Podcasts about clunas

On today's show I catch up with Windsurf Instructor, and fellow Podcaster, Sandy ClunasHaving completed several seasons as a Windsurf Instructor in Greece, Sandy came in to tell us how his season work not only shaped his passion and expertise but lead him to sponsorship opportunities and ultimately scored him a position commentating on the Freestyle Pro TourTune in as we get some deep insight into the skills and opportunities that come with season life, Sandy shares the highs and lows of his journey, and the inspiration behind starting his men's mental health podcast, The After Hours Lounge, and stick with us right to the end of the show as we get fired up about that notorious question we've all been asked…. ‘When you gonna get a real job?'We get pretty deep in this one so a quick warning to anyone who may be triggered by conversations surrounding mental health CLICK HERE for 'The After Hours Lounge' podcast  CLICK HERE to make your Australian working holiday dream a reality with show sponsors, Gap 360's free visa offer! If you are enjoying show and want to show your support you can now CLICK HERE to buy me a coffee! Looking for an easy multi-currency account to transfer money whilst in resort? CLICK HERE FOR TRAVEL MONEY & TRANSFERS (We are an affiliate partner with Wise so we will hopefully receive a small commission if you sign up with this link!) Click here for any other links relating to the show: https://linktr.ee/thatseasonairepodcast --CreditsMusic by: Mondo Wave | Say Ahh!Support the Show.If you are enjoying show and want to show your support you can now CLICK HERE to buy me a coffee! Looking for an easy multi-currency account to transfer money whilst in resort? CLICK HERE FOR TRAVEL MONEY & TRANSFERS (We are an affiliate partner with Wise so we will hopefully receive a small commission if you sign up with this link!) Click here for any other links relating to the show: https://linktr.ee/thatseasonairepodcast -- Credits Music by: Mondo Wave | Say Ahh!

Today's guest is Sandy Clunas, social media manager, sports commentator and host of the After Hours Lounge Podcast. Sandy spent his 20s travelling the world training, coaching and competing as a professional windsurfer. He is now a freelance social media manager for active and lifestyle brands and lead commentator for the European Freestyle Pro Tour, where he commentates the livestream, interviews competitors, and presents the podium show.His podcast, the After Hours Lounge, has a laid back vibe with a meaningful message as it aims to encourage more men to talk about their mental health, discussing everything from body image and confidence to imposter syndrome and measuring success.When it comes to his work and personal life, Sandy believes we all need far less than we think we do in order to be happy.You'll find Sandy here: https://www.instagram.com/sandyclunas/ And his Podcast, the After Hours Lounge, is here: https://linktr.ee/theafterhoursloungeEnjoy! Shop our new MERCH here: https://antihustlehustleclub.com Subscribe to the podcast to enjoy our incredible lineup of interviews about hustle culture, work, success and happiness. Say hi to us at instagram.com/antihustle.hustleclubIntro music by Ant Henderson soundcloud.com/antphenderson

This week I had a heartfelt, honest discussion with Sandy Clunas, host of The After Hours Lounge Podcast. Sandy is a windsurfing podcaster that focuses on mental health awareness. We talk about the struggle depression, how to help others, and we cope with our own burdens that we bare and often bare alone. --- Support this podcast: https://anchor.fm/pardonwill/support

Sandy Clunas has been presenting his own podcast 'The After Hours Lounge' though-out 2020. This is his last podcast for 2020 with fellow Club Vass legend, Max Rowe! 'Max is a professional windsurfer and all round UK windsurfing legend having spent almost a decade on tour competing and 4 of those years within the top 15. We discussed his late start into windsurfing and his attitude of keeping professional, yet trying not to put too much pressure on himself and enjoy the journey. We talked sponsorship deals, both good and bad, and the stresses of always trying to stay relevant and keep your job within a small industry.After that we moved onto more serious territory. I remember being in Cape Town with Max one winter and him jokingly ask me to feel this hard lump on his stomach. A few months later he was in a hospital in Austria at the first event of the year being told it was a tumour...Luckily, it was benign, but it still needed removing through highly invasive surgery. A truly life changing and altering experience even for someone as chilled as Max.Finally we moved onto going bald and why in the grand scheme of things it's not that bad and becoming a new dad and balancing that with a lifestyle of traveling the world.A huge thing we kept coming back to throughout the chat was how Max's experiences changed his perspective, from being dropped by sponsors, having a 17cm tumour removed from his stomach, to having a baby.Not as mental health centric as other episodes but an awesome conversation nonetheless!'Follow Sandy onSpotify - https://open.spotify.com/show/67cn0OMKX5BaKucMr7RdzI?si=BYTCorXnTI-JFYTVueiK6wApple - https://podcasts.apple.com/gb/podcast/the-after-hours-lounge/id1503664779Instagram - https://www.instagram.com/theafterhourslounge/

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Craig Clunas‘s new book explores the significance of members of the imperial clan, or “kings” in Ming China. A king was established in a “state” (guo), and mapping the Ming in terms of guo‘s is a way of mapping Ming space in units that had centers, but not boundaries. (In having many guo‘s, the Ming thus had many centers.) A wonderfully and productively revisionist account of Ming history and its artifacts, Screen of Kings: Royal Art and Power in Ming China (University of Hawaii Press and Reaktion Books, 2013) explores this poly-centric kingly landscape as evidenced by documentary and archaeological traces of material production, while paying special attention to the history of practices that did not leave abundant traces. In doing so, Clunas shifts our attention in several ways. In addition to reorienting our focus to kingly figures in the Ming (an often-overlooked but deeply significant historical group), Screen of Kings also moves us away from the oft-trod historiographical territory of the Jiangnan region and toward regions that boasted a significant kingly presence but don’t usually earn a significant place in our histories of Ming China. The kingly cityscapes in Clunas’s beautifully-written book are full of buildings, gardens, tombs, calligraphic texts, paintings, jewelry, poems, bronzes, and musical instruments. The book situates these objects in an innovative way, emphasizing the importance of Ming kingly courts as sites of cultural innovation, production, and reproduction, and of kings as producers, collectors, and patrons of the arts. This is a must-read for anyone interested in Ming history, the history of the arts in China, histories of locality, or the history of relationships between art and power more broadly conceived. It is also an absolute pleasure to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

Craig Clunas‘s new book explores the significance of members of the imperial clan, or “kings” in Ming China. A king was established in a “state” (guo), and mapping the Ming in terms of guo‘s is a way of mapping Ming space in units that had centers, but not boundaries. (In having many guo‘s, the Ming thus had many centers.) A wonderfully and productively revisionist account of Ming history and its artifacts, Screen of Kings: Royal Art and Power in Ming China (University of Hawaii Press and Reaktion Books, 2013) explores this poly-centric kingly landscape as evidenced by documentary and archaeological traces of material production, while paying special attention to the history of practices that did not leave abundant traces. In doing so, Clunas shifts our attention in several ways. In addition to reorienting our focus to kingly figures in the Ming (an often-overlooked but deeply significant historical group), Screen of Kings also moves us away from the oft-trod historiographical territory of the Jiangnan region and toward regions that boasted a significant kingly presence but don’t usually earn a significant place in our histories of Ming China. The kingly cityscapes in Clunas’s beautifully-written book are full of buildings, gardens, tombs, calligraphic texts, paintings, jewelry, poems, bronzes, and musical instruments. The book situates these objects in an innovative way, emphasizing the importance of Ming kingly courts as sites of cultural innovation, production, and reproduction, and of kings as producers, collectors, and patrons of the arts. This is a must-read for anyone interested in Ming history, the history of the arts in China, histories of locality, or the history of relationships between art and power more broadly conceived. It is also an absolute pleasure to read. Learn more about your ad choices. Visit megaphone.fm/adchoices

Craig Clunas‘s new book explores the significance of members of the imperial clan, or “kings” in Ming China. A king was established in a “state” (guo), and mapping the Ming in terms of guo‘s is a way of mapping Ming space in units that had centers, but not boundaries. (In having many guo‘s, the Ming thus had many centers.) A wonderfully and productively revisionist account of Ming history and its artifacts, Screen of Kings: Royal Art and Power in Ming China (University of Hawaii Press and Reaktion Books, 2013) explores this poly-centric kingly landscape as evidenced by documentary and archaeological traces of material production, while paying special attention to the history of practices that did not leave abundant traces. In doing so, Clunas shifts our attention in several ways. In addition to reorienting our focus to kingly figures in the Ming (an often-overlooked but deeply significant historical group), Screen of Kings also moves us away from the oft-trod historiographical territory of the Jiangnan region and toward regions that boasted a significant kingly presence but don’t usually earn a significant place in our histories of Ming China. The kingly cityscapes in Clunas’s beautifully-written book are full of buildings, gardens, tombs, calligraphic texts, paintings, jewelry, poems, bronzes, and musical instruments. The book situates these objects in an innovative way, emphasizing the importance of Ming kingly courts as sites of cultural innovation, production, and reproduction, and of kings as producers, collectors, and patrons of the arts. This is a must-read for anyone interested in Ming history, the history of the arts in China, histories of locality, or the history of relationships between art and power more broadly conceived. It is also an absolute pleasure to read. Learn more about your ad choices. Visit megaphone.fm/adchoices