Podcast appearances and mentions of Chuck Close

In this episode of Platemark, I talk with Mae Shore, a collaborative printer and owner of Shore Publishing in Tuxedo Park, New York. Mae shares her experiences working at Pace Editions with notable artists like Jim Dine and Chuck Close. She discusses the history and evolution of her gallery and print shop, which she established to merge her love for printmaking and curating exhibitions. Mae touches upon specific projects, such as her collaborations with artists like Amy Bennett, Kamrooz Aram, and Katia Santibañez and James Siena, detailing the unique processes and challenges in creating prints. The conversation also highlights the importance of print fairs, the nuances of printmaking, and Mae's backstory growing up in New York City's SOHO and Tribeca neighborhoods. Mae's reflections offer a compelling glimpse into the meticulous, collaborative, and often experimental world of printmaking. Episode image: Greg Dohler Amy Bennett (American, born 1977). Clearing, 2022. Linocut and pochoir on Magnani paper. Image: 3 3/4 x 5 in.; sheet: 12 1/4 x 12 1/2 in. Printed and published by Shore Publishing. Amy Bennett (American, born 1977). Site, 2025. Linocut. Sheet: 22 x 27 in.; image: 16 1/2 x 22 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #21, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #2, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #3, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #4, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Kamrooz Aram (American, born Iran, 1978). Arabesque Composition (Limited Variations) #5, 2024. Relief monoprint with pencil on Akemi Martin custom handmade cotton paper. 27 x 21 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964). Sailing Alone, 2014. Reduction linocut in 6 colors on Rives BFK. Image: 20 x 16 in.; sheet: 27 x 22 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964). Floating In My Mind, 2015. Reduction linocut in 6 colors on Hosho. Image: 14 x 11 in.; sheet: 19 1/2 x 16 in. Printed and published by Shore Publishing. Glenn Goldberg (American, born 1953). There (1-3), 2014. Suite of three prints, photo relief, collagraph, linocut and pochoir on Rives BFK paper. Sheet (each): 12 1/2 x 16 ¾ in.; image (each): 6 x 12 in. Printed and published by Shore Publishing. Katia Santibañez (American, born France, 1964) and James Siena (American, born 1957). Triplebarb Whirler, 2022. Reduction woodcut in 6 colors on Rives BFK paper. Image: 22 1/2 x 18 in.; sheet: 28 3/4 x 23 1/2 in. Printed and published by Shore Publishing. William Villalongo (American, born 1975). Vitruvian's Daughter, 2014. Woodcut, linocut, and pochoir on Hosho white paper. Sheet: 22 x 22 in. Printed and published by Shore Publishing. Yasu Shibata (American, born Japan, 1968). 4 Squares Within a Square, 2022. Japanese woodcut on Kizuki paper mounted on Western paper. Sheet: 30 x 30 in. Printed and published by Shore Publishing. Mae Shore and Brad Ewing in their booth at the Baltimore Fine Art Print Fair, March 2022.  

"Inspiration is for amateurs — the rest of us just show up and get to work." — Chuck Close, artist      

I talk to the simply incredible DIANE VON FURSTENBERG. Global fashion icon, entrepreneur, and steadfast advocate for female empowerment, we discuss her first art memory, the miracle of her mother's early life, what is was like hanging out with Andy Warhol and that famous kitchen polaroid, what is was like being painted and photographed by Francesco Clemente, Chuck Close and Li Song Song. That's just the start. We then talk about how she created the iconic wrap dress, if she knew early on that she going to be a huge success, what it means to her to be an icon, how she deals with failure, what her family and staff think about her, and DVF also offers invaluable advice on starting a fashion business and much, much, more.Download, it's filled with LIFE ADVICE and is an absolute MASTERPIECE.Thank you to @therealdvf for being a true icon and fantastic guest.Photo copyright owned by DVFProduced by Martin LumsdenMusic by Robin Katz Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Emily McElwreath, Host of the Art Career Podcast, in conversation with Marilyn Minter and Jasmin Wahi at the Neuburger Museum at Purchase College. Now, more than ever, our work as artists, activists, and advocates is critical in challenging oppressive structures and ensuring our voices are heard. Please join me @neubergermuseum next Thursday, November 14th, at 7pm. I will be speaking with two of the greatest, @marilynminter and @browngirlcurator About the Yaseen Lectures on the Fine Arts: This lecture series, which began in 1974, was endowed by the late Leonard C. Yaseen and his wife Helen, former residents of Larchmont, New York, who financed a similar series at the Metropolitan Museum of Art. Featured speakers have included Gordon Parks, Claes Oldenburg, Maya Angelou, Faith Ringgold, Chuck Close, John Shearer, Hank Willis Thomas, and Purchase College alumnus Fred Wilson. The legacy of the Yaseens's gift continues today through the support of Roger Yaseen and his family in honor of his parents. The Yaseen Lectures on the Fine Arts Fund is stewarded by The New York Community Trust.

➢ Check out our website to learn more - www.colossusfitness.com➢ Get our supplement guide FREE- https://colossusfitness.lpages.co/free-supplement-blueprint-final➢ Follow us on Instagram- https://www.instagram.com/colossusfit/?hl=enWelcome to Motivation Monday, where every Monday we answer all of your questions and have some real talks about life & fitness & get you fired up for the week! In this episode we talk about the best supplements on a budget, overtraining & best high protein snacks.(0:00) - Intro(0:20) - Kyle quote: "If you are depressed, you are living in the past. If you are anxious, you are living in the future. If you are at peace, you are living in the present." - Lao Tzu(3:00) - Josh quote: “Inspiration is for amateurs, the rest of us just show up and get to work.” — Chuck Close(4:10) - What has us excited or intrigued(9:45) - Where we're at in our journey(10:45) - Kyle's background on fitness(14:40) - Client shoutout: Deanne- Down 18lbs, 4 inches off the waist, originally had a goal of weighing in at 130 (weighing in at 124 now)(16:40) - Question 1- What supplements would you recommend after protein if you're on a tight budget?(23:30) - Question 2- How do I know if I am overtraining?(27:15) - Question 3- Favourite high protein snack?Thanks for listening! We genuinely appreciate every single one of you listening.➢Follow us on instagram @colossusfit➢Apply to get your Polished Physique: https://colossusfitness.com/Support the show

Patrick Carney, the Artiste, is an indomitable spirit who has shared his creative talent with the world in ways that are sometimes beyond measure. No one captures the ‘Essence of Women,' the aura of their souls, the contours of their brilliance in the way this artist can. Carney captures the legacy that these women leave as footsteps on this earth.While attending the School of Visual Arts in New York City, Patrick Carney had the privilege to study with Chuck Close, Marge Anderson, Robert Israel, Burne Hogarth and Milton Glaser; each of these teachers having a profound impact on his life.As a youth he read voraciously – searching for answers which led to more questions. While pursuing studies at Buffalo State, he worked as a specialist in media at the Communications Center. Later he was named the Art Director of the Lafayette Community Center where he taught art to inner city children. For a time he traveled throughout the NY State as an Artist in Residence at underprivileged high schools as a representative of the Arts Council, and volunteered as a art teacher in the state prison system, believing that it was his obligation to give back and “Pass On” his given talents.Starting in 1964 in NY's West Village, Mr. Carney dedicated his time to drawing and painting the world of rock n' roll music, it's passion and creativity caught in real time forever. He traveled throughout the US attending rock concerts and painted whatever star excited him – and thus his work is a varied series of welcome surprises. Hanging out at what he calls “the corner of Art and Soul,” the Artiste Patrick Carney also captures the images of your youth, capturing on canvas the music you grew up with.Not only are Patrick Carney's Acrylics and Pen & Inks purchased by collectors all over the world, many of his paintings are displayed in the personal collections of such luminaries as Dick Clark, John Lennon, Bob Dylan, Stevie Nicks, Bruce Springsteen, JD Souther, Tom Russell, Judy Collins, Al Kooper, Pete Seeger, Sharon Lechter, Frank Shankwitz and Kevin Harrington.Contact Patrick Carney:pcar13@gmail.com Dr. Kimberley Linert Speaker, Author, Broadcaster, Mentor, Trainer, Behavioral Optometrist Event Planners- I am available to speak at your event. Here is my media kit: https://brucemerrinscelebrityspeakers.com/portfolio/dr-kimberley-linert/ To book Dr. Linert on your podcast, television show, conference, corporate training or as an expert guest please email her at incrediblelifepodcast@gmail.com or Contact Bruce Merrin at Bruce Merrin's Celebrity Speakers at merrinpr@gmail.com 702.256.9199 Host of the Podcast Series: Incredible Life Creator Podcast Available on... Apple: https://podcasts.apple.com/us/podcast/incredible-life-creator-with-dr-kimberley-linert/id1472641267 Spotify: https://open.spotify.com/show/6DZE3EoHfhgcmSkxY1CvKf?si=ebe71549e7474663 and on 9 other podcast platforms Author of Book: "Visualizing Happiness in Every Area of Your Life" Get on Amazon: https://amzn.to/3srh6tZ Website: https://www.DrKimberleyLinert.com

Luke drove a “mystery car” up to Seattle this morning to record TBTL at Andrew's place. They discuss a follow-up to the story of the drug-loving New Yorker who stumbled on a Chuck Close painting and hoped it was valuable. 

In this episode, Nathan and Breck discuss: Art as an investment and the value it holds from a monetary and aesthetic standpoint The rise of fine art as an alternative asset class The role of an art consultant in the buying and selling process of fine art  The impact Breck's grandfather had on his life and the community they lived in thanks to his influence as the founder of Xerox How family values and community involvement shape who you are Key Takeaways: There is a hunger for people to understand art as an asset while also appreciating the aesthetic of the works itself Follow your passion and find a way to incorporate it into your work each and every day. Determining the impact you want to make with generational wealth starts and ends with your family dynamic. Finding common ground, a shared vision and how you orient together is key to a successful family experience. Embrace your strengths, have sure footing, and maintain a bit of a practical planning view to see the bigger picture in life. “Art is about context, and the reason why art is in our museums is because it resonates with a moment in time.” —  Breck Kling   About Breck Kling: Breck is an Acquisitions and Collection Management Specialist and Fine Art Consultant that has been with Heather James Fine Art since 2017. He spends his time between Palm Beach Florida and Jackson Hole Wyoming. First introduced to HJFA as a collector, Breck's collection includes works by Robert Rauschenberg, Chuck Close, Takashi Murakami, Yoshimoto Nara, and Dana Schutz. He was a longtime board member of the Memorial Art Gallery, Rochester, NY, and was an advisor to the first VOLTA art fair in Basel, CH, in 2005. Breck has sat on the board of his family's foundation (www.wilsonfdn.org) for over 25 years and he is also a co-founder and a trustee of Silicon Couloir, a network for entrepreneurs based in Jackson Hole.  Breck's passions are art and meeting new people.  He spends the majority of his time meeting new collectors and helping clients navigate collecting decisions . Breck's perspective as a collector and decades of experience in the artworld offers his clients unique insights at any stage in their collecting process.  Breck has also assisted collectors in selling works by Claude Monet, Jackson Pollock, Pat Steir, Andy Warhol, Willam de Kooning, Louise Bourgeois, Robert Motherwell, Yayoi Kusama, Takashi Murakami, James Rosenquist, Alexander Calder, and Zao Wou-Ki among others.  Breck spends winters in Palm Beach and enjoys time with his two kids, golf and recently discovered pickle ball.    Connect with Breck Kling:  LinkedIn: Breck Kling | LinkedIn Website: Art Consultant | Heather James Fine Art Connect with Nathan Mersereau:  Phone: 248-645-1520 Website: www.dayinacanoe.com Email: nathan.mersereau@planningalt.com Twitter: @NathanMersereau

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

Luke and Andrew have important sartorial questions about their upcoming live show in Seattle. Plus, the New York Times tells the fascinating tale of a drug-loving dog walker who may (or may not)  own a valuable painting.

This week we delve into the journey and experiences of David Drebin. From discovering a passion for photography in the 90s to pursuing opportunities and challenges in New York City, David realized that the journey itself is more important than any destination. We explore David's struggles with the business side of art and the challenges that creatives face in being their own biggest critics. David opens up about impostor syndrome, comparison, and the fear of vulnerability that many people experience. He shares his approach to balancing authenticity and creating personas in the social media world and how he navigates the fine line between creating art he loves and art that sells well. We learn about David's alter ego, his belief in self-advocacy, and his journey of betting on himself. The episode also touches on overcoming insecurity in showing one's work and the importance of letting things flow naturally in the creative process. Hosted by Bob Gentle, this episode promises an insightful conversation with a talented artist who has successfully built and marketed his personal brand.About DavidDavid Drebin is a multidisciplinary artist, working in various art forms, producing limited edition works including Photographs, Lightboxes, Neon light Installations, Sculptures, and Etchings on Glass.In 2005, Drebin had his first solo exhibition at Camera Work in Berlin. This was followed by his first illustrated book entitled “Love and Other Stories”.Reflections on David's artwork:“Drebin's photographs are epic, dramatic, and, above all, cinematic and have been collected around the world. In a unique and opulent way, Drebin stages femme fatales against the gigantic backdrops of cities such as Hong Kong, New York, and Paris. The panorama of the big cities, which, due to their format, are a tribute to cinema, serve as cinematic settings. With their impressive skyscrapers, they provide the viewer with a nearly infinite surface for the imagination. The distinctive tension and depth in his pictures arise from the free combination of such differing topics as humor and sex, melancholy and sex, and melancholy and humour. At Art Miami in 2010, his now sold out “Central Park” sold for a record price of $78,000 through Contessa Gallery who has featured Drebin in major Art Fairs since 2008 alongside art world legends Andy Warhol, Chuck Close and Helmut Newton.Exclusively publishing books with ( www.teNeues.com ), his books are distributed around the world and often followed with exhibitions in Paris, New York, Miami, Istanbul, Amsterdam, Brussels and many other cities Internationally. Drebin has been showcased during Art Basel at Art Miami by Contessa Gallery for over a decade and is also represented by the world's finest Art Galleries including Camera Work in Berlin, Galerie de Bellefeuille in Montreal, Art Angels Gallery in Los Angeles, Preiss Fine Arts in Vienna, Immagis Gallery in Munich and Fahey Klein in Los Angeles. In 2018 the record price of a David Drebin photograph "Jerusalem" sold for $100,000 through Art Angels Gallery in Los Angeles.”TeNeues published ( www.teNeues.com ) Drebin's books "The Morning After", Beautiful Disasters", "Chasing Paradise", "Dreamscapes", "Love and Lights" and "Before They Were Famous".David's Website : http://www.daviddrebin.com/----Get your copy of my Personal Brand Business Blueprint It's the FREE roadmap to starting, scaling or just fixing your expert business.www.amplifyme.agency/roadmap----Subscribe to my Youtube!! Follow on Instagram and Twitter

On this episode of Art Affairs, i talk with artist Kristen Liu-Wong.We discuss the enormous amount of creative growth she experienced during her time in school, the complex themes she incorporates into her work, her last show at Superchief, and a whole lot more!Also mentioned in this episode: Chuck Close, Kenichi Hoshine, Luke Pelletier, Corey Helford, StolenSpace, and Rebecca Morgan.Cover image photo by Luke Pelletier.Follow KristenWebsite: kristenliuart.comInstagram: @kliuwongFollow the ShowWebsite: artaffairspodcast.comPatreon: artaffairsInstagram: @artaffairspodcast

This episode of the Foto Podcast is from a podcast I recorded with Rodney in 2012. I've re-edited this conversation to improve the sound quality from its original recording and reworked the audio presentation. I feel very fortunate that Rodney took the time to chat with me over ten years ago. When he unexpectedly passed in 2016, I realized how lucky I was to be able to spend a brief amount of time with him.Rodney was incredibly kind to me through our email exchanges, this recording, and a short 2-hour personal visit to his house in New York in the Spring of 2013. I probably spent 4 hours conversing with him in some form or another, but he left an unforgettable impression on me. I respect his work and artistic vision, but I will never forget him for his grace, openness, and thoughtfulness. We live in a boisterous and fast-moving world, but this conversation with Rodney always reminds me to slow down and turn down the noise in my life. He lived at his own pace, and what you see in his images reflects Rodney's personality. I hope this audio recording will give you a glimpse into his motivations, creative process, and the deep critical thinking he put into everything. Learn more about Rodney Smith at rodneysmith.comThe Rodney Smith Estate has released a new book entitled Rodney Smith: A Leap of Faith.“The first retrospective on the work of Rodney Smith weaves together a bio-critical essay by Getty Museum curator Paul Martineau and an assessment of Smith's technique by the Center for Creative Photography's chief curator, Rebecca A. Senf. Introduction by Graydon Carter. It maps Smith's creative trajectory—including his introduction to photography, early personal projects, teaching, commissioned pieces, and career in fashion—and provides insight into his personal life and character, contextualizing his work and creative tendencies within his complex emotional and psychological makeup. Rodney Smith is the definitive record of the life's work and worldview of a truly original artist.”I recently received a copy of A Leap of Faith, and it's an incredible book that is printed beautifully. This is not a paid sponsorship of any kind. I'm genuinely grateful for Rodney Smith taking the time to chat with me 11 years ago, and I think you'll appreciate his work and his approach to life and art. Rodney Smith Podcast Transcription:I'm 65 years old, so I've been a photographer for 45 years. I guess there's a fair amount of experience with that. And, um, and I've gone through quite a bit, um, as far as the changes in photography. but going all the way back, probably the very first, I don't know, maybe a slightly unconscious inclination that I wanted to be a photographer started when I was 16 years old and my father gave me a camera.I took a teen tour. That's what kind of popular when I was a young boy. with oth with other students my age, and we went around the United States and then we went into Mexico my father gave me a camera for that trip. on the, the, the Mexican part of the trip, we took a train from New Villa Laredo, Texas to Mexico City.I remember this actually quite well. And [00:05:00] the train, there was a landslide across the tracks on the train. And the train stopped and it was sort of took about four days for them to clear the rocks from the tracks. And during those four days, we would get out off the train or there were many young children from Mayville Villages who would come by the train trying to sell everybody something.And And it was their faces that really, um, appealed to me.And I remember when I got back after the tours all over, my father looked at these pictures and, uh, there were no pictures of my contemporaries on the trip who were my, you know, people from all over the country were my age. But there were all these pictures of Mexican children. And, um, I remember my father being kind of discouraged and saying, why aren't there any pictures of you're contemporaries, that was probably the very first, and I guess somewhat unconsciously, I said inclination. The main kind of epiphany when I actually knew I said this, I want to be a photographer, was much later [00:06:00] when I was in college, probably my senior junior, I can't remember exactly whether it was my junior or senior year in college.And I was home for the holidays, just around this time, actually, probably a little later in, in December. But, I remember I went to the Museum of Modern Art, um, which had a permanent collection of photography. Um, I'm a New Yorker and so I was home in Manhattan. and I'd been there many times before and I don't know exactly what initiated me to go to this collection of pictures I had seen before, but I did.And I think the important part of this was that Edward Steon was still the curator of photography at that point, and I think his sensibilities were much closer to Toine, than maybe more contemporary curators. the permanent collection was composed of pictures of Gene Smith, Arthur Lang, Margaret Burke, white Stieglitz, and Steon.And I remember walking through this, gallery and thinking, having an epiphany. And I remember basically having it in front of Eugene Smith picture, and thinking, oh my [00:07:00] God, I can do this. , and this is what I want to do. And I think it's a, that's a fairly simplistic response to a very complicated question.But from that moment on, I knew that this is what I was going to do with my life. Now, I don't think it meant to me that I was gonna copy the work of these people. I think what I realized at that moment was I, I could take my feelings and put them on a piece of paper.And I think that's what the revelation was to me. That I had all these anxieties and these fears and all these feelings, tremendously powerful feelings inside me without an outlet to express them. And I realized that photography was the perfect medium for me to do this. And from that moment on, and it was a number of years.Afterwards that I actually became a photographer. But from that moment on, I knew I wanted to be a photographer.[00:08:00] in college I was an English major and then I became a religious studies major and I, um, was sort of both. I graduated with both and then I went on to graduate school to study theology actually, and, but also with the intention of taking half my credits in the photography program.I wanted my degree to be in [00:09:00] theology, not photography. but I did, while I was in graduate school, singularly learn my craft, I spent a great deal of time and the program at that time was really quite wonderful. Learning, the craft of photography. We learned the Z Zone system photography.One you had to use a large format camera. And it was a really great discipline. So I learned the craft, but I also learned what I, I, I developed a vision, or I nurtured a vision of what I wanted to say is about studying theology. unfortunately, and I probably, somewhat uncomfortable for a lot of people.I think, and I, I don't wanna say this unequivocally, that I think this is the case in most time, but it's very hard to nurture a vision studying the craft of photography. I think that the, one of the last places one would really learn to be a photographer is in an art school, just studying photography.Now I know that's probably not a popular thing, but that's sort of how, what I believe, I think one has to have a vision and how [00:10:00] one nurtures and develops that vision, I think is by, doing something quite contradictory to the physical craft of making a picture.I didn't study theology with any intention for looking for any answers to questions. I, I studied theology to, to sort of initiate the questions. Um, from 40 years later, I still don't have any answers. And, and I'm not sure I actually believe I could have them, but, but what I really did love was learning how to ask the right questions.And that's, that's what studying theology did, did for me. Now, what, what do I mean by that? Asking the right questions. Well, I think theology or some of the issues that really were important to me were questions about human [00:11:00] existence. Who are we? What do we stand for? How do we fit into this world around us?What is the nature of evil? What is the nature of good? What is the nature of man? And so it's all these questions about how the human being fits into the world and the surroundings around him. And those are still some of the prevalent themes I think, that are really important in my work. So, While I was studying the craft of photography, I was sort of, I was hope anyway.And I, I think it, I think correctly I was nurturing this vision about, or learning for how to perform to my feelings intellectually so that I could sort of integrate the two when I actually began to make pictures. And I think it worked out during the time of me doing this. I mean, I had tremendous disapproval and, um, I don't know, people were kind of a guess, why are you doing this?Why are you wasting your time studying theology? You know, I was in my [00:12:00] family, I was expected to do something more business-like, or do something. They're quite different. and nobody, except for my wife or the done, no one who gave me any support, they all thought I was totally crazy. But I actually. And I probably couldn't articulate it exactly why I thought it was really important to do it.I just intuitively knew in my heart that this is what I wanted to do and um, I'm actually very happy I did it. I don't have any regretsI'm definitely of the school of thought that you sort of, your present is definitely formed from your past. Um, and so I I I, I would definitely think that probably a, a great deal of it is not, I don't know all of it, but a great deal of it derived from my upbringing. Um, my, my mother and father who are now both dead close to 40 years.Um, my mother 30 and my father 40 would be kind of shocking that they're still still such a prevalent and powerful force in my life. But they [00:13:00] are. And um, you know, I was, my parents were very, my father was very affluent. He was a CEO in, uh, some fashion companies and I grew up sort of in a 19th century.lifestyle and existence. Um, when I look what it, what seemed quite normal and natural to me as a young boy. Now when I look back on it seems, you know, really from the 19th century. there was this kind of real love of refined things.Things were always beautifully done. Everything was perfectly in its place. There was an order to everything. There were many people who taken care of, you know, servants who made things perfect and beautiful. And even though part of me was rebellious against that, I always loved it. I mean, quite honestly, I did, I, not that I loved some of the accoutrements of it, but the, if you looked at it physically, I loved it.And it definitely had an effect on me. And I think my pictures represent the [00:14:00] more positive aspects. Of my life. I don't think they, my upbringing, I mean they, um, I'm not saying that at all. They are. That's the way it was. Cause there was a lot of negative things to it. Many negative things. Perhaps even more negative things than positive things.But, the pictures are represent that world at its very finest. It's sort of like an affirmation of what can be, what a gentleman really, what the word gentleman, if you define it and you just dissect it, you know, to a gentle man or a nobleman. It, it's sort of those things, if they really existed in the world, if there really were gentlemen and if they really were nobleman, it's not that it's impossible, but it's slightly out of reach.that's sort of what I think my pictures are about. Sort of how does one sort of aspire to greatness? What you have this potential inside you and how do you realize this? I think that's sort of what the pictures are. one last thing about that, now [00:15:00] I'm, as I said, 65. So one in the sixties, the very early sixties when Kennedy was president.I was in high school. I was I think a junior in high school. And, um, that era was, you know, there was like the last feig of sort of, uh, what I would refer to as elegance and grace and beauty in, in a lot of things. Not just fashion, which my father was very much a part of, but many things was still, there was a world was holding onto it.And then the hippie movement, the anti-war movement in the sixties, it all sort of tore all that apart. But the early sixties, maybe up to 65 or something like that, 64, 65 were the last remnants. Of an error, like was when Carrie Grant and, um, and Audrey Hepburn and Leslie Caron and all were still really popular.It was, it was a slightly different era and then everything changed in the, by the, by the 1970s and the world became a different place.[00:16:00] I hear that comment, something like that quite often. Um, that, that you could tell a story from the pictures that you were sort of caught in the middle of the story and you're curious about what happened prior and afterwards. I have to tell you consciously anyway, when I'm taking the pictures, I'm not aware of that at all.but I am kind of a literary soul. I've al in every book I've ever done, there's always been writing. I've done four books and that every book has writing and photographs in it in one form or another. I always been around writers. I, when I was very young in college, before I decided I wanted to be a photographer, I thought I was gonna be a novel.But I, I, I had the sentiment but not the skill, and I quickly realized that. So, but I guess [00:17:00] writing has always, um, been a part of me. So when you say that about the pictures, that's actually quite a compliment to me because I'm not aware of it. But if they do tell a story, uh, or there's like a fragment of the story, that would be kind of a wonderful thing and I would really like that.Although when I'm taking it, I'm not aware of that.the pictures are taken completely spontaneously. I know this is one of the ironies to me of, of a lot of, sort of sets off a whole discrepancy about photography in general and modern photography, but all the pictures was referred to as the lifestyle pictures of the last 10 years or 15 years are much more controlled and created.even though they look like they're spontaneous and of the moment, they're much more created pictures than mine, which look very serene, controlled. My pictures five seconds before I took the picture, I didn't know I was gonna take that picture. And not in a hundred percent of the instances, but at least 60, [00:18:00] 70 or 80% of the time, the picture is completely spontaneous and I may have set something up and so, but I don't know what the, what the end product's gonna look like.And then all of a sudden something, somebody does something or something happens, or the light changes, or it can be many things. And all of a sudden I say, take the picture and I take the picture. And I didn't know I was gonna take that exact picture five seconds before I took it. so I think that's kind of always been kind of interesting to me that although my pictures look quite serene and controlled and um, like they were art, art directed, um, or created under sort of very sort of, um, Rigid requirements.Totally the opposite.I'm definitely always first looking for the location, which would be the landscape or the environment. Once, once I've found the environment, I can always make the pictures. you know, I was, when I was very young, I was a landscape photographer, um, as well as shooting portraits. And [00:19:00] then I think one of the great things that happened to me was, , I began to integrate the two together.I began to put people into the landscape, which is a very different thing than placing somebody in front of something. I think most people take pictures in an environment and they stick a figure or a person or a thing in front of something and they refer to that. You know, as, I don't know that term.I can't stand environmental portraits or whatever that is. I the term I really do not like. But that, that's not the way I would operate. The person has to be sort of placed in an environment as part of it. And actually it goes back to the previous question about the spontaneity of the, of the pictures.The reason why I can shoot these pictures so quickly is because I can very quickly get to this place where I think everything is right. I mean, almost instantaneously I will know this is the place I need to make this picture. Now, there may be a few other places too, but I'll start at this place that feels absolutely right to me.but for me, the pictures are, are totally [00:20:00] controlled or by the environment. That's why the location work for me is by far the hardest part of making pictures is finding a location I like. and then once I've found, , which is a really rigorous and very exhausting process. but once I found this, this location, I don't want to know what the picture's gonna look like.I, you know, when I'm scouting it, it may be gray or rainy, or it may be it's sunny and then the day of the shoot it's raining. Or I may look at it in the morning and I may be there in the afternoon and the light's totally different. So I never know what the picture is I'm gonna make there, nor do I want to.I've never shot Polaroids in my life. I don't want to do any of that things. I just want to trust my instincts. And once I've found a place that seems appropriate or great, I'll say I can make pictures here and that's all I want to know. And then I'll go away until the, until the time I physically shoot the.there are sometimes requirements about what I, I need to find, but the, probably it's the same thing no matter what I'm looking for. And that [00:21:00] is a place that has a sense of history to it, which is hard for me in America. , I, it's gotta have a certain Betina to it and character to it.Um, sometimes it's the question of the light in the place, but it's, it's, it's a whole thing, a landscape. It's just gotta feel ex eccentric or original or special. To me. It's definitely my vision. but I think like if I'm looking for an interior place, There's kind of a characteristic that's involved that's in all the pictures, and that is, it's got a certain history to it and depth has been sort of aged nicely.I rarely would shoot in a brand new location that, that hasn't aged or settled into its environment. I sort of like how things fit into a place and if, unless the location does that on some level, there isn't a history there, I probably wouldn't be interested in it. you know, I was once doing a shoot in Phoenix, Arizona, you know, and I remember scouting the city of Phoenix and I [00:22:00] couldn't find anything that I really felt worked.I mean, it was to do it more hotel and a few other things I thought were great. But what I found really great was the landscape around Phoenix. I mean the part that was untouched. and that's where I ended up shooting the picture. Sometimes, often if I'm in Paris or in London, I can find hundreds of locations that appeal to me.because they have this history to them. The man or somebody has interacted with this location for, for quite a while, and it, and that you can feel the patina of the interaction of the two. and that's what, that's what really I like.And also, you know, American cities, um, they build these skyscrapers and they tint the glass to keep the light out. in Europe, luckily still, the older buildings are all oriented and, and the windows are such to let the light in. that's a, that's a huge distinction. You know, they act in European buildings, least, you know, the ones that are, I'm attracted to.The light is like a portico. [00:23:00] It's like this entryway. um, and really wonderful things happen with the light. Well, in most new American cities, it's, again, it's to keep all the light out and to keep the temperature and the humidity and the light all controlled from the inside.I teach a workshop, infrequently, but every once in a while and all these photographers come to the workshop and they do not have a voice at all. well, some of them do, but it's pretty minor. Um, and, you know, there's this discussion about whether it's a question of talent, or do you have a question that everyone has their own voice, they just can't express it.And I'm definitely of the school that everyone does have a voice. They just don't know how to express it or expose it. This pops a better word. because this enormous fear is preventing them [00:24:00] from doing it, I mean, you have to tap into the part of yourself that goes really deep.And most people don't know how to do that. Sometimes by a gift of God, somebody has that intuitively or naturally, but that's a very rare gift and I've actually never seen it. most often, people foil themselves, you know, they, they have all these fears and anxieties and frustrations, whether it be dealing with other people or their own fears, their anxieties, and they never get to the level that's required to.Really have a singular voice. I mean, that's the difference between the hundreds of thousands, if not millions of people who take pictures and the few who, who actually are photographers. And it's not so much that I, from my point of view, that one has an innately more talent than the others. Now, a lot of people would argue with that, but I don't think they do.I just think they're able to tap into the deepest, part of their emotional being. And let that part out. And then you never have to worry about being a second rate somebody else. You can much more be a frustrate yourself because no one has your life experiences.No one has your feelings, no one has your thoughts. All those things are unique and special to you. So if you can reach this level they can begin to express the things that reside deep within them, and then all of a sudden their pictures take on a special characteristic that is unique to them and they begin to develop a voice.I think people are, are sort of copying everybody and mimicking everybody and running around buying the right equipment and doing everything that's completely unnecessary to develop a voice. They think that's what they need to do, but it's the last thing that they need to do. If anything, they need to step back and let something begin to emerge from deep within them.That's what will create this special voice. And it's a very hard thing to do. And I think Chuck Close's comment is right. I think photography is particularly through the digital age, much more than even prior when there was a real craft to printing. that there is the most sort of facile of mediums that one can learn even through by taking with a, telephone.You can take a pretty competent picture, but what I mean, but, but what distinguishes one picture from another is the kind of the emotional content of that picture.I've been doing this for 45 years and I still use the same camera that I did when I started 40 years ago. I'm very, very rigorous with my craft. I mean, I'm extremely rigorous. Um, you know, I expose the film very properly and, and so when the day, and I went through a many years of really learning how to expose my film and make prints that represented [00:27:00] my emotional psyche.I mean, I really like dark sh shadow detail and differentiation between that. And my prince used to represent that. And if I was much more interested in highlights, I would've done things quite differently anyway. Anyway, I really loved and grew to really know film. And then when the digital world came along, um, I, there's, there's a great aphorism, but changes, not necessarily an improvement.And I've been watching the digital world very closely and we know I'm kind of a consultant to Epson and we produce digital prints as well as prints that are done in the dark room. You know, we scan the film and then, Make really beautiful, large mural prints, so I, I definitely in it and everybody works for me, is very digitally competent.For myself personally, I haven't seen any reason to change. Personally, I don't really like the digital cameras. Um, I don't like seeing the picture immediately. As I said, I never shot Polaroids. I like the experience. I like to focus on the [00:28:00] experience of making the picture not on what the pic. Every single time everyone stops and looks at the picture, you've interrupted the whole process of making the picture.That would be a terrible thing for me. I like to just to go through the whole process, focus on the thing I am doing, and I like the mystery of not knowing exactly what's on the film. Um, I, I, I don't really like the digital process that much. Now, it may get to a point where I can't get film, which is sort of beginning to happen already, or I can't do the thing and I may have to make that change.But at this point, I would hope actually I have so many people, young people coming to me who say that they really love film much better than digital and they, they shoot on film. So there seems to be a kind of a minor resurgence in film. And it's not that I'm just, you know, such a recluse that I don't engage in the world.I mean, I live in New York, so I'm pretty much so on some level, you know, engaged with what's going on. And if I ever felt that the digital thing was so [00:29:00] much better than what I'm doing, I would change. But so far, most people seem to really love the pictures I make on film. And when we blow them up really big, there's a certain quality to them that people really love.Like I've had many shows at very, you know, at Brooks or um, all the technical schools and all the students who are really technically minded, love the Prince. They keep saying, how did you do this print? No. So, um, for me it's just that there's really no reason to change and of anything, I was kind of in shock that just because something became new, that everyone immediately embraced it.I, I think they must have felt they had to, that, you know, art directors required it or, uh, the world required or, or whatever. And quite honestly, I've never, no art directors ever required me ever that I shoot digitally and they actually kind of like that I shoot on film. They all say, oh my God, this is great. I, I like the fact that, you know, I'm gonna get contact sheets. I really like this. [00:30:00] You know, so, um, I'm sure that there are constraints put on people that they want this, they want that, but I think it's more important for you to tell them what you like best.my previous father-in-law was a really wonderful playwright and, um, very well known American playwright. And over his desk, he used to have this little sign that said, no one asked you to, no one ever asked you to be a playwright. and I think that that's really true. I mean, you, I could wallpaper my walls with rejections.I mean, I've, over my life I've had 50 to one rejection, um, maybe a hundred to one rejection. Um, and since it's such a personal medium, um, for me, this is not a job. This is my exposing my life and my soul and my [00:31:00] pictures. There's no way one can take it personally. It is personal. and I've had many high points.I've had really good years and really, really terrible years, both from financial points of view, from creative points of view, from everything. , but I just, must have something in the way down deep inside me, this knowledge that this is what I chose to do. No one put a gun to my head and said, this is what you must do.And so I chose this, you know, freely and when I'm really down, I just say, you know, you've gotta stick with it. And there have been hundreds of times I thought, I don't want to do this anymore. Um, um, either I have nothing more to say or I don't want to do it, or financially it's been so difficult in my early years it was so difficult and it's still, there was terrible years.I mean, like after nine 11, it was really, I mean, there's been many, many years when things were really terrible from a financial point of view and a creative point of view, or the job, everything. And so [00:32:00] there's like, at times 45% of me that doesn't ever want to take a picture again, that I'm done. And, but there's, luckily there's 55% of me that wants to keep on doing it.that just sort of gets me through it. You know, Hemingway used to always talk about that he would always stop writing the day before and someplace that he wanted to continue because if he didn't have that place the next day to go to, he is not sure he'd ever pick up a pen again. But he looked, had this place where he looked forward to going forward.And, um, I'm not sure I have that. I mean, I definitely can get kind of burnt out and I think the environment or the location or the model sometimes, but, um, many times it's the sense of place around me is what motivates me to take, make pictures. And so that sometimes has to be in a new place and so I can get kind of stuck like everybody else and then I just, um, have to force myself to keep on on going., after 45 years, [00:33:00] I've kind of, um, got this regimen that I. It's not perfect by any means. There's definitely problems with it, but I kind of like, you know, I'm, I don't shoot, you know, I probably only shoot, you know, 30, 40, 50 days a year. which is plenty, which provides me with a lot of, and then, you know, I work on exhibitions or I do all kinds of other things as well.I'm always working around photography, I mean, all the time, but I don't have to be physically shooting to do that. when I was very young, I used to collect, like convince people to buy photography and when nobody wanted to, and this is in the seventies, and I once went to Andre Cortez's apartment and I was talking to him when I was buying a print for somebody.He told me that he would go six months or a year without ever taking a picture. I could understand that perfectly. I could go six months or a year without taking a picture yet. I'd still always be a photographer. for other people I know they have to shoot every day or all the time, or they feel that they're gonna lose it or they're not a [00:34:00] photographer, but that's not the way I work.I think most fashion photography today is pretty mediocre. I think it's all about celebrity and status and they all have the right lunch and the right, they know they date the right models and they all meet the, you know, the right art directors and it's just like in a group that just supports itself, but it's all very mediocre.I don't think that there's this great vision that drives the photographs. Okay. Now having said that, that's just one thing. And I think there have been, I think fashion photography's had its periods where it was the mo really distinguished in the world of photography. I think, you know, in the forties and fifties and perhaps in the sixties, I think Irving Penn.and Norman Parkinson and a few other people were incredible photographers, had a great vision and were quite extraordinary. I think today there's all this celebrity about around these photographers, but I think it's what you do about nothing. And I think the models are the same way. but I do think what is lacking in photo, in fashion photography is not something that, that's, it's actually that hard to find.Again, I find, I, I guess [00:35:00] I have to digress for a second and tell you a story. I probably wrote this once in a blog many years ago. This wasn't quite a fashion shoot. I did, but it was close to it in the sense of the, what, what I thought was wonderful about fashion. I did, I used to God, oh, 20 years ago, 25 years ago, coach Leather had a campaign called Descendants of Famous People, and they photographed all the grandchildren or the daughters or the aunts or whatever of well-known people.And I did about four or five of them. I, I remember the Nathan Daniel Boone's nephew, and I did, the one I'm talk, gonna talk about was Babe Ruth's niece. I photographed her at Yankee Stadium in, um, New York, which is kind of the appropriate place to do it.And I didn't have a chance. Usually I, sometimes I, sometimes I have a chance to meet the person I'm gonna photograph. Um, prior to, but in this case, she lived, I think in Maryland or Virginia, I'm not sure. And they had a flyer up for the shoot. [00:36:00] And I meet her the morning of the shoot in a, you know, in a location van, um, outside the stadium.And I meet her and, you know, I could tell that she feels really terrible about herself. She's looking down, she's kind of forlorned. She, I can just feel like she wants to just disappear. in, into the background, I understood that she was raised in a small trailer, um, in, in Virginia, wherever. And she had really no relation to Babe Ruth other than the fact that she was his niece.But she came from very humble means and was really kind of almost embarrassed about this whole. Thing of taking a picture and just pushed the whole thing would go away. I could feel all this in her presence. So I introduced myself. I tell her, I'm the photographer who's gonna take your picture and if we're gonna take you into this location van, and there's gonna be a woman who's gonna do your hair and another woman's gonna do your makeup and we're gonna style you and dress you and all that.And, and I said, while, while they're doing all that, I'm gonna go away for an hour and go look and find the right location to make the picture of you. [00:37:00] So I go away for an hour and I come back, and I go into the location van and there's this totally different person than the person I had first met before she went into the van.She was standing upright. She looked really beautiful. She became. I saw what a little bit of hair, makeup and new clothes and being pampered, what it could really do to, not just the physical look of this person, but the whole internal emotional sense of who she was. She was transformed and I thought, oh my God, this is an incredible experience.This is a wonderful look. Look, look what fashion can do. Instead of making people feel intimidated or that they're unattractive or something like that, it can make them feel empowered and beautiful and wonderful. This is like a Cinderella story, so I take her for a few hours, I make her portrait. She's looking really beautiful and you know, she, she just looked content and happy and I [00:38:00] think really enjoyed the experience.Goes back to the location. Van takes off all the clothes, you know, goes back to her original clothes and walks out of the van exactly who the person was when she first entered the van with her head down and she goes back to the person she was. Now, I think the important thing of this story for me, it's not really a fashion story, but it is what fashion can do.It is about style and grace and elegance and feeling beautiful and wonderful and special. And it's not about being intimidated because you don't have the money to buy these clothes or you have to have this closed, or you have to have the hottest, newest, ugliest thing imaginable in order to be valuable and worthwhile, that you can have a sense of style and grace intrinsic to yourself.That it comes from inside you, not from the outside. the outside stuff. The accoutrements can help you realize who you really are. So that's again, another place where a personal style is very [00:39:00] helpful I do, I do, I love shooting fashion. It's actually really fits me. and I like the big production of it.I like I'm the kind of photographer that can work with 20 people around me and it. It doesn't bother me in the slightest. I sort of like it. I like the collaboration of everybody, the stylists I've worked with for years. And she'll say, you know, look at this, or This person looks like great here. Or my assistant will say, oh, you should look over there.It looks really great. I love when people do that. I feel it's like this collaborative effort. I like the whole experience of it. I do think that women, this is, you know, I think the world is kind of, so particularly now our soul full of ironies.I think, you know, that most women would not agree with me about this at all, but I think it's been a real give and take before women in the last 25 years, and I'm not sure that they've been given more than, than they. Wanted, yes, they've achieved incredible power to be sort of equal to men. They, you know, they're now working on getting the same rewards as men.Financially [00:40:00] they've achieved great. And I think all that's wonderful. But I always thought, even though my father was a very powerful person, you, you know, as I mentioned, he was the CEO of many companies, and he was, people were really intimidating him. I always thought my mother was the real power in the family.He would never, she in her own private way, controlled everything and got exactly what she wanted. It was a, it wasn't as overt as it is today. It wa it was more subtle, but there was this kind of wonderful thing, quality about her. And she had this incredible life and my father worked very hard to support her.Um, and so she could do what she wanted to do. So, I am not sure what we've gained is better than what we lost. Uh, maybe it is. Probably it is. And anyway, it's not going backwards. That's the way it is. But there is something really wonderful about, um, a kind of more graceful or a delicate, maybe understated power, like that quote you gave of me, [00:41:00] rather than the more overt one.Like when I shot Elizabeth Hurley, who is all about give it, give it to me baby. I mean, she was, um, you know, um, and versus a woman who has a real sense of herself and walks more delicately and quietly,I think, you know, one of the things was, I sort of animated or discussed slightly before was when I was very young, I didn't have a penny. Um, and I was really struggling. One of the ways I was able, I taught a great deal, but one of the other ways I was able to at least make a living pay my mortgage was I convinced people that photography was a really good investment and I would make a small commission.I would buy photographs for people. And one of the things I learned was how little, the curators of photography and the art gallery directors and all these people who were sort of the professionals and experts in [00:42:00] photography knew about photography.They basically knew nothing. They knew how to sell it, , they knew how to talk about it, but they really had not a clue about really what it meant to be a photographer or what the struggles that somebody like Stieglitz or Strand or anybody who's really first grade would go through to really distinguish themselves photographically.Um, it's not so much the financial hardships or meeting the right people or getting the right equipment or all the things on the surface. Those things everybody has in whatever work they do. And there's really no difference. It's just a different set of rules.And what the struggle really comes down to is the emotional struggle. And that is knowing that, you know, the all Socratic oath of no thy self. And learning how to come to grips and deal with the emo your emotional [00:43:00] core, and being able to express and expose that onto a two-dimensional flat piece of paper, is a very, very difficult thing.And then asking people who have not had your experiences, who do not care about you, who do not even know, like people in Russia who don't even know anything about you or the place you live or your experiences, and say, look at this picture and think it's worthwhile. The only way you can really do that on a consistent basis.Yes, you can do something kind of titillating or interesting or on a few pictures, but over a whole body of work. The only way you can really do that is if you are touching something universal. If you are speaking from your heart in a language that everyone can understand because the human psyche and spirit goes way deeper than the culture.And so if you are able to transcend or translate your own personal feelings and put them onto a piece of paper that is a very rigorous [00:44:00] and difficult thing to do and, and requires enormous struggle and turmoil on your part, that's why living kind of the artistic life is not something to be denigrated.It is a very, very difficult and very rare process that very few people, not that they're not capable of doing it, but are willing to take the risks. That that involves 99% of people are not capable or able or knowledgeable enough to do it. It's not that they can't, it's just that they won.um, I have a got a good fortune to be an intern for. Ansel Adams for a week in Carmel when I was in my twenties. And I noticed, you know, he used to meet people and I, I noticed, first of all, I went there. My photographs when I was very young, looked absolutely nothing like his, but I learned all my [00:45:00] technique from him within his own system.So I was really very anxious to have a chance to meet him and work with him. And it was great. Um, and I learned every time when I would go in the dark room with him or when I was sitting around talking to him, I would, he, I would ask him every technical question I could think of that I wanted resolved.And he was very generous and would answer me. But, and what I learned after this week of sort of probing and listening and having him listening sometimes talk to other people and stuff, was that he would tell you exactly what was necessary in order to do something. And basically, just generally what he'd be saying was like, if you want to be a classic scholar, you gotta learn German, you have to learn Latin, you have to read, you have to study, you have to pay your dues, you have to do all these things.and that's how you really get to a place through experience, through testing, through knowledge, through all these different things that will get you to this place where you can be really competent and capable. And I found that nobody, although they all listened to him, [00:46:00] And they nodded their head in agreement.In the end, nobody wanted to pay any attention to 'em. They went off and go, they really, what they really wanted from Ansel Adams was tell me this pill, give me this pill I can take so I can make my pictures look like yours or tell me the quick answer so I can learn how to do something as well as you do it.I want this in five minutes or less, you know? But I really don't wanna spend all the time that's required and all the effort and work you've put into it to do this. And unfortunately, that's not the way the world is. You know, you, you, you sort of get what you pay for, kind of metaphorically speaking about your craft, your technique, your vision, everything.It's not something that you can just, you know, meet the right person, do all this, take a pill, wear the right clothes, be in the right place, whatever it is, have the right camera, have the right, you know, equipment, whatever that is also beside the point. The point is [00:47:00] nurturing and learning and developing a vision that is special and unique to you.Learning what equipment that best represents that vision. Developing it, nurturing it, working on it, reflecting on it, struggling with it. That's what's required to do it, and it's not easy. Takes years. I've never, and I've had the good opportunity to meet many, many well-known people that I really care about, whether mostly writers or playwrights or painters or people of, of great esteem, and not one of them, at least in my, my personal experience, I've never met anybody who was instantaneously successful in my experience.Every one, oh, I totally respect, has worked years to get to that place.I mean, it's, it's, it's, but it's fun to do this. That's, you see, the thing is nobody wants to do it, but when they get immersed in it, it's part of the adventure. the best part of being a photographer is going out, engaging the world, meeting people. And taking, and making the picture, [00:48:00] the actual product, the end result, the artifact is never as good as the experience of making the picture.To me, it's always a disappointment. Now, for other people, like if I mess my wife, she would say that the, the artifact is much better than the experience. And I think many people have said that I can make the world look perhaps slightly better than it was right in front of me. So for many people, the observer, the, the photograph is even better than the experience.But for me, person who's taking the picture or making the picture, the experience of making the picture is the reason why I'm a photographer. I love the interaction with the world, meeting people, engaging people, being a part of the world, having it being sunny, rainy, cloudy, overcast.and somehow having something wonderful immersed from it. That's what I love about being a photographer. that's why being in the studio, all of that has no appeal to me. It's, it's engaging the world we live in. Having an [00:49:00] excuse to participate in it, in a kind of really positive and wonderful way.Saying yes to life over and over again, despite how many hardships you may have. That's the part that I really love. Get full access to Foto at fotoapp.substack.com/subscribe

This week, Syd & Jess are here to tell you all about a rare neurological condition called Prosopagnosia (more commonly known as face blindness). We're talking science and all about how the brain performs its own unique version of facial recognition software, so if you have trouble remembering faces, you're in good company! If you want to help us grow, subscribe and leave us a review on Apple Podcasts, Spotify, Stitcher, or wherever you get your podcast fix!Sources for this episode:https://www.faceblind.org/ https://www.healthline.com/health/face-blindnesshttps://my.clevelandclinic.org/health/diseases/23412-prosopagnosia-face-blindnesshttps://en.wikipedia.org/wiki/Prosopagnosiahttps://www.yourhealthremedy.com/health-tips/famous-people-with-prosopagnosia/https://www.scientificamerican.com/article/superior-face-recognition-a-very-special-super-power/https://www.nhs.uk/conditions/face-blindness https://science.howstuffworks.com/life/inside-the-mind/human-brain/face-blind.htm https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4122168/ Audio pulled from: https://www.youtube.com/watch?v=q8cXus7SNQY&t=97s Support the show

Chuck Close said when a problem seems overwhelming, you should break it down into smaller pieces. To tackle the photorealistic faces, Chuck Close would use a grid. He broke the image down into sections allowing him to focus on the lines, shapes, and proportions one little bit at a time. In his early works, he would erase the grid as he painted, but as he matured, he chose to lean into the grid. He not only left it visible, but in many works he emphasized it making the paintings appear almost pixilated as the viewers see every square he plotted. As a child, he wanted to be a magician, but couldn't resist revealing how the tricks were done. For him, it was more impressive when you see the work that produces the magic, and I gotta say I agree. Arts Madness Tournament links: Check out the Brackets Tell me which artist you think will win this year's tournament Give a shoutout to your favorite teacher (the teacher who gets the most shoutouts on this form by Feb 27 will get a $50 Amazon gift card) Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Having the right mindset is important for achieving success in any area of life. It involves cultivating a positive and proactive attitude, an openness to learning and growth, and the ability to adapt to changing circumstances. Here are some tips for developing a positive and productive mindset:Practice gratitude: Focus on the things you are grateful for, rather than dwelling on negative thoughts and experiences.Set clear goals: Having specific and measurable goals can help you stay motivated and focused on what you want to achieve.Stay positive: Try to maintain a positive outlook, even when faced with challenges or setbacks.Practice self-care: Take care of your physical and emotional well-being by getting enough sleep, exercising regularly, and engaging in activities that bring you joy and relaxation.Seek support: Surround yourself with supportive people who can help you stay motivated and focused on your goals.By cultivating a positive and proactive mindset, you can increase your chances of success and lead a more fulfilling and rewarding life.ABOUT PATRICKPatrick Carney is a professional artist, networker, keynote speaker, and referral training consultant.Specialties: Pen & Ink, Acrylic portraits, Mastermind facilitator, DISC, Referral Trainer, NetworkerAs a young art student at the School of Visual Arts in New York City, Patrick Carney had the privilege to study with Chuck Close, Marge Anderson, Robert Israel and Milton Glaser.  Each of these teachers had a profound impact on his life and he has many fond memories of each one.  While attending Buffalo State, he worked as a specialist in media at the Communications Center.  Then later, he was named the Art Director of the Lafayette Community Center where he taught art to inner city children.  And for a time, he traveled through out the state of New York as an Artist in Residence at underprivileged high schools, as a representative for the Arts Council.  Patrick also volunteered as an art teacher in the state prison system, believing that it was his obligation to give back, "pass on" his given talents.  Such a diversified background at a very young age, however, he was always drawn to the music and those talented individuals who spoke to his soul.Born and raised in New York, Patrick started hanging out in NY's West Village around 1964, and dedicated his time to drawing and painting the world of rock n' roll music where he soon became an influential documentary artist of rock's most celebrated musicians.  He traveled throughoutFOLLOW ME

In this episode we're joined by Deb Sonzo the New Business Acquisitions and Accounts Manager at Music Graphics Chicago a division of Leo Graphics Chicago. With a background in art, and a musician herself, Deb is on the front lines of getting art proofed, printed and to your favorite record pressing plant to assemble the project. From short runs to thousands of copies, they're perfecting the digitally printed record jacket one unit at a time. We're also joined by a pop-in guest Jamie Riani who is the owner of the company, and has tons of experience in print houses over the course of his career. This episode dispels some of the confusion around dpi, PMS, RGB, CMYK, and any other design acronym you can come up with along with why templates and proofreading are so important. This is one of our last episodes of the year and 2022 season, so we want to take a moment to thank you again for spending your time with us, learning and demystifying the vinyl community. Music Graphics Chicago: https://www.musicgraphicschicago.com/Deb's Interview with Women in Vinyl: https://womeninvinyl.com/2022/10/08/deb-sonzo-music-graphics-chicago/Chuck Close if you're not familiar: https://www.britannica.com/biography/Chuck-ClosePANTONE: https://www.pantone.com/color-of-the-year-2022Huge thank you to Deb and Jamie for also allowing us to use the song ‘Falling' from their band 13 Monsters. For more visit: https://13-monsters.bandcamp.com/ THANK YOU TO OUR AWESOME SPONSORS!The ones that make your vinyl needs even more accessible with so many great codes and resources. Other Record Labels - Who've gifted our listeners - you! - a 50% code in their store for the myriad of resources compiled there using the code WIV50 at checkout! https://www.otherrecordlabels.com/store Selektor Record Bags - Our new favorite record bag: https://www.theselektor.com/us/Koeppel Design (pronounced Kep-ul) - Sleek and sophisticated, handmade record collection organization! Get $10 off your first order of $85 using the code WOMENINVINYL at checkout! https://koeppeldesign.com/Eargasm - High fidelity ear plugs! keep your hearing protected in style! Eargasm has a great deal for you with 10% off your order using, you guessed it, discount code: WOMENINVINYL at checkout. www.eargasm.com/ Glowtronics - Custom slip mats - you already love the WIV branded slipmat, but think, you can make your own! Get 15% off using the code: WOMENINVINYL15 at www.glowtronics-store.com/ Nugen Audio - Innovative, intuitive, award-winning professional audio plugins and software for all your creative music producing and sound design needs! Use code WOMENINVINYL for 20% off at check out: https://nugenaudio.com/womeninvinyl/ Vinyl Revolution Record Show - Attend one of the longest running record shows out there. 55 dealer tables filled with vendors from all over the east coast and tons of rare and collectible vinyl records! Find more at: https://www.instagram.com/vinylrevolutionrecordshow/ Want to be a sponsor too? Email us: info@womeninvinyl.com As always, join the conversation on Instagram or send us a note at: media@womeninvinyl.comCheck out www.womeninvinyl.com for past episodes, the store, job board, and the growing library of resources!Don't forget to like, subscribe and give us a review on your favorite podcast delivery method! You can also contribute to furthering our mission at https://www.patreon.com/womeninvinylWhere you'll find all of the B-Sides, Deep Cuts and amazing extras, including longer episodes and contribute to the creation of scholarships and educational opportunities to further the demystification and infiltration of more Women and Non-Binary identifying humans into the Vinyl Making Space!

American travel writer and television personality Rick Steves has a new mini-series called “Art of Europe.” Plus, an exhibition featuring work from some of the nation's greatest artists is open now at the Washington Pavilion. Guild Hall, featuring artwork from Andy Warhol, Jackson Pollock, Chuck Close, and others arrives in Sioux Falls.

 https://toddcoconato.com/https://www.youtube.com/c/ToddCoconatohttps://globalvisionbc.com/  Gary Duncan  1:43  I just ran across Todd coconut, excuse me, one of my previous guests on the podcast and just wanted to get his input on what he's seen so far at this conference, Todd, thanks for, Unknown Speaker  1:53  hey, it's good to be with you, man. It's so good to be here in person with you. And honestly, you can't see me right now, if you're listening online, but I'm weeping. Because I was just telling Gary, you know, there's a lot of people that just say, America's done, give up, you know, contract into your cave and just kind of wait for the rapture, you know, but what we're seeing is the Lord is moving in city upon city upon city, altars are filled beaches, people are getting baptized and beaches. I saw it in California, I saw it in Washington, we're going back to Idaho, and a week, we were just in Myrtle Beach. I mean, I can't even remember all the places you know. And so I just want to encourage anybody that's listening, I really believe we needed to get to this place as a nation and as a church, because we were complacent. And we were, for about 30 years, we really have kind of lost our way, as a body. I'm not saying that there wasn't people that were getting saved, or God wasn't moving. But I feel like we kind of got into the, into the weeds and into celebrity Christianity and into apathy and complacency. So God is allowing this shaking, which is difficult to go through. Because, you know, we see the political environment, we see a lot of egregious things. But I really believe that what's birthing from this is people are drawing nearer to God, that's what tends to happen in times of challenges that people draw near to God. And it's unfortunate. I remember in 911, the churches were full, you know, and then all of a sudden, it started weaning off and people kind of went back to normal and, you know, but But what is normal? Is the question, you know, it was normal before COVID. Was that normal? Or, you know, was that the best that we could be? I really feel like God is saying, Look, I'm coming back for a church without spot or wrinkle. And he's coming back for the church of Philadelphia, not the church of lead if he doesn't want to compromise Church, the Bible says a little leaven leavens the whole lump. And he says that if you're lukewarm, he's going to spit you out. So this is really a moment of decision for us all. It's a time for us to draw closer to the Lord. There was a great sermon by my friend Malika O'Brien this morning. He was talking about fasting and praying and going deeper, and he was really emphasizing, I really agree with him. It's not about how many followers we have, or, you know, us getting a platform or us having a big ministry. This is a time to really Chuck Close, and hunger and thirst for righteousness and cry out to God. And the Bible says those who call upon the name of Lord shall be saved will be saved. And so that's what I believe God wants for us as a church is to cry out to Him to be a repentant people to be a people that hunger and thirst for righteousness, that that'd be a people that truly draw near and call upon his name and pray and fast, seek His face. And so if we do that, I believe God is going to respond if it responds to the prayers of the righteous. That's what the word of God says the faithful, fervent prayer of a righteous man avails much. And I really believe that this is a Second Chronicles 714 moment I believe, we have a decision to make. We still have a country we still have our freedoms for the most part. Like I mentioned, there's some very egregious things happening but hey, Roe v. Wade was just overturned all of a sudden You saw the Georgia Guidestones come down in a day to some people, that's not a big deal. But hey, come down in a day. You know, there's things that are happening. And I really believe this is a time of big faith. And so it's not a time to go into our cave and wait to be raptured out. This is a time to occupy until he comes to stand on the promise of God, which is yes and amen. hope in the future, to remember what the Word of God says, the faithful for repair the faithful servant, but what does that look like? Faithful fervent prayer all in? You know, and I think that he's also really making us take a, you know, a check on our own heart and saying is my heart in the right place hasn't been in the right place? Can I go deeper? Well, certainly we can. You know, I had an opportunity to meet Billy Graham before he passed. And I remember something he said very distinctively. But even in his very senior years in the ministry, he said, I'm ever the child in Christ, I'm always growing. And that really impacted me because we always have to be growing, we always have to be saying, Lord, what can I do to you know, have another layer peeled away? How can I go deeper in in you, Lord, I want to be in your presence. And, and just, you know, there's so many different things, and I'll just, I'll share this, Gary, you know, this is kind of crazy, but it's a true story. Last August, I was sleeping, and I have a little daughter, and she was in our bed, you know, and my wife was sleeping, and she was sleeping. And I think it was a dream. But I saw an angel. It was so real. And I would you know the first thing the Bible says every time that there is an angel and angelic experience, the people are paralyzed with fear. And that's what first came over. I was like, Oh, my gosh. And then I realized, no, this is not a demon. It's something holy, it's an angel. So then I was okay. And it just said two things, to me, it said, be consecrated, and come out from among them, be consecrated and come out from among them. Now, I've been a pastor for over 20 years, I've been in the ministry many, many years. And so I'm thinking myself, you know, I need to get more consecrated, you know, what do you mean, come out from among them, you know, and that was last August. So there's a whole year ago, and this last year, God has just been taking me deeper, and I've really been inquiring what what did that mean? Now? You know, I woke up from that, and I wasn't, you know, I think I woke up. I mean, it was so real, it might have been just happening. I was like, half asleep, but it was so real. But then, after that happened, I was just like, I couldn't go back to sleep. So I went into my prayer room, and I'm just sitting there for hours until it got morning. And then it's just, you know, ever since then I've been thinking about it. And those two things come out from among them and be consecrated. You know, we've been trying to live in this Babylon system, we've been trying to stay on these social media platforms that censor us now, you know, all these different things that we do in our culture, we've been trying to be like the culture, instead of being the head and not the tail, we've been trying to be, you know, approved by the culture instead of leading the culture. And so I really believe what God wants to bless is to come out from that Babylon system, the entirety of it, and to end it be the head and not the tail to be the church, and then to be consecrated me set apart. You know, stop with the compromise and and this is all of us, I'm preaching to myself. Stop with the compromise because look at look at the world right now. The world needs Jesus, we have the answer. Jesus is real. This is reality. This is the reality of the situation the spirit the spirit of Gary Duncan  8:11  the spirit of religion, yes, it's destroyed the church Come on, and and what I've heard from different people, and just what we do with these young people today, we, we we prayed for them, we're concentrating them to go out and be the, the voice. And it's, it's the, the no names that are out there. You know, people about, you know, a guy that just thinks he's gonna start a podcast just to get the word out. Just anybody. It doesn't have to come through straight from the top from the pastor's, right? Because 2020 to me was a wake up call to the church. And you and we see how well that woke pastors up it didn't. It didn't. The people in the pews are going, what are you doing? Can you not see this? And so we've got to have a heart for the special we got to pray for these pastors to begin to see the light to see the growth, like Pastor block was saying his church knew about deliverance for he did. And he's preaching. Unknown Speaker  9:12  This was a bap and I'm, you know, Greg's my friend. I mean, literally, he was a Baptist preacher. He didn't even know about some of the gifts of the Spirit and the Lord just let him misdirection. Why, because he'd been seeking the heart to God, spending time in the secret place. And now we're looking at a temple of like, 3000 people that are crying out to God, the altar is filled with young people. And this is Greg would say this, this is not about him to sign smears, right. It's just simply about standing and saying yes to the Lord. And yes, his spirit. None of us are perfect. None of us have it all figured out. But we need wait. Like you said, Gary, we've got to stand. We've got to, we've got to fight. We've got to we can't. We have to understand the God that we serve. We have to understand that we can tap into the power of His Holy Spirit, and we can take back this territory to the kingdom to God. So don't give up don't grow weary in doing good Use this time to go deeper. Get into the Word of God. Hide it in your heart, declare and decree telling you and start praying. If your family needs prayer, start praying for your loved ones, start praying for your friends, and trust God that he's going to do a miracle. I was a messed up person in Hollywood, when I was younger, I was a child actor, I got stabbed nine times. And when the presence of the Lord, it was my Damascus road, but God has done a miracle in each and every one of our lives every day that we get up as a miracle. Every day that we breathe is a miracle. If you've had a child, that's a miracle, I mean, the fact that we have a roof over our head, we have food on the table, we are blessed people. And so I really believe that God is waiting for us to show up and to say, use me like the prophet Isaiah, send me. And once we do that, I'm telling you, it's limitless. Like you said, he's using the hidden remnant people for a time is this It's amazing. Gary Duncan  10:51  Yeah. And don't be afraid of it. The available God is walking around this earth looking for those he can use, and the devil is to. And that's what we need to be awake to the devil is around walking around this world looking for those who can destroy control. This deliverance conference is a start for the awakening of a church to attack. We've been so long we've not attacked, we've been, like you said, Churchill love this. Love to see, you know, we're just lukewarm. And it's time for a fire to come about. And I think one of the things in here Mount Juliet start, you know, start and through this and, and thank you for what you do on your podcast and your organization. And just preaching the Word. I mean, just one thing I liked about you, where you would constantly talk about the secret place and being intimate with the Lord, because that's the first start, that's the first place you got to go. And that's honestly, for those that aren't aware of that, for me, that is the hardest, most dangerous place. The devil wants me here. And so he does everything hooked crook, still keel to keep me out of that falls in my house, to pray. And so for those that are listening, if you have a place, you don't have a place, find a place and get in it. And I'm preaching to myself, like you say, you know, because that's the key. None of it matters. If that's not the first place. Unknown Speaker  12:16  If you have that, you know, it's like any relationship, you know, if I were to neglect my wife, I mean, I go on the road a lot. I try to bring her with me everywhere, because you know, I don't want to neglect you, I want to have a good relationship. I want to be in community and I want to be you know, we're one before the Lord. And so it's the same thing we've got, we can't neglect that relationship. We want to not just, you know, go like Santa, you know, hey, I want this, I want that, you know, wish list. We want to hear what God's saying to us. We, you know, My sheep hear my voice. And he'll speak to you, if you listen, you know, and some people say, Well, I can't hear the Lord, stay in that secret place until you do, he will speak. He will speak, I'm telling you, there's times when I sit there and they say, I don't hear anything. And then I get on my face, I start putting out worship music. And I start crying out and weeping. Also, the word starts moving. Get into the word heal speaker, the word of God. fresh revelation, Gary Duncan  13:05  let me ask you one last tough question. What is what is a father, a husband, or a wife? When there's this unity, because of because of what we've gone through. What can a man or woman do whichever side their own, where the other spouse may not be 100% on board, the man or woman has has failed in many attempts, not praying for the wife not praying for the children and fighting his own battles or his or her own battles? What what? You know, it's easy to say go getting your claws, right? Yeah. But there's so much out there. keeping everyone from doing that. Is there something you can say that just kind of helps, you know, the Holy Spirit is gonna move. But sometimes it's just constant long term, you're walking through the valley of the shadow. And you just gotta keep having faith, keep having faith, keep having faith? Don't give up. Right. Unknown Speaker  14:09  Such a good question. You know, I think there's more people in this position than we realize, because a lot of people don't say publicly what they're going through. You know, I hear this almost every day. And I went to the Lord about this. Now, my wife, you know, she pretty much is on the same page. But you know, there's some things that maybe we once in a while, don't agree on. But for the most part, she is but for a while, she wasn't and I had to pray it through. And I'm a preacher, I'm an evangelist. But here's the thing about that. The Lord when I was going into the prayer about this, and I finally heard the Spirit speak, and he said, you can be one of two people in this relationship. You can be the person that's not hearing from me or you can be the person that's hearing from me. He says which one you want to be? I said, Well, I want to be the person that hears from you. He says, Well, okay, then you're in the better position. So then you your job is to pray. Because if you're the one that's asleep, and the other one's awake, well then the other ones praying for you. So that's the thing is Our job is to be an intercessor. And to war for our family to war for Our Children of War for our spouse, we can't just give up. Listen, when you have the breakthrough, you go into such another level of depth. And you realize, like, you know what, I fight for all these different things I fight to, you know, people fight for everything and like to have a good job to, you know, make good money. Why don't we fight for our family? Why don't we fight for our spouse, you know, we have to. And so and when you do that, the Lord response, like you said, they'll give you might not be right away, but just be faithful, and show them. They're watching you. They're watching your actions. And sometimes you don't realize it. But you know, the word of God has not returned back boy, you know, I'm saying, and so there's, you're always moving the needle, as long as you're staying in the right mindset, and you're in the Spirit. And so that's the key. We can't control any other person, but we can control ourselves. And so that's where the, it's a fruit of the Spirit, self control. So if you walk in that fruit of the Spirit, the Bible says, you know them by their fruit, what happens is other people respond. There's a Greek word, it's called at bolo. It's kind of a funny word at bolo. And it's what it means. And this many times in the Bible. In fact, when you, when we're commissioned, go and make disciples go, go out, cast out, drive out, that's what that Greek word means go out, cast out, drive out. What that means is that when we come into the room, and we're filled with the Spirit of God, we've spent time in prayer, we have an active prayer life. And you know, we fasted all these different things. What happens is literally the atmosphere shifts, it changes. And that's our mission as Christians right now in this place. That's why we can't retract. Because if we go out, and we cast out and we drive out, that's how we take back the territory. And sometimes our biggest ministry is right there in the house. So you know, I look, I could go all over the country and see, you know, many, many people saved and set free him delivered. But if I can't do that mountain family, then what's the problem? Right, so, you know, hang in there. Don't be discouraged. That's the biggest thing the devil wants to use. I'll give you a little one of my hidden secrets here. Go on to YouTube and put in David Wilkerson. Oh, yeah. Okay, and listen to some good David Wilkerson sermon and Carter Conley, oh, my gosh, you know, and you'll get fired up because that man, he was really ahead of his time. And I feel like a lot of things that he said were for this hour, and he gets it. And so you know, just just feel yourself a beat your soul, and then go into that prayed up and watch what God does in your family. I've seen it with spouses, Millie. I mean, not millions, but 1000s of times in the ministry over the years, I've seen it with kids that people thought would never come down. In fact, we just have one this week, that girl was totally messed up, you know, sleeping around drugs, alcohol, that the mom would have thought it never would have changed. And now she's a preacher, man, I'm telling you, within a month, something shifted in her life. And that was the prayer of the righteous. And so it happens sometimes suddenly, but hang in there. Don't give up. Don't grow weary. Know that people are praying with you. Get intercessors on your team, find like minded individuals, and partner with them in prayer and watch what God does. Gary Duncan  17:58  Great. Thank you so much. It's been a pleasure. Yes, sir. Great words. Thank you, my friend. Unknown Speaker  18:04  Thanks again for listening to this episode of remnant revolution. If you liked what you heard, please leave a comment and rating in iTunes and Google Play. This helps us get heard by more people. And don't forget to share the podcast with your friends and family. Be sure to visit www dot remnant revolution.org to join the conversation, access the show notes and keep up to date on important events and programming. To catch all the latest from me. You can follow me on Instagram at remnant revolution. Until next time, armor up, stand up and speak up  

On this episode I️ interview  artist Alicia Cummings and we discuss her practice,  her mission and how she brings her faith into her art practice. This is a beautiful conversation on passion and belief and how having faith can improve our confidence and careers. View Alicia's work on her website and Instagram. The video she referenced about Chuck Close can be viewed here.  To learn more about growing your art career, follow The Art Coaching Club on Instagram and consider joining my membership for only $10 a month. Support the show

Text Hawk to 66866 to become part of "Mindful Monday." You, along with 10's of thousand of other learning leaders, will receive a carefully curated email from me each Monday morning to help you start your week of right... Full show notes at www.LearningLeader.com Twitter/IG: @RyanHawk12      https://twitter.com/RyanHawk12 Leaders have nothing in common. They don't share gender or income level or geography. There's no gene, no schooling, no parentage, no profession. In other words, leaders aren't born with it. Actually, they do have one thing in common. "Every tribe leader I've ever met shares one thing: the decision to lead. Leadership is a choice." Great Stories – Great stories are rarely aimed at everyone. Average people are good at ignoring you. Average people have too many different points of view about life and average people are by and large satisfied. If you need to water down your story to appeal to everyone, it will appeal to no one. The most effective stories match the world view of a tiny audience—and then that tiny audience spreads the story. Really Bad PowerPoint  - Powerpoint could be the most powerful tool on your computer. But it's not. Countless innovations fail because their champions use PowerPoint the way Microsoft wants them to, instead of the right way. Communication is the transfer of emotion. make slides that reinforce your words, not repeat them. Create slides that demonstrate, with emotional proof, that what you're saying is true not just accurate. Talking about pollution in Houston? Instead of giving me four bullet points of EPA data, why not read me the stats but show me a photo of a bunch of dead birds, some smog, and even a diseased lung? This is cheating! It's unfair! It works. Define Brand – Seth's definition: A brand is the set of expectations, memories, stories, and relationships that, taken together, account for a consumer's decision to choose one product or service over another. Linchpin — the combination of passion and art is what makes someone a linchpin. Gifts — there are 2 reasons to give gifts. One is reciprocity. You give so that someone feels like they owe you something. That is manipulative and no way to build a career. The second reason is fascinating. Gifts allow you to make art. Gifts are given with no reciprocity hoped for or even possible. The paintings of Chuck Close - the gift he gives with no possibility of reciprocity gives him room to be in charge. Room to find joy. Because when he's painting he's not punching a time clock or trying to please someone who bought his time. He's creating a gift. My fundamental argument is simple. In everything you do, it's possible to be an artist, at least a little bit. “How To Be Remarkable” Remarkable doesn't mean remarkable to you. It means remarkable to me. Am I going to make a remark about it? If not, then you're average, and average is for losers. It's not really as frightening as it seems. They keep the masses in line by threatening them (us) with all manner of horrible outcomes if we dare to step out of line. But who loses their jobs at the mass layoffs? Who has trouble finding a new gig? Not the remarkable minority, that's for sure. Lost in all the noise around us is the proven truth that creativity is the result of desire. A Desire to solve an old problem, a desire to serve someone else. It's not a bolt of lightning from somewhere else... The difference between talent and skill: Talent is something we're born with: it's in our DNA, a magical alignment of gifts. Skill is earned. It's learned and practiced and hard-won. It's insulting to call a professional talented. In the words of Steve Martin, “I had no talent. None.” If you want to change your story, change your actions first. We become what we do. Practical Empathy -- “We have to be able to say, ‘it's not for you' and mean it. The work exists to serve someone, to change someone, to make something better.  

“Inspiration is for amateurs. The rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself.”  -Chuck Close, Artist Most starting writers fear the blank page. Most beginning artists stare blankly at the empty canvas. The only way to move forward is to move. So when the going gets rough (or more likely, when the going gets strange), here are some good ideas to just help you get moving, even when you don't know what to do.

Mike continues with his entries in his perpetual journal and some other studies with ink and watercolor. Mike also creates an alternative for those interested in supporting him and the podcast. Paul Heaston sits down with Mike to talk about his journey from drawing whales to his MFA and now urban sketching. He talks about his teachers' powerful influence on his creative journey and how he sought creative inspiration from his interests. Paul talks about his tools, approach, and experimentation driven by curiosity. His homework will offer you a different view of the world. Buymeacoffee (Buy Me a Brush :-) ) Live draw (spider - coloured pencil on black paper) Owl (coloured pencil) Perpetual journal (common hooded merganser, painted turtle) Milkweed, lily of valley, blue jay feather ===== Interview Notes ===== Calvin and Hobbes The Far Side The Simpsons Tom & Jerry The Voyage of the Mimi California Gray whale Alice Neel (artist) Chuck Close (artist) Philip Pearlstein (artist) Sliding tile puzzle Ed Ruscha and “Every Building on the Sunset Strip”, 1966 Gabi Campanario Urban Sketchers (Instagram, Web) Liz Steel Everyday Matters (Danny Gregory) Creative Talent Network - VizDev show Lamy Safari Alvin Wong Hero M86 Fude Pen (The Pen Addict Review) Stillman & Birn - Epsilon Series Etchr Hahnemuhle Nostalgie Platinum Carbon Ink De Atrementes Document Ink Ed Mostly Noodler's Lexington Gray Gelly Roll White Pen Signo white pen (Uniball) Posca paint pens Molotow white paint marker Deleter White 2 for Manga Artgraf Watersoluble Graphite Urban Sketching Summer Retreat - Madeline Island school of the Arts ===== How to reach Paul Heaston ===== Instagram (@paulheaston) Facebook Twitter (@paulheaston) TikTok (@paulheaston) Blog YouTube ===== How to reach Mike Hendley ===== MikeHendley.com Instagram @Mike_Hendley Twitter @MikeHendley Show notes at DrawingInspiration.fm ===== Support the Podcast ===== Become a patron of the show Rate and Review on Apple Podcasts Share the podcast with friends and family Podcast theme music is “Acid Jazz” By Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

This week on episode 23 of the Camerosity Podcast, we finally get a chance to talk to Nafis Azad about his work with large format Polaroids at the 20x24studio in New York.  If you have a hard time picturing what a two foot tall instant photograph looks like, you're not alone.  Listen in on the history of the 20x24 Polaroid, how it works, and other stories. Not to be outdone, Anthony, Paul, Theo, and Mike, along with returning guests Mark Faulkner, Howard Sandler, Jess Ibarra, James Allen, and Dan Tree talk about everyone's favorite Voigtländers, the strangest looking TLRs, and why Soviet cameras often need service, even when new.  Paul shares us with how knowledge of the f/stop system can help you when ordering a pizza, and Mike shares another PSA recommending everyone insure their cameras! Every episode, the topics we discuss on the Camerosity Podcast are decided entirely upon you, so if you'd like to join us, be sure to look out for our next show announcement for Episode 24, which at this time, we haven't yet decided on, so stay tuned! This Week's Episode Nafis Azad and the 20" x 24" Polaroid Camera / 20x24studio in New York How Does Large Polaroid Film Work? / Polaroid 44x80 Room Camera Elsa Dorfman's Portraits / Who Was Edwin Land? How Much 20x24 Film Is Still Left and How is it Stored? Chuck Close's Close-Ups / What Lenses are Used? Calculating Exposure and Latitude of Large Format Polaroid Film Maintaining the 20x24 Cameras / Do They Ever Break? / Storing Old Polaroid Photos Voigtländer Vitessa Rangefinders / Voigtländer Zoomar Lenses Jess Ibarra Returns Gets More Testing Stuff / Voigtländer Superb Sugiyama's Collector's Guide to Japanese Cameras / McKeown's Guides / Jason Schneider's Camera Collecting Books Coolest Looking TLRs, Voigtländer Superb, ANSCO Automatic Reflex 3.5, Fujicaflex, Flexarets, Welta Perfekta and Superfekta Dan Tree Visits the Leica Store in San Francisco and Gets a Water Bottle / The Leica MP / Olympus XA4 The Pentax S1a has a Secret Shutter Speed / Argus 21 Markfinder / Voigtländer Vito II / Voigtländer BR / Voigtländer Vitomatic The Rollei 35 is Worth it / Petri Color 35 / Paul's 8 Point Rollei 35 Rating System Ricoh Hi-Color 35 / Ricoh Put Light Seals Everywhere Mark Beadle Buys an Arax 88CM / Ukrainian Cameras / How Do People Feel About Russian Cameras Right Now? The Plaubel Makina has Strange f/Stops / US Stop System / The f/stop System Helps When Ordering Pizza! Mark Faulkner's Quick Update on His 3D Printed Spool Extenders / Chris Paulin is the Camerosity Podcast Superfan Were Soviet Cameras Made Rough on Purpose so that they Could Be Fine Tuned Later? Film Spacing Problems are not Unique to Soviet Cameras, Rolleiflexes Can Have Them Too Buy a Demo Model Because You Can Guarantee It Works Anthony's E6 Home Development Adventures / New Kodak Gold 200 in 120 / New Cinestill 400D Film How Does Everyone Keep Track of their Camera Collection? / Insure Your Collection!!! Show Notes If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Nafis Azad - https://www.nafisazad.com/ and https://20x24studio.com/ Dan Tree - https://www.instagram.com/dantreephoto Jess Ibarra - Viva La Film – https://www.vivalafilm.com/ Mark Faulkner - https://thegashaus.com/ Mark Beadle - https://www.instagram.com/mark_beadle90/ Howard Sandler – https://www.flickr.com/photos/hsandler Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/

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*Trigger warning! Marked as explicit because we talk about sexual assault (minutes 7:30 to 10:30) in discussing Chuck Close.November is National Native American Heritage Month! One way we can honor and celebrate Indigenous and other minority cultures is by better acquainted with artisans from these communities.  Our resident atelierista, Spencer, discusses some amazing artists who are relatable to children. Georgia O'Keeffe - Her sweeping imagery of nature and bright colors are very enjoyable for kids. - “My name is Georgia”  Frida Kahlo - She is one of the best artists to introduce children to ideas of portraiture. - “The Story of Frida Kahlo” Jean Michel Basquiat - His use of bright colors and sketch-like drawings are appealing to children. - “Life Doesn't Frighten Me” Yayoi Kusama - She is an extraordinary artist who uses polka dots. She is perfect to bring up this time of year because of her use of pumpkins and gourds! - http://yayoi-kusama.jp/e/information/Maria Tallchief - America's first prima ballerina was a Native American woman! - “Tallchief: America's Prima Ballerina”- Video Vashti Harrison - She is an author/illustrator with a cartoonish style who depicts young black children taking on the world.Hair Love BookHair Love Video Isamu Noguchi - A Japanese-American artist known for his sculpture, public artworks, stage sets, and several mass-produced lamps and furniture pieces.What do you think of us making this a monthly minisode? Resources:The map of Indigenous People - https://native-land.ca/https://www.ncai.org/initiatives/native-american-heritage-monthhttps://www.theguardian.com/news/datablog/2019/may/21/museum-art-collections-study-very-male-very-whitehttps://www.apollo-magazine.com/native-american-art-hasnt-changed-museums-have/https://www.teenvogue.com/story/museums-and-historical-spaces-disrespect-native-american-historyhttps://artsandculture.google.com/story/5-native-american-artists-you-should-know/hwICZEKk3E5BJwhttps://ruthmillington.co.uk/important-black-visual-artists/https://www.vmfa.museum/about/rumors-of-war/https://ruthmillington.co.uk/women-in-art-11-female-artists-to-know-past-to-present/"Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Support the show (https://www.buymeacoffee.com/speckeledbees)

L'idée de faire un podcast en anglais nous traversait l'esprit depuis longtemps. Sauf cas particulier (l'enregistrement à distance du podcast d'Arnaud Montagard, un photographe français basé à New-York), nous avions pour le moment toujours privilégié un enregistrement « physique », d'humain à humain, notamment pour la qualité du son et la richesse de la rencontre. Lors de différents sondages sur Instagram, plusieur s personnes nous ont soufflé le nom de Christopher Anderson. Et nous avons eu la bonne surprise de découvrir qu'il habitait à Paris, avec sa femme Marion et ses enfants. L'occasion était rêvée et nous l'avons saisie, tout simplement. Nous vous souhaitons de prendre un plaisir équivalent à celui-que nous avons eu en le réalisant. Bonne écoute !   N.B. Nous avons gardé le podcast en version originale (en anglais donc). Pour les Français qui ne parlent pas du tout anglais et qui voudraient suivre le podcast, nous avons traduit le podcast à l'écrit grâce à l'aide précieuse d'Emma et de Coline, deux auditrices que nous remercions vivement.   Voici cette traduction : http://urlr.me/NkYjr      Christopher Anderson est un photographe que l'on ne présente plus. Mais nous allons quand même essayer de nous y atteler. Né au Canada en 1970, il a grandi dans l'ouest du Texas, aux États-Unis. Complètement autodidacte, sa première « école » a été un travail pour un journal quotidien local dans le Colorado. Des matchs de basket-ball aux incendies, des réunions des conseillers municipaux en passant par quelques portraits… il se forme sur le terrain. Puis, il quitte tout pour suivre sa copine de l'époque, originaire de l'ex-Yougoslavie, qui retournait dans son pays natal. À ce moment précis, il décide de se lancer à corps perdu dans une carrière de photojournaliste.     En 2000, alors qu'il était en mission pour le New York Times, Christopher Anderson monte à bord d'un petit bateau en bois avec 44 Haïtiens qui tentaient de se rendre en Amérique. Le bateau coule peu à peu, l'équipage est secouru au dernier moment par les garde-côtes. Ce jour-là, le photographe ne passe pas loin de la mort. Son premier instinct a quand même été de photographier les derniers instants. Du moins ce qu'il pensait être les derniers instants. Nous commençons le podcast de manière immersive avec la description d'une photo tirée de cette série. Au fur et à mesure de l'histoire, nous retenons notre souffle. Quel début !  Ces photos ont valu au photographe la médaille d'or Robert Capa et ont marqué le début d'une période de 10 ans en tant que photographe contractuel pour Newsweek Magazine et National Geographic Magazine.  En 2011, il est devenu le tout premier photographe en résidence du New York Magazine et commence à faire de plus en plus de portraits. Et pas n'importe lesquels : de Barack Obama à Spike Lee, en passant par Debby Harry ou même Chuck Close et plus récemment Matt Damon. Christopher Anderson rejoint Magnum Photos en 2005. Puis, en 2008, après la naissance de son premier enfant, il décide de s'éloigner définitivement du travail journalistique et des terrains de guerre pour se tourner vers des sujets plus intimes. Il commence à photographier son entourage : sa femme, ses enfants, ses amis… La guerre, il en a fait le tour. Depuis, le photographe a sorti de nombreux livres (principalement publiés chez Stanley/Barker) et a commencé à faire des courts-métrages. Une carrière déjà vaste à seulement 51 ans.   Dans ce podcast de près d'une heure, nous parlons avec Christopher Anderson de plusieurs sujets : ses débuts en tant que photojournaliste, son processus créatif pour le portrait (l'avant, pendant et après) et sa relation aux sujets photographiés, son rapport au temps et à la « discipline » ainsi que son approche du livre photo (en mentionnant notamment Capitolio et Son). Nous évoquons également certaines séries (COP et Approximate Joy) et son utilisation récente de la longue focale afin de supprimer le contexte du lieu ou de mettre en exergue certains détails, formes, expressions et gestes. Le photographe américain nous parle de son lien intime à la couleur, lié aux émotions, et plus globalement de son rapport à l'esthétique dans son travail. Puis, nous abordons son ouverture à l'image animée et son désir de faire des longs-métrages.   Essayez gratuitement Lightroom pendant 7 jours :  http://urlr.me/HbxDw  Nous soutenir  https://visionspodcast.fr/nous-soutenir/    Pour aller plus loin  Michael Finkel, Magnum Photos, Bill Callahan, Chuck Close, Garry Winogrand, Approximate Joy, publié par Stanley / Barker, Cop, publié pa Stanley / Barker, Son,  publié par Stanley / Barker, Pia,  publié par Stanley / Barker, Capitolio, publié par Images En Manoeuvres Editions. Liens  https://www.instagram.com/christopherandersonphoto/   https://christopherandersonphoto.com/    https://www.instagram.com/podcastvisions/      https://www.visionspodcast.fr/    

With the giant hit of Ghostbusters behind him, Ivan Reitman can work with even bigger budgets and stars... but is he up the challenge? What happens when you listen to your agent too much and are used to your funny friends saving your productions? And is this movie really about lawyers, or about the fine art scene? Find out in 1986's Legal Eagles. UPDATE: RIP artist Chuck Close, who died this summer. UPDATE: RIP Newman's Own BBQ Sauces, which are discontinued. I checked with the head office and everything. https://www.patreon.com/rossmaywriter

Hello Autumn! We are so ready for you. It's been a disappointing summer weather-wise here in the UK, so we are very excited for a September full of art and exhibitions. New exhibitions include Doron Lamberg at Victoria Miro, Helen Frankenthaler at Dulwich Picture Gallery, Tacita Dean at Frith Street Gallery and Surrealist Female Artists at the Whitechapel. Our main story focuses on Poland, and a controversial ‘anti-cancel culture' art exhibition that was set to open at Ujazdowski Castle Center for Contemporary Art. We discuss some of the 30 artists included, and the protests surrounding it from Poland's anti-fascist league and various LGBTQ+ and Jewish organizers. We also look back on the lives of two artists who passed away recently: Dame Elizabeth Blackadder and Chuck Close, before turning to our Artist Focus: Cindy Sherman. Sherman is an American artist whose work consists primarily photographic self-portraits, depicting herself in many different contexts and as various imagined characters. We try to dig down to the ‘real' Cindy Sherman, if that's possible!SHOW NOTES: Charleston: https://www.charleston.org.uk/ A South London Makers Market: https://asouthlondonmakersmarket.co.uk/ Kate Emma Lee Ceramics: https://kateemmalee.com/ Mimi Dickson Paintings: https://www.etsy.com/uk/shop/mimidickson Harriet Shaw Rugs: https://www.instagram.com/harrietsayshi/?hl=en Doron Lamberg ‘Give Me Love' at Victoria Miro until 6 November 2021: https://online.victoria-miro.com/doron-langberg-london-2021/ Helen Frankenthaler ‘Radical Beauty' at Dulwich Picture Gallery from 15 September 2021 - 18 April 2022: https://www.dulwichpicturegallery.org.uk/whats-on/exhibitions/2021/may/helen-frankenthaler-radical-beauty/ ‘Mixing it up: Painting Today' at Hayward Gallery from 9 September to 12 December 2021: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/mixing-it-painting-today Tacita Dean at Frith Street Gallery from 17 September to 30 October 2021: https://www.frithstreetgallery.com/exhibitions/tacita-dean-4 Phantoms of Surrealism at the Whitechapel Gallery, until 12 December 2021: https://www.whitechapelgallery.org/exhibitions/phantoms-of-surrealism/ Ben Crase: https://www.instagram.com/_gummy_beats_/?hl=en Jenna Gribbon: https://www.instagram.com/jennagribbon/?hl=en Ania Hobson: https://www.aniahobson.com/ 100 Contemporary Female Artists You Need to Know: https://www.marylynnbuchanan.com/blog/100-contemporary-female-artists-you-need-to-know-2021 Dame Elizabeth Blackadder: https://www.theguardian.com/artanddesign/2021/aug/25/dame-elizabeth-blackadder-obituaryChuck Close: https://www.theguardian.com/artanddesign/2021/aug/20/chuck-close-obituary Polish State Museum has put on an anti-cancel culture exhibition: https://www.independent.co.uk/news/warsaw-polish-islamophobic-swedish-jews-b1909742.htmlhttps://news.artnet.com/art-world/ujazdowski-castle-exhibition-2003364 Beyoncé and Jay-Z Pose with Long-Unseen Basquiat in Tiffany Campaign: https://www.artnews.com/art-news/news/beyonce-jay-z-tiffany-basquiat-1234602125/ Cindy Sherman: https://www.theguardian.com/artanddesign/2011/jan/15/cindy-sherman-interview https://www.theguardian.com/artanddesign/2019/jun/08/cindy-sherman-interview-exhibition-national-portrait-gallery

Jessamyn and I managed to stumble our way into and through a podcast despite both having the needle pegged hard to E this afternoon, and here is recorded evidence of that fact, at about 75 minutes.Helpful LinksPodcast FeedSubscribe with iTunesDirect mp3 downloadMisc - Jessamyn is still cleaning out her mom's house. - like seriously that's a lot of books - Also, it is Virgo month of leisure, which seems fair, he works really hard in his movies and—oh, I'm being told that Viggo - Samuel Taylor Coleridge is not Samuel Coleridge-Taylor and, by the commutative property, vice versa Jobs - Writing Editor by parmanparman Projects - Antarctic survival manual: art for the pandemic and other disasters by SinAesthetic - New England Carnegies by jessamyn - Pattern Explorer by reventlov - Procedural bit-pattern art by suetanvil - The Camera Offset Project: Hide your face. Save the world. by missjenny - thoughts.page by wesleyac MetaFilter - Cats. Trees. Cat trees. by ardgedee - 40 albums, 1 year, & Mike Townsend hit a Grand Slam by CrystalDave - Nandi Bushell and Foo Fighters by mokey - AIDS denialism in the Rock and Roll Hall of Fame? by The Ardship of Cambry - Frank Herbert heard "shows within shows" and got excited by cortex - All Your Mashups Belong to Us by WCityMike2 - If you're not Kubla Khan by Sokka shot first - Come as you are? Nevermind by girlmightlive - Hot coffee + brandy + tranquilizers + turpentine = Houses of the Holy by jessamyn - Chuck Close 1940 - 2021 by ardgedee Ask MetaFilter - Can anyone identify this song? by marimeko - Music copyright and TV licensing by soonertbone - 2020 Olympics Best-Of, No Spoilers Edition by exceptinsects - Cashing old checks by Anonymous - Is the concern over vegetarians getting enough protein overblown? by rjacobs - Commonly taught facts/trivia that are oversimplifications by Seeking Direction - a comment by backseatpilot - 1883 House - Money Pit? by imjustsaying MetaTalk - August is MetaFilter fundraising month by cortex - Hey, it's a MetaFilter newsletter! by cortex - Call Me By My Name: Mefi Newsletter 2, the Denominated by taz

Before continuing in their series considering the relation between artists and their gardens, Tom and Sheila discuss the art of Chuck Close, who died last week.  They turn then to Emil Nolde, Charles Burchfield, and Odilon Redon.

We remember an artist, a journalist and a musician, each of whom made significant contributions to their respective fields: Known for his giant hyper-realist paintings of faces, Chuck Close was one of the leading artists of his generation. After a stroke left him partially paralyzed, he was able to keep painting. Former war correspondent Joe Galloway was the only civilian to be awarded the Medal of Valor in the Vietnam War. And Charlie Watts, the drummer for the Rolling Stones, who helped define rock 'n' roll.

Thomas Leonard - the founder of Coaching - listed 101 Coaching Mistakes to Avoid. Here we go through the top 8 from his list. We also pay homage to the painter Chuck Close who died on August 19th and once again listen to the story about Chuck Close I use in Coaching.   Want more Essential Coaching Skills?  Check out... Essentialcoachingskills.com

1:01 - Abby Winograd, the MacArthur Fellows Program 40th Anniversary Exhibition Curator at the University of Chicago Smart Museum of Art, discusses her work organizing the multi-site exhibition “Toward Common Cause: Art, Social Change, and the MacArthur Fellows Program at 40” and an accompanying museum exhibit at the Smart Museum of Art.39:45 - Craig takes a look at the life of Chuck Close

The Nose had planned to discuss all the scandals around Jeopardy! executive-producer-turned-incoming-host Mike Richards. But then he quit this morning, so The Nose discusses that instead. And: Larry David (the real guy, not the TV character — as much as those are two different things) went off on Alan Dershowitz in a Martha’s Vineyard grocery store. And finally: FBOY Island is HBO Max’s first reality TV dating show. It’s not the sort of thing The Nose would normally cover, which is exactly why The Nose is covering it. Some other stuff that happened this week, give or take: Chuck Close, Artist of Outsized Reality, Dies at 81 He found success with his large-scale Photorealist portraits, becoming one of the leading artists of his generation. Late in life he faced allegations of sexual harassment. Sean Lock Dies: ‘8 Out Of 10 Cats’ Comedian Was 58; Tributes From Ricky Gervais, Bill Bailey, David Baddiel & More Lawsuit Alleges Sexual Abuse By Bob Dylan Britney Spears Is Under Investigation For Battery After A Dispute With A Staff Member No one was injured in the alleged altercation between Spears and a member of her staff. New pictures show Wally the Walrus relaxing on a small boat in Crookhaven Wally the walrus is set to get a ‘floating couch’ in an effort to prevent him from sinking more boats. Carrie Underwood Faced Backlash Online After She Liked An Anti-Mask Video On Twitter Mr. McFeely’s son, a real-life mail carrier, to deliver in Daniel Tiger’s neighborhood Why Country Music Was (Finally) Ready to Come Out “It was like, ‘I can be comfortable and out and gay, or I can do country music, but I definitely can’t do both,’” says one artist. Now that dichotomy appears to be falling apart The Coen Brother If Ethan Coen is done making movies with his brother Joel, what might that mean for projects from each Coen Brother going forward? OnlyFans Says It Will Ban Sexually Explicit Content The new policy takes effect Oct. 1. GUESTS: Xandra Ellin - Associate producer at Pineapple Street Media, and she writes the On the Media newsletter Carolyn Paine - An actress, comedian, and dancer; founder, director, and choreographer of CONNetic Dance Cat Pastor - Assistant radio operations manager at Connecticut Public Join the conversation on Facebook and Twitter. Colin McEnroe contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Nate and Benjamin recap the Parrish Art Museum summer benefit, the first under new director and friend of the pod Kelly Taxter. They go on to discuss the sad passing of two icons from different generations, Chuck Close and Kaari Upson. They are then joined by Downton icon and The Gentleman's Quarterly fashion critic Rachel Tashjian to discuss the Met Gala (twice), good (and bad) fashion/art collaborations, the best dressed people in the art world, the dress code for Nate's big summer event, Sterling Ruby as a fashion designer, and why The Times should revive On the Street and Evening Hours with the brilliant Mordechai Rubinstein taking over from the dearly missed Bill Cunningham. --- Support this podcast: https://anchor.fm/benjamin-godsill/support

If you enjoy rebelling against established institutions, you'll enjoy some aspects of Postmodern Art and the work it inspires today. Host Klaire Lockheart will briefly review Modernism before explaining the Postmodernism movement. Discover the legacy of the Guerrilla Girls, and learn about an epic feud over the blackest black paint. Artists and Artwork: Damien Hirst (Away from the Flock), Colleen Wolstenholme, Jeff Koons (String of Puppies), Art Rogers (Puppies), Chuck Close, Jean-Michel Basquiat, Al Diaz, Andy Warhol, Guerrilla Girls (Do women have to be naked to get into the Met. Museum?; When Racism And Sexism Are No Longer Fashionable, How Much Will Your Art Collection Be Worth?), Anish Kapoor (Cloud Gate), and Stuart Semple Additional Topics: Modernism, SAMO©, Neo-Expressionism, Linda Nochlin, James Elkins (Stories of Art), the Bean, Vantablack, Culture Hustle, Black 3.0, and “Art Workers' Coalition: Statement of Demands” klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

We start today's discussion with a quote from artist Chuck Close, who said "inspiration is for amateurs. The rest of us just show up and get to work." This sounds a little confrontational, but the he continues with an explanation: "If you wait around for the clouds to part and a bolt of lightening to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself.” We both agree that this is the way it works for us - we paint and the ideas come. If we simply waited for an idea, we both think nothing would happen -the bolt of lightening would never strike. But we wonder whether there are some people who really do have to wait for the spark of an idea? Who have to respond to external stimuli rather than stimuli that come from within. This leads us to contemplate how the pandemic has effected our inspiration, both in positive and negative ways. For many artists lockdown took away their source of inspiration but in many cases that resulted in new and creative ideas. Finally, we ask how you can find inspiration when it has gone, and offer some of our own solutions for getting past that stuck feeling. Mentioned: Louise course: https://www.louisefletcherart.com/ Gary Peters' manifesto: https://garypeters.info/manifesto This Naked Mind: https://www.amazon.co.uk/This-Naked-Mind-Annie-Grace/dp/0008293430 Find our websites and sign up for our newsletters at: www.alicesheridan.com www.louisefletcherart.com Follow us on Instagram: @alicesheridanstudio @louisefletcher_art "Monkeys Spinning Monkeys" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License

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

We look at Chuck Close and his innovative way of art! You'll definitely want to check out the instagram on this one. For someone who had face blindness, he really focused on it. Check out My Girl My Whiskey and Me and rate and reviews us, or them, or all of it! halfwaydocent@gmail.com for questions or suggestions.

Podcasting during quarantine just feels like the Weasley Twins in Harry Potter and the Deathly Hallows with their little radio show. Friendly reminder that you can follow me on instagram if you haven't realized their new terms of service specifically outlines how they can track for text messages, access your contacts, watch you through your front facing camera even if it's not open, which, mind you, they were already doing, they just weren't explicitly telling you. Anyways, I've been absent for a few weeks. I like to make a point of not always being predictable or accountable. I think it's best for all of us, just so we all know what to expect. I'm kidding…Kinda. No, honestly, quarantine has been hard. Obviously, I was working as an epidemiologist in Florida on it for a few months and was teaching remotely. I thought Biden winning the election would alleviate some of the stress, but it turns out it's “surprisingly” not comforting to realize there was only a 4% difference in who wanted fascism in this country. Crazy, right. On top of that, I had 2 people in my life commit suicide within 3 weeks of each other, then my grandfather died, then my childhood pony died, and then I had to experience the stress of holidays when I don't speak to the majority of my biological family. I was, however, the only family member invited to my GAY side of the family's Thanksgiving. The dinner was wonderful and it may be one of the last times I will get to see my Godmother, as she has had terminal cancer for a few years. Her children are risking the chance of flying over to DC for Christmas, and they didn't agree for Thanksgiving, so I take that as a sign she's not doing too well in spite of what she says. We were laughing about art, as my godmother is responsible for introducing me to artists like Monet, and my FAVORITE FAVORITE painting to date (even with how much I love studying Van Gogh and Salvador Dali's work) is “The Fingerprint Granny”, by Chuck Close, that was hanging in the National Gallery of Art in DC. It's this huge black and white portrait of a grandma that is made with thumbprints. It's incredible, I love it. I actually got to meet him on a field trip my senior year of high school. He drives a cool x-men type wheelchair. Well, turns out, like all our favorite white men, he was responsible for abusing his position of power as a superior and title as an “artiste” to sexually abuse the women, even minors, who would work for him. I'm now rethinking why his assistant eagerly asked ME what I thought about it instead of the 10 other classmates that were also looking at the painting around me. #HotGirlPrivilege So, these past few weeks have been pretty heavy for me. Fittingly so. I pretty much just shut down as a person for a few weeks. Went into a depression induced hibernation for a while. Am I out of it? Probably not. I don't ever think people move on from pain rooted in sadness or loss, especially permanent events. The idea of just shoving it aside doesn't make any sense to me. I think healthy people find different perspectives on it, channel it into a positive even when it's the most complicated, heartbreaking backstory you've ever heard. Some people choose to dismiss it, because they're either so sociopathic they don't care or they're too scared to admit they don't like themselves or what pain they've caused. Some people are embarrassed to need others, so they refuse to admit they do. I think it's most natural to myself to embrace it. To learn from my experiences. The pain I've caused myself and others. To study it, like I study everything in life, and to understand I cannot change the past but every day I choose the future. To love it, because it makes me who I am. It shapes my path. What started to pull me out of the abyss, though, was a few things. My turkey, Thanksgiving, started flying up to my window and waking me up every morning to make sure I w

What do the founder of IKEA, Cher, Richard Branson, Chuck Close, and Justin Timberlake have in common? They all present some form of neurodiversity, from ADHD to Dyslexia to OCD, and they all credit all or part of their success to these learning or processing differences. 35% of entrepreneurs label themselves as dyslexic. Neurodivergence is at the core of creativity.  Innovation has always come from the edges.  We are not saying that people with learning differences are automatically more creative, even though many famous creatives, artists, and creative entrepreneurs did have learning differences. This episode is more about how to set yourself up for creative success when you have a learning difference or neurological differences. We'll be drinking a muddled cocktail, the mojito, while we get drunk on the creative possibilities.      

Patrick Carney, the Artiste, is an indomitable spirit who has shared his creative talent with the world in ways that are sometimes beyond measure. No one captures the ‘Essence of Women,’ the aura of their souls, the contours of their brilliance in the way this artist can. Carney captures the legacy that these women leave as footsteps on this earth. While attending the School of Visual Arts in New York City, Patrick Carney had the privilege to study with Chuck Close, Marge Anderson, Robert Israel, Burne Hogarth and Milton Glaser; each of these teachers having a profound impact on his life. As a youth he read voraciously – searching for answers which led to more questions. While pursuing studies at Buffalo State, he worked as a specialist in media at the Communications Center.  Later he was named the Art Director of the Lafayette Community Center where he taught art to inner city children.  For a time he traveled throughout the NY State as an Artist in Residence at underprivileged high schools as a representative of the Arts Council, and volunteered as a art teacher in the state prison system, believing that it was his obligation to give back and “Pass On” his given talents. Starting in 1964 in NY’s West Village, Mr. Carney dedicated his time to drawing and painting the world of rock n’ roll music, it’s passion and creativity caught in real time forever.  He traveled throughout the US attending rock concerts and painted whatever star excited him – and thus his work is a varied series of welcome surprises. Hanging out at what he calls “the corner of Art and Soul,” the Artiste Patrick Carney creates the images of your youth, capturing on canvas the music you grew up with. "OMG! You can't even imagine...the colors are so brilliant, expressions are so captivating and the descriptions are so thoughtful expressed. And the people he brings together are a bundle of joy, an inspiration rolled into one. You have to experience Patrick's awesomeness Live and In Person. Will take your breath away and surround you with love!" -Vizion Uni, Art Collector Not only are Patrick Carney’s Acrylics and Pen & Inks purchased by collectors all over the world, his paintings are displayed in the personal collections of such luminaries as Dick Clark, John Lennon, Bob Dylan, Stevie Nicks, Bruce Springsteen, JD Souther, Tom Russell, Judy Collins, Al Kooper and Pete Seeger.

We discuss the Chuck Close quote, "Inspiration is for Amateurs, the rest of us just show up and get to work." It's just a wee bit polarizing and has us at odds a few times. We'd love to hear what you think of Artists and their need or not need for Inspiration! Next week we are discussing the movie "Quills" - a biopic of the Marquis de Sade. If you have time, find the movie and watch it before the podcast! https://linktr.ee/artballad ArtBalladPodcast@gmail.com . We are two artists based in Alberta, Canada. We love to create, view, discuss and challenge each other when it comes to all things Art and Design. Some of the things we will be discussing are: Art movements, specific artists, historical events,media, concepts, ideas and controversies. . Intro/Outro Music: Original Composition by Jordan Wendzina https://www.youtube.com/user/10synapseMusic12 --- Send in a voice message: https://anchor.fm/artballad/message

Chuck Close ist einer der wichtigsten Vertreter des Fotorealismus in den USA. Er malte sein ganzes Leben und verarbeitete Lebenseinschnitte durch seine Kunst.

We start off with a history lesson from Professor Randi as she catches us up on the innovations of the camera, starting back in 1826! We slide back into a little - Is it Art - when talking about the abundance of Amateur Photographers that now exist. And once again, we find ourselves ending off with things a little more open that completely solved. If you've got thoughts on the matter - help us out! Next week, we pull apart the Chuck Close quote - "Inspiration is for Amateurs, the rest of us just show up and get to work....". Don't miss it! https://linktr.ee/artballad ArtBalladPodcast@gmail.com . We are two artists based in Alberta, Canada. We love to create, view, discuss and challenge each other when it comes to all things Art and Design. Some of the things we will be discussing are: Art movements, specific artists, historical events,media, concepts, ideas and controversies. . Intro/Outro Music: Original Composition by Jordan Wendzina https://www.youtube.com/user/10synapseMusic12 --- Send in a voice message: https://anchor.fm/artballad/message

The Unspoken: Bob HolmanFeatured in a Henry Louis Gates, Jr. profile in The New Yorker, crowned "Ringmaster of the Spoken Word" by the New York Daily News, Bob Holman has performed his poems with a punk band in Kiev, a griot in Timbuktu, a ballet company in San Francisco. As the original Slam Master of the Nuyorican Poets Cafe, creator of the world's first spoken word record label, Mouth Almighty/Mercury, and the founder of the Bowery Poetry Club, Holman has played a central role in the spoken word and slam poetry movements of the last several decades. He is the author of 17 poetry collections, A Couple of Ways of Doing Something (Aperture, a collaboration with Chuck Close), and has taught at Princeton, Columbia, NYU, Bard, and The New School. A co-founder of the Endangered Language Alliance, Holman's study of hip-hop and West African oral traditions led to his current work with endangered languages. He is the producer/host of films including "The United States of Poetry" and "Language Matters with Bob Holman.Learn more about Simran here:www.iamsimran.comwww.1111mag.com/

Featured in a Henry Louis Gates, Jr. profile in The New Yorker, crowned Ringmaster of the Spoken Word by the New York Daily News, Bob Holman has performed his poems with a punk band in Kiev, a griot in Timbuktu, a ballet company in San Francisco. As the original Slam Master of the Nuyorican Poets Cafe, creator of the world's first spoken word record label, Mouth Almighty/Mercury, and the founder of the Bowery Poetry Club, Holman has played a central role in the spoken word and slam poetry movements of the last several decades. He is the author of 17 poetry collections, A Couple of Ways of Doing Something (Aperture, a collaboration with Chuck Close), and has taught at Princeton, Columbia, NYU, Bard, and The New School. A co-founder of the Endangered Language Alliance, Holman's study of hip-hop and West African oral traditions led to his current work with endangered languages. He is the producer/host of films including The United States of Poetry and Language Matters with Bob Holman

I discuss the Chuck Close quote and how it's informed my Artistic Practise. I also answer the questions: What piece of Art would I like to own most, and What's the best piece of advice ever given to me! Artist Life LinkTree: linktr.ee/ArtistLife My Art Social Media: https://linktr.ee/Fk_Arts

Featured in a Henry Louis Gates, Jr. profile in The New Yorker, crowned "Ringmaster of the Spoken Word" by the New York Daily News, Bob Holman has performed his poems with a punk band in Kiev, a griot in Timbuktu, a ballet company in San Francisco. As the original Slam Master of the Nuyorican Poets Cafe, creator of the world's first spoken word record label, Mouth Almighty/Mercury, and the founder of the Bowery Poetry Club, Holman has played a central role in the spoken word and slam poetry movements of the last several decades. He is the author of 17 poetry collections, A Couple of Ways of Doing Something (Aperture, a collaboration with Chuck Close), and has taught at Princeton, Columbia, NYU, Bard, and The New School. A co-founder of the Endangered Language Alliance, Holman's study of hip-hop and West African oral traditions led to his current work with endangered languages. He is the producer/host of films including "The United States of Poetry" and "Language Matters with Bob Holman," both nationally broadcast on PBS.

Andrew Ramiro Tirado is a Colorado-based artist who is best known for his award-winning large-scale sculptures and paintings of human hands. Using wood, metal, or traditional paint and canvas, Andrew combines his unique artistic eye with decades of experience as a craftsman to create remarkable pieces that are stunning in both their size and presentation. His hand sculptures can exceed ten feet in length and are sometimes displayed hanging from the ceilings of galleries or buildings—when you see Andrew’s work, there is no mistaking who created it! Andrew grew up in Colorado and graduated high school with the intention of studying and pursuing art as a vocation. During college, he landed a job in New York City, working as an assistant for the renowned artist Chuck Close—a coveted position for any budding artist. But soon after leaving New York, Andrew decided to walk away from making art, and he stayed away for 23 years. But in 2012, a serendipitous life-changing event rekindled his interest in making art, and he returned to the art world with full focus and passion. Just four years later, in 2016, Andrew resigned from his job at Colorado College and began pursuing art full time… and has never looked back. We met at Andrew’s brand new Colorado Springs studio, which happens to be just a few blocks from my own house. We had a wide-ranging discussion covering everything from making art to mountain climbing to the realities of life as a full-time artist. We started out by discussing his upbringing in Colorado Springs and how he found his way to art school and eventually, New York City working for the world-famous Chuck Close. Then we discuss his decision to leave the art world, and why—after more than two decades away—he decided to return to making art. We talked about the importance of writing to Andrew’s artistic process, as well as lessons he’s learned from spending time up high in the Colorado mountains. And finally, we talk about artistic heroes, favorite books, favorite films, and Andrew offers wisdom to those who dream of pursuing art as a full-time vocation. Andrew is an amazingly thoughtful and humble guy, and I greatly admire his soft-spoken and wise approach to chasing his dreams. Be sure to check out the episode webpage to see photographs of some of Andrew’s art, but for right now, enjoy this insightful conversation with Andrew Ramiro Tirado. --- Complete Episode Notes: https://mountainandprairie.com/andrew-tirado/ --- TOPICS DISCUSSED: 4:00 - Andrew’s background 6:15 - Studying art in school 8:00 - Working for Chuck Close 11:00 - "Leaning in” to opportunities 12:00 - Lessons learned from Chuck Close 15:30 - The importance of self-imposed limitations 18:00 - Taking a hiatus from art 21:30 - The moment he decided to return to art 25:30 - Making his first-hand art piece 31:00 - Discovering a demand for his art 34:00 - Decision to pursue art full time 36:00 - Chasing the feeling of “peak experiences" 41:00 - Importance of "inflection points” 42:30 - Importance of writing to Andrew’s writing process 47:30 - How time in the mountains has affected his art 50:00 - Andrew’s artistic heroes 52:45 - Favorite books 55:00 - Films 59:00 - Favorite location in the West ---- ABOUT MOUNTAIN & PRAIRIE: Mountain & Prairie Podcast Mountain & Prairie on Instagram Upcoming Events About Ed Roberson Support Mountain & Prairie

For this episode, I sat down to talk with Chuck Hoff, an amazing art teacher who has mentored me and and collaborated on numerous projects. We talked about one of his favorite artists, Chuck Close, and share some of Close's background and the obstacles he has overcome to be one of the most prominent photorealist painters today. We discussed his set portrait from 2001.

"While photography is the easiest medium in which to be competent, it is the hardest in which to develop an idiosyncratic personal vision." - Chuck Close

Mariam Pare’ is a visual artist, designer, and speaker. Her paintings and other works have been exhibited locally, internationally, and are in numerous private collections. Her public painting demonstrations have become a visual metaphor to the core of her message—encouraging people toward superior levels of performance and inspiring ideas of innovation and creative thinking. Her list of exhibition venues include the St. Petersburg Museum of Art, the Museum of Art Vancouver, the Orlando Museum of Art, First Canada Place, the New York City Children's Museum, the McCord Gallery, PerPopulus Gallery, and many others. Mariam has appeared on the Katie Couric Show and with Kathie Lee Gifford and Hoda Kotb on the Today Show. She met with Pierce Brosnan at his home in Malibu allowing her to personally deliver a painting she had done for him in his iconic James Bond role. Mariam has also been interviewed on NPR and in the Huffington Post, USA Today, Chicago Tribune, MSN, and Reuters, just to name a few. In 1996 Mariam was a victim of random gun violence that let her paralyzed, the bullet remains in her spine to this day. All of her paintings have been done by mouth painting. In fact, she was accepted in to the Mouth and Foot Painting Artists (MFPA) organization. She uses her talks and art as an advocate to bring awareness to disability culture. She’s spoken about the issues of stigma, relationships, and independent living. She sees artists with disabilities that are inspirations—Chuck Close, Tommy Hollenstein, Frida Kahlo, and Eric Stegemann. We discuss how making art about experiences help to process trauma and feelings. She has publicly addressed issues of mental health, depression, and suicide. “Mariam has branched out to collaborate with other artists with disabilities to actively pursue disability advocacy through her art. She uses a combination of digital art, painting, video, and photography to generate a unique story from her own viewpoint, using her own life to reflect the overall challenges and ambitions of the larger disabled community. Her goal is to make images that embrace a sense of beauty while simultaneously affirms disability identity and awareness.” Mariam is an inspiring person in many ways, and is a great role model for not only living life in full, but helping others to as well through beauty and creativity.

Our guest today is Albert Cleophus Willis, artist, designer, music producer and resident of the fourth dimension! Working as a multidisciplinary artist over the last four decades has provided Cleophus with an obvious wealth of experiences and lessons, way too much to fit into one podcast. His continuing journey through new ideas, traversing inspiring and unchartered territories and a commitment to practicality and making ends meet are just some of the ways in which our guest has kept himself busy over his life time. We chat about his three dimensional work, daily routines, art school and portraiture. We also ruminate on the digital age and the computer as a creative tool, its pros and cons. Cleophus opens up about the artist as a rebel and someone who breaks the status quo while the world around them is trying to categorize everything and he shares openly about the wealth of creativity that is present in his family and amongst his siblings. There is also a surprising moment in the conversation where Cleophus admits to working under an alias that we all might know! For all this great stuff and a whole lot more, tune in with us today, on the Not Real Art Podcast!   Key Points From This Episode: The array of work Cleophus has done over four decades. Creation of three dimensional artworks and legacy portraits. Influences, early years and finding a path to a career in art How he became an award winning producer at Motown Records! The digital age, undoing mistakes and using digital tools Artists as rebels and non-conformists; going against the grain and breaking the rules. A creative family, his upbringing and growing up with dyslexia. Parenting and allowing space and structure for kids to grow into their passion. How Cleophus came to design the cover for a Ray Charles album. Art by design and why Cleophus primarily considers himself a designer. Working under an alias; selling art online that did not interfere with his career. The Art Master company and how Cleophus ended up parting ways with them. Print on demand, Instagram filters and the rise of amateur art. Cleophus' hopes for the future, keeping on with the artist mentality he believes in. And much more! Links Mentioned in Today’s Episode: Al Art Design — http://alartdesign.com/index.php Cleophus Email — alartdeisgn@hotmail.com Cleophus on Instagram — https://www.instagram.com/cleophusone/?hl=en Art Masters — http://www.alartdesign.com/artmasters-collections Ray Charles — https://raycharles.com/ A Message from the People — https://www.soultracks.com/node/6460 Chuck Close — https://www.theartstory.org/artist-close-chuck.htm Louise Nevelson — http://www.louisenevelsonfoundation.org/ Norman Rockwell — https://www.nrm.org/ Motown Records — https://www.motownrecords.com/ CERTX — http://certx.me/ ArtPrize — http://www.artprize.org/ Man One — http://www.manone.com/ Man One on Twitter — https://twitter.com/ManOneArt Scott “Sourdough” Power — https://www.instagram.com/sourdoughpower/ Not Real Art Conference — https://www.notrealartconference.com/ Not Real Art on Instagram — https://www.instagram.com/notrealartofficial/

Let's talk about inspiration-specifically what to do when you can't seem to find any. Generally, there seems to be two schools of thought around it. In one camp are those who more or less wait for inspiration to strike, which is sort of in line with the Greeks who believed that inspiration was basically an unconscious blast of creativity, either from the muses or directly from the Gods. To be fair, I actually know more than a few artists who insist that their particular muses drive much of their creative work. For example, my friend Gareth has his muse Melissa—and while the work he does with other models is terrific, there is just something, oh, I don't know…special about the work he does with Melissa. Muses in one form or another have inspired art, music, film, and poetry for thousands of years, so who am I to question their validity. In the other camp are those more in line with Chuck Close who famously said “Inspiration is for amateurs; the rest of us just show up and get to work.” Now, I understand what Chuck is saying, and on some level I agree with him. The work isn't going to make itself and at some point, you need to stop the navel gazing, roll up your sleeves and do something—whether or not you're comfortable calling it work and really regardless of whether it's even good.Subscribe: iTunes | Pocket Casts | Overcast | RSSLINKSHuck magazine posted a fascinating article—it's the story of Adrian Street, an androgynous and incredibly flamboyant wrestler who inspired Marc Bolan, David Bowie, and Bob Dylan.An interesting article on The New York Times that suggests that the music we loved as teenagers tends to be the music we still love as adults.Check out the Instagram feed of Jude Allen, a San Francisco based travel and landscape photographer who recently returned from Japan with a stunning body of work.Music in this episode: The Wrong Way (Jahzzar) / CC BY-SA 4.0

Greg White writes for television in Los Angeles. He has written for Comedy Central, Netflix, Cartoon Network, Disney, and has developed his own material for networks such as FX and MTV. A former endurance running junkie, his interests include strength training, functional movement, and meditation. He has been an NBT client since 2015 and credits this for helping him connect the dots and find the nexus between health, longevity and performance. In this episode, Greg and I talk about his transition from a life of overtraining and injury to one of balance and vitality.  He discusses his shift in values from performance to longevity, along with his new passion for strength training. We get into gut health, diet, and the mindset that works for both writing and sport.  Greg also manages to pin me down on our exact calorie and carbohydrate intake recommendations for athletes. Here’s the outline of this interview with Greg White: [00:01:03] Greg’s history as a client of Nourish Balance Thrive. [00:01:21] Chris on Ben Greenfield’s podcast in 2016: Why Is My Cortisol High Even Though I’m Doing Everything Right? Hidden Causes Of High Cortisol, The DUTCH Test & More! [00:01:29] The MAF Method; Trailrunner Nation - Podcasts. [00:02:25] Organic Acids Test (OAT). [00:03:23] Simon Marshall, PhD. [00:03:41] Phil Maffetone. [00:09:34] Book: Mindset, by Carol Dweck. [00:15:34] Greg's gut health journey. [00:19:29] Podcast: Why Cholesterol Levels Have No Effect on Cardiovascular Disease (And Things to Think about Instead), with Dr. Malcolm Kendrick. [00:20:01] Oura Ring. [00:21:43] Ancestral-Paleo Diet. [00:22:44] Our exact calorie and carbohydrate intake recommendations for athletes. [00:24:20] Tommy's AHS18 talk: The Athlete's Gut: Pitfalls of Fueling Modern Performance. [00:25:46] Zach Moore, NBTs Head of Strength and Conditioning. [00:27:36] 7-Minute Analysis Health Questionnaire. [00:29:15] Brad Kearns Get Over Yourself podcast. Episodes featuring Dr. Tommy Wood: 1, 2. [00:30:14] Risk of undereating with a whole-foods diet. [00:31:57] TED Talk: Run for your life! At a comfortable pace, and not too far: James O'Keefe. [00:33:30] Podcast: How to Reconcile Performance with Longevity, with Simon Marshall and Tommy Wood. [00:35:25] Podcast: Science and Application of High Intensity Interval Training, with Paul Laursen, PhD. [00:35:50] Shift in focus from performance to longevity. [00:36:48] Yaktrax for running/walking in winter. [00:39:12] Onnit equipment. [00:39:18] Tawnee Prazak. [00:40:10] Luna sandals. [00:42:15] Podcast: NBT People: Will Catterson. [00:45:17] Katy Bowman. [00:46:01] Kelly Starrett; Mobility/WOD (M/WOD). [00:46:12] Beginning strength training. [00:49:52] Functional Range Conditioning (FRC). [00:51:14] HOKA shoes. [00:53:55] NBT on Patreon for premium podcasts and forum access. [00:54:30] “Inspiration is for amateurs - the rest of us just show up and get to work.” - Chuck Close, painter. [01:00:54] Tony Robbins. [01:01:20] Strength training getaways. [01:04:22] Greg’s YouTube channel. [01:04:33] TV shows Greg has worked on: Season One of Animaniacs Reboot for Hulu (out in 2020). Comedy Central: Ugly Americans, TripTank; Netflix: The Adventures of Puss in Boots. [01:05:46] Josh Turknett MD on Patreon. Podcast with Josh: The Migraine Miracle.

In episode 2 of this series, Nicola Blake taps into the artistic mind of painter Lee Matthews, whose work has been exhibited and collected internationally.  Born and raised in Manhattan, New York, Lee visited her first ‘inspirational’ exhibition at the age of 12. As she discusses the impact this show had on her, she points out that collectively it has been the museum experience which has influenced her, as much as the art itself. From colourful Pop Art to the masculinity of art in the 1950’s and 60’s, Lee uncovers her five chosen artists and reveals to what extent they have influenced her work and why. Observe the similarities she highlights between herself and these artists and why she has such an admiration for their beliefs and approach to life, as well as their artwork.  Understand Lee’s candid views on art’s place in education today.  Is the teaching too rigid? Should it be more about process than product? Lee discusses her life’s work to date, the role of motherhood and how she and a fellow artist came up with the idea for their first book, coming soon.   Guest Information: www.leematthews.co.uk  Instagram: @lee.mattthews   Further Research: To find out more about the artists mentioned today please visit; https://lichtensteinfoundation.org - Roy Lichtenstein, American Pop Artist (b1923 - 1997) https://www.theartstory.org/artist-freud-lucian.htm - Lucien Freud, British Painter (b1922 - 2011) https://www.theartstory.org/artist-bontecou-lee.htm - Lee Bontecou, American Artist (b1931 - date) https://www.theartstory.org/artist-neel-alice.htm - Alice Neel, American visual Artist (b1900 -1984) www.chuckclose.com - Chuck Close, American Painter, artist and photographer (b1940  - date)

Keith digs into the 1969 painting Frank by Chuck Close, MIA accession number 69.137. It’s a striking work by an important American artist who, unfortunately, has been in the news lately for troubling reasons. This means it’s time for the always-fun game of “should/can I separate the art from the artist?” FULL EPISODE TEXT Hi … Continue reading "Ep 1.2: Chuck Close- Big Faces, Big Baggage"

Keith digs into the 1969 painting Frank by Chuck Close, MIA accession number 69.137. It’s a striking work by an important American artist who, unfortunately, has been in the news lately for troubling reasons. This means it’s time for the always-fun game of “should/can I separate the art from the artist?” FULL EPISODE TEXT Hi … Continue reading "Ep 1.2: Chuck Close- Big Faces, Big Baggage"

Artist Craig Drennen is joined by Joe and Matthew at an undisclosed location. In this conversation culled from hours of recording, the three explore Drennen’s work, his process, and professional journey. Along that path, the three delve into minutiae ranging from vaping to Thomas Paine’s funeral. Drennen shares an encounter with Chuck Close at a pivotal […] The post Craig Drennen And The Hijacking of Bandwidth | Episode 32 appeared first on Brain Fuzz.

Faster than you can sail from Dragonstone to Winterfell - another week has gone by, and another epic Game of Thrones episode has arrived that can NOT be overlooked! We discuss the penultimate episode, Beyond the Wall, of this fast paced season and talk Dragons and Zombie Polar Bears and White Walkers and oh so much more! Be warned again - spoilers ahead!   Then, Sean shares his initial thoughts on Netflix's The Defenders - and you may be surprised to hear his reaction.   And of course, there is no Inside Pop without the Big Sell.  Sean reviews last week's 'soft ball' musical recommendation from Amita (a song by Bosco featuring St. Beauty) and recommends a politically charged Big Sell that involves Kal Penn, Jhumpa Lahiri, Chuck Close and 'he who shall not be named' (but who SHALL be protested). Follow us on Twitter and Instagram @PopInsiders You can also find us at MaximumFun.org Visit our official website: www.insidepoppodcast.com  

John Reuter’s professional and artistic life is tightly interwoven with the story of the Polaroid 20x24 camera and the artists that used it to bring their creative visions to life. It’s an important story worth preserving. John has has worked tirelessly to keep the 20x24 Polaroid camera alive. Part 1 of my conversation with John (found in episode 230 of the Artful Camera) contains the history of image transfer, image lift, and direct manipulation of Polaroid images. In part 2 of my conversation with John, the focus is on the artwork John created with the 20x24 Polaroid camera and the now rare Polacolor film. John reveals the creative process he used in making his evocative 20x24 Polacolor image transfers. The transfer image is just the beginning of a long process of creating many layers of “history” within the print. The process includes distressing the image and mark making with various pigments, oil pastels, and mediums. The end result is an image rich in texture and beauty. John’s images are currently on exhibit at the Palm Beach Photographic Centre until August 5, 2017. The exhibit is called John Reuter: Second Impressions, Polaroid Process to Singapore Infrared.   Mentioned in this episode: John Reuter's website: http://johnreuter.com/blog/ 20x24 Studio: http://www.20x24studio.com The Polaroid 20x24 Image Transfer Process: https://youtu.be/rlos9pgah3s Jim Dine: https://en.wikipedia.org/wiki/Jim_Dine Giotto: https://en.wikipedia.org/wiki/Giotto Rosamond Purcell: http://www.anartthatnaturemakes.com JoAnn Verburg: http://joannverburg.com Robert Rauschenberg: https://en.wikipedia.org/wiki/Robert_Rauschenberg http://www.20x24studio.com/?page_id=2329 Chuck Close: http://chuckclose.com https://en.wikipedia.org/wiki/Chuck_Close http://www.20x24studio.com/?p=2282 William Wegman: http://williamwegman.com/home.html Joyce Tenneson: http://www.tenneson.com https://en.wikipedia.org/wiki/Joyce_Tenneson David Levinthal: http://www.davidlevinthal.com Tim Burton: https://en.wikipedia.org/wiki/Tim_Burton Art Kane: https://www.artkane.com https://en.wikipedia.org/wiki/Art_Kane Elsa Dorfman: http://www.elsadorfman.com https://en.wikipedia.org/wiki/Elsa_Dorfman Jack Perno: http://www.jackperno.com http://www.jackperno.com/polaroid-emulsion-1 Beatrice Pediconi: http://www.beatricepediconi.com http://www.beatricepediconi.com/works/polaroids/ Palm Beach Photographic Centre: https://www.workshop.org/museum/exhibits/ Video tour of John Reuter’s Second Impressions exhibit: https://www.facebook.com/events/1342858102433943/permalink/1353500241369729/ Amon Carter Museum of American Art: http://www.cartermuseum.org http://www.cartermuseum.org/calendar/member-programs/camera-ready-the-polaroid-20x24-project     This episode is sponsored by: CrumplePop - Premiere Pro and Final Cut Pro Plugins: http://crumplepop.com   About the Artful Camera: Website: https://carlolson.tv Instagram: @Artful.Camera https://www.instagram.com/artful.camera/ Send an email or voicemail to Artful Camera: https://carlolson.tv/contact/   Disclaimer: some links referenced in the show notes are affiliate links. The use of affiliate links do not affect the price you pay. Artful Camera earns a small commission from each sale which help offset some of the costs involved in producing this podcast. Thank you for your support.

John Reuter - artist, photographer, and director of the Polaroid 20x24 Project, returns to the Artful Camera. John has worked closely with a number of well known artists including Chuck Close, Robert Rauschenberg, William Wegman, Elsa Dorfman, Joyce Tenneson, and many others to help them bring their creative visions to life using the Polaroid 20x24 camera. However, John Reuter is an accomplished artist in his own right. This episode focuses on John and his work as an artist. The exhibit John Reuter: Second Impressions, Polaroid Process to Singapore Infrared opened at the Palm Beach Photographic Centre on June 21, 2017, and runs through August 5th. It features 35 20x24 Polacolor Image Transfers created by John. Eight of these images are 4 panel assemblies measuring 42x52 inches and mounted on canvas. While many of the images featured in the exhibit date back as as early as 1988, the show features two new 4 panel pieces created by John in 2017 just for this exhibit. In this episode John talks about the early history of using Polaroid images in mixed media art, and his own pioneering techniques in creating beautiful, evocative images that now line the walls of the Palm Beach Photographic Centre. Mentioned in this episode: John Reuter's website: http://johnreuter.com/blog/ 20x24 Studio: http://www.20x24studio.com Jim Dine https://en.wikipedia.org/wiki/Jim_Dine Giotto https://en.wikipedia.org/wiki/Giotto Rosamond Purcell http://www.anartthatnaturemakes.com JoAnn Verburg http://joannverburg.com Robert Rauschenberg https://en.wikipedia.org/wiki/Robert_Rauschenberg http://www.20x24studio.com/?page_id=2329 Chuck Close http://chuckclose.com https://en.wikipedia.org/wiki/Chuck_Close http://www.20x24studio.com/?p=2282 William Wegman http://williamwegman.com/home.html Joyce Tenneson http://www.tenneson.com https://en.wikipedia.org/wiki/Joyce_Tenneson David Levinthal http://www.davidlevinthal.com Tim Burton https://en.wikipedia.org/wiki/Tim_Burton Art Kane https://www.artkane.com https://en.wikipedia.org/wiki/Art_Kane Elsa Dorfman http://www.elsadorfman.com https://en.wikipedia.org/wiki/Elsa_Dorfman Jack Perno http://www.jackperno.com http://www.jackperno.com/polaroid-emulsion-1 Beatrice Pediconi http://www.beatricepediconi.com http://www.beatricepediconi.com/works/polaroids/ Palm Beach Photographic Centre https://www.workshop.org/museum/exhibits/ Video tour of John Reuter’s Second Impressions exhibit: https://www.facebook.com/events/1342858102433943/permalink/1353500241369729/ Amon Carter Museum of American Art http://www.cartermuseum.org http://www.cartermuseum.org/calendar/member-programs/camera-ready-the-polaroid-20x24-project This episode is sponsored by: CrumplePop - Premiere Pro and Final Cut Pro X Plugins: http://crumplepop.com About the Artful Camera: Website: https://carlolson.tv Instagram: @Artful.Camera https://www.instagram.com/artful.camera/ Send an email or voicemail to Artful Camera: https://carlolson.tv/contact/ Disclaimer: some links referenced in the show notes are affiliate links. The use of affiliate links do not affect the price you pay. Artful Camera earns a small commission from each sale which help offset some of the costs involved in producing this podcast. Thank you for your support.

A Chuck Close correction. Coca-Cola bottles, the name James, and the American Presidency. Charles Michael Kittridge Thompson IV. It's Not True: Buzz Aldrin and Pres. Trump. A rant about "get in the hole" and the Ric Flair woo. New photographic evidence of Amelia Earhart: Is her capture by the Japanese military the answer to the mystery? The History Channel: Can't we at least go back to when it was the Hitler Channel? The show notes for this week's Dimland Radio are up at http://dimland.blogspot.com/2017/07/dimland-radio-7-8-17-show-notes.html

Chuck Close Portraits Heat Up The Pendleton Art SceneIt's not every day that a small town arts center gets to pick works from a blue chip artist like it's checking out library books, but that's basically how this show came to be.Sam Hamilton Brings His Films And More To PAM's APEX GalleryThe fresh face at Portland Art Museum is Grace Kook-Anderson, the new curator of Northwest art. It's her job to make sure the museum reflects regional work, but she also has a strong feel for contemporary art. And that is reflected in her first choice for the Museum's APEX Gallery: fellow recent Northwest transplant Sam Hamilton, whose playful interdisciplinary work interweaves films, music and installation. Who else would mix Carl Sagan, David Attenborough and Kenny G in one show?Oregon-Born Play Wins PulitzerPlaywright Lynn Nottage premiered her play “Sweat” in 2015 as part of the Oregon Shakespeare Festival's “American Revolutions” series exploring key moments in U.S. history. With the announcement Monday that the play received the Pulitzer Prize for drama, Nottage made history as the first female playwright to win the prestigious award twice."Sweat" is one of only two shows by women to open on Broadway this season. The other, "Indecent" by Paula Vogel, was also commissioned by OSF's "American Revolutions" project. The Bard might say: the Oregon Shakespeare Festival doest slayeth it.Get Ready To Shake Your Booty At The Soul'd Out FestivalThis week, Portland is gearing up to make some moves — dance moves, that is. It's the annual Soul'd Out Festival (April 19–23). Legendary soulful acts from around the country are on the bill with new breakers of soul, from the popular hip-hop artist Lupe Fiasco to the prophetic R&B queen Solange. The Guttery Writing Group: Tough Book Love That Will Get You Out Of Your PajamasThe collective proclaiming itself “Portland's second most-famous writers' group” challenges the idea that great work is produced in cloistered solitude. The authors in the writing group "The Guttery" are like a literary engine: at least five published this past year. opbmusic Session With Wild OnesDoes the smattering of recent sunny days have you dreaming of summer? There's no better album to feed those dreams than Wild Ones' “Heatwave.” Its songs of long summer nights and big-city adventures smolder and delight. Vancouver's North Bank Art Gallery Shuts Its Doors Next MonthNorth Bank Artists is a co-op gallery on the city's Main Street. Its presence and work downtown since its founding in 2003 — including the creation of a city art walk — has helped spur other galleries and cultural institutions to open, earning the area the moniker "The Vancouver Arts District." But after rent hikes and an uncertain future, the art gallery that served as a linchpin for Vancouver's downtown revitalization will close at the end of May.Diana Abu Jaber Weaves The Story of Her Life With Layers Of Pastry DoughDiana Abu Jaber is a novelist, a professor and a cook. She is the daughter of a Jordanian father and an American mother, and her most recent book, “Life without a Recipe,” tells the story of growing up in both countries.

So gut wie jedes Projekt oder Vorhaben kommt irgendwann an den Punkt, wo Du hängenbleibst, wo Dich der Elan verlässt, wo irgendeine Aufgabe ansteht, die Du langweilig findest. Wie gehst Du damit um?   Zuerst solltest Du Dir klar machen, dass das kein Grund für Selbstvorwürfe ist: Erstens geht das jedem manchmal so. Zweitens ist es ein Irrglaube, dass wir an jeder Aufgabe immer mit voller Motivation arbeiten müssen.   Der wichtigste Rat ist, dass Du diese langweiligen oder unangenehmen Aufgaben einfach hinter Dich bringst - Just show up and do the work!   Daneben gibt es noch eine Reihe praktischer Tipps, wie Du mit solchen Aufgaben umgehen kannst.   Zitat von Chuck Close  https://www.goodreads.com/author/quotes/166434.Chuck_Close

Wil S. Hylton wrote the book “Vanished,” which focuses on the modern-day search for one American bomber that crashed over the Pacific Islands during World War II. That bomber carried 11 men, who for decades, were listed as missing in action. Finding that lost bomber gave closure to the families of those men, but it also took an amazing feat of detective work and amazing modern technology. “Vanished” came out in November 2013 and has garnered praise from newspapers and magazines around the country. Time Magazine said the book contains “passages so expressive that we’re constantly reminded we’re in the hands of a phenomenal writer.” Hylton is a contributing writer for The New York Times Magazine. His work has also been featured in Harpers, GQ, Esquire and Rolling Stone, among many others magazines. He’s profiled US Attorney general Eric Holder among many others and written about the doomed Air France Flight 447. He’s also written about mothers who make the agonizing decision to abandon their children at safe havens. Since talking with Matt Tullis on the podcast, he has continued writing for The New York Times, including the piece "The Mysterious Metamorphosis of Chuck Close," which was published in July 2016. You can also find out more about Hylton by visiting wilshylton.com.

Hosts: Stuart Yoshida, Doug Brown Guests: Victor & Penny Get ready for another OokTown Podcast as we welcome back Jeff and Erin to the show, AKA Victor and Penny. We’ll talk about what it means to be mentored and how to be a mentor; why Chuck Close says “inspiration is for amateurs”; and learning to stop before ‘Just Enough’ becomes ‘Way Too Much’. Support the Podcast on Patreon: https://www.patreon.com/ooktown Make a one-time donation: https://ooktown.com/donate Victor & Penny: https://www.facebook.com/events/165231967218969/ http://www.victorandpenny.com/ Doug Brown: http://den-uke.com/ http://fortcollins.craigslist.org/eve/5625290508.html Drop me a line if you have a topic you’d like me to consider for a future Podcast. It’s always great to hear from you! Recorded August 21, 2016.

Stephen Metcalf, Julia Turner, and Dana Stevens discuss the Ghostbusters reboot, Pokemon Go, and Chuck Close. Culture Gabfest is brought to you by Club W. Get $20 off your first order of wine now by going to ClubW.com/culture. And by Boll and Branch. For luxury bedding at a low price, go to BollandBranch.com and use promo code culture for free shipping and 20 percent off your entire order. And by Rocket Mortgage from Quicken Loans. Rocket Mortgage brings the mortgage process into the twenty-first century with an easy online process. Check out Rocket Mortgage today at QuickenLoans.com/culture.

Stephen Metcalf, Julia Turner, and Dana Stevens discuss the Ghostbusters reboot, Pokemon Go, and Chuck Close. Culture Gabfest is brought to you by Club W. Get $20 off your first order of wine now by going to ClubW.com/culture. And by Boll and Branch. For luxury bedding at a low price, go to BollandBranch.com and use promo code culture for free shipping and 20 percent off your entire order. And by Rocket Mortgage from Quicken Loans. Rocket Mortgage brings the mortgage process into the twenty-first century with an easy online process. Check out Rocket Mortgage today at QuickenLoans.com/culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stephen Metcalf, Julia Turner, and Dana Stevens discuss the Ghostbusters reboot, Pokemon Go, and Chuck Close. Culture Gabfest is brought to you by Club W. Get $20 off your first order of wine now by going to ClubW.com/culture. And by Boll and Branch. For luxury bedding at a low price, go to BollandBranch.com and use promo code culture for free shipping and 20 percent off your entire order. And by Rocket Mortgage from Quicken Loans. Rocket Mortgage brings the mortgage process into the twenty-first century with an easy online process. Check out Rocket Mortgage today at QuickenLoans.com/culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we talk about getting out of your own way and recognize that giving up control doesn't mean giving up the wheel. Also, we discuss a fascinating article on Chuck Close and what we sometimes leave on the studio floor in the name of art. Plus, photojournalist Ed Kashi is our Photographer of the Week.

This week, we talk about getting out of your own way and recognize that giving up control doesn't mean giving up the wheel. Also, we discuss a fascinating article on Chuck Close and what we sometimes leave on the studio floor in the name of art. Plus, photojournalist Ed Kashi is our Photographer of the Week.

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

Andrew and Tim are excited to be debuting the first episode of Art Ed Radio. They tackle the age-old question of originality, what purpose it serves in the art room, and what we can do to ensure that our students are creating original work. Listen for the guys talking about Chuck Close (11:45), Andrew working weightlifting into the conversation (16:00), Tim talking about his mantra of “make it your own” (21:00), and why originality is worth striving for--even if it doesn’t always come easily (25:45).   Resources and Links: Everything is a Remix Documentary: http://nofilmschool.com/2015/09/guess-what-youre-unoriginal-creating-art-everything-remix Andrew’s Article on Originality:http://www.theartofed.com/2015/09/25/how-important-is-originality-in-the-art-room/

Wesley Kimler was born in Billings, Montana. Largely self-taught, his college campus was effectively a conflation of the streets of Afghanistan, the Minneapolis College of Art and Design, and the Laguna Gloria School of Art in Austin, Texas. His work can be found in many collections, private and public. Of his work in the group show Constellations at the Museum of Contemporary Art Chicago, Margaret Hawkins --critic for the Chicago Sun Times-- said: But categories hardly matter. Perhaps the most stunning gallery is also the largest and most loosely defined, the room devoted to fantasy. It is anchored by two enormous paintings -- a Chuck Close portrait of Cindy Sherman on one end and Wesley Kimler's tour de force "Umurbrogol," which despite its somber subject features vast swaths of delicious pink and purple paint. Some of the less imposing works here may be as memorable. William Baziotes' "Cat" is a satisfying discovery, as is Brice Marden's abstract meditation on the light and color of olive groves in Greece.

Conférence par Laurent Salomé, directeur scientifique de l'établissement public de la Réunion des musées nationaux Grand Palais. Fondé en 1935, le San Francisco Museum of Modern Art est aujourd’hui l’un des plus grands musées d’art moderne et contemporain du monde. Le Grand Palais accueille une sélection d’œuvres des artistes américains les plus emblématiques de la deuxième moitié du XXe siècle, représentés aussi bien dans le fonds du musée que dans l’extraordinaire collection constituée par Donald et Doris Fisher, les fondateurs de GAP. Les œuvres sont réunies en avant-première, annonçant la donation de la collection Fisher au musée où elle sera présentée après une importante extension. Alexander Calder, Chuck Close, Richard Diebenkorn, Ellsworth Kelly, Cy Twombly, Roy Lichtenstein, Agnes Martin ou Andy Warhol : chacun est représenté par un groupe d’œuvres majeures. L’art minimal est particulièrement à l’honneur avec Carl Andre, Sol LeWitt et Donald Judd.

Chuck Close, Andy Warhol, Hyperrealism, Andrew Wyeth and more.

Through stories from some of America’s greatest artists, writers, directors, and musicians, Burstein will trace the roots of creativity, pulling back the curtain to reveal the sources of these artists’ inspirations, and the processes by which they create their art. These stories illuminate and inspire, helping educators and others find a spark of their own. Burstein is a Peabody Award-winning radio producer and author with a passion for creativity in everyday life. In 2000, she created Studio 360, public radio’s premiere program about pop culture and the arts, hosted by Kurt Andersen. Drawing on Studio 360’s hundreds of interviews with artists such as Yo-Yo Ma, Richard Serra, Mira Nair, Chuck Close, and Joyce Carol Oates, Burstein recently published Spark: How Creativity Works (2011).

Portraying the PM on stage; artist Yinka Shonibare: the return of Lara Croft; actor Mark Strong; author Tash Aw; artist Chuck Close and George Benjamin and Martin Crimp on their opera Written on Skin.

With John Wilson. Side Effects is a new psychological thriller from director Steven Soderbergh. He claims that it is his final film for cinema, in a career which began with Sex, Lies and Videotape in 1989. Rooney Mara stars as a woman who suffers unexpected side effects from medication prescribed by her psychiatrist, played by Jude Law. Antonia Quirke reviews. The American artist Chuck Close discusses his highly-detailed portraits, created from hundreds of smaller images. He explains why his inability to recognise faces, a consequence of a disability, has led to his focus on portraiture. A new TV series, Bluestone 42, covers unusual ground for a comedy as it follows the fortunes of a bomb disposal squad in Afghanistan. Writers James Cary and Richard Hurst discuss how they researched the storylines with the help of army advisors, and consider the moral dilemmas involved in getting laughs from a war in which soldiers are still serving. The video game icon Lara Croft is making a comeback, five years after the last Tomb Raider game was released. Written by Rhianna Pratchett, the new game explores Lara Croft's origins as a young archaeologist. Helen Lewis reflects on the significance of Lara Croft for a generation of female gamers. Producer Rebecca Nicholson.

David Houston, Director of Curatorial and Tracy Cude, Chief Financial Officer share a conversation about Close’s portrait of President Bill Clinton.

Wendy Wick Reaves, curator at NPG, discusses Chuck Close's portrait of Bill Clinton

Light and photography dominate this edition. Chuck Close describes his photo-to-painting work and working process, the physics of light and color are illustrated, a People Like Us compilation of PLU covers, including Negativland's “What's Music? Also, Burns & Allen, Richard Serra's public sculpture, Tuxedo Moon and recent art thefts. The post Over the Edge appeared first on KPFA.

Joe fig interviews Chuck Close for his project "Inside The Painter's Studio"

This week: Duncan leads a panel discussion on the the state of painting and current MCA exhibition Constellations: Paintings from the MCA Collection(which closes October 18th!) the panel consists of Artists Vera Klement and Wesley Kimler, Artletter.com's Paul Klein and exhibition curator Julie Rodrigues Widholm! Stolen liberally from the MCA website: This exhibition explores various approaches to painting and how it communicates ideas about life and art from the 1940s to the present. Arranged in a series of constellations, or groupings, the exhibition highlights for the first time the MCA Collection's particular strengths in this medium. Augmented by major works from important private collections to fill gaps in the MCA Collection and to provide examples of recent works made during the last few years, the exhibition includes work by approximately 75 of the most important artists of the last sixty years including Chuck Close, Andy Warhol, Gerhard Richter, Jasper Johns, Lari Pittman, Rudolf Stingel, Clare Rojas, Laura Owens, Josef Albers, Rene Magritte, Francis Bacon, Brice Marden, Caroll Dunham, Thomas Scheibitz, Jean Dubuffet, Sherrie Levine, Jules Olitski, Kenneth Noland, Sigmar Polke, Rebecca Morris, Roberto Matta, and Yves Tanguy, among others. Featured Chicago artists include Angel Otero, Wesley Kimler, Kerry James Marshall, Judy Ledgerwood, Scott Reeder, Michelle Grabner, Marie Krane Bergman, and Vera Klement. This exhibition explores questions about the current state and future of painting by creating a dialogue with works from the past. These conversations within each section stimulate ideas about painting that are not limited to chronology or specific art historical narratives, but follow lines of thought. Within the exhibition, the constellations aim to make connections through the various interests, positions, styles, and histories that artists address within their approach to painting. For example, Constellations explores approaches to the landscape and figure, so-called "bad" painting, appropriation and collage in painting, the critique of illusion in painting, form and color, and paintings that exist in-between representation and abstraction. All of the works in this exhibition are united by the use of paint, a brush, and a support to emphasize the complex and varied manner in which artists use similar materials. This exhibition does not seek to redefine what can be considered a painting, but rather examines how it endures as a vibrant art form, more than 100 years after it was proclaimed "dead" at the advent of photography. Clearly there is no correct way, which is why painting continues to be a source of stimulating conversation and debate. From the perspective of the artist and viewer, painting is a subjective experience. This exhibition is organized by Julie Rodrigues Widholm, Pamela Alper Associate Curator.

Two new exhibits opened recently at Atlanta’s High Museum of Art and although the artists come from widely different backgrounds and cultures, the self-portraits of Chuck Close and the quilts from Gee’s Bend Alabama have remarkable similarities. Aired March 31, 2006 on Georgia Gazette, Georgia Public Broadcasting

Pushing Limits presents the third show of a series on disability and visual arts. Hosts Doyle Saylor, Safi wa Nairobi and Nora Ryerson speak with nationally recognized artists, Casper Banjo, Bill Bruckner, Kathleen Flannigan and Chuck Close. These artists discuss how their art is shaped by the disability experience. The post Pushing Limits – October 7, 2005 appeared first on KPFA.

Pushing Limits will kick off a series of four programs about disability visual arts. On Sept. 16, 2005, hosts Eddie Ytuarte and Doyle Saylor will speak with two directors of bay area art centers which primarily serve people with developmental disabilities. Listeners will hear from visual artist, Chuck Close who has a facial disability. Later shows in the series will 1) take a closer look at the art centers 2) be a show about visual artists with disabilities, and 3) be a program about low vision visual artists. The post Pushing Limits – September 16, 2005 appeared first on KPFA.