Podcasts about betye saar

Nikki Giovanni was one of the greatest poets of her generation and it was an honour to sit with her for a special episode of The Last Bohemians, recorded in Spring 2024 in London, while she was promoting what would become her final anthology, Poems: 1968-2020 (Penguin Classics). When we saw she was in town, we jumped at the chance to speak with her and we're very grateful to have been granted an audience.A poet, author and activist, Nikki was considered a key figure in the Black Arts Movement of the 1960s and 70s, which ran parallel to the Civil Rights and Black Power movements in America. It included notable writers and artists like Audre Lorde, Maya Angelou and another of our Last Bohemians, Betye Saar, many of whom she counted as friends. Just imagine that dinner party!Nikki was born in 1943 in Knoxville, Tennessee, grew up in Ohio, and self-published her first two books in 1968. In the 70s, she was selling out huge concert venues and started blending gospel music with spoken word, on albums like Truth is On The Way, foreshadowing the birth of hip-hop. Her poems spoke boldly of justice and liberation but had love and joy at their centre, and she released over 30 books of them.It's strange and sad to speak about Nikki Giovanni in the past tense: she passed away on 9 December 2024, aged 81, of complications from lung cancer, just before this edit was finished.We've sat on this episode for a while, unsure what to do with it and when to release it to the world. But we think you should have it in time for International Women's Day 2025. Since 2019, we've either launched a series or a one-off around this time and felt that, with everything going on in the world at the moment, it's the moment to send this special conversation out there.And wow, does Nikki have some things to say, as she discusses becoming a success, her famous friendships with Aretha Franklin and Nina Simone, the power of anger, her self-care routine and why poetry is a serious business indeed.////CREDITS////This episode is hosted and exec-produced by Kate Hutchinson, with audio production and editing by Kit Callin. It was recorded at Spiritland Studios, London.The poem you hear is 'Serious Poems' by Nikki Giovanni, part of the anthology book Poems: 1968-2020, out now on Penguin Classics.The music used is 'Only Instrumental' by Broke For Free.A huge thank you to Juliette Morrison at Penguin and Virginia Fowler for helping to make this interview happen. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thelastbohemians.substack.com/subscribe

Episode No. 684 features curators Akili Tommasino and Mark Mitchell.  Tommasino is the curator of "Flight into Egypt: Black Artists and Ancient Egypt, 1876-now" at the Metropolitan Museum of Art, New York. The exhibition examines how Black artists and other cultural figures have engaged with ancient Egypt from the American centennial, through the Harlem Renaissance, to the present. "Flight into Egypt" is on view through February 17, 2025. The fascinating catalogue was published by the Met. Amazon and Bookshop offer it for $45-50. Artists in the exhibition who are previous MAN Podcast guests include:  Lauren Halsey; Julie Mehretu: Episode No. 82, No. 255; No. 417; Robert Pruitt; Betye Saar; Lorna Simpson; and  Fred Wilson. Mitchell curated "The Dance of Life: Figure and Imagination in American Art, 1876-1917," which is at the Yale University Art Gallery through January 5, 2025. The exhibition looks at how two generations of post-Civil War artists adopted the human figure as their focus (partly in response to the mass death of the Civil War era). "The Dance of Life" particularly focuses on studies related to artistic commissions for major US public sites such as the Boston Public Library, the Library of Congress, Washington, and the Pennsylvania state capitol in Harrisburg. YUAG published a valuable catalogue It's available from Amazon and Bookshop for $50-60. Instagram: Akili Tommasino, Tyler Green. Air date: December 12, 2024.

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

I'm happy to be back!In this special episode of Day of the Dead

¡Estoy feliz de estar de vuelta!En este episodio especial de Día de Muertos

In this episode, Eric sits down with  actress, filmmaker & artist Angela Robinson Witherspoon. They discuss her early exposure to art and her experience of living in the Netherlands as young girl. How she followed her heart to live a life in the arts. Studying art, taking jobs where she used her artistic abilities, being a model in New York City, to studying acting. How she broke into the industry and has since cultivated such a long-lasting career as an actress in Hollywood! She reflects on her beautiful marriage to the late celebrated comedian John Witherspoon and the life they built together… including their two talented sons, their art collection, owning an art gallery and being patrons of the arts. How she continues to make art herself and has evolved into a filmmaker. They discuss her full-length documentary about artist Betye Saar and her passion to make more films that shed light on African American artists. Her exciting travels, philanthropic initiatives and mission of continuing to honor John Witherspoon's legacy through their foundation..!  Guest Bio: Angela Robinson Witherspoonstarted her acting journey when she was cast in her first speaking role opposite Eddie Murphy in "48 Hours," by producer Joel Silver. Walter Hill was the director and he subsequently cast Angela in another movie, "Crossroads", opposite Ralph Macchio. In 1983, she traveled to Cuernavaca, Mexico where she spent five weeks filming "Jungle Warriors" for German director, Ernst R. Von Theumer. She did all her own stunts and had the pleasure of working with Dennis Hopper and firing an AK-47.In 1985, she traveled to the Cannes Film Festival and had dinner with director Howard Avedis, who later cast her in "Kidnapped," a Warner Bros. film starring David Naughton, where she would meet her future husband, John Witherspoon. Angela continued to work in film and television in "Ugly Betty", "Joan of Arcadia", "Soul Plane", "The Wayans Bros.", "L.A. Law", "Criminal Minds," "My Crazy Ex-Girlfriend," "Black Jesus," and a starring role in "The Moment After."She later married legendary comedic actor John Witherspoon on June 27, 1988 and they had two children together. Her husband passed away on October 29, 2019, aged 77.In 2013, she directed her first short film, "Last Call". Soon after, she produced and directed a short documentary on artist Betye Saar. She then wrote and directed the short silent film "Sunset & Neverland." She also produced and directed "Wish Me Luck." Angela's first documentary was well received in 2017. In 2021, she looks forward to releasing a full-length documentary about artist Betye Saar, which she is producing and directing. She is currently working with young talent such as Juhahn Jones, Maia Modeste and director Abdul Malik Abbott. Angela is a dynamic force and devoted patron of the arts and supporters of artists through The Angela and John Witherspoon Family Foundation; who's mission is to help artist's in their time of need. About Eric's Perspective: A podcast series on African American art with Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.comLISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This Episode, Emily chats with Los Angeles based sculptor & printmaker, Alison Saar. She was visiting the Bay Area recently working with Arion Press on their recent production of Octavia Butler's Kindred. They dive Alison's artistic journey, influences, and her recent project illustrating Octavia Butler's 'Kindred' for Arian Press. Alison reflects on her upbringing in a creatively rich environment, heavily influenced by her artist parents, Betty and Richard Saar. She discusses her techniques, particularly her affinity for woodcuts and linoleum blocks, and the importance of texture in her work. The conversation also touches on Saar's interest in African and Indigenous art, her spiritual connections, and significant influences such as Elizabeth Catlett. The episode concludes with insights into Saar's favorite creatively inspiring places in Los Angeles and her experience of continuously making art from a young age.About Artist Alison Saar:Alison credits her mother, acclaimed collagist and assemblage artist Betye Saar, with exposing her to metaphysical and spiritual traditions. Assisting her father, Richard Saar, a painter and art conservator, in his restoration shop inspired her learning and curiosity about other cultures.Saar studied studio art and art history at Scripps College in Claremont, California, receiving a BA in art history in 1978. In 1981 she earned her MFA from the Otis Art Institute in Los Angeles. In 1983, Saar became an artist-in-residence at the Studio Museum in Harlem, incorporating found objects from the city environment. Saar completed another residency in Roswell, New Mexico, in 1985, which augmented her urban style with Southwest Native American and Mexican influences.Saar's style encompasses a multitude of personal, artistic, and cultural references that reflect the plurality of her own experiences. Her sculptures, installations, and prints incorporate found objects including rough-hewn wood, old tin ceiling panels, nails, shards of pottery, glass, and urban detritus. The resulting figures and objects become powerful totems exploring issues of gender, race, heritage, and history. Saar's art is included in museums and private collections across the U.S.Visit Alison on the web by CLICKING HERE.   Follow Alison  on Instagram:  @Alison_SaarLearn more about her Kindred project with Arion Press HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Lauren Dozier's cookies are more than just sweet treats. Incorporating influences from fine art, fashion, children's books, and her ancestors, Lauren has delighted her followers and collaborated with the likes of Loeffler Randall and The Six Bells. She takes vintage and coquette aesthetics to a whole new level with her viral quilt cookies, gingham slice-and-bakes, and other confections, and it's not surprising to learn she's inspired by artists including Mary Cassatt, Betye Saar, and Beatrix Potter.Lauren and host Abena Anim-Somuah discuss Lauren's unique baking style, how loving vintage things and antiques as Black women can feel complicated at times, and how virtual interactions can lead to meaningful connections in real life.Don't miss Lauren's voicemail to her future self.More on Lauren: Instagram, SubstackFollow Abena on InstagramCherry Bombe on InstagramFuture Of Food Is You transcripts can be found hereHosted by Abena Anim-SomuahProduced by Kerry Diamond, Catherine Baker, and Elizabeth VogtEdited by Jenna SadhuContent Operations Manager Londyn CrenshawRecorded at CityVox Studios in NYCThe Future Of Food Is You is a production of The Cherry Bombe Podcast Network

I am so excited to say that my guest on the GWA Podcast is one of the most brilliant writers around today, Lauren Elkin! On today's episode we speak about feminist pioneers, Carolee Schneemann and Hannah Wilke!! Elkin is an American in London who has lived and spent extensive time in Paris, Liverpool, Tokyo, Venice and New York – as outlined in one of my favourite of her books, Flaneuse, which sees her trace cities through the eyes and steps of female writers and artists as the feminine “flaneur”, one who walks aimlessly. She is excellent at making her own a term or a trait previously steeped in patriarchal meaning. The author of four books, and the translator of others – including of Simone de Beauvoir's unpublished novel, The Inseparables – Elkin has received numerous awards for her writing. She has been a cultural critic for the likes of the New York Times, Harpers, London Review of Books, TLS, Frieze, and more; holds a PhD in English; an M.Phil in French; and is currently working on biographies on the likes of avant-garde tastemaker Getrude Stein and artist Louise Bourgeois. But! One of the reasons why we are speaking with Elkin today is because she has recently published a fantastic book, Art Monsters, which looks at a variety of female artists – from Elisabeth Vigee Le Brun to Laura Knight; Betye Saar to Carolee Schneemann; Eva Hesse and Hannah Wilke; Kara Walker and Maria Lassnig – who have centred their practice around the body. Exploring those who reacted against patriarchal portrayals and ideas of the body, Art Monsters is a fascinating insight into how women have broken from the historically-weighted past and configured a language using a voice unique to them. LAUREN'S BOOKS: https://www.waterstones.com/book/art-monsters/lauren-elkin/9781784742935 https://www.waterstones.com/book/flaneuse/lauren-elkin/9780099593379 https://www.waterstones.com/book/no-91-92-notes-on-a-parisian-commute/lauren-elkin/9781838014186 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Tomorrow Is The Problem PodcastWelcome to the ICA Miami Podcast. Each season, we'll explore familiar concepts from everyday life that we often take for granted.We'll expand these concepts to understand their critical historical and cultural underpinnings and forever change the way you view them.The Art of RitualSeason 3 focuses on ancestral ritual practices that find resonance in today's art and culture.We explore the practices of artists as they birth new meanings from ancient rituals, linking past, present, and future.Rituals of Transformation: Betye Saar and Black Feminist ArtFrom a young age, Betye Saar collected objects as a form of ritual, to hone their energy and activate their spirit. To protect and potentialize them.Today's episode explores ritual as a methodology for healing and power. From the ritualization of Betye Saar's installation sites to the reclamation of the black body by Krista Franklin we follow, and deconstruct the Brookes Ship.Time stamps[0:00] Young eyes watch as Simon Rodia builds his Watts Towers.[3:10] Sampada Aranke describes The Liberation of Aunt Jemima.[5:49] Black radical aesthetic existed outside the confines of the Black Panthers political Party, and some artists engaged in it have been collecting overdue on their work in the past 15 years.[7:34] The sacred magic of everyday objects as conduits of transformative energy for Saar.[10:26] Stephanie Seidel explains that while remaining political, Saar's work shifts to a more spiritual way of making art.[11:39] House of Fortune Saar brings in aspects of Haïtian Voodoo and so aspects of ritual become part and parcel of her art.[12:35] The ritual: Imprint, Search, Recycle and Transform, and finally, Release.[15:17] The altar — and the invitation to an offering — in The Wings of Morning.[16:50] Krista Franklin speaks of the altar as a tended space, a place of discipline and surrender.[18:08] The ritual aspect of Saar's work — of any art practice — is rightfully formidable, beautiful, troubling even.[19:15] Voyage Whose Chartings are Unlove was to be a thoughtful piece about literacy and the echoes of the middle passage. Krista speaks of the trauma the creation of the piece activated in her and what it became as it took life.[23:04] Art as a ritual for understanding will be a double-edged sword: it can summon terrifying emotions and ancestral communal memories.[24:51] Troubled Waters, the Brookes Slave Ship, and Saar's poetic use of hope to broaden the Black life violence narrative.[28:17] Reclaiming the wholeness of the black body and using the power latent in objects to create healing and understanding through ritual.[31:32] Rituals as an hommage to the past and a projection into the future. [32:48] Episode 3 is next: A Lightning Stroke: The Poetic Vision of Etel Adnan.Contributors + GuestsSampada Aranke / Researcher and Assistant Professor.Stephanie Seidel / Curator at ICA Miami.Krista Franklin / Writer and Contemporary Artist.Donna Honarpisheh / Assistant Curator and Host.Links + LearnICA MIAMIPodflyBetye SaarSimon RodiaBrookes Slave ShipQuotes + Social“It was actually surprising how quickly this kind of offering grew over the course of the exhibition and how many people brought really specific little items that might remind them of people. I saw buttons, little pearls, and cards. And I think that is something Betye encourages and intends in the work.” — Stephanie Seidel“I reassembled the book and I was going to submerge it in the tank of water, thinking very much about the bodies who were thrown overboard on the slave ships.” — Krista Franklin“I feel like this is exactly the poetic kind of mysticism and energy that Saar is working with. How do we think about the violences that form us, that form the experience of everyday life without merely reducing Black life to those violences by suggesting another way, another set of sensations.” — Sampada Aranke

From the late 1960s to mid- 1970s, David Hammons captivated the art world with his body prints, using his naked body as a printing plate in meditations on African-American existence, and later works including a snowball-selling performance in the East Village and sculptures made of hair collected from Harlem barbers — all the while sharply defying establishment categories and rules of commerce. An unconventional chronicle of Hammons's life and work (now 79, he believes “the less they know about me the better”), THE MELT GOES ON FOREVER captures his playful, no-bullshit spirit and conceptual integrity, using archival footage and rare interviews, dynamic animation and sound art, and candid accounts by eminent artists curators and critics (Betye Saar, Suzanne Jackson, Henry Taylor, Lorna Simpson, among others). Hammons's profound critiques of racial and social inequality illuminate and implicate simultaneously. THE MELT GOES ON FOREVER chronicles Hammons' category-defying practice – rooted in a deep critique of American society and the elite art world – is in the words of one art critic “an invitation to confront the fissures between races” as the artist seeks to go beyond the dominant culture and his own to a new one for the 21st century. Co-directors Judd Tully (American Greed: The Art of the Steal, Driven to Abstraction) and Harold Crooks (The Price We Pay, The Corporation) stop by to talk about David Hammons has constantly defied the establishment and remains to this day a subversive voice, evocative, defiant, nuanced and relevant. For more go to: the-melt-goes-on-forever-the-art-times-of-david-hammons Screening at Film Forum in NYC - May 5 - 11

THIS WEEK on the GWA Podcast, we interview the acclaimed novelist, essayist and author of 18 books, SIRI HUSTVEDT! From memoir to poetry, non-fiction to fiction, Hustvedt's writing has touched on the topics of psychoanalysis, philosophy, neuroscience, literature, and art. Long-listed for the Booker Prize and winner of the Los Angeles Times Book Prize for Fiction, Hustvedt's The Blazing World is a provocative novel about an artist, Harriet Burden, who after years of being ignored attempts to reveal the misogyny in art by asking three male friends to exhibit her work under their name. It is of course a triumph, and other bestsellers include What I Loved and The Summer Without Men. Born in Northfield, Minnesota to a Norwegian mother and an American father, and based in NYC since 1978, it wasn't until 1995 that Hustvedt began writing about art. Since then, her art writing oeuvre has expanded enormously with numerous books and essays published to acclaim – which often focus on the fate of female artists in history, the biases of history making, and discuss the likes of Louise Bourgeois, Alice Neel, Adrian Piper, Lee Krasner, Betye Saar, Joan Mitchell, Dora Maar, among others – which I can't wait to get into later on in this episode… Hustvedt's writing is both eye-opening and groundbreaking. She has questioned how we measure greatness, if art has a gender, the effect of art and literature existing in our memory and the future of fiction. She has looked at the masculine traits of the mind and the female traits of emotion, the domestic vs the intellectual, and analysed how historians have not just told the narrative of art, but the narrative of the world. She has asked why absence is so prevalent and explored how women have reconfigured the body after years of what she calls ‘fictive' spaces… I love her writing and it's allowed me to unlock elements (and see things differently) in books, art, and more that exist in my memory. Favourite books include A Woman Looking at Men Looking At Women: Essays on Art, Sex and the Mind and, more recently, Mothers, Fathers and Others – which is part memoir, part psychological study. So I couldn't be more delighted to have her on the podcast today. Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ THIS EPISODE IS GENEROUSLY SUPPORTED BY OCULA: https://ocula.com/

In this episode Cedric and I discuss the power of alchemy and how we as artists can perform visual alchemy within our work. We discuss Cedric's creative process and how he is influenced by graffiti culture and ritual. During our dialogue we talk about our current cultural condition of polarization, and how art and artists alike can help guide us back into a sense of balance. Cedric also shares about his experience with plant medicine and the importance of those experiences in his life. ----------------- http://www.cedricumoja.com/ https://www.instagram.com/umojaizm/?hl=en Cedric Umoja is a Columbia, S.C. based multidisciplinary artist who seeks to enact alchemical change through the use of letter forms, found materials and archetypal totems. Umoja bridges ancient and future in his drawings, paintings, murals, sculptures, film, installation work and performance. His influences include Dondi White, Betye Saar, Max Beckmann, Rammellezee, Sun Ra and Jack Whitten. Umoja attended the Art Institute of Atlanta, he later apprenticed under Yale MFA and veteran fine artist, Tony Cacalano. He gained the gift of Tony's tutelage under Jack Tworkov, one of the founders of the famed New York School. Umoja's work features elements of Post Graffiti, Post Expressionism, Afro-Surrealism, Afrofuturism, Modern art and African art. He has exhibited work in museums and galleries in the South, South East and Mid West regions of the US. Umoia has collaborated with and been commissioned by Cirque Du Soleil, Lu Lu Lemon, The Watering Hole, University of South Carolina, The City of Charleston, Moja Arts festival, Columbia Museum of Art. See More from Martin Benson *To stay up on releases and content surrounding the show check out my instagram *To contribute to the creation of this show, along with access to other exclusive content, consider joining my Patreon! Credits: Big Thanks to Matthew Blankenship of The Sometimes Island for the podcast theme music! --- Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

We've only gone and done a bonus episode! An audio addendum to our LA season this year, The Last Bohemians hopped over to Santa Fé to meet the one and only Julia Cameron. Our series is dedicated to creative women who've lived their lives outside the norm. Julia Cameron has spent hers guiding others, with her world-beating creativity manual The Artist's Way. Very sadly, Julia had just lost her beloved dog when we arrived one afternoon in 2022. But she soldiered on regardless. It's a whistlestop tour through her early days, breaking into the boys club of 1970s journalism alongside Hunter S Thompson, through her wild thirties in Hollywood married to Martin Scorsese, and eventually how she turned her life around by relocating to Georgia O'Keefe country, with its endlessly inspiring dramatic desert landscapes.  In this special episode, we enter Julia's writing room to talk about addiction and recovery, harnessing the creativity spirit, sexism and psychic powers, how she helped to write Taxi Driver, inspiration and motivation, her friendship with Eve Babitz and much more. For more, Julia Cameron's memoir Floor Sample was rereleased in the UK in summer 2022. CREDITS Presenter and Exec Producer: Kate Hutchinson Editor: Georgie Rogers Photography and recording: Anna Kooris With thanks to Anna-Maria Fitzgerald, Nick and Didi at Meow Wolf. The Last Bohemians theme music by Pete Cunningham, Ned Pegler and Caradog Jones. ABOUT THE LAST BOHEMIANS Journalist and broadcaster Kate Hutchinson launched The Last Bohemians in 2019, pairing the audio with stunning portraits by photographer Laura Kelly. It featured 86-year-old Molly Parkin's stories of self-pleasuring, LSD countess Amanda Feilding's trepanning tales and Pamela Des Barres' reflections on supergroupiedom. The series won silver for Best New Podcast at the 2020 British Podcast Awards and was a finalist at the 2021 Audio Production Awards. Season two featured folk legend Judy Collins; British fashion icon Zandra Rhodes, dealing with the aftermath of losing her lover while celebrating 50 years in fashion; anarcho-punk innovator and illustrator Gee Vaucher; and the controversial witch at the heart of the 1970s occult boom, Maxine Sanders. In 2021, The Last Bohemians launched a lockdown special with performance artist Marina Abramović; it returned in 2022 with the UK's greatest living painter, Maggi Hambling, as well as Bowie's former best friend Dana Gillespie and theatre actor Cleo Sylvestre, and launched an LA series, supported by Audio-Technica, and starring Angelyne, Betye Saar, Gloria Hendry and more. thelastbohemians.co.uk patreon.com/thelastbohemians instagram.com/thelastbohemianspod twitter.com/thelastbohospod 

"Joan Didion: What She Means" is an art exhibition now on view at UCLA's Hammer Museum; it renders the great writer's life and work through the creations of nearly 50 artists, including Betye Saar, Felix Gonzalez-Torres, Maren Hassinger, and Ed Ruscha.

A disc of light, an object of worship, a portal in the vault of night. The moon has always opened up infinite fields of perception, and in a new Hammer Museum exhibition, Drawing Down the Moon, curator and scholar Allegra Pesenti enters those many realms. In our wide-ranging conversation with Pesenti, she traces lunar iconography from across centuries and cultures, expressing the moon's many aspects: mythical, magical, theological, scientific. Through her scholarship, we encounter Thessalian witches and modern Wiccans, Victor Hugo and 19th century astronomy, and discuss the work of “making the invisible visible.” 

Our LA series, supported by Audio-Technica, returns this week with a Last Bohemians first: in a very special episode, we speak to three generations of an American artistic dynasty up in the leafy hills of Laurel Canyon: the incredible Betye Saar, her daughter Alison Saar and and granddaughter Maddy Leeser. Betye Saar, 96 (she was 95 at the time of making this podcast), is a revered assemblage, collage and installation artist, known for her use of found objects, and was part of both the Black Arts and feminist art movements in 1960s and 70s California. Her best known works include 1969's Black Girl's Window, which incorporates elements of mysticism and brings to mind the current #BlackGirlMagic movement, and 1972's The Liberation of Aunt Jemima, a piece of art that confronted racist and cultural stereotypes. The latter was so revolutionary, said the Guardian, “that the activist and scholar Angela Davis credited it with launching the Black women's movement.” Betye is currently experiencing something of a renaissance, underlined by recent, pre-pandemic solo shows at MOMA in New York and its LA equivalent, LACMA. She still makes art every day. But, as Harper's Bazaar recently said, her proudest legacy is her family. We sit around the table and share tea and biscuits not only with Betye but with Alison Saar, 66, one of her three daughters, who started out by working with her father, Richard Saar, in his ceramics studio. A breathtaking sculptor whose work spans four decades, Alison's pieces often take the form of female figures. They explore different takes on African-African experiences, and the idea of history repeating, often made in response to events and themes like Hurricane Katrina and the AIDS crisis, the menopause and mythology. And we are also joined by Alison's daughter Maddy Inez Leeser, 28, who makes stunning ceramics inspired by the natural world. The phrase “generational magic” really jumps out during this conversation, as the three women discuss motherhood and creativity, making art out of the everyday, being a mixed race family and the importance of exploring their African-American heritage, and the life and career advice that has been passed down from generation to generation. It was such a privilege to join them one afternoon at Alison's house in LA. We hope you enjoy hearing their gorgeous slice of life among the birdsong and car beeps. CREDITS Presenter/Exec-Producer: Kate Hutchinson Producers: Sue Merlino and Holly Fisher Additional production: Will Horrocks Theme music: Pete Cunningham, Ned Pegler and Caradog Jones With thanks to: The Saar family, Emma Haru, Lisa Jann, Kimberly David, Lauren Graber and Julie at Roberts Projects LA, and Bobby Lee and Ali at Warm Music for generously donating us the track Walking With Trees. ABOUT AUDIO-TECHNICA In 1962, with a vision of producing high-quality audio for everyone, Audio-Technica's founder Hideo Matsushita created the first truly affordable phono cartridge, the AT-1 in Shinjuku, Japan. Since then, Audio-Technica has grown into a world-renowned company devoted to Audio Excellence at every level, expanding the product range to include headphones, microphones and turntables. Audio-Technica's commitment to the user experience and their devotion to high quality design, manufacturing, marketing, and distribution has placed them at the forefront of the industry for the last 60 years. ABOUT THE LAST BOHEMIANS Journalist and broadcaster Kate Hutchinson launched The Last Bohemians in 2019, pairing the audio with stunning portraits by photographer Laura Kelly. It stole hearts with 86-year-old Molly Parkin's stories of self-pleasuring, LSD countess Amanda Feilding's trepanning tales and Pamela Des Barres' reflections on supergroupiedom. It won silver for Best New Podcast at the 2020 British Podcast Awards and was a finalist at the 2021 Audio Production Awards. Series two featured folk legend Judy Collins; British fashion icon Zandra Rhodes, dealing with the aftermath of losing her lover while celebrating 50 years in fashion; anarcho-punk innovator and illustrator Gee Vaucher; and the controversial witch at the heart of the 1970s occult boom, Maxine Sanders. In 2021, The Last Bohemians launched a lockdown special with performance artist Marina Abramović; it returned in 2022 with the UK's greatest living painter, Maggi Hambling, as well as Bowie's former best friend Dana Gillespie and theatre actor Cleo Sylvestre. thelastbohemians.co.uk patreon.com/thelastbohemians instagram.com/thelastbohemianspod twitter.com/thelastbohospod 

The Last Bohemians has gone to LA for a brand new series, supported by Audio-Technica, starting on 6 July and starring LA icon Angelyne, subversive fashion disruptor Michéle Lamy, punk-rock widow Linda Ramone, feminist surrealist Penny Slinger, punk performance artist Johanna Went, artists and sculptors Betye Saar, Alison Saar and Maddy Leeser, cult musician – and LA's first female barber – Lynn Castle and Bond girl Gloria Hendry. Heartbroken and feeling adrift during the pandemic, host and creator Kate Hutchinson decamped to Hollywood in search of the wildest women in the City of Angels to help her get her mojo back. From Sunset Strip sexpots to Downtown artists, she meets a diverse range of incredible women – and one artistic dynasty! – who have lived life on the edge and who, even in their seventies, eighties or even nineties, still refuse to play by the rules. Series four stars: Angelyne, the blonde bombshell who rose to fame in the 1980s when billboards of the then-unknown pin-up started mysteriously appearing around the city and about whom Peacock released a major biopic last month. Michéle Lamy: the subversive French fashion disruptor at the Chateau Marmont on style, inspiration, how she works with her husband Rick Owens and her one-time notorious LA nightspot, Les Deux Cafe. Gloria Hendry: the former Bond girl, blaxploitation-era star and Playboy Bunny talks about being 007's first black love interest, breaking taboos onscreen and paving the way for the Black Panther generation. Linda Ramone: the punk-rock widow shows us around her home, the Linda and Johnny Ramone Ranch, with its themed Elvis and Disney rooms, and discusses love triangles, legacies and the demise of rock'n'roll. Betye Saar, Alison Saar and Maddy Leeser: a joyous encounter with the 95-year-old African-American artist Betye Saar, her artist daughter Alison and grand-daughter Maddy, at home in Laurel Canyon. Lynn Castle: the 83-year-old musician and first lady barber of Los Angeles on cutting Jim Morrison and Neil Young's hair, being Phil Spector's high school sweetheart, her relationship with Elvis, and Nancy Sinatra stealing her style. Johanna Went: the most notorious performance artist on the 80s LA punk scene – and the Lady Gaga that never was – gets frank about the power of ageing. Penny Slinger: the forgotten feminist surrealist and British bohemian – who escaped England for California – explores the divine feminine, exorcisms, making counterculture films in the 1960s and how her work came to define Women's Lib. ABOUT THE LAST BOHEMIANS The Last Bohemians is the vivid, hallucinatory podcast-portrait series started in 2019 by journalist Kate Hutchinson and now in its fourth series. It won silver for Best New Podcast at the 2020 British Podcast Awards and was a finalist at the 2021 Audio Production Awards, stealing hearts with 86-year-old Molly Parkin's stories of self-pleasuring, LSD countess Amanda Feilding's trepanning tales and Pamela Des Barres' reflections on supergroupiedom. If you like what you hear, feel free to support us on Patreon! www.patreon.com/thelastbohemians LINKS www.thelastbohemians.co.uk IG: @thelastbohemianspod; @katehutchinsonpow Twitter: @thelastbohospod; @katehutchinson The Last Bohemians LA team:  Kate Hutchinson (exec producer/host) Holly Fisher (senior producer) Lisa Jeliffe (photographer) Matilda Jenkins (photographer, Michele Lamy),  Sue Merlino (producer) Georgie Rogers (editor)

Think you can't make work unless you have a big palatial studio? Think again! Great art can also be made in kitchens! Here's proof: Ida Appelbroog: Art 21 episode "Power" & Jo Applin essay Martha Rosler: "Semiotics of the Kitchen" Mimi Smith at White Columns in "Gloria" 2002 and at her website: https://mimismith.com/1970.html Betye Saar's "Black Girl's Window" Joseph Cornell's works & The Guardian article Carrie Mae Weems: "Kitchen Table Series" 1990 & National Gallery of Art Lecture Robert Rauschenberg: Combine w/ spoon "Trophy II (for Teeny and Marcel Duchamp)" 1960 & The Guardian article Alice Neel: "Thanksgiving" 1965 Alexander Calder: Cutlery Ann Ryan: Collages I made this ep back all the way back in December 2021 after reading that great Betye Saar quote in the Question of Balance Book...so happy to get a chance to release it finally! ... Please connect with the Peps Pod on Instagram @peptalksforartists. Amy's website: https://www.amytalluto.com/ All licensed music is by Soundstripe --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

In Episode 6, Babette is welcomed into the home of artist Mildred Howard. Twice. Listen to Mildred speak about letting her materials inform her, reflecting light through glass bottles, and giving Black women their flowers. Featured: Elizabeth Catlett, Mildred Howard, Evangeline Montgomery, Betye Saar, and Babette Thomas. Cover art: Evangeline's Garden by Jeanna Penn @jinamae

Today we offer a quote from contemporary artist and Black Arts Movement figure Betye Saar, best known for her assemblage style and her 1972 work The Liberation of Aunt Jemima.To learn more about 95 year-old Southern California native Betye Saar, go to the Museum of Modern Art aka MoMA website, read the 2019 book Betye Saar: Black Girl's Window, order the upcoming June 2022 release Betye Saar: Serious Moonlight, and watch the 2020 CBS Good Morning feature on Saar.More sources:https://www.moma.org/artists/5102https://www.newyorker.com/culture/culture-desk/momas-heady-introduction-to-betye-saar-the-conscience-of-the-art-worldhttps://hammer.ucla.edu/now-dig-this/artists/betye-saarhttps://www.britannica.com/biography/Betye-Saarhttps://www.theguardian.com/society/2021/sep/23/betye-saar-the-brilliant-artist-who-reversed-and-radicalised-racist-stereotypeshttps://youtu.be/T7CFz9xzhIMDaily Drops of Good Black News are based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing and are on Apple, Google Podcasts, RSS.com,Amazon, Spotify or wherever you get your podcasts. Please leave a rating or review, share your favorite episodes, or go old school and tell a friend. For more Good Black News, go to goodblacknews.org or search and follow @goodblacknews anywhere on social.

This week: The Collaboration, a new play dramatising the relationship between Andy Warhol and Jean-Michel Basquiat has opened at the Young Vic theatre in London. It looks at the period between 1983 and 1985 in which they worked together on a group of paintings, many of which were shown to critical derision and commercial failure at the Tony Shafrazi gallery in New York in 1985. Ben Luke talks to the playwright Anthony McCarten and the director Kwame Kwei-Armah about bringing these complex characters to life, and the issues, including race and class, that their relationship brings into focus. In today's New York, a Faith Ringgold retrospective has opened at the New Museum; Ben talks to Massimiliano Gioni, the exhibition's curator, about the astonishing breadth of the now 91-year-old artist's work. And in this episode's Work of the Week, Helen Stoilas is at the Frieze Art Fair in Los Angeles, where she talks to Julie Roberts, the co-founder of the gallery Roberts Projects, about Betye Saar's mural LA Energy—created and quickly destroyed in 1983, and now repainted for Roberts Projects' stand at the fair. See acast.com/privacy for privacy and opt-out information.

Betye Saar (1926-present) continuously creates inventive, thought-provoking, and political pieces of art out of objects that she collects from all over the world. Her work has sparked entire social movements. History classes can get a bad wrap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Sundus Hassan, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, and Ale Tejeda. Special thanks to Shira Atkins.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitterTo take the Womanica listener survey, please visit: https://wondermedianetwork.com/survey 

In this episode, Eric speaks with Robert C. Davidson, Jr; successful entrepreneur, art collector and philanthropist. He and Eric discuss his experience as a young boy; growing up in the Jim Crow era of the 1950s in Memphis, Tennessee and how his parents were both entrepreneurs and great inspirations to him: His mother opened a restaurant for black patrons in 1944 after seeing that African American soldiers had nowhere to eat in public. His father opened the first and only black-owned bank, Tri State Bank. They discuss his education and entrepreneurial journey and how, after investing thirty years in business, he turned his attention to art and philanthropy. Mr. Davidson talks about his and his wife's mission in building their art collection; one which Eric deems as one of the greatest African American art collections in the country! Eric and Mr. Davidson delve into the collection; and take us on a journey where they discuss works by Palmer Hayden, Jacob Lawrence, Charles White, Betye Saar, Joshua Johnson, Elizabeth Catlett and Meta Warrick Fuller while offering valuable insight and expertise on purchasing art and building a collection. For more visit: www.ericsperspective.comGuest Bio: Robert C. Davidson, Jr. formed Surface Protection Industries, Inc. (SPI) in 1978. Under his leadership, SPI became one of the largest African American-owned manufacturing companies in California, ranking in the top 100 on the Black Enterprise list of America's top black-owned industrial/service companies.Davidson has a strong entrepreneurial résumé. In the early 1970s, he headed his own management consulting firm and, prior to that, served as chief executive officer of Avant Garde Enterprises, a Los Angeles-based entertainment holding company.In Boston, Davidson co-founded and served as vice president of the Urban National Corporation, a private venture capital company that was established to increase mainstream industry's investment in minority-controlled businesses. The organization raised $10 million in capital from many Fortune 500 companies.The entrepreneurial spirit of Davidson's career path is also reflected in his commitment to community involvement. He is the Chair of the Board of Directors for the Ray Charles Foundation and currently sits on the Board of Directors for the following organizations: Jacobs Engineering Group, Inc. (NYSE); Broadway Federal Bank (NASDAQ); Cedars-Sinai Hospital Los Angeles; University of Chicago Graduate School of Business Advisory Council; The Huntington; and the Smithsonian American Art Museum. He is also Chairman Emeritus at Morehouse College in Atlanta, Georgia. In 1998, Morehouse College honored Davidson, one of its most distinguished alumni, by naming the President's home and its executive center Davidson House. Davidson was the 1997 recipient of the Ronald H. Brown Award and the 1990 recipient of the Raoul Wallenberg Save the Children Award from the Shaare Zedek Medical Center Jerusalem. He was also named Black Businessman of the Year by the Los Angeles Chapter of the Black MBA Association and Outstanding Entrepreneur of the Year by the National Association of Investment Companies. Davidson earned his Bachelor of Arts degree from Morehouse College and his MBA from the University of Chicago. He is a recipient of an Honorary Doctorate of Laws degree from Morehouse College. In 2007, Davidson received the distinguished Benjamin E. Mays Award, which is named in honor of Morehouse College's famous former President. Davidson and his wife, Faye, are parents of three sons, one of whom is an ArtCenter alumnus. The Davidsons are art collectors and Faye is a member of the Pasadena Art Alliance. Davidson joined the ArtCenter Board of Trustees in 2004 and served as Chair of the Board for five-terms (2010-2020). He is the first African American to serve in this role at ArtCenter, and among the first African Americans to assum

To be charming and leave a comment go here and scroll to bottom of page.To subscribe to the Charmed Studio Blog pop over here.Check out this Charmed Studio Post: Black Artists Matter: 5 Easy Ways to Support Artists of ColorFor a transcript of this podcast episode, or to access images, and resource links go here.Here is the link to Saar's story of her Topsy-inspired series.

1-54 Forum New York 17 May - 2 June 2021 Artist Talk with Timothy Washington Join artist Timothy Washington and curator Kilolo Luckett as they discuss Washington's recent work and practice for his solo exhibition, INDUCTION & SUSPICION, currently on view at Duane Thomas Gallery. Alongside they will also be discussing Washington's life and work in ‘60s and ‘70s Los Angeles as a central figure in the Black Arts Movement that comprised of artists such as Charles White, David Hammons, Betye Saar, Noah Purifoy, John Outterbridge, and Senga Nengudi, amongst others. www.1-54.com

Welchen Eindruck Mozart auf neue Werke junger Musikerinnen und Musiker macht, erkundet Komponistin Isabel Mundry in einer Werkstatt beim 100. Mozartfest Würzburg. Außerdem: Justin Sullivan und sein Solo-Album "Surrounded". Ein Nachruf auf den israelischen Bildhauer Dani Karavan. Und ein Porträt der US-amerikanischen Collage-Künstlerin Betye Saar.

Welchen Eindruck Mozart auf neue Werke junger Musikerinnen und Musiker macht, erkundet Komponistin Isabel Mundry in einer Werkstatt beim 100. Mozartfest Würzburg. Außerdem: Justin Sullivan und sein Solo-Album "Surrounded". Ein Nachruf auf den israelischen Bildhauer Dani Karavan. Und ein Porträt der US-amerikanischen Collage-Künstlerin Betye Saar

In this week's missive from the Fortress of Proopitude, Greg and Jennifer banter about Bob Dylan, Bettye Lavette and Betye Saar. See omnystudio.com/listener for privacy information.

Composer, pianist, and Associate Artistic Director and cofounder of Castle of Our Skins (COOS), Anthony R. Green shares his interest in visual art, in particular the contemporary art of René Magritte, Carrie Mae Weems, Betye Saar, Helina Metaferia, Duro Olowu, Jean-Michel Basquiat, Ren Hang, El Anatsui, and Piet Mondriaan. Follow Anthony at www.anthonyrgreen.com; Instagram @piargno84 www.vimeo.com/456644665 Castle of Our Skins: www.castleskins.org; Instagram @castleskins Support this podcast at www.patreon.com/haydnmusicstand and visit our social media pages @haydnmusicstand. Spotify Playlist: https://open.spotify.com/playlist/1iFJSHos3tN6kQid0BRqiN?si=bwOA9EynTJic7zBk0xDp6A --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/haydnmusicstand/support

Betye Saar has been practicing her rituals for decades, resulting in assemblages that create powerful political and cultural statements, made up of antiques, memorabilia and objects forgotten by society – in particular, the kinds of objects that polite society wishes had never existed. *** Kunst Please is a micro-dose of modern art history. The series seeks to explore the more unexpected side of modern art, featuring stories of the famous and the infamous, the weird and the wonderful, the unheard, the cult, the criminally overlooked and the criminally insane. Created and produced by Jonathan Heath. Follow the gallery space on Instagram @kunstplease

> Sonya Clark: Monumental, The Cloth We Should Know (FWS Philly, 2019)> Follow Fran Meneses on Instagram, Twitter, and Youtube @frannerd. Also please consider supporting her via her Patreon or her ethical stationery and apparel shop @wearenicehumans*Note: Fran is a Chilean illustrator now based out of NYC, not Brazilian as mentioned. Sorry! - Shelby> Jean Michel Basquiat, Haitian-Puerto Rican American Artist (1960-1988)> Frida Khalo, Disabled, Bi, and Mexican Painter (1907-1954)> Cauleen Smith: Give It or Leave It (ICA Philly, 2018)> Bill Traylor, Self-taught African American Artist (1854-1949)> Cy Twombly, American Painter, Sculptor, and Photographer (1928-2011)> Follow Ravi Amar Zupa, on Instagram and Twitter @raviamarzupa. Also please consider supporting him via his print shop.> Pieter Bruegel the Elder, Dutch-Flemish Ren. Painter (ca. 1525–1569)> Albrecht Dürer, German Painter, Printmaker and Theorist (1471–1528)> Betye Saar, African American Visual Storyteller, Printmaker and Assemblage Artist (1926-)*Note: Saar's daughter Alison Saar (1956-) is also a sulptor, mixed-media and instalation artist. - Shelby> Marcel Duchamp, French-American Painter and Sculptor (1887-1968)> Salvador Dali, Spanish Surrealist Artist (1904-1989)> Watch Abstract: The Art of Design (2017) on Netflix

At UNTITLED, ART San Francisco, Leigh Raiford, Associate Professor of African American Studies at the University of California, Berkeley, conversed with gallerist Michael Rosenfeld to discuss Michael Rosenfeld Gallery's curated presentation of artists exhibited in "Soul of a Nation: Art in the Age of Black Power 1963–1983." The gallery's booth presentation at UNTITLED, ART San Francisco will included works by such seminal artists as Frank Bowling, Ed Clark, Sam Gilliam, Jacob Lawrence, Norman Lewis, Betye Saar, and William T. Williams, among others. The conversation ranges in topics, from the prominence of abstraction in Soul of a Nation, the place of Africa in African American art, and the gallery's long history exhibiting Black artists as well as the "discovery" of many older Black artists in today's contemporary artworld. James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, moderated the conversation.

Recorded April 29, 2019 "Soul of a Nation: Art in the Age of Black Power shines a bright light on the vital contribution Black artists made over two revolutionary decades in American history, beginning in 1963 at the height of the civil rights movement. The exhibition examines the influences, from the civil rights and Black Power movements to Minimalism and developments in abstraction, on artists such as Romare Bearden, Barkley Hendricks, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams. Los Angeles-based artists appear throughout Soul of a Nation, and more deeply in three specific galleries, foregrounding the significant role of Los Angeles in the art and history of the civil rights movement and the subsequent activist era, and the critical influence and sustained originality of the city's artists, many of whom have lacked wider recognition. Featuring the work of more than 60 influential artists and including vibrant paintings, powerful sculptures, street photography, murals, and more, this landmark exhibition is a rare opportunity to see era-defining artworks that changed the face of art in America." - The Broad “So what's is the next step after Soul of a Nation? Is this the beginning of the retrospective for black art movements? Soul of a Nation: Art in the Age of Black Power 1963-1983 was a great insight into the artistic movements that existed during the Black Power era and serves as a visual history. Are era-based retrospectives the best way to understand the African-American contribution to the global art world? As I write this essay I think of what I've learned just by observation. The research of artworks allowed me to understand the artists' backgrounds, their materials, and how their use of them helped to change and develop the practice of artmaking. An excerpt from my research and review essay on Soul of A Nation: Art in the Age of Black Power, 1963-1983 at The Broad Museum.