Podcasts about Contemporary art

Episode No. 747 of The Modern Art Notes Podcast features artist Bethany Collins and curator Edouard Kopp. Collins is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with commissioned artworks that address the histories the Lost Cause aimed to whitewash. Collins' contribution to the project is Love is dangerous (2024-25), a sculptural installation that remakes the base of the Stonewall Jackson monument that was installed in Charlottesville, Virginia. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. On March 5 the Museum of Contemporary Art Denver opens "Bethany Collins: The Deluge," a presentation of Collins works that each address -- and navigate -- an existential storm. Across several media, Collins addresses major literary works such as Herman Melville's Moby Dick, and Sophocles' Antigone -- and the US songbook too. The exhibition was curated by Leilani Lynch and is on view through July 5. Among the many museums presenting solo exhibitions of Collins' work are the Seattle Art Museum, the Peabody Essex Museum, Salem, Mass., the Contemporary Art Museum Saint Louis, the Van Every and Smith Galleries at Davidson College, the Birmingham Museum of Art, and the Jule Collins Smith Museum of Fine Art at Auburn University. Edouard Kopp is the curator of "Wall Drawing Series: Gladys Nilsson" at the Menil Drawing Institute, Houston. The site-specific exhibition features an enormous Nilsson drawing that features fantastical, hybrid beings surrounding one monumental figure engaged in the act of drawing. It's on view through August 9. Nilsson's work has been the subject of dozens of exhibitions, including a 1973 solo exhibition at the Whitney Museum of American Art. Her work is in the collection of museums such as the Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Art Institute of Chicago. Instagram: Bethany Collins, Tyler Green.

Summer in Madison is always sweet, but this year we have even more to look forward to as “Top Chef” star and Ho-Chunk chef Elena Terry's new restaurant, Tall Grass, will *hopefully* open at the Madison Museum of Contemporary Art just in time for the Art Fair in the Square. Host Bianca Martin spoke with Terry on the podcast to talk about what to expect from the menu, why she chose to open a restaurant in MMOCA, and how she plans on serving both her customers and her community. 

Had antiquair Paul De Grande echt een eigen privévliegtuig? En waarom herinnert hij zich niet meer alles van zijn bezoek aan het Kremlin? Liep Bie Baert werkelijk monokini rond op de chique catamaran van een rijke klant in Saint-Tropez? En waarom moet Sofie Van de Velde eigenlijk een examen afleggen als ze naar een kunstbeurs wil? In deze aflevering van ‘Achter De Schermen’ verklappen drie gewiekste dealers zo mogelijk elk geheim over het Play-programma ‘Stukken Van Mensen’. Zo ontdek je of het klopt dat verkopers soms valse werken komen aanbieden, waarom je Paul De Grande altijd aan dezelfde kant ziet staan en met welke Hollywood-ster Bie Baert al eens zaken deed.See omnystudio.com/listener for privacy information.

What if artists aren't here to fix the world, but to reveal what's really going on inside it. In this episode of Extraordinary Creatives, I'm joined by Filipa Ramos, a curator, writer, and educator whose work reframes art not as commentary on ecology, but as an ecological practice in itself. Filipa is Artistic Director of LOOP Festival Barcelona, Lecturer at the Academy of Art and Design in Basel, and the author of The Artist as Ecologist, Contemporary Art, and the Environment. In this conversation, Filipa shares vivid examples of inspiring artists and artworks that help us think differently about our relationship with animals and nature. We talk about why artists are often better at raising problems than offering fixes. Why responsibility can immobilise creativity. How beauty, affect, and emotion still matter. And how working relationally, slowly, and collaboratively can be a powerful alternative to extractive, spectacle-driven models of success. This conversation is for artists who feel the weight of responsibility and expectation. For anyone worried their work isn't doing enough - for those searching for ways to make art that is rigorous, ethical, and deeply alive. KEY TAKEAWAYS Art does not need to rush toward answers. Your work does not need to explain itself in a single sentence to be valid; it's allowed to be complex, relational, and full of questions that unfold over time. Ecology isn't a theme you illustrate; it's a way of relating – letting the places you move through, and the animals and people you share them with, reshape what you notice and how you see it. The promise of big institutions can be hollow. Often, real agency comes through the platforms you build with others, not the ones that “choose” you. BEST MOMENTS “Artists are not here to provide solutions, but to complicate the story. To expose fragility. To create space for shared sensing, shared listening, shared not knowing.” “That's why art is so important. It's not trying to remediate. It's not trying to provide a simple answer. It's attempting to find alternatives.” “The most meaningful, long-lasting work often happens outside the biggest institutions, through collaboration, care, and time.” EPISODE RESOURCES https://www.instagram.com/filipaaaaaaaaaaa https://loop-barcelona.com https://www.fhnw.ch/de/personen/filipa-ramos PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Editor Meqin Wang, with contributors Midori Yamamura, Vicki Kwon and Stephanie Benzaquen-Gautier, will present on Contemporary art and ecological Transformation in East and Southeast Asia (Manchester University Press, March 2026), an edited volume that examines how contemporary art in East and Southeast Asia confronts environmental destruction, ecological degradation, and social injustice in the backdrop of global ecological crises. The book explores how contemporary art in the region confronts environmental destruction and social injustice amid global ecological crises. It introduces the concept of artistic remediation, showcasing how artists intervene in and respond to ecological challenges through various creative practices. These methods range from creating thought-provoking artworks and fostering non-human agency to advocating for biodiversity, promoting eco-education, and protesting against capitalist extractivism.

Shortly before the opening on 28 November 2026, Cevdet Erek talks with curator Bettina Spörr about his exhibition and sound installation on Secession's façade. Cevdet Erek Secessions-Ornamentik  29.11.2025 – 22.2.2026 Some of Cevdet Erek's site-specific installations and sonic environments, placed at the intersection of sound, sculpture, and architecture, evolve around the idea of ‘sound ornamentation'. With this term, the artist refers to Adolf Loos's Ornament and Crime (1908) amongst others. This text celebrates lack of ornamentation as the mark of a ‘cultivated' society. Loos' polemic is key to a moralising discourse that once sought to purge architecture of decoration in the name of progress. In that context, ornament – associated with sensuality, femininity, and excess – was condemned as wasteful and irrational. Loos' text linked ornament to primitivism and degeneration, framing modern Western culture as superior to the supposedly ‘undeveloped'. Such rhetoric not only marginalised the close relationship between ornament and abstraction but also exposed the colonial and patriarchal logics underpinning modernist aesthetics. Erek re-enters this ideological terrain, transforming ornamentation from decorative surface into temporal, vibratory structure – one that organises space and perception. In his installations sound is not background but architecture itself – something built, inhabited, and experienced by bodies in motion. Here, ornamentation becomes a verb: it describes the act of tuning, of aligning oneself with surrounding frequencies. Through attention, the visitor becomes part of the composition. In this way, Erek's installations dissolve the boundaries between composer and listener, architecture and inhabitant. More Cevdet Erek was born in Istanbul in 1974, where he lives and works. He has developed site-specific installations and presented his work extensively in solo and group exhibitions, among others at Museumsquartier, Vienna; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Art Institute of Chicago; M HKA – Museum of Contemporary Art, Antwerp; MUAC Museo Universitario de Arte Contemporáneo, Mexico City; Pavilion of Turkey, 57th Venice Biennale; Spike Island, Bristol; Kunsthalle Basel, Basel; Liverpool Biennial, Liverpool; 36th Bienal de São Paulo (both 2025); Manifesta 14, Pristina (2022); Gropius Bau, Berlin; SFMOMA, San Francisco; Schirn Kunsthalle, Frankfurt am Main; 5th Marrakech Biennale (2014); Palais de Tokyo, Paris; Sharjah Biennial 11 (2013); 9th Gwangju Biennale (2012); CCA Wattis Institute for Contemporary Arts, San Francisco; dOCUMENTA 13, Kassel (2012); 12th Istanbul Biennial (2011); Tate Modern, London. Since 2008, Bettina Spörr is a curator at the Secession, where she engages in close collaboration with artists to conceptualise and realise exhibitions that explore the profound impact of contemporary art on society. Throughout her career, she has worked with numerous artists on solo exhibitions and, in 2010, curated the group show where do we go from here? at the Secession. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Bettina Spörr

Episode 516 / Hilary HarnischfegerHilary Harnischfeger (b. 1972, Melbourne, Australia) earned her MFA from Columbia University, New York (2003) and her BFA from the University of Houston, Houston, TX (2001). The artist has had work included in institutional exhibitions at the Fairfield University Art Museum, Fairfield, CT (2023); Nerman Museum of Contemporary Art, Overland Park, KS (2016); State University of New York at Purchase, Purchase, NY (2016); the FLAG Art Foundation, New York, NY (2014); MOCA Cleveland, Cleveland, OH (2013); American University Museum at the Katzen Arts Center, Washington, DC (2013); the American Academy of Arts and Letters, New York, NY (2013); Dallas Contemporary, Dallas, TX (2010); Ballroom Marfa, Marfa, TX (2005); Artists Space, New York, NY (2005); and the Contemporary Arts Museum Houston, Houston, TX (2002); among others. Harnischfeger has had recent solo exhibitions at Clear Sky Gallery, Brooklyn, NY (2021); Rachel Uffner Gallery, new York, NY (2021, 2015); Halsey McKay Gallery, East Hampton, NY (2014); and Front Gallery, Houston, TX (2012). In 2007, Harnischfeger was the recipient of the Maria Walsh Sharpe Foundation Space Program Award. Her work is in the permanent collection of the Cleveland Museum of Art, Cleveland, OH; the Nerman Museum, Overland Park, KS; the Everson Museum of Art, Syracuse, NY; and the Fairfield University Art Museum, Fairfield, CT. Harnischfeger lives and works in Brooklyn, NY. 

Artspeak Radio, Wednesday, February 18, 2026, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd talks with artists Linda Lighton and Jeff Conners. LINDA LIGHTON is an artist and activist living and working in Kansas City, Missouri. She is a passionate advocate for the arts both regionally, nationally and internationally, and she is committed to being creatively prolific and politically engaged on a daily basis. Lighton has had more than 80 solo shows and has participated in more than 230 group exhibitions at museums and galleries in the United States, Europe, the Middle East and Asia. Linda Lighton's work is in national and international collections in China, France, Germany, Hungary, Israel, Japan, Korea, Latvia, Lithuania, Spain, Switzerland, Taiwan and Turkey as well as The Nelson Atkins Museum of Art, Kansas City, MO; Kemper Museum of Contemporary Art, Kansas City, MO; Spencer Museum of Art, Lawrence, KS; Ariana Museum, Geneva, Switzerland; Fule International Ceramic Museum, Fuping, China, the Yingee Museum in Taiwan, and Icheon International Ceramic Museum, Icheon, Korea. Linda Lighton is a member of the International Academy of Ceramics. She is the founder and director of the Lighton International Artists Exchange Program, which has sent over 207 artists to 59 countries and the Arctic Circle. In 2008, she was chosen for the Missouri Arts Award, and in 2011 she received the Award for Excellence in the Visual Arts and Education from the Kansas City Art Institute, where she graduated with honors in 1989. In 2016, Lighton received the Outstanding Achievement Award from the National Council for the Education of the Ceramic Arts. She is a member of the International Academy of Ceramics. Recently, Lighton completed two large commissions. The first, a 1% for the Arts program, involved producing a twenty-foot-long mural titled "Ode to the Tallgrass Prairie" for the new Kansas City International Airport. The second was a large chandelier titled "Luminous," installed in the Grand Salon at the Kansas City Museum. Lighton is a fervent arts advocate and activist. She has worked on many boards in her community; helping to instigate the One Percent for Arts Program in Kansas City, and serving on numerous boards over the years: Young Audiences of Kansas City, Friends of Art, Nelson Atkins Museum, Review Magazine, Kansas City Ballet, and National Council for the Education of the Ceramic Arts, Kansas City Jewish Museum Board. She currently serves on the National Committee at the Kemper Museum of Contemporary Art, and administers the Lighton International Artists Exchange Program. On view now, Linda Lighton: Love & War, A Fifty-Year Survey, 1975-2025 On view Dec. 13, 2025 through May 3, 2026 December 13, 2025 - May 3, 2026 Nerman Museum of Contemporary Art, 12345 College Blvd Overland Park, KS Oppenheimer Thompson and Anonymous Galleries, First Floor Linda Lighton: Love and War: A Fifty Year Survey, 1975–2025 (Hardcover) available now www.lindalighton.com JEFF CONNERS is a California / San Francisco Bay Area native who has spend his life immersed in the arts. His creative journey spans painting, piano, music composition, stand up comedy and theatre. As a member of the comedy group “Bartalk” in the 80's and 90's he had to opportunity to work with such people as Robin Williams, Whoopi Goldberg, Dana Carvey, Bobcat Goldthwaite, Kevin Pollak, Mark Pitta and many others. Bartalk performed in famous comedy clubs such as The Punchline, The Boarding House, The Holy City Zoo, Cobbs Comedy Pub and Tommy T's. In theatre, Jeff has acted in and directed well over a 100 plays and musicals and in the 90's was artistic director and founder of the New Earth Theatre, the San Leandro Community Theatre (now San Leandro Players) and the San Leandro Shakespeare Festival in the San Francisco Bay Area. These theatre groups were used as a vehicle to raise money for the San Leandro Public Library foundation and through the years raised well off 100K dollars. Jeff's original show “The Angel of the Gutter” was performed off-Broadway in New York in 2000 at the Creative Place Theatre. He recently directed “Bullshot Crummond” at The Roaring 20 Gallery and Event space in Westport. Jeff is also an avid pianist and composer and has written the score to George Bernard Shaw's “Androcles and the Lion”. Now based in Kansas City, painting remains his deepest passion and has been a constant in his life since his youth. He is the Artist in Residence at the newly opened “Elevator” in North Kansas City. He is currently showing at 80 Santa Fe Gallery in Overland Park as part of their “Color” exhibit. “Color” runs through March 15, 2026. He will be featured at Mod Gallery in Kansas City in September and has a solo exhibition at Elevator, currently in the works slated for a May/June showing (dates haven't been finalized as of this writing). He works in oil, acrylic and watercolor and features slices of city and urban life, cityscapes, landscapes and people. jeffconners.art (website currently under construction) https://artskcgo.com/artist/jeff-conners/ Instagram - @jeffconnersartstudio Facebook – Jeff Conners Art

Today, we're putting The Tonearm's needle on Stephen Vitiello.Stephen is an electronic musician and media artist. His sound installations are in the permanent collections of MoMA, the Whitney, and the Museum of Contemporary Art in Lyon. He's worked with Pauline Oliveros, Ryuichi Sakamoto, and Joan Jonas. By day, he teaches Kinetic Imaging at Virginia Commonwealth University.Stephen's latest project is Trinity, a collaborative album with Lawrence English, who you heard on last week's show. Each of Trinity's five tracks brings in a different third musician: Brendan Canty from Fugazi, Chris Abrahams from The Necks, Marina Rosenfeld, Aki Onda, and the late Steve Roden. The album came out last November.Stephen shares how this project came together, what it's like to work with each of these artists, and how he's built a career turning everyday sounds into sonic experiences.(The musical excerpts heard in the interview are from Lawrence English & Stephen Vitiello's album Trinity)–Dig DeeperArtist and AlbumVisit Stephen Vitiello at stephenvitiello.com and follow him on Soundcloud, Instagram, and BandcampPurchase Lawrence English & Stephen Vitiello's Trinity from American Dreams, Bandcamp, or Qobuz and listen on your streaming platform of choicePrevious collaborations: Acute Inbetweens (2011) and Fable (2014) with Lawrence EnglishStephen Vitiello & Brendan Canty: Second (with Hahn Rowe)Trinity CollaboratorsLawrence English and Room40 RecordsBrendan Canty - drummer (Fugazi, The Messthetics)Chris Abrahams - pianist (The Necks)Marina Rosenfeld - turntablist and composerAki Onda - electronic musician and sound artistSteve Roden - late sound artist and visual artistWorld Trade Center ProjectWorld Trade Center Artist Residency - Lower Manhattan Cultural CouncilWorld Trade Center Recordings: Winds After Hurricane Floyd (1999)Bright and Dusty Things - album featuring WTC recordingsStephen Vitiello: Listening With Intent - documentary by ABC-TV AustraliaEducational InstitutionVCU Kinetic Imaging - Virginia Commonwealth UniversityKinetic Imaging Graduate Program at VCUInfluences and Collaborators MentionedNam June Paik - video art pioneerPauline Oliveros - composer and accordionistRyuichi Sakamoto - composer and musicianFred Frith - guitarist and composerIkue Mori - drummer and electronic musician (DNA)Maryanne Amacher - sound artist and composerR. Murray Schafer - composer and writer on acoustic ecologyRobin Rimbaud (Scanner) - electronic musicianColin Newman - Wire guitarist and vocalistTaylor Deupree - 12k Records founderKey Venues and InstitutionsThe Kitchen - New York performance spaceElectronic Arts Intermix - video art distributorAnthology Film Archives - New York cinemaMASS MoCA - Massachusetts Museum of Contemporary ArtThe High Line - New York elevated parkWhitney Museum of American Art - 2002 BiennialMuseum of Modern Art - Soundings exhibition (2013)Punk and No Wave ReferencesFugazi - influential post-hardcore bandDNA - no wave bandThe ClashNo Wave movement - late 1970s NYCMusic Theory and PracticeFluxus movement - experimental art movementJohn Cage and prepared pianoAmbisonic audio - spatial sound formatDolby Atmos - immersive audio formatArticles and InterviewsSteve Roden and Stephen Vitiello conversation in Bomb magazineThe Collaborative Recent History of Stephen Vitiello - Fluid Radio interview-Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Stephen Vitiello.Stephen is an electronic musician and media artist. His sound installations are in the permanent collections of MoMA, the Whitney, and the Museum of Contemporary Art in Lyon. He's worked with Pauline Oliveros, Ryuichi Sakamoto, and Joan Jonas. By day, he teaches Kinetic Imaging at Virginia Commonwealth University.Stephen's latest project is Trinity, a collaborative album with Lawrence English, who you heard on last week's show. Each of Trinity's five tracks brings in a different third musician: Brendan Canty from Fugazi, Chris Abrahams from The Necks, Marina Rosenfeld, Aki Onda, and the late Steve Roden. The album came out last November.Stephen shares how this project came together, what it's like to work with each of these artists, and how he's built a career turning everyday sounds into sonic experiences.(The musical excerpts heard in the interview are from Lawrence English & Stephen Vitiello's album Trinity)–Dig DeeperArtist and AlbumVisit Stephen Vitiello at stephenvitiello.com and follow him on Soundcloud, Instagram, and BandcampPurchase Lawrence English & Stephen Vitiello's Trinity from American Dreams, Bandcamp, or Qobuz and listen on your streaming platform of choicePrevious collaborations: Acute Inbetweens (2011) and Fable (2014) with Lawrence EnglishStephen Vitiello & Brendan Canty: Second (with Hahn Rowe)Trinity CollaboratorsLawrence English and Room40 RecordsBrendan Canty - drummer (Fugazi, The Messthetics)Chris Abrahams - pianist (The Necks)Marina Rosenfeld - turntablist and composerAki Onda - electronic musician and sound artistSteve Roden - late sound artist and visual artistWorld Trade Center ProjectWorld Trade Center Artist Residency - Lower Manhattan Cultural CouncilWorld Trade Center Recordings: Winds After Hurricane Floyd (1999)Bright and Dusty Things - album featuring WTC recordingsStephen Vitiello: Listening With Intent - documentary by ABC-TV AustraliaEducational InstitutionVCU Kinetic Imaging - Virginia Commonwealth UniversityKinetic Imaging Graduate Program at VCUInfluences and Collaborators MentionedNam June Paik - video art pioneerPauline Oliveros - composer and accordionistRyuichi Sakamoto - composer and musicianFred Frith - guitarist and composerIkue Mori - drummer and electronic musician (DNA)Maryanne Amacher - sound artist and composerR. Murray Schafer - composer and writer on acoustic ecologyRobin Rimbaud (Scanner) - electronic musicianColin Newman - Wire guitarist and vocalistTaylor Deupree - 12k Records founderKey Venues and InstitutionsThe Kitchen - New York performance spaceElectronic Arts Intermix - video art distributorAnthology Film Archives - New York cinemaMASS MoCA - Massachusetts Museum of Contemporary ArtThe High Line - New York elevated parkWhitney Museum of American Art - 2002 BiennialMuseum of Modern Art - Soundings exhibition (2013)Punk and No Wave ReferencesFugazi - influential post-hardcore bandDNA - no wave bandThe ClashNo Wave movement - late 1970s NYCMusic Theory and PracticeFluxus movement - experimental art movementJohn Cage and prepared pianoAmbisonic audio - spatial sound formatDolby Atmos - immersive audio formatArticles and InterviewsSteve Roden and Stephen Vitiello conversation in Bomb magazineThe Collaborative Recent History of Stephen Vitiello - Fluid Radio interview-Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

In the spirit of Carnival season, here's a special bonus rebroadcast of our Mardi Gras Super-Sized Special released in January 2025 about a unique connection between New Orleans, Japan & Mardi Gras that took place in 2024! ++++++2024 was a special year for Carnival and the Japan-New Orleans connection! Lafcadio Hearn's life & works inspired the theme for Rex Parade 2024: "The Two Worlds of Lafcadio Hearn - New Orleans & Japan". But why Hearn? What went into the float design? What other ways has Hearn left a lasting impact on both New Orleans & Japan? Find out today with a super-sized special Mardi Gras bonus episode, featuring insights from Rex historian/archivist Will French & historian/archivist emeritus Dr. Stephen Hales, Royal Artists float designer/artistic director Caroline Thomas, Lafcadio Hearn's great grandson Bon Koizumi,  legendary chef John Folse, Captain of the Krewe of Lafcadio John Kelly, JSNO's resident Lafcadio Hearn expert Matthew Smith, and even the Mayor of Matsue Akihito Uesada! Get ready for Mardi Gras 2025 by reflecting on this unique connection between New Orleans & Japan!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Music Credits ------Background music provided by: Royalty Free Music by Giorgio Di Campo for Free Sound Music http://freesoundmusic.eu FreeSoundMusic on Youtube  Link to Original Sound Clip------ Audio Clip Credits ------Thanks to Dominic Massa & everyone at WYES for allowing us to use some of the audio from the below Rex Clips:Segment about Royal Artist & Float DesignFull 2024 Rex Ball Coverage (Krewe of Lafcadio/Nicholls State segment)Thanks to Matsue City Hall & Mayor Akihito Uesada for their video message below:Message from Matsue Mayor Akihito Uesada------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Hearn/Matsue/History Episodes ------30 Years, 2 Cities: The 2024 New Orleans-Matsue Exchange ft. Katherine Heller & Wade Trosclair (S6E11)From Tokyo to Treme: A Jazz Trombone Tale ft. Haruka Kikuchi (S6E10)Foreign-Born Samurai: William Adams ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E17)Foreign-Born Samurai: Yasuke ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E16)Explore Matsue ft. Nicholas McCullough (S4E19)Jokichi Takamine: The Earliest Bridge Between New Orleans & Japan ft. Stephen Lyman (S4E13)The Life & Legacy of Lafcadio Hearn ft. Bon & Shoko Koizumi (S1E9)Matsue & New Orleans: Sister Cities ft. Dr. Samantha Perez (S1E2)------ Links about Rex ------2024 Rex Parade/Float PDF with Full DesignsCaroline Thomas's Website------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

In this episode, we look at asset location, how to decide which investments belong in taxable, tax-deferred, and tax-free accounts, how where we live shapes the opportunities available to us, and how capital ultimately expands our choices.SponsorsGelt - Taxes Done RightMasterworks - Invest in multimillion-dollar artwork offeringsDelete Me – Use code David20 to get 20% offInsiders Guide Email NewsletterGet our free Investors' Checklist when you sign up for the free Money for the Rest of Us email newsletterOur Premium ProductsAsset CampMoney for the Rest of Us PlusShow NotesThe Hidden Healthcare Infrastructure Americans Cross the Border to Find—Kogod School of BusinessFARMWORKER SERVICE CENTER PROPOSAL AND ACTION PLAN FOR THE CITY OF CALEXICO AND IMPERIAL VALLEY by JAVIER MORENO—CalexicoLocation as an Asset by Adrien Bilal and Esteban Rossi-Hansberg—PrincetonIt Is Not Climate Denial But Adaptation Denial That Holds Us Back by Mathis Wackernagel and Peter Raven—SSRNThe Overlooked Edge: The Case for Asset Location in Managed Portfolios—MorningstarRevisiting the conventional wisdom regarding asset location by Sachin Padmawar and Daniel Jacobs—VanguardAsset location for equity by Sachin Padmawar and Daniel Jacobs—VanguardThis powerful strategy can create more spendable wealth by Tom Lenkiewicz—J.P. MorganAsset location strategies for tax efficient investing—BlackRockWhat would Yale do? Implementing after-tax asset allocation by Frances Walsh and Patrick Geddes—BlackRockRelated Episodes540: Beyond Munis — New ETFs for Tax-Efficient Bond Investing506: Should You Retire Early and Live Outside Your Home Country? With Joshua Sheats425: How Profits Motivate ChangeMasterworks DisclosuresListeners get priority access to Masterworks at https://www.Masterworks.com/davidArt correlation and appreciation data based on repeat-sales index of historical Post-War & Contemporary Art market prices and S&P 500 annualized return (includes dividends reinvested) from 1995 to 2025, developed by Masterworks. There are significant limitations to comparative asset class data. Indices are unmanaged and a Masterworks investor cannot invest directly in an index. Content creator (the “Endorser”) receives cash compensation from Masterworks, LLC (“Masterworks”). Endorser is a client of Masterworks. Masterworks can only make and accept sales after an offering statement has been filed, and “qualified”, by the SEC. Any offers may be revoked before notice of qualification. Indications of interest involve no obligation. Investing involves risk. Past performance not indicative of future returns. For further disclosure on Regulation A Offerings, Risks of Investing, Performance Metrics, Art Market Data, and more visit the offering documents filed with the SEC and Important Disclosures at masterworks.com/cd.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A note: On the interview concerning the 3 channel video “Same as me” from 2002 shows an abbreviated day in the life of a total of 18 different versions of the artist. Only viewed three at a time, the possible variations are synchronized across time and space or arise in daydreams of elsewhere or other than. For Campbell, the process of making the video revealed the thesis of the work. “It was very challenging to learn how to reenact my self…. it was hard to keep up with myself.” Beth Campbell, (USA, born in Illinois), demonstrates the inextricable entanglements of past, present, and future through her thought-provoking sculptures, installations, ceramics and works on paper. Equal parts humorous, prescient and morbid, Campbell confronts an overwhelming multiple future, culled from research on the philosophies that fueled the early internet and AI. Campbell is best recognized for her drawings and mobiles that draw from a specific moment in her life, multiplied into a profusion of speculative possibilities. The drawings, each titled with the opening line, “My potential future based on my present circumstances…”, mimic the form of a tree diagram, a graphic structure used to visualize probability and hierarchy. This diagram becomes Campbell's means to channel anxieties about an overwhelmingly multiple future. She began to make these drawings about her life as an artist in New York City in the late 1990's. In them, she suggests taking a moment to look both forward and backwards, taking into account actions and positions and the circumstances that led to them. Beth Campbell earned her BFA from Truman State University in 1993 (Kirksville, MO) and her MFA from Ohio University in 1997 (Athens, OH). She has held over a dozen solo exhibitions at galleries and institutions, including The Aldrich Contemporary Art Museum, Ridgefield, CT (2017); Sculpture Center, Cleveland, OH (2010); “Following Room” at The Whitney Museum of American Art, New York, NY (2007); Kate Werble Gallery, New York, NY (2020, 2017, 2012); the Public Art Fund, New York, NY (2007); White Columns, New York, NY (2000); and Nicole Klagsbrun Gallery, New York, NY (2008, 2005, 2004). Her work has been shown at MoMA PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, Artists Space, and the Bloomberg Financial Offices in Conjunction with Sculpture Center. Campbell has also been featured in exhibitions at the Carnegie Museum of Art, (Pittsburgh, PA); Manifesta 7 (Italy); The Andy Warhol Museum, (Pittsburgh, PA); Contemporary Arts Center, (Cincinnati, OH); OK Center, (Linz, AT); and EX3 Centre for Contemporary Art, (Florence, IT). She has a large commission permanently on view in the Landmarks program at the University of Texas at Austin (Austin, TX). Campbell received a Guggenheim Fellowship (2011), a residency at John Michael Kohler Arts Center, Arts/Industry Residency (2010), a Louis Comfort Tiffany Fellowship (2009) a Pollock- Krasner Foundation Grant (2006) and a Rema Hort Mann Foundation Art Grant (2000). She currently lives and works in Brooklyn, NY. Beth Campbell, My Potential Future Based on Present Circumstances (11/3/25), 2025 Pencil on paper 50 × 38 ½ inches (127.00 × 97.79 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, There's no such thing as a good decision (fawn), 2025 Powder coated steel rod and wire, enamel paint 40 × 40 × 33 inches (101.60 × 101.60 × 83.82 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, lost socks, 2024 Tinted porcelain 2 ¼ × 6 ½ × 6 ¾ inches (5.72 × 16.51 × 17.15 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography

Hey there -- if you subscribed to the Twofivesix podcast, we've made some changes to our focus. I'm working with museums, collections, galleries, and cultural orgs on the same big problems I used to help corporate clients with. Hope you enjoy! What does it actually take to exhibit game-based art in a museum? Beyond the romantic notion of "games as art" lies a complex reality of technical requirements, development timelines, and institutional infrastructure that most cultural organizations simply aren't prepared for.Today, I'm speaking with Theo Triantafyllidis, an artist who builds what he calls "performative systems where natural and synthetic intelligences rehearse their coexistence." Working with games, live simulations, performances, and installations, Theo creates darkly playful procedural worlds that turn phenomena like ecological collapse and networked desire into experiences that can be felt rather than verbally explained.Theo has exhibited at major institutions including the Whitney Museum, Centre Pompidou, and was part of the Venice Biennale's Hyper Pavilion. His work ranges from Pastoral, an intimate anti-game about a muscular orc running through an infinite hayfield, to Feral Metaverse, an ambitious eight-player multiplayer game with a custom medieval catapult rig that's been in development for over three years.In this conversation, we go deep on the practical realities of exhibiting interactive work: Why IT staff aren't the same as technical infrastructure. How institutions fund physical installations but not digital development, or vice versa. Why a game that takes two weeks to build might tour internationally while a three-year project struggles to find the right venue. And what it means when audiences bring their player psychology into the gallery space—that instinct to test boundaries and break systems that makes games fundamentally different from other art forms.If you're a cultural institution thinking about game-based programming, an artist navigating this landscape, or simply curious about what happens when the art world meets interactive media, this conversation offers a rare, unvarnished look at what it really takes to do this work well.(00:00) - The Infrastructure Gap: Why Museums Can't Show Interactive Work (00:43) - Theo Triantafyllidis on Building Performative Systems (01:30) - Beyond IT: What Game-Based Art Actually Requires (03:55) - The Funding Paradox: Digital vs. Physical Production (08:59) - Technical Realities: Maintenance, Testing, and Player Psychology (15:39) - Case Studies: From Two-Week Prototypes to Three-Year Developments (25:41) - Building Institutional Literacy for Game-Based Practice For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

            In another joint episode, Things We Said Today and Talk More Talk -- Ken Michaels, Allan Kozinn, Darren DeVivo and Kit O'Toole -- join forces to rank Wings' seven studio albums. The discussion begins after Ken's news segment and a review, by Kit, of Yoko's Music of the Mind show at the Museum of Contemporary Art, Chicago (https://visit.mcachicago.org/exhibitions/yoko-ono-music-of-the-mind/ ). Kit's review is at 22'54” and the Wings discussion begins at 29'37”. As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Video Podcast" Facebook page and comment there, on X at @thingswesaidfab or Bluesky at @thingswesaidtoday, or visit us on Facebook and give us your thoughts. You can watch the show on our YouTube page [https://www.youtube.com/channel/UC-zgHaPfL6BGmOX5NoyFE-A], or hear the audio version on Podbean [https://beatlesexaminer.podbean.com/], iHeart Radio, Apple podcasts and other sources of fine podcasts. Our shows appear every two weeks. Please be sure SUBSCRIBE, click LIKE and write a (positive, ideally!) review of our show here or on our iTunes page! Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!             MANY MANY WAYS TO CONTACT US:             Our email address: thingswesaidtodayradioshow@gmail.com             BlueSky: @thingswesaidtoday             Twitter @thingswesaidfab             Facebook: Things We Said Today video podcast       ALLAN on Facebook: Allan Kozinn or Allan Kozinn Remixed. Allan's Twitter/X feed: @kozinn Bluesky: @allankozinn.bsky.social Threads: allan_kozinn The McCartney Legacy's website: mccartneylegacy.co.uk/ The McCartney Legacy on Facebook: McCartney Legacy, on Twitter/X: @McCARTNEYLEGACY and on Bluesky: @mccartneylegacy.bsky.social The McCartney Legacy YouTube channel: https://www.youtube.com/channel/UC8zaPoY45IxDZKRMf2Z6VyA             KEN's YouTube Channel, Ken Michaels Radio: https://www.youtube.com/channel/UCq_Dkp6fkIsYwGq_vCwltyg             Ken's Website Beatles Trivia Page: https://www.kenmichaelsradio.com/beatles-trivia--games.html Ken's other podcast, Talk  More Talk: A Solo-Beatles Videocast You Tube channel:  https://www.youtube.com/@talkmoretalksolobeatles             Ken's Weekly Beatles radio show "Every Little Thing" On Demand:  http://wfdu.fm/Listen/hd1%20recent%20archives/             Ken's e-mail:  everylittlething@att.net Ken's Facebook Page: https://www.facebook.com/ken.michaels.31/ DARREN on Facebook: Darren DeVivo Darren's radio show, “Noises From the Valley,” can be heard Friday nights from 7 p.m. to 11 p.m, on WKZE, 98.1 or  105.9, or at wkze.com.

Interdisciplinary artist Edra Soto created more than a dozen "BB (Bad Bunny Chairs)" that will be featured in an upcoming MCA exhibit about the visual, political and spiritual histories of dancehall and reggaetón.

Interdisciplinary artist Edra Soto created more than a dozen "BB (Bad Bunny Chairs)" that will be featured in an upcoming MCA exhibit about the visual, political and spiritual histories of dancehall and reggaetón.

Interdisciplinary artist Edra Soto created more than a dozen "BB (Bad Bunny Chairs)" that will be featured in an upcoming MCA exhibit about the visual, political and spiritual histories of dancehall and reggaetón.

This week, we have the (more or less) final update on the proposed harm reduction center on Madison's East Side. Turns out, the organization recommended to get $2.4 million to run it listed a bunch of partnerships and collaborations with organziations that never agreed to be partners or collaborate -- a fact we exclusively reported this week. The Board of Health ultimately rejected the contract. On the podcast today, we go through the details and dig into just how problematic it is for white leaders to claim more connection to Black and brown communities than nthey actually have. Then, well-known Ho-Chunk chef Elena Terry is finally opening a brick and mortar restaurant at the Madison Museum of Contemporary Art. Omar Waheed spoke with her and catches us up on her plans. Next up, Madison seventh-grader Iliyan Hoskins is just back from his first international judo competition, where he won a bronze medal for Team USA at the Pan American Judo Championships in Lima, Peru. He and his mom Ivanka join the show to educate Rob about the sport, recap the Pan Am championship, and talk about his Olympic Dreams. 365 Amplified is produced by Rob Chappell for the 365 Media Foundation, a nonprofit local media organization in Madison, Wisconsin. Follow Madison365 on BlueSky, Facebook, Instagram, LinkedIn, and Threads.

A renowned Irish artist who currently has two exhibitions showing in Paris has spoken to FRANCE 24 about her work. Ailbhe Ní Bhriain is known for her big, bold dramatic works of art as she uses all sorts of materials including silk, wool, cotton and lurex. She aims to create what she calls an emblem of industry, empire and permanence. Her work is on display at the Irish Cultural Centre and the Andréhn Schiptjenko gallery here in Paris. She spoke to us in Perspective.

Corresponded for years with disgraced financier A Beacon resident who is a well-known museum director resigned his position on Tuesday (Feb. 3) at the School of Visual Arts in New York City following the release of his correspondence over many years with Jeffrey Epstein. The emails between David Ross and Epstein, a financier who killed himself in jail in 2019 while facing federal sex trafficking charges, were among 3 million pages, 180,000 images and 2,000 videos released on Jan. 30 by the U.S. Department of Justice. The emails between the two men were first reported by ARTnews. Ross, who is the spouse of Peggy Ross, a former Beacon City Council member, was named chair of SVA's MFA Art Practice program in 2009. He had previously been director of the Institute of Contemporary Art in Boston, the Whitney Museum of American Art and the San Francisco Museum of Modern Art. Ross has long been active in the Beacon art scene. Five years ago, on an episode of the podcast Beaconites, he discussed the pandemic's effect on the art world and recalled an attempt to turn Beacon's historic brick buildings into art repositories. Epstein pleaded guilty in 2008 in Florida to felony charges of procuring a child for prostitution and soliciting a prostitute. He served 13 months in jail, with work release. Epstein had many powerful friends, including President Donald Trump and former President Bill Clinton, who agreed on Monday (Feb. 2) to testify before the House Oversight Committee about their relationship. Elon Musk, Andrew Mountbatten-Windsor, Richard Branson, Steve Bannon, Peter Attia and Steve Tisch, co-owner of the New York Giants, also knew Epstein. There is no evidence in the files of criminal wrongdoing by Ross. In a statement to The Current, he wrote: "The fact of the matter is that I continued to believe that his troubles were a function of his friendship with former President Clinton, and foolishly I continued to try to show friendship, until the truth of his crimes became apparent to me." In a longer statement to ARTnews, Ross said he met Epstein in the mid-1990s, when Ross was director of the Whitney. "I knew him as a wealthy patron and a collector, and it was part of my job to befriend people who had the capacity and interest in supporting the museum," Ross said. After Epstein was jailed in 2008, Ross said: "I emailed him to find out what the story was After Epstein was jailed in 2008, Ross said: "I emailed him to find out what the story was because this did not seem like the person I thought I knew. … He told me that he had been the subject of a political frame-up because of his support of former President Clinton. At the time, I believed he was telling me the truth." Ross continued, according to ARTnews: "When, years later, I read that he was being investigated again on the same charges, I reached out to him to show support. That was a terrible mistake of judgment. When the reality of his crimes became clear, I was mortified and remain ashamed that I fell for his lies. "Like many he supported with arts and education patronage, I profoundly regret that I was taken in by his story. I continue to be appalled by his crimes and remain deeply concerned for its many victims." The correspondence between Ross and Epstein was friendly. On July 22, 2009, the day Epstein was released from jail, Ross emailed Epstein "a welcome home! Glad the nightmare is over, Jeffrey. … It was an undeserved punishment foisted upon you by jealous creeps." In another email exchange, from October 2009, Epstein suggested he might fund an exhibit with images of minors; he suggested Statutory as the title. "Girls and boys ages 14-25 … where they look nothing like their true ages. Juvenile mug shots, Photoshop, makeup. Some people go to prison because they can't tell [their] true age. Controversial, fun. Maybe it should be a webpage, with hits tallied," Epstein wrote to Ross. "You are incredible," Ross replied. "This would be a very powerful and freaky book. Do y...

Vivimos rodeados de decisiones que parecen exigir una respuesta inmediata: correcto o incorrecto, éxito o fracaso, blanco o negro. En este episodio exploramos cómo el pensamiento binario, esa tendencia a reducir la complejidad a dos opciones opuestas, no solo empobrece el debate público, sino que limita profundamente la creatividad. Pensar en extremos nos da una falsa sensación de claridad, pero elimina los matices donde nacen las ideas más interesantes. Hablamos de cómo esta lógica atraviesa la educación, el trabajo creativo y nuestra vida cotidiana, y por qué aprender a tolerar la ambigüedad es una habilidad crítica para uqe estima nuestra práctica artística. La creatividad no surge de respuestas cerradas, sino de preguntas abiertas. ¿Quieres una asesoría para tu proyecto? https://www.pensarlaimagen.com/asesoria-para-artistas-visuales Únete a la COMUNIDAD de Pensar la imagen https://www.patreon.com/pensarlaimagen/membership Curso de PROFESIONALIZACIÓN PARA ARTISTAS PRO https://www.pensarlaimagen.com/curso-de-artista-profesional-integral También estamos en Instagram.com/podcastpensarlaimagen twitter.com/pensarlaimagen Tiktok.com/podcastpensarlaimagen #artecontemporáneo #arte #autor #Contemporaryart #podcastpensarlaimagen #artistas

I'm really happy to welcome Preeti Malkani, Chairwoman of the Supervisory Board and Co-founder of Women for Women International Germany. With Indian and German roots, and a career that spans global advertising, entrepreneurship and humanitarian leadership, Preeti has dedicated her work to empowering women in conflict zones and rethinking how we talk about power and inclusion.In this conversation, we speak about the moments that shaped her path, the stories she's witnessed in places like Rwanda, Iraq and Bosnia. And we'll also talk about what each of us can do, beyond donations, to support women across the globe.If you enjoy this conversation, don't forget to rate and review us on your favorite podcast platform.Read more about the Women Authors of Achievement (WAA) Podcast via waa.berlin/aboutFollow us on Instagram & find us on LinkedInSubscribe to our newsletter via waa.berlin/newsletter ★ Support this podcast on Patreon ★

In the 1970s, American curator Donna Stein served as an art advisor to Empress Farah Diba Pahlavi, the Shahbanu of Iran. Together, Stein and Pahlavi generated an art market in Iran, as Stein encouraged Pahlavi's patronage of the Tehran Museum of Contemporary Art. Today, the contemporary section of the Iranian National Collection―most of which continues to languish in storage―is considered one of the most significant collections of modern art outside of Europe and the United States. The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (Skira, 2020) is a vivid account of Stein's experience working on this storied intercultural initiative. In crafting her highly readable narrative, Stein cites a number of previously confidential documents, including private correspondence with artists and dealers. This text explores the relationship between two women united by their shared passion for the arts and the continued legacy of their partnership in today's art world. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the 1970s, American curator Donna Stein served as an art advisor to Empress Farah Diba Pahlavi, the Shahbanu of Iran. Together, Stein and Pahlavi generated an art market in Iran, as Stein encouraged Pahlavi's patronage of the Tehran Museum of Contemporary Art. Today, the contemporary section of the Iranian National Collection―most of which continues to languish in storage―is considered one of the most significant collections of modern art outside of Europe and the United States. The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art (Skira, 2020) is a vivid account of Stein's experience working on this storied intercultural initiative. In crafting her highly readable narrative, Stein cites a number of previously confidential documents, including private correspondence with artists and dealers. This text explores the relationship between two women united by their shared passion for the arts and the continued legacy of their partnership in today's art world. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Artspeak Radio, Wednesday, January 28, 2026, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd welcomes Fringe Festival Director Audrey Crabtree with Bradley J. Thomas, and Charlotte St. Foundation Kimi Kitada, Tyler Galloway. AUDREY CRABTREE & BRADLEY J. THOMAS CHARLOTTE ST. FOUNDATION-The recently-opened exhibit, "stand up, fight back: designing an anti-racist movement for worker power" is on view at the charlotte street foundation. the exhibition tells the story of how thoughtful, sustained commitment to design for social change can become a force-multiplier that enriches the struggle for anti-racist, working class organizing. it features posters, banners, flyers, t-shirts, and other graphic ephemera, in addition to documentary videos and photos and oral histories from workers. the exhibition runs from now to feb 28. CSF is located at 3333 Genessee, KCMO. i will also be running a 2-hour workshop on saturday jan 31, titled "let's design protest posters!" other public programming includes "Archiving People's History: A Panel and Conversation" on thursday, february 12, 2026 from 6:30–8 PM tyler galloway is a graphic designer, professor, and Joyce C. Hall Chair of the Graphic Design department at Kansas City Art Institute. His primary research and practice interests focus on design for community-based social change through both client-initiated and designer-initiated work, which he pursues under his studio moniker, the new programme, alongside student collaborators. he brings 30 years of professional design experience and 20 years of teaching experience to his endeavors. tyler holds a BFA in graphic design from Missouri State University and an MGD from North Carolina State University. His work has appeared in several national and international political/social poster and art exhibitions and been published in the books “The Design of Dissent”, “Posters for the Planet”, “Graphis Poster Annual”, “Reproduce and Revolt”, in Communication Arts, and the Turkish socio-political design magazine “No Tasarim”. Coursework and student projects have been published in the book “Designing for Social Change” and the website “Design Ignites Change”, having won multiple grants through the latter. He has spoken locally and regionally on design for social change and was an invited participant in the LEAP symposium at Art Center College of Design. Design pedagogy papers have been presented at multiple AIGA national design education conferences, Typecon and the international MODE summit on motion graphics. But perhaps just as important, tyler loves riding bikes, punk rock, vegan cookies and being a husband and dad. thenewprogramme.net instagram @thenewprogramme Kimi Kitada is a curator based in Kansas City. She is the Gallery & Programs Manager at Charlotte Street, where she has worked since Fall 2020. Previously, she was Curatorial Assistant at The Museum of Contemporary Art, Los Angeles in 2019-2020. From 2014 to 2018, she served as Public Programs & Research Coordinator at Independent Curators International (ICI) in New York. She is currently working on a two-person exhibition of Cesar Lopez and Kiki Serna for the Albrecht-Kemper Museum of Art in St. Joseph, MO, which opens on February 27, 2026. Additionally, she is co-curating a traveling exhibition for Independent Curators International, titled How to Make a Scene: Artist Run Midwest, which will debut in Fall 2026. www.charlottestreet.org Instagram:@charlottestreetfoundation

Aglaé Bassens, Photo: Jenny Gorman Aglaé Bassens (b. 1986, Belgium) has a BA in Fine Art from the Ruskin School of Drawing and Fine Art, Oxford University (2007) and an MFA in Fine Art Painting from the Slade School of Fine Art, London (2011). Her work has been exhibited internationally, with solo presentations at the Institute of Contemporary Art, Miami; HESSE FLATOW, New York; 12.26, Dallas; Nars Foundation, Brooklyn; CRUSH Curatorial, New York; and Cabin Gallery, London; as well as group exhibitions at Gowen Contemporary, Geneva; STEMS Gallery, Paris; The Valley, Taos; and Workplace Gallery, London. Bassens's works can be found in the permanent collections of the Institute of Contemporary Art, Miami and Colección SOLO, Madrid, Spain. She lives and works in Brooklyn, NY. Aglaé Bassens (b. 1986) What was that, 2025 Oil on canvas 39 3/8 x 51 1/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman. Aglaé Bassens (b. 1986) Stone Tiles, 2025 Oil on canvas 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman. Aglaé Bassens (b. 1986), Deflated, 2025, Oil on canvas, 51 1/8 x 39 3/8 inches. Photo courtesy of the artist and HESSE FLATOW, New York. Photo: Jenny Gorman.

A new art exhibition from visual artist Gideon Appah reflects everyday life in Ghana. The show is called, “Beneath Night and Day,” on display now at Pace Gallery through Saturday, February 28th.

Terrance Cummings' 'Art for Change' at the Arts Council of Princeton explores race, class, and shared humanity through vibrant, layered artwork. The exhibition sparks dialogue, challenges perceptions, and runs through Feb. 7th.

It's about time we really talk about beauty tech, what it already looks like in parts of Asia, and what it could become in our homes in the next few years, in ways we probably can't even imagine yet.That's exactly what I explore in this episode with Wanfen Xia, CMO and Managing Director at Ulike Europe.Wanfen brings a clear and grounded perspective on where the beauty-tech sector is heading. We talk about how advanced Asian markets already are, what Europe can learn from them, and how new self-care routines might soon become a natural part of everyday life at home.What I especially appreciated in this conversation is Wanfen's gentle, thoughtful approach, shaped by literature, aesthetics, and a deep understanding to what beauty can mean beyond performance or perfection. It's a reminder that some things are meant to be felt intuitively.If you enjoy this conversation, don't forget to rate and review us on your favorite podcast platform.Read more about the Women Authors of Achievement (WAA) Podcast via waa.berlin/aboutFollow us on Instagram & find us on LinkedInSubscribe to our newsletter via waa.berlin/newsletter ★ Support this podcast on Patreon ★

Christoph Radl"Mise en scène"Ettore SottsassDario Cimorelli Editorewww.dariocimorellieditore.itMostraEttore SottsassMise en scèneFino al 15 febbraio 2026Triennale, MilanoApriamo un nuovo capitolo della ricerca sulla figura di Ettore Sottsass, insieme a Studio Sottsass. La mostra riunisce circa 1.200 fotografie in bianco e nero e a colori scattate tra il 1976 e il 2007, periodo che intercorre tra l'anno dell'incontro tra Barbara Radice ed Ettore Sottsass e l'anno della scomparsa di quest'ultimo.
Si tratta di un variegato paesaggio della loro vita privata e pubblica a casa e in giro per il mondo, per lavoro e per visite, con poche distinzioni. La vita tra i due ha sempre fatto poche differenze tra il pubblico e il privato.
Il titolo della mostra si riferisce all'idea di Sottsass che la vita, un poco come per la Commedia dell'Arte, assomigli appunto, alla “messa in scena”, abbastanza improvvisata di un vago canovaccio.A cura di Christoph Radl, Stefano Boeri, Micaela Sessa, Barbara Radice.Il volume apre un nuovo capitolo nella ricerca dedicata a Ettore Sottsass (1917–2007), presentando oltre mille fotografie in bianco e nero e a colori realizzate tra il 1976 e il 2007, scattate quasi sempre con la sua inseparabile Leica con obiettivo 21 mm, anni che segnano l'incontro con Barbara Radice e l'avvio di una vita condivisa, senza confini tra pubblico e privato. Le immagini raccontano un'esistenza nomade e intensa, da Milano all'India, dalla Tunisia all'Arizona, dall'Egitto alla Siria e al Qatar, passando per Gerusalemme, l'Iran, l'Algeria, il Messico, l'America, la Polinesia francese e la Nuova Guinea, fino alla Sicilia e a Filicudi, in un continuo attraversamento di paesaggi, interni, corpi e gesti quotidiani che trasformano la vita in una vera mise en scène.Il racconto visivo si intreccia con una costellazione di incontri e relazioni: i fotografi da Helmut Newton a Robert Mapplethorpe, insieme a Alfa Castaldi, Giovanni Gastel e Oliviero Toscani, i designer e gli architetti da Andrea Branzi a Michele De Lucchi, da Vittorio Gregotti a Carlo Scarpa, da Shiro Kuramata a Alessandro Mendini e Achille Castiglioni, fino ai collezionisti e protagonisti del sistema dell'arte e della musica come Jean Pigozzi, Max Palevsky, Carla Sozzani, Anish Kapoor e Mick Jagger. Le immagini mostrano una passione tradotta in rituale quotidiano, anticipando l'esposizione mediatica dei social della nostra epoca e restituendo un mondo osservato senza filtri.Christoph Radl è un designer e artista multidisciplinare internazionale la cui carriera abbraccia il graphic design, la direzione editoriale e le arti visive contemporanee. È nato in Svizzera negli anni '50 (San Gallo, spesso dicono nel 1954) ed è cresciuto in Austria. Arrivato a Milano negli anni Settanta per frequentare la Scuola Politecnica di Design, inizia a lavorare con l'architetto e designer Ettore Sottsass e il Gruppo Memphis. Nel 1984 fonda l'agenzia di comunicazione creativa con Sottsass Associati e nel 1993 apre il suo studio R.A.D.L.&, specializzato in progetti editoriali di comunicazione e graphic design per moda, design, editoria e arti visive. Ha collaborato con Armani, Ferragamo, Pucci, Trussardi, Alessi, Cassina, Sony, il museo Guggenheim di Bilbao in Spagna, il Museum of Contemporary Art a Chicago, tra i molti. Ha collaborato come Art Director di una rivista di culto come TERRAZZO e di INTERNI per diversi anni ed è attualmente Art Director e co-fondatore di CABANA Magazine.  Radl ha esposto in diverse mostre collettive e personali. Tra i progetti più recenti: “FAT BOY” alla Galleria Antonia Jannone di Milano (2025), una serie di acquerelli su un bizzarro personaggio ispirato alla civiltà precolombiana dei Mimbres, che viaggia attraverso la storia dell'arte dall'arte antica fino ai maestri contemporanei, da Baselitz a Mantegna, da Kounellis a Picasso.  Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

A 20-year veteran of leading entertainment and sports agency Creative Artists Agency (CAA), Joel Lubin is a Managing Director and Co-Head of the Motion Picture Group. Lubin represents many of the world's most acclaimed talent, including Tom Cruise, Colin Farrell, Ralph Fiennes, Carey Mulligan, Chris Evans, Mahershala Ali, Vanessa Kirby, David Oyelowo, Jude Law, Andrew Garfield, Mark Rylance, Jon Bernthal, Charlize Theron, Sebastian Stan, Josh Brolin, Michelle Williams, Matthew Goode, James Corden, Hilary Swank, and Jeremy Renner, among others.  An avid art collector, Lubin currently serves on the Board of Overseers for the Hammer Museum and the Board of Directors of the Institute of Contemporary Art, Los Angeles.In this conversation, Lubin and Zuckerman discuss how careers are built over time; the role of trust, risk, and intuition in representation; and what it means to advocate for artists at the highest level while navigating an industry shaped by scale, power, and change. They reflect on creative partnership, long-term thinking, and the parallels between collecting art and stewarding talent—both rooted in conviction, patience, and belief. 

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Fluent Fiction - Hindi: Art & Awakening: Finding Winter Magic Beyond the Canvas Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hi/episode/2026-01-10-23-34-02-hi Story Transcript:Hi: दिल्ली की सर्दियों में हवा कुछ ज्यादा ही सर्द थी।En: The air in Delhi during winter was particularly cold.Hi: पूरे शहर में मकर संक्रांति की रौनक छाई हुई थी।En: The entire city was abuzz with the excitement of Makar Sankranti.Hi: इसी रौनक में, नेशनल गैलरी ऑफ़ मॉडर्न आर्ट में कला के दीवाने उमड़े हुए थे।En: In this festive atmosphere, art enthusiasts flocked to the National Gallery of Modern Art.Hi: गैलरी के भीतर, जगह-जगह भारतीय समकालीन कलाकारों की कला प्रदर्शन कर रही थी।En: Inside the gallery, various corners were showcasing the work of contemporary Indian artists.Hi: अर्जुन भी वहीं था।En: Arjun was also there.Hi: उसे अपने आर्ट प्रोजेक्ट के लिए प्रेरणा की तलाश थी।En: He was in search of inspiration for his art project.Hi: लेकिन आज, उसे कोई भी चित्र उसे उत्साहित नहीं कर पा रहे थे।En: But today, none of the paintings were exciting him.Hi: उसने अपनी कला का जादू खो दिया है, ऐसा उसे लगने लगा था।En: He felt like he had lost the magic of his art.Hi: उसकी आंखें चित्रों में कोई नई बात तलाशतीं, मगर उसका मन कहीं और ही था।En: His eyes searched the paintings for something new, but his mind was elsewhere.Hi: अर्जुन ने यह सोचकर अन्य लोगों को देखने का निर्णय लिया ताकि कुछ नया अनुभव प्राप्त कर सके।En: Arjun decided to observe other people in the hope of gaining a new experience.Hi: लोग चारों ओर हैरान होकर चित्रों को देख रहे थे।En: People were gazing at the paintings in awe everywhere.Hi: इसी बीच उसकी निगाहें प्रिया और मीरा पर पड़ीं।En: Amidst this, his eyes fell on Priya and Meera.Hi: दोनों बहनें बड़े ध्यान से एक चित्र को देख रही थीं।En: Both sisters were attentively looking at a painting.Hi: फिर अचानक कुछ ऐसा हुआ जिसकी किसी को उम्मीद नहीं थी।En: Then suddenly, something unexpected happened.Hi: प्रिया अचानक बेहोश होकर गिर पड़ी।En: Priya suddenly fainted and fell.Hi: अर्जुन का दिल धड़कने लगा।En: Arjun's heart began to race.Hi: लोग इधर-उधर हटने लगे।En: People started moving aside.Hi: अर्जुन के अंदर कुछ जागा।En: Something awakened inside Arjun.Hi: उसने बिना सोचे-समझे, तुरंत प्रिया की ओर दौड़ लगाई।En: Without thinking, he immediately ran towards Priya.Hi: वहां पहुंचकर अर्जुन ने देखा कि प्रिया की सांस कुछ सही नहीं थी।En: Reaching there, Arjun saw that Priya's breathing was not quite right.Hi: अर्जुन ने अपने अवलोकन कौशल का इस्तेमाल किया।En: Arjun used his powers of observation.Hi: उसने प्रिया का सिर नर्म तकिये के समान अपने हाथों से सहारा दिया और मीरा से पानी देने को कहा।En: He gently cradled Priya's head with his hands, like a soft pillow, and asked Meera to bring water.Hi: कुछ ही देर में, प्रिया की आँखें खुल गईं।En: In just a short while, Priya's eyes opened.Hi: मीरा ने उसे गहरी सांस लेने के लिए कहा।En: Meera told her to take a deep breath.Hi: इस आपात स्थिति में अर्जुन की संवेदनशीलता और सूझबूझ काम आई।En: In this emergency, Arjun's sensitivity and presence of mind proved valuable.Hi: प्रिया ने धीरे से मुस्कुराते हुए अर्जुन को देखा और धन्यवाद कहा।En: Priya looked at Arjun with a soft smile and said thank you.Hi: अर्जुन को महसूस हुआ कि उसने वाकई एक महत्वपूर्ण भूमिका निभाई थी।En: Arjun realized he had indeed played an important role.Hi: प्रिया और मीरा के साथ समय बिताते हुए, अर्जुन ने जाना कि जीवन एक कला है जिसे न केवल चित्रों में, बल्कि संबंधों में भी ढूंढा जा सकता है।En: While spending time with Priya and Meera, Arjun learned that life is an art that can be found not only in paintings but in relationships as well.Hi: अर्जुन का आत्मविश्वास लौट आया था।En: Arjun's confidence had returned.Hi: कला की प्रेरणा उसे न केवल चित्रों से, बल्कि लोगों और उनकी कहानियों से भी मिल सकती है।En: Inspiration for art could come not only from paintings but also from people and their stories.Hi: इस अनुभव ने अर्जुन को कला के प्रति उसकी भूली हुई प्यार को फिर से जगा दिया।En: This experience rekindled Arjun's forgotten love for art.Hi: अब वह कला को एक नई नजर से देख सकता था।En: Now, he could see art from a new perspective.Hi: गैलरी से बाहर जाते हुए, ठंडी हवा भी अब उसे उतनी ठंडी नहीं लग रही थी।En: As he left the gallery, the cold wind no longer felt as cold to him.Hi: मकर संक्रांति का उत्सव उसके मन और आत्मा में भी शुरू हो गया था।En: The celebration of Makar Sankranti had begun in his mind and soul as well. Vocabulary Words:particularly: कुछ ज्यादा हीenthusiasts: दीवानेshowcasing: प्रदर्शनcontemporary: समकालीनinspiration: प्रेरणाexciting: उत्साहितobserve: देखनेfainted: बेहोशcradled: सहाराsensitivity: संवेदनशीलताperspective: नजरrekindled: फिर से जगाflutter: धड़कनेextraordinary: अप्रत्याशितimmediately: तुरंतepisode: घटनाmagnitude: महत्वपूर्णsoul: आत्माbreeze: हवाartistry: कलाimmersed: डूबाrevelation: खुलासाunexpected: अचानकemergency: आपात स्थितिvaluable: कीमतीgalleries: गैलरीrole: भूमिकाstorytelling: कहानियोंexperience: अनुभवwind: हवा

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Episode No. 740 features artist Firelei Báez and curators Charlene Foggie-Barnett and Dan Leers. The MCA Chicago is presenting "Firelei Báez," the first North American mid-career survey of the artist's paintings and installations. Báez's work often explores the legacies of colonialism across the American and the African diaspora, in the Caribbean, and beyond. Her works are often explosively colorful and use complex and layered materials, including archival material and paint, to unsettle fixed categories and historical events. The exhibition was curated by Eva Respini with Tessa Bachi Haas; the MCA Chicago presentation was organized by Carla Acevedo-Yates with Cecelia González Godino and Iris Colburn. It is on view through May 31. A catalogue was published by the Institute of Contemporary Art/Boston in association with DelMonico Books. It is available from Amazon and Bookshop for $36-56. Institutions that have previously presented major Báez exhibitions include the Louisiana Museum of Modern Art in Copenhagen, The Momentary in Bentonville, Ark., the Witte de With Center for Contemporary Art in Rotterdam, The Schomburg Center for Research in Black Culture and The Studio Museum in Harlem, and the Pérez Art Museum Miami. Foggie-Barnett and Leers are the co-curators of "Black Photojournalism" at the Carnegie Museum of Art in Pittsburgh. The exhibition presents work by nearly 60 photographers chronicling historic events and daily life in the United States between 1945 and 1984. The exhibition was designed by David Hartt. It is on view through January 19, before traveling to the Amon Carter Museum of American Art in Fort Worth. An excellent catalogue was published by the Carnegie. Amazon and Bookshop offer it for about $60. In addition to the video below, the CMOA has produced an outstanding podcast series to accompany the show. Instagram: Firelei Báez, Charlene Foggie-Barnett, Tyler Green.

Join Artist Bette A. on a journey of artistic discovery as she discusses her collaboration with legendary artist/producer Brian Eno for their latest project!Combining narrative, music, and painting, Slow Stories is a collaboration between Bette A. and Brian Eno, based on Bette A.'s short story collection of the same name. For the vinyl, Brian Eno's ambient compositions accompany Bette A.'s voice as she tells two stories from the book—"The Endless House” and “The Other Village.” Together, the artists paint individual canvases to accompany each book and record in the bundle, extending the narrative landscape into an ethereal visual realm.Pre-Order a copy of Slow Stories: A Collaboration of Storytelling, Music, and Art

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

It's a new year, and to celebrate while I dive deep into prep mode for season 8, I've picked out one of my past favorites to share again—freelance designer, grad student, and fellow Portland Institute for Contemporary Art design alum Mallary Wilson joined me way back in June of 2023 to talk inadvertently inappropriate imagery, erasers shaped like food items, and hoarding AOL hours. It's an episode that's unforgivably uncool, but we can dig it!You can find Mallary on the web at mallarydesigns.com or @mallarydesigns on Instagram—if you work at an agency and are looking for somebody killer to bring onto your team, reach out! If you're wondering what the heck we're talking about with regards to PICA and TBA and all, that, check out PICA.org—those around Portland may know them for their annual Time-Based Art (TBA) Festival, which will be celebrating its 20th anniversary this year. It is a weird, good time, and brings parts of the artistic globe to Portland you might never see otherwise.—⭐️ HELP SHAPE THIS SHOW'S FUTURE! ⭐️ Please take the Did I Do That? Listener Survey at tiny.cc/thatsurvey! Hosted on Acast. See acast.com/privacy for more information.

We love to do deep dives into trends that we are noticing in painting and the trend of “Bordercore” was one of our best-loved from the year, so we decided to revisit it this holiday season. We take a look at the emergent trend in art which is wild and inventive takes on frames, suddenly front and center for many painters of the moment as a way to push new boundaries in painting.  Almost by definition, the frame of a picture is something that you are not supposed to notice. But if you go to the art galleries to look at paintings now, you might get a very different sense of what a frame can or even should do. Weird and wild frames that very much draw attention to themselves seem to be having a moment. Recently, Artnet writer and editor Katie White penned a piece titled “Bordercore: Why Frames Became the New Frontier in Contemporary Art,” in it, she writes:  A new wave of contemporary art is reconsidering the frame as a central character, one that is surreal, sculptural, and symbolic. Artists are using the border not just to contain, but to comment, disrupt, or extend the work beyond itself. This is driven by an embrace of more bespoke, historic artistic processes, but also, as a rebuttal to the superflat virtual age. More and more, paintings have been appearing at fairs and in exhibitions with statement frames, after a long era of often-frameless display. If for previous generations, the frame was a liability that could detract from the cerebral, intellectual, and aesthetic experience of the canvas, artists today are creating frames that attempt to pull us back into bodily reality, a haptic experience of art. In her essay, she looks both at the history of framing styles, and talks to a number of contemporary painters to figure out what is causing so many to treat something that was literally considered peripheral to what they do as very much part of the main attraction. This week she joins art critic Ben Davis on the podcast to discuss this new frontier in art.

I had the grand opportunity to cover the 50th Aniversary of the Toronto International Film Festival.  With animation being one of my favourite topics in the world, I am grateful that I was able to join this epic conversation and now share it with you. :) DIALOGUES: Creative Visions in Animated Feature Films is a specific TIFF (Toronto International Film Festival) event/panel where acclaimed directors like Domee Shi (Pixar's Elio), Mamoru Hosoda (Belle, Summer Wars), and Momoko Seto (Dandelion's Odyssey) discuss balancing artistic vision with studio realities, creative authorship, and the future of bold animation, showcasing diverse global perspectives. This dialogue offers insights into the challenges and triumphs of making visionary animated features, featuring both indie and major studio voices.  From intimate, auteur-driven projects to collaborations with major studios, discover how directors Domee Shi (Elio), Momoko Seto (Dandelion's Odyssey), Mamoru Hosoda (Scarlet), and Kid Koala (Space Cadet) balance artistic integrity with industry realities, and what it takes to make animated films that captivate audiences and spark global imaginations. Join us for a candid conversation about creative authorship, industry pressures, and the evolving space for bold, visionary animation. Domee Shi began as a story intern at Pixar Animation Studios in 2011 and was soon hired as a story artist on the Academy Award–winning Inside Out. She went on to work on The Good Dinosaur, Incredibles 2, and Toy Story 4. In 2015, she was greenlit to write and direct Bao, which won the Oscar for Best Animated Short. She made her feature directorial debut with 2022's Oscar-nominated Turning Red and most recently co-directed Elio, released June 2025. Born in Chongqing, China, and raised in Toronto, Shi now lives in Oakland, California. Momoko Seto was born in Tokyo and lives in Paris. She studied at Le Fresnoy - National Studio of Contemporary Arts. Her short film series Planet includes Planet Z (11) and Planet Sigma (15). The winner of the FIPRESCI Award at Cannes Critics' Week, Dandelion's Odyssey (25) is her feature film debut. Mamoru Hosoda was born in Toyama, Japan. He has worked on numerous animated series and directed the features One Piece: Baron Omatsuri and the Secret Island (05), The Girl Who Leapt Through Time (06), Summer Wars (09), Wolf Children (12), The Boy and the Beast (15) which played at the Festival, Mirai (18), and Belle (21). Scarlet (25) is his latest film. Kid Koala (Eric San) is a Montreal-based DJ, composer, and graphic novelist. He directed Space Cadet, his first animated feature based on his graphic novel, which premiered at the Berlinale and will have its North American Premiere at TIFF 50. Known for genre-defying albums and live shows, he has also scored acclaimed films, series, and video games. Moderator Theresa Scandiffio is the Associate Dean of Animation and Game Design at Sheridan College. Prior to joining Sheridan, Scandiffio led archival and curatorial projects at museums, festivals, and universities in Toronto, Chicago, and Orlando. From 2010–2020, Scandiffio was a member of the programming team that launched the Toronto International Film Festival's year-round home, TIFF Lightbox, where she led the Learning, Heritage, and Community Outreach divisions. Scandiffio served as an Ontario delegate for the 2015 Governor General Canadian Leadership Conference and was a 2017 Civic Action DiverseCity Fellow. She received her PhD in Cinema and Media studies from the University of Chicago. Key Participants & Films Mentioned: Domee Shi: Elio (Pixar) Momoko Seto: Dandelion's Odyssey (Indie/Artistic) Mamoru Hosoda: Scarlet (Japan's Studio Chizu) Kid Koala: Space Cadet (Independent)  Themes Explored: Creative Authorship vs. Industry: How directors maintain their unique style within large production environments. Industry Pressures: Navigating financial and commercial demands in animation. Evolving Landscape: The growing space for unique, visionary animation. Global Perspectives: Highlighting both auteur-driven projects and major studio collaborations.  Stay connected with me here:  https://www.instagram.com/shesallovertheplacepodcast

Poly Styrene, otherwise known as Marianne Joan Elliott-Said was a British musician, a poet, singer-songwriter, and a pioneer in punk music. She is the first multiracial woman to lead a punk band, and continually dared herself to evolve as a musician and human being.  About the Narrator Celeste Bell spent her earliest years living on a Hare Krishna commune in the Hertfordshire countryside with her mother, Poly Styrene. After completing her degree from Queen Mary University of London, Celeste settled in Madrid where she worked as a teacher and formed the ska-punk band, Debutant Disco. After finishing a Master's degree in Barcelona, Celeste returned to London to work alongside Zoë Howe on Day Glo! The Poly Styrene Story, published by Omnibus Press in 2019. They then joined forces with Paul Sng to make Poly Styrene: I Am a Cliché, a film to accompany the book. Celeste currently manages her mother's artistic estate, co-curating an exhibition alongside Mattie Loyce at the 198 Contemporary Arts and Learning Centre in Brixton. She plans to tour the exhibition internationally after the pandemic and is currently developing a new film project, with the working title of Mr. Gorbachev and the Krishna Kids. Credits This podcast is a production of Rebel Girls and is based on the book series Good Night Stories for Rebel Girls. This episode was produced by Camille Stennis. Original theme music and sound design by Elettra Bargiacchi and final mix by Mattia Marcelli. This episode was written by Abby Sher and fact checked by Joe Rhatigan. Executive Producer is Katie Sprenger. Haley Dapkus is our Production Manager. A big thanks to the whole Rebel Girls team who make this show possible! Until next time, stay REBEL! [This episode previously aired in 2021.]

This week, Wes and Todd talk with Lauren Tresp, Founder, Publisher and Editor-in-Chief of Southwest Contemporary Magazine. Lauren discusses her background and education, moving to Santa Fe, working in galleries, spirituality and religion, artificial intelligence, art criticism and writing, critical thinking, The Magazine and the genesis of Southwest Contemporary, challenges and costs of running a magazine, membership and it's perks, workshops, readership, Southwest Contemporary's mission, staff, the Southwest region that the magazine covers, the importance of journalism, the accomplishments of Southwest Contemporary that she's most proud of, and the vision of Southwest Contemporary's future.Join us for a magnificent conversation with Lauren Tresp!Read articles, become a member, and find out about exhibitions and events in the Southwest region at the Southwest Contemporary website –www.southwestcontemporary.com Follow Southwest Contemporary on social media:Instagram - www.instagram.com/swcontemporary/ - @swcontemporaryFacebook - www.facebook.com/swcontemporarySend us a text Follow us on Instagram: @tenetpodcast - www.instagram.com/tenetpodcast/ @wesbrn - www.instagram.com/wesbrn/ @toddpiersonphotography - www.instagram.com/toddpiersonphotography/ Follow us on Facebook: www.facebook.com/TenetPodcast/ Email us at todd@toddpierson.com If you enjoyed this episode or any of our previous episodes, please consider taking a moment and leaving us a review on your favorite podcast platform. Thanks for listening!

In this special episode, author, curator, and archaelogist Dan Hicks joins EMPIRE LINES live, to trace the origins of contemporary conflicts over art, history, memory, and colonialism, through their book, Every Monument Will Fall (2025).This episode was recorded live at Curio at Common Ground in Oxford in October 2025. Find all the information in the first Instagram post: instagram.com/p/DN0R3hN2ExOEvery Monument Will Fall: A Story of Remembering and Forgetting by Dan Hicks is published by Penguin, and available in all good bookshops and online.Hear artist Pio Abad on Giolo's Lament (2023) at the Ashmolean Museum in Oxford: pod.link/1533637675/episode/1e7df6b20f9c99aae3e4df96f50913cfRead about Ali Cherri's 2025 exhibitions, How I Am Monument at the Baltic Centre for Contemporary Art in Gateshead, and Vingt-quatre fantômes par seconde (Twenty-four Ghosts Per Second) at the Bourse de Commerce in Paris, in the Burlington Contemporary: contemporary.burlington.org.uk/articles/articles/ali-cherriFor more about Octavia Butler, hear artist Pamela Phatsimo Sunstrum on It Will End in Tears (2024), at the Barbican in London: pod.link/1533637675/episode/6e9a8b8725e8864bc4950f259ea89310And read about the exhibition, in gowithYamo: gowithyamo.com/blog/pamela-phatsimo-sunstrum-barbicanPRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: ⁠⁠instagram.com/empirelinespodcast⁠⁠Support EMPIRE LINES on Patreon: ⁠⁠patreon.com/empirelines

Host Jeremy C. Park interviews Derek Patterson, affectionately known as "Patt," Executive Director of Contemporary Arts Memphis (CAM), who highlights the nonprofit organization focused on building community through arts education and developing young artists through direct engagement with visual art. Founded by visual artist Derek Fordjour, CAM offers no cost visual arts programming to high schoolers, including a Summer Fellowship, a Summer Intensive, Teen Art Lab, and Teacher Professional Development. The organization provides comprehensive art instruction across multiple disciplines while helping students develop portfolios for college scholarships and career opportunities. Through its community-focused initiatives and supportive environment, CAM has successfully transformed lives by providing artistic expression and mentorship, while also fostering a vibrant cultural scene in Memphis.SummaryOrigins of Contemporary Arts Memphis (CAM) - Derek Patterson (known as "Patt"), Executive Director of Contemporary Arts Memphis (CAM), discusses the nonprofit organization's origins. Patt explains that CAM was founded by Derek Fordjour, an internationally-renowned visual artist from Memphis, who attended Central High School and wanted to give back to his community. What began as a four-week summer experience for 25 high school students has now grown into an ongoing, year-round program with several with several components, including a Summer Fellowship Program, Teen Art Lab, and Artist Mentoring Programs.Summer Fellowship for High School Artists - CAM offers a four-week summer fellowship for rising juniors and seniors, focusing on portfolio development for high school artists. The organization provides a dedicated space at 652 Marshall Avenue in the Edge Medical District, where students can create portfolios equivalent to ACT scores for college scholarships. The facility offers a wide range of art classes and workshops, including oil painting, drawing, printmaking, sculpture, and ceramics, with additional opportunities for students through the Teen Art Lab and Open Studio sessions on weekends and weekdays.Art Program Success Stories - Patt shares some success stories of young artists participating in their program. He highlights how the program helps overcome societal fears about pursuing art as a career and provides mentorship and guidance. Derek shares specific examples, including a student who changed his career path from mechanics to painting and sold several large paintings at their inaugural art sale. They also mentioned that their college readiness program has helped students secure over $500,000 in scholarships.Art as Therapy for Youth - Patt emphasizes the power of art to build community and importance of art as a form of expression and therapy for young people, highlighting its role in providing a supportive environment for those who might not have one elsewhere. He notes that while not all students will pursue careers in art, there are numerous related jobs and the creative process itself can be therapeutic. Patt also stresses the need for parents and teachers to understand and support artistic expression.Flagship Summer Art Fellowship Program - Patt describes their flagship Summer Fellowship program, which selects 25 young artists through a competitive 4-round process including portfolio review and interviews with parents. The program includes a 3-week immersive experience at St. Columba, where participants focus on artwork without cell phone distractions, followed by visits to Memphis art locations and a trip to New York where they see exhibitions and learn about the art business from Derek Fordjour.Community Art Programs and Initiatives - Patt explains how CAM offers art programs including printmaking, sculpture, and art history, and provides 6 college credit hours at no cost to young people. He emphasizes the importance of community support, inviting people to visit the facility, talk to participants, and consider donations. Derek also highlights CAM's initiatives, such as trips to New York and college application assistance, and mentioned their annual "Deck the Walls" event where participants' artwork is showcased for purchase.Transforming Lives Through Arts - Patt discusses the positive impact of Contemporary Arts Memphis on the community, highlighting how the program transforms lives, provides scholarship opportunities, and fosters a vibrant city. He shares feedback from teachers, parents, and donors, emphasizing how the program changes classroom culture, shifts parental mindsets about art's importance, and enables young people to pursue higher education, including prestigious institutions like Yale. He also mentions removing barriers such as transportation by providing Ubers. The conversation concludes with information on how to learn more and get involved, including Instagram and the website contemporaryartsmemphis.org.So, visit https://contemporaryartsmemphis.org/ to get involved.

Artist and legendary street artist Robbie Conal talks about: His family history, including his two activist-and-politically inclined parents, his background in fighting the power; moving up to Los Osos (in San Luis Obispo County) as a permanent residence (back after the 2008 crash), but keeping a small place in L.A.; what he misses about not being in the city (he's lived in NYC and SF as well as L.A.); his first big moment with public art, through postering, which was born out of caricature paintings he was making of Ronald Reagan's cabinet, which he dubbed 'Men with No Lips,' and alighted through a large postering campaign just as Museum of Contemporary Art, Los Angeles, was opening to the public in 1986; how he's Shepard Fairey's OG, and how he was an influence on him as a future street artist (though Fairey said, "I can do that" quite confidently); his personal mantra:  "apply what you do best to what you care about most," which in his case his drawing and talking smack (does best) and American democracy (cares about most); how, to make his work quicker to keep his work temporal, he switched from oil painting to charcoal and then to acrylic with oil accents; how all his friends who have his art (mostly of terrible characters) have them in their toilets; and his most popular work, "Watching, Waiting and Dreaming," a triptych of Gandhi, the Dahli Lama and Martin Luther King. This podcast relies on listener support; please consider becoming a Patreon supporter of the podcast, for as little as $1/month, here: https://www.patreon.com/theconversationpod In the 2nd half of the conversation, available to Patreon supporters, we talk about: How he's sustained himself financially over the decades outside of sales of his work, from teaching to receiving donations to his postering campaigns to lots of (young) volunteers; what he thinks about street art, and mural art, today, and the distinction between graffiti, street art and poster art, and how his reputation saved him from competing street artists when he was postering; our different respective takes on street art, and how Leon Trotsky taught him that everything is political, and street art is inherently political; what he's learned from terrible jobs: mainly, you can't make good art, let alone great art, in your spare time, while holding down a full-time job (and doing the work on the side); the most commonly asked questions he's received about postering (how many times have you been arrested?); how part of your mission as a poster is muscling up for the consequences; and what the best thing is to say to the judge when you're asked why you did it. And for the final 15 minutes of our talk, he covers the breadth of logistics related to putting up posters in public/on the street, which he refers to as 'acts of civil disobedience.'  

We are delighted to announce the first ever Irish episode of Russell Tovey and Robert Diament's acclaimed Talk Art podcast, recorded live at the National Gallery of Ireland Lecture Theatre on Saturday November 8th for Dublin Gallery Weekend 2025.Isabel Nolan, Ireland's representative at the 2026 Venice Biennale, has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. Her subject matter is similarly comprehensive, taking in cosmological phenomena, religious reliquaries, Greco-Roman sculptures and literary/historical figures, examining the behaviour of humans and animals alike.These diverse artistic investigations are driven by intensive research, but the end result is always deeply personal and subjective. Exploring the “intimacy of materiality”, Nolan's work ranges from the architectural – steel sculptures that frame or obstruct our path – to small handmade objects in clay, hand-tufted wool rugs illuminated with striking cosmic imagery, to drawings and paintings using humble gouache or colouring pencils. In concert, they feel equally enchanted by and afraid of the world around us, expressing humanity's fear of mortality and deep need for connection as well as its startling achievements in art and thought.Driven by “the calamity, the weirdness, horror, brevity and wonder of existing alongside billions of other preoccupied humans”, her works give generous form to fundamental questions about the ways the chaos of the world is made beautiful or given meaning through human activity.In 2026, Nolan will represent Ireland at the 61st Venice Biennale, with Georgina Jackson and The Douglas Hyde Gallery of Contemporary Art as the curator and Cian O'Brien as producer. In 2025, Nolan participated in the 13th Liverpool Biennial, Bedrock, curated by Marie-Anne McQuay. Isabel Nolan lives and works in Dublin.Follow @NolanIsabel and @KerlinGallery.Thank you @DublinGalleryWeekend, we loved visiting! We can't wait to return to beautiful Ireland. Hosted on Acast. See acast.com/privacy for more information.