Podcasts about cooper hewitt smithsonian design museum

If you love theater, art, or music, your eyes will surely have been delighted by the work of Es Devlin.She has created public sculptures and installations at the V&A, Serpentine, and Imperial War Museum, and outside at Tate Modern, Trafalgar Square, and the Lincoln Centre, as well as kinetic stage designs at La Scala and the Royal Opera House in London and monumental illuminated stage sculptures for the Super Bowl halftime show, Olympic Ceremonies, and large-scale stadium concerts, including Beyoncé, Kanye West, Take That, Billie Eilish, and many more.A major retrospective of Devlin's work was shown at the Cooper Hewitt Smithsonian Design Museum in New York in 2023, along with an award-winning book called An Atlas of Es Devlin— which Thames & Hudson have described as their most sculptural and intricate book to date.For this year's Salone del Mobile, she paid homage to the spaces of the Accademia di Brera with “Library of Light,” an installation that dialogues with the space, the visitors, and the incredible books of the Biblioteca Nazionale Braidense.The links of this episode:- Es Devlin's official website https://esdevlin.com- Maria Gaetana Agnesi https://en.wikipedia.org/wiki/Maria_Gaetana_Agnesi- "Library of Light" for Salone del Mobile.Milano (2025) https://www.salonemilano.it/en/session/es-devlin-library-light- Beyoncé, "The formation Word Tour" (2016) https://esdevlin.com/work/beyonce- Gucci Cosmos https://esdevlin.com/work/gucci-cosmos- U2 at The Spere Las Vegas (2024) https://esdevlin.com/work/the-sphere- Please Feed the Lions in Trafalgar Square (2018) https://londondesignfestival.com/activities/please-feed-the-lions-by-es-devlin- "Five Echoes" in Miami (2021) https://www.dezeen.com/2021/12/16/es-devlin-five-echoes-labyrinth-chanel-miami/- The book "Becoming Animal. An Earthly Cosmology" by David Abram https://www.penguinrandomhouse.com/books/318/becoming-animal-by-david-abram/

Tom Kundig, FAIA, RIBA, is an owner and design principal of Olson Kundig. Kundig has received some of the world's highest design honors, including a National Design Award in Architecture from the Cooper Hewitt Smithsonian Design Museum, an Academy Award in Architecture from the American Academy of Arts and Letters, and an election to the National Academy as an Academician in Architecture. Most recently, Kundig was awarded the AIA Seattle Medal of Honor as well as a Distinguished Alumni Award from the University of Washington. Known for his contextual approach to design, Kundig emphasizes the primacy of the site. His buildings are a direct response to place, often serving as a backdrop to the built, cultural or natural landscapes that surround them. Tom's current projects include homes across North America, Asia, Europe and New Zealand; adaptive reuse projects for a host of different functions; and hospitality projects in the United States, Austria, China, Costa Rica, Mexico, New Zealand, South Korea and more. Hosted on Acast. See acast.com/privacy for more information.

Gemma O'Brien is an internationally renowned designer and artist known for her bold graphics, illustrative lettering and murals. Her work has been commissioned by Apple, Nike, Google, and is held in the permanent collection of the Cooper Hewitt Smithsonian Design Museum in New York City.

Si quieres ver esta entrevista en video, da clic aquí. Marisol Centeno es una de las diseñadoras textiles más destacadas del país: ha expuesto en el Franz Mayer, en el Rufino Tamayo y forma parte de la colección permanente del Cooper Hewitt Smithsonian Design Museum de Nueva York. Sin embargo, si la googleas verás que los tabloides la ven como un fracaso. ¿Por qué? Porque decidió dejar la actuación. Sí, Marisol era “Anita” en Agujetas de color de rosa y salió en muchas novelas noventeras. Con ella platiqué de Bi Yuu, su marca de tapetes artesanales, de su colaboración de Ikea y de lo no tan padre de ser una child star. Idea original y conducción: Romina SacreProducción: Romina Pons rominapons@sensiblesychingonas.comProducción de audio y video: Campechano Media bernardo@campechano.mediaDirección comercial: Salvador Eljure salvador@doubletap.mxRedes sociales: Las Corleone Hosted on Acast. See acast.com/privacy for more information.

This episode is dedicated to the Bauhaus master Gunta Stölzl, one of the few better-known Bauhaus women.  We have already mentioned her name in the previous podcast about Stölzl's first husband, the Israeli architect Arieh Sharon. They had a daughter, Yael, what was born in 1929, do you remember? And Ariel Aloni, my interview partner for that episode is also Gunta Stölzl's grandson.  My interview partners for today's episode are Gunta Stölzl's younger daughter, Monika Stadler (who shares with us her personal view on her mother's work) and the Dutch art historian Mirjam Deckers who is currently working for the Gunta Stölzl Estate and is writing her thesis about Stölzl's work. As we already have two people talking in this podcast you will not hear much of me. My own research into Gunta Stölzl's life and work is rather restricted, and I will therefore leave the talking to the expert and the daughter as they talk about Gunta Stölzl's life and work in Munich (before the Bauhaus), as a student at the Bauhaus in Weimar, as a master of the weaving workshop at the Bauhaus in Dessau and with her own businesses in Switzerland (after the Bauhaus). SHOW NOTES bauhausfaces.com | @bauhausfaces | youtube.com/bauhausfaces Cover photo with permission by GUNTA STÖLZL DIGITAL ARCHIVE https://www.guntastolzl.org/ MIRJAM DECKERS: ⁠https://www.rug.nl/staff/m.e.deckers/projects⁠ ARIEH SHARON DIGITAL ARCHIVE https://www.ariehsharon.org EXHIBITIONS Gunta Stölzl and Johannes Itten. Textile Universes 17 August – 1 December 2024 https://kunstmuseumthun.ch/en/exhibition/gunta-stoelzl-und-johannes-itten/ Bauhaus and National Socialism 9 May – 15 September 2024 https://www.klassik-stiftung.de/en/your-visit/event/bauhaus-and-national-socialism/ MUSEUMS & COLLECTIONS WITH GUNTA STÖLZL'S WORK Victoria & Albert Museum⁠, London, Bauhaus-Archiv Berlin, MoMA, New York, The Metropolitan Museum of Art, New York, Busch-Reisinger Museum, Cambridge, Mass., Bauhaus Dessau Foundation, Neue Pinakothek, Munich, Museum für Gestaltung Zürich, Getty Museum, Los Angeles, Cooper Hewitt / Smithsonian Design Museum, New York, Centre Pompidou, Paris, MK&G, Hamburg, Kunstsammlungen Chemnitz BIOGRAPHY ABOUT GUNTA STÖLZL Ingrid Radewaldt: Gunta Stölzl. Pionierin der Bauhausweberei (2018)

First published more than 50 years ago, Henry Dreyfuss's ‘Symbol Sourcebook' remains a key text for graphic designers. Emily Orr, associate curator at New York's Cooper Hewitt Smithsonian Design Museum, explains why it's the focus of a new exhibition and how symbols have changed over time.See omnystudio.com/listener for privacy information.

Drew Davies, the founder of Oxide, a civic-minded brand and design consultancy, talks about the practical and creative side of his years as a designer and a business founder, his work on election and civic engagement materials, and his recent co-authorship of Creative Genius: The Art of the Nebraska Capitol, a book about the Nebraska Capitol's art.Davies established Oxide in 2001. He is a national president emeritus of AIGA, the professional association for design, and is the only Nebraskan to have served as a judge for the prestigious design competition, Communication Arts Design Annual. As part of his civic work, Davies contributed to the national ballot design standards for the U.S. Election Assistance Commission and collaborated with the Federal Voting Assistance Program to enhance the registration and voting process for U.S. citizens abroad. In partnership with the Center for Civic Design, Davies designed the Field Guides to Ensuring Voter Intent, which were featured in the Cooper Hewitt Smithsonian Design Museum. He also testified before President Obama's Presidential Commission on Election Administration. Davies recently designed and co-authored “Creative Genius: The Art of the Nebraska Capitol,” a coffee table book showcasing 100 years of art contained within the State's grandest building, revealing the themes driving the art, and chronicling the stories behind the artists and their creations.

With over two decades of experience in arts, design, culture, education, and nonprofit sectors, Ruki Neuhold-Ravikumar brings a unique perspective and passion for reimagining the future of creative learning and practice. A proven administrator, award-winning designer and educator, and globally respected thought leader, Ruki has served as the President & CEO of the Kansas City Art Institute, Acting Director of Cooper Hewitt Smithsonian Design Museum in New York, and the Acting Under Secretary of Education at the Smithsonian Institution (at-large) in Washington, D.C. Originally from Chennai, India, she received her MFA in graphic design from Iowa State University and BFA in the history of fine art and drawing and painting from Stella Maris College in India. She also has executive education certificates in business from Yale University and Harvard University and a certificate in museum studies from Northwestern University. Ruki has served in multiple leadership roles for the American Institute of Graphic Arts, and in 2015, she was named an AIGA Fellow by the Oklahoma Chapter for her advocacy and leadership as a design educator. She is featured in films, podcasts, and interviews. She has won numerous awards and recognitions, including the 2021 Design Achievement Award from the Iowa State College of Design, and was the commencement speaker at Iowa State University's Fall 2023 Ceremony. In this episode, we'll delve into how Ruki's background in design has shaped her approach to leadership, problem-solving, and societal development. We'll also discuss the importance of teaching design as a life skill, the role of design in addressing complex social issues, and how design thinking can prepare future generations for the challenges and opportunities ahead. Additionally, Ruki will share her insights on the evolution of design thinking with AI and how design can contribute to sustainability and environmental consciousness. We concluded the show with Ruki's recommendations for her three favorite books and the people who inspire her the most in the design space. Thank you for listening to this episode of Nodes of Design. We hope you enjoy the Nodes of Design Podcast on your favorite podcast platforms- Apple Podcast, Spotify, Google Podcasts, Amazon Music, and many more. If this episode helped you understand and learn something new, please share and join the knowledge-sharing community Spreadknowledge. This podcast aims to make design education accessible to all. Nodes of Design is a non-profit and self-sponsored initiative by Tejj. Keywords: Design as a life skill, Design Thinking, Design for Sustainability, Design for AI, Creativity, Industry Insights, Design Challenges

The show, this first term of 2024 will probably have a different feel to it because quite unexplainably I have been awarded the Queensland Cooper Hewitt fellowship and am spending 12 weeks working at the Cooper Hewitt Smithsonian Design Museum in New York. My aim is to create an introductory program to design teaching that will compliment the ITD teacher pathway program which is offering a pathway for teachers of other areas to come across to our side.    Today, I'm speaking with Kirsten McNally and Nadia Kim who are two of the educators at Cooper Hewitt and primarily work with teenagers in different programs across the museum. One of their programs is called the hive, A year long program to which students from the New York area apply. From over 300 applications 12 are chosen or in this case they just couldn't choose, and the number went to 13.  Now one of the exciting things is that these kids are from low socio-economic families, so instead of just being accepted to the program they are interned, which means they get paid something like a part time job wage.  Many would have had to choose part time work instead of the program if this wasn't the case.  Two passionate young ladies doing great work what a great conversation and just to set the scene, this was recorded in the library of Andrew Carnegie's mansion - which is now the museum - overlooking central park. Thank you, Kirsten thank you Nadia, I had a great time!

This podcast is the third in a series on AIA CRAN Symposium 2023, Salt Lake CityThis podcast is sponsored by Loewen Windows and Doors.....My interview with Tom Kundig, FAIA, RIBA Owner and Founder of Olson Kundig... listen  as we talk about architecture and design and the ways that places make us feel emotional and what he says about "the residential arena is the soul of architecture..." TOM KUNDIG, FAIA, RIBAPRINCIPAL / OWNER & FOUNDER, OLSON KUNDIGTom Kundig, FAIA, RIBA, is a principal / owner & founder of Olson Kundig. Tom has received some of the world's highest design honors, including a National Design Award in Architecture from the Cooper Hewitt Smithsonian Design Museum, an Academy Award in Architecture from the American Academy of Arts and Letters, and an election to the National Academy as an Academician in Architecture. Known for his contextual approach to design, Kundig emphasizes the primacy of the site. His buildings are a direct response to place, often serving as a backdrop to the built, cultural or natural landscapes that surround them. Tom's ongoing work includes private homes, hospitality projects, workplaces and adaptive reuse projects around the globe.Olson Kundig is a full-service design firm led by 12 principal/owners that provides integrated architecture, exhibit design, interior design, urban design and landscape architecture for clients around the world. Now in its sixth decade of practice, the firm's design approach is dedicated to expanding the context of built and natural landscapes. Rooted in the Pacific Northwest, the firm's work—commercial and mixed-use buildings, museums, cultural and civic centers, residences, and hospitality projects—extends worldwide. With a team of over 300, Olson Kundig brings the capacity of a large firm with the intensity of a small practice.Link to the Blog for Text and Images:https://inmawomanarchitect.blogspot.com/2024/01/interview-podcast-w-tom-kundig-faia-of.htmlThank you to our Sponsors...Thank you to Loewen Windows and Doors for sponsoring this program. Loewen windows and doors offer some of the highest-performing fenestration products on the market in the most demanding climates. They are also a true partner of the architectural community by supporting AIA Chapters nationwide.Eve Guilbaud, LEED APArchitectural Territory Manager - Southern CaliforniaLoewen Windows & Doors 1.800.563.9367Architecture@Loewen.comFor technical information please visit Loewen – Architectural ServicesAGS Stainless Website:    www.AGSstainless.comContact Info:  Info@AGSstainless.comCalifornia Building & RemodelingLicense # 826654 / Bond # 191316TEL (858) 483-0800 Fax (858) 483-0801

Tom Kundig, FAIA and Founder of Olson Kundig, joins the show to talk about the connection of sustainability and design within architecture. He is known for his innovative and sustainable designs, particularly in the residential sector. Tom has received numerous awards for his work, including the National Design Award from the Cooper Hewitt Smithsonian Design Museum. He emphasizes the intersection within culture, aesthetics and sustainability in architecture, advocating the need for both functional and artistic elements in design. Tom discusses his passion for residential architecture and the unique challenges and opportunities it presents.Listen on Apple Podcasts | Spotify | Amazon Music | YouTube or wherever you get podcasts!This episode is sponsored by Modern in Denver Magazine and Signature Doors and WindowsVISIT ARCHITECT-ING.COMSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kirsten Sweeney, Accessibility & Inclusion Manager at the Cooper Hewitt, Smithsonian Design Museum, discusses the importance and growing need for accessibility coordination positions in the workplace, their career path, and future steps required to improve inclusion & equity for the disability community in the arts. Show Notes:Cooper Hewitt Smithsonian Design Museum: https://www.cooperhewitt.org/ Cooper Hewitt Verbal Description Tours: https://www.cooperhewitt.org/event-category/accessibility-programs/Cooper Hewitt Current Exhibitions: https://www.cooperhewitt.org/exhibitions/Museum of Arts, Culture, Access Consortium: https://macaccess.org/about-2/ Get Involved with MAC: https://macaccess.org/get-involved/Supporting Transitions project: https://macaccess.org/rescources/supporting-transitions-cultural-connections-for-adults-with-autism/ Support the showTo view the video of this episode with closed captioning, ASL interpretation, and/or Spanish subtitles, visit our YouTube Channel: https://www.youtube.com/playlist?list=PL0L4INYxuDLx8b8oFTpaXbe42NLmZBKDY.(The views, information, or opinions expressed during the "Empire State of Rights" podcast are solely those of the individuals involved and do not necessarily represent those of Disability Rights New York.)

Acquiring physical art for a museum requires a lot of planning and care. But what does it mean to acquire a digital artifact? You might be surprised to learn it's less like the acquisition of a painting and more akin to how a zoo acquires a living tiger. In this episode, Andrea Lipps shares some insight into the inherent fragility of and challenges in acquiring digital media in her roles as a Curator of Contemporary Design and the Head of the Digital Collecting Department at Cooper Hewitt Smithsonian Design Museum. Andrea Lipps & Curating Digital Artifacts

Show notes: https://designbetterpodcast.com/p/john-maeda-ai-design Today we welcome back John Maeda, who is currently Vice President of Design and Artificial Intelligence at Microsoft. You're probably familiar with John's work, but if not, take a listen to Episode 42 of this show, where he talks about the arc of his remarkable career. In today's episode, we talk with John about his role at Microsoft, what's most misunderstood about AI, and his optimistic take on what the future holds for designers who embrace these new tools.  One more thing before we get to the show…if you can take a moment to leave us a review on Apple Podcasts, or rate the show on Spotify, that will help us reach new people. Go ahead and hit the pause button right now and leave your review, we'll wait for you.

Cassim Shepard is distinguished lecturer in architecture and urban studies at City College, City University of New York. Trained as an urban planner, geographer, and documentary filmmaker, Cassim produces nonfiction media about cities and places, with a particular emphasis on housing and civic life. His film and video work about cities around the world has been exhibited at the Venice Architecture Biennale, the Museum of the City of New York, the Cooper Hewitt Smithsonian Design Museum, the United Nations, Pavillon de l'Arsenale in Paris, and the African Centre for Cities in Cape Town. His current exhibition, Mass Support, running at CCNY's Spitzer School of Architecture through May 7, with a symposium scheduled for April 26, explores the legacy and contemporary relevant of Stichting Architecten Research (SAR). SAR was an architectural think tank active in the Netherlands between 1964 and 1990, which proposed a radical new way of thinking about mass housing. The essential gambit was to fuse industrial production with mass customization, a concept that has strong implications for today's urban issues. Intro/Outro: “Plug In!” by Porci Scomodi Discussed:   John Habraken: “Supports” Places article The New York Housing Compact Prefab Problems: Pacific Park B2 Project – Forest City and Skanska Tim Swanson, Inherent Homes, ChicagoPeople's Architecture Office: Plug-in Houses Gans & Co.: Build it Back Modular Nakagin Capsule Tower > Unfrozen episode “1972: A Spatial Oddity” Levittown MoMA: Home Delivery: Fabricating the Modern Dwelling Herman Hertzberger Baugruppen R50, Kreuzburg, Berlin San Riemo, MunichKooperative Grosstadt Top Up and PATCH22, both by Lemniskade Projecten (Developer) and Frantzen et al architecten (Architect) Lewis Mumford Lecture: “Pressing Change in the Increasing Inflexible City,” Featuring Emily Badger (April 27, CCNY) Lacaton & Vassal Elemental

Guest of this appointment is Kirsten Ring Murray, one of the principals and owners of the internationally renowned firm Olson Kundig Architects. Founded in 1966 by Jim Olson, the practice, Seattle-based, with a new office in New York City, during the five decades of its existence has enormously grown, expanding its portfolio beyond residences, which was a distinctive part of their realizations, covering more than fifteen countries on five continents, from amazing natural locations to crowded urban contexts. Their versatile full-service design besides residences, often for art collectors, includes museums, academic and commercial buildings, hospitality, interior design, master planning and landscape. The narrative and the design approach, contemplating the relationship between dwelling and landscape and encouraging the connection between people and surroundings continue, whether in a natural habitat or in an urban metropolis, bringing context to its existence and purpose, creating an experience of place, even along the street. Careful consideration of topographical and climatic conditions, use of materials worked in close collaboration with craftsmen and artists, leaving frequently, on purpose, visible maker's hand signs are the main ingredients, contributing to tell an authentic story of the place. The firm recognized by the AIA with the National Architecture Firm Award, has been named 4 times one of the Top Ten Most Innovative Companies in Architecture by Fast Company and included on the AD100 list 14 times. The owners have been honoured with some of the nations and world's highest design awards: Jim Olson, the Seattle AIA Medal of Honor, Tom Kundig a National Design Award in Architecture from the Cooper Hewitt Smithsonian Design Museum, an Academy Award in Architecture from the American Academy of Arts and Letters, inductions into Interior Design Magazine's Hall of Fame and the AIA Seattle Medal of Honor, only to mention a few. Their works published worldwide by the most prestigious magazines, on the covers of The New York Times magazine, ARCHITECT, Architectural Record, Architectural Digest, Wall Street Journal are collected in four monographs. Our guest, Kirsten Ring Murray, has realized a range of project types, nationally and internationally published, and awarded. She has received many AIA Honor Awards, in recognition of her contributions, playing a particularly relevant role in the firm's culture, expanding the boundaries of the corporatist spirit, pioneering programs, and injecting vital energy into core activities. The conversation starts exploring a background that may have led Kirsten to become an architect. Grown up, experiencing various places West of United States, passionate about drawing and reading, with a keen interest in science fiction, was particularly attracted by the environment as landscape, by an organic architecture tendency emerging at that time in Colorado, with the main attraction for Paolo Soleri's arcology and curiosity in the experimentation of arts and craft of Modernism. Joined the studio in Seattle in the late ‘89, a studio of 11 and now of over 250 people, she was drawn by different reasons as the firm's legacy grounded on craft, integration of architecture and art and always felt very comfortable in a place, where conversation and dialogue were highly appreciated and the individual expression unusually respected and encouraged. Challenging and active, the practice has over the years maintained this distinctive note, believing in the importance of debate and considering a precious opportunity to work with different personalities, many individual voices in a synergistic effort. Great contribution to strengthen teamwork collaboration and to open a dialogue with the external community goes to Kirsten, who has promoted a series of original and successful initiatives, especially through [storefront], a common space, part of their office building, transformed into an authentic laboratory of exchange and experimentation. We dwell then on the physical ambiance of their studio in Seattle, able to transmit with an extraordinary legibility an identity, mainly based on a continuous evolutive process and we analyze, in this regard, their capability to translate the peculiar character and core values of a company and its team in every workspace they realized. We dedicate a special reference to the recent LeBron James Innovation Center at Nike World Headquarters in Beaverton, Oregon, a new construction, that brilliantly communicates the brand's agenda of speed, innovation, craft, fostering collective collaborative spirit and to the conversion of a historic building into a new dynamic, healthy and versatile environment, in the respect of individuality, for a provocative New York City Media company. Search for custom-made solutions, kinetic elements, exposed ‘mechanical wizardry' and exquisitely refined, detailed finishes, visually and emotionally engaging, is an important peculiarity of the practice, especially of Tom Kundig, often referred to as a 'maker architect' and Kirsten explains the relevant and fascinating potentialities that this creative ‘pre-digital' process embodies. Architect as a ‘mediator' between nature and built, able to offer continuity between indoor-outdoor and authentic immersive, intimate experiences in the place, mediating rationality and poetry is another integral aspect of their design approach, that we explore in regard to residences, especially in magnificent and powerful natural contexts, as Slaughterhouse Beach, in Maui, Hawaii. Among extraordinary, at top commissions that have involved Kirsten, from practitioner to principal, there is an affordable condominium, conceived almost 15 years ago, 1111 East Pike, that, despite the economic constraints, still impresses for its innovative and fresh unconventionality, its visual appeal and flexible internal solutions, revealing a passionate commitment to enrich with any architectural gesture everyone's life. We conclude the conversation with a particularly rewarding project, Paradise Road Housing at Smith College, five apartment units arranged around a central courtyard, forming a community not only between students but between the campus and the larger Northampton community. A LEED® Gold housing complex intended for self-sufficient seniors and students, celebrating inter-generational social interaction and connections.

In this episode of The Modern Architect, the featured guest is Tom Kundig, one of the owners and design principals of Olson Kundig. Tom has received some of the world's highest design honors, including a National Design Award in Architecture from the Cooper Hewitt Smithsonian Design Museum, an Academy Award in Architecture from the American Academy of Arts and Letters, and an election to the National Academy as an Academician in Architecture.Tom has also received the AIA Seattle Medal of Honor as well as a Distinguished Alumni Award from the University of Washington.

In this episode of The Modern Architect, the featured guest is Tom Kundig, one of the owners and design principals of https://olsonkundig.com/ (Olson Kundig). Tom has received some of the world's highest design honors, including a National Design Award in Architecture from the Cooper Hewitt Smithsonian Design Museum, an Academy Award in Architecture from the American Academy of Arts and Letters, and an election to the National Academy as an Academician in Architecture. Tom has also received the AIA Seattle Medal of Honor as well as a Distinguished Alumni Award from the University of Washington.

Dorothy Liebes was a whirlwind in the weaving world. Throughout the 1930s, she spun luxury fabrics so bold and colorful that their style could only be described as the "Liebes Look." But when the United States entered World War II, she wondered how an artist like herself could be helpful at a time when “there would be no need for luxuries.” What she didn't know was that wartime would bring an opportunity to put her weaving skills to work in an entirely new way. Joining forces with the American Red Cross, she brought professional artists to the bedsides of wounded soldiers - with results that surpassed Dynamo Dot's wildest expectations.   Guests: Alexa Griffith, manager of content and curriculum at the Cooper Hewitt Smithsonian Design Museum Susan Brown, acting head of textiles at the Cooper Hewitt Smithsonian Design Museum

How do you bring out your bold, authentic, powerful voice?Susan Murphy helps broadcasters work better through voice and writing. She also helps news directors to work smarter by working with their broadcasters. After more than 40 years on-air, in production, and as a college professor, she created VOSOT to work with young broadcasters and help them bring their careers to the next level. She typically works one-on-one with clients over the course of 3 hours to strengthen their on-air voice and presence to make them more effective reporters and anchors. Working with young minds, hearts, and voices is Susan's passion and life's work, and considers it an honor to share what she learned as a voice actor, traffic reporter, live host, radio personality, and news director. Our voices are the most intimate tool we utilize on-air. A voice is a powerful force that relays emotion, tells stories, and brings audiences on a journey that words alone could not accomplish. It's how we bring our personality into our craft. Susan started out in the industry as a Shadow Traffic reporter and program director, then became a New York radio personality and news director, and later hosted and produced PBS television fundraising drives for national and local audiences. She now pulls from everything she learned about adlib skills, writing and interviewing, and on-air delivery, along with voice acting, singing lessons, and more. No two voices are the same.Available to anchors, mets and reporters looking to elevate their on-camera vocal performance. VOSOT: Better Broadcast Voices - in person or via Zoom - is culled from years of professional voice lessons, on-air experience and teaching; it distills best practices for finding a client's authentic voice so they become better storytellers and writers.Susan is known as Vanessa in some Artificial Intelligence environments). She also spent years teaching high level TV performance at Hofstra University. She has also done narration and commercial work (the TV voice for Fixodent for 6 years.), Professional home studio with clients have included Politico.com, TIME, Cooper Hewitt Smithsonian Design Museum, Wired. TV narrations include 2 documentaries for Rhode Island Public Television and several "Treasures of New York" episodes for WLIW, one of them an Emmy winner.Listen as Susan shares:- how to elevate your voice and pitch- how to use your voice to elevate your career- techniques and tools to bring out your most authentic voice- establishing the root cause of how you currently sound- how your childhood affected the pitch and tone of your voice- how your voice is used to realize a certain outcome- reasons why we speak the way we do- how to speak up in order to change your life for the better- how to use your voice to empower yourself and others...and so much more!Connect with Susan:Website: https://susanmurphyvosot.comLinkedIn: https://www.linkedin.com/in/susan-murphy-a649406/Listen to Speaking and Communications Podcast:Spotify: https://open.spotify.com/episode/5OwcqaI2XyVgBX1NKkbZZAApple: https://podcasts.apple.com/us/podcast/how-to-bring-out-your-boldest-natural-most-authentic/id1614151066?i=1000576924385Feel free to reach out on:Facebook: https://www.facebook.com/roberta.ndlelaInstagram: https://www.instagram.com/coachandspeaker/Email: roberta4sk@gmail.com

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.     Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Welcome back.    Do you think that if you had looked up and seen Sam Kramer's shop, would you have been attracted?   Toni: Oh, my god, I would have been up in a shot. Are you kidding? I would have tumbled up those stairs had I known it was there. I never even knew what it was, but I was always seeking out that aesthetic, that kind of thing. Like I said, my mother would buy handmade jewelry, silver jewelry, and I loved what she bought. I would go to galleries with her. When I say gallery, they were more like shops; they were like shop-galleries, multimedia boutiques, not specifically jewelry, that would carry handmade jewelry. I loved it. Had I seen Sam Kramer's shop, I would have been up like a shot. The same thing with Art Smith. I would have been down those steps like a shot, but I didn't know they were there, and I was too busy running after boys and going to the coffee shops in Greenwich Village to look carefully.   Sharon: Out here, I don't know if you would have had those influences.   Toni: You had a few shops. You're in the Los Angeles area?   Sharon: Yeah.   Toni: There were a few shops in L.A., not so much in Northern California. There was Nanny's in San Francisco, which was a craft gallery that carried a lot of jewelers. In Southern California there were a few studio shops, but I don't know how prominent they were. I don't know how obvious they were. I don't think that they were as much on people's radar as the ones in New York.   Sharon: When you say studio jewelers, was everything one-off, handmade?   Toni: Yes—well, not necessarily one-off. Generally, what these jewelers would do—this is the best generalization—for the larger, more expensive, more involved pieces, they would make one. When they sold it, they'd make another one, and when they sold that, they'd make another one. If the style was popular, they would also have what they would think of as production lines—earrings, cuff links, tie bars that they would replicate, but they were not cast usually. At that time, very little of it was cast. It was hand-wrought, so there were minor differences in each of the examples. But unless we get into the business records of these jewelers, we don't really know exactly how many they made of each design.   Sharon: Why is it, do you think, that modernist jewelry has been so popular today?   Toni: Oh, that's a good question. That's a very good question. I think a lot has to do with Fifty/50 Gallery's promotion. Fifty/50 was on Broadway at 12th Street, and it was a multimedia gallery that specialized in mid-20th century material. There were three very smart, very savvy, very charismatic owners who truly loved the material like I love it, and when you love something so much, when you have a passion, it's very easy to make other people love it also. I think a lot of the answer to that question is Fifty/50's promotion. They were also a very educative gallery. They were smart, and they knew how to give people the information they needed to know they were buying something special. I think it appeals to a certain kind of person.    Blanche Brown was an art historian in the midcentury who was married to Arthur Danto, who was a philosopher who taught art history at Columbia. His wife, Blanche Brown, was also an art historian. She did a lot of writing, and she would talk about the modernist jewelry, which she loved. It was a badge that she and her cohort would wear with pride because it showed them to be aesthetically aware, politically progressive. It made them stand apart from women who were wearing diamonds and precious jewelry just to show how wealthy their husbands were, which was in the 1940s and 1950s, the women who would wear this jewelry. So, for women like Blanche Brown and women through the 1960s, 70s, 80s and even now—well, now it's different because we have all the contemporary jewelers—but I think it set these women apart. It made them special in a way. It set them apart from the women who were wearing the Cartier and the Van Cleef and Arpels.    You dress for your peers. You dress to make your peers admire you, if not be envious. Within the Bohemian subculture of the 1950s, within the Beat Generation of the 1950s and through the 1960s and the hippies in the 1970s, it set apart that kind of woman. Remember, also, feminism was starting to become a very important aspect of lifestyle. I think when “The Feminine Mystique” came out around 1963—I would have to check it—women were starting to feel empowered. They wanted to show themselves to be intelligent and secure and powerful, and I think modernist jewelry imparted that message when one wore it. It's not that different than people who wear the contemporary jewelry we love so much now. Art Jewelry Forum says it's jewelry that makes you think, and that is what I think a lot of us relate to in that jewelry. It's jewelry with a real concept behind it.   Sharon: That leads me to the next question. I know the biographies repeat themselves. When I was looking up information about you, they said you're an expert in modernist and contemporary jewelry. Contemporary can mean anything. Would you agree with the contemporary aspect?   Toni: I don't view myself as an expert in contemporary. I think I know more than a lot of people about it only because I study it. It's very hard to keep up because there are so many new jewelers popping up all the time. The name of my course that I teach at Pratt is Theory and Criticism of Contemporary Jewelry. Because of that, I do have to keep up to the day because it's a required course for the juniors majoring in jewelry studies, and I feel a responsibility to make them aware of what's happening right at that point I'm teaching it. Things are changing so much in our field, but I don't view myself as an expert. I just think I know a lot about it. It's not my field of expertise, and there's so much. You've got German jewelers, and you've got Chinese jewelers, and you've got Australian and New Zealand jewelers, and you've got Swedish jewelers. All over the world. You've got Estonia, a little, small country, as these major jewelers. They are each individual disciplines in and of themselves.   Sharon: How is it that you wrote the catalogue that became “Messengers of Modernism”? Were you asked to write the catalogue?    Toni: Yeah, I was hired by David Hanks and Associates, which was and still is the curatorial firm. They're American, but they work for the Montreal Museum of Fine Arts. At that time, there was a separate Montreal Museum of Decorative Arts, and that's really where Messengers of Modernism—it came under the Montreal Museum of Decorative Arts. Now, it has been absorbed into the Montreal Museum of Fine Arts. It's just one building. It was a separate building. Basically I was hired by the museum to write the catalogue.   Sharon: And how did it become a book?    Toni: It is a book.    Sharon: Yes, but how did it become—it was a catalogue.   Toni: It's a book, but it functions as the catalogue in the next edition.   Sharon: Right, but I was saying that you wrote the catalogue, and then you said it was published by Flammarion in Paris. Did they say, “Oh, let's take it and make it a book?” How did it transform?   Toni: It was always a book, but it functioned as the catalogue for a particular collection, which is their collection of modernist jewelry. Many exhibitions, even painting exhibitions, when you go to a museum and view a painting exhibition and you buy the accompanying text, it's the catalogue of the exhibition.   Sharon: Yes, but a lot of those don't become books per se. That's why I was wondering, did somebody at the publishers see your catalogue and say, “This would make a great book?” I have never seen the exhibition, but I have the book.   Toni: I think this is a semantic conversation more than anything else. It has become, as I said, the standard text, mostly because nothing else really exists, except I believe Marbeth Schon wrote a book on the modernist jewelers which is more encyclopedic. This book, “Messengers of Modernism,” first of all, it puts the collection in the context of studio craft from the turn of the century up until then, which was then the present. The book was published in 1996. I think what you're saying is it's more important than what we think of as a museum catalogue and it's become a standard text.   Sharon: Yeah.   Toni: It was always conceived as a book about modernist jewelry; it was just focusing on this one collection. What I'm saying is people would say, “Well, why isn't this one in the book? Why did you leave this one out?” and I said, “Well, I didn't leave this one out. This is a book about a finite collection that's in the Montreal Museum of Fine Arts.” If I were writing a book about modernist jewelry, of course I would have included Claire Falkenstein, but she wasn't in their collection, so it's not in that book. That was basically what I meant.   Sharon: Is there a volume two that's going to be coming out with the ones that weren't in the collection that you think should be in the book?   Toni: That book was published in 1996. We're already in 2022. People are always asking me, but one never knows.    Sharon: I guess you don't need an exhibition to write a catalogue.    Toni: No, to write a book, of course you don't.   Sharon: To write a book. What's on your radar? What do you think you have next? Is it in the realm of modernism that you would be writing about?   Toni: That's really what I write about. I lecture about contemporary jewelry to my students and occasionally to the public, but my area of expertise is modernism. There are cardiologists that have a part of their practice in general medicine, but if somebody has a gastrointestinal problem, they're going to send them to a gastroenterologist. I can deal with the broad strokes, which I do, but unless it's one specific jeweler that I would write about, I would not attempt a book about contemporary jewelry. I would stick with modernism, what I feel very confident and comfortable with.   Sharon: If somebody who's passionate about jewelry but not wealthy said they want to start building a modernist collection, where would they start?   Toni: That is another good question. First of all, they would really have to comb the auctions. If they were very serious about collecting important works, I would send them to Mark McDonald, who's the premier dealer in this material. He was one of the partners of Fifty/50.   Sharon: Right, does he still work in that area? Didn't they close the store? Yeah, they closed the store.   Toni: Yeah, two of the partners tragically died. Mark had Gansevoort Gallery after. That was on Gansevoort Street in the Meatpacking District here in New York, which was a wonderful gallery also specializing in modernist material, multimedia. Then he had a shop up in Hudson, New York, for many years, right opposite Ornamentum Gallery. That closed, but he still deals privately. He is the most knowledgeable dealer in the period that I know of. If anybody was really serious about starting to collect modernist jewelry, he would be the person I recommend they go to.   Sharon: It sounds like somebody to collaborate with if you're writing your next book.   Toni: We always collaborate. We're good friends and we always collaborate.   Sharon: Where do you see the market for modernist jewelry? Do you see it continuing to grow? Is it flat? Is it growing?   Toni: Yes, the best of it will continue to grow. There was an auction right before the pandemic hit. I think it was February of 2020, right before we got slammed. It was an auction that was organized by David Rago Auction in New Hope, Pennsylvania, and Wright, which is also an auction gallery specializing in modern and modernism from Chicago. Mark McDonald curated the collection, and the idea behind that exhibition was it was going to go from modernist jewelry from the mid-20th century up to the present and show the lineage and the inheritance from the modernist jewelers. It also included Europeans, and there was some wonderful modernist jewelry in that exhibition that sold very well—the move star pieces, the big pieces.    Then there was—I guess a year ago, no more than that—there was an auction at Bonhams auction house which was one couple's collection of modernist jewelry, artist jewelry—and by artists, I mean Picasso and Max Ernst, modernist artists. They collected a lot of Mexican jewelry and two of Art Smith's most major bracelets, his modern cuff and his lava cuff. I always forget which sold for what, but these were copper and brass cuffs. One sold for $18,000 and one sold for $13,000. I think the modern cuff was $18,000 and the lava cuff was $13,000. If anybody comes to my lecture tomorrow for GemEx, I talk about both of them in detail. This is big money. Five figures is very big money for these items, but these are the best of the best, the majors of the major by Art Smith. Art Smith is currently very, very coveted.   Sharon: Who's your favorite of the modernist jewelers? Who would you say?   Toni: Well, I have two favorites. There are three that are the most important, so let's say three favorites. One is Art Smith, and the reason is because the designs are just brilliant. They really take the body into consideration, negative space into consideration, and they're just spectacularly designed and beautiful to wear. Sam Kramer, the best of his work, the really weird, crazy, surrealist pieces like the one that's on the cover and the back of the Sam Kramer book. Margaret de Patta, who was from the San Francisco Bay area, and she was diametrically opposite to these two because her work was based upon constructivism. She had studied under Moholy-Nagy, the Hungarian constructivist painter, sculptor, photographer. Her work is architectural based upon these eccentrically cut stones. She would be inspired by the rutilations, which are the inclusions within quartz, and she would design her structures around them. I would say those are my three favorites.   Sharon: That's interesting. I wouldn't have thought of Margaret de Patta. I guess I think of her in a different category. I don't know why.   Toni: She's one of the most important modernist jewelers. She founded that whole San Francisco Bay Area MAG, the Metal Arts Guild. She was their guru.    Sharon: When I think of San Francisco at that time, I think of all the jewelry I bought when I was 16 and then I said, “What did I want this for?” Now I see it in the flea markets for 14 times the price I paid for it.   Toni: Right.   Sharon: But who knew. Anyway, Toni, thank you so much. It's been so great to have you. We really learned a lot. It's a real treat. Thank you.   Toni: I had a great time also. Thank you for inviting me. Thank you.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today my guest is art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Most recently, she authored “Sam Kramer: Jeweler on the Edge,” a biography of the jeweler Sam Kramer. Every time I say jeweler I think I'm using the world a little loosely, but we're so glad to have you here today. Thank you so much.   Toni: I am so glad to be here, Sharon. Thank you so much for inviting me. It's been many years coming.   Sharon: I'm glad we connected. Tell me about your jewelry journey. It sounds very interesting.   Toni: Well, there's a lot you don't know about my jewelry journey. My jewelry journey began when I was a preteen. I just became fascinated with Native American, particularly Navajo, jewelry that I would see in museum gift shops. I started to buy it when I was a teenager, what I could afford. In those days, I have to say museum gift shops were fabulous, particularly the Museum of Natural History gift shop, the Brooklyn Museum gift shop. They had a lot of ethnographic material of very high quality. So, I continued to buy Native American jewelry. My mother used to love handcrafted jewelry, and she would buy it in whatever craft shops or galleries she could find.    Then eventually in my 20s and 30s, I got outpriced. Native American jewelry was becoming very, very fashionable, particularly in the late 60s, 1970s. I started to see something that looked, to me, very much like Native American jewelry, but it was signed. It had names on it, and some of them sounded kind of Mexican—in fact, they were Mexican. So, I started to buy Mexican jewelry because I could afford it. Then that became very popular when names like William Spratling and Los Castillo and Hector Aguilar became known. I saw something that looked like Mexican jewelry and Navajo jewelry, but it wasn't; it was made by Americans. In fact, it would come to be known as modernist jewelry. Then I got outpriced with that, but that's the start of my jewelry journey.   Sharon: So, you liked jewelry from when you were a youth.    Toni: Oh, from when I was a child. I was one of these little three, four-year-olds that was all decked out. My mother loved jewelry. I was an only child, and I was, at that time, the only grandchild. My grandparents spoiled me, and my parents spoiled me, and I loved jewelry, so I got a lot of jewelry. That and Frankie Avalon records.   Sharon: Do you still collect modernist? You said you were getting outpriced. You write about it. Do you still collect it?   Toni: Not really. The best of the modernist jewelry is extraordinarily expensive, and unfortunately, I want the best. If I see something when my husband and I are antiquing or at a flea market or at a show that has style and that's affordable, occasionally I'll buy it, but I would not say that I can buy the kind of jewelry I want in the modernist category any longer. I did buy several pieces in the early 1980s from Fifty/50 Gallery, when they were first putting modernist jewelry on the map in the commercial aspect. I was writing about it; they were selling it. They were always and still are. Mark McDonald still is so generous with me as far as getting images and aiding my research immeasurably. Back then, the modernist jewelry was affordable, and luckily I did buy some major pieces for a tenth of what they would get today.   Sharon: Wow! When you say the best of modernist jewelry today, Calder was just astronomical. We'll put that aside.   Toni: Even more astronomical: there's a Harry Bertoia necklace that somebody called my attention to that is coming up at an auction at Christie's. If they don't put that in their jewelry auctions, they'll put it in their design auctions. I think it's coming up at the end of June; I forget the exact day. The estimate on the Harry Bertoia necklace is $200,000 to $300,000—and this is a Harry Bertoia necklace. I'm just chomping at the bit to find out what it, in fact, is going to bring, but that's the estimate they put, at $200,000 to $300,000.   Sharon: That's a lot of money. What holds your interest in modernist jewelry?   Toni: The incredible but very subtle design aspect of it. Actually, tomorrow I'm going to be giving a talk on Art Smith for GemEx. Because my background is art history, one of the things I always do when I talk about these objects is to show how they were inspired by the modern art movements. This is, I think, what sets modernist jewelry apart from other categories of modern and contemporary jewelry. There are many inspirations, but it is that they are very much inspired by Cubism, Surrealism, Abstract Expressionism, Biomorphism, etc., depending on the artist. Some are influenced by all of the above, and I think I saw that. I saw it implicitly before I began to analyze it in the jewelry.    This jewelry is extraordinarily well-conceived. A lot of the craftsmanship is not pristine, but I have never been one for pristine craftsmanship. I love rough surfaces, and I love the process to show in the jewelry. Much of the modernist jewelry is irreverent—I use the word irreverent instead of sloppy—as far as the process is concerned. It was that hands-on, very direct approach, in addition to this wonderful design sense, which, again, came from the modern art movements. Most of the jewelers—not all of them, but most of them—lived either in New York or in Northern or Southern California and had access to museums, and these people were aesthetes. They would go to museums. They would see Miro's work; they would see Picasso's work, and they would definitely infuse their designs with that sensibility.   Sharon: Do you think that jumped out at you, the fact that they were inspired by different art movements, because you studied art history? You teach it, or you did teach it at one time?    Toni: No, just history of jewelry. I majored in art history, but I've never taught art history. I've taught history of jewelry. We can argue about whether jewelry is art or not, but history of jewelry is what I've taught.   Sharon: I've taken basic art history, but I couldn't tell you some of the movements you're talking about. I can't identify the different movements. Do you think it jumped out at you because you're knowledgeable?   Toni: Yes, definitely, because I would look at Art Smith and I would say, “That's Biomorphism.” I would see it. It was obvious. I would look at Sam Kramer and I would say, “This is Surrealism.” He was called a surrealist jeweler back in his day, when he was practicing and when he had his shop on 8th Street. I would look at Rebajes and I would see Cubism. Of course, it was because I was well-versed in those movements, because what I was always most interested in when I was studying art history were the more modern movements.   Sharon: Did you think you would segue to jewelry in general? Was that something on your radar?   Toni: That's a very interesting question because when I was in college, I had a nucleus of professors who happened to have come from Cranbrook.   Sharon: I'm sorry, from where?   Toni: Cranbrook School of Art.   Sharon: O.K., Cranbrook.   Toni: I actually took a metalsmithing class as an elective, just to see what it was because I was so interested in jewelry, although I was studying what I call legitimate art history. I was so interested in jewelry that I wanted to see what the process was. I probably was the worst jeweler that ever tried to make jewelry, but I learned what it is to make. I will tell you something else, Sharon, it is what has given me such respect for the jewelers, because when you try to do it yourself and you see how challenging it is, you really respect the people who do it miraculously even more.    So, I took this class just to see what it was, and the teacher—I still remember his name. His name was Cunningham; I don't remember his first name. He was from Cranbrook, and he sent the class to a retail store in New York on 53rd Street, right opposite MOMA, called America House.   Sharon: Called American House?   Toni: America House. America House was the retail enterprise of the American Craft Council. They had the museum, which was then called the Museum of Contemporary Crafts; now it's called MAD, Museum of Arts and Design. They had the museum, and they had a magazine, Craft Horizons, which then became American Craft, and then they had this retail store. I went into America House—and this was the late 1960s—and I knew I had found my calling. I looked at this jewelry, which was really fine studio jewelry. It was done by Ronald Pearson; it was done by Jack Kripp. These were the people that America House carried. I couldn't afford to buy it. I did buy some of the jewelry when they went out of business and had a big sale in the early 1970s. At that time I couldn't, but I looked at the jewelry and the holloware, and I had never seen anything like it. Yes, I had seen Native American that I loved, and I had seen Mexican that I loved. I hadn't yet seen modernist; that wasn't going to come until the early 1980s. But here I saw this second generation of studio jewelers, and I said, “I don't know what I'm going to do with this professionally, but I know I've got to do something with it because this is who I am. This is what I love.”    Back in the late 1960s, it was called applied arts. Anything that was not painting and sculpture was applied art. Ceramics was applied art; furniture was applied art; textiles, jewelry, any kind of metalwork was applied art. Nobody took it seriously as an academic discipline in America, here in this country. Then I went on to graduate school, still in art history. I was specializing in what was then contemporary art, particularly color field painting, but I just loved what was called the crafts, particularly the metalwork. I started to go to the library and research books on jewelry. I found books on jewelry, but they were all published in Europe, mostly England. There were things in other languages other than French, which I could read with a dictionary. There were books on jewelry history, but they were not written in America; everything was in Europe. So, I started to read voraciously about the history of jewelry, mostly the books that came out of the Victoria & Albert Museum. I read all about ancient jewelry and medieval jewelry and Renaissance jewelry. Graham Hughes, who was then the director of the V&A, had written a book, “Modern Jewelry,” and it had jewelry by artists, designed by Picasso and Max Ernst and Brach, including things that were handmade in England and all over Europe. I think even some of the early jewelers in our discipline were in that book. If I remember correctly, I think Friedrich Becker, for example, might have been in Graham Hughes' “Modern Jewelry,” because that was published, I believe, in the late 1960s.    So, I saw there was a literature in studio jewelry; it just wasn't in America. Then I found a book on William Spratling, this Mexican jeweler whose work I had collected. It was not a book about his jewelry; it was an autobiography about himself that obviously he had written, but it was so rich in talking about the metalsmithing community in Taxco, Mexico, which is where he, as an American, went to study the colonial architecture. He wound up staying and renovating the silver mines that had been dormant since the 18th century. It was such a great story, and I said, “There's something here,” but no graduate advisor at that time, in the early 70s, was going to support you in wanting to do a thesis on applied art, no matter what the medium. But in the back of my mind, I always said, “I'm going to do something with this at some point.”    Honestly, Sharon, I never thought I would live to see the day that this discipline is as rich as it is, with so much literature, with our publishers publishing all of these fantastic jewelry books, and other publishers, like Flammarion in Paris, which published “Messengers of Modernism.” Then there's the interest in Montreal at the Museum of Fine Arts, which is the museum that has the “Messengers of Modernism” collection. It has filtered into the Houston Museum of Fine Arts, Dallas, obviously MAD. So many museums are welcoming. I never thought I would live to see the day. It really is so heartening. I don't have words to express how important this is, but I just started to do it. In the early 1970s or mid-1970s—I don't think my daughter was born yet. My son was a toddler. I would sit in my free moments and write an article about William Spratling, because he was American. He went to Mexico, but he was American. He was the only American I knew of that I could write about. Not that that article was published at that time, but I was doing the research and I was writing it.   Sharon: That's interesting. If there had been a discipline of jewelry history or something in the applied arts, if an advisor had said, “Yes, I'll support you,” or “Why don't you go ahead and get your doctorate or your master's,” that's something you would have done?   Toni: Totally, without even a thought, yes. Because when I was studying art history, I would look at Hans Holbein's paintings of Henry VIII and Sir Thomas More, and all I would do was look at the jewelry they were wearing, the chains and the badges on their berets. I said, “Oh my god, that is so spectacular.” Then I learned that Holbein actually designed the jewelry, which a lot of people don't know. I said, “There is something to this.” I would look at 18th century paintings with women, with their pearls and rings and bracelets, and all I would do was look at the jewelry. I would have in a heartbeat. If I could have had a graduate advisor, I would have definitely pursued that.   Sharon: When you say you never thought you'd live to see the day when modernist jewelry is so popular—not that it's so surprising, but you are one of the leaders of the movement. When I mentioned to somebody, “Oh, I like modernist jewelry,” the first thing they said was, “Well, have you read ‘Messengers of Modernism?'” As soon as I came home—I was on a trip—I got it. So, you are one of the leaders.   Toni: Well, it is interesting. It is sort of the standard text, but people will say, “Well, why isn't Claire Falkenstein in the book? She's so important,” and I say, “It's looked upon as a standard text, but the fact is it's a catalogue to an exhibition. That was the collection.” Fifty/50 Gallery had a private collection. As I said before, they were at the forefront of promoting and selling modernist jewelry, but they did have a private collection. That collection went to Montreal in the 1990s because at that time, there wasn't an American museum that was interested in taking that collection. That book is the catalogue of that finite collection. So, there are people who are major modernist jewelers—Claire Falkenstein is one that comes to mind—that are not in that collection, so they're not in the book. There's a lot more to be said and written about that movement.   Sharon: I'm sure you've been asked this a million times: What's the difference between modern and modernist jewelry?   Toni: Modern is something that's up to date at a point in time, but modernist jewelry is—this is a word we adopted. The word existed, but we adopted it to define the mid-20th century studio jewelry, the post-war jewelry. It really goes from 1940 to the 1960s. That's it; that's the time limit of modernist jewelry. Again, it's a word we appropriated. We took that word and said, “We're going to call this category modernist jewelry because we have to call it something, so that's the term.” Modern means up to date. That's just a general word.   Sharon: When you go to a show and see things that are in the modernist style, it's not truly modernist if it was done today, it wasn't done before 1960.   Toni: Right, no. Modernist jewelry is work that's done in that particular timeframe and that also subscribes to what I was saying, this appropriation of motifs from the modern art movement. There was plenty of costume jewelry and fine jewelry being done post-war, and that is jewelry that is mid-20th century. You can call it mid-20th century modern, which confuses the issue even more, but it's not modernist jewelry. Modernist jewelry is jewelry that was done in the studio by a silversmith and was inspired by the great movements in modern art and some other inspirations. Art Smith was extremely motivated by African motifs, but also by Calder and by Biomorphism. It's not religious. There are certainly gray areas, but in general, that's modernist jewelry.    Sharon: I feel envious when you talk about everything that was going in on New York. I have a passion, but there's no place on the West Coast that I would go to look at some of this stuff.   Toni: I'll tell you one of the ironies, Sharon. Post-war, definitely through the 1950s and early 1960s, there must have been 13 to 15 studio shops by modernist jewelers. You had Sam Kramer on 8th Street and Art Smith on 4th Street and Polo Bell, who was on 4th Street and then he was on 8th Street, and Bill Tendler, and you had Jules Brenner, and Henry Steig was Uptown. Ed Wiener was all over the place. There were so many jewelers in New York, and I never knew about them. I never went to any of their shops. I used to hang out in the Village when I was a young teenager, walked on 4th Street; never saw Art Smith's shop. He was there from 1949 until 1977. I used to walk on 8th Street, and Sam Kramer was on the second floor. I never looked up, and I didn't know this kind of jewelry existed. In those days, like I said, I was still collecting Navajo.

Power of Ten is a podcast hosted by Andy Polaine about design operating at many levels, zooming out from thoughtful detail through to organisational transformation and on to changes in society and the world. My guest in this episode is Seb Chan, Chief Experience Officer at ACMI - the Australian Centre for the Moving Image in Melbourne - championing human centred design approaches across the museum. Prior to ACMI, Seb led the digital renewal and transformation of the Cooper Hewitt Smithsonian Design Museum in New York (2011–15) and the Powerhouse Museum's pioneering work in open access, mass collaboration and digital experience during the 2000s. He's also Adjunct Professor, School of Media and Communications, in the College of Design and Social Context at RMIT. In this episode we talk about Seb's work, but also some of the history of interactive media that informs our views and understanding of where the state of the art is today. Show Links This show's web page Seb Seb on Medium Seb's site, Fresh and New Most of which is now a newsletter Seb on LinkedIn Seb on Twitter ACMI The Robin Sloan piece Seb mentions The backstory on the Cooper Hewitt interactivity Andy Subscribe to Power of Ten Subscribe to Andy's newsletter Doctor's Note Andy's online courses Andy on Twitter Andy on LinkedIn Polaine.com Suggestions? Feedback? Get in touch!

An internationally recognized leader in developing innovative strategies to end homelessness and strengthen communities Rosanne Haggerty joins Matt on this week's Leading Voices in Real Estate. As President and Chief Executive Officer of Community Solutions, Rosanne oversees a nonprofit that assists cEmmunities throughout the U.S. and internationally in solving the complex housing problems facing their most vulnerable residents. Community Solutions also leads “Built for Zero”, a movement of more than 90 cities and counties using data to radically change how they work and make homelessness rare. As a 2001 MacArthur Genius, Rosanne broadened her work in this space after spending decades working in supportive housing. She formally established Community Solutions in 2011, and in 2021 The MacArthur Foundation provided an additional $100M grant to further develop her methodology. While homelessness is a step removed from our typical Leading Voices conversations, this discussion provides a perspective on a societal issue that ripples across real estate and how our industry can address homelessness.Rosanne was a Japan Society Public Policy Fellow, and is a MacArthur Foundation Fellow, Ashoka Senior Fellow, Hunt Alternative Fund Prime Mover and the recipient of honors including the Jane Jacobs Medal for New Ideas and Activism from the Rockefeller Foundation, Social Entrepreneur of the year from the Schwab Foundation, Cooper Hewitt/Smithsonian Design Museum's National Design Award and Independent Sector's John W. Gardner Leadership Award. She is a graduate of Amherst College and Columbia University's Graduate School of Architecture, Planning and Preservation.Resources“Homelessness is Solvable” – Rosanne's podcast interview with Malcolm Gladwell (June 2019)

AIGA Executive Director Bennie F. Johnson talks with today's leaders in design, business, and technology, focused around the topics of leadership growth, the future of work, and creating a culture of design. Join us in welcoming Theresa Fitzgerald, Vice President of Creative at Sesame Workshop. Theresa Fitzgerald is vice president creative at Sesame Workshop, the nonprofit educational organization behind Sesame Street. She leads the in-house Brand Creative Services team dedicated to the mission of helping kids grow stronger, smarter and kinder. Fitzgerald has spent more than 25 years developing creative to entertain, educate and engage young minds. Prior to Sesame, she oversaw design and branding vision at Nickelodeon, Snoopy & Peanuts, Scholastic and National Geographic. She is an adjunct professor at New York University/Steinhart teaching design; an educational team member at the Cooper Hewitt Smithsonian Design Museum supporting Design in the Classroom, and has been a guest speaker at New York University, School of Visual Arts, AIGA New York City, Parsons The New School, Cooper Hewitt Family Day, Rochester Institute of Technology and Brand New Conference. Fitzgerald is committed to problem solving, mind-evolving and boiling it down to the essence of the big idea with humor and delight. Watch the captioned video version of this Fireside Chat here: https://www.aiga.org/inspiration/talks/theresa-fitzgerald-fireside-chat-with-theresa-fitzgerald --- Send in a voice message: https://anchor.fm/aigadesign/message

Eiko Ishioka was a graphic, costume, and set designer. She was born July 12, 1938 in Tokyo, Japan. Growing up, her life always fused western and Japanese culture. She graduated from the Tokyo National University of Fine Arts and Music in 1960 and immediately started working for the largest cosmetic company in Japan, Shiseido. There she revolutionized the poster with her bold use of diverse models and progressive feminist messages that defied tradition. Ishioka later worked as a creative director for the department store Parco, producing iconic posters and television ads that broke with tradition and showed no products. In 1983, Ishioka left Parco and opened her own design studio. Once in her own practice, Eiko experimented more and more with surrealism as she moved into designing sets and costumes for film and theater. She won awards for her work on Mishima (1985) and Madame Butterfly (1988). Ishioka would go on to win the 1993 Academy Award for Best Costume Design (along with multiple other awards) for her incredible costume designs for Francis Ford Coppola's 1992 film adaptation of Bram Stoker's Dracula. It was Ishioka's life work to push up against tradition. The result is a stunning body of work worthy of inclusion in the design history canon.TIMELINE1938 –  b. Tokyo, Japan1961 –  graduated Tokyo National University of Fine Arts and Music1970 –  founded own firm1970 –  ūman ribu movement1980 –  moved to New York1983 –  published her own book Eiko by Eiko1985 –  Equal Opportunity Law passed in Japan; Mishima releases featuring set designs from Ishioka, for which she wins the Award for Artistic Contribution at the 1985 Cannes Film Festival.1992 –  Bram Stoker's Dracula1993 –  Ishioka's costume designs on Dracula win her the Academy Award for Best Costume Design2002 –  Designs sports uniforms for the 2002 Olympics2008 –  Designs the opening ceremony costume designs for the Beijing Olympics 2010 –  Costume Designs for Broadway Musical, “Spiderman: Turn Off the Dark”2012 –  d. Age 73 in Tokyo, Japan from pancreatic cancerREFERENCESAssociated Press. (2012, January 26). Costume designer Eiko Ishioka, recently known for Broadway's “Spider-Man,” has died at 73. Washington Post. https://web.archive.org/web/20120205143125/http://www.washingtonpost.com/entertainment/theater-dance/costume-designer-eiko-ishioka-recently-known-for-broadways-spider-man-has-died-at-73/2012/01/26/gIQAyZhgTQ_story.htmlDalí Paris. (n.d). Dalí and fashion. Dalí Paris. Retrieved 25 May 2021 from https://www.daliparis.com/en/salvador-dali-en/dali-fashion/Edwards, L. N. (1988). Equal Employment Opportunity in Japan: A View from the West. ILR Review, 41(2), 240–250. https://doi.org/10.1177/001979398804100206Eiko Ishioka. (1992). ADC Global. http://adcglobal.org/hall-of-fame/eiko-ishioka/Eiko Ishioka. (n.d.). A SEARCH HISTORY. https://asearchhistory.weebly.com/eiko-ishioka.htmlFox, M. (1984, March 1). An Interview with Eiko Ishioka, by Ingrid Sischy. Artforum International. https://www.artforum.com/print/198403/an-interview-with-eiko-ishioka-by-ingrid-sischy-35403Fox, M. (2012, January 27). Eiko Ishioka, Costumer of the Surreal, Dies at 73. The New York Times. https://www.nytimes.com/2012/01/27/arts/design/eiko-ishioka-designer-dies-at-73.htmlFusek, A. P. (2021, February 27). The Feminist Movement in Japan: WWII to the 1970s. Unseen Japan. https://unseenjapan.com/feminist-movement-japan-wwii-1970s/Goodall, H. (2013, January 3). Origins and influence of surrealism in Japanese art. Unframed. Retrieved 25 May 2021 from https://unframed.lacma.org/2013/01/03/origins-and-influence-of-surrealism-in-japanese-artGraphic Liberation of Gender: Eiko Ishioka Poster ExhibitionThe Japan Foundation, Toronto. (2017, September 6). Japan Foundation. https://jftor.org/event/eiko-ishioka-poster-exhibition/2017-09-06/Haley, M. (n.d.). Sneak Peek: Eiko Ishioka Papers at UCLA Library Special Collections. LA Collective. https://laacollective.org/work/eiko-ishiokaHooks, R. (2018). Surrealism in  graphic design. 99designs. Retrieved 25 May 2021 from https://99designs.com/blog/design-history-movements/surreal-graphic-design/ITSLIQUID. (2020, December 18). Eiko Ishioka: Blood, Sweat, and Tears. https://www.itsliquid.com/eikoishioka-bloodsweatandtears.htmlJapanese Pickers. (2017, January 6). 1990 Print Available [Facebook Post]. Facebook. https://www.facebook.com/unsupportedbrowserK. (2020, February 10). Shibuya PARCO - Interactive Shopping, Art, And Hands-On Technology. Matcha - Japan Travel Web Magazine. https://matcha-jp.com/en/9390Lorde Velho. (2020, July 23). The Costumes Are the Sets - The Design of Eiko Ishioka (Legendado PTBR) [Video]. YouTube. https://www.youtube.com/watch?v=3TFCNCt-gUkMolony, B. (2000). Women's Rights, Feminism, and Suffragism in Japan, 1870-1925. Pacific Historical Review, 69(4), 639-661. doi:10.2307/3641228Parsons, K. (2019, July 22). THE THEATER. VERY PARCO. | Cooper Hewitt, Smithsonian Design Museum. Cooper Hewitt Smithsonian Design Museum. https://www.cooperhewitt.org/2018/03/17/the-theater-very-parco-2/Pola Museum of Art. (2019). Surrealist painting: Influences and iterations in Japan. Pola Museum of Art. Retrieved 25 May 2021 from https://www.polamuseum.or.jp/english/exhibition/20191215s01/Sayej, N. (2018, January 16). 7 designers keeping the art of surrealism alive today. Print Mag. Retrieved 25 May 2021 from https://www.printmag.com/post/7-designers-keeping-surrealism-aliveSchenker, M. (2018, October 25). Design trend report: Surrealism. Creative Market. Retrieved 25 May 2021 from https://creativemarket.com/blog/design-trend-report-surrealismStech, A. (2019, October 4). How 1920s surrealism impacted modern design. Wallpaper. Retrieved from 25 May 2021 from https://www.wallpaper.com/design/surrealism-and-design-vitra-design-museum-exhibitionSurreal Costumes by Legendary Designer Eiko Ishioka. (2019, June 4). Juxtapoz: Art and Culture. https://www.juxtapoz.com/news/design/surreal-costumes-by-legendary-designer-eiko-ishioka/Takeuchi-Demirci, A. (2010). Birth Control and Socialism: The Frustration of Margaret Sanger and Ishimoto Shizue's Mission. The Journal of American-East Asian Relations, 17(3), 257-280. Retrieved April 28, 2021, from http://www.jstor.org/stable/23613288The Academy. (2018, March 30). How Eiko Ishioka's revolutionary costumes won Coppola's “Dracula” an Oscar. Medium. https://medium.com/art-science/how-francis-ford-coppola-s-choice-to-work-with-a-weirdo-outsider-led-to-an-oscar-dd22bdf51e2aTimes, T. N. Y. (1973, December 8). Japan Braces for a Full‐Scale Oil Crisis. The New York Times. https://www.nytimes.com/1973/12/08/archives/japan-braces-for-a-fullscale-oil-crisis-japan-whose-busy-economy.htmlTimes, T. N. Y. (1983, March 27). CHANGING FACE OF JAPAN. The New York Times. https://www.nytimes.com/1983/03/27/magazine/changing-face-of-japan.htmlVitra Design Museum. (2019). Objects of desire: Surrealism and design 1924 - today. Vitra Design Museum. Retrieved 25 May 2021 from https://www.design-museum.de/en/exhibitions/detailpages/objects-of-desire-surrealism-and-design.html?desktop=318&cHash=c626c20211a0d1333a9393761a0ffc40Wang, M. (2017, March 8). _What's PARCO?_JAPAN Monthly Web Magazine. https://japan-magazine.jnto.go.jp/en/special_parco.htmlWood, G. (2007). Surrealism and design. V&A. Retrieved 25 May 2021 from https://www.vam.ac.uk/articles/surrealism-and-design

“You have to see this.” That's the message I see alongside a link sent to me by a friend. “Umm… I'm kind of busy, you know? I'm in the middle of things, working and I don't have time for links.” I fire back. He insists, “No, you really need to see this.” So I open up the link and see... an inkblot. An inkblot?!? Big deal! Then he tells me to play the video, and I do. I find myself completely enthralled as this inkblot suddenly becomes a creature that turns into an adorable monster. Oh, and the artist creating it is drawing it upside-down and backward! From white pages to inkblots to monsters, this art comes to life before my eyes. And each monster clearly has its own story behind it. I have to know who the artist is. I want to talk to him and find out everything I can because anyone with the talent to turn inkblots into monsters has won me over. How do you organically create something from nothing like that? Find out in this episode as I sit down with that incredible artist, Stefan G. Bucher. We discuss why starting your story in the middle helps you overcome resistance and why doing things for yourself without an audience might be the better way for you to go. You'll also hear about the role of storytelling in highlighting the common experience, how you can do things to feel less alone in the world, and Stefan's incredibly amusing technique to help you uplevel your storytelling game. What you will learn in this episode: Why your task is to find something, not create something Why connection is such an essential part of great storytelling How different mediums can unlock new ways to approach storytelling Who is Stefan? Stefan G. Bucher is a writer, graphic designer, illustrator, and all-around bookaholic. Born in Germany, he came to California and studied at the Art Center College of Design. His first introduction to book design happened as a child when he poured over the catalogs of the Wilhelm Busch Museum in Hannover. That early access began a lifelong journey to design and produce books in the same delightful and fascinating fashion that those early catalogs did for him. Stefan has received rewards, features, and recognition from design books and magazines and prestigious institutions in the literary world. He won the Yellow Pencil Award for Book Design from British Design and the Art Direction and the Art Directors Club of New York. Numerous book design exhibitions have featured his work such as those hosted by the American Institute of Graphic Arts, Minneapolis' Walker Art Center, and the Cooper Hewitt Smithsonian Design Museum. Stefan's most popular work, however, is the online animation series Daily Monster where he filmed himself drawing a new monster from random inkblots for 100 days. This series has enjoyed millions of views and downloads and inclusion in the Communication Arts Illustration and American Illustration annuals, and even new life in book form. In addition, he has worked with a wide range of entertainment, advertising, educational, and institutional clients and collaborated on projects with big names like Sting, director Tarsem, and The New York Times. Links and Resources: 344 Books @344books on LinkedIn @stefangbucher on YouTube 100 Days of Monster by Stefan G. Bucher Stefan's Skillshare Class Storytelling School Website @storytellingschool on Instagram @storytellingSchool on Facebook

Highlights from the conversationI'm always encouraging my clients to brag in a good way.A logo is just a mark and some of the best-known brands in the world have really crappy logosAs far as trying to build a brand or a personality, that's memorable. It always comes from a unique place. And usually it comes from a smaller place[A logo] is just a symbol. A symbol only has meaning once you do all the other things around it that communicate that brandYou need to embrace who you are. Be true to who you are and tell that story of who you arePeople are so often very passionate about what they're making, if you can engage with that, you get away from the  mundane, sameness in so much of the communication you seeMore about DJ Stout DJ Stout is one of 24 Partners of the acclaimed international design consultancy Pentagram and the Principal of the Austin, Texas office. Stout joined Pentagram as a partner in 2000. Pentagram, founded in London in 1972 by five designers, currently has four offices around the world. In a special 1998 issue, American Photo magazine selected Stout as one of the “100 Most Important People in Photography.” In 2004 I.D. (International Design) magazine selected Stout for “The I.D. Fifty,” its annual listing of design innovators. In 2010 The Society of Illustrators honored Stout with the national Richard Gangel Art Director Award for his advocacy of illustration during his design career. Also in 2010 Stout was recognized as an AIGA (American Institute of Graphic Arts) Fellow Award recipient for his exceptional contributions to the field of graphic design. His design work is included in several national design collections including the Museum of Fine Arts Houston, The Dallas Museum of Art, The Wittliff Collections, and the Cooper Hewitt–Smithsonian Design Museum.Stout and his team specialize in the creation of brand identity and strategy, publication design, packaging and interactive solutions. Stout and his team have done work for high-profile companies and institutions like Microsoft Windows, Ruby Tuesday, Popeyes Louisiana Kitchen, Walgreens, Lands' End, L.L. Bean, Southwest Airlines, The Fort Worth Museum of Science and History, The Perot Museum of Nature and Science, The Museum of Fine Arts Houston, The Contemporary Austin, The Houston Ballet, World Wildlife Fund, SkinCeuticals, Advanced Nutrients, Northwestern, Tulane, Vanderbilt, Middlebury, Loyola Marymount University, UC Berkley, The University of Colorado, Drexel and USC.DJ is the author of three books; The Pictures of Texas Monthly Twenty-Five Years, The Amazing Tale of Mr. Herbert and his Fabulous Alpine Cowboys Baseball Club, and Variations on a Rectangle–his forty-year design retrospective.Find DJ here: Instagram | Twitter  Show notesPeople:Michael BierutPaula ScherLuke HaymanHerbert Kokernot Jr.Companies and organisations:o6 RanchAlpine CowboysKokernot FieldTexas Monthly MagazineMiscellaneous:King of Diamonds – The story behind Alpine's Kokernot Field How can you help?There are four ways you can help us out.Give us your thoughts. Rate the podcast and leave a comment.Share this as far and wide as you can - tell your friends, family and colleagues about us (caveat: if you own a family business, these may all be the same people)Tell us how we can create a better podcast - tell us what you liked, didn't like, or what you'd like to hear more (or less) ofTell us who you'd like to hear on the podcast. Suggest someone that you think we should interview.One More Question is a podcast by Nicework, a purpose-driven company helping people who want to make a dent in the world by building brands people give a shit about.One of the things we do best is ask our clients the right questions. This podcast came about because we want to share some of the best answers we have heard over the last 13 years. We talk to significant creators, experts and communicators we encounter and share useful insights, inspiration, and facts that make us stop and take note as we go about our work.Hosted by our founder Ross Drakes.Subscribe iTunes, Spotify, Stitcher, Google PodcastsMusic by: @dcuttermusic / http://www.davidcuttermusic.com

Electronic: Modelling the digital present and tools for the future Speakers: Seb Chan and Sahej Rahal Seb Chan is the Chief Experience Officer (CXO) at the Australian Centre for the Moving Image where he is responsible for a holistic, multi-channel, visitor-centred design strategy for the institution. Until August 2015, he was Director of Digital & Emerging Media, at Cooper Hewitt Smithsonian Design Museum in New York. There he led the museum's digital renewal and its transformation into an interactive, playful new museum reopened after a 3-year rebuilding and reimagining. His team's work won awards from the American Association of Museums and Museums and the Web, One Club, D&AD, Fast Company Innovation by Design, Core77 Design Awards, and has been featured in Slate, The Verge, Fast Company and elsewhere. A sculptor, coder, painter and performer, Sahej Rahal is a graduate of the Rachana Sansad Academy of Fine Art, Mumbai. He has been a recipient of a number of residencies including Bar1, Bangalore, 2011; FUTUR foundation, Zurich, 2011; INLAKS Shivdasani Foundation sponsored residency at KHOJ international artists' association, New Delhi, 2013. Rahal has presentd work in major solo and group projects, including recently at Akademie Schloss Solitude & ZKM Center for Art and Media, Stuttgart, Germany in 2018, at the Vancouver Biennale and Australian Centre for Contemporary Art in 2019, in the 2020 Gwangju Biennale, and as part of Transmediale.

Rachel Smith is a Latinx Designer & Founder of Design to Combat COVID-19, a virtual community of creatives over 2,000 strong—who volunteer their skills and time to support under represented communities affected by the pandemic. By day, Rachel Smith is a Product Designer at Facebook, was this year's 2021 Lead Mentor with The Cooper Hewitt Smithsonian Design Museum and previously has worked with companies such as Nordstrom and The Home Depot. The rest of the time, the LA native works on a range of creative projects, both within her local and global communities. --- 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/latinxswhodesign/message Support this podcast: https://anchor.fm/latinxswhodesign/support

Ayoto Ataraxia 鄭博榕; pingyin: Zheng Borong; born 23 August 1985) is an artist, director, writer, performing artist, producer, poet, and musician. He graduated from Istituto Europeo di Design with cum laude in 2009, and from the School of Visual Arts with honors in New York City, 2013. His works have been exhibited at the Cooper Hewitt Smithsonian Design Museum, and are part of the Beyond Fashion exhibition of the Foundation for the Exhibition of Photography. He is currently hosting Asian Provocation, exploring queer Asian diasporic identities through conversations and stories Show Notes: 00:04:55 - Ayoto's reflections time in New York 00:09:06 - The dangers of romanticizing working artists 00:12:18 - Artistic expression 00:16:42 - Modern American culture / getting lost in the American dream 00:19:52 - Considering what we truly value in life 00:22:14 - Observing people in different dimensions 00:27:24 - The illusion of control 00:29:08 - Identity 00:35:37 - The background to Ayoto's original name/freedom from dogma 01:00:23 - Wrap up www.artistdecoded.com www.instagram.com/ayoto.ataraxia/ www.ayotoataraxia.com

Tom Kundig, FAIA, RIBA, is an owner and design principal of Olson Kundig. Kundig has received some of the world’s highest design honors, including a National Design Award in Architecture from the Cooper Hewitt Smithsonian Design Museum, an Academy Award in Architecture from the American Academy of Arts and Letters, and an election to the National Academy as an Academician in Architecture. Most recently, Kundig was awarded the AIA Seattle Medal of Honor as well as a Distinguished Alumni Award from the University of Washington. Known for his contextual approach to design, Kundig emphasizes the primacy of the site. His buildings are a direct response to place, often serving as a backdrop to the built, cultural or natural landscapes that surround them. Tom’s current projects include homes across North America, Asia, Europe and New Zealand; adaptive reuse projects for a host of different functions; and hospitality projects in the United States, Austria, China, Costa Rica, Mexico, New Zealand, South Korea and more. See acast.com/privacy for privacy and opt-out information.

Unencumbered Voices in Curated Spaces: Inspired by the life & work of Sir Frank Bowling - a three-part summer podcast series, investigating freedom of expression today and throughout art history.This first episode in a special series of conversations from Shade, supported by Hauser & Wirth, is with Silas Munro—LA-based critic, writer and partner of graphic design studio Polymode.Silas Munro’s past collaborations include the City of LA Mayor’s Office, Cooper Hewitt Smithsonian Design Museum, Mark Bradford at the Venice Biennale, and MoMA. Munro’s writing appears in the book, ‘W. E. B. Du Bois’s Data Portraits: Visualizing Black America’ published by Princeton Architectural Press. He has been a visiting critic at MICA, RISD, and Yale. Munro is Founding Faculty and Chair Emeritus at Vermont College of Fine Arts. Founded in 2014, Polymode is a studio that leads the edge of contemporary graphic design through poetic research, learning experiences, and making cool shit for clients in the cultural sphere, innovative businesses, and community-based organizations.‘Frank Bowling. London / New York’ is on view Hauser & Wirth New York, 22nd Street from 5 May and Hauser & Wirth London from 21 May 2021. Shade Podcast is produced and hosted by Lou MensahEditing and sound design by CA DavisMusic by Brian JacksonSeries supported by Hauser & Wirth See acast.com/privacy for privacy and opt-out information.

‘Willi Smith: Street Couture' is the first exhibit dedicated to American designer Willi Smith (1948–1987) held at Cooper Hewitt Smithsonian Design Museum in New York. The exhibit of more than 200 pieces highlights how the designer and co-founder of iconic brand WilliWear broke down social, cultural, and economic boundaries. In this episode, two of Willi Smith's friends, Bethann Hardison and Kim Hastreiter join William Ndatira to reflect on Willi Smith's life, career and spirit. Bethann Hardison, member of the Gucci Global Equity Board and of the Gucci's Global Corporate Executive Committee, is a model and activist and met Willi Smith when she was just starting out in New York working in the garment business. Journalist, editor and publisher Kim Hastreiter grew up in New Jersey and moved to New York to become an artist. She switched paths to become a journalist and in founded Paper Magazine in 1984, Willi Smith was her downstairs neighbor. Listen as these long-time friends reflect on fond memories of Willi Smith and look back on the fashion scene in New York in the 80s. As a public health precaution due to COVID-19, all Smithsonian museums are temporarily closed. In the meanwhile, you can discover more about Willi Smith on: https://willismitharchive.cargo.site/

‘Willi Smith: Street Couture’ is the first exhibit dedicated to American designer Willi Smith (1948–1987) held at Cooper Hewitt Smithsonian Design Museum in New York. The exhibit of more than 200 pieces highlights how the designer and co-founder of iconic brand WilliWear broke down social, cultural, and economic boundaries. In this episode, two of Willi Smith’s friends, Bethann Hardison and Kim Hastreiter join William Ndatira to reflect on Willi Smith’s life, career and spirit. Bethann Hardison, member of the Gucci Global Equity Board and of the Gucci’s Global Corporate Executive Committee, is a model and activist and met Willi Smith when she was just starting out in New York working in the garment business. Journalist, editor and publisher Kim Hastreiter grew up in New Jersey and moved to New York to become an artist. She switched paths to become a journalist and in founded Paper Magazine in 1984, Willi Smith was her downstairs neighbor. Listen as these long-time friends reflect on fond memories of Willi Smith and look back on the fashion scene in New York in the 80s. As a public health precaution due to COVID-19, all Smithsonian museums are temporarily closed. In the meanwhile, you can discover more about Willi Smith on: https://willismitharchive.cargo.site/

  Over the arc of his career, John Maeda has been many things: a professor at MIT, president at the Rhode Island School of Design, a Design Partner at Kleiner Perkins, head of Computational Design and Inclusion at Automattic, and now Chief Experience Officer at Publicis Sapient.  In our interview with John, we learn how curiosity and humility have driven his wide-ranging and accomplished career. We also dive deep into his recent CX Report, which was formerly called the Design in Tech Report (we ask him about the name change). We discuss why algorithms have the potential to narrow our point of view, and why digital transformation is so hard for companies that are lower on what he refers to as the “Kardashev Scale.” Takeaways: Why “shipping your org chart” may not be a bad thing. What “L.E.A.D.” products are (Light, Ethical, Accessible, Dataful). How design becomes more important as the frequency of interactions with digital products increase Bio John Maeda is an American technologist, designer, engineer, artist, investor, author, and teacher. He is Chief Experience Officer at Publicis Sapient, the technology consulting and delivery arm of communications and marketing conglomerate Publicis. Maeda serves on the Board of Sonos and the Cooper Hewitt Smithsonian Design Museum.  He has held positions with Automattic, the parent company of WordPress.com; the venture capital firm Kleiner Perkins; served as president of the Rhode Island School of Design; and began his early career at the MIT Media Lab at the intersection of computer science and visual art. Named as one of the “75 Most Influential People of the 21st Century” by Esquire, Maeda draws on his diverse background as an MIT-trained engineer, award-winning designer, and MBA-community translator to bring people and ideas together at scale.  He is the author of several celebrated books, including The Laws of Simplicity and Redesigning Leadership. He has appeared as a speaker all over the world, from Davos to Beijing to São Paulo to New York, and his talks for TED have received millions of views. 

About the EpisodeJohn Maeda is the CXO of Publicis Sapient, a six-time author, and TED speaker. In our wide-ranging interview, we discuss the power and purpose of asynchronous work; data, AI, and privacy; his latest book “How to Speak Machine: Computational Thinking for the Rest of Us”; and how different generations think about work and finding purpose.About John MaedaJohn Maeda is an American technologist, designer, engineer, artist, investor, author, and teacher. He is Chief Experience Officer at Publicis Sapient, the technology consulting and delivery arm of communications and marketing conglomerate Publicis. Prior to Publicis Sapient, he spent three years working all-remote at the largest all-distributed tech company in the world — in preparation for what is now the new norm. Maeda serves on the Board of Sonos and the Cooper Hewitt Smithsonian Design Museum. He has held positions with Automattic, the parent company of WordPress.com; the venture capital firm Kleiner Perkins; served as president of the Rhode Island School of Design; and began his early career at the MIT Media Lab at the intersection of computer science and visual art. Named as one of the “75 Most Influential People of the 21st Century” by Esquire, Maeda draws on his diverse background as an MIT-trained engineer, award-winning designer, and MBA-community translator to bring people and ideas together at scale. He is the author of several celebrated books, including How To Speak Machine, The Laws of Simplicity, and Redesigning Leadership. He has appeared as a speaker all over the world, from Davos to Beijing to São Paulo to New York, and his talks for TED have received millions of views.John's book: How to Speak Machine: Computational Thinking for the Rest of UsJohn's Customer Obsessed Pick: The Alchemist by Paulo CoelhoDon't miss out on updates and exclusive content—subscribe to the Customer Obsessed newsletter.

Wednesday, November 6, 2019 Approaches to creating data structures in the museum sector are evolving rapidly – seemingly almost daily. There’s little consensus on how to do it, and no one-size-fits all approach, as every set of requirements differs. One of the things that makes Cooper Hewitt’s requirements unique is our need to develop a data structure that will support both in gallery digital and online experiences. The success of the Pen provided insight into how visitors access museum data in the gallery and use it to interact with the museum at a physical level. As we look to the future, this session will offer a view into our own process of designing and building data infrastructure that supports a unified experience across physical and digital environments. The session will combine a technical look at our internal workings, with a work-in-progress overview of our internal roadmap and the prototyping model that is helping us to define our own requirements and answer questions around best practices in the gallery, for accessibility, and across the web. We’re in the process of reevaluating everything under the hood and giving session attendees insight not only into how we’re restructuring, but the decision making process along the way. Session Type30-Minute Session (Presentation or Case Study) TrackSystems Key OutcomesParticipants will leave with an understanding of how they might approach evolving legacy technologies, and understand their own requirements to meet the needs of today’s search engines and the ever growing use of AI to search collections and museum data. Speaker: Adam Quinn, Digital Product Manager, Cooper Hewitt Smithsonian Design Museum

Aaron Dignan is the founder of The Ready, an organization design and transformation firm that helps institutions like Johnson & Johnson, Charles Schwab, Kaplan, Microsoft, Lloyds Bank, Citibank, Edelman, Airbnb, Cooper Hewitt Smithsonian Design Museum, and charity: water change the way they work. He is a cofounder of responsive.org, an investor in purpose-driven startups, and a friend to misfit toys. https://www.bravenewwork.com Hayim Herring, PhD, is an author, presenter and nonprofit organizational futurist, with a specialty in faith-based communities. A former congregational rabbi and “C-suite” nonprofit executive, Hayim blends original research and real-world experience to inspire individuals and organizations to achieve their greatest impact. He is a proven organizational visionary and entrepreneur and works to “create today's leaders for tomorrow's organizations.” http://hayimherring.com

Rebeca Mendez is an artist, designer, educator and ArtCenter alumna whose creative practice defies the bounds of traditional disciplines or descriptions. Her pioneering career in graphic design has been widely recognized. Most recently, her work was featured in shows at the Cooper Hewitt Smithsonian Design Museum, the Los Angeles County Museum of Art. In 2017, she was awarded the prestigious AIGA Medal for her transformative work in academia and design. Mendez is also a celebrated fine artist best known for her visually arresting mixed-media installations incorporating photography, film, video and typography. She explores the mediated experience of nature at its most elemental in her breakthrough series At Any Given Moment, filmed on location in Iceland between 2006 and 2008. The series exhibited to rave reviews around the world, including at ArtCenter’s Williamson Gallery in 2010. It was there that I first physically encountered Rebeca’s work and was spellbound by its raw power. Most recently her video installation piece, Ascent of the Weavers, was exhibited at the Museum of Contemporary Art in Oaxaca, Mexico A focal point of Rebeca’s creative practice is her long-term, transdisciplinary, multimedia project entitled CircumSolar, which encompasses a mural, a photo essay, and several large-scale single-channel video installations. The project is centered around the arctic tern (T-E-R-N), a very small sea bird distinguished as having the longest migration of all living beings on earth. Each year, it flies from the Arctic to the Antarctic and back again. This bird’s epic journey crystallizes Rebeca’s interest in nature’s exquisite refusal to succumb to the limits and artificial boundaries of human enterprise. Mendez also directs the CounterForce Lab at UCLA, where she is a professor of Design Media Arts. She founded CounterForce to develop new modes of field research to study the social and ecological impacts of climate change. Rebeca herself is a force of nature whose poetic spirit infused every moment of her impassioned and, at turns, tender and vulnerable interview with Change Lab’s Lorne Buchman. The conversation covered the broad arc of a remarkable journey from her upbringing in Mexico, where she became the country’s top-ranked gymnast, to a singular career that dissolves boundaries and, to borrow her phrase, rages with love. Learn more about Rebeca’s life and work: http://www.rebecamendez.com/ https://www.aiga.org/2017-aiga-medalist-rebeca-mendez https://dma.ucla.edu/faculty/profiles/?ID=32

Aaron Dignan is the founder of The Ready, an organization design and transformation firm that helps institutions like Johnson & Johnson, Charles Schwab, Kaplan, Microsoft, Lloyds Bank, Citibank, Edelman, Airbnb, Cooper Hewitt Smithsonian Design Museum, and charity: water change the way they work. He is a co-founder of responsive.org, an investor in purpose-driven startups, and a friend to misfit toys. He lives in Colorado with his wife and son. Aaron’s new book is Brave New Work: Are You Ready to Reinvent Your Organization? In this conversation, Aaron talks about challenging the assumptions about the future of work, the organizational operating system and making the necessary changes to move forward. Mentioned in this episode: The Great Courses Plus – Get a free trial! Textexpander – Get 20% off your first year!

I'm honored to welcome Aaron Dignan to the show to talk about his latest book Brave New Work. His timely ideas are going to shape the way organizations run for the next decade and beyond. About the Book:  When fast-scaling startups and global organizations get stuck, they call Aaron Dignan. In this book, he reveals his proven approach for eliminating red tape, dissolving bureaucracy, and doing the best work of your life. He's found that nearly everyone, from Wall Street to Silicon Valley, points to the same frustrations: lack of trust, bottlenecks in decision making, siloed functions and teams, meeting and email overload, tiresome budgeting, short-term thinking, and more. Is there any hope for a solution? Haven't countless business gurus promised the answer, yet changed almost nothing about the way we work? That's because we fail to recognize that organizations aren't machines to be predicted and controlled. They're complex human systems full of potential waiting to be released. Dignan says you can't fix a team, department, or organization by tinkering around the edges. Over the years, he has helped his clients completely reinvent their operating systems—the fundamental principles and practices that shape their culture—with extraordinary success. Imagine a bank that abandoned traditional budgeting, only to outperform its competition for decades. An appliance manufacturer that divided itself into 2,000 autonomous teams, resulting not in chaos but rapid growth. A healthcare provider with an HQ of just 50 people supporting over 14,000 people in the field—that is named the “best place to work” year after year... And even a team that saved $3 million per year by canceling one monthly meeting. Their stories may sound improbable, but in Brave New Work you'll learn exactly how they and other organizations are inventing a smarter, healthier, and more effective way to work. Not through top-down mandates, but through a groundswell of autonomy, trust, and transparency. Whether you lead a team of ten or ten thousand, improving your operating system is the single most powerful thing you can do. The only question is, are you ready? About the Author:  Aaron Dignan is the founder of The Ready, an organization design and transformation firm that helps institutions like Johnson & Johnson, Charles Schwab, Kaplan, Microsoft, Lloyds Bank, Citibank, Edelman, Airbnb, Cooper Hewitt Smithsonian Design Museum, and charity: water change the way they work. He is a co-founder of responsive.org, an investor in purpose-driven startups, and a friend to misfit toys. He lives in Colorado with his wife and son. Connect with Aaron: BraveNewWork.com TheReady.com Twitter @AaronDignan For additional show notes, visit ShaunTabatt.com/246.

Seb Chan is Chief Experience Officer at the Australian Centre for the Moving Image (ACMI) in Melbourne, a museum that over 1.5M people visit every year. Seb has also led digital efforts at the Powerhouse Museum in Sydney and the Cooper Hewitt Smithsonian Design Museum in New York and is one of the world's most renowned experts on getting museums to open up - to get their collections online, to get people using the museums in new ways. And he was a well-respected DJ, radio host, zine maker, music and video game writer, and we hosted radio shows back to back for five years. We discuss: - The early years of museums getting onto the Internet - How an IT guy ends up a Digital Head - What is a museum? How have museums changed? - What is the business model of a museum? - The metrics that matter to museums - Career paths one just... falls into You can find Seb in many corners of the Internet, especially http://www.twitter.com/sebchan For more Internet: http://www.twitter.com/markpollard http://www.instagram.com/markpollard http://www.sweathead.co

On this month's show: Barry Mitchell dives into the sense exhibit at Cooper Hewitt Smithsonian Design Museum; Vianora Vinca explores rock balancing along the shores of the Hudson River

I interviewed Kara Nichols about Saturated: The Allure and Science of Color which starts this Friday, May 11 and runs through Jan. 13 at the Cooper Hewitt Smithsonian Design Museum in NYC. Kara worked on this exhibition for her curatorial capstone at the Parsons/Cooper Hewitt graduate program. Saturated explores various aspects of color and how color theory can be translated into the visual applications of design. The exhibition was co-curated by Susan Brown, associate curator of textiles and Smithsonian research librarian, Jennifer Bracchi. This exhibition expands on “Color in a New Light,” which was curated by Jennifer and presented by the Smithsonian Libraries at the Smithsonian’s National Museum of Natural History in Washington D.C. from January 2016 to March 2017. Through these nearly 200 objects and books on display in Saturated: The Allure and Science of Color, the show will explore both the complex nature and the beautiful presence that color reveals through design, art and in our everyday lives. Saturated - Cooper Hewitt, Smithsonian Design Museum. As always pictures will be up on the Twitter page @DecArtsPodcast

This episode features the first event of the 2017 Digital Writers Festival, a live conversation about the future of storytelling with Brooke Maggs, Misha Myers, Oscar Raby and Seb Chan, moderated by the festival’s Artistic Director, Izzy Roberts-Orr. The Future of Storytelling was held at ACMI in partnership with ACMI Conversations and Monash University. You can watch the full event here: http://2017.digitalwritersfestival.com/event/dwf17-launch-the-future-of-storytelling/ Our theme music is ‘Please’ by Huntly. Brooke Maggs is a freelance narrative designer and writer for games, VR and other creative industries. Brooke presented her project ‘The Gardens Between’, a breathtaking puzzle game where best friends find themselves in a surreal world of garden islands. Find out more about Brooke here: https://brookemaggs.com/ Dr. Misha Myers is a Senior Lecture in the Centre for Theatre and Performance at Monash University, and tells stories of place through digital, interactive and located media. Misha presented her recent work ‘Nobody’s Ocean’, a transmedia performance game for smartphone that sent audience on journeys through Melbourne’s streets cast as Homer’s Odysseus. Find out more about Misha here: http://profiles.arts.monash.edu.au/misha-myers/ Oscar Raby is the Creative Director of the Melbourne-based Virtual Reality studio VRTOV. He is the Director of VR experiences ‘Assent’, ‘The Turning Forest’ and ‘Easter Rising: Voice of a Rebel’. Oscar presented ‘The Turning Forest’, a real-time CR VR experience that invites audiences into a magical space of imagination. Find out more about Oscars work for VRTOV here: http://vrtov.com/ Seb Chan is ACMI’s Chief Experience Officer. Prior to this he led the digital renewal and transformation of the Cooper Hewitt Smithsonian Design Museum in New York (2011-2015). Seb presented his digital transformation of the Cooper Hewitt Design Museum.

"Part historical account, part theoretical appraisal, and part design manifesto, Borderwall as Architecture is reminiscent of Rem Koolhaas’ Delirious New York in its sweeping assessment of both the sociocultural peculiarities and outlandish possibilities represented by a prominent structural element."—Blaine Brownell, Architect Magazine Borderwall as Architecture is an artistic and intellectual hand grenade of a book, and a timely re-examination of what the physical barrier that divides the United States of America from the United Mexican States is and could be. It is both a protest against the wall and a projection about its future. Through a series of propositions suggesting that the nearly seven hundred miles of wall is an opportunity for economic and social development along the border that encourages its conceptual and physical dismantling, the book takes readers on a journey along a wall that cuts through a “third nation”—the Divided States of America. On the way the transformative effects of the wall on people, animals, and the natural and built landscape are exposed and interrogated through the story of people who, on both sides of the border, transform the wall, challenging its existence in remarkably creative ways. Coupled with these real-life accounts are counterproposals for the wall, created by Rael’s studio, that reimagine, hyperbolize, or question the wall and its construction, cost, performance, and meaning. Rael proposes that despite the intended use of the wall, which is to keep people out and away, the wall is instead an attractor, engaging both sides in a common dialogue. Included is a collection of reflections on the wall and its consequences by leading experts Michael Dear, Norma Iglesias-Prieto, Marcello Di Cintio, and Teddy Cruz. Ronald Rael is Associate Professor in the departments of Architecture and Art Practice at the University of California, Berkeley. He is the author of Earth Architecture, a history of building with earth in the modern era that exemplifies new, creative uses of the oldest building material on the planet. The Museum of Modern Art and the Cooper Hewitt Smithsonian Design Museum have recognized his work, and in 2014 his creative practice, Rael San Fratello, was named an Emerging Voice by the Architectural League of New York.

Host Dave Robertson first talks with jonathan Woetzel, Director of the McKinsey Global Institute and co-author of "No Ordinary Disruption: The Four Global Forces Breaking All the Trends." They discuss the woldwide shifts we're seeing in the economy and how they will influence management. His second guest is Jake Barton, Founder of Local Projects. Jake has been involved in a variety of projects like the 9/11 Memorial Museum and the Cooper-Hewitt Smithsonian Design Museum. he talks about how he has tried to reinvent the museum experience and how using design to tell a story can be applied to the corporate world.

As one of the nation's most-trusted category of institutions, museums project an enormous amount of authority over their subject matter. In this episode, Seb Chan, Director of Digital & Emerging Technologies at Cooper-Hewitt Smithsonian Design Museum, talks about the ways that museums can share that authority with museum visitors comfortable with a less top-down approach to authority. For discussions on how museum's got to amass so much authority, stay tuned to Museum Archipelago. Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts (https://itunes.apple.com/us/podcast/museum-archipelago/id1182755184), Google Podcasts (https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cubXVzZXVtYXJjaGlwZWxhZ28uY29tL3Jzcw==), Overcast (https://overcast.fm/itunes1182755184/museum-archipelago), Spotify (https://open.spotify.com/show/5ImpDQJqEypxGNslnImXZE), or even email (https://museum.substack.com/) to never miss an episode. Unlock Club Archipelago

The Cooper-Hewitt Smithsonian Design Museum has reopened to great acclaim and much of its success is due to technology that encourages visitors to engage thoughtfully and completely with the objects they encounter. Seb Chan, director of digital and emerging media at the Cooper-Hewitt will share some of his thoughts about the museum's reopening: what the team got right, and what they are tweaking. We'll talk about his advice for other institutions—large and small—that are grappling with the issues surrounding digital media, discuss his most influential experiences, and get his thoughts about the future of museums.