Podcasts about cranbrook academy

In this episode of the Fortune's Path podcast, Tom Noser interviews Anderson Williams, Principal for Talent Development at Shore Capital Partners, a private equity firm that partners with entrepreneurs and industry executives to drive growth in micro-cap businesses. Anderson brings a unique perspective from his diverse background as a classroom teacher, entrepreneur, sculptor, painter, writer, and corporate advisor.Topics Discussed:Anderson's role leading talent and leadership development initiatives at Shore Capital PartnersHow Shore Capital works with micro-cap businesses (typically small, family-run businesses) to help them scaleThe Shore Leadership Academy's approach to developing leaders at different stagesHow Anderson's background in fine arts influences his approach to business and educationThe importance of trust and communication as foundations for leadershipThe connection between art, education, and business leadershipHow Shore Capital evaluates potential business partnershipsThe growth strategy of consolidating small businesses to create mid-market companiesKey Takeaways:Shore Capital Partners invests in micro-cap businesses with the goal of helping them scale, focusing on companies where the founders want to remain involved and grow with a strategic partner.The Shore Leadership Academy focuses on developing leadership at all levels, from first-time managers to executives, with a curriculum that progresses from self-development to team leadership to strategic business thinking.Anderson attributes much of his approach to business and leadership to his background in fine arts, particularly how it taught him to see differently, accept feedback, and continually iterate.Trust is described as foundational to leadership, with three distinct dimensions: personal trust, organizational trust, and strategic trust.The best teachers (and leaders) combine authentic passion for their subject with the ability to make content relevant to learners' real-world experiences.Anderson describes education as being about delivery, while learning is about what people do with knowledge - applying it in new and interesting ways.Shore Capital's investment strategy looks for "barbell industries" where there are many small players and a few large ones, creating opportunity to build in the middle through strategic acquisition.Business success ultimately comes from human relationships: "We're humans working together with other humans and human-created systems to provide products and services to solve problems for other humans. And we call it a business."Guest Bio:Anderson Williams serves as Principal for Talent Development at Shore Capital Partners, leading their talent and leadership development initiatives. With a diverse background as a classroom teacher, entrepreneur, sculptor, painter, writer, and corporate advisor, Anderson brings a unique perspective to leadership development. He holds a Master's in Fine Arts from Cranbrook Academy of Art and has been with Shore since 2021.

Graham Marks produces exuberant, coil-built ceramics adorned with vibrant glazes, which combine functionalism with visual delight. Of late, Marks has embraced loose, sinuous forms from which coils of clay spill in dynamic and improvisatory compositions. His candelabras and flower vases contain a wild energy all their own, full of brash, linear abandon. In their merging of pattern and embellishment, they recall the intricate crafts of eighteenth-century France, bringing rococo flourishes to the timeless theme of utilitarian vessels. Marks taught ceramics at Kansas State University, Rochester Institute of Technology, and the Cranbrook Academy of Art, where he was Head of Ceramics from 1986 to 1992. His work has been exhibited internationally and collected privately; it is held by numerous public institutions including the Philadelphia Museum of Art, Yale University Art Gallery, Detroit Institute of Art, the Everson Museum, the Museum of Art and Design, the Cranbrook Museum of Art, the Stedelijk Museum, the Hermitage Museum, and the National Gallery of Australia. From 1992 to 1995, he studied acupuncture with J.R. Worsley, establishing a private practice which ran successfully for two and a half decades. In 2020, Marks returned to ceramics. He splits his time between Brooklyn and Alfred, NY. Graham Marks, Collection of Candelabras, 2023–24. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Pair of Candelabras, 2024. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm Graham Marks, Collection of Malinalco Candelabras, 2023. Glazed stoneware, thrown, coiled, and pinched. Dimensions vary. Courtesy of Hostler Burrows. Photo by Joe Kramm

In this episode of Brave UX, host Brendan Jarvis interviews designer, author, and educator Carla Diana, a leader in human-centered product design and technology. Carla is the D Designer-in-Residence and Head of Program at the Cranbrook Academy of Art and works part-time as the Design Advisor at Diligent Robotics. Join Carla and Brendan as they explore the future of smart technologies, including Carla's work on humanizing healthcare robots and her project "Mobility Town," which reimagines public transportation in Detroit. Carla also discusses the challenges of designing relatable robots, societal misconceptions about AI, and the ethical implications of technology. The conversation delves into the roles of designers in shaping how people interact with technology innovations like autonomous systems and social robots, urging a thoughtful consideration of technology's impact on society.   Highlights include: 00:00 - Getting to Know Carla Diana 05:31 - The Importance of Critical Engagement 12:01 -  Mobility Town: Reimagining Transportation in Detroit 18:01 - The Social Aspects of Public Transport 24:01 - The Narrative Around Robots 30:01 - Designing Relatable Robots 36:01 - Ethical Implications of Design 42:01 - The Role of AI in Robotics 48:01 - Autonomous Vehicles and Society's Responsibility 55:01 - Reflections on Design Education and Technology Who is Carla Diana Carla Diana is a highly influential designer, author, and educator known for her work at the intersection of technology and human-centered product design. She is the founder and designer-in-residence of the Interaction Design Programme at Cranbrook Academy of Art, where she leads an innovative exploration into smart objects, immersive environments, and intelligent systems. Carla also serves as a design advisor at Diligent Robotics, shaping healthcare robots to assist workers better.  Her extensive experience includes roles at Smart Design and Frog Design, where she worked on diverse products, from robots to connected home appliances. Carla authored "Leo, The Maker Prince," the first children's book about 3D printing, and "My Robot Gets Me," which focused on intuitive design for intelligent technologies. She's a frequent speaker at prominent events like TEDx SXSW, and her writing has been featured in Fast Company, The New York Times, and Popular Science. Find Carla Diana Here Carla Diana on LinkedIn Cranbrook Academy of Art Website Diligent Robotics Website Subscribe to Brave UX Liked what you heard and want to hear more? Subscribe and support the show by leaving a review on Apple Podcasts (or wherever you listen). Apple Podcast Spotify YouTube Podbean Follow us on our other social channels for more great Brave UX content! LinkedIn Instagram Brendan Jarvis hosts the Show, and you can find him here: Brendan Jarvis on LinkedIn The Space InBetween Website  

Perceiving her role as a record keeper, artist Jen Blazina captures the essence of lost memories and forgotten voices. Through her work, she holds onto fragments of personal history, transforming common objects into poignant relics of the past. Her visual narratives express universal concepts of memory, inviting audiences to connect with the stories she preserves.  Blazina states: “Memory is embodied in everything around us: in our culture, beliefs, objects, and ourselves. Discarded objects and those passed down to me become personal keepsakes and icons of the past, rather than overlooked or regarded as useless. My collections represent a sense of holding onto a place in time. By re-creating these keepsakes, I re-cast their history into my own voice.” A sculptor and printmaker who uses glass as her primary medium, Blazina currently resides in Philadelphia where she is a working artist and professor at Drexel University in the College of Media Arts and Design. Blazina's work can be found in multiple collections such as the Neuberger Museum of Art, The Imagine Museum, The Cranbrook Museum of Art, and the Corning Museum of Glass, to name a few.  The artist has been awarded numerous residencies including: the Corning Artist in Residency at the Corning Museum of Glass in Corning, New York; GAPP Residency at Toledo Museum of Art in Toledo, OH; Bezalel Art and Design Academy in Jerusalem, Israel; and the Creative Glass Center of America in Millville, NJ.  She has also been awarded prestigious grants such as the Bessie and Louis Stein Fellowship; Independence Foundation Grant; and a National Endowment for the Arts Grant. Nominated for the 2022 Pew Fellowship Award, Blazina received her M.F.A. in printmaking from Cranbrook Academy of Art, her B.A. from Sarah Lawrence College in New York and her B.F.A., cum laude, from the State University of New York at Purchase College.  Blazina is represented by Habatat Detroit Fine Art in Royal Oak, MI; Blue Spiral 1 in Asheville, NC; Vetri Glass Gallery in Seattle, WA; Kittrell Riffkind Gallery in Dallas, TX; Bullseye Projects in Portland, OR; and Koelsch Gallery in Houston, TX.  In 2025, Blazina will have work on view at the Bergstrom Mahler Museum of Glass, Neenah, WI, in New Art on the Block: Selections from the Permanent Collections, October 31, 2024 – April 6, 2025; in Object Memory, Jen Blazina and Ash Smith at 20*20 Gallery, Lansdowne, PA, February 22 –  April 15; in Through a Window Darkly, The Works of Jen Blazina at the Bergstrom-Mahler Museum of Glass, April 24 to October 5, 2025; in Collections at Blue Spiral 1 Gallery, Asheville, NC, May 2 – June 25; and in Glass 53: International Glass Invitational at Habatat Fine Art Gallery, Royal Oak, MI, May 1 – September 6. She will teach Alternative Approaches to Printmaking and Glass at Corning Museum of Glass Studios, Corning, NY, June 16 – June 21; and In Pursuit of Light: Kiln Casting at Glass Furnace, Istanbul, Turkey, August 25 – August 29. Says Blazina: “As an artist, I am intrigued with the idea that what is precious to one person will be discarded by another. My work is influenced by commonplace possessions, familial vignettes and photographs. These evoke an ephemeral sense of past memories. Whether found in a second-hand shop or passed down from my family, I am often attracted to and captivated by the lost beauty of subtle images and materials. By re-creating and casting momentos in glass and metal, I can capture and hold on to another time in the past. Photographs and chosen objects allude to narratives of fleeting moments.” ​UPCOMING EVENTS New Art On The Block: Selections From The Permanent Collections Bergstrom-Mahler Museum of Glass Neenah, WI Dates: October 31 – April 6, 2025 Object Memory, Jen Blazina and Ash Smith 20*20 Gallery Lansdowne, PA Dates: February 22 – April 15 Through a Window Darkly, The Works of Jen Blazina Bergstrom-Mahler Museum of Glass Neenah, WI Opening: April 24 Dates: April 24 to October 5 Collections Blue Spiral 1 Gallery Asheville, NC Opening Reception: May 2, 5 – 7 pm Dates: May 2 – June 25 Glass 53: International Glass Invitational Habatat Fine Art Gallery Royal Oak, MI Opening: May 3, 8 pm Dates: May 1- September 6 Alternative Approaches to Printmaking and Glass Corning Museum of Glass Studios Corning, NY Dates: June 16- June 21 In Pursuit of Light: Kiln Casting Glass Furnace Istanbul, Turkey Dates: August 25 – August 29    

Michael Corney was raised in the greater Los Angeles Metropolitan area where he was influenced by the bright colors of nature and the vibrant cultures that surrounded him. Michael received his BA from Cal State University Fullerton and his MFA from Cranbrook Academy of Art. While primarily a studio potter, Michael has taught workshops at Anderson Ranch, Penland School of Crafts and Santa Fe Clay. He has participated in shows at Santa Fe Clay (NM), Northern Clay Center (MN), The Schaller Gallery (MI) and Akar Design Gallery (IA) Michael is currently a working artist in San Miguel De Allende, Mexico! https//ThePottersCast.com/1087

In the 79th episode of Perceived Value, host Sarah Rachel Brown takes listeners to the Penland School of Craft, where she's participating in their Winter Residency. During the two-week residency, Sarah never missed an opportunity to enjoy a meal in the dining hall. The Pines, the Penland dining hall, has large, round tables perfect for gathering and enabling conversations over meals. Each meal is an opportunity to sit next to a stranger and potentially meet a new friend - or podcast guest.After enjoying a few meals and conversations, Sarah asked Zahra Almajidi if she would be willing to come on the podcast. The two metalsmiths sat down to discuss Zahra's upbringing and why her family immigrated to the United States, the benefits of living with your parents while going to college, and if it's possible to appropriate a culture that is your own while living in the diaspora.Speaking of Penland….Western North Carolina was devastated by Hurricane Helene. This area is home to the Penland School of Craft and many artists and craftspersons. If you are able, please consider donating to one of the following organizations or platforms providing aid and relief in the area. TREATS STUDIOS: This network aims to connect affected artists and arts organizations with individuals who want to support them.Beloved Asheville: Backed by your support, BeLoved Asheville is dedicating every resource to those most affected by this disaster. Our immediate focus has been on critical necessities like food, water, and healthcare for survival and stability. As winter looms, we are securing warm and safe housing for the displaced. Looking further ahead, recovery from the vast destruction will be a large-scale investment over several years. We believe that we can unite to rebuild a community that embodies home, health, equity, and opportunity for all. OUR GUESTZahra Almajidi is a visual artist and metalsmith raised and based in Detroit, MI. Utilizing both traditional metalsmithing techniques and CAD/CAM processes, her work explores the ways in which objects and adornment allow displaced people to continue to uphold and practice their craft traditions while living in the diaspora.She has worked at several art fabrication spaces in Metro Detroit including Wayne State University where she received her BFA in Metalsmithing, Lawrence Technological University where she briefly served as shop co-manager, and Cranbrook Academy of Art where she received her MFA in Metalsmithing and was awarded the Cranbrook Art Director's fellowship and the Director's Award.She has taken part in the 2021 Incubator Residency program at Talking Dolls Detroit, the Artist + Residents Program at the Arab American National Museum in 2021, and the Winter Residency program at Penland School of Craft in 2024. She's also dedicated to maintaining an active studio practice, and regularly exhibits work. She is currently the Central Materials Lab Coordinator at Cranbrook Academy of Art as well as anadjunct instructor at Wayne State University.Follow: @z.alm.aRATE AND REVIEW US ON APPLE PODCASTS OR WHEREVER YOU LISTEN!SUPPORT PERCEIVED VALUE!www.patreon.com/perceivedvaluewww.perceivedvaluepodcast.com/how-to-support-donate/FOLLOW:Instagram + Facebook: @perceivedvalueInstagram: @sarahrachelbrownThe music you hear on Perceived Value is by the Seattle group Song Sparrow Research.All You Need to Know off of their album Sympathetic Buzz.Find them on Spotify!

Amanda Besl is a painter and experimental filmmaker living in Buffalo, NY. She has shown widely in New York State, Belgium, France, the Netherlands, and Russia. Besl holds an MFA in Painting from the Cranbrook Academy of Art, Bloomfield Hills, MI, and a BFA from SUNY Oswego. Her paintings are part of several notable private and public collections, including the Burchfield Penney Art Center, Buffalo; Nichido Contemporary, Tokyo, Japan; the Burger Collection, Hong Kong; and the Tullman Collection, Chicago. Besl uses natural history as a platform to explore social issues. She was awarded a 2024 NYSCA grant for Temple of Hortus, a botanically inspired installation of 2-D, 3-D, and video work questioning curated and commercial approaches to nature, hybridization, mutation, and collection. Resource Art represents Besl, and her 2022 solo exhibition “Blue Mythologies” at The Raft of Sanity gallery began her foray into experimental filmmaking. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

Vivian Beer is a renowned sculptor and furniture designer/maker originally from Bar Harbor, Maine. A graduate of the Maine College of Art in Portland and the Cranbrook Academy of Art in Bloomfield Hills, Michigan, Vivian has transformed the public art landscape with her large-scale installations, including her recent work in Portsmouth, New Hampshire, titled "Woven Together." This project creatively intertwines durable materials like metal and bronze to celebrate women and evoke empathy in the community. Vivian's work has been in many well-known institutions, including the Museum of Fine Arts in Boston and the Smithsonian in Washington, DC. Vivian's journey through the male-dominated art world and other personal experiences have shown her the importance of resilience in the face of adversity.  Join our conversation with Vivian Beer today on Radio Maine.

Torey Akers is an artist and writer based in Brooklyn, NY. She holds an MFA in painting from Cranbrook Academy of Art and an MFA in Creative Nonfiction from Hunter College. Her work has been featured at arts venues across the country, most recently in a solo show at A.I.R. Gallery in Dumbo, NY.     Install image of "Besotted", a solo show at A.I.R. Gallery Tzipporah, 2024, 38" x 19", ink on paper with sealant, cardboard, velour, sewing pins, mirrors, ribbons Untitled, 2024, 12" x 5", printed chiffon

Soundscape Alchemy.Friends, what an episode I have for you today! Months ago, I took an impromptu trip to Canaveral National Seashore to visit acoustic artists Perri Lynch Howard and Gordon Hempton.Frequent collaborators on the podcast, I was ecstatic to spend a weekend practicing the art of listening with them both. We walked mangroves, explored shorelines, and discussed the interplay of human voice, aerospace traffic, and birdsong.The creative collaboration of Gordon and Perri resulted in a stunning piece of environmental art titled, “Hear Me Out.” Join me today for a discussion of what it means to listen with honesty, to weave ourselves into the natural world we inhabit, and to move “in close proximity to lifelong love.”In this episode, Perri and Gordon delve into their experiences during their artist residency at Canaveral National Seashore through the Soundscape Field Station Artist Residency Program. The conversation highlights their collaborative project 'Hear Me Out', which investigates the changing soundscapes and their artistic interpretations influenced by the environment. They share their journey of recording, the emotional challenges faced, and how Doris Leeper's legacy inspired their work. The discussion also touches on the significance of natural sound preservation and future projects related to soundscapes and environmental art.At the end, pop in your headphones, close your eyes, and listen to “Hear Me Out.”Gordon HemptonAcoustic ecologist Gordon Hempton has circled the globe three times in pursuit of the Earth's rarest sounds. His sound portraits which record quickly vanishing natural soundscapes have been featured in People magazine and a national PBS television documentary, Vanishing Dawn Chorus, which earned him an Emmy. Hempton provides professional audio services to mediaproducers, including Microsoft, Smithsonian, National Geographic and Discovery Channel. Recipient of awards from the National Endowment for the Arts and the Rolex Awards for Enterprise he is co-author of One Square Inch of Silence: One Man's Quest to Preserve Quiet (Free Press/Simon & Schuster, 2010) and Founding Partner of Quiet Parks International.https://soundtracker.com/Perri Lynch HowardPerri Lynch Howard is a multi-disciplinary artist working in painting, drawing, installation, and sound. Her visual work and sound installations convey the passage of light, sound, and signal through landscapes on the front lines of climate change - a phenomenology of place. Howard received her BA from The Evergreen State College, BFA from the University of Washington, and MFA from Cranbrook Academy of Art. Her art has a global reach through projects completed in Italy, Portugal, Brazil, Canada, the Arctic Circle, and in South India as a Fulbright Senior Research Scholar.https://www.perrilynchhoward.com/Thank you to Nick McMahan for today's sound design and editing; and thank you to Brianna Nielsen for production and editing support. Find them at:nickmcmahan.cominstagram.com/brianna_podcastproLastly, thank you to Atlantic Center for the Arts and the ACA Soundscape Field Station for making this collaboration possible.https://atlanticcenterforthearts.org/home/soundscape-field-station/Watch on YouTube, Make a donation, or learn more about my free offerings and live classes by visiting merylarnett.cominstagram.com/merylarnettyoutube.com/@ourmindfulnature

Reed Kroloff is dean of IIT College of Architecture. He previously served as the Director of the Cranbrook Academy of Art and Art Museum and Dean of the Tulane School of Architecture. Reed was also Editor-in-Chief of Architecture magazine. Listen in to the interview to hear stories from Reed's life, and his journey to becoming dean at IIT.

On the latest episode of "Detroit Evening Report Weekends," WDET's Tia Graham spoke with artist Tiff Massey. Massey trained as a metalsmith at the Cranbrook Academy of Art. She is well known for her public works and has won several prestigious awards, including the Knight Arts Challenge and the Kresge Artists Fellowship. Massey's "7Mile + Livernois" exhibit opened at the Detroit Institute of Arts in May, featuring jewelry scaled “to the size of architecture.”

We're taking the summer off and will be republishing some of our favorite episodes from the archives through August. This episode originally aired December 22, 2021. — Lorraine Wild is a designer who teaches and writes. A graduate of Cranbrook Academy of Art and Yale School of Art, Lorraine runs Green Dragon Office in Los Angeles and is on the faculty of the graphic design program at California Institute of Arts. She's written extensively about graphic design for a variety of publications. In this wide-ranging conversation, Jarrett and Lorraine talk about the early years at Cranbrook, working for the Vignellis, rethinking design history, and what it means to be a graphic designer today. — Links from this episode can be found at scratchingthesurface.fm/204-lorraine-wild. 
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In this episode Amber Asay and Lisa Congdon talk about the legend that you may have not heard about, Gere Kavanaugh, who's work spans 1950's through 2020. She's another Cranbook Academy and multi-hyphenate designer, and has the most impressive repertoire of work. Sources:Architectural Digest Articles:A Look at the Life's Work of Multi-Hyphenate Designer Gere KavanaughThe Unlikely Story of One of General Motors's First Female DesignersLA Times: Gere Kavanaugh's color avalanche brightened midcentury California design2019 Book: A Colorful Life: Gere Kavanaugh, Designer (written by Louise Sandhaus, Kat Catmur)Metropolis: Gere Kavanaugh: Pioneer With a Penchant for ColorAIGA Medal ArticleAIGA Short Gere Kavanaugh, born in Memphis in 1929, is a legendary American designer known for her vibrant and innovative contributions across industrial design, textiles, and interiors. Educated at the Memphis Academy of Art and Cranbrook Academy of Art, she was influenced by greats like Charles Eames and Eero Saarinen.In the 1950s, Kavanaugh broke barriers at General Motors as one of the few female industrial designers. In 1960, she founded Gere Kavanaugh Designs in Los Angeles, known for bold colors and playful forms. Her work spans textiles, furniture, and interiors, always pushing the boundaries of traditional design.Kavanaugh's influence extends through her collaborations, mentorship, and numerous awards, including the AIGA Medal in 2010. Her legacy is marked by innovation, courage, and an unwavering dedication to making the world a more beautiful, functional place.––––Thank you to Lisa Congdon!https://lisacongdon.com/https://www.instagram.com/lisacongdonHer exhibit is up at St. Mary's until June 23, 2024: https://www.stmarys-ca.edu/museum-art/lisa-congdon-hold-it-lightlyLisa Congdon an internationally known fine artist, illustrator and writer. She makes art for clients around the globe, including The Library of Congress, Target, Wired Magazine, Amazon, Google, Schwinn, Warby Parker, Method, Comme des Garcons, REI and MoMa, among many others. She exhibits internationally, including solo shows at Saint Mary's College Museum of Art (California), Chefas Projects (Oregon) and Paradigm Gallery (Philadelphia), along with group shows at Hashimoto Contemporary in Los Angeles, Museum of Design Atlanta and The Contemporary Jewish Museum in San Francisco. She is the author of ten books, including Art Inc: The Essential Guide to Building Your Career as an Artist and Find your Artistic Voice: The Essential Guide to Working Your Creative Magic. Lisa is self-taught and didn't achieve momentum in her career until she was nearly 40 years old. Despite her untraditional path, Lisa has achieved recognition, not just as an artist, but as a leader in the industry for her work in social justice, mentoring and teaching. In March of 2021, she was named “One of the 50 Most Inspiring People and Companies According to Industry Creatives” published by AdWeek. When she's not making art, you can find her racing her bike around Oregon. She lives and works in Portland, Oregon.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Iranian born artist and current UC Davis professor Shiva Ahmadi. About Artist Shiva Ahmadi:Shiva Ahmadi's practice borrows from the artistic traditions of Iran and the Middle East to critically examine global political tensions and social concerns. Having come of age in the tumultuous years following the Iranian Revolution and subsequent Iran-Iraq War of the 1980s, Ahmadi moved to the United States in 1998, and has been based in California since 2015.Ahmadi works across a variety of media, including watercolor painting, sculpture, and video animation; consistent through her pieces are the ornate patterns and vibrant colors drawn from Persian, Indian and Middle Eastern art. In her carefully illustrated worlds, formal beauty complicates global legacies of violence and oppression. These playful fantasy realms are upon closer inspection macabre theaters of politics and war: watercolor paint bloodies the canvas, and sinister global machinations play out in abstracted landscapes populated by faceless figures and dominated by oil refineries and labyrinthine pipelines.Shiva Ahmadi studied at the Cranbrook Academy of Art, Bloomfield Hills, MI; Wayne State University, Detroit, MI; and Azad University, Tehran, Iran. In addition to recent solo exhibitions at the Asian Art Museum, San Francisco, CA (2017) and Asia Society Museum, New York, NY (2014), her work has been included in major group shows including Home Land Security, For-Site Foundation, San Francisco, CA (2016); Fireflies in the Night Take Wing, Stavros Niarchos Foundation, Athens, Greece; and Global/Local 1960-2015: Six Artists from Iran, Grey Art Gallery, New York University, NY (all 2016); Catastrophe and the Power of Art, Mori Art Museum, Tokyo, Japan (2018); and Revolution Generations, Arab Museum of Modern Art, Doha, Qatar. Her work is included in the collections of the Metropolitan Museum of Art, New York, NY; Asia Society Museum, New York, NY; Grey Art Gallery, New York University, NY; Asian Art Museum, San Francisco, CA; Museum of Contemporary Art, Los Angeles, CA; Detroit Institute of Arts, MI; DePaul Art Museum, Chicago, IL; Farjam Collection, Dubai, UAE; TDIC Corporate Collection, Abu Dhabi, UAE; and the private collection of His Highness Sheikh Mohammed Bin Zayed Al Nahyan, Crown Prince of Abu Dhabi, among others. In 2016, Ahmadi was awarded the ‘Anonymous Was A Woman' Award and a Pollock-Krasner Foundation Grant. Shiva Ahmadi, a new monograph of her work, was published by Skira in Spring 2017. She is currently an Associate Professor of Art at University of California Davis.Visit  Shiva's Website:  ShivaAhmadiStudio.comFollow  Shiva on Instagram:  @ShivaAhmadi_StudioFor more on her current exhibit at the Manetti Shrem Museum of Art, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Check out Vurvey's latest episode of "AI Powered by People," Sarah Nagle and Chad Reynolds discuss Apple's decision to  pivot away from electric cars and to AI, Alibaba's 'EMO' project that animates photos, and controversy over Tumblr and WordPress selling user data for AI training. This episode features Carla Diana, a social roboticist, who shares insights from her book "My Robot Gets Me" and talks about humanizing technology through design. Carla also details her work with the 4D Program at Cranbrook Academy of Art, preparing future designers for the blend of digital and physical realms. The conversation touches on the future of AI in the workforce and the importance of creating meaningful human-AI interactions.Vurvey.ai

This week's guest is Cammi Climaco a ceramicist, multidisciplinary artist, educator and erstwhile stand-up comedian based in New York. Cammi's art moves between performance, sculptural and functional pieces and ruminates on the history of women in ceramics, finding joy in unreachable places and ancient love poems. Cammi was born in Cleveland, OH in 1971, the youngest of six children. Her father John Climaco ran a printing press at a printing company in Ohio and her mother Wanda was a homemaker who later cared for the elderly. Cammi received her BFA at Kent State University in Crafts and her MFA in Ceramics at Cranbrook Academy of Art. After college, Cammi spent some time in the corporate world from waitressing to selling furniture and recruiting executives, none of which satisfied her. Eventually her part-time teaching in ceramics led to her becoming a regular educator in her preferred medium. She has taught at the Pratt Institute of Art and Design and the 92NY in Manhattan and currently also teaches at BKLYN Clay. Cammi attended The Pottery Workshop residency in Jingdezhen, China. And she is the co-host of The Ceramics Podcast. Her work can be found in galleries and theaters in New York. Cammi lives in Queen's with her parter, musician Cru Jones.Cammi's website: https://www.cammiclimaco.com/Instagram @cammiclimaco Favorite artists:Marguerite WildenhainMaija GrotellLucie RieEva ZeiselYoko OnoCara BenedettoSarah AllwineDini DixonKatie Coughlin Cammi's Playlist:We Live in Brooklyn,Baby/Roy AyersUbiquity Sweet Tears/NuyoricanSoul Tryon/ErykahBadu Loungin'/Guru KissFrom a Rose / SealHost: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4769409/advertisement

This week's guest is Cammi Climaco a ceramicist, multidisciplinary artist, educator and erstwhile stand-up comedian based in New York. Cammi's art moves between performance, sculptural and functional pieces and ruminates on the history of women in ceramics, finding joy in unreachable places and ancient love poems. Cammi was born in Cleveland, OH in 1971, the youngest of six children. Her father John Climaco ran a printing press at a printing company in Ohio and her mother Wanda was a homemaker who later cared for the elderly. Cammi received her BFA at Kent State University in Crafts and her MFA in Ceramics at Cranbrook Academy of Art. After college, Cammi spent some time in the corporate world from waitressing to selling furniture and recruiting executives, none of which satisfied her. Eventually her part-time teaching in ceramics led to her becoming a regular educator in her preferred medium. She has taught at the Pratt Institute of Art and Design and the 92NY in Manhattan and currently also teaches at BKLYN Clay. Cammi attended The Pottery Workshop residency in Jingdezhen, China. And she is the co-host of The Ceramics Podcast. Her work can be found in galleries and theaters in New York. Cammi lives in Queen's with her parter, musician Cru Jones.Cammi's website: https://www.cammiclimaco.com/Instagram @cammiclimaco Favorite artists:Marguerite WildenhainMaija GrotellLucie RieEva ZeiselYoko OnoCara BenedettoSarah AllwineDini DixonKatie Coughlin Cammi's Playlist:We Live in Brooklyn,Baby/Roy AyersUbiquity Sweet Tears/NuyoricanSoul Tryon/ErykahBadu Loungin'/Guru KissFrom a Rose / SealHost: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.com

On the occasion of The Pollinator, Tracy Thomason's fourth exhibition with Marinaro gallery, inhabiting both of their gallery spaces, we are reissuing this conversation with Tracy from over six years ago. Tracy Thomason is an artist born in Maryland who received an MFA from Cranbrook Academy of Art in Michigan and a BFA from the Maryland Institute College of Art in Baltimore. Exhibitions include a solo shows at Marinaro in 2022, 2020, 2017 and the current one. NADA Projects with Cuevas Tilleard Projects, NY, NY and a two-person exhibition with Peter Halley at Teen Party, Brooklyn, NY. Select group exhibitions include Analog Diary, Beacon, NY; Over the Influence, Los Angeles; 56 Henry, Asya Geisberg, James Fuentes, and Jeff Bailey Gallery in New York, NY, 106 Green in Brooklyn, NY, and Andrehn-Schiptjenko, Stockholm, SE. Tracy lives and works in Brooklyn and you can see her current show at Marinaro until October 21st.

On a beautiful August afternoon we had the pleasure to talk with artist and mentor, Larry Butcher. This conversation proceeds to tell a story of a young man coming to age on a rural Michigan farm with a father who expected his children to be navigators of inventive thinking and a mother who encouraged her young ones to be makers. Creative thinking and hard work was the norm and from that Larry became a visual artist and art educator, who to this day believes in the sharing of artistic knowledge. Larry Butcher has a Bachelor of Science and Master of Arts in Education from Central Michigan University and continued art studies at Cranbrook Academy of Art in Detroit. His background includes sign painting, teaching art in the Mount Pleasant School System as well as a long career as professor of art at Delta College. In the episode you will hear Larry speak of his amazing connections to artists Charles Breed and Russell Thayer, who both shaped Larry's position at Delta College which went for a 39 year run. He is well-known as a prolific painter who developed unique shaped canvas paintings as well as wonderful drawings as an amazing draughtsman. He has work in many corporate and private collections. We will be posting images on our Art Ladders: The Creative Climb Facebook Page.

My guest in this edition is Cam Anderson, author of The Faithful Artist: A Vision for Evangelicalism and the Arts. Cam holds a Masters of Fine Arts (the highest degree in the field) from Cranbrook Academy of Art, works as an artist (among other things), and is past president of CIVA--Christians in the Visual Arts. I know of no one better to help us think about majoring in the arts than Cam.  In this podcast we discuss: How Cam first became interested in the arts His journey toward introducing himself as an artist, especially in the Christian community Why the church tends to devalue a calling to the arts The various fields within the broader category of “the arts” Career opportunities in the arts Shifts in university art departments over the past 50 years How an undergraduate degree in the arts positions one to work in other career fields Character traits and other indicators that you may flourish as an artist What a day in the life of an artist looks like What is often not taught in History of Art courses Cam's journey to unite faith and art, and some ways this benefitted his faith and life Challenges Cam faced as he worked to unite faith and art How beauty helps us enter the presence of God The current state of the teaching and practice of art in universities (in general) How the crafts display beauty in interesting ways Advice to students considering or in art programs at secular universities What to do if you find your arts program is antagonistic to the Christian faith How to choose a good university art program Thinking Christianly about modern and contemporary art, and the other half of the story  How campus ministers and youth pastors can best reach students in the arts Imagining a world without art as a way to understand the value of art Resources mentioned during our conversation: Cameron Anderson, The Faithful Artist: A Vision for Evangelicalism and the Arts Cameron Anderson and G. Walter Hansen, eds., God in the Modern Wing: Viewing Art with Eyes of Faith Makoto Fujimura, Art and Faith: A Theology of Making Makoto Fujimura, Culture Care: Reconnecting with Beauty for Our Common Life Upper House podcast with Cam Anderson and Majoto Fujimura: Art + Faith Madeleine L'Engle, Walking on Water: Reflections on Faith and Art Christians in the Visual Arts (ceased programming in April 2023)--see especially their “Find Your Fit” page for links to many other faith and art communities The Brehm Center at Fuller Seminary Duke Initiatives in Theology & the Arts Image Journal The Rabbit Room Square Halo Books

This week I talk to artist, entrepreneur, and business coach Natalie Davis. In this episode, we talk about the multi-faceted creative life Natalie's built for herself - from her creative practice in leather, to being a creative director and co-owner of several restaurants in Austin, to coaching creatives through the ups-and-downs of their businesses. We talk about how to trust your gut, the importance of creating a vision, and how it's OK to have a lot of creative interests! Natalie talks about how to identify your creative strengths and how that's helped her carve her own path. Hear more about Natalie's work and journey below: Natalie Davis is a creative director, entrepreneur, and business coach that finds poetry in the small moments. She has collaborated with diverse clients, from museums and architecture firms to hotels and non-profits, along with being a co-owner of several restaurants in Austin. Natalie coaches on maximizing emotional intelligence to create greater impact and bring joy to managing teams. She guides clients through career transitions, starting with the initial spark of change, through interviews, negotiating, and being successful in their new role. From strategic planning to building brand narratives, Natalie helps others expand and clarify their vision and connect their story to the broader world. Natalie is a certified Co-Active Professional Coach and Associate Certified Coach, along with holding a BA from UCLA and MFA from Cranbrook Academy of Art. For more info: www.nataliedaviscoaching.com of on IG: @canoegoods ++++++ Interested in getting some coaching? Sign up for our fall coaching program here. --- Support this podcast: https://podcasters.spotify.com/pod/show/amightypractice/support

In this weeks episode Zoe McGuire and I dive deep into some amazing topics related to science, consciousness, and creative flow. We talk about her studio practice and how her experience with chromesthesia  influences  her explorations as an artist. We dive deep into a discussion about the interrelationship between music and visual art. We also discuss the mysteries of consciousness and the importance of reframing spirituality in these modern times. ------------------------ Zoe McGuire (b. 1996 Upstate New York) is a Brooklyn based artist. Working predominantly in oil paint and pastel, McGuire creates vivid naturescapes inspired by spiritual ecology. Zoe received her Bachelor of Arts in 2018 from Skidmore College where she studied art history and she is currently completing her MFA in painting at the Cranbrook Academy of Art, set to graduate in May of 2023. McGuire has participated in numerous group shows in Paris, Manhattan, Hong Kong, Brooklyn, Los Angeles, Milan, London and more. She was recently included in ‘Conscious/Unconscious,' a six-woman show at Pippy Houldsworth in London. This year, Zoe inaugurated Gaa Gallery's new Tribeca location with her solo show, ‘Cambium.' Library Street Collective in Detroit will host her upcoming solo show, “Earthshine,” opening this May. Her work has been reviewed by Artsy, Artnet, LA Weekly, Whitewall, The Provincetown Independent,  and more. McGuire was a finalist for the New American Paintings Emerging Artist Grant and was featured in their 2022 MFA print issue.  zoelmcguire.com Instagram: zoe_mcguire See More from Martin Benson *To stay up on releases and content surrounding the show check out ⁠⁠⁠⁠⁠⁠my instagram⁠⁠⁠⁠⁠⁠ *To contribute to the creation of this show, along with access to other exclusive content, consider joining ⁠⁠⁠⁠⁠⁠my Patreon⁠⁠⁠⁠⁠⁠! Credits: Big Thanks to Matthew Blankenship of ⁠⁠⁠⁠⁠⁠The Sometimes Island ⁠⁠⁠⁠⁠⁠ for the podcast theme music! --- Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

Scott Klinker is a designer, educator, and the designer-in-residence at Cranbrook Academy of Art's 3D Design department. His work in furniture and lighting explores a space between design, architecture, art, and craft. In this conversation, Jarrett and Scott talk about the evolution of industrial design, the intersection of design, art, and craft, and the role of personal expression in design processes. Links from this episode can be found at scratchingthesurface.fm/232-scott-klinker. — If you enjoy the show, please consider supporting us on Patreon and get bonus content, transcripts, and our monthly newsletter! www.patreon.com/surfacepodcast

If Marianna, Arkansas looks like the kind of place that Walker Evans would've photographed, that's because it is. And it was in that cotton belt town in 1936 that William Paschal Hopkins came to be. _____ Born to Charles, a cotton merchant, and Martha, young Will Hopkins was on a path to follow his father into the cotton business. But thanks to the intervention of a distant aunt, a fashion illustrator in New York City, Hopkins' parents were persuaded into shipping their creatively-inclined boy off to the celebrated Cranbrook Academy of Art in Detroit. _____ Hopkins became the “Arkansas Traveler.” After school, he took a job at Chess Records in Chicago, designing for the likes of Muddy Waters, Willie Dixon, and Bo Diddley. But soon the road was calling again. _____ “One Sunday afternoon, I'm walking down the street in Chicago. I said to this friend of mine that I was walking with, I said, you know, ‘I'm gonna go to Germany.'” _____ Through a friend, Hopkins discovered Willy Fleckhaus, one of the most innovative, creative, and influential graphic designers in postwar Germany. He knew he had to go. _____ Through his revolutionary work at the magazine Twen, Fleckhaus taught Hopkins everything about the business, including the “12-Part Grid,” his layout innovation that transformed the way magazines were designed. _____ After three years in Munich, Hopkins moved to New York to take the helm at Look magazine. Look enjoyed a spirited rivalry with the more conservative Life magazine, and published hard-hitting stories on civil rights, racism, gay marriage, and the environment. It featured the more cutting-edge design of the two, which Hopkins credits to his implementation of Fleckhaus's grid system. _____ After Look closed in 1971 (followed by Life in 1972), Hopkins would go on to open his own studio where he continues to run a thriving design business, Hopkins/Baumann, in Minneapolis. _____ After a non-stop, 65-year career in magazine publishing, Hopkins' memory is rich, but not quite what it used to be. But thanks to his partner in work and in life, Mary K Baumann, who helped to fill in the gaps, we learned why Hopkins seemed to attract magazines with “American” in the title (American Photographer, American Health, American Craft), how to drive a Volkswagen from Chicago to Germany, and about the good old days when art directors got wined and dined by French publishers.

Thomas has a new, most magnificent book out, Quilt Out Loud: Activism, Language and the Art of Quilting (C&T Publishing, 2023), available at https://amzn.to/3KkTDVP.The last time we spoke to Thomas in 2019, he was discussing his previous book, Why We Quilt. Listen to that podcast at, https://www.spreaker.com/episode/19599876. He discusses the process of writing this book, his life during the Pandemic, and his thoughts on the beauty he makes with activism messaging. He also talks about the influence of punk on his thoughts and process, and even the look of the book! Thomas Knauer holds Masters of Fine Art from both Ohio University and the Cranbrook Academy of art. Before he started designing fabric and quilts he was a professor of art and design at Drake University and the State University of New York. He began sewing in 2010 after leaving academia due to health concerns, and soon thereafter sat down at a sewing machine for the first time to make his wee daughter a dress. Since then he has designed six fabric collections for Andover Fabrics, writes an ongoing column for Quilters Newsletter, has published quilts in numerous magazines, and is exhibiting in quilt shows and museums. But in the end he loves making things for his daughter and new son the best. For more about Thomas, go to https://www.thomasknauersews.com/.

Gyan Shrosbree received her B.F.A. from the Kansas City Art Institute, and her M.F.A. from Cranbrook Academy of Art. She has had recent solo and two-person exhibitions at Ortega y Gasset Projects, Brooklyn, NY; JEFF, Marfa, TX; Wrong Gallery, Marfa, TX; Ola Studio, Pound Ridge, NY: nx.ix Gallery, Detroit, MI; Haus Collective, San Antonio, TX; Grapefruits, Portland, OR; Grand View University, Des Moines, IA; Yellow Door Gallery, Des Moines, IA; Ripon College, Ripon, WI; Lovey Town Space, Madison, WI; and The Iowa Arts Council and State Historical Museum, Des Moines, IA. Her work has been included in recent group exhibitions Drake University, Des Moines, IA; Western Exhibitions, Chicago, IL; Cleve Carney Art Gallery, Glen Ellyn, IL; Ground Floor Gallery, Nashville, TN; The Woskob Family Gallery, State College, PA; NYSRP, Brooklyn, NY; and Artstart, Rhinelander, WI. Gyan has been an artist-in-residence at MacDowell, Yaddo, The Vermont Studio Center, Two Coats of Paint, and The Maple Terrace. Recent publications featuring her work include Hyperallergic, New American Painting, Egomania Magazine,The Coastal Post, Inertia Studio Visits, Precog Magazine, and Maake Magazine. Gyan is currently an Associate Professor in the Department of Fine Arts at Maharishi International University. She lives and works in Fairfield, Iowa. Instagram for Gyan Shrosbree and Ortega y Gasset Projects. Gyan Shrosbree/Kathleen Shrosbree wearable art on OyG crew acrylic on cotton duck. Gyan Shrosbree, The Dress/What Touches the Floor #5, , acrylic on canvas tarp and stretched canvas, 100” x 60” each, 2022. Gyan Shrosbree Installation, Ortega y Gasset Projects.

The boundary between digital and analog, between novel and nostalgic, is an ever-evolving realm explored in the work of artist Anne Vieux. Having received her BFA in painting and art history from the Kansas City Art Institute and her MFA from Cranbrook Academy of Art, Vieux's process merges traditional painting with an experimental approach all her own. Using the refracted light patterns of an optical scanner as a jumping off point, Anne mines the depths of digital imagery to look at the patterns and flows behind an image. Appearing at times both metallic and aqueous, her abstract paintings capture something not possible in an analog world, but give warmth and even soul to the randomized data. This marriage of virtual image, physical materiality, and painterly finesse ultimately seeks the tension between the physical and digital realms. With over a decade of work, Vieux has expanded her repertoire to include painting, sculpture, installation, video, artist books, and nfts. in a time when technology rapidly evolves and transforms our experience of life along with it, Vieux's ability to find beauty and meaning in the flux has garnered her widespread acclaim and a stream of international exhibitions, including solo shows at The Hole, The Journal, NY, NY; County Gallery, Palm Beach, FL; as well as group shows with König Galerie, Berlin, DE; Cranbrook art museum, Bloomfield Hills, MI; Hunter College Art Gallery, National Arts Club, NY, NY; and Newcomb Art Museum, New Orlean's, LA. Vieux's work has been added to notable collections, such as the Newcomb Art Museum, the libraries the Moma, the Met, Virginia Commonwealth, Reed college. Vieux has been commissioned for numerous public art works across the country, including a site-specific installation at the Facebook HQ in San Francisco, CA. Vieux currently lives and works in Brooklyn, New York. Mirror Proxies, installation image at The Hole {{verdure}}, 2022. acrylic and ink on canvas, 86 x 72 inches ~~##_, 2022, digital video h264, 30fps mp4 (2min loop), 3840 x 2160 px

Christina Osheim's life is dedicated to art and community. While a student at St. Olaf College she had a freak accident working grounds crew in 2003. This accident resulted in severe traumatic brain injury, changing her life, but not her focus on art. She has learned to adapt to the lifelong changes TBI has brought. She did a 5th year at the Rhode Island School of Design, was an Associate Artist at the Clay Studio in Philadelphia. Osheim received her MFA from Cranbrook Academy of Art in 2012 and spent the year after as a resident artist at Red Dirt Studio and as a ceramics teacher for VCU. In 2016 she started her own ceramic studio in 2016. In 2021 she moved it to Brentwood, Maryland and relaunched. She also became an active member of BIAMD's weekly check in chats. Her work is currently sold at the Barnes Foundation Gift Shop in Philadelphia and is working on an order for The Phillips Collection in DC and a custom order for Four Seasons Hotel Philadelphia. There will be an open studio December 10th from 12-5pm at her studio in Artisan 4100 in Brentwood Md. Christina Osheim's website Neuromaps Chritina Osheim on Instagram Arts, Beats, and Eats For more information you can visit www.biamd.org or call the free helpline at 1-800-221-6443. Disclaimer: This podcast is provided for informational purposes only and does not constitute endorsement of treatments, individuals, or programs which appear herein. Any external links on the website are provided for the visitor's convenience; once you click on any of these links you are leaving the BIAMD website. BIAMD has no control over and is not responsible for the nature, content, and availability of those sites.   

Kimberly Dowdell is a licensed architect and frequent speaker on the topic of architecture, leadership, diversity, sustainability and the future of cities. In her recently completed term as the 2019-2020 national president of the National Organization of Minority Architects (NOMA), she worked closely with her board of directors and staff to increase opportunities for women and people of color to gain more equitable access to the building professions.She also more than doubled the organization's membership and significantly raised NOMA's profile during her two-years in office. Kimberly's career aspirations are rooted in her upbringing in Detroit, where she was initially driven to utilize architecture as a tool to revitalize cities. She earned her Bachelor of Architecture at Cornell University and her Master of Public Administration at Harvard University. Her professional experience has spanned from architecture to government and teaching to real estate development.Kimberly is currently a Principal in the Chicago studio of HOK, a leading global design firm. She co-founded the SEED Network in 2005 and has been a LEED accredited professional since 2007. In 2022, Kimberly was elected to serve as the 2024 National President of the American Institute of Architects (AIA). She was also elected to the Cornell University Board of Trustees. Kimberly's overarching mission is to improve people's lives, by design.Detroit City of Design SpotlightCranbrook Schools is a private, PK–12 preparatory school located on a 319-acre (129 ha) campus in Bloomfield Hills, Michigan. The schools comprise a co-educational elementary school, a middle school with separate schools for boys and girls, and a co-educational high school with boarding facilities. Cranbrook Schools is part of the Cranbrook Educational Community (CEC), which includes the Cranbrook Institute of Science, the Cranbrook Academy of Art, and Cranbrook House and Gardens. (Nearby Christ Church Cranbrook remains outside this formal structure.) The Cranbrook community was established by publishing mogul George Booth, who bought the site of today's Cranbrook community in 1904. Cranbrook was designated a National Historic Landmark on June 29, 1989 for its significant architecture and design. It attracts tourists from around the world.[1][2] Approximately 40 acres (160,000 m2) of Cranbrook Schools' campus are gardens.Show...

Carrie Seid is a nationally recognized artist who exhibits her work in galleries all over the United States. Carrie received her B.F.A. from The Rhode Island School of Design in 1984, and her M.F.A. from Cranbrook Academy of Art, where she was a Merit Scholar. Carrie has taught at numerous universities around the United States, including The School of The Art Institute of Chicago, State University of New York at Buffalo, Niagara County Community College, Daemen College, Arizona State University and University of Arizona. Her teaching career spawned “Creative Catalyst Coaching,” her own program designed to help creative people liberate themselves from their limiting beliefs, so they can reach their highest goals. Carrie leads live workshops, conducts corporate trainings, and individual consultations with creative professionals. Winner of the Purchase Award in 2003, Carrie's work is part of the permanent collection of The Tucson Museum of Art where she also had a solo exhibition. In 2006, she was featured on “Arizona Illustrated” on KUAT television, and has also been interviewed for radio and podcasts. Carrie also designed products for TAG, Inc., and Modulus, Inc., in Chicago, as well as Terragrafics, Inc., in San Francisco. She's been awarded numerous public art commissions in Arizona, including the The Udall Senior Center, five different projects at the Oro Valley Hospital, a glass walkway in the Ellie Towne Community Center, and a giant steel orange slice and two benches along the Orange Grove Road expansion project in Tucson. Learn more: carrieseid.com

Molly talks with photographer/artist Jimmy Fike about his book, "Edible Plants: A Photographic Survey of the Wild Edible Botanicals of North America". Order "Edible Plants" from an independent bookseller at this link: bookshop.org/a/10588/9781684351718 or at Amazon right here https://amzn.to/3Jd5YsA About Jimmy Fike Jimmy Fike was born in Birmingham, Alabama in 1970. He earned a BA in Art from Auburn University and an MFA in Photography from the Cranbrook Academy of Art. Currently, he works as a Residential Art Faculty Member at Estrella Mountain College in Avondale, Arizona. His photographic work endeavors to push the tradition of landscape photography into the realm of socially and ecologically engaged practice. His series on wild edible plants has been exhibited extensively across the USA, featured in the LA Times, Washington Post, and Mother Jones, and accepted into the permanent collection of the George Eastman House Museum.

In this episode, Eric sits down with the legendary artist Artis Lane… where they discuss her life as a young girl having emigrated from Canada to Michigan and formative experiences she had that later informed her artwork. They discuss her travels as a young adult to South Africa and exposure to apartheid.. Her prolific and celebrated artistic career that includes her exceptional portrait work, her focus on social issues and sculpture including her bust of Abolitionist and Suffragette Sojourner Truth that was unveiled by First Lady Michelle Obama and most recently her contemporary work that deals in the realm of Metaphysics. For more visit: www.ericsperspective.comGuest Bio: Artis Lane is a Black Canadian sculptor and painter who was born in North Buxton, a small town near Chatham in Ontario, Canada, in a community largely populated by the descendants of slaves who emigrated to Canada on the Underground Railroad. At two years old her family moved to Ann Arbor, Michigan where she started developing her interests in drawing and painting. Upon graduating high school, she received a scholarship to attend the Ontario College of Art in Toronto, Ontario. After receiving her degree, she moved to Detroit, Michigan newly married to her husband, journalist Bill Lane. While there, she continued her education at the Cranbrook Academy of Art. Artis Lane's sculpture are primarily concerned with portraying what she sees as enduring spiritual truths. These truths are that the growth of spiritual awareness is continuous and that nobody ever arrives at perfection. In addition, spiritual awareness connects humans with a universal force."  Her commissions include a series of bronze portraits for the Soul Train Awards, a bronze portrait of Rosa Parks for the Smithsonian Institution and designing the original logo for the Dance Theatre of Harlem. She has made sculptures of prominent people as former President George H. W. Bush, Bill Cosby, Walter Annenberg, Michael Jordan, Gordon Getty, Nelson Mandela and Henry Kissinger. The National Congress of Black Women commissioned Lane to create a bronze bust depicting women's-right advocate and abolitionist Sojourner Truth. The bust was unveiled on April 28, 2009 by First Lady Michelle Obama for permanent display in the Emancipation Hall at the Capitol Visitor Centre. The Women's Caucus for Art, making Truth the first black woman to be honored with a bust at U.S. Capitol. Lane was honored in 2013 as recipient of the Women's Caucus for Art Lifetime Achievement Award.About Eric's Perspective: A podcast series on African American art with Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ART SUBSCRIBE: http://bit.ly/2vVJkDn LISTEN ON:  Apple Podcasts: https://apple.co/2B6wB3U Spotify: https://spoti.fi/3j6QRmW Google Podcasts: https://bit.ly/3fNNgrY iHeartRadio: https://ihr.fm/2KtYGXv  Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1 Facebook: https://bit.ly/3jq5fXP Instagram: https://bit.ly/39jFZxG Twitter: https://bit.ly/2OMRx33  www.mhanksgallery.com

On this episode of People Painting, the artist and educator Clara Nulty talks with Connor about her approach to teaching, her relationship to watercolor, the balance between spontaneity and intention in some of her recent works, and much more. Born and raised in New York, Nulty now lives and works in Louisville, CO. Nulty completed her MFA in Painting at the Cranbrook Academy of Art in May 2021. She also holds a BA in Studio Art from Carleton College in Northfield, MN, where she graduated magna cum laude in 2014. She currently teaches painting and drawing at Front Range Community College and Colorado State University. She has shown at galleries across the United States. Recently her work has been featured in exhibitions at Ortega y Gasset in Brooklyn, NY, Site: Brooklyn in Brooklyn, NY, the Frank Lloyd Wright designed Smith House in Bloomfield Hills, MI, Alluvium Gallery in Grand Rapids, MI, and D'Art Gallery in Denver, CO in a show curated by Dr. Gwen Chanzit. In 2022, Clara Nulty will have two solo exhibitions at the Birmingham Bloomfield Art Center in Birmingham, MI and Firehouse Art Center in Longmont, CO. • Clara's work: http://www.claranulty.com/ • Clara's Instagram: https://www.instagram.com/claranultyart/ For complete show notes, including links to all artists/works referenced on this episode, visit peoplepaintingpodcast.com If you'd like to support this show, you may do so here. Thank you for listening!

Jacob Vinson originates from high desert plains of Wyoming, although he now calls Michigan home. Jacob has been working as a ceramic artist for over fifteen years and his fascination with the medium only continues to grow. In 2009 Jacob received his BFA from Utah State University, and in 2021 he received his MFA from Cranbrook Academy of Art. Jacob's studio practice primarily revolves around but is not limited to utilitarian craft and the material science that is clay.

Charles Eames e Ray Kaiser si incontrano nell'estate del 1940 alla Cranbrook Academy of Arts, e da quel momento non si lasceranno più. Secondo il principio “The best, for the most, for the least”, in 40 anni, hanno cambiato la storia del design, creando arredi come la Lounge Chair, progetto simbolo di questa straordinaria partnership creativa, imprenditoriale e sentimentale. L'Incontro tra Charles Eames e Ray Kaiser è a cura di Domitilla Dardi, storica del design e senior curator per il design del Museo, scritto con Francesca de Michele. iNCONTRi è un podcast del Museo MAXXI, prodotto da Dopcast. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lark Allen III is a graduate of Cranbrook Academy of Art, where he received an M.F.A. (2014) in Print Media. . Allen is non discriminatory when working with materials, and actively engages in various forms of drawing, sculpture, painting, and printmaking. As a current Saginaw Michigan resident, he is an active proponent of health and well-being within communities, and attempts to reveal this advocacy through his artwork. His current exhibition, From Africa to Eternity is on display at the Saginaw Art Museum through July 1, 2022 Learn more at www.saginawartmuseum.org/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/templearts/support

EP 163: Aaron recorded a live show with Photographer E. Brady Robinson at the Hotel Indigo discussing her new Photo Exhibit SK8R GRLS. We discuss her inspiration behind the project, her love for roller skating, how she chose the Women for this and what is the soundtrack to this Exhibition.  IG:@ebradyrobinson   IG: MarylandArtPlace IG: Acutevisions  SK8R GRLS is a photo series by E. Brady Robinson celebrating the freedom and joy of roller skating. The  exhibition is on view at Hotel Indigo Baltimore, located at 24 West Franklin St. from Jan 25th - March 18th. A  public reception will take place on March 8th from 5 to 7 pm in celebration of International Women's Day.     In spring of 2021, Robinson took up skating as a way to stay active and reconnect with friends outdoors  during COVID-19. During these skate dates, she photographed friends and eventually, a wider network of  Baltimore-based female-identifying skaters. This work combines her love of athleticism, fitness, and fashion  photography. These images, made at a moment where it felt like the world was reopening after over a year  of closure and isolation during the pandemic, evoke a feeling of release and freedom.      Robinson completed her BFA in photography at MICA and MFA in photography at the Cranbrook Academy of  Art. Her background is in documentary photography and portraiture. The nine archival metal prints on  display at the Hotel Indigo depict strong women amidst a backdrop of Baltimore monuments and sites.  Locations such as Lake Montebello, Patterson Park, the Druid Hill Tennis Courts, and the Ravens parking lot,  signal the public landscape of Baltimore for those that know it well, in contrast to photographs made in the  artist's Maryland Art Place studio which utilize strobe and gel lighting to simulate the vibes of the 80's  roller skating rinks reminiscent of Robinson's childhood.      The skaters photographed include artists, musicians, and female entrepreneurs; women in the creative scene  in Baltimore, including Amy Cavanaugh, Caitlin Gill, Jade Davis, Tina Thompson, Brittany Wight, Les Gray,  Hayley Furman, Jessica Lauryn, Sophie Kluckhuhn, and Wildège François.   Brady Robinson is a photographer based in Baltimore and a current resident artist at Maryland Art Place.  She divides her time between personal art projects and commissioned work. Her documentary Art Desks was  published by Daylight Books with an essay by Andy Grundberg and distributed by ARTBOOK D.A.P. Her  photographs have been featured in The Washington Post, Channel One Russia TV, The Bund Shanghai,  Hyperallergic, BmoreArt, Featureshoot, Slate among others. Robinson leads photography workshops  throughout the United States. Select exhibitions include Lishui Photography Festival China, Orlando Museum  of Art, Cornell Fine Arts Museum, Katzen Art Center at American University, AIPAD NYC, and Art Miami. Select  collections include American University, Orlando Museum of Art and Spanish Cultural Center, Santo Domingo,  DR.      Robinson is a University Instructor of Photography at Goucher College in Baltimore, Maryland, and faculty at  ICP in New York. She received her BFA in photography from The Maryland Institute, College of Art, and MFA  in photography from Cranbrook Art Academy in Bloomfield Hills, Michigan. Robinson is represented by  Addison/Ripley Fine Art in Washington, DC.    Maryland Art Place (MAP) inspires, supports, and encourages artistic expression through innovative programming, exhibitions,  and educational opportunities while recognizing the powerful impact art can have on our community. MAP creates a dynamic  environment for artists of our time to engage the public by nurturing and promoting new ideas. MAP has served as a critical resource  for contemporary art in the Mid-Atlantic since 1981. mdartplace.org. MAP is supported by the Maryland State Arts Council and The  Citizens of Baltimore County.   Thank you to my sponsors:                 Zeke's Coffee        www.zekescoffee.com                           Maggies Farm  www.maggiesfarm.com                                 FoundStudio Shop  www.foundstudioshop.com                                 Charm Craft City Mafia  www.charmcitycraftmafia.com               Siena Leigh https://www.sienaleigh.com                     Open Works https://www.openworksbmore.org Baltimore Fiscal https://www.baltimorefiscal.com

What you'll learn in this episode: How we can examine almost any political topic through the lens of jewelry Why it's important that jewelry be embraced by academia, and how every jewelry enthusiast can help make that happen (even if they're not in academia themselves) Why a piece of jewelry isn't finished when it leaves the hands of its maker How matt works with collaborators for their column, “Settings and Findings,” in Lost in Jewelry Magazine How jewelry has tied people together throughout time and space About matt lambert matt lambert is a non-binary, trans, multidisciplinary collaborator and co-conspirator working towards equity, inclusion, and reparation. They are a founder and facilitator of The Fulcrum Project and currently are a PhD student between Konstfack and University of Gothenburg in Sweden. They hold a MA in Critical Craft Studies from Warren Wilson College and an MFA in Metalsmithing from Cranbrook Academy of Art. lambert currently is based in Stockholm Sweden and was born in Detroit MI, US where they still maintain a studio. They have exhibited work nationally and internationally including at: Turner Contemporary, Margate, Uk, ArkDes, and Sven-Harrys Konstmuseum, Stockholm, Sweden, Museo de la Ciudad, Valencia , Spain and Walker Art Center, Minneapolis, MN, US. Lambert represented the U.S in Triple Parade at HOW Museum, Shanghai, China, represented the best of craft in Norway during Salon del Mobile, Milan, Italy and was the invited feature at the Benaki Museum, Athens, Greece during Athens Jewelry Week. Lambert has actively contributed writing to Art Jewelry Forum, Garland, Metalsmith Magazine, Klimt02, Norwegian Craft and the Athens Jewelry Week catalogues and maintains a running column titled “Settings and Findings” in Lost in Jewelry Magazine. Additional Resources: matt's Website matt's Instagram Photos: Brooches 2019 Made in collaboration with Maret Anna Sara Image credit: Talya Kantro https://maretannesara.com/pile-power/ Pile Power is a new, elaborative section of Máret Ánne Saras bigger body of work: Pile O ?Sápmi. The project has developed into a multi prong exploration using the remaining material from Sara´s Pile O' Sápmi as shown in Documenta 14. Sara invited matt lambert to enter a dialogue with the intent for finding methods to use all available material that was remaining from earlier pieces. Matt Lambert is recognized through international exhibitions in platforms such as craft, jewelery, performance, design, sculpture and fashion, and has been listed on the top 100 designers for jewelry and accessories by the Global Jewelry and Accessories Council as well as receiving the Next Generation Award from Surface Design Association.  Sara invited Lambert to collaborate using the materials remaining from the Pile O´ Sápmi project after finding a connection through a conviction for socio-cultural sustainability as well as minority comradery between indigeneity and queerness. The Pile Power collaboration is producing larger performative objects using the remaining jaws of the reindeer skulls used in Saras earlier work, as well as more wearable works from the remaining reindeer-porcelain skulls that Sara commissioned to her Pile O' Sápmi Powernecklace shown at Documenta 14. Both of these veins of working promote the conversation around sustainable practices of indigenous  peoples. In Pile Power, body and material form a new basis for approach for themes addressed in the Pile O ?Sápmi project. Based on creative dialogue, a thematic jewelry collection will nomadically carry a new segment of an urgent discourse through bodies and humans. the integumentary system as dialogical fashion installed at  IASPIS Stockholm Sweden 2017 8 x 5.5 x 3 feet Comprised of 15 wearable objects temporal drag only accepting gaudy currency, saving for kitsch omega and sugar free nirvana installed at  IASPIS Stockholm Sweden 2017 10 x 5.5 x 2.5 feet Comprised of 55 wearable objects Tools of Ignorance As installed at Pried The Society of Arts + Crafts Boston MA USA, 2019 Transcript: matt lambert doesn't just want us to wear jewelry—they want us to question it. As a maker, writer, and Ph.D. student, matt spends much of their time thinking about why we wear jewelry, who makes it, and what happens to jewelry as it's passed from person to person. They joined the Jewelry Journey Podcast to talk about the inspirations behind their work, why jewelry carries layers of meaning, and why wearing jewelry (or not wearing it) is always a political act. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Matt Lambert, who is joining us from Stockholm. Matt is a maker, writer and performer currently pursuing a Ph.D. Matt's jewelry journey has taken them from country to country. If you haven't heard part one, please go to TheJewelryJourney.com. Welcome back. You're still making though, right? matt: I am. I am definitely still making. It has not left my bones. It will probably never leave my bones, but it is something I constantly question, like what does it mean to make? What are we making? Sharon: Do you think about where you're making your jewelry? Like you were just in a show in Finland. matt: Those objects also push an interesting thing into play. I was having some hand problems because of Covid. I sleep in a very precarious position for my hands, and I was losing feeling in my right hand because I have an anxiety disorder. When I'm stressed, I basically ball up my hand, and I was pinching a nerve. I was thinking about Covid, the spike in the Black Lives Matter Movement, so many other incredible layers of politics and body awareness and attempts to consciously raise our awareness of what's going on in the world. So, I started a dialogue with someone who's trained in a lot of work but specifically in box making, which is a totally different skillset. We share knowledge of material, and I cast my hands in different gestures of resistance or solidarity. There are three that are new, which is the fist for resistance, the peace sign, and the opening/offering hand. I cast them, and I worked with the box maker to make jewelry boxes for my hands that are actually wearable on my hands. There's a hole, and I can buckle a box around my hand. A lot of my work questions what jewelry is. Is this jewelry? Is my hand the jewel, or is the box that's worn around my hand the jewel? I'm interrogating what a piece of jewelry is or what could it be. I also spoke at KORU7, the Finnish jewelry triennial, which was very meaningful to show and speak at because that's the first place I ever went outside of North America. I told myself, “I'm going to be here one day,” and I got into the exhibition, so that was very emotional. Then they sent me an invite to ask if I would speak, and that was a proud moment. These are milestones in my career, and I have gratitude for the invitations. They mean something in that way of feeling herd, or at least wanting to be listened to for a moment. Sharon: I saw the boxes on Instagram, and I thought, “Oh, those are beautiful boxes,” but I was going, “O.K., do you stick your hand in them or wear them around? What do you do with them?” The leather was beautiful. I thought, “Wow, gorgeous purse!” matt: Those are probably more theoretical and abstract works in jewelry, but it's questioning self-care and preservation. When we make gestures, when we show someone the peace sign or we have the fist of resistance or we offer someone something, do we mean it? Are we trying to freeze it in time? When does a gesture become shallow? It becomes commodified. Through jewelry, when you just consume it, when does our body also become that? It was me saying, “Hey, jewelry can talk about this,” and a lot of my work now is saying jewelry can do this. I call it a not-so-solo show that will be going up in the spring at Bornholm, which is a craft center on an island that is technically Danish. It's between Denmark and Germany. I'll have a larger solo show, but it's a not-so-solo show. It will talk about the different collaborations I have with Masada, who's indigenous, Sámi. Our work is talking about the rights of indigenous people, and there will be new collaborations: one set I've already been doing, one of the hand boxes will be there as well, and the work I do with the choreographer Carl Berg. It's me playing with the elasticity of what jewelry is. There's always some sort of wearable thing, but then it's like, is that the work? Is it a marker of the work? Does it represent my research? Is it a token of that? Is it a souvenir? It's also challenging you as the wearer. When you wear my work, to me, you're also carrying what I stand for, what I believe in or what I'm doing, so we share something together. When people ask, it gives you an opportunity to share the possibility of jewelry, and that's also what I love. When you wear my necklace, I want to know what you tell people. The best part is when I'm with people and someone goes, “What do you do?” at a dinner party, and whoever I'm with that knows me usually loves looking at that person. They go, “What do I do?” Sharon: That's not an easy question to answer. What do you say? matt: I don't. I literally look at the person next to me. I go, “What do I do?” And I love the multiplicity because my work exists. I teach now. I write. I will be announcing being an editor for publications. There are always 12 projects. I make wearables. I make unwearables. I work with dancers. I work with choreographers, so I'm a performer now. There isn't an easy way, and that's a challenge under capitalism. We want to define people by what they do, especially in a U.S. context. It's not super common in Europe to be defined by what you do as it is in the U.S., so it's challenging. I'm just me. I exist. That comes with its own set of consequences, but you're talking about someone who wants to know. It's also a very liberating space to be in. Sharon: Yes, I can see how it would be the most satisfying answer if I'm asking what you do at a party. Let me ask you this, because you mentioned Lost in Jewelry Magazine. Is that only an online publication? matt: Yes, that came out through Day By Day, which is a gallery in Rome. She approached me because she comes from a design background and has graphic design experience, and she discovered jewelry and became an addict like me. I think some people find it and it's like the back of your head falls off, and you want to read as many books and info and see everything you can. I see you at all these events too, and there's always something to learn. She wrote me and said, “Hey, you have a voice. What do you want to do with it? Could I give you space, and what would it look like?” So, I proposed a running column called Settings and Findings. Sharon: What did you mean by that, Settings and Findings? matt: It's a play on words. There are categories if you go to purchase materials for jewelry. A setting is what usually would hold a stone, but it's word play. You have a table setting.  What are you holding on to? What are you making space for? And a finding is a component in jewelry, but it's also what you're discovering. I write about different people that have different projects. I like research projects, collaborations or specific bodies of work, looking at things that aren't in the main canon. I often give people a space to say, “What are you setting and finding for this particular moment or for this project?” It's a way to also show that we are doing artistic research, whether we're aware of it or we frame it as that or not. It's become a tool for me to see how different people talk about their research. There are some coming up that are poems. Some people have written beautiful, long things, or sometimes I help them write it. It's finding that balance, since not everybody writes, but it's working with and taking time with someone or a group of people to talk about research in the field, about using the word research. It's a thing to point to in my Ph.D. as well. It's an investigative tool. Normally when you do academia, you do what's called literature review. You say what exists in the books. It's a way for me to say, “This is research that already exists. This is stuff that's happening.” I'm not alone in this and people might not contextualize it in an academic way, but I'm using my position to contextualize in that way if they aren't. I'm putting it in a space so they can say, “This is research. We don't need academia to do research as jewelers, but we could frame it as that.” Sharon: I can understand the settings and what are you holding onto. The findings are what you're finding out about yourself or the pieces you're making? matt: Really, whatever you want. I think there's one article up by Viviana Langhoff who writes jewelry and adornment theory. She wrote a very beautiful, more poetic piece of writing about settings. She has built a platform to talk about equity and inclusion for diversity in the field, both in fine jewelry and in art jewelry, and she mixes the two in her space. She has a gallery in Chicago. The findings are about what you find when you do that. What is happening because you're doing that? What are you discovering or what have you discovered through your work? She's somebody who has created a space. So, what happens? How does the community respond? Who comes into that? If it's an individual person, what have you learned by making this work? Where are you at now? You did this. You felt the urge. What are you holding onto? Your finding is what you find out there, where the setting is or what you could share. It's purposely ambiguous because it's to invite commercial jewelers and groups and galleries and spaces and art jewelers to share a space. There are some coming up where it's like four sentences, and then there are people that have written me an essay. That's what I think is beautiful, that we all can exist together in this one location. Sharon: It's interesting. As I said, I hadn't ever seen it before, Lost in Jewelry. Let me ask you this, because in introducing you or when you were writing the introduction, I need a translation of this. You're described as a nonbinary trans collaborator and co-conspirator working towards inclusion, equity and reparation. I don't know that means, I must say. matt: Yes, my body, as I identify, I am white; I am part of the colonial imperial system in that way. I identify as nonbinary, which is under the trans umbrella, as in transgender. Primarily, from where my body stands, I don't believe in the gender construction. Like I said, my original background is in human sexuality and the psychology of it. It's not a conversation I'm interested in defining, which then leaks into jewelry and gender and who wears jewelry. As we're talking, that's probably a big reason why jewelry also interests me. Co-conspirator and collaborator— Sharon: I get collaborator. Co-conspirator— matt: Co-conspirator, I'm interested in working with people that have goals or missions or focuses that are towards equity and decolonizing. I'm for reparations, and so I work, like I already mentioned, in the fight for indigenous rights in Scandinavia and Norway. The co-conspirator, that's a goal. It's conspiring to say, “This is what we need to do.” I'm on the equity train, and people that are seeking to find that and use jewelry as a vehicle, I want to co-conspire with those people to figure out what projects need to happen, what happenings need to happen to do that. I want to see jewelry do that, and I want to selfishly keep it in jewelry and see what happens when we do that through jewelry, because I think it's where the potential is. I think jewelry's the best from where I sit, and with my knowledge of these things, I want to see that happen. One of the other pieces for Settings and Findings is by SaraBeth Post, who's a Penland resident in glass who is making necklaces out of simple glass pendants, but she was auctioning them off to raise funds for certain court cases or for other notable movements within Black Lives Matter. That's a way of using more commercially-driven, wearable work to move to a different area. There are so many incredible ways to use jewelry. It disrupts and it challenges, and that's why I'm excited about jewelry. Sharon: Do you think everything you're saying about jewelry and how it affects people, the connections—the mining and the metal and all that—do you think it's more accepted where you are in Europe? Are you in an environment where people talk about this, or do people look at you like, “What are you talking about?” matt: The United States, as far as talk about equity and those conversations, is very ahead of where it is, but that's also because the U.S. is founded on imperialism and slavery, so it has no mechanism of denial. There are places in Europe that have that, and there are other places that do not. So, yes and no would be the answer. It depends on whom I'm speaking with or where we're at. It is challenging because in the U.S., these are more contemporary conversations than we're having where I'm based now in Sweden. They also exist differently because their history and involvement in colonialism and imperialism is different. It exists. That's actually what I wrote my thesis on for my critical craft master's. I was looking at examinations of the history museum in Sweden and representation within it. It's a different conversation, so that's been a challenge, but it's a great learning experience for me because not everybody has the same knowledge. I think these conversations add an academic level. You see jewelry in a room and academics are like, “Wait, what? You want to play with jewelry?” Sometimes I find myself in this weird gray space, because you're fighting a different wave, like, “Yes, let's do this.” How do you make it make sense for everybody? I'm excited to see more people do what they love to expand the field so all of us can home in on exactly what we love doing. But it is a challenge right now because the conversations, there's a lot of potential we could say in them. They've been going on, but I think there's still a lot of potential. I think that's the amazing thing with this idea around jewelry. Is it a field? Is it a format? What is it? What can we do with it? Sharon: As you're making things, are you thinking about how you can express some of this through what you're making? I'm thinking about the laser-cut leather necklace. To me, it's a fabulous necklace. That's why I say I'm fairly shallow. It's a fabulous necklace; I don't look at it and go, “What does it mean in terms of equity?” Do you think about those things? Are you trying to express these things through your jewelry? matt: I think I'm more in the camp of my body lives, breaths, eats and sleeps this, so whatever I make, it's already going to be there. I don't make things with the idea of “This going to be about this.” It's more of, “What do I feel in my body and is this going back to being a craftsperson?” Sharon: You're saying that because of who you are and because it's what you live and breathe, it's in your jewelry. You don't have to say, “Oh, I think if I braid the leather this way, it means A, B, C.” matt: Yeah, no. I think there's a lot of talk in the world now about being authentic and living your authentic life and going down those rabbit holes, but I think there are many different ways to be a craftsperson. I think you could love a material and use it throughout your whole life; I think there could be people that can stretch across them. I think we need everybody to sustain and talk about it as a field. I have a deep concern about jewelry being a field and how we continue that. I think how we broaden that is the biggest thing, not coming from a point of scarcity. I'm at a point in my career where I trust my body. It's the same as trusting your gut. Also, sometimes, it just makes you feel good. There's nothing wrong with art if it just makes you feel good. When I made that leatherwork, I knew nothing about computers. I had briefly worked and tried to be a woodworker. It was not for me. I like my fingers. I don't like getting up at 4 a.m. I tried to work for a prestigious cabinet making company. I have a lot of respect for woodworkers; it's just not a frame of craft that I can make or produce in. When I went to Cranbrook, they were like, “Oh great, you can go work in the woodshop then.” I worked in the library—you know me; I read everything—which I loved, but then they were like, “Great, woodshop,” and I was like, “Oh, O.K.” and then they were like, “You're going to be the laser cutting technician.” I've made it a point in my whole career to use things that don't plug in. I grew up half my life in the woods where the power went out easily, and I wanted to be able to make my work without an electrical cord. So, that was a challenge, but that series also developed. I was sitting there and thinking about the simple sash chain you get at the hardware store. It's like one-on-one aluminum link, a very affordable, cheap, go-to chain, and then my brain was like, “What if I tweak it and do this and this?” If you look at the leather, it's not mathematically proportionate; it's hand-drawn. It comes from that. Then I was speaking to friends and all of a sudden, it was like, “This is what it could mean.” You see meanings after you do it when it's done. What I also love about that work is that I can't tell you how long it takes, because those pieces are family for me. I would lay out patterns, and then I would buy everybody pizza and beer and call my friends and I would prepare them. They have to be soaked in certain things, and other things we were figuring out the best way to weave. Everyone would sit around in a circle and weave necklaces. For me, it's about family and community and the linking of things. That's for me, but if you like my work because of something else, there is nothing wrong with that.  That's the research I'm interested in now. It matters why we make, but it also matters why we wear and why we buy. How do we talk about all of that together? That is what I think of as the work. As craftspeople, yeah, the work is the object we make, but even after we die, the work continues. How do we think about or frame what it means to you, then, to wear my necklace, and what do you get out of it? What fulfills you could be totally different than what I do, but that adds to what the work is. I think my jewelry is so beautiful because it could have this life. After you wear it, what happens to it? Does somebody else wear it? Do you give it to somebody? That adds another stratum of meaning, so over time, you continuously compress different meanings. Even if it goes behind a museum case—I'm not saying my work will do that—but when people's work goes behind a museum case, when you see it and when a five-year-old sees it versus a 70-year-old, versus someone from one country and another, that's another meaning: how they relate to it, how they could think of themselves wearing it, what they think it's about. It just piles more and more meaning. It all goes back to someone's body, not the body or a body, but all of our bodies. So, all of a sudden, you have objects that have this compression of people. If that doesn't allow you to have a point to talk about equity and humanness and labor and class and all those complex things, that's jewelry. It ties directly to us as people. It's important what you get out of wearing my necklace, why I made it, but it also almost doesn't matter in a way, because we're contributing to the pile. In theory that's called thickening, the thickening of a history. There isn't one history of something; it's historiography. It's the multiple possibilities of something. When you see jewelry, you can project yourself onto it. You can say, “I'm going to wear that to this party. I'm going to wear it to this thing, to this wedding, to a christening, to a birth, to this grocery store.” That's a potential history when you see it, and what if we tied all of those together? Even when you look at an object, that's why I love jewelry. Sharon: Matt, thank you so much. You gave us a lot to think about. I could talk with you for another hour. Thank you so much for being with us today. matt: Yes, it's a super pleasure again. Like I said, you're one of my very first collectors I ran into in Stockholm by happenstance. Sharon: It's a great happenstance. Thank you so much. matt: Thank you, Sharon. 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 we can examine almost any political topic through the lens of jewelry  Why it's important that jewelry be embraced by academia, and how every jewelry enthusiast can help make that happen (even if they're not in academia themselves) Why a piece of jewelry isn't finished when it leaves the hands of its maker How Matt works with collaborators for their column, “Settings and Findings,” in Lost in Jewelry Magazine How jewelry has tied people together throughout time and space About Matt Lambert Matt Lambert is a non-binary, trans, multidisciplinary collaborator and co-conspirator working towards equity, inclusion, and reparation. They are a founder and facilitator of The Fulcrum Project and currently are a PhD student between Konstfack and University of Gothenburg in Sweden. They hold a MA in Critical Craft Studies from Warren Wilson College and an MFA in Metalsmithing from Cranbrook Academy of Art.  Lambert currently is based in Stockholm Sweden and was born in Detroit MI, US where they still maintain a studio. They have exhibited work nationally and internationally including at: Turner Contemporary, Margate, Uk, ArkDes, and Sven-Harrys Konstmuseum, Stockholm, Sweden, Museo de la Ciudad, Valencia , Spain and Walker Art Center, Minneapolis, MN, US. Lambert represented the U.S in Triple Parade at HOW Museum, Shanghai, China, represented the best of craft in Norway during Salon del Mobile, Milan, Italy and was the invited feature at the Benaki Museum, Athens, Greece during Athens Jewelry Week. Lambert has actively contributed writing to Art Jewelry Forum, Garland, Metalsmith Magazine, Klimt02, Norwegian Craft and the Athens Jewelry Week catalogues and maintains a running column titled “Settings and Findings” in Lost in Jewelry Magazine. Additional Resources: Matt's Website Matt's Instagram Transcript:  Matt Lambert doesn't just want us to wear jewelry—they want us to question it. As a maker, writer, and Ph.D. student, Matt spends much of their time thinking about why we wear jewelry, who makes it, and what happens to jewelry as it's passed from person to person. They joined the Jewelry Journey Podcast to talk about the inspirations behind their work, why jewelry carries layers of meaning, and why wearing jewelry (or not wearing it) is always a political act. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Matt Lambert, who is joining us from Stockholm. Matt is a maker, writer and performer currently pursuing a Ph.D.    Matt's jewelry journey has taken them from country to country. What sticks in my mind is one of my first encounters with them on an Art Jewelry Forum trip. I saw them in a hotel lobby in Sweden wearing one of their iconic creations, a laser-cut leather neckpiece I flipped over. We'll hear all about their amazing jewelry journey today. Matt, thanks so much for being here.   Matt: Thanks so much for having me, Sharon. It's a pleasure.   Sharon: Your jewelry journey has taken you all over the world. I'm always amazed when I hear how you hop from country to country. So, tell us about it. How did you get into it?   Matt: Originally I was trained as a psychologist.   Sharon: Wow!   Matt: It's kind of strange, but it makes perfect sense for what I do now in human sexuality and gender. I was researching body politics and what it means to be a person and be represented through media or in other cultures. I started off in that community, and I took a metalsmithing course on a whim. There was a woman in one of my classes who was taking it as her art elective. I thought we were going to be making something completely different by forging silver. I was like, “Wait, what? You can do that?” I really fell into it.   I was a researcher for the APA doing government research—   Sharon: APA being the American Psychological—   Matt: The American Psychological Association. After community college, I went on to Wayne State and studied under F.M. Larson for metalsmithing. At the very end, Lauren Kalman joined. She is tenured and was well-known at Wayne State University in Detroit.    The work I was doing was very rigorous. I worked in a rape and trauma research lab with no windows in a basement, and I wasn't finding a way to talk about people and bodies and those things in the ways I had hoped. It was fulfilling me, but not in every aspect of my life.  So, I kept pouring myself into this strange thing of contemporary jewelry.    I never thought I would go to grad school. I wound up going to Cranbrook Academy of Art, which is just 40 minutes down the road from Wayne State. Even then, I thought I was going to go across the country for art school. I fell in love with the program at Cranbrook. Iris Eichenberg, who teaches there, told me, “You have to fail really bad in order to learn what's good and what's good for your practice.” It was so liberating that I could apply all the research I learned and used and still use it today, but to put it and manifest it in jewelry. That opened Pandora's box.    Sharon: How did you decide to go from studying psychology and being at Wayne State to go to such a renowned art school that you don't know? It's for art jewelers, basically.   Matt: Yeah, it's renowned. I think it shares the number one space for metalsmithing and jewelry, and it's renowned also for hollowware and gate making. It has a long history of Americana metalsmithing. With Iris being there for contemporary jewelry, it sounds a little bit pretentious.    The relationship I was in wanted me to stay local. It was like, “You should apply.” I really thought through everything weird and wonderful that I wanted to be doing, and I was like, “If I'm going to stay, then you have to take this all on.” Iris was like, “O.K., let's do it.” Even if didn't work out, it was like, “I can just go back to psychology if this doesn't work.”   Cranbrook has an international reputation which also meant traveling a lot. In between semesters, I was the assistant for Christoph Zellweger, who's based out of Zurich, Switzerland. I don't know if they're still there now, but at the time, I was their assistant in Switzerland during my years there. My partner was Monica Gaspar, so I got a theorist who I also got to work with. Then I kind of traveled everywhere. Before I started at Cranbrook, the first time I was in Europe, we had to go to KORU7, which is the jewelry triennial in Finland. They also do seminars. So, for me, it became a very global, European to North American perspective.   Sharon: I'm always amazed at your country hopping. Was this something you were considered a natural at? Were you finger painting at age five and your parents were saying, “Oh, they're going to be an artist”?   Matt: I do have a background in wildlife illustration. I was homeschooled until sixth grade, but I was put in a lot of enrichment programs, so I did have ceramics; I had languages; I had all sorts of courses and electives. Growing up I trained in something called monart, which is not taught in public school; it's only for private training. It's a way of drawing where you draw from negative space, which I think contributes to my work, as I think through negative space. I was doing a lot of wildlife illustrations. I have quite a few childhood publications, like realistic waterfowl and birds of prey. I dabbled a little bit with Sidney Shelby. The Shelby has an art program for auto illustration, too.   So, there is some of that. I thought I was going to go into drawing and painting before I went into psychology, but I had an evaluation at community college when I started and they kind of broke my dreams. They said I was terrible and said, “You shouldn't be an artist.” I would always say, “If you're told you shouldn't be an artist, you probably should be.” So, I went into psychology as a shelter to do that.    I'm a big advocate for trade schools and community colleges as places to find yourself. I fell in love with metalsmithing there, and I knew I would never leave it. My mother's cousin was actually a former a Tiffany's jeweler, so there is a little bit in the family. She was a cheerleader for me. She was like, “You're doing what? Oh, have you found a hammer and silver? Great.” She trained under Phil Fike, who was at Wayne State University when she was there. It's always interesting what she thinks I do because I'm not a very technical, proper silversmith like she was. When I finally went to school and said I was going to do this officially, she gave me her studio.   Sharon: Wow! You have two master's degrees and now you're working on a Ph.D. Can you tell us about that? One is critical art, or critical—   Matt: Yeah, critical craft theory. I graduated Cranbrook in 2014 from metalsmithing and jewelry, and I had electives in sculpture and textile. At the same time, I should say, I had also apprenticed as a leatherworker doing car interiors, like 1920s period Rolls-Royces, so I had a leather background I was able to bring to Cranbrook. A lot of my work was varied, but there was a lot of leather involved. After that, I had a partial apprenticeship in semi-antique rug restoration. There's a lot of training in leather-working material.   So, I graduated, and I met Sophia. We had met a few times, and then she ended up being the evaluator/respondent for our graduation show. So, she saw my work as I wished it to be, and she offered me a solo show. She said, “An agent is coming to see the gallery. Come help out. Come see this world,” which is how we met.   Sharon: And her gallery is in Sweden, right?   Matt: Her gallery is in Stockholm, yes, in Sweden. I had a show, and that was amazing. There's a government program called IASPIS, which is an invite-only program that the Swedish government runs. It's the international arts organization. I was invited there because they were looking for—they added applied arts, and I was the first jeweler and metalsmith to be there. That's a three-month program where you're invited to live and work, and that gives you great networking opportunities not only with Sweden, but also with Scandinavia at large for museums and shows. I was the first foreigner at Tobias Alm, who was a Swedish jeweler and the first Swedish artist in jewelry to be there. That just upped and changed my life. I got into museum shows and met people and had a career for about four or five years and loved it; it was amazing and I wanted more.    I love theory. I am a theory addict, so I was like, “A Ph.D. is the next logical thing.” I was applying and making finals, but jewelry is a hard sell, if you will, in academia. Warren Wilson College is in North Carolina in the States. There is a think tank out of the Center for Craft, which is located in Asheville, North Carolina, and they deal with all kinds of craft. They're a great epicenter and source of knowledge for American craft discourses. Out of this came this development of this program. They partnered with Warren Wilson College to create a master's, which is a two-year program at Warren Wilson College, which is just 20 minutes away from Ashville.    It's low residency, so there's two weeks per term you'd be in person and the rest you could live anywhere, which was perfect for me because I was traveling so much. So, you do two weeks on campus in the summer and live in the dorm, and then you do two weeks—when I did it, at least, it was with the Center for Craft. We had a classroom there. Namita Wiggers is the founding director, and we got to work with amazing theorists: Linda Sandino, Ben Lignel, who's a former editor for Art Jewelry Forum, Glenn Adamson, the craft theorist, Jenni Sorkin, who lives in California teaching, Judith Lieman—this is an amazing powerhouse. There's Kevin Murray from Australia, who runs the World Crafts Organization. I was a bit part in it. He also edits Garland, which is an Australia-based publication for craft. It was an amazing pulling together of craft theory. At this time, I also thought I was dyslexic, so I was trying to find a new way to write being neurodivergent. Writing has now become—   Sharon: You do a lot of it. When I was looking last night, I could see you've done a lot of writing. My question is, why did you not stop and say, “O.K., I'm going to make things I like”? What was it that attracted you to theory? Maybe it's too deep for me.    Matt: I think we've positioned the Ph.D. to be the next step always, but I don't think academia is for everybody. A master's even, I always questioned, do we as makers always need to be in academia? For me, though, my drive is that I think jewelry is in one of the best theoretical positions to talk about a lot of very difficult contemporary issues. Craft in general, but I think jewelry because it's so tied to the body. It's so blurry because it's design; it's fashion; it's craft; it's art; it's a consumable good; it can be worn. It challenges how we exhibit it. If you need to wear it to experience it, how does a museum show it?    For me, it's this little terror or antagonizer that I think theoretically, from my background, is a great place to stay with, and I think that it's been neglected in certain spaces. It's the only field to not be in the Whitney Biennial. It ties perfectly with certain forms of feminism and queerness, which is the theoretical basis I come to it from, to talk about these things. It can't be always defined, and that's what I love about jewelry. People find it surprising when I'm like, “I love talking about commercial jewelry or production jewelry,” because if that's what turns your gears, what you love to wear or buy or make, I want to know why. I want to see jewelry expand and envelope all of this, so that we can be at the Whitney Biennial. We also could be everywhere else.   Sharon: Can't you do that without the Ph.D.? I'm not trying to knock it. I'm just playing devil's advocate.   Matt: Yeah, I think someone else can do that as well. For me, though, I truly love theory. I love the academics. For me, that is an actual passion. It's what drives me. It's not necessarily the physical making; it's the theory behind why. I'm actually questioning my practice. Should I be making physical objects now, or should I just be celebrating people that make physical objects? My making practice is almost entirely collaborative now, working with other jewelers or performers or choreographers or educators and using jewelry as a way of introducing or as producing an output.    How does jewelry fit into research? I think research output is an interesting thing for me. I can go on about this all day. So, for me, I want to make an academic foothold for jewelry. I want to do that work. I see that as my facet. I don't think everybody needs to go and do that. I want to see everybody find the thing they love as much as I love academia and theory. I want to push on so we can expand the field together.   Sharon: I think that's great. It's great to hear, because it's a strong voice giving credibility to the field, as opposed to, “Oh, you must be interested in big diamonds if you're talking about jewelry.” You're talking about it on a much deeper level. It's hard to explain to people why you like jewelry or jewelry history, so it's good to hear.    Last night—I say last night because I was refreshing my memory—I was looking at one of your articles about the “we” in jewelry. Can you tell us about that?   Matt: Absolutely. I write for multiple publications: Metalsmith Magazine, which is in the U.S. and is part of SNAG, the Society for North American Goldsmiths; Norwegian Craft; Art Jewelry Forum. I run a column called Settings and Findings out of Lost in Jewelry Magazine, which is based in Rome. I also write for Athens Jewelry Week catalogues, which has gotten me into writing a series for Klimt, which is a platform for makers, collectors, wearers, and appreciators based out of Barcelona. They invited me to write a five-part series after they had republished an essay I wrote for Athens Jewelry Week. Those people gave me an amazing platform to write, and then Klimt was like, “What do you want to do?” and I was like, “Five essays about what we do with jewelry.”    One of them is the “we” article. That came from being in lockdown and the theorist Jean-Luc Nancy, who wrote about something called “singular plural.” It's just saying that we don't ever do anything alone, and I think jewelry is a beautiful illustration of that. I moved during the pandemic to do the Ph.D., and I found myself wearing jewelry to do my laundry because I got to do it with a friend. It's so sappy in way, but it's true. It's a way to carry someone else with you, and jewelry is not an act done alone. I mean, we're trained as jewelers. We're trained by someone, so we carry that knowledge with us. We are transmitters as makers, but then we have collectors and wearers and museums and other things, and they need to be worn. It needs to be seen in some fashion or valued or held.    My personal stance is that jewelry, once it leaves my hands as a maker, isn't done. I'm interested as a researcher, as a Ph.D., in how we talk about that space in between. If you wear one of my pieces, and someone listening wears one of my pieces, and that same piece is in a museum, how we understand that is completely different. Jewelry creates this amazing space to complexify, and that's when you talk about bodies and equity and race, sex, gender, size, age. All the important things that are in the political ethos can be discussed through jewelry, and that's the “we” of jewelry.    We have this controversy about the death of the author and authorship doesn't matter, but speaking through craft, we are never alone. To me, it's like I make through the people I've learned through. I am a transmitter to the people that I teach and to me, that's what craft is. Also, craft is a way of looking at the world, at systems, and who we learn from and how we learn. I think jewelry is one of the most obvious “we's.”   Sharon: This is a question that maybe there's no answer to, but is jewelry separate from craft? There's always the question of what craft is. Is craft art? Is it jewelry?    Matt: That depends on whom you ask. I personally do not believe in the art versus craft debate. I am not in that pool. I believe craft is a way of looking at anything in the world. I think craft is learned through material specificity. I usually enjoy metalsmithing. It's through copper or silver, but it's really spending time with something singular to explore its possibility. It's a way of learning how things start, how things are produced, how labor works, where there are bodies and processes, so you can pick up anything in the world and look at anything and see people and humanity. Even through digital technology, someone has to write a program. It gives you a skillset to look at the world, and that's how I approach craft.    You're going to find so many different definitions, but coming from that perspective, that is what I believe, and that's why I think craft is so valuable. To answer if jewelry is craft, yes and no. You can talk about jewelry through craft, but you could talk about jewelry through fashion. You can talk about jewelry through product design. Again, I think that's why jewelry is beautiful and problematic, because it can be so many things at the same time.    Sharon: I'm intrigued by the fact that you're interested in all kinds of jewelry, whether it's art jewelry or contemporary jewelry. When you're in the mall and you see Zales and look in the window, would you say it all falls under that, with everything you're talking about? Does it transmit the same thing?   Matt: Through a craft lens, you can look at any of that. You can go to Zales and the labor is wiped out. You're no longer going to your local jewelry shop. The person is making your custom ring, but when you look at that ring, you have an ability to go, “Someone had to facet the stone and cut it, a lapidary. Someone had to make the bands. Someone had to mine the stone. Someone had to find this material.” It allows you to unpack where objects are coming from and potentially where they're going.    You can understand studio practices because you're relating more directly to a maker, who has more knowledge of where their materials come from, rather than the sales associate at the Zales counter. It's a simpler model, but it is the same thing to me. The way I look at it, that is craft's value to my practice. I'm very careful to say it's my practice because there are so many definitions, but that's what I think is sustainable in this training. You can be trained as a jeweler and not make jewelry, but it's still valuable in your life because you can apply it to anything.   Sharon: I was also intrigued by the title of an article you wrote, “Who Needs Jewelry, Anyway?” So, who does need jewelry?   Matt: Yeah, that's one that kicked it up to the next level. There are moments in my career where I can feel the level upward, like I enter a space that's different. That was an essay that was written for Athens Jewelry Week. That was the first essay I wrote before I had the feature at the Benaki Museum. At Athens Jewelry Week, those women worked their tails off to make that event happen.    I wrote that when I was at the tail end of my second master's, and I was frustrated. I think we see that students are frustrated and people are questioning, especially during Covid, especially during Black Lives Matter, especially during the fight for indigenous rights, do we need jewelry? What does this mean? It's a commodity. It can be frivolous. It's a bauble. It can be decorative. Like, what are we doing? I think that is something we should always question, and the answer for that can be expressed in many ways. It can be expressed from what you make, but also what you do with what you make. How do you live the rest of your life?    There isn't a one-lane answer for that, but that's what that essay was about. We don't need jewelry, but we really do. The first half of the essay is saying what the problem is, but the problem is also where the solutions sit. It's all about how you want to approach it. That is what that essay was saying. You can consume this and wear it; it is what it is, and that's fine. You can participate in systems and learn and discover and know who you are wearing and support them. Wearing jewelry is a political act no matter what jewelry you're wearing. Where you consume is a political act. Political neutrality is still a political statement. That article specifically was for art jewelry, and it was saying, hey, when you participate, when you buy, when you wear, when you make, it means something. You're bringing people with you; what people are you choosing to bring? It was stirring the pot, and it was very intentional to do that.   Sharon: I couldn't answer the question about who needs jewelry. You're asking me, but certainly I can think of people who say, “I don't need it,” who have no interest or wouldn't see the continuum behind a ring or a piece of jewelry.    This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. 

I made this episode after our conversation about Art Schools. It rekindled forgotten memories. I have enjoyed travelling back in time. I haven't teased out s much of the detail, of all the things that preoccupied me. For I buried my USA and UK period of the 80s underneath a furious Italy period, then my Japanese period and finally a China period. So it is fascinating to travel back this far and remember the spirit of the times - the 80s. Learner Centered Design Education: https://rawslearn.wordpress.com/2021/12/22/which-school/ Design Quarterly Issue: https://go.distance.ncsu.edu/gd203/?p=24570 Michael and Katherine McCoy: https://michaelmccoydesign.com/about/ Cranbrook Academy of Art: https://www.1stdibs.com/introspective-magazine/cranbrook-academy-of-art-since-1932/ Lisa Krohn Telephone: https://collection.cooperhewitt.org/objects/18648895/

Lorraine Wild is a designer who teaches and writes. A graduate of Cranbrook Academy of Art and Yale School of Art, Lorraine runs Green Dragon Office in Los Angeles and is on the faculty of the graphic design program at California Institute of Arts. She's written extensively about graphic design for a variety of publications. In this wide-ranging conversation, Jarrett and Lorraine talk about the early years at Cranbrook, working for the Vignelli's, rethinking design history, and what it means to be a graphic designer today. Links from this episode can be found at scratchingthesurface.fm/204-lorraine-wild. — If you enjoy the show, please consider supporting us on Patreon and get bonus content, transcripts, and our monthly newsletter! www.patreon.com/surfacepodcast

Guest: Corina Reynolds Hosts: Christopher Kardambikis Recorded on September 1, 2021. Corina Reynolds is the Executive Director of Center for Book Arts in New York City. At CBA, she has focused on connecting artists across distance and time through a diverse program of exhibitions, panels, conferences, and classes. Her passion for the art of the book has led her to curate exhibitions, organize conferences and panels, publish books, and teach about the book arts in the US and abroad. She has an MFA in textiles from Cranbrook Academy of Art and, in 2012, she co-founded Small Editions, an artists' book publisher and curatorial residency program in Brooklyn, NY with the goal to expand the public understanding of artist books. During her time at Small Editions she published over 30 books which are now held in some of the most prestigious public and private collections across the globe, including the Metropolitan Museum of Art, Museum of Modern Art, and the Whitney Museum of American Art. Over the years she has overseen the production of hundreds of books including books about artist's books, design, architecture, photography, and contemporary art. In 2021, she and two collaborators founded Book Art Review, a new serial publication that ventures to develop, diversify, and propel critical discourse in the book arts. Center for Book Arts --- Support this podcast: https://anchor.fm/paper-cuts/support

Born and raised in NY, Tracie May grew up being influenced by artist's work she had the opportunity to encounter as a child. From Picasso's Guernica to Basquiat, and the Egyptian exhibits of King Tutankhamun at the Met to Salvador Dali, and contemporary artists of the Whitney Biennial, she was exposed to a wide variety of creative geniuses starting at an early age. Tracie knew as a child that she would become an artist with skills in multiple media. Upon graduating high school on Long Island, she left NY and found herself at Washington University in Saint Lewis. She graduated with honors and a BFA, and was also coxswain for her varsity crew team. That allowed her to combine her love of sports and art. Then she moved on to graduate school at Cranbrook Academy of Art in Michigan where she earned her MFA with a concentration in sculpture. Her breadth of knowledge in contemporary art and her skills in all media including video, photography, installation, sculpture, metals, jewelry, glass blowing, sewing, construction, painting and more, quickly won Tracie an Artist in Residence award at the Cité International des Art in Paris, France. From there, she moved back to NY full of ideas and motivation. It was during this time that Tracie rented a large loft in the now famous Chelsea region of NYC. She was able to create an artist's collective in which she and fellow artisans could exhibit their work and create without the pressure of the gallery mindset. She began revisiting her fondness for athletics and started ski racing again in upstate NY. She was quickly recognized for her prowess in speed while racing with her sister and was invited to the national speed ski championships in Colorado, where she placed 3rd in her first race. She was hooked and didn't want to take a complete break from art while she pursued a speed ski career, so she found work at some of New York City's finest museums. Working as a freelance metalsmith for the Guggenheim, American Museum of Natural History and the Brooklyn Museum to name a few, enabled her to simultaneously pursue an athletic career in speed skiing. Tracie found her job as a freelance mount maker at the Guggenheim the most satisfying of all the museums she worked at. This creative environment was just what she needed in the downtime of her athletic career, which was skyrocketing quickly for her to become the best in the world. During 14 years of hard work at the Guggenheim, Tracie also became a 5 time World Cup Champion, Pro world Champion, FIS World Champion and American Women's record holder with a speed of 238.57 km/ hour or 148.57 mph. That is a record that has held since 2006, astonishingly over a decade. This achievement was recognized in 2018 when she was inducted into the Jewish Sports Hall of Fame. Recently she was nominated as one of 6 ahtletes for the US national Ski Hall of fame. While Tracie is now retired from competitive Speed Skiing, she is still connected to the sport as a ski instructor in the Swiss Alps and a ski technician for her husband who still races. She is currently getting her studio back in shape after a cancer diagnosis in 2019. She has been fighting hard and has finished her radiation treatments. She is relieved to have that segment of her cancer journey completed and knows she will have to fight more. She feels this will only give her more ammunition to be creative and continue to create artwork to share with the world. Her specialty and true love is still silver-smithing and jewelry. IG: @swissbijouJewellery website: http://www.jewelrybytracie.com/home/Speedski website: http://www.quickchick.com

Curated by Graham Nickson and Rachel Rickert in collaboration with the artist's estate, the exhibition features works from both public and private collections as well as Anderson's gallery, Leigh Morse Fine Arts. Ranging from figurative works like Mrs. Suzy Peterson (1959) to the unfinished painting Three Nymphs on a Bluff left on his easel in 2015, the exhibition brings together a variety of genres, such as the human form, still life, portrait, landscape, and streetscape. Viewed together, the works attest to Anderson's lifelong interest in the interplay of tone, color, and light. Speaking with Jennifer Samet in 2002, Anderson explained, “When you look at nature from a distance, you can see how it all fits together. There is a harmony, and that is what interests me.” The presentation also demonstrates the singular approach that informed his artmaking, which defied trends such as Abstract Expressionism. Described in the New York Times as one of the “most prominent and admired painters to translate figurative art into a modern idiom,” Anderson had a profound interest in formalism and an appreciation for both Old and New Masters, especially Piero della Francesca, Diego Velázquez, and Edgar Degas, and his work was directly inspired by this knowledge of art history. For instance, Idyll 4 (2012) is one of four paintings inspired by Claude Poussin that depict pastoral bliss, a subject Anderson began exploring in the 1970s. Born in Detroit, Anderson earned an undergraduate degree at the Art Institute of Chicago, a Masters at Cranbrook Academy, and later studied briefly at the Art Students League in New York with Edwin Dickinson. Anderson taught at several prestigious schools, including Columbia University, Princeton University, and Yale University, before serving as a distinguished professor of Brooklyn College. He received numerous awards, including the Prix de Rome, a Guggenheim Fellowship, and grants from the National Endowment for the Arts and the Tiffany Foundation. Anderson was a member of the American Academy of Arts and Letters and the National Academy of Design. Anderson's work is represented in the permanent collections of the Brooklyn Museum, the Cleveland Museum of Art, the Smithsonian's Hirshhorn Museum and Sculpture Garden, the Museum of Fine Arts, Boston, the Whitney Museum of American Art, Fralin Art Museum, Palmer Museum of Art, and Delaware Art Museum, among others. This exhibition has been spearheaded by the artist's daughter, Jeanette Anderson Wallace, who manages the estate for the artist's family. Of the process of bringing together this collection of works to show the scope of Anderson's practice, she says “It has been particularly meaningful to bring out paintings that have not been seen by the public for many years, and introduce a new generation of painters, curators, and collectors to his work.” Co-curators Graham Nickson, Dean of the NYSS, and Rachel Rickert, Exhibitions Coordinator, comment “Lennart Anderson was a terrific painter; his works are pure obsession made palpable in paint. He mused constantly about tone, surface abstraction and measure. He painted things, people, and places in relationship. Anderson's work is never exactly what one expects. Perceptual works transcend observation and synthetic move into territory of belief. In this exhibition, we pull together a collective force of his slow works for the unacquainted to understand and revel in their profundity. Lennart was a great wit, so serious it allowed for surprises in his painting. He had an absolute passion for Degas and yet an attraction to DeKooning. He shaped his own vision with links to the great tradition from Roman times to present day. Lennart painted firmly and resolutely to the end. His warm shadow in the cool landscape is still with us.” NYSS will present a virtual lecture the evening of Tuesday, October 26, 2021 to delve into Anderson's work: “The Unexplained is Irresistible: A Discussion On the Work of Lennart Anderson with Jennifer Samet, Brian Schumacher, Amy Weiskopf & John Yau, Moderated by A'Dora Phillips.” The exhibition is accompanied by a scholarly catalogue that pairs more than fifty full color reproductions of Anderson's work with essays by art historians Martica Sawin and Jennifer Samet and painters Susan Jane Walp and Paul Resika. It is available for pre-order now from New York Studio School and independent bookstores. An in-person catalogue launch will be hosted by the Milton Resnick and Pat Pasloff Foundation on Saturday, November 13, 2021, a fitting location as Anderson, Resnick and Pasloff worked together in the Lower East Side and remained life-long friends. David Cohen, the publisher of artcritical, will moderate a conversation with curator Rachel Rickert and painters Kyle Staver and Steve Hicks. Following its presentation at the New York Studio School, the exhibition will travel to other venues, including the Lyme Academy of Fine Arts and the Southern Utah Museum of Art. Generous support for this exhibition is provided by the American Macular Degeneration Foundation (AMDF), BNY Mellon, Center for Figurative Painting, Charina Foundation, Emily Mason | Alice Trumbull Mason Foundation, Morris and Alma Schapiro Fund, Richard T. Spurzem, The William Louis-Dreyfus Foundation, Wolf Kahn | Emily Mason Foundation, private collectors, individuals, and anonymous patrons of the arts. Restoration for work in the Estate of Lennart Anderson has been generously donated by Simon Parkes Art Conservation in New York, NY.   LINKS:   https://nyss.org/exhibition/lennart-anderson-a-retrospective/ Submit Work I Like Your Work-The Works- Year Membership Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Observations on Applying to Juried Shows Studio Planner

Ray Eames was a graphic designer and abstract artist at the height of the post war era. She studied abstract art with Hans Hoffman for six years before meeting and moving to California with her husband, Charles Eames, in 1941. Ray was not professionally trained as a designer but was deeply involved in the design process. She combined her abstract sensibilities with her interest in structure and form. The Eames are most well-known for developing molded plywood chairs and other furniture that blurred the line between playfulness and function. The Eames Office did more than just design furniture. They worked on ads, packaging, exhibition spaces, toys, and even films. The Eames Office was incredibly collaborative, and everyone at the office was involved in every project. As a result, Ray never claimed any design as her own. However, she was responsible for some textile designs and magazine cover illustrations for the Arts and Architecture publication. Ray was in her element when it came to color and arrangements. She arranged furniture exhibits for Herman Miller and designed the color schemes for her own home. It's not hyperbole to say the furniture and designs that came out of the Eames Office defined a generation and they have Ray's influence written all over them.TIMELINE1912 – b Sacramento, California1931 – May Friend Bennett School for Girls 1932 – mentor at Hans Hoffman studio for 6 years1940 – moved to Michigan, studied at Cranbrook Academy of Art1941 – married Charles Eames1943 – Eames office established1942-1947 – covers for Arts and Architecture magazine1946 – Ray Eames pattern designs made 1953 – Deborah Sussman hired at Eames office1957 – Day of the Dead film1959 – Moscow World's Fair2010 – Eames exhibit made by Deborah Sussman and Andrew ByromREFERENCESBanks, T. (2012, August 22). Addressing the need: The Graphic Design of the Eames Office. Design Week. https://www.designweek.co.uk/issues/may-2012/addressing-the-need-the-graphic-design-of-the-eames-office/BBC The Genius Of Design 3 of 5 Blueprints For War 2010. (2011, October 21). [Video]. YouTube. https://www.youtube.com/watch?v=Q_0z1kvM6nsBrown, B. (2017, November 6). Celebrating Graphic Design Sorceress Deborah Sussman. Journal. https://architizer.com/blog/inspiration/industry/deborah-sussman-dies-at-83/Butler, A. (2013, December 11). Deborah Sussman Interview. Designboom | Architecture & Design Magazine. https://www.designboom.com/design/deborah-sussman-interview-12-11-2013/Caduff, R. (Director). (2011) The Visual Language of Herbert Matter. [Film]. PiXiU FilmsCohn, J. & Jersey, B. (Directors). (2011) Eames: The Architect and the Painter. [Film]. Quest Productions. Bread & Butter Films. American Masters ProductionsEllison, K. (2018, March 10). The chromatic legacy of environmental designer Deborah Sussman. 99designs. https://99designs.com/blog/famous-design/environmental-design-deborah-sussman/Hans Hoffman. (n.d.). HANS HOFMANN. http://www.hanshofmann.org/1930-1939Ray Eames in World War II. (2019, September 27). Eames Office. https://www.eamesoffice.com/blog/ray-eames-in-world-war-2/4 films by Charles and Ray Eames. (2019, October 18). Eames Office. https://www.eamesoffice.com/the-work/4-films-by-charles-and-ray-eames/Day of The Dead. (2019, April 16). Eames Office. https://www.eamesoffice.com/the-work/day-of-the-dead-2/Dot Pattern.(2019, October 24). Eames Office. https://www.eamesoffice.com/the-work/dot-pattern-drawings/Eames in NYC.(2017, March 2). Ray (Kaiser) Eames Office. https://www.eamesoffice.com/the-work/ray-kaiser-eames-new-york-city/Ray's Arts & Architecture magazine covers. (2019, October 4). Eames Office. https://www.eamesoffice.com/the-work/rays-arts-architecture-magazine-covers/Kirkham, P. (2021). Ray Kaiser Eames. Pioneering Women of American Architecture. https://pioneeringwomen.bwaf.org/ray-kaiser-eames/Lawrence, S. (1985). Declaration of Function: Documents from the Museum of Modern Art's Design Crusade, 1933-1950. Design Issues, 2(1), 65-77. doi:10.2307/1511530McGuirk, J. (2020, September 23). There's no I in Eames. The Guardian. https://www.theguardian.com/artanddesign/2010/oct/26/eames-furniture-team-charles-rayNarkiewicz-Laine, C. (2020, June 1). The Good Design Awards. Good Design. https://www.good-designawards.com/news/2020/06/01/the-seventy-year-history-of-good-design%C2%AE/Neuhart, M., & Neuhart, J. (2010). The Story of Eames Furniture: The Early Years (Vol. 1). Gestalten Verlag, Berlin.Olsberg, N. (2017, November 27). Herbert Matter. Drawing Matter. https://drawingmatter.org/herbert-matter/Phaidon Editors. (2012). Eames graphic designs on show | design | Phaidon. Phaidon. https://www.phaidon.com/agenda/design/articles/2012/august/28/eames-graphic-designs-on-show/Raphael, T. (2016, April 12). The “Damsels of Design,” women who changed automotive history. The World from PRX. https://www.pri.org/stories/2016-04-12/damsels-design-women-who-changed-automotive-historyRomano, A. (2019, June 17). The Value of Good Design. DisegnoDaily. https://www.disegnodaily.com/article/the-value-of-good-designSaval, N. (2019, April 4). How “Good Design” Failed Us. The New Yorker. https://www.newyorker.com/culture/cultural-comment/how-good-design-failed-usSchuessler, J. (2020, May 16). Ray Eames, Out of Her Husband's Shadow. The New York Times. https://www.nytimes.com/2020/05/15/arts/ray-charles-eames-artists.htmlSmith, R. (2009, June 5). The Ordinary as Objects of Desire: MoMA Looks Back at Everyday Design. The New York Times. https://www.nytimes.com/2009/06/05/arts/design/05desi.htmlSussman/Prejza & Co. (2020, June 29). Deborah Sussman. Sussman Prejza. https://sussmanprejza.com/bio/deborah-sussman/The design genius of Charles + Ray Eames. (2009, July 6). [Video]. YouTube. https://www.youtube.com/watch?v=b0vDWqp6J7YThe Museum of Modern Art. (2009, May 6). MoMA REVISITS WHAT ‘GOOD DESIGN' WAS OVER 50 YEARS LATER[Press release]. https://assets.moma.org/documents/moma_press-release_387178.pdf?_ga=2.250983619.475073280.1609623298-1952243929.1609623298Veit, R. (2016, March 22). The Story Behind GM's Celebrated “Damsels of Design.” Core77. https://www.core77.com/posts/49498/The-Story-Behind-GMs-Celebrated-Damsels-of-DesignWalker, A. (2015, April 2). The Designer Who Helped Give L.A. Its Look. T Magazine. https://tmagazine.blogs.nytimes.com/2013/12/17/on-view-the-designer-who-helped-give-l-a-its-look/

Lorna Ritz talked about her process and the meditative work of creating space with paint. It was inspiring hearing her dedication to her work and how she shares that with students. We talked about modeling as a teacher and helping students learn how to see. Lorna also spoke about her beautiful large barn studio and the intensive process of renovating it - both when she first moved in back in 1986 and again more recently to abate a mold problem and save the barn. I loved hearing about her lifelong passion for oil paint and the way she thinks about color. Lorna has drawn the Holyoke Mountains for 36 years and is still learning them. Both the day and seasonal light changes on them constantly, filling her with curiosity to draw them better. She sets her easel up on a hill overlooking one of the only east-west axis mountain ranges in this country, formed by glaciers. The mountains are so close to her so she feels she can almost reach out to pet them, like they are a big animal moving up and down as the cloud shadows allow the sun to hit them in a pulsating way. She works and reworks each drawing for many days, obtaining a specific light from the sky falling on the mountains that will never bring these particular colors again. Everything in the drawing has equal importance; the tree is as important as the mountain behind it, the sky as important moving behind them, as important the foreground coming up towards the viewer. Everything is democratically related, a conglomeration of spatial movements interrelated, needing each other to survive. Lorna studied with Gabriel Laderman and Lennart Anderson in the 60's and received a BFA from Pratt Institute, changing the course of her painting life into pure abstraction, under the instruction of painter James Gahagan, (a student of Hans Hofmann). She received an MFA from Cranbrook Academy of Art in 1971, in both painting and sculpture, (welding steel, and casting in bronze and iron). Lorna has taught at several universities including the Rhode Island School of Design, Brown University, University of Minnesota, and Dartmouth College. She has also been a visiting guest critic at the Vermont Studio Center and taught several drawing marathons at the New York Studio School. Blog Post with links and images: https://www.teachingartistpodcast.com/76-lorna-ritz www.lornaritz.com www.facebook.com/lorna.ritz . . . Follow: @teachingartistpodcast @pottsart @playinspiregallery Teaching Artists' Lounge meeting registration: http://arteducatorslounge.eventbrite.com/ Submit your work to be featured: https://www.teachingartistpodcast.com/featuredartist/ Book an Art Critique Session with Rebecca: https://www.teachingartistpodcast.com/mentor/ --- Send in a voice message: https://anchor.fm/teachingartistpodcast/message Support this podcast: https://anchor.fm/teachingartistpodcast/support

I've got an Out of the ordinary one for you today with my guest Brian young.  Out of the ordinary in the sense that Brian is from the Art World, not the business world. BackgroundCurrently the Director of the Baum Gallery at the University of Central ArkansasLecturer in the Art departmentHeld curator positions at Arkansas Arts Center  Johns Hopkins medical center University of Maryland University College Academy Art museum Cranbrook Academy of ArtFaculty at 3 separate universitiesAlso has a Taught art history @ University of MarylandBA from Michigan in Art HistoryMasters of art from The Ohio State University Highlights from our discussionSwitching majors in your first semester @ UofMWhen your mentors become your friendsBrian's perception on artHis favorite artist who happens to be a murderer as wellLatitude for life changes other than their careerInteresting use of MAGA hats at the museumPhilosophy around buying artworkMeeting Bill Clinton

Today I talked to Carla Diana about her new book My Robot Gets Me: How Social Design Can Make New Products More Human (Harvard Business Review Press, 2021). Carla Diana is a robot designer responsible for the creative aspects of Diligent Robotics' new hospital service robot named Moxi. She created and leads the 4D Design masters program at the Cranbrook Academy of Art, wrote the world's first children's book on 3D printing, LEO the Maker Prince, and she cohosts the Robopsych Podcast. The author is intrigued by where technology is headed—the “electronic guts” of high-tech offerings--at the same time that she never loses focus on what kind of gut reaction a user will have in interacting with a product. This episode therefore ranges from discussing modalities central to Diana's work (sound, movement, and lighting) to addressing how important it is for designers and engineers alike to engage in “bodystorming” exercises that align everyone around what the user's experience will be like. Delight and ease of use are both key criteria in achieving success. If there's a Frankenstein aspect to helping bring robots “alive,” fortunately Diana is somebody concerned with all the ethical challenges that arise. Dan Hill, PhD, is the author of eight books and leads Sensory Logic, Inc. (https://www.sensorylogic.com). To check out his related “Dan Hill's EQ Spotlight” blog, visit https://emotionswizard.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Diplômé en 1952 de l'université de Tokyo, Fumihiko MAki poursuit ses études aux Etats-Unis à Cranbrook Academy of Art (1953) et à l'Université de Harvard (1954). L'architecte réalise son premier bâtiment en 1956 et ouvre sa propre agence « Maki and associates » à Tokyo en 1965. Influencé par l'architecture européenne, et particulièrement Le Corbusier et le Bauhaus de Walter Gropius en 1959, il forme avec Kisho Kurokawa, Kiyonori Kikutake et autres jeunes architectes et urbanistes japonais à Tokyo, le Mouvement métaboliste jonnais. Lauréat du prix Pritzker en 1993, Maki a également reçu la même année la médaille d'or de l'Union Internationale des Architectes. Parmi ses principales réalisations : Hillside Terrace, Tôkyô (1969 - ) ; le gymnase municipal de Fujisawa, Kanagawa (1984) ; le Spiral Building, Tôkyô (1985) ; le musée national d'art moderne, Kyôto (1986) ; le Tepia Building, Tôkyô (1989) ; le gymnase métropolitain de Tôkyô (1990) ; le Center for the Arts Yerba Buena Gardens, San Francisco (1993) ; le Isar Büropark, Münich (1993) ; le concert hall de Kirishima, Kagoshima (1994). Invité en 1995 dans le cadre du cycle de conférences « Paris d'architectes, l'architecture de la ville », il présente sa vision de l'architecture.