Podcasts about Barnes Foundation

Guest Host Vanesse Lloyd-Sgambati speaks with James Claiborne, Deputy Director for Community Engagement at the Barnes Foundation, about their latest initiatives and efforts to engage the Philadelphia community.Learn more about the Barnes Foundation here.In her feature, "What is Philadelphia Reading?", Vanese interviews Jamilah Thompkins-Bigelow, acclaimed children's book author, about her book that has been adapted into a children's play.Learn more about Jamilah Thompkins-Bigelow.Find out more about the play at Enchantment Theatre.

Dominica Guillaume Walter's life was full of drama and scandal. She was accused of attempted murder, blackmail, and forgery as she tried to maintain control of her late husband's art collection. Research: Bondar, Yaroslava. “Domenica Guillaume Walter's Crimes of Dispassion.” Cultured. 3/21/2023. https://www.culturedmag.com/article/2023/03/21/domenica-guillaume-walter-art-scandal By ROBERT C. DOTY, Special to The New York Times. "THE PARIS SCANDALS: INTRIGUE IN HIGH PLACES." New York Times (1923-), Feb 08 1959, p. 1. ProQuest. Web. 8 Aug. 2024 . Clerc, Christine. “L'Étonnante Histoire de la Collection Walter-Guillaume a l'Orangerie.” Revue des Deux Mondes. February 2020. Via JSTOR. URL: https://www.jstor.org/stable/10.2307/26891298 Fraquelli, Simonetta and Cindy Kang. “Marie Laurencin: Sapphic Paris.” The Barnes Foundation, Philadelphia. Yale University Press. HARRISS, JOSEPH A. "THE Pygmalion OF THE AVANT-GARDE : WHILE THE ART ESTABLISHMENT SCOFFED AT MODERN PAINTING, PAUL GUILLAUME AMASSED ONE OF THE WORLD'S FINEST COLLECTIONS, NOW TRAVELING IN NORTH AMERICA." Smithsonian, vol. 31, no. 8, Nov. 2000, p. 88. Gale In Context: U.S. History, link.gale.com/apps/doc/A66278406/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=6623725e. Accessed 7 Aug. 2024. Mahler, Luise, "Paul Guillaume," The Modern Art Index Project (January 2015), Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art. https://doi.org/10.57011/WMTE1884 Musée de l'Orangerie. “History of the collection.” https://www.musee-orangerie.fr/en/collection/les-arts-a-parishistory-of-the-collection Musée de l'Orangerie. “Musée de l'Orangerie: catalogue of the Jean Walter et Paul Guillaume collection.” Ministère de la Culture et de la Communication, Editions de la Réunion des musées nationaux. 1987. https://archive.org/details/musedelorangerie0000muse/ Richardson, John. “Crimes of the Art.” Vanity Fair. 4/5/2012. https://www.vanityfair.com/news/2001/03/domenica-guillaume-walter-art-scandal Snell, David. “France Again Enjoys a Notable Scandal.” Life. 3/16/1959. Special Correspondent of the Post-Dispatch. “Murder for $160,000,000?” St. Louis Post-Dispatch. 4/19/1959. Special to The New York Times. "LACAZE AFFAIR REVIVED: REST OF ALLEGED MURDER MONEY SURRENDERED IN PARIS." New York Times (1923-), Jul 08 1959, p. 3. ProQuest. Web. 8 Aug. 2024 . Special to The New York Times. "LACAZE CHARGES CUT: TWO ACCUSATIONS IN AFFAIR OF PARIS FAMILY DROPPED." New York Times (1923-), Jun 15 1960, p. 6. ProQuest. Web. 8 Aug. 2024 . Special to The New York Times. "PHYSICIAN JAILED IN PARIS SCANDAL: DOCTOR-FRIEND OF WEALTHY WIDOW REPORTED ACCUSED OF PLOT TO KILL STEPSON." New York Times (1923-), Mar 14 1959, p. 5. ProQuest. Web. 8 Aug. 2024 . Special to The New York Times. "SENSATIONAL CASE STIRS PARIS ANEW: RICH WIDOW SEES BLACKMAIL AIMED AT HER IN LACAZE CONSPIRACY CHARGE." New York Times (1923-), Feb 06 1959, p. 7. ProQuest. Web. 8 Aug. 2024. “Foreign News: The Lacaze Labyrinth.” 3/9/1959. https://time.com/archive/6888465/foreign-news-the-lacaze-labyrinth/ “FRANCE: LAffaire Lacaze.” 2/2/1959. https://time.com/archive/6829115/france-laffaire-lacaze/ Murrell, Denise. “African Influences in Modern Art.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/aima/hd_aima.htm (April 2008) See omnystudio.com/listener for privacy information.

Bill Perthes, the Bernard C. Watson Director of Adult Education for the Barnes Foundation discussed founder Albert Barnes and his foundation's history and mission as they celebrate their 120 Anniversary.   This summer, the Barnes Foundation and Mural Arts Philadelphia present Visions, an exhibition of original work created by artists from Mural Arts Philadelphia's Guild program and artists at State Correctional Institution Phoenix (SCI Phoenix), southeast Pennsylvania's maximum-security prison for men. The Guild is a paid apprenticeship program that gives justice-impacted young people the opportunity to develop marketable job skills, reconnect with their community, and explore the transformative power of art.    The Barnes and Mural Arts launched their collaborative restorative justice initiative in 2018 with art education classes led by Barnes educators and printmaking workshops held at Philadelphia studios. Workshops have taken place at the print studio at the Pennsylvania Academy of the Fine Arts (PAFA) and, for the past several years, Second State Press.  The program engages individuals who are incarcerated or on parole, probation, home detainment, or work release, and those with open criminal cases, by providing opportunities to reconnect with society in productive ways through community engagement, skill-building, and collaborative mural projects. Free with general admission to the Barnes, Visions will be on view in the first-floor classroom of the Collection Gallery now through August 26, 2024. We also discussed the current exhibit, Matisse & Renoir in a New Light.  The exhibit is supported by classes and workshops at the Barnes and online to allow an international audience.  Visit July and August classes.     Additional classes include Impressionism and Japonisme, Art & Literature of the Harlem Renaissance and Bill's own Close-Looking Immersion: William Glackens's The Raft. For more information about the Barnes Foundation, visit BarnesFoundation.org.   

No doubt you've heard of—or even shopped—the massively successful fashion brand founded by our guest, Tory Burch. But what is it about this trailblazing fashion designer that's earned her a spot on Time magazine's list of the 100 Most Influential People in the World? From humble beginnings to global acclaim, Tory's journey is one of resilience, innovation and unwavering dedication to women in business. Just five years after launching her lifestyle brand, she started the Tory Burch Foundation aimed at advancing women's empowerment and entrepreneurship by providing access to capital, education, and community. Among its initiatives, Tory's foundation has partnered with Goldman Sachs to provide business-education grants, mentoring and much-needed networking opportunities. They've also partnered with Bank of America to provide $100 million in low-cost loans and mentoring support to more than 5,500 women entrepreneurs. Tory has served on several boards, including the Council of Fashion Designers of America, the Society of Memorial Sloan Kettering Cancer Center, the Breast Cancer Research Foundation, the Startup America Partnership and the Barnes Foundation. Whether you're a seasoned fashion enthusiast or simply curious about the stories behind the seams, Tory's story is sure to inspire and enlighten. We're proud to have had a long-standing partnership with Tory at Nordstrom and we look forward to the work we'll do together in the future. Thanks for tuning in to episode 60. We hope you enjoy it! Did you know that YOU can be on The Nordy Pod? This show isn't just a one-way conversation. We want to hear about what Nordstrom looks like through your eyes. Share your Nordstrom experience, good or bad, by giving us a call and leaving a voicemail at: 206.594.0526, or send an email to nordypodcast@nordstrom.com to be a part of the conversation! And be sure to follow us on Instagram @thenordypod to stay up to date on new episodes, announcements and more.

Secretary of the Commonwealth of Pennsylvania Al Schmidt clears up myths and realities of voting, including automatic voter registration, mail-in voting, and protections for voters and election workers. Then, Barnes Foundation's assistant curator Corrinne Chong leads a tour of the 20th-century artist who inspired commercial art at the exhibit “Alexey Brodovitch: Astonish Me.” To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Fine art should be experienced by all people, according to  philanthropic Philadelphia art collector Albert C. Barnes. The Barnes Foundation's Martha Lucy leads a tour of modern art and African masks, demonstrating the founder's legacy of accessible and diverse arts education. Lucy has edited a new book, "The Barnes Then and Now: Dialogues on Education, Installation and Social Justice." To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

One hundred years ago, a bright new age for children was dawning in America. Child labor laws were being passed, public education was spreading, and more. But Adam Benforado says America stopped short in its revolution of children's rights. Today, more than eleven million American children live in poverty. We deny young people any political power, while we fail to act on the issues that matter most to them: racism, inequality, and climate change. That's why Adam is calling for a new revolution for kids. He joins us to discuss his book, A Minor Revolution: How Prioritizing Kids Benefits Us All.   About the Guest Adam Benforado is a professor of law at the Drexel University Kline School of Law and the New York Times best-selling author of A Minor Revolution: How Prioritizing Kids Benefits Us All and Unfair: The New Science of Criminal Injustice. His research, teaching, and advocacy is focused on children's rights and criminal justice. A graduate of Yale College and Harvard Law School, he served as a clerk on the U.S. Court of Appeals for the District of Columbia Circuit and an attorney at Jenner & Block in Washington, D.C. He has published numerous scholarly articles. His popular writing has appeared in The New York Times, Washington Post, Scientific American, Slate, and The Atlantic. He lives in Philadelphia with his wife and children.   Transcript ADAM BENFORADO: If you're an architect, if you're a plumber, if you are a judge on an immigration court, I want you to think about what your job would look like if you put children first. The reason to do this is because this is good for all of us. It's not just good for kids. It's good for people who don't even like children at all. This is the best path forward as a society, because we all pay the costs of that inattention and those harms that come to kids. BLAIR HODGES: That's Adam Benforado and he's calling for a revolution in the way we all think about childhood. Which is gonna sound a little weird if you think kids today have it easier than ever. And it's true. I mean, they have some luxuries I couldn't even dream of as a kid—like I had to wait until Saturday morning to watch my favorite cartoons. Even then, I had to make the difficult choice between Muppet Babies or Ninja Turtles because they were on at the same time on a different channel. As a parent, Adam Benforado says he cheers for many improvements, but as a professor of law at Drexel University, he says the way children are treated by the courts in the US, economic limits they face, their lack of voting power, their poor access to health care, things like this make kids as vulnerable in America as they've been in 100 years. He wants that to change, not just because it would be better for kids. He says it would be better for everyone. But could the world's major challenges with health, climate change, and public safety really be easier to address by changing the way we treat kids? Adam Benforado says yes, that's why he wrote the book, A Minor Revolution: How Prioritizing Kids Benefits Us All, and he's here to talk about it right now. There's no one right way to be a family and every kind of family has something we can learn from. I'm Blair Hodges, and this is Family Proclamations.   LIFELONG INTEREST IN CHILDREN'S RIGHTS (2:15)   BLAIR HODGES: Adam Benforado, welcome to Family Proclamations. ADAM BENFORADO: Great to be with you. BLAIR HODGES: We're talking about your book, A Minor Revolution. And this is about children's rights. I wondered what got you interested in focusing on the legal rights of children. Your background is in law. So talk a little bit about why the rights of children became your focus. ADAM BENFORADO: So I think for me this is really a lifelong project. I think the seeds of this really come from my own childhood. I was really lucky to be born into a family with two really loving, supportive parents who spent a lot of time encouraging me and helping me be independent. But I think all around me, throughout my childhood, I saw a lot of abuse and, honestly, subjugation of children. And it really bothered me, starting when I was in elementary school, seeing the way kids were treated as, you know, not second-class citizens but as just, like, non-entities, I mean, not even like human beings. I think I was also aware of broader forces. I think I was really aware of the impact of wealth. I had a 1,200 square foot house and in my early elementary years I felt like the rich kid. And then I went to a kind of wealthy neighborhood in fourth grade where one of my friend's fathers got a limousine for the fourth-grade birthday party. And suddenly, I was like, “Oh my gosh! Actually my parents have like a beat-up VW Beetle.” And I'm like, “I'm not wealthy, like, I'm actually kind of worried about what my friends might think of my wealth, my family's wealth.” I think I was someone who really thought that I should vote when I was like in sixth grade. I didn't understand, you know, maybe I don't know as much as this other person. But I did know about the world. I have things I care about. Why shouldn't I have a say? I have a say in a whole bunch of other areas of my life. My parents listened when we were discussing things like what we should have for dinner, or whatever. I think it was those interactions and observations which informed my sense of and desire to write about some of the injustices I saw. And I think that carried me to law school, and certainly informed the questions I was interested in looking into, and certainly the way I taught. And in terms of coming to children's rights, the type of legal scholars usually sort of fall into these two camps of either being like general human rights—people who kind of focus over time on children's rights—or they are like practitioners who are working in the child welfare system, and then they come in with this particular angle. And it's funny because honestly, I was writing about all these different topics—like I started out writing about the role of corporations in society, and I teach criminal law. And in each of these subjects I look at things through the lens of children. So I'm very interested in, you know, how corporations manipulate kids to use them as weapons against their parents. I'm very interested in criminal law on juvenile justice issues— BLAIR HODGES: Are you talking about breakfast cereal commercials and toy commercials? [laughter] ADAM BENFORADO: Yes, yes. [laughter] BLAIR HODGES: Like how stores put all the candy and toys right by the checkout so you have to pass through there with your kids. ADAM BENFORADO: Oh, yeah. And that's something now, as a father—I think the cool thing about this project is, the seeds of this project started when I was a kid, but now I'm seeing it from a different perspective. I have two kids and, I tell you, right before I was writing this book, I had this experience with my daughter in Whole Foods. It's one of these times when we've got to go to the grocery store, there's no food, and my daughter looks up in front of the egg aisle, and there's this giant giraffe that costs $100, you know? And my daughter just breaks down, like lying on the ground, sobbing. And I'm like, “What are you doing?” BLAIR HODGES: It's pretty genius really. ADAM BENFORADO: And here's the kicker, one of the Amazon shoppers passing through comes up, looks at me, and goes, “Spoiled.” She shakes her head. And I was like, “Oh my god, this is a set up! This is just like this giant trap.” And what's brilliant about it is that no parents are gonna buy the hundred-dollar giraffe. You're coming in for eggs. But you know, what you might do to stop the embarrassment is buy the ten-dollar little plushie, stuffed animal, just to get out of that awkward social situation. BLAIR HODGES: That's right. I wonder, do you remember an example—you mentioned when you were in elementary school you saw children being treated not even as citizens at all. Do you remember anything in particular that stood out to you? You said you wanted to vote in sixth grade, as an example. Is there anything else like, “Wow, why are we kids being treated like this?” ADAM BENFORADO: Yeah, I mean, I thought about it in many circumstances. In elementary school, learning that my good friend's father spanked him and being like, my friend is really, he's a really smart, really nice person. We're no different. And he messes up in little, tiny ways. But everyone messes up. Adults mess up all the time and no one hits them. And then moving on from that to becoming a law professor and being like, wow, not suddenly being like, “Oh, this all makes sense.” But actually, wait a second, it's criminal law that you can't hit a prisoner. Like someone who's a murderer or rapist, it's prohibited under the Constitution from formally beating people as a punishment. And yet the legal minds, the geniuses, who are on our courts have said, “It's actually okay, it's constitutionally permissible. Kids are different.” And I think the answer to that today is because we don't see kids the way we see adults. We don't see them as full citizens. And I think there were a lot of moments like that. I think the bullying that I saw in junior high school, you know, again, that's what kids do. But what was so frustrating to me was the treating of this by adults, you know. The gym teacher, the math teacher, who saw the same terrible abuse. Like the kids who face this must carry those scars to this day. And doing nothing. There were all these instances where kids end up protected from things they don't need protecting from, where they can actually be empowered. And then actually, on the flip side, exposed to real harms that we could do something about, you know? There were adults who could easily have done things and didn't. And I think that all of those little observations, I kind of filed them back in my mind. And moments of censorship. So, you know, I remember a moment from Junior year—I got into this Governor's School down in Virginia, went away for a month, and it was like, the first time in my life that I was feeling like getting treated as an adult. Like it was all independent. They had college professors teaching this stuff. And you know what? I did all the reading, I read all the poetry. I did all the history. I did it all because I was like, “This is interesting, and I want to be engaged in these conversations.” And I felt this whole month, treated as an adult. And then at the final little party thing—and over the course of the term, there were people at Governor's School who were musicians, and I played in rock bands. So I formed this little band called “Beans and Franks” and we wrote some songs. And I'm about to go up to perform. The band gets to perform at the last thing, and the head of Governor's School comes up to me and is like, “Okay, I'm gonna need to review the lyrics.” And I was like, “What?” Like, I'm 17 years old, like, I've been listening to—Everyone here has heard everything already. Like, you've been treating me like an adult for a month. And now you want to review the lyrics? What? And I thought through like, there aren't even any offensive lyrics. But okay, I'll go through this song that I've written. And there was one line, which I think it was something like—again, it's embarrassing to even say, it was just stupid—It was like, “Smooth like a rubber, bounce it back to your mother.” [laughter] And he's like, “No, no. You cannot do that.” And honestly, as a 17-year-old boy I wrote a few songs with more offensive lyrics. [laughter] BLAIR HODGES: Yeah, you were like, “We were going easy on y'all here.” ADAM BENFORADO: Yes! I was like, “Hey, I've actually cleaned this up for the Governor's School performance.” And it was like, you can't perform this. I just was like, how do you expect me to be prepared to be a member of society? I'm going off to college in a year, and it soured everything else. It was like all the other stuff. You want to control me. You're happy when I'm getting A's in my classes and doing what you say. But as soon as I show some real independence, that's when you're like, “No, you're nothing. I'm the decider.” And it's interesting, I teach this course called The Rights of Children, and actually have my students think back to moments from their childhood. And what I have observed, which is so interesting, is how fresh these incidents are. Like a student, who was now 27 years old, writing about that moment at the eighth-grade dance, where she was going into a strict Catholic school, and they had always had the same dress code. The girls got to wear off the shoulder dresses and the new principal changed it but she organized a petition and had all the teachers sign it, and the principal wouldn't even meet with them. Wouldn't even meet. And she's carried that to law school. She's writing about it just as if it happened yesterday. And I think it's these things that all of us carry, we sort of often kind of later justify it as a rite of passage that everyone should go through as opposed to, “No, that's wrong. And I'm going to change that for the next generation. I want them to experience something different than what I experienced.” As opposed to, “Yeah, it's just part of the experience. You're brutalized and then you get to brutalize when you're an adult, and so it's fair.”   AMERICA'S CHILD WELFARE MOVEMENT 100 YEARS AGO (12:39)   BLAIR HODGES: To get to this point where dress codes and things are the main concern, you actually take us back in time to talk about some of the reforms that happened a century ago. Your book starts back in 1906. There's this Spokane Press article. Here's a quote from it. It says, “When your children are swinging in the hammock, or playing at the park, stop and give a thought to the pale-faced factory boys and girls of the metropolis.” They're painting this picture of child labor and distinguishing between more privileged kids and kids that are basically laborers at this time. What was happening at the turn of the century, what was the child's rights movement like back then? ADAM BENFORADO: So I wanted to open the book with this broader historical context in part because this was this miraculous moment a little over a hundred years ago where, coming out of the horrors of the Industrial Revolution, Americans—and these are really everyday Americans, across the country—came together and said we need to do something about the plight of children. And we need to do something, not simply because this is unfair to kids, but because we are setting ourselves up for failure as a nation. So when we fail to invest in the education of, you know, five to 15-year-olds, that's setting us up to fail in the decades ahead. So people came together—reformers who were often kind of lumped together as this child saver progressive movement, came together to demand changes: building of better public schools, mandatory public education, pushing for health and even things like drug safety measures, building playgrounds, investing in and creating an entirely new juvenile justice system based on rehabilitation rather than punishment. I chose to go back and just pick up kind of a random paper from 1906 to show just how much this energy was pushing into every area of life. So this is a little four-page paper from Washington State. And literally every page has like three different articles about child-focused reforms. And I think what was miraculous was just how much was done. By 1912 President Taft had created the first federal agency focused on the whole child, this Children's Bureau. And the idea, I think, coming out of this was, certainly in the decades ahead, we are going to see this bright new age for children across the country. And unfortunately, I think what we have seen over the course of the 20th century and then into the last couple of decades, is not simply kind of slowing to a trudge, but in some cases, even backtracking on some things. So you started with this example of child labor, this excerpt from this article. Well, what have we seen over just the last couple of months? Exposés in the New York Times about young people working in terrible labor conditions. Working the overnight shifts, just as those kids were laboring in 1906. And the reasons that are given to justify it are just the same as were given in 1906: “It's an economic necessity, coming out of the pandemic, we've had changes in the job market. We actually need to roll back job protections in our state. Businesses can't compete unless we let 15-year-olds continue to work.” BLAIR HODGES: Or like “families need the money, like this is actually good for families.” Instead of looking at how when people aren't being paid living wages, “Oh, let's make their children work.” ADAM BENFORADO: It's something that I think, you know, we see a little bit in fiction even. I'm halfway through a new book called Demon Copperhead—really great if any listeners are looking for a new summer read—but it traces actually kind of the effects of the child welfare system, but also the fact that kids are picking tobacco in our fields. One of the historical examples that's in this 1906 newspaper is the plight of kids rolling cigarettes in factories in New York City. Okay, well, they may not be doing that in New York City anymore. But down in North Carolina, kids today are picking tobacco in a hundred-degree heat. And they're getting nicotine poisoning, just like kids did a hundred years ago. And often it's the most vulnerable kids. It's migrant kids. It's kids whose parents are desperate for cash. And we're turning our back on them. In a way, unfortunately, I think this is a real indictment of the status quo. I think we're turning our backs more than people did 120 years ago. I think the child labor movement was going in the right direction. There was a lot of work that they ultimately, you know— Some of these child labor laws from a hundred years ago, there were exemptions for farm workers. But they were making a lot of progress. Here? Look at the last couple of months. We're backtracking. In a lot of areas we're repealing labor protections, virtually. BLAIR HODGES: We'll talk about some of the reasons you think that's happening as we go. Just to set the table as we get into some of the rights you're arguing for, I want to point out that your book is not making philosophical arguments, you're arguing about pragmatic benefits. ADAM BENFORADO: Yeah, I think that's one of the things that probably sets this book, and I think my approach, apart from some other rights scholars and rights advocates is I'm not simply arguing that this is a good thing to do for kids, right? It's not “natural rights.” I think that's usually where people start is like, even if there were no benefit to the rest of us, this is the good thing to do. That's how we tend to think about rights. And I absolutely believe that is true for children. But I think that's never going to get us where we want to be. I think we need to make the strong case for why actually putting children first benefits all of us. And that's because so many social problems are best addressed if you focus on interventions, rehab, in childhood. Ultimately, as a society, you always have to pay for things like crime, underemployment, poor health. The question is simply: Are you going to pay pennies on those preventative early interventions? Or are you going to pay many dollars on the backend when problems have already metastasized and hardened? It's a choice. Again, do you want to pay for school lunches for all kids? Or do you want to have kids who can't pay attention in school and don't graduate, and then you have a labor force who is underperforming and underemployed? You're gonna have to pay for that triple bypass. There's no free option. And so really, this is also I think, an answer to those critics who are worried that somehow this is a zero-sum game—that if you invest in kids, somehow you harm older Americans. No! When you invest in kids, you have healthier old people, you have old people who actually have more in their retirement account so they can take care of themselves. So what is the best pathway for us as a society? Invest in kids. I think that's the core takeaway for the book.   ISOLATED PARENTING (20:09)   BLAIR HODGES: Right. And I want people to see that, because this isn't a book for parents, per se, this is a book for all people. And the other point is, everyone's been a child, whether you end up having kids later on, we've all been children, we've all experienced that. And the way children are raised in our society affects everybody, not just parents. And so this isn't a book about parenting. ADAM BENFORADO: That's a great point. And I think, unfortunately, kids and kid's issues and children's rights in this country, have been framed only as a parent's issue. And that's part of that story, that historical story of like, what happened to those early child savers, those early progressives? And one of the answers is over the course of the 20th century, we lost this vision of investing in and empowering kids as a societal endeavor and it shifted to this idea that, “No, raising up kids is solely the work of individual parents.” BLAIR HODGES: It's “Don't Tread on Me” parenting. ADAM BENFORADO: Yeah. It's atomized. So what has happened over the course of the 20th century, this was coming from popular culture. But I think it was also coming from our elite institutions. The Supreme Court is coming out with really these groundbreaking opinions, saying parents are ultimately in possession of a fundamental right to decide the destinies of their children in all of the important matters, whether that's religion, whether that's schooling, whether that's medical care. And one of the consequences of that is this incredible weight which is placed on all parents' shoulders. Now, it's entirely up to you whether your kid sinks or swims. You actually have to be the ultimate decider on everything. You're the one who's asked to decide, now, is my kid going to learn about race history? Not the school. The school isn't going to teach them about these defining historical moments, because they're scared, they don't want the protests and the pushback. And the textbooks are being removed, these references of well, “We've got to leave out the Holocaust. Slavery, let's take that out. We'll leave this, take that. We're not taking a position. It's just up to individual parents to make these decisions.” So suddenly, parents, you have to be a historian. Well, suddenly, you actually have to decide on medical care, too. Don't just take the vaccine schedule from the doctor. No, you do your own research. Oh, you want to protect your kid from, you know, lead and asbestos? Well, you do the research. I will tell you as a parent, it is exhausting. It explains one of the reasons why parent burnout and unhappiness is so high in this country, as opposed to some of the studies that have been done comparatively, parents who have nothing, who face incredible odds in Africa, are much, much, much happier as parents. Why? Because it's a collective endeavor. They don't have to do everything. They're not alone in these struggles. And unfortunately, I think that's the rub of the whole parents' rights movement is, okay, you get to decide, but being a parent, raising kids is so hard. You face so much.   THE EARLY YEARS: A RIGHT TO ATTACHMENT (23:34)   BLAIR HODGES: And there's less and less social support. We'll talk about this in a later part of the interview about early childhood and the “Right to Investment.” But let's start with “The Right to Attachment.” So in the book you've laid out these particular rights for kids, and you kind of rolled them out according to developmental stages of where children are at. You're following the best research on childhood development. In the first years, the “right to attachment” is what you highlight in here. And one of the things some of these earlier child advocates had wrong was the idea that parents shouldn't baby their babies, that they shouldn't coddle them, they should maintain a kind of detachment from them. And then there was this fascinating monkey experiment listeners might have heard of, I think I heard about it as an undergraduate, where they had these monkeys and they had a mother that was like, just this wire cage that would give them milk. And then also a monkey that was like covered in fabric and it was comfortable. And then the baby monkeys would go to the milk mom and eat, but then they would always go back to the comfortable mom, and that's who they would bond with. So the argument became secure bonds, warm bonds, loving experiences, more nurturing-type experiences are important. And you had a big scientific shift here away from this detached parenting style to close parenting, and you're arguing for more of that for kids. ADAM BENFORADO: Yeah, and I argue, hey, this research has continued and now is incredibly robust on the value of early attachment with a primary caregiver. It's actually been supplemented by work even showing intergenerational effects, in the context of these monkeys. If you engage in that early deprivation, it actually can have intergenerational effects on the future monkey offspring. Now, I think we look at the state of the research and then we look at what society has done in response. Well, what society has done in response is work in incredible ways, severing the bonds and failing to support bonds that I think we could really seriously strengthen. What are some examples of that? Well, we're the only wealthy, advanced nation who does not have paid mandatory supported care leave for the parents and adoptive parents of young kids. And again, as I said, that sets us up for failure as a nation. But so many parents go back to work after just a couple of days at home with their kids. And that doesn't make economic sense. More often the argument is, you know, “Economically we can't have businesses giving people six months off.” And everywhere else in the world, they say, “We can't not do that. It's economically stupid not to do that. We're going to just pay more money on the backend if we do that.” Now, I think we obviously can make a lot of progress by really simple guarantees to new parents in terms of care leave. But I think we also have to think about some of the ways we really sever bonds carelessly. One of the biggest ones, I think, is our criminal justice system. Millions of kids have or have had a parent locked up during their childhoods, and that has horrible repercussions downline. Often it's not locked up in prison, it's actually pretrial in jail. What happens to a mom accused of, you know, some theft or a drug crime, when she's waiting trial? Well, trials in the United States take a long time. Bail might be $1,000 or $2,000. For a poor parent, they may not have that. So what happens as a result of that? A single mom is taken out—those three kids are put into foster care. We all pay for that. We pay for locking up the mom pretrial. We pay for those kids going into the foster system. And we pay the lifelong costs of our non-functional child welfare system as well. So we do it there. We do it at the border. Obviously, there was a lot of controversy over the last few years about child separation policies. But we also do it with our child welfare system when it comes to poverty. So how do we deal with parental poverty? Do we help parents? No, what we do is, we take kids away from their parents. A police officer is called, a child welfare worker is called, goes into a house and finds no food in the refrigerator— BLAIR HODGES: An empty fridge, yeah. ADAM BENFORADO: Finds roaches, finds peeling lead paint. What do we do? Do we get that mother into good, stable housing? Do we give her money for food? Do we feed the kids at school? No, what we do is we say, “You're a bad mom, you failed. You're an abomination.” And we take the kids away and often put them in worse circumstances. And if we were guided by that research, that robust set of research on the value of attachment, we would make very, very different choices. We would say, “You know what? This isn't about the mom, ultimately.” And I say this to audiences when I talk, look, sometimes folks are filled with anger at parents who have, in their view, failed to meet their responsibilities. That's an area where I think I'm going to disagree with all the people in which I see these as situational constraints on parents, but let's actually set that to the side. If you want to hate that mom, and think that she's a bad person, go ahead and do that. Let's focus on the kids though. Because we need to do what's best for those kids. Right? And I will tell you, taking kids away from parents who love them, and are poor, is setting us up for failure as a nation. And I think that if we can get into that mindset whenever there's anger at the parents like, “Why should we pay for public school breakfasts and lunches? It's these parents, these deadbeat parents that we're incentivizing.” It's like, hey, there's a kid who is not eating lunch. Focus on the kid. Leave the parents aside. You want to vilify the parents? Okay. I think that's the wrong approach. But let's at least agree that the kid should eat a healthy meal every day.   EARLY CHILDHOOD: THE RIGHT TO INVESTMENT (29:46)   BLAIR HODGES: This is where it connects to the next chapter on early childhood, “The Right to Investment,” and you're arguing that children deserve a right to investment in good schools, in their quality of health care, in the housing they have available to them, in mentorship. You introduce us in this chapter to Harold, this is a Black man from Philadelphia, and what his story suggests about the right to investment. He's an interesting example because he's someone the system did sort of invest in. But as you know, they would put him in particular programs, help him get schooling and things, but as a Black man, he witnessed this and saw himself sort of, as he kind of won the lottery. ADAM BENFORADO: Yeah, he describes himself as a unicorn. BLAIR HODGES: Yeah, a ton of other Black kids didn't get these kinds of investments. And so he's like, wait a minute, the system is doing this on an individual level, a kind of band-aid solution, but not changing the overall system. Harold had mixed feelings about how he was invested in. ADAM BENFORADO: I think this was one of the most powerful interviews I did. It was just eye opening, in some ways for both of us in this conversation. But he remarked early on about this defining moment in his childhood where his parents, they'd just gotten kicked out of their house, and they were basically are homeless. And they're in downtown Philadelphia, where I currently live, standing on a street corner. He's six years old. He's just trying to figure out like, what are they going to do? Like, where are they gonna sleep, get food, all this stuff. They're on a street corner. And he said he just saw a white guy with his briefcase and like, everything about it was just so perfect. There's the Rolex and everything, that perfect suit and all this stuff. And he said, this was the first moment when he was like, “How is it that we're in the same city on the same day, and my family has nothing? And this person has everything? How is that?” I think there was this innocence and also profound insight in that moment of like, wait a sec, all of us walk by this all the time. We're the country with the most billionaires in the world. And we also have, like, one in six or seven kids living below the poverty line. Like that's like 11 million kids. We have, like 700 billionaires. And our Fortune 500 Companies made something like $16 trillion in revenue. We have like 11 million kids living in poverty. And again, that's not simply a moral abomination. That's setting us up for economic and social failure in the years ahead. And I think, as you point out, one of the really fascinating things about Harold's account of his life is that he was being held up as he moved through childhood as a success story, right? So the local news wanted to do a profile, and it's like, this is great. The kid from the ghetto has made it out against the odds. And he was like, “You are telling a story about your own failure, because there was me, but then there were all of my classmates, who you neglected.” He struggled with this, honestly. It's like, “Why me?” BLAIR HODGES: It's a survivor's guilt. ADAM BENFORADO: Yeah, it was. It was very much a sense of like, “Wait, why me, though?” Like, why is it that we only invest in the diamonds in the rough? And we even see this, I think, in some academic work on inequality, is this idea of like, we need to figure out the diamonds in the rough. And I think my argument, certainly Harold's insight is, no, we need to help all children, not just the ones who end up at Harvard, or Wharton, or who end up being inventors. All of these kids could benefit from our investment. But we see that both in early childhood and we see that at the end, even some of the debates about—you know, we can talk about this later—but student loan forgiveness and all that. We need to invest in kids also who do not go to college. And I think even liberals get really worked up about like, “Hey, we need to pay for college.” Well, some people aren't going to go to college. And we really heavily subsidize, even without any actions by Biden, we really heavily subsidize people going to college. We do virtually nothing for kids who aren't. And that sets us up, again, for failure as a nation.   LATE CHILDHOOD: A RIGHT TO COMMUNITY (34:15)   BLAIR HODGES: It's a rising tide lifts all boats kind of approach, right? So again, in this chapter, “Right to Investment,” you're looking at ways early education can be better invested in, health care opportunities, housing, as I mentioned. So those are just some of the areas you talk about in “Right to Investment.” Let's look at the next chapter on late childhood. And this is where you talk about “A Right to Community.” We've touched on this a little bit already. This is where you really emphasize the parental rights movement and what that's done. You introduce us to an extreme example here of how dedication to parental rights can lead to trauma and abuse. This is an Amish family who basically gifted their children to this predatory abuser. And as parents, they could just make these kinds of decisions that put their children at extreme risk. You talk about how this is similar to, or connected to homeschooling—not that you're condemning homeschooling. But you're connecting it to these other issues where parents have control over their children's relationships, over how their education is, how their healthcare and medical care is. And parents get the final say in a lot of these things. Tell us about how that connects to this “Right to Community.” ADAM BENFORADO: I chose this example, ready to acknowledge it's an extreme example, of literally gifting your daughters to a predator and thinking that was actually a completely legitimate thing to do. And I argue that comes from our culture, which really treats children as property. And in some ways—again I like to trace history here, if you go back to ancient Roman republic, coming across into the early modern period in England, and then being brought over to the colonies, this consistent idea of kids belonging to their parents, and their labor belongs to their parents, and their bodies belong to their parents, and then tracing the effects of that. BLAIR HODGES: I was shocked by the custody thing. You point out that the word “custody” is used for prisoners who are in custody, property as in custody, and custody of children. It's a property thing. ADAM BENFORADO: Yeah. And I think it's something that works out just fine for a lot of kids whose parents make good decisions and you know, it's fine, they often love you very much, they try to make good decisions. The problem is if you don't have those good parents under the law in the United States, you honestly can be completely isolated from all of the advances in medical care, from all of the knowledge we have accrued over thousands of years, from all of the valuable social connections. Your parents really can keep you locked on their compound with no access to education, with no access to medicine, with no access to human contact, legally, in the United States. And so the extreme example is to say, wait a second, those kids don't simply have rights as human beings, but we all will pay the consequences when those kids grow up with those depravations. We will pay the moral consequences; we will pay the economic and social consequences of that. I argue we need to stop thinking about kids as belonging to their parents and more think about ways we can cultivate this sense of belonging. And that's not to say that parents don't have a role as, not gatekeepers, but sort of facilitators of these exchanges. I certainly do that a lot with my kids, talking to them about the information that they're receiving, protecting them from certain things, and certainly facilitating access to relationships and medical care. But I think the idea that this is all on parents' shoulders is really bad for kids who face these depravations. And it's bad for all of us. I think when kids don't learn about the history of this country, I think that's bad for all of us.   PARENTAL RIGHTS AND CHILDREN'S VOICES (38:25)   BLAIR HODGES: You talk about how this cuts across into medical care—when it comes to COVID, for example, vaccines. Some parents want to have the right to refuse vaccines for their children. And how that can be a health risk, or the right to refuse medical care for children is a big issue. ADAM BENFORADO: I mean, I think one of the things that really surprises even some criminal law students is some of the legal regimes which have been instituted across the United States which actually protect parents who choose prayer over adopting the most basic medical care to treat preventable conditions. And the fact that actually, you know, in a number of states—I look at Idaho in particular. I mean, there are kids who are dying of things that we have known how to treat for decades, because their parents don't believe in it. And again, we could have conversations about, you know, what if a 16-year-old kid wants to refuse medical care for a genuinely held religious belief? But that's not really the question. I mean, this is really when a 12-year-old is desperate to go to the doctor because she has a ruptured esophagus and her parents say no. Or a kid who has a broken arm and the bone's poking out and the family doesn't take them to the emergency room to treat these easily addressed medical conditions. And again, I think we have a reason to intervene for those kids, but I think we have a reason to intervene on behalf of all of us. It's not good for any of us when kids are suffering and carry the weight of these treatable childhood conditions later in life. BLAIR HODGES: It's tricky, this chapter, because I think parental rights, as you point out, are sacrosanct across the political spectrum. This is an issue that conservatives and liberals and everybody in between is kind of united on, this idea that parents should make the choice and sort of be in charge of all these things. ADAM BENFORADO: It's really interesting. I think the Republican party has decided that parents' rights may be their pathway back to the White House and capturing State Houses. There was certainly success with both in Virginia and in Florida with politicizing parents' rights, and the response of a number of leading progressives, including political folks has been, “Okay, we need a matching liberal parents' rights movement.” So if Republicans are saying parents have a right to know every single school book and read every sentence of every lesson plan and to protect their kids from learning about gay people or whatever, then liberals step up like, “No, I have a right to allow my kid to read this book. I have a right as a parent to have my kid learn in school that gay people exist or have a bathroom that anyone can use.” And personally, I'm like, wait a second, progressives. As a parent, I share the concern when I learned about censorship in my school library, and I get upset too. But let's talk about kids' rights. Like I want to talk about it and frame it around, hey, high school students, maybe they should have a say about what they're learning about the history of race in the United States. I want to stop using kids as props, like you know when DeSantis comes out and signs a bill. That's the only time we actually see kids. And guess what? I want to hear from them. And I think that's the path forward for liberals is, like, let's actually involve kids in these questions. You brought up one of the examples of the vaccines. And again, I think parents have a lot to weigh in here. What is frustrating though, the story I give is of this teenager who this is in the earlier days of the pandemic, who wants to get vaccinated because she just wants to be with her friends. She wants to be allowed to engage with this public life. And she's like, “Hey Mom, this is what I want.” And her mom's just like, “No.” It's like a 16-year-old kid who wants medical care. That, to me, it's like crazy that the kid has no voice in that situation. And the same thing of like, why is it that a 17-year-old should have no say in the books they're reading in English class? That's not preparing them to be successful citizens. And none of this is to say that parents shouldn't have rights. I think parents absolutely should have rights. It's just the kid should have rights too. And I think the conversation would be a lot more enriched; I think we'd make better decisions on a lot of these things about a lot of these things. It's not to say that there aren't dangerous things or there's not inappropriate material. I think there are inappropriate things. I think there are things that are really harmful to kids, and upsetting. I certainly was upset by some of the books and things that I read. But I think an approach that says the only people who have a valid opinion here are adults, is just the wrong approach.   BLAIR HODGES: So that's what you're trying to get readers to do is like think about how younger folks can be involved in this decision making and their voices can be heard.   ADAM BENFORADO: Right, be part of the community.   EARLY ADOLESCENCE: THE RIGHT TO BE A KID (43:45)   BLAIR HODGES: Let's talk about the next chapter: “The Right to Be a Kid.” This is framed around early adolescence. And this really zooms in on the criminal justice system, a passion of yours, and the ways childhood can be erased there. You include the story of a man who was convicted of murder when he was a teenager, and how he was tried as an adult even though he was a teenager, despite what we know about brain development, about the ability of him to make decisions, or what it was like to be an adolescent and make that kind of decision. What did that story do for you in this chapter? ADAM BENFORADO: My last book, Unfair, was about injustice in our criminal justice system and it focused on different biases and things that come into every stage of the normal criminal case. I was very familiar with wrongful convictions and sort of the injustice that can come from that. And this conversation I had with this now middle-aged man, I talked to him when he was in his forties, reflecting back. I think it really reveals a different type of injustice. So this man, Ghani, is very forthright about the fact that he did the crime. He killed another boy when he was an adolescent. And yet I think the justice story doesn't stop there. What was so profoundly unjust about this was failing to understand what brought this young man to commit this atrocious act. And he readily acknowledges the harm that came from that and the failure to understand that people change. That, yeah, the person who is fifteen is not the same person as the person who is 45. And the harshness of giving up on someone and condemning someone for what they do, anything that they do, when they're fifteen. This young man was given, in Pennsylvania, life without the possibility of parole. He was basically condemned—“You are going to live in a box until you die”—at age fifteen or sixteen. We are a country that prohibits cruel and unusual punishment. It's right there in the eighth amendment. And yet, we said to this young man—who basically was a prisoner of a drug gang locked in a crack house, dealing crack through the mail slot—“We've given up and we're gonna put you in a box, nine-by-seven box, until you die decades in the future.” And it was only because the Supreme Court changed the legal landscape that he was eventually released, when the Supreme Court said actually someone who commits a crime before age eighteen cannot get a mandatory sentence of life without the possibility of parole. He was released decades later. And what I want us to realize in this chapter is that children have a right to remain a kid, to enjoy that halo of childhood, even when they make terrible mistakes. And that's hard for us. But I think if you look at the data from what comes out of psychology and neuroscience, you start to see what adolescence is. It's a necessary step. But it's a challenging one. It's one where our brains are developed in certain ways, but not in others. And so we can make mistakes. And what we need to do as a society is try to allow for those mistakes, that's part of growing up, in ways that are less devastating, to prevent young men from joining drug gangs and killing people, but also that mitigate the harm of treating one mistake—again, a very bad mistake—as a reason to condemn an individual for the rest of their life. And I go back to some of the mistakes I made, that luckily did not have life or death consequences.   CHILDHOOD AND RACISM (47:44)   BLAIR HODGES: Same. But you and me are both white guys, too. You talk about how that makes a difference—how racist this system often is, people being prosecuted as adults. ADAM BENFORADO: I mean, I think about one of the smartest guys I know, I met him my first day at Harvard Law School, he grew up in Pennsylvania. And we were talking early in the first semester of law school about an experience he had. And, again, he was just the most charming, brilliant guy, went to Harvard undergrad. And he was coming home, I think it was Pottstown, one day from football practice, and he had all his football gear in a bag over his shoulder. And I think he'd already gotten in early at Harvard. He's running home because he's late. And he's the nicest guy. He's probably running home to get home early for, you know, dinner or something. Cops pull up, chase him down, throw him up against the chain link, because there's been a burglary. And in that moment, that could have been it. That could have been it. That experience never, ever happened to me as a kid, and the simple answer is, I have white skin. Did I run with bags? Was I wearing hoodies? Yes, all of those things were true of me. We could go back to my poor fashion choices as a teenager. All those things are true, but that never happened to me. And that aligns with the research that shows how young Black kids do not enjoy that halo of childhood. They are “adultified” very early on, and that has consequences where, you know, misbehaving at school. White kids— BLAIR HODGES: Are more likely to be suspended. More likely to have repercussions. ADAM BENFORADO: Yeah, and then if it's a more serious thing, intervention of the police. And once you're into the police system, you get a lot harsher treatment. And this is true of girls too, right? So we see, actually, it can be a real problem with girls who have been sexually trafficked. A white girl is treated as a victim. Black girls? Well, you're a prostitute. And that means how the police treat you, that means how even courts will treat you, and I think we need to really think hard about ways we can ensure all children are treated as kids. BLAIR HODGES: Yeah, you talk about like these juvenile courts where kids are involved in the process. ADAM BENFORADO: To me, that's one of the ways that we can move forward, is getting back to that early 20th century idea that, hey, kids are different, and we should really focus on rehabilitation and on diverting kids to a different system that's focused on kids are changeable, they make mistakes, they may need to have changes in their lives. And we can do that because kids are really malleable in this period. And I think that's one of the reasons I throw my support behind diversion programs and some of the cool new ideas to try to make interventions on kids whose lives are starting to go down paths that can lead to very serious consequences.   LATE ADOLESCENCE: THE RIGHT TO BE HEARD (50:43)   BLAIR HODGES: In your “Right to Be Heard” chapter you talk about actual court systems where juveniles get to be part of the process, judging their peers. It's a real jury of their peers. ADAM BENFORADO: In this next chapter the focus here—If the previous chapter was on ways that I think we “adultify” kids in circumstances and treat them as adults in circumstances where they're ill-prepared for that and we really need to protect them, this is a chapter about other ways in which we infantilize kids when they actually really have the ability to do a lot more than we give them credit. And again, I am driven by the psychology neuroscience literature here. I think there's this really interesting thing. We tend to think about the brain as this balloon that kind of just gets bigger and bigger and bigger over the course of development. But what we now know is different areas of the brain mature at different rates. And that, actually, areas of the brain that focus more on the  old cognition moments develop much faster than those that are involved in that kind of control of impulses— BLAIR HODGES: Assessing risk— ADAM BENFORADO: Yes, risk, and dealing with peer pressure. Yeah, those are later developing things really into people's 20s. There's a really strong argument that we actually need to figure out ways to empower kids much earlier. So I focus, yes, on the ability of kids to serve as jurors, but I also focus on extending the right to vote to young people and allowing young people to run for office, serve on school boards. And I think this is supported, certainly, by the mind sciences research. But I also think it's likely to lead to much better outcomes for us as a society. Sometimes when I talk to audiences about this, I have someone raise their hand and it's like, “Oh, well, this is going to distort the system, you're taking power away from adults.” And I'm like, the current system is biased. We are making decisions which are too old-focus and too conservative. One of the things we know from the psychology of literature, is that sometimes as people get older, they make much more conservative decisions on things, they're too risk averse. And while risk aversion can be beneficial, under certain circumstances, it actually can be the most dangerous thing you can do, particularly when things are rapidly changing and you have new problems. I often get the pushback when I talk about this, “Well, okay, maybe that's true that kids actually do have the capacity to deal with these things, but they don't have the life experience.” And I'm like, “What do you think are the most pressing issues today?” Okay, well, it's like, you know, how to regulate social media, and trans rights, and racial justice, and climate change. I stop them like, okay, hold that thought. Let's think about the average 15-year-old. Okay, so social media. They are on TikTok. They know so much more than my octogenarian father-in-law. Trans rights: my octogenarian father-in-law, he doesn't have any trans friends or gay friends. Racial justice: the youngest generation is the most diverse multicultural generation America has ever seen. Let's talk about climate change. Well, that 85-year-old is going to be long dead as the worst effects of climate change ravage the United States. That 15-year-old is going to be living through those floods and forest fires, and the civil unrest around the world that is coming down the pipeline and has no ability to choose the leaders who will make decisions today that will affect them for the rest of their life. And I think, again, that's not democracy. Democracy is about people who have a stake in the decisions, political decisions, having a say in those decisions. BLAIR HODGES: Right. And so you talk about extending the franchise to young people, like at least local elections or school boards. And I don't find you to be an absolutist in the sense of saying, like, here's this fundamental right, they need to just have every, you know—You seem to be willing to negotiate and willing to talk about how this unfolds. ADAM BENFORADO: I think there are many different pathways here. One of the things we're seeing around the world is lowering the voting age to sixteen. Over the last several decades we've had more and more countries— BLAIR HODGES: It's been proposed here, hasn't it? Didn't you say someone's proposed it in the US? ADAM BENFORADO: It's been voted on in the House. We are seeing more municipalities, we have a handful now of municipalities where 16-year-olds can vote. But we have a number of countries—and these are like, you know, it's like Austria and Brazil. I mean, these are big countries. BLAIR HODGES: I didn't know any of this until I read your book. I don't understand how I missed it. I listen to NPR. I'm an avid news reader. I don't know how I missed it. ADAM BENFORADO: It's a really interesting phenomenon. And I think what we've seen is all the horrors, the fears of like, this is going to destroy society, don't happen. And I think what we will see, in my opinion, as we extend this right, we're gonna see a lot more engagement. And I think this, in some ways, a solution out of some of the gridlock. I think bringing in new voices and new voters is a great way to actually move forward on some of these intractable problems we have. I think young people can actually help us move away from this period of political polarization, in part because I think young people are more changeable and are less doctrinaire on a lot of these issues. I interviewed this young man who, because of a loophole in the law, ran for governor in Kansas. And what I think was just fascinating about talking to him was, he was running as a Republican. But one of the issues where he was just different was gun control. And that's because he was like, “Hey, I go to a public school. And this is something I'm really worried about, school shootings.” BLAIR HODGES: And he's been through drills. Getting under his desk and stuff. ADAM BENFORADO: He's like, “I'm in favor of sensible gun control.” One of the people who interviewed him on TV was like, well, that doesn't align with the party. And he was like, “Yeah, I'm proud of that.” Old people running for office on the Republican platform would never say that. He would say that because he actually believes it. And I think that's on the liberal side, too. I think there are issues where some young new Democrats may not toe the party line on something. And you know what? I personally am comfortable with that. I think we need to break out. BLAIR HODGES: I think that's why it won't happen, though. [laughs] Because the people that get to make the decision about letting it happen are gonna do the calculus of, will this help me politically, yes or no? And that's the question they'll ask in order to make it legal. ADAM BENFORADO: I think young people have got to stop asking and start demanding. I wrote a piece in Rolling Stone a couple of weeks ago, where I said, it was after the latest gun shooting, and I was like, you know, it's great. The March for Lives folks, and all these folks out being politically active. But my argument is: stop marching to try to get adults to act on gun control or act on climate change and get out there marching for the right to vote. The adults are not going to save you. You need to exercise that protest power to demand power. Because until you have power, those in power are not going to listen to you. And so, again, I think this is something—I'm optimistic. I think this is something where we're going to see a lot of changes in my lifetime. This is one of the areas I'm most excited about is lowering the voting age. BLAIR HODGES: Well, you have my hope. And, you know, I'd love to see it. But time will tell. ADAM BENFORADO: We can talk more on the show in twenty years. [laughter]   ON THE CUSP OF ADULTHOOD: THE RIGHT TO START FRESH (58:36)   BLAIR HODGES:  Wow. Cool. All right. We're talking with Adam Benforado about the book, A Minor Revolution: How Prioritizing Kids Benefits Us All. And Adam also mentioned the book Unfair: The New Science of Criminal Injustice. That's also a great one. Adam is a professor of law at the Drexel University Klein School of Law. All right, let's talk about on the cusp of adulthood, this is “The Right to Start Fresh.” This chapter has a lot to say about how economic conditions are harder for younger folks today than they were even just a few decades ago. People are economically less well-off right now. The economy is looking harder, wages are stagnating, inflation is happening, college debt is ballooning. But back in the 50s, or 60s, there might be a guy who could marry his partner and be the sole breadwinner and have kids and buy a house really early and do all these things. These opportunities aren't on the table anymore. So this chapter talks about trying to get younger people off on the right foot at this cusp of adulthood when it comes to job choice, when it comes to mobility, when it comes to inheritance. ADAM BENFORADO: I think this really focuses on the popular perception that childhood maybe is tough because you belong to someone else, but once you become an adult suddenly the shackles are off, and you're free. The world is your oyster, and especially in America, you are the freest of the free. BLAIR HODGES: You've got bootstraps, you can pull ‘em. ADAM BENFORADO: Yep. Live where you want, control your destiny, do what you want, marry who you want. And what I look at is all of the ways we actually have locked young people in. We've already determined the trajectory of their life before they even get to that. And so I look at the ways how we capitalize, or fail to capitalize, people's professional development. We could make a decision as a society that, hey, you're a future worker in the United States of America and so we will pay for your training and your education until you are finished and you're ready to work. That's the bargain that we make. But instead, we say, no, no, no, no, you who have no money will self-finance your education, to the tune of $100,000, $150,000 and you will pay that off for the rest of your life. Maybe actually, you'll do it by joining the military and paying it off that way. But somehow, you're gonna start life in the red. And actually, I had this moment, I think I cut it out of the book, but it was actually right before I went to law school. I finished undergrad, I got into law school, and I wasn't quite ready to go and I took a deferment for a year and I went over—my then girlfriend, her parents had bought this 16th century farmhouse outside of London. And I was like, “I'm gonna go and kind of work renovating this house.” And there were some professional builders who were also doing things that year. And I remember being out and I was cleaning off bricks to fix up this like rental with this guy. And we started talking. It's like, hey, so you're going to law school? Oh, you're going to Harvard? And he was like, “So how much is that going to cost?” And I was like, “I don't even really know. I think it's like, you know, $50,000 or $60,000 a year.” And he suddenly was like, “Adam, you cannot do this. Let me tell you, I'm 50 years old. Like, there's so many things that come up in life. People get sick, you know, you get someone pregnant. You can't start life in the red. That's madness.” Honestly, I had gotten into law school. Everyone up to that moment had just been like, “This is the best thing. Everything's great. Of course, everyone goes into debt.” And that was the only person who was like, this is crazy, what a stupid system, because of the things life throws at you. And the truth is, he was speaking the truth. It is mad to put people down, you know, to have the weight of hundreds of thousands of dollars of debt to start out life. And it's particularly unfair, as I point out to do this, based on sort of the different economic situations people find themselves in. One of the areas I focus on is not simply how we lock people in with that, but also how we lock them in geographically. Because coming out of college, you cannot take that job in San Francisco unless you already have existing family wealth. Why? Think about how much money you need. You need the money for the first and last month's rent and the security deposit. And that means you need like $8,000 starting out. A lot of young people who are from poor families, they can get the job, they went to the good college and can get the job, but they cannot move there. And that's really different, I think from previous generations. It wasn't just a myth, the idea that you move where the opportunity was, that was a reality in America, right? You move where the jobs are. “Go West, young man.” People really did do that. But they cannot do that now. And again, that's bad for America. We need workers where the jobs are. We don't need workers stagnating in areas of the country where there are no jobs. We need them moving out to the Bay Area where the jobs are, that increases our GDP. But they cannot do that, based on the choices, and a lot of those choices are things that seem to have nothing to do with young people. They seem to be things like zoning laws. Like okay, it makes sense that any new construction in the city needs to have parking. Well, what does that do that limits housing for those young people, and that means that they do not move there? And that keeps those houses for those older people, skyrocketing property values. But you think about, you know, some of the rules about licensing. So many jobs now, you know, it's like, farmer, hairdresser, you have to have special licenses. And again, that also prevents— BLAIR HODGES: Which are state-dependent too, right? ADAM BENFORADO: Yes. And geographic mobility, even things like, traditionally, law licenses. What is the main reason we have these state bars, I am very skeptical that it's to protect the public. I think it's to protect the monopoly lawyers have in each of these states to prevent new entrants into the market. And I think that hurts all of us. And so I want to focus on ways we can make young people freer at the start of life. Let's stop with different legal regimes that lock in things for old people and think more about ways we can free up young people, because that's going to be best for us as a country. BLAIR HODGES: You talked about inheritance and dead hand laws when it comes to that as well, the right of older folks to be able to lock in wealth in particular ways. ADAM BENFORADO: So I give this example—I really love art and I'm lucky enough to live really near one of the most amazing art collections in the world, which is housed at the Barnes Foundation in downtown Philadelphia. It has an amazing post-Impressionist collection. And one of the funniest things is, or the amazing thing is, thousands of people now visit every year, and that might never have come to be had the law originally been followed. So this guy Barnes, who made basically trillions of dollars in gonorrhea treatments around the turn of the century and bought up all this art, he stipulated in his will that this collection of art was going to be housed in his house out in Lower Merion. And that, you know, only a certain number of people could visit every week and all these rules. And that's how it would have been for all eternity if he had left enough money to preserve it in that way. But the fact of the matter is, he didn't. He didn't leave enough money. And so to the court system, this amazing collection was moved to downtown Philadelphia. It was placed in this, in my opinion, much better space. And now thousands and thousands more Americans and people around the world get to see this groundbreaking work. I think this is an area where we need to focus more on the benefits to living than the rights of the dead. And this is actually not a new notion. I have this wonderful quote from Thomas Jefferson in the book in which he said the same thing. And he was fighting down in

This week: it's the second year of Paris +, the event that has taken over from Fiac as the leading French art fair. How is Art Basel's French flagship faring amid geopolitical turmoil and economic uncertainty, and is Paris still on the rise as a cultural hub? We speak to Georgina Adam, an editor-at-large at The Art Newspaper, and Kabir Jhala, our deputy art market editor, who are in Paris, to find out. The largest ever exhibition of the work of the Japanese photographer Hiroshi Sugimoto opened last week at the Hayward Gallery in London, before travelling to Beijing and Sydney next year. We talk to its co-curator Thomas Sutton. And this episode's Work of the Week is La femme-cheval or the Horse-Woman, a painting made in 1918 by the French artist Marie Laurencin. She is the subject of a major survey, called Sapphic Paris, opening this week at the Barnes Foundation in Philadelphia in the US. Cindy Kang, who co-curated the exhibition, tells us more about this landmark work in Laurencin's life.Paris +, 20-22 October.Hiroshi Sugimoto: Time Machine, Hayward Gallery, London, until 7 January 2023; UCCA Center for Contemporary Art, Beijing, 23 March-23 June 2024; The Museum of Contemporary Art, Sydney, Australia, 2 August-27 October 2024.Marie Laurencin: Sapphic Paris, Barnes Foundation, Philadelphia, US, 22 October-21 January. Hosted on Acast. See acast.com/privacy for more information.

The Art Newspaper's editor, Alison Cole, and London correspondent, Martin Bailey, join our host Ben Luke to review the National Portrait Gallery after its £41m revamp. We talk to Nancy Ireson at the Barnes Foundation in Philadelphia about the exhibition William Edmondson: A Monumental Vision. Edmondson was the first African American artist to have a solo show at the Museum of Modern Art in New York in the 1930s, but has rarely been shown in museums on the US East Coast since. And this episode's Work of the Week marks the 75th anniversary of the arrival in the UK of the Empire Windrush, a boat carrying passengers from the Caribbean. Zinzi Minott, the choreographer and artist, has made a film called Fi Dem about the Windrush on this anniversary every year since 2017. She tells us about the latest iteration, which is at the heart of a new exhibition at Queercircle in London.The National Portrait Gallery is open now. Yevonde: Life and Colour, until 15 October.William Edmondson: A Monumental Vision, Barnes Foundation, Philadelphia, 25 June-10 September.Zinzi Minott's Fi Dem VI is part of her exhibition Many Mikl Mek Ah Mukl, Queercircle, London, until 27 August. Hosted on Acast. See acast.com/privacy for more information.

As I finish my first class of my second class with the Barnes Foundation in Art History I am inspired to this writing. Many messages are sent in art. Which ones are real? Which ones do you connect with? Free song "I Feel the Star" at Google Drive in the side bar at lorijeanfinnila.com under Podcast Music in web version. --- Support this podcast: https://podcasters.spotify.com/pod/show/lori-jean-finnila/support

Martha Lucy, Deputy Director for Research, Interpretation and Education at The Barnes Foundation, discussed the world-renowned museum as it enters its 101st year.  We talked about it founder, Albert Barnes, who used the fortune he made through his patented medicine to create one of the greatest collections of art.   We also discussed Barnes' commitment to artists of color and women, and his practice of diverse hiring, at his factory and in his museum.  We also discussed the current exhibit, Sue Williamson & Lebohang Kganye: Tell Me What You Remember, as women artists – one white octogenarian, one Black and young, exploring Apartheid in their native South African.   For more information go to BarnesFoundation.org

Joe Boruchow is a Philadelphia based muralist and paper cutout artist whose site- specific work is designed to fit into architectural niches and public spaces. Born and raised in the Washington DC area, he moved to Philadelphia in 1997.The self-taught artist started working in paper cutout in 2003 and has been consistently exploring ways to transcend the traditional medium, translating his designs into large scale murals, graphic novels, fine art prints and metal wall hangings. Inspired by his surroundings, current events and architecture, his black and white installations have become iconic in the Philadelphia region.His work explores themes of race, sexuality, politics, history and art, all through the subtractive art of paper cutout. His designs are all created from a single piece of black paper where all the white sections are excised by hand with an exacto blade and all the black sections must connect to the whole. Often quite small, the original paper cutouts are scaled up to fit their intended space.He was a finalist for Pew Fellowship and has worked on major murals with the Philadelphia Mural Arts Program. His graphic novel, “Stuffed Animals” was awarded a Xeric Grant for graphic fiction. As a visiting artist, he is often called upon to lecture and instruct at colleges such as The University of the Arts and institutions such as The Barnes Foundation and the Philadelphia Museum of Art. His commissioned and uncommisioned work have gained a large regional following and has been covered by national and international press and blogs.Exhibitions of his original paper cutouts continue to astonish followers of his work with their intricacy and craftsmanship. The intimate scale of the paper cutouts contrasted with his monumental murals, create a tension between the private and public aspects of the work. The blend of craft and concept combine to create powerful graphic images that transform the spaces that they inhabit.Featured in This Episode Keith Haring Brittney Griner The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeWelcome to the Truth In This Art Beyond: Philadelphia! Philadelphia one of the foremost creative regions in the world and this series of interviews was sparked by my curiosity about the arts and culture of the city. Subscribe Through Your Favorite Podcast PlatformApple Podcasts Spotify Google Podcasts This interview was recorded in Philadelphia, PA between September 2022-January 2023. ★ Support this podcast ★

This episode, we are honored to be joined by the incredible, Turner Prize-nominated artist and filmmaker, Isaac Julien. Born in 1960 in London, Isaac is one of the leading artists working in film and video today. His 1989 film Looking for Langston garnered a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. Over the past three decades he has made work using multi-screen installations to express fractured narratives exploring memory and desire. Earlier this year, he was commissioned by the Barnes Foundation in Philadelphia to create a work to celebrate the museums' centennial. Titled Once Again . . . (Statues Never Die), the immersive five-screen installation b explored the relationship between the museum's founder, Dr. Albert C. Barnes, and the famed philosopher and cultural critic Alain Locke. In even more exciting news, next year, Isaac will be the subject of a solo exhibition at London's Tate Britain in April, presenting a survey of his work from the last 40 years. Isaac was appointed Commander of the Order of the British Empire (CBE) in 2017 and was knighted by the Queenin the 2022 for services to diversity and inclusion in art. Some artists, curators, and actors discussed in this episode: Sankofa Film and Video Collective Maggie Cheung David Bowie and Marc Bolan Barry Jenkins Mark Nash James Franco Tilda Swinton For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy!

This special episode highlights a previously recorded discussion in partnership with the Barnes Foundation in Philadelphia. Presented as an installment of the Pennoni Panels series–and later produced as a pair of episodes for the PBS-broadcast TV series "The Civil Discourse," hosted by Drexel University Pennoni Honors College Dean Paula Marantz Cohen–“When Great Artists Behave Badly” features Tony Award-winning dancer/choreographer Bill T. Jones and a panel of esteemed experts. The panelists take on the topic of controversial artists and how society can separate the art from the artist in cases of toxic, immoral personal behavior. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded January 21, 2021 through virtual conferencing with supplemental recording on October 13, 2022 (Philadelphia, PA, USA). Featured Guests: Paula Marantz Cohen, PhD (Dean and Host of The Civil Discourse); Aruna D'Souza (Author and Art Critic); Bill T. Jones (Tony Award-Winning Dancer/Choreographer); Martha Lucy, PhD (Barnes Foundation Renoir Scholar); and Erich Hatala Matthes, PhD (Author and Philosopher) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Paula Marantz Cohen, PhD with Melinda Lewis, PhD and Brian Kantorek Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Kat Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. To watch these episodes and others from "The Civil Discourse," check your local PBS listings or visit www.youtube.com/c/thecivildiscourse. Copyright © 2022 Drexel University

This week: Ben Luke talks to Anny Shaw, a contributing editor at The Art Newspaper, about the atmosphere at the Frieze London and Frieze Masters fairs amid the UK's economic struggles and the strong US dollar. They also discuss the booming market for so-called “ultra-contemporary” art, and a shift in the artists being bought by collectors. We then talk to Cecilia Vicuña, the Chilean artist and poet who, this year alone, has won the Golden Lion at the Venice Biennale, had a major exhibition at the Guggenheim Museum in New York and is the latest artist to take on the Turbine Hall commission at Tate Modern, where we caught up with her. Our acting digital editor, Aimee Dawson, talks to Camille Morineau, founder of the Paris-based organisation AWARE (Archives of Women Artists, Research and Exhibitions), about Spotlight, the section of Frieze Masters dedicated this year to women artists of the 20th century. And this episode's Work of the Week is Boy in Short Pants (1918) by Amedeo Modigliani. We talk to Simonetta Fraquelli, the consulting curator for a new exhibition of Modigliani's work at the Barnes Foundation in Philadelphia, about the painting.Frieze London and Frieze Masters, Regents Park, London, until 16 October.The Hyundai Commission: Cecilia Vicuña: Brain Forest Quipu, Tate Modern, London, until 16 April 2023; A Quipu of Encounters, Rituals and Assemblies, Tate Modern, from 14 October. Works by Cecilia Vicuña are at Lehmann Maupin, Frieze London, stand F2.Modigliani Up Close, Barnes Foundation, Philadelphia, 16 October-29 January 2023. Hosted on Acast. See acast.com/privacy for more information.

Debora talks with artist Zachary Fabri who is an interdisciplinary artist engaged in lens-based media, language systems, and public space, often complicating the boundaries of studio research, and social practice. This context specificity often yields work that includes design, drawing, photography, video, and installation. Fabri's work has been exhibited at Art in General, The Studio Museum in Harlem, El Museo del Barrio, The Walker Art Center, The Brooklyn Museum, The Barnes Foundation, and Performa. https://www.zacharyfabri.com/ www.instagram.com/zacharyfabri/ www.artistpraxis.com

Cornelia Samara, Regional VP & General Manager for Four Seasons Hotel Philadelphia at Comcast Center, Philadelphia's first-and-only Forbes Travel Guide Five-Star Hotel, shared the story behind her title with us on August 28, 2022.A true global citizen, Samara was born in Jerusalem as a German national with Palestinian roots and grew up immersed in the hospitality industry. Her family owned a travel agency and led tours of the Holy Land in Jerusalem, and from an early age, she remembers traveling to the airport to greet arriving guests and going to dinners with tour groups.“Hospitality runs in my blood,” says Samara, reflecting not only on her family history in the industry but also building a sense of community in and outside the hotel. “A hotel is so much more than just a place to stay. It is an opportunity to create beautiful experiences, and Four Seasons has done that for generations of Philadelphians. I'm proud to be part of a team that is tightly woven into the fabric of this community.”A passionate art lover, the vast collections found at the Barnes Foundation and Philadelphia Museum of Art drew her to the City of Brotherly Love. Samara used to enjoy oil painting and pottery, but with time now tight, she enjoys experiencing art by going to museums and galleries often. “Love for the arts is ingrained in me, and I'm thrilled to have the masters at my fingertips. I love having the opportunity to explore the multiple galleries throughout Philadelphia.”A graduate of Hawaii Pacific University, the past ten years of her career as general manager, have been focused on flagship properties. In 2018 she joined Four Seasons Hotel at The Surf Club as General Manager. In Philadelphia, oversees hundreds of Hotel team members and is happy to be working with the award-winning team.SUE SAYS"Growing up in Jerusalem into a family that led tours of the Holy Land, hospitality is in Cornelia's blood. Her father taught her the importance of treating people with kindness and how to create experiences that they would enjoy. It seems inevitable that she would end up a leader in the field. Tune in to learn how Cornelia's consistent devotion to her work caught the eyes of her colleagues who would eventually entrust her with leading new teams."Support this podcast at — https://redcircle.com/women-to-watch-r/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Laurie is a distinguished teacher, author, and one of the most renowned landscape architects practicing today. From vision to realization, he has guided many of OLIN's signature projects, which span the history of the studio from the Washington Monument Grounds in Washington, DC to Bryant Park in New York City. His recent projects include the AIA award-winning Barnes Foundation in Philadelphia, Pennsylvania and Simon and Helen Director Park in Portland, Oregon.

Dr. Clint Springer is an associate professor of biology at Saint Joseph's University in Philadelphia, Pennsylvania. Clint is also the director of the Institute for Environmental Stewardship and the first faculty director of the Barnes Arboretum at Saint Joseph's University (formerly the Arboretum of the Barnes Foundation). Clint's research has examined the response of plant physiology and development to human-induced climate change. His more recent interests include the intersection of climate change and ornamental horticulture and arboriculture. Clint was born and raised on the Allegheny plateau in West Virginia where he attended West Virginia University for both his undergraduate and graduate degrees. He holds a B.A. in biology and a Ph.D. in environmental and evolutionary plant biology from WVU. --- Support this podcast: https://anchor.fm/plantatrilliontrees/support

To learn more, please visit the website for Scientific Analysis of Fine Art, LLC.Show Notes:0:01 use of scientific methods in London and Berlin to understand and preserve cultural heritage since 19th Century 2:30 history of cultural heritage science 4:00 founding Scientific Analysis of Fine Art LLC (SAFA) 5:40 Yves Tanguy's Fraud in the Garden5:50 catalogue raisonné prepared by art historians Charles Stuckey and Stephen Mack6:10 fascist attack during screening of Luis Bunuel's satiric “L'Age d'Oro” 7:00 use of multi-spectral imaging on Fraud in the Garden included ultraviolet light and infrared radiation, and x-rays to view slash pattern on painting7:45 multiple restorations on Fraud in the Garden dated through the pigments and paint binders9:00 value of artwork as historical documents versus restoration of the artwork 9:45 cultural heritage as historical documents example of Victoria & Albert Museum10:45 display of the Rothko Murals at Harvard by projecting original color on faded paintings11:45 analysis for attribution questions varies between antiquities, paintings, decorative art objects13:20 non-destructive drive for protocols for elemental and molecular analysis14:00 changes to work by Van Gogh and Met's Irises and Roses exhibit on this14:30 geranium lake known as Eosin red15:00 paints like cadmium yellows and chromium yellows created during the Industrial Revolution are also very sensitive to light and relative humidity15:15 changes in Matisse's 4 versions of Joy of Life – yellows fading to ivory white15:30 mechanism of degradation 16:20 Picasso's 1901 The Blue Room 17:30 Cezanne18:15 analysis of over 900 tubes of paint from Munch19:30 paints standardized in 1920s 21:00 flaking of zinc white: reaction of zinc oxide with oil creates crystalized molecules - zinc soaps21:25 titanium white 23:00 heavy metal pigment paints that strongly absorb x-rays like lead white or vermillion (a mercury sulfide red) prevent seeing under-painting24:45 head of the scientific vetting committee for TEFAF New York 27:15 Court of Arbitration for Art 28:35 trusting science to conduct due diligence 30:30 stigma  attached to use of science 33:00 Bard Graduate Center34:00 wooden polychrome sculpture analysis: dendrochronology and radiocarbon dating36:00  dirty dozen paint list36:45 mixing drying oil paints (linseed) with non-drying oil paints (sunflower)37:50 Eosin red, emerald green, cadmium yellow, chromium yellow, vermillion, copper blues  38:50 favorite paintings 39:10 Modigliani Collection at the Barnes 39:45 Modigliani's palette 40:35 The Burlington Magazine 41:10  Klimt's Faculty Paintings 42:30 computational technologies to bring lost work back to life43:00 facilitating justice43:45 invention of photography enabled Jacob Riis to document New York slums 44:00 20th Century photographer and sociologist Lewis Hine44:20 BLM movement44:30 environmental justice issues 45:40 recommendations to pursue cultural heritage science 46:55 legacy to create scientific literacy for art conservators and historiansTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]

Today on the podcast, our 8-part summer series collaboration with Greater Philadelphia Cultural Alliance's “RE-START Initiative”, continues with Kun-Yang Lin Dancers. In our conversation, we learn how a dance company has fared during the pandemic. Here is my interview with Katie Moore-Derkits, Executive Director and Maggie Zhao, Assistant Artistic Director of Kun-Yang Lin Dancers.Kun-Yang Lin/Dancers (KYL/D) is one of the country's premier contemporary Asian-American professional dance companies based in Philadelphia. Hailed for its superbly trained dancers and inventive choreography, the internationally-active KYL/D's ensemble of professional dance artists – trained in the company's unique CHI AWARENESS PRACTICE that is deeply rooted in Asian art forms, contemplative practices and philosophies. Artistic Director Lin's zen-inspired practice of dance manifests in lush works of poetic sensibility that The New York Times says "create and inhabit worlds of their own." Lin draws upon insights from his ongoing research throughout Asia and around the globe, creating a personal movement language that is suffused with strong spiritual underpinnings. KYL/D has performed around the world, including at the Tanzmesse International Dance Festival (Dusseldorf), Busan International Dance Festival (Korea), Jogia International and AsiaTri festivals (Indonesia), Festival Internacional de Danza in Queretaro (Mexico), Victoria Theatre (Singapore), HsinChu Performing Arts Center (Taiwan).  In the U.S., KYL/D has performed at Lincoln Center Out of Doors Festival, Interlochen Festival, Columbia Festival, Kaatsbaan International Dance, Jacob's Pillow Inside/Out, Dancing in the Streets Festival, the Painted Bride Art Center, the Annenberg Center, the Kimmel Center, the Forrest Theater, the Philadelphia Museum of Art, the Barnes Foundation, and Philadelphia's City Hall.FOR MORE INFORMATION: https://kyld.org Learn more about RestART!RestART: The Arts are Back!https://phillyfunguide.com/editorial/restart-the-arts-are-back

"It's not obvious how or why art meets a need. We don't eat it, we don't have sex with it. Yet we are drawn to it and we've been making art since the begining of civilization"Today's guest is Dr. Anjan Chatterjee, Neurology professor at the University of Pennlysvania. He is a prominent neurologist, former Chief of Neurology at the Pennsylvania Hospital. He is currently the founder and director of the Penn Center for Neuroaesthetics, which studies the neural impact of aesthetic and artistic experiences. In his book “The Aesthetic Brain: how we evolved to desire beauty and enjoy art”  he makes a compelling case for the intimate links between art and science and their common goal of getting insight into the human experience. For all his scientific pedigree Anjan also has an artist's sensibility. He teaches architecture, has a deep love for street art, and he moonlights as a photographer.In this conversation Anjan and I discussed:how our brain reacts to art and beauty, and how we process and assign meaning.the role of art in human experience and social change.art's potential for becoming an recognized medical treatment.the challenges of scientific research and evidence on a subject so vast and subjective as art.There's no way to cover the full extent of these questions in under 40mn but I hope you'll get enough food for thought!Thanks for listening ✨----------------------------------------------------------------------------

In this episode, Rebecca and a special guest, Heidi Kwak, talk about their experience in Philadelphia going from places like the Barnes Foundation art institute and Chinatown.

Giuseppe Castellano talks to Olivia Verdugo, Art Director at The Barnes Foundation about her role at the Barnes, and the circuitous route she took to get there; what illustrators can learn from Dr. Barnes' idiosyncratic, holistic approach to art collection; why graphic designers are both poets and engineers; what five guiding principles helped Olivia find her creative path; and more.

Join Amy Loewenberg as she talks with MSA members Susan Tudor of the Cummer Museum and Tia Bianchini of the Barnes Foundation as they share all things Museums and Museum Store Sunday- a global annual event celebrating the museum stores and their mission-related products which play a vital role in helping arts, cultural and nonprofit attractions educate and thrive. Since its launch in 2017, museum store advocacy has been growing and gaining global recognition. On Sunday, November 28, 2021 this year more than 1,700 museums world-wide are registered to participate – from all 50 states, 24 countries, and five continents! This year they are celebrating five years of Museum Store Sunday and special shopping experiences in one-of-a kind stores, showcasing broad assortments of highly curated, unique, mission-specific gifts. From books to jewelry to children's products to home accessories and gourmet food, there is something for everyone! So shop knowing that you are supporting the missions and programs of each participating museum and cultural institution.   RESOURCES   Guest Websites:  http://www.museumstoreassociation.org/   https://www.cummermuseum.org/   https://www.barnesfoundation.org/   | NY NOW:https://nynow.com     | NY NOW Podcast Page:https://nynow.com/podcast     | NY NOW Digital Market:https://nynowdigitalmarket.com    

Emily Arthur (Eastern Band Cherokee descent) is an Associate Professor at the University of Wisconsin-Madison and serves as Chair of the Printmaking Area within the Art Department where they will host (SGCI) Southern Graphics Council Conference in March 16 – 19 2022 titled Our Shared Future. Arthur received an MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia and has served as a Fellow at the Barnes Foundation for Advanced Theoretical and Critical Research, Pennsylvania. Additional education includes the Rhode Island School of Design, University of Georgia and the Tamarind Institute of Lithography at the University of New Mexico. Arthur is awarded to the Notable Women in the Arts, National Museum of Women in the Arts and has been nominated for a Joan Mitchell Foundation, Painters and Sculptors Grant. She is the recipient of a Florida Artist Enhancement Grant provided by the State of Florida and the National Endowment for the Arts. Her work is included in the permanent collections of the Saint Louis Art Museum, Chazen Museum of Art, Minneapolis Museum of American Art, Tweed Art Museum, Denver Art Museum, Autry National Center of the American West and the Museum of Contemporary Native Arts, Santa Fe, NM. Arthur's work is included in the recent 2020 book, Knowing Native Arts (Lincoln): University of Nebraska Press, by Nancy Marie Mithlo as well as Dr. Mithlo's forthcoming book titled Visualizing Genocide co-authored with Yve Chavez, Ph.D. Arthur is also a co-curator and co-author of Re-Riding History: From the Southern Plains to the Matanzas Bay, edited by Phillip Earenfight, PhD. (The Trout Gallery: Carlisle, PA, Fall 2018). Arthur has served as an International Artist in Residence in France and Japan with artists from the Diné/Navajo Nation and as part of the 2011 Venice International Print Studios where she exhibited at the University of Ca” Foscari on Occasion of the Venice Biennale 54th International. International permanent collections include the nations of Iceland, Russia, Estonia, Ireland, France, Italy United Kingdom, India, Argentina, New Zealand, and Japan.

Arianna Gass is a theater-maker who primarily occupies the multimedia theater space. They are a worker-owner of Obvious Agency, an artist cooperative in Philadelphia known for creating interactive live performance. They are also currently pursuing a PhD at the University of Chicago which we talk extensively about. This was an enlightening conversation for me and really exposed me to areas of theatre and performance theory that I did not know much about before today. For a full transcript of this episode visit beyondthelightspodcast.comMentioned in this Episode[00::02:20] Stella Adler Teen Conservatory [00:04:56] Vasser College Experimental Theater [00:05:55] Barnes Foundation[00:10:15] Obvious Agency and Creative Cooperative Futures[00:11:53] Applied Mechanics[00:11:54] Headlong Dance Theater[00:09:55] Ninth Planet[00:13:15] New York Theater Workshop[00:14:11] Ivo Van Hove [00:16:17] Barnes Jawnt [00:18:50] Bicycle Coalition[00:18:53] Black and Brown Workers Cooperative[00:19:11] US Federation of Worker Cooperatives[00:19:17] Girls Rock Philly[00:28:21] Hamletmachine [00:29:13] The Wooster Group[00:29:14] The Wooster Group's HamletFollow AriannaWebsiteTwitterFollow Obvious AgencyWebsiteFollow Beyond the LightsWebsiteFacebookTwitterInstagram

This week on the Nonprofit Build Up, we're talking with Lawrence Mendenhall. Lawrence is the Chief Operating Officer of the American Academy of Ophthalmology, the 32,000-member association for America's eye surgeons, where he leads the Academy's communications, memberships, marketing, finance, technology, facilities, security, and corporate services functions. Lawrence has held operational and legal leadership roles for philanthropies ranging from the William and Flora Hewlett Foundation to Humanity United, a startup human rights foundation created by eBay's founder. Earlier in his career, he spearheaded The Pew Trusts' change from domestic grantmaking foundation to international operating nonprofit as well as its successful effort to save Philadelphia's Barnes Foundation.

Martha Lucy, Deputy Director for Research, Interpretation, and Education, discussed the Barnes, its founder and history and its unique relationship with the artist Chaim Soutine, now featured in the current exhibit Soutine / de Kooning: Conversations in Paint.  The exhibition, produced in association with the Musee D'Orsay, makes its only US appearance at the Barnes through August 8.  She discussed founder Dr Barnes's early support for Soutine and how the museum allowed de Kooning the opportunity to see the vast collection.  She spoke on the challenges of putting the exhib together during a pandemic when travel was forbidden and the great honor and world recognition the foundation has recieved through it.     See omnystudio.com/listener for privacy information.

In this second part of our two part Season 1 finale of the Art Ignites Change podcast we sit down with one more Philly arts leader to discuss how their organization faced the challenges of this last year, including what they've learned and where they're going from here. Today we hear from Kathleen Ogilvie Greene, Curator of Public Programs at the Barnes Foundation! 

Episode No. 496 features curator Kelly Baum and art historian Judith Zilczer. Along with Randall Griffey, Baum is the co-curator of the retrospective exhibition "Alice Neel: People Come First" at the Metropolitan Museum of Art. The exhibition is on view through August 1. It presents Neel as a radical portraitist whose work most often foregrounded humanism and social justice. The exhibition catalogue was published by the Met. Indiebound and Amazon offer it for around $50. On the second segment, Judith Zilczer discusses Willem de Kooning's engagement with Chaim Soutine's work on the occasion of "Soutine/de Kooning: Conversations in Paint" at the Barnes Foundation. Zilczer contributed an essay to the catalogue, which was published by the Barnes in association with the Musees d'Orsay and l'Orangerie in Paris, and Paul Holberton Publishing. The exhibition was curated by Simonetta Fraquelli and Claire Bernardi. It is on view in Philadelphia through August 8.

ENRICHMENT OF THE SELF AND SOUL by Richard J. Choura Enrichment of the Self and Soul Reveals a Multi-Disciplinary Approach to 'The Self' and Harnessing its Powers This book offers new opportunities for enriching your self and soul by joining spiritual thinking and aesthetic vision with the sacred, cultural, and scientific. It reveals sources of inner wellsprings such as sacredness, symbols, epiphanies, and cosmic thinking that have the power to change your vision and increase your spirituality. It is unique in that it contains the spark of life. It extends your spirit and personal vision and fills 'the gaps of human life with light.' We see 'the secrets of the far' and our spirituality is reflected in 'the bounty of life.' This book empowers the reader to harness the power of self with spirituality so that they can find a deeper meaning in life that they are looking for in spirituality. Ever wonder what self really is and how you may be able to use it to better your life? It is said that the self is the 'seat of the soul' and 'principle of life'. This book assumes significance in current times when the Millennials and professionals from various fields are looking for a change and searching for deeper meaning in spirituality. Richard J. Choura was born in Hartford, Connecticut. He graduated from Marianapolis Prep School in Thompson,Connecticut. He served four years in the U.S. Air Force. He attended the University of Michigan, Mitchell College, the University of Wisconsin, the University of New Haven and graduated from the University of Hartford in Connecticut with a mechanical engineering degree. Afterward he attained the status of Professional Engineer. He worked as a consulting engineer for many well known consulting engineering firms and Fortune 500 companies in many states. He is married and has two sons. He has been married to Patricia Blackett, an artist, for the last twenty years. She graduated from the University of Tennessee in Art Education. She was in many major art shows and galleries in Columbus, Ohio, Philadelphia, PA, and San Francisco, CA. She also graduated from the Barnes Foundation in Philadelphia, PA. https://www.richardchoura.com/ https://www.amazon.com/Enrichment-Self-Soul-Richard-Choura/dp/1637957041 http://www.bluefunkbroadcasting.com/root/twia/glsummithouse501.mp3

Timothy Gierschick (b. 1976, Reading, PA) is an artist living and working in Philadelphia, PA. His paintings and works on paper have been exhibited and collected both nationally and internationally, including by Duane Morris LLP offices worldwide, and Capital One Bank NA. Timothy earned his Bachelor of Arts, concentrating in Printmaking, from Messiah College in 2000. He is also employed by the Barnes Foundation as preparator. Books mentioned at the end of the interview are Mona, by Pola Oloixarac: and Zen Mind by Suzuki. Bad Blood, latex and enamel on rag paper, 36 x 30”, 2021 The Skater, latex and enamel on rag paper, 40 x 30”, 2021. Junkie, latex and enamel on found panel, 19 x 40”, 2020

Greg Masters is a senior at Pennridge High School. In addition to participating in the school jazz ensemble, pit orchestra, and symphonic band, Greg is also a member of the Kimmel Center for the Performing Arts Creative Music Program. There he has studied under renown jazz musicians namely Sumi Tonooka, Anthony Tidd, Josh Lawrence, and Brent White. He is currently studying with Doug Hirlinger. He has played at the Center City Jazz Festival, The Barnes Foundation, South Kitchen Jazz Parlor and The Foundry Philadelphia. Greg will be attending Temple University as a Jazz Studies Performance Major in the fall and hopes to be an active musician on the Philadelphia jazz scene. Check out his YouTube channel here and follow him on Instagram @_gregmasters_ Eric Rodgers has been playing violin and percussion for a combined total of 22 years. He participates in multiple Pennridge Performing Arts ensembles such as Chamber Orchestra, Symphonic Band, Pit Orchestra, Jazz Ensemble, Marching Band, and Indoor Drumline. Eric plans to continue pursuing his career in music by going to college to become a professional classical percussionist. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

Growing up in the 1950s in the only Chinese family in Berkeley Heights, New Jersey, Billie Tsien always felt like an outsider. She would seclude herself in the shower of her family’s home’s master bathroom, behind closed doors, escaping into books for hours before her parents, who had originally moved to America from Shanghai to study at Cornell, would find her. Through this Tsien developed a deep understanding of the value of a rich interior life—a concept she has gone on to apply to her work at the New York–based architectural practice Tod Williams Billie Tsien Architects Partners (TWBTA), which she co-founded with her husband, Tod Williams, in 1986. The ethereal craft inherent in TWBTA’s structures, which include parks, libraries, museums, and other people-focused places, emanates from Billie and Tod’s belief that architecture is an act of service, and an opportunity to create quiet moments where visitors can indulge in the simple yet powerful emotions that can be stirred when encountering beauty. When Tsien, now 72, reflects on her firm’s philosophy—which entails making buildings that transcend solutions, that respect the earth, and that are measured by the lives lived within them—it’s clear that she profoundly, even poetically, shapes each project’s awe-inspiring energy. Tsien’s deliberate, unhurried methodology is apparent in everything she does. She advocates for listening and community engagement—a central part of her firm’s high-profile, often controversial public works, such as Philadelphia’s Barnes Foundation (2012), Dartmouth College’s Hood Museum of Art (2019), and Chicago’s Obama Presidential Center, which is slated to break ground this fall. Tsien and her staff spend time with the craftspeople who create many of their materials—including Dutch textile artist Claudy Jongstra, whose vibrant felt paintings grace the walls of New York’s David Rubenstein Atrium (2009), and Danish brick-makers whose product features on the facade of dormitories at Pennsylvania’s Haverford College (2012)—and select them according to the emotional responses they elicit. She gives the same focused attention to the holistic experience of a building as she does the handrails that will go inside it. When it comes to the planet, Tsien thinks buildings should embrace measurable ways to minimize their environmental footprints as well as immeasurable ones, such as the meandering pathways of the LeFrak Center (2013), in Brooklyn’s Prospect Park, that invite people to appreciate the natural wonders around them.On this episode, Tsien details the origins of and rationale behind her approach to the built environment, talking with Spencer about designing structures as containers for life, why history doesn’t unfold in a straight line, and architecture as both an honor and a responsibility.

In episode 62 of The Great Women Artists Podcast, Katy Hessel interviews the esteemed curator CINDY KANG of the Barnes Foundation on the Impressionist giant, BERTHE MORISOT! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] And WOW is this an incredible insight into Morisot, who was the FIRST woman to ever exhibit with the Impressionists in 1874, and THE woman who paved the way for the Modern Parisian woman.  Praised for her quick, feathery, brushstrokes, infused with light and vivid colouring, Morisot's subjects ranged from family life to the fashionable women of Paris. Unlike her male counterparts, Morisot had access to the private boudoirs of women, who she captured full of vivacity, and radiating in modernity. Born into an upper-middle class family, along with her sister, Edma, she showed great passion and skill for art from an early age. As a result, they were encouraged and financed by their wealthy parents, who hired one of the foremost tutors in Paris, who told them they were so good it was a CATASTROPHE!  For the next decade, Morisot would become fully immersed in Parisian life, exhibiting, socialising, and befriending the likes of Édouard Manet, whose brother, Eugène, she would go on to marry. He was fully supportive of her career. Morisot was written about by Émile Zola, and had her work sold by the best picture dealers in Paris.  Continuing to radicalise conventions in painting, during the 1880s, Morisot’s brushwork became increasingly loose. Towards the end of her life, Morisot was veering towards working in a Symbolist fashion, as executed in one of her final paintings of her daughter, Portrait of Miss J. M. (Julie Dreaming), 1894, created the year before her life was sadly cut short due to a battle with pneumonia. LISTEN NOW + ENJOY!!! FURTHER LINKS! Cindy's exhibition:  https://www.barnesfoundation.org/whats-on/morisot https://www.newyorker.com/magazine/2018/10/29/berthe-morisot-woman-impressionist-emerges-from-the-margins https://nmwa.org/art/artists/berthe-morisot/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Winnie Simon Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Raising money to support the arts is demanding in the best of times—let alone during a pandemic, and when so many are focused on social and racial justice. Our guest Nina Diefenbach is Senior Vice President and Deputy Director for Advancement at @The_Barnes Foundation in Philadelphia. A century ago, Dr. Barnes had an abiding commitment to supporting his African American employees and students at @LincolnUofPA, the nation's first degree-granting #HBCU, and we learn how the Barnes has adapted to the last year's many challenges along with facets of its exceptional offerings.

WOAR - Philadelphia Center Against Sexual Violence is on mission to end sexual violence in Philadelphia. I speak to Executive Director Dr. Monique Howard about the 20th anniversary of Sexual Assault Awareness Month and the resources the organization offers to survivors.https://www.woar.org/WOAR 24 HOUR HOTLINE: 215-985-3333There's a terrific discussion series on race sponsored by the Barnes Foundation entitled “Facing Change.” This month the topic is the myth of “white adjacency” – the idea that certain minorities can have access to white privilege. I speak with Kathleen Ogilvie Green from the Barnes Foundation.https://www.barnesfoundation.org/whats-on/talks/facing-changeFirst - Pennsylvania has ended the moratorium on utility shutoffs and the pandemic has put a strain on many household's finances. There is help. I speak to Funmi Williamson, Senior Vice President at PECO's and Chief Customer Officer, who shares information on the many programs offered to provide bill relief. www.peco/billrelief.

WOAR - Philadelphia Center Against Sexual Violence is on mission to end sexual violence in Philadelphia. I speak to Executive Director Dr. Monique Howard about the 20th anniversary of Sexual Assault Awareness Month and the resources the organization offers to survivors.https://www.woar.org/WOAR 24 HOUR HOTLINE: 215-985-3333There's a terrific discussion series on race sponsored by the Barnes Foundation entitled “Facing Change.” This month the topic is the myth of “white adjacency” – the idea that certain minorities can have access to white privilege. I speak with Kathleen Ogilvie Green from the Barnes Foundation.https://www.barnesfoundation.org/whats-on/talks/facing-changeThe Clean Air Council is holding their 40th Annual Run for Clean Air. For the second year it's virtual. Katie Edwards from the Clean Air Council fills us in.https://cleanair.org/run/

Raising money to support the arts is demanding in the best of times—let alone during a pandemic, and when so many are focused on social and racial justice. Our guest Nina Diefenbach is Senior Vice President and Deputy Director for Advancement at @The_Barnes Foundation in Philadelphia. A century ago, Dr. Barnes had an abiding commitment to supporting his African American employees and students at @LincolnUofPA, the nation's first degree-granting #HBCU, and we learn how the Barnes has adapted to the last year’s many challenges along with facets of its exceptional offerings.

One highly visible example of French influence on the city of Philadelphia is the Benjamin Franklin Parkway, modeled on the Champs-Élysées. In "Salut!", Lynn Miller and Therese Dolan trace the fruitful, three-centuries-long relationship between the City of Brotherly Love and France. This detailed volume illustrates the effect of Huguenots settling in Philadelphia and 18-year-old William Penn visiting Paris, all the way up through more recent cultural offerings that have helped make the city the distinctive urban center it is today. "Salut!" provides a history of Philadelphia seen through a particular cultural lens. The authors chronicle the French influence during colonial and revolutionary times. They highlight the contributions of nineteenth-century French philanthropists, such as Stephen Girard and the Dupont family. And they showcase the city’s vibrant visual arts community featuring works from the Philadelphia Museum of Art, the Rodin Museum, the Barnes Foundation, and the Joan of Arc sculpture, as well as studies of artists Thomas Eakins, Mary Cassatt, and Henry Ossawa Tanner. There is also a profile of renowned Le Bec-Fin chef Georges Perrier, who made Philadelphia a renowned culinary destination in the twentieth century. Lynn Miller is Professor Emeritus of Political Science at Temple University. Therese Dolan is Professor Emerita of Art History at Temple University's Tyler School of Art and Architecture. Description courtesy of Temple University Press.

Lonnie Graham is a photographer, a Pew Fellow and Professor at Pennsylvania State University. He is former director of Photography at Manchester Craftsmen’s Guild in Pittsburgh, Pennsylvania, an urban arts organization dedicated to arts and education for at risk youth. There, Lonnie developed innovative pilot projects merging Arts and Academics, which were ultimately cited by, then, First Lady Hillary Clinton as a National Model for Arts Education.   In 1996 Lonnie was commissioned to create the “African/American Garden Project.” which provided a physical and cultural exchange of disadvantaged urban single mothers in Pittsburgh, and farmers from Muguga, a small farming village in Kenya, to build a series of urban subsistence gardens.   In 2005, Lonnie was cited as Artist of the Year in the Commonwealth of Pennsylvania and presented the Governor’s Award by Governor Edward Rendell. He served as a panel member for the Pennsylvania Council on the Arts and the National Endowment for the Arts in Washington, DC.  Lonnie is the recipient of a National Endowment for the Arts/Pew Charitable Trust Travel Grant for travel to Ghana and is a four time Pennsylvania Council for the Arts Fellowship recipient. His book “A Conversation with the World,” has been published by Datz press in Seoul, Korea. That project seeks to reveal our common humanity through interviews conducted by Lonnie with individuals through out the world. He recently delivered a TED talk on economic disparities of artists in modern culture.               Other exhibitions include an exhibition of photographs at Goethe Institute, Accra Ghana; an exhibition of collaborative portraiture in Christchurch, New Zealand, a group of works at Kulttuurivoimala, Culture Silo, Meri-Toppila, Oulu, Finland, a full scale reproduction of one of the educational galleries in the Barnes Foundation shown at La Maison de Etat-Unis, Paris, France, an exhibition of larger than life photographs at the Toyota City Museum in Aichi, Japan as well as a room sized installation featured at the Smithsonian Institution in Washington, DC. Lonnie’s work can be found in the permanent collections of the Addison Gallery for American Art in Andover, MA and the Philadelphia Museum of Art, in Philadelphia, PA. Sound and Vision is supported by the New York Studio School, where drawing, painting and sculpture are studied in depth, debated energetically, and created with passion. The School’s full-time programs: a two-year MFA and a three-year Certificate prioritize experimental learning and perception. Beginning in Fall 2021, the Studio School welcomes artists from around the world to join its inaugural Virtual Certificate Program. Combining the studio-centric emphasis of the School’s teaching methods with an individual, real-time approach to online learning, this full-time program is designed for serious artists, and dedicated aspiring artists, who seek to cultivate the studio skills and methods that will prepare them for a lifetime of art-making. The priority application deadline is April 30th, 2021 - apply online today at nyss.org

Join Mark Weaver with Metropolitan Museum of Art's noted Exhibition Design Manager, Dan Kershaw.Developing the environments for The Met's installations for over 30 years, Kershaw creates both temporary and permanent gallery exhibitions. Kershaw has consulted for Yale Art Gallery, Barnes Foundation, Gagosian among other esteemed institutions. Learn about the complex nature of designing installations and how he creates emotional experiences that leave guests feeling inspired. To learn more about The Metropolitan Museum of Art you can visit their website www.metmuseum.org or follow them on Instagram @metmuseum Be sure to keep up to date on 'Designers at Home' by following @markweaverandassociates on Instagram

This week's episode is a true testament to the power of networking and relationships within the field. Suzanne Hilser-Wiles, a previous guest, recommended that I invite Nina McNeely Diefenbach (Senior Vice President and Deputy Director for Advancement, Barnes Foundation) and Whitney W. Donhauser (President and Ronay Menschel Director, Museum of the City of New York) to do an episode together about arts and culture. You can feel the friendship between Nina and Whitney as they share their views and experiences. The two worked together at the Met and you'll notice the episode starts when we are getting acquainted. I couldn't help but keep their admiration for one another within the episode. Nina and Whitney talk about their respective institution's struggles and successes since March. They emphasize collaboration and the power of digital media. --- Support this podcast: https://anchor.fm/devdebrief/support

Check out DanceConnectSeries.com for more information on each guest! Instagram: @danceconnectseries -------- Inger Cooper is a freelance performer and choreographer in the NYC. After graduating from University of the Arts in Philadelphia with a BFA in Dance in 2015, Inger began her own project based group, ingercooper|dancers, and was commissioned by the Barnes Foundation to create work for Fall 2015. Inger and her company have since performed through various organizations and spaces in the NYC And Philadelphia area, including KYL/D's InHale, Koresh Dance Company, Philly Fringe Festival, REVERBdance, Triskelion Arts, WAXworks, Dixon Place, Brooklyn Navy Yard, and Arts on Site. In 2019, she worked with members of Peridance Dance Company in producing a music video for Cardboard Rocketship. Inger has also presented work at the CND in Paris and Royal Conservatoire in Antwerp. Inger currently curates The Craft, a monthly performance series, in Brooklyn, NY [now virtual] and is a 305 Fitness Certified Instructor. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Graphic identities abound in our media-saturated world—and in this episode we turn to a globally-renowned expert and practitioner to help us understand how he goes about inventing the typefaces, logos, and brand identities of leading art museums including the Guggenheim and the Whitney, the Barnes Foundation, and countless other cultural and commercial clients over many years. Abbott Miller has been a partner at Pentagram since 1999, and he has created multiple award-winning solutions worldwide. You'll learn about the influences of his training at Cooper Union, the lasting impact of the Bauhaus in his field, the emotional underpinnings of the typefaces we take for granted, and his opinion of the graphic identities of the two competing presidential campaigns.

Data is becoming increasingly key to decision-making at arts institutions like the Barnes but it must be part of a strategy that stays true to the history of the organization says CFO/COO Margaret Zminda. See acast.com/privacy for privacy and opt-out information.

Lee Tusman has curated up a storm at many places in Philadelphia (e.g., Little Berlin) and elsewhere. Now, he's got a really great-sounding one-night-only performance–Room 21–he's organized in collaboration with Ars Nova and DJ Jace Clayton and the Prometheus Chamber Orchestra. I talked with Lee about the musical performance, which will take place on Saturday, September 9 at the Barnes Foundation, and asked why it's at the Barnes and is Room 21 one of the Barnes gallery rooms. Take a listen and see! Then rush out and get tickets (here: $10/$8 for Barnes members)

At the Barnes Foundation, Nari Ward's direct engagement with issues of race, culture, and class in contemporary America makes for an interesting counterpoint to the African art collected by Dr. Barnes (and by the Penn Museum) in the early 20th century. Finally, the three shows of contemporary photography, textiles, and architecture that fill the first floor of the PMA's Perelman Building leave us with lots of questions about the “Africa” in “Creative Africa.” Just how fixed is regional or even national identity for both artists and artworks that circulate widely thanks to the global art market? What makes African art African?

Roberta and Libby interview John Gatti in this 15-minute podcast for Artblog Radio.