Podcasts about Black Mountain College

Undeclared: A Philosophy of Formative Higher Education (MIT Press, 2024) is an imaginative tour of the contemporary university as it could be: a place to discover self-knowledge, meaning, and purpose. What if college were not just a means of acquiring credentials, but a place to pursue our formation as whole persons striving to lead lives of meaning and purpose? In Undeclared, Chris Higgins confronts the contemporary university in a bid to reclaim a formative mission for higher education. In a series of searching essays and pointed interludes, Higgins challenges us to acknowledge how far our practices have drifted from our ideals, asking: What would it look like to build a college from the ground up to support self-discovery and personal integration? What does it mean to be a public university, and are there any left? How can the humanities help the job-ified university begin to take vocation seriously? Cutting through the underbrush of received ideas, Higgins follows the insight where it leads, clearing a path from the corporate multiversity to the renaissance in higher education that was Black Mountain College and back again. Along the way, we tour a campus bent on becoming a shopping mall, accompany John Dewey through a midlife crisis, and witness the first "happening.” Through diverse and grounded philosophical engagements, Undeclared assembles the resources to expand the contemporary educational imagination. Chris Higgins is Associate Professor and Chair in the Department of Formative Education in Boston College's Lynch School of Education and Human Development, where he directs the Transformative Educational Studies program. He is the author of The Good Life of Teaching. The book is available Open Access here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Undeclared: A Philosophy of Formative Higher Education (MIT Press, 2024) is an imaginative tour of the contemporary university as it could be: a place to discover self-knowledge, meaning, and purpose. What if college were not just a means of acquiring credentials, but a place to pursue our formation as whole persons striving to lead lives of meaning and purpose? In Undeclared, Chris Higgins confronts the contemporary university in a bid to reclaim a formative mission for higher education. In a series of searching essays and pointed interludes, Higgins challenges us to acknowledge how far our practices have drifted from our ideals, asking: What would it look like to build a college from the ground up to support self-discovery and personal integration? What does it mean to be a public university, and are there any left? How can the humanities help the job-ified university begin to take vocation seriously? Cutting through the underbrush of received ideas, Higgins follows the insight where it leads, clearing a path from the corporate multiversity to the renaissance in higher education that was Black Mountain College and back again. Along the way, we tour a campus bent on becoming a shopping mall, accompany John Dewey through a midlife crisis, and witness the first "happening.” Through diverse and grounded philosophical engagements, Undeclared assembles the resources to expand the contemporary educational imagination. Chris Higgins is Associate Professor and Chair in the Department of Formative Education in Boston College's Lynch School of Education and Human Development, where he directs the Transformative Educational Studies program. He is the author of The Good Life of Teaching. The book is available Open Access here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Undeclared: A Philosophy of Formative Higher Education (MIT Press, 2024) is an imaginative tour of the contemporary university as it could be: a place to discover self-knowledge, meaning, and purpose. What if college were not just a means of acquiring credentials, but a place to pursue our formation as whole persons striving to lead lives of meaning and purpose? In Undeclared, Chris Higgins confronts the contemporary university in a bid to reclaim a formative mission for higher education. In a series of searching essays and pointed interludes, Higgins challenges us to acknowledge how far our practices have drifted from our ideals, asking: What would it look like to build a college from the ground up to support self-discovery and personal integration? What does it mean to be a public university, and are there any left? How can the humanities help the job-ified university begin to take vocation seriously? Cutting through the underbrush of received ideas, Higgins follows the insight where it leads, clearing a path from the corporate multiversity to the renaissance in higher education that was Black Mountain College and back again. Along the way, we tour a campus bent on becoming a shopping mall, accompany John Dewey through a midlife crisis, and witness the first "happening.” Through diverse and grounded philosophical engagements, Undeclared assembles the resources to expand the contemporary educational imagination. Chris Higgins is Associate Professor and Chair in the Department of Formative Education in Boston College's Lynch School of Education and Human Development, where he directs the Transformative Educational Studies program. He is the author of The Good Life of Teaching. The book is available Open Access here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

Undeclared: A Philosophy of Formative Higher Education (MIT Press, 2024) is an imaginative tour of the contemporary university as it could be: a place to discover self-knowledge, meaning, and purpose. What if college were not just a means of acquiring credentials, but a place to pursue our formation as whole persons striving to lead lives of meaning and purpose? In Undeclared, Chris Higgins confronts the contemporary university in a bid to reclaim a formative mission for higher education. In a series of searching essays and pointed interludes, Higgins challenges us to acknowledge how far our practices have drifted from our ideals, asking: What would it look like to build a college from the ground up to support self-discovery and personal integration? What does it mean to be a public university, and are there any left? How can the humanities help the job-ified university begin to take vocation seriously? Cutting through the underbrush of received ideas, Higgins follows the insight where it leads, clearing a path from the corporate multiversity to the renaissance in higher education that was Black Mountain College and back again. Along the way, we tour a campus bent on becoming a shopping mall, accompany John Dewey through a midlife crisis, and witness the first "happening.” Through diverse and grounded philosophical engagements, Undeclared assembles the resources to expand the contemporary educational imagination. Chris Higgins is Associate Professor and Chair in the Department of Formative Education in Boston College's Lynch School of Education and Human Development, where he directs the Transformative Educational Studies program. He is the author of The Good Life of Teaching. The book is available Open Access here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Undeclared: A Philosophy of Formative Higher Education (MIT Press, 2024) is an imaginative tour of the contemporary university as it could be: a place to discover self-knowledge, meaning, and purpose. What if college were not just a means of acquiring credentials, but a place to pursue our formation as whole persons striving to lead lives of meaning and purpose? In Undeclared, Chris Higgins confronts the contemporary university in a bid to reclaim a formative mission for higher education. In a series of searching essays and pointed interludes, Higgins challenges us to acknowledge how far our practices have drifted from our ideals, asking: What would it look like to build a college from the ground up to support self-discovery and personal integration? What does it mean to be a public university, and are there any left? How can the humanities help the job-ified university begin to take vocation seriously? Cutting through the underbrush of received ideas, Higgins follows the insight where it leads, clearing a path from the corporate multiversity to the renaissance in higher education that was Black Mountain College and back again. Along the way, we tour a campus bent on becoming a shopping mall, accompany John Dewey through a midlife crisis, and witness the first "happening.” Through diverse and grounded philosophical engagements, Undeclared assembles the resources to expand the contemporary educational imagination. Chris Higgins is Associate Professor and Chair in the Department of Formative Education in Boston College's Lynch School of Education and Human Development, where he directs the Transformative Educational Studies program. He is the author of The Good Life of Teaching. The book is available Open Access here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Taher Asad Bakhtiari (Iranian, b. 1982)  Tribal Weave Project offers a contemporary distillation of the kilim flatweaves and densely-knotted gabbeh rugs that have long defined Iran's cultural traditions. Asad-Bakhtiari's tapestries are often built around large-scale triangular patterning and crossed by striated bars and lines—minimalist forms which interrupt the logic of warp and weft with jagged diagonals and vivid abstractions. They recall shimmering landforms, lines of motion, and the iconography of nomadic handicrafts, while also nodding to the simple geometries of mid-century avant-garde design and craft movement like those at Black Mountain College. Woven from hand-spun and naturally-dyed wool with the occasional inclusion of contemporary materials, these lace-like works seek to spur new creative wrinkles within a craft tradition dating back centuries. While Asad-Bakhtiari's textiles honor his namesake heritage in the nomadic Bakhtiari Lur tribe and are realized in concert with today's artisan weavers, he is especially noted for his innovations in fiber techniques and weaving methods. Many of his tapestries seem to breathe of their own accord, composed of airy weaves with almost translucent sections of exposed warps. Rippling and glimmering as light and air pass through their open network of threads, they uncover patterns within the fundamental crossbeams of the weaving process, making use of the empty space between the overlay of threads. Combining exposed warps, lace weaves, flatweaves, and dense pile carpet techniques, Asad-Bakhtiari composes tapestries that are at once formally straightforward, yet elegantly layered, graphic, and evocative. Asad-Bakhtiari is a self-taught artist whose practice revolves around three-dimensional objects, textiles, and experiences. His work is known for raising questions around utility within the trajectories of traditional artisan handcrafts. In addition to his Tribal Weaves, his resin-glazed series of Reclaimed Barrels transforms the ubiquitous aluminum oil barrel found around Tehran's construction sites into functional works of art. Asad-Bakhtiari studied in Canada and Switzerland and resides between Tehran, Dubai, and New York. TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 118" L x 98.5” W TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 94.5" L x 66.25 “ W TAHER ASAD-BAKHTIARI, Tribal Weave, 2024, Gabbeh woven wool with exposed warp 86.5" L x 59” W

Let's take a deep dive into the magic of music, culture, and connection as we travel back to 1995 and the origin story of LEAF Global Arts, a transformative organization with a mission as bold as it is beautiful. From preserving cultural traditions to fostering global understanding through music, arts education, and immersive experiences, LEAF Global Arts has been creating unforgettable moments for nearly three decades.Jennifer Pickering, Co-Executive Director and Founder, and Leigh Maher, her partner in life and leadership, COO and Lake Eden Retreat General Manager, share their incredible journey of co-creating over 50 awe-inspiring festivals and countless global adventures. Along the way, they've built not only a legacy of creativity and resilience but also a vibrant community united by the universal language of art.With stories that span the globe, LEAF Global Arts proves that music and art are powerful bridges between people, sparking joy and understanding. This is a celebration of a movement that stitches together lives with the threads of connection, curiosity, and a shared humanity.So tune in and get ready for a whirlwind of inspiration, profound impact, and playful joy. Let's celebrate the magic of LEAF Global Arts and the infinite possibilities that unfold when people come together to create, share, and thrive!Thanks for listening to Speaking of Travel! Visit speakingoftravel.net for travel tips, travel stories, and ways you can become a more savvy traveler.

Send us a textEver wondered how the battle between good and evil can be expressed through art? Join us as acclaimed artist Apoc unveils the secrets behind his transformative project "Influx," comprising 333 unique pieces exploring this timeless theme. Apoc's journey is a testament to the power of personal identity and authenticity in art, inspired by his culturally rich upbringing in Texas and a 15-year career as a creativity expert. Through photography, painting, digital art, and music, he illustrates how artists can connect with their heart, mind, and soul to create meaningful work that resonates universally.Listeners are promised a comprehensive look at the dynamic Web3 space, teeming with youthful energy and creativity. As Apoc shares his vision for the future, he highlights the potential of NFTs and crypto art to foster a mature dialogue addressing global challenges. We delve into tales of artistic risk-taking, revealing the importance of balancing artistic vision with market expectations while maintaining a low supply of art editions to enhance value. Personal anecdotes add depth to the narrative, encouraging listeners to embrace their creative aspirations and seize opportunities without delay.Social media strategies for artistic growth also come into focus, as Apoc discusses how artists can expand their personal brand and connect with wider audiences. The conversation touches on upcoming art events in Miami and Marfa, where more relaxed atmospheres might offer the chance to form meaningful connections. We also explore Apoc's aspirations to establish a new kind of art school inspired by Black Mountain College, aiming to cultivate creativity across disciplines and inspire future generations. As we wrap up, the importance of community and the role of supporters in spreading the word about artistic work shine through, underlining the value of friendship and shared journeys in this creative endeavor.https://x.com/apocalypticformhttps://linktr.ee/apocalypseartSupport the show

89 year-old Basil King has known and worked with some of the greatest names in American art. In this episode, he talks about his life in the east end of London before his family emigrated to the US when he was 11, enrolling at the legendary Black Mountain College as a teenager, meeting Elaine and... Continue Reading →

Anni Albers' pioneering journey in elevating textiles to fine art is discussed with guest Marian Bantjes, renowned for her intricate, ornamental designs that blend typography, art, and personal storytelling._______This show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay Sources:1968 Interview with Anni Albers — conducted 1968 July 5, by Sevim Fesci, for the Archives of American ArtBook — On Weaving by Anni Albers – A seminal work where Anni reflects on her life, her craft, and the philosophies behind her approach to weaving.Book — Anni and Josef Albers: Equal and Unequal by Nicholas Fox Weber – A comprehensive biography that delves deep into Albers' life and work, offering insights into her creative process and legacy.Book — Anni and Josef Albers: Art and Life by Julia Garimorth, Vincent Broqua, and Brenda DanilowitzVideo — "Bauhaus: The Face of the 20th Century" (1994) – A BBC documentary that covers the history of the Bauhaus, including interviews and insights into Anni Albers' role within the movement.Video — "Black Mountain College” Visionaries Episode – This documentary explores the experimental college where Anni and Josef Albers taught, emphasizing its influence on modern art and design.The Josef & Anni Albers Foundation – https://albersfoundation.org/ – The official website of the Albers Foundation, featuring extensive information on her life, work, and exhibitions.MoMA Learning: Anni Albers – https://www.moma.org/learn/moma_learning/anni-albers/  – A resource that provides an educational overview of Anni Albers' work within the context of modern art. About Anni AlbersAnni Albers is widely considered to be the foremost textile designer of the 20th century. She made major innovations in the field of functional materials and at the same time she expanded the possibilities of single weavings and individual artworks. She was also an adventurous graphic artist who took printmaking technique into previously uncharted territory.Not only was she a pioneering textile artist, and printmaker, but she was an educator whose work redefined the boundaries between craft and fine art. She may arguably be THE person responsible for helping the masses see textile as art, not just craft. She studied at the Bauhaus, taught at Black Mountain College in North Carolina, where she continued to push the limits of weaving, experimenting with unconventional materials and techniques. Her book On Weaving (1965) remains a seminal text in textile design. About Marian BantjesMarian's Books:I WonderPretty PicturesMarian Bantjes (b. 1963) @bantjes is a Canadian graphic artist who is known for her signature maximalist style. Her intricate ornamentation creates texture and illusion, and challenges the minimalist boundaries of traditional graphic design.Her clients include Pentagram, Saks Fifth Avenue, Print Magazine, Wallpaper* , WIRED, Creative Review, The Guardian (UK), The New York Times, AIGA, TypeCon, and more.Her career spans 3 stages: she started in the 80s as a book typesetter for a publishing company and then from there she became partner at a small design firm in Canada, working on brand identity and communication designs.In 2003 Marian decided to embark on the work that has brought her international recognition and fame as a world-class visual designerHer work has an underlying structure that frames its fluid nature and she has an impressive way of interweaving word and image.She says "throwing your individuality into a project is heresy" but she has built a career doing just that, as her signature style is unmistakable. In 2007 she released Restraint, a typeface that integrates her style of ornamentation to be used as shapes and borders.Marian has been honored with several awards over the years and her work is now part of the permanent collection at the Cooper-Hewitt National Design Museum. ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Art, technology and artificial intelligence working together! For more than a decade at the Serpentine Galleries in London. Join us for a conversation with Hans Ulrich Obrist, the Artistic Director of the Serpentine Galleries in London, curator, writer and sought-after speaker at academic and art institutions worldwide. With a portfolio that includes hundreds of curated exhibitions and countless interviews, Hans Ulrich is arguably the driving force in shaping the contemporary art landscape.In our conversation, we delve into the Serpentine Galleries' innovative approach to embracing technology and AI, and explore how art intersects with these emerging fields. We also explore the symbiotic relationship between artists and the corporate world, discussing the crucial role that creatives play in shaping the vision of businesses and boards. Hans Ulrich emphasises the importance of using technology responsibly and creating new alliances between art institutions, universities, and other sectors. He also talks about the role of artists in subverting the intended use of technology and creating space and agency for people. He highlights the need for togetherness and interdisciplinary collaboration in addressing the challenges of the 21st century. Join us as we embark on a journey of exploration and imagination with Hans Ulrich Obrist, unravelling the opportunities and challenges that connect art, technology and the future.Fore more information please visit cultureshifts.net and follow us on Instagram & LinkedIn.

Despite its short lifespan, Black Mountain College (BMC) left a lasting legacy as an influential pioneering arts institution that challenged traditional academic structures and fostered a unique community of creative thinkers. Founded in 1933 just 20 minutes outside of Asheville, NC, the college emphasized holistic learning and the study of art as central tenets of its educational philosophy. While BMC closed in 1957 due to funding issues, many of its faculty and students were or would become influential in the arts, including Josef and Anni Albers, Elaine and Willem de Kooning, John Cage, Ray Johnson, Robert Motherwell, Robert Rauschenberg, and Cy Twombly. In today's special crossover episode from our friends at ArtsvilleUSA, we welcome Kate Averett Anderson, a writer, curator, staff historian, project coordinator, and board member at the Black Mountain College Museum + Arts Center (BMCM+AC). The museum works to preserve the legacy of educational and artistic innovation of BMC through exhibitions, conservation, educational events, and public programs. “It's not about having a gallery space where you walk in and you go, ‘Here is the history of Black Mountain College from beginning to end,” says Kate. “You can come in and have hands-on experiences with different exhibitions that tell a lot of different stories.”In this episode, you'll discover the fascinating connections between BMC and the iconic Bauhaus movement, relive the vibrant atmosphere of the college's legendary parties, and uncover the pivotal role of the BMCM+AC in keeping BMC's spirit alive. From exploring historical parallels to celebrating the creative freedom that BMC championed, this episode offers valuable insight into the birthplace of the American avant-garde. “[Black Mountain College] was a haven for a lot of people,” says Kate. “It was a place where a lot of people had the freedom and ability to explore different elements of their identity.” Key Points From This Episode:An introduction to Kate, her career journey, and her role at BMCM+AC.The origin story of BMC (which starts with a scandal, like all good stories do).Insight into founder John A. Rice's educational philosophy on hands-on learning.Nazis, the final days of the Bauhaus, and how Josef and Anni Albers found BMC.Influential figures that attended BMC and the relationships that developed between them.The legendary parties that were thrown at BMC; such as Jean Verda's Greek party.An overview of the communal, democratic, non-hierarchical structure at BMC.How a young Robert Rauschenberg was profoundly influenced by his time at BMC.Some of the many famous student revolts at BMC; including one known as The Split.Cultural and political shifts that impacted the college in the late 1950s.The important role that BMCM+AC plays in keeping the BMC legacy alive.How the BMCM+AC differentiates itself from the typical stagnant museum institution.Different stories that BMCM+AC hopes to tell about BMC, not just its history.Looking to the future in the ReVIEWING Black Mountain College conference.Reflecting on the history of identity intersection and racial integration at BMC.A closing anecdote about Harriet Sohmers Zwerling and sexual liberation at BMC.For more information, please visit http://notrealart.com/black-mountain-college

Seventy years ago, Black Mountain College was a petri dish for experimental art, sound and performance. It was also the birthplace of so-called “happenings”—events where practitioners strived to transcend the bounds of existence and expression.Today, the Black Mountain College Museum and Arts Center throws an annual “(Re)Happening.” The 12th (Re)Happening is April 20. Artists who embody the ethos of old are descending on the former college campus at Lake Eden for a day and night of hard-to-define experiences.Today, we preview (Re)Happening with separate conversations with two Asheville artists—Claire Elizabeth Barratt and Madalyn Wofford, a founder of a Swannanoa-centered creative collective Swannatopia. We'll talk about what they're bringing to Lake Eden for (Re)Happening and how they've built lives and communities in the arts.SPONSOR: Greenland Pro Cleaning is a locally owned, eco-friendly, allergy-friendly cleaning company for homes, AirBnBs and offices. Use the code OVERLOOK at checkout for $60 off your first order with Greenland Pro Cleaning of Asheville. SPONSOR: Locally owned REM Audio & Video offers an array of sound, video, lighting, security and network services for any home. SPONSOR: Adlib Clothing in downtown Asheville celebrates its 35th year all throughout April. Drop by and tell founding owner Anna Sagel you learned about her milestone on The Overlook podcast. Support The Overlook by joining our Patreon campaign!Advertise your event on The Overlook.Instagram: AVLoverlook | Facebook: AVLoverlook | Twitter: AVLoverlookListen and Subscribe: All episodes of The OverlookThe Overlook theme song, "Maker's Song," comes courtesy of the Asheville band The Resonant Rogues.Podcast Asheville © 2023

A conversation with Michael Beggs and Julie Thomson.

I realise now that episode 1 of season 1 also started with the institution of ‘school' in some ways , but oh well, at least I'm consistent!  Ep 1 is talking about craft schools, mainly, but also what it means to have a craft education. What's it for? What has it missed out? What does it promise? In the US, many of craft schools were made possible through the GI Bill, a state fund from the mid 40s that supported initiatives and education for returning veterans. Seems kind of unlikely in our current climate, but much of this government money was funnelled into craft and art education. A well known beneficiary might be Black Mountain College. Other schools like Penland School of Craft, and Worcester Craft Center began life as schools for European colonial-settler women to learn and perpetuate handcrafts to make a living. Both of these origins struck me as interesting, as, whilst we're obviously acknowledging the whiteness and colonialism that is inherent to this narrative, the schools were arguably set up with a social directive. The looming beast of capitalism means that the utopian promise of craft suggested by the likes of William Morris, Bernard Leach, or – in this episode –  MC Richards, doesn't really operate that way, but I loved this idea. That if we look at the underpinnings of what craft education can offer us, and how it's operated in society, it offers us a way of being in the world that centres: people, environment, community, and not: profit, extraction and indoctrination into a failed state. Anyone interested….?Contributors:Michelle Millar Fisher https://michellemillarfisher.com/Tom O'Malley, director Worcester Craft Centre https://worcestercraftcenter.org/Sara Clugage https://dilettantearmy.com/Fabio Fernandez, director Greenwich House Pottery https://www.greenwichhouse.org/pottery/Clay Commons was written and produced by Eva Masterman, editing supported by Travis Roush. This podcast was supported by Newcastle University, and the Northern Bridge AHRC Consortium. Artwork created by Kelly Jade Audio credits:-       "Ambience, Children Playing, Distant, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org-       "Ambience, Seaside Waves, Close, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org

Artistic education takes many shapes, as artists pass down skills and traditions to see them transformed by new hands. In this episode, hear how the classroom shaped artists, both as learners and teachers. Stories include Anni Albers's descriptions of lessons with Paul Klee at the Bauhaus and her own teaching at Black Mountain College, Carmen Lomas Garza on the activism that shaped her time as a student teacher, and Lee Krasner's memorable training moments along her artistic journey among others. Show Notes and Transcript available at www.aaa.si.edu/articulated

Dave Spanbock has been both an artist and gallerist in his extensive career, mostly as an abstract artist, drawing geometrical shapes, mostly squares, freehand and experimenting with colors and the moods and emotion they evoke. On a walk along Ojai Avenue, going past the derelict hulk of what was once the flourishing community that was the bowling alley, he had an inspiration that Ojai, for all its incredible natural beauty, lacks an inside perspective equal to its exterior. We talk about how it might look to have a museum and arts center in Ojai, one more aligned with modern art movements and artists, residency programs, internships, master classes, visiting scholars and much more. Spending decades in Los Angeles, he's seen how a museum or exhibit space can transform a neighborhood. In Ojai, such a place could potentially transform the region. Spanbock has lived in and amid art most of his life, growing up in New Jersey, moving to Santa Barbara for college, where he moved from fine arts photography and writing into abstract painting. He was mentored by several prominent artists and teachers in college, influenced by the Black Mountain College model, in which all disciplines of art are integrated into a fluid whole (listen to Episode 103 with the American Modern Opera Company for more insight on Black Mountain College's outsize influence on modern culture). Spanbock is known for his "365 Day Project" in which he painted a self portrait every day for a year. At first it was a discipline, but it revealed greater connections between the brain, identity and how they flow through the brush. We talked about various arts movements, personalities like Warhol and gallerist Larry Gagosian and Ojai's potential as a modern-day Athens. Dave's fascinating development of an artist, his influences and the history of paints and pigments. We did not talk about the Såmi people of Finland, the McCloud River strain of rainbow trout or the provenance of the mud which umpires use to treat baseballs.

Asheville, North Carolina, Haunted Asheville, Cherokee, Scots- Irish, fairies/little people, underground civilizations, drum circles, quartz deposits, Somerset, Kentucky, Penny Royal, the relationship between quartz & high weirdness, the Vanderbilt family, New York blue bloods & Asheville, William Dudley Pelley, Silver Shirts, Soulcraft, Pelley's headquarters & publisher at Asheville, Theosophy, Sirius, the Business Plot, the Vanderbilt family's role in the Business Plot, Asheville's castles, Seely's Castle, Pentecostals, the Zealandia, Helen's Bridge, the Biltmore, the "Halloween Room," séances, Black Mountain College, Roy Johnson, Buckminster Fuller, surrealism, Asheville's art/New Age scene, Asheville's underground tunnels, Asheville's fairy houses, Buncombe County Jail cryptid, the Asheville imp, Satanic cults, rumors of Asheville cults, cults at Seely's Castle & Biltmore, cult activity in Asheville, White Wolf, Vampire: The Masquerade, Kentucky vampire cult, Rod Ferrell, vampire LARPingAfter 1st musical break (5:10): Asheville's original inhabitants, drum circles, quartz deposits. It's links to William Dudley Pelley and the Business Plot eraAfter 2nd musical break (45:15): the castles of Asheville: Seely's, Zealandia & Biltmore + Black Mountain College and the city's underground tunnelsAfter 3rd musical break (1:16:35): Asheville's cryptids & cults + Tadd's time working for White Wolf when the Kentucky vampire cult struck (the Rod Ferrell murders)Music by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music: "Even the Dead Shall Sing Again" by Stone Breathhttps://stonebreath.bandcamp.com/album/the-shepherdess-and-the-bone-white-bird Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

I'm in Asheville NC this weekend and yet the Black Mountain College center is closed. None-the-less, let me tip my hat to one of the leaders of the circle that became known as the Black Mountain Poets with this short acapella rendition of one of his poems.  For more than 650 other combinations of various words (mostly poetry) and original music visit our archives at frankhudson.org

When the $270 million dollar Gerald Fineberg collection was announced, Christie's Sara Friedlander remarked that the Boston real estate developer, “bought art like a curator.” Citing his ability to go deep into key movements like the artists of Black Mountain College, the Ninth Street Women, Gutai, Pop, Minimalism, Arte Povera and the Pictures Generation, Friedlander also points out that Fineberg had important works by Gerhard Richter, Christopher Wool, Alice Neel, Man Ray, Beauford Delaney and Barkley Hendricks. We sat down this week to talk through as much of the art on offer as we could possibly discuss in 30 minutes. Highlights from the Fineberg collection are on view at Christie's until May 13th when the entire collection will be on display at the auction house's Rockefeller Center headquarters. The highlights are hung in an engaging “salon” style—that means the works are sitting edge-to-edge—but the final exhibition will offer a different perspective. Auction season in New York is a rare opportunity to see art. The auction houses are open to the public. So avail yourself of this privilege starting May 6th.

是谁在改变我们的世界？国家机构，大人物，还是一个又一个从主流文化的边缘冒出来的小社群？ 六十年代的美国硅谷，一群一心想要逃避世俗嬉皮士找到了计算机这个「比迷幻药更能带来极致愉悦的东西」，他们结成社群，创造出第一台个人电脑，为计算机确定了开放、共享的框架，也由此为此后的世界提供了不竭的思考养料。与此同时，另一群人正在优胜美地的 Camp 4 营地里思考着什么样的攀岩工具能够减少对自然环境的破坏，而前不久宣布将公司 Patagonia 捐赠给地球的 Yvon Chouinard 便是其中一员。 令人好奇的是：从计算机、人工智能到全新的攀岩方式，为什么伟大的创新总是出现在一小群人的「随机碰撞」当中？社群的结成对于我们而言有何意义？一个能够承载创意的「容器」又会具有哪些特质？回到现实，一个能够迸发创意的社群似乎总是与商业化相悖，创新者又怎样弥合理想与现实之间的差距？ 本期人物 徐涛，「声动活泼」联合创始人、「声东击西」主播 傅丰元Bob，灵感买家俱乐部发起人 主要话题 [01:57] 「Stay hungry, Stay foolish」其实最早来源于一本反主流文化杂志 [15:46] 60 年代的硅谷反主流文化为个人计算机的发展奠定了最初架构 [23:14] 一个脏乱差的攀岩营地为什么能成为变革与创意诞生的容器？ [41:24] 火人节：沙漠上的临时城市和个人主义精神的延续 [41:29] 回溯 Hacker 与人工智能的历史，创新往往根植于小社群内的启发与碰撞 [57:41] 一个社群运营者的悲观论调：创新者永远不是商业化的最终受益者 加入我们 声动活泼正在招聘「节目监制」，查看详细讯息请 点击链接 (https://sourl.cn/Q352mP) 。如果你正准备在内容领域发挥专长、贡献能量，请联系我们。 往期节目 - #241 登山、冒险和风险管理大师 (https://etw.fm/2035) - #184 把乔布斯纹在腿上 (https://etw.fm/184) - #64 你不了解的那段硅谷源头，藏在旧金山这家地标书店中 (https://etw.fm/citylights) 延伸阅读 - 约翰·马科夫 (John Markoff)：《睡鼠说》（What the Dormouse Said: How the Sixties Counter culture Shaped the Personal Computer Industry） - 弗雷德·特纳（Fred Turner）：《数字乌托邦》（From Counterculture to Cyberculture） - 斯图尔特·布兰德（Stewart Brand）：《全球概览》（The WHOLE EARTH CATALOG） - 乔布斯2005年在斯坦福大学的毕业演讲:(https://www.bilibili.com/video/BV1qK4y1K7RM/?spmidfrom=333.337.search-card.all.click&vd_source=5f082c084cfb30ed9872b7c7f17dcbb2) - 家酿计算机俱乐部（Homebrew Computer Club）：一个早期的计算机业余爱好者组成的俱乐部（从1975年3月5日到1986年12月），成员包括苹果公司的创办人史蒂夫·沃兹尼亚克（Steve Wozniak）和史蒂夫·乔布斯（Steve Jobs）。 - 弗雷德·摩尔（Fred Moore，1941-1997 年），美国政治活动家，他是个人电脑早期历史的核心人物，也是家酿计算机俱乐部的创始人之一。 - John Markoff：A Pioneer, Unheralded, In Technology And Activism (https://www.nytimes.com/2000/03/26/business/a-pioneer-unheralded-in-technology-and-activism.html) - 《互联网之子》 The Internet's Own Boy: The Story of Aaron Swartz (2014) - Kevin Kelly:Scenius, or Communal Genius (https://kk.org/thetechnium/scenius-or-comm/) - Camp 4 是位于美国优胜美地（Yosemite）国家公园的一个帐篷专用露营地。第二次世界大战后，它成为著名的“现代攀岩运动的发源地”。它位于优胜美地山谷北侧海拔 4000 英尺（1200 米）处，靠近优胜美地瀑布附近的花岗岩悬崖底部。 - 罗伊·罗宾斯（Royal Robbins），1935 年 2 月 3 日 -2017 年 3 月 14 日，美国攀岩运动的先驱之一，无螺栓、无岩钉干净攀岩的早期支持者，他与伊冯·乔伊纳德（Yvon Chouinard）一起，通过鼓励使用和保护岩石的自然特征，在改变 1960 年代末和 70 年代初的攀岩文化方面发挥了重要作用。他后来成为著名的皮划艇运动员。 - 沃伦·哈丁（Warren Harding），1924 年 6 月 18 日 - 2002 年 2 月 27 日，是 1950 年代至 70 年代最有成就和影响力的美国攀岩者之一。 - 伊冯·乔伊纳德（Yvon Chouinard，1938 年 11 月 9 日－），是美国攀岩者、环保主义者、慈善家和户外产业商人。知名户外品牌 Patagonia 创始人，该公司以环保著称。2022 年，公司创始人乔伊纳德宣布捐赠整个公司，将公司所有利润用于环保事业，公司价值 30 亿美元。 - 徒手攀岩（Free Solo）：2018年美国纪录片，由伊丽莎白·柴·瓦沙瑞莉和金国威导演。影片记录了攀岩运动家亚历克斯·霍诺尔德2017年6月3日徒手攀爬酋长岩的惊险过程。影片于2018年9月28日在美国公映，票房1900万美元，口碑不俗。影片获得奥斯卡最佳纪录片等多个奖项。 - 寒山（？－？），巨鹿郡人（今邢台人），唐朝诗僧，约活跃于唐德宗至唐昭宗年间。寒山、拾得、丰干一起隐居于天台山国清寺，被誉为“国清三隐”。 - 火人节：（Burning Man，又名火人节）是一年一度在美国内华达州的黑石沙漠（Black Rock Desert）举办的活动，九天的活动开始于美国劳动节前一个星期六，结束于美国劳工节（九月第一个星期一）当天。火人节这名字始于周六晚上焚烧巨大人形木像的仪式。这个活动被许多参与者描述为是对社区意识、艺术、激进的自我表达，以及彻底自力更生的实验。 - Steven Levy：《黑客：计算机革命的英雄》Hackers: Heroes of the Computer Revolution - 弗里德里希·奥古斯特·冯·哈耶克，CH（德语：Friedrich August von Hayek，1899年5月8日－1992年3月23日）是出生于奥匈帝国的英国知名经济学家、政治哲学家，1974年诺贝尔经济学奖得主。哈耶克也是20世纪最重要的政治思想家之一，他对于法学、系统思维、思想史、认知科学领域也有相当重要的贡献。他坚持古典自由主义、个人主义、自由市场资本主义，其著作《通往奴役之路》累计销售量超过200万册（截止2010年）。 - 黑山学院（Black Mountain College），是一所已结业的美国学校。1933 年创立于美国北卡罗来纳州阿什维尔附近，是美国一所以引领革新著名的学校。但在 1957 年结束校务。尽管只有约 23 个年头和约近 1200 名的学生，黑山大学过去在艺术的教育与实践上是最具虚构实验性制度的，在 60 年代的美国造就了数位非凡的前卫派先锋艺术家。该校以拥有在视觉，文学与表演艺术上非凡的教程而自豪，而该校所留下的更持续地影响着教育的哲学或实践。 出门录音挑战 春天到啦，是时候相约出门玩耍了！换一种感官，用声音记录你的春日信号。具体怎么玩，请点击这期胡同来信 (https://sourl.cn/6Ff4FP)。成为会员，即可报名参与。 加入声动胡同会员计划 成为声动活泼会员，支持我们独立而无畏地持续创作，并让更多人听到这些声音。 加入方式 支付 ¥365/年 (https://sourl.cn/rYXHK9) 成为声动胡同常住民。加入后，你将会在「声动胡同」里体验到专属内容、参与社群活动，和听友们一起「声动活泼」。 在此之前，也欢迎你成为声动胡同闲逛者 (https://sourl.cn/rYXHK9) ，免费体验会员内容、感受社群氛围。 了解更多会员计划详情，我们在声动胡同等你。 (https://sourl.cn/seG52h) 使用音乐 - Book Bag-E's Jammy Jams 幕后制作 监制：信宇、静晗 后期：赛德、可特 运营：瑞涵、Babs 设计：饭团 关于节目 Bigger Than Us，渴望多元视角，用发问来探索世界。 商务合作 声动活泼商务合作咨询 (https://sourl.cn/6vdmQT) 关于声动活泼 「用声音碰撞世界」，声动活泼致力于为人们提供源源不断的思考养料。 我们还有这些播客：声动早咖啡 (https://sheng-espresso.fireside.fm/)、What's Next｜科技早知道 (https://guiguzaozhidao.fireside.fm/episodes)、反潮流俱乐部 (https://fanchaoliuclub.fireside.fm/)、泡腾 VC (https://popvc.fireside.fm/)、商业WHY酱 (https://msbussinesswhy.fireside.fm/)、跳进兔子洞 (https://therabbithole.fireside.fm/) 欢迎在即刻 (https://okjk.co/Qd43ia)、微博等社交媒体上与我们互动，搜索 声动活泼 即可找到我们 期待你给我们写邮件，邮箱地址是：ting@sheng.fm 如果你喜欢我们的节目，欢迎 打赏 (https://etw.fm/donation) 支持或把节目推荐给一两位朋友 Special Guest: 傅丰元Bob.

Argia Coppola"Salta prima di guardare"Dal 7 al 9 marzo 2023 alle OGR di Torino “Salta prima di guardare”L'arte della scrittura narrativaQuattro incontri formativi con ospiti internazionali per sperimentarel'applicazione della scrittura a narrativa, saggistica, nuove tecnologie, fumetti, videogame In conversazione con Argia Coppola – drammaturga torinese trapiantata a New York – Carol Becker, Ross Berger, Marco Rizzo e Francesco Ripoli, Joyce Carol Oates “Salta Prima di Guardare” è un progetto formativo gratuito – ideato da Argia Coppola e realizzato con il sostegno della Fondazione CRT – che si ispira al metodo della Scuola Sperimentale di Arti Liberali, Black Mountain College, di cui appunto utilizza il motto. È un'esortazione a prendersi i rischi dell'atto creativo, lasciando che l'elemento inaspettato arrivi ancor prima di aver fissato un'idea o una forma sulla pagina. Esortazione a lasciarsi scegliere da una storia e da come essa può mettere radici dentro di noi, lettori e autori. Con questo approccio gli incontri formativi – dal 7 al 10 marzo al Binario 3 delle OGR di Torino – si rivolgono a studenti, aspiranti scrittori, storyteller che vogliono perfezionare il loro stile, content creator, appassionati lettori, proponendo di sperimentare il “dietro le quinte” del lavoro creativo con i cinque narratori professionisti. Alla base dell'esperienza proposta, il contatto diretto con autori internazionali, specialisti qualificati di diverse tecniche di scrittura: un'opportunità unica sia per il livello dei nomi coinvolti, docenti che insegnano nelle più prestigiose università americane, sia per il metodo. In conversazione con l'ideatrice del progetto Argia Coppola – drammaturga torinese trapiantata a New York – e con personalità dell'editoria torinese e italiana il 7 marzo Carol Becker, scrittrice e saggista americana parlerà delle varie declinazioni della creatività nella scrittura. L'8 marzo Ross Berger, Videogame Narrative Designer approfondirà le tecniche di storytelling per videogame, nuove tecnologie e piattaforme. L'incontro del 9 marzo avrà due protagonisti: Marco Rizzo giornalista e sceneggiatore di fumetti spiegherà la sceneggiatura a fumetti e Francesco Ripoli, fumettista e artista, svelerà i segreti di fumetti e graphic novel. La serata finale il 10 marzo sarà animata dall'incontro con Joyce Carol Oates, narratrice e drammaturga con la quale si esploreranno i vari aspetti della narrativa. Gli ospiti mostreranno come si applicano al loro lavoro e forniranno preziosi suggerimenti su come intraprendere una carriera nei vari campi artistici e letterari, sia a livello nazionale che internazionale. Questa offerta formativa consentirà inoltre ai partecipanti di raccogliere feedback appropriati per far evolvere la propria opera e per capire a quale mercato e destinatari appartiene, infatti al termine di ciascun evento il pubblico avrà modo di porre delle domande. Dal Binario 3 delle OGR di Torino con Argia Coppola i moderatori converseranno in collegamento con gli ospiti stranieri mentre i due autori italiani parteciperanno in presenza. Argia Coppola descrive così l'idea da cui è scaturita la proposta: “Dall'esperienza di docenza di scrittura creativa in Italia e a New York ho capito che mancava un rapporto diretto con gli autori in una forma accessibile. Fornire formazione di alto livello nel campo del creative writing invita all'amore per le parole e dispone a cercare il mistero che si racchiude in ogni processo artistico e creativo. Dopo il “salto” che propongo come metodo formativo, chi accetterà di mettersi in gioco uscirà con nuove conoscenze nei campi del romanzo, del saggio letterario, della scrittura per fumetti e video giochi, con nuove abilità e con molte nuove domande sul perché e come si scrive”. Gli incontri: Martedì 7 marzo 2023, ore 18.30 | Carol Becker | lingua inglese (in collegamento)Mercoledì 8 marzo 2023, ore 18.30 | Ross Berger | lingua inglese (in collegamento)Giovedì 9 marzo 2023, ore 18.30 | Marco Rizzo e Francesco Ripoli | lingua italiana (in presenza) Venerdì 10 marzo 2023, ore 18.30 | Joyce Carol Oates | lingua inglese (in collegamento) Ingresso gratuito, su prenotazione tramite il sito OGR Torino, ogrtorino.it/events/salta-prima-di-guardare-larte-della-scrittura-narrativa IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

In Teaching Art, creative writing teacher Dennis Gaens looks into what it means to teach art in the present day. In this three part series he looks into where we teach art, who teaches it and what exactly is being taught.  In this first episode, he first looks into some legendary art schools with art historian Joanne Dijkman. In the second part, he discusses the classroom and how we should approach it with writers and teachers Lorena Briedis and Jesse Ball.  A transcript for this episode is available at https://studiumgenerale.artez.nl/   Notes:  You can read more about Joanne Dijmkman's PHD research here: https://www.artez.nl/en/research/professorship/art-education-as-critical-tactics/research-group/joanne-dijkman.    Information on the Black Mountain College exhibition at the Hamburger Banhof can be found here: https://www.smb.museum/en/exhibitions/detail/black-mountain-an-interdisciplinary-experiment-1933-1957/. The accompanying book was published by Spector: https://spectorbooks.com/black-mountain-en.    The European Association of Creative Writing Programmes can be found at https://eacwp.org/    Jesse Ball's Notes on my Dunce Cap was published by Pioneer Works: https://pioneerworks.org/store/notes-on-my-dunce-cap.    Lorena's Class Proposals, which you wlll find below, are heavily influenced by Jenny Tunedal, who teaches at the Valand Academy in Sweden. She herself was influenced by by an art project called Radikal Pedagogik by Lisa Nyberg and Johanna Gustafsson. Lorena learned about the proposals through this session at the EACWP: https://eacwp.org/activities/course-belgium-2019/.    Lorena teaches (and herself studied) at Escuela de Escritores: https://escueladeescritores.com/   Here are her class proposals:    • We are here because we want to write. • We are here to play, to experiment, to rave, to wish for the impossible. • We are also here to learn to read (us) in a critical way. We write as we read. • We have set aside this time, each week, for our writing and for sharing our writing with each other. • We are here because we have committed ourselves to be here. • We are here to be the best writer each of us can be. • We do not compete or compare ourselves with others. • We recognize that writing is a craft that requires time and dedication, and we are willing to make our best. • Writing every week and commenting on our classmates' texts is our way of giving. • Listening to our classmates with attention and gratitude is our way of receiving. • Giving and receiving require the same degree of courage, commitment and generosity. • We take this space seriously and we take each other seriously, but we also know how to laugh, joke, play, have fun: how to enjoy. • We are partners in the Dionysian faith. • We interpret what the other tells us with benevolence. • We are receptive and listen attentively. • We recognize that this workshop is a dialogue with the present (our own texts and our circumstances) and with eternity (the literary tradition). • We are personal and private when we need to be. • We are strong and vulnerable at the same time. • Everything that we share here and entrust to each other has a mystical character (ie, secret). • We all contribute to creating a space of mutual trust and solidarity. • We all have experiences that together we can transform into knowledge in the classroom. • There are no better or worse texts: there are texts more or less crafted. • The texts we write, every week, are not finished pieces. They are sketches, experiments, drafts: work in progress. • We are generous with each other. • We read in favor of our texts and not against them. • We write and read like miners, that is, in the direction of gold, of poetry: that is, in the direction of the sacred that is in the wound of each text. • In the texts we do not seek justice (we do not judge), we seek poetry (the infinite understanding). • We are free to write what we want to write and to be whoever we want to be (we do not mistake the author with the narrator). We are interested in everything that concerns the human condition without exception. • We dare to fail. • We dare to take position and we also dare to change our position. • We are not afraid to say what we think, but we say it with respect and with judgment. • We let conflicts have their space (we don't fear them), but we don't make them either bigger nor smaller. • We take responsibility for the power we have and help others to make visible their own power. • We encourage each other to think critically and reflect on our work and the work of others. • We recognize that being here is a privilege. • We are companions, we stand by each other and support each other. • We share together the bread (the sacrifice, the effort) and the wine (the joy) of each text. The workshop is our feast. • We trust processes, more than results. • We imitate and steal in order to learn. • We rehearse, we practice, we succeed, we fail, but we never stop trying again. • We rest when we need it. • We are here, present and ready. • We recognize that the ultimate sense of this space is our love for writing, for literature, for the artistic expression. • We know that the path of writing is long and deep, and we are happy for that. • We know that this journey can only be undertaken with patience, perseverance, with faith and with love. • We tell each other: “Take your time. Enjoy. We have a course ahead. We're on our way."      

Art Smith tells us about his informative and in-depth website, Gaybarchives. Plus, we hear from Damon Zick of the genre-bending band Quarteto Nuevo, and we take a look inside Eyedrum's newest exhibition, “Idea + Place: Advancing the Legacy of Black Mountain College,” with Jeff Arnal, Will Lawless, and Alice Sebrell.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The American Modern Opera Company is a multi-disciplinary collective of some of America's keenest talents in the fields of music, dance, theater, writing, producing and composing. They are also the first interdisciplinary group to lead the Ojai Music Festival as Music Director. They are led by artistic directors Matthew Aucoin and Zack Winokur. Winokur and Davone Tines, baritone-bass singer, join the podcast to talk about their ambitious plans for this year's festival. Some members of the collective are already familiar with Ojai, such as violinist Miranda Cuckson, soprano Julia Bullock, who, with Tines, will stage a full production of Olivier Messaien's song cycle "Harawi." AMOC will also introduce new artists to the Festival, including Julius Eastman, whose gifts for composing, vocals, piano and dance had often been neglected. Eastman was proudly gay at a time in the conservative classical world culture, and his gifts we talk about at length. The festival is also producing works by another neglected artist, Connie Converse, who is credited for pioneering the singer-songwriter tradition. We talk about how and why truly outstanding artists are often neglected and forgotten in their own time, and the festival's role in bringing them back into the spotlight. Another line of conversation is AMOC's similarities in spirit to Black Mountain College, which included Ojai-favorite composer John Cage, modern dancer and choreographer Merce Cunningham and visual artists Robert Rauschenberg and Jasper Johns. AMOC has just won a $750,000 grant from the Andrew K. Mellon Foundation, and we talk about what they plan to do with the money, as well as what an affirming moment is was for the collective, founded in 2017.

Best of the underground, week of April 19, 2022: Pep talkin you up, Black Mountain College, and 8 great songs. (All podcasts and reviews are on www.hlycrp.com, and you can also follow us on Facebook, Instagram, and Twitter, and Spotify, and Apple Podcasts.)

Alec and Nick discuss the poetry and politics of the experimental music festival. At first exploring the history and economy of music festivals such as Big Ears, Moogfest, Hopscotch, Red Bull Music Academy, and the European Festival circuit—the conversation then launches into a  personal discussion probing Nick's curatorial role at ISSUE Project Room and Alec's curatorial role in the Neo-Pastiche: Changes In American Music Festival. Notions of community, consumption, and audience take shape around anecdotes of  DIY organizing, non-profit culture, Dick Higgins, Black Mountain College, Alvin Lucier, George Lewis, and more.

This podcast features Vincent Katz class of 1978. Vincent is a poet, translator, critic, editor, and curator. He is the author of fifteen books of poetry, including Broadway for Paul and Previous Glances: an intense togetherness. He won the 2005 National Translation Award, given by the American Literary Translators Association, for his book of translations from Latin, The Complete Elegies of Sextus Propertius. He was awarded a Rome Prize Fellowship in Literature at the American Academy in Rome for 2001-2002. Vincent has done book collaborations with artists, including James Brown, Rudy Burckhardt, Francesco Clemente, Wayne Gonzales, and Alex Katz, and with poets, including Anne Waldman. He writes frequently on contemporary art and has published reviews, articles, and essays on a wide range of visual artists, including Ghada Amer and Reza Farkondeh, Jennifer Bartlett, Janet Fish, Nabil Nahas, Kiki Smith, Beat Streuli, and Cy Twombly. He curated a museum exhibition about Black Mountain College and he curated "Street Dance: The New York Photographs of Rudy Burckhardt" for the Museum of the City of New York.

On this episode, we're talking Black Mountain College and beyond. Rose talks about her personal project on that hallowed ground, and then shifts gears to talk about Females in artist spaces, what has been accomplished and where we need to go. Rose Kaz is a photographer, entrepreneur, producer, and activist.  For more on Rose, click here.    

Asheville, North Carolina's history as a music center goes back to the 1920s and string-band troubadours like Lesley Riddle and Bascom Lamar Lunsford, and country-music pioneer Jimmie Rodgers. But there's always been a lot more to this town than acoustic music and scenic mountain views. From the experimental Black Mountain College that drew a range of minds as diverse as German artist Josef Albers, composer John Cage, and Albert Einstein, Asheville was also the spiritual home for electronic-music pioneer Bob Moog, who invented the Moog synthesizer first popularized by experimental bands like Kraftwerk to giant disco hits like Donna Summer's “I Feel Love.”It's also a town where busking culture ensures that music flows from every street corner, and it's the adopted hometown of many modern musicians in a multitude of genres, including Pokey LaFarge, who spent his early career busking in Asheville, and Moses Sumney, a musician who's sonic palette is so broad, it's all but unclassifiable.In this premiere episode of Carolina Calling, we wonder and explore what elements of this place of creative retreat have drawn individualist artists for over a century? Perhaps it's the fact that whatever your style, Asheville is a place that allows creativity to grow and thrive.Subscribe to Carolina Calling to follow along as we journey across the Old North State, visiting towns like Shelby, Greensboro, Durham, Wilmington, and more.Brought to you by The Bluegrass Situation and Come Hear NCMusic used in this episode:Bascom Lamar Lunsford - “Dry Bones”Jimmie Rodgers - “My Carolina Sunshine Girl” Kraftwerk - “Autobahn”Donna Summer - “I Feel Love” Pokey LaFarge - “End Of My Rope”Moses Sumney - “Virile” Andrew Marlin - “Erie Fiddler (Carolina Calling Theme)”Moses Sumney - “Me In 20 Years”Steep Canyon Rangers - "Honey on My Tongue”Béla Bartók - "Romanian Folk Dances”New Order - “Blue Monday”Quindar - “Twin-Pole Sunshade for Rusty Schweickart”Pokey LaFarge - “Fine To Me” Bobby Hicks Feat. Del McCoury - "We're Steppin' Out”Squirrel Nut Zippers - “Put A Lid On It”Jimmie Rodgers - "Daddy and Home”Lesley Riddle - “John Henry” Steep Canyon Rangers - “Graveyard Fields”Advertising Inquiries: https://redcircle.com/brands

Hellllloooo! Happy Friday. It’s been less than a week since DrawTogether was featured on PBS NewsHour, and boy did we get a great response. A big welcome to all the new folks joining us! And to our longtime DT peeps: thanks for continuing to draw, look and love with us as the DT family grows. Onwards! Our podcast drawing today is based the work of one of my favorite artists, Ruth Asawa. We explore her magnificent light-as-air wire sculptures using shape & line/pencil & paper. (Hit that play button above - or listen on iTunes or Spotify!) I discuss a bit of Ruth’s work and life in the podcast, but her are a few more fun facts: Ruth Asawa was the quintessential maker. She used her HANDS and whatever materials were available. She focused as much on the process of making art as the outcome. And through all the changes and chapters in her life, she kept making art. Ruth and her family were unjustly placed in a Japanese American internment camp during World War 2, and she kept on creating. She went on to study at the experimental Black Mountain College in North Carolina, and travelled to Mexico to see Diego Rivera’s murals and painting first hand. There, a local artisan taught her a basket weaving technique that became the basis for her wire sculptures. Here are some traditional weaving techniques that look similar to Ruth’s wire work, and the drawing we do on today’s podcast.And here’s a photo of Ruth weaving a wire sculpture based on technique she learned in Mexico. Or rather, here’s a photo of Ruth drawing in the air:Ruth worked constantly. She was always folding paper, drawing on scratch paper, or looping wire… so you can imagine what life was like given she had six kids (!) always hoping for her attention. BIG NEWS: I’m interviewing Ruth Asawa’s son, Paul Lanier (a teaching artist himself) about growing up in a creative home and cultivating creativity in young people. I’ll share conversation with subscribers in the days ahead. If you’d like access to features like this, please support/subscribe here:“An artist is not special. An artist is an ordinary person who can take ordinary things and make them special.” Ruth Asawa wove different techniques, cultures, identities and experiences into a tremendous life and body of work that continues to contribute so much to our creative humanity. She made, taught and tirelessly advocated for arts education. She drew in the air. Thank you Ruth Asawa.I’d love to see your Ruth Asawa inspired drawings. After you listen to the podcast, take a photo and post it on instagram and tag @drawtogether.studio, and we’ll share it with the community. Pencils up, friends. Everything is better when we DrawTogether. xo,wps - You can now listen to the DrawTogether Podcast on iTunes and Spotify! Please subscribe over there and share it out with your friends. We appreciate it.

“The walks were amazing. We walked up every morning at eight o'clock. There's a waterfall on campus at Black Mountain, and we walked to this waterfall, and he explained water to me. He explained how things worked. You know, when I was a little kid, I used to take alarm clocks apart and put back together and things like that.” Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. · www.dorothearockburne.com · www.creativeprocess.info

Black Mountain College has long been acknowledged as the birthplace of the true American avant-garde. The experimental school was founded in 1933 on the principles of attaining a perfect balance between academics, arts, and crafts within a purely democratic society, where all members, students, and teachers were considered to be equal. Legendary even in its own time, Black Mountain College attracted and created maverick spirits, including Williem and Elaine de Kooning, Robert Rauschenberg, Cy Twombly, Merce Cunningham, and Buckminster Fuller, to name just a few! Its history and legacy are now preserved and extended by the Black Mountain College Museum + Arts Center (BMCM+AC), located in Downtown Asheville. To tell the incredible (and sometimes scandalous) story of Black Mountain College (BMC), we welcome Kate Averett, a writer and curator based in Asheville, where she serves as Staff Historian, Project Coordinator, and Board Member at BMCM+AC. In today's episode of Artsville, you'll learn about the historical synchronicity that informs the connection between BMC and the Bauhaus, the legendary parties that were thrown at the college, and the role that the BMCM+AC plays in keeping the BMC legacy alive, as well as how they create space for the artists, scholars, and curators who uphold the open-mindedness that BMC was built on, plus so much more! Tune in to learn more from remarkable storyteller, Kate Averett! Key Points From This Episode: Louise and Daryl introduce today's guest: Kate Averett from BMCM+AC. Learn about some of the major influential figures who attended BMC. Kate starts by sharing a bit about herself and her role at BMCM+AC. Hear the origin story of BMC which, like all good stories, starts with a scandal! Insight into BMC founder John A. Rice's educational philosophy on hands-on learning. How the rise of the Nazis and the closing of the Bauhaus led Josef and Anni Albers to BMC. Some of the influential figures that attended BMC and the relationships that developed. The legendary Greek Party that Jean Varda threw at BMC, complete with a Trojan Horse! Kate highlights the communal, democratic structure between faculty and students at BMC. How avant-garde artists like Robert Rauschenberg were influenced by their time at BMC. Learn about one of the many famous student revolts at BMC known as The Split.  The impact that cultural and political pressure had on BMC toward the end of the 1950s. Kate reflects on the role that BMCM+AC plays in keeping the BMC legacy alive. How BMCM+AC came to be a museum and arts center as opposed to just a museum. The different stories that BMCM+AC hopes to tell about BMC, not just its history. Looking to the future in the ReVIEWING Black Mountain College conference. Kate reflects on the history of identity intersection and integration at BMC. Kate ends on an anecdote about Harriet Sohmers Zwerling and sexual liberation at BMC. Links Mentioned in Today's Episode: Kate Averett on LinkedIn — https://www.linkedin.com/in/kate-averett-b5466568/ (https://www.linkedin.com/in/kate-averett-b5466568/) Black Mountain College Museum + Arts Center — https://www.blackmountaincollege.org/ (https://www.blackmountaincollege.org/) ReVIEWING Black Mountain College International Conference — https://www.blackmountaincollege.org/reviewing/ (https://www.blackmountaincollege.org/reviewing/) Black Mountain Days — https://www.amazon.com/Black-Mountain-Days-Michael-Rumaker/dp/1933132663 (https://www.amazon.com/Black-Mountain-Days-Michael-Rumaker/dp/1933132663) Scott “Sourdough” Power — https://www.notarealartist.com/ (https://www.notarealartist.com/) Louise Glickman — https://www.louiseglickman.com/ (https://www.louiseglickman.com/) Daryl Slaton — http://www.tailsofwhimsy.com/ (http://www.tailsofwhimsy.com/) Not Real Art — https://notrealart.com/ (https://notrealart.com/) Sand Hill Artists Collective (SHAC) — https://sandhillartists.com/...

Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. · www.dorothearockburne.com · www.creativeprocess.info

The Cold War was not just a contest of power. It was also about ideas, in the broadest sense―economic and political, artistic and personal. In The Free World, the acclaimed Pulitzer Prize–winning scholar and critic Louis Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Rights spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened.

After her time at the legendary Black Mountain College, Ruth Asawa went on to create incredible sculptures — way ahead of their time. Inspired by Mexican basket weavers and empowered after a unique and experimental art school experience, she battled against racism and subjugation to create art with impact, eventually cementing her legacy by spearheading more community based education opportunities. Kunst Please is a micro-dose of modern art history. An exploration into the more unexpected side of modern and contemporary 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 Check out show-notes and assorted ephemera at kunstpleasepod.medium.com/

An undergraduate finance major at the University of Vermont in Burlington, Dick Alden did not anticipate that he would enjoy his ceramics class as much as he did. In contrast to work he did in his other classes, he found that the process of doing something “not exact” was very appealing.  Putting his interest in art on hold, he went on to pursue a career with State Street Bank in Boston, while raising a family and studying for a master's in business administration over many nights and weekends. Then, after taking a wood carving course in his mid-forties, Dick began creating stern boards for his friends' sailboats. A museum exhibit based on the influential Black Mountain College in North Carolina started him down the path of stone sculpting. Learn more about Dick Alden's artistic endeavors, lovingly undertaken with the support of his wife Priscilla and the stone sculpture community, on today's episode of Radio Maine.

Deborah Sussman is known as a leader of environmental graphic design, a relatively new field at the time that had a surprising number of women leading the charge. Sussman had a passion for the arts and attended some of the finest art and design institutions in the nation, including the Black Mountain College, the Institute of Design in Chicago, and Bard College in NYC. Sussman interned at the Eames office then later started her own successful design studio with her husband Paul Prejza, Sussman/Prejza & Company. The pair made a dynamic team, earning a considerable amount of recognition in Sussman's lifetime. The colorful modernism seen in much of Sussman's work was most visible in her designs for the 1984 Olympic Games in Los Angeles. Her designs were highly regarded for the bold colors and graphics that were both attractive and functional. The Olympic designs were even included in Time Magazine's “Best of the Decade”. In addition to the designs for the Olympics, Sussman/Prejza & Company did environmental design work for Disney and comprehensive design systems for the cities of Santa Monica & Philadelphia. While her designs for the 1984 Olympic Games in Los Angeles brought the most attention to the burgeoning field of environmental design, it was her dedication to pioneering the field that cements her place in the canon of graphic design.TIMELINE1931 – b New York1948 – Attends summer school at the Black Mountain College, for art & performance1948-50 – Attends Bard College, New York for painting & acting1950-53 – Attends the Institute of Design, Chicago1953-58 – works at Eames office1957-58 – Awarded a Fulbright Scholarship to study in Ulm, Germany1961 – Returns to work for the Eames office1968 – Establishes her own practice1972 – Marries architect Paul Prejza1975 – Awarded a Fulbright Scholarship to study in Calcutta, India1980 – Founds Sussman/Prejza & Company, a partnership with her husband1983 – Fellow and founder of AIGA/LA1987 – Elected member of AGI, Alliance Graphique Internationale1987 – Elected member of The Trusteeship, International Women's Forum1988 – Named an Honorary member of the American Institute of Architects1990 – featured in Time Magazine's “Best of the Decade” for ‘84 Los Angeles Olympic designs1991 – Named Fellow of the Society of Environmental Graphic Design1995 – First woman to exhibit at School of Visual Arts' “Master Series” 2014 – d in Los Angeles at the age of 83REFERENCESBlack Mountain College: A Brief Introduction. (2020, July 9). https://www.blackmountaincollege.org/history/Deborah Sussman. (2020, June 29). Sussman/Prejza & Company. Retrieved December 01, 2020, from https://sussmanprejza.com/bio/deborah-sussman/Discover Los Angeles. (2020, July 20). Historical Timeline of Los Angeles. Retrieved December 01, 2020, from http://www.discoverlosangeles.com/things-to-do/historical-timeline-of-los-angelesEames Office. (2020, March 26). Charles and Ray Eames. https://www.eamesoffice.com/eames-office/charles-and-ray/Giovannini, J. (2006). Turning surface into symbols: the environmental design firm Sussman-Prejza enriches architecture with graphics. Architectural Record, 194(1).History.com Editors. (2009, November 13). Soviets announce boycott of 1984 Olympics. A&E Television Networks. Retrieved December 01, 2020, from http://www.history.com/this-day-in-history/soviets-announce-boycott-of-1984-olympicsLatson, J. (2014, September 05). "Murder in Munich": A Terrorist Threat Ignored. Time. Retrieved December 01, 2020, from https://time.com/3223225/munich-anniversary/Meggs, P. B., & Purvis, A. W. (2016). Meggs' history of graphic design. Hoboken, NJ: John Wiley & Sons.Mertin, E. (2012). The Soviet Union and the Olympic games of 1980 and 1984. East Plays West:Sport and the Cold War, 235.Olsberg, N. (2014). Architecture and Sculpture a Dialogue in Los Angeles. Architectural Review, 235(1405), 88–93.Sussman, D. (2014). L.A. Wo Man. Creative Review, 34(1), 48–53.Poulin, Richard. (2012). Graphic Design and Architecture, A 20th Century History. Osceola: Quarto Publishing Group USA.Twemlow, A. (2004, September 6). Deborah Sussman. AIGA.org Retrieved December 01, 2020, from https://www.aiga.org/medalist-deborahsussmanWaldo, E. (2014). Deborah Sussman Dies at 83. Contract, 55(7), 16.

“Anni et Josef Albers“ L'art et la vieau Musée d'Art moderne de Parisdu 10 septembre 2021 au 9 janvier 2022Interview de Julia Garimorth, commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 9 septembre 2021, durée 14'51.© FranceFineArt.Extrait du communiqué de presse CommissairesJulia Garimorth, assistée de Sylvie Moreau-SoterasComité scientifiqueNicholas Fox Weber, directeur de la Josef and Anni Albers Foundation, Bethany, ConnecticutHeinz Liesbrock, directeur du Josef Albers Museum Quadrat, Bottrop, AllemagneLe Musée d'Art Moderne de Paris organise, du 10 septembre 2021 au 9 janvier 2022, une exposition inédite consacrée à Anni et Josef Albers, rassemblant plus de trois cent cinquante oeuvres (peintures, photographies, meubles, oeuvres graphiques et textiles) significatives du développement artistique des deux artistes.Au-delà de la présentation très complète de leurs créations respectives, il s'agit de la première exposition en France dédiée au couple formé par les deux artistes. C'est en effet ce lien intime et très complice qui leur a permis, tout au long de leur vie, de se soutenir, de se renforcer mutuellement, dans un dialogue permanent et respectueux. Ils ont non seulement produit une oeuvre considérée aujourd'hui comme la base du modernisme, mais ont aussi imprégné toute une nouvelle génération d'artistes de leurs valeurs éducatives.Anni Albers (née Annelise Fleischmann, 1899-1994) et Josef Albers (1888-1976) se rencontrent en 1922 au Bauhaus et se marient trois ans plus tard. Ils partagent d'emblée la conviction que l'art peut profondément transformer notre monde et doit être au coeur de l'existence humaine : « Les oeuvres d'art nous apprennent ce qu'est le courage. Nous devons aller là où personne ne s'est aventuré avant nous. » (Anni Albers)Dès le début de leur travail, les deux artistes placent ainsi la fonction de l'art au coeur de leur réflexion. Ils adhèrent non seulement à la revalorisation de l'artisanat et aux atouts de la production industrielle (Bauhaus) pour rendre possible la démocratisation de l'art, mais ils estiment aussi que la création joue un rôle essentiel dans l'éducation de chaque individu. Ils ne cessent de démontrer, en tant qu'artistes mais aussi enseignants, l'impact incommensurable de l'activité artistique sur la réalisation de soi et, plus largement, sur la relation avec les autres. Forts de ces valeurs, ils cherchent à amener leurs élèves vers une plus grande autonomie de réflexion et à une prise de conscience de la subjectivité de la perception. Selon eux, l'enseignement ne se réduit pas à transmettre un savoir théorique déjà écrit mais consiste au contraire à susciter constamment des interrogations nouvelles : d'abord par l'observation sensible du monde – visuel et tactile – qui nous entoure ; puis par la découverte empirique que comporte l'expérimentation créatrice avec les matériaux à portée de main, sans préjuger de leurs valeurs esthétiques. « Apprenez à voir et à ressentir la vie, cultivez votre imagination, parce qu'il y a encore des merveilles dans le monde, parce que la vie est un mystère et qu'elle le restera. Mais soyons-en conscients. » (Josef Albers) L'exposition s'ouvre sur deux oeuvres emblématiques de chaque artiste, illustrant d'emblée, tel un prologue, les valeurs formelles et spirituelles qui relient le couple. Puis elle suit, de manière chronologique, les différentes étapes de leur vie. Une première section rassemble leurs productions, riches et variées, issues du Bauhaus, de 1920 à 1933. Le départ du couple pour les États Unis en 1933 marque le début de la deuxième section, dédiée aux oeuvres réalisées au Black Mountain College. Puis deux autres temps forts de la visite s'attachent à présenter une sélection pointue de Pictorial Weavings de Anni et de Homages to the Square de Josef. Enfin, la dernière partie de l'exposition est consacrée au travail graphique d'Anni, initié avec Josef dans les années soixante et qu'elle va poursuivre jusqu'à la fin de sa vie.Une salle, spécifiquement dédiée à leurs rôles respectifs en tant que professeurs, permet aux visiteurs, grâce à d'exceptionnels films d'archives, de se glisser dans la peau des étudiants et de suivre un cours « en direct ». Un grand nombre de documents (photographies, lettres, carnets de notes, cartes postales, etc.), réunis avec l'aide de la Fondation Josef et Anni Albers, permet également de contextualiser le travail des deux artistes.L'exposition est organisée en étroite collaboration avec The Josef and Anni Albers Foundation à Bethany, Connecticut. Elle sera également présentée à l'IVAM (Instituto Valenciano de Arte Moderno) à Valence, Espagne, du 17 février au 20 juin 2022.Un catalogue est publié aux éditions Paris Musées. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

- Max Yoder That divine middle is emotional liberation, where I can be compassionate and show compassion to an individual. But I do not need to carry whatever it is that they are feeling, right, not my responsibility to. And the thing about the thing that I think this is so important for me in my life is I think this was my biggest blocker, my biggest blocker to grow like something that I may have gone through my whole life and never addressed if it were not for something like Lessonly.   INTRO   When companies and individuals think about skilling-up in empathy and compassion, there are common questions that arise.  How can I take on the feelings of others without being crushed by them?  What do good boundaries look like?  How am I ever going to keep my people accountable to their actual work if I start being all touchy-feely with the.    My guest today touches on all of these questions and more.  There are many reasons why you should take the time to listen to Max Yoder:  he is erudite, well-read (see all of the books and authors he noted in the show notes), and he really cares about people.    He is also the co-founder of the continually growing learning platform, Lessonly.  Just last week, Lessonly made headlines in the tech world when they were acquired by Seismic.  And the last few years has been a series of success stories for the company.    Max is much more than an executive and a thinker, he is also a crafter of Lego art.    - Liesel Mindrebo Mertes Is there anything that you found yourself giving time to in the pandemic, whether that's like a new pursuit or a hobby that you have particularly enjoyed?   - Max Yoder Yeah. I've given myself a lot more time to make art, and I tend to make art with Legos. I really appreciate this man named Joseph Albers, who was a teacher at Black Mountain College, right. During World War two, post World War II. And he created this series of things called Homage to a Square. And he really like color theory. So he would put basically squares inside one another. And he did about two0 of these over a series of 20 years, I think from his 60s to his 80s, if I recall correctly, so hugely inspired by somebody doing 2001 thing from their 60 to their 80s.   - Max Yoder And these squares, like I said, they're color theory. So he was trying different colors, and he said when I put a blue in the middle and I surround it with a red, that blue takes on a different cue, then it visually looks different than if I surround it with a lighter blue. Like what we put around to color changes the way we perceived that color.   - Max Yoder So during COVID, I started doing all of these squares, and they were these really great free flow activity where I could get a 16 by 16 Lego square.   - Max Yoder And I would create my own version of Joseph Albers Homage to a Square, all these different colors, and I have them all around my attic now. And it was just one of those things that I could do without thinking I sift through the Legos, I'd find the right color. I'd build these squares. It was not taxing, but it was rewarding.   - Max Yoder And so I think in general, what I learned to do during COVID was play and not have a goal. And in one way of doing that with art and just really, truly understand what playing is, because I think I spent a lot of my adult life and I think a lot of my adolescent life achieving instead of playing, and I think you can do both at the same time.   - Max Yoder But I don't think I was doing both. I think mostly achieving I love that.   - Liesel Mindrebo Mertes Well, especially with the relentless pace of work in general, but especially accelerated as a result of the pandemic to actually have spaces of purposeful rest, whether that's like actual physical rest of sleeping or encompassing it with the mental release of play is something that I hear again and again as I work with different individuals, even as being really life giving. Yeah. I love that   - Liesel Mindrebo Mertes You also have welcomed, I think, a new little person into your home in the midst of the pandemic you find that that has having a child in the home has unleashed some different capacities in you as well?   - Max Yoder Oh, yeah. So my daughter Marnie, she's eleven months old yesterday and eleven months.   - Liesel Mindrebo Mertes Happy eleven months, Marnie.   - Max Yoder Yeah, pretty special. Full name is Marina. When she was born, we didn't know she was gonna be a boy or a girl. She came out of my wife, and we had three names for girls, picked out three names for boys. Marina was the one that was clearly the winner. And then basically, as soon after that, we just started calling her money. So she came home and just changed our lives there's. Covid before Marnie and this COVID after Marnie and COVID after Marnie is excellent. You know, I think COVID before Marnie was really tough for a whole host of reasons, but when Marnie came, she brought this new life to our house, like literal new life.   - Max Yoder Right. And then just this vitality to just and I of seeing the world differently and being a dad and watching my wife be a mom. And now being a husband to a mother, like all these things are life changing. And I'm 33 years old this year, and I just sent myself shifting from this achievement mentality to more kind of focusing on now, what do I care about? Why do I care about it? And am I doing the things that I care about? And my family is something that I care about?   - Max Yoder Music is something that I care about reading or things that I care about. And the difference between that and achievement and Carl, you the psychiatrist, help me figure this all out is I'm not doing them to impress anybody or to get anybody's. Applause I'm doing them because I care about them. And if somebody doesn't care about them, that's okay by me. And somebody does care about them. That's okay by me. But I'm not doing it for anybody else. Right?   - Max Yoder And being with my daughter is just something that is really important to me because she just wants me to be there with her.   - Max Yoder She doesn't even need me to do anything. She just needs me to be watching her spending time with her. And it's just been really cool to over eleven months. Jess, who's a very calm woman, nurture Marni and love on Many. I think I call myself in a big way in front of Many. Many got her grandpa and her grandma, and then we have a woman named Gabs, who is a friend of ours and the caretaker of Mary three days a week. And all these people just are very calm personalities.   - Max Yoder And Marni has just been wrapped around with so much love and kind of calmness. And what I imagine is going to come from that is what has come from that, which she's very adventurous, like, she's not scared. She's vibrant, and I just feel really lucky because it's not that parents don't want to give that to their kids, right? I think it's just sometimes we just don't have the resources, don't have the time, we're overstressed, and we're in a fortunate position where that's not the case. And it is highly rewarding to see my daughter be that's exploring, creative, laughing kid.   - Max Yoder And I want that for everybody because it's a real gift. I.   - Liesel Mindrebo Mertes Love that enjoyment of just her presence and watching her flourishing.   - Liesel Mindrebo Mertes And something that you said kind of, like, particularly caught my attention, that I'm not thinking primarily of what I'm doing for her. I'm just being with her. I'm paying attention and the power of presence, which is its own segue into some of what we want to talk about today, which is empathy and connection in the workplace, because although it's not like a paternal relationship with those that you work with, I think there's this deeply human need to be seen and acknowledge, and I'd like to kick it off.   - Liesel Mindrebo Mertes I know you're a leader that values cultivating this in your workplace. What is a personal story for you about why empathy and human connection really matter specifically in the workplace?   - Max Yoder Yeah. I think empathy allows me to feel as somebody, so it allows me to kind of sit in their shoes and do my best approximation of what's stressing them or what's bringing them joy, like, empathizing with their situation. And I think that's incredibly important to a certain degree. I think the place where I get the most juice is being compassionate. And I think I've learned to recognize feeling sympathy for somebody, understanding that they are going through pain, but not carrying that pain as my owner running those same circuits myself.   - Max Yoder This is something that Robert Sapolsky to a gentleman from Stanford has helped me understand. If I sit there and run the circuits all day long that somebody else is running and I get stressed with them, I wear myself out, but I can be compassionate and sympathetic to an individual. Like, if they're hurting, I can acknowledge that they're hurting, but I don't need to run the same circuits.   - Max Yoder So I think it's really important to be empathetic because it gives me a chance to kind of sit in something and understand. Oh, yeah, that does not feel good. But I can't run that circuit too much because I'll wear myself out. But I can run the compassion circuit a lot longer where I can see if somebody's in pain, even if they're yelling at me or they're frustrated with something that, you know, life is tough there in a difficult situation that you might describe as suffering. I might describe a suffering.   - Max Yoder And to be a calm presence in the face of that is a gift in and of itself. I might not have to do anything more than that. Then just be calm in front of them, not diminish or dilute. What they're saying also enhance what they're saying. Just be there as a calm presence that listen. And who does that take me? Has that taken me a long time to learn?   - Liesel Mindrebo Mertes Can you give me an example? What has that looked like for you and your leadership over the last year and a half?   - Max Yoder Yeah. I think we can. I go back longer than that because I think the Lessonly journey is nine years long to date, July 12 today. And I noticed that as we hired more and more people, we hit 17 people, and then we hit 25 people and then hit 50 people, that there was always more feelings coming into the business. Right. A woman named Jill Bolte Taylor, a friend and somebody who I love says we are feeling creatures who think, not thinking, creatures who feel feeling, creatures who think.   - Max Yoder So we are a lot of feelings, right. We are very emotional. And for most of my life, I believe that was responsible for people's feelings. And I believed that I was responsible also for their judgments, which kind of two sides of the same coin. I just feeling responsible for two things that are not my responsibility. Right. Feelings and judgments of other folks. So I would try to carry those feelings as my own, and I would kind of assume those judgments as fact and they crushed me.   - Max Yoder So I'm going to focus on the feelings part today, as opposed to the judgments or for this moment, on the feelings part.   - Max Yoder There was a lot of feelings in the business, and every time we hired a new person, just more and more feelings, and we got to 50 people, and I couldn't take it anymore. I was probably a long pass being able to take it anymore. I was stressed, self medicating, trying to keep up with all the feelings. And it wasn't working because the frantic folks around me, if they were feeling frantic, I was becoming frantic myself, and that's just not what people need.   - Max Yoder So I was fortunate enough. One of my teammates, who her name was Casey Combo. At the time, she's since married, she gave me a book called Non Violent Communication, not because she knew I was struggling with this, but because she knew I was looking for different methods for clear communication that was not aggressive, that was not argumentative, but was clear and compassionate. And in this book, Marshall Rosenberg writes about emotional slavery, which was exactly what I was. I was an emotional slave. I believe other people's feelings my responsibility.   - Max Yoder And then he writes about emotional liberation. And he talks about these stages, the first stage, being emotional slavery of I assume your feelings as my own and my responsibility, and I carry them, and I get tired and you get tired. He says that a lot of times when people do that for so long, they might move into the next stage, which is basically disavowing other people's feelings. And right, about 50 people. That's really the only thing I knew how to do at that point. I was like, I can't carry all these feelings, so I'm just going to say no to all of them.   - Max Yoder We hired Megan Jarvis at that point or head of the yeah, wonderful. Right. And I was like, hey, Megan, I'm so glad you're here. I need you to take the ceilings, like, I just need to go high. But, like, that was so not fun for me, because being with people is why I like my job, you know? So hiding from the feelings, man, I wasn't going to like my job, so it was just not going to work. So depending on my energy levels, I'd either carry people's feelings or I would hide.   - Max Yoder And Marshall Rosenberg showed me that there's a third way. So those are two extremes right side of turning feelings all the way down to I don't care at all. So turning it down to 0% or turning it all the way up to a 100% care about everybody's feelings. And he makes it clear that there's this divine middle and that divine middle is emotional liberation, where I can be compassionate and show compassion to an individual. But I do not need to carry whatever it is that they are feeling, right, not my responsibility to.   - Max Yoder And the thing about the thing that I think this is so important for me in my life is I think this was my biggest blocker, my biggest blocker to grow like something that I may have gone through my whole life and never addressed if it were not for something like Lessonly. Lessonly is this thing that's bigger than me, and it needed me. It was either going to crush me if I didn't figure this out, or I need to figure this out to keep my job. I wasn't going to be able to do my job if I didn't figure this out.   - Max Yoder And so this bigger thing than me forced me to figure this out. And Marshall Rosenberg game is a blueprint of emotional liberation, and that's what I began to practice. And I don't know if I'm never going to be the same because of that.   - Max Yoder In a really, really healthy way. I don't feel responsible for other people's feelings anymore. I feel responsible for my feelings and kind of making sure that I take care of myself. I are responsible for my intent behind my behavior. I'm responsible for my behavior.   - Max Yoder I consider myself responsible for those things. Doesn't mean I consider you responsible for yours. I just telling you, I consider my response for those things. And so that's what I focus on.   - Max Yoder And the reason I bring that up is in the journey of lesson. Like, there's been nothing more important to me than this.   - Liesel Mindrebo Mertes I'm struck in finding that third way that you needed to develop a skill set of perhaps encountering the emotion. And I don't know if discharging is the right word, but even, like, energetically being able to release your feelings of responsibility, what what did that look like?   - Max Yoder Thanks for asking that. I mean, very clumsy at first. Right. Like, understanding something intellectually does not mean that I can do it. Well, I have to practice it again and again and again, which is a whole other topic we should discuss of. Just like, intellectual understanding is not knowing. Knowing is doing. You cannot know something without having done it is otherwise it's intellectual understanding. So I had to practice a heck of a lot and remind myself that when somebody came to me and brought something, it was always coming through the lens of their own experiences.   - Max Yoder And it was never simply about the thing that had happened. They were also bringing to me whatever else was going on in our life, because we can't separate that. We can't separate, like if we're having an emotionally charged home life and something happens at work, and it is like the straw that breaks the camel's back. What I hear from that person is just the work thing, right? What I don't see is all the stuff underneath the water that is happening. That is not my business, but it's always there, right?   - Max Yoder And when I would make a decision network Edwin Friedman, who wrote this book called The Failure of Nerve, he really helped me with this. He helped me understand that I'm always in a relational triangle with each person. And this was a big breakthrough for me. This is like something that intellectually, really helped me break through in terms of my practice, which was when somebody comes to me, there's always a third thing in the room, and that is a prior issue that they might be bringing, or I might be bringing or another person that they might be bringing to the conversation where I might be bringing.   - Max Yoder So to make it clear, like, Liesel, you and I are engaging right now, and we need shortcuts to kind of understand how to behave with one another. So we might filter through other people that we know that remind us of one another. And so when I meet people like Liesel, which this is just a brain by a shortcut, these things you'll come to mind. And in your case, I get a lot of warmth from you. But let's say I reminded you of somebody who really rub you the wrong way in the past.   - Max Yoder You might engage with me through the lens of that person. It's not just about me and you directly. It's a third thing that everything goes through and that's happening all the time everywhere. We're not directly relating to one another, relating through our past experiences and the people that we've known in the past. That helped me a lot, because when somebody would come to me and be really fired up about something that I thought was disproportionate to what it just happened, it helped me understand why that might be.   - Max Yoder There might have been a past issue, that this was emotional wound that was being poked at. It was not my responsibility, right? But I can sit there and be attached into the person. And maybe they don't understand that here, bringing that to the table. But I can have a sense like, this is not just about me and this person and this thing that's happening, they're filtering through their life. Right? And so when I realized that through Edwin Freeman, I realized it almost gave me permission to not carry things, because people are always bringing more to me than was between me and them.   - Max Yoder And I'm always bringing more to people that is between me and them. So I don't want them to carry my stuff. And I don't want to carry theirs. Does that help, or does that make sense?   - Liesel Mindrebo Mertes Yeah. That understanding. Did you find yourself needing? Some people engage in breathing exercises or they find themselves even to physically move as you are growing in this practice, there were things that you were like reading that were helping contextualize it. Were there other things that you like, embodied practices that were really helping.   - Max Yoder Oh, yeah. Getting sleep sober, sleep hugely helpful. Like, I can show up and be calm in a conversation in a much richer way if I do not drink booze before bed. And I don't mean, like, I mean any amount of booze. And this is a rule that I break a lot for myself, which is like even a glass of wine at 05:00 p.m. Or 06:00 p.m.. It affects my sleep. So if I really want to be the best version of me, I say no, and I sleep better.   - Max Yoder And it's just a fact of the matter. I am much less agitated. I am much calmer. So doing my pre work of getting exercise, eating well, sleeping well. And all those things are intertwined, what I eat and how I exercise to fix my sleep. So that matters to me a lot of just kind of taking care of myself and controlling the variables I can control. And then in that moment, if somebody's losing, they're cool in front of me or I'm losing my cool in front of them.   - Max Yoder And my therapist, Terry Daniel, says it can help basically coach me. It can help to put your hand on your stomach, like, on your skin. And it can be a safer thing to do when we're not physically in the room together. Like, let's say I'm having a different conversation over the phone, like, happening a lot over COVID. And just that skin to skin connection with myself can be very helpful. Breathing. Breathing deeply when I'm with somebody can be very helpful. Breathing and showing them slow my breath down can even be coming to them.   - Max Yoder So, yeah, there's physical things that I can do in that moment. And I hope it's very clear that I'm not suggesting that I nail this every time. Right. These are just tools that I have to do this a little bit better every day.   - Liesel Mindrebo Mertes Yeah. I think that's helpful. As you were beginning, you talked about this inflection point at 50 employees where you started giving more attention to the particular presence that you were bringing. What did you start to notice? Did you notice the difference in people's receptivity to you and the sorts of things they were saying back to you as you grew in this practice?   - Max Yoder Yeah. Here's one thing that comes to mind that I noticed is I noticed I didn't have to solve anybody's problems for them. And I used to think I had to, like, I used to think I had to come up with solutions. And more than anything, now, I can be with somebody ask them questions and ask them questions and do active listening. So, like, one of the things I learned through motivational interviewing is if somebody's telling me something instead of asking a question, saying something like, so maybe somebody comes to me and says they haven't responded to me three times.   - Max Yoder You're frustrated might be the way I summarize where I think that person is at based on what they just told me. And then they had to go, Well, not really frustrated, just a little bit irritated. Or they go, yeah, I'm totally frustrated, and they keep talking. And when I'm getting them to do with this verbally process, and I'm only doing that because when they verbally process this stuff, they come up with answers a lot better. Right. But if I'm talking the whole time, it's tough for them to find answers.   - Max Yoder So when I reflect what I'm hearing with a statement, it gives them a chance to keep talking so that they can kind of maybe all I have to do is just get it out. Right. Not keep it in, just say it to somebody. Some days that's all that happened, and two or three days go by and they call me and they say, I think I figured out what to do. Thanks for listening the other day, it just is it. And I'm somebody who wants to solve a problem.   - Max Yoder Right. But in fact, sometimes I'm doing somebody a major disservice by even if I got the answer right on the off chance I get the answer right. With the limited information I have sometimes saying, hey, maybe here's what you should do is a complete disservice to that individual, because me giving it to them might make them more likely to actually not pick it up and do it. But if I were to just a little calmer and let them give you that conclusion themselves, it's so much more powerful if they thought of it.   - Max Yoder Right. Like, you don't want to be told to do things. So sometimes even if it's the right call, we might do the opposite of what I've just been told because we got told to do it. But if somebody can figure it out themselves, that's the most powerful.   - Max Yoder That's the most powerful recipe, even if it's exactly the same thing I would have said. Right. And most of the time, of course, I don't have the answer. But I guess my point is sometimes even giving somebody the answer unless they're asking me for it.   - Max Yoder Right. Unless they're saying Max, I really want your feedback here, which is a whole different prompt. Right. But if they're not asking for it and give it a I can do a major disservice in that process.   - Liesel Mindrebo Mertes Yeah. I think that's such a good word, because I think especially as people get, we oftentimes promote people on their capacity to solve problems. It's a really valuable skill set to organizational growth and leadership. In my work, I call it the predisposition to be in a Fix-It, Frank.   - Liesel Mindrebo Mertes And what I heard and what you said is also a comfortability with a slightly extended time horizon. I think as I verbally process something that I see in the leaders that I work with, is there this imperative of like, well, we need to get it figured out now. We need to get it figured out in the moment. And I've got insights and I've got a history, and so I'll give it to you, and then you'll be happy. And how that short circuiting of the process, it can be a move of not believing that there's enough time to let somebody come to their own conclusion or not believing that they have the capacity of do so.   - Liesel Mindrebo Mertes So I've just got to give it to you in this moment.   - Max Yoder Right.   - Liesel Mindrebo Mertes And the cost that can be associated with doing that, I think he spoke really eloquently to.   - Max Yoder Well, thank you for hearing me out, because I think that's taking me a long time. Like, what I saw is the people who I would go to therapy with were very reluctant to give answers. So they were modeling for me, and I'd ask them why, and they teach me. And I don't consider myself a therapist. Right. But these people I do consider they are therapists. They're professinally, trained and in some cases, done it for 40 years. That's a long time. And there's a lot of mistakes being made in that process to their admittance, seeing them and seeing how helpful it was for me, but also knowing that there were times when I would go to that person to say I'd really like some advice.   - Max Yoder And I've opened the door at that point to hear them. And many times the advice they give me, I don't take it up with open arms. It's when that advice feels pushed, then that's when it doesn't work, right. When it feels pushed or forced. But when it's invited, that's a whole different motion.   - Liesel Mindrebo Mertes Right. So the acknowledgment of seeing a therapist of some of the things that they have helped you with. You recently did something for your company where you interviewed your therapist to talk about boundaries. I'd like to hear about why that felt important for you to do. And what were some of the key learnings that you felt like were really important for your people,   - Max Yoder Yeah. So while I was important and what do people take away from it? I can only tell you what to away from because they haven't seen the interview yet. At the time of this conversation, we have not shown it to them yet. But I'll tell you what I hope to take away from it. But I'll start with, hey, here's why this is important. Many of my teammates asked me about boundaries just completely unprompted. They would come to me and say, hey, I'm going on a vacation. I know that you encourage us to turn all of our stuff off, to delete our email and our delete our slack from our phones, so we're not going to compulsively check them.   - Max Yoder But I don't know if I'm comfortable doing that. And for whatever reason, they were not willing to accept themselves doing that they were concerned. And that's a boundaries challenge for me. I speak openly about having engaged with people that I love who have substance use challenges. And I speak openly about having to learn about boundaries in that process where I begin and they end in where they end, and I begin. It's a very important part of understanding how to be healthy in the midst of something that is really, really challenging, which is substance use disorder, which you might co alcoholism or any number of things.   - Max Yoder Right. So I speak openly about these things. People come to me, and it's clear to me that this is not something that we get a lot of attention. And I would generally share. See, if somebody wanted something from me, I would generally share a talk by Gabor Monte called "When the body says no" was good.   - Max Yoder He's a master, and he speaks about boundaries. Basically, caregivers tend to struggle taking care of themselves, and they'll just give care and give care and give care, and they will not care for themselves. They'll be asymmetrical in the way they give care. The way that they care for somebody else is one way. And the way that her from themselves is completely opposite. Basically, like, they don't deserve any care, but everybody else deserves all the care. And he basically talks about how this just Withers people away. So all of these things combined, I know boundaries are important in my life, and my teammates come to me and say they matter.   - Max Yoder Gabor Mate gives this talk. And when I share with people, they tell me like, oh, my gosh, my brain just blew open in such an interesting way because he's so profound. So I'm thinking, hey, this is a chance for me, too. And so I asked my therapist about how does he view boundaries? And he gave this just excellent off the cuff answer. And I was like, Can I just interview you sometime about this? And so we can share this with my teammates, because exactly what you just said.   - Max Yoder So he comes in and we talk about boundaries. And I thought it was important because I just it's just not talked about in our world. Right? We think Kind is doing things for other people, kind of at any expense to ourselves. Right. Like, well, they asked for it. So I got to give it because I don't want to be a jerk.   - Max Yoder It's like that. It's not. We have to counterbalance kindness with boundaries, with assertiveness. And I just see people who do not have those tools to be assertive, and it's very stressful for them, and I ultimately think it's slowly killing them. So I think this is important. So here's what I hope people take from it. When they hear a assertiveness, I think they maybe hear aggressiveness. And Terry is very clear that you can be assertive without infringing on anybody else's energy or anybody else's motion. Like, it's not about aggression, right?   - Max Yoder Those are two different things. Assertiveness is the ability to say yes or no based on you wanting to or not wanting to. And he says it ultimately comes from a place of self acceptance. If I enter a space and I accept myself, then I can assert my needs. And asserting my needs does not mean dominating your needs, right? It just means if I'm tired, somebody comes to me and says, hey, can we do this thing today? I might say if I'd like to do it tomorrow, I just don't have the energy today.   - Max Yoder I like to do it tomorrow. And if that person is not willing to accept it, I say I understand, but I still have the energy. Can we do it tomorrow? And he's like, if you don't accept yourself, you won't even ask. You may not even ask the question of can we do it tomorrow? Because you may be coming from a place to say, I'm not good enough in order to feel good enough, I need to answer this request. But he's, like an accepting person, believes they're good enough.   - Max Yoder They don't believe that they're going to be good enough by doing the request on the demanded time. Right. They're just good enough. And so he really clarified in a big way how self acceptance is key here. And what keeps us from exerting boundaries is a fear. And each person's fear might be different. But understanding what that fear is, it might be that you feel like you're not good enough for X, Y, or Z reason might be something different, but getting down to that fear and understanding it and and working through that is the way that we get to a place where we're comfortable enough to say no, thank you and stand by it and not be worried that that person, we're going to lose that person by doing so.   - Max Yoder So there.   - Liesel Mindrebo Mertes Well, and as I think of some of the responses and groups and surveys and the work that I do, I think there's an underlying fear for many people that if I assert this boundary, people aren't going to like me as much. They're going to think I'm lazy. And while you, as a leader, cannot, in a top down way, control people's responses to things like establishing boundaries or expressing vulnerability, that there is an element of culture creation that goes into this. How do we, as a group, you know, not always perfectly respond, but have more of a context where we, like, make the space for that.   - Liesel Mindrebo Mertes We make the space for it's okay to say no. We make the space for vulnerability. What are some of the ways that you have co created with some of the other leaders at Lessonly, a culture that says it's okay to do that? What are things that you have done that have moved the needle?   - Max Yoder Yeah. So if the executive team at Lessonly is unable to assert ourselves, like, if we are not assertive in a situation, if we say yes to every new thing that comes our way, we are not modeling what we need the rest of our teammates to do. So it's incredibly important that a certain boundaries in my life that the executive team set boundaries and their lives, that when it's too much, we say it's too much. That is the fundamentally most important thing we can do to make it okay for anybody else to do it.   - Max Yoder The opposite approach that does not work is the same as your boss saying, hey, I don't expect you to work on the weekends, but I'm gonna because, you know, I got a lot to do, but I don't expect you to, and that just doesn't work. You know what? People here, I better be working on the weekends, right? If your behavior is not aligned to your words, people are going to look at your behavior, right? Not your words. They're going to trust your behavior, not your words.   - Max Yoder So what I want to do is align my words to my behavior, which is to say weekends are sacred, just like winter is the season that allows for spring. And winter is a season where it looks like there's not a lot happening, but there is a lot happening. Sleep at a time when it look like there's not a lot happening, but there is a lot happening. We need weekends or it looks like there's not a lot happening, but there is a lot happening, right? This resting and recharging is incredibly important.   - Max Yoder And if I don't treat my weekends like I want to people to treat them. And then why would I believe they're going to do that? Right. I can't do anything more than that is just make the space to say like, I mean it when I say this, and I mean it because this is my behavior, and I need my executive teammates to mean it, too. And I need the managers to also mean it, too. And in some ways, that goes well in other ways. It doesn't.   - Max Yoder Right. But it's ultimately out of my hands to some degree. Right. If people are going to pick that up, if we have a chronically, chronic challenge of the teammate, it's my responsibility to have a difficult conversation with them and let them know how important their modeling is, no doubt. But ultimately they're going to make the call if they want to change their behavior or not. And it's out of my hands if I'm doing it myself.   - Liesel Mindrebo Mertes I'm struck right now that it's a tight labor market for many people.  Lessonly is growing. You're wanting to bring more people on. Do you feel like you have seen a through line towards creating this kind of culture where rests and seasons and vulnerability is upheld and valued and the way you're able to attract and retain talent?   - Max Yoder I think we understand part of the recipe, but we exist in a system, though, that is chronically overworked and systems win. Like individuals, we've created a system a lesson that I'm really proud of. But we're also in this broader work environment, in this cultural environment of overwork. And unfortunately, those systems, if we don't kind of remove ourselves from them and do a lot of extra work, they win. The bigger system wins. The culture wins. If they didn't win, we wouldn't probably have 25% to 50% of the population reporting depressive States.   - Max Yoder Right.   - Max Yoder The culture is winning. We've optimized for economic growth, we've optimized for consumerism, we've optimized for commercialism. We haven't optimized for well being. And look what we're getting, right. We're not getting a lot of well being because the system is not in support of of that. So it's discouraging. It just is. And so we can only do so much less only to turn the tide. But it's our job to at least try. And one of the things that I find complete myself to be completely powerless to change is that there is no winter in software.   - Max Yoder There's no winter in the business world. There is no period of three months like there is for a pro athlete or for a farmer, where we work really hard and we plant and then we harvest. I'm not a farmer, so I'm not going to use all the right words, but we create a crop or mini crops. And then we have this period with winter where we take our time to rebuild. And pro athletes have their own seasoned in their off seasons. And this is wise. This is wise.   - Max Yoder I have not figured out how to recreate that in the business world. And I don't know if I ever will. It just is the system at work, right? Our customers, even if we take that time off, if we were to say less, only going to B nine months out of twelve, we're going to lose deals because there's a lot of deals because people need us for those three months, they were going to be off, right? Because they're going to be on. So, you know, it's not an excuse.   - Max Yoder It's just me saying, like, I don't know how to do it, right.   - Liesel Mindrebo Mertes The pressures of the prevailing system of capitalism that prioritizes growth and efficiency above all else.   - Max Yoder You said it well.   MUSICAL TRANSITION   We'll return in just a moment for the final portion of my engaging interview with Max.  But I want to take a moment to thank our sponsor, Handle with Care Consulting.  In the midst of the unrelenting stressors the last year and a half, are you giving your people what they need to stay engaged?  Empathy is key to building the sort of culture of connection that Max is talking about at Lessonly.  And the good news is, it is a skill that can be learned!  If you want help in skill-ing your people up in empathy and creating a place where people want to come to work, Handle with Care Consulting can help.  With interactive keynotes, empathy at work certificate programs, and coaching options, we can help you show care when it matters most.   MUSICAL TRANSITON   - Liesel Mindrebo Mertes I would love to hear about times when building connection at your workplace have felt easy for you and why you think they felt easy. And then I'm going to have to underside. What are times when building connections felt really hard for you and why you think to start with when it felt easy?   - Max Yoder Yeah. When it's all easy to build connections, when I am accepting on myself to go back to Terry Daniels lesson. I mean, it has everything to do with my my internal system being an equilibrium, you know, which is a delicate thing, right? One night of sleep and throw it off. But when I am in this place of peace with myself, I'm able to bring peace to my connections and not view myself as needing to be anything other than what I am. But when I'm not at peace with myself, I can go to a state of judgment and criticism.   - Max Yoder And if I drop a ball or miss a mark and these are judgments that I would make of myself, you mess that up, you drop this ball, you miss that Mark. Those are all judgments in their evaluator language. It can be very harsh with myself and showing up to a situation. Putting intense pressure myself does not increase my connection to the person in front of me or the room in front of me. But when I show up and just say, like, you know, I accept myself, and acceptance does not equal agreement.   - Max Yoder Like, acceptance does not mean I've got it all figured out. Therefore, I'm good. Acceptance just means I'm willing to look at my own behavior and accept it. Whether it's behavior that I can objectively say is life giving or soul sucking, I have to be able to look at it to accept myself. And once I can look at it, I might be able to make changes. But if I can't look at something, it's tough to change it. Right. So acceptance is not about saying I like everything that's going on in my life, just about saying I'm willing to look at everthing that going in my life with in an even handed way.   - Max Yoder And when I accept myself, I can show up to a room with my new teammates or my old teammates or a mixture of the two and be peaceful in front of them and talk about mistakes without feeling ashamed and talk about things that I'm proud of without feeling ashamed and and share my humanity. And if I can do that, it maybe gives another person's permission to do the same. So I think it has everything to do with my personal system, being in a good spot here and then acknowledging that my personal system is often not in a good spot to folks so that they understand, like, hey, they're not dealing with somebody who's got this figured out, right?   - Max Yoder Like day in and day out. I might have a different equilibrium, or I might have a different disequilibrium, right? It's not about coming at this from a place like I've got this oneness every day. I certainly do not do. Not at all. Right. But when I'm at peace, I can connect better. And I find that to be a really fun time in that journey towards self acceptance.   - Liesel Mindrebo Mertes Something consistent theme that I hear from leaders is just the particular burden of other people's expectations about what it looks like to lead or manage change in a given season; as you are seeking that equilibrium and self acceptance, what about when you smack up against somebody else's? Like, judgment? I needed you to be different. I wanted you. You're not doing it the way that I would like for you to. How do you encounter those voices, real or perceived and still work to maintain well in the balance?   - Liesel Mindrebo Mertes Because sometimes we do need to change. Sometimes it's like, oh, that was a blind spot. I need to change. And sometimes we need to be able to have the discernment to say, like, hey, that's your stuff, not mine. How do you navigate that process?   - Max Yoder You nailed it, right? How much does this person love me? Is my first question. How well does this person know me? If it's my wife, I know she deeply loves me. And when she brings me something where she says, hey, what I got and what I needed were far apart, I'm listening. I'm not sitting there saying, hey, your expectations of me don't matter, right? I'm listening. It might not be that I agree with everything she says, right? But I'm definitely not shutting it all out either, right?   - Max Yoder She is just like me going to come at this from an emotional triangle of past wounds, but doesn't mean that there's not real meat on the boat when she's frustrated. Right now, if somebody needs something from me and I don't know them very well, and I'm skeptical that they love me or know me really at all, it's not that challenging anymore for me to just kind of let that. There's a moment at first that I go back to my old self of getting defensive or being hurt.   - Max Yoder And it's more than a moment sometimes, right? It could be an hour. It could be 2 hours. It could be 3 hours. It could be a good night sleep that needs me through it. But then I'm like, yeah, that's okay. Life is too short. So it depends on my relationship to this individual. And Brene Brown has the idea of the Square Squad, where, you know, the coal world can't be my critic, and I can't have nobody has my critic either, right? I need the people who love me, care about me.   - Max Yoder And if the Square Squad is the one inch by one inch piece of paper where I can put the names of the people who I know love me, who will tell me the truth as they see the truth, right? They're version of the truth, and I know that they're not going to willingly hurt me for fun. And those are the folks who feedback. I am a lot more. I'm a lot more discerning with. Right? But if somebody's coming out with this condemnation or an unspoken expectation and they say you didn't meet my unspoken expectation, like, that is not my problem because it's an unbroken expectation.   - Max Yoder There was no agreement there. I've got a chapter and Do Better Work, which is a book I got to write a couple of years ago that uses Steve Chandler wisdom of expectations versus agreement. Like, if we did not agree to that thing, then we have to get that agreement now and then begin to hold another accountable going forward. But if we didn't have an agreement and you're mad about not spoken expectation, like, I need you to look in the mirror and say, like, hey, we get an agreement because I don't remember the agreement now, and I can't read your mind, and we don't need to go back and litigate the path that you're frustrated about when we didn't have this agreement.   - Max Yoder Just an unspoken expectation. But we can make an agreement now. And an agreement is not you dictating at me or me dictating you. It's us going back and forth and negotiating a course of action that we say, okay, this feels good collectively. You know, that is a relationship. When we do that, the other thing is just, you know, I can't live in a world where I just have to respond to everybody's unspoken expectations.   MUSICAL TRANSITION   - Liesel Mindrebo Mertes Something that I like and have appreciated. I think I've been getting your emails for, like, the last two years just because I enjoy reading them.   - Liesel Mindrebo Mertes But you compiled them into a book that you just referenced. Do Better Work. You have a new book coming out. Tell us about that.   - Max Yoder Yeah. So I took those notes and compiled it. So the first book do better work. I'd been writing notes, took some of those, turn them into chapters. This one is called To See It, be It. And I'll say that a little slower to see it. Be it. The idea is, if you want to see it, be it. And that's the best you can do. Right. I want to see more patience in this moment. Bring patience. If you want to see more creativity in the world, bring creativity.   - Max Yoder And then let go of all the other stuff of what you want other people to be doing, because I think it's just very, very common and very easy to get wrapped around the axle of what other people are not doing. And I honestly think some people will die spending most of their time complaining about what somebody else is or is not doing instead of going, do I do what I value? Right? Do I live by what I value? And, of course, the answer is going to be no, because nobody does that perfectly.   - Max Yoder And then the next question, if the answer is no, what it always is, how can I begin to spend more time doing what I value? And let go of worrying about what anybody else is doing?  And, of course, there's a relationships with husbands and wives and kids were that's incredibly difficult, right. And there might have to be boundary set where I feel like I'm living my values over here and there's somebody else in my space consistently that I just don't feel like I can do my best self around.   - Max Yoder That might require boundaries of separation. I just don't be together anymore. But what I'm getting at is, I think one of the greatest things we can do for ourselves to say what I want to see in the world, and how do I, at the time align to what I want to see in the world? And I think what happens when we do that is we either find that the things we want to see in the world has validity to them. We start to live them, and we start to see that they're very life giving.   - Max Yoder Like, let's just use an example of getting good sleep. I want to see people well rested in the world. Well, I can't control how you sleep. I can control how I sleep. So if I take care of my rest, I want to see it, and I'm being it, right. And I can let go of all the other things. But at least I'm doing the thing that I want to see more people doing, and I'm letting go of whether they're doing it or.   - Liesel Mindrebo Mertes Yeah, not.   - Max Yoder And as I do that, I might say, hey, this feels pretty good. Like I had a hunch that sleep taking care of sleep was going to be helpful. And look how beautiful life is now that I've been able to take care of my sleep, which I understand is not an option for everybody. But I'm saying it's an option for me. So sometimes living my values strengthens those values. Other times, living things that I believe I value, like I intellectually value it, and then I start trying to live it.   - Max Yoder I found out, oh, I don't really value that as much as I thought I would putting into practice. I see that there is that there are problems and there are always problems with any value is taken to an extreme. Like loyalty. I value loyalty. Taken to the extreme, it becomes blind loyalty. If I turn it all the way up to 100% loyalty, I become blindly loyal. If I turn all the way down to 0% loyalty, I don't have any loyalty at all. Right. I need to have that loyalty dialed into something somewhere in the middle counterbalanced with once again assertiveness and boundaries.   - Max Yoder I'm loyal to somebody, but not at the expense of my own mental health and well being. It those two things counterbalance one another. So only by living that value do I learn those hard lessons, in my opinion. Right. I can't learn them intellectually. I have to live them and say, oh, wow, I do value this, but I value a different permutation of it than I thought. That makes sense.   - Max Yoder So that's what the book that's the first chapter of the book is, or the first note in the book. And then there's 24 notes after that of other things that I just think are important, and I share them because they help me and they help somebody else. Great. I just know for a fact that all 25 of them help me. And my hope is that maybe one day somebody picks them up and they want to read the book. Right. They're choosing to read the book. And one of the notes, as as it helps me in the past, helps them in a similar way or a different way altogether.   - Max Yoder That is healing as the whole point of the book.   - Liesel Mindrebo Mertes Right. Well, and your writing is accessible. It's oftentimes encompassing story. It's nice digestible bits of wisdom that you could blaze through all at once, so you could flip through and take a little at a time. So I'm excited about this new offering.   - Max Yoder Thank you for being open to it. It's a great joy for me to write. I got to dedicate it to my daughter, and I dedicated to her because I just want I could get hit by a bus one day. Liesel. My dad owns a funeral home, and my dad's dad started a funeral home. My dad and his brother ran the funeral home for last 30 years, 20, 30 years. And people just get they just leave, right? They don't choose to go a lot of the time. It's not old age that takes us all.   - Max Yoder So I'm very highly aware that, like, is not my choice when I get to go and so writing for me is a chance to capture a bit of my spirit. And if I have to go for whatever reason, my daughter can pick up this book and do better work and and catch a little bit of her dad and deeply special to me to be able to capture a little bit of my spirit. And it really forced the genuineness out of it.   - Max Yoder Right. Because I don't want it.   - Max Yoder I don't want my I got to be genuine under that premise. Right. Like, I got to say what I believe, what I mean and what I stand by, because I don't want my daughter reading about somebody who didn't exist.   - Liesel Mindrebo Mertes Right. Or reflecting in an individual that is not integrated with their best thoughts. Like, we're always seeking that integration, but you don't want a glaring gap between what you say and how you live, right.   - Max Yoder And I want her to see that I hurt. I make mistakes. Right. She's not going to get a picture of a perfect human being because I've never been one of those and they don't exist. She's going to get a picture of somebody who struggled, and that's what I want her to have, because that's the model I want to be. Hey, life is a lot of struggle, and there's a lot of beauty in that, you know, a lot of beauty in that. I've been very fortunate in that struggle, right.   - Max Yoder I always had a roof over my head. I always had food to eat. I don't pretend my struggles like anybody elses, but I can tell you struggle nonetheless. And I don't want her to think that life should just fall into place and be peachy. And that's what life is.   - Liesel Mindrebo Mertes So as we draw near the end of our time for listeners who say I want to build more connection in my workplace, I want to be part of that change.   - Liesel Mindrebo Mertes I know it's a broad question, but what words of insight would you offer to them as they think about how to go about doing that?   - Max Yoder So I want people to ask themselves, what do I value? And how do I, 1% of the time seek to live that value and become symmetrical and congruent with what I value in my behavior? And then how do I learn in that process? Because that's the best I can do. And if I'm in a system like, let's say I'm in a work system where it does not align to my values, I have to ask myself, Am I willing to change into those systems value because the work system will change every person in it if they stay long enough, right?   - Max Yoder It could even change them quickly. But if I'm in a system that is not congruent with my values, I'm going to be nervous because it's possible that that system actually has values that are very life giving. It stay long enough, I'll find out. But if I find out they're not life giving, I stick around. There is a casualty there. There is a loss there. So my ask to people is if you want to see it, be it and then pay attention to what the system cares about.   - Max Yoder And if the system is so disproportionately, caring about things that are not what you care about is very important. If possible, you get out.   - Liesel Mindrebo Mertes That's a good word, Max. Are there any questions that you wish I would have asked you that I didn't ask you?   - Max Yoder Let's see. I mean, I've talked about values a lot, so real quickly, I think something that I love talking about is this idea of reciprocity. Liesel, yeah.   - Liesel Mindrebo Mertes Tell me more.   - Max Yoder Yeah. So reciprocity is idea of I give what I get. And so let's say I get kindness from somebody, so I give it back. But a lot of times reciprocity comes through in a relationship where people are not communicating very clearly, when maybe somebody is struggling and they take their aggression out at somebody else, reciprocity is oftentimes somebody yelled at me. So I yell at them. Somebody didn't respond to my message, so I don't respond to their message. So it becomes I give what I get. And reciprocal cultures, if we're having behaviors that are life giving really beautiful, right?   - Max Yoder Because somebody gives me patience. Ideally, I respond to them with patience, right? Somebody gives me support. Ideally, I respond to them with support. Reciprocity is not necessarily something that is good or bad. It just is. And it resides about giving what we get. So what's the alternative to that? Well, it's living by values, which is, I think, supremely important to understand. If somebody comes to me, maybe somebody doesn't respond to my message that I sent them. And then later, they need something for me. So now they're asking me for my time.   - Max Yoder If I'm reciprocal, I say, Well, they didn't respond to me when I needed them, so I'm not going to respond to them. But if I value driven, I say I value communication, right? I value support, and I would have value that person responding to me when I needed their help. So regardless of the fact that I didn't get it from them, I'm going to give it to them, not out of fight, not to show them the way. Right. Because I value it. It's really important that we get those two things.   - Max Yoder It's not out of fight, right? It's not to prove anything to this person. It's because I value it. So if you're not having difficult conversations with me, it's not an excuse for me because I'm not living in reciprocal life. I believe in difficult conversations. I believe in having them. I'm going to have them with you. And that's the best I can do. You may not respond in the way that I hope that's out of my hands, right. I just value difficult conversations. I value patients. I value forgiveness whether I get them or not.   - Max Yoder So I think reciprocating can be a race to the bottom. It can be this kind of slippery slope of just degrading cultures, degrading relationships, and values based living. If I do it because I value it, not because I get it in return is the answer, in my opinion.   - Liesel Mindrebo Mertes I love it. I agree.   MUSICAL TRANSITION   Here are three key takeaways from my conversation with Max and I have to confess, there were definitely more than three valuable takeaways, but I have narrowed it down to these three…   Where are you in the spectrum of people pleasing?  Max talked about emotional slavery (feeling responsible for the emotions of others), and emotional disavowal (rejecting the emotions of others), and the third path of emotional liberation:  being able to adknowledge the meotions of others without being ruled by them.  Where are you find yourself most often ending up? Remember, there is always a third person or situation in each interaction:a relational triangle. People bring their previous experiences, their wounding, their successes, and their home life to a given situation.  It is important to acknowledge this reality because it helps us to contextualize situations.  Max encouraged listeners to ask the question, “What are my values?” and then to take a good look at the organization that they are a part of.If you organization is acting, consistently, against your values, there is a cost.  And maybe it is time to leave.    MUSICAL TRANSITION   OUTRO   Max Yoder:  Do Better Work Robert Sapolsky:  Behave:  The Biology of Humans at Our Best and Worst Robert Zapolsky:  Why Zebras Don't Get Ulcers Gabor Mate:  When the Body Says No Marshall Rosenberg:  Non-Violent Communication 

Twice 5 Miles Radio, hosted by James Navé, welcomes master storyteller and actor Regina Ress (http://www.reginaress.com) to the microphone. When you first read this show's title, The Past Becomes the Present; you might say, "obviously, how could it not?" You might go on to say, "when you think about it, the past not only becomes the present, it also compliments, shapes, creates, and informs the present." The idea that the past becomes the present reminds me of the opening lines of T.S. Eliot's poem The Wasteland, "Time present and time past / Are both perhaps present in time future / And time future contained in time past." Regina and I start this conversation about acting and storytelling in the present. Then Regina quickly turns our discussion to the past through stories of the young bohemians in New York's Greenwich Village in the early part of the 20th century, 1900-1925. Regina tells us that some of the notable people on the scene were Edna St. Vincent Millay, Eugene O'Neill, John Reed, and Mabel Dodge. By touching on those early years in Greenwich Village, Regina beautifully illustrates how the past becomes the present, especially in artistic communities. The early New York bohemians influenced many generations of artists who went to Paris, Taos, Black Mountain College, and countless, far-flung places all over the globe. It seems as Regina points out, that art and restlessness go hand-in-hand. In this conversation, Regina reminds us that storytelling is the number one delivery system that allows the past to become the present. We are who we are because of the stories we've been told, the stories we know, and the stories we tell. We exist in a timeless cycle full of all things, including stories. "Time present and time past / Are both perhaps present in time future / And time future contained in time past." Enjoy this interview.

Director John Schlesinger's Darling was nominated for five Academy Awards, and introduced the world to the transcendently talented Julie Christie. Suddenly the toast of Hollywood, Schlesinger used his newfound clout to film an expensive, Panavision adaptation of Far from the Madding Crowd. Expectations were huge, making the movie's complete critical and commercial failure even more devastating, and Schlesinger suddenly found himself persona non grata in the Hollywood circles he had hoped to conquer. Given his recent travails, Schlesinger's next project seemed doubly daring, bordering on foolish. James Leo Herlihy's novel Midnight Cowboy, about a Texas hustler trying to survive on the mean streets of 1960's New York, was dark and transgressive. His decision to film it began one of the unlikelier convergences in cinematic history, centered around a city that seemed, at first glance, as unwelcoming as Herlihy's novel itself. Glenn Frankel's Shooting Midnight Cowboy tells the story of a modern classic that, by all accounts, should never have become one in the first place. The film's boundary-pushing subject matter―homosexuality, prostitution, sexual assault―earned it an X rating when it first appeared in cinemas in 1969. For Midnight Cowboy, Schlesinger―who had never made a film in the United States―enlisted Jerome Hellman, a producer coming off his own recent flop and smarting from a failed marriage, and Waldo Salt, a formerly blacklisted screenwriter with a tortured past. The decision to shoot on location in New York, at a time when the city was approaching its gritty nadir, backfired when a sanitation strike filled Manhattan with garbage fires and fears of dysentery. Much more than a history of Schlesinger's film, Shooting Midnight Cowboy is an arresting glimpse into the world from which it emerged: a troubled city that nurtured the talents and ambitions of the pioneering Polish cinematographer Adam Holender and legendary casting director Marion Dougherty, who discovered both Dustin Hoffman and Jon Voight and supported them for the roles of “Ratso” Rizzo and Joe Buck―leading to one of the most intensely moving joint performances ever to appear on screen. We follow Herlihy himself as he moves from the experimental confines of Black Mountain College to the theatres of Broadway, influenced by close relationships with Tennessee Williams and Anaïs Nin, and yet unable to find lasting literary success. By turns madcap and serious, and enriched by interviews with Hoffman, Voight, and others, Shooting Midnight Cowboy is not only the definitive account of the film that unleashed a new wave of innovation in American cinema, but also the story of a country―and an industry―beginning to break free from decades of cultural and sexual repression. Martin's interview with Glenn Frankel was recorded on April 27, 2021.

James Navé welcomes LEAF Global Arts founder Jennifer Pickering to the Twice 5 Miles Radio Microphone. In this dynamic conversation titled Think Globally, Jennifer discusses her expanding commitment to being a local leader and a global citizen. The LEAF Global Arts organization resides in Asheville, North Carolina, Jennifer's hometown. But, to be more precise, Jennifer grew up in the Swannanoa Valley on Camp Rockmont, her family's business for many years, and the former campus of Black Mountain College. LEAF Global Arts and Black Mountain College Black Mountain College (1933-1957) took an experimental non-hierarchical approach to higher education. A former Black Mountain College student, Rena Rosequist, who ran the Mission Gallery in Taos, once told me she watched Buckminster Fuller (who taught at the college) erect his geodesic dome by Lake Eden only to watch it collapse before lunch. After lunch, Fuller, who knew how to think globally, raised it again. Like Buckminster Fuller, Jennifer Pickering erected the LEAF Festival around Lake Eden in 1995. You can think of it as another kind of dome that has housed twenty-five years of dreams and visions imagined the festival-goers numbering in the tens of thousands, many of whom, like Jeniffer, know how to think globally. LEAF Global Arts Around the World Jennifer's grand vision of The LEAF Festival grew into LEAF Global Arts, which expanded far beyond Lake Eden to Bequia, Rwanda, Guatemala, Mexico, Tanzania, Costa Rica, Panama, Haiti, and Ivory Coast Saint Vincent. On the homefront, you'll find Jennifer, along with her think- globally staff, busy at work in their new downtown Asheville LEAF Global offices at 19 Eagle Street in a neighborhood everyone knows as The Block. Back Home in Asheville What are they busy doing? Well, I'll tell you. They are busily cultivating a thriving global community inspired by the power of curiosity, fueled by the desire to make meaningful connections, and driven by their commitment to foster cultural preservation through worldwide music, arts education, and international experiences. Jennifer Pickering dared to think globally and made a difference in the world. Jennifer understood she could not go it alone. So Jennifer asked and received plenty of help along the way. When you think globally, you quickly realize we can only achieve our greatness with the help of others. The most important person on earth is the one right in front of you. Enjoy this interview with Jennifer Pickering,

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt's Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage's residencies at North Carolina's Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg's friendship with Lionel Trilling, James Baldwin's transformation into a Civil Right spokesman, Susan Sontag's challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America's once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Pulitzer Prize-winning author and cultural critic Louis Menand joins the show to celebrate his phenomenal new book, THE FREE WORLD: Art And Thought In The Cold War (FSG). We get into his process for chronicling the artistic, cultural, intellectual, technological and literary movements of the postwar era, the stories of the lives behind those movements and how he threads them together, what we mean when we talk about freedom, why writing can be like kicking open a rolled-up carpet, and the toughest art form to write about. We talk about the influence of John Cage (whose work we both dislike), the amazing creative lineage of Black Mountain College, the ~75,000 words he had to cut (the book is plenty hefty as is) and why he would have liked to include a chapter on Japan's art scene, the role of the CIA in funding movement and artistic venues, and the one person he regrets not interviewing for this project. We also discuss his pandemic life, the One More Book he wants to write, his father's anti-anti-Communist stance, the book's original title and why it had to change, and why his students at Harvard seem more interested in the '50s than the '60s. • More info at our site • Support The Virtual Memories Show via Patreon or Paypal

Oh boy, dear listener. Silence is violence, and the patterns of racial violence that predicate the notion of Asian Americans as "not belonging" directly ties to US history. Look no further than today's artist, Ruth Asawa, who was forcibly detained in a WWII Japanese Internment camp on US soil. This American sculptor took her lifelong passion for art and her outstanding resilience, and radically transformed wire-crocheting baskets into something extraordinary and bizarre. After all, it was Ruth herself who said, "I would not be who I am today had it not been for the internment, and I like who I am." Join us as we discuss the atrocities of racism, gush about the Black Mountain College, celebrate the concept of true love, and make a ton of noise around the fact that her arts education space inspires both of your BYWAP hosts to start a school together. Things have changed, but we're changing with it. Donate. Sign petitions. Support Black-owned businesses. Challenge racism. Educate yourselves. Listen. Speak. Repatriate. Stay Safe. Don't Touch Your Face. Wash Your Hands. Donate! Donate to Black Lives Matter LA, the Action Bail Fund, Black Visions Collective. Please be sure you've signed petitions. If you like what we do, you can support BYWAP over on our Patreon! Find us online! You can follow BYWAP on Twitter and Instagram. You can also find us over on our website! We want to hear from you, to share this time with you. We're in this together, and we're better together. Please leave us a review wherever you listen to podcasts. Every little bit helps as we grow, and we cannot wait to talk to you all again. This is global. Your voice matters. Systemic change is possible. It will not happen overnight—so keep fighting! We stand with you. Our music was written and recorded by Elene Kadagidze. Our cover art was designed by Lindsey Anton-Wood.

Dorothea Rockburne (Canadian, b.1932) is a painter and a draughtswoman, as well as a mixed media and installation artist. Born in Montréal, Quebec, Rockburne began classic training in Painting, Drawing, and Sculpture in 1942 at the Ecole des Beaux-Arts, Paris, France, where she studied under the Abstract artist Paul Emile Borduas (Canadian, 1905–1960). After winning a scholarship, Rockburne studied at the Montréal Museum School, where she began to distance her artistic style from the classical manner she had been studying since a young age. Moses Martin Reinblatt (Canadian, 1917–1979), one of Rockburne’s teachers at the museum school, convinced her to apply to Black Mountain College in Asheville, NC, which was known for being the radical art school of the time. Rockburne attended Black Mountain College from 1950–1955, studying a variety of subjects including Painting, Music, Dance, Math, Theater, Linguistics, Philosophy, Literature, Writing, Poetry, and Photography. Rockburne moved to New York, NY after she graduated. Although she won the Walter Gutman Emerging Artist Award in 1957, Rockburne struggled with her art, and so she turned to dance and performance art for several years. During this time she took on some side jobs to support herself, including a bookkeeping job at the Metropolitan Museum of Art, NY, where she catalogued the Egyptian Antiquities collection. Rockburne took a great interest in the art of ancient Egypt from a young age, and she later incorporated this interest into her works entitled Egyptian Paintings (1979–1980). In 1963, Rockburne began assisting her friend and former schoolmate Robert Rauschenberg (American, 1925–2008). For the next five years Rockburne worked in Rauschenberg’s studio; she participated in various performances with other artists, including Claes Oldenberg (b.1929) in a work entitled Washes (1965) at Al Roon’s Heath Club in New York City. A year later, Rockburne was working in her own studio again. She incorporated mathematics into her art, inspired by dance and how the body moves through space. Rockburne produced her Set Theory installations, which were first shown in 1970 at the Bykert Gallery, NY, with this new inspiration. In 1972, Rockburne received a Guggenheim Fellowship and traveled to Italy, where she continued her studies in Italian Art, and began to merge her classical training into her work. In the early 1990s, Rockburne began to study Astronomy and frescoes, combining these interests to create a major fresco secco for SONY headquarters in New York City entitled Northern Sky, Southern Sky (1992–1993). In 2001, Rockburne participated in the comprehensive exhibition The Universe: Contemporary Art and the Cosmos, combining her knowledge and skill in Art, Music, Science, and Astronomy. She has received many awards and honors during her successful career including the National Endowment for the Arts grant (1974), the Witowsky Prize for Painting (1976), participation at the 1980 Venice Biennale, and a membership in the Department of Art at the American Academy of Arts and Letters (2001). https://www.dorothearockburne.com @tipntell tipntellpodcast@gmail.com Host & Cover Art: Cydney Williams @cydneywilliamsstudio Sound & Music: Ian Eckstein @ian_eckstein Listen on Breaker, Google Podcasts, Pocket Casts, Radiopublic, Spotify, Copy RSS, Anchor, Apple Podcasts, Youtube, & IGTV

Direction les USA et plus précisément la Caroline du nord où, pendant vingt ans, s’est épanouie une expérience d’enseignement artistique hors norme flirtant avec l’avant-garde, le Black Mountain College. Un établissement qui éclairera de 1933 à 1957 de futures stars de la peinture (Robert Rauschenberg), du cinéma (Arthur Penn), de la danse (Merce Cunningham) sur tous les champs artistiques mais aussi sur les mathématiques, la philosophie, la physique, la psychologie ou l’histoire. Animé par des maîtres du Bauhaus ayant fui le régime nazi, le BMC comptera aussi comme "transmetteurs" Willem De Kooning et John Cage. Plus qu’une école, c’était une sorte de communauté autogérée par ses professeurs et étudiants qui subvenait à ses besoins matériels par l’agriculture et le travail manuel et qui s’imposera comme un haut lieu de la pédagogie "par l’expérience." --- Olivier Monssens poursuit son exploration des mouvements, personnalités et phénomènes libertaires, contre-culturels ou de contestation (au sens large) qui ont tenté de changer le cours des choses et ont parfois apporté de vraies révolutions dans les idées, la société, la vie, abordés par thèmes illustrés d'archives belges et internationales. Il sillonnera désormais toutes les époques : celles qui furent le creuset de tant d’utopies toujours, mais aussi les années 80, 90 et jusqu’à aujourd’hui. Le samedi entre midi et 13h sur Classic 21. --- ''Radio Caroline'' avec Olivier Monssens de midi à 13h tous les samedis sur Classic 21.

Direction les USA et plus précisément la Caroline du nord où, pendant vingt ans, s’est épanouie une expérience d’enseignement artistique hors norme flirtant avec l’avant-garde, le Black Mountain College. Un établissement qui éclairera de 1933 à 1957 de futures stars de la peinture (Robert Rauschenberg), du cinéma (Arthur Penn), de la danse (Merce Cunningham) sur tous les champs artistiques mais aussi sur les mathématiques, la philosophie, la physique, la psychologie ou l’histoire. Animé par des maîtres du Bauhaus ayant fui le régime nazi, le BMC comptera aussi comme "transmetteurs" Willem De Kooning et John Cage. Plus qu’une école, c’était une sorte de communauté autogérée par ses professeurs et étudiants qui subvenait à ses besoins matériels par l’agriculture et le travail manuel et qui s’imposera comme un haut lieu de la pédagogie "par l’expérience." --- Olivier Monssens poursuit son exploration des mouvements, personnalités et phénomènes libertaires, contre-culturels ou de contestation (au sens large) qui ont tenté de changer le cours des choses et ont parfois apporté de vraies révolutions dans les idées, la société, la vie, abordés par thèmes illustrés d'archives belges et internationales. Il sillonnera désormais toutes les époques : celles qui furent le creuset de tant d’utopies toujours, mais aussi les années 80, 90 et jusqu’à aujourd’hui. Le samedi entre midi et 13h sur Classic 21. --- ''Radio Caroline'' avec Olivier Monssens de midi à 13h tous les samedis sur Classic 21.

In the second of two episodes, Cathryn the Grateful joins Arlia to discuss our societal transformation, the rise of the Divine Feminine and her work in The Living Temple. Topics covered: How she sees our current unraveling and what she thinks will save our world. Why she believes in The Poor People's Campaign The power of women and their sexual energy to shift our society's priorities. The rising of the Divine Feminine and her favorite books about it. The role of the awake men in her life. Returning to simple pleasures, living simply. The legacy we want to leave our children. The faith in the collective awakening to reshape our world Her daily practice at The Living Temple. How to not be discouraged in this process. About Cathryn: Cathryn Davis was born in Macon, GA and raised in Asheville, NC by an artist and a psychologist. When her mother said, “Life isn't fair,” Cathryn responded, “I'm here to make it fair” (to which her mother replied with a grin — “good luck with that”) and from there, a journey of joyful justice work has unfolded. Cathryn's love of community, creativity, and the Earth was cultivated at an early age as a member of Jubilee! Community Church in Asheville (where she was ordained a Minister of Movement in 2018). She trained as a clown in her teens, and was active in theater and debate throughout high school. A graduate of the University of North Carolina – Chapel Hill, Cathryn moved to New York in her twenties, where she conceived and created FULLY AWAKE, a feature documentary about the legendary Black Mountain College (1933-1957) an experiment in education that birthed the American Avant Garde. The film has screened worldwide from art museums to film festivals to community centers.  Cathryn began her civic work as a 13-year-old volunteer for Senate candidate Harvey Gantt (running against Jesse Helms) and worked on two campaigns in NC, planting a lifelong interest in politics. Aware of the deeply entrenched injustice of unfettered capitalism and systemic racism, Cathryn has taken part in actions as part of Occupy Wall Street, a lawsuit against Monsanto, the SC Poor People's Campaign, as well as creating a WAKE THE NATION documentary film series and other awareness-raising campaigns for justice issues.  A graduate of the Institute of Integrative Nutrition, Cathryn is a committed student of planet, producing public television shows about gardening and permaculture for Growing a Greener World and working for an open-pollinated seed company, Sow True Seed.  A passionate sacred activist, Cathryn strongly believes in the importance of creativity, storytelling, and community as we co-create a just world for all. She served as Executive Director of Enough Pie, a non-profit in Charleston, SC's Upper Peninsula that uses creativity to connect and empower the community for the past six years. Enough Pie (www.enoughpie.org) works with community members to co-create creative, out-of-the-box ideas and partnerships that embolden people to take action. She is also the founder of The Joyful Revolution (www.joyfulrevolution.org), a movement for planet, people & pleasure, inspired by the visionary work of adrianne maree brown (Emergent Stratgey), Octavia Butler (Earthseed), and Tom Robbins.  Cathryn practices movement as medicine, and is follows the vision of dancing through life. She has a movement studio – The Sanctuary – at her home in Charleston SC where she hosts small group dance and individual movement healing as well as Zoom moon cycle dances (New Moon & Full Moon) for a wider audience. Today she co-directs A Living Temple, a non-denominational church that celebrates creation where she leads regular dance & prayer offerings and serves as a celebrant. “Come dance with me. Come Dance.” – Hafiz Where to find Cathryn:  Facebook Instagram Email The Women's Sanctuary Podcast is hosted by Arlia Hoffman. The Women's Sanctuary provides counseling, sacred practice and community for women. Visit thewomenssanctuary.com for more information.

Arlia is joined by Cathryn the Grateful, a fellow priestess and sacred activist in the first of two episodes. Cathryn the Grateful was born in Macon, GA and raised in Asheville, NC by an artist and a psychologist. When her mother said, “Life isn't fair,” Cathryn responded, “I'm here to make it fair” (to which her mother replied with a grin — “good luck with that”) and from there, a journey of joyful justice work has unfolded. Cathryn's love of community, creativity, and the Earth was cultivated at an early age as a member of Jubilee! Community Church in Asheville (where she was ordained a Minister of Movement in 2018). She trained as a clown in her teens, and was active in theater and debate throughout high school. A graduate of the University of North Carolina – Chapel Hill, Cathryn moved to New York in her twenties, where she conceived and created FULLY AWAKE, a feature documentary about the legendary Black Mountain College (1933-1957) an experiment in education that birthed the American Avant Garde. The film has screened worldwide from art museums to film festivals to community centers.  Cathryn began her civic work as a 13-year-old volunteer for Senate candidate Harvey Gantt (running against Jesse Helms) and worked on two campaigns in NC, planting a lifelong interest in politics. Aware of the deeply entrenched injustice of unfettered capitalism and systemic racism, Cathryn has taken part in actions as part of Occupy Wall Street, a lawsuit against Monsanto, the SC Poor People's Campaign, as well as creating a WAKE THE NATION documentary film series and other awareness-raising campaigns for justice issues.  A graduate of the Institute of Integrative Nutrition, Cathryn is a committed student of planet, producing public television shows about gardening and permaculture for Growing a Greener World and working for an open-pollinated seed company, Sow True Seed.  A passionate sacred activist, Cathryn strongly believes in the importance of creativity, storytelling, and community as we co-create a just world for all. She served as Executive Director of Enough Pie, a non-profit in Charleston, SC's Upper Peninsula that uses creativity to connect and empower the community for the past six years. Enough Pie (www.enoughpie.org) works with community members to co-create creative, out-of-the-box ideas and partnerships that embolden people to take action. She is also the founder of The Joyful Revolution (www.joyfulrevolution.org), a movement for planet, people & pleasure, inspired by the visionary work of adrianne maree brown (Emergent Stratgey), Octavia Butler (Earthseed), and Tom Robbins.  Cathryn practices movement as medicine, and is follows the vision of dancing through life. She has a movement studio – The Sanctuary – at her home in Charleston SC where she hosts small group dance and individual movement healing as well as Zoom moon cycle dances (New Moon & Full Moon) for a wider audience. Today she co-directs A Living Temple, a non-denominational church that celebrates creation where she leads regular dance & prayer offerings and serves as a celebrant. “Come dance with me. Come Dance.” – Hafiz  

Wer hat von wem gelernt in der Kunstgeschichte? Kann man die Einflüsse sehen? Wer wurde als Autodidakt*in berühmt? Welche Rolle spielten Institutionen wie das Bauhaus und das Black Mountain College? Wie war die Lehre an einer Kunstakademie früher strukturiert und wie läuft sie heute ab? Wie schafft man es, an einer Akademie angenommen zu werden? Und kann man Kunst überhaupt lernen?

“You don’t just believe in yourself, You behave in a way that you can believe in yourself, trust yourself. You have to show up. You have to show up everyday in the studio. You have to put in your time to make this unreal thing real.” Naomi Schlinke is an visual artist who after many years as a professional dancer, decided to shift her energy primarily to painting. But dance and movement still inform the spirit of her work and the way it is created. As Naomi says in the interview, she provokes the conditions where her work comes to life through many specific choices, but also leaves much up to chance and strives to push the elements of each piece until the whole is activated by the limitations of the extent of the chosen frame. Her most recent body of work, Being Mobile, expresses the movement and iconic form of entities and symbols that seem familiar but also mysterious, elusive, and timeless. Naomi was just a joy to speak with and we laughed quite a bit. I love talking with artists who are so thoughtful about their work and who have such an interesting life journey and experiences to share. https://files.fireside.fm/file/fireside-uploads/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/5E6Rt3am.jpg Big Blue 2019 60” x 48” ink on mulberry paper collage mounted to panel Bio courtesy of Naomi's website In the 1970’s and early 80’s, Schlinke danced with the Margaret Jenkins Dance Company and the Joe Goode Performance Group, both based in San Francisco. At that time, the San Francisco art and dance scene were strongly influenced by new concepts flowing from artists such as Merce Cunningham, John Cage, and Robert Rauschenberg, many of whom emerged from the hot house for avant-garde work at Black Mountain College, North Carolina. Much of Schlinke's approach to painting is founded on the experiences that she absorbed as a dancer in those decades. Before moving to San Francisco, she received a B.A. and M.A. in dance from the University of Wisconsin-Madison. Currently a resident of Austin, she grew up in Dallas, Texas. Since relocating to Austin, Texas from San Francisco in 1994, Schlinke has exhibited her work at numerous venues including the Robert McClain Gallery in Houston, The Dallas Contemporary and the MAC, Women & Their Work, Texas State University in San Marcos, D Berman Gallery in Austin, D. M. Allison Gallery in Houston, the Dougherty Art Center in Austin, and Northern-Southern Gallery also in Austin. Before returning to Texas, she exhibited with the Braunstein-Quay Gallery in San Francisco. https://files.fireside.fm/file/fireside-uploads/images/4/41335247-836c-4f4a-8a8b-aeca55f3227a/HM9xi2tb.jpg Coil Up 2019 48” x 36” ink on mulberry paper collage mounted to panel NAOMI SCHLINKE and JAMES TURNER Steps on Steppes now showing at NORTHERN-SOUTHERN GALLERY (https://northern-southern.com/2019/steps-on-steppes/) 1900-b East 12th Street near Chicon / Austin, TX 78702 Phillip Niemeyer, curator Show Run: January 11 - February 15, 2020 Gallery hours Saturdays Only: Jan 18, Jan 25, Feb 1, Feb 8, Feb 15 3:00pm - 6:30 pm or for appointment, contact: the gallery: hello@northern-southern.com or the artist: naomi@naomischlinke.com Some of the subjects we discuss: Resonating work Creating an environment REM-Gensler Daydreaming Immersion Studio visits Describing new work Religious art Abstraction/movement Beginnings of dance Studying dance Touring and performing Writing and painting European art tour San Fran in the 70’s Dance experiences Mind of another time Foundational influences Slowing down Engaging with materials Print with Coronado Starting to use ink Quoting myself Ink and mulberry paper Creating a life Loft in SF/showing work Move to Austin Adventurous spaces Collectors/prices Chance/choice Making paintings Aesthetically rewarding Arranging the pieces Name and titles Northern-Southern Thanks This interview has been edited and condensed for clarity. Intro music generously provided by Stan Killian (http://stankillian.com/main/) Support this podcast. (http://www.austinarttalk.com/supportpodcast)

Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. www.dorothearockburne.com · www.creativeprocess.info

Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. www.dorothearockburne.com · www.creativeprocess.info

Jonathan Hiam serves as Curator of Music & Recorded Sound at the New York Public Library for the Performing Arts.  He is a specialist in American music, with a particular emphasis on the music and sounds of the Twentieth-Century.  He has curated several notable exhibitions in New York, including Toscanini: Preserving a Legacy in Sound  (2018), Celebrating Lou Reed  (2018), and Do What I Want: Selections from the Arthur Russell Papers  (2017).  Recent research has focused on the recording industry, British popular music, Black Mountain College, audio preservation, and John Cage.  He holds a PhD in Musicology from the University of North Carolina at Chapel Hill, an MA in Music History and Literature from Boston University, and a BM in Vocal Performance from SUNY Fredonia.  

Black Mountain College's Legacy - The experimental college that was located outside Asheville had an outsized influence on American arts and culture. One of its many breakthroughs was inviting renowned African American artist Jacob Lawrence to become a summer teacher there at a time when Jim Crow was very much in force in North Carolina. Darin Waters and Marcus Harvey talk with the executive director of the Black Mountain College Museum, Jeff Arnal, about preserving the legacy of the school.

When Cultural Marxists Schooled Appalachia. Tonight we discussed the history of the Cultural Marxist 5th Column known as Black Mountain College. https://www.blackbird9tradingposts.org/2019/04/24/when-cultural-marxists-schooled-appalachia-blackbird9/In the First Hour we cover the chaotic events brought on by the teachings of the Frankfurt School Marxists. Their mission has always been to establish a Greater Israel ruled by globalism under the direction of Talmudic Noahide Law and at the same time force all other nations to surrender their independent sovereignty. In the second hour, When Cultural Marxists Schooled Appalachia, the host examined the history of Black Mountain (((Art))) College in the mountains of North Carolina, USA (1933-57). From the earliest examples of Form and Function in the Toys, Tools, and Weapons of Homo Sapiens, to the earliest Iconography of Cave Paintings and Sculptures, to the rise of pottery and metal work in our T3-Copper Era (10,000-4000 B.C.), to the rise of Christian Architecture as Art and Symbol, to the rise of Modern Art and Cultural Marxism from The Bauhaus and The Frankfurt School in post WW1 Germany, to the founding of Black Mountain College in Asheville, North Carolina in 1933, the host examines how radical jews fleeing Europe would establish a stronghold in the Appalachian mountains that would completely change Public Education wrapped in the virtuous cloak of supporting The Arts.

When Cultural Marxists Schooled Appalachia. Tonight we discussed the history of the Cultural Marxist 5th Column known as Black Mountain College. https://www.blackbird9tradingposts.org/2019/04/24/when-cultural-marxists-schooled-appalachia-blackbird9/In the First Hour we cover the chaotic events brought on by the teachings of the Frankfurt School Marxists. Their mission has always been to establish a Greater Israel ruled by globalism under the direction of Talmudic Noahide Law and at the same time force all other nations to surrender their independent sovereignty. In the second hour, When Cultural Marxists Schooled Appalachia, the host examined the history of Black Mountain (((Art))) College in the mountains of North Carolina, USA (1933-57). From the earliest examples of Form and Function in the Toys, Tools, and Weapons of Homo Sapiens, to the earliest Iconography of Cave Paintings and Sculptures, to the rise of pottery and metal work in our T3-Copper Era (10,000-4000 B.C.), to the rise of Christian Architecture as Art and Symbol, to the rise of Modern Art and Cultural Marxism from The Bauhaus and The Frankfurt School in post WW1 Germany, to the founding of Black Mountain College in Asheville, North Carolina in 1933, the host examines how radical jews fleeing Europe would establish a stronghold in the Appalachian mountains that would completely change Public Education wrapped in the virtuous cloak of supporting The Arts.

In this episode, Miriam Kienle, Assistant Professor of Art History at the University of Kentucky School of Art and Visual Studies, discusses her work on the artist Raymond Edward "Ray" Johnson. Among other things, she describes Johnson's studies at Black Mountain College and relationship with Andy Warhol, as well as his invention of "mail art" or "correspondence art" in the early 1950s. She explains how the mail facilitated both communication and censorship, especially of sexual minorities, and how Johnson used the mail to establish artistic networks in which he circulated his "polysemic" collages, which he referred to as "moticos." She also discusses Johnson's complicated relationship to the art market and his contestation of the concepts of "authorship" and "the work."Keywords: gender and sexuality, critical theory, new media, curatorial studies, digital humanities See acast.com/privacy for privacy and opt-out information.

Today we’re going back to school and learning about Black Mountain College. Kate Averett, from the Black Mountain College Museum, and Professor Eva Diaz, from Pratt Institute, join me to flesh out the history of the college. We discuss the famous teachers (and students) at the school, different teaching styles, and how the college lives on despite being closed.

Eva Díaz discusses her essay "We Are All Aliens" published in e-flux journal issue 91 (May 2018) with contributing editor Elvia Wilk. "For some, contemporary art has become a kind of alt-science platform for research and development projects that offer alternatives to the corporate control and surveillance of outer space. Artists working on issues about access to space are at the front line of a critical investigation about the contours of the future, both in its material form and social organization. Many of these artists are challenging the current expansion of capitalist and colonial practices into outer space, particularly that of so-called 'primitive' accumulation: the taking of land and resources for private use. They recognize that much of the tremendous capital amassed in the early 2000s e-commerce and tech boom is now being funneled into astronomically costly 'New Space' projects such as SpaceX, a company funded by PayPal cofounder Elon Musk, and Blue Origin, the space enterprise of Amazon's Jeff Bezos." –Excerpt from "We Are All Aliens" Eva Díaz has taught at the Pratt Institute in New York since 2009. Her book The Experimenters: Chance and Design at Black Mountain College was released in 2015 by the University of Chicago Press. She is currently at work on a new book titled After Spaceship Earth, analyzing the influence of R. Buckminster Fuller in contemporary art.

[01.39] Pauline Background [04.39] User Experience Business Model [09.25] Laptop Design Academy [13.33] Laptop Event and Workshop [17:06] Collaboration Work [17.48] Membership Plan [19:44] Strategy to get more member [22.01] Vision Laptop in 5 until 10 years

Richard Theodore Greener (1844-1922) was a renowned black activist and scholar. He was the first black graduate of Harvard College, the first black faculty member at a southern white college, and the first black U.S. diplomat to a white country, serving in Vladivostok, Russia. Yet he died in obscurity, his name barely remembered.Because he was light-skinned and at ease among whites, Grenner's black friends and colleagues sometimes wrongfully accused him of trying to "pass." While he was overseas on a diplomatic mission, Greener's wife and five children did just that. They stayed in New York City, changed their names, and vanished into white society. Greener never saw them again.Katherine Reynolds Chaddock's Uncompromising Activist is a long overdue biography about a man, fascinating in his own right, who also exemplified America's discomfiting perspectives on race.Katherine Reynolds Chaddock is distinguished professor emerita of education at the University of South Carolina. She is the author of The Multi-Talented Mr. Erskine: Shaping Mass Culture through Great Books and Fine Music and Visions and Vanities: John Andrew Rice of Black Mountain College.Writers LIVE programs are supported in part by The Miss Howard Hubbard Adult Programming Fund.Recorded On: Tuesday, November 14, 2017

Richard Theodore Greener (1844-1922) was a renowned black activist and scholar. He was the first black graduate of Harvard College, the first black faculty member at a southern white college, and the first black U.S. diplomat to a white country, serving in Vladivostok, Russia. Yet he died in obscurity, his name barely remembered.Because he was light-skinned and at ease among whites, Grenner's black friends and colleagues sometimes wrongfully accused him of trying to "pass." While he was overseas on a diplomatic mission, Greener's wife and five children did just that. They stayed in New York City, changed their names, and vanished into white society. Greener never saw them again.Katherine Reynolds Chaddock's Uncompromising Activist is a long overdue biography about a man, fascinating in his own right, who also exemplified America's discomfiting perspectives on race.Katherine Reynolds Chaddock is distinguished professor emerita of education at the University of South Carolina. She is the author of The Multi-Talented Mr. Erskine: Shaping Mass Culture through Great Books and Fine Music and Visions and Vanities: John Andrew Rice of Black Mountain College.Writers LIVE programs are supported in part by The Miss Howard Hubbard Adult Programming Fund.

In this forty-fifth episode of the Philosophy Bakes Bread radio show and podcast, we interview Dr. Brian Butler of the University of North Carolina Asheville. We talk with Brian about two applications of the idea known as "democratic experimentalism" that have been at the heart of his work. One application concerns Constitutional law. The other involves the history of Black Mountain College, an experiment in democratic experimentalism applied to higher education, where art was central to education in the college. Dr. Butler is the Thomas Howerton Distinguished Professor of Humanities and Professor of Philosophy at the UNC Asheville. He recently published his book, The Democratic Constitution: Experimentalism and Interpretation, with the University of Chicago Press. He was also the Project Director in 2010 for a large grant from the National Endowment for the Humanities’s “We the People” Grant program, which focused on “Black Mountain College: An Artistic and Educational Legacy.” Black Mountain College was founded in 1933 in North Carolina as was an experimental college with a central role for art in liberal arts education. John Dewey's philosophy of education was a fundamental inspiration for the college. Listen for our “You Tell Me!” questions and for some jokes in one of our concluding segments, called “Philosophunnies.” Reach out to us on Facebook @PhilosophyBakesBread and on Twitter @PhilosophyBB; email us at philosophybakesbread@gmail.com; or call and record a voicemail that we play on the show, at 859.257.1849. Philosophy Bakes Bread is a production of the Society of Philosophers in America (SOPHIA). Check us out online at PhilosophyBakesBread.com and check out SOPHIA at PhilosophersInAmerica.com.

This debut episode begins with Carmelo Pampillonio’s interview of Julie J. Thomson, the curator of our current exhibition “Begin to See: The Photographers of Black Mountain College.” It also features a segment dedicated to composer Lou Harrison, who taught at BMC. Lou Harrison would have been 100 today on May 14th, and we celebrate his […] The post Episode 1: Thomson + Harrison appeared first on Black Mountain College Museum + Arts Center.

Our second episode has three segments, the first being an interview with choreographer and performer Meg Foley, who will be giving a performance at BMCM+AC on Saturday, July 8th. The second segment explores the life and works of Robert Motherwell, a notable Abstract Expressionist who taught at Black Mountain College. Discussed is his use of […] The post Episode 2: Foley + Motherwell + Lake Eden Soundmap appeared first on Black Mountain College Museum + Arts Center.

Audio Canvas: Helen Molesworth and Black Mountain College by Aspen Public Radio Past Productions

Anna Craycroft and Harry Dodge consider the legacy of Black Mountain College and talk about sociality and learning, didactics and museum display, and inherent tensions within art education.

Charles Adler, co-founder of Kickstarter, recently launched the Lost Arts space for ambitious creatives. It's a blend of laboratory, workshop, atelier, incubator and playground rooted in a legacy of interdisciplinary spaces like the Bauhaus and Black Mountain College. Charles discusses his background getting into the internet and shares his perspective on creativity as the humble beginning of innovation. Plus commentary on Chicago bureaucracy, the Medici, backyard furniture-making, Dark Pony, and the constancy of change.

It’s where John Cage staged his first Happening, Fridays were often dedicated to art classes, and all faculty, staff, and students participated in the college’s operations from farming to construction. Located in the mountains near Asheville, NC, Black Mountain College was an experimental school founded upon the idea of “learning by doing.” We stop by … Continue reading "Helen Molesworth on Black Mountain College"

Paco and George dig into the enigmatic artist Ray Johnson's life and death with our guest, San Francisco comedy producer Jeff Zamaria. This 2002 documentary directed by John Walter and Andrew L. Moore tries to unwrap the mystery of this central figure in the Fluxus and mail art movement who was known for legendary performances like dropping hot dogs from a low-flying helicopter. A contemporary of Andy Warhol's Ray came out of the legendary Black Mountain College art program. The documentary How To Draw A Bunny was the product of six years of research into Johnson's archives and interviews with figures like Christo, Chuck Close, Roy Lichtenstein, Judith Malina, and James Rosenquist. The soundtrack includes improvised drumming by Max Roach and additional music by Thurston Moore. Jeff Zamaria is a comedy booker/show producer in San Francisco and the creator of Learn From Me Comedy. He can be seen producing shows all over SF. Originally from "The Mistake On The Lake" (Cleveland, OH), Jeff has been living, sleeping, walking, working, looking and playing in San Francisco since 2005. When he's not working on comedy, he's giving neighborhood folks questionable service at The New Village Cafe. Sure it's just a side job, but it's his passion. He is also single and currently accepting applications. Find Jeff's work at http://www.instagram.com/jeffzamaria/ Dead Bunny by John Held, Jr. http://stendhalgallery.com/?p=3501 **Sup Doc has created a Patreon page for those that can help out. We will also be providing unique Sup Doc content for our contributors. If now is not good for you we always appreciate you listening and spreading the word about Sup Doc! http://www.patreon.com/supdocpodcastFollow us on:Twitter: @supdocpdocastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.

PennSound, a project of the University of Pennsylvania’s Center for Programs in Contemporary Writing, is an excellent audio archive, with pages dedicated to BMC rector and instructor Charles Olson and BMC alumnus and poet Robert Creeley. Click here for the studio recording at Black Mountain College of Olson reading from Maximus, and here for his […] The post Sounds of BMC appeared first on Black Mountain College Museum + Arts Center.

La relación de Josef Albers con el compositor John Cage tiene su origen en la visita de este último a Black Mountain College, la institución en la que enseñaba Albers, en el año 1948. Allí, Albers pudo asistir a los estrenos de significativas obras de Cage quien, en 1950, compuso sus Seis melodías para violín y teclado, dedicadas a Josef y Anni Albers. Esta obra podrá escucharse en el Concierto extraordinario celebrado con motivo de la inauguración de la exposición “Josef Albers: minimal means, maximun effect” acompañada de Tzigane de Ravel y la Fantasía sobre temas de “Carmen” de Bizet de Sarasate. Conferencia inaugural a cargo de Nicholas Fox Weber, director ejecutivo de The Josef and Anni Albers Foundation, Bethany, Connecticut.  Más información de este acto

SEGMENTS | 1. THE VOYAGES OF PONCE DE LEÓN – 2013 | 2. THE FRENCH IN FLORIDA – 2014 | 3. BLACK MOUNTAIN COLLEGE

David Houston discusses the professors and students connected with Black Mountain College, known for developing the foundation of education in modern

'Three studies from the Temeraire' is an oil on canvas triptych, painted between 1998-99. The history is of special interest, unusual yet evolutionary. In 1998 Twombly was working on three related but at the time independent canvases on three adjacent walls of his Gaeta studio. The theme was these ancient vessels and all the senses of myth and history they inferred - there was originally neither particular thought of Turner, an artist who he had always especially admired, nor of the three panels as a single work. Gradually they coalesced into a single epic event and were shown in the National Gallery in London in the exhibition "Encounters: new art from old" in the year 2000 alongside Turner's famed 'The Fighting Temeraire tugged to her last berth to be broken up, 1838', which was painted in 1839. The theme of this exhibition was 'great artists of our time converse with the greatest artists of all time'... and of course Twombly's pictures assumed their role as contemporary evocations of Turner's 'The Fighting Temeraire'. Looking at the three canvases together, as a single panorama, there is a potent sense of passage as the ships drift, float and sail into the warm, sensuous but slightly ominous embrace of infinity. There is a strong sense of procession, with the flag-ship bringing up the rear, or maybe they are all images of the same ship, passing into history. This 'dissolving' fleet is a poignant echo of Turner's 'Temeraire' as she is towed by a tugboat to her last resting place in the cooling glows of a fast descending sunset. Both Twombly's and Turner's paintings are dominated by sky and water, indistinguishable in Twombly, but both elements in which things can float. There is too a wonderful correspondence between the emotive reflections in Turner's 'Temeraire' and the dripping lines that that flow from Twombly's apparently doomed ships. The qualities and sensibilities which echo from Twombly's 'Three studies from the Temeraire' are manifold: the imagery suggests the passage of time, the inevitable end to any voyage, the passage from the present to the past and vice versa. These works imply that continuity of human, cultural and aesthetic experience in which the past is always available, as Twombly so believes. His passing, disappearing fleet may indeed also symbolise that unbroken chord which links classical antiquity with the present. Twombly's 'Three studies' would never have been inspired as they were, or painted as they were, without Turner's 'Fighting Temeraire', even though they were initiated without any such specific association. Certainly they are far from slavish copies or shallow contemporary imitations. It is likely that Twombly's modern interpretation would confuse a latter-day Turner, however he would have recognised certain qualities - the fascination with the aura of the heroic, the melancholy and beauty of passage, the magic of profound light, the evocation of depth, profundity and mystery. Cy Twombly was born in 1928 in Lexington, Virginia. In 1948-49 he trained at the School of the Museum of Fine Arts, Boston; he then won a Fellowship to the Art Students League in New York where he forged a close association with fellow student, Robert Rauschenberg. They subsequently attended the progressive Black Mountain College in North Carolina where they studied under Robert Motherwell. In 1952 Twombly won a grant to visit Europe and, with Rauschenberg in tow, they travelled extensively returning to New York in 1953. In 1957 Twombly left New York for Rome, virtually for good, although he still returns every year to Lexington for a few months. By 1960 Twombly was established and much recognised, especially in his new home Italy, but also in New York where his classically-inspired, highly individual and seemingly subjective marks, doodles and lines - moments of experience set against moody rich and absorbent creamy white grounds - were the very antithesis to the then current vogue for Pop Art and Minimalism. If there was any relationship with New York it was his certain affinity with Abstract Expressionism. These often gently convulsive works gradually calmed into the more austere but nervous, and highly distinctive, 'blackboard' pictures distinguished by the 'scribbles' which became an absolute hallmark of Twombly's work. During the late 1970s and the 1980s Twombly's paintings had a less frenetic sense of pace and energy, and assumed an even more mysterious and contemplative nature. There is a noticeable maturity about these works and an admission of a debt to artists who he particularly admired including Monet and Turner in their mysterious tones and contemplative attitude. He also moved out of Rome to where he presently lives, in the old port town of Gaeta, roughly half way between Rome and Naples.