Podcasts about Chrysler Museum

Languaging Episode 16: NotesTitle: Languaging in Hampton RoadsEpisode 16 : How do you say Norfolk?Hosts: Jill Winkowski and Prue SalaskyDate: May 1, 2024Length: 34 minutesPublication Frequency: Fourth Friday of each monthIn this episode we finally get to the question that our listeners have been asking since Day 1: How do you say Norfolk? Anecdotally, we discovered that everyone accepted “NAHfuk” as the old-time pronunciation with some retaining it as a way to connect with their city of residence. Increasingly, though, perhaps as part of the so-called cot/caught merger and Southern vowel shift, today's speakers tend to use the “NORfuk” pronunciation. Both of those stress the first syllable with a reduction in the second syllable. There are others who stress the second syllable for a “NorFOLK” or “NorFORK” iteration.We talked about vowels and reference the IPA vowel chart, https://www.ipachart.com/. We also mention linguist Penelope Eckert's 1989 study, “Jocks and Burnouts: Social Categories and Identity in The High School.” It's readily available from various sources online. We had hoped to get a resolution on the matter of who says the city's name in what way by consulting Tidewater Voices, an online archive of interviews of locals conducted (and ongoing) by linguistics students at Old Dominion University in Norfolk over more than two decades. That simply muddied the waters as we found old-timers using the more contemporary sounding "NORfuk" and Gen Zs using "NAHfuk." To listen for yourself, go to https://digitalcommons.odu.edu/tidewatervoices/We travelled the streets of Norfolk and invited those at signature locations – Norfolk Botanical Gardens, The Perry Glass Studio at the Chrysler Museum of Art, Nauticus, Visit Norfolk, The Mermaid Factory, Doumar's Cones and Barbecue, and Norfolk Naval Station – to share their pronunciation of Norfolk along with information about their institution.We consulted Dr. Janet Bing, PhD, a retired linguist from Old Dominion University in Norfolk, and a specialist in phonology, to share her expertise on the topic. She broke the name down phonetically but attributed its varying pronunciations to social forces. Everyone agrees, though, that pronouncing the city's name as "NAHfuk" places you in the local category. International Phonetic Alphabet (IPA) for the Norfolk pronunciation variations: “NAHfuk” [‘na.fək], “NORfuk” [‘nɔr.fək], “NorFOLK” [nɔr'foʊk], “NorFORK” [nɔr'fɔrk].Send your questions and feedback to languagingHR@gmail.com.

For more than three decades, trailblazing artist and activist Joyce J. Scott has elevated the creative potential of beadwork as a relevant contemporary art form. Scott uses off-loom, hand-threaded glass beads to create striking figurative sculptures, wall hangings, and jewelry informed by her African American ancestry, the craft traditions of her family (including her mother, renowned quilter Elizabeth T. Scott), and traditional Native American techniques, such as the peyote stitch. Each object that Scott creates is a unique, vibrant, and challenging work of art developed with imagination, wit, and sly humor. Born to sharecroppers in North Carolina who were descendants of enslaved people, Scott's family migrated to Baltimore, Maryland, where the artist was born and raised. Scott hales from a long line of makers with extraordinary craftsmanship adept at pottery, knitting, metalwork, basketry, storytelling, and quilting. It was from her family that the young artist cultivated the astonishing skills and expertise for which she is now renowned, and where she learned to upcycle all materials, repositioning craft as a forceful stage for social commentary and activism. In the 1990s, Scott began working with glass artisans to create blown, pressed, and cast glass that she incorporated into her beaded sculptures. This not only allowed her to increase the scale of her work, but also satisfied her desire to collaborate. In 1992, she was invited to the Pilchuck Glass School, Stanwood, Washington. Continuing her interest in glass, Scott has worked with local Baltimore glassblowers as well as with flameworking pioneer Paul Stankard and other celebrated glass fabricators. In 2012, Goya Contemporary Gallery arranged to have Scott work at Adriano Berengo's celebrated glass studio on the island of Murano in Italy, creating works that were part of the exhibition Glasstress through the Venice Biennale. Scott has worn many hats during her illustrious career: quilter, performance artist, printmaker, sculptor, singer, teacher, textile artist, recording artist, painter, writer, installation artist, and bead artist. Her wide-ranging body of work has crossed styles and mediums, from the most intricate beaded form to large-scale outdoor installation. Whether social or political, the artist's subject matter reflects her narrative of what it means to be Black in America.  Scott continues to live and work in Baltimore, Maryland. She received a BFA from the Maryland Institute College of Art and an MFA from Instituto Allende in San Miguel de Allende, Mexico. Selected solo museum exhibitions include The Baltimore Museum of Art (2024); Seattle Art Museum (2024 – 2025); and Grounds for Sculpture (2018), Trenton, NJ. She is the recipient of myriad commissions, grants, awards, residencies, and prestigious honors including from the National Endowment for the Arts, Louis Comfort Tiffany Foundation, Anonymous Was a Woman, American Craft Council, National Living Treasure Award, Lifetime Achievement Award from the Women's Caucus for the Arts, Mary Sawyers Imboden Baker Award, MacArthur Foundation Fellowship (2016), Smithsonian Visionary Artist Award, National Academy of Design Induction, and Moore College Visionary Woman Award, among others. In March of 2024, Scott opened a major 50-year traveling Museum retrospective titled Joyce J. Scott: Walk a Mile in My Dreams co-organized by the Baltimore Museum of Art and Seattle Art Museum. Also in 2024, Scott opened Bearing Witness: A History of Prints by Joyce J Scott at Goya Contemporary Gallery. Her latest exhibition, Joyce J. Scott: Messages, opened at The Chrysler Museum of Art on February 6, 2025 and will run through August 17, 2025 at the Glass Projects Space. This exhibition is organized by Mobilia Gallery, Cambridge, MA. Says Carolyn Swan Needell, the Chrysler Museum's Barry Curator of Glass: “We are thrilled to host this focused traveling exhibition here in Norfolk at the very moment when Scott's brilliant career is being recognized more widely, through a retrospective of her work that is co-organized by the Baltimore Museum of Art and the Seattle Museum of Art.”  In Messages, 34 remarkable beaded works of art spanning the artist's career express contemporary issues and concepts. Included in the show is Scott's recent beaded neckpiece, War, What is it Good For, Absolutely Nothin', Say it Again (2022). A technical feat in peyote stitch, infused with color and texture, this multilayered and intricate beadwork comments on violence in America. Embedding cultural critique within the pleasurable experience of viewing a pristinely crafted object, Scott's work mines history to better understand the present moment. The visual richness of Scott's objects starkly contrasts with the weight of the subject matter that they explore. She says: “I am very interested in raising issues…I skirt the borders between comedy, pathos, delight, and horror. I believe in messing with stereotypes, prodding the viewer to reassess, inciting people to look and then carry something home – even if it's subliminal – that might make a change in them.”   

Episode No. 698 features artist Alex Da Corte and curator Mark Castro. The Modern Art Museum of Fort Worth is presenting "Alex Da Corte: The Whale," a survey of Da Corte's relationship with painting. Featuring more than 40 works, the exhibition examines Da Corte's interest in consumerism, persona, sex, invisible labor, taste, power, and desire. Curated by Alison Hearst, "Da Corte" will be on view through Sept. 7. A catalogue from MAMFW and DelMonico Books is forthcoming. Amazon and Bookshop offer it for $50-55. Da Corte's work has been the subject of solo exhibitions at MOCA Toronto, the Louisiana Museum of Modern Art outside Copenhagen, MASS MoCA, North Adams, and the Metropolitan Museum of Art, New York. Castro is the curator of "Oaxaca Central: Contemporary Mexican Printmaking" at the Chrysler Museum of Art, Norfolk, Va. Across 100 works, the exhibition surveys recent printmaking practice in Oaxaca, home to a vibrant, activist printmaking community. Artists in the exhibition include Ricardo Pinto, Mercedes López, Dr. Lakra, Colectivo Subterráneos, and Emi Winter. "Oaxaca Central is on view through May 11.

Episode No. 691 features artists Kota Ezawa and Amy Pleasant.  The Fort Mason Center for Arts & Culture is presenting "Kota Ezawa: Here and There - Now and Then," an investigation into the creation of memory in the Bay Area and nationally, through March 9. The exhibition, organized in collaboration with the San Francisco Museum of Modern Art, features Ezawa and Julian Brave NoiseCat's Alcatraz Is an Idea (2024), and Merzbau 1, 2, 3 (2021), and Ursonate (2022), which were among 11 Ezawas recently acquired by SFMOMA. "Ezawa" was curated by Frank Smigiel. Fort Mason will publish a catalogue on the closing weekend. SFMOMA is showing Ezawa's National Anthem (2018) in "Count Me In"  through April 27. Ezawa's work has been featured in solo exhibitions at many museums, including the Baltimore Museum of Art, the Chrysler Museum of Art, Norfolk, VA; the Buffalo AKG Art Museum; the Vancouver Art Gallery, Canada; and the Saint Louis Art Museum. His work is in the collection most major US art museums, and in museums in seven other countries.  Pleasant is included in "Synchronicities: Intersecting Figuration with Abstraction" at the Bemis Center for Contemporary Arts, Omaha. The exhibition examines some of the ways in which nine artists have recently navigated the space between abstraction and figuration. "Synchronicities" was curated by Rachel Adams, and is on view through May 4. Pleasant's work is also on view at The Carnegie, Covington, KY in "Southern Democratic" through February 15, and in "Vivid: A Fresh Take" at the Hunter Museum of American Art, Chattanooga, TN through June 1.  Pleasant has been included in exhibitions at the Knoxville Museum of Art, the Montgomery (Ala.) Museum of Fine Arts, the Weatherspoon Museum of Art, University of North Carolina, Greensboro, and more.  Instagram: Amy Pleasant, Tyler Green.

The 21,000-square-foot building is elevated and surrounded by a massive rain garden.

Dutch glass artist Peter Bremers is behind the new "Ice to Water" exhibit.

Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.   Ghada's work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Chrysler Museum of Art, Norfolk, VA; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. She is regularly invited to prestigious group shows and biennials-such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007. She was recognized with a mid-career retrospective at the Brooklyn Museum of Art in New York in 2008 and a larger, more extensive one at the MUCEM and across other venues in Marseille, France in 2022. Amer studied at the Villa Arson École Nationale Supérieure in Nice, France, at the School of the Museum of Fine Arts in Boston, MA, and at the Institut des Hautes Études en Arts Plastiques in Paris. She lives and works in New York.

This week on The Art Career Emily sits down in the empty galleries of, Giants: Art from the Dean Collection, with Kimberli Gant, Curator of Modern & Contemporary Art at the Brooklyn Museum.  Kimberly Gant  has curated numerous exhibitions and gallery reinstallations including the Giants: Art from the Dean Collection of Swizz Beatz & Alicia Keys, Spike Lee: Creative Sources (20023-2024), A Movement in Every Direction: Legacies of the Great Migration (2003), and Black Orpheus: Jacob Lawrence & the Mbari Club (2022). Gant received her PhD in Art History from the University of Texas Austin (2017), and holds both a MA and BA in Art History from Columbia University (2009) and Pitzer College (2002). Gant has published scholarly work  in academic books, such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015), art publications such as NKA: Journal of Contemporary African Art, Art Lies and African Arts, and exhibition catalogues for The Brooklyn Museum, the Chrysler Museum, The Newark Museum, The Contemporary Austin, the Studio Museum of Harlem, MoCADA, Paris Photo, and the Centre for Contemporary Art Lagos. A huge thanks to Swiss Beats and Alicia Keys for understanding the importance of artists supporting artists. @drkimgant⁠ @brooklynmuseum

Housed in a 19th-century cheese factory, Audrey Handler's studio was founded in 1970 and is one of the oldest continually operating glassblowing facilities in the country. Through demonstrations she gave there and workshops she taught on the road at places such as Penland School of Craft and Haystack Mountain School of Crafts, she helped spread the idea that glass could be used as a medium for personal artistic expression.  A pioneer of the Studio Glass Movement, Handler started working in glass in 1965 as one of Harvey Littleton's first female glass students. He and his students experimented and learned together, renting old glassblowing films from the Corning Museum of Glass and trying to emulate the techniques. “It was so exciting,” Handler recalls. “Every day was something new.”   As a glassblower, Handler creates fruit forms, glass platters, and vases but also sculptural environments that comment on universal experiences, usually domestic in nature. These sculptures reflect small worlds and landscape portraits with life-sized objects and tiny sterling silver or gold people that evoke a surrealistic time and place. In well-known series the artist calls Monuments in a Park, Pear in a Chair and Wedding Pair, glass, wood and precious metal combine to tell a story. These works are made in collaboration with her husband, John Martner, who fabricates the tiny wooden chairs and love seats.   Wrote James Auer, Art Critic, The Milwaukee Journal: “By combining pieces of hand-blown fruit, in particular apples and pears, with tiny, hand-cast silver figures, (Audrey Handler) creates bizarre, Lilliputian landscapes that evoke universal human emotions and experiences. …this universality – combined with a neat sense of humor – is Handler's principal strength. It permits her to invest her work with a cutting satirical edge, to the point where her miniaturized depictions of conventional household scenes and cliched gender role models become winning little exercises in small-town surrealism.” Handler was a board member of the Glass Art Society, an international organization she helped create in 1971. She holds a BFA from Boston University School of Fine and Applied Arts and a MS and MFA from the University of Wisconsin, Department of Art. Her work was represented in the New Glass 1979 and New Glass Now 2019 exhibitions and published in the Corning Museum's survey of cutting edge-glass art, New Glass Review, in issues 5, 16 and 43. In 2014, Handler was awarded the Wisconsin Visual Arts Lifetime Achievement Award, joining fellow honorees Frank Lloyd Wright and Georgia O'Keeffe. The artist currently serves on the Glass Advisory Board of the Bergstrom Mahler Museum of Glass in Neenah, Wisconsin. Handler's sculptures can be found in collections and museums worldwide. During 2023 and 2024, her work was exhibited at the Racine Art Museum, Racine, Wisconsin, in two separate group shows: Women in Glass and Wisconsin Artists: 1960 – 1990: A Survey. Her work is on view now at the Chrysler Museum of Art, Norfolk, Virginia, in 60 Years of Studio Glass, 2022 to present, and at the Chazen Museum of Art, Madison, Wisconsin, in Recent Acquisitions, 2021 to 2023, and an ongoing exhibit of her work from 1965 to present. Her latest endeavor involves creating new mixed media sculpture and painting with low-fire glass paints on tiles and glass, creating landscapes of the prairie seen from her studio window, areas around Wisconsin and visions of landscapes from her many travels. These glass paintings are an extension of her work with blown glass – an endeavor which spans more than 50 years – as well as a return to her roots as an oil painter.    

We welcome Kimberly Mckinnis to our series on Virtual Reality for World Languages and Cultures Using ImmerseMe where she will share her experiences on emerging technologies to learn French. Professor McKinnis is an adjunct faculty member in the Department of Art at Old Dominion University and Lake Taylor High School, as well as a member of the glass studio team at the Chrysler Museum of Art. She holds an M.F.A. in Art (Exhibition Design) from California State University in Fullerton, California. In her studio practice, she utilizes a variety of media including silver, glass, video, and performance. Her work has been exhibited nationally and internationally and has been featured in publications such as the annual New Glass Review by the Corning Museum of Glass.Professor McKinnis is the winner of the Silver Global Citizen Award for the 2023 ImmerseMe Cup and was at the top 9% of over 1,750 competitors worldwide!  Our gratitude goes to Ayat Yousef for expertly hosting this episode.

Our breath is the new syllabus. Our survival is the new curriculum. But where is our classroom? This critical geography we must carve out to practice the dis-order that our new world calls for. Black feminist pedagogies have always been critical to my practice. It wasn't enough to inhale black feminist research — I had to lick it — I had to play with it — I had to stir it — I had to serve it — I had to perform it — I had to breathe it. This was the desire that seeded Seeda School. Inspired by a character that could breathe when I couldn't seem to catch mine. Resources: Register for the Worldbuilding Workshop Series Download the ⁠Creative Offer Questionnaire to Oneself⁠ Subscribe to ⁠Seeda School Substack⁠ for weekly podcast and essay releases straight into your inbox Follow Ayana on Instagram: ⁠@ayzaco⁠ Follow Seeda School on Instagram: ⁠@seedaschool⁠ 3 Body Problem Scene (Youtube) Alexis Pauline Gumbs, “The God of Every Day” published by Topical Cream on December 22nd, 2021 Cover Art: Beverly Buchanan, “Three Familiar (A Memorial Piece with Scars), 1989 [courtesy of the Chrysler Museum of Art, gift of David Henry Jacobs, Jr.] Source: “Beverly Buchanan, Life on the Line” published by Art Papers. Image Description: Three, small, shacks collaged with wood, paint, nails, metal and fire — leaning, grieving, singing, dancing.

Justin Holcomb sits down with Lloyd DeWitt to discuss how the church has historically thought of sacred space and architecture, what we can learn from categories and trends that have impacted church architecture, and what we miss when we replace steeples, pulpits, and cathedrals with many eclectic, modern designs. Dr. DeWitt is the Chief Curator and Irene Leache Curator of European Art at the Chrysler Museum of Art in Norfolk, Virginia. He holds a Ph.D. in Art History from the University of Maryland, College Park, where he specialized in Northern Baroque and Northern Renaissance Art and his interests range broadly, from African art to 20th-century Canadian art. CHECK OUT THIS MONTH'S OFFERS: Sign up to receive an original art print for this series at whitehorseinn.org/offers Subscribe to Modern Reformation magazine, and don't miss this month's issue, “The Arts.” Become a Partner to support the work of White Horse Inn as we apply the riches of the Reformation to the modern church. For more information, visit us at whitehorseinn.org or email us at info@whitehorseinn.org

Physically and metaphorically Robin and Julia Rogers put their minds, hearts and hands together to create sculptural works in glass – their chosen material because of its inherent qualities of luminosity, viscosity, and seductive flow. Their inspiration is drawn from the natural world, personal experience, family life, music, psychology, and science. Robin and Julia state: “Complex and mystifying, the human mind drives us, but the subtle inner workings remain, to certain extent, unknown. Delving into the psyche, our work explores the human mind to reveal a metaphorical interior of ideas, emotions, and mystery. Floating in the vast sea of our own thought we are alone. This solitude, both deeply haunting and beautiful, is ours to contemplate, conquer, and call our own. Our minds never stop imagining the possibilities of what can be explored, discovered, shared, and executed.” In their series, Architecture of the Mind, heads are turned into buildings whose history and occupancy is contemplated. Each building has its own unique story, a background different from the one living next door. Community is formed, despite the differences, allowing life to thrive in this modern, fast-paced world. Thoughts from day-to-day life, memories, or even multiple personalities are reflected in these works. Animalia is also a driving and important theme in the narrative of the Rogers' work. Since the advent of human expression, animals have been ever present. The artists feel that animals have a certain wisdom and intuition that brings alignment with the natural world. There is something to be learned from the animal spirit; especially in today's fast paced digital life where it is easy to forget that we, ourselves, are inseparable from nature. Human Hybrids (Bioengineered) is a series of anthropomorphic humans, where animal and human DNA have been melded together. Imagine the possibilities of a not- so-distant future, where rapid breakthroughs in genetic research, advances in molecular biology, and new reproductive technologies, allow scientists to manipulate human DNA at the gene level to cure inheritable diseases. In this plausible future, parents can choose which of their own genes to share with their children and which to omit. One can even imagine how animal genes could be introduced to give heightened senses and new abilities to these superhuman species.  Discovering how to translate their ideas into glass can be both challenging and rewarding. After scale drawings are made, Robin and Julia decide who will make which parts of the sculpture and hot work begins. Once all the parts are made, they work with a skilled team of assistants for the final assembly. The finished glass is often combined with other materials such as fur, wood, and steel to complete the sculpture. Currently, Robin and Julia both work at the Chrysler Museum of Art, where Robin is the Glass Studio Program Director and Julia is the Higher Education and Outreach Coordinator. They met in a small hot glass studio in Western Montana in 2001 at a glass shop called Cloud Cap Glass. As their friendship grew, their glass practices began to overlap. They both became part owners of the studio and worked together, operating the small business and creating glass works. In pursuit of Master of Fine Art degrees, the couple decided to leave their beloved Montana in 2005. They re-envisioned their glass studio and created a trailer-mounted portable shop. With their tools, dogs and one-year-old son, they set out for Southern Illinois. Following professional opportunities, the glassy family has lived in Carbondale, Illinois; Bowling Green, Ohio; Detroit, Michigan; and Norfolk, Virginia. In 2010, after nearly 10 years of working together and assisting with each other's work, the duo decided to start creating artwork collaboratively. In these bodies of work, every step of the process, from conception to installing, is completed by both artists. This method of working has led to the creation of artwork that Julia and Robin are excited to make and proud to exhibit. Through the synergy of this collaboration, the whole is much greater than the sum of the parts.  The couple is currently working on new pieces to be shown in the Habatat International Exhibition in April 2024 at Habatat Gallery in Michigan. They are also starting a collaboration with Fabiano Zanchi, teaching at UrbanGlass in June, and will be the featured artists at the International Glass Symposium in Novy Bor, Czechia in October. Additionally, the studio at the Chrysler Museum of Art, where they make most of their work, is currently tripling in size. Phase 1 of the project ends in May 2024 and phase 2 will be completed by the end of 2024.    

Talking Out Your Glass podcast kicks off 2024 with our first episode of Season 9! This  fascinating panel discussion on flameworking features four of the technique's most well-known artists: Paul Stankard, Carmen Lozar, Dan Coyle aka coylecondenser and Trina Weintraub. At different points in their careers, these four artists compare and contrast their journeys and experiences working glass behind the torch.  Considered a living master in the art of the paperweight, Paul Stankard's work is represented in more than 75 museums around the world. Over his 52-year artistic journey, he has received two honorary doctorate degrees, an honorary associate's degree, and many awards within the glass community, including the Masters of the Medium Award from Smithsonian's The James Renwick Alliance and the Glass Art Society's Lifetime Achievement Award. He is a Fellow of the American Craft Council and a recipient of the UrbanGlass Award—Innovation in a Glassworking Technique.   Stankard's current exhibition From Flame to Flower: The Art of Paul J. Stankard can be seen at the Morris Museum, Morristown, New Jersey, now through February 4. A documentary film titled Paul J. Stankard: Flower and Flame by award-winning filmmaker Dan Collins, premiers on January 31. On March 16, the film will be shown at Salem County Community College, Carney's Point, New Jersey, at the International Flameworking Conference, presented there by Collins. Born in 1975, Carmen Lozar lives in Bloomington-Normal, Illinois, where she maintains a studio and is a member of the art faculty at Illinois Wesleyan University. She has taught at Pilchuck Glass School, Penland School of Craft, Pittsburgh Glass School, Appalachian Center for Crafts, The Chrysler Museum, and the Glass Furnace in Istanbul, Turkey. She has had residencies at the Corning Museum of Glass and Penland School of Craft. Although she travels abroad to teach and share her love for glass – most recently to Turkey, Italy, and New Zealand – she always returns to her Midwestern roots. Lozar is represented by the Ken Saunders Gallery in Chicago, and her work is included in the permanent collection at Bergstrom-Mahler Museum of Glass, Neenah, Wisconsin. Besides continuing her work at Illinois Wesleyan University, Lozar will be teaching workshops at UrbanGlass, June 4 – 8, 2024, and at Ox Bow School of Craft, Saugatuck, Michigan, August 4 – 10, 2024. Menacing monkeys. Peeled bananas. Bad-tempered bears. Uniquely original Munnies. Daniel S. Coyle's whimsical, toy-inspired aesthetic in concert with mind-blowing skills on the torch have earned the artist a hefty 116K following on Instagram. The artist recently celebrated 12 years of being a full-time pipe maker. Coyle's work has been displayed in galleries around the world, and has been seen in print and web publications including Vice, Huffington Post, NY Times, and in the books This Is A Pipe and his self-published Munny Project book. Now residing in Western Massachusetts, he works alongside some of the state's top pipe makers. Coyle's 2024 events include: Community Bonfire (Maine), January 27; Michigan Glass Project, June 21 – 23: two-week intensive class at Corning Studios, Corning, New York, June 24 – July 5; Parlay Philly in September TBA; and Bad Boyz Do Basel 3 (Miami), September TBA. Creating playful objects and curious scenes inspired by childhood memories and dreams, Caterina Weintraub uses glass, a fragile and heavy material, to recreate iconic toys or re-imagine personal memories that evoke a sense of sentiment, wonder and discomfort. She utilizes a variety of techniques to create sculptures and installations in her Boston-based studio, Fiamma Glass. From intricate torch work to large-scale kiln castings and hot blown pieces, she chooses the process best suited to realize her vision. In 2024, Weintraub will participate in Habatat's Glass Coast Weekend, Sarasota, Florida, February 1 – 4; Glass52, International Glass Show, Habatat Gallery, Royal Oak, Michigan, May 5 – September 6; and the International Glass Show, Fort Wayne Museum of Art, Fort Wayne, Indiana, December 2 – February 18.  Enjoy this panel discussion about how these four artists crafted careers using the techniques and appeal of flameworking and where the process is headed into the next decade and beyond.     

The emitted light from a David Huchthausen sculpture is an artwork unto itself. For the last five decades plus, the artist has been captivating viewers through sculpture defined by its unique and other-worldly manipulation of light. A critic once described his work as “high tech spiritual,” an observation the artist rather liked. Huchthausen once stated: “Creation is a continual and evolutionary process, constantly digesting and reevaluating past experiences and current perspectives. My work has always been deliberately enigmatic and mysterious. I constantly strive to generate a strange and curious quality that both tantalizes and challenges the viewer to develop his own response system. The work must have an existence of its own if it is to have any real significance.” Huchthausen was one of the first artists of the Studio Glass Movement to emphasize cold working and fabrication techniques such as cutting, sawing, laminating, and optical polishing. Within his most recent crystal-clear geometric forms, the artist integrates complex shapes, concave lenses and intricate color panels, reflecting and refracting light as it hits the shapes and projecting colored glass patterns into the fractures and lenses below. Huchthausen's sculptural narrative has always been enigmatic by design, challenging the viewer with its curious and unknowable quality. Ferdinand Hampson, co-founder of Habatat Gallery, wrote: “David Huchthausen is one of an elite group of artists who have altered the history of contemporary glass.  As a Fulbright scholar, university professor and museum consultant, his achievements over the past 50 years have played a vital role in the evolution of the material into a fine art form.   “As an architecture student at the University of Wisconsin, Huchthausen gravitated toward the sculpture department, working with welded steel, wood and found objects. In 1970 he discovered an abandoned glass furnace in the corner of an old brewery building on the Wausau campus. After six months of struggling, he learned of Harvey Littleton's work in Madison 150 miles to the south.  Once contact had been established, Huchthausen's career moved with rapid strides. He served as Littleton's graduate assistant in the early 1970s, ran the Illinois State University Glass Program during Joel Myers' sabbatical in 1976 and lectured throughout Europe as a Fulbright scholar in 1977 and 1978. During this period, he established vital links between European and American artists and galleries, organizing numerous exhibitions in both the United States and Europe. As curatorial and acquisitions consultant for the Woodson Art Museum in Wausau, Wisconsin, he conceived and developed Americans In Glass. This important series of exhibitions in 1978, 1981 and 1984 documented the evolution of American Studio Glass from its early emphasis on blown forms and hot working to the explosion of sculptural and conceptual concerns of the mid 1980s. The landmark 1984 exhibition traveled to museums across Europe and provided the first major review of any glass exhibition by Art In America. “As an educator and art professor, Huchthausen has been a significant influence on a generation of glass artists. He was one of the first Americans to emphasize coldworking in the early 1970s.  Large sculptural constructions such as Spider's Nest, which combined hot-worked, cast, and architectural glass elements, stand as historical landmarks of the period. Many of the specialized fabrication techniques he pioneered are widely used by other artists today. “Throughout his career, Huchthausen has remained a strong advocate of increased aesthetic criticism of contemporary glass. His outspoken and often controversial positions have helped articulate a basis for today's increased level of critical dialog. As an artist Huchthausen has consistently maintained a high degree of integrity in his work.  Limiting production to 12 to 15 pieces each year, he devotes several months to the development and creation of each sculpture.  Even within a specific series the images are extremely unique, furthering his evolution of the concept without letting it harden into a formula. “Huchthausen's background in architecture and personal fascination with primitive art and ritual, have remained strong influences over the years. He deliberately imbues his sculpture with an enigmatic quality, generating a strange and curious energy, which entices the viewer.   “One unique aspect of Huchthausen's sculpture is his innovative integration of glass and light, the concept that the projected images and patterns constitute an integral and inseparable component of the sculpture.  These ideas have their genesis in his large totemic forms of the early 1970s and have permeated his work to varying degrees throughout his career.  They were more fully explored in his mysterious Leitungs Scherben series of the 1980s, where transformed and altered patterns were projected with amazing clarity onto the surface beneath the piece. Huchthausen's next body of work expanded on that foundation. “The Adumbration and Implosion series (1991 – 1999) combine the integral color laminations that have become a trademark of his work, with massive blocks of crystal.  By juxtaposing the pristine optically polished surfaces with fractured jagged edges, Huchthausen created precariously balanced fragments alluding to a larger whole.  The colored shadow projections are directed into the heart of the piece, splashing colored light onto the fractures, radiating like translucent watercolors into pools of intense color.  Huchthausen creates an illusion of incredible complexity that appears and then vanishes as the viewer is drawn around the piece, only to reappear as the refracted image mutates and projects onto another plane.  The constantly shifting visual depth and dimensionality create new and unique views from every angle.  This use of the full 360-degree circumference of the piece sets Huchthausen apart from many artists, creating sculpture that is in perpetual visual motion. “The Implosion sequence evolved into the Echo Chambers, which expanded on the use of hand polished lenses cut into the bases of the sculpture. These concave orbs reflected and distorted the geometric color patterns laminated onto the top of the sculpture, further enhancing the complexity of the illusionary space and creating a kaleidoscopic effect as the viewer moves. “Huchthausen's latest series of Spheres began after he read an article on the theoretical analysis of gravitational fields. The article described the three-dimensional universe that we perceive, as a holographic projection, generated by a two-dimensional field at the edge of infinity. The optical simplicity of the sphere permits an intimate exploration of the interior geometry. With the Spheres, Huchthausen has fully escaped the perception of three-dimensional space. His spheres have no top, bottom, up, down, front, or back; every axis point creates a unique visual perspective that is in a constant state of flux.” Having participated in over 500 national and international exhibitions and included in 80 permanent museum collections, Huchthausen is considered a leader in both the glass specific and larger art worlds. His public collections include: The Corning Museum(NY); The Chrysler Museum of Art (Norfolk, VA); The Detroit Institute of Arts (MI); The High Museum(Atlanta, GA); The Hokkaido Museum (Sapporo, Japan); The Los Angeles County Museum (CA); The Metropolitan Museum (New York, NY); The Museum of Fine Art (Dusseldorf, Germany); The Museum of Fine Arts (Lausanne, Switzerland); La Musée de Verre (Liège, Belgium); The Smithsonian Institution (Washington, D.C.); The Tacoma Art Museum (WA); and many more.  Today, Huchthausen creates sculpture from his Seattle studio. He has also renovated several historic buildings in the city, including the 150,000-square-foot Bemis Brothers Bag Building, where studio space is leased to other artists. Over his 53 years in glass, Huchthausen's work has been documented in many books and catalogs. He is currently working on three new books to include Classic Motor Yachts 1910-1960 and Art Deco Glass: The Huchthausen Collection, as well as a book covering the history of his own sculpture. An exhibition of the artist's Art Deco collection has been travelling for seven years. On his way to Cebu in the Philippines where he escapes Seattle's gray winter, Huchthausen spoke with TOYG about when he fell in love with light, how he uses glass in the telling of his stories and why his work remains relevant and collectible into the 21st century and beyond.  

Multimedia Artist, Heather Beardsley is on View at Chrysler Museum until October 29th. --- Send in a voice message: https://podcasters.spotify.com/pod/show/loveletterstovirginia/message

On View in Chrysler Museum of Arts until October 29. --- Send in a voice message: https://podcasters.spotify.com/pod/show/loveletterstovirginia/message

Heather Beardsley's art has been influenced by extensive travel and residencies in diverse cultures. This started with her year in Vienna as a Fulbright Scholar and then continued for several years until the pandemic shut down her residency in Kyiv, Ukraine. Like everyone else, Heather had to pivot upon returning to the U.S. She used the downtime to her advantage by getting organized and shaping her career path. In our conversation in this episode of The Art Biz, you'll hear how she managed to transform her social anxiety into opportunities—realizing that real growth could only happen when she overcame the urge to play it safe by sticking to open call entries. Heather has learned to navigate the complex art world with intention while connecting with institutions and curators to propel her career. She shares her experiences of the following: Securing exhibition fees, grants, and residencies while managing expectations. The importance of being organized and ready for opportunities. Using Microsoft OneNote to organize opportunities and deadlines. Building authentic relationships within the art world where so much can seem transactional. You'll also hear about Heather's current solo show at the Chrysler Museum of Art and how it came about.

Chrysler Museum Gallery Hosts, Nina Casillas and Kathryn Williams share their musings on the art at Chrysler museum and things they love about Norfolk! --- Send in a voice message: https://podcasters.spotify.com/pod/show/loveletterstovirginia/message

With glass as her medium and lost wax casting as her primary technique, Anja Isphording creates idiosyncratic sculptures familiar enough for us to recognize that they are inspired by nature, yet rarely resembling anything that we have actually encountered. Her intimate-scale objects, tactile and rich with deeply saturated colors, are reminiscent of basic molecular structures, honeycombs or coral reefs, but their biological reference remains ambiguous.   In Germany, Isphording's early glass engraving studies in the 1980s with FS Zwiesel and Franz X Hoeller were followed by a stint as an engraving instructor at the summer school Bild-Werk, Frauenau. She founded her first studio in Helminghausen, Germany, in 1989, but relocated to Vancouver, BC, Canada, in 2000 and switched her focus to casting. Isphording's work has been exhibited in Europe and the United States, and collected by museums worldwide, including the Toledo Museum of Art, Toledo, Ohio; the Chrysler Museum of Art, Norfolk, VA; Museum of American Glass, Wheaton, NJ; Glass Museum Kamenicky Senov, Czech Republic; Museum of Applied Arts, Frankfurt; and Kuntsgewerbemuseum, Berlin Germany, among others. She has been juried into New Glass Review – the Corning Museum of Glass' prestigious annual survey of cutting-edge glass – an unprecedented 10 times. Many consider Isphording's intimate sculptures among the most intriguing objects ever made from glass. They embody reverence for nature's mysteries and explore the patterns and structures of nature without ever literally reproducing them. Often they evoke a mood as much as an image. Plants and marine creatures may echo in the forms, but ultimately, they are guided by the artist's exquisite imagination.   Isphording's awards include 1998-2001 scholarships at Pilchuck Glass School, WA; 1995 scholarship at the Creative Glass Center of America, Wheaton Village, NJ; 1993-1994 scholarship at the Academy of Applied Arts, class Vladimir Kopecky, Prague, Czech Republic; 2011-2012 prizes in TGK Competition, Germany; 2004 Artist of the Month, Art Alliance for Contemporary Glass; 2001 prize, WG at BE Exhibition, Portland, OR; 1993 Bayrischer Staatspreis; and 1986 prize, Leistungswettbewerb der Handwerksjugend, Germany. First modeled full-size in wax and then cast in glass, Isphording's intricate compositions often require multiple firings. When finished, the sculptures have a tactile quality and emotional range that sets them apart from contemporary trends and renders them timeless. Each piece takes months to create – follow this link to learn more about her process. Demanding technical challenges coupled with the complexity of her forms conspire to limit her output. This Friday, August 18 – September 1, 2023, Heller Gallery in NYC will present Isphording's latest sculptures as part of their summer pop-up series titled Rotations.  

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer and publisher Matt Eich discuss the intricate play between personal work and universality, the importance of varied artistic inspiration, and the deep understanding and responsibility needed when working with communities as an outsider. Matt also expresses the necessity of having trusted voices help in the editing process. https://www.matteichphoto.com https://www.littleoakpress.com Matt Eich is a photographic essayist working on long-form projects related to memory, family, community, and the American condition. Matt's work has received numerous grants and recognitions, including PDN's 30 Emerging Photographers to Watch, the Joop Swart Masterclass, the F25 Award for Concerned Photography, POYi's Community Awareness Award, an Aaron Siskind Fellowship, a VMFA Fellowship and two Getty Images Grants for Editorial Photography. His work has been exhibited in 20 solo shows, in addition to numerous festivals and group exhibitions. Matt's prints and books are held in the permanent collections of The Portland Art Museum, the Museum of Fine Arts Houston, The New York Public Library, Chrysler Museum of Art, Ogden Museum of Art, and others. Matt was an Artist-in-Residence at Light Work in 2013, and at a Robert Rauschenberg Residency in 2019. Eich holds a BS in photojournalism from Ohio University and an MFA in Photography from Hartford Art School's International Limited-Residency Program. He is the author of four monographs, Carry Me Ohio (Sturm & Drang, 2016), I Love You, I'm Leaving (Ceiba Editions, 2017), Sin & Salvation in Baptist Town (Sturm & Drang, 2018) and The Seven Cities (Sturm & Drang, 2020). He has one forthcoming monograph scheduled for Fall 2023. Eich self-publishes under the imprint Little Oak Press and resides in Virginia. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Photographer, Anastasia Samoylova joins Michael to talk about the 2023 CatchLight Visual Storytelling Summit: The Change We Want to See. This year's summit emphasizes the unique power of photography, visual journalism, and creative practices to drive social impact. Ana will be talking about her book, Floodzone published by Steidl along with photographer, Rafael Vilela. Their panel is titled Picturing New Frontiers: Environmental Storytelling. Ana and Michael talk about how Ana went from photography to Environmental Design, and back to photography and how her experiences growing up in Russian and living in Florida shapes her work and how she thinks about art and activism. RSVP for CatchLight Summit: https://airtable.com/shrz8sfXJWVrqciWX https://www.catchlight.io/2023-visual-storytelling-summit https://www.anasamoylova.com Anastasia Samoylova (b. 1984, USSR) is a Russian born American artist who moves between observational photography and studio practice. Her work explores notions of environmentalism, consumerism and the picturesque. Recent exhibitions include Fundación Mapfre; C/O Berlin; Eastman Museum; Chrysler Museum of Art; The Photographer's Gallery, London; Kunst Haus Wien; HistoryMiami Museum; and Museum of Fine Arts, Le Locle. In 2022 Samoylova was shortlisted for the Deutsche Börse Photography Foundation Prize. Her work is in the collections at the Perez Art Museum, Miami; the High Museum of Art, Atlanta and Museum of Contemporary Photography, Chicago; among others. Published monographs include Image Cities (Fundación Mapfre / Hatje Cantz, 2023), Floridas (Steidl, 2022) and FloodZone (Steidl, 2019). This podcast is sponsored by the Charcoal Book Club, a monthly subscription service for photobook enthusiasts. Begin Building your dream photobook library today at https://charcoalbookclub.com. CATCHLIGHT VISUAL STORYTELLING SUMMIT 2023: THE CHANGE WE WANT TO SEE April 29, 2023 - https://www.catchlight.io - Minnesota Street Project, San Francisco The non-profit media organization CatchLight will hold its 2023 Visual Storytelling Summit on the theme “The Change We Want to See.” Organized with Elizabeth Krist, curator and formerly a longtime photo editor at National Geographic, the event will feature a portfolio review in the morning, followed by presenters and topics spanning artificial intelligence imagery, reporting on environmental issues, reproductive rights, racial justice, and how local journalists are holding power accountable at a time when trust in public institutions is at an all-time low. CatchLight Global and Local Fellows—including Rafael Vilela and Harika Maddala, among others—will discuss their projects along with artists, founders, technologists, and innovative creatives working at the nexus of art, media, journalism, technology, and social impact. This year's theme, “The Change We Want to See,” reflects the unique power of photography, visual journalism, and creative practices to drive social impact. “Images are instrumental to how we understand our world,” says Elodie Mailliet Storm, CEO of CatchLight. “Not only do they connect people emotionally to issues, they also promote deeper understanding, build trust, and spark action. I want the Summit to be a place where the global community of visual storytellers, media, and technology leaders can gather, share ideas, and push the field forward through partnership and innovation.” Speakers will include Jonas Bendiksen, Adrian Burrell, Pamela Chen, Hany Farid, Isadora Kosofsky, Lynn Johnson, Sarahbeth Maney, Anastasia Samoylova, Ashima Yadava, Alexey Yurenev. Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

In Platemark s3e20, host Ann Shafer talks with Kimberli Gant, curator of Modern and Contemporary Art at the Brooklyn Museum. While Kimberli's specialty isn't in prints per se, she is one of those unusual non-print curators who likes and appreciates prints and incorporates them into her projects.  Among many projects, her work on Jacob Lawrence and his time in Nigeria led to the exhibition, Black Orpheus: Jacob Lawrence and the Mbari Club, which traveled to the Chrysler Museum, the New Orleans Museum of Art, and the Toledo Museum of Art, and unlocks an area of Lawrence's oeuvre that has been overlooked. If you missed the exhibition, Kimberli's beautiful catalogue is worth acquiring. 

Ep.134 features Kimberli Gant, the Curator of Modern & Contemporary Art at the Brooklyn Museum of Art. She was previously the McKinnon Curator of Modern & Contemporary Art at the Chrysler Museum in Norfolk, VA, and has also worked as the Mellon Doctoral Fellow at the Newark Museum, and Director of Exhibitions at the Museum of Contemporary African Diasporan Art (MoCADA). She has curated numerous exhibitions and gallery reinstallations including Black Orpheus: Jacob Lawrence & the Mbari Club (2022), Journey's Across the Border: U.S. & Mexico (2021-22), Tuan Andrew Nguyen: The Boat People (2021), Brendan Fernandes: Bodily Forms (2020), and John Akomfrah: Tropikos (2019). Gant received her PhD in Art History from the University of Texas Austin (2017) and holds both a MA and BA in Art History from Columbia University (2009) and Pitzer College (2002). Gant has published scholarly work in academic books, such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015), art publications such as NKA: Journal of Contemporary African Art, Art Lies and African Arts, and exhibition catalogues for The Newark Museum, The Contemporary Austin, the Studio Museum of Harlem, MoCADA, Paris Photo, and the Centre for Contemporary Art Lagos. Photo credit: Andar Sawyer Black Orpheus: Jacob Lawrence & the Mbari Club (2022) https://yalebooks.co.uk/page/detail/black-orpheus/?k=9780300263176 Chrysler Museum https://chrysler.org/exhibition/jacob-lawrence/ Brooklyn Museum https://www.artnews.com/art-news/news/brooklyn-museum-hires-stephanie-sparling-williams-kimberli-gant-1234610507/ NY Times https://www.nytimes.com/2022/10/20/arts/design/black-artists-african-art.html University of Texas https://art.utexas.edu/news/dr-kimberli-gant-selected-2022-curatorial-fellow ICI https://curatorsintl.org/about/collaborators/7950-kimberli-gant Artnews https://www.artnews.com/art-news/news/brooklyn-museum-hires-stephanie-sparling-williams-kimberli-gant-1234610507/ Brooklyn Eagle https://brooklyneagle.com/articles/2022/12/07/brooklyn-museums-23-exhibition-schedule-leaps-across-artistic-categories/ C& https://contemporaryand.com/magazines/brooklyn-museum-appoints-stephanie-sparling-williams-and-kimberli-gant-as-curators/ Artadia https://artadia.org/news/join-us-for-art-and-dialogue-new-york-with-kimberli-gant/ Culture Type https://www.culturetype.com/2021/11/18/latest-news-in-black-art-curator-essence-harden-joins-caam-new-curatorial-hires-at-brooklyn-museum-arthur-jafa-guest-edited-i-d-magazine-michael-c-thorpe-and-jammie-holmes-gain-new-gallery-repres/ Africa Center https://www.theafricacenter.org/events/becoming-in-america-a-conversation-with-fitsum-shebeshe-and-kimberli-gant/ The Herald News https://www.heraldnews.com/story/entertainment/2022/01/29/newport-art-museum-biennial-2022-featured-artist-exhibition-view-now/6595612001/ Live Auctioneers https://www.liveauctioneers.com/news/people/brooklyn-museum-appoints-two-new-art-curators/

https://www.alexvenezia.com   Alex Venezia b.1993 Virginia Beach, Virginia; currently lives and works in Raleigh, North Carolina. Primarily a self taught painter, Alex Venezia, first became aware of the transcendent power of art during a high-school art lesson on chiaroscuro while examining the works of Caravaggio. This class marked a unique turning point for the young student as he began to consider a vocation in the arts.  Searching for new art experiences he frequented the Chrysler Museum of Art in Norfolk, Virginia where he was able to fill his eyes with the works of the Masters and make copies.  Venezia has sought out and studied classical technique with many of todays top representational painters including: Odd Nerdrum, Colleen Barry, Daniel Sprick, Michael Klein, and Jeff Hein. "In his words, Inspiration comes in many forms, and usually far from the easel, but there's nothing like seeing the work of an artist that you hold in high regard in person. It has a way of putting me in my place and motivating me to become a better painter." And so it has. Most recently Venezia took home the 2017 first place prize in the Still Life Competition at the prestigious Grand Central Atelier in New York. Alex Venezia has been a featured artist in Southwest Art Magazine, 21 Under 31: Young Artists to Watch in 2016 and  BuzzFeed article 5 Artistic Prodigies 21 And Under.  He is the recipient of numerous awards and has participated in many group shows throughout the United Sates. He currently lives and maintains a studio w/ painters Michael Klein and Louis Carr in Raleigh, North Carolina.   Alison Collins Director, Collins Galleries. Orleans, Massachusetts, USA

https://www.alexvenezia.com   Alex Venezia b.1993 Virginia Beach, Virginia; currently lives and works in Raleigh, North Carolina. Primarily a self taught painter, Alex Venezia, first became aware of the transcendent power of art during a high-school art lesson on chiaroscuro while examining the works of Caravaggio. This class marked a unique turning point for the young student as he began to consider a vocation in the arts.  Searching for new art experiences he frequented the Chrysler Museum of Art in Norfolk, Virginia where he was able to fill his eyes with the works of the Masters and make copies.  Venezia has sought out and studied classical technique with many of todays top representational painters including: Odd Nerdrum, Colleen Barry, Daniel Sprick, Michael Klein, and Jeff Hein. "In his words, Inspiration comes in many forms, and usually far from the easel, but there's nothing like seeing the work of an artist that you hold in high regard in person. It has a way of putting me in my place and motivating me to become a better painter." And so it has. Most recently Venezia took home the 2017 first place prize in the Still Life Competition at the prestigious Grand Central Atelier in New York. Alex Venezia has been a featured artist in Southwest Art Magazine, 21 Under 31: Young Artists to Watch in 2016 and  BuzzFeed article 5 Artistic Prodigies 21 And Under.  He is the recipient of numerous awards and has participated in many group shows throughout the United Sates. He currently lives and maintains a studio w/ painters Michael Klein and Louis Carr in Raleigh, North Carolina.   Alison Collins Director, Collins Galleries. Orleans, Massachusetts, USA

Anastasia Samoylova (b. 1984, USSR) is an American artist who moves between observational photography and studio practice. Her work explores notions of environmentalism, consumerism and the picturesque.Recent exhibitions include Eastman Museum; Chrysler Museum of Art; The Photographer's Gallery; Kunst Haus Wien; HistoryMiami Museum; and Museum of Fine Arts, Le Locle.In 2022 Anastasia was shortlisted for the Deutsche Börse Photography Foundation Prize. Her work is in the collections at the Perez Art Museum Miami and Museum of Contemporary Photography Chicago, among others.Published monographs include Floridas (Steidl, 2022) and FloodZone (Steidl, 2019), with her latest work, Image Cities, forthcoming as a book and exhibition in 2023.On episode 191, Anastasia discusses, among other things:Recent hurricaneForthcoming book and exhibition project, Image CitiesHer abiding interest in collageAdding vs. reducing - abstracting the worldFlorida and her FloodZone bookHer perspective on the climate emergency: alarmist but not defeatistWhy she ended up living in MiamiHow she came to start making picturesThe distinctive Florida colour paletteThe Floridas bookClimate anxiety - and other typesHaving a strong work ethicReferenced:Stephen ShoreEugène AtgetJacques TatiMies van der RoheAnsel AdamsWalker EvansDavid CampanyAlec SothWilliam EgglestonAlexander RodchenkoVarvara Stepanova Website | Instagram “The key impulse here is the sense of gratitude for being able to do what I've always known I wanted to do, and feeling zero entitlement to this. It's an immense privilege to be in this line of work.”

Episode No. 570 features artist vanessa german and curator Kimberli Gant. german is included in "Start Talking: Fischer/Shull Collection of Contemporary Art," an exhibition of gifts to the North Carolina Museum of Art pledged by Hedy Fischer and Randy Shull. The show is on view through February 5, 2023. The Mount Holyoke College Art Museum is presenting "THE RAREST BLACK WOMAN ON THE PLANET EARTH," german's response to the Joseph Allen Skinner Museum, an early 20th-century cabinet of curiosities at Mount Holyoke. The exhibition is in previews through October 12, the artist will perform at the museum on October 13, at which point the show will remain on view through May 28, 2023. german is showing recent work at New York City's Kasmin Gallery in "Sad Rapper" through October 22. With Ndubuisi Ezeluomba, Gant is the co-curator of "Black Orpheus: Jacob Lawrence and the Mbari Club" which is at the Chrysler Museum of Art in Norfolk, Va. through January 8, 2023. The exhibition explores the connection between Lawrence and his contemporaries based in the Global South via the Nigerian journal "Black Orpheus" and the presentation of their work at Nigeria's Mbari Artists & Writers Club. After debuting in Norfolk, the show will travel to New Orleans and Toledo. The exhibition is accompanied by an outstanding catalogue published by Yale University Press in association with the Chrysler and the New Orleans Museum of Art. Indiebound and Amazon offer it for $50. Instagram: vanessa german, Kimberli Gant, Tyler Green. Air date: October 6, 2022.

Our guest for this episode of Sharing the Mic is Dr. Paul Sanho Kim, an associate professor at Old Dominion University. He directs the ODU Symphony Orchestra, teaches conducting and violin, and coordinates the strings area. He is the music director of the Orchestra of the Eastern Shore and the symphony orchestra conductor of the Czech Music Camp for Youth. Kim led performances with the Virginia Symphony, Roanoke Symphony, and university orchestras across the U.S. and China. He was the conductor for Eurythmics star Dave Stewart and his Rock Fabulous Orchestra. He was also the conductor and producer for the album Carl Roskott: Works for Violin, released by Centaur Records.Kim is the composer of nearly thirty original works. Where Darkness Meets Light, a multimedia composition for violin and cello, was performed at the Chrysler Museum of Art and the 2017 Glass Art Society Conference to critical acclaim, and a digital music album (with Kim on violin) is available on iTunes and CD Baby. His arrangements of Radiohead songs for string quintet Sybarite5 have been performed on NPR's Performance Today as well as at Carnegie Hall and Lincoln Center and have been released on Sybarite5's album Everything in Its Right Place. As a violinist, Kim is a member of the Roanoke Symphony, performed with the Virginia Symphony and Maryland Symphony, as well as internationally.Adagio https://youtu.be/Jetl-f_WG1MSoft Rain https://youtu.be/9209rOl3gHoSybarite 5 - Radiohead remixed for string quintet by Paul Sanho Kim https://sybarite5.bandcamp.com/album/everything-in-its-right-place

My guest for this episode of Sharing the Mic is Dr. Paul Sanho Kim, an associate professor at Old Dominion University. He directs the ODU Symphony Orchestra, teaches conducting and violin, and coordinates the strings area. He is the music director of the Orchestra of the Eastern Shore and the symphony orchestra conductor of the Czech Music Camp for Youth. Kim led performances with the Virginia Symphony, Roanoke Symphony, and university orchestras across the U.S. and China. He was the conductor for Eurythmics star Dave Stewart and his Rock Fabulous Orchestra. He was also the conductor and producer for the album Carl Roskott: Works for Violin, released by Centaur Records.Kim is the composer of nearly thirty original works. Where Darkness Meets Light, a multimedia composition for violin and cello, was performed at the Chrysler Museum of Art and the 2017 Glass Art Society Conference to critical acclaim, and a digital music album (with Kim on violin) is available on iTunes and CD Baby. His arrangements of Radiohead songs for string quintet Sybarite5 have been performed on NPR's Performance Today as well as at Carnegie Hall and Lincoln Center and have been released on Sybarite5's album Everything in Its Right Place. As a violinist, Kim is a member of the Roanoke Symphony, performed with the Virginia Symphony and Maryland Symphony, as well as internationally.Dr. Kim completed a D.M.A. in conducting at Shenandoah Conservatory. Previously, he earned an M.M. in orchestral conducting at the University of Maryland, an M.A. in music, and a B.S. in chemistry at the University of Virginia. Kim also served as a sergeant in the U.S. Marine Corps Reserve.Links Adagio https://youtu.be/Jetl-f_WG1MSoft Rain https://youtu.be/9209rOl3gHoSybarite 5 - Radiohead remixed for string quintet by Paul Sanyo Kim https://soundcloud.app.goo.gl/G3w9KDYA6PvQmkF17

Born in Mirano, Italy, Emilio Santini comes from a family with centuries of tradition in glass. With skills in the areas of lampworking, glassblowing, casting and diamond point engraving, he has taught primarily torchworking at many of the major glass schools in the US including Pilchuck Glass School, Stanwood, Washington, Penland School of Craft, Bakersville, North Carolina, and Pittsburgh Glass Center, as well as at Virginia Commonwealth University, Richmond, Virginia. Currently residing in Blacksburg, Virginia, Santini is dedicating more time to his first love – writing poetry and fiction, with a particular focus on the glass world, past and present. The product of over 500 years of glassblowing tradition, Santini's father was his first teacher. At the age of 11, Emilio was sent to work in Cenedese glass factory during the three-month summer break from school. His uncle, Giacinto Cadamuro, was his teacher during that year. For the next five years, the young Santini went back to work for three months in the same glass factory but with different masters, including “Petà” and “Mamaracio”. At 17, Emilio's father started teaching him lampworking, an activity that became the primary focus of his career as a glass educator.   Santini spent nearly 10 years refining his skills before — after four summers of persistent courtship during her studies in Venice — he married Theresa Johansson and moved to her family home in Winston-Salem, North Carolina. Without the close family and workshop connections that helped him so much in Murano, Santini struggled to sell his work. He failed to grasp the much more demanding and decentralized nature of the sprawling American art glass market, and the couple returned to Murano. In 1988, Santini moved with his wife to Williamsburg, Virginia, where he established a small lampworking studio. He made his third and final attempt to immigrate to the US when his wife was hired at William and Mary. During this period, the artist received a call from Peninsula Glass Guild co-founder Ali Rogan, who tracked him down after stumbling across one of his impressive works in a small York County craft shop. With her encouragement, Santini entered the Guild's annual juried show, where he not only won top prize, but so impressed the juror — a nationally prominent Washington, D.C.-area gallery owner — that she bought his piece and gave him a solo show. Also during this time, Santini received his first invitation to conduct a demonstration before an audience of collectors, gallery owners and other glass artists at Penland School of Craft. That's when he knocked on the door of internationally known Studio Glass pioneer, Harvey Littleton, who was so impressed with his unexpected guest from Murano that he invited him in for an eye-opening 3-hour conversation. Santini says: “Up until then, I really had no idea of what to do with glass beside production and fine design. I didn't know about making art objects.”  Over the past few years, Santini has concentrated primarily on sculpture and creating pieces that incorporate cast, blown and lampworked elements, along with metal and stone. These represent a major shift in his work, though many of these pieces had their genesis as sketches or models made throughout his creative life. Most recently, the artist has turned his focus to the written word, both prose and poetry, to which he dedicates considerable time and energy. Since venturing out on his own 34 years ago, Santini has combined his production and fine design work with one-of-kind art objects and sculpture to become widely recognized as one of the top lampworkers in the country. His work can be found in numerous private collections and museums such as the Corning Museum of Glass, Corning, New York; The Ca' Pesaro Museum of Modern and Contemporary Art, Venice, Italy; the Sheffield Museum, England; the Chrysler Museum of Art, Norfolk, Virginia; and many others. He's blended his superlative technical expertise with his humor, imagination and friendliness to become a nationally known teacher at Virginia Commonwealth University as well as the workshop circuit. What has been the secret to Santini's success? He knows Venetian techniques so well, but instead of being secretive about them, he's generously shared his talents with students, collectors and glass lovers around the globe.   

We all would want to be in class with Virginia-based artist Clayton Singleton. Clayton joins the Studio Noize fam and has a wide-ranging discussion about his colorful layered artwork, the art community in the Virginia area and the fantastic way that he approaches teaching. He tells us some great childhood stories that feed into reoccurring themes in his work. We talk about his use of adinkra symbols and how he balances his personal work and ideas with his robust portrait commission work. It's another great conversation on the Noize. Listen, subscribe, and share!Episode 137 topics include:the Virginia art communityadinkra symbols/meaningteaching with passiontaking care of familydoing portrait commissionsthe business of artthe Soul Finger Project at Portsmouth Art & Cultural Center“You sense what people call passion” when you are around Clayton Singleton. This Virginia resident's blend of verbal and visual art inspires, motivates and educates. In addition to once being a member of the Hampton Roads National Poetry Slam Team, he has been noted in many publications ranging from The Virginian Pilot to Time magazine. Clayton has created public art, won numerous awards, and produced several solo and group shows including Walking on Paper at ArtWorks gallery, Recent Works: ART INSTALLATION PERFORMANCE at SONO gallery and LOOK BEYOND at d'ART Center @The Selden, which benefited The Autism Society of Tidewater. The Virginia Opera commissioned Clayton to design sets for Porgy and Bess and Freedom's Journey. ​Clayton has served as a member of Norfolk's All-City Teaching Team, The d'ART Center Board of Directors and Norfolk Arts Commission. In addition to helping rewrite Norfolk's art curriculum, he produced solo exhibitions DEFINING BEAUTY at The Sandler Center for the Performing Arts, CULTURAL SHIFT at The James Wise Gallery at Norfolk State University, LOVE OF THE GAME at The Virginia Sports Hall of Fame and Museum and VALEDICTORIAN which consists of paintings, mixed media and video; an extension of the group show Looking Both Ways: Roots in African American Art at the Peninsula Fine Arts Center. Moreover, Singleton exhibited at the Virginia Museum of Contemporary Art, The Chrysler Museum of Art and has co-curated regional group exhibitions such as NOW: African-American Artists in Tidewater. Most recently he produced a solo exhibition FUTURE LOVE PARADISE which toured for two years beginning at Downing-Gross Cultural Arts Center and ended at his alma mater Virginia Wesleyan University.See More: www.claytonsingleton.com + Clayton Singleton IG @claytonsingletonartistFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

In this episode, Gem Fletcher chats to artist Anastasia Samoylova who moves between observational photography, studio practice and installation. By utilizing tools and strategies related to digital media and commercial photography, her work explores notions of environmentalism, consumerism and the picturesque. Her new book Floridas: Anastasia Samoylova & Walker Evans was published by Steidl in 2022. In 2020-2021 her ongoing project FloodZone was presented in solo exhibitions at the Chrysler Museum of Art; HistoryMiami Museum; Contemporary Art Museum, Tampa; and The Print Center Philadelphia. The book of the project was published by Steidl in 2019. In 2022 the project will be exhibited at the Eastman Museum. Samoylova is shortlisted for the Deutsche Börse Photography Foundation Prize 2022. In this conversation, we discuss Ana's journey, and how her early work built to where she is today, united by the urgency of climate anxiety and questioning of the pictured world we occupy. We talk about publishing, process, artistic ecosystems, the artist as a cultural worker and much more. Follow Ana on Instagram @anasamoylova and follow Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback and maybe five stars if we're worthy in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email hello@gemfletcher.com See acast.com/privacy for privacy and opt-out information.

Cappy Thompson is an internationally acclaimed Seattle artist known for her mythopoetic narratives on glass created via the grisaille painting technique. Early in her career, she was drawn to the images and symbols of the medieval period, inspired by the Christian tradition of Western Europe as well as the content of Hindu, Pagan, Judaic, Buddhist and Islamic painting. In more recent years, the artist has moved away from mythological narrative and toward compositions on vessels that draw upon images and themes from her personal life. Thus began an autobiographical exploration of world culture and spirituality that continues to the present. Thompson states: “For me, as a narrative painter, the issue has always been content.  The issue wasn't glass, the material that I chose some 45 years ago. Nor was it the painting technique—grisaille or gray-tonal painting—that I taught myself to use. My work—which spans several decades and a variety of scales from the intimate to the monumental—has always been driven by content.” Born in Alexandria, Virginia, in 1952, Thompson grew up in Seattle and attended the Evergreen State College in Olympia, Washington, where she received her BA in 1976 in painting and printmaking. Basically self-taught, her first professional exposure to glass came in 1975 when she worked for a small studio in Olympia. For several years she learned and worked in solitude until her reputation brought her to the attention of glass artists Charles Parriott, Therman Statom and Dale Chihuly. In 1984 Thompson moved back to Seattle, and her subsequent exposure to artists at Pilchuck Glass School, Stanwood, Washington, led her to painting on vessel forms. Thompson's work can be found in collections worldwide, including those of the Corning Museum of Glass, Tacoma Art Museum, Hokkaido Museum of Modern Art, the Chrysler Museum of Art, Museum of Art and Design, and the Microsoft Corporation.  Recent exhibitions include Indie Folk: New Art and Songs from the Pacific Northwest, held at The Jordan Schnitzer Museum of Art at Washington State University, Pullman, 2022; The Schneider Museum of Art, Ashland, Oregon, 2022; and Fluid Formations, Whatcom Museum, Bellingham, Washington, on view in 2021. Public commissions include large-scale installations at the Seattle-Tacoma International Airport, the Museum of Glass in Tacoma, Evergreen State College, and Montgomery Museum of Fine Arts. In 2019, Thompson designed, fabricated and installed eight painted glass windows for Salk Middle School, Spokane, Washington, a project commissioned by Washington State Arts Commission in partnership with Spokane School District.  A recipient of an NEA fellowship, the Libensky Award, and Pilchuck's John Hauberg Fellowship, Thompson has also been artist in residence at Pilchuck and at Toyama City Institute. She has served on the Bellevue Arts Museum Advisory Council, the Board of Directors of the Glass Art Society and Pilchuck Glass School's Artistic Program Advisory Committee and continues serving on the Board of Directors for Pottery Northwest. She has taught workshops around the world at Bildwerk, Frauenau, Germany; California College of Arts and Crafts, Oakland, California; Canberra School of Art, Canberra, Australia; Centro del Arte Vitro, Monterrey, Mexico; Chrysler Museum of Art, Norfolk, Virginia; International Glass Center, Dudley College, Stourbridge, England; National Sculpture Factory, Cork Ireland; National College of Arts and Design, Dublin, Ireland; Northlands Creative Glass Center, Lybster, Scotland; Penland School of Crafts, Penland, North Carolina; Pilchuck Glass School, Stanwood, Washington; and many more. Though each piece tells its own story, there is one general message Thompson tries to convey with her work: “I see now, after more than three decades of work, that I am like those medieval painters striving to express magnificence and beauty.  But my expression focuses on the human experience of goodness, of hope and of love.”  

April 17, 10-4pm, closing brunch with a community listening event hosted by Heard Productions Norfolk's first official arts district, NEON (New Energy of Norfolk), is home to long-time cultural institutions like the Chrysler Museum of Art and Harrison Opera House as well as studio-based ventures like d'Art Center and the Rutter Family Art Foundation, all providing artists a place to make, create and show. Within a few short blocks you can see a muralist at work, take in an improv comedy performance at Push Comedy Theater, watch a live glass-working demonstration, shop for unique home goods, get a tattoo or dine out at an eclectic restaurant. Learn more at www.NEONNFK.com and follow along on Facebook, Twitter and Instagram at @neonnfk. Awarding Judge: Mark Matel serves as the senior project manager with the City of Norfolk for Housing and Community Development. Matel has also served as the Enterprise Rose Architectural Fellowship Director; speaker for Reverberations 2018 The Roots and Relevance of Community Design; and received multiple design awards from Auburn and Hampton Universities. The Neon District's annual exhibition is juried by a group or rotating members of the district's Public Art Committee: Janelle Burchfield, Downtown Norfolk Council Events Chair Richard Andre Love, Teens with a Purpose Rachel McCall, Downtown Norfolk Council Kathryn Murphy, Chrysler Museum Glass Studio Jesse Neece, Commune NFK & Downtown Norfolk Council Gallery Assistant Nancy Rogan, WHRO Karen Rudd, Norfolk Arts --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/loveletterstovirginia/message Support this podcast: https://anchor.fm/loveletterstovirginia/support

Ep.96 features Barbara Earl Thomas. She is a visual artist with numerous national exhibits to her credit. She is a maker who builds tension-filled narratives through papercuts and prints, placing silhouetted figures in social and political landscapes. Thomas is known for her large-scale installations that use light as the animating force and invites her viewers to step inside her illuminated scenographies. Barbara's works are included in the collections of the Seattle, Tacoma and Portland Art Museums, Chrysler Museum of Art, Minneapolis Institute of Art, Microsoft, and the Bill and Melinda Gates Foundation, Washington State and Seattle City public collections. Barbara has art projects for Seattle's Sound Transit stations and Yale University. She received her BA and MFA from the University of Washington School of Art. She currently has two major exhibits on view; Geography of Innocence at the Seattle Art Museum, and a collaborative exhibit with New York based artist, Derrick Adams, Packaged Black at the Henry Art Gallery at the University of Washington. Photo credit: Jovelle Tamayo Artist https://barbaraearlthomas.com/ Seattle Art Museum https://thomas.site.seattleartmuseum.org/ Claire Oliver Gallery https://www.claireoliver.com/artists/barbara-earl-thomas/ Seattle Met https://www.seattlemet.com/arts-and-culture/2021/03/barbara-earl-thomas-jacob-lawrence-sam-seattle-art-museum-shows-2021-american-struggle-geography-of-innocence Bomb Magazine https://bombmagazine.org/articles/between-fragility-and-strength-barbara-earl-thomas-interviewed/ Henry Art https://henryart.org/exhibitions/packaged-black University of Washington https://artsci.washington.edu/news/2022-02/poetics-barbara-earl-thomas Seattle Times https://www.seattletimes.com/entertainment/visual-arts/barbara-earl-thomas-the-geography-of-innocence-exhibit-at-sam-invites-transformation/ Wikipedia https://en.wikipedia.org/wiki/Barbara_Earl_Thomas

Grant Garmezy: Elevating Sculpted Glass to Narrative Work With a passion for hot sculpting animals in glass, Grant Garmezy perfected his ability to capture not only form, but expression and movement, elevating each piece from just sculpture into a narrative work of art. From his Dragon Ranch in Richmond, Virginia, the artist continues to draw inspiration from the environment of the American South. Says Garmezy: “Nature is truly perfect in its creation—impossible to reproduce. I do not strive to recreate the natural world exactly; instead, I try to capture the essence of the animal I am sculpting, not only in its physical features, but also its attitude and spirit.” Garmezy's work is created through the process of off-hand sculpting, meaning he sculpts the glass freehand while it is heated to about 2,000 degrees. Using an extremely hot torch and a variety of hand tools, the glass is manipulated without the use of molds. For that reason, each and every piece is truly unique. The artist works with at least one assistant, but most of the work requires the help of an entire team of skilled artists. Born on a farm outside Nashville, Tennessee, Garmezy began his artistic career as an apprentice to metal and jewelry fabricator, Ben Caldwell. In 2003, he traveled to Richmond, Virginia, to pursue a Bachelor's Degree in Fine Arts at Virginia Commonwealth University (VCU). While in the Craft/Material Studies program, he studied under Jack Wax, a furnace worker, and flameworker, Emilio Santini. Garmezy received the 10 Under 10 award from his alma mater, honoring 10 noteworthy and distinctive alumni of VCU who graduated in the past decade.   In 2008, Garmezy was awarded the International North Lands Creative Glass Residency in Scotland. While there, he was presented with the Benno Schotz Award through The Royal Scottish Academy for most promising young sculptor in the UK. In 2010, the artist served as teaching assistant for Karen Willenbrink and Jasen Johnsen at Pilchuck Glass School and the following year was awarded a position as an assistant at the new Chrysler Museum of Art Perry Glass Studio. During his time in Norfolk, he helped to break in the new studio and had a hand in shaping it into what it is today.  In July 2013, Garmezy was invited back to Norfolk as the featured artist for a Third Thursday performance at the Perry Glass Studio. At the conclusion of the evening, Grant surprised now wife Erin—and the entire audience—by taking a knee and proposing marriage to her. The special moment was very fitting to their relationship and is fondly remembered by all who were there to witness it. The husband-and-wife team returned to the Perry Glass Studio in September 2020 for the Visiting Artist Series, where they focused on a new series of works featuring reptiles and snakes coupled with sculpted flowers.  The pastoral environment of Garmezy's youth— specifically interactions with livestock, wildlife, and natural settings—manifests in collaborative sculptures with Erin, which are typically pairings of flora and fauna. Erin moved from blowing glass vessels at the furnace to sculpting glass plant life on a torch when she studied with VCU professor Santini, and later Robert Mickelsen and David Willis.  Having traveled as far as the Northlands of Scotland, and Seoul, South Korea, to demonstrate his craft, Garmezy has studied with Scott Darlington, Ross Richmond, Martin Janecky, Raven Skyriver, Marc Petrovic, Karen Willenbrink-Johnsen and Jasen Johnsen. He has been invited to exhibit his work all over the world, including Seoul, Edinburgh, Prague, Paris, and Istanbul. Upcoming 2022 workshops will take place at the Toledo Museum of Art, May 9 – 13 https://www.toledomuseum.org/master-class and at the Glass Furnace in Istanbul, May 30 – June 9 https://www.glassfurnace.org/intensives-workshops-2/ In 2020, Garmezy embarked on the most ambitious project of his career – hot sculpting 200 glass dragons for Kugler color company in Germany. Kugler hand-crafts a wide range of colored glass based on recipes passed on for generations. Garmezy and Kugler worked together with Hot Glass Color Supply to design a new color reference chart. A glass color chart is a reference that shows examples of what each glass color looks like. It is a resource for glass artists to help them choose the correct colors for their projects. As a sculptor, Garmezy always wished for a resource that showed more than one way the color can be used. The goal was to create a chart that demonstrated the bar color encased and blown, as well as powder color applied to the surface of the glass and sculpted.  Says Garmezy: “I created one dragon sculpture for each of the colors on the poster. It was important that each dragon head was a similar size and style, but each completely unique. This color chart will give both blowers and sculptors a good idea of the potential of each color. We chose the image of the dragon because dragon imagery can be found in cultures around the world, and its symbolism brings to mind good luck, fortune, wisdom and strength – things we wish for all glass artists out there.”  

Bonus Episode! Join podcast host Tracey Nguyen Mang, artist and filmmaker Tuan Andrew Nguyen and Chrysler Museum's curator of modern and contemporary art, Kimberli Gant, to explore the exodus of Vietnamese individuals and families from their home country after the conflict in Vietnam. In this conversation Tuan and Tracey will discuss their personal histories, creative endeavors, and the legacies of the generations known as the boat people. Tuan's 2020 film The Boat People, currently on view at the Chrysler Museum of Art, is a dreamy, fantastical tale of children navigating a dystopian world in the former area of Bataan, Philippines. Tuan filmed the project at the former Philippines Refugee Processing Center, where hundreds of thousands of people fled after the war. Set in an unspecified future at the precarious edge of humanity's possible extinction, "The Boat People" follows a group of children led by a strong-willed and resourceful little girl, who travel the seas and collect the stories of a world they never knew through objects that survived through time. Stay tuned for Season 5 "Lost and Found" launching in 2022! 

The most important architectural thinker of the young American republic was Thomas Jefferson. He also held captive more than 600 enslaved men, women, and children in his lifetime. Architects Mabel O. Wilson and Louis Nelson discuss Jefferson's conflicting ideals. Also: Erik Neil takes us through a Chrysler Museum exhibit that explored the inherent conflict between Jefferson's pursuit of liberty and democracy and his use of enslaved laborers to construct his monuments. Later in the show: Phillip Herrington says the white-columned plantation house is one of the most enduring and divisive icons of American architecture. Plus: The history of segregation is not just in our architecture, but in other public arts. John Ott is studying how artists in the early 20th century represented integration in their works, particularly in public murals and sculptures.

Chris Day is an emerging artist with a fascinating hinterland.  The glassblower was a plumber and heating engineer in the Midlands for two decades before deciding to change his life. Since graduating from Wolverhampton University in 2019, his rise has been startling. That same year, he received a special commendation at the British Glass Biennale, which was followed by a solo show at Vessel Gallery in London's Notting Hill. And at the moment he has an extraordinary, and genuinely moving, installation at All Saint's Church at Harewood House, just outside Leeds. This is glasswork like you've never seen before. Day employs materials he used in his previous career, such as copper piping and wire. His pieces tackle the black experience in both Britain and the US, based around his own mixed race heritage – often focussing on the history of the slave trade in the eighteenth century, as well as events leading up to the American civil rights movement. The artist says that his main purpose is to ‘engage the audience on issues that are hard to confront on many levels, using art to help overcome some of the traumas that haunt our collective past.' His work is already held in a number of private collections, as well as the V&A, the National Museum of Scotland and The Chrysler Museum in the US.In this episode we talk about: his new installation at Harewood House; how he discovered glass; growing up mixed race in Derby during the '70s; why his pieces are concerned with slavery and the black experience; dyslexia as a super-power; becoming a successful engineer; and his urge to be seen as a role model for emerging black glass blowers. My thanks go to leading glass specialist, Vessel Gallery, for sponsoring this episode. To find out more about them go to: www.vesselgallery.comSupport the show (https://www.patreon.com/materialmatters?fan_landing=true)

Listen to this conversation with Chrysler Museum of Art curator Seth Feman and Columbus Museum curator Jonathan Frederick Walz — we discuss the art and life of the extraordinary American artist Alma Woodsey Thomas. Seth and Jonathan are co-curators of the major traveling exhibition Alma W. Thomas: Everything Is BeautifulContinue reading...

Episode No. 510 features curator Seth Feman and historian Bernard L. Herman. Along with Jonathan Frederick Walz, Feman is the co-curator of "Alma W. Thomas: Everything is Beautiful," a retrospective at the Chrysler Museum of Art in Norfolk, Va. through October 3. The exhibition includes about 100 works, including paintings on canvas and paper, theatrical designs, and more. From the Chrysler it will travel to the Phillips Collection in Washington, the Frist Art Museum in Nashville, and to Thomas's hometown Columbus (Ga.) Museum. The exhibition's outstanding catalogue is now the go-to monograph on the artist. It was published by the Chrysler and Columbus in association with Yale University Press. Indiebound and Amazon offer it for about $65. On the second segment, Herman discusses the work of Ronald Lockett. Lockett's work is on view at the Crystal Bridges Museum of American Art in Fayetteville, Ark. through October 11 in "What I Know: Gifts from Gordon W. Bailey," and in "In Dialogue: Artist, Mentor, Friend: Ronald Lockett and Thornton Dial Sr." at the Georgia Museum of Art in Athens through November 28. Herman curated the 2016-17 Lockett retrospective "Fever Within: The Art of Ronald Lockett" and edited the exhibition's superb catalogue, which was published by University of North Carolina Press. Indiebound and Amazon offer it for $36-45.

Susan Taylor Glasgow: The Way Things Never Were Susan Taylor Glasgow's work embraces feminine ideals of sensuality in a seductive but unforgiving material, offering conflicting messages of comfort and expectation. Some of her sculpture pays tribute to the era of June Cleaver and Betty Crocker via images appropriated from the world of ‘50s and ‘60s television and advertising. The bustier forms of Chandelier Dresses and the sensuous detailed perfection of lingerie sets present fantasies, reminding us of the way things never were. Sewing, cooking and arranging glass, Glasgow attempts to reconcile the conflict over work and home, feminist ideals and the Madonna complex, duty and fulfillment.  She says: “In a way, my work is the result of homemaking skills gone awry. I have always embraced domesticity in spirit, but not in action. My life as an artist puts housekeeping last while instead I cook and sew glass. My internal domestic struggle has led me to examine the concept of domestic expectations and traditional roles of men and women. I am intrigued by 1950s imagery and the false perception of simpler times.” Born in Superior, Wisconsin, Taylor Glasgow grew up just across the tip of Lake Superior, in Duluth, Minnesota. She attended the University of Iowa, graduating in 1983 with a BFA in Design. After working in graphic design for a short period, the artist returned to the sewing skills passed on to her by her mother, opening a wildly successful dressmaking shop, On Pins & Needles, which she owned and ran from 1984 to1997 in Iowa City, Iowa, and Columbia, Missouri. In 1997, the artist sold the dressmaking shop to pursue her interest in art, focusing on glass.  Utilizing her skills as a seamstress, Glasgow developed a unique approach to glass, stitching glass components together. Each sculpture starts out as a flat sheet of glass. To establish the three-dimensional shape and holes, sections of glass are kiln-fired several times. To create the imagery, text and figures are sandblasted into the glass and pigment is rubbed into the sandblasted area to create the black and gray photo. Then the glass is fired again to 1250 degrees to melt the pigment into the glass. Once cooled, the sections are coldworked, given a final sandblasting and then assembled. Redefining “woman's work” in non-traditional mediums, the artist creates complex forms and imagery while exploring the dichotomy of women and societal expectations.  Glasgow received Pilchuck Glass School's emerging artist grant in 2002, a WheatonArts fellowship in 2003, and was a resident artist at the Pittsburgh Glass Center in 2008. Her work can be found in the collections of the Arkansas Arts Center, Little Rock, AR; the Alexander Tutsek Foundation, Münich, Germany; the Carnegie Museum of Art, Pittsburg, PA; the Chrysler Museum of Art, Norfolk, VA; and the Museum of American Glass, Millville, NJ.  Glasgow says: “I think viewers respond to my work on many levels – first to its initial form and visual appeal, and there's a secondary impact once the viewer gets a closer look. An example might be the corset series. The shape of the corset is appealing to both men and women for different reasons. Once the work is examined closer, a deeper understanding of the piece is revealed. Women respond to my work in the way the message is intended — exploring the dichotomy of women in the household and domestic expectations — while men respond to the work's sensual qualities. I think for the most part it is because not much has changed for women in the household. Most women are the main caregivers and housekeepers, while still trying to uphold the expected requirement of being glamorous and sexy.” Working from her new studio in Columbia, Missouri, Glasgow currently has work on view in a group show at Blue Rain Gallery, Santa Fe, and will participate in Habatat Galleries' 50th Anniversary Exhibition, opening September 17, 2021, while working towards securing a solo museum show in the future.  

Jeffrey W. Allison is the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts and played an instrumental role in designing and implementing VMFA on the Road: which was launched in 2018 and has since traveled all over the state bringing art to over 160,000 visitors.  Jeffrey was a consultant on the Discovery Channel series Ancient Origins of Native Americans and the New York Times Magazine article, Horace Bristol and the Grapes of Wrath. Awards include the 2010 John Kent Shumate Advocate of the Year. He was also a Richmond Times-Dispatch Person of the Year honoree in 2019. Jeffrey's own photographic works are in numerous collections.  Jeffrey has acted as a technical consultant for numerous museums, art centers, and festivals, including The Chrysler Museum, Hollins University, and William King Museum of Art. Most recently, Jeffrey curated the exhibition, How Far Can Creativity Take You: VMFA Fellowship Artists.  He has worked at VMFA for more than 20 years, growing the VMFA statewide partner program from 32 to more than 1,200 partners.

Mark Peiser: The Moving Target of Perfection Since 1967 when Mark Peiser became involved with the Studio Glass Movement, he has been recognized for his uniquely individualized approaches and accomplishments in glass. Continual investigation of the expressive implications of glass properties and processes has led to his distinctive bodies of work. Recently Peiser published the book, Thirty-Eight Pieces of Glass – with Related Thoughts, pairing his glass with brief writings of resonance.  To quote from the preface: “Since I began with glass 50 years ago, I've received countless questions asking, basically, what's it about? In that discussion I've tried to answer honestly and completely but I've always felt to have fallen short – short of the words and short of the voice that would say them. When I started to assemble this book, I began feeling much more truthful and satisfying answers to that question. I hope you will, too. That these selections sorted out into something of an abridged life story was a bit of a surprise to me. It shouldn't have been. All along I've said my work has been about my feelings and experiences and, over many years, what else is a life?”  Peiser, an internationally known glass artist, was born in Chicago in 1938. After studying electrical engineering at Purdue University (Lafayette, Indiana, 1955-1957), he received a Bachelor of Science in Design from Illinois Institute of Technology (Chicago, Illinois, 1961). Peiser studied piano and composition at DePaul University School of Music (Chicago, Illinois, 1965-1967) before attending Penland School of Crafts (Penland, North Carolina) in 1967. After five weeks of glass classes, he became the first resident craftsman in glass at the school. Peiser is a founder of the Glass Art Society, of which he is now an honorary member, and a leading presence in the Studio Glass Movement. Inducted into the College of Fellows of the American Craft Council in 1988, Peiser received the Lifetime Achievement Award from the Art Alliance for Contemporary Glass in 2004, the North Carolina Governor's Award in 2009, the Lifetime Achievement Award from the Glass Art Society in 2010 and the North Carolina Living Treasure Award in 2011, among others. He has exhibited worldwide and is in many public and private collections including the Asheville Art Museum, the Chrysler Museum of Art, The Corning Museum of Glass, the Glassmuseum Ebeltoft, the Lucerne Museum of Art, the Milwaukee Art Museum, The Museum of Art and Design, the Peggy Guggenheim Collection, the Toledo Museum of Art, the Smithsonian American Art Museum and the Tokyo Museum of Modern Art, among others. By challenging established formulas and techniques throughout his career, Peiser has created and combined new and unusual colors in his glass sculptures. This approach to glass is radical as he has literally invented new glasses in order to pursue an idea through to creation. In 2009, a special glass formulation was created by melting opal glasses for his Palomar series of sculptures that pay homage to Corning Glass Works' famous 200-inch Disk, the telescope mirror cast in 1934 for the Mt. Palomar Observatory in California. Currently, Peiser is working on the Marko Blanko Project to develop a specialty glass for filigrana. Peiser's work highlights include: EARLY WORKS  1967 – 1977 Develops blowing skills, designs and builds various furnaces and equipment, develops formulations for crystal, various opal and luster glasses. Produces iridescent miniatures, gather pots, flower forms, spaghetti bowls, copper core vessels, opaque geometric and image vessels. PAPERWEIGHT VASES (PWV) 1975 – 1981 Introduces and develops torch working techniques for furnace blown work allowing more detailed imagery and perspective. Produces Paperweight Vases portraying natural subjects and landscapes, urban views and abstract imagery related to the vessel form. INNERSPACE (IS) 1983 – 1994 Develops graphite molding process and casting glasses. Makes compound cast glass pieces that compose the internal volume of solid transparent forms. Produces Innerspace series including Ascensions, Hands, Light Beams, Moons, Mountain Skyscapes, Muses, Planets and Polychrome Progressions. FORMS OF CONSCIOUSNESS (FOC) 1994 – 2004 Develops bottom pour casting furnace, casting and mold techniques, and glass formulae allowing larger scale work representing psychological conditions. CONTRITION SECOND STUDY (CSS) 2000 – 2004 Produces a limited edition of 50 as a learning experience to formulate and develop casting process for controlled translucency in sculptural glass. COLDSTREAM CASTING (CSC) 2001 – 2007 A creative use of my bottom pour furnace. My most fun in a glass shop since 1969. View videos of the Coldstream Casting process on You Tube by searching Mark Peiser. PALOMAR  2008 – 2012 Develops vermiculite molding process. Produces Palomar series as a tribute to the accomplishment of the Palomar Mirror in 1934. For more about the Palomar series and the transition to the Passage and Etudes Tableau, search You Tube for Mark Peiser's Corning Museum of Glass talk.  PASSAGES AND ETUDES TABLEAU  2012 – PRESENT Refines formulation and heat treatment of light scattering glasses. Produces work whose subject is light. Now, more than a half century later, Peiser's name is synonymous with invention and precision. He conveyed to ToYG podcast: “Most of my earliest memories are of making things. I seem to have a knack for seeing how things work, how things go together, and how to make it. If I have a gift, that's it. “When I was in design school, I became concerned with the essence of quality. Read some books and papers, sat through some lectures, and developed a somewhat subconscious but deep commitment for my life's efforts. Later working in industry, design and advertising it was difficult to impossible to implement quality. At my level it was irrelevant and deeply unsatisfying. When I happened into Penland and the beginning of the Studio Glass Movement, the control offered by the notion of a one-man glass studio seemed an avenue that could lead to quality. I've done my best to hold to that path throughout my career. All in all, I've been successfully self- employed for 57 years. As we all hope, with the rest of life, I did the best I could at the time. But unlike the rest of life, I could disappear a bad piece like it never happened.  “Being an artist is not just another job. It's a commitment.”  

Norwood Viviano: Understanding Our Place in Time Using tools of mapping and materials of industry Norwood Viviano makes installations and sculptures that consider various social and environmental factors leading to population changes in American cities. His most recent series, Re-Cast Cities, continues his exploration of the cross-sections of geography, cartography and history, merging urban landscapes with the symbols of industry that have fueled their booms, busts and builds.  Heller Gallery's March 2021 Re-Cast Cities exhibition documented the first eight pieces made in this series focusing on Detroit, Houston, New York, Philadelphia, Pittsburgh, Portland, (OR), Toledo and White Mills, (PA). Curator and writer Sarah Darro called the project “a radical reconsideration of cartography that inflects Viviano's ongoing analysis of the rise and fall of American manufacturing with an experimental energy geared towards the future.”   Viviano received a BFA from Alfred University and an MFA in Sculpture from the Cranbrook Academy of Art. His work is represented in the collections of major museums in the US, Europe and Asia. His work has been shown at the Venice Architectural Biennale (2014), Houston Center for Contemporary Craft, Houston, TX (2013); Museum of Fine Arts, Boston (2015), Frederik Meijer Gardens and Sculpture Park (2016), Bellevue Art Museum (2016), Renwick Gallery of the Smithsonian American Art Museum (2016), MOCA Jacksonville (2017), Boise Art Museum (2018) as well as at Stanze de Vetro in Venice, Italy (2020). Recent solo exhibitions include Grand Rapids Art Museum in Grand Rapids, MI (2015); Heller Gallery, New York, NY (2011, 2014, 2018 and 2021); Chrysler Museum of Art, Norfolk VA (2016) and Corning Museum of Glass (CMOG), Corning, NY (2017-18). Viviano is an associate professor and sculpture program coordinator at Grand Valley State University in Michigan. Awards and residencies include the 2019 Corning Museum of Glass, David Whitehouse Research Residency for Artists; visiting artist residencies in 2017 and 2010 at Museum of Glass, Tacoma, WA; inclusion in CMOG's New Glass Review #16, #22, #33, #36, and #38; a 2016 fellowship at Wheaton Arts and Cultural Center – Creative Glass Center of America, Millville, NJ; the 2014 Pilchuck Glass School John H. Hauberg Fellowship; the Venice Biennale, Best Exhibition Award, from Global Art Affairs Foundation; and the Center for Scholarly and Creative Excellence, GVSU, Catalyst Grant for Research and Creativity. The result of Viviano's 2017 Visiting Artist Residency at the Museum of Glass, Cities Underwater focused attention from population and cartographic shifts of the past to the future. The artist conceived the project to visualize the dramatic loss of land predicted to occur in the next 500 years in areas that some 127 million Americans call home. The adaptation needed to mitigate the impending changes that will affect our lives, history and culture is massive. The Cities Underwater work is aimed at keeping this conversation alive and not forgoing it for short-term convenience or gain. The installation was comprised of 16 sets of nesting glass cylinders, which represent 16 coastal cities in the United States. Using existing LiDAR data and scientific projections, Viviano showed the projected loss of land mass due to sea level rise in Boston, Galveston, Miami Beach, Miami, Mobile, New Orleans, Newark, New York, Norfolk, Philadelphia, Sacramento, San Francisco, Savannah, Seattle, St. Petersburg and Tacoma. Each set was accompanied by vinyl cut drawings and animation, which provided additional data. For Mining Industries, Viviano utilized digital 3D computer modeling and printing technology in tandem with glass blowing and casting processes to create work depicting population shifts tied to the dynamic between industry and community. By showing how landscapes and populations move and are modified as a result of industry, his work creates a 3D lens to view that which is invisible or forgotten. His use of blown glass forms and vinyl cut drawings are micro-models of macro changes at the regional, national, and international level.  Viviano says: “I find myself looking at the world as a surveyor – telling stories through objects. Stepping back and researching how pieces fit together gives me the opportunity to consider the impact of the component parts. Conversations with specialists in a range of disciplines — historians, urban planners, demographers, climate scientists and statisticians — deepen my engagement with the subject matter and the complexity of my work. My artistic intention is to better understand our place in time by focusing on land use through pictorial imagery and on industrial growth and decline through population studies that also ask questions about the present and future of communities. My installations and objects encourage individuals to make connections and ask questions about the interconnectivity between their and other communities.  He continues: “My material choice of glass is meant to demonstrate the fragility of populations. I hope my work asks people to examine their own histories of migration, from personal and communal standpoints, just as it continues to help me navigate and explore my own.”   Viviano will teach a one-week 3D printing and mold making workshop at Anderson Ranch Arts Center, Snowmass, CO, July 19-23, 2021. For more information andersonranch.org  

Leroy Garcia and Susan Taylor Glasgow chat about the process behind making glass art... Born in Superior, Wisconsin, Susan Taylor Glasgow grew up just across the tip of Lake Superior, in Duluth, Minnesota. She migrated south with the geese to the University of Iowa, graduating with a BFA in Design in 1983. After working in graphic design for a short period, Susan returned to the sewing skills passed on to her by her mother. Opening a dressmaking shop, Susan owned and operated “On Pins & Needles” from 1984 to1997 in both Iowa City, Iowa, and Columbia, Missouri. In 1997 Susan sold her dressmaking shop to pursue her original interest in art, focusing on glass. Utilizing her skills as a seamstress, Susan developed a unique approach to glass, stitching glass components together. Redefining "woman's work" in non-traditional mediums, Susan creates complex forms and imagery while exploring the dichotomy of women and societal expectations. Susan Taylor Glasgow has work in the permanent collections of several national and international museums, including the Chrysler Museum, Carnegie, Imagine, and Berstrom-Mahler of the United States, and the Alexander Tutsek-Stiftung, Germany. Available Works ... Produced by Leah Garcia Music by Mozart Gabriel Abeyta

Heather Gwen Martin is an artist born in Saskatchewan, Canada who studied at the University of California, San Diego and The School of the Art Institute of Chicago. Heather shows with L.A. Louver gallery in Los Angeles and Miles McEnery Gallery in New York. She has been included in museum exhibitions at the Museum of Contemporary Art San Diego, CA; Torrance Art Museum, Torrance, CA; El Segundo Museum of Art, El Segundo, CA; the Pizzuti Collection, Columbus, OH; Frist Art Museum, Nashville, TN; Chrysler Museum of Art, Norfolk, VA; and the Claremont Museum of Art, Claremont, CA. Her largest work to date, a 48 foot high painting “Landing” is currently on view as part of the public art project Murals of La Jolla in La Jolla, CA. Martin lives and works in Los Angeles. A solo exhibition of her work entitled “Nerve Lines and Fever Dreams” is up now at L.A. Louver and runs through July 2nd.

Episode No. 497 features curator E. Carmen Ramos and artist Michael Menchaca. Ramos has curated "¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now," which is at the Smithsonian American Art Museum through August 8. (SAAM re-opens on Friday, May 14 with separate, timed-entry passes required for each of its buildings.) Ramos was assisted by Claudia Zapata. Menchaca is among the artists included in the exhibition. "¡Printing the Revolution!" reveals how activist Chicano artists from the 1960s forward have engaged in printmaking practices that brought social activism to aesthetics and that helped instigate new political and cultural consciousness among people of Mexican descent in the U.S. The fantastic exhibition catalogue was published by Princeton University Press. Indiebound and Amazon offer it for $38 and up. Links, including those promised on the program: Tomás Ybarra-Frausto's papers at the Smithsonian's Archives of American Art. The exhibition's artists page. Enrique Chagoya, The Ghost of Liberty, 2004. Menchaca is also included in "Estamos Bien - La Triennial 20/21," which is on view at El Museo del Barrio in New York through September 26. It was curated by Rodrigo Moura, Susanna V. Temkin and Elia Alba. Menchaca is also presently in residence at Artpace San Antonio. Menchaca uses both print and new media to disrupt racist narratives that target Black and indigenous people by creating anti-colonial, anti-racist and anti-capitalist scenes.  He has had solo exhibitions at the Chrysler Museum of Art in Norfolk, the Lawndale Art Center in Houston, and the McNay Art Museum in San Antonio. His recent group show credits include the Cleveland Museum of Art and the Davis Museum at Wellesley College.

Episode No. 495 features curators Chris Oliver and Corey Piper. Oliver is the curator of "Virginia Arcadia: The Natural Bridge in American Art" at the Virginia Museum of Fine Arts in Richmond. The exhibition, which is on view through August 1, examines how artists portrayed the Natural Bridge, the famed landscape feature in Virginia's Shenandoah Valley. Despite being in the South, a region rarely visited by artists who tended to focus their work on the northeast, the Natural Bridge attracted artists such as Frederic Church and David Johnson who were interested in its geology, its association with Thomas Jefferson (who owned the land that contains the Natural Bridge), how it could be used to address American republicanism and Union, and more. The exhibition is accompanied by a small catalogue published by VMFA, which offers it for $20. Along with Brandon Ruud, Corey Piper is the co-curator of "Americans in Spain: Painting and Travel, 1820-1920" at the Chrysler Museum of Art in Norfolk, Virginia. It looks at a period when both American artists and Europeans rushed into Spain to chronicle its scenic landscapes and cities and to learn from painters such as Velasquez, and considers how Spain and Spanish art informed America's art. The exhibition is at the Chrysler through May 16; it will travel to the Milwaukee Art Museum. The fine exhibition catalogue is available from Indiebound and Amazon for about $60.

每日英語跟讀 Ep.K040: From Buffalo to San Antonio and Beyond, Museums Woo Members   When financier Jeffrey Gundlach showered $42.5 million on the Albright-Knox Art Gallery in Buffalo, New York, it radically altered the museum's long-term agenda. 金融家傑佛瑞．岡拉克致贈大禮4,250萬美元給紐約州水牛城奧爾布賴特─諾克斯美術館時，它徹底改變了博物館的長期行事計畫。 The gift was predicated on the challenge that the museum raise $50 million more in just three months, with the money going to a major new building as well as an operating fund that would help guarantee its upkeep. 這份大禮建立在一項挑戰上，美術館必須在短短3個月內，籌措到額外的5000萬美元資金，這筆資金將投入一棟重要的新建築以及確保它能正常營運的基金。 Such transformative gifts are unusual for any museum, but they are rarer in cities where wealth is not as high as in cosmopolitan behemoths such as New York, Houston or Los Angeles. Smaller cities generally lack the influx of newcomers who are willing to make a splash with a big gift in their adopted city, and their museums depend on luring repeat visitors. 這種改造性的禮物對任何博物館來說都不尋常，對財力不及紐約、休士頓或洛杉磯這些世界級大都會的一些城市更是難得一見。一般而言，較小城市較難見到樂於捐贈引人注目大禮給他們定居城市的新居民潮，它們的博物館因此只能仰賴吸引回頭客。 Sometimes, to do that, museums are forfeiting admission fees. As Julian Zugazagoitia, director of the Nelson-Atkins Museum of Art in Kansas City, Missouri, puts it: “If a museum is free, you can come and go. You can come often and do one gallery at a time. A museum can be like a restaurant, you can taste one thing at a time.” 有時為達此目的，博物館會放棄收取門票。正如密蘇里州堪薩斯市納爾遜─艾金斯美術館館長朱利安．祖加扎吉蒂亞所說：「倘若美術館免費，你就會來來回回。你可以經常來參觀，一次欣賞一個館。美術館也可像餐館一樣，一次只來品嘗一道美味。」 Indeed, of the 242 museums that are members of the Association of Art Museum Directors, fully one-third are free, said the association's director, Christine Anagnos. 「美術館館長協會」會長克莉絲汀．亞納格諾斯說，事實上，協會的242家美術館成員中，整整有三分之一不收門票。 That trend puts particular pressure on institutions to exploit their existing resources and to bond with other local arts organizations in original programs for the public. Whether these programs take place in the museum or outside, the strategy is to lure more visitors who may well become members. 這種趨勢對這些機構形成特殊的壓力，必須更加善用既有的資源以及和其他在地藝術組織結合，提供原創性展覽供民眾觀賞。這些展覽無論是否是在美術館內舉行，策略都是為了吸引更多可能成為會員的參觀者。 And museums are doing just that. Erik Neil, who took over as director of the Chrysler Museum of Art in Norfolk, Virginia, three years ago, said that 75 percent of the museum's visitors come from within 50 miles. 一些美術館正在這樣做。三年前接手成為維吉尼亞州諾福克市克萊斯勒美術館館長的艾瑞克．尼爾說，他的美術館75％的參觀者來自50英里內。 Neil has worked to involve African-Americans as well as personnel at the nearby Navy base and lesbian, gay, transgender and bisexual groups. Among the efforts: an exhibit of “Women and the Civil Rights Movement” and “Thomas Hart Benton and the Navy.” 尼爾努力讓非裔美國人，附近海軍基地人員，以及男女同性戀、跨性別、雙性戀者都參與其中。他的作為包括舉辦「婦女與民權運動展」，以及「湯馬斯．哈特．班頓與海軍展」。 To make the Chrysler Museum more welcoming, Neil has done away with museum guards. Instead, he relies on paid employees to act as hosts to visitors. For example, he said, “If visitors have questions, the employees can get in touch with a curator for the answer.” 為讓克萊斯勒美術館更受歡迎，尼爾撤掉了美術館的警衛，改而仰賴支薪僱員扮演接待來賓的主人。他舉例說道：「如果參觀者有疑問，這些僱員可以聯繫策展人以提供解答。」 Directors are also breaking through museum walls to extend the art experience into the streets and on to museum lawns with cocktail evenings for young members or even art events that go beyond the museum doors. 館長們同時突破美術館的厚牆，將藝術經驗延伸到街頭和美術館的草坪上，不僅為年輕會員舉辦雞尾酒夜，還有踏出美術館大門的一些藝術活動。 Source article: https://paper.udn.com/udnpaper/POH0067/320440/web/ 每日英語跟讀Podcast，就在http://www.15mins.today/daily-shadowing 每週Vocab精選詞彙Podcast，就在https://www.15mins.today/vocab 每週In-TENSE文法練習Podcast，就在https://www.15mins.today/in-tense 用email訂閱就可以收到通勤學英語節目更新通知。

Thanks for tuning in as we discuss four female artists from the past and present. Today we are going to tell the stories of these four inspiring women: Harriet Cany Peale, Sarah Freeman Clarke, Mary Cassatt, and Lorna Simpson. Harriet Cany Peale is our most historic artist, being born in 1799, in Philadelphia. Married to Rembrandt Peale as his second wife, Harriet didn’t stop painting when she wed as most women were expected to do at the time. Her work was exhibited for most of her career and can still be found in galleries like the Chrysler Museum of Art, the Schwarz Gallery and many more.Sarah Freeman Clarke was a creative of many types. Born in Boston in 1840, she painted, illustrated, wrote poetry, sketched, and frequently traveled. There is a Facebook group, Old Marietta, that highlights vintage photos of Marietta, Georgia, where Sarah settled down for a time. The page has spotlighted Sarah numerous times. She knew how to network and had friends in high places like Margaret Fuller and Ralph Waldo Emerson. Sarah’s connection to Emerson influenced her work and style. She traveled to the Great Lakes with Margaret Fuller, sketching and painting landscapes along the route. This became part of Fuller’s Summer on the Lakes collection of poetry, art, dialogues, anecdotes and more. Sarah had accumulated thousands of books throughout her years of travel and opened a catalogue of her books to lend out. Eventually her catalogue merged with the Marietta Library Association and today it is part of the 16 branch Cobb Library System as the Clarke Library. Editor's note: When Kate mentions a president who died after eating too many cucumbers and being cut open, she said William McKinley, but we later learned it was Zachary Taylor. Mary Stevenson Cassatt was born in Boston in 1840, as the daughter of two real estate and investment brokers. The high status she was born into led to many early opportunities to travel and explore artistry. Although women were discouraged from pursuing careers, she enrolled in the Philadelphia Academy of Fine Arts at 16 years old. She ended up quitting the program to move to Paris after realizing the courses were slow and inadequate. Her portrait titled The Mandoline Player was selected for display by Paris Milan, an exclusive annual exhibition organized by the Royal Academy of Painting and Sculpture. Finally, we discuss modern artist Lorna Simpson who continues to produce art. Lorna’s style and choice of mediums has evolved over the course of her career. She has drawn, painted, photographed and sculpted hundreds of works of art in her lifetime already. As a pioneering feminist, her work raises questions about the nature of representation, identity, gender, race and history. Listen in for her full story! For the first time since we started the podcast, we're plugging ourselves! Kate's mom, Cynthia Mollenkopf, is an artist with work displayed at the Cocoon Gallery in Apex, NC. Kate is a pastry master and you can find her on Instagram @cococake15. Natasha paints and such and her Instagram is @artbynatashahope Thanks for supporting us and this podcast! Enjoy and see you next time!

Twenty Summers was thrilled to host our first joint-residency with director and photographer Dawit N.M. & writer and photographer Gioncarlo Valentine earlier this October, and to hear them talk about the residency experience, projects they have (and have attempted) to collaborate on, and other projects they have worked on during COVID-19.Dawit N.M. is a director and photographer currently based in New York. Born in 1996 in Addis Ababa, Ethiopia, he later moved to Hampton Roads, Virginia, with his family at the age of six. After establishing a deep interest in the visual arts, he became an ardent autodidact, committing himself fully to learning the art of filmmaking and later photography. His subjects have taken audiences into worlds of loss, devotion, intimacy, and innocence. In the same vein, the images question the transparency of narratives that are shaped by western influences. This relationship between identity and stereotypes inspired his first self-published photography book, Don’t Make Me Look Like The Kids On TV (2018).  Dawit’s directorial debut—a visual accompaniment for Ethiopian-American singer/songwriter Mereba's debut album entitled The Jungle Is The Only Way Out (2019)—earned him a nod for Emerging Director at the 2019 American Black Film Festival. Dawit’s first exhibition, The Eye That Follows (2020), is currently on view at The Chrysler Museum in Norfolk, VA, through August 16th, 2020.Gioncarlo Valentine (b. 1990) is an award winning American photographer and writer. Valentine hails from Baltimore City and attended Towson University, in Maryland. Backed by his seven years of social work experience, his work focuses on issues faced by marginalized populations, most often focusing his lens on the experiences of Black/LGBTQIA+ communities.Gioncarlo was a member of the 2018 class of Skowhegan’s School of Painting and Sculpture. In 2019 he opened his debut solo exhibition, The Soft Fence, at Blue Sky Gallery in Portland, Oregon. He has had his work collected by the Whitney Museum of American Art, is a regular contributor to The New York Times, and has been commissioned by Wall Street Journal Magazine, Propublica, The New Yorker, Esquire, Vogue, and Newsweek among many others. 

As a queer person of mixed race, Corey Pemberton often feels other. Knowing nothing about his African roots and very little about his European heritage, the artist considers lineage and the idea of connectedness in his glass art, paintings, and other works on paper. Pemberton’s vessels, blown glass baskets based on those of his presumed ancestors, are made in a European style that borrows forms and patterns from the sweetgrass weavers of South Africa. He says: “I use color and pattern as vehicles to describe situations where society has used a person’s uniqueness against them; where people have been labeled or categorized based on physical characteristics in an effort to hold them back. Can we, as a society, find a way to unite in our otherness?” Born in Reston, Virginia, in 1990, Pemberton received his BFA from Virginia Commonwealth University in 2012. After graduating and relocating to Augusta, Missouri, he worked as a production glassblower under Sam Stang and Kaeko Maehata. Subsequent travel through Norway and Denmark exposed the young artist to both country’s rich design history as he worked with fellow glass artists. Upon return to the US, Pemberton participated in a Core Fellowship at Penland School of Craft, Bakersville, North Carolina. Currently residing in Los Angeles, Pemberton splits time between production glassblowing, his painting practice, and Crafting the Future (CTF), an organization he co-founded with furniture artist Annie Evelyn in early 2019. CTF partners with organizations across the country such as Louisiana’s Young Aspirations/Young Artists, known as YAYA; Kentucky’s STEAM Exchange; North Carolina’s Penland School of Craft; and Maine’s Haystack Mountain School of Crafts, with the goal of increasing access to education and opportunity for underrepresented artists in order to help them develop thriving careers. In 2019, CTF raised more than $8,000 to send two young New Orleans students, Tyrik Conaler and Shanti Broom, to Penland School of Craft.  Despite the challenges of COVID-19, a growing number of artists have banded together to fundraise for student scholarships. The CTF membership page went live in February 2020, and in the next three months culled around 50 members and $2,000. Following the killing of George Floyd and several other innocent African Americans, and the ensuing protests that raised awareness of racial injustice, membership increased to more than 1,200 by late May. Over the next few months, CTF raised over $175,000 for scholarships and other programming, though more is needed to affect lasting change. If you’re interested in joining or donating to Crafting the Future, visit: https://www.craftingthefuture.org Striving to bring together people of all backgrounds and identities, Pemberton breaks down stereotypes and builds bridges, not only through his work with CTF, but in his personal artistic practice. In the artist’s recent solo show creature, comfort at the Contemporary Art Museum (CAM) of Raleigh, North Carolina, painting, photography, and hand-blown glass came together to create visual environments that depicted subjects in both real and imagined homes. Pemberton’s goal was and is to make his subjects relatable and intriguing, so that viewers consider those subjects fully and are able to see themselves in the work.  Join Corey Pemberton next spring at the Chrysler Museum of Art’s Perry Glass Studio for a lecture and free demonstrations during the 2021 Visiting Artist Series. Next summer, the artist is scheduled to teach at Pilchuck and in the fall at Penland with Cedric Mitchell.  

In an effort to address the global pandemic and period of social unrest, the Chrysler Museum is hosting a new exhibit called "Come Together." It explores four themes: Celebration, Purpose, Justice and Love. The Justice theme opens doors for you to share your experiences. Our Lisa Godley takes a closer look at this community-based exhibition.

In capturing the transcendent moments between silence, introspection and self-discovery, Sibylle Peretti seeks to find and depict places of mystery and wonder as launching spots in a journey towards the infinite. Ethereal imagery and haunting subtexts flow freely from porcelain sculpture and mixed media panels, which incorporate multiple layers of paper, oil paint, and watercolor on either side of Plexiglas. Through these techniques the artist creates a darkly romantic mix of fairytale and tension. Her skillful combination of engraving, photography, painting, and glass casting exposes exquisitely subtle environments we wish to enter in spite of some uneasiness.  Heller Gallery, New York City, has recently extended Peretti’s current online solo exhibition, Backwater, through June 13, 2020. The show features nine major new works – five wall pieces and four cast sculptures, as well as an installation of Glass Notes, an ongoing collaboration between Peretti and her husband, artist Stephen Paul Day.  Peretti says: “One aspect of my work reflects on our disrupted relation to nature and our yearning to achieve a unity with the natural world. Backwater describes places that are isolated and constantly changing. Living in New Orleans just footsteps away from the Mississippi river, I explore almost daily the ever-changing alluvial land with its magical backwaters.” Anchoring Backwater is Tchefuncte, Peretti’s large 48-panel wall piece (60 x 80 inches), which combines photography and drawing with surface interventions such as engraving, mirroring and glass slumping. It is based on a photograph she took along the riverbanks of the Tchefuncte river north of New Orleans, an area that was populated by the Tchefuncte culture as early as 500 BCE, and which derives its name from the Choctaw word for a dwarf chestnut, a plant used as medicine by the first people who inhabited this area. Peretti calls it a “temporal place that is likely to soon vanish due to flooding and human expansion,” but the composition suggests a portal, “a waterway that is open to the viewer’s imagination. When you look at the landscape, you also see your own reflection in the mirrored parts of the glass, and you become a part of the journey.”  Peretti received her MFA in Sculpture and Painting from the Academy of Fine Arts in Cologne, Germany, after first studying glassmaking and design at the State School of Glass in Zwiesel, Germany. In the past year her work was added to the collections of the Toledo Museum of Art, Toledo, OH; the newly established Barry Art Museum in Norfolk, VA; and most recently to the Huntsville Museum of Art in Huntsville, AL. Her work can be found in the permanent collections of the New Orleans Museum of Art, New Orleans, LA; the Corning Museum of Glass, Corning, NY; the Carnegie Museum of Art, Pittsburgh, PA; the Montreal Museum of Fine Arts, Canada; the Museum of Applied Arts, Frankfurt, Germany; the Hunter Museum, Chattanooga TN; and the Speed Museum and 21c Museum, both in Louisville, KY.  Awards and endorsements include grants from the Pollock-Krasner Foundation and the Joan Mitchell Foundation, as well as the 2013 United States Artist Fellowship. In 2018 Peretti’s work was featured in a solo exhibition Promise and Perception: The Enchanted Landscapes of Sibylle Peretti, at the Chrysler Museum of Art in Norfolk, VA.  Exploring the relationship between time, loss, emotion, memory and solitude, Peretti’s multimedia collages and sculptures provide a place into which her protagonists- the people and animals that inhabit her work – retreat. Impactful and unforgettable, the work balances the nostalgia of impending loss with the profound fortitude of understanding ourselves… and the world. In October 2020, during her residency at the Corning Museum of Glass, Peretti will work on a new project inspired by the Werner Herzog movie Heart of Glass. She will explore ideas of the historic importance of making Gold Ruby, and how it can be seen as a metaphor for a collapsing world.  

The New Commonwealth Quartet presents a free concert at the Chrysler Museum on Saturday, January 18. Rebecca Evans interviews the group about their training, love of music, and upcoming performance.

The New Commonwealth Quartet presents a free concert at the Chrysler Museum on Saturday, January 18. Rebecca Evans interviews the group about their training, love of music, and upcoming performance.

Meredith Gray leads the Museum’s marketing, public relations, and communications efforts and works with teams across the Museum to engage the local community and continue to expand the Chrysler’s reach. She is experienced in strategic marketing and communications including website development and social media management, as well as traditional writing and editing. Previously she served as the Marketing Manager for a start-up, a software developer which offers a cloud-based electronic health record system serving healthcare providers nationwide. She worked for a Global 500, Maersk Line, Limited, an international shipping company, as a Marketing Analyst and also launched her own successful e-commerce start-up company. She is a Hampton Roads native and a Bachelor of Arts graduate of Virginia Commonwealth University. - In 2014, Hamilton Perkins founded Hamilton Perkins Collection, an independent brand, designing and producing unique and award winning bags and accessories from recycled materials. Hamilton Perkins Collection exists to create timeless limited edition bags made from recycled plastic water bottles, pineapple leaf fiber, and billboard vinyl. The result is that no two bags are ever the same. Our first design, the Earth Bag Premium, was created so that our customers would not only carry a bag that was stylish but carry a bag they could be proud of. We surveyed more than 1,000 consumers to obtain their thoughts and feedback for each component of the Earth Bag Premium, which soon became one of our most popular designs. Perkins was the winner of the Virginia Velocity Tour hosted by the Governor of Virginia, and the recipient of a HUD Community Development Block Grant. The non-profit B Lab honored Hamilton Perkins Collection as a "Best for the World Overall" B Corporation in 2017. Hamilton Perkins Collection has been featured in Forbes, Fast Company, Money Magazine, and The Washington Post. The brand is currently offered in nearly 100 leading department stores and specialty stores in the United States, Canada, and Europe.

On November 18, the Feldman Chamber Music Society presented the Harlem Quartet at the Chrysler Museum of Art. Rebecca Evans shares her review.

Carmen Lozar: The Art of the Story   Spilling out from their bottles, bowls, cartons and cans, Carmen Lozar’s flameworked characters tell a story about how messy life can be. These small narratives accentuate the movement and flow of glass but also speak volumes about our relationship to the world.    “I have found myself drawn to glass for the innate sense of motion it can bring to a work of art. While the intrinsic motion of most materials becomes paralyzed at the touch of the human hand, glass, as an amorphous solid, never relinquishes its visual motility. I have chosen to pursue a career in glass sculpture not only for my love of the material, but also because there is so much left to be explored within the field of flameworking and the medium itself.”   Art has always played an essential role in Lozar’s life, growing up with a mother who performed puppet shows and a father who created scale ship models and watercolor renditions of the ramshackle barns on the outskirts of town. During undergraduate studies at the University of Illinois at Urbana-Champaign, Lozar interned at the Bullseye Glass Factory in Portland, Oregon, and attended Pilchuck Glass School as a Saxe award recipient and staff member. Upon completion of her BFA, the young artist travelled to China, Indonesia, Thailand, and India to explore eastern traditional art. Back in the US, she moved to the Southwest and opened a casting and flameworking facility in Tucson, Arizona. Work from this period was exhibited in numerous shows, including SOFA, Chicago. In 2003 Lozar completed her post-graduate degree at Alfred University, New York.   Born in 1975, Lozar lives in Bloomington-Normal, Illinois where she maintains a studio and is a member of the art faculty at Illinois Wesleyan University. She has taught at Pilchuck Glass School, Penland School of Craft, Pittsburgh Glass School, Appalachian Center for Crafts, The Chrysler Museum, and the Glass Furnace in Istanbul, Turkey. She has had residencies at the Corning Museum of Glass and Penland School of Craft. Although she travels abroad to teach and share her love for glass – most recently to Turkey, Italy, and New Zealand – she always returns to her Midwestern roots. “The sculpture I create with glass is meant to inspire and provoke imagination. Telling stories has always been my primary objective. Some narratives are sad, funny, or thoughtful but my pieces are always about celebrating life. My most current body of work deals with spills.”   In summer 2019, Lozar taught her Small Scale, Large Impact Masterclass at the Seventh International Festival of Glass, Stourbridge UK, as well as flameworking classes at the Cleveland Institute of Art, Penland School of Crafts, and UrbanGlass in Brooklyn, New York. In 2020, Lozar will teach flameworking at SW Art Glass, in Phoenix, AZ, January 4-5 and Pilchuck Summer Session 3.   Lozar is represented by the Ken Saunders Gallery in Chicago, and her work is included in the permanent collection at Bergstrom-Mahler Museum of Glass, Neenah, Wisconsin.  

Dr. Bob McNab joins us to talk about the state of the region. Then Cathy Lewis discusses the new exhibit at the Chrysler Museum of Art, which explores the architecture - and morally complicated legacy - of Thomas Jefferson. After that, we find out what's happening This Week in Mal's World.

Viewing the hot sculpted work of Prague’s Martin Janecký inspires a sensation akin to gazing upon precious and antique art treasures from around the globe. His glass busts in white or black glass remind us that the human form speaks volumes about beauty, history, hope and art in a way that no other object could. Born in the Czech Republic in 1980, Janecký began working with glass at the age of 13 at his father’s factory. His secondary school training at Novy Bor concentrated on the creation of glass art and introduced him to artists and designers from around the world that hired him to execute their ideas. In 2003, the young artist made his first trip to the United States where he studied at the Pilchuck Glass School under Richard Royal and William Morris. Among Janecký’s most recognized strengths was his mastering of blowing and sculpting “inside the bubble,” the technique used in the creation of his startling original works. Before long, Janecký became a highly sought teacher in his field. He has taught, demonstrated and exhibited in Europe, America, Australia, Africa and Asia, to include the Corning Museum of Glass, Pilchuck Glass School, Chrysler Museum of Art, UrbanGlass, the Rietveld Academy in Holland, Bornholm Design School in Denmark, the Australian National University in Canberra, and the Toyama City Institute of Glass Art in Japan, among many. Following a 2013 visit to Mexico, Janecký embarked on an exploration of the human skull in a tribute to Dia de Muertos, an outgrowth of his passion for the culture and people of Mexico. He says: “The willingness of the Mexican people to share this occasion with an outsider like me, someone from a totally different environment, was a humbling experience that inspired me to want to create a body of work that honors and celebrates this amazing event. My plan was to recreate iconic examples of this culture in glass, which had never been done on this scale. I did so with humility and a huge respect for Mexico’s history and culture.”   Janecký’s homeland,The Czech Republic, is rightfully proud of its own globally recognized tradition of glassmaking. Writes Dr. Petr Nový, Head Curator, Museum of Glass Jablonec nad Nisou, Czech Republic: “Martin Janecký’s expressive realism is somewhat alien to the Czech art scene, meaning it isn’t always met with a clear sense of comprehension. It is as if non-abstract works should primarily be viewed as handicraft instead of art. But in Janecký’s case, superb handicraft serves as a springboard for this unique artist to be able to capture emotions in his glass works. And such power is something we find only very rarely in the contemporary world of studio glass art. … “Janecký has earned a rightful place among the greatest not just Czech, but also global, stars of the glass art scene. His original works are generating great enthusiasm among galleries and collectors, including from global celebrities. His successes are not just the result of talent, creativity, and artistic boldness, but chiefly a considerable amount of hard work. Expertise in the field of glass art requires constant application and searching out new limits – and that is only possible with an all-encompassing day-to-day dedication. Although Janecký’s confidence as an artist has undoubtedly grown, he nonetheless remains humble with regards to his chosen material, knowing there is still so much to discover. And this approach is evidently one of the key reasons why Martin Janecký’s glass works are so remarkably distinct.”

On January 14, the Feldman Chamber Music Society shared a fun, beautiful evening of classical chamber music in the theater at the Chrysler Museum of Art. The group Trio Karénine performed three piano trios by Debussy, Schumann, and Ravel.

This Week in Mal’s World, Mal Vincent recalls Queen’s visit to Hampton Roads back in the day… not as performers… but as fans! The British rock group came to Chrysler Museum to meet the late Frank Kelly Freas, the "Dean of Science Fiction Artists." Freas used to live in Virginia Beach for 25 years. Queen drummer Roger Taylor spotted a Freas illustration of a robot, which was used on the cover of their 7th album, "News of the World," which sold 10 million copies! The current hit movie “Bohemian Rhapsody” is a foot-stomping celebration of Queen, their music and their extraordinary lead singer, the late Freddie Mercury.

Image Courtesy of Ka-Man Tse for @TSqArts Saya Woolfalk has exhibited at PS1/MoMA; Deitch Projects; Contemporary Art Museum, Houston; Contemporary Arts Center, Cincinnati; the Brooklyn Museum; Asian Art Museum, CA, Museum of Contemporary Art, Chicago; the Studio Museum in Harlem; the Frist Center for the Visual Arts; The Yerba Buena Center; The Newark Museum; Third Streaming; MCA San Diego; MoCA Taipei; and Performa 09; has been written about in the New Yorker, Sculpture Magazine, Artforum, Artforum.com, ARTNews, The New York Times, Huffington Post and on Art21’s blog; and has also worked with Facebook and WeTransfer.   Her first solo museum show The Empathics was on view at the Montclair Art Museum in the Fall of 2012.  Her second solo museum exhibition ChimaTEK Life Products was on view at the Chrysler Museum of Art in the fall 2014.  She recently completed a video installation commission for the Seattle Art Museum, and is a recipient of a NYFA grant in Digital/Electronic Arts.  She is currently working on a solo museum exhibition commission for the Nelson Atkins Museum in Kansas City, MO and is represented by  Leslie Tonkonow Artworks + Projects, NYC and teaches in the BFA and MFA programs at Parsons: The New School for Design. 

The Newport News School Board recently asked the city for $50 million to rebuild now-closed Huntington Middle School. In Norfolk, the future of Maury High School remains uncertain. This all raises the question of: What do you do with older schools? Do you renovate? Do you replace? We want to know your thoughts as we explore this question. We’ll also take a dive into personal finance with Jeff Kreisler, the author of two bestselling books on personal finance. And in the last half of the show we’ll turn our eye to the new Ansel Adams exhibit at the Chrysler Museum of Art with museum curator Seth Feman. Tune in at noon to 89.5 WHRV-FM.

“Our Own Podcast” is a project ODU professor Cathleen Rhodes and Kira Kindley launched to tell the story of LGBTQ people from our community's past. After talking about that, we will discuss the Vik Muniz exhibit and the Wonder Studio at the Chrysler Museum. We hope you'll join us at noon on 89.5 WHRV-FM.

In today’s podcast we’ll be talking with James Akers a Neon Sculptor and self-proclaimed Waver and Hacker Artist. ​ James is an artist, educator, and mad scientist who has a explosive approach to making. Graduating from Alfred University with a BFA in 2015, he is constantly thriving for change, and fascinated by waves of all kinds: sound, light, electricity, he is synthesizing a new mindset: The “Hacker Artist.” James Akers has shown his work internationally, been the recipient of public art commissions and has received numerous awards and grants for his practice. Up until his recent move to Arlington, Texas with his lady Ali Feeney who is pursuing her MFA at UTA, he was teaching neon at the Chrysler Museum of Art, and head processor at Riehl Deal Neon. Currently, pursuing new work and new possibilities in Neon and Plasma. Known for packaging ideas on art and life by creating a series of highly exhibitable electric sculptures. We’ll look into his transition from ceramics, to glass, and by extension Neon, his unique approach to using neon tube bending with found objects and video installations, and defining what a waver and hacker artist is. Image: Emoticon Hieroglyphs by James Akers', who will be one of our future guest on the podcast.   Intro Music: Boost by Jakim Karud www.joakimkarud.com https://soundcloud.com/joakimkarud   Outro Music: Re-Entry by Lapse https://soundcloud.com/lapse   Check www.taminglightning.net for the full post! Thank You for listening to the Taming Lightning Podcast. We have many more guest to come, with future guests returning to expand on questions, practices, and a variety of subjects. I’d like to thank Pittsburgh Glass Center for supporting me as well as encouraging me to pursue this project, and The Plasma Art Alliance, whom many of my guests are connected through. Keep an eye out for next summer’s classes at Pittsburgh Glass Center as we work to provide a space for learning neon and plasma. Also, I’d like to thank James for taking the time to be a guest on the podcast, especially in the midst of his travels, and seltting in at Arlington, Texax. I wish him the best in his job search, and excited for what he makes next! Feel free to send your questions to this email, share, and comment! Thank you,  ​ Percy Echols II  Sorcerer Apprentice  ⚡

A viewer can look into a black and white photograph and be transported not only to a particular place but to the emotional world of what it feels like to be in that place. Like a photograph, April Surgent’s landscapes and portraits in glass pack the same powerful punch, but with the added elements of dimension, texture, and translucent light. Her fused and cameo engraved glass put a modern spin on the ancient techniques used to create them.   The recipient of the Neddy Fellowship through the Behnke Foundation, an Urban Glass New Talent Award, and the 2016 USA Fellowship, Surgent earned her BFA from The Australian National University (ANU), Canberra, graduating with honors. In 2003, she changed her focus from blown to engraved glass after studying under master Czech engraver Jiří Harcuba at the Pilchuck glass school, where she has served as a trustee to the school since 2012.    Surgent exhibits, teaches, and lectures internationally including a  series of courses she co-taught with Harcuba in 2008. Her work can be found in notable collections including the Toledo Museum of Art, the Chrysler Museum of Art, and the Ulster Museum, among others.  ​   Interested in the dialogue between art and science, Surgent is presently engaged in collaborations with research scientists to inform her work, focusing on remote conservation fieldwork and anthropogenic impact on vulnerable species and ecosystems. In 2013, the artist travelled to Antarctica with the National Science Foundation’s Antarctic Artist and Writers Program.   Surgent is currently working with the National Oceanic and Atmospheric Administration (NOAA) Hawaiian Monk Seal Research Program. In October 2017 at Traver Gallery in Seattle, the artist will exhibit engravings, a video installation, and a marine debris installation based on her research conducted in the Northwest Hawaiian islands of the Papahanaumokuakea Marine National Monument. In November, in an art event hosted by the monk seal program, Surgent will work with the public on an interactive marine debris installation in Honolulu.                 

The Chrysler Museum is home to Glenn McClure's new exhibit "The Shipyard Workers of Hampton Roads." The expansive collection profiles faces that have shaped our coastal economy. Later, we're opening up our lines for another edition of YourSay! Join us at 440-2665, connect with us on Facebook and Twitter or send us an email: hearsay@whrv.org.  

This week Travel Today With Peter Greenberg comes from Norfolk, Virginia and the largest naval base in the world. Joining Peter Greenberg is Norfolk historian, Peggy McPhillips, as she discusses the city’s heritage and surprise history. Glenn Sutch, President of Waterside District, talks about the new entertainment and dining destination coming to Norfolk next month and the local restaurants that are taking part in the revitalization of the waterside. Lloyd DeWitt, Chief Curator at The Chrysler Museum of Art, discusses Norfolk’s star attraction and their surprisingly robust collection. There’s all that and more as Travel Today With Peter Greenberg comes from VisitNorfolk.

The results of the 2016 election have called into question the relevance and role of the electoral college in America's political system. What exactly does the electoral college do? Should it really have the final say in choosing a president? And later, only 35 Vermeer paintings exist in the world, and one is visiting the Chrysler Museum of Art. A Lady Writing is on exhibit until December 18. Join us by phone 440-2665 or 800-940-2240 or connect with us on Facebook and Twitter.

World Footprints will take you on an exploration of the wonderful city of Norfolk, VA. On today's show we will travel through rich historical neighborhoods like Ghent, meet fascinating residents like the Doumars Family—creators of the ice cream cone, and visit cultural attractions like the Chrysler Museum and Attucks Theatre. From the Waterfront to the Freemason District, the Botanical Gardens, Nauticus and beyond, Norfolk offers a treasure trove of art, culture, history and culinary delights.

Chrysler Museum new rock star exhibit and more, Escape the Wisconsin, Toastmasters

See more at medium.com/kucr Here's our topics for May 19, 2016: Car collectors gone wild: If a classic car doesn’t have a “for sale” sign on it, it probably isn’t for sale. Are car TV shows and books turning people into predatory jerks? Interesting car shows. The three hosts talk about some of their favorite car shows on TV. Is Matthew McConaughey really selling Lincolns? Wallace appears to be obsessed with the commercial series. Clark Pryce wonders if the series is going to help sell any Lincolns. The Chrysler Museum. After a three-year hiatus, it’s open again. And don’t forget about the Riverside International Automotive Museum, which is worth a visit.

Opening this week at the Chrysler Museum, artist Edward Burtynsky's new exhibit features large-format aerial photographs of bodies of water around the world. When rendered so large, the images become abstract, forcing viewers to see water in a different way. We're joined today by Chrysler Museum Director, Erik Neil, for a closer look at this new exhibition and its focus on how the environment has been affected by humans.

From the Other Side of the Footlights with M.D. Ridge - Chrysler Museum’s Third Thursday.

World Footprints will take you on an exploration of the wonderful city of Norfolk, VA. On today's show we will travel through rich historical neighborhoods like Ghent, meet fascinating residents like the Doumars Family—creators of the ice cream cone, and visit cultural attractions like the Chrysler Museum and Attucks Theatre. From the Waterfront to the Freemason District, the Botanical Gardens, Nauticus and beyond, Norfolk offers a treasure trove of art, culture, history and culinary delights.

Norfolk News Now

This week marks the 150th anniversary of the assassination of Abraham Lincoln. Today we'll look back at the remarkable life and times of our 16th President with the curator of The Chrysler Museum's two Lincoln exhibits.Segment B: Music, Light and Glass Local patrons of the arts will be no stranger to the dazzling artwork of master glassblower, Dale Chihuly. The artist's incredible glass sculptures will take new life this weekend as set pieces for the Virginia Symphony Orchestra's performance of Bartok's Bluebeard's Castle. We're joined today by the Chihuly Studio's Head of Exhibition's for a closer look at how seven of the artist's most stunning sculptures brought new life to the classic opera.

World Footprints will take you on an exploration of the wonderful city of Norfolk, VA. On today's show we will travel through rich historical neighborhoods like Ghent, meet fascinating residents like the Doumars Family—creators of the ice cream cone, and visit cultural attractions like the Chrysler Museum and Attucks Theatre. From the Waterfront to the Freemason District, the Botanical Gardens, Nauticus and beyond, Norfolk offers a treasure trove of art, culture, history and culinary delights.

In this episode of Everything Keith opens the show by sharing his experiences at the local farmer's market. Keith discusses his feelings on the new Netflix series Bloodline and the movie Charlie Victor Romeo. Justin talks about his thoughts on the HBO documentary Going Clear and David Robert Mitchell's movie The Myth of the American Sleepover. Then the two talk about Mitchell's excellent new movie It Follows. Keith closes the segment by sharing his experience at the Chrysler Museum's video game exhibit. The show closes with Keith recommending Jessie Baylin's new album Dark Place.

World Footprints will take you on an exploration of the wonderful city of Norfolk, VA. On today's show we will travel through rich historical neighborhoods like Ghent, meet fascinating residents like the Doumars Family—creators of the ice cream cone, and visit cultural attractions like the Chrysler Museum and Attucks Theatre. From the Waterfront to the Freemason District, the Botanical Gardens, Nauticus and beyond, Norfolk offers a treasure trove of art, culture, history and culinary delights.

World Footprints will take you on an exploration of the wonderful city of Norfolk, VA. On today's show we will travel through rich historical neighborhoods like Ghent, meet fascinating residents like the Doumars Family—creators of the ice cream cone, and visit cultural attractions like the Chrysler Museum and Attucks Theatre. From the Waterfront to the Freemason District, the Botanical Gardens, Nauticus and beyond, Norfolk offers a treasure trove of art, culture, history and culinary delights.

  World Footprints will take you on an exploration of the wonderful city of Norfolk, VA. On today's show we will travel through rich historical neighborhoods like Ghent, meet fascinating residents like the Doumars Family—creators of the ice cream cone, and visit cultural attractions like the Chrysler Museum and Attucks Theatre. From the Waterfront to the Freemason District, the Botanical Gardens, Nauticus and beyond, Norfolk offers a treasure trove of art, culture, history and culinary delights.

Alpha Kappa Alpha (AKA) is the first Greek-lettered sorority established and incorporated by African American college women - founded in 1908 on the campus of Howard University. On the next Another View we'll talk with members of AKA about Greek life, their mission and purpose, and answer the question of relevancy in 2012. Our guests include AKA sorors Barbara Ciara, Dianne Blakeney, and Kellee Edmonds. Plus, an audio tour of 30 Americans now on exhibit at the Chrysler Museum. It's all on Another View, Friday, April 20 at noon on 89.5 WHRV-FM, or stream us at whrv.org.

The Virginia Chorale opens its season with a series of concerts featuring music old and new. Dwight Davis spoke with the Chorale’s Director, Scott Williamson about the program, which will be presented on October 22 at 8 PM at First Presbyterian Church in Virginia Beach; October 23 at 8 PM at the Chrysler Museum; and October 24 at 4 PM at the Williamsburg Presbyterian Church.