Podcasts about chipstone foundation

Chicago. Designer. Artist. And. Jazz fan. Norman Teague, joins us to touch on craft, music, Mies van der Rohr, bringing one's cousins along. Come along us as we dance through a racialized modern, Martian Puryear, craft and art, and the affect of music. All while we investigate “A LOVE SUPREME” at the Elmhurst Art Museum. Image... Install at Elmhurst Art Museum   Elmhurst Art Museum https://elmhurstartmuseum.org/ Norman Teague https://www.normanteaguedesignstudios.com/ John Coltrane https://en.wikipedia.org/wiki/John_Coltrane Rose Camara https://www.rosecamara.com/ Chipstone Foundation https://www.chipstone.org/ Terra Foundation https://www.terraamericanart.org/ Art Design Chicago https://artdesignchicago.org/ Martian Puryear https://matthewmarks.com/artists/martin-puryear Mies van der Rohe https://www.moma.org/artists/7166      

This week host Benjamin Miller welcomes back an old friend: Glenn Adamson, ANTIQUES contributor and now editor of Material Intelligence, an online quarterly published by the Chipstone Foundation. The upcoming issue of the journal concerns leather, one of the oldest as well as the commonest human-worked materials. From its sartorial to industrial applications (machine belts—sorry American bison), and its prevalence in sadomasochistic paraphernalia, Ben and Glenn cover the gamut.

Kaywin Feldman, the Director for the National Gallery of Art in Washington D.C., points out why visiting art museums can provide us boosts of creativity. On last episode of Creative Fuel, "How Do We Connect With Each Other," we discussed how art museums and other public displays of art can be such powerful bridges between people. And in this short, Kaywin discusses how that relates to experiencing awe and wonder together.Each episode of Creative Fuel starts with one question. In the course of researching, writing, and talking with our guests, we obviously come up with many more questions along the way. They leave us with a lot to ponder, and there are many things we don't have the space to include in our full episodes. Which is where these little doses of creativity come in.Featuring:  Kaywin FeldmanHead over to CreativeFuelCollective.com for more creative inspiration, prompts, online workshops and a robust creative community.Hosted by Anna BronesCo-Produced by Anna Brones & Gale StraubTheme Music is by cleod9 musicSeason 1 is Made with Support by Big CartelKaywin Feldman is the director of the National Gallery of Art in Washington, D.C. She is the National Gallery's fifth director, and the first female to hold the position. Before coming to the National Gallery, she served for a decade as the director and president of the Minneapolis Institute of Art. She is a member of the Board of Directors of the Terra Foundation for American Art and a trustee of the National Trust for Historic Preservation, the White House Historical Association, and the Chipstone Foundation. Feldman holds master's degrees in art history and archeology from the University of London.Links:National Gallery of Art

We share traits with every single human on this planet. But often our differences define us more than our commonalities. In this episode we explore our empathetic potential, and how art just might be a bridge for creating better connection.Social psychologist Dr. Sara Konrath and Director of the National Gallery of Art guide us through an exploration of art and empathy, and we explore a new public art installation at the Bainbridge Island Japanese American Exclusion Memorial in Washington State. Head over to CreativeFuelCollective.com for more creative inspiration, prompts, online workshops and a robust creative community.Hosted by Anna BronesCo-Produced by Anna Brones & Gale StraubTheme Music is by cleod9 musicSeason 1 is Made with Support by Big CartelFeaturing: Kaywin Feldman: Kaywin Feldman is the director of the National Gallery of Art in Washington, D.C. She is the National Gallery's fifth director, and the first female to hold the position. Before coming to the National Gallery, she served for a decade as the director and president of the Minneapolis Institute of Art. She is a member of the Board of Directors of the Terra Foundation for American Art and a trustee of the National Trust for Historic Preservation, the White House Historical Association, and the Chipstone Foundation. Feldman holds master's degrees in art history and archeology from the University of London.Links:National Gallery of ArtSara Konrath: Sara Konrath is a social psychologist who directs the Interdisciplinary Program on Empathy and Altruism Research at the Indiana University Lilly Family School of Philanthropy. Her scientific research focuses on topics related to social and emotional intelligence. For example, her studies explore changes over time in these traits among American young people. Other research examines implications of these traits for individuals themselves and for other people. For example, she has published extensively on the health and happiness benefits of giving. She also creates and evaluates empathy-building training programs in a variety of groups, including young people, nonprofit professionals, art museum staff and visitors, and doctors. Konrath holds a PhD. in Social Psychology from the University of Michigan.Links: ipearlab.orgCarol Reitz: Originally from Minnesota, Carol Reitz serves as the president of the Bainbridge Island Japanese American Community on Bainbridge Island in Washington State. She is also a Bainbridge Island Rotarian and played piano for high school choirs. Loves to play pickleball, knit, and serve as a docent and volunteer host at the Exclusion Memorial educating visitors from around the world.Resources Mentioned & Places to Learn MoreBainbridge Island Japanese American Exclusion MemorialScrovegni ChapelMinneapolis Institute of Art Center for Empathy and the Visual ArtsDoes Arts Engagement Increase Empathy and Prosocial Behavior?Eric Klinenberg, “Why Libraries Will Save the World”“Art as a Trojan Horse,” part of Dr. Konrath's column for Psychology Today, The Empathy GapImages of public art installation at the Bainbridge Island Japanese American Exclusion Memorial deckVideo of the production and fabrication of some of the components in Anna Brones and Luc Revel's artwork for the Bainbridge Island Japanese Exclusion MemorialSponsor LinksBig Cartel believes you don't have to sell out to sell online. With their simple stores for artists, makers, and creators, you won't be surprised by hidden fees and they don't take a cut of your sales like some other platforms. The sky's the limit on your sales and your success. Open your own shop at bigcartel.com.

Glenn Adamson speaks about the new publication project, Material Intelligence. He reflects on how this project evolved from his return to the Chipstone Foundation in Milwaukee. Adamson describes the need in craft writing to keep in mind the publication as an object, in this case, a PDF which will become a book. In terms of readership, he aims to engage with a scientific community who are practically working with materials. We discuss the nature of "material intelligence": how thinking might have a craft-base and its relationship to the modernist principle of "truth in material". Finally, Adamson offers a book recommendation by technology writer, John Markoff: Machines of Loving Grace: The Quest for Common Ground Between Humans and Robots.

For curator and scholar Glenn Adamson, craft isn't a quirky hobby that sits on the outskirts of contemporary culture. Rather, it's a vital, timeless tool for teaching us about one another, and about humanity as a whole. This belief fuels his writing, teaching, and curatorial projects, which seek to unpack the many ways in which the age-old activity shapes our lives. Adamson's work shows that craft is bigger than any single skillfully handmade object—each of which itself can serve as an important symbol of the human capacity for honing expertise over time—and influences countless aspects of society, from the Japanese tea ceremony to farming robots devised by Google's parent company, Alphabet X. In this way, craft acts as a lens for understanding people and places across time.Adamson, 49, has explored the virtues of craft throughout his two-decade-long career, which has included roles at Milwaukee's Chipstone Foundation, London's Victoria and Albert Museum, and New York's Museum of Arts and Design. In his 2018 book Fewer, Better Things, he positions craft as a means of connecting with fundamental issues and ideas (as opposed to those that hold only momentary or superficial relevance), and explains why taking the time to appreciate handmade objects from a maker's or a user's perspective holds particular spiritual and psychological value. Adamson's account of the discipline in the United States, neatly laid out in his latest book, Craft: An American History (Bloomsbury), reveals how artisans—whose trade often includes people who are disempowered by their ethnicity, gender, or both—have been consistently suppressed throughout the nation's history, but, paradoxically, are integral to many of its greatest achievements. His latest endeavor takes a more forward-looking approach. “Futures,” an exhibition Adamson co-curated that opens in November at the Smithsonian's Arts and Industries Building in Washington, D.C. (on view through summer 2022), considers how craft can signal where we might be headed, and why we should be optimistic about the time to come. Over and over again, Adamson demonstrates how skilled making is about more than just beautiful objects. “Craft stands in for the whole idea of what it means to be human,” he says, “and why that matters.”On this episode, Adamson discusses the various facets of skilled making, talking with Spencer about the value of hand-formed objects, the relationship between time and craft, and the discipline's essential, often complicated role in the history of human progress.Show notes:Full transcript on timesensitive.fm@glenn_adamsonglennadamson.com(16:20): Fewer, Better Things (Bloomsbury, 2018)(52:57): Chipstone Foundation (53:33): Milwaukee Art Museum(54:16): “Postmodernism: Style and Subversion 1970–1990” (Victoria and Albert Museum, 2011)(55:56): The Journal of Modern Craft(56:04): Museum of Arts and Design(59:50): Craft: An American History (Bloomsbury, 2021)(01:17:23): “Futures” (Smithsonian Arts and Industries Building, Nov. 2021–Summer 2022)

Glenn Adamson is a curator and writer who works at the intersection of craft, design history, and contemporary art. He's the author, most recently, of Craft: An American History. He previously was the director of the Museum of Arts and Design, head of research at the V&A, and curator at the Chipstone Foundation. In this conversation, Jarrett and Glenn talk about the understanding craft and its role in society, how he put together his new book, and how craft and design are different. Links from this episode can be found at scratchingthesurface.fm/191-glenn-adamson. — If you enjoy the show, please consider supporting us on Patreon and get bonus content, transcripts, and our monthly newsletter! www.patreon.com/surfacepodcast

Sarah Anne Carter is the Visiting Executive Director of the Center for Design and Material Culture (CDMC) and Visiting Assistant Professor in Design Studies in the School of Human Ecology at the University of Wisconsin-Madison. She previously served as the Curator and Director of Research at the Chipstone Foundation in Milwaukee, Wisconsin. While at Chipstone, she collaboratively curated many innovative exhibitions, including Mrs. M.-----‘s Cabinet at the Milwaukee Art Museum and Florence Eiseman: Designing Childhood for the American Century at the Museum of Wisconsin Art, and directed Chipstone’s Think Tank Program in support of progressive curatorial practice. Carter’s recent book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press 2018) was published last fall.  She is also co-author of Tangible Things: Making History Through Objects (Oxford University Press 2015), which is the foundation for an EdX course. Carter received her Ph.D. in American Studies and her MA and BA in History from Harvard University, as well as an MA from the Winterthur Program in American Material Culture. View of Mrs. M.-----’s Cabinet, curated by the Chipstone Foundation at the Milwaukee Art Museum, 2016. Cover of Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press 2018)

The metaphor “object lesson” is a familiar one, still in everyday use. But what exactly does the metaphor refer to? In her book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press, 2018), my guest Sarah Anne Carter reveals that object lessons were a classroom exercise, in wide use during the nineteenth century. She traces them from the Swiss educational reformer Pestalozzi, through his English adherents, to seemingly unlikely outposts of educational revolution as the Oswego, New York school system. And she takes the story into politics, advertising, and racial segregation. Her book is study of intellectual history and of intellectual culture. But Sarah’s book, and this conversation, is also about asking questions of things which cannot speak. Sarah’s interest in objects comes not simply from her training as an intellectual historian, but as a curator of museums. She is curator and director of research at the Chipstone Foundation in Milwaukee, and is passionate about teaching people the history behind the objects that museums contain. Al Zambone is a historian and the host of the podcast Historically Thinking. You can subscribe to Historically Thinking on Apple Podcasts.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The metaphor “object lesson” is a familiar one, still in everyday use. But what exactly does the metaphor refer to? In her book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press, 2018), my guest Sarah Anne Carter reveals that object lessons were a classroom exercise, in wide use during the nineteenth century. She traces them from the Swiss educational reformer Pestalozzi, through his English adherents, to seemingly unlikely outposts of educational revolution as the Oswego, New York school system. And she takes the story into politics, advertising, and racial segregation. Her book is study of intellectual history and of intellectual culture. But Sarah’s book, and this conversation, is also about asking questions of things which cannot speak. Sarah’s interest in objects comes not simply from her training as an intellectual historian, but as a curator of museums. She is curator and director of research at the Chipstone Foundation in Milwaukee, and is passionate about teaching people the history behind the objects that museums contain. Al Zambone is a historian and the host of the podcast Historically Thinking. You can subscribe to Historically Thinking on Apple Podcasts.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The metaphor “object lesson” is a familiar one, still in everyday use. But what exactly does the metaphor refer to? In her book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press, 2018), my guest Sarah Anne Carter reveals that object lessons were a classroom exercise, in wide use during the nineteenth century. She traces them from the Swiss educational reformer Pestalozzi, through his English adherents, to seemingly unlikely outposts of educational revolution as the Oswego, New York school system. And she takes the story into politics, advertising, and racial segregation. Her book is study of intellectual history and of intellectual culture. But Sarah’s book, and this conversation, is also about asking questions of things which cannot speak. Sarah’s interest in objects comes not simply from her training as an intellectual historian, but as a curator of museums. She is curator and director of research at the Chipstone Foundation in Milwaukee, and is passionate about teaching people the history behind the objects that museums contain. Al Zambone is a historian and the host of the podcast Historically Thinking. You can subscribe to Historically Thinking on Apple Podcasts.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The metaphor “object lesson” is a familiar one, still in everyday use. But what exactly does the metaphor refer to? In her book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press, 2018), my guest Sarah Anne Carter reveals that object lessons were a classroom exercise, in wide use during the nineteenth century. She traces them from the Swiss educational reformer Pestalozzi, through his English adherents, to seemingly unlikely outposts of educational revolution as the Oswego, New York school system. And she takes the story into politics, advertising, and racial segregation. Her book is study of intellectual history and of intellectual culture. But Sarah’s book, and this conversation, is also about asking questions of things which cannot speak. Sarah’s interest in objects comes not simply from her training as an intellectual historian, but as a curator of museums. She is curator and director of research at the Chipstone Foundation in Milwaukee, and is passionate about teaching people the history behind the objects that museums contain. Al Zambone is a historian and the host of the podcast Historically Thinking. You can subscribe to Historically Thinking on Apple Podcasts.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The metaphor “object lesson” is a familiar one, still in everyday use. But what exactly does the metaphor refer to? In her book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press, 2018), my guest Sarah Anne Carter reveals that object lessons were a classroom exercise, in wide use during the nineteenth century. She traces them from the Swiss educational reformer Pestalozzi, through his English adherents, to seemingly unlikely outposts of educational revolution as the Oswego, New York school system. And she takes the story into politics, advertising, and racial segregation. Her book is study of intellectual history and of intellectual culture. But Sarah’s book, and this conversation, is also about asking questions of things which cannot speak. Sarah’s interest in objects comes not simply from her training as an intellectual historian, but as a curator of museums. She is curator and director of research at the Chipstone Foundation in Milwaukee, and is passionate about teaching people the history behind the objects that museums contain. Al Zambone is a historian and the host of the podcast Historically Thinking. You can subscribe to Historically Thinking on Apple Podcasts.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The metaphor “object lesson” is a familiar one, still in everyday use. But what exactly does the metaphor refer to? In her book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press, 2018), my guest Sarah Anne Carter reveals that object lessons were a classroom exercise, in wide use during the nineteenth century. She traces them from the Swiss educational reformer Pestalozzi, through his English adherents, to seemingly unlikely outposts of educational revolution as the Oswego, New York school system. And she takes the story into politics, advertising, and racial segregation. Her book is study of intellectual history and of intellectual culture. But Sarah’s book, and this conversation, is also about asking questions of things which cannot speak. Sarah’s interest in objects comes not simply from her training as an intellectual historian, but as a curator of museums. She is curator and director of research at the Chipstone Foundation in Milwaukee, and is passionate about teaching people the history behind the objects that museums contain. Al Zambone is a historian and the host of the podcast Historically Thinking. You can subscribe to Historically Thinking on Apple Podcasts.   Learn more about your ad choices. Visit megaphone.fm/adchoices

The metaphor “object lesson” is a familiar one, still in everyday use. But what exactly does the metaphor refer to? In her book Object Lessons: How Nineteenth-Century Americans Learned to Make Sense of the Material World (Oxford University Press, 2018), my guest Sarah Anne Carter reveals that object lessons were a classroom exercise, in wide use during the nineteenth century. She traces them from the Swiss educational reformer Pestalozzi, through his English adherents, to seemingly unlikely outposts of educational revolution as the Oswego, New York school system. And she takes the story into politics, advertising, and racial segregation. Her book is study of intellectual history and of intellectual culture. But Sarah's book, and this conversation, is also about asking questions of things which cannot speak. Sarah's interest in objects comes not simply from her training as an intellectual historian, but as a curator of museums. She is curator and director of research at the Chipstone Foundation in Milwaukee, and is passionate about teaching people the history behind the objects that museums contain. Al Zambone is a historian and the host of the podcast Historically Thinking. You can subscribe to Historically Thinking on Apple Podcasts.  

Join my special guests April Hynes and Reverend Fred Morton for a discussion of the Wanderer Project. This project is important to anyone interested in American history, and especially the African American experience. The Wanderer is the last documented ship to bring a cargo of slaves from Africa to the United States on November 28, 1858. April Hynes’ grandfather discovered an African Face Jug on a construction site in Philadelphia in 1950. It took some literal and figurative digging but eventually April, a devoted amateur genealogist, traced the jug’s origins back to Edgefield County, South Carolina. The area is home to amazingly high quality clay and  pottery operations where many slaves, including Wanderer survivors, toiled making stoneware. The link discovered between April Hynes’ Face Jug and the Wanderer Africans helped to break down the so-called brick wall that frequently thwarts those trying to unmask the personal side of the slavery story.  April Hynes is a Principal Researcher of the “Wanderer Project” and has presented at the National Smithsonian Museum, Boston University,  and has received grants from the Chipstone Foundation and Ancestry.com to further her research. Historian Rev. Fred Morton is a descendant of Yango Lanham a survivor of the Wanderer slave ship.