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2 episodes with curatorial assistant
2 episodes with curatorial assistant
2 episodes with curatorial assistant
2 episodes with curatorial assistant
2 episodes with curatorial assistant
2 episodes with curatorial assistant
2 episodes with curatorial assistant
2 episodes with curatorial assistant
Aliye Sasmaz, who is currently the Curatorial Assistant at the outstanding Beaty Biodiversity Museum at The University of British Columbia, joins Mr. Turpin and I in the podcast booth. Aliye talks about her research adventures including 40 days in the Ecuadorian Amazon, and her love of insects, spiders, and snakes, oh my! This episode comes about months after we happened to bump into Aliye while she was working at the biodiversity museum during one of our field trips. Enjoy this conversation with an inspiring member of the Class of 2018!
Today, we're exploring the exhibition “Post-Impressionism. Beyond Appearances” with Aisha AlAhmadi, Curatorial Assistant at Louvre Abu Dhabi. This extraordinary show brings together iconic masterpieces from the Post-Impressionist period, with exceptional loans from Musée d'Orsay, featuring works by visionary artists like Van Gogh, Cézanne, Gauguin, Seurat, and many others. But Post-Impressionism is also the fascinating story of a new generation. Join us as we learn about a group of young artists who paved the way for some of the most influential artistic movements of the 20th century by redefining the rules of art as we knew it. The exhibition “Post-Impressionism. Beyond Appearances” is on show at Louvre Abu Dhabi from 16 October 2024 to 9 February 2025. “On Show” is a podcast produced by the Louvre Abu Dhabi. Our warm thanks to Aisha AlAhmadi for her kind participation. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Show Cover: Sarah AlNuaimi. Artwork credits: Vincent Van Gogh, The Bedroom at Arles, 1889, Oil on canvas, Musée d'Orsay, RF 1959 2. Photo © RMN-Grand Palais (Musée d'Orsay) / Hervé Lewandowski See omnystudio.com/listener for privacy information.
In this episode, artist Charles Gaines and fashion designer Grace Wales Bonner explore how art can bridge the gap between what we perceive and what is real, prompting us to question our relationship with truth. Gaines's conceptual systems challenge the notion of a singular truth, while Bonner's fashion designs reveal the layers of identity and history embedded in her work. How do subjective interpretation and objective reality intersect, and where is the line between what we see and what is real? Music in this episode: Charles Gaines Manifestos 6: Ben Patterson. 2023 Performance presented as part of the exhibition Artist's Choice: Grace Wales Bonner—Spirit Movers, The Museum of Modern Art, New York, November 16, 2023–April 7, 2024 Performed and filmed on March 21, 2024 Composer: Charles Gaines Conductor and music director: John Eagle Producer: Mads Falcone Violin: Yaz Lancaster Violin: Connie Li Viola: Jay Julio Cello: Wayne Smith Bass: Marguerite Cox Percussion and xylophone: Pauline Roberts Trumpet: Wayne du Maine Trombone: Sterling Davis Tuba: Jono Hill Video documentation and editing: Oresti Tsonopoulos, Alex Munro Audio mix: Shane O'Connell Artist's Choice: Grace Wales Bonner—Spirit Movers is organized by Grace Wales Bonner with Michelle Kuo, The Marlene Hess Curator, Dana Liljegren, Curatorial Assistant, and Elizabeth Wickham, Curatorial Assistant, Department of Painting and Sculpture, MoMA, with the collaboration of Nick Murphy, Curatorial Partner, Pantograph, Paris. Produced by Lizzie Gorfaine, Associate Director and Producer, Performance and Live Programs, with Aminah Ibrahim, Assistant Performance Coordinator, Performance and Live Programs, MoMA. Thanks to Liam Sangmuah and Jessica Hamenyimana, Research Associates, Wales Bonner. © 2024 The Museum of Modern Art, New York Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode of The Living Artist, we present a fourth Mash-Up of segments from three favorite TLA interviews over the years. Listen in as Preston speaks to three different, highly respected "gatekeepers" of the art world. These clips highlight segments from interviews with Chief Curator and Art Advisor and Kelly Huang, Founder and Gallery Director of UGallery Alex Farkas, and Curatorial Assistant of Art In Embassies Morgan Fox. If you want a peek behind the curtain in the art world, or simply need a shot of inspiration, listen in to this episode with these wonderful guests. Enjoy! For more information on Preston M. Smith and his artwork, visit https://www.pmsartwork.com, or follow him on Instagram at https://www.instagram.com/pmsartwork (social media everywhere @pmsartwork). You can also now subscribe to his YouTube channel at https://www.youtube.com/c/pmsartwork. If you would like to donate to the podcast to keep it going strong, you can do so here: https://www.pmsartwork.com/podcast The Living Artist makes the top of the Audible Blog's List of the Best Art Podcasts to listen to For Artists! Check it! Thrilled to announce that Artwork Archive just included The Living Artist on their list of the The Best Art Podcasts of 2021! Check it out. Excited that Agora Group International Fine Art included The Living Artist on its list of The Best Art Podcasts To Listen To (coming in at #5). Huge thank you to Feedspot for choosing The Living Artist for their list of the Top 70 Art Podcasts You Must Follow in 2023. It is a huge honor to have made this amazing list (coming in at #8) with so many other wonderful podcasts. Big thank you to Feedspot! You can check out this list and more of Feedspot at https://blog.feedspot.com/art_podcasts. Podcast theme music: "Music by Jason Shaw on Audionautix.com"
Curatorial Assistant at Javett Art Centre at UP, Gillian Fleischmann on what to expect from their provocative exhibition titled We, The Purple for its 2024 curatorial programme. This immersive and reflective exhibition centres itself around Pretoria as it navigates the nation's young democracy and invites audiences to engage with diverse perspectives and narratives.See omnystudio.com/listener for privacy information.
Pittsburgh-based art historian and curator, Kilolo Luckett joins the Studio Noize fam today! Its always exciting to have dynamic, interesting women on the show because they have so much to offer. Kilolo has created an experimental, contemporary art platform with Alma Lewis and still works as an independent curator with artists like Stephen Towns, Amani Lewis and Thaddeus Mosley. She talks about building connections with artists that she curates, the importance or reading for artists and creating Alma Lewis as a place where artists can grow in their practice. Kilolo shares what she sees as the job of a curator and how to created a culture that supports artists in every way. Listen, subscribe, and share!Episode 190 topics include:building a connection to artistswhat an artist readsadvocating for artistswhat a curator doesthe importance of narratives in artcreating Alma Lewis art culture supporting artists during a residencyKilolo Luckett bio:Kilolo Luckett is a Pittsburgh-based art historian and curator. With more than twenty-five years of experience in arts administration and cultural production, she is committed to elevating the voices of underrepresented visual artists, especially women, and Black and Brown artists.Luckett is Founding Executive Director and Chief Curator of ALMA | LEWIS (named after abstract artists Alma Thomas and Norman Lewis), an experimental, contemporary art platform for critical thinking, constructive dialogue, and creative expression dedicated to Black culture.Among the many exhibitions to her credit are Familiar Boundaries. Infinite Possibilities (2018), Resurgence – Rise Again: The Art of Ben Jones (2019), I Came by Boat So Meet Me at the Beach by Ayana Evans and Tsedaye Makonnen (2020), Vanishing Black Bars & Lounges: Photographs by L. Kasimu Harris (2020), and Dominic Chambers: Like the Shapes of Clouds on Water (2020) at the August Wilson African American Cultural Center; Amani Lewis: Reimagining Care (2021) and Lizania Cruz: Performing Inquiry (2022) at ALMA | LEWIS; Stephen Towns: Declaration & Resistance (2022), which premiered at the Westmoreland Museum of American Art and travels to Boise Art Museum in Boise, Idaho, and Reynolda House Museum of American Art in Winston-Salem, North Carolina (2023); and Luckett co-curated SLAY: Artemisia Gentileschi & Kehinde Wiley (2022) at The Frick Pittsburgh.She has curated exhibitions by national and international artists such as Peju Alatise, Martha Jackson Jarvis, Thaddeus Mosley, Tajh Rust, Devan Shimoyama, and Shikeith. She served as an Art Commissioner for the City of Pittsburgh's Art Commission for twelve years. Luckett has held positions as Curator of Meta Pittsburgh's Open Arts, Consulting Curator of Visual Arts at the August Wilson African American Cultural Center, Director of Development at The Andy Warhol Museum, and Curatorial Assistant at Wood Street Galleries, where she helped organize shows that included Xu Bing, Louise Bourgeois, Larry Bell, Catherine Opie, Nam June Paik, and Tim Rollins + K.O.S.See more: Alma Lewis website + Kilolo Luckett's IG @kilololuckettFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast
Today on Various Artists! Beth had a kōrero with the Curatorial Assistant at Te Uru Gallery, Hester Rowan, about Toi Whakaata / Reflections, a new exhibition of Fred Graham's works. Sofia had a kōrero with artist Levi Kereama about I missed you, Matariki, a new exhibition at Window Gallery with Whiro Walker. Lots of tunes and great vibes! Whakarongo tonu mai x
In this episode, we visit the exhibition “From Kalila wa Dimna to La Fontaine: Travelling through Fables” with Rawdha Ahmed AlAbdouli, Curatorial Assistant at Louvre Abu Dhabi. Together, we delve into the fascinating world of animal fables, and their evolution through time. Did you know that fables originated from India and Greece? Tune in to learn more, and hear about the influence of majors figures, such as Ibn al-Muqaffa' and Jean de La Fontaine, and how these stories continue to inspire artists today. The exhibition “From Kalila wa Dimna to La Fontaine, travelling through Fables” is on show at Louvre Abu Dhabi from 26th of March to the 21st of July 2024. “On Show” is a podcast produced by the Louvre Abu Dhabi. Our warm thanks to Rawdha Ahmed AlAbdouli for her kind participation. This podcast episode is also available in Arabic and French on the Louvre Abu Dhabi mobile app and our website: louvreabudhabi.ae Executive production: Amine Kharchach, Marine Botton.Recording: Amine Kharchach.Post-production, music and mix: Making Waves.Additional music: Yarub Smarait (composer, music producer, violinist)Show Cover: Maysa Sultan.See omnystudio.com/listener for privacy information.
Originally from Wikwemikong First Nation, Daphne Odjig came to Winnipeg in 1970 and opened Canada's first-ever indigenous-owned gallery. In this episode we discuss Daphne's art, the path that brought her to Winnipeg, and the impact of her life. Thank you to Franchesca Hebert-Spence for her input on this episode! Currently residing in Inuvik, the Inuvialuit Settlement Region, Franchesca is Anishinaabe (member of Sagkeeng First Nation) from Winnipeg, Manitoba, her grandmother Marion Ida Spence was from Sagkeeng First Nation, on Lake Winnipeg, Manitoba. Hebert-Spence has worked as a cultural producer with a background in making, curating, research, and administration. She has described her curatorial practice as “snacks and chats,” the foundation of which stems from Ishkabatens Waasa Gaa Inaabateg, Brandon University Visual and Aboriginal Arts program. She is the Curator of Indigenous Ceramics at the Gardiner Museum in Toronto, and previously the Curatorial Assistant within the Indigenous Art Department at the National Gallery of Canada. She is a PhD candidate in Cultural Mediations (Visual Culture) at Carleton University, examining the presence of guest/host protocols within Indigenous methodological practices with a focus on visual art in Canada.
As Lynne Maphies, former Curatorial Assistant at the Blanton Museum of Art, knows firsthand — for many artists, “day jobs” do more than pay the rent. In this fascinating behind-the-scenes conversation, Lynne shares the 10 year process that Veronica Roberts, former Blanton Curator of Modern and Contemporary Art, directed to create the standout exhibit “Day Jobs.” A dialogue with conceptual artist Sol LeWitt prompted Roberts to explore the different ways that artists establish relationships or get material inspiration from the jobs that sustain them. After receiving hundreds of recommendations from colleagues, scholars, gallerists, and artists in the field, Maphies and the Blanton team selected 100 works by 38 artists whose “day jobs” had a significant impact on their work, grouping works by categories of “other” work the artist performed: Service Industry; Industrial Design; Media & Advertising; Fashion & Design; Caregivers; Finance, Tech & Law; and Art World. Lynne also shares her own “day job” impact, one that redirected her onto her curatorial path.Find Lynne: Linkedin: Lynne Maphies Mentioned:“Day Jobs” Exhibit, Blanton Museum of Art, Austin TX (explore)Veronica Roberts, Director of Cantor Arts Center (learn)Cantor Arts Center, Stanford University, Stanford CA (explore) Anne Carson, Canadian poet, essayist (1950- ) (read) Robert Smithson, American land artist (1938-1973) (learn) Walter de Maria, American artist (1935-2013) (learn) “Savage Dreams,” by Rebecca Solnit (read)Sol LeWitt , American artist (1928-2007) (learn)Louis “Studs” Terkel, American writer, broadcaster (1912-2008) (learn); “Working” by Studs Terkel (1974) (read)Robert Mangold, American minimalist artist (1937 -) (learn) "The Artist as Culture Producer: Living and Sustaining a Creative Life," by Sharon Louden (read)Marsha Cottrell, American landscape painter (1964- ) (learn) Ricardo Valverde (1946 - 1998), American photographer (learn)Sarah Bennett, American photographer (learn)Vivian Maeir, American photographer (1926-2009) (learn)Lenka Clayton, British-American artist (1977- )(learn)Hope Ginsburg, AmeSupport the show
In this episode of Object Matters host Dr Craig Barker is joined by Chau Chak Wing Museum colleague Kelsey McMorrow, who is curatorial assistant, science collections. Kelsey discusses two x-ray tubes made in the early twentieth century. Together they discuss the importance of science collections and presenting science history in museums. The cover the discovery and the development of x-rays in the late 19th century, the early use of x-rays and the gradual realisation of the health implications of unsafe x-ray usage. They also cover the fascinating story of x-ray pioneer Harry W. Cox, who's firm manufactured the two x-ray tubes in the collection discussed. Guest: Kelsey McMorrow is Curatorial Assistant, Science Collections, Chau Chak Wing Museum. In this role Kelsey assists in the curation, research and management of the Museum's science collections, working most closely with the Macleay Collection of scientific instruments and apparatus. Kelsey is also passionate about museum accessibility and is a member of the Museum's Accessibility and Inclusion Working Group. Kelsey completed her BA/BSc at UNSW, studying history and psychology. She also completed her Master of Museum and Heritage Studies at the University of Sydney. Hear Kelsey interviewed for the UMAC Futures series on global early career university museum employees. Host: Dr Craig Barker, Head of Public Engagement, Chau Chak Wing Museum and Director, Paphos Theatre Archaeological Excavations. Follow @DrCraig_B on Twitter and Instagram. Objects details: Electromagnetic instrument; Cox's x-ray tube, 1909-10917, Harry W Cox Ltd, London. Transferred to the collection in 1972 [SC1972.2] Electromagnetic instrument; gas x-ray tube, 1896-1910, Harry W Cox Ltd, London. Donated by Mr John Robinson 2021 [SC2021.10] (pictured)
Ada Louise Huxtable, who “invented” the profession of architecture critic, wrote countless articles for two great daily newspapers and had a gigantic influence on our understanding of the work of architects, real estate developers, city bureaucrats, and the city itself, over the course of six decades in print. Beginning in 1963, Huxtable was the first full-time architecture critic at an American newspaper. In 1970, she won the first Pulitzer Prize for distinguished criticism. With her impeccable civic values, cultivated aesthetic sensibility and lacerating accuracy, Ada Louise Huxtable, praised and razed. Huxtable, who was born and lived her life in New York City, raised the public's awareness of architecture and the urban environment. She wrote for the New York Times and later for the Wall Street Journal. She served as Curatorial Assistant for Architecture and Design at the Museum of Modern Art. Produced by Brandi Howell for the Beverley Willis Architecture Foundation's podcast, New Angle Voice. The Kitchen Sisters Present is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson), with Brandi Howell and Nathan Dalton. It is part of the Radiotopia Network from PRX.
In which Theo & Brian sit down with curator, writer, and arts professional, Michelle Millar Fisher. "Michelle Millar Fisher is currently the Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts within the Contemporary Art Department at the Museum of Fine Arts, Boston. Her work focuses on the intersections of people, power, and the material world. At the MFA, she is working on her next book and exhibition, tentatively titled Craft Schools: Where We Make What We Inherit which is taking her across 48 contiguous US states via train over the course of a year. The recipient of an MA and an M.Phil in Art History from the University of Glasgow, Scotland, she received an M.Phil from and is currently completing her doctorate in art history at The Graduate Center at the City University of New York (CUNY). She is part of the 2022 fellow cohort at the Center for Curatorial Leadership.She has long been interested in the confluence of gender and design. She has written widely on care work, mothering, and reproductive labor, including parenting in museums (and hiding care work at work), being childfree, grief and mothers, and the architecture of maternity. Since 2017, she has co-organized an independent team of collaborators around a book (MIT Press 2021), exhibition, curriculum, and program series called Designing Motherhood: Things That Make and Break Our Births. Find it on Instagram at @designingmotherhood. In 2017, she co-organized an exhibition and book, I Will What I Want: Women, Design, and Empowerment, in conjunction with muca-Roma, Mexico City. Previously, she was the The Louis C. Madeira IV Assistant Curator of European Decorative Arts and Design at the Philadelphia Museum of Art where she co-organized Designs for Different Futures (book and exhibition, 2019), helped rethink the display of nineteenth century European decorative arts, and engaged in research for the PMA's new Gehry galleries which center contemporary art and design production at local and global levels. From 2014-2018 she was a Curatorial Assistant at the Museum of Modern Art, New York, where she co-organized, amongst others, the exhibitions Design and Violence, This Is for Everyone: Design Experiments for the Common Good, From the Collection, 1960-1969 and Items: Is Fashion Modern? as well as accompanying catalogues.Before that, she worked for four years as a museum educator at the Solomon. R. Guggenheim Museum and as a research intern in Arms & Armor for a year at the Metropolitan Museum of Art. She frequently lectures at conferences and symposia, and has been an adjunct lecturer at many schools, including Parsons The New School for Design, CUNY's Baruch College, the University of Pennsylvania, and the Graduate School of Design at Harvard University.She has been the recipient of numerous awards and fellowships, including a Graham Foundation Award, a Pew Center for Arts & Heritage project award, a Sachs Program for Arts Innovation Award, a full CUNY Graduate Center Enhanced Chancellor's Dissertation Fellowship, several Kress Foundation Institutional Grants for Digital Resources, a DAAD Summer Language Fellowship, and an Arts & Humanities Research Council Postgraduate Scholarship.Collaboration and mentorship is at the core of her practice (see the open-source PPT for crediting museum teams here). Here are some of the amazing folks she's worked with of late, check out their work and/or ask them to speak about it: Chenoa Baker (emerging curator extraordinaire), Dr. Juliana Rowen Barton (architecture and design historian), Adrianne Edwards (maternal child health advocate) Tekara Gainey (doula), Zoë Greggs (activist and arts administrator), Porsche Holland (birth advocate) Gabriella Nelson (urban planner and maternal policy expert), Sabrina Taylor (children's author and early childhood education expert), Amber Winick (design historian and childcare expert), Maternity Care Coalition (Philly), and the Neighborhood Birth Center (Boston).In 2011, she co-founded ArtHistoryTeachingResources.org, a Kress Foundation-funded project now used in over 185 countries. In 2019, she co-founded Art + Museum Transparency, dedicated to supporting critical conversations on the intersections of art and labor, and home to the Salary Transparency Spreadsheet."Biography sourced from https://michellemillarfisher.com/Abouthttps://www.instagram.com/michellemillarfisher/Episode Artwork by Brigitte Lacombehttps://www.brigittelacombe.com/
In episode ten of season two of A is for Architecture, I speak with Beatriz Colomina and Evangelos Kotsioris, about their book Radical Pedagogies, co-edited with Ignacio G. Galán and Anna-Maria Meister and published by MIT Press in 2022. Beatriz is Howard Crosby Butler Professor of the History of Architecture at Princeton University and Evangelos Kotsioris, Curatorial Assistant in the Department of Architecture at the Museum of Modern Art in New York. Radical Pedagogies documents and analyses the long history of experimental architecture education programs that ‘sought to upend disciplinary foundations and conventional assumptions about the nature of architecture […] challenged modernist and colonial norms, decentered building, imagined new roles for the architect, and envisioned participatory forms of practice' in favour of greater diversity, insight, democratic voice and justice, and away from top-down educational - and practice -models. You can get the book via MIT Press' website here; it's certainly worth a look. You can also find out more about Beatriz Colomina here, and listen to her lecture on similar themes to the book for the Strelka Institute here, in a lecture she gave in 2019, entitled Radical Pedagogies. Evangelos can be found at MoMA here, on Instagram here, on LinkedIn here and watched speaking about the façade of the UN Secretariat Building as part of MoMA's ArtSpeaks program here. As any of us in it, or who've gone through it might attest, architectural education seems to trend to the centre, and its base form remains remarkably resilient to change, even in the face of the great technical, social and cultural shifts that have transformed the contemporary world. Radical Pedagogies documents the visions – hopes, I suppose – of folk who tried, and in many cases succeeded, in testing new forms of learning practice in the face of this shifting landscape. Happy listening! + + + + + + + + + + + + + + + Music credits: Bruno Gillick + + + + + + + + + + + + + + + aisforarchitecture.org Apple: podcasts.apple.com Spotify: open.spotify.com Google: podcasts.google.com Amazon: music.amazon.co.uk
In this episode of The Living Artist, Preston sits down with Morgan Fox. Morgan is a curatorial assistant with Art in Embassies, an office of the U.S. Department of State in Washington, D.C. She holds a Bachelor of Arts degree in History at Furman University, and received her Master of Arts degree in Art and Museum Studies at Georgetown University in 2017. She has also studied and worked at many prestigious institutions, such as Sotheby's Institute of Art in London, the National Archives, the Smithsonian American Art Museum, and the George Washington University Museum and Textile Museum, to highlight just a few. During this conversation, Morgan shares her origins falling in love with the arts from an early age, her numerous studies and positions within the art world, landing a position with Art In Embassies, what AIE is and does as an organization, her love for connecting artists with ambassadors and communities around the world, how she discovered Preston's work, advice to artists and art professionals, the importance of perseverance, and much more. Please enjoy this in-depth conversation with Morgan Fox! Art in Embassies' statement: “Art is, in essence, visual diplomacy. It accelerates cultural connection, sparks conversation, and helps diplomats convey who we all are as Americans. Art in Embassies creates exhibitions, installations, exchanges, and public programming that convey how art can transcend national borders and foster connections among people around the world.” Visit Art In Embassies at https://www.art.state.gov for more information, or to submit your artwork. Find out more about Morgan Fox at https://www.linkedin.com/in/morgan-fox-926621b1/ For more information on Preston M. Smith and his artwork, visit https://www.pmsartwork.com, or follow him on Instagram at https://www.instagram.com/pmsartwork (social media everywhere @pmsartwork). You can also now subscribe to his YouTube channel at https://www.youtube.com/c/pmsartwork. You can now support the Podcast with a donation. Go to https://www.pmsartwork.com/podcast to check it out and donate. Huge thank you to Feedspot for choosing The Living Artist for their list of the Top 60 Art Podcasts You Must Follow in 2021. It is a huge honor to have made this amazing list (coming in at #11) with so many other wonderful podcasts. Big thank you to Feedspot! You can check out this list and more of Feedspot at https://blog.feedspot.com/art_podcasts. Podcast theme music: "Music by Jason Shaw on Audionautix.com"
Charlie Brennan debates with Sarah Fenske, Alvin Reid, Ray Hartmann and Bill McClellan. They talked about Sam Page, gun laws, Cori Bush, and more. On Next Up, Charlie Brennan and Bill McClellan are joined by Philip Deitch, St. Louis LGBTQ Chamber of Commerce; Ian Darnell, Curatorial Assistant, LGBTQ Collection, Missouri Historical Society; and James Robinson, Artistic Director at Opera Theatre St. Louis, and co-director of their new opera, "Harvey Milk."
On this episode we're joined by Jenee Daria Strand, the Curatorial Assistant for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Jenée-Daria aims to expand her knowledge of art history, and integrate her interests in performance practices, to examine Black subjectivity within the museum setting. She holds a BFA from Florida State University, and is pursuing an MA at New York University (NYU).
While some Mi'kmaw leaders are pleased with Friday's apology from Pope Francis, some are waiting for more concrete action. Reporter Tom Ayers spoke with Stephen Augustine, a hereditary chief, and vice president of indigenous affairs at Cape Breton University and Jeff Douglas spoke with Trevor Gould, a local historian and a Curatorial Assistant at Mi'kmawey Debert for their reactions.
Why have the designs of motherhood remained hidden? What can we learn from the design history of pessaries? How can we expand the definition of motherhood? Zoë Greggs (she/they) is a Black, queer, femme, nonbinary Philadelphia-based artist and non-profit administrator. She holds a BFA from the University of the Arts with a concentration in printmaking and book arts. In 2020, they participated in ArtWell's Equity fellowship program that champions the power of women and nonbinary people of color as change agents to tackle institutional race and gender bias in their organizations and beyond. Zoë is also the Curatorial Assistant for Designing Motherhood, where she brings her expertise of community engagement, project management, and art history. In addition, they co-leads the Designing Motherhood Storybanking Initiative, which utilizes the power of storytelling to advocate for a future where caregivers can birth with dignity, parent with autonomy, and raise babies who are healthy, growing, and thriving. Through their passion for Black feminism, critical race theory, and systems change, they strive to create processes and joyful relationships that uproot systemic harm and shift mainstream narratives about our shared history and trajectory. Gabriella Nelson is a mother and city planner, possessing a strong interest at the confluence of urban development, public health, and critical pedagogy. She currently works as the Associate Director of Policy for Maternity Care Coalition, advocating for the best policies and practices regarding maternal-child health and early learning. She believes the city is for everyone, especially for those who want to stay after bearing decades of disinvestment and devastation. Gabriella has lectured widely on topics of maternal-child health, city planning and advocacy, including at TEDxPhiladelphia. Gabriella is interested in redesigning cities, systems and policies that oppress and work against the liberation of those historically left behind. She identifies as a problem-solver, an inquisitive thinker, and a creative person whose experiences and opinions are deeply rooted in her womanhood, motherhood, and Blackness.
When it comes to human reproduction, particularly from a Western perspective, there's no shortage of physical things involved. Pregnancy tests. Maternity clothing. Pacifiers. Baby carriers. Reproduction and parenting involve a plethora of objects, each designed with a purpose in mind and each contributing to the reproductive experience, for better or for worse. Historians and authors Michelle Millar Fisher and Amber Winick explored the stuff of reproduction in their new book, Designing Motherhood: Things that Make and Break Our Births. Their highly visual, design-driven book explores over 80 objects that have shaped the world of people and babies during the past century, revealing designs that range from iconic to just plain strange. Together, Fisher and Winick considered how design impacted everything from the clothing that pregnant people wear to how the home pregnancy test was once a “threat” to male gynecologists—and beyond. Michelle Millar Fisher, a curator and architecture and design historian, is Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston. She lectures frequently on design, people, and the politics of things. Amber Winick is a writer, design historian, and recipient of two Fulbright Awards. She has lived, researched, and written about family and child-related designs, policies, and practices around the world. Zoë Greggs is a queer, Black, disabled Philadelphia-based artist and nonprofit administrator who serves as the Community Outreach Coordinator at Maternity Care Coalition (MCC). Greggs is also the Curatorial Assistant for Designing Motherhood, where she brings her expertise of community engagement, project management, and art history. Buy the Book: Designing Motherhood: Things that Make and Break Our Births (Hardcover) from Third Place Books Presented by Town Hall Seattle. To become a member or make a donation click here.
WQED-FM's Jim Cunningham spoke with Alyssa Velazquez, the Curatorial Assistant in Decorative Arts and Design at Carnegie Museum of Art, about the exhibit "Extraordinary Ordinary Things." The exhibit invites visitors to imagine themselves in the roles of problem-solvers, designers, and makers. As many people's relationships to their homes and the objects within them take on increased relevance and deeper meaning, this timely and dynamic exhibition showcases all facets of material and product design, from traditional techniques to innovative technologies.
My guest today is Cricket Raspet (@chilipossum on Instagram). Cricket is a Curatorial Assistant at the California Academy of Sciences, specializing in marine mammals. She's a passionate community scientist, a raptor bander with the GGRO and a rescue and animal care volunteer at the Marine Mammal Center. An interest (obsession?) with the colorful sea slugs of the pacific coast led her from the tidepools to the strange community of creatures that make floating docks their home. With a handful of like-minded explorers, she founded the Dockfoulers Union to educate people about this unique ecosystem and document its inhabitants through photography and iNaturalist observations. To explain, dockfouling is a captivating hobby where one observes the amazing diversity that forms in ecosystems around floating docks. Think of it like tidepooling, but with some distinct advantages that we discuss today. Unique and colorful creatures can be readily seen, and these areas are ripe for personal and scientific discovery. Simply put, dockfouling can be both a crash course and a masters course in marine ecology.In this episode we discuss what dockfouling is, and the related concept of biofouling.We discuss Cricket's amazing finds in these floating dock biomes, the emergence of a dock fouling community, and how you can easily observe these magnificent creatures next time you are near a floating dock. It turns out it is easy to get started - no equipment necessary! But if you want to start taking photos, Cricket offers suggestions as well.Cricket also provides great resources to learn more, including books, videos, and iNaturalist projects. And it turns out it's "Doctober" - a special month-long BioBlitz intending to document these communities on iNaturalist.Find Cricket on Instagram at chilipossum, docfoulersunion, glamourslugs. And iNaturalist as chilipossum.Full Show NotesLinks to People and ResourcesDock Fouling in California - iNaturalist projectDock Fouling in Washington State - iNaturalist projectDoctober - Dockfauling bioblitz for October 2021Nature Lookings - website with resources on Dock Fouling and DoctoberOlympus TG-6 Waterproof Camera- recommended for underwater and terrestrial macro, with built-in focus stacking, recommended by Cricket. And a tutorial to use the TG-6 for Tidepool PhotographyThe Light and Smith Manual: Intertidal Invertebrates from Central California to Oregon, by James T. CarltonSeashore Life of the Northern Pacific, by Eugene Kozloff - illustrated marine biology book that will help with your identification and udnerstandingPeople and Organizations DiscussedCalifornia Academy of SciencesDamon Tighe - presentations on YouTube at Lake MerrittDockfoulers Union (instagram)Luan Roberts (instagram)
Andrew Bolton joined The Costume Institute at The Metropolitan Museum of Art in 2002, as Associate Curator, was named Curator in 2006, and become Curator in Charge in January 2016 upon the retirement of his predecessor, Harold Koda. Mr. Bolton was named the Wendy Yu Curator in Charge of The Costume Institute in March 2018, when the position was endowed. Mr. Bolton worked alongside Mr. Koda on exhibitions including Dangerous Liaisons (2004), Chanel (2005), Poiret (2007), and Schiaparelli and Prada (2012). In addition, he has curated AngloMania (2006), Superheroes (2008), American Woman (2010), Alexander McQueen: Savage Beauty (2011), Punk (2013), China: Through the Looking Glass (2015), Manus x Machina (2016), Rei Kawakubo /Comme des Garçons: Art of the In-Between (2017), Heavenly Bodies: Fashion and the Catholic Imagination (2018), Camp: Notes on Fashion (2019), and About Time: Fashion and Duration (2020). Heavenly Bodies attracted more than 1.65 million visitors to The Met Fifth Avenue and The Met Cloisters, making it The Met's most visited exhibition. Previous exhibitions Bolton curated are also among The Met's most attended, including China, which had 815,992 visitors; Manus x Machina, with 752,995 visitors; and Alexander McQueen with 661,509 visitors. Bolton has authored and co-authored more than 17 books. He lectures and contributes scholarly articles to various publications. Prior to joining the Metropolitan, Mr. Bolton worked at the Victoria & Albert Museum in London for nine years, as Senior Research Fellow in Contemporary Fashion, and prior to that as Curatorial Assistant in the Far Eastern Department. During this period, he also curated exhibitions at the London College of Fashion. Born in Great Britain, Mr. Bolton earned a B.A. in social anthropology and an M.A. in Non-Western Art from the University of East Anglia. He became a Visiting Professor at the University of the Arts in London in 2007 and received an Honorary Fellowship in 2016. In 2017, he received an Honorary Fellowship from the Royal College of Art. Mr. Bolton has received several awards, including the Fashion Group International Oracle Award in 2016, the Vilcek Prize in Fashion in 2015, the Best Monographic Exhibition from the Association of Art Museum Curators for Alexander McQueen in 2011, and the Richard Martin Award for Excellence from The Costume Society of America for American Woman in 2010 and also for Poiret (with Harold Koda) in 2007. Brought to you by the British Consulate General, New York. Follow us on Twitter and Instagram.
In this episode we’re talking to Caitlin Crews, who I met through Fatima Jones at a Black Art Futures Fund friendraiser, and we became fast friends, and neighbors in Bedstuy Brooklyn. Then over the course of the interview, we learned — it turns out— Caitlin is related to one of my closest poetry friends from my days in college at UNC Chapel Hill! What a small world, and truly, we’re all connected. Caitlin has volunteered her time with Black Art Futures Fund and encouraged her colleagues at Adobe to support the work as well. Of course, we love that! Caitlin Crews is originally from Uniontown, PA and has called Brooklyn, NY home for the past 11 years. Currently, Caitlin is the Design Templates, Lead at Adobe. Her focus is on the advancement of creatives through design on the Adobe Stock Team. At Adobe, Caitlin is the lead for Black Employee Network in NYC for Adobe (BEN), served on the Community Grant Panel Decision Committee for Adobe New York, Adobe for All site lead and is a member of the Taking Action Task Force for Advocacy and Responsibility. Previously, she worked as a Curatorial Assistant at the Brooklyn Museum. At Nautica she was a still life photographer and retoucher. She was also a design and photo coordinator at Lord & Taylor and Victoria’s Secret. Her curatorial and community projects include Art 4 World Trade Center (2017) Northside Festival Block Party (2013-2018), Brooklyn Public at World Trade Center Gallery (2015), and Curatorial Assistant for Art in Odd Places RECALLed (2015). Caitlin has written for Got a Girl Crush Magazine, as well as a current member of the ISCP Young Patrons Committee. She received her M.P.S in Arts and Cultural Management from Pratt Institute and her B.S. in Photography from Kent State University. This episode was recorded on February 5, 2021 Produced by Lauren Francis Music by audionautix.com
Join Kat and Jenée-Daria Strand and learn about the ambitious young curator's story and vision for a more inclusive art world. Discover her role at the Brooklyn Museum and get behind the scenes of her daily life in New York! Jenée-Daria Strand is the Curatorial Assistant for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where she supports in the research and organization of numerous exhibitions. She has worked on projects examining Black subjectivity through historical precedents, including her first independent co-curation of what once was in August of 2019 (Gloria Gail Gallery, NYC). Jenée-Daria aims to expand her knowledge of art history, and integrate her interests in performative practices, to examine performance within the museum setting. She serves on the Dance/NYC Junior Committee and holds a BFA from Florida State University. www.createmagazine.com/podcast
All the way from Soweto comes an enthusiastic naïveté & Curatorial Assistant by the name of NeMo Soul Known as NeMo to his friends and acquaintances,NeMo(Full Name : Neo Molepo) is a Deep & Soulful house enthusiast who has been spinning for a minute Started Djing in 2008 as hobby and has never looked back since. He is in charge of curatorial duties for the two podcasts shows called Broken KrayOnzz Society & Gin,Jazz & Bad Sex which are both is under Street Soul Vibes Social Media Handles Facebook : Neo Wesley Instagram: It_is_I_NeMo Bookings : nemosoul1@iCloud.com
Host Michael Ricca talks to curatorial assistant Heather Linton, who gives insights into her job and how she came to pursue a career as a museum professional. On Season 1 of A Closer Look, we’re exploring museum jobs: why we wanted them, how we got them, and what they’re really like! Through a series of conversations with colleagues, hosts Tara Metal and Michael Ricca will seek to demystify the museum world, discuss some surprising career paths, and explore jobs you may never have considered. Music: "Baby Lemuel" © Blue Dot Sessions.
Lauren Downing is the Curatorial Assistant at the Institute of Contemporary Art at University of Pennsylvania also known as the ICA Philly. She is also the co-owner of Ulises that was previously in Fishtown, Philly. Everyone's got the Ulises Totes that have been spotted since Printed Matters Art Book Fair over at Moma PS1. She's been in the art world forever. Please welcome Lauren Downing to Wear Many Hats. instagram.com/ulisesbooks instagram.com/wearmanyhatswmh instagram.com/rashadrastam rashadrastam.com wearmanyhats.com dahsar.com
This penultimate episode of People. Change. Museums. presents the term 'Cultural Identity' as its keyword. The notion of belonging has taken on a new set of meanings during the time of pandemic, with those identified as belonging to certain ethnically diverse cultural communities – and typically those characterised as experiencing higher rates of poverty, unemployment and poor health – being disproportionately impacted by the crisis. In this episode, Sophie explores the evolving concept of 'cultural identity' by dissecting the relationship between technology, museums and power in 2020 and 2021. To do so, she is joined by kYmberly Keeton - Chief Library Curator, ART | library deco (US), Shereen Hunte - Learning Officer at the Jewish Museum London (UK) and Claudia Zapata, Curatorial Assistant of Latinx Art at the Smithsonian American Art Museum (US).
This week the M Files goes to the east coast to speak with Cyrus Green. Cyrus is a Curatorial Assistant at The Harvard Museum of Comparative Zoology. Founded in 1859 by zoologist Louis Agassiz, the MCZ has over twenty million specimens in its collections. Cyrus joins us for the museum wire to discuss antiquated/older collections techniques before jumping into the interview. Cyrus describes his work at the MCZ and how university museums connect with research and in the classroom.Special thanks to the Museum of Comparative Zoology, Harvard University, for making this episode possible. To learn more about the MCZ, check out their website or on social media via the MCZ's Facebook, the MCZ Instagram account, or their various MCZ Twitter accounts.
With her passion for perfume, Jessica Murphy uncovers the history and empowerment of scent. Jessica is a Scent and Art Historian and a Museum Professional. She's always looking for new ways to connect art, fragrance, history and popular culture. Jessica shares the continuing results of her curiosity and research skills and along the way, she enriches the enjoyment of perfume. Since 2006, Jessica has been a contributor for the leading perfume blog Now Smell This. And what better name for her website than 'Perfume Professor'. Since late 2015 Jessica has taught and lectured about the history and culture of fragrance at venues such as the Brooklyn Brainery, the Brooklyn Museum, The Institute for Art and Olfaction and the New Jersey Council for the Humanities. Currently, Jessica is Manager of Visitor Engagement at the Brooklyn Museum. Before the pandemic, Jessica occasionally offered scent-themed tours. Prior to the Brooklyn Museum, Jessica worked as a Research Associate at the Metropolitan Museum of Art. She has also worked as a Contractual Educator at the Met and as a Curatorial Assistant at the Philadelphia Museum of Art. Jessica received her B.A. from Fordham University and her M.A. and Ph.D. in Art History from the University of Delaware. A conversation with Jessica Murphy... The beginning - religion or incense Festivals and seduction Commercial use Luxury and class Studio 54 That iconic fragrance Memories and scent
She’s been a part of some cool stuff, like serving as a Curatorial Assistant for Latinx Studies at the National Museum of African American History and Culture. She has worked with El Museo Del Barrio, the Museum of Modern Art, and the Loisaida Center, among other institutions. She was a 2018 Smithsonian Latino Museum Studies Fellow, a 2017 Museum Education Practicum participant at the Studio Museum in Harlem. She is an Editorial Assistant at Small Axe Journal (since 2018). She holds an MA in Latino, Caribbean, and Africana Studies from the CUNY Graduate Center and a BA in Latin American Studies and Art History from Purchase College.
Forty years ago, Mary V. Thompson began her career at Mount Vernon as a museum attendant and history interpreter. She was quickly promoted to Curatorial Assistant, and within a few short years was named Curatorial Registrar, where she began researching numerous Washington and Mount Vernon related topics such as 18th-century foodways, animals, religion, Native Americans, genealogy, domestic life, & slavery. Today, she is the Washington Library's indispensable Research Historian, and as many of our listeners no doubt know, she is the go to person for all things Mount Vernon and Washington. In celebration of Mary's 40th anniversary at Mount Vernon, we're pleased to bring you Jim Ambuske's July 2019 chat with her about her prize-winning book, “The Only Unavoidable Subject of Regret: George Washington, Slavery, and the Enslaved Community at Mount Vernon,” which recently won the James Bradford Best Biography Prize from the Society of Historians for the Early Republic. Thompson and Ambuske talked over the course of two episodes about her experiences at Mount Vernon, her interest in the enslaved community at Mount Vernon, and of course, her book. So after you've finished with Part One here, be sure to check out Part Two as well. And if you'd like to purchase a copy of Mary's book, head over to shops.mountvernon.org to grab yours. Congratulations Mary on 40 amazing years at Mount Vernon. Here's to many more. About Our Guest: Mary V. Thompson is a long-time (38 year) member of the staff at Mount Vernon, where she is now the Research Historian. She is the author of In the Hands of a Good Providence: Religion in the Life of George Washington, A Short Biography of Martha Washington, and "The Only Unavoidable Subject of Regret": George Washington, Slavery, and the Enslaved Community at Mount Vernon. About Our Host: Jim Ambuske, Ph.D. leads the Center for Digital History at the Washington Library. A historian of the American Revolution, Scotland, and the British Atlantic World, Ambuske graduated from the University of Virginia in 2016. He is a former Farmer Postdoctoral Fellow in Digital Humanities at the University of Virginia Law Library. At UVA Law, Ambuske co-directed the 1828 Catalogue Project and the Scottish Court of Session Project. He is currently at work on a book about emigration from Scotland in the era of the American Revolution as well as a chapter on Scottish loyalism during the American Revolution for a volume to be published by the University of Edinburgh Press.
Forty years ago, Mary V. Thompson began her career at Mount Vernon as a museum attendant and history interpreter. She was quickly promoted to Curatorial Assistant, and within a few short years was named Curatorial Registrar, where she began researching numerous Washington and Mount Vernon related topics such as 18th-century foodways, animals, religion, Native Americans, genealogy, domestic life, & slavery. Today, she is the Washington Library’s indispensable Research Historian, and as many of our listeners no doubt know, she is the go to person for all things Mount Vernon and Washington. In celebration of Mary’s 40th anniversary at Mount Vernon, we’re pleased to bring you Jim Ambuske's July 2019 chat with her about her prize-winning book, “The Only Unavoidable Subject of Regret: George Washington, Slavery, and the Enslaved Community at Mount Vernon,” which recently won the James Bradford Best Biography Prize from the Society of Historians for the Early Republic. Thompson and Ambuske talked over the course of two episodes about her experiences at Mount Vernon, her interest in the enslaved community at Mount Vernon, and of course, her book. So after you’ve finished with Part One here, be sure to check out Part Two as well. And if you’d like to purchase a copy of Mary’s book, head over to shops.mountvernon.org to grab yours. Congratulations Mary on 40 amazing years at Mount Vernon. Here’s to many more. About Our Guest: Mary V. Thompson is a long-time (38 year) member of the staff at Mount Vernon, where she is now the Research Historian. She is the author of In the Hands of a Good Providence: Religion in the Life of George Washington, A Short Biography of Martha Washington, and "The Only Unavoidable Subject of Regret": George Washington, Slavery, and the Enslaved Community at Mount Vernon. About Our Host: Jim Ambuske, Ph.D. leads the Center for Digital History at the Washington Library. A historian of the American Revolution, Scotland, and the British Atlantic World, Ambuske graduated from the University of Virginia in 2016. He is a former Farmer Postdoctoral Fellow in Digital Humanities at the University of Virginia Law Library. At UVA Law, Ambuske co-directed the 1828 Catalogue Project and the Scottish Court of Session Project. He is currently at work on a book about emigration from Scotland in the era of the American Revolution as well as a chapter on Scottish loyalism during the American Revolution for a volume to be published by the University of Edinburgh Press. --- Send in a voice message: https://anchor.fm/mountvernon/message Support this podcast: https://anchor.fm/mountvernon/support
Alyssa Velasquez, Curatorial Assistant for Decorative Arts at the Carnegie Museum of Art, joins Jim Cunningham to discuss the new exhibit Locally Sourced presenting 19 artists with local ties working in traditional media such as clay, glass, metal, fiber, wood, and paper, and with emergent materials and technologies. Locally Sourced highlights new work by some of the region’s most talented artists and makers of functional goods and furnishings.
Dr. Nicolas Bailly is a Curatorial Assistant at the Beaty Biodiversity Museum in Vancouver, Canada, and Scientific Adviser of SeaLifeBase. Back in the mid-2000s, Dr. Bailly together with Dr. Deng Palomares helped create SeaLifeBase by taking an empty shell of the FishBase database structure and populating it with information from the Catalogue of Life. Later on, he worked on improving the processes and the data available in SeaLifeBase, and has remained linked to the project as a scientific adviser. On this episode, Dr. Bailly shares with us some of the unpublished details behind the creation of this groundbreaking database. Produced by Valentina Ruiz-Leotaud.
Ruha Fifita was born and raised in the Island Kingdom of Tonga and continues to engage with the Pacific region as an interdisciplinary artist, Co-founder of the Pacific art research collective - IVI Designs, and through her work as the Curatorial Assistant for Pacific Art at the Queensland state Gallery |Gallery of Modern Art. In 2006, whilst still living in Tonga, Ruha co-founded ON THE SPOT Inc. (OTS) - a community-based arts organisation – with the initial focus of engaging youth in creative projects aimed at contributing to the achievement of the 2015 Millennium Development Goals at the local level. As an artist, she works closely with her siblings and extended family, developing a practice which focuses on collaboration, community engagement and connection with indigenous methods and materials. Her creative work has afforded her many opportunities to work, engage in discourses and exhibit throughout the Pacific region in settings such as the Auckland Art Festival, Pataka Art Gallery, The National Gallery of Victoria, and the Tjibaou Cultural Centre. The various endeavours she continues to engage in are linked as she consciously pursues opportunities to learn about some key questions, perhaps most simply summarised as; what is the role of religion, the role of young people and the role of the arts and artists in contributing to the spiritual and material advancement of civilisation? See omnystudio.com/policies/listener for privacy information.
The Studio Museum in Harlem is giving people their arts fix- online and outdoors. The Studio Museum in Harlem's Curatorial Assistant of Exhibitions Yelena Keller and Curatorial Fellow Makayla Bailey join us to discuss the museum's new online exhibition "Hearts in Isolation," produced by high school photographers, and a series of outdoor installations by artist Chloe Bass.
In this presentation, Dr. Ian Darnell will explore the rich legacy of LGBTQIA+ life and struggle in the St. Louis area. Covering a period of more than a century, he will highlight some of the key turning points that have shaped this complex and surprising history. Ian Darnell serves as Curatorial Assistant for LGBTQIA+ collections at the Missouri Historical Society. A St. Louis native, he studied at Saint Louis University and earned his PhD from the University of Illinois at Chicago. He has contributed to a variety of local public history projects, including The Griot Museum of Black History and Mapping LGBTQ St. Louis.
Stanley Wolukau-Wanambwa and Leslie Wilson, in conversation with MoCP’s Curatorial Assistant, Lindley Warren Mickunas, discuss their thoughts on photographers’ relationships to the place and distinctions between color and black and white photography.
Paul Gellatly, Curatorial Gardner, and Amanda Theodoridis, Curatorial Assistant, join me on the podcast this week to discuss the Toronto Zoo’s extensive plant collection. Paul and Amanda explain how they manage the thousands of plant species at the Zoo; how the Zoo is about to finish the process of becoming a Botanical Garden; describe how theAmorphophallus made such a big story last year; and, discuss the importance of plants as habitats in conservation. Do you have a question about this episode? Ask us on: Instagram Twitter with the tag #Wild4Life
The Renaissance Society is a contemporary art space that has a very strong character when it comes to architectural design. Artist David Maljković describes it as a “monumental space that is one dimensional with a really particular condition of light.” The vinyl floors are so present—not concrete or plastic—they are tactile. Known for his collaborative approach to curation and attention to details, Maljković worked with Renaissance Society curator Karsten Lund for the exhibit “Also on View,” to select works that complement the space. The Weekly’s Manisha AR, sat down with both artist and curator to go behind the scenes of the exhibit and talk about the ways in which the space inspired the show. You can read the review of the show here: https://southsideweekly.com/look-dont-touch-david-maljkovic-renaissance-society/ Croatian-born David Maljković has lived in many cities in Europe. He currently lives and works in Zagreb, Croatia. He has presented solo exhibitions at Palais de Tokyo in Paris; Van Abbe museum, Eindhoven; Bergen Kunsthall, Norway; BALTIC Centre for Contemporary Art, UK; Museo Reina Sofía, Madrid; MoMA PS1, New York; and several other museums and galleries. His work has been included in prominent group exhibitions around the world such as the 56th Biennale di Venezia, 29th Sao Paulo Biennial, and two of the Istanbul Biennials, among many others. Chicago-based curator Karsten Lund has been with the Renaissance Society for the past three years and curated multiple shows in the space. Prior, he worked as a Curatorial Assistant at the Museum of Contemporary Art Chicago and as a Research Fellow and Guest Curator with the Museum of Photography. “Also on View” is open until April 7, 2019. There will be an exhibition walk-through with curator Karsten Lund, at 3pm on Saturday April 6th. For more information visit http://renaissancesociety.org. Music heard during this episode is “Ambient Documentary Build Up #02” by tyops (CC BY 3.0). For more news, visit www.southsideweekly.com.
Stefanie Colarusso, Director of Programs & Events; Francesca Saldan, Curator; Peg McDade, Fiber Artist & Teacher; Melanie Rosato, Curatorial Assistant & Book Artist, speaking about the Everhart Museum and its Maker's and Master's series getting underway on Saturday, February 16 and running through the Spring. The Everhart Museum is located at 1901 Mulberry Street, Nay Aug Park, in Scranton. www.everhart-museum.org
Welcome to the Talkhouse Podcast’s first ever guest-curated episode! Today’s talk was curated by Brandon Stosuy (Editor-In-Chief of The Creative Independent; manager of Zola Jesus, Diamanda Galas, and more; and curator for The Broad Museum and, until recently, MoMA PS1’s Warm Up) and Melissa Auf Der Maur (former bassist for Hole and the Smashing Pumpkins, and co-founder of the Hudson, New York arts center Basilica Hudson). Stosuy and Auf Der Mauer are part of the team behind the fantastic annual Basilica Soundscape “anti-festival,” which presents boundary-pushing artists creating music, film, visual art, literature and more, inside a converted 19th century forge and foundry for steel railway wheels. They join me to intro today’s episode. Past Basilica Soundscape artists have included Matthew Barney, JLIN, Amber Tamblyn, and Deafheaven. This year’s festival takes place September 14-16, and features a killer lineup. Two of the artists performing are this week’s Talkhouse Podcast guests; Taja Cheek—aka L’Rain—and Hisham Bharoocha (Boredoms, Black Dice, Lightning Bolt, Soft Circle). Fittingly, much of their talk focuses on curation and the line where it blurs with artistic creation; Taja’s day job is Curatorial Assistant at MoMA PS1, and Hisham organizes the large-scale Boadrum events. We also hear about the incredible way Boredoms drummer Yoshimi writes music, how time constraints can stimulate creativity, and the ups and downs of playing with 111 drummers simultaneously. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. — Elia Einhorn, Talkhouse Podcast host and producer This episode was recorded by Ivan Kuraev, Ali Nikou, and Mark Yoshizumi, and co-produced by Mark Yoshizumi.
In honor of Pride Month, we are discussing growing up gay and taking a look at fashion from gay designers with Adam MacPharlain, Curatorial Assistant for Fashion Arts and Textiles. For more info and other programs, visit: www.cincinnatiartmuseum.org Theme song: Offrande Musicale by Bacalao Take our survey: bit.ly/ArtPalaceSurvey
Recorded at Poppositions 2018, Brussels with Ines Geraldes Cardoso, Independent Curator and Curatorial Assistant at Tintype Gallery, London.
Recorded at Poppositions 2018, Brussels with Ines Geraldes Cardoso, Independent Curator and Curatorial Assistant at Tintype Gallery, London.
Episode 10: Jesper Ericsson - Curatorial Assistant at The Hunterian talks Commando comics, gun wielding soldiers and chickens In this eposide of Jim & Pat's Glasgow West End chat Jim meets and talks with Jesper Ericson, the Curatorial Assistant at the Hunterian. Apart from finding out about Jesper's background (his time in Sweden, Cambridge, Aberdeen, Edinburgh and now Glasgow) we talked about one of his recent exhibitions; the Scottish Coinage Exhibition. The use of coins in Scotland goes all the way back to the 12th century, 'you are not carrying a muckle great big coin around that will buy you three hundred chickens you can use a wee coin to buy one chicken. Scotland was quite advanced when it came to coins and coinage..' This one is not to be missed. Thanks Jesper, it was great to meet and chat with you. Links Pat's Guide to Glasgow West End The Hunterian at Glasgow University Background music and photograph by Jim Byrne.
Karsten Lund is Assistant Curator at The Renaissance Society with recent curated exhibitions including Ben Rivers em>Urth and Sadie Benning's Shared Eye. Previously, Lund was Curatorial Assistant at the Museum of Contemporary Art Chicago, contributing to major group exhibitions including The Way of the Shovel: Art as Archaeology and The Freedom Principle: Experiments in Art and Music, 1965 to Now.Additionally, he has produced curatorial projects at other venues, including the Museum of Contemporary Photography, New Capital Projects, Hyde Park Art Center, and a factory shortly before its demolition. UNTHOUGHT ENVIRONMENTS Daniel G. Baird, Marissa Lee Benedict, Nina Canell & Robin Watkins, Revital Cohen & Tuur Van Balen, Cécile B. Evans, Peter Fend, Florian Germann, Jochen Lempert, Nicholas Mangan, Miljohn Ruperto, Xaviera Simmons Start with the ancient elements—earth, water, fire, air—and then expand your view of our elemental world. Think about sunlight, weather systems, rare earth minerals, and electromagnetic forces, to name only a few other things. Phenomena like these are integral to our daily lives but they can be elusive, easily forgotten, or deliberately kept out of sight: the hidden components of our virtual worlds, factors in geopolitics, or deeper influences on human habits and cultures. What are our “unthought environments” today? Our elemental surroundings become another kind of vital infrastructure, seemingly there to be used and overlooked, but the elements have shaped us, too, and sometimes they veer into the foreground. Unthought Environments is informed by evolving discussions in various fields, including media studies, ecology, and philosophy. Against this backdrop, new and recent artworks offer a set of explorations with different focal points in the elemental sphere as it intersects with our more human-made domains. The artists’ videos, sculptures, photographs, installations, and digital images delve into the state of water in multiple countries; the mining operations that feed our computers; the effects of the sun; electromagnetic fields made visible; dust storms; and other phenomena brought to life. Curated by Karsten Lund.
The National September 11 Memorial & Museum and United States Holocaust Memorial Museum are Alice Greenwald's most moving and challenging projects. Join us for a probing discussion on the complexities of memorializing tragic events. As the chief executive, Alice Greenwald is responsible for the overall vision, financial well-being, management, and long-term sustainability and relevance of the 9/11 Memorial & Museum. From 2006-2016, Ms. Greenwald served as Executive Vice President for Exhibitions, Collections, and Education and Director of the Memorial Museum. In this role, she oversaw the articulation and implementation of a founding vision for the 9/11 Memorial Museum, managing its programming, collecting, exhibition, and educational initiatives. Ms. Greenwald previously served as Associate Museum Director, Museum Programs, at the United States Holocaust Memorial Museum (USHMM). Her 19-year affiliation with USHMM began in 1986, when she served as a member of the “Design Team” for the Permanent Exhibition. From 1986-2001, Ms. Greenwald was the principal of Alice M. Greenwald/Museum Services, providing expertise to various clients including, in addition to USHMM, the Baltimore Museum of Industry, the Pew Charitable trusts, and the Historical Society of Princeton. Ms. Greenwald has served as Executive Director of the National Museum of American Jewish History, Philadelphia (1981-86); Acting Director (1980), Curator (1978-81) and Assistant Curator (1975-78) of the Hebrew Union College Skirball Museum, Los Angeles, and Curatorial Assistant at the Spertus Museum of Judaica, Chicago.
Emily speaks to her role as a Curatorial assistant at MOMA, and her work on the Robert Rauschenberg retrospective Among Friends. We also discuss the work of Eleanor Anton and the exhibition Multiple Occupancy: Eleanor Antin's "Selves", curated by Emily in 2013.
In this special episode, we listen to the live on-stage conversation with recording artist Daniel Martin Moore, photographer Guy Mendes, and Curatorial Assistant of Photography, Emily Bauman that took place on November 17, 2016. Both Guy and Daniel are passionate about environmental issues that affect Kentucky and these causes have impacted both of their artistic outputs. "Flyrock Blues" by Ben Sollee & Daniel Martin Moore, courtesy of Sub Pop Records & Big Deal Music The views expressed here are those of the interviewees and do not necessarily represent or reflect the views of Cincinnati Art Museum. Theme song: Offrande Musicale by Bacalao For more info and other programs, visit: cincinnatiartmuseum.org/ Links: Learn about Mountain Top Removal: http://ilovemountains.org/ Ol Kentuck Recordings: http://www.olkentuck.com/ Guy's photography: http://anntowergallery.com/&/guy-mendes/
Walk through any natural history museum and you’ll see rows of effortlessly clean animal skeletons. Chances are you're looking at a strange form of human/insect symbiosis happening in the museum’s back rooms. Preparing an animal’s skeleton for display is incredibly labor intensive for human hands. So curators have turned to a family of beetles with millennia of experience. The dermestidae family of beetles have followed humans since our early history. They’re opportunistic eaters, and they like the things we like: grains, bacon grease, leather, silk scarves, books, carpets. And as early humans traveled, the beetles came with, colonizing across the globe. The majority of humans’ relationship with these beetles is and has been contentious, as they tend to wreak havoc on human possessions. They’re often exterminated as pests. But several species of the dermestidae family have a taste for dead flesh. Including dermestes maculatus, aka. “The Hide Beetle”. And for this reason, curators have enlisted their help as “museum volunteers.” At least, that’s what Chris Stinson of the Beaty Biodiversity Museum in Vancouver, British Columbia calls them. He’s the Curatorial Assistant of Mammals, Reptiles, and Amphibians and he approximates that he has 20,000 of these volunteers to prep the museum’s collection. In this episode, Here Be Monsters producer Jeff Emtman smells the beetle tank, listens to them eat an owl skull, and holds a real flesh-eating beetle.*Jeff Emtman produced this episode, with help from Bethany Denton and Nick White. Music: The Black SpotHappy Birthday Paul. We don’t know when your birthday actually is, but we hope it’s a good one...this year and every other. *Due to dermestes maculatus’ preference for dead foods, they’re perfectly safe to handle, unless you’re a wild turkey (and if you’re actually reading this, you probably are).
Walk through any natural history museum and you'll see rows of effortlessly clean animal skeletons. Chances are you're looking at a strange form of human/insect symbiosis happening in the museum's back rooms. Preparing an animal's skeleton for display is incredibly labor intensive for human hands. So curators have turned to a family of beetles with millennia of experience. The dermestidae family of beetles have followed humans since our early history. They're opportunistic eaters, and they like the things we like: grains, bacon grease, leather, silk scarves, books, carpets. And as early humans traveled, the beetles came with, colonizing across the globe. The majority of humans' relationship with these beetles is and has been contentious, as they tend to wreak havoc on human possessions. They're often exterminated as pests. But several species of the dermestidae family have a taste for dead flesh. Including dermestes maculatus, aka. “The Hide Beetle”. And for this reason, curators have enlisted their help as “museum volunteers.” At least, that's what Chris Stinson of the Beaty Biodiversity Museum in Vancouver, British Columbia calls them. He's the Curatorial Assistant of Mammals, Reptiles, and Amphibians and he approximates that he has 20,000 of these volunteers to prep the museum's collection. In this episode, Here Be Monsters producer Jeff Emtman smells the beetle tank, listens to them eat an owl skull, and holds a real flesh-eating beetle.*Jeff Emtman produced this episode, with help from Bethany Denton and Nick White. Music: The Black SpotHappy Birthday Paul. We don't know when your birthday actually is, but we hope it's a good one...this year and every other. *Due to dermestes maculatus' preference for dead foods, they're perfectly safe to handle, unless you're a wild turkey (and if you're actually reading this, you probably are).
Anthony Marcellini is an artist and writer. His practice examines the social relationships of seemingly disparate things: objects, artworks, individuals, historical events or natural phenomena. Through absurdist acts, suspensions of belief or metaphysical postulations, he levels the divisions between the natural and constructed world by creating a more horizontal space where these entities can communicate with each other. He co-founded and directed the collaborative art group It Can Change (2000-2004) with John Hoppin, a collective that produced art, interventions and performances in public space and in art institutions. From 2004-2007, Anthony worked alongside curator Sofia Hernandez Chong Cuy as the Curatorial Assistant at Art in General in New York City. He received his MFA in Social Practice from California College of the Arts, San Francisco in 2009. His work has been exhibited internationally at museums, galleries and art institutions, including Apex Art, New York City; Kunsthall Fridericianum, Kassel; Gavin Brown’s Enterprise, New York City; Deitch Projects, New York City; The Soap Factory, Minneapolis; San Francisco Arts Commission Gallery: Sequences Art Festival, Reykjavik; Etc. Gallerie, Prague; Gagnef Festival, Sweden; Skulpturengarten Strombad Kritzendorf, Vienna, amongst others.
Rebecca Matalon, curatorial assistant at MOCA LA discusses the exhibit Tongues Untied: a look back at Art from the AIDS crisis.
This week: Brian and Patricia head up to wine country to imbibe—if you will—one of the most unique public collections of art in California. Sited on over 200 extraordinary acres of vineyard, gardens, and natural landscape in the Carneros region of the Napa Valley, di Rosa originated as the shared vision of Rene and Veronica di Rosa, prolific collectors whose personal passion for art and adventuresome spirits fueled their support of art and artists. Their home and the famed vineyards around Winery Lake became the focal point not only for their life and a noted gathering place for artists, but the development of the art collection that is now housed in three buildings, both contemporary and historic, as well as on the surrounding landscape. Considered the most significant holding of Bay Area art in the world, di Rosa houses approximately 2,000 works of art by more than 800 artists. Our friends at Art Practical are the lucky recipients of a year-long writing residency at di Rosa, and Patricia shares some of the insights she’s gleaned in her weekly forays. In this episode’s conversation, she and Brian meander through the residence and main gallery with Amy Owen, Curator, and Meagan Doud, Curatorial Assistant, reflecting on the collection, its history, and the bucolic landscape surrounding them. The serenity of the setting was only disrupted by the potential for lingering aftershocks following the 6.1 earthquake that hit the area early Sunday morning, August 24. di Rosa was the closest cultural center to the epicenter in downtown Napa, and while the buildings were unscathed, about 10% of the work on view (3% of the collection) sustained some damage. Generous efforts are underway to support the repair and restoration of the collection; you can learn more here about how you can help out! Images: 1. di Rosa's Gatehouse Gallery overlooking Winery Lake. Photo: Erhard Pfeiffer. 2. di Rosa's Sculpture Meadow. Photo: Steven Rothfeld. 3. di Rosa's Courtyard. Photo: Steven Rothfeld.
The Kitchen, located in Chelsea, and The Studio Museum in Harlem have a couple of exciting things in common. Both centers herald innovation in the arts. And now both have Hoofers' House--an intimate tap jam session celebrating tap dance on the cutting edge. Rashida Bumbray--who co-founded Hoofers' House at SMH and now serves as Assistant Curator at The Kitchen--joins me to talk about this new partnership and The Kitchen's upcoming free event, hosted by master tap dancer/teacher Jason Samuels Smith (May 23). BIO Rashida Bumbray is a dancer and curator living in Harlem. While Bumbray's primary dance form is tap, she has studied with international dance masters of various forms in Brazil, The Gambia, and London. Her personal work combines her passion for dance and visual art in the interest of creating and presenting work that interrogates society and inspires transformation. Bumbray has been Assistant Curator at The Kitchen since Fall 2006. Previously she enjoyed a five and half year tenure at The Studio Museum in Harlem, as Curatorial Assistant and Exhibition Coordinator. She is co-founder and curator of Studio Sound, the Studio Museum's lobby music installation which featured new works by Daniel Bernard Roumain (DBR), Marc Cary, and Charlie Dark’s The Black Atlantic Project: a musical chain letter. Recently she co-curated the exhibition Mai-Thu Perret: An Evening of the Book with Debra Singer and has organized several music events at The Kitchen, including new concert works by Pheroan akLaff, LaTasha N. Nevada Diggs, Guillermo E. Brown, Min Xiao-Fen, and Burnt Sugar The Arkestra Chamber. She is also the co-founder of Hoofers’ House, the Studio Museum's quarterly jam session for tap dancers, which is now co-produced by The Kitchen. EVENT Hoofers' House, May 23, 8pm. Free. For details, visit The Kitchen site (link below). LINKS The Kitchen http://thekitchen.org The Studio Museum in Harlem http://www.studiomuseum.org Jason Samuels Smith Divine Rhythm Productions http://www.divinerhythmproductions.macwebsitebuilder.com/ JasonSamuelsSmith.html Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa
The Kitchen, located in Chelsea, and The Studio Museum in Harlem have a couple of exciting things in common. Both centers herald innovation in the arts. And now both have Hoofers' House--an intimate tap jam session celebrating tap dance on the cutting edge. Rashida Bumbray--who co-founded Hoofers' House at SMH and now serves as Assistant Curator at The Kitchen--joins me to talk about this new partnership and The Kitchen's upcoming free event, hosted by master tap dancer/teacher Jason Samuels Smith (May 23). BIO Rashida Bumbray is a dancer and curator living in Harlem. While Bumbray's primary dance form is tap, she has studied with international dance masters of various forms in Brazil, The Gambia, and London. Her personal work combines her passion for dance and visual art in the interest of creating and presenting work that interrogates society and inspires transformation. Bumbray has been Assistant Curator at The Kitchen since Fall 2006. Previously she enjoyed a five and half year tenure at The Studio Museum in Harlem, as Curatorial Assistant and Exhibition Coordinator. She is co-founder and curator of Studio Sound, the Studio Museum's lobby music installation which featured new works by Daniel Bernard Roumain (DBR), Marc Cary, and Charlie Dark’s The Black Atlantic Project: a musical chain letter. Recently she co-curated the exhibition Mai-Thu Perret: An Evening of the Book with Debra Singer and has organized several music events at The Kitchen, including new concert works by Pheroan akLaff, LaTasha N. Nevada Diggs, Guillermo E. Brown, Min Xiao-Fen, and Burnt Sugar The Arkestra Chamber. She is also the co-founder of Hoofers’ House, the Studio Museum's quarterly jam session for tap dancers, which is now co-produced by The Kitchen. EVENT Hoofers' House, May 23, 8pm. Free. For details, visit The Kitchen site (link below). LINKS The Kitchen http://thekitchen.org The Studio Museum in Harlem http://www.studiomuseum.org Jason Samuels Smith Divine Rhythm Productions http://www.divinerhythmproductions.macwebsitebuilder.com/ JasonSamuelsSmith.html Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa
BEHOLDING SALVATION: IMAGES OF CHRIST New Exhibit at the BYU Museum of ArtPowerful is the only way to describe it. 170 different paintings, prints, icons, illuminated manuscripts and sculpture from diverse times and creeds. It's impossible to bring you the entirety in the time we have, but Nicole Cannariato -- a Curatorial Assistant at the museum -- walks us through the exhibit focusing on just a few pieces from each section of the show.If you're listening on an iPod or through iTunes, you'll be able to see the images in the enhanced podcast format. If not, then just visit meridianmagazine.com/radio to find this episode with all the images included. Many thanks to the kind permission of the copyright holders as we endeavor to share with listeners and viewers world-wide a small part of the spiritual impact of "Beholding Salvation: Images of Christ".That's this week on The Cricket and Seagull...(This is the regular podcast version -- to view the images discussed visit http://www.meridianmagazine.com/radio beginning Friday, November 17, 2006. The Enhanced Podcast will be posted separately.)
(Enhanced version of the Podcast - viewable in iTunes and on iPods)BEHOLDING SALVATION: IMAGES OF CHRIST New Exhibit at the BYU Museum of ArtPowerful is the only way to describe it. 170 different paintings, prints, icons, illuminated manuscripts and sculpture from diverse times and creeds. It's impossible to bring you the entirety in the time we have, but Nicole Cannariato -- a Curatorial Assistant at the museum -- walks us through the exhibit focusing on just a few pieces from each section of the show.If you're listening on an iPod or through iTunes, you'll be able to see the images in the enhanced podcast format. If not, then just visit meridianmagazine.com/radio to find this episode with all the images included. Many thanks to the kind permission of the copyright holders as we endeavor to share with listeners and viewers world-wide a small part of the spiritual impact of "Beholding Salvation: Images of Christ".That's this week on The Cricket and Seagull..
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