalism Podcast for Everyone.

In s3e46, Platemark host Ann Shafer speaks with Reinis Gailitis, an engraver from Riga, Latvia. The magic of the internet is fully on display today. Without it, finding Reinis's work would have been challenging. But his self-portrait in the style of Claude Mellan's Holy Face, the one with a single line emanating from the subject's nose, is a marvel. Ann and Reinis talk about how engraving is simultaneously the most simple and direct of techniques while being the most difficult. They talk about tricks and tools shared by artists thanks to the internet: how to transfer a drawing onto a shiny copper plate for engraving (thanks, Andrew Raftery), what recipe to use for a darkened paste to fill already carved lines to see progress (thanks, Lembit Lõhmus), choosing a non-toxic solvent and trying out a custom tube of ink (thanks, Ad Stijnman), about non-toxic electrolytic etching (thanks, Jason Scuilla). They talk about the pitfalls of selling Intagram-worthy art, why there's little-to-no printmaking culture in Latvia, and about how overdue we are for a severe magnetic storm that could wipe out electronic media, documents, art pointing to the importance of printed objects.  Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis teaching engraving at the Art Academy, Riga, Latvia. Reinis Gailitis's plate with ink-paste in the engraved lines to help the artist see where they are. Reinis Gailitis engraving the copper plate Face Of... Reinis Gailitis (Latvian, born 1992). Engraved spiral perfection. Halftone rake tool (intaglioprintmaker.com). Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. [DETAIL] Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. Stanley William Hayter (English, 1901–1988). Cinq Personnages, 1946. Engraving and softground etching (trial proof prior to color additions). Baltimore Museum of Art, Baltimore. Reinis Gailitis (Latvian, born 1992). Monoliths, 2022. Engraving. Reinis Gailitis. Variations of lines via engraving, drypoint, and mezzotint. Lembit Lõhmus (Estonian, born 1947). Ex Libris. Engraving. Reinis Gailitis's ink-paste. Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis. Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm. Reinis Gailitis (Latvian, born 1992). Schematic for Face Of… engraving. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München. Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm. Reinis Gailitis (Latvian, born 1992). Starship, 2021. Engraving and chine collé. Reinis Gailitis (Latvian, born 1992). Work in Progress, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving and linoleum cut on chine collé. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Linoleum cut. [DETAIL OF TRIAL PROOF] Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving printed intaglio and relief with white areas hand wiped. Reinis Gailitis (Latvian, born 1992). Inked engraving plate (black intaglio, blue relief, white hand wiped) for Work in Dark, 2023. Reinis Gailitis (Latvian, born 1992). Fungi, 2023. Wood engraving. 9 x 11 cm. Reinis Gailitis (Latvian, born 1992). Woodblock for Fungi, 2023. 9 x 11 cm. Reinis Gailitis's engraved woodblock for Fungi set in press. Reinis Gailitis's wood engraving, Fungi, being printed. Anton Würth (German, born 1957). Dürer Übung-Dürer Practice, 2014. Engraving. 100 x 150 mm (3 7/8 x 5 7/8 in.). C.G. Boerner, New York. Lembit Lõhmus (Estonian, born 1947). Ex Libris in memoriam Richard Kaljo. Engraving.    Reinis Gailitis (Latvian, born 1992). Engraved patterns.   USEFUL LINKS Reinis's website: https://gailitis.berta.me/ Reinis's prints are available for purchase on his Esty shop: https://www.etsy.com/shop/GailitisPrintmaking?ref=profile_header Support Reinis through Patreon: https://www.patreon.com/gailitis Short videos of engraving Work in Progress: https://www.youtube.com/shorts/NEjIeYYKyzk and https://www.youtube.com/shorts/DkEPD2qdB5U and https://www.youtube.com/shorts/3f_FihXoMxM Short videos of engraving Face Of…: https://www.youtube.com/watch?v=GLYBCYGAh40 and https://www.youtube.com/watch?v=WPcFjpoWO4I and https://www.youtube.com/watch?v=3nwf_SzOJAk Process video on the making of Vortex: https://www.youtube.com/watch?v=1OU9Uh8brzQ Process video on the making of Starship: https://www.youtube.com/watch?v=bjgw_aUnwuk Andrew Raftery demonstrates the art of engraving: https://www.youtube.com/watch?v=fQvghHs15hA&t=234s  

Tschabalala Self is an artist born in Harlem who lives and works in Upstate New York. She received her undergraduate degree at Bard and her MFA from Yale. Recent solo exhibitions and perfiormances include Kunstmuseum, St Gallen, Le Consortium in Dijon, Performa 2021 Biennial in NYC, the Baltimore Museum of Art, the ICA in Boston, the Hammer Museum in LA, Art Omi in Ghent, the Yuz Museum in Shanghai and many others. She has had several museum shows and has had residencies at the Studio Museum in Harlem, the Red Bull House of Art in Detroit, Liquitex work residency in London, the Fountainhead Residency in Miami and many others. Her work has been covered in Art in America, ArtForum, Artnet, Bomb, Cultured, Essence, Frieze, Hyperallergic, The New York Times, T Magazine, The Art Newspaper, The Guardian, Vouge, W and more. Her work can be found in countless institutions, with highlights that include The Art Institute of Chicago, The Baltimore Museum of Art, the Brooklyn Museum, the California African American Museum, the Hirshhorn, LACMA, the New Museum, the MCA in LA, the Guggenheim, the Studio Museum in Harlem and the Whitney Museum. Buy the Sound & Vision book "WHY I MAKE ART" here: https://atelier-editions.com/products/why-i-make-art Thanks to all for listening to the podcast and making it possible to hit 400 episodes!

Dan Rodricks joins Midday today. He is a familiar face to longtime listeners. Rodricks hosted this show for 7 years, from 2008 to 2015. He joined the Evening Sun in 1979 and became a popular and award-winning reporter and columnist. His writing is insightful and imaginative on issues affecting Baltimore and beyond. Rodricks is also the author of three books, and two plays. The first play is called Baltimore: You Have No Idea, which played to sold out audiences at the Baltimore Museum of Art last December. Now, the production is set to return the BMA this weekend and next week. In February, Dan will premiere a new play, Baltimore Docket.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

In this episode of The Truth in This Art podcast, host Rob Lee interviews curator George Ciscle about the exhibition "Eyewinkers, Tumbleturds, and Candlebugs: The Art of Elizabeth Talford Scott" at the Baltimore Museum of Art. They discuss the significance of Scott's intricate textile art, the collaborative approach to curation, and the impact of the exhibition on the Baltimore art scene.

Ep.176 Gisela McDaniel is a diasporic, Indigenous Chamorro artist who explores the effects of trauma, displacement and colonisation through portraiture and oral histories. Interweaving audio interviews, assemblage and oil painting, she intentionally incorporates the portrait sitters' voices in order to subvert the traditional power relations of artist and sitter. Working primarily with women and non-binary people who identify as Black, Micronesian, Indigenous to Turtle Island, Asian, Latinx, and/or mixed-race, her work disrupts and responds to the systemic silencing of subjects in fine art, politics and popular culture. McDaniel received her BFA from the University of Michigan in 2019. Recent solo and group shows include: The inescapable interweaving of all lives, Kunsthalle Düsseldorf, Düsseldorf (2023); Tender Loving Care, Museum of Fine Arts Boston, Boston (2023); Thinking of You, FLAG Art Foundation, New York (2023); Manhaga Fu'una, Pilar Corrias, London (2022); A Place for Me: Figurative Painting Now, ICA Boston (2022); The Regional, Kemper Museum of Contemporary Art, Kansas City (2022); Sakkan Eku LA, The Mistake Room, Los Angeles (2021); How Do We Know the World?, Baltimore Museum of Art, Baltimore (2021); The Regional, CAC Contemporary Art Centre Cincinnati (2021); Dual Vision, MOCAD (2021); Making WAY/FARING Well, Pilar Corrias, London (2020); Dhaka Art Summit, Dhaka, Bangladesh (2020); On the Road II, Oolite Arts, Miami (2019); Save Art Space, Playground Detroit, Detroit (2019); Lush P(r)ose, Playground Detroit, Detroit (2019); Virago, Detroit Art Babes Collective, Detroit (2019) and Theotokos: New Visions of the Mother God, The Schvitz, Detroit (2018). Photo Credit: Gisela McDaniel in her studio, 2023, Photo by Rachel Stern. Courtesy the artist and Pilar Corrias, London Artist https://www.giselamcdaniel.com/ Pilar Corrias https://www.pilarcorrias.com/artists/53-gisela-mcdaniel/ Perez Art Museum Miami https://www.pamm.org/en/artwork/2020.216/ MFA Boston https://www.mfa.org/article/2022/tiningo-si-sirena-a-conversation-with-gisela-charfauros-mcdaniel-and-antoinette i.D Vice https://i-d.vice.com/en/article/akvywb/gisela-mcdaniel-art-interview Elephant https://elephant.art/gisela-mcdaniel-gauguins-paintings-of-pacific-islanders-felt-like-theft-to-me-18022022/ Artnet https://news.artnet.com/art-world/chamorro-painter-gisela-mcdaniel-interview-2064002 Playground Detroit https://playgrounddetroit.com/portfolio/gisela-mcdaniel/ Galleries Now https://www.galleriesnow.net/shows/gisela-mcdaniel-manhaga-fuuna/ Washington Informer https://www.washingtoninformer.com/armory-week-contemporary-art-dc/ Wikipedia https://en.wikipedia.org/wiki/Gisela_McDaniel Kresge Arts in Detroit https://kresgeartsindetroit.org/artist/gisela-mcdaniel/ Kadist https://kadist.org/people/gisela-mcdaniel/ She Curates https://www.she-curates.com/interviews/artists/gisela-mcdaniel/ Metro West https://metrowestcle.org/community-art/ Guam Pacific Daily News https://www.guampdn.com/lifestyle/gisela-mcdaniels-portraits-of-chamoru-diaspora-shown-in-london-gallery/article_c149e9ac-8e05-11ec-8f91-333179b3d301.html The Hopper News https://hopperprize.org/gisela-mcdaniel/ Seen https://www.seenthemagazine.com/culture/arts_entertainment/the-power-of-a-paintbrush-gisela-mcdaniel-transforms-trauma-into-art/article_c071f946-0477-5e8a-a116-6e6adc2605cf.html

In 2018, Helen Molesworth was unceremoniously dismissed from her position as chief curator of the Museum of Contemporary Art Los Angeles. The move proved controversial among industry insiders, many of whom cast it as an example of an institution punishing its employee, a straight talking, strong willed feminist, for refusing to march in line. But for Molesworth, whose resume also includes stints at the Institute of Contemporary Art Boston, the Baltimore Museum of Art, and the Wexner Center for the Arts, The backlash didn't change the facts. For the first time in years, she was a curator without a home. Since then, Molesworth has struck out on her own, and she's been as active as ever. She's guest curated critically acclaimed exhibitions of at David Zwirner, Jack Shainman, and International Center of Photography. She's also hosted a hit podcast, Death of an Artist, about Anna Mendieta, led a series of filmed artist interviews, and been profiled by the New York Times. The forward momentum has given the curator little cause to look back. That is, until now. This month, Phaidon will release Open Questions: Thirty Years of Writing About Art, a career spanning collection of Molesworth's essays, all previously published in exhibition catalogs and art journals. Most of the written pieces are about artists, people like Kerry James Marshall, Catherine Opie, and Lisa Yuskavage. But the real subject of the book, of course, is Molesworth herself, and it's a rich text in that regard. "I trained as an art historian" Molesworth explains, "I really believe in art objects as knowledge producers, and for better or for worse, in the history of the 20th century, museums are the institutions that allow and convey that knowledge. Ahead of the book's release, Artnet News senior writer Taylor Dafoe sat down with Molesworth to talk about the project and the period of deep personal reflection it inspired.

This episode we are hugely excited to be joined by the artist Tiona Nekkia McClodden! Tiona is a visual artist, filmmaker, and curator whose work explores and critiques issues at the intersections of race, gender, sexuality, and social commentary.  Born in Blytheville, Arkansas and raised in Greenville, South Carolina, Tiona weaves narratives through archives, memories and objects, integral to her past and present, that shape her broader practice.  In 2022, Tiona's exhibitions at The Shed and 52 Walker alongside her year-long installation at MoMA in New York, garnered significant acclaim, prompting The New York Times to identify Teeona as “one of the most singular artists of our aesthetically rich, free-range time.” Her work have been shown at Kunsthalle Basel, the Institute of Contemporary Art-Philadelphia, the Philadelphia Museum of Art; the Museum of Modern Art (New York); the Whitney Museum of American Art (New York) ; the New Museum (New York); Haus der Kulturen der Welt (HKW) – Berlin, among many others. And, just in September, Tiona opened up the installation Tiona Nekkia McClodden: Play Me Home at the Baltimore Museum. Some artists and institutions discussed in this episode: Chryssa Jacob Lawrence Brad Johnson (American, 1952–2011) Barbara Hammer Steve McQueen Palais de Tokyo, Paris Walker Art Center, Minneapolis Conceptual Fade, Philadelphia Whitney Museum, New York Museum of Modern Art, New York 52 Walker, New York Tiona is represented globally by White Cube gallery. https://www.whitecube.com/artists/tiona-nekkia-mcclodden For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy! https://www.instagram.com/artfromtheoutsidepodcast/

We meet legendary artist Sylvia Snowden from her home in Chicago where she has been painting for the past 60+ years!Known for her use of abundantly thick, layered paint, Snowden has developed a visual language in which gems of colour and texture emerge from densely-worked under layers. From dark and earthy tones to the vibrant and artificial, Snowden's command of chromatic range is the fuel of her expressionistic style. Over the course of her more than five-decade-long career, in which she has always painted in series, Snowden developed an adroitness with her medium. She initially employed oil paint and pastels then moved toward acrylic–a less toxic and faster-drying alternative–after having children. Snowden paints sculpturally, her compositions range from larger-than-life to portrait-sized. Her process allows visible evidence of constructed layers and employs impasto that interacts with her bold figures caught in motion with physical weight.Snowden's voluminous bodies, often contrapposto, are surrounded by peaks of shifting chroma in a physical manifestation of feeling; she depicts the tension and intensity of life, and the troubled, optimistic, and dramatic elements of our sublime existence. Snowden encapsulates the psychological essence of her subjects–some of whom were unhoused and transient, displaced by gentrification, others with whom she had intimate or long-term relationships–their triumphs, paranoia, agony, and anger are all visible; these works convey an emotionally turbulent environment. Snowden's expressive paintings reference the immediate lives of these individuals, and act as interpretations of each subject's psyche. As a serial painter, Snowden alternates between representation and abstraction, exhausting her emotional self between each mode as she articulates the struggles and successes of humanity.Snowden received a scholarship to Skowhegan School of Painting and Sculpture in Skowhegan, ME and has a certificate from La Grande Chaumier in Paris, France. She holds both a Bachelor of Arts and a Master of Fine Arts degree from Howard University. At Howard University she studied under David C. Driskell.[1] She has taught at Howard University, Cornell and Yale, has served as an artist-in-residence, a panelist, visiting artist, lecturer/instructor and curator in universities, galleries and art schools both in the United States and internationally. She has exhibited at the National Gallery of Art, the Corcoran Gallery of Art, Women's Museum, Montclair Art Museum, Baltimore Museum of Art, Herbert F. Johnson Museum of Art at Cornell University, The Phillips Collection, Heckscher Museum of Art, and the Mary McLeod Bethune Memorial Museum and National Archives for Black Women's History [1]. Her works have been shown in Chile, the Netherlands, Ethiopia, Australia, the Bahamas, France, Mexico, Italy and Japan.Visit Sylvia's new exhibition 'M Street on White' until 28th October 2023 in London at Edel Assanti: https://edelassanti.com/exhibitions/118-sylvia-snowden-m-street-on-white/Follow Sylvia's galleries @EdelAssanti and @ParraschHeijnen Hosted on Acast. See acast.com/privacy for more information.

Ep. 168 features Chase Hall's (b. 1993, St. Paul, Minnesota). His paintings and sculptures respond to generational celebrations and traumas encoded throughout American history. Responding to a variety of social and visual systems, each of which intersects with complex trajectories of race, hybridity, economics, and personal agency, Hall generates images whose materiality is as crucial to their compositional makeup as their indelible approach to representation. A central body of paintings, made with drip-brew techniques derived from coffee beans and acrylic pigments on cotton supports, is notable for both its conceptual scope and its intimacy. The use of brewed coffee carries powerful symbolic weight since it evokes centuries-old geopolitical systems associated with the commodification of a plant native to Africa, but in Hall's hands, it also becomes a means of achieving subtle visual textures, a range of brown skin tones, and a mark-making vocabulary precipitated on the closeness of touch. Above all, however, it is his improvisational willingness to immerse himself in the indefinable personal hieroglyphics of each picture that gives his work its resonance and impact. Chase Hall was the subject of a solo exhibition at the SCAD Museum of Art, Savannah, Georgia in 2023. In 2022, Hall was commissioned by the Metropolitan Opera to produce a large-scale artwork, the monumental diptych Medea Act I & II, for its opera house in New York, on view through June 2023. Hall has been included in group exhibitions including Together in Time: Selections from the Hammer Contemporary Collection, Hammer Museum (2023), Los Angeles; Black American Portraits, Los Angeles County Museum of Art (2021); Young, Gifted and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art, University of Illinois Chicago (2021); and This Is America | Art USA Today, Kunsthal KAdE, Amersfoort, the Netherlands. Hall has been an artist-in-residence at The Mountain School of Arts, Los Angeles; Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, Massachusetts; and Skowhegan School for Painting and Sculpture, Maine. Hall's work is in the permanent collections of institutions including the Los Angeles County Museum of Art; Dallas Museum of Art; Institute of Contemporary Art, Miami; Fondation Louis Vuitton, Paris; Baltimore Museum of Art; Brooklyn Museum, New York; Hammer Museum, Los Angeles; High Museum of Art, Atlanta; Montreal Museum of Fine Arts; Walker Art Center, Minneapolis; The Studio Museum in Harlem, New York; and Whitney Museum of American Art, New York. Hall lives and works in New York. Artist https://chasehallstudio.com/ David Kordansky Gallery https://www.davidkordanskygallery.com/exhibitions/chase-hall2 Pace Prints https://paceprints.com/2023/chase-hall-melanoidin Galerie Eva Presenhuber https://www.presenhuber.com/selected-public-exhibitions/chase-hall#tab:slideshow Aspen Art Museum https://www.aspenartmuseum.org/artcrush/live-auction/chase-hall Met Opera https://www.metopera.org/visit/exhibitions/current-exhibition/ Whitney Museum of Art https://whitney.org/artists/20278 Document Journal https://www.documentjournal.com/2023/03/chase-hall-the-close-of-the-day-scad-moa-art-exhibition-painting-black-culture-savannah-american-south/ New York Times https://www.nytimes.com/2022/06/02/arts/television/the-wire-20th-anniversary.html New York Times Opinion https://www.nytimes.com/2021/04/16/opinion/sunday/george-floyd-daunte-wright-minnesota.html New York Magazine https://nymag.com/author/chase-hall/ Cultured Mag https://www.culturedmag.com/article/2023/06/20/painter-chase-hall-met-opera The Art Newspaper https://www.theartnewspaper.com/2023/07/13/curator-playing-matchmaker-emerging-artists-aspen-collectors Hollywood Reporter https://www.hollywoodreporter.com/lifestyle/arts/frieze-week-2023-artists-shows-los-angeles-1235325588/

Episode No. 608 is a holiday clips episode featuring artist Ebony G. Patterson. The New York Botanical Garden is presenting "…things come to thrive…in the shedding…in the molting…," a site-specific exhibition that immerses Patterson's work in the NYBG's spaces. It is on view in the Bronx through October 22. This episode was taped in 2020 on the occasion of “Ebony G. Patterson… while the dew is still on the roses…”, a survey of work Patterson had made in the previous decade that was on view at the Nasher Museum of Art at Duke University. Patterson's installations, tapestries, videos and sculptures wield beauty to address disenfranchised communities, violence, masculinity and the impacts of colonialism. “… while the dew” especially examines her consideration of gardens. Patterson's work has been the subject of solo exhibitions at the Baltimore Museum of Art, the Savannah College of Art and Design Museum of Art, The Studio Museum in Harlem, the Bermuda National Gallery, and more. For images, see Episode No. 436.