Podcast appearances and mentions of Clement Greenberg

Mandolyn Wilson Rosen is back on the podcast! This time, instead of a book we are talking about an artist documentary. The film is called "Lifeline: Clyfford Still" 2019 directed by Dennis Scholl. It's a juicy art bio tell-all with a crusty curmudgeon as its talented but embittered subject. Come along with us as we enter a turbulently Still world. Find the film on Amazon ($2.99 SD) or for free on KanopyFind Mandolyn online at: https://mandolynwilsonrosen.com and on IG at @mandolyn_rosenLinks to the writings we mentioned:Clyfford Still's "An Open Letter to an Art Critic" on Artforumhttps://www.artforum.com/features/an-open-letter-to-an-art-critic-212151/David Levi Strauss for Brooklyn Rail "From Metaphysics to Invective"https://brooklynrail.org/2012/05/art/from-metaphysics-to-invective-art-criticism-as-if-it-still-matters/Seph Rodney for Hyperallergic "Hoping is Not Enough"https://hyperallergic.com/983414/hoping-is-not-enough/Artists mentioned: Matthew Barney, Jackson Pollock, Mark Rothko, Barnett Newman, Lois Dodd, Julian Schnabel, Mark Bradford, Julie Mehretu, Frank Stella, Ellsworth Kelly, Michelle GrabnerWriters mentioned: Seph Rodney, Paul Valéry, John Ruskin, Guillaume Apollinaire, John Ruskin, David Levi Strauss, Dore Ashton, Jerry Saltz, Ken Johnson, Clement Greenberg, Emily Dickinson's "'Hope' is the thing with feathers" Thank you, Mandy! Thank you, Listeners!Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.comAll music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: ⁠⁠⁠⁠⁠⁠peptalksforartists.com⁠⁠⁠⁠⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amy's website: ⁠⁠⁠⁠⁠⁠amytalluto.com⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Francine Tint In the Studio Over more than five decades, Francine Tint has created a remarkable body of work. Her paintings display an exhilarating freedom of execution combined with an original and frequently surprising color sensibility, varying in size from 10 inches to nearly 20 feet. Her brushwork ranges from languorous and undulating swaths of paint to aggressive and agitated gestures. Her works speak of a powerful and unwavering commitment to the visual and emotional vocabulary of abstract painting, and they embody the artist's personal and deeply held belief in the power of intuitive creation. ​ Tint's direct heritage may be traced to Abstract Expressionism and Color Field painting. Her admiration for those artists is enormous, but she also reaches more deeply into art history. Artists who are touchstones for Tint include Édouard Manet, Francisco Goya, Pompeian frescoes from the Roman Empire, and especially J.M.W Turner for his reliance on inspiration and radical painting techniques. She is particularly fond of 16th-century Mannerist painters; Jacopo Pontormo's idiosyncratic colors and anatomical and spatial distortions fascinate Tint. She also has a deep interest in Asian brush paintings. Recently, Tint has been mining her books on paleolithic cave paintings where she is captivated by their creators' profound identification with the animals they depicted, an identification which extends to handprints stenciled directly onto the cave walls. She is reminded of the foot and handprints that appear in her paintings. ​ Tint's work has been exhibited in over thirty solo shows in the United States and Europe, and is in the permanent collections of numerous museums including the Clement Greenberg collection at the Portland Art Museum and the Krannert Art Museum in Chicago. Her work is in private and corporate collections including Pepsi Co. and Mount Sinai Hospital. Francine Tint, Golden Flutter, 2024, Acrylic on canvas, 54 X 39 in. (137.2 x 99.1 cm), Copyright Upsilon Gallery Francine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon Gallery Francine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon Gallery

Comics, like cinema, is an eminently modern medium. And as with cinema, looking closely at it can swiftly acquaint us with the profound weirdness of modernity. Do that in the context of a discussion on Charles Burns' comic masterpiece Black Hole, and you're guaranteed a memorable Weird Studies episode. Black Hole was serialized over ten years beginning in 1995, and first released as a single volume by Pantheon Books in 2005. Like all masterpieces, it shines both inside and out: it tells a captivating story, a "weirding" of the teenage romance genre, while also revealing something of the inner workings of comics as such. In this episode, Phil and JF explore the singular wonders of a medium that, thanks to artists like Burns, has rightfully ascended from the trash stratum (https://www.weirdstudies.com/20) to the coveted empyrean of artistic respectability—without losing its edge. BIG NEWS: • If you're planning to be in Bloomington, Indiana on October 9th, 2024, click here (https://cinema.indiana.edu/upcoming-films/screening/2024-fall-wednesday-october-9-700pm) to purchase tickets to IU Cinema's screening of John Carpenter's In the Mouth of Madness, featuring a live Weird Studies recording with JF and Phil. • Go to Weirdosphere (http://www.weirdosphere.org) to sign up for Matt Cardin's upcoming course, MC101: Writing at the Wellspring, starting on 22 October 2024. • Visit https://www.shannontaggart.com/events and follow the links to learn more about Shannon's (online) Fall Symposium at the Last Tuesday Society. Featured speakers include Steven Intermill & Toni Rotonda, Shannon Taggart, JF Martel, Charles and Penelope Emmons, Doug Skinner, Michael W. Homer, Maria Molteni, and Emily Hauver. Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies soundtrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Charles Burns, Black Hole (https://bookshop.org/a/18799/9780375714726) Clement Greenberg's concept of “medium specificity” (https://en.wikipedia.org/wiki/Medium_specificity#cite_note-2) Terry Gilliam (dir.), The Fisher King (https://www.imdb.com/title/tt0101889/) Seth (https://drawnandquarterly.com/author/seth/), comic artist Chris Ware, Building Stories (https://bookshop.org/a/18799/9780375424335) “Graphic Novel Forms Today” (https://www.jstor.org/stable/10.1086/677339) in Critical Inquiry Raymond Knapp, The American Musical and the Performance of Personal Identity (https://bookshop.org/a/18799/9780691141053) Vilhelm Hammershoi (https://en.wikipedia.org/wiki/Vilhelm_Hammersh%C3%B8i), Danish painter Ramsey Dukes, Words Made Flesh (https://bookshop.org/a/18799/9780904311112) G. Spencer-Brown, [Laws of Form](https://en.wikipedia.org/wiki/LawsofForm) Dave Hickey, “Formalism” (https://approachestopainting.wordpress.com/wp-content/uploads/2013/01/19135319-hickey-7-formalism-036.pdf) Nelson Goodman, [Languages of Art](https://en.wikipedia.org/wiki/LanguagesofArt) Chrysippus (https://en.wikipedia.org/wiki/Chrysippus), Stoic philosopher Scott McCloud, Understanding Comics (https://bookshop.org/a/18799/9780060976255)

EPISODE 107 | Traces of Reality: Abstract Art and the CIA (World Is Weird 13) Guest: Mandy Theis, founder and director of the School of Atelier Arts, academic director and professor at the Florence Academy of Art Maybe you've walked into a museum or gallery and seen a big white, blank canvas, or a huge circle, and thought, "So, this is art, eh?". But why is there so much of this abstract stuff around? The answer might be surprising - because the CIA promoted it as part of the Cold War. And then it rather got away from them. Today, the art market is the most unregulated in the world, and aesthetics and skill take a back seat to branding.  Like what we do? Then buy us a beer or three via our page on Buy Me a Coffee. #ConspiracyClearinghouse #sharingiscaring #donations #support #buymeacoffee You can also SUBSCRIBE to this podcast. Review us here or on IMDb! SECTIONS 02:31 - Atelier training, the CIA begins, the cultural Cold War was run by elitists, Julia Child, Realism gets rebranded as Communist, the Springville Museum of Art in Utah, cadmium red as protest, dry brushing technique, techniques follow money, skill list art, technical skills are being lost 12:30 - Social Realism, Czech Functionalism and German Bauhaus, Cubist architecture, art is always in motion, Russians tweaked French Realism, Abstract art eclipses realism, a war of aesthetics and marketing, the French discount the Americans, America pushes Abstract Expressionism, Marshall Plan money becomes a black bag, the Congress of Cultural Freedom, Clement Greenberg, Art criticism as marketing 23:18 - the NCL (Non-Communist Left), Jackson Pollack was a CIA tool, American racial attitudes work against them 28:24 - Abstract Expressionism promoted as ultimate American style because it has no inherent meaning, it's safe; Picasso had atelier training, Truman hated abstract art ("ham and egg men"), George Dondero goes nuts about abstract art on the House floor, Realism is not retrograde, we are losing the artistic skills to make beautiful things 36:06 - the CIA's efforts were very successful, the modern art market is the most unregulated in the world, technique gets separated from art so it all becomes about money, everything is branded,  Warhol critiques all this, fine art feels remote from most of us, the art world is a closed circuit, Thomas Kinkade was successful because at least his work meant something to some people, scribbles are scribbles but branding makes them art 47:51 - Don't know if it's art, but I like it; Realism is still villainized  Music by Fanette Ronjat More Info:  The School of Atelier Arts website Bodyguard of Lies: The Ghost Army & Wartime Deception (World Is Weird 11) The Cultural Cold War: The CIA and the World of Arts and Letters by Frances Stonor Saunders Springville Museum of Art -  largest public collection of 20th century Russian and Soviet art in the western United States 15 things to know about Norman Rockwell Why Norman Rockwell Matters Ralph McQuarrie: Star Wars' Concept Artist A Visit to the CIA's “Secret” Abstract Art Collection Was Modern Art Really a CIA Psy-Op? Class 8. The CIA and the Cultural Cold War Origins of the Congress of Cultural Freedom, 1949-50 Cultural Cold War on CIA.gov WHEN FREEDOM TOOK THE OFFENSIVE: The Congress for Cultural Freedom and the Power of Ideas Congress for Cultural Freedom on Spartacus Educational  Cold Warrior: The Clement Greenberg Phenomenon CIA Weaponizing Abstract Art and Its Fallout The use of American art in the Cold War How MoMA and the CIA Conspired to Use Unwitting Artists to Promote American Propaganda During the Cold War Ford Foundation - Funding transatlantic exchange between the arts and politics The Ford Foundation and the CIA: A documented case of philanthropic collaboration with the Secret Police Modern art was CIA 'weapon' How the CIA Secretly Used Jackson Pollock & Other Abstract Expressionists to Fight the Cold War Was modern art a weapon of the CIA? Jackson Pollock & the CIA on The Conspiracy of Art website Why did the CIA sponsor Jackson Pollock? Pollock is Bollocks Pollock: genius or charlatan? Jackson Pollock: Separating Man from Myth Viewpoint: Why racism in US is worse than in Europe - BBC Viewpoint “They treated us royally”? Black Americans in Britain during WW2 Why abstract art is not valid Abstract Art Is Not Art and Definitely Not Abstract The Tyranny of Abstract Art in The Atlantic Communist conspiracy in art threatens American museums, Congressional Record, March, 17, 1952 Anticommunism and Modern Art - selection from the George Dondero Papers THE SUPPRESSION OF ART IN THE MCCARTHY DECADE The Shame of the Mural Censors — Why Art and History Matter Between Avant-Garde and Kitsch: Deconstructing Art And/As Ideology on Project MUSE Modern American Art and the Politics of Cultural Diplomacy Abstract Expressionism and the Cold War 'The art trade is the last major unregulated market' A Fascinating, Sexy, Intellectually Compelling, Unregulated Global Market. - Freakonomics ep. 484 The Art Market: Unregulated Unscrupulous And Worth Billions High-end art is one of the most manipulated markets in the world THE ART MARKET: AFFLUENCE AND DEGRADATION on Art Forum Billion Dollar Painter: The Triumph and Tragedy of Thomas Kinkade, Painter of Light book Thomas Kinkade: A Success - 60 Minutes Thomas Kinkade: The Painter Art Critics Hated but America Loved Much to the Chagrin of the Art Establishment, the Numbers Indicate that Thomas Kinkade Is the Most Successful and Relevant Artist in Human History Thomas Kinkade Was the World's Biggest Selling Painter. Art for Everybody Asks Why Follow us on social: Facebook Twitter Other Podcasts by Derek DeWitt DIGITAL SIGNAGE DONE RIGHT - Winner of a 2022 Gold Quill Award, 2022 Gold MarCom Award, 2021 AVA Digital Award Gold, 2021 Silver Davey Award, 2020 Communicator Award of Excellence, and on numerous top 10 podcast lists.  PRAGUE TIMES - A city is more than just a location - it's a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it's going. It's Prague THEN, Prague NOW, Prague LATER

We read Clement Greenberg's "Avant-Garde and Kitsch" (1939) and discuss where the avant-garde went, introduce a horseshoe theory to explain the KAWS cereal, and debate whether or not the Marina Abramović Longevity Method is a conceptual project or sell-out.PDF: Clement Greenberg, "Avant-Garde and Kitsch" (1939)Article: Bret Schneider, "Criticism & Ambivalence" (2016)Art (?): Marina Abramović Longevity Method (2024) Follow us on InstagramJoin Office Hours for discussion!

He's a poet, art critic, curator, translator, cultural theorist -- and someone who helps make sense of our world. Ranjit Hoskote joins Amit Varma in episode 363 of The Seen and the Unseen to talk about his life, his times and his work. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Ranjit Hoskote on Twitter, Instagram and Amazon. 2. Jonahwhale -- Ranjit Hoskote. 3. Hunchprose -- Ranjit Hoskote. 4. I, Lalla: The Poems of Lal Dĕd -- Translated by Ranjit Hoskote. 5. Poet's nightmare -- Ranjit Hoskote. 6. State of enrichment -- Ranjit Hoskote. 7. Nissim Ezekiel, AK Ramanujan, Arun Kolatkar, Keki Daruwalla, Dom Moraes, Dilip Chitre, Gieve Patel, Vilas Sarang, Arvind Krishna Mehrotra, Agha Shahid Ali, Mani Rao, Mustansir Dalvi, Jerry Pinto, Sampurna Chattarji, Vivek Narayanan and Arundhathi Subramaniam. 8. Ted Hughes, Geoffrey Hill, Seamus Heaney, Sharon Olds, Louise Glück, Jorie Graham and Rita Dove. 9. The Life and Times of Shanta Gokhale — Episode 311 of The Seen and the Unseen. 10. The Life and Times of Jerry Pinto — Episode 314 of The Seen and the Unseen. 11. कुँवर नारायण, केदारनाथ सिंह, अशोक वाजपेयी and नागार्जुन. 12. Ravi Shankar, Ali Akbar Khan, Bismillah Khan, Igor Straviksky, Pyotr Ilyich Tchaikovsky, Steve Reich and Terry Riley. 13. Palgrave's Golden Treasury: From Shakespeare to the Present. 14. The Rime of the Ancient Mariner -- Samuel Taylor Coleridge. 15. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 16. The Art of Translation — Episode 168 of The Seen and the Unseen (w Arunava Sinha). 17. Arun Khopkar, Mani Kaul and Clement Greenberg. 18. Stalker -- Andrei Tarkovsky. 19. The Sacrifice -- Andrei Tarkovsky. 20. Ivan's Childhood -- Andrei Tarkovsky. 21. The Color of Pomegranates -- Sergei Parajanov. 22. Ranjit Hoskote's tribute on Instagram to Gieve Patel. 23. Father Returning Home -- Dilip Chitre. 24. Jejuri -- Arun Kolatkar. 25. Modern Poetry in Translation -- Magazine and publisher founded by Ted Hughes and Daniel Weissbort. 26. On Exactitude in Science — Jorge Luis Borges. 27. How Music Works — David Byrne. 28. CBGB. 29. New York -- Lou Reed. 30. How This Nobel Has Redefined Literature — Amit Varma on Dylan winning the Nobel Prize. 31. The Fire and the Rain -- Girish Karnad. 32. Vanraj Bhatia on Wikipedia and IMDb. 33. Amit Varma's tweet thread on Jonahwhale. 34. Magic Fruit: A Poetic Trip -- Vaishnav Vyas. 35. Glenn Gould on Spotify. 36. Danish Husain and the Multiverse of Culture -- Episode 359 of The Seen and the Unseen. 37. Steven Fowler. 38. Serious Noticing -- James Wood. 39. How Fiction Works -- James Wood. 40. The Spirit of Indian Painting -- BN Goswamy. 41. Conversations -- BN Goswamy. 42. BN Goswamy on Wikipedia and Amazon. 43. BN Goswamy (1933-2023): Sage and Sensitivity -- Ranjit Hoskote. 44. Joseph Fasano's thread on his writing exercises. 45. Narayan Surve on Wikipedia and Amazon. 46. Steven Van Zandt: Springsteen, the death of rock and Van Morrison on Covid — Richard Purden. 47. 1000 True Fans — Kevin Kelly. 48. 1000 True Fans? Try 100 — Li Jin. 49. Future Shock -- Alvin Toffler. 50. The Third Wave -- Alvin Toffler. 51. The Long Tail -- Chris Anderson. 52. Ranjit Hoskote's resignation letter from the panel of Documenta. 53. Liquid Modernity -- Zygmunt Bauman. 54. Rahul Matthan Seeks the Protocol -- Episode 360 of The Seen and the Unseen. 55. Panopticon. 56. Tron -- Steven Lisberger. 57. Gita Press and the Making of Hindu India — Akshaya Mukul. 58. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 59. Ramchandra Gandhi on Wikipedia and Amazon. 60. Majma-ul-Bahrain (also known as Samudra Sangam Grantha) -- Dara Shikoh. 61. Early Indians — Tony Joseph. 62. Tony Joseph's episode on The Seen and the Unseen. 63. Who We Are and How We Got Here — David Reich. 64. पुराण स्थल. 65. The Indianness of Indian Food — Episode 95 of The Seen and the Unseen (w Vikram Doctor). 66. The Refreshing Audacity of Vinay Singhal — Episode 291 of The Seen and the Unseen. 67. The Speaking Tree: A Study of Indian Culture and Society -- Richard Lannoy. 68. Clifford Geertz, John Berger and Arthur C Danto. 69. The Ascent of Man (book) (series) -- Jacob Bronowski. 70. Civilization (book) (series) -- Kenneth Clark. 71. Cosmos (book) (series) -- Carl Sagan. 72. Richard Dawkins, Steven Pinker, Stephen Jay Gould and Oliver Sacks. 73. Raag Darbari (Hindi) (English) — Shrilal Shukla.. 74. Raag Darbari on Storytel. 75. Krishnamurti's Notebook -- J Krishnamurty. 76. Shame -- Salman Rushdie. 77. Marcovaldo -- Italo Calvino. 78. Metropolis -- Fritz Lang. 79. Mahanagar -- Satyajit Ray. 80. A Momentary Lapse of Reason -- Pink Floyd. 81. Learning to Fly -- Pink Floyd, 82. Collected poems -- Mark Strand. Amit Varma and Ajay Shah have launched a new video podcast. Check out Everything is Everything on YouTube. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘Dancing in Chains' by Simahina.

"I was like reborn," the art critic Clement Greenberg once remembered, "it was the most important event in my life." The event in question was his encounter with Sullivanian therapy. His biographer, Florence Rubenfeld, once wrote that it would not overstretch the facts to say that after the late '50s, Clem's comportment in the art world can only be understood in this context. Yet despite how large Clement Greenberg looms as the most impactful U.S. critic of the 20th century, few people know this history. A new book called The Sullivanians, Sex, Psychotherapy, and the Wild Life of an American Commune is raising the subject once again, as literally one chapter in a much larger narrative. A lot of other people shared Greenberg's experience of rebirth. From the 1950s to the 1980s, hundreds of bright, educated people looking for purpose and community passed through the doors of the Sullivan Institute for Research in Psychoanalysis on New York's Upper West Side. Formulated into a doctrine by Saul Newton and Jane Pierce, this experimental therapy promised to liberate devotees from both creative and sexual repression. In the course of the 60s, it would evolve into a multi-decade experiment in polyamory, collective living, and group child rearing, before eventually coming apart in scandal when the inner workings of the group were exposed in the 1980s. Recently, the author of The Sullivanians, Alexander Stile, joined Ben Davis to talk about both about the Sullivan Institute's contact with U.S. art at mid-century, and more importantly, about the larger story of what this group became and what it represents now.

"I was like reborn," the art critic Clement Greenberg once remembered, "it was the most important event in my life." The event in question was his encounter with Sullivanian therapy. His biographer, Florence Rubenfeld, once wrote that it would not overstretch the facts to say that after the late '50s, Clem's comportment in the art world can only be understood in this context. Yet despite how large Clement Greenberg looms as the most impactful U.S. critic of the 20th century, few people know this history. A new book called The Sullivanians, Sex, Psychotherapy, and the Wild Life of an American Commune is raising the subject once again, as literally one chapter in a much larger narrative. A lot of other people shared Greenberg's experience of rebirth. From the 1950s to the 1980s, hundreds of bright, educated people looking for purpose and community passed through the doors of the Sullivan Institute for Research in Psychoanalysis on New York's Upper West Side. Formulated into a doctrine by Saul Newton and Jane Pierce, this experimental therapy promised to liberate devotees from both creative and sexual repression. In the course of the 60s, it would evolve into a multi-decade experiment in polyamory, collective living, and group child rearing, before eventually coming apart in scandal when the inner workings of the group were exposed in the 1980s. Recently, the author of The Sullivanians, Alexander Stile, joined Ben Davis to talk about both about the Sullivan Institute's contact with U.S. art at mid-century, and more importantly, about the larger story of what this group became and what it represents now.

In the middle of the Ozzie and Harriet 1950s, the birth control pill was introduced and a maverick psychoanalytic institute, the Sullivan Institute for Research in Psychoanalysis, opened its doors in New York City. Its founders, Saul Newton and Jane Pearce, wanted to start a revolution, one grounded in ideals of creative expression, sexual liberation, and freedom from the expectations of society, and the revolution, they felt, needed to begin at home. Dismantling the nuclear family—and monogamous marriage—would free people from the repressive forces of their parents. In its first two decades, the movement attracted many brilliant, creative people as patients: the painter Jackson Pollock and a swarm of other abstract expressionist artists, the famed art critic Clement Greenberg, the singer Judy Collins, and the dancer Lucinda Childs. In the 1960s, the group evolved into an urban commune of three or four hundred people, with patients living with other patients, leading creative, polyamorous lives. But by the mid-1970s, under the leadership of Saul Newton, the Institute had devolved from a radical communal experiment into an insular cult, with therapists controlling virtually every aspect of their patients' lives, from where they lived and the work they did to how often they saw their sexual partners and their children.  Although the group was highly secretive during its lifetime and even after its dissolution in 1991, the noted journalist Alexander Stille has succeeded in reconstructing the inner life of a parallel world hidden in plain sight in the middle of Manhattan. Through countless interviews and personal papers, The Sullivanians: Sex, Psychotherapy, and the Wild Life of an American Commune (FSG, 2023) reveals the nearly unbelievable story of a fallen utopia. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky's College of Medicine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

In the middle of the Ozzie and Harriet 1950s, the birth control pill was introduced and a maverick psychoanalytic institute, the Sullivan Institute for Research in Psychoanalysis, opened its doors in New York City. Its founders, Saul Newton and Jane Pearce, wanted to start a revolution, one grounded in ideals of creative expression, sexual liberation, and freedom from the expectations of society, and the revolution, they felt, needed to begin at home. Dismantling the nuclear family—and monogamous marriage—would free people from the repressive forces of their parents. In its first two decades, the movement attracted many brilliant, creative people as patients: the painter Jackson Pollock and a swarm of other abstract expressionist artists, the famed art critic Clement Greenberg, the singer Judy Collins, and the dancer Lucinda Childs. In the 1960s, the group evolved into an urban commune of three or four hundred people, with patients living with other patients, leading creative, polyamorous lives. But by the mid-1970s, under the leadership of Saul Newton, the Institute had devolved from a radical communal experiment into an insular cult, with therapists controlling virtually every aspect of their patients' lives, from where they lived and the work they did to how often they saw their sexual partners and their children.  Although the group was highly secretive during its lifetime and even after its dissolution in 1991, the noted journalist Alexander Stille has succeeded in reconstructing the inner life of a parallel world hidden in plain sight in the middle of Manhattan. Through countless interviews and personal papers, The Sullivanians: Sex, Psychotherapy, and the Wild Life of an American Commune (FSG, 2023) reveals the nearly unbelievable story of a fallen utopia. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky's College of Medicine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the middle of the Ozzie and Harriet 1950s, the birth control pill was introduced and a maverick psychoanalytic institute, the Sullivan Institute for Research in Psychoanalysis, opened its doors in New York City. Its founders, Saul Newton and Jane Pearce, wanted to start a revolution, one grounded in ideals of creative expression, sexual liberation, and freedom from the expectations of society, and the revolution, they felt, needed to begin at home. Dismantling the nuclear family—and monogamous marriage—would free people from the repressive forces of their parents. In its first two decades, the movement attracted many brilliant, creative people as patients: the painter Jackson Pollock and a swarm of other abstract expressionist artists, the famed art critic Clement Greenberg, the singer Judy Collins, and the dancer Lucinda Childs. In the 1960s, the group evolved into an urban commune of three or four hundred people, with patients living with other patients, leading creative, polyamorous lives. But by the mid-1970s, under the leadership of Saul Newton, the Institute had devolved from a radical communal experiment into an insular cult, with therapists controlling virtually every aspect of their patients' lives, from where they lived and the work they did to how often they saw their sexual partners and their children.  Although the group was highly secretive during its lifetime and even after its dissolution in 1991, the noted journalist Alexander Stille has succeeded in reconstructing the inner life of a parallel world hidden in plain sight in the middle of Manhattan. Through countless interviews and personal papers, The Sullivanians: Sex, Psychotherapy, and the Wild Life of an American Commune (FSG, 2023) reveals the nearly unbelievable story of a fallen utopia. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky's College of Medicine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In the middle of the Ozzie and Harriet 1950s, the birth control pill was introduced and a maverick psychoanalytic institute, the Sullivan Institute for Research in Psychoanalysis, opened its doors in New York City. Its founders, Saul Newton and Jane Pearce, wanted to start a revolution, one grounded in ideals of creative expression, sexual liberation, and freedom from the expectations of society, and the revolution, they felt, needed to begin at home. Dismantling the nuclear family—and monogamous marriage—would free people from the repressive forces of their parents. In its first two decades, the movement attracted many brilliant, creative people as patients: the painter Jackson Pollock and a swarm of other abstract expressionist artists, the famed art critic Clement Greenberg, the singer Judy Collins, and the dancer Lucinda Childs. In the 1960s, the group evolved into an urban commune of three or four hundred people, with patients living with other patients, leading creative, polyamorous lives. But by the mid-1970s, under the leadership of Saul Newton, the Institute had devolved from a radical communal experiment into an insular cult, with therapists controlling virtually every aspect of their patients' lives, from where they lived and the work they did to how often they saw their sexual partners and their children.  Although the group was highly secretive during its lifetime and even after its dissolution in 1991, the noted journalist Alexander Stille has succeeded in reconstructing the inner life of a parallel world hidden in plain sight in the middle of Manhattan. Through countless interviews and personal papers, The Sullivanians: Sex, Psychotherapy, and the Wild Life of an American Commune (FSG, 2023) reveals the nearly unbelievable story of a fallen utopia. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky's College of Medicine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In the middle of the Ozzie and Harriet 1950s, the birth control pill was introduced and a maverick psychoanalytic institute, the Sullivan Institute for Research in Psychoanalysis, opened its doors in New York City. Its founders, Saul Newton and Jane Pearce, wanted to start a revolution, one grounded in ideals of creative expression, sexual liberation, and freedom from the expectations of society, and the revolution, they felt, needed to begin at home. Dismantling the nuclear family—and monogamous marriage—would free people from the repressive forces of their parents. In its first two decades, the movement attracted many brilliant, creative people as patients: the painter Jackson Pollock and a swarm of other abstract expressionist artists, the famed art critic Clement Greenberg, the singer Judy Collins, and the dancer Lucinda Childs. In the 1960s, the group evolved into an urban commune of three or four hundred people, with patients living with other patients, leading creative, polyamorous lives. But by the mid-1970s, under the leadership of Saul Newton, the Institute had devolved from a radical communal experiment into an insular cult, with therapists controlling virtually every aspect of their patients' lives, from where they lived and the work they did to how often they saw their sexual partners and their children.  Although the group was highly secretive during its lifetime and even after its dissolution in 1991, the noted journalist Alexander Stille has succeeded in reconstructing the inner life of a parallel world hidden in plain sight in the middle of Manhattan. Through countless interviews and personal papers, The Sullivanians: Sex, Psychotherapy, and the Wild Life of an American Commune (FSG, 2023) reveals the nearly unbelievable story of a fallen utopia. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky's College of Medicine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

In the middle of the Ozzie and Harriet 1950s, the birth control pill was introduced and a maverick psychoanalytic institute, the Sullivan Institute for Research in Psychoanalysis, opened its doors in New York City. Its founders, Saul Newton and Jane Pearce, wanted to start a revolution, one grounded in ideals of creative expression, sexual liberation, and freedom from the expectations of society, and the revolution, they felt, needed to begin at home. Dismantling the nuclear family—and monogamous marriage—would free people from the repressive forces of their parents. In its first two decades, the movement attracted many brilliant, creative people as patients: the painter Jackson Pollock and a swarm of other abstract expressionist artists, the famed art critic Clement Greenberg, the singer Judy Collins, and the dancer Lucinda Childs. In the 1960s, the group evolved into an urban commune of three or four hundred people, with patients living with other patients, leading creative, polyamorous lives. But by the mid-1970s, under the leadership of Saul Newton, the Institute had devolved from a radical communal experiment into an insular cult, with therapists controlling virtually every aspect of their patients' lives, from where they lived and the work they did to how often they saw their sexual partners and their children.  Although the group was highly secretive during its lifetime and even after its dissolution in 1991, the noted journalist Alexander Stille has succeeded in reconstructing the inner life of a parallel world hidden in plain sight in the middle of Manhattan. Through countless interviews and personal papers, The Sullivanians: Sex, Psychotherapy, and the Wild Life of an American Commune (FSG, 2023) reveals the nearly unbelievable story of a fallen utopia. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky's College of Medicine. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the middle of the Ozzie and Harriet 1950s, the birth control pill was introduced and a maverick psychoanalytic institute, the Sullivan Institute for Research in Psychoanalysis, opened its doors in New York City. Its founders, Saul Newton and Jane Pearce, wanted to start a revolution, one grounded in ideals of creative expression, sexual liberation, and freedom from the expectations of society, and the revolution, they felt, needed to begin at home. Dismantling the nuclear family—and monogamous marriage—would free people from the repressive forces of their parents. In its first two decades, the movement attracted many brilliant, creative people as patients: the painter Jackson Pollock and a swarm of other abstract expressionist artists, the famed art critic Clement Greenberg, the singer Judy Collins, and the dancer Lucinda Childs. In the 1960s, the group evolved into an urban commune of three or four hundred people, with patients living with other patients, leading creative, polyamorous lives. But by the mid-1970s, under the leadership of Saul Newton, the Institute had devolved from a radical communal experiment into an insular cult, with therapists controlling virtually every aspect of their patients' lives, from where they lived and the work they did to how often they saw their sexual partners and their children.  Although the group was highly secretive during its lifetime and even after its dissolution in 1991, the noted journalist Alexander Stille has succeeded in reconstructing the inner life of a parallel world hidden in plain sight in the middle of Manhattan. Through countless interviews and personal papers, The Sullivanians: Sex, Psychotherapy, and the Wild Life of an American Commune (FSG, 2023) reveals the nearly unbelievable story of a fallen utopia. Claire Clark is a medical educator, historian of medicine, and associate professor in the University of Kentucky's College of Medicine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Stephen Hicks is a professor of philosophy at Rockford University, U.S. and the author of several books, including the best-seller Explaining Postmodernism, which details the philosophical roots of today's cultural climate. Mr. Hicks highlights Immanuel Kant's role in undermining objectivity and reason, showing how his ideas remain the corner stone of Post Modernism and "Fine Art" to this day. Giving an overview of Kant's aesthetics, metaphysics and epistemology, the conversation further explains how this cocktail necessarily cripples classically minded people: If we cannot know reality then the act of painting it becomes naive. If nothing is objective then we cannot trust the rules of any craft and if nothing is universal then we become estranged from the mythic perspective. You can listen to Hicks' lecture How Art Became Ugly or check out his appearances on various podcasts including his own Open College Podcast. His official YouTube-channel is CEE Channel (Center for Ethics and Entrepreneurship).

Mieke BalL'invention de l'Europe par les langues et les cultures (chaire annuelle 2022-2023)Collège de FranceAnnée 2022-2023Colloque - La solitude dans la foule : La solitude est-elle une forme d'autonomie ?L'autonomie peut-elle être un moyen de lutter contre les inégalités sociales ? La solitude par exemple présuppose une certaine autonomie puisqu'elle signifie ne pas dépendre d'autrui – et cette autonomie peut aider l'individu à conserver son indépendance vis-à-vis des idéologies inégalitaires. Une approche différente est celle de Christophe Prémat, qui écrit : « L'autonomie est la reconnaissance que l'égalité des conditions est à construire au sein d'un contrat politique à réinventer à chaque époque pour corriger les inégalités qui persistent dans l'état social. » Ainsi, les inégalités se transforment en « moteur de créativité sociale[1] », puisqu'il faut constamment établir de nouvelles structures pour combattre les injustices provoquées par les institutions existantes. Dans ma présentation, j'étudierai de tels exemples innovants et créatifs, dont certains provenant d'autres disciplines : dans l'art contemporain, se développe une autonomie non capitaliste alors que dans la philosophie contemporaine, l'autonomie permet de repenser les inégalités. Mon objectif sera de développer le potentiel de l'autonomie en tant que moyen de lutter contre les inégalités sociales.Rahma Khazam est chercheuse affiliée à ENSADLab, Paris, et membre de l'Institut ACTE, Sorbonne Paris 1. Elle a étudié la philosophie puis l'histoire de l'art, elle est docteure en esthétique et sciences de l'art à Paris 1 Panthéon-Sorbonne. Ses recherches portent sur le modernisme, le réalisme spéculatif, le nouveau matérialisme et l'esthétique contemporaine. Parmi ses publications récentes : « Clement Greenberg's Modernism: Historicizable or Ahistorical? » in Historical Modernisms (Bloomsbury, 2021) ; « Son et image : face au réel », in L'Echo du réel (Mimésis, 2021). Elle a dirigé la publication Objets Vivants, sorti chez Mimésis en mars 2023.

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

To leave a comment, to get a loose transcript of this podcast, or to eyeball the cool art and the support links I mention in it, head on over to the original post on my blog.To see a photo of the No Fear Mudra on O'Keeffe's bedroom wall go here and look carefully to the left of the fireplace.To learn more about the sacred eastern hand gestures called Mudras pop over here.Want my free Writing Tool Kit for Artists? Subscribe here and get it free. No spam, no Amway. No ads. No selling your name to other companies. Just one post a month. Thanks for your support.Want help succeeding WITHOUT Twitter, Instagram, or FaceBook? Check out my podcast Bye Bye Facebook: How Artists Can Thrive Without Social Media.New York Magazine article mentioning Clement Greenburg's critique of O'Keeffe's MOMA show.Come on over to The Charmed Studio Blog to check nearly 100 other supportive posts and podcasts for authentic, heart-centered artists like you.To read or listen to the post/podcast I mentioned on How To Recover From a Harsh Art Critique, head ovah here.Press this to magically transport over to my Writing Coaching for Artists Page.And remember, you are an artist, therefore you are brave and amazing! Thanks for listening. 

Although considered one of Kurt Vonnegut's minor works, 1987's BLUEBEARD is an interesting novel that covers some fresh territory for the author. It follows the life and work of Rabo Karabekian, the son of Armenian immigrants who flee to California after the Armenian genocide. Starting as a highly realistic, technically proficient painter, Karabekian shifts his aesthetics to Abstract Expressionism, and, after “failing” as an artist, becomes a collector with one magnum opus left inside of him, which is tucked away under padlock in his barn. This is a work of modern Expressionism which a pseudonymous writer, Circe Berman, tries to wriggle out of him, a work which touches upon Kurt Vonnegut's own experiences at war.   BLUEBEARD tackles the questions of art and meaning, aesthetic preference, and masculine / feminine conceptions of history in ways both similar and not to Kurt Vonnegut's more well-known works.   You can also watch this conversation on our YouTube channel: https://youtu.be/mMNcCdj6XOM Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L   ArtiFact #24: Kurt Vonnegut's “Bluebeard” | Ethan Pinch, Alex Sheremet   Timestamps:   0:18 – introduction; where does Bluebeard fit among Kurt Vonnegut's other novels; its writerly vs. painterly qualities; why Ethan thinks it's the best novel ‘about' painting that he's ever read, as well as one of Vonnegut's best; Alex on his own ‘writerly' narrative biases when he approaches the visual arts; the pitfalls of ekphrastic poetry; cultural criticism masquerading as art criticism   14:00 – why Bluebeard is a “conflicted” work, and has complex things to say about Abstract Expressionism; the self-destructive streak in AbEx painters; Kurt Vonnegut's empathetic treatment of their work vs. the existentialism within AbEx   21:32 – Alex's love/hate relationship with Abstract Expressionism; conspiracy theories around AbEx going back a century; why non-narrative art or claims to non/anti-narrative are not logically tenable; Ethan's skepticism of (and grudging respect for) Clement Greenberg   34:20 – Kurt Vonnegut's introductory note to Bluebeard; can it be read as both praise and critique of Abstract Expressionism?; would Kurt Vonnegut say something similar about his own work, or literature that he respects?; AbEx machismo & Kurt Vonnegut's response to it   45:18 – Ad Reinhardt's cartoons on the history of visual art; abstraction vs. ‘the tangible' in elements such as brush-strokes; a story about a poor Winslow Homer reproduction; Rabo Karabekian's strange comment about the deaths of his AbEx friends – is he offering an implicit critique of their lack of purpose?; art and art-adjacent financials   01:03:00 – setting Bluebeard in its diegetic & historical contexts; photorealism-adjacent commentary in Bluebeard; the importance of Dan Gregory's ‘forgery' of a ruble; why Dan Gregory, not Rabo Karabekian, is the true Bluebeard of Kurt Vonnegut's title   01:18:20 – Alex's criticism (and praise) of Bluebeard's writing; how Kurt Vonnegut recapitulates his views on art by way of his own structural and aesthetic decisions within the book; comparing these decisions to earlier texts; Dan Gregory, Circe Berman, and the “Jesus” metric; Circe Berman's own character arc; what can we make of her “kitsch” aesthetic, as well as her deeper artistic critiques of Abstract Expressionism & beyond?   01:52:12 – on the nature of storytelling; Alex doubts that Ad Reinhardt offer a valid response to critiques of AbEx; on the nature of meaning   02:14:45 – Alex and Ethan debate the use of Rabo Karabekian in Kurt Vonnegut's Breakfast of Champions; how Kurt Vonnegut critiques Abstract Expressionism by crafting pro-narrative, technical prose; assessing Karabekian's version of The Temptation of St. Anthony; how abstract values pervade life; on “oblique” criticism, and why James Baldwin did it so well in The Devil Finds Work; a story of Clement Greenberg's aesthetic strategies in real life; art and the ego; Kurt Vonnegut as realist   2:50:20 – the ending to Bluebeard; the ‘feminine history' in the text, as reflected in Rabo Karabekian's final painting, “Now It's The Women's Turn”; the idea of women re-creating the world into something better; what of Circe Berman's own strategy for survival, and how it complicates Kurt Vonnegut's other observations?; Sateen Dura-Luxe & other tropes   3:05:12 – how cultural & historical context generates artistic currents: hyper-competition in the arts in ancient Greece; spiritual undertones of Giotto's “perfect circle”; commercialization via Dan Gregory's need to replicate the ruble; why Ethan is skeptical of both capitalism as well as material / anticapitalist analyses of both life and art   Video thumbnail © Joel Parrish: https://poeticimport.com   Ethan Pinch's YT channel: https://www.youtube.com/user/AnthropomorphicHorse Read the latest from the automachination universe: https://www.automachination.com Read Alex's (archived) essays: https://alexsheremet.com   Tags: #KurtVonnegut, #Bluebeard, #AbstractExpressionism

Gemma and Phoebe are joined by writer and scholar Daniel Neofetou to discuss interiority and the relationship between objecthood and objectification in Keeping up with the Kardashians. Rereading Abstract Expressionism, Clement Greenberg and the Cold War by Daniel Neofetou Follow @moneycantbuyyouclass_pod on instagram & @sad_porous_grad on twitter (don't forget to like, comment & subscribe xoxo) moneycantbuyyouclass.cargo.site

Alex is joined by painter Ethan Pinch to discuss a variety of topics: growing up on the precipice of the Internet's mainstreaming, the role that media censorship (and thus self-censorship) play in everyday decisions, the Golden Age of rap music, Alex's rap-to-politics-to-art pipeline, NFTs vs. Abstract Expressionism, Rainer Werner Fassbinder's absurdist film “Satan's Brew”, and Clement Greenberg's classic essay on kitsch. More specifically: is kitsch a legitimate part of artistic judgment, or is it merely an aesthetic object? Do Clement Greenberg and other Marxist critics fall into an anti-Marxist idealism trap? Is E.B. White's “Charlotte's Web” an example of kitsch, and if so, is every example of great children's writing by definition kitsch? Do NFTs fall into the same category, and what does blockchain technology mean for the art world? Finally, Alex and Ethan go over some of Ethan's abstract drawings. You can also watch this episode on our YouTube channel: https://www.youtube.com/watch?v=z4O594Rqu5w Read the latest essays from the automachination universe: https://www.automachination.com Subscribe to Ethan Pinch's YouTube channel: https://www.youtube.com/user/AnthropomorphicHorse Timestamps: 0:24 – The 1990s: growing up in the analog/digital transition, today's Internet culture, & speech-policing 25:00 – Rap, artistic competition, Eminem, “conscious” hip-hop, UK grunge-rap, and where reflexive artistic genres fail 01:03:00 – Overlap(s) between art, politics, and meta-ethics: “art for art's sake, and what that means politically” 01:26:15 – Origins of the automachination channel name; responding to Nietzsche's “art's purposive purposelessness” vs. Nietzsche's “additive” morality 01:37:00 – Debating kitsch as an aesthetic concept; debating Clement Greenberg's classic 1939 essay, “Avant-garde and Kitsch”; Greenberg's “medium-specificity”; is E.B. White's “Charlotte's Web” an example of kitsch? 02:41:43 – Debating Rainer Werner Fassbinder's “Satan's Brew” 03:03:44 – Patreon & the balkanization of the art world 03:13:00 – Alex: NFTs are doing what the AbEx world once did, but with math, statistical parameters, and even more greed 03:23:18 – Assessing Ethan's abstract drawings

Abstract Expressionism is a complex art movement from the mid 19th century that requires a fair amount of cognitive dissonance to embrace. Whether you find this movement intriguing or confusing, listen as Klaire Lockheart describes this Modernist art style. She'll also reveal why it makes her salty. Artists and Artwork: Ad Reinhardt, Jackson Pollock (Number 17A, Mural), Mark Rothko (Untitled [Violet, Black, Orange, Yellow on White and Red]), Hilma af Klint, Olga Rozanova (Non-Objective Composition. Color Painting), Barnett Newman, Alma Woodsey Thomas (Orion, A Fantastic Sunset), and Lee Kranser (The Seasons, The Eye of the First Circle) Additional Topics: Sublime, Clement Greenberg, Harold Rosenberg, Congress for Cultural Freedom, Action Painters, and Color Field Painting klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew—and left her mark on—the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments—from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg—comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew—and left her mark on—the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments—from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg—comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew—and left her mark on—the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments—from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg—comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew—and left her mark on—the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments—from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg—comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew—and left her mark on—the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments—from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg—comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew—and left her mark on—the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments—from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg—comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

~ CLEMENT GREENBERG / JUDGMENT AND THE ESTHETIC OBJECT

Nippon Monogatari è uno speciale ideato da Paolo e Gianmaria che ha come obiettivo quello di esplorare in modo verticale la storia del cinema giapponese attraverso l'esplorazione di diverse iconografie. La seconda e ultima parte de 'La Katana' è incentrata sulla produzione e l'evoluzione del Jidai-geki dagli anni settanta all'epoca contemporanea. FILMOGRAFIA Lady Snowblood (1973), Toshiya Fujita; Why Not? (1981), Shohei Imamura; A.K. (1985), Chris Marker; Ran (1985), Akira Kurosawa; Gohatto (1999), Nagisa Oshima; The Twilight Samurai (2002), Yoji Yamada; Kill Bill Vol.1 (2003), Quentin Tarantino; Zatoichi (2003), Takeshi Kitano; Izo (2004), Takashi Miike; The Hidden Blade (2004), Yoji Yamada; Kill Bill Vol. 2 (2004), Quentin Tarantino; Love and Honor (2006), Yoji Yamada; 13 Assassins (2010), Takashi Miike; The blade of the immortal (2017), Takashi Miike; Killing (2018), Shin'ya Tsukamoto. BIBLIOGRAFIA - Avant-Garde and Kitsch, Clement Greenberg; - Between Comedy and Kitsch: Kitano's Zatoichi and Kurosawa's Traditions of "Jidaigeki" Comedies, Rie Karatsu; - Cowboys and Shoguns: The American Western, Japanese Jidaigeki, and Cross-Cultural Exchange, Kyle Keough; - Il cinema asiatico, Dario Tomasi; - Nell'agguato del cinema. Guardando Rashōmon di Akira Kurosawa, Pietro Cagni. - Storia del cinema giapponese, Maria Roberta Novielli; - The Warrior's Camera, Stephen Prince. Partecipanti: Paolo Torino Gianmaria Atzei Logo creato da: Massimo Valenti Sigla e post-produzione a cura di: Alessandro Valenti Per il jingle della sigla si ringraziano: Alessandro Corti e Gianluca Nardo

Nippon Monogatari è una rubrica ideata da Paolo e Gianmaria che ha come obiettivo quello di esplorare in modo verticale un argomento della storia del cinema giapponese. L'episodio pilota è la prima di due parti dell'approfondimento sul Jidai Geki - il più rappresentativo genere cinematografico della terra del sol levante - e si concentra sulla produzione dei primi sessant'anni del novecento. FILMOGRAFIA: Battle at temple Honno (1908), Makino Shozo Jiraiya the hero (1921), Makino Shizo Orochi (1925), Futagawa Buntaro Jirokichi the rat (1931), Daisuke Ito Humanity and paper Balloons (1937), Sadao Yamanaka I 47 ronin (1941), Kenji Mizoguchi Sanshiro Sugata (1943), Akira Kurosawa The man who tread the tiger's tail (1945-1952), Akira Kurosawa Rashomon (1950), Akira Kurosawa I 7 samurai (1954), Akira Kurosawa The magnificent seven (1960), John Sturges Throne of blood (1957), Akira Kurosawa Yojimbo (1961), Akira Kurosawa Sanjuro (1962), Akira Kurosawa Samurai I: Musashi Miyamoto (1954), Hiroshi Inagaki Samurai II: Duel at Ichijoji temple (1955), Hiroshi Inagaki Samurai III: Duel at Ganryu Island (1956), Hiroshi Inagaki Bloody spears at Mount fuji (1955), Tomu Uchida The river Fuefuki (1960), Keisuke Kinoshita Harakiri (1962), Masaki Kobayashi The tale of Zatoichi (1962), Kenji Misumi The tale of Zatoichi continues (1962), Kazuo Mori Samurai Rebellion (1967), Masaki Kobayashi 13 assassins (1963), Eiichi Kudo The sword of doom (1966), Kihachi Okamoto Band of ninja (1967), Nagisa Oshima BIBLIOGRAFIA: - Avant-Garde and Kitsch, Clement Greenberg; - Between Comedy and Kitsch: Kitano's Zatoichi and Kurosawa's Traditions of "Jidaigeki" Comedies, Rie Karatsu; - Cowboys and Shoguns: The American Western, Japanese Jidaigeki, and Cross-Cultural Exchange, Kyle Keough; - Il cinema asiatico, Dario Tomasi; - Nell'agguato del cinema. Guardando Rashōmon di Akira Kurosawa, Pietro Cagni. - Storia del cinema giapponese, Maria Roberta Novielli; - The Warrior's Camera, Stephen Prince Logo creato da: Massimo Valenti Sigla e post-produzione a cura di: Alessandro Valenti/Simone Malaspina Per il jingle della sigla si ringraziano: Alessandro Corti e Gianluca Nardo

“Matisse” comme un romanau Centre Pompidou, Parisdu 21 octobre 2020 au 22 février 2021Extrait du communiqué de presse :Commissaire : Aurélie Verdier, Conservatrice, Collection moderne, Centre Pompidou, Musée national d'art moderne, ParisChargées de recherche : Anne ThéryAssistante commissaire : Marjolaine Beuzard, Attachée de conservationÀ l'occasion du cent cinquantième anniversaire de la naissance d'Henri Matisse (1869-1954), le Centre Pompidou lui rend hommage au travers de l'exposition « Matisse, comme un roman » riche de plus de 230 oeuvres et 70 documents et archives. « L'importance d'un artiste se mesure à la quantité de nouveaux signes qu'il aura introduits dans le langage plastique », déclarait Matisse. Sa vie durant, il a été ce novateur décisif. Un parcours chronologique en neuf chapitres retrace les débuts du jeune artiste, tard venu à la peinture dans les années 1890, jusqu'à la libération complète de la ligne et de la couleur avec les gouaches découpées réalisées à la fin de sa vie.L'exposition déploie pour la première fois une centaine d'œuvres issues de la collection du Musée national d'art moderne, l'une des plus significatives par son importance, représentative de toutes les techniques approfondies inlassablement par Matisse. Pour cet événement en forme de célébration, la collection du Centre Pompidou est étoffée de prêts remarquables consentis par les musées hexagonaux : les deux musées Matisse, au Cateau- Cambrésis et à Nice, ainsi que la riche collection Matisse du musée de Grenoble, dont l'Intérieur aux aubergines (1911), est déplacé pour l'exposition de manière exceptionnelle.Cette réunion d'oeuvres-clés issues de collections françaises et internationales majeures, publiques et privées, illustre la trajectoire de Matisse sur plus de cinq décennies au cours desquelles se sont écrites des pages capitales de l'art moderne.Rejouant le titre de l'ouvrage de Louis Aragon, Henri Matisse, roman (1971), l'exposition « Matisse, comme un roman » reprend son principe de cheminer dans l'oeuvre, cherchant, comme dans le livre, A capter « une lueur sur ce qui se passe ». Chacune des neuf séquences de l'exposition est éclairée par le regard d'un auteur porté sur l'oeuvre matissien : Louis Aragon, Georges Duthuit, Dominique Fourcade, Clement Greenberg, Charles Lewis Hind, Pierre Schneider, Jean Clay et Henri Matisse lui-même. En écho à ces écrivains, critiques et poètes, l'exposition interroge la relation de Matisse à toutes les écritures – du signe plastique au mot.« Où marquer ce commencement ?(1) », s'interroge Aragon dans Henri Matisse, roman. Dès ses débuts dans les années 1890, Matisse s'essaye à différentes pratiques. Ce peintre, sculpteur, dessinateur, graveur voulait trouver « une écriture pour chaque objet ». Artiste de l'exigence critique, soucieux d'apporter sa vie durant un éclairage sur son processus créatif, il fait naître malgré lui un Matisse écrivain. Ainsi, « Matisse explique Matisse(2) » : « un tableau fauve est un bloc lumineux formé par l'accord de plusieurs couleurs, formant un espace possible pour l'esprit (dans le genre, à mon sens, de celui d'un accord musical) […](3) ». Durant la période fauve (1905-1906), il s'aventure dans une reformulation radicale de la couleur et du dessin.Cette authentique révolution du regard se reconfigure dans les années 1910 autour d'une réflexion sur le décoratif, dont l'un des exemples les plus magistraux est l'Intérieur aux aubergines (1911), seul des « intérieurs symphoniques » à être conservé en France. Cette nouvelle écriture plastique ne se fixe pour autant pas en un style : dans les années 1910, le peintre cherche à éprouver les diverses tendances qui traversent la scène artistique de son époque – le cubisme, notamment, avec Tête blanche et rose (1914). En 1917, son départ pour Nice et la décennie qui s'ensuit délaisse la dimension expérimentale d'un art parvenu presque au seuil de l'abstraction : le peintre choisit de retourner à un sujet modelé par la lumière.La question littéraire dans l'oeuvre de Matisse prend un nouveau tour à partir des années 1930, alors qu'il s'attache au livre illustré avec les Poésies de Mallarmé, qui entrent en résonance avec certaines toiles iconiques de cette période comme Nymphe dans la forêt (La Verdure) (1935-1943). En 1947, Matisse parvient avec Jazz à entrelacer la plastique et le mot, en concevant des gouaches découpées et des textes manuscrits. Le caractère expansif de la couleur et du noir et blanc se retrouve dans le dialogue intime entre les « Intérieurs de Vence » et les dessins au pinceau. Enfin, les vitraux colorés et les céramiques de la chapelle de Vence à la fin de sa vie, témoignent encore d'une migration ininterrompue de l'œuvre à l'écriture dans ce que Matisse voyait comme un grand livre ouvert dans l'espace.Catalogue de l'exposition Matisse, comme un roman aux éditions du Centre Pompidousous la direction de Aurélie Verdier.1— Louis Aragon, “Anthologie I” dans Henri Matisse, roman (1971), Paris, Gallimard, Collection Quarto, 2013, p. 373.2— Jean Clay, “Matisse explique Matisse”, Réalités, février 1973, p.82-97.3— Lettre de Henri Matisse à Marguerite Duthuit, n325, non datée, (1949-1950), citée dans Rémi Labrusse, Matisse, la condition de l'image, Paris, Gallimard, 1999, p. 37 Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

This, the first episode of Sound Philosophy, discusses some of the objections to popular music by philosophers and critics such as Gilles Deleuze, Theodor Adorno, Dwight Macdonald, and Clement Greenberg. We then discuss the notion of popular music as mass art.

"You don't find reality only in your own backyard, you know," Stanley Kubrick once told an interviewer. "In fact, sometimes that's the last place you'll find it." Oddly, this episode of Weird Studies begins with Phil Ford hatching the idea of putting a replica of the monolith from 2001 in his backyard. As the ensuing discussion suggests, this would amount to putting reality -- or the Real, as we like to call it -- in the place where it may be least apparent. Perhaps that is what Kubrick did when he planted his monolithic film in thousands of movie theatres back in 1968. Moviegoers went in expecting a Kubrickian twist on Buck Rogers; they came out changed by the experience, much like the hominids of great veld in the "Dawn of Man" sequence that opens the film. This is what all great art does, and if you look closely, maybe 2001 can tell you something about how it does it. Because in the end, the film is the monolith, and the monolith is all art. REFERENCES Stanley Kubrick (dir.), 2001: A Space Odyssey (https://www.imdb.com/title/tt0062622/) Arthur C. Clarke, "The Sentinel" (https://en.wikipedia.org/wiki/The_Sentinel_(short_story)) Arthur C. Clarke, 2001: A Space Odyssey (https://www.foliosociety.com/ca/2001-a-space-odyssey.html) (novel) Clement Greenberg (https://en.wikipedia.org/wiki/Clement_Greenberg), American art critic Stanley Kubrick (dir.), The Shining (https://www.imdb.com/title/tt0081505/) Sergei Eisenstein, [Film Form: Essays in Film Theory](https://www.amazon.com/Film-Form-Essays-Theory/dp/0156309203/ref=pdlpo14t0/147-0144282-1131014?encoding=UTF8&pdrdi=0156309203&pdrdr=37cf94c0-adb2-4fc2-bbfa-91b00773da7f&pdrdw=CdtxC&pdrdwg=jkLXJ&pfrdp=7b36d496-f366-4631-94d3-61b87b52511b&pfrdr=9KCP3Y7C1RPE4XDH7N9D&psc=1&refRID=9KCP3Y7C1RPE4XDH7N9D)_ Weird Studies episode 62: It's Like "The Shining," But With Nuns: On "Black Narcissus" Ligeti, Atmosphères Gerard Loughlin, [Alien Sex: The Body and Desire in Cinema and Theology](https://books.google.ca/books?id=5WZwCtrqJ8kC&pg=PA73&rediresc=y#v=onepage&q&f=false)_ Jay Weidner, Kubrick's Odyssey: Secrets Hidden in the Films of Stanley Kubrick (https://www.amazon.ca/Kubricks-Odyssey-Secrets-Hidden-Films/dp/B004PF0FJM) Rob Ager's analysis (https://www.collativelearning.com/2001%20analysis%20new.html) of 2001 (Ager was criticized for not citing Loughlin above) Eric Norton's Playboy interview (https://scrapsfromtheloft.com/2016/10/02/playboy-interview-stanley-kubrick/) with Stanley Kubrick J. F. Martel, "The Kubrick Gaze" (https://www.amazon.com/Toward-2012-Perspectives-Next-Age/dp/B002PJ4L72) in Daniel Pinchbeck & Ken Jordan (eds.), Toward 2012: Perspectives on the Next Age J. F. Martel, "The Future is Immanent: Speculations on a Possible World" (https://realitysandwich.com/149962/the-future-is-immanent-speculations-on-a-possible-world/) Henri Bergson, The Two Sources of Morality and Religion (https://plato.stanford.edu/entries/bergson/) Sid Meier's Civilization V (https://civilization.com/civilization-5/) Stanley Kubrick (dir.), Dr Strangelove or How I Learned to Stop Worrying and Love the Bomb (https://www.imdb.com/title/tt0057012/) Stanley Kubrick (dir.), A Clockwork Orange (https://www.imdb.com/title/tt0066921/) Dziga Vertov, Kino-Eye: The Writings of Dziga Vertov (https://www.amazon.com/Kino-Eye-Writings-Dziga-Vertov/dp/0520056302) Marshall McLuhan, [Understanding Media](https://en.wikipedia.org/wiki/UnderstandingMedia)_ Martin Heidegger, "The Question Concerning Technology" (https://en.wikipedia.org/wiki/The_Question_Concerning_Technology) Gilbert Ryle, "Improvisation" (https://academic.oup.com/mind/article-abstract/LXXXV/337/69/974404?redirectedFrom=PDF)

Hablamos sobre el ocio desde la filosofía, con pensadores como Bertrand Russell, Theodor Adorno, Max Horkheimer y Clement Greenberg. Contemplamos la relación del ocio con el trabajo, la cultura, el tiempo libre y su reconfiguración a partir de la industrialización y la industria cultural y del espectáculo. Por último se mencionan las características principales que debe tener el ocio para beneficiarnos de él.

Continuing down the path of "authenticity" in metal and extreme music we revisit an interview with Johannes Persson (Cult of Luna), and dissect SUMAC's monolithic song "Thorn in the Lion's Paw" via Clement Greenberg's critique of abstract expressionism and Charles Peirce philosophy of language. Yup. For the full interview with Johannes: shorturl.at/FJ459 MATEKHET on Soundcloud: https://bit.ly/2RSoiOcMATEKHET on Anchor: https://bit.ly/2KpIyCC Support Machine Music on Patreon: https://bit.ly/3eFHTelFollow Machine Music on Facebook: MachineMusic1981 Follow Machine Music on Instagram: @MachineMusic1981 Follow Machine Music on Spotify: https://spoti.fi/34xmorp All rights to "Thorn in the Lion's Paw" belong to SUMAC and Profound Lore Records.

On the surface, the phrase "the medium is the message," prophetic as it may have been when Marshall McLuhan coined it, points a now-obvious fact of our wired world, namely that the content of any medium is less important than its form. The advent of email, for instance, has brought about changes in society and culture that are more far-reaching than the content of any particular email. On the other hand, this aphorism of McLuhan's has the ring of an utterance of the Delphic Oracle. As Phil proposes in this episode of Weird Studies, it is an example of what Zen practitioners call a koan, a statement that occludes and illumines in equal measures, a jewel whose shining surface is an invitation to descend into dark depths. Join JF and Phil as they discuss the mystical and cosmic implications of McLuhan's oracular vision. REFERENCES McLuhan, [Understanding Media](https://en.wikipedia.org/wiki/UnderstandingMedia)_ The Playboy interview (https://nextnature.net/2009/12/the-playboy-interview-marshall-mcluhan) McLuhan and Quentin Fiore, [The Medium is the Massage: An Inventory of Effects](https://en.wikipedia.org/wiki/TheMediumIstheMassage) Graham Harman (https://en.wikipedia.org/wiki/Graham_Harman), American philosopher Clement Greenberg (https://en.wikipedia.org/wiki/Clement_Greenberg), American critic Dale Pendell, [Pharmako/Poeia: Plant Powers, Poisons, and Herbcraft](https://www.amazon.com/gp/product/1556438052/ref=dbsadefrwtbiblvppii2) Brian Eno (https://en.wikipedia.org/wiki/Brian_Eno), British composer Marshall and Eric McLuhan, The Laws of Media: The New Science (https://utorontopress.com/ca/laws-of-media-1) _ Jonathan Sterne, _The Audible Past: Cultural Origins of Sound Reproduction (https://www.dukeupress.edu/the-audible-past) Eric McLuhan and Frank Zingrone (editors), The Essential McLuhan (https://www.amazon.com/Essential-McLuhan-Eric/dp/0465019951) Charles A. Reich, [The Greening of America](https://en.wikipedia.org/wiki/TheGreeningofAmerica)_ David Fincher (director), The Social Network (https://www.imdb.com/title/tt1285016/) _ Gilles Deleuze, _Cinema I (https://www.upress.umn.edu/book-division/books/cinema-1) _and _Cinema II (https://www.upress.umn.edu/book-division/books/cinema-2) Jean Gebser, The Ever-Present Origin (https://www.amazon.com/Ever-Present-Origin-Part-Aperspectival-Manifestations/dp/0821407694) Eric Havelock,_ Preface to Plato (https://www.hup.harvard.edu/catalog.php?isbn=9780674699069)_ Walter J. Ong (https://en.wikipedia.org/wiki/Walter_J._Ong), American theorist Plato, [Republic](https://en.wikipedia.org/wiki/Republic(Plato))_

I feel like the title of this episode really bottom-lines what’s happening here.  Clement Greenberg takes a stand at Jackson’s funeral, Lee doesn’t stand near anyone, and I can’t stand math.  We finally get to talk about what Jackson Pollock’s drip paintings are. And for that, we need the assistance of nerds. So let's watch some ocean waves crash, talk about D ratio with Benoit Mandelbrot, and try to measure a coastline before our brains melt.  A full series is now officially in the books.  I hope everyone had a blast and learned tons of useless information! @artholespodcast artholespodcast@gmail.com

海伦·弗兰肯特尔从时代的角度看艺术，这里是磨时艺见。 由于多种因素限制，近现代历史中的女性艺术家屈指可数，但是并不影响她们发光发热。在上世纪70年代的美国，就有这样一位女性，身披万千宠爱而生，却选择“离经叛道”的艺术创作方式。她就是美国抽象表现主义艺术家海伦·弗兰肯特尔（Helen Frankenthaler）。年轻时期的海伦·弗兰肯特尔 海伦出生于曼哈顿的富人家庭，从小就对艺术特别感兴趣，她曾经将指甲油涂在手上，然后趁指甲油还未干之时，把手浸泡在水池里，看着色彩随着水波漂散。成年后的海伦在著名艺术评论家克莱门特·格林伯格（Clement Greenberg）的引荐下，加入了纽约的蒂博尔·德·纳吉画廊（Tibor de Nagy Gallery），由此正式进入纽约艺术圈。 海伦·弗兰肯特尔作品：《向 M.L. 致敬》但是艺术评论界对海伦并不友好，有些评论家认为，海伦的作品没有深刻的主题表达，创作方式太过随意，画面色彩也过于浪漫而甜美。面对这样的质疑，海伦从来都是以作品来回击。 海伦·弗兰肯特尔作品：《群山与海》1952年，海伦尝试着直接把油画颜料泼在未经处理的油画布上。由于原始画布缝隙大、渗透性强，使得颜料被吸收到画布中，让画面呈现出稀薄、通透的效果，她的代表作《群山与海》也就此诞生。这幅作品引发众多艺术家前来观赏，甚至让不少画家也开始以类似方式进行创作。在不知不觉中，海伦就发动了一场全新的艺术运动——色域绘画（Color-field Painting）。 海伦·弗兰肯特尔作品：《无题》 海伦在艺术道路上似乎永远不知足。她曾在1972年开始尝试雕塑创作，也曾因为被伊斯兰风格的装饰图案所吸引，在作品中加入彩色线条图案。到了1994年，在长岛安居的她，又让碧海蓝天成为新的创作灵感。 海伦·弗兰肯特尔在工作室中海伦曾经表示，她的绘画没有任何公式和规则可言，画面本身就会引导画笔去该去的地方。而且她并不畏惧推翻过往的成就，哪怕选择一次丑陋的惊喜，也不想依赖于已经熟悉的事物。 以上内容由磨时艺见整理，希望对你有所启发。磨时艺见，每晚9点，准时更新！

M. R. James' "The Mezzotint" is one of the most fascinating, and most chilling, examples of the classic ghost story. In this episode, Phil and JF discover what this tale of haunted images and buried secrets tells us about the reality of ideas, the singularity of events, the virtual power of the symbol, and the enduring magic of the art object in the age of mechanical reproduction. To accompany this episode, Phil recorded a full reading of the story. Listen to it here (http://www.weirdstudies.com/11a). REFERENCES M.R. James, "The Mezzotint" (http://www.thin-ghost.org/items/show/145) Robert Aickman (https://en.wikipedia.org/wiki/Robert_Aickman), English author of "strange stories" Edgar Allan Poe, "The Oval Portrait" (https://poestories.com/read/ovalportrait) Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" (https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm) Marshall McLuhan, The Book of Probes (https://www.amazon.com/Book-Probes-Marshall-McLuhan/dp/1584232528) Clement Greenberg (https://en.wikipedia.org/wiki/Clement_Greenberg), American art critic J.F. Martel, Reclaiming Art in the Age of Artifice (https://www.northatlanticbooks.com/shop/reclaiming-art-in-the-age-of-artifice/) Marcel Duchamps, Fountain (http://www.tate.org.uk/art/artworks/duchamp-fountain-t07573) Henri Bergson, Laughter (http://www.gutenberg.org/ebooks/4352) John Cage (https://en.wikipedia.org/wiki/John_Cage), American composer David Lynch (director), Twin Peaks: The Return (http://www.sho.com/twin-peaks) Gilles Deleuze, [Difference and Repetition](https://en.wikipedia.org/wiki/DifferenceandRepetition) Vilhelm Hammershøi (https://en.wikipedia.org/wiki/Vilhelm_Hammersh%C3%B8i), Danish painter Sigmund Freud, [Beyond the Pleasure Principle](https://www.libraryofsocialscience.com/assets/pdf/freudbeyondthepleasureprinciple.pdf) Martin Heidegger, [What is Called Thinking?](https://www.amazon.com/Called-Thinking-Harper-Perennial-Thought/dp/006090528X/ref=sr11?s=books&ie=UTF8&qid=1524419879&sr=1-1&keywords=heidegger+what+is+called+thinking) Stanley Kubrick, [The Shining](https://en.wikipedia.org/wiki/TheShining(film)) Ferruccio Busoni, Sketch of a New Esthetic of Music (https://archive.org/details/sketchofanewesth000125mbp) David Lynch on why you shouldn't watch films on your phone (https://www.youtube.com/watch?v=wKiIroiCvZ0) Nelson Goodman (https://en.wikipedia.org/wiki/Nelson_Goodman), American philosopher Pablo Picasso, Guernica (https://www.pablopicasso.org/guernica.jsp) Paul Thomas Anderson, The Master (https://www.newyorker.com/culture/richard-brody/the-astonishing-power-of-the-master) Martin Heidegger, Basic Writings (http://www.harpercollins.ca/9780061627019/basic-writings) Phil Ford, "No One Understands You" (http://www.weirdstudies.com/articles/no-one-understands-you)

What is art? It's a perennial, impossible question, one made even more difficult to answer by the fact that so many people tend to bristle - in America especially - at the idea of making quality distinctions between serious art and mere entertainment in the first place. In this episode, Joe & Josh sorta try to provide a defense of whatever "art" is, with help from Clement Greenberg's seminal essay "Avant-Garde and Kitsch." Join them as they lament the middling taste of their friends and acquaintances, take gratuitous potshots at beloved pop culture franchises, and struggle to describe what makes a work truly original. But it's not just about good aesthetics; as Greenberg argues, kitsch is not just tacky, it's politically toxic. And while it's hard for the future to look much bleaker than it must have in 1939, when Greenberg penned this attack on consumerism's dumbing down of culture, your hosts are... not optimistic. Read the original here: http://www.sharecom.ca/greenberg/kitsch.htmlLet us know what you think: essayquestionspodcast@gmail.com

Cathy + e talk about the evolution of high culture, Clement Greenberg (that guy!), how the Arts keeps the average person at arm’s length, and how comics can combat it.For episode citation: https://comicarted.com/blog/2017/7/21/drawing-a-dialogue-episode-2

Brian Rutenberg is an internationally exhibited painter based in New York City. He received his bachelor’s degree in fine arts from the College of Charleston in 1987 and his master’s degree from the School of Visual Arts in New York City in 1989. Among his many accolades, Brian is a Fulbright Scholar, a New York Foundation for the Arts Fellow, an Irish Museum of Modern Art Residency Programme participant, and has had over 200 exhibitions throughout North America. His popular YouTube series, “Brian Rutenberg Studio Visits,” is viewed daily by thousands of people all over the world and his brand new book Clear Seeing Place is an Amazon Number One Bestseller.  Full shownotes: http://yourcreativepush.com/brianrutenberg In this episode, Brian discusses: -How and why he started his YouTube channel, “Brian Rutenberg Studio Visits.” -His attempt and the attempt of all creative people to “strip naked” and bear your soul in the most honest way possible. -The fear that comes when starting a new creative pursuit, especially when you are sitting in front of a camera. -Details about his new book, Clear Seeing Place and the process of creating it. -How he was able to achieve the #1 spot on Amazon in two different categories. -The idea of building a following of like-minded individuals and focusing less on the number of followers in terms of popularity. -How he reads every single comment and e-mail, but never reads reviews. -How the failures make up half of your creative career, and once you can embrace those bad things, you become stronger as a creative person. -A defining moment with Clement Greenberg. -The power that comes from letting go.” -How to get past the blocks that still occur even when you are in a locked room with your creativity. -The importance of finding your “postage stamp-sized niche.” -How he balances his time. -How boredom is jet fuel for creativity. -How artists and creative people can free their minds by wandering and getting out in nature. -His advice on how to know when a painting is done, even if that means it is time to throw it away. Brian's Final Push will make you realize that there is a difference between looking and seeing   Quotes: “I have the best job in the world.  My worst day is still better than the best day in most other jobs.” “Unfortunately success is too often confused with popularity.” “Success, in my opinion, is curiosity and effort.  Those are things that you control.” “I would say the defining word of my entire career is ‘Resistance.’” “There’s always going to be someone better than me and someone smarter than me, but there will never be anyone just like me.” “The recipe is to just be yourself, and then the rest is just practice.” “I’ve always believed that an artist is born the moment they give up, the moment you stop trying so hard.” “Repetition is very valuable for a painter, because it allows you to get really good at stuff.” “The narrower you are, the bigger the umbrella over you.” “Artists are malleable.  We are able to survive in almost any situation.” Links mentioned: Brian's YouTube Channel Clear Seeing Place by Brian Rutenberg Three Cornered World by Natsume Suseki Connect with Brian: Website / Books / YouTube / Facebook / Instagram / Twitter

In this episode we have art theorist and curator Mark Cameron Boyd. By opening Pandora’s Box we contemplate upon thinkers like Clement Greenberg, Michael Fried, László Moholy-Nagy, Rosalind Krauss, et cetera, et cetera. Whether an artist has the intention to do so or not he is surfing the wave of art theoretical thinking, we recognize the functional benefits of exploring the field outside the insulated circle amongst other creatives and discuss where this generation of artist's stand on the grand scheme. www.MarkCameronBoyd.com www.instagram.com/mcameronboyd

David Ward, historian at NPG, discusses art critic Clement Greenberg