Podcasts about contemporary sculpture

In this episode we ask experts in Conservation and Conservation Research about the challenges they face in preserving our history, and why heritage conservation is important in today's times. Do we need more science and engineering researchers in the field of conservation? How is their work impacted by climate change? This episode is part of our SERCH series (Science and Engineering Research for Cultural Heritage). For more episodes, please look at our episode list.    Guests  Micheal Paraskos - Profile | Imperial College London  Evening Class Manager  Centre for Languages, Culture and Communication, at Imperial  Jasmin McKenzie - LinkedIn  Modern and Contemporary Sculpture and Installations Conservator, PhD student  V&A, Imperial  Kate Jennings - Kate Jennings | Tutor at West Dean College  Subject Leader, Conservation Studies specialising in Metalwork  Marc Vermeulen - LinkedIn  Head of Heritage Science - Conservation Research, at The National Archives  Sonja Schwoll - LinkedIn   Head of Conservation and Treatment Development, at The National Archives  Katerina Williams - LinkedIn   Book and Paper Conservator, at The National Archives   David Thickett   Senior conservation scientist at, English Heritage  Home - GoGreen  Lorraine Cornish - LinkedIn  Head of Conservation  Natural History Museaum    Other Links  Science and Engineering Research for Cultural Heritage (SERCH)  Imperial Futures | About | Imperial College London  Icon - The Institute of Conservation 

"At the age of eight, Spencer Tinkham (b. 1992) discovered the exhilaration that few people achieve in a lifetime. A simple pocketknife, given to him by his grandfather, launched both his passion for creating and his future as an artist. Enthralled by the rich biodiversity that inhabited the water's edge in Norfolk, Virginia, Spencer's love for nature was also sparked early on. He realized that through sculpture, he could create lasting mementos of fleeting encounters. Spencer sculpted many readily available household materials- mostly soap bars and wood scraps. His tools were limited and primitive- a pocketknife, a hacksaw, and a pencil. Before Spencer graduated high school, he had already twice-won the Danner Frazer Youth Decorative Wildfowl World Championship. Spencer has no formal art training and is entirely self-taught. He continues to use primitive tools and mixes his oil paints from pigment powders. Most of his sculptures are still made out of found materials and are wildlife focused. Spencer's sculptures draw influence from literature, folk art, Modern art, and contemporary art. Spencer is intrigued by the repetition of human behavior over history and uses animal sculpture to help people ponder their impact on the environment and each other. Most recently, Spencer was inducted into the National Sculpture Society as an Associate Member. “Colaptes auratus auratus” was juried into the prestigious Leigh Yawkey Woodson “Birds in Art 2022” museum exhibition. He has work in the Dollar Tree, Inc. corporate art collection, and has sent his sculptures to many private art collections worldwide." https://www.spencertinkhamart.com/about-spencer-tinkham.html --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/loveletterstovirginia/message Support this podcast: https://anchor.fm/loveletterstovirginia/support

This week, Elise talks with Devyn Briggs & Katie Hovencamp about their work in the community and how it ties to their personal art practices.Katie Hovencamp received her BFA from Arizona State University in 2009 and her MFA from the Pennsylvania State University in 2014. Hovencamp has exhibited her work in numerous exhibitions within the United States, Europe, and Asia. Her work has been reviewed in Sculpture Magazine, Chicago Reader, and several online and print publications. She was the recipient of the Outstanding Student Achievement Award for Contemporary Sculpture in 2014 and the University Graduate Fellowship at the Pennsylvania State University in 2012. Hovencamp has participated in residency programs at Vermont Studio Center, Serde Interdisciplinary artist group in Latvia, and the Tyrone Guthrie Centre in Ireland. In 2016, she was awarded an artist residency with International Sculpture Center at Mana Contemporary in Jersey City, NJ. She has taught at various institutions such as the Edna Vihel Center for the Arts, Totts Gap Art Institute, Pennsylvania State University, Harrisburg Area Community College, Keystone College, and Northampton Community College.Devyn Briggs grew up in Bethlehem, PA and studied at the Maryland Institute College of Art in Baltimore, MD. She studied drawing, painting, sculpture, fiber arts, and ceramics and earned a BFA with a major in Ceramics in 2013. She then earned a masters degree in the Business of Art and Design, studying creative entrepreneurship before opening a studio at the Banana Factory in Bethlehem, PA. In addition to making art, Devyn is an educator and arts activist dedicated to fostering equity and inclusion within the Lehigh Valley arts community. She has worked in numerous areas of the arts world including fine art collection management, creative start-ups, community and public art, and non-profit management. She currently works at Northampton Community College as a Career Readiness Specialist, empowering students to start successful careers, and as an adjunct instructor in the art department. She previously served on CACLV's Color Outside the Lines Quality of Life Committee and as an advisory board member of the Guild of Creative Citizens, a non-profit dedicated to arts equity in the Lehigh Valley. She is an active member of the Juneteenth Lehigh Valley Steering Committee and African American Business Leaders Council Events Committee. You can follow Katie on Instagram @katiehovencamp or visit her website at www.katiehovencamp.com.You can Follow Devyn on Instagram @devynlenor or by visiting her website at www.devynlenorbriggs.com.

As an artist I am particularly interested in the tension between nature and culture, between tradition and innovation. I try to push the limits of digital possibilities, while maintaining respect for the (art) historical legacy. When creating a work I investigate the possibilities between the organic and the digital, between the virtual and the physical. I explore classical themes such as man (with a focus on the anatomy and the emergence of cyborgs), plants (especially their genetic manipulation), masks and animals, always starting from an (art) historical background that I cut with contemporary pop and sci-fi culture. Nick Ervinck

Kevin Beasley thinks a lot about objects. In particular, specific objects that relate to notions of American-ness and Blackness—and ones that are often linked, subtly or not, with violence. Whether with a Cadillac Escalade, a pair of Air Jordans, or an N.F.L. helmet, Beasley finds deep connections to each item he chooses to work with, rigorously studying their multifarious contexts, meanings, and histories. Happy to let artifacts sit in his New York studio for long periods of time, the 36-year-old artist allows them to slowly gestate in his mind until he feels ready to express whatever he has deciphered out of their nature. From there, he turns them into exquisite, alchemical works of art, from tightly packed “slab” sculptures—large, flat resin blocks that embody the density of the symbolic articles that comprise them—to evocative sound installations and performances. Beasley's prolonged approach isn't mere research; it's his way of making space to reflect, to pay more attention, and to grapple with the nuances of the complex, loaded subject matter that's embedded in many of the things that permeate our everyday lives. For Beasley, unpacking subjects charged with underlying connotations is a necessary means for transformation. “You don't have to fully understand what it is you're dealing with,” he says. “It takes time. It takes a revisitation. And that's okay, because that speaks very specifically to a process of learning and understanding.”Beasley's work often draws from his personal history, which has included growing up in admiration of the handiwork of his mechanic father, deejaying at house parties at Yale University, and attending annual family reunions in rural Virginia. It was at one such reunion, in 2011, when Beasley came across a cotton field and picked the plant for the first time—an eerie experience that was, as he considered his ancestors and enslaved peoples who once performed the act, all at once distressing, pleasurable, haunting, and illuminating. The following year, Beasley took his fascination with cotton further—and into the deep South. After finding and purchasing a mid-20th-century cotton gin motor on eBay, he drove from New Haven, Connecticut, to a farm in rural Alabama to collect the object. Beginning as part of an M.F.A. project at Yale, the motor would later evolve into an encased artwork, whirling and surrounded by microphones, inside a pristine, clear, soundproof box at the Whitney Museum of American Art—the potent centerpiece of the artist's breakout exhibition “A View of a Landscape” (2018–2019). (The raw, rancorous noises the motor produced were pumped into an adjacent room that served as a listening gallery.) Later this year, Beasley will extend the project further with a monograph and double LP of the same name, which features sound contributions from artists, musicians, and writers such as Kelsey Lu, Jason Moran, and Fred Moten, whose tracks sample recordings that Beasley made of the churning machine.On this episode, Beasley talks with Spencer about contemplating these particular objects, sound as a means for greater understanding, and the role of repetition in reshaping history.

Hello and welcome to Masterpiece Conversations, a series of podcasts that in each episode brings together a leading curator and art dealer to offer a taste of what people are really talking about in a particular field. I'm Thomas Marks, editor of Apollo magazine, and I'll be your host for these discussions, in which we're aiming to override the perceived ‘church and state' separation between museums and the art market – or at least to explore what conversation and collaboration between them makes possible. We'll be talking about what first drew our guests to their particular fields – and what's really inspiring them right now about the art they're immersed in. And we'll dive into what the priorities are for museums and the market in that field at the moment – where they coincide and where they might productively diverge. For this episode the focus is on contemporary sculpture. I'm delighted to be joined by Melanie Vandenbrouck, curator of sculpture at the Victoria and Albert Museum in London, and by Mica Bowman, director at Bowman Sculpture, specialists in sculpture from 1860 to the present day. It's great to have you both with me… See acast.com/privacy for privacy and opt-out information.

Alice Aycock has lived in New York City since 1968. She received a B.A. from Douglass College and an M.A. from Hunter College. She was represented by the John Weber Gallery in New York City from 1976 through 2001 and has exhibited in major museums and galleries nationally as well as in Europe and Japan. Currently she is represented by Marlborough Gallery, New York and Galerie Thomas Schulte, Berlin. She had her first solo exhibition of new sculptures with Marlborough in the fall of 2017. Her works can be found in numerous collections including the Museum of Modern Art, the Whitney Museum, the Brooklyn Museum, the LA County Museum, the National Gallery of Art, the Sheldon, Storm King Art Center, the Louis Vuitton Foundation, and the Sprengel Museum in Hannover, Germany. She exhibited at the Venice Biennale, Documenta VI and VIII and the Whitney Biennial. She has had three major retrospectives. The first was in Stuttgart in 1983 ,the second retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville, NY. In 2013, a retrospective of her drawings and small sculptures was exhibited at the Parrish Art Museum in Water Mill, New York coinciding with the Grey Art Gallery in New York City.From March 8th through July 20th 2014, a series of seven sculptures were installed on the Park Avenue Malls in New York City, entitled Park Avenue Paper Chase, in collaboration with Galerie Thomas Schulte, Berlin. Alice’s public sculptures can be found in many major cities in the U.S. Some of her public commissions include a roof top sculpture for the 107th Police Precinct House in Queens, NY, associated architects Perkins, Eastman (1992); and East River Roundabout (1995/2014) for the East River Park Pavilion at 60th Street in New York City. Star Sifter, a large architectural sculpture for the rotunda of the Terminal One at JFK International Airport was completed in 1998 and resited above the entrance to the security zone in 2013. Other public installations include a suspended work for the Philadelphia International Airport (2001).She has received numerous awards including four National Endowment for the Arts Fellowships. Aycock was a member of the New York City Design Commission from 2003 to 2012 and she has also been appointed to the GSA’s National Register of Peer Professionals. She received the Americans for the Arts Public Art Award in 2008 for Ghost Ballet for the East Bank Machineworks in Nashville, Tennessee. She was inducted into the National Academy, New York City, in 2013. Aycock has taught at numerous colleges and universities including Yale University (1988-92) and as the Director of Graduate Sculpture Studies (1991-92). She has been teaching at the School of Visual Arts in NY since 1991, and was a visiting artist Maryland Institute College of Art in Baltimore from 2010 to 2014. The International Sculpture Center presented her with a Lifetime Achievement Award in Contemporary Sculpture in 2018, and she received an Academy of the Arts Achievement Award in Visual Arts from Guild Hall in March 2019. Sound and Vision is supported by the New York Studio School, where drawing, painting and sculpture are studied in depth, debated energetically, and created with passion. The School’s full-time programs: a two-year MFA and a three-year Certificate prioritize experimental learning and perception. Beginning in Fall 2021, the Studio School welcomes artists from around the world to join its inaugural Virtual Certificate Program. Combining the studio-centric emphasis of the School’s teaching methods with an individual, real-time approach to online learning, this full-time program is designed for serious artists, and dedicated aspiring artists, who seek to cultivate the studio skills and methods that will prepare them for a lifetime of art-making. The priority application deadline is April 30th, 2021 - apply online today at nyss.org.

The CILIP Carnegie Medal, and CILIP Kate Greenaway Medal are the most prestigious prizes for literature for children and young people. Both winners were announced today and are on tonight's Front Row. Elizabeth Acevedo’s Carnegie-winning novel tells the story of Xiomara, a Dominican-American girl growing up modern-day Harlem. Elizabeth explains why she chose to unfold the story of The Poet X in a long series of short lyrics. The Lost Words, for which illustrator Jackie Morris has won the Kate Greenaway Medal, is also a poetry book. It's her collaboration with writer Robert Macfarlane, inspired by the words left out of a new children’s dictionary, words such as bluebell and acorn. Jackie tells Stig how she approached illustrating the poems with three very different images, but of the same subject. As we head into the final weeks of this year’s prestigious Art Fund Museum of the Year competition, Front Row begins looking at the five shortlisted institutions vying for the top prize of £100,000. Today it’s the turn of Nottingham Contemporary, and its director Sam Thorne joins Stig to explain why he believes Nottingham Contemporary would be a worthy winner. It was the success of the Yorkshire-born sculptors Henry Moore and Barbara Hepworth that contributed to the UK’s largest county becoming the pre-eminent destination for sculpture. As the opening of the inaugural Yorkshire Sculpture International draws near, Andrew Bonacina, chief curator at The Hepworth Wakefield, and Jan Dalley, arts editor of the Financial Times, discuss how sculpture has evolved since the heyday of Barbara Hepworth and Henry Moore. Presenter: Stig Abell Producer: Ekene Akalawu

The Fault In Our Stars, starring Shailene Woodley, is the screen adaptation of John Green's best selling young adult novel of the same name about a pair of love struck teenagers both of whom are terminally ill with cancer. Brought together at a cancer support group the pair embark on a pilgrimage to Holland to meet the author of a book on dying. Green himself was a hospital chaplain and the story is based on an actual encounter with a dying 16 year old girl. Following on from the huge success of The Cuckoo's Calling a second novel from Robert Galbraith - aka JK Rowling. Featuring private investigator Cormoran Strike it merges an old fashioned detective story with Jacobean tragedy, whilst providing insight into literary London, a grisly murder and a page turning plot. Comedian and actor David Schneider's new play Making Stalin Laugh - at the JW3 Community Centre in London - tells the story of the Moscow State Yiddish Theatre which in the 1920s was one of the most respected in the world. Chagall designed for them, Prokofiev, Stanislavski and Eugene O'Neill all saluted them. By 1952 the surviving members of the troupe had all been purged - executed by Stalin on the same day in August. Making Stalin Laugh tells their story, with at its centre the most celebrated Yiddish actor of his generation, Solomon Mikhoels. Making Colour at London's National Gallery is the first ever exhibition of its kind in the UK and was developed from the National Gallery's own internationally recognised Scientific Department's work into how artists historically overcame the technical challenges in creating colour. As well as paintings it includes objects such as early textiles, mineral samples and ceramics and shows the huge impact the development of synthetic paint had on major art movements such as Impressionism. And The Human Factor: The Figure in Contemporary Sculpture brings together major works by 25 leading international artists who have fashioned new ways of using the human form in sculpture over the past 25 years. Featuring work from Jeff Koons, Mark Wallinger and Yinka Shonibare, exhibits include two re-imaginings of Edgar Degas's famous Little Dancer Aged Fourteen and in a work by French artist Pierre Huyghe a live beehive adorns a cast in concrete of a beautiful reclining nude woman.

Wolfson College was privileged to welcome back esteemed honorary fellow Sir Anthony Caro on 2nd November, who, 'in conversation' with art historian Tim Marlow, recounted his fifty-year career as one of the key figures in contemporary sculpture.