Podcast appearances and mentions of Chris Burden

From the Shadow of the Wall: Finding Inspiration in a Divided Berlin Want to uncover the secrets behind David Bowie's creative process and the impact of Berlin on his music? Discover the solution to gaining a deeper understanding of the legendary artist's Heroes album analysis. Get ready to dive into the intriguing world of Bowie's musical journey and the influential forces that shaped his iconic sound. Stay tuned for a mind-bending exploration of Bowie's artistry and musical evolution. In this episode, you will be able to: Explore the intricate layers of David Bowie's "Heroes" album and unravel its artistic brilliance. Uncover how the city of Berlin significantly influenced David Bowie's musical evolution and creative expression. Discover the captivating influence of Chris Burden on the creation of "Joe the Lion" and its impact on Bowie's music. Gain insight into the fascinating and innovative creative process behind David Bowie's iconic "Heroes" album. Delve into the intriguing relationship between performance art and its profound influence on music, including David Bowie's work. The key moments in this episode are: 00:03:13 - Oblique Strategies  00:06:25 - Album Vibes and Dinner  00:09:29 - History of "Heroes"  00:13:44 - Embracing Unnerving Experiments  00:15:43 - Responding to Emergency  00:20:54 - Tony de Visconti's Production Technique  00:27:10 - David Bowie's Vocal Recording Process  00:29:36 - David Bowie's Appearance  00:31:51 - Blue Apron Ad Read and Robert Fripp's Performance  00:32:36 - Planning the Episode  00:33:53 - Musical Depth and Track by Track  00:37:26 - David Bowie and Iggy Pop in Berlin  00:41:31 - Brian Eno's Artistic Antics  00:47:09 - Bowie's World Tour Adventures  00:49:12 - David Bowie's approach to substance use  00:51:32 - Bowie's voracious reading habits  00:58:23 - Mentality during the recording of "Heroes"  01:00:14 - Bowie's creative energy in Berlin  01:04:33 - Evolution of Bowie's music  01:05:58 - Dan's Approach to Information Sharing  01:06:41 - Discussion about Real Songs and Music  01:09:10 - Chris Burden's Artistic Stunts  01:15:55 - Bluechew Ad Read  01:19:04 - Tier List Ranking of Albums  01:23:57 - Ranking David Bowie Albums  01:25:32 - Album Ranking Continues  01:27:02 - Assessing Scary Monsters  01:28:34 - Final Album Rankings  01:35:34 - Closing Remarks  01:40:24 - British Man vs. American Cuisine  01:41:14 - Introduction to Meatloaf and Other British Dishes  01:42:25 - Exploring American Dishes  01:43:41 - Cornbread, Biscuits, and Gravy  01:46:11 - Waffle House Training Video  01:53:58 - Waffle House Breakfast Orders  01:59:25 - Omelet Marking System  02:03:01 - Breakfast Sandwiches and Deluxe Orders  02:05:26 - Hash Brown and Dinner Orders  02:08:03 - Waffle House Marking System  02:09:12 - Major Meat Sandwiches  02:10:53 - Special Preparation for Sandwiches  02:11:03 - Burritos and Hispanic Food  02:12:50 - Importance of the Pull Drop Mark System  This podcast is powered by Pinecast.

L'orca Keiko i l'artista postmodern Chris Burden: si hagu

Programa 5x83, amb Joan Pera. En Chris era un artista total. Un nano que jugava al l

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices

Like many of us, India “fell” into lighting. Except India's interest is in the history of Los Angeles street lighting, from the “moon towers” of the 1880's, to the Golden Age of street lighting in the 40's and 50's to the skyrocketing of street lighting over crime concerns in the 60's. Some of these classic light poles are still in use, but alas, with copper wire theft and some of these cast iron poles being literally ripped out of the ground and taken for scrap metal, we may be losing the beauty of the past. Come on, leave the street lights alone! India Mandelkern was born in Los Angeles, California, received her B.A. from Middlebury College in Middlebury, Vermont, and received her Ph.D. in History from the University of California, Berkeley. After all this school, she made her way back to Los Angeles, where she has worked as a curator, consultant, and critic, writing on art, culture, design, and cities for a variety of publications, both local and national. From 2016-2018 she served as a fellow at the Los Angeles County Museum of Art (LACMA), where she got interested in public art and worked as the speechwriter for the CEO. During her tenure there, she created a 'field guide' to the 16 different 1920s and 1930s streetlight designs included in Chris Burden's famous streetlight sculpture located at LACMA's south entrance, Urban Light. The guide became an overnight hit at the museum, which led her down a rabbit hole, so to speak, and resulted in her latest book, Electric Moons: A Social History of Street Lighting in Los Angeles, published in late 2023 by Hat & Beard Press. In the book, she uses the streetlight as a "flashlight" to reexamine the history of LA, looking at how lighting shaped conversations about civic identity, transportation, policing, and the definition of public space, to name a few. She currently works at the Los Angeles County Metropolitan Transportation Authority (LACMTA) –– a fortuitously "streetlight-adjacent" gig –– where she oversees the agency's blog and writes about Metro construction projects and policies. 

AYYYYYY okay so I wrote this episode at a speed faster than I write most episodes….so sorry if it's crazy…..but also based on the content, it will be crazy anyway. And as a warning for my fellow farts and farties alike out there- there's several triggering topics in today's episode including: self harm and mutilation and public endangerment. Socials: twitter: @artfartspod instagram: @artfartspodcast tiktok: @artfartspodcast email us at theartfartspodcast@gmail.com Sources: https://www.theartstory.org/artist/burden-chris/#:~:text=Chris%20Burden%20has%20produced%20some,flights%20of%20stairs%2C%20and%20even  https://en.wikipedia.org/wiki/Chris_Burden  https://gagosian.com/artists/chris-burden/  https://www.newmuseum.org/exhibitions/view/chris-burden-extreme-measures https://www.newyorker.com/culture/the-art-world/the-man-who-hurt-himself-for-art-chris-burden --- Support this podcast: https://podcasters.spotify.com/pod/show/artfarts037/support

This week, we talk to Stuart Swezey & Bruce Licher, who produced and worked on the Desolation Center series of shows that took bands like minutemen, Swans, Redd Kross, Meat Puppets, Sonic Youth, and Einsturzende Neubauten and put them in locations such as the Mojave Desert as a reaction to the omnipresent police violence against punk rock kids.  We talked about the Desolation Center documentary that Swezey directed, the iconic visuals that Licher created for the events, having the legendary artist Chris Burden as your teacher, the healing power of Throbbing Gristle, how to source school buses to take punk rockers to the desert, fake ids, Savage Republic, Glenn Branca and the No New York LP, Redd Kross getting lost in the desert, violence coming from rednecks, the notion of selling out and not repeating oneself, the impact of D. Boon on the scene, Survival Research Laboratories, Lydia Lunch, being naive, Action News, the eventual change in the 80s music underground, psychedelics, early punk clubs like The Masque and Brave Dog, NEA grants for industrial noise music events, and we're also joined by surprise guests, ML Compton and Skip King who are featured in the documentary and describe what it was like being a passenger into the unknown.So party with me punker, as we head into the desert at night on this week's Revolutions Per Movie.DESOLATION CENTER:https://www.desolationcenter.com/SEE THE FILM IN MAY 2024 IN L.A.:https://www.instagram.com/dktrfest/STUART SWEZEY:https://www.amokbooks.com/BRUCE LICHER:https://www.independentprojectrecords.com/LIMITED EDITION REVOLUTIONS PER MOVIE SHIRT:revolutionspermovie.bandcamp.comREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.New episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support the show is through our Patreon at patreon.com/revolutionspermovie, where you can get weekly bonus episodes and exclusive goods sent to you just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

In which Theo & Brian discuss eight separate pieces of performance art, each of them receiving much critical acclaim, praise, and even massive controversey. From cannibalism to crucifixion to intentionally shooting yourself, this episode gets weird. Viewer discretion is advised. MAJOR TW: Cannibalism, Death, Self Harm, Pregnancy Trauma, Blood, Murder - Sebastian Horsely: https://en.wikipedia.org/wiki/... - Zhu Yu: https://en.wikipedia.org/wiki/... - Vito Acconci: https://en.wikipedia.org/wiki/... - Ron Athey: https://en.wikipedia.org/wiki/... - Aliza Shvartz: https://en.wikipedia.org/wiki/... - Chris Burden: https://en.wikipedia.org/wiki/... - Ham Cybelle: https://faroutmagazine.co.uk/s... - Marina Abramovic: https://en.wikipedia.org/wiki/...

Artists and friends Ethan Chan, Helena Westra, and Zachary Dobbins discuss some of the most influential performance artists from Chris Burden to Tehching Hsieh. Throughout this episode, the group goes through a list of performance artworks involving works of extreme pain or works of light-hearted joy, all created without the understanding that they would be talked about by 3 young artists nowhere near as extreme (or joyful).

Artists and friends Ethan Chan, Helena Westra, and Zachary Dobbins discuss some of the most influential performance artists from Chris Burden to Tehching Hsieh. Throughout this episode, the group goes through a list of performance artworks involving works of extreme pain or works of light-hearted joy, all created without the understanding that they would be talked about by 3 young artists nowhere near as extreme (or joyful).

Freelance art writer (often for the New York Times) and past guest royalty Andrew Russeth talks about: Why he moved to Seoul, South Korea, where he's expanded his freelance writing opportunities; a book on Chris Burden's unrealized sculpture projects, which he wrote about for the New York Times- the book includes a one-stop pneumatic subway under the Gagosian gallery; artists using assistants, and the optics that go along with the various levels of production that certain artists employ, for us as viewers of their work; the art scene(s) and community in greater Seoul, which has a metropolitan population of 25 million, nearly half that of the whole country of South Korea; the vast artist-run gallery scene in Seoul; how some of the trends in Korean contemporary art overlap with international contemporary art, including airbrushed figuration, humor, and meme culture; and last but not least, Andrew holds forth on South Korea's incredible food and drink culture (including Bibimbap and soju), which has been heaven for him.

On this week's episode, Nathan, Mike, and Mahler talk about turning it down, frass, Chris Burden's perpetually burning US flag, the Major League Baseball Team Owner's Strike, defeating Russia with clean energy, Ukrainian lithium, Dr. Bronner's Magic Soaps, Montana's cowardly Governor vs the mountain lion, and then some.

This week: following Russia's invasion of Ukraine, we talk to Svitlana Biedarieva, a Ukrainian art historian, artist and curator, about the community of artists in her home country, their work since the Maidan, or Revolution of Dignity in 2014, and how they are responding to the events of recent days. Also on Ukraine, Tom Seymour talks to the photographer Mark Neville, who has been based in the Ukrainian capital Kyiv for the past 18 months and left the city last week, about a photojournalistic series he made in Ukraine, about ethical approaches to reportage and about the effects of documenting war-torn countries. As a book is published featuring Chris Burden's unrealised projects, we talk to Jori Finkel about the American performance and installation artist's extraordinary imagination. And in this episode's Work of the Week, Jane Alison, curator of Postwar Modern: New Art in Britain 1945-65 at the Barbican Art Gallery, London, discusses one of the key works in the show: the Goa-born artist F.N. Souza's Mr Sebastian (1955).The Art Newspaper's reporting on the Russian invasion of UkraineSvitlana Biedarieva, art historian, artist and curatorThe artists mentioned by Svitlana:Piotr ArmianovskiYevgenia BelorusetsAlevtina Kakhidze, instagram: @truealevtinaRazom for UkraineMark Neville's Stop Tanks With Books, published by Nazraeli Press, £50 /$60Eight photographers you need to follow in Ukraine by Tom SeymourPoetic Practical: The Unrealized Work of Chris Burden, published by Gagosian, $120Postwar Modern: New Art in Britain 1945-65, Barbican Art Gallery, London, 26 June See acast.com/privacy for privacy and opt-out information.

Good Times with Chris Burden. Known for his Performances, Installations and Sculptures. He crouches in lockers. Asks friends to shoot him and nail his hands to VW Bugs. Possibly throws bricks at things he doesn't like. Loves shooting guns and making people nervous. LA's iconic light installation at LACMA. He's truly amazing and makes everyone feel like their work isn't good enough. Time to get "inspired"!

In November 1971 a young American artist decided to get a friend to take a shot at him - in the name of art. His name was Chris Burden and the shooting would go down in the history of performance art. He spoke to Lucy Burns in 2012 about the ideas behind the event. This programme is a rebroadcast. Photo: Chris Burden just after being shot. Courtesy of Chris Burden.

To watch the latest episode of Caveh Zahedi's “The Show About the Show” and support the making of its third season, visit https://www.kickstarter.com/projects/2284816/the-show-about-the-show?ref=project_link. See acast.com/privacy for privacy and opt-out information.

Excellent talk with a true art head Nadia Osman. Matt and her discuss how to integrate art into common discourse, they further the AoA feud with Jeff Koons, and Nadia has a lively discussion with Matt about Chris Burden's Metropolis ii

Carl Berg has been a curator and gallery director for almost thirty years. He is the founder/director of PRJCTLA a new alternate gallery in downtown Los Angeles. He has owned galleries in Los Angeles and Amsterdam and has worked as a curator organizing over 150 exhibitions in Los Angeles, Berlin, Seoul, Amsterdam, Berlin, Rotterdam and elsewhere. He has organized several groundbreaking exhibitions over the years including: “Southern California Car Culture” that highlighted the works of 15 LA artists including Slater Bradley, Chris Burden, Andrew Bush, Carolie Dixon, Ed Kienholz, Mathew Luem, Kori Newkirk, Patrick Paeper, Annica Carlson Rixon, Steve Roden, Haley Rodman, Ed Ruscha, Robert Stone, Erik Treml, Paul Tzanetopoulos and car designs by BMW (Designworks USA), Lexus (CALTY), Lincoln Mercury, Mazda, Mercedes Benz Advanced Design (SMART CAR), Schools: Art Center College of Design. This exhibition looked at the culture of the automobile in Los Angeles and how artists reacted to this unique environment. There was a diverse blend of work from blue chip, mid-career and emerging artist all of which addressed “Car Culture” in his or her own unique way. As part of the mix in the exhibition Berg also included car designs by major Los Angeles based design studios including studios from Ford, Mercedes Benz, BMW, Mazda and Toyota. The show included early designs of the Smart Car, the [irst BMW SUV and full-scale rendering of the Mazda Miata. “Booster Up Dutch Courage” that featured the work of 17 artists from many prominent Dutch artists which premiered their LA debut including Aernout Mik, Rob Birza, Mathilde ter Heijne, Tariq Alvi, Lisa May Post, Rik Meijers and Federico D. Orazio. This exhibition co-curated by Theo Tegelaers was the [irst to introduce a new generation of Netherlands based artist to the West Coast. This exhibition was followed up by a show of 20 Los Angeles based artist titled “CA 9000-185” at W139, a prominent non-pro[it space in Amsterdam, The Netherlands. Some of the artists included Slater Bradley, Jessica Bronson, Greg Colson, Tim Hawkinson, Steve Hurd, Martin Kersels, Habib Kheradyar, Charles LaBelle, Marcos Lutyens, Yunhee Min, Patty Wickman, and Liz Young. This exhibition co-curated by Theo Tegelaers was the first of its kind introducing a new generation of Dutch artists to the LA art scene. More recently Berg curated “Framing Time” an exhibition of photography focused on the concept of movement in still photos. The show includes Los Angeles-based artists Uta Barth, Stephen Berens, John Divola, Robbert Flick, Tim Hawkinson, George Legrady, Sharon Lockhart, Ed Ruscha, and Augusta Wood and formerly from LA Dinh Q Lê (now living in Vietnam). Berg has also worked on many solo exhibitions with compelling artists including Tim Hawkinson (LA) , Folkert de Jong (Amsterdam), Slater Bradley (Berlin), Neha Choksi (LA and Mumbai), Iva Gueorguieva (LA), Megan Williams (LA), Diana Cooper (New York), Rob Birza (Amsterdam), Federico D'Orazio (Bangkok), Asad Faulwell (LA), HK Zamani (LA) amongst others. In addition to his curatorial practice, Berg has organized a residency exchange with Foundation Kaus Australis in Rotterdam, The Netherlands and has sent over 70 artists from Los Angeles to this program from 2002-17. In Berg's newest project, yet to be titled, he is interviewing a broad range of Los Angeles-based gallery owners, curators, collectors, critics and also artist. His objective is to create a historical document in a video format for future generations to study and enjoy. His [irst interview will be with renowned LA galleries Rosamund Felsen and he has many other exciting interviews planned for this project. 

Debra, Diana, and Jesi talk about the only ghost legal witness, a white river, and artist Chris Burden... and the first speeding ticket. Tell us what sparks your interest on twitter (@interest_spark), facebook, instagram, and TikTok! (@sparkmyinterestpodcast) Send a crazy story or interesting article to sparkmyinterestpodcast@gmail.com or through our website sparkmyinterestpodcast.com and we might just discuss it on the show! Articles and other sources: https://bestlifeonline.com/random-fun-facts/ https://www.mentalfloss.com/article/30608/elva-zona-heaster-ghost-who-helped-solve-her-own-murder https://news.sky.com/story/welsh-river-runs-white-after-milk-tanker-overturns-12276241 https://en.wikipedia.org/wiki/Chris_Burden https://youtu.be/s8QrrExMUvQ https://youtu.be/drZIWs3Dl1k

Episode 42 New Arrivals to the Archives New-Old Recordings Making it into the Archives Playlist Vincenzo Agnetti, “Pieces Of Sound” from Revolutions Per Minute (The Art Record) (1982 Ronald Feldman Fine Arts Inc.). Reading and tape composition by Italian artist, photographer and writer Vincenzo Agnetti. 4:38 Chris Burden, “The Atomic Alphabet” from Revolutions Per Minute (The Art Record) (1982 Ronald Feldman Fine Arts Inc.). Solo poetry piece by Chris Burden. 0:31 Canarios, “Genesis” and “Prana” from Ciclos (1974 Ariola). Spanish album of symphonic space rock. Adapted by E. Bautista (from Vivaldi's Four Seasons); Bass, Synthesizer, Theremin, Christian Mellies; Drums, Electronic Drums (Moog), Timbales, Triangle, Vocals, Castanets, Maracas, Bells, Temple Bells, Flexotone, Glockenspiel, Rototoms, Gongs, Percussion (Bambus), Goblet Drum (Dharbuka), Alain Richard; Electric Piano, Hammond Organ,Piano, Violin, Mathias Sanveillan; Guitar, Acoustic Guitar, Lyre, Echoplex, Phase Shifter, Vocals, Antonio García De Diego; Synthesizer, Keyboards, Mellotron, Digital Frequency Meter, Ribbon Controller, Vocals,Teddy Bautista. This is pretty audacious. 7:22 Holger Czukay, “Ho-Mai-Nhi (The Boat Woman Song)” from Technical Space Composer's Crew ‎– Canaxis 5 (1969/ RE 2018). Basic tape composition work from this German pioneer, circa 1968. Originally privately released in 1969 by Technical Space Composer's Crew and titled "Canaxis 5". Later reissued as "Canaxis" by Holger Czukay and Rolf Dammers. Czukay studied under Karlheinz Stockhausen from 1963–1966, and in 1968 co-founded the German rock group Can. 7:31 Deuter, “Atlantis” from D (1971 Kuckuck). Georg Deuter, produced and composed on tape. Early work from this German ambient, electronic composer. 6:04 Far East Family Band, “The God Of Wind,” “Moving, Looking, Trying, Jumping In A Maze,” “Wa, Wa (Yamato)” from The Cave: Down To The Earth (1975 Mu Land). Bass, Akira Fukakusa; Drums, Shizuo Takasaki; Guitar, Fumio Miyashita, Hirohito Fukushima; Keyboards, Akira Ito, Fumio Miyashita, Masanori Takahashi; Percussion, Masanori Takahashi; Vocals, Hirohito Fukushima. Japanese psychedelic jam band. Spacey, fun, rollicking organs and guitars. 4:53 Langston Hughes, conclusion of Rhythms Of The World (1955 Folkways). African American poet and author Hughes narrated this work based on his book "The First Book of Rhymes.” The “documentary sounds” were field recordings used to underscore the poetry. 5:08 Steve Hackett, “Jacuzzi” from Defector (1980 Charisma). Solo album from guitarist for Genesis. This is a track of largely keyboard-like sounds featuring such instruments as the Matell Optigan and Roland GR500 Guitar Synthesizer, played by Hackett. Bass, Dik Cadbury; Concert Flute, Alto Flute, John Hackett; and keyboards by Nick Magnus. 4:37 Pedro Morquecho, “Mi Corazon Es Un Violin (Fox)” from Pedro Morquecho (Su Novacord Y Su Orquesta) (1965 Orfeon). Mexican keyboard artist who found his groove with the amazing Hammond Novachord. Here he plays some numbers for the night life, popular favorites designated for different kinds of dances, such as Afro-Beguine, Fox, and Rhumba. 3:33 Enoch Light And The Light Brigade, “Swamp-Fire” from Dimension •3• (1964 Command). This is one of the many amazing instrumental albums produced by Enoch Light for Command in the sixties. In this case, we have Dick Hyman on organ, Tony Mottola on guitar and Alto Saxophone by Walt Levinsky. I also hear an uncredited appearance by an Ondioline, a monophonic organ known to be used by Enoch Light on many albums. 2:19 Akira Itoh, “Life from the Light 光からの生命” from Inner Light Of Life / やすらぎを、君に (1978 King Records). Alto Saxophone, Flute, Vocals – Noboru Kimura; Electric Bass – Keiju Ishikawa; Electric Guitar, Vocals – Nobuo Hajime; Piano, Vocals – Kenji Kijo; Synthesizer – Akira Ito; Vocals – Goko Kunikida. Ito was previously a member of the Far East Family Band (see earlier track). 6:53 Alain Markusfeld, “1st movement” from Contemporus (1979 Egg). French singer and songwriter. Composed by, arranged By, ARP Polyphonic, ARP Prosoloist, Acoustic Piano, electric guitar, Organ, Percussion, Cymbals, Triangle, Marimbas, Harmonica, Handclaps, Vocals – Alain Markusfeld; vocals Patricia Markusfeld. 3:06 Masquerade, “Guardian Angel” from Masquerade ‎– Guardian Angel (1983 Metronome). PPG Waveterm synthesizer, Chris Evans. I don't know much about this group, other than this song and it was basically one person playing the instruments, the short-lived PPG Wave synthesizer, also used by Gary Numan, Depeche Mode, among others. 4:27 Bruno Menny, “Orbite Autour De La Planète 3” from Cosmographie (1972 Arion). This is unique album from the engineer who was also a student of composer Iannis Xenakis. This is his only album. It is a blend of concrete and synthesized sounds. 19:12 Orchestral Manoeuvres In The Dark, “Maid Of Orleans (The Waltz Joan Of Arc)” from Orchestral Manoeuvres In The Dark (1981 Dindisc). A 7-inch single. Bass, Guitar, Horns, Mellotron, Organ, Percussion (Acoustic, Electronic), rhythm program, Synthesizer, Vocals, Andrew McCluskey; Drums, Percussion (Acoustic, Electronic), Synthesizer Bass, Malcolm Holmes; Mellotron, Melodica, Organ, Percussion (Acoustic, Electronic), Piano, rhythm program, Synthesizer, Vocals, Paul Humphreys; Organ, Piano, Synthesizer, Michael Douglas. 4:12 Harold L. O'Neal Jr. (producer), “Ultimate Obstacle (All Tests Simultaneously)” from RCOA Stereo Systems Test Record (1972 Yorkshire Records). Test record using electronic sounds and tone clusters, bursts. “The Ultimate High-Fidelity Test Record.” 2:04 Karlheinz Stockhausen, “Mikrophonie I” (1964), first part, from Mikrophonie I & II / Prozession (1969 CBS). From France comes this boxed set. Electronics (Filters), Hugh Davies, Jaap Spek, Karlheinz Stockhausen; Electronics (Microphone) – Harald Boje*, Johannes G. Fritsch; Percussion (Tam-tam), Alfred Alings, Aloys Kontarsky. Mikrophonie I for Tamtam, Two Microphones, Two Filters and Potentiometers Essentially, a piece for cardboard tubes scraped on cymbals and mixed with electronic amplification and reverberation. Hugh Davies worked with Stockhausen during this period. Recorded at West German Radio Studios, Cologne, December 17 & 18, 1965. 7:24 Donna Summer, “Grand Illusion” from The Wanderer (1980 Geffen). Words and vocals by Donna Summer; Music by Giorgio Moroder; Synthesizers, Harold Faltermeyer, Sylvester Levay; Guitar, Jeff Baxter, Steve Lukather, Tim May; Drums, Percussion, Keith Forsey; Bass Guitar, John Pierce, Lee Sklar, Les Hurdle. 3:50 Ruth White, David White, Gary Maynard, Animals Are Wonderful (1982 Tom Thumb Records). Synthesizers, Ruth White. Yes, that's the Ruth White of sixties Moog Modular fame. She also made her way with children's activity records such as this. 2:16   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

Quando all'arte contemporanea non bastano più le installazioni o le fotografie, il corpo diventa l'ultima frontiera. Dalle performance sadomaso degli azionisti viennesi alla brutale manicure di Valie Export, dalle favolose trasformazioni di Leigh Bowery allo stunt-man esistenziale Chris Burden, dall'arte antipatriarcale di Ana Mendieta a quella facilona di Frida Kahlo: nella body art, buon sangue non mente.Costantino, l'Henry Kissinger della Maremma, spiega il concetto di “stato climatico interiore” (che non ha capito neanche lui), mentre Francesco racconta la riscoperta di un antico piacere all'indomani di un miracoloso intervento alla prostata. E, nel finale, una corposa rivelazione per tutti i fan di ArteFatti.In questa puntata si parla di Umberto Galimberti, Günther Brus, Otto Muehl, Rudolf Schwarzkogler, Hermann Nitsch, Egon Schiele, Gustav Klimt, Chuck Close, Adolf Loos, Sifgmund Freud, Ludwig Wittgenstein, Banksy, Henry Kissinger, Gerry Scotti, Carmelo Bene, Dario Cecchini, Justice Yeldham, Valie Export, Gina Pane, Marina Abramović, Slobodan Milošević, Carolee Schneemann, Robert Morris, Claes Oldenburg, Sabina Ciuffini, Mike Bongiorno, Donald Judd, Walter De Maria, Paula Cooper, Holly Solomon, Marian Goodman, Yoda, Midnight Cowboy, Madame Claude, Ana Mendieta, Fidel Castro, Sara Ann Otten, Carl Andre, O.J. Simpson, Frida Kahlo, David Alfaro Siqueros, Leon Trotsky, Leigh Bowery, Alberto Angela, Colonnello Bernacca, Damien Hirst, Alexander McQueen, Anthony d'Offay, Paolina Borghese, Nicola Bateman, Lucian Freud, Chris Burden e Tino Sehgal.

Being an artist isn't the easiest way to live your life but sometimes this path takes very dangerous turns. Caravaggio, Chris Burden, Ai Weiwei, Marina Abramović, Bas Jan Ader or Pippa Bacca and many other artists have a lot in common - their passion for artmaking threatened their existence. In this episode we (Kasia and Alicja) are talking about artists who either unconsciously or with full risk put theirs lives in danger. All for the sake of art.

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Chris Burden spent much of the 1970s creating wince-inducing performance art, and then evolved into a creator of stunning sculptural objects. The importance of the performative element was never lost in the transition though and his entire catalogue is filled with gems that demand a physical presence and attendance. Kunst Please is a micro-dose of modern art history. Tune in every fortnight for an exploration into the more unexpected side of modern art, featuring stories of the famous and the infamous, the weird and the wonderful, the unheard, the cult, the criminally overlooked and the criminally insane. Created and produced by Jonathan Heath. Follow the gallery space on Instagram @kunstplease

Terence is back! And we riff HARD! SO HARD! I mean at one point: I have to answer my door while a dog barks so... IT'S A PODCAST GOLD MOMENT! We talk jerking, Chris Burden, MMA, Adam Curtis, weird sh*t, video games, and A LOT MORE! EnJOY!

Natalie gets you into a spooky fall mood by describing the mystery behind Elisa Lam’s disappearance and death at the Cecil Hotel, a hotel that is infamous for having connections to several murders and suicides, located in the bad part of Los Angeles. Maddy keeps the spooky vibe going by talking about Chris Burden and his bizarre performance art, in which he tests the limits of his own body. Feel free to skip around to what interests you! Highs ‘n’ Lows / Death On This Day 0:00 Elisa Lam 8:00 Chris Burden 39:18 Intro song by Francy Mae Clark

TV Writer and Internet Prankmaster comes on and talks about growing up with an artist for a mother, Finding different phases in his work, and much more. We also discuss Chris Burden's short film "Shoot" https://www.youtube.com/watch?v=gwh-XMFMp8U

Il Coronavirus ci impone una nuova concezione di intimità. Affrontiamola con l'aiuto di Bed Piece di Chris Burden e My Bed di Tracey Emin. DI ARIANNA M. Vuoi contattare l'Autore per parlare dell'articolo? Scrivi a: walloutpodcast@gmail.com https://wallinapp.com/walloutmagazine/

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Episode Notes Arguably the most dangerous of all Performance artists of the 20th century, Chris Burden did a lot of stupid stuff, including getting shot through the arm. Only a portion of the video of the event survives, though much of the audio still does, and it as a whole still works. Find out more at https://three-minute-modernist.pinecast.co

Yayoi Shionoiri is an art lawyer. She currently serves as Executive Director to the Estate of Chris Burden and the Studio of Nancy Rubins, where she is responsible for stewarding Burden’s art-historical legacy and promoting Rubins’ artistic practice. Instagram: https://www.instagram.com/yayoi_shionoiri/

Footballstories Facebook Live with Al Thompson, Chris Burden, and Matt Santoleri. The Eagles proved the doubters wrong behind the leadership of Carson Wentz and are the NFC East CHAMPS! Seahawks fly in from the west into the Linc for wildcard weekend. The boys break it all down.   Find the podcast after the show ends on iTunes, Google play, Stitcher.com, iHeartradio, Spotify, and TuneIn and more www.footballstories.com

Footballstories Live with Al Thompson, Matt Santoler, Chris Burden, and Al Zaffiri rocking the microphones. Lots of Eagles talk and more! Are you feeling more confident or is it "Just the Giants"  The NFL is broken down and week 15 picks are set.     Find the podcast on iTunes (Apple), Google play, Stitcher.com, iHeartradio, Spotify, and TuneIn.

Lots to unpack after the tough loss to the Pats. The crew discusses Eagles and their playoff chances, is Carson Wentz a franchise QB? Find the podcast on iTunes (Apple), Google play, Stitcher.com, iHeartradio, Spotify, and TuneIn. Join your host Al Thompson, Chris Burden, Matt Santoleri, and Rock Hoffman.

Your Favorite Artist's Favorite Artists: Marina Abramovic Join our conversation as we discuss individuals that inspire Marina Abramovic including Chris Burden, Tehching Hsieh, Aleister Crowley, and Francisco Goya. --- Support this podcast: https://anchor.fm/your-favorite-artists-favorite-artists/support

Hunter Drohojowska-Philp talks about the extreme art of Chris Burden, Jack Goldstein and Bas Jan Ader at the Modern Art Museum of Fort Worth

In this Art Dirt podcast, Brandon Zech and Christina Rees help you plan your summer road trip by recapping all of their favorite smaller-town museums across the state of Texas. Thanks to this week's podcast sponsor, The Modern Art Museum of Fort Worth and their exhibition, "Disappearing—California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein." For more information on the show, go here: http://bit.ly/2FoK4Tl

Srđan Spasojević’s 2010 Serbian exploitation film joined the ranks of horror’s most controversial efforts the moment it came out. It’s not for everyone, or really anyone, but criticism of the film tends to be rather pedestrian and reactionary, even among so-called horror fans. We spend almost as much time talking about Maggie Nelson’s recent book, The Art of Cruelty; and Chris Burden’s art piece Shoot as we do the film, so if you aren’t into the ultra-graphic, you can still enjoy this episode.

Listen in as A Beast/A Burden writer and director Billy Ray Brewton, along with the portrayer of Chris Burden, Ben Hethcoat, discuss what distinguishes Burden from idiots on YouTube, sculpture in performance, exploring the creator’s complicated history, why you might … Continue reading →

Performance artist, art critic and newly minted UNLV art department chair Marcus Civin talks about: Why he decided to take the job, moving from a satisfying academic career in Baltimore at Maryland Institute College of Art (MICA); how his involvement in the Providence, R.I.-based art collective New Urban Arts launched his career trajectory as an undergrad, providing connections and mindset; the harsh realities of being an adjunct teacher (whom he hires as dept. chair), and how as a prospective adjunct you need to know what you’re in for, and it’s not for everyone; the harsh realities against becoming a salaried faculty member, he (slim) odds for adjuncts getting those slots, and his own theories about the pros and cons of certain types of faculty candidates he’s considering hiring; his performance art, including his ideal venue and his ideal size audience and the roots of his work in the court jester and the absurd; how the students he’s encountering at UNLV are warriors leading a revolution, and are ready for change, and compared being in college in 2018 to being in college in 1968 in terms of the potency of the moment; and his misstep in sharing a seminal Chris Burden performance with a performance class at MICA, and what a wake-up call it was for him.

This episode John profiles the combative art of Chris Burden, who willfully had himself shot to be taken seriously. Satirical and disturbing commercials, crucifixion to a Volkswagen and a habit of creating terrifying and visceral live performances and inventions were all a part of Burden's vision. Learn more about your ad choices. Visit megaphone.fm/adchoices

We welcome @HunterDPhilp to the GYST studios and talk about giving proper credit to stuff you use, Magical Thinking in the new wave of artists and the importance of mountains of junk in the making of Chris Burden's work. #HTAWW 

Chris Burden was a performance artist and sculptor whose work questioned the very nature of art. A new documentary about Burden opens this weekend at the Modern Art Museum of Fort Worth, and this week we talk about the artist's significance with a curator from the Dallas Museum of Art - which has a Burden sculpture in its collection.

Julian Kamphausen, Theresa Schütz, Janne Nora Kummer, Milos Trakilovic, Oliver Proske, Max Gadow Why is the body the ultimate factor for emotional immersion in VR, MR and AR? The central role of the body and its representation in VR, MR and AR is illuminated in four successive short lectures and subsequent conversations. The longing for the vulnerable presence of the other person, the body and its feelings, is a common thread through the paradigm shift of the digital revolution: Never before have there been so many concerts and festivals, never before so many people attended dance, theater and performances, never before so many congress formats. And the first downloads for VR games and applications also reflect this development: communicative, open multiplayer are much more popular than single player applications. The artist and theorist Milos Trakilovic reflects the performance Shoot (in which Chris Burden got shot for real) to help us undertstand the body as the ultimate real in art and life. Theresa Schütz from the research project Reenacting Emotions at the Freie Universität Berlin points out parallels between simulative scenarios in VR and peformative installations and how they affect emotions. Oliver Proske from the award-winning theatre group Nico and the Navigators is currently researching new camera technologies for the broad transfer of performers also for VR. Janne Nora Kummer and Max Gadow of the performance collective virtuellestheater e.V. are going to speak about their notion of virtuality and how they translate it into their work. The Performersion is a workshop-centered cooperation between the Performing Arts Programm Berlin and the re:publica and will take place in 2018 and 2020 after its successfull first edition in 2016.  

Episode 61 of One Week Only! Our key film of the week is the French period drama "A Woman's Life," which just won the Critic Award at this year's COLCOA French Film Festival in Los Angeles! With gorgeous handheld cinematography, this period drama tells a naturalistic, non-linear story of a woman in 19th century France struggling with strict social codes & coping with tragic misfortunes. Directed by Stéphane Brizé (The Measure of a Man) and starring a terrific Judith Chemla, it's a thoughtful, heartbreaking drama about the fleeting nature of life. Now Playing in New York, and opening in Los Angeles May 12th. (43:30) The Minneapolis/St. Paul International Film Festival just ended, and we have an interview with the director of the Midwest road movie "Supermoto," which premiered at the festival. We talk with director Joe Maggio about filming in the wide-open plains of North Dakota, and balancing a low budget with a rich visual style. (59:55) We also review the documentary "Burden" about controversial performance artist Chris Burden, directed by Richard Dewey & Timothy Marrinan (10:30); the bizarre and thought-provoking psychological drama "Buster's Mal Heart" starring Rami Malek, directed by Sarah Adina Smith (21:15); and the complex character drama "The Dinner" starring Richard Gere, Steve Coogan, Laura Linney & Rebecca Hall, directed by Oren Moverman (32:25). Hosted by Carlos Aguilar and Conor Holt. Music by Kevin MacLeod at www.incompetech.com

This episode is LIVE from The Kennedy Center in Washington, D.C. with Chip Chantry and Chris Burden! Learn more about your ad choices. Visit megaphone.fm/adchoices

George Cotkin is an emeritus professor of history at California Polytechnic State University. In his book Feast of Excess: A Cultural History of the New Sensibility (Oxford University Press, 2015) he has given us cultural criticism through a set of provocative portraits of creative Americans at mid-twentieth century who defied convention, pushed the boundaries of aesthetics and forged a new sensibility of personal liberation. From John Cage, who in 1952 explored the musical possibilities of silence in the composition 4′ 33″ to Chris Burden’s 1974 performance piece Trans-fixed nailing him to a Volkswagen; both challenged the standing categories of art and aesthetics. Two-dozen dramatic vignettes demonstrate the excess of violence, sex, and madness that blurred the boundaries between art, artist and audience. Creatives such as Marlon Brando, Lenny Bruce, Andy Warhol, and Anne Sexton populate his pages. The fascination with excess cut across diverse expressions taking art and audiences into uncharted territories of the imagination erasing the distinctions between high and low art. Cotkin argues that the advant-garde pushing the limits with a mania for the new and unfettered subjectivity constitutes American culture today. For all its transgressions the New Sensibility was politically impotent and its excess fed the explosive growth of capitalism, consumerism and the golden age of advertising. The New Sensibility became stale, expected, and commodified. With a weakened power to shock it has become our culture, our sensibility, yet still offering the possibility of something passionate and new on the boundary between liberation and limits. Learn more about your ad choices. Visit megaphone.fm/adchoices

George Cotkin is an emeritus professor of history at California Polytechnic State University. In his book Feast of Excess: A Cultural History of the New Sensibility (Oxford University Press, 2015) he has given us cultural criticism through a set of provocative portraits of creative Americans at mid-twentieth century who defied convention, pushed the boundaries of aesthetics and forged a new sensibility of personal liberation. From John Cage, who in 1952 explored the musical possibilities of silence in the composition 4′ 33″ to Chris Burden’s 1974 performance piece Trans-fixed nailing him to a Volkswagen; both challenged the standing categories of art and aesthetics. Two-dozen dramatic vignettes demonstrate the excess of violence, sex, and madness that blurred the boundaries between art, artist and audience. Creatives such as Marlon Brando, Lenny Bruce, Andy Warhol, and Anne Sexton populate his pages. The fascination with excess cut across diverse expressions taking art and audiences into uncharted territories of the imagination erasing the distinctions between high and low art. Cotkin argues that the advant-garde pushing the limits with a mania for the new and unfettered subjectivity constitutes American culture today. For all its transgressions the New Sensibility was politically impotent and its excess fed the explosive growth of capitalism, consumerism and the golden age of advertising. The New Sensibility became stale, expected, and commodified. With a weakened power to shock it has become our culture, our sensibility, yet still offering the possibility of something passionate and new on the boundary between liberation and limits. Learn more about your ad choices. Visit megaphone.fm/adchoices

George Cotkin is an emeritus professor of history at California Polytechnic State University. In his book Feast of Excess: A Cultural History of the New Sensibility (Oxford University Press, 2015) he has given us cultural criticism through a set of provocative portraits of creative Americans at mid-twentieth century who defied convention, pushed the boundaries of aesthetics and forged a new sensibility of personal liberation. From John Cage, who in 1952 explored the musical possibilities of silence in the composition 4′ 33″ to Chris Burden's 1974 performance piece Trans-fixed nailing him to a Volkswagen; both challenged the standing categories of art and aesthetics. Two-dozen dramatic vignettes demonstrate the excess of violence, sex, and madness that blurred the boundaries between art, artist and audience. Creatives such as Marlon Brando, Lenny Bruce, Andy Warhol, and Anne Sexton populate his pages. The fascination with excess cut across diverse expressions taking art and audiences into uncharted territories of the imagination erasing the distinctions between high and low art. Cotkin argues that the advant-garde pushing the limits with a mania for the new and unfettered subjectivity constitutes American culture today. For all its transgressions the New Sensibility was politically impotent and its excess fed the explosive growth of capitalism, consumerism and the golden age of advertising. The New Sensibility became stale, expected, and commodified. With a weakened power to shock it has become our culture, our sensibility, yet still offering the possibility of something passionate and new on the boundary between liberation and limits.

George Cotkin is an emeritus professor of history at California Polytechnic State University. In his book Feast of Excess: A Cultural History of the New Sensibility (Oxford University Press, 2015) he has given us cultural criticism through a set of provocative portraits of creative Americans at mid-twentieth century who defied convention, pushed the boundaries of aesthetics and forged a new sensibility of personal liberation. From John Cage, who in 1952 explored the musical possibilities of silence in the composition 4′ 33″ to Chris Burden’s 1974 performance piece Trans-fixed nailing him to a Volkswagen; both challenged the standing categories of art and aesthetics. Two-dozen dramatic vignettes demonstrate the excess of violence, sex, and madness that blurred the boundaries between art, artist and audience. Creatives such as Marlon Brando, Lenny Bruce, Andy Warhol, and Anne Sexton populate his pages. The fascination with excess cut across diverse expressions taking art and audiences into uncharted territories of the imagination erasing the distinctions between high and low art. Cotkin argues that the advant-garde pushing the limits with a mania for the new and unfettered subjectivity constitutes American culture today. For all its transgressions the New Sensibility was politically impotent and its excess fed the explosive growth of capitalism, consumerism and the golden age of advertising. The New Sensibility became stale, expected, and commodified. With a weakened power to shock it has become our culture, our sensibility, yet still offering the possibility of something passionate and new on the boundary between liberation and limits. Learn more about your ad choices. Visit megaphone.fm/adchoices

George Cotkin is an emeritus professor of history at California Polytechnic State University. In his book Feast of Excess: A Cultural History of the New Sensibility (Oxford University Press, 2015) he has given us cultural criticism through a set of provocative portraits of creative Americans at mid-twentieth century who defied convention, pushed the boundaries of aesthetics and forged a new sensibility of personal liberation. From John Cage, who in 1952 explored the musical possibilities of silence in the composition 4′ 33″ to Chris Burden’s 1974 performance piece Trans-fixed nailing him to a Volkswagen; both challenged the standing categories of art and aesthetics. Two-dozen dramatic vignettes demonstrate the excess of violence, sex, and madness that blurred the boundaries between art, artist and audience. Creatives such as Marlon Brando, Lenny Bruce, Andy Warhol, and Anne Sexton populate his pages. The fascination with excess cut across diverse expressions taking art and audiences into uncharted territories of the imagination erasing the distinctions between high and low art. Cotkin argues that the advant-garde pushing the limits with a mania for the new and unfettered subjectivity constitutes American culture today. For all its transgressions the New Sensibility was politically impotent and its excess fed the explosive growth of capitalism, consumerism and the golden age of advertising. The New Sensibility became stale, expected, and commodified. With a weakened power to shock it has become our culture, our sensibility, yet still offering the possibility of something passionate and new on the boundary between liberation and limits. Learn more about your ad choices. Visit megaphone.fm/adchoices

George Cotkin is an emeritus professor of history at California Polytechnic State University. In his book Feast of Excess: A Cultural History of the New Sensibility (Oxford University Press, 2015) he has given us cultural criticism through a set of provocative portraits of creative Americans at mid-twentieth century who defied convention, pushed the boundaries of aesthetics and forged a new sensibility of personal liberation. From John Cage, who in 1952 explored the musical possibilities of silence in the composition 4′ 33″ to Chris Burden’s 1974 performance piece Trans-fixed nailing him to a Volkswagen; both challenged the standing categories of art and aesthetics. Two-dozen dramatic vignettes demonstrate the excess of violence, sex, and madness that blurred the boundaries between art, artist and audience. Creatives such as Marlon Brando, Lenny Bruce, Andy Warhol, and Anne Sexton populate his pages. The fascination with excess cut across diverse expressions taking art and audiences into uncharted territories of the imagination erasing the distinctions between high and low art. Cotkin argues that the advant-garde pushing the limits with a mania for the new and unfettered subjectivity constitutes American culture today. For all its transgressions the New Sensibility was politically impotent and its excess fed the explosive growth of capitalism, consumerism and the golden age of advertising. The New Sensibility became stale, expected, and commodified. With a weakened power to shock it has become our culture, our sensibility, yet still offering the possibility of something passionate and new on the boundary between liberation and limits. Learn more about your ad choices. Visit megaphone.fm/adchoices

Meltdown Presents: Pod Sequentialism with Matt Kennedy #011 - The Occult Origins of Comic Book Magic Howard Hallis is one of the foremost authorities on Dr. Strange, but he's also well-versed in the history of the occult. Hallis was an associate of the late Dr. Timothy Leary, a graduate of the UCLA fine art program under Paul McCarthy and Chris Burden, and is the creator of the Picture of Everything (as seen in Wired Magazine). Matt and Howard talk magic, music, and Mr. Crowley. Produced by Mason Booker. Engineered by Mason Booker Theme music "Rumble" provided by www.Bensound.com Logo design by Joshua Geisler www.selfuno.com.

An unusual formalist analysis of the classic, focusing on its self-referential and abstract elements, as well as the cool art all through it (bone furniture, performance art, etc.). Comparisons made with Hooper's other films, and stuff from the art world, including work by Marina Abramovic, Chris Burden, Damien Hirst, Alexander McQueen, Leigh Bowery, Gordon Matta-Clark and Bruce Nauman. Email us at tellusyourfears@gmail.com

This week we have a family show! Chris Burden’s back on the board, Keith Blomberg and Gabe Dylan at the table and Ethan and Eric are Two Guys with Instruments! Learn more about your ad choices. Visit megaphone.fm/adchoices

The incredible Sara Schaefer(Lies with Sara Schaefer) and Scott Moran (Modern Comedian) join Todd in singing the easiest sing-a-long song in the world! And because Jake Adams is away on tour, we got Chris Burden on board! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep 28 Richard Jackson & Sinead Finnerty-Pyne: The People Richard Jackson was born in Sacramento, California in 1939. He was one of the artists included in the 1992 exhibition, Helter Skelter at the Los Angeles Museum of Contemporary Art. His work has featured in numerous group exhibitions including the 48th Venice Biennale. Jackson's work was the subject of a retrospective exhibition entitled Ain't Painting a Pain at Orange County Museum of Art. Recent solo shows include Richard Jackson – CAR WASH, CAB Art Center, Brussels, Belgium (2014), New Paintings, Hauser & Wirth, London, England (2014), and Accidents in Abstract Painting, the Armory, Armory Center for the Arts, Pasadena, CA (2012). Sinéad Finnerty-Pyne has been the Assistant Curator/Gallery Manager at Armory Center for the Arts in Pasadena since 2007, and is currently an MA candidate in the Museum and Curatorial Studies Program at Cal State Long Beach. She has produced a number of exhibitions and projects with artists such as Richard Jackson, Bruce Nauman, Barbara T. Smith, Yoko Ono, and Chris Burden. Curatorial projects include Richard Jackson, Accidents in Abstract Painting, The Armory (2012). She is currently organizing a nine-part series about the cross disciplinary nature of painting entitled Expanding on an expansive subject.

Today we bring you the second installment of “Speakeasy,” an occasional special podcast in which we chat off-the-cuff, and share never-before-heard bits that didn’t make it into our weekly episodes. In this edition, Rico and Brendan talk about Chris Burden — one of America’s most important and respected conceptual artists — who died this Sunday at the […]

In November 1971 a young American conceptual artist decided to get a friend to take a shot at him. His name was Chris Burden and the shooting would go down in the history of performance art. He has been speaking to Witness about the ideas behind the event. This programme was first broadcast in 2012.

Nature Theater of Oklahoma talks with American dancer/choreographer/artist Andros Zins-Browne about his journey from the world of classical ballet through Chris Burden and Jackass, into modern dance and out again into his current work: Welcome to the Jungle. Join us for a conversation in which we reflect on more than a few personal experiences of reinvention, investigation, discovery, and evolution. (This podcast was recorded as part of the Possible Futures Festival for Vooruit in Ghent.)

On April 5th 2013, Magasin 3 invited the Los Angeles-based artist Chris Burden to Stockholm to give an artist talk coinciding with his exhibition. The legendary artist spoke about his artistic practice, addressing both his new works and how he relates to his earlier performances. Burden specifically discussed works that are in the collection at Magasin 3, many of which propose technical solutions for man’s movement through space. Chris Burden has been active artistically since the 1970s, when he achieved notoriety for controversial performances in which he put his personal safety at risk. These works often went on for several days, and to a closed audience, which even in that day fostered a sense of legend and myth around the artist’s works. Recorded April 5, 2013 at Bio Rio, Stockholm Language: English

Recorded April 5, 2013 Listen to the fifth episode of our critically acclaimed ArtPod. Magasin 3 ArtPod #5 features legendary artist Chris Burden (1946, USA), who guests our studio. Chis Burden, first received considerable attention in the early 1970s for his controversial performances during which he frequently put his own safety at risk. In autumn 2013, the New Museum, New York will host a large solo exhibition of Chris Burden’s work. Language: English

On April 5th 2013, Magasin 3 invited the Los Angeles-based artist Chris Burden to Stockholm to give an artist talk coinciding with his exhibition. The legendary artist spoke about his artistic practice, addressing both his new works and how he relates to his earlier performances. Burden specifically discussed works that are in the collection at Magasin 3, many of which propose technical solutions for man’s movement through space. Chris Burden has been active artistically since the 1970s, when he achieved notoriety for controversial performances in which he put his personal safety at risk. These works often went on for several days, and to a closed audience, which even in that day fostered a sense of legend and myth around the artist’s works. Recorded April 5, 2013 at Bio Rio, Stockholm Language: English

Recorded April 5, 2013 Listen to the fifth episode of our critically acclaimed ArtPod. Magasin 3 ArtPod #5 features legendary artist Chris Burden (1946, USA), who guests our studio. Chis Burden, first received considerable attention in the early 1970s for his controversial performances during which he frequently put his own safety at risk. In autumn 2013, the New Museum, New York will host a large solo exhibition of Chris Burden’s work. Language: English

In November 1971 a young American artist decided to get a friend to take a shot at him. His name was Chris Burden and the shooting would go down in the history of performance art. He has been speaking to Witness about the ideas behind the event.

Host Kinte K. Fergerson Guests: Franklin Sirmans Web Address: http://www.blogtalkradio.com/artbeatLive Listener call in #: (909) 362-8242 Since January 2010, Franklin Sirmans is the Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art. He is the curator of recent exhibitions on Steve Wolfe and Vija Celmins which both traveled to LACMA. At LACMA, Sirmans has installed Color and Form, selections from the Broad Collection to coincide with the museum’s presentation of Blinky Palermo; an exhibition from the museum’s permanent collection titled Human Nature (cocurated with Christine Y. Kim) and a solo presentation of works by Robert Therrien from the collections of Broad and LACMA. He is at work on a solo project with Ai Weiwei, opening September 2011 and overseeing installations of new works by Bruce Nauman and Chris Burden in addition to the traveling survey exhibition Glenn Ligon: America, all for October 2011. Prior to LACMA, Sirmans was Curator of Modern and Contemporary Art at The Menil Collection in Houston, from 2006-2010, where he organized ten exhibitions in three years including Maurizio Cattelan accompanied by the catalogue Is There Life Before Death?; Vija Celmins: Television and Disaster, 1964-1966; Steve Wolfe: On Paper; Face Off: A Selection of Old Masters and Others from The Menil Collection; John Chamberlain: American Tableau; NeoHooDoo: Art for a Forgotten Faith; Robert Ryman, 1976; The David Whitney Bequest; Otabenga Jones: Lessons from Below; and Everyday People: 20th Century Photography from The Menil Collection. He was also the coordinating curator for major traveling exhibitions on Bruce Nauman and Marlene Dumas.

Host Kinte K. Fergerson Guests: Franklin Sirmans Web Address: http://www.blogtalkradio.com/artbeatLive Listener call in #: (909) 362-8242 Since January 2010, Franklin Sirmans is the Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art. He is the curator of recent exhibitions on Steve Wolfe and Vija Celmins which both traveled to LACMA. At LACMA, Sirmans has installed Color and Form, selections from the Broad Collection to coincide with the museum’s presentation of Blinky Palermo; an exhibition from the museum’s permanent collection titled Human Nature (cocurated with Christine Y. Kim) and a solo presentation of works by Robert Therrien from the collections of Broad and LACMA. He is at work on a solo project with Ai Weiwei, opening September 2011 and overseeing installations of new works by Bruce Nauman and Chris Burden in addition to the traveling survey exhibition Glenn Ligon: America, all for October 2011. Prior to LACMA, Sirmans was Curator of Modern and Contemporary Art at The Menil Collection in Houston, from 2006-2010, where he organized ten exhibitions in three years including Maurizio Cattelan accompanied by the catalogue Is There Life Before Death?; Vija Celmins: Television and Disaster, 1964-1966; Steve Wolfe: On Paper; Face Off: A Selection of Old Masters and Others from The Menil Collection; John Chamberlain: American Tableau; NeoHooDoo: Art for a Forgotten Faith; Robert Ryman, 1976; The David Whitney Bequest; Otabenga Jones: Lessons from Below; and Everyday People: 20th Century Photography from The Menil Collection. He was also the coordinating curator for major traveling exhibitions on Bruce Nauman and Marlene Dumas.

Playliste de Rudy Ricciotti pour webSYNradio et texte inedit Sur le Son. Avec Julien Blaine, Laurie Anderson, Martin Kippenberger, Antonin Artaud, Hugo Ball, Chris Burden, Giacomo Balla, Whitehouse, John Giorno …

This week: Artist Chris Burden revokes your driver’s license… We look back on the biggest little wedding of the 19th century… And the “Sushirrito” is born. Plus, PJ Harvey’s new tune kills, and Weird Al Yankovic makes a rare foray into comedy.

Listening to the far out sounds of 1970's LA, featuring Chris Burden, Paul McCarthy, and the Kipper Kids, among others.