Podcasts about color field

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

Discover the transformative journey of Helen Frankenthaler (in her own words), a pioneering artist whose mantra "Let Her Rip" symbolizes a fearless approach to creativity. In this episode, we unpack Frankenthaler's innovative philosophy, where she blends the past and present to achieve a fluid, emotionally rich conversation with her art. From her early encounters with Jackson Pollock's radical drip paintings to her evolution within the Color Field movement, we explore the monumental influences that shaped her six-decade-long career.Find out how achieving a flow state can revolutionize your creative process, guided by insights from Steven Kotler's "The Rise of Superman." We'll discuss how fear can stifle artistic expression and share techniques for letting go of control to engage in a genuine dialogue with your work. Through personal stories and practical advice, we tackle common challenges like overcoming perfectionism, balancing spontaneity with intentionality, and learning to embrace mistakes as opportunities for growth.The episode also highlights the importance of artistic competition and influence in fostering creativity. From Frankenthaler's rebellious use of unconventional materials to the dynamic environment she shared with contemporaries like Grace Hartigan, we shed light on how healthy rivalry and shared inspiration can propel artists to new heights. Join us as we celebrate the courage it takes to push boundaries and the enduring impact of Frankenthaler's legacy on future generations of artists.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Here's a FIRST PLAY review of a new game that I think you might like. Color Field is a 2024 game from 25th Century Games designed by Mondo Davis with art by Peach Benitez. The game Color Field puts players in the role of painters creating these moving pieces of nonobjective art.

In Episode XLIV - Suz mentions the Hades II technical test video - but hey! When this episode drops - it's available in early access on Steam (can you tell there's excitement here?!) Back to board games... Mandi and Suzanne discuss Sand at length, and chat about Doomentions and Color Field. And one episode without pie was too many! Our brains may be burning but the Game Pie is perfectly baked and filled with SURPRISE Brain Burners.   Thank you for listening! Please take a moment to rate us on your podcast listening platform. BGG Guild:  https://boardgamegeek.com/guild/4131 Twitter:  https://twitter.com/SaltNSassGames YouTube:  https://www.youtube.com/c/SaltandSassGames  Twitch:  https://www.twitch.tv/saltandsassgames Email: SaltAndSassGames@gmail.com   Thank you to our sponsor, Druid City Games!

In episode 170, Dean and Deron talk about a bunch of games: Qawale Mini, Color Field, Summoner Wars App, Ashes Reborn: Rise of the Phoenixborn - Red Rains, Salton Sea, The Magnificent, Palm Laboratory, Skoventyr, and Mage Knight. The Golden Geek Award nominations are live, so please consider voting for MeepleTown as your favorite podcast: https://boardgamegeek.com/geekawards/boardgame  If you enjoy our podcast, please consider rating us and giving us a review. If you like our YouTube channel, please consider subscribing. If you have questions you would like us to answer on the podcast, please email us at meepletownmail@gmail.com. To support us further, check out www.patreon.com/meepletown or www.buymeacoffee.com/meepletown9. 00:00       Intro 07:26       Qawale Mini* 12:33       The Magnificent 19:28       Color Field* 24:23       Palm Laboratory 30:21       Summoner Wars App* 35:34       Skoventyr 41:34       Ashes Reborn: Rise of the Phoenixborn - Red Rain* 49:23       Mage Knight 58:59       Salton Sea* *Review copy provided by publisher Thanks for coming down to MeepleTown!

adminIntro Song Saga Strike Tournament Update Cruise for Tony to Avoid Star Wars Unlimited Update Portal Games Bacon Barcelona Miniature Market Color Field Courtisans Game Toppers LLC Balatro Outro You […] The post RDTN Episode 318: Barcelona, Color Field, Courtisans, Bacon first appeared on Rolling Dice & Taking Names.

On this episode I have the pleasure of speaking with Hiroki Morinoue, an artist who resides and creates on the Big Island in Hawai'i. Together, we delve into his personal journey with mokuhanga, reflecting on his experiences at MI Lab, exploring his unique color palette, and gaining insights into his meticulous process in crafting mokuhanga prints. Additionally, we uncover Hiroki's life in Hawai'i, his ventures, and his relationships with prominent galleries such as Studio 7 Fine Arts, print studio's like Shark's Ink, and the arts center at Anderson Ranch. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Hiroki Morinoue - Pure Water (2001) 18.5"x38.5" High Tide (2012) 22"x30" Earth Cycle (2007) 37.5"x37" MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.    Keiko Hara - is an artist and Professor of Art Emerita at Whitman College in Walla Walla, Washington. She is a painter, and printmaker in various relief mediums, such as mokuhanga.    Verse R - black and white (2017)  13"x11"   Jaqueline Gribbin - is a printmaker who focuses on mokuhanga and intaglio printing techniques. She lives and works in Humpty Doo, New Territory, Australia.    Kisaragi (2012) 18.9" x 25"   pochoir - is a stencilling technique used in printmaking and decorative arts. The term "pochoir" is French for "stencil." In this method, a design is created by cutting or punching holes in a sheet of paper or other material, and then paint or ink is applied through the openings onto a surface below. Pochoir allows for precise and intricate patterns, making it particularly popular in the creation of fine art prints, illustrations, and decorative designs. It has been historically employed in various art movements, including Art Nouveau and Art Deco. More info, here.   Helen Frankenthaler (1928–2011) was a prominent American abstract expressionist painter known for her role in the Color Field painting movement. Her innovative technique involved staining unprimed canvas with thinned oil paint, creating a distinctive luminous effect. "Mountains and Sea" (1952) is a notable example of her influential work. Frankenthaler's contributions have left a lasting impact on postwar American art. Frankenthaler began to make woodcut prints in 1973 and was influenced by Utagawa Hiroshige (1797–1858).  More info about her prints can be found at  the Frankenthaler Foundation, here.      Tale of Genji V (1998) 42"x47"   Donkey Mill Art Center - is a community art center located in Holualoa, Hawaii. It serves as a hub for various artistic activities, workshops, and events, fostering creative expression and engagement with the arts. The center often offers classes and programs in a variety of artistic disciplines, including painting, ceramics, printmaking, and more. More info, here.    Mauna Kea - is the highest peak in the Hawaiian Islands, located on the Big Island. A dormant volcano, it stands at 13,796 feet (4,205 meters) above sea level. The mountain holds cultural significance for Native Hawaiians and is home to unique ecosystems.    Mauna Loa - is an active shield volcano on the Big Island of Hawaii, standing at 13,678 feet (4,169 meters) above sea level. It is the Earth's most massive subaerial volcano, known for frequent non-explosive eruptions and its broad, gently sloping shape. The volcano holds scientific and cultural significance and is closely monitored due to its potential impact on nearby communities. Deepwater Horizon Oil Spill  - occurred in 2010 in the Gulf of Mexico. It was one of the largest environmental disasters in history. The spill resulted from the explosion of the Deepwater Horizon offshore drilling rig, releasing millions of barrels of oil into the Gulf. The incident had severe ecological and economic consequences, impacting marine life, coastal ecosystems, and local economies along the Gulf Coast. Thai mulberry paper - also known as "saa paper" or "kozo paper," is a traditional handmade paper originating from Thailand. It is crafted from the bark of the mulberry tree, specifically the Broussonetia papyrifera tree.  Shark's Ink - established in 1976 as Shark's Lithography Ltd, the studio has partnered with over 160 distinguished artists from the United States and Europe. These artists, known for their strong personal visions, engage in ongoing collaborations, often returning for multiple projects. The resulting prints, marked by inventive techniques, encompass a wide range of artistic approaches. The studio employs various processes, including lithography, monotype, metal leaf, chine collé, embossing, collage, and innovative methods for woodblocks and relief prints, including three-dimensional lithographs. More info, here.  nori - is a type of paste made from starch. It is used when making mokuhanga. You can make nori from any type of material made from starch. For instance, paste can be made with tapioca,  rice, corn, even potato. You can purchase nori pretty much anywhere but making it is more environmentally friendly. Laura Boswell has a great recipe, here.  embossing - refers to a technique where the paper is pressed into the carved woodblocks, creating a raised or textured effect on the printed surface. This technique adds a three-dimensional quality to the print by making certain areas of the paper slightly elevated. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Window (2011) 15"x12" gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints.  Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.    Winter in Aizu (1969) 18"x23.5" Richard Notkin - is an American ceramic artist known for his pottery and distinctive style that often incorporates political and social commentary.  Notkin has gained recognition for his work in the field of ceramics, particularly his teapots. Meltdown of Reason: Helena MT. (1987) stoneware and porcelain. 10.5"x5.5"x4.5" Mayumi Oda - is a Buddhist teacher and artist based in Hawai'i. Her artwork has gained international recognition, having traveled worldwide. In addition to her artistic pursuits, Mayumi is an environmental activist and resides and works at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. Explore more about Mayumi Oda's work, here. Hands of Compassion  (1986) screen print 37"x25" Andrew Wyeth (1917-2009) - was a renowned American realist painter, known for his detailed and emotive depictions of the rural American landscape. Born in Pennsylvania, he spent much of his life capturing the subtleties of nature, particularly in the Brandywine Valley and coastal Maine.  Christina's World (1948) 32 1/4 x 47 3/4"   © Popular Wheat Productions opening and closing musical credit - The September Of My Years (1965) from the album The September Of My Years released on Reprise Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                        

As busy as composer Anna Clyne is this season — fulfilling commissions for new works and serving as a resident artist with the Helsinki Philharmonic Orchestra, BBC Philharmonic, and the Symphony Orchestra of Castilla y León — music accounts for a fraction of her artistic inspiration. That's because the Grammy-nominated British composer thrives on incorporating many creative disciplines outside of music into her work. Reviewing a roster of her recent engagements, you'll find critically acclaimed collaborations with visual artist Josh Dorman, filmmaker Jyll Bradley, and choreographers from London's Royal Ballet and the San Francisco Ballet. Clyne's immersive approach to music-making offers audiences new entry points for experiencing new music and understanding classical music's relationship to other branches of the arts. "Success for me is about reaching audiences," she says on the latest episode of the Classical Post podcast. "My role as a composer is to create something as beautiful as I can and to share that. When people come back with a piece that's been very moving for them, I feel I've been successful in sharing something with the world. That's a very humbling feeling." In this conversation, we discuss her ongoing partnership with the Orchestra of St. Luke's, how a Mark Rothko painting inspired her orchestral work Color Field, and the ways a lifelong love of literature is helping her to write an opera on the life of Emily Dickinson. Plus, Clyne discusses her wellness practices — from drawing and Japanese calligraphy to long walks with her adopted pup Penny — the joy of ending a long day with a Negroni, and her favorite place for classic steak frites in New York City. — ⁠⁠Classical Post⁠⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠⁠Gold Sound Media⁠⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Susan Vecsey adapts the Color Field technique of pouring paint to create a personal language of abstraction, rooted in the natural world and the human experience of it. In a distinctive process that includes plein-air charcoal drawing, pastel and color studies, and multiple pours of liquefied oil on a surface of raw Belgian linen, she builds compositions in luminous tonal combinations that evoke the optical effects of sea, light, and air. Inspired by the landscapes of eastern Long Island, Vecsey's paintings evoke not just a place, but it's very atmosphere. Born in New Jersey in 1971, Vecsey earned her B.A. from Barnard College and her M.F.A. from the New York Studio School of Drawing, Painting and Sculpture, where she studied with Graham Nickson. She has had solo exhibitions at Greenville County Museum in South Carolina, John Jermain Memorial Library in Sag Harbor, Tayloe Piggott Gallery in Jackson Hole, and Berry Campbell Gallery in New York, among other venues. She lives and works in Manhattan and East Hampton, Long Island. Susan Vecsey (b. 1971) Untitled (Gray), 2022 Oil on linen 52 x 58 in. (132.1 x 147.3 cm) © Susan VecseyCourtesy Berry Campbell, New York. Susan Vecsey (b. 1971) Untitled (Blue), 2023 Oil on linen 74 x 90 in. (188 x 228.6 cm) © Susan VecseyCourtesy Berry Campbell, New York. Susan Vecsey (b. 1971) Untitled (Blue Nocturne), 2023 Oil on linen 48 x 76 in. (121.9 x 193 cm) © Susan VecseyCourtesy Berry Campbell, New York

This is Dice Tower Now for the week of March 7, 2023. This week, CMoN plays some classic White Zombie…cide, Scott Almes claims the Angels Share, Osprey is under General Orders, and Awaken Realms retaliates.   TOP STORIES (2:20) CMoN announces Zombicide: White Death Nemesis Retaliation coming from Awaken Realms S.T.A.L.K.E.R. the board game coming from Awaken Realms Art shown for Renegade's new editions of Acquire and RoboRally General Orders: World War II coming from Osprey Angel's Share teased from Spielworxx and Scott Almes Unmatched Adventures: Tales to Amaze detailed by Restoration Games Roll and Stamp title Papillon Gardens coming from Kolossal Cardboard Edison Award finalists listed   CROWDFUNDING (9:35) Agueda, Color Field, and Donut Shop Blacksmiths of Steinnheimr Ascension Tactics: Inferno Street Fighter V Champion Edition Legend Alice is Missing: Silent Falls     SPONSOR UPDATE (16:10) Scott Morris part 2   NEW RELEASES (19:30) Dice Manor by Garrett Herdter and Arcane Wonders Blazon by David Conklin and 25th Century Games Joan of Arc Orleans Draw and Write by Ryan Hendrickson and Reiner Stockhausen, published by Capstone Games Order Overload: Cafe from Jun Sasaki and Oink Games Caldera Park designed by Michael Kiesling and Wolfgang Kramer, published by Pegasus Spiele Swindler from Matthias Cramer and Pegasus Spiele Findorff by Friedemann Fries and Rio Grande Games Crossing Oceans by Mac Gerdts and Rio Grande Games Star Wars: the Deckbuilding Game by Caleb Grace and Fantasy Flight Games Monster Inn by Roman Pelek and Pegasus Spiele Stack n Stuff designed by Uwe Rosenberg and Marianne Waage published by Lookout Games Really Loud Librarians by Ken Gruhl and Quentin Weir, published by Exploding Kittens     CONNECT: Follow our Twitter newsfeed: twitter.com/dicetowernow Dig in with Corey at DiceTowerDish.com.

Why Make Podcast, Wendy Maruyama Episode Part II TranscriptTime Code00:00 Robb HelmkampHello and welcome to Why Make, where we talk to makers from different disciplines about what inspires them to make.With your hosts Robb Helmkamp and. Erik Wolken Erik Wolken. If you would like to learn more about the makers we interview on Why Make please go our website why-make.comRobb HelmkampAnd please help support the Why Make podcast and Why Make productions by making a tax refundable donation to us on Fractured Atlas.Erik WolkenFractured Atlas is our new non profit fiscal sponsor which allows us to access a wide range of funding possibilities including funding available only for non-profits Robb HelmkampVisit https://fundraising.fracturedatlas.org/the-why-make-project or go to the donate to Why Make page on Why-Make.com 01:03 Robb HelmkampWelcome to our first podcast of the 2023 season of Why Make. This episode is part two of our in depth conversation with the artist Wendy Maruyama.Erik Wolken Wendy Maruyama is a furniture maker, sculptor and retired educator who resides in San Diego California. Wendy's work has tackled a wide scope topics from traditional furniture forms to exploring her Japanese heritage and the imprisonment of Japanese Americans during WW2 to the issue of endangered speciesRobb HelmkampAs we discuss later in the podcast Wendy was born with significant hearing loss and cerebral palsy and at her request, to aid our listeners, we have included a full transcript of our conversation on our web page for this episode which can be found on the podcast page of why-make.com It can also be found in the episode notes on Apple podcastsErik WolkenPlease join us and take a listen to our wide ranging discussion with one of the more amazing artists in the woodworking field, Wendy Maruyama.02:06 Erik Wolken Moving along Wendy, let's talk about the next phase of your work. Because the next phase of your work use do start to tackle some of your identities in your bodies of work in Turning Japanese, Simple Pleasures and Indulgences & Men in Kimonos you do start to sort of not only address your heritage, but really start to use narrative in your work. What was what was behind all of that? I mean, what do you think was the inspiration behind that? The whole thing that started with Turning Japanese and Men in Kimonos exploring your cultural identity.02:42 Wendy MaruyamaI think the Turning Japanese series the Men in Kimono riff came from my first trip to Japan could be in '92 maybe I can't remember but I'd never been to Japan until the early 90's and like anybody else I was just amazed by what I was seeing over there especially the craft scene. There is such a strong craft heritage in Japan not only with woodworking, ceramics of different styles at the same time some of the fields like textiles really evolved into the modern times to use the unusual fibers and metal in weaving. And then of course, going to downtown Tokyo in the Shibuya District dominated with all this neon stuff, it was very much like Blade Runner if you've seen the movie Blade Runner? It was clearly based on Tokyo. And so there are these two very different aspects of Japan, the old and the very, very, very new high tech side of it. There is a little bit of conflict to you know, I'd be riding on the subway and you can see these Japanese business men reading these pornographic cartoons it was called Manga. I think it was it all these lady with big boobs, it's all cartoons. It was such a flurry of images and so I think some of that was mostly my personal response to what I saw in Japan and I realized that I didn't fit even though I was Japanese American. Japanese descent. I did not fit into that whole culture, I mean, even if I tried. I mean, I'm kind of proud of it from a distance but I realized I don't think like that. So, maybe that was kind of a mixture of sadness and relief in a way. It is a very patriarchal society so there was that and it was kinda just a response to my experiences going to Japan.05:44 Erik WolkenAnd the other interesting thing about that body of work is you begin to introduce using video and still images into it too. And you're really starting to truly experiment with your craft and and I thought that was absolutely wonderful. You know, you reached outside the box, which I think is what we all aim to do as artists. When you first started using video and still images? And where did that come from?06:11 Wendy MaruyamaI'm trying to think. Trying to remember if the Tasmanian Tiger piece was first, I think it was. But anyway, in the Turning Japanese series I started using photo's because I went to a flea market in Kyoto. It's one best thing about Japan! It's amazing what you can find at the flea market. Some love it. If you ever go to Japan, make sure that you go into a big flea market either in Kyoto or Tokyo. The stuff that you find is amazing, but anyway, I came across a box of old black and white photographs of Kabuki actors. And I found out later that in Kabuki theater, women were not allowed to perform. I don't know if that is the case now? But women were not allowed to perform in Kabuki and so the female characters in a Kabuki play were always played by men who were expert at mimicking the feminine movement of women in the story. So all these men I mean all these women in kimono were actually men and they were quite beautiful and alluring and I was just kind of fascinated by that, how these beautiful, these men were. And they were prettier than I was and I thought it be kinda fun to use some of these images. At the same time, I'm a big Japanese sci-fi fan I think that was because that was the first time I saw Japanese people in a movie. It was in a Godzilla movie where you see all these Japanese people running from Godzilla. In one of the Godzilla movies there's these twin fairies (the Shobijin). I don't know if you remember they were sidekicks to Mothra, who was another monster. So I wanted to create this sort of these twin geisha women in the image of this. Oh I don't know, it's amazing about Photoshop, I was taking Photoshop class, and it's amazing how you can make fantastical images using Photoshop. So that was an opportunity to experiment with different media. I tend to jump around from, you know, from subject to subject cause that's the way my life goes. I'm not one to stay with one idea for 40 years, I think I would be bored to death. So it's important for me to just kind of reflect my life through my work. And so hopefully you get an idea what I've been going through by seeing my work in a linear pattern.09:41 Erik Wolken Yes, you definitely see a progression of your work, because then the next body of work you move on to is Executive Order 9066. And the Tag Project. And of course this is referring to, and I'm going to use the correct terminology. This is referring to the incarceration and or imprisonment of the Japanese people on the West Coast of America during World War Two. Just to give you an idea of the scope of this project, and Wendy you can go on to talk about it more, but there were 120,000 Japanese, people of Japanese heritage, imprisoned during EO 9066. And the Tag Project, you printed out a replica of the original tags, these people wore as they were sent to their prison camps. 120,000 tags, that is a mind boggling number.10:38 Wendy MaruyamaThat's a lot of tags. I started this the body of work when I was an artist in residency at SUNY New York, SUNY Purchase that is State University of New York Purchase. I knew that I needed to do this work, but I wasn't really ready until then. I mean it's a really hard topic because my mother's side of the family was deeply impacted by Executive Order 9066 because they were in Los Angeles at the time when Pearl Harbor was bombed and all that happen. But what struck me and kind of made me sort of angry was I was really surprised at how many people didn't even know about this episode in American history, especially on the East Coast and in the south and even now sometimes you run into people who don't even know about it. I think people know, more people know about it now. But even 15 years ago, when I started this project I was running across a lot of people who didn't know, they kind of knew but they didn't really know. And when you tell them how many people were sent away to these prison camps but it's daunting to think about. And so I also thought a lot about the Holocaust too. It doesn't hold a candle to what happened here, but still the fact that Executive Order 9066 happened in this country, this country of freedom and all that. I just really wanted to bring that to the forefront with my work. And I also wanted to get to know more of the Japanese American community. And so one of the first things I did was that I reached out to the local San Diego Japanese American historical society to learn more about Executive Order 9066. And I started talking to a lot of other people who were sent to prison in Poston, which was in Arizona. Most people from San Diego were sent to prison camp in Arizona. And that's when I started to make it into a community project and I would host these tag writing parties we would have different chores people would stamp tags, they would write the names, they would tie, tie them together, there were a lot of processes in for each tag and the only way I was going to be able to do 120,000 tags was to make it a community project. But hopefully make it an educational project, but also social advocacy project. So that people can learn about what happened. And I would show a slide show before we would start working on the tags. I was going to temples and churches and high school classrooms, and college classes, and galleries and museums. So it was kind of a broad outreach and it took 4 years but we did manage to finish all the tags in time for the 70th anniversary of Executive Order 9066.Erik WolkenThat was a massive undertaking, what led you I mean, what led you at the beginning to first think of producing these 120,000 tags?14:54 Wendy Maruyama I must have been crazy, you know. I started out by making just a few tags of people that my family knew. And I was incorporating them into cabinet pieces and for instance this one cabinet had the image of a young Japanese American girl in the back. And the tags were all showed they were under the age of 10 and were sent to camp in 1942. But then a friend of mine, Christine Lee came to visit me in NY and she said, you know, it would be amazing if you could do all 120,000 tags. Now, Christine, kind of, she does this kind of work, you know that that very labor intensive. And at first I thought she was crazy. but then, you know, I thought about it and the impact it would have would be so much more powerful than just seeing a couple of tags here and there. And um I like the idea of art reaching in... You know, I am kind of a shy person and so it is really hard for me to like reach out to strangers and just interact. I think it has a lot to do with my hearing disability,, it kind of forced me to do that. 16:44 Erik Wolken Right. And, and I mean, we'll have pictures of all this up on our website. But um just to paint a picture. So there's two pieces to the Tag Project in EO 9066. So there is the Tag Project, which represents all 120,000 people that were imprisoned, and then... Robb HelmkampIn 10 camps I correct?17:03 Erik WolkenRight. Memorializes, the 10 camps that were mostly over the Southwest, and just amazing images of these places where people were housed for three, four years, and it's an equally intense part of the piece. You know, I would I would encourage people to look into it further. And also there is a great website called www.densho.org, which will help better inform you about the incarceration and imprisonment of people of Japanese, Japanese Americans remember these were Americans, Japanese Americans during World War Two.Robb HelmkampAnd then there's also you've kept quite a blog about the process of the project on your website.17:50 Wendy MaruyamaI did and I feel bad that I haven't really kept it up to date, but it was really to follow the whole process of the tag project. At the same time I wanted to share relevant news articles that were not only about the Executive Order 9066, but just discrimination. I remember working on the tags and this whole outcry with a woman at the UCLA library posted a video of herself complaining about Asian students in the library and she was making fun of the way they talked, shing shong chi chong. But video went viral, and it kind of backfired on her. Discrimination on that level is still alive and well, most people know now. Erik Wolken So moving on to your next advocacy project, because this really is a phase of your life where you're taking on a very much the role of an advocate is the Wildlife Project. Do you want to describe the Wildlife Project a little bit?19:07 Wendy MaruyamaLike I have said before, and I think you know this, I love animals more than people, who are just awful. I started reading too many articles about the demise of the elephant in particular. Poaching for the ivory and it's not only just the elephants, but rhinoceros and tigers, all for the sake of being able to show off someone's wealth. The elephant population was really precariously dropping to the point the danger of becoming extinct. So I wanted to do a whole series of work, kind of highlight this issue. And at the same time, I meet somebody, Elizabeth Kozlowski, who was an independent curator and she wanted me to do an exhibition at the Houston Center for Contemporary Craft, which is where she was working at the time. And so that was the incentive to make a whole body of work about wildlife. Again, you know elephants are big and I wanted to be able make these huge pieces and I had to figure out a way to make them big without making them heavy and difficult to manage. At the time, I was working in a very small studio. And so I came up with the idea of making them out of very thin pieces of wood and sewing them together. When I was in high school, I loved to sew and the fabrication of making a dress or an article of clothing, is very three dimensional and it could be applied very easily to other materials like cardboard and wood and paper. I guess it's like a form of origami, creating volume with these very flat surfaces. So that was how that work came about and then it was accompanied with a bunch of other pieces.Erik WolkenThe other thing that fascinated me about that show is that the other pieces were in different mediums. You did a huge rhinoceros in plaster and then you did a pangolin which I'm not really familiar with what a pangolin is, in rattan It was you still continue to experiment and I just find that wonderful.22:06 Wendy Maruyama It's fun, you know like I said I think wood working just doing woodworking would really bore me to death. Just some materials they have a different capacity to express a different idea. The thing about glass is that I was able to, I was offered a residency at Pilchuck so it is kind of funny how these opportunities come together and make it possible to integrate projects and so I was able to spend I think it was two weeks or three weeks at Pilchuck and I was given two amazing glass blowers to help me make these tusks and I mean obviously glass was the perfect medium. And it was kind of tricky because you know William Morris, William Morris was a hot glass blower, he's still blowing glass he became known for the very large blown primitive forms. But he also did elephant tusks but it was a different context. He presented them a just large sculptures of beautiful tusks and I wanted to portray the tusks as being bloody and taken from a living animal. So the glassblowers and I had a conversation about that you know I said I don't want to do it if you feel like it treads too closely to other glass blowers work. But my message is completely different and they agreed that it would work with kind of presentation that I was using. The tusks were created through the help of Dan Friday and Nancy Callan who are amazing glass blowers in the Seattle area.Erik Wolken Right and then of course there's the life size and burlap rhinoceros!Wendy MaruyamaWhat was I thinking, right um.24:38 Robb Helmkamp You were thinking about that old desk that you made a long long time ago with chicken wire and Paper Mache?Wendy MaruyamaI learned a lot from that Paper Mache piece, you know I thought about that Paper Mache piece when I was doing the plaster rhino. It's kind of funny how that comes around again. The rhino was necessary to make because I wanted to have I wanted to have that scale and I wanted it be made out of plaster because it was white and fragile and it was like a ghost. But now I need to find someone who needs a plaster rhino, so if you know anybody that wants it, and if you can pay for shipping you're welcome to have it.Erik Wolken I would take the plaster Rhino. But Robb will have to pay for the shipping!25:31 Robb HelmkampWe might be able to work something out. I mean, I could put it behind me here in my office but...Wendy MaruyamaIt's the size of the small Volkswagen bug that's how big it is. Robb HelmkampAll right, we're coming out to San Diego to get that.25:41 Erik Wolken Well speaking of the Wildlife Project one of the pictures will post on the website is a wonderful picture of Robb and I and Tommy Simpson in front of one of the elephant masks when we were filming the Tommy Simpson documentary and we didn't end up using it in the documentary but it's it was it was just a wonderfully sweet moment of talking about, about your piece Wendy with Tommy Simpson. As we were as we were filming for the Tommy Simpson documentary.Wendy MaruyamaTommy Simpson, like I said, you know he was a huge inspiration back in 1970-71. I still have the very first book that he did that got torn up from years of flipping through it and sharing with my students.Robb HelmkampIts well loved and well used.Wendy MaruyamaThat really makes me happyErik Wolken The was the book was published I think...Wendy MaruyamaI would never have known that I would cross paths with Tommy Simpson back then. I mean he was like a movie star back then in the 70's and then we he came to visit San Diego one year. Oh ahhhh He stayed at my house!27:06 Erik WolkenSo let's talk about your most recent bodies of work the Color Field pieces and Memory because you're sort of leaving advocacy and going back to your roots in color. I love the Color Field pieces there, you know you're just really exploring the basics of color which is I just find incredibly appealing and almost a 2D sense as opposed to a three dimensional sense although there's texture.27:34 Wendy MaruyamaI um, you know, after doing Executive Order 9066 and the Elephant Project I was kind of beat up emotionally. It was really tough working on those pieces and it was even tougher for me to talk about those pieces after being asked to give talks during shows, it was kind of difficult to hold myself together. but anyway I'm getting better at it now. I can start talking about these things without breaking out in tears, but I needed to do something that was not heavy I needed to go back to using color again in a very pleasant way. It was an invitation to show that got me started on the Color Field pieces. Somebody in Colorado was having an exhibition of Bauhaus inspired furniture. because I think it was like 100th anniversary of Bauhaus and there is a Bauhaus Institute in Aspen so they wanted to do an exhibition of furniture but the problem was I hated Bauhaus furniture it wasn't really my thing. all that metal tubing and whatever. But I loved Annie Albers, who was a weaver with the Bauhaus movement, and she had a wonderful use of color and so I modeled my work after Annie Albers. It was kind of down my alley in terms of exploring color again. That's why they became two dimensional because of the weavings they were inspired by.29:41 Robb Helmkamp Were the pieces that you created where they kind of modeled after tambours? Like on a piece of furniture...Wendy MaruyamaYeah that's true I forgot that... I'm glad you mentioned that because tambour pieces were one of my favorite things to make actually. I've made a lot of carcass pieces that have tambours and I love the textural qualities of tambours. Yeah, for sure that was an inspiration.Robb Helmkamp Your use of more muted colors. From the Bauhaus movement I guess Annie's kind of take on it is really nice. It's nice to see that side of Bauhaus.30:26 Wendy MaruyamaI usually like punch colors but I wanted to experiment with a different tone of colors.Robb HelmkampVery beautiful. So let's talk about a little bit about Memory, one of the last bodies of work that you've, you've completed. 30:43 Wendy MaruyamaLets see in 2018 my uncle died... I have an aunt and uncle I am very close to they were kind of like second mom and dad and my uncle had severe dementia and he finally passed. I think it was 2018. I'm trying to remember but so my aunt was living alone and turned out that she had dementia as well. She was such a brilliant women and was such a role model for me it was really tough to see her decline. So we made the decision at the end of 2019 put her into a memory care facility, and so... and then of course Covid hit so right after we put her there we weren't even able to visit her for about 6 months. There was a lot of guilt and concern and so that was kind of tough. Like I said your getting older and you go through these phases and then go through things with your parents. Some of your friends may die. You know some of this stuff that you're going through at my age anyway. So the memory series was first about her loosing her memory but it's also about memories that people keep and I think it's a very powerful thing. Memories kind of get reused in a way there kind of special after a while, you start thinking about dreams that you've had and they're very similar to many different things that are kind of not intangible things that you think about. In short the work of trying to make these intangible things tangible, relatable in a very tactile way. So the memory piece I did about my aunt has a black lacquered mirror that goes from completely reflective to becomes very distorted at the very end to where you don't recognize yourself anymore, and the case that it is in has a kind of Asian aesthetic to it, being Japanese American. But there is a dysfunctional door on the left side it moves but it really doesn't function to any degree. That was referencing lack of memory, her inability to solve problems. I think that black mirrors have a lot of meaning, you know the iPhone is a black mirror, a black mirror to technology. And in Japan, this is interesting because I think I need a black mirror, the geisha woman in Japan as they aged began to use black lacquer as a mirror because the black lacquer kind of made your wrinkles go away. So you couldn't see your wrinkles so the process of aging is sort of disguised in a black mirror. Yeah, anyway, so the whole black mirror series is about conveying depth. So deep looking into that black lacquer. It looks like you're looking into a deep dark hole. Well you're looking at a reflection. It's been a lot of fun working with you with the black lacquer and I've been really lucky, because um... I don't know if you know Greg Johnson? He's a finisher in upstate New York he has been doing the black lacquer mirrors for me and he does such a beautiful job.35:11Erik Wolken The Black Mirror is just an incredible metaphor. That's just incredibly powerful.35:16 Wendy MaruyamaIt's so rich you know it's interesting how the many things you think about when you look at it. Plus I love the TV series I've seen the Black Mirror. I love that TV show.Robb Helmkamp Isn't it great? I've watched it through and through. It makes you think!Erik Wolken So and starting to wrap this up, Wendy. What are you working on now? What's your what's your what's your next body of work or what are you what are you moving forward with now?35:48 Wendy MaruyamaI am still finishing up the Black Mirror (Memory) series and wrapping up that little chair (Matador) I was telling you about earlier. But I don't really know now what I am going to be making next but hopefully I have been talking to Tom Loeser about doing something together. We were talking about maybe showing together again? No, we haven't looked at the details yet. But it is always kind of fun to show with a good old friend.Erik Wolken Well, Wendy, I just want to wrap this up because this has been an absolutely wonderful conversation with you.Wendy MaruyamaOh, good. I'm glad I hope you can get at least 10 minutes out of it.Robb HelmkampOh, I think we can at least do 15. No Wendy it's been an absolute pleasure talking with youErik Wolken Right and we always end… by saying Why MakeRobb HelmkampWhy Make36:47 Wendy MaruyamaThank you very much. Why Make

Lucius Elliott and Kelsey Leonard go through some of the sales trends in the November auctions with LiveArt's George O'Dell. David Hockney, new market share levels for female artists, Abstract and Color Field painters, Christina Quarles, Lauren Quin, Njideka Akunyili Crosby, Louise Nevelson, Andy Warhol and Salmon Toor are the artists and markets covered in this conversation.

Ep.128 features Arcmanoro Niles (b. 1989, Washington, D.C.; lives and works in New York, NY). He makes vivid, brightly hued paintings that expand our understanding of traditional genre painting and portraiture. Niles offers a window into seemingly mundane moments of daily life―a child seated at the table for breakfast, a man about to get into his car, a couple in their bedroom―with subjects drawn from photographs of friends and relatives and from memories of his past. The paintings, though intensely personal and autobiographical, engage in universal subjects of domestic and family life while also making reference to numerous art historical predecessors, including Italian and Dutch baroque, history painting, Color Field painting, and ancient Egyptian sculpture. Though drawing from many styles and genres, Niles is particularly inspired by the paintings that 16th-century Italian painter Caravaggio created of daily life through representations of his family and friends. In depicting not only people close to him but the places and times they inhabit, Niles creates his own record of contemporary life.  Photo credit: Arcmanoro Niles in his studio, 2022 Photo by Daniel Kukla Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London Artist http://www.arcmanoro.com/ Lehmann Maupin Gallery Arcmanoro Niles - Hey Tomorrow, Do You Have Some Room For Me: Failure Is A Part Of Being Alive - Exhibitions -Lehmann Maupin November2022 Exhibitionhttps://www.lehmannmaupin.com/exhibitions/arcmanoro-niles2 Long Gallery https://www.long.gallery/the-arena-exhibition-page Hypebeast https://hypebeast.com/2020/2/arcmanoro-niles-i-guess-by-now-im-supposed-to-be-a-man-uta-artist-space-exhibition UTA Artist Space http://utaartistspace.com/press/2020/02/18/arcmanoro-niles-first-solo-show-on-the-west-coast-at-uta-artist-space-in-los-angeles/ PAFA Org https://www.pafa.org/news/arcmanoro-niles-bfa-13-featured-current-exhibit-bacchanal-110821 GuildHall https://www.guildhall.org/people/arcmanoro-niles/ Louis Comfort Tiffany Foundation https://www.louiscomforttiffanyfoundation.org/2019/arcmanoro-niles Rachel Uffner https://www.racheluffnergallery.com/exhibitions/detail/arcmanoro-niles/installation-stills Wikipedia Arcmanoro Niles - Wikipedia Ocula https://ocula.com/artists/arcmanoro-niles/ Galerie Magazine https://galeriemagazine.com/arcmanoro-niles-lehmann-maupin/ SAIC Arcmanoro Niles (saic.edu) Elephant Glitter and Ghosts in the Paintings of Arcmanoro Niles - ELEPHANTICA Boston https://www.youtube.com/watch?v=8g_0nAeWcF0 The Artist Profile Archive  https://www.theartistprofilearchive.com/artist-profiles/arcmanoro-niles/#video

Laurie Blessen lives in San Francisco and focuses on minimalist, color-field monotypes. Her works are bright and bold, with rectangular or square fields bumping against each other while intermingling with more delicate textures and pattern. Reminiscent of aerial views of landscapes and fields, Laurie says she creates with intuition leading the way. She says the “magic happens” when a 1500 pound steel roller presses her designs onto dense paper, and no matter how many prints she pulls, there is always a bit of a surprise. Laurie's website: www.laurieblessen.comWorks available through Jen Tough GalleryBecome a member of the Artist Alliance at www.jentough.com/membershipBecome a member of Kindling, a FREE art marketing community www.kindlingmembership.com

Mondo Davis is a game designer from St. Louis, currently living in Atlanta, GA with his wife and daughter. Mondo designed his first game in 2016, and since has signed five games with various publishers, including Color Field with 25th Century Games, and Mansplaining with Breaking Games. When not designing, Mondo enjoys travelling with his family in their camper van and tending the family's fig tree.  http://www.mondodavis.com/ (www.mondodavis.com) FOLLOW US ON:  Facebook: https://www.facebook.com/groups/boardgamebinge (https://www.facebook.com/groups/boardgamebinge) Instagram: https://www.instagram.com/boardgamebingepodcast (https://www.instagram.com/boardgamebingepodcast) Twitter: https://www.twitter.com/boardgamebinge (https://www.twitter.com/boardgamebinge) WHERE TO FIND OUR PODCAST: Spotify: https://open.spotify.com/show/5RJbdkguebb3MSLAatZr7r (https://open.spotify.com/show/5RJbdkguebb3MSLAatZr7r) iHeart Radio: https://www.iheart.com/podcast/269-board-game-binge-72500104/ (https://www.iheart.com/podcast/269-board-game-binge-72500104/) Tune In: https://tunein.com/embed/player/p1344218/ (https://tunein.com/embed/player/p1344218/) Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5jYXB0aXZhdGUuZm0vYm9hcmRnYW1lYmluZ2U= (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5jYXB0aXZhdGUuZm0vYm9hcmRnYW1lYmluZ2U=) Apple Podcasts: https://podcasts.apple.com/ca/podcast/board-game-binge/id1522623033 (https://podcasts.apple.com/ca/podcast/board-game-binge/id1522623033) Visit Our Websites:  Board Game Binge: https://boardgamebinge.com/ Tin Robot Games: https://tinrobotgames.com Elixir Board Games: https://www.elixirboardgames.com/our-games

In this episode, we sit down with board game designer, Mondo Davis (designer of Color Field and Mansplaining) to discuss all things board game design. We also get into how social media, especially TikTok, help designers out.

Mansplaining and Color Field designer Mondo Davis joins us on Humans of Gaming to kick off the Fall 2021 season. A St. Louis, MO native Mondo now lives in Atlanta with his family where he is currently working on being a father and board game designer who has 4 games under contract as of this episode. Monday is a Navy veteran who currently teaches English as a second language in Atlanta, GA. Drew and Chris chat for a while about how they met him before he was "big time" and cover the frustrations of losing special friendships and family relationships to the polarized environment in which we live. The trio wraps up talking about their experiences in parenting and how they hope we have learned lessons from the previous generation.   

Mondo Davis, designer of the upcoming Color Field and Mansplaining, joined me to talk about his games, about design, and about everything in between. This was a good chat with someone new out there designing accessible games.

On Wednesday's Houston Matters: All adults in Texas will be eligible to receive a COVID-19 vaccination starting Monday. We learn how this changes things for those seeking a vaccine and what it means for the overall quest for herd immunity. Also this hour: We break down the latest news in our weekly political roundup. Then, we learn about efforts to bridge the digital divide and new research that shows how lacking computer skills affects earning... Read More

WELCOME BACK TO SEASON 5 of the GWA PODCAST! In episode 53 of The Great Women Artists Podcast, Katy Hessel interviews the renowned curator and executive director of the Helen Frankenthaler Foundation, Elizabeth Smith, on the trailblazing and legendary HELEN FRANKENTHALER (1928–2011) !!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] With a career spanning six decades, Helen Frankenthaler has long been recognized as one of the great American artists of the twentieth century. A member of the second generation of postwar American abstract painters, she is widely credited with playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstraction, while at times referencing figuration and landscape in highly personal ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Born on December 12, 1928, and raised in New York. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, and by the early 1950s had entered into the Downtown New York Art Scene. Exhibiting at the infamous Ninth Street Show in 1951 (alongside Krasner, Mitchell, and others), Frankenthaler's breakthrough came in 1952 when she created Mountains and Sea, her first soak-stain painting. She poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent colour. The work catalysed the Colour Field School and was particularly influential for artists of her generation. In 1959, Frankenthaler had won first prize at the Premiere Biennale de Paris, by 1960 had her first major solo exhibition at the Jewish Museum in New York, and by 1969 was one of four artists to represent America at the Venice Biennale. Oh! AND she had a Whitney Museum solo exhibition of the same year. She was invisible. I LOVED recording this episode with Elizabeth Smith about the fascinating life and work of Frankenthaler. ENJOY!!! Works discussed: Nature Abhors a Vacuum, 1973 Cloud Burst, 2002 Pink Lady, 1963 Mountains and Sea, 1952 Jacob's Ladder, 1957 Flood, 1967 FURTHER LINKS! https://www.frankenthalerfoundation.org/artworks/paintings https://www.dulwichpicturegallery.org.uk/whats-on/exhibitions/2021/may/helen-frankenthaler-radical-beauty/ https://www.guggenheim.org/artwork/artist/Helen-Frankenthaler https://www.tate.org.uk/visit/tate-modern/display/studio/helen-frankenthaler https://gagosian.com/news/museum-exhibitions/pittura-panorama-paintings-by-helen-frankenthaler-museo-di-palazzo-grimani-venice/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Laura Hendry Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Helen Frankenthaler (1928 – 2011) arbeidet med abstrakt ekspresjonisme, i maleri, papirbasert kunst og tresnitt. Innen maleri utviklet hun teknikken «soak stain» hvor hun eksperimenterte med uttynnet pigment på ubehandlet lerret. Hun spilte en viktig rolle i overgangen til såkalt «Color Field painting». Frankenthalers karriere varte over seks tiår og hun blir betraktet som en av 1900-tallets største amerikanske kunstnere. Tommy Olsson skriver på en faglitterær roman med utgangspunkt i en tidligere publisert anmeldelse av Helen Frankenthalers utstilling på KODE i 2019. See omnystudio.com/listener for privacy information.

See omnystudio.com/listener for privacy information.

COLOR-FIELD PAINTINGS by Fiore Ai This book is a collection of prints and paintings by the artist Fiore Ai, who was inspired by the color-field and hard-edge geometric abstraction paintings of American art. The paintings depict translucent and prismatic light, with interplays of soft color gradations against hard edges and spatial divisions. They are at once subtle and bold, fluid and tense, moving across space that evokes a cosmic world. About The Author A printmaker and painter inspired by the Color-Field and Geometric Abstraction paintings of American art. The artist holds a B.A. degree from the University of California, Berkeley, M.A. degree from California State University, Los Angeles, and an M.F.A. degree from Washington University, St. Louis, Missouri. She also taught at junior colleges in St. Louis, Missouri and Pittsburgh, Pennsylvania. https://www.pageturner.us/bookstore/color-field-paintings/ www.FioreAiPaintings.com http://www.bluefunkbroadcasting.com/root/twia/fai.mp3

L'asse dell'arte, durante la seconda guerra mondiale, si sposta dall'Europa agli Stati Uniti. La materia, il colore, l'astrazione, e un po' di surrealismo diventano Espressionismo Astratto nelle tendenze dell'Action Painting e del Color Field. Tutte le immagini su https://quellodiarte.com/2020/03/12/pollock-e-rothko-espressionismo-astratto/Vuoi rimanere aggiornato su tutte le novità su Quello di Arte? Iscriviti alla mailing list di Quello di Arte cliccando su questo link https://mailchi.mp/e5da93e9fc36/mailinglistSe volete scrivere a Quello di Arte l'email è quellodiarte@gmail.comPlaylistMichelangelo Mammoliti, Walkman Main, 2019

In this episode, Jackie and Alex discuss the makeover that Sunset Station will be getting, paid sick time for all San Antonians, and do The Spurs need a new practice facility to keep going? Oh and I think we have a special announcement or something. We then head to Henley's Gentleman's Grooming for a nice talk with Diesel Barbershop and Henley's founder, Shayne Brown. After that, Jackie and James head to Weathered Souls Brewing Co. to chat with owner and head brewer, Marcus Baskerville for another edition of Cheers for Local Beers. Music in this episode is provided by A.M. Architect. Their album, Color Field, is available on Spotify and other streaming platforms. Happy Thanksgiving!

In this episode we talk with Austin's hottest new band, Black Pumas, a beat-heavy psychedelic soul band playing the Forest Concert Series this Saturday, June 29th at Crystal Bridges. In addition, we hear from Sara Segerlin, Senior Manager of Public Programs at Crystal Bridges, about all of the indoor and outdoor art, sculptures and concerts you can explore this summer.   Check out this link for more tickets and more information today! 

Episode Image/Guest Host: Tyahra Angus Theme song HoodGrown by David-James @davedashjames_ https://soundcloud.com/davedashjames Transition music Nathan Peters @mztrwlsn @mrwilsonbeats https://soundcloud.com/mrwilsonbeats TAG THE ARTIST: Cryssie @highku FOR US BY US: The Theater Offensive @outoffensive http://www.thetheateroffensive.org/ WORD ON THE STREET: Art as institution Decolonize This Place to Hold Action at Whitney Museum Over Protests Against Vice Chair of Board http://www.artnews.com/2018/12/06/decolonize-place-hold-action-whitney-museum-protests-vice-chair-board/ Fears Grow for Tania Bruguera After Cuban Authorities Detain the Activist-Artist https://news.artnet.com/art-world/support-grows-activist-artist-tania-bruguera-detention-cuban-authorities-1411030 MASS politics ? Ayanna Pressley bids City Council farewell in impassioned speech https://www.boston.com/news/politics/2018/12/06/ayanna-pressley-boston-city-council-farewell The Brockton mayor's city-owned vehicle was set on fire last week https://www.boston.com/news/crime/2018/12/06/brockton-mayor-vehicle-arson BPS The Boston school district is facing 2 lawsuits filed by women https://www.boston.com/news/local-news/2018/12/03/the-boston-school-district-is-facing-2-lawsuits-filed-by-women Boston School Bus Driver Assaulted: School Officials https://www.nbcboston.com/news/local/Boston-School-Bus-Driver-Assaulted-According-to-School-Officials-501843092.html Black Basel Black Lives Matter Activist Patrisse Cullors Is Bringing the Movement to Miami With a Series of Talks, Shows, and Merchandise https://news.artnet.com/art-world/black-lives-matter-art-basel-miami-2018-1412953 Art and Activism Create 'Darker Gods' for Art Basel Miami https://www.theroot.com/art-and-activism-create-darker-gods-for-art-basel-miami-1830921572 Black man magic with the art world A Pair of Socks Can Be Made Into High Fashion Using Intellect': Virgil Abloh on Why Streetwear Is the Readymade Art of Our Time https://news.artnet.com/art-world/designer-virgil-abloh-on-why-streetwear-is-the-readymade-art-of-our-time-1413127 Graffiti Artist Darrius Ford Launches Agency to Help Emerging Pop Artists https://cheddar.com/videos/graffiti-artist-darrius-ford-launches-agency-to-help-emerging-pop-artists KING PINS: Anila Quayyum Agha @anilaquayyumagha http://www.anilaagha.com/ https://www.artsy.net/artist/anila-quayyum-agha https://www.pem.org/exhibitions/intersections-anila-quayyum-agha UNSUNG HEROES/history moves: Color Field movement https://www.theartstory.org/movement-color-field-painting.htm https://www.ideelart.com/magazine/color-field-artists GOOD LOOKS (interview): Lambert Rahming - @lookdeeper Callmelamb.com https://www.menofmelaninmagic.com/ REALTALK: Tyahra Angus @Afrocentered @afrocenteredmedia www.Afrocenteredmedia.com ANNOUNCEMENTS: Rate, review and subscribe to us on APPLE podcast Check out our white wall review. Would you like to support the show? Become a patron at: https://www.patreon.com/hoodgrownaesthetic Daughter of Contrast www.daughterofcontrast.com/ @daughterofcontrst HIT US UP! If you’re an Artist or a small business owner, you would like to be interviewed on the show please email us and send us a short bio, images and media handles. Please Review, Rate and Subscribe to us on Apple Podcast Stitcher, Tune in, and Google Play!

Something for everyone. The do's and don'ts of eye care.

Altered States looks at contemporary artists who explore psychedelia (mostly painting and some constructions with a mix of figuration, geometric and Op imagery) against a back drop of 1960s Op Art, figurative and Color Field paintings, as well as original rock posters from concerts at the Fillmore West, Avalon Ballroom and other San Francisco venues to set the stage and create the mood. Psychedelia, influenced by surrealism, visual perception and Op Art along with others such as Art Nouveau, Indian textiles and Pop Art defined the 1960s and Counter Culture movement and was ever present in rock culture on album covers, poster art and light shows as the back drop for concerts. The exhibition, Altered States, will feature contemporary Santa Fe artists Andrew Cimelli, Jennifer Joseph, Caity Kennedy, Daniel McCoy Jr., Heather McGill and Martin Rixe, as well as Vadim Stepanov, a Russian painter living in Tel Aviv.  The historic backdrop for this presentation will include paintings by Richard Anuszkiewicz, Francis Celentano, Tom Green, Ed Mieczkowski, Rakuko Naito, Paul Reed, Oli Sihvonen, Julian Stanczak, Tadasky and Leo Valledor.

Sirius XM produced this interview between artist Sam Gilliam and Jonathan Binstock, the director of Rochester's Memorial Art Gallery and a Gilliam scholar. On the occasion of Gilliam's return to the Venice Biennale 45 years after he represented the United States, this far-ranging conversation covers the artist's entire career. Born in Louisville, Kentucky where Cassius Clay, Sr. (Muhammed Ali's father) was a prominent painter, Gilliam encountered a European refugee Ulfert Wilke at the Louisville and became his studio assistant. He also eventually encountered the Gutai artists in Japan, Bob Thompson and moved eventually to Washington, DC where Kenneth Noland was at the center of the Color Field movement and the city was "a town of connection." Throughout this conversation Gilliam talks of the lifelong struggle to make art and make a life as an artist. His career followed no clear trajectory but has been punctuated by encounters with an endless cast of 20th Century artistic influences culminating in his most recent turn in the center stage.

Brush up on your knowledge of color in the sixth installment of our Elements of Art series. By considering the vital and vibrant work of the Color Field painters of the 1950s and 60s, we get a glimpse of how powerful a role color plays in art. Find more Art School videos @ kqed.org/artschool