Podcasts about corcoran gallery

From the Wadsworth Athenaeum in Hartford, Connecticut and the Corcoran Gallery in Washington, D.C. to the Metropolitan Museum of Art and the Guggenheim Museum in New York City, this episode of Big Blend Radio's WORLD OF ART Podcast with artist Victoria Chick is Part Two of her three-part series on the history of Art Museums. It focuses on the History of Art Museums in America. Victoria is the catalyst behind the Southwest Regional Museum of Art & Art Center project in Silver City, New Mexico. You can learn more about the Museum effort and read her articles about the History of Art Museums: - Part One: https://www.southwest-art-museum.org/articles/art-museums-a-history-part-one  - Part Two: https://www.southwest-art-museum.org/articles/art-museums-a-history-part-two  Victoria Chick is a contemporary figurative artist and early 19th/20th century print collector based in Silver City, New Mexico. Visit: https://victoriachick.com/  Victoria appears on Big Blend Radio every 3rd Saturday. Follow the podcast: https://worldofart-victoriachick.podbean.com/  This episode is also featured on Big Blend Radio's "Way Back When" and "Toast to The Arts" Podcast Channels. Check out our network of shows: https://www.podbean.com/podcast-network/bigblendradionetwork 

Today's episode is all about relaxing, taking a little break after a long year and before the holidays hit. So I offer you a quiet beach at the Jersey Shore in this serene painting by William Trost Richards.  We'll find out how this Philadelphia-born artist embraced the idea of nature and art as keys to a better life and his connection to the Corcoran Gallery in Washington D.C. Thomas Cole and the Corcoran are key parts of the story, so here are previous episodes about them:  “A Pastoral Visit” tells the story of the founding of this influential museum and “The Voyage of Life: Childhood” is one of Cole's dramatic allegorical paintings. SHOW NOTES “A Long Look” themes are "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs and “At the Cafe with You” by Onion All Stars https://pixabay.com/users/onion_all_stars-33331904/ Episode Music "Morning" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License https://creativecommons.org/licenses/by/4.0 “Database Of Problems, Rolodex Of Lies” by Doctor Turtle https://doctorturtle.bandcamp.com/album/free-turtle-archive-everything-cc-by-by-turtle Artwork information  https://www.nga.gov/collection/art-object-page.195170.html William Trost Richards information https://chrysler.org/exhibition/seascapes-by-william-trost-richards/ https://www.nga.gov/collection/artist-info.2710.html New York Times article on Richards https://www.nytimes.com/2013/08/16/arts/design/william-trost-richards-at-national-academy-museum.html?smid=nytcore-ios-share&referringSource=articleShare “William Trost Richards: American Landscape & Marine Painter” by Linda S. Ferber https://archive.org/embed/williamtrostrich0000ferb (archive.org) “Niagara” by Frederic Edwin Church https://www.nga.gov/collection/art-object-page.166436.html Episode on the Corcoran Gallery  “A Pastoral Visit” Episode on Thomas Cole “The Voyage of Life: Childhood” Transcript is available at https://alonglookpodcast.com/coast-new-jersey

In this special episode Emily sits down with Laurie Simmons on a Monday morning in Chinatown at, DEEP PHOTOS / IN THE BEGINNING, the artists' second solo show at 56 Henry. Laurie Simmons is an internationally recognized artist. Since the mid-70s, Simmons has staged scenes for her camera to create images with intensely psychological subtexts and nonlinear narratives. By the early 1980s Simmons was at the forefront of a new generation of artists, predominantly women, whose use of photography began a new dialogue in contemporary art. Her work is part of the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, The Whitney Museum of American Art and The Solomon R. Guggenheim Museum in New York City; the Museum of Contemporary Art in Los Angeles; the Philadelphia Museum of Art; the Corcoran Gallery of Art in Washington, DC; the Hara Museum in Tokyo; and the Stedelijk Museum of Modern Art in Amsterdam, among others. In 2018-2019 Simmons's retrospective Big Camera/Little Camera was presented at The Modern Art Museum in Fort Worth, Texas and The Museum of Contemporary Art, Chicago. In 2006 she produced and directed her first film, The Music of Regret, starring Meryl Streep, Adam Guettel and the Alvin Ailey 2 Dancers. The film premiered at The Museum of Modern Art. Her feature film MY ART premiered at the 73rd Venice Film Festival and Tribeca Film festival in 2017. Simmons lives and works in New York and Connecticut. @lauriesimmons @56henry-nyc DEEP PHOTOS / IN THE BEGINNING 105 Henry Street September 4 – October 27, 2024

Episode No. 655 of The Modern Art Notes Podcast is a holiday clips episode featuring artist Teresita Fernández. Fernández is included in "Forecast Form: Art in the Caribbean Diaspora, 1990s-today" at the Museum of Contemporary Art San Diego. It is the first major group exhibition in the United States to envision a new approach to contemporary art in the Caribbean diaspora, foregrounding forms that reveal new modes of thinking about identity and place. Over 20 artists are featured in this exhibition, many of whom live in the Caribbean or are of Caribbean heritage. "Forecast Form originated at the MCA Chicago. It was curated by Carla Acevedo-Yates, with Iris Colburn, Isabel Casso and Nolan Jimbo. This segment with Fernández was recorded in 2014 when Fernández  created a major new series of installations for MASS MoCA in North Adams, Mass. Titled “As Above So Below.” That show included three large-scale installations that are informed by Fernández's interest in landscape, art about landscape, and our perception of landscape, including Black Sun, Sfumato (Epic) and Lunar (Theatre).  In 2005 Fernández received a MacArthur Foundation “genius” fellowship. She has been the subject of solo exhibitions at MOCA North Miami, the Corcoran Gallery of Art, Artpace, the ICA Philadelphia, Castello di Rivoli outside Turin, the Modern Art Museum of Fort Worth and more.

Welcome back to ARTMATTERS: The Podcast for Artists!My guest today is Catherine Howe. Catherine is a New York-based artist who has exhibited throughout the United States and Europe for over thirty years, including exhibitions at the Corcoran Gallery of Art in Washington, DC, MoMA PS 1 in New York, and the Albright-Knox Art Gallery in Buffalo.  Her work has been reviewed by Art in America, Artforum, Art Critical, The New York Times, The New Yorker, and the Los Angeles Times. On today's episode, Catherine and I discuss color, mise en place, gallery requests, speed, snark, pressure, an ecstatic practice, tuning out chatter, a crisis of confidence, resilience and change, enjoying contradiction, trust, gratitude and the three types of studio visits  from hell. Special Note:For all my listeners in the LA area, Catherine Howe's upcoming exhibition Wallflower, opens May 18 at Von Lintel Gallery in Los Angeles and runs through July 6. I highly recommend checking this one out! Opening reception for wallflower is Saturday, May 18 from 4-7 Now on to the show….You can now support this podcast directly by clicking here for my  PATREON! Or with a one-time donation via PayPal! If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest: Catherine Howe www.catherinehoweartist.cominsta: @catherineahowe

Roy Dowell (b. 1951 in Bronxville, NY) received his Master of Fine Arts and his Bachelor of Arts from the California Institute of the Arts, Valencia, CA and studied at the California College of Arts and Crafts, Oakland, CA.  Roy has been the subject of recent solo exhibitions at The Landing, Los Angeles, CA; Miles McEnery Gallery, New York, NY; Bolsky Gallery, Otis College of Art and Design, Los Angeles, CA; as-is.la, Los Angeles, CA; 1969 Gallery, New York, NY; Tif Sigfrids Gallery, Los Angeles, CA; Proxy Paris @Galerie Ygrec, Paris, France; and James Harris Gallery, Seattle, WA.  His work has been included in institutional group exhibitions at the American Academy of Arts and Letters, New York, NY; Aspen Art Museum, Aspen, CO; Centro Cultural del México Contemporáneo, Mexico City, Mexico; Corcoran Gallery of Art, Washington, D.C.; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; Musée d'art moderne et d'art contemporain, Nice, France; Museum of Contemporary Art, Los Angeles, CA, and elsewhere.  Roy's work may be found in the collections of the Berkeley Art Museum the Hammer Museum, Los Angeles County Museum of Art, the Museum of Contemporary Art, Los Angeles, CA; the Museum of Contemporary Art, San Diego, CA; and the San Francisco Museum of Modern Art among others.  He lives and works in Los Angeles, CA and Mexico City, Mexico.

Edward Burtynsky is regarded as one of the world's most accomplished contemporary photographers. His remarkable photographic depictions of global industrial landscapes represent over 40 years of his dedication to bearing witness to the impact of human industry on the planet. Edward's photographs are included in the collections of over 80 major museums around the world, including the National Gallery of Canada in Ottawa; the Museum of Modern Art, the Metropolitan Museum of Art, and the Guggenheim Museum in New York; the Reina Sofia Museum in Madrid; the Tate Modern in London, and the Los Angeles County Museum of Art in California.Edward was born in 1955 of Ukrainian heritage in St. Catharines, Ontario. He received his BAA in Photography/Media Studies from Toronto Metropolitan University (formerly Ryerson University) in 1982, and has since received both an Alumni Achievement Award (2004) and an Honorary Doctorate (2007) from his alma mater. He is still actively involved in the university community, and sits on the board of directors for The Image Centre (formerly Ryerson Image Centre).In 1985, Edward founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging, and new media computer-training centre catering to all levels of Toronto's art community.Early exposure to the General Motors plant and watching ships go by in the Welland Canal in Edward's hometown helped capture his imagination for the scale of human creation, and to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet — an inspection of the human systems we've imposed onto natural landscapes.Exhibitions include: Anthropocene (2018) at the Art Gallery of Ontario and National Gallery of Canada (international touring exhibition); Water (2013) at the New Orleans Museum of Art and Contemporary Art Center in Louisiana (international touring exhibition); Oil (2009) at the Corcoran Gallery of Art in Washington D.C. (five-year international touring show), China (toured internationally from 2005 - 2008); Manufactured Landscapes at the National Gallery of Canada (toured from 2003 - 2005); and Breaking Ground produced by the Canadian Museum of Contemporary Photography (toured from 1988 - 1992). Edward's visually compelling works are currently being exhibited in solo and group exhibitions around the globe, including at London's Saatchi Gallery where his largest solo exhibition to-date, entitled Extraction/Abstraction, is currently on show until 6th May 2024.Edward's distinctions include the inaugural TED Prize (which he shared with Bono and Robert Fischell), the title of Officer of the Order of Canada, and the International Center of Photography's Infinity Award for Art. In 2018 Edward was named Photo London's Master of Photography and the Mosaic Institute's Peace Patron. In 2019 he was the recipient of the Arts & Letters Award at the Canadian Association of New York's annual Maple Leaf Ball and the 2019 Lucie Award for Achievement in Documentary Photography. In 2020 he was awarded a Royal Photographic Society Honorary Fellowship and in 2022 was honoured with the Outstanding Contribution to Photography Award by the World Photography Organization. Most recently he was inducted into the International Photography Hall of Fame and was named the 2022 recipient for the annual Pollution Probe Award. Edward currently holds eight honorary doctorate degrees and is represented by numerous international galleries all over the world. In episode 224, Edward discusses, among other things:His transition from film to digitalStaying positive by ‘moving through grief to land on meaning'Making compelling images and how scale creates ambiguityDefining the over-riding theme of his work early onThe environmental impact of farmingWhether he planned his careerWhy he started a lab to finance his photographyAnd how being an entrepreneur feeds into his work as an artistVertical IntegrationExamples of challenging situations he has facedThe necessity for his work to be commoditisedHis relative hope and optimism for the future through positive technologyThe importance of having a hopeful component to the workHow he offsets his own carbon footprint Referenced:Joel SternfeldEliiot PorterStephen ShoreJennifer BaichwalNicholas de Pencier Website | Instagram“The evocation of the sense of wonder and the sense of the surreal, or the improbable, or ‘what am I looking at?', to me is interesting in a time where images are so consumed; that these are not for quick consumption they're for… slow. And I think that when things reveal themselves slowly and in a more challenging way, they become more interesting as objects to leave in the world. That they don't just reveal themselves immediately, you can't just get it in one quick glance and you're done, no, these things ask you to look at them and spend time with them. And I discover things in them sometimes that I never saw before. They're loaded with information.” Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Jim Goldberg discuss his new book, Coming and Going, published by MACK, which is a very personal story but also a book about storytelling itself. Jim talks about his lifelong interest in social justice and Sasha and Jim connect Jim's work to both Jazz and Punk music. Sasha also announces the first ever participants in the PhotoWork Foundation Fellowship. https://jimgoldberg.com/ https://www.mackbooks.us/collections/frontpage/products/coming-and-going-br-jim-goldberg Jim Goldberg's innovative and multidisciplinary approach to documentary makes him a landmark photographer and social practitioner of our times. His work often examines the lives of neglected, ignored, or otherwise outside-the-mainstream populations through long-term, in depth collaborations which investigate the nature of American myths about class, power, and happiness. A prolific and influential bookmaker, Goldberg's recent books include Ruby Every Fall, Nazraeli Press (2014); The Last Son, Super Labo (2016); Raised By Wolves Bootleg (2016), Candy, Yale University Press (2017), Darrell & Patricia, Pier 24 Photography (2018) and Gene (2018). Goldberg has exhibited widely, including shows at the Museum of Modern Art, New York; SFMOMA; the Museum of Fine Arts, Boston; the Corcoran Gallery of Art; the Los Angeles County Museum of Art; and the Yale University Art Gallery. His work is also regularly featured in group exhibitions around the world. Public collections including MoMA, SFMOMA, the Whitney Museum of American Art, the Getty, the National Gallery, LACMA, MFA Boston, The High Museum, Nelson-Atkins Museum of Art, Library of Congress, MFA Houston, National Museum of American Art, and the Art Institute of Chicago. Goldberg has received three National Endowment of the Arts Fellowships in Photography, a Guggenheim Fellowship, the Henri Cartier-Bresson Award, and the Deutsche Börse Photography Prize, among many other honors and grants. Goldberg is Professor Emeritus at the California College of the Arts. He is represented by Casemore Kirkeby Gallery in San Francisco. Goldberg joined Magnum Photos in 2002. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

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

Talk Art NYC special episode! We meet American art critic ROBERTA SMITH from her apartment in Greenwich Village. We explore her career over the past 50 years - Smith first began publishing art criticism in 1972. This epic feature-length conversation gets deep as we discuss visual literacy within education and the 'meaning' of art! In 2011, Smith became the first woman to hold the title of Co-Chief Art Critic of The New York Times.Roberta Smith regularly reviews museum exhibitions, art fairs and gallery shows in New York, North America and abroad. Smith began regularly writing for the Times in 1985, and has been on staff there since 1991. She has written on Western and non-Western art from the prehistoric to the contemporary eras. She sees her main responsibility as “getting people out of the house,” making them curious enough to go see the art she covers, but she also enjoys posting artworks on Instagram and Twitter. Special areas of interest include ceramics textiles, folk and outsider art, design and video art. Before the NYT, she was a critic for the Village Voice from 1980 to 1984. She has written critic's notebooks on the need for museums to be free to the public; Brandeis University's decision to close its museum and sell its art collection (later rescinded), and the unveiling of the Google Art Project, which allowed online HD views of paintings in the collections of scores of leading museums worldwide. Born in New York City, Smith was raised in Lawrence, Kansas, and earned her BA from Grinnell College in Iowa. She was introduced to the art world in the late 1960s, first as an intern at the Corcoran Gallery of Art, in Washington, DC, and later as a participant in the Whitney's Independent Study Program. During her time at the Whitney, she became familiar with the New York art world, and she met the artist Donald Judd, who would figure large in her early career. Smith wrote about Judd's development from two to three dimensions, between 1954 and 1964, and began collecting and archiving his writings. Smith began working at the Paula Cooper Gallery in 1972, at which time she also began writing for Artforum, the New York Times, Art in America, and the Village Voice, where she has written important considerations of Philip Guston's late paintings, the sculptures of Richard Artschwager, and Scott Burton's performances. Smith has written many essays for catalogues and monographs on contemporary artists, as well as on the decorative arts, popular and outsider art, design, and architecture. In 2003, the College Art Association awarded her with the Frank Jewett Mather Award for Art Criticism.Furthermore in 2019 Smith was presented a $50,000 lifetime achievement award from the Dorothea and Leo Rabkin Foundation. Due to NYT's editorial guidelines, Smith was unable to accept the cash prize and donated the entirety to the Art for Justice Fund, an organization launched by philanthropist Agnes Gund, whose goals include “safely cutting the prison population in states with the highest rates of incarceration, and strengthening education and employment options for people leaving prison.”: "Roberta Smith has been responsible for building an audience for the art of the self-taught, for ceramic art, video art, digital art, systems of re-presentation and much more. Across many traditional boundaries, she has offered a frank, lovingly detailed assessment of new art and artists to her expansive readership. Hers is a voice listened to by millions of readers."Follow @RobertaSmithNYT on Instagram and Twitter.Read www.nytimes.com/by/roberta-smith Hosted on Acast. See acast.com/privacy for more information.

We meet legendary artist Sylvia Snowden from her home in Chicago where she has been painting for the past 60+ years!Known for her use of abundantly thick, layered paint, Snowden has developed a visual language in which gems of colour and texture emerge from densely-worked under layers. From dark and earthy tones to the vibrant and artificial, Snowden's command of chromatic range is the fuel of her expressionistic style. Over the course of her more than five-decade-long career, in which she has always painted in series, Snowden developed an adroitness with her medium. She initially employed oil paint and pastels then moved toward acrylic–a less toxic and faster-drying alternative–after having children. Snowden paints sculpturally, her compositions range from larger-than-life to portrait-sized. Her process allows visible evidence of constructed layers and employs impasto that interacts with her bold figures caught in motion with physical weight.Snowden's voluminous bodies, often contrapposto, are surrounded by peaks of shifting chroma in a physical manifestation of feeling; she depicts the tension and intensity of life, and the troubled, optimistic, and dramatic elements of our sublime existence. Snowden encapsulates the psychological essence of her subjects–some of whom were unhoused and transient, displaced by gentrification, others with whom she had intimate or long-term relationships–their triumphs, paranoia, agony, and anger are all visible; these works convey an emotionally turbulent environment. Snowden's expressive paintings reference the immediate lives of these individuals, and act as interpretations of each subject's psyche. As a serial painter, Snowden alternates between representation and abstraction, exhausting her emotional self between each mode as she articulates the struggles and successes of humanity.Snowden received a scholarship to Skowhegan School of Painting and Sculpture in Skowhegan, ME and has a certificate from La Grande Chaumier in Paris, France. She holds both a Bachelor of Arts and a Master of Fine Arts degree from Howard University. At Howard University she studied under David C. Driskell.[1] She has taught at Howard University, Cornell and Yale, has served as an artist-in-residence, a panelist, visiting artist, lecturer/instructor and curator in universities, galleries and art schools both in the United States and internationally. She has exhibited at the National Gallery of Art, the Corcoran Gallery of Art, Women's Museum, Montclair Art Museum, Baltimore Museum of Art, Herbert F. Johnson Museum of Art at Cornell University, The Phillips Collection, Heckscher Museum of Art, and the Mary McLeod Bethune Memorial Museum and National Archives for Black Women's History [1]. Her works have been shown in Chile, the Netherlands, Ethiopia, Australia, the Bahamas, France, Mexico, Italy and Japan.Visit Sylvia's new exhibition 'M Street on White' until 28th October 2023 in London at Edel Assanti: https://edelassanti.com/exhibitions/118-sylvia-snowden-m-street-on-white/Follow Sylvia's galleries @EdelAssanti and @ParraschHeijnen Hosted on Acast. See acast.com/privacy for more information.

Buzz Spector is an acclaimed artist, educator, and critical writer. He has had shows in galleries and museums including the Art Institute of Chicago, Los Angeles County Museum of Art, the Corcoran Gallery of Art in Washington D.C., and recently in the St. Louis Museum of Art. As an undergraduate he began the student run literary magazine "Grassroots" which is still published today. Buzz recently retired from his position as Dean of the College & Graduate School of Art at Washington University.

Will Pappenheimer is a Brooklyn based artist and educator working in new media, performance and installation. His current work explores the collage of the virtual and physical worlds in the recent mediums of augmented or mixed reality and artificial intelligence. He was a founding member of the augmented reality (AR) collective, Manifest.AR, formed in 2011, which pioneered interventionist projects worldwide. His projects and performances have been shown internationally at Whitney Museum of American Art, the New Museum and the Moving Image Art Fair in New York; LACMA and Fringe Exhibitions, Los Angeles; MOMA and Bitforms Gallery in San Francisco; Stedelijk Museum in Amsterdam; FACT, Liverpool, UK; Contemporary Istanbul Art Fair, Istanbul; the ICA, CyberArts Gallery and the Museum of Fine Arts in Boston; the Corcoran Gallery of Art in Washington. He recently debuted a solo show of new at the Alpha Gallery in Boston. His works have been reviewed in the Whitney Museum curator, Christiane Paulʼs historical editions of “Digital Art,” Art in America, New York Times, Hyperallergic.org, WIRED, the Boston Globe, and EL PAIS, Madrid. Beacon Hands : for Emma Lazarus, 2022, Will Pappenheimer with choreography by Freya Björg Olafson, an animated AR alternative monument for the statue of Bavaria, in Munich, GDR for public installations #MakeUsVisible x denkFEmale Munich GDR organized by the XREnsemble #65 Flooded and Moldy Rooms After Artists: After Isa Genzken, 2023-07-21 09.31.53, artificial intelligence text prompt image generation, Instagram digital image, inkjet print 40” x 40”, alternatively signed “noOne” to indicate collective and auto-computational processes of authorship Mirrored Lines Painter, Will Pappenheimer, 2021+, Custom Augmented Reality, AR app on IPad Pro, performance documentation still at the :iidrr Gallery for the “404error” show, curated by Natasha Chuk June 16 – July 16, 2023

What you'll learn in this episode:   How art history and jewelry history interact How Jan's experience as a historian helped her write her first book, and what she learned from self-publishing Why sweetheart jewelry became popular during World War II, and why few people today know what it is How Jan draws on her theater background to connect with and educate museum goers How museum education and jewelry history developed into their own fields   About Jan Krulick-Belin   Jan Krulick-Belin, a museum and art consultant and art and jewelry historian, has more than forty years of experience at such institutions as the Corcoran Gallery of Art, Denver Art Museum, Beaumont (Texas) Art Museum, and Smithsonian Institution. Retired as director of education at the Phoenix Art Museum, she still works with museums, art organizations, and private collectors and served as guest curator at the Sylvia Plotkin Judaica Museum, Phoenix.   Additional Resources  Facebook: www.facebook.com/JanKrulick Website: www.jankrulick.com Amazon: www.amazon.com/author/jankrulickbelin Twitter: @JanKrulickBooks   Photos Available on TheJewelryJourney.com    Transcript As an art and jewelry historian and museum educator, Jan Krulick-Belin was uniquely qualified to follow the surprising journey she went on to write her first book, “Love, Bill: Finding my Father Through Letters from World War II.” Bringing together her knowledge of World War II-era culture and  her research skills, writing the book was a labor of love. She joined the Jewelry Journey Podcast to talk about her tips for self-publishing; what sweetheart jewelry is and why it became so popular during World War II; and what it was like to be at the forefront of the museum education field. 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 head to TheJewelryJourney.com.    One of the eternal questions is whether one has to be a jewelry historian to appreciate the background of jewelry. Do you have to be a jeweler to appreciate jewelry? My guest, Jan Krulick-Belin, can answer all our questions. Welcome back.    Jan: I've had people come up to me and show me stuff they've had, that their mothers or grandmothers or aunts had and left, and they didn't know what it was. I said, “Well, that's a piece of sweetheart jewelry.” They had no idea what it was. DUPLICATION OF END OF PART ONE.   Sharon: That's interesting. Is it a more contemporary thing? Do they call it sweetheart jewelry?   Jan: It is still known as sweetheart. There are a handful of books that have been written. Off the top of my head, I can't remember some of the authors, but there are not very many. I've seen people who will do lectures or write about jewelry from different periods of the 20th century. They will mention it during the 1940s. They will talk a little bit about sweetheart jewelry and jewelry made during the war.    In terms of writing books just on sweetheart jewelry, there are very few out there, but if you go to a bunch of different sources and learn about what was happening in the fashion world during the war, that will come up. You'll learn about rationing and the War Bureau and all their rules and regulations. It was interesting that Marcus of Nieman Marcus was actually head of the War Production Board and came up with all these rationing roles for fashion. If you start delving into different areas, you'll be able to pick up little bits and pieces and put it together.   Sharon: That's interesting. People don't know what it is. The other thing that interested me when I was reading about you was the fact that you were in only the third museum education class.   Jan: Yeah, I know. I feel ancient. I was in the class of 1978—that gives it all away, doesn't it?—in grad school. It was the very first program of its kind in the country where you got a master's degree in museum education. It was started by the professor I referred to, Dr. Marcella Brenner, who was an incredible woman. She was in the education field, but she married Morris Louis, who was an important abstract-expressionist artist. So, she was part of the art world, and she noticed that in museums, there was a lot of stuff going on that wasn't very helpful to the general visitor.    Usually, people who developed materials or wrote the labels on the walls came from an academic or scholarly curatorial background. A lot of what they wrote was for their peers and the general public didn't understand it. She felt that there needed to be a combination of people who are familiar with art—or whatever museum you'd go work in, because it was a multidisciplinary program, whether you worked in a science museum or a history museum. But the illness was the same no matter what museum you'd go to, and she felt it was important to teach people not just the background of the field and the type of museum they wanted to go into, but to understand how people learn in a museum setting and how to teach and how to communicate. She developed this program at George Washington University in the education department, and I was in the third graduating class of that program. We were newbies and the field was just forming.    I had a couple of mentors, one who I worked with in Denver and who I consider the first generation of museum educators. I'm stuck in the second generation of museum educators because we came along and solidified certain things within the field that really made it a field. My goal was to work with curators and other museum professionals, even designers, and help them understand how people go through a museum, understand what happens and how to communicate without patronizing. I think that's the fine line. You don't want to talk down to people. My goal is to teach people how to look, what to look at. We're born to see, but we're not born knowing how to look carefully or knowing what to look for or what to look at. I think that notion carries through into my art history as well as my jewelry history. It's getting people to look and think based on what they see and getting them curious enough to go further with the information.    Sharon: Do you find that you teach adults differently in looking? If they have a piece of jewelry, does an adult look at it differently?   Jan: I think there's definitely a difference between teaching adults and children, especially in a museum setting. Just as if you were a teacher of any subject, you're either an elementary school teacher or not. I feel more comfortable talking to high schoolers or adults. I think adults like more information. As part of my jobs over the years, I was always in charge of training the docents or the volunteer guides to work with school groups or adult groups.    I can tell you in evaluations, I overheard a lot of things I would cringe at. When you've got a group of fifth graders and somebody's sitting there lecturing nonstop about the history of X, Y, Z, and it was related to the surrealist movement, these kids don't know that. You start with what they see. Describe what they're looking at and ask, “What do you think this might be about?” or “How are you reacting to this?” I found, particularly in an art museum setting—and I think a little bit in the jewelry world too—quite often, if people don't have the background, you have to start where people are. You have to very slowly give information and be very careful explaining any new terms.    One of my minors as an undergraduate was also theater, so when I worked with children in a museum setting, I incorporated a lot of theater. It wasn't unusual for me. Everybody used to think it was unusual, crazy, whatever. I would teach whole art history classes in period costume. We created things we called art carts, which were trunks for the fashion and costume collection. In the Beaumont Museum, I had a huge armoire with things hanging in it and different samples of textiles so people could see and touch and feel. That's the opening; being dramatic. When I was in Denver, I also got a big National Endowment for the Humanities grant to teach art history classes to kids in the galleries using real objects. Again, I conned a lot of my professor friends at Denver University to come in costume and teach as if they were a historical figure. I think adults like that too. I think they're a little taken aback at first, but who doesn't enjoy something like that? I think they all love theater a little bit.    As far as jewelry, I don't know that I've ever worked with kids in talking about jewelry. It wasn't part of what I was doing back then, and I haven't worked with kids very much in the last 20 years or so. All of my teaching is with adults, but I think you have to start where they are, find out what they know. I think kids—and, believe me, a lot of adults; you'd be surprised—don't have those hooks that some of us take for granted, like understanding the stories of the Bible or knowing basic history. All those things come into play when you're talking about art history or jewelry history or any kind of history. People just don't have that knowledge base anymore. You sometimes really have to start from the ground level and figure out what your audience knows and then go from there.    Sharon: From the jewelry history you have taught, from when you taught kids, would you say that boys say “Yuck” to a heart and a girl might be attracted?   Jan: Maybe. Again, I've never had that experience. Anytime you're teaching any audience, you have to find the hook you think will make sense. We used to laugh when you're working with kids in school because the grosser you can get, the better you get to the boys. It's sort of the same thing. If you're showing them a diamond brooch—and I'm pulling this out of thin air since I've never had to do this—you ask, “Where do you think these things come from?” and you can talk about how diamonds are formed. You can get excited and scientific about it in a simple way, then you can get them hooked. Or you say, “Do you know that men used to wear more jewelry than women?” You just go where you think you will grab them. That's with any audience, but you have to think quick on your feet with kids to figure out what's going to catch their attention. That's why I used to use theater a lot, because they can't ignore you when you're dressed in a Victorian corset with a long dress and you're talking about Victorian paintings or the wild west or cowboy art. You go with what you've got.   Sharon: What made you decide to go into this area? I would have been a little hesitant to go into such a new area.   Jan: It was interesting. As an art history major, when I graduated as an undergraduate, I wasn't sure what I wanted to do next. I knew I didn't want to pursue and get into the Ph.D. track. I'm more of a people person and not a lone researcher. I really didn't know what my options were. I tried to apply for internships around the country at art museums. I always felt very comfortable growing up in New York City. Going into an art museum was something we did. I didn't get any internships, except I did get one finally. It was an offer from the Smithsonian, but it was from the Department of Performing Arts. They noticed that I also had a theater degree, a minor. So, that's how it started.   I was working for a wonderful woman who was really encouraging me. That was 1976, and it was the Festival of American Folklife on the Mall in D.C. It was big; it was a bicentennial year. This was normally a two-week folklife festival that happened every summer, but this was now all summer. We were talking, and she asked me, “What do you want to do?” and I said, “I have no idea once this is over.” She said, “Well, I know a couple of people who are starting this new graduate program over at GW, and it sounds like everything you've done. You were a camp counselor. You like to be around kids. You love theater. You love art. This sounds up your alley.”    I had no idea what museum education was, nor did most people, actually, and I wasn't ready to go to grad school. Then, after a year of knocking around and not being able to find a decent job, I applied, and there you go. It's funny how things happen. I don't say it was an accident because maybe I was on a path. I know that was the path I was on, but it was just something new, and it fit. When I started looking into the program, it was just the right amount of time where I could finish a degree, and I was already living in Washington, D.C. at that point, so it was perfect.    Sharon: Based on all that and from everything you've told us, what is your favorite period of jewelry?   Jan: That's a tough one. I'm an equal opportunity jewelry lover, everything from fine to vintage and costume. I do have a soft spot for Art Deco jewelry. I do like that, but coming from my background as a museum educator, I wasn't supposed to specialize in one period because I had to work with every exhibition that came along. I had to be a fast study and cram. I had to be a good generalist, and I had to be knowledgeable enough so I could communicate with curators in their areas of specialty so they would respect my body of knowledge. I think I've always felt like I needed to be knowledgeable about every area.    I get to specialize when I do a particular lecture. That's when I can do a deep dive: when I'm preparing a talk in a specific jewelry area. I like all different time periods for different reasons, but it's probably the one I just finished researching.   Sharon: You wrote that if you have another book, you'll be able to rectify the mistakes you made in the first one.   Jan: I didn't know how you even begin writing a book and how you go about getting it published and all of that. I've learned a lot since then, believe me; the good, the bad and the ugly, and all the little things. I didn't know you're supposed to find the endorsements for the back of your book even before it goes to the designer, or even making decisions about what color paper or what font. I had to know all the practical sides of publishing and making a book happen strictly because I self-publish, but with a company I worked with to make it all happen. I didn't know how important social media was, which I never wanted to get involved with. That was a lot of the learning curve.    I had to be more knowledgeable about how to go about picking the people to work with because I literally went in blind. I just didn't know. I went to one conference locally when I thought about putting this into a book. I made notes, and fortunately I found a local lawyer who was a copyright attorney. He helped me deal with that. Now, I know all that stuff, which is probably a bad thing because I know enough that I don't know if I want to go through this again. It's hard. It's really hard. I don't care what people tell you. If you go with a traditional publisher, there are goods and bads. If you go with self-publishing, there are goods and bads. I always said, when things started happening, I just wanted to write a book; that's all I wanted. I was like, “I've got to jump through these hurdles and hoops.”    I had a bad experience with the first publisher of my book, and it was very painful. Fortunately, now it's back out there with a different publisher, but it was a hard lesson to learn when your publisher goes AWOL and takes all your digital files and scams you out of all your royalties for two years. It's ugly. I'm not the only person this has ever happened to, I'm sure, but it kind of burns you. I think that's why when people say, “Are you going to write a new book?” I was hesitant to answer. I just don't know if after all that, I wanted to go through anything like that again. But hopefully I've learned. I know more people and I can reach out to more people to put me on a different path than what I went on last time.    Sharon: It sounds like a very interesting subject. I don't know about writing a whole book.   Jan: You're lucky.    Sharon: I'm anxious to read it. Besides the diamonds, do you have anything else rolling around? What else do you have?   Jan: I think the reason the book got written is because it was such an emotional, important, personal story. It was cathartic for me to go through this and work out the emotions I've had for my entire life, growing up without a father and knowing so little about who he was. When I finished that—I laugh because literally, the book wasn't even hot off the press when people started asking, “What's your next book?” It's like, “Can I please enjoy this one? It's taken five-and-a-half years out of my life, from not even thinking I'd write a book to getting it to the editor, thank you very much.” I always said if I wrote another one, the idea and the need to write it would have to be as gripping for me.    Like I said earlier, I knew with first book that I couldn't stop my brain from racing at two in the morning. I would have these ideas, and these thoughts and sentences would pop into my head. I would have organizational ideas in the middle of the night and they wouldn't let me go. So, that would have to happen if I'm going to write another book. It has to be needing to come out. I have to get excited about it and I have to be invested in it. I'm getting closer. It depends on what's happening in my life.    I'm still lecturing and doing things like that, but I've done a bunch of research trips. I have a couple more planned than I probably need to do, just to fill in my head. The hard thing is I'm thinking of a jewelry historical fiction. I'm not a fiction writer. I'm a non-fiction writer. I'm a historian. Trying to figure out how I can blend the history side of me and the truths with a little bit of fiction and make it all work, that's why I'm struggling so much moving past where I am right now. I'm not sure how to do this. I know a wonderful, exciting history about this particular diamond. I know who owned it from one point to the last point we know it existed. It's filling in the before and the after and the middle. How do you do all that?    I haven't had another idea that's as compelling to me. I think this particular diamond has been on my mind since the very first jewelry history lecture I've ever written. I can't let it go. It's stuck to me and I can't shake it off. That's why, if it's another book, it probably will have to be this one, because it's the only thing I can't shake off.    Sharon: It sounds very interesting. I want to thank you for being with us today. We really appreciate it.   Jan: My pleasure.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   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:   How art history and jewelry history interact How Jan's experience as a historian helped her write her first book, and what she learned from self-publishing Why sweetheart jewelry became popular during World War II, and why few people today know what it is How Jan draws on her theater background to connect with and educate museum goers How museum education and jewelry history developed into their own fields   About Jan Krulick-Belin   Jan Krulick-Belin, a museum and art consultant and art and jewelry historian, has more than forty years of experience at such institutions as the Corcoran Gallery of Art, Denver Art Museum, Beaumont (Texas) Art Museum, and Smithsonian Institution. Retired as director of education at the Phoenix Art Museum, she still works with museums, art organizations, and private collectors and served as guest curator at the Sylvia Plotkin Judaica Museum, Phoenix.   Additional Resources  Facebook: www.facebook.com/JanKrulick Website: www.jankrulick.com Amazon: www.amazon.com/author/jankrulickbelin Twitter: @JanKrulickBooks   Photos Available on TheJewelryJourney.com    Transcript As an art and jewelry historian and museum educator, Jan Krulick-Belin was uniquely qualified to follow the surprising journey she went on to write her first book, “Love, Bill: Finding my Father Through Letters from World War II.” Bringing together her knowledge of World War II-era culture and  her research skills, writing the book was a labor of love. She joined the Jewelry Journey Podcast to talk about her tips for self-publishing; what sweetheart jewelry is and why it became so popular during World War II; and what it was like to be at the forefront of the museum education field. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    One of the eternal questions is whether one has to be a jewelry historian to appreciate the background of jewelry. Do you have to be a jeweler to appreciate jewelry? My guest, Jan Krulick-Belin, can answer all our questions. She is an independent museum educator and a jewelry historian. She is also the author of a book called “Love, Bill: Finding my Father Through Letters from World War II.” She most likely would not have been able to diligently research or write the book without being a historian. Being a historian was important to her becoming a museum educator, jewelry historian and an author. She'll weave the pieces for us together in today's jewelry journey. Jan, welcome to the podcast.   Jan: Thanks, Sharon. It's great to be with you again.   Sharon: I'm glad you could make it this time. I know you've been traveling all over the world. Every year, you go somewhere exotic and wonderful.   Jan: We try.   Sharon: I know you came back from the Netherlands for the Vermeer exhibit.   Jan: The Johannes Vermeer exhibition, which was a once-in-a-lifetime exhibit that was amazing to have been able to bring together. I think it was 28 of the 36 or 37 known or attributed works by Johannes Vermeer. There will never be anything like it again, so I was happy to go. I'm also very fascinated by Dutch painting and have actually lectured on jewelry in Dutch paintings.   Sharon: Were you able to learn anything this time around?   Jan: I had the opportunity, as I said, to see a lot of his paintings together in one place, side by side, and I had the luxury to really look at them longer than most other opportunities. I think the way they did the exhibition, they encouraged looking. There was no audio guide. You weren't allowed to go through on a tour. There was very little labeling. It was all about looking carefully. To me, looking is part of learning.   Sharon: As a jewelry historian and an art historian, which one was more important in this exhibit?   Jan: Probably the art historian part of it comes first because I think the focus of the exhibition was to understand this artist's work, what made it different than other work at the same time period during the Dutch Golden Age. What was his focus? His interest in light? His interest in painting about love and relationships and religion or nonreligion? His interest in optics? All of those things came into play in understanding his work. I think the art history brain was working a little harder than the jewelry history brain.   Sharon: Do you think of art history as your vocation or your avocation, and jewelry history as an avocation?   Jan: That's a good one. I'm trained academically as an art historian and a museum educator. That is what I spent most of my professional career doing. Jewelry history, as a field, came a little bit later, almost towards the end of my formal work in the museum setting. It was something I've always been interested in and attracted to. My mother loved jewelry. As a little girl, I can always remember diving into her jewelry drawers when she wasn't paying attention. The attraction to jewelry has always been there.   In the last few years, working my last job as education direction at the Phoenix Art Museum, the museum did fundraisers every year which involved an art and antique show. That's where I met some important people in the jewelry business who had booths there. In conversation with them, they told me about a program that was run every summer back east called Jewelry Camp. I think Sharon could smile because that's where we first met. I decided that when I stopped working full-time, I would take the opportunity and attend. That was the beginning of diving into this offshoot of art history.    It's all related. Art history involves not only paintings and sculptures, but the decorative arts. Jewelry is one of those decorative art forms, and I think they go hand-in-hand. It was an avocation at first, but now I'm lecturing in both, so I guess it's now become a vocation. It's gone around full circle.    Sharon: Do you think that once you write a book on jewelry and jewelry history, it will become more of a vocation?   Jan: Oh gosh, that's a good question. The book you mentioned, my first and only book, had absolutely nothing to do with either one of these two things. People kept saying, “What's your next book?” and I thought, “Oh, God.” It was such a process getting one book out that I thought, “That's it,” but I have been playing around with an idea. I've been doing research towards it. I'm not sure yet if I'll ever bring it to fruition, but it does relate to art history and jewelry history, so it's more in my wheelhouse. It's more of an art historical, jewelry historical fiction. We'll see how it turns out. It is based on an actual diamond that existed and disappeared shortly before World War II, when it was stolen in Paris. I'm playing with the idea. Maybe finally I can bring in all the things I've done professionally and for fun into my writing.   Sharon: That's a fascinating book. I can't wait to read it. It sounds like an interesting subject. You talked about the fact that you couldn't have written the first book you wrote, “Love Bill.” You went through all your father's—who you never met, who died when you were six.   Jan: Six, yes.   Sharon: How did being a historian play into that?   Jan: Number one, for the audience members who aren't familiar with the book, being a historian and understanding basic research skills and diving into primary source documents and that type of thing was necessary. It never started out as a book. I joke about it when I speak to groups; I'm kind of an accidental author.    My dad did die when I was only six years old. A year or so before my mother passed, she mentioned that she had saved all the love letters he had written her from World War II and that she had been saving them for me. That was an interesting occurrence in and of itself because my mom hardly ever talked about my father growing up. I don't know if it was grief or if she didn't want to get into it. As I wandered down this lengthy path of family and family secrets, there were things she did not want me to find out about. Obviously, had I read all the letters in her presence before she passed, the questions and answers that she didn't want to talk about probably would have had to come out. She gave me the letters when we were moving her into assisted living, and she made me promise I wouldn't read them until after she was gone. It took about another five years for me to gather up the courage and the emotional want to sift through the letters.    It really started out as a journey of understanding who my father was. The more I got into it, my interest in visiting all the places he was stationed during the war grew, as well as my interest in trying to track down a very close friend he made while he was stationed in Morocco in North Africa at the very beginning of the Americans' involvement in the war. I had all these crazy ideas of, “Oh, I'm going to find this man and his family,” blah, blah, blah. As I was going on this actual journey and doing the research to try to find this person and to learn more about my father's time in the army and all of that—research, as I said—I was telling people the story. As the events were getting more and more interesting and crazy and incidental and miraculous, everybody was telling me what a great book it would be.    It's all fun when people tell you, “Oh, you should write a book. It's the easiest thing in the world to sit down and do.” In my professional career, I've done lots of writing, but not a book. I started warming to the idea. I have two nieces who are very special to me. They obviously never met their grandfather, and I decided it would be something I would do and give them a little bit of their legacy, as well as finally understanding my own legacy more. So, it did turn into a book and learning about that world and how you go about self-publishing and marketing and all of that. That was a whole new world for me. I always say now I divide my life into my author, World War II journey, and the other is my art and jewelry history world.   Sharon: You talked about something that I would have done if I had been writing this book, and that is putting it down and saying, “I can't do it. Forget it.”   Jan: I can be a wonderful procrastinator. I think there is that element in all of us. In this time period, the journey began when I stopped working full time in the museum world. I was picking up projects and doing consulting. When somebody asked me to do a project, it was much easier to say yes to that because that was familiar, and then I could push the book aside. But after a number of years of constantly pushing it aside, every time I went back to it, I noticed that I'd lose my train of thought and my voice would change, and the author's voice is so important in writing a book. So, I finally said, “O.K., that's it. I'm not going to take any new projects. I'm going to do it,” and that's what I did.    It's like anything else. It's a discipline. I literally sat down at my desk in the morning, just like I was going to work, from 8:30 or 9 in the morning until 5. I said, “O.K., if I get a page today, great. If I get 10 or 15 pages, even better.” That's what people were telling me in the author world. A lot of writers I was meeting at author groups I got involved with here in the Phoenix area, they said you just push, and it's not easy.   I do remember I had a wonderful professor in graduate school who actually was the founder of the museum education program at George Washington University, which I attended. One time I said to her, “This is hard,” when she gave a writing assignment. She goes, “Why did you ever think writing was easy?” It was like, “Boom!” It was a revelation to me. I just assumed that people who sat down and wrote books and articles and doctoral theses and all of that, they could just whip it out. It's not like that. I was able to take a deep breath and go, “O.K., that's what editors are for, so just do the best you can.” That's what I did. I just pushed through.   Sharon: I remember when we first met, we were having breakfast and you told us about the idea for the book. I thought, “Oh, yeah, when I see it, I'll believe it,” and you've written the book.   Jan: Yeah, it took a few years from the time we first met, but as I said, I just decided to do it at one point. You realize when you're up in the middle of the night and you can't shut off your brain and you have all these ideas going. It wouldn't let me go.    In a way, I feel like my dad was sitting on my shoulder. The one thing I learned about him in working on the project was that he always wanted to be a writer himself. His dream was to own a bookstore. There's this little part of me who felt like he was a part of the process. He was there guiding me. So many strange and wonderful things happened during that whole journey. I felt like he was there opening doors for me, things that were coincidental or almost miraculous, the things that would happen. I followed that path and those signposts until I finally had this finished project. It was exciting. Of all the things I've accomplished in my whole career at all levels, I think I'm proudest that I've published a book and it's done well in terms of critical review.   Sharon: I give you a lot of credit.    Jan: Thank you.   Sharon: Do you think that's related to your interest in sweetheart jewelry? First, explain what that is, then, does that have a connection?   Jan: The idea of sweetheart jewelry really started during World War I, but by World War II, it became a full-blown thing. During World War II, a lot of precious materials and metals and things like that were rationed for the war effort, things like pearls and crystals and rhinestones and diamonds. All of these things were unavailable due to the war and shortages, and there were enemy countries we couldn't trade with anymore for some of those raw materials.    So, there was a new type of jewelry. Women's clothing was rationed. Women were wearing very simple, very straight, very—shall we say—boring clothing during the war, and they felt that they needed to glam it up and jazz it up a bit. The type of jewelry that became very popular was whimsical and made with fun materials like plastics, Bakelite, wood, metals, fabrics, textiles. They were also buying and making and designing things with patriotic imagery. It was part of boosting morale in this country during the war. It was a way to lift your own spirits and look a little more glamorous or more fun in your dress. A lot of these things, because they were fairly inexpensive, were sold to raise money for the war effort. On the flip side, you could buy things here in the States, but GIs overseas were also able to pick up things that would say, “My sweetheart,” or “Mom,” those kinds for things, for the women in their lives back home.    It's a really interesting type of jewelry. This time period was short-lived in a way, but it said a lot about who we were in America during the war and how we felt and what we thought about those servicemen overseas. Some of them are really fun. Maybe a GI would buy a pin for his girlfriend, and it was a picture of a soldier with a heart that would say, “I'm taken,” just to remind men who were left behind in the States that she's got somebody overseas. There are some wonderful themes. You'll see a lot of “V for Victory” pins.    So, it was something I started learning about. My very first piece of sweetheart jewelry I found was actually by accident. I didn't know what it was. It turned out it was what I now know is called a MacArthur Heart. It was a pin that actually wound up on the cover of Life Magazine. It was a large heart with a keyhole, and it was suspended from a skeleton key. It was red Bakelite, and as I said, it wound up on a model on the cover of Life Magazine in the early 40s. They said, “General MacArthur holds the key to our future and the key to our hearts and minds.”    I found it at a flea market; I didn't know what it was. Someone at Jewelry Camp said, “Hey, that thing is really important. Do you know what it is?” I said, “A heart? I don't know.” That's what happened. So, I started looking it up, and I was fascinated by this whole area of jewelry. I have really started collecting it. Once I got involved in working on my dad's story and on the book, I was even more into all things World War II. It was like two parts of my world and my life coming together in one thing, which was an interesting occurrence. I still collect it. Each of the different branches of the armed services had their own, even including the women's armed services divisions. They each had their own type of sweetheart jewelry, and I've collected a lot. Dad was in the Army Air Corps, so I do focus a lot on Army Air Corps-related sweetheart jewelry, but other stuff as well if it is interesting or fun or something I don't have already.   Sharon: Do you find that, since most people don't know what it is, you find it at flea markets or antique stores?   Jan: All of the above. Once eBay came along, you can find a lot of things on eBay that required you to hunt in flea markets and antique malls and antique stores. A lot of people don't know what they are, so quite often if I scan a case and see one, I will educate the person who has the booth because they don't know what it is. You can find it anywhere else you'd go look for antique jewelry.    Sweetheart jewelry was also made by some of the high-end houses. Cartier is known for making a handful of very famous sweetheart jewels that they designed and sold around the war. Again, fine materials were difficult to come by, but when France was occupied by Germany, Cartier did a very subversive brooch called the Caged Bird Brooch. It is a little bird in a cage, and the colors of the stones on the bird were red, white and blue, the colors of the French flag. When France was liberated, they developed what they called the Freed Bird Brooch, which is the cage door swung open and the bird looks like it's about to come out. Tiffany made some wonderful pieces as well. Gips did a great bracelet. They also made cuffs that had gold and silver stars on them.    We know during the war and still to this day, we talk about a gold star family. During the war, you would fly a banner in your window. You would have a blue star on the banner for each service person in your family overseas or serving in the armed services. A silver star would mean somebody was wounded in action, and a gold star meant you lost somebody who was killed in action. So, Tiffany made a cuff bracelet with gold stars on it. It wasn't only the cheaper variety and costume jewelry, but that was more prevalent and much more pervasive during this time period.    Sharon: Did people know what they were buying?   Jan: Oh, yes. It was definitely a conscious decision. As I said, it was a way to support the war effort. It was a way to show the pride you had if you had a loved one in the service overseas. As I said, the GIs were able to buy this stuff. There was a lot of stuff being sold at canteens on the bases, particularly in the Pacific theater. There was a lot of mother-of-pearl jewelry that would say “Mother” on it or “Sweetheart.” There was wooden stuff or even trench art. Soldiers were making jewelry from artillery shells or whatever things they could get their hands on and sending them back home just send their love and say, “I'm here. I'm O.K. We're doing our part.” It was very common knowledge then; not so much now.   Sharon: Now, people don't know what it is.   Jan: I have a lecture on it because it is something that people are very interested in once you start telling them about it. I've had people come up to me and show me stuff they've had, that their mothers or grandmothers or aunts had and left, and they didn't know what it was. I said, “Well, that's a piece of sweetheart jewelry.” They had no idea what it was.    Sharon: That's interesting. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Arthur joins me! His site is here: https://www.arthurkwonlee.com/about The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Orders for new book here: https://jaysanalysis.com/product/meta-narratives-essays-on-philosophy-symbolism-new-jay-dyer-book-pre-orders/ Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Follow me on R0kfin here: https://rokfin.com/jaydyer Use JAY50 promo code here https://choq.com for huge discounts - 50% off! Set up recurring Choq subscription with the discount code JAY53LIFE for 53% off no Arthur Kwon Lee is the most canceled fine artist in the world. Prior to Lee's controversial cancellation, his paintings have won awards from George Washington University, the Korean Artists Association, the Corcoran Gallery of Art and the inaugural title of 'Artist of the Year' by the Eileen Kaminsky Family Foundation. Often regarded as the Artist of the Manosphere or the counterculture painter, Lee's hasty success in the NYC art industry was abruptly halted after his public stance against radical Leftism and his declaration of Christian art as the peak of aesthetic culture in the West. Prior to developing his passion for painting, Lee was a Division One athlete who placed in the US Tae Kwon Do Nationals for three consecutive years and continues to deliver this martial intensity into his dynamic style. The resulting compositions attest to an artist who uses his entire body to paint symbolically evocative works that contain oblique references to our definitions on masculinity, aesthetics and reverence. Luminous colors, gestural expressionism, and philosophical acumen bring a refreshing sentiment to the one-sided art industry that draws our sometimes compartmentalized and fractured times into a synthetic, representative whole. In a time when the mainstream narrative is shamelessly mocking the religion of Christ, Lee has currently launched a powerful Biblical Series of epic proportions titled From Creation to Resurrection—twelve large-scale, visually stunning paintings to revitalize Christianity. Upon its completion, Arthur will be embarking on a visual exhibition tour across our country specifically targeting the most woke and degenerate cities to walk further into the belly of the beast.

Mimi Carter has taken a career in politics, nonprofits, and agency to create a new normal in consulting that marries purpose with profit. She has a deep background in both nonprofit and corporate comms, as well as the ability to scale projects, work with teams and drive to goal when it comes to client mission. She has run and reorganized the PR and digital communications offices of some of the largest nonprofits in DC, such as The Corcoran Gallery of Art, The Epilepsy Foundation of America, and others, but as a PR agency leader, has also led the nonprofit and corporate accounts for organizations like The Brady Campaign to Prevent Gun Violence, Mastercard Foundation, CenturyLink and more. Her favorite projects involve making the complex clear, the unseen seen, and creating campaigns that create value among stakeholders and shareholders, both emotionally and financially. But best of all, she's a super-connector. She runs a network of 6000 people called DC Communicators, which continues to attract some of the most influential names in both nonprofit and for-profit comms - from Politico, Illy, and the WNBA to the Red Cross, United Nations, and The Guggenheim. Her favorite topics are purpose and impact communications to create a sense of belonging with the reality of profit. Learn more about Mimi here Shout-out: Today's Diversity Leader Shout-out goes to Lisa Borders Independent Director | “Enlightened” Podcast Host | Strategic Advisor | Keynote Speaker | DEI Advocate | Former WNBA President Music: Vente by Mamá Patxanga is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License Amor Y Felicidad by SONGO 21 is licensed under a Attribution-NonCommercial-ShareAlike 3.0 International License --- Send in a voice message: https://podcasters.spotify.com/pod/show/si-suite/message

Mimi Carter has taken a career in politics, nonprofits, and agency to create a new normal in consulting that marries purpose with profit. She has a deep background in both nonprofit and corporate comms, as well as the ability to scale projects, work with teams and drive to goal when it comes to client mission. She has run and reorganized the PR and digital communications offices of some of the largest nonprofits in DC, such as The Corcoran Gallery of Art, The Epilepsy Foundation of America, and others, but as a PR agency leader, has also led the nonprofit and corporate accounts for organizations like The Brady Campaign to Prevent Gun Violence, Mastercard Foundation, CenturyLink and more. Her favorite projects involve making the complex clear, the unseen seen, and creating campaigns that create value among stakeholders and shareholders, both emotionally and financially. But best of all, she's a super-connector. She runs a network of 6000 people called DC Communicators, which continues to attract some of the most influential names in both nonprofit and for-profit comms - from Politico, Illy, and the WNBA to the Red Cross, United Nations, and The Guggenheim. Her favorite topics are purpose and impact communications to create a sense of belonging with the reality of profit. Learn more about Mimi here Shout-out: Today's Diversity Leader Shout-out goes to Lisa Borders Independent Director | “Enlightened” Podcast Host | Strategic Advisor | Keynote Speaker | DEI Advocate | Former WNBA President Music: Vente by Mamá Patxanga is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License Amor Y Felicidad by SONGO 21 is licensed under a Attribution-NonCommercial-ShareAlike 3.0 International License --- Send in a voice message: https://podcasters.spotify.com/pod/show/si-suite/message

John sits down with the very talented Arthur Kwon Lee to talk about beauty, art, and culture. About Arthur (from his website): Arthur Kwon Lee is an American painter whose gestural mark making harmonizes expressive color palettes with world mythologies and religious icons. His work has won awards from George Washington University, the Korean Artists Association, the Corcoran Gallery of Art and most recently the inaugural title of 'Artist of the Year' by the Eileen Kaminsky Family Foundation. Lee draws inspiration from a broad range of sources including the Jungian archetypes, Christianity, and his lifelong commitment to martial arts. See Arthur's work here: https://www.arthurkwonlee.com/ Does the deep immersive experience interest you? You should consider becoming a Vanguard Field Worker for Mozambique! Check out our Join FTF page: https://first-things.org/opportunities for more info, or email Daniel at danielpadrnos@first-things.org Become a Monthly Donor and join our Podcourse - https://first-things.org/donateFor all the updates join our Telegram channel: https://t.me/firstthingsfoundationAnd you should definitely check out Keipi Restaurant

Synopsis On today's date in 1928, the Danish composer Carl Nielsen conducted the first public performance of his new Clarinet Concerto in Copenhagen. “The clarinet,” said Nielsen, “can, at one and the same time seem utterly hysterical, gentle as balsam, or as screechy as a streetcar on badly greased rails.” Nielsen set himself the task of covering that whole range of the instrument's conflicting emotions and colors. He wrote it for a Danish clarinetist he admired named Aage Oxenvad, who played both the public premiere on today's date and a private reading a few weeks earlier. After the private performance Oxenvad is supposed to have muttered: “Nielsen must be able to play the clarinet himself — otherwise he would hardly have been able to find all the instrument's WORST notes.” The concerto's wild mood-swings puzzled audiences in 1928, but today it's regarded as one of Nielsen's most original works. In October of 1996, another Clarinet Concerto received its premiere when American composer John Adams conducted the first performance of his work Gnarly Buttons with soloist Michael Collins. This concerto contains a bittersweet tribute to Adams' father, a clarinetist who fell victim to Alzheimer's disease. In Adams' concerto, the swing tunes slide into dementia, but the concerto ends with a kind of benediction. Music Played in Today's Program Carl Nielsen (1865-1931) Clarinet Concerto, Op. 57 Kjell-Inge Stevennson, clarinet; Danish Radio Symphony; Herbert Blomstedt, cond. EMI 69758 John Adams (b. 1947) Gnarly Buttons Michael Collins, clarinet; London Sinfonietta; John Adams, cond. Nonesuch 79453 On This Day Births 1882 - Canadian-born American composer R. Nathaniel Dett, in Drummondsville, Ontario; Deaths 1896 - Austrian composer Anton Bruckner, age 72, in Vienna; Premieres 1727 - Handel: "Coronation Anthems," in London at Westminster Abbey during the coronation of King George II and Queen Caroline (Gregorian date: Oct. 22); 1830 - Chopin: Piano Concerto No. 1 in E minor, in Warsaw, composer as soloist; 1928 - Nielsen: Clarient Concerto, at a public concert in Copenhagen, with the composer conducting and Aage Ozenvad the soloist; This concert had been given a private performance in Humlebaek on September 14, 1928); 1947 - Prokofiev: Symphony No. 6, by Leningrad Philharmonic, Yevgeny Mravinsky conducting; 1952 - Prokofiev: Symphony No. 7, by Moscow Philharmonic, Samuil Samosud conducting; 1953 - Messiaen: "Réveil des oiseaux," in Donaueschingen, Germany; 1955 - B.A. Zimmermann: "Nobody Knows de Trouble I See" for Trumpet and Orchestra, in Hamburg, by the North German Radio Orchestra conducted by Ernest Bour, with Adolf Scherbaum the soloist; 1962 - Carlisle Floyd: opera "The Passion on Jonathan Wader," by the New York City Opera; 1977 - Bernstein: "Songfest," "Three Mediations from 'Mass,'" and "Slava!" by the National Symphony, conducted by the composer ("Songfest" and "Meditations"‚ and Mstislav Rostropovich ("Slava!"); Rostropovich was also the cello soloist in the "'Meditations"; 1980 - Bernstein: "A Musical Toast ( A Fanfare in Memory of André Kostelanetz)" by the New York Philharmonic conducted by Zubin Mehta; 1980 - Zemlinksy: opera "Der Traumgörge" (Goerge the Dreamer), posthumously, in Nuremberg at the Opernhaus (This opera was written in 1906); 1985 - John Harbison: String Quartet No. 1, at the Corcoran Gallery in Washington, D.C., by the Cleveland Quartet. 1985 - Michael Torke: “Vanada” for brass, keyboards and percussion, at the Concertgebouw Chamber Hall in Amsterdam, by the Asko Ensemble, Lukas Vis conducting. Links and Resources On Carl Nielsen On John Adams

Mr. Arthur Kwon Lee, Resident Artist at the McLean Project for the Arts, discusses the role of moral relativism and ideological subversion by artists and galleries in the contemporary mass media culture. This event took place at The Institute of World Politics on August 10, 2022. About the Speaker: Arthur Kwon Lee is a Korean American painter whose gestural mark making harmonizes expressive color palettes with world mythologies. His work has won awards from George Washington University, the Korean Artists Association, the Corcoran Gallery of Art and most recently the inaugural title of ‘Artist of the Year' by the Eileen Kaminsky Family Foundation. Lee draws inspiration from a broad range of sources including Jungian psychoanalysis, local religious traditions, and his lifelong commitment to martial arts. Prior to developing a love for painting, Lee was a Division One athlete who placed in the US Tae Kwon Do Nationals for three consecutive years. Lee has carried this martial intensity into his artwork where it translated into large-scale works and a diversity of dynamic brushstrokes. The resulting compositions attest to an artist who uses his entire body to paint symbolically evocative works that contain oblique references to archetypal myths from around the world. Luminous colors, gestural expressionism, and philosophical acumen bring a refreshing sentiment to art that draws our sometimes compartmentalized and fractured times into a synthetic, representative whole. IWP Admissions: https://www.iwp.edu/admissions/ Support IWP: https://interland3.donorperfect.net/weblink/WebLink.aspx?name=E231090&id=18

https://www.teresaoaxaca.com Teresa Oaxaca is an American born artist based currently in Washington D.C. She is a full time painter whose works can be seen in collections and galleries throughout the US and internationally. Her talent has been recognized and rewarded by museums and institutions such as the American Museum of the Cowboy, The former Corcoran Gallery of Art, The Art Renewal Center, The Elisabeth Greenshields Foundation, the Posey Foundation, and The Portrait Society of America and the Museu Europeu D'Art Modern in Barcelona. Her training includes a four-year diploma at the Angel Academy of Art (Florence Italy, Graduate studies at the Florence Academy, an Apprenticeship with Odd Nerdrum in Norway, and studies at the Art League of Alexandria VA where she trained with Robert Liberace, Paul Lucchesi, and took many other courses. Currently she teaches workshops around the United States and in Europe. In addition to her studio work she takes a variety of portrait commissions including Family Portraiture, Professional/Business, Custom and Informal arrangements. She exhibits widely and sells her work on a regular basis. She also recently founded a fashion company called “House Of Oaxaca”, selling wares online at www.houseofoaxaca.com Within Washington D.C. she has participated with local groups such as The Esperanza Education Fund, The Arts Club Of Washington, The Art League School in Alexandria, VA and the National Education Association. In 2014 she became a member of the Young Partners Circle of The National Museum of Women In The Arts. She is also a registered member of the National Art Education Association (NAEA) and an Ambassador for the newly established Da Vinci Initiative, which designs and promotes skill-based learning and lesson plans for US K-12 public school educators. She is also a member of the Arts Club of Washington and the California Arts Club. "Since returning to the Washington D.C. area I have been focusing on creating a new and large body of work. My new series have taken me away from academic studies to more elaborate compositions which combine human and still life elements. In addition to this I now take on portrait commissions, and continue my studies in art by observing and copying the painting of the Old Masters in art galleries throughout the world. My work is about pleasing the eye. I paint light and the way it falls. Simple observation reveals beauty; often it is found in the unconventional. Because of this I have learned to take particular delight in unusual pairings of subject matter. Frequently my compositions are spontaneous. When a person comes to me, they occupy a space my mind. Arrangements form from there until with excitement I see and have the idea. The design is both planned and subconscious. For this reason I surround myself with Victorian and Baroque costume, bones, and other things which I find fascinating- I want subject matter to always be at hand. My paintings are created with oil paint on canvas. I am conscious of the traditional craftsmanship I have attained in Florence. While my interest in new pigments and tools may cause minor alterations in my materials, these really remain fundamentally the same. All my evolution is taking place on the canvas and in my head; in what I see in nature and interpret in two dimensions on the picture plan. I have the fundamentals of design to work with when planning a painting. I make preparatory studies. I use multiple layers to build an illusion of light and form. When this illusion is convincing and to my taste, the painting is done." -Teresa

https://www.teresaoaxaca.com Teresa Oaxaca is an American born artist based currently in Washington D.C. She is a full time painter whose works can be seen in collections and galleries throughout the US and internationally. Her talent has been recognized and rewarded by museums and institutions such as the American Museum of the Cowboy, The former Corcoran Gallery of Art, The Art Renewal Center, The Elisabeth Greenshields Foundation, the Posey Foundation, and The Portrait Society of America and the Museu Europeu D'Art Modern in Barcelona. Her training includes a four-year diploma at the Angel Academy of Art (Florence Italy, Graduate studies at the Florence Academy, an Apprenticeship with Odd Nerdrum in Norway, and studies at the Art League of Alexandria VA where she trained with Robert Liberace, Paul Lucchesi, and took many other courses. Currently she teaches workshops around the United States and in Europe. In addition to her studio work she takes a variety of portrait commissions including Family Portraiture, Professional/Business, Custom and Informal arrangements. She exhibits widely and sells her work on a regular basis. She also recently founded a fashion company called “House Of Oaxaca”, selling wares online at www.houseofoaxaca.com Within Washington D.C. she has participated with local groups such as The Esperanza Education Fund, The Arts Club Of Washington, The Art League School in Alexandria, VA and the National Education Association. In 2014 she became a member of the Young Partners Circle of The National Museum of Women In The Arts. She is also a registered member of the National Art Education Association (NAEA) and an Ambassador for the newly established Da Vinci Initiative, which designs and promotes skill-based learning and lesson plans for US K-12 public school educators. She is also a member of the Arts Club of Washington and the California Arts Club.

Nami Oshiro is an artist based in the DC-Metro area. She makes drawings, paintings, and comics. Her work plays with everyday absurdities experienced by people with unique relationships with societal constructs like race and gender. Viewers have described her art as "trippy," "unsettling," "nihilistic," and "very upsetting to my friend Daniel." ​ She was born to Okinawan parents in California, was raised in Florida and Virginia, and now works in Washington DC. She went to the Corcoran College of Art + Design, where she received a Bachelor of Fine Art in Fine Art in 2012. ​ Oshiro's work has been exhibited in spaces throughout the DC-Metro area, including the Corcoran Gallery of Art, Area 405, Pepco Edison Place Gallery, and more. Her first professionally-published comic book is scheduled to come out in 2022. When not focused on her own work, she teaches art to children in DC's Ward 7 community and coordinates gallery exhibitions of artwork created by youth artists from marginalized communities. https://www.namioshiro.com/ Instagram: nami_oshiro --- 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/creative-habits/message Support this podcast: https://anchor.fm/creative-habits/support

This episode was originally broadcast in June 2009. John Beardsley is a Senior Lecturer in the department of Landscape Architecture at the Harvard Graduate School of Design. He teaches courses in Landscape Architectural history, theory and writing. Concurrently, he serves as Director of Garden and Landscape Studies at Dumbarton Oaks in Washington DC. John has authored numerous books including the well-recognized EarthWorks and Beyond: Contemporary Art in the Landscape. In addition to teaching and writing, he has curated exhibitions for the Hirshhorn Museum, Corcoran Gallery of Art in Washington, the Museum of Fine Arts in Houston and The Spoleto Festival in Charleston. In Terragrams 19, John discusses how his interest in Land Art was born, his project Dirtywork, the Quilts of Gee's Bend, landscape strategies infiltrating from the outside, and his role as a teacher, curator and historian. This show employs visual chapters that update the show art to provide illustrations relevant to the ongoing onversation. If your podcast client does not support this, you can view the chapter art and their sources at this episode's webpage.

ABOUT THE AUTHOR WILLIAM DUNLAP is an artist, writer, arts advocate and commentator with a career spanning more than four decades. His paintings, sculpture, drawings and constructions are included in public and private collections, including the Metropolitan Museum of Art, The National Gallery of Art, Mississippi Museum of Art, Corcoran Gallery of Art, the Ogden Museum of Southern Art, Lauren Rogers Museum, Mobil Corporation, Riggs Bank, IBM Corporation, Federal Express, The Equitable Collection, Arkansas Art Center, the United States State Department, the U. S. Federal Reserve, and United States Embassies throughout the world. He is the author of SHORT MEAN FICTION: Words and Pictures, a collection of short stories with drawings, Nautilus Publishing, 2016, as well as LYING AND MAKING A LIVING.  ABOUT THE BOOKS - SHORT MEAN FICTION Like tales from the Old Testament, these stories are mean, rampant with sex, violence, and death. All are figments of an active, if not fertile, imagination, and brevity may be their greatest charm. They are fictions through and through. The drawings scattered throughout this volume are not illustrations, but live in the same place the sketchbooks where Dunlap first wrote the stories, forgot them, then found them again. LYING AND MAKING A LIVING Lying and Making a Living picks up where Short Mean Fiction leaves off. It contains more of the irreverent, hard-hitting, exhilarating, ironic, and emblematic prose we've come to expect from Dunlap, whose language is something of a Southern birthright and whose characters are defined by their notorious deeds.. 

Eric Fleischauer is a Chicago-based artist whose projects engage the histories of media culture to examine technology's nuanced influences and forgotten genealogies.  Working across various mediums, fleischauer utilizes conceptually-driven production strategies to make work that can be read as an aestheticized form of media theory and criticism. His work has been exhibited at the MCA Chicago, Interstate Projects (NYC), Corcoran Gallery of Art, the Kunstmuseum Bonn, and discussed in Artforum, The Washington Post, Afterimage Journal, and rhizome.org. Currently he is an Associate Professor, Adjunct at the School of the Art Institute of Chicago.   Universal Paramount, 2010, digital image, dimensions variable homeland security, 2020, staples on paper, xerox print, 11" x 14" twohundredfiftysixcolors (preface) 2013 from eric fleischauer on Vimeo.  

Jane Pek reads an excerpt from her story “Portrait of Two Young Ladies in White and Green Robes (Unidentified Artist, Circa Sixteenth Century)," backed by an original Storybound remix with Daniel Frankhuizen, and sound design and arrangement by Jude Brewer. Jane Pek was born and grew up in Singapore, and now lives in New York. She has a BA in History from Yale University, a JD from the New York University School of Law, and an MFA from Brooklyn College. Her short fiction has been anthologized in "The Best American Short Stories," and her debut novel, "The Verifiers," is forthcoming from Vintage/Knopf in February 2022. Daniel Frankhuizen has performed throughout the United States and abroad as a soloist, chamber musician, and in several pop groups. He has performed in venues from Alice Tully Hall and Carnegie Hall, to the Corcoran Gallery of Art, and Storm King Art Center. He has served as principal cellist for the Empire Chamber Orchestra and Opera in the Ozarks Festival Orchestra. Daniel is also a founding member of the Orvieto Piano Trio, a group that over the last ten years, has performed classical piano trio literature throughout the United States, Canada, and Italy. Support Storybound by supporting our sponsors: Chanel's J12 watch is continuing to revolutionize watches. Learn more about the J12 watch at Chanel.com. Norton brings you Michael Lewis' The Premonition: A Pandemic Story, a nonfiction thriller that pits a band of medical visionaries against a wall of ignorance as the COVID-19 pandemic looms. Scribd combines the latest technology with the best human minds to recommend content that you'll love. Go to try.scribd.com/storybound to get 60 days of Scribd for free. Finding You is an inspirational romantic drama full of heart and humor about finding the strength to be true to oneself. Now playing only in theaters. Acorn.tv is the largest commercial free British streaming service with hundreds of exclusive shows from around the world. Try acorn.tv for free for 30 days by going to acorn.tv and using promo code Storybound. Storybound is hosted by Jude Brewer and brought to you by The Podglomerate and Lit Hub Radio. Let us know what you think of the show on Instagram and Twitter @storyboundpod. *** This show is a part of the Podglomerate network, a company that produces, distributes, and monetizes podcasts. We encourage you to visit the website and sign up for our newsletter for more information about our shows, launches, and events. For more information on how The Podglomerate treats data, please see our Privacy Policy.  Since you're listening to Storybound, you might enjoy reading, writing, and storytelling. We'd like to suggest you also try the History of Literature or Book Dreams. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer / filmmaker, Gillian Laub, talk about the patience needed to let a certain type of project take shape.  Gillian discusses her HBO Documentary, Southern Rites, and explains why still photography alone was not enough to tell that story, and she reveals the importance of trusting her editor in the book making process and making hard cuts to beloved images. This is an incredibly warm and cozy talk between two old friends who share lots of thoughts and feelings with one another and, of course,  the listeners.  http://www.gillianlaub.com http://www.southernritesproject.com Gillian Laub (b.1975, Chappaqua, New York) is a photographer and filmmaker based in New York. She graduated from the University of Wisconsin-Madison with a degree in comparative literature before studying photography at the International Center of Photography, where her love of visual storytelling and family narratives began. Laub spent over a decade working in Georgia exploring issues of lingering racism in the American South. This work became Laub’s first feature length, directed and produced, documentary film, Southern Rites that premiered on HBO.  Her monograph, Southern Rites (Damiani, 2015) and travelling exhibition by the same title came out in conjunction with the film and are being used for an educational outreach campaign, in schools and institutions across the country. Southern Rites was named one of the best photo books by TIME, Smithsonian, Vogue, LensCulture, and American Photo. It was also nominated for a Lucie award and Humanitas award. Laub recently recieved the Distinguished Alumni Award from the University of Wisconsin-Madison and was honored as a NYSCA/NYFA Photography Fellow in 2019. Laub has been interviewed on NPR, CNN, MSNBC, Good Morning America, Times Talks and numerous others.  Laub contributes to many publications including TIME , The New York Times Magazine and Vanity Fair. Laub’s work has been widely collected and exhibited, and is included in the collects of the Harvard Art Museums, Cambridge MA; Museum of Fine Arts, Houston; Terrana Collection, Boston; Jewish Museum. New York; Rose Art Museum, Brandeis University; Brooklyn Museum, New York; Corcoran Gallery of Art, Washington DC (now American University Museum Collection in Washington, DC), and a wide range of corporate and private collections.

I've been trying to practice gratitude this year to fight against the fear and toxicity that's felt overwhelming at times. So, I decided to make a special, extended Thanksgiving episode to share this idea with you. I chose works from former episodes by Richard Norris Brooke, Bartolomé Esteban Murillo, and Aelbert Cuyp that reflect some aspect of family, generosity, or forgiveness that really resonates. I hope they help you to also step back and find balance in remembering the good things. SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode artwork Photo by 30daysreplay Marketingberatung on Unsplash. Photo composition by Karen Jackson. A Pastoral VisitTheme is “Which That Is This” by Doctor Turtle. Gallery entry https://www.nga.gov/collection/art-object-page.166432.html#overview Richard Norris Brooke and William Corcoran information Corcoran Gallery of Art: American Paintings to 1945 (PDF) The Prodigal SonTheme is “Adagio in G minor” composed by Tomaso Albinoni/Remo Giazotto and performed by Noh Donghwan Gallery entry https://www.nga.gov/collection/art-object-page.34956.html Joseph Bonaparte info NY times https://www.nytimes.com/2008/10/26/nyregion/new-jersey/26bonapartenj.html River Landscape with CowsEpisode theme is Sonata No. 15 in D Major Pastoral, Op. 28 – I. Allegro composed by Ludwig van Beethoven performed by Paul Pitman Arthur K. Wheelock Jr., “Aelbert Cuyp/River Landscape with Cows/1645/1650,” Dutch Paintings of the Seventeenth Century, NGA Online Editions. https://www.nga.gov/collection/art-object-page.69390.html#entry Wheelock video: https://www.nga.gov/collection/art-object-page.69390.html#relatedpages Paintings in the Dutch Golden Age (PDF) The post The Thanksgiving Episode appeared first on A Long Look.

Based in Washington, DC, Katherine Tzu-Lan Mann creates work in her studio and in public space. She has held various residencies and fellowships, including a Fulbright grant to Taiwan and Arts and Humanities grant in DC. She has exhibited at the Walters Art Museum, Corcoran Gallery of Art, Rawls Museum, US Consulate in Dubai, A.I.R. and many more galleries. I spoke with Katherine about how she started doing public art, the three most influential people for her, and what it’s like to be a mom and an artist. Show Notes: http://distillcreative.com/blog/10/26/katherine-tzu-lan-mann-on-paper-landscapes-and-building-an-art-career-ep-09Follow First Coat on Instagram: @firstcoatpodcastFollow First Coat on Twitter: @firstcoatpodFollow First Coat on Facebook: https://www.facebook.com/FirstCoatPodcastSubscribe to our YouTubeChannelLearn more about Distill Creative’s services for real estate developers.Are you an artist? Sign up for our Distill Directory and you’ll be considered for art commissions and future projects.Support the show (https://www.patreon.com/firstcoat)

Episode No. 464 of The Modern Art Notes Podcast features artist Torkwase Dyson and historian Dennis Reed. The New Orleans Museum of Art is showing "Torkwase Dyson: Black Compositional Thought, 15 Paintings for the Plantationocene," a series of works made for the museum. These new paintings were inspired by Dyson's interest in the systems that underlay water delivery, energy infrastructure and by the physical impacts of climate change. Through this and other work, Dyson investigates the legacy of agriculture enabled by slave economies and its relationship to the environmental and infrastructural issues of the present, a relationship known as the “plantationocene.” The exhibition is on view through December 31, 2020. Dyson is an artist-in-residence at the Wexner Center for the Arts at The Ohio State University. She is preparing work that will be included in "Climate Changing: On Artists, Institutions, and the Social Environment," which is scheduled to debut at the Wexner on January 30, 2021. Dyson's previous solo museum exhibitions have been at the Arthur Ross Architecture Gallery at Columbia University, at the Irwin S. Chanin School of Architecture at Cooper Union, at the Colby College Museum of Art, The Drawing Center, Eyebeam, and more. Her work is in the permanent collections of the Smith College Museum of Art, the Smithsonian National Museum of African American History & Culture, and the Studio Museum in Harlem. On the second segment, historian and curator Dennis Reed discusses the J. Paul Getty Museum's acquisition of 79 pictures made by Japanese-American photographers between 1919 and 1940. Reed's collection and the Getty's acquisition of it is a result of 35 years of work Reed and his students at Los Angeles Valley College did to learn about Japanese-American photographers who made work before the war. Reed and his students built a list of 186 names from photography catalogues at UCLA's Charles E. Young Research Library and painstakingly cold-called the photographers and their relatives in an effort to build knowledge related to an art-making community that was disappeared by the illegal American internment of Japanese-Americans. Reed's collection -- which includes the only surviving work by several of the artists -- has been exhibited in venues such as the Whitney Museum of American Art in New York, and the Corcoran Gallery of Art in Washington. The Getty, which remains closed due to the pandemic, will be exhibiting work from the acquisition at a date to be announced. In addition to the images below, the Getty and Google created this slideshow.

Laurel Farrin is a mixed-media artist and painter, and holds a BFA from Ohio University-Athens and an MFA from the University of Maryland. She was an artist-in-residence at the Roswell Museum and Art Center, Roswell, NM; Yaddo, and the Millay Colony for the Arts, both in New York; and the Virginia Center for the Creative Arts. Exhibitions include Lesley Heller Gallery; NY, NY; Hallwalls, Buffalo, NY; The Bronx River Art Center; The Albany International Airport; Carroll Square Gallery, Wash. DC; Roswell Museum and Art Center; the Des Moines (Iowa) Art Center; the Florida Center for Contemporary Art in Tampa; Spaces in Cleveland, Ohio; Anton Gallery; the Corcoran Gallery of Art and Washington Project for the Arts, in Washington, D.C.

What comes to mind when you think of the phrase, “Taking up space?” Does your mind go to something large and inviting or intimidating and serious? Too often the idea of “Taking up space” has been reserved for negative connotations - what if we flipped the script? This week’s guest focuses a lot of her time in the studio creating large-scale oil paintings and is no stranger to the idea of “Taking up space.”  My guest is the talented and charming artist, Teresa Oaxaca. Teresa is an American born artist based currently in Washington D.C. She is a full-time painter whose works can be seen in collections and galleries throughout the US and internationally. Teresa’s talent has been recognized and rewarded by museums and institutions such as the American Museum of the Cowboy, The former Corcoran Gallery of Art, The Art Renewal Center, The Elisabeth Greenshields Foundation, the Posey Foundation, and The Portrait Society of America and the Museu Europeu D’Art Modern in Barcelona. I can’t wait for you to jump in and get to know Teresa - she has some powerful insights that you don’t want to miss!  It’s OK to take up space On your journey as an artist, you can likely recall those who have built you up and encouraged you along the way - are their voices as strong in your mind as those who were quick to critique? Let’s face it, as artists, it can feel like we have to constantly justify why we matter and why creating art is so important. While that feeling is real - you don’t have to follow it!  Here’s the thing, you can take up space - you have a right to be here as much as anyone else does. Don’t let anyone make you feel small or make you feel like your art has to “Fit” in a certain box. One of the many reasons why I invited Teresa to join me to talk about her experience as an artist is due to her powerful and bold example. Teresa isn’t afraid to take up space with her paintings - literally - her artwork is made to “Take up space.” What can you learn from Teresa’s engaging story? Have you learned that it’s OK to take up space?  Finding your “Voice”  When did you find your “Voice” as an artist? Did you find it as you finished art school? Are you still looking for it? Finding your voice is one of those things that you can’t really teach - you can help, nudge, and encourage but you can’t really lead someone to find their “Voice.”  While studying in a four-year program at the Angel Academy of Art, Teresa started to grow as an artist and as a businessperson. Before long, Teresa had found a way to sell her art and pay her tuition as she finished college. Still, through all this success, Teresa had a challenging time finding her voice - and that sounds like most of us! Success doesn’t always lead to a clear path forward and that’s OK. When advising artists who are just getting started, Teresa encourages them to avoid posting their work online or even allowing anyone to critique it - you need time to find your voice on your own! Outline of This Episode [0:55] I welcome my guest, Teresa Oaxaca. [3:30] Getting lost in Florence.  [5:00] Teresa describes her artwork.  [8:30] What inspires Teresa? Where does she get her ideas from?  [12:30] How Teresa’s process has changed over the years.  [19:30] Finding your own “Voice.”  [26:15] How long do Teresa’s paintings take to complete?  [33:00] Teresa explains how she uses her portrait in her artwork.  [38:30] When and how does Teresa varnish her artwork?  [43:40] How did Teresa get started selling her art?  [49:30] Book recommendations from Teresa.  [54:20] Advice for artists getting started.  [1:00:20] Dealing with doubt.  Other artists mentioned on this episode Leonardo da Vinci  Caravaggio  Rembrandt Scott Conary John Singer Sargent  George Frederic Watts Resources Mentioned on this episode Teresa Oaxaca - artist website  How to Win Friends & Influence People The Agony and the Ecstasy Connect With Antrese On Facebook On Pinterest On Instagram On Twitter

November 3 – December 17, 2014Kathleen O. Ellis GalleryGallery Talk: Thursday, November 13, 5pmReception: Thursday, November 13, 5-7pmLight Work is pleased to announce Where Objects Fall Away, an exhibition spanning the career of photographer and book artist Raymond Meeks, exploring his relationship to the photobook and its form.lg.ht/WhereObjectsFallAway—In the words of artist and publisher Raymond Meeks, “I continue to be inspired by collaboration with writers of poetry and short fiction and the merging of visual and word narratives. Recently, I’ve focused my efforts towards making artist books and a collaborative journal, orchard, which presents a visual conversation with fellow artists.” Meeks has collaborated with artists Deborah Luster, Wes Mills, and Mark Steinmetz. His books and pictures are housed in numerous public and private collections, including the Bibliotheque Nationale, Paris, George Eastman House, Corcoran Gallery of Art, and the Howard Stein Collection.raymondmeeks.comorchardjournal.com—Special thanks to Marcia Dupratmarciaduprat.comSpecial thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

January 16 – March 2, 2018Kathleen O. Ellis GalleryGallery Talk: Thursday, February 1, 6pmReception: Thursday, February 1, 5-7pmLight Work is pleased to present Land of Epic Battles a solo exhibition of prints by Philadelphia-based artist Justyna Badach. Land of Epic Battles features Badach’s new series of large, hand-made dichromate prints, made using film stills from ISIS training videos. For a year she experimented with darkroom techniques before discovering a 19th-century process that would allow her to use gunpowder as a pigment. The resulting incendiary prints initially look like antiquated documentation of Middle Eastern sites and landscapes. The texture of the heavy-weight watercolor paper needed for this process adds a layer of abstraction more akin to the language of drawing and painting than photography. Rather than using images of carnage and gore, for which ISIS videos are infamous, Badach’s edit reveals a vast, enduring, and majestic landscape that dwarfs the players in the conflict and exposes the futility of war.Land of Epic Battles continues Badach’s ongoing interest in male culture and the machismo of Hollywood films and media. As a child, Badach emigrated from Poland and learned to speak English by watching American TV. Fascinated by the deeply coded American cinema, she later created Epic Film Stills, a project that explored how classic Westerns such as Wyatt Earp and Young Guns glorify the violence of American colonialism. In this series, Epic Film Stills, she focuses on the landscape, which echoes the romanticized version of Manifest Destiny and its violent ideology that she first recognized in American Westerns and which may, in turn, be the lens through which most Americans make sense of Middle Eastern terrorism. In describing this body of work Badach states:“My work examines the transmutation of history and repackaging of violence through appropriation and re-contextualization of images derived from films created for a male audience. Land of Epic Battles focuses on the hyper-masculine world of ISIS recruitment videos that have grown out of the social and cultural voids that mark this moment in time.”Besides armored vehicles, the black ISIS flag, artillery, and explosives, each ISIS cell includes a media-savvy creative, equipped with video camera, microphones, laptop, and Final Cut Pro, who carefully documents the destruction wrought by this cell and disseminates this material on encrypted websites and YouTube. Reality TV, DIY citizen-journalism, and video games (specifically Grand Theft Auto) have clearly inspired these works. ISIS videographers carefully edit the action with rousing music and linger in slow motion over point-blank gunshots, beheadings, and crucifixions. Voice-overs promise a life of respect, power, comradery, and victory for young men who have been brutally marginalized and stripped of culture.lg.ht/LandofEpicBattles—Justyna Badach’s family arrived as refugees in the United States in 1980. She currently resides in Philadelphia, where she is an artist, educator, and museum professional. Her work has been exhibited extensively in the United States and abroad and is in the permanent collections of Cranbrook Art Museum, Portland Art Museum, Museet for Fotokunst Brandts, Odense, Denmark. Her artist book is in the Special Collection at the Rice University Library, Houston, TX, Temple University, Philadelphia, PA and Haverford College. Her work has been exhibited internationally, including; Queensland College of Art Griffith University in Brisbane, Art Wonderland Space in Copenhagen and the Temple of Hadrian in Rome to most notably in the US at the Corcoran Gallery, D.C., Portland Art Museum, James A. Michener Art Museum, Doylestown, PA, and Catherine Edelman Gallery, Chicago among others. Badach participated in the residency program at Light Work in 2012.justynabadach.com—Special thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "Sleepers" by Sergey CheremisinovMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

Transformer's co-Founder, Executive & Artistic Director Victoria Reis interviews DC based photographers Cynthia Connolly and Farrah Skeiky about their roles documenting DC's punk and DIY communities. This conversation responds to the exhibition Present Tense: DC punk and DIY, Right Now, Transformer's 17th Annual DC Artist Solo Exhibition, featuring photography by Farrah Skeiky. Present Tense is on view at Transformer January 18 – February 29, 2020. transformerdc.org Farrah Skeiky is a music and documentary photographer in Washington, DC. Raised in Seattle and later in the DC suburbs, Skeiky has been immersed in two regions known for significant contributions to underground music that have informed her work. She began photographing live music in 2008, and her role as a musician as well as a zine maker contribute significantly to her photographic perspective. Her work focuses primarily on punk, DIY, and drag communities. farrahskeiky.com Cynthia Connolly is a photographer, curator, letterpress printer and artist who lives in Arlington, Virginia. She graduated from both the Corcoran College of Art and Design, and Auburn University’s Rural Studio, worked for Dischord Records and booked an avant-garde performance venue, d.c. space. In 1988, she published Banned in DC: Photos and Anecdotes From the DC Punk Underground (79–86) through her independent press Sun Dog Propaganda. Internationally shown and a prolific artist, her photographic work, postcards and books were exhibited in Beautiful Losers in the United States and Europe from 2004–2009 establishing herself as a pioneer in DIY culture. Reviewed internationally, her photography is in many private collections, as well as The J. Paul Getty Museum, The National Museum of Women in the Arts, Smithsonian Museum of American History and the legacy collection of the Corcoran Gallery of Art. cynthiaconnolly.com. Powered and distributed by Simplecast.

A young person kneels before a crowd of one-percenters in this kaleidoscopic medieval scene. Meet Joan of Arc, one very tough teen. She's here to convince the exiled French court that she can save France from the British. No wonder they look skeptical! And just like Sodoma, we get to discover another artist, Louis Maurice Boutet de Monvel. He painted a series of six images about Joan's life for Senator William A. Clark that formerly hung in the Corcoran Gallery in Washington DC. See the artwork at https://alonglookpodcast.com/her-appeal-to-the-dauphin-by-louis-maurice-boutet-de-monvel/ SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode theme is “Our Story Begins” by Kevin MacLeod (https://incompetech.com). Courtesy of https://filmmusic.io License: CC BY (http://creativecommons.org/licenses/by/4.0/). Slow Art Day http://www.slowartday.com Joan information Cristen Conger “Why was cross-dressing the only crime Joan of Arc was charged with?” 2 February 2009. HowStuffWorks.com. https://history.howstuffworks.com/history-vs-myth/joan-of-arc-trial.htm 11 October 2019 https://www.biography.com/military-figure/joan-of-arc https://www.britannica.com/biography/Saint-Joan-of-Arc Joan of Arc: Her Image in France and America by Nora Heimann https://www.goodreads.com/book/show/98997.Joan_of_Arc Joan of Arc trial transcripts https://sourcebooks.fordham.edu/basis/joanofarc-trial.asp French medievalism and Clark commission https://soundcloud.com/nationalgalleryofart/boutet-de-monvels-jeanne-darc-from-print-to-paint https://soundcloud.com/nationalgalleryofart/the-passion-for-all-things-post-medieval-a-multimedia-perspective NGA Curatorial Records https://www.nga.gov/collection/curatorial-records-make-an-appointment.html The post Her Appeal to the Dauphin by Louis Maurice Boutet de Monvel appeared first on A Long Look.

HELEN WHITNEY, WRITER, DIRECTOR, PRODUCEREmmy and Peabody award-winning, film producer, director and writer Helen Whitney has been a prolific creator of documentaries and feature films. Her compelling subject matter has included topics such as youth gangs, presidential candidates, the McCarthy era, mental illness, Pope John Paul II, Great Britain’s class structure, homosexuality and photographer Richard Avedon. Among the actors she has worked with: Lindsay Crouse, Austin Pendleton, David Strathairn, Brenda Fricker, Teresa Wright, Estelle Parsons.Throughout her career, she has maintained a deep interest in spiritual journeys, which she first explored with her documentary The Monastery, a 90-minute ABC special, about the oldest Trappist community in the Americas. Whitney followed this film with a three-hour Frontline documentary for PBS, John Paul II: The Millennial Pope, and in 2007 she produced The Mormons, a four-hour PBS series that explored the richness, complexities and controversies surrounding the Mormon faith. Following the Sept. 11 attacks, she produced Faith and Doubt at Ground Zero, a two-hour documentary that examined how religious belief – and unbelief – of Americans was challenged and altered by the spiritual aftershocks of 9/11. The film has been repeated numerous times since it first aired in 2002, and it was a PBS featured presentation on the 1st and on the 10th anniversary of the attacks.One of Whitney’s recent works examines the power, limitations, and in rare cases, the dangers of forgiveness through emblematic stories ranging from personal betrayal to genocide. This film involved shooting throughout America, and such countries as South Africa, Germany, Rawanda, The three-hour series, Forgiveness: A time to Love and a Time to Hate, aired on PBS in 2011 and it also inspired Whitney to write a book of the same title, with a forward written by the Dalai Lama.The filmmaker has also received an Academy Award nomination, the Humanitas Prize, Emmys, two DuPont-Columbia Journalism Awards and many other recognitions for her work. She is a Woodrow Wilson Fellow, and has presented her films and lectured at universities, museums and churches around the country (including Yale, Princeton, Harvard, Brigham Young, Stanford, the National Cathedral, the Corcoran Gallery, the Minneapolis Art Institute). Into the Night: Portraits of Life and Death, a two-hour feature documentary, features fascinating, unexpected voices from various walks of life: old and young, believers and nonbelievers, the dying and the healthy, well known and obscure. Among them: Caitlin Doughty, an alternative mortician and bestselling author with her own YouTube following; Adam Frank, an astrophysicist and NPR commentator, Gabriel Byrne, renowned actor of stage and screen; Jim Crace, award-winning novelist and environmentalist; Max More, a cryonicist and futurist; Stephen Cave, a British philosopher; Phyllis Tickle, a near-death experience spokesperson and religious historian; Pastor Vernal Harris, a Baptist minister and advocate for hospice care in African-American communities; Jeffrey Piehler, a Mayo Clinic heart surgeon. However varied their backgrounds, all are unified by their uncommon eloquence and intelligence, and most important by their dramatic experience of death. Each of them has been shocked into an awareness of mortality–and they are forever changed. For them death is no longer an abstraction, far away in the future. Whether through a dire prognosis, the imminence of their own death, the loss of a loved one, a sudden epiphany, or a temperament born to question, these are people who have truly ‘awakened’ to their own mortality.Into the Night creates a safe smart place that allows people to talk about a subject of universal importance. It is the conversation we yearn to have, but too often turn away from in fear and distress. Yet our culture is at a critical turning point, driven in part by the baby boomer generation that is insisting on a new openness and on this deeper conversation. Our film speaks to this emerging movement with a novel approach meant to provoke searching conversations, both private and public.Ultimately the film is meant to raise questions, not to provide answers. How could it? Death is “that undiscovered country,” as Hamlet so famously described it, “from whose bourn/No traveler returns.”https://www.intothenightdoc.com See acast.com/privacy for privacy and opt-out information.

Lisa Bulawsky is an artist and printmaker known for her works on paper and temporary public projects. Recent exhibitions include the Bruno David Gallery, the Eleanor D. Wilson Museum, the Corcoran Gallery of Art, and the Miami Dade Public Library. Recent collaborative projects include Portable Memories in Rising Seas with Fifty-Fifty art collective and Oyster Boat, Volume 1 with Small Craft Advisory Press. Lisa is a Professor of Art in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis and is also the director of Island Press, a research-based printmaking workshop in the Sam Fox School. Lisa received her BA in Studio Art from the University of California, Santa Cruz and her MFA with honors from the University of Kansas. You can find Lisa and her work on Instagram and Artsy. The Doubt of Being (from the bottom up), 2019 Lisa Bulawsky Collage, monotype, and inkjet on Evolon 44” x 60” Portable Memories in Rising Seas, 2018 Sanger Gallery at The Studios of Key West. Fifty-Fifty art collective (Lisa Bulawsky and Laurencia Strauss) Installation view of exhibition and participatory event set-up including 18” x 24” inkjet prints on wall adapted from participants’ scratchboard drawings, screening area with chairs for film viewing, blank scratchboards, and archive books of all original scratchboards made at previous PMRS events. Not pictured: underwater video of artists sharing scratchboard drawing with fish.

In the late 1800s, it was common for families to have their pastor over for Sunday dinner. That's what Richard Norris Brooke is depicting in this cozy domestic scene. We'll find out what inspired him to document the lives of his African-Americans neighbors in Warrenton, Virginia and the story of the man who founded the first art museum in the country, The Corcoran Gallery. See the artwork at https://alonglookpodcast.com/a-pastoral-visit-by-richard-norris-brooke/ SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas https://youtu.be/jGEdNSNkZoo Episode theme is “Which That Is This” by Doctor Turtle https://doctorturtle.bandcamp.com/album/free-turtle-achive-everything-cc-by A Pastoral Visit information https://www.nga.gov/collection/art-object-page.166432.html#overview Richard Norris Brooke and William Corcoran information Corcoran Gallery of Art: American Paintings to 1945 (PDF) Slow Art Day http://www.slowartday.com The post A Pastoral Visit by Richard Norris Brooke appeared first on A Long Look.

Leslie Wayne was born in 1953 in Landstül, Germany to American parents and grew up in Southern California. She studied painting at the College of Creative Studies, UC Santa Barbara for two years before moving to Paris for a year, followed by five years in Israel. In 1982 she moved to New York and received her BFA with Honors in Sculpture from Parsons School of Design. Her signature abstract paintings are known for their highly dimensional surfaces of oil paint with strong references to geology. She is the recipient of numerous awards, including a fellowship from the John Simon Guggenheim Memorial Foundation, a Joan Mitchell Foundation Grant, a Pollock-Krasner Foundation Grant, 2 New York Foundation for the Arts Fellowships in Painting, a New York State Council on the Arts Projects Residency Grant, a Yaddo Artists Fellowship, a Buhl Foundation Award for abstract photography and an Adolph and Esther Gottlieb Foundation Grant. She has exhibited widely throughout the United States and abroad and her work is in the public collections of the Birmingham Museum of Art, Birmingham, AL; la Coleccion Jumex, Mexico City; Collezione Maramotti, Reggio Emilia, Italy; the Corcoran Gallery of Art, Washington DC; le Fondation Cartier pour l’art contemporain, Paris; the Cooper Hewitt Design Museum Smithsonian Library, NYC; The Miami Museum of Contemporary Art, FL; the Portland Museum of Art, Portland, OR; the Davis Museum of Art, Wellesley, MA; and the Neuberger Museum of Art, Purchase, NY, among others. In 2017 the MTA Arts and Design program in New York City commissioned her to create a window for the Bay Parkway Station on the Culver (F) line in Brooklyn, NY. She is a member and serves on the Board of the National Academy of Design. Wayne is represented by Jack Shainman Gallery and lives and works in New York City.

Najee Dorsey in conversation with Ulysses Marshall. Mr. Marshall was born in 1946 in Vienna, Georgia. He was educated at Albany State University in Albany, Georgia in sociology. He received his Bachelor's of Fine Arts degree from the Maryland Institute College of Arts in Baltimore. Furthermore, he went onto receive his Masters degree from Baltimore, Maryland. He is the receipient of the Distinguished Whitney Independent Study Fellowship, New York. He has also received the Phillip Morris Fellowship and several Maryland State Art Council Individual Artist Awards.Trained as a painter, Ulysses Marshall works principally in collage, paper doll and mixed media. His paintings have been featured in numerous solo and group exhibitions including; The Corcoran Gallery of Art, National Vietnam Veterans Museum, Woodmere Art Museum, John Heinz History Museum, Williams College, DeMenil Art Gallery and the Reginald F. Lewis Museum.His works are also included in both private and public collections, in additions to lecturing at Colleges and Universities; he has continued to conduct workshops for children. "My goal as an artist is to use these story tales as a tool for sharing the plight of the almost forgotten colored people. I wish to preserve the pride, dignity, courage, and survival of a people's journey from slavery to slave. A people whose lives have been bent, but not broken." SUBSCRIBE & LIKE for more podcasts #BAIAtalksPODCAST BLACK ART IN AMERICA™ (BAIA) is a leading online portal and network focused on African-American Art with visitors from over 100 countries visiting our site each month and about half a million visitors to our social media pages. Check out the resources below for more info. ** Resources ** Become a Patreon www.patreon.com/blackartinamerica Educational Resources blackartinamerica.com/index.php/educ…nal-resources/ FREE course on Getting Started Collecting Art tinyurl.com/startcollectingart Visit our Curated Shop shopbaiaonline.com/ Buy and Sell Black Art in our Marketplace buyblackart.com/ **Social** Facebook www.facebook.com/BlackArtInAmerica/ Instagram www.instagram.com/blackartinamerica_ Twitter twitter.com/baiaonline **Our Website** blackartinamerica.com/

Jan Krulick-Belin is an art consultant, museum curator and an art and jewelry historian with more than 40 years of experience at institutions, including the Corcoran Gallery of Art, Denver Art Museum, Beaumont (Texas) Art Museum and Smithsonian Institution. Retired as director of education at the Phoenix Art Museum, she continues to work with museums, arts organizations and private collectors, in addition to serving as guest curator at the Sylvia Plotkin Judaica Museum in Phoenix. Jan is the author of the award-winning book, "Love, Bill: Finding My Father through Letters from World War II." She lectures widely on a variety of art and jewelry topics, including talks about her book and on writing a memoir. Jan holds a Bachelor’s degree in Art History from the State University of New York, Binghamton and a Master’s degree in Museum Education from George Washington University. What you’ll learn in this episode: How Jan’s expertise in art history and jewelry came together. How context and culture play a huge role in art history. Why art museums are starting to become more integrated with art jewelry and the decorative arts, as well as the role museum educators plays in this. How sweetheart jewelry was made and why people bought it. How being an art historian helped Jan write her book, “Love, Bill: Finding My Father Through Letters From WWII.” Ways to contact Jan: Facebook: www.facebook.com/JanKrulick Website: www.jankrulick.com Amazon: www.amazon.com/author/jankrulickbelin Twitter: @JanKrulickBooks  

John Singer Sargent was famous for his high society portraits set in elegant rooms like this. Find out why he gave up what he called “a pimp's profession” and began painting just for his own pleasure, doing landscapes and scenes of his family. His niece Rose-Marie, pictured here, became one of his favorite subjects. Painted just before World War I, we also find out what happened to them after this peaceful afternoon. See the artwork at https://alonglookpodcast.com/nonchaloir-repose-john-singer-sargent/ SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas Episode theme is 3 Pieces composed by Lili Boulanger performed by  Pandora Selfridge. Courtesy of musopen.org Nonchaloir (Repose) information https://www.nga.gov/collection/art-object-page.35080.html https://www.nga.gov/audio-video/audio/repose-nonchaloir-sargent.html John Singer Sargent information https://www.nga.gov/collection/artist-info.1858.html Slow Art Day http://www.slowartday.com Recommended Reading: A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art: Volume 2, Painters Born from 1850 to 1910 (PDF 9.8 MB) American Paintings of the Nineteenth Century, Part II (PDF 91.2 MB) John Singer Sargent and His Muse by Karen Corsano and Daniel Williman The post Nonchaloir (Repose) – John Singer Sargent appeared first on A Long Look.

Long before the 1954 Supreme Court case that found ----separate but equal---- unconstitutional, black parents across the country tried to enroll their children in all-white public schools. In researching girlhood and race in the decades before the landmark Brown v. Board of Education case, historian Rachel Devlin discovered numerous stories about grassroots efforts to desegregate schools in the South, Midwest and in the District of Columbia. In most cases, the children who crossed the color line for the first time were girls or young women. In this episode of Roughly Speaking, Devlin talks about the brave girls who were in the vanguard of school integration after World War II. Devlin is an assistant professor of history at Rutgers University and author of, ----A Girl Stands At The Door: The Generation of Young Women Who Desegregated America's Schools,---- published earlier this year by Basic Books.Links:https://www.basicbooks.com/titles/rachel-devlin/a-girl-stands-at-the-door/9781541616653/(Image: AP Photo/Norman Rockwell Estate Licensing Company via the Corcoran Gallery )

Magnum legend David Alan Harvey was born in San Francisco in 1944 and raised in Virginia. He discovered photography at the age of eleven. Thereafter he purchased a used Leica with savings from his newspaper route and began photographing his family and neighborhood in 1956. When he was twenty, he lived with and documented the lives of a black family in Norfolk, Virginia, and the resulting book, Tell It Like It Is, was published in 1968 (and recently republished by Burn Books).  David was named Magazine Photographer of the Year by the National Press Photographers Association in 1978. He went on to shoot over forty essays for National Geographic magazine and has covered stories around the world, including projects on French teenagers, the Berlin Wall, Maya culture, Vietnam, Native Americans, Mexico, Naples, and Nairobi. He has published two major books based on his extensive work on the Spanish cultural migration into the Americas, Cuba and Divided Soul, and his book Living Proof (2007) deals with hip-hop culture. In 2011, David produced an award-winning book of his work from Rio De Janeiro entitled (based on a true story), which was highly acclaimed for both the photography and its innovative design by David's son, filmmaker Bryan Harvey. The entire creative process during the shoot was documented on the website theriobook.com, where for $1.99 you could (and still can!) effectively attend a virtual workshop to gain an invaluable insight into David's working practices and benefit from his many years of teaching and mentoring. His work has been exhibited at the Corcoran Gallery of Art, the Nikon Gallery, the Museum of Modern Art in New York, and the Virginia Museum of Fine Arts. Workshops, seminars and mentoring young photographers are an important part of his life. He is founder and editor of the award-winning Burn magazine, featuring iconic and emerging photographers in print and online. David joined Magnum photos as a nominee in 1993 and became a full member in 1997. He lives in The Outer Banks, North Carolina and New York City.

On the show this week my guest is Sarah Greenough, senior curator and head of the photography department at the National Gallery of Art in Washington, DC. I recently visited with her at the National Gallery to talk about her early love of photography, years spent researching the photographs of Alfred Stieglitz and organizing the exhibition, Looking In: Robert Frank's The Americans. Greenough also worked on two new shows at the National Gallery which are currently on view: Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker and Intersections: Photographs and Videos from the National Gallery of Art and the Corcoran Gallery of Art. This episode of the Halftone is sponsored by Haywire Press offering signed, deluxe and limited edition books by photo legend Lee Friedlander.

Born in San Francisco, David Alan Harvey was raised in Virginia. He discovered photography at the age of 11. Harvey purchased a used Leica with savings from his newspaper route and began photographing his family and neighborhood in 1956. When he was 20 he lived with and documented the lives of a black family living in Norfolk, Virginia, and the resulting book, Tell It Like It Is, was published in 1966. He was named Magazine Photographer of the Year by the National Press Photographers Association in 1978. Harvey went on to shoot over forty essays for National Geographic magazine. He has covered stories around the world, including projects on French teenagers, the Berlin Wall, Maya culture, Vietnam, Native Americans, Mexico and Naples, and a recent feature on Nairobi. He has published two major books, Cuba and Divided Soul, based on his extensive work on the Spanish cultural migration into the Americas, and his book Living Proof (2007) deals with hip-hop culture. His work has been exhibited at the Corcoran Gallery of Art, the Nikon Gallery, the Museum of Modern Art in New York, and the Virginia Museum of Fine Arts. Workshops and seminars are an important part of his life. Harvey is founder and editor of the award-winning Burn magazine, featuring iconic and emerging photographers in print and online. Harvey joined Magnum as a nominee in 1993 and became a full member in 1997. He lives in NC and NYC.   Resources: David Alan Harvey   Luc Delahaye   Carolyn Drake   Matt Black   Burn Magazine   Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Click here to download for   Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button.

James Bridle is a writer, artist, publisher and technologist usually based in London, UK. His work covers the intersection of literature, culture and the network. He has written for WIRED, ICON, Domus, Cabinet, the Atlantic and many other publications, and writes a regular column for the Observer newspaper on publishing and technology. In 2011, he coined the term “New Aesthetic”, and his ongoing research around this subject has been featured and discussed worldwide. His work, such as the Iraq War Historiography, an encyclopaedia of Wikipedia Changelogs, has been exhibited at galleries in the Europe, North and South America, Asia and Australia, and has been commissioned by organisations such as Artangel, Mu Eindhoven, and the Corcoran Gallery, Washington DC. Eleanor Saitta is a hacker, designer, artist and writer. She makes a living and a vocation of understanding how complex systems operate and redesigning them to work, or at least fail, better. Her work is transdisciplinary, using everything from... See acast.com/privacy for privacy and opt-out information.

Drew Cameron is a second-generation hand papermaker, trained forester and former Army soldier. He co-founded the Combat Paper Project and has been facilitating workshops with veterans and the community in which they transform military uniforms into handmade paper, prints, books and art since 2007. The portable workshop has reached thousands of people throughout the country in 29 states and more than 125 workshops. His work is represented in 33 public collections and has been shown numerous times including at the Corcoran Gallery, Courtauld Institute, Library of Congress, Museum of Contemporary Craft and Craft and Folk Art Museum among others. Combat Paper is now operating in four locations: New York, New Jersey, Nevada and California with open and ongoing programming. Drew is based in San Francisco at Shotwell Paper Mill and continues to practice papermaking, teach and encourage others to do the same. About Combat Paper Coming home from war is a difficult thing. There is often much to account for as a survivor. A new language must be developed in order to express the magnitude and variety of the collective effect. Hand papermaking is the language of Combat Paper. By working in communities directly affected by warfare and using the uniforms and artifacts from their experiences, a transformation occurs and our collective language is born. Through papermaking workshops, veterans use their uniforms worn in service to create works of art. The uniforms are cut up, beaten into a pulp and formed into sheets of paper. Participants use the transformative process of papermaking to reclaim their uniforms as art and express their experiences with the military. The Combat Paper Project is based in San Francisco, CA with affiliate paper mills in New Jersey, New York and Nevada. The project has traveled to Canada, England, Scotland, Northern Ireland and Kosovo providing workshops, exhibitions, performances and artists' talks. Combat Paper is made possible through the collaborative effort of artists, veterans, volunteers, colleges and universities, art collectors, cultural foundations, art spaces, military hospitals and installations. Through ongoing participation in the papermaking process, we are broadening the traditional narrative surrounding the military experience and warfare. The work also generates a much-needed conversation between veterans and civilians regarding our collective responsibilities and shared understanding in war. http://veteranpodcast.com/009

THOMAS ALLEN HARRIS joins me to talk about the National Broadcast of his work: THROUGH A LENS DARKLY: Black Photographers and the Emergence of a People. The Producer, Director Writer was raised in the Bronx and Dar-Es-Salaam, Tanzania. He is the founder and President Chimpanzee Productions, a company dedicated to producing unique audio-visual experiences that illuminate the Human Condition and the search for identity, family, and spirituality. Chimpanzee's innovative and award-winning performance-based documentary films - VINTAGE – Families of Value, E Minha Cara/That's My Face, and Twelve Disciples of Nelson Mandela - have received critical acclaim at International film festivals such as Sundance, Berlin, Toronto, FESPACO, Outfest, Flaherty and Cape Town and have been broadcast on PBS, the Sundance Channel, ARTE, as well as CBC, Swedish broadcasting Network and New Zealand Television. Mr. Harris' video and installations – including Splash, Black Body, AFRO (is just a Hairstyle) Notes on a Journey Through The African Diaspora and ALCHEMY - have been featured at the Museum of Modern Art, the Whitney Museum of American Art Biennial, the Corcoran Gallery, Reina Sophia, London Institute of the Arts, Gwangju Biennale, and the Long Beach Museum of Art. Harris has received numerous awards and fellowships including a United States Artist Fellowship, Guggenheim Fellowship, Rockefeller Fellowship, two Emmy nominations as well as Sundance Film Institute Directors Fellowships and a Tribeca Film Institute Nelson Mandela Award. A graduate of Harvard College and the Whitney Independent Study Program, Harris has taught at a variety of institutions including University of California San Diego where he received tenure as an Associate Professor of Media Arts. A published photographer, curator, and write, Mr. Harris lectures widely on the use of media as a tool for social change.

Thomas Allen Harris, an award-winning Director, is the President of Chimpanzee Productions, a company dedicated to producing unique audio-visual experiences including feature length films, performances and multimedia productions. Chimpanzee’s innovative and acclaimed films - Through A Lens Darkly: Black Photographers and the Emergence of a People (2014), Twelve Disciples of Nelson Mandela (2005), E Minha Cara/That’s My Face (2001), VINTAGE – Families of Value (1995), - have received critical acclaim at international film festivals including Sundance, Berlin, Toronto, Frameline, FESPACO, Outfest, and Sithengi/Cape Town and have been broadcast on PBS, the Sundance Channel, ARTE, as well as CBC, Swedish broadcasting Network and New Zealand Television. Reviews of Harris’ work have appeared in The New York Times, Time Magazine, Jay Z’s Life and Times, Variety The Advocate, among others.  Harris' performance-based videos have been featured at prestigious museums including: the MoMA, Whitney Museum of American Art’s Biennial, Corcoran Gallery, Reina Sophia, the Long Beach Museum of Art and London Institute of the Arts. A graduate of Harvard College, Harris began his career producing for public television, where he was nominated for two Emmy Awards.  Since then, he has received numerous awards including an Africa Movie Academy Award, Fund for Santa Barbara Social Justice Award, Tribeca All Access Nelson Mandela Award, United States Artist Award, Guggenheim Fellowship, Rockefeller Fellowship, as well as CPB/PBS and Sundance Directors Fellowships.  Harris has taught and lectured widely on film and multimedia and has served on a number of juries, including: Tribeca Film Festival, Independent Spirit Awards, POV American Documentary, and Full Frame.  In 2009 Harris launched Digital Diaspora Family Reunion, an innovative transmedia project that combines film, photography, social media and oral histories in a live touring event. Digital Diaspora has held 18 Roadshows in 9-cities, with over 800 participants, 3,000 live audience participants and received over 40,000 “Likes” and in excess of 10 million media impressions.   Resources:   https://www.youtube.com/watch?v=odgHrU1T9a8   http://ibarionex.net/thecandidframe   info@thecandidframe.com

Bill Pierce's photojournalistic work has been published in Time, Life, Stern, Newsweek, U.S. News, The New York Times Sunday Magazine, New York Magazine, L'Express, Paris Match, and many other news publications.  Assignments in the United States, Canada, England, Wales, Northern Ireland, the Republic of Ireland, Spain, France, Italy, Germany, Norway, Poland, Czechoslovkia, Australia, the Soviet Union, China, Japan, Lebanon, Egypt, Mozambique. His major awards include Overseas Press Best Photoreporting from Abroad, World Press Budapest Award and the Leica Medal of Excellence.  He is in the permanent collections of Nat’l. Portrait Gallery, Corcoran Gallery of Art, Smithsonian Institute, International Center of Photography, New York Public Library, The Center for Creative Photography, Princeton University and private collectors. Resources: http://www.billpiercepictures.com/index2.php   http://www.kennethjarecke.com/   http://ibarionex.net/thecandidframe   info@thecandidframe.com

On March 18, 2014, Atlanta-based urban photographer Chip Simone discussed “Photography, the Beautiful Lie” with Randy Gue, curator of Modern Political and Historical collections at Emory’s Manuscript, Archives, and Rare Book Library (MARBL). Simone was a founding member of NEXUS, Atlanta’s first photography gallery, in 1973. Simone studied at the Rhode Island School of Design with modern American photography master Harry Callahan and first exhibited his work in 1966. His photos are included in permanent collections at the Museum of Modern Art, the High Museum of Art, the Houston Museum of Fine Art, the Museum of Contemporary Art of Georgia, the Corcoran Gallery of Art, and in the Sir Elton John Photography Collection. Simone has published two books of his photography: “Chroma: Photographs by Chip Simone” (2011) and “On Common Ground: Photographs from the Crossroads of the New South” (1996). This was the first in the Atlanta Intersections series led by Randy Gue.

For good or bad, museums often fly under the radar in terms of media coverage. But once in awhile a museum's plight becomes front page news and sparks broad debate. Such has been the case for the Corcoran Gallery of Art and Detroit Institute of Art where issues and opinions seem to center on governance and the responsibilities of the volunteers who sit on museum boards. This week's show will use these recent newsmakers as a jumping off point to talk about the issues of governance and boards with Maureen Robinson and Laura Roberts, two distinguished thought leaders in the field.

This week: This week we talk with artist, writer, and WhiteWalls co-founder Buzz Spector! Buzz Spector is an artist and critical writer whose artwork has been shown in such museums and galleries as the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Contemporary Art Chicago, Corcoran Gallery of Art, Washington, DC, and the Mattress Factory, Pittsburgh, PA. Spector's work makes frequent use of the book, both as subject and object, and is concerned with relationships between public history, individual memory, and perception. He has issued a number of artists' books and editions since the mid-1970s, including, most recently, Time Square, a limited edition letterpress book hand altered by the artist and published in 2007 by Pyracantha Press and ABBA at Arizona State University in Tempe. Among his previous publications are Between the Sheets, a limited edition book of images and text published in 2004 by The Ink Shop Printmaking Center in Ithaca, NY, Details: closed to open, an artists’ book of photographic details from images in the Swarthmore College Peace Collection, (List Art Gallery, Swarthmore College, 2001) and Beautiful Scenes: selections from the Cranbrook Archives (Cranbrook Art Museum, Bloomfield Hills, MI, 1998). Spector was a co-founder of WhiteWalls, a magazine of writings by artists, in Chicago in 1978, and served as the publication's editor until 1987.  Since then he has written extensively on topics in contemporary art and culture, and has contributed reviews and essays to a number of publications, including American Craft, Artforum, Art Issues, Art on Paper, Exposure, and New Art Examiner.  He is the author of The Book Maker's Desire, critical essays on topics in contemporary art and artists' books (Umbrella Editions, 1995), and numerous exhibition catalogue essays, including Conrad Bakker: untitled mail order catalogue (Creative Capital, Inc., 2002) and Dieter Roth (University of Iowa Museum of Art, 1999). Spector’s most recent recognition is a 2005 New York Foundation for the Arts (NYFA Fellowship. In 1991 he was awarded a Louis Comfort Tiffany Foundation Fellowship, and in 1982, 1985, and 1991 he received National Endowment for the Arts Fellowship Awards.  He is Dean of the College and Graduate School of Art in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.

By Wronsky: So Quick Bright Things; A Giant Claw (foreword) By Rosenthal: Coyote O'Donohughe's History of Texas By Partnoy: So Quick Bright Things (translator), A Giant Claw (translator) By Garcia: Other Countries By Gronk: A Giant Claw (All books published by What Books Press) A launch party for four new titles from What Books Press' fall list! Gail Wronsky, Chuck Rosenthal, Alicia Partnoy, Ramon Garcia, and Gronk will all read from and discuss their recent publications. Gail Wronsky is the author of Poems for Infidels (Red Hen Press); Dying for Beauty (Copper Canyon), a finalist for the Western Arts Federation Poetry Award; The Love-talkers (Hollyridge Press); Again the Gemini are in the Orchard (New Poets Series); and Dogland (Alderman Press, University of Virginia). Her translation of Alicia Partnoy's poems Volando Bajito has been published by Red Hen, and she is the coauthor with Molly Bendall of two books of "cowgirl" poetry: Calamity and Belle, A Cowgirl Correspondence and Dear Calamity, Love Belle. Blue Shadow Behind Everything Dazzling, a chapbook of poems about India where she lived for several months in 2006, has been published recently by Hollyridge Press. She is Director of Creative Writing and Syntext (Synthesizing Textualities) at Loyola Marymount University in Los Angeles. She lives in Topanga, California. Chuck Rosenthal was born in Erie, Pennsylvania and has lived in the western U.S. since 1979. He's the author of seven published novels and a memoir. The novels: Loop's Progress, Experiments with Life and Deaf, Loop's End (the Loop Trilogy), Elena of the Stars, Avatar Angel: The Last Novel of Jack Kerouac, My Mistress Humanity, and The Heart of Mars. The memoir: Never Let Me Go. His work has been nominated for The National Book Award, The PEN West Award for Fiction, the PEN International Award for Fiction, the Critics Book Circle Award for Fiction, the American Library Association Most Notable Book Award, and for Best American Creative Non-fiction. He is a three time winner of the Utah Arts Council Award for Fiction. Rosenthal recently lived for four months in the Himalayas of northeast India, the setting for his new book: Are We Not There Yet? Travels in Nepal, North India, and Bhutan. He lives in Topanga Canyon, California, where he owns a horse and rides daily. He teaches at Loyola Marymount University in Los Angeles. Alicia Partnoy is a survivor from the secret detention camps where about 30,000 people "disappeared" in her country, Argentina. She is best known as the author of The Little School. Tales of Disappearance and Survival. A poet, translator, and scholar, Alicia Partnoy has published the poetry collection Little Low Flying/Volando bajito, translated by Gail Wronsky and illustrated by Raquel Partnoy. Poems from her Revenge of the Apple/Venganza de la manzana rode the metro in New York, Dallas, and Washington D.C., and have been set to music by Sweet Honey in the Rock. Partnoy edited You Can't Drown the Fire: Latin American Women Writing in Exile, and from 2003 to 2006, she was the co-editor of Chicana/Latina Studies: the journal of Mujeres Activas en Letras y Cambio Social. Her work has been twice a Pushcart Foundation Writer's Choice Selection (Tobias Wolff and Bobbie Ann Mason). Partnoy served on the boards of directors of PEN, Roadwork, and Amnesty International U.S.A. She is an associate professor at Loyola Marymount University. Ramón García was born in Colima and grew up in Modesto, California. He has a B.A. in Spanish Literature from the University of California, Santa Cruz and a Master's and Ph.D. in Literature from the University of California, San Diego. He was awarded a National Endowment for the Arts residency fellowship from the MacDowell Colony and fellowships from the Virginia Center for the Creative Arts and the Ragdale Foundation. He is a recipient of a research grant from the National Endowment for the Humanities, and pre-doctoral fellowships from the Humanities Research Institute at the University of California, Irvine, and The Getty Center in Los Angeles. Ramón García is an associate professor in the Chicana/o Studies Department at the California State University at Northridge. He lives in downtown Los Angeles. Chicano painter, printmaker, and performance artist Gronk contributes the cover art for What Books Press. Known for his murals, Gronk also has created stage design for the Latino Theater Company, the East West Players, the LA Opera, and the Santa Fe Opera. He's also collaborated on music composed for the Kronos Quartet. He has exhibited at or curated work for many museums, include the UCLA Hammer, Los Angeles County Museum of Art, the Corcoran Gallery in Washington, D.C., the M.H. de Young Museum in San Francisco, the National Hispanic Cultural Center in Albuquerque, the San Francisco Mexican Museum, the M.H. de Young Memorial Museum in San Francisco, and the San Jose Museum of Art. He was given a career retrospective at the University of New Mexico, where he was in residence. He was a founding member of ASCO, a multimedia arts collective in the 1970s. Born in East Los Angeles, he now makes his home in downtown LA. THIS EVENT WAS RECORDED LIVE AT SKYLIGHT BOOKS OCTOBER 15, 2010.

Jae Ko's large, three-part installation, "Force of Nature," created for the Phillips, is made from rolls of kraft paper, often used for wrapping and packing, that the artist re-rolled and stacked against the walls in different configurations. Envisioned specifically for the area connecting the Goh Annex and the Sant Building, one section of the installation fills the space between floor and ceiling, and then spills down the wall beside the stairs; two other stacks descend gradually, like gentle slopes or streams. Force of Nature dwells on both the beauty and power of natural forces within an architectural setting. Ko works exclusively in paper. Experimenting with different kinds of paper (from rice paper to newspaper to adding-machine paper), she rolls, cuts, glues, soaks, and dyes it, manipulating her material into sculptural forms. Her sculptures encompass wall reliefs and floor pieces, made of large bundles of paper that are either stacked rigidly against the wall or fall naturally according to the whims of gravity. Ko finds inspiration in nature, and her forms readily evoke organic matter-tree rings, tornadoes, twisted hair, seeds. Born in Korea, Ko lives and works in Washington, D.C. She received a B.F.A. from Wako University, Tokyo, Japan, and an M.F.A. from Maryland Institute College of Art, Baltimore. Her work has been shown nationally and internationally, and is in the permanent collections of the Hirshhorn Museum and Sculpture Garden, the Corcoran Gallery of Art, and the Washington Convention Center, all in Washington, D.C. Ko's work is also currently on view at Marsha Mateyka Gallery.

Jae Ko's large, three-part installation, "Force of Nature," created for the Phillips, is made from rolls of kraft paper, often used for wrapping and packing, that the artist re-rolled and stacked against the walls in different configurations. Envisioned specifically for the area connecting the Goh Annex and the Sant Building, one section of the installation fills the space between floor and ceiling, and then spills down the wall beside the stairs; two other stacks descend gradually, like gentle slopes or streams. Force of Nature dwells on both the beauty and power of natural forces within an architectural setting. Ko works exclusively in paper. Experimenting with different kinds of paper (from rice paper to newspaper to adding-machine paper), she rolls, cuts, glues, soaks, and dyes it, manipulating her material into sculptural forms. Her sculptures encompass wall reliefs and floor pieces, made of large bundles of paper that are either stacked rigidly against the wall or fall naturally according to the whims of gravity. Ko finds inspiration in nature, and her forms readily evoke organic matter-tree rings, tornadoes, twisted hair, seeds. Born in Korea, Ko lives and works in Washington, D.C. She received a B.F.A. from Wako University, Tokyo, Japan, and an M.F.A. from Maryland Institute College of Art, Baltimore. Her work has been shown nationally and internationally, and is in the permanent collections of the Hirshhorn Museum and Sculpture Garden, the Corcoran Gallery of Art, and the Washington Convention Center, all in Washington, D.C. Ko's work is also currently on view at Marsha Mateyka Gallery.

Born in Brooklyn, NY, in 1949, Terry Winters had his first solo-exhibition in New York, in 1982, at the Sonnabend Gallery; subsequently, he was included in the Whitney Biennials of 1985, 1987 and 1995. Additionally, he held a one-man show at the Tate Gallery in London; his work has been exhibited at the Corcoran Gallery of Art as well as with many international museums and galleries. Winters' master prints are held in the collections of major American and European museums including: The Museum of Modern Art, NY; The Whitney Museum of American Art, New York; and The San Francisco Museum of Modern Art, San Francisco, CA. Terry Winters attended the High School of Art & Design in New York and continued formal art training at the Pratt Institute, receiving a BFA in 1971. His early paintings are influenced by minimalist, monochromatic paintings, like those of Brice Marden. Winters has a love of drawing which led him to introduce schematic references to astronomical, biological and architectural structures as the subject matter of his paintings. He began exhibiting his work in 1977, and by the early 1980's his ideas had developed into loose grids of organic shapes beside lushly painted fields. Bill Goldston invited Winters to print at the Universal Limited Art Editions studio in 1982. Winters' work at ULAE has become increasingly complex, combining elements of drawing with painting. The artist lives and works in New York and Geneva, Switzerland.