Podcasts about Contemporary Arts Center

Dima Srouji is a Palestinian architect, artist, and researcher born in 1990 in Nazareth. She holds a Bachelor of Architecture from Kingston University (2012) and a Master of Architecture from the Yale School of Architecture (2016). ​Srouji's interdisciplinary practice explores the ground as a repository of cultural narratives and potential collective healing. She employs various media—including glass, text, archives, maps, plaster casts, and film—to interrogate concepts of cultural heritage and public space, particularly within the Middle East and Palestine. Her collaborative approach involves working closely with archaeologists, anthropologists, sound designers, and glassblowers. ​In 2016, Srouji founded Hollow Forms, a glassblowing initiative in collaboration with the Twam family in Jaba', Palestine, aiming to revitalize traditional glassblowing techniques. Her work has been exhibited internationally, including at the Victoria & Albert Museum in London, the Corning Museum of Glass in New York, the Sharjah Art Biennial, the Islamic Art Biennial in Jeddah, and the Contemporary Arts Center in Cincinnati. Her pieces are part of permanent collections at institutions such as the Stedelijk Museum Amsterdam and the Victoria & Albert Museum. ​Srouji has contributed to academic discourse through her writings in publications like The Architectural Review and The Avery Review. She currently leads the MA City Design studio at the Royal College of Art in London, focusing on archaeological sites in Palestine as contexts for urban analysis. ​In recognition of her contributions to art and architecture, Srouji was awarded the Jameel Fellowship at the Victoria & Albert Museum for 2022-2023. ​Through her multifaceted work, Srouji challenges conventional narratives, offering new perspectives on cultural heritage and identity within contested spaces.​Support the Architecture Foundation – visit https://www.patreon.com/ArchitectureFoundation to find out how. Hosted on Acast. See acast.com/privacy for more information.

Regina Carswell Russo is Founder/CEO of RRight Now Communications, a strategic communications firm.  Regina helps clients remove barriers to effective communication. With more than 30 years of communications, journalism, and media relations experience, Regina's clients include Duke Energy, Fifth Third Bank, United Way of Greater Cincinnati, The Port, Procter & Gamble, the Cincinnati Symphony Orchestra, the City of Cincinnati and Cincinnati Public Schools. After retiring from broadcast journalism after 23 years, 15 years here in Cincinnati at FOX19, Regina transitioned to arts marketing as Director of Communications and Marketing at the Cincinnati Art Museum and Chief of Communications at the Contemporary Arts Center, where the Cincinnati Business Courier recognized her accomplishments with a C-Suite Award. Regina brings innovation and creativity to solve complex communication problems for her clients in crisis communication, media relations, media interview coaching, brand reputation, and multicultural stakeholder engagement. RRight Now Communications' fastest growing client base is C-Suite women, helping them craft and elevate their authentic voice in their corporate leadership. Regina's vast number of Board appointments and awards include:• National Association of Television Arts and Sciences Emmy Nominee• Five Associated Press and Michigan Association Broadcaster Awards• Cincinnati Magazine/ 2021, 2022, 2023 Power 300-Most Powerful Business Leaders• 2022 YWCA Career Woman of Achievement• Board Trustee, Cincinnati Opera (Executive Committee, Nominating Commitee)• Ragan Communication/ PR Daily Communicator of the Year Award 2021 Regina is a native of Detroit, and lives in Cincinnati with her husband and two sons.   

Not too long ago, people who had an office job talked about “being chained to a desk.” Today, a desk job is the most liberating of all employment options. Your desk can be at your house, in a coffee shop, in your van, or at what’s come to be called a “co-working space.” Co-working spaces are typically modeled after the re-imagined office that was born back in the day when Google and Facebook were startups. It’s a mashup of an office, coffee shop, private club, and event space. And the best part is, the boss is never going to walk in – because there is no boss. You rent the desk yourself on an annual or monthly basis. Peter's guests on this edition of Out to Lunch both have co-working spaces – one on the Northshore in Covington, the other in New Orleans, in the Arts District. In Covington, Bradley Cook is Co-Founder of Palette Northshore, modeled to some extent after sister Palette co-working spaces in Florida and New York. In New Orleans, Hugh Breckenridge is Community Manager at The Shop Workspace in The Contemporary Arts Center on Camp Street. The Shop also has locations in Salt Lake City and Brooklyn, New York. If you listen to podcasts and radio shows about business, or keep up with the finance punditocracy on TV, you’ll hear people pontificate about “The Future of Work.” Like everything else about the future, nobody knows anything. Not for sure, anyway. What we do know, though, is the tyranny of the office cubicle is a relic of the past. Multiple studies find a significant majority of white-collar workers prefer some form of remote work, and over 30% say they would quit a job if they were compelled to show up at the office every day. This demand for the freedom to work out of the office will more than likely ensure the popularity of co-working spaces well into any foreseeable future. Out to Lunch was recorded live over lunch at Columns in Uptown New Orleans. You can find photos from this show by Jill Lafleur at itsneworleans.com.See omnystudio.com/listener for privacy information.

Gene Koss uses glass as a medium of pure sculptural expression resulting in monumental sculptures of cast glass, steel and light. He developed innovative techniques to transform his memories of the mechanized Wisconsin farm of his youth into foundry-based glass sculptures. He combines glass and steel found objects to create small-scale sculptures that often also serve as studies for his larger-scale works. Opening on September 20, 2024 and running through February 9, 2025, The Bergstrom Mahler Museum of Glass (BMM), Neenah, Wisconsin, presents a major solo exhibition of Koss' work: From Farm to Flame. Says Casey Eichhorn, Curator of Collections and Exhibitions at BMM: “Gene Koss' career in glass has been one informed by experience, and driven by creative experimentation. Alongside two of his sketchbooks, Farm to Flame showcases the tangible results of these experiments in the form of 14 sculptures of glass, steel and wood – each highlighting a specific point in time in the artist's illustrious career.” After receiving a Bachelor of Science degree from the University of Wisconsin at River Falls in 1974, Koss then earned a Master of Fine Arts from the Tyler School of Art, Temple University, in Philadelphia. In 1976, he moved to New Orleans to develop a new glass facility and program for Tulane University, and subsequently became head of the department.  “Gene's career at Tulane University helped shape the Newcomb Art Department, and he is a pivotal figure in the teaching and creation of glass art in the South,” said Stephanie Porras, chair of the Newcomb Art Department.  Koss is the recipient of several awards including the National Endowment for the Arts, The New Orleans Community Arts Board and Pace-Willson Art Foundation grants. His work has been exhibited at the New Orleans Museum of Art; the Contemporary Arts Center of New Orleans; the Masur Museum of Art in Monroe, Louisiana; the Sculpture Center in New York City; as well as the International Biennale for Contemporary Art in Florence, Italy. It has been published in International Glass Art, Contemporary Glass-Color, Light & Form and Glass Art from Urban Glass publications. Koss is represented by Arthur Roger Gallery in New Orleans, LA. His work is in many prominent collections including the Pan American Life Collection in New Orleans and the Corning Museum of Glass in New York. The Arnoldsche Art Publishers of Germany released a 2019 retrospective monograph of his work, Gene Koss Sculpture. Creating Koss' majestic works in glass and steel requires demanding techniques to realize their monumental scale. These massive volumes of glass are married with elaborately engineered steel elements. The artist casts molten glass directly from the hot furnace, working with teams of highly-skilled assistants and rigging elaborate systems for transporting his finished abstract works for display in museums, galleries and public spaces. Working with serial cast glass parts to enlarge scale and combining these elements with iron and neon, he has raised glass sculpture to the realm of public art. Koss' work has had a profound impact on American artists working in both steel and glass media.  

Episode No. 658 features artists Jes Fan and Emilio Rojas. Fan's work is included in two ongoing -ennials: the 2024 Whitney Biennial, which is at the Whitney Museum of American Art, New York through August 11; and Greater Toronto Art 2024 at the Museum of Contemporary Art, Toronto through July 28. The Whitney exhibition was curated by Chrissie Iles and Meg Onli with Min Sun Jeon and Beatriz Cifuentes; GTA 2024 was organized by Ebony L. Haynes, Toleen Touq, and Kate Wong. Fan's sculptures consider the constructs of race and gender and their relationship to the intersection of biology and identity. As part of his explorations, Fan often incorporates living matter, such hormones, and fluids, such as glass, into his work. Fan's work has been exhibited at the 2022 Venice Biennale, the 2021 New Museum Triennial at the New Museum, New York, the MIT List Visual Arts Center, the Contemporary Arts Center, Cincinnati, and more. As mentioned on the program: Stills from Fan's 2023 video Palimpsest. Byung-Chul Han's book Saving Beauty. Rojas is included in "Descending the Staircase" at the Museum of Contemporary Art Chicago. The exhibition, presented across two floors of the MCA, presents ways in which artist have represented the human body. Curated by Jadine Collingwood and Jack Schneider, it is on view through August 25. Rojas works across disciplines to investigate and reveal sites of knowledge that are rich with historical narrative. His work often specifically addresses colonial histories, and the relationships between those histories and the present. Rojas' work has been exhibited at museums such as the Art Institute of Chicago and Museo Tamayo, Mexico City, and he has participated in festivals and biennials in the US, Europe, and in Asia. As mentioned on the program:  Rojas' GO BACK TO WHERE YOU CAME FROM (Santa Maria); The Columbian half dollar coined for the 1893 World's Columbian Exposition in Chicago.  Instagram: Jes Fan, Emilio Rojas, Tyler Green.

Ep.182 features MICHAELA YEARWOOD-DAN. Throughout paintings, works on paper, ceramics, and site-specific mural and sound installations, Michaela Yearwood-Dan (b. 1994; London, UK) endeavors to build spaces of queer community, abundance, and joy. Yearwood-Dan's singular visual language draws on a diverse range of influences, including Blackness, queerness, femininity, healing rituals, and carnival culture. Moving freely between media, Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy abstract forms and heavy drips of paint. From the monumental scale of her paintings to the more intimate scale of her ceramics and works on paper, Yearwood-Dan's practice frequently reflects an inviting domesticity. Resisting any singular definition of identity, the artist explores the possibilities of creating spaces—physical, pastoral, metaphorical—that allow for unlimited and unbounded ways of being. Lush and brightly hued, Yearwood-Dan's work is at once personal and political. She often engages colors and materials for their symbolic associations—from the hints of the oranges, pinks, purples, and blues of the lesbian and bisexual pride flags mingling through the compositions to the queer histories of the ceramic carnation and pansy petals collaged into her recent paintings. Language intertwines with botanical motifs throughout Yearwood-Dan's work: abstract habitats teem with painted plant life while live houseplants grow out of wall-mounted ceramics. Within the paintings, she inscribes lines of text—pulled from song lyrics, poetry, or her own diaristic writings. These meditations, appearing at various scales and degrees of legibility, are at once insightful and funny, confident, and questioning. Her words beckon the viewer into a vivid, welcoming world of paradox, play, and contemplation formed within an atmosphere of swirling forms and brilliant chromaticity. Yearwood-Dan's work has been shown at the Contemporary Arts Center, Cincinnati, OH; Scottsdale Museum of Contemporary Art, AZ; the Green Family Art Foundation, Dallas, TX; Palazzo Monti, Brescia, Italy; and the Museum of Contemporary African Art, Marrakesh, Morocco, among others. Her work is in the permanent collections of the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Institute of Contemporary Art Miami, FL; the Crocker Art Museum, Sacramento, CA; the Jorge M. Perez Collection, Miami, FL; and the Columbus Museum of Art and the Pizzuti Collection, Columbus, OH. In 2022, she produced her first public mural installation for Queercircle, London, UK. She has participated in a range of fellowships and residencies, including the Palazzo Monti Residency, Brescia, Italy, and Bloomberg New Contemporaries in Partnership with Sarabande: The Lee Alexander McQueen Foundation, London, UK. The artist received her B.A. from the University of Brighton in 2016. Yearwood-Dan lives and works in London. Please visit cerebralwomen.com for her expanded bio. Thank you. Photo credit: Sam Hylton Marianne Boesky https://marianneboeskygallery.com/artists/448-michaela-yearwood-dan/biography/ Artnet https://news.artnet.com/art-world/rising-artist-michaela-yearwood-dans-lavish-flora-filled-visions-make-beauty-political-2291399 Artnet https://news.artnet.com/art-world/studio-visit-michaela-yearwood-dan-2141292 Cultured Magazine https://www.culturedmag.com/article/2021/12/08/beyond-their-lavish-aesthetic-michaela-yearwood-dans-paintings-make-you-feel Flaunt https://www.flaunt.com/post/michaela-yearwood-dan-the-cocoon-issue Culture Type https://www.culturetype.com/2021/10/31/latest-news-in-black-art-michaela-yearwood-dan-joins-marianne-boesky-gallery-colin-powell-portrait-on-display-at-smithsonian-plus-chef-bryant-terrys-new-book-on-art-stories-and-recipes-more/ NEO2 https://www.neo2.com/dior-lady-art-bolsos-moda-arte-lujo/

In this episode of the podcast, I talk to and Gary Kornblau about the 30th anniversary edition of Dave Hickey's seminal 1993 book The Invisible Dragon: Four Essays on Beauty. Blake is currently a fellow with the Center for Advanced Study in Sofia, Bulgaria, as well as the author a great (which is to say, very flattering) review of my 2021 book on Hickey, and he was a stalwart participant in the Substack “book club” I organized on the new edition of Dragon. Gary is faculty at the ArtCenter College of Design. More pertinently, he was Dave's great editor, having plucked him out of obscurity to write for art Issues, the small LA-based journal that Gary founded and edited. He was the one who gave Dave just the right amount of rein to do his best work, and also the one who conceptualized and edited both Invisible Dragon and Dave's subsequent book Air Guitar. The episode covers a lot of ground, including the impact of the original version of the book, the reasons why Gary decided to put out a 30th anniversary edition, and Gary's decision to use the opportunity to try to “queer” Dave. It's a blast. I hope you listen. I also wanted to take the opportunity to run the below excerpt from my book on Dave. It covers the background to the writing and reception of Invisible Dragon, and is, IMO, a mighty fine piece of writing in its own right. Hope you enjoy.On June 12, 1989, the Corcoran Gallery of Art in Washington, DC, announced that it was cancelling Robert Mapplethorpe: The Perfect Moment, its scheduled exhibition of photographs by the celebrated American photographer, who had died of AIDS in March. The Corcoran's primary motive in cancelling was fear.Only a few months before, a long-simmering debate about the role of the federal government in funding the arts had boiled over in response to Piss Christ, a photograph of a small icon of Jesus on the cross floating in a vitrine of urine. Its creator, Andres Serrano, had received a small chunk of a larger grant from the National Endowment for the Arts (NEA), and the offending photograph had been included in a touring exhibition that was also funded by federal money. During that tour, the photograph caught the eye of the American Family Association, a conservative Chris­tian advocacy group dedicated to fighting what it saw as anti-Christian values in entertainment and the arts. They rang the alarm.Soon after, New York Senator Alfonse D'Amato called out Piss Christ from the floor of the Senate. He tore up a reproduction of the photo and denounced it as a “deplorable, despicable display of vulgarity.” North Carolina Senator Jesse Helms, who would soon lead the charge against Mapplethorpe, added: “I do not know Mr. Andres Serrano, and I hope I never meet him. Because he is not an artist, he is a jerk. . . . Let him be a jerk on his own time and with his own resources. Do not dishonor our Lord.” Patrick Trueman, president of the American Family Association, testified to Congress that governmental support of work like Piss Christ would make it less likely that prosecutors would pursue or win cases against child pornographers.The ensuing congressional battle, over funding for the NEA, became the first in a series of broader cultural and political battles that would come to be known, in retrospect, as the “culture wars” of the 1990s. These battles would range not just over sex and politics in the arts, but also over issues like gays in the military, federal funding for abor­tion, and control over history and social studies curricula in the public schools. It was “a war for the soul of America,” as Pat Buchanan framed it at the 1992 Republican Party convention, a contest over whether the nation would continue to secularize and liberalize or would return to a more conservative social equilibrium.The full contours of the conflict weren't immediately evident in the aftermath of the Serrano affair, but it was very clear, right away, that the Mapplethorpe exhibit was another grenade ready to go off. Its orga­nizers at the University of Pennsylvania had received NEA money, and the Corcoran Gallery, walking distance from the White House, was too visible an institution to slide by the notice of people like Helms and D'Amato. So the Corcoran begged off, hoping to shield themselves from the shrapnel and avoid giving conservatives another opportunity to question the value of federal funding for the arts.Instead, they got fragged by all sides. By fellow curators and museum administrators, who believed the Corcoran's appeasement would only encourage more aggression from haters of contemporary art. By civil lib­ertarians, who saw the Corcoran's actions as an example of how expres­sive speech was being chilled by the culture war rhetoric of the right. By a major donor, a friend of Mapplethorpe, who angrily withdrew a promised bequest to the museum of millions of dollars. And, of course, by the conservatives they had been hoping to appease, who accurately recognized the blasphemy in Mapplethorpe's federally funded portraits of sodomites doing naughty things to each other and themselves.Piss Christ had been useful to the conservative cultural cause as an example of how homosexual artists were taking taxpayer money to spit on the values that decent Americans held dear, but it wasn't ideal. How blasphemed could a good Christian really feel, after all, by an image of Jesus as reverential as what Serrano had in fact made? His Christ was bathed in glowing red-orange-yellow light, the image scored by dots and lines of tiny bubbles that come off almost like traces of exhumation, as if the whole thing has been recently, lovingly removed from the reliquary in which it's been preserved for thousands of years.“I think if the Vatican is smart,” Serrano later said, “someday they'll collect my work. I am not a heretic. I like to believe that rather than destroy icons, I make new ones.”Mapplethorpe's pictures, though, were something else entirely, a real cannon blast against the battlements of heterosexual normativity. Where Serrano was mostly using new means to say some very old things about the mystery of the incarnation and the corporeality of Christ, Mapplethorpe was using orthodox pictorial techniques to bring to light a world of pleasure, pain, male-male sex, bondage, power, trust, desire, control, violation, submission, love, and self-love that had been ban­ished to the dark alleyways, boudoirs, bathhouses, and rest stops of the West since the decline of Athens. And he was doing so masterfully, in the language of fine art, in the high houses of American culture.There was Lou, for instance, which could have been a photograph of a detail from an ancient bronze of Poseidon except that the detail in question is of Poseidon's muscled arm holding his cock firmly in one hand while the pinky finger of his other hand probes its hole. In Helmut and Brooks, a fist disappearing up an anus plays like an academic exercise in shape and shadow. And in the now iconic Self-Portrait, Mapplethorpe has the handle of a bullwhip up his own rectum, his balls dangling in shadow beneath, his legs sheathed in leather chaps, his eyes staring back over his shoulder at the camera with a gaze so full of intelligence and vitality that it almost steals the show from the bullwhip.In response to these kinds of beautiful provocations, the outrage, which had been largely performative vis-à-vis Serrano, became rather genuine, and the whole thing escalated. By July, a month after the exhibition at the Corcoran had been cancelled, Congress was debating whether to eliminate entirely the $171 million budget of the National Endowment for the Arts. By October, a compromise was reached. The NEA and its sister fund, the National Endowment for the Humanities, would get their usual rounds of funding, minus a symbolic $45,000 for the cost of the Serrano and Mapplethorpe grants. They would be pro­hibited, however, from using the monies to support work that was too gay, too creepy in depicting children, or just too kinky. Exceptions were made for art that violated these taboos but had “serious literary, artis­tic, political, or scientific value.” But the point had been made, and the enforcement mechanism, in any case, wasn't really the articulated rules. It was the threat of more hay-making from the right and, ultimately, the implied promise that if NEA-supported institutions kept sticking their noses (or fists) where they didn't belong then it wouldn't be too long before there wouldn't be any NEA left.A few months later, in April 1990, the Contemporary Arts Cen­ter in Cincinnati, Ohio, took up the Mapplethorpe baton by opening their own exhibition of The Perfect Moment. Hoping to head off trouble, they segregated the most scandalous of the photos in a side room, with appropriate signage to warn off the young and the delicate. They also filed a motion in county court asking that the photographs be preemp­tively designated as not obscene. But the motion was denied, and the separate room proved insufficient buffer. When the exhibit opened to the public, on April 7, its attendees included members of a grand jury that had been impaneled by Hamilton County prosecutors to indict the museum and its director for violating Ohio obscenity law. Of the more than 150 images in the exhibit, seven were selected out by the grand jury for being obscene. Five depicted men engaged in homoerotic and/ or sado-masochistic acts, and two were of naked children.The trial that followed was symbolically thick. Motions were filed that forced the judge to rule on fundamental questions about the mean­ing and political status of art. Art critics and curators were called in to witness, before the largely working-class members of the jury, to the artistic merit of Mapplethorpe's photography. The indictment read like an update of the Scopes trial, captioned by Larry Flynt, in which “the peace and dignity of the State of Ohio” was being ravaged by bands of cavorting homosexuals.The jury issued its verdict in October 1990, acquitting the museum and its director. It was a victory for the forces of high art and free expres­sion, but a complicated one. The exhibition could go on. And Map­plethorpe's photographs—indeed, the most outrageous of them—had been designated as art by the State of Ohio and by a group of decent, law-abiding, presumably-not-gay-sex-having American citizens. But the cost had been high. Museums and galleries everywhere had been warned, and not all of them would be as willing as the Contemporary Arts Center of Cincinnati to risk indictment and the threat of defunding for the sake of showing dangerous art.Perhaps most significantly, the National Endowment for the Arts, and its new director, announced a shift in funding priorities in order to take the institution out of the crossfire of the culture wars. Less and less of their money, it was decided, would go to individual artists and exhibitions, and more of it would go to support arts enrichment—to schools, outreach programs, arts camps, and educational campaigns. Mapplethorpe and Serrano were out. Sesame Street was in.For Dave Hickey, a critic and ex-gallery owner, it was, finally, all too much. Not the opportunism of the Hamilton County sheriff and his allies. Not the predictable huffing from the bow-tied brigades, who took to the pages of their tweedy magazines to bellyache, as always, about what a precipitous decline there had been in cultural standards since the 1960s ruined everything. Not even the rednecking of the senator from North Carolina was the problem for Hickey.Each of these parties was performing its assigned role in the passion play of American cultural politics. Narrow-minded prosecutors would always try to run dirty pictures out of town. New Criterion-ites would avert their eyes from new art. Senators from North Carolina would dem­agogue about queers from New York City. You could be angry at having to contend with these actors, but you couldn't genuinely feel betrayed. You knew where they stood from the get-go, and half the joy of art, and of the artistic life, lay in trying to figure out how to shock, outwit, or seduce them.The betrayal, for Hickey, came from his colleagues, from the crit­ics, curators, gallerists, professors, and arts administrators with whom he had been uneasily mixing since the late 1960s when he dropped out of his doctoral program in linguistics to open an art gallery in Austin, Texas. They had been handed a rare opportunity to represent for all that was queer and decadent and artsy-fartsy in American life, to make the case that this—beautiful pictures of men seeing what it felt like to shove things up their asses—wasn't the worst of America but the best of it. And they had whiffed.“The American art community, at the apogee of its power and privi­lege, chose to play the ravaged virgin,” wrote Hickey, “to fling itself pros­trate across the front pages of America and fairly dare the fascist heel to crush its outraged innocence. . . . [H]ardly anyone considered for a moment what an incredible rhetorical triumph the entire affair signi­fied. A single artist with a single group of images had somehow managed to overcome the aura of moral isolation, gentrification, and mystifica­tion that surrounds the practice of contemporary art in this nation and directly threaten those in actual power with the celebration of margin­ality. It was a fine moment, I thought . . . and, in this area, I think, you have to credit Senator Jesse Helms, who, in his antediluvian innocence, at least saw what was there, understood what Robert was proposing, and took it, correctly, as a direct challenge to everything he believed in.”The Corcoran had been bad enough, throwing in the towel before an opponent had even stepped into the ring. But far worse, for Hickey, were the ones who had shown up to fight but had misread the aesthet­ical-political map so badly that they had gone to the wrong arena. The fight, he believed, should have been over whether it was okay or not in our culture to make beautiful the behaviors that Mapplethorpe had made beautiful. The fight should have been over what Mapplethorpe had done with his art. Instead, the public got bromides about free expression and puritanical lectures about the civilizing function of arts in society. Worst of all, in Hickey's eyes, was how quickly the art experts ran away from the rawness of Mapplethorpe's work, characterizing him as though he were a philosopher of aesthetics, rather than an artist, as though he chose and framed his subjects for the sake of what they allowed him to say, propositionally, about the nature of light and beauty and other such things.“Mapplethorpe uses the medium of photography to translate flowers, stamens, stares, limbs, as well as erect sexual organs, into objet d'art,” wrote curator Janet Kardon in her catalogue essay for the exhibition. “Dramatic lighting and precise composition democratically pulverize their diversities and convert them into homogeneous statements.””When it came to it on the witness stand in Cincinnati, even the folks who had curated the exhibition, who surely knew that Mapplethorpe would bring the people in precisely because he was so titillating—Look at the dicks! Hey, even the flowers look like dicks!—couldn't allow them­selves even a flicker of a leer. So Hickey called them out.In a series of four essays written between 1989 and 1993, which were assembled into the sixty-four-page volume The Invisible Dragon, he launched a lacerating critique of American art critical and art historical practice. It was so unexpected, and so potent, that by the time he was done, his own intervention—a slim, impossibly cool, small-batch edi­tion from Art issues Press—would be as transformative in the art critical realm as Mapplethorpe's photographs had been in the photographic.The Invisible Dragon began with a story. It wasn't necessarily a true story, but it was a good one. So good, in fact, that it has conditioned and, in significant ways, distorted perceptions of Hickey ever since.“I was drifting, daydreaming really,” wrote Hickey, “through the wan­ing moments of a panel discussion on the subject of ‘What's Happening Now,' drawing cartoon daggers on a yellow pad and vaguely formulating strategies for avoiding punch and cookies, when I realized I was being addressed from the audience. A lanky graduate student had risen to his feet and was soliciting my opinion as to what ‘The Issue of the Nine­ties' would be. Snatched from my reverie, I said, ‘Beauty,' and then, more firmly, ‘The issue of the nineties will be beauty'—a total improvisatory goof—an off-the-wall, jump-start, free association that rose unbidden to my lips from God knows where. Or perhaps I was being ironic; wishing it so but not believing it likely? I don't know, but the total, uncompre­hending silence that greeted this modest proposal lent it immediate cre­dence for me.”Hickey, an experienced provocateur, had been expecting some kind of pushback. (Beauty?! That old thing? The issue of the '90s? You gotta be kidding me.) When he got none, he was intrigued. His fellow panelists hadn't jumped in to tussle. The moderator didn't seem ruffled. No one from the audience harangued him after he stepped down from the dais. Rather than setting off sparks, he had soft-shoed into a vacuum, which meant he had misjudged something, and in that misjudgment, he sensed, there lay potential. (“I was overcome by this strange Holme­sian elation. The game was afoot.”) He began interrogating friends and colleagues, students and faculty, critics and curators for their thoughts on beauty and its role in the production, assessment, and consump­tion of art. What he got back, again and again, was a simple and rather befuddling response: When asked about beauty, everyone talked about money. “Beauty” was the surface glitz that sold pictures in the bourgeois art market to people who lacked an appreciation for the deeper qualities of good art. It was a branding scheme of capitalism and the province of schmoozy art dealers, rich people, and high-end corporate lobby deco­rators. Artists themselves, and critics and scholars, were more properly concerned with other qualities: truth, meaning, discourse, language, ideology, form, justice. There were high-brow versions of this argument in journals like Art Forum and October, and there were less sophisticated versions, but the angle of incidence was the same.Hickey was stunned. Not by the content of such an argument— he knew his Marx and was familiar with left cultural criticism more broadly—but by the completeness of its triumph. He hadn't realized the extent, almost total, to which beauty had been vanquished from the sphere of discursive concern.“I had assumed,” he wrote, “that from the beginning of the sixteenth century until just last week artists had been persistently and effectively employing the rough vernacular of pleasure and beauty to interrogate our totalizing concepts ‘the good' and ‘the beautiful'; and now this was over? Evidently. At any rate, its critical vocabulary seemed to have evap­orated overnight, and I found myself muttering detective questions like: Who wins? Who loses?”The quest to reconstruct what had happened to beauty soon evolved for Hickey into a more fundamental effort to understand what even he meant by the term. What was he defending? What was he trying to res­cue or redeem? The critical vocabulary and community he had assumed were there, perhaps fighting a rearguard battle but still yet on the field, had winked out of existence without even a good-bye note. It was left to him, in the absence of anyone else, to reconstitute its concepts and arguments, restock its supply chain and armament.So he did, and he called it The Invisible Dragon. The issue, he wrote, is not beauty but the beautiful. The beautiful is the visual language through which art excites interest and pleasure and attention in an observer. It is a form of rhetoric, a quiver of rhetorical maneuvers. Artists enchant us through their beautiful assemblages of color, shape, effects, reference, and imagery, as a writer ensnares us with words and sentences and para­graphs, as a dancer enthralls us with legs and leaps, as a rock star cap­tures us with hips and lips and voice. The more mastery an artist has of the rhetoric of the beautiful, the more effectively he can rewire how our brains process and perceive visual sense data. It is an awesome power.Beauty, in this equation, is the sum of the charge that an artist, deploy­ing the language of the beautiful, can generate. It is a spark that begins in the intelligence and insight of the artist, is instantiated into material being by her command of the techniques of the beautiful, and is crystal­lized in the world by its capacity to elicit passion and loyalty and detes­tation in its beholders, to rally around itself constituencies and against itself enemies. Like all arks and arenas of human value, beauty is his­torically grounded but also historically contingent. In the Renaissance, where The Invisible Dragon begins its modern history of beauty, masters like Caravaggio were negotiating and reconstructing the relations among the Church, God, man, and society. They were deploying the tools of the beautiful to hook into and renovate primarily theological systems of meaning and human relation. In a liberal, pluralistic, commerce-driven democracy like America, the primary terrain on which beauty was medi­ated, and in some respects generated, was the art market.To dismiss beauty as just another lubricant of modern capitalism, then, was to miss the point in a succession of catastrophic ways. It was to mistake the last part of that equation, the creation and negotiation of value on and through the art market, for the entirety of it. It was to mistake the exchange of art for other currencies of value, which was a human activity that preceded and would persist after capitalism, for capitalism. It was to believe that the buying and selling of art in modern art markets was a problem at all, when, in fact, it was the only available solution in our given historical configuration of forces. And it was to radically underestimate the capacity of beauty to destabilize and reorder precisely the relations of politics, economy, and culture that its vulgar critics believed it was propping up.Beauty had consequences. Beautiful images could change the world. In America, risking money or status for the sake of what you found beautiful—by buying or selling that which you found beautiful or by arguing about which objects should be bought or sold on account of their beauty—was a way of risking yourself for the sake of the vision of the good life you would like to see realized.The good guys in Hickey's story were those who put themselves on the line for objects that deployed the beautiful in ways they found per­suasive and pleasure-inducing. They were the artists themselves, whose livelihoods depended on participation in the art market, who risked poverty, rejection, incomprehension, and obscurity if their work wasn't beautiful enough to attract buyers. They were the dealers, who risked their money and reputation for objects they wagered were beautiful enough to bring them more money and status. They were the buyers, who risked money and ridicule in the hopes of acquiring more status and pleasure. They were the critics, like Hickey, who risked their rep­utations and careers on behalf of the art that struck them as beautiful and on behalf of the artists whose idiosyncratic visions they found per­suasive or undeniable. And finally they were the fans, who desperately wanted to see that which they loved loved by others and to exist in com­munity with their fellow enthusiasts. The good guys were the ones who cared a lot, and specifically.The villains were the blob of curators, academics, review boards, arts organizations, governmental agencies, museum boards, and fund­ing institutions that had claimed for themselves almost total control of the assignment and negotiation of value to art, severing art's ties to the messy democratic marketplace, which was the proper incubator of artis­tic value in a free society. The blob cared a lot, too, but about the wrong things.“I characterize this cloud of bureaucracies generally,” wrote Hickey, “as the ‘therapeutic institution.'”In the great mystery of the disappeared beauty, the whodunnit that fueled The Invisible Dragon, it turned out that it was the therapeutic institution that dunnit. It had squirted so many trillions of gallons of obfuscating ink into the ocean over so many decades that beauty, and the delicate social ecosystems that fostered its coalescence, could barely aspirate. Why the therapeutic institution did this, for Hickey, was simple. Power. Control. Fear of freedom and pleasure and undisciplined feeling. It was the eternally recurring revenge of the dour old Patriarch who had been haunting our dreams since we came up from the desert with his schemas of logic, strength, autonomy, and abstraction, asserting control against the wiles and seductions of the feminine and her emanations of care, vulnerability, delicacy, dependence, joy, and decoration. It was the expression of God's anger in the Garden of Eden when Eve and Adam defied Him to bite from the juicy apple of knowledge and freedom.In one of the most extraordinary passages in the book, Hickey turned Michel Foucault, a favorite of the blob, back on the blob. It was Fou­cault, he wrote, who drew back the curtain on the hidden authoritarian impulse at work in so many of the modern institutions of social order, particularly those systems most committed to the tending of our souls. Such systems weren't content with establishing regimes of dominance and submission that were merely or primarily external. Appearances canbe too deceiving. Too much wildness can course beneath the facade of compliance. It was inner consent, cultivated therapeutically through the benevolent grooming of the institutions, that mattered. Thus the disciplined intensity with which the therapeutic institution had fought its multi-generational war to crowd out and delegitimize the market, where appearance was almost everything and where desire, which is too unpredictably correlated with virtue, was so operative.“For nearly 70 years, during the adolescence of modernity, profes­sors, curators, and academicians could only wring their hands and weep at the spectacle of an exploding culture in the sway of painters, dealers, critics, shopkeepers, second sons, Russian epicures, Spanish parvenus, and American expatriates. Jews abounded, as did homosexuals, bisex­uals, Bolsheviks, and women in sensible shoes. Vulgar people in manu­facture and trade who knew naught but romance and real estate bought sticky Impressionist landscapes and swooning pre-Raphaelite bimbos from guys with monocles who, in their spare time, were shipping the treasures of European civilization across the Atlantic to railroad barons. And most disturbingly for those who felt they ought to be in control— or that someone should be—‘beauties' proliferated, each finding an audience, each bearing its own little rhetorical load of psycho-political permission.”After getting knocked back on their heels so thoroughly, wrote Hickey, the bureaucrats began to get their act together around 1920. They have been expanding and entrenching their hegemony ever since, developing the ideologies, building the institutions, and corralling the funding to effectively counter, control, and homogenize all the unruly little beauties. There had been setbacks to their campaign along the way, most notably in the 1960s, but the trend line was clear.In this dialectic, Mapplethorpe proves an interesting and illustra­tive figure. He was so brilliant in making his world beautiful that the therapeutic institution had no choice but to gather him in, to celebrate him in order to neutralize him, to pulverize his diversities and convert them into homogeneous statements. But it turned out that he was too quicksilver a talent to be so easily caged, and the blob was overconfident in its capacity to domesticate him. It/they missed something with Map­plethorpe and made the mistake of exposing him to the senator from North Carolina and the prosecutor from Hamilton County, who saw through the scrim of institutional mediation. All the therapeutic testi­mony that followed, in the case of Cincinnati v. Contemporary Arts Center, wasn't really about defending Mapplethorpe or fending off conservative tyranny. It was about reasserting the blob's hegemony. In truth, Senator Helms and the therapeutic institution were destabilized by complemen­tary aspects of the same thing, which was pleasure and desire rendered beautiful and specific.“It was not that men were making it then,” wrote Hickey, “but that Robert was ‘making it beautiful.' More precisely, he was appropriating a Baroque vernacular of beauty that predated and, clearly, outperformed the puritanical canon of visual appeal espoused by the therapeutic institution.”Confronted by this beautiful provocation, the conservative and art establishments, whatever they thought they were doing, were, in fact, collaborating to put Mapplethorpe back in his place. The ostensible tri­umph of one side was the secret triumph for both. It was beauty that lost. The Invisible Dragon was a howl of frustration at this outcome. It was also a guerrilla whistle. Not so fast . . .Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

In episode 280 UNP founder and curator Grant Scott is in his shed reflecting on the need for photographic education, how having heroes does not have to be negative and a new event concerning photography and the commonwealth. Plus this week, photographer Ave Pildas takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Born and raised in Cincinnati, Ohio, Ave Pildas worked as a photo stringer for Downbeat Magazine in the Ohio Valley and Pennsylvania in the 1960's. In 1971 he began working as the Art Director at Capitol Records in Hollywood and designed and photographed album covers for the label's recording artists. He then launched a career as a freelance photographer and designer soon after, specialising in architectural and corporate photography. His photographs have been exhibited in one man shows at the: Contemporary Arts Center, Cincinnati, Photographers Gallery, London, Janus Gallery, Los Angeles, Gallerie Diaframma, Milan, and in numerous group shows. Photographs by Pildas are included in the collections of the Museum of Modern Art, New York; the Bibliotheca National, Paris; the University of Arizona as well as numerous other public and private collections. He is a Professor Emeritus at Otis College of Design, Los Angeles and currently lives in Santa Monica, CA in a solar powered, zero-scaped home and studio he collaborated on with W3 Architects. He is digitally archiving his vintage work, and continues with new projects while mentoring young talent. www.avepildas.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. Scott's next book Condé Nast Have Left The Building: Six Decades of Vogue House will be published by Orphans Publishing in the Spring of 2024. © Grant Scott 2023

Marielena Ferrer is driving this month's Spirituality and Politics conversation while I am away from the station. We talk about the Supreme Court's most recent ruling affecting affirmative action and refer to these articles as we meander through our own opinions on it and what we hope will come as a result of it.https://www.theatlantic.com/ideas/archive/2023/06/failure-affirmative-action/674439/https://www.theatlantic.com/ideas/archive/2023/06/affirmative-action-scotus-ruling-elite-institutions-diversity-scholarship-impact/674576/https://www.forbes.com/sites/corinnelestch/2023/07/09/how-the-end-of-affirmative-action-reroutes-the-talent-pipeline/Midway through we are joined by Sarrah Danziger, Education Coordinator at the Center for Photography in Kingston. Sarrah is a photographer, video artist, educator, and master printer. Danziger received her BFA from the School of Visual Arts in New York. She created, “Listen to New Orleans,” an oral history archive, artist book, and long-term public installation, and has exhibited at the Ogden Museum of Southern Art, New Orleans; Contemporary Arts Center, New Orleans; and at the New Orleans Photo Alliance. Danziger was raised in Woodstock, and now lives and works in Kingston. Her work as an artist and educator focuses on community-based activities and individual storytelling, positioning her well to expand collaborative partnerships and art making programs in the community.The center offers many ways of connecting with photography and creative imagery including their upcoming Kingston Photo Festival, July 21-23. Lots of cool ways to join in the fun from film screenings to workshops. Check out their website for all the details.Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFY | STITCHERITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCASTITCHER: https://www.stitcher.com/podcast/she-wants/i-want-what-she-has?refid=stpr'Follow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcastTWITTER * https://twitter.com/wantwhatshehas

CCH is an avid art collector. A new exhibit featuring pieces from CCH's collection Diaspora Stories: Selections from the CCH Pounder Collection opened in Chicago on March 18 at The DuSable Black History Museum and Education Center and runs through July 16, 2023.  The exhibition which was curated especially for the DuSable Museum contains 24 works of art by worldrenowned artists including Kehinde Wiley, Patricia Renee Thomas, Reginald Jackson, Robert Pruitt, Greg Breda, Ebony G. Patterson, and Mickalene Thomas, among others. Each item was curated and personally selected in collaboration with the DuSable and Ms. Pounder from her extensive collection specifically for “Diaspora Stories: Selections from the CCH Pounder Collection.”  Bio: Award winning actress CCH Pounder can currently be seen as “Mo'at” in James Cameron's AVATAR: THE WAY OF WATER. Pounder portrayed “Dr. Loretta Wade” on the CBS series, NCIS: NEW ORLEANS for seven seasons and other notable projects include the television shows THE GOOD FIGHT, WAREHOUSE 13, SONS OF ANARCHY, REVENGE, BROTHERS, LAW & ORDER: SVU and HBO's THE NO. 1 LADIES' DETECTIVE AGENCY, which garnered Pounder her fourth Emmy® nomination. For seven years, Pounder portrayed "Claudette Wyms" on the critically acclaimed FX series, THE SHIELD, which earned her many accolades including an Emmy® nomination, the MIB Prism Award," two Golden Satellite Awards and the “Genii Excellence in TV Award.” Other honors for Pounder include an Emmy® nomination for her role as Dr. Angela Hicks on the NBC series ER and an Emmy® nomination for her role in FOX's The X-FILES.  In addition, she received a Grammy® Award nomination for "Best Spoken Word Album" for GROW OLD ALONG WITH ME, THE BEST IS YET TO BE and won an AUDIE, the Audio Publishers Association's top honor, for WOMEN IN THE MATERIAL WORLD. Film credits include HOME AGAIN, RAIN, PRIZZI'S HONOR, POSTCARDS FROM THE EDGE, ROBOCOP 3, SLIVER, TALES FROM THE CRYPT: DEMON KNIGHT, FACE/OFF, END OF DAYS, MORTAL INSTRUMENTS: CITY OF BONES, ORPHAN, AVATAR, GODZILLA: KING OF THE MONSTERS and her breakout role in BAGDAD CAFÉ.  A graduate of Ithaca College, she received an Honorary Doctorate of Fine Arts from the school, was their 2010 Commencement Speaker and in 2021, she received Ithaca College Alumni Association's Lifetime Achievement Award.  Pounder serves on the Board of the African Millennium Foundation and was a founding member of Artists for a New South Africa. An advocate of the arts, she is active in the Creative Coalition and recent accolades for Pounder include the Visionary Leadership Award in Performing Arts from the Museum of the African Diaspora (MOAD) in San Francisco, the 2015 Carney Awards, the Lifetime Achievement Award from Chase Brexton Health Care in Baltimore, 2015 Honoree at the Grand Performances Gala in Los Angeles, the 2016 SweetArts Performing Arts honoree from the Contemporary Arts Center in New Orleans, the National Urban League's 2017 Women of Power Award and the 2018 Bob Marley Award from AFUWI (American Foundation for the University of the West Indies).  In addition to her prolific acting career and advocacy, Pounder has been extensively involved with the arts as a patron, collector, gallery owner and museum founder. Originally from Georgetown, Guyana, Pounder's collection consists of Caribbean and African artists and artists of the African Diaspora. Her collection is heavily concentrated in the area of Contemporary Art but also includes traditional African sculptures. In 1992, Pounder and her husband, the late Boubacar Koné, founded and built the Musée Boribana, the first privately owned contemporary museum in Dakar Senegal, which they gifted to that nation in 2014. Pounder's personal collection contains over 500 works of art, many of which she has loaned to Xavier University of Louisiana for a series of exhibitions and some which were on exhibit at Somerset House in England, Kent State Museum, The Charles H. Wright Museum of African American History in Detroit, MI and The DuSable Black History Museum and Education Center in Chicago. 

This week, the Louisiana legislature is poised to pass a $5 million tax credit for donations to anti-abortion pregnancy centers. The bill's author, Senator Beth Mizell, has said these centers can improve Louisiana's crisis in maternal and infant health. But a WWNO/WRKF survey found that most provide nearly no maternal health care, nearly no reproductive health care, and some provide health misinformation.  Public health reporter Rosemary Westwood reported this story for WWNO and WRKF. She joins us now for more.  Tulane's Summer Lyric Theatre is gearing up for its 56th season. Interim artistic director C. Leonard Raybon has chosen a selection of classic musicals to fill the summer months, beginning with Meredith Willison's The Music Man. He joins us with choreographer/director Diane Lala for more on the upcoming performances. Ocean science and climate justice come alive in PearlDamour's Ocean Filibuster, a unique immersive music theater experience opening this week at the Contemporary Arts Center in New Orleans. The work, written by Lisa D'Amour and directed by Katie Pearl is billed as an epic “human vs ocean” showdown, set in a future Global Senate. Ocean Filibuster writer and co-creator Lisa D'Amour joins us with the details.  Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman and Aubry Procell. You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

In a span of just six months, two of Greater Cincinnati's leading arts institutions welcomed new leaders. We sit down with the women leading the Taft Museum of Art and the Contemporary Arts Center.

Sandra Cinto, Santo André (SP), 1968. Vive e trabalha em São Paulo (SP).Ao longo da sua carreira, Sandra Cinto tem desenvolvido um rico vocabulário de símbolos e linhas para criar paisagens líricas e narrativas entre fantasia e realidade. Usando o desenho como ponto de partida, a artista frequentemente dialoga com a arquitetura evocando paisagens fantásticas que servem como uma metáfora da odisseia humana e também extrapolando os limites e possibilidades do desenho. A artista trabalha também com escultura, instalação, fotografia e gravura.Formada em artes plásticas, Sandra Cinto começa a sua carreira em 1990, quando ainda era estudante, produzindo representações do céu e das nuvens inspiradas no surrealista René Magritte. O seu estilo único funde o poder visual e a estética poética para criar composições que fazem alusão à mitologia. A sua prática artística é caracterizada por obras delicadas, onde ela normalmente desenha à caneta sobre um fundo amplo, geralmente azul. Em 1998, a artista participou de 24ª Bienal de São Paulo, onde a tela não era um suporte convencional, e sim a parede do próprio prédio.As suas obras fazem parte de importantes coleções, tais como: Fundación ARCO (Madrid); Instituto Inhotim (Brumadinho); Institute of Contemporary Art (Boston); Museum of Modern Art (Nova York); entre outras.Entre suas exposições individuais mais recentes estão: "Das ideias na cabeça aos olhos no céu", 2020 curadoria de Paulo Herkenhoff, Itaú Cultural, São Paulo; "Cosmic Garden", 2020, Ginza Maison Hermès "Le Forum", Tóquio, Japão; "Landscape of a Lifetime", 2019, Dallas Museum of Art, Dallas, EUA; "Noturno", 2019, Casa Triângulo, São Paulo e Appleton Square, Lisboa; "Dibujos", 2018, Galeria Fernando Pradilla, Madrid; "Two forces", 2016, Tanya Bonakdar Gallery, Nova York; "Acaso e Necessidade", 2016, Casa Triângulo, São Paulo; "Sandra Cinto: Chance and Necessity", 2016, West Gallery, USF Contemporary Art Museum, Florida; "A Day in Eternity", curadoria de Yuki Kondo, 2015, Aomori Contemporary Art Center, Aomori, Japão; "En Silencio" curadoria de David Barro, 2014, Matadero - Centro de Creación Contemporánea, Madri, Espanha; "La otra orilla", curadoria de David Barro, 2014, Centro Atlántico de Arte Moderno, Ilhas Canárias, Espanha; "Encontro das Águas" 2012-2014, Olympic Sculpture Park Pavilion, Seattle Art Museum, Seattle, EUA; entre outros. Albano Afonso, São Paulo, 1964. Vive e trabalha em São Paulo.Artista visual. Estudou na Faculdade de Arte Alcântara Machado (Faam), em Santos, São Paulo. Expõe desde 1991 – e em 1994 realiza sua primeira exposição individual, no Centro Cultural São Paulo (CCSP), na capital paulista. No mesmo ano é premiado no 21º Salão de Arte Contemporânea de Santo André e é contemplado com o prêmio aquisição do Museu de Arte Contemporânea de Santo André. Em 2006 a editora Dardo, de Santiago de Compostela, Espanha, lança um livro sobre o artista.Albano Afonso explora nas suas obras diferentes elementos do cotidiano contemporâneo, criando uma conexão com a história da arte, a fotografia, o autorretrato e a natureza morta, sempre com uma linguagem atual.albano usa luz, sombras e imagens manipuladas para refletir sobre os valores e percepções do tempo presente, de uma forma que funde passado, presente e futuro; criando um retrato atemporal que parece estar se diluindo, mas ainda travado no tempo.As suas exposições individuais selecionadas são: Igreja da Universidade e DIDAC, Santiago de Compostela, Espanha [2019]; Casa Triângulo, São Paulo, Brasil [2018]; Aomori Contemporary Art Center, Aomori, Japão [2017]; Museu Brasileiro de Escultura, MuBE, São Paulo, Brasil [2016]; 21C Museum, Cincinnati, EUA [2015]; Contemporary Arts Center, Cincinnati, EUA[2015]; Oi Futuro, Rio de Janeiro, Brasil [2014]; Museu de Arte de Ribeirão Preto, Ribeirão Preto, Brasil [2014]; Invaliden1 Galerie, Berlim, Alemanha [2013]; Bodson Gallery, Bruchelas, Bélgica [2012]; Casa Triângulo, São Paulo, Brasil [2010].Passou por instituições muito relevantes tais como: Georg Kargl Gallery, Viena, Áustria; Fernelmont Contemporary Art Festival, Belgica; SixtyEight Art Institute, Copenhagem, Museu de Arte Contemporânea - USP, São Paulo; Phoenix Art Museum, no US; Osnova Gallery, Moscovo; Instituto Tomie Ohtake, São Paulo; Museu de Arte Moderna do Rio de Janeiro; Musashino Art University Gallery, Tóquio; Museu de Arte Moderna de São Paulo; CAB Art Center, Bruxelas; Kiosko Alfonso/PALEXCO, na Coruña; Palacio da Belas Artes em Bruxelas; Centro Galego de Arte Contemporánea – CGAC em Santiago de Compostela; e participou na 29º Bienal de São PauloFaz parte de importantes coleções públicas, entre outras: 21c Museum Foundation's, Louisville, Kentucky, EUA; CAB, Art Center, Bruxelas; Museu de Arte Contemporânea do Rio de Janeiro, Inhotim - Centro de Arte Contemporânea, Brumadinho, Brasil; Museu de Arte Moderna de São Paulo; Pinacoteca da Cidade de São Paul; Centro Cultural São Paulo; Instituto Figueiredo Ferraz, Ribeirão Preto, Brasil; University of Essex Collection of Latin American Art, Inglaterra; Fundação ARCO - Centro Galego de Arte Contemporânea, Santiago de Compostela; Fundación Pedro Barrié de la Maza - Vigo, Espanha; Coleção BES, Lisboa, Portugal. Nota: O título "Um oceano inteiro para nadar" é uma apropriação do título de uma exposição luso-brasileira na Culturgest comissariada por Paulo Reis em 2000, que se inspira no título do vídeo de Karen Harley, "Com o oceano inteiro para nadar" sobre a vida e a obra de Leonilson.Links: https://ateliefidalga.com.br/ https://www.casatriangulo.com/pt/artists/ https://www.premiopipa.com/pag/artistas/sandra-cinto/ https://www.inhotim.org.br/eventos/bastidores-restauro-sandra-cinto/ https://www.youtube.com/watch?v=fal7RgwChrQ https://www.muralsoflajolla.com/sandra-cinto https://imagesintile.com/portfolio/sandra-cinto-open-landscape-cleveland-clinic-mura https://www.sp-arte.com/artistas/albano-afonso/ https://www.youtube.com/watch?v=4EeQkNXgQMM https://www.youtube.com/watch?v=Gt0536q_9L8 https://www.youtube.com/watch?v=6-GeeFiCgXI https://www.youtube.com/watch?v=-3GYNRs-o-c Episódio gravado a 15.05.2023 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa

The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. During the course, visiting artists to the MFA Theatre Program's Grad Lab are interviewed after leading a workshop with the students. Grad Lab is one of the core components of the program where graduate students work with guest artists and develop group-generated performance experiments. Kaneza Schaal is a New York City based artist working in theater, opera, and film. Schaal was named a 2021 Guggenheim Fellow, and received a 2019 United States Artists Fellowship, SOROS Art Migration and Public Space Fellowship, Joyce Award, 2018 Ford Foundation Art For Justice Bearing Witness Award, 2017 MAP Fund Award, 2016 Creative Capital Award, and was an Aetna New Voices Fellow at Hartford Stage. Her project GO FORTH, premiered at Performance Space 122 and then showed at the Genocide Memorial Amphitheater in Kigali, Rwanda; Contemporary Arts Center New Orleans; Cairo International Contemporary Theater Festival in Egypt; and at her alma mater Wesleyan University, CT. Her work JACK & showed in BAM's 2018 Next Wave Festival, Museum of Contemporary Art Chicago, and with its co-commissioners Walker Arts Center, REDCAT, On The Boards, Cincinnati Contemporary Arts Center, and Portland Institute for Contemporary Art. Schaal's piece CARTOGRAPHY premiered at The Kennedy Center and toured to The New Victory Theater, Abu Dhabi Arts Center and Playhouse Square, OH. Her dance work, MAZE, created with FLEXN NYC, premiered at The Shed. Most recently, she directed Triptych composed by Bryce Dessner with libretto by Korde Arrington Tuttle, which premiered at LA Philharmonic, The Power Center in Ann Arbor, MI, BAM Opera House and Holland Festival. Her newest original work KLII, was co-commissioned as part of the Eureka Commissions program by the Onassis Foundation and is a National Performance Network (NPN) Creation & Development Fund Project co-commissioned by Walker Art Center in partnership with Contemporary Arts Center, Cincinnati, and REDCAT. Schaal will develop and direct a number of upcoming works including SPLIT TOOTH with Tanya Tagaq (Luminato Festival, Canada), HUSH ARBOR (The Opera) with Imani Uzuri (The Momentary, AZ) and BLUE at Michigan Opera Theater. Schaal's work has also been supported by New England Foundation for The Arts, Baryshnikov Arts Center, Lower Manhattan Cultural Council, Nathan Cummings Foundation, Foundation for Contemporary Arts, FACE Foundation Contemporary Theater grant, Theater Communications Group, and a Princess Grace George C. Wolfe Award. Her work with The Wooster Group, Elevator Repair Service, Richard Maxwell/New York City Players, Claude Wampler, Jim Findlay, and Dean Moss has brought her to venues including Centre Pompidou, Royal Lyceum Theater Edinburgh, The Whitney Museum, and MoMA.

While libraries are free throughout the country, patrons are often stymied by the cost of getting there. Now, the New Orleans Public Library system is offering free RTA passes for teenagers who want to come and access the wide variety of books, computers, and other resources throughout the summer. Shannon Cvitanovic, executive director of the Friends of the New Orleans Public Library, joins us for more on the initiative, dubbed the “Teen Read and Ride Program.” 54 artists from 5 states have come together for the new exhibition at the Contemporary Arts Center, “Remember Earth?” The exhibit explores environmental problems in the region as part of the 9th Annual Gulf South Open Call Exhibition. Erin Lee Antonak, Multidisciplinary Arts Curator at CAC joins us for more.  The 55th season of the Summer Lyric Theatre at Tulane University will close with a performance of the rock musical “RENT.” Polanco Jones, Jr., award-winning theater artist and choreographer directing this production, tells us more about how the production is coming together and when to see the show. Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman, Aubry Procell, and Thomas Walsh.  You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

The late artist Robert Colescott (1925–2009) is most known for his 1970s satirical renditions of famous paintings to demonstrate the absence and lack of recognition of black people in art and cultural history. Today, The New Museum presents a new retrospective of the artist's work, called, Art and Race Matters: The Career of Robert Colescott, which is on view until October 9. Curator Lowery Stokes Sims and Raphaela Platow, former director and chief curator of the Contemporary Arts Center in Cincinnati when the Colescott show was organized there, joins us to discuss Colescott's legacy and why his art matters.

Dakota Mace (Diné) is an interdisciplinary artist whose work focuses on translating the language of Diné history and beliefs. Mace received her MA and MFA degrees in Photography and Textile Design at the University of Wisconsin-Madison and her BFA in Photography from the Institute of American Indian Arts. As a Diné (Navajo) artist, her work draws from the history of her Diné heritage, exploring the themes of family lineage, community, and identity. In addition, her work pushes the viewer's understanding of Diné culture through alternative photography techniques, weaving, beadwork, and papermaking. She has also worked with numerous institutions and programs to develop dialogue on the issues of cultural appropriation and the importance of Indigenous design work. She is currently a grad advisor in painting and drawing at the School of the Art Institute of Chicago and the photographer for the Helen Louise Allen Textile Center and the Center of Design and Material Culture. Her work as an artist and scholar has been exhibited nationally and internationally at various conferences, collectives, museums, and galleries, including: Textile Society of America, Weave a Real Peace, Indigenous Photograph, 400 Year Project, Wright Art Museum, Contemporary Arts Center, Kemper Museum of Art, and the Wallach Art Gallery. Website: https://www.dakotamace.com/ IG: https://www.instagram.com/dmaceart/

Come along as Sara and Fernando talk about their travel to Chiapas, Mexico, and the bonding experience with the Mexican Cultural Arts Alliance. The Mexican Cultural Arts Alliance is made up of leaders from eight Mexican cultural institutions from West Chicago, Denver, Fresno, Indianapolis, Minneapolis, Salt Lake City, Atlanta, and Chiapas. The group has been collaborating for almost two years and during this amazing trip we got to strengthen our bond with artists in Chiapas, some of whom will travel to the United States later this year. Thank you Portales del Arte en Chiapas for hosting us and allowing us to be part of your sensational art exhibit as you work to create a Contemporary Arts Center for the visual artists and give a platform for international recognition. Thank you to Carlos Tortolero, founder and President of the National Museum of Mexican Art for all of your mentorship and leadership in this Alliance! We are so grateful to be part of this family and look forward to all that lies ahead! --- Send in a voice message: https://anchor.fm/mcc-podcastmexican/message

Elaine A. King was born in Oak, Park, Illinois and grew up in the Chicago area.  She was a Professor, at Carnegie Mellon University teaching the History of Art/Theory/Museum Studies.  King received an interdisciplinary Ph.D. from Northwestern University in 1986 from the School of Speech (Theory and Culture) and History of Art. Dr. King holds a joint Masters Degree in Art History and Public Policy, from Northern Illinois University and her B.A. was awarded from Northern Illinois University in Art History and American History [Pre-Law]. In 2002 she received a Certificate of Fine Arts and Decorative Arts Appraisal New York University.  In May 2011 she was invited to become a member of the National Press Club in Washington, DC. She is a freelance critic who frequently writes for Sculpture, ARTES, Grapheion and the Washington Post. Dr. King served as the Executive Director and Curator of the Carnegie Mellon Art Gallery [1985-1991, and was the Executive Director and Chief Curator of the Contemporary Arts Center in Cincinnati, [1993-1995] following the Robert Mapplethorpe debacle. Throughout her career as a curator she organized over forty-five art exhibitions, including a wide range of one-person exhibitions and catalogues for artists, Barry Le Va, Martin Puryear, Tishan Hsu, Gordan Matta-Clark, Elizabeth Murray, Mel Bochner, Nancy Spero, Robert Wilson, David Humphrey, and Martha Rosler. In addition, she has curated a wide range of group exhibitions including Light Into Art: Photography to Virtual Reality, New Generations, New York, Chicago, The Figure As Fiction, Abstraction Today, Drawing in the Eighties, and Art In the Age of Information. In February 2007 she was the guest curator for the Maria Mater O'Neill mid-career survey exhibition for the Museo of Art Puerto Rico, San Juan that opened in February 2007 and compiled a catalogue titled Artist Interrupted, 1986-2006.  In the fall of 2009 she was a guest curator at the Mattress Factory, in Pittsburgh for the exhibition titled Likeness: Transformation of Portrayal After Warhol's Legacy. King has been the guest curator several times for the Hungarian Graphic Arts Biennial in Gyór between 1993-2005. The International Studies Art Program American University's selected her to be the distinguished Art Historian/Critic in-residence to teach in Corciano, Italy, in the fall 2006.  Additionally Elaine King and Kim Levin were asked to nominate artists for the Venice Biennale. She has been awarded numerous grants from diverse agencies including: United States Office of Information –Curatorial Grant for the American Section of the Master of Graphic Arts Biennial, Györ Hungary [shipping] Pennsylvania Arts Council Grant, Art Criticism Fellowship, The Trust for Mutual Understanding, Rockefeller Foundation, (research in Slovakia) The National Endowment for the Arts (In 1989,1988,1985, 1983) Museum s/catalogues, Hillman Foundation, Warhol Foundation, Richard K. Mellon Foundation Grant, French International Fund from Artists' Action, for the Michel Gerard exhibit, American Association of Museums, Award of Merit for the Tishan Hsu catalogue Award of Distinction, American Association of Museums for the Mel Bochner catalogue. She was awarded an IREX grant to do research in Prague on changes in contemporary art after the fall of the wall. King was part of a panel discussion on Censorship and the Culture Wars at the Ann Arbor Film Festival and a reviewer for Bullfrog Films. In September 2006, Allworth Press published the anthology titled Ethics and the Visual Arts that she and Gail Levin co-edited. Elaine King. In 2001 she was awarded a Senior Research Fellowship by the Smithsonian Institution's American Art Museum to research contemporary portraiture.  Also King was awarded a Short-term Research Fellow in 2003 from the Smithsonian Institution National Portrait Gallery as well as a Short-term Fellowship at the Smithsonian Archives of American Art.

When the Contemporary Arts Center in Cincinnati opened to the public in 2003 it wowed both the public and critics. With its undulating curves and galleries that interlock, it was the first major project that the renowned architect had completed, and also the first American museum to be designed by a woman. The New York Times hailed the Contemporary Arts Center as the most important building to be completed in the US since the Cold War. Farhana Haider has been listening to archive interviews with the late Zaha Hadid and speaking to Jay Chatterjee, Dean Emeritus at the college of Design Architecture, Art and Planning at the University of Cincinnati. He was on the panel that chose her ground-breaking design. Photo Credit Courtesy of the Contemporary Arts Center

Desirae “The Silent Poet” Hosley, A Queen's Liberation Story. A Queen's Liberation Story is a collaborative performance and programming series inviting black and brown women to reclaim their power in their sex stories.

Cara De Angelis was born and raised in the wilds of New England. She has been a recipient of the CT Office of the Arts Fellowship Grant, as well as the Barbara Deming/Money for Women Grant. She has had fellowships at the Vermont Studio Center, the Prairie Center of the Arts in Illinois, and the Contemporary Arts Center in Troy, New York. In 2010 she was awarded full residency at the Terra Foundation in Giverny, France, along with a Guggenheim travel grant. She is also a beneficiary of the Rudolph Zallinger Painting Award. In our conversation today, we discuss her current exhibition at the Saginaw Art Museum, “Out of Eden”. from roadkill to golden glitter, let's listen in. Saginaw Art Museum www.saginawartmuseum.org Cara De Angelis www.caradeangelis.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/saginawartmuseum/support

Hi friends! Welcome back to the Composer Happy Hour. If you are reading this, you are likely a fan of the show and/or an avid supporter of whateverandeveramen. Thank you so much for your ongoing support - we really do appreciate it. If you haven't already, please rate and review the podcast here or on your chosen streaming platform (or both!). This is most appreciated. Our guest this episode is Jennifer Jolley. I had a chance to work with Jenn back in 2016 when she was in a residency with my choirs. I was quickly impressed with her as a composer, but also as a human. She is very kind and supportive of young musicians, and incredibly humble. So humble, in fact, that she has an entire blog dedicated to her own musical rejections. Her choral music often sets texts that address a fairly specific moment in time or experience. This is in stark contrast to the "tradition" of setting pretty poetry by dead white people, that seems to aim for timelessness, but too often ends up not being very good even in the moment. In this episode we discuss baseball, how to give directions in California, and why f*ck is such a great word for choral music. As always, if you like what you hear - buy us a beer! Your contributions will help to fund future projects by whateverandeveramen. Jennifer Jolley (b. 1981) is a composer, blogger, and professor person. She is also a cat lover and part-time creative opera producer. ​ Jennifer's work draws toward subjects that are political and even provocative. Her collaboration with librettist Kendall A, Prisoner of Conscience, has been described as “the ideal soundtrack and perhaps balm for our current ‘toxic… times'” by Frank J. Oteri of NewMusicBox. Her piece, Blue Glacier Decoy, written as a musical response to the Olympic National Park, depicts the Pacific Northwest's melting glaciers. Her partnership with writer Scott Woods, You Are Not Alone, evokes the fallout of the #MeToo Movement. ​ Jennifer's works have been performed by ensembles worldwide. She has received commissions from the National Endowment for the Arts, the MidAmerican Center for Contemporary Music, the Left Coast Chamber Ensemble, Quince Ensemble, and many others. Jennifer deeply values the relationship that is created between composers and the communities with whom they collaborate. She has been composer-in-residence at multiple institutions. She promotes composer advocacy through her opera company NANOWorks Opera and her articles for NewMusicBox & I CARE IF YOU LISTEN. Also, she is on the Executive Council of the Institute for Composer Diversity and the New Music USA Program Council. Jennifer joined the Texas Tech School of Music composition faculty in 2018 and has been a member of the composition faculty at Interlochen Arts Camp since 2015. www.jenniferjolley.com All Recordings Used by Permission of the Composer: "Prisoner of Conscience" (2015) Quince Ensemble "Drei Brücken" (2012) I. Roebling - Premiere Performance, Commissioned by the Contemporary Arts Center for their 2012 Gala, Drew Klein, Performance Curator III. Brent Spence - University of Toledo Chamber Singers "Her Speed Left the Winds Behind" (2020) Voices of Ascension and Trio Triumphatrix

Jenny Roesel Ustick is Associate Professor of Practice and Foundations Coordinator in the School of Art - DAAP at the University of Cincinnati. She holds an MFA from the same program and a BFA from the Art Academy of Cincinnati.  A Cincinnati native, Ustick has become one of the most prominent muralists in her region, completing over 10 large-scale public mural projects with ArtWorks and several independent projects that include commissions from the US Soccer Federation, 21C Museum Hotel Cincinnati, and multiple local establishments. Her Mr. Dynamite (James Brown) mural in Cincinnati has earned her and Cincinnati international attention. Elsewhere in the U.S., Ustick has created or contributed to murals in Tennessee, New Mexico, Illinois, Kentucky, and Florida, including invitations to the Walls for Women mural festival in Tennessee, and the CRE8IV Mural Festival in Rockford, Illinois. Internationally, Ustick has participated in the Proyecto Palimipsesto mural residency with La Fundación ‘ace para el Arte Contemporáneo y el ‘acePIRAR, Programa Internacional de Residencias Artísticas in 2017 in Buenos Aires, Argentina, and was Artist in Residence in spring 2018 with the Graniti Murales program in Graniti, Sicily.  Ustick’s multimedia solo and collaborative studio practice is based in drawing and painting, with expansions into multimedia textile and time-based installations. Her solo and collaborative works have been exhibited in numerous galleries and museum venues that include the Kentucky Museum of Art and Craft, the Contemporary Arts Center in Cincinnati, the Dayton Art Institute, the Cincinnati Art Museum, New Harmony Gallery of Contemporary Art, and Redline Contemporary in Denver. She has participated in multiple international art fairs including Governors Island Art Fair in New York, Edinburgh Fringe Festival, and ArtPrize.  Ustick is also a published critical art writer, contributing essays to The Cincinnati Anthology from Belt Publishing, and Still They Persist: Protest Art from the 2017 Women’s Marches. Ustick’s mural projects have been featured in Forbes, American Quarterly, Hyperallergic, La Sicilia, and numerous local publications and broadcasts; collaborative studio projects have appeared in the Huffington Post and Venus Zine. You can find her work at www.jennyroeselustick.com, and on Instagram @j_r_ustick.

The J. Paul Getty Museum, the world's wealthiest, was shaped under the steady hand of Dr. John Walsh, a renowned scholar of Dutch art. In this episode we glean a bit about his work as a curator and director, and dive into topical matters: Museums during the pandemic, commercialization of exhibitions, his role as a witness defending Cincinnati's Contemporary Arts Center's exhibition of photographs by Robert Mapplethorpe and its then director at a trial accusing them of promoting obscenity, decades-long neglect of advancing racial equity in museums, due diligence when researching antiquities collections, advice for new directors, and a brief preview of his forthcoming lectures on Rembrandt.

The J. Paul Getty Museum, the world’s wealthiest, was shaped under the steady hand of Dr. John Walsh, a renowned scholar of Dutch art. In this episode we glean a bit about his work as a curator and director, and dive into topical matters: Museums during the pandemic, commercialization of exhibitions, his role as a witness defending Cincinnati’s Contemporary Arts Center’s exhibition of photographs by Robert Mapplethorpe and its then director at a trial accusing them of promoting obscenity, decades-long neglect of advancing racial equity in museums, due diligence when researching antiquities collections, advice for new directors, and a brief preview of his forthcoming lectures on Rembrandt.

We hit the road to give a shout out to Factory Obscura before heading to Oklahoma Contemporary Arts Center and an interview with Executive Director Eddie Walker, delving into all things OK Contemp and their fantastic new facility. We also talk Oktoberfest options in OKC, a quick retail update, outdoor shopping options and more. Want video? Subscribe to our YouTube channel: https://www.youtube.com/channel/UCeXBg5_c4VxGGR_kxMHb2wg Want audio and/or show archives? http://www.velocityokc.com/audacity Links, Chamber members and resources mentioned in this episode: Factory Obscura earns Newsweek recognition: https://www.velocityokc.com/blog/inside-okc/factory-obscura-earns-newsweek-recognition/ Factory Obscura: https://www.factoryobscura.com/ Oklahoma Contemporary: https://oklahomacontemporary.org/   Take a deep dive into OKC’s visual arts community: https://www.velocityokc.com/blog/economy/take-a-deep-dive-into-okc-s-visual-arts-community/ OKC Artist Profile: Denise Duong: https://www.velocityokc.com/blog/lifestyle/okc-artist-profile-denise-duong/ “Visual arts in OKC” multimedia feature: https://www.greateroklahomacity.com/stories/art/ OKC retail update: Chisholm Creek rolling with the punches: https://www.velocityokc.com/blog/development/okc-retail-update-chisholm-creek-rolling-with-the-punches/ Retail roundup: New retailers, new opportunities in open-air centers: https://www.velocityokc.com/blog/development/retail-roundup-new-retailers-new-opportunities-in-open-air-centers/ Satisfy your shopping bug safely outdoors at Scissortail Park’s Night Market: https://www.velocityokc.com/blog/lifestyle/satisfy-your-shopping-bug-safely-outdoors-at-scissortail-park-s-night-market/ Fassler Hall: https://fasslerhall.com/locations/oklahoma-city/ McNellies OKC: https://mcnellies.com/locations/oklahoma-city-pub/ Riversport OKC Outdoor October: https://www.riversportokc.org/events/outdooroctober/ Get outdoors this October at the Oklahoma River: https://www.velocityokc.com/blog/lifestyle/get-outdoors-this-october-at-the-oklahoma-river/ --    VeloCityOKC COVID-19 coverage and stories: https://www.velocityokc.com/blog/?mrkrs=COVID More Chamber events and calendar: http://www.okcchamber.com/events Chamber COVID-19 resources: https://www.okcchamber.com/covid19 VisitOKC’s “support OKC” list of local shops, restaurants, services and attractions you can creatively patronize during the pandemic: http://www.visitokc.com/support-okc/ Downtown OKC’s list of open restaurants/services/shops: http://www.downtownokc.com/support-local/ OKLAworks Twitter page (job announcements): http://twitter.com/OKLAworks OK for OK local biz listings: http://www.okforok.com  Sign up for a weekly VeloCity email to stay up on what’s going down in OKC: https://www.velocityokc.com/index.php?src=forms&id=enews&category=&email=EMAIL&submit.x=40&submit.y=28 Feedback: networking@okcchamber.com or Chamber social media (@okcchamber) - https://www.facebook.com/okcchamber - https://twitter.com/okcchamber - https://www.instagram.com/okcchamber/ - https://www.linkedin.com/company/greater-oklahoma-city-chamber/

What happens to those wrongly accused? What's happens to those who have paid their debt to society? How do they transition and become productive members of society? Can they lead a customary American life without going back to criminal activity? Todd Marallen, CEO and founder of DAMASCUS. After years of research he and his wife founded Damascus as a staffing company with a fundamental belief: Everyone has untapped potential. They focused on answering: How to help those who otherwise have no opportunity to succeed despite a desire to do so or the skills to do so? Prior to starting Damascus, Todd Marallen was the President and owner of Novastar Group, LLC, a boutique lobbying and investment consulting firm founded in 2007 and located in Cincinnati, where he was born and raised. After graduating from Thomas More College, Todd's early career in the IT industry led him into the world of startups and venture capital for over 15 years before returning to school and earning his law degree J.D. from the University of Cincinnati. In 2005, Todd was elected to Mason City Council and engaged in the drama and intrigue of local party politics for several years. He currently divides his time between Damascus, Exodus Transit, Divine Mining, civic involvement, and his amazing wife and his children. Todd is highly involved in the arts community. He was elected to the Cincinnati Art Museum Board of Trustees in 2007 - the second youngest member ever chosen to serve. He was chosen to be a Shareholder of the museum after finishing his Board term in 2016. He was appointed Chairman of the Cincinnati Arts Allocation Committee by former Mayor Mark Mallory in 2012, and has also served on the Board of Trustees of the Contemporary Arts Center. An avid athlete, Todd loves to play sports while willfully ignoring the fact that his sons will soon be able to beat him in most of the sports he enjoys. Todd is a wine lover, a fan of fine Kentucky bourbon, and smokes the occasional cigar while working on his old Dodge pickup truck. He is a literary aficionado, and enjoys doing mission work abroad. He also believes Bigfoot is real. Todd destroys the Brandology Team in Brand Culture trivia. Themes of integrity and family core values are illustrated throughout. RATE THIS PODCAST at https://Ratethispodcast.Com/Brandology Subscribe! Get New Content! Find us at: https://brandology.captivate.fm/ Music by PC-One, Ketsa, PIPE CHOIR through FMA. MrThe Noranha, Euphrosyyn, Evreytro, Joao Janz from FreeSound. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/branditpodcast/support

What happens to those wrongly accused? What’s happens to those who have paid their debt to society? How do they transition and become productive members of society? Can they lead a customary American life without going back to criminal activity? Todd Marallen, CEO and founder of https://teamdamascus.com/ (DAMASCUS). After years of research he and his wife founded Damascus as a staffing company with a fundamental belief: Everyone has untapped potential. They focused on answering: How to help those who otherwise have no opportunity to succeed despite a desire to do so or the skills to do so? Prior to starting Damascus, Todd Marallen was the President and owner of Novastar Group, LLC, a boutique lobbying and investment consulting firm founded in 2007 and located in Cincinnati, where he was born and raised. After graduating from Thomas More College, Todd’s early career in the IT industry led him into the world of startups and venture capital for over 15 years before returning to school and earning his law degree J.D. from the University of Cincinnati. In 2005, Todd was elected to Mason City Council and engaged in the drama and intrigue of local party politics for several years. He currently divides his time between Damascus, Exodus Transit, Divine Mining, civic involvement, and his amazing wife and his children. Todd is highly involved in the arts community. He was elected to the Cincinnati Art Museum Board of Trustees in 2007 - the second youngest member ever chosen to serve. He was chosen to be a Shareholder of the museum after finishing his Board term in 2016. He was appointed Chairman of the Cincinnati Arts Allocation Committee by former Mayor Mark Mallory in 2012, and has also served on the Board of Trustees of the Contemporary Arts Center. An avid athlete, Todd loves to play sports while willfully ignoring the fact that his sons will soon be able to beat him in most of the sports he enjoys. Todd is a wine lover, a fan of fine Kentucky bourbon, and smokes the occasional cigar while working on his old Dodge pickup truck. He is a literary aficionado, and enjoys doing mission work abroad. He also believes Bigfoot is real. Todd destroys the Brandology Team in Brand Culture trivia. Themes of integrity and family core values are illustrated throughout. RATE THIS PODCAST at https://ratethispodcast.com/BRANDOLOGY (https://Ratethispodcast.Com/Brandology) Subscribe! Get New Content! Find us at: https://brandology.captivate.fm/ (https://brandology.captivate.fm/) Music by PC-One, Ketsa, PIPE CHOIR through FMA. MrThe Noranha, Euphrosyyn, Evreytro, Joao Janz from FreeSound. This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Support this podcast

Art expert and critic Elaine A. King found her way to the Podcast studio, mask and all. This was filmed during the coronavirus pandemic with social distancing, shortly after Arizona governor Ducey issued a stay at home order. Elaine's story as a professor, historian, critic, and curator was enlighting. King was a tenured Professor at Carnegie-Mellon University in Art History & Theory and has curated over 50 art exhibitions. We had a lively discussion on the nuances of what it means to be an art critic and curator; a field I didn't really understand fully until our podcast. It was freeing to discuss art in such a trying time as a lockdown pandemic as art holds importance in our culture, listeners and in my own life. This art podcast was a deep dive into contemporary art, and I hope you' find it as interesting as I did.

355. We interview Laura D. Kelley about Margaret Gaffney Haughery for Women's History Month. We talked to Laura in Episodes 156 and 157 about the history of the Irish in New Orleans. Today she comes back to discuss Margaret Gaffney Haughery, commonly called the Mother of Orphans. She immigrated to New Orleans in 1835, but soon lost her husband and child. The nuns took her in, and she began to work with orphans, donating much of her earnings to their support. She became a successful business woman, first in dairy and later in a bakery. As she became more financially successful, she expanded her support of orphans and led others in donating to them also.This week in Louisiana history. March 7 1830. Gov. Jacques Villere died on his plantation south of N.O. This week in New Orleans history. According to the New Orleans Public Service Riders' Digest, the Knights of Electra first used electricity, in a Carnival parade on March 7, 1889. This week in Louisiana. New Orleans Bourbon Festival. March 11-14, 2020 10:00 am - 11:00 pm New Orleans Riverside Hilton & Contemporary Arts Center 2 Poydras Avenue, New Orleans, 900 Camp St, New Orleans, New Orleans, LA 70119 504-905-0726 Website New Orleans Bourbon Festival’s mission is to provide our attendees with an opportunity to enjoy exceptional Bourbon and cuisine surrounded by the charm and culture of New Orleans. Postcards from Louisiana. Steve Mignano BandListen on iTunesListen on StitcherListen on Google Play.Listen on Spotify.Listen on TuneIn.The Louisiana Anthology Home Page.Like us on Facebook.

This week on Inside the Arts, the 23rd New Orleans French Film Festival gets underway right after Mardi Gras. It’s one of the longest-running foreign language festivals in the country. We talk with the festival’s artistic director emeritus John Desplas. And, the Contemporary Arts Center continues its run of a series of exhibits highlighting women artists, headlined by internationally acclaimed Brooklyn painter Mickalene Thomas. We caught up with Thomas who will join us in our studio. Airs Tuesdays at 1:00 p.m., Wednesdays at 8:30 p.m., and Thursdays at 8:45 a.m.

The Acadiana Center for the Arts ("AcA") is a cultural gem in downtown Lafayette, Louisiana. A community-supported nonprofit organization with a mission to bring equitable access to the arts and to provide fair compensation to artists, the AcA supports the creation of new works of art, exhibits, festivals, performances, and public art across an eight-parish region that includes Acadia, Evangeline, Iberia, Lafayette, St. Landry, St. Martin, St. Mary, and Vermilion Parishes. Its Executive Director, Sam Oliver, is our guest on this episode of Discover Lafayette. Sam Oliver is a Lafayette native, a graduate of Lafayette High School, LSU, and Queen Margaret University in Edinburgh, Scotland. He was previously assistant director for the Contemporary Arts Center in New Orleans.  The AcA offers a 300 seat, intimate setting for performances ranging from the upcoming Allman Betts Band performance in May 2020 (which is already sold out) to "Live from the Met" which is broadcast monthly. Ticket prices are affordable, ranging from $10 to the most expensive at $70 for nationally known acts. Even if you purchase a seat in the back row farthest from the stage, you will be seated only about 100 feet from the performance and enjoy an exceptional experience. As Sam says, the AcA strives to offer a "boutique experience" for all patrons. While tickets may be purchased online at https://acadianacenterforthearts.org, most loyal patrons call up the staff and are helped personally, ensuring that their planned night out goes off without a hitch. Clayton Shelvin, another Lafayette area native, is the Curator of Performing Arts, who actively researches the artists selected for each season's event schedule. No act is booked unless the AcA's staff has previewed the act in person to ensure that the performance will meet the audience's expectations for quality and relevance for our community. The AcA endeavors to select diverse selections that speak to people from all walks of life to experience art, music, dance and other artistic endeavors. On February 18, 2020, the AcA will host Judy Collins at the Heymann Performing Arts Center. The most expensive seat in the house is $60 and tickets are still available for purchase here.  Live performances from the Metropolitan Opera may be enjoyed once a month. For more information, visit the AcA here. The Acadiana Center for the Arts offers exhibits featuring visual arts. At no charge, the public may view outstanding works of art and request guided tours of the facility. Currently, the work of Jeremiah Ariaz is on display which focuses on the unique African-American trail-riding clubs which are popular in South Louisiana. Ariaz first discovered these trail riders while riding his motorcycle through Louisiana and was so intrigued he spent four years getting to know the participants and documenting their experiences through his outstanding photography. For more on Ariaz and his thoughts on this project, visit http://www.jeremiahariaz.com/louisiana-trail-riders. “Louisiana Trail Riders” by Jeremiah Ariaz is the first major exhibition of black and white photographs documenting the Creole trail-riding clubs of Southern Louisiana.This exhibit may be viewed at no charge at the AcA Monday through Saturday, 10 a.m. to 5 pm. until March 14, 2020. The AcA partners with all 43 schools in the Lafayette Parish Public School System, as well as Vermilion and St. Landry public school districts, to ensure that students have access to the arts. With funding for arts in our public schools being scarce, this partnership builds a valuable connection between working art professionals and students of all ages. Art lessons are incorporated into the teaching of science, social studies and other curricula, and in-school performances bring a diverse array of artistic talent directly to the students. This program is one of the AcA's oldest and one of which they are most proud as they inspire our youngest stud...

SOTA host Gabe Barcia-Colombo, visited the Big Easy this week to experience LUNA FÊTE, New Orleans' public festival of light, art, and technology. Produced by the New Orleans Arts Council, LUNA FÊTE first emerged in 2014 as a celebration of New Orleans creative industries. Now in it's sixth iteration, Gabe had the opportunity to speak with Lindsay Glatz, New Orleans Arts Council Creative Director and Curator of LUNA FÊTE, as well as two participating artists, Camille Grosse, and Courtney Egan. -About LUNA FÊTE-LUNA Fête is a visionary initiative created by the Arts Council New Orleans to demonstrate the power of art to transform communities. This free and open to the public festival of light, art, and technology celebrates New Orleans creative industries and provides a memorable experience for diverse event attendees. Since its 2014 inception, LUNA Fête has presented some of the top light and projection-based artists in the world, while simultaneously providing training to local artists to advance their capabilities to create large-scale and interactive art animated with light. More than 200 New Orleans artists and 60 youth have advanced their technical and artistic skills through this unique educational opportunity.-About Lindsay Glatz-Lindsay joined the Arts Council in 2009 after serving as a Senior Communications Strategist for Deveney Communication where she managed communications efforts for the collective New Orleans Tourism Industry following Hurricane Katrina. With a commitment to social innovation, she has served as a Propeller consultant assisting in the launch of Birthmark Doula Collective and Where Y’Art. Lindsay holds degrees in Journalism & Mass Communications and Leadership Studies.Learn more at https://www.artsneworleans.org/about/staff/-About Camille Grosse-Camille Gross is a french visual designer born in 1984. Art passionate since her childhood, she studied at l’ESAT in Paris, where she graduated in section scenography in 2008. The same year, she worked with a french artist video with whom she collaborate for 4 years on international light projects.Freelance since 2012, she collaborates regulary with the french agency Cosmo Av on various projectsLearn more at http://camillegross.com/-About Courtney Egan-Courtney Egan’s projection-based sculptural installations mix botanical themes with shards of technology. In 2010 she presented a solo show, “Field Recordings,” at Heriard-Cimino Gallery in New Orleans. Recent group shows include “Louisiana Contemporary” at the Ogden Museum of Art, “Uniquely Louisiana” at the Louisiana State University Museum of Art, “NOLA Now II” at the Contemporary Arts Center in New Orleans, “The World According to New Orleans” at Ballroom Marfa, and “Frontier Preachers,” at The Soap Factory in Minneapolis. Her work has been featured in the New Orleans Times-Picayune, OxfordAmerican.com, PelicanBomb.com, Artforum.com, and in The Gambit. Courtney has also screened short films at many festivals, including the New Orleans Film Festival, Ann Arbor Film Festival, New York Underground Film Festival, MadCat Women’s International Film Festival, Kasseler Dokumentarfilm & VideoFest, and the Black Maria Film Festival. Courtney was an artist-in-residence at the Santa Fe Art Institute and at Louisiana Artworks in New Orleans. She is a founding member of the New Orleans-based visual arts collective Antenna.Courtney holds an M.F.A. from Maryland Institute College of Art. She taught art and media in elementary, secondary, and college classrooms since 1991. Courtney is currently a Media Arts faculty member at the New Orleans Center for Creative Arts (NOCCA). Learn more at http://www.courtneyegan.net/project-type/video-sculpture-installation/

This week on Inside the Arts, A Christmas Story, The Musical opens! It is the first Hancock Whitney Broadway in New Orleans show to play the Saenger Theatre since its reopening. We talk with cast member Chris Swan, who plays The Old Man, in this holiday classic based on the 1983 film. Then, we travel to the Land of Sweets as The Nutcracker in New Orleans opens at the Contemporary Arts Center.This version presented by the New Orleans School of Ballet has a local twist. Director/choreographer Nikki Hefko joins us in our studio. And, a rowdy holiday musical with local flavor, Mandatory Merriment, returns to Southern Rep Theatre with new jokes. Co-writer Leslie Castay joins us with cast member Meredith Long. Airs Tuesdays at 1:00 p.m., Wednesdays at 8:30 p.m., and Thursdays at 8:45 a.m.

Polly Apfelbaum is an artist living and working in NYC. In 2018, Polly had solo exhibitions at the Belvedere 21 in Vienna, Austria and Ikon Gallery in Birmingham, UK, which travels to the Kemper Museum of Contemporary Art, Kansas City, MO, in 2019. She has exhibited widely since the 1980s, including one-person exhibitions at the National Museum of Women in the Arts, Washington, DC, the Otis College of Art and Design, Los Angeles, CA at Bepart in Waregem, Belgium, the Worcester Art Museum in Worcester, MA, the lumber room in Portland, OR and at the Mumbai Art Room, Mumbai, India. A major mid-career survey of her work opened in 2003 at the Institute for Contemporary Art in Philadelphia, PA, and traveled to the Kemper Museum of Contemporary Art, Kansas City, MO, and Contemporary Arts Center, Cincinnati, OH, both in 2004. Her work has been featured in numerous group exhibitions including Pattern and Decoration, Ornament as Promise, Ludwig Forum for Internationale Kunst in Aachen, Germany , An Irruption of the Rainbow at the Los Angeles County Museum of Art, Wall to Wall at MOCA Cleveland in Cleveland, OH, Pretty Raw: After and Around Helen Frankenthaler at the Rose Art Museum, , Three Graces at the Everson Museum of Art in Syracuse, NY,  Pathmakers: Women in Art, Craft and Design, Midcentury and Today at the Museum of Art and Design in New York , AMERICANA: Formalizing Craft at the Perez Art Museum in Miami, FL, Regarding Warhol: Sixty Artists, Fifty Years at the Metropolitan Museum of Art in New York, amongst many, many others. 

Polly’s work is in numerous permanent collections including the Albright-Knox Art Gallery, Buffalo, NY; Blanton Museum of Art, Austin, TX; Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art; Everson Museum of Art, Syracuse, NY; Los Angeles County Museum of Art; Museum of Contemporary Art Chicago; The Museum of Modern of Art, New York; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Pérez Art Museum Miami; Philadelphia Museum of Art; Princeton University Art Museum, Princeton, NJ; Tang Teaching Museum, Saratoga Springs, NY; and Whitney Museum of American Art, New York. She was the recipient of a Pollock-Krasner Foundation Grant in 1987, a Guggenheim Fellowship in 1993, an Artist's Fellowship from the New York Foundation for the Arts in 1995, an Anonymous Was a Woman Award in 1998, a Richard Diebenkorn Fellowship in 1999, a Joan Mitchell Fellowship in 1999, an Academy Award from the American Academy of Arts and Letters in 2002, and the Rome Prize in 2012. Brian stopped by Polly’s loft in lower Manhattan where she’s lived and worked for the last 40 years for a talk about early influence, the Pennsylvania Dutch, Philadelphia funk, craft, design, endless drive and so much more.

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

On today’s show Natalie Peyronnin, Director of Science Policy, Mississippi River Delta Restoration stops by to talk with Jacques & Simone about the Tulane University study about land loss in the Mississippi River Delta, the importance of sediment diversions being built and living on a smaller & more sustainable delta. Next up, Chris Haines, Treasurer/ Board Member of The Meraux Foundation joins the program to talk about Docville Farms & the Meraux Foundation and its importance. In the final segment, Jeanne Nathan, Executive Director of CANO/Crevasse joins the show to talk about Crevasse – 22, the current “Migration" exhibit at the Contemporary Arts Center and more!

Monique Herbert took an idea and has created an experience that naturalistas look forward to every year. She leaped into her purpose and now thousands benefit from her vision. Monique shares about how it grew to this extraordinary affair that it is today. Visit: http://www.neworleansnaturalhairexpo.com Follow: @NONHExpo & @itsMeitsMo About the expo: We are pleased to announce the 4th Annual New Orleans Natural Hair Expo presented by The Mane Choice! Our sponsors include Honey Baby Naturals, Curlkalon, Kinkistry, Curls, Jamaican Mango & Lime Jamaican Black Castor Oil, and many more! Our special guests include Romance (@HeyCurlie), Ambrosia (@Brosiaaa), Ashly (@Actually_Ashly), Yolanda Renee (@EtcBlogMag), and much more! ItsMeItsMo will be hosting/coordinating the NONHE on July 1, 2017, from 10-4 pm at the Contemporary Arts Center of New Orleans. On July 2, 2017, the expo will close-out with an exclusive brunch, from 11-2 pm. The New Orleans Natural Hair Expo will feature workshops, product demonstrations, a blogger panel, vendor suites, vendor mall, professional DJ, catered refreshments, and a cash bar. The goal of NONHE is to offer a fun and sophisticated social environment that celebrates and promotes the natural hair community and culture. Please share this event, and join us in New Orleans! All Tickets Sales are Non-Refundable. Children 6 and under enter free. 2 children under the age of 6 per 1 adult (2:1 ratio). All others must purchase an expo ticket. Please be advised that photographs will be taken at the event for use on the NONHE website, social media outlets, NONHE press, NONHE marketing materials, and all other publications associated with the NONHE. By entering this event, you consent to the NONHE photographing and using your image and likeness. Follow us on Instagram and Facebook: @neworleansnaturalhairexpo For SPONSORSHIP and VENDING information, please visit www.neworleansnaturalhairexpo.com and/or email admin@neworleansnaturalhairexpo.com. About Ash Brown: ►Website: http://www.ashsaidit.com ►SUBSCRIBE HERE: http://www.youtube.com/c/AshSaidItSuwanee ►Instagram: https://www.instagram.com/1loveash ►Facebook: https://www.facebook.com/ashBtv/ ►Twitter: https://twitter.com/1loveAsh ►Blog: http://www.ashsaidit.com/blog ►Pinterest: https://www.pinterest.com/1LoveAsh/ ►Daily Podcast: https://itunes.apple.com/us/podcast/ash-said-it/id1144197789 ►Newsletter: http://ashsaidit.us11.list-manage1.com/subscribe?u=2a2ca3b799467f125b53863c8&id=a6f43cd472 ►Google Plus: https://plus.google.com/+AshBreeEnt/posts/UTv7D6hTRcY?sfc=false Ashb TV latest episode: https://youtu.be/crm3XC1NjIE

Peter Ricchiuti leaves his regular table at Commander s Palace in the Garden District and travels downtown to the Arts District. He s set up shop at the Contemporary Arts Center where art is taking a back seat to business. This is the current home of the Idea Village s annual bridge between Mardi Gras and Jazz Fest a party that s come to be known as NOEW pronounced "no wee" an acronym for New Orleans Entrepreneur Week. NOEW is an annual business festival celebrating entrepreneurship, innovation, and new thinking in New Orleans. As has become customary, Peter meets some of the more notable party goers. Brendan Anthony Dodd is better known to many New Orleanians as Bagel Boy. Brendan s company, Bagel Boy, specializes in delivering fresh bagels to your home or work, wherever you are in New Orleans. Bagel Boy grew out of Brendan s pretty logical idea to quit delivering bagels on his bike for free and to start charging folks for showing up at their house with fresh bagels. Alyson Kilday is the co founder of a company called Damesly. Damesly is a new boutique tour operator that aims to connect creative and professional women. The Damesly experience combines networking with travel. So instead of meeting interesting women on LinkedIn you meet them hiking in the Andes. Eliel Oliveira is the co founder of a company called eNre. eNre uses software to streamline the recruiting of patients for clinic based research trials, with an emphasis on cancer and chronic diseases. Elia Brodsky s the CEO of Pine Biotech. Pine Biotech is a bioinnovation company that describes itself as delivering solutions to ease multi omics analysis and integration, allowing industries to seize the challenge and the promise of the future. It s not quite as confusing as it sounds. Thanks to Idea Village and Kelsey Hyde from Bond Moroch in the preparation and production of today s show. See omnystudio.com/listener for privacy information.

Born and raised in Cincinnati, Ohio, Ave Pildas worked early in his career as a photo stringer for Downbeat Magazine in the Ohio Valley and Pennsylvania in the 1960's, and has been a successful photographer and educator for the past 40 years. In 1971 Pildas began working as the Art Director at Capitol Records in Hollywood and designed and photographed album covers for the label's recording artists. He launched a career as a freelance photographer and designer soon after, specializing in architectural and corporate photography. His photographs have been exhibited in one man shows at the: Contemporary Arts Center, Cincinnati, Photographers Gallery, London, Janus Gallery, Los Angeles, Gallerie Diaframma, Milan, Cannon Gallery, Amsterdam, Gallerie 38, Zurich and numerous group shows. They have been featured in: The New York Times Magazine, 'ZOOM', 'PHOTO', 'CAMERA', 'photographic' and many publications both in the United States and abroad . Photographs by Ave Pildas are included in the collections of the Museum of Modern Art, New York; the Bibliotheca National, Paris; the University of Arizona as well as numerous other public and private collections. He is a Professor Emeritus at Otis College of Design. Pildas created intimate portraits of Jazz greats in live performance, at small clubs and Jazz Festivals in the Midwest, many have never been seen before. Ave currently lives in Santa Monica, CA in the solar powered, zero scaped home and studio he collaborated on with W3 Architects. He is digitally archiving his vintage work, and continues with new projects while inspiring, polishing and guiding young talent.   Resources:   Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Click here to download for Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .  

This week Rob St. Mary and guest co-host, poet & performer, Joel "Fluent" Greene head to the N'Namdi Contemporary Arts Center in Midtown to catch up with gallery owner/founder George N'Namdi to talk about his 35th anniversary celebration. Also on the show, Lo & Behold Records in Hamtramck is hosting a community potlatch - a kind of community exchange event for items you no longer need or maybe something you might need - free of charge. Rob talks to the store's founder, Richie Wohlfeil about Sunday's event. And, the PBS show START UP heads into its fourth season. Rob talks to producer Jenny Feterovich & producer/host Gary Bredow about this Made in Detroit show that has gone international.

Regina Russo, Director of Communication for the Contemporary Arts Center, talks about helping people find and share their cultural voice, her experience working for “the Oprah of Detroit” after college, and the importance of always being connected to the community. As a child, Regina knew she wanted to be like Phil Donahue even before she understood what that really meant. She’d always been fascinated by conversation and the exchange of ideas, by the electrifying feeling that comes when you’re aligned with your purpose. We chatted about her progression from radio to television to communications, how life-altering events gave her permission to create the life she wanted, and why it’s imperative to use your gifts in a meaningful way. Follow @whatshotregina on Instagram and Twitter Visit CreativeCityPodcast.com for previous episodes, and sign up for the #CuratedCreatives newsletter to keep up with Cincinnati’s amazing community of makers. Music by The Passion Hifi

Joshua Perry, Executive Director of the Louisiana Center for Children’s Rights, discusses LCCR’s report calling for youth to be removed from adult jail, and problems with the juvenile justice system. Next, Alysia Savoy, Performing Arts Manager at the Contemporary Arts Center, promotes “How to Build a Forest,” a colorful, interactive eight-hour installation and performance inspired by recent environmental disasters impacting Louisiana woodlands and ecosystems. Then, Jessie Haynes, philanthropy director for the Helis Foundation, promotes opening of the Enrique Alférez Sculpture Garden in City Park, and discusses the sculptor’s life and work, and the foundation’s support of the arts. Finally, UNO’s Dr. Ed Chervenak joins Jeanne to preview the upcoming elections.

Local politico and Louisiana Justice Institute Co-Director Jacques Morial previews the upcoming runoff election for governor. Then, celebrated dancer Donald Williams, and Jenny Hamilton, Executive Director of the New Orleans Ballet Association, drop by to discuss NOBA’s mission and history, and Donald’s career and ongoing collaboration with NOBA. Finally, New Orleans native Jacqueline Humphries, daughter of jewelry designer Mignon Faget, talks about her influences and her career retrospective at the Contemporary Arts Center.

New Orleans native Jacqueline Humphries calls in from Brooklyn to discuss her exhibition of silver and blacklight paintings at the Contemporary Arts Center, and her influences as an artist. Then, opera singer Valerie Francis and Father William Maestri of the Archdiocese of New Orleans promote Dr. Francis’ upcoming “Musical Prelude to the Celebration of Easter” performance at Old Ursuline Convent in town, and the archdiocese’s Lenten Concert Series (ongoing through March 10, 2016). We also hear a sample of Dr. Francis’ performance of a Negro spiritual. Dr. Francis is also an assistant professor of music at Nicholls State University.

New Orleans native Gregory Schramel, Artistic Director for the New Orleans Ballet Theatre, founded NOBT in 2002."As soon as we opened after Katrina we had more students then ever", Gregory says. The ballet school, located in the Contemporary Arts Center, has both professional and non-professional dancers. Gregory believes the key to success is quality. "We don't have to be Atlanta or Houston. If we have the best quality in what we do, people will come."

Some architects depend on computer rendering and much of their reputation is built on computer imagery -- but when was the last time you saw a building in real life that looked better than the rendering? In the computer images, buildings are often depicted at night, with the translucent walls aglow, offering glimpses of life inside. Zaha Hadid, Daniel Libeskind, and Rem Koolhaas know the power of persuasion in creating a rendering as an inspirational sales tool. But what does this mean to all of us who have to live with the buildings -- in the real world -- and face the disappointment of seeing the building built, and it's not as ethereal, as glowing, as interesting as it was presented to us in the rendering? The answer might be found in a winking Jesus. Pictured is the rendering and reality views of the Contemporary Arts Center in Cincinnati, designed by Zaha Hadid. For more inspiration, visit www.tedwells.com.