Podcasts about colby college museum

Episode No. 697 features curator Sarah Humphreville and author Marisa Anne Bass. With Eric Crosby, Humphreville is the co-curator of "Gertrude Abercrombie: The Whole World is a Mystery." The exhibition survey's Abercrombie's synthesis of surrealism, landscape, portraiture and still-life, and is the most comprehensive presentation of the artist's work to date. It is at the Carnegie Museum of Art, Pittsburgh through June 1 before traveling to the Colby College Museum of Art. An excellent catalogue was published by the Carnegie and DelMonico Books. Amazon and Bookshop offer it for $50-55. Bass is the author of The Monument's End: Public Art and the Modern Republic, which was recently released by Princeton University Press. The book finds the origin of many of today's questions around monuments and memory within the early modern Netherlands. Among the artists Bass discusses are Rembrandt, Dirck van Delen, Hendrick de Keyser, Spencer Finch, Thomas Hirschhorn, and more. Bass is a professor at Yale University. Her previous books include Insect Artifice: Nature and Art in the Dutch Revolt and Jan Gossart and the Invention of Netherlandish Antiquity. Amazon and Bookshop offer "The Monument's End" for $20-42. Instagram: Sarah Humphreville, Marisa Bass, Tyler Green.

Ep.225 Mario Moore, a Detroit native, received a BFA from the College for Creative Studies, Detroit, MI in 2009 and an MFA in Painting from the Yale School of Art, New Haven, CT in 2013. He is a recent Kresge Arts Fellow (2023) and a recipient of the prestigious Princeton Hodder Fellowship (2018-2019). He also has been awarded residencies at Duke University, Josef and Annie Albers Foundation, Fountainhead, and Knox College. Moore's work is in the permanent collections of but not limited to the Detroit Institute of Arts, Princeton University Art Museum and The Studio Museum in Harlem. Moore's work has been widely exhibited, including at the Smart Museum of Art, Chicago, IL; Cranbrook Art Museum, Bloomfield Hills, MI; Jeffrey Deitch Gallery, Los Angeles, CA; Arthur Roger Gallery, New Orleans, LA; The Cleveland Museum of Art, and Colby College Museum of Art. Mario Moore / Enshrined: Presence & Preservation exhibition—Moore's largest survey of work to date—opened at the Charles H. Wright Museum of African American History, Detroit in June 2021 and traveled to the California African American Museum (CAAM) in March 2022, his first solo exhibition on the West Coast]. Moore's most recent traveling museum exhibition, Revolutionary Times opened at the Flint Institute of Arts in January 2024 and closed at the Grand Rapids Art Museum in August 2024. Mario Moore currently works and lives in Detroit, MI. Headshot by Danielle Eliska Artist https://www.mariomoorestudio.com/ ABC news https://www.abc12.com/video/detroit-native-brings-revolutionary-times-to-the-flint-institute-of-arts/video_1a604728-0a2e-5a4b-969d-f0304557c2a1.html Hour Detroit https://www.hourdetroit.com/art-topics/two-new-exhibitions-at-cranbrook-art-museum-highlight-detroit-artists/ Canvas Rebel https://canvasrebel.com/meet-mario-moore/ David Klein Gallery https://www.dkgallery.com/artists/45-mario-moore/ Grand Rapids Art Museum https://www.artmuseumgr.org/press-releases/artist-mario-moore-bridges-untold-stories-of-americas-past-and-present-at-the-grand-rapids-art-museum Kresege Arts https://kresgeartsindetroit.org/artist/mario-moore/ Shondaland https://www.shondaland.com/act/a40458000/detroit-artist-mario-moore-interview/ Outlier Media https://outliermedia.org/mario-moore-artist-detroit-painter-interview/ LSU Museum of Art https://www.lsumoa.org/mario-moore-responding-to-history CAA Museum https://caamuseum.org/exhibitions/2022/enshrined-presence-preservation Duke Arts https://arts.duke.edu/projects/mario-moore/ Duke Form https://www.dukeform.co/all-content/mario-moore Sakehile & Me https://www.sakhileandme.com/artists/mario-moore.htm Cranbrook Art Museum https://cranbrookartmuseum.org/events/artist-led-tour-skilled-labor-mario-moore-sabrina-nelson-richard-lewis/ CCS Detroit https://www.ccsdetroit.edu/news/mario-moore-honored-with-ccss-2023-distinguished-alumni-award/ Detroit Metro Times https://www.metrotimes.com/arts/mario-moore-tells-detroits-underground-railroad-history-in-new-exhibit-midnight-and-canaan-31303155 Cultured Mag https://www.culturedmag.com/article/2022/11/02/mario-moore-painting-black-history Princeton University https://www.cnn.com/2020/01/01/us/princeton-university-portraits-workers-trnd/index.html The Art Newspaper https://www.theartnewspaper.com/2020/01/20/princeton-artist-fellow-mario-moore-celebrates-african-american-workers

Gail Spaien lives in South Portland, Maine. She earned her B.F.A. from the University of Southern Maine and her M.F.A. from the San Francisco Art Institute. Spaien has received numerous fellowships including the Ucross Foundation; Varda Artist Residency Program; Millay Colony for the Arts; the Djerassi Foundation Resident Artists Program; and the Skowhegan School of Painting and Sculpture. Over four decades, Spaien's work has been exhibited nationwide and abroad, including Taymour Grahne Projects (London); Vardan Gallery (Los Angeles, CA); the DeCordova Sculpture Park and Museum (Lincoln, MA); Provincetown Art Association and Museum (Provincetown, MA); Crocker Art Museum (Sacramento, CA); the Portland Museum of Art (Portland, ME); Ogunquit Museum of American Art (Ogunquit, ME); and Colby College Museum of Art (Waterville, Maine). After thirty years as faculty at the Maine College of Art and Design she is now full-time in the studio. Turquoise Window, 2024, acrylic on linen, 48 x 45 inches Pearl with Boots and Pheasants, 2024, acrylic on linen, 34 x 36 inches The Season Called Locking, 2024, acrylic on linen, 48 x 48 inches

Ep.156 features Thaddeus Mosley (b. 1926, New Castle, PA), a Pittsburgh-based artist whose monumental sculptures are crafted with the felled trees of Pittsburgh's urban canopy, via the city's Forestry Division. Using only a mallet and chisel, Mosley reworks salvaged timber into biomorphic forms. With influences ranging from Isamu Noguchi to Constantin Brâncuși—and the Bamum, Dogon, Baoulé, Senufo, Dan, and Mossi works of his personal collection—Mosley's sculptures mark an inflection point in the history of American abstraction. These “sculptural improvisations,” as he calls them, take cues from the modernist traditions of jazz. “The only way you can really achieve something is if you're not working so much from a pattern. That's also the essence of good jazz,” Mosley says of his method. Mosley is the recipient of the 2022 Isamu Noguchi Award. His work has been exhibited and acquired by major museums and foundations since 1959, including the Mattress Factory Museum, Pittsburgh, Pennsylvania (2009); the Carnegie Museum of Art, Pittsburgh, Pennsylvania (2018); Harvard Business School, Boston, Massachusetts (2020); Sculpture Milwaukee, Milwaukee, Wisconsin (2020); Baltimore Museum of Art, Baltimore, Maryland (2021); Bergen Kunsthall, Bergen, Norway (2022) and Art + Practice, Los Angeles, California (2022). His work is held in public collections including the Baltimore Museum of Art, Baltimore, Maryland; the Art Institute of Chicago, Chicago, Illinois; High Museum of Art, Atlanta, Georgia; Whitney Museum of American Art, New York, New York; Brooklyn Museum, New York, New York; Carnegie Museum of Art, Pittsburgh, Pennsylvania; and the Colby College Museum of Art, Waterville, Maine. His traveling solo exhibition Forest, previously at the Baltimore Museum of Art, Baltimore, and Art+Practice, Los Angeles, will continue on to the Nasher Sculpture Center, Dallas May 2023. Photo credit: the gallery Karma karmakarma https://karmakarma.org/artists/thaddeus-mosley/ NYTimes https://www.nytimes.com/2023/02/17/arts/design/thaddeus-mosley-photographer.html Dallas News https://www.dallasnews.com/arts-entertainment/visual-arts/2023/05/25/thaddeus-mosleys-rugged-wooden-sculptures-explore-balances-of-forces-at-the-nasher/ Artforum https://www.artforum.com/picks/thaddeus-mosley-82787 Sculpture Magazine https://sculpturemagazine.art/thaddeus-mosley-2/ Touchstone Center for Crafts https://touchstonecrafts.salsalabs.org/mosleystudiotour/index.html Pitt Magazine https://www.pittmag.pitt.edu/news/wood-work WSJ https://www.wsj.com/articles/a-modern-vision-henri-matisse-etta-cone-claribel-cone-collecting-thaddeus-mosley-forest-sculpture-baltimore-museum-of-art-11636142617 Carnegie Museums (1997) https://carnegiemuseums.org/magazine-archive/1997/mayjun/feat3.htm Noguchi Museum https://www.noguchi.org/museum/support/special-events/benefit/2022-11-17/ Nasher Sculpture Center https://www.nashersculpturecenter.org/press/press-releases/news/id/221 https://www.nashersculpturecenter.org/art/exhibitions/exhibition/id/1981?thaddeus-mosley-forest United States Artist https://www.unitedstatesartists.org/fellow/thaddeus-mosley/ Colby Museum https://museum.colby.edu/2022/08/05/art-break-directional-by-thaddeus-mosley-2/ Baltimore Museum of Art https://artbma.org/exhibition/thaddeus-mosley-forest ARTnews https://www.artnews.com/list/art-news/artists/paris-plus-sites-best-installations-1234643842/alicja-kwade/ A+P https://artandpractice.org/exhibitions/exhibition/thaddeus-mosley-forest/ Ocula https://ocula.com/art-galleries/karma/exhibitions/thaddeus-mosley-recent-sculpture/ Wikipedia https://en.wikipedia.org/wiki/Thaddeus_Mosley Mattress https://mattress.org/works/sculpture-studio-home/

Episode No. 578 features curators Diana Tuite and Allegra Pesenti. Tuite is the curator of "Bob Thompson: This House Is Mine," a retrospective of Thompson's brief but hugely productive career. It is at the Hammer Museum in Los Angeles through January 8, 2023. The Hammer's presentation was coordinated by Erin Christovale with Vanessa Arizmendi. An outstanding catalogue was published by the Colby College Museum of Art, which organized the exhibition, in association with Yale University Press. Indiebound and Amazon offer it for $45. Pesenti discusses "Picasso Cut Papers," an examination of artworks Pablo Picasso made by cutting paper. The exhibition features work Picasso made between his childhood and the end of his life. Pesenti co-curated the exhibition with Cynthia Burlingham. The exhibition is on view through December 31. The catalogue was published by the Hammer Museum and DelMonico Books. Indiebound and Amazon offer it for about $45.

As a super fan, I was thrilled to welcome multi-media artist, Paula Wilson to the podcast this week. Paula joined me to talk about her current show, "Imago," at Denny Dimin Gallery in NYC (up right now through Oct 29, 2022) and also allowed me to pepper her with questions about her work in general. Paula works in expansive ways with collage, large-scale woodcut, video, and painting and lives and works in the remote high desert town of Carrizozo, NM. She uses personal symbols and experimentation to create a unique blend of art and life--all tied to the land. Find Paula online: paulajwilson.com/ (web) and @paulalights Carrizozo AIR Program and MoMAZoZo: https://carrizozoarts.com/air (co-run by Paula Wilson, Mike Lagg, Joan Malkerson & Warren Malkerson) Current and upcoming exhibitions: Denny Dimin Gallery "Imago" (thru Oct 29, 2022) MOCA Tucson "Plein Air" (thru Feb 5, 2023) The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College "Toward the Sky's Back Door" (Jul 15 - Dec 30, 2023) Colby College Museum of Art "Ashley Bryan / Paula Wilson: Take the World into Your Arms" (Feb 17 - July 17, 2023) Albuquerque Museum "Nicola López and Paula Wilson: Becoming Land" (thru Feb 12, 2023) Emerson Dorsch Gallery, Miami, FL (opens late Nov 2022) Artists mentioned: Paula's partner, collaborator & wood-worker, Mike Lagg, Sound artist, Soleil Corazón-Libre, Georgia O'Keeffe, Agnes Martin, Marsden Hartley, The Desert Transcendentalists (Agnes Pelton) Other shoutouts: Octavia Butler's "Xenogenesis" (Lilith) trilogy, Venus de Willendorf as self-portrait?, "Spread Wild: The Pleasures of the Yucca" at Smack Mellon, Turkey vultures, "Salty & Fresh" video work, Episodes 30 & 33 of this podcast Glue Tawk™: Paula uses Fusion 4000, an iron-on adhesive from Talas in Brooklyn AND Padding Compound Pep Talks on IG: @peptalksforartists Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Portrait by Gabriella Marks Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO. Alongside her current exhibition at Denny Dimin Gallery, she is currently exhibiting within a group exhibition Plein Air at MOCA Tucson and has an upcoming solo exhibition Toward the Sky's Back Door at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs in 2023. She has also recently had an acquisition placed at Colby College Museum of Art. In addition, her upcoming Albuquerque Museum show: Nicola López and Paula Wilson: Becoming Land opens October 8th, 2022 and is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith. Wilson's has held other recent solo exhibitions at Locust Projects, Miami, FL (2020-2021), 516 ARTS Contemporary Museum, Albuquerque, NM (2019), Smack Mellon, Brooklyn, NY (2018), and Denny Dimin Gallery, New York, NY (2018). She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Tufts University Art Galleries (2021), Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Weatherspoon Art Museum, Greensboro, NC (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few.  Wilson's artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop. Microhouse, 2022 Mixed Media. Courtesy of Paula Wilson and Denny Dimin Gallery Earth Angel, 2022 Acrylic and oil on muslin and canvas (relief, silkscreen, monotype, and lithography print), wooden and beaded jewelry made in collaboration with Mike Lagg. Courtesy of Paula Wilson and Denny Dimin Gallery Up My Sleeve, 2021 Acrylic on muslin and canvas (woodblock, relief, monotype, silkscreen, collagraph, and digital print) Courtesy of Paula Wilson and Denny Dimin Gallery

A conversation with Colby College Museum of art curator Diana Tuite about her exhibition Bob Thompson: This House is Mine

In this episode, Raffi DerSimonian talks about his career doing public relations and marketing in the arts. As a Waterville native, Raffi talks about the renaissance going on in the city from arts to dining. Music has always been a passion of Raffi's. He describes his musical career and helping found Waterville Rocks. In addition to doing public relations and marketing in the arts, Raffi is experienced in promoting higher education. Raffi and Nancy discuss how COVID-19 has impacted higher education as well as communicating during a crisis. 3:00 – Raffi describes the importance of a handwritten note. 7:05 – Raffi explains how COVID-19 has forced higher education to adjust very quickly and rethink its curriculum. 11:40 – Raffi shares how video can be used to drive measurable engagement in public relations and marketing. 18:29 – As a Waterville native and co-founder of Waterville Rocks, Raffi talks about the city's renaissance. 23:37 – Raffi explains how Waterville Rocks was founded. 24:19 – Raffi describes how music has been an important part of his life. 29:00 – Raffi talks about his career marketing the arts. 32:09 – Raffi shares his advice for schools and colleges when promoting themselves. 36:28 – Raffi provides some times for communicating during a crisis. 39:31 – Raffi recommends a book.   Quote “Video is a medium that gets me really excited personally. Over the years throughout my career, I've come to understand the emotive power of visual storytelling as a way to drive engagement. I think video is an amazing medium because it has the ability to pull us in by our imaginations, sometimes resulting in a physiological response like goosebumps, joy or sorrow.” – Raffi DerSimonian, principal at the RDS Group   Links: Maine Media Workshops + College: https://www.mainemedia.edu/?gclid=CjwKCAjw3MSHBhB3EiwAxcaEu9jszQNZ3GwTwgTgAkw_kvOaRMhR2PBWusjee09oR_41wxnQPyeziRoC5EUQAvD_BwE Colby College: https://www.colby.edu/ Thomas College: https://www.thomas.edu/ Waterville Opera House: https://www.watervillecreates.org/operahouse/home/ Paul J. Schupf Art Center: https://www.watervillecreates.org/paul-j-schupf-art-center-community-capital-campaign/ Colby College Museum of Art: https://www.colby.edu/museum/ Waterville Creates: https://www.watervillecreates.org/ Silver Street Tavern: https://www.silverstreettavern.com/ OPA: https://opawaterville.com/ The Last Unicorn: https://www.thelastuni.com/ Waterville Rocks: https://www.watervillecreates.org/waterville-rocks/ Maine Academy of Modern Music: https://www.maineacademyofmodernmusic.org/ Providence Performing Arts Center: https://www.ppacri.org/ Ikigai by Héctor García: https://www.amazon.com/Ikigai-Japanese-Secret-Long-Happy/dp/0143130722   Listen to Karl Strand's PR Maven® Podcast episode to learn more about Sugarloaf. Listen to Bill Green's PR Maven® Podcast episode. Listen to Steve McCausland's PR Maven® Podcast episode to learn more about media training and crisis communications. Listen to Jordan Rowan and Jesse Souza's PR Maven® Podcast episode to learn more about Front & Main. Listen to Jim Dinkle's PR Maven® Podcast episode to learn more about FirstPark. Listen to Nancy's solocast, How to use a message map to build your brand, to learn more about message mapping or sign up for her Message Mapping Mastery online course.   Activate the PR Maven® Flash Briefing on your Alexa Device.  Join the PR Maven® Facebook group page.    About the guest:     With over 20 years' experience in results-oriented public relations, marketing, and communications, Raffi DerSimonian has cultivated a comprehensive understanding of the intersection between institutional marketing, communications, advancement, and the arts. His experience includes leading new brand launches, developing marketing strategies, and planning advancement campaigns for a diverse range of institutions and organizations. Via RDS Group, Raffi works in highly collaborative settings, which allows him to effectively navigate a range of complex and large-scale initiatives. A proud Waterville native and double alum of Clark University, Raffi enjoys outdoor adventure and live music. He is also involved in Portland, Maine's thriving cultural arts scene and has served on various community arts councils and boards in and around New England including Habitat For Humanity of Greater Providence, Worcester Arts Council, Creative Portland, Maine Academy of Modern Music, Yellow Tulip Project, Fork Food Lab, Portland Downtown, Armenian Cultural Association of Maine, Portland Bach Experience, and Maine Volunteer Lawyers for the Arts.   Looking to connect:           Email: raffi@dersimonian.com LinkedIn: https://www.linkedin.com/in/raffi-dersimonian-5099233/ Website: www.dersimonian.com

Have you ever wondered about how priceless artwork gets moved from one location to another? Artist Stew Henderson has the answer. He recently retired after two decades working in Maine's fine arts world: first with the Farnsworth Art Museum in Rockland, and then as the senior preparator at the Colby College Museum of Art in Waterville. In this latest episode of Radio Maine, Stew talks to Dr. Lisa Belisle about this work, his experience acting as an art courier and his own unique artistic style. 

Episode No. 487 features curators Marshall N. Price and Elizabeth Finch, and artist Candice Lin. Price and Finch are the co-curators of "Roy Lichtenstein:  History in the Making, 1948-60." The exhibition examines Lichtenstein's early work, with particular attention to Lichtenstein's synthesis of European modernism, American painting and contemporary vernacular sources. The exhibition is at the Colby College Museum of Art through June 6. For now, the museum is open only to current Colby students, faculty and staff. The excellent exhibition catalogue was published by Rizzoli Electa. Indiebound and Amazon offer it for about $33. From Maine, the exhibition will travel to the Parrish Art Museum in Water Mill, NY, the Columbus Museum of Art, and the Nasher Museum of Art at Duke University. Finch and Price are curators at Colby and at the Nasher, respectively. On the second segment, Candice Lin discusses her work on the occasion of "Visionary New England" at the de Cordova Sculpture Park and Museum in Lincoln, Mass. The exhibition, which was curated by Sarah Montross, jumps off from New England's embrace of visionary and utopian cultures in the nineteenth and twentieth centuries -- think Brook Farm, Fruitlands and experimental psychology -- to look at how artists address some of the same ideas. It is on view through March 14. Lin's work examines trade routes and material histories as part of her investigation of colonialism, racism and sexism. Her first solo museum show will open at the Walker Art Center in Minneapolis in August before traveling to Harvard's Carpenter Center in 2022.

Episode No. 464 of The Modern Art Notes Podcast features artist Torkwase Dyson and historian Dennis Reed. The New Orleans Museum of Art is showing "Torkwase Dyson: Black Compositional Thought, 15 Paintings for the Plantationocene," a series of works made for the museum. These new paintings were inspired by Dyson's interest in the systems that underlay water delivery, energy infrastructure and by the physical impacts of climate change. Through this and other work, Dyson investigates the legacy of agriculture enabled by slave economies and its relationship to the environmental and infrastructural issues of the present, a relationship known as the “plantationocene.” The exhibition is on view through December 31, 2020. Dyson is an artist-in-residence at the Wexner Center for the Arts at The Ohio State University. She is preparing work that will be included in "Climate Changing: On Artists, Institutions, and the Social Environment," which is scheduled to debut at the Wexner on January 30, 2021. Dyson's previous solo museum exhibitions have been at the Arthur Ross Architecture Gallery at Columbia University, at the Irwin S. Chanin School of Architecture at Cooper Union, at the Colby College Museum of Art, The Drawing Center, Eyebeam, and more. Her work is in the permanent collections of the Smith College Museum of Art, the Smithsonian National Museum of African American History & Culture, and the Studio Museum in Harlem. On the second segment, historian and curator Dennis Reed discusses the J. Paul Getty Museum's acquisition of 79 pictures made by Japanese-American photographers between 1919 and 1940. Reed's collection and the Getty's acquisition of it is a result of 35 years of work Reed and his students at Los Angeles Valley College did to learn about Japanese-American photographers who made work before the war. Reed and his students built a list of 186 names from photography catalogues at UCLA's Charles E. Young Research Library and painstakingly cold-called the photographers and their relatives in an effort to build knowledge related to an art-making community that was disappeared by the illegal American internment of Japanese-Americans. Reed's collection -- which includes the only surviving work by several of the artists -- has been exhibited in venues such as the Whitney Museum of American Art in New York, and the Corcoran Gallery of Art in Washington. The Getty, which remains closed due to the pandemic, will be exhibiting work from the acquisition at a date to be announced. In addition to the images below, the Getty and Google created this slideshow.

Episode Twenty-one features Sarah Workneh. 2020 marks her 10th year as Co-Director at Skowhegan. Prior to her tenure, Sarah was the Associate Director of Ox-Bow for 9 years. Primarily focused on the educational program, and off-season programming with Alumni, Sarah leads all efforts to support artists in the expansion of their practices. Understanding the holistic nature of the program, Sarah oversees the admissions process, facilities usage and expansion under Skowhegan’s Master Plan, as well as the educational daily life on campus. Sarah has published a variety of texts -- most recently an essay on participatory education and a catalog essay on radical education published by the New Museum. She serves on the boards of Colby College Museum of Art, RAIR in Philadelphia, and the Somerset County Cultural Planning Commission. She is currently partnering with Linda Goode Bryant & Project Eats to convert an urban farm to a food pantry in Brownsville, NYC. Please see additional information about Sarah Workneh. Welcome and Enjoy. https://www.skowheganart.org/ https://www.wassaicproject.org/events/2020-05-28-ask-a-residency-director-with-sarah-workneh http://amt.parsons.edu/finearts/visitingcritics/sarah-workneh/ https://www.portlandmuseum.org/magazine/sarah-workneh-storiesofmaine http://projecteats.org/

BFAMFAPhD, Making and Being, teaching tools, installation detail, exhibition at the Dekalb Gallery, Pratt Institute, PROJECT THIRD residency, summer 2018. Photograph by João Enxuto. Event 6: Group Agreements   What group agreements are necessary in gatherings that occur at residencies, galleries, and cultural institutions today?   Friday 4/19 from 6-8pm Sarah Workneh, and Danielle Jackson   Sarah Workneh has been Co-Director at Skowhegan for nine years leading the educational program and related programs in NY throughout the year, and oversees facilities on campus. Previously, Sarah worked at Ox-Bow School of Art as Associate Director. She has served as a speaker in a wide variety of conferences and schools. She has played an active role in the programmatic planning and vision of peer organizations, most recently with the African American Museum of Philadelphia. She is a member of the Somerset Cultural Planning Commission's Advisory Council (ME); serves on the board of the Colby College Museum of Art.   Danielle Jackson is a critic, researcher, and arts administrator. She is currently a visiting scholar at NYU’s Center for Experimental Humanities.  As the co-founder and former co-director of the Bronx Documentary Center, a photography gallery and educational space, she helped conceive, develop and implement the organization’s mission and programs.  Her writing and reporting has appeared in artnet and Artsy.  She has taught at the Museum of Modern Art, International Center of Photography, Parsons, and Stanford in New York, where she currently leads classes on photography and urban studies. Event 7: Educators https://www.eventbrite.com/e/making-and-being-open-meeting-for-arts-educators-and-teaching-artists-tickets-54315431919?utm_source=eb_email&utm_medium=email&utm_campaign=new_event_email&utm_term=viewmyevent_button     BFAMFAPhD Making and Being is a multi-platform pedagogical project that offers practices of contemplation, collaboration, and circulation in the visual arts. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi. Bio BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. BFAMFAPhD received critical acclaim for Artists Report Back (2014), which was presented as the 50th anniversary keynote at the National Endowment for the Arts and was exhibited at the Brooklyn Museum, the Museum of Art and Design, Gallery 400 in Chicago, Cornell University, and the Cleveland Institute of Art. Their work has been reviewed in The Atlantic, the New York Times, the Washington Post, the New Yorker, Andrew Sullivan’s The Dish, WNYC, and Hyperallergic, and they have been supported by residencies and fellowships at the Queens Museum, Triangle Arts Association, NEWINC and PROJECT THIRD at Pratt Institute. BFAMFAPhD members Susan Jahoda and Caroline Woolard are now working on Making and Being, a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists.

Duncan catches up with two of the members of BFAMFAPhD for a chat about the upcoming event series, which for those of you in NYC starts friday with MAKING & BEING.   Conversations about Art & Pedagogy co-presented by BFAMFAPhD & Pioneer Works, hosted by Hauser & Wirth, with media partners Bad at Sports and Eyebeam.   image credit... BFAMFAPhD, Making and Being Card Game, print version, 2016-2018, photograph by Emilio Martinez Poppe. Full details below... ____________________________   Hauser & Wirth   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States.   Pioneer Works is a cultural center dedicated to experimentation, education, and production across disciplines.   Contemporary art talk without the ego, Bad at Sports is the Midwest's largest independent contemporary art podcast and blog. Eyebeam is a platform for artists to engage society’s relationship with technology.   Access info:   The event is free and open to the public. RSVP is required through www.hauserwirth.com/events.   The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including: folding plastic chairs and wooden chairs, some with cushions.   This event begins at 6 PM and ends at 8 PM but attendees are welcome to come late, leave early, and intermittently come and go as they please. Water, tea, coffee, beer and wine will be available for purchase. The event will be audio recorded. We ask that if you do have questions or comments after the event for the presenters that you speak into the microphone. If you are unable to attend, audio recordings of the events will be posted on Bad at Sports Podcast after the event.   Parking in the vicinity is free after 6 PM. The closest MTA subway station is 23rd and 8th Ave off the C and E. This station is not wheelchair accessible. The closest wheelchair accessible stations are 1/2/3/A/C/E 34th Street-Penn Station and the 14 St A/C/E station with an elevator at northwest corner of 14th Street and Eighth Avenue. ____________________________ "While knowledge and skills are necessary, they are insufficient for skillful practice and for transformation of the self that is integral to achieving such practice.” - Gloria Dall’Alba BFAMFAPhD presents a series of conversations that ask: What ways of making and being do we want to experience in art classes? The series places artists and educators in intimate conversation about forms of critique, cooperatives, artist-run spaces, healing, and the death of projects. If art making is a lifelong practice of seeking knowledge and producing art in relationship to that knowledge, why wouldn’t students learn to identify and intervene in the systems that they see around them? Why wouldn't we teach students about the political economies of art education and art circulation? Why wouldn’t we invite students to actively fight for the (art) infrastructure they want, and to see it implemented?   The series will culminate in the launch of Making and Being, a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.   ____________________________   SCHEDULE ____________________________ Modes of Critique   What modes of critique might foster racial equity in studio art classes at the college level?   Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence   Billie Lee is an artist, educator, and writer working at the intersection of art, pedagogy, and social change. She holds a BFA from the Rhode Island School of Design, an MFA from Yale University, and is a doctoral candidate at the University of Hawai‘i at Mānoa in American Studies. She has held positions at the Queens Museum, the Yale University Art Gallery, Doris Duke Foundation for Islamic Art, University of New Haven, University of Hawai‘i at Mānoa, and is currently an Assistant Professor of Art History at Hartford Art School.   Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press, Buenos Dias, Chicago!, a multi-year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University.   Judith Leemann is an artist, educator, and writer whose practice focuses on translating operations through and across distinct arenas of practice. A long-standing collaboration with the Boston-based Design Studio for Social Intervention grounds much of this thinking. Leemann is Associate Professor of Fine Arts 3D/Fibers at the Massachusetts College of Art and Design and holds an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. Her writings have been included in the anthologies Beyond Critique (Bloomsbury, 2017), Collaboration Through Craft (Bloomsbury, 2013), and The Object of Labor: Art, Cloth, and Cultural Production (School of the Art Institute of Chicago and MIT Press 2007). Her current pedagogical research is anchored by the Retooling Critique working group she first convened in 2017 to take up the question of studio critique’s relation to educational equity.   The Retooling Critique Working Group is organized by Judith Leemann and was initially funded by a Massachusetts College of Art and Design President's Curriculum Development Grant.   Eloise Sherrid is a filmmaker and multimedia artist based in NYC. Her short viral documentary, "The Room of Silence," (2016) commissioned by Black Artists and Designers (BAAD), a student community and safe space for marginalized students and their allies at Rhode Island School of Design, exposed racial inequity in the critique practices institutions for arts education, and has screened as a discussion tool at universities around the world.   __________________________   Artist-Run Spaces   How do artists create contexts for encounters with their projects that are aligned with their goals?   Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega   Linda Goode-Bryant is the Founder and President of Active Citizen Project and Project EATS. She developed Active Citizen Project while filming the 2004 Presidential Elections and developed Project EATS during the 2008 Global Food Crisis. She is also the Founder and Director of Just Above Midtown, Inc. (JAM), a New York City non-profit artists space. Linda believes art is as organic as food and life, that it is a conversation anyone can enter. She has a Masters of Business Administration from Columbia University and a Bachelor of Arts Degree in painting from Spelman College and is the recipient of a Guggenheim Fellowship and a Peabody Award.   Heather Dewey-Hagborg is a transdisciplinary artist who is interested in art as research and critical practice. Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times to Art Forum. Heather is also a co-founder of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.   Salome Asega is an artist and researcher based in New York. She is the Technology Fellow in the Ford Foundation's Creativity and Free Expression program area, and a director of POWRPLNT, a digital art collaboratory in Bushwick. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has exhibited and given presentations at the 11th Shanghai Biennale, Performa, EYEO, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.   ____________________________   Building Cooperatives   What if the organization of labor was integral to your project?   Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light   Meerkat Media Collective is an artistic community that shares resources and skills to incubate individual and shared creative work. We are committed to a collaborative, consensus-based process that values diverse experience and expertise. We support the creation of thoughtful and provocative stories that reflect a complex world. Our work has been broadcast on HBO, PBS, and many other networks, and screened at festivals worldwide, including Sundance, Tribeca, Rotterdam and CPH:Dox. Founded as an informal arts collective in 2005 we have grown to include a cooperatively-owned production company and a collective of artists in residence.   Friends of Light develops and produces jackets woven to form for each client.  We partner with small-scale fiber producers to source our materials, and with spinners to develop our yarns.    We construct our own looms to create pattern pieces that have complete woven edges (selvages) and therefore do not need to be cut. The design emerges from the materials and from methods developed to weave two dimensional cloth into three dimensional form. Each jacket is the expression of the collective knowledge of the people involved in its creation. Our business is structured as a worker cooperative and organized around cooperative principles and values. Friends of light founding members are Mae Colburn, Pascale Gatzen, Jessi Highet and Nadia Yaron.   ____________________________   Healing and Care (OFFSITE EVENT)   How do artists ensure that their individual and collective needs are met in order to dream, practice, work on, and return to their projects each day?   Thursday 2/28 from 6-8pm Adaku Utah and Taraneh Fazeli NOTE this event will be held at 151 West 30th Street  # Suite 403, New York, NY 10001   Adaku Utah was raised in Nigeria armed with the legacy of a long line of freedom fighters, farmers, and healers. Adaku harnesses her seasoned powers as a liberation educator,healer, and performance ritual artist as an act of love to her community. Alongside Harriet Tubman, she is the co-founder and co-director of Harriet's Apothecary, an intergenerational healing collective led by Black Cis Women, Queer and Trans healers, artists, health professionals, activists and ancestors. For over 12 years, her work has centered in movements for radical social change, with a focus on gender, reproductive, race, and healing justice. Currently she is the Movement Building Leadership Manager with the National Network for Abortion Funds. She is also a teaching fellow with BOLD (Black Organizing for Leadership and Dignity) and Generative Somatics.   Taraneh Fazeli is a curator from New York. Her multi-phased traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” deals with the politics of health. It showcases the work of artists and groups who examine the temporalities of illness and disability, the effect of life/work balances on wellbeing, and alternative structures of support via radical kinship and forms of care. The impetus to explore illness as a by-product of societal structures while also using cultural production as a potential place to re-imagine care was her own chronic illnesses. She is a member of Canaries, a support group for people with autoimmune diseases and other chronic conditions.   ____________________________   When Projects Depart   What practices might we develop to honor the departure of a project?  For example, where do materials go when they are no longer of use, value, or interest?   Thursday 3/14 from 6-8pm Millet Israeli and Lindsay Tunkl   Millet Israeli is a psychotherapist who focuses on the varied human experience of loss.  She works with individuals and families struggling with grief, illness, end of life issues, anticipatory loss, and ambiguous loss.  Her approach integrates family systems theory, cognitive restructuring, mindfulness, and trauma informed care. Millet enjoys creating and exploring photography and poetry, and both inform her work with her clients. Millet holds a BA in psychology from Princeton, a JD from Harvard Law School, an MSW from NYU and is certified in bioethics through Montefiore. She sits on an Institutional Review Board for Human Subjects Research at Weill Cornell.   Lindsay Tunkl is a conceptual artist and writer using performance, sculpture, language, and one-on-one encounters to explore subjects such as the apocalypse, heartbreak, space travel, and death. Tunkl received an MFA in Fine art and an MA in Visual + Critical Studies from CCA in San Francisco (2017) and a BFA from CalArts In Los Angeles (2010). Her work has been shown at the Hammer Museum, LA, Southern Exposure, SF, and The Center For Contemporary Art, Santa Fe. She is the creator of Pre Apocalypse Counseling and the author of the book When You Die You Will Not Be Scared To Die.   ____________________________   Group Agreements   What group agreements are necessary in gatherings that occur at residencies, galleries, and cultural institutions today?   Friday 4/19 from 6-8pm Sarah Workneh, Laurel Ptak, and Danielle Jackson   Sarah Workneh has been Co-Director at Skowhegan for nine years leading the educational program and related programs in NY throughout the year, and oversees facilities on campus. Previously, Sarah worked at Ox-Bow School of Art as Associate Director. She has served as a speaker in a wide variety of conferences and schools. She has played an active role in the programmatic planning and vision of peer organizations, most recently with the African American Museum of Philadelphia. She is a member of the Somerset Cultural Planning Commission's Advisory Council (ME); serves on the board of the Colby College Museum of Art.   Laurel Ptak is a curator of contemporary art based in New York City. She is currently Executive Director & Curator of Art in General. She has previously held diverse roles at non-profit art institutions in the US and internationally, including the Guggenheim Museum (New York), MoMA PS. 1 Contemporary Art Center (New York), Museo Tamayo (Mexico City), Tensta Konsthall (Stockholm) and Triangle (New York). Ptak has organized countless exhibitions, public programs, residencies and publications together with artists, collectives, thinkers and curators. Her projects have garnered numerous awards, fellowships, and press for their engagement with timely issues, tireless originality, and commitment to rigorous artistic dialogue.   Danielle Jackson is a critic, researcher, and arts administrator. She is currently a visiting scholar at NYU’s Center for Experimental Humanities.  As the co-founder and former co-director of the Bronx Documentary Center, a photography gallery and educational space, she helped conceive, develop and implement the organization’s mission and programs.  Her writing and reporting has appeared in artnet and Artsy. She has taught at the Museum of Modern Art, International Center of Photography, Parsons, and Stanford in New York, where she currently leads classes on photography and urban studies.   ____________________________ Open Meeting for Arts Educators and Teaching Artists   How might arts educators gather together to develop, share, and practice pedagogies that foster collective skills and values?   Friday 5/17 from 6-8pm Facilitators: Members of the Pedagogy Group   The Pedagogy Group is a group of educators, cultural workers, and political organizers who resist the individualist, market-driven subjectivities produced by mainstream art education. Together, they develop and practice pedagogies that foster collective skills and values. Activities include sharing syllabi, investigating political economies of education, and connecting classrooms to social movements.Their efforts are guided by accountability to specific struggles and by critical reflection on our social subjectivities and political commitments.   ____________________________   Book Launch: Making and Being: A Guide to Embodiment, Collaboration and Circulation in the Visual Arts   What ways of making and being do we want to experience in art classes?   Friday 10/25 from 6-8pm Stacey Salazar in dialog with Caroline Woolard, Susan Jahoda, and Emilio Martinez Poppe of BFAMFAPhD   Stacey Salazar is an art education scholar whose research on teaching and learning in studio art and design in secondary and postsecondary settings has appeared in Studies in Art Education, Visual Arts Research, and Art Education Journal. In 2015 her research was honored with the National Art Education Association Manuel Barkan Award. She holds a Doctorate of Education in Art and Art Education from Columbia University Teachers College and currently serves as Associate Dean of Graduate Studies at the Maryland Institute College of Art, where she was a 2013 recipient of the Trustee Fellowship for Excellence in Teaching.   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. Susan Jahoda is a Professor in Studio Arts at the University of Amherst, MA; Emilio Martinez Poppe is the Program Manager at Fourth Arts Block (FABnyc) in New York, NY; Caroline Woolard is an Assistant Professor of Sculpture at The University of Hartford, CT. Supporting this series at Hauser and Wirth for Making and Being are BFAMFAPhD collective members Agnes Szanyi, a Doctoral Student at The New School for Social Research in New York, NY and Vicky Virgin, a Research Associate at The Center for Economic Opportunity in New York, NY. Making and Being is a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.

Photo by Christina Wnek Photography  David Driskell is an artist, curator, educator, and scholar who specializes in African-American art. He has contributed significantly to art history scholarship by examining the role of the Black artist in American society. He has authored six books, co-authored four other books, and published more than fifty catalogues for exhibitions he has curated. His articles and essays on African-American art have appeared in more than twenty major publications throughout the world. In 2000, President Clinton awarded Driskell the National Humanities Medal. In 2001, the University of Maryland established the David C. Driskell Center to continue the legacy he established in studying the visual arts and culture of African Americans and the African diaspora. The High Museum of Art in Atlanta established The David C. Driskell Prize in African-American Art and Art History in 2004, a $25,000 cash prize awarded to an artist, art historian, or curator working in the field of African American art. In 2012, the National Academy, an esteemed arts organization, awarded him a Lifetime Achievement Award for his significant contributions to American arts and education. His work is featured in the collections of several Maine institutions, including the Portland Museum of Art, Bowdoin College Museum of Art, Colby College Museum of Art, Farnsworth Art Museum, and Center for Maine Contemporary Art. https://www.themainemag.com/radio/radio-guests/david-driskell-artist/

A Usable Past: American Folk Art at the Colby College Museum of Art (Colby College Museum of Art, 2016) is a contemporary analysis of paintings, works on paper, sculptures, needlework, quilts and other forms of folk art drawn primarily from the college’s American Heritage Collection donated by Edith Kemper and Ellerton Marcel Jette. Essays by contributors Lauren Lessing, Seth A. Thayer, Jr., Elizabeth Finch and Tanya Sheehan offer new insights into the definition and display of folk art. How should folk art fit into constructions of the American past and understandings of American Art? Individual entries detail the rich history of a variety of 19th Century American folk art objects from young women’s so-called accomplishment needlework pieces to portraiture and landscape painting by self-trained artists. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

A Usable Past: American Folk Art at the Colby College Museum of Art (Colby College Museum of Art, 2016) is a contemporary analysis of paintings, works on paper, sculptures, needlework, quilts and other forms of folk art drawn primarily from the college’s American Heritage Collection donated by Edith Kemper and Ellerton Marcel Jette. Essays by contributors Lauren Lessing, Seth A. Thayer, Jr., Elizabeth Finch and Tanya Sheehan offer new insights into the definition and display of folk art. How should folk art fit into constructions of the American past and understandings of American Art? Individual entries detail the rich history of a variety of 19th Century American folk art objects from young women’s so-called accomplishment needlework pieces to portraiture and landscape painting by self-trained artists. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

A Usable Past: American Folk Art at the Colby College Museum of Art (Colby College Museum of Art, 2016) is a contemporary analysis of paintings, works on paper, sculptures, needlework, quilts and other forms of folk art drawn primarily from the college’s American Heritage Collection donated by Edith Kemper and Ellerton Marcel Jette. Essays by contributors Lauren Lessing, Seth A. Thayer, Jr., Elizabeth Finch and Tanya Sheehan offer new insights into the definition and display of folk art. How should folk art fit into constructions of the American past and understandings of American Art? Individual entries detail the rich history of a variety of 19th Century American folk art objects from young women’s so-called accomplishment needlework pieces to portraiture and landscape painting by self-trained artists. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

A Usable Past: American Folk Art at the Colby College Museum of Art (Colby College Museum of Art, 2016) is a contemporary analysis of paintings, works on paper, sculptures, needlework, quilts and other forms of folk art drawn primarily from the college’s American Heritage Collection donated by Edith Kemper and Ellerton Marcel Jette. Essays by contributors Lauren Lessing, Seth A. Thayer, Jr., Elizabeth Finch and Tanya Sheehan offer new insights into the definition and display of folk art. How should folk art fit into constructions of the American past and understandings of American Art? Individual entries detail the rich history of a variety of 19th Century American folk art objects from young women’s so-called accomplishment needlework pieces to portraiture and landscape painting by self-trained artists. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marsden Hartley’s Maine (Yale University Press, 2017), published to accompany a major exhibition of his work organized by The Metropolitan Museum of Art and the Colby College Museum of Art, traces the artist’s complex relationship to his native state. Essays examine Hartley’s negotiation of various identities including that of the American individualist, the native son, and the avant garde Modernist. Hartley’s literary work and interests in the Green Acre Transcendentalist community are also discussed. The book reveals how in his quest to serve as “the painter from Maine,” Hartley contended with the legacies of depictions of the region by earlier American painters, as well as questions of the role of technology on the landscape among others. The book features a chapter on new studies of Hartley’s materials and techniques that provide insight into his artistic process. An extensive Chronology that situates events in Hartley’s career amidst socio-cultural and historical events is included. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marsden Hartley’s Maine (Yale University Press, 2017), published to accompany a major exhibition of his work organized by The Metropolitan Museum of Art and the Colby College Museum of Art, traces the artist’s complex relationship to his native state. Essays examine Hartley’s negotiation of various identities including that of the American individualist, the native son, and the avant garde Modernist. Hartley’s literary work and interests in the Green Acre Transcendentalist community are also discussed. The book reveals how in his quest to serve as “the painter from Maine,” Hartley contended with the legacies of depictions of the region by earlier American painters, as well as questions of the role of technology on the landscape among others. The book features a chapter on new studies of Hartley’s materials and techniques that provide insight into his artistic process. An extensive Chronology that situates events in Hartley’s career amidst socio-cultural and historical events is included. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marsden Hartley’s Maine (Yale University Press, 2017), published to accompany a major exhibition of his work organized by The Metropolitan Museum of Art and the Colby College Museum of Art, traces the artist’s complex relationship to his native state. Essays examine Hartley’s negotiation of various identities including that of the American individualist, the native son, and the avant garde Modernist. Hartley’s literary work and interests in the Green Acre Transcendentalist community are also discussed. The book reveals how in his quest to serve as “the painter from Maine,” Hartley contended with the legacies of depictions of the region by earlier American painters, as well as questions of the role of technology on the landscape among others. The book features a chapter on new studies of Hartley’s materials and techniques that provide insight into his artistic process. An extensive Chronology that situates events in Hartley’s career amidst socio-cultural and historical events is included. Kirstin L. Ellsworth has a Ph.D. in the History of Art from Indiana University (2005) and currently is an Assistant Professor of Art History at California State University Dominguez Hills. She can be reached at kellsworth@csudh.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we hear some stories and interviews from our archives. We find out what a Reveal/APM Reports investigation tells us about police de-escalation training in New England, and visit police in New Hampshire who are reaching out to children who've been traumatized by witnessing crime. We also explore the work of Marsden Hartley, whose art defined the rocky coast, the looming hills, and the working men of Maine. Plus we visit New England's biggest flea market, where the people are as fascinating as the stuff on display. A lobster made from horseshoes at the Brimfield Antiques Flea Market. Photo by Ziwei Zhang De-Escalation Many of the high-profile police shootings of the last few years across the U.S. have a disturbing common thread: they happen within a few minutes, or even a few seconds, after police arrive on the scene. Several states require “de-escalation” training for their police officers. It’s meant to avoid situations where deadly force is viewed as the only resort. Officer Jennifer Lazarchic at a police training session in March 2016. Photo by Courtney Perry for MPR News In New England, three of our six states have such mandates: Maine, Massachusetts, and Connecticut. Still, training requirements, and how well they are carried out, vary from state to state. Below: An interactive map from APM Reports. A recent episode of Reveal from the Center for Investigative Reporting worked with APM Reports to examine de-escalation state by state. Our guest is APM Reports correspondent Curtis Gilbert, author of the report “Not Trained to Not Kill.” We dig into the details and learn how New England states measure up. Types of police calls the Manchester ACERT team responded to July 2016 through March 2017. Graphic by Sara Plourde for NHPR When police respond to a domestic violence call or a drug overdose, children are often on the scene when officers arrive. Manchester, New Hampshire police found that in 2015, 400 children had been on-scene during such calls. Research shows that children exposed to trauma are more likely to be violent — and victims of violence — later in life. So Manchester police officers are trying something new: returning to the scene of such crises to see if they can help. The first-of-its-kind program is called ACERT: Adverse Childhood Experiences Response Team. New Hampshire Public Radio’s Emily Corwin reports. Marsden Hartley’s Maine Mt. Katahdin in Maine, Autumn -2 by Marsden Hartley, 1939-40, Metropolitan Museum of Art Portrait of Marsden Hartley by Carl Van Vechten, U.S. Library of Congress In the permanent collection of the Wadsworth Atheneum, the nation's oldest art museum in downtown Hartford, Connecticut, is a painting by Marsden Hartley called “Down East Young Blades,” depicting three colorful figures standing on a pier. Massive, strapping, working men with comically broad shoulders are pictured with the images of their trade: lobsters, fish, and logs. Hartley's career, stretching from the early years of the 20th century to his death in 1943, celebrated the vast and wild scenery of New England; specifically, his home state of Maine. The exhibition “Marsden Hartley's Maine” will be featured at the Colby College Museum of Art in Waterville, Maine July 8 through November 12, 2017. (“Downeast Young Blades” is on loan from the Wadsworth for the exhibition). Our guest Donna Cassidy, Professor of Art and American and New England Studies at the University of Southern Maine, co-authored the exhibition book about the artist's relationship with the Pine Tree State. Fiddlers and Peddlers Of the 530 refugees who arrived in the New Haven metro area last year, more than 270 were children. Many have just finished their first year in school in the United States. WNPR's Diane Orson reports on an arts program that's partnered with the region's resettlement agency to create a special after-school violin class for the young refugees. A piece of “folk art” made from a carousel horse and a mannequin. Photo by Ziwei Zhang In the 1954 film Brigadoon, the protagonists discover a magical village that only appears for one day every hundred years. Brimfield, Massachusetts is kind of like that. The town only has about 3,500 permanent residents. But for a week in each of May, July, and September, the town transforms into a bustling tent city known as the Brimfield Antique Flea Market. The market dates back to the 1950s and today boasts over 250,000 visitors, stretching half a mile down Route 20. The next show will run July 11 to July 16. At a market like this, the stuff comes with stories, and NEXT producer Andrea Muraskin found plenty on her visit last September. Be sure to check out the slideshow below. About NEXT NEXT is produced at WNPR. Host: John Dankosky Producer: Andrea Muraskin Executive Producer: Catie Talarski Digital Content Manager/Editor: Heather Brandon Contributors to this episode: Emily Corwin, Alexandra Oshinskie, and Diane Orson Music: Todd Merrell, Lightning on a Blue Sky by Twin Musicom, New England by Goodnight Blue Moon, “Family and Genus” by Shakey Graves, “The Mountain” by the Heartless Bastards, “A Hard Day’s Night” by the Beatles Get all the NEXT episodes. We appreciate your feedback! Send praise, critique, suggestions, questions, story leads, and pictures of your own flea market finds to next@wnpr.org.See omnystudio.com/listener for privacy information.

This week, we tackle the confusing and contradictory world of health care, from politics that are personal, to overcoming the trauma of being a refugee, to the shifting language of addiction. We also explore the work of Marsden Hartley, whose art defined the rocky coast, the looming hills, and the working men of Maine. Marden Hartley, Lobster Fishermen, 1940-41 Metropolitan Museum of Art New Ideas in Health Care We go to a clinic in Vermont that's working to help treat the mental health issues of the refugee community there, both from past traumas and the stresses of transitioning into a new culture. And caregivers are pushing back against terminology that they think minimizes an illness or condition. That means the term “post-traumatic” is out, in favor of language that acknowledges the ongoing nature of trauma. In New Hampshire, many on the front lines of the opioid epidemic are coming to see addiction as a medical disorder. And the Republican plan to repeal and replace the Affordable Care Act stalled in Washington, D.C., in part because of predictions that up to 24 million people could lose their health insurance. That would include many people who voted for Donald Trump. We hear from a high-profile skeptic of Obamacare who's changed his point of view. Ajuda Thapa, center in black, learns about Lake Champlain Chocolates on an outing with other Bhutanese refugees who have sought mental health treatment at UVM’s Connecting Cultures clinic. Kathleen Masterson/VPR Marsden Hartley’s Maine Portrait of Marsden Hartley by Carl Van Vechten, U.S. Library of Congress In the permanent collection of the Wadsworth Atheneum, the nation's oldest art museum in downtown Hartford, Connecticut, is a painting by Marsden Hartley called “Down East Young Blades,” depicting three colorful figures standing on a pier. Massive, strapping, working men with comically broad shoulders are pictured with the images of their trade: lobsters, fish, and logs. Hartley's career, stretching from the early years of the 20th century to his death in 1943, celebrated the vast and wild scenery of New England; specifically, his home state of Maine. The exhibition “Marsden Hartley's Maine” is at the Met Breuer in New York until June, when it moves to the Colby College Museum of Art. Our guest Donna Cassidy, Professor of Art and American and New England Studies at the University of Southern Maine, co-authored the exhibition book about the artist's relationship with this place. Mt. Katahdin (Maine), Autumn -2, 1939–40, Metropolitan Museum of Art Recognition Angelica Merino Monge was ten years old when she, her mother and her older brother fled El Salvador. She lived in the U.S. illegally until recently, when the Deferred Action for Childhood Arrivals or DACA was passed, enabling her to become authorized to work and stay in the country. She's putting herself through college and is now president of the Latino International Students Association at Holyoke Community College. We hear her story as told to the Words in Transit Project at New England Public Radio. Last, we hear a story about recognition, a long time coming. Portland, Maine is remembering a long forgotten African American man who served, and was injured, in one of the nation's earliest wars. It's a saga that began more than two centuries ago, and a story of justice twice denied — or at least delayed. Larry Glatz (left) and Herb Adams immediately make plans to add “Quazi-War with France” to William Brown’s gravestone after unwrapping it. Troy R. Bennett/Bangor Daily NewsSee omnystudio.com/listener for privacy information.

On May 11, 2016, in conjunction with the release of Peter Soriano: Permanent Maintenance, a publication documenting Soriano’s largest wall drawing to date, artist Peter Soriano spoke with Sharon Butler, artist and publisher of Two Coats of Paint, about the evolution of his art; the idea behind and process of creating Permanent Maintenance; the meaning of his (seemingly) inscrutable graphic lexicon; and the iterative nature of his work. The event was organized by the Colby College Museum of Art and hosted by Skowhegan School of Painting & Sculpture.

Artists Julianne Swartz and Ken Landauer joined me Monday at 9am pst on KUCI 88.9fm to talk about their art exhibit Miracle Report -- documenting dozens of people sharing stories of extraordinary experiences! Hear them LIVE locally or stream us on www.kuci.org. ABOUT Julianne Swartz Julianne Swartz lives and works in New York State. Her work has been exhibited internationally, including venues such as The Israel Museum, Tate Liverpool, PS1/MoMA, the Sculpture Center, the New Museum of Contemporary Art, The High Line Park, NYC, the Jewish Museum NYC, the Indianapolis Museum of Art, Colby College Museum of Art, the Tang Museum, Skidmore College, and the 2004 Biennial Exhibition at the Whitney Museum of American Art. Julianne Swartz: How Deep is Your, a survey exhibition accompanied by a full color monograph originated at the deCordova Sculpture Park and Museum, Massachusetts in 2102 traveled to the Scottsdale Museum of Contemporary Art, Scottsdale, AZ (2013) and the Indianapolis Museum of Art (2014). Swartz teaches sculpture at Bard College and is also on faculty at the School of Visual Arts. She holds a BA in photography and creative writing from the University of Arizona, Tucson and a MFA in Sculpture from Bard College. ABOUT KEN LANDAUER Ken Landauer crafted his house in Stone Ridge, NY. His installations have been commissioned by the Public Art Fund, Socrates Sculpture Park, the Providence Parks Department, and the Kansas City Municipal Arts Commssion. His work is now in front of the DeCordova Museum in Boston and in ArtPark in New York City. Other exhibitions include the ASU Museum in Tempe, AZ, the Morris Museum in Morristown, NJ, The Fields Sculpture Park at Art Omi in Ghent, NY and the Albrecht-Kemper Museum in St. Joseph, MO. He teaches in the MFA Program at The School of Visual Arts in New York City.

An interview at the Colby College Museum of Art with: Elizabeth Finch, Lunder Curator of American Art; Hannah Blunt, Langlais Curator for Special Projects and Lauren Lessing, Mirken Curator of Education as they all discuss the Lunder Collection and exhibition. …