Podcasts about classical art

Looking for ways to nurture your child's creativity without stifling their natural genius? Join host Delise as she interviews Courtney Sanford, founder of The Delightful Art Co. and author of "Marvelous to Behold." A former graphic designer turned homeschool mom, Courtney shares her journey of integrating art education with classical learning, discusses creative approaches to teaching art to different types of learners, and offers practical advice for parents wanting to cultivate creativity in their children. https://www.delightfulartco.com/ Mark your calendar for the 2025 National Commencement, May 16-17, 2025, in sunny Southern Pines, North Carolina! This is a time for Classical Conversations families from around the nation to celebrate the hard work with fellow families on the homeschooling journey. Register at https://classicalconversationsfoundation.org/

In this thought-provoking panel discussion, three distinguished scholars delve into the complexities of ancient medicine, ethics, and the enduring influence of the Hippocratic Oath. Dr. Brooke Holmes (Princeton University), Dr. Jennifer Stager (Johns Hopkins), and Dr. Joseph Fins (Weill Cornell Medical College) engage in a fascinating discussion on the history of the body, the intersection of ancient and modern bioethics, and the evolving role of medicine in society. So tuck in your togas and hop aboard Trireme Transit for this week's exciting odyssey! Don't forget to follow us on Twitter, Facebook & Instagram or visit our website www.theozymandiasproject.com! Panel recorded December 19, 2023. Learn more about Dr. Holmes: https://classics.princeton.edu/people/faculty/core/brooke-holmesLearn more about Dr. Stager: https://arthist.jhu.edu/directory/jennifer-stager/ Learn more about Dr. Fins: https://weillcornell.org/jfins Read Dr. Holmes' book The Symptom and the Subject: https://press.princeton.edu/books/hardcover/9780691138992/the-symptom-and-the-subject Read about the Deep Brain Stimulation research conducted by Dr. Fins and covered by the New York Times mentioned in the discussion: https://humanities.princeton.edu/2023/12/07/deep-brain-stimulation-research-from-council-visitor-joseph-fins-featured-in-the-new-york-times/ Find Dr. Fins' contribution in COVID-19 and the Law: https://www.cambridge.org/core/books/covid19-and-the-law/B4889C072A10241C5F047DE4B913F197 Check out Dr. Stager's new book Public Feminism in Times of Crisis: https://rowman.com/ISBN/9781793648105/Public-Feminism-in-Times-of-Crisis-From-Sappho%E2%80%99s-Fragments-to-Viral-Hashtags Read Dr. Stager's Seeing Color in in Classical Art book: https://www.cambridge.org/core/books/seeing-color-in-classical-art/6E8F6BE6DDD7CB66A995D7825B99C7D6 Support us on Patreon: https://www.patreon.com/TheOzymandiasProject Custom music by Brent Arehart of Arehart Sounds and edited by Dan Maday.  Get exclusive bonus content (ad free episodes, early releases, and experimental content) on Patreon! Hosted on Acast. See acast.com/privacy for more information.

174: How and Why Ancient Greece is Still Relevant Today On today's episode. Archeologist Dr. Georgios Koukovasilis joins the podcast to share how ancient Greece is everywhere in the modern world. Dr. Georgios Koukovasilis  Georgios and Kiki  Today's Lexi:  Ancient – Αρχαίος – Archaíos In Today's Episode: During Kiki's summer visit to the Temple of Poseidon she had the great honor to meet and connect with a wonderful archologist.  Dr. Koukovasilis – PhD in Classical Art and Archeology – is a wealth of education, passion and knowledge regarding the ancient word and how it is everywhere we look and how we live in the modern world. Today meet Dr. Koukovasilis and discover how do we define archeology?  What drew Dr. Georgios to this field and how and why is Classical life relevant today.   Can we draw conclusions about humanity and well-being by looking back?   How can we move forward with progress and confidence? All this and more during episode 174. Resources: Georgios Koukovasilis | Center for Hellenic Studies in Greece (Harvard) Archaeology at Cambridge Georgios Koukovasilis on Instagram (@george_koukos__) Credits: Music: Spiro Dussias Vocals: Zabrina Hay Graphic Designer: Susan Jackson O'Leary  

Have you ever wondered if classical art or street art is better? Then look no further because this podcast is exactly what you want! It is about two girls having a debate about which is the better art style while being asked questions by their friend. Check out all the podcasts from St John the Baptist at https://www.archdradio.com/podcasts/slp/stjohns

Patrick and his panel reflect on the early history of the Olympic Games, from ancient Greece to the revival in more modern times, discussing their historical significance, cultural impact and enduring legacy. Featuring Nigel Crowther, Emeritus Professor in Department of Classical Studies at University of Western Ontario; Supervising Professor at International Olympic Academy, Olympia, Greece (2004-05); Former Director of the International Centre for Olympic Studies; Dr Siobhán Doyle, Curatorial Researcher at the National Museum of Ireland, Collins Barracks; Dr Jim Parry, Visiting Professor, Faculty of Physical Education and Sport, Charles University, Prague; and Dr Nigel Spivey, Senior Lecturer in Classical Art and Archaeology in the Faculty of Classics, University of Cambridge.

The right wing press's feverish attempts to take down Angela Rayner seem to be failing. What's the secret of Rayner's appeal and what does the future hold for Labour's combative Deputy Leader? Plus, the SNP in turmoil as Humza Yousaf's powerplay against the Greens goes badly wrong, forcing him to quit as Scotland's First Minister. Scottish writer Gerry Hassan unpacks it for us. And how misty-eyed nostalgia accounts sneak hardline culture war dogwhistles into your mum's Facebook feed. Final tickets for Oh God, What Now? Live in Islington with special guest Jan Ravens are still available. The dark subtext of Classical Art and Architecture Twitter. • “She is quite gobby… but she's unapologetic of who she is.” – Marie Le Conte • “If Angela Rayner was in the Tory party they would love her!” – Alex Andreou • “She's the most powerful communicator for the message that Sunak is not in touch with real people's lives.” – Alex Andreou • “People used to leave their doors unlocked years ago because there was nothing to nick!” – Andrew Harrison We're on YouTube!: https://www.youtube.com/@ohgodwhatnow  www.patreon.com/ohgodwhatnow Presented by Andrew Harrison with Alex Andreou and Marie Le Conte. Producer: Chris Jones. Audio production by: Robin Leeburn. Video production by: Kieron Leslie. Group Editor: Andrew Harrison. Managing Editor: Jacob Jarvis. OH GOD, WHAT NOW? is a Podmasters production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Does preservation of historical treasures like classic art align with the Christian belief of "not storing up treasures on earth"? Chat with Cara Putman and your host, Jaime Jo Wright as they chat about the place of art in our world, both today and spiritually speaking.

"Reviving classical art is the most rebellious thing an artist can do today." Host: Michael Dargie, THEREBELREBELPODCAST.COM Guest: Mandy Theis, SCHOOLofATLELIERARTS.COM In this enlightening episode of "The RebelRebel Podcast," host Michael Dargie welcomes Mandy Theis, a passionate advocate for atelier-style art education. This conversation takes us on a journey through Mandy's life, her discovery of Atelier training, and her dedication to bringing these classical art techniques back into the mainstream. The episode begins with Mandy sharing her experiences in the New York City area and her involvement with the School of Atelier Arts. She enlightens listeners on the history and significance of atelier training, drawing connections to legendary artists like Da Vinci and Rembrandt. Mandy explains how this form of education, once the cornerstone of artistic training, fell out of favour and was nearly lost to modernity. Mandy's personal story is both inspiring and revealing. She recounts her childhood visit to the Dayton Art Institute, where she first encountered realistic paintings, igniting her passion for art. Despite years of art education, she felt a disconnect between her skills and her aspirations, which changed upon discovering atelier training. Mandy then embarked on a journey to learn and subsequently share this nearly lost art form, striving to make it accessible to people worldwide. Throughout the conversation, Mandy highlights the relevance of atelier training in various fields, including animation and digital arts. She emphasizes the importance of visual literacy, comparing it to reading literacy, and advocates for the inclusion of realistic drawing and painting skills in modern education. This episode is packed with insights into Mandy's philosophy on art, her teaching methods, and her future endeavours, including potential book projects. This episode is not just a discussion about art; it's a revelation of how traditional techniques can profoundly impact modern artistic expression and education. GREAT THINGS MANDY SAYS "Art is not just a skill; it's a way of seeing the world." "Every great artist was once a learner in an atelier." "Visual literacy is as crucial as reading literacy." "Rediscovering atelier training was like being told I could go to Hogwarts." "Reviving classical art is the most rebellious thing an artist can do today." EPISODE HIGHLIGHTS Mandy Theis's background and the mission of the School of Atelier Arts. The history and near extinction of atelier training in art. Personal anecdotes from Mandy's life that led her to pursue and teach atelier-style art. The impact of atelier training on modern art forms like animation and digital art. Discussion on the relevance of visual literacy in today's world. Mandy's future plans, including writing books and expanding her teaching platform. LINKS FROM EPISODE School of Atelier Arts (https://schoolofatelierarts.com) The Florence Academy of Art (https://florenceacademyofart.com) Dayton Art Institute (https://www.daytonartinstitute.org) Mandy Fine Artists on Instagram *When you buy a product using a link on this page, The RebelRebel Podcast receives a portion of the revenue from your qualifying purchases as part of the Amazon Associates Program. Thank you for your support.

Step back in time by spending your winter vacation at The Historic Blue Moon Hotel (646-787-5503) - a New York City institution fashioned out of Depression-era tenement buildings. Blue Moon Hotel Ltd City: New York Address: 100 Orchard Street Website http://www.bluemoon-nyc.com/ Phone +16467875503 Email info@bluemoon-nyc.com

Sculptor Alceo Dossena was an impactful figure in the art world of the early 20th century because he created forged masterpieces capable of fooling even the most expert of experts. Critics attributed his pieces to famous classical and Renaissance artists, and his works were sold through dealers and purchased by museums and collectors. But in an unexpected turn of events, the forger sued the dealers who sold his work. Executive Producers: Maria Trimarchi and Holly FreyProducer & Editor: Casby BiasSee omnystudio.com/listener for privacy information.

We are speaking about the art and practice of microsurgery as it relates to breast reconstruction surgery in this episode of the DiepCJourney podcast. Microsurgery is a specialty of plastic surgery requiring training beyond plastic surgery residency. Microsurgery involves moving tissue and blood vessels from one part of the body to another to repair or replace tissue that has been affected by disease or trauma. Carefully dissecting blood vessels from a donor site, microsurgeons then place the tissue from the donor site to the new site and tie blood vessels together at the new site under high powered microscopes. One form of breast reconstruction is the DIEP flap. The donor site is the tummy tissue. This abdominal tissue is disconnected, and the new recipient site is the breast area that has been affected by breast cancer. My guest is a microsurgeon who frequently and successfully performs this type of breast reconstruction surgery. Dr. Sumeet Teotia is a Professor of Plastic Surgery and Director of the Breast Reconstruction Program at UT Southwestern Medical Center. He has a keen interest in classical drawing. The parallel between classical art, drawing and breast reconstruction is our topic of conversation today. You can view some of his drawings on his Instagram account at drsumeetteotia

This week on Two Friends Talk History, I spoke with Dr Maxime Ratcliffe, hot off the press with his recently awarded doctorate, to discuss Romano-British well depositions and the tantalising mysteries that were buried within them. We explore their persistence in the British landscape, and their possible uses in antiquity.For a suggested reading list and more information, please check out my website for a blog post on this episode and more resources. If you would like to get in touch with Dr Ratcliffe on the Durham University Archaeology department website here,  or you can follow him on Academia.edu.To get in touch and find out more about Two Friends Talk History:Find us on InstagramSupport us through Patreon Buy our merch on RedbubbleExplore more resources and topics about the ancient world on ArchaeoArtistMusic by the wonderfully talented Chris SharplesImage credits: cover illustration by Zofia GuertinIf you'd like to get in touch, email at twofriendstalkhistory@gmail.com. 

Alan Nakagawa is an interdisciplinary artist with archiving tendencies, primarily working with sound, often incorporating various media and working with communities and their histories.Nakagawa has been working on a series of semi-autobiographic sound-architecture/tactile sound experiences, utilizing multi-point audio field recordings of historic interiors; Peace Resonance; Hiroshima/Wendover combines recordings of the interiors of the Hiroshima Atomic Dome (Hiroshima, Japan) and Wendover Hangar (Utah); Conical Sound; Antoni Gaudi and Simon Rodia combines recordings of the interiors of Watts Towers (Los Angeles) and the Sagrada Familia (Barcelona, Spain). Premiered in 2023, Point of Turn, is his first vibratory sound work involving the human voice; utilizing collected stories about moments or events that resulted in someone leaving their organized religion. For this work, the combining of these stories and the analog data stretching of a verse and chorus of the 1970's seminal pop band, 10CC's hit song, “I'm Not in Love”. Point of Turn is a commission by Prospect Arts.---------------------------------------------------------------------------------------------Please SUBSCRIBE, LIKE and COMMENT!Share with your friends.Thank you for listening.Find Alan at:Instagram: @nakagawa2015Website:https://alannakagawa.com-my LINKS:Merch: http://rafa.LA​​​​​​​​​​​​​​/shopMy photography: http://rafa.LA​​​​​​​​​​​​​​NFT: https://opensea.io/collection/dancngsobrDonate at venmo: @ DANCNGSOBRRecorded at Espacio 1839https://www.espacio1839.com_____Recorded on TASCAM Mixcast and Mics

What makes great art great? Is it simply a matter of personal taste, with little or no regard for skill or execution? Or are there standards by which an artistic work can be objectively judged? Renowned artist Robert Florczak confronts these challenging questions. Donate today to help keep PragerU podcasts and videos free! PragerU.com/donate

We are traveling back to Ancient Greece to talk about why men in classical Art have small penises. Although in the modern day, the bigger is better, that has not always been the case. In Ancient Greece small junk was all the rage in Antiquity. We are going to cover male beauty standards in Ancient Greece. Patreonhttps://www.patreon.com/travelingcuervo 

Artist, librarian, and furry historian O Horvath (aka Popple) is BACK! We discuss a YouTube video with over 270k views that believes the Renaissance was either made by computers or a mystical power—ancient alien cranks also racist against Italians. Public education is clearly failing, and even though libraries and archives will not save us, we … Continue reading "167 – Who Archives the Internet Archive w/ O Horvath"

Welcome to the WWSD Podcast; weekly we share discussions. This week Josh and Seamus are joined by artist Howard Lyon. Howard has painted for such properties as Dungeons and Dragons, World of Warcraft TCG, Magic: the Gathering and Star Wars. We discuss how he got into art because of D&D, going to school for art, difficulties he faced learning color, working with digital tools, working with Wizards of the Coast, creating art for Magic the Gathering, selling original art, the MTG art market, the story behind his art for Crusade, and artist cancel culture. As always enjoy!Check out and follow Howard at his  Website| Twitter| Instagram  Check out more of Josh and Seamus of the WWSD Podcast at linktr.ee/wwsdIf you would like to support the WWSD Podcast check out our patreon and get access to exclusive monthly content not released anywhere else, like the Load Boost After Math, The Roast of Seamus, and much more content released every month. https://www.patreon.com/wwsd_podcastThanks so much for listening! If you like this episode, please subscribe to “WWSD Podcast” and rate and review wherever you get your podcasts.Would you like to be a guest on the WWSD Podcast? Email us.

What you'll learn in this episode:   Why people get so concerned with categorizing art, and why some of the most interesting art is created by crossing those boundaries  How Joy balances running a business while handmaking all of her pieces What noble metals are, and how they allow Joy to play with different colors How Joy's residences in Japan influenced her work How Joy has found a way to rethink classical art and confront its dark history     About Joy BC   Joy BC (Joy Bonfield – Colombara) is an Artist and Goldsmith working predominantly in Noble Metals and bronze. Her works are often challenging pre-existing notions of precious materials and ingrained societal ideals of western female bodies in sculpture. Joy BC plays with mythologies and re-examines the fascination with the ‘Classical'. Joy, a native of London, was profoundly influenced from an early age by the artistry of her parents - her mother, a painter and lithographer, her father, a sculptor. Joy's art education focused intensively on painting, drawing and carving, enhanced by a profound appreciation of art within historical and social contexts. Joy BC received her undergraduate degree from the Glasgow School of Art and her M.A. from the Royal College of Art in London. She has also held two residencies in Japan. The first in Tokyo, working under the tutelage of master craftsmen Sensei (teacher) Ando and Sensei Kagaeyama, experts in Damascus steel and metal casting.  She subsequently was awarded a research fellowship to Japan's oldest school of art, in Kyoto, where she was taught the ancient art of urushi by the renowned craftsmen: Sensei Kuramoto and Sensei Sasai. Whilst at the RCA she was awarded the TF overall excellence prize and the MARZEE International graduate prize. Shortly after her graduation in 2019 her work was exhibited in Japan and at Somerset house in London. In 2021 her work was exhibited in Hong Kong and at ‘Force of Nature' curated by Melanie Grant in partnership with Elisabetta Cipriani Gallery. Joy Bonfield - Colombara is currently working on a piece for the Nelson Atkins Museum in the USA and recently a piece was added to the Alice and Louis Koch Collection in the Swiss National Museum, Zurich.Additional Resources:  Joy's Website Joy's Instagram Photos: Photos available on TheJewelryJourney.com Transcript:   While others are quick to classify artists by genre or medium, Joy BC avoids confining her work to one category. Making wearable pieces that draw inspiration from classical sculpture, she straddles the line between jeweler and fine artist. She joined the Jewelry Journey Podcast to talk about why she works with noble metals; the exhibition that kickstarted her business; and how she confronts the often-dark history of classical art though her work. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is the award-winning artist and goldsmith Joy Bonfield-Colombara, or as she is known as an artist and jeweler, Joy BC. Joy is attracted to classical art, which she interprets from her own contemporary viewpoint. Welcome back.    You're alone, and it's always a challenge to me, whether you're a writer or jeweler, to find ways to get out of the isolation. You can only spend so much time alone. How do you figure out a way to do that?   Joy: I love it. I love it because I'm an only child. Often people don't think I'm an only child, but I think that's because we had so many people coming and going from our house when I was a kid. My mom would invite lots of people, and they would stay and go. They all added very much to who I am as well, all those people that came through our house. The thing with imagination, I used to spend so much time on my own. My mom and my dad were always working. They were fantastic parents, but they were oftentimes—I think also when you're a child, time is a completely different realm. You experience it in a completely different way.    I have memories of playing in the garden and looking at flowers, taking them apart, and putting together arrangements of stones or turning a copper box into a spaceship, all sorts of different objects transforming into other things. I still hold on to that aspect of being a child. I think it's important not to lose the ability to play and imagine. I spend hours doing that. I'm now in my studio, and I often really like the early mornings or rare late nights when no one is around. There's a quietness that I find quite meditative. When I'm carving, things can be going on around me, and I'm so focused that everything else disappears. So, I don't mind the isolation because I really enjoy making.   Sharon: I like when it's quiet, but I can only take so much. At some point it starts to affect me. It sounds like you handle it better. In the materials I read about you, it says that you work in noble metals and in bronze, but a lot of people don't know what a noble metal is. What is a noble metal?   Joy: It makes them great. Just the word noble I think is lovely.   Sharon: It is. What is it?   Joy: A noble metal, apart from the metal family in the periodic table, is a reluctant oxidizer combined with oxygen. I have the exact definition for you. Let me find it. “A noble metallic chemical element is generally reluctant to combine with oxygen and usually found in nature in a raw form, for example gold. Noble metals have outstanding resistance to oxidization, even at high temperatures. The group is not strictly defined, but usually is considered to include palladium, silver, osmium, iridium, platinum and the second and third transition series of the periodic table. Mercury and copper are sometimes included as noble metals. Silver and gold with copper are often called the coinage metal, and platinum, iridium and palladium comprise the so-called precious metals which are used in jewelry.”   This also goes back to the fact that I had bad eczema when I was a kid. I remember putting on a pair of costume earrings that had nickel in them and they made my whole head swell up. I don't like the smell of brass. There are certain materials I find an attraction or a repulsion to. Noble metals, because of the way they don't oxidize, can sit next to your skin, and I love the feeling of them.   Sharon: That's interesting, because I've only heard the term noble metals in a couple of places. One was at a jeweler's studio, making jewelry, but it was explained to me, “It's gold, it's silver, but it's not copper.” You said it's copper. I never realized it had anything to do with whether it oxidizes or not.    Joy: Interestingly, copper also is really precious in Japan. Some of the most expensive teapots are copper ones.   Sharon: Oh, really?   Joy: It's a type of copper where you've created a patination, which is beautiful, deep red color. This technique is quite hard to explain and is really highly prized.   Sharon: What's the name of the technique?   Joy: Shibuichi. I'm not good at the pronunciation, but I can write it down afterwards. I love metal patination and metal colors. In fact, that's why I love bronze. Bronze is mostly composed of copper as an alloy. It doesn't smell in the way that brass does, and also I love the reactions you get. Verdigris is one of the techniques I like to use a lot in my work, which is used with copper nitrates. You get these incredible colors of greens. When you think of classical bronze sculptures or bronzes that are found under the sea, they often have these incredible green colors to them. I think about it like painting or a composition, the colors you find in metal colorations. People often question what the color of metal is, but actually the different alloys or treatments you can give to metal can give you an incredible array of different colors.   Sharon: I'm curious. I agree, but I see the world through a different perspective. I might look at the statue you've taken from the under the sea and say, “Somebody clean that thing.” I don't clean things that have a patina, but that would be my first reaction, while you appreciate that right away. Why did you go to Japan?   Joy: The first time I went to Japan was through The Glasgow School of Art. There was an exchange program you could apply for, and if you were awarded, there was also a bursary that you could apply for. The first time I went, I was awarded this bursary. One of my friends while I was studying at The Glasgow School of Art was Japanese, and she said to me, “Go and stay with my grandmother. She will absolutely love you.” I went to stay in her grandmother's apartment in Japan, and I studied at the Hiko Mizuno College of Jewelry, which is in Harajuku. I don't know if you've heard about it before.   Sharon: No.   Joy: This school is really interesting. Actually, when I was there, they hired Lucy Saneo, who recently passed away. They did an exhibition of hers at Gallerie Marseille. She was there as a visiting artist, and she was lovely. We had some interesting discussions about different perceptions of materials and jewelry between Europe and Japan. I was there on a three-month exchange, and I met Lucy as well as the teachers that I was allocated.    One of them, which I mentioned before, was Sensei Ando. He taught to me how to make Damascus steel. I made a knife when I was there, but the whole process had a real philosophical theory around it, with how difficult Damascus is to make. Often in modern knife making, you have pneumatic hammers. The hammering is done by a machine, whereas we have to do everything by hand in 40 degrees Celsius with 90% humidity outside with a furnace. We had to wrap towels around our heads to stop the sweat from dripping into our eyes. It was really difficult, but the end result was amazing. He said, “Life can be hard, but if you push through it, you can find its beauties.” It stayed with me, the way he had the philosophy, that process, and what that means to put yourself into the piece.    I also did metal casting and netsuke carving with Sensei Kagaeyama. It was in Tokyo that I first saw netsuke carvings in the National Museum in Tokyo. They really fascinated me, these tiny carvings. Do you know what a netsuke is?   Sharon: Yes, a netsuke, the little things.   Joy: They're tiny carvings. If anyone doesn't know, in traditional menswear in Japan, you would have a sash that goes around your kimono to hold your inro, which is your pouch which would hold tobacco or money or medicine. You would have a sash buckle to stop it moving, which was sometimes simply carved. Other times they were incredibly elaborate and inlaid. It could be this tiny bird so that the underside of the bird, even the claws, are carved. It was only the wearer that would necessarily see those details. In the same way that really good pieces of jewelry have that quality, the back is as important as the front.   Sharon: Oh, absolutely. My mom sewed, and it was always, “Look at the back of the dress, the inside of the dress. How's the zipper done?” that sort of thing. The netsuke, they were only worn by men?   Joy: They were only worn by men. It was combs that were worn by women, which were a social hierarchical show of your wealth or your stature. They were also given as tokens of love and were the equivalent of an engagement ring. They were given in this way. A comb is something I've always found interesting. I didn't know the scope of the importance of the comb in Japan, specifically in the Edo and Meiji periods.   Sharon: Are you considering adding combs to your repertoire? Maybe the comb part is plastic with a metal on top.   Joy: Combs are one of the things I explored within my degree show. I did a modern iteration of Medusa as a body of work, 17 different bronze sculptures that were a collection of combs with all different bronze patinas, but those were sculptures. They were not actually wearable. There was a whole wall of these pieces. My whole degree show was about metamorphosis and the ability to change. It was a combination of sculpture and jewelry.    For “Force of Nature,” the exhibition Melanie invited me to do, I did one wearable comb. It was called Medusa. The bristles were moving, and they had fine, little diamonds set between all the bristles so they would catch the light in certain movement. It also had a pin at the back so you could have it as a sculpture or you could wear it.   Sharon: It sounds gorgeous. You mentioned classical art, and I know classical art is a big catalyst or an influence on your jewelry today. Can you tell us about that and where it came from?   Joy: Growing up in London, London has some of the most amazing collections of ancient art. Also modern collections, but if you think about the V&A or the British Museum, there are artifacts from all over the world which are incredible. As a child, they were something my parents would take me to and tell me stories or show me things. There was also a moment when my mom took me to Paris when I was about 13 years old, and I saw the Victory of Samothrace, which is this huge Hellenistic statue which is decapitated. She doesn't have a head and she doesn't have arms, but she has these enormous wings and retains this incredible sense of power and movement, and that stayed with me. I've always found particularly the Hellenistic—not the Roman copies, but the older pieces—incredibly beautiful. I don't why, but I've always felt this attraction to them.   When I studied at The Glasgow School of Art, there was also a collection of plasters of Michelangelo's Enslaved and the Venus de Milo. They were used since the 1800s as examples of proportions, and you would use them in your drawing classes. I used to sit with them and have my lunch and draw them and look at them. I started to look at the histories or the stories behind some of them, and I didn't particularly like how they were often silencing women. Some of the stories were quite violent towards women, so I started to deconstruct and cut apart these classical figures.    I also looked to Albrecht Durer's book on proportion, because they had a real copy of it at The Glasgow School of Art that you could request to look at. I also believe that to understand something, you can deconstruct it and take it apart. Like a clock, if you start to take it apart, you understand how it works. So, I started to take apart the proportions, literally cutting them apart, and that's how the deconstructed portrait series started. It was not just the form; it was actually what classicism stood for. Many of the collections at the V&A and the British Museum were stolen or taken in really negative ways. They're a result of colonialism and the UK's colonial past. There are often darker sides to those collections.    That was something I had to confront about this attraction I had towards these classical pieces. Why was I attracted to them? How could I reinvent it or look at that in a new way? I still love these classical pieces. My favorite painter is Caravaggio, and my favorite sculptures are the bronze and stone pieces from the Hellenistic Greek period. It didn't stop me from loving them, but it made me rethink and redefine what classical meant for me.   Sharon: Is the deconstruction series your way of coming to terms with the past? Besides the fact that they're beautiful, ancient statues, is it your way of reinventing the past in a way?   Joy: Absolutely. The past, you can't erase it. It's been done, and the fact that these pieces have survived all of this time is testament to their beauty. Something survives if it's beautiful or evocative or has a power about it. I think it's interesting that Cellini, who was a sculptor and a goldsmith, is known more famously for his bronze statue of Medusa in Florence. He made lots of work out of precious metals, but they didn't survive. It was the bronzes that survived.    Translating these works into precious metals also makes you reflect or think about them in different ways, and it makes the cuts or the breakage something positive or beautiful. The way I placed diamonds into the breakages or the cracks is also to celebrate our failures or celebrate our breakages. That moment I had the accident and everything in my life fell apart, it was also through that process that I discovered the most. We need creation and destruction, but it's a cyclical thing.   Sharon: Interesting. My last question has to do more with the dividing lines. Do you consider yourself an artist who works in jewelry, or do you consider yourself a jeweler who happens to make art through your jewelry? There are a lot of jewelers who don't consider themselves artists; they just make jewelry and that's it. How do the two rub together for you?   Joy: I see myself as an artist. I think within the arts, that encompasses so many different disciplines. A beautiful piece of literature written by Alice Walker, I think, is as moving as an artwork or a painting. The same with a composition of music. I see jewelry as another art form and expression. I don't divide them. However, I don't like all jewelry, in the same way I don't like all paintings or sculpture. The way in which we look at or define art is so subjective, depending on your norms, the way you were brought up, which part of the world you grew up in, how you have been subjected to certain things. When people ask me what I do, I say I'm an artist and goldsmith because I particularly work in noble metals and bronze. There's still a jewelry aspect of my work. It is very much jewelry. You can wear it, but it is also sculpture. It is one and the other; it's both.   Sharon: Have you ever made a piece of jewelry in gold where you said, “This is nice, but it's not a work of art. It doesn't express me as an artist; it's just like a nice ring”?   Joy: Definitely, and definitely through the period of time when I did my apprenticeship. I learned a lot. I made pieces where people would bring me albums or pieces they wanted to reinvent and find modern ways of wearing. I thought that was pretty interesting and I enjoyed that work, but I don't necessarily see it as an artwork that moves the soul or has the same effect as one of my deconstruction portraits or the Medusa series. I still think it has its place and it means a lot to that individual, and I enjoy the process of making it, but it's different.   Sharon: I know I said I asked my last question before, but I'm curious. Did your friends or colleagues or people in the street see something you had on and say, “Oh, I want that”?   Joy: Yes, definitely. I think if you like something and wear something because you like it enough that you wear it, usually someone else will like it, too. That's definitely part of it; I started making things and people still wanted them. I think my mom and dad were also sometimes the first port of call I would test things on to see whether they liked it. My dad is much more challenging because he doesn't wear a lot of jewelry. I made him a piece recently and he does wear it occasionally. He's quite a discerning artist. He won't sell his work to certain people. He's very particular about how he works and who he works with. But yes, that did start happening, and it's grown. I'm not sure how else to answer that question.   Sharon: I'm sure it's validating to have people say, “Oh, that's fabulous. Can you do one for me?” or “Can I buy it from you?”   Joy: I think that sense of desire, of wanting to put your body next to something or wear it, is one of the highest compliments. I went yesterday to a talk at the British Museum about an exhibition they're about to open called “Feminine Power: The Divine to the Demonic.” I went with a friend of mine who's a human rights lawyer. I made a piece for her recently which is very personal and is about various important things to her. Seeing her wear it made me feel really honored because she's an incredible person, and I could make her something that's part of her journey and that she loves so much that she wears it. Knowing it gives her power when she wears it is an incredible feeling. Also knowing that she may pass it down; that's another aspect with jewelry.    My mom has this one ring that was passed down in her family. My parents were struggling artists in London, and she sold most of her elegant pieces. I also find that aspect of jewelry really incredible, that it could transform by being sold so she could continue to do projects and things she wanted to do. I think jewelry's amazing in that way, that the intrinsic value can transform and be handed down and changed. I think that's interesting, but there was one ring she didn't sell because it's a miniature sculpture, and we all agree that it's incredibly beautiful. The rest of the pieces weren't things my mom or I or anyone really engaged with, but this one ring, to me, looks like a futurist sculpture in a seashell. It's a curved form. I think it's the Fibonacci proportions, and it's incredibly beautiful. Going back to your very first question, I think that may have had a strong influence in my appreciation and realization that I liked jewelry.   Sharon: It sounds like you're several years into a business that's going to be around for a long time. I hope we get to talk with you again down the road. Thank you so much for talking with us today, Joy.   Joy: Thanks for having me.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode:   Why people get so concerned with categorizing art, and why some of the most interesting art is created by crossing those boundaries  How Joy balances running a business while handmaking all of her pieces What noble metals are, and how they allow Joy to play with different colors How Joy's residences in Japan influenced her work How Joy has found a way to rethink classical art and confront its dark history     About Joy BC   Joy BC (Joy Bonfield – Colombara) is an Artist and Goldsmith working predominantly in Noble Metals and bronze. Her works are often challenging pre-existing notions of precious materials and ingrained societal ideals of western female bodies in sculpture. Joy BC plays with mythologies and re-examines the fascination with the ‘Classical'. Joy, a native of London, was profoundly influenced from an early age by the artistry of her parents - her mother, a painter and lithographer, her father, a sculptor. Joy's art education focused intensively on painting, drawing and carving, enhanced by a profound appreciation of art within historical and social contexts. Joy BC received her undergraduate degree from the Glasgow School of Art and her M.A. from the Royal College of Art in London. She has also held two residencies in Japan. The first in Tokyo, working under the tutelage of master craftsmen Sensei (teacher) Ando and Sensei Kagaeyama, experts in Damascus steel and metal casting.  She subsequently was awarded a research fellowship to Japan's oldest school of art, in Kyoto, where she was taught the ancient art of urushi by the renowned craftsmen: Sensei Kuramoto and Sensei Sasai. Whilst at the RCA she was awarded the TF overall excellence prize and the MARZEE International graduate prize. Shortly after her graduation in 2019 her work was exhibited in Japan and at Somerset house in London. In 2021 her work was exhibited in Hong Kong and at ‘Force of Nature' curated by Melanie Grant in partnership with Elisabetta Cipriani Gallery. Joy Bonfield - Colombara is currently working on a piece for the Nelson Atkins Museum in the USA and recently a piece was added to the Alice and Louis Koch Collection in the Swiss National Museum, Zurich.Additional Resources:  Joy's Website Joy's Instagram Photos: Photos available on TheJewelryJourney.com Transcript:   While others are quick to classify artists by genre or medium, Joy BC avoids confining her work to one category. Making wearable pieces that draw inspiration from classical sculpture, she straddles the line between jeweler and fine artist. She joined the Jewelry Journey Podcast to talk about why she works with noble metals; the exhibition that kickstarted her business; and how she confronts the often-dark history of classical art though her work. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is the award-winning artist and goldsmith Joy Bonfield-Colombara, or as she is known as an artist and jeweler, Joy BC. She is attracted to classical art. She interprets it from her contemporary viewpoint, and her work has been described both as wearable art and as miniature sculptures. We'll learn all about her jewelry journey today. Joy, welcome to the program.   Joy: Thank you for having me, Sharon.   Sharon: So glad to have you all the way from London. Tell us about your jewelry journey. You came from an artistic family.   Joy: Both my parents are artists. My mother is a painter and lithographer, and my father is a sculptor. So, from a really young age, I was drawing and sculpting, and I thought this was quite normal. It was later that I realized my upbringing was perhaps a bit different from some of my friends or my peers.   Sharon: Yes, it's unusual that I hear that. They weren't bankers. Was it always assumed that you were going to be an artist or jeweler?    Joy: Not at all. The fact that my parents were artists, I saw a lot of their struggle to try and place themselves within our society. They both were part of the 1968 revolution. My mom is actually from Italy. She left a tiny, little—not a village, but a small town called Novara which is near Verona and Turin, when she was 16 years old. She came to London and fell in love with London. She went to Goldsmiths School of Art, where she met my father. My father is English, and his ancestors were stonemasons from the Isle of Purbeck. So, they both met at art school, and it was much later that they had me.   As I grew up, they were incredibly talented individuals. They also struggled with how to live and survive from their artwork. As I grew older, however, as much as I loved the creative world I'd grown up in, I was also trying to figure out which pathway was right or was going to be part of my life. I didn't necessarily want to be an artist. For a long time, I wanted to be a marine biologist because I was really good at science, in particular chemistry and biology, and I really loved the ocean. I still love the sea. Swimming is the one sport I'm good at, and I find it fascinating. I still find the sea as a source of inspiration.    So no, it wasn't an absolute given; however, as I got older and went through my education, it became evident to me that was the way I understood the world and the spaces I felt most natural in. I'm also dyslexic. I used to be in special class because I couldn't write very well, but my dyslexia teacher said, “You're smart. You just have a different way of seeing the world.” I was always imaginative. If I couldn't write something, I would draw it or make it, and I liked the feeling that would create when someone else lauded me for it. Immediately, I had this connection with the fact that I could make things that people thought were interesting.    So, I studied science and art and theater, and then I went off to travel to Cuba when I was about 18, before I moved to Glasgow. When I was in Glasgow in Scotland, I saw The Glasgow School of Art degree show, and I was taken aback by the jewelry and metalwork show in particular. I don't know if you know the Rennie Mackintosh School of Art.   Sharon: No.   Joy: It's a British Art Nouveau building. In Scotland, it was part of the Arts and Crafts movement. It was a school that was designed by Rennie Mackintosh. He's a world-famous architect.   Sharon: Is that the one that burned down?   Joy: Yes, that year. I was actually there the year the school burnt down. I went to The Glasgow School of Art and I loved it. I did three amazing years there, and in my second year, I was awarded a residency to go to Japan. We had our degree show and we were preparing for it. The night before the fire, I took all of my works home. I don't know why. I was taking everything home to look at before we had to set up for the exhibition, and the school burnt down. At the same time, I had three major tragedies in my life. My best friend passed away; the school burnt down; and my boyfriend at the time had left me. I went through this total mental breakdown at the point when I was meant to start my career as an artist. I was offered the artist residency in the jewelry and metalworking department.    When Fred died, I was really unwell. A friend of mine had offered that I go to New York. I ended up having a bike accident, which meant that I was in intensive care. I couldn't work for three years. It was actually two friends of my family who were goldsmiths who gave me a space to work when I was really fragile. It was through making again and being with them that I slowly built back my confidence. That was my journey from childhood up right until the formals of education. These three events really broke me, but I also learned that, for me, the space I feel most happy in is a creative one, when I'm carving.   Sharon: Were you in the bike accident in New York or in Glasgow or in London?   Joy: In New York. My friend Jenny, who's a really good friend of mine, was going to New York and said, “I want you to come to New York because you've had the worst set of events happen. I think it would be good for you to have some time away.” I said, “Yeah, I agree,” and I came to New York. I was in Central Park cycling. It wasn't a motorbike. I blacked out. Nobody knows what happened. I woke up the next day in intensive care at Mount Sinai Hospital. I woke up in the hospital, and they told me I had fallen off my bike and I had front lateral brain damage, perforated lungs, perforated liver.   Sharon: Oh my gosh!   Joy: I feel really grateful that I'm here.   Sharon: Yes. To back up a minute, what was the switch from marine biology? I understand you were dyslexic, but what made you decide you were going to be a jeweler or an artist? What was the catalyst there?   Joy: I don't think there was ever a specific switch. I feel like art has always been a part of my life. It was always going to be that. I was always going to draw and make. I was also encouraged to do sculpture. I remember trying set design, because I thought that married my love of film and storytelling and theater with my ability to draw and sculpt. I thought, “Theater, that's a realm that perhaps would work well.” Then I went and did a set design course. The fact that they destroyed all my tiny, little things, because they have to take them apart to take the measurements for how big certain props or things have to be, drove me mad. I couldn't deal that I'd spend hours on these things to be taken apart.    I think it was probably the exhibition I went to see at The Glasgow School of Art. When I saw the show, I was really taken aback that all the pieces had been handmade. They were, to me, miniature sculpture. I hadn't considered that jewelry could be this other type of art. Seeing these works, I thought, “Wow! This is really interesting, and I think there's much more scope to explore within this medium.” I think that was the moment of change that made it for me.   Sharon: What is it about sculpture, whether it's large or jewelry-size, that attracts you? Why that? Is it the feeling of working with your hands?   Joy: I think it's a combination of things, partly because my father's a sculptor. I remember watching him sculpt, and his ancestors were stonemasons. They were quarriers from the Isle of Purbeck dating back to the 12th century. I remember going to the quarries with my dad and thinking how amazing it was that this material was excavated from the earth. Then my father introduced me to sculpture. A lot of West African sculpture, Benin Bronzes, modern sculpture by Alexander Calder. Michelangelo and classical sculpture was all around me in Italy when we'd go and visit my grandparents.    I think sculpture has always been something I found interesting and also felt natural or felt like something I had a calling towards. My mom has always said I have this ability with three-dimensional objects. Even as a child, when I would draw, I would often draw in 3D. I do still draw a lot, but I often collage or sculpt to work out something. You often draw with jewelry designs, actual drawings in the traditional sense, but I go between all different mediums to find that perfect form I'm looking for.   Sharon: When you were attracted to this jewelry in Glasgow, did it jump out at you as miniature sculpture?   Joy: Yeah, definitely. Looking at it, I saw it as miniature versions of sculpture. I also find artists such as Rebecca Horn interesting in the way that they're often about performance or extensions of the body. Even Leigh Bowery, who worked with Michael Clark, was creating physical artworks with ballet. These interactions with the body I think are really interesting: living sculpture, how those things pass over. I don't really like categorizing different art forms. I think they can cross over in so many different ways. We have this obsession about categorizing different ways or disciplines. I understand why we do that, but I think it's interesting where things start to cross over into different boundaries.   Sharon: That's interesting. That's what humans do: we categorize. We can spend days arguing over what's art, what's fine art, what's art jewelry. Yes, there's gray. There are no boundaries; there's gray in between.    Tell us about your business. Is that something your folks talked to you about, like “Go be an artist, but make sure you can make a living at it”? Tell us about your business and how you make a living.   Joy: I felt my parents were going to support me in whatever decisions I made. My mom ran away from Italy when she was 17, and she always told me that she said when she was leaving, “You have to live your life, because no one else will live it for you.” She's always had the attitude with me. Whatever direction I wanted to go in, I felt supported. I've always thought that if you work really hard at something or you put in the hours and you're passionate about it, then things will grow from that. Every experience I've had has influenced the next thing. I never see something as a linear plan of exactly how I'm going to reach or achieve certain things. I'm still very much learning and at the beginning of it. I only graduated in 2019 from the Royal College of Art doing my master's.    As I mentioned before, these two goldsmiths had given me an informal apprenticeship, basically. They were two working goldsmiths that had a studio, and they had been practicing for around 40 years. They had given me a space to work on this skill. Even though I studied a B.A. at The Glasgow School of Art, which is a mixture of practical and theoretical, I felt that after going to Japan and working with a samurai sword specialist making Damascus steel—it took him 25 years to get to the point where he was considered a master craftsman, this master in his craft. I felt like I had just started, even though my education in making had started from birth because my parents were artists and exposed me to all these things and encouraged me to make.    Within metalworking and jewelry work, there are so many techniques and so many things you need to take years to refine. Really, it's been like 11 years of education: doing a B.A., then doing an informal apprenticeship, then doing my master's. Only now do I feel like I've really found this confidence in my own voice within my work. Now I see the reaction from people, and I can help facilitate people on their journeys. I really enjoy that aspect of what I'm doing.    I'm still trying to figure out certain ways of running a business because it's only me. My uncle runs a successful business in Italy in paper distribution, and he said to me, “Why don't you expand or mass produce your work or have different ways of doing things?” This is where I find he doesn't necessarily understand me as an artist. For me, it's about process and handmaking everything. Perhaps that might not be the way I make the most money, but it's the way in which I want to live my life and how I enjoy existing. My business at the moment is just me handmaking everything from start to finish. What's really helped me recently is having support from the journalist Melanie Grant, who invited me to be part of an exhibition with Elisabetta Cipriani. It was with artists such as Frank Stella, Penone, who's one of my favorites from the Arte Povera movement who also came northern Italy, from an area where my family is from.    Sharon: I'm sorry; I missed who that was. Who's one of your favorites?    Joy: Penone. He's the youngest of the Arte Povera movement in Italy that came out of Turin. He often looks at nature and man's relationship to nature, the influence of it or connection. The piece of his that was on display was a necklace which was part of a tree that wraps around the décolletage. Then it has a section which is sort of like an elongated triangle, but it was the pattern of the skin from his palm. It's very beautiful. His sculpture, his large pieces, are often trees forming into hands or sections of wood that have been carved to look like trees, but they're carved. There's also Wallace Chan, who is obviously in fine jewelry. Art jewelry is considered—I don't know what to say—   Sharon: That's somebody who has a different budget, a different wallet. Not that your stuff isn't nice, but the gems in his things, wow.    Joy: There was Grima, Penone, Frank Stella. It was a combination of people who are considered more famously visual artists than fine jewelers. Then there was me, who was this completely new person in the art jewelry scene. I felt really honored that Melanie had asked me to put my work forward. I've always known what my work is to me. I see is as wearable artwork. But there was the aspect of, “What do other people see in it? How are they going to engage in this?” The feedback was absolutely incredible.    Since then, the work and the business have been doing so well. I have a bookkeeper now. The one person I employ is an amazing woman called Claire. She has been really helping me understand how my business is working and the numbers. However talented you are, if you don't understand how your business is working, then you're set up to fail. It's really difficult to continue to stay true to my principles and how I want to make, and to try to understand how I'm going to be able to do that, what it's going to take. I'm right at the beginning of it. I'm only in my first two years of my business. At the moment, from speaking to Claire, she was saying I'm doing well. I feel really supported by my gallery also, and that's the big part of it. I think that's going to make the difference.   Sharon: Wow! You do have a lot of support. No matter how talented you are, you do have to know how much things cost, whether you're making by hand or mass-producing them. I've always wanted to stick my head in the sand with that, but yes, you do need to know that.    I didn't realize there were so many artists at the exhibit. I knew you had this exhibit at Elisabetta Cipriani's gallery, but I didn't realize there were so many artists there. That must have been so exciting for you.   Joy: It was super exciting, and it was really interesting. Melanie has just written this book, “Coveted,” which is looking at whether fine jewelry can ever be considered as an art form. That's a conversation I'm sure you've had many a time in these podcasts, about classification. It's what we were talking about before, about how everything becomes departmentalized. Where is that crossover? How does it work? If people say to you, “I'm a jeweler” or “I'm an artist,” you'll have a different idea immediately of what that means.    It was hard to present an exhibition which was a combination of different work with the interesting theme of “force of nature,” just as we were coming out of lockdown. These are artists who've all been working away, and we got to do a real, in-person exhibition that people could attend and see and touch. One of the most magnificent things with jewelry is the intimate relationship you have with it, being able to touch it, feel it, that sensory aspect. I think in this day and age, we have a huge emphasis on the visual. We're bombarded with visual language, when the tactile and touching is the first thing we learn with. To be able to touch something is really to understand it.   Sharon: I'm not sure I 100% agree with that philosophy. I have jewelry buddies who say they have to hold the piece and feel it. I guess with everything available online, I don't know.   Joy: Diversity depends on what your own way of experiencing things is. Also, the way you look at something will be informed by the way you touched it. Yes, we are all looking at things big picture. We know it's made of wood or metal or ceramic. We can imagine what that sensation is. Of course, imagination also influences the ability to understand something, so they work together. I think it just adds different dimensions. It's the same with music. Sound is another sensory way in which we experience things. Music often moves me and helps me relax in ways that other art forms don't do.   Sharon: Right.  

“Dura Europos in Its Conceptual Context between Eurasian Fantasy and Mandate Archaeology” Jaś Elsner is Professor of Late Antique Art at Oxford University and Humfry Payne Senior Research Fellow in Classical Art at Corpus Christi College, Oxford. He works on art and its many receptions in antiquity and Byzantium including into modernity. He is the author or editor of several books including Art and the Roman Viewer (Cambridge University Press 1995), Roman Eyes: Visuality and Subjectivity in Art and Text (Princeton University Press 2007), The Art of the Roman Empire: 100-450 AD (Oxford University Press 2018), and Empires of Faith in Late Antiquity (Cambridge University Press 2020). This lecture is sponsored by a Sherl K. Coleman-Margaret E. Guitteau Professorship in the Humanities from the Oregon Humanities Center and is part of the Spring 2022 Ancient Jewish Art and Architecture Lecture Series.

Timestamps:00:10: Introductions00:30: Classical art, anime, and expression01:15: The power of imagination in anime. Exaggeration of the real world. 02:30: Bleach, powers, discipline and going beyond the possibilities of the real world03:35: Does enchantment inform the look and aesthetic of anime, or is it just the stories?05:00: Anime as reality on steroids vs Western cartoons as impoverished versions05:35: The importance of lessons in anime. Consequences, responsibilities and more sophisticated narratives from the real world. 08:00: Heroes, inspiration and cost. Support the show (https://www.patreon.com/talkpopc)

Join us ‘in conversation' with Nika Neelova, Thalia Allington-Wood and Thomas Marks following the New Art Centre's recent exhibition ‘One of Many Fragments' (11 September-20 November 2021) featuring work by Neelova and Thalia's father, Ed Allington. The New Art Centre's exhibition, ‘One of Many Fragments', was shown in two halves.  Allington's work was presented in the main gallery, while Neelova's sculpture was displayed in the adjoining 19th century orangery. This juxtaposition encouraged visitors to contemplate the mentor-student relationship between these two artists and the similarities or differences in their work. Fascinated by architectural objects from old historical buildings, Neelova turns the functional object into the unfunctional. Particularly through her ‘Lemniscate' series, which are transformed wooden banisters that retain the memory of each hand that has helped to carve the wooden support or rather reach for it while walking upstairs. Allington's sculpture and painting provides a foundation for such themes, through his reinvention and displacement of the recurring classical motif.  Neelova discusses this with art historians Thomas Marks and Thalia Allington-Wood as well as topics such as the property of materials and the liberation of objects.As an independent charity, we rely on donations to deliver our program. For further details of how to support our work, please visit our website at: https://rochecourteducationaltrust.co.uk/support-us/ Follow us on Instagram https://www.instagram.com/_ilovesculpture/ For more information on Neelova, follow this link: nikaneelova'One of Many Fragments' was curated by Simon Hucker. More information can be found here: Edward Allington and Nika Neelova: One of Many Fragments — NewArtCentre. (sculpture.uk.com)Thanks to: Dan Coggins for recording and editing the podcast, and Zach James for his support in post-production. Also, Antonia Beard from the New Art Centre. Funded by the RSA Catalyst Seed Award.

Blurred Lines What happens when classical art and mythology meets modern reality? Vamp set off on a heady adventure to find out. The result? Visual artist and photographer Karolina Skorek will undeniably leave an impression on your mind for some time to come. Dayna Camilleri Clarke caught up with the world-renowned artist to find out more. Hi Karolina, thanks for chatting with us! Your work is so unique. Tell us what spurred your interest to follow this creative path? I think I was always drawn to art. Since childhood, I would rather spend hours painting and drawing than playing with other kids. My parents were always exceptionally supportive, which enabled me to pursue my passion from a young age. The only thing they always asked in return was that I do study other things as well [that's why I speak three languages and have a passion for reading]. How did your upbringing influence your work? As I grew up in Poland in the 80s, I love the aesthetic of that time. Being a kid at that time also taught me to think outside the box - we didn't have much [shops were almost empty], so we had to create the toys. My favourite dolls house was made out of a giant cardboard box, and it is incredible looking back now in a world where everything is so readily available. But yes, now when I need a prop or a backdrop, I don't think where to buy it - my first thought is “How do I make it?” and it is handy. I can create couture dresses from mesh and hot glue if I have to. My family was supportive of my art choices from early school age. Still, they did expect me to be good at all other subjects in school, so I could only immerse myself in art history and philosophy after graduating from high school. You're an exceptionally varied artist; do you have a preferred discipline? To be honest, not really. I love the infinite possibilities of digital photography mixed with Photoshop. Yet, the ability to create art in a non-digital way is impressive and stimulates my brain and creativity in a totally different way. What does your creative process look like? For the art pieces, it starts with a glass of wine or a hot mug of earl grey and a spark of creativity, honestly. I just see the images before I create them. After the idea comes to me, I draw it out. I create a mood board for anyone else who is taking part in the shoot. Then I make the props, the backgrounds sometimes dresses. When it comes to shooting - I work pretty fast, with everything planned before knowing what I need to do. After the shoot, I usually let the material sit on my computer for a couple of days, so I come back to it fresh with no memory of my “favourite shots” from the session. And then it is hours of editing with good music and tea. How would you describe your style at the moment? ‘Magical Realism.' A mixture of Old Masters Painting with a surreal twist. I remember someone once said it looks like what would happen if Caravaggio got a camera and photoshop instead of oil paints. What's the most challenging part of being both a visual artist and a photographer? Not comparing yourself to other artists. With the digital age, it is easy to lose yourself scrolling through Instagram, seeing all those fantastic works of others, and falling into the game of comparing yourself to others, but this isn't the way. I am on my path, and they are on theirs. We don't know what shaped us to be where we are now, so let us not compare and compete. I wish more artists were supportive of each other. There is an amazing community of photographers and digital creators that I am in right now, but I find it surprising that it isn't the norm. You have won many awards, Karolina; what are your career highlights to date? I would say this year!, being the judge of the OneEyland top 10 fashion photographers 2021 after scoring 4th last year. Then winning second place in WPPI in the creative portrait category. Is it hard to part with your work? Yes. I am a workaholic. If I am not creating, I thin

Jacqueline Casey was born in Quincy, Massachusetts in 1927 and  grew up with a passion for art. While her parents encouraged her to study bookkeeping, she pursued art against their wishes by entering the Massachusetts College of Art. It was at MassArt that Casey met and befriended Muriel Cooper. In 1949, Casey graduated from MassArt with a degree in fashion design and illustration. She entered the workforce which was very gradually becoming more accepting of women and worked in fashion design, advertising, and interior design. Except none of them felt quite right. Frustrated, Casey took three months to travel across Europe and clear her head. In 1955, Muriel Cooper hired Casey to work with her at MIT's Office of Publications. Casey would soon become responsible for posters, catalogs, and other promotional materials. In 1958, Casey worked with Thérèse Moll, an assistant to seminal Swiss designer Karl Gerstner. Moll introduced Casey to the International Typographic Style. Casey was later appointed director of the Office of Publications, and MIT's public image became recognizably influenced by the International Typographic Style. Under Casey's directorship, the MIT Office of Publications adapted ITS and went on to play a critical role in popularizing Swiss modernism across America.TIMELINE1927 –  b Jacqueline Casey in Quincy, Massachusetts.1949 – Casey graduates from Massachusetts College of Art with a Bachelor's degree in Fine Arts and a focus in design/illustration.1955 – Casey is hired by friend and fellow MassArt alumna Muriel Cooper to work at MIT's Office of Publications.1957 – Cooper leaves MIT and Jacqueline Casey takes on a larger, more active role within MIT's Office of Publications.1958 – Casey that summer works with Thérèse Moll, friend and assistant to famous Swiss designer Karl Gerstner. Moll introduces Jacqueline Casey to the International Typographic Style, which Casey adopts.1972  – Casey is appointed director of the Office of Publications at MIT and under her influence MIT's public image becomes recognizably influenced by the International Typographic Style. MIT goes on to influence American graphic design, spreading ITS and Swiss modernism across the country.1989 – Jacqueline Casey retires but continues to work with MIT as a visiting scholar.1992 – d Jacqueline Casey at age 65 in Brookline, Massachusetts from cancer.REFERENCES07. Jacqueline S. Casey. (n.d). History of Graphic Design. Retrieved 25 May 2021 from https://edpacheco16.wordpress.com/jacqueline-s-casey/Jacqueline Casey. (2021). San Francisco Museum of Modern Art. Retrieved 25 May 2021 from https://www.sfmoma.org/artist/jacqueline_casey/Jacqueline Casey. (n.d.). Cooper Hewitt. Retrieved 25 May 2021 from https://collection.cooperhewitt.org/people/18053543/Jacqueline Casey. (n.d.). Designing women. Retrieved 25 May 2021 from https://designingwomen.readymag.com/profiles/jacqueline-casey/Jacqueline Casey. (n.d.). Rochester Institute of Technology. Retrieved 25 May 2021 from https://www.rit.edu/carycollection/jacqueline-caseyJacqueline Casey: A forgotten design hero. (2018, April 12). Documenting Design. Retrieved 25 May 2021 from https://wordpress91977.wordpress.com/2018/04/12/jacqueline-casey-a-forgotten-design-hero/Jacqueline Casey research. (n.d.). Jacqueline Casey Research. Retrieved 25 May 2021 from https://samsgraphicresearch.weebly.com/history.htmlReinfurt, D. (2017). Muriel Cooper. MIT Press.Resnick, E. (2008). Women at the edge of technology. Eye Magazine. Retrieved 25 May 2021 from http://www.eyemagazine.com/feature/article/woman-at-the-edge-of-technologyThe Humanistic Designer: Jacqueline Casey. (2016). Massachusetts Institute of Technology. Retrieved 25 May 2021 from https://mit2016.mit.edu/campus-cambridge/century-employees/caseySherin, A. (2012, February 6). Casey, Jacqueline. In_ Grove Encyclopedia of Classical Art and Architecture_. https://doi.org/10.1093/gao/9781884446054.article.T2021558

Greek, Roman, and Renaissance art stands out for its beauty and attention to the human form. But why do old statues have small penises? From Michelangelo's David to the ancient Greek Laocoön, discover why classic sculptures are notable for their modest proportions. Was it artistic choice or cultural symbolism? Unveil the reasons in this deep dive into classical art's intriguing details. #GreekSculpture #RenaissanceArt #ClassicalArt #Michelangelo'sDavid #ArtHistory #WeirdFacts Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join Mark Weaver and award-winning architect, Andrew Skurman on 'Designers at Home.' Andrew Skurman is known for his classical architecture and is the recipient of the 2021 Arthur Ross award in architecture from the Institute of Classical Art and Architecture (ICAA). We look forward to learning more about his craft and his prestigious background which includes a degree from Cooper Union and an apprenticeship at I.M. Pei & Partners. To learn more about Andrew Skurman you can visit his website www.skurman.com or follow him on Instagram @andrewskurmanarchitects Be sure to keep up to date on 'Designers at Home' by following @markweaverandassociates on Instagram

Correspondent Tom Wilmer visits with Dr. Catherine Person, director of education at the University of Michigan's Kelsey Museum of Archeology in Ann Arbor , Michigan. The Kelsey specializes in Classical, Egyptian, and Near Eastern archeology and sponsors ongoing field research. The museum houses more than 100,000 ancient and medieval objects from the Mediterranean and the Near East. Community outreach is central to the Kelsey's mission, engaging the community from kindergarteners through retirees. The Kelsey is also home to the University of Michigan's graduate program in Classical Art and Archeology . This show was originally broadcast December 30, 2019 and is reposted as a Best-of-the-Best show from the archives of Journeys of Discovery with Tom Wilmer in celebration of 32 years producing on-air and digital media shows for NPR affiliate KCBX. Underwriting support for Journeys of Discovery provided by Nashville's Big Back Yard economic initiative focused on rural communities in the

Francis Morrone, the noted architectural historian, author of eleven books, on the Institute of Classical Art and Architecture in Midtown.

On the 9th episode of ‘Indian Artpreneur' podcast series, Season 3 – Vistāra we speak to one of India’s foremost classical dancers, who hail from a family of educationists, artists and Harikatha Vidwans (traditional story tellers). – Smt Nirupama Rajendra and Sri T D Rajendra As founders of ‘Abhinava Dance Company'- one of India's most popular and cutting-edge production houses recognized worldwide, the duo have been instrumental in introducing a great deal of innovation, creativity, enthusiasm and imagination to the realm of Classical Art over 25 years. On this episode you will listen to her speak about: Early days Importance of music Male dancers and masculinity Productions that make impact Message to parents and teachers

On this final episode of our first season, Dixie and Katie speak with archaeologist Dr. Adam Rabinowitz. Adam brings his expertise in experiential learning to the show and entertains us with his powerful story from the time he was on his first archaeological expedition (as a teenager) with his aunt in Italy. Take a listen, and thanks so much for joining us on The Other Side of Campus! ABOUT THE GUEST https://assets.fireside.fm/file/fireside-images/podcasts/images/9/9a59b135-7876-4254-b600-3839b3aa3ab1/guests/4/41c63cec-7860-44cc-808b-f48174790551/avatar_small.jpg?v=1 Adam Rabinowitz is an Associate Professor in the Department of Classics and Assistant Director of the Institute of Classical Archaeology at The University of Texas at Austin. He holds his PhD (2004) from the Interdepartmental Program in Classical Art and Archaeology at the University of Michigan, where he wrote a dissertation on the role of communal wine-drinking in political and social interactions in the colonial Greek world. He is a 2002 Fellow of the American Academy in Rome and a field archaeologist with twenty-five years of archaeological field experience at Greek, Roman, and Byzantine sites in Italy, England, Israel, Tunisia, and Ukraine. His archaeological research focuses on daily life, domestic architecture, commensal practices and the lived experience of culture contact. He has also published on more historical questions of political organization and competition in the early Greek world. He also has a longstanding interest in the use of digital platforms for archaeological documentation and publication, which began during his work at the Roman site of Cosa in the 1990s and intensified in the course of excavations in the South Region of the Greek, Roman, and Byzantine site of Chersonesos in Crimea in the mid-2000s. Since then, in the course of his preparation of the South Region excavations for publication, he has begun to work on questions of long-term archival preservation and on the digital dissemination of rich contextual datasets. He is also involved in several digital humanities projects related to the linking and visualization of information about the Classical past, including Pleiades (http://pleiades.stoa.org), a spatial gazetteer of ancient places; GeoDia (http://geodia.laits.utexas.edu), an interactive spatial timeline of Mediterranean archaeology; Hestia2 (http://hestia.open.ac.uk/), a narrative time-map of the Histories of Herodotus; and PeriodO (http://perio.do), a gazetteer of scholarly definitions of archaeological, historical, and art-historical periods funded by the National Endowment for the Humanities and the Institute of Museum and Library Services. PRODUCER'S NOTE: This episode was recorded on April 28th, 2021 via Zoom. CREDITS Assistant Producers/Hosts: Dixie Stanforth and Katie Dawson (Intro theme features additional PTF fellows Patrick Davis, Keith Brown, David Vanden Bout Music and Sound Design by Charlie Harper (www.charlieharpermusic.com) Additional Background music by Christian Bjoerkland, Scott Holmes, Juanitos, and Ketsa Produced by Michelle S. Daniel Creator & Executive Producer: Mary C. Neuburger Connect with us! Facebook: /texasptf Twitter: @TexasPTF Website: https://texasptf.org DISCLAIMER: Texas Podcast Network is brought to you by The University of Texas at Austin. Podcasts are produced by faculty members and staffers at UT Austin who work with University Communications to craft content that adheres to journalistic best practices. The University of Texas at Austin offers these podcasts at no charge. Podcasts appearing on the network and this webpage represent the views of the hosts, not of The University of Texas at Austin. https://files.fireside.fm/file/fireside-uploads/images/1/1ed1b736-a1fa-4ae4-b346-90d58dfbc8a4/4GSxOOOU.png Special Guest: Adam Rabinowitz.

Violinist Lukas Medlam is a British-Austrian violinist, composer and a graduated physicist. Lukas was homeschooled by his musician parents till his teens while they were at the peak of their careers with the Baroque London Players ensemble. After studying at the Purcell School of Music and the Royal College of Music in London, Lukas have decided to make a dramatic change and went to study physics which is quite unusual for a person who comes from a musical family. Join us for this talk to find out why Lukas decided to switch studies and what lessons this has taught him. Episode music - L.Medlam - RomanceC. Debussy - Étude No. 11 "Pour les Arpèges Composés" performed by M.MašanauskaitėSupport openARTed monetarily  - https://www.patreon.com/monikamasanauskaiteCheck more info about the host Monika Mašanauskaitėwww.monikapianiste.com/https://www.instagram.com/masanauskaitemonika/https://www.facebook.com/MonikaPianiste/Listen on Youtube If you have any comments or enquiries, drop me a line at openartedpodcast@gmail.com or monikapianiste@gmail.com 

Opera is a climax of the Western classical music tradition, in which artists, musicians and singers perform a dramatic piece. We usually describe and remember operas with extensive and fine-tuned productions, which happen mostly in opera houses. Traditionally, all components of any opera should resemble the perfection of a part of the production. But how can we redefine the Opera in the current culturally complex societies? How about accessibility and inclusion? Or how about making, rehearsing and watching an opera in the time of the pandemic?

Opera is a climax of the Western classical music tradition, in which artists, musicians and singers perform a dramatic piece. We usually describe and remember operas with extensive and fine-tuned productions, which happen mostly in opera houses. Traditionally, all components of any opera should resemble the perfection of a part of the production. But how can we redefine the Opera in the current culturally complex societies? How about accessibility and inclusion? Or how about making, rehearsing and watching an opera in the time of the pandemic?

The heat of summer continues, as does the workings of the pressure canner. Blind Hog and Acorn just keep truckin'.Spices arrive, goats depart- but not without a little drama first. Of course, we must have the drama. Acorn shares fun animal facts, probably more than what you would like to know. Cannot say we didn't warn you. Astrophotography is harder than it looks. Art museums are always more fun with a smart ass, or two. Or three.Check out the website for pictures for the episode! www.blindhogandacorn.com

This week, Steve and Jake but on their berets and discuss the finer things. Actually, we talk about why some of us don't really find classical art appealing and our own approach to appreciating art work. Steve shares some of his favorite artists and also makes some bold claims about your artistic potential.  How Catholic Art Saved the Faith: The Triumph of Beauty and Truth in Counter-Reformation by Elizabeth Lev SteveBirdArt.com   Connect Become a Patron! https://www.manfullyaliveministries.com/ Connect on Instagram Connect on Twitter Connect on Facebook

The interviews in this episode of Classics Confidential were recorded at a workshop entitled The Forgotten Other: Disability Studies and the Classical Body. The workshop took place at Kings College in June 2018: it was organised by Dr Ellen Adams, Senior Lecturer in Classical Art & Archaeology at Kings College London, and Dr Emma-Jayne Graham, Senior Lecturer in Classical Studies at The Open University. Programme structure and timecodes: 0.00 Introduction to the programme; Ellen Adams on the background to the workshop. 3.31 Lennard Davis on the background to Disability Studies, and the language of disability in the modern world (and its retrospective application to antiquity) 6.41 Ellen Adams on previous scholarship on disability in antiquity 8.39 Christian Laes on Greek and Latin vocabulary 13.04 Edith Hall on the myth of Hephaestus, Orion and Cedalion, and pain in the Philoctetes. 17.55 Michael Squire on classical sculpture and the Venus De Milo 20.18 Lennard Davis on (non)representations of disability in the contemporary film industry 22.44 Stephanie Evelyn Wright on skeletal evidence from Roman burials 26.55 Jane Draycott on the literary and archaeological evidence for ancient prostheses 30.20 Tom Shakespeare on studying disability in the past, and the importance and danger of imagination. 33.19 Ellen Adams on the surprises, highlights and challenges of the workshop 37.07 Conclusion and acknowledgements

In this episode we do a "Case Reset" and discuss where we are with the spokes of the case and other details of the case.

On this episode, we have the privilege of speaking with a modern-day archaeologist Dr. Adam Rabinowitz and archaeology grad student Susan Crane. Both take us into the ancient world of Romania through their exciting (and sometimes not-so-exciting) archaeological expeditions and unbelievable discoveries. ABOUT THE GUESTS Adam T. Rabinowitz https://minio.la.utexas.edu/colaweb-prod/person_files/0/304/adam_t_rabinowitz_profile_image.jpeg Adam Rabinowitz is an Associate Professor in the Department of Classics and Assistant Director of the Institute of Classical Archaeology at The University of Texas at Austin. He holds his PhD (2004) from the Interdepartmental Program in Classical Art and Archaeology at the University of Michigan, where he wrote a dissertation on the role of communal wine-drinking in political and social interactions in the colonial Greek world. He is a 2002 Fellow of the American Academy in Rome and a field archaeologist with twenty-five years of archaeological field experience at Greek, Roman, and Byzantine sites in Italy, England, Israel, Tunisia, and Ukraine. His archaeological research focuses on daily life, domestic architecture, commensal practices and the lived experience of culture contact. Read more here: www.slavxradio.com/rabinowitz Susan Crane https://minio.la.utexas.edu/colaweb-prod/news_images/1/12801/susan_crane_wins_jane_c_waldbaum_archaeological_field_school_scholarship.jpeg Susan is an assistant instructor in the Department of Classics within the University of Texas at Austin and is currently taking Romanian language with Professor Jason Roberts at the Center for Russian, East European, and Eurasian Studies. NOTE: This episode was recorded on February 19, 2020 at the University of Texas at Austin. Thanks for listening and if you like us and support open academic programming, please take a second to rate the show on Apple Podcasts, TuneIn, or on our Facebook page. We so appreciate your support!! CREDITS Co-Producer: Tom Rehnquist (Connect: facebook.com/thomas.rehnquist) Co-Producer: Matthew Orr (Connect: facebook.com/orrrmatthew) Logistics/Assistant Producer: Milena D-K Associate Producer: Lera Toropin Associate Producer: Samantha Farmer Associate Producer: Cullan Bendig Supervising Producer: Kathryn Yegorov-Crate Production Assistant: Luis Camarena Executive Editor/Music Producer: Charlie Harper (Connect: facebook.com/charlie.harper.1485 Instagram: @charlieharpermusic www.charlieharpermusic.com) (Additional background music by Blue Dot Sessions) Executive Producer & Creator: Michelle Daniel (Connect: facebook.com/mdanielgeraci Instagram: @michelledaniel86) www.msdaniel.com DISCLAIMER: The views expressed on this episode do not necessarily reflect those of the show or the University of Texas at Austin. Special Guest: Adam T. Rabinowitz.

Guests B.J. Parker, Co-Founding Director and Instructor, & Carolyn Karasek, Student, at Gateway Academy of Classical Art sit down to talk about the rise of popularity of classical arts training, how their organization came about, and how you can be a part of it.

Francis Morrone, the noted architectural historian, author of eleven books, on the Institute of Classical Art and Architecture in Midtown

Reality is a complex subject, and it is becoming more sophisticated in the context of art. Art, in its nature, manipulate and recreates reality for different reasons. In our area, we can add a layer to the complexity of art by adding augmented reality. Augmented Reality (AR) is not only a technology, but it also brings more questions and speculation about the old problem of: "What is reality?"

Reality is a complex subject, and it is becoming more sophisticated in the context of art. Art, in its nature, manipulate and recreates reality for different reasons. In our area, we can add a layer to the complexity of art by adding augmented reality. Augmented Reality (AR) is not only a technology, but it also brings more questions and speculation about the old problem of: "What is reality?"

He was the ideal man. Handsome, strapping, with unreal proportions. But ancient statues like the Doryphoros originally looked much different, a revelation that is slowly upending long-held assumptions about race and art in the classical world. And not a moment too soon to confront the dangerous claims of white supremacists. You can see a 3D model of the Doryphoros statue here: skfb.ly/6KZOH. You can read more about it here: https://collections.artsmia.org/art/3520/the-doryphoros-italy. And read more here about the scholars cited in this episode, who are confronting the abuse of antiquity by hate groups: https://bit.ly/2YRG5GZ

This episode called Art of Conversation and Music explores:1. The importance of Introductions in groups2. Process for introductions in group settings.3. Similarities of introductions with Music as a conversation starter.4. Process to listening to Classical Music using Nocturne in E flat Major op 9 by Chopin and Impromptu in A flat Major op 90 by Schubert5. Understanding the language of Music6. Want to know more.

Thursday, June 27, 2019, 12 noon WPKN 89.5 FM www.wpkn.org Host: Duo Dickinson In the last few years, we have all heard the word “walkable” used to market homes in cities and towns. It has become a marketing buzzword, used to sell in-town living. But “walkable” used to be the norm in cities and towns. Cars changed that. The Connecticut Turnpike, I-95, opened in 1958, and within a decade its final extension through to Rhode Island and the building of I-91 completely changed Connecticut’s cities. The huge ribbons of concrete and steel cut through these towns, often wrecking neighborhoods. These roads acted as walls, cutting off neighborhoods and ending any connection to the water that created the cities in the first place. This highway invasion changed every city in America, and the Baby Boomers extended the Greatest Generation’s love of suburbia and car-based living in Connecticut by abandoning downtown living. Connecticut’s cities were becoming those places that were not worth arriving at. But in the last decade, there is a new beginning of a dramatic change in how cities are used. Connecticut’s cities and real estate developers are realizing that the appeal of living in a place that is truly “walkable” has real value – to both retiring Baby Boomers who do not want to mow lawns, and their offspring, the Millenials do not want to even own a car, let alone a home. What is the future of living, at HOME, in downtown America? Three thought leaders will be online for this hour: Robert Orr is an architect and a renowned town-planner with more than forty years national and international experience. With projects at Seaside, and the New Hartford Library, Camp Anne and commercial, institutional and community projects, as well as custom residential homes, Orr’s role as urban designer has a depth of perspective few others can offer. Robert Orr has been honored with many design awards and featured in hundreds of publications at home and abroad. John Massengale has won awards for architecture, urbanism, architectural history, and historic preservation, from organizations and publications ranging from Progressive Architecture and Metropolitan Home, to the National Book Award Foundation (with the first architectural history book to win a National Book Award), to several chapters of the American Institute of Architects, and the Walton Family Foundation. He has served on the Boards of the Congress for the New Urbanism (CNU), the Institute for Classical Art & Architecture (ICAA), and Federated Conservationists of Westchester County (FCWC), and was the founding Chair of both CNU NYC and CNU New York (the state chapter). Massengale has taught at the ICAA, the University of Notre Dame, and the University of Miami and is a licensed architect in New York State. Steve Mouzon opened his own architecture firm in 1991 and produces a number of town-building tools and services. Mouzon Design’s Premium Tools Collection is a subscription service to robust new place-making tools that heretofore were unaffordable when commissioned by a single development. A Living Tradition is a framework for a new type of pattern book that is principle-based instead of taste-based, and therefore contributes to the creation of new living traditions. Steve is also a principal of the New Urban Guild in Miami. The New Urban Guild is a group of architects, designers, and other New Urbanists dedicated to the study and the design of true traditional buildings and places native to and inspired by the regions in which they are built.

Jason talks design and art in the space of sculpture and sculptural design.

Donna Kurtz (Professor of Classical Art and Senior Research Fellow of Oxford e-Research Centre) and Anne Trefethen (CIO) introduce the day along with providing some personal insights in working with Sebastian.

Institute of Classical Studies MA Intercollegiate Module Fair Degrees in Ancient History | Classics | Classical Art and Archaeology | Late Antique and Byzantine Studies Kings College London | Royal Holloway University of London | University Co...

Institute of Classical Studies MA Intercollegiate Module Fair Degrees in Ancient History | Classics | Classical Art and Archaeology | Late Antique and Byzantine Studies Kings College London | Royal Holloway University of London | University Co...

Between Ancien Régime, revolution and enlightenment. In her new exhibition the Albertina shows masterpieces of the collection from Dürer to Caspar David Friedrich. An exhibition portrait by CastYourArt.

Zwischen Ancien Régime, Revolution und Aufklärung. Die Albertina in Wien zeigt in ihrer neuen Ausstellung von Dürer bis Caspar David Friedrich Meisterwerke aus der Sammlung. Ein Ausstellungsporträt von CastYourArt.

Melvyn Bragg and his guests discuss the Trojan War, one of the best known events of Greek mythology. According to the traditional version of the story, the war began when a Trojan prince, Paris, eloped with the Spartan queen Helen. A Greek army besieged Troy for ten years before the city was finally overrun and destroyed. Some of the most familiar names of Greek mythology are associated with the war, including Achilles and Hector, Odysseus and Helen of Troy - and it has also given us the story of the Trojan Horse.The war is the backdrop for Homer's epic poem The Iliad, and features in many other works from classical antiquity. For centuries it was assumed to be a mythical event. But in the nineteenth century a series of archaeological discoveries provided startling evidence that Troy might really have existed, leading some scholars to conclude that there could even be some truth behind the myth. So does the Trojan War story have any basis in fact? And why has it proved such an enduring legend?With:Edith HallProfessor of Classics at King's College LondonEllen AdamsLecturer in Classical Art and Archaeology at King's College LondonSusan SherrattLecturer in Archaeology at the University of SheffieldProducer: Thomas Morris.

Melvyn Bragg and his guests discuss the Minoan Civilisation.In 1900 the British archaeologist Arthur Evans began excavating some ancient ruins at Knossos on the island of Crete. He uncovered an enormous palace complex which reminded him of the mythical labyrinth of King Minos. Evans had in fact discovered the remnants of a Bronze Age society; in honour of Crete's legendary king he named it the Minoan Civilisation.The Minoans flourished for twelve centuries, and their civilisation was at its height around three and a half thousand years ago, when they built elaborate palaces all over the island. They were sophisticated builders and artists, and appear to have invented one of the world's earliest writing systems. Since Evans's discoveries a hundred years ago, we have learnt much about Minoan society, religion and culture - but much still remains mysterious.With:John BennetProfessor of Aegean Archaeology at Sheffield UniversityEllen AdamsLecturer in Classical Art and Archaeology at King's College LondonYannis HamilakisProfessor of Archaeology at the University of Southampton.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the Minoan Civilisation.In 1900 the British archaeologist Arthur Evans began excavating some ancient ruins at Knossos on the island of Crete. He uncovered an enormous palace complex which reminded him of the mythical labyrinth of King Minos. Evans had in fact discovered the remnants of a Bronze Age society; in honour of Crete's legendary king he named it the Minoan Civilisation.The Minoans flourished for twelve centuries, and their civilisation was at its height around three and a half thousand years ago, when they built elaborate palaces all over the island. They were sophisticated builders and artists, and appear to have invented one of the world's earliest writing systems. Since Evans's discoveries a hundred years ago, we have learnt much about Minoan society, religion and culture - but much still remains mysterious.With:John BennetProfessor of Aegean Archaeology at Sheffield UniversityEllen AdamsLecturer in Classical Art and Archaeology at King's College LondonYannis HamilakisProfessor of Archaeology at the University of Southampton.Producer: Thomas Morris.

(No sound, on purpose) Here's a sped-up, time-lapse video of a recent painting that is currently being auctioned on eBay. Ends 9-7-2006

An oil painting done in one day. Shown in stages.

Paintcast™: ©2006 David R. Darrow - A good, fundamental way to get an accurate drawing down on canvas before you paint.

Paintcast™: A walk-through of my painting "Portrait of Beauty"

Paintcast™: A quick step-through on how I painted this painting with 4 colors, and black and white