Podcasts about Contemporary Art Museum

Interviews by Brainard Carey

Play Episode Listen Later Jan 10, 2024 107:54

Ricardo Resende nasceu em Guaranésia, São Paulo, Brasil, em 1962. Possui mestrado em História da Arte pela ECA-USP. Desde 1988, desempenha funções de educação, curadoria e direção em instituições como o MAC-USP, o MAM São Paulo, o MAC Dragão do Mar, o Centro de Artes Visuais da Funarte, o Centro Cultural São Paulo e o Museu Bispo do Rosário. [Ricardo Resende was born in Guaranésia, São Paulo, Brazil, in 1962. He has a master degree in art history from the University of São Paulo. Since 1988, he works in the fields of education, curating, and directing of cultural institutions like the Contemporary Art Museum of the University of São Paulo, the Modern Art Museum of São Paulo, Contemporary Art Museum Dragão do Mar, the Visual Arts Center at Funarte, Centro Cultural São Paulo, and the Bispo do Rosário Museum] ///imagens selecionadas|selected images: Clovis Aparecido filmado por (recorded by) Petra Costa + Museu Rietberg, Zurique, Suíça)(Rietberg Museum, Zurich, Switzerland) + Kunsthalle de Berna, Suíça (Bern Kunsthalle, Switzerland)/// [entrevista realizada em 25 de outubro de 2020|interview recorded on october 25th, 2020] [link para YouTube: https://www.youtube.com/watch?v=d44qihMsktk]

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Alexander Ross

Play Episode Listen Later Jan 3, 2024 25:28

Alexander Ross in his studio, 2021, Great Barrington, MA Alexander Ross (b. 1960 in Denver, CO) received his Bachelor of Fine Arts from the Massachusetts College of Art, Boston, MA. Ross has been the subject of solo exhibitions at the Contemporary Art Museum, St. Louis, MO; Galerie Hussenot, Paris, France; LABspace, Hillsdale, NY; Miles McEnery Gallery, New York, NY; New York Foundation for the Arts, New York, NY; Nolan Judin, Berlin, Germany; and the Worcester Art Museum, Worcester, MA, among others. The artist has been included in group exhibitions at numerous international institutions including the deCordova Sculpture Park and Museum, Lincoln, MA; Denver Art Museum, Denver, CO; Museo de Arte Moderno, Mexico City, Mexico; New Museum of Contemporary Art, New York, NY; Valencian Institute of Modern Art, Valencia, Spain; and the Whitney Museum of American Art, New York, NY. His work may be found in the collections of the Art Institute of Chicago, Chicago, IL; British Museum, London, United Kingdom; Denver Art Museum, Denver, CO; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; The Morgan Library & Museum, New York, NY; Museum of Modern Art, New York, NY; Rhode Island School of Design Museum, Providence, RI, and elsewhere. He is the recipient of awards including the Pollock-Krasner Foundation Grant; Adolph and Esther Gottlieb Foundation Individual Support Grant; New York Foundation for the Arts Painting Fellowship; The Louis Comfort Tiffany Foundation Award; and the John Simon Guggenheim Memorial Foundation Fellowship. Ross lives and works in Great Barrington, MA. ALEXANDER ROSS, Modeling the Physical, 2023, Colored pencil, graphite, and crayon on paper, 22 1/8 x 18 1/4 inches. ALEXANDER ROSS, Intelligence Restructuring, 2023, Colored pencil, watercolor, and graphite on paper, 12 1/2 x 17 inches. ALEXANDER ROSS, Another Aspect of the Presentation, 2023, Colored pencil, watercolor, crayon, and graphite on paper, 14 3/4 x 14 1/4 inches ALEXANDER ROSS, Robed in the Illusion, 2023, Colored pencil and watercolor on paper, 12 5/8 x 11 inches

DANIELA ASTONE UNDRAPED (AUDIO)

The Undraped Artist Podcast

Play Episode Listen Later Sep 18, 2023 90:57

WEBSITE: https://www.daniela-astone.com INSTAGRAM: https://www.instagram.com/daniela_astone/ Daniela Astone ( b.1980 Pisa )grew upon in the sea-town of PortoSanto Stefano ,Italy, formally began studying art at the age of 14 in the High School of Arts in Grosseto. After graduating in 1998 she moved to Florence to study Illustration at the international school of comix, in her second year she started to work indipendently for several editors and in the studio of illustration Inklink. At the age of 21 Daniela decided to change direction and to re-start studing drawing and paint from life at The Florence Academy of Art under the direction of Daniel Graves. She began to teach to the younger students in the Academy when she was in her second year , she graduated in 2004 with the end of the year award , but she continued to work as a principal teacher for the Florence Academy of art . In 2005 she had her first and very successful Solo show at the Ann Long Fine Art Gallery in Charleston so she decided to build up a studio in the Tuscany countryside. In 2013 Daniela became the director of the intermediate program at The Florence Academy of Art , entered in the BP award in London and recived a honorable mention from the Mod Portrait award,Spain . Her work has exhibited internationally and in 2016 it became part of the permanent collection of MACS ,the Contemporary Art Museum in Sicily. She also collaborated with Tiac ,China with Liveandlearn ,Thailand ,with Streamline , East Oaks Studio and teaches workshops of landscape painting in her studio-house in Chianti Tuscany and around the world. In 2019 together with Gaia Grazioli she curated the Show “Corpo a Corpo” in the Museum of Villa Bardini in Florence thanks to Cassa di Risparmio di Firenze and Carlo Sisi. _________________________________________________________________________ THANKS TO OUR SPONSORS: ROSEMARY BRUSHES https://www.rosemaryandco.com HEIN ATELIER https://heinatelier.com/ _________________________________________________________________________ THANK YOU TO ALL OF MY GENEROUS PATRONS! PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW. https://patron.podbean.com/theundrapedartist _________________________________________________________________________ FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE: https://www.instagram.com/THEUNDRAPEDARTIST/ https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/ https://www.youtube.com/@theundrapedartist __________________________________________________________________________ FOLLOW THE HOST, JEFF HEIN: Jeffhein.com https://www.facebook.com/jeffrey.hein.16/ https://www.instagram.com/jeff_hein_art/ https://www.instagram.com/jeff_hein_studio/

DANIELA ASTONE UNDRAPED (VIDEO)

The Undraped Artist Podcast

Play Episode Listen Later Sep 18, 2023 90:39

WEBSITE: https://www.daniela-astone.com INSTAGRAM: https://www.instagram.com/daniela_astone/ Daniela Astone ( b.1980 Pisa )grew upon in the sea-town of PortoSanto Stefano ,Italy, formally began studying art at the age of 14 in the High School of Arts in Grosseto. After graduating in 1998 she moved to Florence to study Illustration at the international school of comix, in her second year she started to work indipendently for several editors and in the studio of illustration Inklink. At the age of 21 Daniela decided to change direction and to re-start studing drawing and paint from life at The Florence Academy of Art under the direction of Daniel Graves. She began to teach to the younger students in the Academy when she was in her second year , she graduated in 2004 with the end of the year award , but she continued to work as a principal teacher for the Florence Academy of art . In 2005 she had her first and very successful Solo show at the Ann Long Fine Art Gallery in Charleston so she decided to build up a studio in the Tuscany countryside. In 2013 Daniela became the director of the intermediate program at The Florence Academy of Art , entered in the BP award in London and recived a honorable mention from the Mod Portrait award,Spain . Her work has exhibited internationally and in 2016 it became part of the permanent collection of MACS ,the Contemporary Art Museum in Sicily. She also collaborated with Tiac ,China with Liveandlearn ,Thailand ,with Streamline , East Oaks Studio and teaches workshops of landscape painting in her studio-house in Chianti Tuscany and around the world. In 2019 together with Gaia Grazioli she curated the Show “Corpo a Corpo” in the Museum of Villa Bardini in Florence thanks to Cassa di Risparmio di Firenze and Carlo Sisi. _________________________________________________________________________ THANKS TO OUR SPONSORS: ROSEMARY BRUSHES https://www.rosemaryandco.com HEIN ATELIER https://heinatelier.com/ _________________________________________________________________________ THANK YOU TO ALL OF MY GENEROUS PATRONS! PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW. https://patron.podbean.com/theundrapedartist _________________________________________________________________________ FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE: https://www.instagram.com/THEUNDRAPEDARTIST/ https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/ https://www.youtube.com/@theundrapedartist __________________________________________________________________________ FOLLOW THE HOST, JEFF HEIN: Jeffhein.com https://www.facebook.com/jeffrey.hein.16/ https://www.instagram.com/jeff_hein_art/ https://www.instagram.com/jeff_hein_studio/

Raven Halfmoon's sculptures dominate Aldrich Contemporary Art Museum

Epicenter NYC

Play Episode Listen Later Aug 9, 2023 14:43

Ninety minutes from New York City, in Ridgefield, Connecticut, Raven Halfmoon's massive sculptures dominate the Aldrich Contemporary Art Museum. On display until January 2024, it's well worth the trip. As a descendant of the Caddo people, Halfmoon's exhibition gives visitors opportunities to learn more about the Native tribes who lived along the Red River in Louisiana, Texas, Arkansas and Oklahoma.In this episode we share a conversation between Epicenter's publisher S. Mitra Kalita and Raven Halfmoon about her process, identity, the exhibition and what's next This Indigenous artist gives new meaning to scale: https://epicenter-nyc.com/this-indigenous-artist-gives-new-meaning-to-scale/ Raven Halfmoon: https://www.ravenhalfmoon.com/ The Aldrich Contemporary Art Museum: https://thealdrich.org/ Epicenter-NYC membership: https://checkout.fundjournalism.org/memberform?org_id=epicenternyc&campaign=7018a000000yJx6AA See omnystudio.com/listener for privacy information.

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Sigurður Guðmundsson - From ARS LONGA contemporary art museum (est. 2021) to influential SÚM group (est. 1969)

Icelandic Art Center — Out There

Play Episode Listen Later Jun 27, 2023 89:38

In this episode we speak with Sigurður Guðmundsson, Artist and co-founder of the international contemporary art museum ARS LONGA, initiated with Þór Vigfússon & Ineke Guðmundsson in 2021 and based in Djúpivogur. We talk about the upcoming summer show that is to open at ARS LONGA on the 8th of July, summer 2023. Sigurður tells us stories spanning his career, plays some symphonies that resonate with different periods in his life, including legendary SÚM group initiatives back in the 70's and unpacks some of his unique conceptual ideology, both in life and art-making. ARS LONGA strives to be a leading venue for international contemporary art in Iceland with progressive exhibitions and seeks to strengthen connections and collaboration with artists and professionals through dynamic activities. ARS LONGA's mission is to collect artworks by Icelandic and international artists, but Sigurður Guðmundsson's art donation of twenty-seven works is the basis for the collection. In the mid sixties, a group of young artists founded the SÚM group which broke with tradition and introduced a new approach to the Icelandic art world. Back then, the newly founded group of artists had varied and different practices in art, however, were unified in the making of public art and interventions. Sigurður Guðmundsson is one of the founding members of SÚM. Cover image courtesy of the artist, and i8 Gallery, Reykjavík. Sigurður Guðmundsson, COLLAGE (1979) // Created by the Icelandic Art Center, Out There brings co-hosts Becky Forsythe @beforsythe and Þórhildur Tinna Sigurðardóttir @tindilfaetta in conversation with artists, curators and art professionals at the @101liveradio. #OutTherePodcast #IcelandicArtCenter #IcelandicArt #IcelandicArtist #Iceland #VisualArt #ContemporaryArt #InspiredByIceland #IcelandicArt

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Penser le Présent avec Lisa Yuskavage

Beaux-Arts de Paris

Play Episode Listen Later Jun 14, 2023 92:45

Née en 1962 à Philadelphie, Lisa Yuskavage est diplômée d'un bachelor en beaux-arts de la Tyler School of Art (1984) et d'un master en beaux-arts de la Yale School of Art (1986). Elle est représentée depuis 2005 par la galerie David Zwirner. Ces trois dernières décennies, Lisa Yuskavage s'est imposée comme l'une des peintres figuratives les plus originales : ses œuvres exaltent la singularité de la peinture en tant que médium et remettent en question les genres et la place traditionnelle du spectateur. Les personnages variés qui peuplent ses tableaux participent d'une atmosphère à la fois introspective et exhibitionniste. Ils s'insèrent dans des compositions dont le sens repose en grande partie sur la couleur, et où se mêlent de nombreux éléments réalistes ou abstraits. En 2015, l'exposition personnelle Lisa Yuskavage: The Brood s'est tenue au Rose Art Museum de l'université Brandeis (Waltham, Massachusetts), retraçant vingt-cinq ans de carrière. Cette exposition d'envergure a ensuite été présentée au Contemporary Art Museum de Saint Louis (Missouri) en 2016. Elle a également donné lieu à la publication d'une importante monographie grand format aux éditions Skira Rizzoli, réalisée en étroite collaboration avec Lisa Yuskavage, comportant des essais d'auteurs, historiens de l'art et critiques de renom, dont Christopher Bedford, Suzanne Hudson, Catherine Lord et Siddhartha Mukherjee, ainsi qu'un entretien avec l'artiste mené par Katy Siegel. L'exposition Lisa Yuskavage: Wilderness a été présentée au Aspen Art Museum (Colorado) en 2020 et au Baltimore Museum of Art (Maryland) en 2021. Le travail de Lisa Yuskavage a fait l'objet d'expositions personnelles dans de nombreuses institutions à travers le monde, dont l'Institute of Contemporary Art de l'université de Pennsylvanie à Philadelphie (2000), le Centre d'art contemporain de Genève (2001), le Museo Tamayo Arte Contemporáneo à Mexico (2006) et la Royal Hibernian Academy à Dublin (2011, dans le cadre du festival Dublin Contemporary). Les œuvres de l'artiste sont présentes dans plusieurs collections muséales, dont l'Art Institute de Chicago, le Hammer Museum à Los Angeles, le Hirshhorn Museum and Sculpture Garden à Washington, D.C., l'Institute of Contemporary Art de Boston, le Long Museum à Shanghai, le Metropolitan Museum of Art à New York, le Museum of Contemporary Art de Los Angeles, le Museum of Modern Art de New York, le Philadelphia Museum of Art, le Rubell Museum à Miami, le Museum of Modern Art de San Francisco, l'Art Museum de Seattle, le Walker Art Center de Minneapolis et le Whitney Museum of American Art à New York. Penser le Présent est réalisé avec le soutien de Société Générale. Amphithéâtre d'honneurMercredi 7 juin 2023 Crédit photo : Lisa Yuskavage © EJ Camp – Courtesy de l'artiste et David Zwirner

Jean Gray Mohs

Artist Praxis

Play Episode Listen Later Oct 18, 2022 36:19

Debora talks with artist Jean Gray Mohs, who is a narrative, abstract artist, currently running an open studio at Artspace in North Carolina. Selected exhibits include the Contemporary Art Museum in Raleigh, the North Carolina Museum of Art, and the Greenhill Gallery. Her work has been featured in the Atlanta Journal-Constitution, Southern Living, and Traditional Home and has been shown regionally as well as internationally. https://www.myfourdots.com/links www.instagram.com/jg.fourdots www.artistpraxis.com www.instagram.com/artistpraxis

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Catie Anchin, Director, Contemporary Art Museum "Talks" Big News

Embracing Arlington Arts Talks

Play Episode Listen Later Sep 27, 2022 27:31

The Executive Director of the formerly-named Arlington Arts Center Catie Anchin returned to the show to update our listeners on the very exciting changes happening at the gallery. From a rebranding to new initiatives for corporations to teaching patrons how to build a collection to yoga, the gallery is introducing scores of new ways to bring patrons through their doors. Also hear about the latest exhibitions, including a "Made in Arlington" pop-up, and its launch of a National Biennial show featuring artists nationwide.

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Ep 129: Daniel Boyd

Talking with Painters

Play Episode Listen Later Jul 3, 2022 21:42 Very Popular

Most artists remember their first show. Maybe they were lucky enough to sell a few works, usually to family and friends. Daniel Boyd remembers his. It was in the year he graduated from university, 2005, but family and friends didn't stand a chance. The entire exhibition was bought by the National Gallery of Australia. Daniel describes himself in those university days in Canberra as ‘a shy young First Nations man from Far North Queensland'. That reserved nature still comes through even though I was speaking with him at the exhibition 'Treasure Island' which celebrates his career with over 80 works in one of Australia's most important art institutions, the Art Gallery of NSW. Daniel's First Nations heritage is central to his work. His ancestors were part of the Stolen Generation. Forced to let go of their culture and language, they lived in fear that if they shared it with their children they would be taken away from them. In an interview in the Gallery's Look magazine Daniel said that that forced withholding of culture meant that he always felt there was something missing and it was at university that he tried to make sense of that. One of the striking aspects of Daniel's work is the way he both reveals and obscures his subject. Using a pointillist technique, he places a multitude of translucent dots over the image creating a series of convex lenses, as he refers to them, and while you can see the image through these lenses the rest of the image is painted out. Although this creates a visually alluring effect, there's more to this technique than just the physical use of the material. There are concepts behind it which relate to ways of seeing and perception and which are interestingly explored in the book accompanying the exhibition (see link below). The show has been curated by Isobel Parker Philip, Senior Curator of Contemporary Australian Art and Erin Vink, curator of Aboriginal and Torres Strait Islander Art, both at the Art Gallery of NSW. Daniel has exhibited in over 30 solo shows, has won the Bulgari Award amongst others, and his work is held in many other public institutions including the National Gallery of Australia, National Gallery of Victoria and the Natural History Museum in London. Click play beneath the above feature photo to hear the podcast episode. Current exhibition 'Treasure Island', Art Gallery of NSW, current to 29 January 2023 Links Daniel Boyd on Instagram Daniel Boyd at Roslyn Oxley9 GalleryEdouard GlissantDaniel Boyd: 'Treasure Island', (book accompanying the exhibition) at the Art Gallery bookshop also available through many other online booksellers Untitled 2014 , oil, pastel, archival glue on canvas 315 x 224 cm Collection Art Gallery of New South Wales Winner of the Bulgari Art Award 2014 Photo: AGNSW 'Untitled (FS)' 2016, 215.0 x 343.0 cmoil, charcoal and archival glue on linenCollection: Art Gallery of NSW 'Untitled (PI3)' 2013 Oil and archival glue on linen 214 x 300 cm Private Collection 'We Call them Pirates Out Here' 2006 oil on canvas 226 H x 276 W x 3.5 D cm Museum of Contemporary Art Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2006 Daniel Boyd Untitled (WWDTCG) 2020 Oil, charcoal, pastel and archival glue on canvas 87 x 87 cm Collection of Anthony Medich, Sydney Installation view of the Daniel Boyd: Treasure Island exhibition on display at the Art Gallery of New South Wales, 4 June 2022 – January 2023, photo © AGNSW, Jenni Carter.

#004 - Auriea Harvey: Early Web Art, Video Games, and XR

FuturePerfect Podcast

Play Episode Listen Later Jun 2, 2022 50:36

This is the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.For episode 004, Wayne Ashley interviews Auriea Harvey, a prolific artist producing simulations and sculptures that bridge both physical and digital space. Over the past decades she has produced net.art, online performances, video games, and sculptures that blend digital and handmade production. Harvey's work can be found in the collections of the Walker Art Center, San Francisco Museum of Modern Art, Contemporary Art Museum of Luxembourg, and Rhizome's Net Art Anthology. Her video games and VR projects have been exhibited in venues all over the world.You and I have such a long overlapping history going back to the mid nineties with the emergence of net art. I was extremely inspired by your work, which was so personal and tactile, specifically your online journals composed of these sumptuous collages, poetry, photography, drawing, painting, and 3D sculptural elements. Already, one can see how passionate you were about creating dialogues between analog and digital production, which I completely connect to. There was no hierarchy between these two. When I look at the extraordinary depth of work that you've created over the past two and a half decades, I can easily tease out a history of the internet and digital culture with all its promises of emancipation and boundless creativity, as well as its many discontents, which we'll get into shortly. But first I, I want to go back to the beginnings of your practice. You studied sculpture at Parson School of Design before learning web design, and then founded the game studio Tale of Tales. How did you make that leap from sculpture to net art?Auriea Harvey: I would say that I not only studied sculpture, but I also studied design to a certain extent. Although I was a bit of an autodidact for a long time, meaning that my main skill was computers in addition to sculpture. So the fact that I was so passionate about computers really led me directly into this confrontation. Well, okay love of computers and lack of space, being a young person in New York City in the early nineties. And when I found the internet, it immediately struck me that everything I could do online was a sculpture. You know, it was a time of broadening these definitions of what a sculpture could be. There were people who were asking is video sculpture? Is installation sculpture? It seems obvious now, but at the time it was very much a question. And so I looked at the internet and said, is the internet sculpture? I began seeking the ways in which the internet was sculpture. And in some ways that sculpture was social. In some ways that sculpture was this multimedia and interactive landscape that was totally unexplored. And that was really interesting for me.Out of this you started doing online performance. Back in 1999, we brought you to Brooklyn Academy of Music to perform Wirefire. 23 years ago you were already thinking about the internet as a place to do performance. Can you talk about this?AH: Wirefire was very much a realtime performance. Michaël [Samyn] and I met every week, we had started it before we even lived together when I was still in New York City and he was in Belgium, and we created it as a way to communicate with one another. If you rewind and think back, the only way you could really talk to someone back then through the internet was via text. There was no video and there was no audio really. We thought text was completely inadequate and both of us, being very adept at internet languages, decided to create this system where we could communicate with each other through anything. We could upload sounds, animations, and could have real time chat. We could also invite the audience and offer them a way to interact with the performance and everyone could see it at the same time. And this was something that was kind of unheard of in 1999 or very rare. We did this from 1999 until around 2003. The site is still there and it sort of has a documentation of all the places where we also took it live. After he and I started living together, we started doing these things live also because it creates a big spectacle. It's something that we did that I'm really proud of.So with the emergence of Web 2.0, you stopped making this work. What happened?AH: Well, the beauty of the early web or Web 1.0 as people will say, was that it was this very big time of innocence. I would say it started with blogging, that was the beginning of the end. That was like the end of it all for me. It felt like it was taking away the power of computing from people. It did open up the web to a different subset of people, but I felt that those people should learn how to program HTML, I felt like this was very empowering. I could see that this was slowly eating away at people's ability to see the computer for what it was, which was an open a box of tricks. And you could pull out any of those tricks and use them in any number of ways.Slowly over the years, indeed, you've seen this closing down, you know, to the point where now websites have a hamburger menu on the side and there's expected to be good navigation (I'm making air quotes). Whereas we were all about crashing the browser and making people think. Of course there were bad actors who took advantage of the freedom that the web had to offer, but it seems to me like there were better solutions than what Web 2.0 turned out to be.It became much more templatized as well.AH: Yeah it became more templatized, people are basically ignorant about what they can do with their computers now. It's not about computers, it's about phones. It's not about computers, it's about using services. It's about subscriptions. It's not about building anything, you know? Only a few people still build, and it's made more and more complicated through the way corporations have controlled the computing environment and the internet and our interactions on it. Back then I could see that coming, let's say, and I was like, nope we're outta here, let's do something else.I want to read something from a manifesto you wrote with your partner Michäel Samyn in 2006. I think this will form a kind of way for you discuss your whole new transformation into working with gaming.Realtime 3D is the most remarkable new creative technology since oil on canvas. It is much too important to be wasted on computer games alone. This manifesto is a call-to-arms for creative people (including, but not limited to, video game designers and fine artists) to embrace this new medium and start realizing its enormous potential. As well as a set of guidelines that express our own ideas and ideals about using the technology.It is much too important to remain in the hands of toy makers and propaganda machines. We need to rip the technology out of their greedy claws and put them to shame by producing the most stunning art to grace this planet so far. (And claim the name “game” for what we do even if it is inappropriate.)I love hearing that. What did you want to accomplish with this manifesto? And why did gaming suddenly become a compelling arena for you to explore and experiment?AH: Well, we really saw video games as an interactive art form. But this was 2002 or 2003, and so video games didn't know that yet. But we just looked at it and we're like, this is interactive. People spend hours 20 hours playing a video game, and you can't get that with a painting [laughs].We had been playing a lot of video games and we didn't understand them at first. We played them and questioned why they were doing this with the technology? It's as if we were visiting an alien planet and we could not compute why this was the only thing that was happening—RPGs with random battles, fighting games, driving games, adventure games. There were several genres that you had to fit into in order to sell a video game at that time. There were, of course, exceptions. But this was pretty much the world we were walking into. So when we gave that manifesto, which is called the Realtime Art Manifesto, we really thought that the most remarkable thing here was that you were making something that, like the internet, allowed for realtime communication. People could be inside a world when you played a video game, you were completely lost in it. Now you would look at certain video games and you wouldn't understand what was so special about that world, but at the time when you played, and even now when you play video games, of course it's like being inside a book, but more real, it feels real. That was what was important to us. It was something I had experienced with early VR, for example, but more so in a certain way, because it was these works of imagination. Now our problem was the imagination that we saw within video games seemed extremely limited and we wanted to be able to use it for ourselves, but also encourage others to look at video games as something that was wide open. That was, again, that box of tricks that you could just do whatever you wanted with. Literally it's like, come on creators, you can do anything with this, you can make any world! And we were some of the first to really make a point of this. There was an undercurrent in game studies at that time in 2006 trying to point this out, but there were very few examples. So we really devoted ourselves to creating that example and encouraging other people to change their thinking around video games. And we threw in that last part “even if the word game is inappropriate,” because people were eager for us to name this change. There was a big discourse at the time around: what is a game? We thought that was the most boring question ever. We were like, we're not doing that, we're not talking semantics, this is real stuff here. So we said it's a video game and that's it. So we started our little journey there, with the manifesto, and it was quite a controversy, at the time, to say these things.What was controversial about it?AH: Well, the thing we had to learn about gamers was that they quickly feel like you're coming for their stuff. There was a lot of discussion back then, and maybe there still is, about “do games cause violence?” Everyone was kind of down on gaming, saying it's for kids, or it's dangerous. And you had the US Army with their recruitment game. People were testing the limits, both psychologically and aesthetically, of what a game could be. And so gamers could be very touchy about this subject of “what is a game?” We never tried to take anything away, we were just trying to add something to that, but gamers often were feeling sensitive about [laughs] their Mario. They couldn't stand it if you dared to disdain these types of games. And we disdained a lot.But out of that you produced several games and one of them, The Endless Forest, was, according to your words, one of the most successful games that you've created. It continues to circulate and you're currently developing a new version with Unreal Engine. Tell us a little bit about what it's like to play or experience.AH: We released The Endless Forest back in 2006. It was a multiplayer game where everyone plays a deer in a forest. It was ultimately meant to be this very peaceful gesture at a time when everyone was playing World of Warcraft. We made this game as sort of the antidote to that. It was something we felt people who played World of Warcraft could dip into for five minutes. The thought of playing a game for a short amount of time in 2005 was rare. The fact that people would play games for hours and hours was what drew me to games. But at the same time, once I got there, it felt like people need experiences that they only play for 5 or 10 minutes. They can come to a world that's always there for them, but they go there and it's not about killing. It's not about points. It's not about gaining anything. It's just about being there and feeling it. And so when you're in The Endless Forest, you're there and you feel like an animal, you feel like a deer running through a forest and it's very joyful and funny. You run into other animals in the forest and those are all people playing the game and you sort of have to make up a language because there's no chat in the game. That was the big innovation, that you couldn't talk to each other, you could only make noises or sort of dance, but you find things in the forest, you play together in the forest, and do whatever you want. That was the other thing, there were no rules. So people made up their own rules about the world. They made up their own stories. There were songs written about The Endless Forest, tons of stories, and artworks created about it. People made friends in the forest, people died and had memorials in the forest, like any other multiplayer game. Except for this one was a very specific fantasy about nature and utopia, I suppose. It was our hope that people would take all this beauty and feeling of joy and take that out into the real world and in their interactions with other people and understand that you don't really have to understand each other exactly. I think it was very successful because people are still playing it and it's always been free. We've kept it that way all through the ideas of monetization. We wanted to let people enjoy it. Which again, was kind of anti Web 2.0 thinking, you know?And you're going to relaunch this as a new updated version. When is that coming out?AH: The beta is out already. We don't know when it'll be fixed because it's one of those done when it's done kind of projects since we're doing this as a side thing. We decided to remake it, and it wasn't exactly necessary. We were just just worried about the technology failing on us, so we wanted to make sure we had found a way to make The Endless Forest truly endless.With all this excitement, then, about video games and their artistic and social possibilities, you stopped making video games. Why?AH: I stopped making video games because I felt that we had said all that we had to say through the format of the commercial video game that is sold through an online store that people download and play on a PC. The part of the manifesto that I never let go of, that I felt was the key to that whole manifesto, is the realtime part. Even with the internet, when I was making websites, that was the important thing. It was realtime. People were there all connected to the same page. We made several works that were just visualizing this fact. Now we take it for granted that when you're on Twitter, everybody's sitting there on Twitter together, but back then it was very special to say, look, there's someone else here on this page. That real time aspect was something we took from games, this notion that things are being executed 60 frames a second. Even if someone else isn't there with you, you are there with the virtual creature and that virtual creature is reacting to you in realtime. So I stopped making video games because in some ways it felt like the world of gaming was getting in my head a little too much. In a very negative way, because it was a business we were running and I didn't feel like being a business person on the one hand, and on the other hand dealing with the audience part became a much bigger task. It was sometimes really unpleasant. Not so much for the players of our games, but just in general, the whole way in which games were created, sold and marketed became something that I couldn't agree with. We made our last video game in 2015, a game called Sunset, which had a very strong political message that was in some ways over people's heads. We knew it was going to be, but at the same time it was kind of like our final say, the last thing we could say about video games. We were going to try to make a game that's kind of normal, being that it was just a first person game played like other first person games, but at the same time use it to get across this political message about the time we live in by talking about the past.It's a very complex game. And I think it ended up being so complex because we knew what we were doing at last, we knew exactly how to make a game in a year, how to stay under budget, how to put together a team, how to market it. But then everything we wanted to say came out in a rush. It was like trying to put together a very intricate puzzle and make it something that people could explore. And it just felt like maybe this doesn't need to be a game. For the first time, after all the years of people telling us, did that really need to be a game? We suddenly asked ourselves does this really have to be a game? It felt like it was time to do something else.In our previous conversations you talked about the work of Polish director Tadeusz Kantor and this residency you had in 2017. It sounded like a kind of really interesting re-engagement with the potential of computation and VR. What was it about Kantor's work that moved you and re-inspired you?AH: So we had stopped, we had left what we felt was a toxic environment, but that toxic environment was still in our heads. We still didn't understand how to just be artists again and not be these people involved in this business and the games industry. We accepted a very strange offer that we got from the Polish Ministry of Culture to come to Poland and take part in this residency through the Tadeusz Kantor Foundation where they were opening up his summer home to artists to come and live there and create work. They sent us videos of his performances and we watched them and I was completely shocked. I was open mouth, flabbergasted, because I was just like, what is this? It was a whole other world and it took a while for me to really parse it. And I loved that. I loved the fact that it did something to my brain, that my brain was not ready for. Even though these were performances that happened in the nineties or eighties, it was beautiful. The more we watched his work and the way that he was interacting with his performers on stage it became an inspirational moment. We felt, this is the same as what we're interested in, he's directing this realtime performance, very much moving his actors around the stage and emotionally involved in every single line, and we felt this could translate into VR.The thing that really did it for us was that for him, there was no difference between a doll and a human actor. And that reminded us, okay, what is that in 3D? When you make a world, what makes one thing alive and another thing not alive. And in a way it's just all programming. Out of this we made Cricoterie, which we started at his summer home in the in the middle of the woods outside Kraków, Poland in this really creepy house. I mean it wasn't just creepy, It was beautiful, but he's got this giant chair outside, one of his artworks.It was just really an interesting difference between what we were doing before and what we were hoping to do now. VR was something we knew we wanted to experiment with as a way of getting out of our normal computing mode. Also, we liked the fact that when you put on the VR headset, you are really there. It's not so much about imagination, but about tangible facts, for lack of better ways of saying it. We wanted to make performances. We saw VR as something that few people were ever going to have the equipment at home, so it's perfect for actually staging things. We wanted to create installations around our VR. We staged Cricoterie at the Palace of Science and Culture in Warsaw and also had a showing at a gallery in Kraków, which was really wonderful. And had a few other showings of it also in Basel at the Museum Tinguely.And now you're going to have two shows that are upcoming, one at The Momentary in Bentonville, Arkansas, which is an old cheese factory turned to a contemporary art space for visual and performing arts. And then a second show inside the online space called Feral File.AH: Yeah, during the pandemic I leaned into the fact that I wanted to make sculpture. I had my first solo show at bitforms gallery in New York City during lockdown. It was around that time where I realized that the digital work that I had been creating all along was suddenly also valued. Because outside of games, digital work was under-appreciated by the art world and really by everyone. I had been making all these digital objects all along and 3D modeling has been my life for the past 20 years.I wanted to create sculptures that were not only physical sculptures, but also digital, people could see these works as AR sculptures. And of course it was during this time when people started selling NFTs and so suddenly it became a moment where people wanted to collect these virtual sculptures as if they were real. The thing about sculpture is, and it touches on a conclusion that I came to when I had the burnout experience in 2011, was that sometimes things don't have to move, sometimes things can be simply what they are. This beauty that can transcend space time and that realtime that I always comes back toFor Feral File it's going to be completely virtual pieces being that it's an NFT show. It's a well respected space run by Casey Reas, one of those old school digital artists and someone I respect greatly. He's managed to create a space that isn't just about being marketplace, but it's about online exhibition, something we all kind of became used to during the pandemic. But now that it's not that anymore, how can you even understand what an online show is? How can you create a venue for that for artists who take digital work seriously? It's not just about, how do I put it, the ugly JPEGs, but about the actual work that a lot of us have been doing all along.Thank you Auriea, this is great. There's of course a lot more to talk about. This conversation gives us a good overview, not only into your career, but also a history of the internet. I can completely relate to that and have gone through similar phases.AH: Thank you so much. It's been great to know you all these years and to think back on what we have seen, right? So thank you for having me on the podcast. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

Raw Passion w/ painter Clarence Heyward

Studio Noize Podcast

Play Episode Listen Later May 31, 2022 71:57

Welcome painter and collage artist Clarence Heyward to the Studio Noize fam! Clarence has an amazing story about how he became a full-time artist. In the short time, he's been working he's gotten museum shows, placed into collections around the country, and has built an art practice that gets him excited to work every day. We talk about doing studio visits, how to paint Black people, and using his family as inspiration for his work. Of course, we talk about the paintings, some of them have some very surprising inspirations. Listen, subscribe, and share!Episode 141 topics include:teaching artart residencies getting studio visitspainting Black peoplevulnerability and authenticityfiguring out what worksjumping into art full-time never burning outthe importance of familyClarence Heyward (American, b.1983) was born and raised in Brooklyn, NY. He is a painter and collagist whose work explores notions of the Black American experience.His work investigates cultural truths, challenges stereotypes, and questions identity. Clarence believes it's important to "paint his truth" and uses persons of color as subjects in his work as homage to his culture. Beginning his journey as a full-time artist in 2019, he is best known for his dynamic and fresh take on figurative art. Heyward relocated to North Carolina to study Art Education at North Carolina Central University. He has shown his work nationally and has been featured in venues including the 21c Museum of Durham, the Harvey B. Gantt Center for Cultural Arts, the Block Gallery Raleigh, the Nasher Museum of Art at Duke University, and (CAM) the Contemporary Art Museum of Raleigh.Heyward was the recipient of The Brightwork Fellowship residency at Anchorlight, Raleigh in 2020, the Emerging Artist in Residence at Artspace, Raleigh in 2021 and was the 2022 Artist in Residence at NC State University. His work is in the collections of several notable private and public institutions. He currently lives and works in Raleigh, NC.See More: www.clarenceheyward.com + Clarence Heyward IG @clarenceheywardartFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

Anastasia Samoylova - On Ecosystems

The Messy Truth - Conversations on Photography

Play Episode Listen Later Apr 21, 2022 53:28 Very Popular

In this episode, Gem Fletcher chats to artist Anastasia Samoylova who moves between observational photography, studio practice and installation. By utilizing tools and strategies related to digital media and commercial photography, her work explores notions of environmentalism, consumerism and the picturesque. Her new book Floridas: Anastasia Samoylova & Walker Evans was published by Steidl in 2022. In 2020-2021 her ongoing project FloodZone was presented in solo exhibitions at the Chrysler Museum of Art; HistoryMiami Museum; Contemporary Art Museum, Tampa; and The Print Center Philadelphia. The book of the project was published by Steidl in 2019. In 2022 the project will be exhibited at the Eastman Museum. Samoylova is shortlisted for the Deutsche Börse Photography Foundation Prize 2022. In this conversation, we discuss Ana's journey, and how her early work built to where she is today, united by the urgency of climate anxiety and questioning of the pictured world we occupy. We talk about publishing, process, artistic ecosystems, the artist as a cultural worker and much more. Follow Ana on Instagram @anasamoylova and follow Gem @gemfletcher on Instagram. If you've enjoyed this episode, PLEASE leave us your feedback and maybe five stars if we're worthy in the Apple Podcast store. Thank you for listening to The Messy Truth. We will be back very soon. For all requests, please email hello@gemfletcher.com See acast.com/privacy for privacy and opt-out information.

art apple podcast tampa gem ecosystems deutsche b messy truth walker evans steidl contemporary art museum chrysler museum

Artist Kahlil Robert Irving

Art from the Outside

Play Episode Listen Later Apr 21, 2022 54:34

This episode we are so excited to be chatting with the incredible artist Kahlil Robert Irving. Currently living and working in St. Louis, MO, Kahlil's work encompasses ceramics, sculpture, site-specific wallpaper, and other mediums to mine the archive of visual culture and explore notions of Blackness. In December 2021, Kahlil opened his first museum solo exhibition at the Museum of Modern Art in New York, titled Projects: Kahlil Robert Irving. His work has been exhibited at the Nerman Museum of Contemporary Art in Kansas; the Craft Contemporary in Los Angeles; and the RISD Museum in Rhode Island - amongst others. He was selected to participate in the 2019 Great Rivers Biennial hosted by Contemporary Art Museum of St. Louis where he had a solo exhibition in May 2020. In 2018 his first institutional solo exhibition “Street Matter decay and forever: golden age” took place at Wesleyan University Center of the Arts in CT and was accompanied by a full color catalog with essays and an interview. His work is in the collection the Nerman Museum of Contemporary Art in Kansas; and the Carnegie Museum of Art in Pittsburgh; and the Whitney Museum of Contemporary Art in New York. He received his MFA from the Sam Fox School of Design & Visual Art in Washington University in St. Louis; and he got his BFA from the Kansas City Art Institute in Art History & Ceramics. Some artists discussed in this episode: Dayanita Singh Kelley Walker Alex Da Corte Elizabeth Catlett Robert Gober Chuck Close William Pope.L Willie White Royal Robertson Lee Bontecou Glenn Ligon For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy!

Gala Porras-Kim Makes Art of Interrogation

Getty Art + Ideas

Play Episode Listen Later Mar 30, 2022 35:21

"When I look at the law and also museum policy, it's just so close to conceptual art making. You have a lot of material and you're just trying to define how it lives in the world, except with the law, everybody agrees. With conceptual art, you have to convince people to believe in it." Gala Porras-Kim is an interdisciplinary artist whose work is both conceptually rigorous and visually compelling. Born in Bogotá and based in Los Angeles, Porras-Kim creates art that explores the relationship between historical objects and the institutions that collect and display them. From writing letters questioning how museums handle artifacts to creating sculptures that honor the spiritual lives of antiquities, Porras-Kim's practice is part concept, part material manifestation. The artist's current exhibition, Precipitation for an Arid Landscape, focuses on the Peabody Museum's collection of thousands of artifacts originally found in a giant sinkhole: the Sacred Cenote at Chichén Itzá on Mexico's Yucatán Peninsula. The exhibition is one in a series of solo shows at the Amant Foundation in Brooklyn, Gasworks in London, and the Contemporary Art Museum in St. Louis. The work is based partly on research Porras-Kim carried out while she was a fellow at the Radcliffe Institute for Advanced Studies at Harvard and an artist in residence at the Getty Research Institute. In this episode, Porras-Kim muses about rummaging through museum archives, the rights of mummies, and potlucks in the Pink Palace. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-gala-porras-kim-makes-art-of-interrogation/ or http://www.getty.edu/podcasts To learn more about Porras-Kim, visit https://blogs.getty.edu/iris/meet-the-getty-research-institutes-newest-artist-in-residence/ To learn more about Precipitation for an Arid Landscape, visit https://www.amant.org/exhibitions/4-gala-porras-kim-precipitation-for-an-arid-landscape

los angeles mexico harvard gala bogot peninsula interrogation yucat advanced studies porras precipitation radcliffe institute chich itz getty research institute pink palace peabody museum gasworks contemporary art museum

293. Sarah Paulsen: Independent Visual Artist

Play Episode Listen Later Mar 12, 2022 14:44

Independent Visual Artist, Sarah Paulsen, stopped by to talk to Nancy about her life and work. ----- Raised in Kirkwood, Missouri, Sarah Paulsen is an artist, filmmaker and community organizer whose artwork has been exhibited widely in local and national exhibitions, and whose prize-winning films have been featured in the St. Louis International Film Festival, the True/False Film Festival, the Black Maria Film Festival, the Motivate Film Festival and the Chicago International Children's Film Festival, among many others. She was a 2018 Great Rivers Biennial Winner culminating in an exhibit at the Contemporary Art Museum, St. Louis. A 2010 C.A.T. Institute fellow and 2015 Regional Arts Commission Artist Fellow, she has garnered numerous awards for her work and also completed several residencies – including the Cite Internationale des Arts, Paris. A dedicated advocate for social change, a key aspect of Paulsen's practice has always involved the orchestration of large-scale community projects, such as participatory public murals, thematic round-table discussions and the now-annual People's Joy Parade on Cherokee Street, currently in its ninth year. Paulsen holds a B.A. in visual art from the University of Missouri, Columbia and an M.F.A. from the Sam Fox School of Design and Visual Art at Washington University. She lives and works in St. Louis, where she teaches art and animation at Marian Middle School and local colleges.

university design arts institute missouri independent columbia raised film festival washington university visual arts visual artists paulsen kirkwood contemporary art museum sam fox school louis international film festival cherokee street true false film festival sarah paulsen

Cheryl Donegan

Sound & Vision

Play Episode Listen Later Jan 27, 2022 100:23

Cheryl Donegan received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. In her breakthrough videos of the 1990's, Donegan combined time-based, gestural media of performance and video with forms such as painting, drawing, and installation. Her work has been exhibited internationally, most recently in her first career survey at Kunsthalle Zurich (summer 2017). In June 2018, Cheryl opened another survey of her works from 2009 to present at the Aspen Museum of Art, traveling to Contemporary Art Museum in Houston in 2019. Other venues include a one person exhibitions at The New Museum, New York City (2016), the 1995 Whitney Biennial, The Museum of Modern Art, and the Tang Museum of Art, New York Film and Video Festival, 1993 Venice Biennale, and the1995 Biennale d'Art Contemporain de Lyon, France, in addition to many individual and group exhibitions in Europe and America. Cheryl was a faculty member in the Fine Arts Department at the School of Visual Art, New York from 1997-2013. She has been a seminar leader and guest critic at Yale University, was a faculty member at Skowhegan School of Drawing and Painting, Summer 2011 and a visiting artist/lecturer at numerous art programs in the United States. She lives in New York and in Istria. Sound & Vision is sponsored by www.goldenpaints.com and fulcrumcoffee.com You can visit Fulcrum and get the new tin I made artwork for on their site.

1 curadorx, 1 hora: Fernando Ribeiro

Play Episode Listen Later Jan 26, 2022 108:44

Fernando Ribeiro nasceu em Curitiba, Paraná, Brasil, em 1979. É artista da performance e curador. Atualmente cursa o mestrado em Artes na UNESPAR, além de ser bacharel em Artes Visuais UTP (2002). Fundador e curador da plataforma de performance arte p.ARTE, criada em 2012. Foi curador de performance na Bienal Internacional de Curitiba (2013, 2015, 2017 e 2019), além de ter organizado o 1º Simpósio Internacional de Performance Arte - p.ARTE no Museu, no Museu de Arte Contemporânea do Paraná, em 2019. [Fernando Ribeiro was born in Curitiba, Paraná, Brazil, in 1979. He is a performance artist and curator. At the moment, he is doing a master's degree in Arts at UNESPAR, besides holding a bachelor's degree in Visual Arts at UTP (2002). He is the founder and curator of the performance platform p.ARTE, created in 2012. He worked as a performance art curator at the International Biennial of Curitiba (2013, 2015, 2017 and 2019), besides organizing the 1st International Symposium of Performance Art - p.ARTE no Museu, at the Contemporary Art Museum of Paraná, in 2019] ///imagem selecionada|selected image: Alison Crocetta, "Canções para minhas irmãs" ("Songs for my sisters"), 2015/// [entrevista realizada em 12 de outubro de 2020|interview recorded on october 12nd, 2020] [link para YouTube: https://youtu.be/4QmU6lQEMB8]

1 curadorx, 1 hora: Cecília Bedê

I SEE U with Eddie Robinson

Play Episode Listen Later Jan 12, 2022 107:06

Cecília Bedê nasceu em Fortaleza, Ceará, Brasil, em 1983. É curadora e pesquisadora das Artes Visuais, mestre em Comunicação e Semiótica pela PUC-SP. Graduada em Artes Visuais pela Faculdade Grande Fortaleza, tem experiências profissionais nas áreas da arte-educação, gerenciamento de acervos, produção, curadoria de exposições e no campo editorial das artes visuais. Atualmente é Gestora do Museu de Arte Contemporânea do Centro Dragão do Mar de Arte e Cultura. [Cecília Bedê was born in Fortaleza, Ceará, Brazil, in 1983. She is a curator and researcher of visual arts and holds a master in Communication and Semiotics from the Catholic University of São Paulo. She has a bachelor in Visual Arts from Faculdade Grande Fortaleza. She is experienced in the fields of art-education, management of collections, production, exhibition curating and book editing. At this moment, she is the director of the Contemporary Art Museum at Centro Dragão do Mar de Arte e Cultura]. ///imagens selecionadas|selected images: Anna Bella Geiger, Fernando Cocchiarale, Ivens Machado, Letícia Parente, Miriam Danowski, Paulo Herkenhoff e Sonia Andrade, "Telefone sem fio" ("Broken telephone"), 1976 + Maurício Ianês, "A bondade de estranhos" ("The kindess of strangers", 2008/// [entrevista realizada em 05 de outubro de 2020|interview recorded on october 5th, 2020]

28: Storytelling Art of The Dirty South

Play Episode Listen Later Dec 10, 2021 52:00

To be black and southern is to contend with the embedded legacy of racial terror and grapple with the unique and enduring culture created in its shadow. The term “dirty south” can invoke many images connected to southern agrarian life, but hip-hop artists have transformed it into a banner of pride. Dirty South now represents a short cut for understanding the perspectives of creatives who were raised or procured their work in the South – through music, art, fashion, and other forms of cultural products that possessed a specific, Southern lens. This work has been captured in an exhibit called, “Dirty South,” currently on display at the Contemporary Art Museum of Houston until February. On this episode of I SEE U, join us as guest host, Dr. Melayne Price, chats with the exhibit's curator, Valerie Cassel Oliver, as well as Houston artists Nathaniel Donnett and Mel Chin whose works are included in the show. Find out what happens when contemporary art merges with the roots of Southern hip-hop culture in The Dirty South.

culture art artist south storytelling hip hop southern dirty south art museums contemporary art museum houston hip hop

S1E06 FIELD TRIP | “from where i stand” at The Aldrich Contemporary Art Museum

Dada or Nothing! | The Mechanics of Art

Play Episode Listen Later Nov 9, 2021 36:24

Jojo heads to the Aldrich Museum in Ridgefield, CT to see two first-time solo exhibitions: Lucia Hierro's "Marginal Costs" and Hugo McCloud's "from where i stand." Featuring guests Alex Tripodi and returning favorite Jerusha Wright!

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Wassan Al-Khudhairi: Chief Curator of the Contemporary Art Museum St. Louis

black modern african americans color odyssey curator proctor munson contemporary art museum arts institute

Play Episode Listen Later Jul 21, 2021 14:20

Wassan Al-Khudhairi, Chief Curator of the Contemporary Art Museum St. Louis, stopped by to talk with Nancy about the museum and one of the current exhibitions, Stories of Resistance. Stories of Resistance explores artistic forms of resistance from across the world. Through visual narratives, artists amplify and bring to focus the multitude of conditions that ignite and inspire people to resist. The exhibition activates the entire museum space, inside and out, with video, photography, drawing, sculpture, painting, and installation. Presenting narratives from many social, political, and geographical spaces, the artists include: Bani Abidi, Andrea Bowers, Banu Cennetoğlu, Torkwase Dyson, Emily Jacir, Glenn Kaino, Bouchra Khalili, Candice Lin, Jen Liu, Guadalupe Maravilla, Tuấn Andrew Nguyễn, Trevor Paglen, PSA: (Jen Everett, Aida Hasanović, Simiya Sudduth), Wendy Red Star, Dread Scott, Kemang Wa Lehulere, and Wide Awakes (Maryam Parwana, Combo, Otherward). St. Louis serves as an ideal platform for Stories of Resistance. Resistance movements that have arisen here, most especially the rise of Black Lives Matter in response to the police killing of Michael Brown, have incited global actions against racism and injustice. By looking through a local lens, the exhibition draws connections worldwide, revealing profound influences that traverse borders and cultures. With this in mind, Radio Resistance, an integral component of the exhibition, will broadcast conversations between exhibiting artists and artists, activists, scholars, and others with a deep knowledge and experience of St. Louis. Because of radio's legacy as a tool for dissent, it serves as the medium for dialogue between intersecting local and global agents of change. Alongside the exhibition and radio program, a CAM publication will include images of works in the exhibition and writings that further explore and expand on the ideas and themes of Stories of Resistance. Stories of Resistance, installation view, CAM. Photo: Dusty Kessler Wassan Al-Khudhairi: Chief Curator at CAM

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Munson Williams Proctor Arts Institute Presents "Emma Amos: Color Odyssey"

The Roundtable

Play Episode Listen Later Jun 29, 2021 11:27

The new exhibit: “Emma Amos: Color Odyssey,” is on view through September 12th at Munson-Williams-Proctor Arts Institute , the first retrospective of this important artist's work., featuring more than 60 bold mixed-media paintings by Amos, an African American woman, who challenged society with her art on race, gender, and privilege. A companion exhibition, “Call & Response: Collecting African American Art,” running through November 28, explores Munson-Williams' efforts to enhance its collection with works by Black artists over the past 30 years. To tell us more we welcome Curator of Modern and Contemporary Art Museum of Art Mary Murray.

1 curadorx, 1 hora: Rejane Cintrão

Woodturning Weekend Conversations

Play Episode Listen Later Jun 16, 2021 100:18

Rejane Cintrão nasceu em São Paulo, São Paulo, Brasil, em 1956. É mestra em História da Arte pela USP e, desde 2013, coordenadora do Instituto Figueiredo Ferraz, em Ribeirão Preto. Trabalha na área cultural há cerca de 40 anos, tendo iniciado sua carreira como coordenadora do setor de exposições temporárias e vídeos no MAC-USP, em 1983, onde permaneceu até 1991. Atuou como curadora executiva do Museu de Arte Moderna de São Paulo (1993 a 2006). Idealizou o Programa Novos Curadores e os projetos de site specifics no Espaço Cultural do Complexo Hospitalar Edmundo Vasconcelos (2010-2014). Realizou nove curadorias para a Torre Santander, São Paulo (2011 -2014). Autora do livro "Algumas exposições exemplares" (2011). [Rejane Cintrão was born in São Paulo, São Paulo, Brazil, in 1956. She is a master in Art History at the University of São Paulo and, since 2013, coordinator of the Instituto Figueiredo Ferraz, in Ribeirão Preto. She works in the cultural field in the last 40 years, starting her career as the coordinator of the temporary exhibitions and videos department at the Contemporary Art Museum of the University of São Paulo, from 1983 to 1991. She works as executive curator at the Modern Art Museum of São Paulo (1993 to 2006). She created the program Novos Curadores and the site specific projects at the Espaço Cultural do Complexo Hospitalar Edmundo Vasconcelos (2010 to 2014). She curated nine shows at Torre Santander, São Paulo (2011 to 2014). She's the author of the book "Algumas exposições exemplares" (2011)] ///imagem selecionada|selected images: Michelangelo Antonioni, "Blow-up", 1966/// [entrevista realizada em 06 de fevereiro de 2021|interview recorded on february 6th, 2021]

Jacques Vesery - Maine, USA

Play Episode Listen Later May 25, 2021 53:36

Jacques Vesery is an Artist/ Sculptor from Damariscotta and has lived in Maine for 20 years. Striving to create an illusion of reality, his vision and inspiration begins with repetitive patterns derived from the 'golden mean' or 'divine proportions'. The marriage of pattern, form and proportion conveys a sense of growth from within each of his pieces.His work is in numerous public and private collections including the Detroit Institute of Art, the Contemporary Art Museum of Honolulu, Yale University Art Gallery and The Carnegie Museum..... He is a Maine Arts Commission Fellow for 2000 and winner of Sculptural Pursuit Third Annual Sculpture Competition in 2006Jacques has lectured on design and concepts within his work in France, Italy, England, Canada, New Zealand, Australia and 28 US states at such locations as Journees Mondiales du Tournage D'art Sur Bois Congres, Loughborough University, Anderson Ranch, `Aha Hana Lima- Hawaii and Haystack Mt. School.He has been included in over 20 publications and will have work in ''100 Artists of New England'' to be released in the spring of 2011. Other books include 'Scratching the Surface', 'Wood Art Today', 'Natured Transformed' and 'New Masters of Woodturning'Jacques has also curated the following exhibitions; 'A Nation of Enchanted Form: Woodturning Artists Across North America' 2005, 'Far From The Tree: An Evolutionary View of Contemporary Woodturning' [co-curated] 2007, In the Palm of Your Hand' 2009, “National Treasures - History in the Making”[co-curated] and will be curating an upcoming exhibit called 'Playing Well With Others: Collaboration in Wood' in the fall of 2012.Some upcoming exhibits that will include his work are; “Roots; An Artist's Voice”at the Wood Art Gallery in St. Paul, “CREATE: The Mysterious Art of Wood”at Cape Fear Studios in North Carolina and 'Conversations with Wood: Selections from the Waterbury Collection' at the Minneapolis Art Institute.Support the show (https://www.patreon.com/WoodturnersWorldwide)

Cristina Mejías Gómez

Interviews by Brainard Carey

Play Episode Listen Later May 17, 2021 19:00

Cristina Mejías (Jerez de la Frontera, Spain, 1986) We have become accustomed to preconceiving the academic world as the legitimate container and transmitter of knowledge. We have the luxury of being able to forget something because we can always retrieve it from books. But here it is not enough to simply dry a leaf and store it in a herbarium, because a living plant is bitten by the air, and it is important that this happens. Libraries need to be driven by our desire in order to take on life. The practice of orality cuts across bodies. The listener listens. Cristina Mejías’ work is predicated on familiar narrations and storytelling, challenging the strict, traditional methods used to construct history by means of a linear narrative. What has brought us here to the present is founded upon the strata of History and stories that predate us. The creation of something regarded as new always begins with seizing a murmuring that triggers the story. Mejías has a degree in Fine Arts from UEM (Madrid) and NCAD (Dublin) and a Master’s in Research in Art and Creation from UCM (Madrid). After several years living in Berlin, now she lives and works in Madrid. Her work has recently been exhibited individually in Art centers such as Centro Párraga (Murcia, SP)- A un tiempo. Unos higos y un cántaro , Museum of Jaen and Museum of Cadiz (Jaen/Cádiz, SP)- For What Cannot Be Recovered Can at Least Be Reenacted, Blueproject Foundation (Barcelona, SP)- You Can't Leave Fingerprints on Stone, a project born thanks to the collaboration with archaeologist and performer Efthimis Theou-, and the Contemporary Art Museum from Maracaibo (Maracaibo, VZ)- Tejer y contar. Her work has also appeared in group exhibitions in Art institutions such as Tabakalera Donostia- Estudiotik at (San Sebastián, SP), CA2M- Colección XX (Madrid), La Casa Encedida- Generación 2020 and Things That Never Happened but Have Always Existed (Madrid, SP), SCAN Projects-Where water Rumbles (London, UK), CentroCentro (Madrid, SP), C3A-Touching Ground (Cordoba, SP), Fundación Mendoza- Correspondencias de Ultramar #4 Ana Navas y Cristina Mejías (Caracas, VZ), Artothèque-Ceux qui nous lient (Bordeaux, FR) or Tea-La tierra tiembla (Tenerife, SP). Along with her personal artistic work, currently she is collaborating with artist and performer Víctor Colmenero and their work has been seen or will be seen in places such as Volcánica Festival (Guadalajara, MX), La Capilla Theatre and Proyecto H (Mexico City, MX) or Pradillo Theatre (Madrid, SP). She has recently won a number of awards and grants, including Generación 2020, Blueproject Foundation, VEGAP XXIII, Comunidad de Madrid|Estampa award or Iniciarte. Over the course of the last months, she has been artist in residence at Pico do Refúgio (Azores, PT), Hangar Lisboa (Lisboa, PT), C3A (Cordoba, SP), Matadero Madrid (Madrid, SP), Ateliers dos Coruchéus (Lisboa, PT), Tabakalera Donostia (San Sebastián, PT) and MACZUL (Maracaibo, VZ) The book mentioned was by Ursula K. Leguin: The Wave in the Mind: Talks and Essays on the Writer, the Reader and the Imagination You Can’t Leave Fingerprints on Stone, solo exhibition at Blueproject Foundation (Barcelona, SP, 2020). Photo by Roberto Ruiz A un tiempo. Unos higos y un cántaro, solo exhibition at Centro Párraga (Murcia, SP, 2020). Curated by Ana García Alarcón. Photo courtesy of Centro Párraga.

Contemporary Art Museum in St. Louis | Brad Cloepfil

CultureNOW | A Celebration of Culture & Community

Play Episode Listen Later Apr 19, 2021 2:45

Brad Cloepfil of Allied Works talks about the firm's first museum commission- the Contemporary Art Museum in St. Louis. The Contemporary is a non-collecting exhibition, educational and event space in downtown St. Louis, Missouri. The site is located in the Grand Center District, adjacent to the Pulitzer Foundation for the Arts. Together, the institutions are a focal point for the arts community in St. Louis and a catalyst for the redevelopment of the surrounding neighborhood. The Contemporary’s mission is not to preserve, but to provoke: presenting work from noted artists such as Maya Lin, Bruce Nauman and Cindy Sherman, as well as emerging contemporary artists.The two-story, 27,000 sf museum provides open, flexible space for exhibitions and programs while emphasizing transparency at ground level. The building is formed by two intersecting ribbons of concrete and stainless steel mesh that weave and overlap to define the principal volumes. The lower walls bound the museum and create a series of large interconnecting galleries. The walls alternately delineate the site boundaries and fold inwards, inviting the public to enter and providing views through the building from the neighboring streets. The upper walls span above the galleries, providing spaces for administration and education. Between these walls, ceiling planes are held at varying heights to create variations in scale, proportion and enclosure, providing a diversity of day lighting conditions and curatorial opportunities.This building is a simultaneous act of enclosure and invitation, allowing the landscape to flow through the entire site, while tenuously capturing and containing rooms for art. The museum is not a privileged domain, but an open field that concentrates the forces of the city in preparation for later occupation by the artists.

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1 curadorx, 1 hora: Ana Rocha

Play Episode Listen Later Apr 7, 2021 108:13

Ana Rocha nasceu em Curitiba, Paraná, Brasil, em 1987. É curadora e produtora de exposições. Desde 2019, é diretora do Museu de Arte Contemporânea do Paraná. Coordenou o programa de residência Núcleo de Artes Visuais SESi Curitiba (2017-2019). Em 2015, ganhou o prêmio Jovens Curadores da Bienal de Curitiba. Entre 2011 e 2013 foi curadora do espaço Finnacena, em Curitiba. No momento, ela é mestranda em História da Arte pela UNIFESP. Ela se formou em Artes Visuais pela Universidade Tuiuti do Paraná (2009) e em Gerenciamento de Projetos pela FGV (2011). [Ana Rocha was born in Curitiba, Paraná, Brazil, in 1987. She's a curator and producer of exhibitions. Since 2019 she directs the Contemporary Art Museum of Paraná. She coordinated the residency program Núcleo de Artes Visuais SESi Curitiba (2017-2019). In 2015 she received the Young Curators Award at the Curitiba Biennale. Between 2011 and 2013 she curated the space Finnacena, also in Curitiba. At the moment she is master degree student of Art History at the Federal University of São Paulo and she holds a bachelor degree in Visual Arts from the Tuiuti University of Paraná (2009) and another degree in Project Managing at the Fundação Getúlio Vargas (2011)]. ///imagem selecionada|selected image:/// [entrevista realizada em 13 de dezembro de 2020|interview recorded on december 13th, 2020] [link para YouTube: https://youtu.be/iczbmiyF8R8]

1 curadorx, 1 hora: Bitu Cassundé

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Play Episode Listen Later Feb 21, 2021 107:33

Bitu Cassundé nasceu em Várzea Alegre, Ceará, Brasil, em 1974. Vive em Fortaleza. Foi curador do Museu de Arte Contemporânea do Ceará de 2013 a 2020 e coordenou o Laboratório de Artes Visuais do Porto Iracema da Artes de 2013 a 2018. Dirigiu o Museu Murillo La Greca (Recife, 2009 a 2011). Suas últimas pesquisas se dedicam a investigar as relações de trânsitos entre as Regiões Norte/Nordeste do Brasil, com ênfase nos ciclos econômicos, fluxos migratórios e as conexões entre vida, desejo e arte. Questões relacionadas à subjetividade, confissão, intimidade, biografia, também integram suas pesquisas. [Bitu Cassundé was born in Várzea Alegre, Ceará, Brazil, in 1974. He lives in Fortaleza, Ceará. He was curator of the Contemporary Art Museum of Ceará from 2013 and 2020 and also coordinate the Laboratório de Artes Visuais do Porto Iracema das Artes from 2013 and 2018. He directed the Museum Murillo La Greca (Recife, 2009 to 2011). His last topics of interest are related with the transit between the regions North/Northeast of Brazil with an emphasis in the economic cycles, migratory transit and connections between life, desire and art. Issues related to subjectiveness, confession, intimacy and biography are also part of his research] ///imagem selecionada|selected image: canção "Carneiro" (song "Carneiro"/"Lamb"), Augusto Pontes e (and) Ednardo, 1974/// [entrevista realizada em 19 de setembro |interview recorded on september 19th]

brazil quest brasil vive foi suas regi fortaleza artes cear laborat alegre museu carneiro arte contempor artes visuais contemporary art museum norte nordeste porto iracema

The Performance Exhibitor (ZHANG Yuan, McaM Ming Contemporary Art Museum)

Mosaic of China

Play Episode Listen Later Jan 26, 2021 33:45 Transcription Available

We all know what to expect in a theatre. We all know what to expect in an art gallery. But in which of these worlds does Performance Art belong? One answer is the Ming Contemporary Art Museum (McaM) in Shanghai, and one person who can explain this world is the artist and curator, Zhang Yuan. Yuan's story also helps to paint a picture of the independent art scene in China, and the way in which performance art can convert audience members into active participants, and ultimately into a community of open-minded thinkers. Subscribe to the PREMIUM version, and/or follow the full transcript for this episode at https://mosaicofchina.com/season-02-episode-07-zhang-yuan. See the visuals and join the community on Instagram (https://instagram.com/mosaicofchina), Facebook (https://facebook.com/mosaicofchina), and WeChat (https://mosaicofchina.com/wechat). The episode also includes a catch-up interview with Nick YU from Season 01 Episode 13. (https://mosaicofchina.com/season-01-episode-13-nick-yu).

1 curadorx, 1 hora: Ana Avelar

Play Episode Listen Later Jan 17, 2021 107:38

Ana Avelar nasceu em Curitiba, Paraná, Brasil, em 1977. É curadora da Casa Niemeyer e professora de Teoria, Crítica e História da Arte, na Universidade de Brasília. Realizou curadorias no Museu de Arte Contemporânea da Universidade de São Paulo, Centro Cultural Banco do Brasil de Belo Horizonte (CCBB-BH), entre outras instituições. Participou de júris de prêmios nacionais, como o Marcantonio Vilaça, Jabuti, Prêmio Pipa e Rumos Itaú Cultural. Em 2019, foi ganhadora do programa Intercâmbio de Curadores, promovido pela Associação Brasileira de Arte Contemporânea – ABACT em parceria com o Getty Research Institute. [Ana Avelar was born in Curitiba, Paraná, Brazil, in 1977. She works as a curator at the Casa Niemeyer and as a professor of Theory, Criticism and Art History at the University of Brasília. She curated shows at the Contemporary Art Museum of the University of São Paulo, Cultural Center Bank of Brazil in Belo Horizonte (CCBB-BH), among other institutions. She took part as a jury in different national awards like Marcantonio Vilaça, Jabuti, Prêmio Pipa and Rumos Itaú Cultural. In 2019 she received an award of the program Exchange of Curators, promoted by the Brazilian Association of Contemporary Art (ABACT) in partnership with the Getty Research Institute]. ///imagem selecionada|selected image: Ana Teixeira, série "Convivência" (series "Coexistence"), 2020/// [entrevista realizada em 25 de agosto|interview recorded on august 25th] [link para YouTube: https://youtu.be/OdeNlJbcxmA]

1 curadorx, 1 hora: Ulisses Carrilho

Play Episode Listen Later Jan 13, 2021 99:46

Ulisses Carrilho nasceu em Porto Alegre, Rio Grande do Sul, Brasil, em 1990. É curador da Escola de Artes Visuais do Parque Lage e ex-aluno da mesma instituição. Pós-graduado em Economia da Cultura (UFRGS), estudou Comunicação Social (PUCRS) e Letras – Português/Francês (UFRGS). Iniciou sua trajetória como assistente de direção do Museu de Arte Contemporânea do Rio Grande do Sul. Integrou a equipe de relacionamento institucional da Fundação Bienal do Mercosul (Porto Alegre) e da galeria Rolando Anselmi (Berlim, Alemanha). Desde 2015 trabalha na Escola de Artes Visuais do Parque Lage. Em 2018, assumiu a curadoria de Ensino e Programas Públicos da escola. Vive no Rio de Janeiro. [Ulisses Carrilho was born in Porto Alegre, Rio Grande do Sul, in 1990. He is postgraduated in Economy of Culture (Federal University of Rio Grande do Sul) and studied Social Communication (Catholic University of Rio Grande do Sul) and Portuguese/French (Federal University of Rio Grande do Sul). He started his career as a curator working as assistant of the director of the Contemporary Art Museum of Rio Grande do Sul. He was part of the institutional relations team at the Foundation Mercosul Biennial (Porto Alegre) and also of the gallery Rolando Anselmi (Berlin, Germany). Since 2015 he works at the Visual Arts School at Parque Lage, where he also studied. In 2018, he assumed the position of curator of Education and Public Programs at the school. He lives in Rio de Janeiro] ///imagem selecionada|selected image: Bas Jan Ader, "Fall I", 1970/// [entrevista realizada em 21 de agosto|interview recorded on august 21st] [link para YouTube: https://www.youtube.com/watch?v=D2OZW1E5wXU]

1 curadorx, 1 hora: Tadeu Chiarelli

Play Episode Listen Later Jan 6, 2021 108:34

Tadeu Chiarelli nasceu em Ribeirão Preto, São Paulo, em 1956. Professor titular junto ao Departamento de Artes Plásticas da ECA-USP (aposentado) e do Programa de Pós-Graduação em Artes. Coordena, desde 2004, o grupo de estudos Arte&Fotografia na mesma universidade. Foi curador-chefe do Museu de Arte Moderna de São Paulo (1996-2000), diretor do Museu de Arte Contemporânea da USP (2010-2014) e diretor geral da Pinacoteca de São Paulo (2015-2017). Tem livros publicados sobre história da crítica de arte no Brasil e sobre artistas brasileiros modernos e contemporâneos. Atua como curador independente. Assina a coluna CONVERSA DE BAR(R) no portal da revista ARTE!Brasileiros. [Tadeu Chiarelli was born in Ribeirão Preto, São Paulo, in 1956. He's a retired professor at the Plastic Arts department of the University of São Paulo and also part of the postgraduate program. He directs, since 2004, the group of studies Arte&Fotografia at the same university. He was the chief curator of the Modern Art Museum of São Paulo (1996-2000), director of the Contemporary Art Museum of the University of São Paulo (2010-2014) and the general director of the Pinacotheque of São Paulo (2015-2017). He published books about history of art critic in Brazil and about modern and contemporary Brazilian artists. He works also as an independent curator and at the moment writes periodically at the section CONVERSA DE BAR(R) of the magazine ARTE!Brasileiros.] ///imagem selecionada|selected image: Prestes Maia, "Ponte grande" ("Big bridge"), 1930/// [entrevista realizada em 9 de setembro|interview recorded on september 9th] [link para YouTube: https://youtu.be/fuzZTdbT_xo]

Kjetil Skøien (Sparebankstiftelsen DNB's Grant Exhibition Part I)

Are You OK?

Play Episode Listen Later Dec 11, 2020 26:35

Kjetil Skøien (b. 1952, Oslo) is a former biodynamic farmer, dancer and theatre director who has directed more than 30 experimental theatre works in Norway and abroad. He has also directed Japanese Noh theatre and Butoh dance theatre and studied under Japanese dancer Kazuo Ohno. In 1994 Skøien collaborated with Black Box Theatre to produce ‘Dance of Life', a Butoh performance by Min Tanaka for the 1994 Lillehammer Olympics. Skøien was educated at the Norwegian Academy of Fine Arts. He was one of the earliest Norwegian artists to work with video. Skøien also works with performance, photography, painting, collage, text, theatre direction, and choreography.He has exhibited and directed performances in Kunstbanken, Hamar (2019), The Norwegian National Opera & Ballet, Oslo + Ultimafestivalen (2019), Kunsthall Trondheim + PAO performance festival, Oslo (2018), Minimalen Kortfilmfestival, Trondheim (2017). Skøien has had solo exhibitions at Kunstnernes Hus, Stenersenmuseet. He exhibited at Charlottenborg Kunsthal, Copenhagen; ICA, London; Museum Moderner Kunst, Vienna; Contemporary Art Museum, Oslo; Liljevalchs Konsthall, Stockholm; Henie Onstad Kunstsenter; Norsk Skulpturbiennale; Høstutstilling; Preus Foto Museum; Malmö konsthall; and Living Art Museum, Reykjavik. Skøien has work in the collections of the National Museum of Art, Architecture and Design, Norway, Cultural Council Norway, and Statens Konstråd, Sweden. https://en.oslokunstforening.no/kjetil-skoienhttps://www.kjetilskoien.no/https://en.oslokunstforening.no/sparebankstiftelsen-dnb-grant-exhibition-2020

art design japanese dance theater sweden norway architecture stockholm norwegian fine arts oslo copenhagen exhibition malm national museum contemporary art ica reykjavik trondheim kjetil hamar butoh contemporary art museum martin white norwegian academy black box theatre japanese noh henie onstad kunstsenter

Kahlil Robert Irving’s ‘At Dusk’ Exhibit Ruminates On Physical, Digital Time

St. Louis on the Air

Play Episode Listen Later Dec 1, 2020 17:34

A 2020 Great Rivers Biennial Arts Award recipient, Kahlil Robert Irving joins host Sarah Fenske to delve further into his exhibit theme at the Contemporary Art Museum in St. Louis and his career growth as an artist.

digital irving exhibit dusk kahlil contemporary art museum sarah fenske

1 curadorx, 1 hora: Divino Sobral

Play Episode Listen Later Nov 29, 2020 108:22

Divino Sobral nasceu em Goiânia, Goiás, Brasil, em 1966, onde vive e trabalha como artista, crítico de arte e curador independente. Entre 2011 e 2013 dirigiu o Museu de Arte Contemporânea de Goiás. Recebeu diferentes prêmios no campo da curadoria e da escrita crítica como aqueles relativos ao Salão Anapolino das Artes (2017), o Prêmio Marcantonio Vilaça (2015) e o Prêmio Situações Brasília (2014). Tem como áreas de interesse tanto a produção contemporânea brasileira, quanto o modernismo goiano. [Divino Sobral was born in Goiânia, Goiás, Brazil, in 1966, where he lives and works as an artist, art critic and independent curator. Between 2011 and 2013 he directed the Contemporary Art Museum of Goiás. He received many awards in the field of curating and art writing like those related to the Salão Anapolino das Artes (2017), the Marcantonio Vilaça Award (2015) and the Situações Brasília Award (2014). He's deeply interested not only in the contemporary art making but also in the modernism of the state of Goiás]. ///imagem selecionada|selected image: folder da exposição de inauguração da Escola Goiana de Belas Artes [brochure of the opening exhibition of the Fine Arts School of Goiás], 1952./// [entrevista realizada em 31 de agosto|interview recorded on august 31st ] [link para YouTube: https://www.youtube.com/watch?v=rzm7r_EMgcc]

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cool WIP episode 13: coolin with Rachel Youn

cool WIP

Play Episode Listen Later Aug 25, 2020 100:17

RACHEL YOUN IS FINALLY HERE IN YOUR EARS!!! Their multimedia practice is prolific which means we're talkin' kinetic sculpture, foot massagers, Craigslist, signifiers of Americana, Furbee Organs, FISHING, Busch Stadium and impotence. They're one of the participants selected for the 2020 Great Rivers Biennial presented by the Contemporary Art Museum in St. Louis and we are overwhelmingly stoked to see their work at the opening on September 11th. Follow them @rachelyoun and check out their website rachelyoun.com. This episode was brought to you by May's Place and Perennial Artisan Ales. Thank you for making cool WIP possible!

220. Lisa Melandri: Executive Director of the Contemporary Art Museum St. Louis

executive director st louis melandri contemporary art museum

Play Episode Listen Later Aug 19, 2020 13:20

Lisa Melandri: Executive Director of the Contemporary Art Museum St. Louis joins Nancy for a discussion of the happenings at the museum and its response to the world-wide pandemic.

08-08-20 J. Tyler Friedman, Associate Curator of Contemporary Art, Museum of Wisconsin Art in West Bend

WTMJ Conversations & WTMJ Features

Play Episode Listen Later Aug 8, 2020 5:12

08-08-20 J. Tyler Friedman, Associate Curator of Contemporary Art, Museum of Wisconsin Art in West Bend

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Melissa Fontenette-Mitchell, The Power of Images 017

Stories of Change & Creativity

Play Episode Listen Later Jul 10, 2020 13:50

Show NotesTexas Fine Arts Photographer Melissa Fontenette-Mitchell knows the power of images. In part two of our interview, Melissa discusses how video and photographs help tell important stories about racial injustice. In our first episode (#016), we talked about Melissa's career path and some of her landmark projects. Hope you enjoy our conversation. ARTIST STATEMENT by MELISSA FONTENETTE-MITCHELL My Photography Fine Art takes a critical view of social, women, political and cultural issues. Often referencing African American and Global History, my work explores the varying relationships between popular culture and fine art. Having engaged subjects as diverse as the Civil Rights Movement, Women's Rights and Community Issues. My work reproduces familiar visual and conceptual art. While I use a variety of materials and processes in each fine artwork my methodology is consistent. My work has been exhibited at numerous venues in Texas, Florida and New York. The Bydee Art Gallery, The Contemporary Art Museum, Mattie Kelly Art Gallery, Heath Gallery, Open Doors Gallery, People’s Art Gallery, Round Rock Art Space and Conception Art Gallery. The subject matter of each body of work celebrate a rich diversity to encourage young minds to dream and follow their purpose. During research and production new areas of interest arise and lead to the next body of work. Art remains as a strong contender of how we share our thoughts and ideas. Melissa’s most recent accomplishment as a featured artist in a short documentary film produced and directed by Kyndal Workman, a Pflugerville Girl Scout Gold Star recipient, “Women + the Arts = Social Impact” 2020 Black History Month Artist at Round Rock Public Library exhibition “The Struggle in Black and White”, selected as one the 200 Artist out of 1250 submissions to exhibit her artwork at Austin City Hall. 2017 Melissa was awarded Top 100 Achievements in Black Austin Fine Art Artist. In 2015 Melissa was awarded 1st place in Digital Photography and People’s Choice Award at Texas State University. In 2014 Villager’s Newspaper Photographer of the week. Please follow Melissa on social media: https://www.instagram.com/north_starphotography/http://www.flickr.com/photos/lissiaz/https://www.facebook.com/North-Star-Photography-220674192456/https://twitter.com/lissia007

Melissa Fontenette-Mitchell, Fine Art Photographer 016

Stories of Change & Creativity

Play Episode Listen Later Jul 10, 2020 29:34

Show NotesPlease join me for a two-part interview with Texas Fine Art Photographer Melissa Fontenette-Mitchell. In our first episode, we talk about Melissa's career path and some of her landmark projects. In part two of our interview, Melissa comments on the power of images and how video and photographs help illustrate stories about racial injustice. Hope you enjoy our conversation. ARTIST STATEMENT from MELISSA FONTENETTE-MITCHELL My Photography Fine Art takes a critical view of social, women, political and cultural issues. Often referencing African American and Global History, my work explores the varying relationships between popular culture and fine art. Having engaged subjects as diverse as the Civil Rights Movement, Women's Rights and Community Issues. My work reproduces familiar visual and conceptual art. While I use a variety of materials and processes in each fine artwork my methodology is consistent. My work has been exhibited at numerous venues in Texas, Florida and New York. The Bydee Art Gallery, The Contemporary Art Museum, Mattie Kelly Art Gallery, Heath Gallery, Open Doors Gallery, People’s Art Gallery, Round Rock Art Space and Conception Art Gallery. The subject matter of each body of work celebrate a rich diversity to encourage young minds to dream and follow their purpose. During research and production new areas of interest arise and lead to the next body of work. Art remains as a strong contender of how we share our thoughts and ideas. Melissa’s most recent accomplishment as a featured artist in a short documentary film produced and directed by Kyndal Workman, a Pflugerville Girl Scout Gold Star recipient, “Women + the Arts = Social Impact” 2020 Black History Month Artist at Round Rock Public Library exhibition “The Struggle in Black and White”, selected as one the 200 Artist out of 1250 submissions to exhibit her artwork at Austin City Hall. 2017 Melissa was awarded Top 100 Achievements in Black Austin Fine Art Artist. In 2015 Melissa was awarded 1st place in Digital Photography and People’s Choice Award at Texas State University. In 2014 Villager’s Newspaper Photographer of the week. Please follow Melissa on social media: https://www.instagram.com/north_starphotography/http://www.flickr.com/photos/lissiaz/https://www.facebook.com/North-Star-Photography-220674192456/https://twitter.com/lissia007

Cal Siegel and Mark Thomas Gibson

Matthew Brown Los Angeles Podcast

Play Episode Listen Later Jul 6, 2020 61:08

Cal Siegel was born in West Newbury, Massachusetts and currently lives and works in Brooklyn, New York. He received his B.A. in Studio Art and Media Studies from Pitzer College in Claremont, California. In 2015 he attended Skowhegan School of Painting and Sculpture in Maine.Solo and two-person exhibitions include The house your road ends on, Outside Gallery, North Adams, MA (2018); S.L.A.B., Violet’s Café, Brooklyn, NY (2015); wallflower frieze with Meena Hasan, 6Base, Bronx, NY (2017); and Smile in The Dark with Matthew Stone, Left Field Gallery, San Luis Obispo, CA (2016).He has participated in a number of group exhibitions including The Gift Shop, Red Bull Studios, New York (2016); The landscape changes 30 times, Anahita Gallery, Tehran, Iran (2015); Inside/ Outside: Works from the Skowhegan Archives, CSA Gallery, Waterville, Maine (2015); and To do as one would, David Zwirner, New York (2014); among others.Siegel will open a solo exhibition with Matthew Brown Los Angeles summer 2020. Mark Thomas Gibson (b. 1980, Miami, FL) received his BFA from The Cooper Union in 2002 and his MFA from Yale University School of Art in 2013, where he was the recipient of the Ely Harwood Schless Memorial Fund Award.Gibson’s work was most recently on view in the solo exhibition The Dangerous One at the Rosenwald-Wolf Gallery at University of the Arts in Philadelphia. He has also exhibited at Fredericks & Freiser in New York and Loyal in Stockholm, and participated in the group shows The Curator’s Eggs, Paul Kasmin Gallery, New York; Woke!, Contemporary Art Museum, University of South Florida, Tampa; and A Being in the World, Salon 94, New York. In 2016, Gibson co-curated the traveling exhibition Black Pulp! with William Villalongo at 32 Edgewood Gallery, Yale School of Art. The show examined evolving perspectives of Black identity in American culture and history from 1912 to 2016, and garnered reviews in The New York Times and Art in America.The artist released his first book, Some Monsters Loom Large in 2016 with funding from the Foundation for Contemporary Arts. The book was recently re- issued in a second edition in partnership with International Print Center, New York. Gibson’s second book Early Retirement was released in 2017 with Edition Patrick Frey in Zurich and was acquired by the Metropolitan Museum of Art in New York.Mark Thomas Gibson is represented by Fredericks and Freiser Gallery, (New York, NY), M+B Gallery, (Los Angeles, CA) and Loyal Gallery, (Stockholm, Sweden). He is currently an Assistant Professor of Painting at Tyler School of Art and Architecture, Temple University and lives and works in Philadelphia, PA.

Liz Ann Macgregor on running the most popular contemporary art museum in the world

RN Arts - ABC RN

Play Episode Listen Later Jul 1, 2020 53:34

We meet Liz Ann Macgregor, the museum director who began her career driving a truck around Scotland, and wound up running Sydney's Museum of Contemporary Art - the most visited contemporary art museum in the world!

running scotland popular contemporary art contemporary art museum liz ann macgregor

Liz Ann Macgregor on running the most popular contemporary art museum in the world

The Art Show

Play Episode Listen Later Jul 1, 2020 53:34

We meet Liz Ann Macgregor, the museum director who began her career driving a truck around Scotland, and wound up running Sydney's Museum of Contemporary Art - the most visited contemporary art museum in the world!

running scotland museum popular contemporary art contemporary art museum liz ann macgregor

Liz Ann Macgregor on running the most popular contemporary art museum in the world

The Art Show

Play Episode Listen Later Jul 1, 2020 53:34

We meet Liz Ann Macgregor, the museum director who began her career driving a truck around Scotland, and wound up running Sydney's Museum of Contemporary Art - the most visited contemporary art museum in the world!

running scotland museum popular contemporary art art museums contemporary art museum liz ann macgregor

Liz Ann Macgregor on running the most popular contemporary art museum in the world

The Art Show

Play Episode Listen Later Jul 1, 2020 53:34

We meet Liz Ann Macgregor, the museum director who began her career driving a truck around Scotland, and wound up running Sydney's Museum of Contemporary Art - the most visited contemporary art museum in the world!

running scotland museum popular contemporary art art museums contemporary art museum liz ann macgregor

01:18 Weston Outlaw; Cranbrook Schools

Youth Development Professionals Guidebook

Play Episode Listen Later Jun 18, 2020 34:49

Weston Outlaw is the Director of Special and Summer Programs (SSP) for Cranbrook Schools within the Cranbrook Educational Community. SSP offers after-school programs, enrichments, private music lessons, summer camps, and campus rentals for Cranbrook students and the public. Cranbrook is one of the world’s leading centers of education, science, and art. Comprising a graduate Academy of Art, Contemporary Art Museum, House & Gardens, natural history, and science museum, and Pre-K-12 independent college preparatory day and boarding schools, Cranbrook welcomes thousands of visitors, students, and campers to its campus each year.Find Weston at http://cranbrook.edu/

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Episode 3: Art If...a better life is possible! With multimedia artist and activist, Clark Stoeckley.

Art If...!

Play Episode Listen Later May 21, 2020 61:33

Episode Summary: Haddy and Yassi chat about the art created in or inspired by revolution: May ‘68 and Calypso Music. Then they interview multimedia artist and activist Clark Stoeckley. And as always, end the show with an art “provocation” … what do you hate and love? P.S. The audio is a little wonky in the episode. Our connection was bad and Yassi’s microphone broke. Thanks for bearing with us on this! Provocation (#artifpodcast): On a piece of paper, draw lines dividing it into 4 quadrants, then divide each quadrant into 2 columns. Title each quadrant “self,” “community,” “nation,” and “world.” In the left column of each quadrant write three things you love for that category. In the right column, three things you would change. What do these lists reveal about the way you see the world? Don’t forget to tag us on instagram #artifpodcast. Guest: Clark Stoeckley Clark Stoeckley is an interdisciplinary artist and activist working in photography, illustration, performance, video, and graphic design. His latest projects include photographing stray animals and painting vibrant interpretations of sacred geometry. As a courtroom sketch artist he authored and illustrated a non-fiction graphic novel The United States vs. Private Chelsea Manning. His art has been exhibited at the International Spy Museum (Washington DC), Pratt Manhattan Gallery (New York City), Emily Harvey Foundation Gallery, (New York City), EIDIA House (Brooklyn), Kunsthal Charlottenborg (Copenhagen), Hartware Medien Kunst Verein (Dortmund), and Contemporary Art Museum of St. Louis. His work has been featured in ARTnews, VICE, Hyperallergic, Associated Press, The Guardian, Los Angeles Times, New York Magazine, The Wall Street Journal, Newsweek, The Nation, and PBS. He earned a BFA in Alternative Media from Webster University and an MFA in Performance and Interactive Media Art from Brooklyn College. He is currently an Assistant Professor of Art & Graphic Design at American University of Kuwait. Find Clark online: http://www.clarkstoeckley.com/ https://www.instagram.com/clarkstoeckley/ Clark’s Drawing Tutorials: https://youtu.be/laAdMUu-vFk Referenced during the show: Weekend Destroy Yourself May ‘68 Posters Calypso Day-O Canboulay Riots Chelsea Manning WikiLeaks Truck Julian Assange Bill Hennesey OR books Democracy Now! Vito Acconci The Yes Men Reverend Billy Follow us on instagram, twitter, and facebook: @artifpodcast http://www.artifpodcast.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Join The 'STL Exchange' 314 Day Party For $3.14

St. Louis on the Air

Play Episode Listen Later Mar 12, 2020 14:49

314 Day is this Saturday, and that means St. Louisans near and far are gearing up to show up and out for their city. The local holiday began as an informal celebration by residents — particularly in the black community. Within that community, people often gather for block parties, neighborhood barbecues and club events when the last numbers of their zip code or street number correspond with a date on the calendar. A day named for St. Louis’ main area code was a natural way to take the party city-wide. St. Louis natives Ryan Escobar, Tenelle Winmore and Sierra Brown are hosting their biggest 314 Day celebration yet. Called “STL Exchange,” the party will take place at the Contemporary Art Museum. Escobar and Winmore join host Sarah Fenske to share what makes them St. Louis-proud, preview the event and discuss how they hope to create a more united city.

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Running a contemporary art museum is a balancing act

Corner Office from Marketplace

Play Episode Listen Later Feb 10, 2020 20:06

Joanne Heyler, founding director of the Los Angeles contemporary art museum The Broad, takes Kai on a tour of the vaults where the collection that’s not on display is kept. They discuss both how art can reflect the economy and the business of running a museum.

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Fall Fun Michigan Style

Cup of Kudos

Play Episode Listen Later Oct 19, 2019 2:43

Fall Color Fun for Kids and Adults!As summer winds down and the flurry of back to school activities kicks in, don’t lament the end of outdoor activities. We found a few fun outdoor activities to do with the kids on the weekend before we have to don our winter coats and hibernate for the winter.Spicer Orchards Farm Market and Cider Millhttp://www.spicerorchards.com/fall-activities.htmlAddress: 10411 Clyde Rd, Fenton, MI 48430Phone: +1 810 632 7692Hours: 11AM–6PMWeekend Fun!!Apple Picking, Wagon Rides, Train Rides, Bounce Houses Kettle Corn, BBQ, Corn Roast, Zip Line, Face Painting and remember to Visit the Animals.**Please understand that weekends at the farm can be busy. It's best to come early. Please be patient, if there is a line it usually moves quickly. Also, families have a chance to pick their own apples and stop by the winery for a little additional adult fun! The winery is Open!!10 am to 7 pm EverydayLunch Cafe @ Winery11 am to 5 pm weekdaysFALL COLOR FUNMichigan has some of the most beautiful fall colors in the country. Late September until mid-October is the best time to witness the brilliant reds, yellows, and oranges that paint the landscape. Check out mynorth.com for a fall color map that details what dates are best. You don’t have to go Up North to view the fall colors; there is a local color route that is a 150-mile loop from Flint to Bloomfield Hills and back to Brighton. While you are driving, you can look for these stops we found that are worth checking out.BLOOMFIELD HILLSBloomfield Hills is home to Cranbrook Institute, a National Historic Landmark. They boast 319 acres of gardens and museums, which are home to some of the world’s leading centers in science, art, and education. It houses the Contemporary Art Museum, Natural History Museum, Cranbrook Institute of Science, and Cranbrook House and Gardens. It is set into a lush landscape that will be full of trees bright with fall colors and beautifully landscaped gardens. You can even see Dinosaur skeletons!Cranbrook is located at39221 Woodward Ave, Bloomfield Hills, MI. or visit them online at Cranbrook.edu.FLINTStart your color drive with a stop at For-Mar Nature Preserve and Arboretum. They have over 380 acres of nature preserves and 7 miles of hiking trails to work off some of those after school wiggles. Call 1-810-736-7100 for more information or go to genesseecountyparks.org.2142 N. Genesee Road, Burton, MI.BRIGHTON RECREATION CENTERThe center has 4,947 acres of woodland and offers a horseback color tour for a closer look at the spectacular colors. The horseback color tour is a guided trail ride that runs through the end of November. You will ride through multi-hued tunnels of vibrant trees. Each trail ride lasts from 45 to 90 minutes and is open to people of all riding abilities from eight-years-old and up. To book a riding tour call 1-810-534-5063 or brightonrecridingstable.com. 6660 Chilson Road, Howell, MI.For a full list of stops on the loop, go tomichigan.org/article/flint-brighton-bloomfield-hills.comPICK YOUR OWN APPLES AND PUMPKINSStop by Blake Farms Cider Mill in Armada for fresh fall produce at the u-pick orchard and a host of other fun activities the whole family can enjoy. The showcase features fiber artists selling their original clothing, quilts, blankets, and rugs, and you will see working spinning wheels. Workshops are offered on felting, spinning, rug hooking, and more.Blake Farms has a Haunted Halloween Run and Monster Dash on September 27, where patrons get to wear their costumes during this 5K run. The race runs through their haunted hayride and zombie paintball scenes with live actors. Sounds exciting!1-586-784-5343 or blakefarms.com for more information. Located at 17985 Armada Center Road, Armada, MI.Check out ciderguide.com for a Michigan cider map and directory.JUST FOR THE ADULTSLooking for a quick getaway without the kids? Chateau Grand Traverse Winery sits on the Old Mission Peninsula and is one of Michigan’s oldest wineries. Get the complete northern Michigan wine country experience with wine tasting, winery tours, and lodging with beautiful views of West Grand Traverse Bay. Witness the winemaking process from “vine to bottle.” With six guest rooms, their Inn has sweeping views of the bay. Enjoy the complimentary bottle of wine in your private room or the main living room with a fireplace made just for cozy fall nights. Breakfast is served in their European style breakfast room. Call 1-800-283-0247 for information on the winery or go tocgtwines.com. 12239 Center Road, Traverse City, MI.As seen in Kudos magazine 5.3 Written by Hope Crenshaw

CAM’s Latest Exhibits Delve Into Nuances Of Race, Nationality, Mourning, More

St. Louis on the Air

Play Episode Listen Later Sep 5, 2019 28:03

The Contemporary Art Museum in St. Louis is using art to engage history and contextualize the present. chief curator Wassan Al-Khudhairi joined St. Louis on the Air with artists Stephanie Syjuco and Bethany Collins to discuss the CAM’s fall exhibitions.

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178: Wassan Al-Khudhairi, Chief Curator at the Contemporary Art Museum ST. Louis

st louis chief curator contemporary art museum

Play Episode Listen Later Aug 12, 2019 8:32

Wassan Al-Khudhairi, Chief Curator at the Contemporary Art Museum ST. Louis, stops by to speak with Nancy about CAM and the current exhibitions.

Curating and Creative Resilience with IKT in Miami

Fresh Art International

Play Episode Listen Later Jun 17, 2019 58:27

What does "creative resilience" mean for curators in the year 2019? One evening, we decide to find out. Setting up a temporary recording studio in a poolside cabana, at a Miami Beach hotel, we sit down with a dozen curators and cultural producers to document their stories. In this marathon recording session, you’ll hear curatorial strategies for engaging new communities, increasing the visibility of underrepresented artists, and addressing some of today's most pressing social, political and environmental challenges. We recorded this special program when the annual Congress of the Association of International Curators of Contemporary Art (IKT) took place in the United States for the first time. Curators from the U.S., Europe and the Caribbean gathered in Miami, Florida, to explore the contemporary art scene and participate in a symposium about art and resilience in the climate crisis. Voices in the episode: (alpha order) Eva Asp, Bayardo Blandino, Aldeide Delgado, Yucef Merhi, Thale Fastvold and Tanja Torjussen, Michele Fiedler, O'Neil Lawrence, Lorie Mertes, Najja Moon, Marina Reyes Franco, Sofía Shaula Reeser-del Rio Sound Editor: Anamnesis Audio | Special Audio: (in order of appearance) Spectres in Change: FoAM / Maja Kuzmanovic and Nik Gaffney; The Quilt Performing Arts Group for Beyond Fashion exhibition, National Gallery of Jamaica; Contemporary Art Museum of Caracas (Hacked!) 2000-2004; The BLCK Family Dinner Related Episodes: Art and the Climate Crisis with IKT Miami, Art and the Rising Sea, Curating in a Time of Global Change: IKT Norway, Sounds of Contemporary Art in Norway with IKT Related Links: International Association of Curators of Contemporary Art, FoAM Spectres in Change, Sala de Arte Público Siqueiros, Contemporary Art Museum of Caracas (Hacked!) 2000-2004, National Gallery of Jamaica, Resisting Paradise, Locust Projects, The BLCK Family, Gävle Konstcentrum, International Cities of Refuge Network, SALA MAC / Contemporary Visual Arts Center of Women in the Arts in Honduras, Women Photographers International Archive, Locus Art

Episode 1 - Addoley Dzegede

In Which I Talk To Artists

Play Episode Listen Later Dec 27, 2018 43:43

Addoley Dzegede is a Ghanaian-American interdisciplinary artist. Her work has been exhibited throughout the US, Europe, and Africa, and she has been an artist-in-residence at Thread: a project of the Josef and Anni Albers Foundation in Senegal, The University of Kansas, the Arteles Creative Center in Finland, Foundation Obras in Portugal, and Nes Artist Residency in Iceland, as well as a post-graduate apprentice at the Fabric Workshop and Museum in Philadelphia. She received a BFA from Maryland Institute College of Art, and was awarded a Chancellor’s Graduate Fellowship at Washington University in St Louis, where she completed an MFA degree in Visual Art. Recent group exhibitions and screenings include Overview is a Place at SPRING/BREAK Art Show: Stranger Comes to Town in New York; Another Country at 50/50 in Kansas City; The Labs @ Chale Wote at the W.E.B. Du Bois Memorial Centre for Pan-African Culture in Accra; In Deep Ecology at Tenerife Espacio de las Artes in Spain; Ecology without Borders .01 at [.BOX] Videoart Project Space in Milan; Color Key at the Contemporary Art Museum, St Louis; and Surface Forms at The Fabric Workshop & Museum in Philadelphia. Recent awards include the 2018 Great Rivers Biennial award; a MICA alumni award; a St. Louis Regional Arts Commission Artist Support Grant; and a Creative Stimulus Award from Critical Mass for the Visual Arts. She is half of the collaborative duo, LAB:D, (which is a member of the artist collective, Monaco),with Lyndon Barrois Jr. Her solo exhibition, Ballast, was recently on view at the Contemporary Art Museum in St. Louis. For context, we did this interview with Addoley located in the Netherlands; she is there temporarily as her partner, Lyndon, is completing a residency there. They will return to the US in 2019.

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Saya Woolfalk

Interviews by Brainard Carey

Play Episode Listen Later Oct 13, 2018 20:50

Image Courtesy of Ka-Man Tse for @TSqArts Saya Woolfalk has exhibited at PS1/MoMA; Deitch Projects; Contemporary Art Museum, Houston; Contemporary Arts Center, Cincinnati; the Brooklyn Museum; Asian Art Museum, CA, Museum of Contemporary Art, Chicago; the Studio Museum in Harlem; the Frist Center for the Visual Arts; The Yerba Buena Center; The Newark Museum; Third Streaming; MCA San Diego; MoCA Taipei; and Performa 09; has been written about in the New Yorker, Sculpture Magazine, Artforum, Artforum.com, ARTNews, The New York Times, Huffington Post and on Art21’s blog; and has also worked with Facebook and WeTransfer. Her first solo museum show The Empathics was on view at the Montclair Art Museum in the Fall of 2012. Her second solo museum exhibition ChimaTEK Life Products was on view at the Chrysler Museum of Art in the fall 2014. She recently completed a video installation commission for the Seattle Art Museum, and is a recipient of a NYFA grant in Digital/Electronic Arts. She is currently working on a solo museum exhibition commission for the Nelson Atkins Museum in Kansas City, MO and is represented by Leslie Tonkonow Artworks + Projects, NYC and teaches in the BFA and MFA programs at Parsons: The New School for Design.

Matthew Ritchie

Sound & Vision

Play Episode Listen Later Sep 13, 2018 80:03

Matthew Ritchie is an artist born in England who lives and works in New York City. He has exhibited internationally over the past two decades, including solo presentations at the Institute of Contemporary Art, Boston, MA (2014); ZKM Karlsruhe (2012), Barbican Theatre, London, UK (2012); Brooklyn Academy of Music (2009), NY, St. Louis Art Museum, MO (2007); MASS MoCA, North Adams, MA (2004), Contemporary Art Museum, Houston, TX (2003); and the Dallas Museum of Art, TX (2001). Matthew’s work was included in the 1997 Whitney Biennial, the 2002 Sydney Biennale, the 2004 Bienal de Sao Paulo, the 2008 Seville Bienal, the Havana Bienal, and the 11th International Architecture Biennial, Venice, Italy (2008) as well as major exhibitions at the Solomon R. Guggenheim Museum, New York, NY; Museum of Modern Art, New York, NY and the San Francisco Museum of Modern Art, CA. His work is in the permanent collections of the Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Whitney Museum of American Art, New York, NY; San Francisco Museum of Modern Art, CA; and the MIT List Visual Arts Center, Boston, MA among others. Brian visited Matthew’s Midtown studio for a talk about his early days in London, shady real estate, musical collaborations, post-punk, burning Bronx and being a Spurs fan. This episode is sponsored by Golden Paints, Topo Designs and Charter Coffee.

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Caroline Sinders (ENG)

USMARADIO

Play Episode Listen Later Jun 27, 2018 4:18

Caroline Sinders is an artist, researcher and designer with a speciality in machine learning and conversation. As the Eyebeam Fellow, Caroline is building chat bots and machine learning commenting systems to mitigate abuse. Prior to her fellowship, she was a user researcher at IBM Watson. Caroline holds a master's degree from New York University's Interactive Telecommunications Program. Her work focuses on the intersections of ethnography, visual systems, machine learning, language, data, trauma, and online harassment. Caroline's work has been featured in the Contemporary Art Museum of Houston, Style.com, Fusion News, the Washington Post, New York Magazine, Eyeo, IXDA and the 32nd Chaos Communication Congress (32c3). She recently completed a residency at Studio for Creative Inquiry on her Designing Consent Into Social Networks research. Courtesy of JRC Summer School 2018 documentation

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Barnaby Furnas

Sound & Vision

Play Episode Listen Later Apr 16, 2018 68:18

Barnaby Furnas was born and raised in Philadelphia and lives and works in NYC. Barnaby earned his BFA at the School of Visual Arts and his MFA at Columbia Univeristy. Barnaby has had solo shows at Marianne Boesky Gallery staring in 2002. He’s also had solos at The Contemporary Art Museum in St. Louis, Victoria Miro in London, the MCA in Denver, Anthony Meier in San Francisco amongst many others. He’s had tons of group shows too numerous to list but highlights would be the MCA Tuscon, the Frist in Nashville, the Albright Knox, The Warhol Museum, etc. His work has been covered in all the art publications and he’s in the collections of the Albright Knox, the MCA in Chicago, the MCA in LA, SFMOMA, the Whitney and more. Brian met up with Barnaby at his solo show which just finished up at Boesky titled “Frontier Ballads” and they talked about his early graffiti days in Philly, how he found his physical approach to painting, flirting with jail time and much more.

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TPF Podcast #566- The Live F1 Season Preview show

The Parc Fermé

Play Episode Listen Later Mar 11, 2018 110:53

Join Paul and me for this very special episode of the TPF Podcast. We hosted out annual F1 Season Preview event at the Contemporary Art Museum in St. Louis Missouri this evening and we thought for this week's podcast, you might like to listen to the show if you weren't able to attend it. We recorded it live and thanks to the fine folks at the museum, we have a mixer to take a direct line-out feed for my recorder. Add some noise reduction and I hope this recording is better than last year's version. We cover a lot of material so apologies for the length but we do get around to each team and driver. Paul and I share our thoughts about the upcoming season. A HUGE thank you to the Contemporary Art Museum, Alex Londe of Can-Am Cars, Eric Nordstrom and of course my co-host and dear friend Paul Charsley.

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94. Misa Jeffereis: Assistant Curator, Contemporary Art Museum of St. Louis

st louis misa art museums assistant curator contemporary art museum

Play Episode Listen Later Jan 29, 2018 8:16

Guest Misa Jeffereis, Assistant Curator of the Contemporary Art St. Louis, discusses her role in the museum and the importance of outreach in the arts world.

90. Wassan Al-Khudhairi: Chief Curator, Contemporary Art Museum St. Louis

Play Episode Listen Later Jan 1, 2018 6:18

Guest Wassan Al-Khudhairi, Chief Curator of the Contemporary Art Museum St. Louis, stops by to share a bit of history about the organization and outline some of her plans to bring exciting contemporary art to the city.

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65: Lisa Melandri, Director of the Contemporary Art Museum St. Louis

WIRED Science: Space, Health, Biotech, and More

Play Episode Listen Later Jul 10, 2017 9:07

Guest Lisa Melandri, Director of the Contemporary Art Museum St. Louis, explains the benefits of being a collection-less museum and shares a number of upcoming highlights that visitors to CAM can look forward to over next few months.

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Let's Slice Open the Biggest Contemporary Art Museum in the US

Play Episode Listen Later Jun 28, 2017 3:38

Compared to the swooping architecture of other fine-art institutions, the Massachusetts Museum of Contemporary Art (aka Mass MoCA) is a hulking, big-boned anomaly. “We don't just collect art and hang it on white walls,” says director Joseph Thompson. The cavernous complex displays works that couldn't fit anywhere else.

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Nicholas Sailer_The Creator's Journey #33

The Creator's Journey tracks

Play Episode Listen Later Mar 20, 2016 65:37

I met Nicholas Sailer just minutes after his presentation at Creative Mornings/Raleigh several weeks ago. He'd just rocked the space at the Contemporary Art Museum in Raleigh talking about his new book “A Story Each Day”.Although the handful of stories he read were riveting, just about all I could focus on were the mindset and processes he must have had in place to generate an original story every day throughout 2014, when his project was initiated. In 2015, Nicholas posted each of the stories that he'd written on that date, from the year before. Throughout the year, he built a following for the project, launched a Kickstarter campaign to publish the collection, then had the project completed and in circulation by the end of the year. All this while working full time as a creative leader at Betabox Labs. Nicholas is an accomplished filmmaker as well, having won recognition for a couple of short films, including an official selection screening of his film 'The Strong One' at the Cannes Film Festival in May of 2012.

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NC Weekend | 02/27/14

North Carolina Weekend 2013-2014 Archived | UNC-TV

Play Episode Listen Later Mar 1, 2014 26:46

This week's show showcases the NC Artists Fellowships Exhibition in Raleigh, we meet the woman behind an amazing taco eatery in Greensboro, visit Geeksboro Coffeehouse Cinema, explore the NC Aviation Museum and Hall of Fame in Asheboro and Deborah Holt Noel learns about sushi at Enso Asian Bistro in Charlotte.

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Bad at Sports Episode 407: Jessica Baran

Bad at Sports

Play Episode Listen Later Jun 17, 2013 67:49

This week: Part 2 of our residency project at the Contemporary Art Museum of St. Louis! This week we talk to critic, poet, gallerist, the award winning Director of the Fort Gondo Compound for the Arts Director and Art in America contributor Jessica Baran. This was one of those interviews that I will look upon as a personal favorite. Besides Bad at Sports declares war on Art News. What could be better. http://jessicabaran.com http://www.fortgondo.com Jessica Baran is the author of the poetry collections "Remains to be Used" (Apostrophe Books, 2010) and "Equivalents" (winner of the Besmilr Brigham Women Writers Award, forthcoming from Lost Roads Press, 2013), as well as the poetry chapbook, "Late and Soon, Getting and Spending," produced by All Along Press (2011). She lives in St. Louis, Missouri, where she is a freelance art writer and co-curator of the fort gondo poetry series.

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Bad at Sports Episode 406: Contemporary Art Museum St. Louis Director Lisa Melandri

Bad at Sports

Play Episode Listen Later Jun 10, 2013 51:35

This week: The first in our St. Louis trip interviews. We talk to Contemporary Art Museum St. Louis Director Lisa Melandri live and without a net at our opening, in front of a moderately baffled audience. Topics include the Jeremy Deller show that was up at the time, institutional purpose, why certain LA museums are looney tunes, and so much more! From Alive Magazine: When Lisa Melandri took her position as Director of CAM just last August, she brought with her some serious credentials. While she was Deputy Director for Exhibitions and Programs at the Santa Monica Museum of Art, the museum grew significantly, nearly doubled its staff and budget, and drew national and international acclaim. Now she plans to bring the same magic to St. Louis. “I’m really thinking in depth of what a contemporary art institution is and who it can serve,” Melandri says, envisioning a space that functions as a living room where people come just to “hang out.” It’s what she calls a “sea change” in perception. Part of that change is using the museum to its fullest capability, where even a discreet nook is potential exhibit space. “You should always be running into art,” Melandri says, referencing the highly anticipated Jeremy Deller exhibit this month. “I want to see art in the bathrooms and elevators.” Go buy the Mr. Litte Jeans single Oh Sailor on Itunes, it's swell. Contemporary Art Museum St. Louis appoints Lisa MelandriMore Information: http://www.artdaily.org/index.asp?int_sec=11&int_new=54845#.UbViLJzaiJQ[/url]Copyright © artdaily.org

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NC Now | 05/17/13

NC Now | 2013 Archive UNC-TV

Play Episode Listen Later May 21, 2013 26:47

Opportunity Threads is helping its staff gain job skills & a stake in the company. Lumberton's Exploration Station offers kids hands-on science fun. CAM Raleigh showcases contemporary and modern art. And AOL Co-Founder Steve Case addressed graduates at UNC-Chapel Hill.

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NC Now | 02/01/13

NC Now | 2013 Archive UNC-TV

Play Episode Listen Later Feb 1, 2013 26:46

How Belmont Abbey College is attracting students in a difficult economy. A tour of the Contemporary Art Museum of Raleigh. Legendary gospel singer George Beverly Shea marks his 104th birthday. And Bob Geolas discuses the Pathways to Opportunity RTP Tour results.

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EOT59 Contemporary Art Museum 5/24/11

Eye on the Triangle

Play Episode Listen Later May 29, 2011 48:33

This week features an interview with Kate Shafer, Gallery and Exhibitions Manager of the Contemporary Art Museum in Raleigh. We also have Mark Herring’s story on the forest canopy, a profile of Player’s Retreat, and a story on Burmese Refugees in the Triangle.

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EOT59 Contemporary Art Museum 5/24/11

Eye on the Triangle

Play Episode Listen Later May 29, 2011 48:33

This week features an interview with Kate Shafer, Gallery and Exhibitions Manager of the Contemporary Art Museum in Raleigh. We also have Mark Herring’s story on the forest canopy, a profile of Player’s Retreat, and a story on Burmese Refugees in the Triangle.

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The Contemporary Art Museum Great Rivers Biennial Opening Night 4.30.2010

HEC-TV Live! - Inside the Artist's Studio

Play Episode Listen Later Jun 17, 2010 30:10

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iPod - The Contemporary Art Museum Great Rivers Biennial Opening Night 4.30.2010

HEC-TV Live! - Inside the Artist's Studio

Play Episode Listen Later Jun 17, 2010 30:10

ipods opening night contemporary art museum great rivers biennial

Contemporary Art Museum St. Louis with Anthony Huberman

Saint Louis Art Map: On the Air

Play Episode Listen Later Nov 11, 2008 28:22

Curator Anthony Huberman discusses the art of curating, contemporary art, and recent exhibitions and programs at the Contemporary Art Museum St. Louis. Student: Vara Lyons

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Moses at Contemporary Art Museum St. Louis--Quicktime

Play Episode Listen Later Jan 22, 2006

Watch in Quicktime.Click text or picture to view iPod ready video.Click the post below to view this video in Windows Media.Running time: 6:16GREAT RIVERS BIENNIAL 2006January 20, 2006 - March 26, 2006_________________________MOSES: The Audiophile SeriesMATTHEW STRAUSS: Dead LanguageJASON WALLACE TRIEFENBACH: Hero, Compromised (Autobiographical Fiction/Narrative Medley)The Great Rivers Biennial is a collaboration between the Contemporary and the Gateway Foundation designed to strengthen the local art scene in St. Louis. As many as three artists are selected by a panel of esteemed national jurors to receive an award of $15,000 each and an exhibition at the Contemporary Art Museum St. Louis.The goal of this innovative awards program is to identify talented emerging local artists, provide them financial assistance, raise the visibility of their work in both the Midwest and national art community, and provide them with professional support from visiting critics, curators and dealers.Emerging artists in the St. Louis area were invited to submit work from any of the following categories: drawing, painting, photography, printmaking, sculpture, mixed media, and multi-media. An emerging artist is someone in the early stages of his or her career development who has not yet received wide exhibition exposure locally or nationally or significant financial awards from other organizations.During summer 2005, Great Rivers Biennial jurors reviwed all submissions and selected three emerging artists to receive the award. This year's high profile panel of jurors included Elizabeth Dunbar, Curator at the Kemper Museum of Contemporary Art, Kansas City; Gary Garellis, Senior Curator at UCLA Hammer Museum, Los Angeles; and Helen Molesworth; Chief Curator of Exhibitions at Wexner Center for the Arts, Columbus.The recipients of the inaugural Great Rivers Biennial 2004 were Jill Downen, Adam Frelin, and Kim Humphries who were selected by jurors Lisa Corrin, Director, Williams College Museum of Art; Debra Singer, Executive Director and Chief Curator, The Kitchen; and Hamza Walker, Department Director, Renaissance Society at the University of Chicago.Information courtesy Great Rivers Biennial 2006 catalogue, Contemporary Art Museum St. Louis (www.contemporarystl.org)In these three interviews, produced during the week of the opening exhibition, by Hugh Beall and illusionJunkie.com, William Griffin, Artistic Director of the St. Louis Veiled Prophet Parade, talks with Moses, Matthew Strauss and Jason Wallace Triefenbach. All three artists are represented by Bruno David Gallery (www.brunodavidgallery.com).A free subscription to www.illusionJunkie.com saves time by automatically downloading future videos to your computer. Requires only one-click from the sidebar on this page.

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Moses at Contemporary Art Museum St. Louis--Windows Media

Play Episode Listen Later Jan 22, 2006

Watch in Windows Media.Click text or picture to view video.Running time: 6:16

Jason Wallace Triefenbach at Contemporary Art Museum St. Louis--Quicktime

Play Episode Listen Later Jan 22, 2006

Watch in Quicktime.Click text or picture to view iPod ready video.Click the post below to view this video in Windows Media.Running time: 7:46Subscribe (free) to this website at iTunes and future videos will be automatically downloaded to your computer, saving you time.See sidebar for one-click subscription. The future is now.

Jason Wallace Triefenbach at Contemporary Art Museum St. Louis--Windows Media

Play Episode Listen Later Jan 22, 2006

Watch in Windows Media.Click text or picture to view video.Running time: 7:46

Matthew Strauss at Contemporary Art Museum St. Louis--Quicktime

Play Episode Listen Later Jan 22, 2006

Watch in Quicktime.Click text or picture to view iPod ready video.Click the post below to view this video in Windows Media.Running time: 4:46Subscribe (free) to this website at iTunes and future videos will be automatically downloaded to your computer, saving you time.See sidebar for one-click subscription. The future is now.

Matthew Strauss at Contemporary Art Museum St. Louis--Windows Media