Podcasts about century art

When I asked Bill Powers, owner of Half Gallery (who also happens to be an avid tennis player) what similarities could be drawn between the art world and the game, he replied "I guess sometimes people may pay more attention to their outfits than their backhand." Throughout our conversation, Bill Powers, the owner of Half Gallery, serves some keen insight from his many years in the Art World. Starting as a culture journalist  writing for magazines and esteemed publications like the New York Times, Powers pivoted to becoming a gallerist when the moment arose. "Why not me?", he thought. He now contributes to Muse, Purple and Autre magazines. He now has two books available through Junior Publishing, Glissando and Early 21st Century Art.  Alongside discussions about his career and gallery, we discuss the changing Art World and what the future holds. We chat about the shifting nature and relevancy of art criticism and the growing influence of market dynamics on artistic expression. From the recent spectacle of Maurizio Cattelan's "Comedian" at the recent Sotheby's auction to the disruptive force of NFTs, we try to untangle and understand how commercial success is reshaping taste and connoisseurship. Bill reflects on the delicate balance of business with creativity. His story is a compelling glimpse into the ways in which different aspects of the Art World converge. Connect with us:Madison Beale, HostCroocial, ProductionBe a guest on The Artalogue Podcast

In this episode of the ArtTactic Podcast, host Adam Green sits down with Bill Powers, owner of Half Gallery, to discuss his forthcoming memoir Glissando and his new book Early 21st Century Art. Bill shares captivating stories from his journey through the art world, including his interactions with renowned artists, gallerists, and critics. We delve into his unique position within the gallery ecosystem, explore why some artists thrive in the market while others don't, and reflect on his relationships with artists like Rene Ricard. Bill also discusses the dynamics of artists changing galleries, offering his perspective on the increasing consolidation of artists by mega-galleries. Additionally, he provides valuable advice for both collectors and artists, sharing insights on navigating the art world and building successful careers and collections.

Join us as we continue our first series, Resort Adventures! Every Thursday we will explore a Disney World, Disneyland, or Universal Resort/s complete with advice, experiences, and little known facts to help you make the best decision when booking. If you'd like help planning your next Magical Vacation, reach out to me! Free Quote Instagram: @justanothermagic_monday Facebook: Fantastical Vacations by Monika  

Professor Joseph Koerner is the Victor S. Thomas Professor of History of Art and Architecture and Professor of Germanic Languages and Literature at Harvard University, where he is also a senior fellow at the prestigious Society of Fellows.Koerner is one of the most renowned art historians and critics working today, and the world's leading specialist on Northern Renaissance and 19th Century Art, in particular German and Netherlandish painting. He has written multiple books, amongst them volumes on Caspar David Friedrich, Albrecht Durer and recently Bosch and Brueghel. Koerner has also written and presented various documentaries including ‘Northern Renaissance' and ‘Vienna: City of Dreams', both produced by the BBC. In 2018 he released his most personal film yet: ‘The Burning Child', which traces his search for the fate of his grandparents and their Vienna home, known only through a 1944 painting by his exiled father.Bosch's Garden of Earthly Delights hi-res: https://commons.wikimedia.org/wiki/The_Garden_of_Earthly_DelightsJoseph Koerner's faculty page: https://scholar.harvard.edu/jkoerner/homeJoseph Koerner's Wikipedia page: https://en.wikipedia.org/wiki/Joseph_KoernerThe Vienna Project: https://viennaproject.fas.harvard.edu/Review of 'Bosch and Bruegel: From Enemy Painting to Everyday Life' in the Guardian https://www.theguardian.com/books/2017/feb/01/bosch-bruegel-joseph-leo-koernerNOTES:Bosch's Last Judgement https://en.wikipedia.org/wiki/The_Last_Judgment_(Bosch,_Vienna)Pieter Bruegel the Elder: https://en.wikipedia.org/wiki/Pieter_Bruegel_the_ElderThe strawberry/Madroño tree: https://en.wikipedia.org/wiki/Arbutus_unedoThe Cluster F Theory Podcast is edited by Julian Mayers at Yada Yada.Subscribe for free to The Cluster F Theory Podcast. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

WELCOME TO THE SQUAD ✨ The podcast where four friends catch up and chat about all things Disney, day to day life, and more! In today's episode we are going to chat all about Disney's POP Century Resort & Disney's Art of Animation Resort! We'll break down everything from the rooms, dining, shopping, amenities and everything in between. These resorts are the squads go to places to stay almost every trip so we share all of our favorite things and tips as well! Be sure to let us know what's your favorite Disney resort in the box on Spotify and join us to share those favorite resorts with the squad over on Instagram or in the comments on YouTube. Be sure to click follow & give us a 5 star rating and review! Check out the Squad on socials: Instagram: https://www.instagram.com/theparksquadpod/ YouTube: https://www.youtube.com/@TheParkSquadPod Thank you so much for listening and Welcome to the Squad ✨

Welcome to the Instant Trivia podcast episode 915, where we ask the best trivia on the Internet. Round 1. Category: also a gun manufacturer 1: One might run in the Preakness. a colt. 2: This 19th century American artist and sculptor was known as "The Rembrandt of the West". Remington. 3: He's the guitarist who had a Top 40 hit with "Rock and Roll Hoochie Koo". Rick Derringer. 4: Famous for its cathedral, this English city was the capital of the Anglo-Saxon kingdom of Wessex. Winchester. 5: Fredric March portrayed this poet in "The Barrets of Wimpole Street". (Robert) Browning. Round 2. Category: 20th century art 1: Grandma Moses ordered her first set of paints from this Chicago mail order company. Sears, Roebuck. 2: Primarily a movement in painting, this "square" trend also influenced sculpture. cubism. 3: Manhattan's MoMA stands on land once occupied by 2 mansions of this noted N.Y. family. the Rockefellers. 4: Famous for his Olympic and sports action paintings, he's appeared in 2 "Rocky" movies. LeRoy Neiman. 5: 1920 painting by George Grosz shows one of these machines Karel Capek named the next year. a robot. Round 3. Category: playbill 1: It's been reigning over Broadway since 1997--long may it roar. The Lion King. 2: Andrew Lloyd Webber wrote the "haunting" music for this show. "Phantom of the Opera". 3: "Madame Butterfly" is the basis for this musical. Miss Saigon. 4: Calling all swingers, you'll go ape over this musical. Tarzan. 5: This 2000 musical wasn't written in the stars, but by Linda Wolverton, Elton John and Tim Rice. "Aida" (new version). Round 4. Category: born in the '60s 1: NYC minister Joseph Simmons is better known as "Run" of this rap group. Run-D.M.C.. 2: After the 1996 election, this 35-year-old Clinton adviser moved to ABC News. George Stephanopoulos. 3: In 1996, he beat a chess-playing IBM computer called Deep Blue; in 1997 the tables were turned. Garry Kasparov. 4: 1 of the 2 30-something female leads of "The English Patient". Juliette Binoche and Kristin Scott Thomas. 5: 29-year-old Melinda French, a manager at this company, married its chairman January 1, 1994. Microsoft. Round 5. Category: getting possessive 1: Have a "grape" timeat this resort island about four miles off the coast. Martha's Vineyard. 2: They are painful contractions of hand muscles while utilizing your penmanship. writer's cramp. 3: This NYC church is the seat of the Roman Catholic archdiocese of New York; let's have a parade!. St. Patrick. 4: Part of a constellation, it's the keeper-upper indicated here. Orion's belt. 5: This song was written to tease a Civil War sergeant who had the same name as the abolitionist. John Brown's Body. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

William Carlos Williams (1883-1963) was an American poet, writer, and physician. He is considered one of the major figures in American modernist poetry. Tune in as we speak about him, his past, and his work and contributions to the world of art.

Garden Grove is known as one of the way-stations for Latter-day Saints who were fleeing Nauvoo in 1846-47. But this Winter Quarters encampment was full of tawdry secrets, crime and even a... brothel? Join Lindsay and Bryan as they discuss the Garden Grove branch, bawdy houses, counterfeiting and more. Winter Quarters just got a whole lot more interesting! Shownotes: Donate to Sunstone and the History Podcast (leave us a note in the comment section to say hi!) Register for the Sunstone Summer Symposium (Use coupon code HistoryPod for 30% off full or one day registration and active through April 20th) The Weight of Words: Discourse, Power and the19th Century Prostitute by Yoshan A. Kennedy-Churnac Portrait of a Prostitute: A Feminist Analysis of The Victorian Sex Worker in 19th Century Art and Literature by Marissa Merlino Language Matters, Talking About Sex Work Garden Grove Council Minutes Garden Grove Branch papers relating to reinstatement of branch Mormon Migration Way Stations Book: On the Mormon Frontier (ed. Juanita Brooks) Book: Personal Writings of Eliza R. Snow (ed. by Maureen Ursenbach Beecher)  Book: Mormons at the Missouri (Richard Bennett) Book: Mormon Midwife (ed. Donna Toland Smart) Book: Winter Quarters (ed. Maurine Carr Ward)

Curator Barnaby Wright transports us from the Courtauld Gallery in London, to the Caribbean island of Trinidad, as seen - and heard - by Peter Doig, one of Europe's most highly valued contemporary painters. Peter Doig's vast figurative paintings pay homage to the many places where he has lived and practiced - though never really called home. Born in Edinburgh in 1959, his career has been characterised by constant travel and movement, and his status as Europe's most expensive living artist. But his landscapes are layered in with multiple, and more popular, inspirations - like found photographs, films, and above all, music - settings which move between figuration and abstraction, actuality and the imagination. Trinidad is perhaps the unlikely focus of the Courtauld Gallery's new exhibition, which shows works painted since Doig's recent return to London from the Caribbean, where he has lived since 2002. Mainstream art markets often prize Doig's isolated Canadian mountain scenes, influenced by the likes of Edvard Munch, but here we see the artist as an active participant in Port of Spain's local community, practicing with the BBC's Boscoe Holder, poet Derek Walcott, and prisoners on the island of Carrera. Curator Dr. Barnaby Wright delves into Doig's loving depictions of the Mighty Shadow, a titan of Trinidadian calypso and soca, why Carnival keeps him working all night, and how the self-portrayed ‘outsider' both draws from - and challenges - exotifying gazes on non-European subjects from post-Impressionists like Paul Gauguin. Peter Doig runs at the Courtauld Gallery in London until 29 May 2023. WITH: Dr. Barnaby Wright, curator of Peter Doig. He is the Deputy Head of the Courtauld Gallery and Daniel Katz Curator of 20th Century Art. ART: ‘Painting on an Island (Carrera), Peter Doig (2019)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

A glittering forest with a floor covered in leaves by Gustav Klimt. A country road painted with psychedelic purples, greens, and pinks by David Hockney. A tangle of loping lines against a gray background by Brice Marden. Most of us have encountered art like this on the walls of a museum. As a matter of fact, these particular works have been shown at LACMA, the Guggenheim Bilbao, and the Serpentine in London. But after those shows closed, they were all packed up and sent back to the same owner. The owner's name was Paul Allen. Paul Allen is a bit of a legend in art collecting circles. Part of that was because of his fortune. When he died in 2018, Allen was the 44th richest person in the world. Another part of that legend was his secrecy. Allen was notoriously private about the art he collected. Although he did lend works to museums around the world, he was not always identified as the owner and he never appeared in an auction room holding a paddle. Allen was born in 1953 in Seattle and became friends with Bill Gates in high school. They cofounded Microsoft in 1975 and ushered in the microcomputer revolution. But Paul had a lot of other interests, too. At the age of 35, he became the youngest owner the NBA when he bought the Portland Trailblazers. He also owned the Seattle Sea Hawks and founded museums in his hometown dedicated to vintage computers, military aircraft, and pop culture. For most of his life, art remained a more private passion. But four years after Allen's death from Hodgkin lymphoma in 2018, Allen's estate is selling a portion of his art collection—more than 150 lots, to be exact—at Christie's. And for the first time, the public is able to get a brief glimpse at the many treasures Allen acquired altogether, before they likely disappear into private hands again for who knows how long. The collection is estimated to fetch more than $1 billion, with all the money going to charities he supported during his life. It's pretty much guaranteed to become the most valuable collection ever sold at auction. So how does one man assemble such a valuable trove of art in a relatively short amount of time? And how does that kind of collector track down, evaluate, and live with art? What makes someone a good art collector in the first place? Artnet News Executive Editor, Julia Halperin spoke with the Director of the Paul Allen Collection, Mireya Lewin, and the Vice Chairman, 20th and 21st Century Art, Americas at Christie's, Max Carter, to find out.

A glittering forest with a floor covered in leaves by Gustav Klimt. A country road painted with psychedelic purples, greens, and pinks by David Hockney. A tangle of loping lines against a gray background by Brice Marden. Most of us have encountered art like this on the walls of a museum. As a matter of fact, these particular works have been shown at LACMA, the Guggenheim Bilbao, and the Serpentine in London. But after those shows closed, they were all packed up and sent back to the same owner. The owner's name was Paul Allen. Paul Allen is a bit of a legend in art collecting circles. Part of that was because of his fortune. When he died in 2018, Allen was the 44th richest person in the world. Another part of that legend was his secrecy. Allen was notoriously private about the art he collected. Although he did lend works to museums around the world, he was not always identified as the owner and he never appeared in an auction room holding a paddle. Allen was born in 1953 in Seattle and became friends with Bill Gates in high school. They cofounded Microsoft in 1975 and ushered in the microcomputer revolution. But Paul had a lot of other interests, too. At the age of 35, he became the youngest owner the NBA when he bought the Portland Trailblazers. He also owned the Seattle Sea Hawks and founded museums in his hometown dedicated to vintage computers, military aircraft, and pop culture. For most of his life, art remained a more private passion. But four years after Allen's death from Hodgkin lymphoma in 2018, Allen's estate is selling a portion of his art collection—more than 150 lots, to be exact—at Christie's. And for the first time, the public is able to get a brief glimpse at the many treasures Allen acquired altogether, before they likely disappear into private hands again for who knows how long. The collection is estimated to fetch more than $1 billion, with all the money going to charities he supported during his life. It's pretty much guaranteed to become the most valuable collection ever sold at auction. So how does one man assemble such a valuable trove of art in a relatively short amount of time? And how does that kind of collector track down, evaluate, and live with art? What makes someone a good art collector in the first place? Artnet News Executive Editor, Julia Halperin spoke with the Director of the Paul Allen Collection, Mireya Lewin, and the Vice Chairman, 20th and 21st Century Art, Americas at Christie's, Max Carter, to find out.

Nineteenth-century American paintings frequently depict foreign settings, from the Caribbean to the Arctic. Many of these artworks seem to reveal moments of cultural exchange or scientific inquiry, but they have rarely been seen as evidence of the growing imperialist tendencies of the United States throughout this century. In this podcast, Maggie Cao (NHC Fellow, 2021–22), associate professor of history at the University of North Carolina at Chapel Hill, considers how the aesthetics and subject matter of nineteenth-century American art can better help us to understand imperialism as a global and historical concept. By examining paintings from this period, we can trace how complex attitudes about cultural relations were represented and disseminated to a wider public.

Welcome to Courtauld Cast! In this our first episode we discuss the relaunch of the Courtauld Gallery following its ambitious transformation to make our world-class artworks, research and teaching accessible to even more people. Guests include Barnaby Wright, Deputy Head of The Courtauld Gallery and Daniel Katz Curator of 20th Century Art; Karen Serres, Curator of Paintings and Chris Watson Co-director of our appointed architects Witherford Watson Mann. Hosted by Professor Alixe Bovey, Dean and Deputy Director; Head of Research The Courtauld Institute of Art. Courtauld cast is produced by novel for the Courtauld Institute of art and generously supported by Bloomberg Philanthropies. Thanks to our producers, Harry Cooke and Claire Crofton and executive producer, Jo Wheeler. See acast.com/privacy for privacy and opt-out information.

While architects have had so much influence on how our cities, buildings and social spaces are constructed, their influence has not quite reached the virtual world. This is perhaps why we haven't seen examples in the Metaverse of landmarks, versatile multi purpose spaces, or places that have outlived the specific game, use case or event that it was created for. Lara Lesmes and Fredrik Hellberg of Space Popular are pioneers within the architectural field, having developed curiosity for what virtual reality will emerge to become years before anyone was talking about the Metaverse. They integrate their expertise in traditional architecture with speculative and conceptual work to help people imagine where the future may be headed. Their perspective is unique, especially for the world of consumer tech, and helps create a completely new paradigm for thinking. In the episode, we cover a breadth of fascinating topics from:The architectural point of view, and how it transitions from traditional architecture to how it should be thought about in a limitless virtual realmA vision of the future where architecture will happen at the speed of the the spoken wordWhy portals will become the one of the most common design elements moving forward, the same way cars were in the past eraABOUT THE GUESTSpace Popular is a research driven art, design, and media studio that explores the future of spatial experience through virtual reality, film, exhibitions, speculative writing, as well as buildings and objects. The studio is directed by architects Lara Lesmes and Fredrik Hellberg, both alumni of the Architectural Association in London (2011). The studio has completed buildings, exhibitions, public artworks, furniture collections, and interiors across Asia and Europe, as well as virtual architecture for the immersive internet.Clients, collaborators, and commissioners include national institutions such as MAXXI - National Museum of 21st Century Art, Rome, Italy; The Swedish Centre for Architecture and Design –ArkDes, Stockholm, Sweden; Royal Institute of British Architects, London, UK; National Museum of Modern and Contemporary Art, Seoul, South Korea; as well as independent galleries such as MAGAZIN, Vienna, Austria; and Sto Werkstatt, London, UK.Lesmes and Hellberg both have extensive academic experience having taught architectural design studio since 2011, first at INDA, Chulalongkorn University in Bangkok from 2021 to 2016, at the Architectural Association in London from 2016 to 2021, and currently at Daniels, Faculty of Architecture, University of Toronto sinde 2020, and UCLA Architecture and Urban Design since 2022. Their current MArch design and research studios both at Daniels and UCLA investigate visions for civic architecture in the immersive internet. SHOW NOTES[2:40] Architectural school of thought[9:10] Architecture's existing role in entertainment, gaming and creating the Metaverse[15:40] Design principles for creating virtual environments[21:50] Value assignment[25:40] Importance of speculative projects[31:10] Creation at the speed of communication[37:00] Portals will become the most common design element in the virtual era[46:10] Enabling human connections as core utility of Metaverse[51:10] How can more architects play a role in this industry?

Warhol's Marilyn Monroe painting sold for record-breaking $195m.

The art world is ever-changing, yet we've never seen so much progress in any industry within such a short period of time. We are joined today by Nicole Sales, the Business Director of Digital Art Sales at Christie's sharing with us how NFT and blockchain technology are changing the art world and providing new ways of thinking about the exchange of value in the art space. Nicole is responsible for the business strategy and operations of Christie's NFT program. She joined Christie's in 2012 and has held various positions, primarily within the 20th and 21st Century Art departments. Nicole holds an MBA from Columbia Business School and BA in Art History and Economics from Duke University. [00:01 - 10:07 ] Opening Segment Welcoming Nicole to the show   2022 Art Basel in Miami [10:08 - 32:46] The Shift of Traditional Modern Art Space to NFT New clients' demographics and their business impact Managing crypto space vulnerabilities On-chain-off-chain custody explained NFT's digital art boom from pre to post COVID  The importance of brokerage in acquiring art pieces How NFT is transforming the roles of the artists NFT's environmental impact Metaverse as the future of auctions Maintaining the brand amidst digitalization Christie's customer avatar: People who love luxury [3:48 - 35:14] Wrapping Up! Nicole rooting for Duke Connect with Nicole on the links below  ------------------------------------------------------------------------------------------ Connect with Nicole:  Twitter and Instagram: @nicoleasales Website: https://www.christies.com/en Connect with me: https://www.linkedin.com/in/brian-c-adams/ (LinkedIn) LIKE, SUBSCRIBE, AND LEAVE US  A REVIEW on Apple Podcasts, Spotify, Google Podcasts, or whatever platform you listen on. Thank you for tuning in and Stay Tuned for the Next Episode COMING SOON!

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries.

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. 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

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

What would it take to create a 21st Century Art Project that would take over a corner in creative spaces and spans the globe? Theophilus has an idea and pitches it to the world and highlights how he plans to get it started. #globalartproject #21stcenturyartproject #earthdimensionalmatrix

Painting by Numbers presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity.

In the midst of the pandemic and a nationwide reckoning on race, The Museum of Fine Arts, Houston opened a new building that highlights its growing collection of Latin American and Latino works. Jeffrey Brown visited recently and reports for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

In the midst of the pandemic and a nationwide reckoning on race, The Museum of Fine Arts, Houston opened a new building that highlights its growing collection of Latin American and Latino works. Jeffrey Brown visited recently and reports for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

In this episode of The Artist Business Plan we sit down with Peter Trippi, editor-in-chief of Fine Art Connoisseur. He leads us in a masterclass in properly reaching out to magazines and writers to give you your best shot at a feature. He also gives some great information to all you art collectors out there including joining a group and listing your collection online, and the benefits of doing so. “Take full advantage of these amazing digital resources that do exist, we often find curators talking to the same old people, the same old dealers, the same artists they happen to know and getting the same names for the show.” Help broaden the art world! “Start planning for the future as if it will look normal... so when we’re all back On we’re ready to go! This is a pause, let’s make the most of it."- Peter Trippi Guest: Peter Trippi is editor-in-chief of Fine Art Connoisseur, the magazine that serves collectors of contemporary and historical realist art. He is also president of Projects in 19th-Century Art, a firm he established to pursue research, writing, and curating opportunities. Based in New York City, Trippi directed the Dahesh Museum of Art and co-curated international touring exhibitions devoted to the 19th-century painters  J.W. Waterhouse and Lawrence Alma-Tadema. His current exhibition, Artful Stories: Paintings from Historic New England, is on view at the Eustis Estate in Milton, Massachusetts, through October 2021. www.fineartconnoisseur.com For more information on applying to Superfine Art Fair as well as recordings of this and all of our past podcasts, just visit http://www.superfine.world/ (www.superfine.world ) IG: https://www.instagram.com/superfineartfair/?hl=en (@superfineartfair) We mentioned https://www.vastari.com/ (https://www.vastari.com/) as a resource for collectors in this episode. We also mentioned Artwork Archive, here is our personal link where you receive a discount on a year's membership: https://www.artworkarchive.com/superfine (https://www.artworkarchive.com/superfine ) Go check it out! If you want to submit a listener question you can email it to kelsey@superfine.world for a chance of it being answered by Alex, James, and our guest! Hosted and Executive Produced by James Miille and Alexander Mitow Executive Producer/Producer : Kelsey Susino Written by: Kelsey Susino, Alexander Mitow, and James Miille Audio Edited by: Federico Solar Fernandez

Welcome to the third episode of our Design Your Life Architecture series - From Lego to Skyscrapers featuring Zaha Hadid Architects Director, Gianluca Racana.   This series is dedicated to exploring the lives of architects, when did they first discover their love for it, what makes them tick and how they handle the responsibility that comes with designing the places, cities and buildings that will stand for generations to come.  In this episode Gianluca delves into his early life in Rome and what brought him to London where he completed his postgraduate studies at the Architectural Association, obtaining his Master's degree in Architecture and Urbanism.   Gianluca goes on to discuss how his career began with Zaha Hadid Architects in the year 2000 and the significance of their first major project and one of Rome's most talked about contemporary buildings, the MAXXI - National Museum of 21st Century Art and Architecture.   The boldly imaginative and controversial building sat in heavy contrast to its traditional surroundings in the Flaminio neighbourhood of Rome. Despite initial scepticism the site has become a cultural hub and went on to win the Royal Institute of British Architects (RIBA) Stirling Prize.  Gianluca shares many of his learnings from being a part of such a ground breaking and significant project.  Vince and Gianluca go on to discuss the importance of not following trends when designing public buildings, but to design for the users and their habits in and around the site along with the need for ample natural light and public areas for communication and connection.  See omnystudio.com/listener for privacy information.

Judith Page was born in Lexington, Kentucky, and studied art at the University of Kentucky and Transylvania University. Early influences were her father, an amateur historian, photographer, and raconteur, who instilled in her a love and respect for history and the creative process, and writers such as Flannery O’Connor and Carson McCullers who provided her with many potent visual images. Other early influences include the Roman historian Tacitus and the politician Cassius Clay. Page says that her "art emerges from a Gothic sensibility, a place where horror and beauty exist in close proximity, where innocence encounters depravity, where the spirit is consumed and revived from moment to moment.” Page lived and worked in Florida until relocating to New York City in 1992, and currently lives in the Williamsburg section of Brooklyn. She received individual artist grants from the Gottlieb Foundation, the Pollock-Krasner Foundation and the State of FL. Exhibitions include Pop Surrealism and The Photograph as Canvas, The Aldrich Contemporary Art Museum and Disarming Beauty: The Venus de Milo in 20th Century Art, Dali Museum, and solo exhibitions at Luise Ross Gallery, New York, NY; Wake Forest University, Winston-Salem, NC; Massry Center for the Arts, Albany, NY; Lesley Heller Gallery, New York, NY and Stetson University, DeLand, FL. Known for her inventive use of materials and stimulating social commentary, Page’s numerous exhibitions and installation projects were written about in Art Papers, Sculpture, The New York Times, Art on Paper, and Art in America. Page’s art is represented in numerous public collections including Vanderbilt University; FSU Museum of Fine Arts, Tallahassee; University of KY Art Museum; Mint Museum of Art; University of TN; University of Iowa Museum of Art; and Orlando Museum of Art, FL. She was on the General Fine Arts faculty of MICA from 2004-2011 and on the faculty of the MFA Fine Arts program at SVA from 2010-2016. Her website is www.judithpage.com. Fruits of War (Brooklyn), 2021, archival pigment print on rag paper Spider’s Kiss (Manhattan), 2021, archival pigment print on rag paper

In the eighty ninth episode of Dissecting Philosophy with Dr McDonald, he discusses the second half of the section The Temporary Alliance of The Elite and The Mob in Hannah Arendt's The Origins of Totalitarianism.Feel free to send questions or comments to dissectingphilosophy@gmail.comNew episodes every Monday.Social media:Twitter: @iamarubbermanInstagram: dissectingphilosophywithdrmcdYoutube Channel: https://www.youtube.com/channel/UCTi_1EbyC_8kbkU8-wFdjogSupport the podcast:Patreon: https://www.patreon.com/DissectingphilosophyBuy me a coffee: https://ko-fi.com/dissectingphilosophyMany thanks to my Patreon supporters Pinkgummy, Johnathan S. and Mac Smith.Credits: Podcast Intro and Outro Music - Arctic and Fir from the album Delicate Felt Piano by Chad Crouch that can be downloaded at https://soundofpicture.bandcamp.com/album/delicate-felt-pianoSupport the show (https://www.patreon.com/Dissectingphilosophy)

Art historian Kate Bryan on her favourite Art love stories of the 20th Century.Filmmaker-turned-photographer Amos Gebhardt guides us through ‘Small acts of resistance', a glittering triptych of queer love.And the spirit and life lessons of the iconic Melbourne artist Mirka Mora, the subject of a big new exhibition.

Art historian Kate Bryan on her favourite Art love stories of the 20th Century. Filmmaker-turned-photographer Amos Gebhardt guides us through ‘Small acts of resistance’, a glittering triptych of queer love. And the spirit and life lessons of the iconic Melbourne artist Mirka Mora, the subject of a big new exhibition.

Art historian Kate Bryan on her favourite Art love stories of the 20th Century. Filmmaker-turned-photographer Amos Gebhardt guides us through ‘Small acts of resistance', a glittering triptych of queer love. And the spirit and life lessons of the iconic Melbourne artist Mirka Mora, the subject of a big new exhibition.

Art historian Kate Bryan on her favourite Art love stories of the 20th Century. Filmmaker-turned-photographer Amos Gebhardt guides us through ‘Small acts of resistance', a glittering triptych of queer love. And the spirit and life lessons of the iconic Melbourne artist Mirka Mora, the subject of a big new exhibition.

Art historian Kate Bryan on her favourite Art love stories of the 20th Century. Filmmaker-turned-photographer Amos Gebhardt guides us through ‘Small acts of resistance’, a glittering triptych of queer love. And the spirit and life lessons of the iconic Melbourne artist Mirka Mora, the subject of a big new exhibition.

Welcome once again to the next episode of Past Loves - the new weekly history podcast that explores affection, infatuation and attachment across time.This week I am joined by Kelly Cricchio of The Art Herstorian to delve into the relationship between American writer Gertrude Stein and Alice B. Toklas and their undeniable legacy. Together, they laid the foundation for 20th-century art and literature - cultivating and patronising the likes of Picasso, Matisse and Hemingway.In the heart of Paris, the city of love, these two Americans created an environment that nurtured now icons within the arts, as well as creating works that also gained widespread acclaim. Most notably was Stein's book The Autobiography of Alice B. Toklas which documents their lives running the most famous Parisian salon in the voice of her beloved. Their influence and legacy on the art that we praise today should never be underestimated. Neither should their love for one another.Where To Find UsFind Kelly's blog The Art Herstorian here: https://theartherstorian.com/ Follow her on Twitter: https://twitter.com/artherstorian Follow her on Instagram: https://www.instagram.com/theartherstorian/ Follow Past Loves on Instagram: https://www.instagram.com/pastlovespodcast/ Shop The Autobiography of Alice B. Toklas by Gertrude Stein here: https://www.amazon.co.uk/Autobiography-Toklas-Penguin-Modern-Classics/dp/0141185368/ You can find the transcript for the episode and a bibliography here: https://pastlovespodcast.co.uk/2020/06/26/gertrude-stein-and-alice-b-toklas-relationship/ If Past Loves has become your current love, you can email me at pastlovespodcast@gmail.com

AP Art History teacher Victoria Bigliano traces the history of the transition from classical portraiture and art technique to the Impressionists and the birth of modernism. 

Confined in a Soviet prison camp in 1941, Polish painter Józef Czapski chose a unique way to cope: He lectured to the other prisoners on Marcel Proust's novel In Search of Lost Time. In this week's episode of the Futility Closet podcast we'll describe Czapski's ambitious project and the surprising importance of literature to the prisoners of oppressive regimes. We'll also race some lemons and puzzle over a woman's birthdays. Intro: A piano keyboard can be used as a calendar mnemonic. After the Civil War, thousands of Confederates settled in Brazil. Sources for our feature on Józef Czapski: Józef Czapski, Lost Time: Lectures on Proust in a Soviet Prison Camp, 2018. Eric Karpeles, Almost Nothing: The 20th-Century Art and Life of Józef Czapski, 2018. Józef Czapski, The Inhuman Land, 1952. Timothy Snyder, Bloodlands: Europe Between Hitler and Stalin, 2012. György Faludy, My Happy Days in Hell, 1962. Jan Zielinski, "Milosz and Wat Read Brzozowski," Studies in East European Thought 63:4 (November 2011), 293-302. Aden Kumler and Christopher R. Lakey, "Res et significatio: The Material Sense of Things in the Middle Ages," Gesta 51:1 (2012), 1-17. Józef Czapski et al., "An Appeal on Behalf of the Western Edition of Puls," Polish Review 24:4 (1979), 122. Eric Karpeles, "Proust in Prison," Brick: A Literary Journal 102 (Winter 2019), 128-137. John Gray, "Józef Czapski: Painter, Prisoner, and Disciple of Proust," New Statesman, May 1, 2019. Marta Figlerowicz, "Poland's Forgotten Bohemian War Hero," Boston Review, Feb. 6, 2019. Paul Dean, "In Memoriam," New Criterion 37:7 (March 2019), 60-62. Andrew Schenker, "The Work of Historical Witness: Józef Czapski’s 'Lost Time' and 'Inhuman Land,'" Los Angeles Review of Books, Dec. 18, 2018. Ayten Tartici, "Reading Proust in the Gulag," New York Times Book Review, Jan. 16, 2019. Michael Pinker, "Józef Czapski: A Life in Translation," Review of Contemporary Fiction 29:3 (Fall 2009), 182-183. Edward Alden Jewell, "Polish Art Works to Assist Relief," New York Times, Dec. 13, 1939. "Jurzykowski Fund Gives Awards to 11," New York Times, Jan. 13, 1966. Ewa Kuryluk, "Subverting Poland From Paris," New York Times, April 1, 1990. "Red Massacre of Poles Told," Manitoba Ensign, Dec. 31, 1949. Stanislaw Frenkiel, "Obituary: Jozef Czapski Krakow to Katyn," Guardian, Jan. 27, 1993. Cynthia Haven, "Shouldering the Century's Burden," Wall Street Journal, Jan. 25, 2019. Malgorzata Kitowska-Lysiak, "Józef Czapski," Culture.pl, 2001. Listener mail: Michigan City Historical Society Old Lighthouse Museum, March 24, 2018. Wikipedia, "24 Hours of LeMons" (accessed Aug. 22, 2019). Tadd Haislop, "24 Hours of Lemons Is Like the 24 Hours of Le Mans — Just Funnier and Cheaper," Sporting News, June 15, 2019. 24 Hours of Lemons. "Lemons Penalties 101," rahulnair.net, April 7, 2009. "Prices & Rules," 24 Hours of Lemons (accessed Aug. 22, 2019). Murilee Martin, "LeMons Prize Money: Rubles, Nickels, or Toilet-Seat Checks!" RoadKill, July 11, 2016. Eric Rood, "The Index of Effluency: How to Win 24 Hours of LeMons' Top Prize," RoadKill, Dec. 1, 2015. Estes Park Police Department, Facebook, Aug. 10, 2019. Justin Wingerter, "Bear Crashes Through Estes Park Home 'Like the Kool-Aid Man,'" Denver Post, Aug. 11, 2019. "Bear Breaks Into House and Smashes Wall to Leave," BBC News, Aug. 12, 2019. Wikipedia, "Kool-Aid Man" (accessed Aug. 24, 2019). This week's lateral thinking puzzle was contributed by listener Romy Higgins. Here's a corroborating link (warning -- this spoils the puzzle). You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

Join TNS Host Michael Lerner in an interview with painter, writer, and translator Eric Karpeles as they discuss two new books about Polish painter and writer Józef Czapski: Almost Nothing: The 20th-Century Art and Life of Józef Czapski and Lost Time: Lectures on Proust in a Soviet Prison Camp.

In this long, information-packed episode, Ethan and our guest Mitch Malloy of Wild Blue Studiosgo through most of the history of art from millions of years ago back before Homo sapiens was a thing up into the very early 20th century. We very briefly cover the Soviet Union and the birth of socialist realism as well as talk about the CIA spreading certain art forms!  The document with the images and artwork referenced is on the episode page on prolespod.com/episodes. Also the audio is slightly garbled at a few points in the first several minutes, but it gets better! Sorry about that. There will be a second episode dedicated to twentieth century art movements, so wait up for that! If you haven't already, go to www.prolespod.com or you can help the show improve over at www.patreon.com/prolespod and in return can get access to our spicy discord, exclusive episodes, guest appearances, etc.! All kinds of great stuff. Please subscribe on your favorite podcast apps and rate or review to help extend our reach. Like and rate our facebook page at facebook.com/prolespod and follow us on Twitter @prolespod. If you have any questions or comments, DM us on either of those platforms or email us at prolespod@gmail.com All episodes prior to episode 4 can be found on YouTube, so go check that out as well! Suggested reading / sources used: Ways of Seeing, John Berger The Work of Art In the Age of Mechanical Reproduction, Walter Benjamin Marxism and Art, ed. Maynard Solomon Prehistoric Cave Paintings, Max Raphael The Social History of Art, Arnold Hauser A History of Theatre in Africa, ed. Martin Banham The Necessity of Art, Ernst Fischer Art as a Cultural System, Clifford Geertz The Soviet Theater, Laurence Senelick ReNew Marxist Art History, ed. Barnaby Haran, Warren Carter, Frederic Schwartz Society of the Spectacle, Guy Debord Karl Marx and Frederick Engels on Literature and Art, ed. Stefan Morawski A Smuggling Operation: John Berger's Theory of Art, Robert Minto "The Quickest History of 20th Century Art in Russia" "The Art of Russia"   Outro music: "Rings", Aesop Rock 

--{ "First You Till the Soil.... Revolution, Fabian Style, Slow, Persuasive, Incremental, Then Uncompromising Raised Clenched Fist, None too Gentle, So Now the State Provides, go Enjoy, dance and Splurge, In Stuporous State You'll be Issued Fate in Latest Purge." © Alan Watt }-- We're into a New Chapter of Our History - The Cold War; Our Taxes into the War Industry - The World Bank Lends to All Countries - The Ruling Oligarchy is Beyond the Deep State - China, Model State - GATT - Iraq, Kuwait, the Bush Family; Story about Throwing Babies from Incubators - Syria, Iran - The Phase We're in Now is the New Soviet System - Soviet is Rule by Councils (NGOs, Foundations) - Social Warriors - The Young Joiners are Used - Groups Aimed at Youth are Run by Very Old People - Yellow Vests in France - Britain's Eco-Warriors; Police Joining in with Protestors - Goal is Scientific, Socialist Control; Compulsory Sterilization, Permits to have Children - The Illuminati - World Revolutionary Party Members Came Over from Germany to Help Lincoln Fight the South in the Civil War - Ideas of Right and Wrong Come from Philosophy - Lenin, We Shall Win by Slogans - Climate Change, Veganism - The Club of Rome - Private Organizations Using the United Nations - U.N., World Government - Arnold Toynbee - Will and Ariel Durant - CIA and the Funding of Communes - Jim Jones - The Study of Cults - Taxes, Austerity - We're Living Through a Plan and The Plan has Chapters - E.U. and Farmers; Butter Mountains - The E.U. was Never Meant to be Democratic - Bertrand Russell - H.G. Wells - Will Durant Quote on Religion and Civilization - A Presentation of History that Makes the Rise of Tyrants seem Inevitable - Trotskyism, Perpetual Revolution - Protest Movements that have Totally Disappeared - We are the Problem Now because We Exist and We Consume - 20th Century Art; All Beauty Must Be Destroyed; Atonal Music - Julian Huxley, Dethrone Humans from their Pedestal - Dehumanization - Abortion - Euthanasia - Life is Cheap Now; We're Knocked Off that Pedestal - Washington State to Legalize Human Composting; Organic Reduction; Liquid Cremation - We are the Business - Soylent Green - Biodegradable Burial Pod Turns Your Body into a Tree - You Find Out Your Real Purpose in Life is to Supply Nutrients to a Tree - Britain to Implement Opt-Out Organ Donation - Pig Brains Kept Alive Outside Body - Extinction Rebellion in Britain - Social Warriors for Veganism - Attacking Farmers - Funded, Organized, Massive NGO Armies - Agenda 21 - David Attenborough says We're Running Out of Time to Save Planet and Calls for Urgent Action to Tackle Global Warming - 2013, Attenborough says Humans are a Plague on Earth, Limit Population - Jonathan Porritt - Population Matters - Paul Ehrlich, The Population Bomb - U.N.'s Eco Green Clubs in Schools - The Green Party was Initially Called the Ecology Party - Extinction Rebellion Leaders; Jet-setters - Green Giants - The Eco Power List - U.N. Environment's List of Accredited Organizations - Tax-Free Foundations Owned by Biggest Corporations - Porritt, Green Party - Zuckerberg calls for Internet Regulation - Julian Assange - Fear and then Terror Used on the Public - Notre Dame Cathedral Acoustics, Photos - Geoengineering - Destruction of Good Music - No More News; Aldous Huxley, Infotainment. *Title and Dialogue Copyrighted Alan Watt - Apr. 21, 2019 (Exempting Music and Literary Quotes)

Open University Symposium »Art in Motion« | Symposium [11.01.2019] Ingeborg Reichle, Professor of Media Theory, University of Applied Arts Vienna As part of the exhibition»Art in Motion«, the ZKM is organizing an Open University Symposium. The symposium takes the theme of the exhibition– the history of the development of media art – as a starting point for discussing the future of media arts in the age of digitization.

He started creating webcomics back in 2003. Little did he know this labor of love would eventually turn into a $10,000 per event side hustle.  Side Hustle School features a new story EVERY DAY of someone who started a hustle without quitting their job. You’ll learn how they got the idea, how they overcame challenges along the way, and what the results are.  Share: #SideHustleSchoolShow notes: SideHustleSchool.comTwitter: @chrisguillebeau Learn more about your ad choices. Visit megaphone.fm/adchoices

The number of artists, architects, and craftsmen affected by changes that took place in the 19th century are myriad, and when you see the work of artists today, you may see that the work produced in the 19th century continues to influence contemporary artists. Artist Victoria Chick, discusses 19th Century art around the world. Based in Silver City, New Mexico, Victoria is a contemporary figurative artist and early 19th & 20th century print collector. See her article, here: http://nationalparktraveling.com/listing/19th-century-art-around-the-world/Music on this episode is ‘Gauguin' by singer-songwriter Wally Lawder - see: www.WallyLawder.com

On this week's episode of How to Write Good, I present the argument that video games are the best art of this generation.

Michael and Kathryn discuss and analyze a 13th century work of art known as "The Allegory of Good and Bad Government". They paint a verbal picture of the artwork's imagery, discuss how it relates to businesses today, how it can shape your understanding of good leadership, and how this will help you grow your Passion & Provision company.

Derek and Laurel have returned from traveling the great wide world and bring you another episode about a favorite character who travels the great wide universe. In our second Doctor Who case study, we focus not only on the Doctor himself, but an unexpected friend, the painter Vincent Van Gogh. In Season 5, Episode 10 of the beloved BBC series, we explore questions of madness, alienation, loneliness, and ecstatic joy. Most importantly, we ask, what does it take to be a truly great artist? --- Support this podcast: https://anchor.fm/midnightmyth/support

Burl Barer is a Edgar Award winning author and two-time Anthony Award nominee with extensive media, advertising, marketing, and public relations experience. Garnering accolades for his creative contributions to radio, television, and print media, Barer's career has been highlighted in The Hollywood Reporter, London Sunday Telegraph, New York Times, USA Today, Variety, Broadcasting, Electronic Media, and on ABC's Good Morning America. Barer wrote, produced, and often voiced, national radio and television spots for such performing artists as Neil Diamond, Bob Dylan, Frank Sinatra, Billy Joel, Carly Simon, Eric Clapton, Moody Blues, Fleetwood Mac, Liza Minelli, Temptations, Four Tops, and many more. Barer also created and produced national radio and/or television campaigns for Warner/Electra/Atlantic, Media One, Management III, and Seattle Pacific Industries. Other national/regional clients have included Penzoil, Safeway, Superlube, Black Angus Restaurants, the Aladdin Theater for the Performing Arts, and the Sahara Hotel in Las Vegas. Barer wrote and produced the national electronic media campaigns for such cult classic films as King of Hearts, Harold and Maude, Ken Russell's Mahler, Orson Welles' F for Fake, The Four Musketeers, Academy Award winner The Man who Skied Down Everest, and the animated Allegro Non Tropo. His credits also include audio production for the award winning PBS series Images of Indians, 20th Century Art, Stained Glass Masters, and numerous television appearances. Most recently, Barer is featured with fellow  author Tom Robbins in august 2006 release on DVD of the acclaimed documentary, Surrealism.,

Art and politics have a long history of complex entanglement, but in the new millennium, the global artistic scene has exploded with political controversy. From the Mariinsky Ballet to Brett Bailey's Exhibit B, from Tania Bruguera to Charlie Hebdo, via El Sistema and other social experiments, artists and their work appear more and more entwined with surrounding political issues and volatility. Part 2 of this talk features a debate on these topics and more with Afa S. Dworkin (Sphinx Organization), Antonio Aiello (PEN American Center) and Paul Smith (Director of the British Council in the USA and Cultural Counsellor at the British Embassy Washington DC) Participants Presenter: Graham Sheffield CBE Global Director Arts, British Council Moderator: Paul Smith Director of the British Council (USA) and Cultural Counsellor at the British Embassy Respondents: Afa S. Dworkin Executive Director, Sphinx Foundation Antonio Aiello Content Director and Web Editor, Pen American Center In Part 1, Graham Sheffield CBE, Global Director Arts for the British Council, offers reflections on the current situation, examining issues of conscience, freedom of expression, social action and identity in an international context.

Art and politics have a long history of complex entanglement, but in the new millennium, the global artistic scene has exploded with political controversy. From the Mariinsky Ballet to Brett Bailey's Exhibit B, from Tania Bruguera to Charlie Hebdo, via El Sistema and other social experiments, artists and their work appear more and more entwined with surrounding political issues and volatility. In Part 1 of this talk, Graham Sheffield CBE, Global Director Arts for the British Council, offers reflections on the current situation, examining issues of conscience, freedom of expression, social action and identity in an international context. Participants Presenter: Graham Sheffield CBE Global Director Arts, British Council Moderator: Paul Smith Director of the British Council (USA) and Cultural Counsellor at the British Embassy Respondents: Afa S. Dworkin Executive Director, Sphinx Foundation Antonio Aiello Content Director and Web Editor, Pen American Center Part 2 of this talk features a debate on these topics with Afa S. Dworkin (Sphinx Organization), Antonio Aiello (PEN American Center) and Paul Smith (Director of the British Council in the USA and Cultural Counsellor at the British Embassy Washington DC)

Thank you to Knitwhisperer for their kind donation. Catching Up: (0:47) Jen saw Saint Vincent, The Book of Life, and Interstellar. She enjoyed them all. The acting is great in Saint Vincent; Book of Life is beautiful, and she definitely thinks Interstellar is definitely worth seeing, but she wasn't wild about the ending. She's been reading Game of Thrones and really liking it. They celebrated a big birthday for Ron with a really nice party and her parents came to visit. She's been spinning up her Knitpicks Wool of the Andes roving. She's trying to make a 2-ply fingering. And she went to WeFF. She had a lot of fun and won a ton a stuff in the door prize drawings and bought some really nice roving from Morro Fleece Works and RedFish DyeWorks and buttons. Laura was a vendor at WEFF and had a good day. She split her booth with Kamalei's Naturals. She bought some yarn from RedFish. She went to Disneyland with her brother and his kids. She's been watching Buffy Season 3 to prepare for the Sunnydale Yarn Club. She also finished the first half of Season 7 of Doctor Who. She's been dying a lot and trying to keep her mind off of some health concerns that are most likely nothing, but that are causing some stress. We mention Forbidden Woolery. In the Knitting Bag: (20:05) Jen has been still working on her Heirloom Layette Set by Kerin Dimeler-Laurence out of Cascade Heritage in Snow. She has not yet heard back from Knitpicks, so she will create her own edging. And she is working on the sweater instead. She's working on her plain socks out of FabFunkyFibres 15 Coloured Rainbow self-striping yarn. She started The Age of Brass and Steam by Orange Flower Yarn out of Feederbrook Farms Entropy in the colorways Nebula and Paradox--she is going to do a gradual transition between the two. She also started a plain Customfit pullover using Cascade Heritage in Deep Plum. She is doing a close-fit, 3/4 length sleeve in tunic length, with a scoop neck and seed stitch border. And finally she started the Porcupine Blanket from 60 Quick Baby Knits out of Cascade 220 Superwash. She thinks the porcupines look more like hedgehogs. Laura is working on the Motoring Madness mittens by Audrey Nicklin for her husband out of custom-dyed Dizzy Blonde DK. She is also working on Knitted Scale Mail Gloves in an Iron Man theme by CraftyMutt for her granddaughter's father. She is doing them out of Brown Sheep Worsted in the Red Fox colorway. She decided to crochet the repulsors and applique them on, instead of doing intarsia. And she continues to work on her Yggdrasil Afghan by Lisa Jacobs out of reclaimed Berroco Vintage Chunky in Mocha. She's on the applied edging and it's a lot of knitting. We mention Sock Architecture by Lara Neel. Finished Objects: (28:15) Jen finished her Chickadee Cardigan by Ysolda Teague from Little Red in the City out of Quince and Co. Chickadee in Rosa Rugosa, Slate, Egret, and Lichen. She just needs to put buttons on it, but she loves it so much she's been wearing it without buttons. The sleeves are little short for her taste, but just because she likes really long sleeves. Laura finished a hat for Halos of Hope out of Knitpicks Brava Worsted in orange, lavender, and some neutral greys and browns. PM or email Laura if you're local and have hats for Halos; she is willing to send them. Devil's Tower (31:43) Jen has been working on finishing (weaving in ends etc) on her Playful Stripes Cardigan and on her Mustachioed blanket. Laura may put her Yggdrasil in Devil's Tower to work on some gift knitting. (So she is decidedly not participating in the Knitmore Girls Grinchmas Contest). We mention Watty's Wall Stuff Frog Pond: (36:40) Luckily, we have both avoided the Frog Pond. On Deck: (36:51) Jen will make a layette based on the Baby Yours Sweater. She will make a second Playful Stripes Cardigan, the Hitofude Cardigan, and a Rockefeller for Ron. Laura will make the Night Blooming Shawlette for the Sunnydale Yarn Club KAL. She also has on the list Quinty by Bernadette Ambergen, the Death Star by Patricia Castillo,  Ink by Hanna Maciejewska, the Crochet Fan Shawl by Valerie Martin, and Art Déco and Dreambird by Nadita Swings, and the the Effortless Cardigan by Hannah Fettig. Knit Culture: (42:55) We talk a little bit of Stashdown. We loved October's entries. Congratulations to ShadowAP, you win a copy of Sock Architecture, courtesy of Cooperative Press. November's theme is food, so put your FOs in the thread. December's theme is "A Gift for Myself". Knit something that you really love. Treat yourself. Use that skein that is so pretty or work on that project that you love. We review Knitting 20th Century Art by Deborah Tomasello. We totally love this book. The patterns are really clever and inspired and there are nice overviews of modern art movements. We both appreciate the whimsy and the beauty of her patterns and we like the styling. Geek Culture: (54:39) We talk about the discovery of part of Amelia Earhart's plane. We also talk about the Rolling Stone Reader's poll about the Ten Best Stephen King books. We weigh in our favorites and would love to hear about your favorite horror books. And there is a Firefly Clue Board game. For serious. Events: (1:03:16) Stitches West is February 19-22 and both Jen and Laura will be there. Laura is vending and Jen will be taking a ton of classes, but come say hi! Vogue Knitting LIVE! is at the Pasadena Convention Center on April 17-19. Laura may take some classes and Jen may go to the marketplace.

Burl Barer is a Edgar Award winning author and two-time Anthony Award nominee with extensive media, advertising, marketing, and public relations experience. Garnering accolades for his creative contributions to radio, television, and print media, Barer's career has been highlighted in The Hollywood Reporter, London Sunday Telegraph, New York Times, USA Today, Variety, Broadcasting, Electronic Media, and on ABC's Good Morning America.   Barer wrote, produced, and often voiced, national radio and television spots for such performing artists as Neil Diamond, Bob Dylan, Frank Sinatra, Billy Joel, Carly Simon, Eric Clapton, Moody Blues, Fleetwood Mac, Liza Minelli, Temptations, Four Tops, and many more. Barer also created and produced national radio and/or television campaigns for Warner/Electra/Atlantic, Media One, Management III, and Seattle Pacific Industries. Other national/regional clients have included Penzoil, Safeway, Superlube, Black Angus Restaurants, the Aladdin Theater for the Performing Arts, and the Sahara Hotel in Las Vegas.   Barer wrote and produced the national electronic media campaigns for such cult classic films as King of Hearts, Harold and Maude, Ken Russell's Mahler, Orson Welles' F for Fake, The Four Musketeers, Academy Award winner The Man who Skied Down Everest, and the animated Allegro Non Tropo. His credits also include audio production for the award winning PBS series Images of Indians, 20th Century Art, Stained Glass Masters, and numerous television appearances. Most recently, Barer is featured with fellow  author Tom Robbins in august 2006 release on DVD of the acclaimed documentary, Surrealismhttp://caribbeanradioshow.com ,http://crsradio.com 661-467-2407

Burl Barer is a Edgar Award winning author and two-time Anthony Award nominee with extensive media, advertising, marketing, and public relations experience. Garnering accolades for his creative contributions to radio, television, and print media, Barer's career has been highlighted in The Hollywood Reporter, London Sunday Telegraph, , USA Today, Variety, Broadcasting, Electronic Media, and on ABC's Good, Morning America New YorK Times . Barer wrote, produced, and often voiced, national radio and television spots for such performing artists as Neil Diamond, Bob Dylan, Frank Sinatra, Billy Joel, Carly Simon, Eric Clapton, Moody Blues, Fleetwood Mac, Liza Minelli, Temptations, Four Tops, and many more. Barer also created and produced national radio and/or television campaigns for Warner/Electra/Atlantic, Media One, Management III, and Seattle Pacific Industries. Other national/regional clients have included Penzoil, Safeway, Superlube, Black Angus Restaurants, the Aladdin Theater for the Performing Arts, and the Sahara Hotel in Las Vegas. Barer wrote and produced the national electronic media campaigns for such cult classic films as King of Hearts, Harold and Maude, Ken Russell's Mahler, Orson Welles' F for Fake, The Four Musketeers, Academy Award winner The Man who Skied Down Everest, and the animated Allegro Non Tropo. His credits also include audio production for the award winning PBS series Images of Indians, 20th Century Art, Stained Glass Masters, and numerous television appearances. Most recently, Barer is featured with fellow author Tom Robbins in august 2006 release on DVD of the acclaimed documentary, Surrealism. Click on this link to read the rest... http://sta.rtup.biz/profiles/blogs/2084667: caribbeanradioshow@gmail.com www.NDEspace.com

Burl Barer is a Edgar Award winning author and two-time Anthony Award nominee with extensive media, advertising, marketing, and public relations experience. Garnering accolades for his creative contributions to radio, television, and print media, Barer's career has been highlighted in The Hollywood Reporter, London Sunday Telegraph, New York Times, USA Today, Variety, Broadcasting, Electronic Media, and on ABC's Good Morning America. Barer wrote, produced, and often voiced, national radio and television spots for such performing artists as Neil Diamond, Bob Dylan, Frank Sinatra, Billy Joel, Carly Simon, Eric Clapton, Moody Blues, Fleetwood Mac, Liza Minelli, Temptations, Four Tops, and many more. Barer also created and produced national radio and/or television campaigns for Warner/Electra/Atlantic, Media One, Management III, and Seattle Pacific Industries. Other national/regional clients have included Penzoil, Safeway, Superlube, Black Angus Restaurants, the Aladdin Theater for the Performing Arts, and the Sahara Hotel in Las Vegas. Barer wrote and produced the national electronic media campaigns for such cult classic films as King of Hearts, Harold and Maude, Ken Russell's Mahler, Orson Welles' F for Fake, The Four Musketeers, Academy Award winner The Man who Skied Down Everest, and the animated Allegro Non Tropo. His credits also include audio production for the award winning PBS series Images of Indians, 20th Century Art, Stained Glass Masters, and numerous television appearances. Most recently, Barer is featured with fellow  author Tom Robbins in august 2006 release on DVD of the acclaimed documentary, Surrealism.,   Click on this link to read the rest... http://sta.rtup.biz/profiles/blogs/2084667:BlogPost:77013 caribbeanradioshow@gmail.com

The Left Bank The river Siene slices through the city of Paris like the gentle folds of a fresh croissant. To the south is a section known as "La Rive Gauche" or The Left Bank. The moniker is artistic in origin thanks to the community of superlative painters and writers who called it home at one time or another. From Picasso to Hemingway to Matisse to Fitzgerald, some of the greatest works that we still admire today trace their ancestry to the southern section of the City of Lights. And even though those days are gone it doesn't mean that today The Left Bank is bereft of artistic merit. In fact just the opposite. Over the years it has become home to some of the greatest works of contemporary art though with a more technological feel. And for the next two weeks Autoline Detroit will spotlight this "21st Century Art" as we visit the Paris Motor Show. In this week's first part, John McElroy talks with Stephen Odell, the CEO of Ford of Europe, Jonathan Browning, the new CEO of Volkswagen of America, Ian Callum, Jaguar's Director of Design, and Fiat's Giovanni Mastrangelo, Platform Manager for Small Gasoline Engines.

The Left BankThe river Siene slices through the city of Paris like the gentle folds of a fresh croissant. To the south is a section known as "La Rive Gauche" or The Left Bank. The moniker is artistic in origin thanks to the community of superlative painters and writers who called it home at one time or another. From Picasso to Hemingway to Matisse to Fitzgerald, some of the greatest works that we still admire today trace their ancestry to the southern section of the City of Lights.And even though those days are gone it doesn't mean that today The Left Bank is bereft of artistic merit. In fact just the opposite. Over the years it has become home to some of the greatest works of contemporary art though with a more technological feel. And for the next two weeks Autoline Detroit will spotlight this "21st Century Art" as we visit the Paris Motor Show.In this week's first part, John McElroy talks with Stephen Odell, the CEO of Ford of Europe, Jonathan Browning, the new CEO of Volkswagen of America, Ian Callum, Jaguar's Director of Design, and Fiat's Giovanni Mastrangelo, Platform Manager for Small Gasoline Engines.

The 21st Century Art Movement of Omni Art in context